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* ‘ Es J . : ' - ~ 1 sb * + “— H i oy t " 4 HAIG, AXEL HERMAN Mont St. Michel (See No. 181) CATALOGUE OF ETCHINGS AND ENGRAVINGS COLORED PLATES AND WATER COLORS THE PROPERTY OF ELIZABETH B. LEVY AND OTHER OWNERS AS HEREIN DESIGNATED TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON MONDAY, JANUARY 17tTu, 1916 THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY.AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK CITY STATEMENT AS TO OWNERSHIPS A PART OF AN EXTENSIVE COLLECTION comprises the following Lot Numbers,—1, 6, 9, 10; 33, 43, 44, 45, 46, 47, 49, 53, 70, 71, 74, 81, 82, 89, 101, 127, 128, 129, 130, 138, 139, 140, 141, 143, 149, 152, 153, 154, 155, 157, 159, 160, 161, 162, 164, 170, 181, 182, 183, 184, 185, 189, 194, 196, 197, 198, 199, 200, 205, 213, 218, 219, 223, 224, 240, 241, 242, 255, 257, 278, 279, 280, 287, 302, 3803, 312, 314, 323, 324, 328, 329, 332, 335, 336, 337, 338, 342, 303, 397, 360, 361, 362, 366, 370, 376, 888, 3889, 391, 392, 396, 397, 400, 406, 407, 414. FROM A GENTLEMAN’S COLLECTIONS are gold the following Lot Numbers,—2, 11, 16, 19, 48, 50, 59, 62, 63, 65, 69, 83, 84, 85, 86, 96, 102, 166, 167, 168, 192, 195, 256, 275, 276, 277, 283, 284, 286, 346, 390, 394, 399, 408, 409, 415. PART I. OF THE COLLECTION OF MRS. ELIZABETH B. LEVY, LARCHMONT, NEW YORK, comprises the following Lot Numbers,—3, 4, Pere, 015 04, 55,°56, 58, 60, 66, 75, 79, 80, 98, 103, 104, 105, 106, ee re e112; 113, 114, 116, 117, 118; 119, 120, 121, 122, 123, eee oy toed, a4, 130, 136, 137, 148, 156, 165, 187, 188, 202, 203, 214, BilieeU, eel. 240, 231; 232, 233, 248, 249, 250, 251, 252, 253, 254, 261, 262, 204, 200, 200, 207, 208, 269, 270, 271, 272, 273, 274, 285, 306, 307, 308, 309, Pitot oto ol7, 520, 321, 322, 325, 826, 334, 339, 340, 341, 343, 344, 345, Batis. 604, 306, 359, 363, 364, 365, 373, 374, 375, 377, 378, 379, 380, S61, 382, 383, 384, 385, 403, 404, 412. THE PROPERTY OF A MERCHANT comprises the following Lot Numbers,—8, 17, 18, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 34,-35, 36, 37, 38, 39, 40, 41, 42, 52, 57, 61, 72, 78, 91, 92, 93, 97, 126, 181, 142, 144, 145, 146, 147, 193, 209, 210, 212, 215, 227, 228, 229, 234, 235, 243, 258, 260, 281, 282, 305, 313, 318, 319, 327, 331, 333, 855, 358, 368, 386, 387, 395, 398, 405, A10, 413. THE PROPERTY OF A WESTERNER comprises the following Lot Numbers,—15, 67, 76, 77, 87, 88, 90, 94, 95, 150, 151, 158, 169, 186, 190, 191, 204, 206, 207, 208, 211, 222, 225, 226, 236, 237, 238, 239, 244, 245, 246, 247, 259, 263, 288, 289, 290, 291, 292, 293, 294, 295, 296, 297, 298, 299, 300, 301, 304, 315, 330, 348, 349, 350, 367, 369, 372, 393, 401, 402, 411, 416, 417, 418, 419. BY ORDER OF ATTORNEYS are sold the following Lot Numbers,— ee te ii 2, 173, 174, 175, 176, 177, 178, 179, 180. BY ORDER OF EXECUTORS are sold the following Lot Numbers—5, 7, 63,79, 99, 100, 115, 216. THE PROPERTY OF A GENTLEMAN comprises the Lot Number,— 163. | | BY ORDER OF AN ATTORNEY is sold the Lot Number,—371. 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 aftect 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, 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. 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. AT THE AMERICAN ART GALLERIES Madison Square South, New York UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS AND ESTATES AS HEREIN DESIGNATED First Session, Numbers 1 to 205, inclusive MONDAY AFTERNOON, JANUARY 17TH, AT 3:00 O’°CLOCK ADAMS, FRANCIS EDWARD 1. AIR. Mezzotint after Raoux. Smith I. p. 2, No. 4. Possibly the companion of “Earth, and Water” by Spooner. Fine | impression with margin. —Tuer, 62; POETRY, Tuer, 98; DRAWING, Not mentioned by Tuer. All stipples after G. B. Cip- riani. Proofs before the titles, except POETRY, which is proof before all letters. ‘The three printed in brown and in fine condition. (3.) 23. CELADON AND AMELIA. Stipple after W. Hamilton. Tuer, 209. Printed on India paper; THE LAST JUDG- MENT. Line engraving after Michel Angelo. (2.) 24. LORD HAWKE. Stipple after Coates. ~Tuer, 309. From “Biographia Navalis.” 25. BRITANNIA WARDING OFF TIME. Allegorical frontis- piece to the Second Volume of the Marlborough Gems. Line engraving after G. B. Cipriani. Tuer, 630; A VES- TAL VIRGIN. Original stipple by Bartolozzi printed in red; SPRING. Stipple after W. Hamilton. Printed on India paper. \ (3.) 26. JOAN OF FLANDERS ASSEMBLING THE INHABI- TANTS OF RENNES. Stipple after J. F. Rigaud. Tuer, 1225. Printed in brown; ORLANDO RESCUES OLYMPIA. Line engraving after Annibale Carracci. (2.) 27. A NAKED VENUS ASLEEP. Stipple after Annibale Car- racci. ‘Tuer, 1398. Proof before the title, printed in brown, waterstained on margin. 28. BACCHANALIAN CHILDREN;; one of them mounted on a goat. Line engraving after M. Franceschini. Tuer, 1416. Printed in reddish brown; THREE ETCHINGS after a drawing by Guercino da Cento. ( 4.) First Session, Monday Afternoon, January 17th BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) Zo; 30. 31, 32. 33. 34. 35. 36. CUPID DRAWING THE ATTENTION OF A WOMAN WHO IS SITTING ON A ROCK. Line engraving after G. B. Cipriani. Tuer, 1445. Full margin; JUDGMENT OF PARIS. Line engraving after drawing by E. F. Burney from an ancient picture found in the ruins of Herculanum, supposed to be by Apelles. Tuer, 1500. Proof before all letters. Large margin. (25) MARY WITH THE SLEEPING INFANT JESUS. Line engraving after Sasso Ferrato. Tuer, 2024; MOTHER AND CHILD. Line engraving after G. B. Cipriani. Tuer, 2026. (2.) DEATH OF LORD CHATHAM. Line engraving after J. S. Copley. Andresen I. page 78, No. 17. Unfinished trial proof with tears in the margin CONTEMPLATION. Stipple after G. B. Cipriani. Printed in brown; VENUS AND CUPID. Stipple after-G. B. Cipriani. Printed in brown, cut out and laid down; SLEEPING CHILD. Line engraving after Elisabetta Sirani. Printed in reddish brown; large margins. (3.) LADY BERKELY. Stipple after H. Holbein. Tuer No. 441. Proof before all letters in brown, with full margin. LAEUS, (Lais?). Stipple after G. B. Cipriani. 1786. Open letter proof printed in brown. THE PIOUS FAMILY ASCENDING TO GLORY. Stipple after Wm. Hamilton, beautifully printed in colors. NYMPHS AND SATYR; PLEASURE. Stipples by Mariano Bori after G. B. Cipriani. Printed in brown. A fine pair with margin. (2.) First Session, Monday Afternoon, January 17th BARTOLOZZI, F.; AND HIS SCHOOL. (Continued) 37. 38. 39. 40. Al. 42. 43. AA, CUPID UNVEILING VENUS. Stipple by A. Cardon after Richard Cosway. Printed in brown. Folio, with large margin. MEDITATION. Stipple by J. B. Michel after A. Kauff- mann. Printed in black. Inlaid; THE BATTLE BE- TWEEN CENTAURS AND LAPITHAE. Rouletted etching by W. W. Ryland, after a drawing by P. del Vega. (2.) CLEOPATRA PLACING FLOWERS ON URN CONTAIN- ING THE ASHES OF MARC ANTHONY. Stipple by W. W. Ryland after A. Kauffmann. Proof before letters in red. Very fine. CLIO; TERPSICHORE. Stipples by W. W. Ryland after G. B. Cipriani. Proof before letters, printed in red. Ovals with margins. - Smith II. p. 484, No. 17. Second state; full margin. | FISHER, EDWARD 148. LAURENCE STERNE, A. M. Mezzotint after Josh. Rey- nolds. Smith II. p. 506, No. 56. ‘Third state. Small margin. ee \\ FLAMENG, LEOPOLD . 144, THE DEFENSE OF RORKE’S DRIFT. Etching after Al- phonse de Neuville. Second state; artist’s proof on India paper, signed by both artists. Lsx First Session, Monday Afternoon, January 17th 145. LORD GROLIER AT THE HOUSE OF ALDUS. Etching - after the painting by Francois Flameng owned by the Gro- ij : lier Club in New York City. Remarque proof on Jap- anese paper, signed by both artists. The remarque in a fac-simile of the seal of the Grolier Club. Ps? 7 146. ANOTHER IMPRESSION of the same. FORSTER, FRANCOIS 147. LES TROIS GRACES. Line engraving after Raphael. Apell p- 157, No. 12. Third state, before the retouch and with A. Hauser’s address; DEATH OF LUCRETIA, Line en- ve graving after G. Reni. Proof before all letters, with the | coat-of-arms only. Full margin; VENUS. Engraving by D. J. Pound after Titian. (3.) 148. FRANCOIS Ier et CHARLES-QUINT, visitant les tombeaux ee des rois de France a St. Denis. (15389.) Line engraving s after Gros. Apell p. 157, No. 14, with the artist’s stamp. FRYE, THOMAS 149. YOUNG GIRL, FEATHER IN FRONT OF HAIR. From a the life-sized heads. Mezzotint. Smith II. p. 520. No. A is : : a 10. Very fine proof with margin. FULLWOOD, JOHN iy 150. THE FORD. Painter-etching. Proof on thin laid paper. “s 151. SUNSET ON THE THAMES. Painter-etching. Signed proof on thin Japanese paper. GAILLARD, FERDINAND fs 152. OEDIPUS. Engraving after Ingres. Beraldi V. pp. 2007201, : No. 24. Print on India paper. 153. L-HOMME A L’GQEILLET. Engraving after Van Eyck. Ber- \ aldi V. p. 201, No. 25. Print on India paper, before the size of the plate was reduced. Very fine. oe e First Session, Monday Afternoon, January 17th GAILLARD, ROBERT 154. L>ACCORD DE MARIAGE. Line engraving after C. Eisen. Portalis and Beraldi II. p. 224, No. 18. From the Von Schoenbronn-Karolath collection. 155. LE BOUQUET. Line engraving after C. Eisen. Portalis and Beraldi II. p. 224, No. 14. Remargined. GANDOLFI, MAURO 156. CUPID SLEEPING. Line engraving after his own design. Apell p. 168, No. 15. Third state with the artist’s dry stamp. GAUTIER, LUCIEN 157. WESTMINSTER ABBEY, Interior. Original etching. Signed artist’s proof on Creswick paper. Limited to 250 impressions. GEORGE, ERNEST 158. FOUBERT’S PLACE; REGENT STREET. Painter-etch- ing. Proof on etching paper. GERARD, H. [2 159. L’ART D’AIMER. Stipple after Marguerite Gerard. (Sis- 7 ter of the engraver.) Portalis and Beraldi II. p. 293. (Companion to No. 160.) 160. L°-ESPOIR DU RETOUR. Stipple after Marguerite Gerard (Sister of the engraver.) Portalis and Beraldi Il. p. 293. (Companion to No. 159.) 3 GOLDING, RICHARD 161. SIR WILLIAM GRANT, Master of the Rolls. Line engrav- ing after Sir Thomas Lawrence. Open letter proof. Very fine. First Session, Monday Afternoon, January 17th [GRANT, ULYSSES S.] 162. GRANT AND HIS FAMILY., Engraved in mixed manner by William Sartain after the picture by W. Sartain. i. Proof i c roof on India paper. GREEN, VALENTINE 168. MISS RAY. Portrait. Three quarter length, seated, right arm resting on book, music in left hand. Mezzotint. Whitman, 74-II (of four). Folio, about half an inch mar- 7 gin all around, several thin spots on back. Framed. Fine Val impression of a scratched letter-proof, with the added —. words,—“‘who was Murdered April 7th, 1779,” on in- scription. > 164. ALEXANDER, LORD BRIDPORT. Mezzotint after L. F. on Abbott. Smith II, p. 588/539, No. 11. First state; with ares the “P” above the coat-of-arms. Fine. GRIMM, L. E. 165. PORTRAIT OF LUTHER. Etching after Lucas Cranach; ELISABETH DE BOURBON. Etching by L. Flameng . after Velasquez; JOERG GYZE. Line engraving by G. | Eilers after Hans Holbein, and four others. (ie) GROSPIETSCH, H. . 166. FIGHTING BULLS. Painter-ctching; THE FORD. Paint- | fa er-etching by O. Quadrupani. (2.) HADEN, SIR FRANCIS SEYMOUR 167. KENARTH. 1864. Painter-etching. Harrington, 64. First hs state. Published in “Etudes a leau-forte.” Proof on thin 4 st laid paper. First S ession, Monday Afternoon, January 17th HADEN, SIR FRANCIS SEYMOUR 168. THAMES DITTON, with a sail. 2 169 - 4 a - ‘ if 170 © ° re, De. f (‘) Wa HAIG, ae {172 ae ut \ es \73 ae j S194 2 175 4 2 ae 76. kt : es /NA77 — \y PEE et ae g / 179 Painter-etching. Harring- ton, 73. Third state; with French title and on aqua-fortist paper. . BRIG AT ANCHOR. 1870.. Painter-etching. Harrington, 147. Proof on etching paper. . WINDSOR. Painter-etching. Harrington No. 199. First state; before the bough of the tree, crossing the sail, was removed. Signed proof on Creswick paper. Full mar- gin. Very fine. From the George D. Morgan collection. Har- . GREENWICH. Signed artist’s proof. First state. rington, 207. Tear at upper left margin, repaired. . A BELGIAN WAGON. Dry-point. Signed artist’s proof. Unknown to Armstrong. Dated, 1877. . ANOTHER PROOF of the same. . VERONA. Signed artist’s proof. Armstrong, 3. Very rare. Van ree . ANOTHER PROOF of the same. LINLITHGOW. Signed artist’s proof. Armstrong, 5. Very rare. . ANOTHER PROOF of the same. FLODA. Signed artist’s proof. Armstrong, 73. . GOTHEM, GOTLAND, SWEDEN. Signed artist’s proof. Armstrong, 119. HAIG, ee 180 - a ) ; 181. 182. 185. 186. First Session, Monday Afternoon, January 17th AXEL HERMAN . PONTE ST. PIETRO, VERONA. Signed artist’s proof. Un- known to Armstrong. MONT ST. MICHEL. Original etching. Signed proof on Whatman paper. Limited to 300 impressions and the plate destroyed. Beautiful proof, was never framed. From the Peter Schemm collection. (See Frontispiece. ) ENTRANCE TO THE MOSQUE OF MAHOMMED BEY. Original etching. Signed proof on Rigley paper. From the Z Blanchard Randall collection. yw RETURN FROM THE FAIR, PAMPLUNA. Original etch- ing. Signed proof on Rigley paper. stroyed. The plate is de- . THE SAILOR’S GUILD, LUBECK. Original etching. Signed proof on Whatman paper. From the Blanchard Randall collection. . SCHLOSS ZWINGENBURG ON THE NECKAR. Original etching, aquatinted. Signed proof on Whatman paper. Limited to 250 impressions and the plate destroyed. From the Blanchard Randall collection. A STREET SCENE, COLOGNE. Original etching. Proof on Creswick paper. HENRIQUEL-DUPONT, P. L. 187. LA VIERGE ET VVENFANT JESUS. Line engraving after a drawing by Raphael. Apell p. 127, No.2: UNE DAME ET SA FILLE. Line engraving after A. Van Dyck. Apell p. 180, No. 33. (2.) First Session, Monday Afternoon, January 17th HENRIQUEZ, B. L. 188. MINERVE ECARTE LE DIEU DE GUERRE ET PRO- TEGE LA FECONDITE. Line engraving after P. P. Rubens. Andresen I. p. 662, No. 6. Proof with the artists’ names only in scratched letters. Full margins. A tear in the lower margin. HOLL, FRANCIS 189. THE LINK OF LOVE. Line engraving after G. E. Hicks. First state; artists’ proof on India paper, signed by both artists. HOOK, JAMES C. 190. GATHERING EGGS FROM THE CLIFF. 1858. Painter- etching. Proof on India paper, with the artist’s name only. HORSELEY, L. C. 191. ILLUSTRATIONS TO GOLDSMITH’S “DESERTED VIL- LAGE”. Painter-etching. Proof on India paper. From the John T. Wilson collection. HORTEMELS, LOUISE M. (Wife of Ch. N. Cochin.) 192. FRANCOIS GAULTIER, ABBE COMMENDATAIRE. Line engraving after A. S. Bette. HOUBRAKEN, JACOB 198. ALGERNON SIDNEY; JOHN HAMPDEN; HENRY VANE; GEOFFREY CHAUCER;; Line engravings. Laid down. (4.) First Session, Monday Afternoon, January 17th HOUSTON, RICHARD 194. EDWARD BERRY. “Mr. Berry in the Character of Dominic in the Spanish Fryer.” Mezzotint after T. Worlidge. Smith IT. p. 648, No. 10. Only one state. 195. GEORGE IJ. Mezzotint after T. Worlidge. Smith II. pp. 658759, No. 39. First state, proof before any inscription. Extremely fine. 196. WILLIAM KINGSLEY. Mezzotint after Josh. Reynolds. Smith II. pp. 669/670, No. 67. Second state. Closely trimmed. 197. INNOCENCE. Mezzotint after Ph. Mercier. Smith II. p. 697, No. 1385. Second state, with the inscriptions. 198. NATIVE MELTONS. [Girl opening oysters.] Mezzotint after Ph. Mercier. Smith p. 698, No. 138. Second state; with all inscriptions Margin. Fine. 199. SHEPHERDESS. Mezzotint after H. Pickering. Smith II. p- 699, No 143. Only one state. With margin. Fine. 200. PAMELA. Mezzotint after G. van der Myn. Smith IV. add. and corr. p. 702, No. 15la. Fine, with margin. HUFNAGEL, GEORG 202. OLD VIEWS OF EUROPEAN TOWNS AND COSTUMES. About 1578. Fifty-one plates. Venice (with the conflag- ration of the Senate’s PALACE, 1577), Tours, Augiers, Poitiers, Lyons, Cambray, Wismar, Castle Ambras, Lintz, Ratisbon, Prag, Toledo, Sevilla and the campanile, Lisbon, Flissingen and others. (51.) HUYS, FRANZ 203. HENRI II. King of France. Nagler Monogrammisten IL., 5. Rare; CATHERINE Queen of King John of Portugal. Engraving. Good impression, no margin. (2.) First Session, Monday Afternoon, January 17th HYDE, HELEN 204. ORIGINAL WATER COLORS. Mostly Japanese subjects To BE OFFERED SEPARATELY. In the sizes given, the height is always first: cowP> PS Ay St M. . THE PRIEST’S CHAIR . TEAZING THE DARUMA . WASHING DAY NHOWOZ mt © . CHERRY THE KETTLE’S LULLABY . MISS APRICOT CLOUD . CHERRY BLOSSOM TIME . A BOOK OF VERSES UN- DoE RN EA T H-THE BOUGH A. PILGRIM AT THE SHRINE . THE LITTLE TEA HOUSE . THE WOODEN WARE SHOPS OF MR. BAMBOO BLOSSOMS BY THE RIVER IN AMBUSH THE WISTARIA ARBOR . EXPECTANT . CHERRY BLOSSOMS BY THE EDOGAWA SOAP BUBBLES IN A TEMPLE GARDEN . SECRETS THE KING [IRVING, WASHINGTON] 205. WASHINGTON IRVING AND HIS LITERARY FRIENDS AT SUNNYSIDE. Engraved in mixed manner by J. Old- ham Barlow. Print. 15 x 1684 inches 1614 x 1814 inches 1234 x 91% inches 15 x 211% inches 141% x 101% inches 11 x 15% inches 1144 x 1514 inches 11 x 16 inches 11 x 1484 inches 934 x 18 inches 2134 x 15 inches 11 x 16 inches 22 x 15 inches 19 x 121% inches 934 x 1814 inches 15 x 1114 inches 15 x 101% inches 21144 x 15Y, inches 15 x 211, inches AT THE AMERICAN ART GALLERIES Madison Square South, New York UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS AND ESTATES AS HEREIN DESIGNATED Second Session, Numbers 206 to 419, inclusive MONDAY EVENING, JANUARY 17TH, AT 8:15 O’?CLOCK JACQUE, CHARLES 206. PETITS, PETITS!!—PREMIERE LECON D’EQUITA- TION. Painter-etching, printed on aqua-fortiste paper. (2.) 207. LE REPAS.—LE SOIR. Painter-etching on aqua-fortiste and India paper respectively. JACQUEMART, JULES 208. WILHELM VAN HEYTHUIJSEN. Etching after Frank Hals; REMBRANDT after himself. Etching by Charles Waltner. (2.) JACQUET, ACHILLE 209. FLORA. Line engraving after A. Cabanel. Remarque proof on India paper, signed by both artists. JOHN, FRIEDRICH 210. FIVE BIBLE ILLUSTRATIONS. Line engravings after H. Fiiger. Artist’s proofs with full margins, some of them watermarked and foxed; TWO PORTRAITS. Stipples after Boilly and Hickel respectively. Artist’s proofs. (7.) Second Session, Monday Evening, January 17th KNIGHT, JOHN P. 211. DRINKING SONG. Painter-etching. Proof on India paper. Published in “The Songs of Shakespeare.” From the John T. Wilson collection. KRATKE, L. 212. L,-ARQUEBUSIER. Etching after Fortuny. Remarque proof on vellum, signed by the etcher. KRIEHUBER, JOSEPH 213. EINE MATINEE BEI LISZT, with portraits of Berlioz, Czerny, Ernst, Liszt and Kriehuber, all from life. Litho- graph by L. Grozelier. Interesting and rare. KUSEL, MATTHAEUS 214. SIGISMUND FRANCIS, ARCHDUKE OF AUSTRIA. Nagler VII. p. 202, No. 28. Good old impression on paper with an indistinct watermark. No margin. [LAFAYETTE, MARQUIS DE] 215. PORTRAIT. Line engraving by Leroux after Ary Schaffer. LALANNE, MAXIME 216. LE PAYSAGE AU CREPUSCULE. Original etching. Ber- aldi, 50. First state, before additional work in the sky. LARMESSIN, NICOLAS DE 217. LOUIS XV,—full length standing, after Vanloo. Portalis and Beraldi II., 26. Engraved as a companion piece to Maria Leczinska by the same artist. Fine. Second Session, Monday Evening, January 17th LARMESSIN, NICOLAS DE. (Continued) 218. ACHILLES ET DEIDAMIE. Line engraving. Very fine. Inlaid. [Companion to No. 219. ] 219. APOLLON ET ISSE. Line engraving. Very fine. [Com- panion to No. 218. ] LA ROUSSIERRE, FRANCOIS DE 220. JACQUES DE * * * Bishop of Chalons. Engraved from life. Good old impression on paper with the water- mark “Star in a Ring.” No margin. LASNE, MICHEL 221. LOUIS XIII. King of France and Navarre. Line engraving. Good old impression on paper with the watermarks “Grape and Lily,” and the letters “I. G.” Small margin; BER- NARD, Duke of Saxony. Baltazar Moncornet excudit. Line engraving. Very good impression with margin. (2.) LEGROS, ALPHONSE 222. THE WAYFARER. Painter-etching. Proof on etching paper. LEMPEREUR, L. 223. L;ATTENTE DU PLAISIR. Line engraving after Annibale Carracci. Portalis and Beraldi IIL. p. 653. Print on India paper. LEONI, OCTAVIO 224. JOANNES BALIONUS. Painter. Bartsch XVII. pp. 2517 252, No. 14. CHRISTOPHORUS RONCHALIS DE POMERANCYS. Painter. Bartsch XVII. p. 257, No. 35. Both fine engravings and with big margins. (2.) Second Session, Monday Evening, January 17th LEPERE, AUGUSTE 225. LE MOULIN A LIDOR, Crévecoeur. Painter-etching. Signed proof No. 4, on thin Japanese paper. Limited to 50 im- pressions. 226. LA ROUTE DE LA HOUSSOYE, Crévecoeur. Painter-etch- ing. Signed proof No. 42, on loose India paper; stamped and numbered. Limited to 50 impressions. | DEY RAL cr. 227. THE PHILOSOPHER. Etching after J. L. E. Meissonier. Remarque proof on vellum, signed by both artists. Only 25 printed. (LINCOLN, ABRAHAM] 228. LINCOLN’S CABINET. Engraved by A. H. Ritchie after ¥. B. Carpenter. Artist’s proof on India paper, signed by both artists. 229. DOCUMENT SIGNED. Ip. large folio, parchment, Wash- ington, May 24, 1864. Warrant for the appointment of Michael Bronett, as Assistant Quarter Master. Signed in full “Abraham Lincoln,” countersigned by Edwin M. Stanton, Secretary of War. With three vignettes, one a portrait of Lincoln. All four pieces, mounted in gilt and cedar frame, with glass, size 21 x 29 inches, lower en- graved portion of document stained, the mildew badly damaging engraved war emblems. LOMBART, PIERRE 230. MOSES AMYRALDUS. Protestant Minister and Professor of Theology at the Academy of Saumur. Line engraving after P. de Champaigne. LeBlanc, 19. Good old impres- sion on paper with the watermark “Grape.” Very small margin. Second Session, Monday Evening, January 17th LOMBART, PIERRE. (Continued) 231. DE LA FOND, called “LE GAZETIER DE HOLLANDE.” Engraved after H. Gascard. LeBlanc II., 388. Second state. Very good impression on paper with the water- mark “Grape in a Ring.” No margin. 232. SIR ROBERT STAPLETON, POET. Frontispiece to his translation of “‘Juvenal.” Granger III, p. 184. Fine old impression on paper with the watermark ‘“Fleur-de- hs.” Small margin. LONGHI, GIUSEPPE 233. EUGENE BEAUHARNAIS. VICE-ROY OF ITALY. Line engraving after Gérard. Apell p. 251, No. 35. Third state. The inscription in unshaded script. Very fine impression with margin. LOWENSTAM, LEOPOLD 234. AN APODYTERIUM. Etching after Alma Tadema. Re- marque proof on Japanese paper, signed by both artists. Limited to 300 impressions. 235. THE SECRET. Etching after Alma Tadema. Remarque proof on thin Japanese paper, signed by both artists. LUBIN, JACOB 236. JEROME VIGNIER. Composer of the first Oratorium; JEAN DE LAUNOI. Physician to the House Navarra; N. BARON DE SACKEN. Engraving by Velyn after Noireterre. (3.) LUM, BERTHA 237. JAPANESE FISHERMEN, 1912. Color-woodcut. Printed and signed by the artist. Second Session, Monday Evening, January 17th LUM, BERTHA. (Continued) 238. JUNKS. 1912. Color-woodcut. Printed and signed by the artist. 239. RAIN. 1912. Color-woodcut. Printed and signed by the artist. McARDELL, JAMES 240. MR. GARRICK AND MRS. CIBBER in the Characters of Jaffier and Belvidera. Mezzotint after Zoffany. Smith II. p. 864, No. 81. Second state, with all inscription. Early impression with margin. | McRAE, JOHN C. 241. HENRY WARD BEECHER. Engraved in mixed manner after IT’. Hicks. Artists’ proof on India paper. MANDEL, EDUARD 242. LA BELLA DI TIZIANO. Laine engraving after Titian. Apell p. 259, No. 21. Print on plain paper. MARCENAY DE GHUY, ANTOINE 243. VICTOR DE RIQUETTY, MARQUIS DE MIRABEAU. Etching after Aved; A VAN DYCK. Line engraving after Van Dyck. PRINCE EUGENE OF SAVOY. Line engraving. (3.) MARRIOTTE, F. 244. CAESAR’S TOWER, Provins. fPainter-etching. Signed proof printed in colors on Creswick paper. 245. CHATEAU NEAR FONTAINEBLEAU. Painter-etching. Signed proof printed in colors on Creswick paper. . 246. A NORMANDY FARM. Painter-etching. Signed proof printed in colors on Torchon paper. 247. OLD HOUSE NEAR LOCHES. Original soft-ground etch- ing. Signed proof printed in colors, on Creswick paper. Second Session, Monday Evening, January 17th MASSON, ANTOINE 248. LOUIS VERJUS, Comte de Crécy, from life. 1679. One of the Ambassadors plenipotentiary of Louis XIV. to Peace Conference at Riswyck. Robert-Dumesnil II., 28. Sec- ond state; with the inscription. 249. MARIN, CUREAU de la CHAMBRE (PHYSICIAN TO THE KING). Engraved 1665 after P. Mignard. Rob- ert-Dumesnil II., 24. First state, before the cross hatch- ing on the cheek. One of the engraver’s chef-d’oeuvres. Very fine impression. on paper with the watermark ‘“Mon- ogram of Christ and 5 Nails in Circle.” Small margin. 250. PIERRE DUPUIS, FLOWER PAINTER. Engraved 1663 after N. Mignard. Robert-Dumesnil IL, 25. Third state. Good old impression with big margin. 251. ALEXANDER DUPUY, Marquis de Saint-André-Montbrun, Son of Charles Dupuis-Montbrun one of the bravest of Calvinist captains. Robert-Dumesnil II., 26. Third state. No margins. MASTER F. C. 252. ORNAMENTAL PLATE OF LEAVES WITH WINGED GENIUS AT BASE. 15384. Bartsch IX., 18. Fine, old impression with a small margin and otherwise well preserved. MATHAM, THEODOR 258. JACOB BARON DE WASSENAER, Governor and Admiral of Holland and West Frisland. Line engraving after a painting by A. Hanneman. Good old impression on pa- per with the watermark “Crowned Ring with the Lion of Flanders and below the letters W. I.” MAZZUOLI (FRANCESCO), called PARMEGGIANO 254. VICTORY OF VERTUE. Original etching. Bartsch XVLI., 17. From the Pierre Mariette and Ernest Devaulx col- lections. Second Session, Monday Evening, January 17th MEISSONIER, J. L. E. 255. AN ILLUSTRATION TO “RABELAIS” Painter-etching. Proof on old laid paper. Big margin. Very fine. MELLAN, CLAUDE 256. CARDINAL JULES MAZARIN. Line engraving from Life. Old impression on paper watermarked “Mounted Cross and the letters I. D.”? Oil stain in the framework. MILLER, JOHN D. 257, LETTY. Mezzotint after Sir Frederick Leighton. Lettered proof on India paper. Very fine. MORACH, C. 258. ANGELICA KAUFFMANN. Line engraving after Sir Josh- ua Reynolds. Andresen II. p. 186, No. 9. Proof with unshaded capitals. Large paper copy. MORAN, THOMAS (American Etcher) 259. MULFORD’S ORCHARD, Easthampton 1883. Painter- etching, signed proof on vellum. MORGHEN, RAPHAEL 260. ANGELICA AND MEDORO. Line engraving after T. Mat- teini. Halsey pp. 12/718, No. 11. Fourth state. 261. THE LAST SUPPER. Line engraving after Leonardo da Vinci. Halsey pp. 68/72, No. 84. Intermediate state be- tween the 5th and 6th, with the dot under the “R” in Raphael, but with the dark cloud, seen through the centre window, almost touching Christ’s Head. Before the gen- eral retouch of the 6th state. Fine impression with full margins. Second Session, Monday Evening, January 17th MULLER, JOHANN GOTHARD VON 262. JEAN GEORGES WILLE. Engraved 1776, after J. B. Greuze. Andresen II., 8. Small margin. MULLGARDT, L. C. 263. MISSION AT CARMEL, CALIFORNIA. 1914. Original lithograph. Signed proof on heavy laid paper of a dark cream color. NANTEUIL, ROBERT 264. PIERRE DU CAMBOUT, Cardinal de Coislin. Engraved from life. 1658. Robert-Dumesnil IV., 69. First state; before the date was changed to 1664. Fine impres- sion on paper with the watermark ‘“‘Orb, surmounted by a Cross.” With a small margin. rc 265. JEAN LOUIS CHARLES D’ORLEANS-LONGUEVILLE, Comte de Dunois. Robert-Dumesnil IV., 86; CHARLES PARIS DPORLEANS-LONGUEVILLE, Comte de Saint- Paul. Robert-Dumesnil IV., 219. Both oval and reversed copies of the portraits only, bearing in the lower margin o4 the following inscriptions in three lines: (No. 86) “R. NG Nanteuil sculp.| Le GRAND TURENNE.| DANS SA JEUNESSE.” (No. 219) “R. Nanteuil Sculp.| D’OR- LEANS FILS.| DU DUC DE HONGRIE. (2.) 266. GASPARD DE FIEUBET, First President of the Parliament of Toulouse. From Life 1654. Robert-Dumesnil IV., 96. ,f Only one state known. Very fine impression on paper with \s = the watermark ‘Monogram of Christ”—Wibiral, 8. Closely trimmed. 267. HENRI de GUENEGOUD, Marquis de Plancy, Secretary of state; after Philip de Champaigne. 1654. Robert-Du- mesnil IV., 106. Second state; with the order of the St. | Esprit. Fine impression, closely trimm d_the two upper corners repaired. Second Session, Monday Evening, January 17th NANTEUIL, ROBERT. (Continued) 268. PIERRE JEANNIN, Superintendent of the Finances. EN- GRAVED FROM LIFE 1656. Robert-Dumesnil IV., 112. Only one state known. Fine impression on paper with the watermark ‘Tablet with the letters G. B.” and a daisy above it. This mark appears on the same sheet of paper with the “Interlaced Cs” and a coat-of-arms. Closely. trimmed ; the third line of the inscription almost completely cut off 269. LOUISE MARIE DE GONZAGA. Queen of Poland and Swe- den. Engraved 1653 after Juste. Robert-Dumesnil IV., / 164. Second state; with ‘“‘Loyse” on the upper part of the oval frame. Laid down on account of a tear in the framework. No margin. Rare. Ni ate oneal 270. CARDINAL JULES MAZARIN, Minister of State. En- graved from life 1656. Robert-Dumesnil IV., 178. Only one state known. Fine impression on paper with the J Jt watermark “Coat-of-arms of Louis XIII.” Without any. 271. CARDINAL JULES MAZARIN, Minister of State. FROM LIFE. 1656. Robert-Dumesnil IV., 179. Only one state v known. Fine impression, closely trimmed. 272. HENRI de LORRAINE, Marquis de Mouy. Engraved from life. 1651. Robert-Dumesnil IV., 197. First state; be- | fore the inscription on the border. A very fine impression v with margin. 273. JEAN FRANCOIS PAUL DE GONDI, Cardinal de Retz. Engraved from life. 1650. Robert-Dumesnil IV., 217. Second state; the plate has been cut down. Fine impres- Y sion on paper with the watermark “Grape” and below it i the initials “G. A.” With margin. 274. JEAN FRANCOIS SARRASIN. Poet. Drawn from life 1649, engraved 1656. Robert-Dumesnil IV., 220. Third state; with two vertical lines in the margin. Good im- \X wv pression with margin. Second Session, Monday Evening, January 17th [NAPOLEON L.] 275. PORTRAIT OF NAPOLEON; Bust. Lithograph by G. 276. ath fe Perisco. From the Childs and Inman Press. First folio American lithograph. Lightly colored. Very rare. NAPOLEON ON ST. HELENA. Lithograph by Weber after Vaffiard. On India paper; NAPOLEON MEETING HIS GENERALS IN THE ELYSIAN FIELDS. Aquatint. Proof before all letters; GLORIFICATION OF NAPO- LEON. Aquatint. Proof before all letters. (3.) A REPRESENTATION OF THE PRESENT STATE OF EUROPE. Colored wood engraving published 1804 bv L. Mayer. A satirical print; THE CAPITULATION OF ULM. Colored lithograph printed by Kaeppelin. (2.) . APOTHEOSIS OF NAPOLEON. Mezzotint by J. P. M. Jazet after H. Vernet. First state. Proof before all let- ters. . LE MAGISTRAT DU VERBE DEVANT LE. VERBE. Lithograph by Tony Touillon. Very rare. . COLUMN VENDOME. Satirical etching in Gillray’s man- ner. Colored. ‘[NAPOLEON I. AND III.] 281. SILVER SPURS. Pair of Silver Spurs used by Napoleon I. With hall-mark, one repaired; NAPOLEON III. Pair of Gilt Spurs used by Napoleon III. at balls and court ceremonies. ‘Together, 4 pieces, mounted in one box, with glass front. The following authentication is in the hand- writing of Nathan Appleton of Boston, dated and signed, April 11, 1€95,—“TI obtained them both from a man who had been coachman to Napoleon III, and who saved them in his private study of the Tutleries before the palace was entered and pillaged by the Commune and subsequently burned in part.” Second Session, Monday Evening, January 17th [NAPOLEON I. AND MARIE LOUISE] 282. SIGNATURE AND DOCUMENT SIGNED. Autograph Signature of Napoleon, as First Consul of the Republic; MARIE LOUISE. D.S., 1p, 4to, St. Cloud, May 8, 1812, her appointment as patroness of the Society of Maternal Charity. Signed by the Grand Almoner of the Empire, Cardinal Louis, Bishop of Versailles (Sec’y); MONTE- BELLO (DUCHESS). A.D., third person, Ip. 4to, with address. September 9, 1818. To the Baroness de Men- eval, regarding an interview with the Queen; BERT- RAND (GENERAL). A.N. third person. To Baron de Meneval, notifying him of having brought back a branch from the willow tree at Napoleon’s grave, below are two poems, the first signed by Baron de Meneval, the second headed, “‘Vers de Victor Hugo;” BEAUMONT (M. DE). A.D., signed in third person. Malmaison, October 18, 1809. To Madame de Meneval, informing her by the Em- press’ orders of the signing of peace; MARIE LOUISE. A. L. S., lp. 8vo. January 14, 1816. To Madame de Meneval, returning thanks for New Year greetings; Piece of red taffeta given by the Empress, Marie Louise, August 22, 1813, to the Baroness de Meneval. ‘Together, 8 pieces, mounted and framed as one piece, with glass. Size 2214 by 37 inches. [NEW YORK CITY] 283. BROADWAY. West side from Battery to Fulton Street, 1858. Lithograph, colored and uncut. 284. CENTRAL PARK. Looking South from the Observatory. 1859. Lithograph printed in oil colors by H. Crate, 181 William St., New York. NORBLIN DE LA GOURDAINE, JEAN PIERRE 285. JOHN PREACHING IN THE WILDERNESS. Etching in Rembrandt’s manner. His last and largest plate. Andre- sen II. p. 233, No. 7. Full margins, with tear in the lower. Second Session, Monday Evening, January 17th OUDRY, JEAN BAPTISTE 286. ILLUSTRATIONS TO THE “ROMAN COMIQUE?” by Paul Scarron. Etchings finished with the burin. Robert-Dumes- nil IT. p. 201-5, No. 57 to 63 and 65. Third state (of 5) before the numerals. (8.) PENCZ, GEORG 287. THE TAKING OF CARTHAGE. Line engraving after Giu- lio Romano. Bartsch VIII, No. 86. Second state (of 4), with Salamanca’s Address. This is the largest plate engraved by one of the “‘Little Masters.””> From the Nahl collection. PENNELL, JOSEPH 288. CALIFORNIA STREET AT SUNSET, SAN FRANCISCO. Painter-etching. Artist’s proof printed on greenish laid paper, signed by the etcher. 289. CANAL FAIR FOG; SAN FRANCISCO. Painter-etching. Artist’s proof printed on a greenish laid paper, signed by the etcher. 290. THE CATHEDRAL; PANAMA. Painter-etching. Artist’s proof printed on Dutch paper of about 1830, watermarked “Shield with the Lion of Flanders, the letters M. C. and the date,” signed by the etcher. 291. THE DEBACLE OF THE DE LESSEPS PANAMA. Paint- er-etching. Artist’s proof printed on laid paper of about 1830, signed by the etcher. 292. THE JAWS OF THE CANYON; GRAND CANYON, COL. Painter-etching. Artist’s proof printed on old laid paper, watermarked with a “Grape,” signed by the etcher. Second Session, Monday Evening, January 17th PENNELL, JOSEPH. (Continued) 293. ON TELEGRAPH HILL; SAN FRANCISCO. Painter-etch- ing. Artist’s proof printed on Dutch paper of 1830, wa- termarked “Shield with the Lion of Flanders, the letters M. C. and the date” signed by the etcher. 294. UNBURNT TELEGRAPH HILL. Painter-etching. Artist’s proof printed on laid paper of about 18380, signed by the etcher. 295. THE AMERICAN QUARTER. P. No.1. From the Panama Set. Original lithograph printed on French paper, water- marked “M. B. M. (France) Ingres d’Arches,”’ signed by the artist. 296. THE BLACK CLIFFS, GRAND CANYON. Original litho- graph printed on Italian paper watermarked “Ingres P. M. F. (Italia)”, signed by the artist. 297. THE BUTTRESSES, YOSEMITE. Original lithograph printed on Italian paper watermarked “Fabriano (Italy)”, signed by the artist. 298. THE CATHEDRAL DOOR, YOSEMITE. Original ltho- graph printed on Italian paper watermarked “Ingres P. M. F. (Italia)’’, signed by the artist. 299. NIGHT IN THE VALLEY YOSEMITE. Original ltho- graph printed on Italian paper watermarked “Ingres P. M. F. (Italia)”, signed by the artist. 300. LONDON BRIDGE. Original lithograph. 301. INDIA IN LONDON. Original lithograph. PETHER, WILLIAM 302. A JEW RABBI. Mezzotint after Rembrandt. Smith II. p. 991, No. 89. Third state. Closely trimmed. Second Session, Monday Evening, January 17th PHILLIPS, G. H. 3038. THE CRICKET MATCH between Sussex and Kent at Brigh- ton. Engraving in mixed manner after Wm. Drummond and Chs. J. Basébe. Open letter proof on plain paper. With key. PIRANESI, FRANCESCO 304. CASTEL S. AUGELO; TEATRO DI MARCELLO; TER- EME DI CARACALLA; ARCO DI NERONE. Original etchings. ( 4.) PLATT, CHARLES A. 305. AFTERNOON ON THE RIVER MEUSE. Original etching. Signed proof on Japanese paper; laid down. POILLY, FRANCOIS DE 306. LOUIS XIV, WHEN YOUNG. Engraved after J. Nocret. LeBlanc III., 89. Very good impression with small mar- gin. Rare. POILLY, NICOLAS DE 307. LOUIS DUC DE BOURBON, PRINCE DE CONDE alled “Te GRAND CONDE.” Line engraving. Le Blanc III, 38. Old impression on paper with an indistinct water- mark. Margin, slightly rubbed. Rare. 308. EMMANUEL JOSEPH DE VIGNEROT DE RICHELIEU, ABBE DE MARMOUTIER. Nephew of Cardinal Richelieu. Engraved from life. LeBlanc IL, 57. First state, before the name of the personage. Very fine im- pression on paper with the watermark “Grape and Ring.” Closely trimmed. Second Session, Monday Evening, January 17th POILLY, NICOLAS DE. (Continued) 309. JACQUES TUBEUF; PRESIDENT OF THE COURT OF ACCOUNTS. Engraved after P. Mignard. LeBlanc IIL, 59. Very good impression on paper with the watermark “Grape.” 310. ANNE MARIE LOUISE D’ORLEANS, MLLE. DE MONT- PENSIER (La GRANDE MADEMOISELLE) as MIN- ERVA. Engraved from life. Dutuit, Graveurs de por- traits II., 1981. Second state. Very good impression. No margin. POMPADOUR, MADAME DE 311. SPRING. Original etching. 1752. Fine impression. Ac- cording to Portalis and Beraldi, Madame de Pompadour was the most talented amateur of her time. PREISLER, VALENTIN DANIEL 312. A JEW BRIDE. Mezzotint after Rembrandt. With margin, very rare. [QUEEN VICTORIA] 313. LETTER SIGNED. Ip. 4to, Osborne House, November 26, 1851. To My Good Sister, The Queen of Sardinia, re- calling Sir Ralph Abercromby for service elsewhere. With 2 engraved portraits of Queen Victoria. 'The three pieces, neatly mounted in one gilt and walnut frame, with glass. Size 3714 x 22 inches. Suspended from top of frame is a Victoria silver medal, “Burma 1885-7.” RAJON, PAUL 314. PORTRAIT OF PABLO DEL SARASATE, Celebrated Span- ish Violinist. Original lithograph. Beraldi XI. p. 167. Addition. Original issue. Second Session, Monday Evening, January 17th REDGRAVE, R. 315. ILLUSTRATIONS TO GOLDSMITH’S “DESERTED VILLAGE.” Painter-etching. Proof on India paper. From the John T.. Wilson collection. REMBRANDT VAN RIJN 316. 317. 318. 319. 320. 321. THE RAISING OF LAZARUS; the smaller plate. 1642. Original etching. Bartsch, 72. Second state; the delicate ines on the forehead and back of the neck of Lazarus have disappeared. THE DESCENT FROM THE CROSS; by TORCHLIGHT. 1654. Original etching. Bartsch, 83. Only one state known. RETURN OF THE PRODIGAL. Original etching. Bartsch, 91; BEGGAR. Original etching by Charles Jacque. Guiffrey, 31; HEAD OF A MAN. Original etching marked E. G. 61. On loose India paper bearing Burty’s early stamp. (3.) STONING OF ST. STEPHEN. Original etching. Bartsch, 97; PEASANT LAUGHING. Original etching by Van Ostade, and three others. (5.) THE DEATH OF THE VIRGIN. 1639. Original etching. Bartsch, 99. Fourth state. DIANA AT THE BATH. About 1681. Bartsch, 201. Early impression, before the retouch. On paper showing the watermark “Monogram of Christ” which appears on the same sheet of paper together with the ‘Crowned Shield with a Lily and the Monogram W. R.” Webiral, 8. This print also bears the collector’s mark “G. A.” writ- ten in ink. From the H. Ohse collection. Second Session, Monday Evening, January 17th REMBRANDT VAN RIJN. (Continued) 322. 323. 324. 325. 326. 327. BEARDED MAN (REMBRANDT’S FATHER?) IN A FURRED ORIENTAL CAP AND ROBE: HALF LENGTH. 1681. Bartsch, 268. Fourth state; the width of the plate is 128 mm. Good impression with small margin. ABRAHAM FRANCZ. Art dealer. Painter-etching. Bartsch No. 273. Ninth state. On paper watermarked “PAS- ERVE.” With margin. JAN LUTMA the Elder, Goldsmith and Sculptor. Painter- etching. Bartsch, No. 276. Third state, on paper with the water mark “PASERVE.” Small margin. LIEVEN WILLEMSZ VAN COPPENOL, WRITING-MAS- TER: THE LARGER PLATE. About 1658. Bartsch, 2€3. Sixth state, the head only. Small margin. From the E. Devaulx collection. THE WHITE NEGRESS. About 1635. Original etching. Bartsch, 357. Second state. The size of the plate has been reduced, so that the monogram is lost. Very good impression with margin. PORTFOLIO CONTAINING 18 REPRODUCTIONS OF REMBRANDT’S LARGER ETCHINGS. From the illustrated edition of Charles Blanc’s “L’Oeuvre de Rem- brandt.”’ REYHER, ROBERT 328. MARIA MANCINI. Line engraving after Pierre Mignard. Apell p. 356, No. 11. Print on plain paper. REYNOLDS, 8S. W. 329. THE RIGHT HONOURABLE LORD #£VISCOUNT O’NIELL. Mezzotint after Wim. Peters. Closely trimmed. Second Session, Monday Evening, January 17th RICHETON, LEON 330. MORNING BY THE SEA. Etching after George Wether- bee. Remarque proof on vellum, signed by both artists. ROBERTS, PIERCY 331. BRITISH ADMIRALS. Stipple after Hoppner, Cosway, Clarke, Brown and Abbot. ROMANET, ANTOINE LOUIS 332. JEUNE FEMME AU BAIN. Line engraving after Carle Van Loo. Portalis and Beraldi II. p. 409. Proof before letters. In French mat. SADLER, W. DENDY 333. RIVALS. Etching by C. Gaujean. Artist’s proof on vellum paper, signed by both artists. SCHMIDT, GEORGE FRIEDRICH 334. J. OFFRAY DE LA METTRIE. PHYSICIAN. Engraved from life. Jacoby, 76. Very good impression with big margin. 335. ANTOINE PESNE. Line engraving after himself. J. E. Wessely, No. 83. Second state, showing the three dots in the margin near the left lower corner. Big margin. 336. PORTRAIT OF A MAN WITH A PLUMED HAT. Etch- ing after G. Flinck. J. E. Wessely, No. 186. Second state; the shading of the background to the left of the head touches the hair. Very fine; small margin. 337. THE DUKE OF GELDERS threatening his Father-in-Law. Etching after Rembrandt. J. E. Wessely, No. 137, Second state of (8); before the horizontal lines on the keyhole. Fine impression, with margin. Second Session, Monday Evening, January 17th SCHMIDT, GEORGE FRIEDRICH. (Continued) 338. THE DUKE OF GELDERS THREATENING HIS FA- THER-IN-LAW. Etching after Rembrandt. J. E. Wes- sely, No. 187 reversed copy. SARAH GIVING HAGAR TO ABRAHAM. Etching after Dietricy. J. E. Wessely, No. 157. The two upper corners repaired. THE JEW BRIDE. Etching after Rembrandt. J. E. Wessely, No. 189. Fourth state of (5); before the accent on the “e” in “d’apres.”” With margin; fine. (3.) SCHGENGAUER, MARTIN 339. THE CRUCIFIXION. Bartsch, VI, 25. Good impression of medium quality. The plates by this master, particu- larly the larger ones, are very difficult to obtain. On paper with the watermark “The Coat-of-Arms of the Bishop of Osnabruck.” With a small margin; three small tears repaired. 340. ST. GEORGE KILLING THE DRAGON. Circular. Bartsch VI., 51. Very good impression of a very rare plate; closely trimmed. 341. THE VIRGIN APPEARING TO ST. JOHN ON PATMOS, WHILE WRITING THE APOCALYPSE. Bartsch, VI. 55. Very good impression. The right upper corner is replaced by another paper. SCOTT, JAMES 342. THE DERBY CABINET, deciding upon the expedition to Abyssinia. Engraving in mixed manner after Henry Gales. Print on plain paper. SEYDEL, HANS 343. G. MOMMSEN. CELEBRATED GERMAN HISTORIAN. Etching from life. Signed artist’s proof on Van Gelder paper. Limited to 25 impressions, of which this is No. 23. Second Session, Monday Evening, January 17th SHARP, WILLIAM 344. THE SORTIE MADE BY THE GARRISON OF GIBRAL- TAR IN THE MORNING OF THE 27 of November 1781. Line engraving after John Trumbull. W. 5. Baker, 23. Intermediate state between the 4th and 5th, with shaded inscription, but before it was changed into German. Fine, full margin. 345. THE RIGHT HONBLE ROBERT DUNDAS. Line engrav- ing after H. Raeburn. W. S. Baker, 43. Third state. Open letter proof. Very fine with full margin. 346. SAMUEL MORE. Line engraving after Benjamin West. W. S. Baker, 65. Second state. SIMON, PIERRE 347. CARDINAL JACOPO ROSPIGLIOSI. Line engraving after Carlo Maratti. 1669. Le Blanc, 35. Good old impres- sion on paper with the watermark “Monogram of Christ and 8 nails.” Closely trimmed and folded. SIMON, T. FRANCOIS 348. FACADE DE LA CATHEDRALE A ROUEN. Original etch- ing. Artist’s proof No. 79 on Van Gelder paper, printed by the etcher himself. Signed, stamped and numbered. 349. NOCTURNE DE NOTRE-DAME, Paris. Painter-etching. Signed proof No. 33, printed in a deep brown ink on Van Gelder paper; numbered and stamped. 350. PETITE RONDA; Espagne. Painter-etching. Signed proof No. 16 on Van Gelder paper; numbered and stamped. ‘econd Session, Monday Evening, January 17th SIMONNEAU LAINE, CHARLES 351. THE PORTRAIT OF LOUIS XIV, is shown by Mercury to History and Time. Engraved after H. Rigaud and A. Coypel. LeBlanc, 11; THE PORTRAIT OF LOUIS XIV. Held by Minerva. Engraved after H. Rigaud and A. Coypel. LeBlanc, 138. Very fine; LOUIS XIV. Engraved by N. de Larmessin. LeBlanc, 59; LOUIS XIV. WHEN A CHILD. Engraving. S. Kloeting exc. Delf; rare; LOUIS XIII. Engraved after Ph. de Champaigne by De Lorraine. (5.) 352. LOUIS MAIMBOURG, engraved after Nivellon. No margin; JEAN BART, engraved by P. Alix Tardieo. Deckel edge; CHARLES DUC DE BOURBON, Connétable de France, engraved by Thos. de Leu. R. D. No. 328. Big margin; NICOLAS FOUCQUET, engraved by F. de Poilly after C. Le Brun. Title to Vol. IV. of “Renati Rapini soc. Jesu Hortorum.” From the W. Sharp collection; Le Grand Turenne. Engraving. (5.) SLOCOMBE, FREDERICK 353. WHERE THE POPLARS KISS THE SKY. Original etch- ing. Signed artist’s proof on Whatman paper. SOLIS, VIRGIL 354. THE PLANETS. FIVE OF THE SEVEN PLATES. Bartsch [X., 163-169. Cut and mounted. One repaired; VARIOUS LANSQUENETS. Four plates of 12. Nag- ler XVII., 245-255; VARIOUS PORTRAITS IN ME- DALLIONS, 15 pieces. Nagler XVII., 489, 452 and 455. (3 sheets.) STEINLA, MORITZ MULLER VON 355. SISTINE MADONNA. Line engraving after Raphael. Apel! p- 406, No. 2. Second state. Remarque proof without the artist portrait, in the margin; with the engraver’s stamp. On India paper. Browned, with two tears in the margin. Second Session, Monday Evening, January 17th STOCK, ANDRIES 856. LUCAS VAN LEYDEN. Line engraving after van Leyden himself. Good old impression, closely trimmed and the two lower corners cut off. STRANG, W. 357. PORTRAIT OF JOACHIM, the Celebrated German Violinist. Painter-etching. Proof on Whatman paper. . a, is Second Session, Monday Evening, January 17th VARIOUS ENGRAVERS. (Continued) Raphael’s fresco painting in the Villa Farnese; THE NYMPH ERIGONE. Line engraving by C. Vermeulen after Guido Reni; VUE DE TIVOLI. Line engraving by Dequevauviller after Van der Werff. (5.) 384. THE ADORATION OF THE MAGII. Engraved by Crispin de Passe. Very fine; CRESCENTIS AMORES after P. P. Rubens. Engraved by Cornelis Galle; LAND- SCAPE, Engraved by J. G. Wille; PEASANTS CON- VERSING IN A STABLE, Etcher unknown; WOMAN SEATED, HOLDING A JUG. Original-etching by C. bega; Dutuit LV. p. 20., 12. (a3) 385. JUPITER SENDING OUT MERCURY TO BRING PSY- CHE TO OLYMPUS. From the Fable of Psyche by the Master B of the die. Bartsch XV., 67; THE VIR- GIN STANDING ON THE GLOBE, SURROUNDED BY ANGELS. Etching by Raphael Sciamonossi. Bartsch XVII., 86; APOLLO FLAYING MARSIAS. Engraving by Melchior Meier. 1581. Bartsch XVI. p. 247. Laid down. From the T. Kerrick Collection; SI- LENUS. Engraving by Agostino Veneziano. Bartsch XV., 240. With Salamanca’s address. Duplicate of the Stadel’sche Institute, also from a collection not mentioned by Fagan. THREE MUSES. Engraving by Giorgio Ghisi after Primaticcio. Bartsch XV., 37. From the Griggs Collection. (53) 386. A BACCHANALIAN. Line engraving by C. Faucci after P. P. Rubens; CARD PLAYERS. Line engraving by C. D. Jardinier after M. Valentin; A TRITON. Etching by J. Goupy after Salvator Rosa; DAY DREAMS. En- graving in mixed manner by John Ballin after A. Mac- Lean. Proof before letters on India paper; YES OR NO. Etching by A. Gravier after W. Oliver. Remarque proof on etching paper, slightly browned; OLD WOMAN WITH A BOOK. Etching by L. V. Campen. (6.) Second Session, Monday Evening, January 17th VERNET, JOSEPH 387. FISHING. Seven Marine Views.. Engraved by Francisco Pedro. Ge) VIDAL, GERAUD 388. L’AMANT SURANNE. Etching finished with the graver after Carle Van Loo. Fine impression but closely trimmed. VIEL, PIERRE 389. DIANE AU BAIN. Line engraving after P. Mettay. Por- talis and Beraldi ILI. p. 617. In French mat. WARD, JAMES 390. LIEUT. GENL. SIR ROBERT LAURIE. Mezzotint after Wm. Owen. Smith IV. p. 1450, No. 29. Second state, very fine, with wide margins. WALKER, JAMES 391. HANNAH INSTRUCTING HER SON SAMUEL. Mezzo- tint after Rembrandt. Smith IV. p. 1438, No. 25. WALKER, WILLIAM 392. THE ABERDEEN CABINET, deciding upon the expedi- tion to the Crimea. Engraving in mixed manner after John Gilbert, Print on plain paper, repaired. Second Session, Monday Evening, January 17th WASHBURN, CADWALLADER 393. ‘THE following are original lithographs all printed on Eng- lish paper watermarked “D” in a diamond shaped frame and below it “Queen Laid.” They are all signed by the artist. To be offered separately. . BUILDING THE DOME THE DOORWAY THE ENTRANCE—LIBERAL ARTS BUILDING . THE FLAGSTAFF . SUNSHINE AND SHADOW Hoan > (WASHINGTON, GEORGE] 394, PORTRAIT. Line engraving by Chevillet after Charles Wil- son Peale. Hart, 29. Fine impression with margin. 395. PORTRAIT. Line engraving by T. Kelly after Gilbert Stuart. Hart, 656. ‘Tears in the margin. 396. WASHINGTON AND HIS GENERALS. Engraving in mixed manner by A. H. Ritchie after his own drawing. Print colored by hand. With key. [Companion to No. 397. | 397. LADY WASHINGTON’S RECEPTION. Engraving in mixed manner by A. H. Ritchie after D. Huntington. Print colored by hand. [Companion to No. 896. | WATERCOLOR DRAWING 398. ANGEL CARRYING A CHILD TO HEAVEN. Size 414 x 614 inches. WATSON, JAMES 399. MRS. COLLIER. Mezzotint after Joshua Reynolds. Smith IV. p. 1500, No. 382. Second state; fine impression with full margins. Second Session, Monday Evening, January 17th (WEBSTER, DANIEL] 400. WEBSTER AT FRANKLIN, The Home of his Childhood. Lithograph after a Daguerreotype by Whipple. Laid down. WHISTLER, JAMES ABBOTT McNEILL 401. LA RETAMEUSE. Painter-etching. One of the “Twelve etchings from Nature.” Kennedy, 14. Second state. Fine impression on thin Japanese paper. From the Drouet collection. 402. READING IN BED. Painter-etching. Kennedy 28. Sec- ond state, fine impression on heavy Japanese paper. WIERIX, JEROME 403. CHRIST ENTERING JERUSALEM. Alvin, 1594; the smaller plate; TWO SOLDIERS IN CONVERSATION | WITH A DRUMMER. Alvin, 1557; TWO PLATES OF THE VIRTUES AND VICES (Nos. 1 and 3) ; THE CRUCIFIXION AND THE ENTOMBMENT. (5.) 404. B. IGNATIUS LOYOLA, FOUNDER OF THE ORDER OF THE JESUITS. Line engraving. Alvin, 1938. Very fine impression with big margin. WILLE, JEAN GEORGES 405. TRICOTEUSE HOLLANDOISE. After F. Mieris. Le- Blanc, 64. Second state; LA CUISINIERE HOLLAN- DOISE. After Metzu. LeBlanc, 67. Second state. Line engravings. Both laid down. (25) 406. MAURICE DE SAXE. Laine engraving after H. Rigaud. LeBlanc p. 95, No. 121. Second state; with the inscrip- tions. Fine early impression with margin. Second Session, Monday Evening, January 17th WILLE, JEAN GEORGES. (Continued) 407. JOSEPH PARROCEL. Painter. Line engraving after H. Ri- gaud. LeBlanc pp. 101/102, No. 128. Second state; with all the inscriptions. Fine impression, with big mar- gin. WOODCUTS 408. DIANA AND ACTEON, ATTRIBUTED TO PETER FLOTNER. Printed from two blocks, joined in the cen- ore. 409. ILLUSTRATIONS TO THE NEW TESTAMENT. Wood- cuts by Virgil Solis with separate borders, some of which also bear Solis’? monogram. (14.) WOOLLETT, WILLIAM 410. A VIEW OF THE ISLAND OF HUAHEINE; A TOUPA- POW WITH A CORPSE. Engravings after Hodges. Fagan, 81 and 88; A GAME OF CHESS WITH THE DEVIL. Etching by W. B. Annin after M. Retzsch. 1831; DIANA AND HER NYMPHS SURPRISED BY ACTEON. Aquatinted etching by R. Earlom; ADOR- ING ANGEL. Line engraving by Antoni Oleszcynski after LeBrun. (5.) WORLIDGE, THOMAS 411. TWO ANTIQUE GEMS. Etchings. (On a single sheet.) 412. A COLLECTION OF 29 ETCHINGS AFTER ANTIQUE GEMS; many of the impressions with deckel edges. (29.) WORTHINGTON 418. JOHN DALTON, THE EMINENT PHYSICIST. En- graved after Allen. Printed on India paper. Water- stained. Second Session, Monday Evening, January 17th WRENK, FRANZ 414. JOSEPH GABRIEL FUGER, Senior Minister at Heilbronn. Mezzotint after H. F. Fiiger. Andresen II. p. '757, No. 14. Second state, with large margin. YACHTING 415. THE FINISH of the American Cup Race off Sandy Hook. Sept. 16th, 1885, between the Sloop “Puritan” and the English Cutter “Genesta.” Cromolithograph after Wm. F. Halsall. Laid down. ZORN, ANDERS 416. THREE SISTERS. 1913. Painter-etching. Not in Del- teil’s Catalogue. Signed proof in a warm brownish ink on Van Gelder paper. 417. ELIN. 1918. Painter-etching. Not in Delteil’s Catalogue. Signed proof in a warm brownish ink on Van Gelder paper. 418. THE FENCE. 1913. Painter-etching. Not in Delteil’s Cat- alogue. Signed proof in a warm brownish ink on Van Gelder paper. 419. BURSECK. 1914. Painter-etching. Not in Delteil’s Cata- logue. Signed proof in a warm brownish ink on Van Gel- der paper. AMERICAN ART ASSOCIATION, MANAGERS. THOMAS E. KIRBY, AUCTIONEFR. 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 Pe BLIC SALES ARE EPFECTED A NOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY we COMPOSITION, PRESSWORK. 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