ART LIB. NB 553 B289I $29 L CATALOGUE OF THE A A WORKS OF ANTOINE -1 X LOUIS BARYE 1 I 4 1 z 3J z 1 7 1 B CD 3D -< 2 1 . > O THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES BARYE 1796 1875 CATALOGUE OF THE WORKS OF Antoine-Louis Barye EXHIBITED , AT THE AMERICAN ART GALLERIES 6 EAST 23D STREET, NEW YORK UNDER THE AUSPICES OF THE BARYE MONUMENT ASSOCIATION ALSO OF PAINTINGS BY J. F. MILLET J. B. C. COROT TH. ROUSSEAU C. TROYON C. F. DAUBIGNY JULES DUPRE N. DIAZ E. DELACROIX A. G. DECAMPS J. L. A. T. GERICAULT HIS CONTEMPORARIES AND FRIENDS FOR THE BENEFIT OF THE BARYE MONUMENT FUND NOVEMBER, 1889 Press of J. J. Little & Co., Astor Place, New York. Art Library >53. THE Barye Monument Association OF NEW YORK ORGANIZED FOR THE PURPOSE OF RAISING FUNDS FOR THE ERECTION OF A MONUMENT IN PARIS TO ANTOINE-LOUIS BARYE President William T. Walters Vice-Presidents Auditors Cyrus J. Lawrence Thomas B. Clarke Henry G. Marquand Theodore Kane Gibbs James C. Welling Harry Walters Secretary Treasurer Charles de Kay Cyrus J. Lawrence Committee on Selection and Catalogue Cyrus. J. Lawrence Thomas B. Clarke W. M. Laffan Committee on Publication W. M. Laffan A. W. Drake Charles de Kay ' ANTOINE-LOUIS BARYE. A NOTE BY M. LtfON BONNAT. (From the Gazette des Beaux Arts.) * * * I never saw Barye, but I have, nevertheless, always truly worshipped him. Barye has been, and still is, one of my idols. How often have I been at the Luxembourg, only to see his " Jaguar devouring a Hare " ! How many times have I traversed the Tuileries to gaze upon the paw of his " Lion and Serpent " that tragic paw so wonderfully analyzed and modelled ! Barye seldom spoke of himself. I have read biographies written by men who knew him well, who held his talent I should say his genius in the utmost veneration, and rightly so. They gave many details concerning his works, of his manner of living and working, of his general character; but not one of them could reveal the true secret of his inspiration, or tell from what source he drew his genius. He was taciturn, uncommunicative, ob- servant, and, as I well know, devoted wholly to his art, passionately revering it, and analyzing, meas- uring, dissecting, and studying incessantly the ana- tomy and proportions of his models. That I know, and that is true science the wonderful science that helped him to produce so many chefs d'oeuvrt, and which is not to be under-estimated. 6 BAR YE. But that of which I am ignorant, which I would like, above all, to know, is, what transpired in his soul. Whence originated this instinctive knowl- edge of wild animals, this divination of savage power, unerring in its force, this fascination for the mighty shapes, which move so majestically, so nobly, in their enduring strength ? At what moment of his life did this great man, who com- menced as an apprentice to a steel engraver, a simple metal chaser, discover within himself the noble sentiment which guided his power and genius? To what did he owe the conception, the revelation of this beauty, which brings man nearer to his God, and makes of him almost a creator ? * * Failing the actual knowledge which would inform us when his genius first manifested itself, a knowl- edge in which almost all the biographies of cele- brated men are deficient, let us not lose ourselves in useless conjecture, but be content with the facts which have been demonstrated. Thus, from his own words, we know that being " keenly tormented by his intense desire to become a sculptor," he en- tered the studio of Bosio, where, it appears, never- theless, he did not remain any length of time, since we soon afterwards find him with Gros. What led him to seek instruction from a painter ? Was he attracted thither by a certain affinity of thought ? Was it from this Gros, he who painted the " Ba- taille d'Eylau," that he drew his love for the heroic which later inspired him to the creation of " The- BAR YE. 7 seus and the Centaur " ? Rather, may it not be to the Assyrians and Egyptians, whose works he so vener- ated, and whose works, as well as the Etruscan vases, he never ceased, even in his old age, to contemplate and study, may it not be, I repeat, to the influence of the old masters that we ought to assign the in- spiration of his talent ? However pronounced may be the originality of an artist, however profound, which is decidedly the term to employ in speaking of Barye, it is very difficult, even to one possessing the utmost perspicacity, to discover how much belongs to his own personality, and how much has been borrowed from his predecessors. Look at Raphael, for in- stance : he may copy, study his surroundings, become inspired by what he sees and what he believes to be greater than himself, yet he still re- mains the painter of grace and youth. Would Michael-Angelo, the Great, have painted the Sis- tine Chapel without Signorelli ? The greatest of all artists, though he were, would he have invented alone these Titanic groups ? And without looking so high or so far, and taking more recent examples, would our celebrated school of artists have had its present renown and prestige without Constable ? The problem is a difficult one to solve, and is, per- haps, outside of the limits of this article. Besides, it is not Barye as a sculptor of the human form whom we have under consideration, however admirable may be his group of " Theseus 8 BAR YE. and the Centaur," however graceful the superb grouping of " Roger and Angelica." What does concern us is that in which he is absolutely unique, that which did not exist before him, that which he has conveyed with the skill of a great master, which is and will remain his unquestioned and unques- tionable glory. The animal, the true animal, living, roused, tragic, passionate, quivering, ferocious, cruel, fierce, and apprehensive, calm in his power, sure of his suppleness, of his speed, of the strength of his jaws, and the unerring aim of his blow. This is the subject upon which I would have liked to converse with Barye. To know whence this love, so true, deep, and intense, originated. Those who knew him said he had in his features, in the squareness of his jaw, in the expression of his lips, and the form of his mouth, something akin to the tawny beasts he sculptured. * * * * He was reticent, I know, and must have been some- what cold and excessively reserved, and had the slightly scornful and haughty demeanor which is characteristic of many great men who are but im- perfectly understood. His emotions were deep and underlying, as are those of the truly great. Those of others never go beyond the surface. What a wonderful observer, what a sagacious mind, and what an analyst ! What extraordinary instinct, what admirable intuition of the animal ! Whether he modelled a deer, a serpent, an eagle, or a tiger, he conveyed them faithfully, character- BAR YE. 9 istically, in their smallest details. Nothing escaped his notice. * * * They tell me Barye loved Barbizon. There were his quiet walks in the forest, solitary promenades, where he rested from the wearing life of Paris, where he encountered his graceful models and mastered the details of their most unpremedi- tated movements and fleeting expressions. But the timid and shy were only a pastime for him, and it was not in creating them that he gave full scope to the intensity of his genius. It was the warring of savage animals that this great en- thusiast demanded, the carnivorous animals ; the poisonous jungle, the forests of thorny mimosas, where he could study the king of the forest in his lair, with his heaving flanks and tawny mane, lit up by two lurid sparks. He required the spectacle of elephants crushing tigers, gigantic serpents darting with the rapidity of lightning upon the passing an- telope to suffocate it in their terrible coils, the lioness on a rocky height scenting the air, her powerful muscles contracted, ready to spring upon her prey, or the huge elephants of antediluvian races, crossing plains and mountains under a fiery sun, and destroying everything in their ponderous passage. These were the scenes which made the paradise of Barye, this the world wherein his im- agination loved to dwell, his true kingdom, his beyond all dispute. And no one before him knew how to wield the IO BAR YE. sceptre. No one before him knew how to interpret the unconscious strength of the lion, with his mas- sive carriage, or the cunning and the cruel feroc- ity of the tiger and the jaguar. Look at his group in the Tuileries. A lion is passing, a boa-constrictor bars his way, the terrible paw descends, and while the serpent, held as within a vice, writhes with agony, and in a final supreme effort, in the death throes, tries to defend itself, the powerful beast remains unmoved before his treach- erous foe ; hardly does he deign to turn his gigantic head and only slightly erects his mane. Now and then he responds with a low growl to the sibilant hisses of his despairing enemy. But the paw exe- cutes, that wonderful paw, and all is there embodied. Admire it, the hair turned backward to allow the claws, those terrible weapons, to penetrate unhin- dered, to move back and forth in their sheaths, and, sharp as daggers, they have only to close and unclose, and all will have been told, the tragedy enacted. * * * But out of all this world of savage animals to which Barye owed so many of his chefs- ctceuvre it is rather upon the tiger and its species, the jaguars and panthers, that I would bestow the palm. Look, for instance, at his "Walking Tiger " ; it is simply a marvel. In my younger days I have been at the menag- erie, and there, drawn to and held by the beauty of these great creatures, I have remained for many BAR YE. II hours, watching the huge felines pace mechanically the floors of their too narrow prisons. The heavy paw doubles with admirable suppleness, the shoul- der-blades rise and fall, the limbs move with an ease full of grace and harmony. One is fascinated, charmed, and remains riveted to the spot in a state of unreflecting contemplation. If a dog passes near the grating, the beast stops abruptly, raises its great head, the burning eyes fixed upon the animal, until the latter disappears, when the emotion sub- sides, the purposeless pacing is resumed, the fire dies out of the eyes, and the tiger lies down, or yawns with weariness, exposing its gleaming teeth. Pitiful, great prisoners, created to range over limitless space, to live under tropical suns in un- trammelled freedom, and who so wretchedly exist here in the mists of Paris and the fogs of the North! The apprentice metal chaser must have often played truant to spend some hours of contemplation here, pressing against the iron bars of the grating, and, perhaps, his heart throbbing at the revelation of beauty with the presentiment that the day would come when he would struggle with these proud models. And he was true to his convictions and from the conflict came forth a conqueror. Look at his tiger ! Everything is so wonderfully depicted in it ; the proportions, the suppleness of the limbs, the grandeur of movement, the carriage of the head, the size and development of the jaws, the shagginess of the hair and the half-closed eyes. It is perfect 12 BAR YE. and it is admirable. And if from the tiger Barye passes to the panther, he must represent it in am- bush, or springing upon a deer, and how admirable is not it also ! The panther springs and pounces with its whole weight, and with unerring precision, upon its victim and seizes it with its formidable teeth. The great paws spread widely apart, one upon the withers and the other upon the forehead, and in addition to these terrible weapons, the ferocious beast avails itself of its weight to arrest and para- lyze the frightened animal, which, overcome by force, crushed by its tormentor, bows its head, and quivering, bathed in the sweat of death, utters a cry of supreme agony. I come now to the " Jaguar devouring a Hare." I believe that in the opinion of all it is the work of works of this man who has produced so many. It is as fine as the " Esclave " of Michael-Angelo at the Louvre. With his mouth the jaguar has seized the hare by the entrails ; the right paw is thrust forward, his nails lacerate the abdomen of the victim, and slowly, crouched to the earth, grovelling like a snake, he goes to devour the hare in the obscurity of his den. He anticipates his feast with intensely ferocious joy, " avec la volupti gour- mande du sang," as Edmond de Goncourt says in his able description of the jaguar. His ears are laid back against his neck, the great muscles of which denote strength. Nervous tremors run along the length of his spine to the last vertebra of his tail ; BAR YE. 13 the savage eyes converging to the centre have the horrible fixity of the eye of a viper. Woe to him who should attempt to rob him of his prey ! There breathes from this wonderful bronze thus conceived and executed an atmosphere of ferocity and savage- ness that is extraordinary. It is genius. Barye is one of the greatest artists of the age, I may even say of all the ages. If I had a com- parison 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. There may be others who could do as well, but I doubt it ; none could ever excel. NOTE. Dimensions are given in inches. The height in- cludes the bronze base, and length, the extreme points of the object. The first figures indicate the height, the second the length. Exception. The height and width of the bronze plate is given for the bas-reliefs. The dates inclosed in brackets throughout the catalogue indicate the year when the objects were first exhibited, either in plaster or bronze. CATALOGUE. COLLECTION W. T. WALTERS, Esq. BRONZES. i Elk Hunt. Unique. (1834.) 20x19^ 2 Bear Hunt. Unique. (1834.) 18x17 3 Bull Hunt. Unique. (1834.) 18x25 4 Tiger Hunt. Unique. (1834.) 27x32 The above, Nos. 1, 2, 3, and 4, were made for the Due d'Orleans. 5 Roger and Angelica, mounted on Hip- pogriff. (1846.) 20x27 6 Candelabras (pair), with 9 lights, dec- orated with 6 figures, mascarons and chimeras. (1846.) 37 The originals of the above, Nos. 5 and 6, were made for the Due de Mont- pensier. 7 Jaguar Devouring a Hare. (1850.) 15^x38 Exhibited in Bronze at the Universal Exposition in 1867, a first proof, which was purchased by the French Government in 1852, and is now deposited in the Louvre. 1 6 COLLECTION W. T. WALTERS. 8 Lion Walking. Silver. (1863.) 13x243- Unique. 9 Theseus and Minotaur. (1848.) 18x1 if 10 Theseus and Centaur Bienor. J 3i x 14^ (1850.) 11 Two Arab Horsemen Killing a Lion. 14I x 15 12 Arab Horseman Killing a Lion. 15 x 14 Numbered 12. 13 Tartar Warrior Checking his Horse. 14 x 14 14 Gaston de Foix. (1833.) M|xix| 15 General Bonaparte. (1838.) 14x13 16 Charles VII., the Victorious. (1837.) n| x 10 Gilt bronze, arabesque base, on marble base. 17 Duke of Orleans. (1840.) 14x13 18 Amazon, Costume of 1830. 14I-X 14 19 Elephant, with Indian Mounted, Crushing Tiger. ( 1 83 7.) 1 o x 1 2 20 Elephant Crushing a Tiger. 8 x 12 21 Elephant of Cochin-China. Model. 6x10 22 Elephant of Senegal. 5^. x 7^ BRONZES. 17 23 Elephant of Asia. (1833.) 5x8 24 Panther Seizing a Stag. 15 x 22 25 Panther Surprising a Civet-Cat. 4x9 26 Panther of India. Reduction. 3^x8 27 Panther of Tunis. 3 \ x 7^ (1840.) Reduction. 28 Tiger Devouring a Gazelle. 5x 12 29 Tiger Devouring a Gavial (crocodile). 7x 19^ (1831-) 30 Tiger Devouring a Gavial (crocodile). 3^ x 10 (1831.) Reduction. 31 Tiger Surprising a Deer. 6x 10 Numbered 7. 32 Tiger Surprising an Antelope. 1 x 20 Produced by galvano-plastic process. 33 Lion Seated (No. 1 ). (1847.) 14x12 34 Lion Seated (No. 2). 8 x 6 35 Lion Seated (No. 3). 7x6 Head Turned to Right. 36 Lion and Serpent (No. 1). (1832.) 10 x 12 2 i8 COLLECTION W. T. WALTERS. 8x6i 6x8 5X7 5x11 4^xio H x i6 37 Lion and Serpent (No. 2). Model. 38 Lion and Serpent (No. 2). 39 Lion and Serpent (No. 3). Sketch. 40 Lion Devouring a Doe. Dated 1837. Numbered 11. 41 Lion Holding an Antelope. Dated 1835. Numbered 17. 42 Lion of the Column of July. Bas-relief. Dated 1838. 43 Lion Seated. Sketch. Modern. 44 Lion Marching. (1836.) 45 Tiger Marching. (1836.) 46 Lioness of Senegal. 47 Jaguar Sleeping. 48 Jaguar Devouring a Crocodile. 49 Jaguar Devouring an Agouti. (1847.) Numbered go. Sketch for the Jaguar Devouring a Hare, No. 7 of this catalogue. 10 x 13 9X 16 8xi6 8xn| 3^x9 3x9* 2^x8* BRONZES. 19 50 Jaguar Walking (No. 1). 4| x 8 51 Jaguar Standing (No. 1). 4f-*7i Dated 1840. Numbered 43. 52 Ocelot Carrying a Heron. 6Jx n 53 Bear Overthrown by three Mastiffs. 10 x 13^ Model. (1833.) 54 Bull Dragged to Earth by Bear. (1839.) 5^ x 11 55 Bear in Trough. (1834.) Modern. 4^*5 56 Two Young Bears Fighting. (1833.) 8x6 57 Bear Standing. 9^x4 58 Bear Standing. Model. 9^x4 59 Wolf Walking. 8x 15 Inscribed on base : "A l'ami Rous- seau, son admirateur A. L. Barye." 60 Ape Riding a Gnu. 9x10 Numbered 2. 61 Ape Riding a Gnu. 9 x 10 Numbered 27. 62 Greyhound and Hare. 8x 13 63 Virginia Deer Scratching his Side. 10 x 13 Dated 1837. Numbered 8. 20 COLLECTION W. T. WALTERS. 64 Deer Marching. 8x8 Numbered 29. 65 Deer in Repose Standing. 9x8 66 Deer Listening. 7^x6f Dated 1838. 67 Deer with Foot Raised. 7^x6f 68 Doe Lying Down. 3i*5 Numbered 35. 69 Fawn Lying Down. ifx4| 70 Stag Braying. 5^x6 71 Deer of Java. 5i><7 72 Elk Standing. 5*4i 73 Goat Feeding. 2 i x 3 74 Buck Alarmed. 2fX3 75 Dromedary of Algiers. Reduction. 5ix6| 76 Dromedary of Egypt Harnessed. 10X9J 77 Beagle Seated. 5x10 78 Beagle Seated. 5x 10 79 Beagle Standing. 6 x 12 BRONZES. 21 80 Spaniel and Duck. Reduction. 2|X4 81 Pointer Stopping. 2 i><3 Small. 82 Greyhound Sleeping. 2^X IO Numbered 2. 83 Greyhound Reclining. 17^X33 Model. 84 Bull on the Defensive. 7X14 85 Bull Rearing. 8xii 86 Crocodile Devouring an Antelope. 6xi4 Model. 87 Python Strangling a Gazelle. 6x13 88 Python Crushing a Crocodile. 6xio 89 Python Swallowing a Doe. l\*\ Dated 1840. Numbered 2. 90 Juno. 12 Gilt. 91 Minerva. Gilt. 92 Pheasant Walking, Tail divided. 12 4fx8 22 COLLECTION W. T. WALTERS. 93 Owl, Wings Extended, with Rat. 3^ x 6 94 Hare, Ears Erect. 3 x if 95 Rabbit, Ears Erect. 2 x 2% 96 Rabbit, Ears laid Back. i| x 2\ 97 Rabbit, Ears laid Back. i x 2\ 98 Rabbit, Ears Erect. i x 2\ 99 Eagle and Serpent. 4x6 Bas-relief. 100 Eagle and Chamois. 4J x i\ Bas-relief. 101 Horse Attacked by Lion. (1833.) 15^x15 102 Horse, Turkish, Right Foot Raised. ii|xii (No. 2.) 103 Horse, Half Blood, Head Lowered. 7x n 104 Horse, Half Blood, Head Lowered. 4| x i\ Reduction. 105 Horse, Half Blood, Head Erect. 5x7 Reduction. 106 Arab Horseman Killing a Boar. iox 12 107 Boar Wounded. 6x8 PLASTER AND WAX. 23 108 Eagle on Rock with Heron. 12x12} 109 The Seine. 23 x 33 (Pair.) Modern. no Bust of A. L. Barye, by Moullin. 23 in Candelabras (pair), with 3 Lights, Antique Design, Ornamented with Serpent, Leaves, Chimeras, Claw Feet and Surmounted with Storks. 31} PLASTER AND WAX. n 2 Panther of Tunis. 4x8 Reduction. (1840.) Plaster Model retouched with Wax. 113 Tiger Devouring a Gazelle. 5i* 12 Plaster Model. 1 14 Lion Walking and Roaring. 4} x 7 Bas-relief. Plaster Model, unique. 114a Milo of Crotona. Plaster proof. Diameter, 2?- inches. Executed by Barye in 18 19 for the Annual Competition for the " Prix de Rome," at the Ecole des Beaux Arts. 24 COLLECTION CORCORAN GALLERY. COLLECTION CORCORAN GALLERY OF ART. BRONZES. 115 General Bonaparte. (1838.) 14x13 116 Duke of Orleans. (1840.) 14x13 117 Amazon, Costume of 1830. 14^x14 118 Gaston de Foix. (1833.) 14^x11^ 119 Charles VII., the Victorious. (1839.) njxio 120 Tartar Warrior Checking his Horse. i3j~x 13J With bronze stand, arabesque. 121 Two Arab Horsemen Killing Lion. 14^-x 15 122 African Horseman Surprised by Serpent. 8x 10 123 Elephant with Indian Mounted, Crushing Tiger. 10^x12 124 Roger and Angelica, Mounted on Hippogriff. 20 x 27 (1846.) BRONZES. 25 125 Candelabras (pair), with 9 lights, decorated with 6 figures, mascarons and chimeras. (1846.) 37 The originals of this and No. 124 made for the Due de Montpensier. 126 Minerva. 12 127 Juno. 12 128 Theseus and Minotaur. (1848.) , 18x10 129 Theseus and Centaur. (1850.) 13^x14^ 130 Ape Riding a Gnu. 9 x 10 131 Two Young Bears Fighting. (1833.) 8x6 132 Bear Sitting. 5^x6^ 133 Beagle Standing. * 6 x 8| 134 Stag Holding a Wolf by the Throat. 8x17 135 Two Young Lions Wrestling. 8x6 136 Lion Devouring a Doe. (1837.) 5x11 137 Lion and Serpent (No. 1). (1832.) 10 x 12 138 Lion Sitting (No. 1). (1836.) 14x12 139 Lioness of Senegal. 8 x n 140 Lioness of Algiers. 8x n 26 COLLECTION CORCORAN GALLERY. 141 Lion Walking. (1836.) 9 * l6 142 Tiger Walking. (1836.) 8xi6 143 Tiger Surprising an Antelope. 13^ x 24 144 Tiger Surprising a Deer. 6x 10 145 Tiger Devouring a Gavial (crocodile). 7i XI 9 (1831.) 146 Tiger Devouring a Gazelle. 5i x I2 147 Panther Seizing a Stag. 15x22 148 Panther of India. 5 x I0 i 149 Panther of Tunis. (1840.) 5i XIO 150 Panther Surprising a Civet-Cat. 4x9 151 Jaguar Walking (No. 1). 4f x 9 152 Jaguar Standing (No. 1). (1840.) 5x9 153 Jaguar Sleeping. 3i x 9 154 Jaguar Devouring Crocodile. 3 x 9^ 155 Ocelot Carrying a Heron. 6xn 156 Elephant of Asia. (1833.) 5x8 157 Elephant of Africa. 5 x 7i BRONZES. 27 158 Horse Surprised by a Lion. (1834.) 15^x15 159 Horse, Half Blood, Head Lowered. 7x n 160 Horse, Turkish (No. 2). nx 12 Right Foot Raised. 161 Horse, Turkish (No. 2). 11^x12 Left Foot Raised. 162 Dromedary, Egyptian. Reduction. 5^ x 6| 163 Elk Surprised by a Lynx. (1834.) 8x n 164 Deer Attacked by Two Scotch Hounds. (1833.) 17x21 165 Stag, Doe, and Fawn. 9 x 8 166 Virginia Deer Biting its Side. (1837.) 10x14 167 Bull on the Defensive. (1841.) 7x11^ 168 Bull Rearing, Attacked by a Tiger. 9x11 (1837.) 169 Bull Dragged to Earth by a Bear. 5^x 11 (1839.) 170 Eagle Holding a Heron. 12x12^ 171 Crocodile Devouring an Antelope. 6A x 14 28 COLLECTION CORCORAN GALLERY. 172 Python swallowing a Doe. 3fxio| (1840.) 173 Python Strangling a Gazelle. 6x13 174 Python Crushing a Crocodile. 6 x 10 J (1840.) 175 Huntsman, Costume Louis XV. 7i x 7 176 Bear Overthrown by three Mastiffs. 10 x 13^ (1833.) 177 Bear Flying from three Dogs. 12 x 18 178 Greyhound and Hare. 8x13 179 Wolf Walking. 9 x 14 180 Greyhound Reclining. 2^x10 181 Buffalo of Egypt. 6x8 182 Camel (Head Turned to Right). 4i x 4 183 Greyhound Sleeping. 7^x13} 184 African Badger Robbing Nest. 4x6 185 Lion of the Column of July. 8 x 16 J (1838.) Bas-relief. 186 Warrior of the Caucasus. 7^ x 6 BRONZES. 29 187 Peasant (Mediaeval). 12 x 10 188 Leopard Crouching. 3x7 189 Deer. (Axis.) 5 x 5i 190 Deer of the Ganges. " 6x6 191 Bull Standing (small). 3^ x 5^ 192 Card Receiver. Fawn's Feet. 3f x 7i Ornamented with Grapes. 193 Card Receiver. 5^ x 7 Ornamented with Owls and Panthers' Heads. 194 Candlestick. 10 x 10 2 Lights. Ornamented with Owls and Panthers' Heads. 195 Candlestick. 7 x 3 \ Ornamented with Owls and Panthers' Heads. 196 Candlestick. iox4 Greek Design, with Syracuse Medallions. 197 Candlestick with Fawn's Feet. 9^ x 3^ Oniamented with Bell Flowers and Serpents. 198 Candlestick. 12 h x S\ Ornamented with Bell Flowers, Leaves and Scarabei. . 199 Candlestick, Small, with Handle. 3f x 4$ Ornamented with Ivy Leaves. 3 COLLECTION CORCORAN GALLERY. 200 Perfume Burner. 4 x 2\ Ornamented with chimeras. % 201 Paroquet Seated on a Tree. 7f x 5 202 Pheasant walking, Head turned to Left. 4fx8 203 Pheasant walking, Head turned to Right. 4fx8 204 Wolf Caught in Trap. 4$ x 5 205 Deer. (Axis.) Left Foot Raised. 6x6 206 Doe Reclining. 3^- x 5^ (Dated 1840.) 207 Fawn Reclining. if x 4f (Dated 1840.) 208 Rabbits. Group. (Two.) 2x3^ 209 Turtle. I |-X4 210 Crocodile. x i x 7| BRONZES. 31 COLLECTION CYRUS J. LAWRENCE, Esq. BRONZES. 211 General Bonaparte. (1838.) 212 Charles VII., the Victorious. Numbered 10. (1839.) 14x13 II^X 10 i4i*ii I3i*i4i 213 Gaston de Foix. (1833.) 213a Theseus and Centaur Bienor. (1850.) 214 Marble Clock. Designed by Barye as Pedestal for Theseus and Centaur. 215 Arab Horseman Killing a Lion. 15 x 14 216 Panther Seizing a Stag. 15 x 22 217 Stag Holding a Wolf by the Throat. 8x17 218 Lion and Serpent (No. 1). (1832.) 10x12 219 Lion and Serpent (No. 3). Sketch. 5^x7 220 Lion Walking. (1836.) 9x16 221 Tiger Walking. (1836.) 8xi6 222 Lion Seated (No. 1). (1836.) 14x12 > 32 COLLECTION CYRUS J. LAWRENCE. 223 Lion Seated (No. 1). (1836.) 14X 12 224 Bull Dragged to Earth by a Bear. 5^ x 1 1 (1839O 225 Wolf Walking. 9 XI 5 226 Horse, Turkish (No. 2). 14x12 227 Horse, Half Blood, Head Down. 7t x XI 228 Horse, Half Blood, Head Down. f\ x n 229 Tiger Surprising a Deer. 6 x 10 230 Jaguar Devouring a Crocodile. 3 x 9^ 231 Panther Surprising a Civet-Cat. 4x9 232 Bull on the Defensive. (1841.) 7 x 1T i 233 Bull Rearing. (1841.) 8xn 234 Family of Deer. Group of four. 6 x 10 235 Stag, Doe, and Fawn. 9 x 8 i 236 Lioness of Senegal. 8 x u 237 Lioness Standing. 7i x 9 238 Panther of Tunis. (1840.) 3f x 7i Reduction. BRONZES. 33 239 Panther Holding a Deer. (1839.) 4x8 240 Juno. 11 241 Bear on Tree Devouring an Owl. 7^ x 7 242 Beagle, Standing. 6 x 8 243 Lion Devouring a Doe. 5x11 (Dated 1837.) 244 Dromedary of Algiers. Reduction. 5^ x 6 245 Elephant of Asia. (1833.) 5X8 246 Jaguar Standing (No. 1). 4fx 7 (Dated 1840.) 247 African Badger Robbing a Nest. 4x6 248 Pointer. 3^x6 249 Setter. 4x 5 | 250 Wolf Caught in Trap. 4^x5 251 Cat Sitting. 3ix 3 252 Candelabras (pair). 28 Antique Design, with Storks. 253 Fire Guard. Antique Design, with two Dogs Seated. 3 34 COLLECTION CYRUS J. LAWRENCE. 254 Crocodile. 1^x7! 255 Rabbit, Head Raised, Ears Laid Back, if x 2^ 256 Rabbit, Head Down, Ears Laid Back, if x 2\ 257 Rabbit, Head Down, Ears Erect. 2 x 2 \ 258 Turtle. Reduction. x2 259 Stork on Turtle. 2^x 2 260 Panther. Bas-relief. 3 x 5^ Dated 1831. 261 Leopard. Bas-relief. 3 x 5i Dated 1831. 262 Genet carrying a Bird. Bas-relief. 3x5 Bronze frame. Dated 1831. 263 Virginia Deer. Without antlers. 3 \ x 5^ Bas-reliefs. Bronze frame. (1831.) 264 Leopard. Bas-relief. 3><5i Bronze frame. (1831.) 265 Panther. Bas-relief. 3><5i Bronze frame. (1831.) 266 Virginia Deer. With antlers. 4 * 5i Dated 1831. Bas-relief. BRONZES. 35 267 Pointer and Ducks. Bas-relief. 4x6 Galvano-plastic process. (1824-5.) 268 Lion Walking. Bas-relief. Modern. 8x16 Sketch for the Lion of the Column of July. 269 Lion Seated. Sketch. Modern. 10x13 The above two numbers were never produced by Barye in bronze ; he left at his death a model in plaster. 270 Fawn, scratching. Modern. 2^x4^ Never produced by Barye in bronze ; he left at his death a wax model. See No. 462. 271 Eagle on Rock with Heron. 12x14 Modern. 272 Candlesticks (pair). Modern. 10 Greek designs, with Syracuse medallions. 36 COLLECTION JAMES F. SUTTON. COLLECTION JAMES F. SUTTON, Esq. BRONZES. 2 73 Roger and Angelica, mounted on Hip- pogriff. 20x27 (1846.) 274 Candelabras (pair), 9 lights, Decor- ated with 6 figures, mascarons and chimeras. 37 (1846.) The originals of the above two numbers were made for the Due de Montpensier. 275 Tiger Surprising an Antelope. x 3i x 2 4 Model. 276 Panther Seizing a Stag. 15 x 20 277 Deer Attacked by two Scotch Hounds. 13^x20 (1833-) 278 Theseus and Minotaur. (1851.) 18x10 279 Horse Surprised by a Lion. (1834.) 15^ x 15 280 Theseus and Centaur. (1850.) 13^x14!- 281 Tartar Warrior Checking his Horse. i3|-x 13^ 282 Two Arabian Horsemen Killing a Lion, 15 x 14 BRONZES. 37 283 General Bonaparte. 17x17^ Model. 284 Charles VII., the Victorious. (1839.) n|xio 285 Lion Seated (No. 1 ). (1836.) 14^x12 286 Lion Seated (No. 3). 7x6 287 Lion and Serpent (No. 1). (1832.) 10x12 288 Lion and Serpent (No. 2). 6|x8 289 Lion and Serpent (No. 3). Sketch. 5^ x 7 290 Lion Walking. (1836.) 9x16 291 Tiger Walking. (1836.) 8xi6 292 Ocelot Carrying a Heron. 6x n 293 Elephant Crushing a Tiger. (1837.) 8^x12 294 Lioness Standing. 7 J x 9 295 Bull on the Defensive. (1841.) 7xuf 296 Bull Rearing. (1841.) 8xu 297 Horse (Turkish), Right Foot Raised. 11^x12 (No. 2.) 298 Horse (Turkish), Left Foot Raised. l\*7\ (No. 3.) 38 COLLECTION JAMES F. SUTTON. 299 Horse, Half Blood, Head Lowered. 4 J x 7 Reduction. 300 Dromedary, Egyptian, Harnessed. IOX9J 301 Dromedary, Algerian. 7**9 302 Dromedary, Algerian. Reduction. 5ix6f 303 Greyhound and Hare. Model. 8x13 304 Beagle, Standing. 6 x 12 305 Spaniel and Duck. 5^x8 306 Spaniel and Rabbit. 5x8i 307 Spaniel. 3^x6 308 Two Young Bears Playing. (1833.) 8x6 309 Stag Rolling a Stone. 5ix 9 310 Hawk Killing a Heron. "X9J 311 Pheasant, Right Foot Raised. 5x8* Numbered 5. 312 Panther of Tunis. (1840.) 3fx 7 J Reduction. 313 African Badger Robbing Nest. 4x6 314 Minerva. 12 BRONZES. 39 315 Juno. 12 316 Elephant of Cochin China. 6 x 10 317 Stork on Turtle. 2^x2 318 Stork and Serpent. 5 x 2\ 319 Doe and Fawn Reclining. 2^x4^ 320 Kevel. 4x3^ 321 Gazelle of Ethiopia. 3i x 3j 322 Rabbit, Head Up, Ears Laid Back. ix z\ 323 Genet Carrying a Bird. Dated 1831. 3x5 Bronze Frame. Bas-relief. 324 Virginia Deer, Without Antlers. t>\ x 5^ Dated 1831. Bronze Frame. Bas-relief. 40 COLLECTIONSAMUEL P. A VER Y. COLLECTION SAMUEL P. AVERY, Esq. BRONZES. 325 Theseus and Centaur. Modern. 29^x25 With mahogany pedestal. 326 Charles VII. the Victorious. (1839.) n|xio With clock pedestal, arabesque design. 327 Lion Walking. (1836.) 9 x 16 328 Tiger Walking. (1836.) 8xi6J 329 Elephant, with Indian Mounted, (1837.) Crushing Tiger. 11x12 Model. 330 Boar Wounded. Model. (1839.) 6x8 331 Eagle on Rock, Wings Extended. 10 x 12^ 332 Horse (Turkish), Right Foot Raised. 1 1 x 12 (No. 2.) 333 Beagle Standing. 6^x12 334 Lion and Serpent. Sketch (No. 3.) 5i x 7 335 Lion Seated (No. 1). (1836.) 14 x 12 BRONZES. 41 336 Jaguar Devouring an Agouti. (1848.) 2^x8^ Sketch for the Jaguar Devouring a Hare. [No. 7 of this catalogue.] 337 Spaniel. 3^x6 338 Deer of Java. ' 5^x7 339 Pheasant, Left Foot Forward. 4f x 8 340 Horse, Half Blood, Head Lowered. 4| x i\ Reduction. 341 Horse, Half Blood, Head Erect. 5x7 Reduction. 342 Candelabra, antique, 3 Lights. 30 With Chafns and Stork. 343 Bear in Trough. Modern. (1834.) 4^x5 344 Fawn Lying Down. Numbered 8. i| x 4J 345 Cat Sitting. 4$ x 3 \ 346 Stork on Turtle. 2\ x 2 347 Lion of the Column of July. iof x 2if Bas-relief. (1840.) 348 Leopard. Bas-relief. Dated 183 1. 3x5^ 349 Panther. Bas-relief. Dated 1831. 3 x 5^ 42 COLLECTION SAMUEL P. AVERY. 350 Genet Carrying a Bird. Dated 183 1. 3 x 5 \ 351 Virginia Deer, with Antlers. 4X5^ Dated 1831. Bas-relief. 352 Pointer and Ducks. Dated 183 1. 4>< 6 Bas-relief. 353 Eagle and Serpent. Bas-relief. 4x6 354 Eagle and Chamois. Bas-relief. 4fx7i BRONZES. 43 COLLECTION R. AUSTIN ROBERTSON, Esq. BRONZES. 355 General Bonaparte. 17x17^ 356 Lion and Serpent (No. 1). (1832.) IOX 12 357 Horse Attacked by a Tiger. 9i x J 4 Unique. 358 Lion Devouring a Boar. 73-xn 359 Horse, Turkish (No. 2). nx 12 Left Foot Raised. Model. 360 Greyhound and Hare. 8x13 361 Bear on Tree Devouring an Owl. 7i*6 Model. 362 Hawk Killing a Heron. iiX9 363 Beagle, Standing. Model. 6 x 12 364 African Badger Robbing a Nest. 4x6 Model. 365 Elephant of Asia. (1833.) 5}x8 44 COLLECTION R. AUSTIN ROBERTSON. 366 Pointer and Setter with Pheasants. 4f x 10 367 Horse, Half Blood, Head Lowered. 4i*7i Reduction. 368 Horse, Half Blood, Head Erect. 5x7 Reduction. 369 Deer in Repose, Standing. 9 x 8^ 370 Doe Lying Down. Dated 1840. ifx4 371 Deer Wounded. 4^X3f 372 Kevel. 4x3! 373 Gazelle of Ethiopia. 3i x 3l 374 Antelope. 3 x 3z 375 Ram, Ewe, and Kid. Group. 4 X 4 376 Camel of Persia. 4$ x a\ 377 Stork on Turtle. zf x 2 BRONZES. 45 COLLECTION THEODORE K. GIBBS, Esq. BRONZES. 378 Elk Surprised by a Lynx. (1834.) 8xn 379 Jaguar Sleeping. 3^X9 380 Tiger Walking. New Model. 9^x16 381 Juno. 12 382 Horse (Turkish). (No. 3.) 7x7 Left Foot Raised. 383 Deer in Repose, Standing. 9x8 384 Deer of Java. Six 7 385 Fawn Lying Down. (1840.) ifx4f 386 Horse, Half Blood, Head Lowered. 4|X7 Reduction. 387 Horse, Half Blood, Head Erect. 5x7 Reduction. 388 Dromedary of Algiers. Reduction. 5^ x 7 389 Lion and Serpent (No. 3). Sketch. 5x7 390 Panther of India. $\ x 8 391 Pointer. 3x6 4 6 OTHER CONTRIBUTORS. OTHER CONTRIBUTORS. BRONZES. 392 Theseus and Centaur. (1850.) Loaned by the Metropolitan Museum of Art. Acquired soon after it was first exhibited by Barye by Mr. Boer of the Hague, in whose possession it remained until 1883, when it was purchased by Samuel P. Avery, Esq., and by him presented to the Museum. 393 Arab Horseman Killing a Lion. Loaned by Robert Hoe, Esq. 394 Lion Walking. (1836.) Loaned by Robert Hoe, Esq. 395 Tiger Walking. (1836.) Loaned by Robert Hoe, Esq. 396 Juno. Loaned by Robert Hoe, Esq. 397 Minerva. Loaned by Robert Hoe, Esq. 398 Paroquet Seated on Tree. Loaned by Robert Hoe, Esq. 50x41 15x14 9x16 8xi6* 12 7f*5 BRONZES. 47 399 Greyhound and Hare. 8x13 Loaned by James Irving Raymond, Esq. 400 Ape Riding a Gnu. (1842.) 9x10 Loaned by Richard M. Hoe, Esq. 401 Lioness of Senegal. 8x n Loaned by Richard M. Hoe, Esq. 402 Lioness of Algiers. 8xn Loaned by Richard M. Hoe, Esq. 403 Horse, Half Blood, Head Lowered. 7^ x 1 1 Loaned by Richard M. Hoe, Esq. 404 Family of Deer. Group of Four. 6 x 10 Loaned by Richard M. Hoe, Esq. 405 Deer Walking. 8x8 Loaned by Richard M. Hoe, Esq. 406 Jaguar Devouring a Hare. Modern. 17^x38 Loaned by Charles A. Dana, Esq. 407 Lion Seated. (1836.) 14x12 Loaned by W. M. Laffan, Esq. 408 Tiger Walking. (1836.) 8J-xi6 Loaned by W. M. Laffan, Esq. 48 OTHER CONTRIBUTORS. 409 Theseus and Centaur. (1850.) 13^x14^ Loaned by James S. Inglis, Esq. 410 Young Man Mastering his Horse. 8x9 (Sketch.) Loaned by James S. Inglis, Esq. 411 Horse, Arabian. io^xioj Loaned by James S. Inglis, Esq. 412 Candelabras (pair), 10 Lights. 25 Greek Design. Loaned by James S. Inglis, Esq. 413 Candlesticks (pair). i2| Ornamented with Leaves and Flowers. Loaned by James S. Inglis, Esq. 414 Leopard. 3 X 5& Bronze Frame. Dated 1831. Bas-relief. Loaned by James S. Inglis, Esq. 415 Panther. 3 x 5^ Bronze Frame. Dated 1831. Bas-relief. Loaned by James S. Inglis, Esq. 416 Horse, Half Blood, Head Lowered. 8 x 10 Loaned by James S. Inglis, Esq. BRONZES. 49 417 Theseus and Minotaur. (1848.) 18x10 Loaned by Richard M. Hunt, Esq. 418 Bull Rearing, Attacked by a Tiger. 9x11 (1837) Loaned by Richard M. Hunt, Esq. 419 Eagle, Wings Extended, Beak Closed, n x 13 Loaned by Richard M. Hunt, Esq. 420 Rabbit, Head Down, Ears Raised. i x 2\ Loaned by Richard M. Hunt, Esq. 421 Panther Seizing a Stag. 15 x 22 Loaned by Richard M. Hunt, Esq. 422 Elephant of Africa. 5 x 7^ Loaned by Richard M. Hunt, Esq. 423 Elephant Walking. Unique. q\ x 16 Loaned by Thomas B. Clarke, Esq. 424 Lion Walking. (1836.) 9x16 Loaned by J. W. Ellsworth, Esq. 425 Tiger Walking. (1836.) 8xi6 Loaned by J. W. Ellsworth, Esq. 426 Two Arab Horsemen Killing a Lion. 14^ x 15 Loaned by Albert Spencer, Esq. 4 SO OTHER CONTRIBUTORS. 427 Lion Walking. (1836.) 9 x 16 Loaned by Albert Spencer, Esq. 428 Tiger Walking. (1836.) 8xi6 Loaned by Albert Spencer, Esq. 429 Lion and Serpent (No. 2.) 6|x8 Loaned by Albert Spencer, Esq. 430 Huntsman, Costume Louis XV. 7^X7 Loaned by Albert Spencer, Esq. 431 Deer Listening. (1838.) 7ix6| Loaned by Albert Spencer, Esq. 432 Deer with Foot Raised. 7 Jx6| Loaned by Albert Spencer, Esq. 433 Panther of Tunis. (1840.) 5><7i Reduction. Loaned by Albert Spencer, Esq. 434 Panther of India. Reduction. 3ix8 Loaned by Albert Spencer, Esq. 435 Panther. Bas-relief. 3X5i Bronze frame. (Dated 1831.) Loaned by Albert Spencer, Esq. 436 Leopard. Bas-relief. 3 x 5 J Bronze frame. (Dated 1831.) Loaned by Albert Spencer, Esq. BRONZES. 51 437 Lion and Serpent (No. 3). Sketch. 5x7 Loaned by Edward Gleason, Esq. 438 Lion Walking. (1836.) 10x16 Loaned by Charles Parsons, Esq. 439 Horse, Half Blood, Head Erect. 5 \ x 6 \ Reduction. Loaned by Henry Sampson, Esq. 440 Pointer. 3^x6 Loaned by Henry Sampson, Esq. 441 Bull Rearing. 8xn Loaned by Mrs. Bellina Froehlich. 442 Dromedary of Algiers. Reduction. 5| x 6 Loaned by Mrs. Bellina Froehlich. 443 Panther of Tunis. (1840.) 5^x10^ Loaned by Theodore Roosevelt, Esq. 444 Elephant of Asia. (1833.) 5x8 Loaned by Theodore Roosevelt, Esq. 445 Tiger Devouring a Gazelle. Modern. 5^ x 12 Loaned by Theodore Roosevelt, Esq. 446 Two Arab Horsemen Killing a Lion. 14^ x 15 Loaned by John Taylor Johnston, Esq. 52 OTHER CONTRIBUTORS. 447 Bronze Vases (pair). 17^- Marble Stand, ornamented with Panther and Leopard. Bas-reliefs. Loaned by Samuel J. Harriot, Esq. 448 Tiger Walking. 8^ x i6 Loaned by Dr. J. West Roosevelt. 449 Cat Sitting. 3^ x z\ Loaned by Mrs. R. W. Gilder. 450 Panther Seizing a Stag. 15 x 20 Loaned by Brayton Ives, Esq. PLASTER CAST AND WAX MODELS. 451 Lion and Serpent. Plaster Cast. 50x70 Loaned by the Metropolitan Museum of Art. A gift from the French Gov- ernment, now exhibited for the first time in this country. 452 Fawn Scratching. Wax Model. 6 x9 Loaned by James S. Inglis, Esq. 453 Young Man Mastering a Horse. 8x9 Wax Model. Loaned by James S. Inglis, Esq. PAINTINGS, DRAWINGS, ETC. 53 COLLECTION W. T. WALTERS, Esq. WATER COLORS BY A. L. BARYE. 454 Deer and Doe. 6 x io 455 Large Tiger Lying Down. 15 x 2\\ 456 Lion Lying Down. 10 x \2\ 457 Bear Walking. 10x13 458 Leopard Eating. 10^x13 459 Large Lion. 13 x 20 460 Tiger Rolling. 10 x 13 461 Tiger Watching an Elephant. 12 x 16 462 Lion and Serpent. 11^x15^ 463 Tiger Walking. nxi5 464 Tiger Walking. iixi6 465 Elephants. io|xi3|- 466 Serpent Crushing an Antelope. g^x 13^ 467 Two Lion Cubs. n x 15^ 54 COLLECTION W. T. WALTERS. 468 Elephant Asleep. 11^x16 469 Tiger Asleep. 13^x17 470 Lion Standing. n x 15 471 Moose and Doe. io|-xi4 472 Elephants in the Water. 8|-xi2| 473 Lion and Serpent. io x 14 474 Serpent on Limb of Tree. nx 15 475 Serpent Crushing a Gnu. 14 x 21 476 Portrait of Barye, by Camino. 15^x12 477 Deer Walking. 4i><5i 478 Tiger. (Oil.) 20^x45^ PAINTINGS, DRAWINGS, ETC. 55 COLLECTION SAMUEL P. AVERY, Esq. WATER COLORS, ETCHINGS, Etc. 479 Tiger in Repose. 13 x 20^ Water color. 480 Lion on the Alert. 6\ x 10 Water color. 481 Lioness with Cubs. 5i*9 Water color. 482 Stag Fighting a Cougar. Original etching by A. L. Barye. (1871.) Rare. 483 Stag Attacked by a Wolf. Etching by Chas. Jacque. (1846.) After water color by A. L. Barye. 484 Doe Reposing. Etching by Chas. Jacque. (1846.) After a bronze by A. L. Barye. 485 Two Fawns Reposing. Etching by Chas. Jacque. (1846.) After bronzes by A. L. Barye. 486 Lion and Serpent. Etching by Henry Lefort. After A. L. Barye. 56 COLLECTION SAMUEL P. A VER Y. 487 Tiger Devouring a Crocodile. Wood-cut by A. L. Barye. (1871.) 488 Lion of Persia. Lithograph by A. L. Barye. 489 Two Cats Sleeping. Lithograph by A. L. Barye. 490 Lion and Serpent. Lithograph by Vernier. 491 Charles VI. on Horseback. Lithograph by Gigoux. 491a; Elephant Walking. Lithograph by Gigoux. 492 Autograph Letter and Photograph of A. L. Barye. WATER COLORS. 57 OTHER CONTRIBUTORS. WATER COLORS BY A. L. BARYE. 493 Walking Lion. 6| x 10 Loaned by Quincy Shaw, Esq. 494 Sleeping Lion. 7 x io Loaned by Quincy Shaw, Esq. 495 Walking Tiger. 11x15 Loaned by Quincy Shaw, Esq. 496 Lioness Standing. 12x14 Loaned by James F. Sutton, Esq. 497 Tiger Crouching. 11x14 Loaned by James F. Sutton, Esq. 498 Deer Running. 9^x12 Loaned by James F. Sutton, Esq. 5 8 OTHER CONTRIBUTORS. 499 Stag Listening. 6f x 8 Loaned by James F. Sutton, Esq. 500 Leopard Walking. 8x12 Loaned by James F. Sutton, Esq. 501 Lion Listening. 6 x 10 Loaned by James F. Sutton, Esq. 502 Tiger Rolling. io x i2| Loaned by James S. Inglis, Esq. 503 Lion Eating. 7i x if Loaned by Albert Spencer, Esq. 504 Tiger Playing. 9 x 12^ Loaned by Cyrus J. Lawrence, Esq. 505 Stag Standing. d\ x 10 Loaned by Cyrus J. Lawrence, Esq. PAINTINGS, DRAWINGS, ETC. 59 506 Tiger Hunt. 20x27^ Loaned by The Corcoran Gallery of Art. 507 Lions Sleeping. 12 x 19 Loaned by The Corcoran Gallery of Art. 508 Tiger in the Desert. 8f x i8 Loaned by Clarence King, Esq. 509 Lion Listening. 10x13 Loaned by Clarence King, Esq. 510 Panther Crouching. 7xio Loaned by Geo. I. Seney, Esq. OIL PAINTINGS. 511 Landscape, Sketch at Fontainebleau. 12x7^ Loaned by T. K. Gibbs, Esq. 512 Lion Killing a Boar. Sketch. 7^X9^ Loaned by James F. Sutton, Esq. 60 OTHER CONTRIBUTORS. 513 Landscape, Study of Rocks, Fontainebleau. 5|- x 1 2f Loaned by Cyrus J. Lawrence, Esq. 514 Landscape, Study of Trees, Fontainebleau. 7f x 15 \ Loaned by Cyrus J. Lawrence, Esq. 515 Lynx Hunting the Stork. 5 x io Loaned by Cyrus J. Lawrence, Esq. ETCHINGS, DRAWINGS, LITHOGRAPHS, ETC., BY AND AFTER A. L. BARYE. 516 Elephant Hunt. 18x22 Crayon Sketch by A. L. Barye. Loaned by James F. Sutton, Esq. 517 Lion in Repose. Lithograph. Loaned by James F. Sutton, Esq. 518 Tiger in Repose. Lithograph. Loaned by James F. Sutton, Esq. PAINTINGS, DRAWINGS, ETC. 61 519 Ocelot Carrying a Heron. Lithograph. Loaned by James F. Sutton, Esq. 520 Portrait of Barye. Lithograph after Gigoux. Loaned by James F. Sutton, Esq. 521 Lion Walking. Etching by Courtry, After Water Color by A. L. Barye. Loaned by Cyrus J. Lawrence, Esq. 522 Crayon Studies (8). By A. L. Barye. Loaned by Cyrus J. Lawrence, Esq. 523 Portrait. Photograph of A. L. Barye. Loaned by Cyrus J. Lawrence, Esq. 524 Chateaux d'Eau at Marseilles. Pho- tograph, showing four groups exe- ' cuted in stone by A. L. Barye. Loaned by Cyrus J. Lawrence, Esq. 525 Autograph Letter of Barye. With Portrait. Loaned by Cyrus J. Lawrence, Esq. 526 Autograph Letter of Barye. Loaned by Cyrus J. Lawrence, Esq. CATALOGUE OF PAINTINGS BY J. F. MILLET, TH. ROUSSEAU, C. TROYON, C. F. DAUBIGNY, A. G. DECAMPS, J. B. C. COROT, JULES DUPRE, N. DIAZ, E. DELACROIX, J. L. A. T. GERICAULT. CONTEMPORARIES AND FRIENDS OF ANTOINE-LOUIS BARYE. NOTE. The great names in the art of the XlXth century in France are those of the men who were the con- temporaries and friends of Barye. They are de- scribed as the phalanx of 1830, a period of revolu- tion in which they wrought unconsciously, but with infinite power. They were Corot, Daubigny, Diaz, Decamps, Dupr, Delacroix, Millet, Rousseau, Troyon, and Gricault. When it was decided to hold an exhibition of Barye's works in New York, in aid of the project to erect a monu- ment to his memory in Paris, it was thought not inappropriate that it should be made to include a selection of the works of the men who were his contemporaries, his fellow-students, his friends, his pupils, his teachers. These great men all learned each of the other something, and they were the earliest to discern the genius of Barye. They un- derstood and revered his art, and in his turn Barye understood them, toiled with them, suffered with them, and lived to exult in all their triumphs. He, later than any other, achieved the worldly measure of success, and if he lingered unrewarded until nearly all his colleagues had passed away, it seems, perhaps, fitting that they should now appear to do him honor and to contribute to his fame. They are 5 66 NO TE. well represented. Nowhere else in the world could such a collection be made as that which now sup- plements the exhibition of the works of Barye. No like opportunity to assemble them was ever presented, and it is not probable that such another will again occur. In the gravitation to America of great works of art a majority of the treasures of the great French school have been acquired. The choicest of them are among the hundred pictures now displayed, and the occasion for the study of the works of these great artists is one of which the like never before was known. The liberal spirit and the unhesitating generosity of the American collectors of pictures are beyond ordinary compre- hension, and have made this exhibition possible. PAINTINGS. 67 COLLECTION W. T. WALTERS, Esq. PAINTINGS. 527 MILLET (J. F.). 1815-1S75. " Breaking Flax. " 15 x 18 528 COROT (J. B. C). 1796-1875. " The Martyrdom of St. Sebastian." 48 x 96 5 2 9 COROT (J. B. C). 1796-1875. "The Evening Star." 35 * 28 68 COLLECTION W. T. WALTERS. 53 TROYON (C). 1813-1S65. " Repose." 34 x 22 DAUBIGNY (C. F.) 1817-187S. "Twilight." 32 x 18 53 2 COROT (J. B. C). 1796-1875. ' Very Early Spring 15 X 21 533 TROYON (C). 1813-1S65. "Cattle Drinking." 21 x 31 PAINTINGS. 6g 534 MILLET (J. F.). 1815-1875. The Potato Harvest." 535 DELACROIX (E.). 1 799-1 863. " Christ on the Cross." 26 x 33 536 ROUSSEAU (Th.). 1812-1867. "Early Summer Afternoon." 29 X 21 537 DIAZ (N.). 1808-1877. " The Storm." 34x23 7 COLLECTION W. T. WALTERS. 538 DUPRE (Jules). 1812-1889. " The Old Oak." 24 x 28 539 ROUSSEAU (Th.). 1812-1867. u Le Givre Winter Solitude." 38 x 25 540 DIAZ (N.). 1808-1877. " Forest of Fontainebleau Autumn. 25 x 30 541 DECAMPS (A. G.). 1 803-1 860. " The Suicide." 22 x 15 PAINTINGS. 71 542 DIAZ (N.). 1808-1877. " Effect of Autumn." l6 X 12 543 DIAZ (N.). 1 808-1877. " The Assumption." ioi x 15^ 544 DAUBIGNY (C. F.). 1817-1878. " Sunset on the Coast of France." 59 x 30 545 MILLET (J. F.). 1815-1875. "The Sheepfold (Moonlight)." 24 x 18 72 COLLECTION W. T. WALTERS. 546 DELACROIX (E.). 1799-1863. "Jesus on the Sea of Galilee." 29 x 24 547 DUPRE (Jules). 1812-18S9. "At Sea." 29 x 24 548 DAUBIGNY (C. F.). 1817-1878. "The Coming Storm- Early Spring." 27 x 17 549 DUPRE (Jules). 1812-1889. "Sunset." 29I x 24 PAINTINGS. 73 549* DIAZ (N.). 1808-1877. "Cupid Disarmed." 27 x isi BONNAT (Leon). " Portrait of A. L. Barye." 36 x 51 74 OTHER CONTRIBUTORS. OTHER CONTRIBUTORS. PAINTINGS. 55i MILLET (J. F.). 1815-1875. "Sheep Shearing." i6 x 10 Loaned by Quincy Shaw, Esq. 552 MILLET (J. F.). 1815-1875. "Sea View off Cherbourg." IO x 13 Loaned by Quincy Shaw, Esq. 553 MILLET (J. F.). 1815-1875. "Le Bout du Village de GreVille." 33 mo Loaned by Quincy Shaw, Esq. PAINTINGS. 75 554 MILLET (J. F.). 1S15-1875. "The Planters." 33 X40 Loaned by Quincy Shaw, Esq. 555 MILLET (J. F.). 1815-1875. "Buckwheat Threshers." 35x44* Loaned by Quincy Shaw, Esq. 556 DUPRE (Jules). 1812-1889. "The Great Oak." 68 x 57 Loaned by John G. Johnson, Esq. 7 6 OTHER CONTRIBUTORS, 557 DECAMPS (A. J.), i 803-1 860. "Bivouac at Waterloo." 13 x 18 Loaned by John G. Johnson, Esq. 558 DECAMPS (A. J.). 1 803-1 860. "Syrian View." 19 x 24^ Loaned by John G. Johnson, Esq. 559 TROYON (C). 1813-1865. "Forest Clearing." 25 X 21 Loaned by John G. Johnson, Esq. PAINTINGS. 77 5 Co TROYON (C). 1813-1865. "Going to the Fair." 24 x 35* Loaned by John G. Johnson, Esq. 561 DAUBIGNY (C. F.). 1817-1878. " Landscape." iS x 31 Loaned by John G. Johnson, Esq. 562 ROUSSEAU (Th.). 1812-1S67. " October." 15* x 18* Loaned by John G. Johnson, Esq. 78 OTHER CONTRIBUTORS. 5 6 3 MILLET (J. F.). 1815-1875. " Sheep Shearing." 24 x 30 Loaned by Henry Graves, Esq. 5 6 4 MILLET (J. F.). 1815-1875. " Woman Making Lye." 16 X II Loaned by Henry Graves, Esq. 565 DELACROIX (E.). 1 799-1 863. "Wounded Tiger." i3 x 21 Loaned by Henry Graves, Esq. PAINTINGS. 79 566 DECAMPS (A. J.) 1 803- 1 860. " Turkish Butcher's Shop." 24 x 20 Loaned by Henry Graves, Esq. 5 6 7 ROUSSEAU (Th.). 1812-1867. " Morning on the Oise." 16 x 25 Loaned by Henry Graves, Esq. 568 ROUSSEAU (Th.). 1812-1867. " Forest of Fontainebleau.' 25i x 29J Loaned by Henry Graves, Esq. 80 OTHER CONTRIBUTORS. 569 ROUSSEAU (Th.). 1812-1867. "Dogs and Hare." 11* x 19 Loaned by Henry Graves, Esq. 570 DAUBIGNY (C. F.). 1817--1878. " On the River Oise.". 12 x 24 Loaned by Henry Graves, Esq. 571 DAUBIGNY (C. F.). 1817-1878. " Landscape." 12 x 20 Loaned by Henry Graves, Esq. PAINTINGS. 8 1 572 DAUBIGNY (C. F.). 1817-1878. " Landscape After Rain." 9x 15 Loaned by Henry Graves, Esq. 573 MILLET (J. F.). 1815-1875. " Waiting." 33**48 Loaned by George I. Seney, Esq. 574 DIAZ (N.). 1808-1877. " The Temple of Love." 28 x 16 Loaned by George I. Seney, Esq. 82 OTHER CONTRIBUTORS. 575 DIAZ (N.). 1808-1877. " The Flight of Cupid." 40J x 30^ Loaned by George I. Seney, Esq. 576 DECAMPS (A. J.). 1 803-1 860. " Cat, Rabbit, and Weasel." 10 x 14 Loaned by George I. Seney, Esq. 577 TROYON (C). 1813-1865. " Return From the Pastures." 15 x 22 Loaned by George I. Seney, Esq. PAINTINGS. 83 578 COROT (J. B. C). 1796-1875. " Souvenir of Normandy." Loaned by George I. Seney, Esq. 579 DAUBIGNY (C. F.). 1817-1878. * On the River Oise." 14 x 26^ Loaned by George I. Seney, Esq. 580 DELACROIX (E.). 1799-1863. M Lion in the Mountains." II x 14^ Loaned by George I. Seney, Esq. 84 OTHER CONTRIBUTORS. 58i DELACROIX (E.). 1 799-1 863. " Les Convulsionnaires." 24 x 40 Loaned by George I. Seney, Esq. 582 DELACROIX (E.). 1799-1863. " Tiger and Serpent." 13 x 16 Loaned by Henry M. Johnston, Esq. 583 DUPR (Jules). 1812-1889. " Oak by the River. " 30 x 24 Loaned by Henry M. Johnston, Esq. PAINTINGS. 85 584 COROT (J. B. C). 1796-1875. " Lake Nemi." 40 x 53 Loaned by Thomas Newcombe, Esq. 585 DUPRE (Jules). 1812-1889. " Symphony." 27 x 39 Loaned by Dr. H. C. AngelL 586 TROYON (C). 1813-1865. " A Drove of Cattle and Sheep." 26 x 39 Loaned by Cornelius Vanderbilt, Esq. 86 OTHER CONTRIBUTORS. 587 MILLET (J. F.). 1815-1875. " After the Bath." 13 xgf Loaned by Alfred Corning Clark, Esq. 588 MILLET (J. F.). 1815-1875. " The Gleaners." Loaned by Alfred Corning Clark, Esq. 589 DAUBIGNY (C. F.). 1817-1878. "Coast near Dieppe." i6| x 32! Loaned by Alfred Corning Clark, Esq. PAINTINGS. 7 - 59 COROT (J. B. C). 1796-1875. " Evening." l8i x 24* Loaned by Alfred Corning Clark, Esq. 59 1 DELACROIX (E.). 1 799-1 863. " Christ at the Tomb." 21 x 18 Loaned by Alfred Corning Clark, Esq. 59 2 DELACROIX (E.). 1799-1863. "Tiger Quenching his Thirst." 16 x 15 Loaned by Alfred Corning Clark, Esq. 88 OTHER CONTRIBUTORS. 593 ROUSSEAU (Th.). 1812-1867. " Sunset in the Woods." 9 X 12 Loaned by Alfred Corning Clark, Esq. 594 COROT (J. B. C). 1796-1875. " Fauns and Nymphs." 40 x 52 Loaned by William F. Slater, Esq. 595 DELACROIX (E.). 1799-1863. "Christopher Columbus." 35x46 Loaned by William F. Slater, Esq. PAINTINGS. 89 596 GERICAULT (J. L. A. T.). 1791-1824. " Lion Crouching." I4i x 18 Loaned by Cottier & Co, 597 DECAMPS (A. J.). 1803-1860. " Italian Shepherd." 12* x 15* Loaned by Cottier & Co. 598 DELACROIX (E.). 1 799-1 863. " Christ on the Sea of Galilee. 9*x "I Loaned by Cottier & Co. 9 OTHER CONTRIBUTORS. 599 ROUSSEAU (Th.). 1812-1867. " The Valley of Tiffauge." 25 x 40 Loaned by F. L. Ames, Esq. 600 ROUSSEAU (Th.). 1812-1867. " Midsummer on the Oise." 10 x 15 Loaned by F. L. Ames, Esq. MILLET (J. F.). 1815-1875. " La Baratteuse." 37i x 24 Loaned by F. L. Ames, Esq. PAINTINGS. 91 602 MILLET (J. F.) 1815-1875. " The Shepherd." I3i x 10 Loaned by F. L. Ames, Esq. 603 COROT (J. B. C.) 1 796-1875. " The Setting Sun." 20 x 28 Loaned by F. L. Ames, Esq. 604 DECAMPS (A. J.). 1 803- 1 860. " Le Frondeur." 25**32 Loaned by F. L. Ame=, Esq. 9 2 OTHER CONTRIBUTORS. 605 DIAZ (N.). 1808-1877. " La Descente des Bohmiens." 24 x i7i Loaned by F. L. Ames, Esq. 606 TROYON (C). 1813-1865. " Le Garde Chasse." 37 x 29 Loaned by F. L. Ames, Esq. 607 DELACROIX (E.). 1 799-1863. " St. Sebastian." 14J x igi Loaned by F. L. Ames, Esq. PAINTINGS. 93 608 MILLET (J. F.). 1815-1875. " November." 38x55 Loaned by Boussod, Valadon & Co. 609 COROT (J. B. C). 1796-1875. " Evening. " 45 X65 Loaned by Jay Gould, Esq. 610 DIAZ (N.). 1808-1877. " The Old Forest, Fontainebleau." 29 x 36 Loaned by Jay Gould, Esq. 94 OTHER CONTRIBUTORS. 611 MILLET (J. F.). 1815-1875. " La Naissance du Veau." 20 x 24 Loaned by D. C. Lyall, Esq. 612 DELACROIX (E.). 1799-1863. ** L'Enlevement de Rebecca. 40 x 32^ Loaned by D. C. Lyall, Esq. 613 DELACROIX (E.). 1799-1863. " Le Giaour et le Pacha." 24 x 29 Loaned by Potter Palmer, Esq. PAINTINGS. 95 614 MILLET (J. F.). 1815-1875. " The Turkey Keeper." 33* 40 Loaned by Charles A. Dana, Esq. 615 DAUBIGNY (C. F). 1 81 7-1878. "Sunset." 15 x 26$ Loaned by Charles A. Dana, Esq. 616 COROT (J. B. C). 1796-1875. " The Dance of Loves." 54x44 Loaned by Charles A. Dana, Esq. 9^ OTHER CONTRIBUTORS. 617 DIAZ (N.). 1808-1877. " The Frog Pond." Loaned by Charles A. Dana, Esq. 6x8 MILLET (J. F.). 1815-1875. " The Angelus." 2l X 25| Loaned by the American Art Association. 619 MILLET (J. F.). 1815-1875. " Paysage d'Auvergne, Chevrtere." 33* x 39 Loaned by the American Art Association. PAINTINGS. 97 620 MILLET (J. F.). 1815-1875. " The Sower." 34* x 24 Loaned by the American Art Association. 621 ROUSSEAU (Th.). 1 812-1867. "Forest of Fontainebleau." 20 x 29 Loaned by the American Art Association. 622 COROT (J. B. C). 1796-1875. " Maisons des Pecheurs." 30 x 26 Loaned by The American Art Association. 7 98 OTHER CONTRIBUTORS. 623 DELACROIX (E.). 1 799-1863. " Lion and Lioness." X Loaned by W. C. Van Home, Esq. 624 DELACROIX (E.). 1 799-1 863. "The Signal." 22 x 18 Loaned by Knoedler & Co. 625 DUPRE (Jules). 1812-1889. " Twilight." 18^ x 25^ Loaned by Knoedler & Co. PAINTINGS. 99 626 DAUBIGNY (C. F.). 1817-1878. "Village au Bord de l'Oise, Soleil Couchant." X Loaned by George F. Baker, Esq. 627 DAUBIGNY (C. F.). 1817-1878. " Marine." 18 x 32 Loaned by W. Schaus, Esq. 628 MILLET (J. F.). 1815-1875. "The Grafter." 32 x 40 Loaned by \V. Rockefeller, Esq. OTHER CONTRIBUTORS. 629 TROYON (C). 1813-1865. "Cows and Sheep at Pasture." 22 x 32 Loaned by W. Rockefeller, Esq. 630 DUPRE (Jules). 1812-1889. " L'Etang." 26 x 36^ Loaned by E. B. Warren, Esq. 631 DIAZ (N.). 1808-1877. u Coronation of Love." 25 x 18 Loaned by Brayton Ives, Esq. WATER COLORS, PASTELS, ETC. IOI WATER COLORS, PASTELS, Etc. 632 DELACROIX (E.). 1799-1863. " Lion and Serpent." Water Color. I5t x 23i Loaned by W. T. Walters, Esq. 633 MILLET (J. F.). 1815-1875. "The Angelus." Crayon. 13 x 18 Loaned by W. T. Walters, Esq. 634 MILLET (J. F.). 1815-1875. " The Shepherdess." Pastel. 15 x 20 Loaned by W. T. Walters, Esq. 102 OTHER CONTRIBUTORS. 635 MILLET (J. F.). 1815-1875. "The Sower." Pastel. 17 X 2o Loaned by W, T. Walters, Esq. 636 MILLET (J. F.). 1815-1875 "The Shepherd at the Fold by Moonlight." Crayon. 9i x I3i Loaned by W. T. Walters, Esq. 637 MILLET (J. F.). 1815-1875. " Le Gardeuse des Vaches." Pastel. 12 x 18 Loaned by D. C. Lyall, Esq. WATER COLORS, PASTELS, ETC. 103 638 MILLET (J. F.)- 1815-1875. " The Shepherdess." Pastel. *6 x 23 Loaned by John G. Johnson, Esq. 639 MILLET (J. F.). 1815-1875. " The First Steps." Pastel. 12 x 18 Loaned by Knoedler & Co. 640 MILLET (Fils). "The Home of Millet." Barbazon. Pastel. Loaned by the American Art Association. 104 OTHER CONTRIBUTORS. 641 ROUSSEAU (Th.). 1812-1867. " Landscape." India Ink. 8 x 11 Loaned by W. Schaus, Esq. 642 ROUSSEAU (Th.). 1812-1867. " Landscape." Water Color. Loaned by Boussod, Valadon & Co. 643 DELACROIX (E.). 1 799-1 863. " Lion." Water Color. 6x6i Loaned by Mrs. W. T. Blodgett. WATER COLORS, PASTELS, ETC. 105 644 DELACROIX (E.). 1799-1863. " Tiger." Water Color 3* 9k Loaned by Mrs. W. T. Blodgett. 645 MILLET (J. F.). 1815-1875. " Cows." Pastel. 8x12 Loaned by the American Art Association. 646 MILLET (J. F.). 1815-1875. " The Shepherdess." Pastel. 11 x 16 Loaned by the American Art Association. 106 OTHER CONTRIBUTORS. 647 MILLET (J. F.). 1815-1875. u Le Troupeau de Moutons." Water Color. 10 x 14 Loaned by the American Art Association. 648 MILLET (J. F.). 1815-1875. "Gardeuse de Chevres en Auvergne." Pastel. 22 x 18 Loaned by the American Art Association. 649 MILLET (J. F.). 1815-1875. " Meridian." Pastel. 28 x 37 Loaned by the American Art Association. WATER COLORS, PASTELS, ETC. 107 650 MILLET (J. F.). 1815-1875. " Killing the Hog." Pastel. 27x35 Loaned by the American Art Association. UCLA-Art Library NB 553 B289 B29 II l L 006 220 175 1 University of California SOUTHERN REGIONAL LIBRARY FACILITY S Hilgard Avenue, Los Angeles, CA 90024-1388 Return this material to the library .jiu^fflaflw wa * *"*">*"* *