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 the ^rt Institute of Chicago 
 
 THE piD dDLLEdTIOpI, •:• •:• • 
 
 •:• •:• WA^HBU^NE dOLLEdTIOW, \c. 
 
 February, 1888. 
 
 • • 
 
Library ' / 
 
 OF THE 
 
 UNIVERSITY OF ILLINOIS 
 
 CATALOGUE 
 
 OF THE 
 
 REID COLLECTION 
 
 DRAWINGS AND ETCHINGS 
 
 EXHIBITED BY 
 
 The ^rt Jnstitute of Chicago, 
 
 TOGETHER WITH OTHER 
 
 PERMANENT AND LOAN COLLECTIONS. 
 
 
 CHICAGO : 
 
 Michigan Avenue, Cor. Van Buren Street, 
 
 1888. 
 
j-lbiu.'tt 
 
 n 
 
 <0 
 
 OFFICERS. 
 
 1887 - 8 . 
 
 C. L. Hutchinson, 
 
 Pres’t. 
 
 Edson Keith, 
 
 Vice-Pres’t. 
 
 L. J. Gage, 
 
 Treasurer. 
 
 a* 
 
 c* 
 
 
 N. H. Carpenter, 
 
 Secretary. 
 
 W. M. R. French, Director. 
 
 EXECUTIVE COMMITTEE. 
 
 Xo 
 
 ■^o 
 
 C. L. Hutchinson, 
 Edson Keith, 
 
 J. H. Dole, 
 
 Jos. M. Rogers, 
 C. D. Hamill, 
 John C. Black, 
 
 W. T. Baker. 
 
 TRUSTEES. 
 
 C. L. Hutchinson, 
 
 D. W. Irwin, 
 
 John C. Black, 
 
 E. W. Blatchford, 
 W. F. Blair, 
 
 Jos. M. Rogers, 
 
 W. T. Baker, 
 
 N. K. Fairbank, 
 
 O. S. A. Sprague, 
 Wirt D. Walker, 
 
 : 
 
 H. N. Hibbard, 
 A. C. Bartlett, 
 G. E. Adams, 
 
 S. M. Nickerson, 
 L. Z. Leiter, 
 Edson Keith, 
 Marshall Field, 
 G. N. Culver, 
 
 C. D. Hamill, 
 
 J. H. Dole, 
 
 Henry Field. 
 
DESIGNATION OF GALLERIES 
 
 GROUND 
 
 - 
 
 FLOOR. 
 
 i 
 
 FIRST 
 
 FLOOR. 
 
 SECOND 
 
 - 
 
 FLOOR. 
 
 SCHOOL 
 
 BUILDING. 
 
 Room I, - - # * - Collection of Paintings. 
 
 Room II, Elbridge G. Hall Collection of Sculpture: 
 
 • Egyptian and Assyrian. 
 
 Room III, - - - - Same: Early Greek, 
 
 c 
 
 Room IY. - - Autotypes and Century Drawings. 
 
 Room V,.Lecture Room. 
 
 Room VI, Elbridge G. Hall Collection of Sculpture: 
 
 Greek and Roman. 
 
 Room YII, - Same: Renaissance and Modern. 
 Room YIII, - - E. B.Washburne Collection. 
 
 Room IX, - - Loan Collection of Paintings. 
 Room X, Loan Collection of Paintings. 
 
 Room XI, - - Loan Collection of Paintings. 
 
 Room XII, (Hall) - Loan Collection of Paintings. 
 Room XIII, - Chicago Society of Decorative Art. 
 Room XIY, • Chicago Society of Decorative Art. 
 Room XY, .... Reid Collection. 
 
 Room XYI, .... Reid Collection. 
 Room XYII, - - - Collection of Paintings. 
 
 Room XVIII,. Library. 
 
 Room XIX, ... - Office of the Director. 
 
 Rooms XX, XXI, XXII, XXIII, XXIY, XXV, XXVI, 
 XXVII and XXVIII— School Rooms. 
 
THE ART INSTITUTE OF CHICAGO. 
 
 -- 
 
 The Art Institute maintains a permanent exhibition open every 
 week-day from 9 to 5 o’clock. It is free to members and their 
 families at all times, and free to all upon Saturdays. 
 
 All friends of The Art Institute are invited to become members. 
 Annual Members pay a fee of ten dollars for the year. Governing 
 Members pay ten dollars a year, and an initiation fee of one hundred 
 dollars. All members are entitled, with their families and visiting 
 friends, to admission to all exhibitions, receptions and public lectures 
 and entertainments of the Institute. 
 
 February 15, 1888. 
 
 i 
 
The Reid Collection 
 
 of 
 
 ENGRAVINGS AND DRAWINGS. 
 
 This collection was made by the late George W. Reid, 
 of London, the Keeper of the Prints in the British Museum. 
 It comprises about one hundred Selected Prints, executed 
 by the greatest masters of engraving, many of them very 
 early and rare states, and about one hundred and seventy- 
 five Original Drawings, in crayon, pen, red chalk, bistre, 
 
 etc., by masters of the Italian, Dutch, Spanish and French 
 schools. Correggio, Annibale Caracci, Murillo, Rubens, 
 Rembrandt, Boucher, and many others of the most dis¬ 
 tinguished artists are represented. 
 
 February 11, 1888. 
 
CATALOGUE 
 
 OF 
 
 One Hundred Selected Print5. 
 
 Collected by Geo. W. Reid, Esq., Former Keeper of the Prints 
 
 in the British Museum. 
 
 1. ALDEGREYER, Heinrich. 1502 — 1562. Adam with the for¬ 
 bidden fruit. (Bartsch, 11). Brilliant impression. 
 
 2. The Nativity. (B. 39.) Very tine. 
 
 8. Jason and Medea, 1529. (B. 65). Very tine. 
 
 4. ALTDORFER, Albrecht. 1488—1538. The Repose in Egypt 
 
 (B. 5.) Brilliant impression in perfect preservation. 
 
 5. ANDREANI, Andrea. 1550—1623. Jesus Christ curing the 
 
 the Lepers; after Parmigiano. (B. 39. 15). Second 
 state. 
 
 6. Christ and the Paralytic Man; after Parmigiano. (B.38.14). 
 Fine state with no inscription. 
 
 7. BEHAM, Barthbl. 1496—1540. Judith with the head of Holo- 
 
 fernes. (B, 41). Very tine and rare. 
 
 8. BEHAM, Hans Sebald. 1500—1550. Female satyr playing 
 
 the bagpipes. (B. 110). Very fine. 
 
 9. The two fools.. (B. 213). Brilliant; in perfect preservation. 
 
 10. BONASONE, Giulio. born 1498. Noah leaving the ark; 
 after Raphael. (B. 4). Superb impression. 
 
 11. The Rape of Europa; after Raphael. (B. 109). Brilliant 
 impression in perfect condition. 
 
 12. BOTH, Jan. 1610—1645. “ Le Pont de Pierre” (B.5). First 
 state before the name of the artist and the number. 
 
 13. “ Le Muleteer .” (B. 6). First state before the name of 
 
 the artist and the number. 
 
 14. “ Le deux Vaclies an bord de L'eau .” (B. 8). First 
 
 state before the name of the artist and the number. 
 
 15. “ Le Pont de Bois .” (B. 10). First state before the 
 
 name of the artist and the number 
 
8 
 
 THE ART INSTITUTE 
 
 16. BRAMER, Leonard, born 1596. A casket, cup and bottle, 
 coins, cards, etc., spread on a table. Early undescribed 
 state. 
 
 17 BRESCIA, Giovanni Antonio da. about 1480. Samson seized 
 
 by the Philistines. (B. 2). 
 
 18 CARACCI, Annibale. 1560—1622. Christ crowned with 
 
 thorns. (B. 3). Very fine impression. 
 
 19. “ Le Christ de Caprarole ” (B. 4). Very fine with margin 
 
 20. CARPI, Ugo Da. about 1510. David cutting off the head of 
 Goliath; after Raphael. (B. 8). First state before letters. 
 Very rare. 
 
 21. The Miraculous Draught of Fishes; after Raphael. 
 
 (B. 37. 13). First state, fine and rare. 
 
 22. Ananias struck dead. After Raphael. (B.46.27). First 
 
 state, but the inscription cut away. Very fine. 
 
 23. CRANCH, Lukas. 1472—1553. Full length portrait of Philip 
 
 Melancthon. Woodcut. (B. 153). Fine. 
 
 24. DA VICENZA, Nicoletto Boldini. about 1650. The Ado¬ 
 
 ration of the Magi. In-Chiar-oscuro. (B. 29. 2). First 
 state, very rare. 
 
 25. The Adoration of the Magi. (B. 29. 2). Second state, 
 very fine. 
 
 26. DE MAITRE ATT. 1496—1541. Cupid and Psyche. (B. 70). 
 
 Brilliant proof before inscription. 
 
 27. DURER, Albrecht. 1471—1528. The Nativity. (B. 2). Very 
 
 fine; in perfect preservation, with fair margin. 
 
 28. The Madonna on the Crescent, 1508. (B. 31). Unde¬ 
 
 scribed first state before the halo was extended to the 
 shoulders of the Madonna. Presque unique. Priced 
 in printed catalogue of 1880 at £105. 
 
 29. The Madonna seated embracing the Infant Jesus. 
 
 (B. 35). Brilliant impression with slight margin. 
 
 30. The Madonna seated near a wall. 1514. (B. 40). Brilliant 
 
 impression in perfect preservation. 
 
 31. The Ploly Family. An etching. (B. 43). Rare and very 
 
 fine. Purchased at the Heywood Sale against Danlos 
 of Paris for £83. 
 
 32. Saint Christopher. (B. 52). Very fine; from the collec¬ 
 
 tion of William Sharp. 
 
 33. Saint George standing. (B. 53). 
 
OF CHICAGO. 
 
 9 
 
 34. DURER, Albrecht. 1471—1528. “ La Famille du Satyr” 
 
 (B. 69). Brilliant impression. 
 
 35. The Rape of Aymone. (B. 71). Very fine impression. 
 
 36. “ Peasants dancing Le Branle (B. 90). Brilliant im¬ 
 
 pression. From the collection of John St. Aubin and 
 Firmin Didot. 
 
 37. The Player upon the Bagpipes. (B. 91). Brilliant im¬ 
 
 pression in perfect preservation. 
 
 38. The Cannon. An etching upon iron. (B. 99). Very fine 
 
 impression. 
 
 39. DUSART, Cornelius, 1665—1701. The Violin Player. (B. 15). 
 Very fine impression. 
 
 40. The violin player. (B. 15). Counter proof of the first 
 state. 
 
 41. VANDYCK, Sir Anthony. 1599—1641. Titian and his mis¬ 
 
 tress. Fourth state with the address “ a bon enfant 
 excu .” 
 
 42. FAITHORNE, William, about 1691. Portrait of Juan de 
 
 Castro. Brilliant impression with good margin. 
 
 43. GAY WOOD, Richard, about 1660. Portrait of Elizabeth 
 
 Harvey. Brilliant impression in matchless condition. 
 
 44. GHEYN, Jacob de. 1565—1615. Portrait of Philippe de 
 
 Marnix “ Seigneur de Mont Saint Aldegonde .” ( B. 
 122). (Passavant, Vol. Ill, P. 11S). Very fine impression. 
 
 45. GOLTZIUS, Heinrich. 1558—1617. Portrait; bust in an 
 
 oval, inscribed “ Gottverzagt.'' (B. 206). Very fine 
 impression. 
 
 46. GOUDT, Heinrich Graf. v. about 1600. Jupiter and 
 
 Hermes. Brilliant impression. 
 
 47. GOURMONT, Jean de. about 1557. The marriage of Saint 
 
 Catherine. (Dumesnil 8). Very fine impression. 
 
 48. GOYA, Francesco. 1748—1828. “ El Garotte Printed in 
 
 grey. One of the rarest of this Master’s work, not in 
 the collection of the British Museum. Very fine im¬ 
 pression with large margin and rough edges. 
 
IO 
 
 THE ART INSTITUTE 
 
 49. HOLLAR, Wenzel. 1607—1677. Interior of the eastern 
 portion of St. Paul’s Church. (Parthey 1827). 
 
 50. The Muffs. One of his most esteemed subjects. (Parthey 
 
 1851). Very Fine. 
 
 51. Landscape. “ The Four Windmills.” After Breughel. 
 
 (Parthey 1215). Brilliant impression from the Esdaile 
 Collection. In perfect preservation. 
 
 52. JARDIN, Karel du. 1825—1678. Landscape. “ Les arbres 
 d ratines decouvertes .” (B. 17). Early impression. 
 
 Very fine. 
 
 53. The Frontispiece. (B. 1). Proof before the number, and 
 
 before the corrosion on the face of the rock. Very 
 tine. 
 
 54. The two Donkeys. (B. 6). Before the corrosion in the 
 
 sky. The numbers blocked out in printing. 
 
 55. LEYDEN, Lucas Van. 1494—1533. The Temptation of 
 
 Adam. (B. 3). Fine impression. 
 
 56. Samson and Delilah. (B. 23). Early impression. Marked 
 
 in the Printed Catalogue of 1880 at £84. 
 
 57. The Raising of Lazarus. (B. 42). Very tine impression 
 
 with margin, and in perfect preservation. Marked in 
 the Printed Catalogue of 1880 at £84. 
 
 58. Saint Peter and Saint Paul, seated. (B. 106). Very tine 
 
 impression. 
 
 59. Saint John. (B. 110) Very tine impression of the second 
 
 state. 
 
 60. LORCH, Melchior. 1527—1586. Portrait of Albrecht Durer 
 
 1550. (B. 10). Brilliant impression with large margin. 
 
 61. MANTEGNA, Andrea. 1431—1506. One of the Triumphs 
 
 of Julius Csesar. The Senate of Rome accompanying 
 a triumph. (11). From the Esdaile Collection. 
 
 62. One of the Triumphs of Julius Csesar. Soldiers bear¬ 
 ing trophies; with the pilaster. (B. 14). 
 
 63. MONTAGNA, Benedetto. 1480—1523. Christ’s Agony on 
 the Mount. (B. 4). First state unknown to Bartsch 
 and Ortley, before the dark hatchings on the tablet. 
 (Passavant Vol. V, p. 154.) Brilliant impression. 
 
OF CHICAGO. 
 
 I I 
 
 64. OSTADE, Adrian van. 1617—1671. A man playing the 
 
 hurdy gurdy. (B. 8). Brilliant impression of the first 
 state. 
 
 65. A man conversing with a woman. (B. 37). First state, before 
 
 the marginal line was strengthened. From the Du- 
 mesnil Collection. 
 
 66. The Great Ball “ La Dance au Cabaret ” (B. 49). Fine 
 
 early impression. 
 
 67. Two women gossiping. (B. 40). First state, before the 
 
 marginal line was strengthened. From the collection 
 of Robert Dumesnil. 
 
 68. PASS, Guillaume Van. about 1560. James I and his Family 
 
 (See Franken, page 119, No. 693).^ Very fine. 
 
 69. PENCZ, George. 1500—1550. Samson and Delilah, (B. 28). 
 
 70. RAIMONDI, Marc Antonio. 1487—1539. Martha and Mary 
 
 ascending the steps of the Temple; after Raphael. 
 Entitled “ Notre Dame de VEscalier ” (B. 45). Very 
 
 fine. In perfect condition. 
 
 71. The Madonna and Child in the Clouds. (B. 47). Un¬ 
 
 described first state. Unique. Marked in Printed 
 Catalogue of 1880 at £105. 
 
 72. Saint Cecilia. (B. 116). Undoubtedly the finest impres¬ 
 
 sion known, both in regard to state and condition; with 
 good margin. Priced in Printed Catalogue of 1880 at 
 £183.15.0. 
 
 73. Saint Margaret. (B. 181). Very rare and in beautiful 
 
 condition. Marked in Printed Catalogue of 1880 at 
 £52. 
 
 74. The Rape of Helen. (B. 209). Brilliant impression in 
 
 perfect preservation. Priced in the printed Catalogue 
 of 1880 at £157.10.0. 
 
 75. Mount Parnassus. (B. 247). Brilliant impression in per¬ 
 
 fect preservation. Marked in the Printed Catalogue of 
 1880 at £180. 
 
 76. Venus appearing to gEneas. In the engraver’s early 
 
 manner. (B. 288). Very fine impression. 
 
 77. Neptune appeasing the storm. (B. 352) Brilliant im¬ 
 
 pression in the first state with margin. Marked in 
 the Printed Catalogue of 1880 at £157.10. 
 
12 
 
 THE ART INSTITUTE 
 
 78. RAIMONDI, Marc Antonio. 1487—1539. The Woman with 
 the Sponges. (B. 373). Brilliant impression of one of the 
 rarest of the Artist’s works. Marked in the Printed 
 Catalogue of 1880 £63. 
 
 79. u Les Grimpeurs .” (B. 487). Earl}' - impression delicately 
 printed. Marked £84 in the Printed Catalogue of 1880. 
 
 80. RAVENNA Marco da. about 1496. A Battle Piece. (B. 
 
 420). Brilliant impression from the Brentano Collection. 
 
 81. RIBERA, called Spagnodetto. 1588—1656. St. Jerome 
 
 praying. (B. 4). Very fine and rare impression before 
 the address. 
 
 82. REMBRANDT Van RYN. 1607—1669. Abraham enter¬ 
 
 taining the three angels. (W. 36). Brilliant impression 
 full of burr and with good margin. 
 
 83. Abraham and his son Isaac. (W. 38). Fine with good 
 
 margin. 
 
 84. Abraham’s Sacrifice. (W. 39). Very fine with good 
 
 margin. 
 
 85. The Circumcision. (W. 52). First state, with the white 
 
 spaces where the aqua-fortis has failed. Fine with 
 slight margin in perfect preservation. 
 
 86. The Flight into Egypt. A night piece. (W. 58). An 
 
 undescribed early state, touched on with bistre by the 
 Artist himself. Marked in the Printed Catalogue of 
 1»80 at £183.15.0. 
 
 87. The Flight into Egypt. The Holy Family crossing a 
 
 rill. (W. 60). Brilliant impression. 
 
 88. Christ preaching—entitled “ La petite tombe .” (W. 71). 
 
 Brilliant state of an early impression. 
 
 89. The Travelling Musicians. (W. 123). Undescribed state 
 
 before the dry point work on the woman’s cap. A 
 little of the w r ork cut away on the right. 
 
 90. A Jew with a high cap. (W. 135). Very fine impression. 
 
 91. A man playing at cards. (W. 137). First state. Some 
 
 white spaces are in the plate, at the top to the right, 
 from the failure of biting. With margin. 
 
 92. Two beggars, a man and a woman, conversing. (W. 161). 
 
 Very fine with margin. 
 
 93. Portrait of Rembrandt with a scarf round his neck. (W- 
 
 17). Brilliant impression. 
 
OF CHICAGO. 
 
 J 3 
 
 94. REMBRANDT Van RYN. 1607—1669. An arched Lands¬ 
 cape, with an Obelisk. (W. 224). Very fine second 
 state in perfect preservation. 
 
 95. An Old Man with a large beard, lifting his hand to his 
 
 cap. (W. 360). Very fine second state with margin. 
 
 96. A Young Man musing. (W. 270). Very fine impression 
 
 with large margin. 
 
 97. Manasseh Ben Israel. (W. 271). Second state. Very 
 
 fine with good margin. 
 
 98. Portrait of Clement de Jonge. (W. 274). Fine fifth 
 
 state. 
 
 99. Jan Lutma. (W. 278). Third state, very fine, with mar¬ 
 
 gin. 
 
 100. Uytenbogardus, a Dutch Minister. (W. 281). Third state 
 
 in octagonal border with Latin verses. Fine and very 
 scarce. 
 
 101. Bust of an old man with a large beard. (W. 295). Very 
 
 fine with margin. 
 
 102. SPRINGINKLEE, Hans. The Nativity, a woodcut. (B. 51). 
 
 Fine impression. 
 
 103. SOLIS, Virgilius. about 1540. Summer, “ Somer .” One of 
 
 the set of the Four Seasons. (B. 130). Fine impression. 
 
 104. Winter. Another of the set of the Four Seasons. 
 
 (B. 132). Very fine impression. 
 
 105. Frieze with bears, 1541. Undescribed by Bartsch or 
 
 Passavant. Fine, in perfect preservation. 
 
 106. SWANEVELT, Herman van. 1620—1690. Landscape with 
 Waterfall. (B. 80). Fine early impression. 
 
 107. Landscape, u La Porte de Ville." (B. 92). Very fine early 
 impression. 
 
 108. TRENTO, Antonio da. about 1530. The Martyrdom of 
 
 St. Peter and St. Paul, after Parmigiano. (B. 79,28) 
 First state printed in three colors. 
 
 109. WIER1X, Anthony. About 1550. Portrait of Sir Thomas 
 
 More. (Alvin, No. 1987). Very fine. 
 
 110. WIERIX, Hieronimus. The Madonna standing on a Cres¬ 
 
 cent. (Alvin. No. 50). Brilliant impression. 
 
H 
 
 THE ART INSTITUTE 
 
 ORIGINAL DRAWINGS 
 
 BY 
 
 GREAT MASTERS OF VARIOUS SCHOOLS. 
 
 Collected by George W. Reid, Esq., former Keeper of the 
 Prints in the British Museum. 
 
 201. ALLOR1, Angiolo, Called II Bronzino. 1535—1607. 
 
 Study for the full length figure of Eve. Highly 
 finished in black chalk, signed. 
 
 202. ALLEGRI, Antonio, Called II Correggio. 1494—1534. 
 
 Figure of the infant St. John the Baptist. Highly 
 finished in black chalk on brown paper, signed. 
 
 203. A female head. Red and black chalk. 
 
 204. Study for the fore-shortened figure of a man from the 
 
 right shoulder. Red chalk, from the collection of 
 John Talman. 
 
 205. ASSEN,Jan yan. 1635—1695. The triumph of Faith con¬ 
 
 ducted by Love, supported by the emblems of St. Mark 
 and St. Luke, the bull and the lion. In pen. 
 
 206. AVERCAMP, Hendrik yan. about 1600. Landscape. Vil¬ 
 
 lagers assembled near a cottage bartering for fruit. 
 The church and village seen in the distance. In color. 
 
 207. BACKHUYSEN, Ludolf. 1631—1709. A sea piece, vessels 
 
 in a squall. A smack lowering her sails close to the 
 shore on the right. Slight sketch in pen and washed 
 with Indian ink. 
 
 208. BALDELLI, Nicolo. After Raffaello. Pen, washed with 
 
 Indian ink. 
 
 209. BARBIERI, Gioyanni Francesco, Called Guercino. 1590 
 
 —1666. “ Roman Charity.” Pen, washed with bistre. 
 210. Portrait of Dante. Pen, washed with bistre. 
 
OF CHICAGO. 
 
 *5 
 
 211. BARBIERS, Pietro. 1717—1780. Landscape—an overshot 
 mill. The entrance to a garden seen above the wheel, 
 where a woman is seen relieving wayfarers. In black 
 chalk washed with Indian ink. 
 
 212. Upright landscape—a roadway winding past a cottage 
 on the left, large tree in the foreground taking up 
 nearly the whole of the composition. In black chalk 
 and Indian ink. 
 
 213. BOLOGNESE SCHOOL. About 1600. Trees and pool. Pen 
 
 washed with bistre. 
 
 214. BAROCCIO, Federigo. 1528—1612. The virgin and child. 
 
 Pen on grey paper washed with neutral tint and 
 heightened with white. From the collection of 
 William Sharp. 
 
 215. Portrait study of the head of a young female. In cray¬ 
 
 ons. 
 
 216. A sheet of studies on both sides of the paper, kneeling 
 
 figures, &c. Pen and bistre. 
 
 217. Studies of an arm, a knee and a foot. In crayons on 
 
 grey paper. 
 
 218. BARRETTINI, Pietro, Called Da Cortona. 1596—1669. 
 
 A female saint in the habit of a Nun, kneeling to a 
 Pope. Pen and red chalk washed with bistre—signed. 
 
 219. BASSANO, Jacopo Da Ponte. 1510—1592. Five saints 
 
 kneeling in prayer. Black chalk on grey paper height¬ 
 ened with white. 
 
 220. BEHAM, Bartel. 1496—1540. Portrait of a middle-aged 
 
 man wearing a small divided beard and flat cap. Three- 
 quarter face turned to the left. The figure seen to the 
 waist, the hand of another person placed on the right 
 shoulder. Red chalk. 
 
 221. BEHAM, Hans Sebald. 1500—1550. Study for three male 
 
 figures, one apparently reading from a desk. Pen on 
 paper prepared with salmon color. Signed 1541. 
 
 222. BERCHAM, Nicolas. 1624—1683. Two sheets of studies 
 
 on one mount—one of cows, the other of sheep. Black 
 chalk on grey paper heightened with white. 
 
i6 
 
 THE ART INSTITUTE 
 
 228. BISSCHOP, Jan. 1646—1686. After Caravaggio. Christ 
 crowned with thorns. In bistre. 
 
 224. The old court-yard of a hostelry with well at the end of 
 the wall. Pen and bistre. 
 
 225. BLOEMART, Abraham. 1564—1647. Abraham and Hagar. 
 
 The composition engraved the same size by Jonas San- 
 redam. With the engraving. Black and red chalk. 
 
 226. The annunciation. Pen on brown paper washed with 
 bistre and heightened with white. 
 
 227. BOCKSPERGER, Hans. 1540—1592. Christ’s entry into 
 
 Jerusalem. Drawn with the brush and washed with 
 bistre—signed. 
 
 228. BOLOGNESE SCHOOL. About 1600. An assemblage of 
 
 saints endeavoring to secure the blood of Christ, some 
 of them sucking his wounds. Pen washed with bistre. 
 
 229. BUONACCORSI, Pietro, Called del Vaga. 1500—1547. 
 
 Landscape. The cup found in Benjamin’s sack. Pen 
 washed with Indian ink. 
 
 230. BOUCHER, Francois. 1704—1770. Venus attended by 
 
 Cupids descending from her chariot on clouds to the 
 sleeping Adonis. Black chalk washed with bistre— 
 signed “ F. Boucher F.” 
 
 231. Venus and Cupids. Black chalk on grey paper height. 
 
 ened with white. 
 
 232. Two studies of Cupids. Red chalk on grey paper. 
 
 233. Mars and Venus. Pen washed with bistre on toned 
 
 paper and heightened with white. 
 
 234. Study of a nude female figure seated on a bank. Red 
 
 chalk. 
 
 235. Interior of a prison, with men playing some game on the 
 
 right. Pen washed with Indian ink. 
 
 236. BAUDUIN, Gasper. Classical Landscape with castle in the 
 middle distance. Highly finished in red chalk. 
 Signed. 
 
OF CHICAGO. 
 
 
 237. GHISI, Adamo. 1530—1570. After Michelangelo. The 
 
 Scourging of Christ. Bistre on grey paper, heightened 
 with white. Collections, Richardson, R. Cosway, 
 Pacetti, Reynolds. 
 
 238. BRAUWER, Adriaan. 1608—1640. Interior with boors 
 
 drinking. Drawn with the brush and sepia. Another 
 similar design on the reverse. 
 
 239. BREBIETTE, Pierre. Born 1596. A bacchanalian scene 
 
 with fairies, satyrs and nymphs. Pen washed with sepia. 
 A similar subject, pen washed with bistre. Two 
 drawings on one mount. 
 
 240. BREBIETTE, Pierre, born 1596. Landscape. A woodland 
 
 scene. The banks of a stream. Two couples seated 
 nude under the trees, one man playing the flageolet 
 Pen washed with Indian ink. 
 
 241. BRIL, Paul. 1556—1626. Landscape. Two mountain tor¬ 
 
 rents falling into the source of a river. Forest scenery 
 and roads. Signed, 1619. Pen and bistre with a little 
 color. 
 
 242. CAMPAGNOLA, Domenico. 1482—1550. A classical land 
 
 scape; a river scene with numerous galleys. In pen 
 and bistre. Signed. 
 
 243. CARACCI, Annibale. 1560—1609. Study for the Adoration 
 
 of the Shepherds. Boldly drawn with the pen on the 
 back of a proof of his well-known etching of Christ 
 Mocked. 
 
 244. CARACCI, Ludovico. 1155—1619. A martydom of saints 
 
 Black and red chalk. From the collection of Count 
 Gelozzi. 
 
 245. Study for the Siege of Troy. Pen washed with warm 
 neutral tint. From the Donnadieu Collection. 
 
 246. CHALON, Christina. 1748—1808. Landscape; cows drink¬ 
 ing in a stream, herdsmen resting near, two barrels and 
 a short ladder in the foreground. Highly finished in 
 black chalk. Signed and dated “ C. L. K., 1779.” 
 
i8 
 
 THE ART INSTITUTE 
 
 247. CHAMPAGNE, Philip de. 1602—1674. Life-size study of 
 
 the head of a young man, his long hair falling upon his 
 shoulders. Red chalk. 
 
 248. CORT, Cornelius. 1530—1578. Saint George slaying the 
 
 dragon. Highly finished in pen and sepia. Signed and 
 dated. 
 
 249. CABULLERO. Ornamental design for the frame of a chim¬ 
 
 ney glass forming the end of a room. Pen. 
 
 250. CAMBIASO or CANGIAGO. 1527—1585. ^Eneas carrying 
 
 his father and leading his son. Pen and bistre. 
 
 251. CASTIGLIONE, Giovanni Benedetto. 1616—1670. Head of 
 
 an old man wearing a long beard and shaggy eyebrows. 
 
 252. The Herdsman. Drawn with the brush with bistre and 
 neutral tint. From the collection of Richard Udny and 
 William Sharp. 
 
 253. CAT, Jacob. Roadway on the outskirts of a wood; a man¬ 
 
 sion on the right, with a man leading a horse from a 
 stable. Highly fini-hed, with a pen and Indian ink. 
 
 254. CRAYER, Caspar de. 1582—1669. The Resurrection. Pen 
 
 washed with Indian ink and neutral tint on grey paper. 
 Signed. From the collection of Count de Fries. 
 
 255. CUYP, Albert. 1606—1683. Study of a spaniel, seen from 
 
 behind, with his head turned to the right. Black chalk 
 on grey paper heightened wdth white. 
 
 256. DIEST, Jan van. 1655—1704. Landscape. Two trees wdth 
 
 trunks entwining in the foreground. Black chalk. 
 
 257. DOMENICHINO, real name Domenico Zampieri, 1581— 
 
 1641. Study of the half length figure of a young fe¬ 
 male, the face seen in profile and her hands clasped 
 together in prayer. The head of a second female is seen 
 above, and that of an old man by her side. Black 
 chalk on brown paper, heightened with white. On the 
 reverse, the study of a nude man. 
 
OF CHICAGO. 
 
 J 9 
 
 258. DONATELLO, Simone, about 1430. A knight kneeling in 
 
 prayer; an executioner standing by his side holding a 
 large sword. Sebastian tied to a tree, pierced with ar¬ 
 rows. Two on one mount. Pen, slightly washed. 
 
 259. DUGHET, Gaspard, called Gaspre Poussin. 1613—1675. 
 
 The Archangel Michael. This drawing has been mis¬ 
 named Peter Breughel. Drawn with the brush in 
 Indian ink, on grey paper heightened with white. 
 
 260. DUSART, Cornelis. 1665—1704. The game of bowls. In 
 
 pen washed with Indian ink. Signed. 
 
 261. YANDYCK, Sir Anthony. 1599—1641. Sheet of studies. 
 
 The descent of the Holy Ghost. In pen, on both sides of 
 the paper. Signed From the Lankrink collection. 
 
 262. Study for the figure of the dead Christ in the pict¬ 
 ure of the Entombment, in the Louvre. Black chalk 
 on grey'paper, heightened with white. 
 
 263. EYERDINGEN, Albert van. 1621—1675. Landscape. A 
 
 waterfall, and two men about to cross a dilapidated 
 wooden bridge. Indian ink on coarse paper slightly 
 tinted and heightened with white. 
 
 264. FARQUE, Paul Constantine la. 1782. The Hague. Pen 
 
 washed with bistre and neutral tint. Signed. 
 
 265. FLORENTINE SCHOOL. An interior, with an ecclesiastic 
 
 admonishing a nobleman. Outlined with the pen and 
 washed with Indian ink. Reference to the two princi¬ 
 pal figures “ 1 ” and “ 2.” 
 
 266. FLORIS, Franz. 1520—1570. Six designs of classical sub¬ 
 
 jects, The Rape of Helen, etc., for a shield. Pen washed 
 with bistre. From the collection of Charles Rogers and 
 William^Sharp. On two mounts. 
 
 267. FRENCH, Seventeenth Century. Landscape. A study of 
 
 pollard oaks. Boldly drawn with the pen and shaded 
 with Indian ink and heightened with white. On the 
 reverse an outlined view of the open country. From 
 the^collection of Earl Spencer. 
 
20 
 
 THE ART INSTITUTE 
 
 268. GELEE, Claude de Lorraine. 1600—1682. A castle on a 
 liill; three figures with a horse on the right. On the 
 reverse a round tower and bridge. Pen and Bistre. 
 
 269, Study of clouds. In bistre, heightened with white. 
 
 270. GLAUBER, Johann. 1646—1726. The Assumption of the 
 
 Virgin. Study for an altar piece. Pen washed with 
 Indian ink and neutral tint. Signed. 
 
 271. GOLTZIUS, Heinrich. 1558—1617. An allegorical female 
 
 figure, holding a lozenge-shaped shield, with seated 
 Magdalen. Pen washed with bistre on brown paper, 
 heightened with white. Signed. 
 
 272. Portrait of a middle-aged man in a cloak trimmed with 
 fur. Signed and dated H. G., 1603, with manuscript. 
 
 273. GRIMALDI, Giovanni Francesco, called II Bolognese. 
 
 1606—1680. Classical landscape with winding stream, 
 a man fishing in the foreground. Pen and bistre. 
 
 274. HERRERA, Juan de. about 1570. Richly ornamental de¬ 
 
 sign for a chimney piece, surmounted by a coat of arms 
 with cupids for supports. Pen and sepia. 
 
 275. HOBBEMA, Meindert, about 1650. Landscape. Water- 
 
 mill near some cottages, with row of tall trees on the 
 bank of the stream where a man is seated fishing. 
 Highly finished in black chalk. 
 
 276. HOLBEIN, Hans. 1497—1543. Study of a cannon. Boldly 
 
 drawn with the pen and Indian ink on brown paper 
 and slightly tinted. 
 
 277. HOLLAR, Wenzel 1607—1677. “Zu Constatt” W. Hollar 
 
 Delin. 1628, et sculpt. 1666. Delicately drawn with the 
 pen, and tinted. A fine and beautiful specimen of the 
 master, accompanied by the etching which scarcely 
 gives half the composition, and that greatly reduced. 
 (Parthey 757.) 
 
 i 278. “ Zu Passaw.” Signed and dated 1636. With etching 
 (Parthey 745) No. 7 of a set much reduced from the 
 drawing, and the name over the castle not introduced. 
 
OF CHICAGO. 
 
 21 
 
 279. HONTHORST, Gerard. 1592—1660. Portrait of a youth 
 
 who wears a broad brimmed hat. Highly finished with 
 black chalk. 
 
 280. HUYSUM, Jan van. 1682—1749. Landscapea. A wood on 
 
 the outskirts of a stream where a man and woman are 
 walking near a bridge. Indian ink. 
 
 281. JANSON, Jan. Study of cattle and sheep grazing in a 
 
 meadow. In color. Signed “Janson 1773.” 
 
 282. JARDIN, Karel du. 1625—1678. Landscape. River scene 
 
 —a bridge of two arches leading to a city gate with 
 round tower. Indian ink tinted with bistre. 
 
 283. JORDAENS, Jacob. 1594—1678. Study of a woman’s head. 
 
 Red and black chalk. 
 
 284. KETWIG, Jan van. 1780—1818. The approach to a Dutch 
 
 city with handsome gateway and bridge crossing the 
 moat on which boats are seen, and a man fishing. In 
 color. 
 
 285. LAIRESSE, Gerard de. 1640—1711. Two small friezes 
 
 on one mount. The triumph of Cupid. Pen and In¬ 
 dian ink. 
 
 286. LANGENDYK, Pieter. 1780—1818. Landscape. Country 
 
 roadway between rows of trees, a man driving a horse 
 and cart under them. Black chalk. 
 
 287. LAPI, Niccolo. 1661—1732. Allegory of the marriage of 
 
 Alexandro Caponi. 
 
 288. LE BRUN, Charles. 1619—1690. Study of a reclining 
 
 figure of a man, foreshortened from the head. A little 
 drapery over the right arm and chest. Red chalk 
 heightened with white on brown paper. 
 
 289. LE CLERC, Sebastien. 1676 — 1763. A Roman procession 
 
 with triumphal car. Pen washed with Indian ink. 
 
 290. LEYDEN, Lucas van. 1494—1533. Titus Manlius ordering 
 
 the execution of his son. Drawn with the brush on 
 paper prepared with distemper, color brightened with 
 white. 
 
22 
 
 THE ART INSTITUTE 
 
 291. LICINIO, Giovanni Antonio, Called II Pordenone. 1483— 
 
 1540. The entombment. In tempera. 
 
 292. LOGTEREN, Ignatius van. Infant Bacchantes. The one 
 
 on the right riding a goat. Pen and bistre, signed. 
 
 293. LORO, Bartolomeo. Design for a lunette of rich orna¬ 
 
 mentation and figures with Cupids supporting a shield 
 of arms. Pen and bistre, tinted. 
 
 294. MAES, Dirk., 1656—1715. Two horsemen, one of them at 
 
 full gallop. Pen washed with bistre. 
 
 295. MARATTI, Carlo. 1625—1713. The Madonna and Child. 
 
 In distemper color, and varnished. 
 
 296. THE MASTER MW. 1581. German. David and Abigail. 
 
 Pen and neutral tint. Signed and dated. 
 
 297. MILLET, Jean Francois. Landscape. Females washing 
 
 their linen in the stream in the foreground. In color. 
 
 298. LEMOINE, Francois. 1688—1737. Venus attended upon 
 
 by Cupids. Red chalk. 
 
 299. MOLA, Giambattista. 1618—1661. Gate of Fort Urban 
 
 near Bologna. Pen, washed with bistre. 
 
 300. A triumphal arch, with equestrian statue of a warrior 
 
 and trophies of arms. Pen, washed wdth bistre. 
 
 301. A triumphal arch surmounted by the cross, keys and 
 papal arms beneath. Pen, and washed with neutral tint. 
 
 302. A triumphal arch surmounted by the papal arms and 
 
 blank shield between two statues. Pen and bistre. 
 
 303. MURILLO, Bartolome Esteban. 1613—1682. The infant 
 
 St. John caressing the lamb. Pen washed with bistre. 
 
 304. MAZZUOLI, Francesco called Parmigianino. 1503—1540. 
 
 The beheading of two saints, a Roman Emperor sitting 
 in judgment on the left. Drawn with the pen on paper 
 prepared with color and washed wdth bistre and 
 heightened with white. “ Bought at Rome, A. D. 1774 
 out of the Pamphiti Palace, No. 40. ” See Chiaro-os- 
 curo print after Parmigianino. 
 
 305. Study for the figure of Bolonna. Red chalk. From the 
 collection of Jonathan Richardson and Richard Cos¬ 
 way. 
 
OF CHICAGO. 
 
 2 3 
 
 300. MAZZUOLI, Francesco, called Parmigianino. Bolonna 
 in her car drawn by Griffins. Pen and bistre. 
 
 307. Two drawings on one mount. Study for a hand in red 
 
 chalk and a figure of Cupid in pen. Sheet of studies of 
 Cupids reclining on clouds. Highly finished in red 
 chalk. From the collection of Richard Cosway. 
 
 308. The dead king and his sons. Pen washed with bistre. 
 
 From the collection of Earl Spencer. 
 
 309. Study for the nude figure of a youth seen from behind 
 
 and turned a little to the right. Slightly outlined with 
 bistre, the outstretched arm and face finished with 
 cross hatching. Pen., 
 
 310. Study of the nude figure of a male model seen from the 
 
 back. Outlined with the pen and finished with black 
 chalk. From the collection of John Barnard. 
 
 311. Study of heads. Pen and bistre on paper tinted with 
 
 Indian ink. 
 
 312. Study of foliage on a bank and the trunks of some small 
 
 trees. Pen and bistre heightened with white on grey 
 paper. 
 
 313. Study for the pediment of a monument, showing half of 
 
 the design excepting the oval tablet in the centre. Pen 
 washed with bistre and heightened with white. From 
 the collection of Jonathan Richardson. 
 
 314. PALAMEDES, Anton. 1804—1880. Whole length figure of 
 a comedian with right arm outstretched. Black and 
 red chalk on light brown paper heightened with white. 
 
 315. Another similar figure of an actor, standing with hands 
 together holding a purse. Black and red chalk on 
 light brown paper heightened with white. Signed. 
 
 316. PASSORI, Bernardino. 1580. Head of the Madonna. 
 
 Highly finished in red chalk. 
 
 317. PESARO, Simone Cantarini da. 1612—1648. Study for the 
 
 head of the Madonna. Delicately rendered in red 
 chalk. From the Landrink and Cosway Collections. 
 
 318. PILLEMENT, Jean. 1728—1808. The snow storm. 
 
 Highly finished in color. 
 
 319. Landscape Traveler seated under a tree, accosted by a 
 beggar. Black chalk finished with Indian ink Signed 
 
2 4 
 
 THE ART INSTITUTE 
 
 320. PIPPI, Giulio; called Giulio Romano. 1492—1546. One of 
 
 the Evangelists, St. Matthew. Drawn with the brush in 
 bistre on brown paper heightened "with white. 
 
 321. PROCACCINI, Camillo. 1546—1626. Susannah and the 
 
 Elders. Black chalk on grey paper heightened with 
 white. 
 
 322. QUELLINUS, Jan Erasmus. 1629—1715. The Sacrifice at 
 
 Lystra. Indian ink heightened wdth white. Signed. 
 
 323. A concert. The people assembled under the arched win¬ 
 dows of a house. Black chalk washed with Indian ink 
 and sepia. 
 
 324. RADEMAKER, Abraham 1675—1735. A gateway through 
 which a plantation of trees is seen, with a harbor in the 
 distance. Pen washed with neutral tint. 
 
 325. Interior of a court, approached by steps with vases and 
 flowers—a bay window and rows of trees in the back 
 ground. Pen and red chalk w T ashed with neutral tint. 
 
 326. REMBRANDT van RYN. 1606-1669. Tobias and the 
 Fish. Pen and bistre. 
 
 327. The Good Samaritan leading the wounded traveler down 
 
 a bank to the donkey. Pen and bistre. 
 
 328. A sleeping herdsman seated upon a bank under a large 
 
 tree, about to be struck down by a man by his side 
 whose sword is uplifted for the purpose. Pen washed 
 with bistre and neutral tint. 
 
 329. RENI, Guido. 1575—1642. Studies of two cupids holding 
 drapery. Pen and bistre with a little neutral tint. 
 
 330. Two similar figures but treated in a bolder manner. 
 Pen and bistre with a little neutral tint. 
 
 331. ROOS, F. P de. 1490—1530. Two drawings upon one 
 
 mount, both in red chalk. Study for the Madonna and 
 Child who is sleeping. Signed ‘ F. P. De Roos F .’ 
 The Holy Family, signed, 4 F. P. DeRoos Invent ’ on the 
 base of a column. 
 
 332. ROOTWYK, J. A sea piece with various vessels, a war 
 
 frigate on the right with boats coming ashore, and a 
 smack near where four men of w r ar are waiting. Pen 
 and bistre. 
 
OF CHICAGO. 
 
 2 5 
 
 333. ROSA, Salvator. 1615—1673. Dead Christ with Marys 
 
 bewailing. Pen and bistre. 
 
 334. RUBENS, Peter Paul. 1577—1640. An academical 
 
 study of a seated man with his arm behind him. Black 
 chalk. 
 
 335. Head of a boy blowing a pipe. Highly finished with 
 black chalk. Signed. 
 
 336. RYCKAERT, David. 1615—1677. Allegorical title, with 
 
 figure of Mars standing between palm trees, a portrait 
 on his shield, a flaming sword in his left hand. Pen and 
 w r ashed with bistre. From the Landrink Collection. 
 
 337. SALVIATI, Francesco Rossi da ; called II Salviati. 1510— 
 
 1563. A Scriptural subject, men digging, etc. Pen 
 washed with Indian ink and heightened with white. 
 
 338. Study for the conversion of Paul. Pen and bistre. 
 
 339. SALVIATI, Guiseppe. 1530—1585. Roman subject with 
 
 fainting female. Pen and sepia on grey paper height¬ 
 ened with white. 
 
 340. SCHELLINKS, Willem. 1632—1678. Landscape. Distant 
 
 view of a chateau surrounded by pine trees and ap¬ 
 proached by a meadow and flooded stream which takes 
 up nearly the whole of the foreground. Black chalk 
 washed with sepia. 
 
 341. SCHOOL OF CARACCI. about 1600. Two studies, one on 
 
 each side of a sheet of paper. The standing draped 
 figure of a young handsome woman looking at herself 
 in a mirror. A second female in charge of an infant 
 by the side of a pedestal. Boldly drawn in pen and 
 sepia. 
 
 342. SPRANGER, Bartholomeus. 1546—1625. The flight into 
 
 Egypt. Pen and bistre waished with neutral tint. From 
 the collection of John Barnard Granville, and Sir A. 
 Westcombe, Bart. 
 
 343. STRADANUS, Johannes. 1536—1605. His own portrait. 
 
 An oval medallion in an ornamental frame. 
 
2 6 
 
 THE ART INSTITUTE 
 
 344. SWANEVELT, Herman van. 1620—1690. A roadway- 
 through a village with round tower on the right. 
 Groups of figures in the foreground. Pen and bistre 
 slightly tinted. 
 
 345. Landscape with extensive ruins on an eminence to the 
 right in the middle distance. Diana and Acteeon in the 
 foreground. Indian ink. 
 
 346. TADDEO ZUCCARO. 1529—1566. Two saints, one of them 
 
 playing the harp. In black and red chalk. 
 
 347. TEMPESTA, Antonio. 1555—1630. A lion hunt. 1581. 
 
 Pen and bistre. 
 
 348. TENTERS, David, The Younger. 1610—1690. Study of 
 
 three horses in harness attached to a wagon. In black 
 chalk. On the reverse a landscape with lake and 
 range of hills In Indian ink. 
 
 349. VANDERMANN, J. About 1600. A lake scene with moun¬ 
 
 tainous distance. Sepia on brown paper heightened 
 with white. 
 
 350. An old fortification on the river side. Sepia on brown 
 paper heightened with white. Signed. 
 
 351. VANNINI, Ottavio. 1586—1673. Two small scriptural 
 subjects. Studies in oil colors. 
 
 352. The flight of Joseph. In red chalk. 
 
 353. YANNUCCHI, Andrea, called Andrea Del Sarto. 1487— 
 
 1531. Sheet of studies for “ La Madonna del Sacco” 
 Red chalk. 
 
 354, VANDEVELDE, Willem. 1633—1707. A stiff breeze with 
 
 vessels under sail. Indian, ink. From the collection of 
 P. H. Landrink. 
 
 355. A stiff breeze with vessels under sail. Slight, in pen. 
 
 356. Jetty with fishing smacks ashore; a man-of-war in the 
 
 distance. Black chalk washed with sepia. 
 
 357. Fishing smacks arranged along the side of a jetty. In¬ 
 
 dian ink. Signed. 
 
 358. A fleet at anchor. In pen. 
 
OF CHICAGO. 
 
 2 7 
 
 359. VERKOLIE, Nicholas. 1673—1746. A man in fancy dress 
 
 standing and holding out a wine cup with left hand. 
 Pen and bistre. 
 
 360. YECELLIO, Tiziano. (Titian.) 1477—1576. Landscape. 
 
 A Venetian city in the distance, a boy holding lamb 
 in the foreground. Red chalk. Engraved. 
 
 361. VIGNON, Claude. 1590—1670. “ Sibylla Cumana ,” A care¬ 
 
 ful study in red chalk. Signed. 
 
 362. VINCI, Leonardo da. 1452—1519. Study of two heads of 
 
 females. Delicately drawn with the pen in pale bistre. 
 
 363. WAEL, Cornelius de. 1594—1662. The ball in the cabaret. 
 
 Pen and red chalk washed with Indian ink. Signed. 
 
 364. WATERLOO, Antoni. 1618—1662. Grand study of forest 
 
 scenery. Drawn with the pen and washed with Indian 
 ink and sepia. 
 
 365. Forest scenery. 
 
 366. WEENIX, Jan. 1644—1719. Battle piece. The general 
 
 mounted in front, near a battery of heavy artillery. In 
 color. 
 
 367. WEERINGEN, Cornelis Claase van. Pan and Syringa. 
 
 Pen and Indian ink. Study for David and Bathsheba. 
 Pen washed with Indian ink. 
 
 368. Three subjects on one mount. Vulcan, Venus and 
 Cupid. 
 
 Sea Nymphs with youth bearing fish. 
 
 Cupid and Psyche. Pen and ink. 
 
 369. WOUVERMAN, Philip. 1620—1668. Promenade in a park 
 attached to a palace. A mounted cavalier addressing a 
 lady in the foreground near a fountain. Attendants 
 near are carrying fowling pieces Pen and Indian ink 
 slightly washed with color. Inscribed, 1690. 
 
 370. Halt of a hunting party near a castle. Black chalk, 
 
 371. WYNANTS, Jan. 1600—1678. A classical landscape. River 
 scene with the ruins of a temple on the right. A herds¬ 
 man and his wife with cattle in foreground. Pen 
 washed with Indian ink heightened with white. 
 
 372. Landscape—a winding road leading from the fore¬ 
 ground towards a distant mountain. Black and red 
 chalk on warm toned ; paper. 
 
28 
 
 THE ART INSTITUTE 
 
 373. ZAMPIERI, Domenico, called 1l Domenichino. 1581—1641. 
 
 Study for Juno in her chariot. Black chalk on grey 
 paper heightened with white. Signed. 
 
 374. ZEEMAN, R. born 1612. A boat on the bank of a river 
 
 A group of figures assembled near. Pen washed with 
 Indian ink. 
 
 375. ZUCCARO, Taddeo. 1529—1566. Martyrdom of a female 
 
 saint. Black chalk. 
 
 376. Old men with harp and tablet. 
 
 377. ZURBARAN, Francisco. 1598—1662. Study of a work¬ 
 man looking over a parapet to a companion whose 
 hands only are seen. Red and black chalk on brown 
 paper heightened with white. 
 
OF CHICAGO. 
 
 2 9 
 
 COLLECTION OF AUTOTYPES. 
 
 This Collection is the gift of Wirt D. Walker. 
 
 The works are Permanent Carbon Photographs, 
 known as “ Braun’s Autotypes ”, valuable because they 
 are direct reproductions of great originals. 
 
 THE CENTURY COLLECTION. 
 
 This collection comprises 108 original drawings for The 
 Centvry and St. Nicholas, by many artists. It is a permanent 
 loan from The Century Company, New York. 
 
 The Art Institute takes this opportunity to make grateful 
 acknowledgements of the liberality which has prompted The Cen¬ 
 tury Company to place this collection here as a permanent loan. 
 
 THE ELBRIDGE G. HALL 
 
 COLLECTION OF SCULPTURE. 
 
 This Collection occupies Rooms II, III, VI and VII, and is the gift of Mrs. A. M. Hall Ellis. 
 
 The works have been selected with care in the 
 museums of Europe, as illustrative examples of sculp¬ 
 ture from the earliest times to the present, based upon 
 “ The History of Ancient Sculpture,” bv Mrs. Lucy M. 
 Mitchell. ' " 
 
 Additional selections are on the way from Europe, 
 and the works now in the galleries constitute only a 
 portion of the collection provided for by the liberality 
 of the donor. 
 
 The collection is arranged in general chronological 
 order, and all the objects are marked. 
 
3° 
 
 THE ART INSTITUTE 
 
 THE E. B. WASHBURNE COLLECTION. 
 
 This Collection occupies Room VII, main floor, and is loaned by Hempstead Washb me, Esq. 
 
 It includes the well-known collection of historical portraits 
 and other pictures belonging to ex-Minister E. B. Washburne. It 
 contains a two-thirds length portrait of King William of Germany, 
 presented to Mr. Washburne by the king himself, and large oil 
 portraits of Bismarck, Gambetta, Lord Lyons, Thiers, Franklin, 
 Mr. and Mrs. Washburne; and many lesser objects of interest. 
 
 CATALOGUE: 
 
 1. Portrait of King William, of Germany, painted by Biilow, the 
 
 court painter, by the King’s order, and presented by him 
 to Mr. Washburne (oil). 
 
 2. Portrait of Bismarck (oil). 
 
 Q. P. A. Healy . 
 
 3. Portrait of Gambetta (oil). 
 
 G. P. A. Healy. 
 
 4. Portrait of Lord Lyons (oil). 
 
 G. P. A. Healy. 
 
 5. Portrait of Thiers (oil). 
 
 G. P. A. Healy. 
 
 6. Ideal Portrait of Benjamin Franklin (oil). 
 
 dPIarmenon. 
 
 7. Portrait of E. B. Washburne (oil). 
 
 G. P. A. Healy. 
 
OF CHICAGO. 
 
 3 1 
 
 8. Portrait of Mrs. E. B. Washburne (oil). 
 
 G. P. A. Healy. 
 
 9. Portrait of Israel Washburne, Governor of Maine (oil). 
 
 10. Portrait of C. C. Washburne, Governor of Wisconsin (oil). 
 
 11. Portrait of Edward Coles (steel engraving). 
 
 12. Continental Commission issued to Samuel Benjamin, Ensign, 
 
 signed by John Hancock, January 1, 1777. 
 
 13. View of City of Galena, Ill, in Early Times (oil). 
 
 14. Portrait of G. P. A. Healy, Artist (wood-cut). 
 
 15. Portrait of Lord Chief Justice Coleridge (steel engraving). 
 
 16. Portrait of John Brown (copper plate engraving). 
 
 17. A Day of 1792. 
 
 18. Death of Mirabeau (wood-cut). 
 
 19. Portrait of Mirabeau (wood-cut). 
 
 20. M. Thiers, the last picture ever taken of him. 
 
 21. Portrait of John Quincy Adams, with his autograph (steel 
 
 engraving). 
 
 22. French Assembly at the trial of Louis. 
 
 23. French Map of Yorck (water color). 
 
 24. English Map of York (water color). 
 
 25. Amendment to the United States Constitution abolishing 
 
 Slavery, bearing the autographs of many distinguished 
 Senators and Representatives. 
 
 26. A Fruit boy (oil). 
 
 27. Bismarck, with autograph (lithograph). 
 
 28. Reception to Gen. Grant, Galena, Ill., August 18, 1865 (photo¬ 
 
 graph). 
 
3 2 
 
 THE ART INSTITUTE 
 
 29. Gen. Grant and Staff at Cole Harbor, Va., May, 1865 (photo¬ 
 
 graph). 
 
 30. Officers of the Washburne Leadmine Regiment, the Forty- 
 
 fifth Illinois (photograph). 
 
 31. Prairie Fire on the Upper Missouri (oil). 
 
 George Gatlin. 
 
 32. The Falls of St. Anthony in 1834, from nature (oil). 
 
 George Gatlin. 
 
 33. Meeting of Black Hawk and and the Prophet on the present 
 
 site of Prophetstown, Ill., painted from life in 1832 (oil). 
 
 George Gatlin. 
 
 34. Four Winnebago Chiefs (oil). 
 
 35. Winnebagos playing checkers (oil). 
 
 (Charles Reas, St. Louis). 
 
 * 
 
 36. Thomas Benton, with note by his daughter, Mrs. Boilleau 
 
 (photograph). 
 
 37. Thomas Jefferson (oil). 
 
 Russell. 
 
 38. Ismael, Khedive of Egypt, Cairo, 1876, with autograph (photo¬ 
 
 graph). 
 
 39. Photograph from a letter by Benjamin Franklin. 
 
OF CHICAGO. 
 
 33 
 
 OIL PAINTINGS, ETC. 
 
 Numbers marked with a Star (* *) are for Sale. 
 
 ARTIST. TITLE. LOANED BY. 
 
 1. F. K. M. Rehn. J. W. Ellsworth, Chicago 
 
 Sunshower on the Atlantic Coast. 
 
 * 2. Johannes Gelert. J. Gelert, “ 
 
 Children Building a House. 
 
 3. Emile VanMarcke, C. H. Hazeltine, Philadelphia 
 
 Grazing. 
 
 4. G. Haquette. S. S. Collins, New York 
 
 Marine—A Rough Sea. 
 
 5. Ch. Jacque. C. H. Hazeltine, Philadelphia 
 
 Sheep and Landscape. 
 
 6. Wm. Bliss Baker. J. W. Ellsworth, Chicago 
 
 Solitude. 
 
 * 7. Annie C. Shaw. 
 
 Dr. S. W. Shaw, 
 
 The Russet Tear. 
 
 it 
 
 8. Wm. T. Dannat. Property of Art Institute 
 
 Study—Head of Aragonese Smuggler. 
 
 to 
 
 9. Walter Shirlaw. Property of Art Institute 
 
 Portrait of the Artist. 
 
 10. Ch. Sprague Pearce. J. A. Lowell, Boston 
 
 Returning from Pasture. 
 
 11. Albert Bierstadt. Albert Crosby, Chicago 
 
 The Tosemite Valley. 
 
34 
 
 THE ART INSTITUTE 
 
 ARTIST. TITLE. LOANED BY. 
 
 *12. Edith S. Sackett. Edith S. Sackett, Brooklyn 
 
 Study of Young Girl. 
 
 13. Daniel C. French. Daniel C. French, Concord, Mass. 
 
 Ideal Statue of John Harvard. 
 
 14. Thos. Sully. Miss E. M. Cole, Culpeper, Ya. 
 
 Portrait of Chief Justice John Marshall. 
 
 15. David Johnson. J. W. Ellsworth, Chicago 
 
 Along the River—Old Oaks. 
 
 *16. Annie C. Shaw. Dr. S. W. Shaw, “ 
 
 Old Granary Burying Ground. 
 
 *17. Geo. Fuller. Dr. P. P. Wells, Brooklyn 
 
 Head of Young Girl. 
 
 18. Harry Thompson. Ellen K. Baker, Paris 
 
 A Farm in Picardy . 
 
 19. G. P. A. Healy. Property of Art Institute 
 
 Armenian Fathers. 
 
 20. Edward Moran. Ch. W. Wheeler, Chicago 
 
 Sunset at Sea. 
 
 21. Wm. T. Dannat. Property of Art Institute 
 
 A Sacristy in Aragon. 
 
 *22. Ellen K. Baker. Ellen K. Baker, Paris 
 
 An Idyl. 
 
 *23. Harry Brown. C. H. True, Chicago 
 
 A Shipwreck near Portland , Me. 
 
 24. Wm. T. Dannat. Property of Art Institute 
 
 Still Life—Study of Fruit. 
 
 25. G. Fluggen. W. A. Havemeyer, Chicago 
 
 The Orphan. 
 
OF CHICAGO. 
 
 35 
 
 ARTIST. 
 
 TITLE. 
 
 LOANED BY. 
 
 26. David Neal. Property of Art Institute 
 
 Interior of St. Marks. 
 
 27. J. M. W. Turner. 
 
 Landscape. 
 
 28. Ch. Sprague Pearce. Property of Art Institute 
 
 The Beheading of John the Baptist. 
 
 *29. Walter Blackman. Walter Blackman 
 
 Oriental Head. 
 
 30. Alexander Harrison. Property of Art Institute 
 
 Les Amateurs. 
 
 31. H. H. Zearing. Dr. J. R. Zearing 
 
 Bronze Portrait Medallion. 
 
 *32. Annie C. Shaw. Dr. S. W. Shaw, Chicago 
 
 A Rainy Day. 
 
 33. Melani Cav. Francesco. John B. Miller, “ 
 
 The Vision of St. Bernard. 
 
 34. Daniel C. French. W. M. R. French, “ 
 
 Bust of Ralph Waldo Emerson. 
 
 35. Bolognese School. J. E. Whittlesey, “ 
 
 Saturn Devouring his Children. 
 
 36. Ch. Elliott. C. C. Chaplin, “ 
 
 Portrait of Mr. Hewitt. 
 
 37. Bolognese School. J. E. Whittlesey, “ 
 
 Mars. 
 
 38. J. G. Brown. Ch. W. Wheeler, “ 
 
 Figure of Boy. 
 
 39. Howard Kretschmar. Howard Kretschmar, “ 
 
 Medallion Portrait of Oen. Logan. 
 
THE ART INSTITUTE 
 
 3 6 
 
 ARTIST. TITLE. LOANED BY. 
 
 40. Howard Kretschmar. Howard Kretschmar, Chicago 
 
 Medallion Portrait of Mrs. Logan. 
 
 41. Howard Kretschmar. Howard Kretschmar, “ 
 
 Portrait Bust of Ferd. Jones. 
 
 42. Howard Kretschmar. Howard Kretschmar, “ 
 
 Medallion Portrait of Miss -, St. Louis. 
 
 43. Johan Peter Molin. Property of Art Institute 
 
 Group—The Belt-Bucklers. 
 
 *44. Johannes Gelert. J. Gelert, Chicago 
 
 Bust — Antonio. 
 
 *45. Johannes Gelert. J. Gelert, “ 
 
 Bronze Statuette — Theseus. 
 
 46. L. W. Volk. Academy of Sciences, “ 
 
 Marble Bust of Z. Grover. 
 
 47. L. W. Volk. Academy of Sciences, “ 
 
 Marble Bust of J. W. Foster. 
 
 *48. Johannes Gelert. J. Gelert, “ 
 
 Bust — Adelaide.