Lion Hunt

• Alfred Robaut, L’Oeuvre Complet de Eugene Delacroix (Paris, 1885), no. 1350.
• Jean Maurice Tourneaux, Eugène Delacroix devant ses contemporains (Paris, 1886), p. 144.
• Reginald Wilenski, French Painting (Boston, 1931), pl. 85, pp. 209, 212.
• Journal de Eugene Delacroix, 1932, vol. 2, pp. 334, 317, 389, 402.
• The Art Institute of Chicago, A Guide to the Paintings in the Permanent Collection (Chicago, 1932), p. 190.
• Hans Tietze, Meisterwerks Europäischer Malerei in Amerika (Vienna, 1935), no. 265 (ill.).
• Jean Cassou, Delacroix (Paris, 1947), no. 40.
• Lee Johnson, “Delacroix at the Biennale,” Burlington Magazine 98 (September 1956), pp. 324–330, (ill) 329.
• Giuseppe Marchiori, Delacroix alla Biennale (Venice, 1956), p. 37.
• Karchiori, Delacroix alla Biennale, 1956, pp. 36, (ill.) 37.
• The Art Institute of Chicago, A Brief Guide to the Collections (Chicago, 1956), pp. 32-33.
• The Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 123, (ill.) p. 244.
• Jean Leymarie, French Painting: The Nineteenth Century, trans. James Emmons (Geneva and Paris, 1962), pp. 82-83.
• Raymond Escholier, Eugène Delacroix (Paris, 1963), pp. 116, 117 (detail ill.).
• Rene Huyghe, Delacroix, trans. Jonathon Griffin (London, 1963), pl. 348, pp. 471, 490.
• Lee Johnson, Delacroix (London, 1963), p. 92.
• George P. Mras, Eugène Delacroix’s Theory of Art (Princeton, 1966), p. 70, fig. 21.
• John Maxon, The Art Institute of Chicago (New York, 1970), pp. 72, (ill.) 73, 280.
• Frank A. Trapp, The Attainment of Delacroix (Baltimore and London, 1970), pp. 216-17, fig. 133.
• John D. Morse, Paintings in North America: Over 3000 Masterpieces by 50 Great Artists (New York, 1979), p. 100 (ill.).
• Per Bjurström, “Delacroix’ Lion Hunt,” in The Grace and Phillip Sanoblom Collection, ed. Ulf Abel (Stockholm, 1981), pp. 24-35.
• Eve Twose Kliman, “Delacroix’s Lions and Tigers: A Link Between Man and Nature,” Art Bulletin 64, 3 (1982), p. 464, fig. 36.
• Maurice Sérullaz, Dessins d’Eugene Delacroix, 1798-1863 vol. 2 (Paris, 1984), p. 222 (ill.).
• Frances Weitzenhoffer, The Havemeyers: Impressionism Comes to America (New York, 1986), p. 88, pl. 32.
• Lee Johnson, The Paintings of Eugène Delacroix: A Critical Catalogue vol. 3 (Oxford, 1986), no. 205, pl. 30.
• Richard Brettell, French Salon Artists 1800-1900 (Chicago, 1987), pp. 32 (ill.), 33, 118.
• Barthélémy Jobert, Delacroix, Paris, Gallimard, 1997, pp. 265-266, ill. 222.
• O’Brien, David. “Exiled in Modernity: Delacroix, Civilization, and Barbarism” (The Pennsylvania State University Press, 2018) pp. 142-144, fig. 72-75.

• Paris, Ecole Nationale des Beaux-Arts, Eugene Delacroix, March 6-April 16, 1885, cat. 76.
• The Art Institute of Chicago, Paintings From the Collection of Mrs. Potter Palmer, August 1910, cat. 22.
• The Art Institute of Chicago, Delacroix, March 20-April 20, 1930, cat. 43.
• Paris, Musée du Louvre, Exposition Eugène Delacroix, June-September 1930, cat. 191.
• The Art Institute of Chicago, A Century of Progress, Exhibition of Painting and Sculpture, June 1–November 1, 1933, cat. 246.
• The Art Institute of Chicago, Century of Progress: Exhibition of Paintings and Sculpture, June 1-November 1, 1934, cat. 192.
• Springfield, Mass., Museum of Fine Arts, From David to Cézanne, February 9-March 10, 1935, cat. 16.
• Pittsburg, Carnegie Institute, A Survey of French Painting, April 2-May 14, 1936, cat. 17.
• Cambridge, Mass., Fogg Museum of Art, Harvard University, Gericault, Delacroix, Chasseriau, Painters of the Romantic Movement, April 30-June1, 1946, no cat. no.
• Buffalo, New York, Albright Art Gallery, Expressionism in American Painting, May 10–June 29, 1952, cat. 3 (ill.).
• Venice, XXVIII Biennale di Venezia, May–September 1956, cat. 42.
• Los Angeles, University of California –Los Angeles Art Council, French Masters From Rococo to Romanticism, March 5–April 16, 1961, no cat. no. (ill.).
• Paris, Musée du Louvre, Centrenaire d’Eugéne Delacroix, May-September, 1963, cat. 521.
• Edinburgh, National Gallery of Scotland, Delacroix, August 14-September 12, 1964, cat. 75, traveled to London, Royal Academy of Arts, October 1-November 8, 1964.
• Stockholm, Natinalmuseum, Delacroix’ Lejonakter, October 1-December 6, 1981, cat. 28 (ill.).
• Tokyo, Seibu Museum of Art, The Impressionist Tradition: Masterpieces from The Art Institute of Chicago, October 18-December 17, 1986, cat. 1 (ill.), traveled to Fukuoka Art Museum, January 5-February 2, 1986 and Kyoto Municipal Museum of Art, March 4-April 13, 1986.
• Paris, Galeries nationales du Grand Palais, Delacroix les dernières années, April 7-July 20, 1998, cat. 23 (ill.), traveled to Philadelphia Museum of Art, September 10, 1998-January 3, 1999.
• Charlottenlund/Copenhagen, Ordrupgaard, Delacroix: The Music of Painting, September 13-December 30, 2000, cat. 16 (ill.).
• Staatliche Kunsthalle Karlsuhe, Eugène Delacroix, November 1, 2003-February1, 2004, cat. 22 (ill.).
• Minneapolis, Minneapolis Institute of Art, “Delacroix’s Influence: The Rise of Modern Art from Cézanne to van Gogh,” 18 October 2015 – 10 January 2016, traveled to London, National Gallery, 17 February – 22 May 2016

Possibly sold from the artist to Vaisse for 2,500 francs [this and the following information according to Johnson 1989]. Comte d’Aquila; his sale, February 21-22, 1868, lot 7, sold for 14,505 francs. Faure, Paris, 1885 [according to Robaut 1885; see also catalogue of 1892 sale citied below]. R. Austin Robertson, New York; his estate sale, New York, American Art Association, April 7, 1892, lot 147 (ill.); sold for 13,000 francs to Mr. and Mrs. Potter Palmer, Chicago; bequeathed to the Art Institute, 1922.