SALE NUMBER 1647 ON PUBLIC EXHIBITION FROM SATURDAY, APRIL FIRST ~ WHISTLER LITHOGRAPHS FROM THE JESSOP AND UNDERHILL COLLECTIONS AND PAINTING BY WHISTLER THE COLLECTION OF JAMES N. ROSENBERG OF NEW YORK PAINTINGS AND ETCHINGS BY _ZORN NEARLY ALL WITH PRESENTATION INSCRIPTIONS ETCHINGS BY WHISTLER AND MERYON TO BE SOLD BY ORDER OF MR. JAMES N. ROSENBERG AND OTHER PRIVATE OWNERS FRIDAY EVENING, APRIL SEVENTH AT EIGHT-FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, PRESIDENT] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1922 % LIBRARY M.KNOEDLER & CO. 556-8 Fifth Ave. New York SALE NUMBER 1647 ON PUBLIC EXHIBITION FROM SATURDAY, APRIL FIRST WHISTLER LITHOGRAPHS FROM THE JESSOP AND UNDERHILL COLLECTIONS AND PAINTING BY WHISTLER THE COLLECTION OF JAMES N. ROSENBERG OF NEW YORK PAINTINGS AND ETCHINGS BY ZORN NEARLY ALL WITH PRESENTATION INSCRIPTIONS ETCHINGS BY WHISTLER AND MERYON TO BE SOLD BY ORDER OF MR. JAMES N. ROSENBERG AND OTHER PRIVATE OWNERS FRIDAY EVENING, APRIL SEVENTH AT EIGHT-FIFTEEN THE ANDERSON GALLERIES [MITCHELL KENNERLEY, PRESIDENT] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1922 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 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 pay- ments on account as may be required, in default ot which the lots purchased to be resold immediately. 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 Galleries, Incorporated, 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 in The Anderson Galleries before the date of sale, for examination by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or con- cerning 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 Anderson Galleries, Incorporated, 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 conditions 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 resold by either private or public sale at such time as The Anderson Galleries, Incor- porated, 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 preju- dice to the right of The Anderson Galleries, Incorporated, to enforce the con- tract with the buyer, without such re-sale. 8. Bips. 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 Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be respon- sible for any damage arising from the acts of such carriers and packers. Priced Copy of the Catalogue may be secured for fifty cents for each session of the sale The Anderson Galleries Incorporated PakK AVENUE AND FIFTY-NINTH STREET, New York Telephone, Plaza 9356 Catalogues on request. SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN ORDER OF SALE FRIDAY EVENING, APRIL SEVENTH Lots ETCHINGS BY CHARLES MERYON 1- 38 WHISTLER LITHOGRAPHS FROM THE WALTER H. JESSOP COLLECTION 39- 65 OTHER WHISTLER LITHOGRAPHS 66- 83 ETCHINGS BY WHISTLER 84— 90 PAINTING BY WHISTLER 91 SIGNED REPRODUCTIONS OF WHISTLER 92 ETCHINGS BY ANDERS ZORN 93-111 PAINTINGS BY ANDERS ZORN 112-115 ETCHINGS AND DRAWINGS BY DIFFERENT ARTISTS 116-147 SALE FRIDAY EVENING APRIL SEVENTH AT EIGHT-FIFTEEN O’CLOCK A COLLECTION OF ETCHINGS BY CHARLES MERYON LOTS 1-38 ‘* About no other modern etcher, save Whistler, is there an equal consensus af ‘opinion among those whose opinion counts, that he ranks among the great masters of his art CAMPBELL DODGSON. £1921] 1 PORTRAIT OF THE ARTIST IN THE HOSPITAL OF CHARENTON Heliogravure after the drawing of L. Flameng, showing the great engraver on his bed in the Hospital of Charenton a few days before his death. Brilliant impression, with large mar- gins. 2 PORTRAIT OF THE ARTIST Original etching by F. Bracquemont. [H. B. 116.] Brilliant proof with untrimmed margins, signed by the etcher. One of the rarest of Bracquemont’s etchings. 3 TITRE DES EAUX FORTES SUR PARIS Original etching. [L. D. 17.] Very fine impression of the cover of Meryon’s Paris set. This set was published in three parts with the covers in four different colors: Gray, Blue, Green and White. Cover of the second part in blue. 4 LE PAVILLON DE MADEMOISELLE ET UNE PARTIE DU LOUVRE Original etching after a sketch by Zeeman. [L. D. 9.] Superb impression with the border line. On old Dutch paper. 5 ANOTHER IMPRESSION OF THE SAME Original etching printed on Whatman paper. [L. D. 17.] This etching was also used as cover for Meryon’s Paris set. See number 4. 5 10 11 12 13 14 PORTRAIT OF THE ARTIST Original etching by F. Bracquemont with the verses engraved by Meryon himself. [L. D. 17a.] Superb proof of the second state, printed only to 50 copies. Large margin. Printed on India paper. DEDICACE A REYNIER NOOMS dit ZEEMAN Original etching. [L. D. 18.] Very fine early impression printed in one color. ANCIENNE PORTE DU PALAIS DE JUSTICE Original etching. [L. D. 19.] Third state. Brilliant im- pression with the inscription and very large margins. ARMES SYMBOLIQUES DE LA VILLE DE PARIS Original etching. [L. D. 21.] Third state. Superb proof with large margins. LE STRYGE Original etching. [L. D. 23.] Superb proof. Fifth state, with the inscription but before the title. Large margin. Printed on India paper. LE PETIT PONT Original etching. [L. D. 24.] Magnificent proof between the fourth and the fifth state. The inscription has been traced with the needle but the needle work in the sky has not yet been added. Very large margins. L’ARCHE DU PONT NOTRE DAME Original etching. [L. D. 25.] Brilliant proof. Last state; with the inscription and large margin. This state even being the last one is very scarce as it was only printed to 30 copies. Impression on Japan paper. LA GALERIE NOTRE DAME Original etching. [L. D. 26.] Very fine impression with the inscription and No. 8. Printed on Dutch paper. Large margin. Very rare as it was only printed to 30 copies. LA RUE DES MAUVAIS GARCONS Original etching. [L. D. 27.] Brilliant proof. Third state with the verses. Printed in brown with very large margins. 6 15 16 17 18 19 20 21 22 23 LA TOUR DE L’HORLOGE Original etching. [L. D. 28.] Very fine proof. Fifth state before the inscription but the lower border line has been re- moved. With very large margins. TOURELLE DE LA RUE DE LA TIXERANDERIE Original etching. [L. D. 29.] Superb proof. Second state be- fore the inscription but with CM in the upper right corner. Printed on India paper (mounted). With very large margins. TOURELLE DE LA RUE DE LA TIXERANDERIE Original etching. [L. D. 29.] Very fine impression. Third state with the inscription. Very large margin. Printed only to 30 copies. SAINT-ETIENNE-DU-MONT Original etching. [L. D. 30.] Brilliant proof. Eighth state, with the inscription on the top of the house, the Poster of Delabre and No. 7, with large margins. Printed only to 30 copies. LA POMPE NOTRE DAME Original etching. [L. D. 31.] Fine proof. With the inscrip- tion and No. 8. Printed to 30 copies. LA PETITE POMPE Original etching. [L. D. 32.] Brilliant proof. Second state, with large margin. This little etching was composed by Meryon as frontispiece for the second part of his Paris Etchings set. LE PONT NEUF Original etching. [L. D. 33.] Fine proof. Seventh state, with the inscription, but before the title. Printed in Sepia. Very large margin. LE PONT AU CHANGE Original etching. [L. D. 34.] Very fine proof, with the in- scription and the large balloon. With very large margins. LA MORGUE Original etching. [L. D. 36.] Superb proof. With the in- scription and very large margins. 7 24 25 26 | 27 28 29 30 L’ABSIDE DE NOTRE DAME Original etching. [L. D. 38.] Superb proof. With the in- scription but before the monogram of Meryon was removed and replaced by his name in the lower margin. With very large margins. The most important and the rarest print of the XIXth Cen- tury; the last impression sold in Paris last year fetched 75,000 francs. TOMBEAU DE MOLIERE Original etching. [L. D. 40.] Very fine impression. Second state, with very large margins. TOURELLE DE LA RUE DE L’ECOLE DE MEDECINE Original etching. [L. D. 41.] Good impression, with the in- scription, with large margin. Printed on mounted India Paper. RUE DES CHANTRES Original etching. [L. D. 42.] Brilliant impression. Fourth state, with the inscriptions and very large margins. COLLEGE HENRI IV Original etching. [L. D. 43.] Very fine impression. Fourth state, with the inscription, but before the monogram, with very large margin. ANOTHER IMPRESSION OF THE SAME Original etching. [L. D. 43.] Very rich impression, with the inscriptions. Printed on India paper. BAIN FROID CHEVRIER Original etching. [L. D. 44.] Fine impression. With the inscription and the following verses which M. Delteil men- tioned but did not reproduce. Very large margins. Eh ow! Voila la Lo, De la Grande Nature, Qui nous donne la For, Et confond l’Imposture, La vraie loi de l’Egalite! Et le plus sur garant de notre Probite! Qui lie le serviteur au Maitre, Et le sujet au Rov. 8 31 32 33 34 35 36 37 38 C’est qu’il faut en tout temps sagement nous soumettre au dur, au rigoureux mais supréme BAIN FROID PARIS 1864 LE MINISTERE DE LA MARINE Original etching. [L. D. 45.] Brilliant impression. Fifth state, with the monogram, but before the inscription. With very large margins. LA SALLE DES PAS-PERDUS A L’ANCIEN PALAIS DE JUSTICE Original etching after a drawing by Ducerceau. [L. D. 48.] Very fine impression, with the names of the artists, but after the plate has been reduced. RUE PIROUETTE AUX HALLES Original etching after the drawing by Laurence. [L. D. 49.] Brilliant impression. Fifth state, with the inscription, but before the changes in the sign on the wall. On India paper, large margins. PASSERELLE DU PONT-AU-CHANGE APRES L’IN- CENDIE DE 1621 Original etching after a drawing of the period. [L. D. 50.] Very fine impression, with the inscription, but before the title was re-engraved in small capitals. On mounted India paper. With margins. PARTIE DE LA CITE VERS LA FIN DU XVIIe SIECLE Original etching after a drawing of the period. [L. D. 51.] Brilliant impression, with the inscription. Very large margin. LE GRAND CHATELET VERS 1780 Original etching. [L. D. 52.] Very fine impression, with the inscriptions. Large margin. L’ANCIEN LOUVRE D’APRES UNE PEINTURE DE ZEEMAN Original etching after the painting of Zeeman. [L. D. 53.] Superb proof before all letters, but with the stamp of the Caleographer. REBUS (BERANGER NE FUT VERITABLEMENT FORT, CAR IL N’EUT JAMAIS LA CLEF DES CHAMPS) Original etching. [L. D. 101.] Fine impression, with the in- scription and large margin. WHISTLER LITHOGRAPHS FROM THE WALTER H. JESSOP COLLECTION WITH NOTES BY JOSEPH PENNELL LOTS 39-65 The descriptions in this Catalogue are taken from the second edition of the Catalogue compiled by Thomas R. Way. The numbers in brackets are those of the Way Catalogue. Measurements are given in inches. Sig: denotes that the drawing is signed with the well-known butterfly. P. followed by a number, indi- cates how many proofs were printed by T. Way. The notes by Mr. Pennell are printed in italic. 389 READING. [13]: A lady, profile figure, seated, facing left, wearing a hat and fur cape, reading a newspaper. Drawing erased. Published in ‘‘Notes.’’ H. 6, W. 5. P. 100. Sig: 1879 One of thirty signed proofs. | Numbers 13 and 13a are probably portraits of Maud.—J. P. 40 LINDSAY ROW, CHELSEA. [19] A row of small houses with French windows and balconies; in front, the garden of the left hand building, with a long row of wooden palings; in front of the other buildings, two small light trees. H. 5, W. 8. P. 14. Sig: 1888 41 DRURY LANE RAGS. [21] The shop window with many square panes, full of detail; and on the left the dark doorway with old clothes hanging on both sides. A woman and child standing in front, another child in front of the window; to the right of the drawing is an indication of another door with two figures; above, the lower part of two windows, and a gas lamp. H. 5%, W. 6%. P. 14. Sig: 1888 42 THE FARRIERS. [24] In a rather dark interior, two men and a horse facing to the left; a smith is bending down to fit a shoe to the horse’s near hind leg; behind the horse a man wear- ing an apron is standing, his right hand on the tail; in the background, is a window with small panes. Drawn on paper, and only a few pulled, and the drawing erased. Tal, TRA, We T 12, @: Sig: 1888 10 43 44 THE GARDEN. [38] A drawing of a group of friends round a tea-table in the garden of Mr. Whistler’s house in Cheyne Walk. In the centre is a table covered with a cloth, and on it a tea-kettle, tea-pot, cups and saucers; behind the table is a settee, on which are seated a lady and two gentle- men, whilst another gentleman stands behind, to the right of the table two ladies are seated in chairs, with their backs to the spectator. Behind the whole group some light trees and foliage. The names of the people forming this group are Mrs. Brandon Thomas at the right end, between them Mr. Walter Sickert is standing, and on the right Mrs. Whistler and Miss Philip are seated. H. 634, W. 73%. P. 6. Sig: 1891 J No. 88 was drawn on paper and made, as Way says, in Whistler’s garden, and includes a portrait of Walter Sickert, who, a few years afterward, protested in “‘The Saturday Re- view’’ that lithographs made on paper were not lithographs but transfers. Mr. Sickert assisted in making this one, and im the libel suit which came out of “‘The Saturday Review’’ article, it transpired that the first lithograph which Mr. Sickert ever made was made on paper and called a lithograph. But there is no accounting for Mr. Sickert.—J. P. GABLED ROOFS. [41] A quaint old building in Vitré, with a very high pointed roof, and tall chimney on its left; beyond it is a similar but larger building with ornamental windows in the roof. 1d, This WE OW, IP. 1. Sig: 1893 Signed by Whistler. NURSEMAIDS. ‘‘LES BONNES DU LUXEMBOURG.”’ [48] Part of the Gardens seen from a height, with about forty nurses and children scattered in groups; and standing in the immediate foreground a bonne dressed in white, with a child in her arms, is watching two little children at play. On the left a group seated; on the right beyond two nurses and children standing. In the middle distance on the left a flight of steps, with statues on pedestals, rise to terrace, which closes the picture in a gentle curve, and beyond trees and buildings. Published in the ‘‘ Art Journal.”’ H. 7%, W. 64%. P. 26. Sig: 1894 q Every one of these drawings was made directly from nature on paper. Whistler never made any preluminary sketches, but the work itself was, as sketched, ‘‘finished from the begin- ning.”’—J. P. 11 46 47 48 49 50 THE LITTLE BALCONY. [50] On the same occasion as the preceding, but rather larger scale, a number of ladies with parasols and fans are standing, and leaning over a balcony. Below, a window, and above, another from which some drapery is hanging. H. 77%, W. 53%. P. 28. Sig: 1894 Signed by Whistler. On old Dutch paper. TETE-A-TETE IN THE GARDEN. [54] A lady and gentleman seated on the farther side of a table, on which are bottles and other objects, behind them trees and on the left a settee. H. 75g, W. 614. P. 28. Sig: 1894 . The portraits in this print are of Mr. and Mrs. Charles Whibley. I am not sure whether it was done in London or Paris. —J. P. THE TERRACE, LUXEMBOURG. [55] The balustrade of a terrace crosses the picture, on top of it, to the left is a vase with flowers and to its right a little tree in foliage, rising from beyond; on the extreme right suggestions of houses in the distance. In front are several chairs with four female figures seated, on the right a nurse and little child standing. H. 3%, W. 814. P. 25. Sig: 1894 LA BELLE DAME PARESSEUSE. [62] A lady in dark dress seated on a couch, her left elbow resting on the arm of the couch, her hand raised and supporting her head, her right hand, holding a paper, rests on her lap. Drawn on rather a large scale. H. 914, W. 634. P. 28. Sig: 1894 On India paper. | Ll think this a portrait of Mrs. Whistler—J. P. LA ROBE ROUGE. [68] A lady dressed in a dark col- ored material, sits at the end of a draped settee, her head is resting against a pillow, her left arm is supported by the end of the settee, and her hands are clasped in front. Her head is turned a little to the left, and she looks towards the spec- tator; panelled wall behind. Published in the ‘‘Studio.’’ H. 73%, W. 6. P. 28. Sig: 1894 Portrait of Mrs. Whistler.—J. P. 12 PORTRAIT OF GENTLEMAN AND DOG BY ANDERS ZORN PORTRAIT OF A LADY BY ANDERS ZORN [114] 51 52 53 54 59 LA BELLE DAME ENDORMIE. [69] A lady sleeping, dressed in dark material, is seated in a low arm-chair, turned three-quarters to the left. Her head turned to the right rests against a pillow on the back of the chair. The background is a light panelled wall, and the chair, which is draped, throws a dark shadow to the right against the wall. H. 734, W. 614. P. 42. Sig: 1894 Signed by Whistler. On old Dutch paper. {| Portrait of Mrs. Whistler.—J. P. THE DOCTOR. [78] A splendid portrait of the painter’s brother (Dr. W. Whistler), drawn full length in evening dress, seated in an armchair, turned to the left. His face is turned rather towards the front and he looks at the spectator. A very little shadow on the background behind the head. Pub- lished in the ‘‘Pageant.’’ IBL 0, Wh, ~ 1s BB). 1895 On Japan paper. THE MASTER SMITH. [84] An old man wearing a beard and a cap is sitting, facing the spectator, in his shirt sleeves. He holds a glass in his left hand; dark background behind the head and upper part of the figure; his right hand is on his knee. H. 44%, W. 61%. P. 15. Sig: 1895 FATHER AND SON. [87] In a smithy, an old man on the left bends over his work on the anvil which is between him and the spectator, whilst nearer in the front is a big sledge hammer, the handle upright. Behind, and to the right, the son is standing, bending over the fire, from which he is taking Something with his right hand; his figure is in brilliant light, and relieved from the wall behind, which is in dark shadow, erossed by rays of sunlight. H. 84%, W. 6. P. 15. Sig: 1895 THE BLACKSMITH. [90a] The effect of the first state of the blacksmith is very gray and soft, the shadows almost all confined to the square opening behind the figure, and princi- pally obtained by stump work over the chalk drawing. The smith’s face, too, is quite clean. 13 L4A§ SN 56 57 58 59 60 THE BROTHERS. [91] Two men are standing in a dark recess lit by the light of the furnace, of which the man in the right is blowing the bellows, the man on the left stands erect, his right hand on his hip. He has black hair and mous- tachios; in front a tyre and some rods lean against the brick- work of the furnace. EENS Wioloa) ea lo: Sig: 1895 On Japan paper. THE OLD SMITH’S STORY. [98] The interior of a smithy, with two figures, an old man on the left looking towards the younger, who is working the bellows of the fire on the right, his back to the elder. Both figures are brilliantly lit by the light of the fire, and relieved by dark shadows in the background. EMieVie Wier Osea: Sig: 1896 STUDY. No.1. [107] A full-length figure of Mr. Thomas Way, a very dark figure, standing turned a little to the left, his head a little to the right, both hands in his trousers’ pockets, and his left foot brought forwards. The figure is brilliantly lit from below, and casts a large shadow on the wall, to the right and behind. H. 73, W. 434. P. 10. NEEDLEWORK. [113] A young lady seated, facing to the front in an armchair, dressed in a dark costume with white front. Her hands hold some white needlework on her knees; there is a dark shadow behind the figure, on the right. H. 752, W. 55g. P. 15. Sig: 1896 Portrait of Miss Birme Philip, Whistler’s sister-in-law and later his executrix. She for the first time in this print appears in his artistic ufe—J. P. THE BUTCHER’S DOG. [128] The doorway to a block of buildings in Cleveland Street, with a woman holding a child in her arms standing in the opening, and in front of her a little child sitting on the step; to the right is a butcher’s shop, with an arched window, shaded by a sun-blind which cuts off the upper part. The doorway is on the left, and in- side a man is seen sitting, with another figure standing beside him; a sheep and a leg of beef are hanging behind the window, and the interior is in shadow. In front of the shop, to the right, a dog sits on the pavement. In the foreground the kerbstone, and, above the shop blind, two windows. H. 744, W. 514. P. 21. Sig: 1896 14 61 62 63 64 COUNT ROBERT DE MONTESQUIOU. [137] An elaborately wrought drawing made from the celebrated pic- ture of the Count, and intended for publication in the Gazette des Beaux-Arts. A tall slim figure in evening dress stands turned to the right, the head looking at the spectator, his right foot is thrust forward, and his right hand holds a cane, over his left arm is a fur cloak, falling to the ground; dark background, and tone all over the figure. Drawing erased. H. 914, W. 414. P. 8. Sig: 1895 COUNT ROBERT DE MONTESQUIOU, No. 2. [138] Another drawing of the same subject as the preceding. The tone is obtained by vigorous down strokes, giving a more for- cible effect than No. 137 has. Printed in Paris. H. 8, W. 334. Sig: 1895 UNFINISHED SKETCH OF LADY HADEN. [143] Drawn on an unusually large scale. A sketch of an elderly lady seated, her hands in her lap, wearing a large bonnet, with dark strings on either side of her head, and tied in a bow under her chin, her face is turned towards the spectator. The modelling of the face extremely delicate. Signed on the background to the left. Drawing erased. H. 11%, W. 734. P. 6. Sig: 1895 AFTERNOON TEA. [147] Two figures, a lady wearing hat and cape, with high collar, sits behind a small table, upon which is a tray with tea-things; further to the left another lady is sitting in an arm-chair, her hand to her head, which is turned towards her companion; slight background. Printed in Paris. H. 714, W. 514. Sig: On Japan paper. Portraits of Mrs. Philip, Whistler’s mother-in-law, and Mrs. Whibley, done wn the Rue du Bac.—J. P. 15 66 67 68 ial 72 73 DRAPED FIGURE, STANDING. [155] A thinly clad figure of a girl stands with head bent to the left looking towards the spectator. Her right arm close to her body, her left is akimbo, her feet bare and apart. Drapery, which coy- ers the top of her head, falls over her back. This print is in two states. Mr. Bryant Lathrop possesses a copy printed in ‘‘Bistre,’’ and Mr. Howard Mansfield has one in colors, blue, red, and yellow. Printed in Paris. H. 8%, W. 414. Sig: | Key block for a color subject.—J. P. EARLY MORNING, BATTERSEA Lithotint. Final state. Very fine impression. Way, No. 7. CHELSEA RAGS Lithograph. Printed on Van Gelder paper. Way, No. 22. Fine impression. THE WINGED HAT Lithograph. Printed on white wove paper. Exhibited and signed by Way. Way, No. 25. GANTS DE SUEDE Lithograph. Printed on toned wove paper. Exhibited and signed by Way. Way, No. 26. LES BONNES DE LUXEMBOURG Lithograph. Printed on white wove paper. Way, No. 48. THE LONG GALLERY, LOUVRE Lithograph. Printed on cream wove paper. Way, No. 52. THE PRIEST’S HOUSE, ROUEN Lithograph. Printed on Whistler’s special trial proof paper. A very rare proof. Only three were issued of this state. Not in the Jessop collection. Way, No. 74a. MOTHER AND CHILD (No. 1) Lithograph. Printed on Whistler’s special trial proof paper. The British Museum has no copy of this subject and it was not included in the Jessop collection. Way, No. 80. 16 yi 74 75 76 77 78 79 80 81 - 82 - 83 84 FIRELIGHT, MRS. PENNELL Lithograph. Printed on Whistler’s special trial proof paper. Not in the Jessop collection. Way, No. 103. Rare. FIRELIGHT, JOSEPH PENNELL (No. 1) Lithograph. Printed on thick toned wove French paper, im- ported by Whistler. Way, No. 104. FIRELIGHT, JOSEPH PENNELL (No. 2) Lithograph. Printed on the same thick toned wove French paper as the preceding. Way, No. 105. THE BARBER SHOP IN THE MEWS Lithograph. Printed on the thick toned wove French paper. Way, No. 106. THOMAS WAY (No. 1) Lithograph. Printed on white wove paper. Way, No. 107. LITTLE EVELYN Lithograph. Printed on cream laid paper. Way, No. 110. UNFINISHED SKETCH OF LADY HADEN Lithograph. Printed on old Chinese paper. Way, No. 143. THE DANSEUSE Lithograph. Kennedy, No. 148. Very fine impression on heavy paper. THE SHOEMAKER Lithograph. Kennedy, No. 151. Fine impression on China paper. READING Lithograph. Kennedy, No. 13. Fine impression. ETCHINGS BY WHISTLER LOTS 84-90 LITTLE VENICE Only state. Kennedy 183. Signed with the pencilled butter- fly. 17 ees, { +~ 87, 90 er SAN BIAGIO First state of Nine. Kennedy 198. Signed on the back with pencilled butterfly. THE PIAZZETTA Third state of Five. Kennedy No. 189. Signed with the pen- cilled butterfly. From the MacGeorge collection. THE DOORWAY Kennedy 188. Signed with the pencilled butterfly and marked on the back in Whistler’s writing ‘‘very early proof.’’ THE BEGGARS Kennedy 194. Signed with the pencilled butterfly. | THE GARDEN Kennedy No. 210. Sixth state of Hight. Fine mellow proof signed by Whistler with the pencilled butterfly. BECQUET (Tur Fippier) Dry point portrait of the sculptor Becquet playing the ’cello. Etched in 1857, and plate destroyed. Proof on thin Japanese paper. (Kennedy, 62. Mansfield, 62. Wedmore, 57.) PAINTING G0 I oy bat LUBY WHISTLER THE SEA, POURVILLE A seascape of exquisite quality. From the collection of Mr. Arnold Hannay of London, whose portrait Whistler painted. This picture is illustrated in Pennell’s ‘‘Life of Whistler,’’ Vol. II, facing page 214. “‘There is as much of the bigness of the ocean in this little painting ... as in any big marines that ever were painted.’’ Joseph Pennell Oil Painting on Panel. Height, 7 inches; width, 10 inches. [SEE ILLUSTRATION | 18 SIGNED REPRODUCTIONS OF WHISTLER 92 NOCTURNES, MARINES AND CHEVALET PIECES 24 photographic reproductions from the Original Pictures, mounted on cardboard, each signed in pencil. Folio, loose in ».~ the original brown board portfolio. 1892 EXTREMELY RARE COMPLETE, WITH EACH PLATE SIGNED ‘‘ WHISTLER,’? AND IN ADDITION, WITH THE BUTTERFLY. Occasionally an odd plate occurs, but the ENTIRE 24 PLATES ARE OF MOST INFREQUENT OCCURRENCE. Included with the above is a cancelled copy of the First Eprrion of the Catalogue of the Collection, as exhibited in March, 1892, and a copy of the Revised Edition, stitched. ETCHINGS BY ya ANDERS ZORN LOTS 93-111 93 ORIGINAL DRAWING TOUCHED UP WITH PASTEL Three-quarter head to right self-portrait. Inscribed and signed in Swedish by Zorn. 94} ZORN AND HIS WIFE Second state. Signed artist’s proof. (Delteil, No. 42.) In- seribed and signed by Zorn: ‘‘To Mr. E. R. Bacon souvenir affectueux from Zorn.’’ 95) THE VALSE Third state. Signed artist’s proof. (Delteil, No. 54.) 96 EN OMNIBUS Third state. Signed artist’s proof. (Delteil, No. 71.) \2 (| 97) LA LECTURE (MR. & MRS. DEERING) : Third state. Signed artist’s proof. (Delteil, No. 78.) In- scribed and signed by Zorn: ‘‘To my friend Cl. Barker New York 1894 Zorn.’’ 98 ) ST. GAUDENS AND HIS MODEL Signed and dated on the plate 1897. (Delteil, No. 111.) 19 V/V. 100 101 LA 102 e103 104 105 fy VW 106 ~ 107 PORTRAIT OF AUGUSTUS SAINT-GAUDENS Second state. Inscribed and signed by Zorn: ‘‘To Mr. W. Rathbone Bacon 16 Febr 1897 Zorn.’’ (Delteil, No. 112.) PORTRAIT OF EDWARD R. BACON, 1897 Third state. Signed artist’s proof. (Delteil, No. 114.) PRESIDENT GROVER CLEVELAND Fourth state. Signed artist’s proof. (Delteil, No. 142.) MY TRAVELLING COMPANION Signed and inscribed on the plate: ‘‘Through Grand Canyon Arkansas 10 March 1904.’’ With autograph and Swedish dedication on margin. (Delteil, No. 181.) LES DEUX MODELES PRES DU LIT Etching. (Delteil, No. 174—1903.) Second state of two. Proof, signed on lower margin in pencil—‘‘Zorn.’’ Fine im- pression. There were about twenty proofs taken, and the plate destroyed. H. 7%, W. 5%. THE NEW MAID Etching. Subsequent to Delteil. No. 221—1909. Proof, signed in the plate—‘‘Zorn 1909’’ and on lower margin in pen- cil—‘*Zorn.’’ Fine rich impression, in perfect condition. Gilt frame. H. 1184, W. 734. EARLY Etching. Subsequent to Delteil. No. 257—1914. Proof, signed in plate—‘‘Zorn 1914,’’ and on lower margin— “Zorn.’’ Particularly fine impression, on Van Gelder Zonen paper ; in perfect condition. H. 934, W. 7. ANNA, A PEASANT GIRL OF MORA Second state, on tinted paper. Signed artist’s proof. teil, No. 170.) Mounted and framed. (Del- DELCARLIAN WARDROBE Second state, on tinted paper. Signed artist’s proof. teil, No. 168.) Mounted and framed. (Del- 20 110 Dt 112 113 PARIS, EFFET DE NUIT Second state, on tinted paper. Signed artist’s proof. (Del- teil, No. 109.) Mounted and framed. THE NEW BALLAD Only state. On tinted paper. Signed artist’s proof. (Del- teil, No. 169.) Mounted and framed. BEFORE THE STOVE Second state, on tinted paper. Signed artist’s proof. (Del- teil, No. 172.) Mounted and framed. REPOS OU MARY Only state. Only about fifty printed. PAINTINGS BY ANDERS ZORN LOTS 112-115 THE HONORABLE MISS FITZGERALD Delicious presentation of a pretty blonde dark-eyed child at- tired in soft white lace with a wine-colored sash, reclining on a lemon-colored damask cushion and divan, facing the spec- tator, while the head of a huge mastiff appears at the left to see that no harm befalls his charge. Rich effect and perfect execution. Water color. Signed and dated: Luton Hoo, 1884, at lower left. Height, 2434 inches; width 1914 inches. Daughter of Lord and Lady Fitzgerald of London, painted by the artist at the country seat, Luton, Bedfordshire, Eng- land. PORTRAIT OF GENTLEMAN AND DOG A dark-complexioned young gentleman in a comfortable pos- ture on a divan, looking up from a photograph he holds to meet the gaze of a fine black and white collie dog, who with left forepaw on his master’s knee has taken a place beside him. Attired in blue striped morning coat and trousers and white waistcoat, wearing a pink nosegay in the lapel of his coat; decorative background. Water color. Signed and dated, 1888-1896, at lower left. Height, 141% inches; width, 201% inches. 21 115 116 “119 118 PORTRAIT OF A LADY At half length seated, head and shoulders at full front, lean- ing forward, her right elbow resting on an arm of the chair, the index finger of her gloved hand posed lightly on the shoulder; her dark brown hair arranged in becoming coiffure high on the shapely head, with locks falling on the forehead; dark, vivacious eyes directed to the right of the spectator. Attired in pink low-cut bodice in fine contrast against a sear- let decorated screen at the back, with a deep value at the left background. Canvas. Signed at the lower left. Height, 274% inches; width, 22% inches. [SEE ILLUSTRATION | A BATHER -G7 Through a leafy covert in dnidsummer a nude woman ad- vances toward the spectator. She holds back the branches as she turns to look back over her right shoulder. The sun- light breaking through the trees mottles the nude flesh with patches of light and the whole scene speaks the idyllic atmos- phere of summer. Bought from the artist. Canvas. Signed and dated. Height, 38Y2 inches; width, 26 inches. [SEE ILLUSTRATION | ETCHINGS AND DRAWINGS BY DIFFERENT ARTISTS LOTS 116-147 W. LEE HANKEY NUDE WOMAN SEATED ON THE SHORE Original dry-point. Printed and signed by the artist. PEASANT GIRL AT PRAYER Original dry-point. Printed and signed by the artist. MOTHER AND CHILD Original dry-point. Printed and signed by the artist. 22 THE BATHER BY ANDERS ZORN ies 119 121 123 124 125 126 PORTRAIT OF AN OLD WOMAN Original dry-point. Printed and signed by the artist. LOW-LYING FARM BUILDINGS Beyond four trees and a wicket fence and gate the roofs of barns are seen. VILLAGE CHURCH Primitive ogival church rising from behind the trees of the market place animated by peasant women. Signed artist’s proof. TREES ALONG A COUNTRY ROAD Impressionistic rendering. Signed artist’s proof. HOUSES ON THE BEACH Four low facades, typical of Belgium or Northern France, on the sand near the water’s edge. Fisherfolk mending nets. Signed artist’s proof. REMBRANDT, VAN RIJN THE DEATH OF THE VIRGIN Etching. (Rovinski, No. 99.) Final state of three, signed in the plate—‘‘Rembrandt, 1639.’’ Very fine impression, in perfect condition. Narrow margin at top and sides, about 5@ inch on bottom. H. 1614; W. 1214 inches. Black frame. PAUL HELLEU RECLINING WOMAN Clever and characteristic dry-point. Foreshortening of a re- clining American girl resting on her elbows, her head in her hands, facing spectator. Signed artist’s proof. I. P. HESELTINE WOLHAMPTON WOODS Signed artist’s proof. 23 128 129 130 131 132 133 LYMINGTON RIVER Low hills outlined in the distance, marshy banks in fore- ground. Dated on plate, Oct. 30, 1892, and initialed. Signed in pencil in the margin. LYMINGTON RIVER [TWO] River with low-lying hill-crested shores. Dated on plate, Noy. 2 1892, and initialed. Signed in pencil in the margin. J. M. MICHEL CAZIN HEAD OF MAN Etching. Artist’s proof, signed in the margin in pencil. PORTRAIT OF REMBRANDT Dry-point after Rembrandt’s portrait of himself. Signed ar- tist’s proof. A. DE NEUVILLE ORIGINAL PEN AND INK DRAWING Kneeling French soldier and dying French officer. ALBRECHT DURER THE EFFECTS OF JEALOUSY Engraving. (Bartsch, No. 73.) Signed in the plate,—A. D. Very fine impression, with the High crown watermark in the paper. In perfect condition. Trimmed just outside line bordering the engraved composi- tion. H. 1254; W. 834 inches. Black frame. ROBERT MACBETH FLORA A smiling young woman, hunting crop in hand, walks through a flower-strewn field accompanied by her pet collie and Rus- sian wolf-hound. Signed artist’s proof. 24 134 135 136 1364 137 138 139 140 141 LIONEL SMYTHE THE MUSSEL GATHERER London. Published Oct. 1, 1887, by Robt. Dunthorne at the Rembrandt Head in Vigo Street, W. Signed in pencil in lower left margin. A BREEZY DAY London. Published May 15, 1888, by Robt. Dunthorne at the Rembrandt Head in Vigo Street, W. Signed in pencil in lower left margin. BOULOGNE SHRIMPERS Signed artist’s proof. “THE FIELD OF THE CLOTH OF GOLD”’ Signed artist’s proof. CHARLES J. WATSON PADOVA, 1891 Flower woman in square under large umbrella. Signed ar- tist’s proof. TERRACE OUTSIDE HOTEL POULARD Signed artist’s proof. VIA ZABLEIONI, FERRARA Signed etching, dated 1893. Also signed in pencil in the margin. ARLES, 1894 The cathedral portico and steps. Signed and dated etching. Signed in pencil in the margin. E. J. CATS ORIGINAL PENCIL DRAWING HEIGHTENED WITH LIGHT WASHES Cattle resting on the forest’s edge near ponds, goats and sheep, shepherd. 25 ORIGINAL WASH DRAWING Cottage nestling at the forest’s edge with cattle returning from pasture. COMPANION DRAWINGS Charming pastorals, highly finished, exquisite detail illustra- tive of 18th century preciosity. R. GOFF A SUMMER STORM Signed artist’s proof. ENKHUISEN Signed artist’s proof. PONTE VECCHIO, FLORENCE Signed artist’s proof. OLIVER HALL THE EDGE OF THE FOREST, 1894 A tree-crested knoll with cattle, and in the distance a square Norman tower.