1599 @ ORIGINAL DRAWINGS BY THE OLD AND MODERN MASTERS THE COLLECTION OF CHARLES HUARD 7, Ob WITH A COLLECTION OF WHISTLER LITHOGRAPHS FROM LONDON TO BE SOLD FRIDAY EVENING, APRIL SIXTEENTH AT EIGHT-FIFTEEN O’CLOCK THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent] PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK 1920 LIBRARY M. KNOEDLER & CO. 556-8 Fifth Ave, New York ANTOINE WATTEAU [NUMBER 53, | SALE NUMBER 1488 ON FREE PUBLIC EXHIBITION FROM SATURDAY, APRIL TENTH ORIGINAL DRAWINGS BY THE OLD AND MODERN MASTERS THE COLLECTION OF CHARLES HUARD WITH A COLLECTION OF WHISTLER LITHOGRAPHS FROM LONDON TO BE SOLD FRIDAY EVENING, APRIL SIXTEENTH AT EIGHT-FIFTEEN O’CLOCK THE ANDERSON GALLERIES [MITCHELL KENNERLEY, PRESIDENT] PARK AVENUE AND FIFTY-NINTH STREET. NEW YORK 1920 CONDITIONS OF SALE All bids to be PER LoT as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased to be immediately resold. Purchases to be taken away at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible if the lot or lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the purchaser, and subject to storage charges. To prevent inaccuracy in delivery, and inconvenience in the settle- ment of purchases, no lot will be delivered during the sale. All lots will be exposed for public exhibition in The Anderson Gal- leries before date of sale, for examination by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuineness, or for any defect or fault in or concerning any lot, and makes no warranty what- ever, but will sell each lot exactly as it is, WITHOUT RECOURSE. Bips. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by other bids. The Anderson Galleries, Incorporated, will afford every facility for the employment of carriers and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. THE ANDERSON GALLERIES INCORPORATED PARK AVENUE AND FIFTY-NINTH STREET NEW YORK TELEPHONE PLAZA 9356 CATALOGUES ON REQUEST SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN ee SALE FRIDAY EVENING APRIL SIXTEENTH, 1920 BEGINNING AT 815 O'CLOCK BOUCHER (FRANCOIS) 1704-1768 1 STUDY FOR AN ALLEGORY OF ABUNDANCE Black chalk, touched with white, on gray paper. 11% inches x 14 inches BOUDIN (EUGENE) 2 SAILING BOAT Water-color. 5¥4 inches x 8 inches BOZE 3 A YOUNG GIRL SEATED Crayon and red chalk. A charming composition, showing a very young girl, wearing a simple provincial frock, and a quaint little flat cap. Very excellent example of draftsmanship of a great artist whose talent was so long unknown and has only recently come to be recognized as one of the masters of the 18th century. 12 inches x 1714 inches 4 PORTRAIT OF A GENTLEMAN Black and red chalk. This portrait represents the profile of a gentleman wearing a white wig and high stock. Nothing save the head and shoulders are visible, as the portrait is encircled by a round architectural frame, much in vogue at that period. 934 inches x 93% inches 5 WOMAN WEEPING Red chalk drawing on blue paper. Delicate and sensitive com- prehension and treatment of the subject. The woman’s head is threwn back and every feature depicts despair, while two tears tremble on her cheeks. Vente St. Loup, Dijon, 1902. 5% inches x 714 inches CAMPI CREMONGE 1500-1572 6 WOMAN WEEPING © Pen and purple ink. Long rigid figure, interesting on account of treatment. The ink has turned to a wondrous shade that lends warmth to the composition. 4% inches x 1134 inches 10 11 COROT (JEAN BAPTISTE) 1796-1875 THE COURT YARD OF A FARM Pencil drawing on yellowish paper. Atelier Aubrey Lecomte. 8 inches x 11 inches DECAMPS (A. G.) 1808-1860 ENTRANCE TO AN ORIENTAL TEMPLE Black crayon drawing, relieved by pastel, on brownish paper. Very important drawing by the master, representing two draped Oriental figures beneath a portal 934 inches x 167 inches Studio of Aubrey Lecomte. DELACROIX (EUGENE) 1798-1868 PAGE CONTAINING TWO SKETCHES Pencil drawing. A woman, and without a doubt made as studies for his Salome. 6 inches x 714 inches Delacroix Sale. HERCULES SKINNING THE LION Crayon drawing on tracing paper. Although this is but a rough tracing, it is of particular sentimental value, as it is perhaps the only remaining vestige of the master’s chef d’Ouvre, the Works of Hercules, that marvelous series of mural decorations which adorned the Hotel de Ville in Paris, and was hopelessly destroyed by fire during the Commune in 1870. 91% inches x 17 inches Delacroix Sale. INTERIOR OF THE ALHAMBRA Pencil drawing, bearing the inscription “Grenada, 1818.” This is a very careful drawing of the interior of one of the rooms of the Alhambra, and was made during his trip through Spain and Morocco, while he was attached to the Duc de Mornay’s expedition. In his “Journal” (Vol. 1) we find how much he was impressed by the Moorish architecture seen here for the first time. 714 inches x 9 inches Delacroix Sale. PaRREMMR EMEC NG em ene EN eee ES aS es OE 12 13 14 15 16 1” 18 19 FIVE MASKS Pencil on white paper. This sketch was made for the painting of the “Antique Masks”, which figure in the decoration of the Chamber of Deputies, Paris. It is interesting to note that these masks were inspired by the faces of peasants of Cham- prosay and Jupillon, little villages in the suburbs of Paris, where he spent his vacations. 434 inches x 714 inches Delacroix Sale. CHRIST ON THE CROSS Pencil drawing on white paper. Here we have the study for his Christ of the Cross. 534 inches x 734 inches Delacroix Sale. TWO BREAST PLATES AND A MOORISH LAMP Pencil drawings, all on the same sheet. Made during the same voyage as the preceding drawing, and probably done in the Ameria at Madrid. 814 inches x 11 inches Delacroix Sale. STUDY OF A CAT Pen and ink drawing on white paper. These two sketches of a cat, one the head and the other of the animal seen from the back, are among the very numerous studies made by the painter of his own household favorite, and used by him in depicting the wild animals, especially tigers and panthers that are so frequent in his compositions. 4% inches x 714 inches Delacroix Sale. MOUNTAIN SCENERY IN SPAIN Lead pencil drawing on yellow paper. 634 inches x 11 inches Delacroix Sale. MOUNTAINOUS LANDSCAPE Tracing on yellow paper. Delacroix Sale. TWO SKETCHES ON THE SAME PAGE Pen and ink on white paper. Two studies of masculine figures with outstretched arms. 4 inches x 9 inches Delacroix Sale. PAGE OF SKETCHES Pencil on white paper. The principal sketches on the paper are studies of a masculine figure bearing a massive candelabra. % inches x 1114 inches 10% inches x 14 inches Delacroix Sale. al 22 23 24 PAGE OF SKETCHES Pencil. 6% inches x 1034 inches Delacroix Sale. DUGOURE 1749-1810 LEONARDO DE VINCI EXPIRING IN THE ARMS OF FRANCOIS Ier Pen and sepia drawing, signed and dated, 1766. A particularly luminous drawing of a historic scene, but treated with all the delicacy and the radiance of the 18th century masters. Espe- cially happy in composition, and wonderfully faithful as to cos- tume without being too intricate. Has been engraved. 534 inches x 714 inches HENRI IV. SUPPING AT COUTRAS Pen and sepia drawing, signed and dated, 1775. The original blue paper mounting which surrounds this drawing bears the inscription, “Soupe d’Henri IV. 4 Coutras. Like the above men- tioned drawing this one is also happy in lighting and grouping, and being of similar dimensions, the two make a very charming pair. 534 inches x 714 inches EPISODE DE L’7HISTOIRE DE ST. LOUIS Pen and sepia. This drawing, which like the two already men- tioned, has been engraved, was the chapter head of a history of France, the supper of Henry IV. and the death of Leonardo de Vinci forming full page engravings in the same work. 3% inches x 434 inches ENGLISH SCHOOL PORTRAIT OF A GENTLEMAN Black and red chalk drawing on cream colored paper. A superb and important portrait of a ruddy, hearty, middle aged man, most convincingly executed by a master hand. Many and dif- ferent have been the opinions as to the authorship, some attrib- uting it to the French and others to the English School, some going so far as mentioning a definite artist. Yet in spite of the fact that it is anonymous the owner nevertheless considers it as one of the best in the collection. 11 inches x 14% inches 6 FRANCESCO GUARDI [NUMBER 31 | 25 26 av 28 29 30 FRAGONARD (HONORE) 1783-1806 THE HOLY FAMILY IN THE DESERT Wash drawing. A splendid broad drawing in the master’s freest style. 10 inches x 10 inches FRENCH SCHOOL 18th Century A FAN Pen and ink drawing. 5 inches x 9 inches LANDSCAPE WITH OLD CHATEAU FORT Sepia drawing. A. spirited landscape, showing an old chateau fort in the foreground, while a delicate landscape stretches in the distance. The whole handled with masterful art, most espe- cially the lights. A BEGGAR Red chalk and black crayon drawing. Represents an old man, leaning upon a stick, while his head which is covered with a broad brimmed hat, that throws a shadow on his face, is turned towards the left. He is clothed in a rough mantle that forms many graceful pleats and folds. A brilliant and powerful ex- ample of 18th century French art. 7 % inches x 12% inches GRAVELOT (HENRI) 17338-1778 STUDY OF A YOUNG GIRL Red chalk on blue paper. A very important drawing, in the ar- tist’s broadest manner, representing a young girl, full length, turned to the left, in a charming 18th century costume. This drawing was purchased by the present owner at a sale in the north of France, some fifteen years ago, and on the list of objects put up for sale was then catalogued as a Pater; since then, how- ever, the concensus of expert opinion has tended toward attrib- uting it to Gravelot, and as such, then, it is offered. 1034 inches x 1714 inches GERARD (BARON) 1770-1837 PORTRAIT OF A LADY Lead pencil on yellowish paper. An extremely careful and pre- cise drawing of a lady in a seated position, her hands crossed in her lap, and dressed in an empire costume. An exceptionally fine example of the master’s work. 7 31 32 33 34 35 GUARDI (FRANCESCO) 1712-1798 INTERIOR OF A PALACE Water-color. Splendid example of Guardi’s treatment of archi- tecture. The drawing represents a palatial hall, supported by blue marble columns. Since Guardi and Canaletto once earned their living at scene painting, this is doubtless a project for a theatrical undertaking. 11 inches x 15% inches [SEE ILLUSTRATION ] GUDIN (TH.) 1802-1880 A NAVAL COMBAT Pen and ink and wash. A most spirited drawing representing full rigged man-of-war touched and sinking, and mid the com- bat against the enemy and the waves one discerns the small boats putting off, and the battle continuing even in them. 614 inches x 714 inches INGRES (JEAN A DOMINIQUE) 1780-1867 PORTRAIT OF A LADY Pencil drawing on slightly yellow paper. This portrait signed and dated “Ingres del. 1836”, represents a lady wearing a striped dress with a turn over collar, and is doubtless the portrait of Madame Aubrey Lecomte or her sister-in-law Madame Pinchon. 834 inches x 12% inches Studio of Aubrey Lecomte. ISABEY (EUGENE) 1803-1888 BOATS IN A STORM Crayon, pen and sepia drawing. Vigorous and brilliant sketch of the deck of a sailing ship during a squall. 5 inches x 8%4 inches ITALIAN SCHOOL 16th Century THE VIRGIN AND CHILD Pen and ink and wash. The Holy Mother is holding the Christ Child on Her knees. The draperies are severe, but characteristic of the period, while the ink, slightly discolored has taken on an extraordinary warmth of tone. 634 inches x 814 inches 8 Tram Z (cS x wo td | aN O pt Laddivad aALSNONV 36 37 38 39 40 LA HIRE (PHILIP DE) 1677-1719 DANIEL IN THE LION’S DEN Pen and wash. A rapidly executed sketch for a much bigger picture. Virile treatment of the biblical scene, though with - characteristic 18th century deftness. Oval top, 6 inches x 10 inches LA TOUR (MAURICE QUENTIN DE) 1704-1788 HEAD OF A MAN Black chalk, touched with pastel on blue paper. A vigorous drawing of a young man’s head, wearing a tri-cornered hat, which shades his face. 9 inches x 11 inches MURILLO 1613-1685 ASCENSION OF THE VIRGIN Pen and ink. A magnificent example of this great master’s work. The handling of the light and shade, and the treatment of the subject, obtaining such climaxes by little pen strokes, is unsurpassed. 5% inches x 634 inches OZANNE (NICHOLAS) 1728-1811 LAUNCHING OF A BOAT IN THE PORT OF BREST Pencil, pen and wash drawing. The scene depicts all the activi- ties previous to the launching of the boat, in a landscape most minutely rendered, and easily recognizable in spite of the changes that have come with time. A splendid example of the. master whose works are now rare and much sought after. 434 inches x 9 inches RAFFET (AUGUSTE) . 1803-1860 SQUADRON OF CAVALRY Drawing on brownish paper, relieved by oil paint in colors. This important drawing represents a squadron of French Lancers; a most vigorous rendering of the horses in the artist’s best manner, and probably dating from the time of the siege of Antwerp, an epoch in which the artist produced many drawings in the same medium. 71% inches x 1234 inches Atelier Aubrey Lecomte. [SEE ILLUSTRATION | 9 41 42 44 46 47 ROBERT At the end of the eighteenth century Robert had been for many years flower designer at the Royal Sevres Manufactory. His color schemes, his harmonies, his groupings, are well known to all connots- seurs of porcelain, and the drawings which follow on the hist below are excellent examples of his delicate, fanciful but precise manner. Such documents are more sought for by museums and collectors inter- ested in decorative art, and in consequence are becoming more and more scarce. STUDY OF A TULIP Pen and ink, % inches x 934 inches BRANCHES OF ROSES Pence 7% inches x 8% inches TULIPS Pen and ink sketch 6 inches x 8 inches BOUQUET OF WILD ROSES Pen and wash composition. 11 inches x 14 inches PATER (JEAN BAPTISTE) 1695-1736 A YOUNG WOMAN: SEATED Red chalk drawing on white paper. The subject is seated, her profile turned to the left, her hands in her lap. She wears a bavolet, and is dressed after the fashion of the women of the bourgeoisie during the Louis XIV. period. The modeling of the features, the piquancy and the boldness of the metier, mak- ing this one of the most charming drawings of the early French 18th century. 5% inches x 8 inches [SEE ILLUSTRATION | PERNOT A RUINED CHAPEL ON THE BORDER OF A LAKE Sepia drawing. Signed and dated 1816. 6% inches x 734 inches PILLEMONT 1728-1808 LANDSCAPE Pen and wash. The drawing shows a road leading across a bridge, while in the background rise strange craggy mountains standing out in relief against the sky. The whole is animated by almost microscopic figures that are disposed with the delight- ful taste so characteristic of the artist. 7 inches x 9 inches 10 JEAN BAPTISTE PATER [NUMBER 45] 48 49 50 51 52 ST. AUBIN (GABRIEL DE) 1724-1780 PORTRAIT OF AN ACTOR Black chalk on white paper. A very rare and precious drawing by the famous master who often loses much of his “brio” when working in such dimensions. This is a full length portrait of a man, leaning against a marble pillar, his head thrown back, and obviously posing for his portrait. His dressing gown is draped about him in large decorative folds. 834 inches x 14 inches LEDA AND THE SWAN Pen and wash drawing on white paper. Three sketches of the same subject on one sheet, but placed there with the artist’s inimitable taste. The execution is in St. Aubin’s favorite dimensions and is most brilliant. 81% inches x 12 inches TIEPOLO (GIOVANNI BATTISTA) 1696-1770 A SAINT IN PRAYER Sepia drawing. A charming example of Tiepolo in the ren- dering of the luminous effects. It represents a kneeling saint, in pilgrim costume, leaning upon staff, a beatific expression upon his countenance. 6 inches x 634 inches TINTORETTO 1512-1594 THE MARTYR OF ST. ANDREW Pen and ink. A magnificent forceful drawing, wherein with a few strokes of the pen the master indicates all the effects of light and shade in the scene. This is wonderfully characteristic of Tintoretto’s manner of execution. 7% inches x 11 inches WATTEAU (ANTOINE) 1684-1721 A MONK Black and red chalk drawing on blue paper. A beautiful draw- ing in the artist’s best manner, representing an oncoming Capu- cine monk, his hood drawn down and hiding part of his features. Those that remain visible as well as the hands and the draperies are exquisite in execution and show the master at his best. 734 inches x 111% inches St. Loup Sale, Dijon, 1902. 11 54 55 56 ot 58 59 60 61 62 63 64 65 FULL LENGTH DRAWING OF A LADY Red chalk. A graceful drawing of a woman in a long robe 4 paniers. Seen from the back, she is standing in the artist’s favorite attitude, her head turning over the right shoulder, al- lowing the features to be seen, while she holds the folds of her gown in her finger tips. 7 inches x 14 inches [SEE ILLUSTRATION | DAUMIER LITHOGRAPHS THE COLLECTION OF CHARLES HUARD ARGOUT Original lithograph. D. 5. CUNIN-GRIDAINE Original lithograph. D. 46. DUPIN Original lithograph. D. 62. ETIENNE Original lithograph. D. 68. HARLE PERE Original lithograph. Fine impression. Fine impression. Fine impression. Good impression. D. 98. Fine impression. KERATRY Original lithograph. D. 105. Good impression. ODIER Original lithograph. D. 138. Fine impression. PERSIL Original lithograph. D. 149 bis. Fine impression. LES SALTIMBANQUES Original lithograph. D. 373. Fine impression, in colors, LES BAIGNEURS, VOYAGE A ST. CLOUD Original lithograph. D. 632. Fine impression, in colors. LES BAS BLEUS Original lithograph. D. 699. Fine impression, without text on the back. L/AMI DUN GRAND HOMME Original lithograph. D. 850. Fine impression, in color. 12 66 67 68 69 70 pall 02 %3 74. 75 76 ae SWORD OF DAMOCLES Original lithograph. D. 1911. Fine impression, without text on. back. UNE PROMENADE CONJUGALE Original lithograph. D. 2662. Fine impression, without text on the back. DECAMPS LE LIEVRE ET LA TORTUE Original lithograph. Delicate impression. ETCHINGS AND LITHOGRAPHS FROM PRIVATE COLLECTIONS DELACROIX (EUGENE) JUIVE D’ALGER Painter etching. Fine impression, with letters. EDWARDS (8S. ARLENT) GOOD NIGHT Mezzotint printed in colors, after Henry Mosler. Signed ar- tist’s proof. Framed. A VISIT TO THE BOARDING SCHOOL Mezzotint printed in colors. After the painting by George Mor- land. Signed artist’s proof. Framed. FITTON (HEDLEY) ST. BARTHOLEMEW’S GATEWAY Original etching. Signed in pencil by the artist. Framed. ST. ETIENNE DU MONT, PARIS Original etching, signed in pencil by the artist. Framed. PONT ST. ETIENNE, LIMOGES Original etching, signed in pencil by the artist. Framed. GOYA Y LUCIENTES (FRANCISCO) | MARGARITA DE AUSTRIA Htching after Velasquez. Good impression, in perfect condition. FELIPE IV., REY DE ESPANA Ktching after Velasquez. Good impression, in perfect condition. FELIPE III., REY DE ESPANA Htching after Velasquez. Good impression, in perfect condition. 13 We 80 81 82 83 84 85 86 87 88 89 GASPAR DE GUZMAN, CONDE DE OLIVARES Ktching after Velasquez. Good impression, in perfect condition. ISABEL DE BORBON, REYNA DE ESPANA Etching after Velasquez. Good impression, in perfect condition. HAIG (AXEL HERMAN) SCHLOSS ZWINGENBURG ON THE NECKAR Painter etching. Signed artist’s proof. Armstrong, No. 53. Framed. THE PORTALS OF RHEIMS CATHEDRAL Painter etching. Signed artist’s proof on Japan paper. Arm- strong, No, 94. One of the most widely admired and finest of Haig’s etchings. CA’ DPORO, VENICE Painter etching. Signed artist’s proof. Armstrong, No. 129. Framed. AMIENS, ON THE SOMME Painter etching. Signed artist’s proof. Armstrong, No. 142. Framed. STRASSBURG Painter etching. Signed artist’s proof. Armstrong, No. 153. Framed. HOMER (WINSLOW) FLY FISHING, SARANAC LAKE Etching, after the artist’s own painting. Signed proof. Framed. HOPPNER (JOHN) SISTERS Fine mezzotint after the painting by Hoppner. Proof on India paper, signed by the engraved. Framed. JONKIND JETEE EN BOIS DE HONFLEUR Painter etching. Fine impression on India paper. KLINGER (MAX) THE SNAKE Painter etching. From the series: “Eva and die Zukunft”. Proof. HERODES Painter etching. From the series: “Von Tode.” Proof. 14 90 91 92 93 94 95 96 97 98 99 LANDMANN Painter etching. From the series: “Von Tode.” Proof. LALANNE (M.) DEMOLITIONS POUR LE PERCEMENT DU BOULE- VARD ST. GERMAIN Painter etching A NEUILLY Painter etching. Fine impression. AUX ENVIRONS DE PARIS Painter etching. A famous plate. LEIBL (WILHELM) WOMAN OF DACHAU Painter etching. Proof with wide margin. TWO STUDIES OF PEASANTS Painter etching. India paper proof. MANET POEH’S RAVEN Original lithograph. Fine impression. POH’S RAVEN Original lithograph. Fine impression. MENZEL (ADOLPH) “GUESS WHO IT IS” Original lithograph. D. 65. India paper proof, in perfect con- dition. NIGHT ATTACK Original lithograph. D. 643, India paper proof, in fine condi- tion. The exceedingly scarce early state with the address of Meder. MERYON (CHARLES) 100 PIERE NIVELLE 101 Original etching. Delteil, No. 81. Fine impression, with large margin, LOUIS XI. ET VALERE MAXIME Etching. Delteil, No. 94. Very fine impression. From the Thibaudeau Collection. 15 MILLET (JEAN FRANCOIS) 102 TWO COWS Original etching. Delteil, No. 4. An early plate, freely sketched. Rare. SCHLECHT (C.) 103 FRENCH PEASANTS Etching after the painting after Ridgway Knight. Remarque proof, signed in pencil. Framed. SHARE (H. PRUETT) 104 EVENING: THE RETURNING FLOCK Painter etching. Remarque proof, signed in pencil, printed in brown on Japan paper. TROWBRIDGE (V.) 105 LINCOLN CATHEDRAL: Statue of Lord Tennyson Original etching printed in colors. Signed proof. Limited to 50 impressions. Framed. TURNER (C. Y.) 106 THE WEDDING PROCESSION - Original etching. Remarque proof, signed by the artist. Framed. The following Lithographs by Whistler were described in our catalogue of March Eighth and Ninth, but owing to | their non-arrival from London could not be sold. ! WHISTLER (JAMES A. McNEILL) 107 EARLY MORNING, BATTERSEA Lithotint. Final state. Very fine impression. Way, No. 7. | This and the following sixteen Whistler lithographs all trial proof impressions and undamaged, were purchased originally from a printer employed by Thomas R. Way. 108 CHELSEA RAGS Lithograph. Printed on Van Gelder paper. Way, No. 22. Fine impression. 109 THE WINGED HAT Lithograph. Printed on white wove paper. Exhibited and signed by Way. Way, No. 25. 16 110 111 112 113 114 115 116 119 120 421 GANTS DE SUEDE Lithograph. Printed on toned wove paper. Exhibited and signed by Way. Way, No. 26. LES BONNES DE LUXEMBOURG Lithograph. Printed on white wove paper. Way, No. 48. THE LONG GALLERY, LOUVRE Lithograph. Printed on cream wove paper. Way, No. 52. LA ROBE ROUGE Lithograph. Printed on cream laid hand made paper. Way, No. 68. THE PRIEST’S HOUSE, ROUEN Lithograph. Printed on Whistler’s special trial proof paper. A very rare proof. Only three were issued of this state. Not in the Jessop collection. Way, No. 74a. MOTHER AND CHILD (No. 1) Lithograph. Printed on Whistler’s special trial proof paper. The British Museum has no copy of this subject and it was not included in the Jessop collection. Way, No. 80. THE SMITH’S YARD Lithograph. Printed on cream wove paper. Way, No. 88. FIRELIGHT, MRS. PENNELL Lithograph. Printed on Whistler’s special trial proof paper. Not in the Jessop collection. Way, No. 103. Rare. FIRELIGHT, JOSEPH PENNELL (No. 1) Lithograph. Printed on thick toned wove French paper, im- ported by Whistler. Way, No. 104. FIRELIGHT, JOSEPH PENNELD (No. 2) Lithograph. Printed on the same thick toned wove French paper as the preceding. Way, No. 105. THE BARBER SHOP IN THE MEWS Lithograph. Printed on the thick toned wove French paper. Way, No. 106. THOMAS WAY (No. 1) Lithograph. Printed on white wove paper. Way, No. 107. LITTLE EVELYN Lithograph. Printed on cream laid paper. Way, No. 110. 17 UNFINISHED SKETCH OF LADY HADEN Lithograph. Printed on old Chinese paper. Way, No. 143. LONG GALLERY, LOUVRE Original lithograph. Kennedy, No. 52. Fine impression, in fine condition. READING BY LAMPLIGHT Original etching. Kennedy, No. 32. Very. fine impression on old Dutch paper. ZORN (ANDERS) THE SWAN Original etching. Proof, with monogram and date 1915 in plate. Signed on lower margin in pencil. Fine impression, in perfect condition. Subsequent to Delteil, No. 268. Framed. THE ALEXANDER PRESS 114-116 W. 27TH ST. N.Y.