Lichings ad Engravings 
 | the rollertion of the late 
 
 Russell Sturgis 
 
 S24 
 
 Plart 1 
 
 Che Anderson Art Galleries 
 12 East 46th Sire 
 New York 
 
No. 826—1910. 
 
 THE COLLECTION 
 
 OF 
 
 Engravings and Ltrhings 
 
 FORMED BY THE LATE 
 
 Russell Sturgis 
 
 TO ILLUSTRATE THE 
 
 iistory of the Gwo Arts 
 
 ETCHINGS by J. F. Miuurt, CAMILLE Corot, Josrer IsRAEts, 
 J. L. E. Meissonrer, CuHartes Mreryon, REMBRANDT, 
 GEORGE CRUIKSHANK, CHARLES Jacqusz, J. MoN. 
 WuistLer, F. Srymour Hapen, FRran- 
 cIsco GOYA, AND OTHERS. 
 
 ENGRAVINGS By AxtsrecuHt Durer, H. 8S. Benam, Lucas 
 VAN Lrypen, W. FarrHorne, W. Houiar, HocartH, DANIEL 
 Hoprer, Hans BurGKMAIR, AND OTHER EARLY MASTERS. 
 LITHOGRAPHS sy Rarret. MEZZOTINTS sy VAL- 
 ENTINE GREEN AND SIMILAR ENGRAVERS. CHIAR- 
 OSCURO ENGRAVINGS sky ANprREAS ANDREANT, 
 NICOLAS DI VICENTIO, BArTOLOMEUS VCorRIO- 
 LANUS, FANTUZZI DI TRENTO, AND OTHERS 
 EQUALLY RARE. TURNER'S  Liper 
 STUDIORUM, ETC. 
 
 PART I. 
 
 TO BE SOLD 
 Monpay Eventne, Marcu 28 - - - Lors'§ 1—150 
 TurspDAY EVENING, Marco 29 - - -  151—300 
 
 SALE BEGINS EACH EVENING AT 8.15 O’CLOOK. 
 
 On EXHIBITION FROM TUESDAY, Marcu 22, 10 A.M. To 5.30 P.M. 
 
 GOhe Anderson Aurtion Company 
 
 12 Kast 46TH STREET, 
 New York. 
 
 TeLEPHONE, Murray Hit 120. 
 
ART AND MISCELLANEOUS 
 
 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 judg- 
 ment as to the good faith of all claims and his decision shall be 
 final. He also reserves 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 default of which the Anderson Auction Company 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 
 settlement of purchases, no lot will be delivered during the sale. 
 
 6. All lots will be exposed for public exhibition two or more days 
 before the date of sale, for examination by intending purchasers, 
 and the Anderson Auction Company will not be responsible for the 
 correctness of the description, authenticity, genuineness, or for any 
 defect or fault in or concerning any lot, and make 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 Anderson Auction Company 
 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 expert, 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 
 conclusion of the sale will be re-sold by either private or public 
 sale at such time as the Anderson Auction Company shall deter- 
 mine, 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 Anderson Auction Company to 
 enforce the contract with the buyer, without such re-sale. 
 
 8. The Anderson Auction Company 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. 
 
ca) 
 
 cr 
 
 No. 826—1910. 
 
 Che Russell Sturgis Collection 
 
 American Etchings 
 
 . AMERICAN ETCHINGS. 
 
 A series of 10 small etched plates by the same artist, 
 unidentified, signed with a mark resembling “A. T.” 
 (10 pieces. ) 
 
 BELLOWS (A. F.). 
 
 M1ibhL AT OYSTER BAY. 
 
 And 3 other landscapes near New York. 
 Etchings. SIGNED proors ON DuToH PAPER. (4) 
 
 BLUM (ROBERT). 
 
 . THE HAG: Etching. 
 
 Oid woman with pipe. 
 SIGNED PROOF ON CHINA PAPER. 1879. 
 
 BOECKLIN (A.). 
 
 ._. A SPRING DAY: Island of the Dead and “Herakles.” 
 
 Tinted photogravures of his paintings. Large folio. (3) 
 
 BONVIN (FRANCOIS). 
 
 The etcher of a few plates of considerable merit. 
 
 . PORTRAIT OF HIMSELF. 
 
 Woodcut done in 1847. ‘Two proofs, one on India paper, 
 mounted on the same sheet. 
 
 BRACQUEMOND (FELIX). 1833. 
 
 His portraits mostly done from lfe and his original etchings 
 7 full of originality. 
 
 . EDMOND DE GONCOURT. 
 
 Etched portrait. 
 ‘One of 25 SIGNED PROOFS ON PARCHMENT. 
 
 a 
 o 
 
ores M 
 Sty, if Pe 
 Nir Wie elo oe 
 
 Pte Se a ah 
 Bias 2 Sate maa Sek 
 
 - 11. THE COMMUNION. Etched by H. Hamilton. 
 
 fb aD elit et : 
 
 ay " fone oe ee 
 
 N- A AR te, oye cer : 
 ee ae Fhe Mp eh Be 
 
 7. THEOPHILE GAUTIER. 
 Etched portrait on India paper with the name. > spe 
 “Teophile.” 3rd State. | 
 
 Very RARE. Beraldi calls this “the beautiful | state 
 
 the plate.” With the stamp of PHILLIPPE Burry. sé 
 
 8. LE HAUT D’UN BATTANT DE PORTE. P 
 With etched signature to right and the date 1865. “on 
 THIN JAPAN PAPER. 
 
 9. MOUTONS PARQUES, after Brendel. 
 Etching from the collection of Pritirrr Burry with his 
 stamp. ee 
 
 aah 
 A te 
 
 BRENNAN (ALFRED). 
 
 10. DISCORD. 
 Painter etching, with stamped number “30.” 
 
 BRETON. (JULES). 
 
 Impression on Japan paper. 
 Christ in the Temple, Litho after Menzel. 
 Large folio. (2 pieces.) 
 
 BRUNET-DEBAINES (A.). 
 
 12. COURT OF ST. GERMAIN (?). 
 Impression on soft Japan paper, with full snag 
 
 Ch: 
 13. HOTEL-DIEU, with remains of the Bridge St 
 1872. 
 Fine impression as aboye, with full margins, F 
 RARE. 3 
 
 HES ST. VIVIEN, Rouen. - 
 Another Church at eee and two etchings ¢ on one 
 (3 pieces.) ear 
 
 15. ST. GERMAIN. 
 Two SIGNED VIEWS ON cee PAPER; » i: cee 
 4 additional etchings, including 3 proofs. (6 
 7 tie 
 
 BUHOT (FELIX). 
 One of his three finest Paris ei 
 
 16. LA PLACE PIGALLE EN 1878. au 
 FINE ARTIST’S PROOF, with a portrait of E 
 the remarques. Gi 
 
 f 
 
 S; * me 1 V * as v 
 x , Poe fhe wee hd oa are 
 7 : ihe Cen z : ) VEN . ‘ery J S — 
 
19. 
 
 BURTY (PHILIPPE). 
 
 Noted French art collector and critic. 
 
 . BOOK PLATE OF PH. BURTY. 
 
 From his own collection with his stamp. 
 
 CHAMPOLLION CE. A.). 
 
 . LE CHOIX DU MODELE. After Fortuny. Open letter 
 
 proof. 
 
 CHURCH (fF. S.). 
 
 OLD HORSE CAR USED AS A CHICKEN HOUSE. 
 Painter Etching. SIGNED PROOF ON INDIA PAPER (un- 
 mounted) with uncut mergins. 
 
 COCHIN (C. N.). 
 
 . CEREMONIE DU MARIAGE DE LOUIS DAUPHIN 
 
 AVEC MARIE THERESE, Feb. 23, 1745. 
 Folio line engraving, showing the scene at Court with 
 many figures. 
 
 . SALLE DE SPECTACLE on the same occasion. 
 
 Folio engraving within beautiful ornamental border. 
 
 . BAL MASQUE on the oceasion of the Marriage. 
 
 Fine impression. Folio. 
 
 y BAL PARE. 
 
 Given by the King on the same occasion, within orna- 
 mental border. Folio. 
 
 COLE (J. FOXCROFT). 
 
 . SHEEP IN A COUNTRY LANE. 
 
 Original proof. 4to. Large paper. 
 
 COROT (CAMILLE). 
 
 . SOUVENIR D’°ITALIE. 
 
 A valley, four young trees to the right. 
 Impression on Japan paper with untrimmed margins. 
 
 . ENVIRONS DE ROME. 
 
 Trees to the left, two crooked trunks to the right. 
 Impression on Japan paper with full margins. 
 
 . SOUVENIR DE TOSCANE. 
 
 Corot’s first etching. He only made 14 plates. 
 
 . ETCHED PORTRAIT, by H. Grenaud. 
 
 5 
 
CRESWICK (THOMAS). 
 Great English Sas | 
 
 29. LANDSCAPE. | 
 Original etching. INDIA PROOF BEFORE LUPTERS. 
 
 DELACROIX (EUGENE). 
 Painter, lithographer and PIER, 1798-1863. | 
 
 she 
 
 30. A WOMAN LYING DOWN SEEN FROM THE nace 
 Printed on the same sheet with “A Man at Arms ee Le 
 time of Francis [.” 
 
 DETAILLE (EDOUARD). 
 
 31, FRANCO-PRUSSIAN WAR. abe 
 
 Défilé de Cavalerie and two scenes of the Battle of Reais 4 
 hoffen. Goupirn Gravures on India Bb: pe 
 
 foho. ( 3 pieces.) 
 
 32. CHAMPIGNY (Detaille) ; Une Alerte (BetneBanlecnee ‘ 
 and La Poste (Dupray). Goupil arenes on Ins a 
 paper. Folio. (3) beds 
 
 Perquisition <Gaacdet) Goupil gravures | on ohn 
 paper. Large folio. * (3) 
 
 EATON (WYATT). Stee - 
 
 Rare etchings by this American painter, on fine hand-made pape 
 34. TREES IN A MEADOW. | 
 SIGNED TRIAL PROOF ON LARGE PAPER. 
 
 35. PORTRAIT OF A MAN. 
 SIGNED TRIAL PROOF ON LARGE PAPER. 
 
 36. HEAD OF A WOMAN and a Burdock plant. Apa 
 BOTH SIGNED TRIAL PROOFS ON LARGE PAPER. 
 
 ETCHINGS 
 37. PONT DE ees eee i Seana Wome 
 
 ey 
 
 38. CATHEDRAL DE ROUEN, Proof on i 
 Jules Adeline; L’Espalier, Aquatint, sign 
 proof : Max Klinger, on India paper. Fe 
 
 x Fie is vi «fe " 
 oo ‘J mabe A a yt 
 So Sie er a 
 
40. 
 
 41. 
 
 42. 
 
 43. 
 
 44, 
 
 46. 
 
 4, 
 
 48, 
 
 PACIUS (G82) J.°G:): 
 
 . VENUS ASLEEP, after Titian. Danae, after Titian. 
 
 Stipple engravings. Folio. (2 pieces.) 
 
 FARUFFINI (F.). 
 
 CESAR BORGIA ET MACHIAVEL. 
 Etching which took the prize at the Salon of 1866. “Gift 
 from C. C. [Charles Courtry?], Dec. ’79” pencilled on 
 margin. 
 
 SACRIFICE TO THE NILE. 
 ‘Etching. Salon de 1867. 
 Proof on large paper with the same pencilled inscription 
 as above. 
 
 FICQUET (ETIENNE). 
 
 PORTRAITS OF VOLTAIRE, after De la Tour; and 
 FENELON, after Vivien. Fine impressions with 
 margins. (2) 
 
 FLAMENG (LEOPOLD). 
 
 PIERRE HEDOUIN. 
 Father of the etcher. 
 FINE PROOF FROM THE Burry COLLECTION SIGNED BY 
 FLAMENG in ink, also with inscription “Avery March 
 eo NU. ole. 
 
 PORTRAIT OF GAVARNI. 
 SIGNED PROOF ON INDIA PAPER. 
 Inscription “Avery March ’78 No. 303.” (FROM THE 
 Burty COLLECTION 7) 
 
 . THE ELDER BURTY. 
 
 Inscription “Avery March 1878 No. 95.” 
 ». POAVERY. 
 
 Fine impression; the well-known Old New York Art 
 Dealer, founder of the firm. 
 
 ETCHED LANDSCAPE. 
 
 Impression on India paper. 
 
 FORTUNY (MARIANO). 
 
 ANACHORETE. Proof on China paper before the clean- 
 ing of the plate, and without printer’s or publisher’s 
 name. [This and the following are all stamped auto- 
 graphed proofs. | 
 
 q 
 
a 
 ae 
 
 a sida! a lhe ge 
 
 75. 
 
 i. epee Chea ae 
 
 . KABYLE MORT. China proof. 
 . The Same. China proof. 
 
 . MARECHAL-FERRANT AU MAROC. China proo!. A) 
 . EGLISE §. JOSEPH A MADRID. China i “ 
 . MEDITATION. China proof. 
 
 . LA VICTOIRE. Proof on Dutch paper. 
 . IDYLLE. Proof on Dutch paper. 
 
 . ARABE ASSIS. China proof, before the clennene of ‘ 
 
 »9. The Same. Proof on Dutch paper, the edges of the ¥ ] 
 
 . PORTRAIT DE ZAMACOIS. China proof. ie 
 _ GARDE DE LA CASBAH. Proof on Dutch paper.  __ 
 _ UN DIPLOMATE. China proof. tae 
 
 . TIREUSE DE CARTES. Proof on Dutch — : 2 
 
 . TANGER, ARABES ASSIS. China proof. 
 _ UN POUILLEUX. China proof. a 
 . CHEVAL DU MAROC. China proof. ) 
 . HOMME SE ROULANT A TERRE. China proo!. | 
 . MENDIANT ACCROUPI. Proof on Dutch paper. a8 
 _ UNE RUE DE SEVILLE. China proof. aie 
 . DEUX CARDINAUX. China proof. 
 
 . UN MASQUE. Proof on Dutch paper. dee 
 . PORTRAIT DE VELASQUEZ. China proof. . 
 
 . CROQUIS. DEUX ARABES. China ie . 
 ; LANDSCAPE. China proof, a. 
 
 ing of the plate. 
 
 plate. 
 
 cleaned. (Without the signature.) Bie 
 
 GAILLARD (FERDINAND). pee 
 FEMME DU PEUPLE. 
 
 arms. * hee 
 
GEDDES (ANDREW). 
 
 Noted Scotch Painter. Executed only a few etchings, all of great merit, 
 
 76 
 
 rae 
 
 78. 
 
 id. 
 
 80. 
 
 ap AO 
 
 82. 
 
 83. 
 
 84. 
 
 85. 
 
 86. 
 
 but rarely met with. 
 
 LORD JEFFREY. Second state (unfinished proof), from 
 Philippe Burty’s collection, with stamp. 
 
 COLONEL PHILLIPS. First state, with etched signature. 
 From Philippe Burty’s collection with stamp. 
 
 BARRINGTON BLACKFORD. In military uniform. 
 Unfinished proof of the first state. From Philippe 
 Burty’s collection with stamp. 
 
 PORTRAIT OF A YOUNG MAN IN THE STYLE OF 
 VAN DYCK. Proof. 
 
 ALEXANDER NASMYTH. Unfinished proof of the first 
 state. 
 
 GIFFORD (R. SWAIN). 
 
 LOW TIDE: A Beached Boat. 
 Etching. India proof. Sm. folio. 
 
 NONQUITT: Signed proof on China paper. HAY RICK: 
 signed proof on the same. 8vo. (2) 
 
 HERKOMER (HUBERT). 
 
 PORTRAIT OF JOHN RUSKIN. 
 Bust. Folio mezzotint. Artist’s signed remarque proof, 
 No. 26, with the stamp of the Printseller’s Association. 
 On Van Gelder paper. Full margins. 
 
 HILL (J. HENRY). 
 
 American Etcher and Painter. 
 
 A WATER MILL. Signed proof ; A RAVINE WITH 
 WATERFALL. Signed proof. (2) 
 HOUBRAKEN (jJ.). 
 ALBERT OF AUSTRIA. 8vo. PROOF BEFORE LETTERS; 
 Anne of Cleves, after Holbein, sm. folio. (2) ; 
 HUGO (VICTOR). 
 
 RUINED CASTLE IN A STORM. 
 Etching. 1868. 
 
 9 
 
87. 
 
 88. 
 
 93. 
 
 94. 
 
 98. 
 
 HURET (G.). 
 
 LOUIS XIII. of France and Queen Anne kneeling before 
 the Virgin and Child. Folio. 
 Beautiful engraving; the scene in an arched Court look- 
 ing out towards a fountain. 2 
 
 ISRAELS (JOSEF). 
 
 Painter, who etched a few plates of fishermen, ete. 
 
 YOUNG DUTCH FISH GIRL WITH BASKET SEAT- 
 ED ON THE SHORE. 
 
 Proof before the plate was cleaned. 
 
 . LA JUIVE. 
 
 Proof on large paper. 
 
 . HEAD OF AN OLD WOMAN. 
 
 Proof on large paper. 
 
 , HEAD OF A CHILD. 
 
 Lightly etched. Proof before plate was cleaned. 
 
 . INTERIOR: Baby in a cradle holding a spoon out to a dog 
 
 seated on a chair. Lightly etched. Proor. 
 
 JACQUE (CHARLES). 
 
 CATTLE AND SHEEP IN A WOOD, ATTENDED BY 
 
 TWO WOMEN. Drawn by Jacque, engraved on wood 
 by Lavieille. A proof of the first state of the block, 
 and a-China proof of the finished state. The first with 
 the stamp Ne. (Charles Naumann?). (2) 
 
 TITLE PAGE FOR THE “ALMANACH BOURGUI- 
 GNON.” Woodcut. Proof before the date was cut. 
 With collector’s stamp “Ne.” (Charles Naumann?). 
 
 . THE WOLE’S DEN IN THE JARDIN DES PLANTES. 
 
 1842. Dry-point. Proof on China paper. 
 
 . LES CHANTEURS. Jacque’s only folio etching of figures. 
 
 Printed by Delatre. 
 
 . FONTAINEBLEAU, CERF SORTANT DE LA HAUTE 
 
 FUTAIE. . ) 
 Deer in Fontainebleau Forest. Proof etching on India 
 
 paper, the above title pencilled in a hand which strong- 
 
 ly resembles that of Jacque. With collector’s stamp. 
 
 WOODCUTS, by Lavielle after Jacque. Le Chat Botté; and 
 four prints of the Months May, July, etc. (5 pieces.) 
 Each with collector’s stamp Ne. (Charles Naumann ?). 
 
 10 
 
 4 ” 
 : 
 +a 
 ie, 
 
 e , 4 ry 
 : j Fe 
 - =o ae “ i a : Der 
 r lat eh ee ee ee ae ee ee 
 
JACQUE (LEON). 
 
 Brother of Charles Jacque, born in 1828. 
 
 99. VILLAGE LANDSCAPE. 
 
 100. 
 
 101. 
 102: 
 Pes 
 
 103. 
 
 104, 
 105. 
 106. 
 
 U7. 
 108. 
 209. 
 
 110. 
 
 111. 
 ae. 
 113. 
 
 114. 
 115. 
 
 Small folio etching. 
 
 JACQUEMART (JULES). 
 
 LES QUATRE ELEMENTS. Complete set of the four 
 etchings, etched title and original wrappers also con- 
 taining an etching. Oblong 4to. Paris, 1863 
 
 Searce. The original issue with Cadart’s name on 
 wrappers as printer. 
 
 THE SORCERESS. After Franz Hals. Signed proof. 
 
 HEAD OF A GIRL. After Greuze. Signed proof. 
 
 LANDSCAPE WITH CATTLE. After Berghem. Signed 
 proof. 
 
 RUSTIC INTERIOR. After Willem Kalf. Signed proof. 
 MARINE. After Van Goyen. Signed proof. 
 
 HOLY FAMILY. After Jordaens. Signed proof. 
 ELIZABETH OF VALOIS. After Sir Anthony More. 
 
 Signed proof. (Now considered a portrait of a Ger- 
 man Lady, by Strigel.) 
 
 JACOB VAN VEEN. After Martin van Veen. Signed 
 proof. 
 
 PORTRAIT OF A DUTCH GENTLEMAN. After 
 Adrian de Vrees. Signed proof. 
 
 A: DUTCH BURGOMASTER. After Van der Helst. 
 Signed proof. (Also etched title-page to the series.) 
 Two pieces. 
 
 ALEXANDRE DUMAS, FILS. Bust portrait after Car- 
 peaux. Proof on parchment. — 
 
 LE DEFILE DE NANCY (Parade of the Lorrainers be- 
 fore the Empress Eugenie). After Meissonier. Proof. 
 
 THE MINERVA OF BESANCON (from an ancient Ro- 
 man Statue). Proof on Dutch paper, stamped “Col- 
 Jection Lalanne.” 
 
 TVECUREUIL ET LA MOUCHE. Proof before letters. 
 
 LES FLEURS DE LA VIE; LES RONCES DE LA 
 VIE. Early state before the titles. (2) 
 i 
 
116. A SPANISH WOMAN WITH FAN; ETCHING FROM 
 A PERSIAN MANUSCRIPT, proof on China paper; 
 LE TOUR DE NESLE(?), proof before title. (3) 
 
 117. PLAT D’URBINO; RELIURE DE MAIOLI;.MIROIR 
 DU XVIe SIECLE. ANCIENT NECKLACE AND: 
 JEWEL. (4) 
 
 118. TAPIS XVle SIECLE; HALLEBARDES XVlIe 
 SIECLE; SELLE POLONAISE; and another. (4) 
 
 KRUELL (G.). 
 
 119. PORTRAIT OF E.’L. GODRIA 
 Woodcut on China paper sIGNED BY THE ARTIST. 
 
 120. PORTRAIT OF- JOHN PETTIE, R. A. 
 SIGNED woopcuT on China paper. 
 
 LALANNE (MAXIME). 
 
 121. 12 CROQUIS A L?EAU-FORTE. Paris: Cadart, 1869. 
 Complete set of the etched title-page and twelve plates 
 Original issue. 
 
 Scarce in complete sets. Sometimes known as “Diver- 
 tissements sur Cuivre.” ‘The series includes La: Seine 
 a& Bezons, Dans un Parc, Une Rue a Barcelone, Dans 
 le Port de Bordeaux, Le Pigeonnier, etc. This last 
 mentioned plate is considered one of the most perfect 
 of Lalanne’s smaller etchings, and the impression in ~ 
 this set is exceptionally fine. All are proofs before 
 titles, later issues having the titles etched in the blank 
 spaces at the bottom of the plates. » 
 
 122. [AN OLD FRENCH CHATEAU.] Signed proof. 8vo. 
 
 123. CHATEAU DE CHAUMONT; A BASTION OF PARIS 
 DURING THE SIEGE, Proof; PORT DE BOR- 
 DEAUX. 
 
 124. UNE RUE A BARCELONE. (4) 
 
 L’EAU-FORTE EN 1874. 
 
 125. L7EAU-FORTE EN 1874. 
 
 30 Eaux-fortes, Originales et Inedites par 30 des Artistes 
 les Plus Distingués. Texte par Ph. Burty. Folio, in 
 the original cloth portfolio (worn). (One etching 
 missing to complete the set.) Paris, 1874 
 
 No. 38 of the limited Edition, the etchings India proofs. 
 Among the artists whose etchings are included are 
 Appian, Lalauze, Legros, De Gravesande, Lalanne, 
 Detaille, ete. ; 
 
 12 
 
 ee ee ey a eee ee a ee eee EE re 
 
127. 
 
 128. 
 
 129. 
 
 130. 
 131. 
 132. 
 
 133. 
 
 134. 
 
 135. 
 
 L’EAU-FORTE EN 1875. 
 
 . VEAU-FORTE EN 1875. 
 
 40 Haux-fortes. ‘Texte par Burty. Folio, in the orig- 
 inal portfolio. Paris, 1875 
 
 No. 42 of the Limited Edition, the etchings India proofs. 
 A Complete Set. The etchers in this include De Neu- 
 ville, Detaille, Roybet, Lalanne, Bracquemond, Legros, 
 ete. 
 
 LE DAVIS (EDOUARD). 
 
 “MERRY ANDREW?” after Franz Hals, with his portrait 
 in plain dress engraved on eopper on the same sheet. 
 Folio, with small margin. 
 
 LEFEBURE (JULES). 
 Noted French Painter, executed only a few etchings. 
 
 MADELEINE COUCHEE. Very early proof on Japan 
 paper. Signed by the artist. 
 
 LEGROS (ALPHONSE). 
 
 GAMBETTA. Portrait of the French Statesman. 
 Dry-point. Very fine impression. Scarce. 
 
 S. JEROME. Proof with Philip Burty’s Stamp. 
 HEAD OF AN OLD MAN. Folio. Proof. 
 
 UN VIEIL ESPAGNOL. Japan Proof. VICTOR HUGO. 
 Proof in the fourth state with collector’s stamp. (2) 
 
 LEPAGE (JULES BASTIEN). 
 French Painter who etched only 11 plates. 
 
 RETOUR DES CHAMPS. 
 Woman returning from the fields. 
 Proof on Japan paper without signature. 
 
 FAUCHEUR AIGUISANT SA FAUX. 
 Reaper sharpening his scythe. 
 Proof on Japan paper. 
 
 LEWIS (J. F.). 
 
 LION AND LIONESS; A LION’S HEAD. Drawn 
 and etched by J. F. Lewis. 1824. (2) 
 India proofs. Considered the masterpieces in etching of 
 this noted painter. 
 
 13 
 
136. SET OF TWELVE SPORTING SUBJECTS. Drawn 
 and etched by J. I. Lewis. 1835-36. 
 Scarce. The subjects include The Stable Door, The 
 Cottage Door, Buck Shooting, Ppa Mare and 
 Foal, A German Wild Boar, ete. 
 
 MARSH (0. C.). 
 
 137. 16 PLATES OF BUTTERFLIES, MOTHS, CATER- 
 PILLARS, etc. All proofs, some on India paper. 
 
 MEISSONIER (J. L. E.). 
 
 138. POLICHINELLE. Etched by Meissonier himself. First 
 state with the trace of an eye in the background. 
 Fine impression on Large Paper. 
 
 139. LE SERGENT RAPPORTEUR. Fine impression with 
 “Tmp Salmon,” on Large Paper. 
 
 MERYON (CHARLES). 
 
 Etchings by this noted engraver, many in choice states, and some from 
 the collection of Philippe Burty. Arranged and 
 described according to Delteil. 
 
 140. LA VACHE ET I7ANON. (D. 2.) Very fine India 
 proof of the Second State. Plate destroyed. 
 141. LA BREBIS ET LES DEUX AGNEAUX, and, 
 
 PECHEURS DE LA MER DU SUD. The two on 
 one sheet. (D. 8 and 15.) Second State. 
 
 142. LE PAVILLON DE MADEMOISELLE ET UNE 
 PARTIE DU LOUVRE. (D. 9.) Fine impression 
 of the First Finished State on Old Paper. 
 
 143. ENTREE DU FAUBOURG SAINT-MARCEAU, A 
 PARIS. (D. 10.) Fine impression of the Second 
 State. 
 
 144. BATEAUX DE HARLEM A AMSTERDAM. “(D. 14.) 
 Second of Four States. Fine India proof, unmounted. 
 
 145, PECHEURS DE LA MER DU SUD. (D. 15.) Second 
 State. 
 
 146. TITLE (WRAPPER) OF THE “EAUX-FORTES SUR 
 PARIS.” (D. 1%.) Light brown in color. The 
 plate destroyed. 
 
 147. THE SAME. Green in color. 
 
 148. DEDICATION TO “REYNIER NOOMS, dit ZEEMAN.” 
 ; (D. 18.) Very fine impression in two colors on Large 
 Paper. Plate destroyed. . Very Scarce in two colors. 
 
 14 
 
ai et ee ee eee ee eee a 
 A és, a 
 
 ——— Seed 
 
 (th 2s . ; 
 
 149. ANOTHER COPY of the same on small paper. Very 
 fine impression in black. 
 
 150. ANCIENNE PORTE DU PALAIS DE JUSTICE. (D. 
 19.) Proof on China Paper of the Third State. Plate 
 destroyed. 
 
 SECOND SESSION « 
 
 MERYON ( CHARLES) : 
 
 151. ARMES SYMBOLIQUES DE LA VILLE DE PARIS. 
 (D. 21.) Third State. 
 
 152. LE PETIT PONT. (D. 24.) Fifth State (practically 
 the First Finished State). Beautifully soft impres- 
 sion on China Paper. From Philippe Burty’s col- 
 lection with his stamp. 
 
 One of Meryon’s Finest Plates. Of this state only 600 copies 
 were issued, a very few being like this copy, specially 
 
 printed on China paper. Written at the bottom—possibly 
 by Burty—‘‘4 Etat, le Petit Pont a la pointe.” 
 
 153. SAINT-ETIENNE-DU-MONT. (D. 30.) Fourth State 
 
 (first with the initials “C. M.”). A beautiful clear 
 printed impression on India Paper. From the 
 Bouillard collection. Plate destroyed. 
 
 154. FIFTH STATE OF THE SAME ON LARGE PAPER. 
 
 155. LA PETITE POMPE. (D. 32.) Second (or Finished) 
 State. Fine impression on Large Paper. From the 
 Philippe Burty collection with his stamp. Plate 
 destroyed. 
 
 156. LE PONT AU CHANGE. (D. 34.) Eleventh State, 
 with the balloons and Delatre’s name as printer. On 
 China Paper. Plate destroyed. 
 
 157. LLESPERANCE.. (D. 35.) Second State. Plate de- 
 stroyed. 
 
 158. TOMBEAU DE MOLIERE. (D. 40.) Second State on 
 Large Paper. 
 
 159. THE SAME. On Small Paper. 
 160. TOURELLE DITE DE MARAT. (D. 41.) The Sixth 
 of Ten States on Large Paper. Very fine impression. 
 
 Meryon considered this his best work. He said it was the 
 composition of heaven. 
 
 15 
 
MERYON (CHARLES). 
 
 161. 
 
 162. 
 
 168. 
 164. 
 
 165. 
 166. 
 
 COLLEGE HENRY IV. (D. 48.) Fourth State, with 
 the sea, mountains, ships and sea monsters. 
 
 THE SAME. UNDESCRIBED STATE, BETWEEN 
 FIFTH AND SIXTH. ‘The sea, mountains, etc., 
 erased and left blank. Unknown to Delteil. Very 
 Rare. 
 
 THE SAME. Seventh State. 
 
 THE SAME. Eighth State. Proof on China Paper from 
 Burty’s collection with his stamp. 
 BAIN-FROID CHEVRIER. (D. 44.) Sixth State. 
 
 LE PONT-AU-CHANGE VERS 1784. (D. 47.) Very 
 fine impression of the Fourth State. Plate destroyed. 
 
 . LA SALLE DES PAS-PERDUS. (D. 48.) Very fine 
 
 impression of the Fourth State on Thick and Large 
 Paper. The plate destroyed. 
 
 . THE SAME. On slightly smaller paper. 
 . RUE PIROUETTE AUX HALLES. =(D. 49.) Fine 
 
 India proof of the Sixth State. 
 
 _ LE GRAND CHATELET VERS 1780. (D. 52.) Third 
 
 State. Plate destroyed. 
 
 71. VUE DE LANCIEN LOUVRE DU COTE DE LA 
 
 176. 
 
 178. 
 
 SEINE. (D. 53.) Sixth State. 
 
 . LA RUE DES TOILES A BOURGES. (D. 55.) Sixth 
 
 State. : 
 
 ANCIENNE HABITATION A BOURGES. (D. 56.) 
 Fifth State. Plate destroyed. 
 
 . CHATEAU DE CHENONCEAU. (The second plate. 
 
 D. 58.) Second of Three States. 
 
 . CHEVET DE ST. MARTIN-SUR-RENELLE. (D. 60.) 
 
 Third State. From Philippe Burty’s collection with 
 stamp. 
 
 PLAN DU COMBAT DE SINOPE. (D. 62.) Proof, 
 unknown to Delteil, in which the Compass needle has 
 neither Point nor Feathers, and crosses the scale. 
 Plate destroyed. 
 
 . THE SAME. First State, in which Meryon has per- 
 
 sonally erased the wrong pointing initial of the needle, 
 and correctly written “N” at the other end. 
 
 COVERS OF THE “VOYAGE A LA*® NOUVELLE 
 ZELANDE.” (D. 63.) With etched design. Fourth 
 State printed in blue. 
 
 16 
 
+ 
 
 MERYON (CHARLES). 
 
 179, 
 
 180. 
 
 193. 
 
 194. 
 
 EOD: 
 
 LE PILOTE DE TONGA. (D. 64.) Second State, 
 printed in red and black. Plate destroyed. 
 
 TETE DE CHIEN DE LA NOUVELLE-HOLLANDE. 
 (D. 65.) Second State. Proof on China Paper. Plate 
 destroyed. 
 
 . LE MALINGRE CRYPTOGAME. (D. 66.) Second of 
 
 Four States. Proof printed on greenish paper. Plate 
 destroyed. 
 
 . THE SAME. Fourth State on Large Paper. 
 _ NOUVELLE CALEDONIE. GRAND CASE_IN- 
 
 DIGENE. (D. 67.) Fourth, or First Lettered State. 
 
 . OCEANIE: PECHE AUX PALMES. (D. 68.) Fourth, 
 
 or First Lettered State. Plate destroyed. 
 
 . PRESQU’ ILE DE BANKS—POINT DITE DES CHAR- 
 
 BONNIERS. (D. 69.) Fifth State. 
 
 . GRENIERS INDIGENES A AKAROA. (D. 70.) 
 
 Fourth, or First Lettered State. 
 
 . ETAT DE LA PETITE COLONIE FRANCAISE 
 
 D’PAKAROA. (D. 71.) Fifth State. 
 
 . SAN FRANCISCO. (D. 73.) Fine impression of the 
 
 Fourth State. With pencil note that it was bought 
 in 1875. 
 
 . PRO VOLANT DES ILES MULGRAVES. (D. 74.) 
 
 Fourth State reading “Rebus.” 
 
 . PORTRAIT DE CASIMIR LE CONTE. (D. 77.) Fine 
 
 impression on Dutch paper. 
 
 . THE SAME. On thick paper. 
 . RENE DE BURDIGALE, Sr. DE LAUDONNIERE. 
 
 (D. 80.) Fourth State. Fine impression. 
 
 A portrait of the famous founder of the Huguenot Colony in 
 Florida. Engraved after the rare portrait by Crispin de 
 Pass. 
 
 PIERRE NIVELLE. (D. 81.) Fifth, or First Lettered 
 State. Proof on China Paper from Philippe Burty’s 
 Collection with his stamp. 
 
 BIZEUL (LOUIS JACQUES MARIE). (D. 83.) Fifth 
 State. 
 
 BENJAMIN FILLON. (D. 85.) Fifth State on Large 
 Paper. 
 17 
 
MERYON (CHARLES). 
 
 196. 
 
 Leis 
 
 198. 
 
 199: 
 
 209. 
 210. 
 
 PROJET D’ENCADREMENT POUR LE PORTRAIT 
 D’ARMAND GUERARD. (D. 95.) The Fourth State 
 of Nine. 
 
 (A lynx curls round the “Code Lois.”) ' 
 
 PORTRAIT D’ARMAND GUERARD. (D. 86.) Sec- 
 
 ond State. Plate destroyed. From the Hirsch col- 
 lection with stamp. 
 
 ADRESSE DE ROCHOUX. (D. 87.) Fourth State, 
 printed in red and black. Very fine impression. 
 
 PRESENTATION DU VALERE MAXIME AU ROI 
 LOUIS XI. (D. 94.) arly impression of the Fourth 
 State. 
 
 . FRONTISPIECE POUR LE CATALOGUE DE TH. DE 
 
 LEU. (D. 96.) Sixth State, the First with Letters. 
 Fine impression on Large Paper. 
 
 . REBUS. (La Vendetta.) (D. 100.) Second State. Plate 
 
 destroyed. 
 
 2. ANOTHER COPY OF THE SAME. 
 . ANOTHER COPY, BUT PRINTED ON ia 
 
 PAPER. 
 
 . REBUS. (Beranger ne fut véritablement fort, ete.) (D. 
 
 101.) Third State. Plate destroyed. 
 
 . REBUS. (Non! Morny n’est pas mort, ete.) (D. 102.) 
 
 Second of Three States. Plate destroyed. 
 
 . CHARLES MERYON PAR F. BRACQUEMOND. (D. 
 
 17-A.) Third State from the Burty and Hirsch col- 
 lections. Portrait as an ancient sculpture. 
 
 . CHARLES MERYON PARF. BRACQUEMOND. Three- 
 
 quarter length seated. Amand-Durand reproduction. 
 
 Ten proofs only were taken from the original plate when 
 Meryon destroyed it, and this is the only state in which it 
 is obtainable. 
 
 . CHARLES MERYON MAD AT CHARENTON. Helio- . 
 
 gravure after Leopold Flameng. Lettered Proof on 
 parchment. From Philippe Burty’s collection with 
 his stamp. 
 
 THE SAME. Proof before letters on plate paper. 
 
 PORTRAIT OF EDME C. SAINT-MARCEL. Unfin- 
 ished proof. 
 
 Erroneously attributed to Charles Meryon, and no doubt 
 by the painter himself. ‘Two different etchings of this 
 portrait were executed, one showing the painter look- 
 ing a little to the left. This represents him looking 
 straight to the front. 
 
 18 
 
211. 
 
 r12. 
 
 213. 
 214. 
 
 215. 
 
 R17. 
 
 218. 
 
 pid. 
 
 220. 
 
 MILLET (JEAN FRANCOIS). 
 
 LYHOMME APPUYAT SUR SON BECHE. (D. 3.) 
 Etching known as “Labor.” Plate destroyed. On thin 
 Japan paper. 
 
 FEMME VIDANT UN SEAU. (D. 32.) 
 Woman emptying a bucket, woodcut by Pierre Millet 
 after a drawing by J. E. “Millet. 
 THE RARE ORIGINAL NOT TO BE CONFOUNDED WITH THE 
 COPIES WITH THE TITLE IN REVERSE OR THE INI- 
 TIALS ONLY. 
 
 FEMME VIDANT UN SEAU. The same on toned paper. 
 
 FEMME VIDANT UN SEAU. The same. An impres- 
 sion on buff paper with collector’s stamp. 
 
 OU DONC EST-IL? (Delteil 21.) 
 
 ORIGINAL LITHOGRAPH for a Music Sheet, and one of 
 only two vignettes drawn on stone by Millet in his 
 early youth. On China paper. 
 
 The reduced facsimile of the FIRST STATE BEFORE LET- 
 TERS, of which only one proof was known to LeBrun, 
 is said to be in America, and which Burty reports was 
 sought for by Millet for many years before his death 
 owing to his desire to see it again. Only three or four 
 trial proofs were made of the second state (with letters) 
 which are now in the Curtis, Gerbeau and Vanderbilt 
 Collections. The drawing was executed in compliance 
 with an order, and when submitted to the Publisher, 
 he refused either to return or pay for it. 
 
 5. LE SEMEUR. (D. 22 
 
 Lithograph of “The Sower” by Bouvier after Millet, 
 printed by Bertauts. 
 
 LA GRANDE BERGERE ASSISE. (D. 33.) 
 Second State with the sky. Woodcut by J. B. Millet 
 after J. F. Millet. 4to. 
 
 BECHEUR AU REPOS. (D. 34.) 
 
 Woodcut by Pierre Millet after a drawing by J. F. Millet. 
 
 1874. On toned paper. 
 "FOUR TIMES A DAY.” 
 
 “Morning,” “Noon,” “Evening” and “Night,” a series 
 of 4 woodcuts by A. Lavielle after Millet. RareLy 
 FOUND COMPLETE. 
 
 “THE WORK OF THE FIELDS.” 
 
 A series of 10 woodcuts by Lavielle after Millet: Woman 
 shearing, spinning, raking, pulling and crushing 
 flax; a Man mowing, binding, threshing, reaping and 
 making faggots. 
 
 RARELY FOUND COMPLETE. 
 
 19 
 
Modern Colored Prints 
 
 In the colors of the originals, and with the approval of the painter 
 
 RRR. 
 
 220. 
 
 226. 
 
 228. 
 
 cos) 
 eo 
 Ne} 
 
 expressed by signature. 
 
 BROUET (A,). 
 
 + HVENING, A CEPY. 
 Sm. folio, signed by the artist. 
 
 VON ENDE (HANS). 
 
 WORPSWEDE. Cottage and trees on a stream. Colored 
 etching in blue tones. Sr@nep. Sm. folio. 
 
 OSTERLIND (ANNE). 
 
 . LE BEAU SOIR. Autumn. 
 StaNeD by the painter. Folio. 
 
 HAUDARD (CHARLES). 
 
 . AU BOIS. (Swans in a Stream.) 
 No. 46 of 50 stanep proors marked “Unpublished.” 
 
 GRAF (O.). 
 DACHAU BY MOONLIGHT. Folio. 
 
 GREENOUGH (E. K.). 
 
 VIEW OF THE MEADOWS. 
 Colored Lithograph. Signed. 
 
 LORRAIN (ROBERT). 
 
 . THE BATHERS. 
 No. 46 of 50 siGNepD proors. Folio. 
 
 MARCHETTI (G.). 
 
 IN THE PARK. 
 SIGNED BY THE ARTIST. Folio. 
 
 MOTTA. 
 
 . A SWOLLEN STREAM. Folio. 
 Signed facsimile of a Crayon Drawing. 
 
 20 
 
=. Fe oe 
 
 i 
 
 280. 
 
 233. 
 
 234, 
 
 238. 
 
 240. 
 
 TROWBRIDGE (V.). 
 
 MOONLIGHT, COTES DU NORD. 
 Colored etching, siaénep By Trowspripce. Sm. folio. 
 
 MORAN (THOMAS). 
 
 . LANDSCAPE: Etching. SigNep PROOF ON CHINA 
 
 PAPER. 
 
 . YELLOWSTONE RIVER and KURATO, a Ute Girl. 
 
 SIGNED PROOF ON CHINA PAPER. (2) 
 
 MOREAU LE JEUNE. 
 CORONATION OF LOUIS XVI. Magnificent folio en- 
 graving showing many figures. 
 
 CELEBRATION OF THE BIRTH OF THE 
 Deu PHIN, Jan. 21, 1782. 
 Arrival of the Queen at the Hotel de Ville in the midst 
 of an immense crowd. Folio engraving. 
 
 Portraits. 
 
 . LONGFELLOW (HENRY W.). Lithograph issued by 
 
 Houghton, Mifflin and Company. Bust, life size, 1875. 
 Woodeut portrait: of Bismarck on India paper. (2) 
 
 RAJON (PAUL). 
 
 . UN AMOUR PLATONIQUE. Fine original impression 
 
 with large margins. 
 
 . PORTRAIT DE FELIX BRACQUEMOND; POR- 
 
 TRAIT DE SULLY PRUDHOMME. InpIiA PrRoor. 
 (2) | 
 
 PORTRAIT DE BARBEY D’AUREVILLY. Proof 5 
 PORTRAIT DE IVAN TOURGUENEFF. Proor. 
 Scarce. (2) 
 
 REMBRANDT. 
 
 . THE CIRCUMCISION. BI. 20. B. 37. Fine impression 
 
 of the First State. 
 
 THE DESCENT FROM THE CROSS BY TORCH 
 LIGHT. Bl. 58. B. 83. Very fine impression with 
 margin of the only state. From the Wilhelm Koller, 
 Gawet and Held collections. . 
 
 21 
 
. JESUS DISPUTING WITH THE DOCTORS. BI. 35. 
 
 B. 64. Very fine impression with margin. 
 
 . ST. JEROME KNEELING. Bl. 73. B. 102. Late, but 
 
 fairly good impression with margin. 
 
 . THE COTTAGE WITH A LARGE TREE. Bl 326. 
 
 B. 226. Good impression of a very rare etching of 
 Rembrandt. From the Drugulin and other collections. 
 
 . MANASSEH-BEN-ISRAEL. BI. 183. B. 269. Good 
 
 impression from the Koller and Daffinger collections. 
 
 . JOHANNES WTENBOGARDUS. Bl 190) Bee2ie, 
 
 Very good impression of the Third State. 
 
 . OLD MAN WITH A LARGE HAT, SLEEPING. BL 
 
 286. B. 290. Very fine impression. 
 
 . THREE HEADS OF WOMEN, ONE SLEEPING. Bl. 
 
 251. B. 368. Good impression. 
 
 . THE BURGOMASTER SIX. Copy. 
 . THE LARGE DESCENT FROM THE CROSS. Copy. 
 
 ROCHEBRUN’S (A. de) CHATEAUX DE FRANCE. 
 
 250. 
 
 aol. 
 
 255. 
 
 LE LOUVRE, FACADE DE HENRI Il. 
 Showing the foundations of the Old Louvre discovered 
 in 1866. Folio. 
 This and the following are the fine folio architectural 
 etchings of the Chateaux of France printed by Beillet. 
 
 STRASBOURG CATHEDRAL. 7 
 During the Bombardment. Within engraved allegorical 
 borders. A very handsome print. 
 
 . CHATEAU DE BLOIS. 
 
 The Interior Court and the Staircase of Francis I. Two 
 folio prints. 
 
 . CHATEAU DE CHAMBORD. 
 
 Eastern Side, Staircase and detail of Towers. Folio en- 
 eravings. (3) 
 
 . CHATEAU DE PIERREFONDS. 
 
 Exterior and View of the Donjon. Viollet-le-Duc, 
 Architect. Folio. (2 pieces.) | 
 
 ECOUEN and Two Views of Chateau Wa ei 
 Folio. (3 pieces.) 
 
 99 
 
 od 
 
206. 
 
 eOT. 
 
 ras) 
 Or 
 (0/0) 
 
 259. 
 
 260. 
 
 261. 
 
 262. 
 
 ROUSSEAU (THEODORE). 
 
 . Distinguished French Painter of the Barbizon School. 
 
 CHENES DE ROCHE. 1861. 
 
 An unfinished proof of the earliest state before its pub- 
 lication. Rousseau etched but few plates, and those 
 more as experiments than anything else. 
 
 ROYBET (FERDINAND). 
 
 Distinguished French Painter. 
 
 EN RETARD POUR LA FETE (Les Saltimbanques). 
 Proof before letters. 
 
 SANDIER (A.). 
 
 ‘French etcher. 
 
 . PORTRAIT IN THE MANNER OF REMBRANDT; 
 
 PAYSAGE; EGLISE A MONTMARTRE, etc. 
 Proofs. (7) | 
 
 SLOAN (JOHN). 
 
 TURNING OUT THE LIGHT. 
 SIGNED PROOF ETCHING. 
 
 SMILLIE (G. JFeC.), 
 
 McKINLEY (WILLIAM). Portrait; bust. 
 SIGNED INDIA PROOF. Sm. folio. 
 
 SMILLIE (JAMES D.). 
 
 THE FARM LANE. 
 Signed proof on China paper, marked No. I. 
 
 STOTHARD (THOMAS). 
 
 JOHN GILPIIN, engraved by Worthington. 
 Obl. folio, opEN LETTER PROOF. Lond. Pickering, 1825. 
 
 STRUTT: (ee) 
 
 . SCENE IN MARLBOROUGH FOREST; NEAR 
 
 STONELEIGH, WARWICKSHIRE; GROUP OF 
 ABELES, BANKS OF THE-THAMES. Folio. 
 1828. (3) : 
 
 Strutt: was noted for his representation of woodland 
 scenery. ‘These are excellent examples. 
 
 23 
 
THOMAS (PERCY). 
 
 264. LONDON BRIDGE. Proof on China paper. Signed- 
 Very rich impression. 
 
 265. BRIGHTON. Proof on thin Japan paper. 
 
 TISSOM G1. fy; 
 
 266. DORMEUSE. Signed Trial Proof. With collector’s. 
 stamp. (The date etched on the plate is 1860, while 
 Tissot only commenced etching about 1875.) 
 
 TURNER’S LIBER STUDIORUM 
 
 The following selection of thirty-three plates from the Liber Stu- 
 diorum form a representative collection of this Monument of Art. The 
 Pastoral, Mountainous, Architectural and Historical—the distinctions. 
 so made by the painter are included, and the majority are specially 
 rich impressions.. Equally interesting are the unpublished plates— 
 plates on which Turner had been working, but which were left un- 
 finished at his death, only in 1873 a few impressions being taken from 
 them. Turner himself etched the outlines of the “Liber” and in the 
 process of taking proofs put additional work on the plates where he — 
 thought it advisable, and even in a few cases performed the mechanical 
 process of the mezzotinting, though this was mainly. done by Charles 
 Turner and a few others. The finished or published states, therefore 
 —and not trial proofs or first states—are really those that express 
 Turner’s ideals, and naturally should appeal the most to admirers of 
 the painter; as in this respect they are unique in engraving, becoming 
 almost paintings on copper. It is scarcely necessary to mention their 
 rarity, their value having increased in a phenomenal manner. It is on 
 record that Charles Turner used fine proofs to light his house fires. ~ 
 To-day these are unobtainable at $500 or more each. The early pub- 
 lished states have likewise become exceedingly rare, and few collections. 
 have as many as are noted in the following numbers. 
 
 267. EGREMONT SEA PIECE. (Ships in a Breeze.) R. 10. 
 Fourth State. . 
 
 268. PENBURY MILL, KENT. Very fine impression of the 
 Third State with added mezzotint. 
 
 269. DUN(S)TANBOROUGH CASTLE. First Published 
 State, marked “Proof.” (A variation of the first pub- 
 lished state, having the initial letter large and open, 
 and reading in the title “a Picture’ instead of “the 
 Picture,” and with the size “3 by 4” added.) 
 
 270. THE FARM-YARD. Published State. Good impression. 
 
 271. MORPETH NORTH. Fine impression of the Second 
 State. (This plate was praised by Ruskin.) 
 
 272. JUVENILE TRICKS.. Third State. 
 24 
 
 if ae 
 2 ~ . 
 ol totes 2 
 ** oe ’ 
 ait a 
 fa Fs > 
 4  — i i ve 
 y iy Oe c 
 ae We ean kt ar . t m 
 
at 
 
 273. 
 
 25%. 
 288. 
 
 289. 
 # 291. 
 
 292. 
 293. 
 
 THE HINDOO WORSHIPPER. Good impression of the 
 Fourth State. (Considered one of his best plates for 
 the landscape and treatment of the trees.. The third 
 and fourth states were altered from sunset effect to 
 sunrise. ) 
 
 . HIND HEAD HILL. Fifth State. Good impression. 
 
 (The fourth and fifth states give more sunrise effect.) 
 
 . WINDMILL AND LOCK. Third State. Very good im- 
 
 pression. 
 
 . YOUNG ANGLERS. Third State. 
 . ST. CATHERINE’S HILL NEAR GUILFORD. Fine 
 
 impression of the Third State. 
 
 . MARTELLO TOWERS NEAR BEXHILL, SUSSEX. 
 
 Third State. 
 
 . FROM SPENSER’S FAIRY QUEEN. Third State. 
 . THE BRIDGE AND GOATS. Fourth State. (The 
 
 brightness of the sun added to by Turner in this state.) 
 
 _ PEAT BOG, SCOTLAND. Fine impression of the Fourth 
 
 or Fifth State. 
 
 . RISPAH. Fourth State. 
 
 . HEDGING AND DITCHING. Fourth State. 
 
 . RIVER WYE. Fifth State. 
 
 . RIVAUX ABBEY. Fourth State. 
 
 . SOLITUDE (or THE READING MAGDALEN). Fourth 
 
 State. Good impression. (“Early impressions of this 
 state are better than the Second or Third States.’’) 
 
 BONNEVILLE, SAVOY. Second State. 
 
 EAST GATE, WINCHELSEA, SUSSH#X. Fourth 
 State. Good impression. 
 
 INTERIOR OF A CHURCH. Fourth State. (Hngraved 
 entirely by Turner.) 
 
 CHRIST AND THE WOMAN OF SAMARIA. Second 
 or Third State. 
 
 DAYBREAK.AT STONEHENGE. Unpublished plate, 
 engraved apparently entirely by Turner. 
 
 THE FELUCCA. Unpublished plate. On India Paper. 
 
 THE DELUGE. Unpublished plate. Engraved probably 
 entirely by Turner. 
 
 25 
 
294, 
 
 290. 
 
 300. 
 
 UNPUBLISHED PLATE. Dawn breaking over a wide 
 expanse of sea. A very beautiful plate printed entirely 
 in gray. Pure mezzotint. ? 
 
 UNPUBLISHED PLATE. Thunder storm at sea, a 
 barque and a small sailing boat can be seen. Pure 
 mezzotint. 
 
 . UNPUBLISHED PLATE. A deep rocky gorge through 
 
 which a river winds, the moon breaking through clouds, 
 a barge with sail in the foreground, on the right bank 
 three lighted windows of a house can be seen. (View 
 on the Rhine?) Pure mezzotint. With scratched sig- 
 nature J. M. W. Turner. 
 
 . UNPUBLISHED PLATE. (Venice from the Sea?) 
 
 Pure mezzotint. With autograph note by F. Seymour 
 Haden, “Printed by F. Seymour Haden from plate 
 from Turner’s House before the Sale.” 
 
 The buildings seen in the distance resemble those of 
 Venice, including S. Maria della Salute, but on the 
 left is a mass that seems to be a volcano. 
 
 . —— Another copy of the same without the inscription. 
 
 . IMPRESSION from a Steel Plate found in Turner’s 
 
 house. (Inscription apparently written by F. Sey- 
 mour Haden.) 
 
 UNGER (WM.) And Others. 
 
 CATHERINE CORNARO: etching after Makart. Proof. 
 Entry of Charles V. into Anvers by Lalauze; The 
 Bird’s Nest, lithograph after Jules Breton, by la- 
 salle. Folio. (3) 
 
 <fgaacGoldmam, 
 pian 
 “NEw Yor! 
 
SSS SOSH HSHO HOP SSHSSHSOHHSHOOLHHH SHOT SHHHOSHHHOHSHHSEHHSHOSAGOHHHHDOHOHSOHHTOSHS HE DO SOHO HTESHOLSESEHHESSHSHHOHHOSOO HOHE RHHOSOOEOHRNESH SE SEO EOOHLHO SEE: 
 
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