PART I* Engravings Etchings Drawings Paintings Fine Art Books EVENINGS OF MARCH 25th, 26th, 27th, 28th and 29th AFTERNOON OF MARCH 29th BROOKLYN AMERICAN ART GALLERIES MADISON SQUARE SOUTH NEW YORK PART I. Engravings Etchings Drawings Paintings Fine Art Books THE VALUABLE ART, LITERARY AND SCIENTIFIC PROPERTY NUMISMATICS AND CLASSICAL ANTIQUITIES LIBRARY OF THE UNIVWBEONGINOSTO THE ESTATE OF THE LATE PROFESSOR CHARLES E. WEST BROOKLYN TO BE DISPOSED OF AT ABSOLUTE PUBLIC SALE BY ORDER OF THE EXECUTORS ON MONDAY, MARCH 25TH, AND FOLLOWING DAYS AT 2.30 AND 7.30 O’CLOCK, P.M. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH Where the entire Collection will be on View Day and Evening from Thursday, March 21st, until date of Sale inclusive (Sunday excepted) THE SALE WILL BE CONDUCTED BY THOMAS E. KIRBY OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK 1901 Digitized by the Internet Archive in 2017 with funding from University of Illinois Urbana-Champaign Alternates https://archive.org/details/valuableartliter01amer INTRODUCTORY NOTE Between the anonymous Italian artists, engravers of nielli, and the pass- ing away of Eduard Mandel — “ the last of the great line engravers ” — lie four and a half centuries. In this period, relatively a brief one, thou- sands of artists produced hundreds of thousands of plates of all degrees of excellence, so that even the wealthiest and most enthusiastic collector cannot hope to cover the entire field, but must, perforce, set some limit to his collection, or it will become unwieldy through sheer force of num- bers, and is likely to lose in interest by its failure to fully represent any one period or process of the art. In the formation of his collection, the catalogue of which follows, the late Dr. West pursued an admirable plan. He seems, firstly, to have brought together representative works by the best engravers — thereby illustrating the history of the art from its infancy to its maturity, and then to its gradual decline — and, this accomplished, to have turned his atten- tion, with excellent results, to the acquisition of the choicer works of such artists as specially appealed to him. Among line engravers, Albert Durer, Hendrik Goltzius, Sir Robert Strange, William Sharp, Paolo Toschi, Raphael Morghen, and Eduard Mandel. Among etchers, Rembrandt (of course), Van Ostade, and other Dutch artists. With the exception of Gerard Edelinck, the great engravers of the period of Louis XIV. -Louis XV. — Nanteuil, Masson, Pierre Drevet, and Pierre Imbert Drevet — seem to have interested him to a lesser degree and only as pages in the history of the art. The bogie that haunts many collectors — the craving for “ the complete works ” of each artist — did not trouble him at all, and the collec- tion reflects, as all such collections should, the personal preferences of its maker. Possibly fine prints were more easily found forty years ago than is now the case ; certainly their cost was, in many instances, vastly less. At this late day it would be exceedingly difficult to duplicate at any price such impressions, in such condition, of engravings by Sir Robert Strange and Paolo Toschi as the late Dr. West succeeded in procuring — proofs selected by Toschi himself, and bearing his autographic annotations; Sir Robert Strange represented by an almost complete set of his works, all as originally issued, their margins still untrimmed. A glance at the catalogue itself will demonstrate better than words can do that both Diirer and Rembrandt are worthily represented, not only in respect of numbers, but, what is even more important, as regards choice of subjects and quality of impression. Such engravings as “ The Knight, Death, and the Devil,” “ Saint Hubert,” “ Saint Jerome in his Cell,” “ The Carrying Off of Amymone,” “ The Great Fortune,” and “ The Effects of Jealousy,” by Diirer; or “ Christ Healing the Sick,” “The Three Crosses,” the portraits of Uytenbogardus, Coppenol, and of Rembrandt himself, would give distinction to any collection, and when these prints are reinforced by several hundred others, in fine condition and equally representative of their respective engravers or etchers, the artistic worth of such a collection as this one is at once apparent. Among modern masters the first place has been accorded to the mag- nificent etchings of Sir Seymour Haden. In this case personal friendship was added to appreciation of the artist’s works, and the result has been a collection which, for its size, is as fine a one as any amateur need hope for. The famous set, “ Etudes a l’eau forte,” is here, complete, and bearing upon its flyleaf an autographic dedication by the artist to Dr. West. Here are “ Calais Pier,” “ Sunset in Ireland,” “Shere Mill Pond” — the first state — and many another masterpiece, all in fine impression, many with anno- tations in the handwriting of the etcher. Fortuny is represented by al- most his entire etched work, and if Whistler’s etchings are few in number, they are excellent in quality. Lithography does not appear to have interested Dr. West to any great extent, but the one series of lithographs owned by him — the mag- nificent Dresden Gallery set — is a collection in itself; an ample excuse for the absence of all other examples. Of especial interest to all admirers of William Blake and collectors of his work will be the sketches and water-colors by this original and highly imaginative artist. To many persons this collection will be familiar, since Dr. West lent it, some years ago, for exhibition at the Museum of Fine Arts in Boston, and at the gallery of Messrs. Frederick Keppel & Co., in New York. To such as saw it then no word need be said ; to others this opportunity of seeing and acquiring characteristic examples of Blake’s original work should be a welcome one. FitzRoy Carrington. VI INDEX ENGRAVINGS AND ETCHINGS BY THE OLDER MASTERS CATALOGUE Nos. i to 530 INCLUSIVE ETCHINGS BY MODERN MASTERS CATALOGUE Nos. 531 to 641 INCLUSIVE COLLECTIONS OF ETCHINGS, BY MODERN MASTERS, ISSUED AS SETS CATALOGUE Nos. 642 to 653 INCLUSIVE BOUND VOLUMES OF ENGRAVINGS AND ETCHINGS CATALOGUE Nos. 654 to 660 INCLUSIVE PHOTOGRAPHS CATALOGUE Nos. 661 to 695 INCLUSIVE MISCELLANEOUS ENGRAVINGS, ETCHINGS, AND LITHOGRAPHS CATALOGUE Nos. 696 to 766 INCLUSIVE ORIGINAL DRAWINGS BY WILLIAM BLAKE CATALOGUE Nos. 767 to 806 INCLUSIVE ORIGINAL DRAWINGS BY VARIOUS ARTISTS CATALOGUE Nos. 807 to 824 INCLUSIVE FRAMED PICTURES CATALOGUE Nos. 825 to 907 INCLUSIVE OIL PAINTINGS CATALOGUE Nos. 908 to 924 INCLUSIVE / FINE ART BOOKS CATALOGUE Nos. 925 to 1390 INCLUSIVE viii 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 immediately 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 Risk upon the conclusion of the Sale , and the remainder of the Purchase-money to be abso- lutely paid, or otherwise settled for to the satisfaction of the Auctioneer, on or before delivery ; in default of which the undersigned will not hold themselves responsible if the Lots be lost, stolen, damaged, or destroyed, but they will be left at the sole risk of the Purchaser. 5. The undersigned will not hold themselves responsible for the correctness of the description , genuineness , or authenticity of, or any fault or defect in, any Lot j and make no Warranty whatever. 6. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can, on any account, be removed during the Sale. 7. Upon failure to comply with the above conditions, the money deposited in part payment shall be forfeited ; all Lots uncleared within 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 Condition is without prejudice to the right of the Auctioneer to enforce the contract made at this Sale, without such re-sale, if he thinks fit. THE AMERICAN ART ASSOCIATION, Managers. Thomas E. Kirby, A uctioneer. SPECIAL NOTICE. This being an Executors’ sale to close the estate, a cash deposit will be required from every purchaser without exception, and purchases must be settled for previous to delivery. Intending purchasers wishing to avoid the trouble and confusion of making a deposit during the sale can make arrangements previous to day of sale, with the undersigned, at their office, 6 East Twenty- third Street. AMERICAN ART ASSOCIATION, Managers . Thomas E. Kirby, Auctioneer. ENGRAVINGS, ETCHINGS, DRAWINGS, PHOTOGRAPHS AND OTHER PRINTS CATALOGUE (Nos. i to 892 inclusive) COMPILED BY FITZROY CARRINGTON OF THE FIRM OF FREDERICK KEPPEL & CO. . ; ' ' : ' ■■ ■ ' : ■ I ' ■ ■ , - . ' r ) / CATALOGUE FIRST EVENING’S SALE Monday, March 25 th AT THE AMERICAN ART GALLERIES BEGINNING AT 7.30 O’CLOCK ENGRAVINGS AND ETCHINGS BY THE OLDER MASTERS NOTE — The items marked with an asterisk were purchased some thirty years ago by the late Professor West from the collection of Sir Edmond Temple, London. ALDEGREVER, HEINRICH Born at Paderborn in 1502; died at Soest in 1562. A pupil of Albert Diirer. 1 — Portrait of Aldegrever at the Age of Thirty-five Bartsch, No. 189. Very fine impression, in perfect condition. From the Mary T Morgan Collection. Rare. ANDERLONI, FAUSTINO Born at St. Eufemia, near Brescia, in 1766; died in 1847. * 2 — The Assumption of the Virgin After Guido Reni. This plate was partly engraved by Garavaglia, and was finished by Anderloni. Very fine impression, in perfect condition, and with full margins. 1 ANDREWS, J. Portrait of John Quincy Adams (After G. P. A. Healy) Engraved in 1848. Fine impression. Full margins. 3 — ANONYMOUS 4 — Niello The original plate and an impression printed from it. The earliest prints taken from engraved plates were nothing more than experi- mental impressions printed by goldsmiths before they filled the incised lines of their decorative designs (on gold or silver) with “ niello,” or black enamel, which was after- wards allowed to harden. In the present instance these lines have not been filled, and the plate is as the engraver left it. AQUILA, FRANCESCO Born at Palermo in 1676. He worked at Rome, about 1700, in the style of Santi Bartoli. 5 — Disputa di S. Sacramento (After Raphael) AUDRAN, BENOIT, THE ELDER Born at Lyons in 1661; died in 1721. A pupil of his uncle, Gerard Audran. 6 — Portrait of Fenelon (After Joseph Vivien) Le Blanc, No. 258. Second state, with the address of Audran. AUDRAN, GERARD Born at Lyons on August 2, 1640. A pupil 6f his father, Claude, and of his uncle, Charles Audran. He also studied under Le Brun, and in Italy under Carlo Maratti. In 1681 he was called to Paris as engraver to Louis XIV., and died in Paris in 1703.* “ Gerard Audran was one of the most skilful draughtsmen of the French School, and his works are characterized by good taste, sentiment, and originality, as well as by great technical skill and remarkable effects of chiaroscuro. In his own time he 2 acquired a reputation greater than that of either Nanteuil or Edelinck.” — “ The Masters and Masterpieces of Engraving.” 7 — Decorations in the Gallery at Versailles (After Charles Le Brun) Nineteen plates, engraved by Audran in conjunction with Desplaces, Dupuis, and others. A fine series, in excellent .condition. Full margins. Nineteen pieces. One lot. AUDRAN, JEAN Born at Lyons in 1667; died at Paris in 1756. A pupil of his uncle, Gerard Audran. 8 — Portrait of Antoine Coyzevox (After Hyacinthe Rigaud) Engraved by Audran for his admission into the Academy in 1708. BALECHOU, JEAN JOSEPH Born at Arles in 1719; died at Avignon in 1764. A pupil of Lepicie of Paris. 9 — ■ Portrait of Don Philip of Spain (After Vialj) A fine impression in perfect condition. ( ' ' '' xoutra BARTOLOZZI, FRANCESCO Born at Florence in 1727; died at Lisbon in 1815. In 1764 he was persuaded by Dalton, Librarian to King George III., to come to England. Soon after his arrival he was appointed Engraver to the King, and upon the foundation of the Royal Academy in 1769 Bartolozzi was nominated as one of the original members. Though he did not originate the stipple manner of engraving, he carried the technical fineness of the art to a perfection surpassing any subsequent work. 10 — Cleopatra Persuading Meleager to Defend his Country (After An- gelica Kauffman) Fine early impression, the title in open traced letters. In perfect condition. Printed in red. Large margins. * 11 — The Dowager Queen of Edward IV. Parting with the Duke of York to the Two Archbishops, by Order of Richard III. (1483) (After Cipriani) Proof before letters, with the names of painter and engraver lightly traced. In perfect condition. Printed in brown. Large margins. 3 12 — Venus with Two Sea Nymphs (After Cipriani) Venus with a Sea Nymph and Two Cupids (After Cipriani) Proofs before all letters. Fine. Two pieces. One lot. * 13 — Psyche Going to Bathe (After Cipriani) Psyche Going to Dress (After Cipriani) A pair. Fine impressions, in perfect condition. Full margins. One printed in red, one printed in brown. Two pieces. One lot. 14 — A Painter Persuading Beauty to Disrobe (After Angelica Kauffman) Proof before letters, with the names of painter and engraver lightly traced. In perfect condition. Printed in brown. Large margins. * 15 — Clytie (After Annibal Caracci) Fine original impression. Has been slightly folded. This fine line engraving is one of Bartolozzi’s best plates, and would entitle him to a high place among the great line engravers had he executed no other plate than this. * 16 — Henry and Emma (After Opie) Damon and Musidora (After Opie) A pair. In excellent condition. Full margins. 17 — Merit Vanity Hope Three pieces after Bartolozzi’s own designs. Also Love Cares’d (After Cipriani) Printed in red. Four pieces. One lot. 18 — King Henry II. and Fair Rosamond Jane Shore Introduced to King Edward IV. A pair. After Cipriani. In excellent condition. Printed in red. Two pieces. One lot. 4 ig — Lady Jane Gray Giving her Table Book to Sir John Gage Queen Margaret and the Robber A pair. After Angelica Kauffman. In excellent condition. Printed in brown. Two pieces. One lot. 20 — Venus with the Armor of Mars and a Companion Piece A pair. In excellent condition. Printed in red. Two pieces. One lot. 21 — Departure of Mary, Queen of Scots, to France when a Child (After Westall) Flight of Mary, Queen of Scots, to England (After Westall) A pair. In excellent condition. Printed in red. Two pieces. One lot. 22 — Rural Innocence (After Harding) And three other pieces. One lot. * 23 — Cupids with a Wreath (After ‘Cipriani) and Expectation By Gardiner. After Bunbury. Printed in brown. Two pieces. One lot. 24 — Cupids Playing (After Cipriani) * Cupids Playing (After Guercino) Agosto (After Zocchi) Three pieces. One lot. 25 — Music Painting Two pieces. Engraved by Marcuard. After Cipriani. In excellent condition. Printed in red. One lot. 26 — Affection and Innocence Engraved by Tomkins. After Bartolozzi. In excellent condition. Printed in brown. 5 ' 27 — Abelard and Eloisa Surprised by Fulbert The Parting of Abelard and Eloisa A pair. Engraved by Scorodomoff, after Angelica Kauffman. In excellent con- dition. Printed in red. T\yo pieces. One lot. 28 — Cupid Disarm’d by the Graces The Triumph of Love A pair. Engraved by Scorodomoff, after Angelica Kauffman. Open letter proofs, in excellent condition. Full margins. Two pieces. One lot. 29 — Cupid’s Revenge Engraved by Scorodomoff, after Angelica Kauffman. In excellent condition. Full margins. * 30 — Aglaia Bound by Cupid (After Angelica Kauffman) Open letter proof, in fine condition. Full margins. 31 — Narcissus Jupiter and Leda Engraved in line, after the paintings of F. Viera. The landscapes were engraved by B. Comte. Two pieces. One lot. BAZIN, NICOLAS Born at Troyes, in Champagne, about 1636. A pupil of Claude Mellan. He worked in Paris, and his plates bear dates from 1681 to 1707. 32 — Ecce Homo (After Charles Le Brun) The Virgin Fine impressions in perfect condition. Also The Vision of Ezekiel (After Raphael, by A. Morghen) The Magdalen (After Correggio, by Guerin) The Madonna of the Chair (After Raphael, by Ulmer) And two others. Seven pieces. One lot. 6 BEAUVARLET, JACQUES FERMIN Born at Abbeville in 1731; died at Paris in 1797. A pupil of Charles Dupuis and of Laurent Cars. * 33 — Telemachus in the Isle of Calypso (After J. Raoux) Andresen, No. 9. First proof state, before all letters. Very fine impression, in perfect condition. Full margins. Rare. Also La Frontiere (After Vanasse) Two pieces. One lot. BETTELINI, PIETRO Born at Lugano in 1763; died at Rome in 1828. A pupil of Gandolfi and Bartolozzi. 34 — Saint Simon Saint Jacob Saint Paul Saint Peter After the Statues by Thorwaldsen. Four pieces, the last two engraved by Pietro Folo. All fine impressions. One lot. BISI, MICHELE Born at Genoa in 1788. A pupil of Rosaspina and of Longhi. 35 — Venus Embracing Cupid (After Appiani) A most beautiful proof before all letters, printed on India paper. In the lower margin is tvritten, seemingly by the engraver: “ Exemplaire avec une feuille blanc dans les feuillages,” and at the bottom, in the same handwriting, “ Pour Mons. Richard Sparling Berry Esqe. cet exemplaire en papier de la Chine,” etc., etc. It is evidently a presentation proof selected by Bisi as a gift for Mr. Berry. Of the finest quality. Full margins. 7 BOISSIEU, JEAN JACQUES DE Born at Lyons in 1736; died there in 1810. 36 — A Landscape, with Cattle (After Ruysdael) 37 — The Tree-fellers (After his own design) 38 — The Portrait (After his own design) BOLSWERT, SCHELTE A. Born at Bolswert about 1586; died at Antwerp in 1659. Brother of Boetius Adam a Bolswert, with whom he settled in Antwerp, where he became one of the most cele- brated engravers of his country. His finest works are after the paintings of Rubens and Van Dyck. 39 — The Nativity (After Rubens) Basan, No. 7. Smith. Cat. rais. No. 934. Fine impression, in perfect condition. With margin. Without the address of Van den Enden or Gil. Hendricx. BOLTEN, ROLANDE DE 40 — The Descent from the Cross (After Tintoretto) Engraved in 1604. In perfect condition. BONASONE, GIULIO Born at Bologna about 1500; died about 1580. A pupil of Marc Antonio Raimondi. His plates are interesting from their directness of purpose. When he engraved from the works of other artists, it was usually from their drawings and not from their paintings that he worked. 41 — The Virgin and Child in the Clouds ; Saint John the Baptist and Saint Jerome in the Foreground (After Parmigiano) Bartsch, No. 62. Good impression, in excellent condition. On the back is the autograph “ P. Mariette ” and the date “ 1698.” The name of Mariette written thus on the back, or on the face of a print, is the highest endorsement as to its quality. 8 BOTH, JAN Born at Utrecht in 1610; died there in 1650. A pupil of his father and of A Bloemaert. 42 — The Bridge Has been pasted down.. BOYDELL, JOHN Born at Dorington in 1719; died at London in 1804. Eminent as an engraver but still more so as a publisher. * 43 — ■ The Exposition of Cyrus (After Castiglione) Engraved in 1765. Fine impression. Full margin. BROEN, WILHELM DE 44 — The Conversion of Saul (After Rubens) Fine impression, in perfect condition. BROMLEY, WILLIAM Born at Carisbrook, in the Isle of Wight, in 1769. He was elected an associate engraver of the Royal Academy in 1819, and died in 1842. * 45 — Boy and Tablet (After Leonardo da Vinci) Open letter proof. Full margins. BROWN, G. L. 46 — The Waterfall And three other subjects. Four pieces. Proofs before letters. 47 — The Stone Bridge And three other subjects. Four pieces. Proofs before letters. 9 BROWNE, JOHN Born at Oxford in 1719; died in London in 1790. * 48 — Going to Market (After Rubens) Very fine proof, with the names of the artists and with the publication line lightly traced with the needle. Before letters. Brilliant impression. With full margins. Fine and rare. * 49 — Adonis Carried Off by Venus Diana Received by Venus After Swanevelt. Open letter proofs. Very fine impressions, in perfect condition. With full margins. Two pieces. BURKE, THOMAS Born at Dublin in 1749; died in London in 1815. He was a pupil of Dixon, and engraved chiefly after the works of Cipriani and Angelica Kauffman. His stipple engravings are even more beautiful, in some instances, than those of his contemporary, Bartolozzi. 50 — The Graces Decorating a Statue with Garlands (After Angelica Kauffman) Very fine impression, in perfect condition. Full margins. Printed in red. One of Burke’s most beautiful plates. BURNET, JOHN Born at Edinburgh in 1784. In 1806 he went to London, and shortly after com- menced the series of engravings, after the paintings by Wilkie, which have rendered him famous. He died in 1868. 51 — The Reading of a Will (After David Wilkie) Open letter proof. Fine. The original painting is in the Gallery of Modern Painters in Munich. The engraving is one of Burnet’s best plates. 52 — The Blind Fiddler (After David Wilkie) Fine original impression, in perfect condition. 10 53 — The Dancing Dolls The Valentine Engraved by Burnet after his own paintings. Open letter proofs. Lower margins slightly trimmed. Mounted. Two pieces. 54 — The Errand Boy Etched by Raimbach, after David Wilkie. In Possession Engraved by Benjamin Gibbon, after Edwin Landseer. Open letter proof and proof before letters, respectively. Fine impressions. Two pieces. BURT, CHARLES Born in Scotland in 1822. Worked in Brooklyn for many years, and died there in 1892. 55 — Portrait of Henry Wadsworth Longfellow Engraved by Burt from his own design. Dedication proof. In the autograph of the engraver: “ Dr. Chas. E. West with comps, of the Engraver Chas. Burt.” Very fine proof on India paper. The best engraved portrait of Longfellow. CALAMATTA, LUIGI Born at Civita Vecchia in 1802. In 1822 he went to Paris, and became a follower of Ingres. He died at Milan in 1869. His engravings are noticeable for firmness of design, combined with delicacy and softness of treatment. 56 — Francesca da Rimini (After Ary Scheffer) Open letter proof. Full margins. Engraved in 1843. Small hole in upper margin. CALDWALL, JAMES Born at London in 1739; died in 1780. He was a pupil of Sherwin. His work is remarkable for its brilliant technique. 57 — Mrs. Siddons and Her Son in the Tragedy of Isabella (After William Hamilton) Open letter proof. Fine. Engraved in 1785. 58 — Mrs. Siddons in the Tragedy of the Grecian Daughter (After William Hamilton) Engraved in 1789. 11 CALLOT, JACQUES Born at Nancy in 1592; died there in 1635. A pupil of Canta-Gallina, Thomassin ; and Parigi. “ When he chose to use the point like a true etcher he could do so very effectively. . . . He drew buildings with a sense of the picturesque in architecture very rare ic his own age.” — P. G. Hamerton. 59 — Saint Nicholas Preaching in the Woods Good impression, in excellent condition. No margins. 60 — Boar Hunting The Return from Hunting Two pieces. One lot. CAMPANELLA, ANGELO Born at Rome in 1748; died in 1815. A pupil of Volpato. 61 — Vanity and Modesty (After Leonardo da Vinci) Fine, original impression. With full margins. CARS, LAURENT Born at Lyons in 1702; died at Paris in 1771. Son and pupil of Jean Francois Cars. 62 — Escorte d’Equipages (After Watteau) also The Widow Engraved by Lepicie, after Coypel. Madonna and Child, with St. John (After Rubens) Three pieces. One lot. CASTIGLIONE, GIOVANNI BENEDETTO Born at Genoa in 1616; died at Mantua in 1670. When Van Dyck was in Genoa Castiglione studied under that master. Later, in the course of his travels, he visited Rome, Naples, Florence, Parma, Venice, and Mantua, and in each city studied the works of the great painters. “ Les estampes de Castiglione ont ete toujours tres recherchees. On y admire 12 l’effet brillant du clair-obscur qui rappelle les beaux ouvrages de Rembrand; elles sont gravees d’une pointe facile, pittoresque et conduite avec gout et beaucoup d’esprit.” — Bartsch, vol. xxi., p. 9. 63 — Les Petites Tetes d’Hommes Coeffees a TOrientale The set of sixteen plates. Bartsch, Nos. 32-47. Good impressions, in excellent condition. 64 — Tete d’Homme Coeffee a l’Orientale Bartsch, No. 48. One of a set of six prints of similar subjects. Has been mended in the upper right hand corner. Also Man with a Fur Cap Trimmed at top. Two pieces. CESIO, CARLO Born at Androdoco in 1625; died in 1686. His plates are etched, and finished off with the graver in a free and masterly style. 65 — Lanfranco’s Paintings on the Cupola of the Church of S. Andrea della Valle, in Rome Eight plates. Issued in 1691. Paper wrappers. One lot. CHALON, CHRISTINA, AND HER TWO BROTHERS Christina Chalon was born in Amsterdam in 1748. Died in Leyden in 1808. She was a pupil, in painting, of Sara Troost and Ploos van Amstel, but devoted herself to etching rather than to painting. 66 — The Complete Works of the Three Chalons One hundred and forty-seven pieces. Mounted on cardboard and arranged in three portfolios. Half morocco. This collection was made by the artists themselves, and may be considered as being unique. Many of these etchings are from the collection of Sir Charles Price, the London banker. A most interesting lot. To be sold as a collection. 13 CLAUDE GELLEE DE LORRAINE Born at Chamagne, near Charmes, in 1600; died at Rome in 1682. When young he removed to Rome, but in the spring of 1625 he left that city and started upon his travels, not returning again to Rome until 1627. For the next ten years he seems to have devoted himself to art, and we hear little of him until he attracted the attention of Cardinal Bentivoglio, who introduced him to Pope Urban VIII. From this time until his death his position was assured and his life uneventful. “ His superiority as an etcher is chiefly a technical superiority; he could lay a shade more delicately, and with more perfect gradation, than any other etcher of landscape; he could reach rare effects of transparency, and there is ineffable tenderness in his handling.” — P. G. Hamerton. 67 — La Fuite en Egypte Robert-Dumesnil, No. 1. Lower margin trimmed, otherwise in excellent condition. 68 — L’ Apparition Robert-Dumesnil, No. 2. Lower margin trimmed, otherwise in excellent condition. 69 — LaTempete 0 Robert-Dumesnil, No. 5. Lower margin trimmed. 70 — Le Naufrage Robert-Dumesnil, No. 7. 71 — Scfene de Brigands Robert-Dumesnil, No. 12. Lower left hand corner slightly torn. “ The point of interest here is the tender quality of work in the distance and sky.” — P. G. Hamerton. 72— Le Pont de Bois Robert-Dumesnil, No. 14. Lower margin trimmed. In excellent condition other- wise. 73 — 74 — Le Patre et la Berg&re Robert-Dumesnil, No. 25. In excellent condition. Le Patre et la Bergere Also in excellent condition 75 — Les Quatre Chfevres Robert-Dumesnil, No. 27. Lower margin trimmed. In excellent condition otherwise. 14 76 - Amand-Durand Reproduction of Le Bouvier (Claude) Robert-Dumesnil, No. 8. Also Le Christ de Caprarole (Caracci) Bartsch, No. 4. L’Homme Monte sur l’Ane (Berghem) Bartsch, No. 5. Three pieces. One lot. COLLYER, JOSEPH Born in London 1748; died in 1827. He was elected an Associate Member of the Royal Academy in 1786, and afterwards became portrait engraver to Queen Charlotte. 77 — Dutch Pastime (After David Teniers) Open letter proof. Very fine impression, in perfect condition. CROUTELLE, LOUIS Born in Paris in 1765. A pupil of Delaunay. Worked at Paris at the commence- ment of the nineteenth century, and died there in 1829. 78 — The Six Hours of the Day and the Six Hours of the Night “ Raphael’s Hours.” Engraved by Croutelle in conjunction with Bourgois, La- vallee, Mariage, and others. Also Duplicate of the Fifth Hour of the Day also A Portrait of Raphael as a Young Man (Mezzotint) Fourteen pieces in all. One lot. DAULLE, JEAN Born at Abbeville in 1703; died in Paris in 1763. 79 — Hyacinthe Rigaud Painting the Portrait of his Wife (After Rigaud) Engraved by Daulle, in 1742, for admission into the Academy. One of his finest plates. 80 — Portrait of Pierre Mariette (The famous collector of prints) First state (of four). A superb original impression, before all letters. In perfect condition. Rare of such quality. 15 DELAUNAY, NICOLAS Born at Paris in 1739; died there in 1792. A pupil of Lempereur. 81 — Marche de Sil&ne (After Rubens) Fine original impression. 82 — Le Bonheur du Menage (After Le Prince) La Bonne Mere (After Fragonard) Two pieces. “ Le Bonheur du Menage ” an especially good impression. DENON, BARON DOMINIQUE VIVANT Born at Chalons on the Saone in 1747. Died in Paris in 1825. He was Director- General of the Museums under Napoleon I. 83 — The Bull (After Paul Potter) 84 — The Nativity A very fine and rich effect has been obtained by the judicious addition of roulette work in the shadows. DESNOYERS, LOUIS AUGUSTIN BOUCHER Born at Paris in 1779; died there in 1857. A pupil of Alexandre Tardieu. “ Desnoyers is an engraver of the first order; no other has rendered the works of Raphael so well as he.” — “ The Golden Age of Engraving.” 85 — La Belle Jardiniere de Florence (After Raphael) Passavant, III., p. 176. Open letter proof. Beautiful impression, in perfect con- dition. With full margins. Rare. 86 — La Vierge aux Rochers (After Leonardo da Vinci) A good impression. With margin. One of Desnoyers’ most beautiful engravings. DICKINSON, WILLIAM Born at London in 1746; died in Paris in 1823. 87 — Mrs. Yates in the Character of Medea (After Pine) Engraved in mezzotint in 1771. A fine impression. Rebacked, and with margin extended by inlaying. The engraved surface in excellent condition. Rare. 16 DIETRICH, CHRISTIAN WILHELM ERNST Born at Weimar in 1712; died at Dresden in 1774. In 1729 he was appointed court painter by Augustus the Strong, Elector of Saxony. In 1743 the Elector sent him to Italy, where, in Venice and Rome, he studied the Dutch and Flemish masters, above all Rembrandt, Ostade, and Poelenburg. “ Dietrich was exceedingly clever, manually, and very various in manner, but he was remarkable only as an unusually apt imitator of other men’s work. His talent, in this respect, was nearly equal to the wonderful gift of our contemporary Flameng.” — P. G. Hamerton. 88 — Oeuvre de C. G. E. Dietrich, Peintre de S. A. Electorale de Saxe, etc. 82 Planches imprimees sur 35 feuilles. A Nuremburg, chez. J. J. Favenholz The complete set of 82 etchings. The sheets have been divided and each etching mounted separately. All are in excellent condition. 89 — The Showman Has been trimmed close to the etched surface and pasted down. 90 — The Adoration of the Shepherds Has been pasted down. DOO, GEORGE T. 91 — Portrait of Cuvier (After Pickersgill) Engraved in 1841. Good original impression. With full margins. 92 — “ Ecce Homo ” (After Correggio) Open letter proof. With full margins. Fine. DREVET, PIERRE Born at Lyons in 1664; died at Paris in 1739. A pupil of Gerard Audran. 93 — Louis XV. Led to the Temple of Fame by Minerva (After Coypel) A good impression, but slightly trimmed at the bottom margin. 2 17 DREVET, PIERRE IMBERT Born at Paris, June 22, 1697. Son and pupil of Pierre Drevet. Distinguished him- self as an engraver at an early age. In 1724 he became a member of the Academy, and in 1729 was appointed Engraver to the King. Died at Paris, April 27, 1739. “ As Edelinck passed from the scene, the family of Drevet appeared, especially the son, Pierre Imbert Drevet, who developed a rare excellence, improving even upon the technics of his predecessor and gilding his refined gold. He manifested a singular skill in rendering different substances by the effect of light, and at the same time gave to flesh a softness and transparency which remain unsurpassed.” — “ The Best Por- traits in Engraving.” 94 — Portrait of Robert de Cotte (After Rigaud) Second state, with the word “ architecte.” 95 — Portrait of Adrienne Le Couvreur as Cornelia (After Coypel) Second state, with the correction to “ module” One of the finest of Drevet’s en- gravings. Mounted. DUPIN (FILS) 96— Venus et Paris sur le Mont Ida (After Dietrich) DURAND, ASHER B. Painter and engraver. Born at South Orange, New Jersey, in 1796. One of the best line engravers America has produced. 97 — Portrait of John Quincy Adams (After Sully) Engraved in 1826. Fine original impression, in perfect condition. Full margins. * 98 — Musidora Engraved by Durand after his own painting. This and the “ Ariadne ” are ac- counted Durand’s finest plates, and are among the best engravings ever produced in America. 99 — Ariadne (After Vanderlyn) Engraved in 1835. Fine original impression, in perfect condition. Full margins. Rare of such quality. 18 DURER, ALBERT Born at Nuremberg May 20, 1471; died there April 18, 1528. “ Diirer found the art of engraving in its infancy, and carried the technical fineness of it to a perfection that has never been surpassed.” — “ The Golden Age of Engraving.” 100 — The Sudarium Displayed by One Angel Bartsch, No. 26. Heller, No. 466. Retberg, No. 223. Etched upon an iron plate. A good impression before the rust marks in the upper portion of the plate. 101 — The Virgin Nursing the Infant Jesus Bartsch, No. 36. Heller, No. 576. Retberg, No. 232. A beautiful and brilliant impression, in perfect condition, but slightly trimmed. 102 — The Virgin and Child with the Monkey Bartsch, No. 42. Heller, No. 628. Retberg, No. 88. Late impression. 103 — Saint Eustace (or Saint Hubert) Bartsch, No. 57. Heller, No. 727. Retberg, No. 127. An original impression. Has been mended at top and side and pasted down on a sheet of stout and more modern paper. This is the largest of Durer’s engraved plates, and is, also, one of the finest and rarest. 104 — Saint Jerome in His Cell Bartsch, No. 60. Heller, No. 756. Retberg, No. 208. A very fine original im- pression, in perfect condition. With margin. One of the most esteemed of Durer’s engravings. An impression of this quality and in this condition is exceedingly rare. 105 — The Carrying Off of Amymone Bartsch, No. 71. Heller, No. 801. Retberg, No. 125. A most brilliant original impression in perfect condition. With large margins. From the Mary J. Morgan Collection. 106 — The Effects of Jealousy (or Hercules) Bartsch, No. 73. Heller, No. 815. Retberg, No. 126. An excellent impression, in perfect condition. In the foreground to the right an interesting effect is produced by some of the lines printing double, owing, probably, to the shaking of the roller as the print passed beneath it in printing. 107 — Nemesis (or The Great Fortune) Bartsch, No. 77. Heller, No. 839. Retberg, No. 124. A very clear impression, the upper portion specially so. Has been mended along the upper right hand side. The village in the lower portion of the print is thought by some writers to be Eytas, in Upper Hungary, from whence the Diirer family originally came. iQ io8 — The Lady on Horseback and Her Squire Bartsch, No. 82. Heller, No. 991. Retberg, No. 20. A most brilliant and beautiful impression, in perfect condition. From the Mary J. Morgan Collection. 109 — The Little Horse Bartsch, No. 96. Heller, No. 1,000. Retberg, No. 85. Fine original impression, in perfect condition. With margin. no — The Knight, Death, and the Devil Bartsch, No. 98. Heller, No. 1,013. Retberg, No. 203. A good and unusually harmonious impression. Slightly repaired in the two lower corners. Of this print it has been said that, together with Durer’s two other world-famous masterpieces — “Saint Jerome in his Cell” and “Melancholy” — it contains “the philosophy of a lifetime, and is more eloquent than a thousand volumes of printed knowledge.” It is one of the rarest of Durer’s engravings, and is exceedingly hard to find in good impression and condition. hi — La Madonna della Bethlehem Not described by Bartsch. From the Mary J. Morgan Collection. 1 12 — The Smaller Passion — On Wood Bartsch, Nos. 16-52. Heller, Nos. 1,142, etc. Retberg, Nos. 129-165. A complete set, including the title page, “ The Man of Sorrows, Seated,” which is so frequently missing and which is so rare. Thirty-seven pieces. One lot. 1 13 — Christ Crucified Bartsch, No. 11. Heller, No. 1129. Retberg, No. 181. An engraved copy of Durer’s woodcut of the same subject. Two impressions: one on yellowish paper and one on a good, old, tinted paper. One lot. 1 14 — Portrait of Albert Diirer Woodcut dated 1527. Border line worn in places. Worm holes in the block show- ing in face and hair. 1 15 — Virgin on a Crescent, with Crown of Stars and a Sceptre Counterfeit of Durer’s engraving. Bartsch, No. 32. Heller, No. 526. Retberg, No. 221. • Also Madonna and Child Seated by a Fir-tree Two pieces. One lot. 20 n6 — Eleven Photographs by Braun & Co. of engravings by Albert Diirer, and one of a drawing of an old, bearded man with his hand to his head. The engravings reproduced are: Adam and Eve Bartsch, No. i. The Nativity Bartsch, No. 2. The Virgin Seated, Caressing the Infant Jesus Bartsch, No. 35. The Virgin, with the Child in Swaddling Clothes Bartsch, No. 38. The Virgin and Child, with the Monkey Bartsch, No. 42. Saint Hubert Bartsch, No. 5 7. Melancholia Bartsch, No. 74. The Little Courier Bartsch, No. 80. The Hostess and the Cook Bartsch, No. 84. Three Peasants in Conversation Bartsch, No. 86. The Knight, Death, and the J)evil Bartsch, No. 98. Twelve photographs in all. One lot. 1 17 — Six Photographs of engravings, as follows: Adam and Eve Bartsch, No. 1. The Nativity Bartsch, No. 2. The Sudarium Displayed by Two Angels Bartsch, No. 25. 21 Saint Anthony Bartsch, No. 58. Melancholia Bartsch, No. 74. Saint Jerome (Dry point) Bartsch, No. 59. Six pieces. One lot. 1 18 — Seven Amand-Durand Reproductions of Engravings by Durer, as follows : Saint Jerome in His Cell Virgin Seated on a Bank of Turf Saint Jerome (Dry point) Saint Jerome in Penitence Virgin with the Butterfly The Great Fortune Jealousy Seven pieces. One lot. DUSART, CORNELIS Born at Haarlem in 16.60; died there in 1704. A pupil of Adriaan van Ostade, whose style he imitated with considerable success. His etchings number sixteen plates and are from his own designs. 1 19 — Le Couple Ivre Bartsch, No. 7. Has been pasted down. EARLOM, RICHARD Designer, etcher, and the greatest engraver in mezzotint. Born in Somersetshire in 1728; died in 1822. 120 — The Fig (After Rubens) Good original impression. Mounted. 22 EDELINCK, GERARD Born at Antwerp in 1640. Died at Paris in 1707. Pupil of Cornelis Galle and, later, of Frangois de Poilly. “ Longhi says that he is the engraver whose work, not only according to his own judgment, but that of the most intelligent, deserves the first place among exemplars, and he attributes to him all perfections in the highest degree, design, chiar-oscuro, aerial perspective, local tints, softness, lightness, variety — in short, everything which can enter into the most exact representation of the true and beautiful without the aid of color.” — “ The Best Portraits in Engraving.” 12 1 — Portrait of Madame de la Valliere as Magdalen Renouncing the Vanities of the World (After Le Brim) Robert-Dumesnil, No. 32. Fourth state (of five). Good original impression, in fair condition. 122 — The Fight for the Standard (After Leonardo da Vinci) Robert-Dumesnil, No. 44. Third state. The plate retouched, and with the three dots on the sword of the second horseman. Edelinck engraved this plate after a copy of the celebrated cartoon drawn in red chalk by Rubens. “ His print of ‘ The Fight for the Standard,’ after the celebrated cartoon of Leo- nardo da Vinci, may be taken as a model of bold and vigorous work.” — “ The Golden Age of Engraving.” 123 — Charles, Due de Berry (After De Troye) Robert-Dumesnil, No. 147. In excellent condition. 124 — Louis Due de Burgogne (After De Troye) Robert-Dumesnil, No. 158. In excellent condition. 125 — Philippe* de Champagne (After Philippe de Champagne) Robert-Dumesnil, No. 164. Second state. With the slip of the graver near the trunk of the tree, back of the person. This is Edelinck’s masterpiece, and is one of the four finest portrait engravings ever executed. In excellent condition. 126 — Edouard Colbert, Marquis de Villacerf (After Mignard) Robert-Dumesnil, No. 336. In excellent condition. 127 — Madame Helyot, “ La Belle Religieuse ” (After J. Galliot) Robert-Dumesnil, No. 223. Fourth state. One of Edelinck’s best and most at- tractive portraits. In excellent condition. 128 — Charles Mouton, the Lute Player (After De Troye) Robert-Dumesnil, No. 281. Fifth state. In excellent condition. Pierre de Montarsis (After Coypel) Robert-Dumesnil, No. 277. In excellent condition. 23 EDELINCK, NICOLAS Born at Paris about 1680; died there in 1768. Son and pupil of Gerard Edelinck. 129 — Portrait of Gerard Edelinck (After Tortebat) The best portrait of this famous engraver. In excellent condition. FAED, JAMES 130 — Shakespeare and His Friends (After John Faed) Fine original impression, in excellent condition. Very interesting print. With fac-simile autographs of the persons depicted. Also The First Reformers Presenting Their Famous Protest at the Diet of Spires, on the 19th of April, 1529 Engraved by William Walker, after the painting by George Cattermole. Good original impression. With margin. Two pieces. FELSING, JACOB Born at Darmstadt in 1802. A pupil of Longhi. 131 — Saint Catherine's Body Borne by Angels (After H. Mucke) Artist’s proof. With only the names of the artists lightly traced with the needle. Fine and rare. 132 — Christ Bearing the Cross (After Daniele Crespi) Open letter proof. Full margins. Fine. And fifteen other subjects. Various. One lot. By various engravers. FOLO, GIOVANNI Born at Bassano in 1764; died at Rome in 1836. A pupil of Volpato, and influenced by Raphael Morghen. 133 — Iris After Guido Head. Fine impression. *With full margins. 24 134 - Spring Summer After Stefano Tofanelli. Engraved in the stipple manner. “ Summer ” is a proof before the title and before the dedication line below. Both are fine impressions.- With full margins. Two pieces. 135— Diana Apollo After Stefano Tofanelli. Engraved in the stipple manner. Fine proofs before the title and before the dedication line below. Full margins. Two pieces. 136 — The Transfiguration (After Raphael) A very fine impression before all letters, and with full margins. FRANCOIS, ALPHONSE Born at Paris in 1811. A pupil of Henriquel-Dupont. 137 — Mother Holding Up a Book to Her Child (After Paul Delaroche) Beautiful proof before all letters, on India paper. Fine and rare. GARNIER, FRANCOIS Born at Brest. A pupil of Bervic. 138 — La Vierge aux Balances (After Leonardo da Vinci) Fine original impression. With margin. GAULTIER, LEONARD Born at Mentz in 1552. Worked at Paris, and died there in 1641. 139 — The Last Judgment (After Michel-Angelo) 140 — The Last Judgment (After Michel-Angelo) 141 — Twelve Biblical Subjects One lot. 25 GOLTZIUS, HENDRIK Born at Miilbrecht in 1558; died at Haarlem in 1617. A pupil of Theodore Coernhert. “Contemporary with Caracci was Hendrik Goltzius at Haarlem, excellent as painter, but, like the Italian, pre-eminent as engraver. His prints show mastery of the art, making something like an epoch in its history.” — “ The Best Portraits in Engraving.” 142 — The Six Masterpieces of Goltzius Bartsch, Nos. 15-20. All are after his own designs. A beautiful set. Very fine impressions, in perfect condition. A set of such excellence and uniformity of impres- sion is very rare. The engravings are: The Annunciation (In the manner of Raphael) The Visitation (In the manner of Parmigiano) The Adoration of the Shepherds (In the manner of Bassano) The Circumcision (In the manner of Albert Durer) The Adoration of the Magi (In the manner of Lucas van Leyden) The Holy Family at the Foot of a Tree (In the manner of Baroccio) Six pieces. To be sold as a set. 143 — The Principal Greek Gods Bartsch, Nos. 249-256. A set of eight prints, after Caravaggio. The engravings are all fine impressions, in perfect condition. The titles are as follows: Jupiter Neptune Pluto Vulcan Apollo Mercury Bacchus Saturn Eight pieces. To be sold as a set. 26 144 — The Visitation Bartsch, No. 16. In the manner of Parmigiano. A fine impression. Has been mounted. Also Twelve Roman Emperors On three sheets. Fine impressions, in excellent condition. Four pieces. To be sold as one lot, GOUDT, HENDRIK VAN, COUNT PALATINE Born at Utrecht in 1585; died about 1650. His plates are engraved in a style pecu- liar to himself. They are wrought entirely with the graver, and the effect is produced, not by deepening the strokes, but by delicately crossing and recrossing the lines many times in the shadows. Though his plates are finished with remarkable precision, they show a surprisingly free and dexterous handling of the graver. 145 — The Flight into Egypt (After Abraham Elsheimer) Very fine original impression. From the collection of the famous connoisseur, P. Mariette, who has signed it with his name, and with the date 1664, on the front and on the back also. Very rare of such quality. GRAVES, ROBERT Born in London in 1798; died in 1873. In 1836 he was elected an Associate Member of the Royal Academy. His plates are characterized by refinement and delicacy. 146 — Mrs. Siddons, Seated (After Gainsborough) Fine proof before all letters. India paper. Full margins. 147 — William Esdaile (After Sharpies) Fine proof on India paper. 148 — J. M. W. Turner Very fine proof before all letters, before the plate was reduced in size. India paper. Large margins. Also Portraits of Giotto; Georgiana, Duchess of Devonshire, and Others By various engravers. Six pieces. One lot. 27 GREEN, VALENTINE Born in Warwickshire in 1739; died at London in 1813. One of the finest mezzo- tint engravers of the English School. 149 — General George Washington From the painting by “J. Trumbull, Esqr., of Connecticut, 1780.” Published January 15, 1781. Open letter proof. With names of painter and engraver, title, and publica- tion line traced with the needle. Has been rebacked. A very rare and interesting portrait. GRIMM, LUDWIG EMIL Born at Hannau in 1792. A pupil of Carl Hess. 150— Thirty-seven Etchings of Various Subjects One lot. GUNST, PIETER VAN Born at Amsterdam in 1667; died there in 1730. 15 1 — Portrait of Arthur Goodwin Portrait of Jane, Daughter of Arthur Goodwin Portraits of Philadelphia and Elizabeth Wharton Portrait of Margaret Smith All after the paintings of Sir Anthony Van Dyck. All in good condition. With margins. Four pieces. 152 — Portrait of William Villiers, Viscount Grandison Portrait of Patricius, Lord Viscount Chaworts Portrait of Lucy, Countess of Carlisle Portrait of Anne, Countess of Chesterfield All after the paintings of Sir Anthony Van Dyck. All in good condition. With margins. Four pieces. HABELMANN, P. The Wreck of the Fishing-boat 28 i53— 156 — 154 “ 155 - HALL, H. B. & G. R. George Washington (After Gilbert Stuart) Impression on India paper. Full margins. Henry Ward Beecher (After Williamson) Mount Vernon in the Olden Time Marriage of Pocahontas And Six Other Pieces by Various Engravers. HALL, JOHN Born at Wivenhoe, near Colchester, in 1739; died at London in 1797. Upon the death of Woollett he was appointed Historical Engraver to King George III. 157 — Venus Relating to Adonis the Story of Hippomenes and Atalanta (After Benjamin West) Fine original impression. Full margins. 158 — Timon of Athens (After Dance) Very fine proof, with the names of the artists, the title, and the publication line lightly traced with the needle. Beautiful impression, in perfect condition. HENRIQUEL-DUPONT, LOUIS PIERRE Born in Paris in 1797. One of the most celebrated engravers of the nineteenth cen- tury. 159 — The Mystic Marriage of Saint Catherine (After Correggio) Signed artist’s proof before all letters. A beautiful impression, in perfect condition, and with full margins. Engraved in 1867. The most beautiful of Henriquel-Dupont’s engravings after the Old Masters. 160 — L’Hemicycle du Palais des Beaux Arts (After Paul Delaroche) Three pieces, with key. Fine impressions. Margins at sides slightly soiled. One lot. HESS, CARL ERNST Born at Darmstadt in 1755; died at Munich in 1828. 161 — “ Suffer little children to come unto me ” (After Rembrandt) Engraved in 1812. Original impression. Full margins. 29 HOLBEIN, TH. DE 162 — Seventeen Landscapes Etched from his own designs from nature. One lot. HOLLAR, WENCESLAUS Born at Prague in 1607; died at London in 1677. A pupil of Merian. 163 — Five Plates of Ladies in Various Costumes also Five Prints by Various Engravers Ten in all. One lot. 164 — A View of the City of Gratz A good impression, but folded in three places. Also Landscape after Jacques van Artois Two pieces. One lot. HOLLOWAY, THOMAS Born in London in 1748; died in 1827. His chief work, and the one by which he will be remembered, is the set of “ Raphael’s Cartoons.” 165 — “ Raphael’s Cartoons ” At Hampton Court. Set of seven plates. All are good impressions. With margins 166 — The Death of Ananias Elymas the Sorcerer Struck with Blindness Two beautiful impressions from the etched plates before the burin work was added. Also The Miraculous Draught of Fishes Engraved by Burnet. Three pieces. One lot. 30 167 — JACOTT Saint Peter (After Perugino) Saint Paul (After Perugino) Lithographs. Good impressions, on India paper. Two pieces. JOHANNOT, CHARLES Born at Offenbach in 1788; died in Paris in 1825. 168 — Le Trompette (After Horace Vernet) Original impression, in good condition. KELLER, JOSEPH VON Born at Linz on the Rhine in 1811. In 1838 he removed to Paris and studied en- graving under Desnoyers and Forster. From 1846 to the time of his death he was a Professor at the Diisseldorf Academy. 169 — Les Saintes Femmes au Tombeau de Christ (After Ary Scheffer) Engraved in 1855. Good original impression. With margins. KILIAN, WOLFGANG Born at Augsburg in 1381; died in 1662. Brother of Lukas Kilian, whose style of engraving he followed. 170 — The Figure of the Four Monarchies Engraved in 1623. An original impression. Slightly water-stained at the top. A rare and curiously interesting print. KLEIN, JOHANN ADAM Born at Nuremberg in 1792; died at Munich in 1875. A pupil of H. von Bemmel and Ambr. Gabler. 17 1 — Radirungen von I. A. Klein Set of 104 plates, including title page. Designed and etched by Klein in 1844. All are in good condition. Many are proofs on India paper. To be sold as one lot. 31 LARMESSIN, NICOLAS DE Born at Paris in 1684; died there in 1755. There are by him a number of portraits, historical and other subjects, engraved in a neat, finished style. 172 — Guillaume Couston (After J. de Lien) Engraved for his reception into the Academy in 1730. In excellent condition. LAURO, AGOSTINO 173 — La Meditazione A portrait of Lauro’s daughter, engraved by him, from his own design, after her death. 174 — Studies of Trees Two sheets. LAUTENSACK, HANS SEBALD Born at Bamberg in 1524; died at Vienna in 1560. A pupil of his father, Paul Lautensack. 175 — Castle upon a Rocky Island Bartsch, No. 39. Engraved in 1553. Good impression. In excellent condition. LECOMTE, NARCISSE Born at Paris in 1794. A pupil of Lignon. * 176 — Madonna and Child, with the Infant Saint John (After Francia) Very fine proof before letters. With only the names of the artists and the date 1825. LE CONTE, JOHN 177 — Portrait of Dr. Chalmers (After Hills) Fine proof before all letters, bearing signatures of the painter and of the engraver. 32 LEISNIER, NICOLAS AUGUSTE Born at Paris in 1787. A pupil of Halbon. In 1834 he was made a Knight of the Legion of Honor, and died in 1862. 178 — The Cathedral of Cologne Sixteen plates, engraved by various artists, of details, ground-plan, etc., etc., of Cologne Cathedral. Leisnier engraved the most interesting plate of the series, a view of the interior. Sixteen pieces. One lot. LEONARDO DA VINCI (After) 179 — The Last Supper The main picture surrounded by medallion heads of the twelve apostles, and with the head of Christ in the centre. Engraved by D. F. Brown. Also A Lithograph, a Small Engraving, and a Photograph of the Same Picture, and a Photograph of the Head of Christ from the Same Five pieces. LEPIC1E, BERNARD Born in Paris in 1698; died there in 1755. A pupil of Audran. 180 — Nicolas Bertin, Painter (After De Lien) Engraved in 1740 for his admission into the Academy. In excellent condition. LE PAUTRE, JEAN Born at Paris in 1618; died there in 1682. His works number nearly fifteen hundred plates. 181 — Statues, Fountains, etc., in the Gardens at Versailles Engraved in 1673-1675. Large margins. Fifteen pieces. One lot. LEVASSEUR 182 — “ Ma Sceur n’y est pas ” (After Hamon) Open letter proof. In fine condition. 3 33 LIGNON, ETIENNE FREDERIC Born at Paris in 1781. A pupil of Morel. 183 — Nicolas Poussin (After Poussin) Engraved in 1824. Good original impression. LOMBART, PIERRE Born at Paris in 1620; died there in 1681. He went to England some time before the Restoration and remained there until 1672. His best works are his portraits. 184 — “ Van Dyck’s Countesses ” Ten engravings after the paintings of Sir Anthony Van Dyck. The ladies repre- sented are: Ann, Countess of Bedford Lucy, Countess of Carlisle Margaret, Countess of Carlisle Anna Sophia, Countess of Carnarvon Elizabeth, Countess of Castlehaven Elizabeth, Countess of Devonshire Penelope, Lady Herbert Rachel, Countess of Middlesex # Ann, Countess of Morton Dorothy, Countess of Sunderland All are with full margins, in excellent condition. Ten pieces. To be sold as a set. LONDONIO, FRANCESCO Born at Milan in 1723; died in 1783. His pastoral subjects are much esteemed, and are etched from his own designs from nature. They are executed in a spirited style. 185 — “ Associazione all’ Opera del Celebre Pittore Incisore Francesco Londonio, Milanese, Socio Onorario di Diverse Accademie di Belle Arti, ecc., ecc.” Seventy-four plates. With portrait and biography. Paper wrappers. All the impressions are on large paper. All are in excellent condition, as issued. One lot. 34 LONGHI, GIUSEPPE Born at Monza in 1766; died at Milan in 1831. “ Longhi was a universal master, and his portraits are only parts of his work.” — “ The Best Portraits in Engraving.” * 186 — The Marriage of the Virgin (After Raphael) Fine impression. Full margins. With the name of Lissant as printer. 187 — The Birth of the Virgin Early trial proof. With the faces of the Virgin and the four attendant women white. In outline only. * 188 — The Magdalen, Reading (After Correggio) One of Longhi’s most beautiful plates. Fine impression. With full margins. The Repose in Egypt (After Procaccino) m Portrait of Michel-Angelo The Three Ages Longhi’s last work. Proof before letters, and a lettered impression. Four pieces. One lot. LORICHON, CONSTANT LOUIS Born at Paris in 1800. A pupil of Forster. 189 — Madonna of the Bridgewater Gallery (After Raphael) Engraved in 1832. Good impression. With margins. LOUIS, ARISTIDE A pupil of Henriquel-Dupont. 190 — Queen Victoria (After Winterhalter) Prince Albert (After Winterhalter) A pair. First published in 1847-1848. The Queen is engraved by Forster. Fine impressions. In perfect condition. With full margins. 35 i9 x — LUCAS, ALFRED Deer Hounds (After Bateman) Luna Engraved by Paterson. After Bateman. Two pieces. LUCAS VAN LEYDEN Born at Leyden in 1494; died there in 1533. “ He carried the art of engraving to a wonderful pitch of perfection, considering the shortness of his life, and his prints rank with those of Marc Antonio and Albert Diirer. Good impressions are exceedingly rare, and, even in the lifetime of the artist, sold at high prices. The plates were so delicately engraved that they yielded very few good impressions.” 192 — Abraham and the Three Angels Bartsch, No. 15. A brilliant and beautiful impression. In perfect condition. Very rare of such quality. From the Mary J. Morgan Collection. 193 — Abraham Sending Away Hagar Bartsch, No. 18. A fine original impression. In perfect condition. Rare. From the Keller and Mary J. Morgan Collections. 194 — The Two Elders Perceiving Susannah at the Bath Bartsch, No. 33. Very fine original impression. In perfect condition. An impres- sion of such quality is very rarely to be met with. 195 — Two Photographs Mounted upon cards, of the following engravings: Adam and Eve Driven from the Garden of Eden The Two Elders Perceiving* Susannah at the Bath Two pieces. One lot. MANDEL, JOHANN AUGUST EDUARD Designer and engraver. Born at Berlin in 1809; died in 1882. The last of the great line engravers. In 1878 he is reported to have said, “ When I die there will be no more.” 196 — Raphael at the Age of Fifteen After the painting by Raphael in the Louvre. Beautiful impression on India paper., Full margins. Proof, with the names of the artists only. Before title. 36 197 — Portrait of Anthony Van Dyck After the painting by Van Dyck in the Louvre. Beautiful impression on India paper. Full margins. 198 — The Warrior and His Child After the painting by T. Hildebrand. Fine. Open letter proof. Full margins. 199 — Mary, the Mother of Jesus, Weeping After the painting by Carlo Dolci. A beautiful impression. Full margins. 200 — The Madonna of the Chair (“ Madonna della Sedia ”) After the painting by Raphael. Signed artist’s proof. The engraver’s name and the date 1865 lightly traced in the middle. On India paper. Full margins. A magnificent impression. Very rare. 201 — The Madonna and Child After the painting by Raphael. Signed artist’s proof, with remarque. A superb impression on India paper, bearing the stamped monogram of the engraver. Full margins. In perfect condition. Engraved in 1871. MARCENAY DE GHUY, ANTOINE Amateur painter and etcher. Born at Arnay-sur-Aron in 1722. Died at Paris in 1811. 202 — The Works of Antoine Marcenay de Ghuy This set lacks plates 13, 54, 15, 16, 17, 18, 20, 32, 36, and 40, but is otherwise com- plete from plate 1 to plate 55. Printed upon thirty sheets. Some are slightly water stained in the lower right hand corners of the margins, otherwise all are in excellent condition. Thirty sheets. One lot. 203 — La Fleuriste (After Gerard Dow) Engraved in 1766. Good original impression. In excellent condition. Also La Vieille Inquiete By De Mautort, after Schalken. L’Education Badine By Langlois, after Schalken. Three pieces. One lot. 37 MARSHALL, WILLIAM E. Painter and engraver. Born in New York city in 1836. 204 — Portrait of Henry Ward Beecher Engraved by Marshall from his own painting. Fine impression. Full margins. 205 — Portrait of General U. S. Grant Engraved by Marshall in 1868 from his own painting. Fine impression. Full margins. 206 — Portrait of Abraham Lincoln Engraved by Marshall from his own painting. Fine impression. Full margins. 207 — Portrait of George Washington From the painting by Gilbert Stuart. Engraved in 1862. Fine impression. This is one of the most satisfactory of the many engraved portraits of Washington. MARTINET, ACHILLE LOUIS Born at Paris in 1806; died there in 1877. A pupil of Pauquet, Forster, and Heim. 208 — Charles I. in the Guard Room of Cromwell’s Soldiers (After Paul Delaroche) Open letter proof. In perfect condition. Full margins. 209 — Hamlet (After Bejard) Engraved in conjunction with Alphonse Martinet. Open letter proof. In perfect condition. Full margins. MASSARD, J.-B. RAPHAEL-URBAIN Son and pupil of Jean-Baptiste Massard. Born at Paris in 1775. * 210 — Louis XVIII. (After Gerard) Engraved in 1819. The finest portrait. The rendering of the velvet, ermine, embroidery, etc., is worthy of all praise. MASSARD, L. * 21 1 — Saint Jerome Engraved by Massard, from his own design, in 1869. Fine impression on India paper. Full margins. 38 MASSON, ANTOINE Born at Louvry, near Orleans, in 1636. He removed at an early age to Paris, became a member of the Academy in 1679, and died in Paris in 1700. Among French masters, Antoine Masson is conspicuous for brilliant hardihood of style, which, though failing in taste, is powerful in effect. Metal, armor, velvet, feathers, seem as if painted. His immense skill made him welcome difficulties, as if to show his ability in overcoming them.” — “ The Best Portraits in Engraving.” 212 — The Supper at Emmaus (After Titian) Robert-Dumesnil, No. 5. This engraving is sometimes called “ La Nappe,” from the exquisite work of the table-cloth. It is one of Masson’s finest plates, arid good impressions are rare. * 213 — Henri de Lorraine, Comte d’Harcourt (After Mignard) Robert-Dumesnil, No. 34. This engraving is known as “ Le Cadet a la Perle,” from the pearl in the ear of the personage, and is sometimes considered the finest of engraved portraits. 214 — The Same (another impression) THE MASTER OF THE DIE His real name is unknown. Born about 1512. From his style of engraving he seems to have been a pupil of Marc Antonio Raimondi. His drawing is correct and his plates are well engraved. 215 — A Naval Battle Bartsch, No. 78. It is surmised that this plate was engraved after a drawing by Giulio Romano. MATHIEU, JEAN Born in 1749; died at Fontainebleau in 1815. A pupil of Longueil. 216 — Le Temps Orageux After Fragonard. Fine original impression. In perfect condition. McRAE, J. C. 217 — Henry Ward Beecher (After T. Hicks) Engraved in mezzotint in 1853. Good impression. In perfect condition. 39 MECKEN, ISRAEL VAN 218 — Five Photographs of Various Engravings also Six Photographs after the Engravings of the Master E. S., Three Repro- ductions (on one sheet) of Nielli; One Reproduction after each of the following masters: Botticelli, H. Bosche, Barthel Schon, Nicoletto da Modena, Benedetto Montagna, and One Anonymous Italian Engraver Eighteen sheets. One lot. MELLAN, CLAUDE Born at Abbeville in 1601. Pupil of Simon Vouet. When sixteen years of age he went to Rome, and there studied under Villamena. He then removed to Paris, and died there in 1688. 219 — Saint Peter Nolasque Borne by Two Angels Designed and engraved by Mellan in 1627. This is the engraver’s finest plate, and impressions are very rare, as the plate was lost by shipwreck in transmission from Rome to Paris when very few proofs had been printed. A fine original impression. Very slight tear in the lower left hand corner of the margin. From the Mary J. Morgan Collection. Also The Sudarium of Saint Veronica This is not the original, but is a copy of Mellan’s famous plate of the same subject. Two pieces. One lot. METZMACHER * 220 — La Vierge au Linge (After Raphael) Fine original impression. In perfect condition. Full margins. MEYER, HENRY Born in London in 1782; died in 1847. 221 — Edwin Forrest (After J. W. Childe) Two impressions, proofs on India paper, of this portrait, together with ten other portraits, various, and two fac-similes of the “ Death Warrant of King Charles the First.” Fourteen pieces. One lot. 40 MICHEL, JEAN-BAPTISTE Born at Paris in 1748. Died at London in 1804. 222 — Alfred the Third, King of Mercia, Visiting William D’Albanac (After Benjamin .West) Engraved in 1782. Good original impression. 223 — The Adoration of the Shepherds (After Guido Reni) Proof before letters. With the names of the artists and the publication line lightly traced with the needle. MITCHELL, R. 224 — Happy Mothers (After R. Ansdell) Startled Twins (After R. Ansdell) A pair. Lettered impressions. Excellent condition. Also Saint Bernard Dogs Finding a Lost Traveller Proof before all letters. Three pieces. One lot. MORGHEN, RAPHAEL Born at Portici in 1758; died at Florence in 1833. A pupil of his father, Filippo Morghen, and then of Volpato. “ Probably no engraver has so large a following of admirers as Raphael Morghen. . . . This is partly due to his soft and captivating style and partly to his excellent judgment in the choice of subjects.” — “ The Golden Age of Engraving.” 225 — iEsculapius and Hygeia From an original ivory diptych, now in the Mayer Museum, Liverpool. Engraved upon a silver plate. Halsey, No. 2. Second state, before the inscription below. Rare. 226 — Angelica and Medoro (After Matteini) Halsey, No. 11. Fourth state. Rare. 227 — Joanna, Queen of Aragon (After Raphael) Halsey, No. 12. First trial proof, with the face and hands in outline only. Also fourth state, with address of Danlos. Two pieces. 4i 228 — Aurora, with Apollo and the Hours (After Guido Reni) Halsey, No. 1 6. Fifth state (of seven). Before the sails were cross-hatched. A fine impression. With full margins. In perfect condition. *229 — The Family of the Princess Bariatinski (After Angelica Kauff- man) Halsey, No. 21. Fourth state, with the verses below. Fine original impression. In perfect condition. 230 — Charity After the painting by Ignatz Unterberger (1748-1797). Wrongly attributed to Cor- reggio. Halsey, No. 34. Third state. Fine original impression. In perfect condition. With full margins. 231 — Diana and Her Nymphs (After Domenichino) Halsey, No. 50. Fourth state. Fine original impression. Full margins. Slightly spotted with mildew. This engraving is one of Raphael Morghen’s best plates, and fine impressions are scarce. 232 — Portrait of Giovanni Fantoni (After F. Tenderini) Halsey, No. 56. Third state. Fine original impression. From the Mary J. Mor- gan Collection. * 2 33 — Lot and His Daughters (After Guercino) Halsey, No. 87. Proof before letters. With only the artists’ names. No impres- sions are known before the artists’ names. Fine. Full margins. Also Lot and His Daughters (After Guercino) Engraved by Guglielmo Morghen, brother of Raphael Morghen. Fine original im- pression. Two pieces. 234 — Madonna di Tiziano: “ Parce Somnum Rumpere ” (After Titian) Halsey, No. 104. Fifth state (of six). Fine original impression. Full margins. 235 — General Francesco di Moncada (After Van Dyck) Halsey, No. 121. Fifth state (of six). Before the cross-hatching on the 'armor. Fine impression, but margin has been trimmed to within one-quarter inch of plate mark all round. “ The engraver’s most ambitious effort in portraits, and a wonderful specimen of the art.” — Halsey. 42 236 — Portrait of Raphael Morghen After his own design. Halsey, No. 127. Fourth state. Fine impression. With full margins. 237 — Poetry (After Gavin Hamilton) Halsey, No. 145. Third state (of four). Fine original impression. Lower margin slightly trimmed. 238 — The Transfiguration (After Raphael) Halsey, No. 167. Trial proof B. Rare. This is the first plate of “ The Transfigura- tion,” and was left in this unfinished condition by Raphael Morghen, and was finished by his brother Antonio. “ It is certain that this discarded plate is much superior in some respects to the other, especially in the upper portion, which is treated with more delicacy and judg- ment. The engraving of the draperies is acknowledged to be stronger and more effective as compared with the plate as engraved after Tofanelli’s drawing.” — Halsey. 239 — Daphne and Apollo Engraved in the manner of Raphael Morghen. Proof before all letters. Fine impression. Full margins. MOTTRAM, CHARLES 240 — The Plains of Heaven (After John Martin) Original impression. With full margins. 241 — The Great Day of His Wrath (After John Martin) Original impression. With full margins. MULLER, JOHANN GOTTHARD Born at Bernhausen, near Stuttgart, in 1747; died at Stuttgart in 1830. A pupil of Wille. Father and teacher of J. Friedrich W. Muller, the engraver of the “ Sistine Madonna.” 242 — Louis Leramberg, Sculptor (After N. S. A. Belle) Engraved in 1775 for his admission into the Academy. 43 MULLER, JOHANN FRIEDRICH WILHELM Son and pupil of Johann Gotthard Muller. Born in Stuttgart in 1782. He studied several years at the Academy in Paris, was made engraver to the King of Wiirtemberg, and afterwards professor at the Academy of Dresden. He died at the Sonnenstein, near Dresden, in 1816. 243 — Madonna di San Sisto (After Raphael) A fine impression, on India paper. “ These first impressions on India paper precede those on plain paper, and are highly esteemed. They are said to have been taken in very small numbers and for presentation copies.”— Louis Thies’ note in the catalogue of the Gray Collection at Harvard. This great work placed Muller at the head of all modern engravers, and upon this plate he bestowed all the energies of the last six years of his life. He may be said to have sacrificed life itself for it, since the thankless task of deepening the lines (so that the publisher could issue a larger edition) resulted in insanity and death. 244 — Saint John the Evangelist (After Domenichino) First state. With “ Dominichino pinx,” and with the date 1808. A beautiful origi- nal impression. Rare and fine. NANTEUIL, ROBERT Born at Rheims in 1630. In 1647 he went to Paris and received instruction (as a painter) from Philippe de Champagne and (as an engraver) from Abraham Bosse. He died in Paris in 1678. “ Nanteuil’s abilities were refined by a classical education, and his correct taste restrained him from running into the prevailing fashion of meretricious ornamenta- tion. . . . His works illustrate the reign of Louis XIV., and are all, without ex- ception, fine.” — “ The Golden Age of Engraving.” 245 — Anne of Austria, Queen of Louis XIII. (After Mignard) Robert-Dumesnil, No. 22. Fifth state. In excellent condition. 246 — Jacques, Marquis de Castelnau Engraved by Nanteuil in 1658 from his own design. In excellent condition. NOBLE, GEORGE 247 — Lady Jane Grey (After Holbein) Open letter proof. Fine original impression. Full margins. 44 NORDHEIM 248 — Madonna di San Sisto (After Raphael) Impression with the names of the painter and of the engraver only. In the lower margin the American eagle, grasping a sheaf of arrows, bound with a ribbon, upon a flowing end of which is engraved E PLURIBUS UNUM. A very clear impression. Full margins. OSTADE, ADRIAAN VAN Born at Lubeck in 1617. Moved to Amsterdam in 1662, and died there in 1685. A pupil, in painting, of Frans Hals. “ Ostade, especially, was a composer of remarkable ability, combining in the most felicitous way the two compositions of form and chiaroscuro.” — P. G. Hamerton. 249 — Paysanne qui Rit Bartsch, No. 1. Paysanne avec une Petite Toque Noire Bartsch, No. 2. Le Fumeur Bartsch, No. 5. Three pieces. One lot. 250 — La Tendresse Champetre Bartsch, No. 11. 251 — La M£re et les Deux Enfants Bartsch, No. 14. *L’Ecole Bartsch, No. 17. Two pieces. One lot. 252 — Le Savetier Bartsch, No. 27. Sixth state. In excellent condition. 253 — Le Peintre Bartsch, No. 32. Has been pasted down. 254 — Le P&re de Famille Bartsch, No. 33. 255 — La Famille Bartsch, No. 46. 45 256 — La Danse au Cabaret Bartsch, No. 49. Very wide margins. 257— La Danse au Cabaret Bartsch, No. 49. 258— Le Gouter Bartsch, No. 50. And a duplicate of the same. Two pieces. Lower margins of both prints have been trimmed. OTTAVINI, GIOVANNI (and VOLPATO, GIOVANNI) Born at Rome about 1735; died in 1808. A pupil of Wagner, in Venice. 259 — The Loggie of Raphael. Part I. Thirteen plates. The set. Frequently, but incorrectly, spoken of as the Arabesques of Raphael, whereas these ornaments are in the style of the antique grotesque. Also A Perspective View of the Loggie, with a Medallion Portrait of Raphael Above ; Door A of the Loggie ; Door B of the Loggie Sixteen pieces. One lot. 260 — The Loggie of Raphael. Part II. Complete Showing thirteen arches and the pictures over them. (“ Raphael’s Bible.”) With title “ Seconda Parte Delle Logge.” Ottavini engraved all but the subjects from the Bible, which were engraved by Volpato. The thirteen scenes represented are: 1 God Dividing Light from Darkness 2 Adam and Eve at Work, out of Paradise 3 Building of the Ark 4 Three Angels Appearing to Abraham » 5 God Appearing to Isaac 6 Jacob’s Ladder 7 Joseph Telling His Dream 8 The Finding of Moses 9 Moses Showing the Tables of the Law 46 io The Fall of Jericho ii David’s Triumph Over the Syrians 12 The Judgment of Solomon 13 The Last Supper All are fine original impressions. With full margins. Fourteen pieces. One lot. 261 — The Loggie of Raphael. Part III Twelve plates. The set. All were engraved by Volpato. Original impressions. Full margins. Twelve pieces. One lot. OUTRIM, JOHN 262 — The Highland Breakfast (After Edwin Landseer) Proof on India paper. The names of painter and engraver, the title, and the publi- cation line lightly traced with the needle. PARBONI, PIETRO 263 Two Landscapes (After Claude Lorraine)' Also Thirteen Miscellaneous Engravings, Landscapes, and Figures Fifteen pieces. One lot. PERFETTI, ANTONIO Born at Florence in 1790; died there in 1872. A pupil of Raphael Morghen. 264 — Cosimo de Medici (After Iacopo Carrucci da Pontormo) Open letter proof. Fine. From the Mary J. Morgan Collection. 265 — The Cavaliere de Onis (After Suter) Proof before letters. Fine. From the Mary J. Morgan Collection. 266— 267 — PERINE, GEORGE E. The Good Part (After Fazel) The Good Part (After Fazel) 268- The Mother of Our Lord (After Goodall) The Mother of Our Lord (After Goodall) 269 — PICHLER, JOHANN PETER Born at Botzen in 1765; died at Vienna in 1806. A pupil of Schmutzer and of Jacobe. 270 — A Fruit Piece (After Jan van Huysum) A Flower Piece (After Jan van Huysum) A fine pair of mezzotint engravings, executed in 1806. PILOTY, FERDINAND 271 — The Holy Trinity (After Rubens) Fine impression on India paper. Also A Lithograph of Rubens and His Family Two pieces. PIZZI, LUIGI 272 — The Infant Saviour (After Domenichino) Open letter proof, on India paper. Fine. Also Portraits of Tintoretto and of Giulio Romano Engraved by Rinaldi and Tassaert. Madonna and Child Engraved by Chatillon, after Giulio Romano. And A Portrait of Christ Five pieces in all. POILLY, FRANCOIS DE Born at Abbeville in 1622; died at Paris in 1693. A pupil, in Paris, of Pierre Daret, and of Cornelis Bloemaert in Rome. “ His plates are executed entirely with the burin, which he handled with uncommon firmness and dexterity.” 273 — The Virgin Praying (After Raphael) Fine original impression. With full margins. PORRETTI, A. 274 — The Madonna of the House of Orleans (After Raphael) also Four Other Engravings of Madonnas All late impressions. All in poor condition. RAIMBACH, ABRAHAM Born at London in 1776; died there in 1843. 275 — Blind Man’s Buff (After David Wilkie) Very fine open letter proof, on India paper. RAIMONDI, MARC-ANTONIO Born at Bologna about 1488; died there in 1534. “ Among collectors of the oldest engravings Marc Antonio is a great name, rank- ing with Albert Diirer and Rembrandt.” — “ The Golden Age of Engraving.” 276 — Les Grimpeurs Bartsch, No. 487. Engraved from Michel- Angelo’s cartoon of “The Battle of Pisa.” Has been mounted and repaired. “ Cette estampe est une des plus considerables, comme elle est une des plus rares de son oeuvre.” — Bartsch, Vol. XIV., p. 361. Also Reproduction, by Amand-Durand, of a very fine impression of the same Engraving Two pieces. 49 4 277— The Sibyl Bartsch, No. 7. A fine impression from the collections of P. Mariette (1704), Wil- letts (1812), and Sir Mark Sykes, and Mary J. Morgan. After a drawing by Raphael. According to Bartsch this plate was not engraved by Marc Antonio himself, but by an anonymous engraver of the school of Marc Antonio. 278 — Notice sur la Vie de Marc Antoine Raimondi. Graveur Bolonais, accompagne de reproductions photographiques de quelques unes de ses estampes par M. Benjamin Delessert. Paris, 1853. Eleven photographs after engravings by Marc Antonio, one after Diirer. Twelve pieces mounted on eleven cards. With text, as issued. Paper wrappers. One lot. 279 — Ten Photographs Mounted upon eight cards. With text by M. Benjamin Delessert. Paris, 1853. Paper wrapper, as issued. One lot. 280 — Four Amand-Durand Reproductions of Various Engravings by Marc Antonio One lot. RAINALDI, FRANCESCO Born at Rome in 1770; died in 1805. A pupil of Bettelini and of Raphael Morghen. 281 — Aurora, with Apollo and the Hours (After Guido Reni) Good original impression. Slight mildew spots in margin. 50 SECOND EVENING'S SALE Tuesday f March 26 th AT THE AMERICAN ART GALLERIES BEGINNING AT 7.30 O’CLOCK REMBRANDT VAN RYN Born in Leyden in 1608; died in Amsterdam in 1669. “ Every art has its great representative master, and the representative etcher is Rembrandt.” — P. G. Hamerton. “ Rembrandt may be regarded as the great representative etcher for all time. He did not originate the process; but, having found it in a crude and undeveloped state, he carried it to a height of perfection which, as a whole, has never since been equalled.” — “ The Modern Disciples of Rembrandt.” 282 — Jacob and Laban, or Three Oriental Figures Charles Blanc, No. 7. Bartsch, No. 118. Claussin, No. 120. Wilson, No. 122. 283 — The Circumcision Charles Blanc, No. 20. Bartsch, No. 47. Claussin, No. 51. Wilson, No. 52. Second state. In excellent condition. * 284 — The Holy Family Crossing a Stream Ch. Blanc, No. 28. Bartsch, No. 55. Claussin, No. 59. Wilson, No. 60. This print is rare. 285 — The Repose in Egypt. In Outline Ch. Blanc, No. 31. Bartsch, No. 58. Claussin, No. 62. Wilson, No. 63. A fine impression. With full margin. From the Cambridge University and Mary J. Morgan Collections. “ Ce morceau est tres-pale, et en certains endroits les traits en sont a peine visibles.” — Ch. Blanc, Vol. I., p. 129. 5i 286— The Holy Family, with the Cat Ch. Blanc, No. 34. Bartsch, No. 63. Claussin, No. 67. Wilson, No. 67. A good impression. In perfect preservation. The face of Saint Joseph, the skirt of the Virgin, and the curtain behind her show signs of pen work, but added with so much knowledge that they have the appearance of having been drawn in by Rembrandt himself. 287 — Christ and the Woman of Samaria at the Well Ch. Blanc, No. 45. Bartsch, No. 70. Claussin, No. 74. Wilson, No. 74. The third state. In excellent condition. 288 — Christ and the Woman of Samaria at the Well by a Ruined Wall Ch. Blanc, No. 46. Bartsch, No. 71. Claussin, No. 75. Wilson, No. 75. Third state. Repaired in the upper right hand corner. 289 — The Resurrection of Lazarus. The Larger Plate. Ch. Blanc, No. 48. Bartsch, No. 73. Claussin, No. 77. Wilson, No. 77. The eleventh state. In excellent condition. 290 — Christ Healing the Sick Ch. Blanc, No. 49. Bartsch, No. 74. Claussin, No. 78. Wilson, No. 78. Central portion of the plate, after it had been retouched by Captain Baillie and divided into four pieces. Good impression. With full margins. 291 — Christ Crucified between Two Thieves. An Oval Plate Ch. Blanc, No. 54. Bartsch, No. 79. Claussin, No. 84. Wilson, No. 85. A fine impression. In perfect condition. “ Cette planche est gravee legerement et d’une pointe tres-fine.” — Ch. Blanc, Vol. I., p. 200. 292 — Saint Peter Curing the Paralytic Ch. Blanc, No. 66. Bartsch, No. 94. Claussin, No. 97. Wilson, No. 98. Fourth state. In excellent condition. 293 — The Martyrdom of Saint Stephen Ch. Blanc, No. 68. Bartsch, No. 97. Claussin, No. 100. Wilson, No. 102. In excellent condition. 52 294 — The Death of the Virgin Ch. Blanc, No. 70. Bartsch, No. 99. Claussin, No. 102. Wilson, No. 104. Third state. The plate worn and retouched. “ The ‘ Death of the Virgin ’ may be taken as one of the great typical examples of what etching may be, and ought to be.” — P. G. Hamerton. 295 — Saint Jerome Kneeling Ch. Blanc, No. 73. Bartsch, No. 102. Claussin, No. 105. Wilson, No. 107. In excellent condition. With margin. 296 — A Battle Ch. Blanc, No. 89. Bartsch, No. 117. Claussin, No. 119. Wilson, No. 121. Sec- ond state. Fine impression. From the Mary J. Morgan Collection. “ Les epreuves de ce deuxieme etat sont rares.” — Ch. Blanc, Vol. I., p. 302. 297 — The Pancake Woman Ch. Blanc, No. 93. Bartsch, No. 124. Claussin, No. 126. Wilson, No. 128. Sec- ond state (of four). A fine impression. In perfect condition. 298 — - The Game of Golf Ch. Blanc, No. 97. Bartsch, No. 125. Claussin, No. 127. Wilson, No. 129. Sec- ond state. In excellent condition. 299 — The Card Player Ch. Blanc, No. 104. Bartsch, No. 136. Claussin, No. 136. Wilson, No. 137. Third state. In excellent condition. “ Cette jolie piece.” — Ch. Blanc. 300 — A Philosopher in Meditation Ch. Blanc, No. 112. Bartsch, No. 148. Claussin, No. 145. Wilson, No. 146. Fifth state (of six). A fine impression. In perfect condition. From the collections of William Sharp and Mary J. Morgan. 301 — Beggars at the Door of a House Ch. Blanc, No. 146. Bartsch, No. 176. Claussin, No. 173. Wilson, No. 173. Third state. “ Ce morceau est un des plus beaux de F oeuvre.” — Ch. Blanc, Vol. I., p. 384. 302 — An Academical Figure of a Man Seated on the Ground Ch. Blanc, No. 160. Bartsch, No. 196. Claussin, No. 193. Wilson, No. 193. Ex- cellent impression. In perfect condition. 53 303 — A Woman, Seated, with Her Feet in the Water Ch. Blanc, No. 164. Bartsch, No. 200. Claussin, No. 197. Wilson, No. 197. 304 — Portrait of Lieven Coppenol (“ The Great Coppenol ”) Ch. Blanc, No. 175. Bartsch, No. 283. Claussin, No. 280. Wilson, No. 285. Fifth state. The plate reduced in size. “ La tete du grand Coppenol est seule bien traitee, elle est vivante.” — Ch. Blanc, Vol. II., p. 58. *305 — Uytenbogaert : The Gold-weigher Ch. Blanc, No. 189. Bartsch, No. 281. Claussin, No. 278. Wilson, No. 283. Third state. Also Copy in reverse By Van Bruges. Two pieces. 306 — Portrait of Johannes Uytenbogaert Ch. Blanc, No. 190. Bartsch, No. 276. Claussin, No. 277. Wilson, No. 282. Fourth state. Fine impression. In perfect condition. With full margins. One of Rembrandt’s finest portraits. Rare. 307 — Portrait of Rembrandt with a Round Hat and an Embroidered Mantle Ch. Blanc, No. 21 1. Bartsch, No. 7. Claussin, No. 7. Wilson, No. 7. Ninth state (of ten). Fine impression. From the St. John Dent and Mary J. Morgan Col- lections. 308 — Portrait of Rembrandt Laughing Ch. Blanc, No. 218. Bartsch, No. 316. Claussin, No. 29. Wilson, No. 29. Third state. Good impression. With margin. From the Mary J. Morgan Collection. 309 — Portrait of Rembrandt Drawing Ch. Blanc, No. 235. Bartsch, No. 22. Claussin, No. 22. Wilson, No. 22. Ninth state. In excellent condition. “ Un des plus beaux portraits du maitre.” — Ch. Blanc, Vol. II., p. 191. 310 — Head of a Bald-headed Man, Facing towards the Right Ch. Blanc, No. 272. Bartsch, No. 292. Claussin, No. 289. Wilson, No. 294. Third state. Fine impression. In perfect condition. Extremely rare. 54 311 - Old Man with a Beard and Curly Hair Ch. Blanc, No. 277. Bartsch, No. 297. Claussin, No. 293. Wilson, No. 297. Fine impression. In perfect condition. From the Mary J. Morgan Collection. “ Tres bien grave. Extremement rare.” — Ch. Blanc. 312 — The Grotto Ch. Blanc, No. 331. Bartsch, No. 231. Claussin, No. 228. Wilson, No. 228. Third state. Fine impression. In perfect condition. From the Mary J. Morgan Col- lection. 313 — Four Photographs, mounted, of the following subjects: The Resurrection of Lazarus (the larger plate) Christ Presented to the People The Descent from the Cross (the large plate) The Death of the Virgin Portrait of Lieven Coppenol (Ch. Blanc, No. 175) Five pieces. One lot. 314 — Four Photographs, mounted, of the following subjects: The Annunciation to the Shepherds The Thatched Cottage with a Hay-barn The Mill The Seller of Rat Poison Four pieces. One lot. 315 — L’CEuvre de Rembrandt, Decrit et Commentepar M. Charles Blanc Membre de lTnstitut, Directeur des Beaux-Arts. Catalogue Raisonne de toutes les Estampes du Maitre et de ses Peintures, orne de bois gravees, de quarantes eaux- fortes de Flameng, et de Trente-cinq Heliogravures d’Amand-Durand. Paris. A. Levy. 1873. Large paper copy. Two volumes, in the original binding, but with back of Volume I. broken. This catalogue, besides bein£ a standard work of reference and very interesting reading, on account of the full and scholarly annotations, is noteworthy on account of the wonderful copies executed by Flameng, including the famous “ Christ Healing the Sick.” A very fine impression is in Volume II. of this set. 55 3i6— CEuvre de Rembrandt Reproduit et publie par Amand-Durand. One hundred and fifty-one reproductions. Printed upon Holland paper. In a portfolio. All are bright, original impressions, and all are in perfect condition. An unusually fine lot. 317 — Amand-Durand Reproductions of The Three Trees Jan Lutma Two pieces. One lot. REYNOLDS, SAMUEL WILLIAM Born in London in 1773; died there in 1835. He engraved in mezzotint more than three hundred plates after portraits and compositions by Sir Joshua Reynolds. Samuel Cousins was his pupil. 318 — John Kemble as Cato (After Sir Thomas Lawrence) An impression of the issue of 1853. 319 — Raphael and Fornarina (After Sebastian del Piombo) Fine, open letter proof. . In perfect condition. Full margin. * 320 — Lady Cockburn and Her Children (After Sir Joshua Reynolds) Venus Chiding Cupid (After Sir Joshua Reynolds) Thais (After Sir Joshua Reynolds) Fine, open letter proofs, in perfect condition. Full margins. Three pieces. One lot. \ RHODES, RICHARD Born in 1765; died in London in 1838. A pupil of Heath. 321 — Four Subjects (After Metzu and Netcher), on one sheet Proof on India paper. Also Ten Other Subjects (upon two sheets, after various Dutch Masters) Proofs on India paper. One lot. 56 RICHOMME, JOSEPH THEODORE Born at Paris in 1785; died in 1849. A pupil of Regnault and of Coiny. His works rank with those of the best modern engravers. 322 — La Vierge de Lorette (After Raphael) Fine original impression. With the stamp of the engraver in the lower right hand corner. 323 — The Triumph of Galatea (After Raphael) Beautiful impression, on India paper. Full margins. In perfect condition. This is one of Richomme’s most highly esteemed plates. Impressions of this quality are scarce. ROSASPINA, FRANCESCO Born at Rimini in 1762; died at Bologna in 1842. His style is influenced by the engravings of Raphael Morghen, Volpato, and Bartolozzi. 324 — The Dance of Cupids, with the Rape of Proserpina (After Albano) The original painting is in the Gallery of the Brera, in Milan. A good impression, but lower margin trimmed so as to show only the names of the painter and engraver. 325 — Saint John the Evangelist (After Correggio) Very fine proof before all letters. In perfect condition. 326 — The Birth of the Virgin (After Albano) Portrait of Marc-Antonio Raimondi (After Raphael) Two pieces. One lot. RUYSDAEL, JACOB Born in Haarlem in 1635; died there in 1681. His etchings number seven plates only. “ Ruysdael has an immense fame amongst connoisseurs.” — P. G. Hamerton. 327 — The Little Bridge “ This is one of Ruysdael’s important plates.” — P. G. Hamerton. Has been pasted down. 57 328— The Great Oak by the River Has been pasted down. RYDER, THOMAS Born at London in 1746. His plates, after Stothard, Smirke, and Angelica Kauff- man, engraved in stipple, are of real merit. 329 — Vortigern and Rowena (After Angelica Kauffman) Open letter proof. In excellent condition. A fine impression. With margin. RYLAND, WILLIAM WYNNE Born in London in 1732. Hanged for forgery in 1783. He is said to have intro- duced the stipple manner of engraving into England, and his plates engraved in this style are among the finest ever executed. * 330 — Achilles Taking Leave of His Mother (After Angelica Kauffman) Beautiful proof before letters. In perfect condition. Printed in red. Full mar- gins. An unusually fine and beautiful impression. * 331 — The Judgment of Paris Venus on Her Car A pair. After Angelica Kauffman. In good condition. Printed in brown. SADELER, JOHAN Born at Brussels about 1550; died at Venice in 1610. 332 — “ Suffer little children to come unto me ” (After Jodocus a Winge) Engraved in 1588. Good impression. In excellent condition. 333 — The Entombment The Circumcision (After Martin de Vos) Two pieces. One lot. 58 334 - SAGERT, H. A Wayside Shrine (After Meyer von Bremen) Proof before letters. Also A Little Rogue By Benedetti. After Waldmiiller. Children Leaving School By Benedetti. After Waldmiiller. Three pieces. One lot. SCHIAVONETTI, LUIGI Born at Bassano in 1765; died at London in 1810. A pupil of Bartolozzi. 335 — The Cartoon of Pisa (After Michel-Angelo) Open letter proof. Good impression, but mounted. SCHIRMER, JOHANN WILHELM Born at Jiilich in 1807; died in 1863. 336 — Landscape with a Rill (From his own design) 337 — Landscape with a Pond and Swans (After his own design) SCHLEICH, ADRIAN 338 — The Song of the Bell (After Christoph Nilson) also A Combat Between Saxons and Franks The Shrine in the Woods Ravin dans le Cantal (By Leroy) The Enchanted Wood Five pieces. One lot. 59 339 — The Song of the Bell (After Christoph Nilson) also Two Scenes from “ Faust ” (After Seibertz) ’ The Return (After Schwind) Two Scenes from Folk-tales Five pieces. One lot. 340 — The Song of the Bell (After Christoph Nilson) also Das Trawinde Koenigspaar (After Lessing) Egmont und Clarchen (After Kaulbach) Famine (After Kaulbach) Les Femmes Souliotes (After Scheffer) Five pieces. One lot. SCHMIDT, GEORG FRIEDRICH Born at Berlin in 1712. At an early age he went to Paris, where he became a pupil of Nicolas de Larmessin. In 1742 he became a member of the Academy at Paris, and in 1744 returned to Berlin, where he was appointed Engraver to the King. In 1757, at the invitation of the Empress Elizabeth, he went to St. Petersburg, returning to Berlin in 1762, and dying there in 1775. “ The productions of Schmidt show ability, originality, and variety. . . . His numerous portraits are excellent, being free and life-like, while the accessories of embroidery and drapery are rendered with effect.” — “ The Best Portraits in En- graving.” 341 — Pierre Mignard (After Rigaud) Jacobi, No. 59. Second state. With the asterisk in the lower margin. This en- graving is usually considered to be Schmidt’s masterpiece. SCHONGAUER, MARTIN Born at Colmar about 1445; died there 1499. Schongauer may be considered as the father of the German school of engraving, and although his works exhibit, at times, a certain Gothic stiffness in the drapery and the attitudes of the figures, this is more than atoned for by the sweetness of expression in the faces, and by the richness of imagination and invention displayed in many of his plates. 342 — The Nativity Bartsch, No. 4. An unusually fine impression. In perfect condition. Extremely rare. 60 343 — Going to Market Bartsch, No. 88. A brilliant, original impression. In perfect condition. This print is extremely rare, especially in such fine condition. 344 — Ten Photographs and One Amand-Durand Reproduction of En- gravings by Schongauer Various subjects. Eleven pieces. One lot. SCHULZE, CHRISTIAN GOTTFRIED Born at Dresden in 1750; # died there in 1819. A pupil of Wille. 345 — The Reading Magdalen (After Battoni) Engraved in 1810. Lower margin torn, but neatly mended. SEMLER, A. A pupil of Steinla. 346 — Madonna and Child, of the Dresden Gallery (After Murillo) Fine proof before all letters. On India paper. Full margins. SHARP, WILLIAM Born in London in 1746; died there in 1824. A pupil of Benjamin West and of the engraver Bartolozzi. “ He ascended to the heights of art, showing a power rarely equalled; his works are constant in character and expression, with every possible excellence of execution; face, form, and drapery — all are as in nature.” — Charles Sumner, “ The Best Portraits in Engraving.” * 347 — The Angel Destroying the Assyrian Camp (2 Kings, xix. 35) (After J. P. de Loutherbourg, R.A.) Baker, No. 1. First state (of three). Proof before all letters. Fine. * 348 — Infant Christ (After Annibal Caracci) Baker, No. 4. Fine impression. Full margin. * 349 — The Virgin and the Infant Saviour (After Carlo Dolci) Baker, No. 5. Fine. Full margins. 61 * 35 ° — Mary Magdalen (After Guido Reni) Baker, No. 12. Fine impression, on India paper. Full margins. * 351 — Diogenes in Search of an Honest Man (After Salvator Rosa) Baker, No. 27. Third state (of five). Very fine proof before title and before painter’s name. Full margin. One of Sharp’s finest plates. * 352 — Portrait of Richard Porson (After Hopprjer) Baker, No. 35. Proof before title, with names of the artists in traced letters only. Fine. Full margin. * 353 — King Charles I. (After Van Dyck) Baker, No. 38. Fine impression, on India paper. Full margin. Van Dyck painted this picture, giving three views of King Charles’ face, to assist Bernini in making his bust of the King. * 354 — Portrait of Thomas Howard, Earl of Arundel (After Van Dyck) Baker, No. 39. Fine. Full margins. Portrait of Filmer Honywood, M.P. Baker, No. 50. Margin has been trimmed. Two pieces. One lot. * 355 — Portrait of Thomas Paine (After Romney) Baker, No. 61. Open letter proof. Fine. Full margins. SIEDENTOPF, C. 356 — Venus Sleeping (After Titian) Fine impression. In perfect condition.' Full margins. SIXDENIERS, ALEXANDRE VINCENT Born in Paris in 1795; died there in 1846. 357 — Honneurs Rendus a Raphael aprfcs sa Mort (After Bergeret) Fine original impression. In excellent condition. 62 SKELTON, WILLIAM Born in London in 1763; died there in 1848. Pupil of James Basire and of William Sharp. 358 — Portrait of David Garrick (After Pine) Fine open letter proof, on India paper. Engraved in 1818. SMILLIE, JAMES Born in Edinburgh, November 23, 1807. In 1820 came to America and settled in Quebec. In 1829 he removed to New York. 359 — The Voyage of Life (After Thomas Cole) (a) Childhood (b) Youth (c) Manhood (d) Old Age Beautiful proofs, on India paper, before all letters. A set of such fine quality is very rarely to be met with. In perfect condition. Four pieces. One lot. 360 — Dover Plains (After Durand) Fine impression, on India paper. Full margins. SMITH, ANKER Born at London in 1759; died there in 1819. A pupil of Taylor, James Heath, and Bartolozzi. 361 — Sophonisba (After Titian) Fine impression. On India paper. Also Venus Engraved by Pound. After Titian. Raphael and His Mistress Engraved by Delaistre. After Deveria. Venus Reclining (After Titian) Four pieces. One lot. 63 SMITH, JOHN RAPHAEL Born in 1752; died in 1812. Eminent as a mezzotint engraver. 362 — Portraits of Francesco Bartolozzi, Agostino Carlini, and G. B. Ci- priani (After Giovanni Rigaud) Engraved in ,1778. A good impression. Signs of mildew in the margins. SMITH, SAMUEL Born at London in 1745; died there in 1808. * 363 — Niobe (After Richard Wilson) Engraved from the painting in the Vernon Gallery. The figures were engraved by Sharp. Beautiful proof before all letters, but with Smith’s name and the date 1788 lightly etched in the lower right hand corner. Fine and rare. Also Landscape with Waterfall (After Ruysdael) Fair impression. Torn and mended. Two pieces. STADLER, FRANS VON 364 — La Vierge aux Anges (After Titian) Published by the North American Bibl. Institution. STEINLA, MORITZ His family name was Muller, but to distinguish himself from numerous contempo- rary artists of this name he called himself after his birthplace, Steinla, near Hildes- heim in Hanover, where he was born in 1791. He died at Dresden in 1858. A pupil of Morghen and of Longhi. 365 — The Madonna of the Burgomaster Meyer (After Holbein) Engraved in 1841. One of Steinla’s best plates. Fine original impression. Full margins. 366 — The Massacre of the Innocents (After Raphael) Fine impression. In excellent condition. 64 STELLA, ANTOINETTE BOUZONNET Her family name was Bouzonnet, but she is usually known as Antoinette Stella. A sister of Antoine and Claudine Bouzonnet. Born at Lyons in 1637. “ Her prints possess considerable merit. . . . Her drawing is generally correct and full of taste.” 367 The Entry of the Emperor Sigismond into Mantua (After Giulio Romano) The complete series of twenty-one plates. All in excellent condition. STOCKS, LUMB 368 — The Ten Virgins (After Lauder) Original impression. Issued in 1846. The surface of the print has been slightly scratched in a few places. Otherwise a good impression. STRANGE, SIR ROBERT Born in one of the Orkney Islands in 1723; died in London in 1792. “ Strange had a style of his own — rich, soft, and peculiarly adapted to the render- ing of flesh-tints. He has engraved more than fifty important plates, chiefly after the great Italian masters. All of his works are highly esteemed by connoisseurs.” — “ The Golden Age of Engraving.” Note . — All of the engravings by Sir Robert Strange, here catalogued, are fine im- pressions, in perfect condition, and with full margins as originally issued. In every case the engraved title is below. Sir Robert Strange, it is said, never printed an edition of proofs before letters. When a proof was definitely ordered from him, in advance, he printed it, but otherwise he had the title engraved in every one of his plates. * 369 — Abraham Dismissing Hagar (After Guercino) Le Blanc, No. 1. * 370 — Esther Before Ahasuerus (After Guercino) Le Blanc, No. 2. * 37 1 — Joseph and Potiphar’s Wife (After Guido Reni) Le Blanc, No. 3. 372 — The Virgin Mary, Her Hands Crossed on Her Bosom (After Guido Reni) Le Blanc, No. 4. * 373 — The Angel of the Annunciation (After Guido Reni) Le Blanc, No. 5. 374 — The Annunciation. The Angel Gabriel in the Dress of a Carmelite (After Guido Reni) Le Blanc, No. 6. 375 — Madonna of St. Jerome. “II Giorno ” : “The Day” (After Cor- reggio) Le Blanc, No. 7. One of Strange’s finest plates. * 376 — The Offspring of Love (After Guido Reni) Le Blanc, No. 8. * 377 — “ Parce Somnum Rumpere.” The Infant Jesus Sleeping (After Carlo Maratti) Le Blanc, No. 9. * 378 — The Infant Jesus as the Good Shepherd, Twisting a Crown of Thorns (After Murillo) Le Blanc, No. 10. * 379 — Christ Appearing to His Mother (After Guercino) Le Blanc, No. 12. * 380 — Saint Agnes (After Domenichino) Le Blanc, No. 13. * 381 — Saint Cecilia (After Raphael) Le Blanc, No. 14. * 382 — Saint Cecilia (After Carlo Maratti) Le Blanc, No. 15. * 383 — Mary Magdalen, Standing, Taking the Pearls Out of Her Hair (After Guido Reni) Le Blanc. No. 16. 66 * 3 8 4 — Mary Magdalen Seated in a Grotto (After Guido Reni) Le Blanc, No. 17. * 385 — Mary Magdalen Reading (After Correggio) Le Blanc, No. 18. * 386— Dido Stabbing Herself on the Funeral Pile (After Guercino) Le Blanc, No. 20. This impression is in a state, undescribed by Le Blanc. It is before the words: “Ad exemplar Tabulae, a Jo. Franc. Barbieri. . . .” etc., etc., below the quotation from the ^Eneid. * 387 — The Finding of Romulus and Remus (After Pietro da Cortona) Le Blanc, No. 21. * 388 — Cleopatra, Seated (After Guido Reni) Le Blanc, No. 22. * 38*9 — Cleopatra, Standing (After Guido Reni) Le Blanc, No. 23. * 390 — Caesar, Putting Away Pompeia, Receives Calpurnia as His Wife (After Pietro da Cortona) Le Blanc, No. 24. * 391 — Belisarius (After Salvator Rosa) Le Blanc, No. 25. * 392 — Apollo Rewarding Merit and Punishing Arrogance (After Andrea Sacchi) Le Blanc, No. 26. * 393 — Venus (After Titian) Le Blanc, No. 27. * 394 — Venus Blindfolding Cupid (After Titian) Le Blanc, No. 28. * 395 — Venus and Adonis (After Titian) Le Blanc, No. 29. 67 *396— Venus Attired by the Graces (After Guido Reni) Le Blanc, No. 30. * 397 — Cupid Sleeping (After Guido Reni) Le Blanc, No. 31. * 398 — Cupid Seated (After Schidone) Le Blanc, No. 32. *399— Cupid Standing (After Carle Vanloo) Le Blanc, No. 33. * 400 — The Judgment of Hercules (After Nicolas Poussin) Le Blanc, No. 34. * 401 — Danae (After Titian) Le Blanc, No. 35. * 402 — Justice (After Raphael) Le Blanc, No. 38. *4<>3— Meekness (After Raphael) Le Blanc, No. 39. *404— Liberality and Modesty (After Guido Reni) Le Blanc, No. 40. * 405 — Fortune (After Guido Reni) Le Blanc, No. 41. * 406 — The Horn Book (After Schidone) Le Blanc, No. 42. * 407 — Return from Market (After Wouwermans) Le Blanc, No. 43. 408 — King Charles I., Standing, and the Duke of Hamilton (After Van Dyck) Le Blanc, No. 45. * 409 — King Charles I., Standing, in His Royal Robes (After Van Dyck) Le Blanc, No. 46. * 410 — Henrietta Maria, Queen of Charles I., with Her Two Sons (After Van Dyck) Le Blanc, No. 48. *411 — Charles, Prince of Wales; James, Duke of York; and Princess Mary, Children of King Charles I. (After Van Dyck) Le Blanc, No. 49. * 412 — Apotheosis of Octavius and Alfred, Princes of England (After Benjamin West) Le Blanc, No. 50. * 413 — Sappho (After Carlo Dolci) Le Blanc, No. 53. * 414 — Raphael (After Raphael) Le Blanc, No. 54. *415 — “ Parmigiani Arnica ” (After Parmigiano) Le Blanc, No. 55. 416 — Portrait of Sir Robert Strange (After Greuze) Le Blanc, No. 62. 417 — Danae (After Titian) Le Blanc, No. 35. A fine impression, but trimmed to plate mark. Liberality and Modesty (After Guido Reni) Le Blanc, No. 40. Trimmed. The surface rubbed in several places. Return from Market (After Wouwermans) Le Blanc, No. 43. A fine impression, but with part of inscription in lower margin trimmed. Three pieces. One lot. 418 — Apotheosis of Octavius and Alfred, Princes of England (After Ben- jamin West) Le Blanc, No. 50. Beautiful impression. With full, margins. A proof before all letters, and before the artists’ names. Rare. 69 STUBBS, GEORGE TOWNLEY Born in 1756; died in 1815. A son of George Stubbs, R.A. His best plates are those engraved, in mezzotint, after the paintings of his father. 419 — Bulls Fighting (After George Stubbs, R.A.) Horses Fighting (After George Stubbs, R.A.) A pair. Fine, open letter proofs. In perfect condition. Published in 1788. Good impressions of the English mezzotints of this period are now exceedingly difficult to procure. Two pieces. One lot. SWANEVELT, HERMAN VAN Born at Woerden in 1620; died at Rome in 1690. He was first instructed by Gerard Dow, but later studied in Italy, after Claude Lorraine. 420 — The Angel Consoling Hagar Bartsch, No. 67. From his own design. TARDIEU, JACQUES NICOLAS Born at Paris in 1718; died there in 1795. A pupil of his father, Nicolas Henri Tardieu. 421 — Robert Le Lorrain (After Nonnotte) Engraved in 1749 for his reception into the Academy. In excellent condition. TARDIEU, PIERRE ALEXANDRE Born at Paris in 1756; died there in 1844. A pupil of his uncle, J. N. Tardieu, and more especially of J. G. Wille. 422 — The Communion of Saint Jerome (After Domenichino) Engraved in 1821. A good impression. With full margins. This is usually con- sidered the finest of Tardieu’s engravings, and good impressions are scarce. 70 TAVERNIER 423 — The Bath (After Blondel) Fine proof before all letters, with the artists’ names only lightly traced with the needle. In perfect condition. Also Daphnis et Chloe Engraved by Gellee, after Hersent. L’lnnocence Engraved by Bervic, after Merimee. Three pieces. One lot. THOMASSIN, SIMON Born at Troyes in 1652; died at Paris in 1732. 424 — Retablissement de la Navigation (After Le Brun) Protection Accordee aux Beaux-Arts (After Le Brun) And Eleven Other Pieces (after the paintings of Le Brun) Engraved by Preislier, Aveline, and Le Clerc. Thirteen pieces. One lot. THOMSON, J. 425 — George Washington From the statue by Chantry. Fine impression, on India paper. Engraved in 1826. Also Benjamin West Engraved by Rolls, after Lawrence. J. C. Fremont Abraham Lincoln J. A. Garfield Israel Putnam and John Paul Jones Seven pieces. One lot. 7i TOFANELLI, ANDREA 426 — /Eneas Crossing the River (After Elisabetta Sirani) Engraved, under the direction of Raphael Morghen, in 1807. Good original im- pression. TOMBA, GIULIO Born at Bologna in 1780. A pupil of Rosaspina. 427 — Rosaspina’s Zeichnungsschule (After Giani) also Les Moissonneurs By Denzler, after L. Robert and four others. Six pieces. One lot. TOSCHI, PAOLO Designer and engraver. Born at Parma in 1788, where he became director of the Academy of Fine Arts, and died in 1858. A pupil of Bervic. “ The last of the great Italian engravers was Paolo Toschi, pupil of Bervic, who was himself a pupil of Wille. It remained for Toschi to discover in the lovely frescos 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 “ Incoro- nata,” and the pair of groups of cherubs may be cited as examples of what Toschi has done for Correggio — and for Art.” — “ The Golden Age of Engraving.” CORREGGIO’S FRESCOS IN THE CAMERA DI SAN PAOLO, A ROOM IN THE CONVENT OF BENEDICTINE NUNS IN PARMA 428 — The Mantelpiece, Showing Diana in her Chariot, and above, Four of the Arcades with Oval Lunettes, with Niches below Remarque proof before the number and before all letters. Very fine. Full mar- gins. In the lower margin the title is written in pencil. The writing resembles that of Toschi. 429 — Diana in a Chariot, Returning from the Chase Signed artist’s proof before the number and before letters, with only the artists’ names slightly traced with the needle. Superb impression. Full margins. 72 430 “ “ Camera di S. Paolo.” No. 3 Two Cupids above; below, Fortuna, with a cornucopia, a rudder, and a globe. Remarque proof before the number and before all letters. On India paper. Full margins. A magnificent impression. On the lower margin, in the handwriting of Toschi, “ Prova di rimarca scelta da Paolo Toschi.” Inside the plate mark is the autograph “ W. C. Macready.” 431 — “ Camera di S. Paolo.” No. 7 Two children above, one carrying a stone on his head; below, a youth, pouring a libation on the altar. Remarque proof before the number and before all letters. On India paper. Full margins. A magnificent impression. Signed “ Paolo Toschi,” and with the autograph “ W. C. Macready.” 432 — “ Camera di S. Paolo.” No. n Two children above, one holding a spear; below, a bearded man, seated in a chair. Remarque proof before the number and before all letters. On India paper. Full margins. A magnificent impression. On the lower margin, in the handwriting of Toschi, “ Prova di ramarca scelta da Paolo Toschi.” With the autograph “ W. C. Macready.” 433 — “ Camera di S. Paolo.” No. 16 Above, two children, one blowing a horn; below, Pan blowing a conch-shell. Remarque proof before the number and before all letters. On India paper. Full margins. A magnificent impression. Signed “ Paolo Toschi,” and with the autograph “ W. C. Macready.” 434 — “ Camera di S. Paolo.” No. 8' Above, two children, one carrying a mask; below, a woman seated, holding a cornucopia and a scorpion. Proof before the number and before letters, with the artists’ names slightly traced with the neeedle. A beautiful impression. Full margins. \ 435 — “ Camera di S. Paolo.” Nos. 5, 6, 7, 8, 9, 10, 10, n, 12, 13, 14, 15, 16 Thirteen pieces. Nos. 7, 8, 9, 11, 13, 16 were engraved by Toschi. Nos. 5, 6, io, 10, 12, 14, 15 by his pupils. All are with letters and all have the artists’ names engraved in the lower margin. No. 7 is signed with Toschi’s initial. No. 11 has an autograph inscription written upon it in pencil. These thirteen impressions are in perfect condi- tion. With full margins. One lot. 436 — Saint Agatha (After the fresco of Parmegiano in San Giovanni) Proof before the number and before letters, with the artists’ names slightly traced with the needle. Beautiful impression. Full margins. 437 — Saint Lucia and Saint Apollonia (After Parmegiano) Signed proof before the number and before letters. With the artists’ names slightly traced with the needle. Signed “ Paolo Toschi.” Beautiful impression. Full margins. 73 43^ — San Giorgio (After Parmegiano) Lettered impression. Signed with Toschi’s initial. Full margins. In perfect con- dition. 439 — Cupola di S. Giovanni : “ Secondo Gruppo di Apostoli ” and “ Terzo Gruppo di Apostoli ” After Correggio’s frescos in the Church of San Giovanni Evangelista. Lettered impressions. Full margins. In perfect condition. Two pieces. One lot. 440 — Cupola di S. Giovanni : “ Gruppo di San Giovanni ” Commenced by Toschi, finished by Raimondi. Lettered impression. Upper mar- gin slightly torn. 441 — San Giovanni Evangelista e San Agostino San Matteo Evangelista e San Gerolamo San Marco Evangelista e San Gregorio San Luca Evangelista e San Ambrogio Being “ Primo,” “ Secondo,” “ Terzo,” and “ Quarto,” “ pennacchio della cupola in San Giovanni,” all after Correggio’s frescos. Lettered impressions. With full margins. In perfect condition. Four pieces. One lot. 442 — Madonna della Scala (After Correggio) The fresco is now in the Gallery of the Academy at Parma. This is acknowledged to be the most beautiful of all Toschi’s engravings, and is one of the few which he engraved throughout entirely with his own hand and without the aid of any of his pupils. A beautiful impression, with the artists’ names only traced with the needle. In perfect condition. With full margins. 443 — The Coronation of the Virgin (After Correggio) Remarque proof before all letters. A superb impression. With full margins. 444 — The Descent from the Cross (After Daniello da Volterra) Remarque proof. With the white square on the ladder, and before the margins of the plate were cleaned. Very fine impression, on India paper. 445 — Madonna della Scodella : Rest on the Return from Egypt (After Correggio) Lettered impression. In perfect condition. Full margins. 74 446 — La Vergine Assunta (After Correggio) Engraved by Toschi’s pupil Raimondi. Lettered impression. Fine. With full margins. 447 — Joannes Evangelista (After Correggio) This impression was given by Toschi to his friend the engraver Pietro Anderloni. It bears an autograph dedication in the handwriting of Toschi. It is with the letters. In fine condition. With full margins. Also SSa. Annunziata (After Correggio) Remarque proof before all letters. On India paper. Fine. With full margins. Two pieces. TROUVAIN, ANTOINE Born at Montdidier in 1650; died at Paris in 1710. 448 — Rene Antoine Houasse (After Tortebat) Engraved in 1707 for his reception into the Academy. In excellent condition. TURNER, CHARLES Born at Woodstock in 1773. Died in London in 1857. In 1828 he was elected an associate member of the Royal Academy. One of the most eminent mezzotint en- gravers of the nineteenth century. 449 — Portrait of a Lady Standing by a Vase of Flowers (After Monier) Engraved in 1804. Very fine proof before letters. Beautiful impression. Full margins. TURNER, J. M. W. (ENGRAVINGS AFTER) 450 — The Town and Castle of Heidelberg Engraved by Prior. Fine impression. Full margins. Excellent condition. 451 — The Town and Castle of Heidelberg Engraved by Prior. Also in fine condition. 75 452 — The Town and Castle of Heidelberg Engraved by Prior. Also in fine condition. 453 — Venice Engraved by Willmore. 454 — Ancient Italy Engraved by Willmore 455— Cologne Engraved by Goodall. Fine proof before letters. 456 - Lake Nemi Engraved by Wallis. Fine proof before letters. On India paper. 457 - Ancient Carthage Engraved by Wilson. 458— Engraved by Willmore. Feteham Park Fine proof before all letters. On India paper. VAN DYCK, ANTONI Born at Antwerp in 1599. In 1615 he entered the studio of Rubens and remained there until 1621, when he visited England, but not meeting with much encouragement returned to Antwerp in the following year. In 1630 he again visited London, and again was forced to return to Antwerp. Two years later Charles I., seeing one of Van Dyck’s portraits, realized how great an artist had left his kingdom, and therefore invited him to return. For the nine years following Van Dyck was the most popular painter in England, and lived in almost royal manner until his death in 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 ex- quisite refinement. . . . His aims were few, his choice of means instinctively wise and right, his command of them absolute, his success complete.” — P. G. Hamerton. 459 — Por of Desiderius Erasmus Carpenter, No. 5. Wibiral, No. 5. Fourth state, after the address G. H. had been effaced from the plate. Excellent impression. In perfect condition. “ Jamais personne n’a si bien rendu le dessin precis et serre d’Holbein .” — “ Gazette des Beaux-Arts,” 1875, p. 264. 76 VASI, GIUSEPPE Born at Corleone, in Sicily, in 1710; died at Rome in 1782. His works number several hundred plates. Piranesi was his pupil. 460 — Eight Engravings of Roman Scenes All are in poor condition. All are mounted on linen. Some duplicates. VELDE, JAN VAN DE Born at Leyden in 1598. Died in 1679. A pupil of Moises van Uytenbroeck. 461 — A Series of Twelve Landscapes, Including a Scene of Marketing The complete set. Twelve pieces. One lot. VENDRAMINI, GIOVANNI Born at Roncade, near Bassano, in 1769. At the age of nineteen he came to Lon- don and studied with Bartolozzi. He died in London in 1839. 462 — The Raising of Lazarus After the painting by Sebastiano del Piombo, from a drawing furnished by Michel-Angelo. Engraved in 1828. Very fine original impression. In perfect con- dition. Full margins. VERTUE, GEORGE Born at London in 1684; died there in 1756. Note. — All the below-catalogued portraits by Vertue are fine impressions. With full margins. 463 — Portrait of Francis Beaumont 464 — Portrait of Samuel Butler (After Soest) 465 — Portrait of Geoffrey Chaucer 466 — Portrait of Abraham Cowley (After Sir Peter Lely) 467 — Portrait of John Fletcher 468 — Portrait of John Gower 469 — Portrait of Henry Howard, Earl of Surrey (After Hans Holbein) 470 — Portrait of Ben Jonson (After Gerard Honthorst) 471 — Portrait of John Milton 472 — Portrait of Edmund Spenser 77 VILLAMENA, FRANCESCO Born at Assisi about 1566; died at Rome in 1625. A pupil of Cornelis Cort. 473 — Les Gourmeurs, or Henri IV. Contre la Ligue Engraved by Villamena, in 1601, from his own design. Fine impression. In ex- cellent condition. Rare. VISSCHER, CORNELIS Born at Amsterdam (or Haarlem) in 1629(F); died in 1670(F). He was a pupil of Soutman, but formed a style of his own, which, especially in portraits, is unsurpassed in boldness and picturesque effect. 474 — The Strolling Musicians (After Van Ostade) Smith, No. 80. Second state (of four). With the names of the artists, but before the address of CL de Jonghe. Fine impression. Rare. 475 — The Sleeping Cat (From Visscher’s own design) Smith, No. 46. Good impression, but pasted down. “ We turn with a peculiar liking to his less pretentious print of an old cat taking her noonday nap, while a gray old veteran of the rat-hole steals out behind her. This quaint little print has the effect of a familiar family portrait.” — “ The Golden Age of Engraving.” VISSCHER, JAN Born at Amsterdam in 1636; died about 1695. A younger brother of Cornelis Visscher. Although Jan did not possess the genius of his older brother, his plates are admirably executed, and are, as a rule, finely finished. 476 — Portrait of Pieter Proelius (After Van Noort) Nagler, No. 4. Second state, with the name of Nicolaus Visscher as publisher. Also A Beggar Engraved by Pieter Quast. The Ferry Engraved by Jan Visscher, after Van Goyen. Three pieces. One lot. 78 VIVARES, FRANCOIS Born near Montpellier in 1709, and was compelled by his father, a tailor, to follow the paternal calling until he succeeded in getting to England, where he placed him- self under the tuition of J. B. Chatelain. He died in London in 1782. He was a con- temporary of William Woollett, and his landscape engravings are little inferior in beauty to those engraved by Woollett himself. 477 — Moonrise (After Van der Neer) Engraved in 1751. Good original impression. In perfect condition. . 478 — The Temple of Apollo (After Claude Lorraine) VOLKMAR, CHARLES 479 — Old Mill on the Paint Branch, Maryland Original etching. Executed in 1859. Also Three Other Landscapes by Various Artists Four pieces. One lot. VOLPATO, GIOVANNI Born at Bassano in 1738; died at Rome in 1803. A pupil of Joseph Wagner, at Venice. 480 — The Defeat of Attila (After Raphael) Passavant, No. 107. One of the seven plates of The Stanze in the Vatican. Margin has been trimmed. WAGNER, FRIEDRICH Born at Nuremberg in 1803; died at Munich in 1876. 481 — The Last Supper (After Leonardo da Vinci) Fine proof, with the title in traced open letters only. Slightly torn in margin on either side. A brilliant impression. 79 WATERLOO, ANTONI Born about 1618, near Utrecht or Amsterdam; died at Utrecht about 1670. Though his paintings are prized, his greatest claim to consideration is as an etcher. He exe- cuted 136 of landscape subjects, after his own designs, from nature. They are etched with great spirit and freedom, in a masterly manner, and are often retouched with the graver to harmonize the lights and strengthen the shadows. 482 — Le Rocher Perc6 • Bartsch, No. 3. 483— L’Hermitage Bartsch, No. 4. 484— Le Petit Pont du Bois Tortueux Bartsch, No. 6. 485— Le Petit Pont du Bois Tortueux Bartsch, No. 6. 486— Les Trois Pecheurs a la Ligne sur le Petit Pont Bartsch, No. 13. 487— Le Chariot sur le Chemin de Schevelingue Bartsch, No. 15. 488— Le Cimetifere au Bord de l’eau Bartsch, No. 22. 489— Le Clocher Pointu du Village au Bord de la Mer Bartsch, No. 24. 490— Le Vogageur Passant k Cote de Deux Grands Arbres Bartsch, No. 27. 491— La Femme sur le Petit Pont du Bois Bartsch, No. 34. 492— Le Troupeau de Moutons Traversant l’eau Bartsch, No. 35. 493 — Les Deux Patres au Pied de l’Arbre Bartsch, No. 37. 80 494 — L'Homme et la Femme au Pied du Chene Bartsch, No. 41. 495 — 496— 497 — 498— 499 — 500 — 501— 502 — 503 — 504— 505 — 506 — Le Voyageur Pres du Bois Bartsch, No. 53. L'Entrde du Bois Entouree d’une Haie Bartsch, No. 55. L’Arbre Cru de Biais Bartsch, No. 58. L’Homme et la Femme Prfes du Petit Pont Bartsch, No. 59. L’Allee au Bois Bartsch, No. 62. Le Porte-faix Bartsch, No. 65. Le Chemin Pr£s du Grand Chene Bartsch, No. 66. Les Deux Allees Bartsch, No. 67. Le Village au Bord du Canal Bartsch, No. 91. Le Village Dans la Vallee 'Bartsch, No. 93. La Paysanne et la Fille sur le Petit Pont de Bois Bartsch, No. 114. Apollon et Daphne Bartsch, No. 126. 81 WEIROTTER, FRANZ EDMUND Born at Innspruck in 1730; died at Vienna in 1771. 507 — A Rocky Landscape Has been pasted down. WEST, BENJAMIN Born in Chester County, Pennsylvania, in 1738; died in London in 1820. On the death of Sir Joshua Reynolds, West was elected president of the Royal Academy. Woman with Doves (After Caspar Morsch) This etching is rare. 508— WILLE, JOHANN GEORG Born near Konigsberg in 1717. Established himself in Paris, where he became the founder of an important school of engravers, and died, after many vicissitudes of fortune, an old and a poor man in 1808. “ His neat and careful style was adapted to pictures of the school of Gerard Dow, as well as to elaborate portraits, and there is no engraver whose works are more eagerly sought for and more universally admired. . . . His ‘ Satin Gown ’ and ‘ The Travelling Musicians ’ are his acknowledged masterpieces, but not less worthy of praise are ‘ The Death of Marc Antony,’ ‘ La Liseuse,’ and ‘ La Devideuse.’ . . . ‘ The Family Concert,’ and the small pair entitled ‘ The Good Woman of Normandy ’ and her ‘ Sister ’ — two ‘ magnificently ugly old women.’ ” — “ The Golden Age of Engraving.” 509 — Hagar Presented to Abraham by Sarah (After Christian Dietrich) Le Blanc, No. 1. First state, before the arms and before all letters. Very fine and very rare. 510 — The Death of Marc Antony (After Pompeo Battoni) Le Blanc, No. 4. First state, with the arms, but before all letters. Rare. Very fine impression. Full margins. *511 — The Family Concert (After Schalken) Le Blanc, No. 54. Second state. Full margins. 512 — Paternal Instruction: “ The Satin Gown ” (After Terburg) Le Blanc, No. 57. Third state. Les Bons Amis (After Adrien van Ostade) Le Blanc, No. 56. Second state. 82 5 ^ 4 “ * * 5i5“ Le Jeune Joueur d’Instrument (After Schalken) Le Blanc, No. 57. Third state. Les Soins Maternels (After Pierre Alexandre Wille) Le Blanc, No. 59. Fifth state. * 516 — Tante de Gerard Dow (After Gerard Dow) Le Blanc, No. 60. Fourth state. A fine impression. 517 — Bonne Femme de Normandie Soeur de la Bonne Femme de Normandie (After Pierre Alexandre Wille) Le Blanc, Nos. 71-72. Third states. Two pieces. One lot. 518 — Sapeur des Gardes Suisses (After Wille’s own design) Le Blanc, No. 86. Fourth state. Fine. 519 — Louis Phelypeaux, Comte de Saint Florentin (After Jean Louis Tocque) Le Blanc, No. 124. Fourth state. WOLFF, A. 520 — Seven Etchings of Hunting Scenes and of Animals also One Etching. Scene in Italy By C. Trippel In paper wrapper. As issued. Eight pieces. One lot. WOLLETT, WILLIAM Born at Maidstone, Kent, in 1735; died at London in 1785. A pupil of John Tinney and Vivares. He formed a style of his own, successfully combining the use of aqua- fortis, the dry-point, and the burin, and produced landscape engravings of a perfection unknown before his time. His plates after Richard Wilson and Claude Lorraine have never been surpassed, and are equalled only by th6 superb etchings of Claude Lorraine himself. 521 — Portrait of King George the Third (After the painting by Allan Ramsay) Fagan, No. 52. A fine impression. Full margins. 83 522— Celadon and Amelia (After the painting by Richard Wilson) Fagan, No. 57. Very fine impression of this beautiful plate. 523 — The Fishery (After the painting by Richard Wright) Fagan, No. 61. A good original impression. Engraved in 1764. 524 — The Apple Gatherers (After the painting by George Smith, of Chichester) Fagan, No. 62. A good impression. No margins. Mounted on a card. 525 — Ceyx and Alcyone (After the painting by Richard Wilson) Fagan, No. 65. Third state (of seven). Proof before the first published state, before all letters, and before the artists' names. A superb impression. Full margins. Extremely rare. 526 — Death of Meleager (After the painting by Richard Wilson) Fagan, No. 103. Fourth state (of eight). Proof before the first published state, with the artists’ names in traced letters only. A superb impression. Full margins. Rare and very fine. 527 — Jacob and Laban. “ II Ponte ” (After the painting by Claude Lorraine) Fagan, No. 116. First state (of six). The etching. Very fine and exceedingly rare. Beautiful impression. A slight water stain in the lower left-hand corner. An impres- sion in this state, and of such fine quality, has rarely been offered for sale in America. 528 — Dido and ./Eneas (After the painting by Thomas Jones and J. Hamilton Mortimer) Fagan, No. 117. Second state (of five). With the crests of the waves, and the high lights on the horses, white. Before the border of the plate was cleaned. Beauti- ful impression. Very rare in this state. WORLIDGE, THOMAS Born at Peterborough, in Northamptonshire, in 1700; died at Hammersmith in 1766. A pupil of Grimaldi and L. Boitard. His etchings are in the manner of Rembrandt. 529 — Two Portraits of Men with Fur Caps 530 — Portrait of a Young Man with a Flat Cap Portrait of a Man with a Square Beard And seven other pieces. One lot. 84 ETCHINGS BY MODERN MASTERS ABBEMA, W. 531— The River Bed The House in the Wood (After C. F. Lessing). Two pieces. One lot. APPIAN, ADOLPH Born at Lyons in 1819. A pupil, in painting, o'f Corot and Daubigny. “ My admiration tor Appian’s work as an etcher (he is a charming painter also) was already great several years ago, but the more I see how rare his qualities are in contemporary art, or in any art, the more I feel disposed to value them.” — P. G* Ham'erton. 532— An Open Stream “This is one of the most masterly of Appian’s etchings The sky and distance are delightful in quality.” — P. G. Hamerton. Proof on Japanese paper. Fine. 533 — The Lake in the Woods Proof on India paper. BELLOWS, A. F. 534 — The Midstream Etched by Bellows, after his own painting. Signed artist’s proof. BODMER, K. 535 — Six Etchings of Various Animals All good impressions. Mounted on heavy cards. Six pieces. One lot. CALAME, ALEXANDRE Bom at Vevay, Switzerland, in 1810 ; died at Mentone, in 1864. 536- Solitude Etched after his own painting. 85 537- The Torrent Etched after his own painting. 538- An Alpine Torrent The Bathers Etched from his own paintings. Proofs on India paper. Two pieces. One lot. CARMIENCKE, JOHANN HERMANN Born at Hamburg in 1810; died at New York in 1867. He etched thirty-five plates. All are carefully and neatly executed. 539 — The Mill Eight impressions of this subject. One lot. 540— The Lake Ten mpressions. One lot. 541 — The Huntsman Four impressions. One lot. 542— The Great Oak Five impressions. One lot. 543 — Interior of the Rochsburg, Saxony Twenty-four impressions. One lot. CHAMPOLLION, E. 544 — Choosing the Model (After Fortuny) Fine proof on Japanese paper. The artists’ names lightly traced with the needle. “ Le Choix du Modele, une des plus chatoyantes estampes gravies par Champol- lion, et dont les 6preuves avant la lettre, aujourd’hui £puis£es, sont tr£s d£sir£es par les collectionneurs, qui en offrent 150 ou 200 fr.” — Henri Beraldi, "Les Graveurs du XIX e Siecle." 86 COROT, JEAN BAPTISTE CAMILLE Born at Paris in 1796 ; died there in 1875. “ The few etchings of Corot have one merit and charm — they do certainly recall to mind, by association of ideas, his charming work in oil, so full of the sweetest poetical sentiment. All sins are forgiven to the true poets.” — P. G. Hamerton. 545 — Environs de Rome Proof on Japanese paper. CRUIKSHANK, GEORGE Born at London in 1792 ; died there in 1878. “ This artist is a personage of exceptional endowments. His invention is vivid, and his power of drawing the figures invented is singularly sprightly and precise.” — P. G. Hamerton. 546— The Signs of the Zodiac Twelve humorous etchings. Excellent impressions. In paper wrapper. One lot. EVERSHED 547— The Village Street Proof on Japanese paper. \ 548— A River Bank Proof on India paper. FORTUNY, MARIANO Born at Reus, in Spain, in 1838 ; died at Rome in 1874. “Ces eaux-fortes, d’un travail tr6s £gratign£ et grignotg, sont d’un aspect tr£s original et du plus grand int£ret.” — Henri Beraldi, “ Les Graveurs du XIX* Steele .” Good impressions of Fortuny’s etchings are rare. Of his twenty-nine etchings, nineteen are included in the present collection. 549— Kabyle Mort Beraldi, No. 2. Fine impression on Holland paper. Full margins. 87 550- Serenade Beraldi, No. io. Note. — This, like all the seventeen etchings by Fortuny catalogued below, is a fine impression, on India paper, with full margins, in perfect condition. SSI- Amateur de Jardin Beraldi, No. n. 552— Croquis Beraldi, No. 12. 553— Un Pouilleux Beraldi, No. 13. 554— Une Rue de Seville Beraldi, No. 14. 555— Muletier Beraldi, No. 15. 556- Anachorete Beraldi, No. 16. 557— Tanger. Arabes Assis Beraldi, No. 17. 558- Deux Cardinaux Beraldi, No. 18. 559— Marocain Assis Beraldi, No. 19. 560— Cheval du Maroc Beraldi, No. 20. 561— Eglise St. Joseph a Madrid Beraldi, No. 21. 562— Marechal-ferrant au Maroc Beraldi, No. 22. 563— Meditation Beraldi, No. 23. 88 564— Diplomate Beraldi, No. 24. 565— Portrait du peintre Zamacois Beraldi, No. 25. 566— Sujet Sans Titre Beraldi, No. 26. 567— Homme se Roulant a Terre Beraldi, No. 27. GAUCHEREL, LEON “ All M. Gaucherel’s etchings are distinguished by great clearness and knowl- edge.” — P. G. Hamerton. 568 — The Avenue, Middleharnis (After Hobbema) “ A most successful rendering of the curiously clear, quaint, and stiff landscape of Hobbema.” — P. G. Hamerton. Proof on Japanese paper. Also The Farm by the River By Haseltine “Ring Out, Wild Bells” Proofs on Japanese paper. Three pieces. One lot. HADEN, SIR FRANCIS SEYMOUR Born in London, September 16, 1818. The greatest etcher of landscape of this (or perhaps any) century. “ An artist of rare endowment and consummate skill. . . . He is a master of foliage ; he has drawn trees magnificently, both as to wood and leaves. There is no better stem or branch drawing than his in all contemporary art.” — P. G. Hamerton. 569 — Out of Study Window Drake, No. 17. First state. Signed artist’s proof on Japanese paper. “ With the single exception of Whistler, there is not another etcher in England who would not have killed this sky in trying to finish it.” — P. G. Hamerton. 89 570 — Out of Study Window Drake, No. 17. First state. Signed artist’s proof on vellum. Rare. 571 — On the Test Drake, No. 19. First state. Fine impression on Japanese paper. Unsigned. The artist writes of this plate : “ The Test (in Hampshire) is a famous trout stream.” 572 — Kidwelly Town Drake, No. 22. First state. Signed artist’s proof on vellum. Fine and rare. 573 — Kidwelly Castle Drake, No. 23. First state. Signed artist’s proof on Japanese paper. 574 — Amsterdam Drake, No. 36. Trial proof A. In the handwriting of the artist, “ fragment only.” Signed artist’s proof on Japanese paper. Rare. “Two or three proofs only were taken, and the plate was divided into Nos. 3 7 and 38, the other three sketches being destroyed.” — Drake. 575— Near the Grand Chartreuse (After Turner) Drake, No. 49. First state. Signed artist’s proof on Whatman paper. This plate was etched as a preparation for mezzotint, but with the exception of the rock and the two trees in the foreground, no mezzotint work was done upon it. 576— The Fisherman Drake, No. 61. Trial proof A. Signed artist’s proof on Holland paper. In the handwriting of the artist “ A Fisherman, Maple Durham,” and “A Delatre — S. Haden.” 577— Penton Hook Drake, No. 62. Trial proof B. Signed artist’s proof on Japanese paper. Rare and fine. 578— Drake, No. 63. point work. 579— Puff. A Dog Asleep on a Chair Drake, No. 94. First state. Signed artist’s proof. The dog belonged to Mr. Charles A. Cole. The Lover’s Walk First state. Signed artist’s proof. A fine impression, rich in dry- go 580— Twickenham Church Drake, No. 95. First state. A fine impression. Unsigned. 581 — Yacht Tavern, Erith Drake, No. 101. Trial proof A. Signed artist’s proof on heavy Japanese paper. A beautiful impression of this rare print. 582 — Firs. A Study Drake, No. 113. First state. Signed artist’s proof. 583— The Three Sisters Drake, No. 116. First state. Signed artist’s proof on Whatman paper. Rare and fine. 584 — The Turkish Bath, with Two Figures Drake, No. 118. First state. Signed artist’s proof. 585 — Opposite the Inn, Purfleet Drake, No. 122. First state. Signed artist’s proof on Whatman paper. Of this plate the artist writes : “ A very fair rendering of the Thames below London.” 586 — The Breaking up of the “ Agamemnon ” Drake, No. 128. Trial proof between B and c. Undescribed by Drake. Signed artist’s proof. On the lower margin, in the handwriting of the artist: “Trial proof. Very rare. Cathedral in background, before much work in sky, and before extra balk of timber.” This is, most probably, an unique impression of this magnificent etching. “ With such a subject as this for a motive, an etcher will do manly work if the strength to do it is in him. And this is manly work.” — P. G. Hamerton. Also , counterfeit of the above, etched by Barry. Two pieces in all. 587— Sawley Abbey Drake, No. 131. Second state. With a sheep and a lamb in the foreground to the right. Undescribed by Drake. Signed artist’s proof. In the handwriting of the artist, “ 1 3 1 , undescribed, 2d st.” 588— Scotch Firs — Inveroran Drake, No. 133. First state. Signed artist’s proof on Whatman paper. 589— Calais Pier (After Turner) Drake, No. 140. Trial proof C. From a portion of the plate, the foreground em- bossed in white from the uninked etched lines. Signed artist’s proof. 91 590 — Hand Painting Drake, No. 142. Trial proof A. Marked by the artist, “ fragm 1 only.” 591— Hands Dry-Pointing Drake, No. 143. Trial proof b. Signed artist’s proof. A rich impression. 592— The Keep Drake, No. 151. Signed artist’s proof. In the handwriting of the artist, ** 15 1, undescribed st.” 593 — The Sluice Drake, No. 152. First state. Signed artist’s proof. Very rich in dry-point work. 594 — The Cabin Drake, No. 153. the tree, are absent. State undescribed by Drake. Signed artist’s proof. Fine. The two figures, near the root of 595— Newton Manor Drake, No. 157. Undescribed state, with deer. Signed artist’s proof. In the handwriting of the artist, “ 157, undescribed.” 596 — Wareham Bridge Drake, No. 159. Undescribed trial proof, before the additional dark work on the houses. Rare and very fine. The artist considers this to be one of his best plates. Signed artist’s proof. 597 — A Backwater Drake, No. 161. Trial proof, before the S in Seymour was changed, before addi- tional lines above the signature, and before the trees were added in the distance. Un- described by Drake. Signed artist’s proof. Marked “ trial ” in the handwriting of the artist. 598 — A Backwater Drake, No. 161. First state. Signed artist’s proof. Unusually rich in dry point work. 599 — A Backwater Drake, No. 161. Second state. Undescribed by Drake. With five ducks on the bank to the right. Signed artist’s proof. In the handwriting of the artist, “ with 5 duck." 92 600 — The Two Cows Drake, No. 163. Trial proof B. Signed artist’s proof. Rare and fine. 601 — The Two Cows Drake, No. 163. State undescribed by Drake. With a third cow in the foreground to the right, and both cows, in the middle distance, shaded. Signed artist’s proof. In the handwriting of the artist, “ 163, not described — 1st st.” 602 — The Willows Drake, No. 164. Trial proof A. Signed artist’s proof. 603 — Dusty Millers Drake, No. 165. Trial proof A, before the man getting over the stile. Signed artist’s proof on Japanese paper. In the handwriting of the artist, “ 165. Trial. Jan 6 1878.” 604 — The Amstel Drake, No. 177. Trial proof, undescribed by Drake. Before the words “Royal Institution, March 29, 1879, Seymour Haden.” Signed artist’s proof. Rare in this state. Etched on zinc. 605— Windsor Drake, No. 183. First state, before the bushes, in front of the boys, were removed. Signed artist’s proof. It is rare, as but twenty-five proofs in this State were printed. Also Counterproof of a Portion of an Undescribed Trial Proof of “ Windsor” Signed proof. In the corner, in the handwriting of the artist, “ 183 Rev. Trial.” Two pieces in all. 606 — Greenwich Drake, No. 184. Second state. Signed artist’s proof. Fine. ' v 1 ■ * V ’ " r ‘ V • j < . 607 — Breaking Up of the “Agamemnon” Drake (supplement), No. 188. Signed artist’s proof. In the handwriting of the artist, “ not published or described.” This is an impression of the etching only, be- fore the plate was mezzotinted, and is very rare. 608 — A Lancashire River Drake (supplement) No. 191. Very fine proof, with the following inscription in the handwriting of the artist : “ To Dr. Charles E. West, in pleasant remembrance of 1883. F. Seymour Haden.” This is one of the artist’s favorite plates, and is one of his best. 93 Encombe Woods 609- Drake (supplement), No. 192. Signed artist’s proof. In the handwriting of the artist : “Unpublished, not in Drake. July 1, 1882.” 610 — The Four Cows Drake (supplement), No. 197. Trial proof A. Signed artist’s proof. In the hand- writing of the artist : “ trial (a).” 611- ETUDES A L’EAU-FORTE PAR FRANCIS SEYMOUR HADEN Notice et Descriptions par Philippe Burty (1866) A complete set of this superb series, as issued, in a half-morocco portfolio, lettered. Only one hundred and eighty sets were issued, and the majority of these have been, long since, broken up, and the proofs disposed of singly. Philip Gilbert Hamerton, writing of these etchings, says : “ No issue of etchings ever had such rapid and complete success. The reviews of them were very num- erous ; all the London papers noticed them, and every review was in a strain of almost unmixed eulogy. The subscription list was rapidly filled, though the price went beyond even English custom, and in a few weeks one of the busiest surgeons in London found himself one of the most celebrated artists.” With the exception of the head- and tail-pieces, each proof bears the signature of Seymour Haden. Upon the fly-leaf, in the handwriting of the artist: “Charles E. West, Esq r , M.D., LL.D., &c., &c. F. Seymour Haden.” The set comprises the following etchings : Hands Etching (on Title-page). Kidwelly Castle (Head-piece to the Introduction). The Holly Field (Tail-piece to the Introduction). The Little Calais Pier (Head-piece to the Catalogue). View of the Port of Amsterdam (Tail-piece to the Catalogue). Out of Study Window. Battersea Reach. Kensington Gardens. The small plate. The Towing Path. Sunset on the Thames. Fulham. Shepperton. Whistler’s House, Old Chelsea. Kew Railway Extension. Early Morning in Richmond Park. 94 Thames-Side at Kew. Egham. Egham Lock. Brentford Ferry. A Sunset in Tipperary. The Tevy at Cardigan. Kilgaren Castle. S House of Benjamin Davis, Smith. Kenarth, South Wales. Newcastle in Emlyn. Shere Mill Pond. Evening. Kidwelly Town. Mytton Hall, Lancashire Thomas Haden. After Wright of Derby. No set of etchings ever issued contains so many masterpieces as does the “Etudes k 1’eau-forte,” and it is very unlikely that an unbroken set of such fine quality will be offered for sale for many years to come. To be sold as a set. HAMERTON, PHILIP GILBERT 612— The House by the Lake Original etching. Proof on Japanese paper. 95 THIRD EVENING’S SALE Wednesday, March 27 th AT THE AMERICAN ART GALLERIES BEGINNING AT 7.30 O’CLOCK HUGO, VICTOR 613 — L’Eclair Etched in 1868. Proof on Holland paper. JACQUE, CHARLES Born at Paris in 1813. “ He will certainly be remembered as one of the master etchers of our time. . . . No man ever drew poultry better. His deep and sincere love of simple country-life gives a great charm to many of his etchings, and is entirely conveyed to the spectator.” — P. G. Hamerton. 614 — Collection Published in 1864 Guiffrey, Nos. 177-201, inclusive. Twenty-five plates on 24 sheets. The complete set. Large paper, Holland. Very fine. In portfolio as issued. This set contains, together with that issued in 1865, some of Jacque’s most admired plates. To be sold as a set. 615 — Collection Published in 1865 Guiffrey, Nos. 202-212, inclusive ; together with Guiffrey supplement. Nos. 213, 214,215. Fourteen plates in all. On India paper. Very fine set. In a portfolio. To be sold as a set. 616 — Eaux-Fortes Anciennes First series. Complete set, Nos. 1 to 24. Fine, on large paper. In a portfolio. Rare. Twenty-four pieces. To be sold as a set. 96 617 — Eaux-Fortes Anciennes Second series. Complete set, numbers 25 to 48. Fine, on large paper. In a portfolio. Rare. Twenty-four pieces. To be sold as a set. JACQUEMART, JULES Born at Paris in 1837 ; died at Paris in 1880. 618 — Etchings of Pictures in the Metropolitan Museum, New York. Ten etchings from pictures, and an original etched title-page. Eleven pieces. A beautiful set, as issued. Paper wrappers. In a half-morocco folio. The marvellous facility with which Jacquemart has interpreted the works of masters so entirely different in style, must always remain a matter for study and wonder. The subjects are as follows : 1. The Sorceress. After Frans Hals. 2. A Young Girl. After Greuze. 3. Repose. After Berghem. 4. The Moerdyck. After Van Goyen. 5. Saint John Visiting the Infant Jesus. After Jordaens. 6. Portrait of Jacob Van Veen. After Heemskerck. 7. Interior of a Dutch Cottage. After Kalf. 8. Portrait of a Young Woman. After Cranach. 9. A Dutch Burgomaster. After Van der Heist. 10. A Young Dutch Gentleman. After De Vries. All are proofs on hand-made paper. All are very fine impressions. To be sold as a set. JONGKIND, JOHANN BARTHOLD Born at Lothrop, in Holland, in 1819. A pupil of Isabey. “Jongkind i s invaluable to the student of etching as an example of simple line work pushed to its utmost extreme. . . . Rude as this sketching looks, and imper- fect in many respects as it really is, the qualities that belong to it are never attained in art without the combination of talent approaching to genius, and study of a very observant and earnest kind.” — P. G. Hamerton. 619 — The Town of Maaslins, Holland “ The strange interest of the skating figures in this composition . . . gives us the notion of skating far better than more elaborately drawn figures would do.” — P. G. Hamerton. Fine proof on Japanese paper. 620— 7 Canal near Rotterdam— Winter Fine proof on Japanese paper. 97 KINGSLEY, ELBRIDGE One of the foremost wood-engravers of the American School. 621 — The Wreck Wood-engraving, from his own design. Fine proof on India paper. Also Landscape with a River Proof on India paper. Two pieces. One lot. LALANNE, MAXIME Born at Bordeaux in 1827 ; died in 1886. A pupil of Gigoux One of the founders of the Societe des Aqua-Fortistes. In 1875 he was made a Chevalier of the Legion of Honor. From the King of Portugal Lalanne received the Order of Christ, he being the first etcher so honored. “No one ever etched so gracefully as Maxime Lalanne. . . . He is also essentially a true etcher ; he knows the use of the free line, and boldly employs it on due occasion.” — P. G. Hamerton. 622 — Rochers a Granville Beautiful proof, on Japanese paper, before the plate was cut, and the lower, blank margin reduced in size. Unique. This etching was shown, with others, at the Salon in 1874, and won a medal for Lalanne. LALAUZE, ADOLPH “One of the most skilful original etchers in the modern French School.” — P. G. Hamerton. 623 — La Diseuse de Bonne Aventure (After Willems) and Ten Other Etchings By Gaujean, Flameng, Jacquemart, Koepping, and others, after various painters. Eleven pieces, as published in L' Art. One lot. MERYON, CHARLES Born at Paris in 1821 ; died at Charenton in 1868. The years from 1842 to 1846 were spent in a voyage of circumnavigation, and at this time he made those draw- ings of New Zealand subjects which, upon his return to Paris, he etched. In 1850 he took chambers in the Rue St. Etienne du Mont, and in the next four years produced the great work of his life — Eaux Fortes sur Paris. Though these masterly etchings were appreciated by a few enlightened connoisseurs, the general public would have 98 none of them, the publishers refused them, and the artist, driven mad by want, neglect, and disappointment, ended his days in the insane asylum atCharenton. “ M6ryon was one of the greatest and most original artists "who have appeared in Europe. He is one of the immortals. His name will be inscribed on the noble roll where Diirer and Rembrandt live for ever.” — P. G. Hamerton. 624— L’Abside de Notre Dame de Paris Burty, No. 52. Wedmore, No. 22. Fine impression, on India paper. Full margins. “This view of Notre Dame is strikingly majestic. The Cathedral . . . appears to have exercised a great influence over Meryon’s dreamy spirit, and to it we owe his loveliest plate.” — Philippe Burty. PARK. 625 — The Romantic House (After Constable) The Cornfield (After Constable) also Schwabel Weiss (By Backer) Proofs before letters, on Japanese paper. Three pieces. One lot. PLATT, CHARLES A. “ In the great art of omitting, Mr. Platt is, in truth, accomplished, and this is what gives his prints their simplicity, their harmony, their breadth and unity of effect.” — American Etchers , by Mrs. Schuyler van Rensselaer. 626 — The Market Slip, St. John, N. B., at Ebb Tide Signed artist’s proof, on Japanese paper. This is, without question, one of the art- ist’s finest plates, and one of the best etchings ever produced in America. UNGER, WILLIAM “ It is difficult, in an age which has produced half a dozen artist engravers of the very highest rank, to say which of them is king ; but if any critic were to give the su- preme station to Unger he might maintain his decision by the argument that this artist has etched more plates of uniform good quality than any one else.” — P. G. Hamerton. 627— Queen Catarina Cornaro Honored by the Venetians (After Hans Makart) Fine proof, before all letters, on India paper. Also A Presentation to Marie de Medici (After Rubens) Fine proof, before all letters, on India paper. Two pieces. One lot. 99 628 — Radirungen Nach Frans Hals, von Prof. William Unger. Mit Text von Dr. C. Vosmaer. (Leiden, 1873.) Ten plates. All proofs on India paper. A beautiful set, in perfect condition, with the original paper wrappers as issued. In a cardboard folio. Fine. To be sold as a set. WALTNER, CHARLES One of the foremost “ reproductive etchers” of the nineteenth century. 629 — Repose (After Louis Leloir) A Burgomaster (After Jordaens) The China Vase (After Fortuny) Fine proofs on Japanese paper. Three pieces. One lot. WHISTLER, J. McNEILL “In individuality, in sentiment, and in the free, frank, artistic, and ‘telling’ use of the line, he has no superior among the moderns and few equals in any age. His work is, at times, extremely strong and always supremely delicate, and wonderfully vital and original.” — American Etchers, Mrs. Schuyler van Rensselaer. 630 — The Lime Burner Wedmore, No. 44. Fine impression, with full margins. One of the sixteen “Thames Etchings,” and one of the best. Rare. 631 — Becquet. “The Fiddler” Wedmore, No. 48. Very clear impression on heavy Japanese paper. One of the “Thames Etchings.” Competent critics have pronounced this magnificent plate “ worthy of Rembrandt himself.” Further than this praise cannot go. Rare. 632— Annie Haden, Standing Wedmore, No. 5 7. A fine impression of this very rare dry point. WILKIE, SIR DAVID Born in 1785 ; died in 1841. “The characteristics of Wilkie’s best plates are good composition and happy selec- tion of line.” — P. G. Hamerton. 633 — A Dutch Interior : Lady seated in an Armchair, a Child Playing with her Cap A beautiful impression, on India paper. Full margins. 634— Exterior of a Cottage : In the Manner of Adrian Van Ostade and The Reading of the Will Beautiful impressions on India paper. The two plates printed upon one sheet. Two pieces. One lot. 100 635— Gentleman at his Desk A superb impression. Very rich in dry-point work. On India paper. Full mar- gins. Of this plate, Hamerton writes : “ It is equal to the best work of the old masters.” 636 — Benvenuto Cellini presenting, for the approval of Pope Paul III., a Silver Censer of his own Manufacture A magnificent impression, on India paper. “ One of the finest etchings ever produced in England.” — P. G. Hamerton. 637 — (a) A Lady at a Window, reading a Letter (b) A Group of Three Boys, with a Dog (c) Boys, a Girl, and a Dog Very fine impressions. The three plates printed upon one sheet, which has not been cut. Of “ Boys, a Girl, and a Dog ” Hamerton writes : “ A graceful little sub- ject. . . . The execution is very spirited and light.” Three pieces. One lot. YALE, LEROY MILTON “One of the most earnest founders and fosterers of the New York Etching Club.” 638 — The Deer Island Bridge, Newburyport Signed artist’s proof, on Japanese paper. 639 — Naboth’s Vineyard Signed artist’s proof, on Japanese paper. 640 — The Cottage of the Gentleman that Pays the Rent Signed artist’s proof, on Japanese paper. 641 — The Wayside Poplars Signed artist’s proof, on Japanese paper. COLLECTIONS OF ETCHINGS BY MODERN MASTERS 642 Original Etchings by American Artists. Cassell & Co., 1883. Number 7 of an Edition de Luxe limited to * 203 copies. With an introduction by S. R. Koehler. Twenty proof etchings printed on India or Japan paper. As issued. In perfect condition. In a box. IOI 643 Twenty American Etchings. Signed artist’s proofs, on Japan paper, of etchings by Henry Farrer, T. W. Wood, Stephen Parrish, Thomas Moran, Joseph Pennell, F. S. Church, etc., etc. This set contains the same etchings as “ Original Etchings by American Artists,” but here in a portfolio instead of -bound in book form, without an introduction, and all signed proofs. EAUX-FORTES MODERNES CEuvres Inedites et Originales. Societe des Aqua-Fortistes. A. Cadart & Luquet, Paris. 644 First Volume, 1863. Introduction by Theophile Gautier. Frontispiece by Jules Jacquemart. Fifty-nine etchings (there should be sixty) by various masters. In a portfolio, as issued. This set lacks plate 17: “ Queyroy. Menhirs de Meneck.” Otherwise com- plete. All are fine impressions. With one exception, proofs before all letters, and all are in fine condition. 645 Second Volume, 1864. Introduction by Jules Janin. Frontispiece by Jules Laurens. Sixty etchings by various masters. The complete set, as issued. In a portfolio. All fine impressions, in perfect condition. Proofs before letters. 646 Third Volume, 1865. Introduction by W. Burger. Frontispiece Dy Bracquemond. Sixty etchings by various masters. The complete set, as issued. In a portfolio. All fine impressions, in perfect condition. Proofs before letters. 647 Fourth Volume, 1866. Introduction by Castagnary. Frontispiece by F. Roybet. Sixty etchings by various masters. The complete set, as issued. In a portfolio. All fine impressions, in perfect condition. Proofs before letters. 648 Fifth Volume, 1867. Introduction by Montrosier. Frontispiece by E. Dufeu. Sixty etchings by various masters. The complete set, as issued. Ii) a portfolio. All fine impressions, in perfect condition. Proofs before letters. 102 ^ILLUSTRATION NOUVELLE Par une Societe de Peintre-Graveurs a l’Eau-forte. Cadart et Luce, Paris, 1871. 649 Third Volume, 1871. Frontispiece by E. Chifflart. Forty-seven etchings by various masters. The complete set, as issued. All good impressions, with letters. Also duplicate of Plate 114, “ Coindre. Eglise a Marast.” 650 Les Rembrandt de l’Ermitage Imperial de Saint-P£tersbourg. Quarante planches gravees a l’eau-forte par N. Massaloff. W. Drugulin, Leipzig, 1872. One of an edition of two hundred copies. Forty plates. Artist’s proofs on India paper. The complete set, as issued. In a portfolio. 651 Traite de la Graveur a TEau-forte. Le Portefeuille. Societe des Beaux-Arts. Fifteen etchings by various masters. All are remarque proofs on Japan paper. Half morocco portfolio; silk ties. This important collection contains several plates of world-wide fame, among them “ The Choosing of the Model,” etched by Champollion after the painting by Fortuny. 652 L’Eau-forte. Parts 1 to 20, lacking parts 3 and 15. Eighteen numbers in all. In excellent condition, as issued. 653 Remarque Proof Etchings. Paris. Societe des Beaux-Arts. Twenty-five remarque proofs on Japan paper. In a portfolio, as issued. All are fine impressions, in perfect condition. BOUND VOLUMES 654 Compositions from Shelley’s “ Prometheus Unbound.” Twelve engravings in outline by Sir J. Noel Paton. W. P. Nimmo, London, 1877. Cloth. 103 655 A Series of Wood Engravings from the Frescoes of Giotto. Illustrating the lives of the Virgin and our Saviour, accom- panied by an explanatory notice by John Ruskin. Arundel Society, i860. 656 An Analysis of the Picture of the Transfiguration of Raffaello Sanzio D’Urbino. Illustrated by seventeen heads traced from the picture, and finished of the same size by Mons. J. Gaubaud. Robert Bowyer, London, 1817. 657 Fifty-two Engravings. By various masters, of the Loggi of Raphael in the Vatican. Montagnani, Rome, 1789. Half morocco. 658 A Series of Fac-similes of Original Drawings by M. Angelo Buo- narotti. Selected from the matchless collection formed by Sir Thomas Lawrence. S. & A. Woodburn, London, 1853. 659 Antichita Romane. One hundred plates, etched by Luigi Rossini. Rome, 1823. Bound in half leather. Book-plate of Wm. Romilly. 660 Imitations of Original Drawings by Hans Holbein. In the collection of his Majesty. Illustrious Persons of the Court of Henry VIII., with biographical tracts. Published by John Chamberlaine, London, 1792. Engraved by Barto- lozzi. Printed in colors. All fine impressions. Handsomely bound in half morocco, gilt edges. So fine a collection in such excellent condition is rarely met with. “ It was during his enforced exile from Basle that Holbein, partaking of the kindly hospitality of Sir Thomas More at Chelsea, worked industriously at the production of these portraits, which, as a series, surpass any ever published, both as regards their historic interest and as works of art. They were drawn on tinted paper, with colored chalks, and there is no necessity to advertise these engravings as worthy the originals, beyond a reference to the engraver’s name. No eminent person of the period escaped his pencil, and there was only one sketch he took back to Basle — that of his unfortu- nate host’s family ; and this was for Erasmus, who recommended him to the Chancellor.” 104 PHOTOGRAPHS AMERICAN VIEWS 661 Two views of Niagara in winter. One view, Old Faithful Geyser, Yellowstone Park. Three pieces, one lot. 662 One view, Gunnison River, Colorado. One view, Lake San Cristoval ; and three other pieces. Five pieces, one lot. ENGLISH VIEWS 663 Fifty-four views of English cathedrals and abbeys. Salisbury, Ely, Wells, Gloucester, Winchester, etc. Size of photographs, 6x8 inches, mounted on cards 12x15 inches. Also two cabinet-size views. Fifty-six pieces, one lot. FRENCH VIEWS 664 Twenty photographs of various cathedrals. Bourges, six; Arles, two; Amiens, one; Tarascon, one; Auxerre, one, etc. One lot. GRECIAN VIEWS 665 Six views, various, of Athens. Also Ten Details of Sculpture (un- known). Sixteen pieces, one lot. ITALIAN VIEWS 0 666 Five views of Villa Pallivicini, Genoa, and thr£e views of Genoa. Eight pieces, one lot. 667 Eight views of Rome. The Vatican, Forum, Coliseum, etc. 668 Four views of Florence, five of Venice, one each of Pisa, Pompeii, and Paestum. Twelve pieces, one lot. VIEWS OF INDIA 669 Four of the Taj Agra, and one of the Cashmere Gate, Delhi. Five pieces, one lot. 105 JAPANESE VIEWS 670 The Great Buddha, Daibootz; the Island of Inosima, Yokohama; Grand Temple of Kamakura. Four pieces, one lot. 671 Twenty-three views of various Japanese temples and landscapes. Size, ioj/2 x 8 inches, mounted on boards 18 x 15 inches. 672 Sixty views of Japanese temples, cities, villages, and landscapes. Size, 1134x9 inches, mounted on boards 19x21^4 inches. In a portfolio. A splendid collection for a museum or library. SCOTCH VIEWS 673 Eight views of Balmoral Castle and grounds (the Scotch residence of the late Queen Victoria). These photographs were taken by J. Taylor and J. L. Cowan. Five sets only were printed. SWISS VIEWS 674 One view each of Grindewald, La Mer de Glace, Le Matterhorn. Three pieces, one lot. SPANISH VIEWS 675 Fourteen views of Seville, the Alcazar, Seville Cathedral, etc. 676 Ten views of the Alhambra. 677 Three views of Burgos Cathedral. One, mosque* in Cordova. One, west door of Cathedral, Salamanca. Five pieces, one lot. VARIOUS OTHER PHOTOGRAPHS 678 Sunset, The Sky with Fleecy Clouds is Veiled, Gathering Vraic, Hudson River, Rainbow Falls, N. Y. Five pieces, one lot. 679 Ten photographs, religious subjects, after Bellini, Guido Reni, Raphael, and others. 680 Five photographs, after paintings by Da Vinci, Kaulbach, Piloty, and others. 68 1 Four photographs, various. 682 Ten photographs, various. 683 Three photographs, American portraits. 684 Forty-one photographs of Egyptian antiquities in the British Mu- seum. Size, 734 x I0 /^ inches, mounted on boards 14 x 18 inches. In a portfolio. 685 Sixty photographs of Egyptian antiquities in the British Museum. Of the same size and mounted in the same manner as the preced- ing lot. 686 Five views at Thebes, two views of Pyramids, and five photographs after statues in the Vatican. Twelve pieces, one lot. PHOTOGRAPHS AFTER BAS-RELIEFS 687 Hercules and Omphale, after P. Julien ; Cupid and Psyche, and Cupid and Bacchus. Four pieces, one lot. 688 Spring, two pieces. Winter, two pieces. Four pieces, one lot. 689 Autumn (Cupids with fruit). Four pieces, one lot. 690 The Seasons, by Domouchi. Four pieces, one lot. 691 The Descent from the Cross. From an ivory bas-relief in the Vati- can. Three pieces, one lot. 692 Charity, by Gadore. Faith and Hope, by Gadore. A Nest of Cupids. Four pieces, one lot. 693 Three Allegorical Groups, by Prou. Three pieces, one lot. 694 Night and Morning, after Thorwaldsen. Two pieces, one lot. 695 Pope Pius IX. Two pieces, one lot. 107 696 The Four Evangelists, after Thorwaldsen. Four pieces, one lot. 697 The Four Evangelists, after Thorwaldsen. Four pieces, one lot. 698 The Elements. Four pieces, one lot. 699 Three Allegorical Groups. Three pieces, one lot. 700 The Harvest and the Vintage. Two pieces, one lot. 701 The Harvest and the Vintage. Two pieces, one lot. 702 Europe, Asia, Africa, America, Arts, Sciences, by Vivian. Six pieces, one lot. 703 Ninety-three photographs of armor belonging to Charles V., Philip II., Philip III., Don John of Austria, Philip IV. Size, 9x13 inches, mounted on boards 12 x 173^ inches. This callection is unusually interesting, and would be exceedingly difficult to du- plicate. One lot. 704 International Kiinstler Album, containing thirty-three photographs after drawings by Kaulbach, Lhermitte, Knaus, and others. In a portfolio. One lot. 705 Sixteen photographs of drawings by Piloty, Grutzner, Piglheim, and others. In a portfolio. One lot. 706 Atlas Trojanischer Alterthiimer Photographische Abbildungen zu dem Berichte fiber die Ausgrabungen. In Troja von Dr. Hein- rich Schliemann (1874). Two hundred and seventeen photo- graphs, mounted on heavy paper in original portfolio, as issued. One lot. MISCELLANEOUS 707 Thirty-one colored engravings, various, of European cities and buildings. 708 Sixteen colored engravings of ancient Roman buildings. 709 Fifteen colored lithographs of Venice. 710 Seven lithographs, Egyptian subjects, after Roberts, with text. 71 1 Views of Boston, Philadelphia, Oswego, and six other pieces, various. Nine pieces, one lot. 108 712 Five lithographs of Eastgate Street, Chester. Five lithographs of Watergate Street, Chester. Five lithographs of Northgate Street, Chester. Two lithographs of Bridge Street, Chester. Seventeen pieces, one lot. 713 Christ on Calvary, two pieces. A Roman Bath. Christ before Pilate. Four pieces, one lot. 714 Ten engravings of landscapes, engraved by Parboni Gmelin. One lot. 715 Seven lithographs, views in France, etc. One lot. 716 Eighteen engraved maps (about 1740), and one large view, State of New York. Nineteen pieces, one lot. 717 Nine engraved maps, Oxfordshire, Essex, etc. (1733). One lot. 718 Two fancy heads, lithographed by Lassalle, and five other pieces, various. Seven pieces, one lot. 719 Forty-one small portraits relating to French history, some water- stained. One lot. 720 Fourteen portraits: Fillmore, Buchanan, and others. One lot. 721 The Siege of Plymouth, A.D. 1874, and eleven other pieces, various. One lot. 722 Eight portraits: Paderewski, Bismarck (two), Emperor William of Germany, etc. One lot. 723 Glacier De Rosenlaui, Le Pont Du Diable, and six other pieces. Eight pieces, one lot. 724 View of Charlestown, engraved by Samuel Smith after Leitch, in 1776. Good original impression. Margin slightly torn. 725 A view of the city of Montreal and the river St. Lawrence from the mountain. Engraved by John Bfuck after E. Walsh. View of the city of New York taken from Long Island. View of the city and harbor of New York taken from Mount Pitt. Three pieces, one lot. 109 726 Six views of American waterfalls, engraved by Maurice, Mazell, and Fougeron. Also an American farm, engraved by Peak. Seven pieces, one lot. 727 Five views of Roman edifices. Aquatints by Cooper from his own designs. One lot. 728 Six views of American scenery. Aquatints executed in 1809 by J. W. Edy after G. B. Fisher. Also one duplicate, Fall of Mont- morenci. Fine impressions, printed in colors. Seven pieces, one lot. 729 Eleven views of buildings, various; map of Virginia; view of Ni- agara Falls. Thirteen pieces, one lot. 730 Eleven etchings of homes of prominent American men of letters. One lot. 731 Sixty-two miscellaneous engravings of American subjects, views and illustrations, etc. One lot. 732 Portrait of Sir Seymour Haden, etched by William Strang (two), and sixteen other miscellaneous etchings. Eighteen pieces, one lot. 733 Garrick and his Wife, after Hogarth, and eleven other engravings and etchings, various. Twelve pieces, one lot. 734 Thirteen views, various. Europe, the Holy Land, etc. One lot. 735 Thirty engravings of Scriptural subjects. One lot. 736 Twenty-three woodcut portraits of famous painters, photograph of beauties of the court of King Charles II., Mrs. Siddons, after Lawrence, and three other portraits. Twenty-eight pieces, one lot. 737 Four Japanese prints in colors, by Hiroshige, Toyokuni, and others. One lot. 738 Very interesting lot of several hundred engravings of various sub- jects, including portraits, landscapes, illustrations to poems, novels, etc. Mounted upon cards. To be sold as one lot. 739 A series of ancient allegorical, historical, and legendary paintings, which were discovered in the summer of 1805 on the walls of the Chapel of the Trinity at Stratford-upon-Avon in Warwickshire. Forty-eight sheets, some duplicates, but the set incomplete. no 740 Gems from the European picture galleries. Forty-nine, after various masters. One lot. 741 Gems from European picture galleries. One hundred and fifteen pieces in a portfolio. One lot. 742 Specimens of the works of the best ancient and modern sculptors. Sixty plates (published at two guineas and a half). In a port- folio, as issued. 743 Two hundred and twenty-seven small but curious engravings of Scriptural subjects. One lot. 744 One hundred portraits (ninety-eight engraved, two photographs), illustrating the Civil War. Many are proofs before letters. All are fine impressions in perfect condition. An unusually fine and interesting collection. One lot. 745 Forty-four engravings illustrating “The Life of George Washing- ton/’ by Washington Irving (Putnam, 1857). Also two engraved title-pages for the same work. Forty-six pieces, one lot. 746 Sixty-three engravings, after Westall, Stothard, and others. Mostly Scriptural subjects. Engraver’s proofs on India paper. Full mar- gins. In perfect condition. Some dedication proofs. Fine lot. 747 The Sistine Chapel. Chromolithograph by Loeillot, after Kohler, mounted. Ceiling of the Sistine Chapel. Chromolithograph, after Pratese, mounted on linen. Two pieces, one lot. 748 St. Mark’s, Venice, Mosque at Cordova, Castle Sant’ Angelo, S. Vitalie, Ravenna, the Roman Forum, Saint Peter’s, Duomo at Pisa, the Coliseum, the Appian Way, the Pantheon, the Certosa of Pavia, and twelve other famous buildings. A set of lithographs, each one measuring 22 x 29 inches, and mounted upon stout boards, with tapes for hanging. Fine and interesting set for school or lecture hall. Twenty-three pieces, one lot. 749 Fifty engravings of modern statues and bas-reliefs, mounted in leather-bound scrap book. 750 Eighty-eight woodcuts, by various engravers, illustrating the Bible. 751 Album of favorite engravings, published by Villardi of Rome. Thirty-five subjects, bound in one volume; cloth back. 752 Le Mobilier de la Couronne et Des Grandes Collections, etc., etc. Juliot, Paris. hi 753 The Chess Players; or, The Game of Life. A drawing by Morris Retzch explained, according to hints from himself, by C. Borr von Miltitz. Willis P. Hazard, Philadelphia, 1855. 754 Student’s Guide to Expressiqn. Six heads from Raphael’s cartoons. Boards. 755 Select examples of the ornaments of the Middle Ages and the Renaissance period. Twenty-eight plates, one lot. 756 Illustrations to the “ Liberty of Rome.” Designed and engraved by C. C. Perkins. Richard Bentley, 1849. Twelve pieces, in a port- folio. 757 Vita Di Rafaelle Sanzio Da Urbino. XII. Tavole Disegnate dai fra- telli Riepenhausen in Roma. Complete set. Twelve plates, as is- sued. 758 Seven events in the Life of Robert Bruce. Drawn by H. C. Selous, and etched by Horsborough. Complete set, as issued. Paper covers. * 759 Lady Hamilton’s attitudes. Twelve plates, engraved by Thomas Piroli, after the drawings by Frederick Rehberg. Original set, water-stained. 760 Illustrations of “ Rip Van Winkle.” Designed and etched by Felix O. C. Darley for the members of the American Art Union, 1848. Original set, as issued. Paper covers. 761 “ Andreana.” Containing the trial, execution, and various matters connected with the history of Major John Andre. Horace W. Smith, Philadelphia, 1865. One of an edition of twenty-five copies in folio. Sheets and portraits. Unbound. Paper cover, as issued. t 762 Beauties of Claude Lorraine. Consisting of twenty-four landscapes selected from the Liber Veritatis, and engraved by eminent en- gravers. W. B. Cooke, London, 1825. Fine original set, as is- sued. With the portrait of Claude Lorraine engraved by Ward. 763 The Hours of Raphael. Twelve photographs and key, in a portfolio. 764 Treasures of Art, Industry, and Manufacture represented at the International Exhibition, 1876. Clay, Cosack & Co., Buffalo, N. Y., 1877. Five parts, containing ten plates in colors and descrip- tive text. 112 765 Turner Gallery (D. Appleton & Co.). Parts one to twenty-five. Three engravings, with descriptive text, were issued with each part. One lot. 766 Les Principaux Tableaux de la Galerie Royale de Dresde. Litho- graphies D’Apres les Originaux. Avec des explications His- toriques et concernant l’Art, en Allemand et en Franqais. Publies par Franqois Hanfstaengl, Dresde, 1843. Text and 124 lithographs; nearly all very fine impressions, and (with the exception of a few spotted) in perfect condition. All are on India paper. Some authorities are of the opinion that many important pictures in the Dresden Gallery are better reproduced in this set than in any engravings yet executed. To be sold as a collection. In a portfolio. DRAWINGS DRAWINGS BY WILLIAM BLAKE % Born at London in 1757; died there in 1827. At an early age he was apprenticed to James Basire the engraver, who employed him in making drawings in Westminster Abbey and other churches, thereby awakening, probably, that love for Gothic beauty which is apparent in so many of his works. In 1778 he began to engrave a little for the publishers, and four years later married and opened a print-seller’s shop in Broad Street. In 1787 Blake issued his “ Songs of Innocence,” and in 1793 the “ Gates of Paradise.” Next came “The Songs of Experience,” and then a series of Prophetic Books, which were then, and still remain, unintelligible to the majority of readers. In 1797 he was employed by Edwards the bookseller to illustrate Young’s “ Night Thoughts,” and, later, Blair’s “ Grave.” Blake’s last work — and perhaps his greatest — was the series of “ Twenty-one Inventions for the Book of Job.” These, issued in 1826. are among his best known works, and would, unaided, rank him among the most original artists England has produced. The drawings catalogued below were shown at the Museum of Fine Arts, Boston, during the Exhibition of Books, Water-colors, Engravings, etc., by William Blake, made in February and March, 1891. At tha^time they were prefaced by a note pointing out that it was “ impossible to assign a date to any of them, or even to fix their status, whether as preliminary sketches, or memoranda, or copies made for some unknown purpose.” In the catalogue they were “ grouped, so far as possible, under the titles of the words in which they most prominently appear.” This arrangement has been here followed. The letter B and the number after each drawing refers to the catalogue of the Boston Exhibition. 767 Three figures, naked, reclining (on the banks of a river?) ; one fig- ure on the left, two on the right, the feet turned towards the middle 113 8 of the composition. India-ink outlines, with washes of color and India ink, on untinted paper. See “ The Marriage of Heaven and Hell,” page 2. (B., 32.) 768 A naked woman, seen from the back, reclining on the banks of a stream, and playing with a naked infant. To the left, in the mid- dle distance, the upper half of a figure, painted yellow, with rays above the head, apparently sinking (emblematic of the setting sun?). Pen-and-ink outlines, brilliantly colored, on untinted paper. See “The Marriage of Heaven and Hell/’ page 11. (B.. 34 -) 769 Five naked figures squatting on the ground, the middle figure. bearded, seen in front view; the others, two on either side, in profile, facing the middle figure. India ink on blue paper. See “ The Marriage of Heaven and Hell,” page 16. This drawing has a piece missing from its upper portion. (B., 36.) 770 A young man, naked, sitting on the ground, with his arms behind him, looking towards the right and upward. India ink, with body color washes, on dark, bluish-gray paper. See “ The Marriage of Heaven and Hell,” page 21. (B., 37.) # 771 Nebuchadnezzar, naked, with a long beard, creeping on all fours towards the left. India ink, on oiled paper. See “ The Marriage of Heaven and Hell,” page 24. (B., 38.) 772 A naked man, among clouds, in a springing action, the left leg fore- shortened, the arms uplifted and extended, the head turned to- wards the right ; a head looks down upon him out of flames in the clouds. Brown outlines, with delicate color washes, on untinted paper. For “ The Marriage of Heaven and Hell.” (B., 40.) 773 A naked male figure reclines on clouds on the left, the left leg stretched out towards the right. In the left hand this figure twirls over its head a scourge of three tongues. On the right, running towards the right, a naked female, with streaming hair, the head bowed down, the face buried in the hands. Brown outlines, with delicate color washes, on untinted paper. For “ The Marriage of Heaven and Hell.” (B., 43.) 774 Four draped figures huddled together, the face only of the central figure visible. The hair of this figure streams out towards both sides. Brown outlines, with delicate color washes, on untinted paper. See “The Marriage of Heaven and Hell,” page 10. (B., 44 -) 114 DRAWINGS FOR “AMERICA, A PROPHECY” 775 A winged giant, in an attitude of despair, with his head buried be- tween his knees, sits on the left, among ruins. Seated near him, to the right, a naked woman, with two naked children, also in de- spair. In the foreground, part of a cannon and a broken sword. India ink, on untinted paper. In the printed version the giant is shown chained to the ground by the wrists. (B., 46.) 776 A young man, naked, chained to a rock, like Prometheus, extended diagonally across the picture, with the head to the left above. In the upper left-hand corner a bare tree; in the lower left-hand corner, roots. India ink, with color washes, on untinted paper. Page 2. (B., 47.) 777 A draped female figure, in profile towards the left, sitting on a stone platform. Before her stands a girl in a long gown; on the plat- form behind her reclines a naked boy, his back resting against her back. India-ink outlines, with color washes, on untinted paper. See page 3 (title-page), left half of upper group. Gilchrist, I., page xxiii. (B., 48.) 778 Several naked corpses lying on the ground ; a woman, stretched but over them, her head towards the right, caresses one of the corpses. India ink, with slight color washes, on untinted paper. The back- ground is a black mass, with red lights breaking through. See page 3 (title-page), lower group. (B., 50.) 779 A naked man, seen from the back, floating among clouds, his head towards the left. He holds a torch, which he stretches out hori- zontally towards the left. India ink over lead-pencil outlines, on paper grounded dark gray. See page 5. (B., 52.) 780 In the centre a naked man, seen full face, kneels on the ground, his head, which he holds in both hands, thrust forward. On the right another naked man kneeling on his right knee, turned somewhat to the right, and supporting himself on the ground with his right arm. Background of rocks and clouds. India ink over pencil out- lines, on dark bluish-gray paper. See page 6. ,(B., 53.) 781 An angel, without wings, flying through the air towards the right, carrying a pair of scales. India ink, washed with color, on un- tinted paper. See page 7, upper part. Gilchrist, I., opp. page no. (B., 540 115 782 An angel, without wings, seen from the back, ascending through clouds, holding aloft a sword. India ink, with color washes, on un- tinted paper. See page 7, upper part. Gilchrist, I., opp. page no. (B., 55-) 783 A naked man, his hands grasping the back of his head, falling through the air into flames. India ink, washed with red and brown, on dark blue paper. See page 7, lower part. Gilchrist, I., opp. page no. (B., 56.) 784 A robed bearded male figure, seated on clouds, facing the spectator. the arms extended almost horizontally. India ink on blue paper, with washes of carmine and flesh color. See page io. Compare “ Illustrations of the Book of Job,” Plate 14. (B., 60.) 785 A naked man, seen full front, head slightly turned to the left, kneel- ing on his right knee, arms extended almost horizontally, amidst flames. India ink, on dark bluish-gray paper. See page 12. (B., 61.) 786 A woman and two children, riding on a serpent towards the right. In the sky the crescent moon and two birds. India ink, with color washes, on blue paper. See page 13. Gilchrist, I., opp. page 108. See also “ The Book of Thel,” page 8, tail-piece, where the same design appears reversed. (B., 62.) 787 A female corpse, naked, outstretched upon a rock at the seashore, an eagle about to tear the abdomen. India ink, with color washes, on gray paper. Gilchrist, L, page no. (B., 64.) 788 Three naked women huddled together, so that the faces of none of them are seen, partly immersed in a lake of fire, and surrounded by flames. India ink, with color washes, on bluish paper. See page 17. (B., 66.) 789 A naked woman, crouching, in profile towards the left, the face hid- den between the knees, in a mass of flame. On the left a smaller naked figure, seen from the back, rises out of the flames. India ink over pencil outlines, on paper grounded dark gray. See page 17 for the larger of the two figures. (B., 67.) DRAWING FOR “ MILTON ” 790 On the right a naked male figure, standing on a pedestal, writhing in flames. On the left two other naked figures, standing, looking on in fear. India ink, washed with color, on untinted paper. A fac- simile of the plate on which this design appears is given in Swin- burne’s “ Blake ” on page 258. (B., 78.) 116 DRAWINGS FOR BLAIR’S “GRAVE” 791 An angel without wings, descending from heaven, head lowermost, blowing a trumpet. Pen-and-ink outlines, with India ink and color washes, on untinted paper. Title-page. (B., 79.) 792 A robed female figure, standing, in profile, turned towards the left, the face buried in the hands. India ink, with very slight traces of red chalk, on untinted paper. See figure to right in “ Death of the Strong Wicked Man.” See also group of two small figures, “ Je- rusalem,” page 19, in the right-hand foreground. (B., 80.) 793 Two figures of men, walking; the third, an old man, creeping on all fours, down a flight of stone steps among rocks, seen through an arched opening in the rocks. Brown lines and washes, with traces of red chalk, on paper of a grayish tint. See “ The Descent of Man into the Vale of Death,” upper part. (B., 81.) 794 A group of three angels, the one in the middle blowing a trumpet, other trumpets visible on either side of the central trumpets. From the trumpets issue flames. The angel on the left sheathing his sword, the one on the right drawing it. Red chalk and pen- and-ink outlines, with India ink washes, on dark bluish paper. See “ The Day of Judgment,” lower middle group. (B., 89.) 795 A bald-headed man, naked, apparently trying to hold down three other naked male figures, who are endeavoring to rise out of the ground. Flames shooting up in the background. India ink, with red chalk, and slight red washes, on untinted paper. See “ The Day of Judgment,” lowest middle group. (B., 90.) 796 The Reunion of the Soul and the Body. The figure of a naked youth issuing from the grave ; a draped female figure descends from the sky, head downward, and embraces the youth. Flames issue from tombs on either side. India ink, with color washes, on untinted paper. (B., 92.) 797 The Soul Exploring the Recesses of the Grave. A female figure, bearing a light, entering a cave, in which is seen a corpse in flames. On the roof of the cave a young man, who looks down with a ges- ture of surprise. Between his legs is seen the sickle of the de- creasing moon. India ink, with very slight traces of red chalk, on untinted paper. (B., 94.) 798 Death’s Door. An old man on crutches entering a tomb. On the tomb the sitting figure of a naked young man, surrounded by the 117 rays of the sun. Pen-and-ink outlines, washed with color, on un- tinted paper. (B., 95.) UNIDENTIFIED DESIGNS 799 A naked male figure, without wings, flying among clouds out of the picture and towards the left. On the right, above a cloud, is seen the head and part of the back of another naked figure, apparently female. India-ink outlines, with brilliant color washes, on un- tinted paper. (B., 98.) 800 Two naked figures, male and female, the latter seen from the back, floating upwards and towards the left in a sheet of flame, across a sky barred with clouds. India-ink outlines, with India ink and brilliant color washes, on untinted paper. (B., 99.) 801 A naked male figure, floating on the back, in flames. The left arm is extended upwards, towards the left. Under this arm is seen the upper part of a female figure, her head resting on her two hands. Leaning against the head of this figure, on the right, is another female head. In the upper right-hand corner a rock. India ink, with color washes, on untinted paper. (B., 100.) 802 A violently contorted figure, floating horizontally through flames, the head towards the left. Around the upper part of the figure is a white cloth, blown out into the air beyond the head, and forming a kind of spiral to the left of it. India-ink outlines, with India ink and color washes, on untinted paper. (B., 101.) 803 A winged, youthful figure, naked, running towards the right, among clouds, looking out of the picture, the left arm raised. Outlines and washes in brownish black, on untinted paper. (B., 102.) 804 A winged figure, naked, running towards the right, among clouds, bearing aloft a torch in his right hand, his head turned so that only the back is seen. India ink, on paper grounded a dark warm gray. (B„ 103.) 805 A male figure, seated, bearded, naked above but draped below, the head turned to the left, the right arm extended, pointing towards the sun in the upper left-hand corner, the left hand resting on his knee. To the right the trunks of a group of trees; in the back- ground, clouds. Figures are indicated in the disk of the sun. India ink, on paper grounded slate color. (B., 104.) 118 806 A naked male figure, sitting among flames. The upper part of the body supported on the left arm, almost full front; the head turned to the left, the right arm raised, the right hand, with fingers out- stretched, held up before the forehead as if in the act of maledic- tion. The right leg extended sideways and backwards towards the left, apparently on a bank of some kind, the left leg hanging down in front. On the left side, above, two smaller figures floating in space. Red chalk, with washes of India ink and flesh color, on bluish paper. (B., 106.) DRAWINGS BY VARIOUS ARTISTS 807 Full morocco bound volume, containing twenty-four drawings, in the majority of cases executed with the pen, and finished with a wash of sepia. Among the artists represented are : Wille, Draw- ing of a Man’s Head (in red and black crayons) ; Guercino, Boy with a Bird (pen and wash) ; Le Pautre, two drawings of statues (pen and crayon) ; Wattier, Two Musicians (pencil) ; Gaulli, Meeting of Saint Elizabeth and Saint Joseph (pen and wash). An interesting collection. To be sold as one lot. 808 Volume, containing thirty-four drawings. This collection was formed by Sir George Hayter (portrait painter to the late Queen Victoria, and, in 1841, appointed Her Majesty’s Historical Painter), and was given to his son, Angelo C. Hayter, in 1864. On the inside of the front cover is pasted an engraved card as follows : “ To Angelo C. Hayter, From his affectionate Father, Sir George Hayter, 1864.” In this collection are many interesting drawings, attributed to various famous artists ; among them the following: Berghem, The Piper, a fine pencil drawing on vellum. (This seems to be, almost certainly, Berghem’s original drawing for his etch- ing of this subject.) Gandolfi, two drawings of heads (pen) ; Simone da Pesaro, two drawings of men (red chalk), portrait of a man, in red and black chalk, ascribed to an artist of the school of Guido, but, seemingly, by a Dutch or German master ; Jacopo Palma, “ II Giovine,” Saint George (pen and wash) ; Della Bella, Man with a Bow (pen). To be sold as one lot. 119 BEERESTRAATEN, JAN Born at Amsterdam in 1622; died there in 1687. 809 A Vessel Saluting. On the land a triumphal arch and a village. Pencil drawing. Two Drawings of Sea Ports, by Everdingen. Sepia. Head of a Man, by Van Vliet. Pencil. A Skirmish, signed E. V. Velde and dated 167?. Pencil, washed with sepia. Five pieces, one lot. BERGHEM, NICOLAAS Born at Haarlem in 1620; died at Amsterdam in 1683. 810 A peasant, seated, seen from the back. Crayon. The Ford. Wash drawing. A peasant, dancing. Crayon, touched with red and white chalk, on blue paper, by Dusart. Three pieces, one lot. CAVEDONE, JACOPO Born at Sassuolo, in the Modenese, in 1577; died at Bologna in 1660. A pupil of Annibale Caracci. 81 1 Head of an Old Man. Chalk drawing, the high lights touched in with white lead, which has turned to dark gray with age. Head of a Man, attributed to Guido Reni. Two Young Men. Red and black chalk drawing, by Jacopo da Em- poli, and three others. Six pieces, one lot. LEECH, JOHN Born at London in 1817; died in 1864. The eminent English illustrator. 812 “ The Lord Mayor Locks Temple Bar.” Pen-and-ink drawing, finely finished in water color. Signed, J. L. 20 MAYER, FRIEDRICH Born in 1825; died in 1875. He painted chiefly Alpine scenes. 813 Seven fine pencil drawings of various scenes in the Tyrol and else- where. One lot. NICHOLSON, FRANCIS Born at Pickering, in Yorkshire, in 1753; died at London in 1844. In 1789 he ex- hibited for the first time at the Royal Academy, and in 1804 he became one of the original members of the Water Color Society, where he exhibited till 1815. 814 View in Borrowdale. Water color. Landscape, with a farmhouse, a crippled soldier seated on a bank to the left. Signed, “ H. Robbins, ’63.” Two pieces, one lot. PARMIGIANO, FRANCESCO MAZZUOLA Born at Parma in 1504; died in 1540. A pupil of Raphael and of Michel-Angelo. 815 A woman, seated, with a lyre. Red chalk. The Good Samaritan. Pen and ink. A Prophet. Pen drawing, washed with sepia, by Giordano. A Camp Surprised, by Bernardo Castelli. Four pieces, one lot. PIETRO DA CORTONA (PIETRO BERRETTINI) Born at Cortona in 1596; died at Rome in 1669. 816 A Satyr, kneeling, seen from the back. Red chalk. Man in Armor, riding on a Horse. Pen drawing, touched with red chalk, by Borzone. Mucius Scaevola before King Porsenna. Pen drawing, washed with sepia, the high lights touched in with white lead, which has turned dark gray with age. This drawing once formed part of the col- lection of Sir Joshua Reynolds. Part of his stamp can still be seen in the lower left-hand corner of the drawing. King Henry IV. Receiving the Key. Pen drawing, washed with sepia. Four pieces, one lot. 121 SCHUTZ, CHRISTIAN GEORG, THE YOUNGER Born at Florsheim in 1758; died in 1823. Painted in water color, scenes on the Rhine. 817 Three pencil drawings of castles on the Rhine. One lot. STOTHARD, THOMAS Born at London in 1755. In 1785 he was made an Associate of the Royal Academy, and in 1794 an Academician. Died in 1834. It is said that Stothard made upwards of five thousand designs for books, three thousand of which were used. 818 Three Ladies and a Masked Cavalier. Painting upon paper. In ex- cellent preservation. An interesting piece. PTom the Sir Edmond Temple collection. SWANEVELT, HERMAN Born at Woerden in 1620. A pupil of Claude Lorraine. 819 Landscape, with a River. Wash drawing. Cattle being Led on Board a Boat. Pen and wash drawing, by Thomas Wijck (1616-1677), and four other drawings. Six pieces, one lot. ZANDER, CHRISTOPH EDUARD Born at Radegast in 1813. In 1847 he went to Abyssinia. In 1868 he was made Minister of War by King Theodore, but died in the same year. 820 Portrait of the artist sketching. Two drawings of trees. Drawing of cattle. All are in sepia, are signed with the monogram of the artist, and are dated 1842. Four pieces, one lot. 821 Seventeen drawings, by various artists. Some of these are from the Sir Edmond Temple collection ; the majority are by the older masters. An interesting lot. 122 822 A view of Naples. Eruption of Vesuvius, June 15, 1794. Quaint and interesting. Two pieces, one lot. 823 Eleven water colors and drawings by various artists. In this lot are included compositions, landscapes, a flower piece, head of a lioness (signed C. C. Townsend, 1869), and other pieces. One lot. 824 Liberotti impronte. Fifty-one beautiful gypsum casts from in- taglios, contained in three boxes, bound in half vellum so as to re- semble books. A most interesting collection. All are in perfect condition. Each box containing an index of subjects. One lot. FRAMED PICTURES BAHMANN, FERDINAND 825 — Saint John (After Domenichino) Good condition. Gold frame. BELIN-DOLLET, GUSTAVE 826— Peasants Going to Work (After Millet) Signed artist’s proof on Japanese paper. Good impression. In excellent condition. Gold frame. BRUN, JO. JOUANNI 4 827 — View of St. Peter’s and the Vatican Etched in 1785. Walnut and gold frame. BURNET, WILLIAM 828— The Surprise Fine proof before all letters. In excellent condition. Gold frame. 123 829 — BURT, CHARLES Portrait of Longfellow Signed artist’s proof, on India paper. Mahogany frame. CLAUDE GELLEE DE LORRAINE 830— Le Bouvier Robert-Dumesnil, No. 8. This fine etching divides, with the “Shere Mill Pond,” the honor of being the finest landscape etching in the world. It is rare. In good con- dition. Gold frame. DAUBIGNY, CHARLES 831— Les Vendanges Proof, with only the name of Daubigny, and the date, 1865. Full margins. Fine. Black and gold frame. “One of the most absolutely harmonious plates I know.” — P. G. Hamerton,. DEYLAMYNCK, P. 832— Portrait of Rembrandt (After Rembrandt) Good impression. In excellent condition. Oak frame. VANNI, FRANCESCO 833 — Saint Peter Reading a Book A fine drawing in red chalk. From the Sir Edmond Temple Collection. Oak frame. IL FLORENTINO STEFANO A pupil of Giotto. Died 1350. 834 — A Monk Standing Bare-headed, holding a staff in front of him, and facing towards the right. In red chalk. Slightly repaired at the bottom. From the Sir Edmond Temple Collection. Oak frame. EICHENS, FRIEDRICH EDUARD Homer und die Griechen (After Kaulbach) 835- Fine impression. Full margins. Walnut and gold frame. 124 FLAMENG, LEOPOLD 836 — Portrait of Seymour Haden, Seated Etched from life in 1875. Fine impression. In excellent condition. FORTUNY, MARIANO 837 — Arabe Veillant le Corps de Son Ami Beraldi, No. 1. Good impression. Full margins. Oak frame. This is one of the most admired of Fortuny’s etchings. Good impressions are scarce. 838 — Anachorfcte Beraldi, No. 16. Good impression. Full margins. Oak and gold frame. One of the most effective of Fortuny’s etchings; Scarce. 839 — A Beggar, Seated A very fine and characteristic original drawing, executed in pen and ink. Good examples of Fortuny’s drawings are becoming each year harder and harder to secure, and when found have usually brought large prices. HADEN, SIR SEYMOUR 840 — Shere Mill Pond First state. Beautiful impression. Signed artist’s proof, on Japanese paper. In the handwriting of the etcher is written in the lower margin “ 1st st.” Gold frame. “ With the single exception of one plate by Claude, this is the finest etching of a landscape subject that has ever been executed in the world. The plate by Claude, alluded to above, is the one known as the Bouvier. Such superiorities as it may have over this plate of Haden’s are compensated by other and different superiorities in the English master, and the two etchings may fairly divide our suffrages.” — P. G. Hamer- ton, “ Etching and Etchers,” p. 305. 841 — Calais Pier Trial proof C. On the lower margin the etcher has written “ Trial C, 3 or 4 only.” Signed artist’s proof. Fine and very rare. The large wave on the left is worked upon, and the sky (which was commenced in trial proof B) is removed, except in the right- hand corner of the plate. A peculiar and interesting effect has been produced by not inking to any extent the plate in the lower left-hand portion. The lines, as etched, are plainly visible, but they are white lines, embossed but not inked. Oak and gold frame. Seymour Haden, writing in 1875 to Philip Gilbert Hamerton, says of this plate: “ I have done an etching of Turner’s ‘ Calais Pier,’ 36 inches square, which is by many degrees the finest thing (if I may be permitted so superlative an expression) I have 125 done, or ever shall do. I mean to publish it about the close of the year. I have built a press for printing it, and am having paper made expressly and real sepia (which is magnificent both in color and price) got from the Adriatic for the work; so great things ought to result.” This letter is quoted as above in “ Philip Gilbert Hamerton: Autobiography and Memoir” (page 386), in the memoir written by his widow. The memoir continues: “ And the result was certainly by far the finest of modern etchings, according to Mr. Hamerton’s opinion. In some particulars he preferred the ‘ Agamemnon,’ but the size of the ‘ Calais Pier,’ as an increase of difficulty was to be considered, and if the ‘ Agamemnon ’ was an original conception, it cannot be said that ‘ Calais Pier ’ was a copy — so much being due to interpretation. Later on, when my husband was in possession of this chef-d’oeuvre, it always accupied the place of honor in the house.” HUOT, A. 842 — La Vierge de la Deliverance (After E. Hdbert) Fine open letter proof, on India paper. Black and gold frame. 843 — KELLER, JOSEPH The “ Disputa ” (After Raphael) Open letter proof. Good condition. Walnut and gold frame. 844— LANDSEER, THOMAS The Deer Pass Full margins. A little soiled. Gold frame. LECOMTE, NARCISSE 845 — Beatrice and Dante (After Ary Scheffer) Good impression. In excellent condition. Gold frame. LE COUTEUX, LIONEL Herbage a Soreng (After Van Marck) Open letter proof. In good condition. Oak frame. 126 846— MANDEL, JOHANN AUGUST EDUARD 847 — Die Lurlei (After Carl Begas) Engraved for the Berlin Art Union in 1839. Good original impression. Gold frame. 848 — Raphael at the Age of Fifteen (After Raphael) Proof on India paper, with the names of painter and engraver only. Full margins. In excellent condition. MARC ANTONIO RAIMONDI 849 — Mars, Venus, and Cupid Bartsch, No. 345. Fine impression. In perfect condition. Some margin. Rare of such quality. Oak frame. MILLET, JEAN-FRANCOIS 850 — The Woman Feeding Her Child Le Brun, No. 18. Good impression. On India paper. Gold frame. Millet’s daughter, Madame Heymann, and her baby served as models for this plate. MORGHEN, RAPHAEL 851 — The Repentant Magdalen (After Murillo) Halsey, No. 109. Third state proof, with names of painter, engraver, and of Tofa- nelli only. Fine impression. In excellent condition. This state sold for in iu. at the George Smith sale, and for £15 io^. at the Macready sale. 852 — Apollo and the Muses on Parnassus (After Raphael Mengs) Halsey, No. 137. Original impression. In good condition. Black frame. 853 — The Transfiguration (After Raphael) Halsey, No. 168. Good original impression. In good condition. Full margins. Gold frame. 854 — The Assumption of the Virgin (After Titian) Fair impression, but trimmed close to the print. Gold frame. 855 - Another of the Same Trimmed close. Walnut frame. 127 MULLER, JOHANN FRIEDRICH WILHELM 856 — Madonna di San Sisto (After Raphael) First state. Artist’s proof before any letters. The Madonna and Child are without a halo, though St. Sixtus and St. Barbara have one. But five impressions are known to exist of this state of the plate. The only other impression in this country, so far as can be ascertained, is in the Gray Collection at Harvard. In the catalogue of the Gray Collection it is recorded that impressions in this state have been sold as follows: Johnson (1861), £126; Archinto (1862), 3,000 francs; Marshall (1864), £86. A magnifi- cent impression. Full margins. In perfect condition. Gold frame. PARRISH, STEPHEN 857 — Fishermen’s Houses, Cape Ann Signed artist’s proof. Fine. Mahogany frame. One of the best etchings produced in America. PERFETTI, ANTONIO 858 — Sibylla Samia (After Guercino) Engraved in 1833 from the painting in the Uffizi Gallery, Florence. Good original impression. In excellent condition. 128 FOURTH EVENING'S SALE Thursday, cMarch 28 th AT THE AMERICAN ART GALLERIES BEGINNING AT 7.30 O'CLOCK 859 — Europe, Asia, Africa, America Four photographs after marble groups. All are framed in oak. One lot. 860— Eleven Photographs Relating to German Mythology Seemingly taken from a frieze by Kaulbach. Black and gold frames. One lot. 861 — Remains of a Greek Temple Carbon photograph. Black frame. PIRANESI, GIAMBATTISTA 862 — View of the Interior of Santa Maria Maggiore Good original impression. With margin. Bird’s-eye maple frame, POTTER, PAUL 863 — Les Deux Boeufs qui se Battent Bartsch, No. 7. In good condition. Oak frame. 864 — Le Vacher Bartsch, No. 14. The second plate of this subject. Fourth state, with “ Paulus Potter in et f. 1649.” In good condition. Oak frame. 9 129 86 5 — RAIMBACH, ABRAHAM Distraining for Rent (After David Wilkie) Fine open letter proof, on India paper. In excellent condition. RICHOMME, JOSEPH THEODORE 866 — The Triumph of Galatea (After Raphael) Engraved in 1820, after the fresco in the salon of the Villa Farnesina at Rome. Good original impression, but somewhat spotted with mildew. REMBRANDT VAN RYN 867 — ’ Ecce Homo Ch. Blanc, No. 52. Bartsch, No. 77. Claussin, No. 82. Wilson, No. 82. The lower margin has been cut off, and with it the name of Rembrandt, etc. This impres- sion is not earlier than the third state. In good condition. Bird’s-eye maple frame. This is Rembrandt’s largest etching, and, judging by the number of studies he made for the various figures, the one to which he devoted the greatest amount of care. Each separate countenance is worthy of study, differing in expression, but all domi- nated by the same feelings of cruelty, mockery, and brutality. 868 — The Three Crosses Ch. Blanc, No. 53. Bartsch, No. 78. Claussin, No. 81. Wilson, No. 81. Third state. Extremely rare. A magnificent impression. Very rich in dry-point work. With margins. In perfect condition. Gold frame. This superb plate is one of the most remarkable interpretations of the Crucifixion in all Christian art, and is a master- piece both in conception and in execution. It is of the greatest rarity. So fine an impression as this one is hardly to be met with outside the great collections. 869 — The Descent from the Cross (The large plate) Ch. Blanc, No. 56. Bartsch, No. 81. Claussin, No. 83. Wilson, No. 83. Fourth state, with the address of Justus Danckerts. In excellent condition. Bird’s-eye maple frame. 870 — Christ Healing the Sick (“ The Hundred Guilders Print ”) Ch. Blanc, No. 49. Bartsch, No. 74. Claussin, No. 78. Wilson, No. 78. Third state, according to Ch. Blanc; second state, according to Bartsch. An excellent im- pression. In perfect condition. Gold frame. This is Rembrandt’s masterpiece, and is accounted to be the finest etching in the history of the art. Good impressions have always been very scarce, and, of late years, have been well-nigh impossible to procure at any price. 130 SEYMOUR, SAMUEL 871 — View of the City of New York in 1803 (After the painting by William Birch) In excellent condition. Walnut frame. SMITH, H. WRIGHT 872 — Portrait of Edward Everett (After M. Wright) India proof. Signed by Edward Everett. Good impression. Gold frame. STABLER, J. C. 873— Henry VII. Chapel Etched by J. Morton and aquatinted by J. C. Stadler in 1810. Good original im- pression. With margins. STEINLA, MORITZ 874 — Madonna di San Sisto (After Raphael) Passavant, II., 240. Engraved in 1847, after the upper end of the canvas had been unrolled and the top of the curtain with the rod and rings had been brought to light. A good impression. In excellent condition. Gold frame. STRANG, WILLIAM 875 — Portrait of Seymour Haden Etched from life. Print state. Gold frame. STRANGE, SIR ROBERT 876 — King Laomedon Refuses to Neptune and Apollo His Tribute for the Construction of the Walls of Troy (After Salvator Rosa) Good original impression. Gold frame. 877 — TIEBOUT, C. The Battle of Lexington (After Tisdale) TISSOT, JAMES J. October 878— Signed artist’s proof of this magnificent dry .point. With the stamp of the artist. Rare of such quality. Oak frame. 879— The Emigrant (The smaller plate) Signed artist’s proof. Fine. In the margin the artist has written “ 1st p.,” i.e., “ First proof.” Oak and gold frame. Rare. TOSCHI, PAOLO 880 — Group of Cherubs and Angels After Correggio’s fresco in the Church of San Giovanni Evangelista. 881 — Group of Cherubs and Angels, one having a Violin After Correggio’s fresco in the Church of San Giovanni Evangelista. This and the impression above are remarque proofs on India paper, and are of superb quality. Only thirty-three impressions (all previously subscribed for) were issued in this state. Upon the lower margin of each proof, in the handwriting of Toschi, is written, “ Prova d’etichetta scelta da Paolo Toschi.” These impressions are as fine as have been offered for sale in Europe or in America for many years. Full margins. Black and gold frames. . UNKNOWN 882 — General View of Rome, showing Piazza di Popolo Aquatint. In good condition. Walnut frame. 883 — George Washington (After Gilbert Stuart) “ From a painting in the possession of Mr. Pierrepont of Brooklyn Heights.” Good condition. Wood frame. 884 — Portrait of Schiller Good condition. Full margins. Mahogany frame. WAGNER, JOSEPH 885 — The Last Supper (After Leonardo da Vinci) Very fine proof before letters, before the names of painter and engraver, and with only the name of Felsing, the printer. Full margins. Excellent condition. A beauti- ful impression. Gold frame. 132 886 — The Last Supper (After Leonardo da Vinci) India proof, with names of painter, engraver, and printer only. Fine original im- pression. With full margins. Gold frame. WALLIS, R. 887 — Hastings (After J. M. W. Turner) A fair impression. Engraved in 1851. Black and gold frame. WALTNER, CHARLES 888 — Harmony (After Frank Dicksee) Very fine proof on vellum, with the names of painter and etcher, and the date, 1879, scratched in the lower margin. Gold frame. WHISTLER, J. McNEILL 889 — Limehouse Wedmore, No. 37. One of the sixteen “ Thames Etchings.” Good impression. In excellent condition. 890 — The Forge Wedmore, No. 63. An- exceedingly rare dry point. This impression . is on thin Japanese paper, and is of unusually good quality. One of the “ Thames Etchings.” Of this plate Wedmore writes: “ It was etched in Brittany. The effect aimed at in this audacious dry point is attained only in about half-a-dozen of the finest impressions before the publication.” WILLE, JOHANN GEORG 891 — La Menag^re Hollandaise Le Jeune Joueur dTnstrument (After Schalken) Two of the most attractive of Wille’s smaller plates. In good condition. In passe partouts. The two as one lot. ZENDERICH, C. L. 892 — Portrait of Henry Clay Lithographed from life in 1844. Proof on India paper. Gold frame. 133 NOTE. — The following Nos., 895 to 924, inclusive, were catalogued from memorandums left by the late Professor West. AMERICAN ART ASSOCIATION. THOMAS GAINSBOROUGH, R.A. 895 — Pencil Sketch From the collection of Sir Edmond Temple, London. DAVID WILKIE, R.A. 896 — “ Guess My Name ” (Original drawing in crayon and red chalk) Signed at the right. Height, 4 inches; length, 7 inches. SAMUEL PROUT 899— Old House near Honfleur (Water color) Signed at the right. Height, 10 inches; length, iq }4 inches. 900 — M. J. HISPALETO A Madrid Garden (Water color) Signed at the right. Height, 11 Yz inches; width, 8 inches. 901 — H. JUDSON Old Cottage in Wales (Water color) Signed at the left. Height, 12 inches; length, 14J4 inches. 134 J. PRICE 902 — The Coming Storm (Water color) Signed at the right. Height, 15 inches; length, 22 inches. MARIANO FORTUNY 903 — Signed at the left. Study of a Moor (Water color) Height, 13 inches; width, 9 inches. ' UNKNOWN 904 — Portrait of Captain Nolan (Water color) Captain Nolan, of the Light Dragoon Guards, English Army, was the officer who gave the orders for the charge of the “ Balaklava Six Hundred,” and was among those killed. Purchased by the late owner from the Sir Edmond Tempie Collection, London. Height, iyy 2 inches; width, 14 inches. 905 — “ A Great Fire in New York ” # (Colored print) “ Metz (Mozel). Printed and published by Dembour, engraver and lithographer, the successor of Lacour & Co., of Nancy.” LARGE PHOTOGRAPHS 906 — “ St. Peter’s, Rome ” (Triple plate) 907— “ Ancient Rome ” (Triple plate) 135 OIL PAINTINGS 908 — UNKNOWN ‘The Dispute RUFUS WRIGHT 909 — Apples and Oranges Signed at the right and dated 1870. Height, 11 inches; length, 15 inches. 910 — Signed at the left. P. LACROIX Still-life Height, 12 inches ;,length, 16 inches. G. H. McCORD 91 1 — A Berkshire Relic Signed at the right and dated 1873. Height, % l / 2 inches; length, 1354 inches. ALBERT DURER 912 — Head of a Dutch Woman Signed with initials at lower centre. Height, 13 inches; width, g x / 2 inches. GILBERT STUART 913 — Portrait of a Lady Height, 17 inches; width, 14 inches. 136 HANS HOLBEIN Head of the Madonna 914— The above painting was brought to this country in 1848 by a Dr. Ritter, a promi- nent physician of Altenberg, Germany, who received the picture as a token of respect and thankfulness from a member of a rich and noble family of Warsaw, Gartoryiski- Sanguszko, whom the doctor had aided to escape from Russia via “ Underground Railway,” to the Swiss frontier. Through this act Dr. Ritter got into trouble with his country (Germany), and, after being imprisoned ten months, was forced to come to this country, bringing the picture with him. He afterwards sold the painting to Mr. Emil Seitz, who, in May, 1865, sold it to the late Prof. Charles W. West, for whose estate it is now to be sold. . Height, 12 inches; width, 10 inches. UNKNOWN 915 — Cordelia in Shakespeare’s Play of “ King Lear ” Height, 24 inches; width, 19 inches. W. M. BROWN 916 — On the Hoosac River Signed at the right. Height, 26^2 inches; length, 46 inches. W. M. BROWN 917 — Autumn, Van Rensselaer County, New York Signed at the right. Height, 22 inches; length, 34 inches. « W. M. BROWN 918 — Summer, Van Rensselaer County, New York Signed at the right. Height, 33 inches; length, 48 inches. UNKNOWN OLD MASTER 919 — Marriage of the Virgin Height, 35^2 inches; width, 28^4 inches. 137 920 — DANIEL HUNTINGTON, N.A. The Velvet Cap Presented by the artist to the late owner, Prof. C. W. West. Height, 36 inches; width, 28^2 inches. 921 — UNKNOWN St. Sebastian From the collection of Dr. Gorham D. Abbot. Height, 34 inches; width, 28^2 inches. Note. — The following copies of celebrated pictures were executed by Chevalier Chatelain about 1870, for Dr. Gorham D. Abbot, of New York, who made a stipulation that the copies were to be submitted to the government officer in charge of the works at Rome, to the Marquis Campanella, President of the Society of the Belles Arts, and to the American Minister at Rome, each of whom were to furnish written certificates of the excellence of the copies. 922 — Copy of “ The Madonna della Seggiola ” In the Pitti Palace, Florence. Size of the original. 923 — Copy of “ The Madonna Murillo ” In the Corsini Palace. Size of the original. 924— Copy of “ The Sibyl of Domenichino ” • In the Borghese Palace. Size of the original. 133 \ AFTERNOON'S SALE Friday , March 29th AT THE AMERICAN ART GALLERIES BEGINNING AT 3 O’CLOCK FINE ART BOOKS CATALOGUED BY MR. J. O. WRIGHT 925 Adams (W. H. D.). Buried Cities of Campania ; or, Pompeii and Herculaneum. Illustrated. London, 1870. Crown 8vo, cloth. 926 Alfston (Washington). Lectures on Art, and Poems. Edited by Rich- ard Henry Dana, Jr. New York, 1850. First edition in collected form. i2mo, cloth. 927 American Art and American Art Collections. (Sections 49-62.) Etchings, woodcuts, etc. Boston, 1889. 14 Nos., 4to, paper. 928 dAnvers (N.). Elementary History of Art. Illustrated. New York, 1875- i2mo, cloth (loose in covers). 929 Architecture. Rudiments of Ancient Architecture. Containing an historical account of the Five Orders, etc. 11 copper plates, and vig- nette in title. London, 1821. Royal 8vo, boards, uncut. 930 Twenty Styles of Architecture. By the editor of “The Hundred Greatest Men.” Numerous plates of the finest edifices of the world. London, 1881. Imperial 8vo, half morocco. T 39 93i 932 933 934 935 936 937 938 939 94i 942 943 Armitage (E.). Lectures on Painting. Woodcuts. New York, 1883. Crown 8vo, cloth, gilt top, uncut edges. Another copy. London, 1883. Crown 8vo, cloth, uncut. Army Uniform. Preussische Armee-Uniformen unter der Regierung Friedrich Wilhelm II., Konigs von Preussen. Over 130 brilliantly colored plates, of which 6 are missing from the original number. Potsdam, 1789-91. 3 vols. in 1, 8vo, boards, uncut (worn). Artists’ Arcanum ; or, the Essence of a Variety of Useful and Enter- taining Arts. Stamford, 1823. i6mo, calf, gilt. Atkinson (J. Beavington). Art tour to Northern Capitals of Europe. London, 1873. 8vo, cloth, uncut. Aurelio and Visconti. Indicazione delle Sculture, e della Galleria de’ Quadri esistenti Nella Villa Mollis al Quirinale. Engraved portrait and plates. Roma, 1814. 4to, half calf. Baker (W. S.). American Engravers and their Works. Philadelphia, 1875- i2mo, cloth, uncut. William Sharp, Engraver, with a descriptive catalogue of his works. Portrait. Philadelphia, 1875. i2mo, cloth, uncut. Bardwell (W.). Temples, Ancient and Modern. Plates and woodcuts. London, 1837. Royal 8vo, cloth, uncut (stained pages). Large paper copy. Another copy. Royal 8vo, cloth, uncut (loosely bound). Barlow (H. C.). Essays on Symbolism. London, 1866. Crown 8vo, cloth. Bartolozzi and his Works. By Andrew W. Tuer. Plates (some in colors). London [1881]. 2 vols., 4to, boards, gilt top, uncut edges. Bayliss (Wyke). Witness of Art ; or, the Legend of Beauty. London, 1878. 8vo, cloth. 140 944 Beck (R.). Treatise on the construction, proper use, and capabilities of Smith, Beck, and Beck’s Achromatic Microscopes. 28 plates (colored and black) and woodcuts. London, 1865. Royal 8vo, cloth, uncut. Another copy. Royal 8vo, cloth, uncut (slightly damaged cover). 945 Beckwith (Arthur). Pottery. New York, 1872. 8vo, cloth. 946 Majolica and Fayence. Woodcuts. New York, 1877. i2mo, cloth. Another copy. i2mo, cloth. 947 Beham (Hans Sebald). Catalogue of the Prints and Etchings of , Painter, of Nuremberg, Citizen of Frankfort, 1500-1550. Woodcut. London, 1877. No. 44 of 100 copies. 4to, boards, uncut. 948 Bell (John). Observations on Italy. Boston, 1826. i2mo, cloth. 949 Benard. Cabinet de Paignon Dijonval. Paris, 1810. 4to, half calf. 950 Benjamin (S. G. W.). Contemporary Art in Europe. Illustrated. New York, 1877. 4to, half calf. 951 Beza (Theod.). Poemata Varia : Sylvae, Epitaphia, etc. Wood en- gravings of emblems. Scarce. [Genevae], 1597. Complete copy, with the Abrahamus Sacrificans , and the Appendix, which were not printed until 1598, and are often lacking. Rare portrait of Beza inserted. 4to, half calf. 951a Binns (R. W.). Century of Potting in the City of Worcester. (1751 — 1851.) Illustrated. London, 1865. 8vo, cloth. 952 Birch and Jenner. Early Drawings and Illuminations. Numerous plates. London, 1879. 8vo, cloth. 953 Black (John R.). Young Japan. Yokohama and Yedo. London [Yo- kohama], 1880. 2 vols., 8vo, cloth. 954 Blackie (J. S.). On Beauty. Edinburgh, 1858. Crown 8vo, cloth, uncut. 955 Blake (William). The Grave : A poem by Robert Blair. With 12 etchings from original designs by Blake, and a fine portrait of the artist. London, 1813. 4to, half morocco. 956 — — Another edition, with the illustrations reduced in size. New York, 1847. 4to, cloth. 957 — Life of, with selections from his Poems, etc., by Alex. Gilchrist. Portrait and other illustrations. London, 1863. 2 vols., 8vo, cloth, uncut. 958 — — Another copy. 2 vols., cloth, uncut. 959 BLAKE (William). LIFE OF. By Alexander Gilchrist. London, 1863. Unique copy. Vol. I. has been enlarged to folio and divided into 2 vols. ; the second volume retains its original size. The inserted illustrations, over 200 in all, comprise an original sketch by Blake, 13 colored plates from the Marriage of Heaven and Hell ; the superb engraving of Zephyrus and Flora ; and a large number of prints by Blake from the Novelists’ Library, Blair’s Grave, and other sources. In addition, the Romney prints of Sensibility, Cassandra, Miranda, etc., engraved by Caroline Watson ; portraits, including Thomas Paine, by Sharpe ; Sir Thos. Lawrence, by Cousins ; mezzotint folio portrait of Wm. Godwin ; and many other fine plates have been inserted. 3 vols., folio (2) and 8vo (1), half brown levant morocco, gilt edges, by Tout. 960 Illustrations of the Book of Job, with Life, etc., of Blake, by C. E. Norton. 21 plates. Boston, 1875. 4to, cloth. 961 Book of Job. The 21 illustrations. 4to, cloth portfolio. 962 The Marriage of Heaven and Hell Twenty-seven pages, with colored illustrations in facsimile of the original drawings by Blake. London. 4to, half morocco. 142 963 Blake (William). His Life, Character, and Genius. By A. T. Story. Portrait after miniature by Linnell. London, 1893. Post 8vo, cloth. 964 Blake (W. W.). The Cross, Ancient and Modern. 104 illustrations. New York, 1888. 4to, cloth (cover slightly damaged). 965 Another copy. 4to, cloth. 966 Blanc (Ch.). Art in Ornament and Dress. Illustrated. New York, 1877. 8vo, cloth. 967 Grammar of Painting and Engraving. Translated by Kate Newell Doggett. Colored frontispiece and illustrations. Chicago, 1879. 4to, cloth. 968 Bononi and Sharpe. Alabaster Sarcophagus of Oimenepthah I., King of Egypt, now in Sir John Soane’s Museum, Lincoln’s Inn Fields. [Drawings by Bononi.] London, 1864. 4to, boards. 969 Borioni (Antonius). Collectanea Antiquitatum Romanarum, quas cen- tum tabulis aeneis incisas et a Rodulphino Venuti academico Etrusco cortonensi notis illustratas. Engraved title and 103 plates. Romae, 1736. Folio, half calf. 970 Bouchard and Gravier. Monumens Egyptiens. 200 engraved plates and portrait. Rome, 1791. 2 vols. in 1, royal folio, half russia. 971 Brayley (C. W.). Ed. Graphic and Historical Illustrator. An original miscellany of literary, antiquarian, and topographical information. 150 woodcuts. London, 1834. Imperial 8vo, cloth, uncut (title ink-stained). 972 British Galleries of Art. London, 1824. Crown 8vo, boards, uncut. 973 Bryant (W. M.). Philosophy of Art : being the second part of Hegel’s HSsthetik, etc. New York (1879). 8vo, cloth. 974 Buchanan (W.). Memoirs of Painting. London, 1824. 2 vols., 8vo, cloth, uncut. t 143 975 978 979 980 981 982 983 984 985 986 987 Budge (E. A. Wallis). Sarcophagus of Anchnesraneferab, Queen of Ahmes II., King of Egypt, about 564-526 b.c. Illustrated. London, 1885. 4to, cloth. Burckhardt (Jacob). Civilization of the Period of the Renaissance in Italy. Translated by S. G. C. Middlemore. London, 1878. 2 vols., 8vo, cloth, uncut. Burnet (John). Practical Essays on Various Branches of the Fine Arts. Etching by Burnet after Wilkie. London, 1848. Crown 8vo, cloth. Burty (Philippe). Chefs-d’CEuvre of the Industrial Arts. Pottery, Porcelain, Glass, etc. Edited by W. Chaffers. 200 illustrations. Lon- don [ 1 869 J . 8vo, cloth, uncut. Charles Meryon, Sailor, Engraver, and Etcher. Memoir and Com- plete Descriptive Catalogue of his Works. Translated by M. B. Huish. London, 1879. No. 36 of 125 copies. 8vo, boards, uncut. Camper (P.). Works ... on the Connexion between the Science of Anatomy and the Arts of Drawing, Painting, Statuary, etc. Translated from the Dutch by T. Cogan. Portrait, 20 folded plates. London, 1794-99. 2 vols. in 1, 4to, half morocco. Caricatures Renversement de la Morale Chretienne par les de- sordres du Monachisme. Double steel plate and 50 curious mezzo- tints of monks. [Hollande vers la fin du i7 e sieele.J French and Dutch texts. 2 vols. in 1, 4to, levant morocco Janseniste, inside border, gilt edges. Carr (J. Comyns). Essays on Art. London, 1879. Crown 8vo, cloth, uncut. Cartault (A.). Sur l’Authenticite des Groupes en Terre Cuite d’Asie- Mineure. Colored plates. Macon, 1887. 4to, paper. Castellani (Augusto). Gems. Translated by Mrs. John Brogden. London, 1871. Crown 8vo, cloth, uncut. Cellini (Benvenuto). Memoirs of. Written by himself. Translated by Thomas Roscoe. Portrait. Bookplate. London, 1822. 2 vols., 8vo, basket calf, gilt. 144 4 988 Chaffers (W. ). Keramic Gallery. Nearly 600 fine photographs of rare and curious examples. London, 1872. 2 vols., royal 8vo, cloth. 989 Chandler, Revett,. and Pars. Ionian Antiquities. Published with permission of the Society of Dilettanti. 33 plates and vignettes. Lon- don, 1769. Royal folio, half calf (damaged covers, stained pages). 991 [Chetsum (James)]. History of the Art of Engraving in Mezzotint, etc. Winchester, 1786. Post 8vo, calf. 992 China Hunters’ Club. By the youngest member. Illustrated. New York, 1878. i2mo, cloth. 993 Christie (J.). Disquisitions upon the Painted Greek Vases, and their probable connection with the shows of the Eleusinian and other mys- teries. 16 plates and vignettes. London, 1825. 4to, boards, uncut. 994 Clark (E. L.). Daleth ; or, The Homestead of the Nations. Egypt illustrated. Plates (some colored) and woodcuts. Boston, 1864. 8vo, cloth, gilt top, uncut edges. 995 Clayton (Ellen C.). English Female Artists. London, 1876. 2 vols., 8vo, cloth, uncut. 996 Cleghorn (G.). Ancient and Modern Art. Historical and critical. Edinburgh, 1848. J. Mitford’s autograph on the flyleaf. 2 vols., post 8vo, calf. 997 Another copy. 2 vols,, post 8vo, cloth, uncut. 998 Clement and Hutton. Artists of the Nineteenth Century and their Works. Boston, 1889. 2 vols. in i, 8vo, half red morocco, gilt top. 999 Cole (Thomas). Course of Empire, Voyage of Life, and other Pic* tures of . With selections from his letters and miscellaneous writings ... by Louis L. Noble. New York, 1853. i2mo, cloth. 1000 Another copy of the preceding book. i2mo, cloth. 1001 Collignon (M.). Mythologie figuree de la Grece. Illustrated. Paris, n. d. i2mo, cloth. 10 145 1002 Collignon (M.). Manuel d’Arch6ologie Grecque. Illustrated. Paris, n. d. 8vo, cloth. Another copy. 8vo, cloth. 1003 Columbus Gallery. The “ Discoverer of the New World,” as repre- sented in portraits, monuments, statues, medals, and paintings. His- torical description by Nestor Ponce de Leon. Illustrated. New York, i 8 93 - Imperial 8vo, cloth. 1004 Combe (Taylor) and Hawkins (E.). Description of the Collection of Ancient Terra Cottas in the British Museum. Ancient Marbles (6 parts), 182 plates. London, 1810-30. Parts 5 and 6 of Ancient Marbles, by E. Hawkins. 7 vols. in 2, 4to, morocco, rich gilt back and sides, gilt edges. 1005 Cooper (A. R.). Cultivation of Art and its Relation to Religious Puri- tanism and Money-getting. New York, 1874. i2mo, cloth. 1006 Coquerel, Jr. (Ath.). Fine Arts in Italy, in their Religious Aspect, etc. Translated by Edward and Emily Higginson. London, 1859. Crown 8vo, cloth, uncut. 1007 Cousin (V.). Philosophy of the Beautiful. Translated by J. C. Daniel. Pickering, London, 1848. Post 8vo, cloth, uncut. 1008 Craig (W. M.). Course of Lectures on Drawing, Painting, and En- graving. Colored plates in five states. London, 1821. 8vo, boards, uncut. 1009 Cranstoun (J.). Elevations, sections, and details of the Chapel of Saint Bartholomew, near Oxford. 9 plates. Oxford, 1844. Folio, paper. 1010 Cripps (W. J.). Old French Plate. With tables of the Paris date- letters, and facsimiles and other marks. A Handbook for the Col- lector. Illustrated. London, 1880. 8vo, cloth, uncut. 1011 Crowe and Cavalcaselle. History of Painting in Italy. Numerous illustrations. London, 1864-66. 3 vols., 8vo, cloth, uncut. 146 1012 ioi3 1014 1015 ioi6 1017 1018 1019 1020 1021 1022 Cumberland (R.). Critical Catalogue of Rare and Valuable Prints, with Anecdotes of Engravers. Portrait. London, 1827. 4to, half vellum, gilt. Curio (The). An illustrated monthly magazine, devoted to Genealogy and Biography, Heraldry and Bookplates, Coins and Autographs, etc. Edited by E. de V. Vermont. Illustrated. Vol. I., September, 1887, to February, 1888. New York, 1888. 4to, half morocco. Dagley (Richard). Gems, Principally from the Antique. With illus- trations in verse, by the Rev. George Croly. Numerous plates. Lon- don, 18- 2. Crown 8vo, cloth, uncut (stained leaves). Daryl (Philippe). Picture Amateur’s Handbook and Dictionary of Painters. London, 1878. Crown 8vo, cloth. Davidson (T.). Parthenon Frieze and other Essays. Frontispiece. London, 1882. Crown 8vo, cloth, uncut. Davis (J. P.). Thoughts on Great Painters. Photograph after Davis. London, 1866. 8vo, cloth. Dean (Amos). History of European Art. Albany, 1876. 8vo, cloth. j I De la Beche and Reeks. Catalogue of Specimens in the Museum of Practical Geology, illustrative of the Composition and Manufacture of British Pottery and Porcelain. Woodcuts . London, 1876. 8vo, cloth. Dennistoun (James). Memoirs of Sir Robert Strange, Engraver, and of his Brother-in-law, Andrew Lumisden. Portraits and engravings by Strange. London, 1855. 2 vols., crown 8vo, half morocco. Dibdin (T. F.). Abdes Althorpianae, with the Supplement. Superb portraits, etc. London, 1822. 2 vols., royal 8vo, russia (covers broken and plates stained). Dieulafait (Louis). Diamonds and Precious Stones. Translated by Fanchon Sanford. 126 woodcuts. New York [1873]. i2mo, cloth. 147 1023 1024 1024a 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 Dobbins (Frank S ). False Gods ; or, the Idol Worship of the World. Profusely illustrated. Philadelphia, n. d. 8vo, cloth. Dore. Coleridge (S. T.). Der alte Matrose, von Ferdinand Freili- grath. Illustrated by Dord. Leipzig, 1877 . Imperial 4to, cloth, gilt edges. Chateaubriand. Atala. Translated by J. S. Harry. Illustrated by Dore. New York, j886. 4to, cloth. Milton’s Paradise Lost. Illustrated by Gustave Dord. Introduc- tion by Robert Vaughan. New York, n. d. 4to, cloth. Duchesne, aine. Essai sur les Nielles, gravures des Orfevres Floren- tins du xv e siecle. Plates. Paris, 1826. 8vo, half morocco. Dunlap (Wm.). History of the Rise and Progress of the Arts of De- sign in the United States. New York, 1834. 2 vols., 8vo, original boards. Duplessis (Georges). Wonders of Engraving. 10 plates, 34 wood engravings. London, 1871. 8vo, cloth. Wonders of Engraving. Illustrated. New York, n. d. i2mo, cloth. Duppa and Quatremfcre de Quincy. Lives and Works of Michael Angelo and Raphael. 15 engravings. London, 1856. Post 8vo, half morocco, gilt edges. Dlirer (A.). Passio Christi. The Little Passion. Reproduced in fac- simile. Edited by W. C. Prime. 37 plates. New York, 1868. 4to, morocco antique, gilt edges. History of Life of . By Mrs. Charles Heaton. Numerous reproductions in facsimile. London, 1870. Royal 8vo, cloth, gilt edges. Duruy (Victor). History of Rome and of the Roman People, etc. Translated by Ripley and Clarke. Edited by J. P. Mahaffy. Numer- ous colored plates, maps, and illustrations. Boston, 1884-87. Edition de luxe. 8 vols. in 16. Royal 8 vo, cloth, uncut. Dutuit. Souvenir de l’Exposition de . Reproductions in fac- simile (some colored). Pans, 1869. 4to, half cloth, uncut. 148 1035 Dutuit (Eugene). Manuel de l’Amateur des Estampes. Numerous illustrations. Paris, 1881. These volumes (4 and 5) relate to the Flemish and Holland schools. 2 vols., royal 8vo, boards, uncut. 1036 Eastlake (C. L.). Materials for a History of Oil Painting. Contribu- tions to the Literature of the Fine Arts. London, 1847-48. 2 vols., 8vo, calf. 1037 Contributions to the Literature of the Fine Arts. London, 1870. 2 vols., 8vo, half morocco, gilt top, uncut. 1038 Ecclesiastical and Architectural Topography of England: Berkshire, Buckinghamshire, Bedfordshire, Huntingdonshire, Cam- bridgeshire, Suffolk Oxford, 1849- 6 vols., 8vo, paper. 1039 Egypt* Antiquities of Egypt, With a particular notice of those that illustrate the Sacred Scriptures. Illustrated. London, 1841. 8vo, cloth, uncut (loose in covers). 1040 Eidlitz (L.). Nature and Function of Art, more especially of Archi- tecture. London, 1881. 8vo, cloth. 1041 Elgin. Memorandum on the Subject of the Earl of Elgin’s Pursuits in Greece. Copper engravings. Bookplate. London, 1811. 8vo, old calf. 1042 Elgin Marbles, Letter from Chevalier Antonio Canova ; and Two Memoirs ... on the Sculptures in the Collection of the Earl of Elgin. By Chevalier E. Q. Visconti. Translated from French and Italian. London, 1816. 8vo, calf (one cover loose). 1043 Another copy. 8vo, cloth (loose in covers), bookplate. 1044 Elgin Marbles from the Parthenon at Athens, etc., . . . Re- marks by Richard Lawrence. 50 etchings. London, 1818. Oblong 4to, half morocco. 1045 Ellet (Mrs.). Women Artists in all Ages and Countries. New York, 1859- i2mo, cloth. 149 1046 Elmes (James). Arts and Artists ; or, Anecdotes and Relics of the Schools of Painting, Sculpture, and Architecture. Portraits and vignettes. London, 1825. 3 vols., post 8vo, half morocco. 1047 Ely (Talfourd). Manual of Archaeology. 1 14 illustrations. London, 1890. Crown 8vo, cloth. 1048 Emanuel (Harry). Diamonds and Precious Stones. Plates and wood- cuts. London, 1867. Crown 8vo, cloth, uncut. 1049 Another copy. Crown 8vo, cloth, uncut. 1050 Engravings on Copper. Engraved Title (1614) and 66 Plates to Les Images ou Tableau des Deux Philostrates. 125 illustrations of Sacred and Profane History, by Briot, etc., and Portraits of Turkish Emperors, Oriental Costume, etc. Over 300 plates in all, mounted in royal folio, board covers. (Saec. XVII.) 1051 Engraving. Sculptura Historico-Technica ; or, the History and Art of Engraving. Chronological and Historical Series of the Painters from the Eleventh Century. Copper plates and facsimiles. London, 1770. Post 8vo, old calf. 1052 Engraving. Origin and Antiquity of Engraving. By W. S. B. Phila- delphia, 1872. 8vo, cloth, gilt top, uncut edges. 1052a Another copy. 8vo, cloth, uncut. 1053 Engravings, Etchings, and Mezzotints. Exhibition of , held under the auspices and for the benefit of the Pennsylvania Academy of Fine Arts. (December, 1874.) Philadelphia, 1875. Presentation copy to Dr. West from James L. Claghorn, purchaser of the collection. 4to, paper. 1054 Essays on American Art and Artists. By F. Hopkinson Smith, Will Low, Charles de Kay, and 31 others. 1,100 illustrations by Rein- hart, Wenzell, Moran, etc. New York, 1896. Oblong 4to, cloth, gilt edges. 1055 Etty (W.). Life of. By A. Gilchrist. Portrait. London, 1855. 2 vols., post 8vo, cloth, uncut. 150 1056 1057 1058 1059 io6o 1061 1062 1063 1064 1065 1066 1067 Fagan (Louis). Handbook to the Department of Prints and Drawings in the British Museum. Frontispiece after Raffaello. London, 1876. 8vo, cloth. Fairholt (F. W.). Ed. Dictionary of Terms in Art 500 wood engrav- ings. London, n. d. Crown 8vo, cloth. Falkener (E.). Description of Some Important Theatres and other Remains in Crete, from a MS. History of Candia. By Cnorio Belli in 1586. Plates and woodcuts. London, 1854. Royal 8vo, cloth. Farrar (C. S. ). History of Sculpture, Painting, and Architecture. Topical lessons, with specific references to valuable books. Chicago, 1881. 8vo, cloth. Fellows (Charles). Xanthian Marbles : Their Acquisition and Trans- mission to England. 2 plates. London, 1843. 8vo, paper, uncut. Account of the Ionic Trophy Monument excavated at Xanthus. 4 plates. London, 1848. 8vo, boards. Fergusson (James). Palaces of Nineveh and Persepolis Restored. An Essay on Ancient Assyrian and Persian Architecture. Illustrated. London, 1851. 8vo, cloth, uncut. Tree and Serpent Worship ; or, Illustrations of Mythology and Art in India. From the Sculptures of the Buddhist Topes at Sanchi and Amravati. ico plates. Very scarce. London, 1868. Royal 4to, half red morocco. Rude Stone Monuments in all Countries. 234 illustrations. London, 1872. 8vo, cloth, uncut. History of Indian and Eastern Architecture. Illustrated. Lon- don, 1876. 8vo, half morocco, gilt top, uncut edges. Temples of the Jews, and the other Buildings in the Haram Area at Jerusalem. Illustrated. London, 1878. 4to, cloth. The Parthenon ; an Essay on the Mode by which Light was intro- duced into Greek and Roman Temples. Illustrated. London, 1883. 4to, cloth. io68 1069 1070 1071 1072 1073 1074 1075 1076 1077 1078 1079 Ferrey (B.). Recollections of A. N. Welby Pugin, and his Father, Augustus Pugin ; with Notices of their Works. Appendix by E. Sheri- dan Purcell. Portrait and illustrations. London, 1861. 8vo, cloth, uncut. Feuchtwanger (L.). Treatise on Gems, in reference to their practical and scientific value. New York, 1838. 8vo, cloth. Popular Treatise on Gems, in reference to their scientific value. Portrait, woodcuts, and colored plates. New York, 1867. i2mo, cloth. Fillans (James), Sculptor. Memoir of , by James Paterson. Portraits and plates. Paisley, 1854. 4to, cloth (damaged covers). Fine Arts Quarterly Review (The). (May, 1863-January, 1865). Illustrated. London [1863-65]. 5 vols., royal 8vo, half morocco, gilt top, uncut. First Proofs of the Universal Catalogue of Books on Art, etc. London, 1870. 2 vols., 4to, half morocco (rubbed). Fisher (Richard). Catalogue of a collection of engravings, etchings, and woodcuts. Title in woodcut border ; numerous woodcuts and etchings in facsimile. (London), 1879. Imperial 8vo, half morocco, gilt top, uncut edges. Flaxman (John). Lectures on Sculpture. With a brief memoir of the author. Portrait after medallion by Flaxman, and 52 plates. London, 1829. Royal 8vo, calf. Fontana (Dom ). Della trasportatione dell’ Obelisco Vaticano et delle fabriche di nostro signore Papa Sisto V. Folded frontispiece and’ numerous plates. Roma, 1590. 2 vols. in 1, folio, calf. (Frontispiece and title mended. Stained leaves.) Forster (H. R.). Stowe Catalogue, priced and annotated. Mezzotint frontispiece and plates. London, 1848. 4to, half morocco. Fortuny. Life of ., With his works and correspondence, from the French of Baron Davillier, with notes and reminiscences by a friend. Philadelphia, 1885. i2mo, cloth, gilt top, uncut edges. Fuseli (Henry). Life and Writings, written and edited by John Knowles. Portrait. London, 1831. 3 vols., 8vo, boards, uncut. 152 io8o 1081 1082 1083 1084 1085 1086 1087 1088 1089 \ 1090 1091 1092 1093 Gale (Ethel C.). Hints on Dress. New York, 1872. i2mo, cloth. Gambarini (C ). Description of the Earl of Pembroke’s Pictures. Westminster, 1731. Crown 8vo, half calf. Gargiulo (Raphael). Collection of the most remarkable monuments of the National Museum [Naples]. 2,400 plates. Naples, 1869. 4 vols. in 2, 4to, half russia. Collection of the most remarkable monuments of the National Museum [Naples], Marbles, bronzes, engraved gems, gold and silver objects, frescoes, terra-cotta, and vases. 2,400 plates. Naples, 1870. 4 vols., 4to, paper (3 vols. loose in covers). Garofalo (Benvenuto Tisi da). Collezione di sette dipinti. 7 plates. Ferrara, 1840. Royal folio, paper, uncut. Gebhart (Emil). Roman Cameos and Florentine Mosaics. Translated and edited by M. Jeaffreson. London, 1882. Crown 8vo, cloth. Gerspach. La Mosai'que. Illustrated. Paris, n. d. i2mo, cloth. Gibson (John). Life of . Edited by Lady Eastlake. Portrait. Londob, 1870. 8vo, half calf. Gilpin (W.). Essay on Prints. London, 1802. 8vo, calf. Gioberti (Vincenzo). Essay on the Beautiful. Elements of .Esthetic Philosophy. Translated by E. Thomas. London, i860. 8vo, half calf. Giotto. By Harry Quilter. Colored frontispiece, photographs, and plates. London, 1880. 4to, cloth, gilt top, uncut edges. Goethe. Faust. Erster Theil. Photographs and wood engravings after A. v. Kreling. Miinchen, n. d. Royal folio, morocco antique, metal corners, medallion relief por- traits in metal in border, gilt edges. Gonse (Louis). Eugene Fromentin. Translated by M. C. Robbins. Portrait and illustrations. Boston, 1883. 4to, cloth. Gould (Charles). Mythical Monsters. Colored frontispiece and nu- merous illustrations. London, 1886. Royal 8vo, cloth. 153 1094 Gould (John). Biographical Dictionary of Painters, Sculptors, Engrav- ers, and Architects, etc. London, 1839. Crown 8vo, russia. 1095 Grimm (Herman). Life of Michael Angelo. Translated by Fanny E. Bunnett. Portrait. Boston, 1865. 2 vols., i2mo, cloth, uncut. 1096 Grose (F.). Rules for Drawing Caricatures ; with an Essay on Comic Painting. 19 copper plates (only), some etched by the author. Lon- don, 1791. 8vo, boards. 1097 Haden (Seymour). About Etching : I. Notes on Collection of Etchings and Engravings by the Great Masters. II. Annotated catalogue. Original etching by Haden and 15 facsimiles. London, 1879. 4to, half morocco, gilt top, uncut edges. 1098 Descriptive Catalogue of Etched Work of , by Sir W. R. Drake. Manuscript notes in pencil. London, 1880. Royal 8vo, cloth, uncut. 1099 Hager (Joseph). Dissertation on the newly discovered Babylonian In- scriptions. Plates (some colored). London, 1801. 4to, boards, uncut. 1 100 Hamelow (H.). Imperatores Romani a Julio Caesare, usque ad sacra- tissimum imperatorem. 162 copper-plate portraits. Trajecti ad Rhenum, 1696. Folio, Cambridge calf (rubbed). 1101 Hamerton (P. G.). Etching and Etchers. Numerous plates. Lon- don, 1868. First edition. Royal 8vo, half blue morocco. 1102 Unknown River. An Etcher’s Voyage of Discovery. 8 etchings. London, 1874. Crown 8vo, cloth. U03 The Graphic Arts. A treatise on the varieties of drawing. painting, and engraving, with 32 tinted and other plates. New York [London], 1882. Large paper copy. Royal 4to, cloth, uncut. 1104 Hamilton (G.). English School. A series of the most approved pro- ductions in Painting and Sculpture, executed by British artists from the days of Hogarth to the present time. Numerous outline engrav- ings on steel. London, 1833-2. 4 vols., post 8vo, cloth, uncut. 154 nos no6 1107 1108 1109 iiio mi 1112 1113 1114 1115 1116 1117 Hamilton Palace Collection Catalogue. Numerous facsimile re- productions. London, 1882. 8vo, cloth, uncut. Harrison (Jane E.). Introductory Studies in Greek Art. Map and illustrations. London, 1885. Crown 8vo, cloth, uncut. Haslam (Rev. W.). The Cross and the Serpent. Woodcuts. Oxford, 1849. Crown 8vo, cloth, uncut. Hawkins (J. S.). History of the Origin and Establishment of Gothic Architecture, etc. . . . Painting upon and Staining Glass. n engraved plates. London, 1813. 8vo, cloth, uncut. Hay (D. R.). Orthographic Beauty of the Parthenon referred to a Law of Nature, etc. 12 plates. Edinburgh, 1853. 8vo, boards. Haydon and Hazlitt. Painting and the Fine Arts. (Encycl. Brit, articles. 7th edition.) Edinburgh, 1838. Crown 8vo, cloth, uncut. Haydon (B. R.). Lectures on Painting and Design. Plates and wood- cuts. London, 1844-46. 2 vols., 8vo, cloth, uncut. Life of, from his Autobiography and Journals. Edited and compiled by Tom Taylor. London, 1853. 3 vols., post 8vo, cloth. Heaphy (Thomas). Likeness of Christ : being an Inquiry into the Verisimilitude of the received likeness of our Blessed Lord. Edited by Wyke Bayliss. Colored plates and woodcuts. London, 1880. Royal folio, cloth, gilt edges (loose in covers). Hemans (C. I.). History of Ancient Christianity and Sacred Art in Italy. London, 1866. Crown 8vo, cloth, uncut. Herculaneum. The Antiquities of. Translated from Italian by Martyn and Lettice. Map and 50 plates. London, 1773. 4to, half morocco. Herdman (W. G.). Thoughts on Speculative Cosmology and the Principles of Art. London, 1870. 8vo, cloth. Hitchcock (J. R. W.). Etching in America. Frontispiece. New York, 1886. i2mo, cloth, gilt top, uncut. 155 iii8 1119 1120 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 Hodgson and Graves. Catalogue of Engravings after the Finest Pictures of the Schools of Europe. London, 1830. 8vo, cloth. Holbein Society’s Facsimile Reprints. Fall of Man. By Albrecht Altdorfer. Edited by A. Aspland. Introduction by W. B. Scott. 40 facsimiles. Printed for Holbein Society, Manchester, 1876. 4to, cloth, uncut. Holbein Society. Ars Moriendi (Editio Princeps, circa 1450). Re- production of the copy in the British Museum. Edited by W. Harry Rylands Introduction by G. Bullen. Facsimiles. Printed for the Holbein Society. London, 1881. 4to, cloth, uncut. Holt (Ardern). Fancy Dresses Described ; or, What to Wear at Fancy Balls. Illustrations (some colored). London [1882]. Crown 8vo, cloth. Hope and Fergusson. Architecture at Ahmedabad. Photographs by Colonel Biggs. London, 1866. 4to, cloth, gilt edges. Howard (Frank). Color as a Means of Art. Numerous colored plates. London, 1838. Crown 8vo, cloth, uncut. Howard (H.). Course of Lectures on Painting, delivered at the Royal Academy of Fine Arts. Edited by Frank Howard. London, 1848 Crown 8vo, half calf. 0 Howitt (Anna M.). Art-student in Munich. Boston, 1854. i2mo, cloth. Howson (J. S.). Ed. Essays on Cathedrals. By various writers. London, 1872. 8vo, cloth, uncut (damaged). Hueffer (Francis). Italian and other Studies. London, 1883. Crown 8vo, cloth. Hulme (F. Edward). Myth-land. Woodcuts. London, 1886. i2mo, cloth, uncut. Hunt (W. M.). Talks about Art. With a letter from J. E. Millais, R.A. London, 1878. Crown 8vo, cloth, uncut. Illustrated Biographies of the Great Artists. Raphael. Van Dyck, Michael Angelo, Holbein, Titian, Murillo, Velasquez, Diirer, Leonardo da Vinci, Watteau, Tintoretto, Landseer, Sir Thomas Lawrence, etc. Numerous plates. New York, 1880-90. 25 vols., 8vo, cloth. 156 1131 Italian Pictures, drawn with Pen and Pencil. By the author of “ Spanish Pictures,” etc. Plates and woodcuts. London, n. d. 4to, cloth. 1132 Jameson (Mrs.). Visits and Sketches at Home and Abroad, and Diary of an Ennuyee. London, 1834. 4 vols., post 8vo, half calf, gilt. 1133 Handbook to the Public Galleries of Art in and near London. London, 1842. 2 vols., crown 8vo, cloth, uncut. 1134 Companion to the most Celebrated Private Galleries of Art in London. London, 1844. Crown 8vo, cloth, uncut. 11 35 Memoirs and Essays Illustrative of Art, Literature, and Social Morals. New York, 1846. i2mo, half morocco (stained title). 1136 Sacred and Legendary Art (2). Legends of the Madonna (2). Plates and woodcuts. London, 1848 and 1852. First editions. 4 vols., 8vo, cloth, uncut. 11 37 Commonplace Book of Thoughts, Memories and Fancies, Original and Selected. I. Ethics and Character. II. Literature and Art. Illustrated. London, 1855. 8vo, cloth, uncut. 1138 Memoirs of Early Italian Painters. Illustrated. London, 1868. Crown 8vo, cloth. 1139 Memoirs of life of . By her niece, Geraldine Macpherson. Portrait. London, 1878. 8vo, cloth. 1140 Jarves (J. J.). Art Studies: The “Old Masters” of Italy; Painting. Copper-plate illustrations. New York, 1861. 8vo, cloth, uncut. 1141 —Art Idea: Sculpture, Painting, and Architecture in America. New York, 1865. i2mo, cloth, uncut. 1142 Art Thoughts. New York, 1870. i2mo, cloth, uncut. 1143 Jay (John C.). Catalogue of Recent Shells ... in the Collection of . 4 plates. New York, 1836. 8vo, cloth. i 57 1144 Jennings (Hargrave). Rosicrucians : Their Rites and Mysteries. Numerous woodcuts. London, 1870. Crown 8vo, cloth, uncut. 1145 Jewitt (L.). Wedgwoods (The). Being a Life of Josiah Wedgwood, etc., and a History of Early Potteries of Staffordshire. Illustrated. Portrait by Wedgwood, after Reynolds. London, 1865. 8vo, cloth. 1146 Half-hours among Some English Antiquities. 300 woodcuts. London, 1877. Crown 8vo, cloth. 1147 Jones (W.). History and Mystery of Precious Stones. London, 1880 Crown 8vo, cloth. 1148 Joufifroy and Breton. Introduction k l’Histoire de France. 2 maps, 2 frontispieces, and 44 plates. Paris, 1838. Imperial folio, boards, uncut. 1149 Keane (A. H.). TV. and ed. Early Teutonic, Italian, and French Mas- ters. Translated from the Dohme series. Numerous illustrations. London, 1880. Royal 8vo,' half morocco. 158 FIFTH EVENING'S SALE Friday t March 29th AT THE AMERICAN ART GALLERIES BEGINNING AT 7.30 O’CLOCK 1150 King (C. W.). Antique Gems: Their Origin, Uses, and Value. Illus- trated. London, i860. 8vo, cloth, uncut edges. 1151 Natural History of Precious Stones and Gems, etc. Illustrated. London, 1865. Royal 8vo, cloth, uncut edges. ^ 1152 Handbook of Engraved Gems. Illustrated. London, 1866. Crown 8vo, cloth, gilt top, uncut edges. 1153 Another copy. Crown 8vo, half calf. 1154 * Natural History of Gems or Decorative Stones. Illustrated. London, 1867. Crown 8vo, half calf. 1155 Natural History of Precious Stones and of the Precious Metals. Illustrated. London, 1870. Crown 8vo, half calf. 1156 Knight (R. P.). The Landscape. A Didactic Poem. In Three Books. Addressed to Uvedale Price, Esq. 3 plates. London, 1794. 4to, half morocco. 1157 Analytical Inquiry into the Principles of Taste. London, 1808 8vo, calf. 159 1158 Knight (R. P.). Symbolical Language of Ancient Art and Myth- ology. Introduction, etc., by A. Wilder. New York, 1876. 8vo, cloth, uncut. 1159 Koehler (S. R.). Etching . : An outline of its technical processes and its history, with some remarks on collections and collecting. Illustrated by 30 plates and numerous text illustrations. New York, 1885. Imperial 4to, cloth, uncut. 1160 Kugler. Schools of Painting in Italy. Translated by a Lady. Edited, with notes, by Sir Charles L. Eastlake. London, 1851. 2 vols., crown 8vo, half calf. 1161 Lafever (Minard). Architectural Instructor. 112 plates. New York, 1856. 4to, half morocco. 1162 Laffan (W. M.). Engravings on Wood, by members of the Society of American Wood Engravers. New York, 1887. Imperial 4to, cloth. 1163 Lalanne (Maxime). Traits de la Gravure a l’Eau-forte. Ed. et tr. par Delaborde. 8 etchings. Paris, n. d. French and English text. 8vo, paper, uncut, in ornamental pigskin wrapper. 1164 Landseer (John). Lectures on the Art of Engraving. London, 1807. Crown 8vo, half morocco. 1165 — Another copy. 8vo, half morocco. 1166 Sabaean Researches. Engraved title, frontispiece, and vignettes. London, 1823. 4to, boards, uncut. 1167 Descriptive, explanatory, and critical catalogue of fifty of the earliest pictures contained in the National Gallery of Great Britain. London, 1834. 8vo, boards, uncut (loose in covers). 1168 Lanzi (A. L.). History of Painting in Italy. Portraits. London, 1852-54. 3 vols., post 8vo, cloth, uncut. - Another copy. 3 vols., post 8vo, cloth, uncut (vol. 2 of brown cloth). 160 1169 1170 Lau (T.). Ed. Greek Vases : Their system of form and decoration. Translated by Greenleaf. 12 colored plates . . . from illustra- tions in Royal Collection of Vases at Munich. Boston, 1879. Royal 8vo, half morocco. 1171 Lavater (G.). L’Art de Connaitre les Hommes par la Physionomie. Engraved portrait and 500 copper engravings. Paris, 1806-09. 10 vols., 8vo, half vellum, gilt top, uncut edges. 1172 Lawrence (Sir Thomas). Life and Correspondence. By D. E. Wil- liams. Portraits. London, 1831. 2 vols., 8vo, cloth, uncut. 1173 Lawrence-Cesnola Collection. Cyprus Antiquities excavated by Major Alexander Palma di Cesnola. Photographs. London, 1881. Oblong 4to, red morocco, gilt, with clasps. 1174 Lee (John). Catalogue of the Egyptian Antiquities in the Museum of Hartwell House. Facsimiles and woodcuts. London, 1858. Presentation copy from the compiler. 4to, boards. 1175 Lee (Vernon). Studies of the Eighteenth Century in Italy. London, 1880. 8vo, cloth, uncut. 1176 Lefebvre (E.). Broderie et Dentelles. 148 illustrations. Paris, 1887, 8vo, cloth. 1177 Legh (Peter). The Music of the Eye ; or, Essays on the principles of the beauty and perfection of Architecture, etc. Numerous plates. London, 1831. 8vo, half vellum. 1178 Leonardo da Vinci. Treatise on Painting. Translated from Italian, with Life of the author. Numerous plates (portrait missing). Lon- don, 1796. 8vo, boards, uncut. 1179 Life of , with a critical account of his works, by J. W. Brown. Portrait and exquisite miniature of the Last Supper. Picker- ing, London, 1828. Crown 8vo, half morocco, gilt top, uncut edges. 1180 Leonardo da Vinci’s Facsimiles of Drawings and Sketches engraved on copper. 18 plates. N. d. Imperial 8vo, boards. 1181 Lester (C. E.). The Artists of America. Portraits. New York, 1846 8vo, cloth. 161 1 1 82 Lloyd (W. W.). Christianity, in the Cartoons referred to Artistic Treat- ment and Historic Fact. 16 photographs. London, 1865. 8vo, cloth, uncut. 1183 Long (Samuel P.). Art; its Laws, and the Reasons for them, col- lected, considered, and arranged for general and educational purposes. Engravings after Raphael, Titian, Rembrandt, etc., and woodcuts. Boston, 1871. i2mo, cloth. 1184 Longhi (G.). La Calcografia. Engraved title. Rare. Milano, 1830. 8vo, boards, uncut. 1185 Lostalot (Alfred de). Les Procedes de la Gravure. Illustrated. Paris, n. d. 8vo, cloth. 1186 Liibke (W.). History of Art. Translated by F. E. Bunnett. Profusely illustrated. London, 1868. 2 vols., royal 8vo, cloth. 1187 — — and others. Monuments of Art. 156 plates. New York, n. d. 2 vols., oblong 4to, half morocco (damaged covers). 1188 Liibke and von Liitrow. Monuments of Art, showing its Develop- ment and Progress. New York, n. d. 8vo, half morocco. 1189 [Luckombe (Philip)]. Concise History of the Origin and Progress of Printing . . . compiled from those who have wrote on this Curious Art. Numerous plates and frontispiece. London, 1770. 8vo, calf (rebacked). 1190 Maberly (J.). Print Collector. Edited, etc., by R. Hoe, Jr. Illus- trated. New York, 1880. 4to, cloth, uncut. 1191 Macklin. Poetic Description of Choice and Valuable Prints, published by Mr. Macklin, at the Poets’ Gallery, Fleet Street. Frontisoiece. London, 1794. 8vo, half morocco (damaged). 1192 Madden (F.). History of Jewish Coinage and Money in the Old and New Testaments. With 254 woodcuts by Fairholt. London, 1864. Royal 8vo, half morocco. 1193 Madden (R. R.). Shrines and Sepulchres of the Old and New World. Lithographic title and plates. London, 1851. 2 vols., 8vo, cloth, uncut. 1194 Madrazo (Pedro de). Catalogo de los cuadros del real Museo de Pintura y Escultura de S. M. Madrid, 1858. i2mo, half morocco. 162 H95 1196 1197 1198 H99 1200 1201 1202 1203 1204 1205 1206 1207 Mahaffy (J. P.). Greek Pictures, drawn with Pen and Pencil. Illus- trated. London, 1890. Royal 8vo, cloth. Marcenay de Ghuy (de). Ecuy£r, Peintre, et Graveur. GEuvre, d’apres le Poussin, Vandick, Rembrandt, le Brun, etc. 54 beautiful engravings. Paris, n. d. - Folio, half morocco. Margaret of Navarre. [Heptameron Francis] Nouvelles. Engraved titles, vignettes, and 72 plates. Rare. Berne, 1780-81. 3 vols., 8vo, calf, gilt, gilt edges. Marthe (Jules). Manuel d’Archeologie etrusque et romaine. Illustrated. Paris, n. d. i2mo, cloth. Martial (A. P.). Nouveau traite de la gravure a l’eau-forte pour les peintres et les dessinateurs. Etchings. Paris, 1873. 8vo, paper, uncut. Mason (G. C.). Life and Works of Gilbert Stuart. Frontispiece of Washington (Gibbs), engraving (Gibbs) of Washington by Burt, and Athenaeum portrait, besides 11 other portraits by Stuart. New York, 1879. 4to, cloth, uncut. Maspero (G.). Egyptian Archaeology. Translated by Amelia B. Edwards. 299 illustrations. New York, 1888. 8vo, clojth, uncut. Mather (J. Marshall). Life and Teaching of John Ruskin. Manchester [1883]. i2mo, cloth. Mayer (Joseph). Art of Pottery. Illustrated. Liverpool, 1873. 8vo, boards. Meadows (R. M.). On Engraving. London, 1811. 8vo, boards, uncut (top of title cut). Memes (J. S.). History of Sculpture, Painting, and Architecture. Edinburgh, 1829. Post 8vo, cloth, uncut. History of Sculpture, Painting, and Architecture. Boston, 1831. i2mo, cloth, uncut. Another copy. i2mo, cloth, uncut (somewhat stained). 163 1208 1209 1210 1211 1212 1213 1214 1215 1216 1217 1218 Menard (Rene). Entretiens sur la Peinture. 50 etchings on Japanese paper. (Translated under the superintendence of Philip Gilbert Hamerton ) Paris, 1875. French and English text. Proof copy No. 31. Royal folio, paper, uncut (torn covers). Mengs (Anthony Raphael). Works. Translated from Italian by Chev. Don Joseph Nicholas d’Azara. Engraved titles. London, 1796. 2 vols., 8vo, half calf, uncut (slightly damaged). Meyer (Julius). Antonio Allegri da Correggio. Translated and edited, with introduction, by Mrs. Charles Heaton. Numerous facsimile re- productions. London, 1876. Royal 8vo, cloth. Michel Angelo. Robinson (J. C.). Critical Account of the Drawings by Michel Angelo and Raffaello in the University Galleries, Oxford. Oxford, 1870. Crown 8vo, cloth. Facsimiles of original studies . . . in the University Galleries, Oxford. 54 etchings after Michael Angelo, by J. Fisher. London, 1872. 8vo, cloth, gilt edges (loose in covers). Milner (Rev. J.). Treatise on Ecclesiastical Architecture of England during the Middle Ages. 9 plates. Plate 10 missing. London, 1811. An excellent and admirable little work. 4to, boards, uncut (loose in covers). Treatise on the Ecclesiastical Architecture of England during the Middle Ages, io' plates. London, 1835. 8vo, boards, uncut (stained pages). Mitchell (Lucy M.). History of Ancient Sculpture. 6 plates and numerous woodcuts. New York, 1883. Royal 8vo, cloth, gilt top, uncut edges. Moller’s Memorials of German-Gothic Architecture. With additional notes and illustrations from Stieglitz, etc., by W. H. Leeds. 'Fables of Continental Linear Measures, by W. S. B. Woolhouse. London, 1836. 8vo, cloth, uncut. Montagnana (P. P.). Illustrazione storico-pittorica con incisioni a contorni dei dipinti della gran sala detta di Constantino presso le stanze di Raffaello Sanzio da Urbino. Frontispieces and 53 plates. Roma, 1834. 2 vols. in 1, 4to, half vellum. Moody (F. W.). Lectures and Lessons on Art. 25 plates. London, 1873- 8vo, cloth, uncut. 164 1219 Morghen (Raphael). Engraved Works, etc. Biographical and other notes, with a Life of the engraver. By F. R. Halsey. Portrait. New York, 1885. Imperial 8vo, cloth, uncut. 1220 Morris (W.). Hopes and Fears for Art. Five lectures delivered in Birmingham, London, and Nottingham (1878-81). London, 1882. First edition. Crown 8vo, cloth, uncut. 1221 Moses (H.). Antique Vases, Altars, Paterae, Tripods, Candelabra, Sar- cophagi, etc., with descriptions [by H. H. Baber]. 170 engravings, some in colors. London [1814]. 4to, cloth. 1222 Motte (de la). Fables Nouvelles, dediees au Roy. Avec un discours sur la Fable. Frontispiece and vignettes. Paris, 1719. 4to, levant morocco, extra, crest on sides, dentelle border inside, gilt edges, by Chambolle-Duru. T223 Munkacsy (M. de). Christ before Pilate. 2 etchings, after Munkacsy, and woodcuts. Paris, 1886. 4to, boards. 1224 Muntz (Eugene). Raphael. Translated from the French, and edited by W. Armstrong. Frontispiece. 43 plates, 154 woodcuts. London, 1882. Royal 8vo, half morocco, uncut. 1225 Naville (E.). Temple of Deir el Bahari. Part I. Northwestern end of the upper platform. 24 plates. London [1895]. Imperial 4to, boards. 1226 Newton (C. T.). Essays on Art and Archaeology. London, 1880. 8vo, cloth, uncut. 1227 Nichols (G. W.), Art Education applied to Industry. Steel engraved frontispiece of the Bryant Vase, and illustrations. New York, 1877. 4to, cloth, gilt edges. 1228 Pottery : How it is Made, etc. Bibliography, and 42 illustrations (some colored). New York, 1878. r2mo, boards. 1229 Noir (Alexandre le). Nouvelle Collection d’Arabesques, propres a la decoration des appartemens. 40 plates. Bookplate. Paris, n. d. 4to, cloth. 1230 Nolli (Giambattista). Nuova Pianta di Roma. 21 plates. Rome, 1748. Oblong folio, boards. 165 1231 Norden (F. L.). Voyage d’Egypte et de Nubie. Maps and engraved plates, by the author. Copenhague, 1755. 2 vols., royal folio, calf, panelled. 1232 Norton (C. B.). Ed. Treasures of Art, Industry, and Manufacture represented at the International Exhibition, 1876. (Parts VI. -XXV.) Numerous colored plates. Buffalo, 187.7-78. 20 parts, royal folio, paper. 1233 O’Neil (H.). Lectures on Painting. London, 1866. Crown 8vo, cloth, uncut. 1235 Osburn (W.). Monumental History of Egypt as recorded on the Ruins of her Temples, Palaces, and Tombs. Numerous illustrations (some colored). Scarce. London, 1854. 2 vols., 8vo, half morocco. 1236 Another copy. 2 vols., 8vo, half morocco. 1237 Ottley (W. Y.). Inquiry into the Origin and Early History of En- graving upon Copper and Wood, with an Account of Engravers and their Works, from the Invention of Chalcography by Finneguerra to the time of Raimondi, ivith numerous facsimiles of old engravings , etc. London, 1816. 2 vols., 4to, half russia. 1238 — — Facsimiles of Scarce and Curious Prints by the Early Masters of the Italian, German, and Flemish Schools, illustrative of the History of Engraving. 100 fine engravings in exact imitation of the rare originals. India proofs, and heightened with silver. London, 1826. Fine original copy. A superior copy of this valuable work, having the duplicates of the Niellos printed in silver. Folio, half vellum, uncut. Vol. I. (only volume published). 1239 An Inquiry Concerning the Invention of Printing, including also Notices of the Early Use of Wood Engraving in Europe, with intro- duction by J. P. Berjeau. With 37 plates and numerous wood engrav- ings. London, 1863. 4to, half morocco, uncut. 1240 Overton (T. C.). Temple Builder’s Most Useful Companion. 50 plates. London, 1774. 8vo, boards, uncut. 1241 Paley (F. A.). Manual of Gothic Architecture. Numerous woodcuts. London, 1846. Post 8vo, calf. Palgrave’s Essays on Art. Pencil and Palette, Goethe’s Essays on Art, etc. 10 vols., i2mo and 8vo. 166 1242 1243 1244 1245 1246 1247 1248 1249 1250 1251 1252 1253 1254 Palladio (Andrea). First Book of Architecture. Translated, with an Appendix touching doors and windows, by P r Le Muet. Translated out of French by Godfrey Richards. Numerous copper plates. Lon- don, 1700. 4to, cloth. Parables of Our Lord. Every page illuminated. New York [Lon- don], 1849. i2mo, stamped wood. [Parker (John H.)]. Glossary of Terms used in Grecian, Roman, Italian, and Gothic Architecture. 700 woodcuts and engravings. Ox- ford, 1840-41. 3 vols., 8vo, half morocco, gilt top, 'uncut edges. Passavant (M.). Tour of a German Artist in England, etc. Portrait and plates. London, 1836. 2 vols., crown 8vo, half calf. Pater (W. H.). Studies in the History of the Renaissance. London, 1873. First edition. Crown 8vo, cloth. Paton. Compositions from Shakespeare’s Tempest. By Sir J. Noel Paton. 15 engravings in outline and title. London, 1877. Oblong 4to, cloth. Patterson (R. H.). Essays in History and Art. London, 1862. 8vo, cloth, uncut. Pattison (Mrs. Mark). The Renaissance of Art in France. 19 steel plates. London, 1879. 2 vols., 8vo, cloth, uncut. Pembroke (Thomas, Earl of). Description of the Antiquities and Curiosities in Wilton House. Anecdotes, etc., of Thomas, Earl of Pembroke. 25 engravings. Sarum, 1786. 4to, boards, uncut. Perrot and Chipiez. History of Art in Ancient Egypt. Translated by W. Armstrong. 14 steel and colored plates, 598 woodcuts. London, 1883. 2 vols., royal 8vo, cloth. History of Art in Chaldea and Assyria. Translated by W. Arm- strong. 15 steel and colored plates, 452 engravings in the text. Lon- don, 1884. 2 vols., royal 8vo, cloth. Perry (W. C.). Greek and Roman Sculpture. 268 illustrations. Lon- don, 1882. 4to, cloth. 167 1255 1256 1257 1258 1259 1260 1261 1262 1263 1264 1265 1266 Petersen (H.). Polyandre. De l’ancien age de fer a Nordrup en Sel- ande. Muller (S.). Colliers. De la fin de l’age de bronze, et du premier age de fer (Danish text, French resumes by Beauvois). Plates (one colored) and woodcuts. Kj<£benhavn, 1890. 4to, boards. Pettigrew (T. J.). History of Egyptian Mummies. 13 plates (some colored and stained). London, 1834. 4to, boards (loose in covers). Phillips (Thomas). Lectures on the History and Principles of Paint- ing. London, 1833. 8vo, cloth, uncut. Planchd (J. R.). British Costume. Illustrated. London, 1846. Post 8vo, cloth, uncut. Pollio (M. V.) Architecture. Translated from Latin by J. Gwilt. 13 plates. London, i860. Post 8vo, flexible cloth. Poniatowski (Prince). Explanatory Catalogue of Proof Impressions of Antique Gems of . Essay on Ancient Gems and Gem En- graving by Prendeville. London, 1841. 4to, cloth. Poole, Richmond, Poynter, Morris, etc. Lectures on Art. London, 1882. Crown 8vo, cloth, uncut. Portfolio (The). An Artistic Periodical, edited by Philip Gilbert Hamerton. Photographs, etchings, colored plates, etc. London, 1870-80, inclusive. 11 vols., folio, cloth (loose in covers). Portraits and Paintings. Historic Gallery of Numerous Outline Etchings. London, 1807-11. 7 vols., 8vo, half calf. Poussin (Nicolas). Vie de , considere comme chef de l’£cole Frangoise. Par P. M. Gault de Saint Germain. Portrait and numerous engravings and etchings. Paris, 1806. Royal 8vo, boards. Memoirs of Life of . By Maria Graham. Portrait and plate. London, 1820. 8vo, half calf. Poynter (E. J.). Ten Lectures on Art. London, 1879. Crown 8vo, cloth, uncut. 168 1267 1268 1269 1270 1271 1272 1273 1274 1275 1276 1277 1278 Poynter and Head. Classic and Italian Painting. Illustrated. New York, 1880. Crown 8vo, cloth. Price (Uvedale). Essays on the Picturesque, as compared with the Sublime and the Beautiful ; and, on the Use of Studying Pictures, for the purpose of improving real landscape. London, 1810. 3 vols., 8vo, old calf. Prime (Wm. C.). Pottery and Porcelain of all Times and Nations. Profusely illustrated. Very scarce. New York, 1878. Square 8vo, cloth, gilt top. Quatremere de Quincy. Essay on the Nature, the End, and the Means of Imitation in the Fine Arts. Translated by J. C. Kent. Very scarce. London, 1837. 8vo, half calf. Raffaello Sanzio d’Urbino. Analysis of the Picture of the Trans- figuration. Translated from French, and Remarks and Observations of Vasari, Mengs, Reynolds, Fuseli, etc. 17 heads traced from the picture and finished of same size, by Gaubaud. London, 1817. Imperial 4to, half roan. „ ^ Another edition. London, 1833. Imperial 4to, half morocco. Book of the Cartoons. By the Rev. R. Cattermole. Steel plates by Warren. London, 1840. 8vo, cloth, uncut (loose in covers). Book of Raphael’s Madonnas. By James P. Walker. Photo- graphs. New York, i860. Royal 8vo, morocco antique, gilt, gilt edges, gauffred. Expositions of the Cartoons of . By R. H. Smith. Photographs. London, 1861. Crown 8vo, cloth, gilt edges. His Life and Works. By Alfred Baron von Wolzogen. Trans- lated by F. E. Bunnett. Photograph. London, 1866. Crown 8vo, cloth, uncut. Facsimiles of original studies by , in the University Galleries, Oxford. 61 etchings by Joseph Fisher. London, 1872. Royal 8vo, cloth, gilt edges (loose in covers). Masters of . By Marco Minghetti, One of 100 copies. Translated by Louis Fagan. London, 1882, 8vo, half vellum, uncut. 169 ... 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 Raffaello Sanzio d’Urbino. His Sonnet in the British Museum. Studied by Louis Fagan. 3 facsimiles. Fine Art Society, London, 1884. 4to, cloth, gilt top, uncut edges. School of Raphael ; or, the Students’ Guide to Expression in Historical Painting. Described and explained by B. Ralph. Numer- ous plates (some in two states). London, n. d. 4to, half calf, uncut. Ram Raz. Essay on the Architecture of the Hindus. 48 plates. London, 1834. 4to, half calf. Rawlinson (W. G.). Turner’s Liber Studiorum. A Description and a Catalogue. London, 1878. 8vo, boards, uncut. Reber (Franz von). History of Ancient Art. Translated and aug- mented by J. T. Clarke. Illustrated. New York, 1882. 8vo, cloth. Redgrave (R. and S.). Century of Painters of the English School with critical notices of their works, etc. London, 1866. 2 vols., 8vo, cloth, uncut. Reiss and Stubel. Necropolis of Ancon in Peru. A contribution to our knowledge of the culture and industries of the empire of the Incas. Translated by A. H. Keane. 141 superb colored plates. Berlin, 1880-87. 3 vols. (unbound) in 15 wrappers, folio, boards. Rembrandt. A Descriptive Catalogue of the Works of, and his Schol- ars. Compiled from the original etchings and from catalogues, by D. Daulby. Portrait after Rembrandt. Liverpool, 1796. Crown 8vo, cloth. Catalogue of Etchings by . Collected by Robert-Dumes- nil. London, 1836. Scarce and valuable. 8vo, half roan. Descriptive Catalogue of the Prints of . By an amateur [T. Wilson]. London, 1836. 8vo, half morocco, gilt top, uncut. and his Works. By John Burnet. Portrait, etchings, and fac- simile of handwriting. Scarce. Fine original copy. London, 1849. 4to, cloth (loose in covers). 170 1290 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 Rembrandt. Catalogue of Etched Work of . Selected for Exhibition at the Burlington Fine Arts Club. With introductory remarks by a Member of the Club. Facsimile reproductions . Privately printed for the Club, 1877. 4to, paper. Descriptive Catalogue of the Etched Work of . By C. H. Middleton. 12 plates. London, 1878. Royal 8vo, half roan, gilt top, uncut. The Art of . By Henry Van Ingen. Brooklyn, 1885. 4to, paper. Blanc (C.) L’QEuvre Complet de Rembrandt, Catalogue Raisonn£ de toutes les eaux-fortes du Maitre et de ses peintures. With numerous etchings. Paris, n. d. 2 vols., 8vo, half morocco, gilt edges. Richardson (C. J.). An Englishman’s House. Colored frontispiece and numerous illustrations. London, n. d. Crown 8vo, cloth, uncut. Roget (J. L,). History of the “Old Water-Color” Society, etc. Lon- don, 1891. 2 vols., royal 8vo, cloth, uncut. Rome (Views of). Vedute antiche e moderne le piu interessanti della citta di Roma. Incise da vari Autori. 100 engravings. Rome, n. d. 4to, paper, uncut (cover damaged). Rosengarten (A.). Handbook of Architectural Styles. Translated by Collett-Sandars. 639 illustrations. London, 1876. 8vo, cloth, uncut. Rossetti (W. M.). Fine Art, chiefly Contemporary. London, 1867. Crown 8vo, cloth, uncut. Rubens. Original unpublished papers illustrative of the Life of Sir Peter Paul Rubens, as an Artist and a Diplomatist. With an Appendix. Collected and edited by W. Noel Sainsbury. Colored frontispiece. London, 1859. 8vo, half calf. Ruskin (John). Giotto and his Works in Padua : being an Explanatory Notice of the Series of Woodcuts Executed for the Arundel Society, after the Frescoes in the Arena Chapel. 2 plates. London. Printed for the Arundel Society, 1854. Very rare. The scarcest of Ruskin s works. Royal 8vo, half morocco, gilt edges. 1301 Ruskin (John). Art Culture : a Handbook of Art Technicalities and Criticisms, selected from the works of , and arranged and supplemented by Rev. W. H. Platt. Colored frontispiece, plates, and woodcuts. New York, 1873. i2mo, cloth. 1302 Notes on his Collection of Drawings, by the late J. M. W. Turner, exhibited at the Fine Art Society’s Galleries ; also a list of the engraved work of that master shown at the same time. 35 plates and map in- dicative of the places in the British Isles illustrated by him. Printed for the Fine Art Society. London, 1878. Large paper copy. First edition. 4to, half morocco, gilt top, uncut edges. 1303 Saints and Their Symbols. By E. A. G. Woodcuts. London, 1881. Post 8vo, cloth. 1304 Salvator Rosa. Life and Times of. By Lady Morgan. Portrait. Bookplates. London, 1824. 2 vols., 8vo, half calf. 1305 Scarabees Egyptians figures du Musee des Antiques de sa Majeste l’Empereur. Folded plates. Vienne, 1824. 4to, boards. 1306 Schreckenfuchs (Eras. Oswald). Commentaria, in Novas Theoricas Planetarum Georgii Purbachii. Woodcuts. Basileae, 1556. Extremely rare. Libri’s copy brought yQ 22 10s. 1307 Monteregio (J. de) (Regiomontanus). In Ptolemaei Magnam Com- positionem, quam Almagestum vocant. Marginal diagrams. Nori- bergae, 1550. Extremely rare. 2 volumes in 1, folio, half pigskin. 1308 Scott (Leader). Renaissance of Art in Italy. Illustrated. New York, 1883. 4to, cloth, gilt edges. 1309 Scott (W. B.). Half-hour Lectures on the History and Practice of the Fine and Ornamental Arts. 50 illustrations by W. J. Linton. New York, 1875. i2mo, cloth. 1310 Another copy. i2mo, cloth. 1311 Sculpture. Familiar Sketches of Sculpture and Sculptors. Boston, 1854. 2 vols., i2mo, cloth. 172 1312 Shakespeare. Dramatic Works. Boydell’s sumptuous edition, printed in large type, with a series of brilliant copper-plate engravings after Stothard, Northcote, Westall, etc. Bulwer, London, 1802. From the library of the Marquis of Thomond, with his bookplates. 9 vols., royal folio, half russia. 1313 Shee (M. A.). Rhymes on Art; or, the Remonstrance of a Painter. Philadelphia, 1811. i6mo, calf. 1314 Slater (J. H.). Engravings and their Value. London, 1891. Crown 8vo, cloth. 1315 Smith (Dr. John). Choir Gaur ; the Grand Orrery of the Ancient Druids, commonly called Stonehenge. Copperplates. Salisbury, 1771. Printed for the author. 4to, cloth, uncut. 1316 Smith (J. Jay). Designs for Monuments and Mural Tablets, adapted to rural cemeteries, churchyards, churches, and chapels. 36 plates. New York, 1846. 4to, cloth. 1317 Smith (J. Moyr). Ed. Ancient Greek Female Costume. 112 plates and numerous woodcuts. London, 1882. Post 8vo, cloth. 1318 Smith (J. T.). Nollekens and his Times, with Memoirs of Contem- porary Artists. Portrait. London, 1829. 2 vols., 8vo, half calf. 1319 Smith and Slater. Architecture, Classic and Early Christian. Illus- trated. London, 1888. Crown 8vo, cloth. 1320 Solon (L. M.). Art of the Old English Potter. Illustrated by the author. New York, 1866. 8vo, cloth. 1321 Another copy. 8vo, cloth. 1322 Sommerville (Maxwell). Engraved Gems: their Place in the History of Art. Catalogue of a cabinet of gems, cameos in relief, etc. Phila- delphia, 1877. 2 vols. in 1, 8vo, cloth. 1323 South Kensington Museum. Robinson (J. C.). Italian Sculpture of the Middle Ages and Period of the Revival of Art. Descriptive catalogue. Plates. London, 1862. Royal 8vo, cloth. 173 1324 1325 1326 1327 1328 1329 1330 1331 1332 1333 1334 South Kensington Museum. Robinson (J. C.). Another copy. Royal 8vo, cloth. South Kensington Museum Art Handbooks. Majolica and Bronzes, by C. Drury E. Fortnum. — Musical Instruments, by Engel. — Ivories, ancient and mediaeval, by W. Masked. — Ancient and Modern Furniture and Woodwork, by Pollen. — Persian Art, by Major R. Mur- doch Smith (2 copies). — Japanese Pottery, a native report, with intro- duction by A. W. Franks. — Industrial Arts of India, by G. C. M. Bird- wood (2 vols.). — Industrial Arts of Denmark, by J. J. A. Worsaae. — Jones Collection. (Portrait.) Maps and woodcuts. London, 1876-83. 12 vols., crown 8vo, cloth. South Kensington Museum. Examples of the Works of Art in the Museum, and of the Decorations of the Building, with brief descrip- tions. Numerous illustrations. London,- 1881-82. 2 vols., folio, cloth (loose in covers). Spence. Polymetis ; or, An Inquiry concerning the Agreement between the Works of the Roman Poets and the Remains of the Antient Artists. Portraits and plates. London, 1774. Folio, calf. Spooner (S.). Biographical and Critical Dictionary of Painters, En- gravers, Sculptors, and Architects. Portrait. New York, 1853. Royal 8vo, half morocco. Anecdotes of Painters, Engravers, Sculptors, Architects, and Curiosities of Art. New York, 1853. 3 vols., i2mo, cloth. Stephens (F. G.). Flemish and French Pictures, with notes concern- ing the painters and their works. 16 reproductions of etchings. Lon- don, 1875. 8vo, cloth, gilt edges (loose in covers). Stewart Collection. (4 copies.) Handbook of Needlework. Art catalogues (1846-51). 10 vols., 8vo. Stoddard (John L.). Glimpses of the World. Portrait and numerous illustrations. 1892. Oblong 4to, morocco antique, gilt edges. Storer (James). Cathedrals of Great Britain : History and Antiquities of. 256 fine plates. London, 1814-19. 4 vols., 8vo, morocco. Story (W. W.). The Proportions of the Human Figure. Diagrams, tables, 3 folded plates. London, 1866. Royal 8vo, cloth, uncut. 174 1335 Streeter (E. W.). Precious Stones and Gems. Colored plates and photographs. London, 1877. 8vo, cloth. 1336 Great Diamonds of the World. Edited and annotated by J. Hatton and A. H. Keane. London (1882). 8vo, cloth. 1337 Sully (Thomas). Hints to Young Painters, and the Process of Portrait Painting. Illustrated. Philadelphia, 1873. 8vo, cloth. 1338 Another copy. 8vo, cloth. 1339 Taine (H.). Ideal in Art. Translated by J. Durand. New York, 1869. 121110, cloth. 1340 Taylor (G. L.). Stones of Etruria and Marbles of Antient Rome. 8 plates (some colored). London, 1859. 4to, half roan. 1341 Taylor (Sedley). Sound and Music. Illustrations. London, 1873. Crown 8vo, cloth. 1342 Thies (Louis). Catalogue of the Collection of Engravings bequeathed to Harvard College by Francis Calley Gray. Portrait. Cambridge, 1869. 4to, cloth. 1344 Thompson (Kate). Handbook to the Public Picture Galleries of Europe. London, 1877. Post 8vo, cloth. 1345 Thornbury (George W.). Art and Nature at Home and Abroad. Lon- don, 1856. 2 vols., crown 8vo, cloth, uncut. 1346 Tiffin (W. F.). Gossip about Portraits, principally engraved portraits. London, 1869. Post 8vo, cloth. 1347 Titian. Notices of the Life and Works of. By A. Hume. Portrait on India paper. London, 1829. Royal 8vo, cloth, uncut. 1348 — — Life of. With Anecdotes. By James Northcote. Portrait. Lon- don, 1830. 2 vols., 8vo, calf (cover of Vol. I. slightly damaged). 1349 Torrey (J.). A Theory of Fine Art. New York, 1874. i2mo, cloth. i75 1350 1351 1352 1353 1354 1355 1356 1357 1358 1359 1360 1361 Toschi’s Engravings. From Frescoes by Correggio and Parmegiano, Reproduced from the Gray Collection of Engravings, Harvard University. 24 reproductions. Boston, 1875. 4to, cloth. Treadwell (J. H.). Manual of Pottery and Porcelain for American Collectors. Plates and woodcuts. New York, 1872. 8vo, cloth (enclosure). Turner and Parker. Domestic Architecture in England. Profusely illustrated. Parker , Oxford, 1851-59. 4 vols., 8vo, cloth, uncut. Turner (J. M. W.). Life of . By Walter Thornbury. Portrait. London, 1862. 2 vols., 8vo, half roan. Notes and Memoranda respecting the Liber Studiorum of . Written and collected by Pye. Edited by Roget. Frontispiece. Lon- don, 1879. 8vo, half morocco, gilt top, uncut edges. Tyrwhitt (Rev. R. St. John). Christian Art and Symbolism, with some hints on the Study of Landscape. Illustrated. London, 1872. Crown 8vo, cloth. Art Teaching of the Primitive Church. Illustrations. London, n. d. Crown 8vo, cloth. Tytler’s Old Masters and Their Pictures. Art Treasures (Man- chester, 1857). Musees de Rome et Etats Romains, Lamotte on Painting, etc. 20 vols., i2mo. Upcott (L. E.). Introduction to Greek Sculpture. Oxford, 1887. i2mo, flexible cloth. Urbino, Day, etc. Art Recreations. Illustrated. Boston, i860. i2mo, cloth. Uzielli Collection. Catalogue of the Various Works of Art. By J. C. Robinson. Numerous plates. London, i860. 8vo, cloth, gilt edges. Vasari. Lives of the Most Eminent Painters. Sculptors, and Architects. Translated, with notes, etc., by Foster. Portrait. London, 1850-52. 5 vols., post 8vo, cloth, uncut. 176 1362 Vases. Two Ancient Greek Vases, known as the Capo di Monte and Actaeon, now on view (by permission) in the British Museum. Photo- graphs and folded plate. Paris, 1889. Printed for private circulation. London, n. d. Secretan Collection of Paintings, etc. Catalogue. Paris, 1889. 2 vols. in 1, royal 8vo, cloth. 1363 Vaux (W. S. W.). Handbook to the Antiquities in the British Museum. Illustrated. London, 1851. Crown 8vo, cloth. 1364 Viardot (Louis). Wonders of European Art. 27 reproductions in fac- simile. London, 1871. Crown 8vo, cloth, gilt edges. 1365 Visconti and de Clarac. Description des Antiques du Musee Royal. Interleaved, and with manuscript notes. Bookplate. Paris, 1820. 8vo, stamped russia (worn), gilt edges. 1365a Wadleigh (R. H.). Ed. Headgear, antique and rnodern. Illustrated. Boston, 1879. 4to, cloth. 1366 Wallace (H. B.). Art and Scenery in Europe, etc. Philadelphia, 1857. i2mo, cloth. 1367 Wallace-Dunlop (M. A.). Glass in the Old World. 6 plates (one colored). London, n. d. 8vo, cloth, uncut. 1368 Waring (J. B.). Record of my Artistic Life. Plates. London, 1873. Crown 8vo, cloth. 1369 Water-color Drawings (19), presented to Dr. West by his pupils of the Art Department, Rutgers Institute, New York, 1840. 4to, half morocco. 1370 Weale (John). Rudimentary Dictionary of Terms used in Architecture (Civil and Naval), Building, and Construction, etc. Illustrated. Lon- don, i860. Post 8vo, flexible cloth. 1371 Wedmore (F.). Studies in English Art. Second Series. Romney, Constable, David Cox (and 6 others). London, 1880. 8vo, cloth, uncut. 1372 Weekes (Henry). Lectures on Art. Portrait and 8 photographs. London, 1880. 8vo, cloth, uncut. 12 177 1373 1374 1375 1376 1377 1378 1379 1380 I38i 1382 1383 1384 1385 Werner’s Nomenclature of Colors. With additions ... to the Arts and Sciences ... By Patrick Syme. Plates of colors. Edin- burgh, 1821. 8vo, calf. Westman (H. O.). The Spoon. 8 plates. New York, 1844. 8vo, half morocco. Westropp (Hodder M.).' Handbook of Pottery and Porcelain. Illus- trated. New York, n. d. i6mo, cloth. Wheatley and Delamotte. Art Work in Gold and Silver. Colored fronts and woodcuts. New York, 1882. 8vo, cloth. Art Work in Earthenware. Colored frontispiece and woodcuts. New York, 1882. 8vo, cloth, uncut. Whistler (James Abbott MacNeill). Catalogue of the Etchings and Dry Points of . Etched portrait. London, 1874. 8vo, cloth, gilt top, uncut edges. Whiteford (S. T.). Guide to Porcelain Painting. Plates (some colored). London, n. d. Crown 8vo, cloth. Wilkie (Sir David). Life of, with Journals, etc. By Allan Cunningham. Portrait. London, 1843. 3 vols., 8vo, half calf, gilt. Wilson (H. H.). The Megha Dfita or Cloud Messenger. A Poem in the Sanskrit Language. By Kalidasa. London, 1843. Small folio, cloth, uncut. Wilson (J. W.). Collection de. Catalogue and 68 fine etchings of the principal paintings. Paris, 1873. 4to, unbound. Winston (C.). Memoirs Illustrative of the Art of'Glass-painting. Por- trait, colored plates, and woodcuts, from the author’s original draw- ings. By Delamotte. London, 1865. 8vo, cloth, uncut. Woltmann and Woermann. History of Ancient, Early Christian, and Mediaeval Painting. Edited by Sidney Colvin. Numerous illus- trations. New York, 1880. Royal 8vo, half russia, gilt edges. Another copy. Royal 8vo, cloth. 178 1386 Wright (Thomas). History of Caricature and Grotesque in Literature and Art. Illustrations drawn and engraved by Fairholt. London [1864]. 4to, cloth. 1387 Wyatt (M. Digby). Fine Art. A Sketch of its History, Theory, Prac- tice, and Application to Industry. London, 1870. 8vo, cloth. 1388 Yaggy and Haines. Museum of Antiquity. Description of Ancient Life. Engravings and woodcuts. New York, 1882. 8vo, cloth. 1389 Young (John). Catalogue of Pictures by British Artists, in the posses- sion of Sir John Fleming Leicester, etc. 69 etchings. London, 1825. Imperial 8vo, half morocco. 1390 Zerffi (G. G.). Manual of the Historical Development of Art. Frontis- piece and diagrams. London, 1876. Crown 8vo, cloth. THOMAS E. KIRBY, Auctioneer. AMERICAN ART ASSOCIATION. Managers. 179 ' ’ ■ ' , . . . • - y ’\ J _ '■ ’ | • • • , ■■■.., \ c i; . • 1 _ , * . . .• ' l! .■ / • i ; i * . ■■•V • ■ ' ■ .7 ' f. ' -of i ■ 7. i '