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Pranffs Chromo 

A Journal of Popular Art. 

Vol. I. 


No. 3. 


A FULL list of our American chromos and half-chromos, 

with size and retail price, will be found on the last page of 

this paper. 

Brichek's Landscapes. 

Mr. Bricher is a well-known Boston artist, whose repre- 
sentations of American scenery, and especially of autumnal 
scenery, have always been received with much favor. Our 
chromos are reproductions of some of his most popular 
sketches. The companion-pictures — "Early Autumn on 
Esopus Creek,*' and " Late Autumn in the White Moun- 
tains"— are among the most favorite chromos of landscapes 
that have ever been introduced into this country. The " Six 
American landscapes" are little gems, charming in com- 
position as well as in color. Their titles are, " Souvenir of 
Lake George," " Twilight on Esopus Creek, New York," 
"Sawyer's Pond, New Hampshire," "White Mountains," 
" Mount Chocorua, and Lake, New Hampshire," " On the 
Saco River, North Conway, New Hampshire," and " On the 
Hudson, near West Point." 

" We have hanging in our modest room," says " The Syra- 
cuse Journal," " two chromos, after Bricher's " Early and 
Late Autumn on Esopus Creek, New York," and the White 
Mountains. They fill the room with a sense of beauty; and 
their glowing hues, so faithfully reproducing the parti-colored 
garb of autumn, are a constant pleasure to the eye as well as 
to the mind. There is about them the very haze of the lin- 
gering Indian summer ; and one can look and dream as if in 
actual presence of that sweet yet mournful season. Prang's 
chromos are actually giving Democracy its art-gallery. 

Fruit and Flower Pieces. 

Our fruit and flower pieces are admirably adapted for the 
decoration of dining-rooms and parlors. We intend to issue 
still other pictures of this character; and we venture to pre- 
dict that the set, when complete, will be unrivalled either in 
Europe or America. Each picture is from the palette of an 
artist who has achieved distinction in this branch of the 


Cherries and Basket, 
After Miss V. Granberry, of New York, is a most effective 
composition, with brilliant, harmonious coloring. "Miss 
Granberry," says a critic, " paints in the style of the pre- 
Raphaelites, and her work has been greatly admired in the 
New- York Academy. This chromo is a perfect copy of the 
original painting, and shows fidelity to nature in gradations 
of color, form, and grouping." " Cherries," says " The Hart- 
ford Post," " certainly never looked more luscious and tempt- 
ing than they do in this gem of a picture." " Your chromo, 
«The Cherries,'" writes Miss Lucy Larcom, "is very beauti- 
ful. The fruit is so deliciously real, it brings back the sun- 
shine and breezes of early June; and one almost looks to 
see a robin's head bobbing suddenly in at the corner of the 
picture to peck at the ' black-hearts.' " 

Strawberries and Basket, 

Also by Miss Granberry, is a companion-picture to the preced- 
ing piece, equally beautiful, and by many critics preferred to 
"The Cherries." They are acknowledged to be the most 
beautiful pair of fruit-pieces ever produced in a popular form, 
and at the same time in an artistic style. 

Flower Bouquet. 

This is a bouquet of flowers, mostly roses, of various tints 
and colors, — a very beautiful composition, regarded by many 
artists as one of the most perfect imitations of an oil-paint- 
ing that we have produced. Says a Western art-critic, " * The 
Flower Bouquet ' is an exquisite picture, containing exact rep- 
resentations of a large variety of flowers and leaves of all 
shades of color. The coloring is bright, and at the same 
time delicate and rich. The picture is so true to nature, that 
one is almost tempted to believe he can smell the perfume of 
the flowers." * ' ' The Flower Bouquet,' " says another writer, 
" makes a splendid floral display." " It is a gorgeous imita- 
tion of our oil-paintings," writes Rev. Mr. Wheddon in " The 
NorthernChristian Advocate,"— "so perfect that one might 
be readily excused for thinking it the original. It is in a glass, 
standing upon a table, with blossoms of various brilliant hues, 
and buds in various stages of opening; while upon the table 
have fallen a few leaves and a sprig of the flowers. One is 
before me as 1 write ; and it improves upon acquaintance, 
though I thought it a beauty at the first." 

The companion-piece to this picture is " Blackberries in 
Vase," by Mrs. Lilly M. Spencer. The rich, dark color of 
the ripe fruit contrasts finely with the brilliant hues of the 
flowers in the companion-piece ; while the picture is perfect 
in itself as a beautiful study from nature. 

The Fringed Gentian, 

This is one of the careful and faiththful representations 

of vegetable life in which the pre-Raphaelite school of 

artists in New York excel. " It looks," says a critic, " as if 

it had been drawn with the aid of a microscope, the most 
Liliputian details are so exactly reproduced." It is after 
Mr. Newman's painting, which won distinction on its exhibi- 
tion at the Academy. Mrs. Ball says of this chromo, 
" this simple, nameless group of gentians has kindled many 
an eye." 

"The Chicago Republican" says, that "* The Fringed 
Gentian,' by A. R. Newman, is one of the most exquisite 
flower-pieces it has been our lot to see. We can readily 
believe that it cost more labor than many larger and more 
pretentious pictures. A slight description will indicate the 
difficulties of the task. In front of a mass of half-decayed 
limbs, which form a background, — the most pretty wood- 
color shades graduating into one another, — springs up the 
fresh gentian stalk, bearing its pale-green leaves, and radi- 
ant with the bright blue of its crowning blossoms. The 
whole is a sermon, — nay, better, a poem, — teaching of the 
presence of abounding life amid the ever-visible tokens of 
mortality. Artistically, nothing could be more perfect than 
the contrast of colors, — the living blue and green set off 
against the sober shades of the dead, decaying wood and 

The Kitchen Bouquet, 
After W. Harring. Tomatoes in their glory of full ripeness, 
luscious, bright in color, ready for the cook, to be served in 
one of the thousand different styles which he, as other cooks, 
invented. An American cook could miss a good many 
other things before he would do without tomatoes, — easy 
to serve, and always acceptable. It is well-handled as a 
picture, and shows that even the most familiar and seem- 
ingly vulgar subjects can be made poetical if treated by a 
man of ability. For dining-rooms, for restaurants, for ve- 
getable and provision dealers, for seed-stores and others, 
it will make an attractive picture. 

Easter Morning. 
This is a work the rare and exquisite beauty of which 
has given satisfaction to the most captious and capricious 
critics. We have never yet read nor heard one disparaglag 




September, 1868. 

comment on it. It is by the wife of Mr. James Hart, the 
distinguished iandscape-painter, and represents a massive 
marble cross, hung round about with fuchsias, pansies, yellow 
roses, and other exquisitely-tinted flowers. '* It is a combi- 
nation,'' says "The Boston Daily Advertiser," "entirely 
novel, peculiar, and lovely. W© have seldom seen an eflfect 
MO original produced by a combination of such simple and 
familiar elements. There is an affluence of quiet beauty in 
the wreath, that is- essentially harmonious with Easter and 
Its sacred memories. It is altogether charming. If there is 
a single flaw in it, we have failed to detect it." "The 
American Churchman" says of it, " The flowers are a per- 
fect fac-simile of some of the loveliest of the floral creation, — 
pansies, fuchsias, geraniums, and many others, intermingled 
with green leaves. The colors are exquisite, the tints deli- 
cate and very accurate and harmonious. It is the most 
beautiful chromo we have ever seen." Mrs. Lydia Maria 
Child says, " Mrs. Hart has woven a garland for Easter 
morning that might well make the Sun dance when he looked 
on it." " The Church Journal" says' that " it is the most 
beautiful chromo of American execution that we have hith- 
erto seen. It represents a plain, solid, Latin cross, about 
twenty inches in height, with a wreath of flowers hanging 
over the arms and down the pedestal. The tints of the 
flowers — the roses, pansies, fuchsias, geraniums, heliotrope, 
&c., with their respective leaves — are wrought out with a 
softness, finish, and brilliance of eflfect, really remarkable." 
"The Philadelphia Evening Bulletin " says, "Among the 
most brilliant of Prang's chromo-lithographs, and the most 
appropriate to this hopeful month of April, is the ' Easter 
Morning ' of Mary Theresa, wife of Mr. iJames M. Hart. . . . 
These dewy darlings of the conservatory hang like the very 
renunciation of wealth and culture upon the pallid, colorless 
cross; a moral, if you will." "The Churchman" says, 
" It is certainly the most perfect " of the publications of Mr. 
Prang. " The Boston Journal " says of it, " * Easter Morn- 
ing ' is the title of one of the most exquisite flower-composi- 
tions, whether of brush or in chromo, that we have ever 
seen. ... It is warmly praised by the artist herself for its 
wonderful fidelity to the original. It is altogether the very 
best chromo that Mr. Prang has ever issued." We might 
add a large number of similar tributes to the merit of this 
beautiful composition. 

We rejoice to say that our reproduction of the exquisite 
original picture gave satisfaction to the artist herself. She 
wrote to us, "I received the proof of 'Easter Morning,' 
and was very much surprised at its success. It is very fine 
as a chromo, and gives the sentiment of the original much 
better than I expected." Mr. Hart writes, " Mrs. Hart and 
myself are much pleased with the chromes of * Easter Morn- 
ing.' It gives a very good idea of the picture, and has not 
suffered in the reducing." 

NiMJs's Genre Pictures. 
Mr. Niles, a Boston artist, has struck a sweet chord, to 
which few fail to respond, in his litlte rustic figures of boys 
and girls, "NVe have published a pair of these pretty and 
never-tiring pictures, — " Rest by the Wayside," and " Under 
the Apple-tree." " Under the Apple-tree," says " The Phila- 
delphia City Item," " represents a brown-faced country boy 
beside a huge pile of apples just gathered, which he seems 
to be on the point of sorting over, ere consignment to the 
barrels which are ready to the hand. It is a capital autumn 
scene; and every thing about it is life-like, and filled with the j 
fragrance of the orchard. The other is entitled " Rest by the 
Wayside;" and a sweet-faced girl sits barefooted upon a 
mossy bank by a pair of bars, taking a needed respite in her 
to-and-fro journey from home. She, too, is happily deline- 
ated, and all the accessories are charming. They are perfect 
little gems for the decoration of chambers and children's 
rooms. Prang's chromes rank with the best chromes pub- 
lished, either here or in Europe." " They are happy ren- 
derings of scenes in child-life," says " The Portsmouth Chron- 
icle," " and are perfect gems in their way." 

Autumn Leaves. 
These two pictures-^ of maple, and of oak and elm — 
are accurate drawings and colorings from nature, in all the 
brilliancy of its autumnal hues. " To produce the gorgeous 
tints of autumn foliage," says " The New- York Evening 
Post," " the splendors of a brilliant plumage, the features of 
a landscape, the hues of a butterfly, upon the plain surface 
of white card, and to do all this with a rigid regard to the 
exigencies of nature as well as art, requires an artistic mind 
and a practised hand. The success of Prang's artists is a 
marvel of patient application and poetic instinct." 


The " Reading Magdalena " of Correggio is one of the most 
famous pictures in the world. It has been reproduced and 
copied in countless forms. Mr. Prang was the first to pub- 
lish it in chromo. It is claimed for this picture, that it is the 
finest specimen of flesh-color that has hitherto tTeen produced 
in chromo. Mr. Church, our distinguished painter, praised 
it in the kindest terms. See his letter in Prang's Chromo, 
No. 1. " The Morning Star " says of it : " This reproduction 
of Corregglo's great work, the original of which adorns the 
Royal Gallery of Dresden, and copies of which may be seen 
in most of the great collections of Europe, as a specimen of 
art, is almost beyond criticism. In clearness of outline, in the 
wondrous brilliancy of color, In thie accurate reproduction 
of the most delicate tints and shadings, in richness and mel- 
lowness of tone, in the rarity and completeness of its finish, 
in all, indeed, that distinguishes a genuine work of art, it is 
something to be admired and wondered at. Such excellence 
in American taste and skill must surely be appreciated when 
it has once become known." Such is the language of nearly 
all the art-critics who have examined this beautiful piece. 

Miss Robbins's Pictures. 
" Woods, Mosses, and Ferns," and its companion-picture, 
" Birds' Nest and Lichens," after water-color paintings by 
Miss Ellen Robbins, have been much admired, and are well- 
suited for the decoration of boudoirs. Col. Higginson, a 
standard authority, says of these chromes, " But I am much 
more struck with the beauty of those taken from Miss Rob- 
bins's drawings of our wild vines and mosses. Being very 
familiar with these objects in nature, I feel competent to 
judge of them in art; and I am surprised at the perfection 
with which not merely the forms, but in some cases the 
delicate gradations of color, are reproduced in your work. 
It is greatly to be desired that you should continue these 
American subjects; for they educate the public taste far 
more than imported studies of foreign objects, whose cor- 
rectness the popular eye cannot test. Thf author of " Neigh- 
bor Jackwood" says, " ' The Birds' Nest,' and ' Ferns,' are 
truly beautiful, both in original design and in the mechanical 
art which has reproduced these exquisite forms and tints." 
" I cannot see," says Mrs. Spoffbrd (ne6 Harriet E. Pres- 
cott), "how the chromes of Miss Robbins's water-colors 
could possibly be improved." 

Pictures of Poui.try-Life. 

The first successful chromo published in this country, and 
probably the most popular chromo published in any country, 
is the famous " Group of Chickens" by A. F. Tait, which 

has penetrated every 
State, and almost eve- 
ry county of every 
State, in the Ameri- 
can Union. It has 
been praised in the 
most eulogistic terms 
by a large number of 
the leading journals 
of the land. "The 
Boston Commercial 
Bulletin " said, " The little chicks are as like nature as they 
could be made, without the intervention of a hen." " The 
Baltimore Sun " said, " It represents a group of five little 
chicks, two of which are disputing the possession of an 
insect just captured, while the others are looking on with 
an evident air of interest. The coloring is rich and beauti- 
ful; and the whole picture presents an appearance of artis- 
tic finish, and possesses a life-like air, that could hardly be 
surpassed." "The Boston Post " termed them "live chick- 
ens on paper." "The Cincinnati Daily Gazette" said, 
" The piece is exquisite, and will ornament any parlor that 
is so fortunate as to enjoy its presence." " The New York 
Tribune" pronounced this chromo "the most creditable 
work of its kind yet produced in America." This popular 
chromo is printed in sixteen colors, and, at the time of its 
appearance, was unquestionably the most elaborate art-pub- 
lication ever issued in the country. 

We publish also two other groups by Mr. Tait, — 

"Quails " and " Duck- 
lings," — companion- 
pictures, and quite 
equal to " The Chick- 
ens " in artistic merit. 
Mr. Tait is recognized 
as the best painter of 
this class of subjects 
In the United States. 
" The Philadelphia 
Press" said that "it 
might readily be taken or mistaken for an original careful 
sketch in oil. Though printed upon paper, the texture of 
fine canvas has been exactly imitated. In this as in most of 
Mr. Tait's drawings, there is a certain pre-Raphaelite mi- 
nuteness of detail in the herbage, flowers, and foliage of the 
foreground, which gives a very agreeable finish to each sub- 
ject." " The Boston Journal : " " It is very exact and lifelike. 
It is a pair of quails with their young, ten in number, seek- 
ing food among the rushes on the prairie. It is printed from 
nineteen stones, and it would be very likely to be taken for 
a fine oil-painting." 
The " Group of Ducklings " completes the set. It is char. 

acterized by the same 
peculiarities of style 
as Mr. Tait's other 
pictures, and has been 
faithfully reproduced 
in chromo. We deem 
it unnecessary to 
quote further notices 
of the press ; for what 
is true of any one of 
this series of groups 
is equally true of them all. 

The greatest French painter of poultry-life was Lem- 
mens (lately deceased), whose pictures bring a high price 
wherever they are oflered for sale. His style is entirely unlike 
that of Mr. Tait, although they are equally true to nature. 
They are much more elaborate as compositions, and all of 
them show a delicate touch and a poetical sentiment. We 
published three of his most 
popular paintings; and we 
hazard nothing in asserting 
that our artists have never 
been more successful than in 
their efforts to transfer to pa- 
per, not only the form, but the 
spirit, of these exquisite little 
The largest of these chromes is " The Poultry Yard." It 
is one of the best of Lemmens's creations ; spirited in draw- 
ing, harmonious and tender in color. It is the most artistic 
poultry-picture ever attempted in chromo ; and the success 
of it has been satisfactory to every one. Artists regard it as 
a wonder. One of the most eminent of our painters says 
that there are not half a dozen artists in America who can 
reproduce the mere wall in the picture, the coloring and 
gradations of colors are so charmingly rendered. This pic- 
ture represents a flock of hens of different breeds, and a 
rooster of the gayest plumage, hurrying to a fallen pot that 
lies near an old, weather-beaten wall. All the accessories of 
this picture are admirably done. We regret that we have 
failed to get a cut of it ready for this number of our journal 
Poultry-Life, A and B, are 
two small pictures by the 
same artist, and executed in 
the same style, although, of 
course, without the elaborate 
details. Of the "Poultry 
Yard" "The Boston Tran- 
script " says^ " It is a very 
spirited and beautiful sketch 
of those comfortable-looking fowls forming one of the chief 
ornaments of every well-stocked farm. Chanticleer and his 
family appear as contented and happy as possible. Thrown 
into the foreground of the work, the brilliant red of a por- 
tion of them contrasts finely with the setting of green array- 
ing the foliage of the trees in the background. The eflfect 
of the whole is to produce a picture of more than ordinary 
attractiveness. Chromo-lithographing has almost reached 
perfection when sketches like that to which we have referred 
in the foregoing, so rich in color and commendable in finish, 
are among even its recent products. The artists in this case 
are entitled to high praise for their remarkable skill in their 

The two preceding pictures repreaont " Lemmens's Poul- 
try Life, A and B." See catalogue. 

September, 1868. 




The Kid's Playground. 

Braith, tlie painter of this picture, is an eminent living 
Oerman artist. Tlie subject represents a kid gambolling 
with a calf; while a cow, goats, and ducks are looking gravely 
«t the sport. It is a rural idyl. The management of lights 
and shades, and the harmony of the colors, in this favorite 
piece, display the hand of a master. " The Free Christian 
Commonwealth " says of it, " It is a book of only one page ; 
but, for all that, it is a great book, and tells as much of a 
«tory as most of the books that describe meadow-pastures, 
well watered, with their tenants, -— cows, calves, goats, kids, 
and ducks. . . . To common eyes, like ours, the copy is just as 
:^ood as the original. That calf looks so much like our calf, 
^8 we turn and see her out of the window, that, for all other 
purposes than the vulgar one of eating/ we do not see but 
one is just as good as the other. ... And then that duck is 
«o perfect that we can fancy we hear him quacking at the 
mischievous kid that is stirring up the calf. We confess, 
that, in spite of our want of admiration of the Yankee taste 
for surprising one with imitations as good as the originals, 
or a little better, we cannot withhold our admiration from 
the skill of Messrs. L. Prang & Co. Nor are we unwilling to 
acknowledge the debt of gratitude which * we, the people,' 
owe them for bringing the beauties of the costly paintings, 
^hich hitherto none could enjoy but the rich, within the 
Teach of every little parlor in the country, to refine and ele- 
vate the taste of the people. . . , This is a perfect gem of a 
picture." *' The Watchman and Reflector " says of it, " This 
is a charming poem of country-life, full of life and beauty, of 
sunshine and shadow, of judicial gravity and juvenile frolic- 
aomeness. It is a chromo-lithograph in oil-colors, so admira 
bly rendered, so true to the original in size, form, color, tint, 
light, shade, expression and effect, that it needs a keen and 
cultivated eye to discover that it is not fresh from the pal- 
ette. Yet this marvel of beauty is done by the printer's 
press ; these exquisite tints are produced by a printer's 
ToUer ; these gleams of light athwart the grass are laid on 
f)y mechanical agencies ! The picture represents a kid gam- 
IjoUing with a calf. Near by lies another calf, watching the 
«port, with a couple of goats huddled up near it under an 
old fence overgrown with bushes; and they, too, are gravely 
looking on. But the most dignified figure of all is a duck on 
the other side, which gazes at the two players with all the 
isolemnity of an umpire at a prize-fight, or of a judge at a 
trial for life and death. Two other ducks are diving, in dif- 
ferent attitudes, in a little stream close at hand. Trees and 
dshrubs in the background; tall grasses near the stream; a 
•clouded sky overhead, in an opening of which there bursts 
through a gleam of sunshine that is admirably reflected on 
the grass, and by the shadows, and in the face and ears of 
the calves, — these combine to make up an admirable com- 
position and a wonderfully pleasant picture. Next to the 
"Reading Magdalena," this is the finest thing that Mr. 
Prang haji hitherto published. It is as perfect as an oil- 
p&inting from the hand of a modern master, arid it is pro- 
iiuced at a price which places it within the reach of all.'* 

Cruikshank's Pictures. 

^' The Dead Linnet" and "The Bead Bulfinch" are the 

titles of two pictures 
in water-colors by 
William Cruikshank, 
a living English artist. 
The chromos have 
been rendered with " 
more than ordinary fi- 
delity. There are few 
specimens of coloring 
more perfect than 
these pictures. The gradations are so exquisitely done that 
It seems impossible that such results should have been 
reached by the printing-press, or any mechanical agencies. 
'The subjects are sad little poems : the birds find their treas- 

ures destroyed, and die broken -hearted at the discovery. 

George L. Brown, the 
distinguished painter 
of Italian scenery, who 
has no superior, and 
few equals, as a color- 
ist and delineator of 
atmospheric effects, 
said of these two chro- 
mos, "I admire them 
much. What particu- 
larly excites my admiration is the tender and delicate half- 
tints, the high finish, and the finesse and richness of tone. I 
think they must do much to educate the public in the way of 
color. How far superior to the hideous color-lithographs 
we have been so shocked in seeing so long a time I " " The 
Boston Traveller" says, " These pictures are executed in 
the most masterly manner; the plumage of the birds and the 
flowers and foliage surrounding the nests being delicately 
tinted and true to nature." " They are beautifully colored," 
says " The Boston Journal," " are true to nature, and in 
every way desirable pictures." 
" The Baby " (or " Going to the Bath "), after Bougner- 
eau, the eminent French 
painter. This is a character- 
istic piece after a water-color 
copy from the original. 

" * The Sisters,' companion 
to 'Baby,' is an imitation so 
perfect as to be almost a fac- 
simile of a lovely water-color," 
says "Harper's Monthly." 
A Western journalist, says, 
" This is a most charming pair 
of pictures " (meaning " Ba- 
by" and "The Sisters"), 
" with all the softness and life 
of the best of paintings in water-colors." 

Bouguereau is a living French painter, whose works are 
rapidly, year by year, winning a wider reputation. He was 
born at La Rochelle in 1824; won the "Grand Prix de 
Rome " in 1850. He re- 
turned to Paris in 1855, 
and since then he has 
painted a great deal, in- 
cluding decorative work 
in private palaces and 
mansions. The bright 
frank air of the "elder 
sister" (the name origi- 
nally given to the picture 
we have chromoed, and 
catalogued under the title 
of "The Sisters") was 
noted with admiration 
by the ablest art-critics, 
when it was shown at the 
Great Exhibition at Paris. 
It is now the property of a distinguished patron of art in 
New-York City. 

Sunlight in Winter. 

This picture is after Morveillier, a French- American artist^ 
who was universally regarded and recognized as the best 
painter of snow in this country. This was one of the last pic- 
tures that he finished before his untimely death. " The New- 
York Evening Mail " says, " The last chromo-publication of 
L. Prang & Co. has just reached us. . . . An old farm- 
house, with a dairy-house, near a frozen brook, forms the 
centre foreground. A huge elm rises above them, with its 
gnarled branches vividly outlined against a winter sky. 
There is a bridge and a distant church on the left; a road, 
another elm, and a sleigh on the right; skaters on the ice. 
We have never seen a winter-view so free from the sombre 
effect which artists have generally chosen. There is such a 
warm sunlight over the picture as often lights up our mid- 
winter landscape. The effect of light >nd shadow on the 
snow are reproduced delicately and charmingly. The usu- 
ally tiresome monotory of snow is entirely avoided. There 
is a variety of coloring and brightness about the picture 
which we seldom find, except in spring or autumn studies* 
Unlike nearly every other winter-landscape within our mem- 
ory, it is cheerful, bright, refreshing." 


One of tiie most brilliant landscapes ever issued in chromo 
is now nearly ready for publication. It is a view in Califor- 
nia, by Bierstadt, the well-known American painter. " The 
Boston Daily Advertiser " says of it, "The 'Sunset' is a 
characteristic bit of California scenery in Bierstadt's well- 
known style. It represents a bright sunset on a lonely lake, 
whose solitude is disturbed only by a pair of water-fowl that 
hover over and rest on the rocks at the shore. Abrupt, 
steep, and rugged cliffs, over a part of which tumbles head- 
long a graceful waterfall, form the southern boundary of the 
lake; and a fringe of gigantic branchless fir-trees skirt the 
northern shore. It is a careful study after nature, and every 
touch is Bierstadtish." 

We predict for this brilliant picture a large sale, as it is 
not only beautiful in itself, but illustrates a variety of scenery 
hitherto never produced in chromo. 

Horses in a Storm. 
The name of Adams, in Europe, is identified with masterly 
portraitures of horses. The picture that we have chromoed 
is very effective in action and color. It represents a gray 
and a chestnut horse galloping wildly across a prairie, 
panic-stricken by the flashes of lightning that are bursting 
from the lurid sky overhead. The animals are drawn with 
the hand of a master, and will be greatly prized by every 
admirer of fine horses. It is a splendid and spirited compo- 
sition, and cannot fail, we think, to have a wide popularity. 

A Friend in Need. 


This is a genre 
picture of the Ger- 
man school, after 
an oil-painting by 
F. Schlesinger. It 
is a rural compo- 
sition, made up of 
a villa in the dis- 
tance, with trees 
in the middle, and 
the village pump 
in the immediate 
foreground. A vil- 
lage boy is vigor- 
ously plying the 
handle of an old- 
fashioned pump; 
at the spout of 
which a rustic 
beauty, in her early teens, is quenching her thirst. The 
dog is also drinking from the old, weather-beaten, and foot- 
worn trough. The group is finely arranged, and makes a 
most attractive picture. It is rendered in strong and effect- 
ive colors. It has all the power and feelings of the original 
picture. It makes an excellent chromo for the adornment of 
chambers, and for children's rooms. 


September, 1868. 

Whittier^s Barefoot Boy. 

This is one of the most 
charming genre pictures ever 
produced by an American 
artist. It promises to be the 
most popular figure-piece 
ever published in chromo. 
Three editions were ordered 
in advance from sample 
copies. An art-critic in " The 
Boston Daily Advertiser » 
thus speaks of it: "'The 
Barefoot Boy' is a true art- 
ist's rendering of Whittier's 
familiar lines: — 

" ' Blessings on thee, little man, 
Barefoot boy, with cheeks of tan ; 
With thy tamed- up pantaloons, 
And thy merry-whistled tunes ; 
With thy red lip, redder still 
Kissed by strawberries on the hill ; 
With the sunshine on thy face. 
Through thy torn brim's jaunty grace. 
From my heart I give thee joy ; 
I was once a barefoo tboy I 
Prince thou art : the grown-up man 
Only is republican. 
Let the million-dollared ride ! 
Barefoot, trudging at his side, 
Thou hast more than he can buy 
In the reach of ear and eye, — 
Outward sunshine, inward joy : 
Blessings on thee, barefoot boy I ' 

" It represents a comely rustic lad, clad in coarse home- 
spun dress, with his trousers turned up, his hands in his 
pockets, and the brightest of * knowing ' yet innocent smiles 
on his face and in his eyes. His face is half shaded by his 
broad-brimmed hat; his feet are firmly planted on a gray 
rock; he looks so hopeful, so self-reliant, so entirely at his 
ease, that he seems the perfect incarnation of Young Amer- 
ica. The accessories of this picture are a distant landscape, 
with a tree in the middle and foreground. They are well 
handled; but they serve only to support the figure, which is 
one of the best pieces that Mr. Johnson has ever produced." 
The poet, John G. Whittier, says of it, "Your admirable 
chromo of * The Barefoot Boy' is a charming illustration of 
my little poem, and in every way satisfactory as a work of 
art." " Whittier's * Barefoot Boy,' " says a New-York jour- 
nal, "has been the most popular of the whole Ust. It 
seemed to appeal to the hearts of the people on its first ap- 
pearance. It is seldom that the artist can catch, and con- 
fine to canvas, perfectly, the idea of the poet and present 
to the eye the same picture with which the author has filled 
the mind. Eastman Johnson has succeeded admirably in 
accomplishing this with Whittier's ' Barefoot Boy ; ' and Mr. 
Prang's artists have reproduced it in a most charming little 
rustic picture, executed in the best style of chromo-litho- 
graphic art. . . . The light and shade of the picture are ex- 
cellently managed, and the colors harmonized to a warm, sum- 
mer tone. Of Mr. Prang's many excellent publications, we 
think there are few that will rival * The Barefoot Boy.' " " To 
every one," says "The Hartford Evening Post,"' who has 
been a barefoot boy himself, -and there are no country-bom 
men, at least, who have not had that experience, — this pic- 
ture brings vividly to mind the joys and sorrows, lights and 
shadows, of that period of our existence, which we now look 
back upon as filled with the romance of happiness and peace, 
despite the occasional misfortunes that well nigh broke our 
youthful hearts." " Who," asks " The New-Orleans Picay- 
une," " has not met by the wayside some fat, chubby, sun- 
burnt boy, redolent of fun and brimful of happiness, dressed 
to suit himself, however plainly yet jauntily, whose bright 
and cheery look has filled the traveller with a yearning for 
just such freshness, and absence of care ? Whittier the poet 
has described such a one. ... And this boy, thus sweet- 
ly described, has been transferred to canvas with oil-colors 
by the new and ever-to-be blessed art of chromo-lithography . 
, , . It is a sweet picture." 

Dead Q-ame. 

This is a picture of stiU-Ufe, after G. Bossett, effectively 
rendered, both in the original and in the chromo. It repre- 
sents a group composed of a dead hare and other game . 

" In the * Dead Game,' " says a recent writer, " the min^ 
gling of the shades and tints display a beauty and genius not 
often found; and its exact reproduction by printing is in- 
deed a marvel." 

The Two Friends. 

This is the portrait of a 
child and dog by Geraud, 
an eminent, living French 
painter, noted for the deli- 
cacy and finish of his pro- 
ductions. There is ,a fine 
sentiment and an exquisite 
taste in every thing he does, 
which wUi commend his 
paintings to the refined and 
educated classes every- 
where, and especially to 
the women of America. 
This is the first of Geraud's 
paintings that has been 
chromoed. He appears almost simultaneously with this 
number of " The Chromo," and therefore has not yet been 
submitted to the judgment of critics. 

The illustrations of this article give no idea of the beauty, 
either of form or color, of the originals : they are intended 
only to exhibit the outlines of the compositions, and to indi- 
cate what the style of the picture is. Several of the cuts 
were unfinished at the time when it was necessary to go to 
press; and therefore we have had to rely on letterpress 
descriptions for some of our best publications. In our 
" Christmas Number," we shall give illustrations of all our 
chromos, with views of our new art-publishing house in 
Boston Highlands. 


Each number of this journal is complete in itself, and no 
number contains the reading-matter of any previous issue. 

No. 1 (for January, 1868) contains, in addition to a com- 
plete catalogue of our chromos and illuminated publications 
up to that date, an article from " The Boston Daily Advertis- 
er " describing how chromos are made, by James Redpath ; 
letters from James Parton, Harriet Beecher Stowe, Longfel- 
low, Church the painter, Whittier, and Bayard Taylor; 
"Hints on Framing," by Louis Prang; and two essays on 
chromo-Uthography in America, by Charles Godfrey Le- 

No. 2 (for April, 1868) contains an article entitled " Illustra- 
tions of Progress, "byLydia Maria Child;" "Controversy 
with an Art-Critic" (between Clarence Cook and Louis 
Prang) ; short papers, — " Decorate your Schools," " A Hint 
to Teachers," " Moral Influence of Art," and " A Word on 
Chromos," ~ by various writers; editorial notes ; "Boston 
Art-Notes," by " Berwick," from the Daily Advertiser; and 
letters on Prang's chromos. by Whittier, Wendell Phillips, 
George L. Brown (the artist), Mary L. Booth, Lydia Maria 
Child, Edward Everett Hale, T. W. Higginson, J. T. Trow- 
bridge, George Wm. Curtis, E. Stuart ;phelp8, Louisa M. 
Alcott, Lucy Larcom, Harriet E. Spofford, Grace Green- 
wood, Alice Carey, "Berwick" (James Redpath), W. D. 
Ho wells, T. B. Aldrich, and Charles Dawson Stanley. 

A copy of either or both of these numbers will be mailed 
to any address on receipt of a postage-stamp. Address L. 
Prang & Co., Chromo-publishers, Boston. 


Philadelphia, March 2, 1868. 
, , . Permit me to express my admiration at the perfection 
you have reached in your charming chromos. I have " The 
Cherries," "Poultry Yard," '"Dead Butfinch," "Dead Lin- 
net," and " Sawyer's Pond." Were these pictures hung in 
the gallery of some noted patron of the fine arts, they 
would readily pass for paintings, — and paintings, too, by a 
very superior artist. . • . L. A. Godey. 


BALTIMORE, Feb. 27, 1868. 

Dear Sir,— Allow me, through you, to express my 
thanks to Mr. Prang for his kindness in sending me his 
chromo, " The Cherries." 

Perhaps the best criticism I could give it would be to re- 
peat the remark of a little child, who, on seeing " Cherries," 
asked me why I did not eat them. 

The chromo may receive more elaborate criticism, but it 
will scarcely win more sincere praise than this infantine 

I shall hang the picture in my dining-room, where it will 
afford me the gratification of mentally enjoying cherries for 
desert all the year round. 

Yours truly, ANNA M. Crane, 


New York, Feb. 27, 1865. 

Dear 5'*>, — I take great pleasure in acknowledging the 
receipt of the "Basket of Cherries" which you were so 
good as to send me. Such fruit is never unseasonable. 

Some of the ox-hearts, English and other, had evidently 
fallen out by the way, but no damage was done : they were, 
indeed, all as firm of texture and as luscious as when 
gathered by Miss Granberry's happy hand. 

An able writer, not long since, cheered the national heart 
by showing how readily the national debt may be cancelled 
by the proceeds of one year's apple-crop. What hopeful 
prediction may we not utter on the strength of our home pro- 
ducts,— such, for instance, as this year's "Fruits and 
Flowers," which Mr. Prang is scattering abroad so gener- 
ously 1 

Whatever misgivings may be entertained as to the proba- 
bility of ever finding in the market any thing approaching to 
the ideal strawberry, whenever we look on these cherries we 
must be satisfied that their "ideal "is attained. . . . 

Caroline Chesebro, 


Mr. Prang is beginning to advertise his chromos a little 
more extensively. They advertise themselves very well 
wherever they go. It enhances the pleasure with which 
you see one of his best pictures, when you know through 
what very curious, interesting, ^d complicated processes 
they go before they reach perfection. Ten, fifteen, twenty, 
even thirty times, some of these pictures have to go 
through the presses ; and then, perhaps, they need a final 
touch of a nice hand to remedy any possible defects which 
remain. A book of proofs, showing the curious stages 
through which one of his poultry -pieces passed, was a very 
great curiosity to me. But to enjoy these pictures, one does 
not need to see how they are made. They are going to dis- 
place the cheap lithograph and poor wood-cut. Napoleon 
crossing the Alps on a green horse, and Abraham Lincoln 
borne to heaven by George Washington (that most fearful 
picture of modern times), will by and by be discarded from 
the country homes to make way for those marvellous imita- 
tions of Rosa Bonheur's cattle-pictures, or American land- 
scapes after Bricher, of the "Poultry Life," or the 
" Bouquets," or game or bird pictures, or " The Friend in 
Need," or " The Kid's Playground," or (the greatest tri- 
umph of Mr. Prang's art) the copy of Correggio's " Magda- 
lena." These things cost only three, four, five, or six dol- 
lars apiece (the "Magdalena" is ten); and nothing in the 
line of art can be compared with them for beauty and 
cheapness combined. I was glad to find, on a visit to Mr. 
Prang's establishment, that he is doing a very large and con- 
stantly increasing business, and that his quarters are already 
too small for hun. I ought not to omit mention of his 
smaller pictures and devices innumerable, which cost almost 
nothing, and which you may throw upon your tables, or nail 
to your walls, or give to the boys and girls; and which will 
carry satisfaction cheaply to great numbers of people. 
Sabbath-school cards and posters, elegantly done, which 
bring to grief and discomfiture all the old and homely 
devices of our Sabbath-school days, Mr. Prang makes, and 
sells them in great quantities. In fine, he is a genuine 
reformer and renovator of art, a benefactor of the people, 
and I hope the people will make him rich in return. 

W. S. Robinson, in " The Springfield Republican.'* 


28, Rutland Square, Boston, Feb. 27, 1868. 

Mr. Prang. Dear Sir,— I have received from you, 
through the courtesy of Mr. Beckwith, your new chromo, 
" The Basket of Cherries," after Miss V. Granberry, for 
which please accept my thanks. 

I am glad of this opportunity to congratulate you on the 
work you are doing for art in this country. " The Basket 
of Cherries," like all your recent chromos, I consider a de- 
cided success, rather tantalizing just at this time of year with 
its " fruit out of season," but bright, life-like, and admirable 
in its execution. I have stopped in front of the window of 
print-shops very often during the last year to look at the 
beautiful pictures which you were bringing within reach o\ 
the million. 

I think a good chromo is much more satisfactory than a 
poor painting; and I see no reason why the enjoyment of 
art should be confined to the few who are able to pay their 
hundreds and thousands for the works of ancient and mod- 
ern masters. With my congratulations on your success, 
believe me, 

Cordially yours, 

Louise Chandler Modlton, 

September, 1868. 

Prang's Ch ro mo. 


Prang's American Chromos, Half-Chromos, Illumi- 
nated Sunday-schoolroom Cards, Illuminated Day- 
school Cards, Illuminated Scripture Texts, Albums, 
Album Pictures, Gifts for Ladies, Gifts for Young Folks, 
Marriage Certificates, Crayon Pictures, Design-Books, 
Tables, and Miscellaneous Publications, may be or- 
dered through any art-dealer or bookseller in the 
United States, the Dominion of Canada, or directly 
from us. Nearly all respectable art-stores in the 
United States keep our chromos and other publica- 
tions constantly on hand. 

Goods purchased from us direct, at the retail price, 
will be forwarded at our own risk and expense to any 
part of the United States east of the Mississippi Riv- 
er, or to the boundary of the Dominion of Canada. 
Beyond that, an allowance only will be made for 
part of the expressage to be paid by the customer. 

All orders addressed to L. Prang & Co., Boston, 
must be accompanied by the cash, in order to receive 
attention. Money sent by mail will be at the risk of 
the sender. The safest way to send money is by a 
post-office order, and such an order should be got 
whenever it is possible to do so. Write distinctly the 
name of your post-office town, county, and State. 

Frames. — We do not make frames for our chro- 
mos ; but we can furnish them, when ordered, at a 
slight advance over first cost. 


There is not a people in Christendom who buy so 
many pictures as the Americans. The English rank 
next, the Germans third, while the French buy least 
of all. This is because we are lovers of homes, and 
because our homes are the cosiest in the world. The 
English are proverbially home-folk ; but the poverty 
of the great masses of the people prevents them from 
rendering their houses as attractive as our own. The 
Germans love to spend their evenings in gardens and 
theatres, in social public intercourse or recreation, and 
therefore they pay less attention to the beautifying of 
their domicils. Still more so the French, who regard 
their residences rather as dining-halls and lodging- 
houses than as homes ; and hence the fact that their 
popular pictures are flashy, gaudy, brilliant produc- 
tions, adapted rather for the saloon than the parlor. 

Now, it is none the less true that we are the largest 
picture-buyers, than that our wants have been the 
most inadequately met. German pictures are too 
heavy for our taste ; they reproduce scenes and fig- 
ures which call up no pleasant reminiscences ; the 
taste of the French, and our ideas of propriety and 
home-fitness, are so radically difierent that Paris can- 
not supply our demand : while the engravings of 
England, however admirably done, are in general 
either too costly, or depict historical events or nation- 
al scenes with which we have but a faint and tran- 
sient sympathy. ' 

How has it. been with our American productions ? 
Happily we have got beyond the age when it was 
deemed a proof of patriotism to resent any just criti- 
cism on " home productions." We now judge a work 
of art by the standard of art, without regard to its 
origin here or in Europe. Hence we can afford to 
say plainly, that in no country in Christendom are 
there so many mere caricatures of art displayed in 
the homes of the people ; such " artistic horrors," for 
example, as " The Court of Death," or " Franklin at 
the Court of France " (in colors I), or the numerous 
** Washington and his Family/* "Lincoln and his 

Family," and " Grant and his Family." All of these 
are simply atrocious. 

Until Marshall published his "Lincoln," we had 
hardly an engraving of which we had reason to be 
proud. In high art we have made conspicuous ad- 
vances: Bierstadt, Church, Brown, Hai*t, Moran, 
and a host of others, attest our eminence. But, until 
the recent war began, no American fine-art publisher 
had done any thing to place low-priced pictures of 
real merit within the reach of the great body of the 
people. The gaudy colored lithographs of New- York 
houses (which may still be seen in bar-rooms in cer- 
tain States) were almost the only productions within 
the reach of the masses. Photography alone enabled 
men of small means to secure the shadows of the works 
of art. But colorless forms never satisfy. The love 
of color is an inherent, healthy, universal instinct. 
This is shown by the statistics of trade ; for, while 
poor engravings sold by thousands, still poorer 
colored lithographs sold by hundreds of thousands. 

We are glad that^t last this longing for color, this 
refining taste for works of true art, can be satisfied 
at prices which enable the working-man to purchase 
them. This is done by the delicate and wonderful art 
of chromo-lithography. It is the apotheosis of the art 
of printing, — printing transfigured, we may say; for 
no one could imagine that such exquisite reproduc- 
tions of oil-paintings as the recent publications of 
L. Prang & Co., " The Beading Magdalena," for 
example, or "The Poultry Yard," or "Rest by 
the Roadside," or "Under the Apple-tree," could 
by any human possibility come from the press in all 
their splendor of color, masterly skill in drawing, and 
marvellous delicacy of shade and tint. No eye but 
that of an expert could tell the difference between 
any one of these chromos and the original painting. 
And yet they are sold at rates which enable the work- 
ing-man to decorate his home with them. It is the 
advent of democracy in art. — Flag of our Union, 


What needs more the aid of art to render it cheer- 
ful — to make it, if not homelike, at least less unhome- 
like — than the tent of the soldier on the frontier? 
What better adapted for this purpose than the Ameri- 
can chromo, with its bright and brilliant hues 1 Let 
this letter fi*om a gallant officer in Dacotah Territory 
be our reply: — 


Fort Abercrombee, Dacotah, Dec. 30, 1867. 
Gentlemen, —1 received the box of chromos sent by you, 
through my agents in St. Paul, promptly and in excellent 
order. I cannot express all the pleasure I take in these 
beautifu^ pictures. They are lightly framed, and hang on 
the waili of the parlor of my quarters; excepting the cattle- 
pieces (half-chromos), which are in my dining-room. When- 
ever I raise my eyes, I see beautiful works, hitherto utterly 
unknown to this far frontier; and, even when my thoughts 
are otherwise occupied, my mind is under the constant in- 
fluence of their beautiful presence. I have hung them in 
relation to each other, and to the apartment as my untrained 
eye indicated to be proper, and I think it a success, 
judging by the pleasant result on my own feelings, and the 
approbation of my visitors. The resemblance of these pic- 
tures to 00 or water-color originals is wonderful I I do won- 
der at it a dozen times a day, and may keep on wondering a 
long time yet. It is not impossible that, as a whole, mine is 
a better collection of pictures than if each subject had been 
severally ordered ftom the painter; for it is improbable that 
every artist would have been happy in every picture, whereas 
these are selected successes, and simulate the originals 
closely. I desire to obtain, as soon as fljiished, Granberry's 
"Cherries and Strawberries" and Schlesinger^s "Friend in 
Need." . • • Possibly cold Alaska may be made to rejoice 
in the beauty revealed by chromo. I had a letter, dated 
" Sitka," from my friend Gen. Rousseau, and, in replying, 

enclosed a catalogue, and advised that, for his own happl* 
ness, he order a set. 

With admiration for your art, and much good feeling for 
the delight you have, given me, and with thanks for your 
prompt and satisfactory attention to my first order,— 
I am, gentlemen, respectfully, your obedient servant, 

W. H. SiDELL. 

Hundreds of editorial sanctums, we are glad to say, 
are adorned with Prang's American Chromos. Hun- 
dreds of editorial pens, we are equally glad to add, 
have publicly borne testimony to their beauty. But 
here, also, are three personal notes from eminent 
journalists, which were crowded out from our last 
number : — 


North Chelsea, Feb. 12, 1867. 
Gentlemen,-^! am much obliged to you for your beautiful 
gift. Nothing more beautiful has ever come under my ob- 
servation than the pictures for which I am indebted to you; 
and all who have seen them are warmly impressed by their 
excellence, and loud In expressions of admiration for the 
rare skill which produced them. .... 

Charles B. Hazewell. 

from j. h. a. bone. 

Cleveland, Ohio, Jan. 6, 1867. 

Gentlemen,'^! am indebted to you for the unexpected but 
truly welcome present of some specimens of your chromo- 
lithographic publications. 

I have been much interested in watching the progress of 
the art of color-printing in this country, and especially the 
chromo-lithographic process. It has been a conomon opinion, 
that, for some reason, the production of a picture in colors, 
either by the ordinary process, or by lithography, could not 
be so successfully accomplished here as in Europe. I have 
never shared in that opinion, feeling that, with the proper 
appliances amd practice, nothing possible on one continent 
can be impossible on the other. The pictures you have 
sent confirm and justify my faith. 

The chicken-group is a remarkable success, whether 
viewed as a work of art of itself, or as a reproduction of 
the peculiar features of an oil-painting. It marks a decided 
step in the progress of American art; and I doubt if it is ex- 
celled by the longer experience of European artists in thi* 
department. The other pictures are, in their different styles, 
equally good; the "Bird^s Nest" and the "Ferns" being; 
particularly graceful in ddsign and careful in finish. 

With a strong love for good art-ornament in household 
decorations, and a purse too slender to indulge in such paint- 
ings as would not disgrace, in my eyes, the walls on wJiich 
they were hung, —but which, unhappily, are too common in 
the dwellings of those who have the means to make better 
selections, — I have been greatly interested in the advance- 
ment of the arts of steel-engraving and chromo-lithography, 
which enable such as myself to gratify taste without too 
great a strain on the pocket. I am in strong hopes, that, 
with the progress of the work in which you are engaged, 
there will be a gradual improvement of the popular taste for 
the fine arts, that will banish from the walls of the more 
prosperous classes the wretched daubs of "oil paintings" 
that make the owners the laughing-stock of those who 
know what a good picture is, and from the humbler dwelling 
the artistically "cheap" prints and lithographs, that are 
only tolerable as showing a desire for some kind of artistio 
ornament. •••••• J. H. A. Bone, 

Editor " Cleveland Herald." 


New York, Jan. 4, 1866. 
Gentlemenj-'l have to acknowledge with thanks the 
receipt of some very beautiful specimens of your chromo- 
lithographs. They are honorable to our home-art, and com- 
pare well with the favorite pictures of the same class im- 
ported from England and France. For one, I have no sym- 
pathy with criticisms which I have lately seen, tending to 
abate encouragement of your efforts in this specialty on the 
ground that it is flEdse in process, and injurious to true taste 
in its results. In my opinion, your pictures are most excel- 
lent " home books for the people," calculated to attract 
their regard, and elevate their judgment, and in advance of 
any hitherto supplied by the American market. Wishing 
you, and sure that you will obtain, the success your labors 
deserve, I am. Very truly yours, 

EDM13ND Clarence Stedman. 

Prang's Chromo. 

September, 1868. 



BOSTON} Aug. 18, 1868. 

To the Editor of the Evening BuUetin, 

Bear Sir, —My attention has been called to an article in 
*' The Bulletin >» of July 24, in which, taking as a text oar 
recent production in chromo of Eastman Johnson's " Bare- 
foot Boy," your fine-art critic has made certain severe, and 
in some cases certainly unmerited, strictures on my chromo- 
lithographic publications. 

I ask you as a matter of simple justice, and in the interest 
of this new and important art, if not to reply to your critical 
remarks, at least to point out and correct the errors or mis- 
apprehensions Into which you have been led, and to which 
you have given that scholarly and elegant stamp which is 
always sufficient to secure for any opinion for a time a wide 
and unchallenged currency. 

Your critic opens with an unflattering description of Mr. 
Johnson's picture in itself,— entirely apart from our share 
in its honors or dishonors,— and speaks of it as a "very 
humble work of art; » while of the artist, he says, that his 
" merits we take to be decency, propriety, a vein of pleas- 
antry, which will never bring a blush to the cheek of the 
young person, a taste for little idyls worthy of Mrs. Sigour- 
ney, and a good heart." Is this quite worthy of " The Bul- 
letin's " established reputation as a candid and impartial 
critic, or of Mr. Johnson's wortiiily-won and established 
fame as the greatest American genre painter of our time ? 
Has your fine-art critic never seen, amongst the valuable 
creations of Mr. Johnson, his " Pension Agent," or " Lin- 
coln at his Fireside," or even the "Old Kentucky Home;" 
and, if so, did he see nothing higher in these masterly pro- 
ductions than " decency," " propriety, " and " a good heart" ? 
I do not hesitate to say that I am greatly surprised that a 
cultivated writer should not discern far higher and more 
poetical attributes than your critic — as I take it, in a care- 
less and unguarded sentence— has seen fit to designate as 
Mr. Johnson's characteristics. 

Your critic is evidently qualified for higher work than that 
of wholesale fault-finding. Against true genius, like that of 
Mr Johnson, his indiscriminate censures fall harmless. 

I do not regard it as at all necessary to defend Mr. John- 
son's execution. If his figures have " no bones in them ; " if, 
when he tries to paint feet, he turns out " uncooked sau- 
sages " instead; if the face of his boy is " like that of a doll, " 
~-why then Mr. Johnson is not " one of our principal figure- 
artists, " which your critic admits that he is. 

But when your critic denies that he has succeeded in re- 
producing the American Barefoot Boy as Whittier con- 
ceived him, I think I have the right to call on a witness 
whose testimony in the case is surely entitled to more weight 
than that of all the art-critics in America combined. I mean 
the poet himself. Mr. Whittier has exammed our chromo, 
andsaysof i^- 
'^It is a charming illustration of my little poem, and in 
every way satisfactory as a work of art." 

Tour critic draws a model of an American boy of a cer- 
tain type: " Whoever," he says, "has this ideal in his eye 
will not see much life or nature in Mr, Johnson's pretty 

Very likely not; but if the poet, who drew a far different 
Ideal, when Jie sees it embodied on canvas, declares it to be 
a "charming Illustration" of it— what then? Is not the 
painter justified, and the critic condemned? 

Most of the strictures which your critic makes on chromos 
are entirely out of place, because they imply claims for the 
new art, which none of its friends have ever assorted. 

Ohromo-lithography is not the art of producing original 
paintings, but shnply the art of reproducing them In abso- 
lute or nearly perfect /ae-aimile. In a high sense, nothing is 
art which is not creative and original. From that point of 
view, chromo-lithography is simply a handicraft. But, from 
that point of view also, every painter, however eminent, 
ceases to be an artist, and becomes a mere workman (more 
or less skilful) the very moment that he begins to copy one 
of his own pieces, or the pictures of any one else. If there 
is no merit in copying a work of art with entire accuracy, 
both as to the form and sentiment, then chromo-lithography 
is a worthless invention; but if there is merit, artistic merit, 
— in reproducing a work of art with fidelity, Jn drawing, 
color, or spirit, — there is at least as much credit due to the 
chromo-lithographer as to a copyist with brush or palette. 
As perfect a knowledge of the principles of drawing and 
coloring- asgreata skill In manipulation — is required to 
produce a first-class chromo, as to copy a painting in the 
ordinary way. The slightest lack of skill or knowledge on 

the part of any one, artist or pressman, at any stage of the 
complex process, is instantly detected by the practised eye 
in the finished performance. 

No "tricks" whatever are used in legitimate chromo- 
lithography to produce the legitimate effects of painting. 
"Loaded touches" produce effects in a painting which 
nearly aU " smooth pictures " lack : it is absolutely necessary 
to reproduce these touches in a chromo in order to give the 
effect of the orighial. If your critic will examine a first-class 
chromo before and after what he calls the "embossing" 
process, he will see at once that it is one of the most impor- 
tant elements in an effective reproduction. There is no " de- 
ception " intended. All our chromos— all our best produc- 
tions-have the name of our firm on the picture, with the 
name of the original artist, and the name also of the artist 
of our establishment who copied it and superintended its 
publication; and there are only a very few exceptions to this 
rule in cases where our firm was accidentally omitted. 
Every chromo and every half-chromo issued by our house 
has also a conspicuous label on the back, which makes any 
attempt at deception Impossible. Instead of attempting to 
palm off our chromos for paintings, — as seems implied in 
the article under notice, — we have published very exten- 
sively in our own " Art Journal," and in hundreds of leading 
papers, a clear explanation of " How Chromos are made." 
Neither in fact nor fancy, therefore, is it true that we " re- 
main nameless," in " sublime negation," in order that we 
may be " true to art and his pocket." On the contrary, by 
every worthy and legitimate method, I take especial pains 
to be known only as a reproducer of works of art, and to 
let it be known that chromo-lithography aims, and aims only, 
to enable the people to possess worthy and artistic copies of 
genuine works of art. I claim, that what journalism is to 
literature, chromo-lithography is to art. And, as Richter 
says, " Why should one quarrel with the high because it is 
not the highest?" 

Allow me to add, that I consider It beyond the sphere of 
legitimate criticism to characterize any work as a "swin- 
dle," especially in view of the fact that the very grounds on 
which the charge is based do not apply to any one of our 
productions. I repel it, and protest against it. Very re- 
spectfully your obedient servant, Louis Prang. 

To show equally the gross absurdity and injustice of it, 
let me translate it into equivalent language, applicable to the 
current history of American journalism : — 

*A S<^°*Gbody says that Messrs. Joseph Warren & Co. * are 
enaeayoring to educate men to a devotion to the best that 

« ^T^® J politics, by showing them the worst." 
m,i«« rn -v see wherein the printed radicalism of »The 
i'.5*?f?*v .?^^, I® superior to outspoken radicalism as 
^/^ mt^?r^^- T^^^Stevens in the national congress." 
u I u ^pox^Ue Whig,' however unquestionable may be 
its loyalty, teaches no great lesson of either democracy or 
Calvmism: and yet it is sold so cheaply by Messrs. Joseph 
♦l^f„?'\v^fF& ^^^*^''^^\ publishers of newspapers ahd 
things, that * The Tribune' and * The Whig' dis&ure many 
a pretty reading room in New- York." » » «"J^ 


Boston, Aug. 10, 1868. 
Dear Sir, — A friend has sent to me your issue of July 
29, in which there appears a letter from a New- York 
correspondent (signed " Gt. "), containing very unjust and 
very severe comments on the ** Chromo-Mania," as the writer 
is pleased to term the rapidly-increasing love of art among 
the people, which chromo-lithography, whether in Germany, 
France, Italy, England, or America, has done more than any 
other one agency, or than all other agencies, — steel engrav- 
ing and the illustrated papers alone excepted, — to develop 
and disseminate. 

He has apparently made my publications, or rather the 
popularity of my publications, the text of his unfriendly 
criticism, forgeting, or ignorant of the fact, that, although 
I have the largest chromo-publishing house in the country, 
I have not a monopoly of the business, but that there are 
hnported, by every steamer from the Continent and England, 
thousands of chromos of every style and quality, and 
amongst them, I regret to say, the refuse of the Berlin mar- 
ket, which are palmed off on our people as admirable and 
artistic specimens of the beautiful art which I had the honor 
to introduce into the United States. 

I do not make this charge against your correspondent 
without proof: he himself furnishes the evidence against 
himself in the paragraphs that I quote : — 

"Somebody says that Prang is endeavoring to educate 
men to a devotion to the best that there is in art, by showing 
them the worst." 

" We do not see how a bad picture of a kitten playing 
with a ball is superior to the original kitten and ball, 
which frolics in almost everybody's kitchen." 

" Upset peach-baskets, however skilfully pictured, teach 
no great lesson either of truth or beauty, and one turned 
over permanently in one's dining-room would fail to attract 
admiration ; and yet they are sold so cheaply by Mr. Prang, 
the great duplicator of unimportant processes and things, 
that they disfigure many a pretty eating-room in New 

" If art has nothing higher in It than industry and mer- 
chandise, then has Mr. Prang benefited us materially; but 
we can't lay aside our views of the greater and holier mis- 
sions of genius, and be satisfied to see the world smile and 
grow glad over such libels upon nature." 

The number of persons who have studied the principles 
and history of art, and who keep themselves familiar with 
its current record, is so small, that it is not surprising that 
this paragraph should have appeared in so respectable a 
paper even w " The Buffalo Daily Courier." 

Now, I had no more to do with issuing the kitten-chromo 
than the proprietors of "The Buffalo Courier "have to do 
with the publication of Parson Brownlow's organ or of the 
great radical journal of the north-west. 

And yet, sir, I am made responsible in your journal for 
their short-comings I 

I regret to say that this is an average specimen of the ac- 
curacy of statement, and fairness of treatment, with which I 
have been criticised by a certain clique in New York, who 
have done their utmost to destroy the popularity of my pub- 
lications; first, by an indiscriminate warfare against chro- 
mos in general, and then by making me responsible for the 
inferior productions of other firms. 

To legitimate criticism I do not object; but I do protest, 
and shall protest, against these utterly unjust and prejudiced 
statements and innuendoes. 

Your correspondent, in one paragraph, however, does 
distinctly refer to one chromo, which I am proud to say I did 
publish,- the "Reading Magdalena," after Corregio. He 
has the amazing hardihood to say, — 

"TJie originally not over-good ilfa^r^faZcw,"— mark these 
words! — "made infinitely worse by the lithographic pro- 
cess, can never educate the taste of the people up to an ap- 
preciation of the "Venus deMilo." 

Correggio holds as high a relative rank in the world of art as 
Milton in the world of letters ; and " The Reading Magdalena " 
is universally held to be one of his master-pieces, — one of 
the most precious treasures of the old Continent, for which 
$150,000 in gold has been offered by England, but offered in 

And yet your New-Yors: correspondent has the amazhig 
boldness to call that miracle of beauty, a work which the 
greatest painters since Correggio's day have looked up to 
with the utmost reverence, " the originally not over-good 
Magdalen I " 

There is a class of New- York writers who affect to influence 
opinion by simple dogmatism and cynical sneers; but this 
sublime height they have hitherto never dared to tread. 

Now, while I admit that a copy of a great painting may be 
" infinitely worse than the original," I can only say, that I 
bought the best copy that I could find in America, and that 
it was reproduced in chromo by the best chromo-lithographic 
artist in the United States. Very competent critics have 
spoken in terms of the warmest praise of our chromo of this 
piece ; among others a judge with whom, I think, even your 
New- York correspondent will hardly venture to compare 
hunself, Mr. Frederick E. Church, one of the most eminent 
of our living American painters. He says that our chromos 
are "certainly skilfully and artistically executed. The 
grading and tone of the flesh-tint," he adds, " strike me as 
being remarkable." I am willing to offset this deliberate 
opinion of our great painter, formed after a careful examina- 
tion of our publications, against the dicta of a writer who, 
by his own showing, does not know our chromos from 
those of others, 

I do not deem it necessary to follow your correspondent 
through the stilted argument by which he demolishes very 
vigorously art-chimeras which no living soul defends. Of 
course, poor pictures are poor things ; inflated phraseology 
is not needed to assert that fact : but as the artists whose 
works I am now publishing are all distinguished painters, 
and as those whose pictures I have reproduced have volun- 
tarily declared their satisfaction with the result of my efforts, 
his theories, like his illustrations, have no relation to my 
catalogue. Very truly, your obedient servant, 

Louis Prang. 

Flake's Galveston Bulletin says, "Wliatever improves 
the mind or cultivates a love for the beautiful tends for the 
advancement of our race toward its ideal perfection. The 
* Barefoot Boy,' or the * Magdalena,' or the * Easter Morn- 
ing,' are missionaries sent out to inculcate the principles of 
love, and to refine and elevate the nation. 

• Pttbliflien ©f Oie Buffalo Courfer, which la s Demoerstic jouratL 

September, i868. 



H R O M O. 

hm0 f ttMiatiattis. 


Size of common card-photographs, put up in envelopes 
containing 12 caras. 



different sets, 

per env, 

Wild Flowers of America, 
American Sea-Mosses, 
Views in Central Park, N. Y., 
Butterflies of America, 
American Wood-Mosses, 
American Autumn-Leaves, 
Summer Landscapes, 
Winter Landscapes, 
American Cultivated Flowers, „ 
American Fruits and Blossoms, 2 
Humming Birds of America, 2 
American Singing Birds, 4 << 

Roses, 2 ** 

Life of Childhood, 2 " 

Life in Camp, 2 '* 

Funny Characters. 

Animals (Home-Pets), 2 <« 

Views on the Hudson, 
White-Mountain Scenery, 
Views of Niagara Falls, 
Street Scenes in New York, 

Assorted Lot (containing one card each of 12 differ- 
ent kinds). 
Vessels and Marine Views, 
Views in Newport, R.I., 
Language of Flowers, 
Views in Boston Harbor, 
Paradise of Childhood, 


1. To insert in first page of photographic album, each $0 10 

2. To Insert in last page of photographic album, ** 10 


1. Birthday Cards, 1 

2. Wedding " I ^ ,. ^« ,« 

3. Christmis " f Each $0 10 

4. New- Yearns Cards, J 


1. With verses and blank for name, I t?„«t. *a ia 

2. With blanks for photograph and for name, J ^acn $0 10 


The complete set of Language of Flowers, in 
an elegant box. Per box. 

3 different sets, 

$0 50 




























A Set. 

1. Gold borders, coPd picture, space for teacher's 
and scholar's name, 10 in a set 

2. Gold and one color, similar to No. 1, 10 in a set, 

3. R*inted in one color, 10 " 

4. Motto Rewards, blanks for names, 10 *< 

6. " " no blanks, 10 «« 
0. Ornamental Picture Rewards.blanks, 10 " 

7. _ "_ '« " no blanks, 10 " 

8. Same design as 1, cheap edition, 




No. 1 to 6, Bible Texts, 6 different sets, 3 in a set. 
No. 7, Poets — Browning, Shakspeare, Longfellow, 
No. 8, ** Bryant, Shakspeare, Tennyson, 
No. 9 to 12, Flower Book-marks, 4 different sets, 


Sunday School Membership Certificates, 

1. Printed in 3 colors, per dozen 

2. " 1 color, " 

3. " black, " 

$0 30 


Marriage Certificates. 

1. To receive photographs; gold and tint, 

2. Printed in colors and gold, 

3. Ornamental design, in black, 

4. « tr «« ' 

6. " ** «* on paper, 

7. In black, on note paper, with envelope, 

8. Similar to No. 1, newest publication. 



$3 00 

Magic Cards, 2 different sets, 12 in a set. A set, $0 25 

Rebus Cards, illuminated, 12 cards in a set. " 25 

Card Portraits, executed in line-engraving; 
over 100 different portraits of men and wo- 
men of American history. Each, 05 


Picture Cards for Sunday Schools, in colors, 12 cards 
in a set. 

1. Pilgrim's Progress, 3 sets, 'I 

2. Children of the Bible, I 

3. Poor Richard's Maxims, 2 sets, > A set $0 40 

4. Ten Commandments, [ 

5. Life of Joseph, J 

SamOf Tinted Ground and One Color. 

1. Children of the Bible, A set $0 25 

2. Ten Commandments, " 25 

3. Life of Joseph, <* 25 

Same, in Black* 

1. Children of the Bible, 

2. Ten Commandments, 

3. Life of Joseph, 

The Lord's Frayer* 
Twelve Cards, in envelope. 
The same, in extens. book form. 





A Set. 
, Scripture Texts, gold with col'd pictures, 10 cards $0 30 


Sunday-school Boom Cards, 


God is Love, 6x20 

Glory to God, " 

Stand up for Jesus, ** 

Love one another, " 

Walk in Love, «« 

Seek Me Early, «« 

Trust in God, »« 

I am the Good Shepherd, " 

Thy wm be Done, «« 

Remember thy Creator, •* 

Rejoice in the Lord, " 

Watch and Pray, *« 

A Charge to keep I have, " 

Onward and Upward, ** 

Love is the Fulfilling of the Law, «« 

No Cross, no Crown, " 

The Lord will Provide, 7x21 

With God all Things are Possible, " 

Have, Faith in God, 7ix20j 

Whatsoever He sayeth unto thee, do it, ** 

Be Faithful to the End, 12x16 

Faith, Hope, and Charity, " 

Do Right, and Fear Not, 

If yeJLove Me, keep My Commandments, 


$1 20 


$0 60 

$0 50 


1 00 
1 00 
1 00 
1 25 
1 26 
1 26 
1 25 
1 26 
1 25 
1 25 

1 25 

2 00 


1 00 

2 50 



old church style, 
modern church style, 

ci « i( 


12 «* 

12 " 

" " "bl'k,25 " 

mediseval style, " 12 *• 

7. Sunday-school Gems, 6 large cards, 

8. Infant-school Cards, 2 sets, 10 cards in each set, 

9. Bible Alphabet, in black, 26 cards, 

«« " gold. «* ' 

10. Psalms of David, 10 different psalms on 10 cards, 

12. Ten Commandments, md. chnrch style, 12 cards. 

13. ;• *« in verses, 10 cards, 

14. «« «« «« 'id «« * 
16. S. School Treasures, 2 sets, 10 cards in a set. 


Id. Premium Cards — The Beatitudes — 6 large cards, 60 

17. Premium Scripture Texts, 2 sets, 6 large cards in 
each set, 50 

18. Scripture Texts, quite new, 12 cards, 30 

19. «• «« « 8 " 30 

20. Attributes of Christ, 12 cards, 30 

21. Scripture Texts, quite new, 12 cards, 30 

The Eyes of the Lord are in every Place, 
Thou God seest me. 
Suffer Little Children to come unto me. 
The Lord is my Shepherd, I shall not Want, 11x14 

God blesi our School, 11x27 

God bless our Home, " 

God bless our Country, «* 

God bless our Daily Bread, " 

God bless our Division, «* 

God bless our Temple, " 

Touch Not — Taste Not — Handle Not, " 

The Eyes of the Lord are in every Place, ** 
Remember the Sabbath Day to keep it Holy, 22x28 


Blessed are they that Mourn, for they shall 

be Comforted, 16x23^ 1 50 


After designs by Miss jEimiE Lee. 

Blessed are the Peacemakers, &c., 11x14 1 00 

Blessed are the Meek, &c,, " 1 00 

Blessed are they which do Hunger, &c., " 1 00 

Blessed are the Poor, &c., " 1 00 

Bfessed are the Merciful, &c., " 1 00 

Blessed are the Pure in Heart, &c., " 1 00 

Blessed are ye when Men, Ac, " 1 00 

Blessed are they that Mourn, &o., " 1 00 

Blessed are they which are Persecuted, &o., " 1 00 

R€||oice and be exceeding glad, &c., ** 1 00 
These 10 cards, together with a title and a dedication 
plate, can also be had in an elegant portfolio. Price, $12 00. 


Size, Each. 
Charles Dickens's Speech : Boys I Do all the 
good you can, and don't make any fhss 

about it, 11x14 $0 75 

Speak the Truth, Iix27 1 25 

Do Right, " 1 25 

Lost Time Is never Found again, *< l 25 

What I do, I will do well, " i 25 

WeU Begun is Half Done, «« l 25 

Where there is a Will, there is a Way, « 1 25 

With MaUce toward None, with Charity for All, <* 1 25 


_ ^ . . Size. Each. 

For unto you is bom this day. In the City of 

David, a Saviour, iix27 

Merry Christmas. 4* 

Glory to God in the Highest, on Earth Peace. 

Good- will towards Men, «« i 25 

Happy New- Year, «« 1 25 

Merry Christmas, 12x16 76 


Size of each Plate, 11x14. 
Flower Composition Cross, 
Old Church Style Cross (Motto— Glory to God), 
Modern Church Style Cross (Motto— God is Love), 


Alphabet Books, containing Patterns of Alphabets, 

in great variety, colored and black, bound. 
Two Tables of Alphabets, in different styles and Ian* 

guages. Each, 
New Designs for Monnments, in six parts, paper 

covers. Each part. 

Designs for^ Monuments and Headetones, 
By R. E. Launitz. 

1. Loose plates, in paper cover. $10 00 

2. Substantially bound, half morocco. 16 00 

Slate Pictures, or Drawing School for Beginners. 
In 6 parts, 16 plates in a part. 16 


Old Mother Hubbard, a new version by RUTU 
Chesterfield, splendidly ilium. 3 OO 

Kinderlieder: German Religious Songs for Chil- 
dren, illustrated. Published by G. W. Seltz, Ham- 
burg. Bound in paper. 1 ©0 

Christmas- Stocking Library, Extension books, 
profusely Illustrated in oil colors. Each, 26 

1. A Visit from^St. Nicholas. 

2. Old Dame Duck's Lecture. 

3. Story of Hans the Swapper 

4. In the Forest. 

6. Who Stole the Bird's Nest f 

6. Farm- Yard Story. 
The same set, put up in an elegant, strong box. A box, 2 00 
Doll Series .• Books In the shape of a Doll, 

1. Little Red Riding-Hood. 

2. Robinson Crusoe. 

3. Goody Two-Shoes. 

4. Cinderella. 

6. King Winter, Each, $0 26 

Our Hope. 


Companion-pictures, after Miss Saw- 
yer, printed on heavy plate paper. 

Our Joy. 

1. On white ground, 

2. On tinted ground, 

3. Additional tints in face and hair, 

George Washington. \ Companion-pictures, after 
Martha Washington. J Stuart's paintings. 
. 1. Full life. Size of plate, 21x27. The pair, 
2. Half " «« «« 19x24. " 

Abraham Lincoln. After Wilson's painting. 

1. J-Life. Plate, 22x28. Proofs, 

2. " " " Cheap edition, 


Campaign Sketches — 6 sketches by Winslow Homer. 
Size, 11x14. A set, j 

Declaration of Indopendence, 11x14, 
Flags of All Nations, 11x14, 
Arms of All Nations, 11x14, 
Arms of all the States in the U. S., 11x14, 
The Hunting Frolic— puzzle for Sportsmen. 11x14, 
Fortune-Telling Flowers. 

1. For Ladies. Each, 

2. For Gentlemen. Each, 

1. Fortune-Telling, 

2. Courtship, 

3. Goblins, 

4. Dissected Figures, 

5. Snap, 

7. The Revolutionary War, 

8. Red Riding-Hood, 
Psaligraphy : the art of cutting pictures in black pa- 
per. Box containing patterns, instructions, and all 
implements. Per box, 6 00 

Roses and Life. Allegorical poem in the shape of a 
rose, 26 

The Cherubs. Photo-lithographic copy of The Cher- 
ubs in Raphael's Madonna di San Sisto. Size, 
12x16, 26 

American Views. Printed in black and tints. 
Size, 14x9|. Each, 60 

1. Catskill Lake and North Mountain. 

2. Mountain House, firom South Mountain. 

3. Castle Rocks, Nimant, Mass. 

4. Phillips's Beach, Swampscott, Mass. 

6. Steamboat and Railroad Depot, Newport, B.I. 
6. Chaos at Nahant, Mass. 

The Poultry of the World, PortraiUi of IKI 
species of Fowls, tasteftilly arranged, with a Key, 
giving the names of each species represented. 

1. On heavy plate paper, tinted groimdi H $0 

2. On stout white paper, 1 OO 
8. On stout white paper, mounted and yamithed, 

ready for hanging, 1 6$ 

2 00 
2 60 

$4 00 

$2 00 

$1 50 



Prang's Chromo. 

September, 1868. 

itattjg's ^nr^nfan (fltrffm0s. 


Early Autumn on Esqpus Creek, N.Y, (After A. T. Beicher) Size 9} by 

Xiate Autumn in the white Mountains, (After A. T. Bbicheb) ...... «* 91 by 

Six American Landscapes. (After A. T. Bricher) . " 4^ by 

Strawberries and Baskets, (After Miss V. Grakbebt) ••........ " 13 by 

Cherries and Basket. (After Miss V. Gbanbeby) ............ " 13 by 

Flower Bouquet « 13| by 

Blackberries in Vase. (After Lilly M Spencee) ............ " 13t by 

Fringed Gentian. (After II. R. Newman) . ....." 6| by 

Easter Morning. (After Mrs. James M. Habt) . " 14 by 

Group of Chickens. (After Tait) " lo by 

Group of QuaHs. (After Tait) ..." lOj by 

Groiip of Ducklings. (Alter Tait) " lO by 

The Poultry Yard. (After Lemmens) " loj by 

Poultry Life, i A ) ( After Lbmmens) 5t|j 

«^ J B nCorapanions) * / 

The Kid's Play-Ground. (After Bbuith) " 10| by 

Corregio's Magdalena " i2t by 

Under the Apple-Tree. H After G. E. Niles) . « 7 by 

Best by the Roadside. f (Gompaniou pictures) . ............ 

Autumn Leaves — Maple ' „ P^ 

Autumn Leaves — Oak . n oy 

Wood-Mosses and Ferns. (After Ellen Bobbins) . ^^t ^^ 

Bird's Nest and Lichens. (After Ellen Eobbins) " ^2t f^ 

The Bulflnch. ( After Wm. Cbuickshank) " 7v by 

The Linnet. (After Wm. Cbuickshank) " 7^ by 

The Baby : or, Going to the Bath. (After Bouguebeau) *' 7 by 

The Sisters. (Companion to the Baby) " L u 

Dead Game. (After G. Bossett) " ,o^ ^ 

A Friend in K'eed. (After F. Schlesingeb) " L k 

The Barefoot Boy. (After Eastman Johnson) " 9f by 

Sunlight in Winter. (After J. Mobvilleb) " Tqi i ^ 

Sunset: California Scenery. (After A. Biebstadt) \l{\'^ 

Horses in a Storm. (After R. Adams) . . 22| by 

Our Kitchen-Bouquet. (After Wm. Habbing) 1% by 

181 inches * $6.00 

181 " . 6.00 

9 " .... (Per set) .... 9.00 

18 " ........... 7.60 

18 " 7.60 

I6f " . .tr 6.00 

16| " 6.00 

loj « 6.00 

21 « . 10.00 

I2i « 6.00 

14 « . . 6.00 

12| <« 6.00 

14 « 6.00 

11 *^ 4.60 

171 « 6.00 

16| w 10.00 

8| « 6.00 

14 « 1.00 

14 « 1.00 

14j *' 1.60 

14} « 1.50 

91 « 8.00 

9| " . . 3.00 

9} *' . 3.00 

9} " . 3.00 

ui " 3.00 

16| w e.OO 

145 " 6.00 

16| « 12.00 

12 *< 10.00 

15| « 7.60 

13| « 6.00 

franc's galf (!{Iipm0». 


The Winter Wren . ) 

The Buby-Crowned Wren .... I 
The Savannah Sparrow . . . • • • 
The Black-Throated Blue Warbler J 
Piper and Nut-Crackers. (After Landseeb) 
Piper and Nut-Crackers. (After Landseeb) 
May Flowers . 

MLother's Care •••••--, 
Victory : or. The Bemedy worse than 
Victory. (The same subject reduced) . . 
Awakening. (A Litter of Puppies] . . . 
The Twins. No. l. (Lambs and Sheep) . 
S'he Twins; No. 2. (A companion picture) 
Scotch Terrier and Puppies. • • • 
liObster Sauce* (Cat caught by a Lobster) 
Not Caught Yet. (After E. Landseeb) . 
Just Caught. (After HEKBiNa) .... 
The Prightened Ducklings .... 
Old Dock-Square Warehouse • • • - 
Cocker and Woodcock. (After Ansdell) 
Have Patience. (Girl and Dog) . 
Babbits and Kittens . . . • . 
Morning. (After Rosa BoKHBttE . 
Evening. (After Rosa Bonhbub) . 
♦Twelve Views on the Hudson , . . . . 
♦Twelve Views of American Coast-Scenes 

Each ^ by 8j inches ••••.•••••• $1.00 


Size 10 by 

« 6i by 

" 7| by 

" 7| by 

" 8} by 

" 10 by 

" 6i by 

" 8} by 

Each 10 by 

Size 81 by 

" H by 

" 8 by 

** 8 by 

" 10 by 

" 10* by 

" 8} by 

" 13f by 

" 14| by 

" 12 by 

" 12 by 













16 r 




(Per set) 






♦ These two series of miniature pictures are put up in sets of twelve assorted copies, and mounted on white board. Size, 2| by 4j.