f 
 
 
 
 
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 V 
 
BUST OF W. P. WILSTACH.— WM. H. RINEHART. 
 
TkiloA-t^W' a . F*vr TYv6tAi "Vary. t*>* . Ur. 
 
 Wllsfac-Vv C.ell<sc.t'i ov 
 
 CATALOGUE 
 
 OF THE 
 
 W. P. WILSTACH COLLECTION. 
 
 MEMORIAL HALL, 
 
 Fairmount Park, Philadelphia. 
 
 EDITED BY 
 
 ‘CAROL H. BECK. 
 
 S)ost tbou love pictures?— 
 
 Taming of the Shrew , Induction , Sc. 2. 
 
 Xook bere upon tbis picture anb on tbis. 
 
 Hamlet , Act III , Sc. 4- 
 
 PUBLISHED BY THE 
 
 COMMISSIONERS OF FAIRMOUNT PARK, 
 
 1893. 
 
Copyright 1893. 
 
 Commissioners of Fairmount Park, 
 Philadelphia. 
 
 Engraved and Printed by 
 The Levytype Co 
 Philadelphia 
 

 1 o S', I 
 P 5~3 c_ 
 I8rl3 
 
 Cbe M. p. Wilstacb Collection. 
 
 
 
 
 1pi2G0% 
 
COMMISSIONERS 
 
 . . OF. . 
 
 FAIRMOUNT PARK. 
 
 . . . 1893 . . . 
 
 PRESIDENT. 
 
 JAMES McMANES, 
 
 VICE-PRESIDENT. 
 
 DAVID W. SELLERS. 
 
 TREASURER. 
 
 WILLIAM M. SINGERLY. 
 
 Samuel Gustine Thompson, 
 William S. Stokley, 
 
 P. A. B. Widener, 
 
 John R. Fell, 
 
 James L. Miles, 
 
 John L. Ogden, 
 
 A. J. Cassatt, 
 Edwin S. Stuart, 
 Hamilton Disston, 
 Charles W. Henry. 
 Wencel Hartman, 
 A. S. Eisenhower, 
 
 George S. Webster. 
 
 Secretary, F. M. DOUGHERTY, 
 Office of Commission, City Hall. 
 
 Park Solicitor, SAMUEL C. PERKINS, 
 Office, 627 Walnut Street. 
 
 Chief Engineer and Superintendent, RUSSELL THAYER, 
 Office of Commission, City Hall. 
 
 IV 
 
MEMORIAL HALL. 
 
library 
 
 OF THE 
 
 UNIVERSITY of ILLINOIS 
 
Ilntrotmctori?. 
 
 IISHILADELPHIA is indebted to the thoughtful and munifi- 
 cent generosity of Mr. and Mrs. W. P. Wilstach for the 
 collection of art treasures herein catalogued. The former de- 
 voted a fortune, which he had gained in mercantile pursuits, to 
 his own and his fellow-men’s aesthetic cultivation, and during his 
 busy life collected with great judgment and taste the paintings 
 and statuary which form the nucleus of the Wilstach collection. 
 The latter by economy and thrift so increased the fortune which 
 she inherited from her husband as to enable her not merely to 
 dedicate the collection to the perpetual enjoyment of her city, 
 but also to afford it an endowment for its maintenance and in- 
 crease such as few public galleries enjoy at the present time. 
 This not merely insures continuous addition ©Valuable paint- 
 ings and statuary to the present collection, but thereby justifies 
 the reasonable expectation that it will become in the future one 
 of the representative galleries of America. 
 
 To those charged with the administration of this trust, as 
 well as to its beneficiaries, the people of Philadelphia and the 
 art world in general, Mr. Wilstach’s high ideal in selecting his 
 pictures cannot be otherwise than interesting and instructive. 
 He writes to a friend: “I have an object which I wish to keep 
 
 steadily in view, and that is to purchase works of the best 
 quality by men of acknowledged reputation, so that the whole 
 collection, so far as it may be extended, will be a pretty fair 
 representation of the strength of the artists whose works may 
 be embraced within its limited scope. I am aware that artists 
 
 VII 
 
do not at all times and on all trials of their skill throw out 
 equally their abilities and as real representative pictures, but a 
 small number of each one’s works can be regarded by a critical 
 knowledge and good taste as embodying within itself more than 
 a fair average of the artist’s well known and recognized ability. 
 I do not wish to invest in any work, no matter how cheap, un- 
 less the work is really considered as one of the happy successes 
 of the artist’s, as doing so would defeat the object in view and 
 lower the standard of the collection, notwithstanding the bril- 
 liant names that may be found in the catalogue.” 
 
 To Mrs. Anna P. Wilstach is due the honor of giving legal 
 form and effect to this purpose of providing Philadelphia with 
 a representative collection of art works. In her original will, 
 dated July 31st, 1873, she directed as follows: 
 
 ”... Item. One other equal fourth part thereof unto the 
 City of Philadelphia, if accepted by the Fairmount Park Com- 
 missioners as now authorized by Act of Assembly, upon the con- 
 ditions and for the purposes following, namely: 
 
 To erect a secure Art Gallery in said park for the exhibition 
 of pictures and works in the Fine Arts, on a plan similar to the 
 new building for such exhibition at Dresden in Saxony, to be so 
 built as to admit of extension with the increase of funds with- 
 out impairing the harmony of the edifice or destruction of any 
 portion of the original building; but if there should be a suitable 
 permanent building left in said park after the Centennial cele- 
 bration of 1876, in which pictures mentioned below may be re- 
 ceived and preserved distinctly from other collections, so as to 
 be known as the ‘Wilstach Collection,’ then the erection of 
 another building may be omitted, and donations shall be ac- 
 cepted for said collection, and invited by the said Commis- 
 sioners. 
 
 VIII 
 
To the said City, but to be under the custody and control of the 
 said Fairmount Park Commissioners, I also direct all my paint- 
 ings, pictures and statuary, including those of my late husband, to 
 be given and transferred to the said city for said purposes and 
 placed in the ‘Wilstach Collection.’ Their exhibition shall be 
 public, under regulations to be established by the said Fair- 
 mount Park Commissioners, and as soon as practicable shall be 
 gratuitous, and the opening thereof shall be as soon after my 
 decease as a gallery can be provided for their reception. 
 
 All the said fourth of said residuary estates not expended in 
 erecting such hall of art, and the whole, if no such hall shall be 
 required to be built out of said fund, shall be kept invested in 
 lawful investments by the said Fairmount Park Commissioners, 
 subject to the jurisdiction of the courts having control of testa- 
 mentary trusts ; and the income thereof shall be by them ap- 
 plied to the purchase of pictures, paintings, and statuary for 
 said collection, always keeping in view the purpose of obtain- 
 ing objects of the highest skill and beauty, that they may be 
 the source of pleasure and the means of cultivation and refine- 
 ment of the tastes of the people, be pure in sentiment, and 
 never minister to vulgarity and vice. 
 
 Provided, however, that if the principal should exceed the 
 sum of one hundred thousand dollars, then the excess over that 
 sum may be used for the purchase of works of art.” 
 
 In the final codicil to the said will, dated March 7th, A. D. 
 1890, the testatrix devised to the City of Philadelphia, as fol- 
 lows: 
 
 . . Item. I give and bequeath to the City of Philadelphia 
 all my paintings, engravings, statuary, photographs, books of 
 art, and catalogues of various galleries in Europe and America. 
 Also my books denominated ‘Dresden Gallery,’ containing en- 
 
 IX 
 
gravings of the paintings in the Dresden Galleries, in Dresden, 
 Saxony, and all works of art owned by me at the time of my 
 decease, in trust nevertheless, to, for and upon the following 
 uses, intents and purposes, to wit: To place the said paint- 
 
 ings, statuary, photographs and works of art in the posses- 
 sion and under the control of the Commissioners of Fair- 
 mount Park, to be placed by them in Memorial Hall in Fair- 
 mount Park, there, to be preserved by them, and taken 
 care of and kept in good order, as the nucleus or foundation 
 of an Art Gallery for the use and enjoyment of the people. 
 The collection to be kept together and known and designated 
 by the name of the ‘W. P. Wilstach Collection.’ And 
 I direct my Executors to transfer to the Commissioners of 
 Fairmount Park, in like manner in trust, the one other fourth 
 part of the residue and remainder of the said estate and estates, 
 which said sum shall be invested in good and lawful securities 
 by the said Commissioners of Fairmount Park. And the in- 
 terest accruing therefrom shall be used for the maintenance of 
 said Art Gallery, in keeping the same in good order and condi- 
 tion and providing of competent care-takers, as may be nec- 
 essary to carry out, to its full and complete extent and mean- 
 ing, the design I have in view in making this devise and be- 
 quest for the founding and sustaining an Art Gallery in Fair- 
 mount Park for the use and enjoyment and benefit of the 
 public. . . .” 
 
 It is certainly a happy coincidence that, as anticipated by the 
 testatrix, this collection should find its first home in the memo- 
 rial building, which during the Centennial Exposition, contained 
 the first cosmopolitan art collection exhibited in this country. 
 How much of artistic inspiration America derived from this 
 friendly rivalry of nations need not be here considered. Our 
 
 x 
 
national art was then in its infancy and suffered by comparison 
 with its elder and more favored sisters. Invigorated by the 
 stimulus of competition with the master-pieces of other lands, it 
 has since grown to such sturdy manhood as to challenge com- 
 parison with the best of every clime. In this respect as in many 
 others, America, to use the apt words of President Cleveland at 
 the opening of the Columbian Exposition, need ask “ no allow- 
 ance on the score of youth.” In a building, therefore, inti- 
 mately connected with the development of American art, and 
 commemorating the first centenary of the Republic, this col- 
 lection is happily inaugurated. It cannot fail to carry out the 
 noble purpose of its donors, “to be the source of pleasure and 
 the means of cultivation and refinement of the tastes of the 
 people.” In a community, world famous for its great material 
 interests, it will teach the infinite utility of beauty. Genera- 
 tions unborn will honor its donors and draw artistic inspiration 
 from their noble gift. This is their monument, serving to per- 
 petuate the memory of their philanthropy and public spirit to 
 the after ages. May it be constructed by those, to whom the 
 trust is confided, in the spirit of Ruskin, whose great message to 
 men was the high moral purpose of art, “When we build, let 
 us think that we build forever. Let it not be for the present 
 delight nor the present use alone ; let it be such work as our 
 descendants will thank us for and let us think, as we lay stone 
 on stone, that a time is to come when these stones will be held 
 sacred because our hands have touched them and that men will 
 say as they look upon the labor and wrought substance of them : 
 ‘See, this. our fathers did for us.’” 
 
NOTE. 
 
 The walls are lettered consecutively from left to right. 
 Pictures with their respective numbers will be found in the 
 section marked by the letter designated in the Catalogue. 
 
 ABBREVIATIONS. 
 
 N. A., National Academician. 
 
 A. N. A., Associate of the National Academy. 
 
 R. A., Royal Academician. 
 
 A. R. A., Associate of the Royal Academy. 
 
 N. A. D., National Academy of Design. 
 
 E. U., Exposition Universelle. 
 
Cbe M. p. Milstacb Collection 
 
 PAINTINGS. 
 
 ACHENBACH (Andreas) Dusseldorf. 
 
 Born at Hesse Cassel, 1815. 
 
 Pupil of Schirmer. 
 
 Medals, 1839-55-67. 
 
 Legion of Honor, 1864. 
 
 Knight of the Order of Leopold. 
 
 Member of the Berlin, Antwerp, and Amsterdam Academies. 
 
 His earlier pictures are scenes in the Rhine countries. Widened 
 his range by travelling extensively between the years 1832 and 1846. 
 Painted a large number of German and Norwegian landscapes, treat- 
 ing mountain, forest and sea with like ability and power. 
 
 1. Mill in Westphalia. — Storm Approaching ... Sec. C 
 
 42% x 18K. Dated 1864. 
 
 2. Landscape Sec. C 
 
 21 x 18K. Dated 1868. 
 
 ACHENBACH (Oswald) Dusseldorf. 
 
 Born at Dusseldorf, 1827. 
 
 Pupil of his brother, Andreas. 
 
 Medals, 1859-61-63. 
 
 Legion of Honor, 1863. 
 
 Visited the Bavarian Alps at an early period. Went to Switzerland 
 and Italy in 1845, ’5°, *51. His conception of nature is more ideal than 
 his brother’s. His representations of peculiar atmospheric effects 
 and of Southern scenery are very successful. 
 
 3. Street Scene, Naples Sec. C 
 
 42 x 48^. 
 
14 
 
 THE W. P. WILSTACH COLLECTION. 
 
 AMBERG (Wilhelm) Berlin. 
 
 Born in Berlin, 1822, 
 
 Pupil of Herbig, the Berlin Academy, Karl Begas, and Leon Cogniet (Paris). 
 
 Member of Berlin Academy, 1869. 
 
 4. Contemplation Sec. A 
 
 23 X 28 % 
 
 BAUGNIET (Charles) Paris. 
 
 Born in Brussels, 1814. 
 
 Pupil of J. Paelwick and M. F. Williams. 
 
 Member of Ghent Academy in 1836. 
 
 Appointed designer to the King of Belgium, 1841. 
 
 Order of Leopold, 1843, Officer, 1872. 
 
 Order of Isabel the Catholic of Spain. 
 
 Order of Blanche Ernstein of Saxony. 
 
 Order of Christ of Portugal. 
 
 A lithographer of great facility, as well as painter. Baugniet is 
 said to have drawn directly on stone from nature more than three 
 thousand portraits in Belgium and fifteen hundred in England. 
 
 5. The Joy of the House Sec. N 
 
 6x8. 
 
 BEARD (W. H.) New York. 
 
 Born in Ohio, 1825. Died 1892. 
 
 Visited Europe, 1857. 
 
 Elected N. A. in 1862. 
 
 6. Rabbits and Dog Sec. M 
 
 14 x 12. Dated 1863. 
 
 7. Grey Squirrel Sec. M 
 
 9x6. Dated 1863. 
 
 7 
 
 BECKER (Carl) Berlin. 
 
 Born in Berlin, 1820. 
 
 Pupil of Von Klober, Hess and Cornelius. 
 
 Medals, Berlin, Vienna and Munich. 
 
 President and Professor of Academy, Berlin. 
 Member of Academies, Berlin and Vienna. 
 
 Member of Royal Society Letters and Fine Arts of Belgium. 
 Officer of Leopold. 
 
 Medal 1861. 
 
BURNING TARES IN A WHEATFIELD.— JULES BRETON. 
 

 LIBRARY 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 17 
 
 His pictures are painted broadly and with a free hand, his sub- 
 jects being generally chosen from the times of the Venetian and 
 German Renaissance, for the opportunity they offer in making rich 
 effects and combinations. Painted the well known picture of 
 “ Othello recounting his Exploits.” 
 
 8. The Count’s Birthday Sec. D 
 
 56x43^. Dated 1869. 
 
 BIRCH (Thomas) Philadelphia. 
 
 Born in England, 1779. Died, Philadelphia, 1851. 
 
 Came to America in 1793. 
 
 Painted portraits in Philadelphia until 1807, when a visit to the 
 Capes of Delaware turned his attention to marine painting. Dur- 
 ing the war of 1812 and later, produced many pictures illustrating 
 the naval battles and victories of the United States. 
 
 9. Scene on Coast of Scotland Sec. N 
 
 24 x 17. Dated 1849. 
 
 BLAUVELT (C. H.) 
 
 
 Philadelphia. 
 
 $ i 
 
 Born New York, 1824. 
 
 Pupil of the National Academy and of Charjes L. I?lll6t.^t 
 Professional life passed in New York and Philadelphia. - • . , .. 
 
 Elected N. A. in 1859. 
 
 Member of Pennsylvania Academy, 1864- 
 
 10. The Lost Child Sec. E 
 
 BONFIELD (George R.) Philadelphia. 
 
 11. River Scene. — A Calm Sec. M 
 
 36 x 24. Dated 1854. 
 
 12. The Wreckers. — A Coast View Sec. M 
 
 17 x 12. Dated 1855. 
 
 BOUTELLE (D. W. C.) Bethlehem, Pa. 
 
 Born New York, 1820. Died 1884. 
 
 Associate of the National Academy, 1853. 
 
 Member of the Pennsylvania Academy of the Fine Arts, 1862. 
 Painted a large portrait of Asa Packer for Lehigh University. 
 
18 
 
 THE W. P. WILSTACH COLLECTION . 
 
 13. Lehigh Valley, from Mt. Rogers, with Bethlehem in the dis- 
 
 tance Sec. N 
 
 50x40. Dated 1861. 
 
 14. Fish Trap on the Lehigh River. Sec. N 
 
 22 x 22. 
 
 15. June Scene near Bethlehem, Pa Sec. P 
 
 32 x 24. 
 
 BRETON (Jules) Paris. 
 
 Born, Courrieres, 1829. 
 
 Pupil of Devigne and Drolling. 
 
 Medals, 1855-57-59-61. 
 
 Medals, London, Vienna and Brussels. 
 
 Legion of Honor, 1861. 
 
 Medal of the First Class and Officer Legion of Honor E. U., 1867. 
 
 Medal of Honor, Salon, 1872. 
 
 Knight of the Order of Leopold, 1881. 
 
 Ribbon of St. Stanislaus of Russia. 
 
 Corresponding member of the Academies of Vienna, Stockholm, Madrid. 
 
 Member of the Institute of France, 1886. 
 
 Strong drawing and technique, fine color and composition, 
 directed by a man of thought and of most tenderly sympathetic 
 and poetic feeling. In 1878, Victor Hugo wrote Breton, who was 
 litterateur as well as artist: “To be twice a poet; to be like Lamar- 
 tine and also like Corot; to be by the strophe and by the palette; 
 this is given to you, Monsieur. I thank you for your charming 
 book, and I send you double plaudits.” Five years later, after 
 Breton’s Jeanne was published, Gambetta writes him: “I have 
 read your works, I have seen them, and I cannot tell even to you if 
 it is the poet or the painter that most deeply touched, affected, con- 
 
 quered and fascinated me.” 
 
 16. Burning Tares in a Wheatfield Sec. F 
 
 53 x 38. Dated 1868. 
 
 17. Tired Out Sec. D 
 
 12 l A x 16. Dated 1868. 
 
17i 
 
 TIRED OUT.— JULES BRETON. 
 
 
LIBRARY 
 
 OF THE 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 21 
 
 BRION (Gustave) Paris. 
 
 Born at Rotham, Alsace, 1824. Died in Paris, 1877. 
 
 Pupil of Geurin. 
 
 Medals, 1853-59-61-63-67. 
 
 Legion of Honor, 1863. 
 
 Grand Medal of Honor, 1868. 
 
 Chevalier of the Order of Leopold. 
 
 Jules Breton writes : “ Gustave Brion was a man of average but 
 admirably balanced endowments. He designed with ease, and was 
 well acquainted with the technique of his art.” .... 
 
 18. Reading the Bible in the Family 
 
 47 x 43. Dated 1870. 
 
 CABANEL (Alexander) 
 
 Born Montpellier, 1823. Died,- *888. j ■ } ' Y V* 
 Pupil of Picot. 
 
 Prize of Rome, 1845. 
 
 Medals, 1852, E. U., 1855. 
 
 Legion of Honor, 1855. 
 
 Member of the Institute of France, 1863. 
 
 Officer of the Legion of Honor, 1864. 
 
 Grand Medal of Honor, 1865 and E. U., 1867. 
 
 Commander of the Legion of Honor, 1878. 
 
 Grand Medal of Honor, E. U., 1878. 
 
 Professor in the Ecole des Beaux Arts. 
 
 Sec. P 
 
 Paris. 
 
 r 
 
 A strong draughtsman and a manner, if somewhat conventional, 
 exceedingly refined and distinguished. Painted previous to 1861 in 
 the style of David, but later, feeling more the influence of the 
 modern world around him, produced his greatest works. During 
 the Third Empire, painted many portraits, his manner lending itself 
 particularly to the painting of aristocratic and graceful court ladies. 
 His celebrated “ Birth of Venus ” is at the Luxembourg. 
 
 19. Contemplation 
 
 44 x 36. Dated 1868. 
 
 Sec. F 
 
 CAILLE (Leon) 
 
 20. The Dead Bird 
 
 6x9. Dated 1863. 
 
 Sec. F 
 
22 
 
 THE W. P. WILSTACH COLLECTION. 
 
 CASTAN (Edmund) Paris. 
 
 21. The Youthful Navigator ... Sec. F 
 
 6x8. Dated 1861. 
 
 CLAYS (Paul Jean' Brussels. 
 
 Born Bruges, 1819. 
 
 Pupil of Gaudin. 
 
 Medal Brussels, 1851. 
 
 Medal E. U., 1867. 
 
 Legion of Honor, 1875. 
 
 Chevalier of the Order of Leopold. 
 
 Medal, E. U., 1878. 
 
 Officer of Legion of Honor, 1881. 
 
 “ For a long time the sea, or rather the water, has had no in- 
 terpreter more exact than Clays; he knows its clearness, and he 
 knows how to render the little noisy waves all bathed in light.” — 
 
 Rene Menard , L ’ Art , 1876. 
 
 22. Marine View Sec. O 
 
 42% x 29. Dated 1870. 
 
 23. Marine View Sec. H 
 
 16 x 11. 
 
 COROT (J.B.) Paris. 
 
 Born, Paris, 1796. Died, Paris, 1875. 
 
 Pupil of Michallon and Victor Bertin. 
 
 Medals, 1833-48-55-67, E. IJ. 
 
 Legion of Honor, 1846. 
 
 Officer of Legion of Honor, 1867. 
 
 Diploma to the memory of deceased artists, E. U., 1878. 
 
 A life of great usefulness and beauty. Useful, in that he so 
 markedly filled a place in the great modern impulse of art and per- 
 petuated that which he found, the spirit, the depths of atmosphere, 
 the light, the movement, the exquisite feeling of pulsating nature, 
 particularly when the dawning or the fading of the day softens 
 sharp detail into more tender harmony. “This poetical perfume is 
 a personality and supersedes the necessity of signature” writes 
 Rene Menard. Beautiful, in that “ Pere Corot” gave the benefit of 
 his experience and large income to those about him, especially to 
 his struggling contemporaries. 
 
READING THE BIBLE IN THE FAMILY.— GUSTAVE BRION. 
 
library 
 
 Of THE 
 
 UNIVERSITY of IUHWW 
 
THE W. P. WILSTACH COLLECTION. 
 
 25 
 
 24. Landscape Sec. H 
 
 19 x 12. 
 
 CROPSEV (J. F.) Rome. 
 
 Bom, Staten Island, 1823. 
 
 Honorary Member Pennsylvania Academy of the Fine Arts. 
 
 Medal, Centennial Exhibition, 1876. 
 
 Studied two years in Italy. 
 
 Seven years in London. 
 
 Member American Water Color Society and Artists’ Fund Society, New York. 
 
 25. View near Rome . . Sec. P 
 
 40 x 27. Dated 1847. 
 
 DARLEY (Mrs. Jane Sully) 
 
 V fi A, i 
 
 26. Tuscan Woman : . 
 
 3 f -i* 
 
 VT350 
 7 • * 
 
 DAUBIGNY (Charles Francois) 
 
 
 Philadelphia. 
 .... Sec. P 
 
 Paris. 
 
 Born, Paris, 1817. Died. Paris, 1878. 
 
 Pupil of P. Delaroche. 
 
 Exhibited at nearly every Salon, after 1838. 
 Medals. 1848-53-55-57-59-69. 
 
 Legion of Honor, 1859. 
 
 Officer of the Legion of Honor, 1874- 
 Diploma to the memory of deceased artists, E. U. t 1878. 
 
 One of the famous group of Barbizon painters, Daubigny has 
 made the river scenery of central France world famous. Light, air, 
 and color were studied from the floating studio he had constructed 
 and when the clear day was slowly fading into the night his mind 
 became exceedingly keen and appreciative “The art of this illus- 
 trious master,” writes Edmond About, “ consists in choosing well a 
 bit of country, and painting it as it is, enclosing in its frame all the 
 
 simple and naive poetry which it contains How willingly 
 
 would we sojourn in that one, beside that fresh water, where the 
 cows take their evening bath ! Night falls, the thrushes send forth 
 their last cry, the nightingale begins to sing.” 
 
 27. Landscape 
 
 30 x 18. Dated 1868. 
 
 Sec. C 
 
 28. Twilight Effect Sec. N 
 
 27 x 16. Dated 1865. 
 
26 
 
 THE W. P. WILSTACH COLLECTION 
 
 DE COCK (Caesar) Paris. 
 
 Born at Ghent, Belgium, 1823. 
 
 Landscape Painter. 
 
 Medals, 1867-69. 
 
 “Csesar de Cock has a sort of juvenile passion for the apres 
 saveurs and the exquisite freshness of the springtime. He loves 
 the depths of the woods, the verdant thickets in the month of May, 
 the copses which put forth in the month of April. He renders with 
 extreme skill the downy softness of the young shoots, the unde- 
 cided form of the bushes, only half clothed with their new leaves, 
 the multitude of young stalks which encumbered the coppices, the 
 shadowed parts through which one can sometimes get glimpses of 
 light .” — Ernest Duvergier de Hauranne , Revue dies Deu.v 
 
 Mondes, June, 1872. 
 
 29. Landscape Sec. C 
 
 29 x 17. Dated 1870. 
 
 30. The Brook Canal, a Scene in Belgium Sec. N 
 
 28 x 20. Dated 1869. 
 
 DECAMPS (Alexandre Gabriel) Paris. 
 
 Born at Paris, 1803. Died, i860. 
 
 Pupil of Pujol. 
 
 Medals, 1831-34. 
 
 Legion of Honor, 1839. 
 
 Officer of the Legion of Honor, 1851. 
 
 “The distinctive qualities of Decamps,” writes Hamerton, “ irtay 
 be very briefly enumerated. He had deep pathos and poetry, and 
 was profoundly moved by a certain kind of roughness and wildness 
 in nature and in men; he was a powerful and masterly colorist, 
 and his painting is, in its way, as excellent as it is original.” Of 
 his academic study, Decamps tells us; “I was received in the atelier 
 of M. Abel de Pujol. I worked willingly at the beginning. Un- 
 fortunately my master, who was kind and indulgent, and absorbed 
 in his own labors, was little qualified to make me understand the 
 utility and importance of studies which to me seemed little less 
 than monotonous. I took a dislike to the work and quitted the 
 atelier; I tried at home some little pictures, they were bought and 
 my education as a painter was missed.” In the Chefs d’ Ifcole, M. 
 
WILL YOU BUY MY FLOWERS ?— MEYER VON BREMEN. 
 
LIBRARY 
 
 UNIVERSITY «f UUN®'* 
 
 
THE W. P. WILSTACH COLLECTION. 29 
 
 Chesneau describes Decamps “as a soul profoundly sad . ... he 
 lived with the crushing certainty that he had not expressed what 
 was in him; he died with the conviction of having left his work 
 undone.” 
 
 31. Street Scene . Sec. N 
 
 6!4 x 9. 
 
 DELESSORD. 
 
 32. Evening. — Sheep Driven Home Sec. H 
 
 14 v* x 11 y 2 . 
 
 DE NOTER (David) 
 
 33. Fruit and Flowers 
 
 Y ft Wi , 
 
 jo 
 
 ****** nu 
 
 Antwerp. 
 . Sec. E 
 
 DIAZ (N. V . ) Paris. 
 
 Born at Bordeaux, 1807. Died, Mentone, 1876. 
 
 Medals, 1844-46-48. 
 
 Legion of Honor, 1851. 
 
 Diploma to the memory of deceased artists, E. U., 1878. 
 
 Born of Spanish parentage, this landscape and figure painter, 
 though a faulty draughtsman, had the glow, splendor and the fire 
 of the South. At the age of fifteen years he left the porcelain 
 manufacturer, to whom he had been apprenticed, to go to Paris, 
 there, although extremely poor and crippled by the loss of a leg, to 
 enter the arena of life. Success crowned his efforts to a large de- 
 gree and with a lavish hand he dispensed that which he made to 
 those in need and distress. It was in the forest of Fontainebleau 
 with its majestic oaks, deep recesses, and gleams of sunlight, that 
 
 Diaz found his greatest inspiration. 
 
 34. Forest of Fontainebleau Sec. C 
 
 42K x 32. Dated 1867. 
 
 35. Figure Sec. E 
 
 6 y 2 x 11. 
 
BO 
 
 THE W. P. WILSTA CH COLLECTION. 
 
 DUNCAN (E.) London. 
 
 Born, London, 1804. 
 
 Engraver and Painter. 
 
 One of the original members of the New Society of Painters in Water Colors. 
 
 36. Coast Scene, Fishermen Sec. H 
 
 18 x 12. Dated 1850. 
 
 DUPRE (Jules) Paris. 
 
 Born at Nantes, 1812. Died, 1889. 
 
 Debut at the Salon, 1831. 
 
 Medal, Paris, 1833. 
 
 Legion of Honor, 1849. 
 
 Medal Exposition Universelle, 1867. 
 
 Officer of the Legion of Honor, 1870. 
 
 It was in the early winter of 1889, that the last of the great 
 school of nature’s interpreters, born between 1807 and 1817, passed 
 away. As a great marine as well as landscape painter, his range is 
 very extensive. His productions are full of nature, his style direct, 
 sincere and strong 
 
 37. Landscape. — Sunset Sec. N 
 
 26 V 2 x 19. 
 
 E. L. (?) 
 
 38. Children Looking Over a Wall Sec. M 
 
 9 'A x 5%. 
 
 FRERE (Theodore) Paris. 
 
 Born at Paris, 1815. Died, 1888. 
 
 Pupil of Cognietand Roqueplan. 
 
 Medals, 1848-65. 
 
 Exhibited first picture in 1834. In 1836 took part in the Algerian 
 Expedition and afterwards spent some time in Egypt; his pictures 
 are generally Eastern scenes and customs. 
 
 39. Arab and Camel Sec E 
 
 13 x 9 l A. 
 
CONTEMPLATION.— ALEXANDRE CABANEL. 
 
LIBRARY 
 
 Of IH£ 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 33 
 
 FROMENTIN (Eugene) Paris. 
 
 Born at La Rochelle, 1820. Died 1876. 
 
 Pupil of Cabat. 
 
 Medals, 184.9-57-59-67. 
 
 Legion of Honor, 1859. 
 
 Officer of the Legion of Honor, 1869. 
 
 Diploma to the memory of deceased artists, E. U., 1878. 
 
 A master of two distinct modes of expression, that of the brush 
 and of the pen. His pen pictures of African travel, his criticisms 
 of the old masters of Holland and Belgium, shine forth in a nation 
 of literary lights, famous for their descriptive and critical work. 
 
 His brush pictures have a deep and pure appreciation, a delicacy of 
 treatment that brought him speedily to the front rank of great 
 French painters. One is amply compensated for the slight faulti- 
 ness of drawing, the result of insufficient academic training, by the 
 comprehensive grasp of his subject, the glowing color and poetic 
 feeling. 
 
 40. Arabs on Horseback \ ; . . 
 
 , , / r*7 vj. 
 
 16 x q'A: ... . .... 
 
 2*c'A r : .a *■ h v* <■ 
 
 Sec. E 
 
 r.i 
 
 GEROME (Jean Leon) Paris. 
 
 Born at Vesoul, 1824. 
 
 Pupil of Delaroche. 
 
 Medals, 1847-48-55. 
 
 Legion of Honor, 1855. 
 
 Member of the Institute of France, 1865. 
 
 Honorary Member R. A., London. 
 
 One of the eight Grand Medals of Honor, 1867. 
 
 Officer of the Legion of Honor, 1867. 
 
 Grand Medal of Honor, 1874. 
 
 Commander of the Legion of Honor, 1878. 
 
 Medal Sculpture, 1878. 
 
 Grand Medal of Honor, 1878. 
 
 Professor of the Ecole des Beaux Arts. 
 
 Probably the most popular of modern artists. Certainly few have 
 reaped so great a reward for conscientious labor, with the unim- 
 paired ability to enjoy and profit by it, as has been granted to 
 Gerome. In most of the art galleries and private collections of the 
 world his pictures are to be found and honors of every kind have 
 
34 
 
 THE W. P. WILSTACH COLLECTION. 
 
 been showered upon this wonderfully accomplished and even work- 
 man, this superb draughtsman, scholarly thinker, sculptor as well 
 as painter. 
 
 41. An Arnaut 
 
 IO X 14. 
 
 Sec. D 
 
 GIFFORD (Robert Swain) New York. 
 
 Born Naushon Island, Massachusetts, 1840. 
 
 Studied under Albert Van Beest. 
 
 Studio in Boston, 1864, in New York after 1866. 
 
 Made sketching tours in California and Oregon, 1869 and in Europe and North 
 Africa in 1870-71 and again in 1874-75. 
 
 Elected A. N. A. in 1870. 
 
 Elected N. A. in 1878. 
 
 Medal for oil painting at the Centennial Exhibition, 1876. 
 
 One of the founders of the American Water Color Society, 1866. 
 
 Awarded $2,500 prize at the First Prize Fund Exhibition, New York, 1885. 
 
 42. Our American Cousin Sec. M 
 
 1 
 
 10 x 7. South Carolina, i860. 
 
 GIROUSE < Achille) 
 
 43. Horse and Dog Sec. H 
 
 16 x 12. 
 
 GRAEB (Prof. Karl) Berlin. 
 
 Born at Berlin, i8i6, Died 1884. 
 
 Pupil of Gerst and Berlin Academy. 
 
 Painter to the Court, 1851. 
 
 Great Gold Medal, 1854. 
 
 Professor of Berlin Academy, 1855. 
 
 Member of Berlin Academy, i860. 
 
 Member of Amsterdam and Vienna Academies. 
 
 44. Market Place, Leitmeritz, Bohemia Sec. P 
 
 20K x 27^. 
 
MARINE VIEW.— PAUL JEAN CLAYS. 
 
LIBRARY 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 37 
 
 GUDE (Hans Frederick) Carlsruhe. 
 
 Born at Christiania, 1825. 
 
 Pupil of Andreas Achenbach and of Diisseldorf Academy under Schirmer. 
 
 Professor Diisseldorf Academy, 1854. 
 
 Professor Carlsruhe Art School, 1864. 
 
 Professor Berlin Academy since 1880. 
 
 Member Amsterdam, Rotterdam, Stockholm, Berlin and Vienna Academies. 
 
 Great Gold Medal in Berlin, 1852 and i860, and at Weimar, 1861. 
 
 Medals, Paris, 1855-61-67. 
 
 45. Norwegian Sunset Sec. F 
 
 46 l A x 31. Dated 1851. 
 
 HAMILTON (James) Philadelphia. 
 
 Born in Ireland, 1819. Died 1878. 
 
 He came to America as a child, studied in Philadelphia and spent 
 1854 and 1855 in London. After his return <tM$#laidelphia he fur- 
 nished illustrations for Dr. Kane’^jArctic E&^ldtations and other 
 works. Professional life passed in" Pnrlatl&phidl'. T * PR } V • ,• 
 
 46. Moonlight at Sea . Sec. M 
 
 41 x 28. Dated 1862. 
 
 HETZEL (George) Pittsburgh, Pa. 
 
 Born Alsace, 1826. 
 
 Studied in Diisseldorf. 
 
 Medal, Centennial Exhibition, 1876. 
 
 47. Lake Ducks Sec. N 
 
 30 x 38. Dated 1864. 
 
 48. Shady Brook Sec. P 
 
 30 x 20. Dated 1867. 
 
 HOGUET (C.) Berlin. 
 
 Born in Berlin, 1821. Died Berlin, 1870. 
 
 Landscape, genre and marine painter. 
 
 Pupil of Knaus and in Paris of Ciceri. 
 
 Went in 1841 to England and in 1842 studied again in Paris under Isabey. 
 
 Gold Medals in Paris 1848 and in Berlin. 
 
 Member of Berlin Academy in 1869. 
 
38 
 
 THE W. P. WILSTACH COLLECTION . 
 
 49. Interior and Figures 
 
 9V2 x 6 3 A. 
 
 Sec. G 
 
 JACQUE (Charles Emile) Paris. 
 
 Born in Paris, 1813. 
 
 Medals, 1861-63-64. 
 
 Legion of Honor, 1867. 
 
 A celebrated etcher as well as painter, Jacque was very promi- 
 nent in the revival of etching. Specimens of his work are now 
 eagerly sought for and large sums paid for what originally brought 
 but a few francs. And remark, that they are always the same ” 
 this great artist has been known to say. As painter his greatest 
 works are of the farmyard, and the sheep, pigs and poultry which 
 he bred and so thoroughly studied and appreciated, have brought 
 widely extended fame to their owner. 
 
 60. Landscape with Sheep Grazing Sec. G 
 
 9 V 2 X 6 l A. 
 
 KENSETT (J. F.) New York. 
 
 Born in Connecticutt, 1818. Died New York, 1872. 
 
 Studied engraving under Haggett and spent seven years abroad, from 1840 to 1847. 
 
 First exhibited at the Royal Academy, London, 1843. 
 
 Elected N. A. in New York in 1849. 
 
 Professional life passed in New York. 
 
 In 1859 appointed member of the commission to superintend the decorations of 
 the Capitol at Washington. 
 
 51. Hill and Valley, Sunrise Sec. C 
 
 22 x 18. Dated 1851. 
 
 KRIEGHOFF (C) Quebec. 
 
 52. Canadian Winter Scenery Sec. P 
 
 36 x 24. Dated 1853. 
 
 53. Landscape Sec. M 
 
 24 x 16. 
 
LANDSCAPE,— J. B. COROT. 
 
LIBRARY 
 
 UNI ^sny H ohumis 
 
THE W P. WILSTACH COLLECTION. 
 
 41 
 
 LAMBDIN (CeorgeC.) Philadelphia. 
 
 Born in Pittsburgh, Pa., 1830. 
 
 Studied with his father and in Munich and Paris. 
 
 National Academician, 1868. 
 
 Professional life passed in Philadelphia with the exception of two years. 
 
 1868-70 in New York. 
 
 His picture entitled “The Dead Wife” was selected by the com- 
 mittee as an exhibit for the Paris Exposition of 1867. Painted many 
 portraits and, having a love of roses and a deep interest in their 
 cultivation, had always dainty subjects at hand for study and exhi- 
 tion. 
 
 54. The New Knife Sec. E 
 
 10 x 13. Dated 1866. 
 
 LEIKERT (J.) 
 
 . . 
 
 56. Coast Scene in Holland 
 
 24 x 18. Dated 1859. 
 
 Sec. N 
 
 LESSING (C. F.) Carlsruhe. 
 
 Pupil of the Berlin Academy and of Schadow. 
 
 In 1826 went to Dusseldorf, where he rapidly advanced. 
 
 In 1830 became Director of the Dusseldorf Academy and exercised a 
 great influence over the Dusseldorf school. 
 
 Director of the Carlsruhe Gallery, 1858. 
 
 Member of the Berlin Academy, 1832. 
 
 Knight of the Order of Merit. 
 
 Medal, Paris, First class, 1837. 
 
 Grand-nephew of the famous G. E. Lessing, his first exhibits in 
 Berlin, 1828 and 1830, were received with great interest. These 
 were followed by series of historical paintings. His “Sermon 
 of the Hussites” gained him honors in Paris but created much con- 
 troversy at home, where the story of Huss excited very diverse 
 feeling. It was followed by others, however, the “ Martyrdom of 
 Huss,” etc. 
 
 56. Landscape, with Jesuit Monks Sec. H 
 
 68 x 45. Dated 1869. 
 
42 
 
 THE W. P. WILSTACH COLLECTION. 
 
 57. Repentant Robber and Boy 
 
 19x16^. Dated 1832. 
 
 Sec. P 
 
 LEU (August) Dusseldorf. 
 
 Born, Munster, 1818. 
 
 Pupil of Academy under Schirmer. 
 
 Visited Norway, Switzerland, Italy and the Tyrol. 
 
 Settled in Dusseldorf, but in 1882 removed to Berlin. 
 
 Member Berlin, Vienna, Amsterdam and Brussels Academies. 
 
 Royal Professor. 
 
 Gold Medals in Berlin. 
 
 Belgian Order of Leopold. 
 
 58. The Mountain Torrent . . . Sec. A 
 
 69 x 48. Dated 1869. 
 
 LEUTZE (E.) 
 
 Born at Gmiind, Wiirtemburg, 1816. Died, Washington, 1868. 
 
 Brought to America when a child by his parents and lived in Philadelphia. 
 Studied there and in 1841 went to Dusseldorf to study under Lessing. 
 
 Also studied in Munich, Vienna and Rome. 
 
 Settled in America in 1859, living alternately in New York and Washington. 
 Elected N. A. in i860. 
 
 His large picture “ Westward the Star of Empire takes its Way,” 
 
 is at the Capitol, Washington. 
 
 59. Oliver Cromwell and his Daughter Sec. C 
 
 24 x 40. Painted at Dusseldorf, 1843. 
 
 LEYS (Baron Henri) Antwerp. 
 
 Born 1815. Died 1869. 
 
 Pupil of his brother-in-law, F. de Braekeleer and of Antwerp Academy under 
 Wappers. 
 
 Great Gold Medal, Brussels, 1835. 1 
 
 Paris, 1855 and 1867. 
 
 Order of Leopold, 1840. 
 
 Officer, 1856. 
 
 Commander, 1867. 
 
 Legion of Honor, 1862. 
 
 Made Baron, 1862. 
 
 Member of the Brussels Academy, 1845. 
 
LANDSCAPE.— CHARLES FRANCOIS DAUBIGNY. 
 
library 
 
 UNIVERSITVof ILLINOIS 
 
 
THE W. P. WILSTACH COLLECTION. 
 
 45 
 
 “ The genius of Baron Leys, however, is of so diversified a char- 
 acter that he can mould it into any form, and adapt it to any pur- 
 pose,— to the humorous or the pathetic, to the grandeur of history 
 or the incidents of ordinary social life; and his pencil portrays, with 
 equal truth, vigor and delicacy, the art of an age long passed away, 
 and that of his own time.” — James Dafforne , Art Journal , July, 
 
 1866. 
 
 60. The Order of the Guard Sec. C 
 
 28 x 21. Dated 1867. 
 
 MARTIN (W. A. K.) Philadelphia. 
 
 61. Bruce Defending the Pass at Dalrey Sec. P 
 
 36 x 30. Dated 1853. 
 
 'f 
 
 MAX (Gabriel) *9. , Mu nlch. 
 
 Born at Prague, 
 
 Pupil of the Prague and Vienna Academies and of Piloty. 
 
 First exhibited in 1867. 
 
 Gold Medals, Berlin and Munich. 
 
 Honorary Member of Munich Academy. 
 
 Professor 1879-83. 
 
 A man of highly sensitive organization, his earlier works were 
 efforts to give pictorial form to musical impressions received from 
 the works of Beethoven, Schumann, Mendelssohn, Liszt, and from 
 old melodies and hymns. These proved rather incomprehensible 
 and full of strange imagination but very interesting and inventive. 
 
 Of his later works, “The Lion’s Bride” and “The Last Token” 
 are probably the best known, the latter being in the Metropolitan 
 Museum of Art, New York. 
 
 62. Ludmilla, Martyr to Religious Faith Sec. B 
 
 39 x 35. Dated 1864. 
 
 ME1SSONIER (C.) Paris. 
 
 Son and pupil of Ernest Meissonier. 
 
 Medal, 1866. 
 
 Paints Eighteenth Century scenes in the style of the old Dutch 
 Masters. 
 
46 
 
 THE W. P. WILSTACH COLLECTION. 
 
 63. The Repast Sec. A 
 
 24 x 29. Dated 1866. 
 
 MEYER (Johann Georg) (Meyer von Bremen) Berlin. 
 
 Born at Bremen, October, 28, 1813. Died 1886. 
 
 Pupil of Dusseldorf Academy under Karl Sohn and Schadow. 
 
 Member of the Amsterdam Academy. 
 
 Gold Medal of Prussia, 1850. 
 
 Medals at Berlin and in Philadelphia, 1876. 
 
 In 1852 moved to Berlin where he became Professor, 1863. 
 
 From early youth an ardent student. Being of marked religious 
 tendencies, the young Meyer thought seriously at one time of de- 
 voting himself to missionary work, but the shock to his broad and 
 liberal mind of hearing a celebrated minister say that “ Art is an in- 
 vention of the Devil ” and that “ religious pictures should be thrown 
 in the sea” determined him to devote himself to art which he felt to 
 be the “ handmaid of religion.” His first pictures were of religious 
 subjects, and later family life found him at his best. It is said that 
 eleven hundred pictures have left his easel, a proof of the applica- 
 . tion of the motto placed in his studio, “ Make the best use of your 
 time; it never returns.” 
 
 64. Will You Buy My Flowers? Sec. H 
 
 16X20K. Dated 1866. 
 
 MOERENHOUT (J. J.) 
 
 Born near Antwerp, 1801. 
 
 Landscape and Battle Painter 
 
 Studied at Antwerp Academy and in Paris under Horace Vernet. 
 
 66. Return From the Chase Sec. P 
 
 28 x 21. Dated 1854. 
 
 MOESELAGER (C.) 
 
 66. Youthful Vanity Sec. G 
 
 15 x 18. Dated 1861. 
 
FOREST OF FONTAINEBLEAU.— N. V. DIAZ. 
 
LIBRARr 
 of The 
 
 UNIVERSITY 1 of ILLINOIS 
 
THE IF P. WILSTACH COLLECTION. 
 
 49 
 
 MORAN (Edward) New York. 
 
 Born in England, 1829. 
 
 Came to America in 1844. 
 
 Pupil in Philadelphia of James Hamilton and Paul Weber. 
 
 In London of the Royal Academy. 
 
 Painted in Paris in 1877-78. 
 
 Elected A. N. A. in 1873. 
 
 Member of the Pennsylvania Academy of Fine Arts. 
 
 67 . Castle Garden, New York Sec. M 
 
 46 x 25. 
 
 MORAN (Thomas) New York. 
 
 Born in England, 1837. 
 
 Came to America, 1844- „ v 
 
 Pupil of his brother, Edward Moran , ' 
 
 Between 1862 and 1868 painted in England and visited"Fran$; anddtal^. • 
 Accompanied a Government expedition to the Yello&Storie Hatrondl'Park in 1871. 
 
 Later, made sketching tours in Western Territories and Mexico. 
 
 Elected A. N. A. in 1882, N. A. 1884. 
 
 Member of the Society of American Artists. 
 
 Member of the Pennsylvania Academy of Fine Arts. 
 
 Thomas Moran is represented in the Capitol in Washington by 
 his pictures “The Chasm of the Colorado” and “The Grand Canon 
 of the Yellowstone.” Etcher as well as painter, Ruskin said of his 
 representation of a wave breaking against a rock, “that is the best 
 
 etched wave that I have ever seen.” 
 
 68 . The First Ship— St. Salvadore Sec. P 
 
 46 x 23. Dated 1855. 
 
 MUNKACSY (Michael de) Paris. 
 
 Born in Hungary, 1846. 
 
 Pupil of Dusseldorf Academy. 
 
 Medals, Paris, 1870-74. Vienna, 1882. 
 
 Legion of Honor, 1877. 
 
 Officer of the Legion of Honor, 1878. 
 
 Grand Medal of Honor, E. U., 1878. 
 
 Member of the Munich Academy, 1881. 
 
 Created an Austrian Baron, 1882. 
 
 Member of the Austrian Order, Litteres et Artebus, 1887. 
 
50 
 
 THE W. P. WILSTACH COLLECTION. 
 
 In 1846, in the village of Munkacs, Hungary, this artist was born. 
 He lost his mother soon after his birth, and his father, who had 
 taken part in the insurrection of 1848, died in prison. An aunt un- 
 dertook the care of the little “ Misha” but her house was entered 
 by a band of robbers, and every one murdered with the exception of 
 the helpless child. An uncle then assumed the guardianship, but 
 being too poor to educate the boy, apprenticed him to a joiner as 
 soon as he could handle a tool. After accomplishing the hard day’s 
 work required of him, Munkacsy at night taught himself to read 
 and write. At eighteen he became a journeyman carpenter and on 
 the pittance received, about four dollars a month, managed not only 
 to support himself but by abstaining from much needed food, pur- 
 chased the necessary books to continue his education. By reason 
 of these deprivations a severe illness ensued, and on his recovery 
 his uncle, who was then in better circumstances, offered to assist 
 him to become an artist, a career the young man greatly desired. 
 His apprenticeship to art again shows continuous struggle, first at 
 home, then in Germany, where a disease of the eyes forced him to 
 spend six months in the hospital and threatened him with total 
 blindness. Yet it was during this time that the brave young 
 student, nothing daunted, dreamed of and finally planned the pic- 
 ture here exhibited, which even to-day he speaks of as his master- 
 piece. It illustrates a custom in Hungary, where a man, when 
 condemned to death, is visited in his cell on the day before his ex- 
 ecution by his townspeople, who come either out of simple curiosity 
 or to bring a contribution towards a mass for the criminal’s soul. 
 After he had recovered the use of his eyes, the picture was 
 commenced, although all advised the young man to go back to 
 his trade, the difficulties to be overcome as an artist seeming 
 insurmountable. When the picture, which is painted on the back 
 of an old pew, was half finished, poverty prevented him from 
 obtaining even the necessary paints. At this time the collector of 
 these pictures, Mr. Wilstach, heard of the young artist, and going 
 to his studio instantly recognized the merit of his work. He pur- 
 chased the picture and paid for it in advance that the artist might 
 have the wherewithal to complete it. He then sent the picture to 
 the Paris Salon, where its recognition as a work of extraordinary 
 merit was instantaneous. Rarely has so sharp a contrast occurred 
 in a human life as then followed, for reputation and wealth came 
 rapidly and all Paris and then the world delighted to honor this 
 vigorous, intense and powerfully dramatic painter. On a visit to 
 
ARABS ON HORSEBACK.— EUGENE FROMENTIN. 
 
UBK* Rt 
 
THE W. P. WILSTACH COLLECTION, 
 
 53 
 
 his native land he was received with high honor. His great re- 
 ligious pictures, “ Christ on Calvary” and “Christ before Pilate,” 
 subsequently purchased by Mr. John Wanamakerof this city, were 
 exhibited throughout Europe and America, and inspired general and 
 profound admiration. In the generations to come, Michael Lieb, 
 called from his birthplace, Michael Munkacsy, will be regarded as 
 the great painter of scriptural subjects of the nineteenth century. 
 
 69. The Last Day of the Condemned Sec. C 
 
 73K x 54. Dated 1870. 
 
 70. An Ideal Head Sec. F 
 
 5 l A x 6 l A. 
 
 71. An Ideal Head V : ? T^jSec. F 
 
 5 * x 6 l A. 
 
 OTTER (Thomas) Philadelphia. 
 
 72. Moonlight . Sec. M 
 
 47 x 26 Da*ed i860. 
 
 PEALE (Rembrant) Philadelphia. 
 
 Born in Bucks County, Pa., 1787. Died Philadelphia, i860. 
 
 Pupil of Benjamin West. 
 
 Son of Charles Wilson Peale, for whose museum in Philadelphia 
 he painted the portraits of European celebrities. His most noted 
 picture is a portrait of Washington, which was purchased by the 
 U. S. Senate in 1832. Exhibited four pictures at the Royal Academy 
 London, 1833. 
 
 73. Colossal Profile of Washington Sec. O 
 
 28 x 30. After Houdon’s bust of 1785. 
 
 PREYER (J. W.) Dusseldorf. 
 
 Born Rheydt, near Dusseldorf, 1805. 
 
 Still life painter. 
 
 Pupil of Dusseldorf Academy, 1822-27. 
 
 Visited Holland, Venice, Milan, Switzerland, and the Tyrol. 
 
 Most of his pictures are in America. 
 
54 
 
 THE W. P. WILSTACH COLLECTION. 
 
 74. Still Life Sec. D 
 
 In the glass of wine, here represented, is painted a reflection of 
 Preyer, said to be executed by the artist’s daughter, who was her- 
 self a painter. 
 
 14 x 16. Dated 1870. 
 
 PREYER (Emilie) Dusseldorf. 
 
 75. Fruit 
 
 14 x 16. Dated 1870. 
 
 Sec. D 
 
 RICHARDS (William T.) Philadelphia. 
 
 Born, 1833. 
 
 Pupil of Weber. 
 
 Honorary Member National Academy, N. Y. 
 
 Medals, Philadelphia, 1876, Temple Fund, 1885. 
 
 This conscientious student'and lover of nature is one of the most 
 successful of American painters. His interpretations of the sea 
 especially, whether in water-color or oil, elicit warm response and 
 admiration. Richards contributes to the various -exhibitions of 
 our principal cities and -to those of London and Paris. Repre- 
 sented in the Corcoran Gallery, Washington, Metropolitan Museum 
 of Art, New York, and in the Pennsylvania Academy of Fine Arts. 
 
 76. Landscape. — Fisher’s Lane, Germantown Sec. E 
 
 40 x 30. Dated 1870. 
 
 77. The Neglected Corner of a Wheat-field Sec. G 
 
 12 x 14. 
 
 78. Mountain Landscape Sec. P 
 
 44 x 30. Dated 1855. 
 
 RICO (Martin) Paris, 
 
 Born in Madrid, 
 
 Pupil of F. de Madrazo. 
 
 Studied in Paris and Rome. 
 Medals, 1878. 
 Legion of Honor, 1878. 
 
AN ARNAUT.— JEAN LEON GEROME, 
 
UBRARY 
 Of THt 
 
 UNIVERSITY of ILLINOIS 
 
 
 
 
THE W. P. WILSTACH COLLECTION. 
 
 57 
 
 Supported himself while studying at Madrid by drawing and en- 
 graving on wood. During the summer fostered his love for nature 
 by wandering through the country, living from hand to mouth, often 
 the companion of gypsies, but studying and absorbing qualities that 
 proved the foundation of his success. He won the first Prix de 
 Rome ever given at Madrid for landscape, which afforded him the 
 opportunity of four years’ study in either Rome or Paris and it was 
 in the latter city, with Zamacois, Meissonier and Daubigny to en- 
 courage him and the American art patron, Mr. William Stewart, to 
 advance his interests, that he climbed rapidly the ladder of fame. 
 
 His work in oil and water colors is equally brilliant, animated and 
 delicate, his pictures fairly sparkling with crisp, sunny effects. 
 
 79. Landscape Sec. H 
 
 18 x io. 
 
 RIEFSTAHL (Wilhelm) Munich. 
 
 Born at Neustrelit^ <Se#h V- 
 
 Pupil of Schrimer and Academy at Berlin. 
 
 Director, 1875-77. 
 
 Professor Carlsruhe Art School, 1870-73. 
 
 Member of the Berlin and Munich Academies. 
 
 Gold Medal, Berlin, 1864, Vienna, 1873. 
 
 “ He sees justly, feels profoundly, and knows how to express 
 what he feels.” — Eugene Miintz. 
 
 80. Returning from the Christening Sec. G 
 
 42 'A x 26^. Dated 1865. 
 
 ROTHERMEL (P. F.) Philadelphia. 
 
 Born, Pennsylvania, 1817. 
 
 Visited Europe, 1856. 
 
 Associate of the Pennsylvania Academy of Fine Arts. 
 
 Not a draughtsman, but a colorist; whose high aim, fine composi- 
 tion and rich harmonious schemes of color, have received warm 
 recognition not only in America, but in Italy, France and Russia. 
 
 81. King Lear and Cordelia Sec. A 
 
 30 x 25. 
 
58 
 
 THE W. P. WILSTACH COLLECTION . 
 
 ROUSSEAU (Philip) Paris. 
 
 Born, Paris, 1816. 
 
 Pupil of Gros and of Bertin. 
 
 Medals, 1845-48-55-78. 
 
 Legion of Honor, 1852. Officer, 1870. 
 
 In a letter to a friend in 1869, Mr. Wilstach wrote, referring to 
 the picture here exhibited: “Wylie (the artist, Robert Wylie) is 
 delighted at my buying the Rousseau; he writes me that he thinks 
 I have probably one of the finest, if not the finest, still life picture 
 of the modern French School.” 
 
 82. Peaches Sec. C 
 
 38 x 50K. Dated 1869. 
 
 SCHLESINGER (H. G.) Paris. 
 
 Born, Frankford-on-the-Main , 1814. 
 
 Pupil of Vienna Academy. 
 
 Medals, 1840-47. 
 
 Legion of Honor, 1866. 
 
 Went early in life to Paris where he was naturalized. Since his 
 first exhibition in 1840, his pictures have been received as noted 
 
 acquisitions to the Paris Salon. 
 
 83. Alone in the Atelier Sec. A 
 
 28 x 36. Dated 1868. 
 
 SCHREYER (Adolphe) Paris. 
 
 Born Frankfort-on-the Main, 1828. 
 
 Medals, 1864-65-67 (E. U.) 
 
 Brussels Exposition, 1863. 
 
 Vienna Exposition, 1873. Munich, 1876. 
 
 Painter to^the Court of the Grand Duke of Mecklenburg-Schwerin, 1862. 
 
 Cross of the Order of Leopold, 1866. 
 
 Member of the Academies of Antwerp and Rotterdam. 
 
 Honorary Member of the Deutches Nochstiff. 
 
 Officer of the Star of Roumania, 1888. 
 
 Born of a wealthy and distinguished family, Schreyer was given 
 every opportunity for study and travel. In 1848, accompanied his 
 friend Prince Taxis through Hungary, Wallachia and Southern 
 Russia; joined the Austrians on the march through the Danubian 
 principalities in 1854. Visited Syria, Egypt and Algiers and finally 
 
LANDSCAPE, WITH SHEEP GRAZING.— CHARLES EMILE JACQUE. 
 
library 
 
 UNIVERSirVof ILLINOIS 
 
THE W P. WILSTACH COLLECTION. 
 
 61 
 
 settled in Paris, later to divide his time between that city and Kron- 
 berg, near Frankfort. His work is dashing, bold, resolute and full 
 of fine mellow color and poetic sentiment. A delightful letter to 
 Schreyer reads : “ I came with Hert and Martinet to see you. You 
 are gone out, but your genius remains at home. We have admired 
 this marvelous picture of ‘ Chasse-Niege,’ so true, so picturesque, 
 so dramatic. 1 am egotistic enough to believe that I am a good 
 judge in this matter. 1 have been myself enveloped in a snowy 
 whirlwind near Kowno, and your canvas makes me shiver; I seem 
 to be still in Russia. We hope that you will be willing to send this 
 masterpiece to our exposition. I dare not believe in such a happi- 
 ness, and I thank you in my name and in the name of the Societe 
 National des Beaux-Arts. Your admirer and President, Theophile 
 Gautier.” 
 
 84. Winter 
 
 SCHRCEDTER (Adolph) 
 
 42>a' x 35. 
 
 
 7 
 
 Born, 1805. Died, Carlsruhe, 1875. 
 
 Pupil of his father, Berlin Academy and Schadow in Diisseldorf. 
 Professor at Carlsruhe, 1859. 
 
 Retired, 1872. 
 
 Sec. A 
 
 Berlin. 
 
 85. 
 
 Don Quixote in his Study Reading the History of Knight 
 
 Errantry. 
 
 20 x 24. 
 
 Sec. A 
 
 86. Two Monks in a Wine Cellar. 
 
 20 % x 17 %. Daced 1863. 
 
 Sec. N 
 
 SEYDEL (Edward) 
 
 87. Street Scene in front of a Meat Shop. Sec. P 
 
 8x7. Dated 1845. 
 
 SIEGERT (Adolf) Diisseldorf. 
 
 Born Neuwied, 1820. Died, Diisseldorf, 1883. 
 
 Pupil of Diisseldorf Academy and Schadow, 1835-46. 
 Settled in Diisseldorf in 1851. 
 
 Tutor at the Diisseldorf Academy and in 1872, Professor. 
 Medal in Vienna. 
 
 Member of Amsterdam Academy. 
 
62 
 
 THE \V. P. WILSTACH COLLECTION. 
 
 88. Grace Before Meat Sec. D 
 
 gYi x 11%. 
 
 89. No Grace Before Meat. Sec. D 
 
 9% x n%. 
 
 SMITH (T. Henry) Philadelphia. 
 
 90. Con Amore Sec. P 
 
 30 x 24. Dated 1866. 
 
 SMITH (Xanthus) 
 
 91. Battle Ground of Algonquins, near Edge Hill Sec. M 
 
 12 x 8. 
 
 92. Coast Scene off South Carolina Sec. M 
 
 18 x 12. Dated 1809. 
 
 SPITZWEG (Karl) Germany. 
 
 Born in Munich, 1808. Died, 1885. 
 
 Pupil of Hanson. 
 
 Order of St. Michael, 1865. 
 
 For many years illustrator for the “ Fliegende Blatter.” 
 
 93. The Alchemist Sec. E 
 
 16 x 14. 
 
 SPRINGER (Cornelis) Amsterdam. 
 
 Born in Amsterdam, 1817. 
 
 Pupil of Kaspar Karson. 
 
 Member of Rotterdam Academy, 1856. 
 
 Gold Medal, Hague, 1857. 
 
 Orders of Oaken Crown, 1861, and of Leopold. 
 
 94. Street Scene in Amsterdam Sec. G 
 
 16 H x 20 %. 
 
 STAMMEL (Eberhard) Dusseldorf. 
 
 Born at Diisen, 1832. 
 
 Pupil of the Dusseldorf Academy. 
 
 Studied in Antwerp, Paris and Munich. 
 
 Settled in Dusseldorf, 1859. 
 
THE ORDER OF THE GUARD.— BARON HENRI LEYS. 
 
library 
 
 of THE 
 
 UNIVERSITY of ILLINOIS 
 
 
 
THE W. P. WILSTACH COLLECTION . 
 
 65 
 
 95. La Partie Marriage 
 
 25 x 22. Dated 1863. 
 
 Sec. A 
 
 STEVENS (Alfred) Paris. 
 
 Born at Brussels, 1828. 
 
 Pupil of Navez at Brussels and Roqueplan at Paris. 
 
 Medal at Brussels, 1851. 
 
 Paris, 1853-55-67-78. 
 
 Legion of Honor, 1863 ; Officer, 1867 ; Commander, 1870. 
 
 Order of Leopold, 1855 ; Officer, 1863. 
 
 Commander of Austrian Order Francis Joseph and of Bavaria. 
 
 Order of St. Michael. 
 
 France and Belgium present rival claims for this artist, who has 
 exhibited since 1849 in both Paris and Brussels. He adds to the 
 strength and exactness of his early Flemish education the greater 
 subtlety of impression and the freedom and grace of French execu- 
 tion. 
 
 96. Will you go with me, Fide? . 
 
 19^ x 24^. 
 
 SULLY (Thomas) 
 
 Born in England in 1783. 
 
 Sec. C 
 
 Dated 1859. 
 
 ..'h! \!J 
 
 ■■ Wi ; ;• • * V r . . 
 
 1 1 Philadelphia. 
 
 Died in Philadelphia, 1872. 
 
 Came to America with his parents, who were comedians, in 1792 
 and settled in Charleston, S. C. In 1806 went to New York and, 
 with the exception of a short visit to Boston to study with Gilbert 
 Stuart, remained there until 1808. In 1809 went to London for in- 
 struction from Benjamin West and returning in 1810, settled per- 
 manently in Philadelphia. Visited England in 1837-38 and in the 
 latter year painted from life a full-length portrait of Queen Victoria. 
 
 From 1820 to 1840 exhibited ten portraits at the Royal Academy. 
 
 97. Gypsy Woman and Child, after Murillo Sec. N 
 
 24 x 30. Dated 1852. 
 
 98. Peasant Girl, after Rembrant. .... 
 
 24 x 30. Dated 1857. 
 
 Sec. P 
 
 Spanish Mother, after Wilkie 
 
 16 x 20. Dated 1852. 
 
 99. 
 
 Sec. P 
 
66 
 
 THE W. P. XVILSTACH COLLECTION. 
 
 TODD (George) Paris. 
 
 100. Poor Man’s Bouquet Sec. P 
 
 23 V 2 x 28 Ya. Dated 1869. 
 
 TROYON (Constant) Paris- 
 
 Born Sevres, 1810. Died, 1865. 
 
 Pupil of Rivereaux. 
 
 Medals, 1838-40-46-48-55. 
 
 Legion of Honor, 1849. 
 
 Member of Amsterdam Academy. 
 
 Diploma to the Memory of Deceased Artists, E, U., 1878. 
 
 A powerful landscape and animal painter. His superb grasp of 
 the subject is full of force, freedom and directness. His knowledge 
 of the animals he paints, their appearance, motions, life and pecu- 
 liar characteristics, is complete. “ The poetry of the fields has never 
 been more feelingly interpreted than by him,” writes Hamerton. 
 
 “In the * Oxen Going to Work’ we have a page of rustic description 
 as good as anything in literature, of mighty oxen marching slowly 
 to their toil ! Who, that have seen these creatures work, can be 
 indifferent to the steadfast grandeur of their nature ? They have 
 no petulance, no hurry, no nervous excitability, but they will bear 
 the yoke upon their necks, and the thongs about their horns, and 
 push forward without flinching from sunrise until dusk.” 
 
 101. Yoke of Oxen and Boy Sec. G 
 
 50 x 35 . 
 
 VAN MARCKE (E.) Paris. 
 
 Pupil of Troyon. 
 
 Medals, 1867-69-70. 
 
 Legion of Honor, 1872. 
 
 First Class Medal, Exposition Universelle, 1878. 
 
 As pupil and near friend of Troyon, it is natural that in Van 
 Marcke’s early work the impress of the former is clearly seen ; but 
 stronger individuality came with greater confidence and experience. 
 
 His animals are full of vigorous life. His drawing, modelling and 
 grouping are masterly and their surroundings equally strong, 
 happy and well conceived. 
 
THE LAST DAY OF THE CONDEMNED— MIHALY MUNKACSY. 
 
■ i 
 
 ' .*• 
 
 i- 
 
 
 
 
THE W. P. WILSTACH COLLECTION. 
 
 69 
 
 102. Spanish Ox Team. 
 
 23 'A x 15 % . 
 
 Sec. C 
 
 VAUTIER (B.) Dusseldorf. 
 
 Born at Morges on Lake Geneva, 1829. 
 
 Pupil of Hebert, Lugardon, Dusseldorf Academy and Jordan. 
 
 Medals, Berlin, 1864, Paris, 1865-66-67-78. 
 
 Order of Francis Joseph, 1868. 
 
 Order of Red Eagle. 
 
 Order of St. Michael, 1869. 
 
 Legion of Honor, 1878. 
 
 Member of Berlin, Vienna, Munich, Antwerp and Amsterdam. 
 
 He paints peasant home life, with the characteristic's an 4 individ- 
 ualities it offers, with great truthfulness V^fcj5,l^e T studied in the 
 Black Forest and in the Bernese Oberland. His chui£S •sbejjey ex- 
 hibited at the historical exhibition at Munich, achieved a brilnahrt 
 
 success. 
 
 103. He will never make anything but an Artist Sec. P 
 
 20 x 24. Dated 1869. 
 
 VERBOECK HO VEN (Eugene) Brussels. 
 
 Born in Belgium, 1799. Died in Brussels, 1881. 
 
 Pupil of his father. 
 
 Medals at Paris, 1821-24-41-55. 
 
 Legion of Honor, 1845 
 
 Chevalier of the Order of Leopold, St. Michael of Bavaria and Christ of Portugal. 
 Decorated with the Iron Cross, 1830. 
 
 Member of the Royal Academies of Belgium, Antwerp and St. Petersburg. 
 
 The work of this great Belgian animal painter is very popular. 
 Ottlev is authority for the fact that after Baron Rothschild gave 
 Verboeckhoven ten thousand francs for a landscape painting he 
 never painted a picture of the same size for less. Although he de- 
 voted his time mainly to the painting of animals, he also attempted 
 
 portrait painting and sculpture. 
 
 104. Oxen, Goats and Sheep Sec. D 
 
 12x8^. Dated 1842. 
 
 105. Interior of Stable Sec. A 
 
 42% x 29^. Dated 1869. 
 
70 
 
 THE W. P. WILSTACH COLLECTION. 
 
 106. Sheep, Ducks and Chickens Sec. G 
 
 9x6 l A . 
 
 107. The Resting-place Sec. D 
 
 12x8 V 2 . Dated 1845. 
 
 VOLLON (Antoine) Paris. 
 
 Born at Lyons, 1833. 
 
 Pupil of the Lyons Academy. 
 
 Medals, 1865-68-69-78. 
 
 Legion of Honor, 1870. 
 
 Officer of the Legion of Honor, 1878. 
 
 The picture here exhibited, by this great and most successful 
 French still-life painter, is characterized as “Vo'llon’s masterpiece 
 in America.” It procured for him a medal when exhibited at the 
 
 Paris Salon. 
 
 108. After the Ball Sec. N 
 
 50 x 56. 
 
 VOLTZ (Frederick) Munich. 
 
 Born at Nordingen, 1817. Died 1886. 
 
 Pupil of Munich Academy. 
 
 Royal Bavarian Professor, 
 
 Medals at Berlin, 1856-61. 
 
 Great Wurtemberg Art Medal. 
 
 Member of the Academies of Berlin, Munich and Vienna. 
 
 Chevalier of the Order of Red Eagle and St. Michael. 
 
 With a marked preference for the poetical aspect of nature, Voltz 
 is an earnest student of animal life both in its surroundings and 
 in its connection with humanity. A man of great industry, it is said 
 of him that having been disabled by a temporary but very severe 
 accident to his right hand he, nothing daunted, taught himself to 
 use his left with equal dexterity and skill. Most of his works, 
 
 nearly 2,000, are in private collections. 
 
 109. Landscape and Cattle Sec. A 
 
 35x14 yi. Dated 1870. 
 
 NO. Landscape and Cattle Sec. A 
 
 35 x 14&. 
 
SPANISH OX TEAM.— EMILE VAN MARCKE. 
 
library 
 
 of THE 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 73 
 
 VON STARKENBURC (W. T.) Dusseldorf. 
 
 III. Scene on the Hudson River Sec. N 
 
 30 x 19. 
 
 WEBER (Otto) Paris. 
 
 Born in Berlin. Killed in the war of 1870. 
 
 Pupil in Berlin of Steppeck, and in Paris of Couture. 
 
 Medals in Paris, 1864-69, Utrecht, 1866. 
 
 “There is a certain point in animal painting which is not easily 
 passed, but which is well known to all who practically attempt 
 that branch of art. You may be able to paint a cow or a horse 
 quite respectably in some very common attitude, which the animal 
 can be induced to retain for several minutes at a time, but it does 
 not follow that you are able to put the animal in one of those highly 
 expressive and living postures which do not remain unaltered for 
 one second. To do this you must hJfYetsoipje memory and imagina- 
 tion, and a knowledge of the animabfflT;%urpassing any ordinary 
 accuracy. All the great aiiSft^piiJ6^er9fhqv^f;^i^4?qwer and con- 
 tinually use it, the great amount of life which all recognize in their 
 pictures being mainly due to it. Otto Weber has it in the same de- 
 gree as Troyon and the Bonheurs, and he has all other accomplish- 
 ments necessary to the production of a first-rate cattle picture.”— 
 Hamerton’ s Painting in France. 
 
 112. Wood Scene Sec. D 
 
 50 x 35. 
 
 WEBER (Paul) Philadelphia. 
 
 Born Darmstadt in 1823. 
 
 Pupil of Lucas and in Frankfort of the Stadel Institute. 
 
 Visited the Orient in 1846, and subsequently studied in Antwerp 
 under Deichmann. In 1848-58 he traveled in America and lived in 
 Philadelphia. After his return, settled in Munich. Represented in 
 the Corcoran Gallery, Washington and at the Pennsylvania Acad- 
 emy of Fine Arts. 
 
 113. Landscape near the Hudson River, New York Sec. N 
 
 27 x 19. Dated 1854. 
 
74 
 
 THE W. P. WILSTACH COLLECTION . 
 
 WILLEMS (Florent) 
 
 Bom in Belgium, 1823. 
 
 Pupil of Mechlin Academy. 
 
 Medals, Paris, 1844-46-55-67-78, Brussels, 1843. 
 
 Legion of Honor, 1853; Officer, 1864; Commander, 1878 
 Chevalier and Officer of the Order of Leopold. 
 
 Commander of the Order of Francis Joseph of Austria. 
 
 Willems, called by Rossetti “the dainty domestic painter,” 
 studied especially the old Dutch Masters and attracted attention 
 when only seventeen years old. Four years later the great success 
 of one of his pictures exhibited at Paris led to his settling there. 
 
 114. I Was There Sec. C 
 
 19 x 25. 
 
 115. Signed and Sealed. Sec. C 
 
 19 x 23^. 
 
 WINNER (William E.) Philadelphia. 
 
 116. Domestic Felicity Sec. N 
 
 27 x 21 . 
 
 117. At Play Sec. P 
 
 24 x 30. 
 
 W 1 TTK AMP (J. B.) Antwerp. 
 
 Born Westphalia, 1820. 
 
 Pupil in Rotterdam of W. H. Schmidt, then of Antwerp Academy under De Keyser. 
 Medals, Brussels, 1845, the Hague, Bruges, London. 
 
 Honorary Member of Amsterdam and Philadelphia Academies. 
 
 118. The Widow Sec. N 
 
 40 x 30. 
 
 WOOD (Geo. B., Jr.) Germantown, Pa. 
 
 Born in Philadelphia, 1832. 
 
 Pupil of Pennsylvania Academy of Fine Arts. 
 
 Member Pennsylvania Academy of Fine Arts. 
 
 119. Landscape, View near Germantown, Pa Sec. P 
 
 24 x 18. Dated 1865. 
 
LANDSCAPE.— MARTIN RICO. 
 

 LIBRARY 
 OF THE 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 77 
 
 120. Winter Twilight. 
 
 8x6. 
 
 Sec. P 
 
 WYLE (Robert) Philadelphia. 
 
 Born, Isle of Man, 1839. Died, Brittany, 1877. 
 
 Medal at Paris Salon, 1872. 
 
 This artist, in whose career Mr. Wilstach took a deep personal 
 interest, went to Paris in 1865 to study with Barye, intent upon be- 
 coming a sculptor. He was well equipped in the principles of art 
 in the schools of the Pennsylvania Academy of Fine Arts, and had, 
 for the four years previous, there held the position of curator, 
 exhibiting annually during this time, busts and medallions in clay 
 and ivory. He finally settled in Brittany , v/vyh^fe ;he turned his at- 
 tention to painting, continuing to show in ythus^edium, that pro- 
 nounced and delicate feeling for.'fotyn ^ichyh^d.^^v^i him to 
 sculpture. His pictures are painted in a style full of truthfulness 
 and authority, with much solidity and breadth of treatment. Wylie 
 is represented at the Pennsylvania Academy of Fine Arts, and the 
 
 Metropolitan Museum of Art, New York. 
 
 121. The Postman Sec. E 
 
 Painted at Port Aven, France, 1868. 
 
 122. A Roman Girl Sec. N 
 
 Painted at Port Aven, France, 1869. 
 
 ZAMACOIS (Eduard) Paris. 
 
 Born in Spain, 1842, Died, 1871. 
 
 Pupil of Madrid Academy under F. de Madrazo and in Paris of Meissonier. 
 
 Debut Salon, 1863. 
 
 Medals, Paris, 1867. Munich, 1870. 
 
 Diploma to the memory of deceased artists, E. U. 1878, 
 
 A man of keen wit and originality, painting with pure and in- 
 tense color in a style polished and complete. His pictures are 
 mainly satires rendered with great force and ability. Eugene Ben- 
 son says : “ Zamacois has a suspicion of malice that must be de- 
 lightful to the compatriots of Voltaire/’ and later that he is 
 “ kindred to Moliere. If you could suppose something of Moliere’s 
 genius, embodied in a series of sonnets, you would have a just 
 
78 
 
 THE W. P. XV I LET A OH COLLECTION. 
 
 literary expression of Zamacois as a painter.” Dying when but 
 thirty years of age he left the memory of a career of unusual bril- 
 liancy prematurely ended. 
 
 123. Trop de Sang Sec. H 
 
 14 Y*. x 22 K. Dated 1868 . 
 
 124. Before the Battle Sec. G 
 
 5x7. 
 
 ^25. After the Battle Sec. G 
 
 5x7. 
 
 ZIMMERMAN (Albert) Munich. 
 
 Born, Saxony, 1808. 
 
 Studied in Dresden and Munich. 
 
 Professor at the Milan Academy in 1827, and Vienna Academy 1859. 
 
 Member Munich and St. Petersburg Academies. 
 
 Bavarian Order of St. Michael. 
 
 126. Bellagio, Lake Como Sec. N 
 
 50 x 37 . 
 
 ZIMMERMAN (R. J.) Munich. 
 
 127. Too Late for the Cars Sec. P 
 
 32 x 28. Dated 1855. 
 
 ANONYMOUS. 
 
 128. Landscape Sec. E 
 
 8 x 10. Dated 1862. 
 
1PPM 
 
 RETURNING FROM THE CHRISTENING.— WILHELM RIEFSTAHL. 
 

WATER COLORS, PASTELS, CRAYONS, ETC. 
 
 PICTURES NOT OTHERWISE DENOTED ARE WATER-COLORS. 
 
 ACHENBACH (Oswald) Diisseldorf. 
 
 See page 13. 
 
 129. Scene near Naples Sec. L 
 
 BROCHART (C.) Paris. 
 
 130. Les Belles Espagnoles. Sec. I 
 
 31 x 38. Pastel. 
 
 131. Les Belles Francaises. Sec I 
 
 31 x 38. Pastel. 
 
 GALL AIT (Louis) ***Afif4* Brussels. 
 
 Born Belgium, i8id?>’ Djyjl 1887. 
 
 Pupil of Celothen and'-Hjennequin. 
 
 Medals, 1835-48/'' Vi Jiff-, 
 
 Legion of Honor, 1841. 
 
 Chevalier of the Order of the Crown of Oak, Holland and Prussian Order of Merit. 
 Honorary Member of the Royal Academy, London. 
 
 Grand Cordon of the Order of Leopold, 1881. 
 
 Member of the Brussels, Antwerp, Berlin and Munich Academies. 
 
 132. Water Color Sec. I 
 
 Dated 1868. 
 
 HAMILTON (James) Philadelphia. 
 
 See page 34. 
 
 133. Sunset on the Jersey Flats Sec. I 
 
 16 x 9. 
 
 134. Moonlight Scene Sec. K 
 
 15 x 15. 
 
 135. Ruins Sec. K 
 
 15 x 15. 
 
 136. Beach Scene Sec. I 
 
82 
 
 THE W. P. WILSTACH COLLECTION , 
 
 137. New York and Brooklyn from the Bay Sec. I 
 
 16 x 9. 
 
 138. View of New York Sec. I 
 
 JOHN (J. W.) 
 
 139. Landscape Sec. L 
 
 MORAN (Thomas) New York. 
 
 See page 46. 
 
 140. View in the Susquehanna Valley Sec. L 
 
 Dated 1865. 
 
 141. Ruins on the Nile Sec. L 
 
 Dated 1858. 
 
 142. Study (After Turner) Sec. K 
 
 143. Study (After Turner) Sec. K 
 
 TOWNE (Rosa) Philadelphia. 
 
 144. Wild Flowers Sec. L 
 
 WILLIS (H. B.) London. 
 
 145. Interior of a Stable Sec. L 
 
 Dated 1856. 
 
 SPRINGER (C.) Amsterdam. 
 
 See page 62. 
 
 146. Street Scene Sec. L 
 
 Dated 1867. 
 
 VAUTIER (B.) Dusseldorf. 
 
 See page 66. 
 
 147. Scene in a German Church Sec. K 
 
 13 x 15. Crayon Drawing. Dated 1858. 
 
 WITTKAMP (J. B.) Antwerp. 
 
 See page 74. 
 
 148. Dathsen Preaching before the Walls of Ghent Sec. I 
 
 10 x 8. 
 
WINTER.— ADOLPHE SCHREYER. 
 
LIBRARY 
 
 UNIVERSITY <mw° is 
 
SCULPTURE. 
 
 MARBLES. 
 
 POWERS (Hiram) Florence. 
 
 Born, Vermont, 1807. Died Florence, 1873. 
 
 His early life was spent on a farm. Attended school for one year 
 at Cincinnati, then found employment there superintending a read- 
 ing room, but as he said, “was forced to leave that place as his 
 clothes and shoes were fast t&8yiqgjhim.” Became in turn clerk in 
 a store, commercial traveller .mechanic in a clock and organ 
 factory. In 1826, fr^efoisttilyf; Visited studio of Mr. Erkstein and 
 
 there discovered his own latent talent* ror sculpture. With a 
 quickly acquired knowledge of modelling, he secured a position as 
 general assistant and artist in the wax-work department of the 
 Western Museum, Cincinnati, where certain of his ingenious illus- 
 trations of Dante’s Inferno awakened general attention. Powers 
 then studied modelling and casting thoroughly and in 1834 went to 
 Washington, where he modelled portraits of the President and many 
 leading statesmen. In 1837, he settled in Florence, where his statue 
 of Eve, pronounced a masterpiece by Thorwaldsen, and his cele- 
 brated Greek Slave, were given to the world. 
 
 149 Bust of Washington. 
 
 Dated 1864. 
 
 RINEHART (W. H.) Rome. 
 
 Born, Maryland, 1825. Died, Rome, 1874. 
 
 Employed in a Baltimore marble-yard, he studied in the night 
 schools of the Maryland Institute and from 1855 to 1858 in Italy. 
 
 On his return to Baltimore he executed many portrait busts, a foun- 
 tain figure for the Washington Post Office, and two figures. “In- 
 
86 
 
 THE W. P. WILSTACH COLLECTION. 
 
 dian ” and “ Backwoodsman” to support the clock in the House of 
 Representatives. Later, he went again to Rome to spend the rest 
 of his life. His statue of Chief Justice Taney, ordered by the State 
 of Maryland, is at Annapolis. He is represented at the Peabody In- 
 stitute by “ Clytie,” which he considered his masterpiece, and at 
 the Corcoran Gallery by “ Rebecca.” 
 
 150 Bust of Mr. W. P. Wilstach. 
 
 Dated 1870. 
 
 ANONYMOUS. 
 
 151 Cupid Watching a Butterfly. 
 
 152 Figure. 
 
 153 Cupid Asleep. 
 
 154 Bust of Washington. 
 
 BRONZES. 
 
 BARYE (A. L.) Paris. 
 
 Born, Paris, 1795, Died, 1875. 
 
 Medal, 1831. 
 
 Grand Medal of Honor for art bronzes, 1855, E. U. 
 
 Chevalier of the Legion of Honor, 1853. Officer, 1855. 
 
 Member of the Institute, 1868. 
 
 “Keenly tormented by his intense desire to become a sculptor ” 
 as Barye expressed it, his apprenticeship of twenty-two years was 
 one of great poverty, disappointment and patient labor. His love 
 and unwavering belief in his art, his capacity for incessant study, 
 his complete insight and artistic knowledge of the character, mode of 
 life, power and fascination, of animal nature and his comprehension 
 
GRACE BEFORE MEAT.— A. SIEGERT. 
 
LIBRARY 
 
 OF THE 
 
 UNIVERSITY of ILLINOIS 
 
THE W. P. WILSTACH COLLECTION. 
 
 89 
 
 ♦ o i arrested movement was that of genius. A thorough understand- 
 
 ing of metals and casting enabled Barye to pass judgment on every 
 bronze that left the foundry before affixing his signature. He lec- 
 tured at Versailles in 1850, also at the Louvre, 1854. Leon Bonnat 
 writes: “ Barye is one of the greatest artists of the age, I may 
 even say of all the ages. If I had a comparison to make I should 
 think of Balzac. Barye has understood the animal and conveyed it 
 with a power equal to that which Balzac has manifested in those 
 passionate researches, in which he has so powerfully interpreted 
 the heart of man. Both have left their ineffaceable stamp upon the 
 world.” The largest collection of Barye’s works is at the Corcoran 
 Gallery, Washington. 
 
 155. Buffalo Cow. 
 
 156. 
 
 157. 
 
 158. 
 
 159. 
 
 160. 
 161. 
 162. 
 
 Eagle and Heron. 
 
 Leopard. ‘ \ . 
 
 Leopard and Panther. (Bas Relief) 
 Leopard and Panther. (Bas Relief) 
 Lion Walking. 
 
 Lion and Serpent. 
 
 Lizard. 
 
 163. Panther Devouring a Stag 
 
 164. Small Turtle. 
 
 165. Tiger Devouring an Antelope 
 
 166. Turtle. 
 
 167. Two Rabbits. 
 
90 
 
 THE W. P. WILSTACH COLLECTION. 
 
 SANSON (J.) 
 
 Born at Nemours. 
 
 Pupil of Jouffrey. 
 Chevalier of the Legion of Honor. 
 
 Rome. 
 
 168. II Saltarello. 
 
 Dated 1865. 
 
 
 ANONYMOUS. 
 
 
 
 169. Duke of Buckingham. 
 
 170. Indian Hunter on Horseback. 
 
 171. Morning — After Thorwaldsen. 
 
 172. Night — After Thorwaldsen. 
 
 NOTE. 
 
 In the library, marked No. 173, is an engraving of the famous 
 “ L’Hemicycle du Palais des Beaux Arts.” This great work was de- 
 signed and painted by Paul Hippolyte Delaroche for the amphithea- 
 tre of the Paris Academy of Fine Arts, a hall used for the assem- 
 bling of the students of the Academy, for the distribution of prizes, 
 etc. On its semicircular wall is depicted by the genius of the artist 
 a mighty array of witnesses, the master-spirits of Art, from the time 
 of Pericles to that of Louis XIV. In the central group are 
 seated Apelles, the painter; to his right, Ictinus, the architect, and 
 to his left, the sculptor, Phidias. Lower down are four female fig- 
 ures, personifying the four great schools of art — the Greek, Roman, 
 Gothic or Mediaeval, and the Art of the Renaissance. The half- 
 kneeling figure in front represents the Genius of Fame, at her side 
 the laurel wreaths for distribution. To the right of the spectator 
 are assembled the celebrated architects; opposite to them on the 
 left, the famous sculptors. Beyond these on both sides appear the 
 great painters; to the right, those eminent as designers; to the 
 left, the great colorists. The painting is 50 feet in length and 15 
 feet in height. The figures in the foreground are colossal; those 
 farther back, life size. 
 
YOKE OF OXEN AND BOY.— CONSTANT TROYON. 
 
LIBRARY 
 OF THE 
 
 UNIVERSITY of ILLINOIS 
 
LIST OF ILLUSTRATIONS. 
 
 Bust of W. P. Wilstach . . Wm. H. Rinehart . . Frontispiece 
 
 Memorial Hall 5 
 
 Burning Tares in a Wheatfield . Jules Breton 15 
 
 Tired Out Jules Breton 19 
 
 Reading the Bible in the Family . Gustave Brion . ... 23 
 
 Will you Buy my Flowers? , . Meyer Von Bremen ... 27 
 
 Contemplation . . . ^r. y . Alexaijdre Cabanel ... 31 
 
 Marine View Paul Jean Clays .... 35 
 
 Landscape J. B. Corot ...... 39 
 
 Landscape Charles Francois Daubigny 43 
 
 Forest of Fontainebleau . . . . N. V. Diaz . 47 
 
 Arabs on Horseback Eugene Fromentin. ... 51 
 
 An Arnaut Jean Leon Gerome ... 55 
 
Landscape with Sheep Grazing. Charles Emile Jacque . 
 
 • 59 
 
 The Order of the Guard . . . 
 
 Baron Henri Leys . . . 
 
 . 63 
 
 The Last Day of the Condemned Mihaly Munkacsy . . . 
 
 • 67 
 
 Spanish Ox Team 
 
 Emile Van Marcke . . 
 
 • 7 1 
 
 Landscape 
 
 Martin Rico 
 
 • 75 
 
 Returning from the Christening 
 
 Wilhelm Reifstahl . . . 
 
 79 
 
 Winter 
 
 Adolphe Schreyer . . . 
 
 • 83 
 
 Grace Before Meat 
 
 A. Siegert 
 
 . 87 
 
 Yoke of Oxen and Boy . . . . 
 
 Constant Troy on , . . 
 
 • 9i 
 
 Interior of Stable 
 
 Eugene Verboeckhoven 
 
 • 95 
 
 Landscape and Cattle 
 
 Frederick Voltz .... 
 
 • 97 
 
 The Postman 
 
 Robert Wylie 
 
 - 99 
 
 Trop de Sang 
 
 Eduard Zamacois . . . 
 
 . IOI 
 
 Tiger Devouring an Antelope . 
 
 A. L. Barye 
 
 . 103 
 
 11 Saltarello 
 
 J. Sanson 
 
 . 105 
 
INTERIOR OF STABLE.— EUGENE VERBOECKHOVEN. 
 
library 
 
 m ^Su um 
 
LANDSCAPE AND CATTLE.— FREDERICK VOLTZ. 
 
LIBRARV 
 OF TH€ 
 
 UNIVERStTV of ILLWOtS 
 
THE POSTMAN.— ROBERT WYLIE. 
 
library 
 
 UNIVERSITY of ILLINOIS 
 
TROP DE SANG.— EDUARD ZAMACOIS. 
 

 
TIGER DEVOURING AN ANTELOPE.— A. L. BARYE. 
 

 Of we 
 
 UmVEBSlTV of flUHWS 
 
IL SALTARELLO.— J. SANSON, 
 
UBRARy 
 
 OF THE 
 
 UNIVERSITY of ILLINOIS