yy ze \¥ ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE 6 EAST 23p STREET BEGINNING WEDNESDAY, MARCH 31, 1915 CONTINUING UNTIL THE DATE OF SALE MASTERPIECES OF ENGRAVING | AND ETCHING COELECTED BY THE LATE GENERAL BRAYTON IVES TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON MONDAY AND TUESDAY AFTERNOONS AND EVENINGS, APRIL 12TH AND 13TH BEGINNING AT 2.30 AND 8.15 O’CLOCK AND CONCLUDING ON WEDNESDAY AFTERNOON, APRIL 14TH, AT 2.30 O'CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK CATALOGUE OF THE MASTERPIECES OF ENGRAVING AND ETCHING COPinc ERD BY THE LATE GENERAL BRAYTON IVES TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON THE DATES HEREIN STATED feo TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK CITY tULS “ SEN ee Sees BRS) : % ; : | a ie & ae ’ a ee THE AMERICAN ART ASSOCIATIO: DESIGNS ITS CATALOGUES AND DIREC ALL DETAILS OF ILLUSTRATION © TEXT AND TYPOGRAPHY 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, 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 MapIson SQUARE SouTH, New York City ENTRANCE 6 EAST 23RD ST. ORDER OF SALE MONDAY AFTERNOON, APRIL THE 121TH BEGINNING AT 2:30 O°’ CLOCK CATALOGUE Nos. 1 ro 214 INCLUSIVE MONDAY EVENING, APRIL THE 12TH 7 BEGINNING AT 8:15 0’cLOcK CATALOGUE Nos. 215 tro 442 INCLUSIVE TUESDAY AFTERNOON, APRIL THE 138rnH BEGINNING AT 2:30 O'CLOCK CATALOGUE Nos. 443 To 654 INCLUSIVE TUESDAY EVENING, APRIL THE 187TH BEGINNING AT 8:15 O CLOCK CATALOGUE Nos. 655 to 866 INCLUSIVE WEDNESDAY AFTERNOON, APRIL THE 147TH BEGINNING AT 2:30 0 CLOCK CATALOGUE Nos. 867 Tro 1028 INCLUSIVE ore a , - FIRST SESSION MONDAY AFTERNOON, APRIL 12, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 1 to 214 inclusive JOHN SAMUEL AGAR An English portrait engraver and painter, who exhibited his works at the Royal Academy from 1796 to 1806. He was at one time President of the Society of Engravers, and worked mostly in stipple-—Brvyan. _ AGAR, JOHN SAMUEL 1. CHarLoTtTE, Princess or Wares. Stipple. After Charlotte Jones. VERY FINE FROOF BEFORE ALL LETTERS, printed in black. VERY RARE. AGAR, JOHN SAMUEL 2. Mrs. Durr. Stipple. After Richard Cosway. Impression from the retouched plate. Printed in red. Framed. AGAR, JOHN SAMUEL 3. Lapy Heatucore. Stipple. About 1820. After Richard Cosway. Delicately printed in brown. HEINRICH ALDEGREVER (One of the “Little Masters’) Born at Soest, in Westphalia, 1502. After having studied the engravings of Diirer for some time, he went to Niirnberg and became Diirer’s pupil. Aldegrever’s prints are remarkable for the free and graceful treatment of the trees. ALDEGREVER, HEINRICH 4. Lor anp His Davecuters. Painter-engraving. 1555. Bartsch, VIII. No. 17. . From the “History of Lot.” Fine impression. First Session, Monday Afternoon, April 12th ALDEGREVER, HEINRICH 5. Ture Nariviry. Painter-engraving. 1553. Bartsch, VIII. No. 39. VERY FINE. From the Baron Desnoyers and Archinto Collections. ALDEGREVER, HEINRICH 6. Porrrair oF Martin LUTHER. Bartsch, VIII. No. 184. SUPERB IMPRESSION. Painter-engraving. From the Duke of Aremberg Collection. ALDEGREVER, HEINRICH 7. Porrrarr or Himsetr av THE AcE oF 35. Painter-engraving Bartsch, VIII. No. 189. FINE IMPRESSION. From the Mary Jane Morgan Collection. ALDEGREVER, HEINRICH 8. Cur~pren Piayinc Near A Wet. Painter-engraving. 1539 Bartsch, VIII. No. 267. FINE IMPRESSION. From the Duke of Aremberg ‘Collection: ALBRECHT ALTDORFER (One of the “Little Masters’) Born at Ratisbon 1480; died there 1538. The oldest artist in the group of “Little Masters,’ who was the least dependent on Diirer in the forma- tion of his style-—Hurnp. ALTDORFER, ALBRECHT 9. ‘THE Crucirixion. Painter-engraving. Bartsch, VIII. No. 8. VERY FINE IMPRESSION OF A RARE PLATE. From the W. Bell Scott, Von Liphart and H. C. Hoskier Collections. First Session, Monday Afternoon, April 12th ALTDORFER, ALBRECHT 10. A Cur. Painter-engraving. Bartsch, VIII. No. 94. FINE IMPRESSION AND RARE. Duplicate from the British Museum. AMERICANA AMERICANA—BROOKSHAW, RICHARD li. Jonn Pau Jones. Mezzotint. (1736-1804). Engraved by Richard Brookshaw. Proof before letters. Very FINE. Framed. | From the Hampton L. Carson Collection. AMERICANA—CONTEMPORARY ENGRAVER 12. Masor GENERAL IsragEL Putnam. Mezzotint. Contemporary engraving after Wilkinson, published by C. Shepherd, London, 1775. A veERY BRILLIANT IMPRES- SION WITH WIDE \MARGINS. VERY RARE. From the James T. Mitchell Collection. AMERICANA—CONTEMPORARY ENGRAVER 138. Generat WorFre. Contemporary engraving. Mezzotint. Ceomith, p.. 1750. EXCESSIVELY RARE. AMERICANA—CONTEMPORARY ENGRAVER 14. Cotonet Benepicr Arnoup. Mezzotint. Contemporary engraving published by Thomas Hart, Lon- don, 1776. Supers IMPRESSION. VERY RARE. From the Hampton L. Carson and James T. Mitchell Collections. AMERICANA—CONTEMPORARY ENGRAVER 15. Maszor Generat Horatio Gates. Mezzotint. Contemporary engraving, published by John Morris, Lon- don, 1778. VERY RARE. From the Hampton L. Carson and James ‘T. Mitchell Collections. First Session, Monday Afternoon, April 12th Ae ag a Ne a AMERICANA—CONTEMPORARY ENGRAVER 16. Commopore Horxins. Mezzotint.. Contemporary engraving published by ‘Thomas Hart, Lon- don, 1776. BriLiiANT IMPRESSION WITH FULL MARGIN. EXCESSIVELY RARE. From the Hampton L. Carson and James T. Mitchell Collections. fo: AMERICANA—CONTEMPORARY ENGRAVER 17. ANoTHER IMPRESSION ‘OF THE SAME With full margin. Uncut edges. AMERICANA—CONTEMPORARY ENGRAVER (Born at Derby, Conn., 1778; died in Philadelphia, 1843.) Mezzotint. Contemporary engraving published by Freeman & Pierce, Philadelphia, 1818. After a painting by Gilbert Stuart. BRILLIANT OPEN LETTER PROOF OF UNUSUAL BEAUTY. ‘The impressions usually met with are very weak. From the James T. Mitchell Collection. : 18. Caprain Isaac Hurt, ComMMANDER OF. THE CONSTITUTION. | | AMERICANA—DAWE, GEORGE 19. Portrait or GEorce Wasuineton. Mezzotint. Hart, 886; Baker, 80. | Engraved by Dawe (worked 1760-1780). After Wright. FINE IMPRESSION OF ONE OF THE RAREST OF THE WRIGHT TYPE, WITH GOOD MARGINS. Framed. From the James T. Mitchell Collection. AMERICANA—ENGRAVING 20. Sir Warrer RareicH. Engraving. Published by Gillflower. Very RARE. From the Hampton L. Carson Collection. First Session, Monday Afternoon, April 12th AMERICANA—ENGUIDANOS, THOMAS LOPEZ 21. FarHer BarTHOLOMEO DE Las Casas Engraved by Thomas Lopez Enguidanos (flourished in Spain about 1780-1815). Rare. From the Hampton L. Carson Collection. AMERICANA—FISHER, EDWARD 22. BenzaMiIn Franxurn. Mezzotint. Ce simith, JI. ~No. 19. Engraved by Ed. Fisher after M. Chamberlain. Very FINE IMPRESSION AND RARE. Duplicate from the Royal Museum of Saxony at Dresden. AMERICANA—GREEN, VALENTINE 23. GENERAL NATHANIEL GREENE. Mezzotint. (1742-1786.) Geeomith, II. No. 56. Engraved by Valentine Green after Peale. First state. Open letter proof. CHOICE, BRILLIANT IMPRESSION. Ex- CESSIVELY RARE. From the James T.. Mitchell Collection. AMERICANA—JOSI, C. 24. THapprevus Kosciusko. Stipple. (1746-1817. Served in the American Revolution. ) Engraved by C. Josi (pupil of Bartolozzi). Fine impreEs- SION WITH GOOD MARGIN. From the James T. Mitchell Collection. AMERICANA—MEYER, HENRY 25. CommoporE SrTePHEN Decatur. Stipple. (Entered the Navy 1798 and died 1812.) Engraved by Henry Meyer after J. W. Jarvis. Fine, RICH IMPRESSION WITH FULL MARGIN. Rare. From the James T. Mitchell Collection. First Session, Monday Afternoon, April 12th AMERICANA—TANNER, B. 26. Macponovenu’s Vicrory oN Laxe Cuampiarnx. Lime-engray- ing. : After Reinagle. Engraved by B. Tanner. VERY FINE IMPRESSION. Framed. From the Hampton L. Carson Collection. AMERICANA—TIEBOUT, C. 27. GeneraL Horatio Gates. Stipple. Engraved by C. Tiebout after G. Stuart. Fine mprEs- SION, IN SPLENDID CONDITION AND EXCESSIVELY RARE. From the James T. Mitchell Collection. FAUSTINO ANDERLONI Born at Sta. Eufemia, near Brescia, 1766; died in Paris, 1847. ANDERLONI, FAUSTINO 28. THE AssUMPTION OF THE VirGin. Line-engraving. Apell, pp. 11-12. No. 8: . After Guido Reni. First state. Remarque proof. VEry FINE. Framed. This plate was begun by Giovita Gara- vaglia. — PIETRO ANDERLONI Born at Sta. Eufemia, near Brescia, 1784; died at Cabiate, near Milan, 1849. ANDERLONI, PIETRO 29. Mosrs ar THE Wet, after N. Poussin. Curist AND THE Woman Taken 1n Aputtery, after Titian. Line-en- gravings. Apell, pp. 13-14. Nos. 1 and 12. First states. Remarque proofs with the white lacing of the sandals in No. 1 and with the flowers in the fore- ground unfinished in No. 12. Very Fine parr. Framed. (2) First Session, M onday Afternoon, April 12th ANDERLONI, PIETRO 30. JUDGMENT OF SoLomon. Line-engraving. Apell, p. 13.° No. 2. After Raphael. Second state. Proof with the inscrip- tion at the base only; before the names of the artists. VERY FINE AND RARE. Framed. ANDERLONI, PIETRO ‘31. Maponna DEL PassEceio. Line-engraving. Apell, p. 14. No. 6. After Raphael. First state. Proof with “P. A. f 1882” only, in the lower margin. Very Fine. Framed. ANDERLONI, PIETRO 32. Expursion or Henzioporus; AtrritA Brerore Rome. Line- engravings. Apell, p. 15. Nos. 13 and 16. Both after the famous frescoes by Raphael in the Stanzex (Vatican). Fourth state. Artist’s proofs with “P. A. F.” only in the lower margin. VeERyY FINE Parr. Framed. (2) ZOAN ANDREA “Most of the prints by this engraver are marked with the letters ‘Z.A.’ of which no one had been able to give a satisfactory explanation until the Abbé Zani informed us that in the Venetian dialect these letters signified Zoan (Giovanni) Andrea. Nothing is known of the life of this able en- graver. His prints prove that he imitated the technique of Andrea Man- tegna and it appears that several among his engravings were done after designs by that great master; it is certain that he copied several of Mantegna’s prints. He also copied several prints by Albrecht Diirer, among them The Carrying off of Amymone, the original of which is dated 1516. This goes to show that the prints of Zoan Andrea belong less to the fifteenth century than to the first decades of the sixteenth.”—Barrscn. ANDREA, ZOAN 33. JupirH WirH THE Heap or Hororernes. Engraving. Bartsch, XIII. No. 1. VERY FINE AND EXTREMELY RARE. From the Hawkins, R. Fisher and F. Bullard Collections. First Session, Monday Afternoon, April 12th ANDREA, ZOAN 34. Turer Amoretti. Engraving. Bartsch, ALLE Now: VERY FINE AND RARE. ANDREA, ZOAN 35. Four Women Dancrine (DaNcE oF THE SEASONS). Engrav- ing. Bartsch, XIII, p. 305. No. 18. BEAUTIFUL, STRONG IMPRESSION, in dark brown ink, and perfect condition. From the C. Rogers and J. 8. Morgan Collections. This print, which Hind justly calls one of the most beautiful engravings of the school of Mantegna, reproduces in reverse, with variations, four of the dancing nymphs from Mantegna’s painting, “The Parnassus,” in the Louvre. It was most probably engraved after a drawing by Mantegna for that picture. ANDREA, ZOAN 36. IcNorancEe anp Mercury: An ALLEGORY OF VIRTUE AND VICE. Engravings. Bartsch, XIII. Nos. 16 and 17. THE COMPLETE COMPOSITION IN STRONG EARLY IMPRESSIONS OF THE HIGHEST ORDER. ‘The British’ Museum possesses Mantegna’s original design for the upper part. (2) ANONYMOUS ANONYMOUS GERMAN WOOD ENGRAVER 37. Purcatory. Woodcut. Schreiber, II. No. 1884. An interesting print well preserved and with the original coloring. ANONYMOUS ENGRAVER OF XVTH CENTURY 38. Venus Upon THe Sea. Engraving. Judging from its style, this print seems to to be by some Italian engraver of the end of the fifteenth or the beginning of the sixteenth century. —— ee ee ee ee First Session, Monday Afternoon, April 12th THOMAS G. APPLETON APPLETON, THOMAS G. 39. Lapy Hamitron as THE “AMBASSADRESS.”’ After G. Romney. Artist’s proof on India Baus signed by the engraver. Very rare. Framed. T. L. ATKINSON Contemporary mezzotinto-engraver. ATKINSON, T. L. 40. Lapy Gopiva. Mezzotint. After Van Lerius. Signed artist’s proof. Framed. HYACINTHE L. V. J. B. AUBRY-LECOMTE Born at Nizza,1797. Died in Paris, 1858. Historical painter and litho- grapher. AUBRY-LECOMTE, HYACINTHE L. V. J. B. 41. Psycué et L’Amovr. Lithograph. VERY FINE. PIERRE AUDOUIN Born at Paris, 1768; died there, 1822. Pupil of Beauvarlet. AUDOUIN, PIERRE 42. Venus Bursstr. Line-engraving. Apell, p. 24. No. 5. After Raphael. Second state. Proor BEFORE LETTERS, WITH THE COAT OF ARMS. Framed. BENOIT AUDRAN Second son of Germain Audran; born at Lyons, 1661. First received in- struction from his father, afterwards studied under his uncle, Gérard Audran. Entered the Academy in 1709; later he was appointed en- graver to the King, with a pension. AUDRAN, BENOIT 43. JEAN-BaprTistE COLBERT After C. le Febvre. A fine likeness of the famous Colbert, whose portrait was also made by Nanteuil and other noted engravers. Framed. First Session, Monday Afternoon, April 12th BACCIO BALDINI This engraver, born about 1436, in Florence, worked in that town between the years 1460 and 1480. According to Vasari his -engravings come, in order of time, immediately after those of Finiguerra—who is credited with being the earliest engraver—the inventor of the art. Baldini is said to have worked in connection with Botticelli, after whose designs all his plates were engraved. His plates are unsigned and are executed in the manner of the pen drawings of his time. ‘They are, of course, of the very greatest rarity. BALDINI, BACCIO 44. Mars. Engraving. B. 21s p18 Nowe This and the following number, “Luwna,’ of eight plates, which seem to have been intended to ac- > are from a series company an almanac, whereby one could calculate Saints’ days falling between the years 1465 and 1517. Bartsch writes that he had never seen these eight plates, which he describes at length. Proor oF EXCEPTIONALLY FINE QUAL- ITY, WITH LARGE MARGINS. From the P. Gellatly Collection. BALDINI, BACCIO 45. Luna. Engraving. B,, XI; p 19% Nooo Or EQUALLY FINE QUALITY AS THE FOREGOING AND IN EQUALLY REMARKABLE CONDITION. From the P. Gellatly Collection. BALDINI, BACCIO 46. Dante anv Viren Wirn THe Vision or BEATRICE. Engrav- ing. Bartsch, XIII, p. 176. No. 88. After a design of Sandro Botticelli. Illustration to Dante’s “Divina Commedia.” Florence, 1481. Canto IL From the edition by Niccolo di Lorenzo della Magna. BEAUTIFUL EARLY IMPRESSION in brown ink. From the Theodore Irwin and J. S. Morgan Collections. EE a First Session, Monday Afternoon, April 12th JOHANNES BANKEL Born at Niirnberg, 1837. BANKEL, JOHANNES 47, Castor AnD PoLiux Apell, p. 33. After P. P. Rubens. Remarque proof on India paper. Framed. JACOPO DE’ BARBARI (The Master of the Caduceus) Born 1450; died before 1516: Worked in Venice, Niirnberg and Burgundy. Perhaps no engraver has ever had. quite the mastery of draperies that Barbari possessed. His treatment of them was almost as far in advance “of the contemporary Italian school as it was in advance of the German. BARBARI, JACOPO DE’ 48. St. CATHERINE. Engraving. Bartsch, VII. No. 10. STRONG, EARLY IMPRESSION OF RARE BEAUTY. From the J. S. Morgan Collection. BARBARI, JACOPO DE’ 49. Apotto anp Diana. Engraving. Bartsch, VII. No. 16. BRILLIANT AND STRONG IMPRESSION OF THE GREATEST BEAUTY, SHOWING THE PLATE LINE. From the Firmin-Didot Collection. This engraving is remarkable for its relations with Diirer’s engraving of the same subject. While in line and composition these two prints show little resemblance, the interesting fact is, that there exists a drawing from the hand of Diirer, in the British Museum, forming apparently a study for his engraving in which Diana is also seen from the back, as in Barbari’s plate. BARBARI, JACOPO DE’ 50. Mars, Venus anp Cupip. Engraving. Bartsch, VII. No. 20. VERY FINE AND EXTREMELY RARE. From the John Barnard and G. Hibbert Collections; also Duplicate from the British Museum. First Session, Monday Afternoon, April 12th ease a a anon a a a a ek THOMAS OLDHAM BARLOW English mezzotint engraver, born at Oldham, 1842. Pupil of Stevenson, Royston and Samuel Cousins. BARLOW, THOMAS OLDHAM 51. Porrrair or Cuarztes Dickens. Mezzotint. After Firth. Proof before all letters on India paper. FINE IMPRESSION AND RARE. W. W. BARNEY BARNEY, W. W. 52. GreorcEe SPENCER, Kart OF SUNDERLAND, AND Lorp CHARLES Spencer. Mezzotint. After Richard Cosway. First state. Open letter proof with small margin; the plate-mark is cut off. FRANCESCO BARTOLOZZI Born in Florence, 1727. Pupil of Joseph Wagner at Venice. In 1764 he removed to London, and in 1769, upon the foundation of the Royal Academy, was nominated as one of the original members. He died in Lisbon on March 7, 1815. BARTOLOZZI, FRANCESCO 53. CuUPIDON ACHETE TROP-CHER. Stipple. After John Sturt. FINE IMPRESSION PRINTED IN COLORS. BARTOLOZZI, FRANCESCO 54. Gentus Descripine Beauty. Stipple. After J. B. Cipriani. Fine proor, WITH THE ARTISTS’ NAMES AND THE PUBLICATION LINE IN SCRATCHED LETTERS. Printed in red. Companion to No. 55. BARTOLOZZI, FRANCESCO 55. PRupENCE anv Bravuty. Stipple. After G. B. Cipriani. Artist’s proof, with the publisher’s line in scratched letters. Very rine. Printed in red. Companion to No. 54. First Session, Monday Afternoon, April 12th BARTOLOZZI, FRANCESCO 56. ANOTHER IMPRESSION OF THE SAME. Stipple. Nicely printed in colors. VERY FINE IMPREssION. Framed. BARTOLOZZI, FRANCESCO 57. Love Cares’p; Love Resectrep. Stipples. Both after G. B. Cipriani. A parr OF VERY FINE PRINTS IN BROWN AND IN PERFECT ORDER. (2) BARTOLOZZI, FRANCESCO 58. A Nest or Curpips. Stipple. From a drawing by Miss Aspinwall at Naples. Very FINE EARLY IMPRESSION IN coLors, before Schiavonetti’s name was removed and Bartolozzi’s substituted. Impressions of this state and quality are excessively rare. BARTOLOZZI, FRANCESCO 59. Tue Graces Crownine THE Bust or RapHaer. Stipple. After G. B. Cipriani. Proof before letters, with the pub- lisher’s line in script. Printed in brown. Very FINE. BARTOLOZZI, FRANCESCO 60. Hercutes anp OmpHaLr. Oval. Stipple. After G. B. Cipriani. Artist’s proof printed in brown, in perfect condition. BARTOLOZZI, FRANCESCO 61. Venus ATTIRED BY THE GRaAcEs. Stipple. After Angelica Kauffmann. Proof before all letters, printed in red. UNUvsUALLY FINE PROOF OF THIS ATTRAC- TIVE ENGRAVING. Framed. BARTOLOZZI, FRANCESCO 62. Venus Curpine Curip. Stipple. After Sir Joshua Reynolds. Frye prooF BEFORE LETTERS, printed in brown. Rare in this state. BARTOLOZZI, FRANCESCO 63. Venus PresENTING THE Cestus To Juno. Stipple. After G. B. Cipriani. Proof before letters, printed in red. VERY FINE. First Session, Monday Afternoon, April 12th BARTOLOZZI, FRANCESCO 64. Vexus SurrounvEeD BY Cupips; THe First Kiss or Love. Stipples. ee Both after Cipriani. The first one with the full title. The second a fine open letter proof. Both printed in brown. Framed. (2) BARTOLOZZI, FRANCESCO 65. Vicrory. Stipple. After G. B. Cipriani. Proof before all letters; printed in brown. | BARTOLOZZI, FRANCESCO 66. Girt Looxine Inro a Mirror. Oval. Stipple. After Angelica Kauffmann. Proof before letters, nicely printed in colors. BARTOLOZZI, FRANCESCO 67. THe Power or Beauty; THe Power or Love. Stipples. (1783. ) Both after G. B. Cipriani. Nicely printed in red. Framed. (2) BARTOLOZZI, FRANCESCO 68. Rurau Innocence. Stipple. Nicely printed in colors. Framed. BARTOLOZZI, FRANCESCO 69. A Sr. Gitzs’ Beauty. Stipple. After Benwell. Proof before letters, printed in black. Full margin. SvuperB IMPRESSION IN PERFECT CONDITION. Framed. BARTOLOZZI, FRANCESCO 70. THe Tweive Monrus. Stipples. (One of them engraved by W. N. Gardner.) After W. Hamilton. Beautiful color-prints of a very rare set, only one of which (November) is missing. Framed. (11) ; First Session, Monday Afternoon, April 12th BARTOLOZZI, FRANCESCO 71. Wispom. Stipple. After G. B. Cipriani. Nicely printed in colors. Framed. BARTOLOZZI, FRANCESCO 72. Mrs. Apincton as THE Comic Muse. Stipple. After Richard Cosway. Proof before letters, printed in brown. Very FINE. Framed. BARTOLOZZI, FRANCESCO 73. THe Honovurasre Miss Brycuam.. Stipple. After Sir Joshua Reynolds. Supers impression in red- dish brown. VERY RaRE. BARTOLOZZI, FRANCESCO 74. Porrrait or Bonaparte. Stipple. After Appiani. Open letter proof, nicely printed in colors. VERY FINE AND RARE. BARTOLOZZI, FRANCESCO 75. Miss Farren (ExvizapetrH, Countess oF Dersy). Stipple. After Sir Thomas Lawrence. SuPERB OPEN LETTER PROOF WITH THE COAT OF ARMS, BEAUTIFULLY PRINTED IN COLORS. Very rARE. The original painting is in the J. P. Morgan Loan Collection, Metropolitan Museum of Art. Framed. BARTOLOZZI, FRANCESCO 76. Grorce IV., WHEN Prince or Wates. Stipple. After L. Russell. BEauTiIFUL IMPRESSION IN COLORS. VERY RARE. BARTOLOZZI, FRANCESCO 77. Sumpriciry (Miss Gwarxin). Stipple. After Sir Joshua Reynolds. Script letter proof printed in brown. A VERY FINE IMPRESSION, AND RARE. BARTOLOZZI, FRANCESCO 78. Tue Farr Morauist anp Her Pupit (Mrs. Harpince anp HER Son). Stipple. After Richard Cosway. A VERY FINE IMPRESSION in brown, but without margin. First Session, Monday Afternoon, April 12th . Sp as, aN Re eer BARTOLOZZI, FRANCESCO— 79, ANoTHER ImpRESSION OF THE Same. Stipple. Very BEautiruL. Proof before letters, printed in brown. Framed. \ BARTOLOZZI, FRANCESCO 80. Porrrair or AnceLicA KaurrMann. Stipple. ee After herself. BrauTIFUL PROOF BEFORE LETTERS, printed’ +_ in red. Framed. BARTOLOZZI, FRANCESCO 81. Ture Lams Famity. Stipple. | After Sir Joshua Reynolds. Proof before letters in brown. VERY FINE. 3 3 BARTOLOZZI, FRANCESCO 82. Mary QuEEN or Scots anp Her Son, James I. Line-en- graving.. Apell, p. 89. No. 17. | After F. Zuccaro. First state. Proof with the names of the artists and with the publication line only. Supers IMPRESSION IN PERFECT CONDITION. From the Earl of Aylesford Collection. BARTOLOZZI, FRANCESCO 83. Witiiam Murray, Lorp Mansrietp (Chief Justice of the King’s Bench). Stipple. | After Sir Joshua Reynolds. Very rine. Proof before letters, with the coat-of-arms. Framed. This plate is usually conceded to be the engraver’s masterpiece in por- traiture. BARTOLOZZI, FRANCESCO 84, Lapy Smyru (and her children: Louisa, Gzorcz Henry and CHARLOTTE). Stipple. After Sir Joshua Reynolds. Fixe impresston, printed in brown. Repaired. i ted First Session, Monday Afternoon, April 12th BARTOLOZZI, FRANCESCO 85. Tue Rr. Hon. Lavinia, Countess Spencer. Stipple. After Sir Joshua Reynolds. Proof before all letters, printed in brown. Extra large margin. Very FINE. Framed. Countess Spencer was eldest daughter of Charles, Earl of Lucan; married Viscount Althorp, afterwards second Earl Spencer. BARTOLOZZI, FRANCESCO 86. Epwarp, Lorp THurtow (Lord High Chancellor of Great Britain). Stipple. After Sir Joshua Reynolds. Proof with the artists’ names and Poggi’s address only, in lightly-etched letters. Framed. BARTOLOZZI, FRANCESCO 87. Le Strence: “Parce somnum rumpere.” Line-engraving. Apell, p. 388. No. 6. After Annibale Carracci. First state. VERY FINE PROOF BEFORE LETTERS AND THE BORDER. Framed. JACQUES FIRMIN BEAUVARLET Born at Abbeville about 1731; died in Paris, 1797. “He went to Paris when young, and was instructed in the art by Charles Dupuis and Laurent Cars, His first manner was bold and free, and his plates in that style are preferred by some of the more highly-wrought prints which he afterwards produced, although it must be confessed that the latter are executed with great neat- ness and delicacy.”—Bryan. BEAUVARLET, JACQUES FIRMIN 88. Le Rerovur pu Courrier. Line-engraving. Portalis and Beraldi, I. No. 7. After F. Boucher. BEAUTIFUL PROOF BEFORE ALL LETTERS. BEAUVARLET, JACQUES FIRMIN 89. La Famitte pu FERMIER Portalis and Beraldi, I, p. 143. No. 11. - After J. Honoré Fragonard. First state. SupERB PROOF BEFORE ALL LETTERS. Rare. First Session, Monday Afternoon, April 12th Miia aa iat eee et ee ES es ea BEAUVARLET, JACQUES FIRMIN 90. Le Renvez-vous AcréasLe. Line-engraving. Portalis and Beraldi, I, p. 144. No. 16. After Raoux. Very rine. Framed. BEAUVARLET, JACQUES FIRMIN 91. Lecture Espacnore. Line-engraving. Portalis and Beraldi, I, p. 144. No. 20. After C. Vanloo. Framed. The figure of the governess is said to be a likeness of the painter’s wife. BEAUVARLET, JACQUES FIRMIN 92. Le Comre p’Artors ET MapEMoIsELLE CuxoTiILpE (Les Enfants de France). Line-engraving. Portalis and Beraldi, I, p. 145. No. 24. After Drouais. Framed. PoRTALIS SAYS THIS IS ONE OF THE “CHEFS-D’EUVRE OF THE ENGRAVER.” ‘The lace of the little princess is most excellently done. BEAUVARLET, JACQUES FIRMIN 93. Porrrair or J. B. Poauetin pe Mourrere. Line-engraving. Portalis and Beraldi, I, p. 147. No. 34. After S. Bourdon. First state. SUPERB PROOF BEFORE ALL LETTERS, WITH LARGE MARGIN. EXCEEDINGLY RARE. BEAUVARLET, JACQUES FIRMIN 94. DanisH Cavatiers SEDUCED BY THE Nympus or ArmiIDA; TELEMACHUS IN THE IsLAND oF Catyrso. Line-en- gravings. Andresen, I, p. 86. Nos. 9 and 10. Both after J. Raoux. First states. SupErRB PROOFS BE- FORE ALL LETTERS. VERY RARE. (2) BEAUVARLET, JACQUES FIRMIN 95. L’Hymen er L’Amovr. Line-engraving. Not mentioned by Portalis and Beraldi. After F. Boucher. CLONE FINE IMPRESSION IN PERFECT CONDI- First Session, Monday Afternoon, April 12th % . BARTHEL BEHAM (One of the “Little Masters’) Born in Niirnberg in 1502. Died in Italy in 1540. “He has always been justly reckoned among the greatest artists of this group (the Little Mas- ters). His prints show a masterly knowledge of drawing, always correct and often full of grace, as well as a technic of wonderful softness and delicacy.”—Bartscu. BEHAM, BARTHEL 96. Barrie or Nupe Men. Painter-engraving Bartsch, VIII. No. 16. UNUSUALLY FINE IMPRESSION. _ From the R. Scholtz Collection, and a duplicate from the Berlin Museum. BEHAM, BARTHEL 97. Tue Tree Sxurtis. Painter-engraving. 1529. Bartsch, VIII. No. 27. First state. Very EARLY IMPRESSION BEFORE THE MONO- GRAM “B. P.” was CHANGED. BEHAM, BARTHEL 98. Portrair oF Emprror CuHarues V. Painter-engraving. Bartsch, VIII. No. 60. First state. ExrreMELY FINE IMPRESSION BEFORE THE MONOGRAM. VERY RARE. From the Baron Von Lanna and Fritz Rumpf Collections. “J should be quite unworthy of confidence if, in my general preference for the etched over the engraved line, I did not give marked prominence to this triumph of the burin . . . Examined with a lens, it will be seen _that the lines composing this splendid portrait (which I have chosen as an example of the power and feeling of the artist) are not continuous and uninterruptedly incisive like the lines of Diirer, Goltzius, Faithorne, and the burinists generally; but that they are broken in their continuity in such a fashion as to deprive them of harshness, and to cause them to suggest, in a singular measure, the effect of color.”—Srymour Hanpen. BEHAM, BARTHEL 99. Portrarr or Emperor Ferpinanp I. Painter-engraving. 1531. Bartsch, VIII. No. 61. (In the 29th year of his age.) First state. VERY FINE IMPRESSION BEFORE THE ADDRESS OF VAN DER HEYDEN. EXTREMELY RARE. First Session, Monday Afternoon, April 12th cb thse fe oii db alana sateen ence he a HANS SEBALD BEHAM (One of the “Little Masters”) Born in Niirnberg, 1500; died in Frankfort a|M 1550. BEHAM, HANS SEBALD 100. Moses anp Aaron. Painter-engraving. 1526. Bartsch, VIII. No. 8. VERY FINE IMPRESSION. BEHAM, HANS SEBALD 101. Jupirn. Painter-engraving. 1547. Bartsch,V Lil Now 1s VERY FINE IMPRESSION. BEHAM, HANS SEBALD 102. Jon anp His Comrorters. Painter-engraving. Bartsch, VIII. No. 18. VERY BRILLIANT IMPRESSION. From the F. Debois Collection. BEHAM, HANS SEBALD 103. Tue Vircin wirn A Parrot. Painter-engraying. 1549. Bartsch, VIII. No. 19. First state. VrEry FINE IMPRESSION, before the additional cross-hatching near the Virgin’s right foot. ‘THis Is ONE OF THE MASTER’S PRETTIEST PLATES, AND IS USUALLY CON- SIDERED TO BE-THE FINEST MADONNA HE ENGRAVED. From the R. Scholtz Collection. BEHAM, HANS SEBALD 104. THe Feast at Cana. Painter-engraving. Bartsch, VIII. No. 23. First state. SupERB IMPRESSION AND EXTREMELY RARE. From the Count Archinto and R. Scholtz Collections. BEHAM, HANS SEBALD 105. Curist SraNpING oN THE GuLoBE. Painter-engraving. Bartsch, VIII. No. 80. Second state. AN IMPRESSION OF THE VERY FIRST QUALITY. From the R. Scholtz Collection. First Session, Monday Afternoon, April 12th BEHAM, HANS SEBALD 106. THE Propicat Son. Painter-engraving. 1540. Bartsch, VIII. No. 82. VERY FINE IMPRESSION BEFORE THE RETOUCH. BEHAM, HANS SEBALD 107. THE Four Evaneeuists. Painter-engravings. ' Bartsch, VIII. Nos. 55-58. BriLLIANT IMPRESSIONS. BEHAM, HANS SEBALD 108. Justice or Emperor Tragsan. Painter-engraving. 1537. Bartsch, VIII. No. 82. BEHAM, HANS SEBALD 109. THe JupemMentT or Paris. Painter-engraving. Bartsch, VIII. No. 89. SUPERB IMPRESSION. BEHAM, HANS SEBALD 110. THe Lasors or Hercures. Painter-engravings. Bartsch, VIII. Nos. 96-107. A VERY FINE AND EVEN SET. (12) BEHAM, HANS SEBALD 111. Lepa anp THE Swan. Painter-engraving. 1548. iramusens, 4VIII. No. 112. A VERY FINE IMPRESSION. BEHAM, HANS SEBALD ‘112. Patience. Painter-engraving. Bartsch, VIII. No. 188. Second state (of six). VERY FINE IMPRESSION IN EXCEL- LENT CONDITION. From the R. Scholtz Collection. First Session, Monday Afternoon, April 12th BEHAM, HANS SEBALD 113. DearH anp THE Youne Woman. Painter-engraving. Bartsch, VIII. No. 149. First state. In the later state there are four long blades of grass near the pot, which holds the lily, instead of three as in the present proof. A suPERB IMPRESSION. From the St. John Dent Collection. BEHAM, HANS SEBALD 114. DearH anp A Nupr Woman. Painter-engraving. Bartsch, VIII. No. 150. BEHAM, HANS SEBALD 115. Triumpn or Women. Painter-engraving. Bartsch, VIII. No. 143. First state. VERY FINE IMPRESSION. From the B. Keller Collection. BEHAM, HANS SEBALD 116. AnorHEeR Impression or THE Same. Painter-engraving. Bartsch, VIII. No. 148. First state. E@uaLLy FINE. From the A. Morrison Collection. BEHAM, HANS SEBALD 117. Eerptus Hersstmoon anp Simon Werxmoon. Painter-en- graving. Bartsch, VIII. No. 158. From the set of months. BriiLiANT IMPRESSION. BEHAM, HANS SEBALD 118. Peasants Ficurine. Painter-engraving. Bartsch, VIII. No. 162. . SUPERB IMPRESSION. EXTREMELY RARE IN THIS QUALITY. From the P. Gellatly Collection. BEHAM, HANS SEBALD 119. “IcH witL aucn mir.” Painter-engraving. Bartsch, VIII. No. 176. First Session, Monday Afternoon, April 12th BEHAM, HANS SEBALD 120. VicNETTE WiTH Satyrs. Painter-engraving. Bartsch, VIII. No. 225. From the A. Morrison Collection. BEHAM, HANS SEBALD 121. VieNErTE witH a Currass anp Two Genu. Painter-engrav- hang. Bartsch, VIII. No. 227. From the A. Morrison Collection. BEHAM, HANS SEBALD — 122. OrnamMENT (a mask on a cartouche supported by two Cupids). Painter-engraving. Bartsch, VIII. No. 228. First state. VERY FINE. BEHAM, HANS SEBALD 123. Cupip as a JEsTER. Painter-engraving. 1542. Bartsch, VIII. No. 230. BEHAM, HANS SEBALD 124. Ornament with ‘Two Genu. Painter-engraving. Bartsch, VIII. No. 236. VERY FINE IMPRESSION. From the J. P. F. Kalle Collection. CLAES (NICOLAES) PIETERSZ BERCHEM Born 1624; died 1688. He studied painting in Holland under Pieter de Grebber and Jan van Goyen, but it is doubtful whether any of his etchings are earlier than the period of his visit to Italy. BERCHEM, CLAES (NICOLAES) PIETERSZ 125. THe Bac-Pirer anp THE Horseman. Painter-etching. Bartsch, V. No. 4. Usually called “Le Diamant.” First state. BEAUTIFUL IMPRESSION. Full of sunlight and atmosphere, before the name of the artist. From the A. Morrison Collection. First Session, Monday Afternoon, April 12th CHARLES CLEMENT BERVIC Born in Paris, 1756; died there, 1822. Pupil of J. G. Wille. BERVIC, CHARLES CLEMENT 126. Tue Rare or Desanerra. Line-engraving. Apell, p. 56. No. 2. After Guido Reni. Second state. SUPERB PROOF BEFORE LETTERS, WITH THE REGISTRATION. Framed. Companion to No. 127. BERVIC, CHARLES CLEMENT 127. Epucation or AcuiLuEs. Line-engraving. Apell,” p.- 5062 sNoers: After Regnault. First state without the registration. SUPERB PROOF BEFORE LETTERS. Framed. Companion to No. 126. BERVIC, CHARLES CLEMENT 128. Laocoon. Line-engraving. Apell, p. 56. No. 4. After a drawing by Pierre Bouillon from the antique. Second state. Proof before all letters, with the cross-hatch- ing on the left pillar. Framed. “But Bervic’s masterpiece is undoubtedly his plate of the renowned antique group of the ‘Death of Laocoén and His Two Sons,’ engraved for the Musée Frangais, in which he appears to have rivaled the ‘suffering marble.’ . . Yet such was his modesty that when his task was done he complained of having been able but partially to realize his aims.”—Bryan. BERVIC, CHARLES CLEMENT 129. Lovis XVI. _ Line-engraving. Apell, pb: 57s eNom 1G: After Callet. Fourth state. Karty IMPRESSION BEFORE THE PLATE WAS BROKEN. Signed by Bervic in pencil. Framed. “The full-length portrait of Louis XVI. in his coronation robes, after the portrait by Callet at Versailles, established the reputation which Bervic had obtained by the wonderful brilliancy and softness with which he re- produced in black and white the diverse tones and textures indicated in painting by the aid of color. Bervic kept pace with the revolutionary movement, and at one of the meetings of the ‘Société Populaire des Arts’ broke the copper plate of the king’s portrait, and tore in halves all the proofs of which he was possessed. The plate has since been skilfully re- paired by Chollet, and later impressions taken from it.”—Bryan. First Session, Monday Afternoon, April 12th JACOB BINCK (One of the “Little Masters’’) Born in Cologne about 1504 (or 1490); died in Koenigsberg (Prussia) 1568 (1569). BINCK, JACOB 130. Davin anv Barusesa. Painter-engraving. Bartsch, VIII. No. 6. From the Durazzo, Von Lanna and H. S. Hoskier Collec- tions. AUGUSTE JEAN BAPTISTE MARIE | BLANCHARD, Jr. Born in Paris, 1792; and died there, 1849. BLANCHARD, AUGUSTE JEAN BAPTISTE MARIE, Jr. 131. BarrHotomé Estesan Muritxyo. Line-engraving. Apell, p. 66. No. 21. After himself. First state. Artist’s proof on India paper. VERY FINE. From the W. H. Daugherty Collection. ABRAHAM BLOOTELING Born at Amsterdam in 1634; died about 1698. BLOOTELING, ABRAHAM 132. Apmirat Ecpert Mersz Korrenarr. Line-engraving. Dutuit, IV, pp. 52-53. After Van der Helst. Second state. SuPpERB IMPRESSION BEFORE THE worps “et excudit” were added after the word “‘sculpsit.” Framed. MAURICE BLOT Born in Paris 1753; died there, 1818. Pupil of Saint-Aubin. BLOT, MAURICE 183. Le Verrov. Line-engraving. Portalis and Beraldi, I, p. 194. No. 4. After J. H. Fragonard. Second state. VERY FINE IM- PRESSION, AND RARE. \ First Session, Monday Afternoon, April 12t BLOT, MAURICE | 134. Monsieur LE Davuputn ET Mapame, Finrie pu Ror. Line- engraving. : Portalis and Beraldi, I, p. 194. No. 5. After Mme. Le Brun. Tn1s 1s BLot’s PRINCIPAL AND MOST FAMOUS PLATE. SCHELTE A’ BOLSWERT Born at Bolswert about 1586; died at Brussels, 1659. One of the most important men of Rubens’ school. BOLSWERT, SCHELTE A’ 1385. Tue CuHaszt or Meteacer anp AtTaLanta. Luine-engraving. Schneevoogt, p. 231. No. 3. After P. P. Rubens. FINE EARLY IMPRESSION. From the W. H. Daugherty Collection. GIULIO BONASONE Flourished from 1531 to 1574. His work, which comprises 350 plates, seems to have been done entirely in Rome. BONASONE, GIULIO _ 1386. Scipio WounpDED. Hieeaane Bartsch, XV. No. 81) Framed. BONASONE, GIULIO 1387. Youne Maw Suayine a Sea-Monster. Engraving. Bartsch, XV. No. 178. FINE OLD IMPRESSION BEFORE ANY ADDRESS. From the Baron Von Lanna Collection. BONASONE, GIULIO 138. Porrrarr or MicnarL, ANGELO Buonarortt. Engraving. Bartsch, XV. No. 346. EARLY IMPRESSION. From the Count de Fries Collection. First Session, Monday A fternoon, April 12th LOUIS MARIN BONNET (Sous la Direction de) BONNET, LOUIS MARIN 189. Le D&sEuNER pvE Fanran; “An! au’in Est sou.’ Color-en- gravings. Both after Vangorp. Engraved by Malles. Very Fine IMPRESSIONS, WITH THE FULL MARGIN, SHOWING THE REG- ISTRY MARKS. (2) BONNET, LOUIS MARIN 140. Lapy Drinxine Correr Very fine color-print of unusual freshness, with the gold border. No margin. ExcrssIvELy RARE. Companion to No. 141. BONNET, LOUIS MARIN 141. THe Mitxmarp Very fine color-print, with the gold border. Of the same quality as the foregoing. No margin. ExcrssIveLy RARE. Companion to No. 140. BONNET, LOUIS MARIN 142. La CHEVRE BIEN AIMEE; Le Perit Cavauier; LE coe sECoURU. COLOR PRINTS OF GREAT BEAUTY. ‘The last one with uncut margin, and of unusual freshness. (3) BONNET, LOUIS MARIN 143. Le Revert pe Venus. Color-engraving in crayon-manner. After F. Boucher. BErAuTIFUL IMPRESSION IN FIVE COLORS on bluish paper. ExrreMELY rare. The print has been laid down and by taking it off the mount the paper has been skinned on the back in several places. BONNET, LOUIS MARIN 144. Vénus eT Amour. Color-engraving in crayon-manner. After F. Boucher. BEAUTIFUL IMPRESSION IN FIVE COLORS on bluish paper. EXTREMELY RARE OF SUCH QUALITY. First Session, Monday Afternoon, April 12th G. H. BOUGHTON, (a.2.4.) End of nineteenth century. BOUGHTON, G. H. (A.R.A.) 145. Rerurn oF THE MAYFLOowER. Engraved by J. J. Chant. Mixed manner. First state. Proof before all letters, on India paper, signed by the painter. Framed. MARIANO BOVI Flourished in London from 1786 to 1791. BOVI, MARIANO 146. Arr; Nature. Stipples. Both after J. B. Cipriani. BEAUTIFULLY PRINTED IN coLors and with a border from an extra plate. VERY RARE. Framed. (2). BOVI, MARIANO 147. Cornevia, Motruer or THE Graccut. Stipple. After Titian. Frye mpression In coxtors. Framed. FELIX BRACQUEMOND Born in Paris, 1833. ‘“Bracquemond has had all the medals. - He was decorated in 1882. In 1884 he obtained the highest award, the Medal of Honor, to which was added the satisfaction of hearing it said, on all sides, that he should have received it long ago and more than once.”—HeEnr1 BERALDI. BRACQUEMOND, FELIX 148. Porrrair or Mons. Epmonp pE Goncourt. Etching. Beraldi. No. 54. From life. Signed artist’s proof on Japanese paper. ONE OF THE ENGRAVER’S FINEST PLATES. Framed. From the W. S. Carter Collection. First Session, Monday Afternoon, April 12th BRACQUEMOND, FELIX 149. Le Virux Coe. Painter-etching. Beraldi. No. 222: First state. Signed artist’s proof on Japanese paper, be- fore the verses in the upper left corner. VERY FINE AND RARE. “Un des pieces capitales de loeuvre.”—BeEratnt1. “Certainly a triumph at once of technique and of character.”—Wepmonre. DONATO BRAMANTE Born near Urbino 1444, and died in Rome 1514. Passavant mentions only three engravings by this master. BRAMANTE, DONATO 150. Propuer Natuan Biesstne Davin. Painter-engraving. Passavant, V. No. 3. SUPERB IMPRESSION AND RARE. From the G. D. de Arozarena and Baron Von Lanna Collections. GIOVANNI ANTONIO DA BRESCIA Flourished in Rome between the years 1500 and 1516. BRESCIA, GIOVANNI ANTONIO DA 151. THe Hoty Famity, wirn Sr. Joun. Engraving. Bartsch, XIII. No. 5. After a design by A. Mantegna. VERY RARE AND FINE. From the J. Reiss and F. Bullard Collections. BRESCIA, GIOVANNI ANTONIO DA 152. A Woman Warerine Aa Puant. Line-engraving. Bartsch, XIII, p. 329. No. 21. Passavant, V, p. 106. No. 19. GooD EARLY IMPRESSION. From the J. S. Morgan Collection. First Session, Monday Afternoon, April 12th T. BROOKS BROOKS, T. 153. Tue First Lesson. Engraving in mixed manner. After J. Bateman. Proof before all letters, on India paper. Framed. JOHN BROWNE Born at Norwich 1741; died in London 1801. BROWNE, JOHN 154. A LanpscaPE WITH THE Baptism OF THE fox A Lanp- SCAPE WITH CEPHALOS AND Procris. Line-engravings. Andresen, I, p. 193. Nos. 2 and 4. Both after Claude Gellée. From the Boydell Gallery. First states. FINE PROOFS BEFORE THE LETTERS WITH THE COAT-OF-ARMS. Framed. From the W. H. Daugherty Collection. (2) ADAM BUCK Worked between the years 1795 and 1833. BUCK, ADAM 155. Ripe on a Horse To Bansury Cross; Ripe on Pick Bacx, My Daruine. Stipples. A pair of open letter proofs, nicely printed in colors. (2) BUCK, ADAM 156. Wuat’s Tuat, Motruer? Stipple. After A. Buck. Engraved in conjunction with J. S. Agar. Very nicely printed in colors. Rare. First Session, Monday A fternoon, April 12th FELIX BUHOT Born at Valognes, 1847; died in Paris, 1898. “The technic of Buhot is as- suredly 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, an etcher, 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! . . . Let us say at once that Buhot—painter and etcher— is above all a poet. The world at large cannot fail to admire the form of his message, his vocabulary and syntax—that is to say, the means by which he expresses himself.”—Ltonce Bitnenrte. BUHOT, FELIX 157. Les Voystns pe Campacne. Painter-etching. Bourcard. No. 148. Second state (of 5). Very FINE IMPRESSION. From the etcher’s own collection. SIR HENRY BUNBURY BUNBURY, SIR HENRY 158. THE Movse’s Petition. Stipple. i Engraved by Francesco Bartolozzi. Delicately printed in colors. Besides its artistic qualities this print is inter- esting because it bears the portrait of a celebrated scientist —Priestley—the discoverer of oxygen. Framed. Companion to No. 159. _ BUNBURY, SIR HENRY 159. Marton. Stipple Engraved by Peltro W. Tomkins. Fine coror-print. Companion to No. 158. JOHANNES BURGER Born at Burg (Switzerland) 1829—? Pupil of Thaeter. BURGER, JOHANNES 160. Frora. Line-engraving. Apell, pp. 78-80. After Titian. In the Uffizi Gallery. First state. Artist’s proof on India paper, signed by the engraver. Framed. From the W. S. Carter Collection. First Session, Monday Afternoon, April 12th HANS BURGMAIR Born at Augsburg 1473; died there about 1531. BURGMAIR, HANS 161. Emperor Maxmuiian anp His Counsetztors. Woodcuts. Soldiers kneeling before the emperor. From “* Der Weiss Kunig.” VERY FINE IMPRESSIONS. From the Henry Huth Collection. These two wood-cuts are part of a series which was executed under the direction of Hans Burgmair, in honor of Emperor Maximilian, called “Der Weisskunig.” MORGHEN, RAPHAEL 598. Tue Last Supper. Line-engraving. Apell, p. 291. No. 21. After Leonardo da Vinci. First state (of six). Re- marque proof. One plate on the table is still without shad- ing. In the lower margin the coat-of-arms, but no inscrip- tions whatsoever. ExrrEMELY FINE AND EXCESSIVELY RARE. ‘There are eleven impressions only of this state. A superb proof, but unfortunately it has a slight tear in the lower right hand margin; this, however, does not extend into the engraved surface. Framed. “As to Morghen’s plate, its consummate skill, technical judgment, delicate treatment and artistic merit combine to make it his masterpiece—with, pos- sibly, the exception of his’second plate of the Transfiguration—and it is very doubtful if any other engraver has ever produced its equal.”—Hatsey. MORGHEN, RAPHAEL 599. Avrora, wirH APoLLo AND THE Hours. Line-engraving. Apell, p. 298. No. 32. After Guido Reni. Second state. Proof before the in- scription except the artists’ names and “Rome” in shaded and engraved script. Very FINE. Framed. MORGHEN, RAPHAEL 600. THe Huntine Feast or Diana. Line-engraving. Apell, p. 293. No. 33. After Domenichino. First state. Proof before all letters. EXTREMELY FINE. Framed. MORGHEN, RAPHAEL 601. Tue Turret Aces. Line-engraving. Apell. p. 294. No. 46. After F. Gérard. First state. Artist’s proof. Framed. Third Session, Tuesday Afternoon, Apri 13th MORGHEN, RAPHAEL 602. Porrrair or Leonarpo pa Vinci. Line-engraving. Apell, p. 301. No. 142. | After his own painting. Third state. SuPERB OPEN LET- — TER PROOF. | ie JEAN MORIN Born in Paris about 1590; died there, 1650. Morin started his career as 4 painter, but afterward took to engraving. He studied at first under Phi- lippe de Champaigne, after whom many of his plates were engraved. His plates are done in a mixed style, partly etching and partly burin work, | 4 using the dotted manner for the flesh. 3 MORIN, JEAN 603. Porrrair or ANNE oF Austria. Engraving. Robert Dumesnil, II. No. 40. Only one state mentioned. FINE IMPRESSION WITH MARGIN on paper with the watermark of the two interlaced As and a crown. “His queen, Anne of Austria, is here shown in the quiet garb of a widow, a delightfully simple portrait.’-—L. R. Mercatre. MORIN, JEAN 604. Porrrarr or Carpinat Guipo Bentivociio. Engraving. Robert Dumesnil, II. No. 43. After A. Van Dyck. Second state. VERY FINE IMPRESSION WITH THE INSCRIP- tions. No margin. ‘THE ENGRAVER’S MASTERPIECE. MORIN, JEAN 605. Nicotas Curystrxn. Engraving. Robert Dumesnil, II. No. 51. After A. Van Dyck. Only one state mentioned. VERY FINE IMPRESSION, WITH- OUT MARGIN, on paper with the watermark of the two inter- laced Cs. Duplicate from the Bibliotheque Nationale in Paris. “To the four portraits after Van Dyck we must give special attention, for they contain Morin’s masterpieces,—the portrait of N. Chrystin, son of the Spanish Plenipotentiary at the Peace of Vervins, and that of Cardinal Bentivoglio, the Papal Nuncio to the court of Louis XIII. Here we have Morin in his grand manner, transferring all the color of the original canvas to his copperplate and interpreting his models with a boldness, a softness, Third Session, Tuesday Afternoon, April 13th [ No. 605—Continued | a clearness of purpose and a strength of sympathy wholly admirable. In awarding the palm, we hesitate between the deep tones, the velvety finish in the head of the sombre Spaniard and the subtle modelling of the beauti- fully illumined, sensitive Italian face. Either of these portraits alone would have established Morin’s fame.”—L. R. Mercatre. MORIN, JEAN 606. Portrair or Henri pE Lorraine, Duc de Guise. Commander in Chief of the armies of Louis XIV. Engraving. Robert Dumesnil, II. No. 57. After I. Citermans. Only one state mentioned. VrEry FINE IMPRESSION, without margin; on paper with the watermark “coat-of-arms of Lorraine.” MORIN, JEAN 607. Henry I], Kine or France. Engraving. Robert Dumesnil, II. No. 59. Laid down and without margin. ONr oF THE ENGRAVER’S RAREST AND-MOST INTERESTING PORTRAITS. MORIN, JEAN 608. Porrrair or Louris XIII. Engraving. Robert Dumesnil, II. No. 64. After Philippe de Champaigne. Only one state mentioned. VERY FINE IMpREssIon. ‘This is especially interesting as being the only portrait which Morin made of the King. It is significant of the more modest character of Louis XIII, especially when we think of the innumerable por- traits which Louis XIV had made of himself. MORIN, JEAN 609. Porrrair or Prerre Maueis pes Grances. (His brother formed the first print collection in France.) Engraving. Robert Dumesnil, Il. No. 67. After Philippe de Champaigne. Only one state mentioned. VERY FINE IMPREssION without margin, on paper with the watermark ‘‘coat-of-arms of Lorraine.” Duplicate from the Royal Collection of Saxony in Dresden. “In other portraits like that of Maugis, the maitre-d’hotel of the king, the artist seems to have reveled in the deepest tones of his inky palette, and he renders the olive skin and the raven hair of this strong-featured individual with a most striking intensity.”,—-L. R. Mercatre. Third Session, Tuesday Afternoon, April 13th MORIN, JEAN 610. Porrrair or Carpinat Mazarin. Engraving. MORIN, JEAN Robert Dumesnil, II. No. 68. After Philippe de Champaigne. Second state, before the inscription around the frame was erased. Five rvpression without margin, on paper with the watermark “‘coat-of-arms of Lorraine.’’ 611. Porrrarr or Jacaves Le Mercier (well-known architect of a MORIN, JEAN this period). Engraving. Robert Dumesnil, II. No. 69. After Philippe de Champaigne. Only one state mentioned. FINE IMPRESSION, with very small margin, on paper with the watermark ‘coat-of-arms of Lorraine.” 612. Porrrarr or Omer Taton. Engraving. “AS Robert Dumesnil, II. No. 74. After Philippe de Champaigne. Third state, the left sleeve is very dark. VERY FINE IMPRESSION WITH LARGE MAR- GIN. a pendant we have the brilliantly executed head of Omer Talon, avocat-général du Parlement, the greatest pillar of French jurisprudence and a great man in his day; it is a plate which Rembrandt would have deigned to look at more than once.”—L. R. Mrrcatre. MORIN, JEAN 613. Porrrair or AucustiIn DE THovu (President of the Parliament of Paris). Engraving. Robert Dumesnil, II. No. 77. Only one state mentioned. VERY FINE IMPRESSION with small margin, unnecessarily laid down. ‘This is a very early plate by Morin. It has great decorative quality on account of the rich blacks of the costume and the background. From the Duke of Aremberg Collection. Third Session, Tuesday Afternoon, April 13th | MORIN, JEAN 614. Porrrair or AmMapor JEAN BaprisTE DE VIGNEROD, ABBE DE 1% RicHELIEU (nephew of the great Cardinal). Engray- ing. Robert Dumesnil, II. No. 85. After Philippe de Champaigne. Second state, with the in- scriptions. VERY FINE IMPRESSION WITH LARGE MAR- GINs on paper with the two interlaced Cs. “Quite a different portrait is that of his nephew, Vignerod, shown here in three-quarter figure as the Abbé de Richelieu, a most attractive plate, ‘and one of the only two portraits of Morin’s in which the model is shown otherwise than in the usual bust form.”—L. R. Mercatre. MORIN, JEAN 615. Porrrair or Marie pe Mepicis (Queen of France and Na- varre, wife of Henri IV). Engraving. 1574-1642. Robert Dumesnil, II. Piéces douteuses. No. 4. After Pourbus. Only one state mentioned. VERY FINE IMPRESSION, WITH UNUSUALLY LARGE MARGINS. On paper with the two small interlaced Cs. From the Sagert' and A. Morrison Collections. GEORGE MORLAND MORLAND, GEORGE 616. A Tra GarpEen. Stipple. Engraved by F. D. Soiron. Early impression with the border. Very nicely printed in colors. Framed. Companion to No. 617. MORLAND, GEORGE 617. St James Parx. Stipple. Engraved by F. D. Soiron. Early impression with the border. Very nicely printed in colors. Framed. Companion to No. 616. MORLAND, GEORGE 618. Tue Seaurre’s Door. Stipple. Engraved by B. Dutterau. VERY FINE IMPRESSION, nicely printed in colors. With large margin. Framed. Third Session, Tuesday Afternoon, April 13th MORLAND, GEORGE 619. THe Farmer’s Door. Stipple. Engraved by B. Dutterau. VEry FINE IMPRESSION, nicely printed in colors. With margin. Framed. © MORLAND, GEORGE 620. CuILtpREN Puayine Souprers. Mezzotint. Engraved by George Keating. VERY FINE OPEN LETTER PROOF WITH LARGE MARGIN. Framed. Companion to No. 621. MORLAND, GEORGE 621. Bruinp Man’s Burr. Mezzotint. Engraved by Wm. Ward. Very fine open letter proof with large margin. Framed. Companion to No. 620. JEAN MOYREAU Born at Orléans, 1690; died, 1762. “He studied painting under Boullogne, but soon devoted his time to engraving. He came to Paris, and in 1738 was admitted into the Académie Royale, with the uncommon distinction that he was not required to engrave a portrait according to the rules.’—Bryan. MOYREAU, JEAN 622. La Cottation. Etching and engraving. Portalis and Beraldi, III, p. 210. After A. Watteau. MOYREAU, JEAN 623. La Partie Quarrére. Etching and engraving. Portalis and Beraldi, III, p. 210. After A. Watteau. JOHANN FRIEDRICH WILHELM MULLER Born in Stuttgart, 1782; died at Sonnenstein, 1816. MULLER, JOHANN FRIEDRICH WILHELM 624. THe Sistine Maponna. Line-engraving. Apell, p. 304. No. 3. After Raphael. Trial proof before all letters and the halos of the Madonna and the Child. Also before much other work, so that it must be considered an unfinished trial proof. Very rare. Framed. Third Session, Tuesday Afternoon, April 13th MULLER, JOHANN FRIEDRICH WILHELM 625. St. Joun THE Evancenist. Line-engraving. Apell, pp. 304-305. No. 4. After Domenichino. Fourth state. Early impression be- fore the date 1808 was changed to 1812. Supers mmpREs- SION IN PERFECT CONDITION AND VERY RARE. JOHANN GOTTHARD VON MULLER Born at Bernhausen, near Stuttgart, 1747; died in Stuttgart, 1830.° Pupil of J. G. Wille. MULLER, JOHANN GOTTHARD VON 626. Mme. Lovisr ExisasetraH Victe-Le Brun. Line-engraving. 1785. Apell, p. 312. No. 28. After her own painting. First state. Artist’s proof, with “Muller, sc.” scratched in the middle of the upper mar- gin. Framed. From the W: H. Daugherty Collection. AGOSTINO DE’ MUSI (Called Venegiano) Flourished at Venice and Rome from 1514 to 1536. Pupil of Giulio Cam- pagnola and later formed his style after that of Albrecht Diirer. Finally he became a disciple of Marc Antonio and one of his most successful fol- lowers. MUSI, AGOSTINO DE’ 627. Tue Isrartires GarHEerInc Manna Bartsch, XIV. No. 8. Andresen, II, No. 3. After Raphael. Second state (of 7). Fine impression with the engraver’s initials, but before the retouch and Salamanca’s address. From the Count von Fries, Et. Durand, CUES Marshall and J. Reiss Collections. MUSI, AGOSTINO DE’ 628. Ipnicenta RecocenizEs Orestes anD Pytaprs. Engraving. Bartsch, XIV. No. 194. After a drawing by Baccio Bandinelli. First state. Very early impression before Salamanca’s address. Third Session, Tuesday Afternoon, April 13th MUSI, AGOSTINO DE’ 629. Apotto anp Dapune. Engraving. | Bartsch, XIV. No. 317. . Second state. The year 1515, which the plate bore orig- — inally, has been changed to 1518, but before the address — of Salamanca was added. In one corner appears the col-— lector’s stamp “S. P.”” which is probably the unidentified — collector’s mark “Fagan No. 482.” Framed. — MUSI, AGOSTINO DE’ 630. Venus anp Curip. Engraving. Bartsch, XIV. No. 318. _ VERY FINE IMPRESSION. From the R. Fisher Collection. MUSI, AGOSTINO DE’ 631. PEasanr anp THE WoMAN WITH THE Basket oF Eces. En- graving. Bartsch, XIV. No. 458. After Raphael. Very FINE IMPRESSION AND VERY RARE. This is one of the engraver’s best plates. From the Sir Peter Lely, Auguste-Toulet-Malassio and J. Reiss Collections. LORENZO DE’ MUSI Son of Agostino de’ Musi. One engraving only is known to have been exe- cuted by him bearing the date 1535. MUSI, LORENZO DE’ 632. Portrair oF Barsarossa, Bey or Atcrers. Painter-engrav- ing. 1535. From the Griggs Collection. Kheyr-ed-Din Barbarossa, brother of Horuk Barbarossa, whom he suc- ceeded as Bey of Algiers in 1518. Having surrendered the sovereignty of Algiers to the Turkish Sultan, Selim I, in order to gain support against *the Spaniards, he was appointed General, and received, in 1519, a reinforce- ment of 2000 Janizaries. He made himself master of Tunis, but in 1535 the Emperor Charles V besieged and captured the city and liberated a vast number of Christian slaves. He was appointed a High Admiral to the Ottoman fleets in 1537, and in conjunction with Francis I captured Nice in 1543. He died in Constantinople in 1546. i | i Third Session, Tuesday Afternoon, April 13th ROBERT NANTEUIL Born in Rheims, 1623; died in Paris, 1678. The most eminent of French portrait engravers. NANTEUIL, ROBERT 633. FRancois pE VENDOME, Duc pr Bravurort. Line-engraving. Robert Dumesnil, IV. No. 33. After Nocret. Second state. VERY FINE IMPRESSION. NANTEUIL, ROBERT 634. Pompone pe Betiitver. Line-engraving. Robert Dumesnil, IV. No. 37. After Charles Le Brun. Second state. Very FINE IM- PRESSION, with the “Crochet” after the word “sculpebat.” THIs Is CONSIDERED TO BE ONE OF THE FOUR FINEST POR- TRAITS IN LINE-ENGRAVING. Framed. NANTEUIL, ROBERT 635. Jacques BENIGNE BossvEr. Line-engraving. 1674. Robert Dumesnil, IV. No. 45. From life. First state. NANTEUIL, ROBERT 636. GopEFRoI Maurice pE LA Tour pv’ AuvERGNE, Duc bE Bovlit- ton. Line-engraving. Robert Dumesnil, IV. No. 49. From life. Surrerr IMPRESSION. NANTEUIL, ROBERT 637. Jacaves, Marauis pE Castetnav. Line-engraving. 1658. Robert Dumesnil, IV. No. 58. From life. Second state with the inscriptions. VERY FINE AND WITH GOOD MARGIN. Marshal of France, Lieutenant-general of the armies of the king in Flan- ders, Governor of Brest. He was mortally wounded in 1658 at the siege of Calais. This plate was engraved for Memoires de Michel de Castelnau, by J. Lelaboureur. Paris, 1659. NANTEUIL, ROBERT 638. Jean Baptiste Corsert. Line-engraving. 1668. Robert Dumesnil, IV. No. 74. Engraved from life. Second state. Very rine. Framed. Third Session, Tuesday Afternoon, April 13th NANTEUIL, ROBERT 639. Bastt Fovauet. Line-engraving. 1658. Robert Dumesnil, IV. No. 97. From life. First state; before the date 1658 was chan en 4 to 1660. Very FINE IMPRESSION with a very narrow mar- gin. From the F. Rumpf Collection. NANTEUIL, ROBERT 640. Nicuotas Fovaver (born, 1615; died, 1680). Line-engray- & ing. L661, Robert Dumesnil, IV. No. 98. From life. First state (of 6). VERY FINE IMPRESSION — 4 WITH THE MISSPELLING “*MIssIVE” INSTEAD oF “‘Mezsstvn.” Small margin. VERY RARE. NANTEUIL, ROBERT 641. Jean-Baptiste Bupres, ComTEe pE GursBriant. Line-engray- ing. Robert Dumesnil, IV. No. 104. From life. First state. Very Fringe uvpression before the words “Nominé a l’Ordre du St. Esprit” were replaced by “ét gouverneur d’Auxonne Ec.” With good margin. NANTEUIL, ROBERT 642. Louis Hessetty, ConsEILLer p’Erat. Line-engraving. 1658. Robert: Dumesnil, IV.. No. 110. | From life. First state. VERY FINE PROOF BEFORE THE INSCRIPTION ON THE BASE OF THE FRAME. No margin. NANTEUIL, ROBERT 643. CHarLEes DE LA Porte, Duc pe Meiiturraye. Line-engrav- ing. 1662. Robert Dumesnil, IV. No. 118. From life. Second state. VERY FINE IMPRESSION, with the “crochet” after the date. Very small margin, with an unknown collector’s stamp. NANTEUIL, ROBERT 644. Micuen Le Trexvuier (Ministre d’Etat). Line-engraving. 1658. Robert Dumesnil, IV. No. 130. | From life. Only one state known. FINE Impression, with- out margin. 7 | Third Session, Tuesday Afternoon, April 13th NANTEUIL, ROBERT 645. Micuer Le Trevrier (Ministre d’Etat). Line-engraving. 1659. Robert Dumesnil, IV. No. 1381. From life. Only one state known. Supers IMPRESSION WITH LARGE MARGINS. NANTEUIL, ROBERT 646. Jean Loner. Line-engraving. 1658. Robert Dumesnil, IV. No. 150. From life. Second state, before the comma after the name Loret in the verses below, but with the crochet after the date. Fine mpression, with small margin. From the E. Galichan, Firmin-Didot and Atherton Cur- tis Collections. Loret is chiefly remembered for his Gazette, written in vers libres, which he began to issue in 1650, and continued until his death in 1666. The Gazette appeared each week and was addressed to Mademoiselle de Longueville, who became later Duchesse de Nemours. From her he re- ceived a pension of 2,000 livres, and from Nicolas Fouquet, Superintendent of Finance, another 200 écus. This latter pension he lost when Fouquet was imprisoned in the Bastile, but Loret continued to uphold the fallen minister in the Gazette, and Fouquet, to his lasting honor, made a present of 1,500 livres to Loret, to enable the latter to continue the Gazette, but did not let Loret know to whom he was indebted for this gift. NANTEUIL, ROBERT 647. Louis XIV. Line-engraving. 1666. Robert Dumesni, IV. No. 157. Engraved from life. First state. VERY FINE IMPRESSION before the letter “C” in the upper right hand corner. Framed. NANTEUIL, ROBERT 648. Carprnat Jutes Mazarin. Line-engraving. Robert Dumesnil, IV. No. i7 After Van Mol. First state. BrauTiruL PROOF BEFORE THE INSCRIPTION on the oval border; no margin. VERY RARE. NANTEUIL, ROBERT 649. Carprnau Juces Mazarin. Line-engraving. 1656. | Robert Dumesnil, IV. No. 179. Engraved from life. Only one state mentioned. VERY FINE IMPRESSION. Framed. Third Session, Tuesday Afternoon, April 13th NANTEUIL, ROBERT 650. Carpinat Jutes Mazarin. Line-engraving. Robert Dumesnil, IV. No. 186. Second state. SUPERB IMPRESSION IN PERFECT CONDITION. From the Captain Donadieu Collection. NANTEUIL, ROBERT 651. Henri pe Mesmes, Prtstpent A Mortier av ParLEMENT DE Paris. Line-engraving. 1650. Robert Dumesnil, IV. No. 191. From life. First state. Very rine proor before the date 4 was changed to 1654. Very small margin. NANTEUIL, ROBERT 652. Henri pE Savoir, Duc p—E Nemours. Line-engraving. 1651. Robert Dumesnil, IV. No. 198. From life. First state. Supers impression, before the date was changed to 1652. Small margin. From the R. Pelzer Collection. NANTEUIL, ROBERT 653. Nicotas Potter pe Novion (Premier President au Parlement de Paris). Line-engraving. 1664. Robert Dumesnil, IV. No. 207. From life. First state. Surers mpreEssion before the crochet after the date. With margin. NANTEUIL, ROBERT 654. Harpourn pe Péririxe pe Beaumont (Archbishop of Paris). Line-engraving. 1665. 3 Robert Dumesnil, IV. No. 213. From life; only one state known. VERY FINE IMPRES- SION WITH LARGE MARGIN. FOURTH SESSION TUESDAY EVENING, APRIL 13, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.15 O'CLOCK Catalogue Nos. 655 to 866 inclusive GILLIS NEYTS Born in Holland, 1617; died there, 1687. NEYTS, GILLIS 655. Tue Lirtrite Brivcr. Painter-etching. Dutwit,-V. Framed. : “Elle est trés belle, et en méme temps une des plus rares de l’ceuvre de ce graveur.”—BartscH. Fourth Session, Tuesday Evening, April 13th RAIMONDI, MARC ANTONIO 692. JosepH AND PotipHar’s Wire. Engraving after a drawing by Raphael. Bartsch, XIV. No. 9. FINE IMPRESSION. RAIMONDI, MARC ANTONIO 693. Tur Massacre or THE Innocents (the plate without the fir- tree). Engraving. Bartsch, XIV. No. 20. After Raphael. First state. Brittianr mmprREsston be- fore Salamanca’s address. RAIMONDI, MARC ANTONIO 694. Tue Last Supper. Engraving. Bartsch, XIV. No. 26. After Raphael. Supers mMpRESSION ON PARCHMENT. OF EXTREME RARITY; POSSIBLY UNIQUE. Framed. From the Puccini and A. Morrison Collections. RAIMONDI, MARC ANTONIO 695. Paut Preacuine ar ATHENS. Engraving. Bartsch, XIV. No. 44. After a drawing by Raphael. Fine ivpression. Framed. RAIMONDI, MARC ANTONIO 696. Tue Marryrpom or St. Lawrence. Engraving. Bartsch, XIV. No. 104. | Second state. One of the wooden forks held by the man standing at the left has been removed. ExcELLEent IM- PRESSION. Framed. RAIMONDI, MARC ANTONIO 697. St. Ceciuia. Engraving. Bartsch, XIV. No. 116. After Raphael. SupEeRB IMPRESSION, WITH MARGINS SHOW- ING THE DOUBLE BORDER LINES. The quality of this m- pression is equal to the one in the British Museum, which has its margin cut down to the inner line. Fourth Session, Tuesday Evening, April 13th RAIMONDI, MARC ANTONIO 698. Tur Dance or Cupips. Engraving. Bartsch, XIV. No. 178. After Raphael. Fixe mpression AND VERY RARE. ~ From the Hibbert and Sir Joshua Reynolds Collections. RAIMONDI, MARC ANTONIO 699. Two Fauns Carryine a Curtup 1n A Basket. Engraving. Bartsch, XIV. No. 280. After the antique. VERY FINE IMPRESSION. “One cannot very well desire anything more perfect, as far as design and engraving are concerned, than this superb print.”—BartscuH. RAIMONDI, MARC ANTONIO 700. THe JupGMENT oF Paris. Engraving. Bartsch, XIV. No. 245. After a design by Raphael. ProBaBLy THE FINEST IM- PRESSION IN EXISTENCE. ‘The tone obtained by the use of pumice-stone, which gives so fine an effect to this impres- sion, is usually scarcely visible. Framed. From the Henry Bradhurst, Thomas Whitehead and AI- fred Hubert Collections. “Still about the same time, but more ambitious in composition, and nearer to the ‘Pyramus and Thisbe’ in the close and more Goldsmith-like shading, should be placed ‘The Judgment of Paris-—where the same delicate man- ner is carried to even greater finesse.’—Hrnp. RAIMONDI, MARC ANTONIO 701. THe Youne anp THE Otp Baccuant. Engraving. Bartsch, XIV. No. 294. After Guilio Romano. FINE OLD IMPRESSION. From the Herman F. Weber Collection. RAIMONDI, MARC ANTONIO 702. Vutcan, VENus anp Curip. Engraving. : - ‘ Bartsch. No. 326. EXTREMELY FINE IMPRESSION AND IN PERFECT CONDITION. This is much more primitive in style than most of Rai- mondi’s plates. From the Alfred Hubert Collection. Fourth Session, Tuesday Evening, April 13th -RAIMONDI, MARC ANTONIO 703. Mars, Venus anp Curpip. Engraving. Bartsch, XIV. No. 345. SUPERB IMPRESSION. Framed. From the W. Esdaile Collection. RAIMONDI, MARC ANTONIO 704. ‘TRavsaAN CrownepD By Victory. Engraving. Bartsch, XIV. No. 861. After the antique. “This print, which was engraved after one of the reliefs from the Arch of Constantine, is one of the most beautiful and one of the most esteemed of Marec-Antonio’s works.”—Bartscu. RAIMONDI, MARC ANTONIO 705. A Maw anp|a Woman Conversine at THE Epce or a Woop. Engraving. Bartsch, XIV. No. 377. AN-IMPRESSION OF THE FINEST QUALITY IN ABSOLUTELY PERFECT CONDITION and with large margin. From the A. Morrison and P. Gellatly Collections. “This plate is engraved with an extremely delicate burin-stroke in the early manner of Marcantonio and appears to be after Francesco Francia.” —Bartscu. RAIMONDI, MARC ANTONIO 706. Portry. Engraving. Bartsch, XIV. No. 382. After Raphael. VERY FINE IMPRESSION. From the King Ferdinand of Portugal and Count Enzen- _berg Collections. RAIMONDI, MARC ANTONIO 707. Tue Turee Docrors. Engraving. Bartsch, XIV. No. 404. VERY FINE AND EXTREMELY RARE. From the J. D. Bohm and J. Reiss Collections. Fourth Session, Tuesday Evening, April 13th RAIMONDI, MARC ANTONIO 708. Tur Hunt or Trasan. Engraving. Bartsch, XIV. No. 422. After Raphael’s design from an antique basso-rilievo on a — sarcophagus, which used to be at St. Peter’s, Rome, but is now in the Louvre, Paris. Goop OLD IMPRESSION. RAIMONDI, MARC ANTONIO 709. THE Criimspers. Engraving. Bartsch, XIV. No. 487. After Michel Angelo’s cartoon ‘The Battle of Pisa.” Very FINE IMPRESSION AND EXTREMELY RARE. RAIMONDI, MARC ANTONIO 710. La CasoLetTre Bartsch, XIV. No. 489. After Raphael. Probably drawn for Francis I. Sprenprip IMPRESSION AND VERY RARE IN SUCH QUALITY. From the Sir Peter Lely and Baron C. Marochetti Col- lections. “Marc Antonio a gravé cette éstampe dans le temps de sa force.”—Bartscu. RAIMONDI, MARC ANTONIO 711. Porrrarr or Rapuarr. Engraving. Bartsch, XIV. No. 496. BEAUTIFUL IMPRESSION AND VERY RARE. PAUL RAJON Born at Dijon, 1844; died in Paris, 1888. “He studied etching under Gaucherel and Flameng, and at the Salon of 1869 received a medal. In the following year, and again in 1873, he received medals for his. etchings; and at the Universal Exposition of 1878 he was placed Hors Concours for his masterly portrait of Darwin. When his fame was at its height, and when commissions were being showered upon him, he died.”—H. Berratozr. RAJON, PAUL 712. Portrair or CarpinaL Newman. Etching. Beraldi. No. 167. ' After W. W. Ouless. Remarque proof on Japanese paper, signed by both artists. Rare In THIs state. Framed. From the W. S. Carter Collection. Fourth Session, Tuesday Evening, A pril 13th REMBRANDT VAN RIJN Born in Leyden, 1607; died in 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 that 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 no one 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 time.’—P. G. Hamerton. REMBRANDT VAN RIJN 713. Portrair oF Rempranpt Wearine a Sorr Car. Painter- etching. Bartsch. No. 2. Full face. (Rembrandt aux trois moustaches.) Assumed date, 1631. Only one state known. VERY FINE IMPRES- SION. Ee REMBRANDT VAN RIJN 714. Portrait or REMBRANDT WITH A FLAMBOYANT Sworp. Paint- er-etching. 1634. Bartsch. No. 18. Second state. Frne impression on paper with the water- mark coat-of-arms of the Archduke Albrecht. From the G. D. de Arozarena and G. Hibbert Collections. This print was done in Rembrandt’s earliest period and is dated 1634. It shows the Rembrandt of the early times when he loved to dress himself up in all sorts of picturesque costumes, of which his house in the Breedstrat was a perfect museum. REMBRANDT VAN RIJN 715. Portrait oF REMBRANDT IN VELVET Cap AND Puiume. Paint- er-etching. 1638. Bartsch. No. 20. Only one state known. VERY FINE EARLY IMPRESSION, WITH THE NAME OF REMBRANDT AND THE DATE, which is delicately traced in the upper left portion of the plate, and plainly visible. “The face and hair are carried out quite exquisitely, with a peculiar deli- cacy, and the different stuffs are characterized in the most masterly way, the velvet of the cap, adorned with an ostrich feather, the silk and the gold braid on the fur-lined cloak.”—H. KnacxkrFuss. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 716. Rempranpr Leanine on a Stone Sitz (“Rembrandt Ap-— puyé”’). Painter-etching. . Bartsch. No. 21. a Second state. ONE OF THE VERY FINEST IMPRESSIONS IN — EXISTENCE. The color on the edge of this impression was — probably put on by Rembrandt with a view to changing — the plate in some way. This is just the same kind of — color that he used in sketching on early trial impressions — of this plate, and also on “Rembrandt with Embroidered : Mantle.” Some of these trial proofs are in the great public collections abroad. Framed. From the Beham, F. S. Haden and Alfred Hubert Cola lections. REMBRANDT VAN RIJN 717. Porrrarr or Huser, Drawine. Painter-etching. 1648. Bartsch. No. 22. Ninth state. A veERY FINE IMPRESSION, rich in tone. Framed. REMBRANDT VAN RIJN 718. ABpraHAM SENDING Away Hacar. Painter-etching. 1673. Bartsch. No. 380. = Only one state known. FINE IMPRESSION ON PAPER, With the watermark “Double eagle.” | . “All the qualities of Rembrandt are united to a high ee in this print; beauty of expression, arrangement, delicacy, richness of detail, and chiaro- scuro.”—Crartes Brianc. “This is one of the most perfectly delicate of all of Rembrandt’s etchings. The sureness of the faint, thin lines on which the expression of the face chiefly depends, the masterly reservation of reflections and half-lights in open shading, the opportune omission of labor where omission was better than toil, justify our admiration.”—P. G. Hamerron. REMBRANDT VAN RIJN 719. ABraHaAm CareEsstneG Isaac. Assumed date, 1637. Bartsch. No. 33. First state. VERY FINE IMpREssION before the slip of the point above Isaac’s shoulder. a “This little plate is done in Rembrandt’s best period and is among the most spirited and delicate of all.”—Banrtscu. Fourth Session, Tuesday Kvening, April 13th REMBRANDT VAN RIJN 720. Jacozn LAMENTING THE SupposED Dratu or JosePH. Painter- etching. Assumed date, 16383. Bartsch. No. 88. Second state. Fine IMPRESSION WITH THE RETOUCH. REMBRANDT VAN RIJN 721. Kine Davin 1n Prayer. Painter-etching. 1652. Bartsch. No. 41. First state. ExrreMELY FINE IMPRESSION, before a little white space near the upper left hand border was shaded. i “The David on his Knees has more ‘color,’ but is near akin to the Tobit in : pathetic intensity of sentiment.”—P. G. Hamerron. REMBRANDT VAN RIJN 722. Tue Buinpness or Tosir. Painter-etching. 1651. Bartsch. —No. 42. Only one state accepted now. VERY EARLY IMPRESSION, WITH SOME BURR ON THE DRYPOINT. EXTREMELY RARE. “There are a few remarkably good etchings of 1651. First the wonder- fully delicate little print of The Blind Tobit, the most striking and affecting picture of the helplessness of a man struck blind.” “One of Rembrandt’s most touching Biblical illustrations, Tobit Blind, with the Dog, a work in which the mental conception, which is most pathetic, is everything, and the manual performance so simple, so devoid of all pre- tension, that it requires some knowledge of etching to recognize the strength of the master.” REMBRANDT VAN RIJN 723. Tur AncEL APPEARING TO THE SHEPHERDS. 1634. Bartsch. No. 44. Third state. Supers mrrression from the completely fin- ished plate, before any retouch. From the Sir John Day Collection. The effect of a print of this plate almost entirely depends upon the clear- ness of the nocturne landscape in the distance to the left. “These great scenes from the Bible, no one has conceived them better than Rembrandt, and no one felt more keenly their touching and simple poetry. ‘The Apparition of the Angels to the Shepherds’ has been the subject of many pictures, but how often does one rest indifferent to the representa- tions of this marvelous scene! Rembrandt finds here occasion to show the two most astounding sides of his genius—expression and chiaroscuro.”— Cuartes Banc. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 724. Tur PresENTATION IN THE TEMPLE (in Rembrandt’s dark manner). Painter-etching. Assumed date, 1654. 4 Bartsch. No. 58. ; : Only one state known. SPLENDID IMPRESSION OF THE UT- | Most RARITY. Duplicate from the British Museum. From the Marsden J. Perry Collection. “The brilliancy of the sacerdotal vestments is rendered here with a power — so extraordinary that the plate is a great technical feat. The lines are © coarse and rude, but so entirely synthetic and intelligent in their arrange- ment that the splendor of gold and jewels and embroidery is fully sug- — gested to the imagination. The high priest, who is standing, is one of the me : most imposing figures amongst all the creations of Rembrandt, who had a keen appreciation of sacerdotal dignity and magnificence. P. G. Ham- ERTON. . REMBRANDT VAN RIJN 725. Tue Fruicut Intro Ecypr—Tue Hoty Famity Crossine A Ritut. Painter-etching. 1654. Bartsch. No. 55. . Only one state known. A WONDERFUL IMPRESSION, FULL OF BURR, on Japanese paper. “ “The Virgin resting her hand upon her saddle bends her head with an air of sadness; the precaution of the old man who tests the depth of the water with his stick is expressed in the most vivid manner; the donkey is a little ‘chef d’ceuvre’, of drawing and etching. If this little print were rare it would be worth an enormous price, so charming is it."—CHartErs Banc. REMBRANDT VAN RIJN 726. Tue Rest in Eeypt. Painter-etching. 1645. Bartsch. No. 58. In outline. Only one state known. Fine Impression. From the Petit-Didier and Rosenberg Collections. REMBRANDT VAN RIJN 727. Curist Disputing wirH THE Doctors (the larger plate). Painter-etching. Bartsch. No. 65. > First state. Very FINE ImpREssion, before the plate was disfigured by oxide at the top and right edge. With a tone left on the plate which adds materially to the effect of the finish. “Jesus Disputing with the Doctors; The Larger Plate, is a masterly sketch like “The Tobit,’ in which the imaginative conception of the scene far pre- dominates over simple handicraft.”—P. G. Hamerron. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 728. Curist Preacuine (called “The Little La Tombe’’). Paint- er-etching. Assumed date, 1652. Bartsch. No. 67. Only one state accepted now. ExTREMELY FINE, EARLY IMPREssIon, full of burr and on paper with the water- mark **Folly,” the kind which is not often met with. “Though less important than the Hundred Guilders 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, and we are as if we ourselves were there listening to what the great Preacher has to say.”"—ATHERTON CuRTISs. REMBRANDT VAN RIJN 729. Curist AND THE WomMAN oF Samaria; Amone Rurins. Painter- etching. 1634. Bartsch. No. 71. First state. Very FINE IMPRESSION, with the two lines across the plate near the top. REMBRANDT VAN RIJN 730. Curist Heawine THE Sicx (generally known as the Hundred Guilders Print). Painter-etching. | Bartsch. No. 74. Second state. Supers impression, with the diagonal lines on the donkey’s neck, but before any retouch. On paper with the crowned shield and fleur-de-lys. THis 1s GENER- ALLY CONCEDED TO BE THE GREATEST OF THE MASTER’S ETCHINGS. Framed. REMBRANDT VAN RIJN 731. Tur Acony In THE GarpEN. Painter-etching. Assumed date, 1657. Bartsch. No. 75. Only one state known. BravriruL IMPRESSION on Japan- ese paper. “Here all the sorrows unite to overwhelm his soul and plunge it into an ocean of bitterness. . .. What profoundness of sentiment! What poetry in the setting of this august drama, and what grandeur in so small a frame !”—Cuaries Branc. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 732. Tue Turee Crosses. Painter-etching. 1653. Bartsch. No. 78. | 3 First state. SupERB PROOF, WITH THE TRIANGULAR, UN- SHADED SPACE NEAR THE RIGHT EDGE. Printed on vel- lum, which has acquired a wonderfully rich ivory tone. — TuHIs IS PROBABLY THE FINEST IMPRESSION IN EXISTENCE, 4 having been pronounced by a famous expert to be much _ finer than the one in the print room of the British Museum. ® Framed. | ie “When Rembrandt had passed his fiftieth year he seems to have put still } more fire into his painting, and to have worked with even greater breadth of handling; and there was a corresponding change in his style of etching. His Biblical subjects appear like weird visions wrapped in mysterious light; witness his powerful crucifixion known as The Three Crosses.”— LirppMANN. REMBRANDT VAN RIJN 733. Tue Crucirixion (a small oval plate). Painter-etching. As- i a sumed date, 1640. . Bartsch. No. 79. First state. A vERY FINE IMPRESSION, with the left arm of the cross touching the border. P. Mariette’s signa-_ ture and the date 1670 on the back of the print. ‘ REMBRANDT VAN RIJN 734. Curist Carrrep To THE Toms. Painter-etching. Assumed date, 1645. Bartsch. No. 84. , Only one state- known. VERY EARLY IMPRESSION, WITH - MUCH BURR AND AN UNUSUAL AMOUNT OF TONE ON THE PLATE. From the F. S. Haden and Marsden J. Perry Collections. REMBRANDT VAN RIJN 735. Crist 1x THE Mipst or His Discrpies (the incredulity of — Thomas). Painter-etching. 1650. Bartsch. No. 89. : Only one state known. VERY FINE IMPRESSION On paper with the watermark ‘‘Folly.” Extremely rare. This plate is executed in a wonderfully free and summary manner, which accords somewhat with the subject, the sudden apparition of Christ in the midst of his Disciples. The kneeling figure in the foreground, the figure of the doubting Thomas, and the crowd at the left, are especially fine. The impressions are extremely rare. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 736. Peter anp JOHN aT THE BeEautTiruL GATE oF THE TEMPLE. Painter-etching. 1659. Bartsch. No. 94. Second state. VERY BEAUTIFUL PROOF on Japanese paper, before the cross hatchings on the arch reaching down to the capital of the left column. From the John Astley, R. Dighton and Sir Joshua Rey- nolds Collections. The Dighton Collection was made famous, or rather notorious, owing to the fact that it was partly made up of prints which Mr. Dighton stole from the British Museum. He was in the habit of going to the Museum to make | copies of certain of the valuable prints, but he actually carried away some of : the originals themselves in his portfolio. This print, however, does not bear the stamp of the Museum, and it is not probable that it was among those which he stole. REMBRANDT VAN RIJN 737. Tue Dratu or THE Vircin. Painter-etching. 1639. Bartsch. No. 99. Second state. A very early impression with the fully shaded armchair, which is still full of burr, and before the little vertical lines on the bedpost. REMBRANDT VAN RIJN 738. St. Jerome Writinc Near A Portitarp Witiow. Painter- etching. 1648. Bartsch. No. 108. Second state. SupEeRB IMPRESSION OF GREAT BRILLIANCY AND FRESHNESS, WITH THE SIGNATURE; on Japanese paper. Framed. From the Hawkins and J. Charlon Collections. REMBRANDT VAN RIJN 739. Sr. JEROME IN AN Traian Lanpscape. Painter-etching. Bartsch. No. 104. Second state. SupERB, EARLY IMPRESSION, showing much burr, especially on the mane of the lion. In perfect con- dition. Framed. Pm, | Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 740. St. Francis BeneatH A TREE, Prayrtnc. Painter-etching. 1657. ; Bartsch. No. 107. ' Second state. Supers impression from the finished plate, on Japanese paper. ExcrEDINGLY RARE. From the Hawkins, Earl of Aylesford, Duke of Buccleugh and Alfred Hubert Collections. All of the grandeur of Rembrandt’s last period is seen in this print. It was executed at a time when he had been deserted by public favor, and in fact by everybody, except Hendricke Jaghers, his mistress. The plate was evi- dently done entirely to please himself and without any consideration for the taste of the public. In fact it has never been a favorite except with those who have made some study of Rembrandt’s works and possess a little insight into the real meaning of his art. REMBRANDT VAN RIJN 741. Tur SpanisH Grpsy (Preciosa). Painter-etching. Assumed date, 1641. Bartsch. No. 120. Only one state known. SvuprERB IMPRESSION, IN PERFECT CONDITION. IMPRESSIONS OF THIS PLATE ARE OF THE GREAT- EST RARITY AND ARE ONLY FOUND IN THE- MOST COMPLETE COLLECTIONS. From the Marsden J. Perry Collection. REMBRANDT VAN RIJN 742. Tur Synacocur. Painter-etching. 1648. Bartsch. No. 126. Intermediate state between the second and third; not men- tioned by Rovinski, Seidlitz or Hind. Very FINE IMPREs- sion, with an additional set of lines in the shadow on the stone in the middle ground, but before the other re- touches. REMBRANDT VAN RIJN 743. Cuptp Reposine. Etching. Bartsch. No. 182. Rejected by most authorities as not being by Rembrandt. A VERY FINE IMPRESSION OF A VERY RARE PLATE. From the Six and R. v. Seydlitz Collections. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN :RIJN 744, Brccars at THE Door or a House. Painter-etching. 1648. Bartsch. No. 176. First state. Supers impression, before the additional work on door-post near the nose of the old man giving alms. In perfect condition. Framed. REMBRANDT VAN RIJN 745. Beccar Turnep To THE Ricut (“tis vinnich kout’’). 1634. —Bercear Turnep to THE Lert (“dats niet”). Paint- er-etchings. 1634. Bartsch. Nos. 177 and 178. Only one state known. VERY FINE AND STRONG IMPRES- SIONS. From the J. C. D. Hebich and E. Schroeter Collections. “These etchings. have been attributed to Solomon Savry, whom a recent writer erroneously assumes to have been a pupil of Rembrandt. There is nothing in their execution to support this theory; the figures are coarsely and carelessly drawn, but, as I have shown before, we need not for that reason doubt their authenticity. Their idea was probably borrowed from S. Beham, who in 1542 designed and engraved two little plates of a farmer and laborer, on one of which is the legend, ‘Es ist kalt Weter,’ and on the other, ‘Das schadet nit’; but Rembrandt’s plates are in no sense copies of these prints.’—Mmp.eTon. REMBRANDT VAN RIJN 746. Srx’s Brincr. Painter-etching. 1645. Bartsch. 208. Third state. VERY FINE IMPRESSION, with the hats of both men standing on the bridge, shaded. From the J. Marsden Perry Collection. One of the rarest, and, in spite of its slightness, one of the most beautiful of Rembrandt’s landscapes. The legend concerning this etching is that when Rembrandt was about to sit down at the hospitable board of Burgomaster Jan Six it was found that mustard was lacking. The servant was dispatched to buy it, and Rem- brandt made—and won—a wager that he would etch a plate before the servant could return with the mustard. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 747. A View or AmstTeRDAM. Painter-etching. Assumed date, 1640. Bartsch. No. 210. Second state. BEAUTIFUL IMPRESSION without the hare and the upper line of the tower, on paper with the water- mark “Folly.” Large margin. From the Robert Dumesnil Collection. REMBRANDT VAN RIJN 748. Tue Lanpscare with THE THREE Trees. Painter-etching. 1643. Bartsch. No. 212. Only one state. Fryer, EARLY IMPRESSION, RICH AND TRANS- PARENT. “Ce paysage est un des plus beaux et des plus finis que Rembrandt ait fait; il est d’un effet trés brillant, et gravé avec beaucoup de gofit. Les belles épreuves en sont trés rares.”—Barrscu. REMBRANDT VAN RIJN 749. ReEvERSED Copy oF THE LANDSCAPE WITH THE Turee TREES. Etched by William Lord Byron. From the W. H. Daugherty Collection. REMBRANDT VAN RIJN 750. Tue LanpscarE witH THE THREE Corttaces. Painter-etching. 1650. Bartsch. No. 217. Third state. SuprerB IMPRESSION IN PERFECT CONDITION. EXTREMELY RARE OF THIS QUALITY. REMBRANDT VAN RIJN 751. THe Lanpscarpe with a Ruinep Tower anp A CLEAR Fore- GRoUND. Painter-etching. Assumed date, 1650. Bartsch. No. 228. Third state. Very FINE IMPREssION with a considerable amount of tone left on the plate, emphasizing the dark Fourth Session, Tuesday Evening, April 13th [| No. 751—Continued | and stormy effect on the landscape. THis Is UNDOUBTED- LY ONE OF THE FINEST. IMRESSIONS IN EXISTENCE. Framed. From the J. Kollmann Collection. “Ce qui est certain, c’est que le Paysage a la tour est un des plus beaux de Voeuvre.”—Cuarirs Banc. “The print, which, for well-considered breadth and maintained unity of effect (not so much for dainty finish), is the ‘last word’ of landscape art, the perfect splendid phrase which nothing can appropriately follow, after which there is of necessity declension—if not collapse.”—FreEpErick Wep- MORE. REMBRANDT VAN RIJN 752. Aw Arcuep Lanpscare with a Frock or SuHrep. Painter- etching. 1650. Bartsch. No. 224. Second state. VERY FINE ImpPREssION with the distant horizon added behind the two figures on the left. : REMBRANDT VAN RIJN 753. Tuer LanpscaPE witH a CorracGrE anp Haystack. Painter- etching. 1641. Bartsch. No. 225. Only one state known. AN IMPRESSION OF THE HIGHEST ORDER. Framed. REMBRANDT VAN RIJN 754. A Larce LanpscaPreE with A Mirr-satL SEEN ABOVE A Cor- TacE. Painter-etching. 1641. Bartsch. No. 226. Only one state known. VERY FINE IMPRESSION. From the H. D. Seymour Collection. “|. makes a most poetical picture, as if by magic, out of an old, low cottage and a lime tree, a stream gliding silently between its flat banks among the meadows, the sails of a few windmills visible in the distance and a town on the verge of the low horizon.”—H. Kwacxruss. REMBRANDT VAN RIJN 755. ReMBRANDT’S Mitt Painter-etching. 1641. Bartsch. No. 288. Only one state known. SuprerB EARLY ImMPREsSION, before Fourth Session, Tuesday Evening, April 13th [| No. 755—Continued | any of the effect obtained in the sky by the use of sulphur was lost. “Here we see nothing but a windmill, a few houses, and a perfectly flat horizon; but what a refined and indescribable charm—the secret of true art which defies analysis—lies in the sincerity with which this scene is rendered.”—KNACKFUSS.. REMBRANDT VAN RIJN 756. THe GoLpWEIGHER’s Fietp. Painter-etching. 1651. Bartsch. No. 234. Only one state known. SUPERB IMPRESSION WITH SOME BURR. ‘THIS PLATE IS UNIVERSLLY ADMITTED TO BE AMONG THE THREE OR FOUR OF REMBRANDT’S GREATEST LAND- SCAPES. From the La Motte-Fouquet and an unidentified collection. Fagan. No. 254. “The landscape known as the Goldweigher’s Field is one of the best exam- ples of the way in which the master could work in true nineteenth century spirit. It is full of the feeling of the air and space and is handled in a broad, free style that would be remarkable even in the greatest of nine- teenth century artists."-—ATHERTON CorRTIS. REMBRANDT VAN RIJN 757. Otp Man Seatrep, wiruH A Fiowine Brarp, Fur Cap anp VELVET Cioak. Painter-etching. Assumed date, 1632. Bartsch. No. 262. Second state. VERY FINE IMPRESSION BEFORE THE RE- TOUCH. From the Chevalier de Cloussin Collection. “... but what a beautiful portrait! What an astounding representation of an old man!”’—Cuartes Brianc. REMBRANDT VAN RIJN 758. Oty Man witrn a Divivep Fur Cap. Painter-etching. 1640. Bartsch. No. 265. First state (of 3). Very FINE impression before the shipped burin stroke near the left eye. (3 e . work of great dignity and beauty, but not likely to be popular, from the absence of vigorous blacks. It is, however, admirably drawn, and though the distinctions of tone and local color are slight, this etching is one of the most brilliant that Rembrandt ever executed, and perfectly harmonious in its own key.”—P. G. Hamerron. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 759. Youne Man Musine. Painter-etching. Bartsch. No. 268. Second state. Fine impression with the cheek cleared. REMBRANDT VAN RIJN 760. Doctor Fausrus. Painter-etching. Assumed date, 1652. Bartsch. No: 270. First state. Supers impression before the additional shading on the book at the right and before much roulette work on the drapery and garment. On the curious gray paper which Rembrandt sometimes used for his plate of St. Jerome in an Italian Landscape. Framed. From the Hawkins Collection. REMBRANDT VAN RIJN 761. Portrait or Corneuis Crarsz Ansto, MENNONITE PREACHER. Painter-etching. 1641. Bartsch. ; No. 271. Second state. VERY FINE IMPRESSION, the white strip at the bottom of the plate was worked over. From the Chevalier J. de Franck, Nahl and W. S. Carter Collections. “Ce portrait est un des plus beaux et des plus finis que nous ayons de la pointe de Rembrandt. Ce morceau est rare.”—Bartscu. REMBRANDT VAN RIJN 762. Portrrair oF CLEMENT DE JONGHE, PRINT-SELLER. Painter- etching. 1651. Bartsch. No. 272. First state. Suprers impression before the arch and be- fore some work on the outer fold of the cloak. ONE oF THE MOST BEAUTIFUL AND MOST FAMOUS PORTRAITS BY THE MASTER. “Nothing in all the great etched work of Rembrandt is in craftsmanship more unobtrusively magnificent, and in its suggestion of complex character nothing is more subtle.”—FrReperick WEDMORE. “As to the portraits of Clement De Jonghe which Rembrandt etched, one has no need to remark how fortunate is the arrangement or how beautiful the effect, how imposing the pensive expression of this personage whom one would so little suspect of being a merchant occupied with the prosaic details of his business and to whom Rembrandt—who always idealized nature according to his own ideas—has been able to give, as in the case of the Young Haaring, an air of revery so profound and the austere mel- ancholy of a philosopher in meditation.”—Cuartires Branc. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 763. Porrrair or Jacosp Haarine (The “Old Haanmge)- Painter- etching. Assumed date, 1655. Bartsch. No. 274. Second state. VERY FINE IMPRESSION with the added _ pil- lar in the centre of the window on outside. In perfect condition. From the Edward Utterson Collection. THIS PORTRAIT, AS WELL AS BEING ONE OF THE MOST BEAUTIFUL OF Rem- BRANDT, IS, AT THE SAME TIME, OF THE UTMOST SCARCITY. Ir IS RARELY FOUND OUTSIDE OF THE GREAT PUBLIC COLLECTIONS. REMBRANDT VAN RIJN 764. Porrrarr or JAN Lutrma, THE Exper. Goldsmith at Gron- ingen. Painter-etching. 1656. Bartsch. No. 276. First state. SUPERB PROOF BEFORE THE WINDOW AND THE SIGNATURE. PRINTED ON PARCHMENT AND EXCESSIVELY RARE. Framed. From the John Webster and W. L. A. Dillaway Collec- tions. “C’est un des plus beaux que Rembrandt ait roe Le caractére de la téte y est rendu principalement avec tout lesprit imaginable.” REMBRANDT VAN RIJN 765. Porrrair or JAN AssELYN, THE ParnteEr, (Nicknamed “Crab- betje”). Painter-etching. Assumed date, 1674. Bartsehs =No,-2 (a. Third state. Very FINE Impression with the background completely cleaned and the portrait retouched. REMBRANDT VAN RIJN 766. Portrait oF Eruraim Bonus, JEwisH Puysictan. Painter- etching. 1647. Bartsch. No. 278. Second state. AN IMPRESSION OF THE FINEST QUALITY. with the burr removed from the ring; in perfect condi- tion. Framed. From the La Motte-Fouquet, A. Alferoff, Dr. Strater and. Marsden J. Ferry Collections. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 767. Portrait or JAN Uytenpocarrt, PREACHER OF THE SECT OF THE ARMINIAN Remonstrants. Painter-etching. 1635. Bartsch. No. 279. Sixth state. SitEenpip mprRession after the two irregular corners of the octagon had been made even, but before the crude retouches on the curtain at the right. With a col- lector’s mark “Anchor” in dry stamping, not mentioned by Fagan. REMBRANDT VAN RIJN_ 768. PorTRAIT oF JAN CorNELIS Sytvivus, Preacuine. Painter- etching. 1634. Bartsch. No. 280. Second state. SupERB Impression after the big scratch in the right upper margin had been burnished out. In perfect condition. From the L. Galichon and A. Artaria Collections. “This is one of Rembrandt’s best portraits. It is very scarce, especially a good impression of it; as the etching being tender, many could not be taken off before the plate was worn.”’—Wr1son. “The following is a translation of the Latin inscription in the lower margin: This was the face of Sylvius, whose eloquence taught that Christ should be adored and showed to men the true path to Heaven. With these lips we heard him speak to the people of Amsterdam, with these he preached to the Frisians. Piety and religion were long safe in the keeping of an unyielding champion. Brightly shone the light of his life, revered for its virtues, and even in the infirmities of age he taught strong men. “A lover of sincerity, he disdained all mere pretense of right nor cared by a fair front alone to please the good. This was his belief, that Jesus could be better preached by a nobler life, less well by thunders of elo- quence. Amsterdam, cherish the memory of him who by his character set the standard for the city’s life and maintained it by help of God Himself.” —C, Bariaevs. “No further do I praise his merits which I fain would imitate, but seek to present in verse.—P. S. REMBRANDT VAN RIJN 769. Porrrair or Jan UyTEnsBoGaERT, RECEIVER-GENERAL (usu- ally called “The Gold-Weigher”). Painter-etching. 1639. Bartsch. No. 281. Second state (of 4). SUPERB IMPRESSION BEFORE THE RE- roucH BY Caprain WitiiAm Batiire. Framed. Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 770. Porrrarr or LirveEN Wit.LEemMsz vAN CoppENnoL, WRITING- Master. The larger plate. Painter-etching. Assumed date, 1658. = Bartsch. No. 283. 5 Fifth state. Very FINE Impression of the state before the plate was cut down. On paper with the watermark — “Folly.””. This is one of Rembrandt’s latest plates and the impression is accompanied by an original autograph of the sitter. From King Ferdinand of Portugal, Herman Weber and H. S. Theobald Collections. REMBRANDT VAN RIJN 771. Porrratr or Jan Six (Burgomaster Six). Painter-etching. 1647. Bartsch. No. 285. Third state. Frye anp HARMONIOUS IMPRESSION with the name and age of the personage in the lower margin. Kramedso5 “The portrait of Jan Six is unquestionably Rembrandt’s masterpiece in the way of highly finished shading, and was evidently executed with the inten- tion of carrying his art, for once, as far as was possible for him in that special direction.”—P. G. Hamerron. REMBRANDT VAN RIJN 772. A BearpEpD Man Wearine Aa VetvetT Cap witH A JEWEL Criasp. Painter-etching. 1637. Bartsch. No. 313. Only one state admitted lately. ExcrEpINGLY FINE IM- FRESSION. “5 From the J. Reiss and Marsden J. Perry Collections. REMBRANDT VAN RIJN 773. Rempranpt’s MotrHer Seatrep at A Taspue, TurRNED TO THE Ricut. Painter-etching. Assumed date 1681. | Bartsch. No. 3438. Second state. SupPEeRB AND BRILLIANT IMPRESSION before the removal of the black spot near the tip of the nose. From the Baron Von Lanna Collection. “Sa téte, qui est vue de trois quarts, est extémement fine et porte le carac- tere d’une femme trés-agée.”—Cn. BLanc. ; : ' . Fourth Session, Tuesday Evening, April 13th REMBRANDT VAN RIJN 774, An Oty Woman Steepinc. Painter-etching. Assumed date between 1635 and 16387. Bartsch. No. 350. Only one state known. ExcrEDINGLY FINE IMPRESSION. REMBRANDT VAN RIJN 775. TuHree Heaps or Women. Painter-etching. Assumed date 1637. Bartsch. No. 367. One lightly etched. Second state. Very FINE IMPRESSION ~ WITH THE THREE HEADS. All three studies are probably portraits of Saskia. The upper head is perhaps the most beautiful etching of his wife that the master has left us. SAMUEL WILLIAM REYNOLDS Born in England, 1773; died at Bayswater, 1835. Pupil of C. H. Hodges. REYNOLDS, SAMUEL WILLIAM 776. Mrs. ArputTHNot. :Mezzotint. A. Whitman. No. 11. After John Hoppner. First state. VERy FINE IMPRES- sion with the name of the personage and with the word “Proof.” Marcia Mary Anne Arbuthnot, first wife of the Right Hon. Charles Arbuthnot, M. P., and diplomat. REYNOLDS, SAMUEL WILLIAM 777. Georciana (Gorpon), Ducuess or BEeprorp. Mezzotint. A. Whitman. No. 21. After John Hoppner. Third state. Fifth daughter of Alexander, fourth Duke of Gordon; married in 1803, as his second wife, John Russell, sixth Duke of Bedford; died 1853. REYNOLDS, SAMUEL WILLIAM 778. Cuartes James Fox. Mezzotint. A. Whitman. No. 92. ‘After John Opie. Second state. Open letter proof. VEry FINE IMPRESSION IN. PERFECT CONDITION and with ample margin. - Framed. From the W. S. Carter Collection. Fourth Session, Tuesday Evening, April 13th REYNOLDS, SAMUEL WILLIAM 779. FisHERMEN Goine Our. Mezzotint. 1805. A. Whitman. . No. 400. After George Morland. Proof before all letters not men- ~ tioned by Whitman. VERY FINE. ANTONIO RICCIANI Born in Rome, 1775; died —. _ RICCIANI, ANTONIO 780. Tur Deatru or Priamus at THE Taxtne oF Troy. engraving. Apell, p. 858. No. 12. After P. Benvenuti. First state. Proof before all letters, with the engraver’s name only. Very parE. Framed. Line- — JOSEPH THEODORE RICHOMME Born in Paris, 1785; died there, 1849. Pupil of Regnault and Coiny. RICHOMME, JOSEPH THEODORE 781. TRiumpH oF GALATHEA. Apell, p. 359. No. 9. After Raphael. Second state. the engraver’s stamp. Framed. Companion to No. 782. Line-engraving. Open letter proof, with | RICHOMME, JOSEPH THEODORE 782. Tuertis Carrying THE New Armure TO ACHILLES. engraving. Apell, p. 359. No. 10. . After F. Gérard. Second state. the engraver’s stamp. Framed. Companion to No. 781. Line- Open letter proof, with RICHOMME, JOSEPH THEODORE 783. NEPruNE AND AMPHITRITE. Apell, p. 359. No. 11. After Giulio Romano. First state. Proof with the art- ists’ names only. Framed. Line-engraving. Fourth Session, Tuesday Evening, April 13th CHRISTOFANO ROBETTA Born in Florence, 1463, and worked until 1522. “Vasari, who has given a long chapter to engravers by profession, does not mention Robetta. He seems to have considered this artist a mere goldsmith. Whatever may be the cause of this forgetfulness—and it is of little consequence, the plates being more eloquent than the best authenticated descriptions—we must assert that the prints signed with his name merit special attention. Drawn with unerring beauty and elegance, and engraved with a boldness and ease rare amongst the early Italians, they may sometimes be marred by timidity and inexperience, never by want of taste nor incorrectness of design.”— DUvPLeEssis. ROBETTA, CHRISTOFANO 784. ‘THE AporATION oF THE Mac. Painter-engraving. Bartsch, XII. No. 6. A very fine and strong impression; evidently a contem- porary print. The plate of this engraving is still pre- served in the British Museum. It has been printed often in later periods and modern impressions are of frequent occurrence. On the reverse of the plate is the engraving for the Allegory of the Power of Love. ROBETTA, CHRISTOFANO 785. AtitEecory or THE Power oF Love. Painter-engraving. Bartsch, XIII. No. 25. Fine early impression and extremely rare. This design is engraved on the reverse of the plate, The Adoration of the Magi. Bartsch. No. 6. ANTOINE LOUIS ROMANET 1748—? ROMANET, ANTOINE LOUIS 786. Le Barn. Line-engraving. Portalis and Beraldi, III, p. 412. No. 2. After S. Freudeberg. Proof before the title. Very FINE IMPRESSION, but cut close. Rare. JOHANN HEINRICH ROOS Born at Otterdorf (Palatinat), 1631; died in Frankfurt a ROOS, JOHANN HEINRICH "87. SHEPHERD AND Frock Resrine. Painter-etching. Bartsch. 38. Second state. Fine impression. Framed. M, 1685. Fourth Session, Tuesday Evening, April. 13th FRANCESCO ROSASPINA Born at Monte Scudolo, near Rimini, 1762; died in Bologna, 1842. Disciple = of Morate and Morghen. : i ROSASPINA, FRANCESCO 788. Tur Dance or Curips (also called the a of ee _ Line-engraving. Apell, p. 366. No. 12. After F. Albano. First state. BrAuTIFUL PROOF BEFORE a ALL LETTERS AND THE BORDER. Framed. = NICOLETTO ROSEX (ROSSI or ROSA) (Called Da Modena) “Flourished at Modena (?) about 1490-1511. Italian engraver and gold- smith of the 16th century, born in Modena. In his early works he came under the influence of Mantegna’s style. . . . He developed about the same time (1500) a style of composition quite his own, among engravers of — the time, nearly always surrounding his saint or allegorical figure in a fan- tastic setting of classical ruin.”—-Hrnp. ROSEX, (ROSSI or ROSA), NICOLETTO 789. Patias. Painter-engraving. Bartsch, XVIII. No. 48. Very rare. From the Earl of Cholmondeley’s Collection. PETER PAUL RUBENS Born in Antwerp, 1577; died, 1640. RUBENS, PETER PAUL 790. Sv. CaruErtne. Painter-etching. Dutuit;-V..- Nowelo. Third state. VERY FINE IMPRESSION AND EXTREMELY RARE. “A few etchings are attributed to Rubens himself—three with some show of reason. . . . ‘St. Catherine in the Clouds,’ ‘An Old Woman and a Boy with Candles, and a bust of Seneca. The first, which is the most powerful work of the three, is signed in its second state, ‘P. Paul Rubens fecit.’ In composition it corresponds to one of the ceiling paintings done by Rubens for the Jesuits’ church of Antwerp in 1620.”’—Huxyp. Fourth Session, Tuesday Evening, April. 13th JACOB RUYSDAEL Born, 1628(29); died, 1682. RUYSDAEL, JACOB 791. Les Voracrurs. Painter-etching. Dutuit. No. 4. FINE impression. Duplicate from the British Museum. THOMAS RYDER anp J. L. COSSE Born, 1746; died, 1810. RYDER, THOMAS, and COSSE, J. L. 792. GEnius oF Moprsty Preventinc Love Unveruine Beauty. Stipple. After G. B. Cipriani. VerRyY FINE IMPRESSION WITH THE TITLE, printed in brown. Framed. WILLIAM WYNNE RYLAND ~ Born in London, 1732; died there, 1783. Pupil of Ravenet, Boucher and LeBas. RYLAND, WILLIAM WYNNE 793. Curip Tiep To a TREE BY THE Graces. Stipple. After A. Kauffmann. VERY FINE IMPRESSION IN RED. Cir- cular. Framed. RYLAND, WILLIAM WYNNE 794, TrLemacnus in AuLA SparTana (Telemachus at the Court of Sparta)—Trtemacuus Repux a PENELOPE (Telema- chus Brought Back to Penelope). Stipples. Both after Angelica Kauffmann. BriLuiaNT IMPRESSIONS in red, perfect in condition. Framed. (2) RYLAND, WILLIAM WYNNE 795. Tur JupGMEnT oF Paris. Stipple. After Angelica Kauffmann. FINE IMPRESSION WITH THE INSCRIPTION, printed in black. Circular. Framed. RYLAND, WILLIAM WYNNE 796. Sueepinec VENus. Stipple. After Angelica Kauffmann. Fine proof below letters printed in red. Circular. Framed. Fourth Session, Tuesday Hvening, April 13th RYLAND, WILLIAM WYNNE 797. Venus Presenrinc Heten ro Paris—Tue Fricut or HELen — AND Paris. Stipples. 7 or Both after Angelica Kauffmann. SupERB IMPRESSIONS in ~ red, with full margin and in perfect condition. (2) % These two prints are mentioned in Bryan’s “Dictionary of Painters and En- gravers” as being among the artist’s best work. H. SACHS Pupil of E. Mandel. SACHS, H. 798. Ixy per Dammerunc. Line-engraving. 1869. Apell, p..371:- No. 6; After Spangenberg. First state. Artist’s proof on India paper. Framed. HERMAN SAFTLEVEN Born in Rotterdam, 1609; died in Utrecht, 1685. SAFTLEVEN, HERMAN 799. LanpscarEe witH Aa Bic Tree. Painter-etching. Bartsch, I. No. 28. VERY FINE IMPRESSION IN PERFECT conpITION. Works by this etcher very rarely find their way into the market. NATALE SCHIAVONE Born at Chiozza, 1777; died in Venice, 1858. Pupil of R. Morghen. SCHIAVONE, NATALE 800. THe Assumption or THE Vircin. Line-engraving. Apell, p. 377. No. 2. After Titian. The painting formerly in the Church of Santa Maria Gloriosa dei Frari, and now in the Gallery of the Academy of Venice. First state. Proof before all let- ters and before the coat-of-arms. SUPERB IMPRESSION IN PERFECT CONDITION and ample margins. . Framed. From the W. S. Carter Collection. Fourth Session, Tuesday Evening, April 13th LUIGI SCHIAVONETTI Born at Bassano, 1765; died in London, 1810. Pupil of Volpats and Bar- tolozzi. SCHIAVONETTI, LUIGI 801. THe Canrersury Pitrertmacr (Chaucer’s Canterbury Pil- grims). Line-engraving. Andresen, II, p. 452. No. 12. After Thomas Stothard. Finished by J. Heath after the engraver’s death. Fine open letter proof with one line of the inscription. Framed. GEORG FRIEDRICH SCHMIDT Berlin, 1712-1775. “Schmidt was the son of a poor weaver, and lost six precious years as a soldier in the artillery at Berlin. Owing to the small- ness of his size he was at length dismissed, when he surrendered to a nat- ural talent for engraving. Arriving at Strasburg, on his way to Paris, he fell in with Wille, a wandering gunsmith, who joined him in his journey, and eventually in his studies. ‘The productions of Schmidt show ability, originality, and variety rather than taste. His numerous portraits are excellent, being free and lifelike, while the accessories of embroidery and drapery are rendered with effect. As an etcher he ranks next after Rem- brandt.”—SumMwne_r. SCHMIDT, GEORG FRIEDRICH 802. Porrrair or Himsetr “witH THE SPIDER.” Painter-etching. Jacoby. No. 141. Very fine, early impression before the additional shading near the thermometer. From the E. Schraeter Collection. J. F. SCHMIDT SCHMIDT, J. F. 803. Portrair or Maurice QuenTIN DE LA Tour. (The small plate.) Line-engraving. 1772. Jacoby. No. 89. Second state. SUPERB IMPRESSION WITH THE INSCRIPTION. Fourth Session, Tuesday Evening, April 13th’ JAKOB MATTHIAS SCHMUTZER Born in Vienna, 1733; died mere 1811. He studied for a time in Paris un- — der Wille’s direction. i 5 SCHMUTZER, JAKOB MATTHIAS 804. Sr. Amprose Rerustne Emperor THEoposIus ADMITTANCE TO _ THE CuurcH. Line-engraving. 7 | 4 Apell, p. 879. No. 5. 7 : After P. P. Rubens. Second state. Proof before letters — with the pillars. VERY FINE. | From the Burleigh James Collection. MARTIN SCHGiNGAUER Born at Ulm, about 1445; died at Colmar, 1491. He first studied with his father, who was a goldsmith, and afterward seems to have visited ‘Flanders, where he studied under Roger Van der Weyden.. SCHCGENGAUER, MARTIN 805. THe ANGEL oF THE ANNUNCIATION. Painter-engraving. Bartsch, VI. No. 1. | Very fine 1 impression on paper with the watermark “Fleur- de-lys.”” A tear in the lower part cat repaired. Companion to No. 806. From the Prince de Paar and Alfred Move dolce This impression shows the fine lines in the face and hands which give such peculiar delicacy to the finest impressions of Schoengauer’s prints. It is only | in impressions of this class that Schoengauer’s peculiarly subtle modelling can be really appreciated. It is by the simplest possible technic that he at- tained the wonderful purity and delicacy of effect for which his prints have always been famous, and these qualities can only be appreciated in the earliest impressions. SCHGENGAUER, MARTIN 806. THE VirciIn or THE ANNUNCIATION. Painter-engraving. Bartsch, VI. No. 2. BEAUTIFUL RICH IMPRESSION IN PERFECT CONDITION. Of almost all the early German engravers’ work, Schon- gauer’s are the most difficult to obtain in fine impres- sions. Companion to No. 805. From the P. Gellatly Collection. Fourth Session, Tuesday Evening, April 18th SCHGENGAUER, MARTIN 807. Tue Annunciation. Painter-engraving. Bartsch, VI. No. 3. SUPERB IMPRESSION AND OF THE GREATEST RARITY. SCHGNGAUER, MARTIN 808. Tue Nativiry. Painter-engraving. Bartsch, VI. No. 4. EXTREMELY FINE IMPRESSION AND OF THE GREATEST RARITY. Framed. SCHCGENGAUER, MARTIN 809. THE Passion oF Curist. Painter-engraving. . Bartsch, VI. Nos. 9-20. A COMPLETE SET, ALL EQUALLY SUPERB IMPRESSIONS. Sin- gle impressions are very rarely found in such quality. AN ENTIRE SET CAN HARDLY BE DUPLICATED. From the Prince Alexander Lobanow Rostowsky Collec- tion. (12) SCHGNGAUER, MARTIN 810. Curist Carryinc THE Cross (the large plate). Painter- engraving. Bartsch, VI. No. 21. FINE IMPRESSION OF AN EXTREMELY RARE PLATE. Repaired on the left margin and two tears cleverly mended. Framed. SCHCGENGAUER, MARTIN 811. Tur Crucirrxion. Painter-engraving. Bartsch, VI. No. 25. From the R. Scholtz Collection. SCHCGENGAUER, MARTIN 3 812. Tue Vireww anp Cur~p with A Parrot. Painter-engraving. Bartsch, VI." No. 29. FINE IMPRESSION. From the Von Nagler Collection; also Duplicate from the Berlin Museum. Fourth Session, Tuesday Evening, Apri 13th SCHG:NGAUER, MARTIN 813. THe Vircin SEATED IN A Court-yarp.. Painter-engraving. Bartsch, VI. No. 82. _ SUPERB IMPRESSION AND OF GREAT RARITY. From the Count G. Archinto Collection. SCHCGENGAUER, MARTIN 814. Tue Dearn or THE Viren. Painter-engraving. Bartsch, VI. No. 33. | SUPERR IMPRESSION OF ONE OF THE FINEST WORKS OF THE master. With the unknown collector’s mark “J. G.? — (Perhaps J. Gerbeau.) Framed. SCHGENGAUER, MARTIN 815. Curisr Aprrartnc to Macpaen. Painter-engraving. Bartsch, VI. No. 36. FINE IMPRESSION. Duplicate from the Berlin Museum. SCHCENGAUER, MARTIN 816. Tempration or St. ANrHoNy. Painter-engraving. Bartsch, VI. No. 47. A SUPERB, SILVERY IMPRESSION, IN PERFECT CONDITION. EXTREMELY RARE. From the Count G. Archinto and G. D. de Arozarena Col- lections. SCHCENGAUER, MARTIN 817. Sr. George Kinuinc rHE Dracon. Painter-engraving. Bartsch, VI. No. 50. This delightful little print is one of the rarest and most charming of Schcengauer’s works. ‘THE PRESENT IMPRES- SION IS WONDERFULLY FRESH AND BRILLIANT. SCHCENGAUER, MARTIN 818. St. James THE GREATER DEFEATING THE SaRAcENS. Painter- engraving. Bartsch, B. VI. No. 53. FINE IMPRESSION AND EXTREMELY RARE, particularly in such excellent state of preservation. Considering that public collections, such as the British Museum and the Fourth Session, Tuesday Evening, April 13th [| No. 818—Continued | Berlin Museum are compelled to take many of Scheen- gauer’s prints torn across or lacking in height or breadth, the value of a perfect impression of this size may be bet- ter appreciated. Framed. From the A.'Morrison Collection. SCHCGNGAUER, MARTIN 819. Sr. Martin Divipixe His Croax. Painter-engraving. Bartsch, VI. No. 57. SUPERB IMPRESSION AND OF THE GREATEST RARITY. SCHCGENGAUER, MARTIN 820. Gop true FATHER AND THE Vircrn Mary SEATED ON A THRONE. Painter-engraving. Bartsceh,-VI. -No. 71. FINE OLD IMPRESSION AND EXTREMELY RARE. Duplicate from the British Museum. SCHCGENGAUER, MARTIN 821. CoatT-oF-arMs, WITH A Woman Noursine a Cuiup. Painter- engraving. Bartsch, VI. No. 100. A CURIOUS AND RARE PRINT. SCHGENGAUER, MARTIN 822. Coat-or-arms, with A Witp Man (Family von Baldinger). Painter-engraving. Bartsch, VI. No.:‘108. FINE AND VERY RARE. From the W. Esdaile, R. Balmanno, Dr. Strater and Von Baldinger Collections. SCHCGENGAUER, MARTIN 823. Coat-or-arRMs, wiTH A Witp Man. Painter-engraving. Bartsch, VI. No. 105. VERY FINE AND RARE. Fourth Session, Tuesday Evening, April 13th SCHCGNGAUER, MARTIN 824. Incensr Burner. Painter-engraving. Bartsch, VI. No. 107. SUPERB IMPRESSION on paper with the watermark “High Crown.” ONE OF THE FINEST SPECIMENS OF ORNAMENTAL WORK WHICH HAS PROBABLY NEVER BEEN SURPASSED. GABRIEL SCORODOMOFF Born, 1748; died, 1792. Pupil of Bartolozzi. SCORODOMOFF, GABRIEL 825. Cupip anp Nympus. Circular. Stipple. After Angelica Kauffmann. BritLiIANT PROOF BEFORE ALL LETTERS in red, with small margin. SCORODOMOFF, GABRIEL 826. TrrumeH or Beauty. Circular. Stipple. VERY FINE PROOF BEFORE ALL LETTERS, printed in red. Framed. ADAMO SCULPTOR (Also known as Ghisi) Flourished in Mantua about 1566-1580. Supposed to have been a son of. Giovanni Battista Sculptor. ; SCULPTOR, ADAMO 827. THREE Cupips. Engraving. Bartsch, XV. No. 23. After Giulio Romano. “This is the best print which was engraved by Adam Ghisi, if indeed it be by him, which might be contested.”—Barrscu. Bartsch followed the older cataloguers in giving the name of Ghisi to the whole of the Sculptor family. f DIANA SCULPTOR (Also known as Ghisi) Born at Manian, about 1535; died about 1587. Supposed to have been a daughter of Giovanni Battista Sculptor. SCULPTOR, DIANA 828. ‘THe Birrn or Aroito anp Diana. Engraving. Bartsch, XV. No. 89. After Giulio Romano. First state. Before “Horatius Pacificus Formis” was added on the plate. Framed. “The dates on her sixty plates range from 1581 to 1588. About 1579 she married the architect and sculptor, Francesco Ricciarelli.”—Bryan. Fourth Session, Tuesday Evening, April 13th SCULPTOR, DIANA 829. A SacriricE To JupirerR. Engraving. ‘ Bartsch, XV. No. 40. ) After Giulio Romano. First state. Early impression, before the address: “Horatius Pacificus Formis.”’ From the Robert Dumesnil and A. Morrison Collections. GIOVANNI BATTISTA SCULPTOR (Also known as Ghisi) Born at Mantua, 1503; died there, 1575. “He was an architect, painter and engraver, and a disciple of Giulio Romano and Marcantonio. After the death of the former he became architect-in-chief to the Duke of Mantua. He engraved about twenty plates, the dates on which range from 1535 to 1540. In technique they are dry, deficient in half tones, but good in drawing. He used to be considered the head of the Ghisi family, but later researches proved that his name was really Sculptor.”—Bryan. SCULPTOR, GIOVANNI BATTISTA 830. Hercutes Surrocatine AntaEus. Engraving. Bartsch, XV. No. 12. After Giulio Romano. Early impression. From the Sir Thomas Lawrence Collection and also a duplicate from the Kunsthalle Bremen. \ WILLIAM SHARP Born in London, 1749; died there, 1824. Pupil of B. West and F. Bar- tolozzi. “This engraver may claim kindred with the best. His first essays were the embellishment of pewter pots, from which he ascended to the heights of art, showing a power rarely equalled. Without any instance of peculiar beauty, his works are constant in character and expression, with every possible excellence of execution; face, form, drapery—all are as in nature.”—CHARLES SUMNER. SHARP, WILLIAM 831. Tuer Docrors or THE CHurRcH. Laine-engraving. Apell, p. 393. No. 6. After Guido Reni. Second state. Proof before letters, with the coat-of-arms and with the device on the ribbon. Very FINE. Framed. “This picture, painted in Guido’s early and most powerful manner, was eminently suited to the innate vigor of the engraver, and his translation of it is a work of art in its truest sense. Every part of it is managed with the most. consummate skill, and in the finest keeping; the drapery well and Fourth Session, Tuesday Evening, April 13th [ No. 831—Continued | nobly arranged, the deep thought and character of each head admirably — rendered, the anatomy most carefully developed, and the drawing perfect; a profound sense of meditation pervades the whole, well fitting the character of the scene. Sharp considered it his best work.”—W. S. Baxer. SHARP, WILLIAM 8382. Sr. Ceciz1a. Line-engraving. 1790. Apell, p. 8938. No. 7. “a After Domenichino. Second state. Proof before all let- ters, but with the border. Framed. From the Wm. H. Daugherty Collection. SHARP, WILLIAM 833. Porrrair or Dr. Jonn Hunter, Anatomist. Line-engraving. Apell, p. 396. No. 88. After Sir Joshua Reynolds. Very fine and rare. Framed. “It is of portraits especially that I write, and here Sharp is truly eminent. All that he did was well done; but two were models; that of Mr. Boulton, a strong, well-developed country gentleman, admirably executed, and of John Hunter, the eminent surgeon, after the painting by Sir Joshua Rey- nolds, in the London College of Surgeons, unquestionably the foremost portrait in English art, and the coequal companion of the great portraits in the past; but here the engraver united his rare gifts with those of the painter.”—Cuartes SUMNER. JOHN KEYSE SHERWIN | Born, 1751 (?); died, 1790. SHERWIN, JOHN KEYSE 834. Roxatana.(Mrs. Abington). Stipple. After Sir Joshua Reynolds. FINE ImpREssION IN BLACK INK AND IN PERFECT CONDITION. SHERWIN, JOHN KEYSE 835. A Tae or Love. Stipple. After Sir Henry Bunbury. Very nicely printed in colors, well preserved and with enough margin to show the plate- mark. Framed. Fourth Session, Tuesday Evening, April 13th WILLIAM SHERWIN Born in Wellington, Shropshire, about 1650 and flourished from 1670 to 1711. Died about 1715. SHERWIN, WILLIAM 836. Porrrair or Epwarp Warp. (Author of “London Spy,” etc.) Line-engraving. — FINE, EARLY IMPRESSION; RARE. From the F. Walker Collection. JOHN SIMON Born in Normandy, 1675; died in London, 1755. SIMON, JOHN 837. CoLttey Cissper. Apparently in the character of Lord Top- pington in the “Careless Husband.” 3 C. Smith, II. No. 39. After Grisoni. Celebrated actor and writer, born in Lon- don in 1761; Poet Laureate; severely satirized by Pope; died 1757. Only one state known. VERY FINE IMPRESSION. Framed. From the Royal Collection at Windsor Castle. JEAN PIERRE SIMON Worked in London about 1785. SIMON, JEAN PIERRE 838. AncEts’ Heaps (Children of Lord William Gordon) (Miss Frances Isabella Kerr Gordon). Stipple. After Sir Joshua Reynolds. First state. Proof before letters printed in black ink. VERY FINE AND RARE. SIMON, JEAN PIERRE 839. CrepuLtous Lapy anp Astrotocer. Stipple. Portalis and Beraldi, III, p. 548. After J. R. Smith. Very nicely printed in colors. Framed. Fourth Session, Tuesday Evening, April 13th SIMON, JEAN PIERRE 840. SteEepiInc Nymex (Mrs. Opie). Stipple. After John Opie. SupERB PROOF BEFORE LETTERS, printed in brown. Large margin. Framed. JEAN-BAPTISTE SIMONET Born in Paris, 1742; died there, 1813. “Another engraver who was a favorite interpreter of the work of Baudouin was Jean Baptiste Simonet, whose three most celebrated prints are ‘Le Coucher de la Mariée,’ ‘Le Modele honnéte,’ and ‘La Soiree des Tuileries.’ ... The essential charac- teristics of Simonet as an engraver were lightness of touch, correctness of execution and absolute fidelity to the original design.”—RatpH NEvIx1. SIMONET, JEAN-BAPTISTE 841. Le Coucut pre ra Mariér. Line-engraving upon the etching by Jean Michel Moreau le jeune. Portalis and Beraldi, III, p. 557. No. 2. After P. A. Baudouin. Proof before all letters with the coat-of-arms only. ExTREMELY FINE IMPRESSION ON LARGE PAPER with untrimmed edges. VERY RARE IN SUCH FINE CONDITION. SIMONET, JEAN-BAPTISTE 842. Le Dancer pu Tére-A-Tére. Line-engraving. Portalis and Beraldi, II, p. 557. No. 4. After P. A. Baudouin. VERY FINE AND RARE. “Simonet’s best work, apart from ‘Le Coucher de la Mariée,’ is ‘Le Danger du Téte-a-Téte,’ also after Baudouin, and in this work his ability with the mordant as well as with the burin is clearly seen.”—Lavrence and DicHTon. SIMONET, JEAN-BAPTISTE 843. La Sorte pes Turteries. Line-engraving. Portalis and Beraldi, III, p. 557. No. 5. After P. A. Baudouin. Proof before all letters and before the border. VERY FINE AND EXCESSIVELY RARE. “La Soiree des Tuileries’ is incomparably superior to its pendant ‘Rose et Colas,’ being indeed one of the most pleasing of French prints. ‘Rose et Colas, though pretty, is more ordinary in style, and in consequence less valuable than ‘La Soiree des Tuileries,’ of which it may be added, two gouarhes still exist.”"—Ratpn NeEvILt. Fourth Session, Tuesday E'vening, April 13th JOHN SMITH Born, 1652; died, 1742. “Even in his own time the merits of: this engraver were highly appreciated, and subsequent writers, as Walpole, have con- sidered him one of the great improvers of the art. He certainly excelled in brilliancy of effect, and was powerful, clear and correct in drawing.”— CHALONER SMITH. SMITH, JOHN 844. Wm. Wycuerty. Mezzotint. C. Smith, III. No. 284. After Sir Peter Lely. Second state. Very FINE IMPRES- SION WITH THE INSCRIPTION. Rare. JOHN RAPHAEL SMITH Born at Derby, 1752; died at Doncaster, 1812. “About 1767 he came to London, and, it is said, first engaged himself as a shopman, but soon en- tered on the career of an artist. He practiced painting extensively, and drew with great spirit. A very considerable number of his prints are from his own designs and pictures, yet he was most successful in his renderings of the works of Gainsborough, Reynolds and Romney. The prints pub- lished by him between the years 1775 and 1787 are, nearly without exception, among the most admirable productions ever executed in mezzotint.”— CHALONER SMITH. “Among all the engravers the art of mezzotint has produced, J. R. Smith is perhaps the most skilful and accomplished. His scraping has all the strength and vigor of a man who is complete master of his craft, while his training as a painter enabled him to add to his touch the true feeling of the artist."-— ALFRED WHITMAN. SMITH, JOHN RAPHAEL 845. Tur Hon. Mrs. E. Bouverte. Mezzotint. 1799. C. Smith, III. No. 19. Half length. After John Hoppner. First state. Proof before all letters and before the border, probably unique. SPLENDID IMPRESSION, WITH A SMALL MARGIN. Arabella, daughter of Sir Chaloner Ogle, Bart.; married, first, in 1785 (his second wife), Hon. Edw. Bouverie, youngest son of the Ist Earl of Radnor, who died in 1824; second, in 1828, Robert Talbot, son of Richard Talbot, who died in 1843. Mourate Sessore 0 Cer eay al ve eee eee SMITH, JOHN RAPHAEL 846. Mrs. Carnac. Mezzotint. 1778. Smith, III. No. 31. a Full length portrait. After Sir Joshua Reynolds. Sec- — ond state. BrautiruL proor with the artist’s name and — the publication line in scratched letters. q Elizabeth, only daughter of Thomas Rivett, Esq., of Derby, M.P.; marred John Carnac, Esq., brigadier-general in the East India Connpaiy’s Servicé, who died at Mangalore, 1800. SMITH, JOHN RAPHAEL 847. Tue Ciavertne Cuiupren. Mezzotint. 1779. C. Smith, ITI. No. 41. Whole length. After George Romney. First state. Very FINE PROOF with the artists?’ names in scratched letters only. At top and sides no margin, at the bottom only one-half inch. | Children of George Clavering. of Greencroft, Esq. The girl died unmarried, 1795; the boy, born 1771, succeeded his uncle, Sir Thomas, LL.D., of Axwell Park, Co. Durham, as 8th Baronet. Died at Clifton, 1853. SMITH, JOHN RAPHAEL 848. Lapy CaTHErRINE Petuam Curmnton. Mezzotint. 1782. ColSmihie ll Teoma Whole length. After Sir Joshua Reynolds. Second state. FINE IMPRESSION WITH THE INSCRIPTION. From the A. Morrison Collection. Born 1776, only daughter of Henry Pelham Clinton, styled Earl of Lincoln, and grand-daughter of Henry, Duke of Newcastle; married, 1800, William, styled Lord Folkstone. She died at Paddington, 1804. SMITH, JOHN RAPHAEL 849. Miss Cumperztanp. Mezzotint. 1779. C. Smith, III. No. 49. Half length. After George Romney. First state. Verry FINE PROOF BEFORE THE INSCRIPTION in scratched letters. Elizabeth, eldest daughter of Richd. Cumberland, Esq.; married, 1782, Lord Edward Charles Cavendish-Bentick, who was youngest son of the 2d Duke of Portland, and died in 1819. She died at Ramsgate, 1837, aged 77. Fourth Session, Tuesday Evening, April 13th SMITH, JOHN RAPHAEL 850. THE Gower Famity. Mezzotint. 1781. C. Smith, III. No. 68. Whole length standing. After George Romney. First state. VERY FINE SCRATCHED LETTER PROOF. Susan, second daughter of Alexander Stewart, 6th Earl of Galloway; mar- ried, 1768, Granyille, 2d EKarl Gower. She died 1805, aged 60. Her chil- dren were: Georgiana, born 1769; Charlotte Sophia, born 1771; Susanna, born 1772; Granville, born 1773. SMITH, JOHN RAPHAEL 851. Mrs. PHorBeE Horrner (Sophia Western). Mezzotint. 1784. C. Smith, III. No. 87. Half length. After John Hoppner. First state. SupErs PROOF BEFORE THE BORDER LINE AND THE CHANGES IN THE FACE. PROBABLY UNIQUE. SMITH, JOHN RAPHAEL 852. Lapy CarorineE Montacue (as Winter). Mezzotint. 1777. Ooms, Tt. .No. 110. Whole length standing. After Sir Joshua Reynolds. First state. Proof with the artists’ names and publication line in scratched letters. Born 1774; third daughter of Henry, 3d Duke of Buccleugh; married at Richmond, 1803, Charles Douglas, Bart. She survived her husband, who died in 1837. SMITH, JOHN RAPHAEL 853. Tur Hon. Miss O’Nertz. Mezzotint. 1798. C. Smith, III. No. 123, After W. Peters. Half length. Undescribed state, before the first mentioned by Smith. Proof with the artists’ names only in scratched letters. ‘The publication line is put on in ink by hand. Propasiy uNIQUE. Henrietta Boyle, only child of Charles, Lord Dungarvan; married, 1777, John O’Neill, Esq., who died of wounds received in action with the Irish rebels, 1798. Was an early patron of Mrs. Siddons, and is described as a most charming person. She died in Portugal in 1793, aged 37. Ga "Sg Fourth Session, Tuesday Evening, April 13th _ SMITH, JOHN RAPHAEL 854. THE CHILDREN or WALTER Synnot, Esa. Mezzotint. 1782. — _ C. Smith, II. No. 160. . a After J. Wright. First state. BrauTiruL scRATCHED LETTER PROOF. Plate mark missing. | 7 Walter Synnot, Esq., of Ballynoyer House, Co. Armagh, who was after- : wards knighted, married, first, 1770, Jane, daughter of John Seton, Esq., of Camberwell, Surrey, representative of the Setons of Parbroth. Their — children are those represented: Marcus, born 1771: Walter; and Maria Eliza, died unmarried in 1800, aged 24. SMITH, JOHN RAPHAEL 855. Tue Ferncaruerers. Mezzotint. Not mentioned by Smith. After George Morland. Print in colors. Framed with black glass mat. SMITH, JOHN RAPHAEL 856. Visit TO THE GRANDFATHER. Mezzotint. Engraved by E. Dayes. Fine open letter proof with — margin. Framed. 4 SMITH, JOHN RAPHAEL 857. A Loisir. Stipple. Nicely printed in colors. JONATHAN SPILSBURY Flourished in London from 1760 to 1790. SPILSBURY, JONATHAN 858. Miss Jacons. Mezzotint. 1762. C. Smith, III. No. 21. Three-quarter length sitting. After Sir Joshua Reynolds. First state. ExTrrEMELY FINE PROOF BEFORE ALL LETTERS. Small margin. Fourth Session, Tuesday Evening, April 13th SIR ROBERT STRANGE Born in one of the Orkney Islands, 1723. Died in London in 1792. “Strange had a style of his own—rich, soft and peculiarly adapted to the . rendering of flesh tints..—Tur Gotpen Ace or ENGRAVING. STRANGE, SIR ROBERT 859. ApraAHAM SENDING Away Haecar. Line-engraving. 1767. Le Blanc. No. 1. After Guercino. First state. Proof before all letters. VERY FINE. STRANGE, SIR ROBERT 860. ‘THE Maponna oF St. JEROME WITH Str. Mary MacpaLEN AND AneEus (called “The Day of Correggio”). 1771. Le Blanc. No. 7. After Correggio. Second state. “Among the many fine subjects which Strange engraved .. . there is none more attractive or a more faithful translation of the original than the famous ‘Madonna of St. Jerome, with the Magdalen and Angels.’ ”—W1111s O. Carin. “His acknowledged masterpiece is the ‘Madonna of St. Jerome,’ called ‘The Day,’ after the picture by Correggio.”—Cuaries SuMNER. STRANGE, SIR ROBERT 861. Venus—Danaé. Line-engravings. 1768. Le Blanc. Nos. 27 and 35. Both after Titian. Second states. A BEAUTIFUL PAIR, IN FINE CONDITION WITH UNCUT MARGINS. (2) STRANGE, SIR ROBERT 862. Venus anp Aponis. Line-engraving. 1779. Le Blanc. No. 29. After Titian. First state. Proof before all letters. VrEry FINE AND RARE. Proors oF STRANGE’S ENGRAVINGS ARE OF THE UTMOST RARITY, MORE SO THAN OF ANY OF THE OTHER MASTER-ENGRAVERS. STRANGE, SIR ROBERT 863. Forrune. Line-engraving. 1778. Le Blanc. No. 41. After Guido Reni. First state. Beautiful proof before all letters. Very RARE. Framed. Fourth Session, Tuesday Evening, A pril 13th STRANGE, SIR ROBERT , 4 864. CHarztes I anp THE Mareuis or Hamitron. Line-engraving. 4 1782. | | 3 Le Blanc. No. 45. E “a After A. van Dyck. First state. Superb proof before all e. letters. Tus Is ONE OF THE THREE GREAT PORTAITS BY (@ THIS ENGRAVER. Framed. . a STRANGE, SIR ROBERT 865. Tue CHILDREN oF CHARLES I Le Blanc. No. 49. After A. van Dyck. Second state. SuPERB IMPRESSION IN PERFECT CONDITION. STRANGE, SIR ROBERT 866. APoTHEOSIs OF THE Princes Octavius AND ALFRED, CHILDREN © oF Georce III. 1786. Le Blanc. No. 50. After Benjamin West. First state. VERY FINE PROOF BEFORE ALL LETTERS. Framed. | FIFTH SESSION WEDNESDAY AFTERNOON, APRIL 14, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O'CLOCK Catalogue Nos. 867 to 1028 inclusive NICOLAS HENRI TARDIEU Born in Paris, 1674; died there, 1749. TARDIEU, NICOLAS HENRI 867. L’EmBarauemMent pour Cytuére. Line-engraving. Portalis and Beraldi, III, pp. 582-83. No. 1. After A. Watteau. Superb impression, in perfect con- dition. THIS PLATE RANKS AS THE FINEST OF ALL PLATES AFTER WATTEAU. DAVID TENIERS Born in Antwerp, 1610; died in Brussels, 1690. TENIERS, DAVID 868. Tue Arcuers. Painter-etching. Dutuit, V. No. 387. First state. Fixe rmpression. Framed. ROBERT THEW “An excellent engraver in the chalk and dotted manner; was born at Patrington, Holdernesse, in 1758; served until 1783 as a soldier, and then, at Hull, took to engraving visiting cards and addresses. His head of an old woman, after Gerard Douw, first brought him into notice, and he was afterward employed by Boydell on the large plates for his ‘Shake- speare.’ He died 1802.”—Bryan. THEW, ROBERT 869. Mr. ann Mrs. Cosway. Stipple. After Richard Cosway. Fine impression in brown. Fifth Session, Wednesday Afternoon, April 14th PAOLO TOSCHI > Born at Parma, 1788; died there, 1854. Pupil of Bervic. Director of the Academy of Fine Arts. 4 TOSCHI, PAOLO 870. Maponna pELLA Tenpa. Line-engraving. Apell, p. 431. No. 2. First state. Proof before all letters. VERY FINE. “The last of the great Italian engravers was Paolo Toschi, pupil of Ber- vic, who was himself a pupil of Wille. It remained for Toschi to discover — ¥ in the lovely frescoes of Correggio, at Parma, a mine of the richest ore, ~ which his predecessors for more than three centuries had scarcely touched. The ‘Madonna della Scala, the ‘Incaronata’ and the pair of groups of cherubs may be cited as examples of what Toschi has done for Correggio and for art.”—Goipen AcE or ENGRAVING. TOSCHI, PAOLO S71. Maponna DELLA Scaxta. Line-engraving. Apell, p. 431. No. 3. After Correggio. Remarque proof. EXCEEDINGLY FINE AND VERY RARE. ‘THIs IS ADMITTED TO BE THE MOST BEAUTIFUL OF ALL TOosCHI’s ENGRAVINGS. TOSCHI, PAOLO 872. La Discesa DELLA Croce (Dsecent from the Cross). Line- engraving. 1843. Apell, p. 431. No. 6. After Daniel di Volterra. First state. Remarque proof with the white square on the cross. VERY FINE AND RARE. Framed. TOSCHI, PAOLO 873. VeNus anp Aponis. Line-engraving. Apell, p. 481. No. 8. After F. Albano. First state. Proof before all letters. VERY FINE AND RARE. This is the principal part of the picture in the Louvre. Framed. Fifth Session, Wednesday Afternoon, April 14th CHARLES TURNER Born at Woodstock, 1774; died there, 1857. TURNER, CHARLES 874. Miss CHo~tMonpELEY. Mezzotint. A. Whitman. No. 111. Full length standing. After John Hoppner. First state; FINE PROOF BEFORE THE RETOUCH, WITH large margin. Framed. TURNER, CHARLES 875. Apmirat Lorp Netson. Mezzotint. A. Whitman. No. 401. Full length portrait. After John Hoppner. Earlier state than the first mentioned. Proof before all letters, touched upon by the painter to indicate to the engraver where to lighten the plate. VERY FINE AND EXTREMELY RARE. This engraving was published on the day of Nelson’s funeral, by P. & D. Colnaghi & €o. There had been no time to engrave the title on the plate, and the proofs were sold wet as they came from the printer. Only a very few have been preserved, and the present impression, touched upon by the painter of the picture, is probably unique. TURNER, CHARLES 876. Lorp Newron (Charles Hay). Mezzotint. A. Whitman. No. 403. After Sir Henry Raeburn. Half length. First state. Very FINE. Open letter proof with good margin. TURNER, CHARLES 877. Inrerior or a Cotrtacre. Mezzotint. A. Whitman. No. 745. After Thomas Gainsborough. Third state. VeERy FINE. Script letter proof. Framed. TURNER, CHARLES 878. Lirrite Corracer. Mezzotint. A. Whitman. No. 746. After Thomas Gainsborough. Third state. Framed. TURNER, CHARLES 879. Hese. Mezzotint. A. Whitman. No. 761. After F. Huet-Villiers. First state. Verry FINE PROOF BEFORE LETTERS. Tramed. Fifth Session, Wednesday Afternoon, April 14th TURNER, 880. TURNER, 881. TURNER, 882. J. M. W. TURNER Born, 1775; died, 1851. “The ‘Liber Studiorum’ 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 subject of which he considered himself master. . . . The ‘Liber Studiorum’ came forth a truly monumental work, taking rank with the highest produc- tions of Turner’s genius.”-—W. G. Raw rnson. J. M. W. JUNCTION OF SEVERN AND Wye. Etching and mezzotint. Rawlinson. No. 28. Drawn, etched and engraved by J. M. W. Turner. Sec- ond state; with the letter H in the lower right corner of the margin, but before the dot in the bow of the P. of the initial letters. Framed. From the W. S. Carter Collection. “One of the most beautiful of the ‘Liber’ subjects. Fine impressions have a certain rare bloom on them—if I may use the word. They seem to recall the indescribable bright freshness one has sometimes seen over a landscape on a June morning, when the increasing warmth of the sun has just—but only just—cleared off the early mists, and, with a clear sky overhead, everything is sparkling with dew.”—-Raw irinson. J. M. W. Woman at A Tank, or Hrypoo ABLUTION. Etching and mez- zotint. Rawlinson. No. 38. Engraved by W. Say. First state. Before the mark resembling a broad capital A. in the margin. Framed. From the W. §S. Carter Collection. “Exceedingly fine. . . . The print is intensely poetical in feeling through- out.” —Rawlinson. J. M. W. Sotway Moss. Etching and mezzotint. Rawlinson. No. 52. Engraved by Thomas Lupton. Second state. A single diagonal stroke in the left lower corner in the margin. Framed. From the W. S. Carter Collection. “Solway Moss’ is one of the truly grand plates of the ‘Liber-—perhaps the grandest of them all. Both painter and engraver seem to have surpassed_ themselves here.”—Rawtinson. Hifth Session, Wednesday Afternoon, April 14th TURNER, J. M. W. 883. Tur Castte Azove tHe Mrapows (often called “Oakhampton Castle.” E. P.) Etching and mezzotint. Rawlinson. No. 8. First state; VERY FINE PROOF WITH THE LETTERS E. P. in OPEN CAPITALS: Framed. 7 VAN ASSEN VAN ASSEN 884. Lavy Hamitron. Stipple. Fine mpression, in perfect condition. Framed. CORNELIS VAN DALEN, Jr. Flourished at Amsterdam from 1642 to 1665. VAN DALEN, CORNELIS, Jr. 885. Grovannt Boccaccio. Line-engraving. Andresen, p. 318. No. 9. After Titian. First state. Stprersp proor BEFORE ALL LETTERS. ANTHONIE VAN DYCK Born in Antwerp, 1599; died in London, 1641. “No true critic can be indifferent to Van Dyck. He was one of the great princes of the art. . . . He had all the great qualities; he had perfect freedom and exquisite refinement. . . . His aims were few, his choice of means instinctively wise and right, his command of them absolute, his success complete.”—P. G. Hamerton. VAN DYCK, ANTHONIE 886. CHRIsT WITH THE Cane. Painter-etching. Dutuit, TV, p..155. A. Second state. Very FINE Impression from the finished plate (most likely finished by Lucas Vorsterman) before the words: “A Bon Enfant excu,” were added following the word ‘‘Privilegio.” Fifth Session, Wednesday Afternoon, April 14th VAN DYCK, ANTHONIE GRE 887. Lucas VorsTERMAN. Painter-etching. Wibiral. No. 14. Not mentioned by Fagan. ‘First state (of 5). Supers impression of the pure etch- ing, with margin. EXTREMELY RARE. From the A. Curtis, H. S. Theobald and two other collec- tions. “On regard cette piece comme le chef-d’ceuvre des eaux-fortes de Van Dyck.”—WIsirRat. VAN DYCK, ANTHONIE 888. Frans Francx. Painter-etching. | Wibiral. No. 6. : Second state. VERY FINE PROOF BEFORE THE INSCRIPTION AND THE BORDER-LINE. In perfect condition, and with unusually large margin. VAN DYCK, ANTHONIE 889. Jan p—E WaerL. Painter-etching. Wibiral. No. 17. : First state (of 5). Very rine impression before the left arm and hand have been indicated and before all letters. OF THE GREATEST RARITY. From the H. S. Theobald Collection. CHARLES STORM VAN ’S GRAVESANDE Born at Breda, 1841. “There are few etchers in any age who are at the same time simple in their methods of work and original. The proportion of such etchers at the pres- ent day is small indeed. . . . The truth is, as any one who likes to try it will soon discover for himself, that the power of etching simply and beau- tifully at the same time is very rare. It has always seemed to me, and it seems to me still, that this gift is the gift for an etcher.”—P. G. Hamerton. “TI find Gravesande the ideal painter-etcher—a maker of illusions rather than of lines—whose lines are so fused and lost in the perfect whole that we see and feel what is done, with never a thought for the means whereby it got itself done. It is a comfort to sit down before the work of such an artist as this.,—JoHN WirttAmMson Parmer. VAN ’S GRAVESANDE, CHARLES STORM 890. Enrr&e pe Fortr (near Kelheim, Bavaria). Original dry- point. Rice. No. 25. Signed proof. Framed. ; : | Fifth Session, Wednesday Afternoon, April 14th VAN ’S GRAVESANDE, CHARLES STORM 891. Movin av Borp pu Gerry, pris AspcoupE. Painter-etching. Signed artist’s proof on Japanese paper. VERY FINE IM- PRESSION; the dry-point rich and velvety. One of the most highly prized of the master’s dry-points. Framed. From the W. S. Carter Collection. LUCAS VAN LEYDEN ' Born in Leyden in 1494; died in 1533. “His engravings rank with those of Marc Antonio and Albert Diirer. Good impressions are exceedingly rare, and even during the lifetime of the artist sold at high prices.” VAN LEYDEN, LUCAS 892. Apam anv Eve. Painter-engraving. 1519. Bartsch, VII. No. 8. VERY FINE IMPRESSION. From the A. Morrison Collection. VAN LEYDEN, LUCAS 893. Apam anp Eve Arrer THE Exrutsion. Painter-engraving. 1519. Bartsch, VII. No. 11. VAN LEYDEN, LUCAS 894. THE Same. Woodcut. Bartsch, VII. No. 11. Reversed copy by Christopher van Sichem. VAN LEYDEN, LUCAS 895. Cain Kiniine Azer. Painter-engraving. Bartsch, VII. No. 18. A delicate, early impression with wide margin. From the W. Esdaile, Baron Marochetti and A. Morrison Collections. VAN LEYDEN, LUCAS 896. Lor anv His Davcurers. Painter-engraving. Bartsch, VII. No. 16. Old impression on paper with the “Gothic P.” Framed. Fifth Session, Wednesday Afternoon, April 14th VAN LEYDEN, LUCAS 897. Davin PLayine THE Harp Berort Saut. Painter- “engraving 4 Bartsch, VII. No. 27. . VERY FINE AND BRILLIANT IMPRESSION, On paper with the | watermark of the “Gothic P.” In splendid condition. ONE OF THE FINEST OF THIS ENGRAVER’S PLATES. Framed. SN othing can surpass the exquisite work of this engraving, nor aught rival ] its marvellous and brilliant silveriness.”— WI LtsHIRE. VAN LEYDEN, LUCAS 898. Soromon Aporine THE Ipots. Painter-engraving. Bartsch, VII. No. 80. Framed. VAN LEYDEN, LUCAS 899. EstHer Berorr AuasuERus. Painter-engraving. Bartsch, VII. No. 81. es FINE IMPRESSION on paper with the watermark “Gothic P.?? VAN LEYDEN, LUCAS 900. TriumpH or Morpecat. Painter-engraving. Bartsch, VII.. No. 32. FINE IMPRESSION on paper with the “High Crown.” Framed. VAN LEYDEN, LUCAS 901. SusannaH AND THE Expers. Painter-engraving. Bartsch, VII. No. 33. FINE, OLD IMPRESSION. » VAN LEYDEN, LUCAS 902. Tuer Rest 1s Ecyrr. Painter-engraving. Bartsch, VII. No. 38. FINE IMPRESSION. From the A. Morrison Collection. Bartsch says that this plate must have been engraved about 1508. It is noticeable that very little foliage drawn to a large scale occurs in Diirer’s work, while it is very frequent in that of Lucas. VAN LEYDEN, LUCAS 903. Tue Baptism or Curist. Painter-etching. Bartsch, VII. No. 40. i. 4 Fifth Session. Wedicosan HEA ROOE “April ith WAN ERYDEN,.LUGAS,., (0-1 3; : 904. Curist Berore THE Hicu-Prirst. From the round Passion. «-\Painter-engraving: Bartsch, VII. No. 59. Feit VERY FINE IMPRESSION, on paper with the watermark “High Crown.” EXTREMELY RARE. Framed. VAN LEYDEN, LUCAS... eave : : | 905. Curist PRESENTED TO THE Be opre. Painter-engraving. Bartsch; VII. No. 71. FINE mpression. Slightly roared! Framed. VAN LEYDEN, LUCAS 906. Tur Great Cructrixion (Calvary). Painter-engraving. Bartsch, VI: No: 74. FINE AND VERY RARE. VAN LEYDEN, LUCAS ..... «. 4» 907. Curistr: Apprarinc to MacpaLen. Painter-engraving. Bartsch, VII. : ‘No: 77 VERY FINE! IMPRESSION. | _, From.the A. Morrison Collection, ,. ... , One of the‘ most beatitiful'of the prints of Lucas van Leyden. Both Diirer and Lucas represented Christ, in ‘this scene, as Wearing a broad- brimmed hat, probably founding this conception on the phrase in the Gos- pel: “She, supposing him to be the gardener.” MANET REN LUCAS... Jo icin nig 908. Return oF THE Propicat Son. Painter-engraving. Bartsch, VII: «No. 78. BriLLIANT IMPRESSION. Framed. VAN LEYDEN, LUCAS 909. Sr. Lwxr. Painter-engraving. Bartsch, VII. + No. 104.0 SupreRB IMPRESSION. Framed. From the A.. Morrison Gallectignw anise tes The'singular position of the Te s head is due to the fact that the Saint is using the tips of its horns as a'rest to'support the’ book in which he is writ- ing. This plate was believed by Bartsch to have been engraved about 1508. Fifth Cetin. Wednesday Afternoon, April 14th VAN LEYDEN, LUCAS 910. THE Conversion oF Sauxt. Painter-engraving. 1509. - Bartsch, VII. No. 107. . _ Fine impression on paper with the watermark “Jug.” Framed. VAN LEYDEN, LUCAS 911. Tempration oF St. AntHony. Painter-engraving. Bartsch, VII. No. 117. _ VERY BRILLIANT IMPRESSION on paper with the “Gothic P.” Framed. VAN LEYDEN, LUCAS. 912. St. Grorce Liperatinec THE Princess. Painter-engraving. Bartsch, VII. No. 121. VERY FINE IMPRESSION. From the A. Morrison Collection. Undated, but believed to have been engraved about 1508. Lucas would then have been only fourteen at the time he engraved this plate, and indeed there is something about the way in which the Princess weeps at the prospect of being eaten by the Dragon and wipes away her tears in childish fashion with the back of her hand that tempts one to think that the artist who con- ceived it must himself have been a child who believed in the German fairy- tales not so very long before. VAN LEYDEN, LUCAS 913. Tur Dance or THE MacpatEen. Painter-engraving. 1519. Bartsch, VII. No. 122. SUPERB IMPRESSION on paper with the watermark “Gothic Pp.” A tear in the upper portion of the print has been carefully mended. : 3 From the R. Fisher Collection. “This beautiful piece, which Lucas engraved in the period of his greatest power, is one of his best works. Fine impressions are extremely difficult to find. They were already sold during the lifetime of Lucas at a golden florin, which was for that epoch a very great price; since then fine impressions have become still rarer, time having destroyed the greater number of them, and the price has rapidly increased, collectors sometimes pushing the print to enormous sums.”—BartscH (1796). Fifth Session, Wednesday Afternoon, April 14th VAN LEYDEN, LUCAS 914. Manomet anp THE Monk Seretus. Painter-engraving. 1508. Bartsch, VII. No. 126. : This is Van Leyden’s first dated print. It illustrates the story of why the prophet forbade the drinking of wine. In company with his friend, the monk Sergius, Mahomet once fell asleep, overcome with wine. During this time a soldier killed the monk and put the sword into the prophet’s hand. On his awakening, the soldiers told him that it was he who had killed the monk while drunk. Mahomet knew nothing about it, but realized the ter- rible consequences of overindulgence and prohibited the use of wine. VAN LEYDEN, LUCAS 915. Tue Port Vircin SusPpENDED IN A Basket. Painter-engrav- ing. Bartsch, VII. No. 1386. Fine old impression, slightly repaired. Framed. VAN LEYDEN, LUCAS 916. Tur Promenave. Painter-engraving. Bartsch, VII. No. 144. FINE IMPRESSION. VAN LEYDEN, LUCAS 917. A Burroon Kissinc a Woman. Painter-etching. Bartsch, VII. No. 150. From the W. Drugulin and A. Morrison Collections. VAN LEYDEN, LUCAS 918. Tue Musicrans. Painter-engraving. Bartsch, VII. No. 155. This is one of the charming prints of the period of Diirer’s influence, full of a fine humor, and though small it is one of the most desirable plates of the engraver. VAN LEYDEN, LUCAS 919. Tue Dentist. Painter-engraving. Bartsch, VII. No. 157. ExTreMELY RARE and from a technical point, one of the best pieces by the master. 4 tle bie vay? ar ns | Fifth ee ah Wednesia ieee A pril 14th VAN LEYDEN, LUCAS.,, 920. Tue Mitxmaip. Painter-engraving. Bartsch, VII. No. 158. A MOST BRILLIANT IMPRESSION. Framed. van ons oowFrem the J. S. Morgan Collection. VAN LEYDEN, LUCAS , 1 o3a 4 ph Ses Eo greed ee 27 oe eh, eae ed 921. ORNAMENT! WITH! dara DotPuins. Painter-engraving. Bartseh,’ Vi. No. 161. FINE IMPRESSION. VAN LEYDEN, LUCAS bra 922. ORNAMENT! 'wirH Two Spiryxes. Painter-engraving. Bartsch, VII. No. 162. VAN LEYDEN, Pala ies $4 nee se F 4 ‘pe ays 923. OrNAMENT wiTH Two MaeuaiDe Damen -engraving. Bartsch, VII. No. 164. The corners missing. VAN LEYDEN, LUCAS i» <>) 9h) Oe 924. An EscurcHron with Two Wincep Genu. Painter-engrav- ing. Bartsch, VII. No. 167. From the Mariette and Von Nagler Collections; also Du- plicate from the Berlin Museum. i x 4 is : 3 My he y ‘i bx +b Sito an + AUGFS ‘ISRAEL VAN MECKENEM Worked in Bocholt and died there, 1503. Goldsmith and engraver. “There is evidence that Israel’s stylistic connection with the Netherlands may be referred in a particular degree to a possible’ apprenticeship ‘with Master W. Like most of the early engravers, he was a goldsmith, and never in fact much more than a clever craftsman, He was a prolific producer, his work amounting in all ‘to 570 plates, but a large proportion are copies from’ E:'S.,‘Schoéngauer; the’ young Diirer' and others. “He was one of the first engravers té apply ‘to’ 'any’ extent the idea ‘of ‘reworking old plates after they were worn with many printings. Nor did'‘he limit this practice to his own engravings, but reworked numerous plates of others, e.g., of EK. S. and F. V. B., and more than all of the ‘Master of the Berlin Pas- sion, who has been recently identified with Meckenem’s father.”—Hrnp. VAN MECKENEM, ISRAEL: .,, 925. Tue Dance or Heropias. Engraving. Bartsthy VES Noe: at oe at) ee aes Very fine impression’of one of’ the engraver’s most inter- esting plates. OF GREAT RARITY. Fifth Session, Wednesday Afternoon, April 14th VAN MECKENEM, ISRAEL. 926. Curist Carryine THE Cross. From the Passion. Engraving. Bartsch, VI. No. 17. foe ek A MOST BRILLIANT IMPRESSION. From the Ambroise-Firmin Didot and Louis Galichon Col- lections. eh ttt rk ee | VAN MECKENEM, ISRAEL 927. Sr. Luxe Parntine THE Picture or THE VirGIn. ee aving. fy Bartsch, Viv. No. iL OM; Us ee St. take is supposed to Depa the father of the en- graver. SUPERB IMPRESSION. From the A. Morrison Collection. VAN MECKENEM, ISRAEL Veh) GBR» St. "Grecory: “Engraving. Seek Fy Bartsch, iVI-* No. 101. VERY FINE AND EXTREMELY RARE. VAN MECKENEM, ISRAEL 929. Tur Hoty Famiry. Engraving. , , Bartsch, VI.. No.. 148.., VERY FINE AND- EXTREMELY RARE. VAN MECKENEM, ISRAEL 930. THE GuiTar-PLAYER AND THE Lapy. eae Bartsch, VI. No. 174. This print ‘and the’ following may be considered perfect examples of van Meckenem’s work. * VERY scarce. From the A. Morrison Collection. VAN MECKENEM, ISRAEL 931. Tur Fatconrer anp THE Lavy. Engraving. Bartsch, VI. No. f77., he This print ,and, the; foregoing may be considered perfect examples of van Meckenem’s: work. Very scarce. From the A.’ Morrison Collection. = Fifth Session, Wednesday Afternoon, April 14th VAN MECKENEM, ISRAEL 932. Tur Batu. Engraving. Bartsch, VI. No. 187. VERY FINE IMPRESSION AND EXTREMELY RARE. VAN MECKENEM, ISRAEL 933. Tue GEenEALocicaL TREE or Curist. Painter-engraving. Bartsch, VI. No. 202. This being an ornamental plate, it is most likely an original design by the master and not like most of his other plates, a copy of another engraver’s work. | ADRIAEN VAN OSTADE Born in Haarlem, 1610; died there, 1685. “Among the Genre Painters of Holland, Adriaen Van Ostade holds, both as painter and as etcher, the first rank. Pupil of Frans Hals. At that time his fellow-student, Adriaen Brouwer, and later on, Rembrandt, had great influence upon his development. Rembrandt particularly influenced him in composition.” VAN OSTADE, ARDIAEN 934. Le Coup pre Courrzau. Painter-etching. Dutuit Ves Nomrs: VERY FINE IMPRESSION BEFORE THE PLATE WAS RETOUCHED. From the Prince Soutzo Collection. VAN OSTADE, ARDIAEN 935. Le Removurevr. Painter-etching. Dutuit, V. No. 86. : First state. SupErB ImpREssion with the thin border- line and before the shading below the left arm of the knife- grinder. With full margin and in perfect condition. From the Alfred Hubert Collection. VAN OSTADE, ARDIAEN 936. Le Cuarcurier. Painter-etching. Hutuit, Vi. Nowads Second state. VERY BRILLIANT, EARLY IMPRESSION WITH THE THIN BORDER-LINE. From the Duke of Buccleugh and Baron Von Lanna Col- lections. Fifth Session, Wednesday Afternoon, April 14th VAN OSTADE, ARDIAEN 937. Lz ViouiIn ET LE Petir VISLLEUR. Painter-etching. Dutuit, V. No. 45. Second state. SuprERrB impREssion before the cross-hatch- ing of the figure of the man seated in front of the door. From the Verstolk de Coelen, Guichardot and A. Hubert Collections. VAN OSTADE, ARDIAEN 938. La Danse av Caparet. Painter-etching. Dutuit, V. No. 49. Sixth state. THis Is PROBABLY THE FINEST IMPRESSION IN EXISTENCE. From the A. Hubert Collection. “It is probable that, like many painters, Ostade set too low a value on his etchings, not troubling to put them much into commerce during his life- time. This view would at least account for the rarity of early impres- sions, and it is only in these that their true virtue can be seen, as nearly all the plates have been many times heavily reworked.”—Hrnp. DIRICK JACOBSZOON VELLERT (Dirick van Star) Flourished at Antwerp between the years 1511 and 1544. “In this com- bination of etching with engraving, Lucas van Leyden has a follower in an Antwerp artist whose identity has only recently been established, Dirick Jacobszoon Vellert (Dirick van Star), as he has been called, from his signature. This point of contact, their close connection in style, and the fact that Vellert’s earliest etchings are dated 1522, when Lucas was in Antwerp, seem to show that Vellert was inspired, if not instructed, in this sphere of art by Lucas van Leyden himself. As a designer of glass windows, Vellert had been at work in Antwerp for a decade before he turned to engraving.”—Hinp. VELLERT, DIRICK JACOBSZOON 939. St. Bernarp Paintine A PICTURE OF THE YVirGIN. Painter- engraving. Bartsch, VIII. No. 8. VERY FINE AND RARE. peel Session, ee casa, April 14th wip ° Ny 4% qx *! roar? a4 ENEA VICO . Se Say ao ae OR me Born at Parma, 1523; died at Ferrara, 1570. “Engraver and archeologist. He went at an early age to Rome, where he was first instructed by Tom- maso Barlacchi. ... He soon reached, excellence, studying successively the manners. of Cale Bonasone, Agostino Veneziano, Caraglio, and especially Mare Antonio. _Passavant dates from about 1550. the development of a oe of his own, remarkable for delicacy of execution and the skilful use of fine, .closely-set.lines.’-—-Bryan.. .. |... 5} VICO, ENEA 940. BarrLe oF THE LAapirHs AND CENTADURS. mee 1542. Bartsch, XV. No. 80. eit fa oF 1o48 After Salviati. The Lapiths Gahan AGATE ‘the. Cen- taurs, who are attempting to carry away Hippodamia, wife of Pirithous. Good old impression. From the Sir M. Masterman Sykes Collection. This plate is cited by Bryan as one of Vico’s best works. PIERRE VIEL Born in Paris, 1775; died —.° His style of engraving is neat and finished. VIEL, PIERRE 3 941. Diane au Bary. Line-engraving. -, Portalis:and Beraldi, IL, p. 617. After P. Mettay. Framed. CORNELIS VISSCHER gs -p b°- | Born in Haarlem about 1620; aed there, 1670. ‘He was a pupil of Peter Soutman,, but adopted a manner, of his own and has never been surpassed in the technic of line engraving. ‘His ‘Giles Bouma,’ the ‘Pancake Woman,’ the ‘Seller of Rat’s Bane’ and the ‘Cat’ may be cited as models of per- fection in the carriage of the burin. —Brvan. VISSCHER, CORNELIS 942. THE Pancake Woman. Painter-engraving. Dutuit, VII. No. 42. Third state. Supers impression from the Tee plate, but before the words: “Clement de Jonghe exc.” From the Benoni White Collection. While Mes pli) zea algse ea ae cate VISSCHER, CORNELIS” 943. Venver oF Rav Porson. Painter- ep aroMe: ets, > » Dutuit, VI. No. 43. Third state. Proof before any aTeRIpUGn on ne lower plate-margin. VERY FINE IMPRESSION. tea VISSCHER, CORNELIS * "944. 'Tsre Mousk’Trarv. Painter-engraving. Dutuit, VI. No: 45. : Second state. SUPERB IMPRESSION BEFORE THE NAME OF THE ENGRAVER. t ie VISSCHER, CORNELIS 945: Geriius ve Bouma. Line-engraving. 1656. mii 3s) Dutuit, VL «No. 894: «. ae baths From life.* Third state. Very FINE IMPRESSION with the date in the middle of the lower margin. ONE oF THE MAS- TERPIECES OF ,PORTRAIT-ENGRAVING. ; an ase or, “4 hd ees VISSCHER, CORNELIS 946. Lizven vaN Copprnon (writing master). Line-engraving. Dutuit, VI, pp. 494-495.’ No. 98. | Second state. VERY FINE PROOF before all letters, with the eorrected wright’, sleevess: wii. baad From the A. Bourduge ellen. VISSCHER, CORNELIS 947. Henrierra CarHertne or Nassau. Line-engraving. 1649. Putmit, V1... No. 187. ' | After G. Van Honthorst. BrauTiruL AND RARE. Framed. + \ VISSCHER, CORNELIS 948. Jan pE Parr. Line-engraving. Dutuit, VI.‘ No. 111. Second state. VERY FINE, on paper with the watermark “Folly.” Framed. = Fifth Session, Wednesday Afternoon, April 14th FRANCOIS VIVARES ~ Born at Lodéve, 1712; died in London, 1782. Pupil of J. B. Chatelain. VIVARES, FRANCOIS 949. LanpscapPE witH “THE Raps or Europa.” Line-engraving. 1769. ; Andresen, II, p. 678. No. 22. 4 After Claude Lorrain. First state. VERY FINE PROOF ~ BEFORE ALL LETTERS. Framed. 3 From the W. H. Daugherty Collection. FRANZ VON BOCHOLT ) A : Worked before van Meckenem; from 1450 to 1480. “Another engraver whose work betrays the influence of the Dutch School, and of Dierick Bouts in particular, is known merely by his monogram FVB. In spirit he comes nearer than any engraver of the time to the Master of the Amsterdam Cabinet and to Schoengauer. His ‘Samson and the Lion’ has much of the vivacity of the former master, while technical analogies in the use of dry- — point, though more sparingly applied, may be noted in his greatest plate, ' the ‘Judgment of Solomon.’ Old traditions call him Franz von Bocholt, but as yet no foundation has been discovered for the identification.”—Hinp. VON BOCHOLT, FRANZ 950. JupGMENT OF SoLomon. Painter-engraving. _ Bartsch, VI-- No.2: NICOLAS JOSEPH wane VOYEZ Born at Abbeville, 1742; died (?). VOYEZ, NICOLAS JOSEPH Il’Aine 951. La Torterre. Line-engraving. Portalis and Beraldi, III, p. 680. No. 3. After S. Freudeberg. WILLIAM WALKER Born in Edinburgh, 1791; died in London, 1867. WALKER, WILLIAM 952. Sir Water Scotrr. Line-engraving and stipple. 1826. Apell, p. 454. No. 4. After Sir Henry Raeburn. A vERY FINE OPEN LETTER PROOF. Framed. Fifth Session, Wednesday Afternoon, April 14th JAMES WARD Born in London, 1769; died there, 1859. Pupil of J. R. Smith. WARD, JAMES 953. Mrs. Bintrneron as St. Cecruia. Mezzotint. 1800. Geeomitn, LY. No. 5. Full length, standing. After Sir Joshua Reynolds. Sec- ond state. VERY FINE OPEN LETTER PROOF. Framed. From the Royal Collection at Windsor Castle. WARD, JAMES 954. Diana anp Her Nympus. Mezzotint. Andresen, ITI, p. 702. No. 2. After P. P. Rubens. FrINe mmpression. From the W. Lawson Collection. WILLIAM WARD Born in London, 1766; died there, 1826.. Elder brother of the foregoing and the most distinguished pupil of J. R. Smith. WARD, WILLIAM 955. DavcuTers or Sir ‘Tuomas Franxuanp. Mezzotint. 1797. Cesmith, IV. No. 38. After John Hoppner. Second state. VERY FINE OPEN LETTER PROOF WITH LARGE MARGIN AND IN PERFECT OR- DER. Framed. WARD, WILLIAM 956. ExizaBpetH, Countess or Mrexporovucu. Mezzotint. 1784. C. Smith, IV. No. 58. After John Hoppner. First state. Proof before the re- duction of the plate. ExrreMELy RARE. Elizabeth, daughter of John Stephenson, Esq., of East Burnham, Co. Bucks, married, 1782, John, 2d Earl of Mexborough. Died 1821. WARD, WILLIAM 957. Porrratr oF GEoRGE MoriuaNnp. Mezzotint. 1805. Ce Smith, LV. -No. 60. After Robert Muller. Proof before the first state, men- tioned by Smith. BriLLIaANT PROOF BEFORE ALL LETTERS ee Session, Wednesday Afternoon, A pril 14th ty, oH. UR Ete betie CY Es eG pots ooh; ae ivf -[No. 957—Continued] — : and before’ the grounded space outside the border was cleaned, ..The name,of:G. Morland.is. written in pencil on 7 the bottom of the plate in Morland’s (?). handwriting, ; Probably this was a gee Sa submitted to the artist. re yeh BV he * D t : 5 tidiee (ae + Fe. oee WARD, WILLIAM EOE O Re David Winker. Mezzotint. 1818. C. Smith, IV:° No. 90. After, Andrew Geddes.: The only state known. SuprErs~ IMPRESSION IN PERFECT CONDITION. Framed. ; From the W. S. Carter Collec: 14? WARD, WILLIAM 959. Mrs. Micuartt ANGELO Taytor, as Mrranpa. Mezzotint. Not mentioned by C.' Smith. ' After John Hoppner. Suprers PROOF OF GREAT RICHNESS AND EXTREMELY RARE. Framed. WARD, WILLIAM 960. OuTsIDE oF A CountRY ALEHOUSE. Mezzotint. 1797. Andresen, II, p. 704. No. 16. ORGAN After J..Ward. . VERY FINE IMPRESSION IN coLors. Framed. WARD, WILLIAM ‘961:' Setrivc Rapsits. Mezzotint. 7 After, J. Ward. VERY FINE IMPRESSION IN COLORS. Framed. par to No. 962. WARD, WILLIAM 962. ComMPassIONATE CHILDREN. Mezzotint. After. .J.. Ward. .. VeERy'!.FINE IMPRESSION IN COLORS. Kramed.. Companion to No: 961. WARD, WILLIAM 963. Tuer Cririzen’s Retreat. Mezzotint. After J. Ward. VERY -FINE IMPRESSION IN COLORS. Eramed.i *} .: $e % an | WTA, city PF Pad ew He PETTY BE CM. LAG sie 5 Fifth Session, Wednesday Afternoon, April 14th uly WARD, WILLIAM bed) ytrba 964. Tur Kirt Entaneuep. Mezzotint. Andresen, II, p. 704. No. 17. After G. Morland. VERY FINE IMPRESSION IN COLORS, WITH UNCUT MARGIN. Framed. WARD, WILLIAM 965. Tue Coquette AT Her Torwer. Mezzotint. After G. Morland. VrEry FINE IMPRESSION IN COLOR. Framed. Companion to No. 966. oa WARD, ; WILLIAM, ;;. |, aasdiait 966. Domestic Happiness. Mezzotint. © ' tote OSs After G. Morland. VERY FINE IMPRESSION IN COLOR. Framed. Companion to No. 965. WARD, WILLIAM 967. Hesrration, Stipple. Nicely printed in colors. ANTHONIE WATERLOO Born in Amsterdam, about 1609; died there after 1676. “He is best known as’ an’ engraver and etcher.” ‘His ‘plates’ ustally représent forest ‘subjects, and according to Bartsch they amount to 136.''They are etched with spirit and facility and retouched with the graver.”—Bryan. WATERLOO, ANTHONIE 968. Ser or Six Lanpscares. Painter-etchings. Bartsch, II. Nos. 65-70. First state. | Very FINE IMPRESSIONS WITH FULL MARGINS. From the Schroeter Collection. WATERLOO, ANTHONIE Le Ae 969. LanpscarE witH Enizan Frep spy THE Ravens. Painter- !-etching.: ~ ! Bartsch, Th Nowi86. sr eter ok ete ts SUPERB IMPRESSION IN PERFECT CONDITION. From the H. S. Theobald Collection. Fifth Session, Wednesday Afternoon, April 14th CAROLINE WATSON | Born in 1761 (?); died, 1814. WATSON, CAROLINE ’ 970. ConrempuaTion (Hon. Lady Stanhope). Stipple. After Sir Joshua Reynolds. Early impression in black, before the title was changed to “Hon. Lady Stanhope.” JAMES WATSON Born in Ireland, 1740; died in London, 1790. WATSON, JAMES 971. Mrs. Apineron (as The Comic Muse). Mezzotint. 1769. Comithylyo sNowl, Full length, standing. After Sir Joshua Reynolds. First — : state. VERY BEAUTIFUL PROOF BEFORE ALL LETTERS. Framed. WATSON, JAMES 972. Mrs. CaTHERINE Bunsury. Mezzotint. 1778. C. Smith; [V.. Noxi8: After Sir Joshua Reynolds. Second state (first published state). Scratched letter proof. The plate-mark is cut off at the bottom. ; Eldest daughter of Captain Kane Horneck; married, 1771, Henry William Bunbury. Died 1799. WATSON, JAMES 973. Enizaperu, Ducuess or MancuestTEerR, AND Her Son, as Diana AND Curr. Mezzotint. C. Smith, IV. No. 97. Full length. After Sir Joshua Reynolds. First state. FINE PROOF WITH THE ARTSTS’ NAMES ONLY. Framed. THOMAS WATSON Born in London, 1743; died there, 1781. WATSON, THOMAS 974. Lapy CaTHEerine Bampryipe. Mezzotint. C. Smith, LVs Noe 2: Full length, standing. After Sir Joshua Renate Sec- ond state. VrEry FINE PROOF with the artists’ names and the publication line in engraved letters. Framed. Fifth Session, Wednesday Afternoon, April 14th WATSON, THOMAS 975. Mrs. Breresrorp, Mrs. Garpiner, Lapy Townsuenp, Known AS THE Irish Graces. Mezzotint. Daughters of William Montgomery of Magbie Hall; Mrs. Beresford is at the left and the Lady Townshend at the right. Cz omitn, LV. No. 6. From a painting by Sir Joshua Reynolds. Second state. FINE Impression before the names of the personages were erased and the new title: ‘‘A Sacrifice to Hymen,” was put on the plate. Framed. From the Royal Collection at Windsor Castle. JAMES HENRY WATT Born in London, 1799; died there, 1867. WATT, JAMES HENRY 976. Tue Proczsston oF THE Frircu oF Bacon. Line-engraving. Apell, p..445. No. 7: After Thomas Stothard. VEry FINE OPEN LETTER PROOF on Inpia PAPER. Framed. FRANCIS WHEATLEY WHEATLEY, FRANCIS 977. ‘THE Cries oF Lonpon. Stipple. The complete set of thirteen. No. 1. Primroses, engraved by L. Schiavonetti. No. 2. Milk Below Maids, engraved by L. Schiavonetti. No. 38. Sweet China Oranges, engraved by L. Schiavo- netti. | No. 4. Matches, engraved by A. Cardon. No. 5. New Mackerel, engraved by L. Schiavonetti. No. 6. Knives, Scissors to Grind, engraved by G. Vendra- mini. No. 7%. Fresh-gathered Peas, engraved by G. Vendramini. No. 8. Duke Cherries, engraved by A. Cardon. No. 9. Scarlet Strawberries, engraved by G. Vendramini. No. 10. Chairs to. Mend, engraved by G. Vendramini. a gs Re Pia I My, VE v 47 Be te Seed cf i ef" £OSESS | ae ¢ S90g i ‘ ft Fifth Session, Wednesday Afternoon, April tit [ No. 977—Continued]| : ciek Cpe) ae We oe, HOE No. 11. New Didve- Aotigs chanel by As Cardon. . — No. 12. Hot Spice Gneereee engraved | by G. Vendra- Sy crimimbyes ae) Ry Pay Pere MN ke 8 4 No. 18. Turnips ad Carrots, engraved by T. Gaugain. — BEAUTIFULLY PRINTED IN COLORS AND VERY RARE IN SUCH 4 BRILLIANT AND WELL-PRESERVED SPECIMENS. AI framed. (13) ¥é ’ sa a5 ( 2 ee | Fy i ae ‘- ee of A ae be. JAMES ABBOTT McNEIL WHISTLER Born in Lowell, Mass., 18384; died in London, 1903. “With the master- etchers of the world—Méryon’s equal in some respects, and, in some respects, | Rembrandt’s—there’ stands James’ Whistler.” ‘Connoisseurs, in France and England, in America, Holland, Bavaria, concede this now.”—FREDERICK WepMoRE. ; . “All his work is alike perfect. It has only been producéd' 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, the most perfect, as a whole, that any etcher has ever accom- plished.”—Josrpu PENNELL. WHISTLER, JAMES ABBOTT McNEIL 978. FumetTtTe. Painter-etching. ; Kennedy. No. 18. Mansfield. No. 15. Wedmore. No. One of the “12 etchings from Nature:”! Very FINE ‘EARLY IMPRESSION on ‘deep: yellow: India paper ofthe first pub- lished state; before the reprinting of the plate. From the Tracy Dows Collection. It is said’ that the model for Fumette was a little milliner of the Latin Quarter, named Eloise. WHISTLER, JAMES ,ABBOTT McNEIL 979. La Marcu\npEe pe Movursrpde “ es. ; Kennedy. No. 22. Mansfield. No. 22. Wedmore. No. 16. One ofthe “12: etchinigen rie Nature.” '' Second state, with:‘the ‘address of:Delatre::.:Proof on India paper, mounted on plate paper. | Framed. ‘' “In ‘La Marchande de Moutarde’ ‘and ‘The Kitchen’ . . . are beauti- ful chiaroscuro effects.”»—T. R. Way. Fifth Session, Wednesday Afternoon, April 14th WHISTLER, JAMES ABBOTT McNEIL |. 980. ‘THE KircHEen Kennedy. No. 24. Mansfield. No. 24. Wedmore. No. LO. One of the “12 etchings from Nature.” First state on deep yellow India paper. Framed. WHISTLER, JAMES ABBOTT McNEIL 981. Annie SEATED. Painter-etching. Kennedy. No. 30. Mansfield. No. 29. Wedmore. No. 24. Very fine first-state on greenish paper ExrrEMELY RARE. On the lower margin is written in pencil by Sir Seymour Haden, her father: “Annie Haden, 1859.”’ WHISTLER, JAMES ABBOTT McNEIL 982. Otp WestmixstER Bripecr. Painter-etching. Kennedy. No. 39. Mansfield. No. 388. Wedmore. No. 36. One of the “16 etchings.” VERY FINE IMPRESSION. Framed. WHISTLER, JAMES ABBOTT McNEIL 985. Eacre WuarrF (Tyzac, Whiteley & Co.). Kennedy. No. 41. Mansfield. No. 40. Wedmore. No. 39. One of the “16 etchings.” The plate was destroyed. The proof signed with the “butterfly” on the lower margin. Marked at the back “Very FINE PROOF,” and again signed by the artist. Framed. From the Monsignor Doane Collection. WHISTLER, JAMES ABBOTT McNEIL 984. THe Lime-Burner. Painter-etching. Kennedy. No. 46. » Mansfield. No. 45. Wedmore. No. AA, One of the “16 etchings.” One of the most beautiful of Whistler’s plates, and probably the earliest example of a system of composition which became very characteristic of him—that of a vista seen through a frame. Later ex- Fifth Session, Wednesday Afternoon, April 14th [ No. 984—Continued | amples of it are: The Traghetto, The Beggars, Doorway and Vine, San Biagio, and perhaps the last and frankest expression of all, The Garden. In these plates the fore- ground and middle distance are treated as an elaborate frame, for the most part in shadow, through which is seen a small and brilliantly-lighted distance. Framed. WHISTLER, JAMES ABBOTT McNEIL 985. Becauet (The Fiddler). Dry-point. . Kennedy. No. 52. Mansfield. No. 52. Wedmore. No. 48. One of the “16 etchings” On the margin Becquet has writ- ten: “Mon portrait grave par Whistler, Becquet.” Framed. Sir Seymour Haden, who could certainly be trusted not to overpraise Whistler’s work, said of this plate, “Rembrandt never did anything finer.” “The man began life as a sculptor, and then became a musician. Whistler often saw him, and liked him. He died a few years ago in Paris.”— JOSEPH PENNELL. WHISTLER, JAMES ABBOTT McNEIL 986. Anniz Haven. Dry-point. Kennedy. No. 62. Mansfield. No. 62. Wedmore. No. oe Framed. | Of this beautiful and rare dry-point one might well quote Mr. Whistler’s dictum concerning the Infantas of Valasquez, who, “clad in esthetic hoops, are, as works of art, of the same quality as the Elgin Marbles.” “The most dignified portrait Whistler ever etched. It is as big in feeling as a portrait in oil, a proof that great art is not to be judged by size.”— JOSEPH PENNELL. WHISTLER, JAMES ABBOTT McNEIL 987. Weary. Dry-point. Kennedy. No. 92. Mansfield. No. 92. Wedmore. No. 83. T'HIs HAS BEEN PRONOUNCED BY ONE OF THE GREATEST LIV- ING JUDGES OF WHISTLER TO BE THE FINEST IMPRESSION IN EXISTENCE. Printed on thin Japanese paper of a rather warm tone. Framed. He TD Fifth Session, Wednesday Afternoon, April 14th _ WHISTLER, JAMES ABBOTT McNEIL 988. Speke Haut No. 1. Painter-etching. Kennedy. No. 96. Mansfield. No. 95. Wedmore. No. 86. The monogram has been introduced and the figure enriched with dry-point. Framed. From the Mortimer Menpes Collection. WHISTLER, JAMES ABBOTT McNEIL 989. THe Guirar-PLayerR. Dry-point. Kennedy. No.-140. Mansfield. No. 188. Wedmore. No. 122. Very fine impression on old laid paper and unusually rare. ONE OF THE FINEST PLATES OF WHISTLER’s MippLE—or Lryianp Prriop. It is the portrait of Ridley the artist, and is distinguished by much greater strength and bold- ness than most of his plates of this time. WHISTLER, JAMES ABBOTT McNEIL 990. Lonpon Brincre. Dry-point. ; Kennedy. No. 153. Mansfield. No. 150. Wedmore. No. 1238. Original dry-point, very fine impression before the lines of shading on the rowboat in front were made closer and uniformly extended to the gunwale. From the Tracy Dows Collection. WHISTLER, JAMES ABBOTT McNEIL 991. Orv Purney Brince. Painter-etching. Kennedy. No. 178. Mansfield. No. 175. Wedmore. No. 145. Exhibited at the Royal Academy in 1879-and published by the Fine Art Society, London. VERY DELICATE AND BEAUTIFUL IMPRESSION OF THE ONLY STATE PUBLISHED, signed with the Butterfly. From the Tracy Dows Collection. Fifth Session, Wednesday Afternoon, April 14th WHISTLER, JAMES ABBOTT McNEIL 992. NocruRNnE Sh an Kennedy. No. 184. Mansfield. No. 181. Wedmore. — No. 150. ag One of the “12 etchings” Trial proof, perhaps unique, — undescribed by Wedmore. With two gondolas in the fore- 4 ground to the left. Printed and signed by Mr. Whistler. — On the back of the print is written, in the autograph of the artist, “T'rial proof. Early.” On old, laid paper. A SUPERB IMPRESSION; but the “night effect on the wide 4 waters,” spoken of by Wedmore, is not visible in this state, _ which seems to be intended to represent early morning. . Framed. WHISTLER, JAMES ABBOTT McNEIL 993. Tue Lirrrze Lacoon Kennedy. No. 186. Mansfield. No. 1838. Wedmore. No. 152. | One of the “412 etchings’”” Superb ae Peo of this ex- tremely rare-plate. Framed. From the Mortimer Menpes Calleeron “That Mr. Whistler did not need the smoke and mist of London to inspire him is most abundantly shown in these Venice plates. Here he had to deal with brilliant, clear atmosphere, yet he could give us just as much effect of space as he could in a silvery Nocturne. ... The same amazing effect of distance” (already noted in the Little Venice) “is produced in many others of the Venice etchings—such as the Little Lagoon, San Giorgio, the Upright Venice, and the Long Venice.”—T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 994. THe Panaces | Kennedy. No. 187. Mansfield. No. 184. Wedmore. No. 158. One of the “12 etchings” Unusvatty FINE PROOF, printed in brown ink. Much more atmospheric than most even of the finest impressions. Framed. From the Mortimer Menpes Collection. “Somewhat similar and equally fine are The Balcony, The Palaces, and the Two Doorways; the four prints showing superb draughtsmanship and Ke effective contrasts of light and shade.”—T. R. Way. Fifth Session, Wednesday Afternoon, April 14th WHISTLER, JAMES ABBOTT McNEIL 995. ‘THE Doorway Kennedy. No. 188. Mansfield. No. 185. Wedmore. No. 154. One of the “12 etchings.” On Japanese paper. Framed. This superb impression is from the collection of Queen Victoria and bears the royal stamp at the back. “Much richer in effect and with more elaboration of detail than is usual in this series, is the Doorway. A beautiful view of what has once been a palace. ... The fine architecture of the exterior with the rich drapery of the windows, is very beautifully indicated, and the water in the fore- ground is wonderfully transparent.”—T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 996. Tue Tracuetto, No. 2. Kennedy. No. 191. Mansfield. No. 188. Wedmore. No. 156. One of the “12 etchings.” Supers mmpression before the figure of the man at the left of the group sitting at the table was more fully indicated and before the foul biting at the bottom. Framed. “But there are no such perfect plates in the world as The Beggars, The Traghetto, The Two Rivas, and The Bridge.’—E. R. and J. PENNELL. WHISTLER, JAMES ABBOTT McNEIL 997. Two Doorways Kennedy. No. 193. Mansfield. No. 190. Wetmore. No. 158. One of the “12 etchings.” This print seems to be much rarer than some of the other great pieces of the Venice Set. VERY RICH PROOF IN BLACK INK ON WHITE HOLLAND PAPER. Framed. , WHISTLER, JAMES ABBOTT McNEIL 998. THe Breccars Kennedy. No. 194. Mansfield. No. 191. Wedmore. BNO. DY. One of the “12 etchings” Supers EARLY IMPRESSION, be- fore the margin was cut. Signed with the “butterfly” in pencil. Fifth Session, Wednesday Afternoon, April 14th WHISTLER, JAMES ABBOTT McNEIL 999. Tur Mast. Painter-etching. : Kennedy. No. 195. Mansfield. No. 192. Wedmore. ~ No. 160. : : One of the “12 etchings.” Supers proor of the first — published state; signed with the butterfly. Marked by — the artist with two 00 on the back. From the Tracy Dows Collection. WHISTLER, JAMES ABBOTT McNEIL 1000. Turkeys. Painter-etching. | a Kennedy. No. 199. Mansfield. No. 196. Wedmore. No. 165. a One of the “26 eich Proof signed with the butterfly. The plate destroyed. EXxTrEMELY FINE. From the Petit-Didier Collection. WHISTLER, JAMES ABBOTT McNEIL 1001. Nocturne: PaLaces. : Kennedy. No. 202. Mansfield. No. 199. Wedmore. No. 168. One of the “26 etchings.”” SupErs TriaL PROOF before the monogram and the diagonal shading in the upper part of the plate between the two palaces. Impression of a very rich golden brown color. Framed. From the H. S. Theobald Collection. WHISTLER, JAMES ABBOTT McNEIL 1002. Lone Lacoon Kennedy. No. 203. Mansfield. No. 200. Wedmore. No 169; One of the ‘26 etchings” An impression before the but- terfly. One or two little accidental scratches visible in the former proof have been burnished from the plate. Tuts IMPRESSION IS A WONDERFUL EXAMPLE OF WHISTLER’S GE- NIUS AS A PRINTER. Framed. From the H. S. Theobald Collection. Fifth Session, Wednesday Afternoon, April 14th WHISTLER, JAMES ABBOTT McNEIL 1003. Upricut VENICE. Kennedy. No. 205. Mansfield. 202. Wedmore. No... 172. One of the “26 etchings.”