LOAN EXHIBITION 
 OF THE WORKS OF 
 GUSTAVE COURBET 
 
THE METROPOLITAN MUSEUM OF ART 
 
 LOAN EXHIBITION 
 OF THE WORKS OF 
 GUSTAVE COURBET 
 
 NEW YORK 
 APRIL 7 TO MAY i8 
 MCMXIX 
 
Copyright by 
 The Metropolitan Museum of A 
 April, 1 91 9 
 
LENDERS TO THE 
 EXHIBITION 
 
 Mrs. A. A. Anderson 
 Anonymous 
 
 Mrs. Harry Payne Bingham 
 
 Museum of Fine Arts, Boston 
 
 W. Endicott Dexter 
 
 Joseph Durand-Ruel 
 
 Mrs. Michael Gavin 
 
 Charles W. Gould 
 
 D. Kelekian 
 
 C. W. Kraushaar 
 
 Burton Mansfield 
 
 The Minneapolis Institute of Arts 
 
 The Pennsylvania Academy of the Fine Arts 
 
 Mrs. Charles H. Senff 
 
 Estate of Charles H. SenfE 
 
 Josef Stransky 
 
 Mrs. Edward C. Walker 
 
 Colonel C. E. S. Wood 
 
INTRODUCTION 
 
 No nineteenth-century painter has had a deeper or 
 more wide-spread influence than Gustave Courbet, the 
 founder of the Realistic School that has furnished so 
 many of the greatest names to modern art. Nothing 
 should be invented, he held, only things actually seen 
 should be represented, and the function of the imagina- 
 tion is to find the fullest expression of the chosen sub- 
 ject. His principles have been particularly potent in 
 America from 1875 down to almost our own day. Three 
 of the foremost American painters, Whistler, Homer, 
 and Eakins, were his followers— Whistler directly, 
 whereby many of his characteristics and peculiarities 
 were determined and his early style formed, while 
 Homer and Eakins throughout their entire careers show 
 their reliance on him. It is therefore fitting that the 
 hundredth anniversary of his birth, which took place 
 on the tenth of June, 18 19, should be commemorated 
 in this country. The present loan exhibition consists of 
 pictures chosen from the splendid series of his works 
 owned here, which were gathered mostly before the 
 acquisition of important examples became impossible. 
 Our collectors were among the early ones to appreciate 
 his excellence. To America, indeed, belongs the honor 
 of being the first of foreign lands to own one of his 
 masterpieces. The Quarry {La Curee) was bought by 
 the Allston Club of Boston in 1866. It has lately 
 
 vii 
 
INTRODUCTION 
 
 passed into the possession of the Museum of Fine Arts, 
 Boston, and has been generously lent for this occasion. 
 The museums and the private collectors alike have 
 shown an enthusiastic interest in our enterprise, and on 
 behalf of our public we beg to thank them for having 
 made possible this illuminating exhibition. 
 
 Looking back from our distance, it is obvious that 
 Courbet's principles were inevitably the outcome of the 
 artistic development. The realism of the seventeenth 
 century had been followed by the courtly ideality of the 
 eighteenth; this, in turn, was displaced by the interest 
 in classic art which to those of the time seemed a return 
 to nature, and such it was as far as many of its elements 
 were concerned. David, the leader of the Classicists, 
 was entirely a naturalist in his portraits and he antici- 
 pated the evolution in frequently choosing subjects from 
 contemporary life, like the Oath of the Tennis Court 
 and his pictures of Imperial ceremonies. His pupils, 
 Ingres and Gros, carried their naturalism still further, 
 particularly the latter, and Gericault, his follower, 
 might perhaps have forestalled Courbet's realism had 
 he lived. Gericault's paintings of animals show the 
 direction in which he was proceeding. 
 
 Realism was an instinct with Courbet. As a student 
 he felt himself drawn to the great realists of the past — 
 Holbein, Ribera, Caravaggio, Velazquez, the little 
 Dutch Masters, and above all Rembrandt, "the 
 exact image of life," he said, "who charms the intelli- 
 gent but stuns and massacres the imbeciles." His early 
 works were portraits, of himself mostly, and landscapes, 
 with only a very few efiforts in the direction of the then 
 
 viii 
 
INTRODUCTION 
 
 fashionable Romanticism; the picture of Lot and 
 his Daughters, now in America, being one of these. 
 His bent from the first was to copy exactly what he 
 saw, and his work had none of the artificial arrange- 
 ments and embellishments that even innovators like 
 Rousseau or Corot felt called upon to make in their 
 more ambitious pictures. In this, as in all his practices, 
 he seems merely to have abandoned himself to his 
 preferences, with no idea of establishing a new aestheti- 
 cism, until the idea was suggested to him by theorizing 
 friends. Realism was in the air and was making itself 
 felt in literature as well as in painting. 
 
 Under these circumstances it is hard to understand 
 the abuse that greeted Courbet's pictures when they 
 appeared as a force about 1850. His history was no 
 different from that of other painters of original genius. 
 There were a few in the middle of the hubbub who 
 believed in him, and the number slowly increased until 
 general recognition and official sanction came. But the 
 time of triumph in his case was cut short by the politi- 
 cal events in which he had become enmeshed, leading to 
 his decline and to his death in exile. 
 
 He came of a peasant family in comfortable circum- 
 stances at Ornans, Franche-Comte. He had no gift 
 for classical studies or literary culture, only for paint- 
 ing. The artist revealed through his pictures is an 
 energetic, exuberant person of enormous appetites, filled 
 with the joy of life and the love of his work. His 
 genius lay in his susceptibility to the power and fecun- 
 dity of nature and his marvelous power of expressing 
 these in his art. He had a boundless admiration for 
 
 ix 
 
INTRODUCTION 
 
 himself, both for his person* and for his abilities in all 
 particulars, joined to an ever-increasing hunger for 
 celebrity. He remained always as impulsive and as 
 heedless as a school-boy. His latest biographer, his 
 friend Theodore Duret (whose portrait by Whistler 
 may be seen in Gallery 20), makes these facts clear. 
 Duret tells an incident that is significant. When past 
 fifty Courbet surprised his friends at a party that was 
 celebrating his final successes, by walking at noon 
 through the main street of Bougival, clad only in 
 bathing trunks, a bath towel thrown over one shoulder, 
 with the object of shocking the townspeople! It was a 
 similar devil-may-care spirit, seemingly, that prompted 
 his activities during the Commune. 
 
 Among those who in the early days applauded his work 
 were intellectual people who saw in it the manifesta- 
 tion in painting of what they themselves were preach- 
 ing. Proudhon, the social reformer, was of the number, 
 and Courbet frequently served as text in his book, "L'Art 
 et sa Destination Sociale." The Stone-breakers, for in- 
 stance (one of the early pictures of the same time and 
 sort as The Grinders of this exhibition), Proudhon 
 pronounced as precious morally as one of the Parables. 
 It is a picture of two men working at the roadside — 
 one old and miserable, brutalized by his monotonous 
 
 * His good looks as a young man can be judged by the 
 portrait of himself as The Violoncellist. Other self-like- 
 nesses in this exhibition are found in The Quarry, where 
 he is the huntsman leaning against the tree, in the Hunts- 
 man on Horseback Finding the Trail, and in the Landscape 
 by the Sea, where he appears as one of the small figures at 
 the left. 
 
INTRODUCTION 
 
 labor, and the other young. Proudhon found in the 
 painting many statements : for example, that the young 
 were victimized; that slavery was preferable to the 
 social order of the time because slaves as assets were 
 protected from overwork as were beasts of burden ; that 
 no one could be certain of escaping misery and poverty ; 
 that the condition of the stone-breakers was that of six 
 million souls in France. His conclusion was that the 
 picture should be set up as an altarpiece in some church. 
 Of course Courbet, in its execution, had thought only 
 of setting down a familiar spectacle, but he was quite 
 ready, nevertheless, to consider himself the Messiah of 
 the Social Revolution. 
 
 So he assumed the position. It is time to regenerate 
 humanity as I have regenerated painting: this was his 
 attitude. After the fall of Napoleon III, his opportu- 
 nity for action came. He stayed in Paris during the 
 siege and was named the president of an unofficial com- 
 mission of artists selected to take charge of the works 
 of art belonging to the people. As such he asked for 
 authorization to take down {deboulonner) the Ven- 
 dome column, wishing to remove a monument to Napo- 
 leon and the Grande Armee which celebrated despotism 
 and conquest, and, besides, stood for the Imperial 
 regime that was responsible for the plight of France. 
 The destruction of the column did not take place until 
 later, under the Commune. Though Courbet was not 
 of the voting body that decided upon the action, he was 
 held responsible for it by the Republic, was imprisoned, 
 and finally condemned to pay the cost of the reconstruc- 
 tion, amounting to 323,000 francs. He cut a sorry 
 figure at the trial and in 1873 escaped to Switzerland. 
 
 xi 
 
INTRODUCTION 
 
 Though he continued to paint remarkable pictures, his 
 old pride and defiance had been quenched in his 
 troubles. He died in 1877. 
 
 His commentators without exception feel called upon 
 to condone his personality, but what was questionable 
 in the man becomes admirable in the artist. All his 
 abilities were concentrated in his art, and there, because 
 he was a great painter, unreason and vanity are trans- 
 muted into steadfastness and sublime self-confidence. 
 His genius had clearly defined limitations, to be sure; 
 but once these be recognized and accepted, his rank is 
 unquestionably with the greatest. 
 
 Bryson Burroughs. 
 
 xii 
 
CATALOGUE 
 
 The pictures are catalogued chronologically so far as their 
 dates are known. All are painted in oil on canvas. 
 
 1 THE VIOLONCELLIST 
 
 A portrait of the artist at about twenty-eight years 
 of age. Painted in 1 846-1 847 ; refused at the Salon 
 of 1847; exhibited at the Salon of 1848 and at the 
 Courbet Exhibitions in Paris in 1855 and 1867. 
 
 H. 45; w. 35 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by Colonel C. E. S. Wood. 
 
 2 PORTRAIT OF URBAIN CUENOT, THE 
 MAYOR OF ORNANS 
 
 The sitter was a friend of the artist. The portrait 
 was painted at Ornans in 1846 or 1847; refused 
 at the Salon of 1847; exhibited at the Salons of 
 1848 and 1852, at the Universal Exposition of 
 1855, and the Courbet Exhibition in Paris in 1867. 
 The figure of M. Cuenot in a similar position ap- 
 pears in A Funeral at Ornans (Salon 1850-51). 
 
 H. 37/^; w. 293/2 inches. Signed, lower left: 
 Courbet. 
 
 Lent by The Pennsylvania Academy of the Fine 
 Arts. 
 
 3 
 
THE METROPOLITAN MUSEUM OF ART 
 
 3 THE GRINDERS (LES REMOULEURS) 
 
 It is of about the same date as The Stone-breakers 
 (Les Casseurs de Pierres) , which created much ex- 
 citement in the Salon of 1850. 
 
 H. 34^; w. 40^ inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 4 THE VILLAGE GIRLS (LES DEMOI- 
 SELLES DE VILLAGE) 
 
 The three sisters of the artist, one of whom gives a 
 piece of cake to a peasant child: the place is a pas- 
 ture above the rocks at Ornans. Painted at Ornans 
 about 1850; exhibited at the Salon of 1851 and at 
 the Courbet Exhibitions in Paris in 1855 and 1867. 
 H. 76^; w. 102% inches. Signed, lower left: 
 
 G. Courbet. 
 
 Lent by Mrs. Harry Payne Bingham. 
 
 5 PORTRAIT OF ALPHONSE PROMAYET 
 
 He was a friend of Courbet's and appears in his 
 famous early picture, Un A pres-midi a Ornans, now 
 in the Lille Museum. At one time he was a violin- 
 ist in the orchestra of the Hippodrome at Paris. 
 Painted about 1851 and exhibited at the Salon of 
 that year, at the Courbet Exhibitions at Paris in 
 1855 and 1867, and at the Memorial Exhibition at 
 the Beaux- Arts in 1882. 
 
 H. 42}i; w. 27^ inches. Signed, lower right: 
 G. Courbet. 
 
 Lent anonymously. 
 
 4 
 
WORKS OF GUSTAVE COURBET 
 
 6 THE AMAZON— PORTRAIT OF LOUISE 
 COLET 
 
 She was a writer of stories and is supposed to have 
 been the original of Amandorine in Champfleury's 
 "Mascarade de la Vie Parisienne" ; born 1810, died 
 1876. Painted about 1856 and considered by Riat 
 ("Courbet," p. 172) to be one of the artist's most 
 beautiful portraits. 
 
 H. 45K j w. 35 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 7 HUNTING DOGS 
 
 The same dogs occur in The Quarry (No. 10). 
 Presumably this is a preliminary work for that 
 picture. 
 
 H. 36^; w. 58^ inches. Signed, lower right: 
 G. Courbet. 
 
 Lent anonymously. 
 
 8 PORTRAIT OF M. GUEYMARD OF THE 
 OPERA IN THE ROLE OF ROBERT LE 
 DIABLE 
 
 It is the moment when Robert sings, "Oui, I'or est 
 une chimere." His companions are shown with 
 him ; in his right hand he raises the dice-box which 
 will decide his fortune. Painted in 1856 or 1857 
 and shown in the Salon of that year, at the same 
 time as The Quarry, and in the Memorial Exhibi- 
 tion, Beaux- Arts, in 1882. 
 
 5 
 
THE METROPOLITAN MUSEUM OF ART 
 
 H. 58; w. 42 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by Mrs. A. A. Anderson. 
 
 PORTRAIT OF MADAME CROCQ (LA 
 FEMME AU GANT) 
 
 Painted in 1857 and exhibited at the Salon of that 
 year, in the Courbet Exhibition in 1857, and in the 
 Memorial Exhibition at the Beaux- Arts in 1882. 
 
 H. 69^ ; w. 43 inches. Signed, lower right : 
 
 G. Courbet. 
 
 Lent anonymously. 
 
 THE QUARRY (LA CUREE) 
 
 The old title contains also the Hunt of the Roe- 
 buck in the Forests of the High Jura. The hunts- 
 man leaning against the tree is Courbet himself. 
 When first exhibited in the Salon of 1857 the pic- 
 ture was not so large as at present, a strip about 
 eighteen inches wide having since been added at 
 the top, and one six and one half inches wide at 
 the left. This was the first important picture 
 by Courbet to be bought outside of France. It was 
 purchased by the Allston Club of Boston in 1866 
 and passed into the possession of the Boston 
 Museum of Fine Arts in 19 18. 
 
 H. 82^ ; w. ^o}i inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by The Museum of Fine Arts, Boston. 
 6 
 
WORKS OF GUSTAVE COURBET 
 
 11 THE MEDITERRANEAN 
 
 H. 23 w. 33>^ inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by Burton Mansfield. 
 
 12 NEIGHBORHOOD OF ORNANS (EN- 
 VIRONS D'ORNANS) 
 
 H. 28^; w. 36^ inches. Dated and signed, 
 lower left: 62 Gustave Courbet. 
 
 Lent by Mrs. Michael Gavin. 
 
 13 THE SOURCE 
 Painted about 1862. 
 
 H. 473^; w. 291^ inches. Signed, lower right: 
 
 G. Courbet. 
 
 Lent anonymously. 
 
 14 AFTER THE HUNT 
 
 H. 93; w. 73 >4 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 15 NUDE WOMAN— THE CHERRY 
 BRANCH (LA BRANCHE DE CERISIER) 
 
 Painted at Saintes about 1863; shown at the 
 Courbet Exhibition in Paris, 1867. 
 
 H. 295^; w. 24 inches. Signed, lower right: G. 
 Courbet. 
 
 Lent anonymously. 
 
 7 
 
THE METROPOLITAN MUSEUM OF ART 
 
 16 THE SOURCE OF THE LOUE 
 
 Painted about 1864 and shown at the Courbet Ex- 
 hibition in Paris in 1867. 
 
 H. 39}i> w. 56^4 inches. Signed, lower edge 
 near the center: G. Courbet. 
 
 Lent anonymously. 
 
 17 THE ROCKY STREAM— THE BROOK OF 
 THE BLACK WELL 
 
 H. 21; w. 24>'4 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by the Estate of Charles H. SenfE. 
 
 18 THE BLACK WELL (LE PUITS NOIR) 
 H. 2i>4; w. 35 inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by Josef Stransky. 
 
 19 LANDSCAPE 
 
 H. 29; w. 36% inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by W. Endicott Dexter. 
 
 20 THE BROOK OF THE BLACK WELL 
 (LE PUITS NOIR) 
 
 H. 32; w. 39>4 inches. Dated and signed: 65 
 G. Courbet. 
 
 Lent by Charles W. Gould. 
 
 8 
 
WORKS OF GUSTAVE COURBET 
 
 21 LANDSCAPE BY THE SEA (PAYSAGE 
 AU BORD DE LA MER) 
 
 Painted about 1865. 
 
 H. 26; w. 32 inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by Mrs. Charles H. SenfF. 
 
 22 THE ISOLATED ROCK 
 
 Painted on the Normandy coast about 1865. 
 
 H. 25^; w. 32 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 23 THE WOMAN WITH THE MIRROR 
 (LA BELLE IRLANDAISE) 
 
 The sitter, Joanna Abbot, was Whistler's com- 
 panion for a number of years and the model for 
 many of his paintings, including the White Girl 
 of the Salon des Refuses in 1863, the Little White 
 Girl of 1865, and others. Whistler and she spent 
 the summer of 1865 at Trouville at the time 
 Courbet was there. This picture was shown at 
 the Courbet Exhibition, Paris, 1867, and at the 
 Memorial Exhibition ( Beaux-Arts, 1882). Another 
 version of the work exists. 
 
 H. 22]4, >* w. 26 inches. Dated and signed, lower 
 left: 66 Gustave Courbet. 
 
 Lent anonymously. 
 
 9 
 
THE METROPOLITAN MUSEUM OF ART 
 
 24 THE WOMAN WITH THE PARROT 
 (LA FEMME AU PERROQUET) 
 
 Painted at Paris in 1866. The model has cop- 
 per-colored hair that resembles that of La Belle 
 Irlandaise. The picture was one of the successes 
 of the Salon of 1866; it was shown in the Courbet 
 Exhibition of 1867 and the Memorial Exhibition of 
 1882 at the Beaux-Arts. 
 
 H. 50; w. 77 inches. Dated and signed, lower 
 left: 66 Gustave Courbet. 
 
 Lent anonymously. 
 
 25 THE LAKE 
 
 H. 28^ ; w. 36 inches. Dated and signed, lower 
 left: 66 G. Courbet. 
 
 Lent by Mrs. Michael Gavin. 
 
 26 HUNTSMAN ON HORSEBACK FINDING 
 THE TRAIL (CHASSEUR A CHEVAL RE- 
 TROUVANT LA PISTE) 
 
 The horseman is Courbet himself; the horse scents 
 footprints in the snow. Painted about 1867; ex- 
 hibited in the Courbet Exhibition, Paris, 1867. 
 
 H. 47; w. 37% inches. 
 
 Lent anonymously. 
 
 27 PORTRAIT OF A WOMAN (MADAME 
 FROOD) 
 
 Painted between 1866 and 1870. 
 
 10 
 
WORKS OF GUSTAVE COURSE T 
 
 H. 255^2 ; w. 19^ inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by The Pennsylvania Academy of the Fine 
 Arts. 
 
 28 THE WAVE 
 
 Painted about 1865-69. Exhibited at the Memorial 
 Exhibition at the Beaux- Arts in 1882. 
 
 H. 25^; w. 34% inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 29 LANDSCAPE 
 
 H. 21%; w. 2414 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by Charles W. Gould. 
 
 30 DEER IN THE FOREST 
 
 H. 515^ ; w. 383^ inches. Dated and signed, lower 
 left: 68 Gustave Courbet. 
 
 Lent by The Minneapolis Institute of Arts, 
 
 31 THE WOMAN IN THE WAVES (LA 
 FEMME A LA VAGUE) 
 
 The same model as in the Woman with a Parrot, 
 says Riat ("Courbet," p. 264), and adds that the 
 picture upholds without detriment the comparison 
 with Titian's Venus Anadyomene in the Bridge- 
 water Collection in London, Shown in the 
 Memorial Exhibition, Beaux-Arts, 1882. 
 
 1 1 
 
THE METROPOLITAN MUSEUM OF ART 
 
 H. 25 ; w. 21 inches. Dated and signed,. lower left: 
 68 G. Courbet. 
 Lent anonymously. 
 
 32 MARINE 
 
 H. 21 ; w. 29 inches. Signed and dated, lower 
 
 right: G. Courbet 69. 
 
 Lent by the Estate of Charles H. SenfE. 
 
 33 STORMY WEATHER AT ETRETAT 
 Painted about 1868-70. 
 
 H. 28^ ; w. 36^ inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by Joseph Durand-Ruel. 
 
 34 THE MUSSEL GATHERERS 
 
 H. w. 20 inches. Signed, lower left: G. 
 
 Courbet. 
 
 Lent by Burton Mansfield. 
 
 35 MARINE 
 
 H. 20; w. 24 inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by D. Kelekian. 
 
 36 ETRETAT 
 
 H. 28>^; w. 36 inches. Signed, lower right: G. 
 Courbet. 
 
 Lent by Josef Stransky. 
 
 12 
 
WORKS OF GUSTAVE COURBET 
 
 37 SPRING FLOWERS 
 
 Painted at the prison of Sainte Pelagic, Paris, 1871. 
 
 H. 26; w. 32 inches. Signed, lower left: G. 
 Courbet. 
 
 Lent anonymously. 
 
 38 THE FISHERMAN 
 
 H. 19%; w. 24 inches. Dated and signed, lower 
 left: 72 G. Courbet. 
 
 Lent by Mrs. E. C. Walker. 
 
 39 THE CASTLE OF CHILLON 
 
 H. 345^ ; w. 45^ inches. Dated and signed, lower 
 left: 73 G. Courbet. 
 
 Lent by C. W. Kraushaar. 
 
 40 THE FRINGE OF THE FOREST 
 
 H. 35; w. 455^ inches. Signed, lower left: G. 
 Courbet. 
 
 Lent by Charles W. Gould. 
 
 13 
 
INDEX 
 
 NUMBER 
 
 After the Hunt 14 
 
 Amazon, The— Portrait of Louise Colet . . 6 
 
 Black Well, The (Le Puits Noir) .... 18 
 
 Brook of the Black Well, The (Le Puits Noir) . 20 
 
 Castle of Chillon, The 39 
 
 Colet, Louise, Portrait of 6 
 
 Crocq, Madame, Portrait of 9 
 
 Cuenot, Urbain, the Mayor of Ornans, Portrait 
 
 of 2 
 
 Deer in the Forest 30 
 
 fitretat 36 
 
 Fisherman, The 38 
 
 Fringe of the Forest, The 40 
 
 Frood, Madame, Portrait of 27 
 
 Grinders, The (Les Remouleurs) 3 
 
 Gueymard, M., of the Opera in the Role of Robert 
 
 le Diable 8 
 
 Hunting Dogs 7 
 
 Huntsman on Horseback Finding the Trail (Chas- 
 seur a Cheval retrouvant la Piste) ... 26 
 
 Isolated Rock, The 22 
 
 Lake, The 25 
 
 Landscape 19 
 
 Landscape 29 
 
 Landscape by the Sea (Paysage au Bord de la 
 
 Mer) 21 
 
 Marine 32 
 
 15 
 
INDEX 
 
 NUMBER 
 
 Marine 35 
 
 Mediterranean, The ii 
 
 Mussel Gatherers, The 34 
 
 Neighborhood of Ornans (Environs d'Ornans) . 12 
 Nude Woman— The Cherry Branch (La Branche 
 
 de Cerisier) 15 
 
 Portrait of Alphonse Promayet 5 
 
 Portrait of Louise Colet — The Amazon ... 6 
 
 Portrait of Madame Crocq (La Femme au Gant) 9 
 Portrait of M. Gueymard of the Opera in the 
 
 Role of Robert le Diable 8 
 
 Portrait of Urbain Cuenot, the Mayor of Ornans 2 
 
 Portrait of a Woman (Madame Frood) . . 27 
 
 Promayet, Alphonse, Portrait of 5 
 
 Quarry, The (La Curee) 10 
 
 Rocky Stream, The — ^The Brook of the Black 
 
 Well 17 
 
 Source, The 13 
 
 Source of the Loue, The 16 
 
 Spring Flowers 37 
 
 Stormy Weather at Etretat 33 
 
 Village Girls, The (Les Demoiselles de Village) 4 
 
 Violoncellist, The i 
 
 Wave, The 28 
 
 Woman in the Waves, The (La Femme a la 
 
 Vague) 31 
 
 Woman with the Mirror, The (La Belle 
 
 Irlandaise) 23 
 
 Woman with the Parrot, The (La Femme au 
 
 Perroquet) 24 
 
 16 
 
2 
 
 PORTRAIT OF URBAfN CUENOT 
 T[IE MAYOR OF ORNANS 
 
3 
 
 the grinders 
 (les remouleurs) 
 
the village girls 
 (les demoiselles de village) 
 
5 
 
 PORTRAIT OF ALPHONSE PROMAYET 
 
6 
 
 THE AMAZON PORTRAIT OF LOUISE COLET 
 
7 
 
 HUNTING DOGS 
 
PORTRAIT OF M. GUEYMARD OF THE OPERA 
 IN THE ROLE OF ROBERT LE DIABLE 
 
9 
 
 PORTRAIT OF MADAME CROCQ 
 (la FEMME AU gant) 
 
the quarry 
 (la curee) 
 
12 
 
 neighborhood of ornans 
 (environs d'ornans) 
 
14 
 
 AFTER THE HUNT 
 
15 
 
 NUDE WOMAN THE CHERRY BRANCH 
 
 (la BRANCHE DE cerisier) 
 
i6 
 
 THE SOURCE OF THE LOUE 
 
i8 
 
 the black well 
 (le PUITS noir) 
 
19 
 
 LANDSCAPE 
 
20 
 
 the brook of the black well 
 (le PUITS noir) 
 
21 
 
 LANDSCAPE BY THE SEA 
 (PAYSAGE AU BORD DE LA MER ) 
 
22 
 
 THE ISOLATED ROCK 
 
23 
 
 the woman with the mirror 
 (la belle irlandaise) 
 
24 
 
 THE WOMAN WITH THE PARROT 
 
 (la FEMME AU perroquet) 
 
26 
 
 huntsman on horseback finding the trail 
 (chasseur a cheval retrouvant la piste) 
 
27 
 
 PORTRAIT OF A WOMAN 
 (MADAME FROOD) . 
 
30 
 
 DEER IN THE FOREST 
 
31 
 
 the woman in the waves 
 (la femme a la vague) 
 
33 
 
 STORMY "WEATHER AT ETRETAT 
 
35 
 
 MARINE 
 
ETRETAT 
 
38 
 
 THE FISHERMAN 
 
39 
 
 THE CASTLE OF CHILLON 
 
OF THIS CATALOGUE 
 ONE THOUSAND COPIES HAVE BEEN PRINTED 
 APRIL, I 91 9 
 
 ONE THOUSAND ADDITIONAL COPIES 
 HAVE BEEN PRINTED 
 APRIL, 19 19 
 
GETTY CENTER LIBRARY 
 
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