YALE UNIVERSITY LIBRARY

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Sears

Gallagher's

"Etchings

of

Boston.

Boston,

1920

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SEOTS; G^LAfSHSR'S ETCHINGS

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BOSTON

rGOOPSPEEp'S:

MQMOGRAPH%,

THE GOOPSPEEP MONOGRAPHS
Louis A. Holman, Editor
Of interest to all lovers
';.%<,.„ of prints and of boShs.

2. Sears Gallagher'SjEtchings of Boston

i . Arthur William Heintzelman, Etcher "

- (/a Preparation) ¦ -
3. Hornby's Etchings of the Great War
4. The Work, of Wenceslaus Hollar.
Fromtii'e; German of G00$&*ar,they
5. Early English ^graye^ Portrajjs r
Bv Alfred JVhittna^P' >
Others to follow
25 cents eafch, postpaid
<36(3nSPEEP"S BOOKSHOP, 5a Park St.
: BOSTON

SEARS GALLAGHER'S ETCHINGS
OF
BOSTON

SEARS GALLAGHER'S ETCHINGS
OF BOSTON
WITH NOTES ON THE MAN
AND A COMPLETE
LIST OF HIS
ETCHED WORK

BY
LOUIS A. HOLMAN

k

1920
CHARLES E. GOODSPEED & CO. BOSTON:

Copyright 1920, by
C. E. GOODSPEED & CO.
All rights reserved

J

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SEARS GALLAGHER'S ETCHINGS OF BOSTON

^NCE upon a time an artist from Philadel
phia was upon a journey, in the course
of which it fell out that he must pass a
night in Boston. Here by accident, or
otherwise, he met a newspaper reporter. Being in
a ruffled state of mind, the distinguished stranger
expressed himself in rather inconsiderate, not to say
unneighborly terms, regarding the city in which he
felt doomed to pass the night.
Now had he complained of the fabled, blue-blooded
Boston exclusiveness he would have been readily
forgiven, for this is a charge rather expected of
visitors, and one that, in any case, has about it a

subtle flattery that is not unpleasant to the ears of
Bostonians. But it was not the people to which he
objected, it was the place. The gardens and trees,
the tall belfries and old wharves, the tree-shaded
avenues and narrow, crooked ways, the things, in
fact, which make Boston Boston, at these he cast
aspersions in strange, uncomplimentary terms. It
was very awkward, for the man was a man of note
and hailed from a great city. It would not do to
ignore his remarks. Certain persons therefore in
dignantly denied his statements. But he was also a
man with a burning desire to be Whistlerian in
speech, and with no very great fondness for prosaic
accuracy. So certain others metaphorically thumbed
their noses at him and straightway dropped the
matter. But there were yet others who felt that since there
was no denying the fact that this man was an artist of
deservedly high standing and of international fame,
there might be some truth in what he said. Cruel
as was the wound, might it not be the faithful wound
of a friend, administered to produce reaction? If
Boston were beautiful, and picturesque, and inspiring
what proof was forthcoming ? What paintings, litho
graphs or etchings of the city could be shown to
refute his charges? Frankly, there were few worth
mentioning — for this all happened a number of years
ago. Since that time, however, whether or not be
cause of the adverse criticism I cannot say, some
interesting prints of Boston have appeared.
And now comes Sears Gallagher, erstwhile clever
6

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water-colorist, with a portfolio of delightful etchings
of Boston. The event prompts one critic to rise and
remark with a quiet emphasis that carries conviction,
" No artist has done more to give the lie to Joseph
PennelFs well advertised dictum about Boston than
Mr. Gallagher." So say we all. Fortunately,
Gallagher had made up his mind about the fruitful
possibilities of Boston as a sketching ground before
Pennell had pointed out its barrenness. As there
was no concerted effort to make Boston over,
Gallagher continued to sketch the old city as he
found her, and as he loved her. His feeling for the
ancient landmarks is as natural to him as is his talent
for drawing, perhaps because of his descent from a
long line of Pilgrim ancestors — Governor William
Bradford among them.*
Among the physical features of his native place
that made an indelible mark upon him is old City
Point, with its boats and water-life. Here as a boy
he played. There never was a time that he did not
know the various types of vessels and boats, and
what is essential for an artist, their correct shapes.
When he was old enough to paddle he and a boy
friend (now Prof. Johnston of the Mass. Inst, of
Tech.) together built a canoe and through happy
hours explored the water-ways of his native place.
Later he made several trips to the deep-sea fishing
grounds, from which he always returned with his

* Sears Gallagher was born at Boston, Mass., April 30, 1869. On his
father's side he comes from one of Cromwell's Ironsides, and on his
mother's from several of the Mayflower Pilgrims.

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" Under yonder low dome the first surgical operation
with the aid of ether as an anaesthetic was performed."

*6. \r *v\i\. witM. %«%%%.

sketch-book filled with definite, living notes and
impressions of the life he had seen about him.
Hence one has the comfortable sensation when look
ing at his marines, be they water colors or etchings,
of feeling that the craft are seaworthy, and their
lines all true.
He comes naturally by his ability to see and to
draw correctly. His father could do the same. It
was also an accomplishment of the late Hon. Charles
T. Gallagher, his older brother, of George, a talented
brother who died young, and of yet another brother,
Percival, the landscape gardener.
In their home these boys always had good pic
tures and illustrated books before them. Harper's
Monthly, with the never-to-be-forgotten Abbey and
Parsons drawings, made a great impression on them.
When in church their father, after seeing that the
parson made a good start with his sermon, had
" dropped off," pencils would appear, and as the
sermon proceeded four hymn-books were decorated
according to each boy's fleeting fancy. The fame
of the illustrated hymn-books went abroad (as has
that of Durer's prayer-book) and strangers used to
ask to be shown into the Gallagher pew.
Other valuable influences in the early art life of
Sears Gallagher were George H. Bartlett, the teacher
of drawing at the Hawes Evening Drawing School,
and, later, Tomasso Juglaris, of whom he took
private lessons, and S. P. R. Triscott, a prominent
Boston water-color painter. This says nothing of
that intangible influence and inspiration which comes
11

from association with those students in art with whom
from time to time he shared a studio, — Arthur G.
Collins, W. Goodrich Beal, Jo. Hatfield, Charles
Herbert Woodbury, and Hy. Martin Beal. Wood
bury and the Beals were etching in those days,
although it was not long after Gallagher had etched
his first plate that they all three foreswore the habit.
This first etching of Gallagher's was City Point.
There are but two impressions extant. Of his second
On the Pier there are fewer.
Between these plates and the next ones lay a full
score of years when few American artists touched
the etching needle. During these years Gallagher
came under the instruction of Jean Paul Laurens and
of Benjamin Constant, in Paris, besides having the
mellowing influence of European travel.
The Boston series was begun in 1911, but it was
not until five years later that there were more than
a dozen plates. The series has been slowly and
wisely built up, until there are now in it over two
dozen first-rate plates. There is no group of etch
ings, or indeed any sort of prints of Boston, that
can approach the distinction that belongs to these
well composed, faithfully drawn, altogether satisfac
tory etchings by Gallagher.
It is my purpose now to consider only the plates
of Boston, which, as may be seen by reference to
the complete list (p. 28) is but a small portion of
his work on copper, for Gallagher is a tireless
worker. And when one has seen all his etchings
there are still his water colors, his oils, his litho-
12

graphs, his pen and his pencil-drawings. He is a
most versatile man ; it would be hard indeed to de
termine which medium he handles most dexterously.
While his etchings were
still unknown, Gallagher
exhibited at the Whistler
House in Lowell. One
who was present at the re
ception and private view,
has written of the impres
sion the etchings made.
" To those who have
hitherto known Mr. Gal
lagher as a painter only,
his etchings will be at once
a surprise and a delight.
Most of them are of un
familiar scenes, yet are
subjects such as the etcher
dearly loves and seldom
fails to make vivid. One
is prepared for the wood
land vistas, the quaint

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doorways, the picturesque
odd bits from foreign cities, from Holland, from
Ilfracombe and Clovelly. But it is a pleasure to
find also that Mr. Gallagher has not lost sight of
the picturesqueness of our own civilization, and
his ambitious etching of lower New York, with
St. Paul's church in the foreground and the Wool-
worth building towering behind it, is fully com-
13

parable to Pennell at his best. Other familiar bits
are admirable — such as the etching of St. Paul's
Cathedral in Boston, of the "Mother Church" of
the Christian Scientists in the same city, the old
house of Paul Revere, and so on. Mr. Hornby and
Mr. Pennell have already done much to make familiar
to us the beauty inherent in our city streets, but
never more skilfully than Mr. Gallagher has done in
these supremely delicate portrayals. There is a
fineness, an unerring sureness of touch in the finest
hairline that gives to each impression a peculiar
charm." The etching of St. Paul's Cathedral, Boston, was
the first of the series that attracted much attention.
" Many have declared it his best work," writes one
who saw it before the ink was dry. " Gallagher,"
he goes on to say, " has performed the artist's first
service in discovering beauty in a familiar subject,
discovering it for the layman who does not see
selectively. He has drawn the handsome classic
portico out from its modern industrialized surround
ings, merely hinting at the office buildings that adjoin,
and has omitted most of the teeming traffic that
usually is passing in front." A second person writes,
"Here we have a craftsman who conceives of an
etching as a picture rather than a sketch. He gives
you an impression of venerable surfaces, played over
with light and shades and of a traffic filled street."
In 1915 Boston gave Gallagher two shows. He
had thirty-nine etchings in the exhibition that was
coincident with the opening of the new quarters of
14

the City Club, and at Doll & Richards' Gallery, in
December, he had thirty-two. Frank W. Coburn
wrote a long review for the Boston Herald of the
latter exhibition. I quote but one paragraph, made
interesting by the fact that the critic passes judgment
on Gallagher's chances of success in the new line of
art into which he was entering. "Among several
Boston painters who are essaying etching, Mr.
Gallagher is one of the best equipped by nature and
training for practice of an art that requires, for high
attainment, great judgment in elimination and sup
pression as well as enthusiasm in execution. He has
right feeling for picturesque motives. This was
proved years ago by the very handsome pencil draw
ings he made in Cornwall and elsewhere. He like
wise has capacity for sustained effort, for not being
always satisfied with a quick and easy result. This
qualification indeed, may carry him in the end much
farther than some men who are now dashing off
brilliant and superficially attractive plates. "
Someone else has written of the same show, " Mr.
Gallagher is to be complimented upon these pleasing
little bits that he is showing ; the majority of which
are mementos of odd times that he has been able to
take away from the many other duties that beset
him. He has been etching for the past few years
and exhibiting his work in various galleries from
time to time, but in none ot his previous works has
he attained the interest in composition and quality
of line that he now shows. . . . What may attract
more than the foreign notes are the local touches : St.
16

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Paul's Cathedral, with its facade bathed in sunlight,
Trinity Church mantled with snow, or the well-
rendered Paul Revere House."
" The plate showing the new Customhouse Tower
from the Market District, entitled Old and JSlew
Boston, is a gem — a beautiful composition — done
with fine feeling for architectural mass and character,
and for the atmospheric depths that make for pictur
esqueness. The tower rises up in white splendor
from the incongruous architectural masses that sur
round it, and the busy Market District, with the
pillared corner of the Ames market, give it a rare
vitality and a distinction."
Of Gallagher's 1916 show I find the following
three records which, curiously enough, all feature
the Boston plates. The Christian Science Monitor
says : " Mr. Gallagher continues to find his most
serious interest in architectural subjects. Besides
prints from unfinished Boston plates of the Somerset
Club and the Bulfinch front of the State House, he
shows a new study of the Bogers Building, which
preserves the old Tech days when students streamed
up and down the broad steps or lounged over the
railings. Each figure is individually characterized.
Not the least amusing detail is the plump policeman
on the sidewalk. The high-water mark of Mr.
Gallagher's etching, perhaps, remains his St. Paul's
Cathedral here shown again. The line is free, yet
sensitive ; and there are Whistlerian subtleties of
observation in the shadows."
The Boston Herald heads its article " Mr. Gal-
19

lagher, Draughtsman," and in part says : " Without
overdoing the picturesque, with at all times admirable
solidity and constructiveness, this artist continues
his quest of good motives in and around Boston.
His style suggests execution at an even, easy tempo,
without great eclat or creative fury, but with much
sureness and deftness of draughtsmanship.
" More and more of Boston architecture has given
Mr. Gallagher amusing motives. From somewhere
across the street he has looked down upon the
entrance of the Rogers Building, M. I. T., and
sensed the inviting quality of the front and the broad
steps. Down in the market district he has appre
ciated the artistic value of the contrast between dingy
19th century pediments and porticos and the uplift
of Mr. Peabody's tower, pallid in the sunshine."
The Boston Transcript regards Gallagher as
" one of many artists whose work has served to give
the lie to Joseph Pennell's dictum, to the effect that
there were no good pictorial subjects to be found
in Boston. His trial proofs of his new plates, Park
Street, the Somerset Club, the State House, Bulfinch
Front, etc., though marked unfinished, are excellent
in arrangement, in drawing, in light and shade.
Indeed all Mr. Gallagher's etchings are conspicuously
well drawn, solidly and thoroughly constructed,
without being merely literal architectural drawings.
The picturesque nature of the effects is preserved
by the skilfully chosen points of view.
" In addition to the new local subjects, such as
those already mentioned, with the Rogers Building,
20

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M. I. T. ; Old and JVeiv Boston; Snow Storm,
Boylston Street, etc., there are several of the artist's
older plates of Boston, including his St. Paul's
Cathedral, Trinity Church, King's Chapel, T
Wharf from the harbor, the Paul Revere House,
and the First Church of Christ, Scientist. It is to
be hoped that this series may he still further ex
tended." By 1918 Gallagher had added several new plates
to the Boston series, which helped to lend especial
charm to both the Boston and the New York exhibi
tions. In the latter, at the Kennedy Galleries, there
were no fewer than 17 Boston subjects. The critic
of the New York Evening Post, who then saw
Gallagher's work for the first time, says " The touch
of originality he seeks is always in modulating the
features of a more or less familiar spot, delicately
observed. He gets his impression of artistic sub
stance without indulging in surprises. The quality
of unaffected charm in his plates is witnessed by
their mounting popularity."
Of the many excellent reviews which these shows
called forth perhaps that of William Howe Downes
is best adapted for insertion here. I quote but
three paragraphs from a much longer article : " Safe
and sane and sensible are Mr. Sears Gallagher's
etchings and lithographs, a collection of which is
now on exhibition at Doll & Richards. Mr. Gal
lagher makes no attempt to put on aesthetic frills.
His prints are well drawn, honestly and thoroughly
wrought, and of a character that can be readily
22

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understood and enjoyed by everybody. Nor are
they wanting in those refinements which demand for
their appreciation a certain amount of expertness.
They are free from mannerisms, and reveal no ten
dency on the part of the artist to follow in the foot
steps of Whistler, Meryon, Haden or Zorn. In a
word, Mr. Gallagher's talent, within its own bounds,
is sterling and personal 
"To his Boston series, which is getting to be well
known — New York has an exhibition of these etch.
ings now on at the Kennedy Gallery — Mr. Gallagher
has lately added an admirable plate of the Massa
chusetts General Hospital, in which he presents the
dignified and self-respecting portico and main en
trance of the old building. This is one of Bulfinch's
most characteristic Doric works, plain, severe,
simple, in the tone of its time, but kindly softened
by vines and the atmosphere of age and respec
tability. Under yonder low dome the first surgical
operation with the aid of ether as an anaesthetic was
performed. " Mr. Gallagher draws architectural forms with
more sense of solidity of construction than some
etchers ; this is a merit that may perhaps be esteemed
a fault by some amateurs. Possibly there is in some
of his Boston etchings a little too much preciseness
and insistence upon the integrity of the edge, as for
example in the plate of the Bulfinch Front of the
Slate House. Yet in a period when there is quite
enough vague scratching and careless draughtsman
ship, we would not underestimate in the least the
25

real virtue of exactitude and painstaking correctness."
I cannot better close this modest appreciation of
Gallagher's work than by quoting from a recent
letter regarding it received from Howard R. Guild,
the well known collector of the works of Rembrandt,
Meryon, and Whistler, (who has a better collection
of Gallagher's etchings than has the etcher himself) .
That Mr. Guild is a student of the work of these
masters gives the more weight to what he has to say
of Gallagher's work.
" The etchings of Sears Gallagher show a fine
honesty of purpose and a conspicuous purity of
workmanship. They are not assertive, and in no
way arouse opposition. Unlike some of our modern
etchers, Gallagher has not sought or considered cheap
popularity. His work is thoroughly quiet and rest
ful. It wears well and grows upon one. The sub
jects are good, showing in his choice a superlatively
fine regard for character as well as subject. Not
one but can be hung and enjoyed in the finest house
or public gallery. They are always full of happiness
and interest, suggesting fine things and thoughts
that, like quiet lanes lead into ' Spanish Possessions,'
which most art lovers have hidden somewhere away
from the public gaze. His art is not a mushroom
growth ; for years he has worked ahead without blare
of trumpets, always holding his own idea of fitness
and beauty. Either unconsciously or otherwise it is
axiomatic that most etchers betray a predilection or
an imitation of the great masters, Rembrandt,
Meryon or Whistler. Is it not a relief, and source
26

of gratitude, that in Gallagher's work there is no
evidence of an attempt to become great by hanging
to the skirts of the masters? Gallagher's work is
his own work always."

KB. M ^ ?V.\i\.*s fcv.TftVl%».\.

27

COMPLETE LIST OF THE ETCHINGS OF SEARS GALLAGHER

Abbreviations, etc.:  *— Plate destroyed.
C. A. I.— In the Permanent Collection of Chicago Art Institute
B. P. I.. — " Boston Public library
B. M. ofF.A. " Boston Museum of Fine Arts

No.

Title

Date

t— Boston Subject
N. Y. P. I,.— In Permanent Collection of N. Y. Public Library
I., of C. — Library of Congress
B. A. I.— Brooklyn Art Institute

Size

Notes

1 t City Point, Boston
2 t On the Pier, City Point
3 Ilfracombe, Devon
4 A Street in Clovelly, Devon
5 A Street in Huntingdon
6 Bideford, Devon
7 t Appledore, No. i, Devon
8 ' 1 First Church of Christ, Scientist, Boston
9 f Sloop and Tug, Baltimore
10 Hemingford Mill, near St. Ives, Hunts.
11 Portrait (H. P. G.)
12 \Paul Revert Hottse, Boston
13 Sea View Bridge
14 On the River, Sea View
15 Across the River, Sea View
16 Big Bridge, Sea View
17 Old Bridge, St. Ives
18 A Girl at Desk
19 Wild Cherry Trees, No. i, Sea View
20 Old Church, Grez, France
21 A Street in St. Ives
22 Old Mill, Nantucket
23 Stone Alley, Nantucket
24 Old Cottages, S'conselt, Nantucket
25 Cedar Trees, near River
26 Houses Across the River
27 Nantucket Wharf

18881911

1912

7x10*
5x11 *
6^x4^
4^x3 6^x4^9x7
7x4^* 4^x6^ *
6^x4^ 4>6x5X 4^x5X 4^x6^ *
5^x12^ 5x3
3^x5X 6x3
6^x4^* 4x5
7x4*
3x6* 4x6* 3x6*
4x5*

First etching.

Perhaps the most charming of the early plates
C. A. I.
B. P. Iv.
The second state has a Boston background.

B. P. I,.

Full of a dreamy enchantment.
Partly drypoint.
B. M. of F. A.
A wonderfully interesting plate.
B. M. of F. A.

Serenity itself.

28 t Venetian Palace (Mrs. Gardner's) No. I "
29 An English Cottage
30 Katherine
31 The Lone Cedar
32 Canal in Venice 1913
33 Bradford. (A profile)
34 t Venetian Palace, No. 2
35 Appledore, No. 2, Devon
36 Woolworth Building, New York
37 \St. Paul's Cathedral, Boston
38 \T Wharf, Boston
39 Trees, Sea View, (with Boy)
40 A Girl and Rabbit
41 Old Keene House, Sea View
42 Bradford, with a Boat
43 A Boy and Dog
44 ^Solitude
45 f Old State House, Boston ' '
46 A Girl and Doll
47 Clovelly Cottages 1914
48 Head of a Girl
49 A Hemingford Cottage
50 t Trinity Church, Boston, in Winter
51 \Boylston Street, Boston, in Winter
52 Carlisle Street, New York
53 Brooklyn Bridge, New York
54 Old Oak, Vesper Club, Loweh
55 A Girl Sewing
56 Ruth (A portrait)

6x8* 4x5 *
6)^x4^ * *
7x9
12x10
8^x6^ 9^x6 10x6 7x4 *

A rugged, interesting plate.
L. of C, B. P. L. One of the best of the
Boston set.
B. P. L. A fine plate. Etched on zinc.
Etched on zinc.

7^x5 10x8 7x5
7x5* 6x3
3x2^ 7x4X 10x7
6#x4&* 14x6 %
15x9 *
7x5
5^x4

N. Y. P. Iv. Etched on zinc. An exceed
ingly fine plate.
B. P. Iv.

B. P. Iv.
B. P. Iv. The plate is reversed.
One of the best of the New York plates

COMPLETE LIST OF ETCHINGS— Continued

No.

57 58
59
6061
62 63646566
676869 70
7172
7374
7576
7778
79
80
818283
84
85

87

Title

Date

Size

Notes

Home Children ("At the Seaside.")
Bradford and Bunny
Houghton Mill, near Cambridge, England
Gipsy Camp
Old Kitchen, Fairbanks House, Dedham
Fireplace, Fairbanks House, Dedham
An Old Sailor
Winter (with Sleigh)
King's Chapel, Boston
t Old and New Boston
Labor Day Sports
Toil. (" The Rag Pickers.")
An Old New England Mill Pond
Houghton Road, England
Torrington Inn, England
From the Battery, New York
t Ledges in Winter
Windsor Inn, England
t Woods in Winter
Third Cliff, Scituate
Old Flaherty, Scituate
Ihe Angler
Two Fishing Vessels, Falmouth, Mass.
Through the Elms
An Old Barn, Falmouth
Le Baron House, Falmouth
A Rainy Day
An Old Shop, Union, Me.
A Ship- Yard, Camden, Me.
t Rogers Building, Mass. Inst, of Tech.,
Boston
^Somerset Club, Boston

1914 1915

1916

4^x7 5x7
8x11
3x3^ 9x12
10x6 12x9
6x11
8^x6^
13^x6X 6x7^*
19^x12^ 8^x6^* 7x5
4^x6^
5>^x6X 7x5 J^*
8x4^
8x3 %
6x6
4^x5^ *
9Xx8% 5x7*5x6* 5x6
6J^x6X
5^x7^
8^x6X 8^x6^

Etched on zinc.
Etched on zinc.
A faithful record of early New England.
Etched on zinc.
Etched on zinc.
B. P. L,
B. P. L., L. of C.
A New England Millet.
Partly drypoint.
N. Y. P. L., B. A. I.
Etched on zinc. Partly drypoint.

A fine portrait.

Etched on zinc.

L. of C, B. P. L. An exceedingly fine
architectural plate.
B. P. L.

88 \Bulfnch Front, State House, Boston
89 t The Fishing Fleet, T Wharf, Boston
90 Portrait, Israel Hatch
91 \T Wharf from the Harbor
92 \Park Street, Boston
93 j Custom House Tower from T Wharf
(Old T Wharf)
94 \G. A. R. Veterans
95 \G. A. R. Veterans
96 The Coast Guard
97 Smelt Fishing, Sea View
98 Brooks House, from the Yard, Harvard
99 Harvard Yard
100 t Quincy Market, Boston
101 The Old Curiosity Shop, Plymouth, Mass.
102 The Close of Day
103 Holly Hill Farm, No. I
104 " " " No. 2
105 Morning Light
106 The Little Barn
107 Town Square, Plymouth, Mass.
108 Leyden Street, Plymouth, Mass.
109 Old Commons House, Plymouth, Mass.
110 A Street in Plymouth
111 The Village Censor
112 The Goose House
113 The Edge ofthe Pasture
114 + Old North Church, Boston
115 ^Louisburg Square, Boston
116 t Massachusetts General Hospital, Boston
117 \D00rway in Winter (with Children)

1916

1917

1918

8|<x7
8^x6^ 6^x4 8^x7
8x5^8^x7 5x7^ 7x4^ *
5^x7^
8^x6X 6^x8^ 6Xx8%
8>|x6X6XX8K
6#x8>6 6Xx8# 4Xx7^ 7x4^
8^x6^ 8f£x6X
8^x6^ 8^x6X 7x4X
8^x9^
8^x9^ 8^x4X
8^x6X 8^x7
4x2^

B. P. L.
B. P. L.
B. P. L.
B. P. Iv.

B. P. L. Spirited and attractive.

Delicate and beautiful.
B. P. Iv.
Well drawn and powerful.

A fine old New England character.

B. P. Iv.
B. P. Iv.

COMPLETE LIST OF ETCHINGS— Continued

No.

Title

Dale

Size

Notes

118

San Pietro, Venice

1918

9^x6X

Unusually attractive plate

119

t Old Boston in 184.7

1919

8>£x6X

B. P. L.

120

At Daybreak, Venice

5^x8^
Very beautiful plate.
121
\Pine Woods
8^x4^8
122
\A Gipsy Tent
5x8^
123
The Trout Brook in Spring
8^x7
124
jfulius
5^x4^
125
The Marsh
7x9
126
\A Doorway (with Dog)
2^x4
127
t Tug Boats, Boston Harbor
8^x6X
128
Wild Cherry Trees, No. 2
7x8 U
129
Through the Cedars
8^x7
130
f Old South Church, Copley Square, Boston
8%x7
131
\An Old Doorway, Chestnut St.,
Boston
8^x6X
132
N.C.4
10x434
A very successful plate.
133
The Harbor, New York, No. 1
6x5
134
" " " 2
6x5
135
Forty-second Street, New York
8^x6X
136
Liberty, ' '
3.Kxl2
A charming marine.
137
Manhattan, ' '
12^x9
138
t February, 1020
1920
10x43^