ILLUSTRATED CATALOGUE OF
ENGRAVINGS AND ETCHINGS BY THE MASTERS
FROM COLLECTIONS OF NOTE AND IMPORTANCE
INCLUDING THOSE OF
H. V. JONES, ESQ., OF MINNEAPOLIS, MINN., AND
MRS. MARGARET F. EVERIT, OF NEWARK, NEW JERSEY
MODERN MEZZOTINTS PRINTED IN COLORS
COMPRISING THE COLLECTION FORMED BY THE LATE
MRS. WILLIAM H. REID, OF NEW CANAAN, CONN.
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
ON MONDAY, TUESDAY AND WEDNESDAY EVENINGS
JANUARY 29TH, 30TH AND 31ST, 1917
760
Am2933
ART
STACKS
UNDER THE MANAGEMENT OF
THE AMERICAN ART ASSOCIATION
AMERICAN ART GALLERIES
MADISON SQUARE SOUTH
NEW YORK CITY
ļ
*
1
THE LIBRARY
REGENTS
OF THE
I
S
UNIVERSITY
TANZ,
ARTIBUS
VIA!
O
MINNESOTA
CLASS 760
BOOK Am 293
*** YAN
MAN GUMi vôd aro
******* rent Valuta
ست
ܐ ܕܥܐܙܢ ܕ ܝܝ
Yo
*****
ܢܢܦܘ
2
ܐܕܘ
ܕ
ܝ
ܕܩܢ
ܘܡܢ
ܒ
3
2
1
ܐ ܝ
sadong mong ngôi đền

THE AMERICAN ART ASSOCIATION
DESIGNS ITS CATALOGUES AND DIRECTS
ALL DETAILS OF ILLUSTRATION
TEXT AND TYPOGRAPHY
ON PUBLIC VIEW
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
ENTRANCE, 6 EAST 23RD STREET
BEGINNING THURSDAY, JANUARY 25TH, 1917
AND CONTINUING UNTIL THE TIME OF SALE
ENGRAVINGS AND ETCHINGS BY THE MASTERS
MODERN MEZZOTINTS PRINTED IN COLORS
FROM COLLECTIONS OF NOTE AND IMPORTANCE
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN
ON MONDAY, TUESDAY AND WEDNESDAY
JANUARY 29TH, 30TH AND 31ST, 1917
AT 8:15 O'CLOCK IN THE EVENINGS
AT THE AMERICAN ART GALLERIES

ANDERS ZORN
EVENING, BAIGNEUSE DE Dos.-Delteil, No. 108
[See No. 492 in this catalogue]
ILLUSTRATED CATALOGUE OF
ENGRAVINGS, ETCHINGS AND MEZZOTINTS
FROM COLLECTIONS OF NOTE, INCLUDING THOse of
H. V. JONES, ESQ., OF MINNEAPOLIS, MINN.
MRS. MARGARET F. EVERIT, OF NEWARK, N. J., AND
THE LATE MRS. WILLIAM H. REID, OF NEW CANAAN, CONN.
TO BE SOLD WITHOUT RESERVE OR RESTRICTION
BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN
ON MONDAY, TUESDAY AND WEDNESDAY, JANUARY 29TH, 30TH AND 31ST
AT 8:15 IN THE EVENINGS
THE SALE TO BE CONDUCTED BY
MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF
THE AMERICAN ART ASSOCIATION, MANAGERS
NEW YORK CITY
1917
1
Lost & Found
JUN 3 '37
760
Am 293
IMPORTANT AND INTERESTING INFORMATION RE-
GARDING THE VARIOUS COLLECTIONS OF ETCHINGS,
ENGRAVINGS AND MODERN MEZZOTINTS
HEREIN CATALOGUED
TO BE SOLD AT UNRESTRICTED PUBLIC SALE
JANUARY 29th, 30th and 31st, 1917
UNDER THE MANAGEMENT OF
THE AMERICAN ART ASSOCIATION
The Etchings and Engravings forming the collections consigned to
the Association by H. V. Jones, Esq., of Minneapolis, and Mrs. Margaret
F. Everit, of Newark, New Jersey, together with a few noteworthy addi-
tions from other private sources, comprise important examples of XVIth,
XVIITH, XVIIIth and XIXth century Masters. The greater
number of impressions are PROOFS SIGNED BY THE ARTISTS, MANY ON
JAPAN OR INDIA PAPER, SEVERAL BEING RICH PROOF IMPRESSIONS OF FIRST
OR EARLY STATES of the plates. The collection formed by Mrs. Margaret
F. Everit, is one of the finest for its size ever offered at public sale in
America, the plates being all of the best possible quality, both as to
impression and condition.
The collection of mezzotints printed in color, formed by the late
Mrs. William H. Reid, of New Canaan, Connecticut, includes examples
of nearly all the best modern engravers in this style; among others being,
-S. ARLENT EDWARDS, SYDNEY E. WILSON, E. GULLAND,
FRED MILLAR, CHARLES BIRD, CLIFFORD R. JAMES, and
E. MILNER. Most of the engravings are now out of print, and many
are quite unobtainable. All the prints are in perfect condition, free
from all spots, and are artistically framed in gold or bronze frames. The
subjects after Hoppner, Lawrence, Raeburn, and Reynolds are particu-
larly beautiful and pleasing.
The etchings by JAMES ABBOTT MCNEILL WHISTLER rank
in quality and condition with those in the General Brayton Ives collec-
tion, many of the plates being EARLY IMPRESSIONS, and PROOFS ON JAPAN
701873
OR INDIA PAPER, and include, a complete series of the "FRENCH SET,"
SEVERAL OF WHICH ARE EARLY STATES; SIGNED ARTIST'S PROOFS, with the
"Butterfly" signature of the following,-"Battersea Bridge," "Nocturne:
Palaces," "The Riva No. 2," "Chancellerie Loches," "Becquet," and
“Rotherhithe;" also, a RICH PROOF IMPRESSION ON JAPAN PAPER OF "The
Kitchen."
Among the more noted examples of the works of ANDERS ZORN
may be mentioned the following,-"Henry Marquand," "Evening-
Baigneuse de Dos," "Mlle. Maya Von Heijne," "Mlle. Emma Rassmus-
sen,” “Mona,” “Circles in the Water," and "Seaward Skerries.” ALL
ARE SIGNED ARTIST'S PROOFS, AND BRILLIANT IMPRESSIONS.
SIR FRANCIS SEYMOUR HADEN is represented by 28 different
subjects, among the more noteworthy being the following SIGNED ARTIST'S
PROOFS,—“Kensington Gardens" (both large and small plates), "Mytton
Hall," "Early Morning, Richmond Park," "A By-Road in Tipperary,"
"Shere Mill Pond," "Sunset in Ireland," "Breaking Up of the Agamem-
non," "Calais Pier," "A Lancashire River," and "Early Riser."
The etchings by DAVID YOUNG CAMERON comprise 31 different
subjects, including the following SIGNED ARTIST'S PROOFS,—“The Palace
of Joannis Darius," "Ca D'Oro," "Elcho on the Tay," "The Doge's
Palace," "Chartres," "Old Saumur," "The Desert," "The Mosque Door-
way," and "Street in Cairo." ALL ARE FINE IMPRESSIONs.
Among the plates by CHARLES MERYON are the following, ALL
FINE IMPRESSIONS AND OF THE GREATEST RARITY,-"Rue de la Tixeran-
derie," "Abside de Notre Dame," and "Le Pont au Change."
Other famous etchers and engravers represented by examples of
their work, include the following, FELIX BUHOT, ALBRECHT
DÜRER, GILLES DEMARTEAU, DONALD SHAW MCLAUGHLAN,
REMBRANDT VAN RIJN, FRANK SHORT, J. M. W. TURNER,
and ALPHONSE LEGROS, the latter being represented by four SIGNED
ARTIST'S PROOFS of his best works.
Attention should be called to the Monographs by Rinder on "Cam-
eron,” and Harrington on "Haden," both works of great importance, and
to the brochures and other works by and about Whistler.
STATEMENT AS TO OWNERSHIPS
The property herein consigned consists of either the whole, or a
part of the collections of the following,—
H. V. JONES, ESQ., of Minneapolis, Minnesota.
MRS. MARGARET F. EVERIT, of Newark, New Jersey.
The late MRS. WILLIAM H. REID, of New Canaan, Connecticut.
Sold by order of William H. Reid, Esq., Executor.
The late JOHN HENRY OSBORNE, of Auburn, New York.
JAMES C. McGUIRE, ESQ., of New York City.
STANLEY LUTWYCHE, ESQ., of Brighton, England.
A WELL-KNOWN NEW YORK BANKER.
A NEW YORK COLLECTOR.
A NEW YORK COLLECTOR, Sold by order of an agent.
AN ENGLISH COLLECTION.
The items belonging to each consignor are set down in the following
schedule,
The property of H. V. JONES, ESQ., of Minneapolis, is herein
catalogued under Numbers,-111, 112, 113, 114, 115, 116, 117, 118,
119, 123, 124, 125, 126, 127, 130, 131, 133, 134, 135, 136, 137, 138,
139, 141, 142, 145, 146, 147, 148, 149, 150, 152, 154, 156, 157, 159,
160, 174, 175, 176, 177, 179, 181, 182, 183, 184, 185, 190, 192, 194,
195, 197, 199, 203, 205, 208, 209, 211, 213, 214, 214a, 215, 216, 217,
218, 220, 221, 222, 225, 226, 227, 228, 229, 230, 231, 232, 233, 234,
238, 241, 243, 214, 247, 249, 250, 251, 252, 253, 255, 256, 257, 258,
260, 261, 263, 264, 265, 266, 267, 268, 269, 271, 272, 273, 274, 275,
276, 277, 278, 279, 280, 281, 282, 283, 284, 285, 286, 287, 288, 289,
292, 293, 294, 295, 297, 299, 302, 303, 304, 305, 306, 307, 308, 309,
310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 324,
325, 327, 328, 332, 333, 334, 335, 336, 337, 338, 339, 340, 341, 342,
343, 344, 345, 346, 347, 348, 349, 350, 351, 352, 353, 354, 355, 356,
357, 358, 359, 360, 361, 362, 363, 365, 366, 367, 368, 369, 370, 371,
372, 373, 375, 376, 377, 378, 379, 380, 381, 382, 386, 387, 388, 389,
390, 393, 395, 396, 397, 398, 399, 400, 401, 403, 404, 405, 406, 407,
408, 409, 412, 413, 414, 415, 416, 417, 418, 419, 420, 421, 422, 423,
424, 425, 426, 427, 428, 439, 453, 454, 458, 459, 460, 462, 464, 483,
484, 485, 486, 487, 488, 489, 495, 498.
The property of MRS. MARGARET F. EVERIT, of Newark, New
Jersey, is herein catalogued under Numbers,-140, 158, 161, 173a, 178,
235, 237, 239, 240, 242, 245, 246, 248, 259, 262, 262a, 262b, 262c,
266a, 270, 290, 291, 296, 298, 301, 326, 329, 330, 364, 394, 402, 411,
436, 446, 448, 452, 456, 465, 466, 467, 468, 469, 470, 471, 472, 473,
474, 475, 476, 477, 478, 479, 480, 481, 482, 492, 504, 506.
The property of the late MRS. WILLIAM H. REID, of New
Canaan, Connecticut, is herein catalogued under Numbers, 2, 3, 4, 6,
7, 8, 9, 10, 12, 13, 16, 17, 18, 19, 20, 21, 27, 28, 29, 30, 31, 32, 33,
34, 35, 36, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52,
53, 54, 55, 56, 57, 58, 59, 60, 61, 62, 63, 64, 65, 66, 67, 68, 69, 70,
71, 72, 73, 74, 75, 76, 77, 78, 79, 80, 81, 83, 84, 85, 86, 87, 88, 89,
90, 91, 93, 94, 95, 96, 98, 100, 104, 105, 323.
The property of the late JOHN HENRY OSBORNE, of Auburn,
New York, is herein catalogued under Numbers,-191, 196, 200, 202,
204, 206, 207, 210, 383, 384, 385.
The property of JAMES C. MCGUIRE, ESQ., of New York City,
is herein catalogued under Numbers, 143, 151, 153, 155, 162, 163,
164, 165, 166, 167, 168, 169, 170, 171, 172, 173, 212.
The property of STANLEY LUTWYCHE, ESQ., of Brighton,
England, is herein catalogued under Numbers,-254, 429, 430, 431,
432, 433, 434, 435, 437, 438, 440, 441, 442, 443, 444, 445, 447.
The property of a WELL-KNOWN NEW YORK BANKER is
herein catalogued under Numbers,-109, 110, 128, 129, 132, 186, 187,
188, 189, 223, 224, 391, 392, 410, 455.
The property of a NEW YORK COLLECTOR is herein catalogued
under Numbers,-1, 5, 11, 14, 15, 22, 23, 24, 25, 26, 37, 82, 92,
97, 99, 101, 102, 103, 106, 107, 108.
The property of a NEW YORK COLLECTOR, sold by order of an
agent, is herein catalogued under Numbers,-144, 193, 198, 374, 449,
450, 451, 457, 461, 463, 490, 491, 493, 496, 497, 500, 501, 503, 507,
510.
The property of an ENGLISH COLLECTOR is herein catalogued
under Numbers,-120, 121, 122, 180, 201, 219, 236, 331, 494, 499, 502,
505, 508, 509.
Conditions of Sale
1. Any bid which is merely a nominal or fractional advance may be rejected by
the auctioneer, if, in his judgment, such bid would be likely to affect the sale in-
juriously.
2. The highest bidder shall be the buyer, and if any dispute arise between
two or more bidders, the auctioneer shall either decide the same or put up for
re-sale the lot so in dispute.
3. Payment shall be made of all or such part of the purchase money as
may be required, and the names and addresses of the purchasers shall be given
immediately on the sale of every lot, in default of which the lot so purchased
shall be immediately put up again and re-sold.
Payment of that part of the purchase money not made at the time of sale,
shall be made within ten days thereafter, in default of which the undersigned may
either continue to hold the lots at the risk of the purchaser and take such action
as may be necessary for the enforcement of the sale, or may at public or private
sale, and without other than this notice, re-sell the lots for the benefit of such pur-
chaser, and the deficiency (if any) arising from such re-sale, shall be a charge
against such purchaser.
4. Delivery of any purchase will be made only upon payment of the total
amount due for all purchases at the sale.
Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M.,
and on other days-except holidays-between the hours of 9 A. M. and 5 P. M.
Delivery of any purchase will be made only at the American Art Galleries, or
other place of sale, as the case may be, and only on presenting the bill of purchase.
Delivery may be made, at the discretion of the Association, of any purchase
during the session of the sale at which it was sold.
5. Shipping, boxing or wrapping of purchases is a business in which the
Association is in no wise engaged, and will not be performed by the Association
for purchasers. The Association will, however, afford to purchasers every facility
for employing at current and reasonable rates carriers and packers; doing so, how-
ever, without any assumption of responsibility on its part for the acts and charges
of the parties engaged for such service.
6. Storage of any purchase shall be at the sole risk of the purchaser. Title
passes upon the fall of the auctioneer's hammer, and thereafter, while the Asso-
ciation will exercise due caution in caring for and delivering such purchase, it
will not hold itself responsible if such purchase be lost, stolen, damaged or
destroyed.
Storage charges will be made upon all purchases not removed within ten days
from the date of the sale thereof.
7. Guarantee is not made either by the owner or the Association of the cor-
rectness of the description, genuineness or authenticity of any lot, and no sale will
be set aside on account of any incorrectness, error of cataloguing, or any imper-
fection not noted. Every lot is on public exhibition one or more days prior to its
sale, after which it is sold "as is" and without recourse.
The Association exercises great care to catalogue every lot correctly, and will
give consideration to the opinion of any trustworthy expert to the effect that any
lot has been incorrectly catalogued, and, in its judgment, may either sell the
lot as catalogued or make mention of the opinion of such expert, who thereby
would become responsible for such damage as might result were his opinion with
out proper foundation.
SPECIAL NOTICE.
Buying or bidding by the Association for responsible parties on orders trans-
mitted to it by mail, telegraph or telephone, will be faithfully attended to without
charge or commission. Any purchase so made will be subject to the above Condi-
tions of Sale, which cannot in any manner be modified. The Association, however,
in the event of making a purchase of a lot consisting of one or more books for a
purchaser who has not, through himself or his agent, been present at the exhibition
or sale, will permit such lot to be returned within ten days from the date of sale,
and the purchase money will be returned, if the lot in any material manner differs
from its catalogue description.
Orders for execution by the Association should be written and given with
such plainness as to leave no room for misunderstanding. Not only should the lot
number be given, but also the title, and bids should be stated to be so much
for the lot, and when the lot consists of one or more volumes of books or objects
of art, the bid per volume or picce should also be stated. If the one transmitting
the order is unknown to the Association, a deposit should be sent or reference
submitted. Shipping directions should also be given.
Priced copies of the catalogue of any sale, or any session thereof, will be
furnished by the Association at a reasonable charge.
AMERICAN ART ASSOCIATION,
American Art Galleries,
Madison Square South,
New York City
AT THE AMERICAN ART GALLeries
MADISON SQUARE SOUTH, NEW YORK
UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS
AND OWNERS HEREINBEFORE DESIGNATED
First Session, Numbers 1 to 173a, inclusive
MONDAY EVENING, JANUARY 29th, AT 8:15 O'CLOCK
MEZZOTINTS BY MODERN ENGRAVERS, PRINTED IN COLORS
ALL FINE IMPRESSIONS
Without defects, artistically framed in gold or bronze frames.
[Numbers 1 to 98, inclusive]
THOMAS G. APPLETON
Modern mezzotint engraver.
APPLETON, THOMAS G.
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
1. JOHN CHARLES, LORD ALTHORP.
APPLETON, THOMAS G.
2. LADY HAMILTON AS THE SHEPHERDESS.
After George Romney.
ORS, Framed.
APPLETON, THOMAS G.
3. LADY PELHAM CLINTON.
Mezzotint.
SIGNED PROOF, PRINTED IN COL-
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
First Session, Monday Evening, January 29th
HUGO H. BANNER
Modern mezzotint engraver.
BANNER, HUGO H.
4. MRS. WOLFF. Mezzotint.
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN
COLORS. Framed, with wide margins.
BANNER, HUGO H.
5. MISS FARREN.
Mezzotint.
After Sir Thomas Lawrence.
COLORS. Framed.
Modern mezzotint engraver.
BIRD, CHARLES
6. MONA LISA. Mezzotint.
BIRD, CHARLES
CHARLES BIRD
After Leonardo da Vinci. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
7. LADY SHEFFIELD.
BIRD, CHARLES
Mezzotint.
After Gainsborough. SIGNED PROOF, PRINTED IN COLORS.
Framed.
SIGNED PROOF, PRINTED IN
8. REMBRANDT'S MILL. Mezzotint.
BIRD, CHARLES
After Rembrandt. SIGNED PROOF, PRINTED IN COlors.
Framed, with wide margins.
9. THE AVENUE OF TREES.
After M. Hobbema.
Framed.
Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
First Session, Monday Evening, January 29th
W. G. BLACKALL
Modern mezzotint engraver.
BLACKALL, W. G.
10. GEORGE GISZE. Mezzotint.
CORMOCK, M.
Holbein. SIGNED PRoof, PRINTED IN COLORS.
After
Framed.
Modern mezzotint engraver.
M. CORMOCK
11. MILK MAID AND COWHERD.
Mezzotint.
After George Morland. SIGNED PROOF, PRINTED IN
COLORS. Framed.
T. HAMILTON CRAWFORD
Modern mezzotint engraver.
CRAWFORD, T. HAMILTON
12. WONDERLAND. Mezzotint.
After L. Walker.
Framed.
EDWARDS, S. ARLENT
S. ARLENT EDWARDS
Contemporary mezzotint engraver. Reintroduced color-printing in Amer-
ica in 1900. Said to be the only artist who, himself, performs every step
in the production and distribution of the colored print. His colors are
blended by himself on the plate, and he rocks each plate in a manner most
suitable to his subject.
SIGNED PROOF, PRINTED IN COLORS.
13. LA BELLE FERRONNIERE.
Butler, No. 37.
Mezzotint.
After Leonardo da Vinci. SIGNED PROOF, PRINTED IN
COLORS. Framed.
First Session, Monday Evening, January 29th
EDWARDS, S. ARLENT
14. MRS. DAVENPORT. Mezzotint.
Butler, No. 39.
After George Romney. SIGNED PROOF, PRINTED in colors.
Framed.
EDWARDS, S. ARLENT
15. COUNTESS OF MEXBOROUGH.
Butler, No. 46.
After John Hoppner. SIGNED PROOF, PRINTED IN COLORs.
Framed.
EDWARDS, S. ARLENT
16. MADONNA. Mezzotint.
Butler, No. 55.
After Perugino. SIGNED
Framed.
EDWARDS, S. ARLENT
17. ELVIRA. Mezzotint.
Butler, No. 59.
Mezzotint.
EDWARDS, S. ARLENT
After Pierre de la Francesca. SIGNED ARTIST'S PROOF,
PRINTED IN COLORS. Framed, with wide margins.
EDWARDS, S. ARLENT
PROOF, PRINTED IN COLORS.
18. MADONNA. Mezzotint.
Butler, No. 63.
After B. Luini. SIGNED PROOF, PRINTED IN COLORS..
Framed.
EDWARDS, S. ARLENT
19. SIMONETTA VESPUCCI. Mezzotint.
Butler, No. 67.
After Pollajuolo. SIGNED PROOF, PRINTED IN COLORS.
Framed, with wide margins.
20. MARTIN VAN NIEUWENHOVE.
Butler, No. 72.
After Hans Memling. SIGNED PROOF, PRINTED IN COLOrs.
Framed.
Mezzotint.
First Session, Monday Evening, January 29th
{
EDWARDS, S. ARLENT
21. LOUISE DE BOURBON, DUCHESSE DE MAINE. Mezzotint.
Butler, No. 74.
After Mignard. SIGNED PROOF, PRINTED IN COLORS.
Framed.
EDWARDS, S. ARLENT
22. MRS. LLOYD. Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
EDWARDS, S. ARLENT
23. SOPHIE ARNOULD.
Mezzotint.
Gerard. SIGNED PROOF, PRINTED IN COLORS.
After
Framed.
EDWARDS, S. ARLENT
24. MARIE ANTOINETTE. Mezzotint.
ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND
COLORED IN MR. EDWARDS' EARLY STYLE. Framed.
EDWARDS, S. ARLENT
25. DUCHESS OF DEVONSHIRE AND CHILD. Mezzotint.
After Sir Joshua Reynolds. ARTIST PROOF, SIGNED AND
PRINTED ON THIN PAPER AND COLORED IN MR. EDWARDS'
Framed.
EARLY STYLE.
EDWARDS, S. ARLENT
26. CHEZ DIDEROT. Mezzotint.
ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND
COLORED IN MR. EDWARDS' EARLY STYLE. Framed.
GREENHEAD, H. T.
27. BARBARA.
H. T. GREENHEAD
Modern mezzotint engraver.
Mezzotint.
After George Morland. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
First Session, Monday Evening, January 29th
GREENHEAD, H. T.
28. DORIS. Mezzotint.
GREENHEAD, H. T.
After George Morland.
ORS. Framed.
29. JANET. Mezzotint.
GREENHEAD, H. T.
After George Morland.
ORS. Framed.
30. MADGE. Mezzotint.
GREENHEAD, H. T.
After George Morland.
Framed.
ORS.
31. [MARGARET.] Mezzotint.
After George Morland.
ORS. Framed.
GREENHEAD, H. T.
GULLAND, E.
32. MILLY. Mezzotint.
GULLAND, E.
SIGNED PROOF, PRINTED IN COL-
SIGNED PROOF, PRINTED IN COL-
SIGNED PROOF, PRINTED IN COL-
E. GULLAND
Woman engraver in mezzotint. Modern school.
SIGNED PROOF, PRINTED IN COL-
After George Morland. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
33. VISCOUNTESS ALTHORP. Mezzotint.
34. Mrs. STEWART OF PHYSGILL.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
Mezzotint.
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN
COLORS. Framed.
First Session, Monday Evening, January 29th
GULLAND, E.
GULLAND, E.
35. LADY SELINA MEADE.
Mezzotint.
After Sir Thomas Lawrence.
COLORS. Framed.
36. LADY WALDEGRAVE.
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
HAYNES, E. L.
Modern mezzotint engraver.
37. SUMMER. Mezzotint.
:
SIGNED PROOF, PRINTED IN COLORS. Framed.
HENDERSON, WILL
Modern mezzotint engraver.
38. CHERRY RIPE.
E. L. HAYNES
HENDERSON, WILL
Mezzotint.
After Millais. SIGNED PROOF, PRINTED IN COLORS.
Framed.
WILL HENDERSON
SIGNED PROOF, PRINTED IN
39. Mrs. NORTH.
HENDERSON, WILL
Mezzotint.
After George Romney. SIGNED PROOF, PRINTED IN COLORS.
Framed.
40. THE PET RABBIT.
HENDERSON, WILL
Mezzotint.
After Corteaux. SIGNED PROOF, PRINTED IN COLORS.
Framed.
41. MADEMOISELLE DE BLIVES.
Mezzotint.
After J. M. Nattier. SIGNED PROOF, PRINTED IN COLORS.
Framed, with wide margins.
First Session, Monday Evening, January 29th
HENDERSON, WILL
HENDERSON, WILL
42. MADAME DE LA PORTE.
After J. M. Nattier.
Framed, with wide margins.
43. LADY'S PORTRAIT. Half-length.
!
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
HESTER, G. M.
Modern mezzotint engraver.
Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
HESTER, G. M.
44. COUNTESS OF EUSTON. Mezzotint.
G. M. HESTER
After John Hoppner. SIGNED PROOF, PRINTED IN COI
ORS. Framed.
HUBBARD, E. T.
45. LADY CHARLOTTE CAMPBELL. Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
Modern mezzotint engraver.
HUBBARD, E. T.
E. T. HUBBARD
46. LADY HAMILTON AS A BACCHANTE.
After George Romney.
ORS. Framed.
47. NELL GWYNN. Mezzotint.
Framed.
Mezzotint.
SIGNED PROOF, PRINTED IN COL-
After Sir Peter Lely. SIGNED PROor No. 29, PRINTED IN
COLORS. Framed.
First Session, Monday Evening, January 29th
CLIFFORD R. JAMES
Modern mezzotint engraver.
JAMES, CLIFFORD R.
48. COUNTESS OF WESTMEATH.
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN
COLORS. Framed.
JAMES, CLIFFORD R.
49. LADY Willoughby DE ERESBY. Mezzotint.
After Lawrence.
Framed.
JAMES, CLIFFORD R.
50. LADY ELIZABETH LEE.
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
JAMES, CLIFFORD R.
JAMES, CLIFFORD R.
Mezzotint.
51. PRINCESS METTERNICH. Mezzotint.
After Sir Thomas Lawrence.
COLORS. Framed.
SIGNED PROOF, PRINTED IN COLORS.
JAMES, CLIFFORD R.
52. THE DEPARTURE FOR SCHOOL. Mezzotint.
After W. R. Bigg. SIGNED PROOF, PRINTED IN COLORS.
Framed.
53. THE RETURN FROM SCHOOL.
MARRIOTT, F.
Mezzotint.
After W. R. Bigg. SIGNED PROOF, PRINTED IN COLORS,
Framed.
Modern mezzotint engraver.
SIGNED PROOF, PRINTED IN
F. MARRIOTT
54. COURTYARD, CAEN. Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
;
Framed.
First Session, Monday Evening, January 29th
MARRIOTT, F.
55. BRUGES, BELGIUM. Mezzotint.
SIGNED PROOF No. 16, PRINTED IN COLors. Framed.
Modern mezzotint engraver.
PERCY MARTINDALE
MARTINDALE, PERCY
56. AGE OF INNOCENCE. Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
MARTINDALE, PERCY
57. SIMPLICITY. Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
MARTINDALE, PERCY
58. LADY'S PORTRAIT, half-length, seated, curtain in background
and water showing on left. Mezzotint.
SIGNED PROOF, PRINTED IN COLORs. Pub. 1911, by Chas.
Dunworth. Framed.
MILLAR, FRED
Modern mezzotint engraver.
FRED MILLAR
59. GIOVANNI ALBIZZI. Mezzotint.
MILLAR, FRED
After Ghirlandaio. SIGNED PROOF, PRINTED IN COLORS.
Framed.
60. MRS. HABERFIELD. Mezzotint.
SIGNED PROOF, PRINTED IN COLORS. No. 218. Small folio.
Framed.
First Session, Monday Evening, January 29th
MILLAR, FRED
61. FOUNTAIN OF LOVE. Mezzotint.
Love.
MILLAR, FRED
62. MRS. ROBINSON AS PERDITA.
After Fragonard. SIGNED PROOF, PRINTED IN COLORS.
Framed, with wide margins.
MILLAR, FRED
MILNER, E.
63. MRS. ROBINSON. Mezzotint.
After Gainsborough.
IN COLORS.
Mezzotint.
After George Romney. SIGNEd proof, No. 195, printed
IN COLORS. Framed, with wide margins.
MILNER, E.
Woman engraver in mezzotint.
MILNER, E.
MILNER, E.
SIGNED PROOF No. 180, PRINTED
Framed, with wide margins.
64. LADY CASTLEREAGH.
E. MILNER
65. LADY PETRIE.
Mezzotint.
After Sir Thomas Gainsborough.
IN COLORS.
Modern school.
Framed, with wide margins.
Mezzotint.
After Gainsborough. SIGNED PROOF, PRINTED IN COLORS.
Framed, with wide margins.
66. MASTER LAMBTON. Mezzotint.
SIGNED PROOF, PRINTED
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN
COLORS. Framed.
67. MADAME LOUISE. Mezzotint.
After J. M. Nattier. SIGNED PROOF, PRINTED IN COLORS.
Small folio. Framed, with wide margins.
First Session, Monday Evening, January 29th
MILNER, E.
68. ANNE LAMBTON AND FAMILY. Mezzotint.
MILNER, E.
69. THE REHEARSAL IN THE PARK. Mezzotint.
After John Hoppner. SIGNED PROOF, PRINTED IN COLORS.
Framed.
PAYREAU
After Nicolas Lancret. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
Modern mezzotint engraver.
PAYREAU
70. CAROLINE, COUNTESS OF CARLISLE.
After George Romney.
ORS. Framed.
Modern mezzotint engraver.
RAEBURN, H. MACBETH
H. MACBETH RAEBURN
RAEBURN, H. MACBETH
SABIN, J. P.
71. A VISIT TO GRANDMOTHER.
After Northcote.
Framed.
Mezzotint.
SIGNED PROOF, PRINTED IN COL-
72. A VISIT TO GRANDFATHER.
After Northcote.
Framed.
Modern mezzotint engraver.
Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
73. MADAME DE CLERMONT.
Mezzotint.
SIGNED PROOF,
J. P. SABIN
Mezzotint.
S
After Nattier. SIGNED PRoof,
Framed.
PRINTED IN COLORS.
PRINTED IN COLORS.
First Session, Monday Evening, January 29th
HERBERT SEDCOLE
Modern mezzotint engraver.
SEDCOLE, HERBERT
Mezzotint.
After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN
Small foio. Framed.
COLORS.
74. NATURE (The Calmaday Children).
ALFRED SKRIMSHIRE
Modern mezzotint engraver.
SKRIMSHIRE, ALFRED
75. MELBOURNE CHILDREN. Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
SKRIMSHIRE, ALFRED
76. THE STRAWBERRY GIRL.
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
SKRIMSHIRE, ALFRED
77. A BOY AND RABBIT. Mezzotint.
After Sir Henry Raeburn. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
SKRIMSHIRE, ALFRED
78. BOY WITH GUITAR. Mezzotint.
SIGNED PROOF, PRINTED IN COLORS. Framed.
SKRIMSHIRE, ALFRED
79. SETTING SUN.
Mezzotint.
After George Romney. SIGNED PROOF, PRINTED IN COLORS.
Framed.
First Session, Monday Evening, January 29th
RICHARD SMYTHE
Modern mezzotint engraver.
SMYTHE, RICHARD
80. LADY ELIZABETH CONYNGHAM.
After Sir Thomas Lawrence.
COLORS. Framed.
SMYTHE, RICHARD
81. LADY CONYNGHAM AND CHILD. Mezzotint.
SMYTHE, RICHARD
82. COUNTESS OF HAREWOOD.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Iarge folio. Framed.
SMYTHE, RICHARD
83. LADY FLEMING. Mezzotint.
Mezzotint.
After John Hoppner. SIGNED PROOF, PRINTED IN COLORS.
Framed.
SMYTHE, RICHARD
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
84. HARRINGTON FAMILY.
A
SMYTHE, RICHARD
SIGNED PROOF, PRINTED IN
Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
85. LADY INCHIQUIN. Mezzotint.
SMYTHE, RICHARD
After Sir Thomas Lawrence.
COLORS. Framed.
SIGNED PROOF, PRINTED IN
86. LADY'S PORTRAIT, half-length. Mezzotint.
[After Sir Joshua Reynolds.] SIGNED PROOF, PRINTED IN
COLORS. Published by Connell, 1910. Framed.
First Session, Monday Evening, January 29th
F. G. STEVENSON
Modern mezzotint engraver.
STEVENSON, F. G.
87. MRS. DAVENPORT. Mezzotint.
After George Romney. SIGNED PROOF, PRINTED IN COL-
ORS. Framed.
STEVENSON, F. G.
88. CHILDREN BATHING.
[The Hoppner Children.] Mezzotint.
After John Hoppner. SIGNED proof, printeD IN COLORS.
Framed.
STEVENSON, F. G.
89. JUVENILE RETIREMENT. [The Douglas Children.] Mezzotint.
After John Hoppner. SIGNED PROOF, PRINTED IN COLOrs.
Framed.
STEVENSON, F. G.
90. MADONNA DELLA SEDIA. Mezzotint.
After Raphael.
Framed.
SIGNED
Modern mezzotint engraver.
STEWARD, R. W.
STODART, E.
R. W. STEWARD
91. MRS. BELL. Mezzotint.
PROOF, PRINTED IN COLORS.
After Sir Henry Raeburn. SIGNED PROOF, PRINTED IN
COLORS ON INDIA PAPER. Framed.
Modern mezzotint engraver.
E. STODART
92, MISS MILLS. Mezzotint.
After Ward. SIGNED PROOF, PRINTED IN COLORS. Framed.
First Session, Monday Evening, January 29th
SYDNEY E. WILSON
Modern mezzotint engraver.
WILSON, SYDNEY E.
93. DUCHESS OF DEVONSHIRE.
After Gainsborough.
Framed.
WILSON, SYDNEY E.
94. LADY SHEFFIELD. Mezzotint.
After Gainsborough. SIGNED PROOF, PRINTED IN COLORS.
Framed, with wide margins.
WILSON, SYDNEY E.
95. MASTER HARE. Mezzotint.
After Sir Joshua Reynolds. SIGNED PROOF, PRINTED IN
COLORS. Framed.
WILSON, SYDNEY E.
Mezzotint.
SIGNED PROOF, PRINTED IN COLORS.
96. MADAME LEBRUN AND CHILD.
After Madame LeBrun.
Framed.
ORS.
WILSON, SYDNEY E.
97. MRS. BELL.
Mezzotint.
After Raeburn.
Framed.
WILSON, SYDNEY E.
98. MRS. CANNING AND CHILD.
After George Romney.
Framed.
Mezzotint.
SIGNED PROOF, PRINTED IN COL-
SIGNED PRoof, PRINTED IN COLORS.
Mark
Mezzotint.
SIGNED PROOF, PRINTED IN COLORs.
COLOR-PRINTS
COLOR-PRINT AFTER E. L. HENRY
99. AFTER THE RAIN. An Early American Coaching Subject.
Colored reproduction after E. L. Henry. Framed.
First Session, Monday Evening, January 29th
COLOR-PRINT AFTER E. L. HENRY
100. ERIE CANAL BOAt.
Colored reproduction after E. L. Henry. Framed.
COLOR-PRINT AFTER E. L. HENRY
101. FIRST AMERICAN RAILROAD TRAIN.
Colored reproduction after E. L. Henry. Framed.
COLOR-PRINT AFTER REMBRANDT VAN RIJN
102. MAN IN ARMOR.
After Rembrandt. Colored reproduction. Published by
Hanfstaengl. Framed.
COLOR-PRINT AFTER ANTHONIE VAN DYCK
103. WILLIAM II. OF ORANGE.
After Van Dyck. Colored reproduction. Published by
Hanfstaengl. Framed.
COLOR-PRINT
104. SUBJECT AFTER PIERO DELLA FRANCESca. Gold frame.
COLOR-PRINT
105. BEATRICE D'ESTE.
Italian color-print. Gold frame.
COLOR-PRINT
106. CHINESE WATER-COLOR DRAWINGS.
Four subjects in three frames.
COLOR-PRINT
107. VIEW OF THE ROYAL EXCHANGE, London.
↓
t
Į
2
Original colored impression, published by Laurie & Whittle,
1794.
First Session, Monday Evening, January 29th
COLOR-PRINT
108. VUE DU PONT NEUF; ARC DE TRIOMPHE DE L'ETOILE.
Old colored lithographs by Lemercier.
Together, 2 pieces.
ANDREW F. AFFLECK
Contemporary English etcher.
AFFLECK, ANDREW F.
109. Doorway, SANTA CRUZ. Etching.
Signed in pencil,—“Andrew F. Affleck." In a hand carved
gold frame.
AFFLECK, ANDREW F.
110. TOLEDO CATHEDRAL.
Etching.
Signed in pencil,—“Andrew Affleck." In a hand carved
gold frame.
JAN ALMELOVEEN
"Dutch painter and engraver of Mydrecht, near Utrecht, flourished towards
the close of the 17th Century. He is better known by some etchings of
landscapes, executed with great lightness and intelligence, after the manner
of Saftleven, than by anything he has left us as a painter.”—BRYAN'S
"Dictionary of Painters and Engravers."
ALMELOVEEN, JAN
111. VIEW OF RIVER WITH BOATS IN FOREGROUND. Etching.
Bartsch, No. 30.
Signed in the left hand margin,—“Jan Almeloven Inv. et
fecit."
ADOLPHE APPIAN
French painter and etcher. Born at Lyons in 1819; died there in 1898.
Pupil of Corot and Daubigny.
"My admiration for 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. HAMERTON.
APPIAN, ADOLPHE
112. BORD DU LAC. Etching.
Lac.
Signed in upper left corner of plate, "Appian." FINE
EARLY PROOF.
First Session, Monday Evening, January 29th
APPIAN, ADOLPHE
▷ 113. A Gorge de Loup, ENVIRONS DE LYON. Etching.
FINE EARLY PROOF.
ALBERT BAERTSOEN
Contemporary Belgian etcher. Born in 1866; living in Ghent.
BAERTSOEN, ALBERT
L
← 114. VIEUX OUAIS.
Etching.
Signed in pencil,-"A. Baertsoen."
MARIUS A. J. BAUER
Contemporary Dutch artist. Born at The Hague in 1867. Renowned for
his delineation of the spirit of the Orient.
"How admirably, are cities and their populace rendered by this artist,
sensitive, keen-eyed, full of the spirit of his subjects, sensing the move-
ment, the gesture, the action, and knowing cunningly how to give his im-
pressions outward form.”—PHILIPPE ZILKEN.
BAUER, MARIUS A. J.
v
115. PERSIAN FESTIVAL. Etching.
Van Wisselingh, No. 209.
Signed in pencil,-"M. Bauer.”
"With his assistance, we live again through fateful stories of love
and intrigue; with his help we stand aside and watch processions
streaming out of palaces, and mosques, or pacing through a narrow
street or along some open causeway."-A. TOMSON.
BAUER, MARIUS A. J.
116. STREET IN CAIRO. Etching.
Van Wisselingh, No. 220.
Signed in pencil, with the initials,-"M. B."
BAUER, MARIUS A. J.
レ
​117. THE HOLY GANGES. Etching.
Van Wisselingh, No. 222.
Signed in pencil,-“M. Bauer."
RARE AND FINE.
"For the most part he gives in his pictures the impression of a
thickly populated place; of a place where people live lives full of
incident; of a place where to men all things are possible; where
beggary or sudden prosperity, a first meeting with the loveliest of
women, or violent death, may fall to a man's lot at any corner.”—
A. TOMSON.
[See Reproduction]

wac
MARIUS A. J. BAUER
THE HOLY GANGES.-Van Wisselingh, No. 222
[See No. 117 in this catalogue]
022
First Session, Monday Evening, January 29th
BAUER, MARIUS A. J.
L
118. MAALTYD. Etching.
Not in Van Wisselingh.
Etched in 1893. Signed on the plate, and in pencil,—“M.
Bauer."
1
BAUER, MARIUS A. J.
119. ON THE ROOFS. Etching.
Not in Van Wisselingh.
Signed in pencil,-"M. Bauer."
EUGÈNE BÉJOT
Contemporary French etcher, born at Paris in 1865. "We turn to Béjot,
an artist as individual as Lepère, but less demonstrative. Within narrower
limits than Lepère he concentrates his thought and his work . . . Béjot
makes the discovery that he has produced an ‘oeuvre.' It is to Paris-
to his love of Paris-that he owes the greater part of it."-FREDERICK
WEDMORE.
BÉJOT, EUGÈNE
120. LA MORGUE, PONT ST. Louis. Etching.
Etched in 1905. Signed on the plate, and in pencil,—
"Eug. Béjot." EARLY STATE.
BÉJOT, EUGÈNE
121. LE PONT DE L'ARCHEVÊCHÉ. Etching.
Etched in 1908.
"Eug. Béjot."
BÉJOT, EUGÈNE
Signed on the plate, and in pencil,—
122. LE PETIT BRAS DE LA SEINE. Etching.
Signed in pencil,-"Eug. Béjot." PROOF PRINTED
FINE AND RARE.
BLUISH-GREEN PAPER.
ON
First Session, Monday Evening, January 29th
L
BÉJOT, EUGÈNE
&
123. LE PETIT BRAS DE LA SEINE. Etching.
Signed in pencil, “Eug. Béjot." FINE IMPRESSION ON
GREEN PAPER.
ONE OF THE FINEST AND MOST
CHARMING OF BÉJOT'S
PLATES. DRAWN UPON IN PENCIL BY THE ARTIST.
BÉJOT, EUGÈNE
L
124. PONT SAINT LOUIS. Etching.
Signed on the plate, and in pencil, “Eug. Béjot." PROOF
PRINTED IN BROWNISH INK.
EUGÈNE BLÉRY
French landscape etcher. Born at Fontainebleau in 1805; died at Paris
in 1887 . . . He was Charles Meryon's only teacher, and the latter always
had a great affection for his former master.
BLÉRY, EUGÈNE
125. LES PETITS TERRAINS. Etching.
Beraldi, No. 5.
FINE IMPRESSION.
ABRAHAM BLOOTELING
Dutch draughtsman, line engraver and mezzotinter. Born at Amsterdam,
1634; died some time after 1685. Pupil of Cornelis Van Dalen.
BLOOTELING, ABRAHAM
126. ABRAHAM HEIDANUS. Line-engraving.
Wessely, No. 16.
Engraved after the painting by J. Sievens. Signed on
the lower margin,-"A. Blooteling sculp." Two tears in
upper left corner.
From the Ambrose Firmin Didot and Louis Galichou
collections.
First Session, Monday Evening, January 29th
く
​MINNA BOLINGBROKE
Contemporary English woman etcher; wife of the etcher C. J. Watson;
lived at Norwich and London.
BOLINGBROKE, MINNA
127. A CORNER OF THE PIAZZETTA.
Etched in 1900.
"Minna Bolingbroke.".
WILLIAM BOND
Engraved many of the portraits by Sir Joshua Reynolds, and is believed
to have died early in the 19th century. He was Governor of the "Society
of Engravers."
BOND, WILLIAM
128. THE YOUNG GIPSEY.
Etching.
Signed on the plate, and in pencil,—
Stipple engraving.
After Barker. PRINTED IN COLORS, and retouched by
hand. LETTER PROOF. SPLENDID IMPRESSION, with small
margins outside the plate mark.
Companion piece to "The Little Forester."
BOND, WILLIAM
129. THE LITTLE FORESTER.
Stipple engraving.
After L. S. Bond. PRINTED IN COLORS, and retouched by
hand. LETTER PROof. FINE IMPRESSION, cut on the plate
line. A few small rust spots.
Companion piece to "The Young Gipsey."
MUIRHEAD BONE
Contemporary Scotch etcher. Born in 1876 near Glasgow; living in
London. He has achieved renown by his subtle drypoints and masterful
drawings.
"One of the most artistic of all the British etchers, a consummate master
of the drypoint medium."-HERMAN STRUCK, in Die Kunst des Radierens.
BONE, MUIRHEAD
130. THE FOSSE, LINCOLN. Drypoint.
Dodgson, No. 184.
Signed on the plate, and in pencil,-“Muirhead Bone."
EXTREMELY RARE.
ONLY 18 PROOFS PRINTED.
First Session, Monday Evening, January 29th
BOTH, JAN
ہے
JAN BOTH
"The most conspicuous and important man in the Arcadian group is Jan
Both. He was a man of Utrecht, where he was born in 1600, and where
he died in 1652. Quite young he left the studio of his master Bloemart
and traveled through France to Rome. There the soft sunshine of Claude
fascinated him and he began to follow in the footsteps of that famous
painter.”—LAURENCE BINGON.
L
131. LE GRAND ARBRE. Etching.
Bartsch, No. 3.
Signed on upper right corner of the plate,-"Both fe.”
FIRST STATE BEFORE THE ADDRESS OF MATHAM.
From the collection of W. Bell Scott.
BOUCHER, FRANCOIS
L
FRANÇOIS BOUCHER
Born at Paris in 1703; died there in 1790. By his paintings and his
designs for engravers, he dominated the artistic tendencies of his period.
132. TÊTE DE FEMME. Drawing.
Drawing with colored crayon on brownish paper. Framed.
From the Peoli collection.
BRACQUEMOND, FELIX
FELIX BRACQUEMOND
French etcher. Born at Paris in 1833; died in 1915. Technically he was
one of the most consummate etchers ever known. At the time of his death
he was the dean of French engravers. He numbered among his friends
all the great artists of his time, many of whom he assisted with instruc-
tion and advice.
133. LA NUÉE D'ORAGE. Etching.
Beraldi, No. 219.
FINE EARLY IMPRESSION. Signed on the plate, and in pen-
cil,-"Bracquemond."
BRACQUEMOND, FELIX
134. LE LAC. Etching.
Beraldi, No. 287.
Gaping
Etched after the painting by Corot. Signed on the mar-
gin,—“Bracquemond, sc.”
-
First Session, Monday Evening, January 29th
BRACQUEMOND, FELIX
135. LE SOIR.
L
▲
نے
Etching.
Beraldi, No. 342.
BUHOT, FELIX
Etched after the painting by Theodore Rousseau. Signed
in ink, "Bracquemond."
EARLY PROOF ON JAPAN PAPER BEFORE THE PUBLISHED
STATE. 5 PROOFS ONLY. PRESENTATION PROOF TO PAUL
MANTZ, THE GOVERNMENT INSPECTOR OF FINE ARTs.
L
FELIX BUHOT
Born at Valognes, Normandy, 1847; died at Paris in
French etcher.
1898.
"Let us say at once that Buhot-painter and etcher, is above all a poet.
His technique is assuredly far from being simple. But he is free. He is
not the slave of rules and formular. The world at large cannot fail
to admire the form of his message."-LÉOna bénédite.
136. AU FIL D'EAU.
BUHOT, FELIX
Etching.
Bourcard, No. 5.
Etched after G. Jundt.
137. L'ANGELUS.
Etching.
Bourcard, No. 72.
Signed in pencil,-“Felix Buhot." BOURCARD'S THIRD
STATE, with added line work in sky and trees.
BUHOT, FELIX
138. LE BAS HAMET. Aquatint.
Bourcard, No. 107.
Stamped with Buhot's special stamp. An illustration of
"Une Vieille Maitresse."
BUHOT, FELIX
L
139. LE RETOUR DES ARTISTES. Etching.
Bourcard, No. 125.
FIRST STATE.
FOUR PROOFS ONLY.
and in pencil,-"Felix Buhot.”
Signed on the plate,
:
First Session, Monday Evening, January 29th
BUHOT, FELIX
140. LES PETITES CHAUMIÈRES. Drypoint.
Bourcard, No. 149.
Signed on the plate,-"Felix Buhot," and in pencil,-
"F. B." BEAUTIFUL IMPRESSION, PRINTED BY THE ARTIST.
IN PERFECT CONDITION.
BUHOT, FELIX
L
141. LE SECRET DE MAÎTRE CORNEILLE. Etching.
Beraldi, No. 111.
Signed on the plate,-"F. Buhot." Etched with sym-
phonic margin.
BUHOT, FELIX
142. LES OIES. Etching.
Beraldi, No. 166.
Signed in pencil,-"epreuve d'artiste Felix Buhot."
IMPRESSION.
DAVID YOUNG CAMERON
Celebrated contemporary Scotch painter and engraver. Born at Glasgow
in 1865.
•
“In examining Cameron's etchings it is not easy to designate his forte.
Cameron (though we hope his best work is still to be done) already shows
himself equally at home when delineating pure landscape, views of build-
ings and shipping, interiors, or portraits."-FREDERICK KEPPEL.
CAMERON, DAVID YOUNG
143. UPPER CLYDE VALLEY. Etching.
FINE
CAMERON, DAVID YOUNG
Rinder, No. 31.
Etched in 1889. One of the Clyde Set, published in 1890
in 22 sets. Signed on the plate, and in pencil,—“D. Y.
Cameron." Printed by F. Goulding, and so signed by him
in pencil,-"F. Goulding, imp."
144. UPPER CLYDE VALLEY. Etching.
Rinder, No. 31.
·
One of the Clyde Series published in 1890 in 22 sets.
Signed on the plate, and in pencil,-“D. Y. Cameron.”
PROOF printed by F. Goulding, and so signed by him.
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
TO
145. SOUND OF KILBRANNON AND ENTRANCE TO LOCH FYNE.
Etching.
لے
CAMERON, DAVID YOUNG
L
146. PERTH. Etching.
Rinder, No. 45.
Signed on the plate, and in pencil,-"D. Y. Cameron."
IMPRESSION PRINTED BY THE MASTER-PRINTER, FREDERICK
GOULDING, AND SO SIGNED BY HIM IN PENCIL,-"F. Gould-
ing imp."
CAMERON, DAVID YOUNG
ん
​Rinder, No. 72.
Etched in 1890. Signed on the plate, and in pencil,-
"D. Y. Cameron."
CAMERON, DAVID YOUNG
스
​147. WHITE HOUSE CLOSE. Etching.
Rinder, No. 86.
Signed on the plate, and in pencil,-“D. Y. Cameron.”
148. THE WINDMILL. Etching.
CAMERON, DAVID YOUNG
Rinder, No. 131.
Etched in 1892. Signed on the plate, and in pencil,—
"D. Y. Cameron.” One of the "North Holland Set."
Ten complete sets and a few additional impressions.
FINE.
149. LECROFT. Etching.
Rinder, No. 177.
Etched in 1893.
D. Y. Cameron.”
CAMERON, DAVID YOUNG
Signed on the plate, and in pencil,-
About twelve impressions. VERY RARE.
150. A BORDER TOWN. Etching.
Rinder, No. 196.
Etched in 1894. Signed on the plate, and in pencil,-
"D. Y. Cameron.” FINE IMPRESSION. RARE.
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
151. DRYBURGH.
Etching.
Rinder, No. 232.
Etched in 1896.
"D. Y. Cameron.”
CAMERON, DAVID YOUNG
152. LEDAIG. Etching.
PAPER.
On September 26, 1832, Sir Walter Scott was interred
here, in the tomb of his maternal ancestors, the Hali-
burtons of Newmains, who at one time owned Dryburgh
Abbey.
L
CAMERON, DAVID YOUNG
Signed on the plate, and in pencil,-
FINE IMPRESSION ON WIDE MARGINED
Rinder, No. 278.
Etched in 1897. Signed on the plate, and in pencil,-
“D. Y. Cameron." SECOND STATE before the plate was
cut down. RARE.
CAMERON, DAVID YOUNG
153. "YE BANKS AND BRAES." Etching.
Rinder, No. 279.
Etched in 1897. Signed on the plate, and in pencil,—
"D. Y. Cameron." SECOND STATE, before various dry-
point touches.
154. VALE OF THE CLYDE. Etching.
Rinder, No. 283.
Signed on the plate, and in pencil,-“D. Y. Cameron."
VERY FINE.
"As an etcher of landscape Cameron's achievements are certainly
not less, indeed as I think they are more, considerable, than in
architecture. In the landscapes there may with greater surety be
traced the way in which linear organization, design, emphasis of
mass, and the whole technical equipment have ceased to be exploited
as ends in themselves, but instead have increasingly been used as
means toward the shaping of fundamentally expressive images.”—
FRANK RINDER.
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
155. THE HORSE GUARDS. Etching.
Rinder, No. 292.
Etched in 1899. Signed on the plate, and in pencil,-
“D. Y. Cameron." One of the London Set, published in
1900, in 35 complete sets, and a few additional impressions.
FIRST STATE, before additional work on building to extreme
left.
CAMERON, DAVID YOUNG
156. THE PALACE OF JOANNIS DARIUS. Etching.
Rinder, No. 309.
Signed in pencil,—“D. Y. Cameron." FIRST STATE BEFORE
THE LENGTHENING OF THE SHADOW OF THE DOORWAY IN THE
WATER. EXTREMELY RARE.
CAMERON, DAVID YOUNG
157. CA D'ORO.
Etching.
Rinder, No. 310.
Etched in 1900. Signed in pencil,-"D. Y. Cameron."
VERY FINE AND RARE.
CAMERON, DAVID YOUNG
158. CA D'ORO.
Etching.
Rinder, No. 310.
Signed in pencil,-“D. Y. Cameron." BEAUTIFUL RICH
IMPRESSION, ON JAPAN PAPER. IN PERFECT CONDITION.
EXTREMELY RARE. ONE OF THE ARTIST'S MASTERPIECES.
CAMERON, DAVID YOUNG
159. ELCHO ON THE TAY. Etching.
Rinder, No. 312.
Signed on the plate, and in pencil,—“D. Y. Cameron."
EARLY STATE, UNDESCRIBED BY RINDER. The plate is
larger, 101½ x 13 15/16 inches; before the denser shad-
ing on the trees to extreme left.
"And of the landscapes, what? Here, even more than in other direc-
tions, perhaps, Cameron has come to substitute for a certain objective
impartiality, at first strongly tinged with the influence of Rembrandt,
a vision interpretive of a grave and haunting inner rhythm, a rhythm
sustained by abiding nostalgia for light and the message of light."-
FRANK RINDER.
M
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
L
160. THE DOGE'S PALACE. Etching.
Rinder, No. 326.
Etched in 1902.
"D. Y. Cameron."
CAMERON, DAVID YOUNG
"Cameron's real theme is architecture. But it is Architecture
charged as Meryon's Architecture in his Paris prints is charged
(and charged indeed beyond all else in the world)—with human
association." FREDERICK WEDMORE.
[See Reproduction]
161. CHARTRES. Etching.
Rinder, No. 327.
CAMERON, DAVID YOUNG
Signed on the plate, and in pencil,-
EXTREMELY RARE.
Signed on the plate, and in pencil,-"D. Y. Cameron."
BEAUTIFUL IMPRESSION. EXTREMELY RARE.
162. HÔTEL DE SENS, PARIS. Etching.
Rinder, No. 363.
Etched in 1904. Signed on the plate, and in pencil,—
"D. Y. Cameron." FINE IMPRESSION.
The name commemorates the fact that in the fifteenth cen-
tury, when this hotel was built for the occupation of the
Archbishops of Sens, Paris was under their ecclesiastical
jurisdiction.
CAMERON, DAVID YOUNG
:
163. OLD SAUMUR. Etching.
Rinder, No. 371.
Etched in 1905. Signed on the plate, and in pencil,—
"D. Y. Cameron.” FOURTH STATE, before several em-
phatic drypoint touches on street and steps to the left.
ONLY 4 OR 5 IMPRESSIONS OF THIS STATE, AND ONLY ABOUT
35 PROOFS IN ALL. BEAUTIFUL IMPRESSION.
Balzac in "Eugenie Grandet" graphically describes one of
the half-deserted quarters of Saumur.

Bod
Atat
I
H3
TH
ORL
AIRLARIA ARIA Ar
6330
DAVID YOUNG CAMERON
THE DOGE'S PALACE.-Rinder, No. 326
[See No. 160 in this catalogue]
ܕܝܝܛܟܢ
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
164. PLUSCARDEN. Etching.
Rinder, No. 380.
Etched in 1906. Signed on the plate, and in pencil,-
"D. Y. Cameron."
CAMERON, DAVID YOUNG
165. ON THE OURTHE. Etching.
Rinder, No. 398.
Etched in 1907. Signed on the plate, and in pencil,-
"D. Y. Cameron.” SECOND STATE, before additional dry-
point work. RICH IMPRESSION ON JAPAN Paper.
CAMERON, DAVID YOUNG
166. THE DESERT. Etching.
Rinder, No. 410.
Etched in 1909. Signed on the plate, and in pencil,--
“D. Y. Cameron." THIRD STATE, before the plate was
cut down. RARE.
CAMERON, DAVID YOUNG
167. THE MOSQUE DOORWAY. Etching.
Rinder, No. 413.
Etched in 1910. Signed on the plate, and in pencil,-
"D. Y. Cameron." THIRD STATE, with three lamps, and
before the second figure cast a deep shadow. SPLENDID
IMPRESSION. OF GREAT RARITY.
CAMERON, DAVID YOUNG
168. STREET IN CAIRO. Etching.
Rinder, No. 414.
Etched in 1910.
"D. Y. Cameron."
CAMERON, DAVID YOUNG
Signed on the plate, and in pencil,-
FINE RICH IMPRESSION.
169. THE WINGLESS CHIMERA, AMIENS. Etching.
Rinder, No. 416.
Etched in 1911.
“D. Y. Cameron."
Signed on the plate, and in pencil,-
PROOF PRINTED ON OLD DUTCH PAPER.
First Session, Monday Evening, January 29th
CAMERON, DAVID YOUNG
170. YVON.
Etching.
Rinder, No. 425.
Etched in 1911. Signed on the plate, and in pencil,—
"D. Y. Cameron." RICH IMPRESSION.
A famous restaurant in Chartres.
}
CAMERON, DAVID YOUNG
171. A CAT OF BUBASTIS. Etching.
Rinder, No. 426.
Etched in 1911.
“D. Y. Cameron."
CAMERON, DAVID YOUNG
172. THE LION AND THE UNICORN. Etching.
Signed on the plate, and in pencil,—
RICH PROOF ON OLD Dutch paper.
Rinder, No. 427.
Etched in 1911. Signed on the plate, and in pencil,-
"D. Y. Cameron." This etching serves as a frontispiece
to the Edition de Luxe of the Rinder catalogue.
CAMERON, DAVID YOUNG
173. PEAKS OF ARRAN. Etching.
Not in Rinder.
Signed on the plate, and in pencil,-“D. Y. Cameron.”
EARLY STATE BEFORE THE PLATE WAS CUT DOWN. FINE
IMPRESSION.
CAMERON, DAVID YOUNG
173a. RINDER (FRANK). D. Y. Cameron.
D. Y. Cameron. An Illustrated Cata-
logue of his Etched Work, with Introductory Essay &
Descriptive Notes. 4to, half vellum and cloth, gilt top,
uncut.
Glasgow, 1912
Special Edition on hand-made paper,-No. 169 of 200 copies-with
PROOFS ON JAPANESE VELLUM, and Etching of the "Lion and the Uni-
corn," as frontispiece, SIGNED IN THE AUTOGRAPH OF THE ARTIST.
UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS
AND OWNERS HEREINBEFORE DESIGNATED
Second Session, Numbers 174 to 347, inclusive
TUESDAY EVENING, JANUARY 30th, AT 8:15 O'CLOCK
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
CASSATT, MARY
L
MARY CASSATT
Born at Pittsburgh in 1855. She studied at the Pennsylvania Academy of
Fine Arts and later with Degas. She has won for herself the position of
one of the foremost depicters of child life in France and America.
스
​174. WOMAN HOLDING CHILD. Drypoint.
Signed in pencil,-"Mary Cassatt."
VERY FINE AND RARE.
CHAPLIN, CHARLES
CHARLES CHAPLIN
French painter and etcher. Born at Les Andelys in 1825; died at Paris in
1891.
175. THE SPINNER. Etching.
Beraldi, No. 14.
Signed on the plate, and in pencil,-"Ch. Chaplin.”
PROOF.
CHATTOCK, R. J.
R. J. CHATTOCK
English etcher. Flourished about 1870.
EARLY TRIAL PROOF.
176. THE STONE BRIDGE. Etching.
Signed in pencil,-“R. S. Chattock."
Second Session, Tuesday Evening, January 30th
THÉOPHILE CHAUVEL
French etcher. Born at Paris 1881. As a pupil of Picot and d'Aligny,
he won renown, not only by his own painter-etchings, but by his interpreta-
tions of paintings of Daubigny, Dupré and Rousseau.
CHAUVEL, THÉOPHILE
レ
​177. L'ORAGE. Lithograph.
Delteil, No. 104.
Drawn after the painting by Diaz. Signed in pencil,-
"Th. Chauvel." TRIAL PROOF. BRILLIANT IMPRESSION.
From the collection of Alfred Le Brun.
CLAUDE GELÉE DE LORRAINE
French painter and etcher. Born in 1600 at Chamagne in the ancient
province of Lorraine. With the exception of boyhood and two years of
wandering, the whole of his life and all of his work was executed in or
near Rome. He died in 1682.
レ
​"Claude was indefatiguable to get a really solid basis of art training, to
penetrate into the utmost secrets of nature. Day after day he would
be up before dawn and far into the Campagna, heedless of fatigue he
would stay there until after nightfall, noting every phase of nature."-
SANDRART.
CLAUDE (GELÉE) DE LORRAINE
178. LE PONT DE BOIS. Etching.
Robert-Dumesnil, No. 14.
Unsigned. FIRST STATE.
SUPERB IMPRESSION, IN PER-
FECT CONDITION.
From the collections of Camberlyn, Robert Dumesnil and
Firmin-Didot.
CLAUDE (GELÉE) DE LORRAINE
179. THE RAPE OF EUROPA. Etching.
Robert-Dumesnil, No. 22.
Signed in the lower right corner,-"Claude Gelée, 1634."
From the W. B. Cooke collection.
A CHARMING INVENTION IN THE TRADITION OF THE GRAND
STYLE OF LANDSCAPE PAINTING.
1
Second Session, Tuesday Evening, January 30th
JEAN BAPTISTE CAMILLE COROT
"Corot, born in 1796, united the classic and romantic in his education; but
remained so personal in his views that his art retained a youthful fresh-
ness up to the time of his death in 1875."—R. J. WICKENDEN.
COROT, JEAN BAPTISTE CAMILLE
180. SOUVENIR D'ITALIE. Etching.
Delteil, No. 5.
THIRD STATE, with the letters and rounded corners. Corot
drew the subject on the copper and his friend, Bracque-
mond, "bit it in."
COROT, JEAN BAPTISTE CAMILLE
181. DANS LES DUNES. Etching.
Delteil, No. 9.
Etched in 1869. Signed on the plate in the margin,-
"Corot."
L
CHARLES FRANÇOIS DAUBIGNY
French painter and etcher. Born at Paris in 1817; died there 1878.
"Thirty years have passed since Daubigny laid down his brushes and
etching-needle forever. Yet his fame has broadened year by year, and
his works have kept their place among the classics in Art."-R. J.
WICKENDEN.
DAUBIGNY, CHARLES FRANCOIS
182. LE NID DE L'AIGLE. Etching.
Henriet, No. 43.
Signed on the bottom of the plate, "Daubigny del. et
sculp." ONLY STATE.
Engraved after his own painting in the Salon of 1844.
ANDRÉ DAUCHEZ
Contemporary French etcher and aquatinter. Born in 1870; lived in Paris
and Brittany.
DAUCHEZ, ANDRÉ
▲ 183. ANSE À MER BASSE. Etching.
Catalogue, No. 48.
Signed on the plate, and in pencil,-"André Dauches."
IMPRESSION No. 5 OF 30 PROOFS PRINTED.
Second Session, Tuesday Evening, January 30th
JEAN JACQUES DE BOISSIEU
French etcher. Born, 1736; lived at Lyons; died in 1810. He was one
of the first to practice landscape etching after the great period of
classical engraving in France, and was therefore, in a sense, a fore-
runner of the Barbizon etchers.
DE BOISSIEU, JEAN JACQUES
L
184. VUE PRISE À L'ARBRESTE, EN LYONNAIS. Etching.
De Boissieu (Rapilly), No. 89.
Signed on the lower margin,-"D B 1793."
From the collection of Henri le Sec des Tournelles.
WILLEM JACOBSZ DELFF
Dutch engraver. Born at Delft in 1588; died there in 1638. He engraved
chiefly the paintings by his father-in-law,-Michiel van Miereveldt.
DELFF, WILLEM JACOBSZ
L
185. JOSEPH DEL MEDICO. Line-engraving.
Franken, No. 44.
Engraved after the painting by Duyster. Inscription on
the margin lettered in ink. VERY FINE AND SCARCE.
GILLES DEMARTEAU
Inventor of the Crayon manner.
“Another successful engraver was Gilles Demerteau (1722-1776), whose
imitations of Boucher's drawings are so skillfully executed, as on hasty
examination to deceive any but the practised eye."—R. NEVILL.
DEMARTEAU, GILLES
186. TÊTE DE FEMME. Engraving.
L. de Leymarie, No. 249.
ENGRAVING IN COLOR, in the crayon manner, after the
drawing by Boucher. With the engraver's address, and
the No. 249. VERY FINE AND RARE. Margin trimmed to
engraved border. Framed.
Second Session, Tuesday Evening, January 30th
DEMARTEAU, GILLES
187. TÊTE DE FEMME. Engraving.
L. de Leymarie, No. 250.
ENGRAVING IN COLOR, in the crayon manner, after the
drawing by Boucher. With the engraver's address, and
the No. 250. VERY FINE AND RARE. Margin trimmed
to engraved border. Several creases and a very slight tear.
Companion piece to the preceding. Framed.
DEMARTEAU, GILLES
188. LE MARCHAND D'HUITRES. Engraving.
L. de Leymarie, No. 454.
ENGRAVING IN COLOR, in the crayon manner, after the
drawing by Clermont. Impression cut close to engraved
surface, and new margin attached; title, address and num-
ber added by hand, the number being put on inaccurately,
456 instead of the correct number, 454. FINE IMPRESSION.
Framed.
Companion to "La Marchande de Lait."
DEMARTEAU, GILLES
189. LA MARCHANDE DE LAIT. Engraving.
L. de Leymarie, No. 455.
ENGRAVING IN COLOR, in the crayon manner, after the
drawing by Clermont. With the title, engraver's address,
and the No. 455, and with 1 inch margin outside the
engraved border. SPLENDID IMPRESSION AND CONDITION.
One slight pin prick. Framed.
Companion piece to “Le Marchand d’Huitres.”
PIERRE DREVET
French engraver. Born at Loire in 1663; died at Paris in 1738. Pupil of
Germain Andran, at Lyon and later of the latter's more famous brother,-
Gérard Andran, at Paris. The Drevets, father and son, were the dominant
influence in the engraving of their time.
DREVET, PIERRE
L
190. ROBERT DE COTTE. Line-engraving.
Firmin-Didot, No. 34.
Engraved after the painting by Rigaud. Signed on the
plate,-"Gravé par Pire Drevet." ONE OF DREVET'S
FINEST PLATES.
Second Session, Tuesday Evening, January 30th
ALBRECHT DÜRER
Celebrated German painter and engraver. Born of Hungarian descent at
Nuremberg in 1471, died there in 1528. He studied with Michael Wolgemut
at Nuremberg and made several journeys to Italy. Like so many of the
great artists of the period, he was a man of wide attainments. A scientist,
writer, and mathematician as well as artist, he counted among his friends
Erasmus, Luther, Melanchthon, Bellini and Raphael. His influence domi-
nated the engraving of all the North Countries. His copper-engravings,
woodcuts, and even his etchings in their way have never been surpassed.
"Dürer did not possess the the modern sense of limitation. . . His imagi-
nation was deeply suggestive, straightforward, and marvelously fertile
in invention; but he interpreted the imaginative world in terms of daily
and often homely life; he knew beauty only as German Beauty, and life
and its material surroundings only as German life and German civili-
zation. But the grotesqueness disappears as the eye becomes acquainted
with the unfamiliar, and the mind is occupied with the emotion, the
intellectual idea, and imaginative truth expressed in these sometimes ugly
modes, for they are of that rare value which wins forgiveness for far
greater defects of formal beauty than are apparent in Dürer's work."-
GEORGE EDWARD WOODBERRY.
•
DÜRER, ALBRECHT
V
191. THE FLAGELLATION.
Bartsch, No. 8.
DÜRER, ALBRECHT
Woodcut.
Signed on the block with the monogram,-"A.D." From
the set of the Great Woodcut Passion. Margin slightly
trimmed on the left. Several mended tears. With Latin
text on the back.
192. THE PRODIGAL SON. Engraving.
Bartsch, No. 28.
Signed at the bottom of the plate with the monogram,-
"A.D." GOOD IMPRESSION IN FINE CONDITION. Printed
in black ink on paper water marked with the Little Jug.
Duplicate from the Berlin Museum.
A very early plate, as may be known by the style of the
monogram, and also by the treatment, especially in the
trees. It is generally believed that, in "The Prodigal
Son," Dürer has drawn his own portrait.
Second Session, Tuesday Evening, January 30th
DÜRER, ALBRECHT
193. THE PRODIGAL SON. Engraving.
Bartsch, No. 28.
Signed on the plate, with the monogram "A.D." Fair
impression, trimmed slightly within plate-line at the top,
two corners slightly mended. Framed.
DÜRER, ALBRECHT
L
L
194. THE VIRGIN WITH SHORT HAIR. Engraving.
Bartsch, No. 33.
Signed on the plate with the monogram "A.D. 1514."
FINE IMPRESSION IN GOOD CONDITION.
"For in the same way as they (the ancients) applied the most beau-
tiful figure of a man to their idol, Apollo, thus we will take the same
measurement for Christ, the Lord, who is the most beautiful of all
the world. And as they have used Venus as the most beautiful
woman, thus will we chastely devote the same graceful figure to the
most pure Virgin, the Mother of God."—ALBRECIIT DÜRER'S Notes for
an Introduction to his Book, "On the Proportions of the Human
Body."
[See Reproduction]
DÜRER, ALBRECHT
195. VIRGIN NURSING THE CHILD. Engraving.
Bartsch, No. 36.
Signed on the plate with the monogram,-"A.D.” 1512.”
Fair impression, trimmed just inside plate-mark. One
thin spot and one pin prick, otherwise in good condition.
DÜRER, ALBRECHT
196. CHRIST NAILED TO THE CROSS. Woodcut.
Bartsch, No. 39.
Signed on the block with the monogram,-"A.D."
A.D." From
the set of the Little Woodcut Passion. SPLENDID EARLY
IMPRESSION, before the text on the back, but slightly torn
and trimmed inside the margin.
· Note from Dürer's Diary of a Journey to the Netherlands,-"Sold
to Sebald Fischer at Antwerp. The Small Passion 4 sets for 1
florin; The Apocalypse, The Large Passion, The Life of the Virgin,
4 sets for 1 florin."

1514
E
ALBRECHT DÜRER
THE VIRGIN WITH SHORT HAIR.-Bartsch, No. 33
[See No. 194 in this catalogue]
Second Session, Tuesday Evening, January 30th
DÜRER, ALBRECHT
▷ 197. THE HOLY FAMILY AND THE DRAGON FLY. Engraving.
Bartsch, No. 44.
THIS IS ONE OF THE EARLIEST OF HIS PLATES AND WAS DONE
PROBABLY ABOUT 1495. Signed on the plate with the
monogram,—“A.D.”
DÜRER, ALBRECHT
198. HOLY FAMILY WITH THE DRAGON FLY. Engraving.
Bartsch, No. 44.
Signed on the plate, with the monogram, "A.D." PROOF
with the slipped stroke above Mary's head. Margins
rather frail, and with several very small tears mended.
Framed.
DÜRER, ALBRECHT
199. ST. JEROME IN PENITENCE. Engraving.
Bartsch, No. 61.
Signed near the bottom of the plate with the monogram,
"A.D."
1
"St. Jerome was one of the favorite saints of Dürer's and later
times, and therefore often taken as a subject by artists. The lion
accompanies him because, according to the legend, he drew a thorn
from the paw of the animal which ever afterwards was his com-
panion.”—s. R. KOEHLER.
DÜRER, ALBRECHT
200. THE MARTYRDOM OF ST. JOHN THE EVANGELIST. Woodcut.
Bartsch, No. 61.
Signed on the block with the monogram,-"A.D." FINE
From the set of the Apoca-
IMPRESSION, WITH MARGIN.
lypse.
DÜRER, ALBRECHT
201. ST. JEROME IN PENITENCE. Pen and Wash Drawing.
Bartsch, No. 61.
A copy by an anonymous hand after the engraving by
Dürer.
From several unidentified collections.
Second Session, Tuesday Evening, January 30th
DÜRER, ALBRECHT
را
DÜRER, ALBRECHT
202. THE SEVEN GOLDEN CANDLESTICKS.
Bartsch, No. 62.
Signed on the block with the monogram,—“A.D.” From
the set of the Apocalypse first issued in 1498. FINE
IMPRESSION with Latin text on the back.
"And I turned to see the voice that spake with me. And being
turned, I saw seven golden candlesticks; and in the midst of the
seven candlesticks One like unto the Son of Man, clothed with a
garment down to the foot, and girt about the paps with a golden
girdle. His head and His hairs were white like wool, as white as
snow, and His eyes were as a flame of fire; and His feet like unto
fine brass, as if they burned in a furnace; and His voice as the
sound of many waters, And He had in His right hand seven stars;
and out of his mouth went a sharp two-edged sword; and his coun-
tenance was as the sun shineth in its strength."
レ
​Woodcut.
203. THE LITTLE FORTUNE. Line-engraving.
Bartsch, No. 78.
Signed on the plate with the monogram,—“A.D.”
IMPRESSION IN FINE CONDITION.
From the Hérédia collection.
DÜRER, ALBRECHT
204. JOACHIM AND ANN UNDER THE GOLDEN GATE. Woodcut.
DÜRER, ALBRECHT
A.D." RICH
Bartsch, No. 79.
Signed on the block with the monogram,-"A.D." From
the set of the "Life of the Virgin." FINE IMPRESSION.
The material for the "Life of the Virgin" was gathered
mostly from the Apocryphal Gospels. This scene repre-
sents the father and mother of Mary after the return of
Joachim from the wilderness, where the angel had prom-
ised him a daughter.
205. FLIGHT INTO EGYPT. Woodcut.
Bartsch, No. 89.
Signed on the block, with the monogram,—“A.D." Early
state with the Latin text on the reverse. ONE OF THE
RAREST AND MOST CHARMING SUBJECTS in the series of the
"Life of the Virgin." Good impression with plate-line
intact. On paper with the
the watermark "Haussmann,
No. 28."
Second Session, Tuesday Evening, January 30th
;
DÜRER, ALBRECHT
206. CHRIST AMONG THE DOCTORS. Woodcut.
Bartsch, No. 91.
Signed on the block with the monogram “A.D." From the
set of the "Life of the Virgin." Fair impression.
Also, copy of the same executed on copper, by Marcantonio
Raimondi. Rare and fine impression. In perfect con-
dition.
Together, 2 pieces.
DÜRER, ALBRECHT
207. THE DEATH OF THE VIRGIN. Woodcut.
Bartsch, No. 93.
Signed on the block with the monogram,-"A.D. 1510."
From the set of the "Life of the Virgin." Poor impression.
DÜRER, ALBRECHT
► 208. THE LITTLE HORSE. Line-engraving.
Bartsch, No. 96.
Signed near the bottom of the plate with the monogram,-
"A.D." Engraved in 1505.
From the A. Donnadieu collection.
DÜRER, ALBRECHT
L
209. ALBERT OF BRANDENBURG. Line-engraving.
Bartsch, No. 103.
Signed on the plate with the monogram,-"A.D.”
From the F. Debois collection.
DÜRER, ALBRECHT
210. MARTYRDOM OF ST. CATHERINE.
Bartsch, No. 120.
Signed on the block with the monogram,-"A.D.”
Woodcut.
Second Session, Tuesday Evening, January 30th
GÉRARD EDELINCK
Born at Antwerp, 1640; died at Paris, 1707. Pupil of C. Galle and
later of Poilly at Paris. Although born at Antwerp, he became French
by adoption and engraved in the great French tradition. The great Italian
engraver Songhi says of Edelinck that he is the engraver whose works
deserve the first place among exemplars.
EDELINCK, GÉRARD
211. CHARLES COLBERT, MARQUIS DE CROISSY. Line-engraving.
Robert-Dumesnil, No. 175.
Engraved after the painting by Rigaud. Signed on the
plate,-"Edelinck sculp CPR 1691.” BEAUTIFUL IMPRES-
SION IN PERFECT CONDITION.
レ
​BERNARD EYRE
Contemporary British etcher living in Surrey. He is an Associate of the
Royal Etching Society.
EYRE, BERNARD
✓
212. OLD MILL, EVENING. Etching.
Signed in pencil,-“Bernard Eyre." IMPRESSION ΟΝ
JAPAN PAPER.
WILLIAM FAITHORNE
English engraver.
Born in 1616. He studied under Robert Peake and
John Payne. Died in 1691.
FAITHORNE, WILLIAM
213. HENRY CARY. EARL OF MONMOUTH. Line-engraving.
Fagan, page number 49.
Signed on the plate,-"Guil. Faithorne fe." BRILLIANT
IMPRESSION.
From the Durrant and Drugulin collections.
Second Session, Tuesday Evening, January 30th
V
HENRI FANTIN-LATOUR
French painter and lithographer.
Buré in 1902.
FANTIN-LATOUR, HENRI
✓ 214. REVERIE. Lithograph.
Hediard, No. 159.
Born at Grenable in 1836; died at
"Allowing for the development which time and experience afford to any
serious worker, what he was at first he remained to the last-an idealist,
an imaginative dreamer; in a word a poet."-FREDERICK KEPPEL.
L
FANTIN-LATOUR, HENRI
Signed on the plate,-"H. Fantin.”
214a. BAIGNEUSES. Lithograph.
Hediard, No. 125.
A CHARMING AND CHARACTERISTIC PLATE.
FORTUNY, MARIANO
MARIANO FORTUNY
Spanish painter and etcher. Born at Rens (Spain) in 1838; died at Rome
in 1874.
"Beraldi applauds his etchings for their originality. Let us honor them
too for their fidelity to life for their simple strength, as well as for their
light, vivacious charm."-ROYAL CORTISSOZ.
215. GRADE DE LA CASBAH À TETUAN. Etching.
Beraldi, No. 5.
INDIA PAPER PROOF. VERY RARE AND FINE.
FRÉLAUT, JEAN
JEAN FRÉLAUT
Contemporary French etcher. Frélaut has a peculiarly original technique.
216. LAUDE DE KERLANN. Etching.
Signed in pencil,—“Jean Frélaut." IMPRESSION No. 10
OF 30 PROOFS PRINTED.
Second Session, Tuesday Evening, January 30th
GAILLARD, FERDINAND
را
FERDINAND GAILLARD
French engraver. Born at Paris in 1884; died there in 1887.
"A noteworthy attempt to save the art of line-engraving from a deadening
system was made by Henriquel-Dupont. His aims were carried even
further by Gaillard who achieved the subtlest gradations of tone by a
supremely delicate manner of cutting with the burin, and to some extent
by etching." -A. M. HIND.
L
217. PRINCE BIBASCO. Line-engraving.
Beraldi, No. 19.
STAMPED WITH GAILLARD'S SIGNATURE.
OTTO GAMPERT
Contemporary German-Swiss etcher and aquatinter. Born at Ottenbach
(near Zurich) in 1842. Lives at Munich.
GAMPERT, OTTO
218. SANDHÜgel an der Amper. Soft ground etching.
Signed in pencil,-"O. Gampert." IMPRESSION PRINTED
IN GREENISH INK.
PERCIVAL GASKELL
Contemporary English artist, working in etching, aquatint, and mezzoţint.
GASKELL, PERCIVAL
219. FERFECLE.
Mezzotint.
Signed in pencil,-"Percival Gaskell."
ANDREW GEDDES
Scotch painter and etcher. Born, 1783; died 1844. Lived at Edinburgh
and London. He was one of the first to take up the freer processes of
etching and drypoint, after the long continued supremacy of mezzotint
in British art.
GEDDES, ANDREW
L
220. PORTRAIT OF DAVID BRIDGES, JR. Etching.
Laing, No. 5.
Etched in 1816. Signed on the plate with the initials,
"A.G."
David Bridges the eminent art connoisseur was born at
Edinburgh in 1776.
Second Session, Tuesday Evening, January 30th
GEDDES, ANDREW
V
221. HAMPSTEAD, CANE WOOD. Etching.
Laing, No. 33.
FIRST STATE.
VERY FINE.
ARTIST'S OWN HAND.
From the collection of Philippe Burty.
GILBERT, ACHILLE
h
THE WRITING BELOW IS IN THE
ACHILLE GILBERT
French painter and etcher. Born at Paris in 1828.
in the field of reproductive and portrait engraving.
222. INTERIOR. Etching.
His work is mainly
Etched after Edouard Frère. PROOF ON JAPAN PAPER BE-
FORE ALL LETTERS.
H. GILLBANK
An English mezzotint engraver, working in the late eighteenth century.
GILLBANK, H.
223. THE BENEVOLENT HEIR, OR, THE TENANT RESTORED TO HIS
FAMILY. Mezzotint.
PRINTED IN COLORS, after Bigg.
LETTER PROOF.
VERY
FINE IMPRESSION, IN PERFECT CONDITION, with 1/2 inch mar-
gin outside plate line.
Companion piece to "The Rapacious Steward."
GILLBANK, H.
224. THE RAPACIOUS STEWARD, OR, UNFORTUNATE TENANT.
Mezzotint.
VERY
PRINTED IN COLORS, after Bigg. LETTER PROOF.
FINE IMPRESSION IN PERFECT CONDITION, with 1½ inch mar-
gin outside plate line.
Companion piece to "The Benevolent Heir."
Second Session, Tuesday Evening, January 30th
1
L
COLONEL ROBERT GOFF
Contemporary English etcher. Born at London in 1837; lived at Brighton
and Florence.
"The two contemporary etchers who interest me most, among those I
have not had occasion, yet, to write of, are two men unlike, perhaps, in
nearly everything except in their possession of the essential quality of
impulse. Monsieur Hellen and our fellow countryman Colonel Goff."-
FREDERICK WEDMON.
GOFF, COLONEL ROBERT
L
225. FLORENCE FROM POZZO GHIRARDO. Etching.
Pozzo
レ
​GOFF, COLONEL ROBERT
Etched in 1892. Signed on the plate, and in pencil,-
"R. Goff."
226. MENAI STRAIGHTS.
Etched in 1897.
GOFF, COLONEL ROBERT
Etching.
Signed on the plate, and in pencil,-
"R. Goff." FINE IMPRESSION.
V
227. THE SUN'S LAST RAYS. Etching.
GOFF, COLONEL ROBERT
L
Etched in 1901. Signed on the plate, and in pencil,—
"R. Goff 1901."
Etching.
Etched in 1905. Signed on the plate, and in pencil,—
"R. Goff."
GOFF, COLONEL ROBERT
レ
​228. THE WATERWAY OF A GREAT CITY.
GOFF, COLONEL ROBERT
229. CHARING CROSS BRIDGE. Etching.
Signed in pencil,—“R. Goff."
230. EVENING. Etching.
Signed on the plate, and in pencil,—“R. Goff.”
GOFF, COLONEL ROBERT
231. MIDDELBURG, HOLLAND. Etching.
Signed on the plate, and in pencil,-"R. Goff."
GOFF, COLONEL ROBERT
232. PEAT Moss, BANAVIE, SCOTLAND. Etching.
Signed on the plate, and in pencil,—“R. Goff.”
Second Session, Tuesday Evening, January 30th
HENDRIK GOLTZIUS
Flemish engraver. Born at Mülbrecht in 1558. After studying engraving
at home under Cornhaert, he traveled through Italy and Germany and
resided for a time at Rouen, attracted by the works of Raphael, Michelan-
gelo, and Caravaggio. Upon his return he settled at Haarlem, where he
died in 1617.
He had many followers.".
"Goltzius possessed great technical skill
W. O. CHAPIN.
GOLTZIUS, HENDRIK
233. LUCRETIA FEASTING AT THE PALACE OF TARQUIN. Line-
engraving.
Bartsch, No. 104.
ENGRAVED IN GOLTZIUS'S EARLY MANNER.
From the Firmin-Didot and L. Galichon collections.
CHARLES STORM VAN'S GRAVESANDE
Contemporary Dutch etcher. Born at Breda in 1841; living at Brussels.
Félicien Rops first suggested to him the use of the needle, which he used
with such skill and application that he has now reached the position of
dean among Dutch etchers.
GRAVESANDE, CHARLES STORM VAN'S
234. DANS LES DUNES PRES DE HAARLEM. Etching.
Rice, No. 179.
Signed in pencil,-"C. Storm vans Gravesande."
SIR FRANCIS SEYMOUR HADEN
Eminent English etcher and surgeon. Born at London in 1818; died
there in 1910. President of the "Royal Society of Painter Etchers."
"Seymour Haden is pre-eminently a landscape etcher. Resembling, cer-
tainly in this respect, the greatest number of etchers. Whatever the land-
scape be, it is always, it seems, landscape of character and landscape that
the artist has enjoyed."-FREDERICK WETMORE.
"Few artists of the nineteenth century are more certain of abiding fame
than he. This is because he excelled all the other artists of his epoch in
the important career of an etcher of landscape. No other etcher has
given us such true presentations of the beautiful, quiet landscapes of
England."-FREDERICK KEPPEL.
HADEN, SIR FRANCIS SEYMOUR
235. KENSINGTON GARDENS. Small plate. Etching.
Harrington, No. 12.
Etched in 1859. Signed on the plate, and in pencil,-
"Seymour Haden." SECOND STATE, before the signature
and date were erased. BEAUTIFUL IMPRESSION, ON JAPAN
paper.
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
236. KENSINGTON GARDENS. Small plate. Etching.
Harrington, No. 12.
Signed in pencil,-"Seymour Haden."
HADEN, SIR FRANCIS SEYMOUR
237. MYTTON HALL. Drypoint.
Harrington, No. 14.
Etched in 1859. Signed on the plate, and in pencil,-
"Seymour Haden.” BEAUTIFUL IMPRESSION, ON THIN
JAPAN PAPER, FULL OF BURR.
L
"Mytton Hall—which, unlike Mr. Hamerton, I prefer to the Shere
-had been wrought one year earlier. It shows a shady avenue of
yew trees leading to an old manor house which receives the full light
of the sun; and in that print, early as it may seem, was already the
breadth of treatment which as years proceeded became more and
more characteristic of Sir Seymour Haden's work."-FREDERICK WED-
MORE.
HADEN, SIR FRANCIS SEYMOUR
238. MYTTON HALL. Etching.
Harrington, No. 14.
Etched in 1859. Signed on the plate, and in pencil,
"Seymour Haden." FINE RICH
ON JAPAN
PAPER.
IMPRESSION
"Mytton Hall is an old Henry VII house, which I was in the habit
of staying at for the purpose of salmon fishing in the River Ribble
which runs past it."-SEYMOUR HADEN.
HADEN, SIR FRANCIS SEYMOUR
239. ON THE TEST. Etching.
Harrington, No. 20.
Signed on the plate, and in pencil,-"Seymour Haden."
BEAUTIFUL LUMINOUS IMPRESSION, ON THIN JAPAN PAPER.
IN PERFECT CONDITION.
1
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
L
240. A WATER MEADOW. Etching.
Harrington, No. 21.
Signed in pencil,-"Seymour Haden." FIRST STATE, BE-
FORE ADDITIONAL WORK IN SKY. Printed by Delâtre.
SUPERB IMPRESSION, IN PERFECT CONDITION.
"I like this plate-which is saying a great deal."-s. H.
((
L
HADEN, SIR FRANCIS SEYMOUR
a vivacious, happy, sympathetic transcript of a sudden rain-
storm in the Hampshire lowlands, where poplars flourish and grass
grows rank."-FREDERICK WEDMORE, in "Fine Prints."
→
241. A WATER MEADOW. Etching.
Harrington, No. 21.
Signed in pencil,-"Seymour Haden." FIRST STATE be-
fore additional work in the sky at the top, and before the
downward rays to the right were duplicated. This plate
and "On the Test" were both done on the same day.
HADEN, SIR FRANCIS SEYMOUR
242. EARLY MORNING, RICHMOND PARK. Etching.
Harrington, No. 22.
Signed in pencil,-"Seymour Haden."
FORE THE FOUL BITING WAS CLEANED OFF.
PRESSION, ON THIN JAPAN PAPER.
"The conception of the plate itself has a poetry of its own, and is
filled with the freshness of the morning.”—P. G. HAMERTON, Etchings
and Etchers.
"This was done actually at sunrise."-EYMOUR
HADEN, SIR FRANCIS SEYMOUR
C
243. THE EARLIEST TREE. Etching.
Harrington, No. 23.
HADEN, SIR FRANCIS SEYMOUR
K
Signed in pencil,-Seymour Haden."
at the left-hand plate-edge.
244. KENSINGTON GARDENS. Etching.
Harrington, No. 28.
EYMOUR HADEN.
FIRST STATE, BE-
SUPERB IM-
ONLY STATE. Torn
Etched in 1860. The large plate. Signed in pencil,—
"Seymour Haden."
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
245. A BY-ROAD IN TIPPERARY. Etching.
Harrington, No. 30.
Etched in 1860. Signed on the plate, and in pencil,-
"Seymour Haden.” EARLY PROOr, before the rust in the
lower right corner was removed. SUPERB IMPRESSION, ON
THIN JAPAN PAPER. OF THE GREATEST RARITY.
ONE OF
THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE
PLATE.
[See Reproduction]
HADEN, SIR FRANCIS SEYMOUR
246. SHERE MILL POND.
Harrington, No. 38.
Etching.
Etched in 1860. Signed on the plate, and in pencil,--
"Seymour Haden." BEAUTIFUL IMPRESSION, IN PERFECT
CONDITION. OF GREAT RARITY.
3
“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.”—P. G. HAMERTON, in "Etching and Etchers."
HADEN, SIR FRANCIS SEYMOUR
247. DUNDRUM RIVER. Etching.
Harrington, No. 49.
Signed in pencil,—“Seymour Haden." FIRST STATE.
HADEN, SIR FRANCIS SEYMOUR
248. SUNSET IN IRELAND. Drypoint.
Harrington, No. 51.
Etched in 1863. Signed on the plate, and in pencil,-
"Seymour Haden." BEAUTIFUL RICH IMPRESSION, FULL OF
BURR. OF THE GREATEST RARITY.
I
"A Sunset in Ireland is Haden's best work in dry-point, and it
certainly deserves its reputation of one of its author's masterpieces.
The quiet, peaceful sunset behind the dark masses of trees makes a
plate of exquisite beauty. There are great differences in the various
states, so that a choice among them is extremely difficult. The rich,
dark, late-evening effect of the second state is quite as fine in its
way as the lighter and more delicate early-evening effect of the earlier
impressions."- -ATHERTON CURTIS.

SIR FRANCIS SEYMOUR HADEN
A BY-ROAD IN TIPPERARY.-Harrington, No. 30.
[See No. 245 in this catalogue]
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
L
249. THE TOWING PATH. Drypoint.
Harrington, No. 76.
Signed on the upper right corner of the plate,-"Seymour
Haden 1864." FIRST STATE with the words,-Hampton
Court."
This plate was one of the set of "Etudes á l'Eau-forte"
published in France, with descriptive notes by Philippe
Burty, in 1865-6. Seymour Haden always thought this
one of his best plates.
HADEN, SIR FRANCIS SEYMOUR
✓ 250. KEW AIT. Etching.
Harrington, No. 86.
レ
​Etched in 1861. Signed on the plate, and in pencil,-
"Seymour Haden." FIRST State.
HADEN, SIR FRANCIS SEYMOUR
V 251. HORSLEY'S COTTAGES. Etching.
Harrington, No. 101.
Signed on the plate, and in pencil,—“Seymour Haden.”
FIRST STATE.
HADEN, SIR FRANCIS SEYMOUR
✓ 252. A RIVER IN WERRINGTON PARK. Etching.
Harrington, No. 131.
Etched in 1868. Signed on the plate, and in pencil,-
'Seymour Haden." FIRST STATE.
CC
HADEN, SIR FRANCIS SEYMOUR
oF
253. THE BREAKING UP OF THE AGAMEMNON. Etching.
Harrington, No. 145.
Signed on the plate, and in pencil,-“S. Haden.”
OND STATE.
SEC-
"With such a subject as this for a motive, an etcher will do manly
work if the strength to do is in him. And this is manly work.".
P. G. HAMERTON. "Perhaps all things considered, the artist's master-
piece.”—ATHERTON CURTIS.
[See Reproduction]

SIR FRANCIS SEYMOUR HADEN
THE BREAKING UP OF THE AGAMEMNON.-Harrington, No. 145
[See No. 253 in this catalogue]
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
254. A BRIG AT ANCHOR. Etching.
Harrington, No. 147.
Signed on the plate,-"Seymour Haden 1870.”
cil signature is not genuine.
HADEN, SIR FRANCIS SEYMOUR
h
255. CALAIS PIER. Etching.
Harrington, No. 157.
Etched after the painting by Turner. Signed in pencil,-
"Seymour Haden." THIRD STate. ABOUT 8 IMPRESSIONS.
"This superb etching stands alone in the history of art. The scene
could not be more strongly felt nor more vividly presented, had
the etcher been working from nature instead of a painting by another
hand. When this etching appeared, Haden received an enthusiastic
letter from John Ruskin, in which the latter exhorted him to devote
the remainder of his life to etching the paintings of Turner."-
FREDERICK KEPPEL.
HADEN, SIR FRANCIS SEYMOUR
и 256. YE COMPLEAT ANGLER. Etching.
Harrington, No. 166.
Etched in 1877. Signed on the plate, and in pencil,-
“Seymour Haden." FINE IMPRESSION PRINTED ON JAPAN
PAPER.
HADEN, SIR FRANCIS SEYMOUR
✓
The pen-
257. INSIDE THE CORK CONVENT, CINTRA. Etching.
Harrington, No. 195.
Etched in 1877. Signed on the plate, and in pencil,—
"Seymour Haden."
FIRST STATE.
HADEN, SIR FRANCIS SEYMOUR
258. WINDSOR. Original etching.
Harrington, No. 199.
Signed on the plate, and in pencil,-"F. Seymour Haden."
SECOND STATE. 25 impressions.
From the collection of Sir William Drake, the cataloguer
of Haden's etchings.
Second Session, Tuesday Evening, January 30th
HADEN, SIR FRANCIS SEYMOUR
259. A LANCASHIRE RIVER. Etching.
Harrington, No. 215.
Etched in 1881. Signed on the plate, and in pencil,—
“Seymour Haden." One hundred proofs only of this state.
In Sir Seymour's opinion this is one of his very finest
plates. It was awarded the Medal of Honor at the Paris
Exposition of 1889, and represents a well-known salmon
pool on the Ribble.
HADEN, SIR FRANCIS SEYMOUR
n 260. THE THREE CALVES. Etching.
Harrington, No. 222.
Signed on the plate, and in pencil,—“Seymour Haden.”
FIRST STATE.
HADEN, SIR FRANCIS SEYMOUR
261. THE TEST AT LONG PARISH. Etching.
Harrington, No. 224.
Signed on the plate, and in pencil,—“Seymour Haden.”
ONLY STATE.
HADEN, SIR FRANCIS SEYMOUR
Mezzotint.
Harrington, No. 240.
Signed on the plate, and in pencil,-"Seymour Haden.'
SUPERB IMPRESSION IN IMMACULATE CONDITION. PROOF
PRINTED BY GOULDING, and so signed by him, "Fine
proof, F. Goulding imp." OF THE GREATEST RARITY. ONE
OF THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE
262. EARLY RISER.
PLATE.
""
HADEN, SIR FRANCIS SEYMOUR
262a. MIDDLETON (CHARLES HENRY). Remarks on the Exhibition
of the Etched Work of Rembrandt, at the Burlington
Arts' Club, in 1877. 8vo, wrappers. pp. 4. [An excerpt
from the Royal Archæological Society Quarterly, January,
1878.] [Also]
Second Session, Tuesday Evening, January 30th
[No. 262a-Continued]
HADEN (SIR FRANCIS SEYMOUR). The Etched Work of
Rembrandt. A Monograph. Written as an Introduction
to a Chronological Exhibition of Rembrandt's Etchings,-
being the first of its kind,-held at the Burlington Fine
Arts Club, May, 1877. Royal 8vo, boards, uncut.
London, 1879
A reprint issued the same year as the first edition. [Also]
MIDDLETON (CHARLES HENRY). A Reply to a Letter and a
Pamphlet published by F. Seymour Haden, Esq., F.R.C.S.
under the title of "The Etched Work of Rembrandt."
Addressed to a Committee of the Burlington Arts Club.
pp. 10. 8vo, stitched.
London, 1879
Laid in, is the "Letter" referred to, an excerpt from "The Athe-
naeum," April 5, 1879). [Also]
HADEN (SIR FRANCIS SEYMOUR). The Etched Work of
Rembrandt; True and False. A Lecture. FIRST EDITION.
pp. 24. 8vo, original wrappers, uncut. London, 1895
Together, 4 pieces, as a lot.
HADEN, SIR FRANCIS SEYMOUR
262b. DRAKE (SIR WILLIAM RICHARD).
A Descriptive Catalogue
of the Etched Work of Francis Seymour Haden. FIRST
EDITION. London, 1880. HARRINGTON (H. NAZEBY).
A Supplement to Sir William Drake's Catalogue of The
Etched Work of Sir Francis Seymour Haden, P.R.E.
FIRST EDITION. London, 1903. Together, 2 vols. royal
8vo, original cloth.
London, 1880-1903
HADEN, SIR FRANCIS SEYMOUR
262c. HARRINGTON (H. NAZEBY). The Engraved Work of Sir
Francis Seymour Haden, P.R.E. An illustrated and de-
scriptive catalogue. With 109 plates containing repro-
ductions of 250 etchings. FIRST EDITION. Small folio.
original green morocco back, cloth sides, gilt top uncut.
Liverpool, 1910
No. 43 of 75 copies printed and AUTOGRAPHED BY THE AUTHOR, One
of the most notable monographs of our time.
Second Session, Tuesday Evening, January 30th
レ
​ん
​L
OLIVER HALL
Contemporary English etcher. Born in 1869; lived at London and
Fittleworth. He received a Medal at the International Exhibit at Munich
in 1896.
"Mr. Oliver Hall, a young but distinctly interesting and strongly gifted
etcher . . . his work has one characteristic more than another-though
grace and freedom are its characteristics too-the one that is most its own
is the continual evidence his plates afford of his enjoyment of growth
and building up."—FREDERICK WEDMORE.
HALL, OLIVER
2
263. A CUMBERLAND PASS.
Etching.
Signed in pencil,—“Oliver Hall." PROOF PRINTED IN
BROWN.
HALL, OLIVER
264. THE FRESHENING BREEZE. Etching.
Signed in pencil,-"Oliver Hall."
HALL, OLIVER
265. KIRKSTONE PASS. Etching.
Signed in pencil,—“Oliver Hall.”
HALL, OLIVER
266. OLD TIMBER JETTY, KING'S LYNNE. Etching.
Signed in pencil,-"Oliver Hall."
PHILIP GILBERT HAMERTON
English author and etcher. Born in 1834.
HAMERTON, PHILIP GILBERT
266а. ETCHING & ETCHERS. Numerous reproductions of the work
of Meryon, Haden, Whistler, Palmer, Rajon, Unger, and
others. THIRD EDITION. Small folio, original half roan,
gilt top, uncut.
London, 1880
Second Session, Tuesday Evening, January 30th
CHILDE HASSAM
Born at Boston in 1859, and studied art in Boston and Paris. He is one
of the foremost painters and etchers in America.
HASSAM, CHILDE
267. THE STEPS. Etching.
Zigrosser, No. 52.
Etched in 1915. Signed on the plate and in pencil with
the monogram. The steps of the old Holley House, at
Cos Cob, Connecticut.
PIERRE EDMOND HÉDOUIN
French painter and engraver. Born at Boulogne-sur-Mer in 1820; died
at Paris in 1889. He achieved greatest fame for his reproductive etchings
after Boucher, Millet and others.
I
HÉDOUIN, PIERRE EDMOND
268. INTERIOR, WITH PEASANT WOMAN AND CHILD. Etching.
Etched in 1876. Signed at the bottom of the plate,-
"Edm. Hedouin."
PAUL HELLEU
Contemporary French draughtsman and etcher, living in Paris.
"With M. Helleu, beauty-beauty of no conventional order, the rapid
charm of movement, of expression, of contour-is the inspiring and satis-
factory thing. He lives in its intimacy, and he reveals it."-FREDERICK
WEDMORE.
HELLEU, PAUL
269. PORTRAIT OF A GIRL. Drypoint.
Signed in crayon on the margin,-"Helleu." HELLEU
published ALL HIS DRYPOINTS IN EXTREMELY LIMITED
EDITIONS.
"I can really give these drypoints no other title than to call them—
Glimpses of the Grace of Woman.”—ED. DE GONCOURT.
HELLEU, PAUL
270. MLLE. X.
Drypoint.
Signed in pencil,-"Helleu." Sharp, clear impression, full
of burr. Printed on Van Guelder paper.
Second Session, Tuesday Evening, January 30th
L
HORTER, EARL
V
EARL HORTER
American etcher. Born in Philadelphia in 1884. He has successfully
caught the spirit of New York City in many of his etchings.
کرد
271. OLD GATEWAY, DINAN, FRANCE. Etching.
HUARD, CHARLES H.
Etched in 1916. Signed in penecil,—“E. Horter." PROOF
IN BROWN INK, ON PLATE PAPER.
Contemporary French etcher, living at Paris.
CHARLES H. HUARD
272. LE VIEUX PORT A MARSEILLES. Etching.
HUARD, CHARLES H.
HUET, PAUL
Signed in pencil,-"C. H. Huard." FINE IMPRESSION.
273. NEIGE À BEL AIR. Etching.
HUET, PAUL
L
PAUL HUET
French etcher and painter. Born in 1804; died, 1869. He was
romantic and landscape painter allied to the group of men of 1830.
Signed on the plate and in pencil,-"C. H. Huard." 25
PROOFS ONLY.
274. LES CHAUMIÈRES. Etching.
Delteil, No. 10.
Etched in 1833. Signed in upper left corner of plate,-
"Paul Huet." SECOND
STATE. INDIA PROOF
BEFORE
a
LETTERS.
275. PRES DE FONTAINEBLEU. Etching.
Delteil, No. 16.
Signed on the plate,-"Paul Huet." PROOF BEFORE ALL
LETTERS.
Second Session, Tuesday Evening, January 30th
HUET, PAUL
レ
​276. MAISON DE GARDE A COMPIEGNE. Etching.
Delteil, No. 18.
Signed in the margin with the stamp,-"Paul Huet.”
FINE IMPRESSION ON JAPAN PAPER.
HUET, PAUL
ル
​From the collection of Philippe Burty and Sir William
Drake.
277. LES BAIGNEUSES. Etching.
Delteil, No. 34.
Signed with the stamp,-"Paul Huet."
stamp,-"Paul Huet." INDIA PAPER
PROOF, with full margins.
JOSEF ISRAELS
"Josef Israels was born at Gröningen in 1824. At first he thought of
becoming a rabbi, due no doubt to his ever lofty and serious outlook on
life, but later he became attracted to art and studied under Kruseman
of Amsterdam and Delaroche of Paris. . . It was only later, in 1855, while
recuperating at a sea-side resort, that he found his true medium of ex-
pression-the delineation of intimate peasant life and the picturing of the
infinitely suggestive country and coast of his native Holland. He died
in 1911 at The Hague."
ISRAELS, JOSEF
V
278. LITTLE JOHNNY. Etching.
Hubert, No. 18.
Etched in 1875. Unsigned.
ISRAELS, JOSEF
279. GIRL WITH BASKET, SEATED ON THE SHORE. Etching.
Hubert, No. 19.
Unsigned.
CHARLES JACQUE
French painter and etcher. Born at Paris in 1813; died at Barbizon in
1894. Jacque began his artistic career as a vignettiste.
"His original etchings did not begin to appear until about 1841 and from
that time, for several decades, in Paris, and at intervals at Barbizon, he
continued a prolific activity. At his best . . . Jacque is among the great
etchers in the significance of his expression as a linealist.”—A. M. HIND.
JACQUE, CHARLES
r
280. PORTE D'UNE CHAUMIÈRE. Etching.
Guiffrey, No. 52.
Signed in the lower margin of the place,—“Ch. Jacque."
Second Session, Tuesday Evening, January 30th
JACQUE, CHARLES
281. DEVANT DE MAISONS. Etching.
Guiffrey, No. 63.
را
Signed on the lower right corner of the plate with the
initials, "C. J."
JACQUE, CHARLES
i
282. Paysage, CHAUMIÈRES. Etching.
Guiffrey, No. 69..
Signed in the lower margin,-“Ch. Jacque.”
JACQUE, CHARLES
283. DEVANT LA MAISON. Etching.
Guiffrey, No. 72.
Signed on the plate and in the margin,--“Ch. Jacque.”
JACQUE, CHARLES
V 284. UNE COUR. Soft ground etching.
Guiffrey, No. 75.
Signed in upper right corner of plate,-"Ch. Jacque
1845." THIRD STATE.
JACQUE, CHARLES
Y
285. PAYSAGE, LABOUREURS. Etching.
Guiffrey, No. 79.
Signed on the upper left corner of the plate,-"Ch. J.
1845."
JACQUE, CHARLES
少 ​286. LE CHEMIN DE HALAGE. Etching.
Guiffrey, No. 200.
Signed on the plate, and in pencil,-"Ch. Jacque." FIRST
STATE. PROOF SPECIALLY SIGNED BY JACQUE IN PENCIL.
SUCH SIGNED PROOFS ARE EXTREMELY RARE.
JACQUE, CHARLES
}{ 287. L'Orage.
Etching.
Undescribed by Guiffrey.
Signed on the plate, and specially signed in pencil, “Ch.
Jacque." FINE IMPRESSION ON INDIA PAPER.
Second Session, Tuesday Evening, January 30th
JACQUE, CHARLES
L
288. VARIOUS ETCHINGS, as follows,-
V
Signed on the
Vieillard en PRIERE. Guiffrey, No. 219. Signed on the plate,
-“Ch. Jacque." FIRST STATE.
CHIFFONNIER. Guiffrey, No. 224. Signed on the plate,—“Ch.
Jacque."
LE VIEUX MARCHAND. Guiffrey, No. 214.
plate, "Ch. Jacque."
MENDIANTS. Guiffrey, No. 233. Signed on the plate,-"Ch.
Jacque." 20 impressions only.
BUVEURS. Guiffrey, No. 234. 10 impressions only.
LA NOURRICE. Guiffrey, No. 243. 25 impressions only.
LE CAVALIER. Guiffrey, No. 248. 20 impressions only.
Together, 7 pieces.
JULES JACQUEMART
Reproductive etcher. Born at Paris in 1837; died there in 1880. He is
renowned for his etchings of jewels and still life.
JACQUEMART, JULES
289. THE SOLDIER AND THE Laughing GIRL. Etching.
Beraldi, No. 268.
Etching after the painting by Vermeer. Signed on the
plate, and in the margin,-"Jules Jacquemart aqua fortis
1866." PRoof STATE. FINE IMPRESSION WITH FULL
MARGIN.
"Rarely was a master's subject or his method better interpreted
than in this print."-FREDERICK WEDMORE.
JACQUEMART, JULES
290. THE SOLDIER AND THE LAUGHING GIRL. Etching.
Etching after the painting by Vermeer. Signed on the
plate, and in margin,-"Jules Jacquemart acqua fortis
1866." FINE IMPRESSION, OF THE PROOF STATE; cut in-
side the plate mark, thereby effacing the coat-of-arms.
Second Session, Tuesday Evening, January 30th
4
JACQUEMART, JULES
291. TRIPOD.
ہے
JAHN, GEORG
Etching.
Signed on the plate,--"Jules Jacquemart." PROOF BE-
FORE LETTERS. FINE IMPRESSION. ONE OF THE ARTIST'S
MASTERPIECES.
From the collection of Alfred Le Brun.
GEORG JAHN
Contemporary German painter and etcher. Born at Loschintz, near
Dresden in 1859. Studied at the Dresden Academy. He is a member of
the "Dresdener Kunst Genossenschaft.”
292. ALTSCHLESISCHES MÄDCHEN. Etching.
Signed in pencil,-"Georg Jahn.'
JOAN BARTHOLD JONGKIND
Dutch painter and etcher. Born at Lattrop, in 1819. About 1846; went to
Paris and studied at the atelier of Eugène Isabey. He spent his time
between France and Holland, and exhibited at the Salon. Died in 1891.
JONGKIND, JOAN BARTHOLD
"?
293. LE CHEMIN DE HALAGE. Etching.
Delteil, No. 5.
SECOND STATE.
AUTOGRAPH INSCRIPTION TO HENRY FON-
DREY PARIS APRIL 11, 1864. FINE IMPRESSION.
MAXIME LALANNE
French etcher. Born in 1827; died in 1886 at Paris.
"No one ever etched so gracefully as Maxime Lalanne. This merit of
gracefulness is what chiefly distinguishes him. There have been etchers
of greater power, of more striking originality but there has never been
an etcher equal to him in a certain elegance from the earliest times till
now."-P. G. HAMERTON.
LALANNE, MAXIME
294. THE BANKS OF THE THAMES. Etching.
Beraldi, No. 56.
EARLY IMPRESSION.
"Jolie petite piece dans le gout de Seymour Haden."—BERALDI.
Second Session, Tuesday Evening, January 30th
{
LALANNE, MAXIME
295. ROUEN. Etching.
レ
​Beraldi, No. 122.
Etched in 1884. Signed on the lower left corner of the
plate,-"M. Lalanne."
From the Lalanne collection.
LAMOTTE, ALPHONSE
ALPHONSE LAMOTTE
French engraver. Born in 1844. He was a pupil of Henriquel-Dupont.
✓
296. VICTORIE THERESE AS DIANA.
Etching after Nattier.
JAPAN PAPER. Framed.
LANCON, AUGUSTE
297. THE LION.
AUGUSTE LANÇON
French etcher. Born at St. Claude, 1836; died in 1885. He lived in Lyons
and Paris.
Etching.
Etched in 1875. Signed on the lower margin, “A
Lancon."
LANDER, BENJAMIN
BENJAMIN LANDER
American painter and etcher of the late 19th century.
Etching.
SIGNED REMARQUE PROOF, ON
298. LANDSCAPE. Etching.
Etched in 1883. Signed on the plate, and in pencil,-
"B. Lander." PROOF ON JAPAN PAPER. Framed.
LATENAY, GASTON DE
GASTON DE LATENAY
Contemporary French etcher; lived at Paris and Versailles.
299. LA CHAUMIÈRE. Etching.
Signed in pencil,—“G. de Latenay." IMPRESSION No. 4,
OF 30 PROOFS PRINTED.
Second Session, Tuesday Evening, January 30th
ALPHONSE LEGROS
Born at Dijon in 1837; died at London in 1911.
"Legros loves that which is simple and permanent. He loves the soil and
in humanity he loves those who are nearest to the soil. His sympathy
is so great that it imbues the most material objects and gives a soul to
sunny meadows, trees lost in the fog, valleys swept by storm, and the
smoke rising from a burning hamlet. The keynotes of his work are sin-
cerity, sympathy, and power."-PAUL BURTY
PAUL BURTY HAVILAND,
LEGROS, ALPHONSE
301. THE CANAL. Etching.
Comm
Legros Catalogue, No. 178.
Signed on the plate, and in pencil,-"A. Legros." EARLY
PROOF, BEFORE THE NUMBERED EDITION. BEAUTIFUL IM-
PRESSION, OF ONE OF THE ARTIST'S BEST PLATES.
LEGROS, ALPHONSE
302. LISIÈRE DE BOIS.
Etching.
Legros Catalogue, No. 306.
Signed in pencil,-"A. Legros." FIRST STate. BEAUTI-
FUL IMPRESSION, printed in bistre and retouched by the
artist with a pen.
From the Arthur collection.
LEGROS, ALPHONSE
✓ 303. LE POINT DE VUE. Etching.
Legros Catalogue, No. 393.
Signed in pencil,—“A. Legros." BEAUTIFUL CLEAR IM-
-
PRESSION.
"Beauty and dignity of form, the passage of weather, the rustle
of air-touched leafage, the gentle flow of some almost secret stream,
and then the great lines of a wide stretching country, and a per-
spective vast as that of Rembrandt's Goldweigher's Field,—these, and
no local accuracy, but these understood with all a poet's and great
artist's depth, make the charm, irresistible and lasting, of Legros'
etched landscape."-FREDERICK WEDMORE.
LEGROS, ALPHONSE
304. PAYSAGE. Drypoint.
Legros Catalogue, No. 498.
Signed in pencil,-"A. Legros." 25 proofs only. FIRST
PROOF FROM THE PLATE. FINE RICH IMPRESSION, full of
burr.
Second Session, Tuesday Evening, January 30th
GUSTAVE LEHEUTRE
Contemporary French etcher. Born at Trozes in 1861; living at Paris.
He is one of the most individual of contemporary etchers. Loys Delteil
is at present engaged in making a catalogue of his work.
LEHEUTRE, GUSTAVE
w 305. LE NOUVEAU PONT À LAGNY. Etching.
Catalogue, No. 43.
Signed in pencil,-"G. Leheutre." SECOND STATE. 10
PLATE DESTROYED.
PROOFS ONLY.
LEHEUTRE, GUSTAVE
306. LES BORDS DE LA BRESLE. Drypoint.
Catalogue, No. 59.
Signed in pencil, “G. Leheutre. No. 17 OF 20 PROOFs
PRINTED.
L
AUGUSTE LEPÈRE
Contemporary French woodengraver and etcher.
Born in 1849.
"The etchings of Auguste Lepère possess, to perhaps a higher degree, than
the etchings of any other living artist, that indefinable quality which we
call charm. They form a real contribution to art, and one which nobody
else in the world could have made-the contribution of his own per-
sonality.”—DAVID KEPPEL.
LEPÈRE, AUGUSTE
✓ 30%. QUAI DE LA GARE-LE DEBARDEUR. Etching.
Lotz-Brissonneau, No. 93.
Signed in pencil,-"A. Lepère." FIRST STATE. 3 PROOFS
ONLY.
LEPÈRE, AUGUSTE
308. LE PONT NEUF. Original etching.
Lotz-Brissonneau, No. 124.
Signed in pencil,-"A. Lepère." SECOND STATE.
STATE. 30
PROOFS PRINTED OF THE SECOND STATE.
"Lepère joins to an admirable naiveté of emotion, a free and
vibrant execution and an instinctive sense of simplification, and
by the suppression of useless detail attains to the severe grandeur,
to the style, in a word, which characterizes great works of art."-
HENRI VENER.
Second Session, Tuesday Evening, January 30th
N
LIEVENS, JAN
JAN LIEVENS
Dutch painter and etcher. Born at Leydon, in 1607; died in Antwerp
about 1672. He studied under Lastman who was also Rembrandt's teacher.
His etchings show the influence of Rembrandt.
✓
309. HEAD OF AN OLD MAN, TURNED TO RIGHT.
Etching.
Probably Dutuit supplement-"Pieces attributed wholly
or in part to Lievens," article six.
From the collection of Pierre Mariette 1681.
DONALD SHAW MACLAUGHLAN
Contemporary American etcher. Born in Canada in 1876; living abroad.
"I know of no modern etcher who has 'arrived' (in the best critical sense)
more rapidly than Donald Shaw MacLaughlan. In 1900 this young Canadian,
of Scottish ancestry, who had studied painting in Boston, was making his
first experiments on the copper under the spell of 'Old Paris.' But already,
only eleven years after his modest debuts, A. M. Hind has called him one
of the few etchers of today whose architectural and landscape etchings are
comparable in a sense of style, with those of Cameron and Bone, betraying
the same touch of the artist of conviction."-CLEVELAND PALMER, in his
"Print Collection Quarterly."
MacLAUGHLAN, DONALD SHAW
310. LA RUE MUFFETARD. Etching.
Etched in 1900. Signed in pencil at the top,-"D. S.
MacLaughlan." FINE IMPRESSION. RARE.
MacLAUGHLAN, DONALD SHAW
レ
​311. LA PORTE GAYOLE, BOULOGNE-SUR-MER. Etching.
Etched in 1902. Signed on the plate, and in pencil,—
"D. Shaw MacLaughlan."
MacLAUGHLAN, DONALD SHAW
✓ 312. ITALIAN ROADSIDE, SIENA.
Etched in 1905.
lan."
Etching.
Signed in pencil,-"D. S. MacLaugh-
MacLAUGHLAN, DONALD SHAW
313. LYNTON, ENGLAND. Etching.
Etched in 1906. Signed on the plate, and in pencil,—
“D. S. MacLaughlan.”
Second Session, Tuesday Evening, January 30th
MacLAUGHLAN, DONALD SHAW
۱۷
MacLAUGHLAN, DONALD SHAW
315. COPPERSMITHS. Etching.
314. FERME AUX VACHES, BRITTANY. Etching.
Etched in 1906. Signed on the plate, and in pencil,-
“D. S. MacLaughlan.”
MacLAUGHLAN, DONALD SHAW
316. PARMA. Etching.
V
Signed in pencil,--“D. Shaw MacLaughlan." FINE IM-
PRESSION ON JAPAN PAPER, THE ARTIST'S PERSONAL PROOF.
ONLY TWELVE PROOFS PRINTED.
MacLAUGHLAN, DONALD SHAW
V 317. QUAI DE L'HOTEL DE VILLE, PARIS. Etching.
:
Signed in pencil,-"D. S. MacLaughlan."
MacLAUGHLAN, DONALD SHAW
318. SAINT SEVERIN. Etching.
نا
Signed in pencil,-"D. Shaw MacLaughlan." RARE.
Signed in pencil,-“D. Shaw MacLaughlan." SECOND
STATE.
MARÉCHAL, FRANCOIS
FRANCOIS MARÉCHAL
Contemporary Belgian etcher. Was living at Liège.
319. L'AVERSE, BOIS DE BREUX, Etching.
Signed on the plate, and with the monogram in red crayon,
"F.M."
MASSON, ANTOINE
ANTOINE MASSON
French portrait engraver. Born at Louvry near Orleans in 1636; died at
Paris in 1700.
320. MADAME HELYOT. Line-engraving.
Robert-Dumesnil, No. 36.
Signed on the plate,-“Ant. Masson sculpt. 1683.”
1
&
Second Session, Tuesday Evening, January 30th
MASSON, ANTOINE
✓ 321. PEREFIXE DE BEAUMONT. Line-engraving.
Robert-Dumesnil, No. 61.
Signed on the plate,—“Ant. Masson sculpebat 1664.”
FIRST STATE, BEFORE LETTERS. FINE IMPRESSION.
THEODOR MATHAM
Dutch engraver. Born at Haarlem in 1569; second son and pupil of
Jacob Matham. He travelled in Italy and settled down in Holland where
he engraved many portraits; died about 1677.
MATHAM, THEODOR
✓
کیا
322. RENIER PAUW.
Line-engraving.
Engraved after the painting by Mytens. Signed on the
plate,-"Th. Matham Sculpsit." SPLENDID IMPRESSION.
A few minor printer's folds.
ARMAND MATHEY-DORET
Contemporary French reproductive etcher. Born at Besançon in 1854.
He was a pupil of Waltner.
MATHEY-DORET, ARMAND
323. CHARLES THE FIRST.
After Van Dyck.
MAURIN, CHARLES
Etching.
ARTIST SIGNED PROOF. Framed.
CHARLES MAURIN
Contemporary French etcher.
324. LA VACHÈRE. Woodcut.
Signed on the block with the initials, and in pencil,-
“Maurin.” A small tear in the woman's dress; another
slight one mended, in the margin.
Second Session, Tuesday Evening, January 30th
CLAUDE MELLAN
French painter and engraver. Born at Abbeville in 1598; died at Paris
in 1688. Pupil of Villamena in Romie. His works enjoyed an immense
vogue in his time, but later his fame went into eclipse. He is just beginning
to be appreciated at his true worth today. He influenced among others,
the celebrated engraver Robert Nanteuil.
MELLAN, CLAUDE
325. ST. PETER NOLASQUE. Line-engraving.
Montaiglon, No. 90.
Signed on the plate,-"Cl. Mellan Gall. inven. et f." FINE
V
PROOF.
From the collections of Pierre Mariette, A. Donnadieu,
and H. Denfer-Dumesnil.
"St. Peter Nolasque, in extreme feebleness, is borne by
Angels to receive the Communion."
It was
THIS IS ONE OF THE RAREST OF MELLAN'S WORKS.
designed and engraved at Rome in 1628. A few proofs
were taken there and the plate was sent to Paris via
Leghorn. The ship carrying the plate was wrecked and
the plate was lost with it.
MORTIMER MENPES
Contemporary English etcher. Born in Australia in 1860; living in London.
"He has economy of means, and yet abundance of resource. He is not
merely a draughtsman who has chosen to etch; he is an etcher whose feeling
for the capacity of his patricular medium has in it much that is in-
stinctive."-FREDERICK WEDMORE.
MENPES, MORTIMER
326. WHISTLER. Drypoint.
Signed in pencil,—“Mortimer Menpes imp." FINE IM-
PRESSION. A racy portrait of Whistler, by his pupil,
Menpes.
MENPES, MORTIMER
327. DUTCH EEL SCHUYTS. Etching.
Signed on the plate, and in pencil,—“Menpes imp."
Second Session, Tuesday Evening, January 30th
CHARLES MERYON
Celebrated French etcher. Born in Paris in 1821; died there in 1868.
"But we must turn now to a great poet-etcher, one of the greatest masters
that the copper-plate has ever known and one of the most tragic and piteous
figures in the history of art. When Charles Meryon after his sea-wan-
derings and his failure as a painter, found his true vocation with needle
and mordaunt, his strange weird genius, haunted by the mysterious beauty
that the centuries had stamped upon Paris, expressed itself through an
artistic record of her old buildings that was soundly while imaginatively
picturesque, yet personally reflective to an extraordinary degree."-MALCOLM
SALAMAN.
MERYON, CHARLES
✓ 328. RUE DE LA TIXÉRANDERIE. Etching.
Delteil, No. 29.
Signed on the plate with the initials,-"C. M." SECOND
STATE WITH THE INITIALS. VERY FINE AND RARE.
[See Reproduction]
MERYON, CHARLES
329. ABSIDE DE NOTRE DAME. Etching.
Delteil, No. 33.
Etched in 1854. Signed on the plate,-"C. Meryon del.
sculp." FOURTH STATE, with the name, date and address.
BEAUTIFUL IMPRESSION, IN PERFECT CONDITION, OF THE
GREATEST RARITY.
MERYON, CHARLES
1
330. LE PONT AU CHANGE. Etching.
Delteil, No. 34.
Etched in 1854. Signed on the plate,-"C. Meryon del.
sculp." FIFTH STATE, with the name and address, and
before the change in the carriage on the bridge. BEAUTI-
FUL IMPRESSION, IN PERFECT CONDITION, OF THE GREATEST
RARITY.
From the collection of Delâtre, and so signed by him in
pencil,-"tire par moi chez mon
mon ami Meryon Aug.
Delâtre."
MERYON, CHARLES
331. COLLEGE HENRI QUATRE. Etching.
Delteil, No. 43.
SIXTH STATE. With the address, but before complete title.
From the collection of Alfred Morrison.

DURUDRAPUR
मारामार
CHARLES MERYON
AMOURTO
RUE DE LA TIXÉRANDERIE.-Delteil, No. 29
[See No. 328 in this catalogue]
IC.M.
1PROC
Second Session, Tuesday Evening, January 30th
MERYON, CHARLES
✓ 332. ANCIENNE HABITATION À BOURGES. Etching.
Delteil, No. 56.
Signed on the lower left corner of the plate with the
initials, "C. M."
JEAN FRANÇOIS MILLET
French painter and etcher. Born, 1815; died, 1875.
MILLET, JEAN FRANCOIS
r
333. PEASANTS DIGGING. Etching.
Delteil, No. 13.
PROOF printed by Delâtre, and so signed by him in pencil,—
“superb ep. tire par moi Aug. Delâtre.” SPLENDID EARLY
IMPRESSION ON JAPAN PAPER, with full margin. RARE.
"Brute matter, the earth rises out of the frame-work, alive and
exuberant. We feel it thick and heavy; through its clods and grasses
we feel it running deep and full. We breathe the scent of it, we
could crumble it between our fingers. In most landscape paintings the
soil is superficial; in Millet it is deep."-J. K. HUYSMANS.
LOUIS MONZIÈS
Contemporary French etcher. Born at Montauban in 1849. Lives at
Paris.
MONZIÈS, LOUIS
V 334. RUE DE VILLAGE. Etching.
Signed in pencil,-“L. Monziès.”
JEAN MORIN
French engraver. Born at Paris about 1590; died there 1650. He began
his career as a painter but later took to engraving. He studied first under
Philippe de Champaigne after whom many of his plates are engraved. He
is one of the most original of the French portrait engravers.
MORIN, JEAN
✓ 335. ROBERT ARNAULD. Line-engraving.
Robert-Dumesnil, No. 42.
Engraved after the painting by Champaigne. Signed on
the plate,—“I Morin scul." VERY SCARCE.
Second Session, Tuesday Evening, January 30th
NANTEUIL, ROBERT
1
ROBERT NANTEUIL
Celebrated French engraver. Born at Reims in 1630; died at Paris, 1678.
He studied with Nicolas Regnesson of that city. In 1647 about the age
of seventeen, Nanteuil married his master's sister, and the following year
saw him in Paris where he exhibited work showing the influence both of
Jean Morin and Claude Mellan. He soon formed, however, his own dis-
tinct style, with which he was to delineate the flower of the French no-
bility and intellect of his time. His style is powerful and original, and
has no superior in the art of portrait engraving.
336. MICHEL AMELOT.
✓
Line-engraving.
Robert-Dumesnil, No. 21.
Signed on the plate,-"Nanteuil ad vivum faciebat C P R
1675." VERY FINE AND EXTREMELY RARE.
NANTEUIL, ROBERT
\
337. PETRUS DU CAMBOUT DE COISLIN. Line-engraving.
Robert-Dumesnil, No. 70.
Signed on the plate,-"R. Nanteuil ad vivum pinge at
sculpebat 1666." FIRST STATE BEFORE THE PASTORAL
CROSS. SPLENDID IMPRESSION IN PERFECT CONDITION. ONE
OF THE MOST BEAUTIFUL OF NANTEUIL'S PLATES.
NANTEUIL, ROBERT
One of the four etchings regarding which L. R. Metcalfe writes,—
"These four engraved portraits are masterpieces of characteriza-
tion and exhibit in the most eloquent way the master's powerful
draughtsmanship, his utter lack of mannerisms, and the sympathetic
way in which he varied his entire technical treatment to suit dif-
ferent subjects. Here is abundant proof that he was primarily a
portrait-maker-he is a psychologist who consistently strove to brand
his model's soul on his countenance. Of no other 'peintre-graveur”
can we say as much.”—L. R. METCALF.
[See Reproduction]
338. MICHEL LE TELLIER.
Line-engraving.
Robert-Dumesnil, No. 128.
Engraved after the painting by Champaign. Signed on
the plate,-"Rob. Nanteuil sculpebat." SECOND STATE.
SPLENDID IMPRESSION WITH MARgin. IN PERFECT CONDI-
TION.
From the collection of John Young.

NESTOSKOLA AU
JIENSIVM
REGI AB ELLEM. PRIM
AVRELI
S
A Wentrul vam pinget
fenly bat wo
UPPORTY
THOSE OUR
EPISCOP
ROBERT NANTEUIL
PETRUS DU CAMBOUT DE COISLIN.-Robert-Dumesnil, No. 70
[See No. 337 in this catalogue]
Second Session, Tuesday Evening, January 30th
NANTEUIL, ROBERT
\
339. PIERRE DE MARIDAT.
V
NANTEUIL, ROBERT
レ
​✓ 340. MICHEL DE MAROLLES, ABBOT OF VILLELOIN. Line-engraving.
Robert-Dumesnil, No. 168.
Signed in the inscription on the margin.
"Jolie pièce."-Robert-Dumesnil.
NANTEUIL, ROBERT
Line-engraving.
را
Robert-Dumesnil, No. 171.
Signed on the plate,--"Nanteuil ad vivum faciebat 1657."
FIRST STATE BEFORE THE TWO PARALLEL LINES.
A POR-
TRAIT OF THE CELEBRATED PRINT COLLECTOR.
341. GILLES MÉNAGE. Original line-engraving.
Robert-Dumesnil, No. 188.
Executed from life in 1652.
"Rob. Nanteuil."
REDUCED.
Signed on the lower margin,
FIRST STATE BEFORE THE PLATE WAS
"Beau,"-Robert-Dumesnil.
NANTEUIL, ROBERT
✓ 342. HENRI DE LORRAINE, MARQUIS DE MONY. Line-engraving.
Robert-Dumesnil, No. 197.
Signed on the plate,-"R. Nanteuil cum privilegio Sculpe-
bat." FIRST STATE BEFORE THE NAME. FINE.
NANTEUIL, ROBERT
V 343. FRANÇOIS THEODORE DE NESMOND. Line-engraving.
Robert-Dumesnil, No. 201.
Signed on the plate,-"R. Nanteuil ad vivum faciebat
1653." ONLY STATE.
Duplicate from the old Bibliothèque Royale, Paris.
NANTEUIL, ROBERT
✓ 344. FERDINAND DE NEUFVILLE,
engraving.
Robert-Dumesnil, No. 203.
BISHOP OF CHARTRES. Line-
Engraved after the painting by Champaigne. Signed
on the plate,—“Nanteuil sculpebat 1637." SECOND STATE
BEFORE THE DATE WAS CHANGED TO 1658. FINE.
Second Session, Tuesday Evening, January 30th
NANTEUIL, ROBERT
345. HARDOUIN DE PÉRÉFIXE DE BEAUMONT. Line-engraving.
Robert-Dumesnil, No. 211.
Signed on the plate,-"Nanteuil ad vivum f. 1662." FIRST
STATE WITH INSCRIPTION. This plate shows the influence
of Mellan's technique on Nanteuil.
V
NANTEUIL, ROBERT
✓
346. HARDOUIN DE PÉRÉFIXE DE BEAUMONT. Line-engraving.
Robert-Dumesnil, No. 214.
Signed on the plate,-"R. Nanteuil ad vivum Pingebat
Sculpebat." FIRST STATE BEFORE THE CHANGE OF DATE
TO 1668.
SPLENDID IMPRESSION IN PERFECT CONDITION.
The subject of this engraving was the son of the Maitre
d'Hotel of Cardinal Richelieu. He distinguished himself
in his studies and was received as a Doctor of the Sor-
bonne. He became preceptor to Louis XIV, being at that
time also bishop of Rhodes. Some years later he became
archbishop of Paris. He died in 1670.
NANTEUIL, ROBERT
✓
347. CLAUDE REGNAULDIN. Line-engraving.
Robert-Dumesnil, No. 216.
VERY EARLY STATE, before inscription, but with an erasure
on the left of the console. BRILLIANT IMPRESSION.
AT THE AMERICAN ART GALLERIES
MADISON SQUARE SOUTH, NEW YORK
UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS
AND OWNERS HEREINBEFORE DESIGNATED
Third Session, Numbers 348 to 510, inclusive
WEDNESDAY EVENING, JANUARY 31st, AT 8:15 O'CLOCK
SAMUEL PALMER
English watercolor painter and etcher. Born in 1805; died at Reigate in
1881. He early showed a taste for art and at the age of fourteen, exhi-
bited several landscapes at the British Institute. By the advice of his
father-in-law, John Sinnell, he underwent a course of figure drawing at
the British Museum, during which time he was introduced to William
Blake.
"His romantic idealism not unworthily carried on the sentiment which
inspired much of Blake and all of Calvert.”—a. M. HIND.
PALMER, SAMUEL
✓ 348. THE RISING MOON. Etching.
Hardie, No. 7.
Signed on the margin,-"Samuel Palmer."
PALMER, SAMUEL
349. THE EARLY PLOUGHMAN. Etching.
Hardie, No. 9.
Signed in pencil,—“S. Palmer.” EARLY PUBLISHED STATE.
STEPHEN PARRISH
American etcher. Born, Philadelphia, 1846. He made his first etching
in 1879 and has since exhibited in New York, Philadelphia, Vienna and
Dresden. He is a member of the "Royal Society of Painter-Etchers,"
London.
PARRISH, STEPHEN
V350. AN ACADIAN INN YARD. Etching.
Parrish, No. 7.
Signed on the plate, and in pencil,—“Stephen Parrish.”
Third Session, Wednesday Evening, January 31st
PARRISH, STEPHEN
✓ 351. IN CORNWALLIS VALLEY. Etching.
Parrish, No. 72.
Signed on the plate, and in pencil,-"Stephen Parrish.”
JOSEPH PENNELL
Celebrated American illustrator and etcher. Born in Philadelphia, 1860.
As a pupil in the Pennsylvania Academy of Fine Arts his unusual ability
in etching was early recognized. He has won honourable mention and
medals at Philadelphia, Chicago, Paris, and elsewhere.
PENNELL, JOSEPH
V
352. BELOW ATLANTIC CITY. Etching.
Signed on the plate, and in pencil,-"Joseph Pennell."
RODOLPHE PIGUET
French-Swiss painter and etcher. Born at Geneva in 1840; living in
Paris. He received the gold medal for etching at the Paris Exposition
in 1900.
\ PIGUET, RODOLPHE
\/
353. LANDSCAPE. Original etching.
Signed on the plate, and in pencil,—“Rodolphe Piguet.”
GIOVANNI BATTISTA PIRANESI
Italian architectural etcher. Born at Venice in 1720; died at Rome
in 1778.
"Educated as an architect, Piranesi devoted himself almost entirely to
engraving the great monuments of Rome, of antiquity and the Renaissance,
achieving a work of enormous magnitude, a triumph of diligence dis-
tinguished by real genius.”—A. M. HIND.
PIRANESI, GIOVANNI BATTISTA
354. THE AQUADUCT OF NERO.
Etching.
Signed on the lower margin,-"Cavalier Piranesi F."
FINE IMPRESSION OF THE FIRST EDITION.
Third Session, Wednesday Evening, January, 31st
CHARLES A. PLATT
Contemporary American painter, etcher, and architect. Born at New
York in 1861. One of the foremost landscape architects in America.
Member of the "National Academy" and of the “National Institute of
Arts and Letters."
PLATT, CHARLES A.
r
355. THE LITTLE RIVER HARTFORD. Etching.
Rice, No. 18.
Etched in 1881. Signed on the lower left corner of the
plate,-"C. A. Platt."
PLATT, CHARLES A.
V
356. FISHING BOATS. Etching.
Rice, No. 23.
Signed on the lower left corner of the plate,-"C. A.
Platt." SECOND STATE.
PLATT, CHARLES A.
357. A WINDMILL. Etching.
Rice, No. 54.
Etched in 1884. Signed on the plate, and in pencil,-
"C. A. Platt."
PLATT, CHARLES A.
358. A BRITTANY FARM. Drypoint.
Rice, No. 55.
Etched in 1883. Signed on the plate, and in ink,-
"Charles A. Platt.”
PLATT, CHARLES A.
V 359. DEVENTER. Etching.
Rice, No. 63a.
Signed on the plate, and in pencil,-"C. A. Platt."
PLATT, CHARLES A.
レ
​360. BROOKLYN BRIDGE. Etching.
Rice, No. 98.
Etched in 1888. Signed on the plate, and in pencil,—
"C. A. Platt."
Third Session, Wednesday Evening, January 31st
PLATT, CHARLES A.
361. SPRING FLOODS ON THE CHARLES. Drypoint.
UNDESCRIBED BY RICE.
Signed in pencil,-"C. A. Platt."
PAUL POTTER
"Paul Potter, born at Enkhuizen 1625, died at Amsterdam, 1654, is quite
the foremost etcher of animal pieces, just as he is the first among all
animal painters. In his 18 existing plates we are charmed, as in his
paintings, by the sureness and sharpness of the drawing, by the cer-
tainty and power with which he pictures animal forms and fine grada-
tions of tone in landscape."—F. LIPPMANN.
POTTER, PAUL
362. VUE D'UNE PRAIRIE. Etching.
Bartsch, No. 14.
Signed on the lower left corner of the plate,—“Paulus
Potter, In et F. 1649." This was Potter's first etching
done when he was 18 years old.
PAUL RAJON
French etcher. Born at Dijon in 1843; died
mond instructed him in the etcher's craft.
ductive and portrait-etcher.
RAJON, PAUL
✓ 363. PORTRAIT OF MISS PALMER. Etching.
Signed on the plate, and in pencil,—“P. Rajon." Etched
after the painting by Sir Joshua Reynolds. 100 PROOFS
PUBLISHED.
at Paris in 1888. Bracque-
He was a brilliant repro-
JACQUES REICH
Contemporary American reproductive etcher and portraitist; living at New-
dorp, New York.
REICH, JACQUES
364. WHISTLER.
Etching.
Etching after the painting by Boldini. SIGNED ARTIST'S
Proof, number 3 of 50 printed.
PROOF, WITH REMARQUE.
Third Session, Wednesday Evening, January, 31st
REMBRANDT VAN RIJN
Celebrated Dutch painter and etcher. Born at Seyden in 1607; died at
Amsterdam in 1669. Pupil of Swanenburch and Lastman, but largely self-
taught.
"The opinion among etchers which enthrones Rembrandt as King of his
craft is the most recent instance of perfect unanimity among people of
all nationalities. As we all say that Phidias was the greatest sculptor,
Homer the greatest epic poet, and Shakespeare, the greatest dramatist, so
we are all agreed on the world wide supremacy of Rembrandt. In his
own lines of work there is no one in all history to be compared with Rem-
brandt."-P. G. HAMERTON.
"The whole of Rembrandt is in his engraving-his mind, tendencies,
imagination, reverie, good sense, chimeras, difficulties of rendering the
impossible, realities in nothingness. It is the same craftsmanship, the same
set purpose, the same carelessness and insistence, the same strangeness of
style, the same desperate and sudden success achieved by expression."-
EUGÈNE FROMENTIN.
REMBRANDT VAN RIJN
365. REMBRANDT AND SASKIA.
Etching.
Bartsch, No. 19; Hind., No. 144.
Signed in the upper left corner of the plate,-"Rembrandt
f, 1636." FIRST STATE with the slipped stroke. FINE IM-
J
PRESSION WITH MARGIN COMPLETE.
From the collection of Pierre Mariette.
REMBRANDT VAN RIJN
366. ABRAHAM CARESSING ISAAC.
Etching.
Bartsch, No. 33. Hind, No. 148.
Signed on the lower left corner of the plate,—“Rembrandt
F." FIRST STATE BEFORE THE SLIPPED STROKE ABOVE
ISAAC'S SHOULDER.
Duplicate from the University of Cambridge Collection.
y
REMBRANDT VAN RIJN
✓ 367. THE VISION OF EZEKIEL. Etching.
Bartsch, No. 36. Hind, No. 284.
f
Signed and dated on the plate,-"Rembrandt 1655.”
This and three similar plates were designed for a book
in Spanish, "Piedra gloriosa o de lor estatua de Nebuchad-
nesar," Amsterdam, 1655, by Rembrandt's friend, Samuel
Menassch Ben Israel. Copies of the book containing the
original plates are excessively rare.
Third Session, Wednesday Evening, January 31st
REMBRANDT VAN RIJN
368. JOSEPH RELATING HIS DREAM. Etching.
Bartsch, No. 37. Hind, No. 160.
REMBRANDT VAN RIJN
N
Signed on the plate,-"Rembrandt f 1638." SECOND
STATE (Hind) with curtain still light.
レ
​369. LION HUNT. Etching.
REMBRANDT VAN RIJN
Bartsch, No. 115. Hind, No. 180.
Etched about 1641. FINE IMPRESSION.
The influence of Rubens is to a certain extent visible in the
three etchings of lion hunts which Rembrandt made.
370. Two PEASANTS TRAVELLING.
Bartsch, No. 144.
Etched about 1637.
REMBRANDT VAN RIJN
371. OLD MAN WITH A SHORT BEARD, RESTING AGAINST A BANK.
Etching.
Hind, No. 14.
Bartsch, No. 151.
Etched about 1630. Signed in the upper right corner of
the plate with the initials in reverse, before the retouch.
From the collection of Henri Sec des Tournelles.
REMBRANDT VAN RIJN
V 372. VIEW OF AMSTERDAM.
Etching.
Hind, No. 116.
ONLY STATE.
Etching.
Bartsch, No. 210. Hind, No. 176.
Copy of the original etching, probably by J. Bretherton.
Lower left corner slightly mended.
REMBRANDT VAN RIJN
373. JAN CORNELIS SYLVIUS. Etching.
Bartsch, No. 266. Hind, No. 111.
Signed on the left side of the plate,-"Rembrandt ft 1634.”
FINE IMPRESSION.
From the collection of Theodore Roussell.
Third Session, Wednesday Evening, January, 31st
REMBRANDT VAN RIJN
r
374. JAN CORNELIS SYLVIUS.
Etching.
Bartsch, No. 266. Hind, No. 111.
Signed on the plate,-"Rembrandt ft. 1634."
PRESSION. Several thin places in the margin. Framed.
REMBRANDT VAN RIJN
375. BUST OF AN OLD MAN WITH FLOWING BEARD AND WHITE
SLEEVE. Etching.
Bartsch, No. 291. Hind, No. 26.
Etched about 1630. ONLY STATE.
FINE IM-
REMBRANDT VAN RIJN
V 376. MAN IN A BROAD BRIMMED HAT AND RUFF. Etching.
Bartsch, No. 311. Hind, No. 158.
-
ONLY STATE (Hind). Impression cut, trimming off the
monogram R. f. 1630.
RENOUARD, PAUL
377. LIONS.
PAUL RENOUARD
Contemporary French etcher. Born, 1845; living at Paris. His ani-
mal studies are well known.
Etching.
Signed in pencil,—“P. Renouard.” 20 PROOFS ONLY.
THÉODULE RIBOT
French painter and etcher. Born, 1823; died 1891. Famous for his
delineations of Parisian cooks and scullions.
RIBOT, THÉODULE
V378. LA CORTE. Etching.
Beraldi, page 196.
Signed on the plate, “Th. Ribot 8." One of the set of
"Scenes Culinaires."
Third Session, Wednesday Evening, January 31st
GRAADT VAN ROGGEN
Contemporary Dutch etcher.
ROGGEN, GRAADT VAN
V 379. DUTCH COURTYARD.
Etching.
Signed in pencil,—Graadt van Roggen." Printed by the
artist. PROOF. Number 13, of 25 impressions printed.
ERNEST D. ROTH
Contemporary American painter and etcher. Born in 1879.
ROTH, ERNEST D.
380. ABBAZZIA, SAN GREGORIO, VENICE. Etching.
Etched in 1905. Signed on the plate, and in pencil,-
"Ernest D. Roth." PROOF ON JAPAN PAPER.
THÉODORE ROUSSEAU
French painter and etcher. Born at Paris in 1812; died at Barbizon in
1867.
"With Corot, Daubigny, Dupré and Diaz, he founded the modern French
school of landscape painting. Few, if any, have surpassed him in the
rendering of atmospheric effects, in the ability to diffuse light and air
throughout a landscape, and in the power of communicating to others the
deep feelings excited by Nature in a highly sensitive organization like
his own."-FREDERICK KEPPEL.
ROUSSEAU, THÉODORE
V 381. UN SITE DU BERRY. Etching.
Delteil, No. 2.
ONLY STATE.
VERY FINE IMPRESSION.
From the collection of Alfred Le Brun.
"Eauforte demeurée inédite, tirée à peu d'épreuves. Cuivre
détruit."-DELTEIL.
TH. RALLI SCARAMANGA
Contemporary Italian etcher.
SCARAMANGA, TH. RALLI
レ
​382. VIEILLE RUE À MARTIGUES. Soft ground etching.
Signed in pencil,-"T. Ralli Scaramanga. FOURTH
No. 5 or 26 IMPRESSIONS PRINTED.
STATE.
""
Third Session, Wednesday Evening, January, 31st
HANS SCHAUFFLEIN
Eminent German painter and wood-engraver. Born at Nürnberg in 1490;
died there in 1540. He was
a pupil of Albrecht Dürer and drew the
illustrations to the "Theuerdank" of the Emperor Maximilian. He also
made twenty designs for the "Hochzeits Tanz." In 1515 he was made a
"burgher" of the town of Nordlingen.
SCHAUFFLEIN, HANS
383. THE PASSION OF JESUS CHRIST.
Bartsch, No. 34.
Thirty-six woodcuts.
Woodcuts.
The set of thirty-five blocks first appeared in an edition
of "Speculum domini nostu,” etc. Nürnberg, 1507. A
second edition appeared in 1519, with a different block in
place of the one of "Christ crucified between the two
thieves." This set contains the cuts of both the first and
second editions.
COMPLETE SETS OF THIS WORK ARE DIFFICULT TO FIND.
SCHAUFFLEIN, HANS
384. THE PASSION OF JESUS CHRIST. Woodcuts.
Bartsch, No. 34.
The subjects are,-Christ taken by the Jews; Christ
Mocked; Christ on the Cross; Christ Revealing Himself
to Mary. Together, 5 pieces.
SCHAUFFLEIN, HANS
385. EVANGELIUM EPISTEL. MIT ANHANG DER MESS, PSALM UND
COLLECTEN. Woodcuts.
Passavant, No. 13Ɛ.
Augsburg, Schonsperger, 1513. Together, 5 pieces.
All but one of these were signed on the original blocks,
wit hthe initials,-"H. S." and the mark of the shovel. An
attempt at coloring the impressions has been made by some
late hand.
ALEXANDER SCHILLING
Contemporary American etcher.
SCHILLING, ALEXANDER
✓ 386. LANDSCAPE AFTER RAIN. Etching.
Signed in pencil,—“Alexander Schilling."
Third Session, Wednesday Evening, January 31st
FRANK SHORT
Contemporary English etcher, aquatinter, and mezzotinter. Born at Lon-
don, in 1857. As director of the engraving class at South Kensington, he
has had an influence on the younger generation in the direction of a
greater certainty of technique.
"Excellent in pure etching and aquatint, Frank Short holds a unique
place at the present day for his mezzotints.”- A. M. HIND.
SHORT, FRANK
\ 387. THE CHURCH AT KAMPEN. Etching.
Strange, No. 163.
Signed in pencil,-"Frank Short."
"Skies a-clearing, sun a-shining, and the Evenson a-chim-
ing."
SHORT, FRANK
✓
388. MOONLIGHT ON A RIVER (LUCERNE). Mezzotint.
Strange, No. 207.
En-
Signed on plate, and in pencil,-"Frank Short."
graved in 1896, after an unpublished drawing of Turner's
for the "Liber Studiorum."
SHORT, FRANK
✓ 389. MOONRISE, RAMSGATE.
Strange, No. 252.
Signed in pencil, “Frank Short.”
Mezzotint.
C. P. SLOCOMBE
Contemporary English etcher, chiefly of landscape subjects. He etched
several noteworthy California scenes.
SLOCOMBE, C. P.
✓
390. SUNSHINE AFTER RAIN, KENSINGTON GARDENS. Etching.
FINE IMPRESSION.
From the collection of Sir William Drake.
Third Session, Wednesday Evening, January, 31st
F. D. SOIRON
English engraver who flourished in London about 1790; associate of Gaugain.
SOIRON, F. D.
391. A TEA GARDEN. Stipple engraving.
SOIRON, F. D.
After Morland. PROOF cut to oval engraved surface, with
complete margin and lettering added.
Companion piece to,-"St. James Park."
392. ST. JAMES PARK.
Stipple engraving.
After Morland. PROOF cut to oval engraved surface,
with complete margin and lettering added.
Companion piece to,-"A Tea Garden."
WILLIAM STRANG
Contemporary Scotch painter and etcher, born at Dumbarton in 1859 and
living in London. Pupil of Legros.
"Strang is a Scotsman. That devotion to the weirdness and the uncanny
which is a note of the full Celtic temperament, is shown amazingly in
his selection of subject."-FREDERICK WEDMORE.
STRANG, WILLIAM
↓
393. PORTRAIT OF KIPLING. Etching.
Etched from life.
Signed in pencil,-"Wm. Strang.
JOSEPH MALLORD WILLIAM TURNER
Celebrated English painter, born 1775; died 1851.
"The Liber Studiorum' was intended by Turner from the first to be a
series, not of sketches, but of fully finished pictures; and these pictures
were to illustrate his whole range of powers, and to embrace every sort
of subject of which he considered himself master
The 'Liber Stu-
diorum' came forth a truly monumental work, taking rank with the highest
productions of Turner's genius."-w. G. RAWLINSON.
•
>>
TURNER, JOSEPH MALLORD WILLIAM
394. JUNCTION OF SEVERN AND WYE. Etching and Mezzotint.
Rawlinson, No. 28.
Signed on the plate,—“Drawn, Etched, and Engraved by
J. M. W. Turner Esq., R. A." SECOND STATE, before the
dot in the letter "P." BEAUTIFUL IMPRESSION, IN PER-
FECT CONDITION.
"One of the most beautiful of the Liber subjects. Fine im-
pressions have a certain rare bloom on them-if I may use the word.
They seem to recall the indescribable bright freshness one has some-
times seen over a landscape on a June morning."-w. J. RAWLISON.
Third Session, Wednesday Evening, January 31st
TURNER, JOSEPH MALLORD WILLIAM
✓ 395. DUMBARTON ROCK. Etching and Mezzotint.
Rawlinson, No. 75.
Drawn by Turner and engraved in mezzotint by Thomas
Lupton. UNPUBLISHED PLATE. NOT IN THE LIBER STUDI-
Lettered impression.
ORUM.
"One of the most delicate and charming distances ever etched."-
P. G. HAMEKTON.
CORNELIS VAN DALEN
Engraver at Antwerp. Born about 1620. Pupil of his father and Cor-
nelis Visscher.
VAN DALEN, CORNELIS
V
396. ADMIRAL VAN TROMP. Line-engraving.
Engraved after the painting by I. Livus. Signed on the
plate,-"C. van Dalen sculpsit." FINE CLEAR IMPRESSION
IN PERFECT CONDITION.
ANTON VAN DYCK
Celebrated Flemish painter and etcher. Born at Antwerp in 1599; died
at London in 1641.
"Van Dyck stands out as the solitary great etcher of the Rubens School.
Portrait-etching had scarcely had an existence before his time, and in his
work it suddenly appears at the highest point ever reached in the art.”—
A. M. HIND.
VAN DYCK, ANTON
レ
​397. FRANCISCUS FRANCKEN. Etching.
Wibiral, No. 6.
Signed in the lower left corner of the plate,-"Ant. van
Dyck fecit aqua forti." Printed on paper water-marked
with the Foolscap.
LUCAS VAN LEYDEN
Born in Leyden in 1494; died in 1533. His engravings rank with those of
Marc Antonio and Albert Dürer.
VAN LEYDEN, LUCAS
✓ 398. ST. JEROME. Line-engraving.
Bartsch, No. 114.
Signed on the plate with the initial,—“L. 1521.” The
print has been laid down to mend a tear.
Third Session, Wednesday Evening, January, 31st
EVERT VAN MUYDEN
Contemporary Swiss painter and etcher. Born at Albano, near Rome,
of Swiss parents in 1853. He studied painting with his father and with
Gerome.
"Van Muyden has both the mental and technical qualities necessary in
the production of a real work of art and he has them in a high degree.
Drawing is the foundation of the graphic arts and in this van Muyden
is a master.". —ATHERTON CURTIS.
VAN MUYDEN, EVERT
V 399. CAT SEATED.
Etching.
Cutis, No. 8.
Signed on the plate, and in pencil,-“E. van Muyden.”
FIRST STATE.
VAN MUYDEN, EVERT
✓
400. LION ON A MOUNTAIN. Etching.
Curtis, No. 284.
Etched in 1893. Signed on the plate, and in pencil,—
“E. van Muyden." FIRST STATE four proofs only.
ADRIAEN VAN OSTADE
Dutch painter and etcher. Born at Haarlem in 1610; died there in 1685.
Studied with Frans Hals and was influenced by Rembrandt.
“Ostade treats the technic of etching in a curious painter-like manner.
He avoids the distinct line and the definite contour, he expresses the
modelling with masses of uneven little strokes and shows his figure, well
lighted against a dark background."-KRISTELLER, in "Küpferstich und
Holzschnitt.”
VAN OSTADE, ADRIAEN
401. BAKER BLOWING HIS HORN. Etching.
Bartsch, No. 7.
Signed on the plate,—“A v Ostade."
VAN OSTADE, ADRIAEN
402. THE ANGLER. Etching.
Bartsch, No. 26.
Signed on the plate,-"A. v. O. f." Fair impression.
VAN OSTADE, ADRIAEN
403. THE Two GOSSIPS. Etching.
Bartsch, No. 40.
Signed on the plate,-“A v Ostade." Late state.
Third Session, Wednesday Evening, January 31st
VAN OSTADE, ADRIAEN
404. LA FÊTE SUR LA TREILLE. Etching.
Bartsch, No. 47.
Signed near the bottom of the plate,-"A. Ostade."
From the collection of Ch. Favet.
JAN JORIS VAN VLIET
Dutch etcher. Born about 1610. He was a pupil of Rembrandt. He
flourished at Delft and Leyden from 1631 to 1635.
VAN VLIET, JAN JORIS
405. ST. JEROME READING. Etching.
Bartsch, No. 14.
Signed in the lower left corner of the plate,-“J. Van
Vliet fecit." FIRST STATE BEFORE THE ADDRESS OF VIS-
SCHER.
From the collections of Pierre Mariette and F. Debois.
GEORGE VERTUE
English historical engraver and mezzotinter. Born, 1684; died at London,
1756. Vertue devoted his life to antiquarian research.
VERTUE, GEORGE
406. FRANCIS BEAUMONT.
Gay
Line-engraving.
Engraved after the painting in possession of the Earl of
Dorset. Signed on the plate,—“Geo. Vertue sculp. 1729.”
The best portrait of the English poet and playwright.
JAN VISSCHER
Dutch engraver. Brother of Cornelis Visscher. Born at Amsterdam in
1636, where he lived in 1692.
VISSCHER, JAN
407. ADMIRAL ABRAHAM VAN DER HULST. Line-engraving.
Wessely, No. 8.
Signed on the plate,—“Jan de Visscher sculpsit."
FINE IMPRESSION IN PERFECT CONDITION.
VERY
Third Session, Wednesday Evening, January, 31st
VISSCHER, JAN
い
​408. LA DANSE À LA PORTE D'UN CABARET. Line-engraving.
Engraved after the painting by Adriaen van Ostade.
Signed on the lower margin,-"Joan de Visscher fecit."
BRILLIANT IMPRESSION.
HANS VON VOLKMANN
Contemporary German etcher. Born in 1860. Lives at Karlsruhe.
VON VOLKMANN, HANS
409. STILLES LAND. Lithograph in colors.
Signed in pencil,-"Hans v. Volkmann." PRINTED IN
COLORS ON BLUE PAPER.
WILLIAM WARD
Born in London in 1766. He became pupil and assistant of J. R. Smith,
and engraved many of the pictures of his brother-in-law, George Mor-
land. He died in London, 1826.
WARD, WILLIAM
410. A YOUNG LADY ENCOURAGING THE LOW COMEDIAN. Mezzo-
tint.
After Northcote. PRINTED IN COLORS, and retouched by
hand. STIPPLED LETTER PROOF. Trimmed slightly in-
side plate-mark. Print somewhat battered, with several
mended places.
CADWALLADER WASHBURN
Contemporary American painter and etcher. Much of his work was done
in Mexico.
WASHBURN, CADWALLADER
411. CASA CECCHINO, VENICE. Etching.
Signed in pencil,—“Cadwallader Washburn." MODEL
PROOF FOR THE PRINTER.
Third Session, Wednesday Evening, January 31st
WASHBURN, CADWALLADER
✓ 412. CASA CECCHINO, VENICE. Etching.
Signed in pencil,—“Cadwallader Washburn." PROOF ON
JAPAN PAPER.
ANTON WATERLOO
"Anton Waterloo, painter and engraver, was born at Lille in 1609 or
1610. He seems to have spent his time mostly between Amsterdam, Leese-
warden, and Utrecht, paying an occasional visit to his native city. It is
known that he was alive in 1676."-BRYAN,-"Dictionary of Painters &
Engravers."
WATERLOO, ANTON
413. THE WATER MILL. Etching.
Bartsch, No. 119.
Signed on the lower right corner of the plate,-"A. Water-
loo fecit."
CHARLES J. WATSON
Contemporary English etcher. Lived at Norwich and London.
"The work of Mr. Watson is nearly always absolutely sturdy and sterling.
It has tended, too, to become delicate
His_individuality has to be
sought for in the soundness of his technique and in the ripe judgment
which he shows in treating subjects, which at least are true etcher's
subjects.”—FREDERICK WEDMore.
WATSON, CHARLES J.
✓ 414. CHARTRES. Etching.
Engraved in 1890. Signed on the plate, and in pencil,—
Charles J. Watson." Impression printed by the famous
master printer Frederick Goulding and so signed by him in
pencil,-"F. Goulding imp." 100 PROOFS PRINTED.
WATSON, CHARLES J.
V
415. THE MILL.
Etching.
Etched in 1904. Signed on the plate, and in pencil,-
"Charles J. Watson."
}
Third Session, Wednesday Evening, January, 31st
¡
JAMES ABBOTT MCNEILL WHISTLER
Celebrated American painter and etcher. Born in Lowell, Mass., in 1834,
died at London in 1903.
"With the master-etchers of the world-Meryon's equal in some respects,
and, in some respects, Rembrandt's there stands James Whistler. Con-
noisseurs in France and England, in America, Holland, Bavaria, concede
this now.". -FREDERICK WEDMore.
WHISTLER, JAMES ABBOTT MCNEILL
416. LITTLE ARTHUR. Etching.
"All his work is alike perfect. It has only been produced under different
circumstances and is an attempt to render different effects or situations.
Therefore the methods vary, but the results are always the same-great.
The greatest, most perfect, as a whole, that any etcher has ever accom-
plished."-JOSEPH PENNELL.
V
Kennedy, No. 9.
One of the French Set published in 1858. Signed on the
plate,—“Whistler.” FINE EARLY IMPRESSION, ON INDIA
PAPER, with original margins.
This and the twelve following etchings [Numbers 416-428,
inclusive] constitute the "French Set," published in 1858.
SO PERFECT A SET, COMPLETE IN NUMBER, AND OF THE FIRST
PRINTING, IS NOW EXCEEDINGLY RARE AND ALMOST IMPOS-
SIBLE TO PROCURE.
WHISTLER, JAMES ABBOTT MCNEILL
r
417. ANNIE STANDING. Etching.
Kennedy, No. 10.
One of the French Set published in 1858. Signed on the
plate,—“Whistler." FOURTH STATE before additional
work on the legs. FINE EARLY IMPRESSION ON INDIA PAPER,
with original margins.
WHISTLER, JAMES ABBOTT MCNEILL
418. LA MÈRE GÉRARD. Etching.
Kennedy, No. 11.
One of the French Set published in 1858. Signed on the
plate, "Whistler." FINE EARLY IMPRESSION ON INDIA
PAPER, with original margins.
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
419. FUMETTE. Etching.
Kennedy, No. 13.
Signed on the
One of the French Set published in 1858.
plate,--"Whistler." FINE EARLY IMPRESSION ON INDIA
PAPER, with original margins.
N
"I remember one especially-they called her the tigresse. She
sat to Whistler several times with her curly hair down her back.
She had a good voice and I often thought she had suggested Trilby
to Du Maurier.
She was the model for Fumette, Eloise, a little
modiste, who knew de Musset by heart and would recite his verses
to Whistler, and who one day in a rage tore up, not his etchings,
as Mr. Wedmore says, but the Gavarni-like drawings. Whistler was
then living in the Rue St. Sulpice, and when he came home, to find
the pieces piled high on his table, he wept over the ruin, literally
wept, according to Oulevey.”—
IONIDES, in "The Life of
Whistler."
レ
​•
WHISTLER, JAMES ABBOTT MCNEILL
420. LA RETAMEUSE. Etching.
Kennedy, No. 14.
•
ㄴ
​·
WHISTLER, JAMES ABBOTT MCNEILL
421. EN PLEIN SOLEIL. Etching.
Kennedy, No. 15.
One of the French Set published in 1858. Signed on the
plate, "Whistler." FINE EARLY
IMPRESSION ON INDIA
PAPER, with original margins.
One of the French Set published in 1858. Signed on the
plate, "Whistler." FINE EARLY
FINE EARLY IMPRESSION ON INDIA
PAPER, with original margins.
WHISTLER, JAMES ABBOTT MCNEILL
422. LIVERDUN. Etching.
Kennedy, No. 16.
One of the French Set published in 1858. Signed on the
plate,-"J. Whistler." FINE EARLY PROOF ON INDIA
PAPER, with original margins.
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
✓ 423. AN UNSAFE TENEMENT. Etching.
Kennedy, No. 17.
r
One of the French Set published in 1858. Signed on the
plate, "Whistler." THIRD STATE before the address of
Delàtre was effaced. FINE EARLY IMPRESSIONS ON INDIA
PAPER, with original margins.
"The Unsafe Tenement is a splendid etching, in unfaltering decision
of line and in grand massing of light and shade, which has not
destroyed the Dutch-like finish of parts, such as the stable fork
with its shadow thrown on the wall."-BERNHARD SICKERT.
WHISTLER, JAMES ABBOTT MCNEILL
424. A STREET IN SAVERNE. Etching.
Kennedy, No. 19.
One of the French Set published in 1858. Unsigned.
FOURTH STATE before the address of Delâtre was effaced.
FINE EARLY IMPRESSION ON INDIA PAPER, with original
margins.
"There are in the French set, prints, like the night scene in the
Alsatian village called A Street at Saverne, which are as good as
any that came after, and if looked at carefully the same arrange-
ment of lines, the same seeking for the same effects, will be found
there as in the Venetian plates. The plate might be called the
first of the Nocturnes."-JOSEPH PENNELL..
WHISTLER, JAMES ABBOTT MCNEILL
425. LA VIEILLE AUX LOQUES. Etching.
Kennedy, No. 21.
One of the French Set published in 1858. Signed on the
plate, "Whistler." SECOND STATE before the address of
Delâtre was effaced. FINE EARLY IMPRESSION ON INDIA
PAPER, with original margins.
WHISTLER, JAMES ABBOTT MCNEILL
L
426. LA MARCHANDE DE MOUTARDE. Etching.
Kennedy, No. 22.
Signed on the
a line
a
was
One of the French Set published in 1858.
plate, "Whistler." THIRD STATE before
drawn through the name and address of Delâtre. FINE
EARLY IMPRESSION ON INDIA PAPER, with original margins.
}
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
427. THE KITCHEN. Etching.
Kennedy, No. 24.
レ
​Band
One of the French Set published in 1858. Signed on the
plate,-"Whistler." SECOND STATE before additional re-
touches. BEAUTIFUL EARLY IMPRESSION ON INDIA PAPER,
with original margins.
را
On a pencil drawing of this subject in the Freer collection Whistler
wrote: "Cuisine à Lutzelbourg." Lutzelbourg is now Luxembourg.
"There are, as, for instance, in those dark alleyways of the Venetian
set, or The Kitchen of the French series, passages of luminous shadow
which Rembrandt never approached in the Burgomaster Six, or in any
similar subject."-JOSEPH PENNELL.
WHISTLER, JAMES ABBOTT MCNEILL
428. TITLE TO THE FRENCH SET. Etching.
Kennedy, No. 25.
One of the French Set published in 1858. Signed on the
plate with the words, "Douze Eaux Fortes d'après
Nature, par James Whistler," and dedicated to "Mon viel
Ami Seymour Haden." ONLY STATE. FINE EARLY IM-
PRESSION ON INDIA PAPER, with original margin.
WHISTLER, JAMES ABBOTT MCNEILL
429. LITTLE ARTHUR. Etching.
Kennedy, No. 9.
Signed on the plate to the left,—“Whistler.”
WHISTLER, JAMES ABBOTT MCNEILL
430. LA MÈRE GÉRARD. Etching.
Kennedy, No. 11.
Signed on the plate,—“Whistler." FINE IMPREssion.
"An old lady, who is said to have written poetry, and, possibly, in
consequence, came down in the world, and was forced to sell violets at
a gate of the Luxembourg Gardens. Whistler painted and etched
her several times, and of her, in the Latin Quarter, endless stories
were told by him."-JOSEPH PENNELL.
WHISTLER, JAMES ABBOTT MCNEILL
431. FUMETTE. Etching.
Kennedy, No. 13.
Signed in the lower right corner of the plate,-“Whistler.”
See No. 419.
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
432. LA RETAMEUSE. Etching.
Kennedy, No. 14.
Signed in the lower right corner of the plate,—“Whistler.”
WHISTLER, JAMES ABBOTT MCNEILL
433. LIVERDUN.
Etching.
Kennedy, No. 16.
Signed in the lower left corner of the plate,-“J. Whistler,”
WHISTLER, JAMES ABBOTT MCNEILL
434. LA MARCHANDE DE MOUTARDE. Etching.
Kennedy, No. 22.
Signed on the pavement, "Whistler." PROOF PRINTED
WITH BROWNISH INK, ON THIN JAPAN PAPER.
WHISTLER, JAMES ABBOTT MCNEILL
435. LA MARCHANDE DE MOUTARDE. Etching.
Kennedy, No. 22.
Signed on the pavement,-"Whistler."
WHISTLER, JAMES ABBOTT MCNEILL
436. THE KITCHEN. Etching.
Kennedy, No. 24.
Signed on the plate,-"Whistler." SECOND STATE, before
additional work to the left. SUPERB IMPRESSION ON HEAVY
JAPAN PAPER. OF THE GREATEST RARITY.
From a collection unknown to Fagan.
"Whistler, with a nature essentially aristocratic, yet accepted
the very things that seem most commonplace to commonplace people,
and showed us their interest. So great an artist-the fantastic
beauty of Venice and the scaffolding for the 'Savoy' appealed to
him together. Understanding each, with each he knew how to deal.
And that is one of the reasons why San Biagio, The Garden, and
The Kitchen, lie unabashed forever beside the noblest Rembrandts—
lie by the Lutma and the Clement de Jonghe, lie by the Landscape
with an Obelisk and by The Goldweigher's Field."-FREDERICK
[See Reproduction]
WEDMORE.

Why the
JAMES ABBOTT MCNEILL WHISTLER
THE KITCHEN.-Kennedy, No. 24
[See No. 436 in this catalogue]
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
437. THE WINE GLASS. Etching.
Kennedy, No. 27.
Signed in the lower left corner of the plate,-"Whistler."
PROOF ON JAPAN PAPER.
"The exquisite still-life little piece, "The Wine Glass," a per-
formance in which, for once and for once only, Whistler with a
plate as notable as the Shell of Rembrandt or the Muffs of Hollar,
tried to rival, and succeeded in rivalling, the achievement in painting
of De Heym.”—FREDERICK WEDMORE-"Whistler and Others."
WHISTLER, JAMES ABBOTT MCNEILL
438. SEYMOUR SEATED. Etching.
Kennedy, No. 29.
Unsigned.
WHISTLER, JAMES ABBOTT MCNEILL
✓ 439. SEYMOUR STANDING UNDER A TREE. Etching.
Kennedy, No. 31.
Signed in the lower right corner of plate,-“Whistler.”
A portrait of Sir Seymour Haden's son and Whistler's
nephew, Seymour Haden, Jr.
WHISTLER, JAMES ABBOTT MCNEILL
440. SEYMOUR STANDING UNDER A TREE. Etching.
Kennedy, No. 31.
Signed in the lower right corner of the plate,—“Whistler.”
WHISTLER, JAMES ABBOTT MCNEILL
441. READING BY LAMPLIGHT. Etching.
Kennedy, No. 32.
**
Signed on the table, “J. Whistler." PROOF PRINTED
WITH BROWNISH INK ON JAPAN PAPER.
A portrait of Lady Haden, Whistler's half-sister. There
is an etching by Haden of the same subject done at the
same time.
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
442. GREENWICH PARK. Etching.
Kennedy, No. 35.
Signed in the lower left corner of the plate,-"Whistler."
PROOF ON JAPAN PAPER.
"One of the very few landscapes he either etched or painted.
Landscape did not appeal to him. Had it, however, his work would
have been just as distinguished as his portraits. He always said
that there was no such thing as a landscape or a portrait painter.
A man can paint anything if he can paint at all."-JOSEPH PENNELL.
WHISTLER, JAMES ABBOTT MCNEILL
443. LANDSCAPE WITH THE HORSE. Etching.
Kennedy, No. 36.
Signed on the plate,-"Whistler 1859."
WHISTLER, JAMES ABBOTT MCNEILL
444. LIMEHOUSE. Etching.
Kennedy, No. 40.
Signed on the plate,-"Whistler 1859."
DESTROYED PLATE.
“Whistler 1859." PROOF TROM THE
WHISTLER, JAMES ABBOTT MCNEILL
445. BILLINGSGATE. Etching.
Kennedy, No. 47.
Signed on the plate,-"Whistler 1859."
"The solidity of the buildings introduced into this plate-the
clock-tower and the houses on the quay-is a rare achievement in
etching. The strength of their realization lends delicacy to the
thin-masted fishing boats with their yet thinner lines of cordage,
and to the distant bridge and the gray mist of London, and to the
faint clouds of the sky."-FREDERICK WEDMORE-
WEDMORE-"Four Masters of
Etching."
·
WHISTLER, JAMES ABBOTT MCNEILL
446. BECQUET. Etching.
Kennedy, No. 52.
Unsigned. FULL RICH PROOF, PRINTED ON THIN JAPAN
PAPER. BEAUTIFUL IMPRESSION.
Seymour Haden, who certainly could be trusted not to overpraise
Whistler's work, said of this plate: "Rembrandt never did anything
finer."
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
447. VENUS.
*
Etching.
Kennedy, No. 59.
Signed in the lower left corner of the plate,—“Whistler
1859."
WHISTLER, JAMES ABBOTT MCNEILL
448. ROTHERHITHE. Etching.
Kennedy, No. 66.
Signed on the plate,-"Whistler, 1860." FULL RICH
PROOF, ON THIN JAPAN PAPER. SUPERB IMPRESSION.
"This plate was made on the balcony of the Angel Inn, still stand-
ing on the south side of the river at Cherry Gardens. Rotherhithe
is in the extreme distance. From this balcony also, the oils, Wapping,
and The Thames in Ice, were painted. A scratch across the sky is
in some prints. Whistler told me this was caused by a brick from
the chimney being repaired falling behind him and making him jump
so that he scratched the plate with his needle from top to bottom."-
JOSEPH PENNELL.
WHISTLER, JAMES ABBOTT MCNEILL
449. THE FORGE.
Etching.
Kennedy, No. 68.
One of the Thames Set. Signed on the plate,—“Whistler,
1866." IMPRESSION ON JAPAN PAPER. Framed.
WHISTLER, JAMES ABBOTT MCNEILL
450. Two SHIPS. Etching.
Kennedy, No. 148.
Signed on the plate with the "Butterfly." FINE IMPRESSION
IN PERFECT CONDITION. Printed by F. Goulding, and so
signed by him in pencil,-"F. Goulding imp."
From the printer's private collection.
WHISTLER, JAMES ABBOTT MCNEILL
451. LITTLE SMITHFIELD. Etching.
Kennedy, No. 160.
Unsigned. ONLY STATE. PROOF ON OLD INDIA PAPER.
Two small tears mended, one in the printed surface, and
one in the margin.
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
452. ADAM AND EVE TAVERN, OLD CHELSEA. Etching.
Kennedy, No. 175.
Signed on the plate with the "Butterfly." PRoof printed
ON WHATMAN PAPER.
WHISTLER, JAMES ABBOTT MCNEILL
✓ 453. BATTERSEA BRIDGE. Etching.
Kennedy, No. 177.
L
Signed on the plate and in pencil with the "Butterfly."'
FIFTH STATE.
IMPRESSION PRINTED BY WHISTLER HIMSELF
AND SIGNED ON THE TAB WITH THE "Butterfly imp.”
WHISTLER, JAMES ABBOTT MCNEILL
454. HURLINGHAM. Etching.
Kennedy, No. 181.
""
Signed on the plate and in pencil, with the “Butterfly.”
FINE IMPRESSION ON OLD DUTCH PAPER.
WHISTLER, JAMES ABBOTT MCNEILL
455. THE BEGGARS. Etching.
Kennedy, No. 194.
Unsigned. PRINTED IN BROWN-BLACK INK, ON HOLLAND
PAPER. Small spot of glue visible. Framed.
"After Whistler's death, 12 or 14 impressions were taken from
the plate by F. Goulding, that being the number due to The Fine
Art Society."—E. G. KENNEDY.
WHISTLER, JAMES ABBOTT MCNEILL
456. NOCTURNE: PALACES. Etching.
Kennedy, No. 202.
PRINTED BY WHISTLER HIMSELF, AND SO SIGNED BY HIM IN
PENCIL, WITH THE "Butterfly imp." ExQUISITELY BEAU-
TIFUL IMPRESSION, IN PERFECT CONDITION.
"If it was interesting to watch the biting of the plates and the
gradual development of the perfect picture, it was even more fasci-
nating to see him print them. During this period he depended very
greatly upon a painting of printing ink upon the plate to help com-
plete his pictures, especially in the watery foregrounds, of which there
were several amongst the Venice set; and it was little short of
marvelous to see how he graduated and softened the ink with the palm
of his hand. He was accustomed to pull through his plates on the
press himself, a feat requiring no little strength."-T. R. WAY.
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
457. LONG LAGOON. Etching.
Kennedy, No. 203.
Printed by Whistler himself, and so signed by him in pen-
cil with the "Butterfly imp." FIRST STATE BEFORE THE
"Butterfly.' DELICATE IMPRESSION.
Small hole in sky,
mended. Framed.
V
""
WHISTLER, JAMES ABBOTT MCNEILL
458. THE RIVA No. 2. Etching.
Kennedy, No. 206.
Signed in pencil with the "Butterfly." SECOND STATE.
SPLENDID IMPRESSION, PRINTED BY WHISTLER HIMSELF AND
SIGNED ON THE TAB WITH THE “Butterfly imp."
"More than once he was delightful in his joyous admiration of
the more important of the Venice etchings, protesting against
the opinion, still more or less prevalent, which classes these as inferior
to the Thames etchings. 'Can't people see,' he would say, 'that my
etchings show progress all along from the beginning."".
HOWARD
MANSFIELD.
[See Reproduction]
WHISTLER, JAMES ABBOTT MCNEILL
459. QUIET CANAL. Etching.
Kennedy, No. 214.
Printed by Whistler himself and so signed by him in pen-
cil, with the “Butterfly imp." One of the set of “Twenty
Six Etchings" published in 1886. Thirty sets only. FINE
IMPRESSION.
WHISTLER, JAMES ABBOTT MCNEILL
460. SALUTE DAWN. Etching.
Kennedy, No. 215.
SIGNED ON THE PLATE AND IN PENCIL WITH THE "Butter-
fly." IMPRESSION PRINTED BY WHISTLER HIMSELF AND
SIGNED BY HIM ON THE TAB WITH THE "Butterfly imp.”
WHISTLER, JAMES ABBOTT MCNEILL
461. DRURY LANE. Etching.
Kennedy, No. 237.
One of the series of "Twenty-Six
the Fine Arts Society in 1886.
the "Butterfly." ONLY STATE.
IN BROWNISH INK.
Etchings" published by
Signed on the plate with
FINE IMPRESSION, PRINTED

JAMES ABBOTT MCNEILL WHISTLER
THE RIVA NO. 2.-Kennedy, No. 206
[See No. 458 in this catalogue]
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
✓ 462. REGENT'S QUADRANT. Etching.
Kennedy, No. 239.
SIGNED ON THE PLATE AND IN PENCIL WITH THE "Butter-
fly." Intermediate state between second and third, with
the balustrade shaded but before the removal of figures to
the left of the pillar.
IMPRESSION PRINTED BY WHISTLER HIMSELF AND SIGNED ON
THE TAB WITH THE "Butterfly imp. FINE And rare.
WHISTLER, JAMES ABBOTT MCNEILL
463. OLD CLOTHES SHOP, NUMBER 1. Etching.
Kennedy, No. 257.
Signed on the plate with the "Butterfly." FIRST STATE
before additional work on
on the doorway. Impression
trimmed to the plate-line and tab, but not signed in pencil.
RARE.
WHISTLER, JAMES ABBOTT MCNEILL
上 ​464. CHANCELLERIE LOCHES. Etching.
Kennedy, No. 383.
Signed on the plate and in pencil with the “Butterfly.”
FOURTH STATE. Impression printed by Whistler himself
and signed on the tab with the "Butterfly imp." FINE
AND RARE.
Nature contains the elements, in color and form, of all pictures,
as the keyboard contains the notes of all music. But the artist
is born to pick, and choose, and group with science these elements,
that the result may be beautiful-as the musician gathers his notes
and forms his chords, until he brings forth from chaos glorious
harmony. In all that is dainty and lovable he finds hints for his own
combinations and thus is Nature ever his resource and always at his
service, and to him is naught refused."-WHISTLER-"Ten O'Clock."
WHISTLER, JAMES ABBOTT MCNEILL
465. ST. JAMES STREET-JUNE, 1878.
Kennedy, No. 169.
From "Vanity Fair," July 2, 1878. Reproduction, au-
thorized by Whistler. [Also]
"A SYMPHONY." (Caricature, full length of Mr. Whistler.)
By "Spy." From "Vanity Fair," July 12, 1878. Prob-
ably a reproduction. Together, 2 pieces.
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
466. WHISTLER V. RUSKIN. Art & Art Critics.
8vo, wrappers, uncut, pp. 20.
THIRD EDItion.
London, Dec. 24, 1878
WHISTLER, JAMES ABBOTT MCNEILL
467. NOCTURNES, MARINES & CHEVALET PIECES. Small Collection
Kindly Lent by Their Owners. 8vo, wrappers, uncut.
[London, 1878]
FIRST EDITION, the issue with title as above, and "Illustrated Lon-
don News," with the "Butterfly" beneath on last page.
WHISTLER, JAMES ABBOTT MCNEILL
468. MR.
WHISTLER'S "TEN O'CLOCK." FIRST EDITION. 8vo,
wrappers, uncut, pp. 31 (page 30, blank).
London, 1888
The author's famous Lecture on Art, with the strange title,
bestowed upon it, it is said, because of the fact that it was de-
livered by the author at the late hour noted, as he did not wish people
"rushing from their dinners to hear him.”
WHISTLER, JAMES ABBOTT MCNEILL
469. "THE FORTNIGHTLY REVIEW," June, 1888, containing Alger-
non Charles Swinburne's contribution: "Mr. Whistler's
Lecture on Art." 8vo, wrappers. [Excerpt, the portion
containing the Lecture only.]
Philadelphia, 1888
WHISTLER, JAMES ABBOTT MCNEILL
470. WAY (THOMAS R.). Mr. Whistler's Lithographs. Frontis-
piece (portrait of Whistler, after a photograph). FIRST
EDITION. 8vo, vellum back, and boards, uncut.
London, 1896
No. 81 of 140 copies printed, EACH ONE AUTOGRAPHED BY THE
AUTHOR.
WHISTLER, JAMES ABBOTT MCNEILL
471. EDEN VERSUS WHISTLER. The
Valentine with a Verdict.
uncut.
Baronet & the Butterfly. A
8vo, cloth back and boards,
New York, 1899
Third Session, Wednesday Evening, January, 31st
WHISTLER, JAMES ABBOTT MCNEILL
472. WEDMORE (FREDERICK). Whistler's Etchings. A Study and
a Catalogue. Second Edition, revised and enlarged.
12mo, cloth, uncut, paper label.
London, 1899
No. 80 of 100 copies printed. It contains the inserted slip announc-
ing that the publisher has for sale copies of Mr. Wedmore's work
on Meryon.
WHISTLER, JAMES ABBOTT MCNEILL
473. THE GENTLE ART OF MAKING ENEMIES. Square 8vo, cloth
back and boards, uncut.
New York: John W. Lovell Co., 1890
WHISTLER, JAMES ABBOTT MCNEILL
474. [CATALOGUE OF AN] EXHIBITION OF ETCHINGS, by J. McNeill
Whistler. Etched portrait of Whistler, after himself,
original issued in 1859. 8vo, wrappers, uncut. [Preface,
by Frederick Wedmore.] pp. 11 + pp. 16.
London, 1903
WHISTLER, JAMES ABBOTT MCNEILL
475. [H. (C. J.).] The Peacock Room, Painted for Mr. F. R.
Leyland, by James McNeill Whistler, removed in its en-
tirety from the late owner's residence & exhibited at Messrs.
Obach's Galleries, at 168 New Bond Street, London, W.
Illustrated. 4to, wrappers, uncut.
[London] 1904
Illustrated newspaper account of the "Room" laid in.
WHISTLER, JAMES ABBOTT MCNEILL
476. [CATALOGUE OF A] MEMORIAL EXHIBITION of the Works of
J. McNeill Whistler,-Etchings, Dry Points, & Litho-
graphs. 8vo, wrappers, uncut, pp. 33.
Boston, 1904
WHISTLER, JAMES ABBOTT MCNEILL
477. [CATALOGUE OF A] MEMORIAL EXHIBITION of the Works of
J. McNeill Whistler,-Oil Paintings, Water Colors, Pas-
tels, Drawings. 8vo, wrappers, uncut, pp. 24.
Boston, 1904
Third Session, Wednesday Evening, January 31st
WHISTLER, JAMES ABBOTT MCNEILL
478. PAINTINGS, DRAWINGS, ETCHINGS & LITHOGRAPHS [Catalogue
of a Memorial Exhibition . . held under the auspices
of [The International Society of Sculptors, Painters &
Gravers]. FOURTH EDITION. 8vo, wrappers, pp. 126.
London, 1905
WHISTLER, JAMES ABBOTT MCNEILL
479. CATALOGUE OF THE MEMORIAL EXHIBITION of the Works of
the late James McNeill Whistler,
in the New Gal-
lery, Regent Street, London. Portrait and numerous fac-
similes. Royal 8vo, cloth back and boards, gilt top, uncut.
London, 1905
•
Edition de Luxe. Only a small number printed.
WHISTLER, JAMES ABBOTT MCNEILL
480. WILDE V WHISTLER, being an acrimonious Correspondence on
Art, between Oscar Wilde and James A. McNeill Whistler.
FIRST EDITION. pp. 20, 8vo, wrappers, uncut.
:
•
One of 400 copies printed.
WHISTLER, JAMES ABBOTT MCNEILL
481. VENICE PASTELS. FIRST EDITION. pp. 4, 12mo, wrappers,
WHISTLER, JAMES ABBOTT MCNEILL
482. "NOTES"
London: Privately printed, 1906
uncut.
[London:] Printed by T. Way, 21, Wellington Street,
Strand (undated)
WIERIX, JEROME
✓ 483. VIRGIN AND CHILD.
"HARMONIES"
pp. 8, 8vo, wrappers, uncut.
J. McNeill Whistler, Tite Street. Chelsea (undated)
"NOCTURNES." FIRST EDITION.
JEROME WIERIX
Engraver. Born at Antwerp or Amsterdam in 1551; died in 1619. He is
supposed to have learned the art of engraving from his brother Jan,
whose style he followed so exactly that it is difficult to distinguish their
works.
Line-engraving.
Signed on the margin of the plate,-"Hieronymns Wierix
fecit et Excudit."
Third Session, Wednesday Evening, January, 31st
WILLE, JEAN GEORGES
لام
JEAN GEORGES WILLE
Born at Königsberg in 1715; died at Paris in 1808. He first worked
with a gunsmith. He went to Paris and worked with Daullé who signed
many of the plates which Wille actually engraved. Wille soon achieved
fame on his own account, and engraved portraits after the leading French
portrait painters. Later in life he devoted himself more to the genre
subjects of the Dutch School.
L
WILLE, JEAN GEORGES
i
484. LE CONCERT DE FAMILLE. Line-engraving.
Le Blanc, No. 54.
Engraved after the painting by Schalken. FIRST STATE,
BEFORE LETTERS. FINE IMPRESSION.
PRESENTATION PROOF from Wille to his pupil the engraver
Aliamet.
According to his Journal it took Wille two years and
four months to engrave this plate.
485. MAITRESSE D'ECOLE. Line-engraving.
Le Blanc, No. 70.
Engraved after the painting of P. A. Wille. Signed on
the plate,-"Gravé par J. G. Wille."
W. WITSEN
Contemporary Dutch etcher. He has received many medals and honors,
among them the Gold Medal of merit "Arti et Amicitiae Amsterdam
1910," given by H. M. the Queen.
WITSEN, W.
✓ 486. WINTER EVENING. Etching with aquatint.
Van Wisselingh, No. 414.
Signed in pencil,-"Witsen."
WILLIAM LIONEL WYLLIE
Contemporary English etcher. Born, 1851. Has travelled all over the
world. His etchings are chiefly boating and fishing scenes.
WYLLIE, WILLIAM LIONEL
487. COLCHESTER SPRAT BOATS. Original etching.
Signed in pencil, "W. L. Wyllie.”
Third Session, Wednesday Evening, January 31st
PHILIPPE ZILKEN
Contemporary Dutch etcher. Born in 1857; living at The Hague.
ZILKEN, PHILIPPE
488. PLOUGHING OXEN. Etching.
Etched after the painting by Mauve. Signed on the plate,
and in pencil,-"Ph. Zilken a. f."
ANDERS ZORN
Swedish painter and etcher. Born at Mora in Delcarlia in 1860.
"But it is in his etchings that the art of Anders Zorn is seen in its highest
vigor, creativeness and sureness of hand, whether these etchings be done
directly from nature or are transcriptions of his masterly paintings.
Lines apparently scribbled at random, and which might seem to harshly
gash the copper-plate, result in a whole, which is strong, clear, and vivid,
and the etchings present pictures expressing the most delicate and fleet-
ing phases of expression and gesture."-HENRI MARCEL.
ZORN, ANDERS
489. HENRY MARQUAND. Etching.
Delteil, No. 81.
Etched in 1893.
"Zorn." ONLY
PROOF IN PERFECT CONDITION.
ZORN, ANDERS
Signed on the plate, and in pencil,-
STATE. About 35 impressions. FINE
VERY RARE.
490. LA VENUS DE LA VILLETTE. Etching.
Delteil, No. 82.
Signed in pencil, “Zorn." PROOF ON CROWN PAPER.
Slight crease.
ZORN, ANDERS
491. MRS. POTTER PALMER. Etching.
Delteil, No. 105.
Signed on the plate, and in pencil,-“Zorn.” PROOF ON
HOLLAND PAPER.
Third Session, Wednesday Evening, January, 31st
ZORN, ANDERS
492. EVENING-BAIGNEUSE DE Dos. Etching.
Delteil, No. 108.
Etched in 1896. Signed on the plate, and in pencil,-
"Zorn." SUPERB IMPRESSION ON OLD DUTCH PAPER.
THE UTMOST RARITY. ONE OF THE MOST BEAUTIFUL PROOFS
EVER PRINTED FROM THE PLATE.
"In its supple grace and vibrant vitality the delicately modulated
back of the bending figure of The Bather-Evening is a pantheistic
hymn to the eternal efflorescence of life. She pauses in the silvery
twilight before breaking the surface of the mirror-like lake into a
thousand jewels of refracted light, and she is as much a part of the
enshrouding stillness as the aged rocks on which she stands. Whistler
never did anything more evanescent than the landscape of this plate,
which is printed in a key as light and airy as the magically executed
lines, that give the softness of the figure's contours as well as the
hardness of the rocks and the veiled serenity of distant lake and
woodland."-J. NILSEN LAURVIK.
[See Frontispiece for Reproduction]
ZORN, ANDERS
ZORN, ANDERS
493. EFFET DE NUIT. Etching.
Delteil, No. 109.
Etched in 1897. Signed on the plate, and in pencil,—
"Zorn." PROOF PRINTED ON BROWN PAPER.
494. MRS. CLEVELAND. Etching.
Delteil, No. 144.
Signed on the plate, and in pencil,-“Zorn.”
ZORN, ANDERS
V
✓ 495. MLLE. MAYA VON HEIJNE. Etching.
p
OF
ZORN, ANDERS
Delteil, No. 149.
Etched in 1900. Signed on the plate, and in pencil,-
"Zorn." Only about 50 or 60 impressions. FINE AND
VERY RARE.
496. THE GUITAR PLAYER. Etching.
Delteil, No. 155.
Etched in 1900. Signed on the plate, and in pencil,--
"Zorn."
Third Session, Wednesday Evening, January 31st
ZORN, ANDERS
497. THE NEW BALLAD. Etching.
Delteil, No. 169.
Signed on the plate, and in pencil, “Zorn." PROOF
PRINTED ON BROWN PAPER. Done in 1903.
ZORN, ANDERS
✓ 498. MLLE. EMMA RASSMUSSEN. Etching.
Delteil, No. 182.
Etched in 1904. Signed on the plate, and in pencil,-
"Zorn." ONLY STATE.
VERY FINE AND RARE.
ZORN, ANDERS
499. LE VIOLINISTE DE VILLAGE. Etching.
Delteil, No. 185.
Etched by Zorn after his own painting of the same title.
Published in the Gazette de Beaux Arts and in a monograph
on Zorn's works by Edouard André. Signed on the lower
left corner of the plate,--"Zorn," but not signed in pencil.
ZORN, ANDERS
500. ALBERT ENGSTROM. Etching.
Delteil, No. 187.
Etched in 1905. Signed on the plate, and in pencil,-
"Zorn." PROOF PRINTED IN SEPIA. A portrait of the
well-known Swedish writer and humorist.
ZORN, ANDERS
501. DR. FREDERICK MARTIN. Etching.
Delteil, No. 209.
Etched in 1907. Signed on the plate, and in pencil,-
"Zorn."
ZORN, ANDERS
502. L'ÉTÉ. Etching.
Delteil, No. 210.
Signed on the plate, and in pencil,-"Zorn." ONLY STATE.
FINE IMPRESSION.
"In the wonderful L'Été it is a sculptured little figure, a figure
firm as bronze, and plump with intact youth-that embodies, repre-
sents and is a part of the June weather that surrounds her."-
FREDERICK WEDMORE.
!
Third Session, Wednesday Evening, January, 31st
ZORN, ANDERS
503. CIRCLES IN THE WATER. Etching.
Delteil, No. 211.
Signed on the plate, and in pencil,-"Zorn." PROOF ON
THE RARE FIRST PLATE.
CROWN PAPER.
ZORN, ANDERS
504. MONA.
Etching.
Not in Delteil.
Etched in 1911. Signed on the plate, and in pencil,-
"Zorn." BEAUTIFUL IMPRESSION. A portrait of the
artist's mother.
ZORN, ANDERS
505. BEASKA (THE BEADLE). Etching.
Undescribed by Delteil.
Etched in 1911. Signed on the plate, and in pencil,—
"Zorn."
ZORN, ANDERS
506. SEAWARD SKERRIES. Etching.
Not in Delteil.
Done in 1913. Signed on the plate, and in pencil,-
"Zorn." FINE IMPRESSION, ON CROWN PAPER.
ZORN, ANDERS
507. CROWN PRINCESS OF SWEDEN. Etching.
Not in Delteil.
Etched in 1914. Signed on the plate, and in pencil,-
"Zorn." PROOF ON VAN GUELDER PAPER. Done in 1914.
ZORN, ANDERS
508. ELIN.
Etching.
Undescribed by Delteil.
Etched in 1914. Signed on the plate, and in pencil,—
"Zorn."
Third Session, Wednesday Evening, January 31st
ZORN, ANDERS
509. DALARO.
Etching.
Undescribed by Delteil.
Etched in 1915. Signed on the plate, and in pencil,—
"Zorn."
ZORN, ANDERS
510. AT PRAYER. Etching.
Not in Delteil.
Signed in pencil,-"Zorn." Slight printing-crack at the
top.
AMERICAN ART ASSOCIATION,
THOMAS E. KIRBY,
AUCTIONEER.
MANAGERS.
FOR INHERITANCE TAX
AND OTHER PURPOSES
THE AMERICAN ART ASSOCIATION
IS EXCEPTIONALLY WELL EQUIPPED
TO FURNISH
INTELLIGENT APPRAISEMENTS
OF
ART AND LITERARY PROPERTY
JEWELS AND PERSONAL EFFECTS OF EVERY
DESCRIPTION
IN CASES WHERE
PUBLIC SALES ARE EFFECTED
A NOMINAL CHARGE ONLY WILL BE MADE
THE AMERICAN ART ASSOCIATION
MADISON SQUARE SOUTH
NEW YORK
TELEPHONE, 3346 GRAMERCY
COMPOSITION, PRESSWORK
AND BINDING BY
LENT & GRAFF C

KNEW
YORKE
BAR
Ses
+48.7 to

?
***
;
she secre
P

UNIVERSITY OF MINNESOTA
wils
760 Am293
American Art Association.
Illustrated catalogue of engravings, etc
3 1951 002 085 631 P