Se ae a = ~: Sees ey = : = Se Sap ee prepa ntecrebeatnfas cosa tate rr = = Teese Pe pier! Fp ayer LT i - i fi S nes! See oh sed y eT in art, a ee OAL no _ sper we, ia ee ASO, aA Re, io ‘ we THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rp STREET BEGINNING THURSDAY, MARCH 18tu, 1920 AND CONTINUING UNTIL THE TIME OF SALE THE ETCHINGS AND ENGRAVINGS OF WALTER THOMAS WALLACE TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF MR. WALLACE ON FRIDAY EVENING, MARCH 26, 1920 AT 8:30 O’CLOCK AT THE AMERICAN ART GALLERIES nc nay t PAUL RAJON Suzanna Rose [No. 82] ILLUSTRATED CATALOGUE ETCHINGS AND ENGRAVINGS OF WALTER THOMAS WALLACE | OF SOUTH ORANGE, NEW JERSEY TO BE SOLD WITHOUT RESERVE OR RESTRICTION BY ORDER OF MR. WALLACE ON FRIDAY EVENING, MARCH 26, 1920 AT 8:30 O’CLOCK THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF -'\ ~ THE AMERICAN ART ASSOCIATION, Manacers NEW YORE CITY 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. 3. Payment shall be made of all or such part of the purchase money as may be required, and the names and addresses of the purchasers shall be given immediately on the sale of every lot, in default of which the lot so purchased shall be immediately put up again and re-sold. Payment of that part of the purchase money not made at the time of sale, shall be made within ten days thereafter, in default of which the undersigned may either 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 made on sales days between the hours of 9 A. M. and 1 P. M., and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. Delivery of any purchase will be made only at the American Art Galleries, or other place of sale, us 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 Assc- 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. 7. 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. ene eae AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK UNRESTRICTED PUBLIC SALE OF NOTABLE ETCHINGS BY ORDER OF MR. WALTER THOMAS WALLACE FRIDAY EVENING, MARCH 26th, AT 8:30 O’CLOCK EDWARD AUSTIN ABBEY American artist. Born, Philadelphia, 1852. ABBEY, EDWARD AUSTIN 1. BanisHep rrom Massacuuserts. Original Pen and Wash Drawing. Very fine drawing carefully finished, full of action and expression, in a setting of a bleak winter’s evening. Signed on the stern of the rowboat,—H. A. Abbey. Height, 20; length, 2614 inches. From the Dutcher collection. The subject of the drawing is the banishment of the Quakers from Massachusetts, in 1660. Whittier wrote a poem on the subject of the drawing in 184. ABBEY, EDWARD AUSTIN 2. Tur Constant Maps or Ocktry. Original Wash Drawing. Well rendered drawing, carefully finished, and heightened in white. Signed in the lower right,—H. A. Abbey. Height, 1414; width, 1114 inches. From the Dutcher collection. ABBEY, EDWARD AUSTIN 3. Tue Evit Eve. Original Wash Drawing. Strong careful drawing, full of action, and expression, on warm toned paper which is used as a body color. Signed,—Hdward A. Abbey. 1877. Height, 21; length, 38 inches. From the Dutcher collection. Sale Friday Evening, March 26th FELIX BUHOT Born at Valognes, 1847; died in Paris, 1898. ‘The technie of Buhot is assuredly far from being simple. But he is free. He is not the slave of rules and formulas; he has not the least respect for arbitrary laws; he blends and mixes all the different means used for obtaining effects in black and white—whether by cutting into or corroding the plate. He is not the slave of any one implement.—L&ONCE BENEDITE. BUHOT, FELIX 4. JAPONISME. Etching. Bourcard, Nos. 11 to 20. A series of ten etchings, including title-page, Copy No. 48, bearing artist’s autograph presentation inscription,—A Monsieur Edouard Hédowin. Hommage de son bien dévoué Felix Buhot. Other subjects in the collection of Monsieur Ph. Burty include,—-Gro- tesque Masque, Pharmacie, Génie Bronze, Boite a thé Porcelaine, Vase Etair Laqué, Bronze Warrior, Bronze Encrier, Butterflies, Japanese Junk, etc. ALL Proors, with wide margins. In port- folio. 7 BUHOT, FELIX 5. GirL ON A Donkey. Dry-point and Aquatint. Boureard, No. 62. Karly Proof, with pencil inscription in lower margin,—Lot 62 Ca- coletiere sur wne ane—Eglise au fond—. FINE IMPRESSION. Wide margins. Height, 33¢; length, 35% inches. BUHOT, FELIX 6. Les NoctamBuLes. THE Cas. Etching. Bourcard, No. 69. Karly Proof, BEAUTIFUL IMPRESSION. Full margins. With Buhot’s red stamp. Height, 614; width, 33 inches. BUHOT, FELIX 7. Les Fracres. THe Cas Sranp. Etching. Bourcard, No. 128. Karly Proof, on Japan paper, before the cutting down of the plate, with the remarques in the bottom margin. With Buhot’s red stamp. Height, 914; length, 125¢ inches. One of the choicest of this plate which varies so much in the impres- sions, and loses so much in the last impressions, [ Continued Sale Friday Evening, March 26th [| No. 7-—Continued | “Une Matinée d’Hiver au Quai de l’HOtel-Dieu, ou Les Fiacres. This is an example of what effects can be obtained from papers well chosen. The best proofs I have seen of this plate, which is so sought after, were printed on papers like Japans and Hollands, having a light grayish tone and giving the effect of sad and rainy weather.’”—HeENr1 BERALDI. BUHOT, FELIX 8. Pour L’ItLusrration Novvetie. Etching and Drypoint. Bourcard, No. 124. Karly proof. FINE RICH IMPRESSION, with full margins. Signed in the plate——Fx. Buhot. Height, 1314; width, 1034 inches. The Burial of the Burin. “In this lively allegory, the artist intimating that line-engraving is dead, represents the dead body of the burin borne away in a hearse and its soul carried up to heaven, while modern etching comes thundering on in the form of an express train.”—FREDERICK KEPPEL. BUHOT, FELIX 9. PuAcE Brépa. L’Hiver A Parts. Etching. Bourcard, No. 128. Very early proof on Japan paper, with five dogs in the foreground, afterwards changed to two dogs, and before the additional aqua- tint work on the sketches in the left margin. Attached to the foot of the print is an extra symphonic border, not infrequently done by Buhot, who of all etchers, was the greatest manipulator of his etchings. Height, 914; length, 1314 inches. There is about 34 inch added and overlaid at the bottom of the print, evidently added by the artist. A splendid example of one of Buhot’s etchings, among which there is a great disparity. BUHOT, FELIX 10. La Pracz Pieatte. Etching. Boureard, No. 129. Fine early proof, with the inserts in the upper right hand corner of the plate, and with Buhot’s red stamp on the margin. Rare. Height, 9144; length, 1334 inches. BUHOT, FELIX 11. DEBARQUEMENT EN ANGLETERRE. Etching. Boureard, No. 1380. Early Proof, fine impression signed in the plate,-—Débarquement en Eingleterre, Feliz Buhot, 189%, and with the Artist’s red stamp on the lower margin. Height, 1134; width, 7 inches. so | ‘or Sale Friday Evening, March 26th BUHOT, FELIX 12. Une Jeté&e EN ANGLETERRE. THE JETTY. Etching. Boureard, No. 152. Very Early Proof. With the first marginal sketches at the left, which were afterwards changed to sea gulls. With Buhot’s red stamp on the margin. Height, 11; width, 834 inches. This plate is not to be confused with “Débarquement en Angleterre,” a night scene of the same jetty, and on close inspection seen to be entirely redrawn. BUHOT, FELIX 13. La TRAVERSEE. CROSSING THE CHANNEL. Etching. Boureard, No. 1438. Fine impression on Van Gelder paper, with symphonic border. Heights 1214; width, 914 inches. BUHOT, FELIX 14. L’?OracE. Hindley Heath, after Constable. Drypoint Etching. Bourcard, No. 145. Signed Artist’s Proof, with pencil note, at office, in the margin, with symphonic border on the left. Rarz. larly and fine impression. Height, 6; length, 9 inches. BUHOT, FELIX 15. Country NeicHpors. Etching. Bourcard, No. 148. Karly Proof of exceptional quality, with the symphonic border sketched in. With Buhot’s red stamp. Rare. Height, 514; length, 614 inches. “T once asked Mr. Buhot who, in his opinion, was the greatest French etcher. His answer was ‘Bracquemond’.” “Later when I went to England, I repeated this to Sir Seymour Haden, who rejoined ‘And I say it is Felix Buhot himself. There is a little plate of his representing two old people trudging home in the rain, that in my opinion is painter-etching of the very best sort’.”—FREDERICK KEPPEL. BUHOT, FELIX 16. Un Virux Cuantier A RocHEstrer. Etching. Bourcard, No. 147. Signed Artist’s Proof, on special straw colored Japanese paper, with marginal notes in Buhot’s autograph. With the artist’s red stamp. EXTREMELY RARE. Height, 484; length, 1114 inches. One of Buhot’s inimitable night scenes. aS, oa ee Sale Friday Evening, March 26th BUHOT, FELIX 17. Les Petrres CHaumieres. Etching. Boureard, No. 149. Proof. Brilliant Impression, on old French paper. With Buhot’s red stamp in the margin. Height, 4; length, 53@ inches. “His little town of Valognes and his beloved Normandy inspired him with his touching subjects, some of which are veritable treasures for a collection, as, for example, the Grandes and Petites Chaumiéres, Les Oies, and above all, the Country Neighbors.”—LEoNCE BENEDITE. BUHOT, FELIX 18. Les GraNpDES CHAUMIERES. Etching. Bourcard, No. 150. Early Proof, with Buhot’s red stamp on the margin. MAGNIFICENT IMPRESSION. : Height, 514; length, 1034 inches. BUHOT, FELIX 19. Les Berceries. Sorter Covcuant. Etching. Bourcard, No. 151. Signed Artist’s Proof, printed on ‘papier essencé.’ Signed in pencil in lower margin,—Feliz Buhot. With the artist’s red stamp. Height, 534; length, 1034 inches. BUHOT, FELIX 20. CHAPELLE St. Micuen A L’Estre. Etching. Bourcard, No. 152. Signed Artist’s Proof, vaRY RICIZ IMPRESSION with pencil note in his autograph. Artist’s red stamp on the margin. Height, 514; length, 10%4 inches. BUHOT, FELIX 21. La Perrre Marine. Sovuventr DE Mepway. Etching and Drypoint. Boureard, No. 153. Early Proof. Signed in the plate—Rochester 1879 F.B. BRILLIANT IMPRESSION. With large margins. Height, 614; length, 814 inches. Sale Friday Evening, March 26th. ; BUHOT, FELIX 22. WESTMINSTER Patace. Etching. Boureard, No. 155. First state proof, early variation, before the plate was cut down, and reduced at the bottom thus eliminating the feet of the man; and before the title “Westminster Palace” and the address appeared in the symphonic border, and afterwards removed leaving traces of removal. With Buhot’s red stamp, printed and approved by the artist, and with interesting pencil notes in Buhot’s writing in four places, top and bottom of margin. Height, 11144; length, 1554 inches. “A well known specialty of Buhot’s is his symphonic margins, an out- growth of the ‘remarque,’ which is only a simple note of some sort, an insignificant little sketch which the etcher scribbles in the margin of his work, whether almost involuntarily to try his etching needle, or else on purpose to distinguish the various states from one another. Buhot has made a veritable frame of his principal subject; for him it was a way to escape from the main subject, thus to make notes in passing-light sketches like a dream, all the reveries, all the fancies, all the recollections which cropped up in his mind in the course of his quiet meditations during the long hours of work. Sometimes these marginal sketches became small pictures, comical or doleful, which add a personal interest to the moral atmosphere of the main etching; sea-gulls crossing the sea; fallen cabs; feet struggling in the mud. Here on the edge of his ‘Westminster Bridge’ a distant and striking view of St. Paul’s in the fog; also, steamers, lighters, tunnels, trains dashing through the night, and a whole crowd that overflows the margin of the picture; there, around ‘Westminster Palace’ escutcheons, maces and mace-bearers, magistrates’ wigs, courtiers leading grand ladies, followed by a page, in the midst of Tritons, and Naiads of the stream, distant castles, carriages out of fairy stories, and up at the top, in obscurity, a Queen in mourning kneeling under the sinister eyes of an owl. BUHOT, FELIX 23. WESTMINSTER BripcE. Ciock Tower. Etching. Boureard, No. 156. Signed Proof. Beautiful and rich impression. With Buhot’s red stamp on the margin, and penciled autograph inscriptions,— “Hpreuve du Ge état avec toutes les barbes. Felix Buhot;’ and in the lower left corner,—‘‘I/ existe sept épreuves de cet état.” Height, 1114; length, 1534 inches. From the Robert Hoe Sale, Feb. 1911. “In the ‘Westminster Clock Tower,’ we see the foggy sky, smoky and sutty, in that strange London atmosphere of mystery and enchantment. Between the sombre buildings of St. Thomas Hospital on the one side and some scaffolding on the other, we see the distant Clock Tower, and leading to it the crowded roadway, full of coaches and cabs, busy pedes- [Continued eS Pees eee oe % Pa ad a> ; ea oo a ee pecopianer ve FELIX BUHOT tminster Bridge. Clock Tower We [No. 23] Sale Friday Evening, March 26th | No. 23—Continued | trians and elegant ladies, all jumbled and crowded on the wet pavement.” | —LEONCE BENEDITE. . “As one lingers in appreciation over the work of the ‘mad etcher’ en- dowed with the divine spark of genius, it is as though the sensibilities had been touched in a manner other than through the sense of sight alone. One almost feels the damp and chill of the weather; one smells the scent of the atmosphere and one hears the sounds of the busy streets. Though perhaps, Westminster Palace and Westminster Bridge are the artist’s greatest compositions, the Cab Stand in its best impressions, leaves an impression and stirs the imagination and recollections as no other product of the etcher’s needle can do.” [See Illustration | BUHOT, FELIX 24. SOUVENIR DE TAMISE, ENVIRONS DE GRAVESANDE. LHtching. Bourcard, No. 157. Artist’s Signed Proof on Japan paper, and signed by Buhot,—*3’e Etat avant Veffacage du personage. Felix Buhot. Third State before the elimination of the person. VERY RARE. Height, 1014; length, 135 inches. BUHOT, FELIX 25. Le Hrsov. THe Own. Etching. Bourcard, No. 161. Proof touched in sepia. Height, 173g; width, 1234 inches. A fine proof of one of the artist’s large fantastic pieces. “The technic of Buhot is assuredly far from being simple. But he is free. He is not the slave of rules and formulas; he has not the least respect for arbitrary laws; he blends and mixes all the different means used for obtaining effects in black and white, whether by cutting into or corroding the plate. He is not the slave of any one implement, for Buhot would not understand the traditional distinction made between a line engraver or a worker in dry-point, nor of all those good people who separate and group themselves according to the end at which they break the egg they are going to eat!” BUHOT, FELIX 26. La PLack pes Martyrs ET LA TAVERNE DU BaGne. Etching. Bourcard, No. 1638. Proof on thin Japan paper. Signed in the plate,—Fehx Buhot 1885, and etched verse on lower border of plate. Third State. VERY SCARCE. Height, 1314; length, 1714 inches. [Continued oe [93 ‘ON] auseg Np sUAIDART, BI JO SIAPIVIT SOP ddVIq BT DLOHNA XTTHA ih dhe wee KES ® COMERELAGRVEREE NT TED Oe PEAR PMDER DEE LENS Sale Friday Evening, March 26th | No. 26—Continued | “This etching recalls one of the curiosities of Paris in 1885. It is eve- ning; the strange festival has attracted a large crowd of people on the square. In the rear is lighted the out-house in which citizen Lisbonne had installed this curious tavern. By the door to the right the gendarmes are calmly arranging the people in lines to prevent disorder in entrance. At the door to the left one sees the departure of the customers who had gone in to drink (and to pay) and whom the ingenious impressario called the ‘liberated ones.’ “This print unfortunately cannot show us the interior of the tavern with its wall decorated with pictures of convicts (most of whom had at that time become ‘Deputies’) ; it cannot show us the crowds being served by the galley-lads in red coats and green caps with chains on their feet and a ball and chain around their wrist; nor the imitation convict guards with sabres under their arms. It cannot reproduce the sound of the prison gongs and whistles, nor give us an idea of the cavernous voice with which these pseudo-convicts repeated your order for a glass of bock as ‘A cannonball! One!’ ”’—Hernri BERALDI. [See Illustration ] BUHOT, FELIX 27. Bare pE Saint Mato—ULa Fauatsse. Etching. Bourcard, No. 165. Brilliant proof, without the symphonic borders, and with the artist’s red stamp in lower margin. Height, 9; length, 1184 inches. “Though without the border, the etching is heightened thereby.” BUHOT, FELIX 28. Bare DE SAarint-Maxo, La Fauaise. Etching. Bourcard, No. 165. Brilliant proof on Japan paper, with the wide symphonic borders printed in greenish ink, and with the artist’s red stamp on the margin. Height, 1154; length, 1534 inches. An exceptionally fine print. BUHOT, FELIX 29. CHATEAU DES Hipoux, or sometimes called Ex Lispris pzE Leon Lavy. Ktching. Bourcard, No. 168. Early Proof, printed in black and sepia. FINE IMPRESSION. Height, 414; length, 714 inches. “One of the smaller, but intricate and fascinating works of Buhot, full of allegory and interest.” AMERON Rose Window ss) C DAVID YOUNG St. Mark’s. Sale Friday Evening, March 26th DAVID YOUNG CAMERON Contemporary Painter-Etcher of high merit. Born at Glasgow in 1865. He is a Fellow of the Royal Society of Painter-Etchers, and probably the youngest member of that distinguished body. Sir Francis Seymour Haden, its president, writes of Mr. Cameron with an enthusiasm which is un- usual with him—hailing him as a hopeful successor to the masters of the previous generation, and cordially recognizing in his work that precious gift of personality without which all mere technical skill is vain. In examining Mr. Cameron’s etchings, it is not easy to designate his forte. Meryon etched picturesque buildings magnificently, but his portraits are simply bad. Whistler has triumphed in a wider field, but he seems to care nothing for the restful charm of rural landscape, where Seymour Haden is supreme. Mr. Cameron already shows himself equally at home when delineating pure landscape, views of buildings and shipping, inte- riors or portraits.”—FREDERICK KEPPEL. CAMERON, DAVID YOUNG 30. PertH Bripcre. Etching. Rinder, No. 28. Early proof. Signed in the plate,—Perth Bridge. D. Y. Cameron. Height, 67; length, 10% inches. CAMERON, DAVID YOUNG 31. Arran. Etching. Rinder, No. 43. A seascape with sail scudding before the wind. Early proof, FINE IMPRESSION. Signed in the plate—Arran, D. Y. Cameron. Height, 47; length, 9% inches. CAMERON, DAVID YOUNG 32. Sr. Marx’s NumBer Two. THE Rost Winpow. Etching. Rinder, No. 30%. Signed Artist’s Trial Proof on Japan Paper, before the shadows were deepened and extended. With the marginal inscription note,— Trial Proof, San Marco, Venice, and signed on lower margin,— D. Y. Cameron. Loosely hinged at top. Height, 12; width, 78g inches. From, the Dutcher collection. Sharing perhaps, with this same artist’s “Seven Sisters,” the “Rose Window” deservedly ranks among the greatest masterpieces of the world’s most famous etchers. Frederick Keppel said of Cameron,—‘the son of a Scottish clergyman, he is the most scrupulously honest of artists. He prints his own proofs, and if he announces an edition of thirty he prints only that number, then destroys the copper plate and then revises each proof and ruthlessly tears up every one which does not entirely satisfy him.” [See Illustration | Sale Friday Evening, March 26th NICOLAS TOUSSAINT CHARLET French Etcher. Born, 1792; died, 1845. CHARLET, NICOLAS TOUSSAINT 33. ORIGINAL SKETCHES. Etching. A plate with various sketches, indiscriminately scattered, of inter- esting characters, making a balanced and harmonious whole. Cut to plate-mark. Height, 834; length, 1114 inches. From the Peoli and Robert Hoe collections. JEAN-BAPTISTE CAMILLE COROT Born at Paris, 1796; died at Paris. French etcher, officer of the Legion of Honor. COROT, JEAN-BAPTISTE CAMILLE 34. Paysace D’ITatiz. Etching. Delteil, No. 7%. Proof before all letters, fine impression on Japan paper. Height, 614; length, 93 inches. From the Robert Hoe collection. This subject was drawn upon the plate by Corot in 1865-66 and was “bitten” in by Felix Bracquemond. , The few etchings (fourteen) of the great painter, one of which was over “bitten” and another spoiled before “biting,” belong to the later and best period of his art, and it was generally at the request of a friend or to render some service that he took up the plate and needle. “In this master’s work, as in Millet’s, we have the rapid, decisive expression of the central ideas of the picture. It becomes an illustration of Rousseau’s maxim, that unless a picture is made on the first five lines, it will never be made.”—W. J. STILLMAN. ALBRECHT DURER Born, Niirnberg in 1471; died there 1528. “Albrecht Diirer fills a large space in the history of art. So far as Germany is concerned, he is facile princeps, unrivalled even in his own age by so great an artist as the younger Hans Holbein, and towering above all his successors, no one of whom can raise a head high enough to look him in the face... . Although it would seem that it was Diirer’s ambition to excel as a painter, it is as an engraver that he has won his fame, and taken so sympathetic a grasp of the human heart.”—LIoNEL CUST. DURER, ALBRECHT 35. CHRIST IN THE GARDEN OF OLives. Etching. Bartsch, No. 9. [Continued Sale Friday Evening, March 26th [No. 35—Continued | Very Fine Impression with tone, before the rust marks. Paper with water-mark of the “Two Towers.” Very narrow margin all around. Height, 834; width, 6% inches. From the A. Firmin-Didot, the Peoli, and Robert Hoe collections. DURER, ALBRECHT 36. THE VIRGIN Sirring BY A WaLL, 1514. Engraving. Bartsch; No. 40, Clear impression. Cut just outside plate-line. Height, 584; width, 3% inches. From the Townsend collection. DURER, ALBRECHT 37. SAINT CHRISTOPHER. Hngraving. Bartsch, No. 51. Good Impression, in good condition. Cut close to etching at left, very narrow margin top right and bottom. Height, 454; width, 27% inches. From the Robert Hoe collection. DURER, ALBRECHT 38. THE Rape or AMYMONE. Engraving. Bartsch, No. 71. Beautiful and clearly printed impression, in fine condition. RARE QuALity. Very narrow margins all around. Height, 913/16; width, 736 inches. From the Robert Hoe collection. DURER, ALBRECHT 39. THE Great Horse.. Engraving. Bartsch, No. 97. A clearly printed impression, of rare quality and brillianey, cut to plate-mark. (0 ‘ Height, 644; width, 45% inches. From the A. Firmin-Didot, the Peoli, and Robert Hoe collections. [See Illustration | ALBRECHT DURER The Great Horse [No. 39] Sale Friday Evening, March 26th LEOPOLD JOSEPH FLAMENG Born at Brussels of French parents, 1831. Pupil of Calmatta and Gigoux; Chevalier of the Legion of Honor. FLAMENG, LEOPOLD JOSEPH 40. Gro“rer IN THE Houses or Aupus. Etching. Signed Artist’s Proof, after the painting by Frangois Flameng, owned by the Grolier Club of New York. Remarque Proof, signed by both Painter and Etcher. The remarque is a facsimile of the seal of the Grolier Club. Height, 1414; length, 1534 inches. From the Robert Hoe collection. FLAMENG, LEOPOLD JOSEPH 41, Hassan Ev Namuora. Etching by Flameng after the painting by Regnault. Artist’s. Proof, before all letters, on India paper. Height, 914; length, 1114 inches. From the Robert Hoe collection. FLAMENG, LEOPOLD JOSEPH 42. ViLLON AU CABARET DU PoMME DE Pin. Etching. Proof on India paper. FINE IMPRESSION. Height, 8; length, 1014 inches. From the Robert Hoe collection. FLAMENG, LEOPOLD JOSEPH 43. Ten Proof Etchings, all fine impressions; one by Lalauze, and a Por- trait of Moliére. Together, 12 pieces. SIR FRANCIS SEYMOUR HADEN Born in London, 1818; died, 1910. Founder and President of the Royal Society of Painter-Etchers. “An artist of rare endowment and consum- mate skill. He is a master of foliage, he has drawn trees magnificently, both as to wood and leaves; there is no better stem of branch drawing than his in all contemporary art.’”—P. G. HAMERTON. HADEN, SIR FRANCES SEYMOUR 44, Myrron Hatz. Etching. Harrington, No. 14. | TrraL Proor “A.” Signed in lower margin in pencil,—Seymour Haden and with presentation inscription,—Mytton Hall, Lanca- [Continued [1 ON] Sa, 94} UO NHGVH WOAOWAAS SIONVAA AI Hrensige a Sale Friday Evening, March 26th 1 No. 44—Continued | shire. Seymour Haden & Mons. Fantin, before the name and date on the plate. Superb impression on Dutch paper. Height, 46/8; length, 1034 inches. From the Dutcher collection. Mytton Hall is an old Henry the Seventh house which Haden was in the habit of staying at for the purpose of salmon fishing in the river Ribble (the Lancashire River) which runs past it. Far more important than that Mytton Hall is perhaps one of the rarest of all Seymour Haden’s etchings, is the fact that by some it is considered one of the finest, most satisfactory, and all-gratifying etchings that the old man ever did. HADEN, SIR FRANCES SEYMOUR 45. EaHam. Etching. Harrington, No. 16. THirD StaTE. Signed in lower margin in pencil,—Seymour Haden. Ricw Impression. There are eight birds in the sky. Height, 5; length, 77% inches. From the Greaves collection. HADEN, SIR FRANCES SEYMOUR 46. FutHam. Etching. Harrington, No. 19. Trial Proof “B.” Very beautiful impression on thick Dutch paper. Etched in the plate,—Fulham on the Thames, near the middle of the lower part. Four poplars have been added in outline. About 1/16 margin all around. Height, 47%; length, 11 inches. From the Dutcher collection. HADEN, SIR FRANCES SEYMOUR 47. On THE TxEst. Etching. Harrington, No. 20. First STATE, on Japan paper. Signed in the plate,—Seymour Haden, and in lower margin in pencil,—Seymour Haden. Rich impression, with burr. Height, 57g; length, 8% inches. From the Robert Hoe collection. [See Illustration | [6F ‘ON] puod THN 210G§ NGHGVH YOOWAAS SIONVUA UIS Sale Friday Evening, March 26th HADEN, SIR FRANCES SEYMOUR 48. KipwreLtty Town. Etching. Harrington, No. 24. First Stars, on Vergé paper. Signed in the plate—F’. S. Haden 1859. The plate is cleaned. No birds in the sky. CLEAR AND BEAUTIFUL IMPRESSION. Loosely hinged at top. ; Height, 6; length, 9 inches. From the Robert Hoe collection. HADEN, SIR FRANCES SEYMOUR 49. Suere Mitt Ponp. Etching. Larger plate. Harrington, No. 38. First Starr. Signed in the plate-—Seymour Haden 1860, and in lower margin in pencil,—Seymour Haden. FINE IMPRESSION, on Japanese paper. Height, 7; length, 131 inches. From the Greaves collection. “With the single exception of one plate by Claude, this is the finest etching of a landscape subject that has ever been executed in the world.”— P. G. Hamerton, in “Etchings and Engravings.” [See Illustration | HADEN, SIR FRANCES SEYMOUR 50. BarrerseA ReacH. Etching. Harrington, No. 52. First State. Signed in upper right,—Old Chelsea Seymour Haden 1863. Out of Whistler's window. Before the sky and water were cleaned. BEAUTIFUL IMPRESSION. Height, 6; length, 8% inches. From the Robert Hoe collection. HADEN, SIR FRANCIS SEYMOUR 51. Tuomas Hapen or Dersy. Etching. Harrington, No. 58. First Stars, on Verger paper. Signed in the plate—Seymour Haden 1878, and in lower margin in pencil,—Seymour Haden. FINE Impression. Height, 137; width, 914 inches. From the Dillworth collection. “Thomas Haden of Derby, my grandfather, was under a_ polished exterior, one of the most determined men I have ever known, and one of the bravest. He would have made a hero of romance if he had had the chance. At the age of eighty-five he defended his home against the whole mob of Derby, keeping them at bay all night.”—SEyYMOUR HADEN. eer 2 Sale Friday Evening, March 26th HADEN, SIR FRANCES SEYMOUR 52. Tue FisuermMan. LHtching. Harrington, No. 69.: TriaAL Proor “A,” before the lower part of the man, and the fore- ground to the right were etched in. Signed in lower margin in pencil—_ Seymour Haden. Fine Impression. Height, 514; length, 83¢ inches. From the Dillworth collection. HADEN, SIR FRANCES SEYMOUR 53. Penton Hoox. LEtching. Harrington, No. 70. TRIAL Proor “B.” Signed in lower margin in pencil,—Seymour Haden. Fine Impression. The tree is more worked upon, and with its reflection, is in greater contrast with the light back- ground than in Trial Proof “A.” In proof “C,” the tree trunk has been entirely removed. In “D,” the tree trunk is entirely re- etched, and the First State has various dry-point additions. Height, 6; length 914 inches. From the Dillworth collection. HADEN, SIR FRANCIS SEYMOUR 54. Tur Lovers’ Watx. Etching. Harrington, No. 72. TriaL Proor “A.” With much burr on the trees to the left. Signed in plate,—Seymour Haden 1864, and in lower margin in pencil,— Seymour Haden. FINE IMPRESSION. Height, 6; length, 94% inches. From the Dillworth collection. HADEN, SIR FRANCES SEYMOUR 55. Grirr. A Porrrart or Mr. Cuarztes Coxze. Etching. Harrington, No. 89. Trial Proof “A” without the drypoint work, with etched inscrip- tion,—Kew June 5, 1864, and signed in lower margin in pencil,— Seymour Haden. Height, 914; width, 6 inches. From the Dillworth collection. Sale Friday Evening, March 26th HADEN, SIR FRANCES SEYMOUR 56. Horstey’s Roor. Etching. Harrington, No. 100. Published State. Trial Proof “A,” before the plate was re-bitten, and before the shading on the wall under the windows at the right and the bird on the ridge of the roof to the right. Signed in lower margin,—Seymour Haden. Height, 514; length, 8%@ inches. From the Townsend collection. HADEN, SIR FRANCES SEYMOUR 57%. OLtp WituEstEY Hovss. Etching. Harrington, No. 102. Frrst State. Signed in plate-—S. Haden 1865, and in lower mar- gin,—Seymour Haden. The foul biting in the sky almost removed. Height, 6%; length, 10 inches. From the Townsend collection. HADEN, SIR FRANCIS SEYMOUR 58. THE TurkisH BATH, WITH ONE FIGURE. Etching. Harrington, No. 134. TrraL Proor “D,” rich in burr, so that the background on both sides of the figure is almost equally black. Signed in plate,— S. Haden and in lower margin,—Seymour Haden. Height, 624; width, 3% inches. From the Dillworth collection. HADEN, SIR FRANCES SEYMOUR 59. Battersea Briper. The reduced plate. Etching. Harrington, No. 135. Proor. Signed in pencil,—Seymour Haden. Height, 314; length, 74 inches. From the Greaves collection. HADEN, SIR FRANCES SEYMOUR 60. THE BrEaAkING Up oF THE AGAMEMNON. Etching. Harrington, No. 145. TrraL Proor “C.” Signed in the plate-—Seymour Haden 1870 and in the lower margin,—Seymour Haden. An extra bulk of timber has been added in the right foreground, 1.e., the stone but- [Continued Sale Friday Evening, March 26th | No. 60—Continued | tress has another row of timber on the inner side. It is removed in proof “D,” and thereafter. Height, 75¢; length, 1614 inches. From the Harrington collection. Perhaps, all things considered, this is the artist’s masterpiece. Col- lectors differ as to the relative merits of the various etchings by Seymour Haden, but all are agreed in ranking this as his masterpiece. “This fine plate was etched on the Thames, at Greenwich, in 1870. Sir Seymour devoted the money obtained from the sale of the proofs to the aid of the London Hospital for Incurables.”—FrEpERICK KEPPEL. HADEN, SIR FRANCES SEYMOUR 61. ScotcH Firs. INvERoraN. Etching. Harrington, No. 150. Tran Proor “A,” before the mountain-top, seen in the distance. On Holland paper. Signed in the plate——Seymour Haden 1873. FINE IMPRESSION. Height, 10; length, 15 inches. From the Dillworth collection. This plate was executed in strong outline to serve as a basis for mezzo- tint, somewhat in the manner of the Liber Studiorum plates. In the published state the mountain is removed. HADEN, SIR FRANCES SEYMOUR 62. A BackwATER. Etching. Harrington, No. 178. TrraL Proor “C.” Signed in plate-—Seymour Haden 189%. Be- fore the addition of the three ducks in the foreground, which appear in the first state and after. RicH LwpressIon. Height, 514; length, 8 inches. From the Dillworth collection. HADEN, SIR FRANCIS SEYMOUR 63. THE WitLows. Etching. Harrington, No. 181. TriaL Proor “A,” before the two small tree trunks in the upper left corner reach the upper plate-mark, and with much burr. Two lambs lying down are added to the foreground in the first state, after “B” and “C.” Signed in the plate,—Seymour Haden 1877, and in lower margin in pencil,—Seymour Haden. RicH IMPRESSION. Height, 57%; length, 8% inches. From the Dillworth collection. Sale Friday Evening, March 26th HADEN, SIR FRANCES SEYMOUR 64. Tue Amsren. Photo-Engraving, washed with sepia. Harrington, No. 201. Signed in pencil,—Seymour Haden, with the inscription,—Royal Institution Mar 29th 1879 within plate-line. Height, 414; length, 6 inches. From the Greaves collection. HADEN, SIR FRANCES SEYMOUR 65. GreENwicH. Etching. Harrington, No. 207. Siened Artist’s Proof. Trial Proof “C,” signed in plate——Seymour Haden 1879 and inscription, in pencil—Harly trial proof with white boat. Seymour Haden. Height, 133g; length, 2014 inches. HADEN, SIR FRANCES SEYMOUR 66. Hartecu. A second plate. HEtching. Harrington, No. 212. First Starr. Signed in plate——Drawn Etched Engraved and tinted by Francis Seymour ITaden May 11th 1880 and title Harleck and signed in lower margin in pencil,—Seymour Haden. A fine and early impression of this beautiful plate in which the artist com- bined etching and mezzotint. The dry-point line in the “H” of Harleck is quite visible. Height, 87; length, 12% inches. From the Robert Hoe collection. [See Illustration | HADEN, SIR FRANCES SEYMOUR 67. A LancasHireE River. Etching. Harrington, No. 210. Reverse Trial Proof “A,” much touched and worked upon in pencil by the artist, with his initials in pencil,—S. H. inside plate line at bottom. Much of the clouds in the sky and the shadings and reflections in the water, some hills in the perspective, the second cow from the right near the shore, and the middle cow of the three in the foreground, are all added in pencil. Traces of a fourth cow in the foreground are visible, besides a great deal of other work by the artist’s pencil on the print. Fine silvery impression. Loosely hinged at top. Height, 11; width, 16 inches. “A well-known salmon pool in the Ribble. In Sir Seymour’s opinion this is one of his very finest plates. It was awarded the Medal of Honor at the Paris Exposition of 1889.’—KEPPEL. [99 ON] ool ley NHGVH WOOWAAS SIONVUA UIS Sale Friday Evening, March 26th HADEN, SIR FRANCIS SEYMOUR 68. THE VituAGF Forp. Etching. Harrington, No. 216. First Strats, before the additions of the man with a ladder by a haystack beyond the fence that bounds the road, and the clouds in the sky. Signed in plate——Seymour Haden 1881—and in the lower margin in pencil,—Seymour Haden. FINE IMPRESSION. Height, 7; length, 1014 inches. From the Dillworth collection. HADEN, SIR FRANCES SEYMOUR 69. Tur Breakinc Up or THE AGAMEMNON. Mezzotint. Second plate. Harrington, No. 229. Signed in pencil in plate-—Seymour Haden 1886 and in lower margin in pencil,—Seymour Haden. An altogether different treat- ment and drawing of the subject. Height, 1014; length, 19 inches. From the Greaves collection. WENZEL HOLLAR Celebrated Bohemian engraver and designer. Born at Prague, in 1607; died in London, in 1677. HOLLAR, WENZEL "0. Tue CatHEeDRAL AT ANTWERP. Steel Line-Engraving. Wenceslaus Hollar delineauit et fecit 1649. Prospectus Turris He- clesiae Cathedralis, Beatissimi Virginis Mariae Dei-Parae, Antur- piae, Occidentem Versus. Parthey, p. 169. No. 824. Very fine impression, unfolded and unfoxed. Very narrow margins all around. Height, 1854; width, 131 inches. From the Henry Ward Beecher and Robert Hoe collections. RICHARD JOSEY English Mezzotint Engraver. Born, 1840. JOSEY, RICHARD 71. Porrrair or THomMAs CartyLe. Mezzotint. After a painting by Whistler. Proor, signed on lower margin in pencil,— Whistler his butterfly and Richard Josey. This print also bears the Printsellers’ Association stamp. | Height, 137; width, 115g inches. From the Brayton Ives collection. CHARLES MERYON Le Petit Pont [No. 72] Sale Friday Evening, March 26th CHARLES MERYON Celebrated French etcher. Born in Paris, 1821; died there in 1868. “But we must turn now to a great poet-etcher, one of the greatest masters that the copper-plate has ever known and one of the most tragic and piteous figures in the history of art. When Charles Meryon, after his sea-wan- derings and his failure as a painter, found his true vocation with needle and mordaunt, his strange, weird genius, haunted by the mysterious beauty that the centuries had stamped upon Paris, expressed itself through the artistic records of her old buildings that was soundly, while imaginatively picturesque, yet personally reflective to an extraordinary degree.” —MALCOLM SALAMAN. MERYON, CHARLES ?2. Lu Perit Pont. Etching. Wedmore, No. 8. Second State of five states. Fine impression in warm toned ink, with inscription,—C. M., in upper right hand corner. Height, 1014; width, 734 inches. From the Philippe Burty and Townsend collections. [See Illustration | MERYON, CHARLES 73. L’ArcHE pu Pont Notre Dame. HEtching. Wedmore, No. 9. First Strate. With the name and address of Meryon in the left corner, and “Paris 1853,” in the right. Beautiful and clearly printed impression on thin Chinese paper. Height, 6; length, 75g inches. From the Robert Hoe collection. MERYON, CHARLES 74. Le Pont au Cuancs. Etching. Wedmore, No. 18. Very Beautiful Proof. First Strate. With only one balloon in the sky, before the hearse on the bridge was altered to a covered carriage, and with the name and date of Meryon. Very Rare in this state and fine quality. Height, 644; width, 131% inches. From the Dutcher collection. [See Illustration ] [FL ON] esuBbyy ne yuog oJ NOAUGW SATYVHD., Sale Friday Evening, March 26th MERYON, CHARLES 75. Bain Frorip CHEvrier. Htching. Wedmore, No. 27. Srconp Srare. With the title and verses beneath, which were printed in red from another plate. Height, 5; length, 534 inches. From the Robert Hoe collection. MERYON, CHARLES 76. VuE DE L’AncIEN Lovuvre pu COTE DE LA SEINE. Htching. Wedmore, No. 60. Trial Proof on Waltman paper. Without letters and title, before the published state. Height, 614; length, 1014 inches. From the Philippe Burty and Robert Hoe collections. MERYON, CHARLES 7. Le Granp CuHAreiet A Paris. Etching. Wedmore, No. 85. Trial Proof on Waltman paper. Without letters and title, before the published state. RARE AND FINE. Height, 9; length, 115g inches. From the Robert Hoe collection. JEAN FRANCOIS MILLET French painter and etcher. Born, 1815; died, 1875. “Millet was an ‘expressionist,’ if I may use the term, differing from those who attempt to seize the appearances of passing and accidental phenomena and qualify them as ‘impressionist.’ The shallowness of the doctrine—significant of an age devoted to surfaces—which would deny to a painter or etcher the right to ‘think’ and that considers as ‘literary’ anything beyond the prosaic lining of the passing and actual, is proved by the ever-growing appreciation of Millet’s pictures.”—Rost. J. WIcK- ENDEN. MILLET, JEAN FRANCOIS 78. THE GiEaNERS. Etching. Lebrun, No. 13. Srconp Strate, on Holland paper, with the address,—Deldtre. Very fine early impression, not too heavily inked in the shadows. Height, 744; length, 984 inches. From the Robert Hoe collection. “Once again, in contact with the soil, Millet brought forth The Sower, The Harvester’s Repast, The Angelus, The Gleaners . . . and other works with which we have become familiar. There was but little of the anecdotic or ethnographic in Millet’s point of view, though his art is not entirely without touches of humor. He saw, however, the deeper meanings of the peasant’s life, and knew how to make the trivial serve for the expression of the sublime.’”—Ropsgt,. J. WICKENDEN. or! Sale Friday Evening, March 26th MILLET, JEAN-FRANCOIS 9. Tue Woot Carper. 1863. Etching. Lebrun, No. 16. Onty Starz. Very fine impression in warm-toned ink. Height, 10; width, 634 inches. From the Townsend collection. MILLET, JEAN FRANCOIS 80. A Moruer Frerepinc Her Cuitp. Etching. Lebrun, No. 18. Portrait drawn by Millet of his daughter, Mme. Heymann, with her baby in her arms. Turrp Stare. Fine impression. Signed in plate,—J. F. Millet 1861. Height, 6; width, 5 inches. PAUL RAJON French etcher. Born at Dijon, 1843; died at Paris, 1888. Bracquemond instructed him in the etcher’s craft. He was a brilliant reproductive and portrait-etcher. RAJON, PAUL 81. Ar rue Batu; SPONGES AND SrricLes. Etching, after Alma. Tadema. Artist’s Signed Proof. Very fine and early impression, on vellum. With five remarque portraits of Alma Tadema, wife and children. Signed by Alma Tadema and P. Rajon in lower margin. Height, 1514; width, 9 inches. From the Robert Hoe collection. RAJON, PAUL 82. Suzanna Rosz. Etching. Beraldi, No. 148. Trrat Proor. VERY BEAUTIFUL IMPRESSION, on thin Waltman paper. Before the cleaning of the plate, and the removal of the trial needle marks on the bottom margin. Height, 8; width, 614 inches. From the Dutcher collection. EXTREMELY Rare. No copy is to be found in the print collections of either the Avery Library or the New York Public Library. Even Mr. Halsey did not possess a copy. One of the masterpieces of etching of the nineteenth century. Beraldi [Continued Sale Friday Evening, March 26th [ No. 82—Continued | writes of it,—‘“One of the marvels of the century. It is the type of the aged woman of our century, as the Mdme. Letine of Aug. Saint-Aubin is the type of the aged woman of the eighteenth century.” The portrait is that of Suzanna Rose, the wife of James Anderson Rose, after a painting by Sandys. Mr. Rose was a collector of wide reputation whose collection of engraved portraits was exhibited at the opening of the New Library and Museum of the Corporation of London, Noy. 1872, the frontispiece of which catalogue was a smaller production of this portrait. The connoisseur of art, taste, and mechanical technique forgets his vocation in admiration of the almost idealized spirituality, the matronly, dignified impressiveness of this face in its rich and full maturity. The artist has portrayed for posterity an example of that rare type that has preserved its dominion and ascendency of loveliness to a ripe old age. [See Frontispiece for Illustration] REMBRANDT VAN RIJN Born at Leyden, 1607; died at Amsterdam, 1669. Pupil of Swanenburch and Pieter Lastman. “The opinion among etchers which enthrones Rem- brandt as the King of his craft is the most recent instance of perfect unanimity among people of all nationalities. As we all say Phidias was the greatest sculptor, Homer the greatest epic poet, and Shakespeare the greatest dramatist, so we are all agreed on the world-wide supremacy of Rembrandt. In his own lines of work, there is none in all history, to be compared with Rembrandt; in artistic influence, he has one equal entirely unlike himself, and that is Raphael. They are the two most influential graphic artists of all times.”—P. G. HAMERTON. REMBRANDT VAN RIJN 83. REMBRANDT, WITH TURNED up Hat AND EMBROIDERED MANTLE. 1634. Etching. Bartsch, No. 7. FINE IMPRESSION. Height, 55g; width, 5 inches. From the Robert Hoe collection. REMBRANDT VAN RIJN 84. Tue TriumpH OF MorpEcal. (1640-1645). Etching. Bartsch, No. 40. Onty Stare. Unsigned. Fine impression, with dry-point work plainly visible, and with burr. Cut irregular all around and slightly inside of etched border at sides, which does not interfere with etching. Height, 613/16; length, 83 inches. From the Townsend collection. Sale Friday Evening, March 26th REMBRANDT VAN RIJN 85. Tus ANGEL ASCENDING FROM Tosit AND His Faminy. 1641. Etching. Bartsch, No. 48. Srconp Stare (of four states). Signed and dated—‘1641.’ Before the additional work in many parts of the plate. FINE IMPRESSION and in perfect condition. Very narrow margin all around. Height, 43/16; length, 61¢ inches. From the Townsend collection. REMBRANDT VAN RIJN 86. Curist PreacHine. Etching. Bartsch, No. 67%. Srconp Stare. Superb impression with burr, very narrow margin all around. Height, 614; length, 814 inches. From the A. Firmin-Didot, Peoli and Robert Hoe collections. The date assumed for this print is 1652, which would place it in Rem- prandt’s last period. It seems very carefully wrought, however, to be assigned to so late a period. “Though less important than the Hundred Guilder print, the ‘Christ Preaching’ is certainly as strong as, if not stronger than, its great com- panion in its drawing of human character. The profound attention of the assembly, the marvelous expressions of their faces as they listen to the words of Christ, make an impression upon us that cannot be forgotten.” —ATHERTON CURTIS. REMBRANDT VAN RIJN 9”. Curist Heatine THE Sick (The Hundred Guilder Print). Etching. Bartsch, No. 74. Srconp Srate (of four states). Brilliant impression with good margins, 3/16 at top and sides and 3% at bottom, and in unusually fine condition, unstained. The shadows have been enriched. Height, 1114; length, 1534 inches. From the Townsend collection. This is usually accredited Rembrandt’s masterpiece, and the master- piece of all etchings. There are known of possibly eight proofs in the First State. The print is undated, and is assumed to be done in 1650. “‘Christ Healing the Sick’ stands out by itself. Not only is this Rembrandt’s masterpiece, but it is considered one of the greatest works of art the world has ever seen. To say that it has never been surpassed in etching would not do it justice. It has never been surpassed in any form of art and is not likely to be.... Here we see Rembrandt at his best, as a draftsman, Such drawing as this, without a hesitating line from beginning to end is no accident... while the expression of the faces are rendered in a way that Rembrandt, great as he was in charac- [Continued Sale Friday Evening, March 26th [No. 87—Continued | ter drawing, never equalled in etching save in one instance. The appealing looks of the sick and crippled, and the contrast between the group of Christ’s followers at His right hand, and the group of the cold, unmoved faces besides them are sources of endless study.” ATHERTON CURTIS. “Tt is no mere sunlight that in one place envelops the figures, almost without a shadow, and in another casts its faint reflection on the groups that are emerging from darkness; it is the light of Redemption shining on the darkness of human existence.’—H. Knackruss’s “Rembrandt,” Dp. 126; The plate afterwards retouched by Captain Baillie can be distinguished by the size, viz. 11 by 15% inches. [See Llustration | REMBRANDT VAN RIJN 88. Curist PRESENTED TO THE PEOPLE. 1655. Etching. Bartsch, No. 76. SeventH Strate. The mask between the two arches of the vault is covered with horizontal lines, but the plate is covered with burr. An exceedingly fine impression of this rare plate. It has been folded in the middle and the seam carefully reinforced top and bottom. The print has a 3-inch tear and a slight tear to left at top, and two small tears at bottom. Very narrow margin all around. Height, 14; length, 17% inches. Frou the John Barnard and Robert Hoe collections. The noble, impressive character of the plate in this state seems to be due in part to the combination of the balanced groups of figures with the ancient Roman architecture of vast, massive proportions, and the awful significance of the scene portrayed; the venom and fury of the populace, the hypocrisy of Pilate, and the meekness of Christ, all vividly portraying human emotions. Though this plate was not carried to the same state of completion as some of the artist’s other plates, it, nevertheless, in its broad compre- hensive scope, impresses and fascinates the gazer with awe and reverence, and at the same time with admiration for the artist’s conception of the subject. REMBRANDT VAN RIJN 89. THE DESCENT FROM THE Cross. By TorcHLIcHT. LHtching. Bartsch, No. 838. Seconp Statg. “A Night Scene.” With a set of regular diagonal burin lines in the upper part of the plate. PxrrEor, with small margin. Height, 8 7/16; width, 6 7/16 inches. From the Robert Hoe collection. [18 ON] PIS oY} SulpwVey IMYyO NfId NVA LONVUANAA Re: Sale Friday Evening, March 26th REMBRANDT VAN RIJN 90. DEATH OF THE VirGIN. 1639. Etching. Bartsch, No. 99. Srconp Srarp. In fine condition, good margins, unstained. The small oval on the base of the left bedpost is still unshaded with vertical lines, while the chair in the lower right corner is fully shaded. About 1/16 margin all around. Height, 155g; width, 12 7/16 inches. REMBRANDT VAN RIJN 91. An Artist DrawrnG From A Mopet. Etching. Bartsch, No. 182. Seconp Srare. On brown-toned paper, upper part of easel now shaded, the lower left corner torn off about 1 by 7 inch and neatly repaired with same tone paper. Height, 93¢; width, 7 5/16 inches. REMBRANDT VAN RIJN 92. A NupE WoMAN SEEN FRoM BEHIND. Etching. Bartsch, No. 205. Turrp Strate. With the retouch that covers all the blank space along the upper edge. Very narrow margin all around. Height, 314; width, 6 5/16 inches. From the Robert Hoe collection. REMBRANDT VAN RIJN 93. Tue Mitu. 1641. Etching. Bartsch, No. 233. Onty Srars. Fine and early proof. With the sulphur tint in the sky. In perFrEcT conDITION. Signed and dated—1641’ Very narrow margin all around. Height, 58; length, 8 5/16 inches. From the Townsend collection. “And in ‘The Wind-Mill’ Rembrandt found a perfect subject. There is no adventitious impressiveness lent by strong effort of light and shadow in this beautiful plate; all is plain and simply rendered. But we have only to compare this etching with the etchings of some of Rembrandt’s immediate predecessors, like Jan and Hssaias Van de Velde, to see the difference, not only between a great and an average artist, but between a great and commonplace etcher. This picturesque tracery of a windmill’s sails and timber work are seen and enjoyed in Van de Velde’s plates, but how much more than this is in Rembrandt’s ‘Mill,’ etc.”—LAURENCE Brnyon. Ass’t Keeper of the Prints in the British Museum. [See Illustration | ae i, REMBRANDT VAN RIJN The Mill [No. 93] Sale Friday Evening, March 26th REMBRANDT VAN RIJN 94. Dr. Faustus. Etching. Bartsch, No. 270. Tuirp Starr. On brown-toned paper, with quarter inch margins. Slight stains throughout print. Height, 8%; width, 6% inches. REMBRANDT VAN RIJN . 95. JAN Lutma. 1646. Etching. Bartsch, No. 276. Srconp Starr. Signed by Rembrandt. A very fine impression on India paper, with good margins. The window frame is now etched in, with jar standing on the windowsill. In perfect condi- tion. VERY Rare. Height, 814; width, 6 inches. From the Dutcher collection. [See Illustration | ERNEST D. ROTH Contemporary American painter and etcher. Born in 1879. ROTH, ERNEST D. 96. Ca’ D'Oro, VENICE. Etching. Artist’s Signed Trial Proof. Height, 9; length, 11% inches. ROTH, ERNEST D. 9%. Campo Marcuerita. Etching. TriaLt Proor. Signed,—Hrnest D. Roth 1913. Height, 7%; length, 107% inches. ROTH, ERNEST D. 98. PonrE pEL Trinita. Etching. Tria Proor. Signed,—Hrnest D. Roth, 08. Height, 9; length, 11 inches. “There is something more winning about the study of the Trinita Bridge with its light arches... it is a lovely bit of drawing and inter- pretation, and I have often felt that the mere shortening of the plate at the right would make of this admirable study a little masterpiece. I had the pleasure of seeing the prints I had studied in trial states holding their own at the Venice International, and I learned that the Queen Mother, Margherita, one of the best eyes in Italy, had bought several of the etchings.”—FRANK JEWETT MATHER JR. ——, - 5h A ROLE ER AALS BGS REA BSLEANL LAE LN BE RETREATS LRA SEL ELLA LAA ASS : : : ioe minced eeibnctes Lit SANE NA SAME EELS LED LLL NLL ELIDA N MBRANDT VAN RIJ RE Jan Lutma No. 95] [ Sale Friday Evening, March 26th ROTH, ERNEST D. 99. Ponrr VEccui0. Etching. Trrat Proor. Signed,—Hrnest D. Roth 0%. Height, 98¢; length, 12 inches. “We see him nearly at his best in the print ‘Ponte Vecchio,’ with its dense shadows and swirling dark river, and this splendid plate is not in the ordinary sense drawn, but fully painted with the needle and the acid. Roth’s manner of applyi ing the acid is again that of a painter. Instead of the conventional three baths, he applies the acid with a feather, touch by touch, with blotting paper at hand. By this hazardous pro- cedure, which is virtually that of Whistler, values are multiplied. Where most etchings will show three main values, or at most five, any elaborate print of Roth’s will show a dozen. When successful, tones and textures are achieved that fairly rival those of painting.” —FRANK JEWETT MATHER JR. ROTH, ERNEST D. 100. Rernections. VENIcE. Etching. TrraLt Proor. Signed,—frnest D. Roth Venezia, 706. Height, 57; length, 98% inches. “Roth’s Venice plates make a more experimental effect upon me. He has, apparently, under the influence of Whistler, done some plates of charming slightness.’—FRANK JEWETT MATHER JR. ROTH, ERNEST D. 101. Star Zapt—Mosaque, StamBouu. Etching. Trial Proof. Signed,—Hrnest D. Roth Stambul 1908. Height, 8; length, 8144 inches. “Speaking of ‘the delightful and accomplished etchings (scenes on the Bosphorus) in the artist’s thirtieth year,... here the old analytic method has been abandoned and the most is made of the single contour.” ROTH, ERNEST D. 102. THE Burtress, PoNTE TRINTTA. Etching. TrraL Proor. Signed,—Hrnest D. Roth. Height, 1034; width, 103 inches. ROTH, ERNEST D. 103. Tue Lirrte Mosquz, ConsTANTINOPLE. LHtching. Trrat Proor. Signed,—Hrnest D. Roth: Stambul 1908. Height, 844; width, 8 inches. Sale Friday Evening, March 26th JOSEPH MALLORD WILLIAM TURNER Celebrated English painter. Born, 1775; died, 1851. “The ‘Liber Stu- diorum’ was intended by Turner from the first to be a series, not of sketches, but of fully finished pictures; and these pictures were to illustrate his whole range of powers, and to embrace every sort of sub- ject of which he considered himself master.... The ‘Liber Studiorum’ came forth a truly monumental work, taking rank with the highest pro- ductions of Turner’s genius.”—W. G. RAWLINSON. TURNER, JOSEPH M. W. 104. Tue Firrn Puacur or Ecyrr. Etching. Rawlinson, No. 16. Proor. Firsr State. Drawn and etched by J. M. W. Turner, and mezzotinted by Charles Turner. Fine impression, in perfect con- dition. Height, 81¢; length, 11% inches. From the Robert Hoe collection. TURNER, JOSEPH M. W. 105. Tur Sun Berween THE TREES. Original Sepia Drawing. Very fine example of his well known and desirable style. Height, 534: length, 85 inches. From the Allis collection. One of the charming subjects intended for the Liber Studiorum, begun by Turner in 1807, and which were published at intervals up to the year 1819. “The method employed in the production of the work was, first,— Turner made drawings in sepia or bistre, of the subject to be engraved ; some of these were taken from pictures which he had already painted, put the majority were executed expressly for the work. He next etched with his own hand the copper plate from these designs, from which trial proofs were pulled, and often ‘touched’ by the artist in sepia, when changes were desired, writing his reasons for the alterations on the margin. The above is the original sketch of the subject before the etching of the plate. When mezzotinting was completed to Turner’s satisfaction, lettering would be added to the plate and printing would commence. Out of the hundred plates originally planned, only seventy-two had been issued ; eight had not even been carried further than the drawings ; and eleven, in various stages of completion, were left unfinished in Murner’s studio at the time of his death in 1551. After a litigation over his will lasting more than twenty years, these drawings, proofs, and unfinished plates, etc. were sold at Christie’s and the total amount realized by the stock of Liber Studiorum alone was nearly 18,000 pounds.”—W. G. RAWLINSON. Sale Friday Evening, March 26th CORNELIUS VAN DALEN JR. Flourished at Amsterdam from 1642 to 1665. VAN DALEN, CORNELIUS JR. 106. GrovANNI Boccaccio. Line engraving. Andresen, No. 9. First Strate. Superb Proof before all letters. Height, 1614; width, 111% inches. From the Brayton Ives collection. ANTON VAN DYCK Celebrated Flemish painter and etcher. Born at Antwerp, 1599; died at London, 1641. “Van Dyck stands out as the solitary great etcher of the Rubens School. Portrait-etching had scarcely had an existence before his time, and in his work it suddenly appears at the highest point ever reached in the art.”—A. M. HInNp. VAN DYCK, ANTON 108. JAN BreucHEL. Engraving. Dutuit, Vol. IV, pp. 158-9. Tuirp State. Before the letters ‘G. H.’ Very fine impression. Cut to plate mark. Height, 914; width, 6 inches. From the Robert Hoe and Dr. W. Ackerman collections. CHARLES ALBERT WALTNER French etcher. Born at Paris, 1846. Pupil of Henriquel-Dupont, Gérome, and Martinet. : WALTNER, CHARLES ALBERT 109. JACQUELINE DE CorpEs. Etching. After painting by Rubens. Proof before letters. Fine impression on imperial Japan paper. Height, 1214; width, 1014 inches. Framed. Beane, oF AN UNKNowNn Man. Etching. After painting by Frans Hals. Proof before letters. Fine impression on imperial Japan paper. Height, 1214; width, 1014 inches. Together, 2 pieces. From the Robert Hoe collection. JAMES ABBOTT McNEILL WHISTLER The Kitchen [No. 112] “2 Sale Friday Evening, March 26th JAMES ABBOTT McNEILL WHISTLER Celebrated American painter and etcher. Born in Lowell, Mass., in 1834, died at London, in 1903. “With the master-etchers of the world—Meryon’s. equal in some respects, and, in some respects, Rembrandt’s—there stands James Whistler. Connoisseurs in France and England, in America, Hol- land, Bavaria, concede this now.”—FREDERICK WEDMORE. ‘All his work is alike perfect. It has only been produced under different circumstances and is an attempt to render different effects or situations. Therefore the methods vary, but the results are always the same—great. The greatest, most perfect, as a* whole, that any etcher has ever accom- plished.”—JoOsEPH PENNELL. WHISTLER, JAMES ABBOTT McNEILL 110. En Piern Sortert! Etching. Kennedy, No. 15. SECOND State. A very fine and early impression on white China paper. One of the French set. Imp. ‘Delatre.’ Has the stamps of the ‘MacGeorge’ and ‘J. C.’ (Cox) Collections. Height, 3%; length, 514 inches. The finer copy from the Dutcher collection. WHISTLER, JAMES ABBOTT McNEILL 111. La VrieLie aux Loguss. Etching. Kennedy, No. 21. SECOND State. A very fine impression, on yellow China paper. Before the removal of Delarte’s name and address. One of the French Set. Height, 814; width, 534 inches. From the Dutcher collection. WHISTLER, JAMES ABBOTT McNEILL 112. THe KitcHen. Etching. Kennedy, No. 24. Artist’s Signed Proof with the “Butterfly.” First Stats. A bril- hant impression in brown ink on white China paper. Before the extra shading in the lower left base. Extremely Rare. One of the French Set. Height, 8%; width, 644 inches. From the Dutcher collection. No doubt the finest etching of Whistler’s early period, generally known as the French Set, and by some considered, because of its finished and graphic completeness, never surpassed by his later productions. {See Illustration ] Sale Friday Evening, March 26th WHISTLER, JAMES ABBOTT McNEILL 113. SEyMouR STANDING UNDER A TREE. Etching. Kennedy, No. 31. Proor. SECOND Stare, with the word “Seymour” in lower left corner. Seymour is here standing with his legs apart. In the third state his legs are together, though the artist did not change the shadows in the water. Height, 5144; width, 384 inches. WHISTLER, JAMES ABBOTT McNEILL 114. GreeNwicH PENSIONER. Etching. Kennedy, No. 34. Artist’s Signed Proof, with his pencilled “Butterfly,” and his auto- graph inscription,—“Greenwich Pensioner.” The double pencil signature on this print is a very unusual feature. UNIQUE UNDE- SCRIBED TRIAL PROOF. Height, 313/16; length, 514 inches. From the Dutcher collection. Unknown at the time the Grolier Club Catalogue was issued, but added ~ as a supplement with three or four more, later described from this print. Before the delicate horizontal dry-point lines across the top of the plate, and the heavy work on the right arm near the shoulder; also before the removal of the various lines at the left of the figure, especially the double outline of the right arm. There were other changes throughout the plate, which seems to have been freely burnished down later. WHISTLER, JAMES ABBOTT McNEILL 115. Eacre WuHarr. Etching. Kennedy, No. 41. Proor oF THE ONLY Strate. Very fine impression on old paper. One of the Thames Set. Height, 534; length, 814 inches. From the Dutcher collection. “T would even say that it is the greatest etching of modern times, were it not for the fact that it is but one of the set known as “The Thames Series” etched by the master some thirty-five years ago.”—JOSEPH PENNELL, in a letter to the London Chronicle Feb. 22, 1895. WHISTLER, JAMES ABBOTT McNEILL 116. Becquet, THE FippLER. Htching. Kennedy, No. 52. THirp Stare. Superb impression on old French paper. One of the Thames Set. Height, 10; width, 714 inches. “Sir Seymour Haden, who could certainly be trusted not to overpraise [Continued Sale Friday Evening, March 26th [No. 116—Continued | Whistler’s work, said of this plate,—‘Rembrandt never did anything finer.’ “The figure of the violin-cellist is merely indicated with a few swift lines, but the head is fully elaborated with an incomparable minuteness and fineness of touch. The more closely it is examined the more com- plete and finished it appears, the more beautiful its workmanship.”’— Mrs. SCHUYLER VAN RENSSELAER. “Whistler told me that this plate was originally an oblong etching of West Point, made by an old class-mate, who brought it to him for his opinion. Whistler scraped off the view of West Point and put Becquet in its place; why, he did not say. At the lower right corner the stacked muskets may still be faintly seen.”—FREDERICK KEPPEL. [See Illustration | WHISTLER, JAMES ABBOTT McNEILL 117. Venus. Etching. Kennedy, No. 59. Superb Proof on Japan paper. Height, 6; length, 9 inches. From the Robert Hoe collection. WHISTLER, JAMES ABBOTT McNEILL 118. Mitypanx. Etching. Kennedy, No. 71. Signed Artist’s Proof, on old Dutch paper, with the artist’s auto- eraph inscription—*‘A. Elmore, R.A. With the compliments of J. Whistler.” One of the Thames Set. Height, 4; length, 5 inches. From the Robert Hoe collection. WHISTLER, JAMES ABBOTT McNEILEL 119. Tur Storm. Etching. Kennedy, No. 81. Proof, printed on “papier verdatre.” Excessively Rare. Height, 614; length, 1114 inches. From the Greaves collection. WHISTLER, JAMES ABBOTT McNEILL 120. Sxrtcuine. Etching. Kennedy, No. 86. Suconp Srate (of five states). Fine Proof before all letters, on Plate paper. This plate in the later state was published in “Pas- sages from Modern English Poets,” illustrated by the Junior Etching Club, 1862. The subject is that of Delannoy sketching. Height, 411/16; length, 63g inches From the Robert Hoe collection. EHILL WHISTLER the F ES ABBOTT McN JAM ddler i Becquet, eG) [No Sale Friday Evening, March 26th WHISTLER, JAMES ABBOTT McNEILL 121. St. James Street. LHtching. Kennedy, No. 169. With the etched “Butterfly” in the lower left corner. A view down the street, with St. James palace at the far end. It was after- wards reproduced in “Vanity Fair,” in 1878, but in reverse. Height, 11; width, 6 inches. WHISTLER, JAMES ABBOTT McNEILL 122. Tur ADAM AND Eve, CHeEtsEa.. Etching. Kennedy, No. 175. Proor. Onty Stars. Beautiful impression on straw colored Japan paper. One of the Thames Set. Height, 67,3; length, 11% inches. From the Greaves collection. WHISTLER, JAMES ABBOTT McNEILL 123. FutHam. Etching. Kennedy, No. 182. Proof printed on Japan paper. Height, 5 3/16; length, 8 inches. From the Greaves collection. WHISTLER, JAMES ABBOTT McNEILL 124. Tur Doorway. Etching. Kennedy, No. 188. Signed Artist’s Proof, with the pencilled “Butterfly.” SECOND State (of seven). Very beautiful impression printed on 17th century paper, which Whistler would procure by tearing the fly- leaves out of old tomes. Printed in warm tone ink. Three slight tears in lower margin, about 84-inch margin all around, which is unusual on Whistlers of this period. Height, 1114; width, 8 inches. From the Dutcher collection. Evidently a trial proof printed by Whistler, before its issue as one of the set, as the margins are not cut close to the plate mark, as at that time he began to do, but are left broad. In a later state this is one of the ‘“‘Venice Sets.”’ The French critics were the first to appreciate the work of Whistler, and it was one of them who characterized this plate as “the most bril- liant of the Master’s jewels.” It was while looking at the “Venice Set” that Sir Seymour Haden was asked “what he would do if forced to choose between the Rembrandts and his Whistlers,” his reply was that “the Rembrandts would go first.” It was from this print that the reproduction was made for the Grolier Club Catalogue of Whistler’s etchings, compiled by Mr. E. G. Kennedy. [See Illustration | JAMES ABBOTT McNEILL WHISTLER The Doorway [No. 124] Sale Friday Evening, March 26th WHISTLER, JAMES ABBOTT McNEILL 125. THE Two Doorways. Etching. Kennedy, No. 193. Rare Proof, taken from the cancelled plate, which is done in Whis- tler’s ingenious way of drawing a large butterfly which is a more illusory detraction, than real. BrautTiruL Impression. Cut to plate line. Height, 8; length, 1114 inches. From the Greaves collection. One of the Venetian Set. WHISTLER, JAMES ABBOTT McNEILL 126. THE Mast. Etching. Kennedy, No. 195. Artist’s Signed Proof, with his pencilled “Butterfly.” One of the “Twelve Etchings.” A splendid impression on water-marked paper, 1n warm tone ink. Height, 133g; width, 63 inches. “Not only were the latest states of the Venice plates, as a rule, most satisfactory to Whistler, because they were the result of his final criti- cisms, but he specially requested that the ‘Venetian Mast’ be represented at the World’s Fair in Chicago by an impression of the latest state. In 1893, when the list of his representative etchings selected for exhibition at the Fair was submitted to him, he substituted for the ‘Riva No. 2’ the ‘Venetian Mast,’ in the last state, with the comment ‘more important’.”— HowaARD MANSFIELD. [See Illustration | WHISTLER, JAMES ABBOTT McNEILL 127. THe Limenouse. Lithograph. Kennedy, No. 40. Extremely rare and beautiful impression. Height, 634; length, 101% inches. From the Brayton Ives collection. The identical lithograph shown at the Paris “Exposition des Oeuvres de James McNeill Whistler,” in 1905, in the original frame and the label on the back. Apart from the opinions that Mr. Way gathered from Whistler, while so many of the lithographs were passing through Mr. Way’s press, not many preferences for special prints have been recorded, but Mr. Way writes (after mentioning some of the more easily procured impressions ) —— “then if the budding collector will acquire the original set of six litho- graphs issued in 1887, as Art Notes, consisting of two of the finest of Whistler’s lithographs, ‘Limehouse,’ and ‘Nocturne,’ he will not be Ssatis- fied until, etc... . It is the writer’s firm conviction that in the reproductive side of his art, Whistler did his best work in his lithographs... he can in this process use a variety of tools, a crayon with a sharp or broad point, a stump or a brush, and Whistler used each and all, and obtained results which had not been even attempted before.” he PA REET AS SBE AOD ALN BEE AN 23 | 2 i i i S s <4 ee 4 : eae | s ‘ ag = :