pray sere tas eet be WT PTY EOE TNs : a sien ent © Peters Sere apf Ss Tish teat nab Raa ites “ : , * + Bre pies ame a) 8 & = Sy Ss 3 ar ~ S Paz S > S Q e . on pews REMBRANDT ° = o. 33 ee 5 J Rees ER we Nie ‘weer rt seca Sees 5 wat a an ON FREE VIEW DAY AND EVENING FROM SATURDAY, FEBRUARY 18TH UNTIL THE DAY OF SALE, INCLUSIVE COLLECTION OF THE LATE WALTER S. CARTER, Eso. BROOKLYN TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE EVENINGS OF FEBRUARY 23RD, 24TH AND 25TH AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK CATALOGUE OF THE COLLECTION OF LINE ENGRAVINGS, MEZZOTINTO AND STIPPLE ENGRAVINGS AND ETCHINGS WALTER S. CARTER, ; Esa. BROOKLYN ine COMPILED BY FITZROY CARRINGTON AND HIS FINE ART AND STANDARD BOOKS INCLUDING THE GROLIER PUBLICATIONS L 63004 TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF WALTER F. CARTER, ESQO., EXECUTOR ON THE EVENINGS HEREIN STATED THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK: 1905 ik Astor Place, New “In this matter I will, with the help of God, set forth the little which I have learnt, though it will seem but a poor thing to many. But this does not trouble me, for I know well that it is easier to find fault with a thing than to make something better.”—Albert Diirer. INTRODUCTORY NOTE Courace is the prime essential in forming a collection of fine prints—courage to admit that mistakes have been made; courage to part with prints which, through association, have endeared themselves to us, but which must be weeded out if the standard of the collection as a whole is to be main- tained or improved. This quality the late Walter S. Carter possessed in abundant measure. To it he joined a knowl- edge acquired by long study of the masterpieces of en- graving and etching; keen appreciation of beauty in widely differing forms, and exhaustive reading in the standard works on the subject he loved so well. Never was a col- ¢ lection more “safely” made, or on more approved lines. His method was simple—to acquire only the best work of each engraver or etcher, and to exclude all artists but those whose reputations were established beyond all peradvent- ure, for all time. A collection formed along these lines was not to be gathered in a year—nor in a dozen years— but, from the start, Mr. Carter seems to have kept clearly before him the goal at which he aimed, and to which—this collection proves it—he attained. ‘I will give you,’ he would say, “the result of my experience if it will help you any. Don’t get a thing simply because you like it, and don’t reject it simply because you dislike it; recollect, un- less you are thoroughly ‘ up’ in the subject, your individual opinion doesn’t amount to much anyway—I know mine didn’t. Consider simply this: what is the world’s artistic judgment on this picture? You may not like it; never mind, 5 you may grow to like it. Beware of a picture that at the start impresses you as so very beautiful. The chances are that you will tire of it; after a little it will go up to the second story, whence it will travel shortly to the third, and finally bring up on the walls of some friend to whom you generously give it as a wedding or birthday present.” This process of elimination was constant. We have now before us, catalogued in the following pages, the best of the best. To the very last Mr. Carter was adding to his collection, weeding out, verifying or correcting his own opinions by reference to the standard works of reference. A fine figure of a man, he would pace the floor, head slightly bent, hands clasped behind his back, discoursing of the beauties of the prints he possessed, or of those (and they were few) which, in his opinion, were lacking in the collection. Then he would pause—*“ Mac, bring me Willshire,” or “ Let me see the ‘ large capitals ’ in Beraldi,” he would say. A monologue would follow, always interesting, regarding the etching or engraving under consideration; and we, who knew him well, could not but admire his respect for established authority, joined, as it was, with keen appreciation and substantial patronage of good work, whenever, wherever, it might be found—as was the case with the then unheralded etchings of D. Y. Cameron. In the main, however, it was those en- gravings or etchings which have definitely taken rank as masterpieces, and those only, that interested him, or which he cared to add to, or retain in, his collection. So thor- ough, so constant, was his process of elimination, that all traces of hesitation, of error, are lost—the collection, well rounded, stands as an admirable whole, a monument of en- thusiasm tempered by knowledge. In it are reflected none of those flashes of genius—they are no less—which have enabled certain collectors, from the time of Pierre Mariette until our own day, to recognize a masterpiece at the moment of its birth, but, in their stead, we have, quietly 6 shining, what is, perhaps, not less valuable, a steady, broad- minded survey of the whole range of engraving and etch- ing, and a patient, though enthusiastic, garnering of the best that four centuries can offer in black-and-white art. FITZROY CARRINGTON. 7 INDEX LINE ENGRAVERS Nos. BarToLozziI, FRANCESCO 1 Basire, JAMES Q Bervic, Cuartes CLEMENT 3 Burcer, JOHANN 4, CLAEssENs, LamBpertus AN- TONIUS 5 Dersnoyers, AvucusTeE GaAs- PaRD Louis BoucHER 6-7 Drevet, Pierre IMBertT . 8 Dupont, HENRIQUEL 9 Diner, ALBERT 10-13 EpELINCcK, GERARD 14-16 FaitHorRNE, WILLIAM 17 Ficauet, EneNNE 18 Firrier, JAMES _ 19 Forster, FRANCOIS 20 Frescnui, A. ; Q1 GAILLARD, FERDINAND 22-30 Huser, K. | 31 Lertvre, ACHILLE D£siRE 32 Nos. Loneui, GIUSEPPE 33 Lucas van LEYDEN 34 Manve1t, JoHANN AUGUST EpuarRD 35-36 Masson, ANTOINE 37-38 Mercurs, Paoro 39 MoreuHen, RaPHAEL 40-42 MULLER, Jouann Fnrie- DRICH WILHELM 43-44, NantTEvIL, ROBERT 45 Porporati, Carto Antonio 46 Raimonp1, Marc Antonio 47 Scu1avoni, NAaTALE 48 Suarp, WILLIAM 49-51 Srrance, Sir RoBerr 52 Toscui, Paoio 53 VERTUE, GEORGE 54, Witte, JoHANN GeEorG 55 Woottetr, WILLIAM 56 MEZZOTINTO ENGRAVERS Nos. Cousins, Henry 57 Cousins, SAMUEL 58-60 Dickinson, WILLIAM 61 Dixon, JoHN 62-63 Dunxkarton, RoBErt 64-65 Eartom, RicHARD 66-69 FisHer, Epwarp 70-71 GREEN, VALENTINE 72-76 Honces, Cuartes Howarp 177-78 Hovston, RicH arp 79-81 JONES, JOHN 82-83 JosEY, RicHARD 84-85 Lucas, Davin 86 Lupton, THomas 87 MacArpet1, JAMES 88-97 Marcui, JosepH PuHItip LABERATI 98 Meyer, Henry 99 ENGRAVERS Nos, Bartorozzi, Francesco 144-145 \ Nos. Miter, Joun DovcGras 100 MourpnHy, JoHN 101 PeTHER, WILLIAM 102 PIicHLER, JOHANN Peter 103 REYNOLDs, SAMUEL WI11- LIAM 104-105 Say, WILLIAM 106 SMITH, JOHN 107 Smirn, Joun RapHaeE. 108 TuRNER, CHARLES 109-114 Turner, J. M. W. 115-135 Warp, JAMES 136 Warp, WILLIAM 137-139 Warp, WILLIAM JAMES 140 Watson, JAMES 141 Watson, THomas 142 ZOBEL, GEoRGE J. 143 IN STIPPLE No. Eartom, RicHarp 146 Io ETCHERS AND LITHOGRAPHERS Nos. BracaquemonpD, Fkuix 147-151 BruneET-DEBAINES, A. 152-154 Bunot, FEirx 155-157 Cameron, D. Y. 158-170 CHAMPOLLION, EUGENE ANpRE 171 CuHaAvvEL, THEOPHILE 172-175 CiaupE GELLEE LE Lor- RAIN 176-180 Courtry, CHARLES JEAN Lovis 181 FiamMensc, Lfoprotp 182-184 Fortuny, Mariano 185 GRAVESANDE, CHARLES STORM VAN ’s 186-188 Haven, Sm “Francis SEYMOUR 189-226 Haic, AxEL Herman 227-231 HeErKomer, Hvusert 932 JACQUE, CHARLES 233-236 J ACQUEMART, JULES 237-239 JACQUET, JULES 240 JouHnson, THOMAS 241 Nos. KorEprPinc, CHARLES Q42 Kine, F. S. 943 Kine, James S. 244-250 LALANNE, MaxImMe 251 Le Covrevx, LionEL 252 Lecros, ALPHONSE 253-266 Méryon, CHar.es 267-275 Mittet, JEAN Fran ois 276 PatmMer, SAMUEL Q77-281 PENNELL, JOSEPH 282 Piarr, CuHarues A. 283 RaAFFET, AUGUSTE 284 Ragon, Pav 285-987 REIcH, JACQUES 288 REMBRANDT VAN Ryn 280-343 Van Dyck, AntHony 344-346 Van Ostane, ABRIEN 347 Wattner, CHartEs - 340-345 WHIsTLER, JAmES A. McNEtL1 358-420 Witcox, J. A.J. 348 Wikre, Sm Davip 421-422 Zorn, ANDERS L. 423-426 _ Grorcr Wasuineton to GeNERaL Forman ProrocrapHs From Lire 12 AUTOGRAPH LETT Sb: ea ea CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be im- mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if. required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Risk within twenty-four hours from the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or other- wise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold them- selves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be lefi at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen- ticity of, or any fault or defect in, any Lot, and make no War- ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail- ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re- moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared within one day from conclusion of Sale shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Con- dition is without prejudice to the right of the Auctioneer to en- force the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing and shipping of purchases, and although they will afford to purchasers every facility for em- ploying careful carriert and packers, they will not hold them- selves responsible for the acts and charges of the parties engaged for such services. Tur AMERICAN ART ASSOCIATION, Managers THOMAS E. KIRBY, Auctioneer. 0 ye ‘ aM Pad, = , ‘ ; it ‘ 1 f ix i 7 © be i - i , . ‘ \ FIRST EVENING’S SALE THURSDAY EVENING, FEBRUARY 23rp, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 8 O’CLOCK LINE ENGRAVINGS BARTOLOZZI, FRANCESCO “Few artists have reached so distinguished a rank in their pro- fession as Bartolozzi, and that in every species of engraving.”— Bryan’s Dictionary of Painters and Engravers. “Though Bartolozzi’s name will always be mainly associated with stipple engraving, it was as a line engraver that he was nominated as one of the original members of the Royal Academy. Many authorities are of the opinion that his line engravings are, by far, his finest plates.” 1—MARY, QUEEN OF SCOTS APELL, No. 17. . After the painting by F. Zuccaro. Proof with the names of painter, engraver and publisher; with the publication line but before all other inscription. Superb impression in per- fect condition. Good margins. “But his prettiest piece undoubtedly is Mary, Queen of Scots, with her little son, James I., after what Mrs. Jameson calls ‘ the 15 lovely picture of Zuccaro at Chiswick.’”—Charles Sumner, “The Best Portraits in Engraving.” BASIRE, JAMES Born in London in 1730. Died there in 1802. 2—CHARLES PRATT, LORD CAMDEN After the painting by Sir Joshua Reynolds. Good impres- sion in fair condition. BERVIC, CHARLES CLEMENT Born in Paris in 1756. Died there in 1822. Pupil of Wille. 3—THE LAOCOON Anpresen, No. 2. Berratrpi, Vou. II., Pace 60. After a drawing by Pierre Bouillon, from the antique. Proof with the engraver’s name in scratched letters. Be- fore all other inscription. Superb impression in perfect condition. “But Bervic’s masterpiece is undoubtedly his plate of the re- nowned antique group of the ‘Death of Laocoén and His Two Sons,” engraved for the Musée Francais, in which he appears to have endeavored to rival the ‘suffering marble,’ as it has been aptly termed, which the Rhodian sculptors Agesander, Polydorus, and Athenodorus seem to have animated with the breath of life. Yet such was his modesty, that when his task was done he com- plained of having been able but partially to realize his aims.”— Bryan’s Dictionary of Painters and Engravers. 16 BURGER, JOHANN Born at Munich, May 31, 1829. 4—LA FLORA DI TITIANO After the painting by Titian, in the Uffizi Gallery. Signed artist’s proof, on India paper. CLAESSENS, LAMBERTUS ANTONIUS Born at Antwerp in 1764. Died at Paris in 1834. A pupil of Bartolozzi. 5—THE DESCENT FROM THE CROSS After the painting by Rubens—the great altar-piece in the Cathedral of Antwerp. Proof before all letters. Superb impression in excellent condition; slightly foxed in lower margin. DESNOYERS, AUGUSTE GASPARD LOUIS BOUCHER One of the most eminent of modern French engravers. Born in Paris in 1779. Died there in 1857. “ He appears to the best advantage in his transcripts of the works of the ancient masters, especialy Raphael, whose characteristics he renders with the greatest truth and skill. His masterpieces are the ‘Belle Jardinitre’ of Raphael and the ‘ Vierge aux Rochers’ of Leonardo da Vinci.”—Bryan’s Dictionary of Painters and En- gravers. 17 6—LA BELLE JARDINIERE (THE VIRGIN AND CHILD WITH THE INFANT SAINT JOHN) Anopresen, No. 3. Beratopr, No. 3. After the painting by Raphael, in the Louvre. Good im- pression in good condition. This picture is supposed to be the one ordered by Filippo Segardi, of Siena, left incom- plete in Florence by Raphael when summoned to Rome, and finished by Ridolfo Ghirlandajo. Segardi sold it to Francis I., from whose collection it passed to the Louvre. "—LA VIERGE AUX ROCHERS AnpRESEN, No. 2. Beratopt, No. 18. After the painting by Leonardo da Vinci, in the Louvre. Fine and early impression with Desnoyers’ stamp of two heads, to the left. In perfect condition. “Une des plus belles planches de Desnoyers. Les premieres épreuves avec la lettre portent le cachet aux deux tétes.”—Henri Beraldi. DREVET, PIERRE IMBERT Born at Paris in 1697. Died there in 1739. Son and pupil of Pierre Drevet. “The younger Drevet even improved on the splendid technics of his predecessors—gilding their refined gold. In the representation of such materials as fur and lace he is unequalled, though he duly subordinated all to the features of his subjects. All this engraver’s works are so fine that it is not easy to designate the best; but his 18 ne er i; (& A | pe oo E- Fae . artis PIN Cie LRP ME ASE ge LPIsCQl BOSSUET Consistorius etter Secon Delphine — A praceplorcl prunas Serenussuna Deuces Burgunde EMO « shirt pe le rats (og RENEE Ms BEI IUTEE BEALE HETIL * full-length portrait of the eloquent Bisxor Bossurt is a master- piece.”—Frederick Keppel, “The Golden Age of Engraving.” 8—JACQUES BENIGNE BOSSUET, BISHOP OF MEAUX Firmin-Dinot, No. 12. After the painting by Hyacinthe Rigaud, in the Louvre. Good impression, in excellent condition, but the dots after the word pinzit have been scratched out. “The portrait of Bossuer has everything to attract and charm. There stands the powerful defender of the Catholic Church, master of French style, and most renowned pulpit orator of France, in episcopal robes, with abundant lace, which is the perpetual envy of the fair who look at this transcendent effort.”—Charles Sumner, “The Best Portraits in Engraving.” DUPONT, HENRIQUEL Born at Paris in 1797. A pupil of Bervic and Delaroche. 9—MARIAGE MYSTIQUE DE STE. CATHERINE Berarpi, No. 93. After the painting by Correggio, in the Louvre. Fine im- pression, in perfect condition. One of the very finest of this engraver’s many fine plates. DURER, ALBERT “ Albrecht Diirer fills a large space in the history of art. So far as Germany is concerned he is facile princeps, unrivalled even in his own age by so great an artist as the younger Hans Holbein, and towering above all his successors, no one of whom can raise a head high enough to look him in the face. . ~ . Although it would 19 seem that it was Diirer’s ambition to excel as a painter, it is as an engraver that he has won his fame and taken so sympathetic a grasp of the human heart.”—Lionel Cust, “The Engravings of Albrecht Diirer.” 10—ADAM AND EVE Barrscu, No. 1. Very fine impression, brilliant but not too heavy in the shadows. In the upper right corner is the name P. Mariette and a date (not legible). On paper with the water-mark of the bull’s head. In excellent condition. As usual, has been folded across. “The ‘Adam and Eve’ ranks amongst the most important of Diirer’s works. In it are seen the results of Diirer’s studies into the proportions of the human body, and the triumph of his attempts to produce a chiaroscuro effect in copper-plate engraving.”— Lionel Cust. 11—SAINT JEROME IN HIS CELL Bartscu, No. 60. Superb impression of the finest quality. In perfect con- dition. “The two animals. the skull and the furniture of the cell are en- graved with rare delicacy, and at the same time in the most artistic manner. One cannot see without admiring the care with which Diirer has expressed in this beautiful print the effect of bright light shining through the glass of the window and illuminating the room.” —Bartsch. 12—MELANCHOLIA Bartscn, No. 74. Magnificent impression, in perfect condition. “This has always been considered one of the best, as it certainly is one of the most interesting and enigmatical of Diirer’s engrav- 20 ings. Of it Thausing writes: ‘The winged woman, who, supporting her cheek in her left hand, and with a laurel wreath on her loosely- bound hair, is seated, plunged in gloomy meditation, all the ma- terials for human labor, for art and for science lying scattered around her—what could she be meant to represent but Human Reason, in despair at the limits imposed upon her power?”” -18—KNIGHT, DEATH AND THE DEVIL Bartscu, No. 98. Fine impression in good condition, from the collection of W. Bell Scott, author of the ‘“‘ Life of Diirer.” Diirer, in his Diary, calls this print simply “ Der Ritter,” but the titles invented for, and the meanings ascribed to the print are very numerous. “The long illness and approaching death of Diirer’s mother are thought to have saddened the artist and at the same time inspired him to engrave his three world-famous masterpieces, the ‘ Knight, Death and the Devil,’ ‘Saint Jerome in His Cell, and ‘ Melan- choly,’ which contain the philosophy of a lifetime and are more eloquent than a thousand volumes of printed knowledge.” EDELINCK, GERARD “Younger than Nanteuil by ten years, Gérard Edelinck excelled him in genuine mastery. Born at Antwerp, he became French by adoption, occupying apartments in the Gobelins, and enjoying a pension from Louis XIV. Longhi says that he is the engraver whose works, not only according to his own judgment, but that of the most intelligent, deserves the first place among exemplars, and he attributes to him all perfections in highest degree, design, chiaro- oscuro, aérial perspective, local tints, softness, lightness, variety, in short, everything which can enter into the most exact representa- tion of the true and beautiful without the aid of color. Others may have surpassed him in particular things, but, according to the Italian teacher, he remains by common consent ‘the prince of 21 engraving. Another critic calls him ‘king. ”—Charles Sumner, “The Best Portraits in Engraving.” 14—MOSES Rosert-DumEsNit, No. 2. After the painting by Philippe de Champaigne. Third state, with the address of P. Drevet. Fine impression, in excellent condition. Ample margins. “His ‘Moses,’ after Philippe de Champaigne, is full of serene beauty. This latter was engraved in conjunction with Nanteuil, an engraver who well deserves to rank with the best.”—Frederick Keppel, “ The Golden Age of Engraving.” 15—THE FIGHT FOR THE STANDARD topeRT-DumeEsNIL, No. 44, After Leonardo da Vinci. Good impression, in excellent con- dition. Engraved after a copy of Leonardo da Vinci's cele- brated cartoon, drawn in red chalk by Rubens, which Ede- linck found at Antwerp. “ His ‘Fight for the Standard’ may be taken as a model for bold and vigorous work.” 16—PHILIPPE DE CHAMPAIGNE Rererr-DumesniL, No. 164. After the painting by Philippe de Champaigne, in the Louvre. Second state, with the slip of the graver. “The enthusiasm of Longhi finds expression in unusual praise: ‘The work which goes the most to my blood, and with regard to which Edelinck, with good reason, congratulated himself, is the — portrait of Champaigne. I shall die before I cease to contemplate it with wonder always new. Here is seen how he was equally great as designer and engraver.’ And he then dwells on various details: the skin, the flesh, the eyes living and seeing, the moistened lips, 22 ae se the chin covered with a beard unshaven for a few days, and the hair in all its forms.”—Charles Sumner, “The Best Portraits in Engraving.” FAITHORNE, WILLIAM Born in London in 1620. Died there in 1691. A pupil of Robert Peake and of Robert Nanteuil. “In his performance few have gone before him, and I may boldly affirm none since have come up to him, he being one of the first Englishmen that did anything to perfection, especially in heads.”— George Vertue. 17—MARY, PRINCESS OF ORANGE (DAUGHTER OF CHARLES 1.) Facan. Pace 10. After Anthony Van Dyck. First state, with the address of Faithorne. Very fine impression, in perfect condition. FICQUET, ETIENNE Born in Paris in 1731. Died in 1794. A pupil of G. F. Schmidt and of Le Bas. “To these may be added another contemporary artist, without predecessor or successor, StepHEeN Ficauet . . . undoubtedly remarkable for small portraits, not unlike miniatures, of exquisite finish. Among these the rarest and most admired are La Fontaine, Madame de Maintenon, Rubens and Vandyck.”—Charles Sumner, “The Best Portraits in Engraving.” 18sS—JEAN DE LA FONTAINE Le Brianc, No. 52. Third state; the brook shaded. Beautiful impression, on India paper. 23 _FITTLER, JAMES Born in London in 1758. Died in 1835. 19—GEORGE GRANVILLE, FIRST DUKE OF SUTH- ERLAND After the painting by Thomas Phillips, R.A. Fine impres- sion, in perfect condition; also CHIEF JUSTICE DALLAS Two pieces, one lot. FORSTER, FRANCOIS Born in 1790. Died in 1861. A pupil of Langlois. 20—SAINT CECILIA WITH TWO ANGELS ANDRESEN, No. 6. After the painting by Paul Delaroche. Proof, before the in- scription on the tablet, having only the names of the artists, and the address of the publisher. Fine impression, in excel- lent condition. FRESCHI, A. 21—LORD PETRE After the painting by George Romney. Open letter proof. Fine impression, in perfect condition. 24 GAILLARD, FERDINAND Born at Paris in 1834. Died in 1887. “Great engraver! Gaillard is that to-day, and for all time, by his drawing, by his extraordinary and personal qualities of execution. A marvellous draughtsman, he possesses also that which makes the great masters of the graver: an individual manner which enables one to recognize his plates without the aid of his signature. A Gaillard is as characteristic and is recognized as easily as a Robert Nanteuil.”—Henri Beraldi. 22--VENUS Berarpi, No. 20. After Thorwaldsen. Second state; signed with the point. Presentation proof. In the autograph of the engraver: A Monsieur Gérard par Vauteur F. Gaillard 1868. 23—MERCURY Berarpi, No. 21. After Thorwaldsen. Signed with the point. Presentation proof. In the autograph of the artist: L’auteur a Monsieur Gérard F. Gaillard 1868. 24—THE MAN WITH THE PINK (L’HOMME A L’GILLET) BERALDI, No. 25. After the painting by Van Eyck. A superb impression, on India paper, signed with the point in the middle of the lower margin. Technically, one of the most wonderful plates in the history of line engraving. 25 25—TWILIGHT (LE CREPUSCULE) Beraupi, No. 32. One of the figures from the tomb of Lorenzo de’ Medici by Michelangelo. Fourth state, signed with the point. Fine impression, on India paper. 26—SAINT SEBASTIAN Berar, No. 34, After Gaillard’s painting in the Luxembourg. Sixth state; the sky is white, the arrow is not on the pedestal; before the signature. Signed artist’s proof, on Japanese paper. In the autograph of the engraver: Ep. No. 3. 27WAX HEAD IN THE MUSEE DE LILLE Berarpi, No. 36. Third state; the white spot, over the left part of the fore- head, slightly shaded: the base indicated. On India paper. “Superbe état.”"—Henri Beraldi. 28—DOM PROSPER GUERANGER, ABBE OF SOLESMES Berar, No. 38. Engraved from Gaillard’s painting. Twelfth state: “ le. fond refait et uni. Cet état est superbe.”—Beraldi. Mag- nificent impression, on India paper. 29—THE DISCIPLES AT EMMAUS (LES PELERINS D’EMMAUS) Berawpi, No. 43. After the painting by Rembrandt. Very fine impression, signed with the point, to the left; on India paper, in per- 26 EE | ae oe ee _ fect condition. Presentation proof: in the atitograph of the engraver: Souvenir bien affectueux offert & S Gérard par Vauteur F. Gaillard. 80—SGUR ROSALIE (JEANNE-MARIE RENDU) Berarpr, No. 48. Engraved from Gaillard’s own design. Twenty-eighth state: “Le fond extrémement clair ainsi que la robe. Superbe. Tout lVintérét est reporté sur le visage.”—Henri Beraldi. Beautiful impression, on India paper. With the remarque —a portrait of Saint Vincent de Paul. “Voici encore une ceuvre exceptionnelle . . . ce n’ést pas seule- ment le portrait de sceur Rosalie, c’est le type de la sceur de Saint- Vincent-de-Paul. Le morceau est admirable; le visage modelé avec un soin extréme éclairé par un effet de lumiére tamisée par la cor- nette qui est extraordinaire.”—Henri Beraldi. HUBER, K. 31—MAJOR-GENERAL STEUBEN also THE HONORABLE MATTHEW H. CARPENTER (Senator from Wisconsin.) Engraved by Hall. Two pieces, one lot. LEFEVRE, ACHILLE DESIRE Born in Paris in 1798. Died in 1864. 382—THE IMMACULATE CONCEPTION ANDRESEN, No. 2. Berarpr, No. 15. After the painting by Murillo. Proof, on India paper, with 27 the names of painter and engraver in scratched letters; be- fore all other inscription. Superb impression, in perfect condition. This great picture, now in the Louvre, was painted for the church Los Venerables, in Seville, from which Marshal Soult took it. LONGHI, GIUSEPPE Born at Monza in 1766. Died at Milan in 1831. “Longhi was a universal master.’—Charles Sumner, “The Best Portraits in Engraving.” 33—-MAGDALEN, READING ANDRESEN, No. 10. After the painting by Correggio. Artist’s proof, before let- ters and coat-of-arms, having only Correggio pin. J? Longhi sc. traced with the needle, in very small letters. This state is of the greatest rarity. (A similar impression is in the Grey Collection. ‘ Purchased from Messrs Evans for £35.”) Proof of the finest quality. In perfect condition. This superb plate was engraved in 1809; and is of the same size as the original painting in the Dresden Gallery. LUCAS VAN LEYDEN Born at Leyden in 1494, Died in 1533. “His engravings rank with those of Mare Antonio and Albert Diirer. Good impressions are exceedingly rare, and even during the lifetime of the artist sold at high prices.” 34—DAVID PLAYING THE HARP BEFORE SAUL Bartscu, No. 27, Very fine and brilliant impression, on paper with the water- 28 mark of the Gothic P. In splendid condition. One of the finest of this engraver’s plates. “Nothing can surpass the exquisite work of this engraving, nor aught rival its marvellous and brilliant silveriness.”—Willshire, “ Ancient Prints,” Vol. I., p. 328. MANDEL, JOHANN AUGUST EDUARD Born at Berlin in 1810. Died in 1882. The last of the great line ayes: His saying, ‘ When I die there will be no more,’ has come true. 35—MADONNA DELLA SEDIA ANDRESEN, No. 18. After the painting by Raphael, in the Pitti Palace. Proof, with the names of painter and engraver, and with the date, 1865, but before all other letters. Superb impression, in per- fect condition. This is considered to be the finest of the many engravings of this subject. 86—LA BELLA DI TITIANO ANpRESEN, No. 19. After the painting by Titian, in the Pitti Palace. Second state (of four states), before the inscription. With the name of the engraver and the date, 1868, only in the centre below. Very fine impression, on India paper. MASSON, ANTOINE Born at Louvry, near Orleans, in 1636. Died in Paris in 1700. “ Among French masters Antoine Masson is conspicuous for bril- 29 liant hardihood of style, which, though failing in taste, is powerful in effect. Metal, armor, velvet, feather, seem as if painted. He is also most successful in the treatment of hair. His immense skill made him welcome difficulties, as if to show his ability in over- coming them.”—Charles Swmner, “The Best Portraits in Engrav- 5 99 . ing 81—THE DISCIPLES AT EMMAUS (“LA NAPPE”) Rosert-DumeEsnit, No. 5. After the painting by Titian, in the Louvre. Fine impres- sion, in perfect condition. “There is a tradition that the person on the right of the Saviour is the portrait of Charles V.; that on the left of Cardinal Ximenes, and the page, Philip, son of Charles V., afterwards Philip II. of Spain. The engraving is called ‘La Nappe,’ from the exquisite work of the tablecloth.” 388—GUILLAUME DE BRISACIER (“THE GRAY- HAIRED MAN”) Rosert-DumeEsni1, No. 15. After the painting by N. Mignard. FIRST STATE: Be- fore the name and titles of the personage. Of the greatest rarity. A most beautiful and harmonious impression; very slightly foxed in the lower right corner, portion outside the oval a trifle rubbed in one or two places, the portrait itself intact. “T/un des chef-d’ceuvres du maitre.”—Robert-Dumesnil. ““Masson’s undoubted masterpiece, however, from an artistic as well as from a technical standpoint, is his beautiful portrait of the Queen’s secretary, Brisacier, called ‘The Gray-Haired Man,’ a masterpiece of engraving, and a worthy companion to Nanteuil’s ‘Pompone’ and Edelinck’s ‘ Philippe de Champaigne, ”—Willis O. Chapin, “'The Masters and Masterpieces of Engraving,” p. 151. 30 ; 7a ek ay et, ee ee ee ae MERCURJ, PAOLO Born at Rome in 1804. Died at Paris in 1886. 389—SAINT AMELIA, QUEEN OF .HUNGARY Beraror, No. 8. After the painting by Paul Delaroche. First finished state (there are 32 trial proofs from the plate in progress!). Proof before all letters. Very fine impression, on India paper. “Cette gravure, justement fameuse & cause de son incroyable finesse . . .”—Henri Beraldi. MORGHEN, RAPHAEL Born at Portici in 1758. Died at Florence in 1833. “Probably no engraver has so large a following of admirers as Raphael Morghen, who was born at Florence in 1758. This is partly due to his soft and captivating style, and partly to his excellent judgment in the choice of subjects. Morghen has preserved to the world the almost extinct glories of Leonardo da Vinci’s ‘ Last Sup- per’ in a plate which alone would have made the reputation of any engraver. Other fine examples of his work are the ‘ Aurora’ of Guido, and the pair, after Poussin, of the ‘Repose in Egypt’ and the ‘ Dance of the Hours.’ Of his numerous portraits that of Leo- nardo da Vinci is the most admired. In contemplating this serene and noble countenance we can well believe that this grand old man was great as painter, philosopher, and poet. A monument in the Church of Santa Croce—the Westminster Abbey of Florence— places Raphael Morghen among the mighty dead of Italy.”—Fred- erick Keppel, “'The Golden Age of Engraving.” 40—THE LAST SUPPER Hatsey, No. 84. After the painting by Leonardo da Vinci. First state 31 (there are six states), with the dedication in traced letters, before the words “ Amen Dico Vobis ” ete. Superb impression, of the finest quality. Very slightly foxed, but otherwise in perfect condition. “ As to Morghen’s plate, its consummate skill, technical judgment, delicate treatment, and artistic merit combine to make it his masterpiece—with, possibly, the exception of his second plate of ‘The Transfiguration ’—and it is very doubtful if any other en- graver has ever produced its equal.”—Frederic Robert Halsey, “Raphael Morghen’s Engraved Works,” p. 70. 41—THE TRANSFIGURATION ON MOUNT THABOR Hatsey, No. 168. After the painting by Raphael, in the Vatican. Second state, with the engraved dedication to Napoleon. In the lower right corner is Morghen’s stamp, and, in Morghen’s hand- writing, in the margin: N° Duecento ssanta nove R. Morghen (1.e., No. 269), the 269th impression, and a true “ artist’s proof.” Superb impression, in perfect condition. “ The picture is too well-known to require any description here. It was Raphael’s last work, and—with the exception, perhaps, of the ‘Madonna di San Sisto,’ now at Dresden—his greatest. It was ex- hibited over his bier as he lay in state after his death, . . .” “ The engraving, begun at Florence, 1801, but interrupted by illness and other work, so that it was not finished till 1811, remains to the present day—with possibly the exception of the ‘ Last Supper ’—the masterpiece of line engraving. This art has never touched a higher point, and if—as seems most likely—it is destined to fade away and die, it can be truly said that this is the fitting monument of its excellence.” Frederic Robert Halsey, “Raphael pace En- graved Works,” pp. 149-151. 42--LEONARDO DA VINCI ; Hausey, No. 178. From his own painting in the Uffizi Palace, Florence. First 32 sTaTE (there are five states), before all letters. Magnificent impression, in perfect condition, with full margins. Leo- nardo, the natural son of Pietro da Vinci, was born at the Castle of Vinci, near Florence, in 1452, and died at the Castle of Clou, near Amboise, France, May 2, 1519. “But none of his portraits is calculated to give greater pleasure than that of Leonardo da Vinci, which may vie in beauty even with the famous ‘ Pompone.’ Here is the beauty of years and of serene intelligence. Looking at that tranquil countenance, it is easy to imagine the large and various capacities which made him not only painter, but sculptor, architect, musician, poet, discoverer, philosopher, even predecessor of Galileo and Bacon. Such a charac- ter deserves the immortality of art.”—Charles Sumner, “The Best Portraits in Engraving.” MULLER, JOHANN FRIEDRICH WILHELM Born at Stuttgart in 1782. Son and pupil of Johann Gott- hard Miller. He studied several years at the Academy in Paris, was made Engraver to the King of Wiirtemberg, and afterwards Professor at the Academy of Dresden. He died at the Sonnenstein, near Dresden, where he was confined, in the gloomiest depression of insanity, in 1816. 43—MADONNA DI SAN SISTO ANDRESEN, No. 5. After the painting by Raphael, in the Dresden Gallery. First state. Proof before all letters. The Madonna and Child are without a halo, though Saint. Barbara and Saint Sixtus have them. Some authorities state that there are but five impressions in this state, but this is erroneous: TEN would be more nearly correct. Superb impression, of the very finest quality. Trimmed close to the engraved surface, but not cut into. The peculiar value of proofs in this state 33 _ lies in the fact that in these impressions only do we have Miiller’s exact idea of how the plate should be. All subse- quent impressions were taken after the lines had been deep- ened—not for artistic, but purely for commercial reasons. “His short life is identified with his great work of engraving Raphael’s ‘ Sistine Madonna,’ which places him at the head of all modern engravers. Six years before his death he was commissioned by Rittner, of Dresden, to engrave that inspired picture, which is the pride of the Dresden Gallery. His very existence seemed wrapped up in the execution of this plate; he worked upon it day and night with the same self-consuming zeal that Mozart expended on the ‘ Requiem,’ which proved to be his own. When the plate was finished he took it to Rittner; but the man of business refused it, on the ground that the lines were so delicately cut that it would not print a sufficient number of impressions. Every line had to be deep- ened; and this thankless toil broke the heart of poor Miiller. He bore up till his task was finished, and then he sank into the gloom of hopeless insanity, and died the very day that the first proof of his plate was printed. It was hung over his bier as he lay dead.”— Frederick Keppel, “'The Golden Age of Engraving,” p. 12. 44—SAINT JOHN THE EVANGELIST ANDRESEN, No. 6. Atter the painting by Domenichino. Proof of the fifth state, before any inscription, the plate reéngraved by Esslinger, under the superintendence of Miiller. Fine impression, in excellent condition. The date has been scratched out, after the word. “ sculp’.”? Proofs in this state are excessively rare. In Apell’s possession was a letter in which Miller, writing to Rittner, in Dresden, says that he is sending him three ‘ proofs before letters ”’ of the reéngraved plate. (See Apell, p. 305.) “I do not find in all art a portrait so admirable in form, so perfect in its light and shade, so beautiful in expression, the tones of which are so softly blended—that is so free from engraving artifice—as this.” —Giuseppe Longhi. 34 NANTEUIL, ROBERT Born at Rheims in 1630. Died at Paris in 1678. A pupil (in painting) of Philippe de Champaigne, and (in engray- ing) of Abraham Bosse. * Nanteuil’s abilities were refined by a classical education, and his correct taste restrained him from running into the prevailing fashion of meretricious ornamentation. He usually represented his personages within a neat oval of about seven by nine inches. His works illustrate the reign of Louis XIV., and are all, without ex- ception, fine. His print of Pompone de Belliévre is considered by some authorities. to be the most beautiful engraved portrait that exists. In this it contests the palm with Edelinck’s Philippe de Champaigne, Masson’s ‘ Gray-Haired Man,’ and Drevet’s Bossuet.— Frederick Keppel, “'The Golden Age of Engraving.” p. 8. 45—POMPONE DE BELLIEVRE Rosert-DumesniL, No. 37. After the painting by Le Brun. Second state: with the crochet after the word sculpebat. Impression of great beauty, silvery andiclear, not too heavily charged with ink. “ But above these is the Pompone de Belliévre, foremost among his masterpieces, and a chief masterpiece of art, being, in the judg- ment of more than one connoisseur, the most beautiful engraved portrait that exists. That excellent authority, Dr. Thies, who knew engraving more thoroughly and sympathetically than any person I remember in our country, said in a letter to myself, as long ago as March, 1858: ‘When I call Nanteuil’s Pompone the handsomest engraved por- trait, I express a conviction to which I came when I studied all the remarkable engraved portraits at the royal cabinet of engravings at Dresden, and at the large and exquisite collection there of the late King of Saxony, and in which I was confirmed, or, perhaps, to which I was led, by the director of the two establishments, the late Professor Frenzel.’ And after describing this head, the learned connoisseur proceeds: ‘There is an air of refinement, vornehmheit, round the mouth and 35 nose as in no other engraving. Color and life shine throuch the skin, and the lips appear red.’ ”—Chavrles Sumner, “ The Best Por- traits in Engraving,” pp. 15-16. PORPORATI, CARLO ANTONIO Born at Turin in 1741. Died there in 1816. A pupil of Wille, Chevillet and Beauvarlet. “ His plates are executed in a finished and beautiful style.” 46—VENUS CARESSING CUPID ANDRESEN, No. 5. After the painting by P. Battoni. First state. Proof with the coat-of-arms, and with the name of the engraver Por- porati lightly traced with the needle, to the right. Before all other letters or inscription. A superb impression but, as is so frequently the case, foxed. RAIMONDI, MARC ANTONIO Born at Bologna about 1485. Died there about 1530. “Among collectors. of the oldest engravings, Mare Antonio is a 2 great name, ranking with Albert Diirer and Rembrandt. Early in eh his career he attracted the attention of Raphael, and that master, 2 recognizing the value of engraving as a vehicle for multiplying his : designs, gave Mare Antonio employment under his own super- a8 vision. So exquisitely correct is the drawing of his figures that con- noisseurs profess to see the magic hand of Raphael himself in those faultless outlines.”—Frederick Keppel, “The Golden Age of En- graving,” p. 6.. 47—ALEXANDRE FAISANT SERRER LES LIVRES D’HOMERE Bartscn, No. 207. After a design by Raphael. First state, before the address 36 SS Se a a a 4 nan in a pom er a One ele “i at mR K 225 4 FSOTBTVEIREH ATMEL ARA KS Zu No. 45. Nanreurt: Pompone de Belliévre . . me ‘eyes rs 7 F : J ! ; se ag ; é Ps | ‘ ~ A , « : . 3 ‘ . * . ‘a * 4 ; | : | 7 ' ; , L . v t , . : | ; : | : 7 : | : y f | ; an | : ‘ : F | i J m : Mi 2 % . be s , | i x ‘ ‘ of Salamanca. Good impression; slightly trimmed (about 7g inch) at the top, but otherwise in excellent condition. “Cette estampe est une des plus parfaites que Marc-Antoine ait gravée d’aprés Raphaél.”—Bartsch. SCHIAVONI, NATALE Born at Chiozza in 1777. Died at Venice in 1859. A pupil of Raphael Morghen and of I’. Maggioto. 48—THE ASSUMPTION OF THE VIRGIN ANDRESEN, No. 5. After the painting by Titian, in the Gallery of the Academy of Venice; formerly in the church Santa Maria Gloriosa dei Frari. Proof of the first finished state, before any let- ters, before the coat-of-arms. Superb impression, in perfect condition, with ample margins. | SHARP, WILLIAM Born in London in 1746. Died there in 1824. A pupil of Benjamin West, and of Bartolozzi. “One other name will close this catalogue. It is that of William Sharp, who was born at London in 1746, and died there in 1824. Though last in order, this engraver may claim kindred with the best. His first essays were the embellishment of pewter pots, from which he ascended to the heights of art, showing a power rarely equalled. Without any instance of peculiar beauty, his works are constant in character and expression, with every possible excellence of execu- tion; face, form, drapery—all are as in nature.”—Charles Swmner, “The Best Portraits in Engraving,” p. 29. 37 49—THE DOCTORS OF THE CHURCH Baxer, No. 13. After the painting by Guido Reni. Very fine and early proof, before the inscription, before the names of painter and engraver, before the coat-of-arms and before the ad- dress. Magnificent impression, in excellent condition; slightly foxed. “This picture, painted in Guido’s early and most powerful manner, was eminently suited to the innate vigor of the engraver, and his translation of it is a work of art in its truest sense. Every part of it is managed with the most consummate skill, and in the finest keeping; the drapery well and nobly arranged, the deep thought and character of each head admirably rendered, the anatomy most carefuly developed, and the drawing perfect; a profound sense of meditation pervades the whole, well fitting the character of the scene. Sharp considered it his best work.’—W. S. Baker, “ William Sharp, Engraver,” pp. 14-15. “His splendid qualities appear in the ‘Doctors of the Church, which has taken its place as the first of English engravings. It is after the picture of Guido, once belonging to the Houghton gallery, which in an evil hour for English taste was allowed to enrich the collection of the Hermitage at St. Petersburg; and I remember well that this engraving by Sharp was one of the few ornaments in the drawing-room of Macaulay when I last saw him, shortly before his lamented death.”—Charles Sumner, “'The Best Portraits in Engraving,” pp. 29-30. 50—THE HONORABLE JOHN HYDE Baxer, No. 44. After the painting by R. Home. Open letter proof. Fine im- pression, in perfect condition. One of the Puisne judges of the Supreme Court at Calcutta. 51—JOHN HUNTER Baxer, No. 54. After the painting by Sir Joshua Reynolds. Proof with the 38 names of painter and engraver, but before the title. Fine impression, in fair condition. Lower margin has been trimmed. Slightly foxed. “It is of portraits especially that I write, and here Sharp is truly eminent. All that he did was well done; but two were models; that of Mr. Boulton, a strong, well-developed country gentleman, admir- ably executed, and of John Hunter, the eminent surgeon, after the painting by Sir Joshua Reynolds, in the London College of Sur- geons, unquestionably the foremost portrait in English art, and the coequal companion of the great portraits in the past; but here the engraver united his rare gifts with those of the painter.”—Charles Sumner, “The Best Portraits in Engraving,” p. 30. STRANGE, SIR ROBERT Born in one of the Orkney Islands in 1723. Died in Lon- don in 1792. “Strange had a style of his own—rich, soft, and peculiarly adapted to the rendering of flesh-tints. He has engraved more than fifty important plates, chiefly after the great Italian masters. All of his works are highly esteemed by connoisseurs.”—Frederick Keppel, re "The Golden Age of Engraving,” p. 12. 52—THE MADONNA OF ST. JEROME (“THE DAY,” OF CORREGGIO) After the painting by Correggio in the Gallery of Parma. Fine impression, in excellent condition; slightly foxed. “Among the many fine subjects which Strange engraved there is none more attractive or a more faithful translation of the original than the famous ‘Madonna of St. Jerome, with the Mag- dalen and Angels,’ ”—Willis O. Chapin, “'The Masters and Master- pieces of Engraving,” pp. 195-196. “His acknowledged masterpiece is the ‘Madonna of St. Jerome,’ called “The Day,’ after the picture by Correggio.”—Charles Sum- er, “The Best Portraits in Engraving.” 39 TOSCHI, PAOLO Born at Parma in 1788, where he became Director of the Academy of Fine Arts, and died in 1858. A pupil of Bervic. “The last of the great Italian engravers was Paolo Toschi, pupil of Bervic, who was himself a pupil of Wille. It remained for Toschi to discover in the lovely frescos of Correggio, at Parma, a mine of the richest ore, which his predecessors for more than three centuries had scarcely touched. The ‘Madonna della Scala, the ‘Incoronata,’ and the pair of groups of cherubs may be cited as examples of what Toschi has done for Correggio—and for art.”— Frederick Keppel, “The Golden Age of Engraving,” p. 12. 583—MADONNA DELLA SCALA ANDRESEN, No. 8. After the fresco by Correggio, now in the gallery of the Academy at Parma. Signed artist’s proof, on India paper. Beautiful impression, in perfect condition. This is admitted to be the most beautiful of all Toschi’s engravings, and is one of the very few which he engraved entirely with his own hand, and without the aid of any of his pupils. VERTUE, GEORGE Born at London in 1684. Died there in 1756. 54—THE HONOURABLE SIR LAURENCE CARTER After the painting by J. Richardson. Fine impression, in perfect condition ; also PORTRAIT OF JUDGE KENT. Two pieces, one lot. 40 waciaed Beare e BEB ees esa Se| SSececeearee 2 pean EBESSSSaS Foal ABs AetieemanememEmeS bnbIasea clas Bee Sn nen Seem eeeeaat sieisec 5 : aq ‘i : i } ¢ ¥ ee re w Bate UN pe AE ISSikic es ~ : Map pan ? te N cae \ wa ICEALLCE Oe. a PoHtoligue , dicdachess ‘ «Die ol ee ani Wie: “The Satin Gown” (L’Instruction Paternelle) s i) a WILLE, JOHANN GEORG Born near K6nigsberg in 1717. Established himself in Paris, where he became the founder of an important school of en- gravers, and died, after many vicissitudes of fortune, an old and poor man in 1808. “His neat and careful style was adapted to pictures of the school of Gerard Dow, as well as to elaborate portraits, and there is no engraver whose works are more eagerly sought and more univer- sally admired. A complete mention of the favorite prints by this artist would exhaust the entire catalogue of his works. His ‘ Satin Gown’ and the ‘ Travelling Musicians’ are his acknowledged master- pieces.”—Frederick Keppel, “The Golden Age of Engraving,” p. 10. 55—“ THE SATIN GOWN” (L’INSTRUCTION PATER- NELLE) Le Buanc, No. 55. After the painting by Gerard Terburgh. Fourth state, with the full inscription. Good impression, in perfect condition. “ His mastership of the graver was perfect, lending itself. especially to the representation of satin and metal, although less happy with flesh. His ‘Satin Gown, or L’Instruction Paternelle, after Ter- burgh, and Les Musiciens Ambulans, after Dietrich, are always admired. Nothing of the kind in engraving is finer. His style was adapted to pictures of the Dutch school, and to portraits with rich surroundings.”—Charles Sumner, “The Best Portraits in Engray- ing,” p. 24. WOOLLETT, WILLIAM Born at Maidstone, August 15, 1735. Died in London, May 23, 1785. “By an intelligent union of the point and burin he carried land- scape engraving to a perfection unknown before his time, and still 41 unsurpassed. His foregrounds are as deep and vigorous as his dis- tances are tender and delicate.’—Bryan’s Dictionary of Painters and Engravers. “Of landscape engravers William Woollett is facile princeps; his works have always been held in the highest estimation.”—Frederick Keppel, “ The Golden Age of Engraving.” 56—THE TEMPLE OF APOLLO Facan, No. 39. After the painting by Claude Lorraine. First finished state, with the names of painter, engraver and publisher, in scratched letters. Before all other letters or inscription. Rare in this state. Very fine impression, in perfect condi- tion. Blank margins have been slightly trimmed. The paint- ing, formerly in the Leigh Court Gallery, was sold at Christie’s, London, June 28, 1884. It is now the property of Mr. Alfred Brassey. MEZZOTINTO ENGRAY- INGS COUSINS, HENRY 57—RICHARD ARKWRIGHT After the painting by R. R. Reinagle, R.A. Good impres- sion, in excellent condition. COUSINS, SAMUEL Born in Exeter in 1801. Died in London, May 7, 1887. Pupil of S. W. Reynolds. “ Un des meilleurs graveurs anglais de ce sitcle.”—Henri Beraldi. 42 58—THE STRAWBERRY GIRL After the painting by Sir Joshua Reynolds. Signed artist’s proof on India paper. Beautiful impression, in perfect con- dition. Probably a portrait of Theophila Palmer, the favorite niece of Sir Joshua Reynolds, and mother of Miss Offy Gwatkin, whose portrait Sir Joshua has painted as “ Simplicity.” 59—NINETTE After the painting by Greuze. Signed artist’s proof, on In- dia paper. Beautiful impression, in perfect condition. 60—SIR HENRY RAWLINSON After the painting by Henry Wyndham Phillips. Proof on India paper, with the names of painter and engraver only; before all other inscription. Fine impression, in perfect con- dition. Born at Chadlington, Oxfordshire, April 11, 1810. Died at London, March 5, 1895. An English Assyriologist and diplomatist. He entered the East India Company’s army in 1827; and held various important offices, both military and diplomatic, retiring in 1856. His works include “ Out- lines of History of Assyria,” ‘On the Inscriptions of As- syria and Babylonia,” etc., etc. DICKINSON, WILLIAM Born in London in 1746. In 1773 he commenced to publish his own works from Lichfield Street, Soho, afterwards 180 Strand, and between 1774 and 1778 from Henrietta Street, Covent Garden, many of his productions then being among the most brilliant specimens of, the art—powerful, full of 43 color, excellent in drawing, and rendering of the touches of the painters, among whom were Reynolds, Romney and Peters. Died at Paris in the summer of 1823. 61—SIR GEORGE NARES CHALONER SmitrH, No. 54. After the painting by N. Hone. Early proof, undescribed by Chaloner Smith, and earlier than any known to him; with names of painter and engraver and with publisher’s address in scratched letters. Before any other inscription. Superb impression, in good condition. Slightly repaired in lower right margin. Born 1716, at Stanwell, Middlesex; educated at Oxford; called to the bar 1741, M.P. for Oxford, judge of Com- mon Pleas, 1771. Died at Ramsgate 1786. DIXON, JOHN Born in Ireland about 1740. Removed to London about 1765, and soon distinguished himself by his Portrait of Garrick, after Dance, and other works. He married a young lady of fortune, and thenceforward followed his profession as an amusement only, residing at Ranelagh, afterwards at Kensington, where he died about 1780. “ His works are powerful, well drawn, and rich in tone.”—Chaloner Smith, p. 203. 62—DAVID GARRICK AS “RICHARD III” CHALONER SmitTH, No. 15. After the painting by N. Dance. First state: before the inscription; the names of painter and engraver and the 44 publication line, in scratched letters. Superb impression, in perfect condition. Good margins. , Born 1716; pupil of Samuel Johnson; at first intended for the bar, but adopted the stage in 1741; became distin- guished as actor, manager, author, and was one of the lead- ing minds of his time. Died January 20, 1779. 63—NELLY O’BRIEN CHALONER SmitH, No. 26. After the painting by Sir Joshua Reynolds. First state, with the names of painter and engraver and the publication line, in scratched letters. Before all other inscription. Superb impression, in excellent condition. Lower margin (which later contained the inscription) has been trimmed 1% inch. A very celebrated lady of the demi-monde, apparently a special favorite with Sir Joshua. Died in Park Lane, Gros- venor Square, in 1768. DUNKARTON, ROBERT Born in London in 1744. A pupil of Pether. He practised as a portrait painter at first, but discontinued exhibiting after 1779. His works in mezzotinto are in a clear, finished style; they bear dates from 1770 to 1811. Died before 1817. 64—JOHN PENN CHALONER SmitH, No. 32. After the painting by Sir W. Beechey, R.A. Second state, with the inscription. Brilliant impression, in perfect con- dition. Ample margins. Born in 1760, son of Thomas Penn of Stoke Pogis and 45 Lady Juliana Fermor his wife, and grandson of the famous William Penn. Died in 1834. 65—GEORGE JOHN, EARL SPENCER CHALONER SmitH, No. 37. After the painting by John Singleton Copley, R.A. Second state, with the inscription. Superb impression, in perfect condition. Ample margins. Born in 1758. Succeeded his father as second earl in 1788. Died in 1834. His administration at the Admiralty was signalized by a series of brilliant naval successes, and by the settlement of the mutiny at the Nore. He was also cele- brated as the collector of one of the finest private libraries in the world. EARLOM, RICHARD Born in 1743. A pupil of Cipriani, but soon devoted him- self to mezzotinto engraving, in which art he is said to have been self-taught. He died at Exmouth Street, Clerkenwell, London, in 1822. “There is a characteristic individuality about his scraping which, though difficult to express, none the less exists. We have richness, brilliance, and care; and from the successful manner in which he has rendered the many substances contained in so wide a range of subject, we cannot but reckon him among the best masters.”— Alfred Whitman, “'The Masters of Mezzotint,” p. 43, 66—A FRUIT PIECE After the painting by Van Huysum. Early impression, with the names of painter and engraver and the publication line in scratched letters; with the coat-of-arms. Very fine im- pression, in excellent condition. 46 67—A FLOWER PIECE After the painting by Van Huysum. Early impression, with the names of painter and engraver, and with the publica- tion line in scratched letters; with the coat-of-arms. Superb impression, of the finest quality. “In the ‘Flower Piece, after Van Huysum, we have a specimen of his finest plates. The manner in which the textures of the differ- ent flowers and leaves have been rendered is quite remarkable, and the tender treatment and manipulation of the plate display a mas- ter hand of great power and delicacy, The dewdrops seem almost to fall from the petals, while the fly upon the vase is given with sur- prising fidelity. And yet there is no feeling of cramped mannerism about the plate, but, on the contrary, a good display of free handling, and the whole piece hangs well together.”—A lfred Whit- man, “ The Masters of Mezzotint,” p. 43. 68—RUBENS’ SON AND HIS NURSE After the painting by Rubens. Proof with the names of painter and engraver; with the publication line in scratched letters. Fine impression, in excellent condition. 69—DAVID AND BATHSHEBA After the painting by Van der Werff. Proof before the motto in the coat-of-arms. With the names of painter and engraver, and with the publisher’s name, and the date, in scratched letters. Very fine impression, somewhat foxed. From the Camberlyn Collection. FISHER, EDWARD Born in Ireland in 1730. Was at first a hatter, but took to engraving; went to London; became a member of the In- corporated Society of Artists in 1766, and died about 1785. “Fisher must be allowed a high place for both breadth of treat- ment and delicacy of finish.”—Chaloner Smith. 47 LADY SARAH BUNBURY CHALONER SmitH, No. 6. 70 After the painting by Sir Joshua Reynolds. Second state, with the inscription. The print has been trimmed 144 inches at bottom and 14 inch at side. Good impression. Slight re- pair at top and right. Born February 14, 1745; daughter of Charles, second Duke of Richmond; was one of the bridesmaids to Queen Char- lotte, and had been, it was said, admired by George III. Married, 1762, Sir Thomas Charles Bunbury, Bart., but lived unhappily and was much talked about; being divorced in 1781, she married, in August of that year, the Hon. George Napier. Died August 20, 1826. Companion portrait to Lady Elizabeth Keppel. “The portrait of Lady Sarah Bunbury ranks among the master- pieces of the art, and well deserves the popularity it has achieved.” —Alfred Whitman, “The Print Collector’s Hand Book,” p. 59. "1—LADY ELIZABETH KEPPEL CHALONER SmitH, No. 36. After the painting by Sir Joshua Reynolds. Third state (of five states) before the inscription was erased and re- engraved. Fine impression, in perfect condition. Born in 1739; daughter of second Earl of Albemarle; one of Queen Charlotte’s bridesmaids in 1761, in which char- acter Reynolds has painted her as above. Married June 7, 1764, Francis, Marquis of Tavistock, whose accidental death in March, 1767, she survived only till November 2, 1768. ; This portrait and that of Lady Sarah Bunbury are styled by Joubert, “ piéces capitales du peintre et du graveur.” 48 GREEN, VALENTINE Born near Birmingham in 1739. Removed to London from Worcester in 1765. Was a member of the Incorporated So- ciety of Artists in 1767. Was appointed associate engraver to the Royal Academy and mezzotinto engraver to His Majesty in 1775, distinctions well merited by his artistic talents and unwearied diligence. In 1789 he obtained from Charles Theodore, Elector of Bavaria (to whom, when Elector Palatine, he had been appointed engraver), the ex- clusive privilege of engraving the pictures of the Diissel- dorf Gallery. On the foundation of the British Institution, in 1805, he accepted the office of Keeper, and retained it to his death, which took place at St. Alban’s Street, London, June 29, 1813. His portraits exhibit great mastery of his art, joined to delicate and effective manipulation. They also exhibit the leading characteristic of the painters of his day, which was to make their portraits pictures, or works of art, apart from the representation of the personage. (2—HENRY, EARL OF DANBY CHALONER Smiru, No. 34. After the painting by Van Dyck. Third state, with the motto, Fine impression, in perfect condition. Full margins. "3—HENRY, EARL OF DANBY CHALONER SmitnH, No. 34. After the painting by Van Dyck. Third state, with the motto. Good impression, in perfect condition. Born June 28, 1573; second son of Sir John Danvers ; served under Maurice of Nassau, and Henry IV of France, then in Ireland under the Earl of Essex and Lord Mount- 49 joy. James I created him a Baron and Lord President of Munster; Charles I created him Earl of Danby, in 1626, of his Privy Council and K.G. He died at Cornbury Park, Oxfordshire, January 20, 1644. 74—SIR JOSHUA REYNOLDS CHALONER SmitTH, No. 110. After the painting by himself. First state, before the in- scription was erased. Very fine impression, in perfect con- dition. Sir Joshua Reynolds, Knight, President of the Royal Acad- emy, Member of the Imperial Academy at Florence, Doc- tor of Laws of the Universities of Oxford and Dublin, and Fellow of the Royal Society. He was born, July 16, 1723, at Plympton, County Devon; was placed under Hudson, afterwards went to Italy, and on his return became the leading portrait painter of his day; and his works have continually increased in estimation down to the present time. He died at his house in Leicester Fields, February 23, 1792, and was buried in St. Paul’s. He was the intimate friend of Burke, Goldsmith and John- son, and was preéminently distinguished at an epoch of ex- cellence in art and literature. 75—SIR THOMAS WHARTON CHALONER SmitH, No. 140. After the painting by Van Dyck. Only state. Good impres- sion, in good condition. Ample margins. Second son of Philip, third Baron Wharton. "76—THE MOURNERS After the painting by Maria Cosway. Proof with names of 50 painter and engraver, and with the publication line, in scratched letters. Before all other inscription. Fine impres- sion, in fair condition. HODGES, CHARLES HOWARD Born about 1775. About 1794 he left England and went to Holland, where he resided until his death, practising as a portrait painter, but continuing for some years to produce mezzotinto portraits. He died at Amsterdam in 1837. As his earlier prints were published by John Raphael Smith, it may be presumed that he was a pupil of that artist; and his fine painter-like style would lead to the same conclusion. T7—RUTGER HANS SCHIMMELPENNINCK From the painting by Charles Howard Hodges. Open let- ter proof. Brilliant impression, in excellent condition. Slight reparation at top. “The print which is thought his finest—more, is considered one of the achievements of mezzotint—is the portrait of Rutger Hans Schimmelpenninck, a subject he painted as well as engraved; and in the engraving the skilful and free use of preliminary etch- ing has greatly enhanced the effect. The plate has been worked with a fine ground; and the play of light and the admirable trans- lation of the various textures of the costume and plumed hat com- bine to secure for the plate its eminence.”—Alfred Whitman, “ The Masters of Mezzotint,” p. 51. 78—THE SHIPBUILDER AND HIS WIFE After the painting by Rembrandt. Proof with the names of painter and engraver only. Before any other letters or inscription. Very fine impression, in perfect condition. A plate rich in color, and admirably giving the spirit of the painter. 51 HOUSTON, RICHARD Born in Dublin, about 1722; was apprenticed to Brooks, and thus became a fellow-pupil with MacArdell, whom he was considered at the outset of his career to rival if not even to surpass in spirit and fire. He went to London about the same time as MacArdell, and established himself near Drummond’s, at Charing Cross, from which address he issued some of his most successful productions after Rem- brandt and others. He died August 4, 1775. “ His manner was bold and vigorous when his subjects required such treatment, as in the rugged pictures of Rembrandt.”—Alfred Whitman, “'The Masters of Mezzotint,” p. 30. 79—AN OLD WOMAN PLUCKING A FOWL After the painting by Rembrandt. Proof before all letters. Brilliant impression, in perfect condition, with ample margins. 80—A MAN SEATED, WITH A LARGE HAT ON HIS HEAD After the painting by Rembrandt. Good impression. One of Houston’s best plates. 81—4 MAN HOLDING A KNIFE After the painting by Rembrandt. Brilliant impression, with Rich? Houston fecit 1757 in scratched letters to the left, but before all other inscription. In perfect condition, with ample margins. 52 JONES, JOHN Born about 1750. Died about 1797. “His works are powerful and artistic in style. . . . He ap- pears to have been highly thought of by Romney, and he worked, too, after Reynolds, Gainsborough, Raeburn and other leading painters.”—Chaloner Smith. 82—THOMAS ERSKINE CHALONER SmitH, No. 25. After the painting by Sir Joshua Reynolds. State unde- scribed by Chaloner Smith, with the engraved inscription, but with the date 1786, and with Price 7s. 6d. after the word Marylebone. In excellent condition. Born at Edinburgh, 1750; third son of the tenth Earl of Buchan; went to sea, afterwards entered the army, but finally applied himself to law, and became a most eloquent advocate; appointed Lord Chancellor and created Baron Erskine, in 1806. Died at Almondell, near Edinburgh, No- vember 17, 1823. 883—WILLIAM PITCAIRN CHALONER SmitTH, No. 62. After the painting by Sir Joshua Reynolds. Second state, with the inscription. Fine impression, in fair condition. Slight repair in sleeve of the gown. Tutor to James, sixth Duke of Hamilton, while at Oxford, where he obtained degree of M.D.; elected physician of St. Bartholomew’s Hospital about 1750; President of the Col- lege of Physicians 1775-84. Died at the above-named hos- pital, October 25, 1791. Aged about 80. 3, JOSEY, RICHARD 84—THOMAS CARLYLE After the painting by Whistler. Signed artist’s proof, on India paper. Signed by both painter and engraver. Fine im- pression, in perfect condition. “The rugged simplicity of Carlyle—a simplicity which his own generation received with so naive an admiration—is suggested, not only with skill of hand, but with the mental skill that discovers quickly, in presence of a subject, wherein lies the best opportunity for high success in treating it."—Frederick Wedmore. 85—WHISTLER’S MOTHER After the painting by Whistler, in the Luxembourg Gallery. Signed artist’s proof, on India paper. Signed by both painter and engraver. Whistler has signed this im- pression with his name: Whistler, and again with his Nt) signature. Beautiful impression, in perfect condition. * LUCAS, DAVID Born in 1802. Died in 1881. A pupil of S. W. Reynolds. 86—SALISBURY CATHEDRAL, or THE RAINBOW After the painting by Constable. Proof on India paper. Good impression, in perfect condition. “ Lucas’ masterpiece. This is one of the finest landscapes ever pro- duced by mezzotint, and it is a marvellous piece of scraping. . Constable himself was delighted with the result Lucas had pro- duced, and wrote: ‘The print is a noble and beautiful thing, en- tirely improved and made perfect; the bow is noble, it is startling, unique.’ ”—Alfred Whitman, “ The Masters of Mezzotint,” p. 64. 54 LUPTON, THOMAS Born at Clerkenwell in 1791. Died in London in 1873. “ He learnt mezzotinting from George Clint, then became assistant to S. W. Reynolds, and in the latter capacity is said to have given the first lesson in the art of scraping to Samuel Cousins. Lupton had a fine and delicate touch in his work, combined with a full strength of tone.”—Alfred Whitman, “The Masters of Mezzo- tint,” p. 62. 87—_THE HONORABLE MR. JUSTICE BURROUGH After the painting by T. Phillips, R.A. Open letter proof. Very fine impression, in excellent condition, but with slight spot in lower margin. MacARDELL, JAMES Born in Cow-lane (afterwards altered to Greek Street), in Dublin, about 1729. He was a pupil of John Brooks, and came with him to London about 1747. He soon afterwards commenced to practise on his own account, and about 1754 established himself at the Golden Head, Covent Garden, where he published most of his prints. He died June 2, 1765. He may be said to have carried on the art from the point to which it had been brought by Faber, by adopting bold- ness, decision and freedom of handling without losing either accuracy or truth. His talents were duly appreciated by the great painters of his time, especially by Reynolds, who con- sidered, as Northcote tells us, that his own fame would be preserved by MacArdell’s engravings, when the pictures had faded away. 88—GEORGE, DUKE OF BUCKINGHAM, AND dHIS BROTHER FRANCIS CHALONER SmiTtH, No. 34. After the painting by Van Dyck. Third state, with the in- 55 scription. Fine impression, in excellent condition. One of MacArdell’s finest plates. Sons of George Villiers, Duke of Buckingham, who was assassinated by Felton in 1628. George fought through the Civil War, married Mary, daughter of Thomas, Lord Fair- fax, rose to great favor with Charles II., and after the Res- toration became prominent as wit, courtier, statesman and rake. He died in 1687. Lord Francis Villiers was born after his father’s death. He was a youth of high promise. Was slain in a skirmish with the Parliamentary forces in 1648. 89—_JOHN LESLIE, EARL OF ROTHES CHALONER SmitH, No. 157. After the painting by Sir Joshua Reynolds. Second state. Fine impression, in perfect condition. Born about 1700, succeeded his father as eighth earl in 1722. Entered the army, served at Dettingen and Rocoux; Knight of the Thistle. Died at Leslie House, December 10, 1767. 7 90—PETER PAUL RUBENS, HIS WIFE AND CHILD CHALONER SmitH, No. 159. After the painting by Rubens. First state, before any in- scription. Very fine impression, in perfect condition. 91—RACHEL, COUNTESS OF SOUTHAMPTON CHALONER SmituH, No. 168. After the painting by Van Dyck. Second state (of four), before the inscription was erased and reéngraved. Superb impression, in perfect condition, with good margins. Daughter of Daniel de Massey, Baron de Rouvigny, and 56 not improbably in the suite of Henrietta Maria; married Thomas Wriothesley, fourth Earl of Southampton, who was an adherent of Charles I., and was made Lord Treas- urer at the Restoration. Granger states that she is said to have been mad; but she certainly must have been very handsome. 92—LORDS JOHN AND BERNARD STUART CHALONER SmitrH, No. 174. After the painting by Van Dyck. Third state. Good impres- sion, in good condition. Sixth and seventh sons of the third Duke of Lenox. Both were youths of the highest promise, and most signal courage, and both fell fighting for the cause of Charles I. 93—TIME CLIPPING THE WINGS OF LOVE After the painting by Van Dyck. First state, proof before all letters. Superb impression, in perfect condition, very slightly foxed. 94—TOBIT AND THE ANGEL After the painting by Rembrandt. Proof before all letters. The blank space, at the bottom, not yet perfectly cleaned. Superb impression, of the finest quality. 95—CHRIST AND THE TRIBUTE MONEY After the painting by Rembrandt. Proof, with the names of painter and engraver, in scratched letters; before the lower margin was perfectly cleaned. Superb impression, of the finest quality. 57 96—REMBRANDT’S MOTHER, READING After the painting by Rembrandt. Fine impression, in ex- cellent condition. Usually considered one of MacArdell’s finest plates of a Rembrandt subject. 97—THE INTERIOR OF A CHAMBER, IN WHICH IS 4 WOMAN READING AND A CHILD IN A CRADLE After the painting by Rembrandt. Superb proof, before all letters, in very fine condition. The names of painter and engraver have been written with a pen. Blank margin at bottom slightly trimmed. Duplicate from the Kénigliche Museen, Berlin (Fagan, No. 329), and from the collection of Karl Ferd. Friederich von Nagler (Fagan, No. 524). MARCHI, JOSEPH PHILIP LIBERATI Born at Rome, and having a taste for art, was brought to London in 1752 by Reynolds, to whom he became assistant. About 1770 he appears to have endeavored to establish him- self as a portrait painter on his own account, but not suc- ceeding to his expectations, he returned to and remained with Reynolds. He died in London, April 2, 1808. “His fame may well rest on his mezzotinto prints, which, although not numerous, exhibit a most artistic feeling, and prove him a worthy disciple of Reynolds, who himself may probably have super- vised the engraving.”—Chaloner Smith. 98—OLIVER GOLDSMITH CHALONER Smiru, No. 7 After the painting by Sir Joshua Reynolds. Third state, 58 with the inscription, and with the address of the publisher. Good impression, in perfect condition. Born November 29, 1728, at Pallas, County Longford, and became one of the most delightful authors in English litera- ture. Died in the Temple, London, April 4, 1774. “ Reynolds has, with wonderful art, impressed both dignity and mental power on these plain and homely features.”—Chaloner Smith. MEYER, HENRY Born in 1783. Died in 1847. A nephew of Hoppner. His plates are attractive, and somewhat similar in style to those of Charles Turner, and have gained for him some consider- able reputation. 99—SIR JOHN NICHOLL After the painting by William Owen, R.A. Proof, with names and titles of painter and of engraver in open letters, but before all other inscription. Very fine impression, in excellent condition, with ample margins. Slightly foxed in lower margin. MILLER, JOHN DOUGLAS One of the best of contemporary mezzotinto engravers. 100—CYNTHIA After the painting by Frank Dicksee. Signed artist’s proof, on India paper. Signed by both painter and engraver. 59 MURPHY, JOHN Born in Ireland about 1748. He practised in London as an engraver, both in stipple and mezzotinto. Died about 1820. “Though the number of his plates is small, the beauty of most of. them is great.”—Alfred Whitman, “The Masters of Mezzotint,” p. 46. 101—SIR JOHN WILSON CHALONER Smitn, No. 19. After the painting by George Romney. Second state (of three). The inscription in open letters. Good impression, in fair condition. Born 1741. Was called to the bar and was appointed Justice of the Common Pleas, 1786, and knighted. He died of par- alysis at Kendal, Westmoreland, October 18, 1783. PETHER, WILLIAM Born at Carlisle in 1731. In 1756 received a premium from the Society of Arts, and was a member of the Free Society of Artists, 1763. He painted portraits both in oil and minia- ture, studied mezzotinto engraving with, and became part- ner of, Thomas Frye, and attained great excellence, espe- cially in his pieces after Rembrandt and Wright. He died about 1795. “The richness of Pether’s portrait plates alone would have been sufficient to establish his reputation . . . but his fame was created, and he is chiefly known to present-day collectors by his wonderful translations of the pictures of Rembrandt and Wright of Derby.”—Alfred Whitman, “The Masters of Mezzotint,” p. 37. 102—A JEWISH RABBI After the painting by Rembrandt. Proof, with the names of painter, engraver and publisher in dotted letters; before all 60 other inscription, or the title. Very fine impression, in ex- cellent condition. Slightly foxed. Good margins, upper right margin repaired. “To these masterpieces must be added Rembrandt’s ‘ Jewish Rabbi,’ where we can see the range of tone possible to mezzotint, from the high lights on the turban to the deep shade on the robes. In their way these prints would be difficult to surpass, and their charm is enhanced by the rich velvety quality which the engraver succeeded in giving to his grounds.”—Alfred Whitman, “The Masters of Mezzotint,” p. 38. PICHLER, JOHANN PETER Born at Botzen in 1765. He worked for the Prince of An- halt Dessau in Dresden, and died at Vienna in 1806. 103—_THE SONS OF RUBENS ' ANDRESEN, No. 27. After the painting by Van Dyck. Third state, with the in- scription. Very fine impression, in excellent condition. “T have heard the opinion expressed by one of the most experienced and capable judges that his plate ‘The Two Sons of Rubens’ was the most beautiful of all mezzotint engravings.”—Walter S. Carter, “The Masterpieces of Reproductive Etching and Engraving,” p. 13. REYNOLDS, SAMUEL WILLIAM Born in London in 1773. Pupil of Charles Henry Hodges. Died at Bayswater in 1835. The distinguished engravers Samuel Cousins and David Lucas were his pupils. 101_THE RIGHT HONORABLE CHARLES JAMES FOX After the painting by John Opie, R.A. Open letter proof. Very fine impression, in perfect condition, with ample margins. 61 Born January 13, 1749. The great statesman. Opponent of Pitt, whom he did not long survive, dying on September 13, 1806. 105—THE RIGHT HONORABLE LORD DOWNES After the painting by M’Cregan. Open letter proof. Fine impression, in perfect condition, with ample margins. “Late Lord Chief Justice to His Majesty’s Court of King’s Bench, Ireland.” SAY, WILLIAM Born near Norwich in 1768. Died in London, August 24, 1834. Pupil of James Ward. 106—THE MOST NOBLE JAMES, MARQUIS OF SAL- ISBURY, K.G. After the painting by Sir William Beechey, R.A. Open letter proof. Brilliant impression, in perfect condition. SMITH, JOHN Born in 1654. Died about 1720. “Even in his own time the merits of this engraver were highly appreciated, and subsequent writers, as Walpole, have considered him one of the great improvers of the art. He certainly excelled in brilliancy of effect, and was powerful, clear and correct in draw- ing.”—Chaloner Smith. 107—WILLIAM WYCHERLEY CHALONER SmitrH, No. 284. After the painting by Sir Peter Lely. Second state, with the inscription. Fine impression, in perfect condition. 62 Dramatist. Born at Clive, near Shrewsbury, England, about 1640. Died in London, 1715. Wrote “Love in a Wood,” “The Country Wife,” “The Plain Dealer,” ete., etc. SMITH, JOHN RAPHAEL Born at Derby in 1752. About 1767 he came to London, and, it is said, first engaged himself as a shopman, but soon entered on the career of an artist. He practised painting extensively, and drew with great spirit. A very considerable number of his prints are from his own designs and pictures, yet he was most successful in his renderings of the works of Gainsborough, Reynolds and Romney. He died at Doncaster on March 23, 1812. “The prints published by him between the years 1775 and 1787 are, nearly without exception, among the most admirable productions ever executed in mezzotint.”—Chaloner Smith. “ Among all the engravers the art of mezzotint has produced, J. R. Smith is perhaps the most skilful and accomplished. His scraping has all the strength and vigor of a man who is complete master of his craft, while his training as a painter enabled him to add to his touch the true feeling of the artist.”—Alfred Whitman, “ The Print Collector’s Hand Book,” p. 61. 108—THE HONORABLE MRS. STANHOPE CHALONER SmitH, No. 158. After the painting by Sir Joshua Reynolds. Second state (of three), before the plate was reworked and the delicate effect of moonlight was lost. Fine impression, about one inch margin at top, bottom and sides. Eliza Falconer, one of the beauties of the day, married the Hon. Henry Fitzroy Stanhope, younger son of the second Earl of Harrington. 63 TURNER, CHARLES Born at Woodstock in 1773. Died in London, August Ist, 1857. 109—CHARLES HAY, LORD NEWTON Wuitman, No. 236. After the painting by Henry Raeburn, A.R.A. Good im- pression, in excellent condition. 110—THE HONORABLE SIR SOULDEN LAWRENCE Wuitman, No. 284. After the painting by John Hoppner, R.A. Open letter proof. Brilliant impression, in excellent condition, but slightly foxed. Ample margins. 111—ROBERT, 2ND MARQUESS OF LONDONDERRY Wuitman, No. 306. After the painting by Sir Thomas Lawrence. In excellent condition. 112—THE MOST NOBLE GEORGE, MARQUIS TOWN- SHEND : Wuitman, No. 497. After the painting by Sir Joshua Reynolds. Open letter proof. Brilliant impression, in perfect condition. Ample margins. “First marquis, Field Marshal of His Majesty’s Forces, Colonel of Second Regiment of Dragoon Guards, Governor of the Island of Jersey, High Steward of Tamworth and Yarmouth, Lord Lieuten- ant and Vice-Admiral of the County of Norfolk.” 64 113—THE MOST NOBLE GEORGE, MARQUIS TOWN- SHEND Wuirman, No. 497. After the painting by Sir Joshua Reynolds. Fine impres- sion, excellent condition. 114—_LADY ELEANOR WIGRAM Wuitman, No. 533. After the painting by Sir Thomas Lawrence. Proof » with names of painter and engraver only. Before the inscription, and before the name of the personage. Beautiful impres- sion, in excellent condition. Slightly foxed in margins. TURNER, J. M. W. (and the LIBER STUDIORUM) “The ‘ Liber Studiorum’ was intended by Turner from the first to be a series—not of sketches, but of fully finished pictures; and these pictures were to illustrate his whole range of powers, and to embrace every sort of subject of which he considered himself master. . . . The ‘Liber Studiorum’ came forth a truly monu- mental work, taking rank with the highest productions of Turner’s genius.” —W. G@, Rawlinson, “ Turner’s Liber Studiorum.” 115—MT. ST. GOTHARD Rawutnson, No. 9. Engraved by Chas. Turner. First state. The initial letters M. S. and the title in open capitals. “ Not only among the finest of the ‘ Liber,’ but is a notable instance of Turner’s power of conquering difficulties.’—Rawlinson. 65 116—SHIPS IN A BREEZE (“THE EGREMONT SEA- PIECE ”) Rawutnson, No. 10. Engraved by Chas. Turner. Second state. The initial letter contains a single vertical line. Before the measurements “6 by 5” after the word “ Egremont.” “The fine drawing of the sea should be noticed in this plate, es- pecially the effect of the wind blowing the crests of the waves over. . . . The sky is the finest that we have yet had.”—Raw- linson. ; 117—HOLY ISLAND CATHEDRAL Rawson, No. 11. Engraved by Chas. Turner. First state. The initial letter A and the title in open capitals. “The sharp, firm drawing of the building throughout is very noticeable, especially in the etching. Nowhere are Turner’s strength and certainty of hand more visible than in the curves and the per- spective of the Norman arches of the nave.”—Rawlinson. 118—DRAWING OF THE CLYDE Rawuinson, No. 18. Engraved by Chas. Turner. The initials and the word “Clyde” in open letters, but with the left strokes thicker than the right. The rays of light over the falls still visible. 119—LITTLE DEVIL’S BRIDGE OVER THE RUSS Rawurnson, No. 19. With the right stroke, in the initial and the title, thicker than the left. “This plate ranks among the finest of the ‘ Liber.’ ”—Rawlinson. 66 120—THE HINDOO WORSHIPPER Rawunson, No. 23. Engraved by R. Dunkarton. First state. Very few horizon- tal bars of light cloud in the upper sky. No mark in the margin. (Fifteen or twenty impressions only were taken in this state.) “This plate, one of the most beautiful of the ‘ Liber,’ is of great interest as showing Turner’s complete understanding and mastery of the art of engraving.”—Rawlinson. 121—COAST OF YORKSHIRE Rawutnson, No. 24. Engraved by W. Say. Second state. A cross in the left lower corner of the margin, just above the plate mark. “ The sea is very fine, especially the effect of the spray driving up the cliffs.”—Rawlinson. 122—HIND HEAD HILL Rawutnson, No. 25. Engraved by Dunkarton. With the diagonal lines in the initial letter M. “The sky is one of the subtlest and most masterly of the grand series of skies of the ‘ Liber.’ Whose hand but Turner’s could have caught the intricate play of those rays of afternoon sunlight, breaking from behind the clouds just coming up across the sun? ”— Rawlinson. 123—JUNCTION OF SEVERN AND WYE Rawson, No. 28. “ Drawn, etched and engraved by J. M. W. Turner, Esq., R.A.” Second state. With the letter H in the lower right 67 corner of the margin, but before the dot in the bow of the P of the initial letters. “One of the most beautiful of the ‘ Liber’ subjects. Fine impres- sions have a certain rare bloom on them—if I may use the word. They seem to recall the indescribable bright freshness one has sometimes seen over a landscape on a June morning, when the increasing warmth of the sun has just—but only just—cleared off the early mists, and, with a clear sky overhead, everything is sparkling with dew.”—Rawlinson. 124—-WOMAN AT A TANK Rawutnson, No. 38. Engraved by W. Say. First state. Before the mark, resem- bling a broad capital A, in the margin. “ Exceedingly fine. . . . The print is intensely poetical in feel- ing throughout.”—Rawlinson. 125—CRYPT OF KIRKSTALL ABBEY Rawuinson, No. 39. “Drawn, etched and engraved by J. M. W. Turner, Esq., R.A., P.P.” First state. Before the mark in the margin. Two trees only are seen through the open doorway. “Its masterly architectural drawing is most conspicuous. Only in the first state can the beauty of the plate be truly seen.”— Rawlinson. 126—PROCRIS AND CEPHALUS Rawiutson, No. 41. Engraved by G. Clint. Second state. A mark resembling a capital A at the left lower corner in the margin. | “I know of no landscape more purely or magnificently imaginative, or bearing more distinct evidence of the relative and simultaneous conception of the parts.”—Ruskin. 68 127—PEAT BOG, SCOTLAND Rawson, No. 45. Engraved by G. Clint. Third state. The mark in the mar- gin completed to a capital A. No reflection of the fire in the bog. “* Peat Bog’ has always ranked among the great plates of ‘ Liber,’ It is throughout eminently Turnerian. . . . The painter has gone straight to nature; but how truly has he seen, how finely has he drawn what he has seen; how simply, yet tellingly, has he com- posed his drawing.”—Rawlinson, 128—SOLWAY MOSS Rawurnson, No. 52. Engraved by Thos. Lupton. Second state. A single diagonal stroke in the left lower corner in the margin. “*Solway Moss’ is one of the truly grand plates of ‘ Liber ’— perhaps the grandest of them all. Both painter and engraver seem to have surpassed themselves here.”—Rawlinson. 129—MILL NEAR THE GRAND CHARTREUSE, DAU- PHINY Rawunson, No. 54. Engraved by H. Dawe. First state. Before the mark in. the margin. “The ‘Mill near the Grand Chartreuse? is the plate of ‘ Liber’ which has perhaps received from Mr. Ruskin higher and more fre- quent praise than any other.”—Rawlinson. 130—THE SOURCE OF THE ARVERON IN THE VAL- LEY OF CHAMOUNI, SAVOY Rawurnson, No. 60. “ Drawn and engraved by J. M. W. Turner, R.A.” Second 69 state. A single diagonal stroke at the left lower corner in the margin. Rare and generally very fine. “In ‘Arveron’ again we are among the supreme subjects of * Liber.’ ”—Rawlinson. 131—HSACUS AND HESPERIE Rawutinson, No. 66. “ Drawn, etched and engraved by J. M. W. Turner, Esgq., R.A., P.P.” Proof undescribed by Rawlinson, between the first and second states. The face of Hesperie is turned from sacus, but there are no dots in the right lower corner in the margin. From the Pocock and Mary Constance Clarke Collections. ‘¢ « Aisacus and Hesperie’ is often considered to be the finest, and it is probably the rarest, of the published ‘ Liber’ plates. It can only be truly seen in a very early impression. Then, as a landscape, it is simply enchanting.”—Rawlinson. 132—ISIS Rawiinson, No. 68. Engraved by W. Say. Third state, before the reflection of the bird was taken out. “The masterly drawing of the foreground leafage, as well as the beauty of the reflections in the water on the distant shore of the lake, are very noticeable.”—Rawlinson. 133—BEN ARTHUR, SCOTLAND Rawutnson, No. 69. Engraved by T. Lupton. Third state, with the mark re- sembling the letter H at the right lower corner in the mar- gin. Fine and early impression. “This is the last great plate of the published portion of the ‘ Liber,’ and I think it is not too much to say that, were all Turner’s 70 other works lost, upon the strength of it alone his preéminent fame as a landscape draughtsman might safely rest.’—Ravlinson. 134—DUMBARTON ROCK Rawutnson, No. 75. Engraved by T. Lupton. Engraver’s proof, fine and early, in brown ink. Before the small edition issued later by Mrs. Noseda of the Strand. “Out of the Clyde the last expression of the exhausted mountain energy rises far off—the fortress rock of Dumbarton.”—P. G. Hamerton. 135—THE STORK AND THE AQUEDUCT Rawutnson, No. 83. Etched by J. W. M. Turner, R.A. “The Etching is very rare.”—Rawlinson. “This grand plate has been thought to be a view of Ruabon Via- duct, near Llangollen. In composition, tree and rock drawing, and disposition of light and shade, it may rank with the finest works of Turner. The etching Mr. Ruskin considers the finest in the whole work.”—Rawlinson. WARD, JAMES Born in Thames Street, London, October 23, 1769. At an early age he became a pupil of his elder brother and of John Raphael Smith, and thus skilled in mezzotinto engraving. He afterwards chiefly devoted himself to painting, espe- cially subjects of animals, and was appointed painter and 71 mezzotinto engraver to the Prince of Wales in 1794; A.R.A. in 1807, and R.A. in 1811. He died November 23, 1859. 136—CHARLES, MARQUESS CORNWALLIS CHALONER Situ, No. 13. After the painting by Sir W. Beechey, R.A. Second state, with the inscription. Fine impression, in perfect condition, with ample margins. Born December 31, 1738. Commanded the British against the Americans in South Carolina in 1777, and although at first successful, was ultimately forced to surrender with all his troops at Yorktown. Governor-General of India. Died at Ghazepoor in Benares, October 5, 1805. — WARD, WILLIAM Elder brother of James Ward, and the most distinguished pupil of John Raphael Smith. He lived in a world of art, his nearest connections being artists also, for he married the sister of George Morland, who, in 1786, had married his sister. He was appointed mezzotinto engraver to the Duke of York, and afterwards to the Prince of Wales, and became A.R.A. in 1814. He died suddenly, December 1, 1826. “ Redgrave truthfully estimates William Ward’s engravings when he describes them as ‘artistic, full of spirit and truth, excellent in feeling of color, the flesh tints tender without weakness, the light and shade powerful.’ ”—Alfred Whitman, “ The Masters of Mezzo- tint,” p. 54. 137—SIR WILLIAM ADDINGTON CHALONER SmitTH, No. 1. After the painting by Martin Shee. Second state (of 3); 72 the inscription in open letter. Very fine impression, in per- fect condition. Born 1728. Educated at Cambridge. J. P. for Middlesex. Died at Bath, 1811. 138—DAVID WILKIE CHALONER SmitH, No. 90. After the painting by Andrew Geddes. Only state. Superb impression in perfect condition. Ample margins. Born in Fifeshire, 1785. Studied under Graham, and at the schools of the Royal Academy; A.R.A. in 1800; R.A. in 1811. Knighted in 1836. Died when returning from the East, near Malta, June 1, 1841. 139—BLIND BEGGAR OF BEDNALL GREEN CHALONER Smitu, No. 95. After the painting by Owen. Proof before all letters. Fine impression in excellent condition; slight stain on “ pretty Bessie’s ” left temple. Good margins. WARD, WILLIAM JAMES Born about 1800. Died in 1840. Son of William Ward; engraver to King William IV. His style was robust, and well adapted to the translation of the paintings of Reynolds. 140—THE RIGHT HONORABLE FREDERICK HOW- ARD, EARL OF CARLISLE Hamirton, Pace 15. After the painting by Sir Joshua Reynolds. Open letter. proof. Superb impression, in perfect condition. 73 WATSON, JAMES Born in Ireland in 1740. Moved to London early in life, and died there, May 20, 1790. His style is excellently fin- ished and delicate, and he seems to have been in the habit, when not completely satisfied with a plate, of working an entirely new one, instead of retouching and altering, as would be done by a less scrupulous artist. His daughter was Caroline Watson, the accomplished artist in stipple and mixed engraving. 141—SAMUEL JOHNSON CHALONER SmitrH, No. 82. After the painting by Sir Joshua Reynolds. First state, before the name of the personage and before the address. Very fine impression, in excellent condition. The blank space at the bottom, which later contained the title, has been trimmed one inch. Born September 18, 1709, at Lichfield. Died September 13, 1784. He has been termed, not inaptly, the ‘“ Colossus of English literature.” This is a highly characteristic and re- markable portrait. WATSON, THOMAS Born in London in 1743; died there in 1781. His earlier prints were published by Sayer and others; about 1771 he appears to have resided at Broad Street, then to have re- moved to Bond Street, and, on becoming partner with Dick- inson, to have taken Shropshire’s place, at No. 158 in that street. His style is bold and powerful, resembling that of 74 Dickinson. His effects are rich and brilliant, and his mezzo- tints are among the very best productions of the art. 142—THE HONORABLE MRS. PARKER CHALONER SmitH, No. 28. After the painting by Sir Joshua Reynolds. Second state, with the name of the personage. Very fine impression, in perfect condition. Theresa, second daughter of Sir Thomas Robinson, created Lord Grantham, 1761; married 1769 John Parker, who was created Lord Boringdon in 1784. Died December 21, 1775. Her son was created Earl of Morley in 1815. ZOBEL, GEORGE J. Born about 1810. Died in 1881. 143—HENRY PURCELL After the painting by Closterman. Good impression, in per- fect condition. Born at Westminster, about 1658. Died there 1695. A noted English musician and composer. In 1680 he was organist of Westminster Abbey, and during the following five or six years composed most of his church music. 75 ENGRAVINGS IN STIPPLE BARTOLOZZI, FRANCESCO Born in Florence, 1727. Pupil of J oseph Wagner at Venice. In 1764 he removed to London, and in 1769, upon the foundation of the Royal Academy, was nominated as one of the original members. He died in Lisbon on March 2 1815. 144—VENUS ATTIRED BY THE GRACES After the painting by Angelica Kauffmann. Beautiful im- pression, in excellent condition. The margin has been trimmed to within 34 inch of the engraved surface. In the opinion of many connoisseurs this is the most beauti- ful of Bartolozzi’s engravings in the stipple manner. 145—JOHN DUNNING, LORD ASHBURTON After the painting by Sir Joshua Reynolds. Open letter proof. Fine impression in perfect condition. The head, face, and wig, the hands and lace are engraved in stipple; the rest of the plate being finished with the graver. "6 ENGRAVING IN STIPPLE, PRINTED IN COLORS EARLOM, RICHARD Born in 1743. He was at first a pupil of Cipriani, but later devoted himself to mezzotinto engraving. He executed few works in stipple, but they are of a quality which entitles him to rank as one of the greatest engravers in that manner. He died on October 9, 1822. 146—LADY HAMILTON AS “SENSIBILITY ” “Published March 25, 1789, by John and Josiah Boydell, No. 90, Cheapside, London.” After the painting by George Romney. Open letter proof, printed in colors. Although the mat comes close up to the engraved surface, the margins extend to the plate-mark in all directions. This is usually considered to be one of the most beautiful of the many engraved portraits of Lady Hamilton. 77 ETCHINGS BRACQUEMOND, FELIX “ Bracquemond has had all the medals. He was decorated in 1889. In 1884 he obtained the highest award, the medal of honor, to which was added the satisfaction of hearing it said, on all sides, that he Should have received it long ago and more than once.”—H enri Beraldi. 147—PORTRAIT OF EDMOND DE GONCOURT Beraupi, No., 54. Bracquemond’s original drawing for this etching is now in the Luxembourg. Signed artist’s proof on vellum. Twenty- five proofs only in this state. One of Bracquemond’s very finest plates. 148—LE VIEUX COR Brerapi, No. 2292, Signed artist’s proof, on J apanese paper, before the verses in the upper left corner. “Une des piéces capitales de Poeuvre.”—Henri Beraldi. “Certainly a triumph at once of technique and of character.”— Wedmore. 149—LABOR, or THE MAN WITH THE HOE Brraupi, No. 345. After the painting by J. F. Millet, Signed remarque proof on vellum. Twenty-five proofs only in this state. Writing in February, 1888, Bracquemond declared this etching to be “ far superior ” to anything he had done up to that time. 78 150—DAVID Beraupi, No. 348. After the painting by Gustave Moreau. Remarque proof on vellum; signed by both painter and etcher. Fifty proofs only in this state. This etching was awarded the Medal of Honor at the Salon of 1884. “Nous ne croyons pas qu’il soit possible de pousser plus loin Pexactitude dans le rendu d’une ccuvre peinte en restant absolu- ment maitre sur le terrain de la gravure.”—M., de Lostalot, “ Ga- zette des Beaux Arts.” 151—THE WATER DRAWERS After the painting by J. F. Millet. Signed remarque proof on vellum; 125 proofs only in this state. One of the very finest etchings from a painting by Millet. BRUNET-DEBAINES, A. “Few etchers of the modern French school have produced such uniformly good work.”—P, G. Hamerton, “ Etching and Etchers,” p. 229. . 152—CHILL OCTOBER Berrarpi, No. 35. After the painting by J. E. Millais. Signed artist’s proof, on Japanese paper. Signed by both painter and etcher. 153—THE CORNFIELD Berarpr, No. 38. After the painting by Constable, Signed artist’s proof, on Japanese paper. 79 154—THE VALLEY FARM Berarpi, No. 39. After the painting by Constable. Signed artist’s proof, on vellum; 50 proofs only in this state. BUHOT, FELIX “The technic of Buhot is assuredly far from being simple. But he is free. He is not the slave of rules and formulas; he has not the least respect for arbitrary laws; he blends and mixes all the differ- ent means used for obtaining effects in black and white—whether by cutting into or corroding the plate. He is not the slave of any one implement. For Buhot would not understand the traditional distinction made between a line-engraver, an etcher, or a worker in dry-point, nor of all those good people who separate and group themselves according to the end at which they break the egg they are going to eat! . . . Let us say at once that Buhot—painter and etcher—is above all a poet. The world at large cannot fail to admire the form of his message, his vocabulary and syntax—that is to say, the means by which he expresses himself.”—Léonce Béné- dite, “ Félix Buhot: Painter-Etcher.” 155—UNE MATINEE D’HIVER AU QUAI DE LHO- TEL DIEU Bourcarp, No. 123. Intermediate state, between the first and second, unde- scribed by Bourcard; before the plate was reduced in size, and before the additional work in the middle distance. Signed artist’s proof, _ 7 from the artist’s own col- lection, with his stamp -}#,,¢ In the autograph of Buhot is the follow ing inscription: “ Epreuve d’Etat Imprimée par moi & l’Essence de térébentine. C’est un de mes premieres essais a l’essence. Collection de lartiste. Félix Buhot.” 80 156—UN DEBARQUEMENT EN ANGLETERRE Bovurcarp, No. 130. Signed and stamped artist’s proof. The plate is made quieter and more harmonious with aquatint, and an escut- cheon is added in the lower margin. “Une des plus curieuses piéces de loeuvre.”—Beraldi, “Some of his sea pieces attain a fantastic grandeur, such as the tall sailing-vessel that, under a heavy and smoky sky, is being towed by a steam-tug on the vast tawny waters of the Thames near Gravesend, and then his ‘ Débarquement en Angleterre,” showing the thick night, the rushing waves, and the squalls that sweep the pier.”—Léonce Bénédite, “ Félix Buhot: Painter-Etcher.” 157—WESTMINSTER PALACE Bovrcarp, No. 155. Signed artist’s proof, on Japanese paper. This proof is stamped with _ Buhot’s device of an owl and the letters F. B. -Ex | 2 . this picture leads us on to his two classic masterpieces— ‘Westminster Palace’ and ‘ Westminster Bridge.’ Here Buhot sur- passes the mere picturesque and attains to grandeur of style. In the former, under the hazy light of an opaque and heavy sky, near the bank of the dappled waters of the broad and troubled stream, the Houses of Parliament stretch their long, heavy mass of stately blackened buildings, bristling with a multitude of turrets, steeples, and watch-towers, the whole proudly dominated by the Victoria Tower and the Clock Tower. It is one of the surest in execution and completest of his works. It makes one think of Méryon; it is exe- cuted with the firmness of etching of an Israel Sylvestre who might have known Whistler or Seymour Haden.”—Léonce Béné- dite, “ Félix Buhot: Painter-Etcher.” CAMERON, D. Y. “Mr. Cameron is the son of a Scotch clergyman and resides with his father in Glasgow. He is a Fellow of the Royal Society of 81 < Painter-Etchers, and probably the youngest member of that dis- tinguished body. Sir Francis Seymour Haden, its president, writes of Mr. Cameron with an enthusiasm which is unusual with him— hailing him as a hopeful successor to the masters of the previous generation, and cordially recognizing in his work that precious gift of personality without which all mere technical skill is in vain. In examining Mr. Cameron’s etchings it is not easy to designate his forte. Méryon etched picturesque buildings magnificently, but his portraits are simply bad. Whistler has triumphed in a wider field, but he seems to care nothing for the restful charms of rural landscape—where Seymour Haden is supreme. Mr. Cameron (though we hope his best work is still to be done) already shows himself equally at home when delineating pure landscape, views of buildings and shipping, interiors, or portraits.”"—Frederick Keppel, “DPD. Y. Cameron: Painter-Etcher.” 158—ST. MARK’S, VENICE Wepmore, No. 74. Signed artist’s proof. Fine and early impression, on old Dutch paper. 159—CHURCH INTERIOR, VENICE Wepmonr_E, No. 98. Signed artist’s proof, on old Dutch paper. 160—THE SMITHY WepwmoreE, No. 103. Signed artist’s proof. Fine impression, brilliant and not too dark in the shadows, on old Dutch paper. 161—LE COUR DES BONS ENFANTS Wepmorg, No. 110. Signed artist’s proof, on old Dutch paper. 82 162—SAINT MARK’S. NO. 2 Wepmorg, No. 132, Signed artist’s proof, on Japanese paper. Fine and early impression. 1683—ABBAZIA Wepmore, No. 133. Signed artist’s proof. Brilliant, but harmonious, impression; the plate enriched with dry-point work. On Japanese paper. 164—THE HOUSE OF JOANNIS DARIUS Wepmore, No. 137. Signed artist’s proof, on Japanese paper. Fine. 165—CA D’ORO Wepmorg, No. 138. Signed artist’s proof, on Japanese paper. Fine and early impression. 166—ROSLYN CHAPEL Wepmonre, No. 142. Signed artist’s proof, on Japanese paper. Fine and early impression, before the “ burr” was removed. In the hand- writing of the artist: Trial proof, 2 proofs only, No. 2. 167—THE DOGES’ PALACE Wepwmore, No. 144. Signed artist’s proof, on old Dutch paper. 83 168—CHARTRES Wepmonre, No. 145. Signed artist’s proof, on Japanese paper. Fine. 169—ST. LAUMER—BLOIS Wepmoreg, No. 152. Signed artist’s proof. Superb impression, on Japanese paper. “An interior—and both in draughtsmanship and chiaroscuro the finest of them all.”—Wedmore. 170—HARFLEUR Dated 1903. Signed artist’s proof, on old Dutch paper. CHAMPOLLION, EUGENE ANDRE One of the ablest of the modern French school of etchers from pictures. 171—_JUDITH After the painting by Benjamin Constant. Remarque proof on vellum; signed by both painter and etcher. The tenth impression taken from the finished plate. There were twenty-five proofs only in this state. CHAUVEL, THEOPHILE “Chauvel est le véritable graveur de paysage; et ila élevé la gra- vure de paysage a la hauteur de cette chose spéciale qu’on appelle un estampe. Personne n’a gravé mieux que lui Daubigny, Jules 84 Dupré, Théodore Rousseau. Les planches d’aprés ces maftres sont dun rendu saisissant.”—Beraldi. 172—L’ETANG DE VILLE D’AVRAY Dever (anv Brrarpr), No. 89 After the painting by Corot. Signed artist’s proof, on Japanese paper. 173—LE NID DE L’AIGLE: FORET DE FONTAINE- BLEAU Detter (anv Beratpr), No. 92. After the painting by Théodore Rousseau. Signed artist’s proof; on vellum. 174—_SOLITUDE Deuter, (AND Beratpr), No. 94. After the painting by Daubigny. Signed artist’s proof; on vellum. In the opinion of many connoisseurs this is the most beautiful of reproductive landscape etchings. 175—SOLITUDE Detteir, No. 123. After the painting by Corot. Signed artist’s proof; on vellum. There were printed 150 proofs only in this state. 85 SECOND EVENING’S SALE FRIDAY, FEBRUARY 247u, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 8 O’CLOCK CLAUDE GELLEE LE LORRAIN “ He has left half a dozen masterpieces which the severest criticism must respect. . . . He sincerely loved beauty and grace, and tried innocently for these till his touch became gentler than that of a child’s fingers; yet so accomplished that the stubborn copper was caressed, as it were, into a willing obedience.”—P. G. Hamer- ton, “ Etching and Etchers,” p. 158. 176—LA DANSE AU BORD DE L’EAU Rosert-DumeEsnit, No. 6. Fine impression, in excellent condition, but the margin be- neath has been trimmed. From the Naudet and Von Engen- berg collections. 177—LE BOUVIER Rosert-Dumesnit, No. 8. Very fine impression, in perfect condition, with ample margins. “For technical quality of a certain delicate kind this is the finest landscape etching in the world.”—Hamerton. 87 178—LA DANSE SOUS LES ARBRES Rozert-Dumesni, No. 10. Second state: with three birds in the sky, and before the distant mountains disappeared. Very fine impression, in perfect condition. From the Brentano Collection. “This plate is remarkable . . . for the manual freedom in the foliage.” —Hamerton. 179—LE PONT DE BOIS Rosert-Dumesnit, No. 14. Second state: with the number 10. Beautiful and early im- pression. Very slightly repaired in left lower corner. 180—LE SOLEIL COUCHANT Rosert-Dumesnit, No. 15. Good impression, in excellent condition. “This etching is remarkable for the inexpressible tenderness of its sky. . . . The sky is marvellously tender, and, in this respect, undoubtedly the finest ever etched.”—Hamerton. COURTRY, CHARLES JEAN LOUIS Pupil of Gaucherel and Flameng. A Chevalier of the Legion of Honor since 1881. “C’est un graveur de tempérament, qui fait honneur a Peau- forte.”—Beraldi. 181—THE CARPENTER’S FAMILY After the painting by Rembrandt, in the Louvre. Signed 88 ) artist's proof; on vellum. There were printed 125 proofs only, and the plate was then destroyed. “The light has the softness which suits the calm intimacy of the interior, where the sunbeam penetrates quietly, and where it wakes up the magnificent reflex of the chiaroscuro so dear to the great master. The same harmonious tone of which Rembrandt has the secret envelopes the whole etching.” FLAMENG, LEOPOLD “ He can overcome any technical difficulty that Rembrandt himself ™ could overcome; and it is not an exaggeration of the truth to affirm that there exists in Europe in our own day a man who may be said to possess the hand and eye of Rembrandt.”—P, @. Hamerton, “Etching and Etchers,” p. 399. 182—THE SYNDICS OF THE DRAPERS’ CORPORATION After the painting by Rembrandt, in the Amsterdam Museum. Signed artist’s proof, on Japanese paper. 1883—THE NIGHT WATCH (LA RONDE DE NUIT) After the painting by Rembrandt, in the Amsterdam Museum. Very fine impression, on Japanese paper. “One harmonious masterpiece.”—Hamerton. The sortie of the Banning Cock Company, famous all the world over by the inaccurate title of “ The Night Watch,” is the pride and chiefest treasure of the Ryks Museum at Amsterdam. It represents the gathering, in broad daylight, of the Civic Guard of Amsterdam, outside their quarters, from which they are emerging at the sound of a drum. Captain Banning Cock, and his lieutenant, Willem von Ruy- tenberg, are in the centre. On a shield on the building are the names of sixteen of the principal figures, all portraits. 89 184—THE STANDARD-BEARER After the painting by Meissonier. Signed artist’s proof, on Holland paper. FORTUNY, MARIANO “Ces eaux-fortes, d’un travail trés égratigné et grignoté, sont d’un aspect trés original et du plus grand intérét.”—Beraldi. 185—FAMILLE MAROCAINE Beratpr, No. 9. Early trial proof, before the name and date, and before the number 9 in the upper right corner. Very fine impression, on India paper. From the collection of Sir John W. Wilson. GRAVESANDE, CHARLES STORM VAN ’S “There are few etchers in any age who are at the same time simple in their methods of work and original. The proportion of such etchers at the present day is small indeed. . . . The truth is, as any one who likes to try it will soon discover for himself, that the power of etching simply and beautifully at the same time is very rare. It has always seemed to me, and it seems to me still, that this gift is the gift for an etcher.”—-P. G. Hamerton. “T find Gravesande the ideal painter-etcher—a maker of illusions rather than of lines—whose lines are so fused and lost in the per- fect whole that we see and feel what is done, with never a thought for the means whereby it got itself done. It is a comfort to sit down before the work of such an artist as this.”—John Williamson Palmer, “'The Beauties and Curiosities of Engraving.” 186—MOULIN AU BORD DU GEIN, PRES ABCOUDE Signed artist’s proof, on Japanese paper. Very fine impres- go sion; the dry-point rich and velvety. One of the most highly prized of Gravesande’s masterly dry-points. 187—HULKS ON THE BIESBOSCH Signed artist’s proof, on Japanese paper. 188—FLUSHING PIER Third state (of 4). Signed artist’s proof, on Holland paper. HADEN, SIR FRANCIS SEYMOUR Born in London, September 16, 1818. Founder and Presi- dent of the Royal Society of Painter-Etchers. The greatest etcher of landscape of this (or perhaps any) century. “An artist of rare endowment and consummate skill. He is a master of foliage, he has drawn trees magnificently, both as to wood and leaves; there is no better stem or branch drawing than his in all contemporary art.”—P. G. Hamerton. “By general consent Seymour Haden ranks as the greatest of modern landscape etchers.”—The Modern Disciples of Rembrandt. 189—A LADY READING Drake, No. 9. First state: the background entirely covered with work, and the curtain behind the lamp well defined, with the signature in reversed characters. Signed artist’s proof, on Japanese paper. A superb impression, from the collections of Philippe Burty and Sir William Drake. “Very few impressions were printed, and the plate was destroyed.” —Drake. “A portrait of Lady Haden, and etched on the same evening as Mr. Whistler’s ‘ Reading by Lamplight.”’ ”—Harrington. gt 190—-THAMES FISHERMAN Drake, No. 11 Second state; fine impression, not too heavily charged with ink. Rare. Proof presented to Maxime Lalanne, with the words a Monsieur Lalane, Seymour Haden in the autograph of the artist. 191—MYTTON HALL “ eae Drake, No. 13. First state. Signed artist’s proof, on Japanese paper. Beautiful and rich impression. “ Mytton Hall—which, unlike Mr. Hamerton, I prefer to the Shere —had been wrought one year earlier. It shows a shady avenue of yew trees leading to an old manor house which receives the full light of the sun; and in that print, early as it may seem, was already the breadth of treatment which as years proceeded became more and more a characteristic of Seymour Haden’s work.”—Frederick Wedmore, “ Fine Prints,” p. 103. 192—EGHAM Draxe, No. 14. Third state. Signed artist’s proof, on vellum. Fine and early impression, showing dry-point work in the reflection of the post to the left, in the word Egham, and on the bank to the right. 193—ON THE TEST Drake, No. 19. First state. Signed artist’s proof. Fine and early impression. “This plate and No. 20 (‘A Water Meadow’) were done on the same day, one at noon, the other very late in the evening. The Test (in Hampshire) is a famous trout stream.”—Seymour Haden. g2 No. 194. Haven: A Water Meadow No. 234. Jacque: La Bergerie Béarnaise is Sa 3 . 1 194—A WATER MEADOW Drake, No. 20. First state. Signed artist’s proof. Fine impression on What- man paper. “TI like this plate—which is saying a great deal.—S. H.” 66 e a vivacious, happy, sympathetic transcript of a sudden rainstorm in the Hampshire lowlands, where poplars flourish and grass grows rank.”—Frederick Wedmore, “ Fine Prints,” p. 106. 195—EARLY MORNING—RICHMOND Drake, No. 21. First state; the plate extensively foul bitten. Signed artist’s proof, marked by the artist 1° St. in the lower left corner. Beautiful impression on thin Japanese paper. “The conception of the plate itself has a poetry of its own, and is filled with the freshness of morning.”—P. G. H amerton, “ Etching and Etchers,” p. 307. “This was done actually at sunrise.”—Seymour Haden. 196—THE MOUTH OF A BROOK (THE ETCHING) Draxe, No. 24. Trial proof B; the plate reduced in size. Signed artist’s proof, on old Dutch paper. On the lower margin, in the handwriting of Sir William Drake, 24 Mouth of a Brook, Lrial (b). Six proofs only were printed of this “ trial proof B” (four of “ trial proof A”) and the plate destroyed. “The best piece of foliage work, I think, I have ever done.”—Sey- mour Haden, 93 197—A BY-ROAD IN TIPPERARY Draxe, No. 28. Second state. Signed artist’s proof, on Japanese paper. Very fine impression. Twenty proofs only in this state. Plate destroyed. 198—COMBE BOTTOM Drake, No. 29. Trial proof C. The rabbits are introduced, but as yet have no shadow. Signed artist’s proof, on Japanese paper. Superb impression, rich in dry-point work. “* Combe Bottom’ is unsurpassed for sweetness and spontaneity.” —F rederick Wedmore, “ Fine Prints,” p. 106. “The trial proofs—if I may say so—are good. It is very rare.”— Seymour Haden. 199—SHERE MILL POND (The Large Plate) Drake, No. 35. First state, with the sky. Signed artist’s proof, on J apanese paper. Fine impression, not too heavily inked. “With the single exception of one plate, by Claude, this is the finest etching of a landscape subject that has ever been executed in the world.”—P. G@. Hamerton, “ Etching and Etchers,” p. 305, 200—DUNDRUM RIVER Drake, No. 42, First state, with the words Done under the acid........ nithout additional work faintly visible in left wpper corner. Signed artist’s proof. 94 201—A SUNSET IN IRELAND Draxe, No. 44. Second state; signed artist’s proof on Whatman paper. Very fine impression, rich and velvety in the dry-point shadows. “This plate, and also ‘ A By-Road in Tipperary,’ were done in the park of Viscount Hawarden, in the most beautiful part of Tippe- rary.”—Seymour Haden. “* A Sunset in Ireland’ is Haden’s best work in dry-point, and it certainly deserves its reputation of one of its author’s masterpieces. The quiet, peaceful sunset behind the dark masses of trees makes a plate of exquisite beauty. There are great differences in the various states, so that a choice among them is extremely difficult. The rich, dark, late-evening effect of the second state is quite as fine in its way as the lighter and more delicate early-evening effect of the earlier impressions.”—A therton Curtis. 202—W HISTLER’S HOUSE, OLD CHELSEA Drake, No. 47. First state. Signed artist’s proof, on Japanese paper. Rich and brilliant impression. “ Great care was taken in the drawing of this plate, especially in the foreshortening of the barges, which gave me infinite trouble, I remember. It wore out very soon, and had to be destroyed before it had given its full quota of impressions.”—Seymour Haden. 2083—BRENTFORD FERRY Drake, No. 66. First state. Early impression, with the words To Whistler in the upper left corner. Signed artist’s proof, on Japanese paper. Fine and brilliant impression. 95 204—THE TOWING PATH Drake, No. 67. First state. Signed artist’s proof, on old Dutch paper. Fine and early impression. “Mr. Haden always thought this one of his best plates—an opinion, however, in which he has stood, he is bound to say, pretty much alone. Whether it is the lady or the dog he knows not, but it has never been a favorite.”—Seymour Haden. 205—LA BELLE ANGLAISE Draxe, No. 81. Trial proof B, with the added dry-point work below the hand. Signed artist’s proof, on Japanese paper. A superb impression. “ A few impressions only: The plate, which was never published, is destroyed.”—Drake. A portrait of one of the daughters of Viscount Hawarden. 206—A RIVER IN IRELAND Drake, No. 82. First state. Signed artist’s proof, on thin Japanese paper. A superb impression. Twelve impressions only were printed. The plate was etched on the Dundrum River, Ireland. 207—SUNSET ON THE THAMES Draxe, No. 83. First state. There are no shaded clouds directly above the sun. Signed artist’s proof. Very fine impression. “The effect of light is given with such magnificent force that the 96 whole sky flames.”—P, @. Hamerton, “Etching and Etchers,” p- 301. “ He can show us with a few well-placed strokes a splendid, radiant Sunset, as in the ‘Sunset on the Thames,’ or a glistening sunrise dispelling the morning mists, as in his < Early Morning—Rich- mond.’ ”—/ therton Curtis. 208—OLD CHELSEA CHURCH Draxe, No. 99. The plate reduced in size. Proof on India paper laid into plate paper. Signed S. H. 209—HARRY KELLY’S, PUTNEY Draxe, No. 107, First state, with the masts of the vessels to the left, roof of the house beyond, and trees in the distance, added in dry- point. Signed artist’s proof. 210—THE THREE SISTERS Drake, No. 116. First state; the signature in dry-point. Signed artist’s proof on Whatman paper. “This and No. 115 were done in an old chase, in which is a hunting lodge which belonged to the Dukes of Northumberland. . . . It is one of the finest of our old English parks.”—Seymour Haden. 211—THE INN, PURFLEET Drake, No. 122, First state. Signed artist’s proof on Whatman paper. “A very fair rendering of the Thames below London.”—Seymour Haden. “A good example of his simple, direct way of handling sky and water.”—A therton Curtis. 97 212—BREAKING UP OF THE AGAMEMNON Drake, No. 128. Trial proof A. Before the helmet was changed, and before the sails of a passing vessel are seen behind the mizzen mast. Very fine impression; of the greatest rarity. From the col- lection of Sir William Drake. In the autograph of the artist, 1° unpublished state (Trial (a)). “With such a subject as this for a motive, an etcher will do manly work if the strength to do it is in him. And this is manly work.”— P. G. Hamerton. “Perhaps, all things considered, the artist’s masterpiece.”— ther- ton Curtis. 213—-SAWLEY ABBEY Drake, No. 131. First state. Signed artist’s proof, on Whatman paper. 214—THE MILL WHEEL Drake, No. 136. Second state. Beautiful impression, on Whatman paper. In the autograph of the artist: S. H unpublished (Since pub- lished 1878). From the collection of Sir William Drake. Q15—AN ESSEX FARM Drake, No. 138. First state, with two rowing boats in place of the vessel with three sails. Signed artist’s proof. Sir Seymour Haden con- siders this, “in the true artistic sense,” one of his very finest plates. 98 216—CALAIS PIER—AFTER TURNER Draxe, No. 140. Second state. (Fifty impressions only.) Signed artist’s proof. Very fine impression, but, in framing, the margin has been turned over the edge of the strainer and the word Seymour, in the signature, cut at the bottom. The lower right corner of the margin has been slightly torn and re- paired. 217—WINDMILL HILL (NO. 1) Drake, No. 146. First state. Fine and early impression. Before the additional work in the sky above and behind the man on the horizon. Signed artist’s proof on Holland paper. “Windmill Hill is a high common, near Swanage, which has long © served as a landmark for vessels at sea. This and all the following plates up to No. 160 were all done within a fortnight in the imme- diate neighborhood of Swanage, in Dorsetshire.”—Seymour Haden. “The most admirable, Rembrandt-like, Geddes-like dry-point, “Windmill Hill’ ”—Frederick Wedmore, “Fine Prints,” p. 104. 218—WINDMILL HILL (NO. 2) Draxe, No. 147, First state. Signed artist’s proof, on old Dutch paper. Beautiful impression, rich, but not heavy. 219—NINE BARROW DOWN Drake, No. 150. First state. Signed artist’s proof, on old Dutch paper. 99 220—-WAREHAM BRIDGE Drake, No. 159. First state. Signed. artist’s proof. Fine impression. This plate is one of Sir Seymour’s favorites. 221—DUSTY MILLERS Drake, No. 165. Second state: the man is on the further side of the stile. Signed artist’s proof, on Japanese paper. 222-WINDSOR Drake, No. 183. Second state: the sail of the boat is shaded in its lower half only; the double stem of the tree remains. Signed artist’s proof, on Whatman paper. Twenty-five proofs only. 223—_GREENWICH Drake, No. 184. Trial proof C. Signed artist’s proof on Whatman paper. There were printed twenty impressions only in this state. 224—-A LANCASHIRE RIVER Harrinoron, No. 210. First state. Signed artist’s proof. Proof No. 3 of one hundred selected impressions. In Sir Seymour’s opinion this is a finer plate, “in the true artistic sense,” than “ Shere Mill Pond.” “ A well-known salmon pool on the Ribble.”—Harrington. 190 225—THE VILLAGE FORD Harrineton, No. 211. Second state. The man with the ladder is inserted. Signed artist’s proof. Rare. 226—COWDRA Y CASTLE—WITH COWS Harrinetron, No. 215. First state. Signed artist’s proof, on old Dutch paper. HAIG, AXEL HERMAN The most popular living etcher of architectural subjects. 227—INTERIOR OF DURHAM CATHEDRAL Signed artist’s proof, on Japanese paper. 228—INTERIOR OF BURGOS CATHEDRAL Signed artist’s proof, on Whatman paper. This is accounted Haig’s masterpiece. 229—INTERIOR OF THE CHURCH OF S. FRANCESCO: ASSIST Signed artist’s proof, on Japanese paper. 230—VIEW FROM ST. EDMUND’S CHAPEL Signed artist’s proof, on Whatman paper. 231—THE CATHEDRAL OF ST. GEORGE, LIMBURG- ON-THE-LAHN Signed artist’s proof, on Rigley paper. IOT HERKOMER, HUBERT “One who is, as everybody knows, so spirited and energetic an artist . . . can be a graceful sketcher on the coppér when he likes.”—Frederick Wedmore. 232—PORTRAIT OF THE ARTIST Signed remarque proof, on Japanese paper. The remarque is a portrait of the artist’s two daughters. A very fine example of the “ spirited and energetic’ side of Herkomer’s art. “In its own way it is absolutely perfect work.”—P. G@. Hamerton. JACQUE, CHARLES “ He will certainly be remembered as one of the master etchers of our time.”—P. G. Hamerton. “Ce qui le distingue c’est la poésie pénétrante de ces paysages, c’est le charme intime de ses fermes, de ses cabarets, de ses pays- anneries.”—Charles Blanc, “ Gazette des Beaux Arts,” 15 février, 1861. 233--LA BERGERIE Guirrrey, No. 161. Signed artist’s proof. Very fine impression. There were printed 129 proofs only, and the plate was then destroyed. This plate and “La Bergerie Béarnaise”’ are usually con- sidered to be Jacque’s masterpieces. “Cette estampe célébre.”—Beraldi. 102 284—Ld BERGERIE BEARNAISE (INTERIEUR DE BERGERIE) Guirrrey (ConTINUATION or CATALOGUE OF Ercuines), No. 246, Signed artist’s proof, on Whatman paper. This famous etching won for M. Jacque the Medal of Honor at the Paris Exposition of 1889. Only 100 impres- sions were printed, and the plate was then destroyed. “ Superbe piéce.”—Beraldi. 235—INTERIEUR DE BERGERIE GuirFrey (ConTINUATION oF CATALOGUE OF Dry-Pornts), No. 60. Signed artist’s proof, on Holland paper. The plate enriched with roulette, burin and dry-point work. 236—LISIERE DE FORET—EFFET DE SOIR Guirrrey (Continuation or Caranocue or Ercurnes), No. 2465. Signed artist’s proof, on Holland paper. The lower portion of the sky, in the centre of the composition, has been made clearer, and the beautiful effect of evening light has been heightened thereby. Very fine impression. JACQUEMART, JULES “Jules Jacquemart is the most marvellous etcher of still-life who ever existed in the world. In the power of imitating an object set before him he has distanced all past work, and no living rival can approach him. . . . The beauties which Jacquemart sees and reveals in a masterpiece of goldsmith’s or lapidary’s work are, for 103 the most part, imperceptible by the common eye.’—P. G. Hamer- ton, “ Etchings and Etchers,” p. 183. 237—VASE CHINOIS EN EMAIL CLOISONNE GonseE, No. 13. The original is in the collection of the Duc de Morny. First state: before the signature. Very fine impression. “ Cette piéce est d’une richesse et d’une puissance de tous extrémes; Vécartement des traits et la profondeur de sa morsure y ont été combinés pour rendre léclat et la diversité des colorations de Pémail.”—Louise Gonse, “ L’QHuvre de Jules Jacquemart,” p. 9. 288—MIROIR FRANCAIS DU XVI‘ SIECLE GonsE, No. 21. The original is in the collection of M. Montbrison. First — finished state, with the signature and the date. 239—TREPIED PAR GOUTHIERES GonseE, No. 23. The original is in the collection of the Marquis of Hertford. © First finished state. The plate signed at the bottom. A superb impression of this masterpiece. 7 “On ne sait, en vérité, ce qu’il faut le plus admirer dans le travail, ou les veines et du poli du jaspe, ou les godrons fuyants de la coupe, ou de la base modelée en pleine lumiére, qui refléte les pieds de la monture.”—Louis G'onse. JACQUET, JULES Pupil of Henriquel-Dupont, Pils and Laemlin. One of the greatest of modern etchers from pictures. His plates after Meissonier are marvels of technical skill. 104 240—THE SERGEANT’S PORTRAIT Beran, No. 36. After the painting by Meissonier. Signed artist’s proof, on Japanese paper. Signed by both painter and etcher. JOHNSON, THOMAS Johnson’s recent and lamented death has robbed America of a most able portrait etcher. 241—JOHN SCOTT, FIRST EARL OF ELDON Signed remarque proof, on India paper. KCPPING, CHARLES A pupil, in etching, of Waltner. “Tl a fait honneur au maitre, dont il s’est promptement assimilé les procédés, au point d’étre aujourd’hui un de ceux qui en usent le plus brillament.”—Henri Beraldi. 242—PORTRAIT OF AN OLD MAN After the painting by Rembrandt, in the Dresden Gallery. Signed artist’s proof, on Japanese paper; 125 proofs only were printed, and the plate was then destroyed. “In this etching the artist has well succeeded in rendering, in black and white, the marvellous technique of Rembrandt. It seems impossible to follow more closely his broad pencil. The figure is so full of life and expression that one would almost believe one was in the presence of the original painting itself.” 105 KING, F. S. One of the ablest of contemporary American engravers. 248—PORTRAIT OF HUGH GAINE: PRINTER AND BOOKSELLER After the painting by Gilbert Stuart. “ Designed and en- graved for the Society of Iconophiles.” Proof on India paper. KING, JAMES S. 244—THE HONORABLE GEORGE C. BARRETT “First state; trial proof from the copper plate.” Signed artist’s proof, on Japanese paper. Signed by etcher and by subject. | 245—JAMES B. DILL “First state, trial proof from copper plate.” Signed artist’s proof, on Japanese paper. Signed by etcher and by subject. 246—THE HONORABLE TIMOTHY DWIGHT “First state, trial proof from the copper plate.” Signed artist’s proof, on Japanese paper. Signed by etcher and by subject. 247—THE HONORABLE ROSWELL P. FLOWER “Finished trial proof from the copper plate.” Signed artist's proof, on Japanese paper. Etched facsimile sig- nature of Flower. 248—THE HONORABLE ASHBEL GREEN Signed artist’s proof, on Japanese paper. Etched facsimile signature of Green. 106 249—EDWARD LAUTERBACH Signed artist’s proof, on Japanese paper. Signed by etcher and by subject. 250—THE HONORABLE THOMAS B. REED “First state, trial proof from the copper plate.” Signed artist’s proof, on Japanese paper. Signed by etcher and by subect. LALANNE, MAXIME “No one ever etched so gracefully as Maxime Lalanne. This merit of gracefulness is what chiefly distinguishes him; there have been etchers of greater powers, of more striking originality, but there has never been an etcher equal to him in a certain delicate elegance, from the earliest times till now.”—P. G. Hamerton, “ Etching and Etchers,” p. 177. 251—RUE DE LA TONNELLERIE (MAISON DITE DE MOLIERE) Beratpi, No. 2. Remarque proof, on Japanese paper. Beautiful impression of one of Lalanne’s finest plates. LE COUTEUX, LIONEL Pupil of Waltner. 252—LE GOUTER Beratpr, No. 45. After the painting by Jules Breton. Signed remarque proof, on vellum. Signed by both painter and etcher. The remarque is a portrait of Jules Breton. 107 LEGROS, ALPHONSE “Born at Dijon nearly sixty years ago, Legros has been amongst us since 1863. But it is not English life—or, indeed, any life—that has made him what he is. . . . He has been fed on the Renais- sance, and fed on Rembrandt; but yet the originality of his mind pierces through the form it has pleased him to impose on its ex- — pression. He gives to masculine character nobility and dignity.”— Frederick Wedmore, “Fine Prints,” p. 126. 253—PORTRAIT OF THOMAS CARLYLE (The Large Plate) Berarpr, No. 34. Signed artist’s proof, on Japanese paper. There were printed twenty proofs only, and the plate destroyed. 254—PORTRAIT OF M. J. DALOU Berapr, No. 41. With dry-point signature in lower left corner. Fine impres- sion, in excellent condition. “It will be in part by such masculine, yet refined and graceful, portraits as those of M. Datovu and Mr. Poynter, such subtle ones as that of Carpinaz, Manninc .. . that Legros will stand high.”—Frederick Wedmore, “Four Masters of Etching,” p. 42. 255—PORTRAIT OF E. J. POYNTER, R.A. Berarpi, No. 42. Good impression, with etched signature towards the lower left corner of the plate. On ribbed paper. 256—PORTRAIT OF CARDINAL MANNING Berrarpr, No. 43. Signed artist’s proof, on Whatman paper. Before the plate was reduced in size. One hundred such proofs were printed. 108 257—LES CHANTRES ESPAGNOLS Berarpr, No. 59. Third state (of 5). Before the signature, but with the woman in the distance to the right. Very fine impression, on Japanese paper. “*Les Chantres Espagnols,’ for example, is the creation of a great artist; a most penetrating and pathetic study of physical and men- tal decay.”—Frederick Wedmore, “ Etching in England,” p. 66. 258—LE MOINE A L’ORGUE Berarpi, No. 63. First state, before the plate was cut. Very fine impression, on Japanese paper. There were printed fifty proofs only, in this state. 259—LE MOUTON RETROUVE Berarpr, No. 86. Second state, with the inscription and with the border line. Signed artist’s proof on Whatman paper. There were printed ten proofs only of the first state, and fifteen proofs only of this second state. 260—LE PAYSAGE A LA MERE Berarpi, No. 107. First state, before the plate was reduced in size. Magnifi- cent impression, on Japanese paper. Very rare. 261—LE COUP DE VENT Berarpr, No. 110. First state, before the signature and the big stones in the 109 lower right corner. Signed artist’s proof, on Whatman paper. “Trés belle planche.’—Beraldi. 262—-THE CANAL Brrarpr, No. 178. Proof printed in warm brown ink on India paper. The ink- ing of the plate in this impression is specially noteworthy, and the effect obtained is unusually beautiful—even for a landscape by Legros. Fifty proofs only were printed, and the plate destroyed. 263—PORTRAIT OF G. F. WATTS, R.A. Beratpr, No. 198. First state, before the plate was reduced in size. Signed artist's proof, on Whatman paper. There were printed thirty proofs only in this state. “Of Mr. Watts himself . . . he has made the happiest of all possible portraits, finding in the theme a gravity of manly beauty, a charm of approaching age, to which he has always been intensely sympathetic.”—Frederick Wedmore, “ Etching in England,” p. 65. “His etching of Mr. G. F. Watts is perhaps—taking into account both theme and treatment—the finest etched portrait that has been wrought by any one since the very masterpieces of Rembrandt, nor, honestly speaking, do I know that it fails to stand comparison even with these.”—Frederick Wedmore, “ Fine Prints,” p12 264—PORTRAIT OF VAL PRINSEP, R.A. Berarpi, No. 202. Signed artist’s proof, on Whatman paper. There were printed fifty proofs only. “ Beau portrait.”—Beraldi. IIo 265—COUCHER DE SOLEIL Berarpi, No. 206, Signed artist’s proof, on Whatman paper. 266—LE RETOUR DU FAGOTIER Original lithograph. Signed artist’s proof. There were printed six impressions only. MERYON, CHARLES “Meéryon was one of the greatest and most original artists who have ever appeared in Europe; he is one of the immortals; his name will be inscribed on the noble roll where Diirer and Rem- brandt live forever.”—P. @. Hamerton, “ Etching and Etchers,” p. 167. 267—L’ARCHE DU PONT NOTRE DAME Wepmorg, No. 9. First state, with “C. Meryon del. sculp., Imp. rue N¢é S! Etienne-du-Mont, 26 ” in the left corner, and “ Paris, 1858” in the right. Very fine impression, on Dutch paper, rich in the shadows but not too heavily charged with ink. “The plate is well represented only by fine impressions of this state.”—Frederick Wedmore. 268—LA GALERIE DE NOTRE DAME Wenpmonre, No. 10. First state, with “C. Méryon del. sculp., 1853 ” in the left corner, and “Imp. Rue N® St. Etienne-du-Mont, 26” in the right. This proof has been printed without any tint of Iit ink on the plate. It is full of sunshine; the shadows are ~ luminous. On old paper. “ The only fine impressions are in this state."—Frederick Wedmore. “. . . the eye dwells on a maze of roofs, chimneys, streets, bridges, squares, spaces and towers; and specially towards the West on the Palais de Justice, settled down on the borders of the river, midst its group of towers.”—Victor Hugo, “ Notre-Dame de Paris.” 269—LA TOUR DE L’HORLOGE WepmorgE, No. 12. First state, with C. M. in the right upper corner, and no other letters. Brilliant and rich impression on fine old paper. From the Seymour Haden Collection, with his initials S. H. in the lower right corner. “The best impressions are always in this state.”—Frederick Wed- more. 270—TOURELLE, RUE DE LA TIXERANDERIE Wepmorg, No. 13. First state, with C. M. in upper right corner. Very fine and rich impression, on old Dutch paper. “The stately turret and the free foliage of the vine about its base would have had charms for any sketcher, but Méryon alone could have seen the full artistic availableness of the modern chimneys and roof.”—P. G. Hamerton. 271—ST. ETIENNE-DU-MONT Wepmorg, No. 14. Second state. The arms and head of the workman on the lowest planks of the scaffold are blurred and nearly oblit- II2 erated in preparation for new work. Fine and luminous im- pression, on ribbed paper. “The ‘St. Etienne-du-Mont’ is one of those etchings which possess the abiding charm of perfect things. In it a subject entirely beauti- ful and dignified is treated with force and with refinement of spirit, and with faultless exactitude of hand.”—Frederick Wedmore. 272—LE PONT NEUF Wepmore, No. 17. Second state, with “C. Méryon del. sculp. 1853” in the left corner, and “Imp. A. Deldtre, rue de la Boucherie N° 6” to the right. Silvery impression, not too heavily inked in the shadows. “In this state, with the dry-point work just finished, are the finest impressions generally.”—Frederick Wedmore. “The Pont Neuf is the most picturesque of existing Parisian bridges. . . . The wonder is that the delighted hand could work so firmly here, that it did not tremble with the eagerness of its emotion and fail at the very instant of fruition.”—P. G. Hamerton. 273—LE PONT AU CHANGE WepmorgE, No. 18. First state, with “C. Méryon del. sculp. moccciuu ” in the left corner, and “Imp. R. Neuve St. Etienne-du-Mont ” in the right. ‘ Rare.” —Frederick Wedmore. Rich and luminous impression of superb quality. On fine old paper. “This etching is one among many in Méryon’s works, where the air is as full of vitality as the earth, and where both in accord combine a gracefulness very rarely encountered in work of this class.”— Philippe Burty. 113 274—_ LA MORGUE Wepmore, No. 20. Second state, with “C. Méryon del. sculp. mpcccuiv” in the left corner, and “ Imp. Rue Neuve St Etienne-du-Mont, N° 26” in the right. Brilliant impression, on old Dutch paper. “ Early impressions—rich and brilliant—of this state are as nearly as possible equal to the first, and are rare.”—Frederick Wedmore. 275—L’ABSIDE DE NOTRE DAME DE PARIS Wepmorg, No. 22. Second state, with “ C. Méryon del. sculp. mpcccutv ” in the left corner, and “Imp. Rue Neuve St Etienne-du-Mont, 26” in the right. Before the houses in the distance to the right were worked upon and made more definite. This im- pression is delicately printed in brownish ink, and although not so strong in contrast of light and shade as are some proofs, has a charm of its own. The inscription to the left has been but little inked. On ribbed paper. “The ‘ Abside’ is accounted the masterpiece of Méryon, in right of its solemn and austere beauty. A rich and delicate impression of this print is, then, the crown of any Méryon collection. It must be obtained in a state before the dainty detail of the apse of the cathedral, and the yet daintier and more magically delicate work- manship of its roof, in soft and radiant light, have suffered deterio- ration through wear.”—Frederick Wedmore. MILLET, JEAN FRANCOIS “A man who had given his whole life to etching only, who had never thought of painting, and had never cared for those effects proper to painting and not to etching, could not have been more truly and markedly a born etcher than Millet showed himself ‘to be 114 No. 254. Lecrcs: Portrait of M. J. Dalou No. 276. Mitrtet: The Wool-Carder ~~ —few though were the plates and many though were the canvases he worked upon, To depend upon lines, not tones, for expression; to make every line ‘tell’ and to use no more lines than are abso- lutely needed to tell what he has to say; to speak strongly, concisely « and to the point; to tell us much while saying little; to suggest rather than to elaborate, but to suggest in such a way that the meaning shall be very clear and individual and impressive—these are the things the true etcher tries to do. And these are the things that Millet did with a more magnificent power than any man, perhaps, since Rembrandt. Other modern etchings have more charm than his—none have quite so much feeling. Others show more grace and delicacy of touch—none show more force or certainty, and none a more artistic ‘economy of means.’”—Mrs. Schuyler van Rensselaer, “ Millet as an Etcher.” “JT like his etchings even better than his paintings; when he was painting he was mainly thinking of his color, but when he was etching he had nothing to think of but his drawing.”—Thomas Moran. 2706—THE WOOL-CARDER Lesrun, No. 16. Only state. Superb impression on old Dutch paper. “ Unlike as are the two figures in execution, the face and attitude and expression and general sentiment of the etched ‘ Wool-Carder,’ for instance, are almost phenomenally the same as those of the painted ‘ Wool-Carder.’ The effect of the picture is very different from the effect of the etching; but the meaning, the feeling, the spiritual quality, is exactly the same in the one and in the other.”— Mrs. Schuyler van Rensselaer. PALMER, SAMUEL “ During twenty years,” I wrote in 1872, “ Samuel Palmer’s work has become for me more and more beautiful, more and more abun- dantly satisfying. It is so tender as to remind us of all that is softest and sweetest in the heart of pastoral nature, and yet so learned that it seems as if some angel had met the artist in his II5 studious solitude and taught him. Imaginations graceful as a maiden’s dream, but without her ignorance; teachings profounder than those of science, yet without her pedantry; a serene spirit inherited from the true and great poets of the times of old, who are his fathers—all these he gives us with his art. The beautiful sentence in which Samuel Palmer described the excellence of Claude is accurately descriptive of his own excellence, and I would have said of him, if I had known how to write anything so good— his execution is of that highest kind which has no independent essence, but lingers and hesitates with the thought, and is lost and found in a bewilderment of beauty.’”—P. G. Hamerton, “Etching and Etchers,” pp. 328, 329. 277—-THE LONELY TOWER (from “ Il Penseroso ”’) Pautmer, No. 103. Signed artist’s proof, on Whatman paper. Fine impression, rich and luminous. “ Or let my lamp at midnight hour Be seen in some high lonely tower, Where I may oft out-watch the Bear, With thrice-great Hermes.” —From Milton’s “ Il Penseroso.” “Now that I have softened the unfinished films, the sky in ‘ The Lonely Tower’ forms part of the most subtle piece of gradation I have ever realized—that is, so I fancy. As I was touching on the sheep, all of a sudden—I don’t know why—the whole seemed to come as I intended; so I packed it up to make it difficult to get at, lest I should spoil it. In this state a few breathings, after we have had a final look at it together, will be precious. We must reach poetic loneliness—not the loneliness of the desert, but a secluded spot in a genial pastoral country, enriched alse by antique relics, such as those so-called Druidic stones. The constellation may help to indicate that the building is nothing else but the tower of ‘II Penseroso.’ Shepherds may gaze, not at the sky, but at the light given forth by ‘My lamp at midnight hour,’ ” —Letter of Samuel Palmer, in his “ Memoirs,” p. 72. 116 278—THE BELLMAN (from “Il Penseroso ’’) Paumer, No. 105. Signed remarque proof, on Japanese paper. Of the finest quality. “Or if the air will not permit, Some still removed place will fit, Where glowing embers through the room Teach light to counterfeit a gloom, Far from all resort of mirth, Save the cricket on the hearth, Or the bellman’s drowsy charm, To bless the doors from nightly harm.” —From Milton’s “ Tl Penseroso.” “J do not falter on ‘The Bellman’s Drowsy Charm.’ Here we enter seclusion without desolateness; where light enough remains to show the village sheltered in its wooded nest, and that the ground heaves well and is rich enough in pasture. Increasing gloom sometimes enforces the sentiment of exuberance by giving more play to the imagination. If, as Dr. Johnson fears, ‘there is always some melan- choly in his mirth,’ there is certainly no wretchedness in Milton’s melancholy. I think ‘ The Bellman’ will go smoothly on to a satis- factory ending.”—Letter of Samuel Palmer, in his “ Memoirs,” p. 75. 279—EARLY MORNING—OPENING THE FOLD Pautmer, No. 110. Early and beautiful impression, on India paper, marked Trial proof by the etcher, and signed by him. “ This was one of the ten subjects from Virgil, and the design was, therefore, one of picked excellence—the outcome of infinite study and selection. Some have agreed that it is his best production. We are inclined to this opinion; but, be this as it may, the work is ample evidence in itself of a still unclouded brightness of the facul- ties and an undiminished manipulative skill”—Memoirs of Samuel Palmer, p. 36. 117 280—THE EARLY PLOUGHMAN Patmer, No. 112. Signed artist’s proof, on Whatman paper. Very fine im- pression. “ All this technical commentary has left me little room to speak of the artistic beauty of the conception, but the reader is not to sup- pose that technical criticism deadens the feelings which apprehend the true poetry and significance of art. On the contrary, it is impos- sible to appreciate the full technical merit of such work as this without at the same time knowing what the lines mean, and sharing the sweetness of the ineffable sentiment which they are intended to convey. It is the sentiment of a poet and painter who loves the love- liest hours and has watched them all his life. No sudden delight in the unaccustomed spectacle of a sunrise ever yet gave the town- bred artist such knowledge of the dawn-mystery as this. Many a night has the etcher of this plate wandered in a land of beauty from sunset to sunrise, from twilight to twilight, from the splendor of the West to the splendor of the East, watching through the gradual changes of the hours, and gathering for us that rare learn- ing of which his works are full.”—P. G. Hamerton, “ Etching and Ktchers,” pp. 331, 332. 281—THE HERDSMAN Parmer, No. 113. Early and brilliant impression; very rare of such fine qual- ity. From the collection of Sir John W. Wilson. “J could not mention a better example of pervading artistic intelli- gence which, whilst never forgetting, even for an instant, the unity of the whole work, applies itself nevertheless with unfailing and unflagging attention to every detail, however apparently insignifi- cant. It is scarcely too much to say that there is not in this etching an atom of white or black—I will not say the size of a pin’s head, but rather of its point—which is not there in obedierice to a distinct artistic decision.”—P. G. Hamerton, “ Etching and Etchers,” p. 333. 118 PENNELL, JOSEPH Upon whose shoulders has the mantle of Whistler fallen, if not upon Joseph Pennell’s? 282—ON THE ARNO (PONTE VECCHIO) Signed artist’s proof, on Japanese paper. PLATT, CHARLES A. “Mr. Platt has, in truth, arrived at a mastery over his art. He has known precisely what he wanted to do, and precisely what to do and what to leave undone in order to succeed. . . . In the great art of omitting Mr. Platt is, in truth, accomplished, and this is what gives his prints their simplicity, their harmony, their breadth and unity of effect.”"—Mrs. Schuyler van Rensselaer, “ The Century Magazine,” February, 1883. 288—THE MARKET SLIP: ST. JOHN, NEW BRUNS- WICK, AT EBB TIDE Signed artist’s proof. The plate is destroyed. “Of Mr. Platt’s earlier, and perhaps fresher work, I can point out no better example than the ‘ Ebb Tide.’ It is notable for the excel- lent composition, of which the fine confusion of masts and rigging to the left forms a striking part, for the easy yet assured tracing of lines against the sky, for the suggestive dampness of the fore- ground, and for the atmospheric effect, the light streaming out from the horizon—an effect materially aided by the printing.”— Ripley Hitchcock. “Mr. Platt, one of the youngest but one of the strongest of our workmen, has no need to go abroad when he could find nearer home so good a subject as he shows in his ‘ Ebb Tide.’ If we want to see what vigor of line means in etching, and what means simple and effective composition, we will pause a moment over this group of fishing-smacks.”—Mrs. Schuyler van Rensselaer. 11g RAFFET, AUGUSTE “His art was seemingly unlimited in choice of motive, and he could draw in a way that entitles him to stand among the great draughts- men of the world.”—Atherton Curtis, “ Auguste Raffet.” 284—COMBAT D’QUED-ALLEG a GIAcoMELLI, No. 82. Fine impression, on India paper, in perfect condition. “Of Raffet’s works on the army of his own time, the ‘Combat d’Oued-Alleg,’ considering all its qualities, is, perhaps, the artist’s masterpiece. If we are to judge from the rarity of successful re- sults, the rendering of an extended battle-field is a thing of great difficulty. That in this instance complete success has been achieved is unquestionable. The piece is one of the very best examples of Raffet’s unobtrusive composition. So naturally does each figure take its place that there seems to be no plan whatever in the arrange- ment, and yet the composition is so good that the slightest change in it would destroy the balance. The action of every figure is worthy of careful study, though the chief point of interest is the marvellous manner in which the rvsh of the whole body of troops is expressed, and the indication of the fierce battle in the distance. It is a grand work, fully worthy of the greatest master in the art of delineating military subjects.”—Atherton Curtis. RAJON, PAUL Born at Dijon in 1844. Te studied etching under Gaucherel and Flameng, and at the Salon of 1869 received a medal. In the following year, and again in 1873, he received med- als for his etchings; and at the Universal Exposition of 1878 he was placed Hors Concours for his masterly por- trait of Darwin. In 1888, when his fame was at its height, and when commissions were being showered upon him, he 120 died.—Henri Beraldi: Les Graveurs du XIX° Siécle, vol. xi., pages 151-167. “With the sole exception of Rembrandt, Rajon was probably the greatest portrait etcher who ever lived; but, unlike Rembrandt, most of this modern master’s plates were done from originals by other artists.”"—Frederick Keppel, “'The Modern Disciples of Rem- brandt.” “M. Rajon is one of the most productive of the modern etchers from pictures, and at the same time one of the surest.”—P. @. Hamerton, “ Etching and Etchers,” p. 399. 285—_CHARLES DARWIN Beran, No. 147. After the painting by W. W. Ouless, A.R.A. Proof on Whatman paper, with the names of painter and etcher in etched letters, and with etched fac-simile of Darwin’s sig- nature. “ Portrait capital.”—Henri Beraldi. 286—SUZANNA ROSE Berarpi, No. 148. After the painting by Sandys. Signed artist’s proof, on Japanese paper. An unusually beautiful and luminous im- pression, before the scratches in the lower margin of the plate were effaced. Extremely rare. “Une des merveilles de la gravure du siécle.”"—Henri Beraldi. 287—CARDINAL NEWMAN Berarpr, No. 167. After the painting by W. W. Ouless, A.R.A. Signed re- marque proof, on Japanese paper. Signed by both painter and etcher. Rare in this state. I21 REICH, JACQUES 288—THE HONORABLE C. H. VAN BRUNT Signed artist’s proof, on Japanese paper. Signed by both etcher and subject. REMBRANDT VAN RYN “The opinion among etchers which enthrones Rembrandt as the king of his craft is the most recent instance of perfect unanimity among people of all nationalities. As we all say that Phidias was the greatest sculptor, Homer the greatest epic poet, and Shakespeare the greatest dramatist, so we are all agreed on the world-wide supremacy of Rembrandt. . . . In his own lines of work there is no one in all history to be compared with Rembrandt; in artistic influence he has one equal, entirely unlike himself, and that is Raphael. They are the two most influential graphic artists of all time.”—P. G. Hamerion, “ The Etchings of Rembrandt,” pp. 13-14. 289—PORTRAIT OF REMBRANDT IN A CAP AND FEATHER Bartscu, No. 20. Very fine impression in perfect condition. “It would be hard to carry the art of expressing the texture and appearance of varied stuff, silk, velvet, fur, feathers, embroidery and linen, to a higher perfection in etching than Rembrandt has here done.” 290—REMBRANDT LEANING ON A STONE SILL (“REMBRANDT APPUYE ”) Bartscu, No. 21. Exceedingly fine impression; the band of the cap completed. ) In perfect condition. 122 “Ce portrait est le plus beau de tous les portraits de Rembrandt faits par lui-méme.”—Bartsch. “ The thoughtful brow is already furrowed, and the habit of a fixed and searching look has drawn the skin down above the eyelids; yet, in spite of such signs that youth is departing, the utmost freshness of mind and body is expressed in this face. This is the face upon which most modern representations of Rembrandt’s person are founded.”—H. Knackfuss, “ Rembrandt,” p. 75. 291—PORTRAIT OF REMBRANDT DRAWING Bartscu, No. 22. Magnificent impression, before the horizontal shading on the back of the book dividing it into two volumes. In perfect condition. “In an etching with a splendid effect of chiaroscuro, he shows him- self busy at his work. He sits at a small window, with a round hat on his head, and draws in a sketch book which lies before him; the absolute certainty of the artist’s grip is expressed in his keenly observant look.” —H. Knackfuss, “ Rembrandt,” p. 105. 292—ABRAHAM SENDING AWAY HAGAR Bartscu, No. 30. Only state. Superb impression, in perfect condition. From the collection of August Artaria (Fagan, No. 12). This im- pression formed part of the private collection of Artaria, and has his private stamp AC in addition to his regular stamp | A. ARTARIA. | “This is one of the most perfectly delicate of all Rembrandt’s etchings. The sureness of the faint, thin lines on which the expres- sion of the faces chiefly depends, the masterly reservation of re- flections and half-lights in open shading, the opportune omission of labor where omission was better than toil, justify our admiration.” —P. G. Hamerton, “ Etching and Etchers,” pp. 82-83. 123 293—ABRAHAM WITH HIS SON ISAAC Bartscu, No. 34. Only state. Magnificent impression, in perfect condition. Very rich in dry-point work. From the collection of August Artaria (Fagan, No. 12). “Very striking is the small plate, etched in 1645, of Abraham and Isaac on the way to the scene of the sacrifice. They have reached the lonely mountain-top surrounded by clouds. Abraham, who ap- pears in the rich Oriental costume which Rembrandt had invented for his patriarchs, has placed the pail containing fire on the ground and turned round towards his boy; the latter, however, stands in amazement . . . his childish intellect cannot take in what his father says to him.”—H. Knackfuss, “ Rembrandt,” pp. 96-97. 294— ABRAHAM’S SACRIFICE Bartscu, No. 35. Only state. Very fine impression, in perfect condition. On Japanese paper. Rich in dry-point work. “ By its grandeur and originality of invention and composition may well take rank as one of Rembrandt’s finest plates.”—P. @. Hamerton, “ The Etchings of Rembrandt,” p. 52. 295—JOSEPH RELATING HIS DREAM TO HIS FAMILY Bartscu, No. 37. Fine impression, before the nearly vertical shading on the table top. In perfect condition, with large margins. Dupli- cate impression from the Berlin Museum. “Un morceau trés-bien gravé et trés-fini."—Ch. Blanc, “ L’(uvre Complet de Rembrandt,” Vol. I., p. 81. 124 296—JACOB LAMENTING THE SUPPOSED DEATH OF JOSEPH Bartscu, No. 38. Fine impression, in perfect condition. “Ce morceau, quoique petit, est estimé un des meilleurs de ce maitre.”—Bartsch. f 297—TOBIT BLIND Bartscu, No. 42. Only state. Good, original impression, in excellent condition. Delicately washed with India ink in the shadows of Tobit’s robe. + “* Tobit Blind, with the Dog,’ is a work in which the mental con- ception, which is most pathetic, is everything, and the manual per- formance so simple, so devoid of all pretension, that it requires some knowledge of etching to recognize the strength of a master.”— P. G. Hamerton, “ Rembrandt’s Etchings,” p. 44. “The wonderfully delicate little print of ‘The Blind Tobit,’ the most striking and affecting picture of the helplessness of a man struck blind.”—H. Knackfuss, “ Rembrandt,” p. 118. 298—_THE ANNUNCIATION TO THE SHEPHERDS Bartscu, No. 44. The tree trunk in the centre of the composition is finished, and the two cows to the right are shaded. With the arch clear and distinct. Magnificent impression in perfect con- dition. From the collections of Pierre Mariette (whose sig- nature, P. Mariette, and the date 1660 are written at the top of the print on the reverse side) and the Earl of Hard- wicke. “Teffet de cette superbe estampe est admirable. Les_ belles épreuves sont trés rares.”—Bartsch. 125 299—THE ADORATION OF THE SHEPHERDS ag Bartscu, No. 46. Very fine impression on Japanese paper. In perfect con- dition. Before the divisions between the boards were made more distinct, and before the stake in the right background disappeared. 3800—THE FLIGHT INTO EGYPT: THE HOLY FAMILY CROSSING A RILL Bartscu, No. 55. Only state. Extremely fine impression; the foul biting, espe- ically at the bottom of the plate, very distinct. In perfect condition. “This is one of the best of Rembrandt’s small sketch plates in which an entire subject is indicated with little labor both in form and light and shade.”—P, G. eacbiih inc “The Etchings of Rem- brandt,” p. 48. 301—JESUS CHRIST PREACHING BartscH, No. 67. Superb impression of the only state, with much burr on the right sleeve of the rabbi who stands in the left foreground, and on the angle of the wall in the upper right-hand corner. “No artist has ever been able to give a more sympathetic picture of love for mankind than that of the Saviour standing in a dark space on a brilliantly lighted eminence, and speaking, with up- raised hands, to the people gathered round him. . . . The whole forms a wonderful painter’s poem on the text: ‘I am the true Light.’ ”—H. Knackfuss, “ Rembrandt,” pp. 122-123. 126 302—CHRIST AND THE SAMARITAN WOMAN (An Upright Plate) Bartscu, No. 71. Rich impression, in perfect condition. “Cette estampe est bien terminée, et gravée d’un ton brillant.”— Bartsch. 303—THE RESURRECTION OF LAZARUS (The Small Plate) — Bartscu, No. 72. First state, with the three small perpendicular lines to the right of the head of Lazarus. From the collections of August Artaria (Fagan, No. 12) and of Samuel de Festitits (Fagan, No. 469). The effect has been heightened with washes of India ink. “Ce morceau est gravé d’une pointe trés spirituelle.”—Bartsch. 304—_CHRIST HEALING THE .SICK (“The Hundred Guilder Print’’) Barrscu, No. 74. Second state. (Of the first state eight impressions only are known.) Very fine impression, harmonious in tone. “The whole composition, so pregnant with meaning, so full of allusions and of contrasts, is the most perfect masterpiece possible of expression, and this is Rembrandt’s highest achievement in the poetry of light. It is no mere sunlight that in one place envelopes the figures, almost without shadow, and in another casts its faint reflection on the groups that are emerging from darkness; it is the light of Redemption, shining on the darkness of human existence.” —H. Knackfuss, “ Rembrandt,” p. 126. 127 305—JESUS CHRIST IN THE GARDEN OF OLIVES Bartscn, No. 75. Superb impression, of the only state, in perfect condition. From the Artaria Collection (Fagan, No. 12.) “ Quelle profondeur de sentiment! quelle poésie dans la mise en scéne de ce drame auguste, et quelle grandeur dans un si petit cadre! La nature entiére est en deuil, le ciel va se couvrir de nuées sinistres.”—Ch. Blanc, “L’C Euvre Complet de Rembrandt,” Vol. I., p. 184. 306—" ECCE HOMO” Bartscu, No. 77. Impression of very fine quality, before the address of Mal- bouse. In fine condition. “Ce morceau est fort recherché et se trouve difficilement, surtout beau d’épreuve.”—Ch. Blanc, “ L’Ciuvre Complet de Rembrandt,” Vol. I., p. 190. “ Kach separate countenance is worthy of study, differing in ex- pression, but all dominated by the same feelings of cruelty, mock- ery and brutality.” 307—THE THREE CROSSES Bartscu, No. 78. Very fine and rich impression. Has been slightly repaired at top. The horse on the left is rearing, and the unrepentant thief to the right of the composition is almost lost in the darkness. Before the address of Francis Carelse. “This superb plate is one of the most remarkable interpretations of the Crucifixion in all Christian art, and is a masterpiece both in conception and in execution. It is extremely rare.” “. . . Encore fort rare.”—Ch. Blanc. 128 308—_THE DESCENT FROM THE CROSS Bartscn, No. 83. First state, before the diagonal lines shading the top of the plate. Superb impression in perfect condition. From the Richard Fisher Collection. 309—JESUS CHRIST ENTOMBED Bartscu, No. 86. Clear and harmonious impression, with the cross-hatching on the further side of the chair. In perfect condition. 310—THE RETURN OF THE PRODIGAL SON Bartscu, No. 91. First state, before the retouch. Fine impression in perfect condition. “The subject has never been treated with deeper imaginative sym- pathy. The repentant humility of the son and the affectionate for- giving tenderness of the father are enough to disarm criticism.”— P. G. Hamerton, “ The Etchings of Rembrandt,” p. 27. 311—PETER AND JOHN AT THE BEAUTIFUL GATE OF THE TEMPLE Bartscu, No. 94. Second state, before the soffit of the arch was cross-hatched as far down as the capital of the column. Very fine impres- sion, rich in dry-point work. In perfect condition. From a collection undescribed by Fagan, the mark being a seated 129 owl, stamped in purple ink. This mark occurs on some of the finest impressions of Rembrandt’s etchings. “The architectural effect is of a grandeur and magnificence befit- ting the scene of that miracle recorded in the Bible: ‘ Then Peter said, “ Silver and gold have I none; but such as I have give I thee; in the name of Jesus Christ of Nazareth, rise up and walk.” ’” 312—SAINT JEROME, IN THE MANNER OF ALBERT DURER Bartscu, No. 104. Superb, early impression, showing much burr, especially on the mane of the lion. In perfect condition. “ Aux premiéres épreuves de ce morceau rare il y a beaucoup de maniére noire dans plusieurs endroits, particulitrement sur la téte du lion.”—Bartsch. “The architecture and the landscape are rendered in a most inter- esting manner, and the unfinished appearance of the foreground, far from detracting from the beauty of the print, adds to its interest.” 318—YOUTH SURPRISED BY DEATH Bartscu, No. 109. Extremely fine impression of the only state, in perfect con- dition. From the John Webster Collection (Fagan, No. 822), “Another great masterpiece, small and slight as it may look, is ‘Youth Surprised by Death,’ a plate very lightly sketched, but with a rare degree of delicacy and elegance, both in the execution and in the conception of the subject.”—P. G. Hamerton, “ The Etchings of Rembrandt,” p. 31. 130 314—THE MARRIAGE OF JASON AND CREUSA Bartscu, No. 112. Very fine impression, after the plate had been reduced in size. In perfect condition. “The scene represented is the interior of a temple. The statue of Juno is seen to the right. In front of it is an altar, by which stands the high priest offering up a sacrifice to the goddess. At the feet of the priest kneel two figures—Jason and Creusa. Medea, the deserted wife, is about to enter the temple. The plate is full of detail and is very carefully etched.” 315—THE JEWS’ SYNAGOGUE Bartscu, No. 126. Fair impression, before the retouch, not too heavily inked. Slightly repaired in the upper left corner. “ Morceau trés fini et du bon temps de ce maitre.”—Bartsch. 316—THE PERSIAN Bartscu, No. 152. Good impression in good condition. “Un morceau parfaitement gravé d’un trés bon gotit et d’une finesse de point admirable.”—Bartsch. 317—BEGGARS AT THE DOOR OF A HOUSE Bartscu, No. 176. Fine impression, with the minute right to left shading on the door-hatch, and the fine lines in the spring of the arch above the door. Before the plate was coarsely reworked. In perfect eondition. “The beautifully etched plate of a family of beggars receiving alms from a kind old man at the door of a house is one of the most 131 perfect of Rembrandt’s masterly scenes from the life of the poor.” —H. Knackfuss, “Rembrandt,” p. 106. 3818—A VIEW OF AMSTERDAM Bartscu, No. 210. Only state. Exceedingly fine impression, in perfect con- dition. j “ Paysage gravé d’un trés bon gofit.”—Bartsch. “He shows you the nature of the place at the first glance and makes you feel as if you were there.”—P. G. Hamerton, “ Rem- brandt’s Etchings,” p. 70. 319—LANDSCAPE WITH THREE TREES Bartscu, No. 212. Only state. Magnificent impression in perfect condition. From the St. John Dent Collection. “ Ce paysage est un des plus beaux et des plus finis que Rembrandt ait fait; il est d’un effet trés brillant, et gravé avec beaucoup de got. Les belles épreuves en sont trés rares.”—Bartsch. 820—LANDSCAPE WITH THE THREE COTTAGES Bartscu, No. 217. Fine impression, with the diagonal lines on the facade of the first cottage, and with the white space in front of the first cottage filled with additional work. In excellent con- dition. “Le paysage aux trois chaumiéres est un des paysages de Rem- brandt que les amateurs estiment le plus, et qui se payent le plus cher en vente publique, non-seulement 4 cause de sa rareté, mais aussi pour la vigueur de Tleffet pittoresque.”"—Ch. Blane, “L’CEuvre Complet de Rembrandt,” p. 304. 132 321—LANDSCAPE WITH A SQUARE TOWER Bartscu, No. 218. Most beautiful and rich impression, before the slip of the graver through the name of Rembrandt was effaced, and before the burr was removed from the plate. In perfect condition. “Un des morceaux les plus précieux de Pceuvre de Rembrandt.”— Ch. Blanc, “ L’CEKuvre Complet de Rembrandt,” p. 306. 822—AN ARCHED LANDSCAPE, WITH A FLOCK OF SHEEP Bartscn, No. 224. Exceedingly fine and harmonious impression, with the dead branch, and with the distance indicated. In perfect con- dition. “Un trés joli paysage, fini et bien gravé.”—Bartsch. “Ce paysage est rare.”—Ch. Blanc. 323—LANDSCAPE WITH A COTTAGE AND A DUTCH HAY-BARN Bartscu, No. 225. Only state. Impression of the very finest quality. In per- fect condition. From the collections of Pierre Mariette (who has written his name: P. Mariette, and the date 1672, on the back of the print) and the Duke of Buccleuch. Impressions of this quality are of the greatest rarity. “One of Rembrandt’s most perfect landscapes, etched with great care and delicacy. The quiet melancholy of such a scene is caught and expressed with wonderful power.” 324—_A GROTTO WITH A BROOK Bartscu, No. 231. Fine impression, in good condition, but slightly repaired at 133 top. Has been artistically drawn upon in pen and ink in several places, so as to give additional brilliancy. From the collection of Robert Dighton (Fagan, No. 131). 325—A COTTAGE WITH WHITE PALINGS Bartscu, No. 232. Magnificent impression, in perfect condition. With the name and date, and with the shading on the dyke to the left. From the collection of George Hibbert, M.P., F.R.S. - (Fagan, No. 641). “Cette pitce est fort estimée. On la regarde avec raison comme un des plus frais et des plus jolis paysages du maitre.”—Ch. Blanc. $26—THE MILL Bartscu, No. 233. Only state. Superb and early impression, showing much crackle and sulphur tint in the sky. In perfect condition. From the collections of Sir John W. Wilson and the Duke of Buccleuch; and of unidentified collectors using the marks Nos. 129 and 379 of Fagan. “ Here we see nothing but a windmill, a few houses and a perfectly flat horizon; but what a refined and indescribable charm—the secret of true art which defies analysis—lies in the sincerity with which this scene is rendered.”—Knackfuss, “ Rembrandt,” p. 85. $27—_THE GOLD-WEIGHER’S FIELD Bartscu, No. 234. Only state. Exceedingly fine impression, rich in dry-point work. Skilfully repaired in the sky. From the collection of the Rev. J. Burleigh James, M.A. (Fagan, No. 301). “Les amateurs attachent beaucoup d’importance & la possession de ce paysage, non-seulement parce qu’il est rare, mais parce qu’il se 134 lie dans leur pensée au souvenir d’un homme (Uytenbogaert) qui fut lami de Rembrandt.”—Ch. Blane. 328—AN OLD MAN WITH A LARGE WHITE BEARD AND A FUR CAP Bartscn, No. 262. Good impression, before the retouch. In perfect condition. “Mais quel beau portrait! quel étonnant caractére de vieillard! ”— Ch. Biane. 329—AN OLD MAN WITH A DIVIDED FUR CAP Bartscu, No. 265. Very fine impression, with the slipped stroke of the graver to the right of the left cheek of the personage. “Ce morceau est gravé avec beaucoup de légéreté et d’esprit.”— Bartsch. “This etching is one of the most faultless that Rembrandt ever executed.”—P. G. Hamerton. 330—YOUNG MAN SEATED AND REFLECTING Bartscu, No. 268. Very fine impression, with cross-hatching on the book. In perfect condition. “This is one of Rembrandt’s most striking portraits, and is also one of his best. Rare, indeed, is it to see a student sunk in so deep a reverie. This young man, at an early age, seems to have arrived at a sense of the vanity of human desires, and his dreamy melan- choly is most touching.” “If one were forced to pick out Rembrandt’s masterpiece in etched portraiture, one might almost be tempted to select the ‘Young Man Reflecting. For subtlety of expression, and for beauty and simplicity of drawing, this portrait is absolutely per- fect.”— Atherton Curtis. 135 331—-FAUSTUS Bartrscu, No. 270. Fine and brilliant impression. In perfect condition. “ But Rembrandt’s preference now was for penetrating into the world of the marvellous. We might say that the mysterious source of light itself in Rembrandt’s works reveals itself to us like the apparition of a phantom, when we look at the incomparable etching of ‘ Doctor Faustus.” . . . It has the charm of the full- est originality, one might say the charm of perfect truth.”— Knackfuss, “ Rembrandt,” pp. 107-108. 332—PORTRAIT OF RENIER ANSLOO Bartscu, No. 271. Very fine impression, before the height of the table-front was reduced to one-quarter of an inch, and before the ad- dress of J. Scheepshanks. In perfect condition. From the Chev. J. de Franck (Fagan, No. 223) and Nahl (Fagan, No. 381) Collections. “Ce portrait est un des plus beaux et des plus finis que nous ayons de la pointe de Rembrandt. Ce morceau est rare.”—Bartsch. 333—PORTRAIT OF CLEMENT DE JONGHE Bartscu, No. 272, Very fine impression, with the additional shading in the arch to the right, but before the reshading in the triangu- lar space formed by the side and top bars of the chair, and the left arm of the personage. In perfect condition. From the Sir Edward Astley (Fagan, No. 573) and Brod- hurst Collections. “Clement de Jonghe was one of the most celebrated publishers of his time in Holland. Many of the best plates of the best etchers— Cornelis and Jan Visscher, Rogman, Zeeman, and Paul Potter— 136 bear his name as publisher. The beauty of effect and felicity of pose are very remarkable. Rembrandt, by his art, has given to the portrait of this unpretending print-seller an air of melancholy and ’ reverie that would not ill become a philosopher in meditation.” 334—PORTRAIT OF HAARING THE YOUNGER Bartscu, No. 275. Good impression, with the picture effaced, but before the plate was cut down. In excellent condition. “Ce portrait n’est pas moins admirable que celui de Haaring le Vieux. Il est empreint d’une mélancolie dont la profondeur touche au sublime.”—Ch. Blanc, “ L’CGEuvre Complet de Rembrandt,” Vol. Il., p. 67. 335—PORTRAIT OF JAN LUTMA Bartscu, No. 276. Superb impression, before the curved lines shading the upper right-hand corner of the window. From the collec- tion of Pierre Mariette (Fagan, No. 402). The name and date, P. Mariette 1668, are at the back of the print. In perfect condition. “ Rembrandt produced one of his most masterly portrait-etchings in 1656, the incomparably picturesque and life-like print of the famous goldsmith, Janus Lutma, of Groningen.”—Knackfuss, * Rembrandt,” p. 137. “One of his finest portraits, that of ‘Johannes Lutma,’ a most powerful and characteristic study, both of face and figure.”—P. G. Hamerton, “The Etchings of Rembrandt,” p. 55. 336—PORTRAIT OF EPHRAIM BONUS Bartscu, No. 278. Second state (three impressions only are known of the first 137 state). Very fine and brilliant impression, in perfect condi- tion, but has been re-margined. “Ephraim Bonus was a Jewish physician; he has been to see a patient, and is still, perhaps, reflecting on the case as he pauses with his hand on the banister of the stair. The plate looks like an etching from a picture, and there is, or was, in the Six Collection a portrait of Bonus, in the same attitude, painted by Rembrandt, on the same scale as the etching.”—P. @. Hamerton, “The Etchings of Rembrandt,” p. 41. 337—PORTRAIT OF JOHANNES WTENBOGARDUS Bartscu, No. 279. Good impression, in excellent condition. “The well-known portrait of Johannes Uijtenbogaerd is a realiza- tion of that complete scale of lights and darks which Rem- brandt had for some time, in an intermittent way, been aiming at. It is very fortunate that the desire for depth and richness did not lead, in this instance, to any overshading of the face, which is deli- cately and most observantly drawn.’—P, G@. Hamerton, “Rem- brandt’s Etchings,” p. 25. 338—PORTRAIT OF LIEVEN VAN COPPENOL (The Large Plate) Bartscu, No. 283. Very fine impression, before the plate was cut to 157 milli- metres by 132 millimetres. In perfect condition. From the collection of J. C. D. Hebich (Fagan, No. 468). “Ce morceau est rare.”—Ch. Blanc. “Lieven van Coppenol was a celebrated writing-master of Amster- dam, and one of Rembrandt’s most intimate friends. Rembrandt twice etched and twice painted his portrait.” 138 339—BURGOMASTER JAN SIX Bartscu, No. 285. Fine and harmonious impression, in perfect condition. From the Mary Jane Morgan Collection. “Ce portrait, gravé d’une pointe trés-fine, est remarquable par un trés-bel effet de clair-obscur.”—Ch. Blanc. “The portrait of Jan Six is unquestionably Rembrandt’s master- piece in the way of highly finished shading, and was evidently exe- cuted with the intention of carrying his art, for once, as far as was possible for him in that special direction. . . . It is charm- ing, and was, in its own day, also, a new and original presentation of a cultivated gentleman in the privacy of his own room. Tranquil- lity and sobriety in everything are here the dominant notes. The subject appears quite unaware that he is watched, and reads, as he thinks, in solitude, near his window, and so it is one of the most un- affected of portraits.”—P. G. Hamerton, “ Rembrandt’s Etchings,” pp. 41-42. 340—THE GREAT JEWISH BRIDE Bartscu, No. 340. Superb impression, with the wall to the right divided into stone courses. In perfect condition. Was long considered to be a portrait of Rembrandt’s wife, Saskia, but in all probability is the likeness of a wealthy Jewess proud of her abundant hair. 341—REMBRANDT’S MOTHER SEATED Bartscu, No. 343. Very fine impression, before the black spot at the end of the nose was removed. In perfect condition. “ Sa téte, qui est vue de trois quarts, est extrémement finie et porte le caractére d’une femme trés-dgée.”—Ch. Blanc. 139 342—AN OLD WOMAN SLEEPING : Bartscu, No. 350. Very fine impression of the only state. In excellent con- dition. “In point of composition, expression, finishing, and effect, it is carried to great perfection.”—Wilson. “Tl serait difficile, en effet, de trouver, soit dans ’ceuvre de Rem- brandt, soit ailleurs, un morceau mieux senti, plus frappant de vie et de vérité, plus charmant par le clair-obscur. . . . Une téte de Léonard de Vinci ne serait pas mieux dessinée, et c’est beaucoup dire.”—Ch. Blane. 343—PORTRAIT OF REMBRANDT’S MOTHER Bartscn, No. 354. Superb impression, of the very finest quality. In perfect condition. “ Bien que cette petite estampe soit une des premiéres que Rem- brandt ait gravée, c’est peut-étre la plus parfaite qui soit sortie de sa main. A aucune époque de sa vie le grand peintre n’a eu la pointe plus délicate et plus sfire.”—Ch. Blane. VAN DYCK, ANTHONY “No true critic can be indifferent to Vandyke. He was one“of the great princes of the art. . . . He had all the great qualities; he had perfect freedom and exquisite refinement. . . . His aims were few, his choice of means instinctively wise and right, his command of them absolute, his success complete.”—P. G. Hamer- ton, “ Etching and Etchers,” pp. 107-108. 344—FRANS FRANCK Wisrratr, No. 6. Second state (of 6), before the border line, but with the 140 background and the pilaster. “ ExrrEMEMENT RARE.” —Wi- biral. Superb impression, in perfect condition. From the collection of Pierre Mariette, who has written his name, P. Mariette, and the date, 1671, at the back of the print; also from the collection of Dr. Fr. Pokorny (Fagan, Nos. 149 and 599). | “Observe the masterly indication of the irregular moustache and small beard, and the flowing lines of the mantle.”—P. G. Hamerton, ¢ 845—JAN SNELLINX Wrsrrat, No. 10. First state. Before all letters and before the marginal lines. ExTREMEMENT RARE.—Wibiral. Superb impression, in per- fect condition. From the collections of Captain A. Donna- dieu (Fagan, No. 15) and Henry Brodhurst (Fagan, No. 251). “One of the most genial of all Vandyke’s portraits, and, tech- nically, one of the finest.”—P. G. Hamerton. 346—FRANS SNYDERS Wiereat, No. 11. First state. The head and collar only. A portion only; all the superfluous (?) blank paper cut away. “Cette admirable piéce est une des plus rares de Pceuvre de Van Dyck.”—Wibiral. VAN OSTADE, ADRIEN “The chief glory of Ostade is his imaginative draughtsmanship, and akin to this are his vivid human sympathy and his humor. His figures detach themselves with a wonderful reality, and with no hard brilliancy, no superfluous shadows. There is a 141 fine absence of cleverness in such quiet mastery of means.”—Law- rence Binyon, “Dutch Etchers,” pp. 28-29. 3847—LA FAMILLE Faucuevx, No. 46. With the delicate, added burin-work in many portions of the plate. “It is the most perfect work of the master, and quite remarkable for lighting and composition.”—P. G. Hamerton. WILCOX, J. A. J. 348—CHARLES W. ELIOT, PRESIDENT OF HARVARD UNIVERSITY Remarque proof, on Japanese paper, signed by etcher and by subject. This impression is marked Proof No. 19. WALTNER, CHARLES “Tun des grands graveurs francais. Et graveur absolument par- ticulier, dont le nom, marquant une étape dans la marche de son art, signifie ’extréme limite de la liberté dans les procédés d’exécu- tion—en réaction, & la fin du XIXe Siécle, contre la perte de toute liberté, infligée depuis cent ans a la graveur par la formule d’école.” —Henri Beraldi, “Les Graveurs du XIXe Siécle,” Vol. XII., p. 254. Ne 349—THE BLUE BOY After the painting by Thos. Gainsborough, R.A. Signed remarque proof on vellum. There were printed 100 proofs only in this state. 142 350—THE HONORABLE MRS. GRAHAM After the painting by Thos. Gainsborough, R.A. Signed remarque proof on vellum. There were printed 100 proofs only in this state. 351—THE GAMBLER’S WIFE After the painting by Millais. Proof on Japanese paper. Waltner considers this one of his best etchings of a figure subject. 352—MASTER LAMBTON After the painting by Sir Thomas Lawrence, P.R.A. Signed remarque proof, on vellum. The remarque is a por- trait of Sir Thomas Lawrence. 353—_SAMUEL COUSINS After the painting by Frank Holl. Signed remarque proof, on vellum. 354—L’A NGELUS After the painting by J. F. Millet. Signed artist’s proof, on Japanese paper. “ Rembrandt seems to furnish the highest ideal to an artist, and so it is possible that my portraits of ‘The Gilder’ [No. 357] and of Rembrandt himself [No. 356] may be my best productions. The ‘ Angelus,’ also, is one to which I have been very strongly attached, on account of the lofty character of the original.”—Charles Walt- ner (from a letter written by him to Mr. Carter in January, 1888). “The etcher has entered quite heartily into the sincere and earnest spirit of the painter, and has etched the picture with so much good taste and feeling that the effect on the heart is quite that of the original painting itself, and yet the slightest mechanical ostentation 143 would have at once destroyed it. People used to say that etching was hard and scratchy—this plate is as tender as a charcoal draw- ing, and as true in its light and shade.”—P. G. Hamerton, “ Etch- ing and Etchers,” p. 376. 3855—ELIZABETH BAS After the painting by Rembrandt. Signed remarque proof, on vellum. There were printed 125 proofs only in this state. “I do not know, in all my acquaintance with etched female por- traits, anything finer or anything, indeed, as fine. The original, which I saw in the Amsterdam Museum two years ago (1892), is certainly not surpassed by anything in the world.”—Walter S. Car- ter, “ The Masterpieces of Reproductive Etching and Engraving.” 3856—-REMBRANDT After his own portrait, in the National Gallery (London). Signed artist’s proof, on Japanese paper; 150 only in this state. This plate won for the etcher the Medal of Honor at the Salon in 1882. “ Une des piéces les plus capitales de l’ceuvre. De pareils morceaux, quoique estampes de reproductions, placent, par la fierté de l’exécu- tion, Waltner parmi les graveurs originaux.”—Henri Beraldi, “Les Graveurs du XIXe Siécle,” Vol. XIL., p. 266. 357—THE GILDER: JAN DOMER From the painting by Rembrandt. Signed artist’s proof, on Japanese paper. There were printed 125 proofs only in this state. “ Autre piéce trés capitale.”—Henri Beraldi. “Ces mattresses planches de Waltner n’ont pas peu contribué a ce qu’on pourrait appeler la transformation de l’étalage du marchand d’estampes.”—Henri Beraldi. 144 CONCLUDING SESSION | SATURDAY EVENING, FEBRUARY 25rx, 1905 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 8 O’CLOCK WHISTLER, JAMES A. McNEILL “With the master-etchers of the world—Méryon’s equal in some respects, and, in some respects, Rembrandt’s—there stands James Whistler. Connoisseurs in France and England, in America, Hol- land, Bavaria, concede this now.”—Frederick Wedmore, “ Fine Prints,” p. 107. “ All his work is alike perfect. It has only been produced under different circumstances, and is an attempt to render different effects or situations. Therefore the methods vary, but the results are always the same—great. The greatest, the most perfect, as a whole, that any etcher has ever accomplished.”—Joseph Pennell, “ Whistler as an Etcher.” 358—THE UNSAFE TENEMENT WepmonreE, No. 7. Second State. Fine impression, on old Dutch paper. One of the “ French set” of etchings. 359—LA VIEILLE AUX LOQUES Wenpnmore, No. 14. Very fine impression, without the name of Delatre, on thin Japanese paper. One of the French set. 145 “The plate is a remarkable study of character, and is scarcely less effective in chiaroscuro than the not quite dissimilar ‘ Marchande de Moutarde.’”—Wedmore, “ Whistler’s Etchings,” p. 23. 360—THE KITCHEN WepmoreE, No. 19. Second state. ‘“‘ Abundant and minute dry-point work added all over the plate, but especially on the walls that surround the window. By these touches, of exceptional success, a plate always one of the most beautiful of the series was made yet richer and more harmonious—the picture ‘brought together,’ so to say.’—Wedmore. One of the French set. Very fine impression, on old Dutch ao paper. Printed by Whistler, and signed with his Nt signature. Ss “The kitchen is flooded with sunshine, like a chamber of De Hooch’s.”—F rederick Wedmore, “ Whistler’s Etchings,” p. 26. _ “There are, as, for instance, in those dark alleyways of the /ene- tian set, or the ‘ Kitchen’ of the French series, passages of lumi- nous shadow which Rembrandt never approached in the ‘* Burgo- master Six,’ or in any similar subject.”—Joseph Pennell, “ Whistler as an Etcher.” 361—BIBI LALOUETTE Wanna! No. 30. Only state. Fine impression, on thin Japanese paper. “A charming study of a boy sitting on a sloping bank.”—T. R. Way, “The Art of J. McNeill Whistler,” p. 68. “ He was the son of Lalouette, who kept a pension near the Rue Dauphine, at which Whistler, Legros, Fantin, and others used to take their meals in those early days.”—Frederick Wedmore, “ Whis- tler’s Etchings,” p. 30. 146 362—THE WINE GLASS Wenpmorg, No. 31. Second state, with the vertical lines of cross-shading in the background. Fine impression, on old Dutch paper. “This is the only still-life piece ever wrought by Mr. Whistler. It gleams like a De Heem or a Blaise Desjoffe.”—Frederick Wed- more, “ Whistler’s Etchings,” p. 30. “ A marvellous little still-life study, entitled ‘ The Wine Glass,’ also done at this time, may be compared with Rembrandt’s ‘ Shell.’ ”— T. R. Way, “ The Art of J. McNeill Whistler,” p. 68. 363—BLACK LION WHARF Wepmore, No. 40. Brilliant impression, on old Dutch paper. One of the Thames set. “Mr. Whistler’s plate, ‘ Black Lion Wharf,’ or ‘The Black Lion,’ a reproduction of which is, I believe, to be published in to-day’s Chronicle, is one of the greatest engraved plates that has been produced in modern times. I would even say that it is the greatest etching of modern times were it not for the fact that it is but one of a set known as The Thames Series, etched by the mas- ter some thirty-five years ago.”—Joseph Pennell, in a letter to the “ London Daily Chronicle,” February 22, 1895. 364—THAMES POLICE Wepmore, No. 42. First finished state. The sky enriched with dry-point work. Very fine impression, on thin Japanese paper. One of the Thames set. “ A subject like this is not only picturesque, but very quaint and curious, full of all sorts of odd bits of detail.”—P. G. Hamerton, “ Etching and Etchers,” p. 291. 147 865—’LONG-SHORE MEN WepmoreE, No. 43. Only state. Very fine impression, on thin Japanese paper. 866—THE LIME-BURNER WepmoreE, No. 44. Only state. Fine impression, on old Dutch paper. One of the Thames set. 3867—BILLINGSGATE Wepmore, No. 45. First state. “The left-hand man of the two who stand opposite to each other in front, shows his face in clear profile. Rare.”—Wedmore. Very fine impression, on old Dutch .,. paper. Printed by Whistler and signed with his Up sinome From the MacGeorge Col- cee lection. “ The solidity of the buildings introduced into this plate—the clock- tower and the houses upon the quay—are a rare achievement in etching. . . . The strength of their realization lends delicacy to the thin-masted fishing boats with their yet thinner lines of cordage, and to the distant bridge in the gray mist of London, and to the faint clouds of the sky.”—Frederick Wedmore, “ Four Mas- ters of Etching,” pp. 37-38. 868—BECQUET (“THE FIDDLER a Wepmorg, No. 48. Good impression, on old Dutch paper. The lower portion of the plate heavily charged with ink, so as to give a “ pic- torial” effect. One of the Thames set. “The figure of the violoncellist is merely indicated with a few — swift lines; but the head is fully elaborated with an incomparable 148 No. 363. Wrrtstrer: Black Lion Wharf minuteness and refinement of touch. The more closely it is examined the more complete and finished it appears, and the more beautiful its workmanship.”—Mrs. Schuyler van Rensselaer, “ Century Maga- zine,” August, 1893. 369—DROUET Wepmonre, No. 53. Fine impression, on old Dutch paper. “The print is scarce.”—Wedmore. 370—ROTHERHITHE Wepmore, No. 60. Very fine impression, on thin Japanese paper. One of the Thames set. “Every brick in the building on the right is carefully drawn, in order to produce the desired effect of color. This plate is one of the strongest and most vigorous of the series.’—T. R. Way, “The Art of J. McNeill Whistler,” p. 69. 3871—_THE FORGE Wepmonrg,' No. '63. Fine impression, on thin Japanese paper. One of the Thames set. “This audacious dry-point. It was etched in Brittany.”"—Wedmore. 872—FANNY LEYLAND WepmorgE, No. 94. Early and most beautiful proof, on old Dutch paper. “T never saw before, in engraving, so fortunate a suggestion of the lights and shadows of wavy blonde hair. . . . It is a rare dry- point.”—Frederick Wedmore, “ Whistler’s Etchings,” p. 54. 149 873—THE LITTLE FORGE WepmonreE, No. 115. First finished state. With the monogram, and with the trees (seen through the window to the left) finished. Beautiful, and very rich, impression; on old Dutch | paper. Printed by Whistler, and signed with his up signature. FS ag 874—BATTERSEA—DAWN - Wepmoreg, No. 125. First state, before the vertical lines on the bow of the steamer under the tallest factory chimney to the left of the plate. A most beautiful impression, on old paper, with ample margins. “ An extremely rare and very poetic dry-point.”—Frederick Wed- more, “ Whistler’s Etchings,” p. 63. 875—BATTERSEA BRIDGE Wepmorg, No. 141. First state. With the sail cleaned, the house to the left of the sailboat finished, and with the monogram. Very fine impression, on old UE) sien paper. Printed by Whistler, Ss and signed with his signature. “One of the noblest, most spacious, most refined, of Mr. Whistler’s visions of the Thames.”—Frederick Wedmore, “ Whistler’s Etch- ings,” p. 67. . 876—THE LARGE POOL — Wepmorg, No. 143. Very fine and early proof, before the Ne and before ad- ditional work on the shipping. On old £4 Dutch paper. 150 No. 425. Zorn: Portrait of Ernest Renan 377—_THE “ ADAM AND EVE,” OLD CHELSEA WepmoreE, No. 144. Very fine impression, on thin Japanese paper. The a) is plainly visible in the sky, almost directly over the 4" tower of old Chelsea Church. “One of the most interesting, I think, of all his coppers is the “Adam and Eve Tavern, in which the earlier manner is being broken away from and his final method is taking its place, both the styles harmonizing perfectly.”—Joseph Pennell, “Whistler as an Etcher.” 378—PUTNEY BRIDGE Wepmorg, No. 145. Superb impression, rich and luminous, on old Dutch . paper. Printed by Whistler, and signed with his up S signature. 3879—_THE LITTLE PUTNEY Wepmore, No. 146. paper. Printed by Whistler, and signed with his signature. Only state. Fine and early impression, on old Dutch Ne S “Gives extraordinarily, in its considered slightness, the sense of spaciousness and sunshine.”—Frederick Wedmore, “ Whistler’s Etchings,” p. 69. 3880—THE LITTLE VENICE WepmonreE, No. 149, by Whistler and signed with his per is very slightly rubbed in signature. The pa- Brilliant impression on Japan . ese paper. Printed 4 | upper left corner. I5I One of the Fine Art Society’s “ Venice: a Series of Twelve Eichings.” A hundred sets printed. “ Power of selection, power of composition, delicacy of handling, all say their last word in the ‘ Little Venice” Art does not go any further.”—Frederick Wedmore, “ Etching in England,” p. 37. 381—_THE LITTLE LAGOON Wepmorg, No. 152. Printed by Whistler, and signed with his signature. Only state. Brilliant impression, on Japan ui ese paper. One of the Venice set. os 382—-THE PALACES Wepmore, No. 153. Early impression, of exquisite beauty, before the } was removed. On old Dutch - paper. Printed .¢7°% by Whistler, and signed with his up signature. One of the Venice set. se “Somewhat similar and equally fine are ‘The Balcony’ and ‘The Palaces’ and the ‘ Two Doorways, the four pririts showing superb draughtsmanship and very effective contrasts of light and shade.”— T. R. Way, “The Art of J. McNeill Whistler,” p. 74, 383—THE DOORWAY Wepmonrg, No. 154. Early and beautiful impression, on Japanese paper; before the roulette work was cleared from the water, before the added dry-point lines running in every direction shading the water, before the shading on the step above that on 152 which the girl stands, and before the long piece of drapery which, in later impressions, is held by the girl and of which a part is trailing in - the water. Printed by Whistler, and signed with his i) signature. One of the Venice set. Ss <— “Much richer in effect, and with more elaboration of detail than is usual in this series, is ‘The Doorway,’ a beautiful view of what has once been a palace. . . . The fine architecture of the ex- terior, with the rich tracery of the windows, is very beautifully indicated, and the water in the foreground is wonderfully trans- parent.”—-T. R. Way, “'The Art of J. McNeill Whistler,” pp. 73, 74. 884—THE PIAZZETTA Wepmonre, No. 155. Printed by Whistler, and signed with his Only state. Fine impression, on old Dutch “t paper. ture. One of the Venice set. Ss 385—THE TRAGHETTO “Wepmone, No. 156. Printed by Whistler, and signed with his ture. One of the Venice set. st signa- First state. Brilliant impression, on old Dutch Nf) paper. ad 3886—TWO DOORWAYS WepmoneE, No. 158. Brilliant impression, on Japanese ~.,5,: paper. Printed by Whistler, and signed with his up signature. One of e the Venice set. mi ot fe 153 887—_THE BEGGARS WepmonrgE, No. 159. Fine and early impression, on old Dutch paper. The figure . of the man in the middle distance very rich in dry- point work. Printed by Whistler, and signed with his Nt) signature. One of the Venice set. Sha 888—THE MAST Wepmore, No. 160. by Whistler, and signed with his signature. One Brilliant impression, on old Dutch paper. Printed of the Venice set. Ag : ; —_ 889—DOORWAY AND VINE WepmoreE, No. 161. Early and brilliant impression, on old Dutch paper. The ten window-panes are small. There is less shading’ under the doorway, and the figures in the window above are not clearly expressed. Printed by Whistler, and signed with his . signature. One of the Messrs. Dowdeswells’ rare set : of “Twenty-six Etchings,’ of which only thirty sets ~ were issued. 3 890—SAN BIAGIO WepmoreE, No. 163. Beautiful impression, on old Dutch paper. The shadow under the archway enriched with additional : work. Printed by Whistler, and signed with his Nd signature. One of the “Twenty-six Etchings.” sf™ 154 391—_SAN GIORGIO Wepmore, No. 167. with his signature. One of the “ Twenty-six Etch- 39 ings. ys Superb i) impression. Printed by Whistler, and signed 392—NOCTURNE PALACES Wepmore, No. 168. ? s Superb impression, of the finest quality. Before the a) and before the additional shading in the water /¢#™% to the yas left. Printed by Whistler, and signed with his > signature. One of the “ Twenty-six Etch- ings.” £ 393—THE BRIDGE Wepmorg, No. 171. Very fine and early proof, on old Dutch paper, before the plate was cleaned and before the at the lower right corner was burnished out. Printed by Whistler, and signed with his ’ signature. 7 From the Mac- George Collec Nt tion. One of the “ Twenty-six Etchings.” J « 394A—THE RIVA, NUMBER TWO Wepmorg, No. 175. paper. Printed by Whistler, and signed with his signature. One of the “ Twenty-six Etchings.” 155 Beautiful and early impression, on old Dutch ¥ S 395—_THE BALCONY Wepmore, No. 177. Very fine and early impression before the additional work on the two figures to the extreme right of the balcony, before added work on the drapery and before the fig- ure in the doorway was more clearly outlined and the doorway more shaded. Printed by Whistler and signed with his Ne signature. One of the “‘ Twenty-six Etchings.” of hw “The chiaroscuro is as effective, the draughtsmanship as fine, the detail quite as beautiful as in the ‘ Palaces’ or the ‘ Doorway.’ ”— Frederick Wedmore, “ Whistler’s Etchings,” p. 80. 396—-THE GARDEN WepmoreE, No. 180. with his signature. One of the “‘ Twenty-six Etch- Superb impression, printed by Whistler and signed ings.” | “In this set the entrancing freedom and inexhaustible suggestive- ness of ‘The Balcony’ and ‘The Garden’ demand note.”—Fred- erick Wedmore, “ Etching in England,” p. 38. 397—THE RIALTO WepmoreE, No. 181. with his |} signature. One of the “ Twenty-six Etch- ings.” Very fine impression, printed by Whistler and signed a Z 156 ee Pa sy 398—-FURNACE NOCTURNE Wepmore, No. 183. with his signature. One of the “ Twenty-six Etch- ings.” Very fine yf impression, printed by Whistler and signed As a “This is a marvellous piece of chiaroscuro, very dependent on Mr. Whistler’s printing, and to be compared only with the finest im- pressions of ‘The Forge’ and ‘The Little Forge.” ”—F rederick Wedmore, “Whistler’s Etchings,” p. 81. “In * The Furnace, a nocturne in which through a square opening in a wall at the side of a canal is seen an interior brilliantly lighted by a furnace, the effect of chiaroscuro is still more exquisite.” — L. R. Way, “The Art of J. McNeill Whistler,” p- 74. 399—SALUTE: DAWN Wepmorg, No. 185. A harmonious and beautifully luminous impression, on old Dutch - paper. Printed by Whistler and signed with his ) signature. One of the “ Twenty-six Etch- ings.” i? “*Salute—Dawn, a marvellous dry-point which shows the sun rising over a group of buildings and domes, across a wide expanse of water. The qualities of this plate, which has but the slightest dry- point skeleton, depend upon the most wonderful printing, each im- pression being really a painting by Mr. Whistler upon the copper.” T. R. Way, “The Art of J. McNeill Whistler,” p. 75. 400—THE DYER WepmonreE, No. 189. Superb impression, in reddish brown ink, on old Dutch paper. Printed by Whistler and signed with his : signature. The full number of impressions from ui) this plate were not printed, and it is, consequently, fe exceedingly rare. One of the “ Twenty-six Etchings.” 157 401—THE SMITHY WepmoreE, No. 197. Brilliant and early impression, strongly printed, on old Dutch g paper. Printed by Whistler, and signed with his q) signature. Ss 402—THE VILLAGE SWEET-SHOP WepmoreE, No. 205. signature. Very fine impression, on old Dutch . paper. Printed by Whistler, and signed with his i) Ss “One of the most charming of all Whistler’s small plates.”—Walier S. Carter. 403—THE BARBER’S WepwmoreE, No. 229. Beautiful impression, on old Dutch paper. On the back, in Whistler’s writing, “1= proof Qi) .’ Printed by : £ : Whistler, and signed with his a) signature. | S 404—WINDSOR (MEMORIAL) Wepmore, No. 247. Very delicate, but clear, impression, on old paper. Printed by Whistler, and signed with his A signature. This plate (as also Chelsea [Memorial]) 4% was done in con- nection with a Memorial to H.M. the ““ Queen. ““¢ Where she lives and where J live,’ is reported to have been Mr. Whistler’s observation.”—Frederick Wedmore, “ Whistler’s Etch- ings,” p. 93. 158 7 405—THE CHURCH, BRUSSELS ' Wepmore, No. 249. Beautiful impression, on thin Japan Nt ese paper. Printed by Whistler, and signed with his signature. “The Brussels group belongs, in spirit, if not precisely in fact,. to these latest years; and charming is the seeming intricacy, yet assured lightness, of the Whistlerian treatment of the Flemish house-front.”—F'rederick Wedmore, “Etching in England,” pp. 41-42. : ; 406—GRANDE PLACE, BRUSSELS { Wepmorg, No. 251. Superb - impression. Printed by Whistler, and signed with his ui) signature. Ss : 407—MAIRIE, LOCHES 7 Wepmorsg, No. 259. Very fine impression, with the added shading in doorway and window. Printed by Whistler, and signed with his A signature. : i! --- 408—STEPS, AMSTERDAM | WepwmoreE, No. 260. Superb impression, on old Dutch pa_, per. Printed by Whistler, and signed with his Nt signature. Ss “The ‘Steps’ contains some fascinating studies of figures ascend- ing from the water or loitering in the doorways of the quaint old house.”—Ripley Hitchcock in “ The Tribune.” : 159 409—PIERROT WepmonreE, No. 264. Very fine impression, on old Dutch paper. The plate is enriched with additional work in many parts, the door- way is darkened, the reflections in the water are strength- ened. On the back, in Whistler’s writing, “ 3. Ve Feb. 27.” Printed by Whistler, and signed with his NC signature. It is said that Whistler liked this the best %! ™ of his Amsterdam plates. 410—NOCTURNE: DANCE HOUSE Wepmorg, No. 265. Superb impression (the 4th from the plate). On the back, in Whistler’s writing, to the left “ Feb. 25 ie and to the right No. 4. . Printed by Whistler, Robi and signed with his ) signature. iS “*'The Dance House’ is a ‘ nocturne,’ a study of blackness trav- ersed by rays of light from lamp and windows. The effect is truth- ful and finely given.”—Ripley Hitchcock in “ The Tribune.” 411—_ZAANDAM Wepmore, No. 268. First state, before the oblique lines in the sky. Beauti- ful impression, on old Dutch paper. Printed by Whistler, and signed with his \QA’signature. On the back, in the handwriting of tS proof pulled ‘i se” A gona “ But the best of all the later work, and it is among the very latest that has yet been seen, is the quite admirable ‘Zaandam,’ over whose stretched line the breeze from across dyke and fen and 160 NOTE On account of the four following etchings being on exhibition at the Grolier Club during the compilation of this catalogue, and for the time being overlooked, they are inserted as “ A,” etc., lots. 415s —NOCTURNE Wepmore, No. 150. Superb, and early, impression, on old Dutch paper; before the margins were trimmed from around the print. Margins are: At top and sides 3% inch, at bottom 52 inch. Printed by Whistler and signed with his QD sicnatare One of the Venice set. SF In this impression an evening or early morning effect has been substituted for the “ night effect’ spoken of by Wed- more. “The recourses of an artist in printing are, of course, known to him. In his Nocturnes he paints—so to say—upon the plate.”— Frederick Wedmore. 4158s—BALCONY, AMSTERDAM Wepmore, No. 262. Superb impression, of the very finest quality, on old Dutch paper. At back in the handwriting of the artist, e No. 5. Printed by Whistler and signed with his &) signature. is “ A night effect very rich in light and shade.”—F'rederick Wedmore. 415c—BRIDGE, AMSTERDAM WepmorE, No. 267. Dutch paper. Printed by Whistler and signed with the signature. On the back, in the handwriting of the artist, No. 11 to the right, and 1 March 5 to the left. Superb impression, of the very finest quality, on old s | (See Note on “ The Mill.”) 415p>—THE MILL WepmoreE, No. 358. by Whistler, and signed with his signature. At Superb impression, on old Dutch Yt) paper. Printed the back, in the handwriting of the £ artist, 1st State. “ But look at Rembrandt’s prints made, I do not know whether with Amsterdam or Zaandam in the background, and then at Whistler’s of the same subjects. Rembrandt drew and bit and printed these little plates as no one had up to his time. But Whistler is as much in advance of Rembrandt as that great artist was of his predecessors. In these little distant views of absolutely the same subject Whistler has triumphed. It is not necessary to explain how: you have only to see the prints to know it.—Joseph Pennell, “ Whistler as an Etcher.” ~~ ‘ 4 Zuyder Zee stirs here, stirs there, stirs everywhere, the wings of the windmills of Holland.”—Frederick Wedmore, “ Etching in Eng- land,” p. 42. 412—THE LITTLE NURSEMAID Wepmore (SuprrreMEent), No. 307. Very fine impression, on old Dutch yog¢ paper. Printed by Whistler, and signed with his 6) ns signature. 4183—CHANCELLERIE, LOCHES Wepmore (SuprLeMENT), No. 334. Very fine impression, the shading on the cornice - completed. Printed by Whistler, and signed with his ui) = Fh signature. S. ad 414-CHATEAU VERNEUIL, TOURAINE WepMorE (SupPLeMENT), No. 354. Superb impression. Printed by Whistler, and signed with his Nt) signature. seo “There are delightful little things, wrought in the country of the Loire; not solid records, but, as it were, fleeting visions of its archi- tecture, and very fascinating.”—Frederick Wedmore, “ Etching in England,” p. 42. 415—THE EMBROIDERED CURTAIN WeEpmoRE (SUPPLEMENT), No. 356. the water. Printed by Whistler, and signed with his signature. Superb impression, with the additional shading in us si 161 LITHOGRAPHS “In lithography the master has found a medium which is more sympathetic and personal even than the copper-plate. In proof of this, attention need only to be drawn to the two marvellous works, the ‘ Early Morning’ and the ‘ Nocturne,’ prints which stand alone in the history of lithography.”—-Thomas R. Way, “ Mr. Whistler’sS Lithographs.” 416—LIMEHOUSE (A Lithotint) Way, No. 4. Beautiful impression, on India paper, laid into plate pa- per. Signed Whistler in lower right corner. Drawn at Lime- house on the stone direct. Drawing erased. “ Not more than half a dozen copies each of the ‘ Limehouse’ and ‘Nocturne’ were so published.”—Thomas R. Way. 417—NOCTURNE (A Lithotint) Way, No. 5. Beautiful impression, on India (?) paper. Signed Whistler in lower right corner. Drawing erased. 418—EARLY MORNING (A Lithotint) Way, No. 7. Very fine and early impression. Drawing erased. 419—THE THAMES (A Lithotint) Way, No. 125. ! Very fine impression. One of Mr. Whistler’s most exquisite 162 7 a lt) a ee ae Oo 1... renderings of the Thames, done from an upper room in the Savoy Hotel. 420—PORTRAIT OF WHISTLER Lithograph by Thomas R. Way. Signed artist’s proof. WILKIE, SIR DAVID “ Wilkie has left two or three etchings of first-rate quality which entitle him to a high place in the ranks of the genuine etchers. His etching of the ‘ Pope Examining a Censer’ and his dry-point of a ‘Gentleman Sitting at His Desk,’ writing a paper for which a man is waiting, hat in hand, are both equal to the best work of the old masters, and on these two plates alone a reputation may be securely founded.”—P. G. Hamerton, “ Etching and Etchers,” p. 273. 421—GENTLEMAN AT HIS DESK (or THE MISSING LETTER) Early trial proof, undescribed, before all background, be- fore the man standing back of the chair, etc. Auso: Proof from the completed plate, on India paper. The two mounted in one mat. From the collections of Philippe Burty and Sir William Drake. : ‘Equal to the best work of the old masters.”—P. G. Hamerton. 422 BENVENUTO CELLINI PRESENTING FOR THE APPROVAL OF POPE PAUL III. A SILVER CENSER OF HIS OWN WORKMANSHIP Very fine impression, on India paper. “One of the finest etchings ever produced in England.”—P. G. Hamerton. 163 ZORN, ANDERS L. Painter, etcher, sculptor. Born at Mora, Sweden, in 1860. The impressions catalogued below were selected at the time of the first public exhibition of the collected etchings of Zorn, at the gallery of Messrs. Frederick Keppel and Co., New York, in November, 1893, and are of the very finest quality. “Near the extreme end of the range of the art in one direction— at the opposite pole to the subtile delicacies of a Whistler—I should put Mr. Zorn’s bold, spirited, swiftly executed, yet completely satis- fying works. , . . Mr. Zorn’s method attracts us in the sense that, while seemingly hasty and almost illogical, it proves itself magnificently adequate, and therefore skilful and artful in the highest sense."—Mrs. Schuyler van Rensselaer, “A Swedish Etcher” (Century Magazine, August, 1893). 423—ZORN AND HIS WIFE Beratpi, No. 16. Signed artist’s proof, on Japanese, paper. “, . . Yet, viewed at the proper distance, each is found to be full of most accurate purpose. The forms of the figures and acces- sories define and round themselves with astonishing truth and force; everything holds its proper place in the composition; atmosphere and light are beautifully rendered; and for dramatic vividness, for expression of character, few etched portraits I have seen can com- pare with these.”—Century Magazine. 424—THE WALTZ Berarpi, No. 17. Signed artist’s proof, on Japanese paper. “. . . Another surprising instance of seemingly rash but most intelligently calculated workmanship.”—Century Magazine. 164 ee 425—PORTRAIT OF ERNEST RENAN Beratpr, No. 34. Signed artist’s proof, on ribbed paper. This etching is usually accounted the artist’s masterpiece. “ His portrait of Renan is not a sketch, simple though its language is, It is a thorough study. . . . It portrays the man, in soul and body, as fully and forcibly as any portrait without color could.”— Century Magazine. _ 426—OLGA B. Beran, No. 37. Signed artist’s proof, on Holland paper. Very fine im- pression. “Different again is the portrait of ‘Olga B.’ and especially attrac- tive because it shows—what the others might leave in doubt—that this very virile etcher has, upon occasion, a keen feeling for beauty.” —Century Magazine. 165 AUTOGRAPH LETTER 427—W ASHINGTON Autograph letter by, written on two sides (pages 1—2) of a folded sheet, and signed G® Washington. The body of the letter is in another handwriting. On page 4, in a third handwriting (seemingly that of General Forman), the let- ter is indorsed Gen! Washington 25th Augt Ans@ 28th Head Quarters 25th Augst—1782— Sir I have been favored with your Letter of the 18th—and, am much obliged by the readiness & zeal you manifest in your endeavours to obtain the Intelligence I wish to receive from New York. It is really very extraordinary that no British fleet has yet ap- peared on our Coasts, in pursuit of the french squadron, which is now safely arrived in Boston Harbour. Your Chain of Exprefses may extend to Morris Town only, where the Quarter Master will be directed to receive & forward your Despaches to Head Quarters, without Delay—the particular Route to Morris Town, you will judge better than I can —— — my only preference would be given in favor of Safety & Expedi- on, —— With much Regard I am Sir j - Your most obedient & most humble servt, Go Wafhington B. Gen! Forman 166 _ PHOTOGRAPHS FROM LIFE JUDGE PECKHAM AND TWO OTHERS CHIEF JUSTICE SALMON PORTLAND CHASE ~ AND THREE OTHERS : CHARLES O’CONNOR, JURIST, AND TWO OTHERS | 167 Lye fa} BOOKS 483—AMICIS (EDMOND DE) Houranp. Translated by Helen Zimmern. Numerous illus- trations. 2 vols., 12mo, cloth. Philadelphia, 1894. 434—ART JOURNAL For 1875-6 and 1877. Numerous illustrations on steel and wood. 3 vols., 4to, half morocco. London, 1875-77. 435—ART (THE YEAR’S) 5 vols., small 8vo, cloth. London, 1887-91. 436—ARTISTS (GREAT) Briograpuiss of Correggio, Millet, Rousseau, Diaz, Corot, Daubigny, Raphael, Murillo, Rembrandt, Reynolds, Titian, etc. Illustrated. 10 vols., small 8vo, cloth. | N. Y. (London), v. d. 437—BAILEY (F. W.) Earty Connecticut Marriaces as found in Ancient Church Records prior to 1800. 4 vols., 8vo, cloth. New Haven, n. d. 438—BARTOLOZZI AND HIS WORKS With a Biographical and Critical Account of his Life and Career. By A. W. Tuer. Numerous illustrations. 2 vols., 4to, original covers, uncut edges. London, 1881. 1yI 439—BENCH AND BAR OF NEW YORK (HISTORY OF) Edited by Judges McAdam and Bischoff, etc. Portraits. 2 vols., royal 8vo, half morocco. New York, 1897. 440—BENTON (THOS. H.) Tuirty Years In tHe Unitep Srates Senate. Portrait. 2 vols., 8vo, cloth. New York, 1854. 441—BERALDI Les Graveurs pu XIX* Sizcux. 12 vols., 8vo, half morocco. Paris, 1885-92. 442—BRADFORD (WILLIAM) Hisrory or Prurmovru Pranrartion. A facsimile of the original manuscript. Folio, cloth, uncut. London, 1896. No. 139 of a very limited edition. 443—BROOKLYN EAGLE A Recorp or tHE Progress of the Eagle and the History of the City of Brooklyn. 1300 illustrations. 4to, morocco antique. Brooklyn, 1893. 444—BROWN (JAMES D.) Biograpuicat Dictionary or Musicians. 8vo, cloth. London, 1886. 445—BRYAN (MICHAEL) Dictionary or Parnters anp Eneravers. Illustrated. 2 vols., royal 8vo, cloth. London, 1886. 172 aie 446—BRYANT and GAY Popurar History or tHE Unirep Srares. Profusely illus- trated. 4 vols., royal 8vo, half green morocco. New York, 1876-81. 447—BRYCE (JAMES) Tue AMERICAN COMMONWEALTH. 2 vols., 8vo, cloth. London, 1890. 448—CAMPBELL (DOUGLAS) Tue Puritan 1n Hoiitanp, ENeianp, anp America. 2 vols., 8vo, cloth, uncut. New York, 1899. 449 —CENTURY DICTIONARY AND CYCLOPEDIA OF NAMES Revised edition. 7 vols., 4to, half morocco. New York, 1891-94. 450—CLEMENT and HUTTON ArRTIsTts OF THE NINETEENTH CENTURY: and PAINTERs, Scuuptors, ARCHITECTS AND ENGrAveERs. 2 vols., 12mo, cloth. Boston, 1884. 451—COLLEGE BOOK History oF ALL THE AMERICAN Co.uEcss. By Richardson and Clark. Illustrated, 4to, cloth. Boston, 1878. 452—CONFEDERATE WAR ETCHINGS 29 proof plates. 4to, in portfolio. 453—CORNARO Tue Art or Livine Lone. Portraits of the aged. 8vo, cloth. Milwaukee, 1903. 173 454—CRAWFORD (F. MARION) Ave, Roma! Illustrated, 2 vols., 12mo, cloth, uncut. New York, 1898. 455—CYCLOPEDIA APPLETON’s AMERICAN CyYcCLOPEDIA, WITH ANNUALS AND INpDExEs. 44 vols, royal 8vo, half morocco. New York, 1876-95. 456—CYCLOPEDIA OF AMERICAN BIOGRAPHY With Index and Supplement. Edited by Wilson and Fiske. Numerous portraits. 6 vols, royal 8vo, half calf. New York, 1895. 457—CYCLOPEDIA OF AMERICAN BIOGRAPHY (N4- TIONAL) Illustrated. 12 vols., royal 8vo, half russia. New York, 1898. 458—CYCLOPEDIA OF PAINTERS AND PAINTING Edited by Champlin and Perkins. Over 2,000 illustrations. 4 vols, 4to, half morocco. New York, 1886-87. 459—-DAUDET (A.) Tartarin sur LEs AvpeEs. Illustrated. 8vo, half red morocco. _ Paris, 1885. — 460—Dewry Souvenir AvutTocrarpH Atzum. Illustrated. 4to, half morocco. New York, 1900. 461—FLOWER (FRANK A.) Lire or Senator Martruew H. Carrenter. Portrait. 8vo, cloth, Madison, 1883. 174 462—GIBBON (ED.) History oF THE DecLINE AND Fauu or tHE Roman Em- PIRE. 6 vols, 12mo, half calf. _ Boston, 1862. GROLIER CLUB PUBLICATIONS (The following are in the original bindings.) 463—(xv) BARONS OF THE POTOMACK AND THE RAPPAHANNOCK. By Moncure D. Conway. Portraits, facsimiles, etc. 8vo. New York, 1892. 464—(xviii) CATALOGUE Of Oriernat and Earty Epirions of Some of the Porticau and Prosr Works of EneiisH Writers, from LanGuanp to Wiruer. With Collations, Notes and Facsimiles. Royal 8vo, half morocco. New York, 1893. 400 copies printed. 465—(xix) THE BRADFORD LAWS Facsimite of the Laws and Acts of the GENERAL Reorere. for their Masrstizs Province of New York. Edited by R. L. Fowler. Folio, vellum. New York, 1894. 466—(xxiii) CATALOGUE OF THE ENGRAVED WORK OF ASHER B. DURAND Exhibited at the Grolier Club, April, 1895. Portrait. 8vo, original covers, uncut. New York, 1895. Large paper; 350 copies printed. 175 467—(xxiv) DESCRIPTION OF THE EARLY PRINTED BOOKS OWNED BY THE GROLIER CLUB With a brief account of their printers and the history of typography in the fifteenth century. Illustrations. Folio, half calf. New York, 1895. 400 copies printed. 468—(xxv) THE POEMS OF JOHN DONNE From the text of the edition of 1633, revised by James Russell Lowell, with the various readings of the other edi- tions of the seventeenth century, and with a preface, an introduction, and notes by Charles Eliot Norton. Portrait etched by S. J. Ferris. 2 vols., 12mo, boards. New York, 1895. 380 copies printed. 469—(xxvii) CATALOGUE OF AN EXHIBITION IL- LUSTRATIVE OF A CENTENARY OF AR- TISTIC LITHOGRAPHY, 1796-1896 With 244 examples by 160 different artists. Illustrated with 20 photo-engravings from the originals. 8vo, original covers, uncut. New York, 1896. Large paper. Only 400 copies printed. 4'70—( xxviii) THE CHARLES WHITTINGHAMS, PRINTERS By Arthur Warren. Portraits and illustrations. 8vo, half morocco, gilt top, uncut. New York, 1896. Only 385 copies printed. 176 471—(xxix) 4 CHRONOLOGICAL CATALOGUE OF THE ENGRAVINGS, DRY-POINTS, AND ETCHINGS OF ALBERT DURER As exhibited at the Grolier Club. Compiled by S. R. Koehler. Small folio, cloth, uncut. New York, 1897. 400 copies on Holland paper. 472—(xxx) TWO NOTE-BOOKS OF THOMAS CARLYLE From 23d March, 1822, to 16th May, 1832. Edited by Charles Eliot Norton. Portrait. Small 8vo, half morocco, gilt top, uncut. New York, 1898. Only 387 copies printed. 473—(xxxii) THE LIFE OF CHARLES HENRY, COUNT _HOYM, EMINENT FRENCH BIBLIOPHILE, 1684-1736. Written by Baron Jéréme Pichon. Translated into English for the Grolier Club, with a Sketch of the Life of the late Baron Pichon. Illustrations. Royal 8vo, half morocco, brocaded silk sides, uncut. New York, 1899. 303 copies printed. 474—(xxxiv) 4 TRANSLATION OF GIOVANNI BOC- CACCIO’S LIFE OF DANTE With an introduction and a note on the portraits of Dante. By G. R. Carpenter. Portrait. Small 4to, emblematic board covers, uncut, in slip case. New York, 1900. Only 300 copies printed on Italian hand-made paper. 177 475—(xxxvi) CATALOGUE OF ETCHINGS AND DRY- POINTS BY REMBRANDT Selected for exhibition at the Grolier Club of the City of New York, April-May, 1900. Etched portrait. Small 4to, cloth, uncut. New York, 1900. 310 copies printed. 476—(xxxvii) THE HISTORY OF HELYAS, KNIGHT OF THE SWAN Translated by Robert Copland from the French version published in Paris in 1504. A literal reprint in the types of Wynkin de Worde after the unique copy printed by him upon parchment in London, 1512. 4to, original stamped covers, uncut, with clasps. New York, 1901. 325 copies printed. 4'77—(xxxviii) TITLE-PAGES AS SEEN BY A PRINTER By Theodore Low De Vinne. With numerous illustrations in facsimile. And some observations on the early and recent printing of books. 8vo, half morocco, uncut, in slip case. New York, 1901. 325 copies printed on Italian hand-made paper. 478—(xxxix) CATALOGUE OF AN EXHIBITION OF SELECTED WORKS OF THE POETS LAU- REATE OF ENGLAND Large paper, with portrait of Jonson engraved by S. A. Edwards. 8vo, boards, uncut. New York, 1901. 300 copies printed, 178 479—(xl) ONE HUNDRED BOOKS FAMOUS IN ENG- LISH LITERATURE. Facsimites of the Tirtz-Paces and an Introduction by George E. Woodberry. Small folio, original covers, uncut. New York, 1902. 305 copies printed. 480—(xli) BIBLIOGRAPHICAL NOTES ON ONE HUN- DRED BOOKS FAMOUS IN ENGLISH LIT- ERATURE Compiled by H. W. Kent. Small folio, original covers, un- cut. New York, 1903. 305 copies printed. 481—(xliil) CATALOGUE OF THE ENGRAVED POR- TRAITS OF WASHINGTON By Charles Henry Hart. 21 illustrations. 4to, original covers, uncut. New York, 1904. 425 copies printed. 482—EXHIBITIONS Meryon’s Etcuines ann Drawines, 1898.—OrIGINAL Enitions of the Works or Epmunp Spenser, 1899.—Cata- logue of a Collection of Encravines, Ercuines anp Lituo- GRAPHS BY WoMEN. 3 vols., 16mo, original paper, uncut. . New York. 488—HADEN (SIR F. SEYMOUR) Ercuep Work or. By Sir W. R. Drake. 8vo, cloth. London, 1880. 179 484—HADEN (SIR F: SEYMOUR) SuppLeMENT to Sir William Drake’s Catalogue of the Etcuep Work or Sir Seymour Haven. By H. Nazeby Harrington. Royal 8vo, cloth, uncut. London, 1903. 485—HALLAM (W. H.) Literature oF Evropr, 4 vols.—Minpie Aczs, 3 vols. 7 vols., 12mo, half calf. 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