Pranffs Chromo
A Journal of Popular Art.
Vol. I.
BOSTON, SEPTEMBER, 1868.
No. 3.
PRANG'S AMERICAN CHROMOS.
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
profession.
i^OmWw
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
leaves."
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
RAN G'S
Ch
RO MO.
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."
CORREGGIO'S MAGDALENA.
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
gems.
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
profession.'*
The two preceding pictures repreaont " Lemmens's Poul-
try Life, A and B." See catalogue.
September, 1868.
RANG'S
Ch
RO MO.
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."
BlERSTADT'S SONSET.
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.
.J"-'--/-
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.
P RANGES ChROMO.
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.
PRANG'S CHROMO JOURNAL.
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-
land.
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.
LETTERS FROM DISTINGUISHED PERSONS.
FROM L. A. GODET,
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.
FROM THE AUTHOR OF " EMILY CHESTER."
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
question.
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,
FROM CAROLINE CHESEBRO.
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,
FROM " WARRINGTON."
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.'*
FROM LOUISE CHANDLER MOULTON.
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.
TO BUYERS.
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.
COSEY HOMES.
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,
CHROMOS IN THE GAMP,
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: —
FROM GEN. SIDBLL.
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.
CHROMOS IN THE SANCTUM,
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 : —
from* CHARLES B. HAZEWELL.
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."
FROM EDMUND CLARENCE STBADMAN.
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.
ART CRITICS CRITICISED,
I. FROM THE PHILADEFHIA BULLETIN.
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
cherub."
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^
II. FROM THE BUFFALO COURIER.
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
York."
" 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
vain.
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.
RA N G'S
c
H R O M O.
hm0 f ttMiatiattis.
AZBUM CABnS IN Oil, COLOM8,
Size of common card-photographs, put up in envelopes
containing 12 caras.
Price,
2
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,
ALBUM IN8JBJRTION'CAMI>8.
1. To insert in first page of photographic album, each $0 10
2. To Insert in last page of photographic album, ** 10
ALBUM CONanATUIATION'CABBS.
1. Birthday Cards, 1
2. Wedding " I ^ ,. ^« ,«
3. Christmis " f Each $0 10
4. New- Yearns Cards, J
ALBUM FBIENDSSIP'CABBS*
1. With verses and blank for name, I t?„«t. *a ia
2. With blanks for photograph and for name, J ^acn $0 10
LANQUAGB OF FLOWERS, IN BOXES.
The complete set of Language of Flowers, in
an elegant box. Per box.
3 different sets,
6
$0 50
60
60
60
060
60
50
60
60
60
50
50
50
50
60
60
60
60
50
60
060
50
60
60
60
60
60
MEWAMDS OF MEMIT FOJR I>AT SCHOOLS,
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,
3'
10
25
60
25
25
60
50
ILLUMINATEI^ BOOK-MABKS,
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,
CEBTIFICATES,
Sunday School Membership Certificates,
1. Printed in 3 colors, per dozen
2. " 1 color, "
3. " black, "
$0 30
20
10
15
15
10
10
20
25
35
25
25
35
035
50
60
60
60
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.
Size.
11x14
11x14
11x14
6x10
11x14
$3 00
MISCELLANEOUS CAMD-PUBLICATIONS.
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
CABD PUBLICATIONS FOB SCHOOLS.
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.
Each
15
15
15
025
25
ILIsUMINATEI> SCBIFTUBE TEXTS FOB
SUNHAT SCHOOLS*
A Set.
, Scripture Texts, gold with col'd pictures, 10 cards $0 30
ILLUMINATED MOTTO-CABDS.
Sunday-school Boom Cards,
Size.
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,
11x14
9|xl9
$1 20
60
030
Each.
$0 60
30
20
10
008
05
10
76
Each.
$0 50
50
50
60
50
60
60
50
60
50
60
050
50
50
60
60
66
66
75
75
75
76
75
75
75
1 00
1 00
1 00
1 25
1 26
1 26
1 25
1 26
1 25
1 25
1 25
2 00
9125
125
1 00
75
50
2 50
029
150
1.
2.
3.
4.
5.
«.
old church style,
modern church style,
ci « i(
12
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.
040
030
025
30
040
40
20
20
25
20
15
25
20
15
20
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
MOUBNING CABDS.
Blessed are they that Mourn, for they shall
be Comforted, 16x23^ 1 50
THE BEATITUDES,
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.
DAT-SCHOOL'BOOM CABDS.
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
CHBISTMAS AND NEW-TEAM CABDS.
_ ^ . . 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
ILLUMINATED CBOSSES.
Size of each Plate, 11x14.
Flower Composition Cross,
Old Church Style Cross (Motto— Glory to God),
Modern Church Style Cross (Motto— God is Love),
ALPHABETS AND DESIGNS.
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
JUVENILES AND TOT-BOOKS.
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.
CBATON FICTUBES.
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,
MISCELLANEOUS PUBLICATIONS.
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,
Ganges.
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 $0
2. On stout white paper, 1 OO
8. On stout white paper, mounted and yamithed,
ready for hanging, 1 6$
$160
2 00
2 60
$4 00
200
$2 00
100
$1 50
26
025
025
025
026
050
050
026
025
25
025
40
75
76
Prang's Chromo.
September, 1868.
itattjg's ^nr^nfan (fltrffm0s.
LIST OF SUBJECTS.
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
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 .
Apple-Blossoms
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
Disease
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
12|
n
9i
Ml
12|
n
111
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lOj
i4
12
121
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U\-
U:-
16 r
171
17:^
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(Per set)
2.00
1.00
1.00
1.00
1.25
2.00
1.00
2.00
2.00
2.00
2.00
2.00
2.00
2.00
1.00
2.00
4.00
e.OO
6.00
6.00
1.50
1.50
♦ These two series of miniature pictures are put up in sets of twelve assorted copies, and mounted on white board. Size, 2| by 4j.