BECCAFUMI, DOMENICO The Nativity | (See No. 51) | ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE AT 6 EAST 23rp STREET BEGINNING FRIDAY, FEBRUARY 197, 1915 AND CONTINUING UNTIL THE DATES OF SALE | ETCHINGS AND ENGRAVINGS | BY THE OLD AND MODERN MASTERS AND A FEW PAINTINGS COMPRISING THE ARTISTIC PROPERTY LEFT BY THE LATE RUDOLF SECKEL TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF JOLINE, LARKIN AND RATHBONE,, ESQRS. ATTORNEYS FOR MAY ‘SECKEL, ADMINISTRATRIX AT THE AMERICAN ART GALLERIES ON TUESDAY, WEDNESDAY AND THURSDAY FEBRUARY 23rp, 24TH anp 25TH, 1915 AT THE HOURS OF 8:30 IN THE EVENINGS ILLUSTRATED CATALOGUE OF ETCHINGS AND ENGRAVINGS BY THE OLD AND MODERN MASTERS AND A FEW PAINTINGS CONSTITUTING THE ARTISTIC PROPERTY LEFT BY THE LATE RUDOLF SECKEL TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE. DATES HEREIN STATED THE ATTRIBUTIONS AND DESCRIPTIONS OF THE ETCHINGS, ENGRAVINGS AND WOODCUTS ARE BY FERDINAND MEDER OF NEW YORK THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, Manacers NEW YORK CITY 1915 ALL DETAILS OF aiiconee Conditions of Sale 1. Any bid which is merely a nominal or fractional advance may be rejected by the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- juriously. 2. The highest bidder shall be the buyer, and if any dispute arise between two or more bidders, the auctioneer shall either decide the same or put up for re-sale the lot so in dispute. 8. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale, shall be made within ten days thereafter, in default of which the undersigned may either continue to hold the lots at the risk of the purchaser and take such action as may be necessary for the enforcement of the sale, or may at public or private sale, and without other than this notice, re-sell the lots for the benefit of such pur- chaser, and the deficiency (if any) arising from such re-sale, shall be a charge against such purchaser. 4. Delivery of any purchase will be made only upon payment of the total amount due for all purchases at the sale. Deliveries will be madé on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, as the case may be, and only on presenting the bill of purchase. Delivery may be made, at the discretion of the Association, of any purchase during the session of the sale at which it was sold. 5. Shipping, boxing or wrapping of purchases is a business in which the Association is in no wise engaged, and will not be performed by the Association for purchasers. The Association will, however, afford to purchasers every facility for employing at current and reasonable rates carriers and packers; doing so, how- ever, without any assumption of responsibility on its part for the acts and charges of the parties engaged for such service. 6. Storage of any purchase shall be at the sole risk of the purchaser. Title passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- ciation will exercise due caution in caring for and delivering such purchase, it will not hold itself responsible if such purchase be lost, stolen, damaged or destroyed. Storage charges will be made upon all purchases not removed within ten days from the date of the sale thereof. 4. Guarantee is not made either by the owner or the Association of the cor- rectness of the description, genuineness or authenticity of any lot, and no sale will be set aside on account of any incorrectness, error of cataloguing, or any imper- fection not noted. Every lot is on public exhibition one or more days prior to its sale, after which it is sold “as is” and without recourse. The Association exercises great care to catalogue every lot correctly, and will give consideration to the opinion of any trustworthy expert to the effect that any lot has been incorrectly catalogued, and, in its judgment, may either sell the lot as catalogued or make mention of the opinion of such expert, who thereby would become responsible for such damage as might result were his opinion with- out proper foundation. SPECIAL NOTICE Buying or bidding by the Association for responsible parties on orders trans- mitted to it by mail, telegraph or telephone, will be faithfully attended to without charge or commission. Any purchase so made will be subject to the above Condi- tions of Sale, which cannot in any manner be modified. The Association, however, in the event of making a purchase of a lot consisting of one or more books for a purchaser who has not, through himself or his agent, been present at the exhibition or sale, will permit such lot to be returned within ten days from the date of sale, and the purchase money will be returned, if the lot in any material manner differs from its catalogue description. Orders for execution by the Association should be written and given with such plainness as to leave no room for misunderstanding. Not only should the lot number be given, but also the title, and bids should be stated to be so much for the lot, and when the lot consists of one or more volumes of books or objects of art, the bid per volume or piece should also be stated. If the one transmitting the order is unknown to the Association, a deposit should be sent or reference submitted. Shipping directions should also be given. Priced copies of the catalogue of any sale, or any session thereof, will be furnished by the Association at a reasonable charge. AMERICAN ART ASSOCIATION, American Art Galleries, Madison Square South, New York City. AT THE AMERICAN ART GALLERIES Madison Square South, New York UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, ADMINISTRATRIX First Session, Numbers 1 to 163, inclusive TUESDAY EVENING, FEBRUARY 23d, AT 8:30 O’CLOCK A Collection of Etchings, Engravings and Woodcuts by Old and Modern Masters, ‘logether with a few Paintings, the Property of the Estate of the Late Rudolf Seckel, Esq. AFFLECK, ANDREW F. All his plates were destroyed after the indicated number of proofs had been pulled. 1. THE DOGES’ PALACE, VENICE. Painter-etching. Signed proof on Whatman paper. Limited to 210 impressions. 2. ANOTHER PROOF of the same. Framed. 3. ANOTHER PROOF of the same. Framed. 4. DUMBARTON ON THE CLYDE. Signed proof on Japanese paper. Limited to 210 impressions. 5. EDINBURGH. Painter-etching. Signed artist’s proof on Whatman paper. Framed. 6. GLOUCESTER CATHEDRAL. Painter-etching. Signed proof on Whatman paper. Limited to 200 impressions. AFFLECK, ANDREW F._ (Continued) 7. ANOTHER PROOF of the same. 8. ANOTHER PROOF of the same. 9. ANOTHER PROOF of the same. Framed. 10. A MOORISH ARCH, TOLEDO. Painter-etching. Signed — proof on Japanese paper. Limited to 210 impressions. 11. ANOTHER PROOF of the same. 12. ORVIETO. Painter-etching. Signed proof on Whatman pa- per. Limited to 105 impressions. 13. TOLEDO CATHEDRAL, INTERIOR. Painter-etching. Signed artist’s proof on Whatman paper. Framed. ARENDSEN, P. J. 14. PORTRAIT OF A CAVALIER. Etching after Frans Halls. Signed remarque proof on vellum paper. Framed. AUBRUD, E. 15. LADY HALLETT. Mezzotint after T. Gainsborough, printed in colors. Signed artist’s proof with tinted border. Framed. ALDEGREVER, HEINRICH 16. THE MONK AND THE NUN. 1530. B. 178. ALTDORFER, ALBRECHT 17. St. CHRISTOPHER. B.19. Very good impression. From the P. Gelatly collection. 18. JUDGMENT OF PARIS. B. 86. Exceedingly fine impres- sion, from the E. Schroeter collection. ALTDORFER, ALBRECHT. (Continued) 19. WOMAN BATHING HER FEET. B. 5%. Rare. 20. ABRAHAM’S SACRIFICE. B. 41. Woodcut. Duplicate of the British Museum. 21. THE RESURRECTION. B. 42. Woodcut. Exceedingly fine impression, from the Count Lanna collection. 22. ST. JEROME. B. 57. Woodcut; inlaid. Very rare. 23. ANOTHER EMPRESSION of the same. Fine impression. From the Van Nagler, Berlin Museum and R. Scholtz col- lections. ATKINSON, T, L. 24. THE LADY OF THE LAKE. Engraving in mixed manner after S. EK. Waller. Signed artist’s proof on India paper. AUDOUIN, PIERRE 25. THE MUSES MELPOMENE, POLYHYMNIA AND ERATO. Line engraving after E. Le Sueur. Apell 13. First state. AUVRAY, PIERRE-LAURENT 26. LES JETS D’EAU; LES PEDARTS. Both after Honoré Fragonard. Portalis & Beraldi, Vol. I, p. 54. Eighteenth century. Line engraving. (2.) BACKHUYSEN, HENDRIK. 1795-1860. 27. RIVER SCENE IN HOLLAND. Water color. BAIRD, JOHNSTONE 28. ON THE AAR. Painter-etching. Signed artist’s proof on Whatman paper. Framed. BAIRD, JOHNSTONE. (Continued) 29. HUY ON THE MEUSE. Painter-etching. Signed proof on 30. 31. 32. 33. 34, 35. 36. 37. 38. 39. 40). 41. Whatman paper. Limited to 75 impressions. ANOTHER PROOE of the same. ANOTHER PROOF of the same. Framed. MULRAY BAY, DONEGAL. Painter-etching. Signed proof on Whatman paper. Limited to 100 impressions. ANOTHER PROOF of the same. ANOTHER PROOF of the same. Framed. RICHMOND BRIDGE. Painter-etching. Signed proof on Whatman paper. Limited to 50 impressions. ANOTHER PROOF of the same. Framed. WESTMINSTER BRIDGE. Painter-etching. Signed proof on Whatman paper. Limited to 100 impressions. (Plate destroyed.) ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. Framed. TOWN HALL, ZURICH. Painter-etching. Signed proof on Whatman paper. 42, ANOTHER PROOF of the same. Framed. BAL, C. J. 43. L?>AMOUR EN VISITE. Line engraving after J. L. Hainon. Proof before letters on India paper. BALDUNG, HANS (cattep GRUN) 44, SEVEN HORSES FIGHTING. 15384. Woodcut. B. 56. BARON, BERNARD 45. COUNT JOHN OF NASSAU AND HIS FAMILY, after ‘A. van Dyck. Andresen 8. BARTHELMESS, N. 46. DER FEIERTAG. Line engraving after A. Liegert. Apell p- 8. Open letter proof stamped. BARTOLOZZI, FRANCESCO 47, A SACRIFICE TO CUPID. Stipple engraving after J. B. Cipriani. Nicely printed in red. Framed. 48. THE GRACES ATTENDING A BRIDE. Vignette. Etch- ing finished with the graver, after J. B. Cipriani. Framed. BARY, HENDRIK 49. JACOB BATELIER. Preacher of the Remonstrants at s’Gravy- enhage, after a painting by I. Westerbaen. Very fine im- pression. BAUSE, JOHANN FRIEDRICH 50. PETER THE GREAT, after Le Roy. Andresen 11. Second state. BECCAFUMI, DOMENICO 51. NATIVITY. Painter-etching. B 1. Early impression before the retouch. Very fine and exceedingly rare. With 17-27 mm. margin. | See Frontispiece Reproduction. | BEGA, CORNELIS 52. THE YOUNG HOSTESS. Du. 38. Second state. BEGA, CORNELIS. (Continued) 58. PEASANT CARESSING A YOUNG HOSTESS. Du. 34. First state. Very fine impression with large margin. From the “B. E.,” N. D. Goldsmid and H. Buttstaedt col- lections. BEHAM, BARTHEL 54. FOUR SKULLS. B. 28. Rare. From the Count v. Lanna and R. Scholtz collections. BEHAM, HANS SEBALD 55. THE SEVEN PLANETS. Pauli 13864-1370. Very fine, even impressions. From the R. Scholtz collection. ee) 56. METHUSELAH, Pauli 698; NOAH, Pauli 700. From the set of “Patriarchs, Their Wives and Children.” Wood- Gutsa 1020) 57. ST. SEBALDUS (OR JACOBUS MAJOR). _ Woodcut. BT 39. 58. THE KIRMESS AT MEGELDORF. Woodcut in six blocks. Pass. 198. Paul 1247. (6.) BEJOT, EUG. 59. BAINS VIGIER, PARIS. Painter-etching. Signed proof on Whatman paper. Limited to 50 impressions. 60. L-ESTACADE, PARIS. Painter-etching. Signed proof on Whatman paper. Limited to 50 impressions. BIONDI, VINCENZIO 61. ST. MAGDALEN (with the Salve-Box.) Line engraving after Carlo Dolce. Apell 5. First state. Remarque proof on India paper, with the unfinished jewel. | ee a ae ere BIOT, GUSTAVE | 62. AGLAE. Line engraving after Alex. Cabanel. BIYDER, A. 63. A SWISS MOUNTAINEER. Painting. Head and shoulders’ portrait of a white whiskered man of late years. Wears a green feathered soft hat, and a drab colored coat. Signed: A. Biyder. Height, 9 inches; width, 7 inches. BLOOS, RICHARD—FReEnNcH, ConTEMPORARY 64. SPRINGTIME. Painting. A park scene with children play- ing amongst themselves, and their nurses conversing with one another. On the left are steps leading to a path through dense trees. The picture presents a rich green and purplish hue, with spontaneous spotting of red, blue and black. Signed: Richard Bloos, Paris, 1912. Height, 25 inches; length, 36 inches. BLOOTELING, ABRAHAM 65. HIERONYMUS VAN BEVERNINCK. Bourgomaster of Gouda and ambassador. Laine engraving after B. Vaillant. W. 3. Early impression before the words: ‘‘et exc.,’ were added. With margin. BOUTELOU, L. 66. VENUS UPBRAIDING GANYMEDE FOR GAMBLING WITH CUPID. Stipple after A. Kauffmann. Circular. Artist’s proof printed in reddish brown. Framed. BREBIETTE, PIERRE 67. TWELVE FRIEZES REPRESENTING BACCHANALIAN AND SATYRICAL SACRIFICES. Andresen 12. Third state; “F. Mariette le fils,’ which appeared in the left corner of the lower margin, has been burnished out. (12.) BRIDGEWATER, HENRY SCOTT 68. CLYTIE. Mezzotint after Sir Fredk. Leighton. Artist’s proof on India paper. 69. MRS. GROVE. Mezzotint after G. Romney. Artist’s proof on India paper. 70. PHYLLIS. Mezzotint after Luke Fildes. Artist’s proof on India paper. 7ab ANOTHER PROOF of the same. ' 72. ANOTHER PROOF of the same. 73. THE SHEPHERDESS. Mezzotint after Luke Fildes. Signed artist’s proof on India paper. 74. THORN AMIDST ROSES. Mezzotint after J. Sant. Signed artist’s proof on India paper. BROME, C. 75. LADY HAMILTON AS ARIADNE. After G. Romney. Trial proof with the artists’ names in scratched letters. Laid down. The plate, which at the engraver’s death was in this condition, has been finished by T. Bragg. BROUET, A. 76. AN OLD MILL. Painter-etching. Signed artist’s proof on Creswick paper. Framed. BRUNER, T. 77. MINIATURE ON IVORY. Portrait of curly-haired gentle- man, wearing black coat. Height, 38 inches; width, 244 inches. BUHOT, FELIX 78. SPLEEN ET IDEAL, OU LE FIACRE AUX AMOURS. Bourcard 73. First state. First biting, before the cupids and before the signature; on aqua-fortist’s paper. With an autograph dedication to Mr. Marthelot, signed by the etcher. Framed. 79. PETITES CHAUMIERES. B. 149. Fourth state. Proof on tinted paper. Stamped. 80. BERGERIES: SOLEIL COUCHANT. B. 151. Proof on Creswick paper. Stamped and signed. Marked ‘“‘épreuve du 5’ état.” 81. UN QUAI DE PARIS: MATINEE D’HIVER. B. 158. Fifth state. Proof on thin Japanese paper. Stamped. 82. LES OIES. B. 166. Fourth state. Proof on loose India paper. BURGESS, WALTER W. 88. GOMSHALL MILL. Painter-etching. Signed proof on vel- lum. 84. ANOTHER PROOF of the same. BURKE, THOMAS 85. PAPIRIUS PRAETEXTATUS, entreated by his mother to disclose the secrets of the Senate. After Angelica Kauff- mann. Circular. Stipple printed in red. BURGKMAIR, HANS 86. THE THREE GOOD CHRISTIANS. (St. Bridget, St. Eliz- abeth and St. Helen.) B. 65. Woodcut. Fine old im- pression. Duplicate of the Berlin Museum. CALLOT, JACQUES 87. THE FAIR AT GONDREVILLE. Meaume 624. Second state, with Callot’s name and address only; before “Israel Sylvestre excudit, etc.” Very fine impression on thin paper. CANALE, ANTONIO 88. GRA DELLA VALLE, PADUA. De Vesme 7. First state, before “KE. 3” in the right lower corner. Very fine impres- sion with full margin. CARON, AD. ALEX. JOSEPH g9. FAUST APERCEVANT MARGUERITE A LA SORTIE DE L’EGLISE. Line engraving after Ary Scheffer. Apell 8. First state. Remarque proof on India paper with the white chimney; signed and dedicated to J. Bain, the engraver. 90. THE SAME. Second state. Artist’s proof on India paper. Signed and numbered “13.” 91. MADAME LA DUCHESSE DE BERRY. Line engraving after F. Gérard. Apell 5. First state. Proof on India paper with the names of the artists only in scratched letters. CARPI, UGO DA 92. ST. PETER PREACHING. Chiaroscuro from 3 blocks after Palidoro. B. 25. Second state, with the inscription. Very fine impression from the Frauenholz collection. CHARLET, FRANTZ 938. DUTCH FISHERMEN’S CHILDREN. Painter-etching and aquatint printed in colors. Stamped artist’s proof No. 9 on Whatman paper. Framed. CHARLET, FRANTZ. (Continued) 94. THE ROSEWINDOW, Notre Dame, Paris. Painter-etching. Signed artist’s proof No. 82 on Whatman paper. Lim- ited to 100 impressions. Framed. 95. SHEEP ENTERING FOLD. After Mauve. Aquatint and etching, printed in colors. Signed proof on Whatman paper. CHODOWIECKT, DANIEL 96. D. I. WOLFGANG VON GOETHE. Engelmann 166. Line engraving from a drawing by G. M. Kraus. 97. FREDERIC II, ROY DE PRUSSE. (Kéenig Friedrich’s II Wacht parade.) E. 200. Third state. COLOR PRINTS 98. THE BLUE BAY after Gainsborough. 99. MISS FARREN after Thos. Lawrence. 100. UNE HALTE after Delort. CONTARDI, ALESSAN DRO 101. THE CHARGE TO PETER. Line engraving after N. Poussin. CORMACK, M. 102. AMELIA. Mezzotint after John Opie. Signed artist’s proof on India paper. COURTRY, CHARLES 1038. READING MAGDALEN after Henner. Signed remarque proof on vellum. 104. PORTRAIT OF JOZEF ISRAELS after himself. Print on India paper. CRANACH, LUCAS 105. THE PENANCE OF ST. JOHN CHRYSOSTOM. B. 1. Engraving on copper. 106. ONE OF THE MARTYRDOM OF THE TWELVE APOS- TLES. B. 40. Woodcut. Very fine, early impression. 107. ST. GEORGE. B. 67. Woodcut. 108. TOURNAMENT OF 1509. B. 126. Woodcut. Fine, old impression. DAHL, CAREL L. 109. AN UNFAIR PROPOSITION. Etching after J. M. Dealy. Remarque proof on vellum paper. Signed by both artists. Framed. DASSONNEVILLE, JACQUES 110. TWO BEGGARS AT THE WAYSIDE. R. Dumesnil - 10. Fine impression with small margin. DAUBIGNY, C. F. 111. LES VENDANGES. Painter-etching. B. 107. First state on “aqua-fortist’s” paper. Full margin. DAY, JOHN 112. OLD KINGS MANOR, KINGSBURY. Painter-etching. Signed proof on Whatman paper, limited to 50 proofs; plate destroyed. 118. ANOTHER PROOF of the same. 114. ANOTHER PROOF of the same. 115. ANOTHER PROOF of the same. Framed. DEBAINES, BRUNET 116. CHURCH NEAR MALINES. Painter-etching. Signed artist’s proof on Whatman paper. 117. MISTY SUNSET ON THE MEDITERRANEAN. Etching after L. Harpignies. Remarque proof on vellum. Signed by both artists. Framed. DEININGER, J. F. 118. VORLESUNG IM PARK. Line engraving after A. v. Ram- berg. Apell 1. First state; proof before all letters on India paper. 119. ANOTHER PROOF of the same. DE LAUNAY, NICHOLAS 120. L,HEUREUSE FECONDITE (after H. Fragonard); LE BONHEUR DU MENAGE (after J. B. Leprince). Line engravings. Both framed. (2.) DELIGNON, JEAN LOUIS 121. LA FELICITE VILLAGEOISE. Line engraving after Sig- mund Freudenberger. Portalis and Beraldi, Vol. I. pp. 709-11. DEMARTEAU, GILLES 122. SHEPHERD (508); SHEPHERDESS (509). Both after J. B. Huet. Engraved in crayon manner (the invention of the engraver) and printed in red and black. (2.) 123. INNOCENCE, after Huet. Engraved in crayon manner (Demarteau’s invention) and printed in red and black. Framed. DEQUEVAUVILLER, FRANCOIS 124. LE CONTRETEMPS. Line engraving after Lavreince. Por- talis and Beraldi, 3. DERTINGER, E. 125. OTTILIE. Line engraving after W. V. Kaulbach. Apell 8. Proof before letters on India paper. DESCOURTIS, CHARLES MELCHIOR 126. FOUR VIEWS IN SWITZERLAND. After Rosenberg and Wolff. Bridge over the Aar; Falls of the Tritt; Lake Thun; Castle Schwanau. Very fine aquatints printed in colors. (4.) ? DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 127. LA BELLE JARDINIERE. Line engraving after Raphael. Apell 4. Fourth state. LA VIERGE AU LINGE. Laine engraving after Raphael. Apell 5. Third state. With the large monogram stamp of the engraver. C2) 128. LES MUSES ET LES PIERIDES. Line engraving after Perino del Vaga. Apell 18. Third state, with the en- graver’s small monogram stamp. 129. PHEDRE ET HIPPOLYTE. Line engraving after Pierre Guérin. Apell 19. First described state, with Napoleon’s stamp. DIETRICY, CHR. W. 180. THREE SMALL LANDSCAPES in the style of v. Ever- dingen and Rembrandt. L. 128. First and third states and L. 129. BATHING NYMPHS. L. 136. THE TEMPLE OF THE SYBIL OF TIVOLI. L. 157. First state. AN UPRIGHT LANDSCAPE in the style of S. Rosa. L. 158. First state. (6.) DOWNMAN, JOHN 131. MISS FARREN, engraved by Tomkins. Stipple printed in light colors. DROEHMER, HERRMANN 182. MOTHER’S JOY. Engraving in mixed manner after Am- berg. Artist’s proof on India paper. 133. THE FLUTE. Line engraving after R. Beyschlag. Artist’s proof on India paper. 134. ANOTHER IMPRESSION. Proof before letters on India paper. DURER, ALBRECHT 135. PETER AND JOHN, healing the sick. B. 18. From ‘the “Little Passion on copper.” Good impression in excellent condition, the two upper corners have a tiny piece snipped from them. From the J. Peoli and R. Hoe collections. 1386. THE SMALL CRUCIFIXION; from the sword-hilt of Em- peror Maximilian I. B. 28. Four old copies. ( 4.) 1387. THE VIRGIN WITH THE CHILD IN SWADDLING CLOTHES. B. 38. Very fine impression with 5 mm. margin all around. From the Beham, P. Mariette, V. Nag- ler, Berlin Museum and R. Pelzer collections. 138. ST. JEROME IN PENITENCE. B. 61. An impression of high quality, but the paper has many large abrasions on the back and perhaps a tear in the sky, which have been very cleverly repaired. The print also has a false margin, which can hardly be detected. From the Fritz Rumpf col- lection. DURER, ALBRECHT. (Continued) 139. 140. 141. 142. 143. 144. 145. 146. ST. GENEVIEVE, or the PENANCE OF ST. JOHN CHRYSOSTOM. B. 63. Very good old impression on paper with the watermark Hausmann 2, bull’s head. No margin. THE TURKISH FAMILY. B. 85. Exceedingly fine im- - pression. No margin. PHILIP MELANCHTHON. B. 105. Fine impression closely trimmed. From the Pierre Mariette, Ambroise Firmin-Didot and P. Von Baldinger collections. THE LIFE OF THE VIRGIN. Four woodcuts of the set. The Betrothal (B. 82); The Circumcision (B. 86); The Adoration of the Kings (B. 87), on paper with the watermark Hausmann 52; Christ Taking Leave of His Mother (B. 92), on paper with the watermark Haus- mann 31. THE BEHEADING OF ST. JOHN, B. 125. Very fine im- pression, but creased. From the P. Gelatly collection. THE MARTYRDOM OF THE TEN THOUSAND. B. 117. From the collection “R. S.” PORTRAIT OF DURER. B. 156. The original, with mono- gram and date. THE DURER HOUSE, NURNBERG. Etching by J. C. Erhard after T. A. Klein. Framed. EARLOM, RICHARD 147. 148. GAME MARKET. Wessely 109. Mezzotint after F. Sny- ders Smith. Proof before letters. Framed. WOMEN BATHING (13); THE HAPPY FAMILY (384). both after G. B. Cipriani. Engraved in crayon manner and printed in red and black. Fine impressions with full margin. (2.) ba EDELINCK, GERARD 149. CHARLES MOUTON, court musician to Louis XIV. R. D. 281. Third state. Somewhat torn and laid down. EICHENS, HERRMANN 150. CHRISTIAN MARTYR. Engraving in mixed manner after Paul Delaroche. Artist’s proof on India paper. EILERS, GUSTAV 151. THE TRIBUTE MONEY. = Line engraving after Titian. Apell 1. Second state. Artist’s proof on India paper. THE SAME. Fourth state, with the inscription on India paper. (2.) 152. PORTRAIT OF ADOLPH MENZEL. Etching from life. Remarque proof on vellum paper. EVERY, G. H. 153. MISS BATEMAN in the character of “Leah.” Mezzotint after EK. Collins. Proof on India paper. Signed by Kate Josephine Bateman. EYRE, BERNARD 154. HILLSIDE FARM. Painter-etching. Signed artist’s proof on Japanese paper. Limited to 50 impressions. 155. MOONRISE ON THE KENNET. Painter-etching. Signed artist’s proof on Japanese paper. Limited to 50 im- pressions. 156. ANOTHER PROOF of the same. 157. SCHEREGATE STEPS, COLCHESTER. Painter-etching. Artist’s proof on Japanese paper. Limited to 50 impres- sions. Plate destroyed. EYRE, 158. 159. 160. 161. 162. BERNARD. (Continued) ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. Framed. TALLYLYN. Painter-etching. Signed artist’s proof on | Japanese paper. ANOTHER PROOF of the same. FANTUZZI, ANTONIO (cattep DA TRENTO) 163. HONORS TO PSYCHE. Chiaroscuro from two blocks after Salviati B. 26. First state before Andreani’s mono- pram, etc, AT THE AMERICAN ART GALLERIES Madison Square South, New York UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, ADMINISTRATRIX Second Session, Numbers 164 to 333, inclusive WEDNESDAY EVENING, FEBRUARY 24th, AT 8:30 O’CLOCK FARRELL, FRED A. 164. HOTEL DE VILLE, BRUSSELS. Painter-etching. Signed artist’s proof on Japanese paper. Framed. 165. CAUB ON THE RHINE. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 75 impressions. 166. ANOTHER PROOF of the same. Framed. 167. FRANKFURT CATHEDRAL. Painter-etching. Signed artist’s proof on Whatman paper. Framed. 168. HEIDELBERG ON THE NECKAR. Painter-etching. Signed artist’s proof on Japanese paper. Limited to 75 impressions. 169. ANOTHER PROOF of the same. Framed. 170. GATEWAY, NEW COLLEGE, OXFORD. Signed proof on thin Dutch paper. Framed. 171. YORK MINSTER. Painter-etching. Signed artist’s proof on Whatman paper. 172. ANOTHER PROOF of the same. Framed. FEDDER, OTTO 173. THE CONVERSATION. (Painting.) Two occupants of an old-fashioned vehicle have halted on the road to converse with a hunter who bears a gun on his shoulder. Signed: Otto Fedder. Height, 414 inches; length, 514 inches. FITTON, HEDLEY 174. COUR DU DRAGON, PARIS. Original pencil drawing. Height, 18 inches; width, 7 inches. Very fine. Framed. 175. ROSLYN CHAPEL, NEAR EDINBURGH. Painter-etching. Signed artist’s proof on Whatman paper. Laid down and matted. 176. SHRINE OF EDWARD THE CONFESSOR, WESTMINS- oo a eee TER. Painter-etching. D. 381. Signed artist’s proof on how Whatman paper. Framed. 177. ST. BARTHOLOMEW THE GREAT, SMITHFIELD. 1909. Painter-etching. Signed artist’s proof on thin Dutch paper. Framed. 178. ST. ETIENNE, BEAUVAIS. Painter-etching. Signed ar- tist’s proof on Whatman paper. FONCEH, CAMILLE 179. DAWN. Painter-etching. Signed artist’s proof on vellum paper. Framed. ) FULLWOOD, JOHN 180. AN ENGLISH ROAD AND RIVER. Painter-etching. Signed artist’s proof on thin Japanese paper. Framed. 181. THE HEAD OF THE LOCK. Painter-etching. Signed ar- tist’s proof on thin Dutch paper. Framed. 182. ANOTHER PROOF of the same on Japanese paper. Framed. FULLWOOD, JOHN. (Continued) 183. LALEHAM MEADOW. Painter-etching. Signed artist’s proof on thin Dutch paper. Framed. 184. WARWICK COTTAGES, LEAMINGTON. Painter-etch- ing. Signed artist’s proof on Japanese paper. Limited to 50 impressions. 185. ANOTHER PROOF of the same. 186. ANOTHER PROOF of the same. Framed. GARAVAGLIA, GIOVITA 187. BEATRICE CENCI. Line engraving after Guido Reni. Apell 15.- Second state; open letter proof. 188. ANOTHER PROOF of the same. GAREN, GEORGE 7 189. LE SOIE, VILLE @AVRAY. Etching after Corot. Signed artist’s proof on vellum paper. Framed. GARNIER, FRANCOIS 190. RAPHAEL ET LA FORNARINA. Line engraving after Picot. Apell 4. Artist’s proof on India paper. THE SAME, with the full inscription, on plain plate paper. (2) GAUGAIN, T. 191. CHILDREN AND THE SHEPHERD BOY. Stipple printed in colors after Westall. Framed. GELEE, ANTOINE FRANCOIS 192. DAPHNIS AND CHLOE. Line engraving after L. Hersent. Apell 4. First state. The artists’ names and the date only in scratched letters. Stamped with the engraver’s monogram stamp. GELEE, ANTOINE FRANCOIS. (Continued) 1938. LA JUSTICE DIVINE POURSUIVANT LE CRIME. Line engraving after Prud’hon. Apell 7. Proof before letters. With the dry stamp of the “Société des amis des Arts.” GERARD 194. MINIATURE ON IVORY. Half-length portrait of woman in yellow décolleté gown. In leather case. Height, 314 inches; width, 214 inches. GLOCKENTON, ALBRECHT 195. CHRIST BEFORE THE HIGH PRIEST. B. 6. From the Passion. GOLTZIUS, HENDRIK 196. THE CIRCUMCISION in Diirer’s manner. One of the six Masterpieces. Dir. 18. Third state, with the numeral 4. From the von Derschau and Berlin Museum collections. HADEN, SIR FRANCIS SEYMOUR 197. KENSINGTON GARDENS. The small plate. Painter-etch- ing. H. 12. Intermediate proof between the second and third states. Proof on Dutch paper. Framed. 198. THE TOWING PATH. Painter-etching. H. 76. Second state. Signed artist’s proof on thin Dutch paper. \ From the Harrington collection. Framed. 199. TWICKENHAM CHURCH. Painter-etching. H. 107. First state. Proof on heavy English paper. Printed by F. Goulding. From the F. Goulding collection. Framed. 200. THE BREAKING UP OF THE AGAMEMNON. Painter- etching. H. 145. First state. Very fine impression on heavy paper with 16 mm. margin.: Not signed. 201. CHALLOW FARM. Painter-etching. H. 175. First state. Proof on Dutch paper. Framed. ! i : ) HADEN, SIR FRANCIS SEYMOUR. (Continued) 202. COWDRAY CASTLE—WITH COWS. Painter-etching. H. 220. First state. Signed proof on Dutch paper, with a note to the printer, Mr. F. Goulding. From the F. Goulding collection. HAIG, AXEL HERMAN 203. A GERMAN MILL. Painter-etching. Proof on heavy Eng- lish paper. Framed. HANKEY, W. LEE 204. EARLY MORNING. Painter-etching. Plate 38. Signed ar- tist’s proof No. 5 on Whatman paper. With the etcher’s stamp. Printed by the artist himself. 205. YOUTH. Painter-etching. Plate 46. Signed artist’s proof No. 3 on Whatman paper. With the etcher’s stamp. Printed by the artist himself. HAYKS,. G. 206. CORFE, DORSET. Painter-etching. Signed artist’s proof on Whatman paper. Framed. 207. HAMBURG—FLEET. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 75 impressions. Plate destroyed. 208. ANOTHER PROOF of the same. 209. ANOTHER PROOF of the same. Framed. 210. OLDEST HOUSE IN WALES, CONWAY. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 75 impressions. Plate destroyed. 211. ANOTHER PROOF of the same. 212. ANOTHER PROOF of the same. Framed. HAYES, G. (Continued) 218. POLPERRO. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 75 impressions. 214, POOLE, DORSET. Painter-etching. Signed artist’s proof on Whatman paper. Framed. 215. RUE DAMIETTE, ROUEN. Painter-etching. Signed ar- tist’s proof on Whatman paper. Framed. 216. SHAKESPEARE’S BIRTHPLACE, HENLEY STREET, STRATFORD-ON-AVON. Painter-etching. Signed ar- tist’s proof on Japanese paper. Framed. 217. TEWKESBURY. Painter-etching. Signed artist’s proof on Whatman paper. 218. ANOTHER PROOF of the same. Framed. HENRIQUEL-DUPONT, L. P. 219. GUSTAVE VASA’S ABDICATION. Line engraving after L. Hersent. Apell 7. Second state. Open letter proof No. 58 with the misspelling of the name ‘‘Wasa.” HOLE, WILLIAM 220. STREET IN JAFFA. Painter-etching. Signed artist’s proof on thin Japanese paper. Framed. HOLLAR, WENZEL 221. DAVID PLAYING BEFORE SAUL. After H. Holbein. Parthey 72. Fine impression, with margin, from the H. Weber collection. 222. THE DESCENT FROM THE CROSS. After H. Holbein. P. 109. Very fine, but closely trimmed, with a slight stain. HOUBRAKEN, JACOB 223. A. ASHLEY COOPER, EARL OF SHAFTESBURY. After Sir Peter Lely. ‘TILLITSON, ARCHBISHOP OF CANTERBURY. = After G. Kneller. Line engravings. Both framed. CZs) HOWARTH, A. E. 224 225. 226. yi 228. 229. 230. 231. ABBEVILLE. Painter-etching. Signed artist’s proof on thin Dutch paper. Framed. COURTYARD OF WILLIAMS COLLEGE. Painter-etch- ing. Signed artist’s proof on thin Dutch paper. Framed. GATEWAY, NEW COLLEGE, OXFORD. Painter-etching. Signed artist’s proof on Whatman paper. Framed. GOUROCK. Painter-etching. Signed artist’s proof on thin Dutch paper. Framed. RICHMOND CASTLE, YORKSHIRE. Painter-etching. Signed artist’s proof on Whatman paper. Printed by the etcher. WINCHESTER CATHEDRAL, INTERIOR. Painter- etching. Signed artist’s proof on Whatman paper. ANOTHER PROOF of the same. Framed. WINDMILL NEAR ABBEVILLE. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 22 impres- sions. Plate destroyed. ISRAELS, JOZEF 232. BLIND MAN WALKING. Painter-etching. Signed artist’s proof on Dutch paper. Framed. JACQUE, F. 233. SHEEPFOLD, FEEDING TIME. Etching after Charles Jacque. Signed artist’s proof, printed by the etcher him- self on Dutch paper. Framed. JAGEMANN, FERDINAND 234. PORTRAIT OF GOETHE. By an unknown engraver. ANOTHER, engraved by Muller. ANOTHER, engraved by F. Weber. (3.) JAMES, CLIFFORD R. 235. THE COUNTESS OF WESTMEATH. Mezzotint printed — in colors. Signed proof on India paper. 236. ANOTHER PROOF of the same. 237. ANOTHER PROOF of the same. : 238. ANOTHER PROOF of the same. Framed. 239. SURPRISE. Mezzotint printed in colors. Signed proof on India paper. 240. ANOTHER PROOF of the same. 241. ANOTHER PROOF of the same. Framed. JAMES, GEORGE P. 242. LADY BEAUMONT, after Sir Josh. Reynolds. Mezzotint printed in colors. Signed proof on India paper. 243. ANOTHER PROOF of the same. Framed. JANINET, FRANCOIS 244. LE COMEDIENS COMIQUES. Etching and aquatint after A. Watteau, printed in colors. Portalis & Beraldi 51. Framed. 245. VUE DE LA GRECE (Roman ruins). Etching and aqua- tint after Pernet and printed in colors. Framed. 246. TELL’S CHAPEL IN SWITZERLAND. Etching and aqua- tint printed in colors. Framed. JANINET, FRANCOIS. (Continued) 247. TWO VIEWS IN SWITZERLAND. After Wolff. Thun from the south and Thun from the west. Very fine aqua- tint printed in colors. (2.) JONES, JOHN 248. LORD HENRY AND LADY CHARLOTTE SPENCER, after Sir Joshua Reynolds. Stipple printed in brown. Very attractive children portraits. KLOMP, ALBERT. 1618-1688. 249, LANDSCAPE WITH COWS AND SHEEP REPOSING. Water color. KNAUS, LUDWIG 250. THE BAPTISM. Engraved in mixed manner by J. Ballin. Signed artist’s proof on India paper. 251. ANOTHER PROOF of the same. KRUG 252. MINIATURE PORTRAIT ON IVORY. Head and shoulders of a dark-haired young woman, facing the left, wearing a pale Nile-green dress and bonnet. Height, 3 inches; width, 214 inches. LAMOTTE, ALPHONSE 253. LE MARIAGE. Line engraving after Emile Bayard. Signed artist’s proof on India paper. 254. THE BAPTISM. Line engraving after Emile Bayard. Signed artist’s proof on India paper. Only 75 impressions. 255. ANOTHER PROOF of the same. LAUTENSACK, HANS SEBALD 256. UPRIGHT LANDSCAPE, with a big rock to the right. B. 26. LEVILLY, J. P. 257. LE PAS DANGEREUX, after a drawing by the engraver. Fine stipple printed in colors. LEVIS, MAURICE. Frencu: ConrTEMPORARY. 258. ANDELYS IN SEPTEMBER. (Painting.) A bend of the river which leads in the centre of the picture to a distant town. ‘Toward the right in the foreground along a path by the water’s edge are partly overhanging vine-covered trees, and behind on the hillside is a castle in ruins. Signed: Maurice Lévis. Height, 7 inches; length, 10 inches. 259. THE SEINE NEAR LE PETIT ANDELYS. (Painting.) To the bright sunlight, near the water’s edge, is seated a country girl tending sheep. On the right trees are partly casting their shadows on the road which leads to build- ings in construction. Along the water’s edge are flowers of varied colors, and a fisherman with his boat. The sky line is relieved by wooded cliffs clear across the picture. Signed: Maurice Lévis. Height, 7 inches; length, 10 inches. LOGGAN, DAVID 260. SIR THOMAS ISHAM OF LAMPORT. Engraved from life. Very fine impression. LUIGINI, F. J. 261. AUBERGE DU PERROQUET. Painter-etching and aqua- tint printed in colors. Signed artist’s proof No. 62 on Whatman paper. LUIGINI, F. J. (Continued) 262. LE PETIT PONT. Painter-etching and aquatint printed in colors. Signed artist’s proof No. 196 on Whatman pa- per. 263. RETOUR DU TROUPEAU. Painter-etching and aquatint printed in colors. Signed artist’s proof No. 194 on What- man paper. LUSY 264. LANDSCAPE. Painter-etching. Signed artist’s proof No. 10 on Creswick paper. Limited to 50 impressions. MANDEL, J. A. EDUARD 265. DIE LURLEY. Line engraving after Carl Begas. Apell 15. Third state with the inscription and printer Bougeard’s address. DER ITALIENISCHE HIRTENKNABE. Line engraving aiter L. Pollack. Apell 17. Fifth state, the printer’s name erased. (2.) 265. KINDER MIT BLUMEN SPIELEND. Line engraving after E. Magnus. Apell 18. Fourth state. Framed. 267. PORTRAIT OF RAPHAEL AT THE AGE OF 15. : Line engraving after Raphael. Apell 36. Second state. Proof before letters on India paper, with the engraver’s mono- gram stamp: Very fine. 268. ANOTHER IMPRESSION of the same state. On plain plate paper. 269. ANOTHER IMPRESSION of the same state. On plain plate paper. 270. ANOTHER IMPRESSION of the same state. On plain plate paper. | 271. ANOTHER IMPRESSION of the same state. On plain plate paper. MANNFELD, B. 272. TOMB OF FREDERICK THE GREAT, under the chancel of the Gafrnisonskirche at Potsdam. Etching. Signed remarque proof on India paper. 273. THE PARK OF THE PALACE OF PRINCE ALBRECHT (BERLIN). After Adolph Menzel. Etching. Remarque ~ proof on Japanese paper. WINDSOR CASTLE. Etching by Brunet-Debaines after K. Heffner. Artists’ proof on Japanese paper. Signed by both artists. (2.) MANTEGNA, ANDREA 274. THE FLAGELLATION. B. 1. On paper with the water mark “little jug.” At the bottom, upper left side, and top some of the white paper has been torn off and re- placed by other pieces. Also a few tears carefully re- paired. A printer’s crease through the lower half. MARRIOTT, F. 275. OLD BRUGES AT NIGHT. Painter-mezzotint printed in colors. Signed art proof on Whatman paper. Limited to 100 proofs. Framed. MASTER B. OF THE DIE 276. FRIEZE WITH BACCHANALIAN BOY MOUNTED ON A GOAT, after Raphael. B. 36. FRIEZE WITH THE TRIUMPHAL PROCESSION OF CUPID, also after Raphael. B. 37. (2.) MAURIN 277. EMPRESS JOSEPHINE, after Gerard. Lithograph. McARDELL, JAMES 278. REMBRANDT’S MOTHER READING. Mezzotint after Rembrandt. Smith 150. ° McGHIE, JOHN 279. 280. 287. 288. 289. 290. Zo. zo2. 293. FRESH FROM THE SEA. Painter-etching. Signed ar- tist’s proof on Whatman paper. Limited to 40 impres- sions. Plate destroyed. ANOTHER PROOF of the same. . ANOTHER PROOF of the same. . ANOTHER PROOF of the same. . ANOTHER PROOF of the same. . ANOTHER PROOF of the same. . ANOTHER PROOF of the same. Framed. A 'TOILER. Painter-etching. Signed artist’s proof on Whatman paper. Framed. WAITING FOR THE BOATS. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 40 im- pressions. Plate destroyed. ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER PROOF of the same. Framed. McLAUGHLIN, DONALD SHAW | 294. THE HOUSE OF CERES. Painter-etching. Signed artist’s- proof on Dutch paper. Framed. 295. VENETIAN NOON-TIDE. Painter-etching. Signed ar- tist’s proof. Limited to 50 impressions. MELLAN, CLAUDE 296. THE SUDARIUM. The artist’s most celebrated plate, done in one spiral line, beginning at the tip of the nose. With ~ large margins. From the collection of the Museum at Groningen. MERYON, CHARLES 297. LA POMPE DE NOTRE-DAME, PARIS. Painter-etching. Delteil 31. Seventh state. The title and “Rue St. Etienne-du-Mont. Publié par Il Artiste,’ suppressed. Fine impression on Dutch paper. MEYER, HENRY 298. PORTRAIT OF AN OFFICER OF THE HUSSARS. Mez- zotint after Sir Thomas Lawrence. Proof before letters. Framed. MIGNON, ABEL 299. 1814. NAPOLEON ON HIS WHITE CHARGER MAR- ENGO. Etching after J. L. E. Meissonier. Signed re- marque proof on vellum. Framed. MILITARY PORTRAITS (GERMAN) AND BATTLE SCENES OF THE FRANCO-GERMAN WAR 1870-71. 300. LEOPOLD VON DESSAU, ZIETEN AND GENL. WERDER. Lithographs by A. Bournye and Siissnapp after W. Camphausen. (3.) . es “ MILITARY PORTRAITS. (Continued) 301. 302. 303. 304. 305. 306. 307. 308. 309. 310. 311. 312. WILLIAM I, EMPEROR OF GERMANY. Full-length, standing. Lithographed by G. Feckert after F. Winter- halter. ANOTHER IMPRESSION of the same. ANOTHER IMPRESSION of the same. ANOTHER IMPRESSION of the same. ANOTHER IMPRESSION of the same. ANOTHER IMPRESSION of the same. ¢ FREDERICK II, EMPEROR OF GERMANY. Etching from life by W. Hecht on India paper. ANOTHER IMPRESSION of the same. FREDERICK III, WHEN CROWN PRINCE. Etching by W. Hecht after a painting by F. v. Lenbach. On In- dia paper. ; FREDERICK IT, WHEN CROWN PRINCE. Line engrav- ing from life by Carl Becker. Artist’s proof on India paper with the publisher’s dry stamp. KING WILLIAM I, OF PRUSSIA; CROWN PRINCE FREDERICK WILLIAM OF PRUSSIA; PRINCE FREDERICK CHARLES OF PRUSSIA. Lithographs from life by S. Milster and Th. Hellwig. (3.) CROWN PRINCE FREDERICK WILLIAM OF PRUSSIA. Line engraving by H. Meyer under the direction of E. Mandel. PRINCE FREDERICK CHARLES OF PRUSSIA awnp v. ROON, Minister of War of Prussia. Both engraved by A. Teichel. India paper prints. (3.) MILITARY PORTRAITS. (Continued) 313. 314. 315. 316. LE BOURGET, after A. M. de Neuville. Photogravure Goupil. i UBERGABE DES SCHOSSES GAISBERG. Color print. KONIG WILHELM NACH DER SCHLACHT BEI SEDAN. Photogravure after Iank. (3.) DAS 4rT—e GARDE REGIMENT ZU FUSS BEI ST. PRI- VAT. After Roessler. DIE 70er BEI ST. QUENTIN IM STURM AUF DIE WINDMUHLE. After Réchling. , DIE ABFAHRT NAPOLEON III. IN DIE GEFANGEN- SCHAFT. After Roessler. Photogravures on India paper. (3.) DAS GARDESCHUTZEN-BATAILLON 1. v. SCHACHT BEI ST. PRIVAT. Photogravure after H. Liders. HORNISTEN UEBUNG. Autotype after C. Rochling. THE BATTLES AT WEISSENBURG, MARS LA TOUR AND GRAVELOTTE. Lithographs by F. Kaiser. THE CAPTURE OF NAPOLEON AT SEDAN. Litho- graph by Fr. Hartwich. (4.) MILLER, JOHN D. 317. 318. 319. 320. 321. 322. INVOCATION. Mezzotint after Sir Frederick Leighton. Signed artist’s proof on India paper. ANOTHER IMPRESSION of the same. Lettered proof on India paper. SYLVIA. Mezzotint after Frank Dicksee. Signed artist’s proof on India paper. ANOTHER PROOF of the same. ANOTHER PROOF of the same. ANOTHER LETTERED PROOF of the same. =i Hint i HANES i Planteul ad Iiuun ae e _ a? ae |e : faciwubat (86%. j tit Tl ji i ; , allt WIA i if et Cet es aaaaee a stows * it jils de Charles sire de Creguy prince de Pour ‘ Vee ‘ é Jue pour ck marerchal de #rance, heutenmt : » Je Bonne, Je Crequy, d Agoult ; ye Je, Pesey Je AMontlaur et de Montauban . his , ’ Seas is he ¥ . 7 j?, comte Je Sault, Jue de Sevdt UP ES par de bi A Mis AS Gp, A : general en lad’ prounce.ct Peet fis CO SUCCEH- ees ; : s ) ais::; é vey : icy FPP«UNCE, CREUAMLET Tes ores Ou Roy Gouaern Fey wit de Srangatr de Oonne due de Lerdiuyueres: i, Aeuchier des ordresdu Roy Y ‘i jt de Frangatr de C8. duc de Lex dus if J te & ene . * > Ce ¢ ul heutcnant, general pour va Mla Ken Dauphine, cal pur et. ( onestable Je France NANTEUIL, ROBERT Francois de Bonne (See No. 326) MOREAU tLe seunet, J. M. 323. MONUMENT DU COSTUME PHYSIQUE ET MORAL DE LA FIN DU XVIIIe SIECLE. Line engravings by Cheffar, Desmont, Gervais, Guénier I. Massard, Monnin, E. Rannes, Sage, Ch. Fr. Thierry and P. Vélard. Printed in red with index and text. Numbered copy—No. 226. MULLER, JOHNANN GOTTHARD von 324. LOUIS XVI, after Duplessis. Andresen 6. Fifth state with Ramboz’s name. NANTEUIL, ROBERT 325. HONORE COURTIN, Conseiller d’Etat. Engraved from life, 1668. R. D. 80. First state, before the inscription on the oval border. Very fine impression, with 23 to 32 mm. margin. From the F. Kalle and R. Pelzer collections. 826. FRANCOIS DE BONNE, MARECHAL DE CREQUI. En- in graved from life, 1659. R. D. 81. Second state; the date Wired has been changed to 1662. Fine impression with 10 to 18 mm. margin. From the R. Pelzer collection. [See Reproduction. | 327. THE BROTHERS PIERRE AND JACQUES DUPUY. R. D. 89. First state; before the plate was cut in two. Fine impression with about 7 mm. margin. 328. MARIN CUREAU DE LA CHAMBRE. Physician to the King. Engraved from life. R. D. 116. ‘Third state, with a figure similar to a capital *“T”’ in the centre of the lower margin. Very fine impression, with margin. From the R. Pelzer collection. 329. MICHEL LE TELLIER, Ministre d’Etat. Engraved from life, 1659. R. D. 181. Only one state. Fine impression with small margin. NANTEUIL, ROBERT. (Continued) 330. LOUIS XIV, KING OF FRANCE. Engraved from life in 1662. R. D. 158. Fourth state. The date has been changed to 1663. Very rare. Fine impression, with very small margin. 331. EDOUARD MOLE, Président a Mortier au Parlement de Paris. Engraved from life. R. D. 198. First state, be- fore the framework was marbled. Fine impression, with -small margin. 332. PIERRE SEGUIER, Chancelier de France. After Charles Le Brun. 1657. R. D. 228. First state, before the ”\ z “crochet” after the date. Very fine impression, with 17-28 mm. margin. From the R. Pelzer collection. 333. FRANCOIS SERVIEN, Evéque de Bayeux. After Phil. de Champagne. R. D. 225. First state, before the inscrip- tion on the base. Very fine impression with a small margin. AT THE AMERICAN ART GALLERIES Madison Square South, New York UNRESTRICTED PUBLIC SALE BY ORDER OF MESSRS. JOLINE, LARKIN AND RATHBONE, ATTORNEYS FOR MAY SECKEL, ADMINISTRATRIX Third Session, Numbers 334 to 502, inclusive THURSDAY EVENING, FEBRUARY 25th, at 8:30 O’CLOCK NEAVE, DAVID 334. GREENGROCER. Painter-etching. Signed artist’s proof on thin Japanese paper. Framed. 335. THE RIVERSIDE, TOPSHAM. Painter-etching. Signed artist’s proof on thin Japanese paper. Framed. OLD VIEWS OF GERMAN TOWNS 336. JACOBSPLATZ, GOTHA. Engraved by Drdsse. PALACE OF THE DUCHESS DOWAGER OF GOTHA. Engraved by Weibezahl. Both colored. Framed. (2.) 337. GENERAL VIEW OF CARLSBAD. Etching by Postl; col- ored. Framed. 338. THE OLD MARKET (TUCHGADEN), FRANKFURT a|M. 1866. Etching by J. Ejissenhardt, after Anton Birger. 339. DER ROMERBERG, 1754; DER LIEBFRAUENBERG, 1755; DER ALTE MARKT, 1865. Views of Frank- furt a|M. in the olden times. Two etchings after Schiitz and one after A. Birger by J. Eissenhardt. All framed. (3.) OSBORNE, MALCOLM 340. NORTON BRAVANT, WILLSHIRE. Painter-etching. signed artist’s proof on Whatman paper. Framed. | PHILIPPEAUX 3841, BACCHANTE CROWNED BY CUPID. Stipple engraving printed in colors. Framed. PHOTOGRAPH 342. HEAD OF A GIRL. Framed. PHOTOGRAVURES 343. CHARLEMAGNE RECEIVING THE ENVOYS OF HA- RUN-AL-RASCHID; BARBAROSSA CONQUERING LOMBARDY. Both after A. Iank. (2.) 344. STUDENT’S LIFE. Die Sekundanten. Warum halt? Nun leb wohl. Alte Burschenherrlichkeit. After G. Miihlberg. Colored. (4.) 345. DIE DORFSCHONEN. After Prdlss. UNGEKELTERT. After E. Griitzner. MUNCHNER KINDL. After L. v. Suchodolska. NACH DER MAHLZEIT. After Ch. Meyer. (4) PLATT, CHARLES A. 346. MUDBOATS ON THE THAMES. Painter-etching. Signed artist’s proof on Creswick paper. Framed. 347. WILLOWS: CAPE ANN. Proof on Japanese paper. PONCE, NICOLAS 348. LE VERRE D’EAU. Line engraving after Honoré Fragonard. Portalis & Beraldi 7. PRESTEL, MARIA CATHARINA 349. NATIVITY. After a drawing by A. Diirer. (Albertina. ) Nagler XII. p. 52, No. 19. Chiaroscuro done in etching and aquatint manner. The artist etched it from an old drawing in the Cabinet Praun, not knowing that it was a copy. RAEBURN, H. MACBETH 350. 351. 352. — 858. RAU 354. 355. CANN ON STREET BRIDGE, SUDBURY. Painter-etching. Signed artist’s proof on Japanese paper. Framed. ETON COLLEGE. Painter-etching. Signed artist’s proof on thin Whatman paper. Framed. MISS FRANCES KEMBLE. After Sir Joshua Reynolds. Mezzotint printed in colors. Signed proof on Dutch paper. “OVER THE HILLS AND FAR AWAY.” Painter-etching. Signed artist’s proof on Japanese paper; limited to 75 impressions. MINIATURE PORTRAIT ON IVORY. Head and shoulders of a gentleman in a blue coat, facing the right. Height, 314 inches; width, 244 inches. (Imperfect.) MINIATURE PORTRAIT ON IVORY. Head and shoulders of dark-haired young woman facing the left. In leather case. Height, 314 inches; width, 214 inches. RAVENNA, MARCO DENTE be 356. THE DANCE OF CUPIDS. Copy after Raimondi. B. 217a. From the Brodhurst collection. REED, EARL H. 3857. A CITY’S HIGHWAY. Painter-etching. Signed artist’s proof on Japanese paper. REMBRANDT VAN RYN 358. REMBRANDT WITH A CAP AND AIGRETTE. In an oval. B. 23. Third state, before the modern retouch. Fine impression. From the Count Moritz von Fries and P. von Baldinger collections. 359. ABRAHAM ENTERTAINING THE ANGELS. B. 29. Fine early impression, with burr and 8mm. margin all around. From the F. Gawet and J. Novak collections. [See Reproduction. | 360. ABRAHAM CARESSING ISAAC. B. 33. 361. ANOTHER IMPRESSION of the same. With 5 mm. margin. From the “W. P. L.” collection. 362. ANOTHER IMPRESSION of the same. Framed. 363. JOSEPH TELLING HIS DREAMS. B. 37. Third state. 364. JOSEPH AND POTIPHAR’S WIFE. B. 39. Intermediate state between the third and fourth. From the “F. B.” and R. Hoe collections. : 365. THE TRIUMPH OF MORDECAI. B. 40. Fine impression with some burr. 366. THE ANGEL LEAVING TOBIT’S FAMILY. B. 43. Sec- ond state according to Hind. 367. THE ANNUNCIATION TO THE SHEPHERDS. B. 44. 368. ANOTHER IMPRESSION of the same. BE a tee ey re 3 Ee te 2 * 2 ie * * > ey y SSN air 8 . 4 Lae Zita FP Suis wl 2 aitits, © —— 3 LE a an ed Khiy SEA IRELSA SMe GOS * Jy LE Peay Oks f: bps Sg tol Me 5 IAS J ‘Md: GLE ti ie Gee REMBRANDT Abraham entertaining the Angels (See No. 359) REMBRANDT VAN RYN. (Continued) 369. 370. 371. 372. 3738. 374. 376. THE CIRCUMCISION. B. 47. Second state. From the Peoli and R. Hoe collections. THE PRESENTATION IN THE VAULTED TEMPLE. B. 49. Second state. On paper with the watermark Wi- biral No. 8g. (Fleur-de-lis, below it a shield with three bars on an incline and below this the monogram “W. R.” with a “4.”) From the “B. Z.” and Peoli collections. CHRIST PREACHING, called the ‘Little La Tombe.” B. 67. Fine impression, with a little burr, on paper with the water- mark “Coat of arms of Amsterdam” with the initials “P. M.” below it. The paper is in perfect condition and it has a margin of 15 mm. all around. CHRIST CHASING THE MONEYCHANGERS FROM THE TEMPLE. B. 69. First state; fine impression on paper with the watermark Wibiral 8g. Fleur-de-lis, be- low it a shield with three oblique crossbars and below it monogram W. R. & 4. No margin; trimmed closely to the border line. From the J. A. Boerner, W. E. Drugu- lin, Dr. A. Striater and P. v. Baldinger collections. ANOTHER IMPRESSION of the same. Second state; no margin. The top border line is partly missing. From the Fr. Schindler ‘collection. THE ECCE HOMO. B. 77. Fourth state. The face of the bald man above the Jew who holds the cane has been shaded with an additional set of oblique lines; but before Mal- boure’s address. Fine impression. Was folded like most of them and carefully pressed out so that the folds are not noticeable. . CHRIST ON THE CROSS. B. 80. Second state. From the R. Hoe collection. DESCENT FROM THE CROSS. The large plate. B. 81. Fourth or fifth state, which cannot be ascertained as the address in the lower margin has been erased. eo” REMBRANDT VAN RYN. (Continued) 377. 378. 379. 380. 3881. 382. 383. 384. 385. THE MARTYRDOM OF ST. STEPHEN. B. 97. First state. Fine but without any margin. DEATH OF THE VIRGIN. B. 99. Second state. Fine impression with slight repairs on the corners. STROLLING MUSICIANS. B.119. First state. Fine im- pression without margin. From the collection of Fritz Rumpf. PEASANT FAMILY ON THE TRAMP. B. 181. First state. Before the retouch. Very fine impression with a margin ranging from 138 to 15 mm. From the Cambridge University and M. J. Perry collections. AN OLD MAN WITH A SHORT BEARD LEANING AGAINST A BANK. B. 151. Third state. From the Robert-Dumesnil and S. Scheikevitch collections. TWO BEGGARS; A MAN AND A WOMAN CONVERS- ING. B. 164. Second state; the plate edges are trimmed and the plate is cleaned. From the “v. E.,” I. F. Linck and Count Lanna collections. NUDE WOMAN WITH HER FEET IN THE WATER. B. 200. From the R. Hoe collection. DIANA BATHING. B. 201. First state. Very fine im- pression on paper with the Double Eagle, two Dolphins and the initials “I. V.” (coat-of-arms of the duchy of Bar, according to Briquet Nos. 2092 and 2093). Trimmed very closely to the platemark and in the left edge two small pieces inserted. From the Hawkins, Earl of Ayles- ford and Duke of Buccleugh collections. THE LANDSCAPE WITH A MAN SKETCHING. B. 219. Very good impression on paper with the watermark Wibiral 7b. (Crowned shield with fleur-de-lis and the initials L.C.) So closely trimmed that the platemark has been lost almost completely; with two slight printer’s creases. From the J. McGowan (collector’s mark erased) and J. Rice collections. REMBRANDT VAN RYN. (Continued) 386. 388. 389. 390. 391. 392. 393. PORTRAIT OF JAN ANTONIDES VAN DER LINDEN, PROFESSOR OF MEDICINE AT THE UNIVERSITY OF LEYDEN. B. 264. Sixth state; very fine impres- sion on a thick Dutch paper. Closely trimmed, showing only 2 mm. of the lower margin and no platemark. From the collection of Fritz Rumpf. . ANOTHER IMPRESSION of the same. Seventh state, show- ing the platemark all around. From the collection of “Dr. ABR SAMUEL MANASSEH BEN ISRAEL JEWISH AUTHOR. B. 269. Second state. Fine impression, with 4 mm. mar- gin. From the “E. 8.” and Marsden J. Perry collections. CORNELIS CLAESZ ANSLO, MENNONITE PREACHER. B. 271. Fourth state. The lower part of the plate has been burnished out so that the etched surface is again the same size as in the first state, but before the address of Scheepshanks. Fine impression on India paper. From the K. E. von Liphart and Emil Schroeter collections. ABRAHAM FRANCEN, ART DEALER. B. 278. Eighth state. Very good impression with 2 mm. margin. From the S. Scheikevitch collection. JAN LUTMA, CELEBRATED GOLDSMITH. B. 276. Third state. From the collections Naudet and “Fagan Sits JAN UYTENBOGAERT, RECEIVER-GENERAL (THE GOLDWEIGHER). B. 281. Third state, on Japanese paper, with a margin of about 14 mm. all around. Very fine. BUST OF AN OLD MAN WITH A LARGE BEARD. B. 290. The only state. An impression with an aquatint effect, the result of artificial wiping. From the R. Pelzer collection. oO ee REMBRANDT VAN RYN. (Continued) 394. HEAD OF A MAN IN A FUR CAP CRYING OUT. B. 395. 396. 398. 399. 327. Third state. Strong impression with about 3 mm. margin. From the R. Pelzer collection. REMBRANDT’S MOTHER IN WIDOW’S DRESS AND BLACK GLOVES. B. 344. First state. Very fine im- pression on paper with the watermark “Folly.” Slightly foxed and a small tear in the left edge repaired. ANOTHER IMPRESSION of the same. Second state. In perfect order and with a small margin. From the E. De- vaulx collection. . LIEVEN WILLEMSZ VAN COPPENOL, WRITING MAS- TER. The larger plate. Basan’s copy of the first state, with the white background. Du. Vol. V, p. 485. JACOB LAMENTING THE SUPPOSED DEATH OF JOSEPH. B. 38. Anonymous and most deceiving copy. Du., Vol. V, p. 383. THE GOLDWEIGHER. B. 281. Copy by Captain Baillie. (2.) ANOTHER IMPRESSION of the copy of B. 38. THE ANNUNCIATION TO THE SHEPHERDS. B. 44. Photogravure. BEGGARS RECEIVING ALMS AT THE DOOR OF A HOUSE. B. 176. Copy in the original sense. Not mentioned by Dutuit. (3.) REMBRANDT AND HIS SCHOOL 400. SCRAPBOOK. Bound in pigskin and containing 102 etchings mostly by followers and imitators of Rembrandt. Among them are eight of Rembrandt’s original work, but late impressions, and 82 original etchings by Nothnagel. ROESSLER, C. | 401. A SWISS MOUNTAINEER. (Panel.) Head and shoulders portrait of a middle-aged man. Wears a green feathered hat, and partly faces the right with a half-smiling face. Signed C. Roessler. Height, 9 inches; width, 7 inches. 402. A SWISS MOUNTAINEER. (Panel.) A companion to the preceding. Only the man being of younger years, and is facing the left. Signed C. Roessler. Height, 9 inches; width, 7 inches. ROWBOTHAM, CLAUDE H. 403. ROTHERHITHE. Painter-etching printed in colors. Signed artist’s proof on Whatman paper. Limited to 200 im- pressions; plate destroyed. 404. ANOTHER PROOF of the same. Framed. RUOTH, Ey C- 405. CUPID BINDING AGLAIA. Stipple engraving after A. Kauffmann. Printed in brown. Framed. RUSHBURY, HENRY 406. COTSWOLD MILL. Painter-etching. Signed artist’s proof on thin Whatman paper. Framed. 407. ESSEX GATE, STRAND, LONDON. Painter-etching. Signed artist’s proof on Whatman paper. Framed. SCHILLING, ALEXANDER 408. DORTRECHT FROM PAPPENDRECHT. Painter-etch- ing. Signed artist’s proof on Japanese paper. Framed. a ee CO. SCHMIDT, GEORG FRIEDRICH 409. HEAD OF A BOY. After a drawing by Boucher. Jacoby 122. Engraved in crayon manner and printed in red. Rare. SCHMUTZER, FERD. 410. ST. AUGUSTUS BRIDGE, DRESDEN. Painter-etching. Signed artist’s proof on Dutch paper. FEEDING THE DUCKS. Painter-etching. Signed artist’s proof on Whatman paper. HANSEL UND GRETEL. Painter-etching. Proof on Jap- anese paper. (3.) 411. DUTCH FISHERMAN; DUTCH HOUSEWIFE. Painter- etching. Signed artist’s proofs on Dutch paper. Both framed. (2.) SCHOENGAUER, MARTIN 412. THE FLAGELLATION. B.12. Very good impression, but without margin. Slightly foxed. From the H. S. Theo- bald collection. SCHROTER, W. 413. RAUHMUNZACH, BLACK FOREST, and two other etch- ings by the same artist. (3.) SCHULTZE, C. G. 414. VENUS LIANT LES AILES DE L’?AMOUR. Line engrav- ing after Mme. Vigée-Lebrun. Portalis & Beraldi. Vol. Ill, pp. 581-33. SEDCOLE, HERBERT 415. MISS LINLEY. Mezzotint printed in colors. Signed proof on India paper. SHEPHEARD, G. | 416. RETURN FROM MARKET. Stipple after Hy. Bunbury printed in colors. Framed. SIMON, J. P. 417. L;AMITIE. After LeRoy. Stipple printed in colors. SIMON, T. F. : 418. MI-CAREME: PARIS. Painter-etching and aquatint printed in colors. Signed and stamped artist’s proof on Dutch paper. Framed. 419. PALAZZO DI DESDEMONA, VENICE. Painter-etching and aquatint printed in colors. Signed and stamped ar- tist’s proof on Dutch paper. Framed. 420. ST. MARTIN’S ARCH, AMSTERDAM. Painter-etching and aquatint printed in colors. Signed and stamped ar- tist’s proof on Dutch paper. Framed. SMITH, D. MURRAY 421. HAMMERSMITH. Painter-etching. Signed artist’s proof on heavy Japanese paper. SMITH, JOHN RAPHAEL 422. MISS HARRIET MONTAGUE. Mezzotint after his own painting. Smith 118. State not mentioned by Smith. The publisher’s line reads: “Pubd. 24 June 1777 by W. Humphrey No. 70 St. Martins Lane.” Very fine im- pression. 423. HENRY WOODWARD (Actor) in “Petruchio.” Mezzotint after B. Vander Gucht. Smith 1777. First state; scratched letter proof. Fine impression, with 10 mm. margin. | : i : : SMYTHE, RICHARD 424. LADY INCHIGUIN. After Sir Thos. Lawrence. Mezzo- tint printed in colors. Signed proof on India paper. Limited to 350 impressions. SPARKS, NATHANIEL 425. CLOCK TOWER, ST. PAUL’S. Painter-etching. Signed artist’s proof on thin Japanese paper. Limited to 75 impressions. 426. ANOTHER PROOF of the same. Framed. 427. MANSION HOUSE, LONDON. Painter-etching. Signed artist’s proof on thin Japanese paper. 428. NATIONAL GALLERY. Painter-etching. Signed artist’s proof on thin Japanese paper. Limited to 75 impressions. 429. ST. BOTOLPH’S, BISHOPSGATE. Painter-etching. Signed artist’s proof on thin Japanese paper. Framed. STODART, JACKSON 430. THE COUNTESS GOWER AND HER DAUGHTER. After Sir Thos. Lawrence. Mezzotint printed in colors. Signed proof on India paper. 431. IN THE MALL, ST. JAMES PARK. Stipple engraving printed in colors. Signed proof on Whatman paper. Framed. 432. PINKIE. After Sir Thomas Lawrence. Mezzotint printed in colors. Signed proof on India paper. 433. PORTRAIT OF A LADY. After Downman. Stipple printed in colors. Signed artist’s proof. Campanion to No. 434. Framed. 434, PORTRAIT OF A YOUNG GIRL. After Downman. Stip- ple printed in colors. Signed artist’s proof. Companion to No. 483. Framed. STONE, H. MULREADY 435. “THE RUINED ARCH,” PONT AVON. Painter-etching. Signed artist’s proof on Dutch paper. STRANG, JAN 436. PALAZZIA SEGOVIA. Painter-etching. Signed artist’s proof on thin Japanese paper. Limited to 50 impres- -esions. 437. ANOTHER PROOF of the same. STRANG, WILLIAM 438. TINKERS. Binyon 9. Painter-etching. Signed artist’s proof on old Dutch paper. 439. THE PRODIGAL SON. B. 10. Painter-etching. Signed artist’s proof on old Dutch paper. 440. ILLUSTRATIONS TO BUNYAN’S “PILGRIM’S PROG- RESS.” Fifteen painter-etchings. Title Page. Not men- tioned by Binyon.—Title Page. B. 80—Bunyan’s por- trait. B. 81.—The butcher and the sheep. B. .82.— Christian and the Damned. B. 83.—Vanity Fair. B. 84. —Mercy. B. 85.—Marriage of Matthew and Mercy. B. 86.—In the Dungeon. B. 87.—The Man with the Muck Rake. 3B. 88.—Christian at the Cross. B. 89.— Mercy at the Gate. B. 90.—The Slough of Despond. B. 91.—Christian’s Repentance. B. 92.—Christian Fight- ing Apollyon. B. 98. All signed artist’s proofs on old Dutch paper. A very fine and extremely rare set. (152) 441. DESPAIR. B. 128. Painter-etching. Signed artist’s proof on old Dutch paper. Limited to 45 impressions. Presen- tation proof to Mr. F. Goulding. 442, THE CAUSE OF THE POOR. B. 151. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 60 impressions. From the collection of F. Goulding. STRANG, WILLIAM. (Continued) 443. AN UPLAND FARM. B. 162. Painter-etching. Signed artist’s proof on Dutch paper. Limited to 85 impres- sions. 444, EVENING. B. 171. Original mezzotint. Signed artist’s proof on heavy etching paper, printed by F. Goulding. 445. ON THE ROAD. B. 284. Painter-etching. Signed artist’s proof on greenish Dutch paper. Limited to 45 proofs. 446. CASA DEL GRECO, TOLEDO. Painter-etching. Signed artist’s proof on Whatman paper. Limited to 60 proofs. 447, ANOTHER PROOF of the same. Framed. 448. PORTRAIT OF ROBERT LOUIS STEVENSON. Painter- etching. Signed artist’s proof on Whatman paper. SUYDERHOEF, JONAS 449. CONSTANTIN, L°EMPEREUR. Professor of Theology. Line engraving after Baudrigeen. Du. 24. First state, etore the words ““Lhysvs .-. .” directly under “lac. Lanoyck Excudebat.” 450. ADRIAN HEEREBOORD. Philosopher. Line engraving after P. Dubordieu. Du. 32. Second state with margin. 451. RUDOLPH HEGGER. Protestant preacher. Line engrav- ing after J. de Vos. Du. 33. Third state, with Allard’s name instead of C. Banheyningh. Small margin. THEVENIN, J. CH. 452. ALFONSO D’AVALOS, MARQUIS DEL GUASTO (GEN- ERAL OF CHARLES V.) AND HIS MISTRESS. Line engraving after Titian. Apell 5. First state; proof be- fore all letters on India paper. 'TIEPOLO, GIOVANNI BATTISTA 458. YOUNG MAN SEATED, LEANING ON AN URN. DeV. 3. Very delicate impression. TISSOT, J. J. 454. HIS FIRST PAIR OF BREECHES. Painter-etching. Signed artist’s proof on old Dutch paper. TOWNLEY, CHARLES 455. MRS. JENNY DEERING. Mezzotint after Sir Peter Lely. Smith 6. TRAVER, MARION GRAY 456. WOODLAND LAKE; ROCKS ON TOP OF A HILL. Mono- types in colors. Signed by the artist. (2.) 457. A SWAMP; EDGE OF A POND. Monotypes in colors. Signed by the artist. (2.) 458. PATH THROUGH THE WOODS; POPLARS. Monotypes in colors. Signed by the artist. Both framed. (2.) UNKNOWN ENGRAVER 459. BIRTH OF THE PEARLE. Line engraving printed in col- ors. VAN DE PASSE, CRISPIN 460. VIRGIN AND CHILD. After Rottenhamer. Franken 109. From the collection of Prince Waldeburg Wolfegg. VAN DYCK, ANTONIE 461. JODOCUS MOMPER (LANDSCAPE PAINTER). Painter- etching. Du. 7. Fifth state. The plate has been cleaned and the “G. H.” burnished out. Large margin. VAN LEYDEN, LUCAS 462. THE CONVERSION OF SAULUS. Du. 107. Anonymous copy. VAN OSTADE, ADRIAAN ae: A MOTHER WITH TWO CHILDREN. B. 14. Third state. Very fine impression with a margin ranging from 25 to 835 mm. From the H. Weber and Alferoff collec- tions. 464. A MAN AND A WOMAN WALKING WHILE CONVERS- ING. B. 24. First state. Very fine impression of this rare state. From the Prinz Soutzo and P. Gelatly col- lections. 465. THE SMOKER AT A WINDOW. B. 10. THE SCHOOLMASTER. B. 17. THE DANCE AT THE INN. B. 49. (3.) VAN OSTADE, SCHOOL OF 466. THE JOVIAL PARTY. A number of heavy-featured peas- ants seated about a table are refreshing themselves before a village inn. On the left in the distance looking down the road are a number of peasants in couples, evidently coming to the party. In the shadowed foreground a man is stretched out on the grass sleeping. VISSCHER, CORNELIS 467. JOHANN WOLFGANG VON BREDERODE. Line engray- ing evidently after Honthorst. Du. 90. Fine impression, with margin. 468. ROBERT JUNIUS. Protestant preacher in India, For- mosa and Amsterdam. Line engraving from life. Du. 99. Eighth state, with the address I. Robyn. From the collection of H. Fiissh & Co. VISSCHER, CORNELIS. (Continued) 469. ANOTHER PORTRAIT OF THE SAME. After Palamedes. Du. 100. Second state; with the address of P. Goos. Fine impression, with 10-24 mm. margin. From W. Drugulin’s collection. 470. PETER SCHREYVER. Line engraving after P. Soutman. Du. 116. Third state; before the scratch across the beard. Fine impression, with small margin. VORSTERMAN, LUCAS 471. TRIC-TRAC PLAYERS. After A. de Coster. Andresen 26. First state, with the artists’ names only. WALKER, WILLIAM 472. MIDDLEBURG. Painter-etching. Signed proof on What- man paper. Limited to 60 impressions. 473. ST. BARTHOLOMEW. Painter-etching. Signed artist’s proof on Whatman paper. Framed. 474. ST. PAUL’S, LONDON. Painter-etching. Signed artist’s proof on Whatman paper. Framed. WALTNER, CHARLES 475. MASTER LAMBDEN. Etching after Sir Thos. Lawrence. First state; Remarque proof on vellum. Signed by the etcher. Framed. 476. A RABBI. Etching after Rembrandt. Signed proof on vel- lum. ,. ATSON, JAMES 477. MISS JULIA BOSVILLE. Mezzotint after Joshua Reynolds. Smith 11. Second state; scratched letter proof. Very fine impression in splendid condition. 478. JAMES PAINE, ARCHITECT, AND JAMES PAINE, JR. Mezzotint after Josh. Reynolds. Smith 111. Second state. 479. THE DISHABILLE. Mezzotint after Metsu. Framed. Very fine. WATSON, THOMAS 480. FRIAR PHILLIP’S GEESE. Stipple after Hy. Bunbury printed in colors. Proof before the title and the verses. Circular. Framed. WEBSTER, HERMAN 481. GOLDENE SONNE, STRASSBURG. Painter-etching. Signed proof on Whatman paper. 482. ANOTHER PROOF of the same. 483. ANOTHER PROOF of the same. Framed. 484. SPITALPLATZ, STRASSBURG. Painter-etching. Signed proof on Whatman paper. 485. ANOTHER PROOF of the same. 486. ANOTHER PROOF of the same. Framed. 487. WEISSADLERGASSE, FRANKFURT a|M. Painter-etch- ing. Signed proof on thin Dutch paper. 488. ANOTHER PROOF of the same. 489. ANOTHER PROOF of the same. Framed. WHEATLEY, FRANCIS, R.A, ATTRIBUTED TO 490. THE EDUCATION OF CUPID. Largely sepia watercolor, touched up with blue, green and rose. Circular. Diam- eter, 814, inches. WHISTLER, JAMES McNEILL 491. BIBI VALENTIN. K. 50, M. 50, Gr. 30, W. 28, T. 26, Painter-etching. Proof on thin Dutch paper. Framed. 492. BIBI LALOUETTE. K. 51, M. 51, Gr. 32, W. 30, T. 30. Painter-etching. Proof from the destroyed plate. WOLF, HENRY (American wood engraver). 493. THE NEW ENGLAND PEDDLER. After Eastman John- son. Artist’s proof on onion-skin paper. Signed by both artists. Framed. 494. PORTRAIT OF THOS. JEFFERSON. Signed artist’s proof on onion-skin paper. YOUNG, JNO. 495. STABLE SCENE. Mezzotint after G. Morland. Proof with the artists’ names and the publication line in scratched letters. Framed. ZORN, ANDERS 496. PORTRAIT OF PRESIDENT CLEVELAND. Delteil 142. Third state. Signed artist’s proof on Van Gelder paper. Framed. he 49%. VETTE. Painter-etching. Delteil 210. Signed artist’s proof xt on Whatman paper. Framed. 498. DAGMAR. 1912. Painter-etching. Signed artist’s proof on Whatman paper. Framed. | ——— ee ee ae es ZORN, ANDERS. (Continued) 499. THREE SISTERS. Painter-etching. Signed proof on Van Gelder paper. 500. MODEL SEATED. Painter-etching. Signed artist’s proof on a thin Holland paper. Framed. 501. COMPOSITION FRAME with oval opening. Size, 28 by 24 inches. 502. PRINT CASES COVERED WITH BLACK LINEN. 3: 14 by 19 by 8 inches. 1: 15 by 19 by 21% inches. 2: 19 by 24 by 21% inches. (6.) AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY Auctioneer. FOR INHERITANCE TAX AND OTHER PURPOSES "THE AMERICAN ART ASSOCIATION . IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF ART AND LITERARY PROPERTY JEWELS AND PERSONAL EFFECTS OF EVERY DESCRIPTION ' IN CASES WHERE PUBLIC SALES ARE. EFFECTED PeeeowrNAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY ~ COMPOSITION, PRESSWO AND BINDING BY ns) a 7) t if eat ‘ 5 gue ei Uf, i 7 j ti; A “ - = » 2 ; Z f r } y b og wy bs , if . p ’ * } \ a * / ! See Ra | . re OS NSTITUTE 1 TL TL <4 PAS Tae es as ASS BI ADDER EES : . a1 z pSnd sn ceeneee rs rae see aa etre papeses r c ieee a Seas wats ‘ chs id ais Lie) fyb adds: |i hag i a sh Tela * é Roni .} ae att} Schae Sh ae an wean oe See oer Te Se 34 aaa ae be om ae te i Teseasariatsaetenty i ith . tak nt bet ! ‘ $58 Bt H HH uy nt sitet Pers vo oem. E-cckelotes ree tae PaE H Att me 3 eae ate Bt tr i a i ith wit f tae . = — - —— >