Etchings, Engravings, Mezzotints vtyQr * 5 * §Lf 8 - X COLLECTION OF Mr. Theodore Offerman AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK 1 / CATALOGUE OF ETCHINGS, ENGRAVINGS AND MEZZOTINTS COLLECTION OF ME. THEODORE OFFERMAN TO BE SOLD AT UNRESTRICTED PUBLIC SALE ON TUESDAY EVENING, APRIL TWENTY-THIRD BEGINNING AT 8 O’CLOCK AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH THE SALE WILL BE CONDUCTED BY' MR. THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK : 1907 Press of J. J. Little & Co. Astor Place, New York THE GE i i t — INSTITUTE LIBivVvUY CONDITIONS OF SALE 1. The highest Bidder to be the Buyer, and if any dispute arise between two or more Bidders, the Lot so in dispute shall be im¬ mediately put up again and re-sold. 2. The Auctioneer reserves the right to reject any bid which is merely a nominal or fractional advance, and therefore, in his judgment, likely to affect the Sale injuriously. 3. The Purchasers to give their names and addresses, and to pay down a cash deposit, or the whole of the Purchase-money, if required, in default of which the Lot or Lots so purchased to be immediately put up again and re-sold. 4. The Lots to be taken away at the Buyer’s Expense and Bisk within twenty-four hours from the conclusion of the Sale, and the remainder of the Purchase-money to be absolutely paid, or other¬ wise settled for to the satisfaction of the Auctioneer, on or before delivery; in default of which the undersigned will not hold them¬ selves responsible if the lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. While the undersigned will not hold themselves responsible for the correctness of the description, genuineness, or authen¬ ticity of, or any fault or defect in, any Lot, and make no War¬ ranty whatever, they will, upon receiving previous to date of Sale trustworthy expert opinion in writing that any Painting or other Work of Art is not what it is represented to be, use every effort on their part to furnish proof to the contrary; fail¬ ing in which, the object or objects in question will be sold subject to the declaration of the aforesaid expert, he being liable to the Owner or Owners thereof, for damage or injury occasioned thereby. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be re¬ moved during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited; all Lots uncleared ivithin one day from conclusion of Sale shall be re-sold by public or private sale, without further notice, and the deficiency (if any) attending such re-sale shall be made good by the defaulter at this Sale, together with all charges attending the same. This Con¬ dition is without prejudice to the right of the Auctioneer to en¬ force the contract made at this Sale, without such re-sale, if he thinks fit. 8. The undersigned are in no manner connected with the business of the cartage or packing or shipping of purchases, and although they will afford to purchasers every facility for em¬ ploying careful carriers and packers, they will not hold them¬ selves responsible for the acts and charges of the parties engaged for such services. The AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY, Auctioneer. CATALOGUE ETCHINGS, ^ENGRAVINGS AND MEZZOTINTS SALE TUESDAY EVENING, APRIL 23d, 1907 AT THE AMERICAN ART GALLERIES BEGINNING AT 8 O’CLOCK BONHEUR, ROSA (After) 1—The Duel Engraved by Joseph B. Pratt. Proof on India paper, signed by both painter and engraver. —An Old Pensioner Engraved by Joseph B. Pratt, signed by the painter. Proof on India paper, 3—A Foraging Party Etched by Achille Gilbert. Remarque proof on Japanese paper, signed by both painter and etcher. There were issued 125 of such proofs only. BRUNET-DEB AINES, A. “Few etchers of the modern French school have produced such uniformly good work.”— P. G. Hamerton. A I 4 —A Thatched Cottage After the painting by Corot. Proof on Whatman paper. BOLDINI 2 - 5 —At the Opera Photogravure printed in colors. Proof stamped No. 60. BUHOT, FELIX “ 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. But setting all this aside, it rests for us more specially to consider these visions of his, dreams and things minutely observed, into which he threw all the force of his passionate, brilliant, and tender soul .”—Leonce Ben6dite. 6—Country Neighbors (Voisins de Campagne) Bourcard, No. 148. Signed artist’s proof. “His ‘little town’ of Valognes and his beloved Normandy in¬ spired him with touching subjects, some of which are veritable treasures for a collection, as, for example, the ‘ Grandes ’ and the ‘ Petites Chaumieres, Les Oies,’ and above all the ‘ Voisins de Campagne.’ ”—Leonce Beneclite. 7—Westminster Palace BOURCARD, No. 155. Fine impression printed upon paper treated with turpen¬ tine^ and bearing the stamp of the artist. Upon the mount in the handwriting of Buhot is “ epreuve d’essai du 4 e etat (retouchee l er etat de publication, Felix Buhot).” The artist has indicated in sepia some additional reflections of the barge in the foreground. “ . . . his two classic masterpieces—‘ Westminster Palace ’ and ‘ Westminster Bridge.’ ” “ Here Buhot surpasses the mere picturesque and attains to grandeur of style. In the former, under the hazy light of an opaque and heavy sky, near the bank of the dappled waters of the broad and troubled stream, the Houses of Parliament stretch their long, heavy mass of stately blackened buildings, bristling with a multitude of turrets, steeples and watch-towers, the whole proudly dominated by the Victoria Tower and the Clock Tower. It is one of the surest in execution and completest of his works. It makes one think of Meryon; it is executed with the firmness of etching of an Israel Sylvestre who might have known Whistler or Seymour Haden .”—Leo nee BenMite. 8—La Place des Martyrs et la Taverne du Bagne Bourcard, No. 163. Proof of a beautiful tone, printed on paper soaked in tur¬ pentine and bearing the stamp of the artist. In the hand¬ writing of Felix Buhot, “ epreuve choisie parmi les pre¬ mieres epreuves d’Essai du 2 e etat. Felix Buhot.” “ Effet de nuit bien caract6rise .”—Gustave Bourcard. “ But of his Paris of to-day ‘ Place Pigalle,’ spangled with the gay Parisian sunshine, his ‘ Place Breda,’ with its curious effect of a snowy day, his ‘Taverne du Bagne,’ swarming with noisy life, his ‘Quays in Winter,’ shivering in a cold, penetrating rain, his ‘ Re¬ tour des Champs Elys6es ’ in an evening shower, and his inevitable Funeral Processions—what pictures can be more picturesque, more living, more spontaneous?”— L6once BenMite. CAMERON, D. Y. “The architectural work of Cameron, is for the most part, like Meryon’s, deliberate, closely planned engraving—a thing conceived with joy or passion, but wrought out with undeterred and untiring effort, if likewise with splendid utility. . . . in his mature la¬ bors a veritable Master .”—Frederick Wedmore, “ Cameron’s Etch¬ ings.” 9—Old Saumer Superb and early impression. Signed artist’s proof. CHAUVEL, THEOPHILE “ Chauvel est le veritable graveur de paysage; et il a eleve la gravure de paysage a la hauteur de cette chose sp6ciale qu’on appelle un estampe. Personne n’a grave mieux que lui Daubigny, Jules Dupre, Theodore Rousseau. Les planches d’apr&s ces maitres sont d’un rendu saisissant”—Henri Beraldi. 10—Solitude Beraidi, No. 94. Alter the painting by Daubigny. First state. Signed ar¬ tist s proof on vellum. In the opinion of many connois¬ seurs this is the most beautiful of reproductive landscape etchings. —The Banks of the Ivy-0 After the painting by W. B. Leader, painter and etcher. Signed by both CORMACK, M. 12—Nancy After the painting by George Morland. Signed artist’s proof on India paper. COUSINS, SAMUEL y Born in Exeter, 1801; died in London, May 7, 1887. A pupil of S. W. Reynolds. The last of the line of great mezzotint engravers. 13—The Honorable Miss Bingham y Whitman, No. 17. After the painting by Sir Joshua Reynolds. Signed artist’s proof on India paper. Lady Anne Bingham, youngest daughter of Sir Charles Bingham, first Earl of Lucan; and sister of Lavinia, Countess Spencer. Died unmarried in 1840. The painting by Sir Joshua Reynolds was exhibited at the Royal Academy in 1786. 14—Children of the Sea After the painting by Josef Israels. Remarque proof on vellum, signed by painter and etcher. DAUTREY, LUCIEN / Pupil of Courtry. 15—Springtime After the painting by P. Vayson. Remarque proof on vellum, signed by both painter and etcher. DEVILLE, MAURICE The Chariot Race After the painting by U. Checa. Remarque proof on Jap¬ anese paper, signed by both joainter and etcher. DICKSEE, FRANK 17—The Two Conquerors Photogravure. Signed artist’s proof on India paper. DICKSEE, HERBERT 18 —A Happy Mother Signed remarque proof on vellum. 19—Fire Worshippers Signed artist’s proof on vellum. 20—Nearing Home Signed artist’s proof on vellum. EARL, MAUD 21— Irish Members Photogravure. Proof on India paper. 22— Irish Members Photogravure. Proof on India paper. 23 — “ Two of a Trade ” and “ Rough and Ready ” Photogravures. Proofs on India paper. Two in one frame. One lot. FISHER, EDWARD Born in Ireland in 1730, was at first a hatter, but took to engraving, went to London, became a member of the incorporated Society of Artists in 1766, and died about 1785. “ Fisher must be allowed a high place for both breadth of treat¬ ment and delicacy of finish.” 24—Colley Cibber Chaloner Smith, No. 9. After the painting by J. B. Vanloo. Only state. Good im¬ pression, in excellent condition, with margins. Born in London, 1671, went on the stage and wrote several plays. The Non-juror, acted in 1717, created a sensation at the time and procured him the place of Poet Laureate in 1720. He died December 12, 1757. The lady at the left is probably a portrait of his daughter, Mrs. Charke. FLAMENG, LEOPOLD 25—Grolier at the House of Aldus From the painting by Fran£ois Flameng, owned by the Grolier Club of the city of New York. Remarque proof, signed by painter and etcher. The remarque is a fac¬ simile of the seal of the Grolier Club. GAUTIER, LUCIEN Born at Aix, in Provence, 1850. Has been especially suc¬ cessful in his rendering of the works of the great artists of the Barbizon School. s> >r 26 — Interior of a Sheepfold After the painting by Charles Jacque. Remarque proof on vellum, signed by both painter and etcher. a $> GRAVESANDE, CHARLES STORM VAN’S “ I find Gravesande the ideal painter-etcher, a maker of illusions rather than of lines, whose lines are so fused and lost in the per¬ fect whole that we see and feel what is done with never a thought of the means whereby it got itself done. It is a comfort to sit down before the work of such an artist as this.”— John William¬ son Palmer. 27 —Moulin au Bord du Gein, Pres Abcoude Rice, No. 184. The large plate. Signed artist’s proof on Japanese paper. This is usually accounted one of the artist’s masterpieces. r HADEN, SIR SEYMOUR President of the Royal Society of Painter-etchers. “ By general consent Seymour Haden ranks as the greatest of modern landscape etchers.” 28 — Kensington Gardens (The Smaller Plate) Drake, No. 2. Second state, before the words “ Kensington Gardens ” were erased. One of the artist’s most beautiful landscape plates. Signed artist’s proof on Japanese paper. 0 v y 29 —Egham Lock Drake, No. 15. Second state, the signature erased. Fulham Drake, No. 18. Second state, with the wooden bridge. Signed artist’s proof. On the Test Drake, No. 19. First state on Japanese paper. Very fine impression. From the Burritt collection. “ This plate and Drake, No. 20, A Water Meadow, were done on the same day, one at noon and the other very late in the evening. The Test (in Hampshire) is a famous trout stream.”— Seymour Haden. 32 —A Water Meadow Drake, No. 20. Signed artist’s proof. “ I like this plate—which is saying a great deal.”— S. II. “. . . a vivacious, happy, sympathetic transcript of a sudden rainstorm in the Hampshire lowlands, where poplars flourish and grass grows rank.”— Frederick Wedmore, “ Fine Prints,” p. 106. 33 —A Sunset in Ireland Drake, No. 44. Second state. Very fine impression, not too heavy in the shadows in the tree which overhangs the stream to the left. “ This plate and also Drake, No. 28, A By-Road in Tipperary , were done in the park of Viscount Hawarden, in the most beautiful part of Tipperary.”— Seymour Haden. “A Sunset in Ireland is Haden’s best work in dry-point and it certainly deserves its reputation of one of its author’s master¬ pieces. The quiet, peaceful sunset behind the dark masses of trees makes a plate of exquisite beauty. There are great ditferences in the various states, so that a choice among them is extremely diffi¬ cult. The rich, dark, late-evening effect of the second state is quite as fine in its way as the lighter and more delicate early- evening effect of the other earlier impressions.”— Atherton Curtis, “ The Etchings of Francis Seymour Hayden.” 34— Whistler's House, Old Chelsea Drake, No. 47. Signed artist’s proof. “ There is magnificent power of drawing in this etching, and bril¬ liant arrangement of lights and darks. . . . There is not a marine painter living who would have drawn these barges better.” — P. O. Hamerton. 35 —The Towing Path Drake, No. 67. Before the additional work in the sky and on the hills in the distance. One of the etcher’s favorite plates, as it certainly is one of his finest. 36 —Sunset on the Thames Drake, No. 83. First state. There are no shaded clouds directly above the sun. Signed artist’s proof. “ The effect of light is given with such magnificent force that the whole sky flames.”— P. G. Hamerton , “ Etching and Etchers,” p. 301. 37—A Lancashire River Harrington, No. 210. Signed artist’s proof. A well-known salmon pool on the River Ribble. An unusually fine impression. Numbered proof, bearing the stamp 76 in the lower left-hand corner. This plate has always been one of the artist’s favorites. HAIG, AXEL HERMAN tP The greatest living etcher of architectural subjects. 38— The Sailor's Guild, Lubeck Signed artist’s proof. 125 only. No other state. & 39—Entrance to the Mosque, Cairo Signed artist’s proof. Only state. HELLEU, PAUL “ Helleu’s etchings prove him to be in sympathy with the most alert, which is often the most dignified and distinguished of modern youthful beauty .”—Frederick Wedmore. 40—Consuelo, Duchess of Marlborough Original dry-point, printed in colors. Signed artist’s proof. JACQUE, CHARLES “ He will certainly be remembered as one of the master etchers of our time.”— P. G. Hamerton. “ Ce qui le distingue c’est la poesie penetrante de des paysages, c’est le charme intime de ses fermes, de ses carbarets, de ses paysannieries .”—Charles Blanc, “ Gazette de Beaux Arts,” 15 fevrier, 1861. 41—Interieur de Bergerie Guiffrey (Continuation of Catalogue of Dry-points), No. 60. Signed artist’s proof on Holland paper. The plate en¬ riched with roulette, burin and dry-point work. In the opinion of some authorities this is the finest state of the plate. JUDKIN, ELIZABETH Pupil of James Watson. 42—Mrs. Abington Chaloner Smith, No. 1. After the painting by Sir Joshua Reynolds. Second state. Fine impression, in good condition, with margins. Frances Barden was born in London in 1741. After pass- ing through many difficulties she appeared, with success, at Drury Lane in 1755, and soon afterwards married Mr. James Abington. She was an unrivalled favorite with the public up to her retirement from the stage at the close of the century. She died at Pall Mall, March 4, 1815. KGEPPING, CHARLES Born in Dresden, 1848. Came to Paris in order to study etching under Charles Waltner, whose technique he early mastered. His masterly etchings are among the very finest produced in the nineteenth century, and he is one of the few “ translator-etchers ” who have successfully handled plates of a large size. 43—Christ on Calvary After the painting by Munkacsy. Remarque proof on Japanese paper. Signed by painter and etcher. The re¬ marques are portraits of Munkacsy and Koepping. (Companion piece to Christ before Pilate, etched by Charles Waltner, see No. 99 of this catalogue.) LAGUILLERMIE, FREDERIC-AUGUSTE Born March 27, 1841. Pupil of Leopold Flameng. His fame rests secure upon his superb plates after Van Dyck, Titian and others. 44—Marie Louise de Tassis Alter the painting by Van Dyck. Signed artist’s proof on vellum. One of this etcher’s masterpieces. LATHROP, WILLIAM L. 45—Twilight, Hamlet in Finisterre After the painting by Jules Breton. Remarque proof on vellum. Signed by the etcher. LANCON, AUGUSTE Born in 1836. Died, 1885. In his own manner he has no rival as an etcher of animals. 46—Lion Drinking Remarque proof, signed, on Japanese paper. LEFORT, HENRI Born in Paris, August 31, 1852; pupil of Leopold Flameng. In 1888 he was elected president of the Societe des Aqua- fortistes Fra^ais, and has been twice reelected. 47—Benjamin Franklin at the Age of Seventy-three From the painting by Duplessis. Remarque proof on Jap¬ anese paper. The original painting is in the Metropolitan Museum of Art, New York. LEIGHTON, SIR FREDERICK, P.R.A. I D / 48—Bacchante Photogravure. Signed artist’s proof on India paper. MASSEE, P. A. 49—A Queen of Swords After the painting by W. Q. Orchardson. Remarque proof on Japanese paper. Signed by both painter and etcher. MEISSONIER, JEAN LOUIS ERNEST [Etchings by various artists after the paintings of] His paintings, usually on a small scale, are masterpieces. Their wonderful finish, marked character and peculiar in¬ dividuality have made his name famous in every part of the civilized world. 50— Piquet Etched by August Boulard. Remarque proof, on vellum, signed by painter and etcher. 51— The Etched by Achille Jacquet. Remarque proof, on vellum, signed by painter and etcher. The remarque is an original etching by Meissonier. 52— Post Horses Etched by Louis Monzies. Remarque proof, on vellum, signed by painter and etcher. The remarque is an original etching by Meissonier. MELLAN, CLAUDE Born at Abbeville, 1601. Died in Paris, 1688 . He adopted a novel and singular method of working, with single parallel lines, without any cross-strokes over them, the light and (SQ shade bein g rendered by variations in the thickness of the V /^ lines. 53 The Sudarium of Saint Veronica Engraved from his own design. This is the most celebrated of Mellan’s plates. It is engraved in a single spiral line, beginning at the tip of Christ’s nose. From the Burritt Collection. MILIUS, FELIX Born at Marseilles in 1848. Pupil, in painting, of Glevre, S ~ ar( d in etching of Hedouin. 54—An Embarrassing Choice After the painting by Roybet. Remarque proof, on vellum, signed by both painter and etcher. MILLER, JOHN D. 5—Surprise After the painting by George L. Seymour, dia paper, signed by painter and engraver. Proof on In- 9 PRATT, JOSEPH B. y 5 6 —The Misses Cartaret Hardy. After the painting by Sir Thomas Lawrence. Signed ar¬ tist’s proof, on India paper. r 57 —Mrs. Ticknell After the painting by George Romney. Signed artist’s proof, on India paper. RAEBURN, H. MACBETH Born in Helensburgh, Dumbartonshire, Scotland, Septem¬ ber 24, I860. His first exhibited etching was shown at the Royal Academy in 1887- His etchings after the paint¬ ings of contemporary artists are esteemed by connoisseurs amongst the best produced in our own day. 58 — Sir Henry M. Stanley After the painting by Van Angeli. Remarque proof, on vellum. The remarques are portraits of Parke, Jephson, Nelson, Stairs and Emin Pasha. The original painting is in the possession of the Queen of England. SADLER, W. DENDY [Etchings by various artists after paintings of] 5 9— A Bagman’s Toast Etched by W. Boucher. Remarque proof, on Japanese paper, signed by both painter and etcher. 60— Returning Thanks Etched by W. Boucher. Remarque proof, on Japanese paper, signed b}^ both painter and etcher. 6l—“ For He’s a Jolly Good Fellow ” Etched by W. Boucher. Remarque proof, on Japanese paper, signed by both painter and etcher. * X " 62—The End of the Skein % Etched by W. Boucher. Remarque proof, on Japanese paper, signed by both painter and etcher. 9 SO j$p : -Sweethearts Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. -For Weal or Woe Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. -Where the Widow Lives Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. His Favorite Bin Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. The Wrong Side of the Hedge Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. Uninvited Guests Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. Nearly Done Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. Toddy at the “ Cheshire Cheese ” Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. 71— “Who Is It?” Etched by W. Boucher. Remarque proof, on paper, signed by both painter and etcher. Japanese Japanese Japanese Japanese Japanese Japanese Japanese Japanese Japanese 72—From London to York Etched by James Dobie. Remarque proof, paper, signed by both painter and etcher. on Japanese 73— Christmas Time Etched by James Dobie. Remarque proof, paper, signed by both painter and etcher. 74— Long, Long Ago Etched by James Dobie. Remarque proof, paper, signed by both painter and etcher. 75— The Postman Etched by James Dobie. Remarque proof, paper, signed by both painter and etcher. on Japanese on Japanese on Japanese 76— The Morning Gossip Etched by H. Focillon. Artist’s proof, on vellum, signed both painter and etcher. 77— The Victim Etched by Gaujean. Artist’s proof, on Japanese paper, signed by both painter and etcher. 78— The Old and the Young Etched by Gaujean. Artist’s proof, on vellum, signed by both painter and etcher. 79 —First of September Etched by Leopold Lowenstam. Artist’s proof, on Jap¬ anese paper, signed by both painter and etcher. 80—The Hunting Morning Etched bj^ H. Macbeth-Raeburn. Remarque proof, Japanese paper, signed by both painter and etcher. on & $ 81—The Top of the Hill _ Etched by Arthur J. Turrell, Jr. Remarque proof, on Japanese paper, signed by both painter and etcher. .53 frLud. ASH - SPOONER, CHARLES A native of County Wexford. He acquired the art of en¬ graving in Dublin. In 1752 he went to London, probably invited by MacArdell, and there practised mezzotint en¬ graving up to the time of his death, December 5, 1767. —Maria, Countess of Coventry Chaloneu Smith, No. 9. Chaloner Smith describes only one state, namely that with the name of the engraver and with the publication line. This impression would seem to be a trial proof. In ex¬ cellent condition, with margins. Eldest daughter of John Gunning, Esq., County Roscom¬ mon, married March 5, 1752, to George William, sixth Earl of Coventry, died September 30, 1760. A celebrated beauty—one of the “ beautiful Miss Gunnings,” sister of Elizabeth, Duchess of Hamilton. 9 STRUTT, ALFRED W. 83—The Run of the Season Photogravure. Signed artist’s proof, on India paper. 1 h 84 —Any Port in a Storm I/O * Photogravure. Signed artist’s proof, on India paper. <$■ 85—Three Offers Photogravure. Signed artist’s proof, on India paper. TAD EM A, L. ALMA [Engravings and etchings by various artists after the paintings of] 86—The Vintage Festival Engraved by August Blanchard. Proof on India paper, signed by both painter and engraver. 87— The Vintage Festival Engraved by August Blanchard. Proof on India paper, signed by both painter and engraver. 88— The Parting Kiss Engraved by August Blanchard. Proof on India paper, signed by both painter and engraver. 89— The Picture Gallery Engraved by August Blanchard. Proof on India paper, signed by both painter and engraver. 90— Summer Engraved by August Blanchard. Proof on India paper, signed by both painter and engraver. 91— In the Rose Garden Etched by Leopold Lowenstam. Remarque proof, on Jap¬ anese paper, signed by both painter and etcher. 92— Under the Roof of Blue Indian Weather Photogravure. Etched by Leopold Lowenstam. Signed artist’s proof, on India paper. 93— Frigidarium Photogravure. Etched by Leopold Lowenstam. Signed artist’s proof, on Japanese paper. 94— Benediction Photogravure. Etched by Leopold Lowenstam. Signed artist’s proof, on India paper. 95— Love in Idleness Photogravure. Etched by Leopold Lowenstam. Signed artist’s proof, on Japanese paper. 96— Apodyterium Etched by Leopold Lowenstam. Remarque proof, on Jap¬ anese paper, signed by both painter and etcher. TISSOT, JACQUES JOSEPH Born at Nantes in 1836. Died at his home, near Paris, in 1892. His work comprises about eighty plates, many of them ranking among the most important original dry- points produced in the last quarter of the nineteenth cen- tury. 97—The Prodigal Son (Series of five, in two frames.) Title Page, The Depar¬ ture, In Foreign Climes, The Return, The Fatted Calf. Original dry-points. Signed artist’s proofs. Each proof also bears the stamp, in red, of the artist. To be sold as a set. VAN BLEECK, PETER Born in Flanders, came to England in 1723. Died July 20, 1764. He principally occupied himself with painting. His engravings are chiefly after his own pictures, and mostly without publishers’ names. His style is telling and effective. 98—Margaret Woffington as “ Phebe ” Chaloner Smith, No. 11. Engraved from his own painting in 1747. First state, be¬ fore the plate was re-worked and darkened. Fine impres¬ sion, in excellent condition, with margins. This charming woman was born in Dame Street, Dublin, in 1719- She first appeared on the stage there, afterwards in London, meeting with the greatest success, and admired by some of the leading men of the time. She left the stage in 1757, and died March 28, 1760. WALTNER, CHARLES “ L’un ties grands graveurs fran^ais. Et graveur absolument par- ticulier, dont le nom, marquant une etape dans la marche de son art, signifie l’extreme limite de la liberte dans les precedes d’execution .”—Henri Beraldi. 99—Christ before Pilate y After the painting by Munkacsy. Remarque proof, on Japanese paper, signed by painter and etcher. The re¬ marques are portraits of Munkacsy and of Waltner. (Companion piece to Christ on Calvary, etched by Charles Koepping, see No. 43 of this catalogue.) 100—The Gilder; Jan Domer After the painting by Rembrandt. Signed artist’s proof, on Japanese paper. There were 125 proofs only in this state. “ Autre piece tres capitale .”—Henri Beraldi. WHISTLER, JAMES A. McNEILL “ Whistler was the greatest etcher and the most accomplished litho¬ grapher who ever lived .’’—Joseph Pennell, “Whistler as an Etcher.” 101—La Vieille aux Loques ^ Wedmore, No. 14. Very fine impression, on India paper. One of the French set. This plate is one of the finest executed by Whistler at this early time and, in its way, is not surpassed by any later work. 102—Rotherhithe Wedmore, No. 60. Very fine impression, on Japanese paper. One of the Thames set. “ Every brick in the building on the right is carefully drawn in order to produce the desired effect of color. This plate is one of the strongest and most vigorous of the series.”— T. R. Way, “ The Art of J. McNeill Whistler,” p. 69. 103—The Forge Wedjuore, No. 63. S' Fine impression, on Japanese paper. One of the Thames set. This “ audacious dry-point ” was done in Brittany. It is a marvellous piece of chiaroscuro. ✓ \ 104—The Little Mast Wedmore, No. 151. Fine early impression. One of the Venice set. Take such etchings as the Little Mast, the Piazzetta, The Riva, San Giorgio, The Balcony, etc. In each the strokes are almost to be counted, yet how they assist the eye to complete the picture for itself.”— Hans W. Singer, “James McNeill Whistler,” p. 48. 105—The Little Lagoon Wedmore, No. 152. One of the Venice set. Very fine impression, but slightly foxed. “ 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 brilliantly colored atmosphere, yet he could give us just as much effect of space as he could in the silvery Nocturne.”— T. R. Way, “The Art of J. McNeill Whist¬ ler,” p. 73. 106—The Palaces Wedmore, No. 153. Superb and early impression, before the butterfly erased, with large margins. “ Superb draughtsmanship and very effective contrasts of and shade.” was light 107—The Piazzetta Wedmore, No. 155. Superb early proof, on old paper, with margins. One of the Venice set. (See note on The Little Mast, Wedmore, 151.) 108—The Beggars Wedmore, No. 159. Rich in effect. On old paper, with margins. One of the Venice set. “ And when one comes to think of it there are, as for instance in those dark alleyways of the Venetian Set, or the Kitchen of the French series, passages of luminous shadow which Rembrandt never approached in the Burgomaster Six or in any similar sub¬ ject .”—Joseph Pennell, “Whistler as an Etcher.” -The Mast y r ' j Wedmore, No. 160. rVV Fine and early i margins. One of the Venice set. ^ | V'^'TIO—Bead Stringers Fine and early impression, on Japanese paper, with large Wedmore, No. 164. »ne of the series of “ Twenty-six Etchings,” of which thirty impressions only were issued. WILLMANN, E. Ill—S pring After the painting by Ludwig Knaus. \ v UNKNOWN 112—The Old Librarian Proof on Japanese paper. & •jfo WATER COLORS ZOGBAUM, RUFUS FAIRCHILD The following water colors and drawings were purchased at the sale of Zogbaum’s original work, made at the Ameri- ^ can Art Association, in January, 1897. JO 113— The Quartermaster Original water color. Signed and dated 1896. 114 — The Colonel's Favorite S®, Original water color. Signed and dated 1892. WASH-DRAWINGS 115— In Full Cry Signed. 116— In at the Death Signed and dated 1892. 117— State Match at Creedmore Signed and dated 1895. 118— “ Hands to Bathe ” Signed and dated 1895. 119— Morning Quarters—The Lord's Prayer Signed and dated 1896. AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY, Auctioneer.