g tew ints. 7 a . tm Wr aot, al CG Fie 7 —Flov gravings, Pew Pork W n ~ y and Paval Prints INCLUDING A. SELECTION Ney A as ~ > h Ha We eto aah t ! (i eyed: a. FROM THE PRINTS OF ’ Frank DY, Moale OF BALTIMORE Art and f 8 0 Early Belgian Wiews A Collection of Prints, Object bag y oye ton a el tyes - ibe = be one a anion Devt: Sor ~ \ eter OS nS Sires ute a ~ tas » ~ =a ~ a i ips “ e097 Me nl ” — ” 4) ¢ ad 32.24 « ’ Anderson Galler > _ TO BE SOLD FOR THE BENEFIT OF THE “a ate ves aa re - ida ¢ : Pe ee? SG Ne, Me i pats a * 7 as i. he rd hy J - hs ’ - i. — aft of ee LPL mene OL pest (ila op M : bos ana ES : ae mt CEE tiene etna Ses peuple deco, =~ ~ ‘ halla - : ; Yala 0 ca id = po meee igang heer aa =n) or na wart o a Ne oR * Lege om he y . hh eetorety ael a ke SEIT a, wes any ht Cindy. oon ‘Teen > dee bettie. Saat adieed. im od ee ee “ + P : PLE og t nite ia ae oe ees tN PE ea 2 ages a "7 aiid Oe < van * = aes 2 a or a OB Sieh wien Tsim oe eee F — bs a i AO OA PAI ta ard ne mca snd aah Sa ow an St en ly aS nan oe = ‘iteiy onal s cares sas -siaghilinsincer-s-mecpee acerca re Le te eaten : renee deca aap : mwa ; cacao aew'e pias farertsip ovate - — ae - " . rn Ce PEA. tee ce. ve a . 2 ~ w tn set 4% 4 sao re Stan np Se age 7 - : pow hee e * w om cenimenieog 7 ~ BaT oe 2 tna ov a “4 “yf ¥ inthe Apeaen een pomeae ‘ 33 nar ei a 7 i > — “han she ha “ deb om x - oie plan - CD emerge wes caevomnamtnpe on ede ee aes ee . rts - , ~~ 2. etn be nears . a. Ladin sia opr ovate = —_ _~ 7 are - 4 . esa ee oon mano Lae > pre fe “an an — . ieee = PO PH m4 to ~ oa 7 vet ~ “ x baaltig e " os “~~ un - . . . ie Oi ud kaplan “ og Gen TRF Re Anh SMR a id Ae acer mies ph lillies en ath ae one nach lama on ah iain = ects me Gora eas ne ves ecules ” SO i re NERS de eT ons - ee ee + eet ee gem ia tte oem oe a = i I em e aah ede ee ee ae ce AMM E tins ttte pm Pe me en = bs eae _ - < -— > SAE nag = ET NOTRE, eNom ter IN gh al a "y in SV gyno» Hi ‘* » : eee. St eh RD AA - sGiccmigsaptiiiaiapaadncdakah ta nememenai TR Te atl A SE RT ‘ - ~* en ed * o — => a te omnia ‘- tn a my a reorente _ one ve ‘= : Aas “mi 5 - ee me heehee sit, ee a Se a Bae Niet a ~ = - ee mt a ee | ei ee ee ee ee ee, a ' Senet —e — cal " baa « - on — ais a # iy mee RS —t eas eee A mii — ne oe eae om - . a : ante inipngpendtadetibbste ae x = mS enews vss a le ieee A eel od ; PA etn oe Ore ~~ : ’ - = > gy FG eam - pe ners Apia: — or ow o rene mataeryy et Me ~ ” = MR Pete Sh > set - ee es rite - = SS MO - eowton re ~ “9 w RA rn, pee te tee Re + tg ne 4 - : . Lea Rip He ~ > — ale ao : : ; * ene rn = a een By * eae — a W Awl e KE 204 ‘ A 9 EA ee em hee te “2 aan rg 0 are oe ee wes RI a - a a er ers pen see ~ ae - eT dpe. - ra Aug teen ae a mais Ait ene cot tne = - ~ ——— — <= a < - . sis — . — ~ - ee r, ~ —"s issn = — - ; “ “ “se ary wy wm ete *. rn neem? _ 7 ne ie —~ _— - ~ al = a — Me ~ . * . fe sae ov ~ nto “ ee ee £ ~ abt dmg tm mA - 2 Ancient and Modern Prints Ctcohings, Cugrabings, New Pork Wiews » Sporttrg, and Pabal Prints INCLUDING A SELECTION FROM THE PRINTS OF Frank D. HMoale OF BALTIMORE e ALSO A COLLECTION OF PRINTS, PAINTINGS, BOOKS, OBJECTS OF ART AND A NEW PIANOLA PIANO CONTRIBUTED BY ARTISTS AND OTHERS TO BE SOLD ON THE THIRD EVENING FOR THE BENEFIT OF THE fied ade Committee WITH A COLLECTION OF EARLY BELGIAN VIEWS TO BE SOLD UNDER THE AUSPICES OF THE Museum of French Art FOR THE RELIEF OF ov Te WOMEN AND ‘CHILDREN OF FRANCE AND, BELGIUM TO BE SOLD a ee — j TUESDAY, WEDNESDAY, anp THURSDAY EVENINGS FEBRUARY 16, 17, AND 18, 1915 On Pustic Exuisition From Saturpay, Frpruary 6TH | AT ; | Zhe Anderson Galleries Hietropolttan Art Assoctatton Mapison AveNvE AT Fortiztu STREET New York Conditions of Sale. 1, All bids to be per Lot as numbered in the Catalogue. 2. The highest bidder to be the buyer; in all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. He also re- serves the right to reject any fractional or nominal bid which in his judgment may delay or injuriously affect the sale. 3. Buyers to give their names and addresses and to make such cash - payments on account as may be required, in default of which the lots purchased to be immediately resold. 4. The lots to be taken away at the buyer’s expense and ‘risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be absolutely paid on or before delivery, in de- fault of which the Metropolitan Art Association will not be responsible if the lot or lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. 5. To prevent inaccuracy in delivery, and inconvenience in the settle- ment of purchases, no lot will be delivered during the sale. 6. All lots will be exposed for public exhibition in The Anderson Galleries before the date of sale, for examination by intending pur- chasers, and the Metropolitan Art Association will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty — whatever, but will sell each lot exactly as it is, without recourse. But upon receiving before the date of sale expert opinion in writing that any lot is not as represented, the Metropolitan Art Association will use every effort to furnish proof to the contrary, and in’ default of such proof the lot will be sold subject to the declaration of the aforesaid ‘xpert, he being liable to the owner or owners thereof for damage or injury occasioned by such declaration. 7. Terms Cash. Upon failure to comply with the above con- ditions any sum deposited as part payment shall be forfeited, and all such lots as remain uncleared after twenty-four hours from the con- clusion of the sale, will be re-sold by either private or public sale at such time as the Metropolitan Art Association shall determine, without further notice, and if any deficiency arises from such re-sale it shall be made good by the defaulter at this sale together with all the expenses incurred thereby. This condition shall be without prejudice to the right of the Metropolitan Art Association to enforce the contract with the buyer, without such re-sale. ; 8. Bids. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by - other bids. . 9, The Metropolitan Art Association will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of. such carriers and packers. | “ Che Anderson Galleries METROPOLITAN ART ASSOCIATION, MApDISON AVENUE AT FORTIETH STREET, TELEPHONE Murray IIILL 7680. New YORK. ' Priced copy of this Catalogue may be secured for $1.50 - Ancient and Modern Color Prints, Etchings and Engravings New York Views, Sporting and Naval Prints FROM VARIOUS PORTFOLIOS AND COLLECTIONS INCLUDING A SELECTION FROM THE PRINTS OF fraik 2, QMoale OF BALTIMORE, MARYLAND FIRST SESSION. Tuesday Evening, February 16, 1915, at 8:15 o’clock LOTS 1-172. THOMAS G. APPLETON. 1. LOVE’S BARRIER. After H. Hardy. TRIAL OF PATIENCE. ‘After Hardy, by W. H. Simmons. Both Proofs on India signed by painter and en- graver. (2) OTTO H. BACHER. 2. GIUDECCA CANAL, VENICE. Unloading a Steamer. Etching. Proof on Holland paper. 3. REGENSBURG. Etching. PROOF WITH SIGNED AUTOGRAPH INSCRIP- TION. . 4to. , J. J. BALECHOU. 4, SAINTE GENEVIEVE, PATRONE DE PARIS. After Vanloo. ; Line Engraving. “Representing her as seated in a landscape reading. Folio. 10. i BE W. W. BARNEY. English Eighteenth Century Engraver. . THE HAPPY COTTAGERS. After W. Hamilton. Stipple engraving in THE ORIGINAL COLORING. Folio, full margins and in fine condition. London, 1794. _ * Very rare in original condition and coloring. FRANCESCO BARTOLOZZI. . PORTRAIT OF THE ENGRAVER. After Violet. Engraved by Bouilliard. Folio. 1797. CHARLES BIRD. . LADY WITH A JEWEL ‘CASKET. Mezzotint printed in colors. SIGNED PROOF. Guilt frame. . : EUGENE DE BLAAS. . THE PROPOSAL. Signed India Proof; with PATIENCE. Signed India Proof mezzotint by Atkinson. (2) P. P. BONNEMAIN. _ LYHEUREUSE FERMIERE. Original aquatint. Printed in brown. Small folio, full margins. * Fine impression. A cottager with her children seated outside her door. } FELIX BRACQUEMOND: 1833-1914. ARC EN CIEL (Rainbow). Etching, 1893. Charming conception of a Nymph among the reeds loosing her scarf which forms the rainbow. There are ducks in the reeds, in the drawing of which no one has ever excelled Bracquemond. SIGNED PROOF. DON QUIXOTE. Etching after Goya. Grotesque. Proof on Holland paper. Sm. 4to.. SCARCE. 4 or. * ae Mine FRANK BRANGWYN, A.R.A. Modern Etcher of the British School. 12. ST. PETER’S, GENOA, Exterior, during a religious ceremony, Hand-made paper water-marked ‘‘1912.’’ SrqNep PROOF, finely printed. Large folio. 13. BROWNING’S HOUSE, VENICE. SIGNED PROOF PRINTED IN BROWN. Large folio. Con- sidered one of the best prints of the artist. 14. CANNON STREET STATION, SIGNED PROOF of a very large and powerful etching. f J. G. BROWN. Noted American Genre Painter. 15. “‘WANT A SHINE?’’ Etching by C. G. Walker. Remarque proof on parch- ment signed by artist and etcher. Folio. A. BRUNET-DEBAINES. 16. WAY TO THE MILL. Painter etching. Signed proof on parchment. Sm. folio. FELIX BUHOT. Well-known French Etcher, whose death has just occurred. 17. ENVIRONS DE GRAVESENDE. Souvenir de la Tamise. Fine impression on plate paper. Scarce. 18. LE 20 MARS AU PALAIS DES CHAMPS ELYSEES. Etching. Lettered impression... Small folio, framed. MADAME CALVE, ETC. 19. MADAME CALVE.AS CARMEN. After Chartran. Dante. From the bronze bust in the Naples Museum. Huntine Scene. Etching by Rodriguez. Signed proof. A Bit OF THE ApIRONDACKS. Photograph. Four pieces. Framed. 5 20. 21. 22. 23. 24. 25. 26. 27. 28. 29. COLOR PRINTS. SUTHERLAND (T.). His Majesty George IV. orn Carlton Palace. Aquatint in colors. Published by McLean, 1824. On Card, and with a small repair, ORIGINAL IMPRESSION AND COLORING. A BAND OF SAVOYARDS. Lond.: Dickinson, 1785. Stipple engraving in brown by CHAS. KNIGHT AFTER H. Bunsury. Original impression, lateral and top margins cut away. Folfo. A BOY OF GLAMORGANSHIRE. (As a shepherd.) Stipple engraving by Ryder after Westall, printed ~ in colors. Circular print in square engraved frame. Sm. 4to. Lond. 1788. Framed. THE AGE OF INNOCENCE. After Reynolds. Stipple engraving by J. Grozer, pe in colors. Small folio, London, 1794. * Charming original impression after the well-known picture. LADY CATHERINE HOWARD. After C. Wilkin. Half-length, seated in a landscape. Stipple engrav- ing printed in colors. 3 IN .A CAFE CHANTANT. Etching printed in colors [by Aug. Delatre]. SIGNED PROOF marked ‘‘only 30 issued.”’ HARMONY BEFORE MATRIMONY. In colors. Original etching by JAMES GILRAY. Inlaid. Lond. 1805. TWO PENNY WHIST. In colors. Etching by JAMEs GintrAy from life. Lond. 1796. GEN. WASHINGTON’S CARRIAGE. With text. LitHoGRAPH IN coLors by J. H. Daniels. 1872. M. CORMACK. MISS FARREN. After Lawrence. Full length in a landscape. SiagNep Inp1A PROOF. | Folio. . 6 30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. ‘CAMILLE COROT. OLD OAK, LAKE COMO. Etching by Desbrosses. Remarque parchment proof signed by Desbrosses. Folio. LANDSCAPE WITH CANAL AND COTTAGES. Kitching. By L. Gautier. Signed proof on vellum paper. LANDSCAPE WITH COTTAGE. Etching. By L. Gautier. Signed proof on vellum paper. e SAMUEL COUSINS, 1801-1887. COUNTESS OF BLESSINGTON. W.19. 1887. After Lawrence. Mezzotint, OPEN LETTER PROOF. HLIZABETH COUNTESS GROSVENOR. W.77. 1844. Mezzotint after Lawrence. OPEN LETTER PROOF. LADY LYNDHURST. W.104. 18386. Mezzotint after Lawrence. OPEN LETTER PROOF. SAMUEL COUSINS AND WM. WALKER. ROBERT BURNS. After Alex Nasmyth. Whitman 31. Bust in oval. Mezzotint. Folio. * Proor of a Print considered to be Cousins’ best work. Nasmyth characterized it as a better likeness than his paint- ing. CHARLES FRANCOIS DAUBIGNY. LES VENDANGES (A CHAMPLAY). Painter Etching. India proof from the John T. Wilson Collection. COMMENT NAISSENT. LES VILLUES. Rare early Etching by Daubigny, 1840, with Remarque. 12mo. VUE PRISE AUX ENVIRONS DE SUBIACO. Rare early Etching by Daubingy, 1840. 8vo. India Proof. JEAN DAULLE. | LA VANDANGEUSE. After F. Boucher. French 18th Century engraving. Oval, margins, has been folded. 7 41. 43. 44, 45. 46. 47. 48, 49. 50. 51. 52. 53. L. P. DEBUCOURT. JOUI TENDRE MERE. Original aquatint. A mother who has placed her son out pays him a visit. Printed in brown. Folio, ORIGINAL IMPRES- SION WITH LARGE MARGINS. : . SKATING SCENE. WINTER. With skaters and sleigh, cottages in the background. AQUATINT PRINTED IN COLORS. Fine original impres- sion with margins. Small folio. A. A. DELAUNEY. CHARTRES: SHOWING THE CATHEDRAL. Etching, 1880. Large folio. INpIA PROOF. EDOUARD DETAILLE. Noted French Military Painter. MARCH OF A REGIMENT THROUGH PARIS: WINTER. SIGNED InpIA PROOF. Folio, unframed. W. DICKINSON. JOHN MUDGE, M.D. After Reynolds. Mezzotint portrait. Folio. “HERBERT DICKSEE. PEACE (Lioness and cubs drinking). Painter etching. SigNED PARCHMENT PROOF. Folio. THE PARTING WAYS: Twilight, Painter etching. SIGNED PARCHMENT PROOF. Large foho. THE LITTLE GYPSY. On Japan paper. ROUSED.. Lion and. mate. Folio. HIS MAJESTY. Lion’s head, life size. LUCKY DOG. Japan vellum proof. ANXIOUS HEARTS. (Lady with dog.) HAPPY MOTHER< Des and seven ‘puppies. 8 R. DODD. 54. BATTLE OF THE NILE. Painted and engraved by R. Dodd. IN THE ORIGINAL COLORING. Oblong folio. London, 1799. * Very rare in colors. DUTHE after W. HAMILTON. oo. LES AGREMENTS DE L’HIVER. Two youthful couples. Stipple engraving, folio. ALBRECHT DURER. 56. ADAM AND EVE. B. 1. Old impression, but has been torn down the centre, skillfully repaired, mounted and cut close. RICHARD EARLOM. o7. A FISH MARKET. After Snyders and Long John. Mezzotint. Folio. London. 1782. | ALFRED EAST. 58. LANDSCAPE. Effect of Night. Rare drypoint by the painter. Signed and stamped. G. EDELINCK, 1610-1707. 59. COMBAT DES QUATRES CAVALIERS. After Leo- nardo. Known as “‘The Fight for the Standard.’’ Line én- graving, oblong folio. S, ARLENT EDWARDS. Contemporary engraver and color printer. His plates have all been destroyed after a limited edition of prints had been issued. 60. ANNE OF CLEVES. . After Holbein. B. 58. Signed artist’s proof mezzotint printed in colors. * A beautiful print and an unusually fine impression. 61. MARTIN VAN NIEUWENHOVE. After Memling. B. 72. Also known as ‘‘A Gentleman of Bruges.’’ Signed artist’s proof printed in colors. In appropriate frame of dull gold. 9 62. 63. 64. 65. 66. 67. 68. 69. 70. fee 12. S. ARLENT EDWARDS—Coxtinued. FRANCIS II (Asa Child). After Clouet. B. 69. Signed artist’s proof printed in colors. vor fine impression. A LADY OF BRUGES. After Van Eyck. B. 70. Signed artist’s proof printed in colors. LADY DUDGEON. After Raeburn. B. 77. Mezzotint printed in Colors. SIGNED ARTIST’s PROOF. Oak frame. BIANCA MARIA SFORZA. After Ambrogia de Predi. B,. 78, , Mezzotint printed in Colors. SigNep ArTIST’s PRoor. JULIA MACDONALD: Afterclawren eee Mezzotint. Printed in Colors. SIGNED PRoor. Sm. Ato. LUDOVICA TORNABUONI. After Ghirlandaio. B. 21. Half-length in profile. From the famous painting ‘‘The Birth of the Virgin.’’ SIGNED PROOF PRINTED IN COLORS. ea SIMONETTA VESPUCCI. After Pollajuolo. - The celebrated youthful Mistress of Julian de Medici. SIGNED ARTIST’s PROOF PRINTED IN coLORS. In appropriate dull gilt frame. J. EDY. DURHAM ABBEY. After Fisher. Open letter proof. 1798. ETCHINGS. THE PLOUGHMAN, by J. W. Beatty. Signed Proof. LANpscaPe, by J. Murray. Signed Proof on parchment. W. E. Guapstons, by Henri Renault. Signed Proof. | Folio. Three pieces. HEDLEY FITTON. CHURCH OF THE THREE KINGS; S. EMILION,: GUYENNE. _D. 32. SiaNep Artist’s Proor. A. beautiful etching of a 13th century French church. RUE ST. ROMAIN, ROUEN. No.2. Not in Dunthorne. SIGNED PROOF. Folio. - * Showing the Archbishop’s Palace where the death-warrant of Joan of Are was signed. Well printed and considered one of the best of the Fitton etchings. 10 73. 74. 15. 76. 77. 78. Kee HEDLEY FITTON—Coxtinued. RUE BARBETTE, PARIS. D: 26. SIGNED ARTIST’S Proor. Folio, 1909. S. HILAIRE, POITIERS. D. 33. SIGNED ARTIST’s PrRoor. Folio, 1910. Ss. BARTHOLOMEW THE GREAT, SMITHFIELD. D. 24. The Smithfield Gateway. SigNep Artist’s Proor. Small folio, 1909. * The gateway in front of which the martyrs were burned. CAMILLE FONCE. CATHEDRAL INTERIOR. REMARQUE PROOF ON PARCHMENT SIGNED BY THE ARTIST. Large folio, unframed. LITCHFIELD. With the Cathedral seen across the River. Effect of Moonlight. SIGNED REMARQUE PROOF ON PARCHMENT, corner folded. Folio. A NORMAN HAMLET. SIGNED REMARQUE PROOF ON PARCHMENT. FRENCH AND INDIAN WAR. THE TAKING OF HAVANNAH BY THE BRITISH (IN 1762) UNDER KEPPEL, POCOCKE AND BARKER. CoMPLETE SET OF THE TWELVE FOLIO ENGRAVINGS BY CANOT AND MASON AFTER SERRES. LARGE OBLONG FOLIO. FINE ORIGINAL IMPRESSIONS. Two plates are a little rubbed in the centre fold. _ (12) | * Accompanying the plates is the original descriptive pamph- let of four folio pages. The series forms a magnificent set of naval pictures and is extremely rare in this complete shape. The plates are as follows: I. The Van of the Fleet in the Straits of Bahama; II. The Rear of the Fleet and the Trans- ports with the soldiers; III. The Alarm engaging and captur- ing two Spanish frigates in sight of the fleet; IV. Landing of troops on the Cuban coast near Havana; V. Troops march- ing along the shore and a ship attacking a Spanish fort; VI. Bombardment and capture of the Fort of Choera; VII. Land- ing guns for the troops and in the distance bombardment of Moro Castle; VIII. View of Moro Castle from the sea with the ships bombarding it; IX. Troops storming Moro Castle through the breach; X. The attack on the City of Havana; XI. General view of the entrance to the harbor with troops in possession of Moro Castle and others landing to occupy the city; XII. View from the sea of Havana, the fleet entering the harbor. Le 80. aie 82. 84. 85. 86. 87. 88. LUCIEN GAUTIER. VENICE; THE GRAND CANAL. ‘La Salute’’ on the right. Etching. FINE REMARQUE PROOF ON PARCHMENT SIGNED BY THE ARTIST. Oblong folio. NOTRE DAME, PARIS. Etching. Signed proof on vellum paper. Sm. folio. ERNEST GEORGE. English Architect. ETCHINGS IN BELGIUM. 1878. Etchings of Antwerp, Brussels, Bruges, Huy, Inége, Malines, Tournai and Ypres. 8vo. (138 pieces.) J. L. GEROME. . THE EGYPTIAN SMOKER. Proof (unmounted) on India paper. 8vo. Scarce. JEUNES GRECS A LA MOSQUE. Etched by Rajon. L’ AMEE: etched by C. L. Courtry. BotH ARE FINE CHINA PROOFS. (2) GIORGIO GHISI: Of Mantua, 1520-1582. THE ANGELS OF THE SISTINE CHAPEL. In the Vatican, after Michael Angelo. Set of six with the address of Nic. Van Aelst. Folio. (6) * From the Robt. W. Weir collection with his stamp. Jere- miah, Joel, a sibyl, prophet, ete. W. GILIER. ., LADY PEEL. Mezzotint after a 1836. H. T. GREENHEAD. Contemporary «English -Mezzotint Engraver. MARGOT (Young Girl). After Morland. - Full bust in oval, wearing large hat. Signed artist’s proof mezzotint printed i in colors. Folio, Lond. 1911. PEGGY. After Morland.. Companion piece. Signed artist’s proof printed in colors. 12 MISS E. GULLAND. Contemporary Mezzotint Engraver in colors whose work is considered ehh 90. Hale 92. 93. 94, 96. at: among the best. THE AGE OF INNOCENCE, After Reynolds. Signed artist’s proof printed in colors. Folio. London, 1913. SIR F. SEYMOUR HADEN. KENSINGTON GARDENS. The large plate. H. 28. Etching with some added drypoint touches. SIGNED PROOF AND A FINE IMPRESSION OF ONE OF THE MOST DESIRABLE HADEN PRINTS. Framed. EGHAM LOCK. HS" 16. Etching. SIGNED PROOF OF THE SECOND STATE. ** Karly wmpressions in this state have the remains of the sky stall viseble.’’—Harrington. HARLECH. The second plate. H. 212. Mezzotint and etching. SIGNED PROOF with the etched wording ‘‘Drawn, Etched, Engraved and Printed by Francis Seymour Haden, May 11, 1880.”’ KILGAREN CASTLE. H. 65. 1864. First and only state from the Haden collection with his monogram stamp (stamped autograph on. re- verse). NEWCASTLE IN EMLYN. H. 62. ee With the square house on the Hill. Fine impression. _A BRIG AT ANCHOR. H. 147. SigNED PROOF. ‘* Actually etched from nature by moonlight.’’—Har- rington. Good impression with untrimmed margins. COWDRAY CASTLE AND GEESE. Etching. 8vo. AXEL HERMANN HAIG. SAINT MARK’S, VENICE. SIGNED PROOF. Large. Qbiege folio, in handsome gold frame. * One of the largest and most important works of this noted etcher. MAGNIFICENT IMPRESSION. 13 98. AXEL HERMANN HAIG —Coxtinued. AMIENS CATHEDRAL: Interior. SIGNED ARTIST’S PROOF. Large folio, in handsome gold frame.. . * SCARCE, one of Haig’s most picturesque etchings. The artist was so struck with the beauty of ‘the interior of this cathedral that he published a pamphlet relating to it at the time of doing this etching. 99. SANTIAGO CATHEDRAL: Interior. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. SIGNED ARTIST’S PROOF. Large folio, unframed. BURGOS CATHEDRAL, South Aisle looking west. SIGNED ARTIST’s PROOF. Large folio, unframed. TARRAGONA CATHEDRAL: Interior. SIGNED ARTIST’S PROOF ON JAPAN PAPER. Folio, in — handsome gold frame. * A searce etching by the artist of one of the most beautiful and oldest cathedrals in Spain. PALENCIA CATHEDRAL: Interior. Etching, 1895. SigNED PROOF ON JAPAN PAPER. Oblong folio, in handsome gilt frame. MADONNA WITH THE MUSKET. St. Mark’s, Venice. AIO. SIGNED PROOF. Small folio. * This and the three following prints form a set of the etch- ings showing the Chapels of St. Mark’s Cathedral. CHAPEL OF THE HOLY SACRAMENT. A: 134. SIGNED PROOF. Small oblong folio. THE BAPTISTERY. A. 136. SIGNED PROOF. CHAPEL OF ST. CLEMENTS. A.135. Signed proof. THE ALCAZAR, SEGOVIA. Signed proof. Large folio. ENTRANCE, MOSQUE MOHAMMED BEY. In Cairo. Signed proof. Folio. W. HAMILTON. THE SHEPHERDESS URANIA. Engraved by De Fresville. Oval sm. 4to, with verse. Paris, about 1780. Untrimmed margins. 14 110. 111. LA: 113. 114. 115. 116. 1a 118. CHARLES HARDY. BOY WITH CABBAGE NETS. After Reynolds. Mezzotint, small folio, margins, 1806. * Open letter proof. R. HAVELL. BUCKINGHAM HOUSE, MIDDLESEX: A Palace of Her Majesty. Aquatint drawn by J. Burnet. Small folio. Effect of winter. London, 1817, full margins. * PRINTED IN COLORS. ALBANY E. HOWARTH. Contemporary Etcher. A VENETIAN CALLE. Signed artist’s Proof. FROM THE PONTE TEATRO. Signed artist’s proof, beautifully printed to show the effect of light on buildings and water. : PONTE DELLA GUGLIE: Effect of night. SIGNED ARTIST’S PROOF. FRUIT STALL. Signed proof clearly printed. VERONA. Showing the arched stone bridge. SIGNED ARTIST’s PRroor, of one of the artist’s best prints. STIRLING CASTLE. Signed and named proof. One of 50 signed proofs and the plate destroyed. VENETIAN WELL HEAD. Etching, 1913. SIGNED Proor printed on the fly-leaf of an old book. JOHN BAPTIST JACKSON: 1701-1780. English wood engraver who revived the art of engraving in colors or ALD: 120. ‘¢ chiaroseuro.’’ PORTRAIT OF ALGERNON SYDNEY. After Verus. The only portrait done in chiaroscuro by Jackson. In four colors. LAZARUS AT THE RICH MAN’S TABLE. And another. Two wood engravings in Chiaroscuro. (2) 15 121. 122. 123. 124. 125. 126. ip 128. CHARLES JACQUE. L’ABREUVOIR AUX MOUTONS. Drypoint. Proof on Holland paper. Only 200 printed and the plate destroyed. Collector’s stamp. 4to. 1878. JULES JACQUEMART. CHINESE VASE IN CLOISONNE ENAMEL. Etech- ing. | Proof of the first State before the title. Sm. 4to. MAASLINS (HOLLAND). India Proof of the above. J. B. JONGKIND. MAASLINS (HOLLAND). Etching 1862. Unusually good impression with untrimmed margins. Maaslins is noted at present for its kindly reception of Belgian refugees. RICHARD JOSEY. MARGARET. Half.length, after Hoppner. One of 200 signed proofs on India paper. CHARLES KNIGHT. THE TIRED SOLDIER. Stipple engraving after Opie. Large folio, open let- ter proof. L. KRATKE. THE SHOWER. Painter etching. Signed remarque proof on pEreaeae 4to. A. F, LAGUILLERMIE. LADY HAMILTON AS MUSIDORA. After Galne: borough. 19; One of 150 artist’s proofs on Fi apan paper. Folio. * The only portrait of Lady. Hamilton by Gainsborough, and a charming conception of. the lovers in sor aad Sea- sons. pone ae we. : 16 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. MAXIME LALANNE. RICHMOND ON THE THAMES. Etching. Proof on Holland paper. 4to. P. LAMBERT (The Younger). LA FILEUSE. After Lambert Ainé. Charming eighteenth century French stipple engrav- ing. 4to. A young girl spinning. LA MARCHANDE D’HUITRES (The Oyster Girl). Stipple engraving by LePage after Lambert. 4to. AUGUST LE GRAND. LES REMONSTRANCES DU CURE. Stipple engraving after Delaunai. Folio. LA BERGERE DES ALPES. Line engraving after Gandat. Large folio, margins. LE MARCHAND D’OPIAT. Stipple engraving after Gerard Dow. Folio, full margins. | ALPHONSE LEGROS. LES VAGABONDS DE MONTROUGE. Etching. B. 71. Proof on Holland paper. Small folio. PEASANTS IN CHURCH. Holland proof. Sm. 4to. PORTRAIT OF J. DALOU, SCULPTOR. B. 41. Fine impression of the second plate. Sm. 4to. VOYAGEUR SURPRIS PAR L’ORAGE (The Way- narer).) 6°226. Fine proof on Japan paper. Small folio. SIR FREDERICK LEIGHTON. President of the Royal Academy. THE VESTAL VIRGIN. Full bust wrapped in a vail. Mezzotint by John D. Miller. ARTIST’S PROOF SIGNED BY PAINTER AND EN- GRAVER. On India paper. Large folio. Handsome cilt frame. 17 140. 141. 142. 143. 144, 145. 146. 1a. 148, NOEL LE MIRE AND L. PERROT. L’AFRIQUE. Head of a young negro girl. Wearing a turban and a coral necklace and ear-rings. Stipple engraving in cotors. Folio. Cirea 1810. * Original impression and coloring. L’AFRIQUE. The same but not in colors. L. 8S. LEMPEREUR. LE FESTIN ESPAGNOL. After Palamedes. Line engraving. Folio. W. LENEY. SCENE FROM AS YOU LIKE IT. After Smirke. Stipple engraving. IN THE ORIGINAL COLORING. Folio. London, 1801. * Very rare in colors, F. LIGNON AND OTHERS. LA VIERGE AUX CERISES. After Douven. Together with Deux Nimphes Dansant, by Petit; La Mariée, by Girard; Paris and Oenone, by Ribault; ete. Folio. (6) ABRAHAM LINCOLN. BUST PORTRAIT. Engraved by W. E. Marshall. CoLtumBus. Etched by H. Lefort. India proof. ey S. LOPISGICH. THE OLD MILL. Painter etching. Signed remarque parchment proof. 4to. ALFRED LUCAS. THE SMITHY. Mezzotint after J. F. Herring. _ Open letter proof on India. Large folio. THE MARKET MORNING. After Herring. Open letter proof on India. Large folio. 18 149, 150. 151. 152. 153. 154. 155. 156. 157. ERNEST LUMSDEN. Contemporary Etcher whose work’ is in demand. DARIEN, 8S. M. R. TERMINUS. Etching. PRINTED AND SIGNED BY THE ARTIST. INDIAN RESERVE, VICTORIA, B. C. Effect of snow. ETCHING BEAUTIFULLY PRINTED AND SIGNED BY THE ARTIST. THE PIER. Etching. Printed on soft old toned Japan paper. Scarce. ALTAR OF HEAVEN. Chinese landscape. Etching PRINTED AND SIGNED BY THE ARTIST. EDWARD McINNES. THE DEW BRANCH [Lady Leicester]. 1841. Full length on clouds. Mezzotint after Lawrence. D. SHAW MACLAUGHLAN. LOW TIDE (ON THE THAMES). Etching. Showing bridges and shipping. SIGNED PROOF. L. MARIAGE. Eighteenth Century French Engraver. GANIMEDE. After Charpentier. Stipple engraving PRINTED IN coLors. Folio. F. MARRIOTT. THE ARCHWAY AT AMBOISE. Mezzotint. SIGNED PROOF PRINTED IN couors. Effect of night with street lamp and moonlight. | W. MARTIAL. RETURN OF THE FISHERWOMEN.: Etching. ARTIST’S SIGNED PROOF WITH REMARQUE. Folio, unframed. In the foreground one of the three figures is a portrait of Patti. 19 158. 159. 160. 161. 162. 163. 164. 165. MASQUELIER AND OTHERS. VUE PRES DE STERTZINGEN. After Dietricy. Together with ‘‘Le Bon Laboreur’’ by Maillet; ‘‘May and December,’’ mezzotint by W. H. Sim- mons; ‘‘Le Paysan Civil,’’ by Leisel after Teniers (damaged); ete. (7) J. L. E. MEISSONIER. THE GUITAR PLAYER. Etching by A. Gilbert. SIGNED REMARQUE PROOF ON PARCHMENT.’ 4to. MONSIEUR ANNIBALE. Etching by L. H. Soterlet. SIGNED REMARQUE PROOF ON PARCHMENT. 4to. THE KISS. Etching by L. Henry Soterlet. SIGNED REMARQUE PROOF ON PARCHMENT. 4to. J. MERIGOT. VIEW OF THE TOWN AND HARBOR OF MONTE VIDEO. AQUATINT PRINTED IN coLoRs. Oblong folio. Lond. (1807). CHARLES MERYON. TOURELLE RUE DE L’ECOLE DE MEDECINE. Etching from the ‘‘Gazette des Beaux Arts.’’ Sm. 4to. SIR J. E. MILLAIS. BABY ’S BETTER. Mezzotint by Geo. Every. India proof signed by painter and engraver. MARRIAGE OF THE viRGIN. After Raphael. India proof, so marked and signed by R. Stang the engraver. Folio. (2) J. F. MILLET, FIRST STEPS. Peasants in the garden. Parchment proof by Gustave Greux, 1883. Limited issue. 20 166. 167. 168. 169. 170. vee 172. MIXELLE LE JEUNE. PAUL ET VIRGINIE. After Lampert. Aquatint PRINTED IN coLors. Folio, tear in lower margin. THOMAS MORAN. EVENING LANDSCAPE WITH CATTLE. A storm approaching. SIGNED ARTIST’S PROOF ON PARCHMENT WITH TWO REMARQUES. Large oblong folio, unframed. ACHILLE MOREAU. INDUSTRIE AMERICAINE. Aquatint drawn by Wexelberg. 4to, about 1800. * Showing ships landing goods on an American coast. LES FANDANGOS OU PLAISIR ESPAGNOL. After Wexelberg. With Le Brigand en Ambuscade, by Jazet. Both aquatints. Small folio. (2) GEORGE MORLAND. BOYS BATHING: GARCONS BAIGNANT. Engraved in stipple by E. Scott. IN THE ORIGINAL COLORING. Folio, full margins. London, 1802. * VERY RARE WHEN PRINTED IN COLORS. BOYS SKATING: GARCONS PATINANT. Engraved in stipple by E. Scott. Folio, full margins. Lond. 1802. * IN THE ORIGINAL COLORING, Companion to the preceding. BOYS SKATING: GARCONS PATINANT. Engraved in stipple by Bartolotti. Folio, full margins. * The same print as the preceding, but reversed and not in colors. / SECOND SESSION. Wednesday Evening, February 17, 1915, at 8:15 o’clock LOTS 173-342. Rare American Naval Engravings, New York Views, Sporting Prints and proofs of Sydney Wilson, Trowbridge and Zorn 173. 174. 175. 176. 177. 178. 179; 180. WILLIAM S. MOUNT. American Painter. COMING TO THE POINT. . American farmers in a trade. Lithograph by Teis- sier. Inpia prooF. Folio. 1855. HERMAN MULLER. Sixteenth Century Engraver. THE RAISING OF LAZARUS. After A. Blommaert. The Adoration of the Shepherds by J. Sadler. (2) NAPOLEON I. BUONAPARTEH. Bust in stipple by Schiavonetti. GENERAL BUONAPARTE. English etching by S. W. Fores, 1797. NAPOLEON. Profile bust in medallion surrounded by | Insignia. Fine and rare. N. (With crown of stars). Half length stipple by Henry. NAPOLEON. Busts by Laugier and Harland (after Appiani). 2 pieces. , DUC DE REICHSTADT: As a ehild. Engraved by Mecou after Isabey. 4to. * Fine proof with Isabey’s stamp. 22 NAVAL ENGRAVINGS. 181. U. S. FRIGATE UNITED STATES, STEPHEN DECATUR, COMMANDER, CAPTURING HIS BRITANNIC MAJESTY’S FRIGATE MACE- DONIAN. Engraved by S. Seymour. Painted by T. Birch. Folio. * Fine impression with margins of this rare American en- graving. 182. U. 8S. FRIGATE ‘“‘CONSTITUTION,”’ ISAAC HULL, COMMANDER, CAPTURING .. . . “‘THE GUERRIERE.”’’ : Engraved by C. Tiebout. Painted by T. Birch. Folio. * With the exception of a light water-stain equal in quality ’ to the preceding and with margins. BATTLE BETWEEN THE CHESAPEAKE AND THE SHANNON. 188. VIEW OF THE COMMENCEMENT OF THE ACTION. Aquatint in colors. Engraved by J. Jeakes. Painted by J. T. Lee. There is a repair in the sky, the lower margin containing the title and inscription is dam- aged and has been replaced. Framed. * Very Rare. BATTLE OF LAKE ERIE. 184. (FIRST VIEW: THE OPENING OF THE BATTLE.) Engraved by Murray, Draper, Fairman and Co. Drawn by Sully and Kearny. Line engraving. On eard. Folio. Published July 26, 1815. * VerRY RARE... This and the following are both the First State before the alteration in the address and before the erasing of the dedication. 185. SECOND VIEW. The end of the Battle. Etched by C. Tiebout and engraved by C. Murray. Drawn by Sully and Kearny. Folio. On card. Published July 26, 1815. 23 COMBAT BETWEEN CAPTS. PAUL JONES AND PEARSON. 186. COMBAT MEMORABLE entre le Pearson and Paul Jones doné le 22 Tbre 1779. Le capitaine Pearson comendant le SERAPIS et Paul Jones Le Bon Homme RicHART et son Escadre. Early engraving in colors by B. F. Loizel after Richard Paton. Small folio, margins, Augsbourg, n. d. * Very Rare. U. S. BRIG OF WAR “SOMERS.” 187. LITHOGRAPH VIEW IN COLORS BY N. CURRIER (1843). to. Made at the time the Brig was commanded by Alex. Slidell Mackenzie and on which the mutiny occurred that resulted in the hanging of a midshipman and two others. 188. U. §. STEAM FRIGATE “MISSISSIPPI” IN A TYPHOON. Oct.7, 1854. Lithograph by F. Brown after W. Heine. Published by Britton and Rey, San Francisco, 1854. Folio, time-stained. Very Scarce. NEW YORK VIEWS. 189. PANORAMIC VIEW OF YONKERS. Showing the whole of Yonkers and the Palisades on the right bank of the river. Rare early lithograph in brown. Oblong folio. | 190. ALBUM OF MAPS & VIEWS OF NEW YORK. ~ With special pen-drawn title-page ‘‘Ancient & Modern Views, Plans, Maps, &c., of the City and County of New York executed in G. Hayward’s Lithographic Institute. Compiled by C. Nolte, 1861.’’ Folio, leather back, some pages cut out. * 355 views, plans, maps, and facsimiles mainly lithographs for Valentine’s Manuals. Many are in proof state in excep- tionally fine condition, and nearly all in colors, INCLUDING SOME RARE UNDIVIDED PLATES FROM THE EARLY MANUALS, 1855-60. There are a number of Brooklyn Views done for McCloskey’s Manual. 24 eS Le 192. 193. 194. 195. 196. At. NEW YORK VIEWS—Coxtinued. CASTLE GARDEN: ORIGINAL DRAWING BY G. HEYWARD. India Ink drawing, signed with initials. The upper part of the trees in pencil. 9x13 inches. * Showing Castle Garden at the time Jenny Lind gave her first concert, about 1852, connected by a bridge witli the mainland. SEVENTEEN ORIGINAL SEPIA DRAWINGS BY G. HEYWARD. Some signed or initialled, including ‘‘Bath House, Bath Beach,’’ in 1846; D. T. Valentine’s house, 1860; R.R. Depot, Tremont (3 views, one signed and finished), 1846; Two Sepia drawings of Knapp’s Dock, Stamford, one carefully finished; Central Park, N. Y., 1861 (2); Residence of T. Cromwell, L. I. Sound, and T. Davids, New Rochelle; Hunting- ton Place School, ete. TRINITY CHURCH, NEW YORK. Drawn on stone by John Forsyth & F. W. Mimee. Rich’d Upjohn, Esq., Arch’t. CoLORED LITHOGRAPH. Folio. N. Y. 1847. * VERY RARE. Not in the Neill or Holden Collection, nor at the Loan Exhibition held in 1909. The present edifice was consecrated on May 2, 1746. The print shows a Bird’s- eye view, with the Church in bold relief against the land- scape of the Hudson River and the Jersey coast beyond, with the buildings in the immediate vicinity also shown. VIEW OF THE NARROWS. FROM STATEN ISLAND. Lithograph in colors by Chas. Gildemeister. 4to. 1851. CENTRAL PARK. Bird’s-Eye view within border of scenes in the Park. Lithograph in colors, on the reverse of which is Magnus’s facsimile of the Slater map of New York in 1728, in colors. Large 4to. *Fifth Avenue is mostly vacant lots, there being only about half a dozen buildings to 110th St. KAATERSKILL FALLS, Catskill Mountains. Lithograph in colors by Gildemeister. ‘Sm. folio. 1851. OIL PAINTING OF CASTLE WILLIAM AND THE BAY. | Showing the Fort, shore line and shipping, unsigned and undated but about 1840. Height 11 inches; width 14 inches. In old frame. 20 198. 199: 200. 201. 202. 203. 204. 205. 206. D. ORME. ATTACK UPON THE FRENCH CAMP NEAR VALENCIENNES. Stipple engraving after Brown. Folio, 1796. SAMUEL PALMER. | ‘*Palmer’s works becomes for me more abundantly satisfying.’’—Hamerton. ¢ SUNRISE. Etching. Holland proof, full margins. STEPHEN PARISH. CARLETON TIDES, BAY OF FUNDY. Etching. SIGNED PROOF. Framed. JEAN PATRICOT. Contemporary French Etcher. HEBE: (Duchesse Louise Henriette d’Orleans). Etching after Nattier; Patricot’s signed remarque proof. eg * One of the charming French etchings much sought for. JOSEPH PENNELL. PEN-AND-INK DRAWING. Facade of an ornate Romanesque Church; a market scene in front. (France.) Signed. Folio. Framed. PEN-AND-INK DRAWING. Entrance to a French Church, early Gothic; a market scene, with a soldier and people in front. - Signed. Folio. Framed. j GEORGE HENRY PHILLIPS: b. 1800. English Engraver contemporary with Cousins. LADY WALLSCOURT: Seated with a guitar. Open letter proof mezzotint after Lawrence. 1839. MASTER LAMBTON. After Lawrence. Open letter proof published in 1839. Mezzotint. LADY DOVER AND CHILD. After Lawrence. Mezzotint. Fine open letter proof. Lond. 1838. 26 GEORGE HENRY PHILLIPS—Continued. 207. DUCHESS OF SUTHERLAND AND CHILD. After Lawrence. Mezzotint. An admirable companion piece to the preceding. 208. THE COUNTESS OF WILTON. After Lawrence. Mezzotint. Fine open letter proof. Lond. 1838. G. B. PIRANESI AND HIS SON FRANCESCO. Italian engraver of the edifices of ancient and modern Rome of the latter half of the Highteenth Century. 209. PIAZZA DELLA ROTUNDA: CASCADE OF TIVOLI. Two original engravings. Oblong folio. (2) * This and the following 5 are original impressions with margins, 210. RUINS OF MAICENAS’ VILLA AT TIVOLI. Folio. Mecenas was the patron of literature, the friend of Horace and Virgil at whose request the ‘‘Georgics’’ were written. 211. SEPULCHRE OF CECILIUS METELLUS. The great conqueror of Jugurtha in Africa. 212. BASILICA DI SANTA MARIA: Interior. Showing the lofty columnar approach to the alter. 213. RUINS OF A GALLERY IN HADRIAN’S VILDA. 214. PONTE SOLARIO: TRAJAN’S COLUMN, &c. Two original engravings. The latter also shows the Church of the Madonna di Loreto. (2) CHARLES A. PLATT. American Etcher and Architect. 215. HARTFORD AND THE RIVER. Etching, 1885. Signed proof on soft Japan paper. Folio. LASLETT J. POTT. 216. THE DUEL. Signed India proof. STOUT HEARTS (Girl and dog), by F. Stacpoole. Mezzotint after Barker. Signed India proof. (2) 27 217. 218. Zig; 220. 221. 222. 223. JOSEPH B. PRATT. Contemporary Mezzotint Engraver. LADY LIGONIER. After Gainsborough. Mezzotint, full length, leaning on a pedestal, chair with bust of achild near. Sianep INDIA PRooF. Folio. THE DUEL (Two horses). After Rosa Bonheur. India proof signed by Rosa Bonheur and the en- graver. Large oblong folio. MARY CATHERINE PRESTEL. SHEEP AND SHEPHERD. After Rosa di Tivoli. Printed in two shades of green in chiaroscuro. Folio. * An AQUATINT PRINTED IN GREEN. VERY RARE. Joubert states that her work is in demand, and justly so, by all the amateurs of Europe. Her work is limited to twenty plates. F. M. I. QUEVERDO.. DECORATIVE DESIGNS. Designs for Friezes, panels, ete., with arabesques and mythological figures. Eight (one damaged), mounted in two frames. Glass of one frame cracked. (2) HERBERT RAILTON. WHERE IRVING (SIR HENRY) SLEEPS. Etching of Westminster Abbey, interior. Signed India proof. Folio. MARC ANTONIO RAIMONDI: 1480-1528. QUOS EGO [Neptune appeasing the Tempest]. After Raphael. Within a border of mythos and classical scenes, Dido and Atneas, ete. Original impression, but has been torn and mounted. THE VIRGIN OF THE STAIRS. B. 45. Early impression; cut close. 28, 224, 225. 226. 227. 228. 229. 230. PAUL RAJON. Noted Modern French Etcher. ROUGET DE L’ISLE DECLAIMING THE MAR- SEILLAISE. After J. Pils. Etching; scRATCH LETTER PROOF ON CHINA PAPER WITH FULL UNTRIMMED MARGINS. Oblong folio, unframed. THE TOPER. Etching after S. Lucas. India proof signed by painter and etcher. REMBRANDT: 1606-1660. ECCE HOMO; FOURTH STATE. B. 77. D. 83. With the words ‘‘Cum privilegio,’’ and uncleaned margins. Folio, four holes in the upper part of the print have been skillfully repaired, and the print is mounted. * One of the few large plates of Rembrandt; it has been characterized as ‘‘a beautiful print and the most consider- able of his work.’’ THE NIGHT WATCH. Etching by L. Flameng. Small folio, on vellum paper. MDLLE. ROLLET AND OTHERS. THE BENEVOLENT COTTAGER. Stipple after Beattey ; together with ‘‘The Motherly Fright,’’ unsigned stipple, 1788 (both creased) ; Scene from Merry: Wives, by Simon; Disturbed by the Night Mare, rare early American lithograph by Imbert; and others. (7 pieces.) ROME (VIEWS OP). TEMPLES OF VENUS, CONCORD anp ANTONINUS. Arches of Janus and Pantani; Fountain of Egeria, ete. AQUATINT IN coLoRS. Sm. folio. (9) L. RUOTTE. THE WEST INDIA WASHERWOMAN. Stipple engraving after Brunias. Ato, PRINTED IN coors. About —. | 231. 232.. 233. 234. 235. 236. 237. 238. 239. 240. 241. W. DENDY SADLER. Popular contemporary English Artist. AN OFFER OF MARRIAGE. Etched by A. Mongin. REMARQUE PROOF SIGNED BY PAINTER AND ETCHER. ON JAPAN PAPER. Large folio, framed. THE LOVE LETTER; THE ANSWER. A Pair. Etchings by Jules Jacquet. Remarque proofs signed by painter and etcher, on Japan vellum. (2) PATIENCE. Etching by Ch. H. Boucher. Remarque proof signed by both artists. THE LANDLORD. Etching by Ch. H. Boucher. Remarque proof signed by both artists, on Japan paper. PARSON AND SQUIRE. Etching by C. O. Murray. Remarque proof signed by painter and etcher, on Japan paper. DISAPPOINTED ANGLERS. Etching by V. L’Huil- lier. India proof signed by both artists. AT THE WAYSIDE INN. Etching by Chiquet. Remarque Japan proof, signed by both artists. TO MINE HOSTESS. | Japan proof after the painting, signed by Sadler. OTTO W. SCHNEIDER. Contemporary American Portrait Etcher. JUSTICE BLACKSTONE. . After Gainsborough. Half length, wig and gown. SIGNED PROOF on Japan paper. SHAKESPEARE. ILLUSTRATIONS: Wolsey at Leicester Abbey, Mac- beth, Olivia, etc., engraved after Leslie, Cope, G. H. Boughton, etc. Small folio. (8) WILLIAM SHARP. DIOGENES. After Salvator Rosa. Line Engraving. Fine impression, full margins. Folio, Lond. 1792. 30 SIR FRANK SHORT. 942. GOLDSTONE. Mezzotint after Turner. English sea-coast, storm passing away. India proof. Small folio. * Karly work of the President of the Royal Society of Painter Etchers. 243. APPLE ORCHARD, CIDER COUNTRY. Rare mezzotint and etching after Alfred Parsons. Oblong folio. Signed proof by Short on soft Japan paper. T. F. SIMON. Contemporary French Etcher who prints his own plates, mainly in colors. Among the following will be found some of the street scenes for which he is famous. 244. MI CAREME A PARIS. (Mid-Lent street carnival.) Painter Etching in colors. ARTIST’S PROOF ON VELLUM PAPER, signed and stamped. 245. ARABIAN GATEWAY. Painter etching in Colors. SIGNED ARTIST’s PROOF, ‘‘No. 62,’’ on vellum paper. 246. MAIN STREET, TANGIERS. Painter etching in colors. SIGNED ARTIST’s PROOF, ‘‘No. 45,’’ on vellum paper. 247. ARABIAN MARKET. Painter etching in colors. SIGNED ARTIST’S PROOF ON JAPAN VELLUM, No. 59. 948. RIVA, SCHIAVONI. Painter etching in brown ink: No. 24 of 50 signed and stamped copies. Sm. 4to. 249. L’ESCALADE EN HIVER (Effect of snow at dusk). Painter etching in colors, signed and stamped. Sm. Ato, 1909. 250. OLD BRIDGE AT PRAGUE. Painter etching in brown. Signed artist’s proof No. 39. 1908. 251. L’ABSIDE DE NOTRE DAME. Painter etching. The view made famous by Meryon. Signed proof. 252. ROSE WINDOW, NOTRE DAME. Painter Etching. Signed proof. 31 J. R. SMITH. 253. THE SLAVE TRADE. After Morland. MEZZOTINT IN THE ORIGINAL COLORING. Folio. 1814. * Very rare in colors, RICHARD SMYTHE. Contemporary Mezzotint Engraver. 254. MARCHIONESS OF SALISBURY. After Lawrence. Full length, in a landscape, near a stone balcony rail over which she has thrown her red velvet cloak. MEZZOTINT PRINTED IN COLORS ON INDIA PAPER, SIGNED PROOF. SPORTING PRINTS. Henry ALKEN, Noted English horseman, trainer and engraver. Flourished 1816-1831. 955. HORSE RACING. ‘‘The High Mettled Racer. The Foal.’’ AQUATINT IN COLORS by HENRY ALKEN and T. SUTHERLAND, after the drawing by Alken. Folio, margins. Lond., published Mch. 1, 1821, by S. & J. Fuller at their Sporting Gallery. | * THIS AND THE FOLLOWING FIVE ARE RARE ALKEN PRINTS. All are open letter proofs. The old frames of this and the following sporting prints are in poor condition. 956. —— ‘‘The High: Mettled Racer. In Training.’’ * AQUATINT IN COLORS. ‘Two trainers are on foot, three are mounted. 957. —— ‘‘The High Mettled Racer. The Racer.’’ * AQUATINT IN COLORS. A group on foot watch the Racer and two others sweep past. 958. —— ‘‘The High Mettled Racer. The Hunter.’’ * AQUATINT IN COLORS. The Whipper-in showing the brush. 259. —— ‘‘The High Mettled Racer. The Post Horse.”’ * AQUATINT IN CoLoRS. A very interesting print showing the Court-yard and stables of an Inn. — 260. —— ‘‘The High Mettled Racer. The Death.’’ * “¢ AQUATINT IN COLORS.’’ 261. COACHING. ‘‘The Cambridge Telegraph Starting from the White Horse, Fetter Lane.’’ Aquatint, Hn- graved by Grorce Hunt, after J. POLLARD, IN COL- ors. Folio, full margins. London (about 1825). Framed. * RARE COACHING SCENE. The coach crowded with passen- gers, drawn by four horses, just ready to move off. 32 pe a 262. 263. 264, —— 265. 266. 267. 268. 269. 270. SPORTING PRINTS—Coxtinued. COACHING. “A View on the Highgate Road.”’ AQUATINT IN COLORS engraved by GEorGE Hunt after JAMES PoLLARD. folio, full margins. Very slightly scratched. London (about 1831). Framed. * RARE. The Birmingham & London mail coach, crowded with passengers, is passing ‘‘The Woodman’’ Inn. The print makes a very attractive companion piece to the preced- ing. POXSHUNTING. ‘“Bacueior’s Hauu.’’ Plate L. AQUATINT IN coLoRS. Small folio, full margins. No date. London (about 1832). * Rare. OPEN LETTER PROOF, with the verses ‘*To Bachelor’s Hall we good fellows invite To partake of the chase that makes up our delight.’’ Showing the early morning start of the huntsmen. This and the following prints making up the set are all in open letters and framed. *“BACHELOR’S Hauu.’’ Plate II. AQuUATINT IN COLORS. ‘*Dick Thickset,’’ ‘‘Bob Buxon’’ and the ‘‘Squire’’ on his grey leaping the fence at the brook. The same hunters appear in the series. —— ‘*BacHELor’s Hauu.’’ Plate III]. AQuaTINT IN COLORS. . * Dogs and horses. The start. = -bACHELOR s Hait.’’ Plate 1[V. -AQUATINT IN COLORS. * In full ery just passing from a wooded hillside. == ACHHLOR S HALL. - Plate V... AQUATINT IN COLORS. * The Death; the whipper-in measuring the brush. o—— spAcHEerorn Ss Haru.”’ Plate VI. -AQUATINT IN COLORS. ‘‘The huntsmen dining.’’ One of the most interest- ing prints of the series, showing the English Country- house dining-room of the ‘‘Thirties,’’ the dress, fur- niture, glass and china of the period. = BACHELOR § Haun.’’ Plate Ui. AQUATINT IN coLors, the coloring differing from the plate in the set, No. 264. THE YORKSHIRE HOG. Aquatint in colors after Berenger. Folio with mar- gins. London, 1809. * Fine and very rare in colors. 30 271. 272. 273. 274. 275. 276. 277. 278. 279. 280. SPORTING PRINTS—Continued. THE GRAND ENTRANCE TO HYDE PARK. Engraved by R. & C. Rosenberg after James Pollard. AQUATINT IN cCoLoRS. Coach, travelling carriage, tandem, and horseback riders are seen near the arch. THE MERRY BEAGLERS. By J. Harris after Hall. AQUATINT IN THE ORIGINAL COLORING. Fine open letter proof. Folio. PUMPKIN. Ridden by a Jockey. By G. T. Stubbs. Stipple engraving of a racehorse, rider up. London, published, 1794. Folio. * Fine and rare. THE ELEPHANT AND CASTLE ON THE BRIGH- TON ROAD. Engraved by Theodore Fielding after James Pol- lard. AQUATINT IN coLoRS. Large folio. *The Brighton-London stage, and numerous travelling coaches and other vehicles pass the Inn. CHAMPION. Mezzotint by Sartoriae Lond.: Laurie & Whittle, 1802. Sm. folio, fine origi- nal impression. i LURCHER. Mezzotint with text. Lond.: Laurie & Whittle, 1795. Sm. folio, fine origi- nal impression. SKYSCRAPER. Mezzotint with text. Lond.: Laurie & Whittle, 1795. Companion to the preceding. RACH HORSE AND JOCKEY. Mezzotint. India proof before all letters by Henry Stull, 1890. Signed. Near the ‘‘C. I. J. C.”’ clubhouse. Black horse, four white feet and white nose. TROTTING CRACKS OF PHILADELPHIA RE- TURNING FROM THE RACE AT POINT BREEZE. | Lithograph in colors, 1870, with key shows 18 fast horses and view of Turner’ s Hotel. Folio. GRAND STAND, JEROME PARK, N. Y. View of the stand and horses ready for the start. Lithograph in colors by T. Kelly, N. Y. 1868. 34 nee 294, SPORTING PRINTS—Coxtinued, THE CELEBRATED AMERICAN: TROTTING HORSE, TOM THUMB. Aquatint in colors. Engraved by G. & C. Hunt. Painted by E. F. Lambert. Folio. Rare and Fine. . COMING IN FOR THE DERBY. AQUATINT IN COLORS By C. Hunt after F. C. TURNER. 1848. The rare original impression. Large folio. . GRAND STAND, ASCOT: GOLD CUP DAY 1839. AQUATINT IN coLoRS BY C. Hunt after J. F. HERRING. 1849. The rare original impression. Large folio. . MONDAY AT TATTERSALL’S. In Colors after Isaac Cullen. Oblong folio. 1893. . BLOODING THE YOUNGSTER. In colors after M. D. Hardy. Oblong folio. 1890. . COMBAT OF STAGS. Etching by Lancon. Signed remarque proof. Folio. . CHLEBRATED HORSES. By Hatch & Co., N. Y. Lancet, Prince John, Brown Dick, ete. Group with key. VERY FINE COLORED LITHOGRAPH. Cracked but mounted on cloth. Oblong folio. 1863. . THE REPOSITORY OR TATTER’D-SALE. Etching. | Caricature. Pub. by Mary Darly, 1777. . JOHNNY DAY, PEDESTRIAN WONDER. COLORED LITHOGRAPH by Newbold. 1866. . IROQUOIS. Ridden by Archer. The Property of P. Lorillard. In couors by G. Rec 1881. Folio. . GEORGE WILSON THE PEDESTRIAN. Etching. In colors by Williams. Lond., 1815. . SUMMER. After Henry Alken. Heavy going and a full coach. IN couors. . DOWN HILL; UP HILL; TURNPIKE GATE. Set of three color prints by C. R. Stock after Shayer, printed on one sheet. Open letter proof. Oblong folio. SHOOTING. GAME FOUND. Plate IJ. Aquatint by Himeley after Wolstenholme. Small folio, margins (tear). ox v0 296. oo bs 298. 299. 300. 301. 302. 303. 304. 305 SPORTING PRINTS—Continued . THE MEET OF THE VINE HOUNDS. Engraved by W. H. Simmons after H. Calvert. Large folio. Lond. 1844. THE BEDALE HUNT. By the same after Martin. Large folio. Lond. 1842. A DEXTEROUS WHIP. Caricature by Thos. Worth- CoLORED LITHOGRAPH by Currier & Ives, 1876. * Caricature of Gen. J. A. Logan? JUST IN TIME! JUST TOO LATE! Two colored lithographs. Small 4to. (2) [TROTTING.|] By L. Maurer. COLORED LITHOGRAPH by Currier & Ives, 152 Nassau St. Folio. * Representing a famous trotter doing the mile in 2.19%. FRENCH CARICATURES. ‘“‘Un Anglais d’Aujour d’hui’’ and ‘‘Les Adieux au-Palais Royal.’’ ErcH- ING IN coLORS (by Garnerey?) Paris, chez Martinet. Small 4to. (2) | RAT CATCHING, Old American engraving by Jd. Brown after Landseer; THe LADY AND SPANIELS, by. Davey; and three others. (5) THE VELOCIPEDE. Lithograph in colors. -By Currier & Ives, New York, 1869. WATER-COLOR DRAWINGS. A Pair. ‘‘Going to the Inn.’’ ‘‘Returning from the Inn.’’ By R. Rosenbaum. Circa 1880. Oblong folio. * Coaching scenes. WATER-COLOR DRAWING. ‘‘Orders.’’ Golfer giving directions to the groom on the Dog- eart. By R. Rosenbaum. Cirea 1880. Oblong folio. F. G. STEVENSON. English Engraver in mezzotint. MADONNA OF THE CHAIR. After Raphael. ARTIST’S SIGNED PROOF PRINTED IN COLORS. 36 2 : ° lsh ia E ee nT ee ee ee a a“ - 306. 307. 308. 309. 310. dll. 312. 315. 314. 315. 316. 317. 318. WILLIAM STRANG. THE PRODIGAL SON. Etching, 1882. Proof on Japan paper. Small 4to. WOMEN LIFTING POTATOES. Etching. Proof on Japan paper. Small 4to. SIR L. ALMA TADEMA. THE KISS. Fine reproduction of the painting, SIGNED BY THE ARTIST. Folio, framed. JAMES J. TISSOT. THE GARDEN SEAT. Painter etching. Signed proof and with Tissot’s stamp. Oblong folio, on India paper. Scarce. SPRING MORNING. Painter etching. Signed proof and with Tissot’s stamp. ON THE STEAMER CALCUTTA. Painter etching. Signed proof and with Tissot’s stamp. WINTER WALK. Early painter etching. Signed proof and with Tissot’s stamp. Scarce. HOW HAPPY I COULD BE WITH EITHER! Signed and stamped painter etching. A SUMMER EVENING. | Signed and stamped painter etching. BY THE WINDOW. Signed and stamped painter etching. CHILDREN’S PARTY. Early proof. Signed and stamped painter etching. THE WIDOWER. Scarce. Signed and stamped painter etching. VAUGHAN TROWBRIDGE. Contemporary Etcher. CATHEDRAL AT QUIMPER, . FINISTERRE, FRANCE. Painter etching. Signed artist’s proof printed in colors. No. 23 of 58 issued in 1909. on 319. 320. 321, 322. 323, o24, 320. 326. P. VALENTIN. WATER-COLOR DRAWING: ‘‘WAITING.”’ Cavalier in the time of Louis XIV. Signed and dated 1879. Folio, gilt frame. A. VAN DYCK (Portraits engraved after). THOMAS HOWARD COUNT OF ARUNDEL, by Hol- lar; C. Vander Geest and T. Rombouts by P. Pontius, etc. Sm. 4to. (6) 3 EMILE VAN MARCKE. FIDELE; PHANN. (Dogs.) Etchings ‘by L. Le Couteaux, and signed artist’s proofs on Japan vellum. Folio. (2) ADRIAN VAN OSTADE: 1610-1685. THE QUARREL (‘‘La Rixe’’), after-Ostade. 1653. Engraved by J. Suyderhof. Third state. Folio. Corners repaired. HENRI VION. THE LOVE LETTER. After Meissonier. Etching. SIGNED PROOF BY THE ETCHER ON JAPAN PAPER. Oblong folio, unframed. WILLIAM WARD. THE FARMER’S STABLE. After G. Morland. Biles BG Mezzotint. Folio, with margins. London, 1792. * PRINTED IN COLORS: MAGNIFICENT IMPRESSION OF THIS FAMOUS INTERIOR OF A STABLE. WASP, CHILD AND BILLY. After H. B. Chalon. F, 314. Mezzotint of three prize bull-dogs. Folo. Lond. 1809. * PINE IMPRESSION. VERY SCARCE. POINTERS. After T. N. Sartorius. Mezzotint printed in dark brown. Folio, margins. Lond. 1806. * Fine open letter proof. 38 327, 328. 329. 330. 331. 332. 339. 334. 330. WATER COLOR PAINTINGS. MIST ON THE RIVER. Original Japanese water-color by FuKawa Basks, Oblong 4to. Framed. FISHING BOATS NEAR VENICE. Original water-color by DELECOUILLERIE. Guilt frame. Folio. CARNATIONS. Water-color by M. Manley. 4to. Framed. LANDSCAPE. By M. Manley. Narcissus. Unsigned water-color. Both framed. (2) HERMAN A. WEBSTER. MAISON Vz. MELINE. Painter Etching. SIGNED PROOF. Framed. JOHN WHESSELL. RURAL INNOCENCE. After Bourgeois. Stipple engraving, large folio, open letter proof. Lond. 1806. SYDNEY E. WILSON. Contemporary English Engraver in Mezzotint. The first Wilson prints offered by auction this season. LADY HALLETT. After Gainsborough. Half length, large hat, in a landscape. SIGNED ArR- TIST’S PROOF IN coLoRS. India proof. MRS. SHERIDAN. After Gainsborough. Half length, in a landscape. One of the beautiful Linley sisters. SIGNED ARTIST’S PROOF PRINTED IN cotors. Early impression before the BS were cleaned, printed on India paper. MRS. BELL. After Sir Henry Raeburn. Half length, seated in a landscape, white gown with black lace. SIGNED ARTIST’S PROOF PRINTED IN COLORS ON INDIA PAPER, with uncleaned margins. Numbered ‘*67,’’ apparently by Wilson. 39 SYDNEY E. WILSON—Continued. 336. NATURE (EMMA AND LAURA CALMADY). After Sir Thomas Lawrenee. . Two little girls in a circular frame. Well-known and one of the most attractive paintings of children. SIGNED ARTIST’S PROOF PRINTED IN COLORS ON INDIA PAPER. 337. THE LADIES WALDEGRAVE. After Reynolds. Three sisters seated at a work-table, with embroidery, book, and other employment, gowned in white mus- lin, an old rose curtain drawn aside revealing a landscape. HNGRAVED AND PRINTED IN COLORS. SIGNED ARTIST’S PROOF. Folio. ANDERS ZORN. Contemporary Swedish Painter and Etcher. 338. A LETTER. Painter etching in 1918. SIGNED PROOF PRINTED IN BROWN, untrimmed mar- gins. A peasant girl, her head wrapped in a shawl, seen. at half length. Very fine and characteristic print. 339. BERSECK. Painter etching, 1914. — SIGNED PROOF. A woman dressing. 340. PRAYER. Painter etching. Lightly printed. A womanin church. SIGNED PROOF. 341. THREE SISTERS. Painter etching, 1913. SIGNED PROOF ON VAN GELDER PAPER, untrimmed | _ ‘margins.. | 342. THE FENCE. Nude. Painter etching, 1913. SIGNED PROOF ON VAN GELDER PAPER, untrimmed margins. 40 Red Cross Sale Prints, Books, Oil and Water Color Paintings, Pen and Wash Drawings, Bronzes and Porcelains, and a new Pianola Piano Contributed by Artists and Others to the RED CROSS COMMITTEE (For the Sale for Belgian Relief see Lots 445-470.) NOTE. The following articles (with the exception of Lots 445-470) were donated to the Rep Cross Bazaar, held in the New Grand Central Palace in October last, under the auspices of the WOMEN’S COMMITTEE OF ONE HUNDRED, the proceeds to be devoted to the American Red Cross European War Relief Fund. They were selected by the Committee from the unsold articles, as possessing sufficient merit to warrant a special sale under more favorable conditions and are now so offered. All costs of the sale of every description will be borne by the Anderson Galleries, and the entire gross proceeds of the Sale will be paid-to the Committee. Lots 445 to 470 inclusive will be sold under the same conditions and the entire gross proceeds will be paid to the Museum of French Art for the benefit of the Women and Children of Belgium and France made homeless by the War. THIRD SESSION. Thursday Evening, February 18, 1915, at 8:15 o’clock LOTS 343-521. EDWIN A. ABBEY. 343. ‘“FAIR IS MY LOVE.’’ After the painting. India Proof signed by Abbey. Folio. ALEX. ANSTED. 344, SPRING FLOODS. Etching, signed proof. ADOLPHE APPIAN. 345. A SUMMER DAY. India proof etching. 346. WINE PRESS. India proof etching. 347. A SOUVENIR (Windmill). India proof. 348. THE FISHERMEN... Etching. 349. THE VILLAGE, CORNING. Twilight. Etching. 41 300. 351. 302. 303. 304. 309. 306. oot. 308. 309. 360. OTTO H. BACHER. REGENSBURG. Signed vellum paper proof. THE BRIDGE: SCHLEISSHEIM. Signed vellum paper proof. ‘VENICE: GRAND CANAL, ENTRANCE. Etching in brown. THE RIALTO. Etching in brown. CASA D’ORO, VENICE. Vellum paper proof. CANAL, WORTH. Etching. ROYAL GARDENS: SCHLEISSHEIM. Signed vellum paper proof. CH. DE BILLY. THE HAYMAKER. Etching after Adan. Signed remarque proof on parchment. FELIX BRACQUEMOND. THE MAN WITH THE HOE. Etching after Millet. A. BRUNET-DEBAINES. | THE MILL WHEEL. Etching. Signed remarque proof. FELIX BUHOT. THE STORM AT TROUVILLE. Etching, untrimmed margins. WALTER W. BURGESS. . WINCHESTER CATHEDRAL. Etching on soft Japan paper. _THE GATE OF HONOR, CAMBRIDGE. Etching, signed proof. F. S. CHURCH. . “TO THEE.’’ Cupid and Rose. Signed proof etching. 364. THE HARD HEART: Cupid and grindstone. Signed proof etching. AQ var 372. 373. 374, 379. 376. 377. } CLAUDE GELEE DE LORRAIN. 5. LIBER VERITATIS. No. 117. Mezzotint by R. Earlom. Landscape with peasants, cattle, and buildings. First PROOF STATE, printed in warm bistre. Pub. 1775. * The following five lots are from the same series. . LANDSCAPE WITH RIVER AND SHIPPING. No. 185. . CATTLE AND HERDER CROSSING A_ FORD. . No. 189. . CLASSICAL LANDSCAPE WITH FIGURES AND CATTLE. No. 190. _-MERCURY AND ARGUS IN A LANDSCAPE. No. 192. . THE RESURRECTION. No. 194. LEON COUTIL: After Millet. THE END OF THE DAY. Etching, signed proof. Mounted. G. H. EVERY: After Romney. LADY HAMILTON AS EUPHROSYNE. Head. Signed mezzotint. HENRY FARRER. A FISHING STATION. Etching on satin. Signed proof. AMEDEE FAURE. After Rembrandt. HEAD OF A MAN IN FELT HAT. Etching. Proof. DEWITT H. FESSENDEN. S. PAOLO, Rome. Etching on Japan paper. Signed proof. S. FRANCIS OF ASSISI. Etching on Japan paper. Signed proof. HENRY CHARLES FOX. WARGRAVE ON THAMES. Etching, signed, remarque proof. 43 381. 382. 383. 384, 385. 386. 387. 388. 389. 390. 391. 392. 393. 394. 395. JOHN FULLWOOD. . THE HEAD OF THE LOCK. Etching, signed proof, India paper. . THE SWAN HOTEL. Thames Ditton. Etching, signed DROOL . THE POOL. Etching, signed proof. EUGENE GAUJEAN: After Marks. A GOOD STORY. Proof etching signed by both. LUCIEN GAUTIER. VENICE: GRAND CANAL. Signed vellum paper proof. ARRIVAL AT THE FIELD. After Jacque. Signed proof etching on soft vellum paper. THE COTTAGE. After Corot. Signed proof etching on soft vellum paper. THE CANAL. After Corot. Signed proof. CHARLES STORM VAN ’S GRAVESANDE. ZAANDVOORT. Signed parchment proof etching. BANKS OF THE MEUSE. Signed India proof. NEAR KATWYK. Signed proof before plate was cut. A. GRAVIER: After Turner. FIGHTING TEMERAIRE. Signed remarque proof. WILL HENDERSON. After Lawrence. MISS FITZGERALD. Printed in colors. Signed artist’s proof on India paper. CHARLES JACQUE. PEASANTS’ COTTAGES. Etching, 1879. CATTLE TENDED BY A WOMAN. India proof. WOMAN DRIVING PIGS IN A PEN. China proof. CAVALIER BEFORE AN INN. China proof. No. 7. SUMMER (L’ETE). China proof printed by Sazarin. 44 396. 397. 398. OUg, 400. 401. 402. 403. 404. 405. 406. 407. 408. 409. 410. 411. 412. MAXIME LALANNE. HOUSE OF BELOT. Etching, India proof. A CUSSET. Proof etching from Lalanne’s Collection. NEAR HOULGATE (CALVADOS). Etching. BRIDGE OF ARTS, PARIS. Moonlight. Etching. ENVIRONS OF PARIS. Fontainebleau. Etching. ACACIA TREES. Etching. G. DE LATENAY. LOW TIDE. Etching, No. 13 of 50 signed proofs. P. LE RAT: After Meissonier. TURNING REIN. Etching. THOMAS R. MANLEY. THE MILL POND. Signed proof on Japan vellum. J. D. MILLER: After F. Dicksee. SYLVIA. Mezzotint on India paper. C. M. NICHOLS. EVENING. Drypoint, signed proof. THE REEDS. Drypoint, signed proof. OSGOOD. QUAI DES ORFEVRES, PARIS. Etching, signed proof. FREDERICK PAULING. LINCOLN AND TAD. Etching, signed proof. SKYSCRAPERS. Etching, signed proof. JOSEPH PENNELL. ST BARTHOLOMEW’S'GATE. Etching, signed proof. HOLE IN THE GROUND. Etching, signed proof. | 45 413. 414, 415. 416. 417. 418. 419. 420. 421. 422. 423. 424. 425. 426. 427. 428. 429. 430. 431. 432. JOSEPH PENNELL—Conxtinued. RICHMOND PARK. Printed and signed by Pennell. CRANES AT KENSINGTON. Signed (also by Gould- ing). CRYSTAL PALACE: FIRST STATE. Signed proof. FOUNDER’S TOMB, ST. BARTHOLOMEW. Printed and signed by Pennell. | PENNELL DRAWINGS IN PEN-AND-INK. HONFLEUR; THE OLD GATEWAY. Signed. THE ABBEY AT GRAILDE. Signed. ABBEY OF ST. MARTIN, BOSHEVILLE. Signed. LAWRENCE B. PHILLIPS. COMING HOME (Dutch landscape). Signed proof. G. B. PIRANESI: Italian etcher. BASILICA OF THE HOLY CROSS. QUIRINAL, ROME. Fine impression. CHARLES A. PLATT. A CORNER OF PORTLAND. Etching, 1882. PETER J. PLATT. RIVERDALE, NEW YORK. Etching, 1913, signed. VAN CORTLANDT PARK. Winter. Signed. 1910. LANDSCAPE AND STREAM. Signed proof. 1908. VAN CORTLANDT PARK. Winter. Signed. 1912. TWILIGHT LANDSCAPE. Signed proof. MOONRISE. 1913. Signed proof. WOODS IN WINTER WITH STREAM. Signed. RICHARD SMYTHE. COUNTESS OF HARRINGTON. Signed proof. Mezzotint printed in colors. E. STODART: After Cosway. LAXTITIA. Oval stipple in colors. 1892. 46 : 433. 434. 435. 436, 437. 438. 439. 440, 441, 442. 443. 444, E. VAN MUYDEN. LION AND MATE. Signed proof with remarque margin. First proof, first state, only four issued. LIONESS AND CUBS. Signed remarque proof. Second proof, first state, only four issued. FRANCIS S. WALKER: After Gainsborough. MRS. SIDDONS. Signed proof mezzotint. Printed in colors. No. 49 on India paper. CHARLES WALTNER: Aftes F. Dicksee. HARMONY. Signed remarque proof. Etching. CADWALLADER WASHBURN. DOGE’S PALACE. Signed proof etching. ON THE GRAND CANAL. Signed proof. CASA D’ORO, VENICE. Signed proof. FRAMED PRINTS. M. J. BURNS and H. P. SHARE. FISHING BOATS AT SEA. Etching signed by both. Narrow folio, framed. CHROMO PRINT. WINTER SCENE. Height 21 inches; width 30 inches. Framed. E, DORIES (After). FEEDING THE SWANS. Photogravure in colors. Framed. SIR FRANK SHORT. NUTBOURNE MILL, BOSHAM. Signed proof. Framed. E. VAN BLAAS (After). FLOWER GIRL. Photogravure in colors. Framed. 47 Carly Belgtan Wiews To be sold for the Benefit of Women and Children of France 445, 446. 447. 448. 449, 450. 451. 452. 453. 454. 459. 456. 457. 458. 459. 460. 461. and Belgium made homeless by War Sold under the auspices of the Museum of French Art ANTWERP. Early Eighteenth Century Engraving. Narrow oblong folio. * This and the following views are all early and interesting views of towns and cities now in the field of operations of the European war. Most of them are narrow oblong folio in size, a few are small quarto and are so described. Most of them have a key or a short letter-press description in German. LOWEN oder LOUVEIN. (LOUVAIN.) VERDUN. (France.) BRVGE. (Bruges.) NAMUR. 4to. CHARLE-ROY. (Charleroi.) 4to. LEMBERG. (Silesia.) 4to. Colored. DINANT. ; PROSP. DER STATT NAMUR. METZ. With the engraver’s name, G. Bodenehr. LILLE. LOVEN. (Louvain.) A different view from the previous one. ARRAS. BRUSSEL. OSTENDE. AELST. NAMUR STADT UND SCHLOSS. Showing the whole of the fortifications, and the siege works of William ITI. 48 462. 463. 464. 465. 466. 467. 468. 469. 470. 471. 472. 473. 474. 475. 476. 477. EARLY BELGIAN VIEWS—Coxiinued. NAMUR,. Auff der seiten von Braband. Narrow 12mo. NAMUR. Auf der Anderen seiten. Narrow 12mo. VILLE-FRANCHE. (France.) Narrow 12mo. NAMUR. Von der Maas seiten nach Braband anzuichen. BONEY. Caricature, issued by the Grolier Club on an invitation card. Framed. THE ANGLER. Small etching by H. W. Bicknell. UNE COQUETTE: With two other small colored French etchings. (3) BOOK-PLATES. Mr. Daymar, old 18th century armorial; Earl of Shannon; ete. (5) CATALOGUE of the Loan Exhibition of the War at the Seribner Building, Nov., 1914. Design by Tiffany on cover in colors. Paintings, Books and Objects of Art (Continuation of the Sale for the Red Cross Committee) BRONZE MEDALLION OF ROBERT LOUIS STEV- ENSON. By Sarnt-GAUDENS. Signed with inscription and dedication. Diameter 1134 inches. Framed in walnut. WEDGWOOD PITCHER. Decorated with hop leaves and blossoms in brown and yellow. Height 15 inches BRONZE FIGURE: THE YOUNG VIOLINIST. Height 33 inches. CIRCULAR FAIENCE PLAQUE: PUCK. With figures and flowers in high relief finished in gold and silver. Diameter 25 inches. WAX DOLL. Dressed about 1836. Height 19 inches. EMBROIDERED YOKE. | Width 16 inches. BLUE AND WHITE HOMESPUN COVERLET. 49 478. 479. 480. 481, 482. 483. 484, 485. PAINTINGS, BOOKS AND OBJECTS OF ART—Continued. JAPANESE PORCELAIN VASE. With fluted base, the neck decorated with dragons in relief, the whole coated with a-peacock blue glaze, and mounted in a wrought-iron stand of scrolls and leaves. Height 45 inches. SHVRES PORCELAIN REVOLVING VASE. With decoration after Bouguereau by Grisard and scroll handles of gilt bronze. Height 26 inches. NEW STROUD PIANOLA PIANO. Mahogany Case and Bench. EARLY AMERICAN JUVENILE. Nine honor ecards, each containing a poem engraved in copper-plate with vignette illustration in the original coloring, several endorsed ‘‘J. M. Hoppin’s card 1825.”’ * « ee yee he Ne ie ete eee a Se er a anne ite eS ee poh 4 © rie wc che ae Pe UT al a ¥ nip RG IE, EAR IE A AAO ALI ER ISATE LOGS 4 ~~ = i y » : an a 2 = > ° ghee FOF rere =~ = a al - wet LA ied et AS pt RH 0. Sire Sag eh ert rhe OE VS oo —_~- 2 we a cir eens eb AE ort : ee een ete ae Ody in tian a = A ny ee eng ew Spee 8 a + ae = oe en tn 9" ere opantaiee i a eewciaeibes anes ae . rs - . i“ e aa Ms aS ~ — : < nag ome * - ae kat wae Hh SD oT 2 SR SDS el a es eg Rr agncttngs aoe dertaapadaglien ce OP EE A Dg lynne ees Dace nn ee BR ee wer Set one . 4 A ne oon . hts ‘ LH ape +a es 2 gre NE gray iE pr eternity are errr lp ers ne ETE REE) er att i er ona — - ‘ ee Te Te ee ee ee * rmeosr 7 BOR fo OE. EO Somer - Pe or ae PN oe ee ee re aman Ny ON erage mt - on . emt aN ~ : de ei ee “wt oor ~ «i ote . ~ nyt ven Sa 1 gee denied Ss Ge et OR ten ag See NE Sa Selig) TEE Se Set er a ting, a peeebpctianbe ——e Tat le a ~ oe ae > pe - - . > 5 ‘ Senile. ack he - — : 4 7 ingtnacee a im reer ana Ae ow a hs a > ep patent ine. ee eee - ' rbqhart's nies 4 , = oa A ae , “ P 9 Sates hemtqeiand " “< “0 Rr et aa All aa eA, SO Patna a) ee ees 00 Or gy 7 wh Pe) itd hans nal . be aa ie a re ag ae ne SED Gedy Sit aly Slice: — ei at aedpahs ee oa “s sparta eer 9 ae ar 9 i ~ | =s5 Rr ee > : e — en my est ante . — Am we 2 , ver a « . ° - tom oe ceed & ? ’ “ < ate eet Fie * nts - a is * —- = ars * ~ oe Reta Sry ‘ iat eens rn a ie: 5 i mn SRE ep r: a ee ee “rtp ~ a a al pn ar Oh ae ew 7 nly & od em HO a ON eS . n ey -” * er Swear a vty awit ee . ms fe eet =e “ 2 5 een An % . was ® - > Oat See wt mned® : ae hg ot oe oa - ” ere Aye sy * ” * 2 2 ree —t# a tall ~_ * = Ree ne —, ~ - eee os - ~ Ae ew CO amen EAE Pree bans 7 * . we » oa im ot ’ ne et ie ease an 7 oy as ey oe Syren . : ae, ee pines He fo e " 0 rans ~ 2 “a — o— a av — « ¥ ad > . —EG e Amo aS « — * - - any aia © £ nar) - . * alae did -~ dd ne cy = ve * we - - = Sane l sarees : - ‘ ° ' = ; . ~ ote re . ‘ * > a Oe pe ¥ = ee he - — - x ¢ “ . Ta erga rap hes Neca cet OR mt Om - ~ e « ——. e Set tl ns totes ae nee 9 . ~~ + - = =e a z end : . . detienmntiemmns ab aes ti niuarake Pe ae _ - a VN ® iors: ~ s I i RAN Ne SE ey le AE eS ante eiey pet - t — ‘ ~ we te ak a i ee eee — Pee eta ees etter cat oo os ‘ ne we © Sale e o aes we FE OP = oe > erent . 2 - a ” * - ore "" - ~ — , oe ae . ee kn Ae ¥ ‘ OE BS J 4 ¥ t Spe ay + ei Se ee ee ee ee | on ar< Sg eee a ; * a aaa se hey cel Mian ary " sath lk (emi = ASE sori al re Sees a sient din tin * ~ a > ie peep snes Se may pa a RN centieeerbtacindeh Diingn taneds bo aS, Fe ~ : 7 = “ ~ nampa bs 5 OS Ae INNS To ES NYS madamnecacs 7 eet 8 care > 4 et) ee os “ eset © a CLA LAME oe ree ~ eet yt aes eR ne oe a is _— ~ a — as “* a. pense swarm oamee e pone ahs y af q v4 nian hadi 2 > ee ae putes ean FS ROS tw eet 1. ett Be Te ee Ce ~ >t) a 1 ges * atiliabammndindtaia te . es - ipa “ * = yy na S ae ae - ~ es pee ea é - eee ‘ . “ aed t v " ; ie Ten aa Stas saat Sec mote "% a ine * 7 “ = - ciel ; - ow ia 6 - oe Sate” by Ber 4 eat. CP Ree - eos : ‘ t + t " . ‘ ee ee - “ + =o SS TI a ee oe _ =<, = e > : " z - “ s wate om oe apwa-mere Seep x 2 - A = + % - * ies é Se ee eee sae * : Awe =n dno Mm ea fad : 4 o—~s el Wy eI es don co Po Satgg ~ . Paainiesrtieiiere = pret ahr tp - = > P - Te IN ie ne rs an a 4 - * - . oe o vOut = . ae Cleaned x Pee oe - e ee a theee Beet i . whee =: * ti a ROBO ese - : ‘ vem pe < % — fie sega SAR esti = « oe ae vet « Sh aa Grete Velbon grea ty thie ee aia ete a he ine ea ndes oe . 4 v ~S sy WE ae ty + & len Rievthiote » dailies - ended ore starr eed ep * x ~ s ee +e bin ~ . + aun - = oe MNS ere hy ey - +08 " - " ~ * Ci ee BR = : " bey @ TQS ae oe ae adie - prentates TASTY 20 eeenee Ot score me - a ‘ ye . Sed “ - t es, . . ste = aan —- 7 “ peo ~ se — er 9° se Pt hte ae “- ~ Ce a eee ee » “> ot renee tienen a ae ws = goer Settendets “we ot “ Sar ° - ian ae tal s a f 1 a im oa orn = --< Wet tat ~ eo ® ad “ a “ uM a trentrenremen ne ; ; 4 i Aer 8 ten oe a coma BP ens nw na. pate tome _" * a & ra re Aiea - outer . he » ~ Ee at. eh aE as © ¢ maar me a ~ - Sites . ; es AN ly eB Comey ution e ~~ ie bie am al - ss se RAs Sie jk < eons . oe > % Nerney we ~ * ith > ier . wm ye © * a oe aaa ps x “ as EN, eR wy ~ ee oe > ons Ps ~ tm - . < =n eset so - . —. etnies > 78 trata ” on ae ~ ‘ ~ = ~ nd ag a rg nee eye «