[1]Several Académiciens of the reformed religion were excluded, or obliged to submit to the Catholic religion.
Sophie translated into French the Psalms of David, which her brother illustrated admirably, and she has left at least one important engraved work, but above all, she has left a number of portraits of well-known people of her time, portraits that the sitters made her copy four and even five times.
Among other "Académistes," interesting if not so well known, was that sister of the "Visitandine" order, Anne Marie Trésor, who decorated with religious subjects the church of the monastery of the "Dames de Ste. Marie de Chaillot." She was received by the Academy in 1676, and the choice of the Academy showed, as its accepted members were of such different views, that the body was after all somewhat broad in character. Another proof of this liberal spirit is to be found in the fact that the Academy received foreign artists within its body. There were three of them; the first was Mlle. Haverman, of Dutch origin, who was, however, excluded shortly after her election—she attempted to justify her election by sending in a painting which was not her own, but the work of her master, Van Huysum. The second foreign "Académiste" was specially illustrious and worthy of the honour conferred on her. She was Rosalba Carriera, a Venetian, a woman who was really original, and whose reputation has lived through the centuries, but about whom, in this chapter devoted to France, I must not speak at length. The last of thethree was Mme. Terbouche, or, more exactly, Therbousch, who, although born in 1728 at Berlin, was numbered by our old museum catalogues in the ranks of the French School.
May 31st, 1783, was an exceptionally important date for the Academy, in respect of women artists. On that day were received Mme. Vigée Le Brun and Mme. Adélaïde Labille Guyard (or Guiard). One may say that at that very hour began officially the rivalry which constantly existed between the two women, both of real merit, throughout their careers—a rivalry which has been maintained in the preference shown for one or the other, after death, by their historians. Mme. Vigée Le Brun was the more celebrated of the two, and rightly so, for one might say that of all the women painters of her time she had a personality quite her own, quite feminine, rich in grace, ease, variety of attitude, gesture and composition, discreet and delicate affectedness, freshness and brightness. Mme. Vigée Le Brun was the daughter of a somewhat mediocre painter, and the wife of a well-known picture dealer, whom she married when quite young. She had lessons from Doyen, Greuze and Joseph Vernet, and her success was quickly achieved. Mlle. Adélaïde Labille des Vertus, the daughter of a mercer, was married to a certain Guyard, a neighbour. She did not live long with him, and had lessons from an old friend, the painter Vincent (the father), and afterwards from La Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette, was supported by the Court, Mme. Guyard secretly made friends in the body of the Academy itself, painting the portraits of first one member and then another. On the day of the election, she seemed to be overcoming her rival, whom her friends succeeded in putting on one side because the rules of the Academy forbade the traffic in pictures. Mme. Le Brun was received only by order of the King. Her own autobiography, as well as the pamphlets of the time, depict for us the powerful rivalry which existed, and also the many calumnies with which the three women painters were attacked (there was a third candidate, Mme. Vallayer Coster), even in their private life, the persecution of offensive insinuations, and the existenceof the accusation so often levelled against women painters, that their work is not their own. Posterity has reconciled the rivals on the walls of our galleries. If Mme. Vigée Le Brun certainly holds pride of place, Mme. Guyard, by her more solid talent, perhaps more characteristic, has an enviable position at her side.
By the side of these celebrated women there are a few others of whom the recollection is not quite so keen, but who were not without a touching grace, though they lived their life within the sphere of their masters' influence, illuminated by the renown of these masters and breathing their atmosphere. It would not be right to say that these women artists copied their masters, or slavishly imitated them, but they transposed their qualities, elevated them by feminising them. Of these, I may mention Mlle. Ledoux, who followed in the wake of Greuze; Mlle. Marguerite Gérard, who lived under the shadow of Fragonard; and that exquisite and sorrowful figure, Mlle. Constance Mayer, whose devotion for her master Prudhon found its supreme expression in her tragic end. Less brilliant, rather hidden in the twilight of history, these women yet exercise on our thoughts an influence more subtle and delicate, and more penetrating.
The approach of the great national crisis, and even the worst days of that period, at the same time glorious yet barbaric, did not extinguish the zeal of the women painters. It seems rather as though they shut themselves up in the study of their art so as to secure a refuge for their hopes and their dreams. In the first "Salons" of the century, one is surprised to find works by a comparatively large number of women painters. In 1800, of 180 exhibitors they number 25; eight years later, in the "Salon" of 1808, they are 46 out of 311. The difficulties set up by the Academy were overcome, the liberty to exhibit was a fresh encouragement, even an exceptional stimulus. The figures, therefore, rise still further in the first quarter of the century, so that in 1831 the women number 149 out of 873 exhibitors. The "staff," so to speak, of the women artists of that day, surrounding Mme. Vigée Le Brun, whose glorious and somewhat chequered career did not close till 1842, included a number of distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie Morin; Mme. Adèle Romance, who also signed Romany, or Romany de Romance; the "good" Mlle. Godefroid, pupil of Baron Gérard, who helped him in so many of the portraits of contemporary cosmopolitan people of distinction, commissions for which rained in the master's studio, after the entry of the allied forces into Paris. Later on, we have Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great sculptor, who had a severe yet confident talent. Lastly, there was the woman artist who benefited by all the advantages of fashion, Mme. Haudebourt-Lescot.
French School, 1755-1842
MADAME VIGÉE LE BRUN AND HER DAUGHTER.AFTER THE PAINTING IN THE LOUVRE,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMadame Élisabeth Louise Vigée Le Brun, Painter1755-1842
Mlle. Lescot, wife of Haudebourt, the architect, and pupil of Lethière—mischievous tongues, of course, declared that he painted her pictures—was a strange creature, who, at the start, owed the popularity she obtained as much to her personal charm as to her real talent. Her first success was in the drawing-room, where people admired her dances. "She was," says a writer, "ugly and captivating, with crooked eyes and a charming expression, her mouth ill-shaped, but tender and inviting," such as Ingres represented her in one of his finest pencil drawings.
Hitherto, women had certainly banished themselves into the domain of portrait or still-life painting, that is to say, they had done little that was not sheer copying. But, little by little, under the influence of the lesser Dutch masters, who had been passionately appreciated since the close of the previous reign, and thanks to the opening of the Royal Collections at the Luxembourg Palace, where they could be studied and copied, the women-painters, following the example of the masters who gained inspiration therefrom, began to devote themselves to landscape and togenre. They sought out little touching subjects, which very frequently bordered on the ridiculous. For example, "the child's bed catches fire through the carelessness of the nurse who has fallen asleep, and the dog attempts to waken her."
Mlle. Lescot cut herself adrift from all theseinsipidities. The opportunity came for her to spend several years in Rome. She was struck by the popular customs of the country, by its colour and that singular and picturesque charm which Granet had been the first to discover—the charm which, after her own time, was to be made further known by the paintings of the well-known Léopold Robert. As a matter of fact, she was practically the creator of the type of exotic subjects borrowed from Italy, to which numerous artists in France devoted themselves—Hébert, Bonnat and Jules Lefebvre, to name but a few of the most important of them. In choosing hermotifsshe displayed wit and inventiveness, and at times a delicate grace, notably in her first pictures, before the desire to satisfy a daily increasing connection had driven her into unduly hurried work. Her technique, too, was brisk, yet careful, as it should be in small works such as hers. Her lightly-touched lithographs, together with those which she did "after" her own pictures, contributed to popularise her special subjects and her name.
The novelty of these paintings, devoted to the cult of "local colour," caused them to be adopted as "romantic." It was the same with Schnetz and Léopold Robert, who shared the popularity. But the real "Young romantic" among artists was Mlle. de Fauveau. What one discovers with regard to her is that she is not a painter but a sculptor. The Royal Academy of the 17th century had already boasted certain wood carvings byla demoiselleMassé. Also, there was Mme. Falconet. But the great and austere art was cultivated only as a rare exception by woman. Mlle. Félicie de Fauveau was the first pre-Raphaelite, although the return to the primitive Italian masters of the 16th century dates further back, but with cropped head under a velvet toque, after the style of Raphael himself, she unceasingly uttered curses against that noble personality, whose brush produced the highest incarnation of the art of painting.
But the naturalist movement it was that witnessed the development of the greatest artistic personality in the feminine world of to-day—Rosa Bonheur. Therôleplayed by Rosa Bonheur is important from the feminine point of view, for thereason that she broke away from ancient traditions. She revealed what woman was capable of in the matter of energy, of continuity of purpose, of method, of scientific direction, in a word, in the indispensable impetus of inspiration. Before her day, the woman-painter had always been looked upon rather as a phenomenon, or her place in the domain of art was conceded to her on the grounds that she was indulging in an elevating and tasteful pastime, coming under the category of "accomplishments." Rosa Bonheur gave to woman a position equal to that of man. She won for herself unanimous admiration, based, not on the singularity of her life, not on looseness of morals, not on social triumphs, not on friends at Court, but on her robust, virile, observant and well-considered talent, which in its turn was based on a primary study of anatomy and osteology, developed by a continuous observation of the constitution and the life of the animal world. Her long life was crowned with glory. She held an exceptional place in art, akin to that of George Sand in the world of letters.
From that day forth, there appeared a new phase in the artistic life of woman. Art became for her, not merely an intellectual pastime, but a vocation and a career. Rosa Bonheur lived nearly to the close of the nineteenth century, seeing many revolutions both in French life and in French art, but remaining always quite true to herself. Perhaps the most uncertain period of all, historically, so far as women were concerned, was that period of wave-like fluctuation in French art that occurred in the seventies and eighties, reflecting itself in the work of such women painters as Angèle Dubos, Jeanne Fichel, Marie Petiet, Laure de Chatillon, Félicie Schneider, Eva Gonzalès, Marie Nicolas, and Rosa Bonheur's successor—her heiress, so to speak—Madame Virginie Demont-Breton, the daughter, wife and niece of a family of distinguished artists. She has achieved a well-deserved popularity with her subjects of popular and rustic life, and, like Rosa Bonheur, has attained the rank of officer of the Legion of Honour. Two other feminine personalities have attracted the attention of bothpublic and artists, the one, the sister-in-law of Manet, the delightful Mademoiselle Morisot, who has, so to speak, improved on the refinement of her master; the other, that strange and alluring young Russian girl, who adopted France as her Fatherland, and whom France adopted as artist. Marie Bashkirtseff, struck down by a cruel and premature death, at the age of twenty-three, revealed something far more than mere happy gifts. One is surprised at the amount of studies produced by the unfortunate and beautiful creature in the short space allotted to her for her life-work.
We now enter upon the present period of woman's artistic life, the active period, let us call it. We no longer trouble about her place at our exhibitions, since she has nowadays her own exhibition, or rather exhibitions proper to herself. Among the many youthfulamateurswho constitute the bulk of feminine artists, one finds a number of true artists. To name a few: Mademoiselle Louise Abbéma, Madame Madeleine Lemaire, Madame Nanny Adam, Mlle. Fiérard, Mme. Vallet-Bisson, Madame Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme. Baury-Saurel, and many others, as this book proves.
Several women-artists have won their place in the National Museum, wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton, by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg (widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned to execute some important decorations for the Sorbonne, Mlle. Delasalle, Mlle. Marie Gautier, Señora Eva Gonzalès, and a couple of semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle. Breslau, a Swiss—both dames of the Legion of Honour.
To conclude, women are proving just now not only that the domain of art should be open to them as freely as it is to men, on the grounds of right and reason, but also that they are specially gifted by their delicate sensitiveness, their quickness of comprehension, their initiative faculty, and lastly, by all the phases of their natural temperament, and by their intelligence to endow art with the elements of expression and beauty proper to womankind.
LÉONCE BÉNÉDITE.
French School, 1768-1826
PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE.AFTER THE PAINTING AT VERSAILLES,FROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame Marie Guilhelmine Benoits, Painter1768-1826
French School, XVII and XVIII Centuries
PORTRAIT OF MADAME VICTOIRE DE FRANCE.AFTER THE ORIGINAL PAINTING AT VERSAILLES,FROM A PHOTOGRAPH BY BRAUN CLEMENT AND CO., PARISMadame Guyard, née Labille des Vertus, Painter1749-1803
PORTRAIT OF MARIE DE RABUTIN-CHANTAL,MARQUISE DE SÉVIGNÉ (1626-1696)AFTER THE ORIGINAL PAINTING AT VERSAILLES,FROM A COPYRIGHT PHOTOGRAPH BY NEWIDEIN, PARISMademoiselle de Vanteuil, Painter17th Century
French School, XVIII Century
THE SONS OF CHARLES X. OF FRANCE.AFTER AN ORIGINAL PICTURE IN THE MUSÉE DE VERSAILLES,FROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame Anna Rosalie Filleul, née Bocquet, PainterDied 1794
French School, XVIII Century
PORTRAIT OF THE DUC D'ANGOULÊME,SON OF CHARLES XFROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS,AFTER AN ORIGINAL PASTEL AT VERSAILLESMadame Filleul, née Bocquet, PastellistDied 1794
PORTRAIT OF MADAME RÉCAMIER IN THE YEAR 1799.FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.,AFTER AN ORIGINAL PAINTING AT VERSAILLESMadame Eulalie Morin, PainterLate 18th Century
French School, XVIII Century
PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA.AFTER THE ORIGINAL PAINTING AT VERSAILLESFROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame Adélaïde Guyard, née Labille des Vertus, PainterIn second marriage Mme. F. A. Vincent1749-1803
French School, XIX Century
PORTRAIT OF MADAME ADÉLAÏDE D'ORLÍANS (1777-1847).AFTER THE PAINTING AT CHANTILLY,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMademoiselle Marie Amélie Cogniet, Painter1798-1869
French School, XVIII and XIX Centuries
PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN.AFTER THE ORIGINAL PAINTING AT VERSAILLES,FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARISMadame Élisabeth Louise Vigée Le Brun, Painter1755-1842
French School, Between 1792 and 1820
PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792.FROM A PHOTOGRAPH BY ALINARIMadame Élisabeth Louise Vigée Le Brun, Painter1755-1842
"THE MINIATURE."FROM THE PAINTING IN THE GLASGOW GALLERYAFTER A PHOTOGRAPH BY HANFSTAENGLMadame Caroline de Valory, Pupil of Greuze, PainterEarly 19th Century
French School, XVIII and XIX Centuries
PORTRAIT OF MADAME LE BRUN,AFTER THE ORIGINAL PAINTING IN THE NATIONAL GALLERY, LONDON,FROM A PHOTOGRAPH BY HANFSTAENGL
PORTRAIT OF LOUISE MARIE ADÉLAÏDE DE BOURBON (1753-1821).AFTER THE ORIGINAL PAINTING AT VERSAILLES,FROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame Élisabeth Louise Vigée Le Brun, Painter1755-1842
French School, Early XIX Century
PORTRAIT OF AN ACTRESS, PROBABLY MLLE. BÉLIER.REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTINGBY PERMISSION OF BRAUN, CLÉMENT & CO., PARISMademoiselle Bouilliar, PainterEarly 19th Century
French School, XIX Century
STUDY OF A BULLREPRODUCED FROM A PHOTOGRAPH,BY PERMISSION OF BRAUN, CLEMENT & CO., PARIS,OWNERS OF THE COPYRIGHTMademoiselle Rosa Bonheur, Painter1822-1899
French School, Early XIX Century
PORTRAIT OF DAME DE LONGROIS (1763-1826).AFTER THE PASTEL IN THE TROCADÉROFROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARISMlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter1761-1818
French School, XVIII and XIX Centuries
MADAME VIGÉE LE BRUN AT HER EASEL.AFTER THE ORIGINAL PAINTING IN THE UFFIZI, FLORENCE,FROM A PHOTOGRAPH BY W. A. MANSELL & CO.Madame Élisabeth Louise Vigée Le Brun, Painter1755-1842
French School, 1778-1821
THE HAPPY MOTHER.AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS,FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Mademoiselle Marie Françoise Constance Mayer, Painter1778-(committed suicide)1821
French School, XVIII and XIX Centuries
PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793).AFTER THE ORIGINAL PAINTING AT VERSAILLESFROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS
French School, XVIII and XIX Centuries
PORTRAIT OF THE DUCHESS OF POLIGNAC.FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMadame Élisabeth Louise Vigée Le Brun, Painter1755-1842
French School, 1767 to 1830
PORTRAIT OF MADAME VILLOT, NÉE BARBIER.FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARISMme. Jeanne Élisabeth Chaudet, née Gabiou, Painter1767-1830
PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN OF HOUDON THE SCULPTOR.PHOTOGRAPH BY BRAUN CLÉMENT & CO.Mlle. Marguerite J. A. Houdon, Painter1771-1795
French School, 1778-1849
PORTRAIT OF MADAME DE STAËL (1766-1817).AFTER THE ORIGINAL PAINTING AT VERSAILLES,FROM A PHOTOGRAPH BY NEWIDEINMademoiselle Marie Eléonore Godefroid, Painter1778-1849
PORTRAIT OF CHARLES MAURICE,PRINCE OF TALLEYRAND-PERIGORD (1754-1838).FROM A PHOTOGRAPH BY NEWIDEIN,AFTER THE PAINTING AT VERSAILLESMademoiselle Marie Eléonore Godefroid, Painter1778-1849
French School, XVIII and XIX Centuries
PORTRAIT OF MADAME MOLÉ-RAYMOND,ACTRESS OF THE COMÉDIE-FRANÇAISE.AFTER THE ORIGINAL PAINTING IN THE LOUVRE,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Madame Élisabeth Louise Vigée Le Brun, Painter1755-1842
French School, XIX Century
"SHEPHERD WATCHING HIS SHEEP."AFTER THE PICTURE IN THE MUSÉE DE CHANTILLY,FROM A COPYRIGHT PHOTOGRAPHBY BRAUN, CLÉMENT & CO., PARISRosa Bonheur, Painter1822-1899
French School, XIX Century
PORTRAIT OF MARSHAL LEFÈVRE, DUKE OF DANTZIC.FROM A PHOTOGRAPH BY NEWIDEINAFTER THE PAINTING AT VERSAILLESMadame C. H. F. Davin, née Mirvault, Painter1773-1844
PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE, PUPIL OF DAVID.FROM A PHOTOGRAPH BY NEWIDEIN, PARIS,AFTER THE ORIGINAL PAINTING AT DIJONMadame Sophie Rude, née Frémiet, Painter1797-1867
French School, Early XIX Century
A GOOD DAUGHTER. REPRODUCEDAFTER THE ORIGINAL PICTURE,FROM AN ENGRAVING BY S. W. REYNOLDSMadame Antoinette Cécile Haudebourt Lescot, Painter1784-1845
French School, 1847
PLOUGHING IN THE NIVERNAIS. DATED 1847.AFTER THE ORIGINAL PAINTING IN THE MUSÉE DU LUXEMBOURG,FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO.Mademoiselle Rosa Bonheur, Painter1822-1899
French School, XIX Century
THE HORSE FAIR.AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY, LONDON,FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY,NEW OXFORD STREET, LONDONMademoiselle Rosa Bonheur, Painter1822-1899
French Impressionist School, XIX Century
PORTRAIT OF A YOUNG WOMAN SEATED.REPRODUCED FROM THE ORIGINAL PAINTINGBY PERMISSION OF MESSRS. DURAND-RUEL & SONS,PARIS AND NEW YORKMademoiselle Berthe Morisot, Painter1840-1895
French Impressionist School, XIX Century
THE JETTY.—AN OUTDOOR IMPRESSION.REPRODUCED FROM THE ORIGINAL PAINTINGBY PERMISSION OF MESSRS. DURAND-RUEL & SONS,PARIS AND NEW YORKBerthe Morisot, Painter1840-1895
French School, 1879
THE KING OF THE DESERT.FROM AN ORIGINAL PAINTING IN THE PRADO, MADRID, DATED 1879.AFTER A PHOTOGRAPH BY J. LAURENT & CO., MADRIDMademoiselle Rosa Bonheur, Painter1822-1899
French School, about 1879
'BRISCO,' A SHEPHERD'S DOG.AFTER THE ORIGINAL PAINTING IN THE WALLACE COLLECTION, LONDON,FROM A PHOTOGRAPH BY W. A. MANSELL & CO.Mademoiselle Rosa Bonheur, Painter1822-1899
French School, 1878 and 1879
A NEW SONG.FROM THE ORIGINAL PAINTING, DATED 1879,AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Mademoiselle Angèle Dubos, Painter
THE BOUQUET.FROM THE ORIGINAL PAINTING, DATED 1878,AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMadame Jeanne Fichel, née Samson, Painter
French School, Contemporary
MISTLETOE.AFTER THE ORIGINAL PAINTINGFROM A PHOTOGRAPH BY MESSRS. BRAUN, CLÉMENT & CO., PARISMadame Jacqueline Comerre-Paton, Painter
French School, 1878 and 1881
THE KNITTER ASLEEP.AFTER THE ORIGINAL PICTURE, DATED 1881,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMademoiselle Marie Petiet, Painter
A YOUNG ADOLESCENT.FROM A PICTURE EXHIBITED AT THE SALON IN 1878,AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Madame Laure de Chatillon, Painter
French School, 1880
PRIVATE AND CONFIDENTIAL.AFTER AN ORIGINAL PICTURE EXHIBITED AT THE PARIS SALON IN 1880Madame Armand Émilie Leleux, Painter
SITTING FOR A PORTRAIT IN 1806.AFTER THE ORIGINAL PICTUREFROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMademoiselle Jeanne Rongier, Painter
French School, about 1881
"RÉGALEZ-VOUS, MESDAMES!"AFTER THE ORIGINAL PAINTING, DATED 1881,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Mlle. Jenny Zillhardt, Painter
BY THE BANK OF A STREAM.FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMlle. Hermine Waternau. Painter
French School, 1882
FATHER RICARD.AFTER A PAINTING EXHIBITED AT THE SALON IN 1882,FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Mlle. Marie Nicolas, Painter
THE LAST SURVIVORS OF A FAMILY.FROM A PHOTOGRAPH OF THE ORIGINAL PAINTINGBY BRAUN, CLÉMENT & CO., PARISMadame Félicie Schneider, Painter
French School, XIX Century
PORTRAIT OF A LADY SEATED.AFTER THE PASTEL IN THE MUSÉE DU LUXEMBOURG,FROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame Eva Gonzalès, Pastellist1849-1883
French School, Between 1882 and 1898
CHARITY.AFTER THE ORIGINAL PAINTINGFROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARISMadame Uranie Colin-Libour, Painter
"FLEURS DE SERRE."FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARISMadame Alix Enault, Painter
French School, 1883
ON THE SEA-SHORE.AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG, PARIS, DATED 1883,FROM A PHOTOGRAPH BY MESSRS. LÉVY & SONS, PARISMadame Virginie Demont-Breton, Painter
French School, 1887 to about 1892
BEFORE THE DANCE.AFTER AN ORIGINAL PAINTING DATED 1887,FROM A PHOTOGRAPH BY NEWIDEIN, PARISMadame E. de Tavernier, Painter
DESOLATION.AFTER THE ORIGINAL STUDYFROM A PHOTOGRAPH LENT BY THE ARTISTMadame Marie Cazin, Painter
French School, 1885 and 1890
IN THE GYNÆCEUM. DATED 1885.FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARISMlle. Diana Coomans, Painter
AT LOW TIDE.AFTER THE ORIGINAL PICTURE, DATED 1890.FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO.Mlle. Eugénie Salanson, Painter
French School, Contemporary