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 214 PORTRAIT OF COPPENOL, 285. 
 
 (Grand Portrait de Lieven Coppenol 175.) 
 State before the plate was reduced. 
 
 Date asstimed, 1661. 
 
 Lent by Alfred Morrison, Esq. 
 
ILLUSTRATED CATALOGUE 
 
 OF 
 
 ETCHINGS 
 
 LIBER STUDIORUM & ENGRAVINGS, 
 
 ON SALE BY 
 
 THE FINE ART SOCIETY. 
 
 148 New Bond Street, London. 
 
LONDON: 
 
 Printed by John Strangeways, 
 Castle St. Leicester Sq. 
 
ETCHING IN ENGLAND. 
 
 From Cassell's ‘Magazine of Art.’ 
 
 I N these days of universal knowledge it may, perhaps, be considered an audacity to commence 
 with definitions, and with explaining what an etching really is, and in what its merits consist. 
 
 But as there is no word in the language of art which is more misapplied, and as assuredly there is no 
 
 branch of art which is more rapidly forcing its way into the notice of the English art-loving world 
 than Etching, the liberty will, we trust, be condoned. 
 
 No clue to the origin of the word is to be found, either in the hand-books, or the more elaborated 
 works, on etching ; its derivation is undoubtedly German, being found in aetzen , to feed, corrode, 
 macerate ; representing the feeding of the aquafortis on the copper, where it is exposed through the 
 varnish being removed by the needle : thus a real etching is an engraving on a plate of copper made 
 by means of the surface—first covered with varnish—being exposed by a needle, and eaten into by 
 acid. This being so, neither a pen-and-ink drawing, nor what is known as a ‘ diy point ’ etching 
 (being an engraving made by a series of furrows cut with a needle, or burin, into a plate of metal), 
 can with any degree of rightness be classed under the heading of etchings. 
 
 And now as to the qualities which must be inherent in an etching, if it is to be a good and 
 
 enduring work. 
 
 First and foremost, every line must evidence thought— artistic thought, thought in selecting 
 only what an etching can properly interpret, and leaving all else ; remembrance that there is no 
 repentance, that the line once made must endure for ever, as perpetual evidence either of rightful 
 precept or of useless work. 
 
 Next, the lines must show power — athletic power, knowledge of subject, indications that the 
 whole has been grasped and comprehended before it has been entered on ; the power, however, 
 remaining obedient, the facile hand and supple wrist following as the servant of the brain. 
 
 Still further, it must possess individuality , no servile following in the wake of a master. 
 
 Lastly, at every point it must blossom with truth , every line must show that no fancy, no 
 endeavour at pleasing the beholder, has been sought after, but that a fearless and conscientious 
 following after truth has been the sole and only aim. 
 
 Having thus distinguished between what is etching, and what is not, and having ascertained 
 the virtues which go to make it everlasting, we at once proceed to trace the growth of English 
 etching, and shortly review the present conditions of the art in this country. 
 
 To arrive at its founders does not require a prolonged survey of the past. 
 
 If Hollar and Vandyke, who really were not Englishmen, be excepted, the commencement of 
 the present century may be taken as its starting-point. Turner was almost the first to attempt 
 it, but it was only his rivalry of Claude and his ‘ Liber Veritatis,’ and as a consequence his issue 
 of the ‘ Liber Studiorum,’ that made him employ it. Of course he succeeded magnificently, and 
 his etchings have, so far as landscape is concerned, never been surpassed. Though they were 
 intended merely as foundations for a superstructure of mezzotint, many of them are more highly 
 prized in their early condition than in the finished state of the plate. Amongst such may be 
 mentioned ‘yEsacus and Flesperie,’ ‘The Stork and the Aqueduct,’ and ‘Jason.’ 
 
 Wilkie and Geddes are the only etchers of note who connect Turner’s work in the early 
 years of the century with 1840, when the Etching Club was formed. That club had its origin 
 more in conviviality than in any earnest desire to foster the art. Its efforts, and those of the 
 Junior Etching Club, resulted only in the production of a volume now and again, combining 
 the fatal errors of being prettily got up and appealing to popular taste. Would space permit, 
 it could be shown how the very smallness in the size of the volume inflicted a mortal wound 
 on its authors, just as the exaggerated size of the publications of the French Club has been a 
 source of much weakness to them. 
 
( 4 ) 
 
 The most noteworthy of the Etching Club issues were: ‘The Deserted Village,’ 1841; 
 ‘Etched Thoughts,’ 1844; Gray’s ‘Elegy,’ 1847; ‘ L’Allegro,’ 1849; ‘Songs of Shakespeare/ 
 1852; ‘Volumes of Etchings,’ 1857 and 1865. 
 
 Scattered throughout the pages of these volumes will be found the products of artists 
 of such household names as Millais, Cope, Ansdell, Frith, Fred. Taylor, Redgrave, Samuel Palmer, 
 and Hook—all the etchers of the day, with the exception of Ruskin and Cruikshank. 
 
 The majority of these etchings will at once impress, even the eye uneducated to the art, 
 with the palpable attempt of the artist to convey in his etching a similarity to his painted work ; 
 an endeavour to imitate, with considerable labour, by means of the needle on the plate, the 
 effect of the brush and the paint on the canvas, little witting that by so doing he transgressed 
 the first rule of etching, and may be said, at the outset, to have ceased to be a true etcher. 
 
 Ruskin, speaking of three engravers, representative of the early, the central, and the modern 
 school, says :— 
 
 ‘Botticelli wants with as little engraving as much Sibyl as possible. For his head is 
 full of Sibyls, and his heart. He can’t draw them fast enough : one comes, and another, and 
 another, to be engraved for ever, if only he had a thousand hands and lives. He scratches down 
 one, with no haste, with no fault, divinely careful, scrupulous, patient, but with as few lines as 
 possible. Another Sibyl—let me draw another, for Heaven’s sake, before she has burnt all her 
 books and vanished. 
 
 ‘ Diirer is eactly Botticelli’s opposite. He is a workman to the heart, and will do his work 
 magnificently. But anything will do ; a Sibyl, a skull, a Madonna and Christ, a hat and feather, 
 a pig with five legs. But see if I don’t show you what engraving is ! 
 
 ‘ Beaugrand wants as much Sibyl and as much engraving as possible. He has no ideas of 
 his own, but deep reverence and love for the works of others, and will give his life to represent 
 another man’s thoughts.’ 
 
 These forcible distinctions between the different methods of engraving are still more applicable 
 with regard to etching, which, as the same master says, ‘ can never but be comparatively in¬ 
 complete ; for it must be done throughout ^vith the full force of temper, visibly governing its 
 lines, as the wind does the fibres of clouds.’ 
 
 But to return to our subject. It can well be imagined that the spasmodic efforts of the 
 etching clubs were futile to raise any interest in the English branch of the art. The etchers 
 of the day could not, with justice, quote the unheard-of prices that were then being given for 
 works of the great foreign masters—eleven hundred guineas for the Hundred Guilder print, and a 
 hundred and twenty pounds for a Rembrandt that thirty years before had fetched but thirty 
 shillings—and say that a prophet is not without honour save in his own country—for they 
 themselves were producing nothing of any worth. 
 
 In what way, then, was the public interest in etching awakened ? By the Academy, the 
 national training school for art ? Mr. Hamerton, in his ‘ Etching and Etchers,’ shows the 
 assistance accorded to it in 1868 by the Royal Academy. He describes how, in the least corner 
 of the least room in Trafalgar Square, the great art obscurely dwelt. How a placard with the 
 word ‘ Engravings ’ was posted up outside, lest visitors should miss the room altogether. How 
 one day the words ‘ and Etchings ’ appeared, in pencil, written underneath the big black printed 
 word ‘ Engravings ; ’ and how touched he was by this tardy recognition of his beloved art, 
 until he found that it had not been added by academical authority, but by a lover of etchings 
 and hater of academies, just to let the people know that the art was in existence. And as the 
 same treatment has been pursued down to the present day, * the Academy clearly has had 
 nothing to do with it. Whence, then, has it sprung ? 
 
 It may, probably, be traced to a twofold, or perhaps a threefold source. 
 
 First, the appearance about the same time of two thorough etchers—James Abbott Macneil 
 Whistler, and Francis Seymour Haden. 
 
 Secondly, of an advocate able to impress upon the world the value of theirs and such-like 
 work, the advocate being Philip Gilbert Hamerton. 
 
 Thirdly, but in a less degree, by the institution of an Exhibition—‘The Black and White.’ 
 This Exhibition has done much, and, we hope, will in the future do still more for English art. 
 It has opened an outlet for the sale of the black and white studies Which should be the forerunners 
 of every picture, but which, so long as he could find no market for them, the English artist was 
 fain to forego. Still we are obliged to say that the Exhibition has only assisted etching in a 
 less degree, for this reason. In the Egyptian Hall etchings have to scramble for position with 
 demonstrative efforts of every hue, the products of the crayon, the brush, the pencil, and the 
 pen. Diminutive in size, through the teachings of their school, and delicate in treatment, they 
 so shrink away amongst their more forcible comrades that they are never seen save at a disadvantage. 
 And so one searches in vain for the works of the best etchers on the walls. 
 
 * In last year’s Exhibition, out of a total of 1547 works, but seventy-five are etchings and engravings. 
 
( 5 ' 
 
 Mr. Whistler, an American by birth, commenced his art career in the studio of Gleyre at Paris. 
 Whilst there he published his first etchings in November, 1858, under the title, ‘Douze Eaux-fortes 
 d’aprds Nature, par James Whistler, 3 dedicated ‘h mon vieil ami, Seymour Haden. 3 They show much 
 careful work and honest etching, ‘ La Marchande de Moutarde 3 and ‘The Kitchen 3 being pre-eminent. 
 The title-page represents the artist himself engaged in making the drawings from which the series 
 were executed, and surrounded by gamins doing their best to render his task an impossibility. These 
 and some score of others, amongst which may be named ‘ Little Seymour, 3 and a portrait of his printer, 
 A. Del&tre, were the sum of his labours in and prior to the year 1859, when he came to England. 
 Once here, he took up his residence upon* and on the banks of the Thames, and produced the series 
 of etchings upon which his fame as an etcher will rest. 
 
 From Battersea, in full view of which he occupied until very recently a house (it forms the subject 
 of one of Mr. Haden’s best etchings), down to Wapping, Mr. Whistler etched the river at every turn. 
 Chelsea Bridge, Cadogan Pier, Vauxhall, the Houses of Parliament, Old Westminster and Hungerford 
 Suspension Bridges—these were amongst his subjects above bridge; whilst below he drew in an 
 inimitable manner every nook and cranny of the quaint old warehouses and wharfs at Limehouse, 
 Rotherhithe, Billingsgate, and the Pool. Sixteen of the foregoing subjects were published in 1871, 
 by Messrs. Ellis and Green, the issue being limited to 100 copies of each.f 
 
 During the years 1860-2, he principally, so far as etching was concerned, directed his attention 
 to making etchings from sketches, previously made, of Breton and Parisian life. He was at this time 
 an exhibitor in the Royal Academy, his ‘ Lady at the Piano 3 being much commented on in the former 
 of these years. A visit in 1863 to Holland, in company with Mr. Haden, resulted in but two etchings, 
 one of the river at Amsterdam, entitled ‘ The Tolhuis, 3 the other of two figures. Neither of them 
 has been published. 
 
 A collector of his works anterior to this time has not been able to find more than seventy etchings, 
 and that number would include everything up to the year 1872, since which date Mr. Whistler has 
 almost exclusively confined himself to ‘ dry points, 3 executed more as illustrations of the ‘ harmonies 3 
 which, at the Grosvenor Gallery and elsewhere, have excited more varied criticism than aught else. 
 The last year or two have seen him occupied, amongst other things, in the decoration of Mr. Leyland’s 
 magnificent house, and his own newly erected one near the Chelsea Embankment, and in illustrations 
 of the London streets for the pages of Vanity Fair, and the defunct Piccadilly. The acquisition of 
 the majority of Mr. Whistler’s etchings has always been a matter of some difficulty, the following being 
 the only ones that have been really published:—The French set of twelve and a title ; the sixteen 
 Thames etchings before mentioned ; ‘Billingsgate, 3 issued in the Portfolio , January 1878 ; Limehouse, 
 published 1878. 
 
 Mr. Haden was born in the year 1818. Educated at the London University, he in his twentieth 
 year was studying medicine at the Sorbonne in Paris. In 1839 he attached himself to the hospital at 
 Grenoble. In 1840 he was again at Paris, and having in 1842 become Medallist of the University of 
 London, and Member of the College of Surgeons, he passed the years 1843-4 in Italy. On his return 
 to London he soon acquired a considerable and rapidly increasing practice as a surgeon. _ In 1851 he 
 was instrumental in founding the Hospital for Incurables, and at the Great Exhibition in that year, 
 and again in 1862, he was a juror. 
 
 It may well be asked, how was all this compatible with success as an etcher? It came about 
 thus :—When at Grenoble he had paved the way for future distinction as a draughtsman by a 
 lengthened study of the human body. This had been followed up by the advantage when in 
 Italy of a close acquaintance with a French artist of note, under whose tutelage many a drawing 
 in water-colour was undertaken. But above all, during these years, Mr. Haden had been an 
 admirer of the works of Rembrandt, and a collector, not for the sake of mere acquisition, but for 
 the purpose of information and comparison. So that when, in the year 1859, the tension of a 
 heavy practice broke down his health, and necessitated a temporary rest, what more natural than 
 that the student of Rembrandt should, during his abstention from work, take up the needle and 
 try his hand on the copper ? The result was the ‘ Etudes a l’Eau-forte. 3 Published in Pans and 
 in London, both there and here the highest praise was meted out to them, and according to 
 Mr. Hamerton, to this work alone is to be ascribed the revival of the interest m etchings. 
 Mr. Haden, in writing of them, describes how they were produced : ‘tout dtait fait dans un acces, 
 une fureur de plaisir, et dtait fini le soir meme. 3 With renewed health the etcher terminated what 
 he termed as ‘une courte et ddlicieuse vie d’artiste, un fort petit dpisode, un jour de fete, pour ainsi 
 dire, dans une carriere longue et laborieuseand until the issue some three years back, of the magni¬ 
 ficent plate of ‘ Calais Pier, 3 no further work of any importance was undertaken by him. t^uite 
 recently a set of twelve plates have been published,! but several were executed some years ago. 
 
 The total of Mr. Haden’s etchings are between seventy and eighty, the most noteworthy being 
 
 * For some time he actually lived in a boat on the river. _ _ . , 
 
 t Proofs of these can be obtained of The Fine Art Society, price 14 guineas the se 
 Mr. Whistler’s Etchings. 
 
 { These can also be seen at the Fine Art Society. 
 
 See list of 
 
( 6 ) 
 
 ‘The Calais Pier’ (after Turner), ‘ The Breaking-up of the Agamemnon,’ ‘ Shere Mill Pond,’ ‘Battersea 
 Reach,’ ‘A By-road in Tipperary,’ and ‘ The Berthe Laure of Paris,’ a rare proof of which sold for £22 
 at a recent sale. The ‘ Etudes,’ however, are the most characteristic illustrations of his work. The 
 250* sets which were published were originally issued at fifteen guineas. They now command at 
 least double that price, and will probably continue to rise in value. 
 
 It will be seen from what we have said, that neither of these etchers has in any way intruded 
 their works upon the public—nay, rather the reverse—for Mr. Whistler plumes himself upon his works 
 being ‘ ungetatable ’ and rare ; probably from the very proper notion that that which is easily 
 procurable is not valued ; and Mr. Haden is beyond measure particular that nothing of his shall be 
 promulgated except what is first-rate, not only as to work, but condition.! Therefore, were it not that 
 Mr. Haden has, by loans to exhibitions of his Rembrandts and valuable treatises thereon, imparted 
 much information on the subject of etchings, it might with truth be said that in no way save as pro¬ 
 ducers of good work have either assisted in forwarding the English school of etchings. Its rise in 
 popularity may therefore, to so much the greater extent, be attributed to Mr. Hamerton. 
 
 His first work, ‘Etching and Etchers,’ is too well known to need extended comment here. 
 The fact that, originally published at a guinea and a half, it is not now easy to obtain at four 
 times that amount, speaks as to the value set upon it by the connoisseur. ‘A Manual on 
 Etching’ was quickly followed by the first number of the ‘Portfolio’ magazine, which, devoted 
 almost exclusively to the editor’s favourite branch of art, has during its ten years’ life been 
 instant in promoting and extending the limits of its popularity. It is a daunting fact, however, 
 and one not easily explained, that whilst it has succeeded in increasing the love for etchings, 
 it has as yet entirely failed to raise up a school of etchers in England. At the outset, each 
 successive month saw an illustration of an English etcher’s work. But less than a year sufficed to 
 run through the cycle of their number, and when it is proposed to reproduce by etchings the 
 principal pictures in our National Gallery, the task is entrusted to foreigners, and very recently a 
 Frenchman has been selected to illustrate the life of Turner ! Nor is this exclusion of Englishmen 
 confined to the ‘ Portfolio.’ Etchings of several Academy pictures and portraits have of late years 
 been published, but invariably the work has been handed over to foreigners—testimony of the most 
 impartial kind, that if in England the taste for etchings has increased, the etchers themselves have 
 not. There is probably no branch of art in which such an opening exists as in that of figure 
 etching, for at present we do not possess a single etcher in that line. 
 
 The forward march of etchings was for a considerable period hampered by the action of the 
 printsellers themselves. By a rule of the Association under which they are banded together, they 
 were prohibited from selling any proofs above a certain value, unless such proofs were the 
 property of one of themselves, had been stamped with the stamp of their Association, and had 
 been printed by one of their number. An etcher of any standing naturally revolted against such 
 restrictions, for thereby not only was the printing, but) the control of the issue of his productions, 
 taken altogether out of his hands. After a lengthy struggle, in which the etchers were aided by 
 the principal houses in the trade, the rule has been annulled, so far as etchings are concerned, 
 and we may, as a consequence, expect material improvement in the prospects of this branch of 
 the arts, from the greater publicity that will now be afforded to it. 
 
 A few words of warning to the would-be collector may well close this article. In etchings} 
 more than in aught else, it is the fashion to pay extravagant prices for rare states. An example 
 of this was seen some years ago in the case of Rembrandt’s ‘ Sleeping Dog.’ Originally etched 
 in the corner of a plate, he afterwards cut it down. Only one impression of this early state is 
 known, and for this the British Museum gave 120/.; the only difference between it and an 
 ordinary copy being] six square inches of white paper, which Rembrandt considered injurious to 
 his etching. The same system is occurring every day. At a sale a few months ago, what was 
 described as a unique trial proof of ‘ Egham Lock,’ by Mr. Haden, sold for nine guineas. 
 It had, as a foreground, troubled water. The artist in this case at once thought the plate 
 would be improved by quieting the water, and a second impression showed the improvement; but 
 this decidedly superior etching fetched but three pounds. If a collector of etchings will but remember 
 that an etching is not good, or a desirable possession, because it is rare ; if, before he purchases, he 
 bears in mind, looks for, and insists on having, the qualities we have shown to be a necessity to lasting 
 work; if he will learn to value his etchings because they possess these qualities, and not because he 
 has what his neighbour has not, he will become a benefactor to art, and a true connoisseur, and he 
 will leave the ranks of those foolish ones who rush in and buy a work7 either because it is the fashion, 
 or because it has a name, without waiting to examine into its merits, or even troubling to seek out 
 what they possibly are. ]yj_ g. 
 
 * 180 sets only were printed, owing to the failure of some of the more delicate plates. 
 
 t Both print every copy of every etching they issue themselves. 
 
ETCHINGS, 
 
 * 
 
 LIBER STUDIORUM , & ENGRAVINGS . 
 
 Please understand that this List varies from time to time as Sales occur, but the majority of the 
 
 subjects contained therein are always in Stock. 
 
 HADEN (Francis Seymour). 
 
 THE NEW ETCHINGS, 
 
 ‘WINDSOR’ AND ‘GREENWICH.’ 
 
 The first of these Etchings, ‘WINDSOR,’ is now ready for delivery. 
 
 The view taken is of the town and older part of the Castle, from the creek 
 used by the Etonians for bathing. 
 
 The main river, the course of which is indicated by the barge at anchoi, runs 
 at right angles with the creek, passing under the Castle and between it and the 
 mass of trees which form the left foreground. 
 
 The hazy tone of the distant Castle, the long line of cumulus behind it, and 
 the few flocculent clouds above, the drooping flag, the motionless sail, and the 
 bathers, are intended to suggest a bright and tranquil day, and to contrast with the 
 more sombre character, rougher scene, and later hour of ‘ Greenwich. 
 
 The ‘GREENWICH’ will be ready on the 1st of May. 
 
 The Plates of each of these Etchings will be printed at Mr. Haden S press, 
 and are under his control as to limitation of impression; and each copy issued 
 will bear his signature, in proof of its being as good an impression as can be taken 
 
 from the Plates. 
 
 In framing, the impression should be laid under a sunk mount showing an inch 
 
( 8 ) 
 
 and a half of the paper all round, and should not be allowed to touch the glass 
 by about the eighth of an inch. It must not be subject to pressure of any kind 
 till the ink has become thoroughly dry, which will not be the case for some 
 months. 
 
 The price of each Plate is Eight Guineas, or mounted on hand-made mounts 
 and framed in specially prepared frames, £io, £10 ioj\, and £11 m 
 
 HADEN (Francis Seymour), continued . 
 
 N.B.—Those marked with an asterisk are now publishedfor the first time. 
 
 A Bye-road in Tipperary . 
 
 A Water-Meadow 
 Amalfi ... 
 
 Amstelodam 
 A Cottage Window 
 Battersea 
 
 Breaking up of the Agamemnon. First State £i 7 o 
 Barque Refitting 
 Brentford Ferry... 
 
 By Inveraron 
 Brig at Anchor ... 
 
 ^Cottages behind Horsley’s House . 
 
 Cranbrook 
 Cardigan Bridge 
 Combe Bottom ... 
 
 Calais Pier. Second State 
 Do. Small 
 Dusty Millers ... 
 
 ^Evening 
 
 Early Morning—Richmond Park 
 
 Egham ... . 
 
 Egham Lock ... . 
 
 Erith Marshes ... 
 
 Fulham 
 
 Grim Spain—Burgos 
 House of the Smith 
 Hie Terminus Hseret ... 
 
 Second State 
 
 £ s. d. 
 660 
 
 440 
 
 in 6 
 
 in 6 
 
 212 6 
 
 440 
 
 5 5 0 
 
 1 1 o 
 
 2 12 6 
 
 3 3 0 
 
 3 3 ° 
 
 3 3 0 
 
 3 3 0 
 
 212 6 
 
 440 
 2100 
 1 11 6 
 
 3 3 0 
 
 1 1 o 
 
 212 6 
 
 220 
 220 
 440 
 212 6 
 
 3 3 0 
 
 2 12 6 
 
 in 6 
 
( 9 ) 
 
 HADEN (Francis Seymour), continued . 
 
 Horsley’s House at Willesley. 
 
 Kensington Gardens. (The Large Plate.) ^2 12 6 
 
 Kew Side 
 Kilgaren Castle ... 
 
 Kenarth 
 
 Kidwelly Town ... 
 
 Mount’s Bay 
 Newcastle in Emlyn 
 O Laborum ! 
 
 Out of Study Window 
 On the Test. First Sta 
 Purfleet 
 Penton Hook 
 Puff Asleep 
 Railway Encroachment 
 Ruins in Wales ... 
 
 *Sub Tegmine ... 
 
 *Sonning Almshouses 
 Shepperton 
 Shere Millpond ... 
 
 Sunset on the Thames. First State ^3 3 
 
 Sketch on Back of Zinc Plate 
 Sunset in Ireland 
 Sonning 
 
 Study of Stems ... 
 
 ^Twickenham Bushes ... 
 
 The Mill-wheel. First State ^3 3 
 
 Thomas Haden of Derby 
 Thames Fishermen 
 
 The Herd . 
 
 The Two Sheep 
 The Holly Field 
 Twickenham Church 
 Towing-Path. First State £4 4 
 
 The Three Sisters 
 The Inn at Sawley. (Unfinished) 
 
 (Small Plate) 
 
 Second State 
 
 Second State 
 
 Second State 
 
 d> s - d. 
 
 440 
 
 3 3 
 
 2 12 
 
 2 12 
 2 12 
 
 2 2 
 
 3 3 
 2 12 
 in 
 
 2 2 
 
 5 5 
 
 3 3 
 
 4 4 
 
 2 2 
 1 11 
 
 3 3 
 
 2 
 
 2 
 
 5 
 
 3 
 
 2 
 
 2 
 5 
 
 3 
 
 1 11 
 4 4 
 
 3 3 
 
 1 11 
 
 o 10 
 
 3 3 
 
 2 2 
 
 4 4 
 4 4 
 1 11 
 1 1 
 
 3 
 
 4 
 4 
 4 
 
 3 
 
 4 
 4 
 4 
 
 o 
 
 6 
 
 6 
 
 6 
 
 o 
 
 o 
 
 6 
 
 6 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 6 
 
 o 
 
 o 
 
 o 
 
 o 
 
 o 
 
 6 
 
 o 
 
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 6 
 
 6 
 
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 6 
 
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( 10 
 
 ) 
 
 HADEN (Francis Seymour), continued . 
 
 The Grande Chartreuse. (From Drawing by Turner) 
 
 The Moat House . 
 
 The Two Asses 
 
 The Turkish Bath, with One Figure ... 
 
 The Turkish Bath, with Two Figures ... 
 
 The Assignation 
 Thames Ditton ... 
 
 Willow Bank 
 Windmill Hill ... 
 
 Ye Compleate Angler ... 
 
 Yacht Tavern, Erith 
 
 The Volume of ‘ Etudes ’. 
 
 £> s * d' 
 
 220 
 
 3 3 o 
 
 .. i n 6 
 2 12 6 
 3 3 0 
 
 3 3 0 
 
 440 
 220 
 3 3 ° 
 
 3 3 ° 
 
 440 
 
 36 15 o 
 
 The Plates of all Mr. H ADEN’S Etchings are printed at his press, and are wider his control 
 
 as to limitation of impression. 
 
 Illustrated Edition of Mr. Haden’s ‘Notes on Etching.’ Illustrated with an 
 Original Etching by Mr. Haden, and 15 Heliogravures from Etchings and 
 Engravings by the Old Masters, exhibited at the Fine Art Society's Galleries, 1879, 
 India Proofs, 2/. 2s. ; Prints, 1 /. iij. 6 d. The Edition will be similar to that of Mr. 
 Ruskin’s Notes on the Turner Drawings, and will be, in like manner, limited in 
 number. The Illustrations will be as follows:— 
 
 Barbari 
 
 Beham 
 
 Claude 
 
 Durf.r... 
 
 „ 
 
 Vandyk 
 Hollar 
 P. Potter 
 
 ... The Sun and Moon. 
 
 ... The Emperor Charles V. 
 ... Le Bouvier. 
 
 ... The Knight and Death. 
 ... The Coat of Arms. 
 
 ... Sutermans. 
 
 ... Shell. 
 
 ... La Mazette. 
 
 Rembrandt 
 
 55 ••• 
 
 55 
 
 Meryon ... 
 Ruysdael ... 
 Turner 
 
 The Burgomaster Six. 
 Portrait of Rembrandt. 
 Saskia. 
 
 Rembrandt’s Mill. 
 
 The Morgue. 
 
 The Field. 
 
 Stork and Aqueduct. 
 
( II ) 
 
 WHISTLER (James Abbot M'Neil). 
 
 Fine Impressions of Mr. Whistler’s celebrated and rare series of 
 Sixteen Thames Etchings, consisting of the following:— 
 
 Black Lion Wharf. 
 Wapping Wharf. 
 
 The Forge. 
 
 Old Westminster Bridge. 
 Wapping. 
 
 Old Hungerford. 
 
 The Pool. 
 
 The Fiddler. 
 
 The Lime-Burners. 
 The Little Pool. 
 Chelsea Bridge and 
 Church. 
 
 Eagle Wharf. 
 
 Limehouse. 
 
 Thames Warehouses. 
 Millbank. 
 
 Early Morning(Battersea). 
 
 Price of the Set, mounted and in Portfolio, 14 guineas, or separately, at prices ranging 
 
 from 1 to 3 guineas. 
 
 Amsterdam 
 Guitar Player 
 Limehouse 
 Oyster Smacks ... 
 
 Weary 
 
 Draped Figure. 
 
 Lindsay Houses... 
 
 Fannie Leyland ... 
 
 Battersea, Morning . 
 
 London Bridge ... 
 
 Flo 
 
 Babs 
 
 Boy 
 
 Annie Haden 
 Pickle-herring Stairs 
 Greenhithe 
 
 Siesta ... ... ••• ••• 
 
 Billingsgate 
 
 Speke Hall 
 
 Speke Avenue ... 
 
 Muff 
 
 Douze Eaux-fortes d’apres Nature 
 
 £ s. d. 
 220 
 
 10 10 o 
 2 2 0 
 880 
 
 5 5 ° 
 5 5 0 
 660 
 440 
 10 10 o 
 660 
 660 
 660 
 
 5 5 ° 
 10 10 o 
 440 
 660 
 660 
 220 
 
 5 5 ° 
 4 4 0 
 660 
 12 12 o 
 
( 12 ) 
 
 MERYON (C.). 
 
 Born at Paris, 1821, of English origin, a man of tender soul, probably derived from his mother. In 1837 
 he went to the Naval School at Brest. He made several voyages, and from 1842 to 1846 he circum¬ 
 navigated the globe in the corvette Lc Rhin. On account of his delicate constitution he gave up the 
 sea-service. Whereupon he writes:—‘A few words on my past life as a naval officer. I wore the 
 epaulette but a short time. I laid it aside simply because I did not feel sufficiently strong, either 
 physically or morally, to command in all circumstances men, the majority of whom I consider as the 
 most devoted, the most honourable, the best that can be met with. It is with a profound sentiment of 
 sincerity that I feel honoured in having spent the best part of my youth in the midst of such men, 
 whether officers or sailors. The above-mentioned reason, joined to a natural inclination I have always 
 had for the arts, has made me venture upon the path on which I now walk.’ 
 
 Meryon returned to Paris, 1847 ; he painted pictures, in which he failed ; for although he possessed in a 
 consummate degree a knowledge of the relative value of light and shade, either his eyes did not 
 appreciate, or his hands could not manipulate, colour. He thereupon acquired his first notions on the 
 art of etching, of which he ultimately became the great master. To exercise himself in the etching point 
 he made copies of the old masters. His genius was rapidly developing, and Victor Plugo wrote of his 
 works :—‘ These etchings are magnificent things ; this fine imagination should not be fettered in the 
 great contest which it is waging—now in contemplating the ocean—now in contemplating Paris — 
 the breath of the infinite traverses the works of M. Meryon, and makes his etchings more than pictures 
 —visions.’ 
 
 Old Paris was being demolished ; the picturesque swept away; and monuments, revered for their historical 
 associations, ruthlessly destroyed, to be replaced by the monotonous and dreary productions of Imperial 
 Communism. Meryon set to work to preserve, ere it was too late, records of the poetry of old Paris; 
 and produced, with his etching needle, the most marvellous series of works of our time : full of power, 
 of truth, yet of tragic mystery : preserving the details of architecture, he filled up his works with the 
 reflex melancholy of his own soul. But to live he must sell. He had not yet made taste to admire his 
 works ; publishers and buyers would have nothing to do with them. Modest, nervous, tongue-tied, and 
 irritable, he tramped Paris with his folios of etchings, but beyond placing a few impressions in the hands 
 of dealers, who sold little and paid less, neither public nor private taste, nor patronage, did anything for 
 him. In a fit of despair he destroyed the copper plates. Darker days set in upon him, and he passed 
 into—worse than the valley of the shadow of death—the madhouse of Charenton, whence he was 
 released by death. 
 
 Eaux-fortes sur Paris. A Volume containing the following rare Proofs ^57 10 o 
 
 Title (B. 29). 
 
 Arms of Paris (B. 33). 
 
 Paris (B. 31). 
 
 St. Etienne du Mont (B. 42). 
 
 L’Arche du Pont Notre Dame (B. 37). 
 Le Stryge (B. 35). 
 
 La Petite Pompe (B. 44). 
 
 La Pompe, Notre Dame (B. 43). 
 
 Le Pont au Change (B. 46). 
 
 Le Petit Pont (B. 36). 
 
 Tourelle, Rue de la Tisseranderie (B. 41). 
 
 Le Pont Neuf, 1850 (B. 45). 
 
 L’Abside de Notre Dame de Paris, 1853 
 (B. 50). 
 
 La Tour de 1 ’Horloge (B. 40). 
 
 Quel Mortel habitait (B. 39). 
 
 La Galerie de Notre Dame (B. 38). 
 
 La Morgue, 1850 (B. 48). 
 
 Le Pont au Change, vers 1794 (B. 19). 
 Le Tombeau de Moli&re (B. 51). 
 
 La Salle des Pas Perdus (B. 15). 
 
( 13 
 
 ) 
 
 MERYON (C.), continued. 
 
 La Rue des Toiles h. Bourges (B. 56). 
 
 First State. 
 
 £ s. d. 
 
 2 2 0 ... 
 
 Second State. 
 
 £ s. d. 
 
 Third State. 
 £ s. d. 
 I IO 0 
 
 College Henri IV., ou Lycee Napoleon 
 
 3 
 
 3 
 
 0 ... 
 
 
 — 
 
 
 
 — 
 
 
 Le Grand Chatelet & Paris (B. 28). 
 
 3 
 
 13 
 
 6 
 
 2 
 
 12 
 
 6 ... 
 
 
 — 
 
 
 L’Arche du Pont Notre-Dame (B. 37). 
 
 3 
 
 3 
 
 0 ... 
 
 2 
 
 2 
 
 0 ... 
 
 
 — 
 
 
 La Pompe Notre-Dame, 1852 (B. 43). 
 
 8 
 
 8 
 
 0 ... 
 
 5 
 
 i5 
 
 6 ... 
 
 2 
 
 12 
 
 6 
 
 Portrait, Louis Robert. 
 
 
 — 
 
 ... 
 
 
 — 
 
 
 3 
 
 3 
 
 0 
 
 Rue des Chantres, Paris, 1862 (B. 54). 
 
 
 — 
 
 ... 
 
 
 — 
 
 
 3 
 
 3 
 
 0 
 
 St. Etienne-du-Mont, Paris (B. 42). 
 
 5 
 
 i5 
 
 6 
 
 
 —- 
 
 
 1 
 
 10 
 
 0 
 
 Vue de l’Ancien Louvre 
 
 
 — 
 
 ... 
 
 
 — 
 
 
 
 
 
 L’Abside de Notre-Dame de Paris, 1853 (B. 50). 
 
 10 
 
 10 
 
 0 ... 
 
 
 — 
 
 
 
 — 
 
 
 Le Petit Pont (B. 86). ... 
 
 5 
 
 5 
 
 0 
 
 2 
 
 2 
 
 0 
 
 
 — 
 
 
 Le Stryge. Before Verses (B. 35). 
 
 4 
 
 4 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 Do. With Verses 
 
 
 — 
 
 ... 
 
 3 
 
 13 
 
 6 ... 
 
 
 — 
 
 
 Do. Verses removed 
 
 
 — 
 
 ... 
 
 
 — 
 
 
 3 
 
 3 
 
 0 
 
 Le Pont au Change. With Balloon (B. 46). 
 
 10 
 
 10 
 
 0 ... 
 
 
 — 
 
 
 
 — 
 
 
 Tourelle de la Rue de l’Ecole de Me'decine ... 
 
 4 
 
 14 
 
 6 ... 
 
 
 — 
 
 
 
 — 
 
 
 Le Tombeau de Moliere (B. 51). 
 
 1 
 
 10 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 Paris ( Frontispiece ) 
 
 2 
 
 2 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 Le Pont Neuf, 1850 (B. 45). 
 
 5 
 
 5 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 La Morgue, 1850 (B. 48). 
 
 7 
 
 7 
 
 0 ... 
 
 5 
 
 5 
 
 0 
 
 
 — 
 
 
 Tourelle, Rue de la Tisseranderie (B. 41). 
 
 5 
 
 5 
 
 0 ... 
 
 
 —■ 
 
 
 
 — 
 
 
 Le Rue du Mauvais Gar9on 
 
 3 
 
 3 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 Pierre Nivelle (B. 79). ... 
 
 1 
 
 10 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 La Tour de l’Horloge (B. 40). 
 
 4 
 
 4 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 La Galerie de Notre-Dame (B. 38). 
 
 5 
 
 15 
 
 6 ... 
 
 2 
 
 2 
 
 0 
 
 X 
 
 1 
 
 0 
 
 Passerelle du Pont au Change (B. 26). 
 
 1 
 
 X 
 
 0 
 
 
 — 
 
 
 
 — 
 
 
 Le Pont au Change, vers 1794 (B. 19). 
 
 
 — 
 
 ... 
 
 3 
 
 3 
 
 0 
 
 
 — 
 
 
 Retroduction 4 ... 
 
 1 
 
 1 
 
 0 ... 
 
 
 — 
 
 ... 
 
 
 — 
 
 
 Encadrement d’un Imprimerie. 
 
 
 — 
 
 ... 
 
 1 
 
 10 
 
 0 ... 
 
 
 — 
 
 
( 14 ) 
 
 MILLET (J. F.). 
 
 Born in 1S15 at Greville, in La Manche, and died January, 1875, a t Barbison, near Fontaine¬ 
 bleau. He was the son of a peasant, but early showed genius for painting; and the municipality of 
 Greville subscribed 600 francs to send him to Paris, where he studied under Paul Delaroche. He 
 became the pathetic and poet painter of nature and the peasantry—of ‘ Sowers,’ ‘Haymakers,’ ‘Reapers,’ 
 ‘Shepherds,’ ‘Gleaners,’ ‘Knitters.’ Millet married young, had fourteen children, and lived the 
 simplest life. He painted slowly, as he said he loved to see his pictures grow. They produced him 
 little in his lifetime, though they are a fortune to those who now possess them. With Corot, Rousseau, 
 Frere, and others, Millet founded a school on the love of nature and humanity. Solemn, not cynical; 
 subtle, not ascetic; truthful, not flashy ; laborious—for ever seeking a higher and a higher standard. 
 ‘In his Art,’ said the Athcnaum, the week after his death, ‘Millet came nearer to Rembrandt than any 
 of the Moderns in dealing sometimes with unbounded wealth of light, sometimes with worlds of shade—■ 
 now producing ineffable mysteries of tone, then seeming to meditate in a solemn paradise of colour.’ 
 
 He did a few etchings of remarkable power, 
 
 Auvergnate Filant 
 
 expression, 
 
 and pathos. 
 
 £ 
 
 2 
 
 s. 
 
 2 
 
 d. 
 
 0 
 
 £ 
 
 s. d. 
 
 Allant Travailler 
 
 
 
 ... 7 
 
 7 
 
 0 
 
 
 — 
 
 La Batteuse de Beurre 
 
 
 
 ... 2 
 
 12 
 
 6 
 
 
 — 
 
 Les Becheurs. With First Sky 
 
 
 
 ... 8 
 
 8 
 
 0 
 
 ... 4 
 
 4 0 
 
 La Cardeuse ... 
 
 
 
 ... 14 
 
 14 
 
 0 
 
 
 — 
 
 La Nourrice ... 
 
 
 
 ••• 5 
 
 5 
 
 0 
 
 
 — 
 
 Les Glaneuses 
 
 
 
 ... 2 
 
 12 
 
 6 
 
 
 — 
 
 La Couseuse. 
 
 
 
 ... 2 
 
 2 
 
 0 
 
 
 — 
 
 FORTUNY. 
 
 Eaux-fortes. 18 Proofs. 
 
 • • • 
 
 26 
 
 Guineas, or may 
 
 be had separately. 
 
 ISRAELS, J. 
 
 Set of Ten Etchings 
 
 £ s • d. 
 10 10 o 
 
 Mr. PHELPS, by Mr. Slocombe, after the Picture by Mr. Forbes-Robertson, 
 now the property of the Garrick Club. 
 
 This Etching, which will be issued in April, will be similar in character, 
 to the Rembrandt recently executed by Mr. Slocombe. 
 
 £ s. d. 
 
 Remark Proofs, limited to 30 .440 
 
 Artist’s Proofs „ 100 .220 
 
 Prints ... ... ... ... ... ... ... ... ... ... ci 1 o 6 
 
 In addition to these, a great quantity of examples of Etchings by 
 Sir F. Leighton, p.r.a., J. E. Millais, r.a., J. C. Hook, r.a., F. Walker, 
 a.r.a., Sam. Palmer, Rajon, Flameng, Ungers, Gaillard, Waltner, 
 Brunet-Debaines, F. Braquemond, Jacquemart, Chifflart, Daubigny, 
 Le Rat, Veyrassat, Appian, Tissot, Legros, Herkomer, &c. 
 
LA COURANTE 
 
) 
 
 ( i5 
 
 L’ART.—A Weekly Artistic Review. Fifth Year. 
 
 Director for England . Mr. J. COMYNS CARR. 
 
 L’Art is richly illustrated with Etchings and Engravings after the works of 
 
 English and Foreign Artists. 
 
 Arrangements for the Coming Season . 
 
 Professor Colvin will contribute a series of articles on the Early Engravers, 
 which will be Illustrated by reproductions from their works, executed in facsimile. 
 
 Articles will again be devoted to the Exhibitions of the Salon , the Royal 
 Academy, and the Grosvenor Gallery. 
 
 These articles will be Illustrated by numerous Engravings, accompanied by 
 full-page Etchings after the principal Pictures. 
 
 Original Drawing by Mr. E. Burne Jones. 
 
 Mr. E. Burne Jones has consented to execute a Drawing after the picture of 
 the CHANT D’AMOUR, Exhibited last year at the Grosvenor Gallery. The Drawing 
 will be reproduced by Amand Durand, and will be printed on Dutch paper. 
 
 The Trmmphal Entry of Charles V. into Antwerp , by Hans Makart. 
 
 A magnificent Etching by M. Lalauze of this important work, which occupied 
 so prominent a place in the Paris Exhibition, will shortly he published. It will be of 
 exceptional size (22 inches in length), and will be issued independently of the 
 Journal. A copy of the plate will, however, be presented gratuitously to all Annual 
 Subscribers to L’ART, whose subscriptions for the year 1S79 have been received 
 before the 31st of March. 
 
 Etchings after English Pictures recently published in L’Art. 
 
 THE CORN-FIELD. By J. Park, from the Picture by Constable, in the National Gallery. 
 
 THE ROMANTIC HOUSE. By J. Park, from the Picture by Constable. 
 
 THE FIRST COMMUNION AT DIEPPE. By Lalauze, from the Picture by P. R. Morris, A.R.A. 
 PORTRAIT OF MADAME BISCHOFFSHEIM. By Waltner, from the Picture by J. E. 
 Millais, R.A. 
 
 A YEOMAN OF THE GUARD. By WaltNer, from the Picture by J. E. Millais, R.A. 
 
 A MOONLIGHT PASTORAL. By J. Park, from the Picture by Cecil Lawson. 
 
 TRAWLERS WAITING FOR DARKNESS. By Chauvel, from the Picture by Colin Hunter. 
 BEARERS OF THE BURDEN. By Gaucherei., from the Picture by G. H. Boughton. 
 
 Proofs of the above, drawn on Vellum and Japanese paper, may be inspected at the 
 
 Society’s Galleries. 
 
 A Specimen of the Etching in L’Art, ‘ La Courante,’ will be found inserted in 
 
 this Catalogue. 
 
 Terms of Subscription to DART, including Delivery: 
 
 ONE YEAR, 5/. IO S. SIX MONTHS, 2/. 15X. THREE MONTHS, I/. 8 S. SINGLE PARTS, FROM 3A 
 SUBSCRIPTIONS RECEIVED BY THE FINE ART SOCIETY. 
 
( 16 ) 
 
 TURNER (J. M. W.). Liber Studiorum, 
 
 It is impossible to append exact prices to these, as the States are so varied, but 
 
 approximate to those subjoined :— 
 
 £ 
 
 Anglers, Young ... ... ... ... ... ... ... ... 2 
 
 FEsacus and Hesperie ... ... ... ... ... ... ... ... 7 
 
 Arveron, Source of the ... ... ... ... ... ... ... ... 6 
 
 Basle ... ... ... ... ... ... ... ... ... ... 2 
 
 Ben Arthur ... ... ... ... ... ... ... ... ... 6 
 
 Blair Athol, Near. (Engraver’s Proof, ^15 15 o) ... ... ... ... 6 
 
 Bonneville ... ... ... ... ... ... ... ... ... 4 
 
 Bridge and Cows ... ... ... ... ... ... ... ... 2 
 
 Bridge and Goats ... ... ... ... ... ... ... ... 2 
 
 Bridge in middle distance ... ... ... ... ... ... ... 2 
 
 Calais Harbour, Entrance of ... ... ... ... ... ... ... 3 
 
 Calm ... ... ... ... ... ... ... ... ... ... 3 
 
 Chain of Alps ... (Engraver’s Proof, jQi 2 12 0) ... ... ... 4 
 
 Chepstow ... ... ... ... ... ... ... ... ... 3 
 
 Christ and the Woman of Samaria ... ... ... ... ... ... 2 
 
 Clyde, Falls of the ... ... ... ... ... ... ... ... 3 
 
 Coast of Yorkshire. (Engraver’s Proof, ;£ 10 10 o) ... ... ... 4 
 
 Crypt of Kirkstall Abbey ... ... ... ... ... ... ... 2 
 
 Deluge, The ... ... ... ... ... ... ... ... ... 8 
 
 Devil’s Bridge, The Little ... ... ... ... ... ... ... 2 
 
 Dumblain Abbey ... ... ... ... ... ... ... ... 3 
 
 Dunstanborough Castle ... ... ... ... ... ... ... 2 
 
 Eastgate, Winchelsea ... ... ... ... ... ... ... ... 2 
 
 Egremont. Sea Piece, The ... ... ... ... ... ... ... 2 
 
 Fairy Queen, Spenser’s ... ... ... ... ... ... ... 2 
 
 Farm Yard, The ... ... ... ... ... ... ... ... 2 
 
 Fifth Plague ... (Engraver’s Proof, ^10 10 o) ... ... ... 2 
 
 Flint Castle ... ... ... ... ... ... ... ... ... 2 
 
 Frontispiece ... ... ... ... ... ... ... ... ... 2 
 
 Grande Chartreuse, Mill near the ... ... ... ... ... ... 5 
 
 London, from Greenwich ... ... ... ... ... ... 4 
 
 Guildford ... ... ... ... ... ... ... ... ... 2 
 
 Hedging and Ditching ... ... ... ... ... ... ... ... 2 
 
 Hind Head Hill. 6 
 
 Hindoo Ablutions ... ... ... ... ... ... ... ... 2 
 
 Hindoo Worshipper ... ... ... ... ... ... ... ... 2 
 
 Holy Island Cathedral. 2 
 
 they 
 
 s. d. 
 2 o 
 
 7 o 
 6 o 
 2 o 
 6 o 
 6 o 
 4 o 
 2 o 
 2 o 
 
 2 O 
 
 3 o 
 
 3 o 
 
 4 o 
 3 o 
 
 12 6 
 
 3 o 
 
 4 o 
 2 o 
 
 8 o 
 
 2 o 
 
 3 o 
 
 12 6 
 
 12 6 
 
 2 o 
 2 o 
 2 o 
 2 o 
 2 o 
 
 2 O 
 
 5 0 
 
 4 o 
 
 12 6 
 
 2 o 
 
 6 o 
 2 o 
 2 o 
 
 12 6 
 
( 1 7 ) 
 
 TURNER (J. M. W.), Liber Studiorum— continued. 
 
 Interior of a Church . 
 
 Inverary Castle . 
 
 Inverary Pier . 
 
 Isis .(Engraver’s Proof, ^12 12 o). 
 
 j aSOn . . « 9 • . 9 9 . 9 9 9 9 9 9 9 9 9 9 9 9 9 9 9 
 
 Junction of Severn and Wye ... 
 
 Juvenile Tricks ... (Engraver’s Proof, £8 8 o) ... 
 
 Lake of Thun ... ... . 
 
 Lauffenburgh ... . 
 
 Leader Sea Piece . . 
 
 Marine Dabblers. (Engraver’s Proof, /io 10 o). 
 
 Martello Towers. (Engraver’s Proof, ^10 10 o). 
 
 Mer de Glace ... ... ... ... ... . 
 
 Mildmay Sea Piece ... . . 
 
 Morpeth . 
 
 Mont St. Gothard 
 Norham Castle ... 
 
 Okehampton Castle ... ... ... ... . 
 
 Peg Boat . 
 
 Pembury Mill ... ... ... ... ••• . 
 
 Procris and Cephalus ... 
 
 Raglan Castle ... 
 
 Rispah ... 
 
 Rivaulx Abbey ... 
 
 River Wye—See Chepstow . 
 
 Ships in a Breeze 
 
 St. Catherine’s Hill ... ... ••• ••• ••• 
 
 Solitude ... 
 
 Solway Moss 
 Straw-Yard, The 
 Sun between Trees 
 
 Tenth Plague . 
 
 Twickenham 
 
 Ville de Thun. 
 
 Watercress Gatherers 
 
 Water-Mill . 
 
 Woman and Tambourine, The. 
 
 Windmill and Lock (Engraver’s Proof, ^15 15 °) 
 
 Winchelsea, Sussex 
 
 £ s • d- 
 
 2 12 6 
 
 3 3 0 
 
 3 3 0 
 3 3 0 
 
 5 5 ° 
 3 3 o 
 
 220 
 220 
 220 
 
 .. 2 12 6 
 
 220 
 .. 220 
 
 440 
 
 3 3 ° 
 .. 2 12 6 
 
 440 
 
 440 
 
 220 
 
 5 5 0 
 3 3 0 
 440 
 660 
 
 3 3 ° 
 .. 220 
 
 2 12 6 
 
 220 
 440 
 
 6 6 6 
 
 2 12 6 
 
 220 
 220 
 220 
 220 
 220 
 
 3 3 ° 
 220 
 
 3 3 ° 
 220 
 
( 
 
 ) 
 
 i8 
 
 Unpublished Plates :— 
 
 The Premium Landscape... ... ... ... ... ... ... ) £ s. d. 
 
 The Stork and Aqueduct ... ... ... ... ... ... ... j- g g Q 
 
 Stonehenge ... ... ... ... ... ... ... ... I 
 
 But very few Impressions remain of the 50 Sets of these Plates, which were published 
 
 by The Fine Art Society. 
 
 Sheepwashing, Windsor ... ... ... ... ... ... ... 440 
 
 The Felucca ... ... ... ... ... ... ... ... 5 5 o 
 
 The Etchings of the Liber Studiorum. A number of these in Stock. Their 
 
 price usually averages ^2 2 s. each. 
 
 Description and Catalogue of Turner’s Liber Studiorum, by W. G. Rawlinson. 
 Just published, large paper, 21s.; ordinary, 12J. 6 d. 
 
 The Farnley Hall Turners. Photographs of this celebrated collection, ioj-. 6 d. 
 
 each, or ^15 15L the Set. 
 
 Folkestone. An unpublished Plate by T. Lupton. India Proofs, 15^. 
 
 England and Wales. Unpublished Plates :— 
 
 Lowestoffe Lighthouse. Harborough Sands. Aldborough. 
 
 Orfordness. Dymchurch. 
 
 Twenty-five copies of these only exist. A few India Proofs remain, price 3/. 135. 6 d. 
 
 the set, in a portfolio. 
 
 Photographs from the Original Pictures by Turner in the National 
 
 Gallery, by Col. Stuart Wortley. Mounted, each . 010 6 
 
 THE LARGE SERIES OF ENGRAVINGS OF THE WORKS OF 
 
 
 J. M. 
 
 W. TURNER. 
 
 
 
 
 
 
 
 
 Artist’s Proofs. 
 
 Prints. 
 
 
 
 £ 
 
 s. 
 
 d. 
 
 
 s. 
 
 d. 
 
 Sunrise in a Mist 
 
 
 . 8 
 
 8 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Straits of Dover... 
 
 
 . 8 
 
 8 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Ancient Italy 
 
 
 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Modern Italy 
 
 
 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Dover (very rare) 
 
 
 ... ... 12 
 
 12 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Hastings 
 
 
 ... ... 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Tivoli (very scarce) 
 
 
 26 
 
 5 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Grand Canal 
 
 
 ... ... 21 
 
 0 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Apollo and Sibyl 
 
 
 ... ... 10 
 
 « 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Cologne (rare) ... 
 
 
 12 
 
 12 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Dido Building Carthage 
 
 
 ... ... 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Heidelberg . 
 
 
 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Approach to Venice 
 
 
 10 
 
 10 
 
 0 
 
 2 
 
 2 
 
 0 
 
 Golden Bough 
 
 • • • 
 
 ... ... 8 
 
 8 
 
 0 
 
 2 
 
 , 2 
 
 0 
 

( 19 ) 
 
 THE LARGE SERIES OF ENGRAVINGS OF THE WORKS OF 
 
 J. M. W. TURNER— Continued. 
 
 Caligula’s Bridge . 
 
 Artist’s Proofs. 
 . £?> 1 IO O 
 
 ... £6 
 
 Prints 
 
 6 
 
 0 
 
 Dido and Eneas (very rare) 
 
 21 
 
 O 
 
 o 
 
 4 
 
 4 
 
 0 
 
 Temple of Jupiter 
 
 21 
 
 O 
 
 o 
 
 ... 2 
 
 2 
 
 0 
 
 Mercury and Hersee 
 
 . 31 
 
 IO 
 
 o 
 
 5 
 
 5 
 
 0 
 
 Crossing the Brook 
 
 . 31 
 
 IO 
 
 o 
 
 
 
 
 St. Mark’s Place 
 
 21 
 
 o 
 
 o 
 
 
 - 
 
 
 Regulus . 
 
 21 
 
 o 
 
 o 
 
 India, 2 
 
 2 
 
 0 
 
 Venice (Bellini’s Pictures) 
 
 12 
 
 12 
 
 o 
 
 2 
 
 2 
 
 0 
 
 Mercury and Argus 
 
 l6 
 
 16 
 
 o 
 
 2 
 
 2 
 
 0 
 
 Nelson’s Ship 
 
 IO 
 
 IO 
 
 o 
 
 
 _ 
 
 
 Shipwreck 
 
 IO 
 
 IO 
 
 o 
 
 
 _ 
 
 
 Dutch Boats 
 
 IO 
 
 IO 
 
 o 
 
 
 — _ 
 
 
 ENGRAVINGS BY MR. SAMUEL COUSINS, R.A. 
 
 Published. 
 
 The Strawberry Girl... 
 
 1873 
 
 ‘ Yes ’ or ‘ No ’ 
 
 1873 
 
 Penelope Boothby ... 
 
 1874 
 
 Age of Innocence ... 
 
 1874 
 
 Miss Bowles ... 
 
 M 
 
 CO 
 
 ■*4 
 
 4^ 
 
 Lady Caroline Montague ... 
 
 1874 
 
 Moretta 
 
 1875 
 
 ‘ No ’ . 
 
 1875 
 
 Hon. Ann Bingham... 
 
 1875 
 
 Countess Spencer ... 
 
 1875 
 
 Lady Ann Fitzpatrick 
 
 1875 
 
 Lavinia 
 
 1876 
 
 The Dauphin 
 
 1877 
 
 The Playmates 
 
 1877 
 
 Miss Rich ... 
 
 1877 
 
 Countess Spencer and Lord Althorp 
 
 M 
 
 00 
 
 Duchess of Rutland... 
 
 1877 
 
 ‘ Yes ’ . 
 
 1878 
 
 Duchess of Devonshire 
 
 1879 
 
 The Princes in the Tower ... 
 
 1879 
 
 Artist’s 
 Published Price 
 
 £ s . d. 
 660 
 
 Proofs. 
 
 Present Price. 
 
 £ s. d. 
 26 5 0 
 
 Prints. 
 £ s . 
 
 1 1 
 
 d. 
 
 0 
 
 6 
 
 6 
 
 0 
 
 21 
 
 O 
 
 0 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 26 
 
 5 
 
 0 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 15 
 
 15 
 
 0 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 15 
 
 15 
 
 0 
 
 1 
 
 1 
 
 0 
 
 8 
 
 8 
 
 0 
 
 
 — 
 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 21 
 
 O 
 
 0 
 
 ... 1 
 
 1 
 
 0 
 
 8 
 
 8 
 
 0 
 
 12 
 
 12 
 
 0 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 12 
 
 12 
 
 0 
 
 1 
 
 1 
 
 O 
 
 6 
 
 6 
 
 0 
 
 IO 
 
 IO 
 
 0 
 
 ... 1 
 
 1 
 
 0 
 
 8 
 
 8 
 
 0 
 
 
 — 
 
 
 1 
 
 1 
 
 0 
 
 6 
 
 6 
 
 0 
 
 IO 
 
 IO 
 
 0 
 
 1 
 
 1 
 
 0 
 
 5 
 
 5 
 
 0 
 
 IO 
 
 IO 
 
 0 
 
 ... 0 
 
 12 
 
 0 
 
 5 
 
 5 
 
 0 
 
 IO 
 
 IO 
 
 0 
 
 ... 0 
 
 12 
 
 0 
 
 6 
 
 6 
 
 0 
 
 
 — 
 
 
 1 
 
 1 
 
 0 
 
 10 
 
 10 
 
 0 
 
 
 India Proofs 2 
 
 2 
 
 0 
 
 10 
 
 10 
 
 0 
 
 
 
 5 ) 
 
 2 
 
 2 
 
 0 
 
 10 
 
 10 
 
 0 
 
 
 — 
 
 
 ... 
 
 — 
 
 
 10 
 
 10 
 
 0 
 
 
 
 J) 
 
 2 
 
 2 
 
 0 
 
 10 
 
 10 
 
 0 
 
 
 — 
 
 
 2 
 
 2 
 
 0 
 
 It will be seen from the foregoing, that Artist’s Proofs of Mr. Cousins’ Work 
 (owing to their excellence and the limited number declared) become scarce and rise 
 in value very shortly after their publication. 
 
( 20 ) 
 
 ENGRAVINGS now Publishing by the Society. ° 
 
 THE PRINCES IN THE TOWER. By J. E. Millais, R.A. Engraved by Sam. 
 
 Cousins, R.A. 
 
 £ 
 
 s. 
 
 d. 
 
 Signed Artist’s Proofs (but few unsubscribed.) 
 
 IO 
 
 IO 
 
 O 
 
 Proofs before Letters... 
 
 ... 7 
 
 7 
 
 o 
 
 Lettered Proofs 
 
 ••• 5 
 
 5 
 
 o 
 
 Prints ... 
 
 2 
 
 2 
 
 O 
 
 THE EGYPTIAN FEAST. By E. Long, A.R.A. Engraved by E. Girardet. 
 Artist’s Proofs ... ... ... ... ... ... ... ... 8 8 
 
 O 
 
 Proofs before Letters... 
 
 ... 6 
 
 6 
 
 o 
 
 Lettered Proofs 
 
 ... 4 
 
 4 
 
 o 
 
 Prints ... ... ... ... ... ... ... ... ... 
 
 ... 2 
 
 2 
 
 o 
 
 ATALANTA’S RACE. By E. J. Poynter, R.A. Engraved in fine 
 
 line, 
 
 by 
 
 F. 
 
 Joubert. (Will be shortly published.) 
 
 Artist’s Proofs... 
 
 ... 10 
 
 IO 
 
 o , 
 
 Proofs before Letters 
 
 ... 7 
 
 7 
 
 o 
 
 Lettered Proofs 
 
 ••• 5 
 
 5 
 
 o 
 
 Prints ... 
 
 ... 2 
 
 2 
 
 o 
 
 GROUSE DRIVING. By J. C. Appleton, after A. Stuart-Wortley. 
 
 Artist’s Proofs (but few remaining) ... 
 
 ... 4 
 
 4 
 
 o 
 
 Proofs before Letters ... 
 
 2 
 
 2 
 
 o 
 
 Lettered Proofs 
 
 I 
 
 I I 
 
 6 
 
 Prints ... ... ... ... ... ... ... ... ... 
 
 ... I 
 
 I 
 
 o 
 
 *CONSCIENCE DOTH MAKE COWARDS OF US ALL.’ 
 
 By F. Stacpoole, after Briton Riviere, R.A. 
 
 Artist’s Proofs . 
 
 ... 4 
 
 4 
 
 o 
 
 Prints ••• ••• ••• ... ... ... ... ... ... 
 
 ... i 
 
 i 
 
 o 
 
 MRS. LANGTRY. By E. J. Poynter, R.A. Engraved by J. J. Chant. 
 
 Artist’s Proofs . 
 
 ... 4 
 
 4 
 
 o 
 
 Proofs before Letters . 
 
 ... 2 
 
 2 
 
 o 
 
 Prints ... 
 
 ... I 
 
 1 
 
 o 
 

 
 . 
 
 
 
 
 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
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tty research INSTITUTE 
 
 3 3125 01515 9425 
 

 
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