| 556-8 FIFTH AVE, 
 | NEW YORK 
 
sy eriGaN ART MES 
 
 oo 
 
 ; Hoskier Sale. 
 At the American Art Galleries Monday 
 night the sale of the collection of.prints, 
 rare books and old English furniture, the 
 property. of H. C. Hoskier, of South 
 Orange, N. J., opened. “Rembrandt Lean-. 
 ing on a Stone Sill,” by the artist, brought ' 
 the top price of the evening, $1,450, from Mr. 
 A. Roullier, of Chicago, who was an exten- 
 sive buyer of the prints. For Diirer’s 
 “Knight, Death and the Devil,’ Mr. Roullier , 
 gave $850, and for Diirer’s “Nativity,” $725. | 
 The second session, Tuesday evening, 
 brought $11,056, the highest price being 
 $1,160, given for the mezzotint, “Mary Isa- 
 bella, Duchess of Rutland,” which went to 
 J. F. Drake, who also purchased the “Val” 
 Green mezzotint portrait of Mrs. Cosway 
 for $550; the James Watson mezzotint of 
 Anne Lady Stanhope, after Sir Joshua Rey- 
 nolds, for $260, and Watson’s Duchess of 
 | Cumberland for $500. Max Williams gave 
 $700 for John Raphael Smith’s mezzotint 
 Alot Lady Hamilton, by Romney, No. 251 in 
 ,the catalog; $625 for the same engraver’s 
 “Bacchante,”’ also a portrait of Lady Ham- 
 jilton; $550 for Janinet’s aquatint after the 
 ortrait of Mme, Dugazon,;.by Hoin, and 
 450 for C. Knight’s engraving of Sir Thom- 
 j}as Lawrence’s “Miss Farren,” which is now 
 in the Morgan collection at the Metropolitan 
 | Museum of Art. 
 | Three of Whistler’s etchings brought the 
 |highest prices of the third session, Mar. 4, 
 and all three were bought by'Albert Roul- 
 lier. For a framed etching called “Weary,” 
 he gave the top price—$1,190. For “Fanny 
 | Leyland,” he paid $925, and for “The Kit- 
 chen,” $520. Knoedler & Co.’s purchases in- 
 
 cluded “Model Draping,” by Whistler, a 
 full-length portrait of “Mlle. Parisot,” by 
 Charles Turner, after a painting by Mas- 
 querier, for which they gave $300. They 
 also paid $235 for “The Porch at Harfleur.” 
 | Frederick Keppel gave $430 for a mezzo- 
 tint three-quarter length portrait of “Miss 
 Mary Horneck,’ by Dunkarton, after the 
 painting by Sir Joshua Reynolds. The 
 | total of the session was $9,449. The final 
 |} session, Thursday night, will be given in 
 | next week’s Art NEws. 
 
 | Duchess of Rutland,” w 
 
 | tologzi’s “Thais,” portrait of Miss 
 
 | bell,” 
 
 | full length portrait, arm Ves ing on a 
 
 | Hoin, wept te, “4 
 ie “Nature, a with 
 aoe borereit ‘of Emma, Lady Hamilton, 
 
 | went to Williams for $700, 
 
 i went to Livingston for 
 
 J. F, Drake. Of the other high prices) 
 Robert Friedenberg paid $360 for Bar- 
 
 Iamily Potts after Sir Joshua Reynolds. 
 rait of Miss Farrell,” by C. 
 
 olitan Art J 
 ams for $450. 
 
 | Green; 
 way,’ from apo same 
 | artist, went to Js or $310 
 
 and ‘Arne, Duchess of Cum land,” 
 ‘lumn, after Sir Joshua Rey-* 
 NW “went to Dr 
 buver paid 
 Lady 
 
 by Watson, 
 
 Max 
 a young. woman 
 
 Xu a, Smith, | 
 
 r Romney, by John Mind A Bac: 
 
 » portrait of Lady Hamilton py" 
 
 ae Beate: Reynolds, also by oh th, 
 to Willidms for $0625. Sallad. i 
 
 portrait of Phebe Hoppner. bene he 
 
 Hoppner, mezzotint, by \V illiam ard, 
 
 Oe included in? 
 some illustrated | 
 
 afte 
 
 Modern etchings wil 
 |the sale to-night with 
 | books. 
 
 z 
 ytd ES 
 
 $1,200 FOR ARMLESS 
 "AND FOOTLESS, VENUS 
 
 “Venus Anadyomene,’ an armless and 
 footless Greek statue of the third cen- 
 ‘tury -B. C., excavated on the Island of 
 | Rhodes in 1902, was sold. for $1,200 last 
 ‘night at the final session of the dispersal 
 'of the’ collection of H. C. Hoskier in the 
 American Art Galleries, No. 6 Madison) 
 square south.’ The purchaser was Mr.’ 
 Richard Hderheimer. The price was lexs 
 /than half what Mr. Hoskier paid for the 
 statue soon after it was excavated, i 
 
 Of the paintings the highest price was 
 $1,325, paid by Mr. M. F. Williams” for! 
 | Géréme’s ‘‘Dans le Mosque,” a brilliant 
 | Oriental subject. An anonymous bidder 
 paid $1,100 for Carle van Loo’s “Queen 
 | Marie Leczinska,’’ a work for which Mr. 
 || Hoskier paid $1,650 at the King sale in 
 |} 1905. 
 
 Of the. period furniture the highest 
 price was obtained for a Chippendale 
 li bookcase sold to Mr. Edson Bradley for 
 |$1,800. Mr. Hoskier had. paid $6,000 for it. 
 | ‘The total for the session was $13,332, 
 \making a grand total of $40,327 for the 
 
 collection. F 
 { a 
 
 bi 
 
From "TI ARS 
 ‘Address: "Newark, ma ae 
 
 ea deensgeeasbesazaedind 
 
 F’ 
 
 Fi “The Porch at Harfleur, 
 ‘signed ‘proof, second state, 
 signed proof of “Dreams,’ by. Adre 
 Zorn, went to M. 8S. Baer. for $100. 
 | The returns for the evening were 
 | 89,449, and for the sale, to date, hia 
 Paintings, with furniture and t 
 [nine marble, vob be. ihn his eve- 
 ning. \ 
 
wn ha —_— 
 
 ON PUBLIC EXHIBITION 
 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 ENTRANCE AT 6 EAST 23rd STREET 
 
 BEGINNING WEDNESDAY, FEBRUARY THE 25th, 1914 
 _ AND.CONTINUING UNTIL THE DATE OF SALE 
 
 THE IMPORTANT COLLECTION OF 
 H. C. HOSKIER, ESQUIRE 
 OF SOUTH ORANGE, NEW JERSEY 
 
 COMPRISING 
 
 PAINTINGS, PRINTS, BOOKS, FURNITURE 
 
 AND ALSO 
 
 A GREEK MARBLE STATUE OF THE THIRD CENTURY B.C. 
 
 UNRESTRICTED PUBLIC SALE 
 
 AT THE AMERICAN ART GALLERIES 
 ON MONDAY, TUESDAY, WEDNESDAY AND THURSDAY 
 MARCH 2nd, 3rd, 4th and 5th, 1914 
 BEGINNING AT THE HOURS OF 8.30 IN THE EVENINGS 
 
 THE SALE WILL BE CONDUCTED BY 
 MR. THOMAS E. KIRBY 
 ASSISTED BY MR. OTTO BERNET OF 
 THE AMERICAN ART ASSOCIATION, MANAGERS 
 
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ILLUSTRATED CATALOGUE OF 
 
 PAINTINGS IN OIL AND WATER COLOR 
 
 PRINTS OF EXCEPTIONAL BEAUTY 
 AND HISTORIC IMPORTANCE 
 
 BOOKS OF RARITY AND VALUE 
 OLD ENGLISH FURNITURE BY THE MASTERS 
 AND 
 
 A REMARKABLE STATUE OF THE BEST 
 PERIOD OF GREEK ART 
 
 COLLECTED BY AND THE PROPERTY OF 
 
 H. C. HOSKIER, ESQUIRE 
 OF SOUTH ORANGE, NEW JERSEY 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 
 ON MONDAY, TUESDAY, WEDNESDAY AND THURSDAY 
 MARCH 2d, 3d, 4th and 5th, 1914 
 AT THE HOURS OF 8.30 IN THE EVENINGS 
 UNDER THE MANAGEMENT OF 
 THE AMERICAN ART ASSOCIATION 
 
3 “eS 
 asia ote ~ 
 
 NN 
 
 REMBRANDT. 
 Leaning on a Stone Sill. 
 Number Seventy-four. 
 
FOREWORD. 
 
 gether for the pure joy of learning something of engraving at 
 
 first hand. It illustrates in a modest way the development of 
 the art from the cameo wood block through the intaglio copper plate 
 down to the peculiar and nondescript mezzotint plate and onwards with 
 the pure or mixed processes of stipple or etching to the steel plates of 
 the XIXth century, and revival of the great art under the moderns of 
 the end of the XIXth and beginning of the XXth century. The 
 most satisfying examples of all are included among the mezzotints of 
 the XVIIIth century. We stop short of Cousins, for Cousins’ work is 
 * harder ” than that of his predecessors, ending with C. W. Turner. At 
 this point indeed we take leave of the old schools for good. Mezzotinting 
 has been revived in our day, but the best attempts fall far short of the 
 wonderful effects obtained by Val. Green and his contemporaries (pos- 
 sibly owing in part to the different way of preparing the copper plate 
 itself in manufacture), and indeed the process is a long and somewhat 
 tedious one, requiring 50 to 100 uses of the “ cradle” to roughen it, and 
 25 to 50 impositions of the ‘scraper ” to modify it. It is safe to 
 prophesy that the lettered state of the Duchess of Rutland (Lot 196) 
 will sell for far more money than the proof of Rembrandt/Pether (Lot 
 181, see Plate), yet the work on the latter as an example of the soft 
 effects of the mezzotint is incomparably more precious to the student of 
 “ways and means.” Observe the hands and the beard of the patriarch. 
 To obtain the effect visible in the beard, I have no doubt but that at least 
 50 separate treatments were necessary before the roughened “ black ” of 
 the plate prepared by the “ cradle” was worked down by the scraper 
 to the shading required. And numerous proof pulls must have been 
 necessary to observe the effect as the engraver worked. The exact 
 gradations from pure black to a three-quarters black and down to pure 
 white can be seen in Lot No. 186, that beautiful mezzo of Prince Rupert 
 by Rembrandt/Val Green.t The Public has yet to learn, although the 
 high-priced proofs of female portraits of the mezzotint period may be 
 justified from one point of view, that from the point of view of the art 
 per se, a collector should acquire first of all the fine and still moderately 
 
 a: present small collection of engravings has been brought to- 
 
 + Prince Rupert is supposed to he the father of mezzotinting. Some people think 
 that this is a portrait of Rembrandt himself in his youth. 
 
priced proof pulls of the other pieces such as these copies of famous 
 Rembrandts, and of the high light forge pictures and others. We can- 
 not indeed all own a Rembrandt painting, but we can, most of us, by 
 diligent economy, if necessary, procure and store among our Lares 
 and Penates a copy of such a picture by other masters of fine engraving 
 or a direct engraving by Rembrandt or by other masters themselves. 
 
 Perhaps the most agreeable plate to “live with ” in the collection 
 is the portrait of Rembrandt himself, by himself, “ leaning on a stone 
 sill’ (Lot No. 74), of which one can never tire. Besides the memories 
 and contrasts which each sight of it must evoke, the artistic excellencies 
 of the portrait itself are so great and the ‘regard,’ as the French 
 express it, so gracious and so lifelike, that our attention cannot be dis- 
 tracted from it by any other surroundings. 
 
 For the technique of the various branches of the arts of engraving 
 the reader is referred to the numerous text-books on the subject. But 
 the collector generally begins by accumulating some examples, before he 
 can take pleasure in text-books and catalogues. It is hoped that this 
 display of examples may stimulate others by discriminating purchase to 
 have their enthusiasm whetted to the point of further study under the 
 leadership of our excellent firms in this city who are interested in dealing 
 in works of this character. The object of this preface is merely to call 
 attention to certain forgotten truisms as we pass a few subjects in 
 review. 
 
 And first, it is not always necessary to buy a “ proof before letters ” 
 to obtain the best examples of engraving. Those “ lettered ” pulls which 
 immediately succeeded the last ‘‘ unlettered” proofs are quite as fine. 
 Thus in Lot 146, “ Woman plucking a fowl,” Rembrandt/Houston, or Lot 
 169, Duchess of Ancaster, Hudson/McArdell, both “ after letters,” the 
 prints are in as fine condition as the proofs “ before letters.” It merely 
 requires patience and care to acquire such copies. I exchanged the 
 * Woman plucking a fowl” and the “ Duchess of Rutland ” twice before 
 obtaining really fine copies “ after letters.” And I resisted the tempta- 
 tion to buy a proof of the “ Duchess of Ancaster ” when I found that the 
 proof state was not superior to a good lettered print. On the other 
 hand, some plates are softer than others and no good “ after letter ” 
 copies seem to exist. Thus the lettered copy of Miss Nelly O’Brien is 
 infinitely weaker than it would be if I could exhibit a copy in proof 
 state. I have not come across one. 
 
 After the plates, mezzo and stipple were somewhat worn, someone 
 conceived the brilliant idea of printing off from them in color. Another 
 branch of the art, not completely recovered in our day. 
 
 We submit some specimens together, plain and colored (Lots 
 235/236, 282/283, 308/309) in order that the contrast may be observed. 
 
But to begin at the beginning: Attention is directed to the two 
 Diirer wood engravings and that of Hieronymus Bosch as an introduc- 
 tion to the art. All three are elaborate above those of that period and 
 the succeeding one (where wood blocks of simpler design were used to 
 illustrate books for a long time). Thence we pass to copper. Having 
 carried the student through the great and strong Diirer period, we let 
 him down gently through the more delicate Leyden plates to the little 
 masters whose decorative work is still not sufficiently appreciated to-day. 
 
 We offer specimens of the work of Binck and the Behams, Pencz and 
 Goltzius, Delaune, DePasse and DeBry, which brings us into the XVIIth 
 century. 
 
 Rembrandt leaning on a stone sill speaks for itself (No. 74). 
 
 Next we illustrate the earliest mezzotint period with examples of 
 Vaillant, Blooteling and Beckett for comparison with the wonderful 
 advance made in the XVIIIth century to a climax fostered by the great 
 paintings of that age. Sir Joshua Reynolds needed a Val Green and a 
 
 Smith to interpret him and he found them. 
 
 The XVIIIth century mezzotints are too well known to call for de- 
 tailed description, but I venture to hope that the selections will form a 
 pleasing whole as we pass from Blooteling to C. W. Turner, lingering, 
 of course, longest over the work of Val Green, J. R. Smith, Elizabeth 
 Judkins, Pether and Earlom. Do not fail to note No. 198, mezzo 
 portrait of Bartolozzi. The mezzotint period overlaps the beginning of 
 the XIXth century, into which century are crowded all processes, simple 
 and mixed, in revival. The stipple process claims attention at the hands 
 of C. Knight, Bartolozzi (see Miss Farren and Thais), Condé, Schiavonetti 
 and others who worked it to perfection. Some of these portrait plates 
 were later printed in colors (see No. 309). We only show two large 
 colored sea pictures from mezzotint plates, but they are brilliant (Lots 
 278, 279, Morland/Ward). 
 
 Caroline Watson is an exponent of a mixed process of stippling 
 (see No. 267) which is pleasing. 
 
 Then the warm colored portrait prints in inks from sepia to red 
 should be admired. ‘They are intensely of the period (see Nos. 243, 245, 
 246, 257, etc., etc.). 
 
 Meanwhile the French school of line engraving of the XVIIth- 
 XVIIIth century precedes this chronologically with some _ brilliant 
 examples by Nanteuil, Cossin, Masson, Edelinck, Audran, Tardieu and 
 Drevet. A color print by Janinet (No. 249) is very decorative. 
 
 The Victorian epoch is illustrated by some charming proofs of 
 famous Madonnas engraved by Massard, Desnoyers and Mandel (see 
 298-299, 300-303, 324-326). 
 
Passing to our own day comes a long line of illustrious names from 
 Haden, Meissonier (Lots 319, and 827-8) and Whistler (337-342), 
 through Jos. Knight (881) and Bridgewater (mezzo 368), and Lalanne 
 (etching 831 seq.), J. D. Miller and J. F. Millet, Lamotte, Platt, Hollo- 
 way, Lewis, Pélicier, Mielatz, Fullwood, Focillon to D. Y. Cameron (369- 
 370), Hedley Fitton (358-60), Zorn (376-7), and Pennell (361-5). 
 
 Of lithographs some Whistler’s are exhibited (343-9), a great study 
 of Amiens Cathedral by Pennell (365), and some modernisms of Léandre 
 (383). 
 
 The specimens exhibited are few by comparison with the great 
 activity of the engravers named. ‘They will merely serve to illustrate the 
 art of our own day in its various shades of action and interpretation. 
 
 We have also included the portraits of some of the well known 
 painters and engravers, whose features are often too little known to the 
 collector, e. g., Rubens (167, 202), Reynolds (201), Watteau (442), Lely 
 (119), Kneller (105, 118), Mignard (189), Rigaud (122), Le Brun 
 (238), Hoppner (293), Opie (450), Rembrandt (74, 386), Prince Rupert 
 (186), Bartolozzi (198) ; and some other celebrities, as Grinling Gibbons 
 (104), Inigo Jones (185), Garrick (216), Scott (817), St. Gaudens 
 (376), and see No. 438 for Milton and No. 439 for Walton. 
 
 Original Drawings. The most important is -L’Hermitte’s sketch 
 (No. 419) of a vineyard scene at harvest time and which is full of grace 
 and power. It must be closely related to the picture in the Metropolitan 
 Museum of Art, executed at about the same time. 
 
 The study of “ Dolo” (No. 418) by Cameron is very delicate. 
 
 F. C. Gould’s cartoons are interesting (418). 
 
 Water Colors. Chevilliard’s ‘ Célibataire” (No. 425) merits at- 
 tention, and what I would call “a study in pinks ” (No. 426) by the late 
 H. J. Johnstone is indescribably sympathetic. Of England’s two premier 
 water colorists of our day E. Wake Cook still lives. A graceful example 
 (No. 427) of a scene on the Lake of Orta in his special line will be found 
 worthy of attention. 
 
 Oil Paintings. 'To me Boughton’s sketch of Milton at table (No. 
 438) is thoroughly satisfactory. It is said to be a study for a larger 
 picture now in this country. The sketch of Isaac Walton is also pleasing 
 in its simplicity. 
 
 No. 442, of Watteau and St. Julien, by Watteau, was bought at 
 Christie’s without a special history. It would appear to be genuine and 
 decidedly interesting from an historical point of view. 
 
 Gérome’s important mosque picture is the last big thing which he 
 did (No. 451). Close to the tribune is a portrait of his body-servant, 
 
and the other numerous figures are types well worthy of study. It should 
 be hung in a strong light to obtain the best effect. 
 
 Furniture. I would direct special attention to Lot 458 (see illustra- 
 tion), which I am parting with, together with other things, because I 
 want to be able to turn the key on my belongings without worry during 
 absences from home. It seems to me that it is a museum piece, and I 
 hope may find a safe home where it can be appreciated. The sweep and 
 beauty of the rail I have never seen approached in English furniture. 
 
 Greek Statue (No. 467). We have so little to compare this with, 
 that I am afraid of being considered over-enthusiastic, if I reaffirm my 
 belief that this.is a reduced study from life of the very best period of 
 Greek art, utterly unlike and not to be confounded with other “ copies ” 
 of Venuses and Aphrodites. The modelling of the virginal form seems 
 to me entirely different from the later “ copies ” of the more developed 
 
 Aphrodites. 
 H. C. HOSKIER. 
 
 South Orange, February 10th, 1914. 
 
A NOTE OF APPRECIATION AND RECOGNITION 
 
 Fundamentally a student and a scholar, it is small wonder that, as in 
 his notable library of books, so also should Mr. Hoskier in the furnish- 
 ing of his home, display a taste and touch not only artistic but historic. 
 Who, indeed but, one who knows and loves art could have brought to- 
 gether such masterpieces of engraving, ranging as they do from the 
 woodcuts of Bosch and Diirer, of the XVth century, to the examples of 
 the etchers of to-day, and which, as the owner so interestingly and in- 
 structingly points out in his introductory note, depicts step by step the 
 development of the art,—or should it more properly be said, the develop- 
 ment and the decadence thereof? 
 
 To the end that the interest of the student may be quickened, as well 
 as the desires of the collector fulfilled, a rather unusual arrangement of 
 the catalogue has been followed, in that the lots have been arranged in 
 the chronological order of the dates of the births of the artists repre- 
 sented in the collection, rather than in strict alphabetical order. All the 
 works of each artist have, however, been grouped under his name, rather 
 than separating them and thereafter placing together woodcuts or mezzo- 
 tints, and those remaining in similar classified order. 
 
 Not content to confine his collecting to the art of the graver, Mr. 
 Hoskier gathered together, at home and abroad, furniture by the famous 
 English XVIIIth century cabinet makers, and paintings of distinction 
 in oil and water color; some by artists of fame and some just because of 
 their excellence, irrespective of name. Thus it should always be with the 
 true connoisseur, and what more fitting crown to the efforts of such an 
 one than his Aphrodite? She, though hewn of stone, verily has life to 
 sight and touch, the grace and beauty of ancient Greece, as true to-day 
 as when the master-chisel gave her form. 
 
 To the efforts of the cataloguers of the Association have been added, 
 as to the engravings, the expert knowledge and generous aid of Mr. 
 Robert Fridenberg, than whom none is better informed; and as to the 
 paintings and drawings, the assistance of Mr. Charles Dana Carroll, 
 whose work in such matters is so well and favorably known. 
 
 (Signed) AMERICAN ART ASSOCIATION. 
 
 Dated February 10, 1914. 
 
INDEX 
 
 ENGRAVERS 
 
 Agar, J. S., 297 
 
 Aldegrever, H., 47, 48, 49, 50, 51, 
 52 
 
 Altdorfer, A., 25, 26 
 
 Anderloni, P., 807 
 
 Audran, J., 128, 124 
 
 Bacher, O. H., 357 
 
 Baléchou, J. J., 140 
 
 Bartolozzi, F., 150, 151, 152, 153, 
 154, 155, .156, 157, 158, 159, 
 160, 161 
 
 Bartolozzi (School of), 162, 163 
 
 Beckett, I., 116, 117, 118, 119 
 
 Beham, J., 43, 44, 45 
 
 Beham, B., 46 
 
 Beham, H. S., 40, 41 
 
 Birch, W., 259 
 
 Blooteling, A., 81, 82, 83 
 
 Bosch, H., 2 
 
 Bova, Mme., Pupil to F. Bartolozzi, 
 312 
 
 Bracquemond, F., 350 
 
 Bridgewater, G., 368 
 
 Brosamer, H., 58 
 
 Brunet-Debaines, 353 
 
 Buhot, F., 354 
 
 Burgmaier, H., 21 
 
 Burke, T., 241, 243, 244 
 
 Cameron, D. Y., 369, 370 
 Cardon, A., 287 
 
 Chereau, F., 128 
 
 Chereau, J., 129, 130 
 
 Condé, J., 8308, 309, 310, 311 
 Collyer, J., 239 
 
 Cossin, L., 92 
 
 De Bruin, N., 66 
 
 De Bry, J., 63, 64, 65 
 
 Delattre, J. M., 227 
 
 Delauney, A., 351 
 
 Delaune, E., 54, 55 
 
 De Vischer, J., 94 
 
 Desnoyers, A. G. L. B., 300, 301, 
 302, 303 
 
 ENGRAVERS 
 
 Dickinson, W., 231, 282, 233 
 
 Dixon, 216 
 
 Drevet, P. L., 182, 183, 1384 
 
 Dunkarton, R., 280, 281, 282, 283 
 
 Diirer, A.,-3; 4, 5, 6, % Gs eee 
 12, 18, 14, 15, 16, 17, 18, 19, 20 
 
 Earlom, R.;. 218, 2193522079 2e0— 
 222, 223, 224, 225, 226 
 
 Edelinck, G., 101, 102, 103 
 
 Ejichens, E., 318 
 
 Engraver Unknown, 234, 291, 366 
 
 Faithorne, W., 75 
 
 Ficquet and Savart, 141 
 Fisher, E., 172, 178, 174 
 Fitton, H., 358, 359, 360 
 Focillon, V. L., 379 
 
 Frye, T., 135, 136, 137, 138 
 Fullwood, J., 371, 372 
 
 Gautier, L., 367 
 
 Gaywood, R., 97 
 
 Goltzius, H., 59, 60, 61, 62 
 
 Grateloup, J. L., 177, 178 
 
 Green, V., 182, 188, 184, 185, 186, 
 187,. 188, 189, 190, 191, 192, 
 198, 194, 195, 196, 197 
 
 Grozer, J., 313, 314 
 
 Haden, S., 319 
 
 Hodges, C. H.§270 
 
 Hogg, J., 3815 
 
 Holloway, C. E., 380 
 
 Houston, R., 148, 144, 145, 146, 
 147 
 
 Huet, P., 320, 321, 322 
 
 Jacobe, J., 176 
 Janinet, J. F., 249 
 Jones, J., 228, 229, 230 
 Judkins, E., 285 
 
 Karcher, A., 316 
 Knight, C., 156 
 Knight, J., 381 
 
ENGRAVERS 
 
 Lalanne, M., 331, 332, 333, 334, 
 335 
 
 Lalauze, A., 352 
 
 Lamotte, A., 382 
 
 Lecerf, 330 
 
 Téandre, C., 8838 
 
 Lewis, J. F., 323 
 
 Lombart, P., 99 
 
 McArdell, J., 164, 165, 166, 167, 
 168, 169, 170, 171 
 
 Mandel, E., 324, 325, 326 
 
 Marchi, G., 179 
 
 Mareste, G., 384 
 
 Massard, J., 217 
 
 Massard, R. U., 298, 299 
 
 Masson, A., 95, 96, 96a 
 
 Meadows, R. M., 304 
 
 Meissonier, E., 827, 328 
 
 Meryon, C. (In the manner of), 385 
 
 Meyer, H., 305, 306 
 
 Mielatz, C. F.. W., 373, 374 
 
 Miller, J. D., 356 
 
 Millet, J. F., 329 
 
 Morghen, R., 262 
 
 Miiller, J. G., 238 
 
 Murphy, J., 240 
 
 Nanteuil, R., 84, 85, 86, 87, 88, 89, 
 90, 91 
 Nutter, W., 257 
 
 Parrish, 355 
 
 Passe, C. de, 56, 57 
 
 Pélicier, G., 886 
 
 Pencz, G., 36, 37, 38, 39 
 
 Pennell, J., 361, 362, 368, 364, 865 
 Petit, G. E., 130 
 
 Pether, W., 180, 181 
 
 Pitau, N., 93 
 
 Poa. A.,. 375 
 
 Raimondi, M. A., 22, 23, 24 
 
 Rembrandt, 67, 68, 69, 70, 71, 72, 
 73, 74 
 
 Reynolds, S. W., 288, 289, 290 
 
 Ritchie, A. H., 336 
 
 Roybet, F., 357a 
 
 Ryder, T., 235, 236, 237 
 
 Ryland, W. W., 175 
 
 ENGRAVERS 
 
 Saunders, J., 286 
 
 Say, W., 276, 277 
 
 Schiavonetti, L., 271, 272 
 
 Schmidt, G. F., 139 
 
 Schéngauer, M., 1 
 
 Sherwin, J. K., 247, 248 
 
 Simoned« 127 
 
 Bimitaecds i... 200. 251,°252, 253: 
 254, 255, 256 
 
 Smith, J., 104, 105, 106, 107, 108, 
 RO. 110, 2115 112, 1187 114 
 115 
 
 Spooner, C., 148 
 
 Strange, R., 149 
 
 Tardieu, A., 260, 261 
 
 Dardieu, J. N., 126 
 
 Turner, C., 292, 293, 294, 295, 296 
 Trouvain, A., 120 
 
 Vaillant, W., 76, 77, 78, 79, 80 
 
 Van Leyden, L., 27, 28, 29, 30, 31, 
 32, 338, 34, 35 
 
 Verkolje, N., 125 
 
 Vermeulen, C., 98 
 
 Walker, W., 317 
 
 Ward, James, 278, 279 
 
 Ward, W., 2738, 274, 275 
 
 Washburn, C., 387 
 
 Watson, C., 264, 265, 
 268, 269 
 
 Watson, J., 
 204, 205, 206, 207, 
 VLO- 211, 212,- 2138, 
 
 Watson, T., 198, 199 
 
 Watts, J., 284 
 
 Webster, H. A., 378 
 
 Whistler, J. McN., 337, 338, 339, 
 340, 341, 342, 3438, 344, 345, 
 346, 847, 348, 349 
 
 Wolf, H., 388 
 
 White, R., 100 
 
 Wierix, J., 58 
 
 Wilkins, C., 245, 246 
 
 Williams, R., 131 
 
 Young, J., 258 
 
 Zorn, A., 376, 377 
 
 266, 267, 
 
 200, 201, 202, 
 208, 
 
 214, 
 
 203, 
 209, 
 215 
 
Books, 389, 390, 391, 392, 
 394, 895, 396, 397, 398, 
 400, 401, 402, 408, 404, 
 406, 407, 408, 409, 
 
 Original Drawings, 410, 
 412, 418, 414, 415, 416, 
 418, 419 
 
 Water Colors, 420, 421, 
 423, 424, 425, 426, 4277, 
 429, 430, 481, 432, 433, 
 
 393, 
 399, 
 405, 
 
 411, 
 ALY, 
 
 422, 
 428, 
 434 
 
 Paintings, 435, 486, 487, 488, 
 439, 440, 441, 442, 448, 444, 
 445, 446, 447, 448, 449, 450, 
 451, 452, 458, 454 
 
 Furniture, 455, 456, 457, 458, 
 459, 460, 461, 462, 463, 464, 465 
 
 Statuary, 466 
 
 Conditions of Sale—As usual. 
 
BOSCH. 
 
 HIERONYMUS 
 The Temptation of Saint Anthony. 
 
 Number Two. 
 
Conditions of Sale 
 
 1. Any bid which is merely a nominal or fractional advance may be rejected by the 
 auctioneer, if in his judgment, such bid would be likely to affect the sale injuriously. 
 
 2. The highest bidder shall be the buyer, and if any dispute arise between two or 
 more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so 
 in dispute. 
 
 3. Payment shall be made of all or such part of the purchase money as may be 
 required, and the names and addresses of the purchasers shall be given immediately 
 on the sale of every lot, in default of which the lot so purchased shall be immediately 
 put up again and re-sold. 
 
 Payment of that part of the purchase money not made at the time of sale, shall be 
 made within ten days thereafter, in default of which the undersigned may either con- 
 tinue to hold the lots at the risk of the purchaser and take such action as may be 
 necessary for the enforcement of the sale, or may at public or private sale, and with- 
 out other than this notice, re-sell the lots for the benefit of such purchaser, and the 
 deficiency (if any) arising from such re-sale, shall be a charge against such purchaser. 
 
 4. Delivery of any purchase will be made only upon payment of the total amount 
 lue for all purchases at the sale. 
 
 Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
 and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 
 
 Delivery of any purchase will be made only at the American Art Galleries, or 
 other place of sale, as the case may be, and only on presenting the bill of purchase. 
 
 Delivery may be made, at the discretion of the Association, of any purchase during 
 the session of the sale at which it was sold. 
 
 5. Shipping, boxing or wrapping of purchases is a business in which the Associa- 
 tion is in no wise engaged, and will not be performed by the Association for purchasers. 
 The Association, will, however, afford to purchasers every facility for employing at 
 current and reasonable rates carriers and packers; doing so, however, without any 
 assumption of responsibility on its part for the acts and charges of the parties 
 engaged for such service. 
 
 6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes 
 upon the fall of the auctioneer’s hammer, and thereafter, while the Association will 
 exercise due caution in caring for and delivering such purchase, it will not hold itself 
 responsible if such purchase be lost, stolen, damaged or destroyed. 
 
 Storage charges will be made upon all purchases not removed within ten days fro 
 
 the date of the sale thereof. 
 7. Guarantee is not made either by the owner or the Association of the correct- 
 ness of the description, genuineness or authenticity of any lot, and no sale will be 
 set aside on account of any incorrectness, error of cataloguing, or any imperfection 
 not noted. Every lot is on public exhibition one or more days prior to its sale, after 
 which it is sold “as is” and without recourse. 
 
 The Association exercises great care to catalogue every lot correctly, and will give 
 consideration to the opinion of any trustworthy expert to the effect that any lot has 
 been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued 
 or make mention of the opinion of such expert, who thereby would become responsible 
 for such damage as might result were his opinion without proper foundation. 
 
 SPECIAL NOTICE. 
 
 Buying or bidding by the Association for responsible parties on orders transmitted 
 to it by mail, telegraph or telephone, will be faithfully attended to without charge or 
 commission. Any purchase so made will be subject to the above Conditions of Sale, 
 which cannot in any manner be modified. The Association, however, in the event of 
 making a purchase of a lot consisting of one or more books for a purchaser who has 
 not, through himself or his agent, been present at the exhibition or sale, will permit 
 such lot to be returned within ten days from the date of sale, and the purchase money 
 will be returned, if the lot in any material manner differs from its catalogue descrip- 
 tion. 
 
 Orders for execution by the Association should be written and given with such 
 plainness as to leave no room for misunderstanding. Not only should the lot number 
 be given, but also the title, and bids should be stated to be so much for the lot, and 
 when the lot consists of one or more volumes of books or objects of art, the bid per 
 volume or piece should also be stated. If the one transmitting the order is unknown 
 to the Association, a deposit should be sent or reference submitted. Shipping direc- 
 tions should also be given. 
 
 Priced copies of the catalogue of any sale, or any session thereof, will be furnished 
 by the Association at a reasonable charge. 
 
 AMERICAN ART ASSOCIATION, 
 American Art Galleries, 
 Madison Square South, 
 New York City. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 
 First Session, Numbers 1 to 138, Inclusive 
 
 MONDAY EVENING, MARCH 2nd, AT 8.30 O’CLOCK 
 
 ENGRAVINGS ON WOOD, IRON AND COPPER, EN- 
 GRAVINGS IN MEZZOTINT, LINE AND 
 STIPPLE, AND ETCHINGS 
 
 SCHONGAUER, MARTIN. 1445-1491. 
 
 1. THE ENTOMBMENT. Pram COL et eels 
 fe Se Bartsch, 18. 
 
 BOSCH, HIERONYMUS. 1460-1518. | 7 
 2. THE TEMPTATION OF ST. ANTHONY. Woodcut. 
 Oblong folio. Framed. 
 pepe ae A FINE EXAMPLE OF A REMARKABLE WOODCUT. 
 
 [See Reproduction. | 
 
 DURER, ALBRECHT. 1471-1528. 
 3. HOLY FAMILY, WITH THREE HARES. Woodcut. 392 x 
 284 mm. hee 
 Ce ee, Bartsch, 102. Dodgson, 9. Uf er: 
 
 Goop impression. Watermark a circle with ornamentation. 
 Thausing is eloquent as to this woodcut of Diirer and says 
 «  . . display a truly Italian not to say Florentine grace, 
 all seem to reflect in this one composition the most varied 
 impressions of his travels.” 
 
DURER, ALBRECHT. (Continued) (0007 (Orr t- Aye 
 
 4. MARTYRDOM OF ST. JOHN. Woodcut. 3888x281 mm. 
 Before 1498. 
 
 o2 °*= = Bartsch, 61. Haussman, 24. See Campbell Dodgson, 10. 
 
 Five proor. Impression witH REICHSAPFEL WATERMARK. 
 
 5. SAINT CHRISTOPHER. Framed. 1521 (7 
 
 ye oe Bartsch, 108. ie 
 
 ty WwW 
 
 6. SAINT CHRISTOPHER, WITH HEAD TO LEFT. Framed. 
 1521. 
 
 t 
 vo iis Bartsch, 51. 
 
 7. SAINT CHRISTOPHER, WITH HEAD TO RIGHT. 1521. 
 er Bartsch, 52. 
 
 8. SAINT GEORGE ON HORSEBACK. Eramed. 
 52 fo Bartsch, 54. oe 
 
 A VERY SCARCE AND VALUABLE PRINT. 
 
 9. SAINT THOMAS. Framed. 
 
 Bartsch, 48. 
 Lie ee 
 FINE IMPRESSION. 
 
 10. THE AGONY IN THE GARDEN. renal ek 
 Bartsch, 4. . 
 
 ms 
 AS FINE EARLY IMPRESSION. 
 
 11. THE CRUCIFIXION. Framed. I/(, ep 
 : ets Bartsch, 24. 
 
 VERY FINE CLEAR IMPRESSION. Rare. 
 
 12. THE ORIENTAL AND HIS WIF Framed. (2 
 cee clans Bartsch, 85. rrthyr 
 
 Ds : : ‘ 
 Fine tmpression, with Mariette’s signature. VERY SCARCE. 
 
 13. THE PRODIGAL SON. . 
 Bartsch, 28. Is 
 
 / (= VERY FINE AND EARLY IMPRESSION OF THIS BEAUTIFUL AND 
 VERY SCARCE PRINT. 
 
age 
 
 BY 
 
 ® 
 
 t 
 
 2a 
 
 tH 
 
 i 
 
 ALBRECHT DURER. 
 
 ity. 
 
 1V1 
 
 The Nat 
 
 Number Nineteen. 
 
ALBRECHT DURER. 
 The Knight, Death and The Devil. 
 Number Twenty. 
 
DURER, ALBRECHT. (Continued) Lf 
 14. THE SUDARIUM DISPLAYED BY TWO ANGELS. 
 
 Framed. 
 
 y) Om Bartsch, 25. Gio Bore sek. 
 15. THE VIRGIN WITH THE CROWN OF STARS. Framed. 
 Bartsch, 31. 
 
 frog : ‘ 
 . Five copy from the Arozarena and Perry collections. VEry 
 " SCARCE. 
 (( N 
 16. THE VIRGIN WITH CROWN OF STARS AND SCEPTER. 
 Framed. 
 
 VU oO — Bartsths- 82: 
 
 FINE IMPRESSION. (? & ; 
 17. VIRGIN AND CHILD. 1519. ~*~ dirthecrrien 
 
 Bartsch, 36; Heller, 576; Retberg, 232; sometimes called 
 EE 5 ~ 1512, but Retberg reads the date 1519. 
 
 BrivyuiaANT iMPRESSION. FINE CONDITION. 
 
 18. THE VIRGIN NURSING THE CHILD. Framed. 
 Bartsch, 34. 
 
 oe 
 EXCESSIVELY SCARCE. 
 
 Roe Prr NATIVITY. 
 Bartsch, 2. A ’ 
 se SUPERB IMPRESSION OF THIS EXCESSIVELY SCARCE, IMPORTANT, 
 Fick AND VALUABLE PRINT. Watermark of the Bull’s head. 
 
 [See Reproduction. | 
 4 
 
 1 
 20. THE KNIGHT, DEATH AND THE DEVIL. 4to, with 
 margins above the average. Framed, plate glass. 
 Koehler, 69; Bartsch, 98. 
 na 0 1 + VeRY FINE IMPRESSION OF ONE OF THE ARTIST’S BEST AND MOST 
 IMPORTANT PLATES. 
 [See Reproduction. | 
 
 BURGMAIER, HANS. 1478-1531. 
 21. VENUS AND MERCURY. Etching on iron, with small 
 margins. 4 VAG 
 Bartsch, 1. chen 
 The only metal plate by this artist. In perfect condition. 
 
 gyal 
 
RAIMONDI, MARC ANTONIO. 1480(?)-1530(?). 
 22. CUPID AND THE THREE GRACES. Folio, light thin 
 
 spot, not discernible when hung. ve ice 
 J 2-*¥— Bartsch, 344. : 
 
 FINe EXAMPLE, with several collectors’ stamps on reverse. 
 
 23. TWO FAUNS CARRYING A CHILD IN A BASKET. 
 
 Bartsch, 2380. tt y 
 
 FINE IMPRESSION OF THIS CELEBRATED PRINT. . Eder- 
 
 3 * —— heimer used an impression of this print for the oe 
 of his recent catalogue. 
 
 24. VENUS, COMING FROM THE BATH, AND CUPID, after 
 Marc Antonio. 
 
 eee The first copy of Bartsch, 297. 
 
 ALTDORFER, ALBRECHT. ma a (3 
 
 25. SAINT GEORGE AND THE DRAGON. Full margins. Rites a) 
 Bartsch, 20. 
 
 I e) $0 = Fin ImpREssION. 
 
 26. SAINT CHRISTOPHER. 8vo. Dall Lift 
 Bartsch, 19. 
 
 * 2 *— From the Gellatly collection, with stamp on back. 
 
 VAN LEYDEN, LUCAS. 1494-1533. ae 
 27, JOSEPH INTERPRETING JACOB’S ase Piel 
 57 ‘= Bartsch, 25: 
 
 28. BAPTISM OF JESUS CHRIST. G Mr Rertbeen, 
 
 LL > so Bartsch, 40. a 
 YVAN 
 29. ABRAHAM DISMISSING HAGAR. Framed. 
 
 qos: Bartsch, 18. 
 
 30. LAMECH AND CAIN. Framed. Cz Sa 
 Bartsch, 14. 
 
 ter 
 
VAN LEYDEN, LUCAS. (Continued) vm 
 
 31. MAN AND WOMAN SEATED IN THE COUNTRY. 
 o go Framed. 
 
 Bartsch, 148. 
 
 a ea REST IN EGYPT. Framed. 
 Bartsch, 38. 
 
 338. SAINT ANTHONY THE HERMIT. 
 
 ; Bartsch, 116; and a print of Saint Jerome, “ L” on stone in 
 
 A oO lower left. Together, 2 pieces, both framed. : 
 34. THE VISITATION. Framed. Qo Aba 
 Vat daca Bartsch, 36. 
 35. SAINT PAUL GOING TO ROME, Oblong folio. Framed. 
 Bartsch, 107. ~* (>? Tee 0 
 pA 
 GOOD IMPRESSION OF ONE OF THE LARGEST AND RARES 
 THIS ENGRAVER’S WORKS. 
 
 PENCZ, GEORGE. 1500-1550. ls Be \ilher th 
 G TOT 
 
 36. ABRAHAM AND ISAAC GOIN HE SACRIFICE. 
 ceed Bartsch, 4; also by same engraver Abraham about to sacri- 
 
 fice Isaac. Bartsch, 5. ‘Together, 2 pieces. 
 / : 
 37. ABRAHAM DISMISSING HAGAR. : . 
 
 Bartsch, 3. Good impression; also after Geo. Pencz, Joseph 
 Ge Relating His Dreams. Reversed copy of Bartsch, 9. To- 
 gether, 2 pieces. 
 
 38. ABRAHAM ENTERTAINING THREE ANGELS. 
 
 Bartsch, 2. Ohbert VGA A 
 
 y & Gate 39. THE SEVEN ARTS. Set of seven. Framed, plate glass. 
 Bartsch, 110-116. 
 
 BEHAM, HANS SEBALD. 1500-1550. 
 40. THE LABORS OF HERCULES. The complete set of twelve. 
 In 12 matted compartments, in one frame. 
 Bartsch, 96-107. ‘s 
 With the exception of the print of Carrying the Pillars— 
 which does not appear ever to approach the others for 
 strength—a sET OF BRILLIANT ORIGINAL IMPRESSIONS. 
 
 ES ae ie te 3 GON Ta gol. 
 
 fe 
 
BEHAM, HANS SEBALD. (Continued) pana. 
 ee EVE, BEFORE THE FALL, WITH THE APPLE. 1528. 
 ) Bartsch, 4. 
 
 ENGRAVER UNKNOWN (NIELLO). Sixteenth Cen- 
 
 tury. 
 42. PORTRAIT OF A YOUNG MAN, PROFILE TO RIGHT. 
 eG atiaes Bartsch, 16. ; YL 
 
 VERY SCARCE. 
 
 J. B. Sixteenth Century. Ae be 
 
 43. HORNED SEA-HORSES FACING, CUPIDS ONVEITHER 
 SIDE. 1544. 
 
 BriLiiANtT IMPRESSION. WAL . 
 
 44, LUNA. Framed. 
 
 He Res Bartsch, 17. CZ, 
 45. RAPTUS HELENE [The Abduction of Helen 
 ; Bartsch, 70; also Imp. Trajanus . . . Muli¢ri Adiudicavit. 
 
 /j — Bartsch, 82. Both framed. 
 
 BEHAM, BARTHELEMY. 1502-1540. F 
 46. TITUS GRACCHUS (BATTLE OF NAKED MEN). Framed. 
 
 is a6 ee 
 ALDEGREVER, HENRY. 1502- 
 
 47. CREATION OF EVE, slightly clipped at top. Framed. 
 
 "ae 4) — Bartsch, 2 
 48. DIVES AND LAZARUS. The set of five. In five matted com- 
 partments. Framed. 1554. 
 
 a1) — Bartsch, 44-48. 
 49. HERCULES AND ANTAE Ge Ei lobicaiti” 
 Bartsch, 88. 1550; also by, the same engraver an ornament, 
 head of Pan, surrounded hy ‘six mythological figures, and 
 Pink. with two trophies. 1550. 
 
 THE FIRST NAMED IS A BRILLIANT IMPRESSION. 
 
 Bartsch, 17. 
 
 A BRILLIANT IMPRESSION. 
 
ALDEGREVER, HENRY. (Continnde LLenrt—Ver Lher 
 50. LOT AND HIS FAMILY LEAVING SODOM. Framed. 1555. 
 aro Bartsch, 16. 
 
 51. THE VICES. The complete set of seven, with margins, in 
 ” sunken mounts, in frame, plate glass. 
 
 ie, Bartsch, 124-130. 
 
 a) I 
 
 52. THE VIRTUES—LOVE, TEMPERANCE, CHARITY, 
 DILIGENCE. In four matted compartments in one frame, 
 JX 
 7 plate glass. 
 
 Bartsch, 118, 121-128. 
 
 BROSAMER, HANS. 1506-1952(4)._4 es 
 53. SAMSON AND DELILAH. : . 
 < Bartsch, 1. ; 
 
 BRILLIANT IMPRESSION. 
 
 DELAUNE, ETIENNE. 1519-1583. : - 
 54. THE ABDUCTION OF HELEN, after the painting by 
 Raphael. Framed. 
 ‘eG ¢¢ Robert Dumesnil, 308-I. 
 
 FINE EXAMPLE OF THE FIRST STATE, BEFORE THE MONOGRAM 
 
 e. Gua 
 
 55. COMBATS AND TRIUMPHS. The complete set of twelve. 
 Ten are in two frames, with heavy plate glass, the others 
 
 oor es unframed. 
 R. D., 281-292. 
 
 FINE IMPRESSIONS. 
 
 PASSE, CRISPIN DE. Circa. 1536 (eet een oe 
 
 56. THE MUSES. The set of six circular engravings. Frameff, 
 plate glass. 
 / / Francke, 986-991. 
 
 BriLLIANT IMPRESSIONS. 
 
 57. THE SEASONS. The set of four in Fol IR 
 
 one frame. 
 
 DEST ad BriLuiANT IMPRESSIONS. 
 
 ease 53 A Pcpseg ty OMe, ther 
 
WIERIX, JEROME. 1553-1619. as 
 58. THE LAST JUDGMENT. Oh hernrl | 
 
 ) J dé _ FYNE IMPRESSION. 
 
 GOLTZIUS, HENRY. 1558-1617. (J 
 
 59. N. DE LA FAILLE AND HIS WIFE. Together, 2 pieces. 
 Both framed. 
 
 l ov SY Bartsch, 212-2138. 
 
 FINE IMPRESSIONS AND VERY SCARCE. ; s 
 
 60. GOKEVIUS. Portrait, half engi eee table. Framed. 
 
 hea 1580. 
 61. THE NATIVITY. f. | 
 Bartsch, 21. VVC 
 
 deme 
 I This plate was left unfinished at the death of Goltzius. From 
 the collections of W. Y. Ottley,—Thane and Rey. B. Young, 
 
 see reverse of plate. 
 
 62. THE VIRGIN WEEPING OVER THE BODY OF CHRIST. 
 
 Framed. 6) G S 
 
 Bartsch, 41. 
 
 VERY FINE IMPRESSION OF ONE OF GOLTZIUS’ MOST IMPORT 
 
 LOO 
 
 PLATES. 
 
 BRY, JAN THEODOR DE. 1561-1623) (3. 
 68. DIANA AND HER NYMPHS BATHING. With elaborat 
 
 J sta border, in circle. Framed. rey 
 (ae 
 64. BATH OF SARDANAPALUS, with richly decorated border, 
 with margins. 
 oy 69 BriLLiANT IMPRESSION. 
 ‘ 4 " 
 65. THE SEVEN WORKS OF CHARITY. With elaborate 
 a border. 8vo. 
 
 Rie 
 BRILLIANT IMPRESSION. 
 
BRUIN, NICOLAS DE. esha Son 
 66. CHILDREN AND CUPIDS AT PLAY. A series of four in 
 
 ss matted compartments, in one frame, plate glass. 1594. 
 
 —— 
 
 REMBRANDT. VAN RYN. 1606-1669. 
 67. ABRAHAM DISMISSING HAGAR. Framed. 1637. 
 
 ae Bartsch, 30. Ore ave esa ewes 
 
 A VERY GOOD EXAMPLE. 
 
 \ 
 
 68. AN OLD MAN WITH DIVIDED FUR CAP, Framed. 1640. 
 o- 4 4e— Bartsch, 265. > 
 Ae aa 
 
 69. ANGEL APPEARING TO THE SHEPHERDS. 4to. 
 
 pL ge Bartsch, 44. Qn. ee 
 
 70. PART OF A SMALL HEAD OF REMBRANDT. Framed. 
 
 Ves oe oe Bartsch, 363. A DIET: 
 
 71. REMBRANDT AND HIS WIFE. Framed. 
 
 —. Chine Rurllers: 
 
 72. THE FLIGHT INTO EGYPT. Framed. 16538. 
 / faa Bartsch, 52. 
 The small print. 
 
 73. THE NATIVITY. Framed. 
 
 poe Bartsch, 45. 
 ————— 
 FS EXcEEDINGLY GOOD EXAMPLE, - 
 / 
 74. REMBRANDT LEANING ON A STONE SILL. With 
 margins from 1/32 to 1/16 of an inch. Framed, etching 
 / 4h Jv lightly hinged at corners. 1639. 
 Bartsch, 21. 
 
 FINE, SOUND AND PERFECT. 'THE MOST IMPORTANT PIECE IN 
 THE COLLECTION. Collector’s mark “ E. U.” in lower left 
 hand corner of plate. 
 
 [See Reproduction, Frontispiece. | 
 
 eee NA 
 
FAITHORNE, WILLIAM. atten Medien 
 75. JOHANNES BULWER. Portrait, half length in oval. Line 
 
 engraving, with small margins. 
 a? 
 5) are Fagan, p. 25—III. 
 BribLLiANT IMPRESSION. 
 
 IV ty 
 
 VAILLANT, WALLERANT. 1623-1679. 
 
 76. WALLERANT VAILLANT. Portrait, half length, after the 
 ‘a ie painting by Van Dyck. Mezzotint. 4to, with margins. 
 
 77. CUPID WITH BOW, after the Marra 
 
 zotint. Small margins. Framed. 
 
 on a 
 
 78. PORTRAIT OF A MAN SMOKING. Mezzotint. 4to, cut 
 close, with the exception of lower margin, which measures 
 
 ome about one-quarter inch. Framed. 
 
 PROOF. BEFORE LETTERS. 
 79. [THE CONCERT.] After the win Pe Bis Mez- 
 yer tes 
 
 zotint. Folio, cut to plate mark. Framed. 
 A FINE EXAMPLE of an important and pleasing specimen, con- 
 
 taining three figures. f 
 
 painting by/Van Dyck. 
 
 80. THE VIRGIN AND CHILD, after th 
 
 Mezzotint. Folio, with margins. 
 
 6 
 aees A FINE LARGE PLATE, AND AN EXCELLENT EXAMPLE, 
 
 BLOOTELING, ABRAHAM.  1634-1693¢,_ 
 81. HEAD OF A GIRL PROFILE TO LEFT, after the painting 
 by Van Dyck. Mezzotint, 8vo cut close and slightly 
 é Aes creased, also Man Leaning on a Sill, Smoking, after F. 
 Hals. Mezzotint, 8vo with margins. Both framed. To- 
 gether, 2 pieces. 
 
 82. MARIA PRINCEPS AURIACA. pot 1a 
 
 r the painting by Sir Peter Lely. Mezzotint. Small folio, 
 FY Wi small margins on all sides. Framed. 
 Smith, p. 68. 
 
 First ISSUE OF THIS SCARCE AND BEAUTIFUL MEZZOTINT. 
 
(448 aes 
 BLOOTELING, ABRAHAM. (Continue 
 
 83. WILLIAM HENRY, PRINCE OF ORANGE. Portrait, bust 
 in oval in armor, after the painting by Sir Peter Lely. 
 ess woe Mezzotint. Small folio, small margins on all sides. Framed. 
 
 Smith, p. 68. 
 
 First ISSUE OF THIS SCARCE AND BEAUTIFUL MEZZOTINT. 
 
 : ey 
 NANTEUIL, ROBERT. 1623-1679. | | shy 
 CON 
 84. NICOLAS POTIER DE NOVION.,/ Portrait, half length. 
 Line engraving. 1664. 
 ti 294 Robert Dumesnil, 207. 
 
 JEAN FRANCOIS SARRASIN. Portrait, half length. Line 
 engraving, 1656. Together, 2 pieces. 4to and 8vo. 
 
 R. D. 220. 
 
 85. GASPAR DE FIEUBET. Line engraving. Small folio. 
 os R. D. 96. 
 
 Also Guillaume de Lamoignon, President of the Parliament, 
 cut oval 18 x 11% inches, inlaid. (Le Brun-Poilly.) 
 
 FINE IMPRESSION OF THE FIRST. ‘Together, 2 pieces. 
 
 86. JULES, CARDINAL MAZARIN. Portrait, half length in 
 oval. Line engraving. Small folio, small margins. 1655. 
 
 (hil BB Mey 
 
 SCARCE. 
 
 87. J. L. CHARLES D’ORLEANS, CTE. DE DUNOIS. Portrait, 
 bust in oval, after the painting by Ferdinand. Line en- 
 graving. Small folio, cut close. 
 
 hh, D. 86. 
 
 FINE IMPRESSION. 
 
 88. FRANCOIS DE NESMOND, BISHOP .OF BAYEUX. 
 Portrait, bust in oval. Line engraving. 4to, very small 
 margins. 
 
 Ra D: 202: 
 
 FINE IMPRESSION OF THE SECOND STATE OF FouR. From the 
 collection * P. Mariette, 1663.” 
 
NANTEUIL, ROBERT. (Continued) “i bitte 
 
 89. EDOARD MOLE. Portrait, half length in oval. Line engrav- 
 jbo fee ing, small folio, small margins. 
 
 R. D. 193. ese: 
 
 90. DENYS TALON. Portrait, half length, with elaborate floral 
 border to plate. Line engraving. Small folio, with small 
 Sa0 sO) margins, 
 R. D. 228. 
 
 FINE AND SCARCE. 
 Te 4 w 
 
 91. ANTOINE BARBERIN, CARDINAL. Portrait, half length. 
 Line engraving. Small folio, with small margins. 
 
 Ve rors: UA Sods pe nit 
 
 VERY GOOD IMPRESSION OF A FINE AND EXCESSIVELY SCARCE 
 PRINT. 
 
 COSSIN, LOUIS. 1683-1682.4/, 4. tar 
 92. “ DELCAMPE, quy a heue la teste coupé”. (according to the 
 
 inscription in ink on lower margin). Portrait, half length 
 
 +t in armor. Line engraving. Small 4to, with lower margin, 
 |e small margins elsewhere. 
 
 PROOF BEFORE LETTERS OF AN UNUSUAL PORTRAIT. 
 
 PITAU, NICOLAS. 1633-1724. we (Cae 
 
 93. GASPAR DE FIEUBET. Portrait, half length, after the 
 Que painting by C. Le Feubure. Line engraving, folio. 
 DE VISCHER, JOAN. 1634-1692(?). Ke 
 94. PETER PROELIUS. Portrait, after the painting by/Joan 
 van Noort. Line engraving, very small margins. Framed. 
 
 = Le Blanc, 12—II. 
 
 A good impression. 
 
 MASSON, ANTOINE. 1636-1700.) ,. #.AVra fe, 
 
 95. CASPAR CHARRIER. Portrait, bust in oval, after the paint- 
 ing by Th. Blanchet. Line ehgraving. Small folio, cut 
 Spl, pd close. Framed. 
 
 Frve impression of one of the artist’s best plates. 
 
MASSON, ANTOINE. (Continued)\ | F Lm «for 
 96. GUILLAUME DE BRISACIER. ortrait, bust in oval. Line 
 engraving, after the painting’by Mignard. Folio, cut 
 
 ey close, and very small pin hole in cloak, not discernible when 
 o/ 5 1% hung. Framed. 
 
 FINE IMPRESSION OF THE CELEBRATED “ Gray Hartrep Man.” 
 THE SCARCE THIRD STATE, WITH THE ERROR “ SEGRETAIRE.” 
 ONE OF THE MASTERPIECES OF gee 
 
 96a. CAROLI PATIN. Doct. Med. Portrait, half length. Line 
 
 ZY engraving. Small folio, with margins. , 
 
 _—_— 
 
 GAYWOOD, R. A Oe: 
 
 97. BULSTRODE WHITELOCKE. Portrait, half length in oval. 
 P. Stent excud. Line engraving. 4to with margins. 
 
 vs d A SCARCE PRINT. 
 
 fr. Vy. hart 
 VERMEULEN, CORNELIS. 1644(?)-1702. 
 
 98. PETRUS VINCENTIUS BERTIN. Portrait, half length, 
 
 after the painting by Largilliere. Line engraving. Folio, 
 
 aL ae with lower margin containing inscription, and names of 
 painter and engraver. Framed. 1694. 
 
 FINE IMPRESSION. 
 
 LOMBART, PIERRE. 1648-1681. ie vere io 
 
 99. EUGENE MAURICE DE SAVOYE, CTE. DE SOISSONS, 
 DUC DE CARIGNAN. Portrait, half length in armor, 
 after the painting by W. Vaillant. Line engraving. 4to 
 cut close. 
 
 —¢g?¢ 
 
 2) 
 
 WHITE, R. 1645-1704. . Cette 
 
 100. NELL GWYNNE’S CHILDREN, CHARLES AND JOHN. 
 ot Line engraving. Small folio, cut close. 
 ~ graving 
 
 BriLLiANT IMPRESSION. 
 
 Wk GLA - A: Maren pan Pilate 
 
EDELINCK, GERARD. 1649-170726. Oates 
 
 101. CHARLES PERRAULT. Portrait, half length, after the 
 painting by Tortebat. Line engraving. 4to small margins. 
 
 he Mg eds 2 1694. A 
 Le ey 
 
 ISRAEL SILVESTRE. Portrait, half length in oval, se 
 beneath, after the painting by Le Brun. Line engray 
 Small folio, small margins. Together, 2 pieces. 
 
 102. PIERRE DANIEL HUET, BISHOP OF SOISS 
 Portrait, half length, facing front, after the painting by 
 ge aad : ; : 
 ie — Largilliere. Line engraving. Folio, very small margins, 
 several small pin holes, and slight repair at bottom, not 
 discernible when hung. 
 
 FINE IMPRESSION OF THE FIRST STATE, ‘* Suessionensis.” 
 
 103. PIERRE SIMON, Portrait. nant, Me Lh guna 
 
 very small margins. Framed. 
 
 Lae 
 BEFORE ALL LETTERS. BRILLIANT IMPRESSION OF THE EXCES- 
 SIVELY SCARCE FIRST STATE OF FOUR. : 
 
 SMITH, JOHN. 1652(?)-1742. +. 
 
 104. GRINLING GIBBONS. Portrait, half length, standing, 
 right hand on unfinished carving. Mezzotint. Small folio, 
 with lower margin containing inscription, and name of 
 
 od engraver, small margins elsewhere, light stamps on reverse, 
 which do not show through. . Framed. 
 
 Smith, 105—I. 
 
 A RARE PorRTRAIT of this well-known carver in wood and 
 marble. 
 
 105. GODFREY KNELLER. hee byst in oval, rang et 
 after the painting (probably by) himself. Mezzotint. 
 
 a , Folio, with margins. Framed. 
 
 Pee ear shins 
 An excellent portrait, and a companion to that engraved 
 portrait by Isaac Becket, which faces right. It is uncertain 
 whether John Smith did the engraving, as his name appears 
 alone “ Offerebat . . . Johannes Smith,” where as on the 
 other [see lot 118], Beckett’s name appears as fecit. 
 
SMITH, JOHN. (Continued) Ge eee 
 
 106. GODFRIDUS SCHALKEN. ee eer er ae 
 torch in right hand, after the paintiig by himself. // Mezzo+/ 
 a ao tint. Small folio, with lower margin, containing inscrip- 
 tion and name of engraver, and about quarter inch margins 
 elsewhere. Framed. 
 Smith, 226. 
 
 . FINE IMPRESSION. 
 
 107. MITFORD CROWE. Portrait, bust in armor, Retoc thant 
 
 3 ing by T. Murrey. Mezzotint. Folio, with lower margins 
 
 y See containing inscription, and names of painter and engraver, 
 cut close elsewhere. Framed. 
 
 Smith, 72—III. af 
 
 108. MRS. ELINOR COPLEY. Portrait, half length, standing, 
 after the painting by Sir G. Kneller. Mezzotint. Small 
 
 Se rpeee folio, with lower margin containing inscription, names of 
 painter and engraver, small margins elsewhere. Framed. 
 
 a ( Oe 
 
 109. THE RIGHT HONBLE. CHARLES MOUNTAGUE 
 [MONTAGUE]. Portrait, half length, standing, after 
 9 Agee the painting by Sir G. Kneller. Mezzotint. Folio, with 
 lower margin containing inscription, and names of painter 
 
 and engraver, cut close elsewhere. Framed. 
 
 Smith, 185—IT. 
 
 The eminent wit and statesman, afterwards Earl of ae 
 110. THOMAS GILL, M. D. Portrait, half length in a afte je 
 the painting by Thomas Murrey. Mezzotint. Small folio, 
 
 oe J gf 
 with lower margin containing inscription, and names of 
 painter and engraver, small margins elsewhere. 
 
 Smith, 107. 
 111. THE LADY BRANDON. Portrait, three-quarter length} 
 
 seated, after the painting by Wissing. Mezzotint. Small 
 folio, with lower margin containing inscription, names of 
 ia painter, engraver and publisher, cut close elsewhere. 
 Smith, 22—II. 
 The subject is said to have been the mother of Richard Savage. 
 
SMITH, JOHN. (Continued) peste 
 
 112. [SARAH] DUCHESS OF MARLBOROUGH. Poférait, half 
 
 length, in oval, after the painting by Sir G. Kneller. Mez- 
 
 sy zotint. Folio, with lower margin containing inscription, 
 
 od 4 names of painter, engraver and publisher, small margins 
 elsewhere. Framed. 
 
 Smith, 165—II. 
 
 A PLEASING SUBJECT, AND ONE THAT IS DIFFICULT TO PROCURE 
 IN GOOD CONDITION. 
 
 113. MRS. CROSS. Portrait, Reh length, sta 
 the painting by Thomas Hill. Mezzotint. 
 with lower margin containing inscription, name of engraver 
 and painter, cut close elsewhere. Framed. 
 
 Smith, 70—II. 
 
 From the Royal Collection, Windsor Castle, with Queen 
 
 Victoria’s gilt stamp in lower right hand corner. 
 
 ia) ee 
 
 ‘a5 b 
 114. MARY, QUEEN OF JAMES II. Portrait, bust in oval, after 
 the painting by Sir G. Kneller. Mezzotint. Folio, with 
 4 oo lower margin containing inscription, and names of painter, 
 engraver and publisher, cut close elsewhere. A small tear 
 in lower margin has been repaired. Framed. 
 
 Smith, 169—I. 
 
 FINE ORIGINAL IMPRESSION. i harore, 
 115. LADY ELIZABETH CROMWELL. Portrait, half Iength, 
 
 standing, after the painting by Sir G. Kneller. Mezzotint. 
 : Small folio, with lower margin containing inscription, 
 i Ona names of painter and engraver, and about half an inch on 
 other three sides. Framed. 
 Smith, 68—II. 
 FINE IMPRESSION. 
 
 BECKET, ISAAC. 1658-1719. (?. e 
 
 116. ADRIAN BEVERLAND. Portrait, full length, seated, pipe 
 in right hand, after the painting by G. D. Vois. Mezzo- 
 ( oa: tint. Small folio, with lower margin containing names of 
 painter and engraver, and about half inch margins on 
 other sides, small tear in lower margin repaired. Framed. 
 Smith, 7—I. 
 
 AN UNUSUALLY FINE EXAMPLE OF THE FIRST STATE, before 
 
 title “ John, Earl of Rochester ” was added. 
 
BECKET, ISAAC. (Continued) 4 Coe Nas 
 117. COLONEL ROBERT FEILDING. Portrait, half Jength, 
 
 after the painting by Wissing. Mezzotint. Small folio, 
 with lqwer margin containing inscription, names of painter 
 ae 0 t+ and engraver, small margins elsewhere. Framed. 
 
 Smith, 37—II. 
 
 The owner searched for many years for a proof of this por- 
 - trait or a better state, but was unable to find one. 
 
 lUberr- 
 
 118. GODFREY KNELLER. Portrait, bust in oval, facing right, 
 ‘after the painting by himself. Mezzotint. Folio, with 
 ve lower margin containing inscription, and the names of 
 painter and engraver, small margins elsewhere. Framed. 
 
 Smith, 59—II. 
 
 An excellent portrait, and a companion to the one engraved 
 
 by John Smith, which faces left. [See No. 105. ] 
 
 7 
 
 119. SIR PETER LELY [PETRUS LELLY]. Portrait, half 
 “length, facing front, after the painting by himself. Mezzo- 
 oO Je tint. Folio, with large margins, small red wax stain on 
 lower margin. 
 Smith, 63—II. 
 
 BRILLIANT IMPRESSION OF THE SECOND STATE. 
 
 TROUVAIN, ANTOINE. 1656-1708. 7f, 
 
 120. REN E ANTOINE HOUASSE. Portrait, half length in oval, 
 , facing front, after the painting by Tortebat. Line engravy- 
 a ing. Folio, with margins. 
 The artist’s exhibition piece for his reception at the Academy, 
 sigdive 
 
 DREVET, PIERRE. 1664-1729. Vay, WLO piri 
 
 121. ROBERT DE COTTE. Portrait,’ three-quarter length, 
 seated, right hand resting on book, after the painting by 
 Hyacinthe Rigaud. Line engraving. Folio. Framed. 
 7b FIne AND PERFECT IMPRESSION of the second state, before 
 changes in the title. 
 
122. HYACINTHE RIGAUD. Portrait, half Je 
 
 DREVET, PIERRE. (Continued) U({ Ae 
 th, after the 
 
 painting by himself. Line engraving. Folio, with lower 
 3 oo margin containing names of painter and engraver, cut close 
 elsewhere. Framed. 
 
 A SUPERB PROOF OF THE VERY SCARCE THIRD STATE, OF FIVE. 
 
 AUDRAN, JEAN. 1667-1756. Ge 
 
 123. FRANCISCUS ROBERTUS SECOUSSE. Portrait, 
 5 quarter length, seated, after the painting by H. 
 Coen Line engraving. Folio, small margins. 
 
 FINE IMPRESSION. Hw 
 
 124. LOUIS ANTOINE, DUC D’ ANTIN. Portrait, half length, 
 3 ae after the painting by H. Rigaud. Line engraving. Small 
 
 folio, cut close. 
 
 VERKOLJE, N. 1673-1746. Bs Wider. 
 125. ZOMER. Portrait, bust in oval, book in left hand, after the 
 
 painting by A. Boone. Mezzotint. Small folio, small 
 ro ‘ 
 3 ne margins. 1727. 
 
 TARDIEU, JACQUES siconas.? tera 
 
 126. ROBERT LE LORRAIN. Portrait, half length, facing front, 
 
 after the painting by Nonnotte. Line engraving. Small 
 We folio, with margins. 1749. — 
 — The artist’s exhibition piece for his reception at the Academy, 
 1749. 
 
 SIMON, JOHN. 1675-1755. (stage 
 
 127. CHARLES, DUKE OF SOMERSET [EARL OF HERT- 
 
 FORD, ETC.]. Portrait, half length, standing, left arm 
 
 resting on base of column, after the painting by Sir G. 
 
 Kneller. Mezzotint. Folio, with lower margin containing 
 
 Loh inscription, and names of painter, engraver and publisher, 
 small margins elsewhere, small portion of lower margin 
 repaired. Framed. 
 
 Smith, 136—III. 
 Before the Ribbon and Star of Garter. 
 
GF.) rae 
 CHEREAU, FRANCOIS. 1680-1729. (¢ 
 128. MELCHIOR, CARDINAL DE POLIGNAC. Portrait, full 
 
 QE length, seated, book on knee, after the painting by Hya- 
 ie einte Rigaud. Line engraving. Folio, with margins. 
 vr29. 
 
 CHEREAU, JACQUES. 1688-1776. | ra Carr 
 
 129. MARIE LECZINSKA. Portrait, full length, after the paint- 
 g Pp 
 vs ing by Vanloo. Line engraving. Folio. Colored by hand. 
 / — Gilt frame. 
 
 PETIT, G. EB. 1694(?)-1760. Mac N00: 
 
 130. LOUIS XV. Portrait, full length, after the painting by 
 5700 Vanloo. Line engraving. Folio. Colored by hand. Gilt 
 ecg frame. 
 
 WILLIAMS, ROBERT. 1690. ( ee | 
 
 131. GREVIL VERNEY. Portrait, three-quarter length, stand- 
 ing, left hand on globe, after the painting by M. Dahll. 
 Ps fo Mezzotint. Folio, with lower margin containing inscrip- 
 tion, and names of painter, engraver and publisher, small 
 
 margins elsewhere. Framed. 
 
 Smith, 53. 
 
 FINE IMPRESSION. 
 
 DREVET, PIERRE IMBERT. 1697-17860 : pe 
 132. J. B. DE PAMIERS, BISHOP OF VERTHAMON. Portrait, 
 
 bust in oval, after the painting by Vignon. Line engrav- 
 ( aa ing. Folio, small margins. 
 FINE IMPRESSION. 
 piiktler 
 188. LOUIS ALEXANDRE DE BOURBON, CTE. DE TOUL- 
 OUZE. Portrait, half length in armor, after the painting 
 J/5 — by Hyacinthe Rigaud. Line engraving, cut close. Framed. 
 
 A RICH AND FINE IMPRESSION. 
 
DREVET, PIERRE IMBERT. (Continued) 
 
 184. MARIE CLEMENTINE SOBIESKA (wife of the old Pre- 
 tender). Portrait, after the painting by Davids. Line 
 
 5 ‘*— engraving. Folio, small margins. Gilt frame. 
 
 Very scarce. The only known state. 
 
 FRYE, THOMAS. 1710-1762. 7)1r0. d a (te fetta 
 
 185. PORTRAIT OF AN OLD MAN, wearing velvet cap, spec- 
 
 tacles in right hand. Bust, looking left. Mezzotint. 
 
 aa Folio, with about 114 inches of margin at foot of print, and 
 / Dee almost half an inch margin on other sides. Framed. 
 
 Smith, 9. 
 
 PROOF BEFORE INSCRIPTION, with the words “ Thos. Frye, 
 Pictor, Invenit & Sculpsit,” etc., lightly scratched in. 
 
 “He now engraved and published the series of lifesize heads 
 in mezzotint, by which he is best known to the world at large. 
 These are works of great power, and their artistic merit has 
 been generally admitted ” ;—Dictionary of National Biog- 
 
 ad ?. od 
 
 136. A MAN’S HEAD, PROFILE TO RIGHT, after the painting 
 by the engraver. Mezzotint. Large folio, with margins. 
 VM AGO 
 
 Smith, 14. + Viet 
 
 137. A WOMAN’S HEAD, PROFILE TO LEFT. Mezzotint. 
 Folio, small margins. 1761. 
 
 fo Smith, 23. 
 
 1388. WOMAN’S HEAD, FULL FACE. (/ Mezzotint. Folio, small 
 
 margins. 
 
 q 46: Smith, 25. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 
 
 Second Session, Numbers 139 to 275, Inclusive 
 
 TUESDAY EVENING, MARCH 3rd, AT 8:30 O’CLOCK 
 
 SCHMIDT, GEORGE mnmpenre heise lean 
 
 139. PIERRE MIGNARD. Portrait, three-quarter length, seated, 
 after the painting by Hyacinthe Rigaud. Line engraving, 
 eke with fair margins. Folio. Framed. 1774. 
 
 — 
 
 Fine original impression of this celebrated engraving. The 
 artist’s exhibition piece for his reception at the Academy, 
 
 1774. 
 
 BALECHOU, JEAN JOSEPH. 1715- Ol icilne 
 
 140. DON PHILIPPE INFANT D’ESPAGNE. Portrait, half 
 ae length, in oval, after the painting by L. R. Vialy. Line 
 ¢g 
 
 engraving. Small folio, with mar pea bes 
 
 FICQUET AND SAVART. 1719- ees 1737- ua Teartrg 
 
 141. DELAMOTHE FENELON. Portraits, busts in ovals, facing 
 right, after the paintings by Ficquet and Savart. Line 
 engravings. 8vo, with margins. Together, 2 pieces. 
 
 J 1 Bo Framed. 
 
 The one engraved by Savart is in first state. 
 
 HOUSTON, RICHARD. 1721(2)-1775\/. 7: a hae 
 
 143. A BURGOMASTER. After the paifting by Rembrandt. 
 
 Mezzotint. Small folio, with margins on all sides. Framed. 
 i Smith, 147—II. 
 
 FINE IMPRESSION. 
 
HOUSTON, RICHARD. (Continued) a Tat rEf 
 
 144. ERASMUS. Portrait, half length, after the painting by Hol- 
 bein. Mezzotint. 4to, very small margins. 
 
 fe Smith, 35a. 
 
 re ; 
 OPEN LETTER PROOF. & Vie Ug 
 
 145. LADYS MAID IRONING, after the painting by H. Morland. 
 Mezzotint. Folio, with lower margin containing inscrip- 
 tion (small portion of lower flourish of several letters cut 
 
 /) J? away), and about quarter inch margin on other sides. 
 Framed. . 
 FINE IMPRESSION OF A sScARCE MEZzzZoTINT. The original 
 painting, together with the three others forming the com- 
 plete series of four, is in the National Gallery. The above 
 is considered to be the most pleasing of the seri 
 
 146. WOMAN PLUCKING FOWL, Cab bers, Cad bie incl Qe 
 
 brandt. Mezzotint. Folio, with lower margin, containing 
 Pig saa inscription, names of painter and engrayer and publisher, 
 small margins elsewhere. Framed. 
 
 UNUSUALLY FINE IMPRESSION, QUITE on. TO PROOF sigat 
 
 147. MRS. WODHULL. Portrait, full iene Brin, right arm 
 resting on base of statue, after the painting by J. Zoffany. 
 1772. Mezzotint. Folio. ; 
 / Q- Smith; 124. | 
 FINE AND PERFECT IMPREssION.. Blank margins only cut 
 away. 
 
 SPOONER, CHARLES. 1727( 2) rere. PAW 
 
 148. LADY SELINA HASTINGS. Portrait, half length, seated, 
 after the painting by Sir Joshua Reynolds. Mezzotint. 
 Small folio, with lower margin containing inscription, 
 
 Vhs) me names of painter, engraver and publisher, small margins 
 elsewhere. Framed. 
 Smith, 22. 
 
 A FINE EXAMPLE. 
 
 STRANGE, ROBERT. 1721-1792. ~ GQicetny 
 
 149. MADONNA OF CORREGIO, WITH THE MAGDALEN 
 ST. JEROME. Line engraving. Large folio, with full 
 } Os margins. 
 
 FINE IMPRESSION OF THIS MASTERPIECE. 
 
* THAIS.” 
 
 [Miss Emily Potts. | 
 ‘umber One Hundred and Fifty 
 
ue 
 BARTOLOZZI, FRANCESCO. 17234615044 Kew. 
 
 150. A SAINT GILES BEAUTY, after the painting by(J. H. Ben- 
 well. Stipple in red. Folio, full margins. 1783. 
 
 1) 
 / ae BRILLIANT ORIGINAL IMPRESSION. VERY SCARCE. 
 
 151. A CUPID SLEEPING ON WOMAN’S LAP, after the paint- 
 ing by Angelica Kauffman, Stipple in bistre. Large 
 Joos folio. 1782. Moa We 
 PROOF BEFORE LETTERS, WITH VERY LARGE MARGINS, EDGE 
 UNCUT. 
 
 152. POETRY, ARCHITECTURE, AND SCULPTURE, after 
 the painting by Angelica Kauffman. Stipple in brown. 
 /o0— Large folio. 1782. 
 PROOF BEFORE LETTERS, WITH VERY LARGE MARGINS, EDGES 
 UNCUT. e 
 
 1538. PUNISHMENT OF PROMETHEUS, after the painting by 
 Michael Angelo. Bistre. Small Soe large margins, 
 Rp folded under on three sides. Fr 
 
 154. LORD FITZGIBBON. Portrait, ‘half teak m oval, a 
 the painting by R. Cosway. Stipple, in brown. 4to, 
 3 10 margins. 1790. 
 
 FINE OPEN LETTER PROOF. 
 
 ur A 
 155. THAIS. [Portrait of Miss Emily Potts.] Full length, flam- 
 ing torch in left hand, after the painting by Sir Joshua 
 ( Reynolds. Stipple in brown. Folio. Framed. 1792. 
 J 0 ‘*-OpEn LETTER PROOF, WITH FULL MARGINS, OF A VERY SCARCE 
 AND BEAUTIFUL PRINT. Reproduced in Baily’s work on 
 Bartolozzi. 
 [See Reproduction. | 
 
 (KNIGHT, C.) Mok We Arora 
 156. MISS FARREN [ELIZABETH, COUNTESS OF DERBY ]. 
 Portrait, full length, standing [scene Knowesley Park], 
 ea a— after the painting by Sir Thomas Lawrence. Stipple. 
 
 Folio, with margins. Framed. 
 
 A PERFECT SPECIMEN OF THE EXCESSIVELY SCARCE FIRST STATE 
 BY C. Kwnicut, BEFORE BARrTOLOZZI FINISHED THE PLATE. A 
 PROOF WITH TITLE IN OPEN ETCHED LETTERS, AND NAMES OF 
 ARTISTS ONLY. The original painting is in the J. P. Morgan 
 collection, Metropolitan Museum of Art. 
 
 [See Reproduction. | 
 
MISS FARREN. 
 Engraved by C. Knight. 
 Number One Hundred and Fifty-six. 
 
BARTOLOZZI, FRANCESCO. Scant 
 
 157. MISS FARREN [ELIZABETH, COUNTESS OF DERBY ]. 
 Portrait, full length, standing [scene Knowesley Park], 
 
 / »o after the painting by Sir Thomas Lawrence. Stipple in 
 7 i) — brown. Folio, with lower margin containing inscription, 
 and the names of painter, engraver, publisher and date, 
 
 about three-eighths inch margin other sides. Framed. 
 1792: 
 
 FINE SOFT IMPRESSION OF A BEAUTIFUL AND DESIRABLE PRINT. 
 An impression of this print has the record price for a Barto- 
 lozzi. Reproduced in Baily’s work o a Loa 
 158. [MRS. ABINGTON, AS es OWNING THE 
 BUST OF SHAKESPEARE ], after the painting by R 
 [ Ges Cosway. Stipple in bistre. Small folio, large (probente 
 full) margins. 1783. 
 
 PROOF BEFORE TITLE. FINE IMPRESSION OF A BEAUTIFUL AND 
 VERY SCARCE ENGRAVING. Si 
 
 159. LADY JANE DUNDAS. Portrait, half length, after 
 portrait by John Hoppner. Stipple. 4to, with /full 
 / 5% margins. 1802. 
 
 ETcHED OPEN LETTER PROOF. FINE ny OF A VERY 
 
 SCARCE AND VALUABLE ENGRAVIN 2 ete: 
 160. ELIZABETH, COUNTESS OF LANESBOROUGH. Por- 
 
 trait, half length, facing right, after the painting by H 
 cae Hone. Stipple in brown, 8vo, with margins. Framed. 
 Lor. 
 
 AN UNUSUALLY ATTRACTIVE SURTECK Dae (Reaalleer 
 161. ANNE, COUNTESS COWPER. Portrait, bust in oval, fac- 
 
 ing left, after the painting by W. Hamilton. Stipple in 
 bistre. 4to, with small margins outside plate mark. 
 70 es Framed. 1798. 
 
 A BEAUTIFUL IMPRESSION IN OPEN LETTERS. Reproduced in 
 
 Baily’s work on Bartolozzi. Oy es: 
 BARTOLOZZI, FRANCESCO (SCHOOL ae 
 
 162. THE GRACES CROWNING THE BUST OF RAPHAEL, 
 after the painting by Cipriani. Stipple in brown. 4to, 
 eh full margins, uncut edges. 1787. 
 
 Proor, WITH PUBLICATION LINE ONLY. 
 
BARTOLOZZI, FRANCESCO (SCHOOL OF—Con- 
 
 tinued). 1K 
 163. ARABIAN NIGHTS (Scene RA Ae rane ard 
 
 le, in the 
 manner of Bartolozzi. Oblong folio. Full pedir Gilt 
 See frame. 1786. 
 PROOF BEFORE TITLE. FINE AND PERFECT. 
 
 : S : 
 McARDELL, JAMES. 1729(?)-1760er- (Gicllrn 
 164. THE TRIBUTE MONEY. Mezzotint, after the painting by 
 Rembrandt. Folio, with small margins. Framed. 
 
 Ae “ Goodwin, 215. 
 
 Fine example in perfect condition. Wars Vy igor: 
 
 165. ROMEO AND JULIET. James McArdell. Fecit. Mezzo- 
 tint. Oblong folio. 
 3 go From THE COLLECTION OF THE KING OF en WITH HIS 
 
 STAMP. ae AD. 0, 
 
 166. THOMAS HOLLES, DUKE’ OF NEWCASTLE. en 
 three-quarter length, seated, wearing robes of office, after 
 the painting by William Hoare. Mezzotint. Small folio, 
 
 3 ¢? ___-with lower margin containing inscription, names of painter 
 and engraver and coat-of-arms, small margins elsewhere. 
 Framed. 
 
 Goodwin, 176—II. 
 
 VERY FINE COPY OF THE SECOND STATE, BEFORE PUBLICATION 
 
 LINE, VW. W/, 
 167. RUBENS, WIFE AND CHILD, after the painting by Rubens. 
 Mezzotint. Folio, with lower margin, but cut close else- 
 CP iy where. 
 ° Goodwin, 121—I. 
 
 FINE AND BRILLIANT IMPRESSION, PROOF BEFORE LETT 
 
 E 
 THE EXCESSIVELY SCARCE FIRST ISSU QL hort- 7 tee 
 
 168. LORD JOHN & LORD BERNARD STUART, SONS OF 
 ESME, DUKE OF LENOX. Full length portraits of 
 / tg —,o both, on one plate, after the painting by Van Dyke. Mez- 
 i ~ zotint. Folio, with margins, containing names of painter 
 and engraver, and the inscription below, and about half 
 
 an inch margin on other sides. Framed. 
 
 Goodwin, 122—IV. 
 
 A BEAUTIFUL IMPRESSION, from the Royal Collection at 
 Windsor Castle, with the stamp of Queen Victoria in lower 
 
 right hand corner. 
 
McARDELL, JAMES. (Continueay/[ 
 
 169. MARY, DUCHESS OF ANCASTER. Full length portrait, 
 left arm resting on rock, after the painting by Thomas 
 b 4~ °° Hudson. Mezzotint. Ample margins on all sides. Folio. 
 Framed. 
 Goodwin, 62—III. 
 VERY FINE IMPRESSION OF A BEAUTIFULLY ENGRAVED PRINT. 
 Reproduced in Whitman’s work on McArdell. 
 ty i) 
 170. MARIA, COUNTESS OF COVENTRY. Portrait, full 
 length, standing, right arm resting on base of statue, after 
 the painting by G. Hamilton. Mezzotint. Folio, with 
 LL Ee margins. 
 Goodwin, 29—II. 
 UNUSUALLY FINE COPY OF THE SECO TATE, of (OLE 
 171. EMILY, COUNTESS OF cap hee three- 
 quarter length, seated, book in left hand, after the painting 
 by Sir Joshua Reynolds. Mezzotint. Folio, with lower 
 4 } ud margin containing inscription, the names of painter and 
 engraver, and the dedication, small’ margins elsewhere. 
 Framed. 1754. 
 Goodwin, 37—II. 
 Second state before the date was erased, and plate reworked. 
 From the Royal Collection, at Windsor Castle, with Queen 
 Victoria’s stamp in lower right hand corner. 
 ae 
 FISHER, EDWARD. 1780-1785(?). /- U“cetnr 
 172. [AN OLD MAN READING], after the painting by Spagno- 
 letto. Mezzotint. Folio, with lower margin, a small por- 
 3 Bees tion of blank rubbed, margins on other three sides. Framed. 
 
 FINE IMPRESSION. V\- 
 
 178. MARY HOPE. Portrait, half length, seated, left arm on 
 book, after the painting by Sir Joshua Reynolds. Mezzo- 
 tint. Folio, full margins. Framed. 
 
 6 
 Y “— Smith, 31—II. 
 
 174. LADY ELIZABETH KEPPEL. Portrait, full length, wear- 
 
 ing elaborately embroidered gown, after the painting by 
 
 jae Sir Joshua Reynolds. Mezzotint. Folio, cut to rectangle. 
 Framed. 
 
 AN EXCEEDINGLY RICH IMPRESSION. 
 
We Hrocdler hap 
 
 RYLAND, WILLIAM WYNNE. 1782-1783. 
 
 175. THE FLIGHT OF PARIS AND HELEN, AND VENUS 
 PRESENTING HELEN TO PARIS, after the paintings 
 , 344 | by Angelica Kauffman. Stipples in red. Folio, both with 
 full margins, some uncut. 
 IMMACULATE EXAMPLES OF THESE EXQUISITE AND EXCESSIVELY 
 SCARCE PRINTS BEFORE LETTERS, ARTISTS’ AND PUBLISHER’S 
 LINES, AND WITH THE EARLY DATE, January Il, 1781. 
 
 JACOBE, JOHN. 1733-1797. a PMs 
 176. ARIADNE AUF NAXOS. After(the painting by Fuger. 
 Mezzotint. Large Oblong folio, with margins on lower 
 vo side and small margins on the other three sides. Framed. 
 Pe 1792. 
 
 A FINE EXAMPLE OF THE GERMAN SCHOOL. 
 
 GRATELOUP, J. B. 1785-18177 Way Vy ls he 
 
 177. J. B. BOSSUET. Portrait, three-quarter length, standing, 
 after the painting by H. Rigaud. 8vo, with full margins. 
 Framed. 
 
 — 009 
 a 3 Faucheux, 1—III. 
 
 Briiuant impression. The artist’s last and best engraving, 
 and considered by him his masterpiece. 
 
 Wed 
 178. DESCARTES. Portrait, after the painting by Fran als. 
 Bust in oval. Stipple. 8vo. 
 
 ee} 81: 
 
 PROOF BEFORE TITLE ON INDIA PAPER. SCARCE. 
 
 MARCHI, GUISEPPE. 1735(?)-1808. (pie 4, 
 
 179. [MRS. BOUVERIE AND MRS. CREWE]. Portraits of 
 both on one plate, three-quarter lengths, after the painting 
 
 7a" ae A by Sir Joshua Reynolds. Mezzotint. Folio, with margins, 
 slight repairs to lower blank margins. 
 Smith, 1—I. 
 
 PROOF OF THE EXCESSIVELY SCARCE FIRST STATE OF FOUR. 
 
 a ar 
 
JEWISH RABBI. 
 Engraved by William Pether, after Rembrandt. 
 Number One Hundred and Eighty-one. 
 
Se ER WILLIAM. 1738-1821. (/( | (6 den locrrrer 
 
 180. A LECTURE ON THE ORRERY, after the painting by 
 
 Joseph Wright. Mezzotint. Large oblong folio, with 
 3 margin on lower side, small margins on other three sides. 
 Framed. 
 
 AN EXCEEDINGLY BRILLIANT SCRATCHED PROOF IN SECOND 
 STATE, BEFORE INSCRIPTION AND MOTTO. 
 
 181. REMBRANDT’S JEWISH RABBI. Mezzotint. Large 
 folio, with full margins. / Pe 
 ag Smith, 43—I. AKASELE LOMA LU 
 _ A SUPERB MEZZOTINT AND A PROOF IN THE FIRST STATE. THIS 
 PLATE SHOWS THE WIDE RANGE OF TONE POSSIBILITIES THAT 
 CAN BE OBTAINED. 
 
 / / «) 
 
 [See Reproduction. | 
 
 GREEN, VALENTINE. 1739-1818. Gy yi giun Cree 
 | ab) CA 
 
 182. A PHILOSOPHER SHOWING AN EXPERIMENT ON 
 THE AIR PUMP, after the painting by Joseph Wright. 
 Mezzotint. Large oblong folio with margin containing in- 
 
 scription on under side and about half inch margin on the 
 % 1 30 other sides. Framed. 
 / 
 
 Whitman, 167—III. 
 
 BRILLIANT IMPRESSION IN FINE ConpITION. Reproduced in 
 Whitman’s work on Valentine Green. 
 
 + | 
 
 wtAany / ~~ 
 183. THE WRIGHT FAMILY, after the iat t J. Wright. 7 
 Mezzotint. Folio, margin on under side, cut to plate on 
 other sides. 
 3d Whitman, 11—III. 
 A VERY SCARCE SCRATCHED LETTER PROOF, BEFORE LETTERING. 
 ay 
 184. THE DUTCH SCHOOL, after the painting by Ge crane 
 Mezzotint. Oblong folio, with ample uncleaned margins. 
 Whitman, 172. 
 
 FINE PROOF IMPRESSION. 
 
 es 
 / 
 “= 
 
 — ra} 0 
 *) Ee 
 
GREEN, VALENTINE. (Continued) ~ lean 
 
 185. INIGO JONES. Portrait, bust in oval, facing right, aftér 
 ate the painting by Van Dyke. Mezzotint. 8vo, with margins. 
 i — Framed. 1775. 
 
 Whitman, 55—III. 
 
 186. PRINCE RUPERT. Portrait, after the painting by Rem- 
 brandt. Mezzotint. Folio, with lower margin containing 
 inscription, and names of painter, engraver, publisher and 
 date, about quarter inch margins elsewhere. 1775. 
 
 Whitman, 52. 
 
 BRILLIANT IMPRESSION OF A SUPERB AND VERY SCARCE PRINT. 
 The original in the Hague Museum is sometimes accepted as 
 a portrait of Rembrandt in his youth. fe 
 
 / 05 
 
 187. OZIAS HUMPHRY. Portrait, half length, book dire 
 hand, after the painting by Romney. Mezzotint. Folio, 
 it25% with lower margin containing inscription, names of en- 
 graver, painter, and publisher, and about a quarter inch 
 
 margin on other sides. Framed. 1772. 
 
 Whitman, 37—III. " 
 
 Five impression. Reproduced in Whitman’s work on Valen- 
 tine Green. Long search by the owner to secure a proof of 
 this mezzotint has been in vain. 
 
 188. [FRANCIS JAMES JACKSON.]| Portrait, half length, 
 seated, right arm on table, after the painting by F. Abbot. 
 
 3 ie Mezzotint. Folio, with lower,.margin, and small margins 
 SU on other sides. \ a ae 
 
 PROOF BEFORE ALL LETTERS, UN EANED MARGINS, IN PERFECT 
 CONDITION, AND PROBABLY UNIQUE. 
 
 Whitman (160) notes the print state from a description, but 
 
 was unaware of a proof. Vins tas 2 f i us 
 189. FRANCIS, DUKE OF BEDFORD, AS SAINT GEORGE, 
 together with Lords John and William Russell and Miss 
 Vernon on same plate. Full length portraits of all, after 
 / 64 “the painting by Sir Joshua Reynolds. Mezzotint. Margin 
 at bottom containing the names of engraver, painter, and 
 publisher, with date May 12, 1778, about a quarter of an 
 inch margin on other three sides. Folio. Framed. 
 
 Whitman, 69—I. 
 
 FINE EXAMPLE OF A SCRATCHED LETTER PROOF IN FIRST STATE. 
 
 ide 
 
MRS. COSWAY. 
 
 Yumber One Hundred and Ninety-three 
 
GREEN, VALENTINE. (Continued) /). feaee 
 
 190. AGNETA YORKE. Portrait, three-quarter length, standing, 
 left hand resting on vase, after the painting by F. Cotes. 
 mF Mezzotint. Folio, with full lower margin of about 214 
 e 0 —~ inches, very small margins on other sides. Framed. 
 Whitman, 8—I (of three). 
 
 A BEAUTIFUL AND PERFECT IMPRESSION OF THE VERY SCARCE 
 FIRST STATE, WITH UNCLEANED LOWER MARGINS. 
 
 IN }> 
 
 191. ELEANOR GWYNN. Portrait, three-quarter length, in oval, 
 after the painting by Sir Peter Lely. Mezzotint. as math 
 o- y, Fee fat) margins. 
 Whitman, 66—II. 
 
 AN UNUSUALLY BRILLIANT IMPRESSION OF THIS ATTRACTIVE 
 AND SCARCE PRINT. 
 
 IN bP 
 
 192. THE COUNTESS OF AYLESFORD. Portrait, three- 
 quarter length, standing, left arm resting on pedestal of 
 
 oo pillar, after the painting by Sir Joshua Reynolds. Ege s | 
 
 > thm with margins. Framed. 1783. es 7 Bh | 
 A VERY ATTRACTIVE SUBJECT, AND A SCARCE MEZZOTINT, which 
 
 is generally considered to be one of the best examples of the 
 artist’s work. 
 
 The title is on the pedestal, and the publication line reads: 
 
 ** Publish’d Jany. 1st, 1783, by V. Green, No. 29, Newman 
 Street, Oxford Street.” 
 
 193. MRS. COSWAY. Portrait, three-quarter length, seated, after 
 the painting by Maria Cosway. Mezzotint. Folio, with 
 —~, 4. margins, probably full, on all sides, a small thin spot in the 
 ons ios : ; ; re : : 
 sky, and several pin holes Oe gins, not discernible when 
 hung. Framed. 1787. Bip S$. AQ. ! 
 Whitman, 1380—I. 
 SUPERB IMPRESSION OF THE We RARE FIRST STATE, 
 IN SCRATCHED LETTER PROOF. A manuscript note probably 
 made by a former owner on the back reads “ Ist state. Superb 
 impression. 'T'wo impressions in this state have sold for £231 
 [$1155], and £273 [$1365], respectively.” [For details of 
 
 sales see Whitman. | 
 
 [See Reproduction. | 
 
 Xo) 
 
MISS SARAH CAMPBELL. 
 
 Number One Hundred and Ninety-four. 
 
GREEN, VALENTINE. (Continued) UV eurncdy (Ge 
 
 194. MISS SARAH CAMPBELL. Portrait, three-quarter l¢ngth, 
 standing, after the painting by Sir Joshua Reynolds. ’ Mez- 
 Pe ose zotint. Folio, about 14 inch margin on all sides. Framed. 
 
 Arete! ; 
 t 
 
 Whitman, 72—I. vn + es 
 
 ( er P , 
 A SOFT AND BEAUTIFUL EXAMPL® OF THE EXCESSIVELY RARE 
 ral 
 FIRST STATE, AND A SCRATCHED UWTTER PROOF BEFORE TITLE. 
 Reproduced in Whitman’s work on Valentine Green. 
 
 [See Reproduction. | £ Rett tele 
 
 195. MISS RAY. Portrait, three-quarter length, seated, right ar 
 resting on a book, music in left hand. Mezzotint. Folio, 
 about half an inch margin all round, several light thin 
 
 is USS spots on back, not noticeable when hanging. Framed. 
 
 Whitman, 74—II (of four). 
 
 A FINE IMPRESSION OF A SCRATCHED LETTER PROOF, with the 
 
 added words ‘who was Murdered April 7th, 1779,” on in- 
 
 scription. r 
 196. MARY ISABELLA, DUCHESS OF RUTLAND. Portrait, 
 full length, right arm resting on stone wall, after the paint- 
 ing by Sir Joshua Reynolds. Mezzotint. With lower 
 margin containing inscription and date beneath, and about 
 a quarter inch margin on other sides, small tear in upper 
 right hand corner has been repaired. Framed. 
 
 Whitman, 103—II. 
 
 AN EXCEEDINGLY BRILLIANT IMPRESSION OF THIS SCARCE AND 
 BEAUTIFUL ENGRAVING, IN THE SECOND STATE. 
 
 PiaG te 
 
 [See Reproduction. | Cie (? 
 
 197. LADY LOUISA MANNERS, sister to the Earl of Dysart. 
 
 Full length portrait, left arm resting on base of statue, 
 
 JOS °% after the painting by Sir Joshua Reynolds. Mezzotint. 
 Margin on under side containing the name of painter, 
 
 engraver and publisher, cut to plate on other sides. Folio. 
 
 Framed. 1790. 
 Whitman, 80—III. 
 
 FINE IMPRESSION OF A BEAUTIFUL AND VALUABLE PRINT. 
 
 . 
 . 
 q 
 
MARY ISABELLA, DUCHESS OF RUTLAND 
 
 Number One Hundred and Ninety-six. 
 
WATSON, THOMAS. 1789(?)-1790.791. for notler Coo 
 
 198. [FRANCESCO BARTOLOZZI.] Portrait, half length, 
 slightly facing left, after the painting by Sir Joshua 
 ; Reynolds. Mezzotint. Small folio, with margins of from 
 
 We — half to quarter inch all round. 1785. 
 
 Goodwin, 46—II. 
 
 SUPERB PROOF BEFORE TITLE. Subject’s name written in by 
 a contemporary hand. 
 
 [See Reproduction. | 
 : G4 Bes Fearon 
 
 199. CHILDREN OF GREY COOPER. After the painting by D. 
 Gardner. Mezzotint. Folio, with margins. 
 bee Goodwin, 22. 
 
 VERY SCARCE. 
 
 200. SIR ROBERT WALPOLE. Portrait, full length, 
 in robes of office, after the painting by. Vanloo. 
 tint. Folio, with full margins. 1788. 
 
 Cs Goodwin, 131—III. 
 
 Fine impression. 
 
 WATSON, JAMES. 1739(?)-1790. ST, ) ioe | 
 Mezzo- “a 
 
 201. SIR JOSHUA REYNOLDS. Portrait, half length, right hand 
 holding portfolio, after the painting by himself. Mezzo- 
 tint. Folio, with margins. Framed. 1770. 
 
 Goodwin, 71—III. 
 
 With the exception of a slight original crease across middle 
 
 of engraving, a good copy. 
 
 ape 
 
 202. RUBENS AND HIS FAMILY, after the painting by Jordans. 
 Mezzotint. Folio, with lower margin containing inscrip- 
 tion, and the names of painter, engraver, publisher and 
 
 Ove date, cut close elsewhere. 1780. 
 
 Goodwin, 124—III. 
 
 FINE IMPRESSION. 
 
i ANOS RDN ORRIN 
 
 FRANCESCO BARTOLOZZI. 
 
 Number One Hundred and Ninety-eight. 
 
WATSON, JAMES. (Continued) (f. fF @. ae 
 
 203. [JOHN HELY HUTCHINSON.]| Portrait, three-quarter 
 
 length, seated, right arm on table, after the painting by 
 
 - oe Sir Joshua Reynolds. Mezzotint. Folio, with full margins. 
 ve 1778. 
 
 Goodwin, 116—II. Va) oe SC ee An 
 
 BRILLIANT SCRATCHED LETT OF BEFORE INSCRIPTION AND 
 BEFORE PLATE W. ANED. RaRE WITH FULL MARGINS. 
 
 204. JAMES PAINE, THE ARCHITECT, AND HIS SON. 
 Portraits of both, the father seated, hands on plans, son 
 looking at them, after the painting by Sir Joshua Reynolds. 
 Mezzotint. Folio, with full margins. Framed. 
 
 Goodwin, 52—I (of four). 
 
 PERFECT AND FINE IMPRESSION OF THE FIRST STATE, BEFORE 
 
 ALL LETTERS. d, A 
 
 205. FREDERICK BULL, Lord Mayor in 3. Portrait, three- 
 
 quarter length, seated, after the painting by Webster. 
 
 ae Mezzotint. Folio, with lower margin containing inscrip- 
 
 5 Sia tion, and the names of painter, engraver, publisher and 
 date, cut close elsewhere. 1781. of 
 
 on U yOhars 
 
 , 
 
 Goodwin, 128. 
 
 206. DR. RICHARD BUSBY, ‘rely wane School [an 
 pupil]. Portrait, three-quarter length, seated, after t 
 en painting by Riley. Mezzotint. Folio, with wide margins. 
 des ~ Framed. 
 
 Goodwin, 106—II. 
 “The well-known English schoolmaster, Busby, excused him- 
 self to The King for wearing his hat in his majesty’s presence 
 » “Tf I were seen without 
 my hat, even in the presence of your majesty, the boys’ 
 respect for me would certainly be lessened.” ‘ The excuse, 
 such is the tradition at Westminster, was at once admitted, 
 and he wore his hat before the King, as he is seen to wear it 
 
 in his own school at Westminster. 
 
 in his portrait in the Bodleian.” 
 
 A fine example. an é 4 
 
 207. CHRISTOPHER WANDESFORD, LORD CHIEF BARON. 
 Portrait, three-quarter length, seated, after the painting 
 S go by Van Dyke. Mezzotint. Large folio, with full margins. 
 Goodwin, 118—III. 
 The subject was Master of the rolls in Ireland, 1633-1640. 
 
 4 
 ee ee ee ee 
 
 : 
 i 
 : 
 . 
 
MISS GREENWAY. 
 
 Number Two Hundred and Eleven. 
 
WATSON, JAMES. (Continued) Mi 7h be 
 
 208. MRS. BUNBURY. Portrait, thrée-quarter length, seated, left 
 arm resting on table, after the painting by Sir Joshua 
 
 Reynolds. Mezzotint. Folio, with lower margin contain- 
 
 oe ing inscription, names of engraver and painter, and the 
 
 7, 0 publisher, and about half an inch margin on other sides. 
 
 Framed. 1778. 
 Goodwin, 114—III. 
 
 Fine ExAMPLE of a desirable engraving. Catherine Horneck, 
 Goldsmith’s ** Little Comedy.” 
 
 209. MRS. ABINGTON. Full length pi of tae 
 on base of statue, mask in right hand, after the painting 
 
 by Sir Joshua Reynolds. Mezzotint. About %@ inch 
 vies margin all around, name and publisher scratched on plate, 
 4 the former in open letters. Folio. Framed. 
 
 Goodwin, 62—III. 
 
 FINE IMPRESSION OF THIS SCARCE PRIN 5 foe 
 210. MISS NELLY O’BRIEN.  Portrait,(//three-quarter length, 
 seated, left arm on base of statue, after the painting by 
 Sir Joshua Reynolds. Mezzotint. Folio, with lower 
 margin containing inscription, names of engraver, painter 
 and publisher, and about a quarter inch margin on other 
 sides. Framed. 
 
 Goodwin, 382. 
 
 Fine impression of a scarce and attractive subject. The 
 owner searched for many years for a proof of this portrait, 
 
 but was unable to procure one. 
 
 Pig oe: . 
 211. [MISS GREENWAY .] Portrait, half length, facing right, 
 after the painting by Sir Joshua Reynolds. Mezzotint. 
 Small folio, with lower margin (blank), and about three- 
 3 ee vate eighths inch margins elsewhere. 
 
 Goodwin, 151—I. 
 
 FINE AND PERFECT PROOF OF THE EXCESSIVELY SCARCE FIRST 
 STATE, BEFORE ALL LETTERS, AND BEFORE INSCRIPTION SPACE 
 WAS CLEANED. 
 
 [See Reproduction. | 
 
WATSON, JAMES. (Continued) _ 6 ee. Pictis 
 212. MADAME DE POMPADOUR. ortrait, bust in oval, 
 after the painting by Boucher. Mezzotint. Small folio, 
 with margins. Framed. 
 
 - Goodwin, 162—I. 
 
 VERY FINE EXAMPLE OF THE RARE FIRST STATE, AND AN UN- 
 CLEANED IMPRESSION. Name of subject written on lower 
 
 margin in an old hand. 
 213. ELIZABETH, DUCHESS OF MANCHESTER, AND HER 
 SON. Full length portraits of both, after the painting by 
 - ag Sir Joshua Reynolds. Mezzotint. Ample margins on all 
 Gao sides. Large folio. Framed. 
 ey 
 
 Goodwin, 45—III. 
 214. ANNE, LADY STANHOPE. Full leygth portrait, right arm 
 resting on table. After the painting by Sir Joshua 
 Reynolds. Mezzotint. Cut to 5/16 inches of rectangle. 
 Large folio. Framed. . 
 Pweg : 
 Goodwin, 58—III. 
 
 FINE UNLETTERED IMPRESSION OF A BEAUTIFUL PRINT. 
 
 ae 
 
 215. ANNE, DUCHESS OF CUMBERLAND. te por- 
 trait, right arm resting on stone column, after the painting 
 by Sir Joshua Reynolds. Mezzotint. With margin con- 
 
 a a taining the inscription beneath, publisher and place of pub- 
 OTe ae ye lication scratched on plate, cut to plate mark on other 
 three sides. Framed. 1773. 
 Goodwin, 96—III. 
 BRILLIANT IMPRESSION OF THE SCARCE AND BEAUTIFUL MEZZO- 
 TINT. 
 
 DIXON, JOHN. 1740(?)-1780(?). (“¢. Sere 
 216. DAVID GARRICK. Portrait, half length, seated, after the / 
 painting by Thomas Hudson. Mezzotint. Folio, with full 
 margins. 
 Smith, 16. 
 
 UNUSUALLY FINE IMPRESSION. 
 
| 3 | 
 MASSARD, JEAN. 1740-1822. V Varied ees ae 
 
 217. LA CRUCHE CASSEE, after the painting by J. B. Greuze. 
 Line engraving. Folio. Framed. 1773. 
 bie uch A fine original impression, with margins, of this interesting 
 specimen of line engraving, and specially valuable on account 
 of the signatures of both painter and engraver that are on 
 the reverse of the print. 
 
 EARLOM, RICHARD. 1743-1822. me ¢ es 
 
 218. THE BLACKSMITH’S SHOP. After the painting by Joseph 
 Wright. Mezzotint. Large oblong folio, with margins. 
 Framed. , 1771. 7 
 
 (died : 
 fo em Sth eT 
 BrinvuiantT IMPRESSION, WITH THE INSCRIPTION IN SCRATCHED 
 LETTERS. 
 
 219. THE FORGE. After the painting by Joseph Wright. Mez- 
 pees zotint. Large oblong folio, with margins. Framéd. 1773. 
 / BRILLIANT EXAMPLE OF THE FIRST STATE BEFORE TITLE. The 
 companion picture to the preceding. 
 
 220. FRUIT AND FLOWER PIECES. After the paintings by 
 
 Van Huysum. Mezzotints. Margin on under side con- 
 
 taining names of painter, engraver, publisher and the coat- 
 
 ) a of-arms, and ample margins on all other sides. Folio. 
 
 OO Haas 1778-1781. 
 
 Framed. Two pieces. 
 ETCHED LETTER PROOFS BEFORE TITLES, AND UNUSUALLY 
 BRILLIANT EXAMPLES OF THE FINEST MEZZOTINT SUBJECT 
 PRINTS KNOWN. 
 221. THE LARDER. Mezzotint. Large folio, with lower margin, 
 
 cut close elsewhere. 17838. 
 
 g (7 
 / — BRILLIANT PROOF BEFORE LETTERS. 
 
 222. COLONEL MORDAUNT’S COCK MATCH, after the paint- 
 
 ing by I. Zoffany. Mezzotint. Large oblong, folio, with 
 full margins. 1792. 7. ; 
 
 eee cpmaet Smith, 29. 
 
 FINE IMPRESSION OF A RARE PRINT. The characters repre- 
 
 2 
 
 ~ 
 
 sented include many well known personages. 
 
 at i: i a a 
 
EARLOM, RICHARD. (Continued) ete ¢. Deh 
 
 223. A SHEPHERD, after the painting by Gpinsborough. Mezzo- 
 tint. Small folio, with lower margin containing inscrip- 
 tion, names of painter, engraver, publisher and date, and 
 
 ee about a quarter inch margin elsewhere. 1781. — 
 BRILLIANT AND SCARCE. oe wig 
 224. SENSIBILITY. [EMMA, LADY HAMILTON.] Portrait, 
 
 full length, after the painting by Romney. Stipple. Small 
 
 eo folio, small margins. 1789. 
 
 FINE.IMPRESSION. N i eee 
 225. ALOPE. [EMMA, LADY HAMILTON.] Portrait, ull 
 length, after the painting by Romney. Stipple in brown. 
 yee : Small folio, small margins. 1787. " 
 
 226. MARCHIONESS OF WHARTON. Portrait, three-quarter 
 length, after the painting by Sir Peter Lely [inscription 
 reading “ Peter Lilly Eques Pinxit”]. Mezzotint. Folio, 
 
 of with margins. Framed. 1776. 
 - ~—Ss Smith, 42—1. 
 
 FINE IMPRESSION. 
 
 ) / ; 
 DELATTRE, J. M. 1745-(?). (72. SS ands 
 227. BEAUTY GOVERNED BY REASON, after the painting by 
 Angelica Kauffman. Stipple. Folio, with margins. 
 
 A Ls = BEAUTIFULLY PRINTED IN coLORS. FINE AND SCARCE. 
 
 JONES, JOHN. 1745(?)-1797. v obra, 
 228. [MISS KEMBLE.] Portrait, half length, facing left, a er 
 the painting by Sir Joshua Reynolds. Mezzotint. F lio, 
 
 with uncut margins. 
 
 % o 
 Pee Smith, 45. Vin f pty 
 229. MRS. EDWARDS. Portrait, half length, seated, after the 
 painting by W. Lawranson. Mezzotint. Small folio, with 
 / RE a” lower margin containing inscription, names of painter, 
 a ee engraver and publisher, and date, cut close elsewhere. 
 Smith, 24—I. 
 FINE IMPRESSION OF THE FIRST STATE, WITH THE TITLE IN 
 TRACED LETTERS, BEFORE WRITING ON THE LETTER. 
 
JONES, JOHN. (Continued) J OC raed aae 
 
 230. BEATRICE, HERO AND URSULA, after the painting by 
 Fuseli. Mezzotint. Large folio, with margins. 
 
 Smith, 87—II. 
 With the exception of two slight creases, A FINE COPY. 
 
 Wet Gaher 
 
 DICKINSON, WILLIAM. 1746-1823 
 
 231. BRASS CROSBY, LORD MAYOR OF LONDON. Portrait, 
 half length in robes of office, right hand on Charter of 
 
 — vo London, after the painting by R. E. Pine. Mezzotint. 
 ahi Small folio, with margins, date erased from lower right 
 
 hand corner. Ces ses. 
 Smith, 15. 
 232. THE DUCHESS OF DEVONSHIRE AND VISCOUNTESS 
 DUNCANNON. Portrait of both, full length, seated, 
 
 ae after the painting by Angelica Kauffman. Stipple in red. 
 y Folio, plate skillfully remargined and title inlaid. Framed. 
 
 FINE IMPRESSION OF A em, 
 233. MRS. HARTLEY AS ELFRIDA, after’ the painting by J 
 Nixon. Folio, with lower margin containing inscription, 
 
 names of painter, engraver, publisher and date, small 
 Sissi margins elsewhere. Framed. 
 
 Smith, 87—II. 
 
 : \ 
 ENGRAVER UNKNOWN. /’Vavelhawe 
 234. THE DUCHESS OF DEVONSHIRE. Portrait, half length, 
 seated. Stipple in bistre. 4to, with margins. Gilt frame. 
 
 Jj 4 =~ Boydell, 1782. 
 
 Fine and charming portrait. 
 
 RYDER, THOMAS. 1746-1810. “A eee 
 rgins t- 
 
 “O06 
 
 Or Sree 
 
 235. CONTEMPLATION. Stipple, 4to, with small ma 
 side plate mark. Framed. 1784. 
 
 go 
 7?) A BRILLIANT PROOF BEFORE INSCRIPTION, PRINTED IN RED. 
 236. CONTEMPLATION. Another copy lettered, 4to, with full 
 
 margins. Framed. 1784. WV V- : 
 00 C 6 
 7, b — PRINTED IN cotors. A SOFT AND DELICATE EXAMPLE. ERY 
 SCARCE. 
 
 ry 
 
RYDER, THOMAS. (Continued) Be pst fis 
 
 237. [MRS. SIDDONS AS JANE SHOHE ], and Signora Storace 
 
 as Clara. Both full length, after the paintings by Lang- 
 
 Ss ae ham and Craven. Stipples in red and brown. 8vo. To- 
 gether 2 pieces. 1790. 
 
 MULLER, JOHANN G. 1747-1830. Moy Meharry. 
 
 238. MME. VIGEE LE BRUN. Portrait, half length in oval, 
 palatte and brushes in right hand, after the painting by 
 herself. Line engraving. Folio, about quarter inch 
 
 a margins all round. Framed. 
 BRILLIANT PROOF BEFORE ALL LETTERS. VERY SCARCE. 
 COLLYER, J. 1748-1827. (eae 
 
 239. MRS. FITZHERBERT. Portrait, three-quarter length, 
 seated, left hand at chin, after the painting by J. Russell. 
 cai 3s Stipple. Folio, full margins. 
 
 FINE IMPRESSION OF A VERY SCARCE PRINT. 
 
 MURPHY, JOHN. Ab. 1748-after 1820. Van ML auitg. 
 
 240. THE ROYAL FAMILY [George II and his family]. Full 
 length portraits of all, after the painting by Thomas Stot- 
 hard. Mezzotint. Large oblong folio, with margins. 
 
 6 + Framed. 1794. 
 “ His [Murphy’s] plates are not numerous, but some of them 
 are singularly brilliant and masterly in treatment.” 
 
 BURKE, ‘THOMAS. 1749-1815. (?. 6 alone: tae 
 
 941. ANDROMACHE WEEPING OVER THE TOMB OF 
 th ve HECTOR, after the painting by Angelica Kauffman. 
 leer: Mezzotint. Folio, with margins. 1772. 
 [is (/ 
 242. CUPID DISARM’D BY EUPHROSYNE, after the painting 
 by Angelica Kauffman. Stipple in bistre. Folio, with 
 soe margins. 1784. 
 BriLuiaANT IMPRESSION AND IN PERFECT CONDITION. 
 
Va REACT pete Been ek ee OF OS 
 
 ee ae ae 
 pond Ca eh adios SE 
 
 oo 
 
 US eeetae 
 
 ney 
 TOESPO aS 
 etre: 
 
 Pee 
 
 PRR oak 
 
 in a SAM aime enn ilar escpte A mee ETSY TET 
 
 ) 
 ay ‘ 
 oe 
 Com 
 ‘ ge 
 ; 
 
 LADY CHARLOTTE DUNCOMBE. 
 
 Number Two Hundred and Forty-five. 
 
BURKE, THOMAS. (Continued) (2 £/orr (? hice 
 243. LADY RUSHOUT AND HER DAUGHTER. Portraits of 
 both, on same plate, full lengths, after the painting by 
 rs bie Angelica Kauffman. Stipple. Folio, with margins. 
 Y 9 a Framed. 1784. 
 A BEAUTIFUL GREY-BLACK IMPRESSION OF A SCARCE AND AT- 
 TRACTIVE ENGRAVING. ws ie ae 
 ; Ce MARA 
 244, MRS. ROBINSON. Portrait, half Me in oval, after the 
 3 go painting by Sir Joshua Reynolds. Stipple, 4to. 
 
 WILKINS, CHARLES. 1750-1814. () 7 uate 
 245. LADY CHARLOTTE DUNCOMBE. Cera after the 
 
 painting by John Hoppner. Stipple in reddish-brown, 4to, 
 with margins. Framed. 1797. 
 ,_ FINE OPEN LETTER PROOF IMPRESSION OF A SUPERB PRINT. 
 au 0° One of the well-known set of twelve (thirteen) “ beauties.” 
 This and the Countess of Euston (number 246), are the most 
 beautiful of the series. 
 
 [See Reproduction. | 
 
 246. THE COUNTESS OF EUSTON. Portrait, after the paint- 
 ing by John Hoppner.  Stipple, 4to, ee Les 
 7 $2 Framed. 1802. Vn V1 FILL, 
 One of the well-known set of twelve eee 3 Headless: 
 This and Lady Charlotte Duncombe (number 245) are the 
 most beautiful of the series. 
 
 SHERWIN, JOHN KEYES. 1751(?)-17907)) ny. hig Abie 
 247, ROXALANA. [PORTRAIT OF MRS. ABINGTON. } 
 After the painting by Sir Joshua Reynolds.  Stipple. 
 Small folio, with margins, the lower margin of which con- 
 JO tains the publication line. Framed. 1791. 
 
 FINE IMPRESSION OF A BEAUTIFUL AND SCARCE ENGRAVING, 
 
 248. THE FINDING OF MOSES, after the Pe ae 
 Line engraving. Large folio, with margins, light stains. 
 6 > 1789. 
 With key plate, the characters portraying the beauties of the 
 Court of George the Third. A FINE IMPRESSION OF A BEAUTI- 
 FUL PRINT. 
 
MRS. CARNAC. 
 Two Hundred and Fifty. 
 
WAV, Ot, 
 JANINET, JEAN FRANCOIS. 1759-16180 “74 4arrieg 
 
 249. [| MME. DUGAZON.] Portrait, full length, seated. “ NINA. 
 Helas! Helas! Le bien aimé ne revient pas,” after the 
 painting by Hoin, Aquatint. Folio, with ample margins. 
 
 od 
 250 = Framed. 1789. 
 A FINE IMPRESSION, BEAUTIFULLY PRINTED IN COLORS, OF A 
 VERY ATTRACTIVE PRINT. The account of the engraver in 
 Bryan’s Dictionary reads that he “. . . engraved many 
 
 pieces in colours by means of several plates, each imprinting 
 one colour.” 
 
 SMITH, JOHN RAPHAEL. 1752-18120 0/4 (P 
 
 250. MRS. CARNAC. Full length portrait, after the painting by 
 
 Sir Joshua Reynolds. Mezzotint. “Folio. Cut to plate 
 
 ¥, 2 ( ——~ mark and perfectly remargined with contemporary paper. 
 Framed. 
 
 Smith,.31. 
 
 A BEAUTIFUL IMPRESSION OF THIS EXCEEDINGLY SCARCE PRINT, 
 PRACTICALLY EQUAL TO PROOF STATE. 
 
 [See Reproduction. | , 
 Wonk MU+hha 
 
 251. NATURE. [PORTRAIT OF EMMA, LADY HAMILTON. | 
 
 After the painting by Romney. Mezzotint. Folio, with 
 
 lower margin containing inscription, and the names of 
 
 SUE 98o7) Gngraver, publisher and date, very small margins 
 
 , painter, engraver, publisher and date, very small margins 
 elsewhere. 1784. 
 
 Smith, 76—I. 
 THE EXCESSIVELY SCARCE FIRST STATE, WITH THE BROAD 
 BORDER, AND A VERY FINE COPY. 
 [See Reproduction. | : 
 Mm GAN y ; tL 
 : Ve rm 
 252. NATURE. [PORTRAIT OF EMMA, LADY HAMILTON. ] 
 Another example of the print, a later state with narrow 
 / TO « border, description re-engraved as to artist’s lines, no title 
 or verses. Mezzotint. Small folio, with about half an 
 inch lower margin, cut close elsewhere. Framed. 
 
 Sf} 73 
 [ / 
 
[EMMA, LADY HAMILTON.] 
 Number Two Hundred and Fifty-one. 
 
s 
 
 - A a 
 SMITH, JOHN RAPHAEL. (Continaeh AK CV AA AA ee 
 
 253. A BACCHANTE. [Portrait of Lady Hamilton.] Half 
 length, after the painting by Sir Joshua Reynolds. Mezzo- 
 tint. Folio. Framed. 
 ‘a — 00 . az 
 IOS  — Smith, -75—Il1. 
 A BRILLIANT IMPRESSION, WITH FULL MARGINS, OF THIS BEAUTI- 
 FUL PRINT, AND ONE WHICH IS CONSIDERED TO BE PRACTICALLY 
 
 EQUAL TO FIRST STATE. 
 iN 
 
 254. A SNAKE IN THE GRASS, after the painting by Sir Joshua 
 
 Cie Reynolds. Stipple in bistre. Small folio, with small 
 ; - Margins. 
 
 Scarce. — jt ag dak. 
 
 255. ELOISA, after the painting by the engraver. Mezzotint. 
 Sage: Large folio, with full margins. 1792. 
 Smith, 192—II. 4, 
 256. SOPHIA WESTERN. [Portrait of Phebe Hoppner. 
 length, facing front, after the painting by John Hoppner, 
 Mezzotint., Small folio, margins removed. Framed. 
 Ce Smith, 87—II. 
 BRILLIANT AND SOFT IMPRESSION, PRACTICALLY, EQUAL TO 
 PROOF, OF THE SECOND STATE BEFORE CURLS WERE ALTERED 
 
 eg 
 
 AND EARRINGS REMOVED, BUT CUT TO PRINT. 
 
 NUTTER, WILLIAM. 1754(?)-1802. Spurred ey WV 
 257. LADY BEAUCHAMP. Portrait, half length, facing fropts t. 
 30 after the painting by Sir Joshua Reynolds. Stipple, full 
 
 3°) —— margins. Framed. 1790. 
 
 BEAUTIFUL IMPRESSION.. 
 
 YOUNG, JOHN. 1755-1825. P } 
 ( 
 
 258. ELIZA. [MRS. HOPPNER. | Portrait, half length, after 
 
 the painting by John Hoppner. Mezzotint. Folio, with 
 
 be so lower margin containing inscription, and names of panes 
 
 ey engraver and publisher, small margins elsewhere. Framed. 
 
 1786. 
 Smith, 74—II. 
 
 FINE AND SCARCE. 
 
BIRCH, WILLIAM. 1755-1834. Rt ee R pcan 
 
 259. MRS. ROBINSON. [‘ PERDITA.”] Portrait, half length, 
 . seated, after the painting by Sir Joshua Reynolds. Stipple. 
 i; oo 8vo, with margins. 1792. 
 From the Royal collection at Windsor Castle, with stamp of 
 Queen Victoria in lower right hand corner. 
 
 TARDIEU, ALEXANDRE. BC 
 
 260. PAUL BARRAS. Portrait, full length, standing, robes of 
 
 j office, plumed hat in left hand, after the painting by Hilaire 
 
 ( 60 le Dru. Line engraving. Large folio, with margins. 
 Framed. An 7 [1798]. 
 
 FINE PportTrRAIT. INSCRIPTION BS OPEN cae. 
 
 FG grrarerTnnt 
 
 261. LOUISE, QUEEN OF Re Portrait, half length, fac- 
 ing front, after the painting by Mme. Le Brun. Line 
 / + van engraving. 4to, with margins. Framed. 
 
 ACCOMPANYING THE ABOVE IS THE FINELY EXECUTED ORIGINAL 
 DRAWING OF THE SUBJECT BY ALEXANDRE T'ARDIEU, SIGNED. 
 
 MORGHEN, RAPHAEL. 1758-1 rr. Vee Vre Learnt 
 262. LA MADONNA DEL SACCO, after Andrea del Sarto 
 engraving. Large oblong folio, with margins. . 
 
 ( ek Halsey, 99. 
 
 FINE ETCHED LETTER PROOF OF THE THIRD STATE OF FIVE. 
 
 WATSON, CAROLINE. 1761(?)-18149¢. 
 
 264. ROBERT, EARL OF cree AND SARAH, 
 COUNTESS OF KINNOUL. Portraits, both full length 
 standing, after the paintings by Sam Shelley. Stipples. 
 
 4 oe Small folio, with margins. 1798-1799. ‘Together 2 pieces. 
 
 OPEN ETCHED LETTER PROOFS. FINE AND SCARCE 
 
 265. PRINCE SERGE AND PRINCESS tote U- 
 
 GAIN, AND THEIR SON. Portraits, half length, after 
 i, Ae the painting by Sir Joshua Reynolds. Mezzotint. 4to, 
 with full margins. 1785. 
 
 FINE PROOF BEFORE TITLE. 
 
WATSON, CAROLINE. (Continued) V- a4 tah. 
 266. CATHERINE II, EMPRESS OF RUSAIA. Portrait, hal 
 
 length, seated, after the painting by Rosselin. Stipple in 
 brown. Folio, with full margins. 1817. 
 
 ere 
 
 FINE IMPRESSION. 
 
 / 
 
 267. HON. MRS. STANHOPE AS CONTEMPLATION, fthree- 
 
 quarter length, seated, after the painting by Sir Jloshua 
 
 3 7 wae Reynolds. Stipple. Small folio, large margins, probably 
 —— full. Framed. 1790. 
 
 _ FINe PROOF BEFORE TITLE. ae SCARCE. 
 268. MARCHIONESS OF SALISBURY. Portrait, half length, 
 facing front, in oval, after the painting by R. Bowyer. 
 
 om Stipple. 4to, with full margins. 1790. S Y 
 
 269. [EMMA, LADY HAMILTON AS] Cassa dra, Miranda, an 
 Sensibility, The Infant Shakespeare,”after the paintings 
 // +4 by Romney. Stipples. Small 4to, with margins. ‘To- 
 aa gether, 4 pieces. 1809. 
 
 FINE ORIGINAL IMPRESSIONS OF THESE BEAUTIFUL STIPPLES. 
 
 HODGES, C. H. 1764-1837. pa ah 
 
 270. GENERAL DAENDELS. Portrait, half length in uniform, 
 after the painting by E. Maaskamp. Mezzotint. Folio, 
 oS with full margins. 1795. 
 
 ETCHED LETTER PROOF. 
 
 SCHIAVONETTI, LUIGI. 1765-1810./)  % 
 
 271. MRS. COSWAY. Portrait, half length, seated, left hand to os 
 face, after the painting by R. Cosway. Stipple in 
 Lf ““ brown. Folio, full margins of 24% x 134 inches outside of 
 plate mark. Framed. 1791. 
 
 ErcHEeD LETTER PROOF. FINE SPECIMEN. VERY SCARCE. 
 
 hi 
 272. MRS. ANNE DAMER. Portrait, half length, after the paint! 
 ing by R. Cosway. Stipple in brown. 4to, full margins. 
 coe BY) 
 ~ BEAUTIFUL PROOF BEFORE ALL LETTERS. 
 
WARD, WILLIAM. 1766-1826. 7 
 
 273. A VEGETABLE MARKET, after the painting James 
 Ward. Mezzotint. Large oblong folio, with full\margins. 
 
 55 72 1808. . 
 A SCARCE PRINT IN PERFECT CONDITION. It is a most pleas- 
 d in colors. 
 
 ing subject, some copies of which are pri 
 
 274. SALLAD.GIRL. [Portrait of Phebe ength, 
 Ju. Qe standing, after the painting by John Hoppnet. Mezzo- 
 — tint. Folio, full margins. Framed. 1785. 
 Smith, 47—II. 
 
 A FINE EXAMPLE OF A VERY SCARCE PRINT. 
 
 275. SUSPENCE, after the painting we Whe Morlan 
 zotint. ' Oblong folio, has two thin spots, not di 
 G see when hung, and lower margin containing inscription, names 
 of painter and engraver, that of the publisher cut away, 
 
 cut close elsewhere. Framed. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 
 
 Third Session, Numbers 276 to 409 Inclusive 
 
 WEDNESDAY EVENING, MARCH 4th, AT 8.30 O’CLOCK 
 
 ae. in () 
 SAY, WILLIAM. 1768-1834. Dee etl, Vee 
 
 276. BENJAMIN WEST. Full length portrait, left hand pening 
 leaves of book, spectacles in right hand, after the/painting 
 
 Bie sw by James Green. Mezzotint. With full margins. Large 
 a ‘ 
 / folio. Framed. London, 1818. 
 
 A BEAUTIFUL PROOF IN OPEN LETTERS. 'e 
 
 eae /} 
 277. MR. FAWCETT (the actor). er ree ee 
 standing, after the painting by G. H. Harlow. Mezzotint. 
 ae Large folo, with full margins. 1815. 
 Frve proor mpression. From the Royal Collection, Windsor 
 Castle, with the stamp of Queen Victoria in lower right hand 
 corner. 
 
 | Lee 
 
 WARD, JAMES. 1770-1859. GEO et ETP ORD. 
 278. SMUGGLERS. No. 2. Engraved by J. Ward, after the 
 painting by G. Morland. Mezzotint. 25 x 20 inches out- 
 att gy yo side measurements. 22 x 18 inches inside, with large 
 margins. London; Published Noy. 1, 1791, by I. R. Smith. 
 
 PRINTED IN COLORS. SUPERB ORIGINAL IMPRESSION. 
 
 /t (1 
 279. FISHERMEN. No. 2. Engraved by J. Ward, after the 
 painting by G. Morland. Mezzotint. 25 x 20 inches out- 
 a 0 4o side measurements, 2134 x 1714 inches inside, with large 
 margins. London; Published Nov. 1, 1798, by I. R. Smith. 
 
 PRINTED IN COLORS. SUPERB ORIGINAL IMPRESSION. 
 
DUNKARTON, ROBERT. 
 
 280. HENRY, PRINCE OF WALES. Portrait, full length, in 
 re: tilting armor, “‘ from an extreme rare print by S. Pass.” 
 4 Mezzotint. Small folio, with margins. 
 
 Smith, p. 237. 
 
 after the painting by Sir Joshua Reynolds. ezzotint. 
 Folio, with lower margins containing names of painter, 
 06 : : 
 P3 dg engraver and publisher, and about three-quarter inch 
 margin on other sides. Framed. 1778. 
 Smith, 25—I. 
 A BEAUTIFUL IMPRESSION IN THE FIRST STATE, BEFORE INSCRIP- 
 TION, OF A CHARMING SUBJECT, AND A VERY SCARCE PRINT. 
 
 The original painting is in the J. P. Morgan collection, 
 Metropolitan Museum. 
 
 P VL 
 282. MRS. BILLINGTON. Portrait, half length, facing front, 
 after the painting by J. Downman. Mezzotint. Folio, full 
 AL 3 be margins. Framed. 1786. 
 
 BEAUTIFULLY PRINTED IN COLORS, AND POSSIBLY UNIQUE. 
 
 283. MRS. BILLINGTON. The same portrait. ~Mezzotint. ‘Small 
 folio, cut to outer plate mark, but leaving broad margins 
 Ve Cia on all sides. 
 
 Smith, 8—III. 
 
 VERY FINE IMPRESSION AND EXCEEDINGLY SCARCE. 
 
 WATTS, JOHN. FI. 1770-1786: law WPA 
 
 284. VAN DYKE IN THE CHARACTER OF ICARUS, after the 
 7 0 painting by himself. Mezzotint. Folio, with full margins. 
 
 oF Smith, 6—I. 
 
 BriLuiANT ETCHED LETTER PROOF OF THE FIRST STATE. 
 
 OEE VO 
 
_JUDKINS, ELIZABETH. FI. Athy Clones Ln 
 
 285. MRS. ABINGTON. Portrait, oval in rectangle, after the 
 painting by Sir Joshua Reynolds. Mezzotint. Small folio, 
 , , wo thin spots on upper blank portion of plate, and several 
 oo “— minute pin holes in places, none of which are discernible 
 when hung, small margins skillfully added. Framed. 1772. 
 Goodwin, 5—II. 
 THIS SUPERB MEZZOTINT, OF WHICH THIS COPY IS A FINE 
 EXAMPLE, IS THE MASTERPIECE OF THE ENGRAVER. It is the 
 only portrait reproduced in Whitman’s work on Elizabeth 
 Judkins. — | 
 VV AAL V-Lharwy 
 SAUNDERS, JOSEPH. F1.1772-1797. 
 286. GEORGE AUGUSTUS FREDERICK, PRINCE OF 
 WALES. Portrait, full length, standing, royal robes, 
 Taye nes after the painting by Brumpton. Mezzotint. Large 
 margins. 
 Smith, 5. 
 The delicate tracery of the subject’s robes and head dress, 
 is a masterpiece of mezzotint engraving. 
 
 CARDON, ANTHONY. 1773-1813. g Geos in 
 287. ANNA MARIA, LADY STANHOPE. Portrait [as Hebe], 
 full length, standing, after the painting by R. Cosway. 
 | AA as Stipple. Small folio, with full deckle edge margins. 1801. 
 
 VERY FINE EXAMPLE AND RARE IN THIS UNUSUAL CONDITION. 
 
 (Aiea 7 
 REYNOLDS, SAMUEL WILLIAM. 1773-1835. M1 
 288. [BEESTON LONG.] Portrait, full length, seated in’ chair, 
 
 after the painting by W. Owen. Mezzotint. Large folio, 
 Shea with lower margin (blank), cut close on other sides. 
 
 VERY FINE AND BRILLIANT PROOF BEFORE ALL LETTERS. From 
 the Royal Collection, Windsor Castle, with Queen Victoria’s 
 stamp in lower right hand corner. 
 So scARCE THAT THE ONLY print KNowNn To Wuirman (181) 
 IS DESCRIBED FROM Evans’ Catratocue (18511), THE ABOVE 
 proof 18 UNDESCRIBED AND IS PROBABLY UNIQUE, 
 
MME. ROSE DIDELOT, AS CALYPSO. 
 Number Two Hundred and Ninety. 
 
 : 
 
REYNOLDS, SAMUEL WILLIAM. ( Cea 
 
 289. MARY, COUNTESS OF HARCOURT. Portrait, 
 quarter length, seated, facing left. Mezzotint. Folio, with 
 27 sv margins. Framed. 
 Whitman, 127—III. 
 
 A BEAUTIFUL ENGRAVING. Reproduced in Whitman’s work on 
 the engraver. he 
 
 290. [MME. ROSE DIDELOT, AS CALYPSO.] Full length, 
 after the painting by Henard. Mezzotint. Large folio, 
 with lower (blank) margin, and very small margins else- 
 “where. Framed. © 
 
 JUL OG “—Proor Bevore avi Lerrers. Wuirman (70) pDescripes THE 
 print, THE proof, HOWEVER, IS UNDESCRIBED, AND PROBABLY 
 
 Tees 
 
 UNIQUE, 
 The subject is fr rently treated than is usual with mezzo- 
 tint engravers of English beauties of the period. 
 From the Royal Collection, Windsor Castle, with the stamp 
 of Queen Victoria in lower right hand corner. 
 
 [See Reproduction. | 
 
 or 
 
 ENGRAVER, UNKNOWN. Mh, eee, 
 
 291. [GENERAL SIR HILDEBRAND OAKES. ] rtrait, half 
 length in uniform. Mezzotint. Folio, with ‘broad lower 
 margin, and shorter margins on other sides. 
 
 we 0 ‘—Proor Berore att terrers. Oakes was captain in the 33rd 
 foot. He served with distinction in ae during the 
 Revolution. 
 A manuscript note by Charles R. Hildeburn on reverse of 
 plate reads: ‘I have hunted for nearly twenty years for an 
 original impression of this plate, and this is the first I have 
 ever seen.” 
 
 TURNER, CHARLES. 1774-1857. Wr. — 
 
 292. JAMES THE eee on horseback, ‘* from an extreme rare 
 print by Delaram.” Mezzotint. Small folio. 
 
 ioe ae ——_ Watson, 468. 
 JAMES THE FIRST, half length, John Meyssens excudit. 
 
 Line engraving. 8vo. Together, 2 pieces. 
 
TURNER, CHARLES. (Continued¥W . 
 
 293. JOHN HOPPNER. R. A. Portrait, bust in oval, after the 
 painting by himself. Mezzotint. Folio, with full margins. 
 oem Framed. 1805. 
 
 Whitman, 267—II. 
 A BRILLIANT EXAMPLE IN OPEN ae CF ei. 
 294. MISS MARGARET MERCER ELPHINSTONE. Portrait, 
 three-quarter length, seated, right arm resting on table, 
 after the painting by Saunders. Folio, large (probably 
 Ue: ee __ full) margins, slight repair in two places on upper and 
 
 lower margins. Framed. 
 
 Whitman, 180—I. act leah | 
 A RICH AND BEAUTIFUL PROOF BEFORE wf LETTERS. 
 
 295. MLLE. PARISOT. Portrait, full length, standing, after the 
 painting by Masquerier. Stipple. 4to, with margins. 
 3 09 ‘“— ‘Framed. 
 Whitman, 414_I. 
 BEAUTIFULLY PRINTED IN COLORS, IN FINE AND FERFECT CON- 
 DITION. 'THE EXCESSIVELY SCARCE FIRST STATE. Reproduced 
 
 in Whitman’s work on Charles ee A haan. 
 296. WILLIAM SPENCER, DUKE OF vA IRE. Por- 
 trait, three-quarter length, standing, after the painting by 
 / eke: Saunders. Mezzotint. Folio, with full margins. 
 Whitman, 157. 
 
 FINE RICH IMPRESSION. 
 
 AGAR, JOHN SAMUEL. 1775(?)-1882 
 
 297. MARCHIONESS OF CAMDEN. Port/ait, full length, after 
 the painting by Sir Joshua Reynolds. Stipple. Small 
 [ oe folio, with full margins. 1823. 
 
 —— 
 
 FINE LARGE PAPER PROOF. INSCRIPTION IN OPEN LETTERS. 
 
 MASSARD, RALPH URB. 1775-184” 
 298. [ADAM AND EVE], after the painting by Carlo Cignani. 
 
 ( Cee Line engraving. Folio, with margins, 
 
 299. LOUIS XVIII. Portrait, full att Che Ve A bparee 
 
 painting by Gerard. Line engraving. Large folio, with 
 7s margins. 1819. 
 
DESNOYERS, AUGUSTE GASPARD LOUIS BOU- 
 CHER. 1779-1857. 
 
 300. LA VIERGE AU DONATAIRE DE FOLIGNO, « 
 painting by Raphael. Line engraving. Large folio, with 
 ao C full margins. 1810. 
 ETCHED LETTER TITLE. AN IMPRESSION WITH THE ARTIST’S 
 STAMP OF TWO ANTIQUE HFADS. 
 
 /4 ly 
 301. LA VIERGE DE LA MAISON D’ALBE, after the painting 
 by .Raphael. Line engraving. Large folio, with full 
 ay ao “margins. 
 FINE PROOF WITH THE ARTIST’S STAMP. ¥ 
 rae. ‘fe 
 INT , A, 
 302. LA VIERGE DITE LA JARDINIERE, after Weinman 
 Lh pee by Raphael. Line engraving. Folio. 
 ~<A FINE SIGNED ETCHED LETTER PROOF. wa 
 303. VIRGIN AND SLEEPING INFANT CHRIST AND sea a 
 . JOHN, after the painting by Raphael. Line engraving. 
 ) 1 Le Large folio, with full margins. 
 
 ETCHED LETTER PROOF BEFORE INSCRIPTION. 
 
 eT A 3 
 MEADOWS, R. M. Fl. about 1780-1810. (7 veyee set 
 304. VENUS AND CUPIDS, after the painting by William Westall. 
 
 Stipple in brown. Folio, with margins. 
 Ce 
 LO OPEN LETTER PROOF OF A BEAUTIFUL ENGRAVING, AND AN 
 UNUSUALLY ATTRACTIVE SUBJECT. 
 
 MEYER, HENRY. 1782(?)-1847. So pie dy Kies 
 305. FATHER’S DELIGHT, after the painting by William Dérby. 
 Stipple, in brown. Folio, with full margins. 1811. 
 
 / we sical BriLuiANT PROOF. A b tl a 
 306. MRS. JERNINGHAM [AS HEBE]. Portrait, full length, 
 
 standing, after the painting by John Hoppner. Stippie. 
 hye Small folio, with margins. 1809. 
 
ANDERLONI, PETRUS. 1784-1849) Gee | : 
 
 307. MOSES AND THE WOMEN, aftér he painting by Nicolas 
 
 7 Poussin. Line engraving. La¥ge oblong folio, with full 
 if aa margins. 
 
 FINE IMPRESSION. OPEN LETTERS. 
 
 CONDE, JOHN. Fi. 1785-1798. (0. Fy, 
 
 308. MELANIA. After the painting by R. Cosway. Stippl 
 A brown. 8vo, with margins. Framed. 1792. 
 ata ee IN PERFECT CONDITION. 
 
 309. MELANIA. Another copy of the same, Krrre dliyn Mer 
 
 IN coLors. 8vo, smaller margins than the preceding. 
 / ut. 1 ak Framed. 1792. 
 VERY RARE IN THIS STATE. 
 Vr. Agree 
 310. MRS. FITZHERBERT. Portrait, full length, séated, book in 
 left hand, spaniel nearby, after the painting by R. Cosway. 
 ot) ¢ Stipple. Folio, full margins. Framed. 1792. 
 PRoor BEFORE TITLE. FINE EXAMPLE. SCARCE. 
 1) 
 311. MRS. TICKELL. Portrait, full length, Nhe the painting by 
 Cosway. Stipple. 4to, with margins. Gilt frame. 
 4 4 °$ Tue scaRCE STATE BEFORE PUBLICATION LINE. FINE IMPRES- 
 SION. 
 
 BOVA, MME., PUPIL OF FRANCE te aie 
 Fl. 1786-1791. 
 312. [MRS. BAKER.] Portrait, half eye: in Ae clenn after the 
 hy painting by R. Cosway. Stipple in red. Small folio, full 
 / 0 el margins. 
 VERY FINE PROOF BEFORE INSCRIPTION. SCARCE. 
 GROZER, JOSEPH. Fl. 1786-1797. 4¢, te 
 
 313. “ DESIGN,” after the painting by Sir Joshua Reynolds. 
 zotint. Folio, full margins, unlettered. 1785. 
 
 M 
 
 do 
 of i AN UNUSUALLY EARLY SPECIMEN AND FINE EXAMPLE OF THE 
 ARTIST’S BEST WORK. 
 
 e—_- 
 
GROZER, JOSEPH. (Continued)’14 - Mayne 
 314. EUHUN SANG. Portrait, after the paintyfg by Danloux. 
 
 = oe Mezzotint. Folio, with full margins. 
 { ErcHep Lerrer proor, AN UNDESCRIBED STATE OF Suiru 10. 
 HOGG, JAMES. FI. about 1787. Ce Vj, 
 315. ERMINIA; AND RINALDO AND ARMIDA, after the 
 ye paintings by Angelica Kauffman. Stipples in brown. Two 
 
 pieces. 4to, with margins. 1784. 
 
 KARCHER, ANTON. FI. 1788-1791. \). is 
 
 316. CHARLOTTE GEORGINE, DUCHESS OF SAXONY. 
 _ Portrait, half length in oval, after the painting by Tielker. 
 / Sy See Stipple in brown. Small folio, with small margins. 
 FINe EXAMPLE. 
 
 WALKER, WILLIAM. 1791-1867. WW" Aye 
 
 317. SIR WALTER SCOTT. Portrait, half length, fading front, 
 after the painting by Sir Henry Raeburn. Stipple. Small 
 = folio, with margins. 1826. 
 Pe. 
 
 BRILLIANT IMPRESSION IN PROOF STATE OF A FINE AND SCARCE 
 PRINT. 
 
 EICHENS, EDUARD. 1804-1877. (oda 
 318. DIE VISION DES HESEKIEL, Sides the painting by 
 
 Raphael. Line engraving. Folio, with margins. Inscrip- 
 ; je tion in open letters. Framed. 1841. 
 
 UNUSUALLY FINE IMPRESSION. 
 
 HADEN, SEYMOUR. 1818-1910. 7 Correctly Le 
 
 319. [A CASTLE, COUNTY WICKLOW.] Etchings. In sufiken 
 mounts. Framed, plate glass. 
 ae tt Harrington, 121. 
 THREE TRIAL STATES, A, B, and C. Attu sigNep. From THE 
 SALE OF HIS ESTATE, AND PROBABLY UNIQUE. 
 
HUET, PAUL. 1804-1869. rn. tether 
 
 320. ENTREE DE FORET OU LE FOURRE. Etching. Folio. 
 yo Delteil, 28—IIT. 
 y —~ On India paper. 
 
 cy ) 
 321. ENTREE DE FORET OU LE FOURRE. Pure etching. 
 Delteil, 28—I. 
 A¢2 _ Unfinished proof. With collector’s stamp. 
 
 (\ 
 322. UN PONT EN AUVERGNE. Etching. 
 Delteil, 12—III. 
 
 pe On India paper. 
 LEWIS, JOHN F. 1805-1876. Vans: Q- Seve 
 
 323. LION AND LIONESS. Mezzotint. Small folio, slght 
 repairs. 
 
 pee PRooF BEFORE LETTERS. 
 / 
 
 MANDEL, EDUARD. 110 (ae df Looe 
 
 324. MADONNA AND CHILD, after the painting by Raphael. 
 Line engraving. Large folio. 
 G ‘<— SupERB SIGNED PRESENTATION PROOF BEFORE LETTERS, ON 
 INDIA PAPER, WITH REMARQUE: Heap oF RAPHAEL. 
 
 325. MADONNA AND CHILD. mon gaaers 
 Signed presentation proof on India _ paper, 
 a5 te remarque. 
 
 326. MADONNA, SAINT JOHN AND THE CHRIST CHILD. 
 Line engraving. Large folio, with full margins. India 
 paper. 1865. 
 
 44 
 ) y PROOF SIGNED BY THE ARTIST. 
 
 (1 Vv 
 
 MEISSONIER, E. 1815-1891. 
 
 327. IL SIGNOR ANNIBALE. Etching. 4to. Guilt frame, uni- 
 HP, form with the following. 
 ie 
 
 SicNEp PrRooF. Very scarce. 
 
MEISSONIER, E. (Continued) /?) (? : 
 328. L.HOMME A L’EPEE. Etching. 4to. they 
 
 with the preceding. 
 
 / ae SIGNED PROOF. Very scarce. / 
 GV ite dele 
 MILLET, JEAN FRANCOIS. 1814-1875. 
 | 329. LA BARATTEUSE. Etching. 4to. India paper. 
 ri yi EARLY IMPRESSION. SCARCE. 
 
 LECERF. FI. 1810. fe ie Dee sein 
 
 330. LES REINES DE FRANCE (A group of seven), after the 
 3 oe painting by Chasselat. Stipple. 4to, with margins. 
 
 LALANNE, MAXIME. 1827-1886. Boveri el pe 
 
 831. BORDEAUX, SNOW EFFECT. Etching. 4to. 
 Beraldi, 50. 
 e foes One of his best plates. 
 
 ly l, 
 
 382. LE PIGEONNIER. Etching. Ato. 
 
 : Beraldi, 64. 
 — Of unusually fine execution. aM : . 
 333. PAYSAGE ITALIEN, after Claude Lertol te_ 
 Beraldi, 132. 
 ss 
 y, — ANIMAUX AU PATURAGE, after Berghem. 
 Beraldi, 133. 
 VICTOR HUGO’S HOUSE AT GUERNSEY, 2 different 
 
 proofs before letters, these two framed. Etchings. 4to 
 
 and 8vo. Together 4 pieces. Wn She khan 
 
 334. PONT SAINT MICHEL. [The Seine at Paris], and unidenti- 
 0.0 fied river scene. Etchings. Folio. 
 Both etchings proofs on India paper. 
 
 335. TOUR DE MONTALBAN, AMSTERDAM, Beraldi, 105; 
 fine impression, full margins; proof before letters, on India 
 
 ae paper, of a church; seven sketches of landscapes, evidently 
 trial proofs, on 8vo sheet. India paper; Beraldi, 126; 
 
 Falaise, Beraldi, 128. Folio and 8vo. Together, 4 pieces. 
 
RITCHIE, A. H. 1822-(7). ae) VV ian | 
 
 336. JOHN C. CALHOUN. Portrait, full length, standing, after 
 the painting by T. Hicks. Line engraving. Large folio, 
 
 — qo 
 o) small crease on lower margin. 1852. 
 
 OPEN LETTER PROOF. 
 
 1s 
 
 y 
 
 WHISTLER, JAMES McNEILL. 1834-1903. 
 
 337. LITTLE POOL. Etching. 8vo. Framed. 
 
 i Kennedy, 74—VIII. 
 Her a \s fi 
 
 338. EARLY MORNING, BATTERSEA. Etching. 4to. 
 Kennedy, 75. 
 
 ge y 
 339. THE LIMEBURNER. Etching. reg fr 
 
 / Wigek: Kennedy, 46—II. 
 
 — 
 
 340. THE KITCHEN. Etching. Small folio. Framed. 
 
 = Kennedy, 24—II. 
 4 on oo ; 
 Rare. According to Wedmore first state and to Kennedy the 
 
 second. 
 
 341. WEARY. Etching. Framed. 
 ‘ Kennedy, 92—IIa. 
 Al TO ~ One of the more important studies, and now very scarce. 
 
 (s 
 3842. FANNY LEYLAND. Etching.- 4to. Framed. 
 Kennedy, 108—IV. 
 Tag A charming portrait study. Scarce. 
 
 343. GANTS DE SUEDE. Lithograph. Framed. A 
 
 Wedmore, 28. ye . 
 
 3 eee Only twenty-eight copies were printed. 
 
 is A » 
 344. MODEL DRAPING. Lithograph. Folio. 
 
 _, Wedmore, 31. 
 ~. One of twenty-eight proofs. 
 
 {s fa nh 
 
 345. DRAPED MODEL STANDING. Lithograph. 4to. Framed. 
 
 /g-J5 
 
WHISTLER, JAMES enema Cb lhe 
 
 346. THE DRAPED MODEL SEATED. Lithograph. Framed. 
 {0 ‘— Wedmore, 46. 
 
 347. FIGURE STUDY. Lithograph. 4to. 
 
 rr Wedmore, 99. 
 pee Ss. 
 ONE OF A FEW PRINTED IN BLACK. Gillen tit we 
 348. SAVOY PIGEONS. Lithograph. Framed. 
 / fu oe § Wedmore, 118. 
 Only twenty-three copies were printed. 
 349. THE SHOEMAKER. Lithograph. 4t6.. 
 ¢@- Wedmore, 151. 
 BRACEQUEMOND, FELIX. 1833-4 7 
 350. PHEASANTS IN EARLY MORNING. Etching. Folio. 
 
 Framed, plate glass. 
 
 sv : : : 
 J o%2%  — Presenrarion cory, signed ** Souvenir amical Bracquemond.” 
 
 DELAUNEY, ALFRED. 1830-1894. 747, 
 351. LANDSCAPE, WITH MILL, after the painting by Ruisdael. 
 Etching. Folio. 
 Jost 
 
 SIGNED REMARQUE PROOF ON PARCHMENT. 
 
 LALAUZE, A. 1836-1906. Ahi Cty iy oe 
 352. MIRABEAU’S ANSWER TO THE KING. itching, after 
 Fe the painting by Dalou. Oblong folio. Beton all letters. 
 
 Framed. 
 
 BRUNET-DEBAINES. 1845-—. “* ))le4L, 
 
 353. WILLOWS WHITEN, ASPENS QUIVER, after the~paint- 
 oe ing by Keeley Halswell. Etching. Large folio. 
 
 PROOF BEFORE LETTERS, SIGNED BY BOTH ARTISTS. 
 
 BUHOT, FELIX. 1847-1898. VAN AAvrenr 
 
 354. MATINEE D’HIVER AU QUAI DE L’HOTEL DIEU (Les 
 Fiacres). Etching. ‘2e Etat de Publication.” Folio. 
 eee * Gilt frame. 1876. 
 
 Fine impression, with the red stamp. 
 
PARRISH, STEPHEN. 1846- The. Fl Chan 
 
 355. MILLS AT INSPECK. Etching. Folio. 
 Ds 04 ProorF on InpIA PAPER. SIGNED BY THE ARTIST. 
 MILLER, JOHN D. Nineteenth Century. 
 
 356. SURPRISED, after the painting by George L. Seymour. 
 Mezzotint. India paper. Folio. Framed. 
 d) g’- A MASTERLY EXAMPLE OF DELICATE MODERN MEZZOTINT EN- 
 GRrAviINnG. It is signed by both artist and painter. 
 
 BACHER, OTTO I. 1356-100 OAL 
 
 357. SHIPPING, VENICE. Original etching. Oblong  4to. 
 
 Framed. 
 
 plage Oa Proor, sIGNED BY THE ETCHER. 
 ROYBET, FERDINAND. 1840- a. & 
 357a. THE CHESS PLAYER. Etching. Small folio. 
 
 y 4? ONE OF THE FEW ETCHINGS BY THIS MASTER-PAINTER. 
 — 
 
 FITTON, HEDLEY. 1859- ——_. 7227 # Cg ee 
 858. SAINT BARTHOLOMEW’S GATE. Etching. Small folio. 
 
 Framed. 
 Cees Proof, signed by the artist. 
 
 on. We 
 
 359. JOHN KNOX’S HOUSE, EDINBURGH. Etching. Folio. 
 
 /s i We) Proor, SIGNED BY THE ETCHER, AND ONE OF HIS BEST PLATES. 
 _— 
 
 360. THE ROSE WINDOW. [Cathedral ofjNotre Dam Etch- 
 ing. Large folio. Gilt frame. J MAAK 
 
  $O ‘SIGNED ARTIST’S PROOF OF THIS MASTERPIECE. SCARCE. 
 
 PENNELL, JOSEPH. 1858-——. Vrhay VL WY ri. 
 
 361. THE STRAND. OLD BOOK SHOP. Etching. 4to. 
 
 SIGNED BY THE ARTIST. 
 oe 
 
PENNELL, JOSEPII. (Continued) “Vay VE 
 
 362. STANDARD OIL REFINERY, STATEN ISLAND. Etch- 
 
 y ae ing. 4to. 
 1“ First stTaTe. 
 363. NOTRE DAME CATHEDRAL. Etching. 4to. Printed in 
 Is black. 
 SIGNED BY THE ARTIST. ay 
 
 364. AMIENS CATHEDRAL, WEST FRONT. Etching. Folio. 
 
 eo Sa SIGNED BY THE ARTIST, AND ONE OF THE FIVE IN FIRST STATE. 
 
 365. AMIENS CATHEDRAL. Lithograph. Large sie Vonreed len 
 
 | S28 SIGNED IN THE AUTOGRAPH OF THE Artist “ Ist state, five 
 — 
 proofs taken, Joseph Pennell, 1898.” 
 
 Signed by the artist. 
 
 ENGRAVER, UNKNOWN. Wr-Ugrrenn 
 
 366. BEAUMONT (SIR GEORGE [HOWLAND]). / Portrait, 
 full bust in oval, after the painting by Sir Joshua Reynolds. 
 Mezzotint. Folio. Margin on under side, about 14 inch 
 3 j fe margin on other sides. Framed. London, 1850. 
 Smith, 1719—II. 
 
 Beaumont was a connoisseur, and landscape painter, and was 
 the intimate friend of Sir Joshua Reynolds. 
 
 GAUTIER, LUCIEN. 1850- —_. \) eben 
 
 / 
 367. RIVER SCENE, WITH PUNT IN’ FOREGROUND, after 
 Corot. Etching. 4to. 1884. 
 
 fig ci 
 On vettum. Second state. ‘hth 
 BRIDGEWATER, GEORGE H. ees 
 
 368. CIRCE. Mezzotint. Large folio. Guilt frame. 
 
 SIGNED PROOF BEFORE LETTERS. A very beautiful and decora- 
 
 L7 ive subject. 
 
 369. THE UNICORN, STIRLING. Etching. 8vo 
 1891. 
 
 ee Proor, SIGNED BY THE ETCHER. 
 
 Framed. 
 
 CAMERON, D. Y. 1865- Via ae 
 
CAMERON, D. Y. (Continued) 11.S 0, pedlhos ror 
 370. THE PORCH AT HARFLEUR. Etching. Framed. 
 a3 Oauced SicNED PROOF of the second state. 
 
 FULLWOOD, JOHN. 354. 001. ee 
 
 371. A RIVER SCENE. Etching. Folio. 
 
 f ae SIGNED PROOF. 
 372. ENGLISH ROAD AND att Etching. Folio. Gilt 
 [ ny frame. 
 
 Stcnep PROOF. India paper. 
 
 MIELATZ, C. F. W. 1864- Ss eElO) VL. LL 
 
 373. A RESTAURANT IN MOTT STREET. Etching in brown. 
 oe ¢ 4to. 1896. 
 hat Signed by the etcher. 
 
 [s (h n 
 374. THE TOY SHOP. [Seven mile stone.] Etching, in brown. 
 8vo. 1903. s 
 
 / / oe Signed by the etcher. 
 
 PLATE “Cs An ele te Vin. Cee 
 
 375. BRIDGE AT SARAGOSSA. Etching. 8vo. 1885. 
 
 do Proor, SIGNED BY THE ARTIST. 
 poe ee! 
 
 ZORN, ANDERS. 1860-——. (X. (Pee 
 
 376. AUGUSTUS ST. GAUDENS. Portrait, half length. Etch- 
 fete ing. Framed. 
 
 SIGNED PROOF. VERY SCARCE. ff QR 
 377. DREAMS. Etching. 4to. mM: GLE 
 
 j oe 
 Tan PROOF, SIGNED BY THE ARTIST. 
 
 Ww 
 WEBSTER, HERMANN A. igfgcee | Ctrnbler 
 
 378. BUTTER MARKET, BRUGES. Etching. 4to. India 
 : paper. 
 / )=— — Proor siGNED BY THE ETCHER. 
 
FOCILLON, V. L. Nineteenth cat : Wnielin 
 
 879. CHRISTOPHER COLUMBUS. 
 A O° Etching. Atlas folio. Parchment. 
 
 SIGNED REMARQUE PROOF. 
 
 rtrait, bust in -oval. 
 
 ys 
 HOLLOWAY, C. E. Nineteenth Century. ij 
 380. CHISWICK MALL. Etching. Folio. 1882. 
 
 ae | ee 
 KNIGHT, JOSEPH. Nineteenth ng Met 
 
 381. MOONLIGHT. Mezzotint. Oblong folio. 
 
 3 oo A SIGNED PROOF OF ONE OF THE BEST MODERN MEZZOTINTS. 
 
 LAMOTTE, ALPHONSE. Nineteenth Coat Wrvrolarnn 
 
 382. DIANA, after the painting by Nattier. Etching. Folio. 
 a Gilt frame. 1898. Remarque proof, signed by the etcher. 
 A ae que p g A 
 
 — 
 
 LEANDRE, C. Nineteenth Century. ”/4- 
 
 383. LADY IN BALL DRESS ALIGHTING FROM CARRIAGE. 
 PIERROT AND COLUMBINE. 
 } Die 60 . . : a . . . 
 p- 2 — Tinted lithographs. Folio. Together, 2 pieces. 
 
 MARESTE, GERORGE. Nineteenth eet EG EOP: 
 
 384. A RIVER SCENE, three-story square building, and factory 
 
 chimney on bank. 
 
 3 ot In colors. Oblong folio. 
 
 MERYON, CHARLES (in the manner of), Nineteenth 
 Century. CLbON 
 385. NOTRE DAME ET LE QUAI AUX FLEURS. Etching. 
 27 <a Unsigned. Oblong small folio. 
 
 PELICIER. G. Nineteenth Century. ESI Ee POs... 
 
 386. REMBRANDT, half length portrait of. Etching. Large 
 folio. Framed. 1893. 
 
 f o _- . . 
 /O Signed remarque proof, with full margins. 
 
WASHBURN, CADWALLADER. Nineteenth Century. 
 387. CASA D’ORO, VENICE. Etching. Folio. 
 
 G0 PROOF ON INDIA PAPER, SIGNED BY THE ETCHER. 
 
 WOLF, HENRY. Nineteenth Century. df. areal 
 
 388. MOONLIGHT. Woodcut. 4to. China paper. Framed. 
 
 PROOF, SIGNED BY THE ENGRAVER; ‘* Henry Wolf, invt. & delt. 
 ( ¢¢ = =6& sculpt.” 
 
 ILLUSTRATED BODES ay PEGE oo ih 
 389. BAILLIE (CAPTAIN WILLIAM). An‘ Interesting Series 
 
 of Engraved Plates by Captain Baillie after Paintings and 
 . Drawings by some of the Old Masters. 2 vols. in one, atlas 
 ( Ob oe folio, old russia, rebacked. Circagk Ti Ve we, 
 Baillie was a noted amateur etcher and engraver [1723-1810 | 
 famous, particularly, as an imitator of Rembrandt, whose 
 print of the “ Hundred Guilder ” is well known. The volumes 
 [or volume] of his work here catalogued embrace etchings, 
 line engravings and mezzotints, with MANY EARLY PROOFS, 
 some in two or more states, the whole inlaid or snounted, in- 
 cluding two printed lists of each volume LG Ss. 
 390. BRUCKER (JACOB). Ehren- tempelnde “aetctalte 
 samkeit in welchem die Bildnisse gelehrter . . . von XV, 
 J 0 ae XVI und XVII Jahrhunderte, &c. A series of about 50 
 full-page portraits of German worthies, engraved in mez- 
 zotint by Johann Jacob Haid. 4to, vellum, back repaired, 
 writing on title. Augspurg, 1747 
 Includes portraits of,—Gesner, Von Barth, Albrecht Direr, 
 Freinsheimius, P. Melanchthon, and others. 
 
 391. CHAMBERLAINE’S ROYAL colgetsar ole ; 
 INGS, from Original Designs by the Most Celebrated 
 Masters, including Leonardo da Vinci, The Caracci, Claude 
 Lorraine, &c. in his Majesty’s Collection, engraved by 
 Bartolozzi, P. W. Tomins, Schiavonetti, and others, a 
 number of plates tinted. Tall folio, half red levant mo- 
 rocco, gilt, gilt edges, somewhat rubbed. 
 
 London, 1796-1812 
 very accurate delineations [of 
 Da Vinci] with a most spirited pen, on a variety of anatom- 
 
 04 
 
 =— 
 
 Fine series, including the * 
 
 ical subjects,” and the colored ‘* Ecce Homo” after Guidi. 
 About 70 plates in all. 
 
- VLA 
 392. CHARLES II. Jameson (Mrs. Anna). The Beduties of the 
 Court of King Charles II. A series of engrdwved portraits 
 4 a0 ' illustrating the diaries of Pepys, Evelyn, Clarendon, .and 
 —— other contemporary writers, after Sir Peter Lely and other 
 eminent painters. 4to, full contemporary morocco, gilt 
 sides and back, gilt edges, the margins of some plates 
 spotted, and binding somewhat rubbed. London, 1833 
 
 393. CHIPPENDALE (THOMAS). Vorbilder fuer nst-und 
 Moebeltischler im Gothischen, Chinesischen unfl Rococo- 
 stil. [English title follows]. With 200 plates of furniture 
 
 me sv designs, including beds, sofas, chairs, couches, dressing- 
 y ores tables, &¢., &c. Folio, half cloth and boards. Berlin, n. d. 
 German Edition of Chippendale’s ‘* The Gentleman and Cab- 
 
 inet-Makers Director,” from the Third London Edition 
 
 [1762], with Title, Preface, and Description of plates in 
 
 both German and English. 
 | Way Vir bbe 
 
 394. COOPER’S. ENGRAVED REPRODUCTIONS of 27 Por- 
 
 traits at Stowe, mostly Proofs, engraved by Robert Cooper, 
 
 Fie especially commissioned by the Duke of Buckingham. A 
 
 : vf 0 number of the above are on India paper, and in bust and 
 
 full-length. Atlas folio, full green morocco, gilt edges, 
 somewhat rubbed, the margins of a few plates spotted. 
 
 | London: Calnaghi, circu 1820 | 
 
 The original paintings which Cooper here reproduced in en- 
 
 graved form were all owned by the Duke of Buckingham and 
 
 included the Chandos portrait of Shakespeare, perhaps the 
 
 most famous of the Cooper plates. Among the others may 
 
 be noted,—Count Gondomar, after Velasquez; Marquis de 
 
 Vieuville, after Van Dyck; Richard, Duke of Buckingham, 
 
 after Saunders; Jane Seymour, the Duke’s private plate and 
 
 Cooper the engraver’s own proof; Mary, Queen of Scots; 
 
 Charles II.; Sir Bevil Genvil; and others. , CAVA 
 
 395. FENELON (FRANCOIS DE LA MOTHE). Les Aventures 
 go de Télémaque. Gravées @aprés les desseins de Charles 
 y ai Monnet par Jean Baptiste Tilliard. 4to, half morocco, 
 gilt back and top, uncut. Paris, 1773 
 Fixe copy. Inserted is a portrait of Fénélon engraved by 
 St. Aubin, and an original pencil drawing of Fénélon’s monu- 
 
 ment by Gauthier. The text is engraved throughout. 
 
rnrotn, ple; 
 
 396. FLORENCE GALLERY. Tableaux, Statues, Bas-reliefs et 
 
 hid 
 
 J 0 
 
 —— 
 
 Camees, de la Galérie de Florénce, et du Palais Pitti. 
 Dessinée par Wicar et gravée sous la Direction de M. 
 Lacombe, avec les Explications par Mongez. Frontispiece 
 and 192 plates containing about 400 engravings after the 
 most celebrated paintings, statuary, cameos, &c. 4 vols. 
 in 2, atlas folio, (1 vol.), full red straight-grained morocco 
 and (1 vol.) faded red boards, morocco back, both gilt 
 backs, uncut, binding somewhat rubbed. Paris, 1789-1807 
 OricInav Issue with brilliant impressions of the plates, and 
 printed on papier vélin. Does not contain the eight plates 
 published by Aillaud in ue 
 < 
 
 397. FRENCH EIGHTEENTH CENTURY ENGRAVING. 
 
 ld 
 
 po 
 
 [ Collection Complete de Soixante—Six Portraits des Per- 
 sonnages qui ont le plus figure dans La Revolution Fran- 
 caise.| A series of 66 oval portraits in mezzotint engraved 
 by Levachez, with etched scene and biographical text be- 
 neath each portrait, by Duplessi-Bertaux. Folio mounted 
 to atlas folio, old red morocco, wide dentelle cover-borders, 
 gilt back, gilt edges, somewhat rubbed. 
 Late Eighteenth Century 
 A FINE SERIES OF PORTRAITS BY LEVACHEZ, MOST OF THEM 
 SAID TO HAVE BEEN SKETCHED FROM LIFE, with a number in 
 PROOF STATE BEFORE ALL LETTERS, and many BRILLIANT IM- 
 pressions. Includes,—an early portrait of Napoleon, por- 
 traits of Robespierre, Marie Antoinette, Marquis de La- 
 fayette, Marat, Charlotte Corday, Bernadotte, Mirabeau, 
 Napoleon’s generals, and others. 
 Laid in is a List of the portraits with notations of their 
 condition. 
 Binding is a fine specimen of late eee century work. 
 
 398. HEARN (LAFCADIO). rarely Katey rate ea ni 
 
 English by Hearn;—The Boy who drew Cats, Chin Chi 
 
 Kobakama, and the Old Woman who Lost her Dumplings. 
 (Lacks the Goblin Spider, to complete the set of four.) 
 Printed on Japanese crepe paper, with numerous full-page 
 plates and text illustrations in colors by Japanese artists. 
 First Epirions. ‘Together, 3 vols. 12mo, pictorial wrap- 
 
 pers tied with silk. Tokyo: T. Hasewaga, [1902 | 
 
399. HOLBEIN (HANS). Imitations of original drawings by 
 
 Poe 
 
 Hans Holbein in the Collection of his Majesty, for the por- 
 traits of illustrious persons of the Court of Henry VIIL., 
 With Biographical Tracts [by E. Lodge]. Published by 
 John Chamberlaine. Atlas folio, half green morocco, gilt, 
 gilt edges, binding somewhat rubbed and faded on edges, 
 portions of a few leaves mended, and extreme margins of 
 some plates discolored. London: W. Bulmer & Co., 1792 
 
 Contains 84 tinted portraits (on 83 plates), engraved, chiefly, 
 by F. Bartolozzi, although several are by Metz, and include 
 the full-page frontispieces,—the portraits of Holbein and his 
 wife,—the two Miniatures of Charles and Henry Brandon, 
 Dukes of Suffolk, Jane Seymour, Sir Thomas More, and 
 numerous others, several plates dated same as the original 
 issue [1792], and most of the others with dates from 1792 
 
 to and including 1800. wos ey via. 
 
 400. HOUSE OF BOURBON. Rois, Reines et Princes de la Maison 
 
 At 
 
 de Bourbon. depuis Henri IV. Jusqu’a nos Jours. Galerie 
 de Portraits. 12mo, full red morocco, gilt back and sides, 
 with large letter “M’’ surmounted by gold crown back and 
 front centres, gilt edges. Paris: Firmin Didot, 1829 
 Includes portraits of Henry IV., Marie de Médicis, Louis 
 XIII., Prince de Conde, and others. In all, 82 portyaits. 
 
 401. LIBER NUCARUM: A Series of Mezzotint Plates (12), en- 
 
 koe 
 
 graved by Samuel W. Reynolds after the Honorable Caro- 
 lina Courtenay Boyle. Proofs on India paper. Oblong 
 sizes, various, mounted to oblong 4to, half green straight- 
 grained morocco, gilt edges. [ London, n. d. | 
 
 A CHARMING SERIES. 
 
 MAA Og VAL 
 
 402. MORLAND (GEORGE). Dawe (George). The Life of 
 
 ham 
 
 Morland. With Remarks on his Works. (Portrait and 
 
 engraved title. 8vo, full dark-green levant morocco, inside 
 
 gilt borders, gilt top, by Bretault. London, 1807 
 The scarce First EDITION of this well-known Life of Morland, 
 EXTRA-ILLUSTRATED by the insertion of over 50 plates, a 
 number full-page and in colors by F. Bartolozzi, many in 
 sepia, &c. after the artist’s famous originals. 
 Includes the set of 6 scenes from the “Progress of Laetitia,” 
 engraved by Bartolozzi in colors. 
 
tableaux, statues et Bas-Reliefs de la Collection’ Royale, 
 : a par Henri Laurent. About 130 plates, fine impressions. 
 / a — 2 vols. atlas folio, full morocco, gilt sides and backs, gilt 
 edges, binding and part of text in poor condition. Sold 
 w. a. f. Paris, 1816-1818 
 
 Most of the plates are in excellent shape and might be used, 
 
 perhaps, in filling in other copies. Ve 
 404, PASS (CRISPIN DE). Regiae Anglicae Maiestatis pictura, 
 et Historica declaratio. Five engraved plates as follows: 
 Cece Title, genealogical tree, King James I, Queen Anne, and 
 Henry, Prince of Wales; all brilliant impressions. (Lacks 
 portrait of Queen Elizabeth). First eprrion. Royal 8vo, 
 wrappers, fold-mark across centre of each plate, shaken. 
 
 £ i i, Coloniae, 1604 
 405. PRENNER (A. J. DE). Theatrum Artis Pictoriae quo 
 Tabulae Depictae, &c. 4 parts in one volume. 160 
 
 Pp Ae. plates. Folio, full red levant morocco, gilt, inside gilt bor- 
 
 ders, gilt edges. Otte na, 1728-1733 
 
 406. THOMSON (JAMES). The Seasons. Illustrated with en- 
 gravings by F. Bartolozzt and P. W. Tomkins, from the 
 re rd Original Pictures painted for the work by W. Hamilton. 
 —~ Imperial 4to, half calf, somewhat rubbed. London, 1797. 
 The Large Type Edition containing 21 beautiful plates ex- 
 
 hibiting some of the best work of Bartolozzi amd his school 
 
 407. TURNER (J. M. W.). The Seine dnt We Loire. Illustrated 
 by 61 engravings in pure line after drawings by 
 
 [ i Introduction and Descriptions by M. B. Huish. Oblong 
 pa 16mo, mounted to folio, loose, in cloth portfolio, somewhat 
 
 rubbed. London, 1886 
 
 INDIA PAPER PROOFS. we ; Coy 
 
 408. WHISTLER (J. McNEILL). The Etched ork of 
 
 Whistler. Compiled and Arranged and DescriWed by Ed- 
 ALO ‘¢ =ward G. Kennedy. With an Introduction by Royal 
 Cortissoz. Illustrated by reproductions in collotype of the 
 different states of the plates. One volume of text (4to) ; 
 and three portfolios of plates (4to), comprising over 1000 
 
reproductions, with the Extra Plate of No. 213, “ Nocturne 
 Furnace,” with important variation. Together, 4 vols., 
 
 half cloth and boards, and loose sheets in portfolios. 
 New York: Grolier Club, 1910 
 
 THE MOST EXHAUSTIVE PUBLICATION THAT HAS APPEARED ON 
 THE ETCHED woRK OF WHuisTLER, and one of 402 copies 
 printed at the De Vinne Press on old Stratford paper. There 
 are 446 etchings chronologically described, many with the 
 assistance of Whistler, or from memoranda left by him, prints 
 have been measured and the variations in size marked. A 
 complete list of the plates known to have been destroyed or 
 cancelled is included with an additional list of 82 plates, 
 which from their rarity may be assumed to have passed out 
 of existence. Many of the cancelled plates are reproduced, 
 also, together rormineé over 1,000 rEPRopUcTIONS of various 
 states of the plates. - ; 
 
 The author in his “Notes” gives a very interesting account of 
 his interview with Whistler concerning the proposed catalogue 
 which resulted in securing his hearty consent and co-opera- 
 tion. 
 
 THIS MONUMENTAL WORK IS NOT OFTEN MET WITH AT 
 PUBLIC AUCTION SALES, THIS COPY BEING ABOUT THE THIRD SO 
 
 OFFERED. y +f. 
 
 3 ¢¢ 409. WIERIX (J. H.). Nine engravings by Wierix of Scenes from 
 the Passion of Our Saviour. (Complete work is composed 
 of 18 plates.) Small 4to, half crushed levant morocco. 
 
 Circa XVIth Century 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 UNRESTRICTED PUBLIC SALE BY ORDER OF THE OWNER 
 Fourth Session, Numbers 410 to 467, Inclusive 
 
 THURSDAY EVENING, MARCH 5th, AT 830 O’CLOCK 
 
 ORIGINAL DRAWINGS 
 
 UNKNOWN. 
 410. STUDY AFTER GREUZE. (3 ; Ts 
 (Drawing.) 
 
 ¢ 72 HoT7t67 Waise 
 Drawing in sepia tones picturing the eae of the mother, with 
 anguished eyes and clasped hands, in Jean Baptiste Greuze’s 
 “Paternal Malediction” in the Louvre. On the back is 
 written: ‘25 Janvier, 1857; étude de la mére; de la ‘ Malé- 
 diction paternelle ’ de Greuze (au Louvre).” 
 
 LEIGHTON, SIR ae Pd 1830- 1896. 
 
 411. DRAPED FIGURE. 
 Rael CAE 
 et He Wiese 
 Lower part of the figure of a seated woman whose loose robes 
 have fallen to the waist; the upper figure indicated. She is 
 
 faced toward the left. 
 WE 
 
 Color. ) 
 
 THOMSON, HUGH, R.I. English, 
 
 412. THE BORE. 
 (Pen and Ink Drawing, witl 
 sae . H. 1214” W. 8” 
 A young woman with long curls drawn forward over her 
 shoulder, out for a promenade, is walking between a garrulous 
 
and animated young man and a staid, persistent old one, both 
 with wigs and cocked hats and in bright colors and small- 
 clothes—the bore spoiling an otherwise happy meeting. ‘They 
 are seen against a background of a house with an iron fence 
 in front of it. 
 
 Signed at the lower right, Hu Thomson, 1908, one of the 
 drawings for an edition of Evelyn. 
 
 GOULD, F. CARRUTHERS. English, Contemporary. 
 
 413. TWO POLITICAL CARTOONS. Vy COP eae 
 (Pen and Ink once (eee ; 
 
 y y, alee A—Mutual Efforts. 
 Peo Ly. 12"" 
 
 Joseph Chamberlain and Arthur Balfour are pictured out in 
 the wide, wide sea, in rowboats, each having come to “ rescue ” 
 the other. Published in the Westminster Gazette of Septem- 
 ber 24, 1904. 
 
 Signed at the lower right, F. C. G. 
 B—His Ninth (?) Life. 
 A take-off on the Government’s passage of the Aliens Bill and 
 
 its political effect. Published in the Westminster Gazette of 
 May 6, 1905. 
 
 PENNELL, JOSEPH. American, Contemporary. 
 414, EAST RIVER BRIDGES, NEW Y 
 
 ORK. 
 (Drawing. ) ; Pec ilge le. 
 
 Hesie” Tet” 
 
 eS <i From some high building down town the observer looks down 
 upon roofs of lower New York and off over the East river, the 
 Brooklyn bridge appearing in the middle distance and the 
 (then) uncompleted Manhattan bridge beyond it, while far 
 in the distance the Blackwell’s Island bridge is indicated. 
 Numerous steamers are in the river. An original drawing by 
 Mr. Pennell which has not been engraved. 
 
 Exhibited at Keppel’s. 
 
PENNELL, JOSEPH. (Continued) 
 
 415. NEW YORK HARBOR. ; 
 ( Drawing.) i 
 
 Se Odes H. 8144” L. 11” 
 An original sketch by Mr. Pennell which has not been en- 
 graved. In the foreground a ferryboat is in its slip and 
 another is steaming for the neighboring slip. To right and 
 in the distance are the winding river, and the bridges, and 
 buildings of the city. | 
 Exhibited at Keppel’s. 
 
 DOMENICHINO, DOMENICO ZAMPIERI. 
 
 416, A HEAD. 
 CHERUB’S HEAD. VORA: é, 
 ithe ( Drawing.) 
 ( ‘— H. 414” W. 4” 
 
 A drawing, washed in, of a most expressively modeled head, 
 in sepia tones, the eyes in concentrated gaze toward the left 
 and back of the spectator, and the mouth open as in singing. 
 
 FRAGONARD, JEAN HONORE. French, 1732-1806. 
 417. STUDIES AFTER CARRACCI. 
 (Pencil Drawings.) d, 
 ener. H. 814” L.12”VL. VL. LIAM BNW 
 YON me Studies in the nude of men wrestling or in combat—one a i 
 single figure, the other depicting two men, one on the back of 
 an opponent who is on his knees. Inscribed in memorandum, 
 * Fragonard (voyage d’Italic avec Bergeret).” 
 
 CAMERON, D. Y. Contemporary. 
 
 418. DOLO. 
 (Pencil Sketch.) ia (pee 
 H. 534” L. 914” 
 
 oS An original sketch by D. Y. Cameron, which has not been 
 engraved. A part of a low cottage comes into the picture 
 from the right, extending across it, and over a slanting roof 
 at the left the top of a tree is seen. Through an open door a 
 figure is seen in the interior, lighted from a window in the 
 farther wall of the house, and in the recess in front is another 
 small figure, while outside, on the right, a young woman is 
 leaning against a building wall. 
 Signed at the lower left “ Dolo, D. Y. Cameron.” 
 
“UddPOUT NY pue petpunyy IMO Loquin yy 
 “OFPIULLOY TT urjsneny uod'T, 
 
 ‘CUVAUNIA AHL NI 
 
 2) Tew a ays 
 
L’HERMITTE, LEON AUGUSTIN. French, 1844- ——. 
 419. IN THE VINEYARD. 
 
 (Charcoal Drawing. - po ee 
 
 H. 814,” L. re hert- OR pee 
 
 /50 *— hillside vineyard of France is seen, sloping from the left to 
 a plain, a single tree preserved on the sunny slope. In the 
 
 foreground a handsome peasant woman with a man and boy 
 are at work among the vines. 
 
 Almost contemporary with a similar painting in the Metro- 
 politan Museum of Art. 
 
 Signed at the lower right, L. L’hermitte. 
 [See Illustration. ] 
 
 WATER-COLOR DRAWINGS 
 
 JACQUEMART, JULES FERDINAND. French, 1837- 
 1880. 
 
 420. ILLUSTRATIONS OF PORCELAINS. 
 (Water Color.) Wy . Treacher Cog. 
 H. 814” W. 6” y 
 —v¢_ "Two original water-color drawings made by the artist for his 
 
 book on china. 
 
 A—An ovoid jar in vitreous Italian porcelain, with handle 
 and spout, and shoulder ornaments in relief; white, decorated 
 with figures, masks, scrolls and foliations in pale blue, and 
 having several borders. 
 
 B—F luted cup, sweetmeat tray, shallow bowl or dish and two 
 cylindrical jars, in blue and white French china with some 
 Oriental suggestions. 
 
 Each drawing signed at the lower right, Jules Jacquemart. 
 
 BOUGHTON, GEORGE H., N. A., R. A. American, 
 1834-1905. 
 
 421. NEAR ESTENDALE. A 
 
 (Water Color.) CLK ru 
 
 Ye H. 1814” W. 934” ' 
 A rambling gray church building with brown tile roof stands 
 in the sun in a green churchyard, odd corners of it coming 
 
into the picture. A green vine climbs one wall, a yew-tree 
 is seen in an elbow and a rose tree in blossom is in the fore- 
 ground, while in the deep shadow of trees in the background 
 tombstones come into view. 
 
 On the back, Mrs. Boughton’s certificate that it is her hus- 
 band’s work. 
 
 From Mrs. Boughton’s sale, London, 1905. 
 
 LYNCH, ALBERT. American, 1851. 
 422. AN EVENING CALL. 
 
 (Water Color.) NE Ore. asso. : 
 H. 1514” W. 1014” 
 In a French salon with carved gilt and tapestried furniture 
 two bearded men are approaching, come to call on a smiling 
 young woman who is seated easily on a long sofa. She has 
 reddish-blond hair and wears a short-sleeved décolleté gown 
 of canary silk with stripes. Near her a younger girl in white 
 is embroidering in the bright light of a lamp. 
 Signed at the lower right, Albert Lynch. 
 From the A. Blumensteil sale, New York, 1906. 
 
 if 
 
 / 
 
 f ce oi 
 Nee 
 
 WITSON. American Artist, Contemporary. 
 
 423. A BIT OF OLD AMSTERDAM. 
 (Water Color.) 
 
 Piet ly 28 ( 
 
 eS The foreground is part of a dark, blackish-green canal. <A 
 bluish-gray rowboat lies in it, against a house wall, and at 
 the left the stern and rudder of a reddish-gray boat are seen. 
 The buildings across the background are gray, brown and 
 green-tinged brick, some of them covered with gray plaster. 
 In the window of one a figure is seen, and on the window sill 
 of another is a row of green plants in earthen jars. 
 Signed at the lower right, Witson. 
 Owner’s memorandum seems to indicate that the painter is an 
 American. 
 
LE VIEUX CELIBATAIRE. 
 Vincent Jean Baptiste Chevilliard. 
 Number Four Hundred and Twenty-five. 
 
GREGORY, EDWARD JOHN, R. A. English, 1850. 
 
 424. THE STANDARD BEARER. 
 Water Color. UL is : : 
 Fa 81,” W. Na Y a, ee OK CAVLOVON PLU, 
 A man in plate armor stands facing the right, his figure 
 on-7 < three-quarters front and face in profile, seen against a leather- 
 brown wall. The sunlight on his armor turns it a silvery 
 gray, with tinted modifications. Folds of the standard are 
 in view, on its long staff, which, resting on the ground, leans 
 against his shoulder. 
 Signed at the lower right, E. J. Gregory, °78. 
 Exhibited at the Royal Jubilee Exhibition, Manchester, 
 England, 1887; owner, C. J. Galloway, Esq., of Knutsford. 
 From the Galloway sale at Christie’s, London, where some 
 eighty of Gregory’s pictures were sold in succession without 
 affecting values. — 
 
 CHEVILLIARD, VINCENT JEAN BAPTISTE. 
 French, 1841-1904. 
 
 425. LE VIEUX CELIBATAIRE. y, 
 
 (Water Color.) UC 0 le ae ee | 
 
 be H. 8” W. 514” eck 
 An aged cleric in skull-cap and spectacles, standing in a 
 bright light and facing the onlooker, turned a bit to his left, 
 has drawn back one side of his long black gown and is sewing 
 a button on his brown trousers—his red suspenders seen 
 
 above them against his white shirt. 
 
 Signed at the lower right, V. Chevilliard. 
 [See Illustration. ] 
 
 JOHNSTONE, H. J. English, lately deceased. 
 426. THE MILLET GATHERER. 
 
 (Water Color.) Ce 
 
 PGT OU Wate ee 
 
 anos + A barefoot maiden with her light brown fair hanging below 
 
 her shoulders and loosely tied back of her ears with a blue 
 ribbon, is coming along a path bordered by grass and flowers 
 
4 
 _ 
 
 THE MILLET GATHERER. 
 H. J. Johnstone. 
 Number Four Hundred and Twenty-six. 
 
at the border of a canal. She is clad in lavender, white and 
 rose-pink of delicate quality, and carries an armful of yellow 
 millet and a cluster of blue flowers. In the background the 
 thatched roof of a cottage shows pink. It is a study in pinks 
 down to her little pink toes for she is farefoot. 
 
 Signed at the lower left, H. J. Johnstone. 
 [See Illustration. | 
 
 COOK, EK. WAKE. Contemporary. 
 427. AN EASTER PROCESSION—LAKE OF ORTA, ITALY. 
 
 (Water Color.) . A ' 
 
 Pert lie 1714" a te Were 
 
 oF J The rugged mountains, rich in subdued color and massive 
 grandeur, mount -into a white and pale greenish-blue sky 
 across the background, and cradle the pale blue lake in a 
 middle-distance valley at their feet. In the foreground a 
 -mountainside sloping from the right to the water’s edge is 
 gorgeous in a sun-lighted vernal efflorescence, amid a wealth 
 of chromatic brilliance in the walls and tile roofs of many 
 buildings which enhances the effect of the blossoms. Near the 
 foot of the slope a religious procession of the season is in 
 
 progress along a narrow street. 
 
 Signed at the lower left, E. Wake Cook. 
 [See Illustration. ] 
 
 BOUGHTON, GEORGE H., N. A., R. A. American, 
 1834-1905. 
 
 428. THE RETURN OF RIP VAN WINKLE. 
 (Water Color.) 2 ONS ¢ 
 ) 2 a Heo” L.12b5" 
 Old Rip in familiar tatters and Arctic beard, carrying his 
 rusty gun, comes from the left around a corner of a dilap- 
 idated gray clapboard cottage with broken windows, to be 
 confronted by an hostile barking dog, where he had hoped to 
 
 meet the affectionate ** Schneider.” 
 Signed at the lower left, G. H. Boughton. 
 
— 
 ‘uaAas-AyUOA L pue potpunyy ANO pT Toquin NT 
 
 OOD) BAA 
 
 ‘NOISSHOOUd ULLSVA NV 
 
BOUGHTON, GEORGE H. (Continued) 
 429. (ILLUSTRATION FOR “ THE ee LETTER.” ) 
 
 a ee 
 
 (Water Colors.) Ae, Y) 
 
 Original drawings for the Grolier Club’s special edition of 
 Nathaniel Hawthorne’s masterpiece. Each accompanied by a 
 specimen of the artist’s handwriting, which is framed under 
 glass in the back, giving the title of the illustration and an 
 extract from the book reciting the incident depicted. Prob- 
 ably the artist’s last works. 
 Hester ON THE Pittory. (Chap. III.) 
 
 2 H. 1014 iad W. 16” 
 Her daa hair parted in the middle, face pale and eyes 
 directed upward, Hester stands firmly and alone on the plat- 
 form, above the heads of the crowd around it, holding her 
 baby in her arms, the scarlet letter on her breast. She wears 
 a pale, faded-green gown, with white. About in the street the 
 populace gape and gabble, old women look out of windows 
 and the great of the community look on and judge from a 
 balcony. 
 
 Signed at the lower left, G. H. B. PO Sro 
 LAL 
 
 430. (ILLUSTRATION FOR “THE SCé er LETTER.”) 
 
 y Ot 
 
 ¢¢ Atas, WHAT RUIN HATH BEFALLEN THEE!” sAIp HEsSTER, 
 WITH TEARS GUSHING INTO HER EYES.” (Chap. XVII.) 
 
 Peel On We? 
 Dimmesdale and Hester are alone in the wood, she seated on a 
 green bank that is partly covered with the “ withered leaves ” 
 of which their conversation makes mention, he half-reclining 
 in supplicating attitude at her side, his hand clasping hers 
 on her lap. 
 Signed at the lower right, G. H. Boughton. 
 
 431. (ILLUSTRATION FOR “THE SCARLET LETTER.”) 
 
 “ee 
 
 Hester AND THE CLERGYMAN IN THE Forest. (Chap. 
 
 XVIII.) ey 
 H. 10” W. 7” DVM prt 
 
 He is seated on a green bank at the foot of a tall tree, holding 
 her right hand in his and with his left touching her arm. She 
 is standing—in a gray-brown dress and wide white collar and 
 apron. (‘ With this symbol I undo it all.”’) 
 
 Signed at the lower left, G. H. Boughton. 
 
 Lots 429, 430, 431 came from the Grolicr Club’s auction sale. 
 
BIRD, HARRINGTON. Contemporary. 
 432. MARE AND FOAL. ; np 
 
 (Water Roe: 
 H. 1444” L. 2084” 
 
 A handsome sorrel mare, trim and nervous, with sensitive 
 
 nostrils and alert eyes, is trotting lightly about a yellow-sandy © 
 
 flat desert, without harness or halter, her deer-colored colt 
 running along a bit ahead of her all four feet from the 
 ground. ‘The mare’s coat is glossy in the sunshine, and of 
 even tone, modulated by the high lights; her mane and tail 
 perfectly match it, and she has three white ankles. The colt’s 
 mane and tail are a light yellow. The sandy plain is dotted 
 with tufts of coarse, yellowish-green grass, in the distance a 
 range of low blue hills is vaguely seen, and the cloudless sky 
 is a light, sunny blue. 
 
 Signed at the lower right, Harrington Bird, 1905. 
 
 433. ARABIAN HORSES. 
 
 reg 
 
 (Water Color.) yy, ST gegen 
 H. 1414” L. 2034” 
 
 From life; based on Sir J. Blount’s Arabs, in England, with 
 an Egyptian background. The horses, a pure white one and 
 a red-sorrel with light mane and tail, are moving with spring- 
 ing step and heads high, in the care of a dark-skinned native 
 with white burnoose who walks between them, grasping their 
 bridles firmly. The bridles are red, with curb bits, and red 
 tassels dangle from the throat-latch. The horses are in bright 
 sunshine on a yellow sandy plain bounded by blue and barren 
 desert hills, and they are passing a stone garden wall over 
 which are seen trees and luxuriant bushes. 
 
 Signed at the lower right, Harrington Bird, 1899. 
 
 434, ARABIAN HORSES. 
 
 eis 
 
 (Water Color.) =A 7 oe 
 H. 14144” L. 2034” 
 
 From life; based on Sir J. Blount’s Arabs, in England, with 
 
 an Egyptian background. Two prancing Arabian steeds, 
 
 harnessed only in red bridles, with curb bit and a red tassel 
 
 pendant from the throat-latch, are in the care of an Arab 
 
 attendant in a red fez who walks or runs along between them, 
 
hanging tightly to the leather as they toss their heads high. 
 One horse is white, the other a rich bay, and they are in 
 brillant sunlight on a hot, yellow, sandy plain. Beyond them 
 is a white stone wall enclosing a tropical garden, and in the 
 distance are low hills ; the whole under a deep cerulean sky. 
 
 Signed at the lower left, Harrington Bird, 1905. 
 
 PAINTINGS 
 
 CLOUET (?).- 
 435. MINIATURE PORTRAIT OF QUEEN ANNE BOLEYN. 
 
 Sot 
 
 BISSCHOP, CHRISTOPH. Dutch, 1828. 
 436. NUN READING. 
 
 ae 
 
 H. 4” W. 31.” Gee, NG & / 
 - (Oval.) | A brn. 
 
 Fair frailty which fell twice a victim of KM Henry VIII is 
 pictured in engaging aspect, at half-length, turned toward | 
 the right, three-quarters front, her large eyes looking straight | 
 in front of her, her pink lips in a cupid’s-bow. Her gold- 
 embossed headdress is adorned with pearls, as is her royal 
 purple waist, and a damask shawl or mantle falls over her 
 arms. She appears in décolleté, corsage edged with diaph- 
 
 anous material lightly drawn into folds. 
 
 Pe {haa J ; \ 
 Hh Saree 6” YUA. & Char grrr, 
 
 A young nun in brown habit, with white headdress, and blag 
 veil or head-covering thrown back, is seen at nearly full 
 length, standing beside a green table on which she rests her 
 right hand. She faces the right, three-quarters front, with 
 the light full on her face, and is reading a letter, which she 
 holds in her left hand, by the bright light of a candle in a 
 sconce at the left of the picture. On the green table are some 
 red rosebuds, and the wall behind her is paneled in brown 
 wood above a deep dado of dark green. 
 
 Signed at the lower left, on the table, C. Bisschop. 
 From Christie’s, 1905. 
 
INNOCENTI, G._ Italian, Contemporary. 
 437. WINDING THE SKEIN. 
 
 ( Panel.) (0 
 
 Hie alo are 
 
 In an interior with ornamental vases and statuary, and rich 
 rugs of bright colors on the floor, two people are whiling the 
 time and discouraging mischief in the useful and diverting 
 occupation of ‘ winding the skein ” and making up a ball of 
 yarn. A young woman with an abundance of brown hair, in 
 a blue and white dress of lace effect, is seated, her feet on a 
 footstool, winding the yarn which is spread between the hands 
 of a standing gallant in three-cornered hat and short-clothes, 
 who has outstripped her in years. The light, admitted by a 
 window at the left, falls upon his back and illumines her face. 
 
 Signed at the lower left, G. Innocenti, 1874. 
 
 BOUGHTON, GEORGE H., N. A., R. A. American, 
 1834-1905. 
 
 ROL 
 
 438. MILTON AT TABLE. Re 
 ( Panel.) VIAN : 
 
 g¢ 
 
 H. 9b 15% 
 
 A study for a larger picture which is owned in this country. 
 The brown and grayish-pink interior of a cottage is shown, 
 its ample windows of small panes giving upon a kindly, sun- 
 lit country through which a gray river flows. At, a round 
 table near a window the white-haired poet sits, facing the 
 spectator, and a woman in blue, brown and white is bringing 
 food, while a young girl follows her with a jar. At the 
 opposite side of the table, his face seen in profile, is a younger 
 man, red-haired and clad in brown. 
 
 On the back is the following certificate: 
 
 “This is to certify that lot No. 5 of the Leicester Galleries 
 Catalogue, ‘ Study for the Milton Picture,’ though unsigned, 
 is the work of my late husband, G. H. Boughton, R. A. 
 
 ** (Signed. ) Kate Boughton, 
 * June 16, 1905. 
 
 * Being small sketch for a larger one in America.” 
 
 Purchased by Mr. Hoskier at Mrs. Boughton’s sale, 1905. 
 
‘qYS1-Ap.UYT, puv porpunyy 1n0,7 oquiny 
 ‘uoySNog ‘fT ss.100% 
 
BOUGHTON, GEORGE H., N. 4A. R.. A. American, 
 1834-1905. Vr. : 
 
 439. IZAAK WALTON AND THE MILKMAIDS. 
 
 BLINKS, 
 440. POINTERS. 
 
 OFC im 
 
 Heopaieeee ta 
 
 Sketch for a larger painting which is owned in ne country. 
 A green countryside of verdant England is pictured on a gray 
 day when, however, there is some sunshine coming through | 
 cloud-rifts and dappling the moist pastures with shadows. 
 Across the background is a hill along the foot of whose slope 
 a pastoral river winds, moving into the foreground on the 
 left, while on the right of the stream are fresh fields where 
 cattle are grazing. ‘The famous angler, a middle-aged man 
 with long gray hair, gray moustache and goatee, and clad in 
 gray, stands near the edge of the river in the left foreground, 
 facing the right and seen in profile, his rod lying on the grass 
 in front of him. He had been preparing bait, but has turned 
 to regard two buxom wenches who are coming along through 
 the field, each carrying a head-load and one a milk-pan or 
 pail. Back of Walton a companion in dark apparel, seated 
 on the bank and whose line is in the stréam, has turned also 
 to look at the passing milkmaids. 
 On the back is this certificate: 
 “This is to certify that No. 49 of the Leen Galleries 
 Catalogue, ‘Isaac Walton and the Milkmaids,’ though un- 
 signed, is the work of my late husband, G. H. Boughton, R. A. 
 “* (Signed. ) Kate Boughton, 
 
 * June 16, 1905. 
 * The above being small sketch for the larger one in America.” 
 
 Purchased by Mr. Hoskier at Mrs. Boughton’s sale, 1905. 
 
 T. Contemporary. DeuE. KO y, 
 
 H, 14°71, 181,” 
 
 A yellowish-green hillside, low and of gentle slope, seen close 
 at hand against a high horizon on the left, falls away to the 
 right, and exposes beyond it a rolling plain of brown and 
 yellow fields. On the near-by slope the soft grass is inter- 
 mingled with taller patches of rich brown growths, the whole 
 landscape bespeaking autumn. Here on the hillside two 
 pointer dogs, a white one with light brown head and ears and 
 
‘oM4-AJIOY pu parpuny_T Io sroquiny 
 NVI} AA IUIOJUY 
 ‘NUTTOL OS GNYTYH SIH GNV OVALOIVM 
 
SANCHEZ-PERRIER, EMILIO. Spanish, 
 
 a black and white one, are seen standing across the picture, 
 heads extended and tails straight out, their keen eyes intent 
 upon a bird that has risen which is not seen by the onlooker. 
 
 Signed at the lower left, T. Blinks. 
 
 -1907. 
 
 441, FISHING ON THE SEINE. 
 
 mak Helse 
 
 (Panel.) “Vea Cae 
 
 Hiss We abl 
 
 Light gray clouds with yellow-white ones fill the sky, and the 
 day is breezeless. The Seine, a blue-gray streak, coming into 
 the picture in the distance on the right, sweeps along a richly- 
 wooded bank which bounds it on the left, and its mirror- 
 surface is colored with green pictures of the trees and reflec- 
 tions of several rowboats drawn up with their noses against 
 the bank in the foreground. In each is a man, patiently fish- 
 ing. Back of them two tall poplars shoot high above the 
 surrounding trees. In the distance an omnibus is crossing a 
 stone-arched bridge. 
 
 Signed at the lower left, E. Sanchez-Perrier, Paris, 782. 
 
 WATTEAU, ANTOINE. French, 1684-1721. 
 442, WATTEAU AND HIS FRIEND ST. JULIE 
 
 39 ge 
 
 H. 16” L. 18%” 
 
 A double portrait and a picture, the friends being seen in a 
 romantic landscape setting. The artist has depicted himse 
 standing, palette and brushes in his left hand, back of his 
 seated companion, over whose head he looks straight at the 
 observer. He is garbed in blue, with flowing sleeves and lace 
 cuffs, and wears the full gray wig of the day. St. Julien, 
 sitting in front of him, and also looking directly at the on- 
 looker, is playing the ’cello. Music lies on the ground beside 
 him. He is clad in old-rose and gray. Their gathering-place 
 is at the ancient ruins of a cathedral or monastery, through a 
 broken arch of which a varied landscape is seen. In it, at 
 some distance, is a woman standing under a tree. 
 
 [See Illustration. ] 
 
CLAUSEN, G. Contemporary. ch, is ? : 
 443. A TIFF (A LOVERS’ QUARREL?) Cinth La 
 H. 22” W. 1414” 
 
 a The portrait, nearly full length, of a vigorous, muscular 
 
 =, oS young woman with fair hair and rosy cheeks, standing close 
 
 at hand at the edge of a tennis court and leaning against the 
 
 corner of an ivy-covered brick building, with one knee lightly 
 
 flexed. She is looking toward the observer. She wears a 
 
 loose dress of grayish-pink trimmed in red, and her broad- 
 
 brimmed hat, tilted back, frames her handsome but worried 
 
 face in its lining of red of a similar hue. She holds a tennis 
 
 racquet in her partly-folded hands, and the cause of the dis- 
 
 pleasure and resentment depicted in her pretty face is seen in 
 
 the person of a man in white flannels on.the other side of the 
 
 net, standing, racquet behind him, with his back to her and to 
 
 the spectator. In the background is a flowering garden in 
 front of trees. 
 
 Signed at the lower left, G. Clausen, 1880; and on the back: 
 “A Tiff,” G. Clausen, 1880. 
 
 DE BELGIM.. SERENDAT. Contemporary. 
 
 444, JEUNE FEMME DEMI-NUE. k9 L AU PRES 
 
 H. 2114” W. 15” 
 
 Cia ae A placid-minded and frank young woman, standing faging 
 
 the spectator, is seen at one-half length against a neutral 
 background of brown and olive notes. Her upper body is 
 nude and she holds about her hips a filmy white drapery 
 which falls lightly over one forearm. She is turned very 
 slightly to the left, and her head is back-tilted and poised 
 over her right shoulder, while she holds up a pinkish-white 
 rose to inhale its fragrance, looking meanwhile with calm 
 interrogation at the observer. She has an abundance of 
 chestnut hair, and regular features which are emphasized by 
 a slightly retroussé nose. On her right side the cool white 
 flesh is in sunlight, while in front and toward her left, flesh 
 and drapery reflect the rosy glow of a fire. 
 
 Signed at the lower right, Serendat de Belgim. 
 
ore, 
 
 (Jamie 
 
 ee et ee, ee ee 
 
 \ 
 
 “LADY HAMILTON” (AS A MAGDALEN),. - 
 George Romney. 
 
 Number Four Hundred and Forty-five. 
 
ROMNEY, GEORGE. English, 1734-1802. 
 445. LADY HAMILTON (AS A MAGDALEN?). 
 
 sor sapects Wie Lid 
 Ve ay ie 
 
 H. 24" We20" 4, . (B 
 
 The fair beauty of romantic capacities is here pictured with 
 
 tive head as though blown by strong breezes. She is seen head 
 and bust, toward the left, her shoulders leaning forward and 
 face of sensuous hunger upturned—the head thrown back— 
 the blue eyes, half-hidden in the upper lids, looking far up- 
 ward with beseeching expression and the small mouth partly 
 open. The face is turned three-quarters to the front. She 
 
 -wears a loose white waist and pale blue mantle or scarf, and 
 
 is seen against a dark background. 
 [See Hlustration. | 
 
 MIGNARD, PIERRE. Frence, 1610-1695. 
 446. LE DUC D’ORLEANS Pe 
 
 H. 27” W. 22144” 1 ee 
 (Oval.) Re 1 Me Lge 
 
 Pepe 
 
 A handsome young prince or nobleman is depicted at one-half 
 length, in brilliant plate body-armor richly ornamented with 
 gold. He wears a wavy periwig of chestnut hue whose curling 
 abundance frames his delicate features and shrouds his 
 shoulders, and beneath his chin is an elaborate bow of red silk 
 and white lace. A sash with golden cord is twisted about his 
 waist. The flesh tones in his refined face are warm and clear, 
 and his quiet brown eyes hold a look of calm self-possession 
 and reserved assurance. Dark neutral ground. 
 
 [See Illustration. | 
 
 PAGNEST, A. L. CLAUDE. French, 1790-1819. 
 
 447. M. DE NANTEUIL-LANORVILLE(/ 7) Cs yl ii eie Cas 
 
 cen 
 
 H. 2414” W. 20” 
 Head and shoulders portrait of the dignified, confident char- 
 acter well past middle age, but robust and alert, in the habila- 
 ments of the early Nineteenth Century which lent themselves, 
 unaggressively, to a certain pompousness of effect. His figure 
 faces the right, seen against a dark neutral background, and 
 he has turned to look well back of his right shoulder, so that 
 
 yj 
 
 glowing red hair, unconfined and streaming about her attrac-(/ 
 
 $ 
 
LE DUC D’ORLEANS. 
 Pierre Mignard. 
 Number Four Hundred and Forty-six. 
 
his broad face of pronounced features is seen three-quarters 
 full, and in a strong light, which is especially high on his 
 brow and the neighboring portions of his tousled, wiry white 
 hair. His eyebrows are black and his eyes blue. His chin is 
 well settled in the collar that came later to be called Glad- 
 stonian, and he wears a white jabot, buff waistcoat, and dark 
 green coat with velvet collar. 
 
 [See Illustration. | 
 
 VAN LOO, CHARLES ANDRE. French, 1705-1765. 
 448. QUEEN MARIE LECZINSKA. 
 
 fio a 
 
 H. 821” W. 2514” Le et 
 
 The queen of Louis XV is portrayed at half length, stand- 
 
 ing and facing the front, her head turned a very little toward — 
 
 her left and inclined, hardly perceptibly, toward her left 
 shoulder. Her hair is curled and powdered, a long curl being 
 brought forward over her bare shoulder, and she wears a 
 diadem. ‘The artist, who was born in the same year as Marie, 
 and predeceased her, depicts her as a young woman with rosy 
 cheeks and hazel eyes, and the suggestion of a resigned smile. 
 Her brilliant jewelled gown of golden yellow brocade is 
 moderately décolleté and edged with lace, and about her 
 shoulders is a rich, ermine-lined cloak, blue, embroidered with 
 the fleur-de-lis in gold. Dark neutral background. 
 
 [See Illustration. | 
 
 JOHNSTONE, H. J. English, lately deceased. 
 449, A BACK-WATER ON THE RIVER MURRAY, AUS- 
 
 SOO 
 
 TRALIA. 3 
 H. 24°” W. 36” ONT: 
 
 An inlet, winding and shallow, puts uf from the distant river, 
 coming forward into the foreground on the right. Its banks 
 are wooded, as are those bounding the river beyond, and the 
 land is wild, with here and there the stump of a tree cut down, 
 and dead branches. On the left in the foreground the trunk 
 of a partly withered tree rises out of the picture, and below 
 it in the shallows water lillies bloom, and grasses project above 
 the surface of the back-water. The light is fading, and mauve, 
 
M. DE NANTEUIL-LANORVILLE.. 
 A. L. Claude Pagnest. 
 Number Four Hundred and Forty-seven. 
 
dull-rose and yellow hues of a pale sunset are reflected in the 
 quietly rippling stream. 
 
 Signed at the lower left, H. J. Johnstone. 
 
 From the Heber R. Bishop Collection. 
 
 Signed on the back of the canvas: ‘ A Back-water of the 
 River Murray, South Australia; H. J. Johnstone, Gt. 
 Marlow, Bucks, England.” 
 
 NORTHCOTE, JAMES, R. A. English, 1746-1831. 
 450. PORTRAIT OF JOHN OPIE. 
 
 H. 30” W. 25” TRADE go 
 Half-length figure of the middle-aged artist turned three- 
 quarters from the spectator and toward the right, so that his 
 G J 4* right side and back are in view, in the attitude of painting at 
 his easel. He is: standing, and has turned to look at the 
 spectator—or possibly into a mirror, if painting a likeness 
 of himself—and his face is seen three-quarters full. He is 
 smooth-shaven and has quiet brown eyes, a broad forehead 
 from which his, sandy-gray hair is receding, and wears short 
 gray “sideburns.” He holds a palette and brush in his left 
 hand, the right hand not being shown in the picture, and 
 wears a blue quilted coat with a white kerchief visible at the 
 neck. Dark background. 
 
 [See Illustration. | 
 
 / A Z 
 GEROME, JEAN LEON. French, 1824-1904. 
 451. DANS LE MOSQUE. 
 
 271! L. 40” TK aa 
 A corner of the interior of a mosque is shown in a soft, sub- 
 
 re bs AS dued light. The ornate wall across the background has a 
 dominant blue note, and a large window at the center gives 
 upon a green, shaded garden, where golden sunlight, striving 
 to pierce the leafy curtain, turns the green foliage to a warm 
 yellow. Within the mosque, standing against the wall and 
 seated on the carpeted floor are numbers of the faithful in 
 rich colors, listening to one who reads in the mimbar. At 
 the moment, he stands looking upward, a subdued light from 
 overhead illumining his face and his gorgeous robes. Some 
 thirty-five figures are included in the assemblage; one, who 
 
—— ee eT eee 
 
 QUEEN MARIE LESCZINSKA. 
 Chas. André Van Loo. : 
 Number Four Hundred and Forty-eight. : 
 
stands near the mimbar, is the artist’s servant. ‘This canvas 
 is the last large picture that Gerome painted. 
 Signed at the left, on the railing, J. L. Gerome. 
 
 [See Illustration. ] 
 
 EARL, MAUD. Contemporary. 
 
 452. PORTRAIT OF A PRIZE POINTER, © 
 j H. 26” L. 46” ; 
 
 The portrait was painted to order. The pointer, a white 
 bitch spotted brown, with brown head and spotted muzzle, is 
 eas) “ pictured in-the tall grass at the border of a stream, inlet, 
 pond or swamp, only an edge of which comes into the fore- 
 ground. She stands across the picture, headed to the left, 
 and is seen at point, keen, eager, tense. A little beyond her 
 in the grass is another pointer, white and black, with eyes 
 on the same flush. The grass and rushes are gray-green and 
 yellow-brown, and the autumn notes continue in the short 
 herbage over a wide, flat moorland or meadow extending to a 
 distant body of water. A blue haze obscures a line of distant 
 
 hills. 
 Signed at the lower left, Maud Earl. 
 
 VAN ELTEN, H. D. KRUSEMAN(?). Dutch, 1829- 
 1904. 
 
 453. OLD OAKS ON THE HEATH. yes Re ie 
 
 H. 2514” L..40” 
 
 A gnarled oak tree stands at the right, at the foot of a slope 
 where slender, scattered trees are seen on the incline beyond 
 
 Vy 7° it, and a lesser neighbor of its own kind and of fewer years 
 grows near it, a little to the left. In the shade of the oaks an 
 aged shepherd in a blue blouse, wearing a large black hat and 
 with staff resting against his shoulder, is seated on the 
 ground, watching over his flock, bunched out on the heath in 
 the middle distance. The varied surface of the common is 
 green and gray and brown, in sunlight and shadow; on the 
 farther side are more trees; and the atmosphere is misty on 
 a day when gray shower-clouds underlie billowing white clouds 
 
 in an azure sky. 
 
PORTRAIT OF JOHN OPIE. 
 James Northcote. 
 
 Number Four Hundred and Fifty. 
 
‘OUO-AYJIYY PUL poLpUNF] INO quinn 
 ‘aWIQIOX) UIT Uva 
 
 «ANOSOW AI SNVC;,, 
 
KNELLER, SIR GODFREY. German-English, 1648- 
 1743. . 
 
 tug 
 
 /¥rot 
 
 /03 
 
 454. PORTRAIT OF A YOUNG GIRL. - 
 
 455. CHIPPENDALE WING BOOK CAS 
 
 H. 49” W. 40” Oh LAMOn 
 
 Full-length portrait in reduced scale of a large-eyed yfung 
 girl with bountiful blond tresses, done up high and loosely 
 about her head, who is winding a garland about the neck of a 
 pet lamb. She is seated facing the front, turned very slightly 
 toward the left; holding the garland in her hands, she looks 
 straight at the spectator. Her filmy white waist falls low on 
 
 her shoulders and chest, and a flowing crimson mantle is ~ 
 
 draped about her. The lamb lies down on a table at her side, 
 the wreath of roses and other flowers seen against its white 
 fleece. Conventional background of foliage and blue sky, in 
 the artist’s manner. 
 
 FURNITURE AND. STAT Sy, 
 
 Mahogany. This piece is built in five parts, with pediment — 
 frieze and base. One wide and two narrow sections form the 
 upper portion, the frames of which are carved with fret 
 borders. ‘The pediment is carved, pierced and terminates in 
 scrolls, below which is a frieze carved with fret to correspond. 
 The doors contain square, diamond and rectangular pieces 
 of glass. The lower portion has two cupboards and five 
 drawers, the fronts of which are carved with floral scrolls and 
 all frames with fret designs. Carved base, with ogee bracket 
 feet. The frieze is of most delicate design. 
 
 456. PAIR OF HEPPLEWHITE SIDE 
 
 ip 
 
 Pe aed 
 Mahogany. The fronts are shaped e center of the 
 
 skirt is an ornament of vase design sur Gata by scrolls, 
 and the balance a repeat pattern of oval rosettes. The legs 
 carved with pendant flowers in low relief. Placed together 
 the two form a handsome dining table. 
 
 From Duke of Cambridge’s sale. 
 
Number Four Hundred and Fifty-eight. 
 
457. CHIPPENDALE SLANT TOP DESK. 
 
 Mahogany. Built in two parts. The top has a pierced and 
 
 y....,, earved rail of acanthus and leaf scrolls. The base is carved, 
 2 sO and stands on cabriole legs, with acanthus leaf carving on 
 the knees. Claw and ball feet. Brass py and brass drop 
 
 handles. 
 
 we AK, G, 03 ae we 
 
 Vl A ee ange 
 458.'CHIPPENDALE TILT TOP TABLE. 
 Mahogany. The high rail of acanthus and scroll designs} 
 ». carved and pierced. The pillar support reeded and carved 
 "a JO — with acanthus leaves and rises from three cabriole legs carved 
 with similar designs at knees and feet. Extremely fine. 
 
 [See Illustration. ] 
 
 | /} 
 459. PAIR OF CHIPPENDALE ann Canes Yi 
 
 Mahogany. The backs, arms and side pieces are formed of 
 US goa plain strips of wood in rectangular patterns. The seat rail 
 rf carved, with fret brackets, and legs are pierced with Gothic 
 
 designs. Seats covered with leather. 
 
 From Duke of Cambridge’s sale. 
 
 (1 
 460. PAIR OF CHIPPENDALE ARM CHAIRS. 
 
 Mahogany. ‘The top rails are carved and shaped, upturned 
 5 0 ‘fat the ends and the backs formed of rectangular strips. 
 Shaped arms. The seat rails and front legs have carved fret 
 
 designs in low relief and the seats covered with old brocade. 
 
 ‘7 
 
 / 
 461. QUEEN ANNE CARD TABLE. ar; (3 
 
 7 Mahogany. Shaped top with applied rim. Cabriole legs, (/ 
 
 ik — _ with paw and ball feet. 
 
 ia 
 462. CHIPPENDALE ARM CHAIR. AAS 
 
 Mahogany. The seat is pierced and carved with acanthus 
 and scroll patterns. Shaped arms, the supports of which 
 have leaf carving. Legs and stiles carved with ogee mould- 
 ings. Plain rail and seat covered with leather. : q 
 463. SHERATON ARM CHAIR. Qt heae f hh 
 
 — Mahogany. The broad top rail has a diamond pattern carved 
 i 0 °*—~ in low relief, and the slats of open work oblong loop design. 
 Shaped arms with acanthus leaf carving at the ends. Reeded 
 legs and spade feet. Seats covered with leather. 
 
Number Four Hundred and Sixty-six. 
 
464. TEA re ie mages 
 
 if gee Mahogany. Pierced rail. 
 
 wo 
 
 465. PAIR OF BRASS FIRE DOGS. (3. ve 
 
 Louis XV design of Sphinxes. Carved and chiseled gilt 
 / § 5° ormolu on oblong bases. 
 
 466. GREEK MARBLE anes a Venus Anadyomene from 
 the very best period of Greek classic art and by a master 
 chisel. Excavated at Kameiros, Rhodes, in 1902. 
 / td ‘ “Illustrated in the Revue Archeologique of May-June, 1908. 
 
 [See Illustration. | 
 (211% inches high on revolving base.) 
 
 AMERICAN ART ASSOCIATION, 
 
 Managers. 
 THOMAS E. KIRBY, 
 
 Auctioneer. 
 
a abe ae 
 
a 
 
 ETTY RESEARCH INSTITUTE 
 
 ‘iii VOM | : 
 
 _ 3.3125 01663 
 
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