THE ART AND LITERARY TREASURES COLLECTED BY THE LATE General Brayton Ives AMERICAN art GALLERIES MADISON SQUARE SOUTH NEW YORK 3fJjata, SJem fnrk BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY N5220 .1957915"'™""" """^ olin 3 1924 030 644 730 Overs Y ^^1 Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924030644730 ON FREE PUBLIC VIEW AT THE AMERICAN ART GALLERIES FROM WEDNESDAY, MARCH 31st, UNTIL THE DAY OF SALE FROM 9 A.M. UNTIL 6 P.M. THE ART AND LITERARY TREASURES COLLECTED BY THE LATE General Brayton Ives TO BE SOLD AT UNRESTRICTED PUBLIC SALE AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ON THE AFTERNOONS AND EVENINGS OF APRIL 6th, 7th, 8th, 9th, 10th, 12th, 13th and 14th, 1915 BEGINNING AT 2.30 AND 8.15 O'CLOCK Subscriber's Copy No /oS^ EDITION LIMITED TO THREE HUNDRED AND FIFTY COPIES DE LUXE CATALOGUE OF THE ART AND LITERARY TREASURES COLLECTED BY THE LATE General Braytqn Ives OF NEW YORK TO BE DISPOSED OF AT UNRESTRICTED PUBLIC SALE ON THE AFTERNOONS AND EVENINGS HEREIN STATED THE SALE WILL BE CONDUCTED BY MR. THOMAS E. KIRBY ASSISTED BY MR. OTTO BERNET, OF THE AMERICAN ART ASSOCIATION, Managers NEW YORK 191S f\^'7 O^i'riZ^b THE AMERICAN ART ASSOCIATION DESIGNS ITS CATALOGUES AND DIRECTS ALL DETAILS OF ILLUSTRATION TEXT AND TYPOGRAPHY VMKft- u ORDER OF SALE OF THE GENERAL BRAYTON IVES COLLECTION AT THE AMERICAN ART GALLERIES Madison Square South, New York City THE LITERARY TREASURES TUESDAY EVENING, APRIL THE 6th BEGINNING AT 8:X5 O^CLOCK CATALOGUE Nos. 1 to 224 INCLUSIVE WEDNESDAY AFTERNOON, APRIL THE 7th BEGINNING AT 2 : 30 O^CLOCK CATALOGUE Nos. 225 to 455 INCLUSIVE WEDNESDAY EVENING, APRIL THE 7th BEGINNING AT 8:15 O^CLOCK CATALOGUE Nos 456 to 684 INCLUSIVE THURSDAY EVENING, APRIL THE 8th BEGINNING AT 8:15 O^CLOCK CATALOGUE Nos. 685 to 900 INCLUSIVE Okder of Sale — [^Continued] FRIDAY EVENING, APRIL THE 9th BEGINNING AT 8:15 O^CLOCK CATALOGUE Nos. 901 to 1121 INCLUSIVE THE ART TREASURES THURSDAY AFTERNOON, APRIL THE 8th BEGINNING AT 2 :30 O^CLOCK CATALOGUE Nos. 1 to 149 INCLUSIVE FRIDAY AFTERNOON, APRIL THE 9th BEGINNING AT 2 :30 O^CLOCK CATALOGUE Nos. 150 to 338 INCLUSIVE SATURDAY AFTERNOON, APRIL THE 10th BEGINNING AT 2 :30 O^CLOCK CATALOGUE Nos. 339 to 474 INCLUSIVE MASTERPIECES OF ENGRAVING AND ETCHING MONDAY AFTERNOON, APRIL THE 12th BEGINNING AT 2 :30 O^CLOCK CATALOGUE Nos. 1 to 214 INCLUSIVE Obdee of Sal,e — [Continued'] MONDAY EVENING, APRIL THE 12th BEGINNING AT 8:15 O^CLOCK CATALOGUE Nos. 215 to 442 INCLUSIVE TUESDAY AFTERNOON, APRIL THE 13th BEGINNING AT 2 :30 O^CLOCK CATALOGUE Nos. 443 to 654 INCLUSIVE TUESDAY EVENING, APRIL THE 13th BEGINNING AT 8:15 O^CLOCK CATALOGUE Nos. 655 to 866 INCLUSIVE WEDNESDAY AFTERNOON, APRIL THE 14th BEGINNING AT 2 :30 o'CLOCK CATALOGUE Nos. 867 to 1028 INCLUSIVE CATALOGUE THE ART TREASURES FIRST SESSION THURSDAY AFTERNOON, APRIL 8, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 1 to 149 inclusive CHINESE SNUFF BOTTLES 1. DECORATED SNUFF BOTTLE (Yung Cheng) Five-claw dragon pursuing the sacred pearl, painted in fine coral red on a brilliant white ground. 2. CYLINDRICAL SNUFF BOTTLE (K'ang-hsi) Decoration of dragon amidst cloud forms in rouge de cuivre and verdigris green. 3. DECORATED SNUFF BOTTLE (Yung Cheng) Flattened oviform. Stork and blooming lotus, painted in brilliant enamel colors. 4. BLUE AND WHITE SNUFF BOTTLE (Ch'ien-lung) Cylindrical shape. Decoration of a tiger, five claw dragon and cloud forms in brilliant blue over a brown crackled surface. 5. BLUE AND WHITE SNUFF BOTTLE (Ch'ien-lung) Cylindrical shape. Peonies and leaf scrolls in brilliant underglaze blue. 6. OVIFORM SNUFF BOTTLE (Ch'ien-lung) Invested with a monochrome glaze of liver red, with pearskin sur- face. 7. OVIFORM SNUFF BOTTLE (Ch'ien-lung) Coated with an iron rust glaze of fine even quality. 8. CYLINDRICAL SNUFF BOTTLE (K'ang-hsi) Decoration of landscape and figures in underglaze blue and peach- bloom tint. 9. GALIPOT-FORM SNUFF BOTTLE (Ch'ien-lung) Coated with a monochrome glaze of tea color. 10. CYLINDRICAL SNUFF BOTTLE (Ch'ien-lung) Invested with a rose souffle glaze. 11. DECORATED SNUFF BOTTLE (Ch'ien-lung) Flattened oviform with decoration of festive and boating scenes in brilliant enamel colors ; seal mark of the period. 12. BROWN CRACKLE SNUFF BOTTLE (Yung Cheng) Lotus-leaf design with lotus-plant buds and a stork modelled in relief. 13. PORCELAIN SNUFF BOTTLE (Ch'ien-lung) Brilliant white glaze. A four claw dragon modelled in relief and enamelled in coral red. 14. CAMELLIA LEAF GREEN SNUFF BOTTLE (Ch'ien-lung) Cylindrical shape with corrugated surface, invested with a ca- mellia-leaf green glaze applied over a minute crackle. 15. FEN-TING SNUFF BOTTLE (Yung Cheng) Double fish shape. Ivory-white glaze applied over a fine brown crackle. 16. DECORATED SNUFF BOTTLE (Ch'ien-lung) The Taoist immortals and a boating scene modelled in high relief and decorated in brilliant enamel colors. 17. FLAMBE OVOID SNUFF BOTTLE (Ch'ien-lung) Dense porcelain, coated with a flambe glaze of red of the sang-de- basuf type, and purple. 18. HAIR CRYSTAL SNUFF BOTTLE (Ch'ien-lung) In design of a double-lobed gourd; highly polished surface. ig. BROWN AGATE SNUFF BOTTLE (Ch'ien-lung) Flattened oviform, with two mask and ring handles carved in relief. 20. BLOODSTONE SNUFF BOTTLE (Ch'ien-lung) Double-lobed gourd shape; highly polished surface. 21. ROCK-CRYSTAL SNUFF BOTTLE • (Ch'ien-lung) Flattened oviform, with two mask and ring handles carved in relief. Clear texture. 22. AGATE SNUFF BOTTLE (Ch'ien-lung) Red, green, brown and white texture. Highly polished. 23. CARNELIAN SNUFF BOTTLE (Ch'ien-lung) Oviform shape. Pine, deer, bats and Shou, the emblems of long life, carved in low relief. 24. HAIR CRYSTAL SNUFF BOTTLE (Ch'ien-lung) Ovoid shape ; highly polished. A conventional bat carved in relief. 25. BROWN AGATE SNUFF BOTTLE (Ch'ien-lung) Flattened oviform shape. Highly polished. .26. GREY AGATE SNUFF BOTTLE (Ch'ien-lung) Figures of the long-lived couple, pine tree and rocks carved in relief in the brown matrix. 27. CARNELIAN SNUFF BOTTLE (Ch'ien-lung) Carved in the shape of a goldfish. Lotus leaf and buds in relief in the white matrix. 28. AMBER SNUFF BOTTLE (Ch'ien-lung) Oviform shape. Golden yellow texture; highly polished and with two mask and ring handles carved in relief. 29. LARGE AGATE SNUFF BOTTLE (Ch'ien-lung) Grey and white, with two mask and ring handles carved in relief, and a highly polished surface. 30. GREY AGATE SNUFF BOTTLE (Ch'ien-lung) Flattened shape. Two crows carved in relief in the black matrix. Highly polished surface. 31. LARGE CAMPHOR GLASS SNUFF BOTTLE (Ch'ien-lung) Mask and ring handles carved in low relief. Highly polished surface. 32. LARGE AGATE SNUFF BOTTLE (Ch'ien-lung) Mottled blue, red and brown texture. Two mask and ring handles carved in high relief. BLUE AND WHITE PORCELAINS 33. BLUE AND WHITE MINIATURE GLOBULAR COUPE (Ch'ien-lung) Of thin hard paste, decorated with grape vine in bearing, squirrel and butterfly delicately pencilled in two shades of underglaze blue. 34. BLUE AND WHITE MINIATURE PLATE (Ch'ien-lung) Thin hard paste. Floral designs painted in two shades of cobalt blue. 35. TWO SPECIMENS OF BLUE AND WHITE PORCELAIN (Yung Cheng) In original Chinese case. Consists of a cylindrical snuff bottle of soft paste, decorated with a landscape in fine underglaze blue over a crackled surface, and a miniature dish of soft paste, with figures in a garden painted in brilliant blue. 36. BLUE AND WHITE MINIATURE VASE (Ch'ien-lung) Clear white hard paste, landscape and river view in fine underglaze blue. 37. SMALL BLUE AND WHITE COUPE (K'ang-hsi) Globular shape. Of semi-eggshell porcelain. Decoration of garden scene and figures of a dignitary and children in two shades of cobalt blue. 38. SMALL BLUE AND WHITE VASE (Ch'ien-lung) Soft paste type. Finely pencilled decoration of large lotus flowers and scrolls in two shades of underglaze blue. Height, 3% inches. 39. BLUE AND WHITE OVIFORM JAR (K'ang-hsi) Clear white hard paste. Coated with a brilliant white glaze, and decorated in fine quality underglaze blue, with figures of two kylins, rocks rising from a turbulent sea, cloud forms and the pearl of om- nipotence. Has teakwood cover. Height, Sy^ inches. 40. BLUE AND WHITE BOTTLE-SHAPED VASE (Ch'ien-lung) Graceful oviform with tall slender neck. Decoration of tree peonies and rockeries finely painted in two shades of brilliant underglaze blue. Height, 7 inches. 41. BLUE AND WHITE HAWTHORN JAR (Ch'ien-lung) Small oviform with cap shape cover. Opaque blue ground with hawthorn blossoms in reserve. Height, 5 inches. 42. BLUE AND WHITE PEAR-SHAPED VASE (Ch'ien-lung) Thin hard paste. "The Hundred Antiques" decoration painted in brilliant blue. Height, 7J4 inches. From the Startsaff Collection Sale, New York, 1904. 43. BLUE AND WHITE BOTTLE-SHAPED VASE (Ch'ien-lung) Dense hard paste. Decoration of Persian motives in underglaze blue. Two rings of brown encircling the shoulder and one of the same color round the neck. Height, ly^ inches. 44. BOTTLE-SHAPED VASE (Ch'ien-lung) Globular body with tall tubular neck. Invested with a tea-color glaze of even quality. Engraved seal mark of the period. Height, 714 inches. 45- BLUE AND WHITE VASE (Ch'ien-lung) Ovoid form, with trumpet-shaped neck. Thin white hard paste of exceedingly fine quality and profusely decorated under the glaze, with floral and leaf scrolls and borders of palmettes. Height, 7y^ inches. From the Art House of Thomas B. Clarice. 46. BLUE AND WHITE OVIFORM VASE (Ch'ien-lung) Thin white hard paste. On the body of vase painted in brilliant underglaze blue are clusters of pomegranates and Buddha's-hand fruit. Round the shoulder and neck are bands of sceptre head scrolls and palmettes and encircling the foot a border of gadroons. Height, 8% inches. From the Art House of Thomas B. Clarice. 47. BLUE AND WHITE VASE (K'ang-hsi) Graceful oviform, with trumpet-shaped neck of exceedingly fine hard paste and beautifully decorated in underglaze blue of brilliant quality. The embellishment consisting of various ornaments known as the "Hundred Antiques" and the Buddhistic symbols of happy augury. Height, 10% inches. From the Art House of Thomas B. Clarke. 48. BEAUTIFUL BLUE AND WHITE AMPHORA (K'ang-hsi) Of graceful outline and finished technique. It is of fine quality hard paste and coated with a pure white glaze. The decoration, which is beautifully drawn and painted in underglaze blue of brilliant qual- ity, consists of three large conventional lotus flowers amid a pro- fusion of tendrils and leafy scrolls. The neck is encircled by a band of palmettes and round the foot is a wide border of gadroons. Height, 10 inches. From the Art House of Thomas B. Clarice. 49. UNIQUE BLUE AND WHITE PEAR-SHAPE VASE (Yung Cheng) Hard paste of almost eggshell thinness. Beautifully decorated with floral wreaths surrounding undecorated reserves, and branches of peonies filling the intervening spaces, exquisitely executed in two shades of underglaze blue on a brilliant white ground. Height, 10% inches. so. PAIR BLUE AND WHITE GLOBULAR BOTTLES (K'ang-hsi) Ornate decoration of conventional ornaments and foliations, care- fully spaced on the white body, with successive borders encircling the tapering neck, all in brilliant pigment beneath a lustrous glaze. Have carved stands. Height, 11% inches. From the S. S. Carvalho Collection, New York, 1914. 51. BLUE AND WHITE CLUB-SHAPE VASE (K'ang-hsi) Clear white hard paste. Profusely decorated in reserve and out- line drawing with peonies, dragons and floral medallions on a ground of brilliant opaque mazarine blue. The shoulder is encircled by a border of sceptre head scrolls and the neck and mouth by bands of gadroon and fret pattern. Height, 18 inches. 52. BLUE AND WHITE CLUB-SHAPE VASE (K'ang-hsi) Of clear white hard paste. The body of the vase is decorated with papyrus leaves, and scrolls executed in two shades of cobalt blue applied under and over the glaze. Height, 18 inches. S3. GRACEFUL BLUE AND WHITE TALL VASE (Early K'ang-hsi) Of an inverted elongated-pear shape, tapering gently from the high shoulder to a low and narrow waist which recurves into a slightly spreading foot, the shoulder, which also is narrow, supporting a high cylindrical and very slightly spreading neck. Pure white dense, resonant porcelain, painted in pale cobalt and brilliant sap- phire colors with the sense of an historical or legendary incident of days of conquest, in which twelve figures appear in bold and expressive execution. Beneath a blue brocaded canopy a coquettish beauty kneels before a personage who eyes her with such intensity of interest it is difficult to tell whether he had rather embrace her and raise her to honors or cut off her fair head. Around him are warriors with battle-axes, standards and gonfalons, while below, half screened among trees and rocks, are more battle-axes amid further panoply of war. Mark within the double ring in blue be- neath the foot, Ta-Ming Chia Ching nien-chih (apocryphal). Height, 2O14 inches. From the S. S. Carvalho Collection, New York, 1914. 54- PAIR BLUE AND WHITE DEEP PLATES (K'ang-hsi) Sonorous hard paste. Luxuriantly decorated in lustrous cobalt of opaque quality on a brilliant white ground. The embellishment consists of large lotus flowers amid bold leafy scrolls, and ar- ranged so as to display in each flower the cup-shaped fruit studded with the seeds in the midst of a whorl of petals. Underneath the foot is an unglazed groove characteristic of the best specimens of the K'ang-hsi period. Diameter, 15 inches. 55. PAIR BLUE AND WHITE PLATES (Yung Cheng) Brilliant mazarine blue ground, with flowers and leaf scrolls in white reserve. Underneath the foot six character mark of the period, painted in underglaze blue. Diameter, 13 inches. 56. BLUE AND WHITE PLATE (K'ang-hsi) Thin sonorous porcelain. Decoration of conventional peonies and leaf scrolls, painted in two shades of underglaze blue. Diameter, 14 inches. 57. LARGE BLUE AND WHITE DEEP PLATE (Ch'ien-lung) Dense sonorous porcelain. Finely painted decoration of floral and leaf scrolls, in brilliant cobalt blue. Underneath the foot a seal mark of the period. Diameter, 16 inches. 58. LARGE BLUE AND WHITE DEEP PLATE (Yung Cheng) Dense sonorous hard paste. Decorated in brilliant underglaze blue with melon vine in bearing. A wide band of floral and leaf scroll and an outer band of wave design. Bears a six-character mark of the period. Diameter, 17% inches. 59. LARGE BLUE AND WHITE DEEP PLATE (Ch'ien-lung) Dense hard paste. Decoration of five claw dragons, cloud form, five emblems and Shou, painted in brilliant blue applied under the glaze. Bears a seal mark of the period. Diameter, 17% inches. EXTRAORDINARY SPECIMENS OF DECORATED PORCELAINS 60. DECORATED SMALL BOWL (Yung Cheng) Semi-eggshell porcelain. The outer surface decorated with figures of the Eight Immortals exquisitely painted in enamel colors of the famille rose. Has tcakwood stand. 61. EGGSHELL PORCELAIN BOWL (Yung Cheng) Decoration of lilies and other flowers and grasses finely painted in enamel colors over a brilliant white glaze. Height, 2y^ inches; diameter, 314 inches. 62. ROUGE BOX (K'ang-hsi) Semi-globular shape. Of hard paste invested with an iridescent blue glaze, decorated with reserve bands of peony scrolls, and on the cover with a large peony worked in relief in the paste. Diameter, 4 indies. 63. DECORATED JAR (K'ang-hsi) Low cylindrical shape with broad mouth and four mask-head handles. Thick hard paste. Decorated with numerous twigs of persimmon fruit, finely painted in coral-red, green, yellow and black. Has wood cover. Height, 6% inches; diameter, 9 inches. 64. SUPERB DECORATED SMALL GALIPOT (Ch'ien-lung) Pure white hard paste, of exceedingly fine quality. Decoration of mountain landscape, with palaces and pagodas and river view in the foreground, beautifully executed in fine enamel colors and enhanced by touches of gilding. An inscription stating that the decoration is the artist's conception of the summer palaces as they appeared in the fifth century is pencilled in black. Underneath the foot a seal mark of the period. Height, By^ inches. From the Richard Bennett Collection of London. Purchased from M. Dreicer <§• Co., New York agents for Gorer of London. 6s. EXQUISITELY DECORATED OVIFORM VASE (Ch'ien-lung) Of exceedingly fine thin porcelain, exquisitely decorated with moun- tain scenery showing the famous nine step mountains and river view in winter artistically executed in delicately blended enamel colors, and a poem pencilled in black. Height, 6% inches. From the Richard Bennett Collection of London. Purchased from Gorer of London. 66. SUPERB DECORATED GALIPOT (Yung Cheng) Beautifully decorated with a figure of the Sacred Elephant in a recumbent position and his keeper, artistically painted in the enamel colors of the famille rose enhanced by gilding. Underneath the foot the six-character mark within a blue circle. Height, 6i/4 inches. 67. EGGSHELL ROSE BACK PLATE (Yung Cheng) Beautifully embellished with sprays of peonies and chrysantheum flowers, painted in naturalistic colors, the under border invested with a rose-dv^Barry glaze of very even quality. Diameter, 8 inches. 68. SUPERB MANDARIN EGGSHELL VASE (Yung Cheng) Of graceful oviform, and exquisitely decorated, in the beautiful enamel colors of the famille rose, with scenes depicting a musical party of Chinese ladies, children and domestic scenes. The neck and shoulder embellished with sceptre head scrolls and floral pat- terns, delicately pencilled in gold. (Slight repair at lip.) Height, 81/3 inches. 69. PAIR IMPERIAL DECORATED BOWLS (K'ang-hsi) Of thin sonorous porcelain and beautifully decorated in brilliant enamel colors of the famille verte. The embellishment consisting of branches of persimmons and a rich-plumaged bird perched thereon. Underneath the foot within a double circle is a six-character mark of the period. Height, 314 inches; diameter, 8 inches. 70. PAIR OVOID JARS WITH THEIR OWN ORIGINAL COVERS (Chia-Ch'ing) Decorated in over and underglaze painting with fruit trees, flowers and the sacred fungus, growing among rocks, and with butterflies in aubergine, pale yellow, green and dark orange-yellow with a coral trend. The covers, inset, have a similar decoration and a knob handle. Height, 514 inches. From the S. S. Carvalho Collection, New York, 1914. 71. DECORATED BOWL (K'ang-hsi) Thin sonorous porcelain. Decoration of branches of fruits and flowers, finely painted in brilliant enamel colors of the famille verte. Six-character mark. Diameter, 7 inches. From the S. S. Carvalho Collection, New York, 1914. 72. FAMILLE VERTE GALIPOT (K'ang-hsi) Of graceful shape and fine quality of porcelain. It is invested with a pale yellow glaze, of opaque iridescent quality, over which is a decoration of two four-claw dragons, amid fire emblems, in pursuit of the pearl of omnipotence, etched in the paste and enamelled in the colors of the famille verte. Underneath the foot pencilled in underglaze blue is a six-character mark of the period. Height, 9l^ inches. Purchased from M. Dreicer ^ Co., New York agents for Gorer of London. 73. SUPERB DECORATED VASE (Ch'ien-lung) Graceful oviform, with tubular neck, slightly flaring at mouth. It is of thin white hard paste of exceedingly fine quality, and is decorated with a scene depicting a pilgrimage to a temple, and mountainous landscape, showing various temples and palaces, trees in luxuriant foliage, and a river view, all exquisitely executed in brilliant enamel colors. A poem dedicated to the occasion pencilled in black. Underneath the foot a seal mark of the period. Height, 8% inches. From the Richard Bennett Collection of London. Purchased from Gorer of London. 74- FAMILLE-NOIRE AMPHORA (K'ang-hsi). Of graceful shape and finished technique. Invested with a brilliant black glaze over which is an artistically executed decoration of a bold horned dragon, and a phoenix, the emblems of the Emperor and Empress, amid fire emblems and in pursuit of the effulgent pearl, all beautifully painted in the brilliant enamel colors of the famille verte. Underneath the foot a hall mark in vermilion. Height, 10 inches. From the George R. Davis Collection, London, Purchased from M. Dreicer ^ Co., New YorJc agents for Gorer of London. 75. PAIR IMPERIAL BOWLS (Yung Cheng) Thin sonorous porcelain of the shape of the famous Yung-lo ( 14<03- 1424<) bowls. The outer surface decorated with two bold five-clawed dragons, rising from the sea amid cloud forms and fire emblems, in pursuit of the sacred pearl, all of which is artistically executed in brilliant enamel colors and underglaze blue. Six-character mark underneath the foot. Diameter, 1% inches. From the S. S. Carvalho Collection, New York, 1914. 76. IMPERIAL YELLOW PLATE (K'ang-hsi) Two five-clawed dragons, fire emblems and the sacred pearl, painted in brilliant underglaze blue. Four-character and ring mark under- neath the foot. Diameter, 8^4 inhces From the S. S. Carvalho Collection, New York, 1914. 77. DECORATED OVIFORM VASE (Yung Cheng) With two gilt and mask-head and ring handles. Clear white hard paste. Decoration of equestrian figures painted in various enamel colors. Underneath the foot six-character mark of the period. Beight, 10% inches. 78. PAIR OVIFORM DECORATED VASES (Ch'ien-lung) From the Richard Bennett Collection and described in the cata- logue of that collection as follows: "A pair of oviform vases with short straight necks, the whole covered with a design in brilliant enamels of pomegranate on branches, which are divided with superbly drawn figures of butter- flies. The glaze is pure and very brilliant. Ch'ien-Lung period (XVIII Century)." Formerly in the Summer Palace, Peking. The palace labels are still on the bases of the vases. Height, lOy^ inches. Purchased from Gorer of London. 79. DECORATED INCENSE BURNER (Ch'ien-lung) Quadrilateral shape, with cover, on four tall feet. It is of dense hard paste and enamelled with an Imperial yellow glaze and is decorated in underglaze blue with conventional flowers and leafy scrolls. The cover is surmounted by a seated kylin. Height, 11 inches. 80. DECORATED JAR (K'ang-hsi) Oviform of hard paste porcelain. Decoration of conventional lotus and leaf scrolls in enamel colors of the famille verte. Has carved teakwood cover. Height, 914 inches; diameter, 8j4 inches. 81. FAMILLE VERTE OVIFORM JAR AND COVER (K'ang-hsi) From the Richard Bennett Collection and described in the cata- logue of that collection as follows : "A unique oviform jar and cover, decorated with Ho-Ho and other birds, and the spreading branches of the peony tree, on which are blossoms in various colours. At the back are lotus flowers. Surrounding the foot is a Grecian key design in black on a green background, and on the shoulder is a broad band con- taining formal flowers relieved with panels in which are small birds. This band is edged with a broad green margin. Surrounding the lip is a band of Joey heads in green and yellow. On the cover is a formal floral design in various colours, whilst surround- ing the knob, which is of delicate green, is a band of Joey heads in green and yellow. The border consists of a diaper pattern band in aubergine and green with yellow chrysanthemums, intersected with four small reserves containing flowers. The quality of this jar is unsurpassable, and of its character it is acknowledged to be the finest known example. K'ang-hsi period." Cover shows slight repair on the edge. Height, 11V4 inches. Purchased from Gorer of London. 82, UNIQUE FAMILLE VERTE BOTTLE-SHAPED VASE (K'ang-hsi) From the Richard Bennett Collection and described in the cata- logue of that collection as follows : "A unique bottle-shaped vase, the body in four sections, each of which is divided by a narrow band of yellow enamel. The decoration in these panels consists of altar baskets of flowers most superbly drawn and enamelled. Between each of these panels, which are in relief, are pendeloques, on which are butterflies in various colours on a stippled background. At the bottom of the neck are large leaves in high relief in green, aubergine, and yellow, relieved with gold. The Up, which is fashioned to represent a tulip, is stippled with black on pale green, and ornamented with the flowering branches of the hawthorn tree in various colours. K'ang-hsi period." B eight, 11 inches. Purchased from Gorer of London. 83. GOURD-SHAPED MILLE-FLEURS VASE (Ch'ien-lung) From the Richard Bennett Collection and described in the cata- logue of that collection as follows : "A gourd shape vase, covered entirely with a floral design repre- senting a huge bouquet, this style of decoration being generally known under the term of Mille Fleurs. Ch'ien-lung period (XVIII Century)." Slight repair at lip. Height, 13 indies. Purchased from Gorer of London. 84. FAMILLE VERTE DEEP PLATE (K'ang-hsi) Of sonorous hard paste, and invested with a lustrous yellow glaze, over which is an artistically painted embellishment executed in the brilliant enamel colors characteristic of the K'ang-hsi period. The decoration consists of two pheasants, tree peonies, fockeries, branch of plum blossoms, and a poem. A wide border of coral-red is enhanced by a reserve decoration of lotus scrolls and several dragons. Diameter, 15 inches. Purchased from M. Dreicer S^ Co., New York agents for Gorer of London. 8s. TALL FAMILLE VERTE VASE (K'ang-hsi) From the Sir William Bennett Collection and described in the cata- logue of that collection as follows: "A vase of pear shape body tapering towards the base and ex- panding at the foot, with a short neck, having a shghtly expanded lip. This is of a rich quality famille verte, and is divided into numerous panels, containing fabulous animals, flowers. Ho Ho birds, and other designs. K'ang-hsi period (XVII Century). A notable feature in this vase is the predominance of the brilliant blue enamel." Height, 17% inches. Purchased from Gorer of London. 86. TALL SLENDER DECORATED VASE (Yung Cheng) Purchased from Gorer of London and described by him as follows: "A tall vase of graceful shape, decorated with large figures of Court Ladies and Children, above is a branch of Fungus, meaning 'longevity.' At the back is a Temple Flower Vase and Table. All most exquisitely executed in brilliant, colored enamels of famille rose. Yung-Cheng (Early XVIII Century)." Height, 17% inches. 87. PAIR DECORATED CLUB-SHAPED VASES (K'ang-hsi) Hard paste porcelain, coated with a brilliant white glaze, over which is a decoration of Fu-Lu-Shou and the attendants, and draped panels and Sanscrit characters, executed in various tones and coral red. Height, 17% inches. 88. FAMILLE VERTE CLUB-SHAPED VASE (K'ang-hsi) Tl}j^body of the vase is decorated in the brilliant five-color enamels with a scene depicting an assemblage of mounted warriors and their attendants, pine trees, and rockeries. The neck of the vase decorated with trees, rocks and river view, and the shoulder with reserves of bamboo branches in black, and single blossoms in coral red imposed upon a green and black diapered ground. Height, 18% inches. 89. UNIQUE TALL SLENDER DECORATED VASE (K'ang-hsi) From the Richard Bennett Collection and described in the cata- logue of that collection as follows: "A tall slender vase, of exceedingly graceful form, the body covered with a scale pattern design in aubergine. The decoration, heavily enameled, consists of altar utensils, the principal feature of which is the representation of a square bronze-shaped beaker containing peacock feathers. This, and also the other objects, is in various colours, the whole most exquisitely drawn. The slightly spreading foot has a band of Joey heads with a trellis design border above in green and black. Springing from this, and extending about an inch and a half up the vase, is a large trellis pattern design in green and black on a salmon colour back- ground. Around the lip is a broad band enamelled in black to represent shark-skin, with dragons in rouge de fer. Under this band is another of Joey heads in black on green. On carved wood stand. A unique example. K'ang-hsi period." Height, 18 inches. Purchased from Gorer of London. 90. EXTRAORDINARY FAMILLE VERTE CLUB-SHAPED VASE (K'ang-hsi) Purchased from Gorer of London, and described by him as follows : "A rouleau shape vase most superbly enamelled in all the colors of the famille verte. The background is of rich aubergine covered entirely with a small floral design in black. There is on either side a large panel, containing the figure of a lady playing with children, and these are divided by two small panels, one pomegra- nate and the other leaf shape, the former having altar utensils and the latter sprays of flowers. Coming over the shoulder is a deep lambrequin design representing brocade. The neck has two small panels on a diaper background, which also represents bro- cade; dividing these panels on either side is a large dragon with bifurcated tail. Early K'ang-hsi period (XVII Century). From the Sir William Bennett and Hamilton Palace collections. This vase is generally known as the 'Hamilton Palace' vase, and is without doubt the finest specimen of famille verte in existence. The scheme of decoration is unique." Height, 19 inches. 91. PAIR TALL FAMILLE VERTE VASES WITH COVERS (K'ang-hsi) Purchased from Gorer of London, and described by him as follows : "A pair of tall vases and covers, decorated with four large panels, containing figures of court ladies in official robes; these divided with bands of a bold trellis design, ornamented with flowers and altar utensils. Above is a broad band containing formal flowers on a stippled green background, this divided by four reserves, each con- taining a fabulous animal. Above this, and going up the neck, are acanthus leaves. At the base is a broad deep band containing four larger reserves in which are flowers of the four seasons, and these are divided by a black pencilled design on a green background. The covers, which are surmounted by small yellow kylins, are treated in keeping with the vases, the whole enamelled in rich famille verte colors. K'ang-hsi period (XVII Century)." The vases show fire cracks on necks, and the covers have both been repaired. Height, 21 inchet. 92. NOBLE PEAR-SHAPED VASE (Yung-Cheng) Dense hard paste and invested with a brilliant white glaze, over which is a decoration beautifully executed in enamel colors of the famille rose, depicting the abode of the Immortals and their at- tendant disciples, Si-Wang-Mu, and other legendary subjects. Height, 25*4 inches; diameter, 14 inches. From the Trapnell Collection, London, and formerly the property of the great Chinese statesman, Li Hung-Chang. Purchased from Gorer of London. 93. GRAND FAMILLE VERTE CLUB-SHAPED VASE (K'ang-hsi) Purchased from Gorer of London, and described by him as follows : "A large size rouleau shape vase, profusely decorated with figures of court nobles and ladies waiting an audience of the Emperor K'ang-hsi, who is seen in the upper portion in the interior of the palace, and at his rear are two boy attendants. Immediately on the left of this is a terrace with the Empress seated, attended by three court ladies. On the other side of the vase is a landscape. Around the shoulder is a broad band containing figures of dragons in various colors on a stippled background, which is again orna- mented with red hawthorn. On the neck are three of the great Buddhistic disciples, with boys who bring tribute. K'ang-hsi period. A remarkable feature of this vase is the numerous head- dresses, which are all shown in black enamel, and it would be impos- sible to find more superb quality enamels." Height, 29 inches. From the Sir William Bennett Collection, London. SINGLE COLOR PORCELAINS 94. SOFT PASTE COUPE (Yung Cheng) Pure white crackled glaze. A dragon and iris in relief round the shoulder. 95. TRIPOD MINIATURE PERFUME BURNER (Ch'ien-lung) Invested with a turquoise-blue glaze. Height, 3 inches. 96. MELON-SHAPED VASE (Ch'ien-lung) Invested with an orange yellow glaze. Vine in bearing incised in the paste. Height, 3% inches. 97. SMALL OVIFORM VASE (Ch'ien-lung) Invested with an iron rust glaze of even quality. Height, 4% inches. 98. SMALL BOTTLE-SHAPED VASE (Ch'ien-lung) Coated with a mustard yellow glaze, which is minutely crackled throughout. Height, 4'^ inches. 99. CELADON TEA JAR (Ch'ien-lung) Oviform with cap shape cover. Coated with a sea green glaze under which is a decoration of flowers and leaf scrolls incised in the paste. Height, 4 inches. 100. PURE WHITE VASE (Ch'ien-lung) Miniature bottle shape, with tall tubular neck. Round the body etched in the paste under the glaze is a horned dragon. Under- neath the foot four-character mark of Cheng-hua. (Apocryphal.) Height, 4% inches. loi. LIVER-RED MINIATURE BOTTLE (Ch'ien-lung) Globular body with slender tubular neck. Invested with a brilliant monochrome glaze of liver-red color. Height, 4% inches. 102. COMPRESSED BOTTLE-FORM WHITE VASE (Ch'ien-lung) Squat ovoidal body and tubular neck, on short circular foot. Coated with a white, unctuous glaze, crackled throughout. Has teakwood stand. Height, 4 inches. From the S. S. Carvalho Collection, New York, 1914!. 103. ROSE-COLOR BOWL WITH COVER (Yung Cheng) Of semi-eggshell porcelain. The outer surface invested with a rose- color souffle glaze of fine and even quality. Six-character mark of the period painted in blue underneath the foot. Height, 314 inches; diameter, 3% inches. 104. BRILLIANT GREEN BOWL (Ch'ien-lung) Hexagonal shape. The outer surface invested with a brilliant green glaze applied over a crackle surface and the inner surface coated with a gray crackle glaze. Bears a Hall mark, pencilled in un- derglaze blue. Height, 3% inches; diameter, 7 inches. 105. TURQUOISE-BLUE BOTTLE-SHAPED VASE (Ch'ien-lung) Globular body, with tall tubular neck. Coated with a turquoise- blue glaze of brilliant quality applied over a minutely crackled surface. Height, 6l^ inches. 106. SMALL MIRROR-BLACK VASE (Ch'ien-lung) Graceful oviform, with short trumpet-shaped neck. Of thin hard ■ paste and invested with a mirror-black glaze of brilliant quality. Height, 614 inches. 107. SMALL LAPIS-BLUE VASE (Ch'ien-lung) Graceful pear-shape and spreading mouth. Covered with a mono- chrome glaze of lapis-blue of lustrous quality and evenly applied. Height, 6 inches. io8. WRITER'S PEACHBLOOM WATER DISH (K'ang-hsi) Low circular shape, with broad mouth. Invested with the typical peachbloom glaze, and exhibiting markings of a lighter tone, and fleckings of verdigris green. Underneath the foot is a six-character mark of the period in underglaze blue. Has teakwood stand and cover. Height, Ay.} inches. 109. WRITER'S CLAIR-DE-LUNE WATER DISH (K'ang-hsi) Low circular shape with broad mouth. The inner and outer sur- face is invested with a monochrome glaze of clair-de-lune. Un- derneath the foot six-character mark of the period. Diameter, 4% inches. no. WRITER'S WATER BOTTLE (K'ang-hsi) Semi-globular shape. In pure white hard paste, ornamented with three disks of archaic dragons, worked in relief in the paste. A form seldom found except in peachbloom specimens. Underneath the foot a six-character mark of the period painted in blue. Height, 3•^ inches; diameter, 5 inches. III. RARE TURQUOISE BOTTLE (K'ang-hsi) In bulbous pear or graceful gourd shape, drawn into a tall, slender neck ; luxuriant floral scrolls and foliations etched and modelled in the paste; flooded with a lustrous glaze of delicate, mottled tur- quoise, which, deepening in the incisions, emphasizes the outlines and details of the decoration. Has stand. Height, 614 inches. From the S. S. Carvalho Collection, New York, 1914. 112. OVIFORM VASE WITH TRUMPET NECK (Yung Cheng) Clear white hard paste, invested with a monochrome glaze of coral red of fine quality and varying tone. Height, S% inches. 113. OVIFORM CRACKLE VASE (Ch'ien-lung) Invested with a pale celadon glaze over a boldly crackled surface and decorated with floral sprays in blue and brown. Height, 7% inches. 114. MIRROR-BLACK VASE (K'ang-hsi) Somewhat of amphora-shape without handles. Tall ovoidal body on flat foot recessed underneath, with flattened shoulder, short neck and wide trumpet-lip. Brilliant mirror-black glaze of peau d' orange surface, flowing evenly from the white-glazed lip to the perfect foot which underneath has a white glaze. Height, 7% inches. From the Edward Runge Collection, New York, 1914. IIS. LAPIS-BLUE BOTTLE (Yung Cheng) Globular-ovoidal body of graceful and dignified proportions, the tubular neck with just a suggestion of upward expansion. Clear, musical porcelain, with a wonderfully even, clear and brilliant lapis- lazuli glaze of great depth of color and smooth, mirror-surface. Interior of neck glazed in a fine white. Height, 7% inches. From the Edward Runge Collection, New York, 1915. ii6. TEA-COLOR VASE (Ch'ien-lung) Inverted pear-shape, with short flaring neck and spreading base. Of dense hard paste and coated with a souffle tea-color glaze of even quality. Height, 8% inches. 117. ROSE-COLOR VASE (Yung Cheng) Inverted pear-shape, with short neck and broad mouth. Invested with a monochrome glaze of deep rose-color and orange-peel sur- face, evenly applied and leaving a defined white rim round the mouth. Height, 8 inches. 118. MAZARINE BLUE VASE (Ch'ien-lung) Graceful bottle-shape, of clear white hard paste and invested with a monochrome glaze of mazarine blue of brilliant quality. Height, 8% inches. iig. OVIFORM EMERALD-GREEN JAR Purchased from M. Dreicer Sj- Co., New York agents for Gorer of London, and described by them as follows: "A very important oviform vase covered with an emerald green glaze over a coarse crackle. Ming period." Height, 8 inches; diameter, 6% inches. From the collection of George R. Davis, London. 120. LAPIS-BLUE BOTTLE (Ch'ien-lung) Globular-ovoidal body and tubular neck. Clear hard paste of sonorous quality, coated with a lustrous glaze in bright lapis-lazuli hue, with the grey trend in strong evidence and a peau-d'orange surface. Height, Sy^ inches. From the Edward Runge Collection, New YorJc, 1914. 121. MIRROR-BLACK OVIFORM VASE (Yung Cheng) Coated with a monochrome glaze of brilliant quality and deco- rated with a figure of a Chinese lady, stork and symbolical bats worked in relief in the paste, and pencilled in bleu-de-NanMn and rouge-de-cuivre. Bears seal mark of the period. Height, Sy^ inches. 122. BOTTLE-SHAPED VASE (Sung Type) Globular body, with tall slender neck. Coated with a thick glaze of ivory-white tone under which is a decoration of peonies etched in the paste. Height, 9 inches. 123. QUADRILATERAL POTTERY VASE (Ming Type) With two mask and ring handles, and on a permanent shaped stand. Invested with a brown metallic glaze. Height, 10% inches. 124. ROSE-COLOR VASE (Yung Cheng) Graceful pear-shape, with spreading mouth and receding base. In- vested with a monochrome glaze of rose color. Underneath the foot a six-character mark of the period. (Repaired at lip.) Height, 12 inches. 125. DEEP VIOLET-COLOR VASE (Ch'ien-lung) Of graceful pear-shape and sonorous hard paste. Invested with a monochrome glaze of deep violet color evenly applied and running over into the mouth of the vase. Underneath the foot an incised seal mark of the period. Height, 11% inches. 126. IMPERIAL YELLOW JAR (Ch'ien-lung) Graceful oviform, with short neck and broad mouth. Of clear white hard paste and coated with an imperial yellow glaze of opaque quality. Has carved teakwood cover. Height, 9 inches; diameter, 7% inches. 127. MIRROR-BLACK VASE (K'ang-hsi) Double-lobed gourd shaped. Of clear white hard paste and invested with a mirror-black glaze of brilliant and even quality. Height, %y^ inches. 128. GOURD-SHAPED RED VASE (Ch'ien-lung) Of dense hard paste and coated with a monochrome glaze of bril- liant red of the sang-de-bawf type. Height, 9 inches. 129. A SUPERB APPLE-GREEN BOTTLE (K'ang-hsi) It is of globular shape with a tall tubular neck. The exterior sur- face is marked with a network of dark lines over which has been skilfully applied a monochrome glaze of pale apple-green of beau- tiful translucent quality. Round the mouth is a defined rim of white and the inside of the neck is coated with a white crackle glaze. Has carved teakwood stand. Height, 6% inches. From the S. S. Carvalho Collection, New York, 1914. 130. A SUPERB CORAL-RED GALIPOT (K'ang-hsi) Of exceedingly graceful shape and perfection of finish. The glaze, which is of the rarest coral-red color, has been evenly applied and so as to leave a defined rim around the short neck, and exhibits a surface of exceeding smoothness throughout. Has carved stand. Height, 7 inches. From the S. S. Carvalho Collection, New York, 1914. 131. PAIR POWDER-BLUE VASES (K'ang-hsi) Graceful bottle-shape, with tall slender necks. Invested with a powder-blue glaze of mazarine tone and decorated with fabulous animals executed in peachbloom tint, within three reserve leaf- shaped panels. Height, 8^4 inches. From the George R. Davis Collection, London. Purchased from M. Dreicer (§• Co., New York agents for Gorer of London. 132. SANG-DE-B(EUF AMPHORA (K'ang-hsi) Purchased from M. Dreicer (§■ Co., New York agents for Gorer of London, and described by them as follows: "A rare bottle-shaped vase, covered with a translucent glaze of sang de bosuf. K'ang-hsi period. Condition perfect." Height, 8 inches. From the George R. Davis Collection, London. 133. EGGSHELL ROSE-COLOR VASE (Yung Cheng) Pear shape, with tubular neck, which has been ground down. It is invested with a monochrome glaze of beautiful rose-color, of even quality. Height, 7y^ inches. 134. DEEP VIOLET-COLOR BOTTLE (Ch'ien-lung) Of thin hard paste, and graceful form. It is invested with a monochrome glaze of deep violet color, of even and lustrous quality. Height, 12% inches. 135. ORANGE- YELLOW GOURD-SHAPED VASE (Ch'ien-lung) Of thin hard paste, and graceful outline. Invested with a mono- chrome glaze of orange yellow, varying in tone, and of opaque lustrous quality. Height, 12% inches. 136. STARCH-BLUE BOTTLE-SHAPED VASE (Ch'ien-lung) Decorated with a band of Sanscrit characters. Borders of sceptre head scrolls, diaper pattern and palmettes in underglaze blue. Height, 13 inches. 137- GRAND PEACOCK-BLUE PLATE (K'ang-hsi) Dense sonorous hard paste. Invested with a monochrome glaze of peacock blue of mottled quality. Diameter, 24J4 inches. From the Art House of Thomas B. Clarke. SPECIMENS OF CARVED JADE AND AGATE 138. GREY AGATE SMALL TABLET (Ch'ien-lung) Figures, pine, plum in blossom, house and rocks carved in relief in the matrix. Incised inscription. 139. CARVED WHITE JADE ORNAMENT (Ch'ien-lung) Two citron stem, leaves and a butterfly carved in relief. 140. WHITE JADE GIRDLE CLASP (Ch'ien-lung) Carved in shape of a sceptre, with a dragon in relief and undercut. 141. AGATE SPHERE (Ch'ien-lung) Brown clouded texture with white veins. Has carved stand. Diameter, 2i/4 inches. 142. WHITE JADE PANEL (Ch'ien-lung) Circular shape. Hawk, fabulous animal and foliage intricately carved in openwork. Diameter, 3 inches. 143. WHITE JADE FLOWER VASE (Ch'ien-lung) Carved in design of a lily, stem and buds forming the base. Height, i inches. 144. WHITE JADE VASE (Ch'ien-lung) Carved in design of Buddha's-hand fruit with stem and leaves in high relief carving. Height, 6 inches. 145. YELLOWISH-WHITE JADE DOUBLE VASE (Ch'ien-lung) Carved in design of a flattened oviform vase with cover and small pitcher-shape flower holder, the two joined by branches of peach fruit and the sacred fungus, carved in bold relief and undercut. Height, 5% inches; length, Sy^ inches. 146. WHITE JADE INCENSE JAR (Ch'ien-lung) Fashioned in design of a recumbent ox. A jfigure of a Chinese boy holding branches of the sacred fungi which is carved in relief and undercut. The cover is ornamented with three recumbent oxen and is surmounted by a floral rosette. Height, 6 inches; length, 9 inches. 147. GREEN-WHITE JADE VASE (Ch'ien-lung) Cylindrical shape with cover, the latter being surmounted by a recumbent chimera. The base composed of spears of millet, rocks and fungi, are carved in relief and undercut. Height, 11 inches. 148. CARVED WHITE JADE VASE WITH COVER (Ch'ien-lung) Flattened oviform, with two dragon head and loose ring handles, fashioned after an ancient bronze. Ornamented with bands of ogre heads, archaic scrolls and palmettes, which are finely carved in low relief. Height, 11^4 inches. 149. CARVED GREEN JADE PILGRIM BOTTLE (Ch'ien-lung) Of dark green texture, and of "full moon" or pilgrim bottle shape, with two scroll handles at neck and a cover which is surmounted by a dragon in undercut carving. The obverse and reverse sides are elaborately ornamented with floral rosettes, leaf scrolls and the eight Buddhistic symbols of happy augury, all of which is skilfuUy carved in high relief. Height, 13 inches; diameter, 8% inches. SECOND SESSION FRIDAY AFTERNOON, APRIL 9, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 150 to 338 inclusive BEAUTIFUL OLD SNUFF BOXES AND BONBONNIERES 150. OLD SAXE SNUFF BOX Square shape with hinged lid. The inner and outer surface deco- rated with floral bouquets in enamel colors, silver mounts. 151. OLD SAXE ENAMEL SNUFF BOX Oval shape with hinged lid. Enamelled decoration in gold and colors of allegorical figures, coats of arms, and floral festoons ; on the inside of lid a hunting scene. Mounted in silver gilt. 152. OLD SAXE ENAMEL SNUFF BOX (Louis Quinze) Oblong shape with hinged lid. Embellished with translucent en- amel and gilding, with figure and floral subjects. Silver mount- tings. 153. SAXE PORCELAIN SNUFF BOX (Louis Quinze) The lid and sides embellished with an applied ornamentation ex- quisitely wrought in gold, of figure subjects in cMnoiserie style. The inner side of lid decorated in enamel colors with landscape, river view and Chinese figures. Chased gold mountings. 154. SAXE PORCELAIN SNUFF BOX (Louis Quinze) Oval shape with hinged lid. The outer surface and inner side of lid decorated with finely painted pastoral subjects in the Watteau style, repousse and chased gold mountings. I5S- PATE TENDRE SNUFF BOX (Louis Quinze) Gilt and enamel decoration of birds and floral scroUs. Silver mounting. 156. LOUIS QUINZE PORCELAIN SNUFF BOX In the style of Capo di Monti. On the lid a relief decoration of mythological subject, on the sides rocaille and shell patterns, which are also in relief painted and gilded, and on the inside of lid a pastoral subject painted in red. Silver mountings. 157. ANTIQUE ITALIAN FAIENCE SNUFF BOX Irregular shape with hinged lid. The lid is decorated with figure of Neptune, leaf scrolls and other designs painted in yellow, green, brown and blue. The sides ornamented with relief and painted floral and scroll designs. Silver mounts. 158. ROCK CRYSTAL BONBONNIERE (Louis Quinze) Circular shape with hinged lid. The box carved in fluted pattern, the lid ornamented with an enamelled panel, "The Holy Family," and the inner side of lid decorated with a landscape. Chased gold mountings. IS9- GOLD SNUFF BOX (Regency) Oblong shape with hinged lid. The entire outer surface richly embellished with chiseled work representing musical parties, flowers and rocailles. 160. GOLD SNUFF BOX (Louis Quinze) Square shape with hinged lid. Panels of cupids and trophies, wrought in relief. Borders of leaf scrolls and arabesques in re- pousse and chased workmanship. 161. GOLD SNUFF BOX (Louis Seize) Oblong shape with hinged lid. Panels of chased diaper pattern and the border designs wrought in relief in gold of two tints. i6a. ENAMELLED SNUFF BOX (Louis Quatorze) Oval shape with hinged lid. The lid and bottom embellished with enamelled paintings of mythological subjects. The box surrounded by eight framed panels of finely executed enamel painting depict- ing scenes from mythology. i63. GOLD SNUFF BOX (Louis Seize) Oblong shape with rounded ends and hinged lid. Chased borders of floral designs in gold of two tints. The sides are divided into four panels by chased pilasters. The lid, sides and bottom deco- rated with a neat diaper pattern. 164. GOLD AND ENAMEL SNUFF BOX (Louis Quinze) Square shape with hinged lid. The lid, sides and bottom richly embellished with enamelled miniature paintings of pastoral subjects in the style of Watteau and framed with repous.ie and chased borders of rocaille design. 165. GOLD SNUFF BOX (Louis Quinze) Flat, oblong shape with hinged lid. Chased surface with applied ornamentation of mother-of-pearl and tinted ivory, of figure sub- jects representing the vintage, trophies, dolphins and other de- signs. 166. ROCK CRYSTAL SNUFF BOX (Louis Quinze) Intaglio ornamentation of a medallion head, scrolls, floral festoons and other designs. Gold and enamel mountings, and the thumb piece set with brilliants. 167. CARVED TORTOISE-SHELL SNUFF BOX (Louis Quatorze) Oblong shape with hinged lid, the cover embellished with a minia- ture portrait in enamel of the brother of Louis XIV. Mountings in repousse gold. 168. GOLD AND ENAMEL BOX In the style of Louis Seize. Round shape with two compartments. One fitted as a bonbonniere, the other arranged for rouge-powder and brush. The lids beautifully enamelled with figure and other subjects in the style of Boucher, the sides with reserve panels of trophies in enamels intercepted by chased gold ornaments. 169. ROCK CRYSTAL SNUFF BOX (Louis Quatorze) Irregular shape with hinged lid. The lid ornamented with an enamelled miniature portrait of the "Princesse Louise Henriette de Bourbon-Conti, Regent of France," and framed in repousse gold, in design of cupids and leaf scrolls. Mountings and thumb piece of chased gold. 170. GOLD AND ENAMEL LARGE SNUFF BOX (George Third) Oblong shape of serpentine outline. The lid ornamented with a finely painted miniature attributed to Angelica Kaufmann and framed with half pearls and gold scrolls. The entire surface of the box is covered with an opaque red enamel, applied over an engine turned surface and bordered with incised scroll designs filled in with white enamel. 171. DRESDEN PORCELAIN BONBONNIERE (Augustus Rex) German. Semi-hexagonal pouched shape. Hinged lid. Wrought and chased gold mounting. The body and lid are of Dresden por- celain painted in panels of Venetian views on a white and yellow ground with a gold filigree border around panel on top of lid. The rim of the lid is of wrought gold with a chased gold thumb- piece of double scroll design. Inside the lid is a porcelain painted miniature of a young girl reading a love-letter with Cupid looking over her shoulder. From the James A. Garland Collection, New York, 1910. 172. GOLD BONBONNIERE (Louis Seize) Oval shape ; hinged lip. Chased gold mounting. The outside bor- der of lid is a narrow edging of chased gold surrounding a band of leaf pattern in cTiamp-leve green translucent enamel. Within this border is a field of translucent green enamel over an engine-turned gold ground. In the centre is an oval miniature painting, en cama'ieu under crystal, surrounded by an acanthus leaf border of chased gold and champ-leve emerald-green translucent enamel. The subject of the miniature is "Venus Reclining, with Cupid and Nymphs Attendant." After Sauvage. The sides are divided by chased gold pilasters into four panels occupied by nymphs and cupids painted en camdieu under crystal. The bottom repeats ex- actly the treatment of the lid, the subject of the miniature painting being "Diana at Her Bath." From the James A. Garland Collection, New York, 1910. 173. GOLD SNUFF BOX (Louis Seize) Oval shape with hinged lid. The lid ornamented with a miniature portrait of a lady, by Courtois, and framed in brilliants. This miniature is imposed upon a ground of translucent red enamel, which is surrounded by a border of laurel wrought in two tints of gold. The sides and bottom are embellished with panels of red opaque enamel, and bordered and intercepted with laurel leaves and festoons exquisitely wrought in two tints of gold. 174. AGATE SNUFF BOX (Louis Seize) Oblong shape, hinged lid. The embellishment is in applied gold exquisitely wrought in repousse and openwork. On the lid is a scene representing figures of reclining Venus and a cupid. On the sides rocailles, masks and figures of cupids. The mountings are of chased gold and the thumb piece is set with brilliants. 175. GOLD BONBONNIERE Early st3'le of Louis Quinze. Oval shape ; hinged lid. Chased gold mountings. The lid is edged by a floral and guilloche border, witli scrolls and acanthus leaves in colored gold of three tints, which encloses an enamel miniature painting en camaieu rose of cupids, treated in the manner of Boucher. The rim of lid is decorated with a guilloche border in chased gold. The sides are divided by four pilasters and wreaths of chased and colored gold into shaped panels of Cupids at Play, of enamel painted en camaieu. The bottom repeats the treatment of lid. From the James A. Garland Collection, New York, 1910. 176. GOLD BONBONNIERE (Louis Quinze) Oval shape; hinged lid. Chased gold mounting. The lid is sur- rounded by a border of a chased gold ribbon and laurel spray pat- tern on a ground of olive-green champ-leve enamel. Within this a sunken and chased line of gold surrounds a field of pinkish enamel with a conventionalized basket of flowers in chased gold and champ- leve dark blue enamel. The rim of lid repeats the border of a chased gold ribbon and spray on an olive-green enamel ground. The sides are divided by a scroll work design of chased gold on an olive-green ground into panels of pinkish enamel, with festoons and baskets of chased gold with flowers of dark blue opaque enamel. The bottom repeats exactly the treatment of the lid. Vieux Paris, by Hubert Lowolt Sons, Fermier. From the James A. Garland Collection, New York, 1910. 177- GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oval shape with hinged lid. The lid is embellished with a miniature painting of Venus, Mars and Cupid, and surrounded by trophies, flowers and scrolls, exquisitely wrought in two tints of gold and partially filled in with black enamel. The sides have enamel panels of allegorical subjects intercepted by repousse and a chased gold embellishment of flowers, scrolls and bow knots. The bottom of the box is similarly treated in gold of different tints and bears an enamel panel of cupids, an altar, and flaming hearts. 178. GOLD AND ENAMEL SNUFF BOX (Louis Quinze) Oval shape with hinged lid. Borders of rope designs wrought in high relief. The lid ornamented with an enamel miniature, "Alle- gorical of Love." The sides and bottom panelled with a yellow opaque enamel, framed with white. Poinpons d'Alaterre adjudicataire des droits de Marque Aimee 1773-1774. 179. GOLD SNUFF BOX (Louis Seize) Rectangular shape; hinged lid. Chased gold mounting. The lid is edged with a narrow border of chased gold, which frames a French laque of raised gold on a black ground of aquatic birds in a landscape. The rim of the lid is of gold chased in a floral pattern, and the four sides and bottom of the box are formed of panels of French lacquer framed in chased gold and of varied designs of gold on a black ground, the sides having subjects of landscapes and flying birds, and the bottom a swan in the water. Maker's mark, "P. E. B." Pierre Etienne Buron, 1745. From the James A. Garland Collection, New York, 1910. 180. BLOODSTONE SNUFF BOX Octagon shape with hinged lid. The lid ornamented with a finely painted miniature of Napoleon I. The mounting, of Louis Seize style, is exquisitely wrought in gold. Signed, Vachete, Paris. 181. GOLD BONBONNIERE (Louis Seize) Circular shape; detachable lid. Mounted in chased gold. The lid is bordered with a band of chased gold, colored in three tints in a laurel leaf and husk pattern; within this is a field of dark-blue enamel with gold, red and blue enamel arabesque pattern and border of silvered pearlettes. In the centre is a shuttle-shaped panel surrounded by silvered pearlettes containing a "Dancing Nymph" painted in white enamel en camdieu. The rim of lid re- peats the chased gold border of top, and the sides are divided into four panels by spaces filled with a husk pattern chased in colored gold. The panels are filled with a groundwork of black enamel, with a design in red, green, silver and gold enamels. The bottom of the box repeats exactly the treatment of the lid, except that the subject of the centre panel is a tripod with vase of burning incense. Maker's mark, "J. D." Vieux Paris, Jean Ducrollay, 1754. From the James A. Garland Collection, New York, 1910. 182. LARGE VERNIS MARTIN SNUFF BOX In the Louis Quinze style. Cupids, cloud forms and trophies, painted in various colors, on a background of gold. Mountings and thumb piece of red gold. Lined with tortoise shell. 183. GOLD AND ENAMEL OBLONG SNUFF BOX Louis Seize style. Oblong shape with hinged lid. The lid, sides and bottom, panelled in grisaille and rose-color enamel, with pastoral subjects delicately executed and framed in chased gold leaf scrolls, on a ground of green opaque enamel. The border designs and comer ornaments are of entwined laurel leaves and festoons and exquisitely wrought in two tints of gold. 184. GOLD SNUFF BOX (Louis Quinze) Rectangular shape; hinged lid. Chased gold mounting. The entire box is of elaborately chased gold. The lid is repousse and chased in a design of scroll work and wreaths, enclosing an oval panel of gold repousse, chased and colored, of a fanciful rural subject with cupids. The sides are of wrought and chased gold in a design of scrolls and floral wreaths enclosing oval panels in repousse, chased and colored gold, of sporting subjects, after Boucher and Oudry. The bottom repeats the treatment of the cover. The thumb- piece is formed of a large brilliant mounted in gold. Marked "V." Vieux Paris, Jacques Varin, 1761. From the James A. Garland Collection, New York, 1910. 185. LARGE VERNIS MARTIN BOX Oblong shape with hinged lid. The lid ornamented with a medal- lion of a portrait of Marie Antoinette framed in chased gold. The sides and bottom painted with scenes at "Versailles" and "Petit Trianon." Mountings and thumb piece of repousse gold. Lined with red gold. i86. TORTOISE-SHELL BONBONNIERE (Regency) Regence or early period of Louis Quinze. Circular shape; hinged lid. Dark tortoise-shell with chased gold hinges. The body of the box, which is an oblate spheroid in shape, is of dark shell only slightly mottled. The lid is covered with a chased inlaid "Grotesque" pattern on a ground of pique in very fine gold dots. The ai'abesque forms four cartouche-shaped panels, which are occupied with a diaper design of diamond pattern. The side and bottom are treated with a chased and inlaid gold arabesque design on an elaborate ground of fine pique, diaper and imbricated pattern in the style of Berain. From the James A. Garland Collection, New York, 1910. 187. GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oval shape with hinged lid. Ornamented with a miniature painting of Venus, Apollo and Cupid and panels of opaque blue enamel, which are dotted with gold stars. The borders are exquisitely wrought in red gold and embellished with laurel patterns in champ-leve. 188. GOLD BONBONNIERE (Louis Quinze) Rectangular shape ; hinged lid. Chased gold mounting. The lid is edged with a border of wrought and chased gold and green translu- cent enamel in a leaf and scroll design on a gold ground. Along the front edge is a fillet of opaque enamel. The border encloses a field of bloodstone inlaid in pierced and chased gold with a pictorial subject of an Oriental landscape and figures. The stem of the lid repeats the border of the cover, and the white enamel fillet. This border also surrounds the sides and ends of the box, enclosing panels of bloodstones with an Oriental mosque landscape and figure sub- jects in pierced and chased gold. The bottom repeats the treat- ment of the cover. Maker's mark, "D.," with crown and "N. N." Vieux Paris, Nolin, 1759. From the James A. Garland Collection, New York, 1910. 189. GOLD BONBONNIERE Style of Louis Seize. Shuttle-shaped; hinged double lid. Chased and engraved gold mounting. The double lid is edged with a chased gold-beaded border, inside of which is a guilloche pattern of champ- leve enamel with white dots. This border is separated by a sunken gold line from the field of translucent ruby enamel over an engraved field, portions of which, showing the engraved pattern, are left uncovered by the enamel. In the centre of either lid is a round medallion, bordered with a pattern of white and brown translucent enamels, in brown en camaieu with miniatures of "Cupid Disarmed and Captive" and "Orpheus with His Lyre." The bottom is a replica of the top of lid, except that the round medallion paintings en camaieu are portraits of a young man and of a woman with veiled head. Though bearing an English hall-mark, the box is very evi- dently of French inspiration in design, and, possibly, of French execution in workmanship. English date letter of 1738. Maker's mark, "I. I." Vieux, Paris, Nicolas Besnier, 1732. From the James A. Garland Collection, New Yorh\ 1910. 190. GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oblong shape with hinged lid. The lid and sides enamelled with subjects after Van Ostade, within borders of rocailles and floral festoons in repousse and chased gold. The elaborate thumb piece is incrusted with brilliants. 191. GOLD SNUFF BOX (Louis Quatorze) Octagonal shape; hinged lid. Wrought and molded gold mounting. The body of the box is of heavy wrought gold, the edge of the lid being of shaped gold with fine moldings, the top is panelled with mother-o'-pearl, over which is applied an elaborate "Grotesque" design, in the style of Berain, in pierced, repousse and chased gold, heightened in places with blue, red and green translucent champ- leve enamels. The centre of the design is an armorial bird under a canopy, and flanked by grotesque caryatids in colored enamels. Arabesques, conventional storks, pedestals and shells complete the rococo design. The rim of lid and thumb-piece are of wrought gold, the sides are plain-shaped gold, and in the bottom is inlaid a plaque of unornamented mother-o'-pearl. From the James A. Garland Collection, New York, 1910. 192. AMETHYST BONBONNIERE (Regency) Period of Louis Quinze Regence. Shaped as a head; hinged lid. Purple and white amethyst, gold mounted. The box is carved from one piece of parti-colored amethyst into the semblance of a tur- baned Moor's head, ingenious advantage being taken of the natural lamination of the stone to give the effect of the white turban. The lid is of purple amethyst with a wrought gold rim. The floriated ribbon ornament in front of the turban is of turquoise, rubies and brilliants mounted in gold. On the left side of the turban is another ornament simulating a plume of small turquoises clasped with a large brilliant and including a double floral spray of rubies. In the carved ears are drops, each of a rose diamond and a small opal. The eyes are of moonstone with pupils of convex silvered glass. From the James A. Garland Collection, New York, 1910. 193. GOLD AND ENAMEL SNUFF BOX (Louis Quinze) Oblong shape with hinged lid. The lid, bottom and sides embellished with figures of cupids in grisaille on a clouded rose pink ground, and framed within cartouches of rocaille pattern. The corner orna- ments executed in opaque green enamel. 194. GOLD SNUFF BOX (Louis Seize) Oval shape ; hinged lid. Chased gold mounting. The lid is bor- dered with a band of chased gold on which, in relief, is a laurel border of champ-leve translucent green enamel and seed pearls. This encloses a field of translucent blue enamel over an engine-turned gold ground, nearly covered with an arabesque decoration of fine gold tracery. In the centre, surrounded by a border of half pearls, is a miniature painting in enamel of a classical subject, in the style of Angelica Kaufmann, of "Nymphs Decorating a Statue of Cupid with Garlands of Flowers." The rim of lid has the same pattern, of gold, translucent green enamel and seed pearls, as the cover. The sides are divided, by pilasters of chased gold, decorated with dark-red enamel, into four bands of opaque dark-blue enamel, deco- rated with fine gold tracery. The bottom repeats the treatment of the lid, with the omission of the oval miniature. Maker's mark, "L." Vieux Paris, Pierre Jean Lenfant, 1772. From the James A. Garland Collection, New York, 1910. 195. GOLD AND ENAMEL SNUFF BOX (Louis Quinze) Oval shape with hinged lid. Over a surface of chased diaper pat- tern is an embellishment finely executed in brilliant and opaque enamels of pastoral subjects and floral motives within borders of scroll design. 196. AGATE BONBONNIERE (Regency) Semi-hexagonal pouch-shaped; hinged lid. Wrought and chased gold mounting. The body of the box is carved out of one piece of agate, as is also the lid. Both are completely covered with pierced, repousse and chased gold in rococo design of scrolls, flowers, dogs, birds and rabbits. The rim of the lid is of plain wrought gold with a chased gold thumb-piece. From the James A. Garland Collection, New York, 1910. 197- GOLD AND ENAMEL SNUFF BOX (Louis Seize) Circular shape with loose lid. The lid beautifully embellished with an enamel painting of "Venus and Mars" framed by half pearls. The rim of lid exquisitely chased with diaper and scroll designs, intercepted by dark-blue enamel, and the rim on bottom of box enamelled in opaque sapphire-blue. 198. GOLD SNUFF BOX (Louis Quinze) Rectangular shape; hinged lid. Chased and engraved gold mount- ing. The lid is edged with a band of chased and colored gold and white champ-leve enamel in a pattern of scrolls, shells, and rosettes. This encloses a field of gold engraved in parallel lines, on which is a relief, of chased gold and champ-leve translucent green and opaque white enamel, of a sporting subject, "Greyhounds and Hare," after designs by Oudry. The rim of lid repeats the border of lid, which also encloses both sides and the ends of the box. The sides and bottom have subj ects of birds, dogs and bushes, in champ- levS enamel of translucent green and white on an engraved ground (aw fond reserve), and the ends have bouquets of flowers similarly treated. From the James A. Garland Collection, New York, 1910. 199. LARGE GOLD SNUFF BOX (Louis Seize) Oval shape with hinged lid. The panels of lid, sides and bottom contain rustic and domestic scenes wrought in two colors of gold and silver. The borders of laurel, bow knots and scroll pattern exquisitely wrought in gold of two tints. 200. GOLD BONBONNIERE (Louis Quinze) Oval shape; hinged Kd. Save for a narrow rim of chased gold in two colors, the entire surface of this box is covered with enamels, champ-leve, translucent, and painted en camdieu. The top of lid is edged by a border of blue translucent enamel broken by wreaths of flowers in champ-leve, and these surround a panel painted en camdieu with cupids playing musical instruments in the style of Boucher. The same decorative scheme is repeated round the sides, which are divided by the ground of blue translucent enamel and the floral wreaths into four panels of similar subjects. The bottom is an exact replica of the lid, save that the subject of the centre panel is a group of lute, lyre and other musical instruments. Maker's mark, ( .?) "C." From the J. A. Garland Collection, New YorJc, 1910. 201. MOTHER OF PEARL SNUFF BOX (Louis Quinze) Oblong shape with hinged lid. Richly embellished in applied gold of repousse chased workmanship, with figures, rocailles, fountains and emblematic designs. Mounted and lined with gold. Thumb- piece set with three brilliants. 202. GOLD BONBONNIERE Early style of Louis Seize. Oval-shape ; hinged lid. Chased gold mounting. The lid is edged with a guUloche border in colored gold of two tints which frames a miniature painting in gouache of a "Marine View with Figures," after Joseph Vemet, under crystal. The rim of the lid is of chased and colored gold of three tints in an acanthus leaf design. The sides are in four divisions framed in chased gold of two tints and occupied by miniatures in gouache, of pastoral subjects, under crystal. The bottom resembles the top of lid, except that the subject of the miniature is a "Landscape with Figure." From the James A. Garland Collection, New York, 1910. 203. GOLD-MOUNTED SNUFF BOX (Seventeenth Century) Oblong shape with hinged lid. The lid, sides and bottom embellished with miniature panitings by Van Blarenburghe of marine and coast scenes mounted under crystal and framed in borders of floral de- signs wrought in two colors of gold. 204. GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oval shape with hinged lid. The panels of lid and bottom of opaque blue enamel and decorated en camaieu with cupids and chai'iot, framed in a finely wrought gold border. 205. GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oval shape with hinged lid. The lid embellished with an enamelled miniature of classical figures, framed in chased gold, panelled with opaque red enamel applied over an engine-turned ground, and within borders of floral and scroll designs wrought in two colors of gold. 206. GOLD AND ENAMEL SNUFF BOX (Louis Seize) Oblong shape with hinged lid. Ornamented with alternate strips of blue enamel and gold and the lid embellished with a grisaille panel of figures of cupids. 207. LADY'S WATCH Movement by Duchene et fils. Gold and enamel case of shell design. 208. CORNELIAN AND GOLD PERFUME BOX (Louis Quinze) The top and bottom of carnelian with carved shell pattern and the mountings of repousse and chased gold. 2og. GOLD AND ENAMEL VINAIGRETTE (Louis Seize) Panels of cupids in grisaille. Borders of floral and scroll designs in translucent enamels. Fitted with three miniature bottles. 210. GOLD AND ENAMEL TOILET CASE (Louis Quinze) Oval shape with hinged lid. Exquisitely wrought in gold of two tints and embellished with panels of pastoral subjects exquisitely executed in enamel. Fitted with miniature mirror and other requisites. 211. MOTHER OF PEARL AND GOLD NECESSAIRE (Louis Quinze) Embellished with pastoral subjects, trophies, rocaille and diaper patterns in applied gold. Thumb-piece incrusted with a brilliant. 212. FRENCH GOLD AND ENAMEL WATCH AND CHATELAINE (Louis Quinze) Embellished with finely executed enamelled medallions and incrusted with brilliants and champ-leve. 213. GOLD AND ENAMEL CHATELAINE NECESSAIRE (Louis Quinze) Elaborately wrought in rococo design and embellished with in- serted panels of enamel to resemble moss agate. The button to the spring catch is a large brilliant. Attched to the chatelaine is an agate thimble-holder and an agate emery case. 214. GILT AND ENAMEL PENDANT In the style of the sixteenth century. Equestrian figure of war- rior in colofed enamels. Incrustations of semi-precious stones and pearls. The reverse embellished with translucent enamels. In old leather case. ANTIQUE FANS 215. ANTIQUE CHINESE IVORY FAN (Louis Quinze) The blades and guards exquisitely carved in relief of Chinese figures and landscape on a pierced lace pattern ground. In the centre within a shield, the initials A. E. 216. FRENCH FAN (Louis Seize) Finely painted decoration. The central panel allegorical of the fine arts. Exquisitely carved and pierced blades and guard. 217. FRENCH FAN (Louis Quinze) Embellished with a finely painted mythological subject. The blades and guard of ivory exquisitely carved and pierced, and outlined with gold. 218. FRENCH FAN (Louis Quinze) Finely decorated with a pastoral subject, landscape and flowers. Ivory blades and guard exquisitely carved and pierced and tinted with enamel colors and gilding. Jewelled fastener. 219. FRENCH FAN (Louis Quinze) Finely painted decoration in monotone of a skating scene, and on the obverse a landscape. Exquisitely carved and pierced ivory blades and guards. 220. FRENCH FAN (Louis Quatorze) Finely painted pastoral scene. Mother-of-pearl blades and guards, exquisitely carved, pierced and inlaid with gold. 221. VERNIS MARTIN FAN (Louis Quatorze) Large panel depicting a dancing party and smaller panels in chinoiserie. The blades and guard delicately carved in low relief in floral design. 222. FRENCH MARRIAGE FAN (Louis Seize) The silk mount is painted in the centre with a very charming pair of lovers, seated by the pillars of a temple, the lady in an elaborate court costume, playing a mandolin and the gentleman holding the music. The rest of the fan is painted with shepherds' pipes, birds and flowers. Delicate ivory frame, beautifully ornamented with gold, the guard sticks underlaid with pretty vari-colored tinsels. 223. FRENCH FAN (Louis Quinze) The obverse painted with a scene, "A Village Dance," after Teniers, and reverse with pastoral subjects and chinoiserie. The ivory blades and guards exquisitely carved and pierced. 224. FRENCH FAN (Louis Seize) The obverse and reverse finely and elaborately embellished with paintings of Diana and nymphs by Lavreince. The ivory blades and guards exquisitely carved with a scene representing the "Part- ing of Mars and Venus." 225. FRENCH FAN (Louis Seize) Finely painted decoration on vellum. The central medallion show- ing classical figures in a studio. Ivory blades and guards exquisitely carved and pierced. Jewelled fastener. 226. FRENCH CORONATION FAN (Louis Seize) The painting, which is on silk, beautifully embroidered with gold, silver and colored spangles, represents the King receiving the crown and sceptre from a kneeling figure before an altar around which are grouped the Queen, Marie Antoinette, the Princesse de Lamballe and other court attendants. At the base of the painting are the arms of Marie Antoinette twice repeated, and surmounted by a Cupid holding the Queen's crown. On the back is a view of the Trianon with the King and Queen in foreground, and the arms of the Queen twice repeated. Mother-of-pearl frame, carved in open work and covered with gold figures. Two of the sticks contain oval medallions, one bearing a miniature portrait of Marie Antoi- nette, the other that of the Puincesse de Lamballe. The centre stick contains an allegorical portrait of the King, in light gold. 227. FRENCH FAN (Louis Quatorze) Finely painted embellishment with a Biblical subject, depicting "Rebecca at the Well." Mother-of-pearl blades and guard ex- quisitely carved and pierced. Silver fastener with inserted brilliants. 228. FRENCH FAN (Louis Quinze) Finely painted embellishment. Lovers surrounded by Cupids. Mother-of-pearl blades and guards pierced and inlaid with gold. 229. FRENCH FAN (Louis Quinze) Embellished with a pencil and wash drawing of a pastoral sub- ject in the manner of Boucher. Blades and guard of ivory and inlaid with mothcr-of-pcarl and tortoise-shell. 230. FRENCH MARRIAGE FAN (Regency) The sticks pierced with a minute design of the highest beauty. The painting on the mount represents two pairs of lovers, reclin- ing by a fountain and listening to a rustic musician, with groups of children in the background. On the back, a temple with group of ladies and a page. Mother-of-pearl frame of exquisite work- manship, with centre cartouche of Venus, Mars and Cupids, inlaid in light colored gold. 231. EARLY ENGLISH FAN (Eighteenth Century) Finely painted decoration by Angelica Kaufmann representing the Goddess Minerva bestowing a laurel wreath. Signed by the artist. Pierced ivory blades and guards. 232. FRENCH FAN (Louis Seize) Pen and ink decoration, "Lot and his daughters." Carved and gilded openwork tortoise-shell blades and guard. 233. VERNIS MARTIN IVORY FAN (Louis Quinze) The obverse decorated with a finely executed embellishment de- picting an elaborate mythological subject and the reverse with pastoral subjects in the manner of Lancret, panels of mythological subjects and chinoiserie. 234. FRENCH FAN (Louis Quinze) The obverse elaborately decorated with a painting representing the "Seizure of Europa" and the obverse with a "Chinese garden scene." The blades and guard of ivory, beautifully carved and pierced, and tinted with gold and enamels. Jewelled fastener. 235. FRENCH FAN (Louis Quinze) Painted on swan-skin. Contains six Rustic Farmyard and Fair scenes. Lake view on the back. Ivory frame, the sticks inlaid with mother-of-pearl, painted with flowers and birds. Centre compart- ment of mother-of-pearl, inlaid with gold figures of boys and sheep. 236. FRENCH FAN (Louis Quatorze) Finely painted decoration, "The Judgment of Paris." On the re- verse a pastoral subject. Mother-of-pearl blades and guard carved and pierced and embellished with applied gold and silver. Has jewelled fastener. 237. VERNIS MARTIN FAN (Louis Quinze) Finely painted decoration of mythological and historical subjects. Vernis Martin blades and mother-of-pearl guards. 238. ELABORATE MARRIAGE FAN (Regency) The painting is a superb representation of Venus and Mars being crowned with wreaths by Cupid; Vulcan in the background and other mythological personages in foreground. The borders and end corners are filled with beautifully gilt and painted peacocks, swans, dogs, butterflies and flowers. On the back, a charming paint- ing of shepherdesses with a shepherd, within a rich border of flow- ers. Mother-of-pearl blades and guards, most elaborately carved in open work, inlaid with gilt figures of lovers and cupids, and charm- ingly painted with flower and fruit subj ects, and mounted with small diamonds, rubies and emeralds. ANCIENT GLASS AND POTTERY 239. ANCIENT GREEK GLASS BOTTLE Very rich tone of purple and gold iridescence. Height, iy^ inches. Purchased from Messrs. Kouchakji Freres, New York. 240. MURRON GLASS BOTTLE (Third Century, B. C.) Blue and white. Greek period, third to fourth century B.C. Height, 3% inches. Purchased from Messrs. Kouchahji Freres, New York. 241. ANCIENT ROMAN MOSAIC GLASS BOWL (Third Century, B. C.) Mosaic glass bowl of the Roman period; rose color and roses of yel- low and white ; third to fourth century B.C. Diameter, 3% inches. Purchased from Messrs. Kouchahji Freres, New York. 242. ANCIENT ROMAN MOSAIC GLASS BOWL (Third Century, B. C.) Large mosaic glass bowl of the Roman period; green and roses of red and yellow. Very rare specimen. Third to fourth century B.C. Height, 2 inches; diameter, 514 inches. Purchased from. Messrs. Kouchakji Freres, New York. 243. ANCIENT GREEK BLUE GLASS PITCHER VASE (Third Century, B. C.) Very fine blue color "head of Venus." Greek period, third to fourth century B.C. Height, 7% inches. Purchased from Messrs. Kouchakji Freres, New York. 244- ANCIENT GREEK BLUE GLASS VASE (Third Century, B. C.) With two handles. Very fine blue color and silvery iridescence. Greek period, third to fourth century B.C. Height, 3% inches. Purchased from Messrs. Kouchakji Freres, New York. 245. RHAGES WARE PITCHER (Thirteenth Century) Persian "Rhages ware," decorated with enamel and gold on the finest Persian blue ground. Height, S% inches. Purchased from Messrs. Kouchakji Freres, New York. 246. RAKKA EWER WITH HANDLE (Twelfth Century) Mesopotamian. Rakka faience of the twelfth century. Pear- shaped, cylindrical neck, spout-shaped lip and flat handle. Dec- orated with a coating of thick peacock-blue glaze and with an overglaze ornamentation of a pattern in black. Almost entirely covered with a silvery ii-idescence. Height 7% inrhi'a. From the Tabbagh Freres Collection, New York, 1911. 247. RAKKA VASE (Twelfth Century) Mesopotamian. Rakka faience of the twelfth century. Pear- shaped, with flaring rim. Decorated with a coating of turquoise- blue glaze. Nearly entirely coated with a fine silvery iridescence. Height, 7 inches. Purchased from Messrs. Kouchakji Freres, New York. 248. RHAGES BOWL (Twelfth Century) Persian. Ray or Rhages faience of the twelfth century. Curved side and high foot. Covered with a very beautiful turquoise-blue glaze; decorated in enamels having a fine crackle on the exterior and stopping short of the foot. The centre of the interior is oc- cupied with a cross-legged seated figure of a woman in a red cos- tume, decorated with a pattern of white lines. One hand is up- raised, the other rests on her hip. The inner rim is decorated with four figures of women seated cross-legged, two with folded arms and two playing instruments. Between these figures are four or- naments of conventional foliage interlacements in red and gray. There is an outer border of black with panels of Cufic inscription in light grey. Around the exterior runs a Persian inscription in cursive characters of black. Has been slightly restored. Height, 2% inches; diameter, Gy^ inches. From the Tabbagh Freres Collection, New York, 1911. 249. SULTANABAD BOWL (Twelfth Century) Persian. Sultanabad faience of the twelfth century. Straight sides and incurved rim. Covered with an ivory-white glaze stop- ping short of the base and decorated as to the interior with a pat- tern formed by double-crossed bars of blue and green, the spaces between being filled with arabesque patterns in blue and black over- glaze. The reverse is decorated with a zig-zag border and double vertical lines of blue and black. Height, Sy^ inches; diameter, 7% inches. From the Tabbagh Freres Collection, New York, 1911. 250. KOUBATCHA PLATE (Sixteenth Century) Caucasian. Koubatcha faience of the sixteenth century. Covered with a fine white vitreous glaze, with a polychromatic overglaze decoration in enamels. The centre is occupied with a pattern of four conventionalized flowers with blue centres and yellow leaves, four cinquefoiled flowers and four groups of green leaves. The rim is decorated with a ground of green imbrications on blue, a quatrefoiled pattern of white reserve on dark blue and six panels of white reserve. Diameter, 13 inches. From the Tabbagh Freres Collection, New York, 1911. 251. RAKKA BOWL Mesopotamian. Rakka lustred faience of the ninth century. Deco- rated in brown, blue and green on a ground of light green vitreous glaze. Around the interior runs a pattern of wave forms in green with green disks, an inscription of cursive characters in blue "By Patience you will Succeed," and a border of volute in brown. The exterior is decorated in a pattern of lines and spirals in brown. Height, Sy^ inches; diameter, 7% inches. From the Tabbagh Freres Collection, New York, 1911. OLD ITALIAN MAJOLICA LUSTRED WARE 252. GUBBIO MAJOLICA SMALL PLATE (Sixteenth Century) Purchased from Charles of London and described by him as follows : "Small Plate in Gubbio majolica, dated 1528, by Maestro Giorgio Andreoli. In the centre a cupid executed in grisaille on a blue ground ; the rim, likewise blue, is decorated with foliage and tracery enriched with copper and ruby metallic lustre, on the reverse the date 1528, and the mark of Maestro Giorgio. (Perfect.)" Diameter, 9% inches. 253. SMALL FAENZA PLATE, WITH SUNKEN CENTRE (Sixteenth Century) Purchased from Charles of London and described by him as follows : "Small Plate in Faenza ware with sunk centre, casa Bettini, begin- ning of the 16th Century. Polychrome decoration composed, in the centre, of a Cupid blowing into a shell, and on the rim of grotesques disposed symmetrically on a blue ground." Diameter, 10>4 inches. 254. CAFFAGGIOLO TAZZA (Sixteenth Century) Purchased from Charles of London and described by liim as follows : "Tazza, ongaresca, in Caffaggiolo pottery, dated 1532. It is deco- rated with a bundle of torches surrounded by cornucopias, dragons, draperies, and pieces of armour on a blue ground which sets off a cartouche bearing the inscription: 'Anno Domini 1532.' On the reverse the mark of the fabrique in blue. (Repaired.)" Diameter, 8% inches. 255. GUBBIO DISH (Sixteenth Century) Purchased from Charles of London and described by him as follows : "Dish, ongaresca, in Gubbio ware, first half of the 16th century. Blue decoration with copper and ruby lustre. In the centre a standing cupid holding a cornucopia and a dolphin. On the sides a radiating motive composed of flames and fruit. (Repaired.)" Diameter, 8 inches. 256. FAENZA SMALL PLATE (Sixteenth Century) Purchased from Charles of London and described by him as follows : "Small Dish in Faenza majolica, casa Pirota, first half of the 16th Century. So-called berettino decoration. In the centre a symbolic composition made up of a bird approaching the nest in which its young await it, inscribed: "Alcedonia." On the rim various pieces of armour. The reverse bears the casa Pirota mark. (Repaired.)" Diameter, 9% inches. 257. URBINO FAIENCE SMALL DISH, WITH SUNKEN CENTRE (Sixteenth Century) Purchased from Charles of London and described by him as follows : "Small Dish with sunk centre; tondino, in Urbino faience, dated 1540, by Francesco Xanto Avelli da Rovigo. The decoration cov- ering it in full is illustrative of the death of Cleopatra. On the reverse the date 1540 and the Italian inscription as well as the artist's initial: "X." Diameter, 1014 inches. 258. ITALIAN MAJOLICA VASE (Eighteenth Century) Graceful oviform with two serpent handles terminating in masks. Similar to and used as a pendant to the foregoing. Height, 12% inches; diameter, 12 inches. 259. ITALIAN MAJOLICA VASE (Eighteenth Century) Graceful oviform, with two serpent handles terminating in masks. Coated with a creamy white glaze, over which is a decoration of green figures, cherubs and leafy scrolls, finely painted in tones of yellow, brown, green and blue. Inscribed in two oblong panels : M. ROSATO'S. Height, 12% inches; diameter, 12 inches. JAPANESE OBJECTS 260. TWO IVORY NETSUKES (Nineteenth Century; Deer and doe, and a Japanese child with goldfish. 261. CARVED IVORY NETSUKE (Nineteenth Century) Hotei and children. Signed Rymon. 262. TWO CARVED WOOD NETSUKES (Nineteenth Century) Group of turtles by Komin, and a life-like mouse. 263. CARVED IVORY NETSUKE (Nineteenth Century) Two fishermen struggling with an immense lotus leaf. 264. TWO NETSUKES (Nineteenth Century) One of carved ivory, a locust on a worm-eaten gourd; the other wood, two frogs. Signed Katstjkaga. 265. IVORY NETSUKE (Nineteenth Century) Button shape, with metal work panel, showing a figure of a warrior. Signed Hikonari. 266. IVORY NETSUKE Qwannon amid cloud forms carved in relief and openwork. 267. CARVED WOOD NETSUKE (Nineteenth Century) Peasant with sack. Signed Gyokka. 268. CARVED WOOD NETSUKE (Nineteenth Century) Figures, dragon and the sacred pearl. Japanese legendary subj ect. Signed Toyomasa. 269. TWO CARVED WOOD NETSUKES Figure of priest and dragon, and children and large water jar, illustrating a Japanese fable. 270. THREE WOOD NETSUKES (Nineteenth Century) A recumbent ox, by Minko; seated child, by Miwa; and monkey within a mammoth chestnut. 271. CARVED IVORY NETSUKE (Nineteenth Century) A recumbent ox and heifer. Signed by Tono Tada. 272. JAPANESE WOOD CARVING (Nineteenth Century) Figure of a pilgrim, artistically carved and partially lacquered. Height, 3y^ inches. 273. IVORY MINIATURE GOURD (Ch'ien-lung) Specimen of Chinese intricate cai-ving, the gourd and a chain within carved out of one piece. Bats and "Shou" and dragon in Vermillion. 274. MINIATURE IVORY GOURD (Ch'ien-lung) Intricately carved in open work, gourd vine blossoms and symbolical bats in relief and tinted. 275. CARVED WOOD NETSUKE (Nineteenth Century) A coiled serpent. 276. SMALL IVORY CARVING (Nineteenth Century) The long-legged and the long-arm man. Signed Tomonaga. 277. JAPANESE IVORY CARVING (Nineteenth Century) Seated boy with a trained monkey and a frog. Height, 2% inches. 278. JAPANESE IVORY CARVING (Nineteenth Century) Mother monkey and young one. Signed Nobumasa. ■Height, 2% inches. 279. JAPANESE IVORY CARVING (Nineteenth Century) Shoki and two imps. Signed Tomatoshi. Height, 4% inches. 280. JAPANESE IVORY CARVING (Nineteenth Century) An imperial falconer. Signed Nobuyoshi. Height, 6% inches. 281. CARVED WOOD TRAY (Nineteenth Century) Openwork design of entwined pine and cherry tree in blossom. Length, 6 inches. 282. PAIR IVORY TUSK VASES (Nineteenth Century) On tripod stands. Ornamented with birds and wistaria in gold and other lacquers. Height, 7^4 inches. 283. OLD BAMBOO VASE (Nineteenth Century) Finely carved ornamentation of serpent, and diaper patterns. Signed. Height, 5% inches. 284. SOCHOW LACQUER INRO (Eighteenth Century) Three compartments. Figures, pine, stork and diaper pattern carved in relief. 38s. GOLD LACQUER INRO (Nineteenth Century) Four compartments. Dogs, bows and arrows and floral designs executed in raised gold and other lacquers. Signed. Has carved ivory netsuke and metal work ojima. 286. LARGE GOLD LACQUER INRO (Nineteenth Century) Four compartments. Polished gold surface. Figures of daimios and priests skilfully executed in relief in various lacquers. Signed. Has shakudo and gold netsuke, a demon's head, and agate ojima. 287. AVENTURINE LACQUER INRO (Nineteenth Century) Four compartments. Decoration of chrysanthemum flowers deli- cately pencilled in gold. Has carved ivory netsuke, persimmons, and agate ojima. 288. GOLD LACQUER OBLONG BOX (Nineteenth Century) Finished in polished gold, the lid ornamented with tree peonies in raised gold and other lacquers. The interior finished in fine nashiji. 289. RED LACQUER GOURD-SHAPED BOX (Nineteenth Century) Decoration of conventional design painted in gold and black. 290. AVENTURINE LACQUER HEART-SHAPED BOX (Nineteenth Century) With small tray inside. Decoration of rocks, trees, turbulent water and bamboo, in raised gold. 291. VERMILION LACQUER BOX (Nineteenth Century) In shape of a persimmon, the stem and leaves in raised gold. 292. GOLD LACQUER SAKE SAUCER (Nineteenth Century) Seated female figure in raised lacquers, on the under rim a demon. 293. VERMILION LACQUER SAKE SAUCER (Nineteenth Century) Peacock feathers in raised gold and m.other-of-pearl incrustation. 294. VERMILION LACQUER SAKE SAUCER (Nineteenth Century) On high foot. Decoration of figure of God of Wisdom, and partner playing the game of "Go." On the under rim a cherry tree in blossom in raised gold. 295. TWO LARGE VERMILION LACQUER SAKE SAUCERS (Nineteenth Century) One decorated with a crest and bamboo leaves in gold, the other with pine branches and a crest in gold and other lacquers. 296. JAPANESE LACQUER TRAY (Nineteenth Century) Pine needles in gold on a black ground. Interior finished in fine nashljl. Length, 9 inches; width, 6% inches. 297. OLD BLACK LACQUER BOX (Eighteenth Century) Morning-glories and checker pattern in raised gold. Interior finished in fine nashiji. Height, 51/2 inches; length, i>% inches. SWORD GUARDS AND OTHER METAL WORK 298. SOLID GOLD SWORD GUARD (Early Nineteenth Century) The obverse ornamented with a figure of "Nio," the temple guar- dian, artistically wrought in bold relief in chiseled gold and red bronze. On the reverse a cherry tree in blossom in relief in exquisite workmanship. A mastei-piece by Mune-Oki. In gold and black lacquer box. 299. GOROSA BRONZE SWORD GUARD (Nineteenth Century) Openwork design of cherry tree and blossoms in skilful workman- ship. Signed. 300. ANCIENT IRON SWORD GUARD (Eighteenth Century) Landscape and mountain scenery cast in relief and inlaid with gold and silver. 301. TWO SWORD GUARDS (Seventeenth Century) One shakudo with figure of a farmer in relief in various metals, the other iron with figure of a Japanese fisherman and crows in relief in copper, silver, shakudo and gold. Signed Ju.%ho. 302. SWORD GUARD (T'suba) (Eighteenth Century) The obverse of shibuichi, with a relief ornamentation in gold, silver and shakudo, depicting a pilgrimage to the sacred mountain. The reverse of Gorosa bronze with chased and relief ornamentation. Signed, Yeisnu Omori. 303. TWO IRON SWORD GUARDS (Eighteenth Century) One with relief ornamentation of a farmer, recumbent ox, and pine tree. Signed, Yasuchika. The other with kylins incised. Signed, Jakushi. 304. SHIBUICHI SWORD GUARD (Nineteenth Century) Obverse and reverse exquisitely ornamented with floral motives in gold and silver. 305. SWORD GUARD (Eighteenth Century) Shakudo and red bronze. Beautifully executed ornamentation in gold and silver of cherry blossoms and maple leaves floating on a stream. Signed, Ikkin Funada. 306. TWO IRON SWORD GUARDS (Eighteenth Century) One with engraved and inlaid ornamentation of cherry blossoms and ferns, signed, Jakushi; the other with landscape and boating scene in relief and overlaid with gold, signed, Itto. 307. IRON SWORD GUARD (Nineteenth Century) Relief ornamentation of a figure in gold, silver and other metals and chased. Signed, Hiroyoshi. 308. SHAKUDO SWORD GUARD (Nineteenth Century) Carved ornamentation of chrysanthemum flowers skilfully executed. Signed, Kiyonaki Goto. 309. IRON SWORD GUARD (Late Nineteenth Century) On the obverse a carp in stream modelled in relief ; on the reverse a lotus plant in gold and silver. Signed, Natsuo. 310. IRON SWORD GUARD (Eighteenth Century) Figure of a scholar seated at a table, in relief casting and inlaid with gold. Signed, Koryo Yoshiyami. 311. IRON SWORD GUARD (Early Nineteenth Century) With red bronze rims. Artistically executed ornamentation of figures of two fishermen towing their boat. Worked in various metals. 312. SHIBUICHI SWORD GUARD (Eighteenth Century) Ornamented in relief with gold, silver and shakudo with a scene de- picting a nobleman and attendant viewing and admiring a water- fall. Signed, Nampo Kikugama. 313- SET OF THREE KNIFE HANDLES (Eighteenth and Nineteenth Centuries) In a fine black lacquer case, decorated in gold with the Mikado's crest. In compartment I: a gold knife handle ornamented with a seated figure of a poet, and above him a stork in flight, exquisitely wrought in relief in various metals. Signed, Harunai Harati. In compartment II: a shibuichi knife handle with relief ornamenta- tion of a warrior writing on a cherry tree, illustrating a Japanese legend. Signed, Jakushi. In the third compartment, a red bronze handle, with figure of a street sweeper wrought in relief in gold, shakudo and other metals. Signed, Aritsune. 314. FOUR KNIFE HANDLES (Seventeenth and Eighteenth Centuries) A. Shibuichi, crow and moon in shakudo and silver. Signed, BiJYO. B. Shibuichi, the long-lived couple in gold inlay, the reverse of gold with engraved inscription. Signed, Ichij Yogoto. C. Shakudo, peonies in relief in gold, silver and shibuichi, reverse of gold. Signed, Manshi Nomori. D. Shibuichi, mounted warrior, engraved and inlaid with gold and silver. 315. CABINET OF SWORD FURNITURE Consisting of twelve knife handles, and twenty-four mounts, wrought in various metals and signed by the artists. The cabinet of silver and gold lacquer made in five compartments. 316. COLLECTION OF SWORD GUARDS AND MOUNTS Fifty specimens in various metals and mostly signed by the artists. Arranged in five compartments. 317. INDIAN JADE POWDER HORN Leaf pattern carved in low relief, the end in design of a fish's head with ruby eyes. In original fabric case with carnclian ojimi. 3i8. JAPANESE DAGGER Ivory hilt and scabbard. Artistically carved with figures of priests, dragons and cloud forms. 319. JAPANESE DAGGER Carved bone hilt and scabbard. 320. JAPANESE SHORT SWORD Double-edge blade, corrugated wood hilt and scabbard, with lacquered mounts. 321. JAPANESE DAGGER 'Shibuichi mounted hilt and scabbard. 322. JAPANESE SHORT SWORD Double-edge blade. Bamboo hilt and scabbard. Red bronze serpent and snails in relief. 323. JAPANESE SPEAR Lacquered bamboo shaft and scabbard. 324. BOCCARA CUP Cherry-blossom shape, stem forming handle. Impressed seal mark. 325. OLD IMARI BEAKER Decoration of flowers, Howo birds and fabulous monsters decorated in brilliant enamel colors and gilding. Height, SSi/a inches. MISCELLANEOUS OBJECTS 326. PAIR BATTERSEA ENAMEL SALT CELLARS Circular shape on tripod. Rose pink ground with reserve panels of flowers. 327. ENAMEL COUPE Paintings of pastoral and Watteau subjects on the inner and outer surface. Metal and enamel mounts. 328. LAPIS LAZULI TANKARD Ornamented with bands of mythological subjects in enamel and mounted in gilded metal. Height, 6^4 inches. 329. FRENCH ENAMEL PLAQUE Marie de Medicis. Mounted in ebonized frame with plush mat. Diameter, 6 inches. 330. FRENCH ENAMEL PLAQUE Franciscus Francorum Rex. Mounted in ebonized frame with plush mat. Diameter, 7 inches. 331. BLOODSTONE COVERED TAZZA Beautifully mounted in silver gilt and enamel. A reproduction of a sixteenth century specimen. Height, 8% inches. 332. ROCK CRYSTAL AND ENAMELLED DOUBLE TAZZA Engraved and mounted in gilt metal. Reproduction of a sixteenth century specimen. Height, 10 inches. 333. FLEMISH IVORY TANKARD Elaborately mounted in silver. The tankard carved in high relief with a spirited battle scene between mounted and unmounted Gallic warriors. The base, hinged cover and handle of repousse and chased silver, ornamented with trophies and other subects in har- mony with the predominating ornamentation. Height, 13 inches; diameter, 6% inches 334. IMPORTANT IVORY CARVING (Eighteenth Century) Height, including pedestal, 20l^ inches; diameter, 6 inches French production of masterly artistic workmanship. Subject, "The Return from Market," depicting the figure of a tall monk with a basket of vegetables on his right arm, which is uplifted, and holding in his hand several fowl. Mounted on an ebonized pedestal. 335- PAIR IMPORTANT FRENCH IVORY GROUPS (Eighteenth Century) Each,: Height, including pedestals, 16% inches; diameter, 5% inches Of masterly workmanship, and illustrating the story of "Friar Phillips and his Geese." One carving represents a youth in charge of a monk, the former gazing in surprise and delight at two young girls in the companion group, his first sight of the female sex, and whom the monk had informed him were geese. The companion group shows two young girls, who look with pleasure at the youth. "FRIAR PHILLIP'S GEESE" The story of "Friar Phillip" is as follows: A man lost his wife and was left alone with a twelve-month-old baby. He be- came a friar and brought up his son far away from the haunts of men. When the boy was about 16 years old, his father's crop, by which the friar supported himself and son, failed. He was obliged to go to town for help. He took his son with him and of course the boy was amazed at all he saw and asked "What is this?" "What is that?" At last he saw a young girl, and eagerly asked what sort of thing it was. "That thing, my son," says the friar, "is a bird men call a goose." "Catch it for me, father," cried the boy, "catch it! I'll take it home and be good to it. It sings, father, it sings, doesn't it?" And thus began the friar's troubles. FRIAR PHILLIP Transported, ravished at the Sight He feels strange, but sweet delight. "What's this? What's this? Oh Heavens!" he cries "That looks so sweetly with its eyes. Oh shall I catch it? Is it tame? What is it, father, what's its name?" Poor Phillip knew not what to say. But tried to turn his eyes away. He crossed himself, and made u vow. " 'Tis as I feared, all's over now.'' Then: "Prithee have thy wits let loose? It is a bird men call a, goose." "A goose, O pretty, pretty thing. And will it sing, too, will it sing? Oh come, come quickly, let vis run. That's a good father, catch me one. We'll take it with us to our cell. Indeed, indeed, I'U treat it well." Taken from the anonymous poem, printed in One Hundred Choice Selections. No. 96. Page 173. 336. PAIR ROYAL VIENNA VASES WITH COVERS Embellished with scrolls and leaf designs in gold mat, and bands of classical figures and mythological subjects. Height, 814 inches. 337- OLD CROWN DERBY GARNITURE Consisting of one large and two small vases of oviform shape with two scroll handles each. Richly decorated with floral and scroll designs in brilliant enamel colors and gilding. Respective heights, 9 inches and II14 inches. 338. OLD DELFT PLATE Decorated in cobalt blue, with Chinese designs of dragons and floral scrolls. Diameter, U inches. THIRD SESSION SATURDAY AFTERNOON, APRIL 10, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 O^CLOCK Catalogue Nos. 339 to 474 inclusive ANTIQUE CHINESE RUGS 339- ANTIQUE CHINESE SMALL MAT (Ch'ien-lung) Length, 2 feet; width, 1 foot 7 inches Of Joo-e head shape. Salmon pink ground with fruit and flowers woven in blue, white and brown. From the Tiffany Studios Collection, New YorJc, 1908. 340. ANTIQUE CHINESE SADDLE CLOTH (Ch'ien-lung) Length, 4 feet 1 inch; width, 2 feet 1 inch Orange yellow ground, with conventionalized peony scrolls woven in brilliant tones. 341. ANTIQUE CHINESE "RICE GRAINS" SQUARE RUG (Ch'ien-lung) 2 feet 2 inches square Yellow ground with a "rice grains" pattern in brown. A central medallion of floral design woven in shades of blue, white and salmon pink. 342. ANTIQUE CHINESE BLUE AND WHITE SQUARE RUG (Ch'ien-lung) Length, 2 feet 5 inches; width, 2 feet 3 inches Sapphire blue ground, covered with a central medallion of floral pattern, and corner ornaments of peony sprays, woven in ivory white and turquoise blue. From the Tiffany Studios Collection, New York, 1908. 343- ANTIQUE CHINESE SQUARE RUG (Ch'ien-lung) Length, 2 feet 4 inches; width, 2 feet 4 inches Silky texture. The field of fawn color, and covered with peony and fret patterns in two shades of blue, delicate pink and ivory white. Border of peony scrolls in low tones of blue, white and browns. From the Tiffany Studios Collection, New York, 1908. 344. ANTIQUE CHINESE SQUARE MAT (Ch'ien-lung) 2 feet 5 inches square Silky pile. Sapphire blue ground, with a floral medallion and corner pieces and butterflies woven in harmonious tones, of golden brown, turquoise blue and ivory white. 345. ANTIQUE CHINESE SQUARE MAT (Ch'ien-lung) 2 feet 3 inches square Silky pile. Shaded imperial yellow field with a peony central wreath, and corner pieces woven in subdued tones of pink, white and blue. Border to correspond in color and design. From the Tiffany Studios Collection, New York, 1908. 346. ANTIQUE CHINESE SQUARE RUG (Ch'ien-lung) 2 feet 3 inches square Thick silky pile. Dark blue field with a floral medallion and corner ornaments in golden yellow and tones of pink. The border of salmon pink with floral scrolls in two shades of blue and ivory white. From the Tiffany Studios Collection, New York, 1908. 347. ANTIQUE CHINESE SADDLE CLOTH (Ch'ien-lung) Length, 4 feet 7 inches; •width, 2 feet 3 inches Closely woven pile of silky texture, golden brown ground, with a medallion at either end depicting a kylin and cubs woven in tones of blue, white and yellow, and floral sprays, butterflies and the sacred fungus in subdued colors. Framed by an ivory white border, which is covered with peony scrolls, in harmonious tones. 348. ANTIQUE CHINESE SMALL BLUE AND WHITE RUG (Ch'ien-lung) Length, 2 feet 9 inches; ■width, 1 foot 11 inches Grey white field with deer and floral medallions and floral twigs in two tones of hleu-de-N ankin. Border of swastika fret pattern. 349- ANTIQUE CHINESE "SYMBOLICAL" RUG (Ch'ien-lung) 2 feet 9 inches square Very silky closely woven pile. The field of delicately toned salmon pink, with a central medallion formed by the "Shou" in blue, and surrounded by a circle of five symbolical bats woven in golden yellow and outlined with blue. Four corner ornaments are of archaic dragons and swastika fret pattern in blue and white, and the border is of ivory white with peony scrolls in pink and blues, and interceptions of "Shou" symbols in blue and yellow. 350. ANTIQUE CHINESE SMALL RUG (Ch'ien-lung) Length, 4 feet 1 inch; 'width, 2 feet 4 inches Fawn color ground with tile and floral patterns woven in two shades of hleu-de-N aniiin. The border, of floral scrolls, is woven in harmonious colors. 35:. PAIR ANTIQUE CHINESE "RICE GRAINS" SQUARE MATS (Ch'ien-lung) Each, 2 feet 4 inches square Thick silky pile. Yellow ground covered with a "rice grains" pattern in brown. A central medallion of flower and scrolls and a neat border design woven in pink and ivory white. From the Tiffany Studios Collection, New York, 1908. 352. PAIR ANTIQUE CHINESE "BLUE AND WHITE" SQUARE MATS (Ch'ien-lung) Each, 2 feet 1 inches square Closely woven thick silky pile. Fawn color ground, with a central medallion formed of archaic dragons, and cloud scrolls, woven in two shades of blue, the corner ornaments of conventionalized butterflies in blues and red, and a border of wave pattern in dark and pale blue. 353- ANTIQUE CHINESE SILK AND SILVER SQUARE RUG (Ming) 3 feet square The field covered with geometrical and conventional floral designs woven in various colors of silk, red predominating, and metal threads. Framed with a border of swastika fret woven in claret red silk on a silver thread ground. Guard band of red, yellow and blue. 354. ANTIQUE CHINESE "HAPPY AUGURY" RUG (Ch'ien-lung) Length, 4 feet; width, 2 feet 1 ineh Closely woven silky pile. The field of pale yellow is covered with the Buddhistic emblems of happy augury, a central medallion showing a saddled horse, jardiniere of flowering plants and archaic dragon fret, all of which are woven in harmoniously combined tones of blue, pink and white. An ivory white border is covered with peony scrolls, intercepted by bats, the symbol of longevity. From the Tiffany Studios Collection, New York, 1908. 355. ANTIQUE CHINESE BLUE AND WHITE RUG (Ch'ien-lung) Length, 4 feet 7 inches; •width, 2 feet i inches Silky pile closely woven. Ivory-white or fawn-color ground, covered with floral and fret patterns in two shades of blue. The border of swastika fret is woven in very dark blue. From the Tiffany Studios Collection, New York, 1908. 356. ANTIQUE CHINESE "LONGEVITY" RUG (Ch'ien-lung) Length, 4 feet 6 inches; width, 2 feet 4 incites Closely woven silky pile. Fawn color ground. A central panel consists of a deer, bats and stork, symbols of longevity, and rocks, woven in salmon pink, and two shades of blue. This central panel is surrounded by twigs of tree peonies in blue, and the corner ornaments and the border are of swastika fret pattern woven in dark and pale blue. From the Tiffany Studios Collection, New York, 1908. 357- ANTIQUE CHINESE BLUE AND WHITE "FLORAL" RUG (Ch'ien-lung) Length, 4 feet; width, 2 feet 1 inch Closely woven silky pile. Ivory-white ground, with peony medallion and branches in various shades of blue. Four corner ornaments and the border of swastika fret pattern in dark and pale blue. 358. ANTIQUE CHINESE RUG (Ch'ien-lung) Length, 4 feet 4 inches; xvidth, 2 feet 2 inches Silky texture. The field of salmon pink, and covered with floral twigs and a central medallion of flowers and fruit, woven in ivory- white, yellow and two shades of blue. Framed with a border of sapphire blue, with floral scrolls, Shou and bat symbols in golden- brown, pink, white and turquoise blue. 359. ANTIQUE CHINESE "KYLIN" RUG (K'ang-hsi) Length, 4 feet 11 inches; tvidth, 2 feet 6 inches Closely woven thick silky pile. On a field of salmon pink woven in tones of mustard yellow, sapphire and turquoise blue and ivory white, are a central medallion composed of a kylin within a floral wreath, and in the four corners figures of kylins amidst cloud forms. Framed with a blue border with key pattern in pink, yellow, and white and a guard band of sapphire blue. From the Tiffany Studios Collection, New York, 1908. 360. ANTIQUE CHINESE "HUNDRED ANTIQUES" RUG (Ch'ien-lung) Length, 5 feet 2 inches; width, 2 feet 6 inches Thick silky pile. Fawn-color ground, covered with numerous ornaments known as the "Hundred Antiques" which are woven in tones of pink, blue, yellow and brown. Completed by a border harmonious in design and coloring. From the Tiffany Studios Collection, New York, 1908. 36i. ANTIQUE CHINESE RUG (Ch'ien-lung) Length, 5 feet 9 inches; width, 2 feet 8 inches Silky pile closely woven. Dark sapphire blue field covered with palmettes in golden brown, and a central medallion and corner ornaments of fret and floral designs woven in golden brown and salmon pink tones. Wide and several narrow borders of dark blue and shaded brown covered with flowers and Van Dyck points, the guard band in two shades of blue. From the Tiffany Studios Collection, New York, 1908. 362. ANTIQUE CHINESE RUG (K'ang-hsi) Length, G feet 10 inches; width, 3 feet 9 inches Closely woven silky pile. The field of dark blue is almost com- pletely covered with large flowers of the sacred lotus woven in tones of golden brown, pale blue, salmon pink and ivory white and a profusion of leafy scrolls woven in shades of golden brown and yellow. Framed with a wide border of pale yellow with a fret pattern in a darker tone. ANTIQUE ORIENTAL RUGS 363. ANTIQUE ANATOLIAN SMALL RUG (Eighteenth Century) Length, 2 feet 10 inches; width, 1 foot 6 inches Closely woven thick pile. Red field with floral and scroll pattern in yellow, pale blue, ivory white and black. From the Tiffany Studios Collection, Nets York, 1908. 364. ANTIQUE PERSIAN SADDLE CLOTH (Seventeenth Century) Length, 3 feet 3 inches; width, 3 feet 4 inches Closely woven velvet pile. The field, which is of sage green with a small pattern in red and yellow, is surrounded by yellow border with flower and scrolls in subdued tones, and two narrow bands of detached blossoms. 36s. ANTIQUE ANATOLIAN RUG (Seventeenth Century) Length, 4 feet 6 inches; width, 2 feet 10 inches Closely woven silky pile. A field of buff color is covered with large conventional flowers and scrolls in red, dark blue, brown and white, and is framed with a series of harmonious borders. From the Tijfany Studios Collection, New York, 1908. 366. CABISTAN PRAYER RUG Length, 4 feet 6 inches; width, 4 feet 1 inch Closely woven thick pile. White field, with floral and scroll pat- tern in various colors, bordered to correspond. From the Tiffany Studios Collection, New York, 1908. 367. CABISTAN PRAYER RUG (Nineteenth Century) Length, 4 feet 11 inches; width, 3 feet 8 inches Closely woven silky pile. White field with lattice and floral pattern in brilliant red, blue and other colors. Borders of red and dark blue ground, with conventionalized patterns in subdued tones. 368. ANTIQUE CABISTAN PRAYER RUG (Eighteenth Century) Length, 5 feet 4 inches; width, 2 feet 11 inches Closely woven velvety pile. A floral tile pattern woven in brilliant tones of red, blue and yellow on a field of ivory white. Framed Avith a series of red and blue borders, covered with zigzag and scroll patterns. 369. ANTIQUE LADIK PRAYER RUG (Eighteenth Century) Length, 5 feet 7 inches; width, 3 feet 9 inches Closely woven silky pile. The prayer-niche of golden brown, and bordered at the top and bottom with conventionalized floral tree of life and other patterns in brilliant tones on a red and a tur- quoise-blue ground. Surrounded by a wide border of blue and two narrow bands of brown and ivory white all of which are covered with flowers, scrolls and leaf patterns woven in yellow, red, brown and white. 370. ANTIQUE MELES RUG (Seventeenth Century) Length, 5 feet 9 inches; width, 5 feet 7 inches Closely woven pile. Golden yellow field with bold cloud scrolls, and small conventional patterns woven in brilliant tones of dark and light blue, red, white and brown. Framed with a wide border of scroll and floral patterns and several narrow bands to har- monize. 371. ANTIQUE GHIORDES PRAYER RUG (Seventeenth Century) Length, 5 feet 9 inches; width, 4 feet 5 inches Closely woven pile. The field or prayer-niche of mosque window design in tones of old ivory, with temple columns and hanging candelabra in brilliant colors of red and blues. Above this field of ivory white is a ground of pale brown covered with conventional- ized floral ornament and scrolls in red, yellow, blue and white, and framing the whole is a series of narrow and wide borders of red, blue, and white ground, completely covered with lotus and other flowers, scrolls and other patterns in brilliant tones harmoniously combined. 372. ANTIQUE GHIORDES PRAYER RUG (Seventeenth Century) Length, 6 feet 2 inches; width, 4 feet 3 inches Closely woven velvety pile. The field or prayer-niche in the de- sign of a mosque window is of sage green color, with columns and a hanging lamp, woven in red, pale blue, and ivory white. The upper corner ornaments are composed of conventionalized flowers in red and yellow on a turquoise-blue ground. Completing the de- sign is a wide border of red and a series of six narrow borders of red and turquoise blue covered with floral and scroll patterns in harmonious tones. 373. ANTIQUE GHIORDES PRAYER RUG (Seventeenth Century) Length, 6 feet 4 inches; width, 4 feet 3 inches Closely woven silky pile. The field or prayer-niche of claret red with two temple columns and a hanging candelabra woven in tones of ivory white, yellow, turquoise blue and purple. Above the field, which is outlined in the shape of a mosque window, are conven- tional flowers and leaf scrolls in brown and buff on a ground of turquoise blue. Surrounding the prayer panel or field is a series of seven narrow and one wide border of red, green, sapphire and turquoise blue, which are covered with lotus flowers, conven- tional scrolls and other patterns woven in beautifully combined colors. 374. ANTIQUE GHIORDES PRAYER RUG (Seventeenth Century) Length, 6 feet; width, 4 feet 3 inches Closely woven pile. The field or prayer-niche of dai-k red, over which is a lambrequin design and a hanging temple lamp in tur- quoise blue with conventional floral patterns in red, yellow and ivory white and brown. Framed with a series of seven narrow and one wide border which are covered with flowers, cloud scrolls and other designs in subdued tones of yellow, red, pink and blue on grounds of green, dark blue and ivory white. 375. ANTIQUE SEHNA RUG (Seventeenth Century) Length, G feet 3 inches; width, 4 feet 2 inches Very closely woven velvet pile. The field of shaded red is inter- cepted by a broad lozenge-shaped band of turquoise blue, both of which are almost completely covered with floral patterns, cloud scrolls, and conventional designs in dark and light blue, ivory white and yellow. Bordered to harmonize. 376. ANTIQUE KULAH PRAYER RUG (Eighteenth Century) Length, 6 feet; width, 4 feet 1 inch Closely woven pile. The field or prayer-niche of sapphire blue, with floral pendant in tones of red, pale blue, buff and ivory white. Surrounded by a wide border of ivory white, and several narrow bands of yellow, blue and red, all of which are covered with floral and scroll pattern woven in various colors. 377. ANTIQUE KULAH RUG (Eighteenth Century) Length, 6 feet 10 inches; width, 4 feet 1 inch Closely woven pile. The field of salmon pink, with conventionalized floral bands woven in fine tones of blue, green, white and brown. Framed with a series of borders woven in harmonious designs. 378. SHIRAZ RUG Length, 7 feet 5 inches; width, 3 feet 6 inches Thick pile. Red field, with palm leaf pattern in blue and yellow, wide blue border with archaic animals in red, brown and white. IMPERIAL POLISH AND ISPAHAN RUGS 379. IMPERIAL POLISH RUG (Early Seventeenth Century) Exhibited at the Loan Exhibition of Rugs at the Metropolitan Museum of Art, 1910, and described in the catalogue by Dr. Wilhelm R. Valentiner as follows: "Silk rug with silver and gold ground (so-called Polish carpet). "Persia (Imperial Manufactory), First Half of XVII Century. "Size: 6 feet 7 inches by 4 feet 9% inches "Field: Arabesques in red, light green and other delicate colors connected by yellow stems define areas with gold and silver ground. Large floral and conventionalized fruit motives in salmon pink, blue gray and other colors, are balanced in the centre and con- nected by stems bearing blue-green leaves and flowers, largely in yellow and gray. "Border: On a green ground, flowers containing fruit motives in light colors accentuated by red between gold and silver leaves, and separated by round open flowers in salmon pink. "Guard Bands: On salmon-pink grounds undulate flower designs. Silk." From the sale of the Charles T. Yerkes Collection, New York, 1910, and described in the catalogue of that sale, by Mr. John Kimberly Mumford, as follows: "Texture, Ttvo hundred and eight Persian hand-tied knots to the square inch. "It Is in the smallest degree likely that the doubt which exists regarding the origin of these so-called 'Polish carpets' will ever be wholly set at rest. Many well-informed students of textiles have been loath to accept the explana- tion which holds these rugs to have been made at Warsaw, by Oriental weavers, under the direction of one Mersherski, who had studied textile methods in Persia and India. While accepting the name 'Polish,' applied chiefly because of the traditions existing in certain noble families of Poland, these scholars have inclined to treat the fabrics as eccentric products of some part of Persia, not, however, definitely fixed, or of some country intermediate between Persia and old Russia. Evidences upon both sides of the question are sufficiently nebulous. The most cogent argument, perhaps, is that the East itself has, so far as is known, sent forth no fabrics of like character. "The carpet here presented tends to uphold the Polish, or at least a Euro- pean, hypothesis. In it, as in all of its class (and the survivals are comparatively few in number), there is a manifest development of color-theory, of composi- tion, a manner of treating the well-recognized Oriental decorative elements, which is wholly at variance with the Eastern method, and which, save for the essential forms used, does not forcibly suggest Asiatic derivation. Even the tex- ture, although the knot follows the Persian method, has a feeling different from that of any sixteenth century product of Iran. "In this, as in all pieces of this school, there is a studious and consistent use of soft tints — browns, fawns, and the like — which are distinctly European. Upon such quiet background, and upon the flat surfaces furnished by the super- abundant metal employed, the more positive colors of the designs are displayed; and in the selection of these, even, there is testimony to the nearness of the complementary idea, quite at odds with Persian color tendencies. Take, by way of illustration, the way in which the 'salmon-red,' so liberally used in many of the Polish pieces, is employed to offset the strong green of the border. This particular reddish shade is one that it will be difficult to match in genuine Oriental fabrics; the nearest approach to it is probably the harsh and rather unpleasant brown so common in parts of Mesopotamia and the western borders of Kurdistan. The combination of the 'salmon-red' with the shade of green ap- pearing here is sufficiently frequent in the Polish carpets to indicate one inspira- tion for them all. "The feature most distinctive of the carpets of this class, however, is the extraordinary use that has been made of metal-covered threads to produce large areas of gold and silver in the design. In the contemporary art of Persia, certainly, the metals are not employed to any such extent, nor, as can be seen by contrasting this with the recognized Persian weavings, in a like manner. It is easy to believe, therefore, that the suggestion for this addition to the Polish carpets was gained in India, among whose rich textiles were many sumptuous cloths of gold and silver. Be that as it may, the metal surfaces, softened now by age and by the wear which it is plain they have undergone, make effective addition to the symphonies so admirable in all these carpets. "Chief, no doubt, among the stumbling-blocks in the way of those who have striven with the problem of the Polish carpets has been the fact that every component, in every design, is of Eastern origin. In most of the pieces — and all are readily recognizable from their likeness to one another — the diamond- shaped arrangement of stalks found in the familiar Herati design (the tereh baluk, or 'fish pattern') is utilized in the establishment of a centre, and often, as here, the entire motive and framework of the central design is found to be this pattern, together, usually, with the palmette and escutcheon features com- mon in the Herati border. The medallion spaces, instead of being positively out- lined, are generally produced by other curving stalks, very broadly drawn, and in varied coloring, which, while in close harmony with the key established for the whole, is most unusual when considered from an Oriental standpoint." 380. IMPERIAL POLISH RUG (Early Seventeenth Century) Exhibited at the Loan Exhibition of Rugs at the Metropolitan Mu^ seum of Art, 1910, and described in the catalogue by Dr. Wil- helm R. Valentiner as follows: "Silk kug with silver and gold ground (so-called Polish carpet). "Persia {Imperial Manufactory), First Half of XVII Century. "Size: 6 feet 91/3 inches by 4 feet 9% inches "Field: On a two-shaded green ground, patterned with floral and foliage motives in scarlet, yellow, fawn color, silver, and gold is a large oblong medallion outlined by arabesques in gray, brown, and light orange. On the silver ground of this central field, balancing on the centre, are two large flowers in white, yellow, and brown, and two in orange, gray, and yellow with large lancet- shaped leaves. Other flowers in light blue, yellow, and red with a subpattern in light blue and rose. "Border: On a gold ground, floral motives with lancet leaves, chiefly in yellow, red, and light neutrals separated by arabesque scrolls in blue and light orange. The design on the two short sides, it should be noted, differ somewhat. "Guard Bands: Undulate floral design on gray and blue. Silk." 38i. IMPERIAL POLISH RUG (Early Seventeenth Century) Length, 4 feet 11 inches; width, 3 feet 8 inches Of silk velvety closely woven pile. The field, which is of a pale pink- ish tone, is covered with conventional floral motives, tendrils and leaf scrolls, woven in delicate tones of sapphire blue, emerald green and yellow of the topaz. A wide border framing the field is of beautiful soft green, with flowers of the Indian lotus and leaf scrolls woven in soft tones of blues, golden brown and ivory white. The guard band is of pale yellow with an interlaced pattern in sapphire blue. 382. IMPERIAL POLISH RUG (Early Seventeenth Century) Length, 7 feet; width, 4 feet If inches A most important specimen of distinctive artistic character. It is of silk and silver thread weave. The field, which is of soft fawn- color, is covered with large conventionalized Indian lotus flowers, tendrils and cloud scrolls, artistically composed, and woven in silver thread and silks of golden brown, sapphire blue and tur- quoise blue, emerald green and topaz yellow. A wide border fram- ing the field is composed of a conventionalized floral pattern woven alternately in yellow silk and silver threads and outlined with dark brown. 383. IMPERIAL POLISH RUG (Early Seventeenth Century) Length, 6 feet 6 inches; width, 4 feet 10 inches The pile, which is closely woven, is entirely in silks. The field is a beautiful green in semblance of the precious emerald, and varying in tone. Completely covering the field are numerous flowers of the sacred Indian lotus, tendrils, cloud scrolls, and conventional mo- tives, skilfully treated and woven in tones of sapphire blue and turquoise blue, yellow, white and red. Surrounding the field is a narrow band of yellow, and a wide border of topaz tone, the latter covered with large lotus fiowers and leaf scrolls in colors to har- monize with the predominating design. A guard band is of shaded green and covered with detached blossoms and cloud forms in subdued colors, 384. ANTIQUE ISPAHAN RUG (Sixteenth to Seventeenth Century) Length, 6 feet 11 inches; width, 4 feet 8 inches Of closely woven silky pile and in exceedingly fine condition. The field is of claret red shading into tones of rose du Barry, and is almost completely covered with a beautifully executed design of large flowers of the Indian sacred lotus, tendrils, cloud scrolls, and smaller floral patterns, all of which are woven in brilliant tones of sapphire blue and turquoise blue, green, topaz yellow, pink and ivory white. Framing the field is a narrow band of turquoise blue covered with detached blossoms and a wide border of dark blue with large lotus flowers and other patterns to harmonize with the embellishment of the field. The narrow guard band is of orange yellow. ANTIQUE JARDINIERE VELVETS 385. PAIR ANTIQUE JARDINIERE VELVET PANELS (Louis Seize) Cream-white silk ground, with a central medallion and corner ornaments of floral design woven in beautiful tones of green and delicate pink. The border of floral scrolls and rosettes is exe- cuted in similar colors. Each: Length, 3 feet 8 inches; width, 2 feet. 386. ANTIQUE JARDINIERE VELVET PANEL (Louis Quinze) Cream-white satin ground. Beautifully composed embellishment of peonies, palm leaves, and scale patterns woven in exquisite tones of green, delicate pink, and ivory white. Length, 3 feet 8 inches; width, 1 foot 11 inches. 387. ANTIQUE JARDINIERE VELVET PANEL (Louis Seize) Golden yellow silk ground. Beautifully embellished with a central medallion of floral and trellis pattern woven in tones of rose red, delicate purple and green. The corner ornaments of carnations and roses, and the border of floral and leaf festoons, woven in colors to harmonize with the predominating embellishment. Length, 3 feet 11 inches; width, 2 feet 1 inch. 388. ANTIQUE JARDINIERE VELVET PANEL (Louis Quinze) Gros-grain ground of old ivory tone, covered with a beautifully executed embellishment of flowers, leaf scrolls, and butterflies in tones of ruby red, topaz yellow, emerald green and purple of the amethyst. Length, 3 feet 1 inch; width, 4 feet 7 inches. 389. ANTIQUE JARDINIERE VELVET BORDER (Louis Quinze) Cloth-of-gold ground, with an urn, flowering plants and leaf scrolls woven in delicate tones of green, yellow and ruby red. Length, 4 feet 1 inch; width, 2 feet 7 inches. 390. ANTIQUE JARDINIERE VELVET PANEL (Louis Seize) Cloth-of-gold ground. A central medallion of star and blossom design, witliin a border of leaf scrolls and conventionalized flowers are woven in beautifully combined tones of wine red, delicate green, purple and white. The corner ornaments of cornucopias of flowers, and the border of floral scrolls, are all woven in colors to conform with the predominating embellishment. Length, 4 feet 2 inches; width, 2 feet. 391. ANTIQUE JARDINIERE VELVET PANEL (Louis Seize) Cloth-of-gold ground, with dainty floral bouquets, fern scrolls and a conventional border design beautifully executed in delicate tones of rose pink, red, green and white. Length, 4 feet 3 inches; width, 2 feet 1 inch. 392. ANTIQUE JARDINIERE VELVET PANEL (Louis Seize) Golden yellow ground, ivith a central embellishment of a vase, con- taining a flowering plant, and a border of entwining roses and tendrils, woven in fine tones of red, green and white. Length, 4 feet; width, 2 feet 1 inch. 393. ANTIQUE JARDINIERE VELVET PANEL (Louis Quinze) Cream-white gros-grain silk ground, with boldly drawn floral and leaf pattern executed in beautifully toned greens, yellow and wine red. Length, 5 feet 8 inches; width, 2 feet. 394. ANTIQUE JARDINIERE VELVET BORDER (Louis Quinze) Ecru satin ground, with floral bouquets, leaf scrolls and a con- ventional border woven in delicate tones of green and pink. Length, 7 feet 3 inches; width, 1 foot. RENAISSANCE AND OTHER EMBROIDERIES, TAPESTRIES AND OTHER TEXTILES 395. ANTIQUE NEEDLEWORK PICTURE Mythological subject skilfully executed in low tones of silk. Height, 11 inches; length, 12% inches. 396. ANTIQUE FABRIC PICTURE Medieval figures, landscape and animals painted on canvas in low tones. Applique border of floral scrolls. Height, lOy, inches; length, 15% inches, 397. ANTIQUE SAMPLER Quaint figures of "Faith," "Hope" and "Charity," various animals, insects and birds worked in low tones of silk and worsted. Height, 9% inches; length, 13% inches. 398. ITALIAN RENAISSANCE ORPHREY Elaborately embroidered in silks and gold thread, several figures of saints in niches and in a medallion executed in needle painting. Length, 3 feet 11 inches; •width, 9 inches. 399. ITALIAN RENAISSANCE ORPHREY Elaborately embroidered in gold thread and silks, figures of JNIa- donna and Child and Saints in needle painting. Length, 4 feet 2 inches; width, 9 inches, 400. SILK AND GOLD THREAD TAPESTRY PANEL (Renaissance) Floral and scrolls woven in delicate tones of pink, brown, yellow, blue and white. Length, 1 foot 9 inches; width, 1 foot 1 inches. 401. ECCLESIASTICAL BANNER (Italian Renaissance) Red Genoese velvet, with figures of angels and monstrance, the Holy Lamb, and scroll designs, executed in gold and silver thread needlework and applique. Length, 6 feet 4 inches; width, 1 foot 9 inches. 40a. GREEN GOTHIC VELVET CHASUBLE (Sixteenth Century) Embellished with a broad stripe of embroidery and applique in gold threads and yellow satin in the design of fleur-de-lis scrolls and a coat-of-arms. 403. GREEN GOTHIC VELVET DALMATIC (Sixteenth Century) Richly embellished in gold thread embroidery and applique to match the preceding chasuble. 404. SUMPTUOUS RENAISSANCE PANEL (Sixteenth Century) Green silk, elaborately embroidered in beautifully combined silks and gold thread. The embellishment consisting of floral designs, birds and bold leafy scrolls. Framed under glass. Length, 3 feet 2 inches; width, 1 foot 10 inches. 405. SUMPTUOUS RENAISSANCE EMBROIDERED PANEL (Sixteenth Century) To match the preceding. Framed under glass. Length, 3 feet 2 inches; width, 1 foot 10 inches. 406. THREE SUMPTUOUS RENAISSANCE LAMBREQUINS (Sixteenth Century) Green silk sumptuously embroidered in beautifully combined silks and gold thread. The embellishment consists of an elaborate floral design, and various birds, executed in silk needlework and bold leaf scrolls in gold thread embroidery. Scalloped edge finished with bullion fringe, and the upper edge bordered with gold thread lace. Lined with green silk. Each: Length, 6 feet S inches; width, 1 foot 10 inches. 407. EMBROIDERED RENAISSANCE LAMBREQUIN (Sixteenth Century) To match the preceding (No. 406). Length, 6 feet 1 inches; width, 1 foot 10 inches. 408. FOUR SUMPTUOUSLY EMBROIDERED RENAISSANCE LAMBRE- QUINS (Sixteenth Century) To match the preceding, but with straight edge. Each: Length, 7 feet 1 inch; width, 1 foot 10 inches. 409. FOUR SUMPTUOUSLY EMBROIDERED RENAISSANCE PANELS (Sixteenth Century) Green silk, and embellished to match the preceding lambrequins. Each: Length, 3 feet 1 inch; width, 1 foot 10 inches. 410. RENAISSANCE VELOURS (Sixteenth Century) Golden yellow ground with coats-of-arms, leaf scrolls and gro- tesques executed in beautiful emerald green. 42 yards in various lengths. 411. PAIR ITALIAN RENAISSANCE DOOR CURTAINS WITH LAMBRE- QUIN (Seventeenth Century) Composed of silk and metal thread brocade, chasubles and copes of brilliant floriated pattern on ivory white gros-grain silk. Trimmed with metal thread galloon. Lined with pink silk and interlined. Each curtain : Height, 1 feet 10 inches; width, 4 feet 6 inches Lambrequin: Height, 1 foot; length, 7 feet 6 inches. 412. PAIR OF ITALIAN RENAISSANCE DOOR CURTAINS AND LAM- BREQUIN (Seventeenth Century) Composed of seventeenth century chasubles and copes, of ivory white silks, sumptuously embellished with passion flowers, tendrils and leaf scrolls executed in silk and gold thread needlework. Lined with green silk and interlined. Curtain: Height, 7 feet 10 inches; width, i feet 6 inches. Lambrequin: Height, 1 foot; length, 7 feet 6 inches. 413. ROYAL BEAUVAIS TAPESTRY PANEL (Eighteenth Century) Early eighteenth century. One of the "Les jeux d'enfants" series. Style of Michel Corneille and possibly from the cartoon of Damoise- let, of Bruxelles. The composition with landscape and subdued coloring includes a group of four childi'cn under a tree and in the foreground who are occupied in trapping birds ; one of their num- ber has just caught a bird and is about to place it in a cage which is close by on the ground. Still another cage that is empty appears further to the right and in front of a tent-like trapping net. The distance reveals arched stone bridges, and a tower together with a light cloudy sky. The framing border is woven in a small trellis diaper design, relieved by corner cartouches. Height, 8 feet; width, 6 feet 3 inches. FINE CARVED AND GILT FURNITURE STEINWAY PARLOR GRAND PIANO 414. CARVED AND GILDED FOOTSTOOL In the style of Louis Seize. Upholstered in silk and gold thread floriated brocade. 415. PAIR OF CARVED AND GILDED RECEPTION CHAIRS In the style of Louis Seize. The frames carved in relief with acan- thus scrolls and floral patterns. Seats and backs caned and gilded. 416. PAIR OF CARVED AND GILDED RECEPTION CHAIRS In the style of Louis Quinze. The frames and open backs elabo- rately carved in relief with leaf scrolls and floral festoons. The seats upholstered in floriated silk brocade. 417. MAHOGANY SMALL TABLE In the style of Louis Seize. With inlaid top panel and base shelf. Mounts, ornaments and gallery rail of gilded metal. 418. PARQUETRY SMALL TABLE In the style of Louis Quinze. Mounted in gilded ormolu and with a decorated Japanese porcelain plaque fitted in the top. 419. LADY'S PARQUETRY WRITING TABLE In the style of Louis Quinze. Elaborately mounted and orna- mented in chiselled ormolu, by F. Linke of Paris. Fitted with one large and two small drawers and surmounted by a figure of a cupid. Has ormolu candle branch arranged for electric lighting. 420. MAHOGANY ROUND CENTRE TABLE In the style of Louis Seize. Mounted in gilded metal. 421. PAIR VASE CABINETS Of plate glass. Mounted on carved mahogany pedestals. Height of case, 23 inches; width, lll^ inches square, 422. LARGE PARQUETRY AND MARQUETRY VITRINE In the style of Louis Quinze. Elaborately mounted and orna- mented in chiseled ormolu, with leaf scrolls, female busts and shell patterns. Lined with cream white satin brocade. 423. CARVED AND GILDED BERGERE In the style of Louis Quinze. The frame carved in rehef with ro- cailles and floral designs. The back, wings, and loose cushion up- holstered in silver grey silk brocade with floral bouquets and lace patterns brocaded in various colors. 424. CARVED AND GILDED WOOD CORNER SEAT In the style of Louis Quinze. The frame carved in bold relief with floral festoons and leaf scrolls. Upholstered in old silk brocade of floral patterns. 425. LARGE CARVED AND GILDED MARQUISE In the style of Louis Quinze. The frame elaborately carved in relief with rocailles and floral scrolls. The back, wings, and loose cushion upholstered in cream white silk brocade with floral patterns brocaded in brilliant colors. 426. ELABORATELY CARVED AND GILDED SOFA In the style of Louis Quinze. The frame almost entirely covered with relief carving of leaf scrolls, openwork central back panel. Seat and back upholstered in floriated mauve color silk brocade. 427. CARVED AND GILDED SOFA In the style of Louis Quinze. The frame elaborately carved in relief in rocailles and floral scrolls. The scat, back and arms double caned and gilded. Fitted with a loose cushion which is upholstered in ecru grosgrain silk with bold floral and leaf scroll patterns bro- caded in various colors of silk and gold metal thread. 428. CARVED AND GILDED LONG BANQUETTE In the style of Louis Quinze. The frame and X-shaped underbrace carved in relief with rocaille and floral designs. The seat uphol- stered in silk and gold thread, floriated brocade. 430. RENAISSANCE TAPESTRY BANQUETTE Frame of carved and gilt walnut, showing massive scrolled under- bracing and curved legs. The seat is covered with a Flemish tapestry in panel form representing a mythological subject with numerous small figures that compose a council of the Olympian gods, with Zeus arriving on the scene borne by an eagle. Birds of the sky are included on the sides, together with a peacock and hen. Length, 6 feet 3 inches; width, 1 foot 8 inches. 431. FRENCH WALNUT ARMCHAIR Renaissance style of the sixteenth century. The frame showing delicately carved openwork with scroll and figure details, while the arms are supported by crouching male and female figures, boldly sculptured in relief. The seat and back being uniformly upholstered in red Genoese velvet enriched by gold applique embroidery. 432. FRENCH WALNUT ARMCHAIR Renaissance style of the sixteenth century. The frame showing delicately carved openwork with scroll and figure details, finials and fluted legs. The arms are supported by figures of a Satyr and a fawn, freely carved and carefully finished. The seat and back are upholstered with red Genoese velvet enriched by gold applique, the design of which presents annular centres and Renaissance scrolls. 433. PAIR OBLONG GILT WOOD MIRRORS Italian baroque, of the seventeenth century. Ornamented with florid designs of floral motifs, in high relief and richly gilded. Height, 43 inches. 434. OVAL MIRROR Carved and gilt wood frame in the Chippendale style. Two herons, leaf scrolls and shell patterns carved in relief and openwork. Height, 4 feet 1 inch; length, 5 feet 3 inches. 435. THREE-FOLD SCREEN Carved and gilded wood frame in the style of Louis Quinze. Fine tapestry panels of floral designs woven in subdued colors on a creamy white ground. Height, S feet 6 inches; extends 5 feet inches. 436. CARVED AND GILDED WOOD WALL CABINET In the style of Louis Quinze. Rocaille and floral designs carved in relief. Has glass door, sides and mirror back, and is fitted with three plate glass shelves. Height, t> feet 8% inches; width, 3 feet 914 inches; depth, \ foot 3 inches. 437. PAIR CARVED AND GILDED WALL CABINETS In the style of Louis Quinze. With glass doors, sides and mirror backs, and fitted with three plate glass shelves. Height, 5 feet 7 inches; width, 3 feet 3 inches; depth, 1 foot. 438. PAIR CIPPOLINI TALL COLUMNS Graceful slender shapes, with highly palished surface. Carved and polished bases and capitals. Height, 5 feet 1% inches. 439. PAIR OLD MARBLE STATUES Figures of "Venus" and "Apollo" sculptured in white marble. Mounted on black plinths. Respective heights, 25 inches and SSy^ inches. 440. PAIR TALL LANGUEDOC MARBLE COLUMNS Highly polished surface, with white marble bases and caps. Height, 5 feet. 441- STEINWAY PARLOR GRAND PIANO The case of mahogany and inlaid in the early English style. The movement, which is numbered 102736, bears the following inscrip- tion: "This exquisite piano has been used by me, on my farewell tour in America. (Signed) Adelina Patti, Baroness Cederstrom, 1903." EARLY ENGLISH FURNITURE 442. MAHOGANY TRAY In style of Chippendale (modern), with fretted rail of Gothic design. Length, ^Sy„ inches. 443. PAIR INLAID SHERATON KNIFE BOXES FITTED FOR STA- TIONERY Decorated with inlaid bands of satinwood, and oval on cover with floral arabesques in satinwood and greenwood. Satinwood shield about keyhole. Heights, ISy^ inches. 444. PAINTED CASKET-SHAPED WORKBOX In style of the American Empire. Resting on lyre-shaped base, itselt rising from four curved legs fitted with brass mounts. Piece painted black and enriched with figure and floral designs in colors. Sliding four-compartment shelf inside, lined with green silk. Height, ST'/j inches. 445- PAIR MAHOGANY CANDLE STANDS In style of Chippendale. With fretted top rail, shaft fluted, tripod base carved in low relief with acanthus, and cabriole legs. Height, 44 inches. Purchased from the A. J. Crawford Company, New York, as pieces of the period. 446. COMB-BACK LIGHT MAHOGANY WINDSOR ARMCHAIR In Colonial American style. With spindle props at back, stretchers and spade feet. Height, 44*4 inches. 447. SINGLE MAHOGANY SHIELD-BACKED ARMCHAIR American. Showing Hepplewhite influence in splat. Straight legs. Height, SSy^ inches. 448. SINGLE MAHOGANY CHAIR In Chippendale style (1760-1770). With straight legs and slat, curved top rail to back, and pieced Gothic splat of intricate design. Height, 36 inches. 449. SINGLE MAHOGANY ARMCHAIR In style of Chippendale (1760-1770). Curved top-rail and arms, cabriole legs, ball and claw feet. Acanthus in i-elief at knees. Splat pierced, composed of wave curves. Height, 39 inches. From the Thomas B. Clarice Collection, Tiffany Studios Sale, New York, 1910. 450. SINGLE MAHOGANY ARMCHAIR Of Hepplewhite style (1785-1795). Full oval back splat, evincing influence of Both Chippendale and the Adam Brothers. Acanthus leaf at supports of arms. Tapering straight legs, gi-ooved. Height, 39 inches. From the Thomas B. Clarke Collection, Tiffany Studios Sale, New York, 1910. 451. SINGLE MAHOGANY ARMCHAIR In late Chippendale or Transition style (1170-1780). Curved top- rail and arms and straight grooved legs with stretcher. Floral design at top of rail, and acanthus motifs depend from slats of pierced splat. Height, 38 inches. From the Thomas B. Clarke Collection, Tiffany Studios Sale, New York, 1910. 452. SINGLE MAHOGANY ARMCHAIR In Hepplewhite style (1785-1795). Probably originally a writing chair (note holes in arms for extension). Graceful shield back. Splat carved with a drapery festooned urn, acanthus leaves at top- rail and rosettes at stiles. Straight tapering legs and curved under- brace. Height, 39% inches. 453- SINGLE MAHOGANY SIDE CHAIR In Chippendale style (1760-1770). With unusual splat fretwork in Chinese style. Ends of top-rail carved in acanthus designs, and rosette at centre. The legs are somewhat heavy cabriole, termi- nating in the ball and claw, and further decorated with acanthus at knees. Height, 37% inches. From the Thomas B. Clarke Collection, Tiffany Studios Sale, New York, 1910. 454. SINGLE MAHOGANY ARMCHAIR In Chippendale style (1760-1770). Of interlaced ladder-back form, hooped top-rail, and slats echoing same pattern. 'Shaped arms, square seat, straight legs and stretcher. Height, 37 inches. From the Thomas B. Clarke Collection, Tiffany Studios Sale, New York, 1910. 455. SINGLE MAHOGANY ARMCHAIR Of the early Georgian epoch (1714-1760), showing a style improved upon by Chippendale. Splat divided into four slats, each beaded, and, at the centre, carved in a simple leaf design. Acanthus motif on edge of top-rail and arms. Legs cabriole, Dutch feet, and foliage cai-ved at knees. Height, 36% inches. 456. SINGLE MAHOGANY ARMCHAIR In early Georgian style (1714!-1760). With conventionalized "in- terlacing-circle" splat, acanthus leaves and shell with streamers carved on top-rail. Legs cabriole, terminating in birds'-claw and ball feet. Knees carved in acanthus and floral pendants. Height, 37% inches. 457. PAIR SOLID MAHOGANY ARMCHAIRS In style of Chippendale. Have interlaced acanthus-leaf slat, acan- thus designs along shoulder or arms and long apron. Rayed centre of apron pierced. Cabriole legs and paw feet. Seats of seventeenth century Persian silver brocade. Height, 41 % i'itches. Purchased from the A. J. Crawford Company, New Yorh, 1904 with a written statement that the chairs "were purchased at the sale of Richard Poer de la Poer, Greystones Priory, Dub- lin, and were mentioned in an inventory as far back as 1785." 458. PAIR SATINWOOD INLAID WALNUT CHAIRS Of the Queen Anne— Early Georgian epoch (1702-1727). With hoop and spooned backs, fiddle splats, cabriole legs, and curved stretchers. The break in the topmost curve of the backs exemplifies one of the many variants of the conventional Queen Anne style. Height, 37Va inches. 459. FOUR RIBAND-BACKED SOLID MAHOGANY ARMCHAIRS In style of Chippendale. Have richly carved seat-rails, elaborately interlaced and knotted ribbons at splats, cabriole legs, carved knees and conventionalized dolphin feet. Height, 37% inches. Purchased from the A. J. Crawford Company, New York, with the written statement that these chairs and the following de- scribed settee "came from the collection of Madame de Falbe, wife of the Danish Ambassador to England, and who was for- merly Mrs. Gerard Leigh, in whose family the chairs and settee had been since the beginning of the nineteenth century." 460. SOLID MAHOGANY RIBAND-BACKED SETTEE To match the above described chairs. Height, 37i/^ inches; length, 5 feet 4 inches. 46i. MAHOGANY SETTEE In Dutch style (first quarter of the eighteenth century). With out- flaring arms, cabriole legs terminating in dolphins' heads, and graceful splats carved in low relief with acanthus and pendant flower designs and pierced with a single oval at centre of the swell. About one-quarter of an inch added to shoes of the front feet. Height, 41 inches; length, 61 inches. From the Thomas B. Clarke Collection, Tiffany Studios Sale, New York, 1910. 462. INLAID MAHOGANY CARD TABLE Of late Sheraton (American) style. Top inlaid with floral design in satinwood, greenwood and rosewood. Legs round, tapered and reeded in characteristic Sheraton style. Height, 39 inches; diameter, 351^ inches 463. INLAID MAHOGANY TIP TABLE In style of Sheraton. Oval top inlaid with a satinwood and green- wood shell. Thin double band of satinwood along edge. Swell shaft, grooved curved legs, brass feet. Perhaps American. Height, 99% inches. 464. SOLID MAHOGANY TIP TABLE In style of Chippendale. With outcurving pierced rail of floral designs broken by leaves of the acanthus (double at corner), and having openwork designs at centres. Fitted to tripod base. Height, 32 inches; width, 29% inches. Purchased from the A. J. Crawford Company, New York, 1904, with a written statement that the table "was bought at a sale at 'The Paddocks,' Guildford, Surrey, and it had been pur- chased from the Earl of Braybrooke at Braybrooke Castle, where it stood in the room used by Queen Anne." 465. SOLID MAHOGANY TIP TABLE In style of Chippendale. With sunken compartment for eight plates and large central panel. Carved shell at each division, floral rosettes inside about central compartment. Tripod base, acanthus carved shaft and knees. Clawed feet. Diameter, 47 inches; height, 29 inches. Purchased from the A. J. Crawford Company, New York, 1914, with written statement that it had come from an old house in Tun- bridge Wells. 466. MAHOGANY CORNER CABINET In style of Chippendale (1760-1780). Single glass door embellished with simple diamond-shaped tracery, moulded pilasters at sides ; fretted and beaded bands mark break between shelved top and lower half of piece, which is enclosed with a panelled door. Elaborately carved pediment with circular brass rosettes. Chinese bracket feet. Height, 6 feet 6% inches; depth, 22 inches. 467. GRAND SATINWOOD BEDROOM SUITE In style of the Brothers Adam, consisting of "A." Four-post double bedstead. "B." High chest of drawers. "C." Dressing table with oval mirror. "D." Cane-bottomed seat to match. "E." Two feather and drapery-designed shield-back armchairs. "F." Four shield-shaped side chairs. "G." An urn-shaped cheval glass with Battersea enamel handles. These extremely beautiful examples of golden satin-wood are taste- fully painted with rose-festoons and ovals or squares painted in white and black and filled in with draped female figures after the antique. Height of bed, 8 feet; length, 6 feet 9 inches; width, 5 feet 5% inches. Purchased from the A. J. Crawford Company, New York, with the written statement that the above suite was "purchased at the sale of Richard Poer de la Poer of Greystones Priory, in the county of Dublin, Ireland, in April, 1903, having been in the possession of the family almost one hundred years." 468. SATINWOOD DESK In style of the Brothers Adam. Has six drawers and five compart- ments in top and three small drawers below. This beautiful example of satinwood furniture is enriched with floral festoons of roses and oval medallions filled in with classic figures in white on green. Height, 39 inches; length, 48 inches; width, 24% inches. Purchased from the A. J. Crawford Company, New York, 1904, as a specimen of the period. 469. SATINWOOD CURIO CABINET In style of the Brothers Adam. Decorated with painted designs of floral festoons and an oval panel (top) ornamented with two amorini. Two shelves, spade feet, curved apron. Height, 39 inches. Purchased from the A. J. Crawford Company, New York, 1904, with their written statement that the above piece was made hy the Brothers Adam toward the end of the eighteenth cen- tury. 470. SATINWOOD ROUND TABLE In style of the Brothers Adam, decorated in rich but subdued colors with rose festoons and draped female figures after the antique. De- pending from the beaded central panel on top hang black and white oval plaques filled in with the figures of the Muses or Arts. Has been reinforced below with two braces. Height, 29 inches; diameter, 35% inches. Purchased from the A. J. Crawford Company, New York, 1904<, with their written statement that the above table was pur- chased at the Richard Poer cle la Poer sale, Greystones Priory, Dublin, Ireland. 471. PAIR OF GILT WOOD CANDLESTICKS Griffin form, in style of the Brothers Adam. Height, ISy^ inches. Purchased from the A. J. Crawford Company, with the written statement that the above candlesticks were made toward the end of the eighteenth century. 472. TRIPOD POLE SCREEN In style of the Brothers Adam. With satinwood urn-shaped oc- tagonal panel, filled in with painting on satin of rose and insects. The border is ornamented with painted floral festoons. Glass framing painting, painted in green and gold. Height, 6I14 inches. 473- OVER-MANTEL MIRROR In style of the Brothers Adam. Of vertical oblong shape. Light frame decorated with acanthus, beaded and rosette designs wrought in gilt compo. Modern Wedgwood plaque "Sacrifice to Flora" inserted in frame immediately below the gilt urn which crowns the piece. Height, 4.5 inches; length, 60 inches. Purchased from the A. J. Crawford Company, 1905, as a period piece. 474. SUITE OF PAINTED FURNITURE In style of Hepplewhite. Consisting of "A." Glass-front cabinet. "B." Shield-back settee. "C." Two corner-stands. "D." Two armchairs. "E." Desk. "F." Circular table. Finished with a black painted ground, the entire set is decorated with drapery and floral festoon designs and oval plaques filled in with female figures after the antique, the "Muses," "Arts" and the like. The latter are painted in white or green, after the manner of Wedgwood. Height of cabinet, 66 inches. Purchased from the A. J. Crawford Company, New York, 1905, with a written guarantee and a statement that they had bought the set at Dorman's Park, in Surrey, two miles from East Grinstead; it belonged to the Nicol family, and was well known in that part of Surrey; it had belonged to the Nicols for over sixty years, and they had bought it at "Crowborough Hall, Sussex." They further stated "that in the opinion of several experts," including Mr. Arthur Taylor of London, "it is without doubt the most unique set they had ever seen of a very rare period, viz., early Hepplewhite." THE LITERARY TREASURES FIRST SESSION TUESDAY EVENING, APRIL 6TH, 1915 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 8,15 o'CLOCK Catalogue Nos. 1 to 224 inclusive A'BECKETT, GILBERT ABBOTT 1. The Comic History of England. Colored etchings and wood- cuts by John Leech. First Edition in the original 20 parts (in 19), 8vo, wrappers, uncut. London, 1846-1848; The Comic History of Rome. Colored etchings and wood- cuts by John Leech. First Edition in the original 10 parts (in 9), 8vo, wrappers, uncut. London, n. d. (^circa 1850). Together, 3 vols., with all the advertisements, etc. In red morocco cases (3). EXTRA-ILLUSTRATED SET OF MEMOIRS OF THE FAMOUS COMEDIAN, JOHN BANNISTER ADOLPHUS, JOHN 2. Memoirs of John Bannister, Comedian. 2 vols. 8vo, ex- tended to 8 vols. 8vo, half crimson morocco, gilt backs and tops, by Pawson and Nicholson. Extra-illustrated by Charles N. Mann, of New York, with his specially printed title in each volume. London, (1838) Extra-Illustrations comprise, — 787 engraved portraits, including portraits of Mr. Bannister as Dick; Japhna; Whiskerandos ; Capt. Macheath; Shady; Gradus (2); Merlin; Col. Feignwell (2), Capt. Bobadil; Echo; Ben; and Major Sturgeon; together with 7 in plain dress. Among the others are — Mrs. Siddons (24 different por- traits) ; Garrick (14) ; Samuel Foote (12) ; Mrs. Jordan (10); John Quick (10); Charles Mathews (12); J. P. Kemble (10) ; John Fawcett (9) ; Quin (2) ; Lady Ham- ilton (2); R. B. Sheridan (5); Mrs. Abington (8), m- cluding a rare one as Lady Betty Modish; Macklin (5) ; CoUey Cibber; Woffiington (3) ; Liston (6) ; Perdita Rob- inson (4); Tate Wilkinson; Thomas Killigrew; George Selwyn; Charles Kemble (5) ; Mrs. Billington (6) ; Thomas Rowlandson (rare); Mrs. Clive; Mrs. Siddons {by San- son, rare) ; Charles Lee Lewes (3) ; Miss Harpur (mezzo) ; Henry Carey; Mrs. Jordan as Hippolyta (scarce); Michael Kelly (4); Master Payne (by Leney); Edmund Kean as Zanga (by Alais after Geo. Cruiksliank, rare); Mdme. Vestris (3) ; Gen. Monckton; Liston as Moll Flag- gon (colored) ; George Colman (5) ; Mrs. Bannister (by Conde) ; Henry Johnston (4) ; Mdme. Catalani (4) ; Har- ley as Leporello (rare colored etching), and in other char- acters; Miss O'Neill; Thomas Coutts; Charles Lamb; Conway; Miss Mellon; Miss Farren (3); Mrs. Inchbald (4) ; John Edwin (5) ; Horace Walpole; Joe Miller (New York, 1838); Gen. Burgoyne; Napoleon (3); Admiral Howe; Elliston as Mercutio (rare, colored); Edmund Kean; Mr. and Mrs. Mattocks (mezzotints) ; Ned Shyter (5); Munden (3); Edmund Burke; C. J. Fox (2); Braham (4) ; Milton; Pope and the Duke of Bedford (all by W. Haines); John Adolphus; Charles Dibdin (4); Garrick (by Edwin); G. F. Cooke; Master Betty (3); Spranger Barry (2) ; Stephen Kemble (2) ; Mrs. Sheri- dan; Dr. Johnson; John Johnstone (4); Rousseau; Vol- taire (3) ; Philip Astley; Gen. Wolfe; West Digges; Mrs. Cibber; Benjamin West; John Bernard; Mr. Woodward; Miss Pope (mezzo) ; C. Heath, engraver; Nollekens, the sculptor; Mrs. Bland (4) ; Holman (4) ; Mrs. Coutts (3) ; Mrs. Centlivre ; and many others. iESOP'S FABLES 3. iEsop. iEsop's Fables. With his Life; in English, French, and Latin. Newly Translated. Illustrated with 112 sculptures. To this edition are likewise added thirty-one new figures representing his life. Small folio, full Cam- bridge calf, gold tooled back and sides, gilt edges, by Lloyd and Wallis. London, 1687 ^SOP'S AND GAY'S FABLES. STOCKDALE'S FINE EDITION ON LARGE PAPER, BOUND BY BEDFORD ^SOP'S AND GAY'S FABLES 4. The Fables of jEsop. With a Life of the Author. Embel- lished Tenth 112 plates {by William Blake, and others). 2 vols. London; John Stockdale, June 4ith, 1793; Gay (John). Fables. With a Life of the Author. Embel- lished with 70 plates. 2 vols. London; John Stockdale, 1793. Together, 4 vols, royal 8vo, full dark-blue straight- grained morocco, gilt backs and sides, gilt tops, other edges uncut, by Bedford. London, 1793 Lauge Paper set, containing brilliant impressions of the illustrations. The Edward George Hibbert copy, with bookplate. WORKS OF W. H. AINSWORTH, ALL FIRST EDI- TIONS, ORIGINAL CLOTH AND PARTS, IN- CLUDING COPIES BELONGING TO WILLIAM BECKFORD AND GEORGE CRUIKSHANK, WITH THEIR AUTOGRAPH INSCRIPTIONS AINSWORTH, WILLIAM HARRISON 5. The Tower or London. A Historical Romance. With Ifi full-page plates and 58 woodcuts by George CruiJcshank. Royal 8vo, original cloth, gilt, uncut. In straight-grained morocco case. London, 1840 First Edition, and William Beckford's copy, with au- thor's autograph inscription on title, — "William Beckford, Esquire, From the Author." AINSWORTH, WILLIAM HARRISON 6. The Tower of London. A Historical Romance. With ^,0 full-page plates and 58 woodcuts by George Cruikshank. First Edition. Royal 8vo, full calf, gilt back and inside borders, gilt top, lower edges uncut, with portion of pic- torial wrappers bound in, by Toot. London, 1840 AINSWORTH, WILLIAM HARRISON 7. Old St. Paul's. A Tale of the Plague and the Fire. With SO etched plates designed and engraved by John Franklin. 3 vols. 8vo, original cloth, uncut, stamp on titles. London, 1841 FmsT Edition. Author's presentation copy, with his auto- graph inscription on title of Vol. I. ; — "Robert Solder, Es- quire, with Mr. Ainsworth's best regards." AINSWORTH, WILLIAM HARRISON 8. The Misee's Daughter. A Tale. With W illustrations by George Cruikshanh. 3 vols. 12mo, original cloth, uncut. In levant morocco cases. London, 1842 First Edition and George Cruikshank's own copy, with his autograph signature on each title, and author's presen- tation inscription on the title of Vol. I. ; — "Mrs. George Cruikshank, mth the Author's very kind regards and the illustrator's dearest love. October 18th, 188S." AINSWORTH, WILLIAM HARRISON 9. Windsor Castle: an Historical Romance. Portrait of the author by Maclise, and illustrations by George Cruikshank and Tony Johannot. First Edition. 8vo, in the original 11 parts, uncut. In morocco case. London, 1844 AINSWORTH, WILLIAM HARRISON 10. The Life and Adventures of Mervyn Clitheroe. Illus- trations by "Phiz." First Edition. 8vo, in the original 12 parts in 11, uncut. In morocco case. London, 1857-1858 ALCIATI, ANDREA 11. Emblematvm libellvs. With 113 emblematic woodcuts. Small 8vo, full red levant morocco, gilt back, interlaced gilt borders on sides, doublures of dark-blue levant, gilt bordered, watered silk end-papers, gilt edges, by Lortic, with his ticket. (Green No. 25.) Lugduni: Jacobus Modernus, 1544 The Robert Hoe copy, with bookplate. FIRST EDITIONS OF SEVERAL OF THE WORKS OF THOMAS BAILEY ALDRICH ALDRICH, THOMAS BAILEY 12. The Bells: A Collection op Chimes. 12mo, full straight- grained morocco, gilt back and inside borders, gilt top, by Stikeman, tear across p. 17 repaired. New York, 1855 First Edition of the author's first book. ALDRICH, THOMAS BAILEY 13. The Bells : A Collection or Chimes. First Edition. 12mo, original cloth, title somewhat damaged, Fly-leaf contains autograph signature of Aldrich with date. New York, 1855 ; The Ballad of Babie Bell, and Other Poems. First Edition. 12mo, original cloth. New York, 1859. To- gether, 2 volumes. ALDRICH, THOMAS BAILEY 14. The Ballad of Babie Bell, and Other Poems. With pen- cilled autograph signature of Mr. Ives; New York, 1859; Poems. New York, 1865; Marjorie Daw, and Other Peo- ple. Boston, 1873 ; Poems. Illustrated by the Paint and Clay Club. Boston, 1882. Together, 4 vols., various sizes, original cloth and wrappers. All First Editions, except the last-named. ANDREWS, WILLIAM LORING 15. Among My Books. Numerous reproductions, several colored. 8vo, full dark-green levant morocco, corner covei*-orna- ments, doublures of brocade silk with filleted borders, bro- cade-silk end-papers, gilt edges, by The Doves Bindery. New York: Printed for the Author, 1894 First Edition, and one of 10 copies on Japanese paper. ANDREWS. WILLIAM LORING 16. Fragments of American History, Illustrated solely by the Works of those of our own Engravers who flourished in the XVIIIth Century. Numerous reproductions, several colored. 12mo, half calf, gilt top, uncut. New York: Printed for the Author, 1898. First Edition, and one of 80 copies on American hand- made paper. ANDREWS, WILLIAM LORING 17. A Taio OT Eighteenth Centuuy Feench Engravers of Portraits in Miniature. With 38 illustrations. 8vo, vellum-covered boards, uncut. New York: Printed for the Author, 1898 First Edition, and one of 161 copies on Japanese paper. ANGLO-SAXON REVIEW, THE 18. A Quarterly Miscellany. Edited by Ladj Randolph Churchill. With a large number of fine plates, mainly por- traits of celebrities. 10 vols, small folio, full decorated roan, each volume bound in facsimile of a famous specimen of the binder's art, including Derome, Clovis Eve, Canevari and others. London, 1899-1901 Complete Set. Contains original contributions by most of the eminent authors of the period, including, — Maurice Hewlett, A. C. Swinburne, Edmund Gosse, and others. COLORED PLATES BY HENRY ALKEN [APPERLY, C. J.] 19. The Life oe a Sportsman. By Nimrod. With 36 colored plates by Henry Aiken. Royal 8vo, full red levant mo- rocco, gilt back and inside gilt borders, gilt edges, by Lloyd. London: R. Ackermann, 1842 First Edition, with the Aiken plates in unusually brilliant impressions. [APPERLY, C. J.] 20. Memoirs op the Life of the Late John Mytton, Esq., of ^ ^ ^_ Halston, Shropshire . . . with Notices of his Hunt- ing, Shooting, Driving, &c. By Nimrod. Engraved title, and 18 highly-colored plates by Henry Aiken and T. J. Rawlins. Royal 8vo, fuU red levant morocco, gilt sym- bolical back and panelled sides, doublures of blue levant, gilt borders, gilt edges, original cloth covers bound in, by David. London: R. Ackermann, 1851 Third and best edition, with a brief Memoir of "Nimrod" by the author of "Handley Cross" (R. S. Surtees). APULEIUS 21. The Works of Apuleius, comprising the Metamorphoses, or Golden Ass, the God of Socrates, the Florida, and his De- fence, or a Discourse on Magic. A New Translation. Por- trait. 12mo, full calf. London, 1853 This edition contains passages that were altered in later issues. ARABIAN NIGHTS 22. The Book of the Thousand Nights and One Night; now first completely done into English Prose and Verse, from the original Arabic, by John Payne. 9 vols. London; Printed for the Villon Society by private subscription, and for private circulation only, 1882-1884 ; Also Aladdin and the Enchanted Lamp. Two stories done into English from the recently discovered Arabic text, by John Payne. Lon- don; Printed for subscribers only, 1889. Together, 10 vols. 8vo, vellum, gilt, gilt tops, uncut. London, 1882-1889 Although bearing the imprint of London, the copy of Alad- din is thought to be the New York edition. FIRST EDITIONS OF MATTHEW ARNOLD IN THE ORIGINAL CLOTH AND WRAPPERS ARNOLD, MATTHEW 23. The Stuayed Revellee, and Other Poems. By A. 12mo, full dark-blue levant morocco, gilt back and inside borders, gilt edges, by Root. London, 184)9 First Edition. One of 100 copies circulated, balance of issue withdrawn. ARNOLD, MATTHEW 24. Empedocles on Etna and Other Poems. By A. 12mo, original cloth, uncut. London, 1852 First Edition. Only 50 copies printed before it was with- drawn from circulation. ARNOLD, MATTHEW 25. Merope. a Tragedy. 12mo, full calf, gilt back and inside borders, gilt top, lower edges uncut. London, 1858 First Edition. ARNOLD, MATTHEW 26. Geist's Grave. Square 12mo, original printed wrappers, un- cut, and mainly unopened. London: Printed only for a few friends, 1861 First Edition, A fine copy of the privately printed Elegy on the poet's dog. ARNOLD, MATTHEW 27. Saint Beandan. 8vo, original printed wrappers, uncut, pp. 11. London: E. W. & A. Skipwith, 1867 First Edition. Only a small number were printed. ARNOLD, MATTHEW 28. Saint Brandan. Another copy of the First Edition. 12mo, original wrappers, uncut. London, 1867 ARNOLD, MATTHEW 29. Essays in Criticism. London, 1865 ; On the Study of Celtic Literature. London, 1867 ; Irish Essays and Others. Lon- don, 1882. All First Editions. Together, 3 vols. 8vo, and 12mo, original cloth. ARNOLD, MATTHEW 30. Empedocles on Etna. A Dramatic Poem. Title within a woodcut harder. 12mo, full red levant morocco, gilt back, sides tooled in a large lozenge with gilt ornaments, inside gilt borders, gilt top, uncut, by Zaehnsdoee. London : Vale Press, 1896 One of 200 copies printed. AUDSLEY, GEORGE ASHDOWN, and BOWES, JAMES LORD 31. Kbramic Art of Japan. With a large number of plates, sev- eral specimens on most of them, many of which are beauti- fully illuminated in gold and colors. 2 vols, folio, morocco backs, heavy bevelled cloth sides, emblematically decorated, gilt edges. Liverpool, 1875 Many of the facsimiles are from the author's collection, and formed part of the exhibition for many years in Liver- pool, the author's home. Each plate is mounted on a linen guard, thus preventing them breaking away from the backs. BAILY, J. T. HERBERT 32. Emma, Lady Hamilton. A Biographical Essay, with a Cata- logue of her published portraits. Illustrated. 4to, boards, uncut. London, 1905 BEAUTIFUL EDITIONS OF A NUMBER OF WORKS OF HONORE DE BALZAC IN HANDSOME BINDINGS FROM THE ROBERT HOE LIBRARY BALZAC, HONORE DE 33. Eugenie Gkandet. Orne de huit sujets dessines par Dagnan- Bouveret et graves a I'eau-forte par Le Rat. Royal 8voj full dark-green levant morocco, back and sides tooled in quadruple and septuple fillets, interlaced, doublures of crim- son levant, gilt bordered, green silk end-papers, gilt over rough edges, original wrappers bound in, by Marius Michel. In slip cover and case. Paris : Imprime pour les Amis des Livres, 1883 One of 120 copies printed, with the plates in two states, one being on India paper. The Robert Hoe copy, with bookplate. BALZAC, HONORE DE 34. Les Chouans. Preface par Jules Simon. Compositions de Julien le Blant, gravees a I'eaiu-forte par imile BoUvvn. Imperial 8vo, full russet levant morocco, festoon ornamen- tal borders within quadruple borders of dots, lines, etc., doublures of crimson levant morocco, ornamented with wide borders of fleurs-de-lys, dotted lines, scrolls, etc., gilt over uncut edges, original wrappers bound in, by Chambolle- DuEU. In case. Paris, 1889 De Grand Luxe Edition. One of 35 copies printed throughout on Chinese paper, with the etchings in three states, on Japanese paper, the woodcuts in two states on Chinese paper. Inserted is a characteristic originai- pen-and-ink draw- ing BY Le Blant, the illustrator of the work. The Robert Hoe copy, with bookplate. BALZAC, HONORE DE 35. Le Peche Veniel. Compositions de Favl Avril grwoees a Veav^forte par Edouard Leon et Raoui Serres. Royal 8vo, full maroon levant morocco, gilt and blind tooled on back and sides in panels of broad and narrow fillets and orna- ments, doublures of maroon levant, with mosaic panels of blue and light-brown morocco, maroon silk end-papers, gilt over rough edges, original wrappers bound in, by Cab.ayon. Paris: Charles Bosse, 1901 Unique copy, on Japanese papeb, with the etchings in FIVE states, including engraver's etching, three states of remarque proofs, and the finished plate. The Albert Belinac-Robert Hoe copy, with bookplates of both. BALZAC, HONORE DE 36. La Femme de Tkente Ans. Avec S5 compositions par A. Robaudi, gravees au burin, et I'eau-forte par Henri Manesse. Royal 8vo, full dark-blue levant morocco, gilt back, and wide ornamental borders, doublures of figured blue silk, gilt bordered, silk end-papers, gilt over rough edges, original wrappers bound in, by The Club Bindeey. In slip cover and case. Paris, 1902 One of 70 copies on Japanese paper, with the plates in two states. The Robert Hoe copy, with bookplate. BALZAC, HONORE DE 37. Les Peosceits. Dix-neuf compositions dessinees et gravees a Veaw-forte par Gaston Bussiere. Royal 8vo, full dark-green levant morocco, covered with an interlaced design of fillets on back and sides, doublures of green levant, gilt bordered, figured silk end-papers, gilt over rough edges, original wrap- pers bound in, by The Club Bindeey. In slip cover and case. Paris: Librairie des Amateurs, 1905 One of 40 copies on Japanese paper, with the plates in two states, one being remarque proof. The Robert Hoe copy, with bookplate. BALZAC, HONORE DE 38. Les Joyeuzetes du Roy Loys le Unziesme. Conte dro- latique. Each page of text within a wide coloked border, several fvll-page plates, also colored, hy Edmond Malassis. Royal 8vo, original pictorial wrappers, uncut. Paris: Louis Conard, 1907 One of 150 copies on papier velin. The Robert Hoe copy, with bookplate. BARHAM, RICHARD HARRIS 39. The Ingoldsby Legends; or, Mirth and Marvels. By Thomas Ingoldsby, Esquire. Illustrated with finely etched plates hy George Crmkshank and John Leech, and with a portrait of the author. 4 vols. 12mo, full brown levant morocco, richly tooled backs, triple lines round sides, inside dentelle borders, gilt tops, uncut, by The Club Bindery. London, 1840-1842-1847-1848 First Edition, First Issue. Page 236 in series one (1840) is blank; the second issue (see below) contains this leaf printed, commencing, — "Gengulphus," or, as he is usually styled in this country, — "Jingo," etc. The copy also con- tains the slip,- — "To the Critical Reader," on which is printed an original 4-line poem about the blank page (236), and with the other features which distinguish the first issue. In addition, the set includes a copy of the second edition of the first series, with page 236 printed, (as above). BARTLETT, JOHN 40. A New and Complete Concordance, or verbal Index to Words, Phrases & Passages in the Dramatic Works of Shakespeare, with a supplementary Concordance to the Poems. Thick 4to, leather back, and cloth. London, 1894 BARTSCH, ADAM 41. Le Peintre Graveur. Nouvelle Edition. 21 vols. Leipzig, 1876-1870 ; also Supplements au Peintre-Graveur de Adam Bartsch, recueillis et publics par Rudolph Weigel. Leip- zig, 1843; also Atlas, Leipzig, 1866-1876. Together, 23 vols., 22 of which are 12mo, and the Atlas 4to, uniformly bound in half red morocco, gilt tops. Leipzig, v.d. BASTIDE, J. F. 42. La Petite Maison. Preface d'Abel Patoux. Avec seize aquarelles dessinees et gravees en couleurs par Ad. Lalauze. Royal 8vo, full dark-blue levant morocco, thickly covered with a design of interlacing fillets, leaf sprays, scrolls, &c. on back and sides, doublures of dark-blue levant, figured silk end-papers, gilt over rough edges, original wrappers bound in, by The Club Bindery. In slip cover and case. Paris: Henri Leclerc, 1905 One of 150 copies printed. The Robert Hoe copy, with bookplate and gilt monogram. BAY PSALM BOOK, THE 43. Being a Reprint of the First Edition. Printed by Stephen Daye, at Cambridge, in New England, in 1640. (With an Introduction by Wilberforce Eames). 12mo, cloth back and boards, uncut. New York, [1903] BECKFORD, WILLIAM 44. (Vathek). An Arabian Tale, from an Unpublished Manu- script. With Notes, Critical and Explanatory. Fikst Edi- tion. 8vo, full brown levant morocco, ornate sides and back, gilt top, uncut, by Zaehnsdorf. London, 1786 First Edition of Beckford's famous tale of "Vathek," the name appearing with "The History of the Caliph Vathek, with Notes" on the half-title (a3) placed before the text. The copy also contains the leaf of Errata, p. [vii] . BERALDI, HENRI 45. La Reiiuee du XIXe Siecle. With a large number of fac- similes, many in colors. 4 vols. 4to, full crimson levant morocco, sides and backs gold tooled, gilt tops, uncut, by The Club Bindery. Paris, 1895-1897 One of 295 copies printed on papier velin du Marais. THE CHANSONS OF P. J. DE BERANGER, FIRST EDITIONS, BEAUTIFULLY BOUND, FROM THE ROBERT HOE LIBRARY BERANGER, PIERRE JEAN DE 46. Chansons Mokales et autb.es, Convive du Caveau Moderne, avec Gravures et Musique. Frontispiece and title-vignette. 12mo, full crimson levant- morocco, filleted back and sides, inside borders, uncut, by Allo. Paris, 1816 First Edition, with 83 Chansons, the famous prose Preface, and 5 poems not in the second edition. Height, 145mm. The Robert Hoe copy, with bookplate. BERANGER, PIERRE JEAN DE 47. Chanson Nouvelles. Vignettes. Small 8vo, full green levant morocco, inside gilt borders, gilt over rough edges, by Rey- MANN. Paris, 1825 First Edition, containing Preface in verse and 52 new Chansons including, — "Impromptu sur le Mariage de Na- poleon et de Marie Louise." The Robert Hoe copy, with bookplate. BERANGER, PIERRE JEAN DE 48. Chansons, Nouveeles et Deenieres. With 17 scenes en- graved hy Lefevre, Lemaitre, Joubert, Sj-c. after Grenier, Johannot, Raffet, and others. 12mo, full dark-green levant morocco, gilt back, gilt leaf sprays on sides, inside gilt bor- ders, gilt top, uncut. Paris: Perrotin, 1833 Extra-Ielusteated by the insertion of, — 2 portraits of Beranger each in two states, one black and bistre; and two proofs on vellum and paper ; also, 7 portraits by St. Aubin, Lignon, Tavernier, and others. The Robert Hoe copy, with bookplate. BERANGER, PIERRE JEAN DE 49. Les Gaietes de Beranger: quarante quatre chansons ero- tiques, suivies de chansons politiques et satiriques non re- cueillies dans ses ceuvres pretendues completes. 16mo, full dark green morocco gilt, gilt edges. Amsterdam, 1864 BERNARD, PIERRE JOSEPH 50. CEuvKES. With 4 fine plates, all brilliant impressions, engraved by Beisson and Copia, after Pmdhon. 4to, full red levant morocco, gilt back, gilt edges, by Rousselle. Paris: P. Didot Paine, 1797 This copy contains the rare plate, — "Phrosine," designed and engraved by Prudhon. BERQUIN, ARNAUD 51. Idylles. Ille Edition. Frontispiece designed amd engraved hy Marillier, and '2^ plates, proofs before the numbers, by Gaucher, De Ghendt, Le Gouaz, Delaunay, S^-c. after Maril- lier. 2 vols. 16mo, full red levant morocco, doublures of blue levant, gilt edges, by Canape. Paris : Ruault, 1776 Copy on Holland paper, with fine impressions of the plates. BERQUIN, ARNAUD 52. Pygmalion, scene lyrique de M. J. J. Rousseau, mise en vers par M. Berquin. Text engraved throughout by Drouet, title after Marillier, and 6 vignettes by Delaunay and Ponce, after Moreau. 8vo, full red levant morocco, gilt, gilt edges, by Loetic. Paris, 1775 Holland paper copy, with beautiful impressions of the vi- gnettes. At the end is the "Idylle," with vignette and tail- piece engraved by Gaucher after Marillier. BERQUIN ET ROUSSEAU 53. Pygmalion. Scene lyrique de J. J. Rousseau. Illustrations de Moreau le jeune. Suivi d'une idylle par Berquin. Vi- gnettes de Marillier. 4to, full citron levant morocco, gilt and mosaic back and side corners, gilt over rough edges, original wrappers bound in, by Chambolle-Duru. Paris, 1883 One of 100 copies printed on Imperial Japanese paper, with two duplicate sets of the plates, in bistre and in red, proofs before letters. The Robert Hoe copy, with bookplate. BILLINGTON, MRS. 54. Memoirs of Mes. Billington, from her Birth ; containing a variety of matter, Ludicrous, Theatrical, Musical and — , with copies of several Original Letters, written by Mrs. Bil- lington to her mother, the late Mrs. Weichsel. Portrait of Mrs. Billington, hy Van Assan, 1792, inserted. 8vo, full dark blue levant morocco, gilt back and sides, gilt top, un- cut, by Riviere. London, 1792 Bound up with the above work is ; "An Answer to the Me- moirs of Mrs. Billington. With the Life and Adventures of Richard Daly, Esq." ; and an "Account of the present State of the Irish Theatre. Written by A Gentleman, well acquainted with several curious anecdotes of all Parties." London; printed for the Author, 1792. Por- trait of Mrs. Billington, as Mandane is inserted. Like the Memoirs, it is an uncut copy, and both works have their half-titles. BIOGRAPHY, JOURNALS AND CORRESPONDENCE 55. A collection of standard works of Biography, Journals, Cor- respondence, etc., as below described. Many First Edi- tions. Together, 49 vols, royal 8vo, 8vo, and 12mo, uni- formly bound in half brown levant morocco, floral gold tooled panelled backs, gilt tops, edges scraped or uncut. Various places and dates The collection comprises the following: — Alice, Grand Duchess of Hesse, Princess of Great Britain and Ireland. Biographical Sketch and Letters. Portrait. New York, 1884 Auckland (William, Lord). The Journal and Corre- spondence of William, Lord Auckland. With a Preface and Introductions, by the Bishop of Bath and Wells. Portraits. 2 vols., duplicate stamps on each title. London, 1861 BiGELOW (Poultney). History of the German Struggle for Liberty. Illustrated with drawings hy R. Caton Wood- ville, and with portraits and maps. 2 vols. New York, 1896 Bulwer-Lytton (Sir Edward). The Life of Henry John Temple, Viscount Palmerston; with selections from his Diaries and Correspondence. Portrait. 2_vols. London, 1870 [No. 55 — Continued^ Bulwer-Lytton (Sie Edward). The Life, Letters and Literary Remains of Edward Bulwer, Lord Lytton. By his Son. With portraits and illustrations. 2 vols. London, 1883 Chadwick (William). The Life and Times of Daniel De Foe; with remarks digressive and discursive. Portrait. London, 1859 FoRSTER (John). The Life of Charles Dickens. Por- traits. 3 vols. Philadelphia, 1872 Hamilton (Anthony, Count). Memoirs of the Count de Grammont; containing the amorous history of the English Court under the reign of Charles II. Edited by Henry Vizetelly. With over 50 portraits, some etched. 2 vols. London, 1889 Hill ( Sir Rowland) . The Life of Sir Rowland Hill, and the History of the Penny Postage. By Sir Rowland Hill and George Birkbeck Hill. Portrait. 2 vols. London, 1880 Hugo (Victor). The Memoirs of Victor Hugo. With a Preface by Paul Meurice. Translated by John W. Hard- ing. Portrait. New York, 1899 Jackson (Catherine Charlotte, Lady). The First of the Bourbons, 1589-1595. Portraits. First Edition. 2 vols. London, 1890 Jamison (D. F.). The Life and Times of Bertrand du Guesclin ; a History of the Fourteenth Century. Portrait. 2 vols. London, 1864 Jesse (John Heneage). Memoirs of King Richard the Third, and come of his contemporaries. Portrait and fron- tispiece. 2 vols. New York, 1894 Lang (Andrew). The Life and Letters of John Gibson Lockhart. With 15 illustrations. 2 vols. London, 1897 Lavalette (Count). Memoirs of Count Lavalette, Ad- jutant and Private Secretary to Napoleon. Portraits, Large Paper Copy, one of 125 copies printed. London, 1894 Lowe (Charles). Alexander III. of Russia. Portrait. New York, 1895 [No. 55 — Continuedl Macleod (Donald). Memoir of Norman Macleod. Por- traits. 2 vols. London, 1876 MouLEY (John). The Life of William Ewart Gladstone. Portraits. 3 vols. New York, 1903 NouTHCOTE (James). The Life of Sir Joshua Reynolds. Second Edition, revised and augmented. Portraits and fac- simile letter. 2 vols. London, 1818 Roberts (Emma). Memoirs of the Rival Houses of York and Lancaster. Historical and Biographical. Portraits. 2 vols. London, 1827 Russell (John, Earl). Recollections and Suggestions, 1813-1873. London, 1875 Smith (R. Bosworth). Life of Lord Lawrence. Por- traits. 2 vols., embossed stamp on titles. New York, 1883 Waluond (Theodoee — Editor). Letters and Journals of James, Eighth Earl of Elgin. With a Preface by Arthur Penrhyn Stanley, several margins slightly wormed. London, 1872 [Warbueton (Major George)]. A Memoir of Charles Mordaunt, Earl of Peterborough and Monmouth, with se- lections from his Correspondence. 2 vols. London, 1853 Williams (D. E.). The Life and Correspondence of Sir Thomas Lawrence. Portraits. 2 vols. London, 1831 Wraxall (Sir N. William). Historical Memoirs of My Own Time, 1772-1784. Third Edition, revised and cor- rected. Portrait. 3 vols. London, 1818 BITAUBE, PAUL-JEROME 56. Joseph. Engraved frontispiece, containing a -portrait of the author, hy St. Auhin, after Cochin, and 9 plates by Nee after Marillier. 8vo, full green straight-grained morocco, the sides covered with a gilt diaper pattern, enclosed within borders of leaf design, richly gold tooled back and inside borders, purple moire silk linings, with outer gold tooled borders, gilt edges, by Bozerian. Paris : Didot, 1786 The Robert Hoe copy, with bookplate, and his autograph. BLACKMORE, R. D. 57. LouNA DooNE : A Romance of Exmoor. Fikst Edition. 3 vols. 12mo, original cloth. London, 1869 BOADEN, JAMES 58. The Life of Mrs. Jordan ; including Original Private Corre- spondence, and numerous Anecdotes of her Contemporaries. Portrait and facsimile autograph letter. 2 vols. 8vo, full citron levant morocco, richly tooled panelled backs, orna- ments on sides, gilt tops, uncut. London, 1831 First Edition and Extra-Illustrated by the insertion of 102 portraits and plates, mainly of actors and actresses of note, many in character. Includes, — Mr. Shuter, as Love- gold, Mr. Moody, as Jobson, Mr. Foote, as Fondlewife, and many others. BOADEN, JAMES 59. The Life of Mrs. Jordan; including Original Private Cor- respondence, and numerous Anecdotes of her Contempo- raries. Portrait and facsimile autograph letter. 2 vols. 8vo, full polished calf, gilt backs and sides, gilt edges. London, 1831 Extra-Illustrated by the insertion of 36 portraits of actors and actresses, mainly in character, and from contem- porary sources. Includes, — Mrs. Hopkins, as Arethusa, Mrs. Hartley, as Mary, Queen of Scots, Mrs. Mountain as Fidelia, and others. BOCCACCIO, GIOVANNI 60. The Decameron, First completely done into English prose and verse, by John Payne. 3 vols, square 8vo, vellum, gilt, gilt tops, uncut. London: Printed for the Villon Society, 1886 Limited and numbered issue. BOCCACCIO'S DECAMERON, PAYNE'S TRANSLA- TION, BOUND BY ROUSSELLE AND EXTRA- ILLUSTRATED BOCCACCIO, GIOVANNI 61. The Decameron. Translated by John Payne. Illustrated by Louis Chalon. 4 vols, imperial 8vo, full crimson levant morocco, elaborately gold tooled backs, gilt sides, doublures of green levant morocco, with broad and richly tooled bor- ders, crimson watered silk linings, gilt tops, uncut, by RoussELLE. London: Lawrence and BuUen, 1893 Limited and numbered issue. Two volumes extended to four, and Extka-Ii^lustrated by the insertion of the fol- lowing series of plates, 185 in all. (1) A set of the Marillier designs, engraved by Delvaux and Courbe. (2) The series of 100 illustrations by Gravelot, Eisen, and Boucher, designed for the edition of 1777. (3) A set of the woodcut vignettes, on India paper, by Baron, Langlois, and Tony Johannot. (4) A set of the etchings by Tcyssonniere, after Wagrez, on Holland paper. (5) The Flameng etchings, on India paper. (6) Four portraits of Boccaccio, engraved by Flameng, Auber, Hopwood and Raphael Morghen. BOCCACCIO. GIOVANNI 62. The Decameron. Translated by John Payne. Illustrated by Louis Chalon. 2 vols, imperial 8vo, cloth, uncut. London, 1893 No. 8 of 174 copies on Japanese paper. BOCCACCIO, GIOVANNI 63. A Translation of Giovanni Boccaccio's Life of Dante. With an Introduction and a Note on the portraits of Dante, by G. R. Carpenter. Portrait and view. 8vo, embossed leather, uncut. In a case. New York: The Grolier Club, 1900 One of 300 copies on Italian handmade paper. BOSWELL'S LIFE OF DR. JOHNSON, TEN VOL- UMES EXTRA-ILLUSTRATED WITH UNU- SUAL PORTRAITS BOSWELL, JAMES 64. The Life of Samuel Johnson, including a Journal of his Tour to the Hebrides. New Edition, with numerous Addi- tions and Notes, by John Wilson Crokcr. With iipraards of fifty illustrations. 10 vols. 12mo, half green levant morocco, backs richly decorated with gold tooling, gilt tops, edges scraped, by Mokrell. London, 1851-1852 Extra-Illustrated by the insertion of 102 portraits and views, some of which are unusual. BOUILHET, LOUIS 65. Mel^mis. Preface dc A. Join-Lambert. With engravings in COLORS after Paul Gervais. Royal 8vo, full citron levant morocco, back and side panels of red morocco tooled in a gilt floral design, inside gilt borders, gilt top, uncut, orig- inal wrappers bound in, by The Club Bindery. Evreux, 1900 One of 140 copies on papier velin. The Robert Hoe copy, with bookplate. PAUL BOURGET'S PHYSIOLOGIE DE L'AMOUR MODERNE, ON JAPANESE PAPER, WITH OVER 200 ORIGINAL DRAWINGS BY HENRIOT BOURGET, PAUL 66. Physiologie de l' Amour Moderne ; Fragments Posthumes d'un ouvrage dc Claude Larcher, recueillis et publies par Paul Bourget, son executeur testamentaire. Etched por- trait of the author on India paper. Oblong 12mo, full blue levant morocco, doublures of rose levant, maroon figured silk end-papers, gilt over rough edges, by Bretault. Paris : Alphonse Lemerre, 1891 One of 15 copies on Japanese paper, containing 206 water-color drawings and pen-and-ink sketches by HeNRIOT, on THE MARGINS. The Robert Hoe copy, with bookplate. BOURGET, PAUL 67. CosMOPOLis. Roman. Illustre d'aquarelles par Duez, Jean- niot et MyrhacJi {with frontispiece and several other plates IN coLOEs). 8vo, half red morocco, gilt top, uncut, by R. W. Smith. Paris, 1893 FiusT Edition. The Robert Hoe copy, with bookplate. BOURGET, PAUL 68. Pastels ; Dix Portraits de Femmes. Nouvelle Edition, revue et corrigce par I'auteur. With 45 water-colored drawings by Robaudi and Giraldon, printed in colors. Royal 8vo, bluish-grey levant morocco, gilt and mosaic back and sides with fillets curved at corners, doublures of figured-silk bor- dered with levant, end-papers similar, gilt edges, by Mauius Michel. Paris : Librairie Conquet, 1895 One of 200 copies on Japanese paper. The Robert Hoe copy, with bookplate. BOURGET, PAUL 69. Le Faktome. Fiest Edition. Royal 8vo, full brown levant morocco, gilt back and top, original wrappers bound in, by The Club Bindery. Paris, [1901] One of 20 copies, each autographed by the author, and numbered, printed sur papier velin des usines d'arches. The Robert Hoe copy, with bookplate. BOWES, JAMES L. 70. A Vindication of the Decoeated Potteey oe Japan. Fac- similes, some in color. Small 4to, boards. London : Printed for private circulation, 1891 BRADLEY, JOHN W. 71. A Dictionary of Miniaturists, Illuminatoes, Callig- RAPHEES, and Copyists, with references to their works, and Notices of their Patrons, from the Establishment of Chris- tianity to the Eighteenth Century. 3 vols. 8vo, half mo- rocco, uncut, inscription on title. London, 1887 A BREVIARIUM FROM THE PRESS OF NICOLAUS JENSON, ONE OF TWELVE COPIES KNOWN BREVIARIUM 72. JuxTA KiTUM Romans Cuhue. Gothic character in red and black double columns, Ji.8 lines; 40^ urmvmbered leaves {808 pp.), with signatures. Ruled throughout in red, the first page surrounded by a beautiful border composed of leaves, fiowers, with figures of the prophets, and a cardi- nal's coat of arms in the lower part, several other pages being ornamented xvith similar semi-borders also numerous initials, including an historiated one representing King Da- vid in prayer. All finely illuminated in gold and col- ors BY A contempoeary Feench aetist. FoHo, old French red straight-grained morocco, gilt tooled outside and inside borders, silk linings, gilt edges. Calendar and signatures a-d (44< leaves) misbound between Parts I and II, the leaf of register missing. Venetiis: Nicolaus Jenson, 1478 Feinted on vellum. One of only a dozen copies known IN this state, and one of the most beautiful peoduc- TioNS FEOM Jenson's Peess. From the Hamilton Palace Library, (Beckford Collection), with the book-label to that effect printed by Bernard Quaritch, who purchased it at the sale. Hain, 3896 ; Pellechet, 2922 ; Bohatta, 398. BRONTE, CHARLOTTE 73. Jane Eyee. An Autobiography. Edited by Currer Bell. FiEST Edition. 3 vols. 12mo, original cloth, some leaves uncut. London, 1847 Mary Hewitt's copy, with autograph signature on title of Vol. I. BROUGH, ROBERT B, 74. The Life of Sie John Falstaff, with a Biography of the Knight from authentic sources. Illustrated by George Cruihshanh. Fiest Edition, royal 8vo, full polished calf, gilt back and sides, gilt edges, by Lloyd. London, 1^58 Contains the full-page woodcut between the title and dedi- cation, sometimes missing. WORKS OF ELIZABETH BARRETT BROWNING, INCLUDING FIRST EDITIONS OF ESSAY ON MIND, SONNETS, AND AURORA LEIGH, IN LATTER OF WHICH IS LAID ONE OF THE FINEST LETTERS OF THE AUTHORESS KNOWN [BROWNING, ELIZABETH BARRETT] 75. An Essay on Mind, with other Poems. First Edition. 12mo, full light-green levant morocco, large floral ornaments in corners of each side, gilt back and inside borders, gilt top, edges scraped, by Wood. London, 1826 Written when Mrs. Browning was but 17 years of age, and published anonymously. BROWNING, ELIZABETH BARRETT 76. The Sekaphim and other Poems. First Edition. 12mo, original cloth, uncut. London, 1838 BROWNING, ELIZABETH BARRETT 77. Poems. First Collected Edition. 2 vols. 12mo, original cloth, uncut, with the advertisements. London, 1844 [BROWNING, ELIZABETH BARRETT] 78. Sonnets. By E. B. B. First Edition. 12mo, sheets, sewn, uncut, within wrappers of a later period. In a blue levant morocco solander case, with inner protecting cover, by Bradstreet. Reading [Not for publication] , 1847 Only a tew copies were privately printed, through the generosity of miss miteord, it is said. BROWNING, ELIZABETH BARRETT 79. The Runaway Slave at Pilgrim's Point. First Separate Edition. 8vo, original printed wrappers, in a levant mo- rocco solander case, with inner protecting cover. London, 1849 The first book issued by Mrs. Browning with her married name. Only a small number of copies were printed. BROWNING, ELIZABETH BARRETT 80. Poems. New Edition. 2 vols. 12mo, full crimson levant mo- rocco, gilt backs and sides, gilt tops, edges scraped, by Tout. London, 1850 The Charles B. Foote copy, with bookplate engraved by E. D. French in each volume. BROWNING, ELIZABETH BARRETT 81. Casa Guidi Windows, A Poem. 12mo, original cloth, uncut. London, 1851 BROWNING, ELIZABETH BARRETT 82. AuROPvA Leigh. First Edition. 12mo, original cloth, lower edges uncut. London: Chapman & Hall, 1857 Laid in is an A. L. S. "E. Barrett," 4pp. 12mo, ''No. 50 Temple Street, July 17, i5^^," to Cornelius Mathews, 14 Pine St., New York, in which she interestingly discusses her hopes and fears regarding the welcome the American Public would give her works ; her own frank estimate of some of her early efforts ; &c. On this latter point she writes ; — ■ ". . . And this draws me back to a subject you touch upon in one of your letters, — the discovery of the black- Icttcr offence of my early youth, called an "Essay on Mind" [published in 1826 when the author was about sev- enteen years of age]. Nothing but the youth . . could excuse such a perpetration, and I shake my head over the injudicious tenderness of my friends, who because I was once that monster, a precocious child, took every- thing as fruit, growing on that branch, for the market . . . this is to pray, that you will either destroy the volume aforesaid or put it in the darkest place on the shelf, behind your oldest newspapers. I, for my own part, desire to acknowledge nothing be- fore my volume of Seraphim poems [1838] which however unworthy, have my life and heart in them, in some audible degree. My Prometheus you know what I think of [pub- lished first in 1833 and suppressed by Mrs. Browning] and moreover I am under oath to my own soul, to trans- late the whole of that great tragedy over again, in order to wipe out with my hand, the stain upon my conscience [No. 82 — Continued] and poetic honour . . . this is said in all honesty and truth, heart to heart, as it might be face to face. I trust the truth to you as a friend and I beseech you not to suf- fer the sins of my youth to be used against me in Amer- ica." (Typewritten transcript of letter, also, laid in.) The Seward Brice-William Harris Arnold copy, with book- plates of both. BROWNING, ELIZABETH BARRETT 83. AuuoEA Leigh. First Edition. 12mo, full blue levant mo- rocco, back covered with floral and small dot tooling, corner ornaments on sides, and on inside borders, gilt top, uncut, by RiviEUE. London, 1857 The Charles B. Foote copy, with bookplate. BROWNING, ELIZABETH BARRETT 84. Poems before Congress, London, 1860 ; Last Poems, Lon- don, 1862. Both First Editions. Together, 2 vols. 12mo, original cloth, uncut. London, 1860-1862 The first-mentioned is from the William Habershon collec- tion, with his bookplate. It contains the advertisements, and is the last work by Mrs. Browning published during her lifetime, she dying the following year. [BROWNING, ELIZABETH BARRETT, and ROBERT] 85. Two Poems. First Edition. 8vo, original printed wrap- pers, enclosed in a morocco solander case, with inner pro- tecting cover. London, 1854 The history of the printing, circulation and sale of this lit- tle brochure has been set forth by Mr. Thomas J. Wise, the author of the bibliography of the writings of Robert Browning and others. It seems that it was printed for a bazaar, the funds of which were to benefit the "Refuge for young destitute girls." But few copies were sold, however, and the remainder were laid aside. In 1887, thirty-three years after they had been printed, a parcel of them was offered for sale in a London auction room, and the book- seller who purchased them, retailed them at two shillings, at which price they rapidly disappeared. ROBERT BROWNING'S PAULINE, FIRST EDITION IN THE ORIGINAL BOARDS, ONE OF BUT FEW COPIES IN EXISTENCE; AUTOGRAPH PRES- ENTATION COPY OF PARACELSUS; FIRST COLLECTED EDITION OF HIS POEMS, WITH A. L. S. INSERTED, ETC. BROWNING, ROBERT 86. Pauline; A Feagment of a Confession. 8vo, original boards, paper label, uncut, small hole in text of p. 21. In cloth wrapper and maroon morocco case. London: Saunders and Otley, 1833 First Edition and of Exceeding Scarcity. The author's first book. Mr. Thomas J. Wise in his Browning Bibliog- raphy remarks, — "Pauline is one of the scarcest volumes in the list of modern poetical rarities," and, in addition, states to the effect that the poem was recast entirely as to its punctuation when inserted in Browning's collected works. No other complete edition of Pauline was pub- lished until 1886. In 1908, Mr. Quaritch advertised a copy of this volume of which he stated that there then were only three or FOUR copies known. In a letter accompanying that copy Browning says, — "Pauline — ^Written in pursuance of a foolish plan I forget, or have no wish to remember, in- volving the assumption of several distinct characters : the world was never to guess that such an opera, such a com- edy, such a speech proceeded from the same notable per- son. Mr. V. A. (see page second) was Poet of the party and predestined to cut no inconsiderable figure. 'Only this crab' (I find set down in my copy) 'remains of the shapely Tree of Life in my fool's Paradise.' (I cannot muster resolution to deal with the printer's blunders after the American fashion, and bid people for 'jocularity' read 'synthesis' to the end of the chapter.)" The William Harris Arnold copy, with bookplate. BROWNING, ROBERT 87. Paracelsus. First Edition. 12mo, full brown levant mo- rocco, the sides covered with interlaced floral sprays, back tooled to a slightly different design, doublures of same col- [No. 87 — Continued] ored levant, with broad ornate borders, brown morocco fly-leaves, gilt top, uncut, by Zaehnsdorf. London, 1835 Autograph presentation copy from the author, with inscription, — "Eliot Warburton Esq. with R. B.'s best re- spects Sf regards, April 18^4^, New Cross, Hatcham, Sur- rey", on fly-leaf, and with an autograph annotation regard- ing printer's errors on the half-title. BROWNING, ROBERT 88. Paracelsus. First Edition. 12mo, full crimson levant mo- rocco, broad dentelle inside borders, edges entirely uncut, by Bradstreet. London, 1835 With the advertisements and the original label bound in. BROWNING, ROBERT 89. Strafford: An Historical Tragedy. 8vo, original wrap- pers, paper label on front cover, uncut. London: Printed for Longman, Rees, Orme, Brown, &c. 1837 First Edition, and one of the earliest copies thereof as the advertisements included are dated, — April 15, 1837. This tragedy was performed in public in the May following, and is one of Browning's three plays to be so produced. BROWNING, ROBERT 90. SoRDELLO. London, 1840; Christmas-Eve and Easter-Day, London, 1850. Both First Editions. Together, 2 vols. 12mo, original cloth. London, 1840-50 BROWNING, ROBERT 91. Bells and PomJegranates. No. I. Pippa Passes, 184<1 ; No. II. King Victor and King Charles, 1842; No. III. Dramatic Lyrics, 1842 ; No. IV. The Return of the Druses, a Tragedy in Five Acts, 1843; No. V. A Blot on the 'Scutcheon, a Tragedy in Three Acts, 1843 ; No. VI. Col- ombe's Birthday, a Play in Five Acts, 1844; No. VII. Dramatic Romances and Lyrics, 1845; No. VIII. Luria; and, A Soul's Tragedy, 1846. First Edition of each [No. 91 — Continued~\ PART, with the exception of part Five, which as usual is the Second Edition. Together, 8 parts, 8vo, original printed wrappers, uncut. London, 184il-6 Five of the parts are presentation copies, — "To T. G. Clarke from George Cupples," some with initials, some with full signatures. BROWNING, ROBERT 92. Poems. 2 vols. 12mo, original cloth, uncut. London: Chapman and Hall, 1849 First Collected Edition. Inserted is an A. L. S. 2pp. 12mo, from the author, July 28, 1863: — "Many thanks for the note which I found at home j'es- terday, and as many regrets that you should have taken a journey fruitlessly. I find this morning that the case is very little altered — the swelling being still so considerable as to affect Robert's articulation — although in the main, he is better and probably will be well in a day or two. I shall therefore again solicit your indulgence, and beg that the lesson may be postponed till to-morrow: — if my hopes should be disappointed once more, I will write by the early post. I am sure you understand and sympathize with my regret that we should lose even a single visit from you. I am, dear Sir, Yours ever faithfully, Robert Browning." BROWNING, ROBERT 93. Cheistmas-Eve and Easter-Day. A Poem. London, 1850; Dramatis Personae, London, 1864. Both First Editions. Together, 2 vols. 12mo, original cloth. London, 1850-64 The first-named is the William Harris Arnold copy with book label. BROWNING, ROBERT 94. Cleon. First Edition. 12mo, full dark-blue levant morocco, gilt back and sides, inside dentelle borders, gilt top, uncut, by RniisRE. London, 1855 Only a few copies were printed separately for Browning's own use, before it was included in his collected poems, issued during the same year, 1855. The William Harris Arnold copy, with autograph book- plate. BROWNING, ROBERT 95. The Statue and the Bust. First Edition. 12mo, sheets, uncut. London, 1855 Only a small number were printed for the author's personal use. It appeared later in the same year, (1855), when it was incorporated in his collected poems. BROWNING, ROBERT 96. Men and Women. First Edition. 2 vols. 12mo, original cloth, uncut. London, 1855 [BROWNING, ROBERT] 97. Gold Hair, A Legend of Pornic. First Edition. 12mo, full russet levant morocco, gilt back and sides, inside dentelle borders, gilt top, uncut, by The Club Bindery. London, 1864 Only a small number of copies were issued privately, for the author's personal use. It was later the same year, 1864, incorporated in "Dramatis Persons." BROWNING, ROBERT 98. The Ring and the Book. First Edition. 4 vols. 12mo, original cloth, uncut. London, 1868-9 BROWNING, ROBERT 99. Prince Hohenstiel-Schwangau. Saviour of Society. Lon- don, 1871 ; Fifine at the Fair. London, 1872 ; Red Cot- ton Night-Cap Country. London, 1873 ; Aristophanes' Apology, including a Transcript from Euripides, being the last Adventures of Balaustion. London, 1875 ; Pacchia- rotto, and how he worked in distemper. London, 1876; The Inn Album. London, 1875 ; The Agamemnon of JEschylus. London, 1877; La Saisiaz ; The Two Poets of Croisic. London, 1878 ; Balaustion's Adventure ; includ- ing a transcript from Euripides. Third Edition. Lon- don, 1881 ; Dramatic Idyls, First Series. Second Edition. London, 1882; Dramatic Idyls. Second Series. London, 1880 ; Jocoseria. Second Edition. London, 1883 ; Fe- rishtah's Fancies. Third Edition. London, 1885; Parley- [No. 99 — Continued] ings with certain People. London, 1887 ; Asolando ; Facts and Fancies. London, 1890. All First Ebitions, with the exception of the four mentioned as either second or third editions. Together, 15 vols. 12mo, original cloth, of various colors, mainly uncut, some unopened. London, 1871-1887 BROWNING, ROBERT 100. Poetical Works of Browning. 6 vols. 12mo, cloth. London, 1885 BRYANT, WILLIAM CULLEN 101. The Embargo: or, Sketches of the Times. A Satire. Sec- ond Edition, corrected and Enlarged. Together with the Spanish Revolution, and Other Poems. Narrow 12mo, full red straight-grained morocco, uncut, original wrappers bound in, by The Club Bindery, Boston: Printed for the Author, 1809 This Second Edition contains a Preface dated "Cumming- ton, October 25, 1808," relative to the "terrapin policy" of the Administration. The William Harris Arnold-D. F. Appleton copy, with bookplates of both. BRYANT, WILLIAM CULLEN 102. Poems. 12mo, original printed boards, uncut. In red levant morocco case. Cambridge: Hilliard and Metcalf, 1821 First Edition of the author's first volume of Verse, includ- ing "Thanatopsis," "Green River," "To a Waterfowl," &c. Inserted is slip in the poet's autograph, — "William Cullen Bryant, February 20th, I864.." The D. F. Appleton copy, with bookplate. BRYANT, WILLIAM CULLEN 103. The Fountain, and Other Poems. 12mo, full maroon le- vant morocco, gilt back and inside gilt borders, silk dou- blures and end-papers, original cloth covers bound in, by The Club Bindery, New York & London: Wiley and Putnam, 1842 First Edition. The D. F. Appleton copy, with bookplate. BRYCE, JAMES 104. The American Commonwealth. 3 vols. 8vo, three quar- ter brown levant morocco, gilt backs, gilt tops. London, 1888 PiasT Edition, which contains material suppressed in later editions. BUCKLE, HENRY THOMAS 105. History of Civilization in England. First Edition. 2 vols. London, 1857-1861 ; Miscellaneous and Posthumous Works. Edited, with a Biographical Notice, by Helen Taylor. First Edition. 3 vols. London, 1872; Huth (Alfred Henry). The Life and Writings of Henry Thomas Buckle. Portraits. Third Edition. 2 vols. Lon- don, 1880. Together, 7 vols. 8vo, full polished calf, full gilt backs, gilt tops, edges scraped or uncut, by Cross. London, 1857-1880 BUCKLE. HENRY THOMAS 106. History of Civilization in England. Volume one, fourth edition; Volume two, second edition. London, 1864; Mis- cellaneous and Posthumous Works. Edited, with a Bi- ographical Notice, by Helen Taylor. First Edition. 3 vols. London, 1872. Together, 5 vols. 8vo, uniformly bound in full calf, gilt backs, marbled edges, by Tuckett. London, 1864-1872 The Nathaniel W. Conkling copy, with bookplates. SIR EDWARD BULWER-LYTTOJST FIRST EDI- TIONS, THE D. F. APPLETON COPIES CHIEFLY [BULWER-LYTTON, SIR EDWARD] 107. Pelham; or. The Adventures of a Gentleman. First Edi- tion.' 3 vols. 12mo, half brown levant morocco, gilt backs, gilt tops, uncut, by The Club Bindery. London, 1828 The D. F. Appleton copy, with bookplate. [BULWER-LYTTON, SIR EDWARD] 108. The Last Days of Pompeii. First Edition. 3 vols. 12mo, half crimson levant morocco, gilt backs, gilt tops, uncut, by The Club Bindery. London, 1834 The D. F. Appleton copy, with bookplate. [BULWER-LYTTON, SIR EDWARD] 109. The Pilgrims of the Rhine. With 27 finely engraved full- page illiostrations, or vignettes, by and after Roberts, Maclise, Carter and others, all proofs on India paper. Royal 8vo, full red morocco, sides and back richly tooled, gilt edges, coat-of-arms in lower panel on back, by Hayday. London, 1834 First Edition, and Large Paper Copy. The plates are entirely free from fox-marks, which is unusual. BULWER-LYTTON, SIR EDWARD 110. The Caxtons. A Family Picture. First Edition. 3 vols. 12mo, half dark red levant morocco, gilt backs, gilt tops, uncut, by The Club Bindery. Edinburgh and London, 1849 The D. F. Appleton copy, with bookplate. [BULWER-LYTTON, SIR EDWARD] 111. "My Novel." By Pisistratus Caxton. First Edition. 4 vols. 12mo, half orange levant morocco, gilt backs, gilt tops, edges scraped, by The Club Bindery. Edinburgh, 1853 [BULWER-LYTTON, SIR EDWARD] 112. What will he do with It.'' By Pisistratus Caxton. First Edition. 4 vols. 12mo, half crimson levant morocco, gilt backs, gilt tops, uncut, by The Club Bindery. Edinburgh, 1859 The D. F. Appleton copy, with bookplate. THE KILMARNOCK EDITION OF ROBERT BURNS' POEMS, FINE, TALL COPY BURNS, ROBERT 113. Poems, chiefly in the Scottish Dialect. 8vo, full green le- vant morocco, gilt backs and inside borders, gilt edges, by Riviere. Kilmarnock: Printed by John Wilson, M,DCC,LXXXVI (1786). The rare first or Kilmarnock edition in beautiful condition. Tall copy, measuring S^Yiq inches by 5% inches. BURNS, ROBERT 114. Poems chiefly in the Scottish Dialect. To which are added Scots Poems, selected from the Works of Robert Ferguson. Portrait of Burns hy Scot, of Philadelphia. 8vo, full light-green levant morocco, broad intertwined and floriated border of gold tooling on each side, panelled back, doublures of same colored levant, green silk linings, gilt top on the rough, all other edges entirely un- cut, by The Club Bindery. In case with protecting cover. New York : Printed by J. and A. M'Lean, 1788 First New York Edition, apparently printed from the First Edinburgh Edition. A remarkable copy meas- uring 8% X 5^ inches. The Robert Hoe copy, with bookplate. BURNS, ROBERT 115. Works of Robert Burns; With his Life by Allan Cunning- ham. Portrait, frontispieces and engraved titles. 8 vols. 12mo, full crimson straight-grained morocco, gilt backs and sides, gilt edges. London, 1834 BURTON, ROBERT 116. The Anatomy of Melancholy. New Edition, corrected and enriched by translations of the numerous classical ex- tracts. 3 vols. 8vo, half blue morocco and boards, gilt tops, uncut. Boston, 1861 Only 75 copies were printed for subscribers, at the River- side Press. BURTON, WILLIAM 117. A History and Description of English Porcelain. Nu- merous illustrations, some in color. Royal 8vo, cloth. New York, 1900 BURY, RICHARD DE 118. The Philobiblon of Richard de Bury. Edited from the Best Manuscripts and translated into English, with Intro- duction and Notes by Andrew Fleming West. Colored initials, illustrations and facsimiles. 3 vols, square 12mo, original vellum, uncut. New York : Grolier Club, 1889 ^ One of 297 cqpies printed. BURY, RICHARD DE 119. Another copy, similar. BUTLER, SAMUEL 120. HuDiBEAs. In Three Parts. Written in the Times of the late Wars. Corrected and amended, with Additions. Adorn'd with, a new set of cuts, design'd and engraved by Mr. Hogarth. 12mo, full crimson levant morocco, gilt back and sides, gilt edges, by Beadstreet. London, 1726 First Edition with these illustrations. FIRST EDITIONS OF LORD BYRON'S ENGLISH BARDS, THE GIAOUR, THE CORSAIR, AND OTHERS [BYRON, GEORGE GORDON, LORD] 121. English Baeds, and Scotch Reviewers. A Satire. First Edition. 12mo, full sage-green levant morocco, full gold tooled back, corner ornaments on sides, gilt top, edges scraped, some lower margins uncut, by Wood. London, 1809 The genuine First Issue, with the correct water-mark "E. & P. 1805" ON title. The copy contains the half- title. BYRON, GEORGE GORDON, LORD 122. The Giaour, a Fragment of a Turkish Tale. First Edi- tion. 8vo, full green levant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery. London, 1813 [BYRON, GEORGE GORDON, LORD] 123. Lara, a Tale. Jacqueline, a Tale. (By Samuel Rogers). First Edition. 12mo, full green levant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery. London, 1814 BYRON, GEORGE GORDON, LORD 124. The Corsair, a Tale. First Edition. 8vo, full green le- vant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery. London, 1814 With the advertisements, dated February, 1814. BYRON, GEORGE GORDON, LORD 125. Hebrew Melodies. First Edition. 8vo, full green levant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery. London, 1815 With the additional titles of Volumes I. and II. of the col- lected edition bound in, and the advertisements dated June, 1815. BYRON, GEORGE GORDON, LORD 126. The Siege of Corinth, a Poem. Parisina, a Poem. First Edition. 8vo, full green levant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery. London, 1816 With the advertisements, dated February, 1816. BYRON, GEORGE GORDON, LORD 127. The Prisoner or Chillon, and other Poems. First Edi- tion. 8vo, full green levant morocco, gilt back, and sides, gilt top, uncut, by The Club Bindery, slight stains on several pages. London, 1816 With the advertisements, dated November, 1816. BYRON, GEORGE GORDON, LORD 128. The Vampyre, a Tale. First Edition. 8vo, full green le- vant morocco, gilt back, and sides, gilt top, uncut, by The Club Bindery. London, 1819 BYRON, GEORGE GORDON, LORD 129. Mazeppa, a Poem. First Edition. 8vo, full green levant morocco, gilt back and sides, gilt top, uncut, by The Club Bindery, several pages slightly spotted. London, 1819 With the advertisements dated July, 1819. BYRON, GEORGE GORDON, LORD 130. Don Juan. Cantos I. and II., 4to; and Cantos I.-XVL, 6 vols. 8vo. Together, 7 vols. (1, 4to, and 6, 8vo) uni- formly bound in full tan calf, gilt backs and inside bor- ders, gilt tops, uncut, by Riviere. London : Thomas Davison and John and H. L. Hunt, 1819- 1824. First Edition of Cantos I. and II. in 4to, in which shape these two Cantos were originally issued ; and First Edition [No. 130 — Continued'\ of Cantos III.-XVI., inclusive, in 8vo, their original form, with an 8vo volume containing Cantos I. and II. [BYRON, GEORGE GORDON, LORD] 131. Waltz; an Apostrophic Hymn. By Horace Hornem, Esq. (the noble author of Don Juan). First Octavo Edition. 8vo, full green levant morocco, gilt back and sides, inside dentelle borders, gilt edges, by Ruban. London, 1821 BYRON, GEORGE GORDON, LORD 132. Hours of Idleness, a Series of Poems, Original and Trans- lated. By George Gordon, Lord Byron, a Minor. First Edition. 8vo, full dark-green levant morocco, full gold tooled back, inside dentelle borders, gilt top, other edges uncut. Newark: S. & J. Ridge, 1827 Large Paper copy. Only a few copies were issued. The severe attack on this work by the Edinburgh Review caused Lord Byron to write his masterly satire "English Bards and Scotch Reviewers." BYRON, GEORGE GORDON, LORD 133. The Works of Lord Byron; with his Letters and Jour- nals, and his Life, by Thomas Moore. Portrait of Byron, and frontispieces amd engraved titles after J. M. W, Tur- ner, and others. 17 vols. 12mo, half maroon levant mo- rocco, gilt backs and tops, by Root. London, 1832-1833 This edition contains some pieces here first printed. BYRON, GEORGE GORDON, LORD 134. Childe Harold's Pilgrimage. A Romaunt. With the se- ries of 62 exquisite plates engraved hy the Fvndens after Warren, Howse, Aylmer, and others. Royal 8vo, full green levant morocco, gilt panelled back, sides with gilt rules and ornaments, gilt edges, by Bedford. London: John Murray, 1841 Fine copy, with plates and text in clean, unspotted con- dition. TWO COMPLETE SETS OF THE CALDECOTT CHILDREN'S BOOKS, ORIGINAL PICTORIAL WRAPPERS CALDECOTT, RANDOLPH 135. Complete Set of his Children's Picture Books. Ntumer- ous illustrations in colors by Randolph Caldecott. 16 vols. 4!to, original pictorial wrappers. (London, 1878-1885) All First Editions. Includes, — The Three Jovial Hunts- men, A Frog he would a-wooing go, Sing a Song for Six- pence, The Queen of Hearts, Hey Diddle Diddle and Baby Bunting, House that Jack Built, The Mad Dog, Farmer's Boy, Elegy on the Glory of her Sex, The Milkmaid, Fox Jumps over the Parsons Gate, Babes in the Wood, Great Panjandrum, Ride a Cock Horse, Come Lasses and Lads, John Gilpin. CALDECOTT, RANDOLPH 136. Another Set, similar. CAMPBELL, THOMAS 137. Poetical Works. Portrait and illustrations after Turner engraved by Finden, Wallis, ^c. 8vo, full dark blue levant morocco, doublures of grey levant, with panels of gilt and dark-brown morocco inlays, brocade silk end-papers, gilt over rough edges, by Ruban. London: Edward Moxon, 1837 First Issue of this edition. CAREY'S LIFE IN PARIS, FIRST EDITION, WITH THE COLORED PLATES BY GEORGE CRUIK- SHANK CAREY, DAVID 138. Life in Paris ; comprising the Rambles, Sprees, and Amours of Dick Wildfire, of Corinthian celebrity, and his bang-up companion, Squire Jenkins, and Captain O'Shuffleton, with the whimsical adventures of the Halibut Family; including [No. 138 — ContiniiedJ Sketches of a variety of other eccentric characters in the French Metropolis. Embellished with 21 colored plates, representing scenes from real life, designed and engraved by George Cruikshank, also with 22 engravings on wood by the same artist, and executed by Mr. White. Fiest Edition. 8vo, half calf, gilt back, marbled edges, no half- title. London, 1822 CARLYLE, THOMAS 139. Two Note Books or Thomas Carlyle, from 23d March 1822, to 16th May 1832. Edited by Charles Eliot Nor- ton. Portraits. 12mo, half morocco and boards, gilt top, uncut. New York: The Grolier Club, 1898 One of 387 copies on handmade paper. CARMAN, BLISS 140. Sappho. One Hundred Lyrics. (With "The Poetry of Sappho," by G. C. D. Roberts, pp. vii-xii). 12mo, vellum, gilt top, uncut. London : The Florence Press, 1910 CARRINGTON, FITZROY— Editor 141. Prints and their Makers. Essays on Engravings and Etchers Old and Modern. With 200 illustrations. First Edition. 8vo, cloth, gilt top, uncut. New York, 1912 LEWIS CARROLL'S ALICE'S ADVENTURES IN WONDERLAND, FIRST EDITION, WITH AN A. L. S. FROM THE AUTHOR LAID IN CARROLL, LEWIS— Rev. C. L. Dodgson 142. Alice's Adventures in Wonderland. With 4-2 illustra- tions by John Tenmiel. 12mo, full sage-green levant mo- rocco, gold tooled back, broad dentelle inside borders, gilt edges, original red cloth covers bound in, by Stikeman. London, 1866 First Published Edition. Laid in is a 4 pp. A. L. S. of the author, to "My dear Ella" signed with the writer's correct name, "C. L. Dodgson." "It certainly had oc- cured to me, from constantly seeing you at Church, that [No. 142 — Continued'] you must be a little better, & that at any rate there was a hope that you would not be confined to your bed much longer. ... If you like to bring your young friend with you, she will be welcome too," etc. The Charles B. Foote copy, with bookplate, engraved by E. D. French. CARROLL, LEWIS 143. Thbough the Looking-Glass, and what Alice found THEEE. With 50 illustrations hy John Tenniel. New York and London, (London printed), 1872; Rhyme.? and Rea- son.'' With IJf. illustrations hy A.B. Frost and H. Holiday. New York, 1888. Together, 2 vols. 12mo, original cloth. CARROLL, LEWIS 144. The Hunting of the Snaek; an Agony in Eight Fits. With 9 illustrations hy Henry Holiday. Fikst Edition. 12mo, original cloth, gilt edges. London, 1876 The Walter Webb-Charles B. Foote-Leila Howard Codman copy, with bookplates of all three. CARROLL, LEWIS 145. Sylvie and Bruno, 1889, and Sylvie and Beuno, con- cluded, 1893. With numerous illustrations hy Harry Fur- niss. Both Fiest Editions. 2 vols. 12mo, original red cloth, gilt edges. London, 1889-1893 CATALOGUE 146. Of an Exhibition or Illuminated and Painted Manu- sceipts, together with a few Early Printed Books with Illuminations, also some examples of Persian Manuscripts. Numerous facsimiles. 1892; Catalogue of Books from the Libraries or Collections of celebrated Bibliophiles and Illus- trious Persons of the past, with Arms or Devices upon the bindings. Nwmerous facsimiles. 1895. Together, 2 vols. 8vo, cloth, uncut. New York: The Grolier Club, 1892-1895 The edition of each consisted of 350 copies on Holland paper. CATALOGUE 147. Of Original and Early Editions of some of the Poetical AND Prose Works of English Writers from Langland to Wither. With Collations and Notes. With 87 fac- similes of titles and frontispieces. 1 vol., 1893; From Wither to Prior. With over 200 facsimiles of titles and frontispieces. 3 vols., 1905. Together, 4! vols, royal 8vo, half brown straight-grained morocco, gilt tops, uncut, as issued. New York: Grolier Club, 1893-1905 The issue of each of the above on Holland paper was 400 copies. CATLEY, ANN 148. A Brief Narrative of the Life of the celebrated Miss C*TL*Y, containing the Adventures of that Lady in her Public Character of a Singer, and Private One of a Courte- zan, in England, Ireland, &c. . . . with many curi- ous anecdotes never before published. Engraved portrait, inserted and inlaid. 8vo, half roan, uncut. London, 1780 CATULLUS, CAIUS VALERIUS 149. Poesies de Catulle. Traduction Nouvelle par Victor Deve- lay. 16mo, full citron levant morocco, back and sides thickly covered with compartments gilt-tooled and inlaid with green morocco, inside gilt borders, gilt over rough edges, by Hardy-Mennil. Paris, 1867 Limited Edition. The Robert Hoe copy, with bookplate. CERVANTES' DON QUIXOTE, WITH THE TONY JOHANNOT PLATES AND RICHLY EXTRA- ILLUSTRATED CERVANTES-SAAVEDRA, MIGUEL DE 150. Don Quixote de la Mancha. Translated from the Span- ish of Miguel de Cervantes-Saavedra, by Charles Jarvis. Illustrated by Tony Johannot. 3 vols. 8vo, full crimson levant morocco, ornate side panels, backs tooled in a differ- [No. 150 — Contimued^ ent design, broad inside gold borders, doublures and fly- leaves of turquoise figured silk, gilt edges, by Ruban. In cases. London, 1837 Richly Extra-Illustrated by the insertion of 63 plates, comprising : — (1) The Los Rios etchings, proofs on Japanese paper. (2) The Los Rios etchings, proofs on Holland paper. (3) The Blanchard engravings, proofs on Holland paper. (4) The Vivant-Denon engravings, in sanguine on Chinese paper. (6) The Vivant-Denon engravings printed in black. CHARLES VI. 151. Crapelet (G. A.^ — Editor). Les Demandes faites par le Roi Charles VI., touchant son Etat et le Gouvernement de sa Personne, avec les Responses de Pierre Salmon . . . publiees, avec des notes historiques, d'apres les Manuscrits de la Bibliotheque du Roi. Dix planches et facsimile. Royal 8vo, full red levant morocco, gilt back and sides with figures of fleurs-de-lys within panels, uncut, stamp of "Bibliotheque de M. Guizot" on title-page. Paris: De I'imprimerie de Crapelet, 1833 Handsome copy, on large paper, with the plates in out- line, and, also, colored by hand in exact facsimile of the illuminated originals, and printed on vellum. Only 12 of these duplicate sets of plates were issued. The Robert Hoe copy, with bookplate. CHATTO, WILLIAM ANDREW 152. Facts and Speculations on the Origin and History of Playing Cards. Numerous illustrations, som£ in color. First Edition. 8vo, half maroon morocco, gilt back, gilt top. London, 1848 THE KELMSCOTT CHAUCER CHAUCER, GEOFFREY 153. The Works of Geoffrey Chaucer. Edited by F. S. Ellis. Printed in Chaucer type, jm red-and-blach, and with the headings of the longer poems in Troy type, with woodcut title, borders, and 87 woodcut illustrations, designed by Sir Edward Burne-Jones. Thick folio, half holland and boards, uncut. London: Kelmscott Press, 1896 One of the noblest monuments of English typography. Only 425 copies were printed. CHIPPENDALE'S GENTLEMAN AND CABINET MAKER'S DIRECTOR, FIRST EDITION, UN- USUALLY LARGE COPY CHIPPENDALE, THOMAS 154. The Gentleman and Cabinet-Maker's Director, being a large collection of the most elegant and useful designs of household furniture, in the Gothic, Chinese and modern Taste, including a great variety of Book-Cases for Libra- ries, Library and Writing Tables, Tea-Chests, Clock-Cases and other Ornaments, to which is prefixed a short Explana- tion of the Five Orders of Architecture, and Rules of Per- spective. The whole comprehended in one hundred and sixty copper-plates, neatly engraved. First Edition. Large folio, old and rough calf, rebacked and recomered at a later date with calf of different color, half title somewhat creased, and drawing on reverse of one plate. London, 1754 Unusually large copy, with the majority of the plates very clean. Contains the List of Subscribers. CLADEL, LEON 155. Ompdrailles le Tombeau-des-Lutteurs. Avec 16 eaux- fortes hors texte (§• 7 dans le texte, par Rudolphe Julian. 4to, half red levant morocco, ornaments in panels on back, gilt top, uncut, original vellum wrappers bound in. Paris, 1879 One of 5 copies on Japanese paper, with the etchings in three states ; black on Holland and Japanese paper, and red on Japanese paper. CLANVOWE'S FLOURE AND LEAFE, KELM- SCOTT EDITION, BOUND BY DE SAUTY CLANVOWE, SIR THOMAS 156. The Floure and the Leafe, & the Boke of Cupide, God of Love, or the Cockow and the Nightingale. Edited by F. S. Ellis. Printed m blach-and-red, with woodcuts. 8vo, full dark-green levant morocco, chiselled and pointille back, side borders in a conventional floral and foliage design of light-green and dark-blue mosaic, central panel in a leaf de- sign of brown, green, and red, the intervals filled with pointille tooling, doublures of red morocco, gilt edges, by De Sauty. In case. Hammersmith, 1896 The Robert Hoe copy, with bookplate. SEVERAL VOLUMES OF JULES CLARETIE'S WORKS IN HANDSOME BINDINGS FROM THE ROBERT HOE LIBRARY, INCLUDING THE UNIQUE COPY OF PUYJOLI WITH THE ROBAUDI WATER COLOR DRAWINGS AND AN A. L. S. CLARETIE, JULES 157. MoNsiEUE Le Ministre. Edition Nouvelle, avec une Preface Inedite. Dix compositions par Adrien Marie, gravees a I'eaur-forte par Wallet. 8vo, half dark-blue levant morocco, gilt back, gilt top, uncut, original wrappers bound in. Paris: Maison Quantin, 1886 Printed on papier velin. The Robert Hoe copy, with bookplate. CLARETIE, JULES 158. La Canne de M. Michelet-Promenades et Souvenirs- Preface PAR Alfred Mezieees. Douze compositions de p. Jazet, gravees a Veaiu-forte par H. Touissant. 8vo, full dark-green levant morocco, gilt and mosaic back and [No. 158 — Continued'\ side borders, with quintuple fillets, inside gilt borders, gilt edges, original wrappers bound in, by David. Paris : Librairie Conquet, 1886 One of 150 copies on Large Japanese paper, with proofs of the plates before and after letters. The Robert Hoe copy, with bookplate. CLARETIE, JULES 159. BouDDHA. Frontispiece et 10 vignettes dessins par Robaudi, gravis par A. Nargeot. 16mo, full citron levant morocco, gilt back and filleted sides, doublures of green levant with rose branches in red mosaic and gilt, silk end-papers, gilt over uncut edges, original wrappers bound in, by Mab.ius Michel. Paris, 1888 One of 150 copies on Japanese paper, with the plates in three states. The Robert Hoe copy, with bookplate. CLARETIE, JULES 160. PuYjoLi. With 44 original watek-colob drawings by Robaudi. Thick 12mo, full crimson levant morocco, gilt back and inside borders, gilt over rough edges, original wrappers bound in, by Chambolle-Duru. Paris, 1890 UNiaUE COPY OE THE FiRST EdITION ON JAPANESE PAPER CONTAINING ONE EULL-PAGE AND 43 VIGNETTES, ALL ORIG- INAL DRAWINGS IN COLORS BY RoBAUDI ESPECIALLY FOR THIS VOLUME. Also, with an autograph note on ely-leae EROM ClARETIE EXPRESSING HIS APPRECIATION OF THE artist's work. The Robert Hoe copy, with his bookplate, and the follow- ing pencilled note in his autograph, — "This is a charming novel. I had the copy illustrated by Robaudi. R. H." CLARETIE, LEO 161. Les Jouets, Histoire-Fabrication. 300 vignettes dans le texte et 13 planches hors texte, dout 6 en couleurs. 4to, three quarter dark blue levant morocco, uncut, original illuminated wrappers bound in. Paris, recent The Robert Hoe copy, with bookplate. CLOUGH, A. H.— Editor 162. Plutarch's Lives. The translation called Dryden's. Cor- rected from the Greek and Revised by A. H. Clough. 5 vols. 8vo, three quarter crimson levant morocco, blind tooled backs, gilt tops, uncut, by Macdonald. London, 1859 CLOUGH, ARTHUR H., and BURBAGE, THOMAS 163. Ambarvalia. Poems. First Edition. 16mo, original cloth, uncut. London, 1849 WORKS OF SAMUEL TAYLOR COLERIDGE, WITH THREE FIRST EDITIONS COLERIDGE, SAMUEL TAYLOR 164. Poems on Various Subjects. Small 8vo, full red levant mo- rocco, gilt back and inside borders, gilt edges, by Riviere, with four lines of shorthand writing on half-title. London: Printed for G. G. and J. Robinsons, 1796 First Edition with the leaf of Errata and advertisements. Effusions VII., XL, XII., and XIIL, signed "C. L.,» are First Editions of the first printed poems of Charles Lamb. COLERIDGE, SAMUEL TAYLOR 165. Christabel; Kubla Khan, A Vision; The Pains of Sleep. First Edition. 8vo, full tan calf, gilt back and inside bor- ders, gilt top, uncut, by Riviere. London : John Murray, 1816 COLERIDGE, SAMUEL TAYLOR 166. Specimens of the Table Talk of the late S. T. Cole- ridge. Portrait, on India paper, and view of study. High- gate. First Edition. 2 vols. 12mo, full maroon levant morocco, inside gilt borders, lower edges uncut. London: John Murray, 1835 COLERIDGE, SAMUEL TAYLOR 167. The Friend: A Series of Essays to aid in the Formation of Fixed Principles in Politics, Morals and Religion. Third Edition, with the Author's last corrections, &c. by H. N. Coleridge. 3 vols. 16mo, full olive straight-grained mo- rocco, gilt backs and side corner-ornaments, inside gilt bor- ders, gilt edges, by Zaehnsdore. London: William Pickering, 1837 THE MOST FAMOUS BOOK FROM THE ALDINE PRESS, COLONNA'S HYPNEROTOMACHIA PO- LIPHILI, WITH THE UNMUTILATED SACRI- FICIAL CUT. THE ROBERT HOE COPY COLONNA, FRANCESCO 168. Hypnerotomachia Poliphili, vbi hvmana omnia non nisi somnivm esse docet, atqve obiter plvrima scitv sane qvam digna commemorat. Roman characters, 334 unnvmibered leaves with signatures; 39 lines to the page; 172 woodcut illustrations, beautifully designed and executed, including that representing the sacrifice to Priapus, mn/mutilated. Folio, full brown levant morocco, doublures of red levant, gilt bordered, gilt edges, by Cuzin. Venetiis : In aedibus Aldi Manutii, 1499 First Edition on thick paper. A masterpiece oe Ve- netian WOOD-BNGRAVING WITH THE CUTS ATTRIBUTED TO Giovanni Belling. Fine and large copy, measuring 12%6 X 8% inches. Hain-Copinger, 5501 ; Proctor, 6574 ; Re- nouard No. 5. The Robert Hoe copy, with bookplate. ROWLANDSON COLORED PLATES IN THE FIRST EDITIONS OF COMBE'S ENGLISH DANCE OF DEATH AND TOUR OF DR. SYNTAX THROUGH LONDON COMBE, WILLIAM 169. The English Dance of Death. With Metrical Illustra- tions, 2 vols.; The Dance of Life. A Poem. Both by the Author of "Doctor Syntax." Colored plates hy Thomas Rowlandson. First Editions. Together, 3 vols. 8vo, full tree calf, gilt backs and inside borders, gilt edges. London: R. Ackermann, 1815-1817 COMBE, WILLIAM 170. The Tour or Doctor Syntax through London, or the Pleasures and Miseries of the Metropolis. A Poem. Fron- tispiece, title and 20 plates in colors hy Thomas Rowland- son, First Edition. 8vo, full tan calf, gilt back and in- side borders, by Laekins, a few small repairs to plates as usual. London: Published by J. Johnston, 1820 COMBE, WILLIAM 171. Another copy, with the plates touched up by hand at a later date, a few inner margins supplied, in full tan calf, by Wood. COMMINES, PHILIPPE DE 172. Ceonicciue et histoire . . . contenant les choses advenue durant le regne du roy loys unziesme ; Cronicques du Roy Charles huytiesme de ce nom que Dieu absoulle contenant la verite des faitz et gestes dignes de memoires dudict seigneur qu'il feist en son voyage de Na- ples et de la conqueste dudict royaulme. Lettres batards; titles in red-and-black. 2 vols, in 1, small 8vo, full red levant morocco, doublures of dark-blue levant, dentelle bor- ders, gilt edges, by Trautz-Bauzonnet. Paris: Par Pierre Sergent, 1539 Ruled throughout in red ink. The Robert Hoe copy, with bookplate. CONSTANT, BENJAMIN 173. Adolphe. Preface par Paul Bourget. Portrait grave par Courbin d'apres Desmarais. 12mo, full dark-blue levant morocco, gilt back and side panels, inside gilt borders, gilt over rough edges, original wrappers bound in, by Marius Michel. Paris, 1889 No. 7 of 100 copies on Japanese paper, with the portrait in three states. The Robert Hoc copy, with bookplate. CONTREBLASON, LE 174. De faulces amours intitule le grant blason damours espitituelles et divines ensemble pareillement. Pre- mierement aussi certain epigramme et servantois d'honneur. Fait et compose a la louenge du treschristien Roy de France Loys de Vallois septiesme de ce nom. Printed in Gothic characters; with full-page woodcut on verso of title and printers' marks at end. Small 8vo, full red levant morocco, sides ornamented with a Grolieresque design of interlacing [No. 174 — Continiied] fillets and arabesques inlaid in various colors, outlined in gold, doublures of blue levant, covered with a "semis" of gilt flowers and fleurs-de-lys, silk end-papers, gilt edges, by LoETic. In morocco slip case. Nouvellement imprime a Paris: pour Symon Vostre, circa 1512. Fine example and a very rare edition, unknown to Brunet. The Robert Hoe copy, with bookplate. CONWAY, MONCURE DANIEL 175. Bakons or the Potomack and the Rappahannock. Por- traits, views and facsimiles. 8vo, boards, uncut. New York: The Grolier Club, 1892 One of 360 copies on Italian handmade paper. COOPER, J. FENIMORE 176. The Last of the Mohigans ; A Narrative of 1757. By the Author of "The Pioneers." 2 vols. 12mo, half red levant morocco, gilt floral design on backs, uncut, by Stikeman. Philadelphia: Carey and Lea, 1826 First Edition. The D. F. Appleton copy, with bookplate. COPPEE, FRANCOIS 177. Le Passant. Comedie en un acte en vers. Reproduction en facsimile du manuscrit de I'auteur et d'une page de musique de J. Massenet. Armand Magnier, Fjditeur. Por- trait and ^7 illustrations by Louis Edouard Fournier, en- graved by Leon Boisson. Small folio, full dark-blue levant morocco, with gilt and mosaic back and cover-borders, doublures of blue levant, with chiselled borders of leaves and flowers in several colors of morocco, grey watered-silk end-papers, gilt over rough edges, by Marius Michei-. Paris, 1897 Printed on satin, tipped on vellum paper, and one of but very few copies issued in such shape. The Robert Hoe copy, with bookplate. A FAMOUS BINDING BY TRAUTZ-BAUZONNET COQUILLART, GUILLAUME 178. Les CEuvres maistre Guillaume CoariLLAET en son UIUANT OFEICIAL DE ReIMS NOUUELLEMENT RENEUES & IM- PRiMEES A Paris. Hided tJirougJiout in red ink. Small 8vo, dark-blue levant morocco, with gilt floral figures in compartments, and a mosaic design of citron levant mo- rocco with red circular inlays, doublurcs of dark-blue le- vant bordered with gilt leaf-branches, gilt edges, by Tbautz-Bauzonnet, small portion of upper margin of title restored, a few underscorings in ink. Paris: pour Galliot du Pre, 1532 This binding was executed in 1874 and is No. 17 on the list of mosaic bookbindings in the Behague Catalogue. The Charles Nodier-La Monnaye-Heber-Robert Hoe copy, with bookplates, stamp, and autograph authentications. In a blue straight-grained morocco chamois-lined case with silver clasp. CORNEILLE, PIERRE 179. La Peace Royalle, ou l'Amoubeux Extrauagant. Co- medie. Woodcut ornaments on title and through the text. Small 4to,' full crimson levant morocco, inside gilt borders, gilt edges, by Chambolle-Duru. Paris: Augustin Corbe, 1637 First Edition. The Robert Hoe copy, with bookplate. COUSIN, JULES— Editor 180. Le Comte de Clermont, sa Cour et ses Maitbes, ses Let- tres Familieres, recherches et documents inedits. Portrait. 2 vols. 12mo, half maroon levant morocco, gilt backs and tops, uncut. Paris, 1867 Limited edition on Holland paper. Extra-Illustrated by the insertion of 28 portraits, a view and a facsimile let- ter. Among the portraits are, — several of J. J. Rousseau, one a stipple proof before all letters, one by St. Aubin. Madame Du Barry by Cazenave after Lebrun, and others. The Robert Hoe copy, with bookplate. COUSIN, VICTOR 181. Jacqueline Pascal. Premieres Etudes sur les Femmes II- lustres et la Societe du XVIIe Siecle. Facsimile. Paris, 1856; Madame de Hautefort et Madame de Chevreuse. Nouvelles Etudes sur les Femmes lUustres et la Societe du XVIIe Siecle. With portrait by Gaitte. Paris, 1858; La Societe Fran9aise au XVIIe Siecle d'apres le Grand Cyrus de Mile, de Scudery. 2 vols. Paris, 1858. To- gether, 4 vols. ,8vo, half red levant morocco, gilt backs and tops, uncut, by David. Paris, 1856-1858 The Robert Hoe copies, with bookplates. COWPER, WILLIAM 182. Poems by William Cowper of the Inner Temple, Esa. ; The Task; a Poem in Six Books ... to which are added by the same author, An Epistle to Joseph Hill, Esq., Tirocinium . . . and the History of John Gilpin. 2 vols. 12mo, full chocolate-brown levant morocco, gilt backs and inside borders, gilt edges, by Riviere. London: Printed for J. Johnson, 1782-1785 First Edition, second issue, of the first-named, lacking the suppressed preface by John Newton, of which very few copies are known, and the First Edition of "The Task," and first appearance of "John Gilpin" in a collected edition of Cowpcr's writings. CRANFORD SERIES 183. A collection of this series, comprising; — Austen (Jane). Pride and Prejudice. With a Preface by George Saints- bury. Illustrations hy Hugh Thomson. New York: Mac- millan, 1894 ; Corydon's Song, and other Verses, from vari- ous sources. With an Introduction by Austin Dobson. Illustrations hy Hugh Thomson. London, 1894; Dobson (Austin). The Ballad of Beau Brocade, and other Poems of the XVIIIth Century. Illustrations hy Hugh Thomson. London, 1892; Gaskell (Mrs.). Cranford. With a Preface by Anne Thackeray Ritchie. Illustrations hy Hugh Thomson.. London, 1891; Goldsmith (Oliver). The Vicar of Wakefield. With a Preface by Austin Dobson. Illustrations hy Hugh Thomson. London, 1890; Hood [No. 183 — Continued] (Thomas). Humorous Poems. With a Preface by Alfred Ainger. Illustrations by Charles E. Brock. London, 1893 ; Irving (Washington). Rip Van Winkle, and The Legend of Sleepy Hollow. Illustrations hy George H. BrougJiton. London, 1893; Mitfoud (Mary Russei.1.). Our Village. With an Introduction by Anne Thackeray Ritchie. Illus- trations by Hugh Thomson. All First Editions, or first editions with these illustrations. Together, 8 vols. 12mo, full brown levant morocco, both sides and backs inlaid with green or lilac morocco, gilt edges, inside dentelle bor- ders, gilt over uncut edges, by Chambolle-Duru. London and New York, v. d. An exceedingly attractive collection, uniformly bound. CREBILLON, PROSPER JOLYOT DE 184. Le Sylphe, ou Songe de Madame de R«** ecrit par elle- meme a Madame de S*«*. 16mo, old French morocco, gilt side-borders, gilt edges. Paris : Delatour, 1730 The author's first book, not included in his collected works. From the library of Lady Rich, with her name written on fly-leaf. This lady is thus mentioned by Alexander Pope in "The Challenge; a Court Ballad,"— "But should you catch the prudish itch. And each become a coward. Bring sometimes with you Lady Rich, And sometimes Mistress Howard." The Robert Hoe copy, with bookplate and gilt monogram. CREBILLON, PROSPER JOLYOT DE 185. Collection complette des QSuvres de M. de Crebillon LE FiLS. 7 vols. 12mo, full citron levant morocco, floral gold tooled panelled backs, inside dentelle borders, gilt edges, by Chambolle-Duru. Londres, 1779 The Robert Hoe copy, with bookplate in each volume. CREBILLON, PROSPER JOLYOT DE 186. CEuvRES DE Crebillon. Avec les Notes de tons les Com- mentateurs. Edition publiee par M. Parelle. Portrait of the author of St. Aubin, in two states. 2 vols, royal 8vo, [No. 186 — Continued^ full red levant morocco, gilt backs and inside borders, gilt edges, by Cape. Paris, 1828 Inserted are, — portrait of Goulu after Devcria, two states, on India paper; portrait by Ficquet after Aved; and an- other portrait ; also, 9 plates from other editions, all in THREE STATES, engraved by Simonet and others after Mo- rcau, — proof before all letters, proof with names of artists, and the finished plate. The Genard copy, with bookplate. BOOKS ILLUSTRATED BY GEORGE CRUIKSHANK INCLUDING A COMPLETE SET OF THE COMIC ALMANACK, ORIGINAL ISSUE CRUIKSHANK, GEORGE 187. Lessons of Theift. Published for General Benefit, by A Member of the Save- All Club. With 12 finely colored plates, by €reorge^Crmk shank. First Edition. 8vo, three quar- ter brown Levant morocco, gilt back, gilt edges. ^ /; London, 1820 CRUIKSHANK, GEORGE 188. Tales or Irish Life, illustrative of the Manners, Customs, and Condition of the People. By J. Wliitty. With 6 designs by George Cruikshank. First Edition. 2 vols. 12mo, full polished calf, gilt backs and inside borders, gilt tops, uncut, by Zaehnsdorf. London : Bobbins & Co., 1824 CRUIKSHANK, GEORGE 189. The Diverting History of John Gilpin. With 6 full- page plates by George Cruikshank engraved by Thompson, Branston, Sj-c. Square 16mo, full red levant morocco, gilt back, ornamental corners on sides, by Biviere. London: Charles Tilt, 1828 First issue of this edition with a duplicate set of proofs be- fore letters on India paper. CRUIKSHANK, GEORGE 190. The Comic Almanack; An Ephemeris in Jest and Earnest. By Bigdum Funnidos, Gent. Adorned with right merrie cuts pertaining to the months, sketched and etched by [No. 190— Continued] from their commencement in 1836 to their finish in 1863. Containing about ^00 clever etchings, as well as hundreds of woodcuts, also four finely colored folding-plates, all hy Cruikshank. 19 vols. 12mo and 16mo, full crimson levant morocco, gilt backs, gilt tops, some volumes with original cloth or board covers bound in, also a number of advertise- ments, some volumes uncut, by Stikeman. London, 1835-1853 An unusual feature about this fine set is that the full-page etchings in the volume for 1849 are colored. Many of the noted humorists of the period contributed to its pages, including, — W. M. Thackeray, his "Stubb's Cal- endar, or The Fatal Boots," and "The Story of Barber Cox, and the Cutting of his Comb" here first appearing. CRUIKSHANK, GEORGE 191. The Comic Alphabet. With ^4- colored plates by George Cruikshank. 16mo, full red levant morocco, with inlaid figures on sides with various colored inlays, gilt top, by the Guild of Women Binders. (London, circa 1837) On fly-leaf is pencilled, — George Cruikshank's own copy, from the Royal Aquarium." CRUIKSHANK, GEORGE 192. The Loving Ballad of Loud Bateman. With 12 full-page plates by George Cruikshank including the plate of music. Square 16mo, original cloth covers, gilt. London: Charles Tilt, 1839 Original issue of the First Edition. Both Dickens and Thackeray have been made sponsors far the text. TWO EXTRA-ILLUSTRATED COPIES OF THE STORY OF NELL GWYN BY PETER CUNNING- HAM CUNNINGHAM, PETER 193. The Story of Nell Gwyn: and the Sayings of Charles the Second. Related and Collected by Peter Cunningham. Frontispiece and illustrations. 12mo, full blue levant mo- [No. 193 — Continued'] rocco, back and sides tooled in a design of gilt rustic bor- ders in which are intertwined roses of pink inlays, doublures of pink levant, gilt borders, with an inlaid knot at top of panel, brocade silk end-papers, gilt over rough edges, by David. London, 1852 First Edition and Extea-Illusteated by the insertion of over 50 portraits, including, — several of NeU Gwyn, sev- eral of Sir Thomas More, one each of William Penn, Prince Rupert, the Earl of Southampton, John Dryden, Charles II., Oliver Cromwell, Robert Peale, Catherine of Braganza, and others, engraved by eminent artists. CUNNINGHAM, PETER 194. The Stoey or Nell Gwyn ; and the Sayings of Charles the Second. Related and collected by Peter Cunningham. Thick small folio, full blue levant morocco, panelled back with floral and other ornamentation, the English crown in top panel, broad floral inside borders, gilt top, uncut, by Bradsteeet. New York, 1883 Large Paper Copy, of which but 100 copies were issued. Three extra copies, however, were printed for presenta- tion, of which this is one. Extra-Illusteated by the insertion of 128 portraits and plates (mainly portraits), mostly brilliant impressions, some proofs on India paper, including examples in mezzo- tint, stipple, line, and copper. The majority of the extra plates have been skillfully inlaid. Includes, among the por- traits, — Ben Jonson, mezzotint; Joseph Harris, by Dawe, 1820, mezzotint; Thomas Betterton, by Williams, mezzo- tint; Mrs. Oldfield, by Simon, mezzotint; a number (proba- bly a complete set) of the portraits of the Court Beauties, from the 4to edition of Hamilton's Memoirs of Count Grammont, 1810 etc. mainly proofs on India paper; John Evelyn, by Bartolozzi, proof before inscription; Charles Beauclaire and James, Lord Beauclaire (children of Charles II. by Nell Gwyn), by White, and others of im- portance. CUPID, THE 195. A Collection of Love Songs eepeinted from the first Edition. 8vo, full dark-blue levant morocco, doublures of brown levant ornamented with a gilt and chiseled panel of [No. 195 — Continued] a floral and peacock design, inlaid in rich mosaic, blue silk end-papers, gilt top, uncut, original wrappers bound in, by PoMEY. Derby: Privately Printed for Subscribers at the Moray Press, 1891. Limited Edition. Extba-Illustkated by the insertion of 15 plates by Avril, Milius, and others, a number in proof state. The Robert Hoe copy, with bookplate. CURTIS, GEORGE WILLIAM 196. The Potipiiae Papers. Illustrated by A. lioppin. Fikst Edition. 12mo, full red levant morocco, the sides cov- ered with gold tooling of sprays of leaves and flowers, back tooled to match, floral inside borders, silk linings, gilt top, by Zaekksdorf. New York, 1853 DADONVILLE'S RARE L'HONNEUR DES NOBLE BLASON, ETC., IN BINDING BY LORTIC, OF WHICH ONLY ONE OTHER COPY IS KNOWN DADONVILLE, JACQUES 197. L'honneub, des noble blason Z pbopriete de leurs armes EN general BLASONNEES ET COMPRISES SOUB3 VNG SEUL ESCU DAUMES CY DE SOUB3 POURTRAICT INVENTION TEES SIN- GULIERE AVECaUES VNG PETIT LIURE DE BONNE GRACE TRES EXaUlS LE TOUT NOUUEILEMENT COMPOSE PAR DADONUILI.E. Lettres hatardes, a coat of arms on title and a small wood- cut. Small 8vo, red levant morocco, the sides ornamented with a Grolieresque pattern of interlacings and arabesques, inlaid in dark brown, green, blue and citron levant outlined in gold, doublure of blue levant, covered with a "semis" of flowers and fleurs-de-lys, silk linings, gilt edges, by Lortic, writing on title. In a levant morocco slip case. N. d. [early 16th Century] The only other copy known is that in the Bibliotheque Na- tionale in Paris, which wants the last leaf. The Lacroix-Laval-Robert Hoe copy, with bookplates of both. DALENCE, JOACHIM 198. Teaitte de l'Aiman. Divise en deux parties. La Premiere contient les Experiences ; & la Seconde les raisons que I'on en peut rendre. Engraved title and 33 plates by Schoon- cheek. 16mo, full dark-green levant morocco, gilt edges, by MouiLLiE, with his ticket. Amsterdam, 1687 The Robert Hoe copy, with bookplate. DAMHOUDRE, JOSEPH DE 199. La PuACTiauE et Enchiridion des Causes Ceiminelles. Title vignette and 56 woodcuts in the text representing crimes and punishments. 4to, full brown levant morocco gilt, gilt edges, by The Club Bindeey. Louvain, 1554 First French translation. The Earl of Sussex's, (since rebound) — Robert Hoe copy, with bookplates of both. DANIEL, GEORGE 200. Meerie England in the Olden Time. With 5 plates hy John Leech, and numerous woodcuts. First Edition. 2 vols. 12mo, original cloth, uncut. London: Richard Bentley, 1842 DAUDET'S FROMONT JEUNE, JACK, ROMAN DU CHAPERON ROUGE AND MORT DE DAUPHIN, IN UNUSUAL BINDINGS FROM THE ROBERT HOE LIBRARY DAUDET, ALPHONSE 201. Fromont Jeune et Rislee Aine; moeurs Parisiennes. Edi- tion precedee de I'histoire de ce livre, et ornee de deux dessins par Dagnan-Bouveret. Royal 8vo, three quarter crimson levant morocco, gilt top, uncut, original wrappers bound in, by Caeayon. Paris, 1881 One of 16 copies on India paper, this being No. 2. The plates are in two states. The Robert Hoe copy, with bookplate. DAUDET, ALPHONSE 202. Jack ; moeurs contemporaines. Edition precedee de I'histoire de ce livre, et ornee de deux dessins par Charles Delort. 2 vols, royal 8vo, three quarter crimson levant morocco, gilt tops, uncut, original wrappers bound in, by Cauayon. Paris, 1882 One of 15 copies on India paper, this being No. 2, with the plates in two states. The Robert Hoe copy, with bookplate. DAUDET. ALPHONSE 203. Le Roman du Chapeeon-Rouge. With 9 original litho- graphs by Louis Morin. Royal 8vo, full red levant moroc- co, gilt back and sides, the latter with wide gilt borders, narrow gilt borders inside, gilt top, uncut, by The Club Bindery. Paris, 1903 One of 100 copies on papier velin, with a duplicate set of the plates in colors. Publisher's presentation copy. The Robert Hoe copy, with bookplate. DAUDET, ALPHONSE 204. La Mort du Dauphin. Illustrations de 0. D. V. Guillonnet, gravee a I'eau-forte par Xavier Lesueur. 4to, original wrappers, uncut. Paris, 1907 One of 25 copies printed on antique Japanese paper, with the plates in three states. Laid in is a finely executed original unpublished water-color portrait of the "Dauphin au Fau- con," by O. D. V. Guillonnet, signed in full. The Robert Hoe copy, with bookplate. DAVENPORT, CYRIL 205. English Embroidered Bookbindings. Numerous illustra- tions, some in color. Square 8vo, green corded silk, the sides and back embroidered with an interlaced floral and scroll design of yellow, pink, lavender and green silk. In cloth case, lined with figured silk. London, 1899 One of 50 copies on Japanese paper. A beautiful example of modern embroidered bookbinding. The Robert Ploe copy, with bookplate. DAVID, JOANNES 206. DuoDECiM Specula Deum aliquando videre desidekakti coNCiNNATA. Engraved title-page, and 1£ copperplates, all brilliant impressions, hy Theodore Galle. Small 8vo, original limp vellum, gilt back, gilt centrepieces depicting the Crucifixion with the initials "IHS." Antuerpiffi: Ex ofEcina Plantiniana, 1610 The scarcest of David's works. The Robert Hoe copy, with bookplate. DAVID, JOANNES 207. Delineata Pcenitentia Euangelici Dauib ; Delineata Com- munio Immaculata ; Cantus ; Insignium Virginum ; Hymnus ; Pange lingua gloriosa corporis Mysterium. With 26 em- blematic copperplates by Ian Van Mechelen, brilliant im- pressions. Small 8vo, pea-green levant morocco, gilt and blind tooled in a Grolieresque design, inside gilt borders, gilt edges, by Geuel. AntuerpiiE: Gerardus Wolsschatius, 1629 The Robert Hoe copy, with bookplate. DAVIES, C. M. 208. History or Holland, from the beginning of the Tenth to the end of the Eighteenth Century. 3 vols. 8vo, full red levant morocco, richly gold tooled backs, gilt edges, by HoLLOWAY. London: Parker, 1841 First and best English Edition. Extra-Illustrated by the insertion of 158 portraits, etc., mainly brilliant copper-plate engravings, by Crispin de Pass, Wierix, Houbraken (soipe unlettered proofs), Sadeler, Ficquet, Sa- vart, Peter de Jode, Marcenay de Ghuy (unlettered proofs), Delaram, Raphael Morghen, Moncornet, etc. The Charles Rugge Price-Robert Hoe copy, with book- plates of both. DAVIES, THOMAS 209. Memoirs of the Life of David Garrick, Esq., interspersed with Characters and Anecdotes of his Theatrical Contem- poraries, the whole forming a History of the Stage. A [No. 209— Continued} New Edition, with ample Additions and Illustrations, in the form of Notes. 2 vols. 8vo, full green morocco, gilt backs and sides, gilt edges. London, 1808 Extra-Illusteated by the insertion of 131 portraits of Garrick, his contemporaries and others, many of actors and actresses of note, mainly in character, and the extra plates from contemporary sources, chiefly. THE SCARCE FIRST GROLIER CLUB PUBLICA- TION,— DECREE OF STAR CHAMBER DECREE OF STAR CHAMBER, A 210. CoNCEENiNG Peinting. Made July 11, 1637. Illuminated arms of the The Grolier Club, on title. 8vo, original illum- inated wrappers, uncut. New York : The Groher Club, 1884. No. 2 of 150 copies printed. The first publication of the Grolier Club. DEFOE'S ROBINSON CRUSOE, FIRST EDITION, AND ALSO AN EDITION EXTRA-ILLUSTRATED [DEFOE, DANIEL] 211. (1) The Life and Steange Suepeizing Adventuees of Robinson Ceusoe, or Yoek, Maeinee ; who lived eight and twenty years all alone in an un-inhabited Island on the Coast of America, near the mouth of the great River of Oroonoque ; having been cast on shore by shipwreck, where- in all the Men perished but Himself, with an Account how he was at last strangely deliver 'd by Py rates. Written by Himself. With a frontispiece by Clark and Pine. London, 1719 (2) The Faethee Adventuees op Robinson Ceusoe; being the second and last part of his Life, and of the Strange Surprising Accounts of his Travels, round three parts of the Globe. Written by Himself. To which is added a map of the world, in which is delineated the voyages of Robinson Crusoe. London, 1719 [No. 211 — Continuedl (3) Serious Reflections during the Life and Surpris- ing Adventures of Robinson Crusoe, with his Vision of the Angelick World. With folding plate by Clark and Pine. London, 1720 Together, 3 vols. 8vo, full green levant morocco, gilt backs and sides, inside dentelle borders, by Riviere. London, 1719-1720 First Edition, First Issue. The word "apply" is spelled "apyly" in the Preface of Volume One. The advertisements (2 pp.) are in their proper place, at the end of the volume. The verso of the final page of the Preface in Volume two is blank ; in the second issue appears an advertisement of Rob- inson Crusoe. The advertisements (2 pp.) are in their proper place, at the end of the volume. The advertisements (2 pp.) in Volume three, are in their proper place, at the end of the volume. DEFOE, DANIEL 212. The Life and Surprising Adventures of Robinson Cru- soe, OF York, mariner. With Introductory Verses, by Bernard Barton. With numerous engravings, from draw- ings hy George Cruikshank. 4 vols, small 8vo, full green levant morocco, gilt backs and sides, broad inside borders, doublures of figured silk and linings of the same, by Ruban. London: Printed at the Shakespeare Press, for John Major, 1831 Two volumes extended to four, and Extra-Illustrated by the insertion of 47 plates (by French and English artists), a number of which are uncommon, some in proof state. DEFOE, DANIEL 213. The Novels and Miscellaneous Works of Daniel DeFoe. With a Biographical Memoir of the Author, Literary Pre- faces to the various Pieces, Illustrative Notes, etc., including all contained in the edition attributed to the late Sir Walter Scott, with considerable additions. Portrait. 20 vols. [No. 21S— Continued] 12mo, full green polished calf, gilt backs and inside bor- ders, gilt edges. Oxford : D. A. Talboys, 1840-1841 Comprises Robinson Crusoe ; Captain Singleton ; Moll Flan- ders ; Colonel Jack ; A New Voyage round the World ; His- tory of the Plague; Roxana; Life of Duncan Campbell; and others. DEGEORGE, LEON 214. La Maison Plantin a Anvers. Monographic Complete de cette Imprimerie Celebre aux XVIe et XVIIe Siecles. Deuxieme Edition. Portrait of Plantin after Wierix, and other illustrations. 8vo, full green levant morocco, gilt back and inside borders, gilt top, uncut. Bruxellcs, 1878 One of 500 copies printed. Contains a complete chronolog- ical list of the publications of this press. D'HEYLLI, GEORGES 215. Rachel, d'apres sa Correspondance. Avec quatre portraits a Veau-forte, graves far Massard. Royal 8vo, full blue levant morocco, sides exquisitely tooled in an eighteenth cen- tury pattern, back to match, doublures of crimson levant, highly ornamented, linings of figured-silk, gilt top, uncut, original wrappers bound in. Paris, 1882 One of 25 copies on Whatman paper, with the plates in three states — Holland, Chinese and India paper. Extra-Illustrated by the insertion of 30 portraits. DELAUNAY, ABBE 216. Heures de maistre Estienne Chevalier. With numerous reproductions in gold and colors of the miniatures, and il- luminated borders, by Jehan Foucquet. 2 vols. 4to, full crimson levant morocco, mosaic designs on sides, formed by interlacing bands of green morocco, outlined in gold, and with gold arabesque tooling, in the manner of Grolier, mo- saic backs, broad inside dentelle borders, green watered-silk linings, gilt edges. In a case, lined with padded silk. Paris: L. Curmer, 1866 DELILLE, JACQUES 217. CEuvRES. L'Eneide traduite par Jacques Delille (with the Latin text). With Jf, plates, proofs before letters, engraved by Baquoy after Moreau. 4 vols. Paris, 1804 Extra-Iliustrated by the insertion of a miniature por- trait of the author on vellum; a number of plates, several proofs before letters, engraved by Baquoy, Fittler, Delignon, Bartolozzi, etc. after Zocchi and others; besides a large number of other fine and appropriate engravings. Paradis Perdu, traduit par Jacques Delille (with the Eng- lish text). With 3 plates, proofs before letters, engraved: by Couche, Delvaux and Delignon after Monsiau. 3 vols. Paris, 1805 Portrait of Milton inserted. L'Imagination, poeme. With 6 plates, proofs before letters, engraved by Delvaux, Triere, Baquoy and Courbe after Myris, Lebarbier and Monsiau,. 2 vols. Paris, 1806 Les Trois Regnes de la nature, avec des notes par M. Cuvier. With 6 plates, proofs before letters, engraved by Saint Aubin, Ponce and Baquoy after Myris and Moreau, 2 vols. Paris, 1808 Together, 11 vols. 8vo, uniformly bound in contemporary full red straight-grained morocco, elaborate gilt borders of grape vines on the sides, gilt backs and edges, by Le- FEBVRE. Paris: Giquet et Michand, 1804-8 DE LINCY, A. J. V. LE ROUX 218. Researches concerning Jean Grolier, his Life and his Library. Edited by Baron Roger Portalis. Translated and revised by Carolyn Shipman. Numerous fine facsimiles on Japanese paper. Thick small folio, half blue morocco and boards, uncut. New York : The Grolier Club, 1907 One of 300 copies on Arnold unbleached handmade paper. FIRST EDITIONS OF SEVERAL OF ALFRED DELVAU'S WORKS, INCLUDING LES CY- THERES PARISIENNES, WITH ORIGINAL DRAWINGS BY FELICIEN ROPS. THE ROB- ERT HOE LIBRARY COPIES DELVAU, ALFRED 219. HiSToiKE ANECDOTiauE DEs Caees & Cabarets de Paris. Avec dessi/ns et ecmx-fortes de Gustave Courbet, Leopold^ Flameng, et Felicien Rops. 12mo, half citron levant mo- rocco, gilt back, gilt top, uncut, by Behrens. Paris, 1862 First Edition. The Robert Hoe copy, with bookplate. DELVAU, ALFRED 220. Les Cytheres Parisiennes, histoire anccdotiquc des Bals de Paris. Avec 24 eaux-fortes et un frontispice de Felicien Rops et Emile Therond. 12ino, full red levant morocco, in- side gilt borders, gilt over rough edges, by Cuzin. Paris, 1864 First Edition, and unique copy, with an original draw- ing BY Rops, inserted ; also, 2 trial plates, and duplicates of 9 of the etchings, proofs on India paper. The Robert Hoe copy, with bookplate. DELVAU, ALFRED 221. Histoire Anecdote DES Barrieres DE Paris. Avec 10 eaux- fortes par Emile Therond. 12mo, half green levant moroc- co, gilt back and top, uncut, by Allo. Paris, 1865 First Edition, with portrait and 10 vignettes on India paper. Extra-Illustrated by the insertion of 6 double- page etchings by Trimolet. The Robert Hoe copy, with bookplate. DELVAU, ALFRED 222. Les Heures Parisiennes. Avec 25 eaux-fortes d'Emile Benassit. Bvo, half red levant morocco, gilt back and top, uncut. Paris, 1866 First Edition on Holland paper and with the plates proofs before letters on India paper. The Robert Hoe copy, with bookplate. DEMOUSTIER, CHARLES ALBERT 223. Lettees a Emii.e, sur la Mythologie. Portrait engraved by Gaucher after Ducreux, and 36 plates by Delvaux, De Ghent, Roger, Simonet, Sj-c, after Moreau. Six parts in 3 vols. 8vo, full green levant morocco, inside gilt borders, gilt edges, by Quinet, backs slightly faded. A Paris: Chez Ant. Aug. Henouard, 1809 DENON, VIVANT 224. Point de Lendemain. Conte. Illustre de treize compositions de Paul Avril. Royal Bvo, dark-blue levant morocco, gilt back and sides, inside gilt borders, gilt over rough edges, original wrappers bound in, by Cuzin. Paris, 1889 One of 85 copies on Holland paper with the plates in three states, — two in tints, before all letters, and the plate in the text. The portrait of the author is in three states. The Robert Hoe copy, with bookplate. SECOND SESSION WEDNESDAY AFTERNOON, APRIL 7TH, 1915 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 2.30 o'CLOCK Catalogue Nos. 225 to 455 inclusive TWO COPIES OF DE QUINCEY'S CONFESSIONS OF AN ENGLISH OPIUM EATER, FIRST EDI- TIONS IN SPECIAL BINDINGS DE QUINCEY, THOMAS 225. Confessions of an English Opium-Eater. 12mo, full dark- green levant morocco, gilt and mosaic back, sides with gilt and mosaic floral ornaments in corners, inside gilt borders, gilt top, some edges uncut, by Wood. London : Taylor and Hessey, 1822 First Edition with the half-title. DE QUINCEY, THOMAS 226. Confessions of an English Opium Eater. 12mo, full green levant morocco, gilt and mosaic back, front side in an elab- orate gilt floral design, with centre and corner inlays of light-brown and maroon morocco, inside gilt borders, uncut, by Sullivan. London: Taylor and Hessey, 1822 First Edition, lacking half-title, but tall copy. DESCAVES, LUCIEN 227. Sous-Offs, Roman Militaire. 12mo, half crimson levant mo- rocco, gilt top, uncut, original wrappers bound in, by Bre- tault. Paris, 1889 One of 10 copies on Japanese paper. Autograph presenta- tion copy from the Author, with Inscription. Contains 8 original water-color drawings, by H. DE Sta, each SIGNED. DES PERIERS, BONAVENTURE 228. Les Nouvelles Recreations et joyeux deuis de eeu Bona- UENTURE Des Periers, valct de chambre de la Royne de Nauarre. Prmted in "caracteres de civilite." Small 8vo, full red levant morocco, gilt back and side panels, inside gilt borders, gilt edges, by Trautz-Bauzonnet. Lyon: De I'lmprimerie de Robert Granjon, 1558 First Edition. The Yemeniz-Robert Hoe copy, with book- plates of both. GROLIER CLUB EDITIONS OF WORKS BY THE LATE THEODORE L. DE VINNE ON THE PLANTIN PRESS, INVENTION OF PRINTING, AND OTHERS DE VINNE, THEODORE L. 229. The Invention oe Printing. A Collection of Facts and Opinions descriptive of Early Prints and Playing Cards, the Block-Books of the Fifteenth Century, etc. With fac- similes of early types and woodcuts. Second Edition. 8vo, cloth, uncut. New York, 1878 DE VINNE, THEODORE L. 230. Historic Printing Types. A Lecture. Numerous Illus- trations. 4to, half cloth and boards, uncut, binding some- what soiled. New York: The Grolier Club, 1886 One of 200 copies on Holland paper. DE VINNE, THEODORE L. 231. Christopher Plantin and the Plantin-Moretus Museum AT Antwerp. Illustrated. Royal 8vo, original wrappers, uncut. New York : The Grolier Club, 1888 One of 300 copies printed. DE VINNE, THEODORE L. 232. Christopher Plantin and the Plantin-Moretus Museum at Antwerp. Another copy of the preceding, also in orig- inal wrappers. New York : The Grolier Club, 1888 DE VINNE, THEODORE L. 233. Christopher Plantin and the Plantin-Moretus Museum AT Antwerp. With tinted illustrations by Joseph Pen/nell, and others. Royal 8vo, full brown levant morocco, with a Jean Grolier design on the sides inlaid in light-green and red levant, beautifully giilt-tooled in compartments and panels, gilt and mosaic back, doublures of very light-brown levant, with centres and borders of dark-brown levant, gilt- tooled, red silk end-papers, gilt top, uncut, original wrap- pers bound in, by The Club Bindery. In dark-brown levant morocco silk-lined case. New York : The Grolier Club, 1888 One of 300 copies printed. The Henry W. Poor copy, with bookplate. DE VINNE, THEODORE L. 234. The Practice of Typography. (1) A Treatise on Title- Pages; (2) Modern Methods of Book Composition. Num- erous facsimiles. 2 vols. 12mo, cloth, gilt tops. New York, 1902-1904 Presentation copies from the author. DE VINNE, THEODORE L. 235. Notable Printers of Italy during the Fifteenth Cen- tury. Illustrated with facsimiles from early editions. 4to, cloth back and boards, uncut. New York: The Grolier Club, 1910 One of 400 copies printed. THE MARSHAL C. LEFFERTS COPIES OF THOMAS FROGNALL DIBDIN'S BIBLIO- GRAPHICAL DECAMERON, AND OTHERS DIBDIN, THOMAS FROGNALL 236. The Bibliographical Decameron; or. Ten Days Pleasant Discourse upon Illuminated Manuscripts, and subjects con- nected with Early Engraving, Typography and Bibliogra- phy. With numerous fine portraits, plates, vignettes, etc., [No. 236— Continuedl many on India paper, also wood engravings. 3 vols, royal 8vo, half brown levant morocco, gilt tops, uncut, by Alfked Matthews. London, 1817 Contains the beautiful specimen of printing in gold, at page 417, Volume 2. The Marshall C. Lefferts copy, with bookplate. DIBDIN, THOMAS FROGNALL 237. A BiBLIOGEAPHICAL, ANTIQUARIAN, AND PlCTUEESftUE ToUK IN France and Germany. Numerous beautiful plates, the vignettes on India paper. 3 vols, royal 8vo, half brown levant morocco, gilt tops, uncut, by Ai,rRED Matthews. London, 1821 The Marshall C. Lefferts copy, with bookplate. DIBDIN, THOMAS FROGNALL 238. A Bibliographical, Antiquarian and Picturesque Tour IN the Northern Counties of England and in Scot- land. Numerous full-page plates and vignettes, mainly on India paper. 2 vols, royal 8vo, half brown levant morocco, gilt top, uncut, by Alfred Matthews. London, 1838 Only a small number of copies were issued with the plates on India paper. The Marshall C. Lefferts copy, with bookplate. DIBDIN, THOMAS FROGNALL 239. Bibliomania, or, Book-Madness. A Bibliographical Romance. New and improved Edition. Illustrated. Royal 8vo, half brown levant morocco, gilt top, uncut, by Alfred Mat- thews. London, 1842 Contains the finely engraved portrait of Mary, Queen of Scots, at page 254, a photograph of it generally being found in copies, and not the engraved plate, also the "Cave of Despair" at page 617, which is generally missing. The Marshall C. Lefferts copj', with bookplate. A NOTEWORTHY COLLECTION OF BOOKS BY CHARLES DICKENS, WITH MUCH NEW BIB- LIOGRAPHICAL DATA RELATING TO THE ITEMS IN ORIGINAL PARTS WHICH INCLUDE PICKWICK, NICHOLAS NICKLEBY, MASTER HUMPHREY'S CLOCK, MARTIN CHUZZLEWIT, AND 8 OTHERS BESIDES THOSE WORKS AND OTHERS IN ORIGINAL CLOTH AND FANCY BINDINGS [DICKENS, CHARLES] 240. Sunday Undee Three Heads. As it is ; As Sabbath Bills would make it ; As it might be made ; By Timothy Sparks. Illustrated. FmsT Edition. 16mo, half levant morocco, gilt back, original front cover bound in. London, 1836 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 241. The Village CoauETTEs; A Comic Opera. In Two Acts. By Charles Dickens. The Music by John Hullah. Fiest Edition. 8vo, original sheets, unstitched, uncut, and main- ly unopened. In a blue morocco case. London, 1836 DICKENS, CHARLES 242. The Posthumous Papers of the Pickwick Club, contain- ing a Faithful Record of the Perambulations, Perils, . . . of the Corresponding Members. Edited by "Boz." With JfS plates by Seymour, Bwss, and "Phiz." First Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrappers, uncut, with many of the advertisements as issued. In 2 morocco cases. London, 1836-1837 Contains a number of "points" desired by collectors, in- cluding, — the two suppressed plates by Buss in Part III.; two plates by Browne in Part IV. signed "Nemo" afterwards altered to "Phiz;" covers of all the Parts bearing date of 1836 in Roman numerals ; Parts X. and XV. containing the addresses of the author dated 1836 and 1837, respectively; Weller's name on title-vignette spelled with a "V" ; a num- ber of the plates in first state before alterations, &c. DICKENS, CHARLES 243. The Posthumous Papers of the Pickwick Club. With ^3 illustrations by R. Seymour, and "Phiz." First Edition. 8vo, full crimson levant morocco, gilt back, ornaments within lines on sides, gilt edges, specimen original green wrapper bound in, by Root, lacks the half-title. London, 1837 In addition to the 43 illustrations by R. Seymour and "Phiz" (H. K. Browne), there have been added a series of 32 other plates, including the "Tony Veller" series of Pick- wick Illustrations, 1837, the "Sam Weller" series of the same, the R. W. Buss plates — "The Cricket Match" and "The Arbor Scene," and probably other extras. Both the "Tony Veller" and "Sam Weller" series are thought to be complete. DICKENS, CHARLES 244. "Sketches by 'Boz,' " Every-Day Life and Every-Day Peo- ple, in Two volumes, Vol. 1 (Vol. 2), Illustrations by George Cruikshank. London: John Macrone, St. James's Square, MDCCCXXXVI "Sketches by 'Boz,' " illustrative of Every-Day Life and Every-Day People. The Second "Series," complete in one volume. London: John Macrone, St. James's Square, MDCCCXXXVII Both series complete. Illustrated with 26 etchings by George Cruikshank. First Edition. 3 vols. 12mo, full polished calf, gilt backs and sides, inside dentelle borders, gilt tops, edges scraped, original cloth covers bound in, by Root. London, 1836-1837 [DICKENS, CHARLES] 245. Oliver Twist; or. The Parish Boy's Progress. By "Boz." Illustrations by George Cruikshank. 3 vols. 12mo, original cloth, uncut. In morocco case. London, 1838 Earliest issue of the First Edition before the pseudo- nym "Boz" was altered to the author's full name. Contains [No. 245 — ContirmedJ the "Fireside Plate" in Vol. III. and Cruikshank's substitute for this, laid in. According to the latest bibliographical data, there are really Three Issues of this First Edition, — the earliest as here catalogued; the second with same title-page but with the substitute plate ; the third, with substitute plate and a shortened title-page. [DICKENS, CHARLES] 246. Memoirs of Joseph Grimaldi. Edited by "Boz." With a portrait of Grimaldi by Raven, and 1'2 full page etchings', drawn and engraved by George Cruikshank. First Edi- tion. 2 vols. 12mo, half green morocco, gilt backs, gilt tops, uncut, original pink covers bound in. London, 1838 Earliest Issue of the First Edition, the plate "The Last Song" being without the border. [DICKENS, CHARLES] 247. Sketches or Young Gentlemen. Dedicated to the Young Ladies. With six illustrations by "Phiz." First Edition. 12mo, full light-green levant morocco, the sides richly deco- rated with garlands of flowers and leaves, portions of centre ornament inlaid with maroon levant, inside dentelle borders, gilt top, original wrappers bound in. London, 1838 DICKENS, CHARLES 248. Life and Adventures of Nicholas Nickleby. Edited by "Boz." Illtistrations by H. K. Browne. First Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrap- pers, uncut, with the advertisements as issued. In 2 mo- rocco cases. London, 1838-1839 Early Issue of this edition with the four plates in Parts I. and II. containing the imprint of the publishers, omitted on later impressions. [DICKENS, CHARLES] 249. Sketches of Young Couples. With six illustrations by "Phiz." First Edition. 12mo, full light green levant mo- rocco, the sides richly decorated with garlands of flowers and leaves, portions of a centre ornament inlaid with maroon le- vant, inside dentelle borders, gilt top, original wrappers bound in. London, 1840 DICKENS, CHARLES 250. Master Humphkeys Clock. By "Boz." Illustrations by G. Cattermole and H. K. Browne. First Edition in the original 88 weekly parts, royal 8vo, pictorial wrappers, uncut, with all the advertisements as issued. In 3 morocco cases. London, 1840-1841 Contains the author's addresses in Nos. 9, 80, 81, 82, 83, 87 which were all in the nature of farewells anticipatory of his visit to America. [DICKENS, CHARLES] 251. The Pic-Nic Papers. By Various Hands. Edited by Charles Dickens. With Uf, etchings by George Cruihshank, "Phiz" and others. First Edition. 3 vols. 12mo, half green mo- rocco, gilt backs, gilt tops, edges scraped. London, 1841 Dickens wrote the Preface and "The Lamplighter's Story," and edited the rest of the work. The D. F. Appleton copy, with book-plate. DICKENS, CHARLES 252. American Notes for General Circulation. 2 vols. 12mo, full crimson levant morocco, gilt backs and panelled sides, inside gilt borders, gilt tops, uncut, by The Club Bindery. London, 1842 Earliest Issue of the First Edition, with the last page of Contents numbered XVI. and the 6pp. of Chapman and Hall advertisements in back of Vol. II. Dickens left room in this early issue for a Preface which, had it been printed, might have modified the severity of American criticism which assailed him. Before, however, it was decided to omit Pref- ace, the sheets were partly printed, and this pagination re- mained unaltered in the earliest issues. Author's presentation copy with autograph inscription on half-title, "The Hon. Josiah Quincy from Charles Dickens, Nineteenth October, 184-3." The name of the recipient is considerably faded. The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 253. A Christmas Carol, in Prose. Being a Ghost Story of Christmas. With four full-page colored plates and wood- [No. 253 — Continued^ cuts in the text by Leech. 12mo, original brown cloth, gilt edges. In red morocco case. London, 1843 First Edition, First Issue, in brown cloth, title printed in red and blue, heading on page one reads "Stave I," green end papers, etc. DICKENS, CHARLES 254. Life and Adventures of Martin Chuzzlewit. Edited by "Boz." Illustrations by H. K. Browne. First Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrap- pers, uncut, with all the advertisements, as issued. In 2 mo- rocco cases. London, 1843-1844 The position of the "J£" sign in title vignette is before the figures. DICKENS. CHARLES 255. A Complete Set of the Christmas Books. 5 vols. 12mo, full crimson levant morocco, richly gilt backs, gilt edges, all original front covers and backs bound in, by Riviere. London, 1843-1848 Comprises : A Christmas Carol, in Prose. Being a Ghost Story of Christmas. With illustrations {including four in color) , by John Leech. First Issue of the First Edition, with the title in red and blue, "Stave I," etc. The Chimes ; A Goblin Story of some Bells that rang an Old Year out and a New Year in. With illustrations after D. Maclise, John Leech, and others. One of the subsequent issues of the first edition, with the names "Chapman and Hall" as an imprint below the en- graved title. The Cricket on the Hearth. A. Fairy Tale of Home. With illustrations after D. Maclise, John Leech and others. First Edition. The Battle of Life. A Love Story. With illustrations after D. Maclise, John Leech amd others. First Edition. Fourth Issue, without the publisher's name on engraved title. The Haunted Man, and the Ghost's Bargain. A Fancy for Christmas-Time. With illustrations after J. Tenniel, John Leech and others. First Edition. DICKENS, CHARLES 256. OvEES (John). Evenings of a Working Man. With a pref- ace relative to the author, by Charles Dickens. Title printed in blue and red. 12mo, original cloth, gilt edges. London, 1844 First Edition. The D. F. Appleton copy, with bookplate, DICKENS, CHARLES 257. The Chimes ; A Goblin Story of some Bells that rang an Old Year out and a New Year in. With illustrations after D. Maclise, John Leech and others. 12mo, original red cloth, gilt, gilt edges. London, 1845 First Edition, First Issue. DICKENS, CHARLES 258. Pictures from Italy. Illustrations on wood by Samuel Pal- mer. First Edition. 12mo, half blue levant morocco, gilt edges, by The Club Bindery. London, 1846 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 259. Pictures from Italy. Illustrations on wood by Samuel Pal- mer. First Edition. 12mo, original blue cloth, uncut. London, 1846 DICKENS, CHARLES 260. The Battle of Life. A Love Story. With illustrations after D. Maclise, John Leech and others. 12mo, original red cloth, gilt, gilt edges. London, 1846 First Edition, and heretofore known as the first issue, with "A Love Story" unsupported, and with thel publisher's name, address and date on engraved title. A prior issue has recently been discovered, therefore, the above now ranks as second issue. DICKENS, CHARLES 261. The Cricket on the Hearth. A Fairy Tale of Home. With illustrations after D. Maclise, John Leech and others. London, 1846, writing on half-title; The Haunted Man, and the Ghost's Bargain. A Fancy for Christmas-Time. With illustrations after J. Tenniel, John Leech and others. [No. 261 — Continued'] London, 1848. Together, 2 vols. 12mo. original red cloth, gilt, gilt edges. London, 1846-1848 Both First Editions. DICKENS, CHARLES 262. Dealings with th^ Fiem of Dombey and Son, Wholesale, Retail, and for Exportation. Illustrations hy H. K. Brotme. Fiest Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrappers, uncut, with all the advertisements, as issued. In 2 morocco cases. London, 1847-1848 Early copy of this edition with the "dark" plate on p. 547, — ■ "On the Dark Road." DICKENS, CHARLES 263. The Peesonal History, Adventukes, Experience, & Ob- SEEVATION OF DaVID CoPPERFIELD, THE YOUNGEE. llluS- . trations by H. K. Browne. Fiest Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrappers, uncut, with all the advertisements, as issued. London, 1849-1850 Fiest Issue of the First Edition, with the date 1850 on engraved title, which in later editions was omitted. DICKENS, CHARLES 264. A Child's History of England. With frontispieces hy F. W. Topham. First Edition. 3 vols. 12mo, original cloth, marbled edges. London, 1852 DICKENS, CHARLES 265. A Curious Dance Round a Curious Tree. Fiest Edition. 12mo, half green levant morocco, gilt back, gilt top, original pink wrappers bound in. London, 1852 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 266. Bleak House. Illustrations by H. K. Browne. First Edi- tion in the original 20 monthly parts (in 19), 8vo, pic- [No. 266 — Contirmed^ torial wrappers, uncut, with all the advertisements, as issued. In 2 morocco cases. London, 1852-1853 Part IX. contains one plate only with the printed slip an- nouncing accident to the usual second plate; Part X., ac- cordingly, has three plates, instead of two. This is probably the First Issue of the First Edition as it includes what are known as the "dark" plates, viz., — the frontispiece, "Ghost's Walk," "Tom All Alones," "Night," "Morning," "Sunset in the Long Drawing Room," "New Meaning to the Roman," "Shadow," "The Mausoleum" and "The Lonely Figure." In subsequent editions these impres- sions were made from duplicates of the above-named ten plates. DICKENS, CHARLES 267. Haed Times. For these Times. Fikst Edition. 12mo, half blue levant morocco, gilt back, gilt edges, by The Club Bindery. London, 1854 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 268. Little Doerit. Illustrations hy H. K. Browne. Fiest Edi- tion in the original 20 monthly parts (in 19), 8vo, pic- torial wrappers, uncut, all the advertisements, as issued. In 2 morocco cases. London, 1855-1857 Earliest Issue of this edition, with the slip concerning the "oversight of the Author's" relative to the name Rigaud in- serted at p. 481, and containing impressions from the orig- inal plates including the five "dark ones" (re-etched for later editions), — "Floating Away," "The Ferry," "Birds in the Cage," "Visitors at the Works," and "Room with the Portrait." DICKENS, CHARLES 269. The Story of Little Dombey. First Edition. 12mo, orig- inal green wrappers, uncut. London, 1858 DICKENS, CHARLES 270. The Poor Traveller; Boots at the Holly-Tree Inn; and Mrs. Gamp. First Edition. 12mo, original wrappers, un- cut, back slightly worn. In a morocco case. London, 1858 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 271. A Tale of Two Cities. Illustrations hy H. K. Browne. First Edition in the original 8 monthly parts (in 7), 8vo, pictorial wrappers, uncut, with all the advertisements, as is- sued. In morocco case. London, 1859 Earliest Issue or this First Edition with the advertise- ment of Smith, Elder and Co., in Parts VI. and VII.-VIII., concerning the new magazine to be edited by W. M. Thack- eray, printed on white paper, and which, in later editions is on colored paper. DICKENS, CHARLES 272. Great Expectations. First Edition. 3 vols. 12mo, orig- inal blue cloth, binding stained, re-sewn. Not returnable. London, 1861 Volume 3 contains advertisements dated May, 1861, and it is thought that they have been extracted from another copy and inserted in the above, as the fore-edges are slightly smaller. DICKENS, CHARLES 273. Our Mutual Friend. Illustrations by Marcus Stone. First Edition in the original 20 monthly parts (in 19), 8vo, pictorial wrappers, uncut, with all the advertisements, as issued. In 2 morocco cases. London, 1864-1865 Contains slip in Part I. relative to the use of the title, — "Our Mutual Friend," not always found with work. DICKENS, CHARLES 274. The Mystery of Edwin Drood. Illustrations by S. L. Fildes. First Edition in the original 6 parts, 8vo, pic- torial wrappers, uncut, with all the advertisements as issued. In morocco case. London, 1870 DICKENS, CHARLES 275. Hunted Down : A Story. With some account of Thomas Griffiths Wainewright, the poisoner. Vignette on title. First Edition. 12mo, original wrappers, somewhat worn. In mo- rocco case. London [1870] The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 276. Mr. Nightingale's Diaey: A Farce in one Act. 16mo, half levant morocco, gilt back, gilt top, original covers bound in. Boston, 1877 First published edition, and practically the only one pro- curable. The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 277. Is She His Wiee? or, Something Singular. A Comic Bur- letta in One Act. 16mo, original cloth. Boston, 1877 The D. F. Appleton copy, with bookplate. DICKENS, CHARLES 278. The Woeks or Dickens. With illustrations hy George Cruik- shank, John Leech, H. K. Browne, Richard Doyle, Landseer, and others. 48 vols. 12mo, three quarter green levant mo- rocco, gilt backs, gilt tops, uncut. New York : Dodd, Mead and Co., 1891 DICKENS, CHARLES 279. To Be Read at Dusk, and Other Stories, Sketches and Es- says. Now first collected. Frontispiece. 12mo, half crim- son levant morocco, gilt back, gilt top. London, 1898 DICKENS, Jr., CHARLES 280. The Life of Charles James Mathews. Portraits. First Edition. 2 vols. 8vo, half crimson morocco, gilt backs, gilt tops, uncut. London, 1879 DIDEROT, DENIS 281. La Religieuse. Portrait engraved by DuprSel after Aubry, and ^ plates, proofs before letters, engraved by Dupreel and Giraud after designs of Le Barbier. 8vo, 2 vols, in 1, half green morocco, gilt back and top, uncut, by Vogel. Paris, L'An VII. (1799) The Robert Hoe copy, with bookplate. DIDEROT, DENIS 282. Le Neveu de Rameau. Satire. Revue sur les textes origi- naux et annotee par Maurice Tourneaux. Portrait et illus- trations far F. A. Milius. Royal 8vo, full crimson levant morocco, gilt back, doublures of green levant, richly tooled, maroon watered-silk end-papers, gilt over rough edges, orig- inal wrappers bound in, by Chambolle-Dtjeu. Paris, 1884 One of 150 copies on Japanese paper, with the portrait and etchings in three states. The Robert Hoe copy, with bookplate. [DIONIS DUSEJOUR, MLLE.] 283. L'OuiGiNE DES Graces. 6 plates engraved by Aliamet, De- launay, Masquelier, Nee, St. Auhim,' and Simonet after Cochin, all brilliant impressions. 8vo, full green levant mo- rocco, gilt edges, by Rivieke. Paris: 1777 D'ISRAELI, ISAAC 284. CuKiosiTiEs OF LiTEEATURE. With a View of the Life and Writings of the Author, by his Son. 4 vols. ; Amenities of Literature. A New Edition. Edited by his Son. 2 vols. Portrait. Together, 6 vols. 8vo, half green straight- grained morocco, gilt tops, uncut. Cambridge : Privately printed. Riverside Press, 1864 Large Paper copies; only 100 of each printed. DOBSON, AUSTIN 285. Vignettes in Rhyme and Vers de Societe (now eirst col- lected). London, 1873; Proverbs in Porcelain and other Verses. London, 1877. Both First Editions. Together, 2 vols. 12mo, original cloth, uncut. London, 1873-1877 The author's second and third books. DORAT, CLAUDE JOSEPH 286. Lettee de Barnevelt dans sa Prison a Truman son Ami, precedee d'une lettre de I'Auteur, 1763 ; Lettre de Zeila, esclave a Constantinople a Valcour, 1764 ; Lettre du Comte de Comminges a sa Mere, 1764 ; Mes Reveries, contenant Erato et 1' Amour, 1771. With 4 full-page plates by De [No. 286—Continmd'\ Longueil after Eisen, 4- vignettes by Delvaux and De Lonr gueil after Eisen, and 3 culs-de-lampes by Aliamet after Eisen. 8vo, full dark-blue levant morocco, inside gilt bor- ders, gilt edges, by Canape. A Paris et a Londres, 1763-1771 Two of the above are First Editions. CLAUDE DORAT'S LES BAISERS, ONE OF THE MASTERPIECES OF 18TH CENTURY ENGRAV- ING IN BINDING BY LORTIC DORAT, CLAUDE JOSEPH 287. Les Baisers, precedes du Mois de Mai. Frontispiece, fleuron on title, plate, ^3 vignettes and ^2 tail-pieces, all brilliant impressions, engraved by Aliamet, Baquoy, Binet, Delaunay, Lingee, SfC, after Eisen and Marillier. 8vo, full green le- vant morocco, gilt panelled sides, fleurons in the comers, doublures of blue levant, elaborately gilt tooled in a semis of roses and love emblems, silk linings, gilt edges, by Lortic. In a case. La Haye, 1770 Large Holland Paper with the title in red. One of the masterpieces of French 18th Century engraving. The Eugene Paillet copy, with bookplate. DORAT, CLAUDE JOSEPH 288. Fables Nouvelles. Two frontispieces engraved by De Ghendt after Marillier, 1 plate in each volume by Delaunay after Marillier, 1 fleuron, 99 vignettes and 99 tail-pieces by Arrivet, Baquoy, Delaunay, Duflos, De Ghendt, Le Gouaz, LabeaUf, c^c, after Marillier. 2 vols, in one. 8vo, full red levant morocco, gilt panelled sides, gilt edges, by Dupee, a few leaves supplied from a shorter copy, first plate skillfully inlaid and duplicate plate for Volume II. missing. Paris : Delalain, 1773 Inserted is an autograph receipt, signed by Dorat. Vol. I. is the second issue. THE ROBERT HOE COPIES OF JEROME DOUCET'S PETRONE AND TWO OTHER WORKS DOUCET, JEROME 289. Petuone (Introduction & Fragments). Illustres de huit compositions de Louis-Edouard Fournier, eaux-fortes de Xavier Lesuer. 8vo, full brown levant morocco, centre panel on each side, chiselled to a scroll design, figured brown satin linings, uncut edges, original wrappers bound in, by Rene KiEFFEE. Paris, 1902 Printed on India paper, only a few so issued. The etchings are in three states, — remarque proofs on Japanese and India paper, and the finished plate. The Robert Hoe copy, with bookplate. DOUCET, JEROME 290. Six Grosses Boufpees de Pipe. Illustrations in color by Harry Eliott. Royal Bvo, original wrappers, uncut. (Paris), 1908 Printed on Wedgwood paper, with a duplicate set of the illustrations on India paper. An original drawing by Harry Eliott, is laid in. The Robert Hoe copy, with bookplate. DOUCET, JEROME 291. CoNTEs de LA FiLEusE. Avec Us Ulustrations dc Alfred Garth Jones. 4to, full light brown levant morocco, ornamental gold tooled corners and back, gilt edges, original wrappers bound in, by The Club Bindery. Paris, 1910 One of 20 copies on Chinese paper, each autographed by the author. The text and some illustrations are printed within ornamental borders of various colors. The Robert Hoe copy, with bookplate. [D'OYLEY, SIR CHARLES] 292. Tom Raw, the Griefin. A Burlesque Poem, in twelve Cantos. By a Civilian and an Officer. Illustrated by 25 en- gravings, descriptive of the Adventures of a Cadet in the East India Company's Service. 8vo, original salmon-colored cloth, gilt, uncut, slightly soiled. London, 1828 First Edition. The author was a prominent figure in In- dian life in the early part of the nineteenth century. DRAKE, JOSEPH RODMAN 293. The Culprit Fay, and Other Poems. Engraved portrait and title-page from the original edition, inserted. 8vo, full dark- blue levant morocco, gilt back and inside gilt borders, corn colored silk doublures and end-papers, gilt top, by The Club Bindery. New York: George Dearborn, 1836 DRYDEN, JOHN 294. The Works of Virgil, translated into English Verse by Mr. Dryden. A New Edition, revised and Corrected by John Carey. 3 vols. 8vo, mottled calf, gilt backs and inside bor- ders, gilt edges. London: James Swan, 1803 Extra-Illustrated by the insertion of over 125 plates en- graved by Bartolozzi, Fittler, Sharpe, and others. DU BOIS, HENRI PENE 295. American Bookbindings in the Library of Henry Will- iam Poor. Illustrated in gold-leaf and colors by Edward Bierstadt. 8vo, original cloth, uncut. Jamaica, New York, 1903 One of 200 copies on Holland handmade paper. Autograph presentation copy from Mr. Poor to Mr. Ives. DU BUISSON, P. U. 296. Le Tableau de la Volupte, ou les quatre parties du jour. Poeme en vers libres. Engraved title, and 12 illustrations, including plates, vignettes and culs-de-la/mpe, engraved hy De Longueil after Eisen. 8vo, full red levant morocco, gilt dentelle side-borders in the manner of Derome, doublures of dark-blue levant, floral borders, gilt over rough edges, by Thibaron-Joly. In morocco case. A Cythere: Au Temple du Plaisir (Paris), 1771 The Robert Hoe copy, with bookplate. [DUCLOS, CHARLES PINOT] 297. Acajou et Zirphile, conte. Engraved fleuron on title and a vignette by Cochim, 9 plates by Chedel after Bouchet, and 1 tail-piece by Duflos. 4to, marbled calf gilt, by Ruban. A Minutie : 1744 Large Paper copy. DUCLOS, CHARLES PINOT 298. Les Confessions du Comte de ***. Huitieme edition. With 7 plates engraved by Delaunay, Triere, Vaisard and Mmes. Deny, Lingee and Ponce. 8vo, full dark red levant morocco, full gold tooled back, gilt top, uncut, by Canape. Londres et se trouve a Paris ; chez Costard, 1776 Printed on bluish paper. The work is seldom found com- plete with all the 7 plates, as the above. FIRST EDITIONS OF ALEXANDRE DUMAS, FILS, —THE ROBERT HOE COPIES IN FINE BINDINGS DUMAS (Fils), ALEXANDRE 299. Peches de Jeunesse. Portrait of the author, proof on India paper, by Legenisel. Svo, full red levant morocco, gilt back and inside gilt borders, gilt over rough edges, by Lortic, with his ticket. Paris : Fellens et Dufour, 1847 First Edition. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 300. Diane de Lys. Comedie en cinq actes, en prose. 12mo, three quarter cloth and boards, uncut, original wrappers bound in, by Knecht. Paris: D. Giraud, 1853 First Editiok. Laid in, is an A. N. S., Ip. 12mo, in the autograph of the author for seats at the theatre. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 301. Un Cas de Rupture. 16mo, full dark-blue levant morocco, inside gilt borders, gilt edges, by Champs. Paris : Librairie Nouvelle, 1854 First Edition. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 302. Le Roman d'une Femme. 16mo, three quarter light-brown levant morocco, gilt top, uncut. Paris : Librairie Nouvelle, 1855 First Edition. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 303. La Dame aux Pebles. 12ino, half brown levant morocco, gilt top, uncut. Paris, 1855 First Edition. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 304. Le Fils Natubel. Comedie en cinq actes. 12mo, blue mo- rocco, inside gilt borders, gilt edges, by Gruel. Paris, 1858 First Edition on thick paper. Author's presentation copy with autograph inscription on fly-leaf. The Robert Hoe copy, with bookplate. DUMAS (Fils), ALEXANDRE 305. La Dame aux Camelias. Preface par Jules Janin. With etched portrait of Marie Dw-plessis by Levat. 8vo, half green levant morocco, gilt back, gilt top, uncut, original wrappers bound in, by Zaenhsdorf. Paris, 1872 One of 500 copies on Holland paper. This is the second edition, and is the first to divulge the identity of Mile. Du- plessis, whose portrait, as the Lady of the Camelias, appears as the frontispiece, unlettered, and in proof state. The Robert Hoe copy, with bookplate. DU ROSOI 306. Les Sens, poeme en six chants. 7 plates, 6 vignettes and ^ tail-pieces engraved by De Longueil after Eisen and Wille. 8vo, full blue levant morocco gilt, with coat of arms on sides, gilt edges, by Allo. Londres, (Paris) : 1766 THE WORKS OF PIERCE EGAN WITH COLORED PLATES BY THE CRUIKSHANKS, ROWLAND- SON, ETC. INCLUDING LARGE PAPER COPIES OF THE FIRST EDITIONS OF LIFE IN LONDON AND LIFE OF AN ACTOR EGAN, PIERCE 307. Life in London, or. Day and Night Scenes of Jerry Haw- thorne, Esq., and his Elegant Friend, Corinthian Tom, ac- companied by Bob Logic, the Oxonian, in their Rambles and Sprees through the Metropolis. With excellent impres- sions of the 36 full-page plates in color, {the frontispiece [No. 307 — Contirmed'] contains portraits of both author and artist), as well as numerous woodcuts, designed and etched by I. R. and George Cruikshank. Royal 8vo, full green levant morocco, gilt back and sides, broad gilt inside borders, doublures of dark red figured silk, and linings of the same, gilt top, uncut, by Chambolle-Duru. In a case. London, 1821 FiEST Edition ; Laege Papeb.. Contains the half-title, and the music to Tom's song, "London Town's a dashing place." EGAN, PIERCE 308. Real Life in London; or, the Rambles and Adventures of Bob Tallyho, Esq., and his Cousin, the Hon. Tom Dashall, through the Metropolis, exhibiting a living picture of fash- ionable Characters, Manners, and Amusements in High and Low Life. By An Amateur. Embellished and illustrated with a series of coloured prints, designed and engraved by Messrs. Heath, Aiken, Dighton, Rowlandson etc. 2 vols. 8vo, full polished calf, emblematically tooled backs, and sides, gilt edges, by Root. London, 1821-1824 Engraved titles both dated 1821, printed titles dated 1824. Contains the two extra plates, not mentioned in the list, — "St. George's Day" and "Catching a Charley napping." EGAN, PIERCE 309. BoxiANA ; or. Sketches of Ancient and Modem PugiHsm, from the Days of the Renowned Broughton and Slack, to the Championship of Cribb. 3 vols. London, 1823-1824-1829 ; Also, New Series of Boxiana; being the only original and complete Lives of the Boxers. 2 vols. London, 1828-1829. With a large number of portraits of the principal pugilists, many battling. Together, 5 vols. 8vo, full polished calf, emblematically tooled backs, gilt sides and tops, inside dentelle borders, edges uncut or scraped, by Wood. London, 1823-1829 EGAN, PIERCE 310. Finish to the Adventures op Tom, Jerry and Logic, in their pursuits through Life in and out of London. Illustrated by the pencil of Mr. Robert Cruikshank, in 36 scenes (aZZ of which are in colors), from real life, also sev- eral woodcuts. Large 8vo, full crimson levant morocco. [No. 310 — Contmued]i back emblematically tooled, ornaments on sides and inside borders, gilt top, edges scraped, by Wood, title, half-title, and dedication in facsimile, several pages repaired. London, 1825 FiKST Edition, First Issue, with the unaltered woodcut. EGAN, PIERCE 311. The Life of An Actoe. Dedicated to Edmund Kean. The Poetical Descriptions by T. Greenwood. With 27 pnely col- ored plates by Theodore Lome. Royal 8vo, full green le- vant morocco, gilt back and sides, gilt top, by Walters. London, 1825 First Edition and probably Large Paper. The work was dedicated to Edmund Kean in the days of his greatest pros- perity, and gives a detailed account of his early struggles. EGAN, PIERCE 312. Sporting Anecdotes, Original and Selected; including numerous characteristic portraits of persons in every walk of Life, who have acquired notoriety from their achieve- ments on the Turf, at the Table, and in the Diversions of the Field, etc. A New Edition, considerably Enlarged and Improved. Engraved frontispiece by I. R. Cruikshank, also colored plates, portraits, and numerous woodcuts, by Bewick, and others. 8vo, full crimson levant morocco, emblematically tooled back, and sides, gilt top, uncut, by Wood. London, 1825 Contains the half-title, on the verso of which is a portrait of Captain Barclay, generally missing. EGAN, PIERCE 313. Book of Sports, and Mirror of Life ; embracing the Turf, the Chase, the Ring, and the Stage, interspersed with Orig- inal Memoirs of Sporting Men, etc. With numerous illus- trations. 8vo, full green levant morocco, gilt back and sides, gilt top, uncut, by Affolter. London, 1832 First Edition. Laid in are two autograph letters, signed, (1), the author. Pierce Egan, who signs himself "Old Pierce Egan," 2pp. August 4, 1848, to C. Mathews, recommend- ing the writer's daughter, and (2) Pierce Egan (the younger), 3pp. October 29, 1866, on personal matters. ELIOT, GEORGE 314. Agatha. First Edition. 12mo, sheets, uncut, 16 pp. London, 1869 The Louis M. Dillman copy. ELIOT, GEORGE 315. Writings : — Felix Holt, Adam Bede, Scenes of Clerical Life, The Mill on the Floss, Middlemarch, and Silas Marner. Illustrated. 6 vols. 12mo, half blue calf, gilt backs and tops. Edinburgh, n.d. [ELLIS, F, S.] 316. A Desceiption and Collation of the Series or "De Bey's Voyages," contained in the Library of Mr. Henry Huth. Royal 8vo, original boards, uncut. (London), 1880 Only 50 copies were privately printed. Presentation copy from the author to Mr. Ives, with inscription. RALPH WALDO EMERSON'S WORKS IN FIRST EDITIONS, SEVERAL IN SPECIAL BINDINGS [EMERSON, RALPH WALDO] 317. Natuee. 12mo, full crimson levant morocco, gilt top, uncut, original cloth covers bound in, by Waltees, light stain on several pages. Boston, 1836 FiEST Edition. Laid in is a 1 p. A. L. S. of the author, un- dated, regarding an article he had written, entitled "Char- acter." EMERSON, RALPH WALDO 318. An Oeation delivered before the Literary Societies of Dartmouth College, July 24, 1838. Published by Re- quest. First Edition. 8vo, full purple levant morocco, gilt back and sides, broad inside dentelle borders, gilt edges, by RuBAN. Boston, 1838 EMERSON, RALPH WALDO 319. Essays. Both Series. First Editions. Together, 2 vols. 12mo, full brown levant morocco, full gilt backs, gilt sides, broad inside dentelle borders, gilt edges, by The Club BiNDEEY. Boston, 1841-1844 EMERSON, RALPH WALDO 320. Poems. First Edition. 12mo, full dark red levant morocco, gilt back and sides, inside dentelle borders, gilt top, uncut, advertisements bound in, by The Club Bindery. Boston, 1847 The D. F. Appleton copy, with bookplate. EMERSON, RALPH WALDO 321. Nature; Addresses, and Lectures. 12mo, half green levant morocco, gilt back, gilt top, uncut, by The Club Bindery. Boston, 18419 First Edition. The D. F. Appleton copy, with bookplate. EMERSON, RALPH WALDO 322. Society and Solitude. Twelve Chapters. First Edition. 12mo, full brown levant morocco, full gilt back, gilt sides, broad inside dentelle borders, gilt edges, by The Club Bindery. Boston, 1870 EMERSON, RALPH WALDO 323. The Writings of Emerson. 11 vols. 16mo, half red le- vant morocco, gilt tops, uncut. Boston, 1889-1891 ENCYCLOP^ffiDIA BRITANNICA, THE 324. A Dictionary or Arts, Sciences, Literature and General Information. Eleventh Edition. Illustrated. 29 vols, (including the Index). 4to, leather backs, cloth sides. Cambridge, England-New York, (printed in New York), 1910-1911. India Paper copy. EPICTETUS 325. The Discourses of Epictetus, with the Encheiridion and Fragments. Reprinted from the Translation of John Long, 2 vols. 12mo, full brown levant morocco, backs richly gold tooled, sides with single line and dots at intervals, ornate inside borders, gilt edges, by The Doves Bindery, 1895. London, 1891 FIRST EDITION ON LARGE PAPER OF THE MORALS OF EPICURUS EPICURUS 326. Epicvrvs' Morals, Collected Partly out of his owne Greek Text, in Diogenes Laertius, and Partly out of the Rhapsodies of Marcvs Antoninvs, Plvtarch, Cicero & Seneca, and faith- fully Englished. [By Walter Charleton.J Portrait of Epicurus. Small 4to, full green levant morocco, gilt and blind tooled back and sides, gilt edges, by Bedford. London: Printed by W. Wilson, 1656 First Edition on Large Paper. The Fraser-Robert Hoe copy, with bookplate of the latter. JOHN EVELYN'S SCULPTURA, FIRST EDITION, WITH BRILLIANT IMPRESSION OF THE CELEBRATED PRINCE RUPERT FOLDING PORTRAIT EVELYN, JOHN 327. Sculptura; or, the History and Art of Chalcography and Engraving in Copper. With an ample enumeration of the most renowned Masters and their Works. To which is an- nexed a new manner of engraving, or Mezzo Tinto, commu- nicated by his Highness, Prince Rupert, to the Author of this Treatise. With 3 plates, and another inserted. 12mo, full mottled calf, gilt back. London : Printed by J. C. and G. Beedle, etc., 1662 First Edition. Contains a brilliant impression of the fa- mous Prince Rupert mezzotint, which is a folding plate, the frontispiece after a design by Evelyn, and another copper- plate by the same hand. An old and finely etched portrait of Prince Rupert is inserted. The Robert Hoe copy, with bookplate. EDITIO PRINCEPS OF EUCLID, AND A VERY LARGE COPY. FROM THE ROBERT HOE LI- BRARY EUCLIDES 328. Elementa. Gothic character of 2 sizes, 138 immimbered leaves (vncliuiing the last blamk), with signatures. First page within a beautiful woodcut ornamental semi-border on black ground, woodcut initials of similar character, and numerous geometrical figures on the mMrgins of the volwme. Folio, full citron crushed levant morocco, sides inlaid in an architectural design of light and dark green, and dark brown morocco, vellum linings, and fly-leaves, gilt edges, by The Club Bindeey. In case with protecting cover. Venetiis : Erhardus Ratdolt, 1482 Editio Peinceps of Euclid. The eaeliest book in which a continuous seeies of geometeical illusteations weee published. A very large copy, some leaves having rough edges. A few small worm holes have been skillfully filled in. Hain-Copinger, 6693; Proctor, 4383; Redgrave, 26. The Robert Hoe copy, with bookplate. FACECIEUX, LE 329. Reveille-Matin des Esprits Melancholiques ... en ceste derniere edition, augmente de diuers contes tres recrea- tif . 12mo, full crimson levant morocco, gilt back, gilt edges, by Trautz-Bauzonnet. Utrecht, 1654 The Charles Nodier-Robert Hoe copy, with bookplates of both. WILLIAM FAITHORNE'S ART OF GRAVEING AND ETCHING. FIRST EDITION IN BINDING BY RIVIERE FAITHORNE, WILLIAM 330. The Aet of Geaveing and Etching, wherein is exprest the true way of Graueing in Copper, allso The manner and method of that famous Callot, & Mr. Bosse, in their Seuerall ways of Etching. Title and ten plates {mainly containing several figures), by the author. Fikst Edition. Small Svo, [No. 830— Continued] full maroon levant morocco, gilt and blind tooled, gilt edges, by RiviEKE. Pvblished by Willm. Faithorne, London, 1662 The Robert Hoe copy, with bookplate. FAVRE, DE 331. Les auATEE HEUKEs DE LA TOILETTE DEs DAMES. Frontis- piece, vignette, 4- plates and 5 charming tail-pieces engraved by Arrivet, Halbou, Legrand, Leroy and Patas after Leclerc. Royal 8vo, full green levant morocco gilt, gilt over rough edges, by Chambolle-Dueu. Paris, 1780 On large Holland paper. The Ch. Bouret copy, with book- plate. FELISSA 332. Oe, The Life and Opinions of a Kitten of Sentiment. With 1^ colored plates, unsigned. 12rao, silk, uncut. London, 1811 The Robert Hoe copy, without bookplate. FENELON'S LES AVANTURES DE TELEMAQUE, EDITIONS OF 1717, 1734, AND 1824 IN BINDINGS BY PADELOUP AND OTHERS FENELON, FRANCOIS DE LA MOTHE 333. Les Avantures de Telemague. Premiere Edition conforme au Manuscrit original. [Publiee par le Marquis de Fenelon, son neveu, avec un discours sur la poesie epique, par de Ramsay.] Portrait by Duflos after BaiUeul, brilliant im- pression, a frontispiece, vignette, and ^4- plates, a number engraved by Giffard after Bonnart, or unsigned, and a fold- ing map. 2 vols, small 8vo, full red levant morocco, gilt backs and inside gilt borders, gilt edges, by Bedfoed. Paris : Jacques Estienne, 1717 FiEST Edition, and the best of all the ancient edi- tions published by the Marquis de Fenelon, from a manu- script found among the Archbishop's papers after his death. The William Beckford-Robert Hoe copy, with bookplate of the last-named. FENELON, FRANCOIS DE LA MOTHE 334. Les Avaktuees de Telemaque. Frontispiece engraved by Folkema after Picart; title-vignette by Tanje after Du- bourg; portrait by Drevet after Vivien; ^4- plates engraved by Bernaerts, Folkema, V. Gunst and Surwgue after Debrie, Dubourg, and Picart; 2 4 vignettes by Duflos, Folkema, and Tanje after Dubourg; and '21 cvXs-de-lampe by Duflos and Schenk after Debrie and Dubourg. 4to, old French red mo- rocco, gilt back and rich gilt side borders with fleur-de-lys ornaments in corners, gilt edges, by Padeloup. Amsterdam, 1734 One of the raee copies in 4to foeji issued the same yeae as the folio edition, and containing the same PLATES, WITH THE "Ode" ON PP. 419-424 WHICH WAS LATEE SUPPEESSED BY THE COUEt's OEDEE. The Robert Hoe copy, with bookplate. FENELON, FRANCOIS DE LA MOTHE 335. Avantuees de Telemasue. ^4- plates engraved by Simonet, De Ghendt and Girardet after Moreau. 2 vols. 8vo, full green levant morocco, gilt edges, by Tout. Paris: Chez Lefevre, 1824 Two portraits of Fenelon engraved by Roger and by Del- vaux, are inserted. FERGUSSON, JAMES 336. A HiSTOEY OF AucHiTECTUEE, in all Countries, from the Earliest Times, to the present Day. 3 vols. London, 1865- 1867-1862; History of Indian and Eastern Architecture, London, 1876. Copiously illustrated. Together, 4 vols. 8vo, full brown levant morocco, gilt tops. London, 1862-1876 The Henry W. Poor set, with bookplate in each volume. FEUILLET, OCTAVE 337. La Petite Comtesse — Le Pare — Onesta. 12mo, half red levant morocco, uncut, original wrappers bound in. Paris: M. Levy freres, 1857 FiEST Edition. The Robert Hoe copy, with bookplate. OCTAVE FEUILLET'S JULIA DE TRECCEUR, WITH DESIGNS AFTER HENRIOT BY CLAPES AND THE ORIGINAL DRAWINGS OF THE FORMER FEUILLET, OCTAVE 338. Julia de Trecoeur. With frontispiece and 15 vignettes de- signed by Henriot, engraved by Clapes. 8vo, full citron levant morocco, gilt floral back and side panels, doublures of black levant, covered with a symmetrical design of inter- lacing fillets and leaf-sprays, silk end-papers, gilt over rough edges, original wrappers bound in, by Cuzin. Paris : Calmann Levy, 1885 No. 6 of 225 copies on "papier velin de la cuve," with the plates in three states, and made UNiauE by the insertion OF Henriot's original drawings, together with 10 other illustrations. The Robert Hoe copy, with bookplate. FEVAL, PAUL H. C. 339. Le Premier Amour de Charles Nodier. Avant-Propos de Maurice Tourneux. Illustrations de H. Vogel graves sur bois par E. Florian. 12mo, full dark-blue levant morocco, gilt panelled back and sides, inside gilt borders, gilt over rough edges, original wrappers bound in, by The Club Bindery. Paris, 1900 One of 150 copies with a duplicate set of the plates on India paper. The Robert Hoe copy, with bookplate. FICQUET, ETIENNE 340. A collection of thirty-seven portraits engraved by FicauET, all brilliant impressions, some in two, some in three states, artist's proofs before the letters, or proofs before letters, executed between 1738 and 1794. All 8vo, and neatly hinged on drawing paper, the whole bound in one volume, 4to, full red levant morocco, gilt back and sides, gilt edges, silk doublures and linings. This most attractive series comprises: Louis Quinze; Jean de La Fontaine ; Poquelin de Moliere ; Fran9oise d'Aubigne, Marquise de Maintenon ; Fenelon ; Ariosto ; Rousseau ; Charles Eisen ; Corneille ; Montaigne, and others of equal note. FIELD, EUGENE 341. With Trumpet and Drum. Vignette on title. First Edi- tion. 12mo, full crimson levant morocco, gilt back, gilt top, uncut, by Stikeman. New York, 1892 One of 250 copies printed. FIELD. EUGENE 342. The Love Affairs of a Bibliomaniac. 8vo, original half parchment and boards, gilt top, uncut. New York, 1896 First Edition. One of 150 copies on Holland paper. Illuminated with upwards of 40 initial letters, borders and vignettes, appropriately distributed throughout the text, the title-page illuminated in an ornate floral design of sev- eral different colors, bright yellow predominating, all the work of an unknown artist, who signs himself "W. C. B.," and with date "1901." FIELDING, HENRY 343. The History of Tom Jones, a Foundling. 6 vols. 12mo, full polished calf, gilt backs, gilt edges, by Riviere. Name "F. Goodman" on each title. London, 1749 First Edition, with the "Errata." FIRST FRENCH EDITION OF FIELDING'S TOM JONES IN BINDING BY CHAMBOLLE-DURU FIELDING, HENRY 344. HisToiRE DE Tom Jones, ou l'enfant Trouve. Traduction de I'Anglois de M. Fielding, par M. D. I. P. Enrichie d'estampes dessinees par M. Gravelot. 4 vols. 12mo, full blue levant morocco, backs richly gold tooled, inside dentelle borders, gilt over uncut edges, by Chambolle-Duru. A Londres (Paris) : Chez Jean Nourse, 1750 First French version. The plates were engraved by Gravelot at a time when this artist was executing his finest work. FIELDING, HENRY 345. Amelia. First Edition. 4 vols. 12mo, half brown morocco, gilt backs, gilt tops, lower margins of two vols, uneven, by Blackwell. London, 1752 FIEVEE, JOSEPH 346. La Dot de Suzette (ou Histoire de Mme. de Senneterre, racontee par elle-meme), avec notice biographique inedite. Illustrations par V. Foulquier. 8vo, full blue levant mo- rocco, gilt back, side panels of interlacing fillets, floral corner ornaments, doublures of blue levant, gilt bordered, silk end- papers, gilt over rough edges, original wrappers bound in, by The Club Bindery. Paris : Imprime pour les Amis des Livres, 1892 One of 26 copies printed for the Corresponding Members of the society, with the plates in three states, — artist's proofs, and proofs before and after letters. The Robert Hoe copy, with bookplate. FISKE, JOHN 347. The American Revolution, 2 vols.; The Critical Period of American History; The Beginnings of New England. All illustrated. Together, 4 vols. Bvo, cloth, gilt tops. Boston, 1898 THE FIRST BOOK PRINTED IN HARTFORD, CONNECTICUT [FITCH, THOMAS— Governor of Connecticut (?)] 348. An Explanation or Say-Brook Platform; or, The Prin- ciples of the Consociated Churches in the Colony of Con- necticut collected from their Plan of Union. By One that heartily desires the Order, Peace, and Purity of these Churches. Small 4to, unbound, laid within old, probably contemporary, wrappers, top edges mainly uncut. Hartford: Printed for Thomas Green, at the Heart and Crown, 1765 Apparently the only copy sold at auction, as this is the George Brinley copy, which brought five dollars, in his sale in 1879, search failing to reveal the sale of another copy at auction, and of but one offered at private treaty, since that time. Evans in his American Bibliography records 4 copies as known, all of which are in public institutions — The Connecticut Historical Society Library, Harvard College Library, Massachusetts Historical Society Library, and the Yale College Library, the present copy making the fifth, and the other the sixth. [No. 348 — Continued] Accompanying the item is the original envelope used in the Brinley sale, on which is written, "2149. (Fitch's) Ex- plann. of Saybr. Platform, 1765," in the handwriting of James H. Trumbull, the cataloguer of that portion of the collection, his catalogue description reading: "This is be- lieved TO BE THE EIEST BOOK PRINTED IN HaETFOIID. Thomas Green set up the first press there, near the end of 1764." This, seemingly, was the first time that its anony- mous author was made public, as in Sabin's Dictionary of Americana, (1873), the work is entered under "Explana- tion," without any clue as to authorship. In two places is the autograph of Alexander Gillet, 1770. This is the Connecticut theologian, of the school of Edwards, third son of Captain Zaccheus and Ruth (Phelps) Gillet, of Turkey Hills, now East Granby. He entered Yale College in June 1767, and was licensed to preach on June 2, 1773, by the Hartford Association of Ministers. He was pro- ficient in music, 15 tunes by him being included in Andrew Law's Rudiments of Music, 1792. The copy was appar- ently presented to him by Timothy Dwight, President of Yale College, as "From Tim. Dwight" is written in Mr. Gillet's hand on the title. FITZGERALD, EDWARD 349. Salaman and Absal. An Allegory. Translated from the Persian of Jami. Frontispiece, "Welcome, Prince of Horse- men, welcome" etc. First Edition. 8vo, full brown levant morocco, sides covered with sprays of branches and blossoms, back to match, doublures of brown silk, with similar linings, gilt top, original cloth covers bound in, uncut, by Zaehns- DORF. In a morocco case. London, 1856 OMAR KHAYYAM, FIRST EDITION OF THE RU- BAIYAT IN WRAPPERS AND IN A BINDING BY DOVES BINDERY [FITZGERALD, EDWARD] 350. RuBAiYAT OF Omar Khayyam, the Astronomer-Poet of Per- sia. Translated into English Verse, (by Edward Fitzger- ald). Small 4to, original printed wrappers, 21pp. In a green levant morocco solander case, with inner protecting cover. London: Bernard Quaritch, 1859 First Edition. Apparently the Louis M. Dillman copy. FITZGERALD, EDWARD 351. RuBAiYAT OF Omar Khayyam, the Astronomer-Poet of Per- sia. Rendered into English Verse by Edward Fitzgerald. 8vo, illuminated wrappers, uncut. . New York: The Grolier Club, 1885 No. 8 of 150 copies on Japanese paper. [FITZGERALD, EDWARD] 352. RuBAiYAT OF Omae Khayyam, the Astronomer-Poet of Per- sia. Rendered into English Verse, (by Edward Fitzgerald). 8vo, full crimson levant morocco, a broad gold tooled border on each side, composed of designs of rose leaves and blos- soms, back to match, ornate inside borders, after a design by Cobden-Sanderson, gilt edges, by The Doves Bindeey, 1894. London, 1894 SIX WORKS OF GUSTAVE FLAUBERT IN BEAU- TIFUL BINDINGS FROM THE HOE LIBRARY FLAUBERT, GUSTAVE 353. Madame Bo vary; Moeurs de Province. Portrait and illus- trations. 2 vols, in 1, 12mo, full red levant morocco, back and sides tooled in single and double rows of quadruple fillets, inside gilt borders, gilt over rough edges, by Cuzin. Paris, 1857 Unique copy of the First Edition with the following inserted, — Etched portrait of the author, proof; a draw- ing by Edelfelt; 7 etchings by Boilvin, all proofs before letters ; and three original water-color drawings by Edmond Morin. The Baron Roger Portalis-Robert Hoe copy, with bookplates of both. FLAUBERT, GUSTAVE 354. BouvARD ET Pecuchet: ffiuvre Posthume. With M orig- inal water-color sketches, including a -full-page frontis- piece, 2 on half-title, balance as head-and-tail pieces, on margins, ^c. Medium 8vo, dark-blue levant morocco, gilt and mosaic back and sides in an elaborate design of flowers [No. 354 — Contmued'\ and leaves intertwined, the inlays being of light-blue, red, and several shades of brown, doublures of dark-blue levant with an arabesque design of gilt inlaid with red and olive, red silk end-papers, gilt over rough edges, original wrap- pers bound in, by Gruel. Within a half levant morocco plush-lined cover and slip case. Paris : Alphonse Lemerre, 1881 FmsT Edition. The Robert Hoe copy, with bookplate. FLAUBERT, GUSTAVE 355. Hekodias. Preface par Anatole France. Compositions de Georges RocJiegrosse, gravees a Veaur-forte par Champollion. 8vo, full dark-brown levant morocco, doublures of light- brown levant, tooled in a design of foliage with inlays of dark -brown morocco, silk end-papers, gilt over rough edges, original wrappers bound in, by Mabius Michel. Paris, 1892 One of 100 copies on Japanese paper, with the plates in three states. The Robert Hoe copy, with bookplate. FLAUBERT, GUSTAVE 356. Un Cceub Simple. Preface par A. de Claye. IllustrS de inngt-trois compositions par Emile Adan, gravies a Veaw- forte par CJiampollion. 8vo, full blue levant morocco, back and sides richly tooled in scrolls, dots, &c., with inlays of dark-blue levant, doublures of same color, gilt-bordered, gilt over rough edges, original wrappers bound in, by The Club Bindery. In slip cover and case. Paris, 1894 One of 80 copies on Japanese paper, with the plates in three states, — ^before and after letters and the finished plate. The Robert Hoe copy, with bookplate. FLAUBERT, GUSTAVE 357. La Legends de Saint Julien l'Hospitalier, Preface par Marcel Schwob. Illustree de "vingt-six compositions par Lac-Olivier Merson-, gravees a Veaw-forte par Gery-Bichard. Royal 8vo, full russia, chiselled design of a landscape with a stag, tree, towers, &c. by Cottin on front cover, doublures [No. 357 — Contmiiedl of blue silk, gilt-bordered, silk end-papers, gilt over rough edges, original wrappers bound in, by Gkuel. In cloth slip cover and case. Paris, 1895 One of 80 copies on Japanese paper, with the plates in three states. The Robert Hoe copy, with bookplate. FLAUBERT, GUSTAVE 358. A BoRD DE LA Cange, Neuf compositions de A. Robaudi, gravees ct I'eau-forte far C. Chessa. 8vo, full olive-green levant morocco, with floreated border of red, white, green, &c. inlays, gilt and mosaic back, doublures of pink levant with quintuple border of fillets, figured-silk end-papers, gilt edges, original wrappers bound in, by Grtjel. In slip cover and case. Paris : Librairie des Amateurs, 1904 Uniciue copy. Contains 7 ORiGiNAii watee-colou draw- ings BY A. Robaudi, and the etchings in two states, ONE set COLOEED BY THE AETIST. The Robert Hoe copy, with bookplate. FOLENGUS, THEOPHILUS 359. Opus Meelini Cocaii, Macaronicum. Engraved frontispiece with the author's portrait and 36 copperplate vignettes. Small 8vo, full brown straight-grained morocco, sides richly tooled in geometrical designs and scrolls, gilt back, gilt top, uncut, by Faiebaien. Amstelodami, 1692 The E. V. Utterson-Robert Hoe copy, with bookplates of both. FORD, JOHN 360. The Woeks of John Foed, with Notes, Critical and Ex- planatory, by William Gifford. With Additions to the Text and to the Notes, by Alexander Dyce. 3 vols. 12mo, half brown morocco, gilt backs, gilt tops. London, 1869 FORSTER, JOHN 361. The Life and Adventures of Olivee Goi.dsmith. Illus- trated. First Edition. 8vo, half brown morocco, gilt back, gilt top, uncut. London, 1848 FORSTER, JOHN 362. Walteb, Savage Landok. A Biography. Portraits and engraved titles. First Edition. 2 vols. 12mo, full crimson morocco, gilt backs and sides, gilt tops, uncut. London, 1869 FORSTER, JOHN 363. The Life of Charles Dickens. Portraits. Volume III, First Edition. 3 vols. 8vo, half morocco, gilt backs, gilt tops. London, 1872-1874 ANOTOLE FRANCE'S WORKS BOUND BY RENE KIEFFER, CLUB BINDERY, AND OTHERS FRANCE, ANATOLE 364. Balthasar et i.a Reine Balkis. Aquarelles originates d'apres Henri Caruchet. 8vo, dark-brown corded silk, back and cover-borders embroidered in a floral design of various brilliant hues, doublures and end-papers in brown and white brocaded silk, gilt over rough edges, original wrappers bound in, by The Club Bindery. In cloth case. Paris : Librairie Conquet, 1900 Publisher's presentation copy to Robert Hoe, Esq. ; none offered for public sale. One of 300 copies on papier velin. The Robert Hoe copy, with bookplate. FRANCE, ANATOLE 365. Thais. Compositions de Paul-Albert Laurens; gravures a I'eau-forte de Leon Boisson. Royal 8vo, full red levant morocco, back and sides gilt-filleted, inside gilt borders, gilt over rough edges, original wrappers bound in, by Cham- BOLLE-DURU. Paris: Librairie de la Collection des Dix, 1900 One of 45 copies on papier velin de cuve d'Arches, the full-page plates being in three states. The Robert Hoe copy, with bookplate, FRANCE, ANATOLE 366. L'Affaire Crainquebille. 6^ compositions de Steinlen, gravies par Deloche, etc. 4to, full crimson levant morocco, centre gold tooled panel on each side, with fillets, dots and [No. 366 — Continued] scroll ornaments, gilt back, dentelle borders, gilt top, orig- inal wrappers bound in, by The Club Bindery. Paris, 1901 One of 13 copies on antique Japanese paper, with a dupli- cate set of the illustrations, proofs before letters, on India paper. A large and characteristic original water color drawing by Steinlen, signed, serves as the frontispiece. The Robert Hoe copy, with bookplate. FRANCE, ANATOLE 367. HisToiEE DE Dona Makia d'Avalos et de Don Fabuicio, Due d'Andeia. M an-u.scrite et enlmninee par Leon Lebegue. 4!to, full dark-blue levant morocco, sides in an interlaced design of light-blue inlays, rimmed with gilt, centre medallions of ivory on which are drawings by Lebegue, doublures of light- blue silk, bordered with blue levant and gilt septuple fillets, silk end-papers, gilt edges, by Rene Kieffer. Paris : Librairie des Bibliophiles, 1902 The only copy printed on satin with every page in gold and colors. The Robert Hoe copy, Avith bookplate. FRANCE, ANATOLE 368. Les Noces Corinthiennes. Edition definitive. Decoree de vingt compositions d'Auguste Leroux, gravies par Ernest Florian. 8vo, full citron levant morocco, gilt side panels in a scroll and pointille design, mosaic bands of brown morocco, light yellow figured silk linings, gilt top, uncut, original wrappers bound in, by The Club Bindery. Paris, 1902 One of 225 copies on India paper. The Robert Hoe copy, with bookplate. FRANCE, ANATOLE 369. Le Lys Rouge. Compositions de A. F. Gorguet, gravies sur hois par Desmovlins, Dutheil, Romagnol, et en couleurs par Ch. Thivenin. Royal Svo, full brown levant morocco, gilt and mosaic back, sides tooled in an interlaced design of light and dark-green and white inlays, gilt rimmed, with many [No. 369 — Contin'ued'] gilt individual figures, doublures of brown levant, gilt bor- dered, silk end-papers, gilt over rough edges, original wrap- pers bound in, by The Club Bindeey. In slip cover and case. Paris: Librairie de la Collection des Dix, 1903 One of 90 copies on Japanese paper, with the frontispiece in 5 states, the full-page plates in 2 states, and remarque proof in colors and proof before letters. The Robert Hoe copy, with bookplate. FRANCE, ANATOLE 370. Le Jongleur be Notee-Dame. Texte calligraphie enlwmme et historie par Malatesta. 4to, full brown levant morocco, sides tooled in a geometrical design, two shades of brown, numerous gilt ornaments interspersed, doublures of brown levant, bordered with gilt, moire-silk end-papers, gilt over rough edges, original wrappers bound in, by The Club Bindeey. In slip cover and case. Paris, 1906 One of 45 copies on Imperial Japanese paper with the full SEEIES OF PLATES ILLUMINATED IN GOLD AND COLOES, and a duplicate set of them in black. The Robert Hoe copy, with bookplate. FRANCE, HECTOR 371. Sous LE BuENOus. Illustre de 22 compositions par Paul Avril. Royal 8vo, full crimson levant morocco, gilt back, wide outside cover borders, inside borders, gilt top, uncut, original wrappers bound in, by The Club Bindeey. Paris 1898 One of 25 copies on Japanese paper, with the plates in several states in black and bistre. The Robert Hoe copy, with bookplate. [FRERON ET COLBERT (DUC D'ESTOUTEVILLE)] 372. Adonis, poeme en prose. With brilliant impressions of the beautiful frontispiece, plate, vignette and tail-piece engraved by Ponce after Eisen. 8vo, full blue levant morocco, gilt edges, by Allo. Londres et Paris: Chez Musier fils, 1775 FRITH, WILLIAM POWELL 373. John Leech ; His Life and Work. With portrait amd nurnier- ous illustraticms. 2 vols. 8vo, full green levant morocco, sides and backs elaborately tooled in floral designs, gilt tops, by Wood. London, 1891 FmsT Edition, Extea-Illustrated by the insertion of 95 plates, mainly by Leech, 34! of which are in colors. GAMBADO, GEOFFREY 374. An Academy for Grown Horsemen ; containing the com- pletest Instructions for Walking, Trotting, Cantering, Gal- loping, Stumbling and Tumbling. Third Edition. Lon- don, 1808 ; Also, Annals of Horsemanship ; containing Ac- counts of Accidental Experiments and Experimental Accidents, both successful and unsuccessful. London, 1808. Numerous stipple plates, hy Henry Bwnhury. 2vols. in 1, royal 4to, half green morocco, gilt top, lower edges uncut. London, 1808 GARNETT, RICHARD, and GOSSE, EDMUND 375. English Literature; An Illustrated Record. Nv/merous illiistrations, some ira color. 4 vols, royal 8vo, half red leather, gilt backs, gilt tops. New York, 1903-1904 OVER FIFTEEN WORKS OF THEOPHILE GAU- TIER, FIRST EDITIONS AND LATER IN ELEGANT MODERN FRENCH BINDINGS, CHIEFLY FROM THE HOE LIBRARY. GAUTIER, THEOPHILE 376. Les Jeunes France. Romans Goguenards. Etched frontis- piece by Nanteuil. 8vo, fuU brown levant morocco, filleted back and sides, inside borders, gilt edges, by Allo. Paris, 1833 First Edition of Gautier's fourth work. The Robert Hoe copy, with bookplate, GAUTIER, THEOPHILE 377. Mademoiselle de Maupin. Double Amour. 2 vols. 8vo, full dark-blue levant morocco, gilt backs, side borders tooled in fillets, leaf spray ornaments in the corners, doublures [No. 377 — Continued~\ of citron morocco, floral borders, gilt over uncut edges, orig- inal covers bound in, by Cuzin. Paris, 1835-6 First Edition. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 378. La Comedie de la Mort. Woodcut frontispiece hy Lacoste. 8vo, full dark-green levant morocco, quadruple and sep- tuple fillets on back and sides, inside filleted borders, gilt edges, by Chambolle-Duuu. Paris : Desessart, 1838 First Edition, printed on thick paper. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 379. Les Roues Innocents. 8vo, full olive-green levant morocco, inside filleted borders, gilt over rough edges, by Marius Michel. Paris: Desessart, 1847 First Edition. The C. J. Bavoillot-Robert Hoe copy, with bookplates of both, GAUTIER, THEOPHILE 380. Emaux et Camees. 16mo, full dark-blue levant morocco, em- blematic gilt back and side covers, with leaf sprays and cen- tre medallions of stamped white morocco, doublures of crim- son morocco, wide floral borders and gilt centre ornaments, gilt over rough edges, original wrappers bound in, by Cham- BOLLE-DuRU. Paris, 1852 First Edition. Illustrated with 40 original drawings IN sepia and colors. The Peter Marie-Robert Hoe copy, with signature and three lines in the autograph of the first-named and the bookplate of the last-mentioned. GAUTIER, THEOPHILE 381. HoNORE DE Balzac. Edition revue et augmentee. With an etched portrait by E. Hedouin on India paper, and fac- simile letters. 12mo, half cloth, gilt top, uncut, original wrappers bound in. Paris, 1859 The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 382. Le Capitaine Fracasse. Illustre de 60 dessins de Gustave Dore. Imperial 8vo, full crimson levant morocco, gilt back and gilt side panels on covers, inside gilt borders, gilt over rough edges, by Marius Michel. Paris, 1866 Inserted is a portrait of Gautier engraved by L. Wolff after a photograph by Nadar. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 383. Menagerie Intime. Small 8vo, full crimson levant morocco, inside filleted borders, gilt over rough edges, original wrap- pers bound in, by Marius Michel. Paris, 1869 First Edition. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 384. Theatre Mystere, Comedies et Ballets. Square 12mo, full crimson levant morocco, inside gilt borders, gilt top, un- cut, original wrappers bound in, by Marius Michel. Paris, 1872 First Edition. Limited issue on Holland paper, with portrait of the author, inserted. The "J. N. "-Robert Hoe copy, with bookplates of both. GAUTIER, THEOPHILE 385. Poesies de Gautier, qui ne figureront pas dans ses oeuvres. Precedees d'une Autobiographic. Ornee d'wn portrait sin- gulier. 8vo, half green levant morocco, gilt top, uncut, by Pagnant. France: Imprimerie Particuliere, 1873 One of 150 copies on Holland paper. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 386. L'Eldorado ou Fortunio. Public sur I'Edition Originale. Full-page etched plates by Milius; vignettes by Paul Avril. Royal 8vo, full reddish-brown levant morocco, gilt back, sunken-panel sides with an arabesque design in gilt and blind tooling, doublures of silk-damask with levant borders, [No. 386 — Continued] silk-damask end-papers, gilt over rough edges, original wrappers bound in, by Marius Michel. Paris : Imprime pour les Amis des Livres, 1880 No. 13 of 115 copies printed, with the full-page plates in three states, the vignettes in two, including a set of en- graver's proofs signed by Milius in dry-point, showing his alterations in pencil and India ink, eight of them either un- finished or with noticeable differences. The Valentine Blacque and Henry W. Poor copy, with book- plates of both. GAUTIER, THEOPHILE 387. Souvenirs de Theatre, d'Art et de Critique. 12mo, three quarter green levant morocco, uncut, original wrappers bound in, by AiLO. Paris, 1883 One of 50 copies on Holland paper. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 388. Emaux et Camees. Preface par Maxim du Camp. Cent douze dessins de Gustwve Fraipont. 12mo, full red levant morocco, emblematic gilt back and sides, with a cameo of ivory morocco in centres of both covers, doublures of red levant, gilt borders with floral ornaments, gilt over rough edges, original wrappers bound in, by Chambolle-Duru. Paris, 1887 One of 100 copies on Japanese paper, with a duplicate set of the plates inserted and the additional seven pages at the end. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 389. Le Petit Chien de la Marquise. Preface par Maurice Toumeux. Avec vingt et wn dessims de Louis Morin. Small 8vo, full green levant morocco, gilt back and sides, inside gilt borders, gilt over rough edges, original wrappers bound in, by Marius Michel. Paris, 1893 One of 150 copies on papier velvn bla/nc, with the plates in two states, on India paper and colored by hand. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 390. Le Roi Candaule. Illustre de vmgt et une compositions par Paul Avril. Royal 8vo, full copper levant morocco, doublures of green levant, straight line-borders, with inlaid floral orna- ments in corners, silk end-papers, gilt over rough edges, original wrappers bound in, by Marius Michei,. Paris, 1893 One of 80 copies on grand papier velin, with the etchings in three states, — outline, and proofs before and after letters. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 391. Une Nuit de Cleopatee. Preface par Anatole France. II- litstree de vingt et une compositions par Paul Avril. 8vo, full dark-green levant morocco, with centre mosaic medallion portrait of Cleopatra and Meiamoun on a gold ground, Egyptian device and lotus flowers in mosaic on front cover, a mosaic design depicting player and harp on back cover, wide inside gilt borders on doublures of white levant upon which has been painted a view in blue of the Nile, watered silk end-papers, gilt edges, original wrappers bound in, by J. Kauepman. Paris, 1894 One of 200 copies on grand papier velin d' Arches, with the plates in two states. The Valentine-Blacque-Henry W. Poor copy, with book- plates of both. GAUTIER, THEOPHILE 892. La Chaine d'Ok. Illustrations de Georges Rochegrosse. Royal 8vo, full olive-green levant morocco, doublures of light-brown levant, a gilt chain intertwined with chiselled leaf-sprays on front doublure and a chiselled centre orna- ment on back doublure, figured-silk end-papers, gilt over rough edges, original wrappers bound in, by Canape. In slip cover and case. Paris, 1896 One of 200 copies printed, with the illustrator's signature on verso of half-title. The plates are in two states, — col- ored and plain black, and are proofs before letters. The Robert Hoe copy, with bookplate. GAUTIER, THEOPHILE 393. Le Roman de la Momie. Quarante-deux compositions orig- inales de Alex. Lunois, gravees au burin et a Veau-forte par Leon Boisson. Royal 8vo, full citron levant morocco, back and side cover-borders of mosaic interlacings in olive mo- rocco, with ornaments in tcrra-cotta and white mosaic, with assorted ornamental designs of gilt, doublures of citron le- vant, silk end-papers containing Egyptian heads, uncut, original wrappers bound in, by The Club Bindeky. In slip cover and case. Paris : Librairie Conquet, 1901 One of 150 copies on Japanese paper, with a duplicate set of the vignettes. The Robert Hoe copy, with gilt monogram. FIRST EDITION OF JOHN GAY'S FABLES, LARGE COPIES GAY, JOHN 394. (I.) Fables. By Mr. Gay. London ; Printed for J. Tonson and J. Watts. 1727: (II.) Fables. By the late Mr. Gay. Volume the Second. London ; Printed for J. and P. Knapton, 1738. With mask vignette on title of volume one, and vi- gnettes to each fable (50) by Fourdriner, Van der Gucht and others, after the designs of Kent and Wootton in the same volume, and in volume two frontispiece by Scotin, the monu- ment of Gay, and 16 full-page illustrations, by Scotin after designs by Gravelot. 2 vols. 4to, full green levant morocco, gilt backs, broad inside dentelle borders, gilt edges, by Riviere. London, 1727-1738 First Edition of both volumes. Exceedingly large and fine copies, measuring 9% x 7% inches. GEFFROY, GUSTAVE 395. La Seuvante. . Illustrations de Geo-Dupuis, gravees sur bois. 4to, full green levant morocco, delicately tooled borders and back, inside dentelle borders, gilt over uncut edges, original wrappers bound in, by The Club Bindery. Paris, [1905] One of 10 copies on Japanese paper, with the illustrations in three states, — on Japanese pelure paper, by hand; and proofs before and after letters on Japanese paper. The Robert Hoe copy, with bookplate. GESSNER, SALOMON 396. ffiuvRES. 3 titles, W plates, 6 vignettes and 33 tail-pieces designed and etched hy Gessner, all brilliant impressions. 2 vols. 4to, vellum gilt, gilt edges, by C. Kalthoeber, with ticket. Zuric : Chez I'auteur, 1777 GIBBON, EDWARD 397. The History or the Decline and Fall of the Roman Empire. With Notes by Dean Milman and M. Guizot. A New Edition, with additional Notes, by William Smith. Portrait and maps, 8 vols. 8vo, tree calf, gilt backs, by Mansell. London, 1872 GILCHRIST, ALEXANDER 398. Life of William Blake, with Selections from his Poems and other Writings. Illustrated from Blake's own works, in fac- simile hy W. J. Linton, and in photolithography, with a few of Blake's original plates. 2 vols. 8vo, full polished calf, gilt backs, gilt tops, uncut, original front cover bound in, binding repaired. London, 1863 First Edition. The Nathaniel W. Conkling copy, with bookplate. Extra-Illustrated by the insertion of 45 plates by Will- iam Blake, mainly unsigned, but known to be by him. GOETHE, JOHANN W. VON 399. Reynard the Fox, after the German version of Goethe, by Thomas James Arnold. With illustrations from the designs of Wilhelm von Kaulbach, by J. Wolf. Royal 8vo, tree calf, gilt, gilt edges. London, 1860 GOETHE, JOHANN W. VON 400. Reynard the Fox, after the German Version of Goethe, by Thomas James Arnold. With illustrations by Wilhelm von Kaulbach. 4to, cloth, morocco back, gilt edges. New York, 1870 OLIVER GOLDSMITH'S VICAU OF WAKEFIELD, &c., THE EARLIEST EDITION, AND OTHERS GOLDSMITH, OLIVER 401. The Teaveller; or, a Prospect of Society, a Poem, In- scribed to the Rev. Mr. Henry Goldsmith. FmsT Edition. 4to, full brown levant morocco, broad inside dentelle borders, gilt edges, by Rivieke, no leaf of Advertisement (G2). London: J. Newbery, 1765 [GOLDSMITH, OLIVER] 402. The Vicak of Wakefield : A Tale. Supposed to be writ- ten by Himself. 2 vols. 12mo, full olive levant morocco, lozenge shaped ornaments of floral and other ornamentation, with outer festoon borders on sides, delicately panelled backs, fully gold tooled, gilt edges, by Rivieee. Salisbury: B. Collins for F. Newbery, 1766 First Edition and earliest issue, with the misprint "aeke- field" for "Wakefield" in the headline of page 95, volume II. The Henry W. Poor copy, with bookplate. GOLDSMITH, OLIVER 403. The Good Natur'd Man; a Comedy. As Performed at the Theatre Royal in Covent-Garden. 8vo, full dark green le- vant morocco, broad inside dentelle borders, gilt edges, by Riviere. London, 1768 First Edition. This was Goldsmith's first comedy, for which, after many discouragements, he finally secured a hearing. The Prologue was written by Dr. Samuel John- son. This copy contains the half-title. GOLDSMITH, OLIVER 404. She Stoops to Conquer; or, The Mistakes of a Night. A Comedy. As it is Acted at the Theatre-Royal in Covent Garden. Written by Doctor Goldsmith. 8vo, full green levant morocco, elaborately tooled back, broad inside dentelle borders, gilt edges, by Riviere. London : F. Newbery, 1775 First Edition and First Issue, which varies considerably, both in the preliminary matter and in the book itself, from other editions published the same year. The pagination and signatures are very incorrectly marked, some of the va- [No. 404 — Contvnued'] nations, and errors having been corrected in the later issues, Page 9, Ci, the catchword "Scene" is here printed in smaller type than at the top of the following page; page 65, Ki is misprinted 5Q, and with other errors which mark copies of the first issue. GOLDSMITH, OLIVER 405. The Vicar op Wakefield. With thirty-two illustrations by William Mvlready. First Edition with these illustrations. 8vo, full light blue levant morocco, festoon borders on sides, panelled back richly tooled, old rose silk linings, gilt edges, by David. In case. London, 1843 GOLDSMITH, OLIVER 406. The Works of Oliver Goldsmith. Edited, with Notes, by Peter Cunningham. Portrait and engraved titles. 4 vols. Svo, full polished calf, gilt backs, gilt tops, uncut. London, 1854 GORE, MRS. 407. The Inundation ; or. Pardon and Peace. A Christmas Story. With (4-) illustrations by George Cruikshank, and Extra- Illustrated hy a duplicate set, in colors. First Edition. 12mo, full maroon levant morocco, gilt extra, gilt edges, original front cover, back and advertisements bound in, by Riviere. London, (1847) [GRAMMONT, MARIE LOUISE VICTOIRE DE] 408. Saluts qui se chantent pendant l'annee, en l'eglise PAROissiALE DE St. Roch. 12mo, old French red morocco, gilt floral borders on the sides, the arms of Marie Louise ViCTOIRE DE GrRAMMONT, FIRST WIPE OF AnTOINE, DuC DE Grammont, on the centre of both covers, gilt back, gilt edges, probably by Padeloup. Paris, 1754 This volume was exhibited at the Grolier Club, and formed No. 148 of the celebrated exhibition of bindings held there, at which time the arms were erroneously ascribed to Pierre II. Due de Grammont. Laid in is a 2pp. A. N. S. 1756, by B. B. Pichon, regarding the arms on the covers, and giving a short account of the Duchess. The Robert Hoe copy, with bookplate. GRAND-CARTERET, JOHN 409. Raphael et Gambbinus ; ou I'Art dans la Brasserie. Fron- tispiece hy Marcellin Desboutin and illustrations hy Pille, G. Jeanniot, Felix Regamey, and others. 8vo, half green levant morocco, gilt back, gilt over rough edges, original pictorial wrappers bound in, by Aspek. Paris, 1886 One of 30 copies on Imperial Japanese paper, with the fron- tispiece in two states, one on Holland paper. The F. Raisin-Robert Hoe copy, with bookplates of both. A RARE SERIES OF THE J. B. GRATELOUP PORTRAITS GRATELOUP, J. B. 410. A COMPLETE COLLECTION OF THE PORTRAITS ENGRAVED BY J. B. Grateloup, all neatly hinged, placed within mats, and bound in one volume royal 4to, full maroon levant mo- rocco, gilt top, broad inside dentelle borders, gilt top, by David. Paris, 1771-1810 A beautiful and very rare series. The process by which Grateloup produced his work has remained entirely un- known. The prints were never offered for sale by himself, and in every case only a very small number of impressions were struck off, all of which are now consequently of extreme rarity. The collection consists of; — • (1) The full-length portrait of Bossuet. A superb proof on Chinese paper, before the addition of the date, 1771, en- graved after Rigaud. (2) Bossuet's bust. Chinese proof before the inscription of Bossuet's name, engraved after Rigaud. (3) Descartes. Chinese proof before the insertion of Des- cartes' name in its tablet, engraved after F. Hals. (4) Dryden. Brilliant proof before all letters. (5) Fenelon. Brilliant proof before all letters. (6) Adrienne Lecouvreur, as Cornelia. Brilliant proof be- fore all letters. (7) Montesquieu. Second state. (8) Cardinal Melchior de Polignac. The rare fourth state. (9) Rousseau. Proof before the insertion of the artist's and engraver's names. GREARD, VALLERY C. O. 411. Meissonier; His Life and his Art. Translated from the French by Lady Mary Loyd and Miss Florence Simmonds. With 34 plates and ^36 text illustrations. Small folio, full crimson morocco, gilt sides and back, gilt top, uncut. New York (printed in'London), 1897 GREEN, JOHN RICHARD 412. A Short History op the English People. Edited by Mrs. J. R. Green and Miss Kate Norgate. Numerous illustror tions, many in color. 4 vols, royal 8vo, cloth, gilt, gilt tops, uncut. New York, 1894 KATE GREENAWAY FIRST EDITIONS GREENAWAY, KATE 413. A Complete Set of Kate Greenaway's Almanacks, 1883- 1897, lacking that of 1886, which was not issued. With about WO colored illustrations, engraved and printed by Edmaind Evans, with the exception of the plates for the 1897 Almanack. Together, 14 vols. 16mo, and 24mo, orig- inal boards, or cloth, the issues in boards (7), all with original printed wrappers, the whole enclosed in specially made cloth case. London, 1883-1897 GREENAWAY, KATE 414. Under the Window. Pictures and Rhymes for Children. Engraved and printed {in colors), by Edmund Evans. Lon- don, (1878) ; A Day in a Child's Life. Music by Miles B. Foster. Illustrated by Kate Greenaway, engraved and printed {in colors), by Edmund Evans. London, (1881); Marigold Garden. Pictures and Rhymes by Kate Greena- way. Printed in colors by Edmimd Evans. London, (1885); A Apple Pie. Engraved and printed {in colors) by Edmund Evans. London, (1886). All First Editions. Together, 4 vols. Small 4to, and 8vo, original pictorial boards, 2 slightly worn. London, 1878-1886 GREENAWAY, KATE 415. Browning (Robert). The Pied Piper of Hamelin. With 35 illustrations by Kate Greenaway, engraved and printed in colors, by Edmund Evans. First Edition. Small 4to, original boards, cloth back, London, (1888) GREENAWAY, KATE 416. Mother Goose, or, The Old Nursery Rhymes. Engraved and printed {in colors) hy Edmwnd Evans. London, (1881); Taylor (Jane and Ann). Little Ann and other Poems. Illustrated hy Kate Greenaway, printed in colors, hy Edmund Evans. London, (1882) ; Language of Flow- ers. Illustrated hy Kate Greenaway, printed in colors, hy Edmund Evams. London, (1884) ; Mavor (William). The English Spelling-Book. Illustrated hy Kate Greeruvway, erir graved and printed {in brown), hy Edmund Evans. Lon- don, 1885 ; Birthday Book for Children. With 382 illus- trations, hy Kate Greenaway, printed {in colors'), hy Ed- mund Evans. London, (1880); Cresswell (Beatrice F.). The Royal Progress of King Pepito. Illustrated hy Kate Greenaway, engraved and printed {in colors), hy Edmund Evans. London, (1889); [Von Amim (Bettina)]. The April Baby's Book of Tunes. Colored illustrations by Kate Greenaway. London, 1900. All First Editions. To- gether, 7 vols. 8vo, 12mo, and 16mo, original boards or cloth, several slightly worn. London, v. d. GRESSET, JEAN B. L. 417. CEuvREs DE Gresset. Portrait by St. Auhin, proof before the artist's name. 2 vols. 8vo, full red straight-grained morocco, gilt backs and side borders, gilt over rough edges. Paris, 1811 Large Holland paper copy, with "Le Parrain Magnifique," 1810, bound at end of Vol. II. Extra-Illustrated by the insertion of a portrait of Gres- set engraved by Roger after Nattier, one of Sir WiUiam Temple, proof before letters on India paper, six of the small series of plates by Moreau, and 11 other rare illustrations, all proofs before letters on India paper. The Robert Hoe copy, with bookplate. GRESSET, JEAN B. L. 418. Oi^uvRES. Portrait {unsigned) and 8 plates engraved by Simonet (7) and De Ghendt {!) after Moreau, proofs be- [No. 418 — Contimiied'] fore letters. 2 vols. 8vo, full blue levant morocco, inter- laced gilt backs, gilt edges, by Petit. Paris: A. A. Renouard, 1811 Extba-Illustrated by the insertion of 5 (or 6) plates of the set engraved by Duhamel, Dupreel and Simonet after Moreau, and of other unsigned plates, besides numerous por- traits of Gresset and other persons mentioned in his works, all brilliant impressions. GRIMM, THE BROTHERS 4!l9. German Popular Stories. Translated from the Kinder und Haus Marchen, collected by M. M. Grimm, from oral tradition. With ^2 exquisitely etched plates, many printed in brown, by George Cruikshanh. 2 vols, small Bvo, full sage-green levant morocco, delicately gold tooled panelled backs, triple gold lined sides, inside dentelle borders, gilt edges, some partially uncut, by Riviere. In a morocco solander case. London, 1823-1826 First Edition. A copy comprising some features of the first issue, and some of the second issue, as herein set forth : — Volume I. The title in the earliest state, the word "Marchen" being printed so, ^nd not "Marchen" as in the second issue. The title of the second story (page 9) reads "The Trav- elling Musicians, or The Waits of Bremen" (second issue) ; page 118, contains "The Adventures of Chanticleer and Partlet" in capitals, and "I. How they went to the Moun- tain to eat Nuts" in italics, (second issue) ; the "Directions to the Binder" (which contains the List of Plates), (page 218), are printed, (first issue) ; Note to p. vii is printed, (page 219), (second issue) ; the verse commencing "Bless you. Bless you, Bumie-bee" continues with "Tell me when your wedding be," (second issue). Volume II. does not contain the advertisements at the front, which however occur in few copies, nor does it contain the single sheet of advertisements at the end, — "Books printed for Longman, Hurst, Rees, Orme, Brown and Green." GROLIER CLUB PUBLICATIONS See Nos. 63, 118, 119, 139, 146, 147, 175, 210, 218, 230, 231, 232, 233, 234, 235, 351, 428, 455, 461, 470, 504, 511, 541, 542, 709, 710, 711, 749, 795, 809, 915, 1019, 1110. A GROLIER BINDING WITH HIS NAME AND MOTTO GROLIER BINDING 420. Acta Scitu dignissima docteciue concinnata Constan- TiENsis coNCiLLii CELEBE.ATISSIMI. Title witMn au ornor mental woodcut border, full-page woodcut on verso thereof, and repeated on last leaf, with the first page of text witMm woodcut border. Mediolani, per Gotardum Ponticum, 1511 ; — ^Decreta et Acta concilii Basiliensis nuper impressa. With 8 orruumental woodcut borders, and a fullrpage wood- cut, repeated, has small portion of top corner missimg on this repetition. Mediolani, per Gotardum Ponticum, 1511 ; — Promotiones & progressus sacrosancti pisani concilii moderni. [Mediolani, Gotardus de Ponte, 1512] ; — ^Apolo- gia Sacri Pisani Concilii Modernii. Woodcut on title. [Mediolani: Gotardus de Ponte, 1512. J Small folio, con- temporary brown calf richly decorated with a design of fil- lets and scrolls, interlaced, with fleurons and arabesques, the title of the work stamped in gilt capital letters on upper portion of back, gilt edges. In brown levant morocco pull- off case. Fine specimen of binding executed foe Grolier with HIS name, — "lo. Groliebii et Amicorum" in the lower PART OF FRONT COVER, AND HIS MOTTO, "PoRTIO MeA DoMiNE Sit in Terra Viventivm" in the centre of back cover. The Leon Techener-Benedetto Maglione-Robert Hoe copy, with bookplate of the last-named. On the title-page is the autograph of, — "Stephanus Balutius." HALEVY, LUDOVIC 421. Les Petites Cardinal . . . Douze vignettes par Henry Maigrot. 12mo, three quarter green levant morocco, uncut, original wrappers bound in, by Champs. Paris, 1880 First Edition. One of 50 copies on Holland paper. The Robert Hoe copy, with bookplate. HALEVY, LUDOVIC 422. La Famille Cardinal. Etchings by Emile Mas. Square small 8vo, full old-rose levant morocco, gilt inside borders, [No. 422 — Contimied] blue silk linings, uncut, original wrappers bound in, by Carayon. Paris, 1883 No. 31 of 50 copies on Japanese paper. Contains 40 okig- iNAL DRAWINGS in various colors on the margins, by Emile Mas, the illustrator of the work, some of which are signed in full. The Valentine Blacque-Henry W. Poor copy, with book- plates of both. HALEVY, LUDOVIC 423. Tegis Coups de Foudre. Avec dix dessins de KauffmavM, graves par T. de Mare. 12mo, full dark-blue levant mo- rocco, gilt back and inside borders, gilt over rough edges, original wrappers bound in, by Joly. Paris, 1886 First Edition, and one of 150 copies on Japanese paper, with the plates in two states. On the half-title is an orig- INAL WATER-COLOR DRAWING BY P. KaUFFMANN. The Robert Hoe copy, with bookplate. HALEVY, LUDOVIC 424. Karikari. Aquarelles d'apres Henriot. 16mo, half green straight-grained morocco, original wrappers bound in, by Champs. Paris, 1888 Publisher's presentation copy of a Japanese paper edition not placed on public sale. The illustrations are in duplicate, plain and colored, and with 4 original water-color draw- ings ADDED. The Robert Hoe copy, with bookplate. HALLAM, HENRY 425. Introduction to the Literature of Europe. 4 vols. 1869 ; The Constitutional History of England, 3 vols. 1866 ; View of the State of Europe during the Middle Ages, 3 vols. 1860. Portrait. Together, 10 vols. 12mo, tree calf, gilt backs, by Riviere. London, 1860-1869 HALLECK, FITZ-GREENE 426. Fanny. 8vo, full blue levant morocco, gilt back and sides, in- side dentelle borders, doublures of old-rose silk, and linings of the same, gilt top, by The Club Bindery. New York, 1819 First Edition. The D. F. Appleton copy, with bookplate. [HALLECK, FITZ-GREEN] 427. Alnwick Castle, with other Poems. 8vo, full crimson le- vant morocco, gilt back, gilt top, inside dentelle borders, doublures of red watered silk, and end-papers of the same, gilt top, uncut, by The Club Bindery. New York, 1827 First Edition. The D. F. Appleton copy, with bookplate. HALSEY, R. T. H. 428. The Boston Port Bill, as Pictured by a Contemporary London Cartoonist. Numerous portraits cmd caricatures, fineli/ reproduced from the rare originals. Royal 8vo, full calf, gilt, uncut. New York: The Grolier Club, 1904 One of 325 copies printed on American hand-made paper. "Every effort has been made to keep all the features of the volume contemporaneous. Contemporary portraits, views, and emblems appear in the headbands and tailpieces, the decorative motives of which are based entirely upon those used by our Colonial engravers. . . . The binding, full calf, is stamped in gold with motives used by our Colonial book-binders." — From the Introduction. HAMERTON, PHILIP GILBERT 429. Etching and Etchers. With fine impressions of the 35 original etchings by Seymour Haden, Paul Potter, Sam- uel Palmer, Daubigny, Jacquemart, and others. Royal 8vo, original half blue morocco, gilt back and edges, as issued. London, 1868 First Edition, with each plate a genuine etching, not a process-plate. HAMILTON, ANTHONY 430. Memoires du Comte de Grammont. Par Monsieur le Comte Antoine Hamilton. Nouvelle ifidition, augmentee de Notes & d'Eclaircissemens necessaires, par M. Horace Walpole. 4to, old French red straight-grained morocco, sides and back richly gilt and blind tooled, the sides containing an elaborate centre panel in blind and gold, gilt edges, by Thouvenin. Imprime a Strawberry-Hill, 1772 Only 100 copies were printed of this famous edition. Laid in is a note, thought to have been written by Horace Wal- [No. 430 — Continued] pole, but which is by another hand, with a statement to that effect. Extra-Illustbated by the insertion of 32 portraits, in- cluding, — Charles I, by Picart; Miss Stewart, by Roger; James I, by Picart ; Comtesse de Grammont, after Lely, by Powle, and others. The Thomas Gainsford copy, with bookplate. HAMILTON, ANTHONY 431. Memoies of Count Geammont. A New Edition, to which are prefixed, a Biographical Sketch of Count Hamilton, and a translation of the Epistle to Count Grammont. Illus- trated with 64 portraits engraved hy Edward Scriven, ^c. 2 vols. 8vo, full crimson levant morocco, gilt backs and in- side borders, gilt over rough edges, by Riviebe. London, 1811 ANTHONY HAMILTON'S MEMOIES OF COUNT GRAMMONT, LARGE PAPER AND EXTRA- ILLUSTRATED HAMILTON, ANTHONY 432. Memoies or Count Geammont. Edited, with Notes, by Sir Walter Scott. With a portrait of the author, and 33 etch- ings by L. Boisson on India paper, from original composi- tions by C. Delort. 2 vols, royal Svo, full blue levant morocco, backs covered with festoon ornaments, corner or- naments within triple lines on sides, doublures of crimson levant, with elaborate dentelle borders, in the eighteenth century manner, mauve figured silk end-papers, gilt over rough edges, by Loetic. In two cases. London, 1889 Large Paper Copy, only a small number printed. One vol- ume extended to two, and Extea-Illustbated by the inser- tion of 162 portraits and plates, including many in color, mainly proofs, and all brilliant impressions, also a 2pp. A. L. S. of Philibert, Comte de Grammont. The extra ma- terial is comprised in the following; — (1.) Philibert, Comte de Grammont. A. L. S. 2pp. 4to, undated. The letter refers to a sub-delegate of a M. Pellot, the writer having "offered him needed support in making researches," etc. [No. 432 — Contirmed'\ (2.) Original water-color drawing of a full-length female figure (Bygrivaz) on the half-title of volume one. (3.) Two pen-and-ink portraits of Grammont and Hamil- ton, drawn and tinted by Laharre. (4.) Oval stipple portrait of Eleanor Gwyn, by Bartolozzi, after Lely, in colors, not printed in colors, but hand-colored at a later date. (5.) Stipple portrait of Jane Shore, by Bartolozzi, after Harding, in colors, hand-colored at a later date. (6.) A set of the Boisson full-page etchings on India paper, all colored by hand, with a duplicate set of the same designs issued for Conquet's Paris edition, on papier marais. (7.) A proof set on large paper of the Scriven portraits, published for the London edition of 1810. (8.) A proof set on India paper of Mrs. Jameson's "Beau- ties of the Court of Charles the Second." (9.) The Chauvet set for the Jouaust edition on India paper, with duplicate set colored by band. (10.) Portraits by and after Hollar, Richardson, St; Aubin, Lalauze, Harding, Engleheart and others. HAMILTON, LADY 433. Memoirs or Lady Hamilton ; with Illustrative Anecdotes of many of her most particular Friends and distinguished Con- temporaries. Portrait after Romney. Fikst Edition. 12mo, full polished calf, gilt back, gilt edges, by Rivieee. London, 1815 HARRIS, JOEL CHANDLER 434. Uncle Remus, his Songs and his Sayings, the Folk-Lore of the Old Plantation. With illustrations by Frederick S. Church and James H. Moser. First Edition. 12mo, orig- inal cloth. New York, 1881 [HARRISSE, HENRY] 435. BiBLiOTHECA Americana Vetustissima. A Description of Works relating to America published between the years 1492 and 1551. Reproductions and facsimiles. Additions ONLY. Royal 8vo, full crimson levant morocco, gilt back and inside borders, gilt edges, by Petit. Paris, 1872 Only the volume containing the Additions. The S. L. M. Barlow copy, with bookplate. HARRISSE, HENRY 436. Cheistopher Columbus and the Bank of Saint Geoege (Ufficio di San Gioegio in Genoa). Two Letters ad- dressed to Samuel L. M. Barlow, Esquire, by Henry Har- risse. Frontispiece — The House of Saint George at Genoa, in the fifteenth century. 4!to, morocco back and boards, gilt top, uncut. New York: Privately printed, 1888 One of 150 copies printed. Autograph presentation copy from Mr. Barlow to Mr. Ives. HARTE, FRANCIS BRET 437. The Luck of Roaeing Camp, and other Sketches. Fiest Edition. 12mo, full dark blue straight-grained morocco, gilt back and sides, gilt tops, by The Club Bindeey. Boston, 1870 HARTE, FRANCIS BRET 438. The Heathen Chinee. A folio sheet, containing 10 hu- morous conceptions of the card game, drawn on stone by "Palmo," folded to 12mo, with illustrated covers, detached. Philadelphia, Porter & Coates. New York, American News Co. (1871) ; "The Heathen Chinee." With illustrations hy S. Eytinge, Jr. Fiest Edition with these illustrations. 12mo, unbound, not original wrappers. Boston, 1871. To- gether, 2 pieces. Philadelphia-New York-Boston, 1871 HARTE, FRANCIS BRET 439. East and West Poems, 1871 : Poems, 1871 ; Condensed Nov- els. With illustrations by S. Eytinge, Jr., 1871 ; Two Men of Sandy Bar, 1876; The Argonauts of North Liberty, 1888 ; Colonel Starbottle's Client, 1892 ; Susy, 1893 ; Three Partners, 1897. All Fiest Editions. Together, 8 vols. 12mo, and 16mo, original cloth. Boston, 1871-1893 HAVARD, HENRY 440. Dictionnaiee de l'Ameublement et de la Decoration, depuis le Xllle siecle jusqu'a nos jours. With several thou- sand illustrations, some in colors. 4 vols, imperial 8vo, orig- inal boards, uncut. Paris, 1890 NATHANIEL HAWTHORNE'S FIRST AND OTHER EDITIONS, SOME FINELY BOUND [HAWTHORNE, NATHANIEL] 441. Fanshaw. a Tale. 12mo, original half cloth and boards, with label, uncut. Boston: Marsh & Capen, 1828 First Edition of Hawthoene's fikst book. It was writ- ten while a student at Bowdoin College and published anon- ymously at his own expense, but was never acknowledged by him. HAWTHORNE, NATHANIEL 442. TwiCE-ToLD Tales. 12mo, full green levant morocco, gilt back, sides with gilt panel of a floral design, doublures of orange silk, gilt bordered, silk end-papers, gilt top, edges scraped, original cloth covers bound in, by The Club Bind- ery. Boston: American Stationers Co., 1837 First Edition with all the advertisements. Hawthorne's first acknowledged book. The D. F. Appleton copy, with bookplate. HAWTHORNE, NATHANIEL 443. The Gentle Boy: A Thrice Told Tale. With an original illustration. First Edition. Oblong 4to, three quarter dark-blue levant morocco, gilt back and top, original printed wrappers bound in, small repairs to plate and outer margin of each page. Boston: Weeks, Jordan & Co., 1839 HAWTHORNE, NATHANIEL 444. Grandfather's Chair: A History for Youth. First Edi- tion. 24mo, original cloth, black and gilt paper label on side. Boston: E. P. Peabody, 1841 The D. F. Appleton copy, with bookplate. HAWTHORNE, NATHANIEL 445. Liberty Tree : with the Last Words of Grandfather's Chair. First Edition. 24mo, original cloth, black and gilt paper- label on side, slightly shaken. Boston: E. P. Peabody, 1841 HAWTHORNE, NATHANIEL 446. Mosses from an Old Manse. First Issue or the First Edition. 2 vols, in 1. 12ino, full dark brown levant mo- rocco, sides and back richly gold tooled, broad inside den- telle borders, silk linings, with advertisements and original covers bound in, by The Club Bindery. New York, 1846 This first issue contains the names of both printer and stereotyper on the verso of title, underneath the copyright notice. HAWTHORNE, NATHANIEL 447. The Scarlet Letter, a Romance. First Issue of the First Edition. 12mo, full purple levant morocco, gilt back and sides, and with the letter "A" inlaid in red levant in centre of front cover, watered silk linings, gilt top, advertisements bound in, by The Club Bindery. Boston, 1850 This, the first issue, contains the word "reduplicate" on page 21, which was in the later issues corrected to "repudiate." The D. F. Appleton copy, with bookplate. HAWTHORNE, NATHANIEL 448. True Stories from History and Biography. Illustrated. First Edition. 12mo, full citron levant morocco, gilt top, original cloth covers bound in. Boston, 1851 HAWTHORNE, NATHANIEL 449. The House of the Seven Gables, A Romance. First Edition. 12mo, full brown levant morocco, gilt back and sides, gilt top, with advertisements bound in, by The Club Bindery. Boston, 1851 HAWTHORNE, NATHANIEL 450. Tanglewood Tales, for Girls and Boys; being a Second Wonder-Book. Illustrated. First Edition. 12mo, full dark brown levant morocco, gilt back and sides, gilt top, original cloth covers bound in, by The Club Bindery. Boston, 1853 HAWTHORNE, NATHANIEL 451. Works of Hawthorne. 21 vols., various editions, 12mo, [No. 451 — Continued'\ uniformly bound in half green polished calf, gilt backs, leather labels. Boston, 1872-1875 Comprises, — Blithedale Romance ; Twice-Told Tales, 2 vols. ; True Stories ; Septimus Felton ; French and Italian Note- Books, 2 vols. ; Marble Faun, 2 vols. ; Plouse of the Seven Gables ; Snow Image ; Mosses from an Old Manse, 2 vols. ; American Note-Books, 2 vols. ; English Note-Books, 2 vols. ; Scarlet Letter ; Wonder Book ; Tanglewood Tales ; Our Old Home. HAWTHORNE, NATHANIEL 452. Doctor Grimshaw's Secret: A Romance. Edited, with Preface and Notes, by Julian Hawthorne. 12mo, rebound in cloth, entirely uncut. Boston, 1883 First Edition. Most of the copies were issued with cut edges ; the above is entirely uncut. Laid in are two pages of an A. L. S. by Nathaniel Haw- thorne, (probably four pages completed the letter), with signature, and which is of unusual interest, being mainly about "Sophia," undoubtedly his wife: — ". . . It is So- phia's natural tendency, when she sees any good quality, to see it simply and without alloy, and therefore she called you "divinely benevolent" . . . Sophia shaped that golden crown, and put it upon your head" etc. HAWTHORNE, NATHANIEL 453. The Scarlet Letter. A Romance. Literally Reprinted from the First Edition. With 15 original colored illus- trations hy A. Robaudi and C. Graham. Royal 8vo, orig- inal wrappers, uncut, within cloth wrapper and case. New York: Privately Printed, 1904 One of 125 copies on Imperial Japanese paper, with the plates in two states, black and colored. HAWTHORNE, NATHANIEL 454. Another copy, similar, but without cloth wrapper and in a cardboard box. HAWTHORNE, NATHANIEL 455. The Scarlet Letter. Illustrated hy George H. Boughton. Imperial 8vo, half cloth and boards, uncut. New York: The Grolier Club, 1908 One of 300 copies on French handmade paper. THIRD SESSION WEDNESDAY EVENING, APRIL 7TH, 1915 AT THE AMERICAN ART GALLERIES BEGINNING PROMPTLY AT 8.15 o'CLOCK Catalogue Nos. 456 to 684 inclusive HAY, JOHN 456. Jim Bludso of the Prairie Belle and Little Breeches. With illustrations by S. Eytinge, Jr. First Edition. 12mo, original wrappers, light stamp on title. Boston, 1871 : Pike County Ballads, and other Pieces. First Edi- tion. 12mo, original cloth, Boston, 1871 : Castilian Days. First Edition. 12mo, original cloth, Boston, 1872. To- gether, 3 vols. The last-named contains a Ip. A. N. S. from the author, written at Paris, July 15th, no year. HAY, JOHN 457. Letters op John Hay, and Extracts from Diary. 3 vols. 8vo, cloth, paper labels, uncut. Washington; Printed but not published, 1908 Presentation copy from Mrs. Hay, with card laid in. [HAZLITT, WILLIAM] 458. Liber Amoris; or, The New Pygmalion. Engraved title, on India paper, containing medallion portrait (of Miss Walker, the servant girl for whom, Hazlitt conceived a passion almost amounting to idolatry). First Edition. 12mo, original boards, uncut, with label, new back skilfully supplied. London, 1823 [HEAD, RICHARD] 459. The Feench Rogue; Being a Pleasant History of his Life and Fortune, adorned with variety of other Adventures of no less Rarity ; With Epigrams suitable to each Stratagem. Small 8vo, full tan polished calf, gilt back, inside gilt bor- ders, gilt edges, by Bedford. London: Printed by T. N. for Samuel Lowndes, 1672 Although by some bibliographers this work is attributed to Head, the author of the "English Rogue," of which this is an imitation, the actual author is really unknown. HEATH, WILLIAM 460. The Life of a Soldier ; a Narrative and Descriptive Poem. With 18 engravings hy William Heath. Royal 8vo, half red levant morocco (old), gilt back, gilt top, other edges uncut, doublures of the front and back original board covers. London, 1823 First Edition and Extra-Illustrated by the insertion of a duplicate set of the plates, all finely colored, and orig- inal impressions. The slip of "Errata" following the Advertisement, is in- cluded. HELYAS, KNIGHT OF THE SWAN 461. Translated by Robert Copland from the French Version pub- lished in Paris in 1504. A Literal Reprint in the types of Wynkin de Worde after the Copy on Parchment, London, 1512. Woodcuts. Small 4to, full pigskin, stamped with Wynkin de Worde's device, brass clasps, uncut, in case. New York: The Grolier Club, 1901 One of 325 copies on Whatman paper. HENLEY, WILLIAM ERNEST 462. A Book of Verses. Vignette on title. London, 1888; Views and Reviews. Essays in Appreciation, London, 1890 : Haw- thorne and Lavender, with other Verses, London, 1901. All First Editions. Together, 3 vols, the first-named in orig- inal boards, the last two in original cloth, uncut. London, 1888-1901 HENNIQUE, LEON 463. Minnie Buandon. Compositions de Frcmgois Thevenot, gra- vies en couleurs par Thevenin et Mortier. Royal 8vo, orig- inal wrappers, uncut. Paris : Librairie de la Collection des Dix, 1907 One of 90 copies on Japanese paper, with the plates in two states, and the first plate in four states. The Robert Hoe copy, with bookplate. HENRY, PRINCE OF WALES 464. The Okdee and Solemnitie of the Cueation of the High AND MiGHTiE PuiNCE Henuie, Eldest Sonne to our Sacred Soueraigne, Prince of Wales, Duke of Cornewall, &c. . . Together with the Ceremonies of the Knights of the Bath, and other matters of speciall regard. . . VVhereunto is an- nexed the Royal Maske, presented by the Queene and her Ladies, on the night following. Small 4to, boards. Printed at Britaine's Burife for John Budge, 1610 The Maske was devised by Sanuel Daniel, and entitled, "Tethys Festival: or The Qveenes Wake, celebrated at Whitehall, the fifth day of June, 1610." HEPPELWHITE'S CABINET MAKER, FIRST EDI- TION, IN RIVIERE'S BINDING AND ALL THE PLATES HEPPELWHITE, A. 465. The Cabinet-Maker and Upholsterer's Guide; or, Re- pository of Designs for every Article of Household Furni- ture in the newest and most approved taste, displaying a great variety of patterns for Chairs, Sofas, Tea Caddies, Card Tables, Beds, Lamps, Fire Screens, etc. etc. in the plainest and most enriched styles ; with a Scale to each, and an Explanation in Letter Press, also the Plan of a Room. The whole exhibiting near three hundred different designs, engraved on one hundred a/nd twenty-six plates. Folio, full Cambridge calf, gilt back and sides, gilt edges, by Riviere, [No. 465 — Contimi£d~\ portions of margins of title and several other pages, ex- tended or restored. London, 1788 First Edition. The copy contains the advertisements, 2 pp., including the above work, which is described as being "Engraved on IW folio plates." There are however 126, although numbered 1-125, as 78 occurs twice, 78 and 78. The 126 plates portray almost 300 specimens. HEWLETT, MAURICE 466. Eaethwork Out of Tuscany; being Impressions and Trans- lations. Frontispiece on India paper. 12mo, original cloth, gilt top, uncut. London: J. M. Dent & Co., 1895 Genuine Fikst Edition, with only the English publisher's name on title-page. HEWLETT, MAURICE 467. A Masque of Dead Florentines, wherein some of Death's Choicest Pieces, and the Great Game that he played there- with, are fruitfully set forth. Pictured by J. D. Batten. Oblong 8vo, original cloth, uncut. London, 1895 First Edition, second issue, bound in white cloth. HEWLETT, MAURICE 468. The Forest Lovers ; A Romance. First Edition. 12mo, original cloth, uncut. London, 1898 HIND, A. M. 469. A Short History of Engraving and Etching tor the use OF Collectors and Students. With full bibliography. Classified List and Index of Engravers. Frontispiece and 110 text illustrations. 8vo, cloth gilt, gilt top, uncut. Boston & New York, 1908 HOE, ROBERT 470. A Lecture on Bookbinding as a Fine Art. With 68 illus- trations. 4to, cloth, gilt top, uncut. New York : The Grolier Club, 1886 One of 200 copies on Holland paper. HOLBEIN, HANS 471. ICONES MORTIS DUODECIM IMAGINIBUS PEiETEE PEIOEES, toti- demque inscriptionibus, prseter epigrammata e gallicis a Georgio ^mylio in Latinum versa, cumulatae. With 53 •woodcuts after Holbein's Dance of Death. 8vo, full red levant morocco, the sides richly tooled and gilt in the man- ner of the Eve's, gilt edges, by Cape. Basilea, 1554 The Francis Jack, second Earl of Kilmorey-Frederick Locker copy, with bookplates of both. The former book- plate is inscribed "to F. Locker" probably in the autograph of the Earl of Kilmorey. [HOLMES, OLIVER WENDELL] 472. The Haebingee ; a May-Gift. 12mo, full sage-green levant morocco, gilt back and sides, gilt edges, by The Club BiNDEEY. Boston, 1833 FiEST Edition. Contributed to by D. W. Holmes, Epes Sargent and Park Benjamin. Seventeen of the poems (there are 53 in all) were written by Holmes. The D. F. Appleton copy, with bookplate. HOLMES, OLIVER WENDELL 473. Poems. Portrait (inserted). Fiest Edition. 12mo, full brown levant, spray of leaves and flowers in centre of front cover, original cloth covers used as doublures, gilt top, uncut by Stikeman. Boston, 1836 The author's first book. The D. F. Appleton copy, with bookplate. HOLMES, OLIVER WENDELL 474. Poems. 12mo, full crimson levant morocco, gilt back and sides, gilt top, original cloth covers bound in, by The Club Bindeey. London, 1846 Fiest London Edition. The D. F. Appleton copy, with bookplate. HOLMES, OLIVER WENDELL 475. The Autoceat of the Beeakfast Table. Engraved title. Fiest Edition. 12mo, full dark green levant morocco, gilt back, gilt sides and edges, by The Club Bindeey. Boston, 1858 HOLMES, OLIVER WENDELL 476. The Puofessoe. at the Bkeakfast Table. First Edition. 12mo, full maroon morocco, gilt back and sides, broad in- side borders, gilt top, original covers bound in, by The Club Bindery. Boston, 1860 The D. F. Appleton copy, with bookplate. [HOOK, THEODORE] 477. Reminiscences of Michael Kelly, of the King's Theatre .... with Original Anecdotes of Many Distinguished Persons. Second Edition. Portrait engraved by Meyer after Wivell. 2 vols. 12mo, half red levant morocco, gilt and mosaic backs, gilt tops. London, 1826 Extra-Illustrated by the insertion of about 70 portraits, plates, views, &c., including among the first-named, — Fred- erick III. of Prussia, proof; Moliere, engraved by Possel- white ; Metastasio by Gaucher ; Mrs. Billington ; Mrs. Wof- fington ; Charles Bannister ; Mr. Elliston ; Marie Antoinette ; Mr. Mathews as himself and four extraordinary characters; and others. Kelly was a prominent actor and singer of his day as well as a composer of considerable ability. It is known that the great musical genius, W. A. Mozart, arranged varia- tions to a melody of Kelly's and frequently performed it. (See plate of this air in work). Hook wrote these Remi- niscences from material furnished by Kelly. HORACE 478. Poemata scholiis sive annotationibus Joannis Bond. En- graved title. 12mo, old full blue straight-grained morocco gilt, gilt edges, by Bozerian. Amstelodami: apud Danielem Elzevirium, 1676 HORACE 479. QuiNTi Horatii Flacci. Opera. Engraved throughout, with 2^5 illustrations, 27 head-pieces, and numerous vi- gnettes, etc. 2 vols. 8vo, full crimson levant morocco, sides and back richly decorated in the manner of Derome, gilt [No. 4)79 — Continued] tops, OTHEK. EDGES ENTIRELY UNCUT, Original boards bound at the end of each volume, by Stikeman. In case. Londini: seneis tabulis incidit, lohannes Pine, 1733-1737 A BEAUTIFUL COPY OF THE FiEST ISSUE, with the crror "post est," afterwards altered to "potest" on the vignette on page 108 of Vol. II. Uncut copies, especially bound from the original boards, and with the boards preserved, as above, are extremely rare. HORACE 480. The Works of Quintus Hokatius Flaccus. With a Life by the Rev. Henry Hart Milman. Illustrated chieflt/ from the remains of ancient art, with illuminated pages, and many pages printed within borders of various colors. 8vo, full old-rose levant morocco, sides inlaid with numerous small ornaments, and tooled with wavy lines, doublures of same colored morocco, with centre panels of white vellum, con- taining interlaced centre ornament, vellum fly-leaves, gilt top, in cloth case. London, 1849 BOOKS OF HOURS OF THE 15TH and 16TH CEN- TURIES, INCLUDING ONE FROM THE LI- BRARY OF WILLIAM OF ORANGE, AND OTH- ERS, PRINTED BY SIMON VOSTRE, T. KERVER, &c. ILLUMINATED IN GOLD AND COLORS HOR.ffi 481. Ces presetes heures a lusaige de Rome furet acheuees LE XVII. louR DE SEPTEMBRE. Lan Mil. cccc. iiii. XX. et xvi. Black letter (Lettres Bdtardes). 7S leaves, with sig- natures Of-iS, 33 lines to the page, each page within orna- mental and historiated woodcut border, including a repre- sentation of the Dance of Death in 48 subjects. Printer's mark on title, representation of the anatomical man, ^0 large and 32 small woodcuts, initials and capitals painted in gold and colors. 4to, brown levant morocco, sides entirely blind- tooled in the style of a 15th century French binding, doub- lures of red morocco, gilt edges, by Masson-Debonnelle. [No. 481 — Continued] Paris : Philippe Pigouchet pour Symon Vostre, Aug. 22, 1498. Printed on vellum. Almanac for 1488-1508. A magnifi- cent copy of these "Grand Heures" — of which only 2 copies are known — free from coloring and measuring 234 x 152. mm. Hain-Copinger, 8855 ; Brunet, V. 1582. The Robert Hoe copy, with bookplate. HOR.ffi; 482. Heuues a lusaige de Rome tort au long sas mens re- QUERIR AUEC LES FIGURES DE LAPOCALIPSE. Lettres bd- tardes, 116 leaves (A-P4 in eights). Hardouyn's device representing Dejaniria borne away by the centaur Nessus on title, 16 full-page woodcuts, including St. John drinking poison, and the Vision of Emperor Octavius, small woodcuts of Evangelists and Saints, each leaf within a beautiful border, chiefly consisting of arabesques, hunting scenes, cupids, SfC. 8vo, brown levant morocco, blind-tooled panels, gilt edges, by Thivet. In morocco case. Imprimees a Paris par G. Anabat . . . pour Gillet Har- douyn . . . et pour Germain Hardouyn [1500]. Printed on vellum (210 x 134 mm.). Almanac for 1500- 1522. The borders have been illuminated with great skill and care, the figures and ornaments of which — being painted on backgrounds of gold, black and dark blue^ — stand out in relief and present a striking appearance. The Robert Hoe copy, with bookplate. HOR/E 483. Les psentes heuues a lusaige de Rome au long sans requerir ont este faictes pour simo vostre libraire DE MOURANT A PaRIS A LA RUE NEUUE NOSTRE DAME A LE- SEiGNE SAINT Jeha leuangeliste. Gothic character; 76 unnumbered leaves, with signatures a-i8, k4. Mark of Phi- lippe Pigouchet on title, figure of the anatomical man, 20 large and fine woodcuts and numerous small ones, each page surrounded by ornamental and historiated borders, including a representation of The Dance of Death, in 60 subjects. 4to, full brown levant morocco, gilt tooled ornamental bor- [No. 483 — Contirmed'] ders with birds inlaid in light brown levant, and dauphins in green levant ; central panels with representations of the Virgin and Child, inlaid in appropriate colored levants after the designs of Mary Houston, gilt edges, by Riviere. In a red morocco solander case. Paris: [Philippe Pigouchet] pour Simon Vostre [1501] Almanac for 20 years, 1501-20. HORffi 484. Heures a lusaige de Rome. [^Colophon] Ces prcsentes heures a lusaige de Rome ont este imprimees et acheuues A paris le clquiesme iour dapuril. La mil, cinq ces Z trois. Par Jeha pychore: Z Remy de laistre. . . . Lettres bd- tardes. 96 leaves with signatures (A — M8). Each page within fine ornamental and historiated woodcut borders. The Printers' mark on first page, 14 beautiful full-page wood- cuts and ^1 small ones. 4to, old calf, gilt edges. Paris: Jehan Pychore and Remy de Laistre, 1503 Printed on vellum. Almanac for (1497-1520). Brunet (No. 343) observes that a part of the borders ornamenting the volume had been already used by Simon Vostre. Fine and perfect copy of these "Grandes Heures," measuring 247 X 171 mm. The inside front cover bears a note in pen- cil stating that the book is from the library of William V. Prince of Orange, Staatholder of the Dutch Republic, 1751- 1795. The Robert Hoe copy, with bookplate. HORiE 485. Heures a lusaige de Rome tout au long sans ries re- auERiR Auec les figures de la vie de lh5me; & al destructio de hierusale. Lettres batardes, 116 leaves (A-D4 in eights). Hardouyn's device on title, 19 large wood en- gravings illuminated to represent miniatures, small wood- cuts of the saints also illuminated, every leaf within a border illustrating the Life of Man, the Dance of Death, etc. Large 8vo, red velvet binding, embroidered in gold, gilt edges. Imprimees a Paris par Guillaurae Anabat . . . pour Gillet Hardouyn . . . et pour Germain Hardouyn [1507] [No. 485 — Ccmtinued'\ A fine example of Hardouyn's "Grandes Heures," printed ON VELLUM (250 mm. x 155 mm.), with Almanac for 1507- 1520. An inscription in pencil states: "The velvet cover on this volume was wrought in gold thread by my daughter Ellen in 1898 — to replace the plain red velvet cover originally upon it and worn out. R. Hoe." The Robert Hoe copy, with bookplate. 486. Ces presentes heubes a lusaige de Paris so au long SANS RiES REauEKiE.: aucc Ics miracles nostre dame & les figures de lapocalipse & de lantique & des triumphes de Cesar. Lettres bdtardes (a-b in eights, C 6 11. d-k 6 in eights, a, e, i 8 11: & 6 6 11). 32 whole page woodcuts RICHLY ILLUMINATED TO REPRESENT MINIATURES, 35 Smoll woodcuts of Evangelists and Saints, 5 of the borders and the device title also illuminated. Large 8vo, old French red morocco, gilt panels on sides, gilt edges, metal clasps. Paris [1508] Printed on vellum (220 mm. x 140 mm.). Almanac for 1508-1528. The monogram on the shield of Vostre's device has been painted out, and the arms of a former owner (3 birds' claws) inserted. The Robert Hoe copy, with bookplate. HORM 487. Deipare virginis Marie secundu vsum Roma num, plerisqz biblie figuris atqz chorea lettri circumu nite . . . Roman characters in red and black; 132 leaves (A-Q8, R4). Printer's mark on title, cut of anatomical man, Jf6 large woodcuts, including a representation of the "Trois morts" and "Trois vifs," each page surrounded by elegant orna- mented grotesque and historiated borders, including a repre- sentation of the Dance op death in 66 subjects. Svo, con- temporary French binding in calf, panelled sides, with motto in the centre of the panels "J'atens le Temps," back restored in two places. Parisiis: Thielman Kerver, Dec. 5, 1519 Printed on vellum. Almanac for twenty years (1519-38). A very fine copy with all the woodcuts free from coloring. HOR^ 488. Heures a lxisaige de Romme tout au long sans riens ee- auEEiK, auecques les apparissions de la resurrectio de nostre seigneur Jesuchrist z plusieurs histoires de lapocalipse. Lettres batardes. 9^ leaves (A-K8, L4, M8). Each page surrounded by fine Mstoriated and ornamental woodcut bor- ders, on a "crible" ground.; Mark of Jehan de Brie on title and IJf large woodcuts. 4to, brown levant morocco, gilt edges, by Lortic. Paris: par Nycolas Hygman imprimcur pour Jehan de Brie [ca. 1521]. Almanac for 1521-36. A fine copy of these magnificent "Grande Heures." Brunet, Supplement, 622. The Robert Hoe copy, with bookplate. UQ-RM 489. In laudem beatissim^ virginis Mart* ad tjsum Romanum. Printed in red and blacJc. Each page within ornamental woodcut borders in outline bearing the arms of France, Louise of Savoy, her crowned initial and that of Francis I, the Salamander, etc.; Mark of the "Pot casse" on title and 19 outline wood-engravings by Tory. 8vo, contemporary French binding in calf, the sides covered with a Grolieresque design of interlaced bands painted blue, green and white outlined in gold, gilt scrolls and arabesques, gilt edges. In a morocco slip case. Parisiis : Apud Oliverium Mallard sub signo Vasis Effracti, 1541. Almanac for 1541-1547. Brunet, No. 329. The Robert Hoe copy, with bookplate. HOR.ffi 490. In laudem beatissim^ virginis Mari/E, ad usum Romanum. Roman character in red and black. Ruled throughout with red ink, title within an architectural woodcut border, and all the other pages surrounded by fine and graceful arabesque borders in semi-outline or in black; l^- large semi-outline woodcuts, and numerous beautiful ornamental initials on a "crible" ground. 4to, blue levant morocco, doublure of red [No. 490 — Continued] levant, tooled geometrical design of interlaced bands and arabesques, gilt edges, by Belz-Niedeee. Parisiis : Apud Simonem Colinaeum, 1543 Almanac for 1543-1568. Only three of the woodcuts bear the mark of Geofroy Tory (the double cross), but they are all worthy of his skill. Brunet, No. 331. 220 x 152 mm. The Robert Hoe copy, with bookplate. HORiE 491. In Laudem beatissim* virginis Mari^, ad vsum Romanum. Printed in blaek and red. Each page surrounded by charm- ing woodcut arabesque borders, some in outline and others in black. Printer's mark on title, H large woodcuts, and orna- mental initials on a "crible" ground. 4to, contemporary French calf binding, the sides entirely covered with a design of ornamental interlacing painted blue, brown and white outlined in gold, gauffred gilt edges, with ties. Parisiis: ex ofBcina Reginaldi Calderij et Claudij euis filij, 1549. Almanac for 1549-1574 (231 mm. x 163 mm.). Three of the woodcuts bear the mark (double cross) of Geofroy Tory, and in his work on Tory, Auguste Bernard says that he knows of but two copies of this edition. Probably the copy of Count H. de Chaponay, mentioned by Brunet No. 332. The Robert Hoe copy, with bookplate. HORNE, R. H.— Editor 492. A New Spirit of the Age. Portraits of Dickens, Tenny- son, Wordsworth, Browning, Carlyle, Miss Martineau, Tal- fourd and Dr. Southwood Smith. 2 vols. 8vo, full polished calf, fully gilt backs, gilt tops, uncut, by Riviere. London, 1844 First Edition. A series of critical notices upon Barham, William and Mary Howitt, G. P. R. James, Hunt, Macau- lay, Ainsworth, and others. Extra-Illustrated by the insertion of 82 portraits, 6 auto- graph letters, and the original play-bill of "The Village Coquettes". The portraits include — John Martin, Charles Lamb, Smollet, Fielding, Colman, Landor, Mrs. Barbauld, Voltaire, Hazlitt, Keats, Coleridge, Marryat, Emerson, Miss Mitford, Jane Porter and others. [No. 492 — Continued] The autographs are of — Mrs. Gore, Mary Howitt, Miss Mitford, Mrs. Norton, Miss Martineau and the Rev. Sydney Smith. Also, the playbill issued by the St. James's Theatre, Jan. 12th, 1837, where for the 17th time "The Village Coquettes," the drama and words of the songs by "Boz," the music by John Hullah, was presented. The William Crampton copy, with bookplate in both volumes. HOUBRAKEN, ARNOLD 493. De GaooTE Schoubuugh deu Nedeulantsche Konstsciiil- DEES EN ScHiLDEHESSEN. Title in red-and-hlach, frontis- piece and 108 portraits on 43 plates, with 5 other plates and a vignette, all hy Jakob Houbraken. 3 vols. 8vo, three- quarter citron levant morocco, gilt tops, uncut, by Reymann. Gravenhage, 1753 Houbraken's first engraving was executed for the first edi- tion of this work, issued about thirty-five years previously. The Robert Hoe copy, with bookplate. HOUBRAKEN, J. 494. The Heads of the Most Illustrious Persons of Great Britain, taken from the best original Paintings in the Royal Palaces, and the Collections of Noblemen and Gentlemen, with proper Ornaments to each plate, designed and engraved by the best Masters. Brilliant original impressions of the 112 portraits, with full margins. Thick folio, old full red morocco, gilt tooled, gilt edges, in the manner of Derome. London, 1735-1744 In addition to the portraits, this copy has bound in order throughout, the original blue wrappers (both front and back) to part 20 (the end of the first volume), and the back wrappers (only) to the end of the work. One of the copies with the names engraved on the plates, and not on the margins. Lowndes says that the complete series consists of 108 plates — this copy contains 112. The portraits of — Cromwell, Drake, Ben Jonson (spelt Johnson), Bacon, Locke, Raleigh, Chaucer, Milton, Otway, Henry Vane (Governor of Massachusetts), and others of importance are included. The Henry W. Poor copy, with bookplate. HUGO, VICTOR 495. Notee-Dame de Pauis. Edition illustree d'apres les dessins de MM. E. de Beaumont, L. Boulanger, Daubigny, T. Jo- hannot, Meissonier, and others. With 65 full-page plates and numerous woodcuts in the text. Imperial 8vo, full crim- son levant morocco, gilt back and sides with quadruple and sextuple fillets, inside filleted borders, gilt over rough edges, original wrappers bound in, by Chambolle-Dueu. Paris, 1844 The Robert Hoe copy, with bookplate. HUGO, VICTOR 496. Theatee. Portraits. 3 vols. 12mo, three quarter red le- vant morocco, gilt backs, gilt tops, uncut, by Haedy. Paris, 1856 ExTEA-IiiLUSTEATED by the insertion of 49 engravings, in- cluding portraits, views, &c. The series after Boulanger, Rogier, and Johannot are in two states, one proofs before letters, on India paper. The Robert Hoe copy, with bookplate. HUGO, VICTOR 497. Les Teavailleues de la Mer. 3 vols. 8vo, full crimson levant morocco, gilt backs and inside borders, gilt over rough edges, by Belz-Niedree. Paris, 1866 First Edition, and on Holland paper. The Robert Hoe copy, with bookplate. HUGO, VICTOR 498. RuY Blas. Drame en cinq actes. Portrait et quinze com- positions de Adrien Moreau, gravies a Veaa-jorte par Cham- pollion. Imperial 8vo, full green straight-grained morocco, gilt back, inside gilt borders, gilt over rough edges, by Champs. Paris, 1889 One of 150 copies on Japanese paper, with the plates in two states. The Robert Hoe copy, with bookplate. HUGO, VICTOR 499. Hernani. Drame en cinq actes. Portrait d'apres Deveria et quinze coTnpositions de Michelena gravees a Veau-forte par Boisson. Royal 8vo, full maroon straight-grained mo- rocco, gilt back and inside borders, gilt edges, original wrappers bound in, by Champs. Paris: Librairie Conquet, 1890 One of 150 copies on Japanese paper, with the plates in two states, proofs before letters and after. The Robert Hoe copy, with bookplate. HUNT, LEIGH 500. Juveniiia: or, A Collection of Poems. Portrait of the au- thor, by Bartolozzi. Bvo, full polished calf, gilt back, gilt top, uncut, by Rivieee. London, 1801 FiEST Edition. The author's first volume of poems. HYDE, HENRY BALDWIN 501. A BioGKAPHiCAL Sketch. Illustrations. Royal 8vo, full dark-blue levant morocco, gilt top, uncut. New York, 1901 One of 100 copies on Japanese paper and presentation copy to Mr. Ives. IBRAHAM, SLIMAN BEN 502. Mirages. With numerous illustrations by Etienne Dinet. 8vo, full dark brown levant morocco, designs composed of in- tricate gilt tooling, inlaid arabesques of dark brown, red, and white, within squares of dark brown inlays, panelled back with gilt tooling and inlays of white and two shades of brown, doublures of a light brown levant morocco, with borders of gilt dots and lines, watered silk end-papers, gilt over uncut edges, original covers bound in, by The Club Bindery. In case with protecting cover. Paris: H. Piazza & Cie. [1906] One of 52 copies on Japanese paper, with the etch- ings IN two states, one set of which is in colors. The Robert Hoe copy, with bookplate. IMBERT, BARTHELEMY 503. HisToaiETTEs ou NouvELLES EN Vees. Seconde Edition, revue, corrigee et augumentee par I'Auteur. Engraved title-page, one plate and 4- vignettes by Masquelier and Nee after Moreau le jetme. 8vo, full red levant morocco, gilt backs and inside borders, gilt edges, by Bedford. Amsterdam, 1774) Large Paper copy, bound in with the author's "Nouvelles Historiettes, 1781." The Robert Hoe copy, with bookplate. INCUNABULA, 504. A Descuiption or The Eably Printed Books owned by The Groliee Club, with a brief Account of their Printers, and the History of Typography in the Fifteenth Century. With facsimiles. Small folio, leather back and cloth, uncut. New York: The Grolier Club, 1895 One of 400 copies on handmade paper. INSTRUCTION 505. SuR LES Dispositions qu'on doit apporter aux Sacremens DE Penitence et d'Euchariste. Tiree de I'Ecriture sainte, des Saints Peres & de quelques autres saints Au- teurs. Woodcut ornaments, ruled throughout with red ink. 12mo, old citron morocco with mosaic of dark-brown mo- rocco, richly tooled, doublures of red morocco, wide gilt bor- ders, gilt edges. Paris, 1709 Printed by Guillaume Desprez for an unknown author. The Robert Hoe copy, with bookplate. IRELAND, SAMUEL 506. A Set of his Illustrated Books, comprising: — A Picturesque Tour through Holland, Brabant, and part of France in 1778. 2 vols. London, 1795-1796 Views on the River Thames, from its Source in Gloucester- shire to the Nore. 2 vols. London, 1791-1792 Views on the River Medway, from the Nore to the vicinity of its Source in Sussex. London, 1793 [No. 506 — Continued^ Views on the Upper Avon, from its Source at Nassey to its junction with the Severn. London, 1795 Views on the River Wye, from its Source at Plinhmmon Hill to its junction with the Severn. London, 1797 Views of the Inns of Court in London and Westminster. London, 1800 With over '200 plates in color, by Samuel Ireland. Together, 8 vols. 8vo, full crimson levant morocco, tooled floral pan- elled backs, floral ornaments on sides, gilt tops, edges scraped with appearance of uncut, by Wood. London, 1791-1800 All First Editions, with the exception of the first-named. Although the coloring is not original, it is finely executed. IRVING'S WRITINGS, INCLUDING KNICKER- BOCKER'S NEW YORK, FIRST EDITION, AND THE FINE EDITION OF THE GROLIER CLUB [IRVING, WASHINGTON] 507. A HiSTOEY OF New Yoek, from the beginning of the World, to the end of the Dutch Dynasty. With engraved folding view of "New Amsterdam {now New-York), as it appeared about the year 164-0, while under the Dutch Government," with portions of lower margins at the folds slightly worn. 2 vols. 12mo, full crimson levant morocco, gilt backs, and sides, gilt edges, small portions of corners of title of Vol. 2, skillfully supphed. New York, 1809 First Edition, and with the exception of the minor defects above noted, a good copy, with some uncut edges. IRVING, WASHINGTON 508. The Crayon Miscellany. 1, A Tour on the Prairies; 2, Abbotsford and Newstead Abbey; 3, Legends of The Con- quest of Spain. First Editions. 3 vols. 12mo, full ma- roon levant morocco, gilt sides, gilt tops, advertisements bound in, by The Club Bindery. Philadelphia, 1885 The D. F. Appleton copy, with bookplate. IRVING, WASHINGTON 509. Wolfert's Roost, and other Papers, Now First Collected. Frontispiece and engraved title, by F. 0. C. Darley. Fiest Edition. 12mo, full sage-green straight-grained levant mo- rocco, richly tooled sides and back, gilt top, original cloth covers bound in, by The Club Bindery. New York, 1855 The D. F. Appleton copy, with bookplate, and his auto- graph on title-page. IRVING, WASHINGTON 510. The Writings of Washington Irving. New Edition, re- vised. With numerous portraits, steel plates and woodcuts after Darley, and others. 29 vols. 8vo, half crimson le- vant morocco, gilt backs, gilt tops, uncut, by Matthews, several volumes slightly rubbed. New York, 1860-1867-1860 Large Paper Copy, only 100 printed. Comprises ; History of New York, Life and Voyages of Columbus, The Sketch- Book, Bracebridge Hall, The Crayon Miscellany, Life of Oliver Goldsmith, Wolfert's Roost, Salmagundi, Life of Washington, Spanish Papers, Life and Letters of Wash- ington Irving, by his nephew, Pierre M. Irving, Spanish Papers, and A Discourse on the Life, Character and Genius of Washington Irving, by William CuUen Bryant, New York, 1860. [IRVING, WASHINGTON] 511. A History of New York, from the beginning of the World, to the end of the Dutch Dynasty. By Diedrich Knicker- bocker. A New Edition, containing Unpublished Correc- tions of the Author. With illustrations by George H. Broughton, Will H. Drake, and Howard Pyle, and etchings by Henry C. Eno and F. Raubicheck. 2 vols. 8vo, orig- inal orange-colored boards, uncut, and mainly unopened, upper portion of back of volume one, skillfully repaired. New York: The Grolier Club, 1886 One of 175 copies on Holland paper, with the frontispieces in three states. IRWIN, THEODORE 512. Catalogue of the Library, and a brief List of the Engrav- ings and Etchings belonging to Theodore Irwin, Oswego, [No. 512 — Continued^ New York. Small 4to, morocco back and cloth, gilt top, uncut. New York: Privately printed, 1887 One of 100 copies printed. Autograph presentation copy from Mr. Irwin to Mr. Ives. JACKSON, JOHN 513. A Treatise on Wood Engraving; Historical and Practical. With upwards of 300 illustrations, engraved on wood. First Edition. Royal 8vo, half morocco, gilt top, uncut. London, 1839 The view "Parsonage at Ovingham," printed in brown, on separate slip, at page 713, is present. It is frequently missing. JACQUEMART, ALBERT, and LE BLANT, EDMOND 514. HiSTOIRE ARTISTlaUE InDUSTRIELLE ET CoMMEECIALE DE I/A PoRCELAiNE. With 36 plates, each containing several speci- mens, proofs on India paper, also numerous potters' marks in the text. First Edition. Thick small folio, half red morocco, gilt top, by Bertrand. Paris, 1862 JAMESON, MRS. ANNA 515. The Writings of Mrs. Jameson, comprising; — Sacred and Legendary Art. 2 vols. London, 1848 Legends of the Monastic Orders, as represented in the Fine Arts. London, 1850 Legends of the Madonna, as represented in the Fine Arts. London, 1852 The History of Our Lord, as exemplified in Works of Art. Commenced by the late Mrs. Eastlake, continued and com- pleted by Lady Eastlake. 2 vols. London, 1864 With a large number of illustrations. All First Editions. Together, 6 vols, 8vo, uniformly bound in full black levant morocco, sides and backs gilt and blind tooled, gilt tops, original cloth covers bound in, by Riviere. Loitdon, 1848-1864 JANIN, JULES 516. L'Ane Mort. Edition illustre par Tony Johannot. Royal 8vo, full dark-green levant morocco, back and sides with [No. 516 — Continued^ panels of septuple fillets, inside borders of same design, gilt over rough edges, original wrappers bound in, by Mauius Michel. Paris, 1842 Large Paper copy, with the portrait of the author engraved on steel by Revel after Johannot, proof before letters, and about 100 vignettes in text, with 12 full-page woodcuts on tinted India paper. The Robert Hoe copy, with bookplate. JANIN, JULES 517. BiuANGER ET SON Temps. Fvontispicce avec portrait a I'eau- forte de Staal. 2 vols, small 8vo, full red levant morocco, gilt backs, inside gilt borders, by David. Paris, 1866 One of 2 copies on vei.lum, with two portraits of Beranger, each in three states. The Robert Hoe copy, with bookplate. JANIN, JULES 518. Le Livbe. 8vo, half crimson levant morocco, back richly tooled, gilt top, uncut, by Allo. Paris, 1870 Printed on papier velvn. The Robert Hoe copy, with bookplate. JAPAN 519. Brinckley (Captain F. — Editor). Japan: Described and Illustrated by the Japanese. Written by Eminent Japan- ese Authorities and Edited by Captain F. Brinckley, with an Essay on Japanse Art by Karuzo Okakura. 10 vols, folio, art cloth with ties, Japanese style. Boston: J. B. Millet Co., 1897, &c. One of 750 copies with several hundred photographs each carefully and accurately colored, distributed throughout the text and mounted on mats full-page size. JAPANESE DRAWINGS 520. A collection of 111 Japanese drawings representing historical scenes of Japan, costumes, manners, etc. Finely painted in gold and colors and mounted in two fold- ing volumes. 4to, bound in Japanese gold brocade. In Japanese lacquer case. Circa 1850 A singularly attractive and well executed series. EXTRA-ILLUSTRATED BLANCHARD JERROLD'S LIFE OF GEORGE CRUIKSHANK, FIRST EDI- TION, WITH OVER 600 PLATES, AUTOGRAPH LETTERS, &c. JERROLD, BLANCHARD 521. The Life of Geoege Ckuikshank. In Two Epochs. With mi/merous illustrations. First Edition. 2 vols. 8vo, ex- tended to 4 vols, thick 4!to, full crimson levant morocco, por- trait of Cruikshank in chair, smoking a pipe, with facsimile signature beneath, in centre of each cover, gilt backs, gilt tops. London, 1882 Extba-Illusteated by the insertion of about 600 speci- mens of the work of Cruikshank, some colored, some uncol- ored, mainly original plates, selected from Dickens's "Oliver Twist," Ainsworth's "Tower of London," "Windsor Cas- tle" and others, Grimm's "German Popular Stories," Cruik- shank's "Fairy Library," Carey's "Life of Paris," Cruik- shank's "Progress of Mr. Lambkin" and numerous other works, also several portraits of the illustrator, including one at the age of 28 years, also li autograph letters, signed, or documents, signed, as below specified: — The colored plates include; O. P. Riots at Covent Garden, (1809), one of his earliest works, title however cut away; Mr. Walbourn, as "Dusty Bob" (1822) ; J. Grimaldi, in "AU the world's in Paris," (1815) ; "Gambols on the River Thames, Feby. 1814" ; and others. The autographs include ; — (1). Cruikshank (George). A. L. S. 2pp. 8vo, April 30th, 1868. To Captain J. Cruikshank Roger, regarding the recipient's horse, and other matters. (2.) Leech (John). A. L. S. Ip. 12mo, April 30, 1864. (3.) George the Fourth. D. S. Ip. folio, May 14th, 1824. A warrant for the removal of male convicts under sentence of transportations. (4.) Cobbett (William). A. L. S. 2pp. 4to, London, May 20th, 1820. To Sir Thomas Baring. Long letter on financial matters. "... I shall think it my duty to petition the two Houses of Parliament for protection of my Creditors against the effect of an immediate foreclosure and sale," etc. (5.) Dickens (Charles). A. L. S. initials only, Ip. 12mo, Folkestone, August 19th, 1855. On literary and other mat- ters. [No. 621 — Contmuedl (6.) Thackeray (William Makepeace). Short A. N. S. (5 lines). Undated, stating that he had purchased two vases, not 2 drawings. (7.) Ruskin (John). A. L. S. initials only, 3pp. 12mo, Coniston, undated. Probably regarding one of his works, which he says "I have spiced it up a little." (8.) Cruikshank (George). A. L. S. Ip. 12mo, Lon- don, Feby. 11th, 1882. To Charles Welsh, on literary mat- ters. Also, letters by Edward Bulwer Lytton, (2) ; Samuel Prout; William Harrison Ainsworth; Sir E. Landseer, and George III. the latter a deed, signed. JERROLD, DOUGLAS 522. The Chronicles of Cloveenook. Frontispiece hy Kenny Meadows. First Edition. 12mo, original cloth, gilt edges. London, 1846 JESSE, CAPTAIN WILLIAM 523. The Life of George Beummeli,, commonly called Beau Brummell. Portraits. First Edition. 2 vols. 8vo, full polished calf, gilt tops, edges scraped, some uncut, by Ri- viere. London, 1844 JESSE, JOHN HENEAGE 524. London; Its Celebrated Characters and Remarkable Places. 6 vols. 8vo, full polished calf, gilt backs and sides, gilt tops. Each volume with specially printed title-pages, the original titles (3) lacking, by Zaenhsdorf. London, 1861 Extra-Illustrated by the insertion of 198 portraits, and 113 views, from eighteenth century and later sources, on copper, steel, etc. JESUITS, LES 525. Et Moines en belle humeur. Curious engraved title. Two parts in one volume. 12mo, full orange levant morocco, the sides tooled and gilt to a mosaic design of almond shape of red and green levants, with small flowers of white and green, doublures of green levant gilt, gilt edges, by Chatelin. In a morocco case. Cologne, 1725 An attractive specimen of mosaic binding. The Henry W. Poor copy, with bookplate. JOHANNOT, TONY— and OTHERS 626. Voyage, ou il vous plaira, par Tony Johannot, Alfred de Musset and P. J. Stahl. With 63 full-page woodcuts and numerous text illustrations. Royal 8vo, black morocco, gilt back and sides, gilt edges. Paris: J. Hetzel, 1843 The Robert Hoe copy, with bookplate. [JOHNSON, SAMUEL] 527. The Peince of Abissinia. A Tale. [Rasselas.J Fiest Edition. 2 vols. 12mo, full crimson straight-grained mo- rocco, gilt backs, gilt tops, by Stikeman. London, 1759 The Charles B. Foote copy, with bookplate by E. D. French in both volumes. EXTRA-ILLUSTRATED JOHNSONIANA WITH SEVERAL HUNDRED PORTRAITS, AUTO- GRAPH LETTERS, VIEWS, &C. [JOHNSON, SAMUEL] 528. Johnsoniana; or Supplement to Boswell; being Anecdotes and Sayings of Dr. Johnson, collected by Mrs. Piozzi, Miss Hawkins, Northcote and many others. One volume ito, ex- tended to 3 volumes, 4to, full green levant morocco, blind and gilt tooling on sides, richly tooled backs, inside dentelle borders, gilt edges, by Stikeman. Each volume with spe- cially printed titles. London: Murray, 1836 Extea-Ileusteated by the insertion of 242 portraits of persons mentioned in the work, 28 autograph letters, or documents, or manuscripts and 41 views of places. The extra material is mainly of unusually high quality, es- pecially the autographs; a large number of the portraits are open letter proofs, or on India paper;- and all is such seldom used in extra-illustrating. The autographs include; — ■ (1.) Johnson (Samuel). A. L. S. 3pp. 4to, October 24, 1764. To Mr. Strahan, printer of London, regarding a young friend who is just about to enter College. A very fine Johnson autograph letter. (2.) Johnson (Samuel). 6 lines in his autograph, signed, commencing, "The Eucharist is not a constant sacrifice." (3.) Gray (Thomas — Author of "Elegy"). One 4to, page of original manuscript, unsigned, written in English and [No. 528 — Contmued'\ Greek, of historical, mythological, classical and other ob- servations, containing about 40 lines, beautifully written. (4.) Thrale (Mrs.). A. L. S. "H. L.," Ip. 4to, Streatham, December 17th, 1771, to Miss Turman, at Bath, whom she addresses as "Dear Betsey," with mention of the writer's husband and mother, lower part of margin cut away, initials, however, perfect. (6.) Thrale (Mrs.). A. L. third person, Streatham, no year, commencing "Mrs. Thrale presents her Compliments • and should be very happy to have the honor of seeing the Duke of Sangrot" etc. (6.) Scott (Sir Walter). A. L. S. (initials only), Ip. 12mo, undated. The other autograph letters include specimens by James Beattie, Edmund Burke, James Boswell, Dr. Charles Bur- ney, Thomas Campbell, John Wilson Croker, Warren Hastings, William Hayley, Hannah More. Dr. Samuel Parr, George Steevens, Horace Walpole, Robert Walpole, and others. Portraits include the following: — Addison, Ascham, Bacon, Mrs. Barbauld, Bartolozzi, Boswell, (several), Buchanan, Ed. Burke, (fine mezzotint). Dr. Charles Bumey, Byron, Campbell, Colley Gibber, Congreve, Cowper, Mme. D'Ar- blay, Dryden, Fielding, Samuel Foote, Garrick, Gay, George III., Goldsmith, Gray, Geo. Herbert, Hogarth, Hume, John- son (many difi'erent, some rare), Locke, Pope, Reynolds, Scott, Anna Seward, Swift, Horace and Robert Walpole, Mrs. WofBngton, etc. Views include, — Eton College, Dublin, Emanuel College, Fleet Street, Johnson's Willow, Johnson's Monument in St. Paul's, Johnson's Urn at Gwagnynog, Litchfield Cathedral, Northumberland House, St. John's College, St. John's Gate, St. Paul's Cathedral, etc., etc. Contains specially printed Index of the Extra Plates and Letters. JONES, J. WILLIAM 529. Personal Reminiscences, Anecdotes, and Lettebs of Gen. Robert E. Lee. Portraits and views. First Edi- tion. 8vo, full blue levant morocco, gilt back, gilt sides, and top, by Stikeman. New York, 1874 Extra-Illustrated by the insertion of about 50 portraits and views, also 5 autograph letters, or documents, signed, by Reverdy Johnson, George W. P. Custis, and others. JORDAN, MRS. 530. Public and Private Life of that celebeated Acteess, Miss Bland, otheewise Mes. Foed, oe Mes. Joedan. By A Confidential Friend of the departed. With 9 portraits. First Edition. 12mo, original half cloth and boards, un- cut, somewhat worn. London ; circa 1830 JOWETT, B. 531. The Dialogues of Plato. Translated into English, with Analyses and Introductions, by B. Jowett. Third Edition, revised and corrected throughout, 5 vols. 8vo, original cloth, gilt tops, uncut. New York: MacmiUan and Co., 1892 KALIDASA 532. Sakoontala ; or. The Lost Ring. An Indian Drama. Trans- lated into English Prose and Verse, from the Sanskrit of Kalidasa, by Monier Williams. Each page printed witMn ornamental borders of red, green, blue, brown, and other col- ors, with head and tail pieces illuminated in gold and colors. 4to, full green levant morocco, broad and highly ornamental borders on each side, back covered with tooling, doublure of russet levant morocco, the designs on the sides repeated, vel- lum fly-leaves, gilt edges, original illuminated wrappers bound in, by Rivieee. New York, 1888 No. 1 of 4 copies feinted on vellum, by Theo. L. De Vinne. A volume which ranks very high in the annals of American book production. The Robert Hoe copy, with bookplate. KARR, ALPHONSE 533. Voyage autoue de mon Jaedin. 2 vols. 8vo, full crim- son levant morocco, gilt backs and side panels, arms in gilt in centres of four covers, inside filleted borders, gilt edges, by Lardiere. Paris, 1845 Extra-Illustrated by the insertion of an original watee- coLOE POETEAIT BY Pauquet, 176 woodcut vignettcs, proofs on India paper, autograph signatures of Tony Johannot and Gavami, and a portion of A. L. Ip. 4to, (folded), by the author. The Robert Hoe copy, with bookplate. JOHN KEATS' POEMS, FIRST EDITION, IN ORIG- INAL BOARDS; LAMIA, WITH AUTOGRAPH NOTES BY FREDERICK LOCKER AND KEATS' ORIGINAL MANUSCRIPT KEATS, JOHN 634. Poems. 12mo, original brown paper boards, entirely uncut. In blue morocco case, lettered and tooled back. London: C. & J. Oilier, 1817 First Edition, with all the half-titles. The Row- FANT COPY. Inserted are two A'erses from the orig- inal MS. oE THE "Pot of Basil"; the one beginning (No. 62). "Piteous she look'ed at dead and senseless things." The stanza has the fourth and seventh lines altered in the MS. by Keats, and still it differs from the published version. On the reverse appears Vei'se No. 54 of the same, with al- terations and erasures, and also not quite as printed. A fly- leaf has some pencilled memoranda, initialed, by Locker. It also bears his bookplate. It was this edition of the Poems that was found in the bosom of the dead Shelley. KEATS, JOHN 535. Endymion : A Poetic Romance. 8vo, full olive-green levant morocco, gilt back and sides tooled in a complex design of leaves, scrolls, small dots, &c., doublures of similar levant with beautifully tooled centre design and comers, white watered-silk end-papers, gilt top, edges scraped, by Zaehns- DORF. London: Printed for Taylor and Hessey, 1818 First Edition, with the one-line Erratum, and containing (supposedly) a spray of leaves from Keats' grave (on mat). Colonel Higginson's copy with, — "T. W. Higgmson, Cam- bridge, April 2'2, 1856," in his autograph, and his card, on fly-leaf. KEATS, JOHN 536. Lamla, Isabella, The Eve of St. Agnes, and other Poems. 12mo, original brown paper boards (the paper label a little [No. 536 — Contimied^ worn), entirely uncut, in blue morocco case, lettered and tooled back. London: Printed for Taylor & Hessey, 1820 FiEST Edition. The Rowfant copy. With the half TITLE AND THE 4 LEAVES OE ADVEUTISEMENT. Inserted is a portion of the MS. of Keats' tragedy, "Otho the Great," 16 lines in the autograph of the POET, with his ERASURES AND CORRECTIONS. A pencilled note, initialled, by Locker states that he bought the MS. at Sotheby's and that it belonged to Joseph Severn. There are other MS. notes by Locker (in pencil). The Frederick Locker copy, with book-plate. KEATS, KOHN 537. Lamia, Isabella, The Eve of St. Agnes, and other Poems. 12mo, full maroon levant morocco, back and sides in a closely- tooled design of flowers, buds and leaves, doublures of light- blue levant containing a filleted perspective design, levant end-papers, gilt top, edges scraped, by Zaehnsdorf. London: Printed for Taylor and Hessey, 1820 First Edition, with the half-title. KEATS, JOHN 538. The Poetical Works of Keats. With a Memoir by Rich- ard Monckton Milnes. Illustrated by 120 designs, orig- mal and from, the antique drawn on wood hy George Scharf. 8vo, full crimson levant morocco, gilt back and side panels on covers, inside gilt borders, gilt edges. London : Edward Moxon, 1854 First Issue of this fine edition. KEATS, JOHN 539. The Poems of John Keats. Overseen after the text of fore- going editions by F. S. Ellis. Printed in Golden type, with woodcut title and border to first page. 8vo, original limp vellum, with ties, uncut. (Hammersmith) ; The Kelmscott Press, 1894 Only 300 copies were issued. KELLER, FERDINAND 540. The Lake Dwellings of Switzerland and othee pakts OF EuEOPE. Translated and arranged by John Edward Lee. Second Edition, greatly enlarged. Numerous illus- trations. 2 vols, royal 8vo, half morocco, gilt backs, gilt tops, uncut. London, 1878 KELMSCOTT PRESS PUBLICATIONS See Nos. 153, 156, 539, 737, 738, 739, 832, 833, 875, 994, 1068. KENNEDY, EDWARD G. 541. The Etched Work of Whistler. Compiled and Arranged and Described by E. G. Kennedy. With an Introduction by Royal Cortissoz. Illustrated hy reproductions i/n collo- type of the different states of the plates. One volume of text (4to) ; and three portfolios of plates (4to), comprising over 1,000 reproductions, with the Extra Plate of No. 213, — "Nocturne Furnace," with important variation. To- gether, 4 vols., half cloth and boards, and loose sheets in portfohos. New York: The Grolier Club, 1910 The most exhaustive publication that has so far made ITS APPEARANCE UPON THE ETCHED WORK OF WhISTLER, and one of 402 copies printed at the De Vinne Press on old Stratford paper. The etchings, chronologically described, number 446, many with the aid of the artist himself, or from memoranda left by him. Prints have been measured and the variations in size marked. A complete list of the plates known to have been destroyed or cancelled is included, together with an additional list comprising 82 plates, which from their rarity may be assumed to have passed out of existence. Many of the cancelled plates are reproduced, also, forming, in all, 1,000 reproductions of the various states of the plates. In Mr. Kennedy's "Notes" is given a very interesting de- scription of his interview with Whistler relative to the an- ticipated catalogue, which resulted in securing his hearty consent and cooperation. KENT, HENRY W. 542. Bibliographical Notes on One Hundred Books famous IN English Literature. Imperial 8vo, vellum back and boards, uncut. New York : The Grolier Club, 1903 One of 305 copies on French handmade paper. KEPPEL, FREDERICK 543. The Golden Age of Engraving. A Specialist's Story about Fine Prints. With ^63 illustrations showing the process of the art from the year 14-65 to the year 1910. First Edi-< TiON. 8vo, cloth. New York, (1910) Autograph presentation copy from the author to Mr. Ives. KIDGELL, JOHN 544. Original Fables. 2 plates and 94- outline illustrations. 2 vols, in 1, 12mo, full dark green morocco, elaborately gilt and blind tooled sides, gilt back, gilt edges, by Birdsall. London, 1763 Text in English and French on opposite pages. The au- thor absconded about the time the book was printed, con- sequently it was suppressed. The Robert Hoe copy, with bookplate. KILIAN, LUCAS 545. [A. B. C. Buechlein Augspurg, 1627.] No Title-page. Contains ^4 plates beautifully engraved with large letters of the alphabet in arabesque on groundworJc of scrolls and other ornaments, each representing some art or occupation. Small 4to, full red levant morocco, tooled in an outline arabesque design after one of the plates in the book, dou- blures of red levant, gilt over rough edges, by The Club Bindery. In slip cover and case. [Augspurg, 1627] The title of the edition of 1632 reads as follows : "A. B. C. Buechlin, so Herr Lucas Kilian inventiert und gestochen jetzund, aber aus vergunst des Herren Authors von F. Re- gina Hertlenn eines Schrevers Tochter nachgestochen wor- den." The Robert Hoe copy, with bookplate and gilt monogram. KIPLING FIRST EDITIONS, WHEELER'S INDIAN LIBRARY PAMPHLETS, AND OTHERS KIPLING, RUDYARD 546. Departmental Ditties, and Other Verses. Narrow royal 8vo, original printed wrappers in the form of an envelope, as issued. Lahore, 1886 First Issue of the First Edition, containing 26 poems, most of which are accompanied with notes and equivalents in English of many Indian words used by the author, all in his autograph, and in ink. With the flap of envelope, often lacking. KIPLING, RUDYARD 547. Barrack-Room Ballads, and Other Verses. First Edi- tion. 12mo, full maroon levant morocco, gilt inside bor- ders, gilt edges, by Bickers. London: Methuen and Co., 1892 KIPLING, RUDYARD 648. Plain Tales from the Hills. 12mo, original cloth, worm holes on some margins and leaves of text. Calcutta, 1888 First Edition, with the advertisements dated, — "March, 1891." KIPLING, RUDYARD 549. Soldiers Three. 8vo, original pictorial wrappers. Allahabad, 1888 First Issue of the First Edition, — "Reprinted in chief from the 'Week's News.' " With the advertisements. No. 1 of Wheeler's Indian Railway Library. KIPLING, RUDYARD 550. The Story of the Gadsbys. 8vo, original pictorial wrap- pers. With the advertisements. Allahabad, n. d. First Issue of the First Edition, — "Reprinted in chief from the 'Week's News.' " No. 2 of Wheeler's Indian Rail- way Library. KIPLING, RUDYARD 551. Under the Deodars. 8vo, original pictorial wrappers. With the advertisements. Allahabad, n. d. First Issue of the First Edition, — "Reprinted in chief from the 'Week's News.' " No. 4 of Wheeler's Indian Rail- way Library. KIPLING, RUDYARD 552. The Phantom Rickshaw and Other Tales. 8vo, pictorial wrappers, with advertisements. Allahabad, n. d. First Issue of the First Edition, — "Reprinted in chief from the 'Week's News.' " No. 5 of Wheeler's Indian Rail- way Library. KITTON, FREDERICK G. 553. "Phiz," (Hablot Knight Browne). A Memoir, including a Selection from his Correspondence and Notes on his Prin- cipal Works. Portrait and numerous illustrations. 8vo (inlaid to 4!to), full crimson polished morocco, gilt back and inside borders, gilt top, by Walters. London: George Redway, 1882 Extra-Illustrated by the insertion of about 50 repro- ductions, portraits, &c., including; — ^A. L. S., H. K. Browne, Ip. 12mo, London, January 19, 1845 ; colored cover of "Master Humphrey's Clock," cover of "Dombey and Son," and other covers; the celebrated plate, — "The Way to the Gallows" ; illustrations to Shakespeare's "Tem- pest," "Othello," "King Lear," "Pericles," and "Merry Wives," in black and duplicate set in colors ; besides nu- merous other reproductions, several proofs, and a number on India paper. Among the portraits are, — John Forster engraved by C. H. Jeens and W. Harrison Ainsworth by Edwards after Maclise. KOEHLER, S. R.— Compiler 554. A Chronological Catalogue or the Engravings, Dry- PoiNTS AND Etchings of Albert Durer as exhibited at THE Geolier Club. Facsimiles. 4to, cloth, uncut, as is- sued. New York: The Grolier Club, 1897 One of 400 copies on Holland paper. LABORDE'S CHOIX DE CHANSONS, EDITION OF 1773, IN BINDING BY CHAMBOLLE-DURU LABORDE, JEAN-BENJAMIN DE 555. Choix DE Chansons mises en MusiauE pae M. De Laboede. ( Vol. I. ) engraved title after Moria and Vendome with fletu- ron engraved by Moreau in 177 Jj., and 25 plates designed amd engraved by MoreoAi le jeime; ( Vol. II. ) engraved title with portrait of the Dauphins engraved by Nee and Mas- quelier after Le Bouteux, and S5 plates after Le Bouteua; engraved by the same artists; (Vol. III.) engraved title and 25 plates after Le Barbier by Nee and Masquelier; {Vol. IV.) engraved title after Le Barbier and 25 plates after Le Barbier and St. Quentin by Nee and Masqitelier. Text and music of the entire work engraved by Moria and/ Vendome. 4 vols, royal 8vo, full dark-blue levant morocco, gilt backs and filleted borders, doublures of red levant, gilt dentelle borders, gilt over rough edges, by Chambolle- DuEU. Paris : De Lormel, 1773 Contains the rare portrait of Laborde "a la lyre" by Mas- quelier after Denon, inlaid, and a portrait of the same by Moreau after Denon, tliis latter in Vol. 11. The authors of the "chansons" set to music by Laborde in- clude, — Chabanon de Maugy, Colardeau, Dorat, Marmontel, Voltaire, and others. As an example of eighteenth century engraving, this work ranks with the Ferraiers Genereaux edition of Lafontaine's "Contes et Nouvelles." LA CHAU, ABBfi DE 556. Dissertation sue xes Atteibuts de Venus. Frontispiece representing Venus Anadyomene engraved by Saint Aubin after Titian, peoof befoee the boedee and the sheli,, fleuron on title, a plate containing 8 medals, 13 vignettes and a tail-piece by A. De S. A. 4to, full green levant mo- rocco, doublures of rose levant with gilt borders, silk-brocade fly-leaves, gilt edges, by Canape. Paris : Chez P. M. Lamy, 1780 Extea-Ili^usteated by the insertion of about 30 plates, including : — Stothard's "Sable Venus," finely engraved by Grainger. [No. 656 — Contimued^ Three plates of "Leda and the Swan," after Veronese and Tintoretto, engraved by St. Aubin and Borel. Le Roy's beautiful "OEnone and Paris," engraved by Roger. HoUoway's "Venus de Medicis." "Venus and Cupid," by Romanet. The "Triumph of Love," after Domenichino, and other sub- jects from the antique, mainly brilliant impressions. LACLOS, CHODERLOS DE 657. Les Liaisons Dangereuses. Lettres Recueillies dans une Societe, et publiees pour I'Instruction de quelques autres. Par C*** De L***. With 2 frontispieces and 13 plates after designs by Monnet, Mile. Gerard and Fragonard fils, engraved by Le Mire, Langlois, Masquelier, Pauquet, Ba- quoy, 8fc. 2 vols. 8vo, full red levant morocco, gilt backs and inside borders, gilt edges, by Duru et Chambolle. Londres (Paris), 1796 Contains the plates on heavy paper, with the page numbers. [LACROIX, PAUL] 558. Histoire de la Prostitution chez tous les Peuples du Monde depuis L'ANTiauiTE ia plus reculee jusau'A nos Jours, par Pierre Dufour (Paul Lacroix). Engraved plates. 8 vols. 12mo, half maroon morocco, lower edges uncut. Bruxelles, 1851-1861 LACROIX, PAUL 559. The Writings oe Paul Lacroix, comprising; — ■ Vie Militaire et Religieuse Moyen Age. Paris, 1873 Mceurs, Usages et Costumes au Moyen Age. Paris, 1874 Les Arts au Moyen Age, Paris, 1874 XVIIIme Siecle Institutions Usages et Costumes. Paris, 1875 Sciences & Lettres au Moyen Age. Paris, 1877 XVIIIme Siecle, Lettres, Sciences et Arts. Paris, 1878 XVIIme Siecle, Institutions, Usages et Costumes. Paris, 1880 XVIIme Siecle, Letters, Sciences et Arts. Paris, 1882 With over ^,000 illustrations, a large number of which are beautifully colored. Together, 8 vols, thick royal 8vo, uni- formly bound in half brown morocco, gilt backs, gilt tops, uncut. Paris, 1873-1882 An unusually attractive and complete series. LA FONTAINE'S FABLES. CONTES, AND PSYCHE ET CUPIDON, THE HOE COPIES CHIEFLY, IN- CLUDING THE FERMIERS GENEREAUX. EDI- TION BOUND BY JOLY. LA FONTAINE, JEAN DE 560. Fables Choisies, mises en vers. With 118 vignettes en- graved by F. Chwuveau, and ruled throughout in red ink. 2 vols. 12mo, full crimson levant morocco, inside gilt bor- ders, gilt over rough edges, by Dtjru et Chambolle. Paris: Chez Claude Barbin, 1668 Reimpression of the First Edition in 4to, which was issued the same year. The Robert Hoe copy, with bookplate. LA FONTAINE, JEAN DE 561. Fables choisies, mises en vers, par M. de la Fontaine, & par luy revues, corrigees & augmentees. With 835 vignettes by F. Chauveau and others. 5 vols. 12mo, full red levant morocco gilt, doublures of green morocco, with gilt borders, gilt edges, bindings not signed. Paris : Chez Denys Thierry and Claude Barbin, 1678-94 The only complete edition published under La Fontaine's supervision. Parts I., II. and V. are first issues. Leaf of Errata of Part II. and first blank of Part III. missing, and leaf containing advertisement and Errata of Part III. bound after the title of Part IV. The Robert Hoe copy, with bookplate. LA FONTAINE, JEAN DE 562. CoNTES ET NouvELLES EN VERS. With engraved frontis- piece by Lebas, fleurons on title, and 70 vignettes engraved by Chedel, Fessard and Ravenet, after Cochin. 2 vols. 12mo, full green levant morocco, side borders "a I'oiseau" in the manner of Derome, inside dentelle borders, gilt edges, by David. Amsterdam, (Paris), 1745 With the frontispiece by Lebas, generally missing. This issue contains two of the three vignettes which are reduced copies of the large plates engraved by Larmessin after Lancret. They are both in Vol. I, "A Femme avare," page 69, and "On ne s'avise jamais de tout," page 72, and are much superior to the Cochin plates, for which they were substituted. The Robert Hoe copy, with bookplate. LA FONTAINE, JEAN DE 563. CoNTEs ET NouvELLEs EN vEBs. Portraits of La Fontaine and Eisen engraved by Ficquet after Rigault and Vispre; 80 plates after Eisen engraved by Aliamet, Baquoy, Chof- fard, Delafosse, FUpart, Lemire, Leveau, De Longueil, and Ouvrier, with If, vignettes and 5^. tail-pieces by Choffard, the final one containing his portrait. 2 vols, small 8vo, full cit- ron levant morocco, gilt and mosaic backs, sides bordered by quintuple fillets surrounding compartments of blue inlays with gilt centres, doublures of blue and pink levant, a gilt centre panel-border of dots, fillets, flowers, scrolls, &c., fig- ured silk end-papers, gilt over rough edges, by Joly fils. Amsterdam (Paris), 1762 The Plates, which are Fine Impuessions, are on thick paper. The edition is known as, "Des Fermiers Genereaux" and re- produces some of Eisen's best work, — by many it is called his masterpiece. As a specimen of the engraved illustrated works of the eighteenth century it is difficult to excel it. "Le Cas de Conscience" (Vol. II.) p. 143, is uncovered, as is, also, "La Diable de Papefiguiere," p. 149. LA FONTAINE, JEAN DE 564. Fable choisies, mises en vers, nouvelle edition gravee en taille douce. Text engraved throughout by Montulay and Drouet; 6 titles, frontispiece, 2 vignette escutcheons, 1 plate for the life of Msop and 1 for the "Eloge historique," 238 plates {one for each fable), and Ji-71 head and tail-pieces engraved by Fessard after Bardin, Bidault, Caresme, Des- rais, Houel, and others. 6 vols. 8vo, full red levant mo- rocco gilt, gilt edges, by Rousselle. Paris: Chez I'Auteur, 1765-75 First Issue. In the second issue the words "Chez I'Auteur" on title are replaced by "Chez Durand" or "Delauriers, papetier." LA FONTAINE, JEAN DE 665. Les Amours de Psyche et de Cupidon, avec le Poeme d' Adonis. Edition omee de Figures dessinees par Moreau le jeune, et gravees sous sa direction. Portrait by Delvaux after Rigault, and 8 plates by Delvaux after Moreau le [No. 665 — Contirmed'] jeune. 2 vols. 12mo, white vellum, back, side borders and corner ornaments in small tools, rose watered-silk doublures and end-papers, gilt edges, by Bozebian jeune. Paris : Saugrain and Didot, 1797 Large Paper copy (.'') with the plates in two states, one being proof before letters. The Robert Hoe copy, with bookplate. LA FONTAINE, JEAN DE 566. La Fontaine's Tales. Imitated in English Verse. By Thomas Moore. 2 vols, extended to 6. 12mo, full crimson levant morocco, richly tooled backs and sides, doublures of turquoise blue levant, inlaid with red levant, and elaborately tooled, flowered silk linings, gilt edges, by David. In a case. London, 1814 Extea-Illusteatbd by the insertion of 410 plates, com- prising the following series ; — (1.) A set of Eisen plates, designed for the celebrated "Fermier-Generaux" edition. (2.) A set of the illustrations by Desenne, Deveria and Colin. (3.) A set of the Fragonard illustrations. (4.) A set of the same, "pure" etchings before all letters. (5.) The set of Culs-de-Lamps by Choffard. (6.) A proof set of the etchings by Boilvin, after E. De Beaumont. (7. The Tony Johannot plates, and (8) A finely executed hand-painted title-page to each vol- ume. LA FONTAINE, JEAN DE 567. CoNTES, avec illustrations de Fragonard. Reimpression de I'edition de Didot, 1795, revue et augmentee d'une notice par Anatole de Montaiglon. With etched reproductions of Fragonard's original drawings and reprint of the plates eri- graved after him, all vn two states amd the vignettes also in two states. 2 vols, thick royal 4to, full red levant mo- rocco, gilt tooled dentelle borders on the sides, gilt tops, un- cut, by Rousselle. Paris: Lemonyer, 1883 One of 100 copies on Japanese paper, with special titles in water color. LA FONTAINE, JEAN DE 668. Les Amours de Psyche et de Cupidon, suivies d'Adonis, poems. Preface de Jules Claretie. Nouvelle :Edition. Ornee de S6 figures de Borel, gravees en coulewrs par Vigna- Vigneron. 2 vols. 4to, full blue levant morocco, the sides tooled in an elaborate festoon pattern of flowers, scrolls, em- blems, etc., broad gold tooled inside borders, watered and fig- ured silk linings, gilt over uncut edges, by The Club Bin- DEEY. Paris, 1899 One of 250 copies, with the plates in three states — outline, aquatint, and colors. The Robert Hoe copy, with bookplate. LA FONTAINE, JEAN DE 569. Adonis, Poeme (extracted from the 4to edition of La Fon- taine's works printed by Didot). 4to, half red levant mo- rocco, gilt top. [Paris : Didot, n. d.] ExTRA-IiiLusTRATED by the insertion of about 170 plates, some in colors, many of folio size (folded and mounted on guards), all representing Adonis and Venus, from famous painters of the 16th, 17th and 18th centuries, including en- gravings, some proofs before letters, after Nattier, Boudier, Moreau, Eisen, etc. A few of the plates are engraved by Crispin de Pas, Antonio Salamanca, and others. LAMARTINE, ALPHONSE DE 570. Harmonies, Poetiques et Religieuses. Vignettes on titles. 2 vols. 8vo, full crimson levant morocco, gilt backs and in- side borders, gilt edges, by Belz-Niedree. Paris, 1830 First Edition. The Robert Hoe copy, with bookplate. LAMARTINE, ALPHONSE DE 671. La Chute d'un Ange. 2 vols. 8vo, full crimson levant mo- rocco, gilt backs and inside borders, gilt edges, by Belz- Niedree. Paris, 1838 First Edition. The Robert Hoe copy, with bookplate. CHARLES LAMB'S FIRST EDITIONS OF A DOZEN WORKS AND A SPLENDID A. L. S. OF MARY LAMB WITH POSTSCRIPT BY CHARLES. [LAMB, CHARLES] 672. Original Letters, &c. of Sir John Falstaff and his Friends ; now First made Public by a Gentleman, a De- scendant of Dame Quickly, from Genuine Manuscripts which have been in the Possession of the Quickly Family near Four Hundred Years. Frontispiece. 12mo, full red levant mo- rocco, gilt back and inside borders, gilt top, uncut, by Riviere. London: Printed for the Author, 1796 First Edition. This volume was written by Lamb's old schoolmate "Jem" White, although it is thought by many that Lamb, himself, had considerable to do with its compo- sition. The poet Southey says emphatically in a letter to Moxon, the publisher, "that he (White) and Lamb were joint authors of the original 'Letters of Falstaff.' " Lamb always mentioned the work with approbation, but at no time did he hint that he had had any share in the author- ship of it. LAMB, CHARLES 573. John Woodvil. A Tragedy. To which are added Frag- ments of Burton, the author of The Anatomy of Melan- choly. 12mo, original pink boards, uncut, in a full green levant morocco pull-off case. London: Printed by T. Plummer, 1802 "Woodvil" ends on p. 104. Then follows a "Ballad. From the German." Mary Lamb's poem, "Helen" is printed on pp. 106-107, and is, apparently, her first appearance in such a form. This is Lamb's initial effort at play-writing, composed sometime in 1799. At first, he thought of entitling the play, — "Pride's Cure," and submitted it in manuscript to Coleridge, Southey, and other poets, besides sending a copy to Kemble, the actor. It does not appear that a perform- ance of the play was ever given. The "Fragments of Burton" are said to be a mild attempt at literary forgery upon Lamb's part. LAMB, CHARLES 574!. Tales from Shakespeau, Designed for the Use of Young Persons. By Charles Lamb. Embellished with copper- plates. 2 vols. 12mo, full red levant morocco, gilt backs and inside borders, some lower edges uncut, by Rivieee. London: Printed for Thomas Hodgkins, 1807 First Edition. Mary Lamb wrote 14 of the twenty plays composing this volume, her brother Charles writing the balance and, it is said, aiding very largely in the adapta- tion of the others. The plates were engraved by William Blake after designs by Mulready, but failed to gain the entire approbation of Lamb who severely criticised the bulk of the work of these two famous artists. As is stated in the Preface, these plays were adapted, "more especially for girls, because boys are generally permitted the use of their fathers' libraries at a much earlier age than girls are, they frequently having the best scenes of Shakespear by heart, before their sisters are permitted to look into this manly book." LAMB, CHARLES 575. The Adventures of Ulysses. Frontispiece and engraved title by Heath after Corbauld. 12mo, full crimson levant morocco, gilt back, sides tooled in panels of scroll-like orna- ments and fillets, doublures of red silk, with wide gilt bor- ders, end-papers similar, gilt top, all other edges entirely uncut, by David. London: Printed by T. Davison for the Juvenile Library, 1808. First Edition. An unusually tall copy measuring 4!/46 inches x 7)^ inches. LAMB, CHARLES 576. Specimens of English Dramatic Poets, who lived about the time of Shakespeare: with Notes. 12mo, full maroon levant morocco, gilt back and inside borders, gilt top, uncut, by Riviere. London: Longman, &c., 1808 First Edition, and fine, tall copy. [LAMB, CHARLES] 677. Stories of Old Daniel: or, Tales of Wonder and Delight. Frontispiece after Corbould. 12mo, full dark-blue levant morocco, gilt back and side panels of floral wreaths and other ornaments, doublures of silk-brocade with borders of small dots and fillets, figured silk end-papers, gilt top, un- cut, by David. London : Printed for the Proprietors of the Juvenile Library, 1808. First Edition. Ascribed to Charles Lamb, although not included in the Bibliography of that author's works issued by Mr. L. S. Livingston in 1903. By many, however, it is believed that the above was written by either Charles, or Mary Lamb, preferably the former as in the advertisements of his books issued about the date of this work, announce- ment is made of the future appearance of, — "Stories of Old Daniel," "Adventures of Ulysses," and others. LAMB, CHARLES 578. Mrs Leicester's School: or. The History of Several Young Ladies, Related by Themselves. Frontispiece designed and engraved hy Hopwood. 12mo, full green levant morocco, gilt back, side ornaments on sides, gilt inside borders, gilt top, uncut, by Wood. London : Printed for M. J. Godwin, 1809 First Edition. Most of these stories were written by Mary Lamb, but three having been contributed by her brother, viz.: — the "Witch Aunt," the "First Going to Church," and a "Little Indian Girl." LAMB, CHARLES 579. The First Book of Poetry, For the Use of Schools. In- tended as Reading Lessons for the Younger Classes. By W. F. Mylius. With ^ plates. 12mo, original sheep. In dark-green levant solander case, gilt-lettered. London : Printed for M. J. Godwin, 1811 First Edition. Contains the two leaves of advertisements announcing the stories of, — "Old Daniel," "Lamb's Tales from Shakespear," "Mrs. Leicester's School," &c. This volume was issued by Godwin to take the place of Lamb's "Poetry for Children," which appeared in 1809, [No. 579 — Conti7med'\ and never reprinted. Charles and Mary Lamb were the authors of at least 23 of the poems herein published, that on p. 19 signed "M. L." being a first appearance. The work was issued probably late in 1810 and post-dated, as seems natural to infer from the date-lines of the plates. LAMB, CHARLES 580. Some Enquiries ikto the Effects of Fermented Liquors. By a Water Drinker. With 5 full-page plates. 8vo, full dark-green levant morocco, gilt back, sides, and inside bor- ders, gilt edges. London: Printed for J. Johnson and Co., 1814 First Edition. Compiled by Basil Montagu. Lamb's "Confessions of a Drunkard" will be found on pp. 201-215, and is printed here in book form for the first time, it having made its initial appearance in the pages of "The Philan- thropist" in 1813, and included in this volume without his permission. LAMB, CHARLES 581. The Works of Lamb. 2 vols. 12mo, full brown levant mo- rocco, gilt backs and inside borders, gilt tops, uncut, by Riviere. London: Printed for C. and J. Oilier, 1818 The First Collected Edtion with the advertisements in Vol. II. Tall, clean copy. Contains, also, several Poems by Mary Lamb. LAMB, CHARLES 582. Elia. Essays which have appeared under that signature in the London Magazine. London : Printed for Taylor and Hessey, Fleet Street, 1823 ; The Last Essays of Elia. Be- ing a Sequel to Essays published under that Name. Lon- don: Edward Moxon, Dover Street, 1833. 2 vols. 12mo, full dark-green levant morocco, gilt backs and inside bor- ders, gilt tops, uncut, by Riviere. London, 1823-1833 First Issue of the First Editions of both volumes, the imprint on the title of the first-named being without the line "and 13 Waterloo Place" ; and the second-noted contain- ing the half-title, the first having been issued without it. LAMB, CHARLES 583. Album Verses, with a Few Others. Vignette on title. 12mo, full dark-blue levant morocco, gilt back and inside borders, gilt top, uncut, with the original paper label bound in, by Riviere. London: Edward Moxon, 1830 First Edition and one of the first books issued with the Moxon imprint. In the dedication of the work to William Moxon, Lamb calls his productions, — "Advertisement Verses." Fine tall copy measuring 4%6 inches x 7%6 inches. LAMB, CHARLES 584. The Works of Lamb. A New Edition. Portrait, amd titles in red-and-black. 5 vols. 8vo, half boards and morocco, gilt, gilt tops, uncut, as issued. Boston: William Veazie, 1865 One of 100 copies on Large Paper. LAMB, CHARLES AND MARY 585. A. L. S. FROM Mary Lamb to Sarah Stoddart, 2pp. large folio, on which Charles Lamb has written a postscript of 7 lines signed "C. Lamb." Mentions Coleridge, the Words- worths, &c., with an erasure of 4 lines. N. p. n. d. After expressing great appreciation of Miss Stoddart's let- ters, and commenting upon other personal matters, Mary Lamb continues ; — "My brother has had a letter from your mother which has distressed him sadly- — about the postage of some letters be- ing paid by my brother — your silly brother it seems has informed your mother (I did not think your brother could have been so silly) that Charles had grumbled at paying the said postage. The fact was, just at that time we were very poor, having lost the Morning Post, & we were beginning to practice a strict economy. My brother who never makes up his mind whether he will be a Miser, or a Spendthrift, is at all times a strange mixture of both, of this failing the even economy of your correct brother's temper makes him an ill judge. The miserly part of Charles, at that time smarting under his recent loss, then happened to reign triumphant, and he would not write, or let me write, so often as he wished, be- [No. 585 — Contvrmed'\ cause the postage cost two and four pence, then come two or three of your poor Mother's letters nearly together, & the two & four pences he wished, but grudged to pay for his own, he was forced to pay for hers. . . . By entreaties and prayers I might have prevailed on my brother to say nothing about it. But I make a point of conscience never to interfere, or cross my brother in the humour he happens to be in. It always seems to me to be a vexatious kind of Tyranny that women have no business to exercise over men, which merely because they having a better judgment they have the power to do it. Let men alone, and at last we find they come round to the right way, which we by a kind of intuition perceive at once." Charles Lamb's postscript is in a humorously genial strain, the gist of it being that both he and his sister would much like to see Miss Stoddart soon again. LAMB, CHARLES AND MARY 586. A Bibliography of the First Editions in Book Fobm of THE Writings of Charles and Mary Lamb, published PRIOR TO Charles Lamb's Death in 1834. By Luther S. Livingston. Portraits on Japanese paper and facsimiles. 8vo, boards, uncut. New York: De Vinne Press, 1903 One of 90 copies on Van Gelder paper. LAMB, CHARLES, COLERIDGE, SAMUEL TAYLOR, AND LLOYD, CHARLES 587. Poems, by S. T. Coleridge. Second Edition. To which are now Added Poems By Charles Lamb and Charles Lloyd. 12mo, full red levant morocco, gilt back and inside bor- ders, gilt edges, by Riviere. London: Printed by N. Biggs for J. Cottle, &c., 1797 Lamb's contributions include, — Sonnets I.-VIII. ; six pieces under the caption, "Fragments," and a Poem in the Supple- ment. Sonnet VI. is the one written while the author was confined in the madhouse at Hoxton in 1795-1796. On the fly-leaf of volume is inscribed, — "The first book in which Lamb's name appears on the title-page." LAMB, CHARLES, AND LLOYD, CHARLES 588. Blank Verse. 12mo, full dark-blue levant morocco, gilt back, doublures of light-pink levant with gilt leaf border, gilt top, [No. 588 — Continued^ by Tout, small portion of one outer margin supplied. London : Printed by T. Bensley for J. and A. Arch, 1798 FiEST Edition. Contains 7 pieces by Lamb and 13 by Lloyd, the titles' of the first-named being, — "To Charles Lloyd"; "Written on the Day of my Aunt's Funeral"; "Written a Year after the Events"; "Written soon after the Preceding Poem" ; "Written on Christmas Day, 1797" ; "The Old Familiar Faces" ; "Composed at Midnight. Un- dated." Although this work was published the same year as "Rosamund Gray," its issue in all probability antedated that, which fact Lamb's own statement would seem to con- firm. LA MOTTE, HOUDARD DE 589. Fables Nouvelles, dediees au Roy. Vignette on title by Simoneau, after Vleughels and 100 vignettes engraved hy Cochin, Gillot, Tardieu, B. Picart, Simoneau and Edelink after GUlot, Coypel, Edelink, B. Picart and Ranc. 4to, old full green straight-grained morocco gilt, gilt edges, en- graved frontispiece missing. Paris : Chez Gregoire Dupuis, 1719 Laege Holland Paper copy. LA MOTTE ROULLANT, SEIGNEUR DE 590. Les facetieux deviv des cent et six nouuelles, nouuelles, tresrecreatiues & fort exemplaires pour reueiller les bons ioyeux esprits. Francoys . . . Title within a wood- cut border. 8vo, citron levant morocco, the sides and back covered with mosaics in red and dark green, in the manner of Padeloup, doublures of red levant morocco, with inlaid bands of green and citron levants, yellow silk linings, gilt edges, by The Club Bindery. In case, Paris: Jehan Real, 1650 The Robert Hoe copy, with bookplate. LANG, ANDREW 591. AucASSiN & NicoLETE, done into English. Etched frontis- piece. First Edition. 12mo, full light green polished calf, floral gilt tooled back, gilt top, uncut, by Zaehnsdorf. London, 1887 LANG, ANDREW 592. Books and Bookmen. Illustrated. 12mo, full brown le- vant morocco, gilt back, gilt top, uncut, by Zaehnsdoef. Probably on Large Paper. London, 1887 LANG, ANDREW 593. Perrault's Popular Tales. Edited from the Original Edi- tions, with Introduction etc. by Andrew Lang. Small 4to, full light green levant morocco, unusually decorated borders full light green levant morocco, unusual decorated borders tooling, with comer and other ornaments inlaid with red levant, centre ornament on each side consisting of "Puss in Boots" in drab and brown mosaic, within oval panel, inside dentelle borders, gilt edges, by Ruban. In a case. Oxford, 1888 FiEST Edition. Extra-Illustrated by the insertion of 68 portraits and plates, composed of the following; Por- traits of Perrault by Annedouche, Martinez, Lalauze and Rebel, after Eisen; a set of the Eisen plates on Chinese paper, printed in blue and bistre ; a set of the Monzies etch- ings, and the Lalauze set for the Jouaust edition. Also a 2pp. A. L. S. from Andrew Lang, April 25th, (1887) to Henry W. Poor, about "Mother Goose's Melodies," and re- ferring to Perrault's Tales. The Henry W. Poor copy, with bookplate. LAVATER, JOHN CASPER 594. Essays on Physiognomy. Illustrated by more than 800 en- gravings accurately copied, and some duplicates added from originals. 3 vols, thick royal 4to, full russia, gilt backs, rebacked and joints repaired. London, 1789-1798 LA VIGNE, DAVID DE 595. Spiegel om wel te Sterven ("The Mirror for Well- Dieing"). Text engraved throughout, and 4-^ fine copper- plates, all brilliant impressions, by R. de Hooge. Small 4to, stamped levant morocco, gilt edges, by Wright. Amsterdam: Joannes Stichter, 1694 The Original Edition of the plates, which were afterwards used for the Chertablon and De La Vigne treatises. The volume is divided into three parts, with three frontispieces and 39 numbered plates. The Henry W. Poor copy, with bookplate. LAUDES BEATAE MARIAE VIRGINIS 596. Latin Poems taken from a Psalter written by an Eng- lish SCRIBE, most likely in one of the Midland counties, early in the 13th century. Edited by S. C. Cockerell. Printed in Troy type in black, red and hliie. 4to, half Holland and boards, uncut. Hammersmith: The Kelmscott Press, 1896 One of 250 copies issued. The first book printed at the Kelmscott Press in three colors. LECKY, WILLIAM E. H. 597. History of European Morals, from Augustus to Charle- magne. Second Edition. /2 vols. 8vo, full polished calf, gilt backs, gilt tops, uncut, by Tout. London, 1869 LEECH, JOHN— Illustrator 598. Portraits of Children of the Mobility. Drawn from Na- ture by J. Leech. Illustrated. First Edition. Royal 4to, half red morocco, gilt top, uncut. London, 1841 LE SAGE IN EXTRA-ILLUSTRATED COPIES, AND OTHERS LE SAGE, ALAIN RENE 599. Histoire de Gil Blas de Santillane. Demiere Edition, revue & corrigee. With 31 full-page copperplate engrav- ings, all before letters. 4 vols. 12mo, full red levant mo- rocco, floral panelled backs, gilt edges, by Thibaron. Paris, 1747 Second issue of the first complete edition, with the cannon in the first plate of Vol. I. facing to the right, instead of to the left, and a typographical ornament at the top of page one, instead of a vignette of a temple. The Robert Hoe copy, with bookplate. LE SAGE, ALAIN RENE 600. Histoire de Gil Blas de Santillane, demiere edition, revue et corrigee. With 32 engraved plates {not signed). 4 vols. 12mo, full blue levant morocco gilt, gilt edges, by David. Paris, 1747 The last edition published in the lifetime of Le Sage, with his latest corrections. LE SAGE, ALAIN RENE 601. AsMODEUs; or, The Devil on Two Sticks. With a Bio- graphical Notice of the Author, by Jules Janin. Trans- lated by Joseph Thomas. Illustrated hy Tony Johannot. 8vo, full steel blue levant morocco, the sides richly tooled with "Gravelot" borders, fully tooled panelled back, broad inside borders, richly figured damask doublures and fly- leaves, gilt over rough edges, by Ruban. London, 1836 Extra-Illusteated by the insertion of 14 plates, compris- ing (1) A Set of the Adolph Lalauze etchings, proofs on Holland paper, and (2) a set of the Los Rios etchings, proofs on Japanese paper. LE SAGE, ALAIN RENE 602. The Adventures of Gil Blas of Santillane. Translated from the French of Le Sage, by T. Smollett. Illustrated hy Jean Gigoux. 3 vols. Svo, full steel blue levant morocco, the sides richly tooled with "Gravelot" borders, panelled backs, broad inside borders, richly figured damask doublures and fly-leaves, gilt over rough edges, by Ruban. In cases. London: Tilt, 1836 Richly Extra-Illustrated by the insertion of 104 plates, comprising ; — ( 1 ) A proof set of the Los Rios etchings and portrait of the author on Japanese paper. (2) A proof set of the Lalauze etchings and portrait of the author on Japanese paper. (3) A set of the steel engravings by Colin, and portrait of the author after Desenne. (4) The Challiou illustrations engraved on copper. (5) The Angelica Kauffman designs, engraved by Bovinet for the French edition of Bertin. (6) The George Cruikshank illustrations, designed and etched by himself. ( 7 ) The very rare set of plates designed by Chodowiecki. (8) The Garvarni designs, engraved on steel by Outhwaite and others, on Chinese paper. (9) The Henri Pille etchings, proofs on Holland paper. (10) The designs by Robert Smirke, engraved by Rolls, on Chinese paper. (11) Portraits of the author, by Leloir, Lalauze, Guelard and Deveria. LESLIE, CHARLES ROBERT, AND TAYLOR, TOM 603. Life and Times of Sib Joshua Reynolds. Portraits and illustrations. First Edition. 2 vols. 8vo, original cloth, slightly worn, uncut. London, 1865 LEVIS, HOWARD C. 604. A Descriptive Bibliography of the most important Books in the English Language relating to the Art & History of Engraving and the Collecting of Prints. Nti/merous facsimiles. Thick 4to, cloth back and boards, uncut. London, 1912 One of 350 copies printed. LEVIS, HOWARD C. 605. Baziliwlogia, A Booke of Kings. Notes on a rare series of engraved English Royal Portraits, from William the Con- queror to James I, published under the above title in 1618. Numerous facsimiles. 4to, cloth back, and boards, paper label, uncut. New York: The Grolier Club, 1913 One of 300 copies on Japanese paper. LEWES, G. H. 606. The Life and Works of G(ethe; with Sketches of his Age and Contemporaries, from published and unpublished Sources. First Edition. 2 vols. 8vo, half green morocco, gilt backs, gilt tops. London, 1855 Extra-Illustrated by the insertion of 70 portraits and plates. LIPPMANN, DR. FR. 607. Engraving and Etching. A Handbook for the use of Stu- dents and Print Collectors. Translated by Martin Hardie. With 131 illustrations. 8vo, cloth. New York, 1906 LITTRE, E. 608. DiCTiONNAiRE DE LA Langue Francaise. 5 vols, (including the Supplement). Royal 4to, cloth, morocco backs. Paris, 1885-1884 LIVINGSTON, LUTHER S. 609. A BlBMOGRAPHY OF THE FiRST EDITIONS IN BoOK FoRM OF THE Writings of Henry Wadsworth Longfellow. Por- trait. 8vo, boards, uncut. New York : Privately printed, 1908 One of 500 copies on old Stratford paper. FIRST EDITIONS OF LOCKER'S LYRA ELEGAN- TIARUM, AND PATCHWORK, WITH LARGE PAPER COPY OF LONDON LYRICS LOCKER, FREDERICK 610. London Lyrics. With an illustration hy George Cruikshank. London, 1857 ; Patchwork. Vignette on title. London, 1879. Both First Editions. Together, 2 vols. 12ino, original cloth. London, 1857-1879 LOCKER, FREDERICK 611. Lyra Elegantiarum ; a Collection of some of the best speci- mens of Vers de Societe and Vers d'Occasion, in the English language, by deceased authors. First Edition. 12mo, orginal cloth, uncut. London, 1867 Owing to infringement of copyright, this edition was sup- pressed. LOCKER, FREDERICK '612. Patchwork. Vignette on title. 8vo, original cloth, uncut. London, 1879 First Edition. Only 50 copies were issued for presentation to friends, with the extra leaf specially printed for that pur- pose. Autograph presentation copy from Frederick Locker to Francis Grant, with the words "Member of the Philobiblon Society" extended to "not a Member of the Philobiblon So- ciety of Asses" in Locker's autograph. Contains bookplate of both author and recipient. LOCKER, FREDERICK 613. London Lyrics. With illustrations by Kate Greenaway {on India paper), and frontispiece by Randolph Caldecott in [No. 613 — Continued^ two states, first and second. 8vo, original vellum, uncut, and mainly unopened. London: Privately printed, 1881 Large Paper Copy, of which but 50 were printed, and of which it has been said, that only six were issued with the Caldecott plate in the first state, as above. Locker objected to the feather in the girl's hat, and the plate was re-engraved without it. A few proofs of the plate in the altered state were then struck off, one of which is inserted in this copy. LOCKWOOD, LUKE VINCENT 614. Colonial Furniture in America. Illustrated. First Edi- tion. Royal 8vo, cloth, gilt top, uncut. New York. 1901 LOCKWOOD, LUKE VINCENT 615. A Collection or English Furniture of the XVII & XVIII Centuries. Numerous facsimiles. 4to, cloth back and boards. New York: Tiffany Studios, 1907 One of 500 copies printed. THE D. F. APPLETON COPIES OF FIRST AND OTHER EDITIONS OF HENRY W. LONGFEL- LOW LONGFELLOW, HENRY WADSWORTH 616. Miscellaneous Poems, selected chiefly from the United States Literary Gazette. Vignette on title. First Edition. 12mo, full crimson levant morocco, gilt top, uncut, by The Club Bindery. Boston, 1826 Of the fourteen poems by Longfellow only five were retained and published in "Voices of the Night," and later editions of his works. Poems by William CuUen Bryant are also in- cluded in the volume. The D. F. Appleton copy, with bookplate. [LONGFELLOW, HENRY WADSWORTH] 617. Novelas Espanolas. El Serrano de las Alpujarras; y el Cuadro Misterioso. First Edition. 12mo, full orange le- vant morocco, richly tooled back, broad inside dentelle bor- ders, gilt edges, by Ruban. Brunswick, 1830 Edited, with a preface, by Henry W. Longfellow. LONGFELLOW, HENRY WADSWORTH 618. CoPLAS DE Don Jorge MANRiauE. Translated from the Spanish. With an Introductory Essay on the Moral and Devotional Poetry of Spain. 12mo, full crimson straight- grained morocco, ornate sides and back, gilt top, by The Club Bindery. Boston, 1833 First Edition. The first separate publication of Long- fellow, containing the Sonnets "Nature and Art" and "The Two Harvests" from the Spanish, -which have never been reprinted. The D. F. Appleton copy, with bookplate. [LONGFELLOW, HENRY WADSWORTH] 619. Outre-Meb, a Pilgrimage beyond the Sea. First New York Edition. 2 vols. 12mo, full crimson straight-grained mo- rocco, gilt backs and tops, uncut, by Stikeman. In a case. New York; 1835 [LONGFELLOW, HENRY WADSWORTH] 620. Hyperion, a Romance. By the Author of "Outre-Mer." First Edition. 2 vols. 12mo, full olive-green levant mo- rocco, ornaments on sides, richly tooled backs, inside den- telle borders, gilt tops, uncut, by The Club Bindery. New York, 1839 The first of the author's writings written in his Cambridge home — in the Washington chamber of Craigie House. The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 621. Voices or the Night. First Edition. 12mo, full green levant morocco, richly tooled back, gilt sides, inside dentelle borders, gilt top, uncut, by The Club Bindery. Cambridge, 1839 The author's first volume of verse, containing "The Psalm of Life," "The Reaper and the Flowers" and other poems, all of which were composed before he was nineteen years of age. The D. F. Appleton copy, with bookplate. [LONGFELLOW, HENRY WADSWORTH] 622. The Bowdoin Poets. Edited by Edward P. Weston. Illus- trated. First Edition. 12ino, half morocco, gilt top, un- cut, original covers bound in. Brunswick, 1840 Contains the poems, — "The Spirit of Poetry," "Burial of the Minnisink," and two other poems by Longfellow. LONGFELLOW, HENRY WADSWORTH 623. Ballads and othee Poems. 12mo, full dark brown levant morocco, gilt back, inside dentelle borders, silk doublures and fly-leaves of the same, gilt top, by The Club Bindeuy. Cambridge, 1842 First Edition. Presentation Copy from the Author, with "Wm. H. C, with the compliments of the Author" in his autograph, on one of the blank leaves. The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 624. Poems on Slavery. 12mo, full crimson straight-grained morocco, gilt top, uncut, original glazed covers of both edi- tions bound in. Cambridge, 1842 First and Second Editions bound together. The first edi- tion is a presentation copy from the author, bearing the fol- lowing inscription in his autograph on the wrapper, — "Rett. Cleveland Coxe, -from the Author." The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 625. The Spanish Student ; A Play, in Three Acts. First Edi- tion. 12mo, full crimson straight-grained morocco, gilt back, gilt top, uncut, original glazed boards bound in, by Stikeman. In a case. Cambridge, 1843 LONGFELLOW, HENRY WADSWORTH 626. The Belfry of Bruges, and other Poems. First Edition. 12mo, full maroon levant morocco, panelled sides and back, inside dentelle borders, gilt top, uncut, original wrappers bound in, by The Club Bindery. Cambridge, 1845 The D. F. Appleton copy, with bookplate. [LONGFELLOW, HENRY WADSWORTH] 627. The Waif ; A Collection of Poems. 12mo, original boards, upper portion of back supplied. Cambridge, 1845 FiasT Edition. Edited by Longfellow, who contributed "The Day is Done." The Edward Hale Bierstadt-D. F. Appleton copy, with bookplates of both, the former engraved by E. D. French. LONGFELLOW, HENRY WADSWORTH 628. Evangeline, A Tale of Acadie. First Issue of the First Edition. 12mo, full dark green levant morocco, gilt back and sides, figured silk doublures and fly-leaves, gilt top, with the advertisements bound in, by The Club Bindeky. Boston, 1847 Contains the syllable "Lo" on p. 61 instead of "Long," and the other features which distinguish this issue. The D. F. Appleton copy, with bookplate. [LONGFELLOW, HENRY WADSWORTH] 629. The Estkay ; A Collection of Poems. First Edition. 12mo, full sage green levant morocco, richly gold tooled sides and back, broad inside dentclle borders, gilt top, uncut, with the advertisements, dated January 1, 1847, bound in, by The Club Bindery. Boston, 1847 Edited, with the Proem, by Henry W. Longfellow. The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 630. Kavanagh, a Tale. First Edition. 12mo, full sage-green levant morocco, richly gold tooled sides and back, broad in- side dentclle borders, gilt top, uncut, with the advertise- ments, dated May 1, 1849, bound in, by The Club Bindery. Boston, 1849 The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 631. The Seaside and the Fireside. First Edition. 12mo, full dark brown levant morocco, back fully gold tooled, inside dentelle borders, gilt top, with the advertisements dated De- cember, 1849, bound in, by The Club Bindery. Boston, 1850 The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 632. The Golden Legend. Fikst Edition. 12mo, full orange levant morocco, broad ornate gold tooled borders on sides, doublures of orange silk, and with similar fly-leaves, original cloth covers bound in, by The Club Bindery. Boston, 1851 The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 633. The Song of Hiawatha. 12mo, full crimson levant mo- rocco, richly tooled back, ornaments on sides, gilt top, dou- blures of orange silk, and fly-leaves of the same, gilt top, by The Club Bindery. Boston, 1855 First Edition. The D. F. Appleton copy, with bookplate. LONGFELLOW, HENRY WADSWORTH 634. The Courtship or Miles Standish. First Edition. 12mo, full dark brown levant morocco, flowing garlands of leaves as side decorations, over line and circular ornaments, back richly tooled in a different pattern, red silk doublures and fly-leaves, gilt top, by Zaehnsdorf. Boston, 1858 LONGFELLOW, HENRY WADSWORTH 635. The Courtship or Miles Standish, 1858; Tales of a Way- side Inn. Engraved title. 1863 ; The New England Trage- dies, 1868; The Divine Tragedy, 1871; Three Books of Song, 1872; Aftermath. With frontispiece. 1873; The Masque of Pandora and other Poems, 1875; Keramos and other Poems, 1878 ; Ultima Thule. Portrait. 1880; In the Harbor. Ultima Thule, part II. Portrait. 1882. All First Editions. Together, 10 vols. 12mo, all original cloth. Boston, 1858-1882 Eight of the above are from the D. F. Appleton collection, with bookplate in each. One is the Edward Hale Bierstadt- D. F. Appleton copy. THE DAPHNIS AND CHLOE OF LONGUS, THREE EDITIONS, IN BINDINGS BY CUZIN, CHATE- LIN, AND LORTIC LONGUS 636. Les Amoues Pastorales de Daphnis et Chloe. With title and S9 plates, all engraved by Audran. Small 8vo, citron levant morocco, back and sides in mosaic compartments of blue and red morocco with gilt figures, doublures of dark- blue levant, with borders after the manner of Derome, gilt edges, by Cuzin. In a citron morocco case, chamois-lined, with gilt and mosaic back. [Paris: Quillau], 1718 Amyot's translation on Large Paper, published by order of Philippe d'Orleans, Regent of France, and at his expense. He is supposed to have designed the plates, which include the suppressed plate, — "Les Petits Pieds." Also, includes a vignette by Choffard, not generally found in this edition, of which but 250 copies, it is thought, were printed. The Robert Hoe copy, with bookplate. LONGUS 637. Daphnis et Chloe. Traduction d'Amyot. Compositions d'Emile Levy, gravees a Veau-forte par Flameng, dessins de Giacomelli, graves sur hois par Rouget et Sargent. 12mo, full orange levant morocco, back and sides covered with Grolieresque design of fillets and open ornaments, with in- tertwined mosaics in red and green levant, doublures of green morocco, covered with small tools, gilt top, uncut, by Chate- LiN. In a morocco case. Paris, 1872 One of 50 copies on India paper. The Robert Hoe copy, with bookplate. LONGUS 638. Daphnis and Chloe. From the Greek of Longus. With an Introduction by Jules Claretie. Illustrated by Raphael Col- lin. Royal 8vo, full emerald-green levant morocco, sides tooled with garlands of flowers, and other ornamentation. [No. 638 — Continued] doublures of light-brown levant, with dentelle borders, old- rose damask silk fly-leaves, gilt top, by Lortic. In case. Paris, 1890 One of 100 copies printed on Japanese paper, with the charming illustrations by Collin in three proof states, with the vignettes printed in tints, and Extra-Illustkated by the insertion of (1) a set of 30 copperplate engravings, de- signed by Philippe d'Orleans, including the "Petits Pieds" plate, and (2) an India proof set of the beautiful plates de- signed by Prudhon and Gerard, engraved by Anncdouche. LOSSING, BENSON J. 639. The Hudson, from the Wilderness to the Sea. Illus- trated by 306 engravings on ttood, from drawings by the au- thor, and a jrontispiece on steel. One volume extended to two, 8vo, half green morocco, gilt backs, gilt tops. New York, (1866) Extra-Illustrated by the insertion of 84 portraits and views, 2 original drawings, and 3 autograph letters of the author and others. It was extra-illustrated by Mr. William L. Andrews, and has illuminated titles in each volume to that effect. The portraits inchide several from Murray's His- tory of the American War, that of General Arnold from The European Magazine, 1783, and others. LOSSING, BENSON J. 640. Pictorial History oe the Civil War, in the United States of America. With nearly 1,200 engravings on tcood, by Lossing and Barritt, from sketches by the author and others. 3 vols, thick 8vo, half crimson levant morocco, gilt backs, gilt tops. Philadelphia, n. d. Extra-Illustrated by the insertion of 175 portraits of soldiers or civilians mentioned in the text, and about 100 autograph letters, letters signed, or documents signed, in- cluding specimens by U. S. Grant (endorsement on reverse of a letter), Caleb Cushing, Alexander H. Stephens (lengthy autograph annotation on reverse of a letter by another hand), Henry A. Wise, Beriah Magoffin, Isaac W. Hayne, 0. P. Morton, Francis H. Pierpont, John A. Logan, W. T. Sher- man (a 3pp. A. L. S. written in 1874), John G. Barnard, James A. Negley, and many others. LOVER, SAMUEL 641. PIandy Andy; A Tale of Irish Life. With 24- illustratioiis on steel by the author. First Edition. 8vo, half green mo- rocco, gilt back, gilt top. London, 1842 FIRST EDITIONS OF JAMES RUSSELL AND MA- RIA LOWELL FROM THE D. F. APPLETON LI- BRARY PRINCIPALLY [LOWELL, JAMES RUSSELL] 642. Ci.ASs Poem. 8vo, full green levant morocco, gilt back and sides, gilt top, by Stikeman. Cambridge, 1838 FiKST Edition. The author's first publication, of which but 50 copies were privately printed for circulation among members of the class of 1838 at Harvard College. Writ- ten in ink on the title under "Class Poem" in the neat hand of a former owner is — "By James Russell Lowell, who was not allowed to deliver it on Class Day 1838, having been sus- pended & sent to pass the time before Commencement with Rev. Barzillai Foot at Concord." Laid in is a Ip. A. L. S. of the author, Cambridge, April 26th, 1875, to Mr. Winthrop on personal matters. LOWELL, JAMES RUSSELL 643. Poems. 12mo, half blue levant morocco, gilt back, gilt top. Cambridge, 1840 FiusT Edition. The D. F. Appleton copy, with bookplate. LOWELL, JAMES RUSSELL 644. A Year's Life. 12mo, original boards, with paper label, uncut, small portion of lower back skilfully repaired. In a blue morocco case. Boston, 1841 First Edition. Mr. Lowell's first volume of verse, contain- ing some poems written in his youth, which have not been re- printed. Contains the slip of "Errata." The D. F. Appleton copy, with bookplate. LOWELL, JAMES RUSSELL 645. Conversations on some or the Old Poets. Cambridge, 1845; The Liberty Bell. By Friends of Freedom (contain- [No. 645 — Continued'] ing "Extreme Unction" and "A Twilight Vision" by Low- ell), Boston, 1847; The Biglow Papers, Second Series, Bos- ton, 1867 ; Among My Books, Boston, 1870. Together, 4 vols. 12nio, 3 in original cloth, 1 (the first named) half morocco. Cambridge and Boston, 1845-1870 All Fiest Editions. Three of the above are the D. F. Appleton copies, with bookplates. The other (The Biglow Papers) is the E. A. Bigelow copy, with bookplate. [LOWELL, JAMES RUSSELL] 646. A Fable for Critics. 12mo, original boards, new back skill- fully supplied, with original label. In morocco case. (New York), 1848 First Edition. First Issue, with the half-title, advertise- ments on verso of same, and lacking the line "A Vocal and Musical Melody." The E. A. Bigelow copy, with bookplate. LOWELL, JAMES RUSSELL 647. Poems. Second Series. 12mo, full maroon levant morocco, inside dentelle borders, gilt top, uncut, margin of last leaf extended, by Stikeman. Cambridge, 1848 First Edition. The D. F. Appleton copy, with bookplate. [LOWELL, JAMES RUSSELL] 648. Melib(eus-Hipponax. The Biglow Papers. By Homer Wil- bur. 12mo, full brown levant morocco, gilt back and sides, gilt edges, by The Club Bindery. Cambridge, 1848 First Edition. First Issue, with the name of George Nichols as publisher on title. Later issues bear the book- seller's imprint in addition. The D. F. Appleton copy, with bookplate. LOWELL, JAMES RUSSELL 649. The Vision of Sir Launfal. 12mo, original boards, uncut, new back skilfully supplied. In morocco case. Cambridge, 1848 First Edition. The E. A. Bigelow copy, with bookplate. [LOWELL, JAMES RUSSELL] 650. Membceus-Hipponax. The Biglow Papers. By Homer Wil- bur. Both Series. First Editions. 2 vols. 12mo, full light blue levant morocco, sides richly ornamented with sprays of branches and blossoms and small dots, backs to match, doublures of russet silk, and fly-leaves of the same, gilt tops, by ZAEHNSDOnr. Cambridge, 1848-1867 Volume one contains the "Notices of an Independent Press," 12pp. LOWELL, JAMES RUSSELL 651. Poems. 2 vols. 12mo, original boards, with labels. One of the copies without advertisements. Boston, 1849 LOWELL, JAMES RUSSELL 652. Ode kecited at the CoMMEMoaATiON of the Living and Dead Soldiees of Hakvaed Univeesity, July 21, 1865. 8vo, original boards, paper label on side, gilt top. Cambridge: Privately printed, 1865 Only 50 copies of this work were privately printed for pre- sentation. This copy was given to John Bartlett, the editor of the "Concordance to Shakespeare," with the following inscription on fly-leaf in Mr. Lowell's autograph, — "Mr. Bartlett, with cordial regards of J. R. L. 3rd Sept., 1865." The French-Buckler copy. LOWELL, JAMES RUSSELL 653. The Vision of Sie Launfal. With designs by E. H. Gar- rett. 12mo, full crimson levant morocco, broad border com- posed of branches and blossoms, delicately intertwined, on each side, back to match, doublures of green silk, with simi- lar end-papers, gilt top, by Zaehnsdoef. Boston, 1893 LOWELL, MARIA 654. The Poems of Maeia Lowell. Photographic portrait of the authoress. Square 12mo, original cloth, gilt edges. Cambridge: Privately printed, 1855 FiEST Edition. Edited anonymously by James Russell Lowell, for his first wife, and one of fifty copies privately printed for circulation among their friends. [No. 654 — Continued^ Autograph presentation copy from James Russell Lowell to Moncure Daniel Conway, with the following inscription ; "M. D. Conway, with the regards of J. R. Lowell, May 1, 1855." It was later presented by the recipient to G. M. Williamson, at whose sale it was sold, with the following in- scription in Mr. Conway's autograph ; "Now that I am passing away, this beautiful book can find no better home than among the many literary treasures of my friend, G. M. Williamson — Moncure D. Conway." An unusual combination of association interest; James Russell Lowell-Moncure Daniel Conway-G. M. Williamson. Contains bookplate of Mr. Conway. [MABERLY, J.] 655. The Feint Collector. An Introduction to the knowledge necessary for forming a Collection of Ancient Prints. Fiest Edition. 8va, half morocco, gilt top, uncut, by Matthews. London, 1844 The Robert Hoe copy, with bookplate. MABERLY, J. 656. The Peint Collector. Edited, with Notes, an Account of contemporary Etching and Etchers, and a Bibliography of Engraving, by Robert Hoe, Jr. Illustrated. 8vo, cloth, uncut. New York, 1880 The Robert Hoe copy, with bookplate. MAJERUS, MICHAELE 657. Atalanta Fvgiene, hoc est, Emblemata Nova de Secretis Naturae Chymica, etc. Engraved title, and 50 exceedingly curious emblematical plates by J. T. De Bry, and 50 fugues with music. Small 4to, old dark blue morocco, gilt back and edges, inside gilt borders, (by Bisiaux). Oppenheimii, 1617 A rare work on Alchemy, with brilliant impressions of the curious plates. MANUSCRIPTS OF THE XIII-XIV-XV CENTURIES IN BINDINGS OF THE XVI-XVII CENTURIES, INCLUDING ONE BY CLOVIS EVE MANUSCRIPT 658. Missale Ordinis Fratorum Prjiedicatorum. Manuscript on VELLUM, written in Gothic character, red and blaclc, with the calendar in red, blue and black, and musical notations on If, line staves, executed in France about the end of the 13th or beginning of the 14-th century. 4-30 leaves {860 pages). With 28 illuminated initials, of which 13 are his^ toriatcd, and hundreds of ornamental small ones in blue and red. Thick small 4!to, full green levant morocco gilt, gilt edges, silver clasps, portions of the blank upper corners worn, and first leaf repaired in the lower margins. Saec. XIII-XIV MANUSCRIPT 659. Horse Beatas MarisE Virginis cum calendario. Manuscuipt ON VELLUM, written in elegant Gothic characters, with the calendar in gold, blue and red, executed in the North of France, probably at Amiens or neighborhood, in the second half of the 15th century. 184 leaves (368 pages) (4/4 x 3/4 inches). Embellished with 15 fine miniatuues sur- rounded by elegant borders of flowers, leaves, fruits, insects, animals, etc., some painted in gold and colors, some on gold grounds, and nearly every page accompanied by similar lateral borders; also numerous small illuminated initials. Small 8vo, sixteenth century French binding of full RED morocco, the sides gilt tooled in compartments, the intervening spaces with ornaments of leaf-sprays and arabesques, gilt back and edges, by Clovis Eve. In a morocco case. Saec. XV A most desirable example of the brilliant work performed by the miniaturists and calligraphists of Amiens in the fif- teenth century, with the great additional advantage of being enclosed in a binding worthy of so beautiful and artistic a manuscript — -a circumstance of singular rarity. The bind- ing is well -preserved, and would seem to have been exc- [No. 659 — ContinuedJ cuted about 1580, when the Eves first began to use the palm branch ornament. The miniatures represent: (1) The Four Evangelists, in compartments, as also usually found in Rouen Horae; (2) The Annunciation; (3) The Salutation; (4) The Cruci- fixion, with the Virgin and St. John standing by ; (5) Pente- cost; (6) The Nativity; (7) The Shepherds; (8) The Magi; (9) The Presentation; (10) The Flight into Egypt; (11) Coronation of the Virgin; (12) David praying; (13) Service for the Dead; (14) The Trinity; (15) The Cruci- fixion with eight figures. In all these miniatures the faces are particularly good and the coloring and other details rich and harmonious. Numbers 7, 14 and 15 are remark- ably fine examples of the School of Art of Rouen and the locality, of the period. The Use, that of Amiens, is clear from the hymn at Matins (Quem terra ponthus) and the Capitulum at Lauds (In omnibus requiem) as well as by the importance given to the Saints especially honored by that Church in the calendar. The addition of the Arch- angel Uriel in the Litany shows English influence. MANUSCRIPT 660. Horas Beatae Mariae Virginis ad usum Ecclesias Parisiensis cum calendario. MANUscRirT on vellum written in lettres batardes in red and blade, with the calendar in gold, blue and red, executed in the north of France in the second part of the 15th century. 216 leaves {^32 pages) (4%x2% inches). The calendar ornamented with borders or semi- borders composed of flowers and leaves painted in colors and gold, with miniature medallions in the lateral and lower bor- ders representing the signs of the Zodiac and the occupations of the months, 18 large and 13 smaller miniatures, these last representing various Saints, also numerous elegant borders and semi-borders of flowers, fruits, leaves, birds, etc. with the letters "V. I.," also hundreds of illumimated initials. 16mo, old dark full blue morocco, doublures of red morocco, gilt tooled, and morocco linings, gilt edges. Saec. XV The miniatures are very fine in coloring and design, the work of a good artist. They represent: 1-4, The Four Evangelists; 5, The Pieta; 6, The Virgin enthroned, with the Child in her lap, an Angel on each side ; 7, The Annun- ciation ; 8, Meeting of the Virgin and St. Elizabeth ; 9, The [No. 660 — Contirmed] Nativity; 10, Announcement of the birth of Jesus to the Shepherds; 11, Adoration of the Three Wise Kings; 12, Presentation to the Temple; 13, The Flight into Egypt; 14, Coronation of the Virgin; 15, The Crucifixion; 16, Descent of the Holy Ghost ; 17, King David in Prayer; 18, Office of the Dead. MANUSCRIPT 661. Horas Beatas Mariaj Virginis ad usum Romanum, cum calen- dario. Manuscript on vellum, written in lettres batardes red and black, executed in the North of France, probably at Rouen, about the middle of the 15th century. 175 leaves, (350 pages) (7%x5/4 inches). Ornamented with 16 pne fidl-page miniatures within elegant borders of fruits, flowers, leaves on a ground of dull gold, or of architectural charac- ter in gold "camaieu," 28 small miniatures of various saints; and the front page of each month in the calendar within floral semi-borders, with representations of the signs of the zodiac in the lateral sides, and the occupations of the months in the lower ones, ito, early 17th century French binding of full red morocco, gilt panelled sides, gilt edges. Saec. XV The miniatures in this fine manuscript are probably the work of an artist of the school of Rouen. The large minia- tures represent: (1) St. John in the Island of Patmos ; (2) Betrayal of Jesus in the Garden of Olives; (3) The Annunciation; (4) Meeting of the Virgin with St. Eliza- beth; (5) The Crucifixion; (6) Descent of The Holy Ghost; (7) Assumption of the Virgin; (8) The Nativity ; (9) Announcement of the Birth of Jesus to the Shepherds ; (10 Adoration of the Three Wise Kings; (11) Presenta- tion to the Temple; (12) The Flight into Egypt; (13) Death of the Virgin; (14) King David admiring Bathsheba in the bath; (15) A Lady and a Gentleman sitting at a Table; (16) The Trinity. Miniatures Nos. 2 and 13 are of unusual occurrence in books of Hours. MANUSCRIPT 662. Lactantius Firmianus. De divinis institutionibus. Manu- scKiPT ON VELLUM, Written in round characters, executed in Italy about the middle of the 15th century. 157 leaved [No. 662 — Continued^ {314- pages). First page ornamented with an elegant semi- border in the interlaced manner, painted in gold, blue, green, white and red; also 6 gold initials within ornaments similar to those of the border. Small folio, full brown levant mo- rocco, floral gilt tooled back and sides, gilt inside borders, gilt edges, by Matthews, a few small holes in the margins skillfully filled in with vellum, Saec. XV MANUSCRIPT 663. Jauey (Nicholas). Office de la Vierge Marie avec un Ex- ercice Spirituel. Manuscript written by Nicholas Jarry on 336 pp. of pure vellum. The crowned initials of Anne of Austria appear in a garland of flowers at the head of the office, and are repeated five times throughout the manuscript. Other initials repeated are two Cs and two Ds, each sur- mounted by a crown. Written in black, carmine and blue, each page being framed with a gold band. 16mo, mosaic BINDING of full blue levant morocco, inlaid on the side and back with ivory and rose levant, richly gilt with pointille tooling in the manner of Le Gascon, doublures of white vel- lum tooled with Cherubs' heads at the corners, and in the centre the name of "Marie" within an aureole, the edges painted in rose, blue and white, gauffered gilt edges, by Thautz-Bauzgnnet. In a pigskin case, also by Trautz- Bauzonnet. Paris, 1654i One of the masterpieces of Nicholas Jarey, the cal- ligrapher oe Louis XIII. and Louis XIV., with his signature and date at pp. 182 and 250, and which was EXECUTED FOR AnnE OF AuSTRIA, QuEEN OF LoUIS XIII. The mosaic binding by Trautz-Bauzonnet was the fourth executed by him, and was consideeed by him to be one of the finest of the 22 he created. "Trautz, although very modest, could never see this mas- terpiece of his without a thrill of pride. He signed it three times (twice on the book, and once on the pigskin case). He always fondled it lovingly, and observed with an artist's appreciation the modification in color of the white morocco which has now a warmer ivory tint." — Bibliotheque d'un Bibliophile. The Eugene Paillet-Henry W. Poor copy, with bookplates of both, and the signature of the former. MANUSCRIPT 664. Rembert (Ferdinand). Les Roses. French manuscript ON PAPER, FINELY WRITTEN, Ornamented with one hundred AND FIFTY-TWO EXQUISITE MINIATURE PAINTINGS of rOSeS, butterflies, insects, etc., the titles and half-titles illuminated in gold and colors, and each page of text within blue and gold borders. 4 vols. 16mo, full red levant morocco, doub- lurcs of green levant, richly tooled and gilt in compart- ments, in the manner of the Eves, with the arms of Leon CuRMER in the centre of each, and his monogram at the top and bottom of each, green watered silk linings, by Hardy-Mennil, (Marius Michel, gilder). Each volume in red morocco solander case, with inner protecting leather cover. Paris, 1861 The text of this collection was formed by Edouard Cadol and Delongchamps, and comprises poems referring to the rose, selected from the poets of different ages and countries. All the paintings were executed by Ferdinand Rembert, from actual specimens by the most celebrated cultivators of roses in France, and the butterflies and birds were painted after the suggestion of M. DeyroUe. The names of the roses were given by Eugene Verdier and Edouard Andre. The Robert Hoe copy, with bookplate. MANUSCRIPTS 665. Ornements des Manuscrits. Classes dans I'Ordre chronolo- gique et selon les styles divers qui se sont succede dupuis le huitieme siecle jusqu'au seizieme. Notice historique et texte cxplicatif par Ferdinand Denis. Keproduits en couleurs par B. Charles Mathieu. 2 vols. 12mo, full blue morocco, elab- orately gilt, inside gold borders, gilt edges. Paris, 1867 The first volume contains the plates, one on every page, in exact facsimile in gold and colors, of examples of the finest specimens of illumination from the 8th to the 16th Cen- turies, including the Byzantine, Franco-Saxon, Carlovigian, Anglo-Saxon, German, "Romano-Allemand," French and Gothic styles. The second volume, by M. F. Denis, in collaboration with M. Mathieu, comprises an historical notice of the manuscripts facsimilied. MARGUERITE DE NAVARRE 666. Les Nouvelles. Frontispiece (^repeated in Vols. II. and III.) engraved by Eichler after Dimher, 73 fine plates by Guttenberg, Henriquez, De Launay, De Longueil, Sj'C. after Freudenberg, I'B vignettes and 7^ tail-pieces by Eichler^ Filler, Richter and Dunker after the latter; all brilliant impressions amd with the number of the plates printed in the lower margin of Vols. II. and III., intact. 3 vols. 8vo, full blue levant morocco, doublures of red levant with gilt borders, ael edges uncut, by Thibaron-Joly. Beme: Chez la Nouvelle Societe Typographique, 1780-81 MARGARET OF NAVARRE 667. The Heptamekon; or. Tales of Margaret, Queen of Na- varre. Newly translated into English, from the authentic text of M. Le Roux de Lincy, with an Essay upon the Hep- tameron, by George Saintsbury. With 73 full-page en^ gravings designed by S. Freudenberg, all proofs on Japan- ese paper, and 150 head and tail-pieces, by Dunker. 5 vols. Svo, full blue levant morocco, richly tooled panelled backs, triple gold line round sides, doublures of old-rose levant, with an eighteenth century border, gilt tops, uncut, by ROUSSELLE. London: Printed for the Society of English Bibliophilists, 1894 Extua-Illusteated by a set of the original engravings by Freudenberg, issued with the 1780-1781 edition, and other engravings and etchings. Large paper copy, one of 312 copies printed, each numbered. MARLBOROUGH GEMS 668. Choix de piebres antiques gravees du Cabinet du Due de Marlborough. (Text in Latin and in French). Two frOTir tispieces engraved by Bartolozzi after Cipriani, 100 plates of gems by Bartolozzi and two tail-pieces; each page of text and each plate within a gold border. 2 vols, folio, full red straight-grained morocco, the sides richly tooled and gilt with pointille and other ornaments, in the manner called "a la greque," gilt tooled inside borders, light blue silk linings, gilt edges, by Fargher. [London, 1780] The Original Edition. A splendid specimen of the Eng- lish art of bookbinding of the period. MARLOWE, CHRISTOPHER 669. The Works of Christopher Mari^owe, with Notes, and some Account of his Life and Writings, by Alexander Dyce. Aldine device on titles. 3 vols. 12mo, full brown levant morocco, gilt and blind tooled backs and sides, the Aldine device in blue and gray mosaic on side, dentelle inside bor- ders, gilt tops, uncut, by Samblanex-Weckesser. In cases. London: William Pickering, 1850 Probably a Large Paper copy. MAROT, CLEMENT 670. Les CEuvres de Clement Marot, de Cahors en Quercy, Vallet de Chambre du Roy. 16mo, full green levant mo- rocco, gilt panelled sides, gilt edges, by Bedford. Paris: Par lean Dorlet, 1551 The Robert Hoe copy, with bookplate. CLEMENT MAROT'S LES PSEAVMES, ONE OF ONLY THREE COPIES KNOWN, PUBLISHED IN 1563 MAROT, CLEMENT 671. Les Pseavmes mis en rime Francoise, par CI. Marot, & Theodore de Beze. [Suivis de la forme des Prieres Eccle- siastiques]. Each page printed within a f.nely engraved ornamental and arabesque border, with music on many pages, the whole ruled throughout in red ink. 8vo, brown calf, gilt ornaments on the back, the sides decorated in scroll com- .partments, with arabesques, a mosaic of five colors, pointille tooling, gilt edges. In a brown levant morocco case. A Lyon: Par Ian de Tournes. Povr Antoine Vincent, M.D.LXIII, (1563) It contains the music score and includes 'La forme des Prieres Ecclesiastiques' with a separate set of signatures, a-q in eights. The engraved borders to each page were also used in the 'Metamorphose d'Ovide figuree' by the same printer in 1557. Firmin Didot, in his catalogue raisonne, number 531 states, regarding the volume 'The last publica- tion of Jean (I) de Tournes, one of the most beautiful, and perhaps the rarest, as only two other copies are recorded (as least one other is however known), the one in [No. 671 — Contintied] the Bibliotheque Nationale, and the Yemeniz copy. This fact leads to the belief that the edition must have been carefully destroyed during the persecutions of 1567, when the de- struction occurred of the books printed by the de Tournes. Strange to say, it bears the privilege of King Charles IX.,' instigator of the Massacre of Saint Bartholomew. The Firmin Didot-Robert Hoe copy, with bookplates of both. MARTIN, HENRI 672. HisToiRE DE France, depuis les temps les plus recules jus- qu'en 1789. Portrait. 17 vols, (which includes "Table Analytique"), 8vo, half red levant morocco, gilt tops, uncut, by Bertrand, some volumes slightly rubbed. Paris, 1861 MARTIN, HENRI 673. The Age oe Louis XIV. Translated by Mary L. Booth. 4 vols. Boston, 1865 The Decline of the French Monarchy. Translated by Mary L. Booth. 3 vols. Boston, 1866 Together, 7 vols, royal 8vo, half crimson levant morocco, gilt backs, gilt tops, uncut, by lliviisRE. Boston, 1865-1866 Extra-Illustrated by the insertion of 257 portraits and views, many in proof state, and mainly neatly inlaid. MATHEWS, CHARLES 674. Memoirs of Charles Mathews, comedian. By Mrs. Ma- thews. 5 vols. 8vo, full green levant morocco, backs richly tooled, panelled sides, with corner ornaments, broad inside dentelle borders, gilt edges, by Riviere. London, 1838-1839 First Edition. Extra-Illustrated by the insertion of about 230 portraits of contemporary and other actors and actresses, mainly in character, and of other persons men- tioned in the text, including plates in mezzotint, line, stip- ple and steel. Many are from late XVIIIth and early XlXth century sources, and are neatly inlaid to size where necessary. Among the portraits are: Mrs. Siddons, as Isabella; Mr. Edwin, as Jerry Blackacre; Miss Farren, as Emelin; Mrs. Davenport, as Mrs. Grundy; Mrs. Twisleton; Mr. Liston, [No. 674— Contintied] as Sam Swipes, in colors ; Mr. Bennett, as Lucim Catiline; Mr. Foote, as Mrs. Cole; Mrs. Coutts; Charles Mathews, in numerous characters; Mr. Fawcett, as Whimsiculo; Oliver Goldsmith; Queen Adelaide; Fanny Kemble, as Juliet; Queen Caroline; Miss Stephens, as Mandane; Madame Catalani ; Nell Gwyn ; Mrs. Abington, as Estifania; Mr. Keeley, as Orange Moll, in colors, and many others of note. MATTHEWS, WILLIAM 675. MoDEEN Bookbinding pkacticali-y considered, a Lecture. Illustrated. 4to, original cloth, uncut. New York : The GroHer Club, 1889 One of 300 copies on Holland paper. MAUCLAIR, CAMILLE 676. Trois Femmes de Flandre. Illustrations in colors by H. Cassiers. 8vo, full red leveint morocco, back and sides partly covered with a rich mosaic panel of tulips and small tools in citron, ivory, and other hues, doublures of red levant, red silk end papers, gilt over rough edges, original wrap- pers bound in, by The Club Bindery. Paris: H. Piazza & Cie., [1905] One of 30 copies on Japanese paper, with a duplicate set of the plates on white paper and printed in black. The Robert Hoe copy, with monogram and bookplate. BEAUTIFUL COPIES OF DE MAUPASSANT'S CONTES CHOISIES, ONE BOUND BY CLUB BINDERY, ANOTHER BY CANAPE, AND OTHER WORKS OF HIS MAUPASSANT, GUY DE 677. Le Rosier de Madame Husson. Illustrations far Habert Dys, Eaux-fortes par E. Abot d'apres Despres. Small 4to, full blue levant morocco, gilt back and side borders, gilt over rough edges, original wrappers bound in, by Cham- BOLLE-DuRU. Paris: Maison Quantin, 1888 One of a limited edition on papier velin, with the text of each page surrounded with tinted illustration, Issued same year as the original edition. MAUPASSANT, GUY DE 678. CONTES ChOISIES PUBIilES PAR liES BIBLIOPHILES CoNTE!MPO-, EAiNS : — Le Loup. Engraved throughout, with etched plates in aquatint hy Evert Van Muyden; Hautot peee et tils. Colored plates hy Georges Jearmiot; Allouma. Colored plates after designs hy Paid Avril; Mouche. Engraved throughout, with etched plates hy Ferdinand Gueldry; La Maison Telliee. Water-color designs hy Pierre Vidal; Un Soie. Woodcuts in hlack and hist re, by Georges Scott; Le Champ d'Oliviees. Illustrations hy Paul Gervais; Mademoiselle Fiei. Plates, in colors and blacJc, hy A. Gerardin, Charles Morel, and Jules Tinayre; L'Epave. With 6 plates on Japanese paper; Une Paetie de Cham- pagne. Frontispiece in coloes hy Henri Boutet. Royal 8vo, full blue levant morocco, thickly covered with a con- ventional floral design in a mosaic citron, red, and green morocco on back and sides, all rimmed with gilt, doublures of blue silk, with blue and brown levant borders with figures inlaid with citron, red and green morocco, blue silk end- papers, gilt tops, uncut, all of the original wrappers bound in, by The Club Bindeey. In slip cover and case. Paris, 1891-1892 No. 14 of a very limited number of copies issued for mem- bers of the "Bibliophiles Contemporains," and none placed on public sale. This copy was printed for the Vicomte de Bernard, with a colored feontispiece by Paul Aveil AFTEE FeLICIEN RoPS. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 679. Contes Choises publies pae les Bibliophiles Contempo- EAiNs. (1) Le Loup. — (2) Hautot pere et fils. — (3) Al- louma. — (4) Mouche. — (5) La Maison Tellier. — (6) Un Soir.— (7) Le Champ d'Oliviers.— (8) Mademoiselle Fifi.— (9) L'Epave. — (10) Une partie de Campagne. Royal Svo, full green levant morocco, Jansenest covers, doublures of citron levant morocco, with floral designs of green and purple mosaic, old-rose and green silk end-papers, gilt over uncut [No. 679 — Continued^ edges, with all the original silk-paper covers of various colors bound in, by Canape. In case with protecting cover. Paris, 1891-1892 Printed exclusively for members of the "Bibliophiles Con- temporaine," this being No. 117, exemplaire de M. J. H. Pasquier. None of the publications of the Club were of- fered for public sale. It contains colored frontispiece by Paul Avril after Felicien Rops. The ten works are illus- trated as follows: 1. Engraved throughout with etchings in aquatint after Evert Van Muyden. 2. Colored plates after Georges Joanniot. 3. Designs in colors after Paul Avril. 4. Engraved throughout with designs after Ferdi- nand Gueldry. 5. Pierre Vidal, colored. 6. Georges Scott, woodcuts in black and bistre. 7. Paul Gervais. 8. A. Gerardin and Charles Morel. 9. Six plates on Jap- anese paper. 10. Frontispiece in colors after Henri Boutet. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 680. Le Lit. Avant-Propos de Henri Lavedan. Engraved text and 13 plates hy Champollion after Jides Ferry. Imperial 8vo, full maroon levant morocco, doublures of red silk bor- dered with fillets and dots, silk end-papers, gilt over rough edges, original wrappers bound in, by Canape. Evreux: Societe Normandie du Livre Illustre, 1895 One of 76 copies on papier velin, with the plates in three states, — engraver's proofs, remarque proofs, and the fin- ished plate. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 681. BouLE DE Suir. Compositions de Francois Thevenot, gra- vures sur hois de A. Romagnol. Royal 8vo, half crimson levant morocco, gilt and mosaic back, gilt top, uncut, orig- inal wrappers bound in, by Bretault. Paris, 1897 One of 30 copies on papier velin, with a triple set of the full-page illustrations, including remarque proofs on India paper, also a separate impression of the figure which ap- pears on the cover, printed in colors. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 682. Impeudence. Colored illustrations by Henriot. Royal 8vo, full crimson levant morocco, gilt back and sides, inside gilt borders, gilt over rough edges, original wrappers bound in, by The Club Bindery. Paris, 1899 One of 100 copies on Japanese paper, with the text as well as the plates designed by Henriot, and with a duplicate set of the illustrations in black on India paper. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 683. L'Heritage. Vingt et wne compositions originales de Mau- rice Eliot, gravies a I'eaw-forte par L. Ruet. Royal Svo, full blue levant morocco, broad side borders, tooled in an eigtheenth century pattern, inside dentelle borders, gilt over rough edges, original wrappers bound in, by The Club Bindery. Paris, 1907 One of 75 copies on Japanese paper, with the etchings in- two states. The Robert Hoe copy, with bookplate. MAUPASSANT, GUY DE 684. La Petite RoauE. Vingt-irois eatuc-fortes origindes de Al- exandre Lunois. Royal Svo, brown watered silk, gilt top, uncut. Paris, 1907 One of 150 copies printed, with the plates in two states. FOURTH SESSION THURSDAY EVENING, APRIL 8TH, 1916 AT THE AMERICAN ART GALLERIES BEGINNING PKOMPTLY AT 8.15 o'CLOCK Catalogue Nos. 685 to 900 inclusive MAXWELL, W. H. 685. History of the Ieish Rebellion in 1798, with Memoirs of the Union and Emmett's Insurrection in 1803. With illtis- tratkms hy George CruilcsJumk. First Edition. 8vo, in the original parts, (15 in 12), with all wrappers and ad- vertisements, portions of some backs skillfully supplied. London, 1845 MAYHEW, HENRY 686. 1851; or. The Adventures of Mr. and Mrs. Sandboys and family, who came up to London to enjoy themselves, and to see the Great Exhibition. With Uhtstrations hy George Cruikshank. First Edition. 8vo, in the original parts (8), with wrappers and advertisements, small relief stamp on one cover and portions of some backs skillfully repaired. London, [1851] MEILHAC, HENRI 687. Contes Parisiens du Second Empire (1866). Eauw-fortes de Pierre Vidal. Royal 8vo, full blue levant morocco, gilt back and side panels, gilt over rough edges, by The Club Bindery. Paris: Imprime pour les Amis des Livres, 1904 One of 125 copies on thick Holland paper. The Robert Hoe copy, with bookplate. MEILHAC, HENRY, ET HALEVY, LUDOVIC 688. Toto Chez Tata. Comedie et un Acta. 12mo, half brown levant morocco, uncut, original wrappers bound in. Paris, 1873 One of 25 copies on Holland paper. Contains 32 original WATER-COLOR OR PEN-AND-INK DRAWINGS BY DrANER. MEILHAC, HENRY, and HALEVY, LUDOVIC 689. Le Mari de la Debutante. Comedie en quatre actes. Small 4ito, full light-blue levant morocco, back and sides panelled in symbolical tools, doublures of citron levant, wide dentelle borders, gilt over rough edges, original wrappers bound in, by JoLY. Paris, 1879 First Edition. With 130 originai- water-color draw- ings BY DrANER on the MARGINS. The Robert Hoe copy, with bookplate. MEILHAC AND HALEVY, GRANDE DUCHESSE DE GEROLSTEIN, TWO COPIES, BOTH WITH ORIGINAL WATER-COLOR DRAWINGS BY DRANER MEILHAC, HENRY, and HALEVY, LUDOVIC 690. La Grande-Duchesse de Gerolstein, Opera-Bouffe en trois actes, quatre tableaux, musique de Jacques Offenbach. Royal 8vo, full dark-green levant morocco, gilt back and side panels of interlacing fillets and dots, doublures of light- brown levant, tooled in panels of similar design, gilt over rough edges, original wrappers bound in, by Chambolle- DuRU. Paris, 1887 No. 2 of 30 copies on Holland paper, with 99 original WATER-COLOR DRAWINGS BY DrANER PAINTED ON THE MAR- GINS. The Lacroix Laval-Robert Hoe copy, with bookplates of both. MEILHAC, HENRY, and HALEVY, LUDOVIC 691. La Grande-Duchesse de Gerolstein, Opera-Bouffe en trois actes, quatre tableaux, musique de Jacques Offenbach. Royal 8vo, full green levant morocco, gilt panelled back and sides, inside gilt borders, gilt over rough edges, orig- inal wrappers bound in, by Chambolle-Duru. Paris, 1887 No. 7 of 30 copies on Holland paper, with 41 original water-color drawings by Draner painted on the margins. With autograph signature of Peter Marie on fly-leaf. MEMPES, MORTIMER 692. Whistlee as I knew him. With numerous reproductions, some in color. Thick 4to, original cloth, gilt top, uncut. New York, 190 J. MERCIER DE COMPIEGNE 693. :^LOGE Du Sein des Femmes. Ouvrage Curieux. Quatriferae ilfidition, revue, annotee et considerablement augmentee. 8yo, three quarter blue levant morocco, gilt top, uncut, original wrappers bound in. Paris, 1873 One of 150 copies on papier velin, with 7 full-page photo- graphs, and an etching (1884) by Laguillermie after Boulanger, inserted. The Robert Hoe copy, with bookplate. MEREDITH, OWEN 694. The Wanderer. First Edition. 12mo, full orange levant morocco, gold tooled panelled sides and back, gilt top, un- cut, by Samblancx-Weckesser. London, 1859 FIRST EDITIONS, &C. OF PROSPER MERIMEE FROM THE HOE LIBRARY [MERIMEE, PROSPER] 695. La Gttzla, au Choix de Poesies Illyriques, recueillies dans la Dalmatie, la Bosnie, la Croatie, et I'Herzegowine. Por- trait of "Hyacvnthe Maglanovich." First Edition. 12mo full red levant morocco, gilt edges, by Mauius Michel. Paris, 1827 An exceedingly entertaining and successful literary fraud. Prosper Merimee had when a student often dreamed of a journey along the east coast of the Adriatic sea, having read much of the habits and traditions of the Dalmatians. The funds, however, were lacking, and the daring spirit for which he was well known suggested a solution, which he proposed to a young man named Ampere, who would have been his travelling companion, had he been able to under- take the journey. The solution was that they should write their travels ■first, and then go upon their journey with the proceeds. Merimee composed "La Guzla," a volume of lUyrian poetry, which he affirmed he had collected in Dal- matia, Croatia, Bosnia and Herzegovina, in none of which countries he had ever set foot. The portrait of "Hyacinthe [No. 695 — Contimted} Maglanovitch" is himself rigged up in a Dalmatian cos- tume, with a false mustache, and sitting cross-legged with an instrument on his knee. This was supposed be to a portrait of the famous ballad singer, Maglanovitch. So good was the local color that the book was translated into Polish, and was praised by the Russian poet, Pushkin, for its fidelity to the Slav spirit. The Robert Hoe copy, with bookplate. [MERIMEE, PROSPER] 696. La JAauERiE, scenes feodales, suivies de La Famille de Carva- jal, drame par L'Auteur du Theatre de Clara Gazul. First Edition. 8vo, full brown straight-grained morocco, mono- gram on back and sides, by Petit. Paris, 1828 The Robert Hoe copy, with bookplate. [MERIMEE, PROSPER] 697. Theatee de Claea Gazul, comedienne Espagnola. 8vo, full brown straight-grained morocco, monogram on back and sides, gilt over uncut edges, by Petit. Paris, 1830 The Robert Hoe copy, with bookplate. [MERIMEE, PROSPER] 698. La Double Mepkise. Par I'auteur du Theatre de Clara Gazul. First Edition. 8vo, full brown straight-grained morocco, monogram on back and sides, gilt over uncut edges, by Petit. Paris, 1833 The Robert Hoe copy, with bookplate. MERIMEE, PROSPER 699. Notes d'un Voyage en Auvergne. Extrait d'un rapport addresse a M. le Ministre de I'lnterieur. First Edition. 8vo, fuU green levant morocco, gilt over uncut edges, by Marius Michel. Paris, 1838 The Robert Hoe copy, with bookplate. MERIMEE, PROSPER 700. Carmen, [Arsene Guillot, et L'Abbe Aubain]. First Edi- tion. 8vo, full brown straight-grained morocco, monogram on back and sides, gilt edges, by Petit. Paris, 1846 The Robert Hoe copy, with bookplate. MERIMEE, PROSPER 701. Caemek. Etched plates by Nargeot. Square 12mo, full white levant morocco, with half-borders of a floral design composed of various colored inlays, gilt and mosaic back, doublures of light-blue levant morocco with a gilt border of honeysuckle, damask silk end-papers, gilt over rough edges, original wrappers bound in, by Rtjban. In slip cover with water-color sketch and case. Paris : Calmann Levy, 1884 One of 50 copies on Large Japanese paper, and unique INASMUCH AS IT CONTAINS 25 ORIGINAL WATER-COLOR DRAWINGS BY F. De StA UPON THE MARGINS. The Valentine Blacque-Henry W. Poor-Eugene Paillet copy, with bookplates of all three. MERIMEE, PROSPER 702. L'Enlevement de la Redoute. Compositions de Maurice Orcmge gravies en couleurs par Decisy. Royal Svo, full crimson levant morocco, back and sides tooled in triple and sextuple fillets, doublures of red silk bordered with quin- tuple fillets, red silk end-papers, gilt top, uncut, original wrappers bound in, by The Club Bindery. In slip cover and case. Paris, 1902 One of 125 copies on Large Vellum paper, with the illus- trations in three states, — engraver's etching and proof be- fore letters in black, and after letters in colors. Text engraved throughout. The Robert Hoe copy, with bookplate. MERIVALE, CHARLES 703. History of the Romans under the Empire. Folding maps. 7 vols. 12mo, half morocco, marbled edges. New York, 1863-1865 METEYARD, ELIZA 704. The Life oe Josiah W^edgwood, from his private corre- spondence and family papers. Numerous illustrations. First Edition. 2 vols. Svo, original cloth. London, 1865 METEYARD, ELIZA 705. Wedgwood's Catalogue oe Cameos, Intaglios, Medals, Bas-Reliefs, Busts, and small Statues. Reprinted from the Edition of 1787. Edited by Eliza Meteyard. Illus- trated. 8vo, half leather, gilt top. London, 1873 One of 250 copies printed. MILMAN, HENRY HART 706. Weitings op Milman, comprising: The History of the Jews, from the earliest period, down to modern Times. 3 vols. London, 1866 The History of Christianity, from the Birth of Christ, to the abolition of Paganism in the Roman Empire. 3 vols. London, 1867 History of Latin Christianity ; including that of the Popes to the Pontificate of Nicolas V. 9 vols. London, 1867 Together, 15 vols. 12mo, uniformly bound in tree calf, gilt, by RiviEEE. London, 1866-1867 FIRST EDITIONS OF JOHN MILTON, WITH THREE GROLIER CLUB ISSUES OF HIS AREO- PAGITICA MILTON, JOHN 707. Paradise Lost. A Poem in Ten Books. The Author, John Milton. Small 4to, full brown levant morocco, gilt and blind tooled back and sides, gilt edges, by Rivieee. London: Printed by S. Simmons ... at the Bishop- Head in Duck-Lane, 1668. FiEST Edition, with the fourth state of the title-page. There is a fleur-de-lys ornament of four lines under the author's name, and the address of the Printer to the Reader consists of five lines. Lowndes describes the fourth title-page as having three lines in this address. A VEEY LARGE COPY with some uncut leaves, MILTON, JOHN 708. Paeadise Regain'd. A Poem. In IV Books. 'To which is added Samson Agonistes. The Author John Milton. 12mo, [No. 708 — Continued} full dark blue levant morocco, ornate panel with corner orna- ments on sides, fully tooled back, gilt edges. London: Printed by J. M. for John Starkey, 1671 FiEST Edition. Contains the leaf of License, dated July 2, 1670, preceding title, and the leaf of "Errata" at the end. The Brayton Ives-Louis J. Haber copy, with bookplates of both. MILTON, JOHN 709. Areopagitica. A Speech of Mr. John Milton for the Lib- erty of Unlicensed Printing, to the Parliament of England. With an Introduction by James Russell Lowell. Portrait of Milton. 12mo, original boards, paper label, uncut. New York: The Grolier Club, 1890 One of 325 copies on Holland paper. MILTON, JOHN 710. Another copy of the preceding, also in original boards, with New York: The Grolier Club, 1890 MILTON, JOHN 711. Another copy of the preceding, full dark green levant mo- rocco, the sides elaborately tooled with garlands of leaves, blossoms, and small dots, back tooled to match, broad den- telle inside borders, with floral and small dot tooling, gilt top, uncut, by Stikeman. New York: The Grolier Club, 1890 [MITCHELL, DONALD G.] 712. Reveeies of a Bachelor; or, A Book of the Heart. Frontis- piece and engraved title. First Edition. 12mo, full brown levant morocco, gilt back and sides, gilt edges, by The Club Bindery. New York, 1850 [MOGRIDGE, GEORGE— "Old Humphrey"] 713. Sergeant Bell, and his Raree-Show. Embellished with woodcuts hy Cruikshank, Thompson, Williams, etc. First Edition. Square 12mo, original cloth. London, 1839 Usually ascribed to Charles Dickens. MOLIERE, J. B. POQUELIN DE 714<. Les CEuvaEs. Reveues, corrigees & augmentees. Enrichies de figures en taille-douce. 8 vols. 12mo, full red levant mo- rocco, gilt backs and inside gilt borders, gilt edges, by Teautz-Bauzonnet. Paris, 1682 First Complete Edition of Moliere, edited by Vinot, one of his friends, and Charles Varlet, 'Sieur de La Grange, a fellow actor. Includes 6 plays printed here for the first time, viz. : "Dora Garcie de Navarre," "L'Impromptu de Versailles," "Dom Juan, ou le Festin de Pierre," "Meli- certe," "Les Amans Magnifiques," and "La Comtesse d'Escarbagnas." First Edition of the 30 plates by J. Sauve after P. Bris- sart, depicting the costumes of the period, &c. Frequently appearing in the illustrations is the portrait of Moliere, himself, as portrayed in many of his principal roles. Height, 162mm. The Quentin Bauchart-Robert Hoe copy, with bookplates of both. MOLIERE, J. B. POQUELIN DE 715. The Dramatic Works oe Momere. Rendered into Eng- lish by Henri Van Laun. With a prefatory Memoir, In- troductory Notices, Appendices and Notes. Etchings by Ad. Lcdauze. 12 vols, royal 8vo, full crimson levant mo- rocco, gilt panelled backs, triple gold lines on sides, gilt tops, uncut, by Canape. Edinburgh: WiUiam Paterson, 1875 Large Paper Copy, only a small number printed. The original six volumes, extended to 12, and Extra-Illus- trated by the insertion of 236 etchings and engravings, comprising the following series : — (1). A set of the Ad. Lalauze etchings, proofs on India paper. (2). A duplicate set of the same, finely colored by hand. (3). The De Mare etchings, signed artist's proofs. (4). The "pure" etchings of the same illustrations, also signed by the artist. (5). The Moreau plates, engraved by Simonet, proofs on India paper before the numbers. (6). The Leopold Flameng series, etched by Louis Leloir. (7). The Moreau le Jeune illustrations, designed and en- graved by himself. MONCRIF, PARADIS DE— Editeur 716. Recueil de Pieces Choisies eassemblees pau les soins du Cosmopolite (avec une epitre dedicatoire signee L. D. D. et une preface attributee a Paradis de Moncrif). 4!to, full orange levant morocco, gilt back and sides tooled in the man- ner of Derome, doublures of dark-green levant, gilt borders with floral ornaments at corners, gilt edges, by Haedy. Anconne, 1735 A collection of unusual verse, said to have been assembled under the guidance of A. V. D. Richelieu, Due d'Aiguillon and printed at his chateau in an edition of only 12 copies. Charles Nodier, in speaking of the volume, says, — "This Recueil will always preserve a certain importance in lib- raries of curious books as one of the most desirable monu- ments of language and literature, because it contains selec- tions which cannot be found elsewhere, and which have remained unpublished on account of their rarity." The curious woodcut vignette on title is repeated after p. 48. The Charles Nodier-Robert Hoe copy, with bookplates of both. MONNIER, ANTOINE 717. Eaux-fortes et Reves Creux. Sonnets Excentriques et Poemes Etranges. With '20 etchings, proofs on India paper, each in 2 states. 8vo, half green levant morocco, gilt back and top, uncut, by Allo. Paris, 1873 One of 70 copies on Holland paper. The Robert Hoe copy, with bookplate. FIRST EDITION OF FLORIO'S TRANSLATION OF THE ESSAYS OF MONTAIGNE MONTAIGNE, MICHAEL DE 718. The Essaves Or Morall, Politike and Millitaire Discourses of Lo: Michaell de Montaigne, Knight Of the noble Or- der of St. Michaell, and one of the Gentlemen in Ordinary of the French king, Henry the third his Chamber . . . [No. 718 — Contirmed] and now done into English by John Florio. Small folio, ORIGINAL CALF, Small portion of back repaired. Printed at London by Val. Sims for Edward Blount, 1603 First Edition of the first English translation of Montaigne's essays. The Arms of Queen Elizabeth are impressed in the centre of both sides. She died in 1603, the year of publication of the book. This copy contains all the "extra" leaves, including "Errors and omissions of notes escaped in this Boohe," which are between the Table and page 1 of the text. A manuscript note on the fly-leaf reads "One of the three copies of this translation in the British Museum has the first of the two final leaves of Errata bound in this copy, but none of them possess both. The two leaves between the Table and page 1 of the text must be of excessive rarity, as they occur in none of the British Museum copies." The portrait of Florio by Hole, which has been found in at least two copies of the first edition, is laid in the above copy. The Rev. Dr. Peter Gunning-Robert Hoe copy, with book- plates of both. MONTAIGNE, MICHAEL DE 719. Works of Montaigne, comprising his Essays, Journey into Italy, and Letters, with Notes from the Commentators, Bi- ographical and Bibliographical Notices etc. by W. Hazlitt. New Edition edited by O. W. Wight. Portrait on India •paper. 4 vols. 8vo, morocco backs and boards, gilt tops, un- cut. Cambridge; Riverside Press, 1864 One of 75 copies on Large Paper. MONTALEMBERT, CHARLES DE 720. Melanges Catholiques exteaits de l'Avenir (Articles du Comte Ch. de Montalembert). 8vo, full green straight- grained morocco, the sides tooled in a "cathedral" design in gold, with mosaic of citron, red, mauve and light blue mo- roccos, silk linings, gilt edges, by G. Oginski. In a case. Paris : Imprimerie de Bethune, 1831 First Edition. A very attractive example in contempo- rary binding. The Robert Hoe copy, with bookplate. TWO COPIES OF MONTESQUIEU'S LE TEMPLE DE GNIDE, WITH PLATES AFTER EISEN, ONE COPY EXTRA-ILLUSTRATED MONTESQUIEU, CHARLES DE SECONDAT DE 721. Le Temple de Gnide. Nouvelle Edition. Avec figures gravies par N. Le Mire, d'apres les dessms de Ch. Eisen, le texte grave par Drouet. Royal 8vo, full red levant morocco, gilt back and broad gilt cover-borders in the manner of Derome, doublures of citron levant, dentelle borders, gilt over rough edges, by Trautz-Bauzonnet. Paris : Chez Le Mire, 1772 Text engraved throughout ; the frontispiece is in two states, one proof and "uncovered," also a vignette plate with arms of Great Britain, and 9 beautiful plates engraved by Le Mire after Eisen. Laid in is an extra proof portrait of the author. The Quentin Bauchart-Robert Hoe copy, with bookplates of both. MONTESQUIEU, CHARLES DE SECONDAT DE 722. Le Temple de Gnide. Nouvelle Edition. Avec figures gravees par N. Le Mire, d'apres les dessvns de Ch. Eisen, le texte grave par Drouet. 4to, light-blue levant morocco, gilt back and cover-borders, gilt edges, by Petit. Paris : Chez Le Mire, 1772 Text engraved throughout on Large and Thick Holland paper, with the plates all proofs after letters, second issue. Extra-Illustrated by the insertion of 7 portraits of the author and the series of 47 plates engraved by Regnault, Monnet, Desrais, and Peyron. The Robert Hoe copy, with bookplate. MOREAU, HEGESIPPE 723. Le Myosotis, petits Contes et petits Vers. Preface par An- dre Theuriet. Nouvelle Edition. Illustree de cent trente- quatre compositions de Robawdi, gravees sur hois par Clement Bellenger. Royal 8vo, full brown levant morocco, back and sides in a gilt and mosaic design of forget-me-nots, [No. 723— Continued] wide inside gilt borders, gilt over rough edges, original wrappers bound in, by Marius Michel. Paris : Librairie Conquet, 1893 No. 15 of 150 copies on Japanese paper. On the half- title IS AN ORIGINAL WATER-COLOR DRAWING BY RoBAUDI ; the illustrations are all in duplicate. The Robert Hoe copy, with bookplate. LOUIS MORIN'S HISTOIRES D'AUTREFOIS, &C., WITH ORIGINAL DRAWINGS MORIN, LOUIS 724. HisTOiRES d'Autreeois: Jeannik. Avec 87 dessins de Vauteur. 8vo, full dark-blue levant morocco, doublures of a gilt and mosaic design of leaves and flowers in rose and grey upon an olive ground, silk end-papers, gilt over rough edges, original wrappers bound In, by Rene Kieeeer. Paris, 1885 Unique copy, with 27 original designs and 19 trial SKETCHES, &c., in water-colors, pen-and-ink, &c., with sev- eral illustrations in duplicate on India paper. The Robert Hoe copy, with bookplate. MORIN, LOUIS 725. ViEiLLE Idylle. Douze poimtes seches et vingt ornements typographiques par I'Auteur. 16mo, original wrappers, un- cut. Paris, 1891 Publisher's presentation copy, printed on papier velin, and not oflfered for sale to the public. The Robert Hoe copy, with bookplate. MORIN, LOUIS 726. Les Cousettes: Physiologie des couturieres de Paris. Vingt et une compositions dessinees et gravees par Henry Somm. Royal 8vo, figured brown silk, uncut, original wrappers bound in, by Carayon. Paris, 1895 One of 100 copies on Japanese paper. The Robert Hoe copy, with bookplate. MORIN, LOUIS 727. QuELftuES Artistes de ce temps — Jules Ch^zet, Daniel Vierge, Auguste Leperc, Louis Legrand, Henri Rivifere, Jo- seph Chezet. With 36 illustrations, some full page in brown. [No. 727 — Contmu>ed'] after the artists named. Royal 8vo, full red levant morocco, gilt top, uncut, original wrappers bound in, by The Club BiNDEET. Paris, 1898 No. 18 of 100 copies on Chinese paper. The Robert Hoe copy, with bookplate. MORIN, LOUIS 728. L'Enfant Pkodigue. Preface de Maurice Montegut. 90 dessins {en coideur) de I'Auteur. 4to, vellum, with a char- acteristic ORIGINAL, DRAWING On front covcr, by the author. Paris, s. d. [1898] Each of the five half-titles contains an original water- color DRAWING BY THE AUTHOR. All are signed. Only 15 copies were printed on Japanese paper. This is No. 4. The Robert Hoe copy, with bookplate. WILLIAM MORRIS IN FIRST EDITIONS, AND IS- SUES OF THE KELMSCOTT PRESS MORRIS, WILLIAM 729. Sir Galahad, A Christmas Mystery. 12mo, full polished calf, gilt, gilt top, by Riviere. London, 1858 First Edition. The author's first publication. MORRIS, WILLIAM 730. The Defence of Guenevere, and other Poems. 12mo, full brown levant morocco, the front side covered with sprays of blossoms, gauffered gilt edges, by S. T. Prideaux, pupil of Cobden-Sanderson. London, 1858 First Edition. Contains the slip of "Errata" following title. MORRIS. WILLIAM 731. The Life and Death of Jason, a Poem. 12mo, original cloth, paper label, uncut. London, 1867 First Edition. Walter H. Pater's copy, with his auto- graph. Many of the lines are lightly underscored in pencil, probably by Mr. Pater. Contains the slip of "Errata" following title-page. MORRIS. WILLIAM 732. The Earthly Paradise, a Poem. Vignettes on titles and at the end of each volume. First Editions. 4 vols, in 3, 12nio, full blue levant morocco, richly gilt backs, gilt tops, uncut, by Riviere. London, 1868-1870 MORRIS, WILLIAM 733. VoLsuNGA Saga. The Story of the Volsungs & Niblungs, with certain Songs from the Elder Edda. Translated from the Icelandic by Eirikr Magnusson and WilHam Morris. 12mo, original cloth, gilt, uncut. London, 1870 First Edition. Contains the advertisements. MORRIS, WILLIAM 734. The ^neids of Virgil. Done into English Verse by William Morris. Square 12mo, original cloth, paper label, uncut. In green levant morocco case, with inner protecting cloth cover. London, 1876 First Edition. Autograph presentation copy from the author, with the following inscription on the half-title; "C. J. Faulkner, from his friend, William Morris." MORRIS, WILLIAM 735. The Two Sides of the River, Hapless Love and the First Foray of Aristomenes. 12mo, original printed wrappers, uncut. In red morocco solander case. London, 1876 First Edition. Privately printed, and not for general sale. MORRIS, WILLIAM 736. The Story of Sigurd the Volsung, and the Fall of the Niblungs. London, 1877 ; The same, tenth edition, Boston, 1891. Together, 2 vols. 12mo, cloth. London, and Boston, 1877-1891 The first-named is the first edition, although with the Boston imprint on the cloth cover. MORRIS, WILLIAM 737. Poems by the Way. Printed in Golden type in hlack and red, with woodcut border and initials. Small 4e d'Orleans, poeme. Frontispiece and £1 vi- gnettes after Duplessis-Bertaux. 2 vols. 8vo, full red levant morocco, doublures of blue levant, gilt edges, by Canape. Londres, 1780, (1865) Large Paper. Extra-Illustrated by the insertion of the portrait of Jeanne d'Arc designed and engraved by Gaudier, and the 21 fine plates, proofs bepore letters, engraved by Baquoy, Courbe, Choffard, Delignon, Delvaux, &c. after Le Barbier, Marillier, Monnet and Monsiau, for the edition of Paris, Didot Jeune, 1795 ; also a portrait of Voltaire by Loizelet and another plate. VOLTAIRE, JEAN F. AROUET DE 1059. La PIenriade de Voltaire, avec les varlantes. Portrait of Henry IV. engraved by Tardieu after Pourbus, and ten fine plates, all brilliant impressions, by Triere, De Latmay, Dam- brun, Langee, Patas, 8^c. after Moreau. 4to, old full blue morocco gilt, gilt edges. Paris : P. Didot aine, 1790 VOLTAIRE, JEAN F. AROUET DE 1060. La Pucelle d'Orleans, poeme. Portrait of Jeanne d'Arc, designed and engraved by Gaudier, and 21 plates by Ba- quoy, Courbe, Choffard, Delignon, Delvaux, Duhamel, and others, after Le Barbier, Marillier, Monnet and Monsiau. 2 vols, in one, 8vo, full marbled calf, gilt back and edges. Basle: J. Decker, 1802 VOLTAIRE, JEAN F. AROUET DE 1061. Romances, Novels, and Tales. Stipple portrait hy Mac- kenzie. 2 vols. 12ino, full red levant morocco, gilt backs, gilt edges, by Rivieee. London, 1806 Extba-Illusteated by the insertion of about 40 (probably a set) engravings, by Dambrun and others after C. Monnet, made for the French edition, proofs before inscriptions. VOLTAIRE, JEAN F. AROUET DE 1062. CEuvRES, avec des remarques et des note. La Henkiade. Thick 8vo, full red levant morocco gilt, doublures of blue levant with richly gilt tooled dentelle borders in the manner of Derome, gilt top, uncut, by David, Paris, 1825 Extra-Illustuated by the following series of portraits and plates : (1). 11 portraits engraved by St. Aubin, Bonvolsin after Desenne (proofs before letters in 2 states, one on India paper, and lettered "proof on India paper"), etc. (2). Set of 10 engravings by Simonet, Girardet, Delvaux, etc. after Moreau, mainly in 2 states, one being before letters. (3). Set of 10 plates engraved by Sisco, Coupe, etc. after Desenne, proofs on India paper in 2 states, one before letters. (4). Set of 10 plates engraved by Pauquet after Le Prince, in 2 states, one etched trial proof, and the other before letters. VOLTAIRE, JEAN F. AROUET DE 1063. La Pucelle. A new and complete translation into English verse, revised, corrected and augmented from the earlier translation of W. H. Ireland, by Ernest Dawson. 2 vols, 8vo, cloth, uncut. London: Lutetian Society, 1899 One of 100 copies printed. WALPOLE, HORATIO— Earl of Orford 1064. A Catalogue or the Royal and Noble Authors of Eng- land, Scotland, and Ireland ; with Lists of their Works. Enlarged and continued to the present time, by Thomas Park. Numerous -fine portraits. 5 vols. 8vo, full crimson straight-grained morocco, gold tooled backs, gilt tops, un- cut, by Pratt. London, 1806 IZAAK WALTON'S COMPLEAT ANGLER, FIRST IS- SUE OF THE FIRST EDITION; ALSO, AN- OTHER EDITION FROM BAGSTER'S COLLEC- TION WITH HIS AUTOGRAPH WALTON, IZAAK 1065. The Compleat Angler, or The Contemplative Man's Recreation ; being a Discourse of Fish and Fishing, not unworthy the perusal of most Anglers. Simon Peter said, I go a fishing; and they said, We also will go with thee (John 21.3). With six engravings on copper, in addition to the title, supposed to be by Lombart, of the trout, pike, carp, tench, perch and barbel, and on pages ^16 and 217 is the Angler's Song set to music by Mr. Henry Lawes. Small 8vo, original sheep, old name and writing on title and old name in several other places, tiny hole in one margin and on the last page (blank), several corners not straight, all of which are probably original defects in the paper, very small groove worked in the margins of the first 80 pages, undoubtedly by the thumb of an assiduous reader, and very small portion of back missing. In a crimson levant morocco case. London: Printed by T. Maxey for Rich. Harriot, in S. Dunstans Churchyard, Fleetstreet, 1653 First Issue or the First Edition, the last line but one of the poem by Dr. D (onnc) reading; "And if contention be a stranger, then" where "contention" is a misprint for "contentment." With the exception of the very trifling defects above set forth, ONE OF the finest copies known, measuring 5% x a little over 3>^ inches. In addition to having the final blank, it has a fly-leaf before the title, a printed leaf in Latin and Greek. WALTON, IZAAK, AND COTTON, CHARLES 1066. The Complete Angler. Hawkins's seventh edition, printed upon LARGEST PAPER. With plates and woodcuts. One vol. 4to, extended to 4 vols. 4to, iuU brown levant morocco. [No. 1066— Continued] broad gold tooled borders on sides, gilt backs, gilt tops, by The Club Bindery. (London), 1808 An unsigned manuscript note (but in the handwriting of Robert Hoe) reads ; "This was originally in a very poor & clumsy binding. It also contained some poor & unde- sirable prints which were rejected when I had the volumes rebound. John Bagster suppressed the original title to the book & substituted four drawn in water colors." On the same page is the following note, signed by Samuel Bagster, the London publisher, reading; "I give to my be- loved son Benjamin this copy of Isaac Walton's Complete Angler (Illustrated by my late very dear son John) in four volumes 4to, richly bound, as a proof of the love of his affectionate father Samuel Bagster." Extra-Illustrated by the insertion of nearly one hun- dred WATER-COLOR DRAWINGS of landscapes, fish etc. by Shepherd, Wale and others, in addition to numerous painted vignettes in the text, the woodcuts being colored through- out. The other illustrations — about 200 — comprise proofs in four or five states, old copper-plate portraits by Hollar, Faithorne, Hole and others. The Samuel Bagster-Robert Hoe copy, with autograph of the former and bookplate of the latter. WALTON, IZAAK, AND COTTON, CHARLES 1067. The Complete Angler; or, The Contemplative Man's Re- creation, being a Discourse of Rivers, Fish-Ponds, Fish and Fishing. With Original Memoirs and Notes by Sir Harris Nicolas. With portraits, views, fishing scenes etc. by Stothard, InsJcipp, and Hixon, engraved by Worthington, Fox, and others, all proofs on India paper. 2 vols, royal Svo, full green levant morocco, gilt backs, gilt sides, gilt tops, edges scraped, by Canape. London: William Pickering, 1836 WARDROP, OLIVER— Translator 1068. The Book or Wisdom and Lies, a Georgian Story-Book of the eighteenth century, by Sulkhan-Saba Orbeliani. Trans- lated with Notes, by Oliver Wardrop. Printed in Golden [No. 1068 — Continued^ type, in black and red, with woodcut title representing the arms of Georgiii>, a/nd woodcut borders and initials. 8vo, original vellum, with ties, uncut. London: Kelmscott Press, 1894 Only 250 copies printed. WATSON, WILLIAM 1069. Epigrams of Art, Life, and Nature. Liverpool, 1884; Lyric Love; An Anthology. Edited (with an original Son- net), by William Watson, London, 1892; Lachrymae Mu- sarum and other Poems. London, 1892 ; The Prince's Quest and other Poems. London, 1892; Excursions in Criticism. London, 1893 ; Poems, New York, 1893 ; A Leaf from "The Spectator," May 5, 1894, containing "Domine, Quo Vadis," by Watson. Autograph presentation copy from the author to Richard Le Gallienne, Oct. 15th, 1894; The Pui-ple East. With frontispiece by G. F. Watts. London, 1896; A Year of Shame. With frontispiece. London, 1897 ; Collected Poems. With portrait of the author. London, 1898 ; Ode on the Day of the Coronation of King Edward VII. London, 1902. Together, 10 vols. 12mo and 16mo, cloth, boards and wrappers, as issued, and one sheet. Liverpool, London, and New York, 1884-1902 All First Editions, with the exception of "The Prince's Qziest" which is the first re-issue, limited to 265 copies ; "Poems," New York, 1893; and "Collected Poems," the latter being the first collected edition. Five are from the collection of Richard Le Gallienne with his bookplate. WATSON, WILLIAM 1070. The Eloping Angels. A Caprice. Title-page, cover and dedication page designed by Warrington Hogg. 8vo, orig- inal vellum, gilt, uncut. London, 1893 First Edition on Japanese paper, only 75 so issued, 50 of which were for sale. Autograph presentation copy from the author to Richard Le Gallienne, with the bookplate of the latter. WATSON, WILLIAM 1071. The Father of the Forest. Original Manuscript. Writ- ten in ink on 17 8vo, sheets, signed in full "William Wat- son." Presented to Richard Le Gallienne, with autograph inscription on the first page; "To Richard Le Gallienne, ■from Ms friend, William Watson, Oct. 4-, 1895." Also The Father of the Forest and other Poems. Portrait of the author. Together, 2 pieces. 12mo, original cloth, gilt top, uncut. London, 1895 The Original Manuscript contains numerous corrections and additions. The printed version is the First Edition, and is also tl>e Richard Le Gallienne copy, with his bookplate. WHARTON, HENRY THORNTON 1072. Sappho; Memoir, Text, Selected Renderings, and a Literal Translation. Medallion portrait engraved by Webb, after Alma-Tadema and facsimile. Second Edition. 12mo, full yellow levant morocco in mosaic compartments of blue and brown levant, elaborately gold tooled, doublures of blue le- vant, with floral borders, ribbed silk linings, gilt edges, by The Club Bindery. In a case. London, 1887 The Henry W. Poor copy, with bookplate. This second edition contains a Preface, 7pp. incorporating new material. WHARTON, HENRY THORNTON 1073. Sappho. Another copy, of the same, the Third Edition. Portrait and facsimile. 12mo, full maroon levant morocco, gilt back, gilt sides and edges, doublures of citron levant, with broad gold tooled borders, by Mercier. London, 1895 Contains a new Preface, 3pp. and reprints of the Prefaces of the first and second editions. WHITMAN, ALFRED 1074). The Masters of Mezzotint; the Men and their Work. With 60 reproductions, (mainly full-page). First Edition. Imperial 8vo, cloth, uncut. London, 1898 Only 500 copies printed. WHITMAN, WALT 1075. Leaves of Gkass. Portrait of the author, on India paper. Royal 8vo, original cloth. Brooklyn, New York, 1855 First Edition, with the eight pages of "Press Notices." Laid in is a Ip. A. L. S. of the author, dated Dec. 27, 1873 to his London publishers, Messrs. Triibner and Company, reading; "431 Stevens St. Camden, New Jersey, U. S. America, Messrs. Triibner & Company. Dear Sirs ; Please make out acct. of sales of my books. Leaves of Grass &c. for the closing year, & remit me am't due by mail here, by draft payable to my order. Respectfully &c. Walt Whitman, Dec. 27, 1873." WHITTIER FIRST EDITIONS INCLUDING MOGG MEGONE AND OTHERS [WHITTIER, JOHN GREENLEAF] 1076. DiNSMOOB (Robert). Incidental Poems, accompanied with Letters, and a few pieces, mostly original, for their illus- tration, together with a Preface, and Sketch of the Author's Life. 12mo, full light green levant morocco, gilt back and sides, gilt top, uncut, original board cover, and paper label bound in, by Walters. Haverhill, 1828 First Edition. This volume contains the first poem by J. G. Whittier printed in a book, "J. G. Whittier to the Rustic Bard," pages 248-249. It has never been reprinted. [WHITTIER, JOHN GREENLEAF] 1077. DiNSMOOR (Robert). Incidental Poems. Another copy of the First Edition. 12mo, original half cloth and boards, totally uncut, and with the label. Haverhill, 1828 WHITTIER, JOHN GREENLEAF 1078. Legends of New-England. First Edition. 12mo, full light green levant morocco, gilt inside borders, gilt top, by Walters, small stamp on title. Hartford, 1831 The first book with Whittier's name on title. With the ex- ception of "Metacom," none of the poems were ever re- printed. WHITTIER, JOHN GREENLEAF 1079. MoGG Megone, A Poem. 32mo, original cloth, lettered on the side. Boston, 1836 First Edition. The Edward Hale Bierstadt-D. F. Apple- ton copy, with bookplates of both. "Mogg Megone" has not been published in any collected edition of the author's writings. It was the first bound volume exclusively of verse issued by Whittier. WHITTIER, JOHN GREENLEAF 1080. Poems Written During the Progress op the Abolition Question in the United States Between the Years 1830 AND 1838. Frontispiece and vignettes. First Edition. 12mo, full dark green levant morocco, gilt back and sides, gilt top, uncut, original covers bound in. Boston, 1837 The earliest issue of the First Edition, with 96 pages. The D. F. Appleton copy, with bookplate. [WHITTIER, JOHN GREENLEAF] 1081. Narrative of James Williams, an American Slave, who was for several years a driver on a Cotton Plantation in Ala- bama. Portrait of Williams, engraved hy Patrick Reason (a negro) 12mo, original half cloth and boards. New York and Boston, 1838 Third Issue, re-set and stereotyped at the foundry of Geo. A. and J. Curtis. It embodies all the corrections of the second New York edition. WHITTIER, JOHN GREENLEAF 1082. Poems. 12mo, full dark blue levant morocco, gilt back, gilt top, uncut, by Bradstreet. Philadelphia, 1838 First Edition. Laid in is an autograph note (initials only), by Whittier, to Mr. Osgood, the publisher, of Boston. WHITTIER, JOHN GREENLEAF 1083. Moll Pitcher and the Minstrel Girl. Poems. 12mo, original wrappers, slight stains and back skillfully repaired. Philadelphia, 1840 First and only authorized edition in book form of the poem "The Minstrel Girl" "Moll Pitcher" hadi been issued eight years previously, although anonymously. The only complete edition with the author's name appended. [WHITTIER, JOHN GREENLEAF] 1084. The Nouth Star: the Poetry of Freedom by Her Friends. First Edition. 12mo, original roan. Philadelphia, 1840 Edited anonymously by Whittier, who contributed the poems "The Exiles, a Tale of New England," and "The World's Convention," and possibly "Granada." James T. Fields, Whittier's sister Elizabeth, and John Pierpont were also contributors. The poem "Egypt" by Miss Lloyd, to whom Whittier was said to have been betrothed, was ex- tensively altered by him. WHITTIER, JOHN GREENLEAF 1085. Voices of Freedom. Sixth and Complete Edition. 12mo, full crimson levant morocco, gilt back, inside dentelle bor- ders, gilt top, edges scraped, original cloth covers bound in, by The Club Bindery. Philadelphia, 1846 The earliest issue seems to be the "Fourth and Complete Edition," so designated by the publisher to create a fic- titious impression regarding the popularity of the work. It is thought that all the "editions" are the same in contents. The D. F. Appleton copy, with bookplate. WHITTIER, JOHN GREENLEAF 1086. Old Portraits and Modern Sketches. First Edition. 12mo, full brown levant morocco, back and sides gold tooled, gilt top, advertisements bound in, by The Club Bindery, initials on title. Boston, 1850 WHITTIER, JOHN GREENLEAF 1087. Lays or My Home, and other Poems. Boston, 1843 ; Songs of Labor, and other Poems. Boston, 1851 ; Saint Greg- ory's Guest and recent Poems. Boston, 1886. Together, 3 vols. 2 in half green levant morocco, gilt backs, gilt tops, the last named with original vellum covers bound in. Songs of Labor in full sage-green straight-grained morocco, floral gold tooled panelled sides, gilt top, with the advertisements, all by The Club Bindery. Boston, 1851-1886 "Lays of My Home" and "Saint Gregory's Guest," First Editions, "Songs of Labor" second editions. The D. F. Appleton copies, with bookplates. WHITTIER, JOHN GREENLEAF 1088. In War Time and other Poems, Boston, 1864; Snow- Bound. A Winter Idyl. Illustrated, Boston, 1866 (2 copies) ; The Tent on the Beach, Boston, 1867 (2 copies) ; Among the Hills and other Poems. Illustrated. Bos- ton, 1869; Miriam and other Poems. Illustrated. Boston, 1871 : Hazel Blossoms. Frontispiece. Boston, 1875; The King's Missive and other Poems. Portrait of the author. Boston, 1881. All First Editions. To- gether, 9 vols. 12mo, original cloth. Boston, 1864-1881 OSCAR WILDE'S PICTURE OF DORIAN GRAY, BALLAD OF READING GAOL, AND OTHERS, ORIGINAL EDITIONS WILDE. OSCAR 1089. Poems. 12mo, original decorated vellum, gilt top, uncut. In a silk cover. London, 1881 First Edition. A portrait of the author inserted. WILDE, OSCAR 1090. The Happy Prince and other Tales. Illustrated by Walter Crane and Jacob Wood. First Edition. Square 8vo, original boards, uncut, name on title. London, 1888 WILDE, OSCAR 1091. The Picture or Dorian Gray. Square 8vo, original vel- lum back and boards, uncut, back neatly repaired. London: Ward, Lock and Co., 1891 First Edition. Large paper, and one of 250 copies printed, autographed by the author, and numbered by him. The date "1891" is here printed. Some copies have the date filled in by the author. These dated ones, however, are the correct issue. Here for the first time the text has been revised and ex- tended to 20 chapters. WILDE, OSCAR 1092. Intentions. — The Decay of Lying. — Pen, Pencil and Poison. — The Critic and Artist.— The Truth of Masks. First Edition. 12mo, original cloth, uncut. London, 1891 WILDE, OSCAR 1093. LoKD Aethuk Savile's Crime & other Stories. (The Sphinx without a Secret, The Canterville Coast, The Model Millionaire). 12mo, original boards, uncut. London, 1891 Genuine First Edition, printed by T. & T. Clark of Edinburgh, and published by James R. Osgood, MTlvaine and Co., London. The one printed by T. & T. Clark of Edinburgh, but with the American imprint, although some- times sold as the first, is not the first. WILDE, OSCAR 1094. A House of Pomegranates. The design 4" decoration of this book by C. Ricketts ^ C. H. Shannon. First Edition. Square 8vo, original cloth, uncut. London, 1891 WILDE, OSCAR 1095. Lady Windermere's Fan, A Play about a Good Woman. First Edition. 8vo, original cloth, uncut. With book- plate of John Evans. London, 1893 WILDE, OSCAR 1096. A Woman of No Importance. 8vo, original cloth, uncut, mainly unopened. London, 1894 First Edition. Large Paper copy. Only 50 copies printed. WILDE, OSCAR 1097. Salome: A Tragedy in One Act. Translated from the French. Frontispiece, ornamental title-page, and illustra- tions by Aubrey Beardsley. 8vo, original blue buckram, gilt, uncut. London, 1894 First Edition. The plate opposite page 24 "Enter Hero- dias," contains a portrait of the author. The George Herbert Wailes copy, with bookplate. WILDE, OSCAR 1098. The Ballad of Reading Gaol. By C. 3. 3. 8vo, original cloth, uncut. London, 1898 First Edition. A sheet bearing the autograph of the author "Oscar Wilde, March ^2" is attached to the reverse of the title. WILDE, OSCAR 1099. The Importance or Being Earnest ; A Trivial Comedy for Serious People. 8vo, original cloth, uncut. London, 1899 First Edition. Large paper copy. One of 100 copies printed and autographed by the author. WILDE, OSCAR 1100. An Ideal Husband. Svo, original cloth, uncut. London, 1899 First Edition. Laid in is a program of a performance of the play by Mr. Charles Hawtrey's Company, at the Theatre Royal, Leamington, England, August 6th, 1896. WILDE, OSCAR 1101. Essays, Criticisms and Reviews. Now First Collected. Svo, original wrappers, London ; Privately printed, 1901 ; Epigrams & Aphorisms. 8vo, original boards, gilt top, uncut. Boston, 1905. Together, 2 vols. London and Boston, 1901-1905 The first-named is probably on Large Paper. WILDE, OSCAR 1102. The Satyricon of Petronius. A New Translation, with Introduction and Notes (by Oscar Wilde). 12mo, orig- inal cloth, gilt top, uncut. Paris, 1902 First Edition. Only 440 copies printed. With the semi-transparent slip regarding the translator pasted on the title. WILDE, OSCAR 1103. De Profundis. Portrait of the author. 12mo, original boards, New York, 1905; The Duchess of Padua. A Tragedy of the Sixteenth Century. 8vo, original wrap- pers, New York: Privately printed, undated. Together, 2 vols. New York, 1905— ( ?) The last-named was issued "exclusively for the subscribers." WILKINSON, SIR J. GARDNER 1104. The Manners and Customs of the Ancient Egyptians. New Edition, revised and corrected by Samuel Birch. Nti/merous illustrations, some in color. 3 vols. Svo, half morocco, gilt backs, gilt tops. London, 1878 WILLIAMS, C— Illustrator 1105. The Adventures of a Post Captain. By a Naval Officer, (John Mitford .''). With {^4) characteristic engravings {in color), by Mr. Williams. 8vo, full brown morocco, gilt back, gilt top, other edges entirely uncut, by Riviere. London, circa 1821 First Edition. The inner margins of some of the plates have been extended. WILLSHIRE, WILLIAM HUGHES 1106. An Introduction to the Study & Collection of Ancient Prints. Second Edition, (and best), revised and enlarged. With facsimiles. 2 vols. Svo, half roan and cloth, gilt tops, uncut. London, 1877 WISE, THOMAS J. 1107. A Bibliography of the Writings in Prose and Verse of Robert Browning. 7 parts, Svo, oi'iginal wrappers, un- cut. In a red morocco case. London: Printed for subscribers only, 1896-1897 WITHER, GEORGE 1108. A Collection of Emblemes, Ancient and Moderne; Quick- ened With Metricall lUvustrations, both Morall and Divine, And disposed into Lotteries, That Instruction, and Good Counsell, may bee furthered by an Honest and Pleasant Recreation. Engraved title by William Marshall, portrait and 200 emblems. Small folio, full green morocco, gilt, gilt edges, by Murton. , London, 1635. The second, third and fourth books of the Emblems each have a separate title, and are dated 1634. It has the leaf at the end (repaired), containing the woodcut of a Dial, but lacks the movable index. Engraved title, leaf preceding it ; — "A Preposition to this Frontispiece" the portrait and several pages remargined. Sold not returnable. A Ms. note inside reads; "Huth copy 11% x 7^^ claimed as a very large copy boumd from the original vellum. This is 12 X 714". WIVELL, ABRAHAM 1109. An iNauiRY Into the History, Authenticity & Character- istics of the Shakespeare Portraits ; Also A Supplement to an Inquiry into the History, Authenticity & Characteristics of the Shakespeare Portraits. With numerous fine fac- similes of the originals, including those engraved by Mar- shall for the 16^0 edition of his poems. 2 vols, in 1. 8vo, full green morocco, gilt top, by Matthews. London, 1827 Includes the small slip of "Errata" after the "Contents" leaf in the Supplement. WOODBERRY, GEORGE E. 1110. One Hundred Books famous in English Literature. With an Introduction by George E. Woodberry. With facsimiles of the title-pages. Royal Svo, original vellum back and boards, uncut. New York: The Grolier Club, 1902 One of 305 copies on handmade paper. [WORDSWORTH, WILLIAM] 1111. Lyrical Ballads, with a few other Poems. 12mo, full crim- son levant morocco, finely gold tooled panel, in the centre of which hangs a basket of flowers, both sides tooled in the same design, doublure of colored silk, with linings of the same, gilt top, uncut, by David. In a case, title in pen- and-ink facsimile. London, 1798 First Edition, with the advertisements and the separately printed leaf of "Errata." Coleridge's "The Rime of the Ancyent Marinere" appears here for the first time, as do several other poems by him. WORDSWORTH, WILLIAM 1112. Poems, in Two Volumes. By William Wordsworth, author of The Lyrical Ballads. 2 vols. 12mo, original boards, with backs and labels, entirely uncut, small portions of upper part of both backs missing. In a morocco case. London, 1807 First Edition. Contains the separately printed leaf of "Errata" in Vol. I. A few of the poems were never reprinted, and several of the others were greatly altered when reissued later. WORDSWORTH, WILLIAM 1113. The Waggoner, A Poem, to which are added Sonnets. First Edition. 8vo, original brown wrappers, uncut, with the label and advertisements, uncut, old writing on fly-leaf. London, 1819 WORDSWORTH, WILLIAM 1114. Poetical Works of William Wordsworth. Portrait. 8 vols. 12mo, tree calf, gilt backs, gilt tops, edges scraped, by Riviere. London, 1846-1851 WYTFLIET, CORNILLE 1115. HisToiRE DES Indes Occidentales et Oeientales, et de la conversion des Indiens. With 3 fine engraved title pages and %3 copper-maps. Three parts in one volume. Folio, full marbled calf, gilt edges, by Niedbee. Douay: Chez Fran9ois Fabri, 1611 LARGE PAPER COPIES (2) OF YARRELL'S HIS- TORY OF BRITISH BIRDS, BOTH FIRST EDI- TIONS YARRELL, WILLIAM 1116. A History of British Fishes. Illustrated by nearly IfiO woodcuts, and a portrait of the author. 2 vols, royal 8vo, full dark green straight-grained morocco, gilt backs and sides, gilt tops, edges scraped, by Matthews. London, 1836 First Edition. Large Paper copy. Contains all four Supplements, In volume I both with titles dated (1), 1839 and (2), edited by Sir John Richardson, 1860. In volume II, (1) with title dated 1860 and (2) without title, as issued. It is seldom that copies with all the supplements appear. YARRELL, WILLIAM 1117. A History of British Birds. Illustrated by 5S0 wood engravings. 3 vols, royal 8vo, full straight-grained mo- rocco, gilt back and sides, gilt tops, edges scraped, by Matthews. London, 1843 First Edition. Large Paper copy. Uniform with the preceding. Contains both supplements, both issued with [No. 1117 — Continued'] titles, dated (1) 1825 and (2) 1856. Both are illustrated. A 3pp. A. L. S. of the author, June 3rd, 1848 on ornitho- logical matters, is laid in. YERKES, CHARLES T. 1118. Catalogue De Luxe of the Ancient Rugs, Sculptures, Tapestries, Costly Furniture and other Objects, belonging to the Estate of the late Charles T. Yerkes. Nvmieroits facsimiles, those of rugs in color. Royal 4to, original cloth, uncut. New York, 1910 Subscriber's copy, and one of 150 copies printed. ZACHARIE 1119. Les quatbe parties du joub, poeme traduit de I'allemand. Frontispiece, 4 vignettes and 4 tail-pieces, all brilliant im- pressions, engraved hy Baqiioy after Eisen. 8vo, full blue levant morocco gilt, with coat of arms on the sides, gilt edges, by Allo. Paris: Musier, 1769 ZOLA, EMILE 1120. Une Page d' Amour. Precedee d'une Lettre-Preface. Avec dessins d'Edouard Dantan, graves a Veaur-forte par A. Dumvier. 2 vols, royal 8vo, half maroon levant morocco, gilt backs, uncut, original wrappers bound in, by Carayon. Paris, 1884 One of 200 copies on velin de Holland. The Robert Hoe copy, with bookplate. 1121. NouvEAUx Contes a Ninon. Frontispice et 30 composi- tions dessvnes et graves a Veaii-forte par Ed. Rvdavjc. 2 vols. 8vo, full red levant morocco, gilt backs and inside borders, gilt over rough edges, by Chambolle-Duru. Paris, 1886 One of 150 copies on Large Japanese paper. The Robert Hoe copy, with bookplate. MASTERPIECES OF ENGRAVING AND ETCHING FIRST SESSION MONDAY AFTERNOON, APRIL 12, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 1 to 214 inclusive JOHN SAMUEL AGAR An English portrait engraver and painter, who exhibited his works at the Royal Academy from 1796 to 1806. He was at one time President of the Society of Engravers, and worked mostly in stipple. — Brtan. AGAR, JOHN SAMUEL 1. Charlotte, Princess of Wales. Stipple. After Charlotte Jones. Very fine proof before all LETTERS, printed in black. Very rare. AGAR, JOHN SAMUEL 2. Mrs. Duff. Stipple. After Richard Cosway. Impression from the retouched plate. Printed in red. Framed. AGAR, JOHN SAMUEL 3. Lady Heathcote. Stipple. About 1820. After Richard Cosway. Delicately printed in brown. HEINRICH ALDEGREVER {One of the "Little Masters") Born at Soest, in Westphalia, 1502. After having studied the engravings of DUrer for some time, he went to NUrnberg and became Diirer's pupil. Aldegrever's prints are remarkable for the free and graceful treatment of the trees. ALDEGREVER, HEINRICH 4. Lot and His Daughters. Painter-engraving. 1555. Bartsch, VIII. No. 17. From the "History of Lot." Fine impression. ALDEGREVER, HEINRICH 5. The Nativity. Painter-engraving. 1553. Bartsch, VIII. No. 39. Veey fine. From the Baron Desnoyers and Archinto Collections. ALDEGREVER, HEINRICH 6. PoRTKAiT OF Maetin Luther. Painter-engraving. Bartsch, VIII. No. 184. Superb impression. From the Duke of Aremberg Collection. ALDEGREVER, HEINRICH 7. Portrait of Himself at the Age of 35. Painter-engraving. Bartsch, VIII. No. 189. Fine impression. From the Mary Jane Morgan Collection. ALDEGREVER, HEINRICH 8. Children Playing Near a Well. Painter-engraving. 1539. Bartsch, VIII. No. 267. Fine impression. From the Duke of Aremberg Collection. ALBRECHT ALTDORFER {One of the "Little Masters") Born at Ratisbon 1480; died there 1338. The oldest artist in the group of "Little Masters," who was the least dependent on Diirer in the forma- tion of his style. — Hind. ALTDORFER, ALBRECHT 9. The Crucifixion. Painter-engraving. Bartsch, VIII. No. 8. Very fine impression of a rare plate. From the W. Bell Scott, Von Liphart and H. C. Hoskier Collections. ALTDORFER, ALBRECHT 10. A Cup. Painter-engraving. Bartsch, VIII. No. 94. Fine impression and rare. Duplicate from the British Museum. AMERICANA AMERICANA— BROOKSHAW, RICHARD 11. John Paul Jones. Mezzotint. (1736-1804). Engraved by Richard Brookshaw. Proof before letters. Very fine. Framed. From the Hampton L. Carson Collection. AMERICANA— CONTEMPORARY ENGRAVER 12. Major General Israel Putnam. Mezzotint. Contemporary engraving after Wilkinson, published by C. Shepherd, London, 1775. A very brilliant impres- sion WITH WIDE margins. VeRY RARE. From the James T. Mitchell Collection. AMERICANA— CONTEMPORARY ENGRAVER 13. General Wolfe. Contemporary engraving. Mezzotint. C. Smith, p. 1750. Excessively rare. AMERICANA— CONTEMPORARY ENGRAVER 14. Colonel Benedict Arnold. Mezzotint. Contemporary engraving published by Thomas Hart, Lon- don, 1776. Superb impression. Very rare. From the Hampton L. Carson and James T. Mitchell Collections. AMERICANA— CONTEMPORARY ENGRAVER 15. Major General Horatio Gates. Mezzotint. Contemporary engraving, published by John Morris, Lon- don, 1778. Very rare. From the Hampton L. Carson and James T. Mitchell Collections. AMERICANA— CONTEMPORARY ENGRAVER 16. CoMMODOKE Hopkins. Mezzotint. Contemporary engraving published by Thomas Hart, Lon- don, 1776. Brilliant impbession with full margin. Excessively rake. From the Hampton L. Carson and James T. Mitchell Collections. AMERICANA— CONTEMPORARY ENGRAVER 17. AjsroTHEB Impression of the Same With full margin. Uncut edges. AMERICANA— CONTEMPORARY ENGRAVER 18. Captain Isaac Hull, Commander of the Constitution. (Born at Derby, Conn., 1773; died in Philadelphia, 1843.) Mezzotint. Contemporary engraving published by Freeman & Pierce, Philadelphia, 1813. After a painting by Gilbert Stuart. Brilliant open letter proof of unusual beauty. The impressions usually met with are very weak. From the James T. Mitchell Collection. AMERICANA— DAWE, GEORGE 19. Portrait of George Washington. Mezzotint. Hart, 836 : Baker, 80. Engraved by Dawe (worked 1760-1780). After Wright. Fine impression of one of the rarest of the Wright TYPE, WITH GOOD MARGINS. Framed. From the James T. Mitchell Collection. AMERICANA— ENGRAVING 20. Sir Walter Raleigh. Engraving. Published by Gillflower. Very rare. From the Hampton L. Carson Collection. AMERICANA— ENGUIDANOS, THOMAS LOPEZ 21. Father Bautholomeo de Las Casas Engraved by Thomas Lopez Enguidanos (flourished in Spain about 1780-1815). Raee. From the Hampton L. Carson Collection. AMERICANA— FISHER, EDWARD 22. Benjamin Franklin. Mezzotint. C. Smith, II. No. 19. Engraved by Ed. Fisher after M. Chamberlain. Very fine impression and rare. Duplicate from the Royal Museum of Saxony at Dresden. AMERICANA— GREEN, VALENTINE 23. General Nathaniel Greene. Mezzotint. (1742-1786.) C. Smith, II. No. 56. Engraved by Valentine Green after Peale. First state. Open letter proof. Choice, brilliant impression. Ex- cessively RARE. From the James T. Mitchell Collection. AMERICANA— JOSI, C. 24. Thabdeus Kosciusko. Stipple. (1746-1817. Served in the American Revolution.) Engraved by C. Josi (pupil of Bartolozzi). Fine impres- sion WITH GOOD margin. From the James T. Mitchell Collection. AMERICANA— MEYER, HENRY 25. Commodore Stephen Decatur. Stipple. (Entered the Navy 1793 and died 1812.) Engraved by Henry Meyer after J. W. Jarvis. Fine, rich impression with full margin. Rare. From the James T. Mitchell Collection. AMERICANA— TANNER, B. 26. Macdonough's Victory on Lake Champlain. Lme-engi'av- ing. After Reinagle. Engraved by B. Tanner. Very fine IMPRESSION. Framed. From the Hampton L. Carson Collection. AMERICANA— TIEBOUT, C. 27. General Horatio Gates. Stipple. Engraved by C. Tiebout after G. Stuart. Fine impres- sion, IN SPLENDID CONDITION AND EXCESSIVELY RARE. From the James T. Mitchell Collection. FAUSTINO ANDERLONI Born at Sta. Eufemia, near Brescia, 1766; died in Paris, 1847. ANDERLONI, FAUSTINO 28. The Assumption of the Virgin. Line-engraving. Apell, pp. 11-12. No. 8. After Guido Reni. First state. Remarque proof. Very FINE. Framed. This plate was begun by Giovita Gara- vaglia. PIETRO ANDERLONI Born at Sta. Eufemia, near Brescia, 1784; died at Cabiate, near Milan, 1849. ANDERLONI, PIETRO 29. Moses at the Well, after N. Poussin. Christ and the Woman Taken in Adultery, after Titian. Line-en- gravings. Apell, pp. 13-14. Nos. 1 and 12. First states. Remarque proofs with the white lacing of the sandals in No. 1 and with the flowers in the fore- ground unfinished in No. 12. Very fine pair. Framed. (2) ANDERLONI, PIETRO 30. Judgment of Solomon. Line-engraving. Apell, p. 13. No. 2. After Raphael. Second state. Proof with the inscrip- tion at the base only; before the names of the artists. Very fine and rare. Framed. ANDERLONI, PIETRO 31. Madonna del Passeggio. Line-engraving. Apell, p. 14. No. 6. After Raphael. First state. Proof with "P. A. f 1832" only, in the lower margin. Very fine. Framed. ANDERLONI, PIETRO 32. Expulsion of Heliodorus; Attila Before Rome. Line- engravings. Apell, p. 15. Nos. 13 and 16. Both after the famous frescoes by Raphael in the Stanzae (Vatican). Fourth state. Artist's proofs with "P. A. F." only in the lower margin. Very fine pair. Framed. (2) ZOAN ANDREA "Most of the prints by this engraver are marked with the letters 'Z.A.' of which no one liad been able to give a satisfactory explanation until the Abb6 Zani informed us that in the Venetian dialect these letters signified Zoan (Giovanni) Andrea. Nothing is known of the life of this able en- graver. His prints prove that he imitated the technique of Andrea Man- tegna and it appears that several among his engravings were done after designs by that great master; it is certain that he copied several of Mantegna's prints. He also copied several prints by Albrecht Durer, among them The Carrying of of Amymone, the original of which is dated 1516. This goes to show that the prints of Zoan Andrea belong less to the fifteenth century than to the first decades of the sixteenth." — Bartsch. ANDREA, ZOAN 33. Judith With the Head of Holofernes. Engraving. Bartsch, XIIL No. 1. Very fine and extremely rare. From the Hawkins, R. Fisher and F. Bullard Collections. ANDREA, ZOAN 34. Theee Amoretti. Engraving. Bartsch, XIII. No. 13. Very fine and rake. ANDREA, ZOAN 35. Four Women Dancing (Dance of the Seasons). Engrav- ing. Bartsch, XIII, p. 305. No. 18. Beautiful, strong impression, in dark brown ink, and perfect condition. From the C. Rogers and J. S. Morgan Collections. This print, which Hind justly calls one of the most beautiful engravings of the school of Mantegna, reproduces in reverse, with variations, four of the dancing nymphs from Mantegna's painting, "The Parnassus," in the Louvre. It was most probably engraved after a drawing by Mantegna for that picture. ANDREA, ZOAN 36. Ignorance and Mercury : An Allegory or Virtue and Vice. Engravings. Bartsch, XIII. Nos. 16 and 17. The complete composition in strong early impressions OF THE HIGHEST ORDER. The British Museum possesses Mantegna's original design for the upper part. (2) ANONYMOUS ANONYMOUS GERMAN WOOD ENGRAVER 37. Purgatory. Woodcut. Schreiber, II. No. 1834. An interesting print well preserved and with the original coloring. ANONYMOUS ENGRAVER OF XVTH CENTURY 38. Venus Upon the Sea. Engraving. Judging from its style, this print seems to to be by some Italian engraver of the end of the fifteenth or the beginning of the sixteenth century. THOMAS G. APPLETON APPLETON, THOMAS G. 39. Lady Hamilton as the "Ambassadeess." After G. Romney. Artist's proof on India paper; signed by the engraver. Very eaee. Framed. T. L. ATKINSON Contemporary mezzotinto-engraver. ATKINSON, T. L. 40. Lady Godiva. Mezzotint. After Van Lerius. Signed artist's proof. Framed. HYACINTHE L. V- J. B. AUBRY-LECOMTE Born at Nizza, 1797. Died in Paris, 1858. Historical painter and litho- grapher. AUBRY-LECOMTE, HYACINTHE L. V. J. B. 41. Psyche et l'Amoue. Lithograph. Very fine. PIERRE AUDOUIN Born at Paris, 1768; died there, 1822. Pupil of Beauvarlet. AUDOUIN, PIERRE 42. Venus Blessee. Line-engraving. Apell, p. 24. No. 5. After Raphael. Second state. Pkooe before letters, with the coat of arms. Framed. BENOIT AUDRAN Second son of Germain Audran; born at Lyons, 1661. First received in- struction from his father, afterwards studied under his uncle, Gerard Audran. Entered the Academy in 1709; later he was appointed en- graver to the King, with a pension. AUDRAN, BENOIT 43. Jean-Baptiste Colbert After C. le Febvre. A fine likeness of the famous Colbert, whose portrait was also made by Nanteuil and other noted engravers. Framed. BACCIO BALDINI This engraver, born about 1436, in Florence, worked in that town between the years 1460 and 1480. According to Vasari his engravings come, in order of time, immediately after those of Finiguerra — who is credited with being the earliest engraver — the inventor of the art. Baldini is said to have worked in connection with Botticelli, after whose designs all his plates were engraved. His plates are unsigned and are executed in the manner of the pen drawings of his time. They are, of course, of the very greatest rarity. BALDINI, BACCIO 44. Mars. Engraving. B., XIII, p. 197. No. 5. This and the following number, "Luna," are from a series of eight plates, which seem to have been intended to ac- company an almanac, whereby one could calculate Saints' days falling between the years 1465 and 1517. Bartsch writes that he had never seen these eight plates, which he describes at length. Puoof of exceptionally fine qual- ity, AVITH LAEGE MAEGINS. From the P. Gellatly Collection. BALDINI, BACCIO 45. Luna. Engraving. B., XIII, p. 197. No. 8. Of equally fine quality as the foregoing and IN equally remarxable condition. From the P. Gellatly Collection. BALDINI, BACCIO 46. Dante and Virgil With the Vision op Beatrice. Engrav- ing. Bartsch, XIII, p. 176. No. 38. After a design of Sandro Botticelli. Illustration to Dante's "Divina Commedia." Florence, 1481. Canto II. From the edition by Niccolo di Lorenzo della Magna. Beautiful early impression in brown ink. From the Theodore Irwin and J. S. Morgan Collections. JOHANNES BANKEL Born at Nurnberg, 1837. BANKEL, JOHANNES 47. Castor and Pollux Apell, p. 33. After P. P. Rubens. Remarque proof on India paper. Framed. JACOPO DE' BARBARI {The Master of the Caduceus) Born 1450; died before 1516. Worked in Venice, Niirnberg and Burgundy. Perhaps no engraver has ever had quite the mastery of draperies that Barbari possessed. His treatment of them was almost as far in advance of the contemporary Italian school as it was in advance of the German. BARBARI, JACOPO DE' 48. St. Catheuine. Engraving. Bartsch, VII. No. 10. Steong, early impression of rare beauty. From the J. S. Morgan Collection. BARBARI, JACOPO DE' 49. Apollo and Diana. Engraving. Bartsch, VII. No. 16. Brilliant and strong impression of the greatest beauty, showing the plate line. From the Firmin-Didot Collection. This engraving is remarkable for its relations with Diirer's engraving of the same subject. While in line and composition these two prints show little resemblance, the interesting fact is, that there exists a drawing from the hand of Diirer, in the British Museum, forming apparently a study for his engraving in which Diana is also seen from the back, as in Barbari's plate. BARBARI, JACOPO DE' 50. Mars, Venus and Cupid. Engraving. Bartsch, VII. No. 20. Very fine and extremely rare. From the John Barnard and G. Hibbert Collections; also Duplicate from the British Museum. THOMAS OLDHAM BARLOW English mezzotint engraver, born at Oldham, 1842. Pupil of Stevenson, Royston and Samuel Cousins. BARLOW, THOMAS OLDHAM 51. PoRTKAiT OF Charles Dickens. Mezzotint. After Firth. Proof before all letters on India paper. Fine IMPRESSION AND RARE. W. W. BARNEY BARNEY, W. W. 52. George Spencer, Earl oe Sunderland, and Lord Charles Spencer. Mezzotint. After Richard Cosway. First state. Open letter proof with small margin; the plate-mark is cut off. FRANCESCO BARTOLOZZI Born in Florence, 1727. Pupil of Joseph Wagner at "Venice. In 1764 he removed to London, and in 1769, upon the foundation of the Royal Academy, was nominated as one of the original members. He died in Lisbon on March 7, 1816. BARTOLOZZI, FRANCESCO 53. CiiPiDON achete TROP-cHExi. Stipple. After John Sturt. Fine impression printed in colors. BARTOLOZZI, FRANCESCO 54. Genius Describing Beauty. Stipple. After J. B. Cipriani. Fine proof, with the artists' names and the publication line in scratched letters. Printed in red. Companion to No. 55. BARTOLOZZI, FRANCESCO 55. Prudence and Beauty. Stipple. After G. B. Cipriani. Artist's proof, with the publisher's line in scratched letters. Very fine. Printed in red. Companion to No. 54. BARTOLOZZI, FRANCESCO 56. Another Impression of the Same. Stipple. Nicely printed in colors. Veey fine impression. Framed. BARTOLOZZI, FRANCESCO 57. Love Cares'd; Love Rejected. Stipples. Both after G. B. Cipriani. A pair of very fine prints in brown and in perfect order. (2) BARTOLOZZI, FRANCESCO 58. A Nest of Cupids. Stipple. From a drawing by Miss Aspinwall at Naples. Very fine EARLY IMPRESSION IN COLORS, before Schiavonetti's name was removed and Bartolozzi's substituted. Impressions of this state and quality are excessively rare. BARTOLOZZI, FRANCESCO 59. The Graces Crowning the Bust of Raphael. Stipple. After G. B. Cipriani. Proof before letters, with the pub- lisher's line in script. Printed in brown. Very fine. BARTOLOZZI, FRANCESCO 60. Hercules and Omphale. Oval. Stipple. After G. B. Cipriani. Artist's proof printed in brown; in perfect condition. BARTOLOZZI, FRANCESCO 61. Venus Attired by the Graces. Stipple. After Angelica Kauffmann. Proof before all letters, printed in red. Unusually fine proof of this attrac- tive engraving. Framed. /I L--' ■'-'- ■ ' BARTOLOZZI, FRANCESCO 62. Venus Chiding Cupid. Stipple. After Sir Joshua Reynolds. Fine proof before letters, printed in brown. Rare in this state. BARTOLOZZI, FRANCESCO 63. Venus Presenting the Cestus to Juno. Stipple. After G. B. Cipriani. Proof before letters, printed in red. Very fine. BARTOLOZZI, FRANCESCO 64. Venus Sueeounded by Cupids; The First Kiss of Love. Stipples. Both after Cipriani. The first one with the full title. The second a fine open letter proof. Both printed in brown. Framed. (2) BARTOLOZZI, FRANCESCO 65. Victory. Stipple. After G. B. Cipriani. Proof before all letters; printed in brown. BARTOLOZZI, FRANCESCO 66. Girl Looking Into a Mirror. Oval. Stipple. After Angelica Kauffmann. Proof before letters, nicely printed in colors. BARTOLOZZI, FRANCESCO 67. The Power or Beauty; The Power of Love. Stipples. (1783.) Both after G. B. Cipriani. Nicely printed in red. Framed. (2) BARTOLOZZI, FRANCESCO 68. Rural Innocence. Stipple. Nicely printed in colors. Framed. BARTOLOZZI, FRANCESCO 69. A St. Giles' Beauty. Stipple. After Benwell. Proof before letters, printed in black. Full margin. Superb impression in perfect condition. Framed. BARTOLOZZI, FRANCESCO 70. The Twelve Months. Stipples. (One of them engraved by W. N. Gardner.) After W. Hamilton. Beautiful color-prints of a very rare set, only one of which (November) is missing. Framed. (11) BARTOLOZZI, FRANCESCO 71. Wisdom. Stipple. After G. B. Cipriani. Nicely printed in colors. Framed. BARTOLOZZI, FRANCESCO 72. Mrs. Abington as the Comic Muse. Stipple. After Richard Cosway. Proof before letters, printed in brown. Veey fine. Framed. BARTOLOZZI, FRANCESCO 73. The Honourable Miss Bingham. Stipple. After Sir Joshua Reynolds. Superb impression in red- dish brown. Very rare. BARTOLOZZI, FRANCESCO 74. Portrait of Bonaparte. Stipple. After Appiani. Open letter proof, nicely printed in colors. Very fine and rare. BARTOLOZZI, FRANCESCO 75. Miss Farren (Elizabeth, Countess of Derby). Stipple. After Sir Thomas Lawrence. Superb open letter proof WITH THE coat OF ARMS, BEAUTIFULLY PRINTED IN COLORS. Very rare. The original painting is in the J. P. Morgan Loan Collection, Metropolitan Museum of Art. Framed. BARTOLOZZI, FRANCESCO 76. George IV., When Prince of Wales. Stipple. After L. Russell. Beautiful impression in colors. Very RARE. BARTOLOZZI, FRANCESCO 77. Simplicity (Miss Gwatkin). Stipple. After Sir Joshua Reynolds. Script letter proof printed in brown. A very fine impression, and rare. BARTOLOZZI, FRANCESCO 78. The Fair Moralist and Her Pupil (Mrs. Hardinge and HER Son). Stipple. After Richard Cosway. A very fine impression in brown, but without margin. BARTOLOZZI, FRANCESCO 79. Another Impeession of the Same. Stipple. Veey beautiful. Proof before letters, printed in brown. Framed. BARTOLOZZI, FRANCESCO 80. Portrait of Angelica Kauffmann. Stipple. After herself. Beautiful proof before letters, printed in red. Framed. BARTOLOZZI, FRANCESCO 81. The Lamb Family. Stipple. After Sir Joshua Reynolds. Proof before letters in brown. Very fine. BARTOLOZZI, FRANCESCO 82. Mary Queen of Scots and Her Son, James I. Line-en- graving. Apell, p. 39. No. 17. After F. Zuccaro. First state. Proof with the names of the artists and with the publication line only. Superb impression in perfect condition. From the Earl of Aylesford Collection. BARTOLOZZI, FRANCESCO 83. William Murray, Lord Mansfield (Chief Justice of the King's Bench). Stipple. After Sir Joshua Reynolds. Very fine. Proof before letters, with the coat-of-arms. Framed. This plate is usually conceded to be the engraver's masterpiece in por- traiture. BARTOLOZZI, FRANCESCO 84. Lady Smyth (and her children: Louisa, George Henry and Charlotte). Stipple. After Sir Joshua Reynolds. Fine impression, printed in brown. Repaired. BARTOLOZZI, FRANCESCO 85. The Rt. Hon. Lavinia, Countess Spencer. Stipple. After Sir Joshua Reynolds. Proof before all letters, printed in brown. Extra large margin. Veey pine. Framed. Countess Spencer was eldest daughter of Charles, Earl of Lucan; married Viscount Althorp, afterwards second Earl Spencer. BARTOLOZZI, FRANCESCO 86. Edward, Lord Thurlow (Lord High Chancellor of Great Britain) . Stipple. After Sir Joshua Reynolds. Proof with the artists' names and Poggi's address only, in lightly-etched letters. Framed. BARTOLOZZI, FRANCESCO 87. Le Silence: "Farce somnum rumpere." Line-engraving. Apell, p. 38. No. 6. After Annibale Carracci. First state. Very fine proof BEFORE LETTERS AND THE BORDER. Framed. JACQUES FIRMIN BEAUVARLET Born at Abbeville about 1731 ; died in Paris, 1797. "He went to Paris when young, and was instructed in the art by Charles Dupuis and Laurent Cars, His first manner was bold and free, and his plates in that style are preferred by some of the more highly-wrought prints which he afterwards produced, although it must be confessed that the latter are executed with great neat- ness and delicacy." — Beyan. BEAUVARLET, JACQUES FIRMIN 88. Le Retour du Courrier. Line-engraving. Portalis and Beraldi, I. No. 7. After F. Boucher. Beautiful proof before all letters. BEAUVARLET, JACQUES FIRMIN 89. La Famille du Fermier Portalis and Beraldi, I, p. 143. No. 11. After J. Honore Fragonard. First state. Superb proof BEFORE ALL LETTERS. Rare. BEAUVARLET, JACQUES FIRMIN 90. Le Rendez-vous Ageeable. Line-engraving. Portalis and Beraldi, I, p. 144. No. 16. After Raoux. Very fine. Framed. BEAUVARLET, JACQUES FIRMIN 91. Lecture Espagnole. Line-engraving. Portalis and Beraldi, I, p. 144. No. 20. After C. Vanloo. Framed. The figure of the governess is said to be a likeness of the painter's wife. BEAUVARLET, JACQUES FIRMIN 92. Le Comte d'Artois et Mademoiselle Clotilde (Les Enfants de France). Line-engraving. Portalis and Beraldi, I, p. 145. No, 24. After Drouais. Framed. PORTAUS SAYS THIS IS OITE OP THE "cHEFS-d'cEUVBE OP THE ENGRAVER." The lace of the little princess is most excellently done. BEAUVARLET, JACQUES FIRMIN 93. Portrait of J. B. Poquelin de Moliere. Line-engraving. Portalis and Beraldi, I, p. 147. No. 34. After S. Bourdon. First state. Superb proof before ALL letters, with LARGE MARGIN. EXCEEDINGLY RAKE. BEAUVARLET, JACQUES FIRMIN 94. Danish Cavaliers Seduced by the Nymphs of Armida; Telemachus in the Island of Calypso. Line-en- gravings. Andresen, I, p. 86. Nos. 9 and 10. Both after J. Raoux. First states. Superb proofs be- fore ALL LETTERS. VeRY RARE. (2) BEAUVARLET, JACQUES FIRMIN 95. L'Hymen et L'Amour. Line-engraving. Not mentioned by Portalis and Beraldi. After F. Boucher. Fine impression in perfect condi- tion. BARTHEL BEHAM (One of the "Little Masters") Born in NUrnberg in 1602. Died in Italy in 1640. "He has always been justly reckoned among the greatest artists of this group (the Little Mas- ters). His prints show a masterly knowledge of drawing, always correct and often full of grace, as well as a technic of wonderful softness and delicacy." — Baetsch. BEHAM, BARTHEL 96. Battle of Nude Men. Painter-engraving Bartsch, VIII. No. 16. Unusually fine imfbessiok. From the R. Scholtz Collection, and a duplicate from the Berlin Museum. BEHAM, BARTHEL 97. The Thuee Skulls. Painter-engraving. 1529. Bartsch, VIII. No. 27. First state. Very early impression before the mono- gram "B. P." WAS CHANGED. BEHAM, BARTHEL 98. Portrait of Empeeor Charles V. Painter-engraving. Bartsch, VIII. No. 60. First state. Extremely fine impression before the monogram. Very rare. From the Baron Von Lanna and Fritz Rumpf Collections. "I should be quite unworthy of confidence if. In my general preference for the etched over the engraved line, I did not give marked prominence to this triumph of the burin . . . Examined with a lens, it will be seen that the lines composing this splendid portrait (which I have chosen as an example of the power and feeling of the artist) are not continuous and uninterruptedly incisive like the lines of Diirer, Goltzius, Faithorne, and the burinists generally; but that they are broken in their continuity in such a fashion as to deprive them of harshness, and to cause them to suggest, in a singular measure, the effect of color." — Seymoue Hadek. BEHAM, BARTHEL 99. Portrait of Emperor Ferdinand I. Painter-engraving. 1631. Bartsch, VIII. No. 61. (In the 29th year of his age.) First state. Very fine impression before the address of Van dee Heyden. Extremely rare. HANS SEBALD BEHAM (One of the "Little Masters") Born In Niirnberg, 1500; died in Frankfort a|M 1550. BEHAM, HANS SEBALD 100. Moses and Aaron. Painter-engraving. 1526. Bartsch, VIII. No. 8. Very fine impression. BEHAM, HANS SEBALD 101. Judith. Painter-engraving. 1547. Bartsch, VIII. No. 12. Very fine impression. BEHAM, HANS SEBALD 102. Job and His Comforters. Painter-engraving. Bartsch, VIII. No. 18. Very brilliant impression. From the F. Debois Collection. BEHAM, HANS SEBALD 103. The Virgin with a Parrot. Painter-engraving. 1549. Bartsch, VIII. No. 19. First state. Very fine impression, before the additional cross-hatching near the Virgin's right foot. This is one OF THE master's PRETTIEST PLATES, AND IS USUALLY CON- SIDERED TO BE THE FINEST MaDONNA HE ENGRAVED. From the R. Scholtz Collection. BEHAM, HANS SEBALD 104. The Feast at Cana. Painter-engraving. Bartsch, VIII. No. 23. First state. Superb impression and extremely rare. From the Count Archinto and R. Scholtz Collections. BEHAM, HANS SEBALD 105. Christ Standing on the Globe. Painter-engraving. Bartsch, VIII. No. 30. Second state. An impression of the very first quality. From the R. Scholtz Collection. BEHAM, HANS SEBALD 106. The Prodigal Son. Painter-engraving. 1540. Bartsch, VIII. No. 32. Very fine impbession before the retouch. BEHAM, HANS SEBALD 107. The Four Evangelists. Painter-engravings. Bartsch, VIII. Nos. 55-58. Brilliant impressions. BEHAM, HANS SEBALD 108. Justice of Emperor Trajan. Painter-engraving. 1537. Bartsch, VIII. No. 82. BEHAM, HANS SEBALD 109. The Judgment of Paris. Painter-engraving. Bartsch, VIII. No. 89. Superb impression. BEHAM, HANS SEBALD 110. The Labors of Hercules. Painter-engravings. Bartsch, VIII. Nos. 96-107. A VERY fine and even SET. (12) BEHAM, HANS SEBALD 111. Leda and the Swan. Painter-engraving. 1548. Bartsch, VIII. No. 112. A VERY FINE impression. BEHAM, HANS SEBALD 112. Patience. Painter-engraving. Bartsch, VIII. No. 138. Second state (of six). Very fine impression in excel- lent condition. From the R. Scholtz Collection. BEHAM. HANS SEBALD 113. Death and the Young Woman. Painter-engraving. Bartsch, VIII. No. 149. First state. In the later state there are four long blades of grass near the pot, which holds the lily, instead of three as in the present proof. A supeeb impression. From the St. John Dent Collection. BEHAM, HANS SEBALD 114. Death and a Nude Woman. Painter-engraving. Bartsch, VIII. No. 150. BEHAM, HANS SEBALD 115. Triumph of Women. Painter-engraving. Bartsch, VIII. No. 143. First state. Very fine impression. From the B. Keller Collection. BEHAM, HANS SEBALD 116. Another Impression of the Same. Painter-engraving. Bartsch, VIII. No. 143. First state. Equally fine. From the A. Morrison Collection. BEHAM, HANS SEBALD 117. Egidius Herbstmoon and Simon Weinmoon. Painter-en- graving. Bartsch, VIII. No. 158. From the set of months. Brilliant impression. BEHAM, HANS SEBALD 118. Peasants Fighting. Painter-engraving. Bartsch, VIII. No. 162. Superb impression. Extremely rare in this quality. From the P. Gellatly Collection. BEHAM, HANS SEBALD 119. "IcH will'auch MIT." Painter-engraving. Bartsch, VIII. No. 176. 6EHAM, HANS SEBALD 120. Vignette with Satyrs. Painter-engraving. Bartsch, VIII. No. 225. From the A. Morrison Collection. BEHAM, HANS SEBALD 121. Vignette with a Cuirass and Two Genii. Painter-engrav- ing. Bartsch, VIII. No. 227. From the A. Morrison Collection. BEHAM, HANS SEBALD 122. Ornament (a mask on a cartouche supported by two Cupids). Painter-engraving. Bartsch, VIII. No. 228. First state. Very fine. BEHAM, HANS SEBALD 123. Cupid as a Jester. Painter-engraving. 1542. Bartsch, VIII. No. 230. BEHAM, HANS SEBALD 124. Ornament with Two Genii. Painter-engraving. Bartsch, VIII. No. 236. Very fine impression. From the J. P. F. Kalle Collection. CLAES (NICOLAES) PIETERSZ BERCHEM Born 1624; died 1683. He studied painting in Holland under Pieter de Grabber and Jan van Goyen, but it is doubtful whether any of his etchings are earlier than the period of his visit to Italy. BERCHEM, CLAES (NICOLAES) PIETERSZ 125. The Bag-Piper and the Horseman. Painter-etching. Bartsch, V. No. 4. Usually called "Le Diamant." First state. Beautiful impression. Full of sunlight and atmosphere, before the name of the artist. y* From the A. Morrison Collection. CHARLES CLEMENT BERVIC Born in Paris, 1756; died there, 1822. Pupil of J. G. Wille. BERVIC, CHARLES CLEMENT 126. The Rape of Dejaneiua. Line-engraving. ApeH, p. 56. No. 2. After Guido Reni. Second state. Superb pkoof befoke LETTERS, WITH THE eegisthation. Framed. Companion to No. 127. BERVIC. CHARLES CLEMENT 127. Education of Achilles. Line-engraving. Apell, p. 56. No. 3. After Regnault. First state without the registration. Superb proof before letters. Framed. Companion to No. 126. BERVIC, CHARLES CLEMENT 128. Laocoon. Line-engraving. Apell, p. 56. No. 4s. After a drawing by Pierre Bouillon from the antique. Second state. Proof before all letters, with the cross-hatch- ing on the left pillar. Framed. "But Bervic's masterpiece is undoubtedly his plate of the renowned antique group of the 'Death of Laocoon and His Two Sons,' engraved for the Musie Frangais, in which he appears to have rivaled the 'suffering marble.' . . . Yet such was his modesty that when his task was done he complained of having been able but partially to realize his aims." — Bkyajst. BERVIC, CHARLES CLEMENT 129. Louis XVI. Line-engraving. V ' ApeU, p. 57. No. 10. After Callet. Fourth state. Early impression before THE plate was BROKEN. Signed by Bervic in pencil. Framed. "The full-length portrait of Louis XVI. in his coronation robes, after the portrait by Callet at Versailles, established the reputation which Bervic had obtained by the wonderful brilliancy and softness with which he re- produced in black and white the diverse tones and textures indicated in painting by the aid of color. Bervic kept pace with the revolutionary movement, and at one of the meetings of the 'Soci6t6 Populaire des Arts' broke the copper plate of the king's portrait, and tore in halves all the proofs of which he was possessed. The plate has since been skilfully re- paired by Chollet, and later impressions taken from it." — Bryan. JACOB BINCK {One of the "Little Masters") Born in Cologne about 1504 (or 1490) ; died in Koenigsberg (Prussia) 1668 (1569). BINCK, JACOB 130. David and Bathseba. Painter-engraving. Bartsch, VIII. No. 6. From the Durazzo, Von Lanna and H. S. Hoskier Collec- tions. AUGUSTE JEAN BAPTISTE MARIE BLANCHARD, Jr. Born in Paris, 1792; and died there, 1849. BLANCHARD, AUGUSTE JEAN BAPTISTE MARIE, Jr. 131. Baktholome Esteban Mubillo. Line-engraving. Apell, p. 66. No. 21. After himself. First state. Artist's proof on India paper. Veuy fine. From the W. H. Daugherty Collection. ABRAHAM BLOOTELING Born at Amsterdam in 1634; died about 1698. BLOOTELING, ABRAHAM 132. Admiral Egbebt Meesz Kobtenaee. Line-engraving. i Dutuit, IV, pp. 52-53. ^ ' After Van der Heist. Second state. Supebb impbession BEFOBE THE ■woBDS "et excudit" Were added after the word "sculpsit." Framed. MAURICE BLOT Born in Paris 1753; died there, 1818. Pupil of Saint- Aubin. BLOT, MAURICE 133. Le Vebkou. Line-engraving. Portalis and Beraldi, I, p. 194. No. 4. After J. H. Fragonard. Second state. Veey fine im- pression, AND RAKE. BLOT, MAURICE 134. Monsieur le Dauphin et Madame, Fille du Roi. Line- engraving. Portalis and Beraldi, I, p. 194. No. 6. After Mme. Le Brun. This is Blot's principal and MOST famous plate. SCHELTE A' BOLSWERT Born at Bolswert about 1586; died at Brussels, 1659. One of the most Important men of Rubens' school. BOLSWERT, SCHELTE A' 135. The Chase ov Meleager and Atalanta. Line-engraving. Schneevoogt, p. 231. No. 3. After P. P. Rubens. Fine early impression. From the W. H. Daugherty Collection. GIULIO BONASONE Flourished from 1531 to 1574. His work, which comprises 350 plates, seems to have been done entirely in Rome. BONASONE, GIULIO 136. Scipio Wounded. Engraving. Bartsch, XV. No. 81. Framed. BONASONE, GIULIO 137. Young Man Slaying a Sea-Monster. Engraving. Bartsch, XV. No. 178. Fine old impression before any address. From tlic Baron Von Lanna Collection. BONASONE, GIULIO 138. Portrait of Michael Angelo Buonarotti. Engraving. Bartsch, XV. No. 345. Early impression. From the Count de Fries Collection. LOUIS MARIN BONNET {Sous la Direction de) BONNET, LOUIS MARIN 139. Le Dejeuneb de Fanfan; "Ah! qu'il est joli." Color-en- gravings. Both after Vangorp. Engraved by Malles. Veey fine IMPEESSIONS, WITH THE FULL MARGIN, SHOWING THE REG- ISTRY MARKS. (2) BONNET, LOUIS MARIN 140. Lady Drinking Coffee Very fine color-print of unusual freshness, with the gold border. No margin. Excessively rare. Companion to No. 141. BONNET, LOUIS MARIN 141. The Milkmaid Very fine color-print, with the gold border. Of the same quality as the foregoing. No margin. Excessively rare. Companion to No. 140. BONNET, LOUIS MARIN 142. La chevre bien aimee ; Le Petit Cavalier ; Le coa secouru. Color prints of great eeauty. The last one with uncut / - margin, and of unusual freshness. (3) BONNET, LOUIS MARIN 143. Le Reveil de Venus. Color-engraving in crayon-manner. After F. Boucher. Beautiful impression in five colors on bluish paper. Extremely rare. The print has been laid down and by taking it off the mount the paper has been skinned on the back in several places. BONNET, LOUIS MARIN 144. Venus et l'Amour. Color-engraving in crayon-manner. / After F. Boucher. Beautiful impression in five colors on bluish paper. Extremely rare of such quality. G. H. BOUGHTON, (a.r.a.) End of nineteenth century. BOUGHTON, G. H., (a.r.a.) 145. Return of the Mayflower. Engraved by J. J. Chant. Mixed manner. First state. Proof before all letters, on India paper, signed by the painter. Framed. MARIANO BOVI Flourished in London from 1786 to 1791. BOVI, MARIANO 146. Art; Nature. Stipples. Both after J. B. Cipriani. Beautifully printed in COLORS and with a border from an extra plate. Very RARE. Framed. (2) BOVI, MARIANO 147. Cornelia, Mother of the Gracchi. Stipple. After Titian. Fine impression in colors. Framed. FELIX BRACQUEMOND Born in Paris, 1833. "Bracquemond has had all the medals. He was decorated in 1882. In 1884 he obtained the highest award, the Medal of Honor, to which was added the satisfaction of hearing it said, on all sides, that he should have received it long ago and more than once." — Hsirsi Bebaldi. BRACQUEMOND, FELIX 148. Portrait of Mons. Edmond de Goncouut. Etching. Beraldi. No. 64. From life. Signed artist's proof on Japanese paper. One OP the engraver's finest plates. Framed. From the W. S. Carter Collection. BRACQUEMOND, FELIX 149. Le Vieux Cos. Painter-etching. Beraldi. No. 222. First state. Signed artist's proof on Japanese paper, be- fore the verses in the upper left corner. Very fine and HARE. "Un des pieces capitales de I'oeuvre." — Beraldi. "Certainly a triumph at once of technique and of character." — Weubiork. DONATO BRAMANTE Born near Urbino 1444, and died In Rome 1514. Passavant mentions only three engravings by this master. BRAMANTE, DONATO 150. Prophet Nathan Blessing David. Painter-engraving. Passavant, V. No. 3. Superb impression and rare. From the G. D. de Arozarena and Baron Von Lanna Collections. GIOVANNI ANTONIO DA BRESCIA Flourished In Rome between the years 1500 and 1516. BRESCIA, GIOVANNI ANTONIO DA 151. The Holy Family, with St. John. Engraving. Bartsch, XIII. No. 5. After a design by A. Mantegna. Very rare and fine. From the J. Reiss and F. BuUard Collections. BRESCIA, GIOVANNI ANTONIO DA 152. A Woman Watering a Plant. Line-engraving. Bartsch, XIII, p. 329. No. 21. Passavant, Y, p. 106. No. 19. Good early impression. From the J. S. Morgan Collection. T. BROOKS BROOKS, T. 153. The Fiest Lesson. Engraving in mixed manner. After J. Bateman. Proof before all letters, on India paper. Framed. JOHN BROWNE Born at Norwich 1741; died in London 1801. BROWNE, JOHN 154. A Landscape with the Baptism oe the Eunuch; A Land- scape WITH Cephalos and Procris. Line-engravings. Andresen, I, p. 193. Nos. 2 and 4. Both after Claude Gellee. From the Boydell Gallery. First states. Fine proofs before the letters with THE coAT-OF-ARMs. Framed. From the W. H. Daugherty Collection. (2) ADAM BUCK Worked between the years 1795 and 1833. BUCK, ADAM 155. Ride on a Horse to Banuukv Cross; Hide on Pick Back, My Darling. Stipples. A pair of open letter proofs, nicely printed in colors. (2) BUCK, ADAM 156. What's That, Mother.? Stipple. After A. Buck. Engraved in conjunction with J. S. Agar. Very nicely printed in colors. Rare. FELIX BUHOT Born at Valognes, 1847; died in Paris, 1898. "The technic of Buhot is as- suredly far from being simple. But lie is free. He is not the slave of rules and formulas; he has not the least respect for arbitrary laws; he blends and mixes all the different means used for obtaining effects in black and white — whether by cutting into or corroding the plate. He is not the slave of any one implement. For Buhot would not understand the traditional distinction made between a line-engraver, an etcher, or a worker in dry-point, nor of all those good people who separate and group themselves according to the end at which they break the egg they are going to eat! . . . Let us say at once that Buhot — ^painter and etcher — is above all a poet. The world at large cannot fail to admire the form of his message, his vocabulary and syntax — that is to say, the means by which he expresses himself." — Leonce Benedite. BUHOT, FELIX 157. Les Voysins de Campagne. Painter-etching. Bourcard. No. 148. Second state (of 5). Very fine impeession. From the etcher's own collection. SIR HENRY BUNBURY BUNBURY, SIR HENRY 158. The Mouse's Petition. Stipple. Engraved by Francesco Bartolozzi. Delicately printed in colors. Besides its artistic qualities this print is inter- esting because it bears the portrait of a celebrated scientist — Priestley — the discoverer of oxygen. Framed. Companion to No. 159. BUNBURY, SIR HENRY 159. Marion. Stipple Engraved by Peltro W. Tomkins. Fine color-print. Companion to No. 158. JOHANNES BURGER Born at Burg (Switzerland) 1829—? Pupil of Thaeter. BURGER, JOHANNES 160. Flora. Line-engraving. Apell, pp. 78-80. After Titian. In the Uffizi Gallery. First state. Artist's proof on India paper, signed by the engraver. Framed. From the W. S. Carter Collection^. HANS BURGMAIR Born at Augsburg 1473; died there about 1531. BURGMAIR. HANS 161. Empeboe. Maximilian and His Counsellors. Woodcuts. Soldiers kneeling before the emperor. From " Der Weiss Kunig." Very fine impressions. From the Henry Huth Collection. These two wood-cuts are part of a series which was executed under the direction of Hans Burgmair, in honor of Emperor Maximilian, called "Der Weisskunig." A few of the blocks are signed with the initials "H. B." and it seems probable that these blocks are by Burgmair himself. This probability is further strengthened by the fact that the blocks marked "H. B." are more artistic and finer than the others. Early proofs of these blocks are extremely rare. These two examples come from the Huth col- lection, but before the Huth sale only four or five separate sheets of the original printing had come into the market for many years. THOMAS BURKE Born in Dublin, 1749; died in London, 1815. BURKE, THOMAS 162. Cupid Binding Aglaia to a Laurel; Cupid Disarm'd by Eu- PHROsiNE. Stipples. Both after Angelica Kauffmann. Open letter proofs printed in red with large margins. A very fine pair. (2) BURKE, THOMAS 163. Lady Rushout and Daughter. Stipple. After Angelica Kauffmann. Proof before all letters printed in brown. Exceedingly fine proof of this lovely portrait. Framed. Daughter of Humphrey Bowles, Esq., of Wanstead. Wife of John Rushout, created Lord Northwich; died 1818. ALEXANDRE CALAME Born, 1810; died, 18C4. CALAME, ALEXANDRE 164. Landscape. Geneve, 1845. Proof on India paper. From the W. H. Daugherty Collection. JACQUES C ALLOT Born at Nancy in 1592; died in 1635. Meaume in his catalogue of Callot's etchings says: "Callot is one of the glories of the national school. As an etcher he has never been surpassed, nor even equalled, and indeed France has always considered as one of the fairest flowers of her crown of art the famous engraver in Nancy." CALLOT, JACQUES 165. The Martyrdom or St. Sebastian. Painter-etching. Meaume. No. 137. First state. Superb impression in perfect condition, BEFORE the ADDRESS OF IsRAEL SyLVESTRE. From the Baron Von Lanna Collection. DAVID YOUNG CAMERON Contemporary Painter-Etcher of high merit. "Mr. Cameron is the son of a Scotch clergyman and resides with his father in Glasgow. He is a. Fellow of the Royal Society of Painter-Etchers, and probably the youngest member of that distinguished body. Sir Francis Seymour Haden, its presi- dent, writes of Mr. Cameron with an enthusiasm which is unusual with him — hailing him as a hopeful successor to the masters of the previous generation, and cordially recognizing in his work that precious gift of personality without which all mere technical skill is in vain. In examin- ing Mr. Cameron's etchings it is not easy to designate his forte. Meryon etched picturesque buildings magnificently, but his portraits are simply bad. Whistler has triumphed in a wider field, but he seems to care nothing for the restful charms of rural landscape — where Seymour Haden is supreme. Mr. Cameron (though we hope his best work is still to be done) already shows himself equally at home when delineating pure landscape, views of buildings and shipping, interiors, or portraits." — Fded- EKiCK Keppel. CAMERON, DAVID YOUNG 166. Rembrandt's Farm (one of the Dutch series). Painter-etch- ing. Wedmore. No. 62. Signed artist's proof on old laid paper. The plate de- stroyed. Very' fine and rare. From the Tracy Dows Collection. CAMERON, DAVID YOUNG 167. St. Marks; Venice. Painter-etching. Wedmore. No. 74. First state; signed proof on laid paper marked by the artist: "First state. 40 proofs." Very fine and ex- tremely RARE. This plate is ranked as the finest of THE several plates THE ARTIST HAS ETCHED OF St. Marks. From the Tracy Dows Collection. CAMERON, DAVID YOUNG 168. Abbazia Wedmore. No. 133. Signed artist's proof on Japanese paper. A brilliant, BUT HARMONIOUS IMPRESSION ; the plate enriched with dry- point. Framed. CAMERON. DAVID YOUNG 169. Palace of Joannis Darius, Venice. Painter-etching. Wedmore. No. 137. Signed proof on thin Japanese paper. Superb impres- sion OF THIS EXTREMELY RARE AND BEAUTIFUL PLATE. From the Tracy Dows Collection. Mr. Cameron rarely prints more than thirty-live proofs from any of his plates. CAMERON, DAVID YOUNG 170. Elcho-on-the-Tay, Scotland. Painter-etching. Wedmore. No. 140. Signed proof on heavy Japanese paper. Superb impres- sion AND VERY RARE. From the Tracy Dows Collection. DOMENICO CAMPAGNOLA Born at Padua about 1482 and worked there in the earlier half of the sixteenth century. "Brought up in the school of Titian, Domenico soon attained a proficiency that even aroused the jealousy of his master. He holds an eminent rank as an engraver and his etchings are executed in a style which shows the hand of the master." — Bryan. CAMPAGNOLA, DOMENICO 171. Pentecost. Painter-engraving. Bartsch, XIII. No. 3. Early impression printed in light brown ink. Very eare. From the G. M. Marchetti and the unidentified Fagan No. 118 Collections. CAMPAGNOLA, DOMENICO 172. The Virgin Adored by Saints. Painter-engraving. Bartsch, XIII. No. 5. Fine impression ; in good condition. CAMPAGNOLA, DOMENICO 173. Another Impression of the Same a brilliant impression ; rare in such quality. From the M. M. Sykes, W. Esdaile, J. Reiss and J. S. Morgan Collections. CAMPAGNOLA, DOMENICO 174. The Musical Shepherds. Painter-engraving. Bartsch, XIII. No. 9. Believed to have been done in collaboration with Giulio Campagnola. The figures in the foreground have the free style which characterizes the work of Domenico, while the background is entirely in the style of Giulio. Very fine and extremely rare. From the Baron Von Lanna Collection. CAMPAGNOLA, DOMENICO 175. Nude Female, Probably Representing Venus, Reclining in A Landscape. Painter-engraving. Passavant. 11. Unknown to Bartsch and Nagler. Very fine, and of the greatest rarity. GIULIO CAMPAGNOLA Born at Padua, about ]483. Worked In Ferrara and Venice until about 1514. "He was the only man of this group who succeeded in building up a technical style of his own. He was much influenced by Diirer and Giorgione as well as by Mantegna." CAMPAGNOLA, GIULIO 176. Christ and the Samaritan Woman. Painter-engraving. Bartsch, XIII. No. 2. Veey fine and rare. From the Count Enzenberg, Mary Jane Morgan and Griggs Collections. "Many of his compositions, especially 'Christ and the Samaritan Woman,' with the poetical island landscape, show in the graceful lines of the figures the closest relation to Giorgione's work. Technically he was very original, using short, sometimes curving strokes, combined with masses of dots to express his shadows. In some cases, as in 'John the Baptist,' he used the points alone." — Kristeluek. CAMPAGNOLA, GIULIO 177. St. John the Baptist. Engraving and dotted work. Bartsch, XIII. No. 3. Superb impression in perfect condition showing the printer's address. Excessively rare. Impressions without this address are cut above it. None are known to exist without it, showing the full size of the plate. From the J. S. Morgan Collection. CAMPAGNOLA, GIULIO 178. Ganymede. Painter-engraving. Bartsch, XIII. No. 5. Fii'st state. Beautiful, strong impression before the word "Antenoreus" had been added to the name of the artist. Of the utmost rarity. From the Pierre Mariette, 1670, J. Reiss and J. S. Mor- gan Collections. Hind and Kristeller mention only two impressions of tlie first state (Munich and Vienna), while the London, Paris and Berlin specimens are all of the second state. CAMPAGNOLA, GIULIO 179. The Astrologer. Engraving and dotted work. Bartsch, XIII. No. 8. Copy C. Kristeller II. Hind 6. Second state. An impression of the greatest beauty, with the dotted work, but before the inscription "Ludo- vicus Longus Matheseos professor," before the number "193" and before the date "1509" was changed to "1569." Hind and Kristeller mention three states of this print. The first, of which only one Impression (Berlin) Is known, is in pure engraving, before the dotted work. The second shows that work so peculiar to Glullo Campagnola, who was the first to apply it. The third state contains the Inscription mentioned above. ANTONIO CAN ALE (Also Called CANALETTO) Born in Venice, 1697; died there, 1768. "His etchings are few (31 in all) and show the same command of aerial perspective that marks his painting. He uses the simplest system of shading In parallels, giving to his lines a slight but regular sinuosity which suffuses the atmosphere with a sense of misty heat. "To the achievement of his aim of expressing buildings in bright sunshine, he sacrifices all idea of rendering the quality of material; his stone never loses Its essential character, but In the purely landscape form of his work, his tendency is towards the fusion of the varying elements." — Hind. CANALE, ANTONIO 180. Four Small Views of Venice. Painter-etchings. First state. Superb impressions. From the P. Gellatly Collection. (4) CANALE, ANTONIO 181. The Large Views of Venice. Painter-etchings. Mestre. De Vesne, No. 3. First state; Al Dolo. De Vesne, No. 4. First state; La Brenta. De Vesne, No. 9. First state. Very fine impressions before the letters IN THE LOWER MARGIN NEAR THE RIGHT CORNER; On CUri- ous white paper with very thick water lines. All the fine Canalettos appear on this paper and it is only this which produces such peculiar brilliancy of effect, and renders his prints so attractive. (3) PIERRE CHARLES CANOT Born in Paris, 1710. died in England, 1777. CANOT, PIERRE CHARLES 182. The Tempest. Line-engraving. 1773. Andresen, I, p. 226. No. 2. After S. de Vlieger. From the Boydell Gallery. First state. Very fine proof with the artists' names in SCRATCHED LETTERS AND WITH THE COAT-OP-ARMS. Framed. From the W. H. Daugherty Collection. GIOVANNI JACOPO CARAGLIO "Giovanni Jacopo Caraglio, an Italian designer and engraver, was born at Parma in 1498 or 1500, and was a pupil of Marcantonio Raimondi. His drawing is very correct; he gives a fine expression to his heads, and his extremities are marked in a masterly manner. Caraglio holds an emi- nent rank among the engravers of his country." — Bryan. CARAGLIO, GIOVANNI JACOPO 183. The Battle of the Buckler and the Lance. Engraving. Bartsch, XV. No. 59. After Raphael. Fine old impression. From the D. G. de Arozarena and A. Morrison Collec- tions. "Cette estampe est une des plus considerables de I'oeuvre de Caraglio ct une des plus parfaites qui ait €t& ex6cut^e d'aprfes Raphael." — Bahtsch. AGOSTINO CARRACCI Born at Bologna, 1557; died at Parma, 1G02. An older brother of Annibale and nephew of Lodovico Carracci. At an early date he went to Venice, where he had an opportunity of perfecting himself under Cornelius Cort, by whose instruction he became one of the most distinguished engravers of his country. "As an engraver Agostino is to be ranked amongst the most celebrated artists of Italy. The correctness of his design is only equalled by the beauty of his execution, and his plates would have nearly reached perfec- tion if he had paid more attention to the effect of chiaroscuro. They ap- pear to have been executed entirely with the graver, in a bold, free style, nearly resembling that of his instructor, Cornells Cort. The expression of his heads is admirable." — Bhtan. CARRACCI, AGOSTINO 184. Pan Tamed by Cupid. Etcliing. Bartsch, VIIL No. 116. Framed. CARRACCI, AGOSTINO 185. PoRTEAiT OF TiTiAN. Painter-engraving. 1587. Bartsch, XVIII. No. 154. Good old impression. Rare. ANNIBALE CARRACCI Younger brother of Agostino. Was born at Bologna, 1560, and died at Rome, 1609. This great artist engraved a number of plates so diverse in style that it is difficult to imagine them to be the work of the same master. "The first pieces, engraved at a time when Annibale was 21 or 22 years of age, are executed with the burin and in a, very careful, pains- taking manner which gives them a certain resemblance to the work of his brother, Agostino, with whom, in fact, he was for a long time con- fused. Later on, about the year 1592, he took to etching and employed the burin only for reinforcing his shadows and bringing his work to- gether." — Baktsch. CARRACCI, ANNIBALE 186. Susannah and the Elders. Painter-etching. Bartsch, XVIII. No. 1. Fine old impression, with Pierre Maeiette's signature. CARRACCI, ANNIBALE 187. The Christ of Caprarola. Etching and engraving. 1597. Bartsch, XVIII. No. 4. (The Virgin, St. Magdalen and St. John weeping over the dead body of Christ, after Caprarola.) Third state. Very fine impression before "Nie. van Aelst for." was added to the inscription. From the Duke of Aremberg Collection. "Sometimes he used a fine point, very delicate and intermingled with dry- point and burin, as in "The Holy Family," but above all in "The Christ of Caprarola," in which the admirable expression of the drawing and the picturesque technique have always caused us to regard it as Carracci's masterpiece." — Bahtsch. THEOPHILE NARCISSE CHAUVEL Born at Paris, 1831; died — . "Chauvel est le vdritable graveur de paysage; et il a €lev€ la gravure de paysage a la hauteur de cette chose sp6ciale qu'on appelle un estampe. Personne n'a grave mieux que lul Daubigny, Jules Dupr6, Theodore Rousseau. Les planches d'aprfes ces maltres sent d'un rendu saisissant."- — Beraldi. CHAUVEL, THEOPHILE NARCISSE 188. Solitude. Etching. Delteil, No. 94. After Daubigny. First state. Signed artist's proof on vellum. Limited to 100 impressions. In the opinion or MANY CONNOISSEURS THIS IS THE MOST BEAUTIFUL OF EE- PEODUCTiVE LANDSCAPE ETCHINGS. Framed. From the W. S. Carter Collection. CHAUVEL, THEOPHILE NARCISSE 189. Le Lac. Etching. Delteil, No. 123. After Corot. First state. Signed artist's proof on vel- lum. Limited to 150 impressions. Framed. From the W. S. Carter Collection. THOMAS CHEESMAN Born in London, 1760; died there about 1834. CHEESMAN, THOMAS 190. Lady Hamilton as "The Spinster." Stipple. After George Romncy. Brilliant proof before the title with the artists' names and publication line only. Finely printed in rich brown. FRANCOIS CHEREAU, l'aine Born in Blois, 1680; died in Paris, 1729. Pupil of Pierre Drevet, and who proved himself worthy of his master. CHEREAU L'AINE, FRANCOIS 191. Nicolas de Largilliere. Line-engraving. Portahs and Beraldi, I, p. 383. No. 19. After his own painting. Extremely fine impression, in PERFECT CONDITION. PIERRE PHILIPPE CHOFFARD Born in Paris 1730; died there 1809. Follower of N- Edelincli, BaWclion and Cochin. "His work was animated, yet exact; his point interesting and spirited; his burin . . . transparent and light; and he had the most unerring taste and the most extraordinary facility — qualities of an artist of the first order." — Pobtalis. CHOFFARD, PIERRE PHILIPPE 192. Les Amours Champetues. Line-engraving. Portalis and Beraldi, I, p. 428. No. 2. After P. Baudouin. Fine impkession. Framed. LAMBERTUS ANTONIUS CLAESSENS Born in Antwerp, 11l6i; died at Ruil, near Paris, 1834. Pupil of F. Bartolozzi. CLAESSENS, LAMBERTUS ANTONIUS 193. The Descent from the Cross. Line-engraving. Apell, p. 95. No. 4. After P. P. Rubens. The great altar-piece in the Cathe- dral of Antwerp. First state. Superb proof before all letters, in excellent condition. Framed. From the W. S. Carter Collection. GEORGE CLINT Born in London, 1770; died, 1854. CLINT, GEORGE 194. William Pitt. Mezzotint. 1806. After John Hoppner. Open letter proof with the publi- cation line and two lines of the title. CLINT, GEORGE 195. Miss Arabella Jane Wilmot. Mezzotint. After John Hoppner. Proof before all letters, with good margins. Very fine impression of unusual quality. COLORED PRINTS COLORED PRINTS 196. Fisher Girl— Nurse Girl. Line-engravings. Oval. Nicely printed in colors. Framed. JOHN CONDE Worked in the latter part of the eighteenth century. CONDE, JOHN 197. Mrs. Fitzherbeut. Stipple. After Richard Cosway. Proof before letters. Very fine. Framed. Maria Anne, daughter of Walter Smythe, Esq., of Brambridge. Born 1756; married first Edward Weld of Lulworth, second Thos. Fitzherbert; was twice a widow before she was twenty-five years old. Privately married to Prince George of Wales at Carlton House, 1785; died at Brighton, 1837. CONDE, JOHN 198. SiGNORA Storage as Euphrosyne. Stipple. After De Wilde. Brilliant impression printed in BROWN. From the Royal Collection at Windsor. CONDE, JOHN 199. Mrs. Tickell. Stipple. After Richard Cosway. Fine impression in black, in perfect condition. JACQUES LOUIS COPIA Born in London, 1764; died there, 1799. Friend of Prudlion. COPIA, JACQUES LOUIS 200. The Green Plot; The Grove Portalis and Beraldi, I, p. 587. Nos. 14 and 15. Both after N. Lavreince. Proofs before all letters on paper with uncut edges. (2) JACQUES COUCHE Born at Gournay, 1750. Pupil of Le Vasseur. COUCHE, JACQUES 201. La Coquette Fixee. Line-engraving. Portalis and Beraldi, I, p. 595. No. 4. After J. H. Fragonard. Fine old impression. Framed. SAMUEL COUSINS Born in Exeter in 1801; died in London, May 7, 1887. Pupil of S. W. Reynolds. "Un des meilleurs graveurs anglais de ce sifecle." — Henri Beraldi. COUSINS, SAMUEL 202. Penelope Boothby. Mezzotint. Whitman. No. 22. After Sir Joshua Reynolds. First state. Signed artist's proof on India paper. Framed. Miss Penelope Boothby, 1786-1791. Daughter of Sir Brooke and Dame Susannah Boothby. COUSINS, SAMUEL 203. Mrs. Beaddyll. Mezzotint. Whitman. No. 25. After Sir Joshua Reynolds. State B. Artist's proof on India paper, signed by the engraver. Peivate plate and CONSEaUENTLY VEEY EAEE. OnE OP THE ENGEAVEe's FIN- EST woEKS. Framed. Jane Gale married her cousin, Wilson Gale Braddyll, Louishead. Died 1819. COUSINS, SAMUEL 204. Beateice Cenci. Mezzotint. Whitman. No. 36. After Guido Rcni. Second state. Proof witli the artist's name and the publication line only. Exceedingly pine. COUSINS, SAMUEL 205. Miss Rosamond Ceokee. Mezzotint. Whitman. No. 49. After Sir Thomas Lawrence. Second state. Proof before letters, signed by the engraver. Veey fine and eaee. COUSINS, SAMUEL 206. Lady Dovee and Child. Mezzotint. Whitman. No. 52. After Sir Thomas Lawrence. Third state. Script letter proof. Veey fine. Framed. Georgiana, Baroness Dover, born 1804. Daughter of the 6th Earl of Carlisle, wife of Agar Ellis, Baron Dover. COUSINS, SAMUEL 207. Lady Gray and Childken. Mezzotint. 1831. Whitman. No. 75. After Sir Thomas Lawrence. First state. Proof with the artists' names in small open letters. Framed. From the W. H. Daugherty Collection. COUSINS, SAMUEL 208. Master Lambton. Mezzotint. Whitman. No. 98. After Sir Thomas Lawrence. Second state. Proof with the artists' names and publication line in italics. Very FINE AND RARE. Framed. Master C. W. Lambton, 1818-1831. Son of the First Earl of Durham. COUSINS, SAMUEL 209. Sir Thomas Lawrence. Mezzotint. Whitman. No. 100. After his own painting. Second, state. Proof before let- ters. Very eine. COUSINS, SAMUEL 210. La Surprise. Mezzotint. Whitman. No. 199. After Dubufe. Second state. Proof with the artists' names only. Framed. COUSINS, SAMUEL 211. Sunshine of Love. Mezzotint. Whitman. No. 225. After J. Raoux. First state. Superb proof before letters. Framed. COUSINS, SAMUEL 212. The Age of Innocence. Mezzotint. Whitman. No. 226. After Sir Joshua Reynolds. Second state. Signed artist's proof. Very fine. Framed. LUCAS CRANACH (the elder) Born at Kronach, near Bamberg, 1470; died at Weimar, 1553. He served more than sixty years as painter to the Court of Saxony, during the life- time of Fredei-ick the Wise and the two succeeding Icings. The great majority of his designs were engraved on wood, but tliere exist also a few pieces on copper by him. CRANACH, LUCAS (the elder) 213. The Penance of St. John Ciirysostom. Painter-engraving. 1509. Bartsch, VII. No. 1. Very fine impkession. Framed. From the Amann Collection. This engraving shows a purely German tendency, recalling the work of Altdorfer and one or two of the very earliest plates by Diirer. The rocky, mountainous country and the pine forests to the south of Dresden probably inspired the background. CRANACH, LUCAS (the elder) 214. Another Impression of the Same Fine impression in perfect condition. From the H. S. Theobald and William Bell Scott Collec- tions. SECOND SESSION MONDAY EVENING, APRIL 12, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.15 O^CLOCK Catalogue Nos. 215 to 442 inclusive UGO DA CARPI {A member of the noble family Panico) DA CARPI, UGO 215. The Descent from the Caoss. Wood-cut in chiaroscuro. Bartsch, XII, p. 43. No. 22. After Raphael. First state. Extremely fine early IMPRESSION WITH THE ENGRAVEr's NAME. JEAN DAMBRUN Born in Paris, 1T41; died after 1808. "He was one of a small band of artists, to whom are due the vignettes which adorn many of the books issued towards the close of the XVIIIth century, which have of late become of such fabulous value." — Brtait. DAMBRUN, JEAN 216. La Liberte Perdue; L'Epouse Mal Gahdee. Line-engrav- ings. Not mentioned by Portalis and Beraldi, I, pp. 622-623. Both after Le Brun. (2) JEAN DAULLE Born at Abbeville, 1703; died in Paris, 1703. DAULLE, JEAN 217. Catherine Mignard. Line-engraving. 1735. Andresen, I, p. 330. No. 22. After P. Mignard. Second state. Fine impression with the address "Place de Cambray." Framed. DAULLE, JEAN 218. Jean-Baptiste Rousseau. Line-engraving. Portalis and Beraldi, I, p. 677. No. 105. After J. Aved. First state. Brilliant pnoor before THE INSCRIPTION. VeRY RARE. From the W. Lawson Collection. JOHN DEAN Born about 1750; died about 1805. DEAN, JOHN 219. Mercury. Mezzotint. After Sir Joshua Reynolds. First published state. Proof with the artists' names in scratched letters; plate mark cut off at bottom. JOHANN THEODOR DE BRY (the younger) Born at Luttich, 1561; died in Frankfort a|M., 1623. DE BRY, JOHANN THEODOR (the younger) 220. Soldiers Marching Called "The Triumph of Death." Engraving. Andresen, I, p. 200. No. 12. Very fine, early impression. DE BRY, JOHANN THEODOR (the younger) 221. Designs for Beltclasps; Designs for Scissors Cases. Paint- er-engravings. Fine impressions. (2) DE BRY, JOHANN THEODOR (the younger) 222. Portrait of Theodor de Bry. Engraving. Possibly by Boissard. Very rare. From the Hampton L. Carson Collection. THEODOR DE BRY Born at Luttich, 1528; died in Franlifort a|M., 1598. DE BRY, THEODOR 223. Peide and Folly. Painter-engraving. Andresen, I, p. 200. No. 2. Brilliant impression. PHILIBERT LOUIS DEBUCOURT Born at Paris, 1755; died there, 1832. "He is as sound a master of the process of color-printing as Janinet, and a draughtsman of far more orig- inal talent. He keeps far more strictly to pure aquatint than Janinet, seldom combining work with the roulette, and his surfaces of color gain wonderfully thereby in tlie transparent quality of their tone. In society- genre he is one of the most distinguished masters, and his 'Promenade dc la Galerie du Palais Royal' and 'La Promenade Publique' are of the greatest interest in their spirited representation of manners in Paris at the time of the Revolution. — Hind. DEBUCOURT, PHILIBERT LOUIS 224. Le Compliment. Color-engravings. 1787. Portalis and Beraldi, I, p. 693. No. 2. After the engraver's own design. Premiere epreuve. Very fine early impression. In the half-open closet, in the background, is seen a doll and a polichinelle. With enough margin to show the register and the plate marks. Excessively rare in such quality. Companion to No. 225. DEBUCOURT, PHILIBERT LOUIS 225. Les BouauETS. Color-engraving. 1788. Portalis and Beraldi, I, p. 693. No. 2. After the engraver's own design. Very pine early im- pression or THE SAME QUALITY AS THE FOREGOING. CloSely trimmed but showing the register-marks, and just showing the plate mark. Excessively rare in such quality. Companion to No. 224. DEBUCOURT, PHILIBERT LOUIS 226. L'escalade, ou les Adieux du Matin. Color-engraving. Portalis and Beraldi, I, p. 693. No. 4. After the engraver's own design. Beautiful impression WITH enough margin TO SHOW THE REGISTER-MARKS. The plate mark is missing. Excessively rare in such qual- ity. DEBUCOURT, PHILIBERT LOUIS 227. Heuu et Malheue, ou la Ckuche Cassee. Color-engraving. Portalis and Beraldi, I, p. 694. No. 5. After the engraver's own design. Extremely fine and HARMONIOUS IMPRESSION. The margins with plate and reg- ister marks are almost entirely missing. Very rare. DEBUCOURT, PHILIBERT LOUIS 228. Le Menuet de la Mariee. Color-engraving. 1786. Portalis and Beraldi, I, p. 694. No. 8. After the engraver's own design. One of the chefs- d'osuvre of color printing in an unusually fine and well preserved impression. Small margins, showing only the lower register mark. Of the utmost rarity. Companion to No. 229. DEBUCOURT, PHILIBERT LOUIS 229. La Noce au Chateau. Color-engraving. 1787. Portalis and Beraldi, I, p. 694. No. 8. After the engraver's own design. One of the chefs- D'ffiuvRE OF COLOR PRINTING in an unusually fine and well preserved impression. With enough margin to show the plate mark and all four register marks. Of the utmost rarity. Companion to No. 228. DEBUCOURT, PHILIBERT LOUIS 230. La Promenade du Jardin du Palais-Royal. Color-engrav- ing. 1787. Portalis and Beraldi, I, p. 694. No. 10. After the engraver's own design. Very fine color print WITH LARGE MARGIN, showing the fuU plate mark and all four register marks. Three small tears carefully repaired and a little foxed. Very rare. Companion to No. 231. "Cette pifece, qui porte la m6me date que la sulvante, est d'une manifere trfcs-differente. Elle n'est qu'attribu6e k Debucourt." — Beraldi. DEBUCOURT, PHILIBERT LOUIS 231. La Promenade de la Galerie du Palais-Royal. Color-en- graving. 1787. Portalis and Beraldi, I, p. 695. No. 11. After the engraver's own design. Very fine color print. The margin has been completely replaced and a couple of tears carefully repaired. Extremely rare. Companion to No. 230. DEBUCOURT, PHILIBERT LOUIS 232. La Promenade PuBLiauE. Color-engraving. 1792. Portalis and Beraldi, I, p. 695. No. 12. After the engraver's own design. Very fine impression. The margin has been completely replaced. Otherwise in fine condition. "II serait superflu de faire I'eloge de cette pifece c61^bre qui k elle scule, comme on a remarqu6 justement, fera desormais la fortune du noin de Debucourt, mais ne I'a pas sanv6 de I'oubli pendant un temps. . . . II y a quarante ans, nous disait un ancien marchand d'estampes de la place du Carrousel, les 6preuves de la Promenade publique se trouvaient en nombre dans les cartons; on les offrait a I'acheteur pour cent sous avant ou avec la lettre, indiff^remment. Et Ton ne parvenait pas facile- ment k les vendre. De loin en loin un client se d^cidait a emporter une 6preuve, qu'il faisait ployer en deux et utilisait comme chemise pour enve- lopper d'autres estampes!" — Beraldi. FRANCIS DELARAM Born, 1690; died, 1627. "He was contemporary with Elstracke and Van de Passe, and engraved various plates In the neat but formal style which was prevalent at that time."~BRYAN-. DELARAM, FRANCIS 233. Sir William Segar, Garter King at Arms. Painter-en- graving. Andresen, I, p. 337. No. 4 Very fine impression before any retouch. JEAN MARIE DELATRE Born, 1745; died, 184,0. DELATRE, JEAN MARIE 234. Children Feeding Chickens. Stipple. After W. Hamilton. Very fine impression in brown. ETIENNE DELAUNE (^Master Stephanus, the French "Little Master") Born in Paris, 1619; died, 1584. DELAUNE, ETIENNE 235. Les Quatkes Petits Combats. Painter-engravings. Robert Dumesnil, IX. Nos. 262-265. Hector and Achilles, Pyrrhus and the Trojans, Hannibal and Scipio, Combat of Children. A very fine, even set. (4) GILLES DEMARTEAU Born, 1722; died, 1776. Inventor of the crayon manner. DEMARTEAU, GILLES 237. Le Beeger — La Bergere. Color-engravings. Portalis and Beraldi, I, p. 725. After J. B. Huet. Two lovely prints in three inks. Without any margin; cleaned. (2) DEMARTEAU, GILLES 238. La Bergere. No. 471. Color-engraving in crayon manner. Portalis and Beraldi, I, p. 725. After J. B. Huet. Very pine impression in two inks. The margin has been cut down to the outer border line. DEMARTEAU, GILLES 239. La Bergere au Chien. Color-engraving. Portalis and Beraldi, I, p. 725. After J. B. Huet. Good impression in three inks. With- out any margin; cleaned. From the Baron Von Lanna Collection. DEMARTEAU, GILLES 240. Young Girl with a Rose in Her Hair. No. 563. Color- engraving in crayon manner. Portalis and Beraldi, I, pp. 723-24. After F. Boucher. Very fine impression in three inks. Laid down and without white margin. DEMARTEAU, GILLES 241. Pastorale No. 585 ; Pastorale No. 586. Color-engravings. Portalis and Beraldi, I, p. 725. Both after J. B. Huet. Two very desirable subjects printed in three colors. The margin cut down to the outer border line and stretched on a stone-blue board. They have been cleaned. (2) DEMARTEAU, GILLES 242. La Grande Pasforale. No. 601. Color-engraving. Portalis and Beraldi, I, p. 725. After J. B. Huet. An exceedingly fine impression in five inks, with enough margin to show the register and plate marks. A colored border has been pasted around the edge. DEMARTEAU, GILLES 243. L'ete. No. 633. Color-engraving. Portalis and Beraldi, I, p. 725. After J. B. Huet. Beautiful impression in four inks, OF unusual freshness. The print has a small margin, but not enough to show the plate mark. From the Baron Von Lanna Collection. DEMARTEAU, GILLES 244. Nymphe au Mouton; Nymphe au Papillon. Color-engrav- ings. Portalis and Beraldi, I, p. 725. Both after J. B. Huet. Two beautiful color-engrav- iNGS printed in FOUR INKS and well preserved. A small margin, but not large enough to show either the register or the plate marks. (2) MARCO DENTE (da Ravenna) Born in the latter part of the fifteenth century; died in Rome, 1527. Was one of the most eminent pupils of Marcantonio's school. His best works are remarkable for their purity and care of execution. — Bryan. He lost his life during the Sack of Rome by the Spaniards in 1527. DENTE, MARCO (da Ravenna) 245. The Basso-Relievo with Thkee Cupids, Holding the Em- blems OF Neptune; Also Known as the Throne of Neptune. Engraving. Bartsch, XIV. No. 242. Very fine old impression and extremely rare. From the K. E. Von Liphart Collection. DENTE, MARCO (da Ravenna) 246. The Judgment of Paris. Engraving. Bartsch, XIV. No. 246. Copy after Raimondi's engraving. Bartsch, No. 245. Fine impression. DENTE, MARCO (da Ravenna) 247. Venus and Cupid Carried by Dolphins. Engraving. Bartsch, XIV. No. 324. Beautiful old impression before the retouch and before Salamanca's Address. JEANNE OR MARTIAL DENY End of the eighteenth century. DENY, JEANNE or MARTIAL 248. Le Consomme. Line-engraving. Portahs and Beraldi, I, pp. 738-740. After Moitte. Very good impression, with large margin. CHARLES MELCHIOR DESCOURTIS Born 1753; died 1820. "He was a pupil of Janinet and in every way worthy of his master. All his technical skill and his charming sense of color he put in the translation of Taunay's designs." — M. C. Salaman. DESCOURTIS, CHARLES MELCHIOR 249. La Foire de Village. Color-engraving. Portalis and Beraldi, I, p. 746. No. 1. After Nicolas Antoine Taunay. An unusually fine im- [No. 24i9—Contimied] pression, but not a proof. The inscription in the lower margin was covered with a strip of paper, while being printed. The upper and lower register marks are visible, but the platemark is cut off. Companion to No. 250. From the H. C. Hoskier Collection. DESCOURTIS, CHARLES MELCHIOR 250. La Noce de Village. Color-engraving. Portalis and Beraldi, I, p. 74)6. No. 1. After Nicolas Antoine Taunay. A very fine impkession, but not a proof. It seems that the inscription in the lower margin was sandpapered off and the coat-of-arms re- placed with pen and ink. With upper and lower register marks — the platemark barely preserved. Companion to No. 249. From the H. C. Hoskier Collection. DESCOURTIS, CHARLES MELCHIOR 251. La Rixe. Color-engraving. Portalis and Beraldi, I, p. 746. No. 1. After Nicolas Antoine Taunay. Unusually fine proof BEFORE ALL LETTERS, and Well preserved. The upper and lower register-marks are visible and the platemark has been spared. The margin a trifle water-stained. Very RARE IN SUCH QUALITY. Companion to No. 252. From the H. C. Hoskier Collection. DESCOURTIS, CHARLES MELCHIOR 252. Le Tamborin. Color-engraving. Portalis and Beraldi I, p. 74<6. No. 1. After Nicolas Antoine Taunay. Unusually fine proof BEFORE ALL LETTERS. Of rare frcshness and otherwise well preserved. The upper and lower register-marks are visible and the platemark has been spared. The margin a trifle water-stained. Companion to No. 251, From the H, C, Hoskier Collection, DESCOURTIS, CHARLES MELCHIOR 253. L'Amant Surpris. Color-engraving. Portalis and Beraldi, I, p. 747. No. 3. After Frederic Jean Schall. Very fine color-print. A trifle stained on the back, but not visible on the print, and two small tears on the left lower corner carefully mended. Exceedingly rare in this quality. DESCOURTIS, CHARLES MELCHIOR 264. VuE d'un Pont Sur L'Aar. Color-engraving. Portalis and Beraldi, I, pp. 746-747. After the engraver's own design. Very nice impression, with register and platemarks. BARON LOUIS AUGUSTE BOUCHER DESNOYERS Born in Paris in 1779; died there in 1857. One of the most eminent of modern French engravers. DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 255. St. Marguerite. Line-engraving. Apell, p. 119. No. 17. After Raphael. Third state. Script letter proof with the small stamp of the monogram. Very fine. Framed. DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 256. Belisaire Portant Son Guide. Line-engraving. Apell, p. 120. No. 25. After F. Gerard. Second state. Open letter proof with the stamp of the two antique heads. Very fine. Framed. DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 257. Napoleon I in Coronation Robes. Line-engraving. Apell, p. 121. No. 40. After F. Gerard. Fourth state. Fine impression. Framed. This was the official portrait which Napoleon caused to be engraved "for presentation to foreign Princes, Ambassadors, and distinguished persons of the Empire.'' DESNOYERS, BARON LOUIS AUGUSTE BOUCHER 258. Chaeles Maukice Talleyrand de Peuigoiid. Line-engrav- ing. ApeU, p. 121. No. 44. After F. Gerard. Third state. Fine, eakly impeession, with the engraver's stamp of the two antique heads. With uncut margin. WILLIAM DICKINSON Born, 1746; died, 1823. DICKINSON, WILLIAM 259. Childish Amusement. Mezzotint. After George Morland. Beautiful impression in colors. Very rare. CHRISTIAN WILHELM ERNST DIETRICH (Called Dietricy) Born in Weimar, 1712; died in Dresden, 1774. He established himself at Dresden, where he was patronized by the court, and was in 1729 ap- pointed Court Painter to Augustus, second King of Poland, He also exe- cuted a large number of etchings after his own compositions. DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 260. The Shepherd's Family. Painter-etching. Linck, No. 71. Very fine impression with full margin. From the E. Schroeter Collection. DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 261. The Peddler. Painter-etching, in the style of Van Ostade. Linck, No. 76. First state. Very brilliant proof, before the plate was reworked. In perfect condition. From the Baron Von Lanna Collection. DIETRICH, CHRISTIAN WILHELM ERNST (called Dietricy) 262. Nymphs Bathing Near a Cave. Painter-etching in the style of C. Poelemburg. 1741. Linck. No. 136. Veey fine impeession in perfect condition. From the Baron Von Lanna Collection and also from a collection unknown to Fagan. JOHN DIXON Born in Dublin about 1740; died in London, 1780. DIXON, JOHN 263. The Misses Crewe. Mezzotint. C. Smith, I, No. 12. After Sir Joshua Reynolds. First state. Extremely fine proof with the artists' names only in scratched let- ters. Daughters of John Crewe, Esq., M. P. for Cheshire (died 1752). Eliza- beth married, about 1766, Dr. Hinchcliffe, afterward Bishop of Peterbor- ough. Emma died unmarried. BARTOLOMAUS DOLENDO Born at Leyden about 1571; died after 1630. Supposed to have been a pupil of H. Goltzius. DOLENDO, BARTOLOMAUS 264. Joseph Justus Scaliger (a celebrated Protestant scholar). Painter-engraving. Andresen, I, p. 377. Fine old impression, laid down on account of a little im- perfection in the border. WILLIAM DOUGHTY Native of York. Died in London, 1782. DOUGHTY, WILLIAM 265. Reverend William Mason. Mezzotint. C. Smith, I, No. 4. After Sir Joshua Reynolds. First state. Script letter proof, with margin. Duplicate from the British Museum. PIERRE BREVET Born at Loire, 1663; died at Paris, 1738. He studied first under Germain Audran at Lyons, and later removed to Parlr, where he received instruc- tion from Gerard Audran. In 1696 he became Court Engraver, and in 1707 was made an Academician. His worlis, which are chiefly portraits, are well drawn and very highly finished, with representations of the draperies, lace, silks, ermine, carved wood, and all other accessories and redundancies, which characterize the portraits, as near perfection as any engraver ever attained. Yet all these are carefully subordinated to the features, which are engraved with great delicacy and minuteness. DREVET, PIERRE 266. Robert de Cotte (also known as "the man with a beautiful hand"). Line-engraving. Firmin Didot, 34. After Hyacinthe Rigaud. Second state. Very fine proof BEFORE THE WORD "AuCHITECTE." RaRE IN THIS STATE. Framed. DREVET, PIERRE 267. Louis AuGUSTE de Bourbon, Prince de Dombes. Line-en- graving. Firmin-Didot, No. 61. After Fr. de Troy. First state. Fine, early impression, with smoking cannons on either side of the coat-of-arms. Extremely rare. Framed. DREVET, PIERRE 268. Hyacinthe Rigaud. Line-engraving. Firmin Didot, No. 111. After his own painting. First state. Superb proof be- fore ALL letters. In perfect condition. From the H. S. Theobald Collection. PIERRE-IMBERT DREVET Born in Paris, 1697; died there, 1739. Pupil of his father, Pierre Drevet. DREVET, PIERRE-IMBERT 269. Samuel Bernard (celebrated financier, 1651-1739). Line- engraving. Firmin-Didot, No. 11. After Hyacinthe Rigaud. First state. Proof before the additional work on the left hand, which caused the state to be called "with the white hand." From a separate plate 19 verses have been printed below it. Excessively RARE AND VERY BEAUTIFUL. Framed. DREVET, PIERRE-IMBERT 270. jAcauES Benigne Bossuet (Bishop of Meaux). Line-engrav- ing. Firmin-Didot, No. 12. After Hyacinthe Rigaud. Fourth state. Very early im- pression, before any dots after the name of Rigaud. This plate, the engraver's masterpiece, is much sought after, even in later states. An early proof of this quality is VERY RARE. DREVET, PIERRE-IMBERT 271. Adrienne Lecouvreur. Line-engraving. Firmin-Didot, No. 24. After Ch. Coypel. Second state. A fine, early impression before the misspelled word "model" was corrected. Framed. GASPARD DUCHANGE Born at Paris, 1662; died there, 1757. He studied first under Guillaume Vallet and later under Jean Audran. DUCHANGE, GASPARD 272. Charles de la Fosse (painter). Line-engraving. 1707. Portalis and Beraldi, II, p. 36. No. 14. After Hyacinthe Rigaud. This plate was engraved by Duchange for his reception into the Academy in 1707. It is one of three plates which Bryan mentions as the finest plates by the engraver. E. F. DUMEE DUMEE, E. F. 273. The Chase. Stipple. Nicely printed in colors. Framed. ROBERT DUNKARTON Born in London, 1744; died about 1817. DUNKARTON, ROBERT 274!. Hon. Henry Addington. Mezzotint. C. Smith, I. No. 1. After J. S. Copley. Second state. Script letter proof. Framed. DUNKARTON, ROBERT 275. Miss Bampfield. Mezzotint. C. Smith, I. No. 6. After W. Peters. First state. Proof with the artists' names and publication line in scratched letters. The title is in the handwriting of Horace Walpole, and the identity of the lady thereby placed beyond any doubt; a second plate was engraved, and published in 1777, under the title "Belinda." ASHER BROWN DURAND (American Line-Engraver) Born at Jefferson Village (So. Orange), New Jersey, August 21, 1796; died in 1886. DURAND, ASHER BROWN 276. Akiadne. Line-engraving. After Vanderlyn. Fine open letter proof, signed in pencil by the engraver. ALBRECHT DURER Born at Niirnberg in 1471; died there 1528. He was of Hungarian descent; his father coming from the little village of Eytas in Hungary. In 1486 Al- brecht entered the studio of Michael Wolgemut, the best Niirnberg painter of that day. He worked there four years, and then spent several others traveling about, probably for the most part in Germany. During this time he visited Colmar in order to see Martin Schongauer, only to find that the great master had died shortly before. He returned to Niirnberg in 1494, and his works from that date until 1605 belong to what is called his First Period. In the autumn of 1505 Diirer undertook a journey to Venice. With his return in 1507 begins the Second Period of his work, and in it the influence of the art of Italy can be distinctly traced. In 1520-21 Diirer was in the Netherlands and the works from that time untU his death in 1528 comprise the Third Period of his work. "Albrecht Diirer fills a large space in the history of art. So far as Germany is concerned he is facile princeps, unrivalled even in his own age by so great an artist as the younger Hans Holbein, and towering above all his succes- sors, no one of whom can raise a head high enough to look him in the face. . . . Although it would seem that it was Diirer's ambition to excel as a painter, it is as an engraver that he has won his fame and taken so sym- pathetic a grasp of the human heart." — Lionel Cust. DURER, ALBRECHT 277. Adam and Eve. Painter-engraving. 1504. Bartsch, VII. No. 1. First state. The exteemeltt babe fibst state befoke the split in the bark op the TEEE SEEN UNDEK AdAm's U;FT ABMPIT. ImPHESSION OP UNStTBPASSED QUALITY. Duplicate from the British Museum on paper with the water-mark "Bull's Head." On the back of the print is a rather amusing inscription as follows: "On the mount to which this print was attached was written, 'this impression is thought by all judges to be the best in the world; it belonged to Mr. Gulstoii, and was sold in his sale by Mr. Greenwood, 1786. I gave five guineas for it.' " DURER, ALBRECHT 278. Anonymous old copy of the same. DURER, ALBRECHT 279. The Nativity. Painter-engraving. Bartsch, VII. No. 2. Superb proof on paper with the bull's head water- mark. In perfect condition. Of the greatest rarity. DURER, ALBRECHT 280. The Little Passion (on copper). Painter-engravings. Bartsch, VII. No. 3 to No. 18, inclusive. This suite of sixteen pieces comes from the W. E. Drugulin and Louis Galichon Collections, and also from an unidentified collection, whose mark, stamped in red, is the initial "O" surmounted by a crown. In prints as small as these it is often impossible to identify the water-mark of the paper, as the mark itself frequently does not come within the area covered by the print. DURER, ALBRECHT 281. The Prodigal Son. Painter-engraving. Bartsch, VII. No. 28. Superb impression on paper with the water-mark "Gothic P." The "Prodigal" himself has been called a likeness of Diirer. The background has always been much admired and Vasarl says of it: "In this engraving there are huts or cabins after the German manner which are exceedingly beautiful." Framed. DURER, ALBRECHT 282. The Virgin with a Crown of Stars. Painter-engraving. 1508. Bartsch, VII. No. 31. Very fine impression. This is usually considered to be the most beautiful of Diirer's smaller Madonnas. From the Henry Huth Collection. DURER, ALBRECHT 283. The Virgin Seated on a Grassy Bank. Engraving. 1503. Bartsch, VII. No. 34. Superb impression and in perfect condition. This print is one of the most exquisite of Diirer's works. From the J. Maberley and A. Morrison Collections. DURER, ALBRECHT 284. The Virgin Crow^ned by Two Angels. Painter-engraving. Bartsch, VII. No. 39. Beautiful impression and in perfect condition. DURER, ALBRECHT 285. The Virgin and the Infant Chkist Holding a Peae. Paint- er-engraving. Bartsch, VII. No. 41. Very fine impeession. DURER, ALBRECHT 286. Madonna or the Monkey. Painter-engraving. About 1500. Bartsch, VII. No. 42. Impression or the very finest quality. Extremely RARE. "Among the Virgins of DUrer — late as well as early — this is one of the most beautiful and dignified, or it may, perhaps, be quite safe to say, the most beautiful and dignified, not only in the figures of the Virgin and Child, but also in the breadth and airiness of the landscape. The loveliness of the background was early recognized and several Italian engravers availed themselves of it. A water color study of the landscape distance on the right is in the British Museum." — S. R. Koehier. DURER, ALBRECHT 287. The Holy Family with the Locust. Engraving. Bartsch, VII. No. 44. First period. On paper water-marked with the Gothic P. The slipped stroke of the graver, which appears over the head of the Virgin, indicates one of the earliest impressions from the plate. This plate, like "The Prodigal Son," is undated, but is known by the style of the monogram, and also by the naive drawing of certain details in the back- ground, as being among Diirer's very earliest works. Framed. DURER, ALBRECHT 288. St. George on Horseback. Painter-engraving Bartsch, VII. No. 54. Unusually fine impression. From the E. Schroeter Collection. DURER, ALBRECHT 289. St. Hubert. Painter-engraving. Bartsch, VII. No. 57. Unusually fine impression; in perfect condition. Framed. DURER, ALBRECHT 290. St. Akthony. Painter-engraving. 1519. Bartsch, VII. No. 58. Veey fine, silveky impression ; in perfect condition. "For depth of conception and tenderness of execution and feeling, this small plate is equal to the best engravings of former years. DUrer never did anything again equal to it." — Thausing. DURER, ALBRECHT 291. St. Jerome. Dry-point. Bartsch, VII. No. 59. Very fine, early impression with burr. Impressions of THIS quality are OF THE UTMOST RARITY AND ARE FOUND ONLY IN THE GREAT COLLECTIONS ABROAD ; ONLY ONE OTHER IMPRESSION IS KNOWN TO BE OWNED IN THIS COUNTRY. From the St. Aubin, R. Fisher and R. Scholtz Collections. In the "St. Jerome'' the value of the burr of dry-point is so completely realized that one wonders that Diirer did not recur to the method later. The most practical explanation might be the right one, that the few good impressions that could be taken would not repay him for his labor, at a time when a single impression of an engraving was probably sold for a small price, and before the public had realized the special artistic value and the limitations of the new method. After DUrer we find dry-point practiced very little, and never with any appreciation of its possibilities, until the time of Rembrandt. DURER, ALBRECHT 292. St. Jerome in His Cell. Painter-engraving. Bartsch, VII. No. 60. Beautiful silvery impression in perfect condition. Framed. DURER, ALBRECHT 293. St. Jerome in Penitence. Painter-engraving. Bartsch, VII. No. 61. Very fine impression. DURER, ALBRECHT 294. St. Genevieve (The Penitence of St. John Chrysostom). Painter-engraving. Bartsch, VII. No. 63. Very fine and strong impression. From the P. Beham, P. Mariette, J. Marshall and Henry Huth Collections. DURER, ALBRECHT 295. Three Genii. Painter-engraving. Bartsch, VII. No. 66. An entirely fine impression and very rare. DURER, ALBRECHT 296. A Satyr Family. Painter-engraving. Bartsch, VII. No. 69. Exceedingly fine impression. Very rare in such quahty. DURER, ALBRECHT 297. The Carrying Off of Amymone. Painter-engraving. Bartsch, VII. No. 71. Very fine early impression. From the E. Gailchon and R. Scholtz Collections. First period. Undated. This plate contains one of the most elaborate landscape backgrounds which Diirer ever engraved. As a rule, he com- posed his pictures on a vertical plane, like a, tile or a piece of tapestry. Occasionally the distance is seen, but it is used only as an element in the vertical composition. Most of Diirer's landscapes, like the present one, contain a fortified town on a hill something of the type of Mont Saint Michel, but the general effect produced in the composition lays stress on the silhouette of the hill against the sky rather than on the distant horizon. DURER, ALBRECHT 298. The Carrying Off of a Young Woman on a Unicorn. Painter-etching. 1516. Bartsch, VII. No. 72. Very fine early impression before any oxide spots. DURER, ALBRECHT 299. Effects of Jealousy. Painter-engraving. Bartsch, VII. No. 73. First state. Very fine impression before the retouch. The impressions, with the retouch, show much closer shad- ing of the flesh, particularly on the back of the man seen from behind. The print is laid down. DURER, ALBRECHT 300. Melancholia. Painter-engraving. Bartsch, VII. No. 74. SUPEUB IMPRESSION IN ABSOLUTELY PERFECT CONDITION, WITH MARGINS. Framed. This is universally admitted to be the greatest of Durer's engravings. DURER, ALBRECHT 301. Group of Four Nude Women. Painter-engraving. 1497. Bartsch, VII. No. 75. Very fine, early impression. The earliest of the mas- ter's dated plates. DURER, ALBRECHT 302. The Dream. Painter-engraving. Bartsch, VII. No. 76. Very fine impression on paper with the watermark "High Crown." From the master's first period. DURER, ALBRECHT 303. The Great Fortune. Painter-engraving. Bartsch, VII. No. 77. Superb impression. Framed. DURER, ALBRECHT 304. Justice. Painter-engraving. Bartsch, VII. No. 79. An impression of the highest quality, on paper with the watermark "Bull's Head." From the A. Morrison Collection. In this beautiful little engraving Diirer has represented, according to Bartsch, the Almighty as he will appear upon the Day of Judgment. It Is unsigned and bears no date. Authorities differ as to when it was exe- cuted — but all agree that it was after 1497 and not later than 1606. DURER, ALBRECHT 305. The Offer op Love. Painter-engraving. Bartsch, VII. No. 83. Veuy fine, eaely impression. From the Robert Dumesnil and R. Scholtz Collections. One of Durer's earliest plates. Undated and with the monogram in its earliest form. The costumes and the general feeling of the composition are quite Gothic in character. "The workmanship is free and unconstrained rather than primitive, quite delicate, and very much more careful in the flesh than the preceding plates." S. R. KOEHIJEB. DURER, ALBRECHT 306. Hostess and Cook. Painter-engraving. Bartsch, VII. No. 84. A SUPERB IMPRESSION in deep black ink, perfect in condi- tion. From the R. Scholtz Collection. DURER, ALBRECHT 307. Three Peasants. Painter-engraving. Bartsch, VII. No. 86. Very fine impression. DURER, ALBRECHT 308. The Standard Bearer. Painter-engraving. Bartsch, VII. No. 87. Superb impression, in perfect condition. From the A. Alferoff and R. Scholtz Collections. "Evidently an early original work of Durer's, the St. Andrew's Cross of the Golden Fleece on the standard, which belonged to Maximilian I as Duke of Burgundy, pointing without doubt to the War of 1499. — Thausino. DURER, ALBRECHT 309. The Assembly of Soldiers. Painter-engraving. Bartsch, VII. No. 88. Fine impression. This plate is sometimes called "The Robbers" on the supposition that it rep- resents DUrer (the men seen full face) fallen into the hands of brigands. DURER, ALBRECHT 310. Knight, Death and the Devil. Painter-engraving. Bartsch, VII. No. 98. Unusually pine impression. Framed. DURER, ALBRECHT 311. The Cannon. Painter-etching. 1518. Bartsch, VII. No. 99. Veey eaely impression, before the plate showed any sign of oxide. Printed on paper with the watermark Anchor in a circle. There is a tear in the lower right hand cor- ner carefully repaired. DURER, ALBRECHT 312. CoAT-OF-ARMS WITH THE CocK. Painter-engraving. Bartsch, VII. No. 100. Superb impression in perfect condition. "He drew splendid coats of arms, including the finest the Renaissance produced in the way of heraldry." — Knackfuss. DURER, ALBRECHT 313. CoAT-OF-ARMS WITH THE Skull. Painter-cngraving. Bartsch, VII. No. 101. This impression is unquestionably one of the very finest in existence. From the Count Nicolas Esterhazy of Hungary and J. S. Morgan Collections. The print is sometimes known as "The Dying Bride." It undoubtedly has an allegorical significance, but there is as yet no satisfactory ex- planation of its meaning. DURER, ALBRECHT 314. Erasmus of Rotterdam. Painter-engraving. 1526. Bartsch, VII. No. 107. Fine impression. Rare of this quality. The drawing from which this portrait was engraved was made by DUrer in 1520-1521, while on his visit to the Netherlands. Five years later at the urgent request of Pirkheimer, to whom Erasmus frequently wrote upon the subject, DUrer engraved the portrait from his drawing and from his re- membrance of Erasmus. It did not quite satisfy Erasmus as to likeness, and he writes, "I am not like I was five years ago, nor does the engraving re- semble me as I now am." It is, however, technically DUrer's finest engraved portrait. DURER, ALBRECHT 315. The Last Suppek. Woodcut. 1523. Bartsch, 53. Superb impression. Framed. DURER, ALBRECHT 316. The Ciecumcision. Woodcut. Bartsch, VII. No. 86. From the set "The Life of the Virgin." Trial proof, before the Latin text at the back. Unusually fine impression on paper of the watermark "High Crown." Extremely RARE. From the Duke of Aremberg and P. Gellatly Collections. DURER, ALBRECHT 317. The Virgin Surrounded by Many Angels. Woodcut. Bartsch, VII. No. 101. Exceedingly fine impression of rare brilliancy. From the R. Scholtz Collection. This is considered to be the most beautiful of Durer's wood-cuts. The draw- ing of the Virgin herself, and especially of the little Angels in the fore- ground, is extraordinarily free and beautiful. The block is the same size as those from the series of the Life of the Virgin. This block, however, is a superb piece and does not belong to the series. DURER, ALBRECHT 318. Christ Appearing TO St. Gregory. Woodcut. 1511. Bartsch, VIL No. 123. Excellent impression on paper with the watermark "High crown." Framed. DURER, ALBRECHT 319. Portrait of Ulrich Varnbuler. Woodcut. Bartsch, VIIL No. 155. Extremely fine impression and very rare. DURER, ALBRECHT 320. Portrait of Himself. Woodcut. Bartsch, VII. No. 156. Second state. Fine impression before the monogram and the date. CORNELIS DUSART Born at Haarlem, In 1660; died there in 1704. "He was a pupil of Adriaan Van Ostade, whose style he imitated with considerable success. His works, like those of Ostade, represent Dutch peasants regaling and merry-making. Although not equal to his master in the richness of his tones and the harmony of his effects, his coloring is clear and agreeable, his com- positions ingenious, and his touch very spirited." — Bryan. DUSART, CORNELIS 321. The Dkunkakds. Painter-etching. 1685. Dutuit, IV. No. 7. SUPEKB IMPRESSION, IN PERFECT CONDITION. From the Baron Von Lanna Collection. DUSART, CORNELIS 322. The Dancing Dog. Painter-etching. Dutuit, IV. No. 11. Superb impression, in perfect condition. From the H. S. Theobald Collection. JEAN DUVET (Called the Master of the Unicorn) Born at Langres, 1485; died about 1561. "He is among the earliest who practiced engraving in France and evidently formed his style on Italian mod- els."— Hind. DUVET, JEAN 323. The Combat of St. Michel and the Dragon. Painter- engraving. Bartsch, VII. No. 25. From the set of illustrations to the Apocalypse. Very FINE impression AND RARE. From the Baron Von Lanna Collection; also duplicate from the Berlin Museum. DUVET, JEAN 324. Poison and Antidote. Engraving. Bartsch, VII. No. 44. After Leonardo da Vinci. The original drawing, in the reverse sense, is in the British Museum. Duvet has varied the details of the composition somewhat, and changed the positions ingenious, and his touch very spirited." — Bryak. DUVET, JEAN 325. Triumphal Peocession. Painter-engraving. Bartsch, VII. No. 41. From the Duke of Aremberg Collection. RICHARD EARLOM Born in Somersetshire, 1743; died in London, 1822. He was at first a pupil of Cipriani, but later devoted himself to mezzotinto engraving. He executed few works in stipple, but they are of a quality which entitles him to rank as one of the greatest engravers in that manner. EARLOM, RICHARD 326. A Flower Piece; A Fruit Piece. Mezzotints. J. E. Wessely. Nos. 144 and 145. Both after Van Huysum. Second states. Proofs before letters, with the coat-of-arms and the device on the ribbon. Very fine impressions of two most desirable plates. Framed. (2) GERARD EDELINCK Born at Antwerp, 1640; died at Paris, 1707. "Younger than Nanteuil by ten years, Gerard Edelinck excelled him in genuine mastery. Born at Antwerp, he became French by adoption, occupying apartments in the Gobelins, and enjoying a pension from Louis XIV. Longhi says that he is the engraver whose works, not only according to his own judgment, but that of the most intelligent, deserves the first place among exemplars, and he attributes to him all perfections in highest degree, design, chiaroscuro, aerial perspective, local tints, softness, lightness, variety, in short, everything which can enter into the most exact representation of the true and beautiful without the air of color. Others may have surpassed him in particular things, but, ac- cording to the Italian teacher, he remains, by common consent, 'the prince of engraving.' Another critic calls him 'king.' " — Chari.es Sumner. EDELINCK, GERARD 327. Moses. Line-engraving. Robert Dumesnil, VII. No. 2. After Philippe de Champaigne. First state. Exceeding- ly FINE IMPRESSION BEFORE THE NAMES OF THE ARTISTS AND THE DEDICATION. Of THE GREATEST RARITY. The plate was begun by Nanteuil and was only partly completed at his death. Edelinck finished it. EDELINCK, GERARD 328. Philippe de Champaigne. Line-engraving. Robert Dumesnil, VII. No. 164. After his own painting. First state. A very fine eakly iMPKEssioN before the slip of the graver in the foliage be- hind the head. Framed. EDELINCK, GERARD 329. Martin van den Bogaert. Line-engraving. Robert Dumesnil, VII. No. 182. After Hyacinthe Rigaud. First state. Very fine peoof BEFORE all LETTERS. ExTREMELY RARE. From the Dreux Collection. EDELINCK, GERARD 330. Prince Ferdinand, Bishop of Paderborn and Miinster. Line-engraving. Robert Dumesnil, VII. No. 202. After Michelin. First state. Very fine early impres- sion, before the coat-of-arms was replaced by another and before the inscription was changed. EDELINCK, GERARD 331. Jules Hardouin Mausart, the Famous Architect. Line- engraving. Robert Dumesnil, VII. No. 268. After Hyacinthe Rigaud. Second state. Very fine old impression after Decotte's dedication had been burnished out. EDELINCK, GERARD 332. Israel Sylvestre (Engraver to the King). Line-engraving. Robert Dumesnil, VII. No. 319. After Le Brun. Third state. Fine old impression with the inscription and the view of Paris. Framed. REGINALD ELSTRACKE Flourished in England about 1620. "He worked chiefly for the booksellers and his plates are almost entirely confined to portraits. He also engraved the title-page and several portraits for Holland's 'Baziliologia.' " — Bbyax. ELSTRACKE, REGINALD 333. Richard Whittington (Lord Mayor of London). Line- engraving. Andresen, I, p. 450. No. 10. Second state — with the cat and with the changes in the inscription, in the lower margin. Good old impression. S. ARLENT EDWARDS {Contemporary Mezzotint Engraver) EDWARDS, S. ARLENT 334!. Lady Hamilton as Emma. Mezzotint (printed in colors by the engraver). After George Romney. Signed artist's proof. Limited to 175 impressions. Framed. JOHN FABER, Junior Born in Holland, 1695; died in London, 1756. FABER, JOHN, Junior 335. Sir Godfrey Kneller. Mezzotint. C. Smith, I. No. 28. After his own painting. Frontispiece to "Beauties of Hampton Court." Only one state known. Very fink impression. Framed. From the Royal Collection at Windsor Castle. GEORG SIEGMUND & JOHANN GOTTLIEB FACIUS Both were born in Ratisbon about the middle of the XVIIIth Century, and learned the art of engraving in Brussels. From there they came to London, where they worked for Josiah Boydell. George S. died about 1814, while Johann G., who had preceded him, died about 1802. FACIUS, GEORG SIEGMUND AND JOHANN GOTTLIEB 336. The Sleeping Venus. Stipple. Andresen, I, p. 467. No. 12. After Titian. Possibly a proof with the artist's and publisher's names in script. Very fine, eakly impe.es- sioN, but the lower margin has been cut into. WILLIAM FAITHORNE (the elder) Born in London, 1616; died there 1691. Pupil of Robert Pealie. During the revolution he fled to France, where he became pupil of Robert Nanteuil. "In his performance few have gone before him, and I may boldly aifirm none since have come up to him, he being one of the first Englishmen that did anything to perfection, especially in heads." — George Vertue. FAITHORNE, WILLIAM (the elder) 337. Ralph Brownrig (Lord Bishop of Exeter). Line-engraving. Born, 1592; died, 1659. Master of St. Catherine's Hall, Cambridge. Fagan, p. 24. Prefixed to : "A Sermon Preached in the Temple-Chappel, at the Funeral of the Right Reverend Father in God, Dr. Brownrig. London, 1660." Only one state mentioned by Fagan. Very tine. Small margin. FAITHORNE, WILLIAM (the elder) 338. Henry Hare (Lord Coleraine). Line-engraving. Fagan, p. 28. After his Lordship's own design. Second state; the hair falling on his left shoulder is darker and the lower line of the quill pen is no longer interrupted. Fine impression. First Baron of Coleraine, created 1625. Author and Antiquary. Prefixed to "The Ascents of the Soul." London, 1681. FAITHORNE, WILLIAM (the elder) 339. Edmund Elys (educated at Baliol College, Oxford; succeeded his father as rector of East AUington, Devonshire, 1659). Line-engraving. Fagan, p. 34. Second state, the misspelling in "^etatis" is corrected. Beautiful impression, but laid down. FAITHORNE, WILLIAM (the elder) 340. SiE John Fortescu (Lord Chief Justice and Lord Chancellor of England under King Henry ye 6th; died 1485). Line-engraving. In "Fortescutus Illustratus," London, 1663. Very fine impression; inlaid. FAITHORNE, WILLIAM (the elder) 341. John Moedaunt, Viscount Mordaunt. Line-engraving. Born, 1626; died, 1675. Father of the great Earl of Peterborough; made several attempts to restore Charles II. Fagan, p. 50. Second state; with the cross hatching on the hair and after the high-lights had been subdued. Very fine impres- sion. From the J. A. Boerner Collection. FAITHORNE, WILLIAM (the elder) 342. Henry More (Divine and Philosopher, styled by John Nor- ris "The intellectual Epicure;" died 1687). Painter- engraving. Fagan, p. 50. Prefixed to: "Henrici Mori Cantabrigiensis Opera Theo- logica Anglisc; London, 1675. Third state; with the shaded neck band. Very fine impression, closely cut. From the M. M. Sykes Collection. FAITHORNE, WILLIAM (the elder) 343. Sir John Ogle. Painter-engraving. Fagan, p. 52. Only one state mentioned by Fagan. In : The Commentaries of Sir Francis Vere, being Diverse pieces of service . . . published by Wm. Dillingham, D. D. Cambridge, 1657. Fine impression. FAITHORNE, WILLIAM (the elder) 344. Hugh Peters (Fanatic and Regicide, 1599-1660). Painter- engraving. Pagan, p. 53. Only one state mentioned by Pagan. A satirical design. Very fine. Also the copy. (2) FAITHORNE, WILLIAM (the elder) 345. Margaret Smith, Widow of Thomas Gary. Line-engraving. Pagan, p. 60. After Van Dyck. Second state. One of the engraver's most beautiful portraits. FAITHORNE, WILLIAM (the elder) 346. The Prontispiece to "The Reign of King Charles" (sec- ond edition). By Hamon L'Estrange, with a portrait of Charles I. Line-engraving. Pagan, p. 75. Only one state mentioned by Pagan. A VERY fine impression WITH THE PLATEMARK. GEORG JACOB FELSING Born in Darmstadt, 1802; died there, 1875. Pupil of Longhi. FELSING, GEORG JACOB 347. St. Cecilia. Line-engraving. Apell, p. 142. No. 15. After H. Hofmann. Pirst state. Proof with the artists' names only, on India paper. Very fine. Prom the W. H. Daugherty Collection. PIERRE FILLEUL Son of Gilbert Filleul. The date of his birth is not known; died about 1760. He engraved some plates for the Fables of La Fontaine. FILLEUL, PIERRE 348. La Belle Bouquetiere. Line-engraving. Portalis and Beraldi, II, p. 182. After Paterre. Fine impression with the title. J. FINLAYSON Born about 1730; died 1776. FINLAYSON, J. 349. Elizabeth, Duchess of Aegyle (Duchess of Hamilton and Brandon) . Mezzotint. C. Smith, II. No. 1. After C. Read. First state. Very tine peoof before THE NAME OF THE PERSONAGE. In perfect Condition and with margin. The name inscribed with ink. Framed. EDWARD FISHER Born in Ireland, 1730; died in London, about 1783. Was at first a hatter, but took to engraving; went to London; became a member of the Incor- porated Society of Artists in 1766. "Fisher must be allowed a high place for both breadth of treatment and delicacy of finish." — Chaloio^r SmrrH. FISHER, EDWARD 350. Miss Sarah Bunbuuy. Mezzotint. Smith, II. No. 6. Full length portrait after Sir Joshua Reynolds. Folio. First state. Superb proof before all letters. From the W. Lawson Collection. FISHER, EDWARD 351. Lady Elizabeth Keppel. Mezzotint. C. Smith, II. No. 36. After Sir Joshua Reynolds. Third state (of 5). Fine IMPRESSION before the first inscription was erased and re- engraved. In perfect condition. This portrait and that of "Lady Sarah Bunbury" are styled by Joubert, "pieces capitales du peintre et du graveur." Born in 1739; daughter of second Earl of Albermarlc; one of Queen Char- lotte's bridesmaids in 1761, in which character Reynolds has painted her as above. Married June 7, 1764, Francis, Marquis of Tavistoclt, whose acci- dental death in March, 1767, she survived only till November 2, 1768. FISHER, EDWARD 352. Hope Nursing Love (Miss Morris). Mezzotint. C. Smith, II. No. 63. After Sir Joshua Reynolds. First published state. Su- perb impression with small margin. A small tear on the riglit side, carefully mended. Very rare. FISHER, EDWARD 353. Lady Amabel and Lady Jemima Yorke. Mezzotint. C. Smith, II. No. 61. After Sir Joshua Reynolds. First state. Proof before all letters, with large margin. A little defect in the paper scarcely visible. Daughters of Philip Viscount Royston, who succeeded his father as 2d Earl Hardwicke in 1764. Lady Amabel Grey was born 1751, married 1772 Alexander, Lord Polwath; died 1833. Lady Mary Jemima was born 1757; married 1780, Thomas, 2d. Lord Grantham; died 1830. CAMILLE FONCE {Contemporary French Painter-Etcher) FONCE, CAMILLE 354. Lichfield Cathedeal. Painter-etching. First state. Remarque proof on vellum, signed. Limited to 150 impressions. Framed. FONCE, CAMILLE 355. Village Pond. Painter-etching. First state. Remarque proof on vellum, signed. Lim- ited to 150 impressions. Framed. THE SCHOOL OF FONTAINEBLEAU "The Chateau of Fontainebleau in France, of comparatively little import- ance under the reign of Saint Louis, but successively increased by Francis the First, Henry the Second, Francis the Second, Charles the Ninth and Henry the Fourth, became a magnificent palace composed of .several bodies of buildings connected with each other and richly adorned with works in stucco and sculpture and, above all, with beautiful paintings in fresco by several famous artists of the sixteenth century. Contemporary engravers have preserved for us the greater part of the paintings with which the chateau was decorated in the times of its first splendor. These prints are very rare. They are, in most cases, the only records of paintings which have since perished." — Bartsch. FONTAINEBLEAU, THE SCHOOL OF 356. Battle Between Cavalry and Foot Soldiers. Engraving. Bartsch, XVI. No. 96. After a design attributed to Lucas Penni. Rare. FRANCOIS FORSTER Born at Locle (Switzerland), 1790; died at Paris, 1872. FORSTER, FRANCOIS 357. Dido and JSneas. Line-engraving. Apell, p. 157. No. 13. After P. N. Guerin. First state. Proof before all let- ters, on India paper, with a dedication to the engraver, Herrmann Eichens, in pencil. Framed. From the W. H. Daugherty Collection. JEAN HONORE FRAGONARD Born in Grasse, 1732; died in Paris, 1806. FRAGONARD, JEAN HONORE 358. Satye Family. Painter-etching. Portalis and Beraldi, II, p. 210. No. 1, From the set of four. From the F. Wedmore Collection. Sir Frederick writes: "One of the rare Bacclianalian subjects by Fragonai'd, to wiiich Dr. Lippmann was perliaps the first of present day writers to draw attention; though Prosper de Baudicour, in his continuation of Le Peintre- Graveur Francais (1859), had brieiiy catalogued them and eulogized the 'point extremement spirituelle' of their author. Quite recently, in Paris, they have been a good deal sought for." FRAGONARD, JEAN HONORE 359. L'Armoike. Painter-etching. 1778. Portalis and Beraldi, II, p. 210. No. 2. First state (of 3). Proof before letters. Raee. FERDINAND GAILLARD Born at Paris, 1834; died, 1887. "Great engraver! Gaillard is that to-day, and for all time, by his drawing, by his extraordinary and personal qualities of execution. A marvelous draughtsman, he possesses also that which makes the great masters of the graver; an individual manner which enables one to recognize his plates without the aid of his signature. ... A Gaillard is as characteristic and is recognized as easily as a Robert NanteuU," — Be- raldi. GAILLARD, FERDINAND 360. Joannes Bellinus. Engraving. Beraldi, VI. No. 8. Fourth state. Proof before the copper was reduced in size. Very scarce. GAILLARD, FERDINAND 361. OEdipus. Engraving. Beraldi, VI. No. 24. After Ingres. Fifth state. Artist's proof on India paper, signed with the point on the plate. GAILLARD, FERDINAND 362. The Man with the Pink (L'Homme a L'^illet). Engrav- ing. Beraldi, VI. No. 25. After Van Eyck. Fourth state. The first finished state with Gaillard's signature in dry point on the plate to the right. Very fine puoof on India paper. Extremely RARE. GAILLARD, FERDINAND 363. Pope Pius IX. Engraving. Beraldi, VI. No. 31. From life. Sixth state. The first finished state, before the publication line and before the second address below. Very fine proof on India paper. From the E. Burney Collection. GAILLARD, FERDINAND 364. La Crepuscule (One of the figures from the Tomb of Lorenzo de Medici by Michel Angelo). Engraving. Beraldi, VI. No. 32. Fourth state. First published state. Signed with the point on the plate. Proof on India paper. From the E. Burney Collection. GAILLARD, FERDINAND 365. V^AX Bust. Engraving. Beraldi, VI. No. 36. After Raphael. Third state. Signed proof on loose India paper. GAILLARD. FERDINAND 366. DoM Pbospec Gueeanger, Abbe or Solesmes. Engraving. Beraldi, VI. No. 38. After Gaillard's painting. Twelfth state, first finished. Veky fine peoof on India paper and extremely rare. From the E. Burney Collection. GAILLARD, FERDINAND 3G7. Poi'E Leo XIII. Engraving. Beraldi, VI. No. 39. From life. Fifth state. Before the change in the hair behind the ear. Presentation proof to E. Burney, pupil of the engraver. GAILLARD, FERDINAND 368. MoNsiGNOR Pie, Bishop of Poitiers. Engraving. Beraldi, VI. No. 40. From life. Sixth state, first finished. Very fine proof before the coat-of-arms, on India paper, and extreme- ly RARE. From the E. Burney Collection. GAILLARD, FERDINAND 369. The Disciples at Emmaus. Engraving. Beraldi, VI. No. 43. After Rembrandt. Eighth state. Artist's proof, signed with the point on the plate, to the left. On India paper, in fine condition. Presentation proof with the following dedication in the engraver's handwriting: "Souvenir bien affectueux offert a S. Gerard par I'auteur, F. Gaillard." GAILLARD, FERDINAND 370. St. George. Engraving. Beraldi, VII. No. 45. After Raphael. Thirty-first state. Signed proof on India paper. Framed. GAILLARD, FERDINAND 371. SffiUR RosAi.iE (Jeanne-Marie Rendu). Engraving. Beraldi, V. No. 48. After the engraver's own design. Twenty-eighth state. Very fine impression of the first finished state. Re- marque proof on India paper, the remarque being the portrait of St. Vincent de Paul. Very rare. "I,e fond extremement clair ainsi que la robe. Superbe. Tout I'in- teret est reports sur le visage." — Behaldi. GAILLARD, FERDINAND 372. Portrait of Ferdinand Gaillard. Etching. Beraldi, IX, p. 216. By Tiburce De Mar. Proof on India paper. GIOVANNI BATTISTA GALESTRUZZI Born in Florence, 1618; died in Rome about I66S. GALESTRUZZI, GIOVANNI BATTISTA 378. SiLENUS Accompanied by Fauns and Satyrs. Painter-etch- ing. Bartsch, XXI. No. 14. First state. Fine impression. Very rare. THOMAS GAUGAIN Born in Abbeville, 1748; died in London about 1810. GAUGAIN, THOMAS 374. Childish Impatience. Oval. Stipple. After Richard Cosway. Nicely printed in colors. Duplicate from the J. P. Morgan Collection. GAUGAIN, THOMAS 375. Dancing Dogs. Stipple. After George Morland. Beautifully printed in colors. An unusually fine impression of this much admired plate. Framed. Companion to No. 376. GAUGAIN, THOMAS 376. Guinea Pigs. Stipple, After George Morland. Beautifully printed in colors. An unusually fine impeession of this much admired ENGEAViNG. Framed. Companion to No. 375. LEONARD GAULTIER (GALTER) Born at Mayence about 1561; died in Paris, 1630. GAULTIER (GALTER), LEONARD 377. Thkee Children. Engraving. SUPEEB IMPEESSION IN PEKFECT CONDITION. Framed. JACQUES FABIEN GAUTIER D'AGOTY Born, 1717; died, 1786. Early Color-Engraver. GAUTIER D'AGOTY, JACQUES FABIEN 378. PORTEAIT OF VoLTAIEE After Gautier d'Agoty fils. For the "Galerie universelle, 1772." One of the early examples of color printing. VeEY FINE AND EXTEEMELY EAEE. CLAUDE GELLEE (Called "Claude Lorrain") Born 1600, at Champagne, a village on the Moselle, then in the ancient province of Lorraine; died in Rome, 1682. With the exception of his boy- hood and two years of wandering (as pastry cook), the whole of his life was passed and all of his worlc done in or near Rome. GELLEE, CLAUDE 379. La Danse au Boed de L'Eau. Painter-etching. Robert Dumesnil, I. No. 6. Second state. Supeeb impeession, in peefect condition. GELLEE, CLAUDE 380. Le Bouviee. Painter-etching. Robert Dumesnil, I. No. 8. Second state. Supeeb impeession, in peefect condition. From the Camberlyn Collection. "For technical quaUty of a certain delicate kind this is the finest landscape etching in the world." — P. G. Hamehton. GELLEE, CLAUDE 381. La Danse Sous les Arbres. Painter-etching. Robert Dumesnil, I. No. 10. Second state. Fine impression, with three birds in the sky, and before the distant mountains had disappeared. Framed. From the Brentano-Birkenstock and W. S. Carter Col- lections. GELLEE, CLAUDE 382. Le Soleil Couchant. (This title has been changed lately to "Sunrise"). Painter-etching. Robert Dumesnil, I. No. 15. First state. A very wonderful, impression before the No. 11 and the artist's name in the lower margin. Prob- ably THE FINEST IMPRESSION IN EXISTENCE. From the Alfred Hubert Collection. "Claude shows himself especially masterly in the Bouvier (R. D. 8), the Herd (R. D. 18), and the Dancing Shepherds (R. D. 6 and 10), and above all in the Harbor at Sunrise (R. D. 15), one of his most beautiful composi- tions. The delicate mist which the rays of the rising sun are just beginning to pierce, and which still hangs over the waters and envelops the figures, is represented with surpassing delicacy. As in the Bouvier, the warm, golden- red light of the evening sun clearly defines the objects, pierces through the foliage, and throws rich, dark shadows, so in the Harbor at Sunrise the rising sun shows the moist, cool atmosphere of mist in an even gray, out of which figures appear with ghostly indistinctness." — Kmstei-ieb. EMMANUEL DE GHENDT Born at Gand, 1738; died at Paris, 1815. Pupil of Aliamet. GHENDT, EMMANUEL DE 383. Le Soir. Line-engraving. Portalis and Beraldi, p. 306. No. 1. After P. A. Baudouin. Very fine impression. Framed. GIORGIO GHISI Born at Mantua, 1520; died there, 1852. He has command of a firm and pleasing style. With better success than his master he strove to unite the solidity of Marcantonio's execution with the delicate treatment of Ger- man Little Masters." — Lippmann. GHISI, GIORGIO 384. Caius Marius Intimidating the Soldiers Who Have Been Sent to Kill Him. Engraving. Bartsch, XV. No. 26. Early impression. GHISI, GIORGIO 385. BiETH OF Memnon. Engraving. 1568. Bartsch, XV. No. 57. After Giulio Romano. Early impression. ALBRECHT GLOCKENTON (Master A. G.) Flourished in Upper Germany about 1480. Pupil of the elder Roger Van der Weyden. His plates are entirely wrought with the graver, in a neat but stiff style. He appears to have imitated the manner of Martin Schon- gauer, some of whose plates he copied. GLOCKENTON, ALB«ECHT (Master A. G.) 386. Christ Entering Jerusalem. Engraving. Bartsch, VI. No. 2. From the A. Morrison and P. Gellatly Collections. GEORGE GLOVER Born, 1618. "He worked chiefly for the booksellers, and engraved several portraits of persons distinguished in English history. The portraits are his best work." — Bryait. GLOVER, GEORGE 387. Portrait of John Fox, the Martyrologist. Line-engrav- ing. Very fine impression. HENDRIK GOLTZIUS Born at Mulbrecht, 1658; died at Haarlem, 1616. "Among his own countrymen Cort's breadth of style was best appreciated by Hendrick Goltzius, who came under the influence of his school in Rome. Unfortunately, like most of his contemporaries, he suffered from the man- nerisms of his models — Spranger, Stradanus and the host of pseudo-classi- cists — but he was happier than the majority in his assimilation of some of the true character of classical art. His large 'Massacre of the Innocents' re- veals some real sympathy for the ideals of Michelangelo. The delight he takes in rendering swelling curves, be they as bombastic as they will, is irresistible. The 'Standard Bearers' is a magnificent example." — Hind. GOLTZIUS, HENDRIK 388. The Massacre of the Innocents. Painter-engraving. Dutuit, IV. No. 23. The plate has remained unfinished. Second state. Fine impression, with "Visscher excudit." Very scarce. From the Dr. Edward Peart Collection. "Elle est une de celles qu'il a gravees avec le plus de libertd de burin." — Bartsch. GOLTZIUS, HENDRIK 389. PiETA (The Virgin Weeping Over the Dead Body of Christ, in Her Lap). Painter-engraving. 1596. Dutuit, IV. No. 41. Second state, with the date. An impression of unsur- passed BRILLIANCY, AND IN PERFECT CONDITION. From the R. Scholtz Collection. GOLTZIUS, HENDRIK 390. The Standard-bearer. Painter-engraving. Dutuit, IV. No. 125. Superb impression in perfect condition ; extremely RARE of such HIGH QUALITY. From the P. Remi and Baron Von Lanna Collections. GOLTZIUS, HENDRIK 391. A Captain of Infantry. Painter-engraving. Dutuit, IV. No. 126. Superb impression in perfect condition. From the R. Scholtz Collection. GOLTZIUS, HENDRIK 392. Life Size Poeteait of the Engeaver Himself. Painter- engraving. Dutuit, IV. No. 172. Second state. Proof before Goltzius' name on the tab- let. Perhaps the most admirable portrait ever en- graved. In a beautiful proof well preserved for its size. Framed. GOLTZIUS, HENDRIK 393. The Son of Frisius, with His Dog. Painter-engraving. Dutuit, IV. No. 190. Second state (first finished). This is considered the finest plate of the master and is quite rare, a par- ticularly fine impression. Framed. JEAN GOURMONT {A French "Little Master") Flourished (Paris) about 1506-1526. "In Jean Gourmont we meet the best representative of the spirit of the Little Masters transplanted to France, and treated with considerable originality. He appears as a printer in Paris as early as 1506, but his engravings seem to belong to some two decades later, when he was working in Lyons." — Hind. GOURMONT, JEAN 394. The Massacre of the Innocents. Painter-engraving. Robert Dumesnil, Vll. No. 3. Very fine impression and extremely rare. Duplicate from the British Museum. GOURMONT, JEAN 395. The Flagellation. Painter-engraving. Robert Dumesnil, VII. No. 4. Superb impression, and very rare. From the St. John Dent and Baron Von Lanna Collec- tions. These prints of the early French school, by masters such as Gourmont and Duvet, have a peculiar interest, because they appear before the strong Ital- ian element dominated French engraving and show us the early French art free from foreign influence. VALENTINE GREEN Born at Birmingham, 1739; died in London, 1813. GREEN, VALENTINE 396. Lady Elizabeth Compton. Mezzotint. C. Smith, II. No. 27. After Sir Joshua Reynolds. First state. Proof before the name of the personage. The remainder of inscrip- tion in scratched letters. Veuy fine and veky bahe. Framed. GREEN, VALENTINE 397. Ann, Duchess of Cumbeuland. Mezzotint. C. Smith. No. 31. After Thomas Gainsborough and Richard Cosway. First state. A very delicate open letter proof. Very rare. Framed. Eldest daughter of Simon Luttrell. Married, in 1771, H. R. H. the Duke of Cumberland. Died, 1803. GREEN. VALENTINE 398. Henry Danvers, Earl op Danby. Mezzotint. C. Smith, II. No. 34. After A. van Dyck. First state. Very fine. Proof be- fore all letters and the coat-of-arms. Framed. GREEN, VALENTINE 399. Georgiana, Duchess of Devonshire. Mezzotint. C. Smith, II. No. 37. After Sir Joshua Reynolds. First state. Superb proof BEFORE THE NAME OF THE PERSONAGE. Remainder of in- scription in scratched letters. Framed. Eldest daughter of the 1st Earl of Spencer, born 1757; married 1774, to Wil- liam, 5th Duke of Devonshire. Died, 1806. GREEN, VALENTINE 400. Mary Isabella, Duchess of Rutland. Mezzotint. C. Smith, II. No. 115. After Sir Joshua Reynolds. First state. Proof before the title. With large margin. Framed. GREEN, VALENTINE 401. Emily Maey, Countess of Salisbury. Mezzotint. C. Smith, II. No. 116. After Sir Joshua Reynolds. First state. Superb proof before the name of the personage. The remainder of the inscription in scratched letters, and the paper cut down almost to the engraved surface, showing below only the publication line in scratched letters. Duplicate from the British Museum. Framed. GREEN, VALENTINE 402. Benjamin West and Son. Mezzotint. C. Smith, II. No. 138. After a painting by himself. Only one state known. Veey FINE IMPRESSION. Framed. From the Royal Collection at Windsor Castle. The first-named born in Pennsylvania in 1738, went to London, 1763; be- came President of the Royal Academy on the death of Reynolds, in 1792; died 1820; buried at St. Paul's. GREEN, VALENTINE 403. Master Bradshaw and His Sisters (the Wright Family). Mezzotint. C. Smith, II. No. 141. After Joseph Wright. First state. Beautiful proof WITH the artists' NAMES and the publication line in scratched letters. Large margin. GREEN, VALENTINE 404. A Winter's Tale. Mezzotint. C. Smith, II. No. 157. After Opie. First state. Very fine proof, with the art- ists' names in scratched letters, and before the inscrip- tion on margin was cleaned. An impression of the high- est ORDER and in PERFECT CONDITION. Framed. E. GULLARD {Contemporary Mezzotint Engraver) GULLARD, E. 405. Isabel. Color-mezzotint. After Sir Henry Raeburn. Very fine proof nicely printed in colors and signed by the engraver. Framed. SIR FRANCIS SEYMOUR HADEN Born 1818; died 1910. Founder and President of the Royal Society of Painter-Etchers. "An artist of rare endowment and consummate skill. A master of foliage, he has drawn trees magnificently, both as to wood and leaves; there is no better stem or branch drawing than his in all contem- porary art." — P. G. Hamerton. "By general consent Seymour Haden ranks as the greatest of modern land- scape etchers." — The Modern Disciples op Rembrandt. HADEN, SIR FRANCIS SEYMOUR 406. Thames Fisherman. Painter-etching. Drypoint. Harrington, No. 11. Drake, No. 11. Second state. Very fine impression and extremely BARE. The plate was destroyed. One of the artist's most beautiful dry-points. Framed. HADEN, SIR FRANCIS SEYMOUR 407. Kensington Gardens (the smaller plate). Painter-etching. Harrington, No. 12. Drake, No. 12. State before the finished state. Beautiful signed proof ON THIN Japanese paper. HADEN, SIR FRANCIS SEYMOUR 408. Egham. Painter-etching. Harrington, No. 15. Drake, No. 14. First state. The punt is white, and there are only three large birds in the sky. On laid paper. Very rare, twelve impressions only IN THIS STATE HAVING BEEN PRINTED. The plate was destroyed. Framed. HADEN, SIR FRANCIS SEYMOUR 409. On THE Test. Painter-etching. Harrington, No. 20. Drake, No. 19. First published state. Fine proof on thin Japanese PAPER. Signed. Framed. "This plate and No. 20 ('A Water Meadow') were done on the same day, one at noon, the other very late in the evening. The Test (in Hampshire) is a famous trout stream." — Seymour Haden. HADEN, SIR FRANCIS SEYMOUR 410. Eaely Mouning — Richmond. Painter-etching. Harrington, No. 22. Drake, No. 21. Beautiful proof on thin laid papek. Signed. The plate was destroyed. "The conception of the plate itself has a poetry of its own, and is filled with the freshness of morning." — P. G. Hamebton. HADEN, SIR FRANCIS SEYMOUR 411. The Mouth of the Bkook. Drypoint. Harrington. No. 27. Drake. No. 25. Trial proof C. (About 6 impressions.) Superb im- pression OF this extremely rare and choice drypoint. Signed proof on old laid paper. It has the following in- scription in Mr. Haden's handwriting: "Dromore, County Kerry, Ireland." From the Tracy Dows Collection. HADEN, SIR FRANCIS SEYMOUR 412. Kensington Gardens (the larger plate). Painter-etching. Harrington, No. 28. Drake, No. 26. Signed proof on thin laid paper. The plate was de- stroyed. "This study is one of the most accomplished of all of M. Haden's. — Ph. BrniTY. HADEN, SIR FRANCIS SEYMOUR 413. A By-road in Tipperary. Painter-etching. Harrington, No. 30. Drake, No. 28. First state. Exceedingly fine impression. Extremely rare, there having been printed about 20 impressions only of the first and second states, when the plate was mislaid and greatly injured. Framed. HADEN, SIR FRANCIS SEYMOUR 414. Combe Bottom. Painter-etching. Harrington, No. 32. Drake, No. 29. First state. Drawn upon by the artist. From the Sir William Drake Collection. "The little piece is a jewel; it has most rare charm. It is very scarce and we advise the collector who comes upon it not to let it escape him." — G. BOUBCABD. HADEN, SIR FRANCIS SEYMOUR 415. Sheee Mill Pond (the larger plate). Painter-etching. Harrington, No. 38. Drake, No. 35. Second state. Fine impression on laid papek. Signed. Framed. "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. Hamebtoit. HADEN, SIR FRANCIS SEYMOUR 416. Sunset in Ireland. Painter-etching. Drypoint. Harrington, No. 51. Drake, No. 44. First state. Superb prooe on thin Japanese paper. Signed. Framed. "This plate, and also 'A By-Road in Tipperary,' were done in the park of Viscount Hawarden, in the most beautiful part of Tipperary." — Sey- MOXTK Hadeit. " 'A Sunset in Ireland' is Haden's best work in dry-point, and it cer- tainly deserves its reputation as one of its author's masterpieces. The quiet, peaceful sunset behind the dark masses of trees makes a plate of ex- quisite beauty. There are great differences in the various states, so that a choice among them is extremely difficult. The rich, dark, late-evening ef- fect of the second state is quite as line in its way as the lighter and more delicate early-evening effect of the eai'lier impressions." — Atherton Curtis. HADEN, SIR FRANCIS SEYMOUR 417. Battersea Reach. Painter-etching. Harrington, No. 52. Drake, No. 45. First state. Fine proof. Signed. Rare. "When a first state of this plate (anterior to the Gazette impressions) can be found — it is by far the best. Some, but not many, exist both on Japanese paper and on fine Verger." — Setmour Hadex. HADEN, SIR FRANCIS SEYMOUR 418. Yacht Tavern, Erith. Painter-etching on a zinc plate. Harrington, No. 112. Drake, No. 101. Trial proof B. Superb impression on laid paper, signed. In the following state — the published first state — the lady on the balcony has been burnished out. From the Tracy Dows Collection. HADEN, SIR FRANCIS SEYMOUR 419. The Three Sisteus. Painter-etching. Harrington, No. 129. Drake, No. 116. First state. Signed proof on Whatman paper. Framed. From the W. S. Carter Collection. "This and No. 115 were done in an old chase, in which is a hunting lodge which belonged to the Dukes of Northumberland. ... It is one of the finest of our old English parks." — Seymour Hauek. HADEN, SIR FRANCIS SEYMOUR 420. Breaking up of the Agamemnon. Paintei'-etching. Harrington, No. 145. Drake, No. 128. First state. Signed proof on Whatman paper, with the smoking chimney, a brig under sail, and other work in the distance beneath the bow of the boat. Superb impres- sion AND VERY RARE. AnTOGRAPii PRESENTATION COPY, FROJM THE ETCHER, witli the following inscrip- tion: "/. Beavington Atkinson, Esq., wilh Seymour Haden's kind regards. 1873." "With such a subject as this for a motive, an etcher will do manly work if the strength to do it is in him. And this is manly work." — P. G. Hamerton. "Perhaps, all things considered, the artist's masterpiece." — Athebton Curtis. HADEN, SIR FRANCIS SEYMOUR 421. Challow Farm. Painter-etching. Harrington, No. 175. Drake, No. 158. First state. Signed proof. Very fine. Model proof for the printer, with the etcher's note in pencil "bon a tircr 1903." The artist always considered this one OF HIS finest plates. HADEN, SIR FRANCIS SEYMOUR 422. A. Lancashire River. Painter-etching. Harrington, No. 215. Drake, No. 191. First trial. Superb proof on Whatman paper. Signed. From the E. Ellingwood Collection. In Sir Seymour's opinion this is a finer plate, "in the true artistic sense," than "Shere MiU Pond." "A well-known salmon pool on the Ribble."— Harrington. HADEN, SIR FRANCIS SEYMOUR 423. An Eaely Risee.. Painter-mezzotint. Harrington, No. 240. Second state with the clear sun. Very fine impeession ON Creswick papek. Signed. This plate won for the artist a gold medal when first exhibited at the Paris Exposition, 1900. WILLIAM HAMILTON HAMILTON, WILLIAM 424. The Four Seasons. Stipples. Circular. Spring and Summer engraved by G. S. and J. G. Facius. Autumn and Winter engraved by J. B. Michel. Brilliant oi'EN LETTER PROOES printed in red, with full margins. From the W. Lawson Collection. (4) SIMON VISCOUNT NEWHAM HAB COURT HARCOURT, SIMON VISCOUNT NEWHAM 425. Venus and Cupid. Stipple. About 1800. Very nicely printed in colors. FRANCIS HAWARD Born in Loudon, 1759; died there, 1797. HAWARD, FRANCIS 426. Mrs. Siddons as the Tragic IMuse. Stipple. After Sir Joshua Reynolds. Fine impression of this famous engraving. ISIDORE-STANISLAS HELMAN Born in Lille, 1743; died in Paris, 1606. HELMAN, ISIDORE-STANISLAS 427. Le Jardinieu Galant. Line-engraving. 1778. Portalis and Beraldi, II, p. 394. No. 1. After P. A. Baudouin. Superb impression and rare in SUCH FINE CiUALITT, LOUIS PIERRE HENRIQUEL-DUPONT Born in Paris, 1797 j died there, 1892. Pupil of P. Gu6rin and Bervic. HENRIQUEL-DUPONT, LOUIS PIERRE 428. Mariage MTSTiauE de Ste. Catherine d'Alexandme. Line- engraving. Apell, p. 128. No. 6. After Correggio. Second state. Veey brilliant proof BEFORE all LETTERS ON InDIA PAPER. SiGNED BY THE EN- GRAVER. HENRIQUEL-DUPONT, LOUIS PIERRE 429. Peter the Great. Line-engraving. Apell, p. 129. No. 26. After Paul Delaroclie. First state. Proof before all let- ters. With autograph dedication by the engraver to his brother-in-law. CHARLES HOWARD HODGES Born in England, 1704; died in Amsterdam, 1837. HODGES, CHARLES HOWARD 430. De Scheeps-Bouwmeester (The ship-builder and liis wife). Mezzotint. 1802. Andresen, I, p. 672. No. 8. After Rembrandt. First state. Proof with the artists' names in etched letters. Framed. WENZESLAS HOLLAR Born at Prague, 1607; died in London, 1677. HOLLAR, WENZESLAS 431. The Four Seasons (represented by figures to the knee). Painter-etchings. Garthcy. Nos. 606 to 609. Very fine impressions with large margins. (4) DANIEL HOPFER Worked at Augsburg from 1493 until 1636. "Another interesting group of etchers at this period is that of the Hopfers of Augsburg. Daniel Hopfer, who was already working in Augsburg in 1493, was certainly one of the first, if not the earliest, of the German artists to practice etching in our sense of the word. He used it, like many another before him, for orna- menting armour and guns, and the majority of his rough etchings were in- tended as little more than patterns for the goldsmith or sculptor."— Hiitd. HOPFER, DANIEL 432. "HoFFART GET VOB DEM Veederben" (Proverb of Solomon). Etching. Not mentioned by Bartsch. Fine impression with the plate-number 59. From the Count Enzenberg and "E. S." Collections. HOPFER, DANIEL 433. Christ on the Cross. Etching. Bartsch, VIII. No. 12. Fine impression with the plate-number 120. From the S. Scheikevitch Collection. HOPFER, DANIEL 434. The Crucifix. Etching. Bartsch, VIII. No. 13. Very fine, early impression, before the plate was num- bered. From the S. Scheikevitch Collection. HOPFER, DANIEL 435. The Last Judgment. Etching. Not mentioned by Bartsch. Very fine impression. HOPFER, DANIEL 436. "Gib Frid" (The devil beaten by three old women). Etching. Bartsch, VIII. No. 71. Fine, early impression before the plate was numbered. From the W. Bell Scott and H. S. Theobald Collections. JACOB HOUBRAKEN Born at Dordrecht, 1698; died at Amsterdam, 1719. HOUBRAKEN, JACOB 437. Portrait or John Lord Thurlow (Secretary to Oliver Crom- well) . Line-engraving. A. Ver Huell, p. 111. No. 53. After Cooper. Very fine impression oe the first edi- tion WITH large margins. HOUBRAKEN, JACOB 438. Count Zinzendore (Founder of the Moravians). Line-en- graving. 1764. A. Ver Huell. No. 488. Fine impression on satin. Framed. RICHARD HOUSTON Born in Dublin, 1722 ; died in London, 1775. He was apprenticed to Brooks, and thus became a, fellow-pupil with MacArdeU, whom at the outset of his career he was considered to rival, if not even to surpass, in spirit and fire. He went to London about the same time as MacArdeU, and established him- self near Drummond's, at Charing Cross, from which address he issued some of his most successful productions after Rembrandt and others. "His manner was bold and vigorous when his subjects required such treat- ment, as in the rugged pictures of Rembrandt." — Ai.piied Whitmak. HOUSTON, RICHARD 439. Man Holding a Knife. Mezzotint. C. Smith, H. No. 146. After Rembrandt. First state. Splendid proof before all letters. Very rare. HOUSTON, RICHARD 440. An Old Woman Plucking a Fowl. Mezzotint. C. Smith, II. No. 148. After Rembrandt. First state. Proof before all letters. Superb impression in perfect condition, with ample MARGINS. From the Baron Von Lanna Collection. HOUSTON, RICHARD 441. The Syndics. Mezzotint. C. Smith, II. No. 149. (^ After Rembrandt. First state. Proof with the artists' names in scratched letters and before the margin was cleaned. Very fine. Framed. HENRY HUDSON (Mezzotint-Engraver) Flourished in 1782-1793. HUDSON, HENRY 442. Mrs. Curtis ' 7 y j". C. Smith, II. No. 1. After H. Walton. Proof before all letters. Very fivk. ^ ^ /^ J:^J. LCJ. J.J.. VT iXlLtJJI. X I VJIJI PJCIUIU an It: LLC I ft. V il.lt 1 1' 1 A i'.. / / / j Framed. 6^^. ~"'^ ^ THIRD SESSION TUESDAY AFTERNOON, APRIL 13, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o' CLOCK Catalogue Nos. 443 to 654 inclusive FRANCOIS ROBERT lejeune INGOUF Born in Paris, 1747; died there, 1812. Brother of Pierre Charles Ingouf. Pupil of Ingouf. INGOUF, FRANCOIS ROBERT Lejeune 443. La Promenade du Matin — ^La Peomenade du Soir. Both line-engravings after I. H. E. 1774. / ' Portalis and Beraldi, II, p. 456. No. 3. A EINE PAIE. (2) PIERRE CHARLES INGOUF Born in Paris, 1746; died there, 1800. Brother of Franjois Robert Ingouf. Pupil of Flipart. INGOUF, PIERRE CHARLES 444. Venus Tying the Wings oe Love. Line-engraving. After Mme. Vigee-Le Brun. Veey eine prooe with the name of the painter only. In perfect condition. FRANCOIS JANINET Born at Paris, 1752; died there, 1813. "He seems to have introduced color- printing into France. His work is almost entirely reproductive, and embraces a multitude of subjects, from landscape and genre to portrait." — Hind. JANINET, FRANCOIS 445. L'ageeabi,e Neglige. Color-engraving. Portahs and Beraldi, II, p. 476. No. 1. After Baudouin. "There is a pretty quartet of ovals in square borders imitating marble: the one mentioned above, which is the same subject as Chavillet's line-engraving 'Le Mger vetement' and its pendant, 'L'aimable Paysanne,' after Saint- Quentin; 'La Compagne de Pomone' and 'La Reunion des Plaislrs,' after Le Clerc."— M. C. Salaman. JANINET, FRANCOIS 446. Le Culte Systematique. Color-engraving. Portalis and Beraldi, II, p. 476. No. 10. After Caresme. Very fine coloe-pkint. Companion to No. 447. JANINET, FRANCOIS 447. Bacchus Preside a la Fete. Color-engraving. Portalis and Beraldi, II, p. 476. No. 11. After Caresme. Of the same quality as the preceding. Companion to No. 446. JANINET, FRANCOIS 448. L'amoue. Color-engraving. Portahs and Beraldi, II, p. 477. No. 25. After J. H. Fragonard. Exceedingly fine and rare; with large margin. Companion to No. 449. "Among Janinet's earlier essays in color-engraving are the two dainty little prints after Honor6 Fragonard, done in 1777. They are two of the most highly prized of all color-prints of the period, exceedingly costly, and rare are the occasions when they are purchasable. Of trifling grace in design, they have, with their warm yet delicate tints, that inexpressible mystery of charm which is the very essence of Fragonard, and this, one feels, Janinet must have transferred with magic felicity to his copper- plates." — M. S. Salaman. JANINET, FRANCOIS 449. La Folie. Color-engraving. Portalis and Beraldi, II, p. 477. No. 26. After J. H. Fragonard. Of exactly the same quality as the preceding. Companion to No. 448. JANINET, FRANCOIS 450. La Confiance Enfantine — La Crainte Enfantine. Color- engraving. Portalis and Beraldi, II, p. 478. Nos. 29 and 30. Both after S. Freudeberg. Two very fine color-prints. (2) JANINET, FRANCOIS 4<51. L'aveu Difficile. Color-engraving. 1787. Portalis and Beraldi, II, p. 479. No. 39. After N. Lavreince. Exceedingly fine and very eaee. JANINET, FRANCOIS 452. La Compaeaison. Color-engraving. 1786. Portalis and Beraldi, p. 479. No. 40. After N. Lavreince. Of the same quality as the preced- ing. JANINET, FRANCOIS 453. L'iNDiscEETiON. Color-engraving. Portalis and Beraldi, p. 479, No. 41. After N. Lavreince. Of the same quality as the preced- ing. JANINET, FRANCOIS 454. Ha! le Joli Petit Chien — Le Petit Conseil. Color-en- gravings. Portalis and Beraldi, II, pp. 479, 480. Nos. 44 and 45. Both after N. Lavreince. A beautiful paie of coloe- PEINTS. (2) JANINET, FRANCOIS 455. Mademoiselle Du T. (Rosalie Duthe) mistress of the Comte d'Artois. Color-engraving. Portalis and Beraldi, II, p. 485. No. 124. After J. A. Lemoine. Supeeb impeession. One of the most graceful and charming portraits of the eighteenth century. From the 0. Humphrey Collection. "Another lady of the opera, but of less operatic and more piquant interest, perhaps. In this engraving Catherine-Rosalie Girard, whose nom-de-guerre was Duth6, is presented with a charming and characteristic vivacity. We see her in her private life — ^if anything in her life could be considered pri- vate." — M. C. Salaman-. JOHN JONES Born In London about 1743; died there, 1797. Mezzotint-Engraver. JONES, JOHN 456. Edmund Burke. Mezzotint. C. Smith, 11. No. 11. After George Romney. Before the first state described by Smith. Extremely eine proof before all letters, WITH LARGE MARGIN. JONES, JOHN 457. Mrs. Charlotte Davenport. Mezzotint. C. Smith, II. No. 17. After George Romney. Only one state described. Very FINE, EARLY IMPRESSION bcforc the margin was cleaned. Framed. JONES, JOHN 458. Lady Hamilton as Emma. Stipple. After George Romney. Proof before letters. Very fine. Framed. RICHARD JOSEY Contemporary English mezzotint-engraver. JOSEY, RICHARD 459. Portrait of Thomas Caulyle. Mezzotint. After Whistler. Artists' proof on India paper, signed by both artists. Whistler has signed this proof with his name besides his butterfly. "The rugged simplicity of Carlyle — a simplicity which his own generation received with so naive an admiration — is suggested, not only with skill of hand, but with the mental sltill that discovers quickly, in presence of a sub- ject, wherein lies the best opportunity for high success in treating it." — FttEDEBICK WeDMOBE. F. JUKES JUKES, F. 460. Courtship — Matrimony. Aquatints. Both after Williams. A very fine pair in colors. Very rare. Framed. (2) JOSEPH KOHLSCHEIN Diisseldorf . Second part of the Nineteenth century. Pupil of Jos. Keller. KOHLSCHEIN, JOSEPH 461. The Holy Family. Line-engraving. Apell, p. 220. No. 1. After Ittenbach. First state. Artist's proof on India paper. Framed. KOHLSCHEIN, JOSEPH 462. St. Cecilia. Line-engraving. Apell, p. 221. No. 4. After Raphael. First state. (One of the keys of the instrument lying on the ground is still white.) Remarque proof on India paper. Signed by the engraver. Superb IMPRESSION. Framed. CHARLES KNIGHT Born in London about 1743; died there about 1825. KNIGHT, CHARLES 463. Lady Hamilton as Bacchante. Stipple. After George Romney. Very pine open letter proof. LUDWIG KNAUS Celebrated German genre painter in the second part of the nineteenth century. KNAUS, LUDWIG 464. The Baptism Engraved in mixed manner by J. Ballin. The Mountebank Engraved in-mixed manner by Paul Girardct. Both pine PROOFS BEFORE ALL LETTERS Oil India paper. Framed. (2) NICOLAS DE LARMESSIN Born in Paris, 1684; died there 1755. LARMESSIN, NICOLAS DE 465. Le Jeu du Pied de Bceuf. Line-engraving. Portalis and Beraldi, II, p. 534. No. 4. After N. Lancret. Framed. LARMESSIN, NICOLAS DE 466. PoKTRAiT or Claude Halle (painter to the King). Line-en- graving. 1730. Portalis and Beraldi, II, p. 535. No. 19. After Le Gros. Engraved by Larmessin for his reception at the Academy. JEAN NICOLAS LAUGIER Born at Toulon, 1785; died, 1875. LAUGIER, JEAN NICOLAS 467. Pygmalion Amoukeux de sa Statue. Line-engraving. 1819. Andresen, II, p. 21. No. 10. After Girodet-Trioson. First state. Artist's proof, be- fore the Greek inscription. Framed. NICOLAS DE LAUNAY Born in Paris, 1739; died tliere, 1792. "An expert iu tlie coinmand of light. De Launay was also a singularly even engraver, and one always displaying conscientiousness of treatment combined with great facility of execution. For him difficulties did not exist, as may be realized from an examination of his treatment of many «, scene which, at first sight having the appear- ance of simplicity itself, is really the result of careful and masterly execu- tion." — Ralph Nevill. LAUNAY, NICOLAS DE 468. L'abus de la Cuedulite. Line-engraving. Portalis and Beraldi, II, p. 545. No. 1. After E. Aubry. Fine impression beeore the dedica- tion and the publisher's address. Very rare in this state. LAUNAY, NICOLAS DE 469. Le CAuauois Epuise. Line-engraving. Portalis and Beraldi, II, p. 545. No. 3. After P. A. Baudouin. First state. Proof before the title. Veky fine. LAUNAY, NICOLAS DE 470. Les Soins Tardifs. Line-engraving. Portalis and Beraldi, II, p. 545. No. 4. After P. A. Baudouin. LAUNAY, NICOLAS DE 471. La Gayete de Silene. Line-engraving. Portalis and Beraldi, II, p. 545. No. 8. After N. Bertin. Framed. LAUNAY, NICOLAS DE 472. Le Chifeke D'amour. Line-engraving. Portalis and Beraldi, II, p. 246. No. 9. After J. H. Fragonard. Framed. LAUNAY, NICOLAS DE 473. Les Hasards Heureux de i,'Escarpolette. Line-engraving. Portalis and Beraldi, I, p. 546. No. 12. After J. H. Fragonard. Superb impression, but very closely trimmed. Rare. This is one of the two or three most celebrated French line-engravings, of the eighteenth century. LAUNAY, NICOLAS DE 474. L'education Fait Tout. Line-engraving. Portalis and Beraldi, II, p. 546. No. 13. After J. H. Fragonard. Proof before the dedication. Very fine and rare. LAUNAY, NICOLAS DE 475. Le Petit Peedicateur. Line-engraving. Portalis and Beraldi, II, p. 546. No. 14. After J. H. Fragonard. Very fine, with uncut margin. LAUNAY, NICOLAS DE 476. L'heureuse Fecondite. Line-engraving. Portalis and Beraldi, II, p. 546. No. 15. After J. H. Fragonard. Fine impression in perfect con- dition. Of the same importance as No. 473. LAUNAY, NICOLAS DE 477. "DiTEs DONC s'lL-vous-PLAiT." Line-engraviiig. Portalis and Beraldi, II, p. 246. No. 16. After J. H. Fragonard. Framed LAUNAY, NICOLAS DE 478. Les Beignets. Line-engraving. Portalis and Beraldi, II, p. 546. No. 17. After J. H. Fragonard. Proof before the dedication. Very fine and rare. LAUNAY, NICOLAS DE 479. Le Petit Jour. Line-engraving. Portalis and Beraldi, II, p. 546. No. 18. After S. Freudebcrg. Proof before the dedication and the address. Very fine. "One of the finest French eighteenth century cngravhigs, always in great request." — Rau^h Nevill. LAUNAY, NICOLAS DE 480. La Complaisance Maternelle. Line-engraving. Portalis and Beraldi, II, p. 546. No. 19. After S. Freudeberg. LAUNAY, NICOLAS DE 481. Le Billet Doux. Line-engraving. Portalis and Beraldi, II, p. 547. No. 23. After N. Lavreincc. Proof before letters, but with tlic coat-of-arms. Superb impression of this graceful com- position. Framed. LAUNAY, NICOLAS DE 482. La Consolation de l'Absence. Line-engraving. Portalis and Beraldi, H, p. 547. No. 24. After N. Lavreince. Very fine impression on large PAPER. "In 'Consolation de 1' Absence' we have a technical masterpiece." — G. S. Hel- LAUNAY, NICOLAS DE 483. L'heureux Moment. Line-engraving. Portalis and Beraldi, IL p. 547. No. 25. After N. Lavreince. Proof with the coat-of-arms and part of the inscription. Very fine. Framed. LAUNAY, NICOLAS DE 484. Qu'en Dit l'Abbe? Line-engraving. Portalis and Beraldi, H, p. 547. No. 26. After N. Lavreince. Slightly defective. LAUNAY, NICOLAS DE 485. Marche de Silene. Line-engraving. Portalis and Beraldi, IL p- 548. No. 32. After P. P. Rubens. Second rate. Proof before the dedi- cation. Very fine and with uncut margin. In per- fect condition. LAUNAY, NICOLAS DE 486. Angelique et Medore. Line-engraving. Portalis and Beraldi, IL P- 548. No. 32. After Raoux. Fine impression, in perfect condition. Framed. ROBERT DE LAUNAY 1754—1814. LAUNAY, ROBERT DE 487. Le Maeiage Conclu, after Borel. Le Mariage Rompu, after E. Aubry. Both line-engravings. Portalis and Beraldi, II, p. 555. No. 3. (2) HANS SEBALD LAUTENSACK Born at Bamberg, 1524; died in Vienna between 1560 and 1563. Son of Paul Lautensack, a painter in Bamberg. While yet a child his parents settled in Nurnberg, and he lived there during the greater part of his Ufc. From 1658 and until his death he worked in Vienna. LAUTENSACK, HANS SEBALD 488. View of a Rivee. with a Castle on an Island. Painter- etching. 1553. Bartsch, IX. No. 39. A VERY FINE IMPRESSION. From the Baron Von Lanna Collection. This is an interesting example of the primitive school of German landscape which was best illustrated by the work of Lautensack and Hirschvogel. JACQUES-PHILIPPE LEBAS Born in Paris, 1707; died there, 1783. "It is no exaggeration to say that Le Bas is the most complete incarnation of eighteenth century engraving." (PoRTAUs.) Many of the artists of the second half of this century grad- uated under Le Bas. He was also the tutor of the English artists. Strange and Ryland. LEBAS, JACQUES-PHILIPPE 489. LE90N d'Amour. Line-engraving. After J. B. Greuze. Not mentioned by Portalis and Ber- aldi, nor Andresen. Superb proof before all letters WITH THE COAT-OF-ARMS. From the Firmin-Didot Collection. LEBAS, JACQUES-PHILIPPE 490. The Bathers. Line-engraving. After Poelenburg. Not mentioned by Portalis and Ber- aldi, nor Andresen. Proof before all letters, but with the coat-of-arms. From the W. H. Daugherty Collection. PIERRE ADRIEN LE BEAU Born, 1748; died, 18—. LE BEAU, PIERRE ADRIEN 491. Le Levee de la Makiee. Line-engraving. Portalis and Beraldi, II, pp. 593-594. After Dugoure. Proof before the title. ACHILLE DESIRE LEFEVRE Born in Paris, 1798; died there, 1864. One of the foremost French line- engravers of the Nineteenth century. LEFEVRE, ACHILLE DESIRE 492. The Immaculate Conception. Line-engraving. Apell, p. 233. No. 1. After B. E. Murillo. (Originally painted for the church "Los Venerables" in Seville and hung there. Marshal Soult captured it about 1809. It now hangs in the Louvre.) First state. Proof on India paper with the engraver's name signed on the plate with the point. Superb impression. Framed. From the W. S. Carter Collection. LEFEVRE, ACHILLE DESIRE 493. Le Sommeil d'Antiope. Line-engraving. Apell, p. 234. No. 7. After Correggio. First state. Artist's proof on India paper. Very fine impression. LOUIS LE GRAND Flourished in Paris about 1761 — 1784. LE GRAND, LOUIS 494. Le Bon Joue. Stipple. After Julia Conyers. Nicely printed in colors. Framed. ALPHONSE LEGROS "Born at Dijon nearly sixty years ago, Legros has been amongst us since 1863. But it is not English life — or, indeed, any life — that has made him what he is. . . He has been fed on the Renaissance, and on Rem- brandt; but yet the originality of his mind pierces through the form it has pleased him to impose on its expression. He gives to masculine character nobility and dignity." — Fhedehick Wedmooe. LEGROS, ALPHONSE 495. Le Paysage a la Mee. Painter-etching. Beraldi. No. 107. First state, before the plate was reduced in size. Magnifi- cent IMPRESSION ON JAPANESE PAPER. VeRY RARE. Framed. From the W. S. Carter Collection. LEGROS, ALPHONSE 496. The Canal. Painter-etching. Beraldi. No. 178. Fifty proofs only were printed and the plate destroyed. This is No. 7. Framed. AUGUSTE LEPERE Born in Paris, 1849. LEPERE, AUGUSTE 497. Rheims Cathedral. Painter-etching. Signed artist's proof (No. 106) on laid paper. The plate destroyed. BERNARD LEPICIE Born in Paris, 1698; died there, 1755. LEPICIE, BERNARD 498. Madame Charlotte Desmares as Thalia. Line-engraving. 1733. After C. Coypel. Fine impression. Framed. Portalis and Beraldi, II, p. 665. No. 32. REVEE ELIZABETH M. LEPICIE Born, 1714; died in Paris, 1773. LEPICIE, REVEE ELIZABETH M. 499. La Jeunesse sous les Habillemens de la Decrepitude. (Mme. Coypel, wife of the Painter,) Line-engraving. 1751. Portalis and Beraldi, II, p. 662. After Coypel. Fine impression. PIERRE CHARLES LEVESQUE Born in Paris, 1727 j died tiiere, 1812. LEVESQUE, PIERRE CHARLES 500. Erigone Vaincue. Line-engraving. Portalis and Beraldi, II, p. 712 After Deshayes. Superb impression in perfect condi- tion. JEAN ETIENNE LIOTARD Born in Geneva, 1702; died in Paris, 1789. LIOTARD, JEAN ETIENNE 501. Portrait of Himself. Mezzotint. / ^' Andresen, II, p. 63. No. 2. After his own drawing. Very rare. GIUSEPPE LONGHI Born at Monza, 1766; died at Milan, 1831. Succeeded Vangelisti as head of the School of Engraving at Milan. LONGHI, GIUSEPPE 502. Lo Sposalizio. Line-engraving. Apell, p. 248. No. 3. After Raphael. Second state. Proof with four verses in skeleton letters. Very fine and rare. Framed. LONGHI, GIUSEPPE 503. The Reading Magdalen. Line-engraving. Apell, p. 249. No. 14. After Correggio. First state. Proof before letters and before the coat-of-arms, with engraver's name only in very small letters. Splendid impkession in perfect condition AND extremely RARE. LONGHI, GIUSEPPE 504. Triumph of Galatea. Line-engraving. Apell, p. 250. No. 18. After F. Albani. First state. Proof before all letters. Very rare and fine. Framed. LONGHI, GIUSEPPE 505. "Le Delicie Materne" (Lady Burgersh and Child). Line- engraving. 1823. Apell, p. 250. No. 22, After Sir Thomas Lawrence. First state. Proof with the engraver's name only. Very fine. With large margin and the engraver's stamp. JOSEPH DE LONGUEIL Born at Givet, 1730; died at Paris, 1792. Pupil of Le Bas, Aliamet and Wille. He carried vignette engraving to a. high state of perfection. LONGUEIL, JOSEPH DE 506. Correction Maternelle. Line-engraving. Portalis and Beraldi, IL p. 737. No. 1. After E. Aubry. Proof with only one line of the inscrip- tion. Framed. PIETER LOUW Born in Amsterdam, 1720; died there about 1800. Mezzotint-Engraver. LOUW, PIETER 507. A Standard-bearer. Mezzotint. Andresen, II, p. 89. No. 2. After Rembrandt. First state. Proof before all letters. From the Baron Von Lanna Collection. LUCAS End of the XVIIIth century. LUCAS, 508. L'exemple des meres. Line-engraving. After Jeaurat. Framed. JOHN LUCAS Born, 1807; died, 1874. Mezzotint-Engraver. LUCAS, JOHN 509. Lord Chief Justice Tindal. Mezzotint. 1835. After a painting by the engraver. First state. Superb PROOF BEFORE THE INSCRIPTION. Framed. From the W. H. Daugherty Collection. PIERRE MALEUVRE Born in Paris, 1740; died there, 1803. Pupil of Beauvarlet and Strange. MALEUVRE, PIERRE 510. L'enfant Gate. Line-engraving. Portalis and Beraldi, II, p. 765. No. 3. After J. B. Greuze. Artist's proof. Very fine. Framed. MALEUVRE, PIERRE 511. Le Boudoir. Line-engraving. Portalis and Beraldi, II, p. 765. No. 5. After S. Freudeberg. JOHANN AUGUST EDWARD MANDEL Born at Berlin, 1810; died there, 1882. The last of the great line-engravers. His saying, "when I die there will be no more," has come true. MANDEL, JOHANN AUGUST EDWARD 512. Madonna Della Sedia. Line-engraving. Apell, p. 258. No. 3 After Raphael. Second state. Artist's proof on India paper, with the engraver's name only in traced letters. Very fine. MANDEL, JOHANN AUGUST EDWARD 513. Madonna Panshanger. Line-engraving. Apell, p. 258. No. 4. After Raphael. First state. Remarque proof on India paper signed by the engraver. Exteemely fine and eaue. MANDEL, JOHANN AUGUST EDWARD 514. La Bella di Tiziano. Line-engraving. Apell, p. 259. No. 21. After Titian. First state. Remarque proof on India paper. Veey beautiful impeession. ANDREA MANTEGNA Born at Vincenza, 1431; died at Mantua, 1506. In his work for the first time engraving became monumental, and it is probable that he had a great effect upon Dilrer. Mantegna's engravings remained the model for all sub- sequent artists in upper Italy until the time of Marcantonio Raimondi; that is to say, until the influence of the German school, and especially of Diirer's technique, gave to the development of engraving in Italy a new direction. MANTEGNA, ANDREA 515. The Entombment. Painter-engraving. Bartsch, XIII. No. 3. From the Denfer-Dumesnil Collection. "Cette estampe, dont Vasari fait mention, est une des plus parfaites de roeuvre d'Andr^ Mantegna, tant pour le dessein que pour les expressions at la gravure." — Baetsch. MANTEGNA, ANDREA 516. Cheist Descending Into Limbo. Painter-engraving. Bartsch, XIIL No. 5. A FINE IMPEESSION OF THIS EAEE PEINT. MANTEGNA, ANDREA 517. The Risen Cheist Between St. Andeew and St. Longinus. Painter-engraving. Bartsch, XIIL No. 6. From the F. Bullard Collection. MANTEGNA, ANDREA 518. The Virgin and Child, Painter-engraving. Bartsch, XIII. No. 8. Second state. Beautiful impression, with the halo. In brown ink. Owing to weak spots and tears, the print is mounted. Exceedingly rare. MANTEGNA, ANDREA 519. The Virgin in a Grotto. Painter-engraving. Bartsch. XIII. No. 9. Of the greatest rarity. From the W. Esdaile, R. S. Holford and F. BuUard Col- lections. MANTEGNA, ANDREA 520. Triumph of C^sar: The Senators. Painter-engraving. Bartsch, XIII. No. 11. Early impression printed in brown ink. MANTEGNA, ANDREA 521. Triumph of C^sar: Soldiers Carrying Trophies. Painter- engraving. Bartsch, XIII. No. 14. Early impression printed in brown ink. Impressions of THIS PLATE, WITH THE COLUMN TO THE RIGHT STILL UPON THEM ARE EXCEEDINGLY RARE. "Dans deux exemplalres du Cabinet de Berlin, la colonne indiqu6e par Bartsch, k drolte, manque." — Passavant. MANTEGNA, ANDREA 522. Hercules and Antaeus. Painter-engraving. Bartsch, XIII. No. 16. From the F. BuUard Collection. MANTEGNA, ANDREA 523. Battle of Sea-Gods. Painter-engraving. Bartsch, XIII. No. 18. Left portion of the frieze. A fine impression on brownish paper printed in black ink, and showing the platemark. In a few places cleverly restored. From the Sir Joshua Reynolds and J. S. Morgan Collec- tions. MANTEGNA, ANDREA 524. The Bacchanal with a Vat. Painter-engraving. Bartsch, XIII. No. 19. Early impression of great beauty. About 11^ ins. of the upper part have been cut off, but very cleverly restored. From the Brentano-Birkenstock and J. S. Morgan Collec- tions. MANTEGNA, ANDREA 525. Bacchanal with Silenus. Painter-engraving. Bartsch, XIII. No. 20. A very early impression in greenish ink, which appears only on impressions of the earliest issue. Exceedingly BAKE. GIUSEPPE FILIPPO LIBERATI MARCHI Born in Rome about 1735 ; died in London, 1808. MARCHI, GIUSEPPE FILIPPO LIBERATI 526. Miss Cholmondeley. Mezzotint. C. Smith. After Sir Joshua Reynolds. First state. Proof with the artists' names only in scratched letters. Large margin. R. S. MARCUARD 1751—1792. Pupil of Bartolozzi. MARCUARD, R. S. 527. The Fortune Teller. Stipple. After Sanders. Nicely printed in colors. Framed. PIERRE ANTOINE MARTINI 1739—1800. MARTINI, PIERRE ANTOINE 528. Les Aveux Sinceres, ou les Accords de Mariage. After Queverdo. La Toilette de la Mariee. After Le Brun. Line-engrav- ings. Portalis and Beraldi, III, p. 32. No. 6. (2) MARTINO DA UDINE (Called Pellegrinode San Daniele) Flourished in Northern Italy (Ferrara?) about 1500 — 1510. In the special character of his technique (the completion of a skeleton lineal design by close graver flicks) Giulio Campagnola finds his closest imitator in this en- graver. MARTINO DA UDINE (CaUed Pellegrino de San Daniele) 529. The Entombment. Painter-engraving. Bartsch, XIII, p. 361. Passavant, V, p. 142. One of the rarest Italian prints of the Fifteenth Century. There is an earlier state before the dotted shading, but this one, described here, is much the finest state. Prof. Max Lehrs (the greatest Fifteenth Century expert in Europe) was very enthusiastic about this print. Very pine impres- sion, IN PERFECT CONDITION. From the H. S. Theobald Collection. JAMES MASON Born in London, 1710; died there, 1780. MASON, JAMES 530. The Landing op .(Eneas. Line-engraving. 1772. Andresen, II, p. 131. No. 1. After Claude Lorrain. Proof with the coat-of-arms and the inscription in scratched letters. Framed. From the W. H. Daugherty Collection. JEAN MAS SARD Born at Belesme, 1740; died in Paris, 1822. "Massard's fame rests chiefly on his engravings after Greuze, although he also engraved 'Le Lever' after Baudouin, a work of considerable charm, but by no means among the best of Baudouin's productions." — Lawrence AKTJ DiOHTON. MASSARD, JEAN 631. Le Lever. Line-engraving. Portalis and Beraldi, III, p. 53. No. 1. After P. H. Baudouin. "Charmante composition, formant pendant avec 'La Toilette' grav6e par Ponce." — PoETAUs and Bekaldi. MASSARD, JEAN 632. Erigone. Line-engraving. Apell, p. 271. No. 13. After W. Mieris. First state. Artist's proof with the coat-of-arms. Superb impression and in perfect con- TION. MASSARD, JEAN 533. La Cruche Cassee. Line-engraving. Portalis and Beraldi, III, p. 54, No. 3. Apell, p. 272, No. 21. After J. B. Greuze. First state. Proof with the artists' names in script only. Very fine and very rare. JEAN BAPTISTE RAPHAEL URBAIN MASSARD Born in Paris, 1775; died there, 1849. Pupil of his father, Jean-Baptlste Massard. MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 534. Apollo and the Muses. Line-engraving. Apell, p. 273. No. 8. After Giulio Romano. First state. Proof with the coat- of-arms and with the artists' names, on India paper. Very fine. Framed. MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 535. Homer. Line-engraving. 1816. Apell, p. 273. No. 14. After F. Gerard. Third state. Open letter proof. Very FINE. Framed. MASSARD, JEAN BAPTISTE RAPHAEL URBAIN 536. Madame Le Beun and Child. Line-engraving. Not mentioned by Apell. After her own painting. Remarque proof on India paper, signed by the engraver. Very fine. ANTOINE MASSON Born at Louvry, near Orldans, 1636; died in Paris, 1700. One of the most eminent portrait-engravers. MASSON, ANTOINE 537. GuiLLAUME DE Brisaciek. ("The grey-haired man"). Line- engraving. Robert Dumesnil, II. No. 15. After Nicholas Mignard. First state. Proof before the name and titles of the personage. One of the master- pieces OF the engraver and very rare in this state. Framed. "Masson's undoubted masterpiece, . . . from an artistic as well as a technical standpoint, is his beautiful portrait of the Queen's Secretary, Brisacier, called the Grey-haired Man, a masterpiece of engraving and a worthy companion to Nanteuil's 'Pompone' and Edelinck's 'Philippe de Champaigne.' " — W. O. CiiAPiif . MASSON, ANTOINE 538. Henri de Lorraine, Comte d'Harcourt (also known as "Lc Cadet a la perle"). Line-engraving. Robert Dumesnil, II. No. 34. Second state. A very early impression, the graver trials or slips in the left upper margin, forming the number "4" are very strong. One of the enrgaver's most power- ful plates. Framed. MASTER B. OF THE DIE "An artist of great individuality is the Master with the Die, who worked in Rome about the period 1522 to 1533. . . . whose name has been deter- mined by recent research to be Benedetto Verino. He Is also a follower of Marcantonio in regard to technique, but adopts the style of the master's early Roman period, showing a preference for compositions of the Raphael school." ^LlPPMAN. MASTER B. OF THE DIE 539. The Sacrifice to Priapus. Engraving. Bartsch, XV. No. 27. First state. Fine impression before the retouch and Thomassin's address. MASTER B. OF THE DIE 540. The Tapestries of the Pope. Engravings. Bartsch, XV. Nos. 32-35. After Raphael. Good old impressions, No. 35 being a very rare impression before the inscriptions and Lafrery's address. MASTER B. OF THE DIE 541, The Triumph of Cupid. Engraving. '" Bartsch, XV. No. 37. First state. Extremely fine impression before Lafrery's address. Very rare. MASTER B. OF THE DIE ) "^ ' 542. Venus Commanding Psyche to Draw Water at the Foun- tain Guarded by Dragons. Engraving. Bartsch, XV. No. 71. From the set of 32 plates — "Fable of Psyche" after Ra- phael. Fine impression in brownish ink. MASTER B. M. Flourished along the upper Rhine about 1185. Worked in the manner of Schoengauer. MASTER B. M. 543. Judgment of Solomon. Engraving. Nagler, Monogrammisten. No. 1957. Of the greatest rarity. Framed. From the Robert Dumesnil, Gonse, Mme. de Legnerio, and A. Artaria Collections. MASTER I. B. {One of the "Little Masters.") German master; flourished 1525-1530. Possibly Georg Pencz (Jorg Benz). MASTER I. B. 544. Children Gathering Grapes. Engraving. 1529. Bartsch, VIII. No. 35. Probably after a design by Raphael. Very fine. MASTER I. B. 545. A Woman and a Ba&piper. Painter-engraving. Bartsch, VIII. No. 36. Superb impression. MASTER I. B. WITH THE BIRD (^Called by Zani, — Giovanni Battista del Porto) Flourished about 1600. MASTER I. B. WITH THE BIRD 546. Leda and Her Children. Painter-engraving. Bartsch, XIII. No. 3. Very rare. From the J. Reiss Collection. MASTER I. B. WITH THE BIRD 547. Rome Seated on Her Trophies. Painter-engraving. Bartsch, XIII. No. — . Passavant, V, p. 150. No. 7. or the greatest rarity and mentioned by willshire as one op the great acquisitions op the british Museum in 1875. MASTER L. CZ. Flourished about 1490 in Upper Germany. An engraver of much greater originality, who also to some extent shows the influence of Schoengauer, is the master known by his signature., L. CZ. There are elements in his work, e. g., the landscape and architecture, which point to the Netherlands, and it seems attractive to regard the V of his monogram as the Dutch ending 'zoon,' but on the whole, evidence inclines to locate him in Upper Germany, MASTER L. CZ. 548. The Flight Into Egypt. Painter-engraving. Passavant, II. No. 289. Excessively rare. The only other impressions known ARE IN THE Vienna and Berlin Museums and one which WAS IN THE Baron Von Lanna Collection at Prague. From the Henry Huth Collection. MASTER L. CZ. 549. Cheist Entering Jerusalem. Painter-engraving. Very fine and excessively rare. From the W. B. Scott and H. S. Theobald Collections. This is a primitive engraving of the very first importance from every point of view, beauty of the design and the impression, perfect condition and ex- treme rarity. THE MASTER OF THE CRAB OR CRAYFISH Flourished in the Netherlands about the Sixteenth century. Closely de- pendent on the style of Quentin Matsys, and influenced in some degree by Lucas Van Leyden (note the long forms in the "Execution of the Baptist") stands the engraver who uses a Crayfish as his signature. He has been identified with a certain Frans Crabbe (or Crabeth) of Mechlin, but the hypothesis is a mere conjecture. He varies the lineal system of his prede- cessors by a very liberal use of dotted work( e. g., Death of Lucretia) and also combines with his engravings a delicately etched line. THE MASTER OF THE CRAB OR CRAYFISH 650. The Death of Lucretia. Painter-engraving. Bartsch, VII. No. 23. Extremely rare. Duplicate from the British Museum. MASTER OF THE RAT-TRAP {Also called, Nadat) "Such is the name usually given to the author of two prints which bear as a sort of signature a rat-trap and two syllables, Na Dat. . . . It seems probable that these syllables and the rat-trap formed some sort of cryptogram to which the clue has not yet been discovered We are also in ignorance as to the signification of the letters T. N. engraved on a stone in the print called The Two Armies." — Bartsch. MASTER OF THE RAT-TRAP 651. The Two Armies Bartsch, XIII. No. 2. First state. Fine impression. Before Salamanca's ad- dress. From the Angiolini Collection. "This battle has been called that of Charles the Bold, but it is more prob- ably that of Fornove on the Sporzano in the Duchy of Parma gained by Charles VIII in 1495 against the confederated forces composed of the troops of the Papal domains, those of Naples, Spain and Urbino."— Cum- MASTER OF THE TAROCCHI CARDS MASTER OF THE TAROCCHI CARDS 552. A Set of Fifty Engravings Known as "The Taeocchi Caeds." Bartsch, Vol. XIII. Nos. 18-67. An exceedingly fine and almost even set, perhaps the only one of such quality in a private collection. Usually only single prints appear in the market. From the Durazzo, Theodore Irwin and J. S. Morgan Col- lections. The authorities have established beyond doubt that these fifty most interest- ing early prints have nothing to do with playing cards, although they were previously generally considered to be such. This was due to the fact that some of the motives found liere were repeatedly used for characters of early Italian cards. They seem to be an emblematical work, analyzing in symbolical representations the Cosmos in general; illustrating its social aesthetic, scientific, moral, astrological and transcendental elements. The set consists of five different series, each one marked by a letter of the alphabet. The first of these series illustrates the different stations in life of man, from beggar to Pope. The second group shows Apollo and the Muses; the third, the liberal arts and sciences; the fourth, the three Genii of Light (Sun), Time and Universe (World-Cosmico), and the seven virtues. The last group Illustrates the seven planets, the angels of the eighth and ninth Spheres and the Empyrean Sphere (Prima Causa). With four exceptions the quality of print and paper oi the prints shown here is the same, therefore special mention is made only when a difference oc- curs. The paper is yellowish, thin, but strong, and shows in many instances the watermark of a pair of scissors. Most impressions have wide margin, the ink is grey, slightly greenish. The impressions are before any re- touches, but in most cases from plates used so much that the fine shading only appears weakly. The set is from the Durazzo Collection, in the orig- inal case. It is described in the catalogue of the Durazzo Sale, Stuttgart, 1872: "Complete, ik bichly decokated leather case, suberb impressions with manoiir, of the most beatitiful pbesekvatioit, extremely rare." FIRST GROUP E (S) 1-10. The Beggar (Misero I) Early, but somewhat worn impression, in grey ink, on thin paper, damaged in lower part so that the letter E is hardly visible, the number "1" not at all. Margin restored to the size of that of the rest of the set. The Servant (Fameio II) S. 2 Beautiful impression of the only print of the S series, shown here. The four nail-holes to fasten the plate, which appear on the borders of all the prints of the E set, do not appear here. The composition is in the reverse of the same in the other set and differs from that in various points, but exceeds it in beauty and dignity. The treatment shows, however, the coarser work, the fine hatchings go in places beyond the outline of the design. [No. 552 — Continuedl The Artisan (Artixan III) E. 3. The Merchant (Merchadante IIII) E. 4. The Gentleman (Zintilomo V) E. 6. The Knight (Chavalier VI) B. 6. The Doge (Doxe VII)E. 7 The fact that this rank is represented here, probably instead of: "The Duke," shows that the engravings are from the hand of a Venetian artist. The King (Re VIII) E. 8 The Empeeoe (Imperator Villi) E. 9 The Pope (Papa X) E. 10 SECOND GROUP: APOLLO AND THE MUSES. Calliope (Caliope XI) D. 11 Uhania (Urania XII) D. 12 Teepsichobe (Terpsicore XIII) D. 13 Erato (Erato XIIII) D 14 Polyhymnia (Polimnia XV) D. 15 Thalia (Talia XVI) D. 16 Melpomene (Melpomene XVII) D. 17 Euterpe (Evterpe XVIII) D. 18 Clio (CUo XVIIII) D. 19 Apollo (ApoUo XX) D. 20 THIRD GROUP: ARTS AND SCIENCES. Ghammah (Grammatica XXI) C. 21 Logic (Ltisa XXII) C. 22 Rhetoric (Rhetorica XXIII) C. 23 Geometey (Geometria XXIV) C. 24 The C. in the title is engraved as a correction over the lower part of an E. Aeithmetic (Arithmeticha XXV) C. 25 Music (Musicha XXVI) C. 26 PoETEY (Poesia XXVII) C. 27 Philosophy (Philosofia XXVIII) C. 28 Asteonomy (Astrologia XXVIIII) C. 29 Theology (Theologia XXX) C. 80 FOURTH GROUP: GENII AND VIRTUES. Genius or the Sun (Iliaco XXXI) B. 31 Genius op Time (Chronico XXXII) B. 32. Genius of the World (Cosmico XXXIII) B. 33 Temperance (Temperancia XXXIIII) B. 34 Prudence (Prvdencia XXXV) B. 35 Fortitude (Forteza XXXVI) B. 36 Stronger impression, with more tone than the majority, the margin is more narrow, too, than that of the rest. Justice (Jvsticia XXXVII) B. 87 Charity (XXXVIII) B. 88 Hope (Speranza XXXVIIII) B. 89 Faith (Fede XXXX) B. 40 [No. 552 — Continued^ FIFTH GROUP: PLANETS AND SPHERES. MooK (Luna XXXXI) A. 41 Impression of the same tone, quality and margin as B. 36. Mercuby (Mercvrlo XXXXII) A. 42 VEifus (Venus XXXXIII) A. 43 Sun (Sol XXXXIIII) A. 44 Maks (Marte XXXXV) A. 45 Jupiter (Jvpiter XXXXVI) A. 46 Saturn (Satvrno XXXXVII) A. 47 The Angel or the Eighth Sphere ob Sphere of the Fixed Stars (Octava Spera XXXXVIII) A. 48 The Angel of the Ninth Shpere (Primo Mobile XXXXVIIII) The Empyrean Sphere or First Cause (Prima Cavsa XXXXX) A. 60 The Universe represented in a mathematical figure. In the centre are the four elements in concentric circles. Round these are the nine spheres of the planets, the fixed stars, and the Primum Mobile, while the whole is enclosed in the three-fold Sphere of the Empyrean, which is itself enringed with rays. Strong impression, apparently earlier than the rest; no margin. — R. Ederheimeh. JEAN MATHIEU Born in Paris, 1749; died in Fontainebleau, 1816. Pupil of de Longeuil. MATHIEU, JEAN 553. Le Seement d'Amour. Line-engraving. Portalis and Beraldi, III, p. 69. After J. H. Fragonard. Fine impression in PERrECT con- BITION. Companion to No. 554. MATHIEU, JEAN 554. La Bonne Mere. Line-engraving. Portalis and Beraldi, III, p. 69. After J. H. Fragonard. Superb impression before the inscription in the lower margin was entirely changed. Companion to No. 553. "In addition to his fine work on the Molifere and the Rousseau should be named his admirable interpretations of Fragonard's 'La bonne Mfere,' etc." — Lady Dilke. CORNELIS MATSYS(MET) Born in Antwerp about 1510; died, 1560. Fourth son of Quentin Matsys. "In the Dresden Gallery there is a red chalk drawing by him of 'Lot and His Daughters.' The figures have much elegance and refinement, betraying a master who had visited Italy without leaving his own Flemish manner behind him there." — Bbtan. MATSYS (MET), CORNELIS 555. St. Luke Painting the Virgin. Painter-engraving. Undescribed by Bartsch. From the Baron Von Lanna Collection. MATSYS (MET), CORNELIS 556. The Battle. Painter-engraving. Undescribed by Bartsch. Possibly Passavant, III. No. 77. From the Josef Camesina de Ponal Collection and also from another not mentioned by Fagan. MATSYS (MET), CORNELIS 557. The Hunch-back Dancers. Painter-engravings. Bartsch, IX. Nos. 8, 10 and 14. (3) JAMES McARDELL Born in Dublin, 1729; died in London, 1765. PupU of John Brooks, with whom he came to London about 1747. McARDELL, JAMES 558. Mary, Duchess of Ancaster. Mezzotint. C. Smith, II. No. 1. After Thomas Hudson. First state. Proof before the inscription and before the margin was cleaned. Very FINE. Framed. McARDELL, JAMES 559. Maria, Countess of Coventry. Mezzotint. C. Smith, II. No. 48. After G. Hamilton. First state. Fine proof before the plate was cut down. Only five impressions known in THIS state. Framed. Eldest daughter of John Cunning, County Roscommon, Married, 1752, the sixth Eearl of Coventrjr. McARDELL, JAMES 560. Lady Fenhoulet (Anne Day). Mezzotint. C. Smith, II. No. 53. After Sir Joshua Reynolds. First state. Proof before all letters with margin. Veey fine. McARDELL, JAMES 561. Rachel, Countess of Southampton. Mezzotint. Smith, II. No. 168. After Van Dyck. Second state. Superb impression, be- fore THE inscription WAS ERASED AND RE-ENGRAVED. Framed. From the W. S. Carter Collection. Daughter of Daniel de Massey, Baron de Rounigny, and not improbably in the suite of Henrietta Maria; married Thomas Wriothesley, fourth Earl of Southampton, who was an adherent of Charles I, and was made Lord Treasurer at the Restoration. Granger states that she is said to have been mad; but she certainly must have been very handsome. McARDELL, JAMES 562. Mrs. Woffington. Mezzotint. Distinguished actress and charming woman. Born in Dublin, 1719; died 1760. C. Smith, II. No. 188. After A. Pond. Only one state known. Superb impres- sion. Framed. From the Royal Collection at Windsor Castle. McARDELL, JAMES 563. Tobit and the Angel. Mezzotint. Andresen, I, p. 34. No. 2. After Rembrandt. First state. Proof before all letters. The blank space at the bottom not yet perfectly cleaned. Superb impression, of the finest quality. Framed. From the W. S. Carter Collection. McARDELL, JAMES 564. Time Clipping the Wings of Love. Mezzotint. Andresen, I, p. Si. No. 6. After Van Dyck. First state. Proof before all letters. Framed. From the W. S. Carter Collection. ROBERT MITCHELL MEADOWS Flourished in England, about 1780-1810. MEADOWS, ROBERT MITCHELL 565. Attention- — Inattention. Stipples. Both after John Raphael Smith. Two attractive engrav- ings, nicely printed in colors. Framed. (2) CLAUDE MELLAN Born at Abbeville, 1598; died in Paris, 1688. MELLAN, CLAUDE 566. The Sudaeium or St. Veronica. Line-engraving. Montaiglon. No. 25. Early impression, before the break in the plate. MELLAN, CLAUDE 567. St. Petee Nolasque. Line-engraving. 1627. Montaiglon. No. 90. ExTEEMELY fine, EAELY IMPEESSION, possibly UNiaUE IN THIS STATE. Not in the print room of the British Museum. PAOLO MERCURJ Born in Rome, 1804; died in Bucharest, 1884. MERCURJ, PAOLO 568. Saint Amelia, Queen of Hungaey. Line-engraving. Apell, p. 277. No. 1. After Paul Delaroche. First state. Proof before all let- ters on India paper. Framed. From the W. S. Carter Collection. CHARLES MERYON Born in Paris, 1821 ; died there, 1868. "M6ryon was one of the greatest and most original artists who have ever appeared in Europe; he is one of the im- mortals; his name wiU be inscribed on the noble roU where Durer and Rem- brandt live forever." — P. G. Hasierton. MERYON, CHARLES 569. Le Stryge. Painter-etching. Wedmore. No. 7. First state of (four). Very fine peoop before the VERSES WERE BURNISHED OUT ; OH greenish paper. Framed. MERYON, CHARLES 670. Le Petit Pont. Painter-etching. Wedmore. No. 8. Second state. Exceedingly fine proof on greenish PAPER. Framed. MERYON, CHARLES 571. L'arche du Pont Notre Dame. Painter-etching. Wedmore. No. 9. First state. Very fine proof on greenish paper. Framed. MERYON, CHARLES 572. La Galerie de Notre Dame. Painter-etching. Wedmore. No. 10. First state. Very fine proof on greenish paper. Framed. MERYON, CHARLES 573. Rue des Mauvais Gar90ns. Painter-etching. Wedmore. No. 11. Second state. Fine impression. Framed. From the Tracy Dows Collection. MERYON, CHARLES 574. La Tour de l'Horloge. Painter-etching. Wedmore. No. 12. First state (of four). Very fine proof on greenish paper. Framed. MERYON, CHARLES 575. TouKELLE, Rue de la Tixeranderie. Painter-etching. Wedmore. No. 13. Very fine proof on greenish paper. Framed. MERYON, CHARLES 576. St. Etienne-du-Mont. Painter-etching. Wedmore. No. 14. Very fine proof on greenish paper. Framed. MERYON, CHARLES 577. La Pompe de Notre Dame. Painter-etching. Wedmore. No. 16. Very fine proof on greenish paper. Framed. MERYON, CHARLES 578. Le Pont Neuf. Painter-etching. Wedmore. No. 17. Very fine proof, on Dutch paper. Framed. MERYON, CHARLES 579. Le Pont au Change. Painter-etching. Wedmore. No. 18. First state (of four). Very fine proof on greenish PAPER. Framed. MERYON, CHARLES 580. La Morgue. Painter-etching. Wedmore. No. 20. Second state. Very fine proof. From the J. F. Gigoux Collection. MERYON, CHARLES 581. L'Abside de Notre Dame de Paris. Painter-etching. Wedmore. No. 22. Second state. Very fine proof, with "C. Meryon del. sculp. MDCCCLiv" in the left corner, and "Imp. Rue [No. 581 — Contmued'\ Neuve St. Etierme-du-Mont, 26" in the right. Before the houses in the distance to the right were worked upon and made more definite. Framed. "The 'Abside' is accounted the masterpiece op M^eyok, in right of its solemn and austere beauty. A rich and delicate impression of this print is, then, the crown of any Mdryon collection. It must be obtained in a state before the dainty detail of the apse of the cathedral, and the yet daintier and more magically delicate workmanship of its roof, in soft and radiant light, have suflfered deterioration through wear." — Pbedebick Wedmobe. MERYON, CHARLES 582. Rue des Chantres. Painter-etching. Wedmore. No. 25. First state; proof on thin Japanese paper. Exteemely EAUE. From the Tracy Dows Collection. "At the street's end, a white house and a spire which Monsieur VioUet le Due added to Notre-Dame." — Wedmore. MERYON, CHARLES 583. Entree du Couvent des Capucins FEAN901S a Athenes. Paiater-etching. Wedmore. No. 32. SuPEUB paooF ON LAID PAPER, the state before its pub- lication in Count Leon de Laborde's "Athenes au XVme, XVIme, et XVIIme Siecles" — a book that is itself now scarce. From the Tracy Dows Collection. MERYON, CHARLES 584. La Rue des Toiles, a Bouuges. Painter-etching. Wedmore. No. 35. Trial proof, before the first finished state, with the date on the chimney. Superb impression on dark Japanese paper. From the Tracy Dows Collection. "Mr. Macgeorge and I have practically finished trial proofs, with the date in the chimney '1853.' " — Wedmore. This plate has been coarsely copied. MERYON, CHARLES 585. Portrait of Charles Meryon (by Felix Bracquemond) . Painter-etching. Delteil. No. 17a. Second state; proof on Japanese paper. From the PhiHp Burty Collection. MERYON, CHARLES 586. PoETRAiT OF Charles Meryon. Etching. (From Life by Felix Bracquemond.) Beraldi. No. 77. The very rare original. Only ten impressions are known to be in existence. There is a very deceiving counterfeit of this plate. From the Blanchard Randall Collection. HENRY MEYER Born in London, 1782 (?); died tliere, :847. MEYER, HENRY 587. Psyche (Mrs. Paget). Stipple. After John Hoppner. Beautifully printed in colors. Framed. MEYER, HENRY 588. Lady Hamilton as Nature. Stipple. After George Romney. Beautiful proof in dark brown, with one line of inscription. Framed. MEYER, HENRY 589. Emma, Lady Kenyon. Mezzotint. After John Hoppner. Proof before all letters. This is a private plate, and nearly all the impressions are in the possession of Lord Kenyon ; they can be obtained only if a member of the family parts with his, or her, impres- sion. Only a very few impressions before all letters were taken. SIMON CHAKLES MIGER Born in Paris, 1736; died there, 1820. MIGER, SIMON CHARLES 590. Hekcules and Omphale. Line-engraving. 1783. Portalis and Beraldi, III, p. 100. No. 2. After Dumont le Romain. Veey fine eauly impeession, IN PEKFECT CONDITION. JEAN FRANCOIS MILLET Born, 1814; died at Barbizon, 1875. MILLET, JEAN FRANCOIS 591. The Sower. Lithograph. Delteil. No. 22. Veuy FINE IMPRESSION. The stone is ground down. This lithograph, executed in 1851, was done for "L' Artiste," but that Journal never published it. Framed. GIROLAMO MOCETTO Born in Verona about 1458; died in Venice about 1531. Quite Venetian in character and much influenced by Giovanni Bellini. His technique was modelled on Mantegna's. MOCETTO, GIROLAMO 592. Judith with the Head of Holofernes Bartsch, XIIL No. 1. Duplicate from the British Museum. "The 'Judith' in particular is executed with a firmness of hand almost archi- tectural; and it is only just to recognize in it the chef-d'oeuvre of the en- graver and one of the noblest productions of the art of engraving in the Fifteenth century." — Delaborde. MOCETTO, GIROLAMO 593. The Calumny of Apelles. Engraving. Bartsch, XIIL 113. 10. (Anon.) Hind. 464. 9. After a drawing by Mantegna, preserved in the British Museum. First state (of four) described by Hind. Mag- nificent IMPRESSION BEFORE THE SCRATCHES ON THE [No. 593 — Continued^ PLATE. In perfect condition aside from a few repairs of tears and crease running through the centre of the print. From the R. S. Holford and J. S. Morgan Collections. BENEDETTO MONTAGNA Worked in Vicenza between the years 1500 and 1540. MONTAGNA, BENEDETTO 594. Man with an Abeow. Painter-engraving. Bartsch, XIII. No. 33. Second state. Beilliant impression, with a hill added on the background low down to the left. Very rare. From the Sir Joshua Reynolds, John Tetlow and J. S. Morgan Collections. RAPHAEL MORGHEN Born in Florence, 1758; died there, 1833. "Probably no engraver has had so large a following as Raphael Morghen. This is partly due to his soft and captivating style and partly to his excellent judgment in the choice of subjects. Morghen has preserved to the world the almost extinct glories of Leonardo da Vinci's Last Supper in a plate which alone would have made the reputation of any engraver." — Frederick Keppel. MORGHEN, RAPHAEL 595. The Holy Family Reposing. Line-engraving. ApeU, p. 289. No. 3. After N. Poussin. (Palazzo Rospigliosi.) Second state. Superb proop with the coat-of-arms, and one line op THE INSCRIPTION IN SCRIPT. Framed. From the W. H. Daugherty Collection. MORGHEN, RAPHAEL 596. "Parce Somnum Rumpere." Line-engraving. ApeU, p. 289. No. 5. After Titian. First state. Brilliant proof before all LETTERS. Extremely rare. "The engraving on the fleshes, in this and the next state, present a brilliant example of the engraver's art." — Halsey. MORGHEN, RAPHAEL 597. The Teansfigubation. Line-engraving. Apell, p. 291. No. 20. After Raphael. Second state. Open letter proof. Very FINE AND HARE. Framed. MORGHEN, RAPHAEL 598. The Last Supper. Line-engraving. Apell, p. 291. No. 21. After Leonardo da Vinci. First state (of six). Re- marque proof. One plate on the table is still without shad- ing. In the lower margin the coat-of-arms, but no inscrip- tions whatsoever. Extremely fine and excessively rare. There are eleven impressions only of this state. A superb proof, but unfortunately it has a slight tear in the lower right hand margin; this, however, does not extend into the engraved surface. Framed. "As to Morghen's plate, its consummate skill, technical judgment, delicate treatment and artistic merit combine to make it his masterpiece — with, pos- sibly, the exception of his second plate of the Transfiguration — and it is very doubtful if any other engraver has ever produced its equal." — Haiset. MORGHEN, RAPHAEL 599. Aurora, with Apollo and the Hours. Line-engraving. Apell, p. 293. No. 32. After Guido Reni. Second state. Proof before the in- scription except the artists' names and "Romje" in shaded and engraved script. Very pine. Framed. MORGHEN, RAPHAEL 600. The Hunting Feast of Diana. Line-engraving. ApeU, p. 293. No. 33. After Domenichino. First state. Proof before all letters. Extremely fine. Framed. MORGHEN, RAPHAEL 601. The Three Ages. Line-engraving. Apell. p. 294. No. 46. After F. Gerard. First state. Artist's proof. Framed. MORGHEN, RAPHAEL 602. PoETRAiT OP Leonardo da Vinci. Line-engraving. Apell, p. 301. No. 142. After his own painting. Third state. Superb open let- ter PROOF. JEAN MORIN Born in Paris about 1590; died there, 1650. Morin started his career as a painter, but afterward took to engraving. He studied at first under Phi- lippe de Champaigne, after whom many of his plates were engraved. His plates are done in a. mixed style, partly etching and partly burin work, using the dotted manner for the flesh. MORIN, JEAN 603. Portrait op Anne op Austria. Engraving. Robert Dumesnil, II. No. 40. Only one state mentioned. Fine impression with margin on paper with the watermark of the two interlaced As and a crown. "His queen, Anne of Austria, is here shown in the quiet garb of a widow, a delightfully simple portrait." — L. R. METCALrE. MORIN, JEAN 604. Portrait op Cardinal Guido Bentivoglio. Engraving. Robert Dumesnil, II. No. 43. After A. Van Dyck. Second state. Very pine impression with the inscrip- tions. No margin. The engraver's masterpiece. MORIN, JEAN 605. Nicolas Chrystin. Engraving. Robert Dumesnil, II. No. 51. After A. Van Dyck. Only one state mentioned. Very pine impression, with- out margin, on paper with the watermark of the two inter- laced Cs. Duplicate from the Bibliotheque Nationale in Paris. "To the four portraits after Van Dyck we must give special attention, for they contain Morin's masterpieces, — the portrait of N. Chrystin, son of the' Spanish Plenipotentiary at the Peace of Vervins, and that of Cardinal Bentivoglio, the Papal Nuncio to the court of Louis XIII. Here we have Morin in his grand inanner, transferring all the color of the original canvas to his copperplate and interpreting his models with a. boldness, a softness. [No. 605 — Continued] a clearness of purpose and a strength of sympathy wholly admirable. In awarding the palm, we hesitate between the deep tones, the velvety finish in the head of the sombre Spaniard and the subtle modelling of the beauti- fully illumined, sensitive Italian face. Either of these portraits alone would have established Morin's fame." — L. R. Metcalfe. MORIN, JEAN 606. PonTRAiT OF Henri de Lorraine, Due de Guise. Commander in Chief of the armies of Louis XIV. Engraving. Robert Dumesnil, II. No. 57. After I. Citermans. Only one state mentioned. Very fine IMPRESSION, without margin ; on paper with the watermark "coat-of-arms of Lorraine." MORIN, JEAN 607. Henry II, King of France. Engraving. Robert Dumesnil, II. No. 59. Laid down and without margin. One of the engraver's RAREST AND MOST INTERESTING PORTRAITS. MORIN, JEAN 608. Portrait of Louis XIII. Engraving. Robert Dumesnil, II. No. 64. After Philippe de Champaigne. Only one state mentioned. Very fine impression. This is especially interesting as being the only portrait which Morin made of the King. It is significant of the more modest character of Louis XIII, especially when we think of the innumerable por- traits which Louis XIV had made of himself. MORIN, JEAN 609. Portrait of Pierre Maugis des Granges. (His brother formed the first print collection in France. ) Engraving. Robert Dumesnil, II. No. 67. After Philippe de Champaigne. Only one state mentioned. Very fine impression without margin, on paper with the watermark "coat-of-arms of Lorraine." Duplicate from the Royal Collection of Saxony in Dresden. "In other portraits like that of Maugis, the maitre-d'hotel of the king, the artist seems to have reveled in the deepest tones of his inky palette, and he renders the olive skin and the raven hair of this strong-featured individual with a most striking intensity." — L. R. Metcalfe. MORIN, JEAN 610. Portrait of Cardinal Mazarin. Engraving. Robert Dumesnil, II. No. 68. After Philippe de Champaigne. Second state, before the inscription around the frame was erased. Fine impression without margin, on paper with the watermark "coat-of-arms of Lorraine." MORIN, JEAN 611. Portrait ov Jacques Le Mercier (well-known architect of this period). Engraving. Robert Dumesnil, II. No. 69. After Philippe de Champaigne. Only one state mentioned. Fine impression, with very small margin, on paper with the watermark "coat-of-arms of Lorraine." MORIN, JEAN 612. Portrait of Omer Talon. Engraving. Robert Dumesnil, II. No. 74. After Philippe de Champaigne. Third state, the left sleeve is very dark. Very fine impression with large mar- gin. "As a pendant we have the brilliantly executed head of Omer Talon, avocat-g6n^ral du Parlement, the greatest pillar of French jurisprudence and a great man in his day; it is a plate which Rembrandt would have deigned to look at more than once." — L. R. Metcalfe. MORIN, JEAN 613. Portrait of Augustin de Thou (President of the Parliament of Paris). Engraving. Robert Dumesnil, II. No. 77. Only one state mentioned. Very fine impression with small margin, unnecessarily laid down. This is a very early plate by Morin. It has great decorative quality on account of the rich blacks of the costume and the background. From the Duke of Arcmberg Collection. MORIN. JEAN 614. PoRTBAiT OF Amador Jean Baptiste de Vignekod, Abbe de Richelieu (nephew of the great Cardinal). Engrav- ing. Robert Dumesnil, II. No. 85. After Philippe de Champaigne. Second state, with the in- scriptions. Very tine impression with large mar- gins on paper with the two interlaced Cs. "Quite a different portrait is tliat of his nephew, Vignerod, shown here in three-quarter figure as the Abbe de Richelieu, a most attractive plate, and one of the only two portraits of Morin's in which the model is shown otherwise than in the usual bust form." — L. R. Metcalfe. MORIN, JEAN 615. Portrait of Marie de Medicis (Queen of France and Na- varre, wife of Henri IV). Engraving. 1574-164<2. Robert Dumesnil, II. Pieces douteuses. No. 4. After Pourbus. Only one state mentioned. Very fine impression, with unusually large margins. On paper with the two small interlaced Cs. From the Sagert and A. Morrison Collections. GEORGE MORLAND NORLAND, GEORGE 616. A Tea Garden. Stipple. Engraved by F. D. Soiron. Early impression with the border. Very nicely printed in colors. Framed. Companion to No. 617. NORLAND, GEORGE 617. St James Park. Stipple. Engraved by F. D. Soiron. Early impression with the border. Very nicely printed in colors. Framed. Companion to No. 616. NORLAND. GEORGE 618. The Suuire's Door. Stipple. Engraved by B. Dutterau. Very fine impression, nicely printed in colors. With large margin. Framed. MORLAND, GEORGE 619. The Farmer's Door. Stipple. Engraved by B. Dutterau. Very fine impression, nicely px-inted in colors. With margin. Framed. MORLAND, GEORGE 620. Children Playing Soldiers. Mezzotint. Engraved by George Keating. Very eine open letter PROOE WITH LARGE MARGIN. Framed. Companion to No. 621. MORLAND, GEORGE 621. Blind Manx's Buef. Mezzotint. Engraved by Wm. Ward. Very fine open letter proof with large margin. Framed. Companion to No. 620. JEAN MOYREAU Born at Orleans, 1690; died, 1762. "He studied painting under Boullogne, but soon devoted his time to engraving. He came to Paris, and in 1738 was admitted into the Acaddmie Boy ale, with the uncommon distinction that he was not required to engrave a portrait according to the rules." — Bryan. MOYREAU, JEAN 622. La Collation. Etching and engraving. Portalis and Beraldi, III, p. 210. After A. Watteau. MOYREAU, JEAN 623. La Partie Quarree. Etching and engraving. Portalis and Beraldi, IIL p- 210. After A. Watteau. JOHANN FRIEDRICH WILHELM MULLER Born in Stuttgart, 1782; died at Sonnenstein, 1816. MULLER, JOHANN FRIEDRICH WILHELM 624. The Sistine Madonna. Line-engraving. Apell, p. 304. No. 3. After Raphael. Trial proof before all letters and the hales of the Madonna and the Child. Also before much other work, so that it must be considered an unfinished trial pi'oof. Very rare. Framed. MULLER, JOHANN FRIEDRICH WILHELM 625. St. John the Evangelist. Line-engraving. Apell, pp. 304-305. No. 4.. After Domenichino. Fourth state. Early impression be- fore the date 1808 was changed to 1812. Supekb impres- sion IN PERFECT condition AND VERY RARE. JOHANN GOTTHARD VON MULLER Born at Bernhausen, near Stuttgart, 1747; died in Stuttgart, 1830. Pupil of J. G. Wille. MULLER, JOHANN GOTTHARD VON 626. Mme. Louise Elisabeth Vigee-Le Brun. Line-engraving. 1785. Apell, p. 312. No. 28. After her own painting. First state. Artist's proof, with "MuUer, sc." scratched in the middle of the upper mar- gin. Framed. From the W. H. Daugherty Collection. AGOSTINO DE' MUSI (Called Venegiano) Flourished at Venice and Rome from 1514 to 1536. Pupil of Giulio Cam- pagnola and later formed his style after that of Albrecht Diirer. Finally lie became a disciple of Marc Antonio and one of his most successful fol- lowers. MUSI, AGOSTINO DE' 627. The Israelites Gathering Manna Bartsch, XIV. No. 8. Andresen, II, No. 3. After Raphael. Second state (of 7). Fine impression with the engraver's initials, but before the retouch and Salamanca's address. From the Count von Fries, Et. Durand, Julian Marshall and J. Reiss Collections. MUSI, AGOSTINO DE' 628. Iphigenia Recognizes Orestes and Pylades. Engraving. Bartsch, XIV. No. 194. After a drawing by Baccio Bandinelli. First state. Very early impression before Salamanca's address. MUSI, AGOSTINO DE' 629. Apollo and Daphne. Engraving. Bartsch, XIV. No. 317. Second state. The year 1515, which the plate bore orig- inally, has been changed to 1518, but before the address of Salamanca was added. In one corner appears the col- lector's stamp "S. P." which is probably the unidentified collector's mark "Fagan No. 482." Framed. MUSI, AGOSTINO DE' 630. Venus and Cupid. Engraving. Bartsch, XIV. No. 318. Veey fine impression. From the R. Fisher Collection. MUSI, AGOSTINO DE' 631. Peasant and the Woman with the Basket of Eggs. En- graving. Bartsch, XIV. No. 453. After Raphael. Veey fine impression and very rare. This is one of the engraver's best plates. From the Sir Peter Lely, Auguste-Toulet-Malassio and J. Reiss Collections. LORENZO DE' MUSI Son of Agostino de' Musi. One engraving only is known to have been exe- cuted by him bearing the date 1635. MUSI, LORENZO DE' 682. Portrait of Barbaeossa, Bey of Algiers. Painter-engrav- ing. 1535. From the Griggs Collection. KIieyi"-ed-Din Barbarossa, brother of Horuk Barbarossa, whom he suc- ceeded as Bey of Algiers in 1518. Having surrendered the sovereignty of Algiers to the Turkish Sultan, Selim I, in order to gain support against the Spaniards, he was appointed General, and received, in 1619, a reinforce- ment of 2000 Janizaries. He made himself master of Tunis, but in 1535 the Emperor Charles V besieged and captured the city and liberated a vast number of Christian slaves. He was appointed a High Admiral to the Ottoman fleets in 1537, and in conjunction with Francis I captured Nice in 1543. He died in Constantinople in 1546. ROBERT NANTEUIL Born in Rheims, 1623; died in Paris, 1678. The most eminent of French portrait engravers. NANTEUIL, ROBERT 633. F11AN901S DE Vendome, Due de Beaufort, Line-engraving. Robert Dumesnil, IV. No. 33. After Nocret. Second state. Very fine impression. NANTEUIL, ROBERT 634. PoMPONE DE Bellievre. Line-engraving. Robert Dumesnil, IV. No. 37. After Charles Le Brun. Second state. Very fine im- pression, with the "Crochet" after the word "sculpebat." This is considered to be one of the four finest por- traits IN line-engraving. Framed. NANTEUIL, ROBERT 635. JAcauES Benigne Bossuet. Line-engraving. 1674. Robert Dumesnil, IV. No. 45. From life. First state. NANTEUIL, ROBERT 636. GoDEFROi Maurice de la Tour d'Auvergne, Due de Bouil- lon. Line-engraving. Robert Dumesnil, IV. No. 49. From life. Superb impression. NANTEUIL, ROBERT 637. JAcauEs, Marouis de Castelnau. Line-engraving. 1658. Robert Dumesnil, IV. No. 58. From life. Second state with the inscriptions. Very fine AND WITH GOOD MARGIN. Marshal of France, Lieutenant-general of the armies of the Icing in Flan- ders, Governor of Brest. He was mortally wounded in 1658 at the siege of Calais. This plate was engraved for Memoires de Michel de Castelnau, by J. Lelaboureur. Paris, 1669. NANTEUIL, ROBERT 638. Jean Baptiste Colbert. Line-engraving. 1668. Robert Dumesnil, IV. No. 74. Engraved from life. Second state. Very fine. Framed, NANTEUIL, ROBERT 639. Basil Fouquet. Line-engraving. 1658. Robert Dumesnil, IV. No. 97. From life. First state; before the date 1658 was changed to 1660. Very fine impeession with a very narrow mar- gin. From the F. Rumpf Collection. NANTEUIL, ROBERT 640. Nicholas Fouquet (born, 1615; died, 1680). Line-engrav- ing. 1661. Robert Dumesnil, IV. No. 98. From life. First state (of 6). Very fine impression with the misspelling "Missive" instead or "Messive." Small margin. Very rare. NANTEUIL, ROBERT 641. Jean-Baptiste Budes, Comte de Guebriant. Line-engrav- ing. Robert Dumesnil, IV. No. 104. From life. First state. Very fine impression before the words "Nomine a I'Ordre du St. Esprit" were replaced by "et gouverneur d'Auxonne Ec." With good margin. NANTEUIL, ROBERT 642. Louis Hesselin, Conseiller d'Etat. Line-engraving. 1658. Robert Dumesnil, IV. No. 110. From life. First state. Very fine proof before the inscription on the base of the frame. No margin. NANTEUIL, ROBERT 643. Charles de la Porte, Due de Meilleraye. Line-engrav- ing. 1662. Robert Dumesnil, IV. No. 118. From life. Second state. Very fine impression, with the "crochet" after the date. Very small margin, with an unknown collector's stamp. NANTEUIL, ROBERT 644. Michel Le Tellier (Ministre d'Etat). Line-engraving. 1658. Robert Dumesnil, IV. No. 130. From life. Only one state known. Fine impression, with- out margin. NANTEUIL, ROBERT 645. Michel Le Telliek (Ministre d'Etat). Line-engraving. 1659. Robert Dumesnil, IV. No. 131. From life. Only one state known. Supekb impression WITH LARGE MARGINS. NANTEUIL, ROBERT 646. Jean Loret. Line-engraving. 1658. Robert Dumesnil, IV. No. 150. From life. Second state, before the comma after the name Loret in the verses below, but with the crochet after the date. Fine impression, with small margin. From the E. Galichan, Firmin-Didot and Atherton Cur- tis Collections. Ix)ret is chiefly remembered for his Oazette, written in vers libres, which he began to issue in 1650, and continued until his death in 1666. The Gazette appeared each week and was addressed to Mademoiselle de LonguevUle, who became later Duchesse de Nemours. From her he re- ceived a pension of 2,000 livres, and from Nicolas Fouquet, Superintendent of Finance, another 200 6cus. This latter pension he lost when Fouquet was imprisoned in the Bastile, but Loret continued to uphold the fallen minister in the Gazette, and Fouquet, to his lasting honor, made a present of 1,500 livres to Loret, to enable the latter to continue the Gazette, but did not let Loret know to whom he was indebted for this gift. NANTEUIL, ROBERT 647. Louis XIV. Line-engraving. 1666. Robert Dumesnil, IV. No. 157. Engraved from life. First state. Very fine impression before the letter "C" in the upper right hand corner. Framed. NANTEUIL, ROBERT 648. Cardinal Jules Mazarin. Line-engraving. Robert Dumesnil, IV. No. 175. After Van Mol. First state. Beautiful proof before THE INSCRIPTION on the oval border; no margin. Very RARE. NANTEUIL, ROBERT 649. Cardinal Jules Mazarin. Line-engraving. 1656. Robert Dumesnil, IV. No. 179. Engraved from life. Only one state mentioned. Very FINE IMPRESSION. Framed. NANTEUIL, ROBERT 650. Caedinal Jules Mazaein. Line-engraving. Robert Dumesnil, IV. No. 186. Second state. Supekb impeession in peefect condition. From the Captain Donadieu Collection. NANTEUIL, ROBERT 651. Henei de Mesmes, Peesident a Moetiee au Paelement de Paeis. Line-engraving. 1650. Robert Dumesnil, IV. No. 191. From life. First state. Veey fine peoop before the date was changed to 1654. Very small margin. NANTEUIL, ROBERT 652. Henei de Savoie, Due de Nemoues. Line-engraving. 1651. Robert Dumesnil, IV. No. 198. From life. First state. Supeeb impeession, before the date was changed to 1652. Small margin. From the R. Pelzer Collection. NANTEUIL, ROBERT 653. Nicolas Potiee de Novion (Premier President au Parlement de Paris). Line-engraving. 1664. Robert Dumesnil, IV. No. 207. From life. First state. Sueeeb impeession before the crochet after the date. With margin, NANTEUIL, ROBERT 654. Haedouin de Peeefixe de Beaumont (Archbishop of Paris). Line-engraving. 1665. Robert Dumesnil, IV. No. 213. From life; only one state known. Veey fine impees- sion with laege maegin. FOURTH SESSION TUESDAY EVENING, APRIL 13, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 8.15 o'CLOCK Catalogue Nos. 655 to 866 inclusive GILLIS NEYTS Born in Holland, 1617; died there, 1687. NEYTS, GILLIS 655. The Little Bridge. Painter-etching. Dutuit, V. No. 5. First state. Extremely fine impression. In perfect CONDITION AND EXTREMELY RARE. From the R. Von Seydlitz Collection. NEYTS, GILLIS 656. Landscape with the Rider. Painter-etching. Dutuit, V. No. 6. Second state. Superb impression. In perfect condi- tion AND EXTREMELY RARE. NIELLI NIELLO 657. The Adoration of the Magi Passavant, I, p. 276. Duchesne, No. 32. Niello formerly attributed to Maso de Finiguerra, but this attribution has been doubted by Passavant and Du- chesne, Impression of perfect condition and superb CLEARNESS OF PRINTING. The lower border of the plate forms a straight line, while the three other sides show pe- y [No. 657 — Continued'] culiarly shaped dents, in every second of which a nail-hole can be seen, which served to hold the plate. Niello of the greatest beauty and importance. Passavant mentions that the composition and the rich manner of the ornaments on the draperies remind one of the style of Gentile da Fa- briano. NIELLO 658. The Baptism of Christ Duchesne. No. 94. Passavant, I, p. 277. Italian niello attributed to Maso da Finiguerra by Duchesne, who er- roneously describes this print with four saints instead of two. (See Passavant.) Impression of great beauty AND clearness; small tears, holes and weak spots under- laid. From the J. S. Morgan Collection. NIELLO 659. Scenes from the Life of the Virgin Dutuit. No. 72. Unique. From the Marquis Durazzo, W. Drugulin, Theodore Ir- win and J. S. Morgan Collections. Large Composition, in the centre the crowning of the Virgin, represented exactly in the manner of the famous "Pax," by Maso da Finiguerra, Duch. 129, with the only difference that the representation is not rounded in the upper part, but shows a quadrangular, architectural border; below, in an open landscape, the body of the Virgin, mourned by apostles. On both sides of the centrepiece, three scenes of the life of the holy Virgin. Dutuit and the Durazzo Catalogue describe the upper two of these as partly torn off and unrecognizable. Since the Durazzo sale, however, this print has been liiost cleverly restored, so that it appears now quite perfect on the face. These two upper scenes have been made up to represent the nativity of ihc Virgin on the left, and the Virgin's visit to the Temple on the right side. Relow, on the left, the betrothal of the Virgin and the nativity of Christ; on the right: The Annunciation and the Adoration of the Magi. Dutuit, who, however, gives the erroneous measurements of 250 mm. high and 472 mm. wide, describes this plate as: "Pifece magistrale trfes int^ressante, non decrite, provenant d'une pifece de dimensions considerables. L'^preuve unique de la collection Durazzo, Cat. No. 2926, s'est vendu 1000 florins." The Durazzo sale Catalogue, No. 2926, describes it as: Masterful and most interesting composition; also as far as dimensions arc concerned, unique in its kind, [No. 659 — Continued] undescribed. (Height, 9 in. 3 lines; width, 7 inches 3 lines, which is the size of this impression.) On the mount the owner's note, copying the handwriting of the late Mr. Wunderlich, on the previous mat, stating: Niello by Baldovinetti, a contem- porary and friend of Maso de Finiguerra of Florence: "This plate is, next to Finiguerra's celebrated Pax, the most important monument of the earliest productions of the engraver's art, and in size and composition it is even more important. It is unique, no other impression, nor even a fragment of one is Icnown to exist." — From the Makquis Dubazzo Collection and later W. Drugulin.'' Aside from the fact that the print is browned all over, the impression is very clear and beautiful. It was folded across and torn in various places, but has since been repaired by a masterly hand; only after very careful examination would the observer find out that the design has been restored in the two small upper scenes. However, a very careful inspection will show that the design is inferior in character and purity of line to that of the original parts. — R. Ederiieimer. NIELLO 660. Oknamental Panel with a Female Satyr Nursing Two Children. Duchesne. No. 362. Niello by Peregrino da Cesena ; XV century. One or the MOST BEAUTIFULLY ENGRAVED NiELLI AND EXTREMELY RARE. NIELLO 661. A Roman Sacrifice Passavant, p. 328. No. 687. Niello; also the original silverplate. WILLIAM NUTTER Born 1754 (?); died, 1802. NUTTER, WILLIAM 662. First Bite — ^Just Breech'd. Stipples. Both after Stothard. A fine pair, nicely printed in colors. Duplicates from the J. P. Morgan Collection. (2) JOHN OGBORNE Born, 1725; died, 1795. Pupil of Bartolozzi. OGBORNE, JOHN 663. Maechande de Cupidons. Stipple. After F. Bartolozzi. Nicely printed in colors. Veey fine AND BARE. SAMUEL PALMER PALMER, SAMUEL 664. Eaely Morning — OrENiNo the Fold. Painter-etching. Palmer. 110. Early and beautiful impression on India paper, marked "Trial proof" by the artist and signed by him. Framed. From the W. S. Carter Collection. "This was one of the ten subjects from Virgil, and the design was, there- fore, one of picked excellence — ^the outcome of infinite study and selection. Some have agreed that it is his best production. We are inclined to this opinion; but, be this as it may, the work is ample evidence in itself of a still unclouded brightness of the faculties and an undiminished skill." — ^Mem- oirs of Samuel Palmer. PALMER, SAMUEL 665. Young Bacchants. Mezzotint. Very fine impression. A. PAPAVOINE Born, 1759; died, . PAPAVOINE, A. 666. Innocent Play — Wanton Tricks. Stipples. Both after Tomkins. Beautiful color prints. (2) WILLEM VAN DE PASSE Born in Utrecht about 1598; died, 1637. Son and pupil of Crispin van de Passe, the elder. PASSE, WILLEM VAN DE 667. Robert Dudley, Earl of Leicester. Line-engraving. Andresen, II, p. 265. No. 7. Fine early impression, but without margin and laid down. R. M. PAYE, Jb. Born about 1750; died, 1821. PAYE, R. M. Jr. 668. Miss Decamp. Stipple. 1805. After Eliza Anne Paye. Very fine impression in brown- ish black ink. From the Royal Collection at Windsor. JOHN PAYNE Flourished in London from 1620 until 1648. PAYNE, JOHN 669. Mr. Hobson of Hobson's Choice, the Famous Cambridge Carrier. Line-engraving. Andresen, II, p. 269. No. 12. Very fine impression with a small margin. From the Earl of Aylesford Collection. GEORGE PENCZ Born in Niirnberg about 1500; died at Koenigsberg, 1660. As a native of Nurnberg, he was admitted into the Guild of Painters in 1523. After he had been, if not under the instruction, at least under the influence of Albrecht Diirer, he was associated with the Behams and with them in 1624 underwent the sentence of banishment for heresy. He was, however, fre- quently in Niirnberg until the year 1532, when he came back to live there altogether. He seems to have visited Italy several times and is said to have studied under Marc Antonio Raimondi. PENCZ, GEORGE 670. Christ Tempted by the Devil. Painter-engraving. Bartsch, VIII. No. 39. (No. 11 of the set "The Life of Jesus Christ.") Bartsch, 30-54. PENCZ, GEORGE 671. The Conversion of Saul. Painter-engraving. 1543. Bartsch, VIII. No. 69. Very fine impression. From the W. Esdaile Collection. PENCZ, GEORGE 672. Thomieis Immebsing the Head of Cyrus in a Bag Filled WITH Blood. Painter-engraving. Bartsch, VIII. No. 70. Veky fine impression. From the Frauenholz Collection. PENCZ, GEORGE 673. Jason and Medea. Painter-engraving. Bartsch, VIII. No. 71. Very fine. PENCZ. GEORGE 674. HoRATius CocLEs Defending the Bridge at Rome. Painter- etching. Bartsch, VIII. No. 80. Fine impression. PENCZ, GEORGE 675. Triumph of Bacchus. Painter-engraving. Bartsch, VIII. No. 92. Very fine impression. From the Dr. Strater Collection. WILLIAM PETHER Born at Carlisle, 1731; died, 1795. Painted portraits and miniatures; studied mezzotinting and attained great excellence. PETHER, WILLIAM 676. Portrait of W. Pether. Mezzotint. C. Smith, III. No. 26. After his own painting. First state. Superb proof. PETHER, WILLIAM 677. A Jew Rabbi. Mezzotint. C. Smith, III. No. 39. After Rembrandt. Proof before all letters. From the W. Esdailc Collection. GIAMBATTISTA PIRANESI Born in Venice, 1720; died, 1778. "His plates are of large size, and are etched with so much picturesque boldness and ruggedness that he well de- serves the sobriquet of 'The Rembrandt of Architecture.' " PIRANESI, GIAMBATTISTA 678. View of the Temple of Janus — The Coliseum (bird's-eye view). Painter-etchings. (From the Views of Rome.) From the rare first edition. Framed. (2) PIRANESI, GIAMBATTISTA 679. Isle or the Tiber — The Pantheon. Painter-etchings. (From the views of Rome.) From the rare first edition. Framed. (2) PIRANESI, GIAMBATTISTA 680. Interior of the Coliseum — Exterior of the Coliseum. Painter-etchings . (From the views of Rome.) From the rare first edition. Framed. (2) PIRANESI, GIAMBATTISTA 681. The Arch of Titus — ^The Arch of Constantine. Painter- etchings. (From the views of Rome.) From the rare first edition. Framed. (2) ANTONIO POLLAIUOLO Born in Florence, 1432; died in Rome, 1498. Goldsmith, sculptor, painter and engraver with the burin. He learned the goldsmith's art from Barto- luccio Ghiberti, and was famous in his time as an originator and a skilfull caster of little figures and an ingenious cutter of precious bas-reliefs. He studied painting with his brother Pietro and practiced that art all his life. The number of his prints is very small. We are familiar with only three." — Babtsch. POLLAIUOLO, ANTONIO 682. Battle of the Nudes. Engraving. Bartsch, XIII. No. 2. Extremely fine impeession and excessively kare. Kristeller says that this is the only print which can with certainty be ascribed to PoUaiuolo. "Soon after the discovery of the art of engraving, he made himself a master of the secret, and engraved his 'Battle of Nude Figures,' which, according to Lanzi, was executed about 1480; because, having acquired great celebrity by it, he was invited to Rome in 1484 to erect the monument of Sixtus IV, who died on the 11th of August of that year. Vasari praises this print very highly." — Loxjis Fagan. NICOLAS PONCE Born in Paris, 1746; died there, 1831. "Nicolas Ponce was an engraver of great merit, and second only to Nicolas de Launay, whose pupil he was, in rendering the work of Baudouin." — LAtrBEKCE and Dighton. PONCE, NICOLAS 683. Annette et Loubin. Line-engraving. Portalis and Beraldi, III, p. 336. No. 4, After P. A. Baudouin. Proof before the title and dedica- tion. CARLO ANTONIO PORPORATI Born at Volvera, near Torino, 1741; died in Torino, 1816. Went to Paris and became a, pupil of CheviUet, Wille and Beauvarlet. In 1773 he was made a member of the Academy in Paris, and engraved for his reception plate, Susannah at the Bath, after Santerre, his masterpiece. PORPORATI, CARLO ANTONIO 684. The Bath of Susannah. Line-engraving. ApeU, p. 337. No. 4. After Santerre. First state. Artist's proof. Fine im- pression, IN perfect condition. Framed. PORPORATI, CARLO ANTONIO 685. Venus Caeessing Cupid. Line-engraving. Apell, p. 337. No. 5. After P. Battoni. State before the first mentioned. Su- PEKB PUOOr BEFOEE ALL LETTERS AND THE COAT-OF-AKMS. This plate having been so delicately engraved and printed on a rather flimsy paper is extremely rare in such fine and well preserved proof. Framed. PORPORATI, CARLO ANTONIO 686. Il Bagno di Leda. Line-engraving. Apell, p. 337. No. 6. After Correggio. State before the first mentioned. Su- PEEB REMARQUE PROOF, with the whits end of the broken limb of the tree. Extremely rare. Framed. PORPORATI, CARLO ANTONIO 687. Girl with Dog. Line-engraving. ApeU, p. 338. No. 18. After J. B. Greuze. Third state. Fine impression, but laid down. AUGUSTE RAFFET Born in Paris, 1804; died in Genoa, 1860. RAFFET, AUGUSTE 688. Combat d'Oued-Alleg Giacomelli. No. 82. Fine impression on India paper. Atherton Curtis con- siders this work his masterpiece. Framed. From the W. S. Carter Collection. "Of Raffet's works on tJie army of his own time, the Combat d'Oued-Alleg, considering all its qualities, is perhaps the artist's masterpiece." — Atheeton CuBTIS. FRANCESCO RAIBOLINI (^Called Francia) Born in Bologna, 1450; died, 1517. RAIBOLINI, FRANCESCO 689. LUCEETIA Passavant V. 197. EXTEEMELY EAEE. From the J. Reiss Collection. JACOPO RAIBOLINI (^Called Francia) Born in Bologna, 1487; died, 1567. RAIBOLINI, JACOPO 690. Bacchanal Bartsch, XIII. No. 7. Bartsch describes this print as the work of the Mono- gramist I. F. Supekb impression and excessively uaee. From the Baron Von Lanna Collection. MARC ANTONIO RAIMONDI Born in Bologna about 1480; died there about 1530. Started work in the atelier of Francesco Francia. The antique had from the first a very strong fascination for him. About 1505 Raimondi came under the strong influ- ence of Durer, and made a series of copies of The Life of the Virgin and other woodcuts. He had now reached (1509) a degree of sureness and tech- nical mastery of engraving which had not been attained up to that time in Italy. In 1509 or 1510 he went to Rome. At just this period he seems to have been much influenced by Lucas of Leyden. Shortly after coming to Rome he entered the studio of Raphael, and it is with Raphael's name that Marcantonio is associated most closely in the history of engraving. To Raphael he owed, above all, the ennobling of his artistic feeling for form and the astonishingly rapid development of his ability in drawing. RAIMONDI, MARC ANTONIO 691. Adam and Eve. Engraving. Bartsch, XIV. No. 1. Framed. "EUe est trfes belle, et en mgme temps une des plus rares de I'oeuvre de ce graveur." — Bartsch. RAIMONDI, MARC ANTONIO 692. Joseph and Potiphau's Wife. Engraving after a drawing by Raphael. Bartsch, XIV. No. 9. Fine impeession. RAIMONDI, MARC ANTONIO 693. The Massacee of the Innocents (the plate without the fir- tree). Engraving. Bartsch, XIV. No. 20. After Raphael. First state. Brilliant impression be- fore Salamanca's address. RAIMONDI, MARC ANTONIO 694. The Last Supper. Engraving. Bartsch, XIV. No. 26. After Raphael. Superb impression on parchment. Of EXTREME rarity; POSSIBLY UNIQUE. Framed. From the Puccini and A. Morrison Collections. RAIMONDI, MARC ANTONIO 695. Paul Preaching at Athens. Engraving. :' ) Bartsch, XIV. No. 44. After a drawing by Raphael. Fine impression. Framed. RAIMONDI, MARC ANTONIO 696. The Martyrdom of St. Lawrence. Engraving. Bartsch, XIV. No. 104. ^"^ Second state. One of the wooden forks held by the man standing at the left has been removed. Excellent im- pression. Framed. RAIMONDI, MARC ANTONIO 697. St. Cecilia. Engraving. Bartsch, XIV. No. 116. After Raphael. Superb impression, with margins show- ing THE DOUBLE BORDER LINES. The quality of this im- pression is equal to the one in the British Museum, which has its margin cut down to the inner line. RAIMONDI, MARC ANTONIO 698. The Dance or Cupids. Engraving. Bartsch, XIV. No. 178. After Raphael. Fine impeession and very rare. From the Hibbert and Sir Joshua Reynolds Collections. RAIMONDI, MARC ANTONIO 699. Two Fauns Carrying a Child in a Basket. Engraving. Bartsch, XIV. No. 230. After the antique. Very fine impression. "One cannot very well desire anything more perfect, as far as design and engraving are concerned, than this superb print." — Bahtsch. RAIMONDI, MARC ANTONIO 700. The Judgment of Paris. Engraving. Bartsch, XIV. No. 245. After a design by Raphael. Probably the finest im- pression in existence. The tone obtained by the use of pumice-stone, which gives so fine an effect to this impres- sion, is usually scarcely visible. Framed. From the Henry Bradhurst, Thomas Whitehead and Al- fred Hubert Collections. "Still about the same time, but more ambitious in composition, and nearer to the 'Pyramus and Thisbe' in the close and more Goldsmith-like shading, should be placed 'The Judgment of Paris' — where the same delicate man- ner is carried to even greater finesse." — Hind. RAIMONDI, MARC ANTONIO 701. The Young and the Old Bacchant. Engraving. Bartsch, XIV. No. 294. After Guilio Romano. Fine old impression. From the Herman F. Weber Collection. RAIMONDI, MARC ANTONIO 702. Vulcan, Venus and Cupid. Engraving. Bartsch. No. 326. Extremely fine impression and in perfect condition. This is much more primitive in style than most of Rai- mondi's plates. From the Alfred Hubert Collection. RAIMONDI, MARC ANTONIO 703. Mars, Venus and Cupid. Engraving. Bartsch, XIV. No. 345. Superb impression. Framed. From the W. Esdaile Collection. RAIMONDI, MARC ANTONIO 704. Trajan Crowned by Victory. Engraving. Bartsch, XIV. No. 361. After the antique. "This print, which was engraved after one of the reliefs from the Arch of Constantine, is one of the most beautiful and one of the most esteemed of Marc-Antonio's works." — Bartsch. RAIMONDI, MARC ANTONIO 705. A Man and a Woman Conversing at the Edge op a Wood. Engraving. Bartsch, XIV. No. 377. An impression op the finest quality in absolutely PERFECT condition and with large margin. From the A. Morrison and P. Gellatly Collections, "This plate is engraved with an extremely delicate burin-stroke in the early manner of Marcantonio and appears to be after Francesco Francia.'' — Babtsch. RAIMONDI, MARC ANTONIO 706. Poetry. Engraving. Bartsch, XIV. No. 382. After Raphael. Very fine impression. From the King Ferdinand of Portugal and Count Enzen- berg Collections. RAIMONDI, MARC ANTONIO 707. The Three Doctors. Engraving. Bartsch, XIV. No. 404. Very pine and extremely rare. From the J. D. Bohm and J. Reiss Collections. RAIMONDI, MARC ANTONIO 708. The Hunt of Trajan. Engraving. Bartsch, XIV. No. 422. After Raphael's design from an antique basso-rilievo on a sarcophagus, which used to be at St. Peter's, Rome, but is now in the Louvre, Paris. Good old impression. RAIMONDI, MARC ANTONIO 709. The Climbeks. Engraving. Bartsch, XIV. No. 487. After Michel Angelo's cartoon "The Battle of Pisa." Very FINE IMPRESSION AND EXTREMELY RARE. RAIMONDI, MARC ANTONIO 710. La Casolette Bartsch, XIV. No. 489. After Raphael. Probably drawn for Francis I. Splendid IMPRESSION AND VERY RARE IN SUCH ftUALITY. From the Sir Peter Lely and Baron C. Marochetti Col- lections. "Marc Antonio k grav6 cette fistampe dans le temps de sa force." — Bartsch. RAIMONDI, MARC ANTONIO 711. Portrait of Raphael. Engraving. Bartsch, XIV. No. 496. Beautiful impression and very rare. PAUL RAJON Born at Dijon, 1844; died in Paris, 1888. "He studied etching under Gaucherel and Flameng, and at the Salon of 1869 received a medal. In the following year, and again in 1873, he received medals for his etchings; and at the Universal Exposition of 1878 he was placed Hors Concours for his masterly portrait of Darwin. When his fame was at its height, and when commissions were being showered upon him, he died." — H. Berai,di. RAJON, PAUL 712. Portrait of Cardinal Newman. Etching. Beraldi. No. 167. After W. W. Ouless. Remarque proof on Japanese paper, signed by both artists. Rare in this state. Framed. From the W. S. Carter Collection. REMBRANDT VAN RUN Born in Leyden, 1607; died in Amsterdam, 1669. Pupil of Swanenburch and Pieter Lastman. "The opinion among etchers which enthrones Rem- brandt as the 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 Rembrandt; in artistic influence he has one equal entirely unlike himself, and that is Raphael. They are the two most influential graphic artists of aU time." — P. G. Hamerton. REMBRANDT VAN RIJN 713. Portrait of Rembrandt Wearing a Soft Cap, Painter- etching. Bartsch. No. 2. Full face. (Rembrandt aux trois moustaches.) Assumed date, 1631. Only one state known. Very fine impres- sion. REMBRANDT VAN RIJN 714. Portrait of Rembrandt with a Flamboyant Sword. Paint- er-etching. 1634. Bartsch. No. 18. Second state. Fine impression on paper with the water- mark coat-of-arms of the Archduke Albrecht. From the G. D. de Arozarena and G. Hibbert Collections. This print was done in Rembrandt's earliest period and is dated 1634. It shows the Rembrandt of the early times when he loved to dress himself up in all sorts of picturesque costumes, of which his house in the Breedstrat was a perfect museum. REMBRANDT VAN RIJN 715. Portrait of Rembrandt in Velvet Cap and Plume. Paint- er-etching. 1638. Bartsch. No. 20. Only one state known. Very fine early impression, with the name of Rembrandt and the date, which is delicately traced in the upper left portion of the plate, and plainly visible. "The face and hair are carried out quite exquisitely, with a peculiar deli- cacy, and the different stuffs are characterized in the most masterly way, the velvet of the cap, adorned with an ostrich feather, the silk and the gold braid on the fur-lined cloak." — H. Knackfuss. REMBRANDT VAN RIJN 716. Rembrandt Leaning on a Stone Sill ("Rembrandt Ap- puy6"). Painter-etching. Bartsch. No. 21. Second state. One op the very finest impressions in existence. The color on the edge of this impression was probably put on by Rembrandt with a view to changing the plate in some way. This is just the same kind of color that he used in sketching on early trial impressions of this plate, and also on "Rembrandt with Embroidered Mantle." Some of these trial proofs are in the great public collections abroad. Framed. From the Beham, F. S. Haden and Alfred Hubert Col- lections. REMBRANDT VAN RIJN 717. Portrait op Himself, Drawing. Painter-etching. 1648. Bartsch. No. 22. Ninth state. A very fine impression, rich in tone. Framed. REMBRANDT VAN RIJN 718. Abraham Sending Away Hagar. Painter-etching. 1673. Bartsch. No. 30. Only one state known. Fine impression on paper, with the watermark "Double eagle." "All the qualities of Rembrandt are united to a high degree in this print; beauty of expression, arrangement, delicacy, richness of detail, and chiaro- scuro." — Charles Bijvnc. "This is one of the most perfectly delicate of all of Rembrandt's etchings. The sureness of the faint, thin lines on which the expression of the face chiefly depends, the masterly reservation of reflections and half-lights in open shading, the opportune omission of labor where omission was better than toil, justify our admiration." — P. G. Hamerton. REMBRANDT VAN RIJN 719. Abraham Caressing Isaac. Assumed date, 1637. Bartsch. No. 33. First state. Very fine impression before the slip of the point above Isaac's shoulder. "This little plate is done in Rembrandt's best period and is among the most spirited and delicate of all." — Badtsch. REMBRANDT VAN RIJN 720. Jacob Lamenting the Supposed Death of Joseph. Painter- etching. Assumed date, 1633. Bartsch. No. 38. Second state. Fine impression with the retouch. REMBRANDT VAN RIJN 721. King David in Prayer. Painter-etching. 1652. Bartsch. No. 41. First state. Extremely fine impression, before a little white space near the upper left hand border was shaded. "The David on his Knees has more 'color,' but is near akin to the Tobit in pathetic intensity of sentiment." — P. G. Hamerton. REMBRANDT VAN RIJN 722. The Blindness of Tobit. Painter-etching. 1651. Bartsch. No. 42. Only one state accepted now. Very early impression, WITH SOME BURR ON THE DRYPOINT. ExTREMELY RARE. "There are a few remarkably good etchings of 1651. First the wonder- fully delicate little print of The Blind Tobit, the most striking and affecting picture of the helplessness of a man struck blind." "One of Rembrandt's most touching Biblical illustrations, Tobit Blind, with the Dog, a work in which the mental conception, which is most pathetic, is everything, and the manual performance so simple, so devoid of all pre- tension, that it requires some knowledge of etching to recognize the strength of the master." REMBRANDT VAN RIJN 723. The Angel Appearing to the Shepherds. 1634. Bartsch. No. 44. Third state. Superb impression from the completely fin- ished plate, before any retouch. From the Sir John Day Collection. The effect of a print of this plate almost entirely depends upon the clear- ness of the nocturne landscape in the distance to the left. "These great scenes from the Bible, no one has conceived them better than Rembrandt, and no one felt more keenly their touching and simple poetry. 'The Apparition of the Angels to the Shepherds' has been the subject of many pictures, but how often does one rest indifferent to the representa- tions of this marvelous scene! Rembrandt finds here occasion to show the two most astounding sides of his genius — expression and chiaroscuro." — Charles Bi.axc. REMBRANDT VAN RIJN 724. The Presentation in the Temple (in Rembrandt's dark manner). Painter-etching. Assumed date, 1654!. Bartsch. No. 58. Only one state known. Splendid impression of the ut- most KAUiTY. Duplicate from the British Museum. From the Marsden J. Perry Collection. "The brilliancy of the sacerdotal vestments is rendered here with a, power so extraordinary that the plate is a great technical feat. The lines are coarse and rude, but so entirely synthetic and intelligent in their arrange- ment that the splendor of gold and jewels and embroidery is fully sug- gested to the imagination. The high priest, who is standing, is one of the most imposing figures amongst all the creations of Rembrandt, who had a keen appreciation of sacerdotal dignity and magnificence. P. G. Ham- EETOlf. REMBRANDT VAN RIJN 725. The Flight Into Egypt — The Holy Family Crossing a Rill. Painter-etching. 1654. Bartsch. No. 55. Only one state known. A wonderful impression, full OF burr, on Japanese paper. "The Virgin resting her hand upon her saddle bends her head with an air of sadness; the precaution of the old man who tests the depth of the water with his stick is expressed in the most vivid manner; the donkey is a little 'chef d'oeuvre' of drawing and etching. If this little print were rare it would be worth an enormous price, so charming is it." — Charles Buvkc. REMBRANDT VAN RIJN 726. The Rest in Egypt. Painter-etching. 1645. Bartsch. No. 58. In outline. Only one state known. Fine impression. From the Petit-Didier and Rosenberg Collections. REMBRANDT VAN RIJN 727. Christ Disputing with the Doctors (the larger plate). Painter-etching. Bartsch. No. 65. First state. Very fine impression, before the plate was disfigured by oxide at the top and right edge. With a tone left on the plate which adds materially to the effect of the finish. "Jesus Disputing with the Doctors; The Larger Plate, is a masterly sketch like 'The Tobit,' in which the imaginative conception of the scene far pre- dominates over simple handicraft." — P. G. Hamerton. REMBRANDT VAN RIJN 728. Christ Pkeaching (called "The Little La Tombe"). Paint- er-etching. Assumed date, 1652. Bartsch. No. 67. Only one state accepted now. Extremely eine, early IMPRESSION, full of burr and on paper with the water- mark "Folly," the kind which is not often met with. "Though less important than the Hundred Guilders Print, The Christ Preaching is certainly as strong as, if not stronger than, its great com- panion in its drawing of human character. The profound attention of the assembly, the marvelous expressions of their faces as they listen to the words of Christ, make an impression upon us that cannot be forgotten, and we are as if we ourselves were there listening to what the great Preacher has to say." — Atherton Cubtis. REMBRANDT VAN RIJN 729. Christ and the Woman of Samaria ; Among Ruins. Painter- etching. 1634. Bartsch. No. 71. First state. Very fine impression, with the two lines across the plate near the top. REMBRANDT VAN RIJN 730. Christ Healing the Sick (generally known as the Hundred Guilders Print). Painter-etching. Bartsch. No. 74. Second state. Superb impression, with the diagonal lines on the donkey's neck, but before any retouch. On paper with the crowned shield and fleur-de-lys. This is gener- ally conceded to be the greatest or the master's etchings. Framed. REMBRANDT VAN RIJN 731. The Agony in the Garden. Painter-etching. Assumed date, 1657. Bartsch. No. 75. Only one state known. Beautiful impression on Japan- ese paper. "Here all the sorrows unite to overwhelm his soul and plunge it into an ocean of bitterness. . . . What profoundness of sentiment! What poetry in the setting of this august drama, and what grandeur in so small a frame!" — Charles Bianc. REMBRANDT VAN RIJN 732. The Three Crosses. Painter-etching. 1653. Bartsch. No. 78. First state. Superb proof, with the triangular, un- shaded SPACE NEAR THE RIGHT EDGE. Printed on Val- ium, which has acquired a wonderfully rich ivory tone. This is probably the finest impression in existence, having been pronounced by a famous expert to be much finer than the one in the print room of the British Museum. Framed. "When Rembrandt had passed his fiftieth year he seems to have put still more fire into his painting, and to have worked vifith even greater breadth of handling; and there was a corresponding change in his style of etching. His Biblical subjects appear like weird visions wrapped in mysterious light; witness his powerful crucifixion known as The Three Grosses." — LiPPMANlf. REMBRANDT VAN RIJN 733. The Crucifixion (a small oval plate). Painter-etching. As- sumed date, 1640. Bartsch. No. 79. First state. A very fine impression, with the left arm of the cross touching the border. P. Marietta's signa- ture and the date 1670 on the back of the print. REMBRANDT VAN RIJN 734. Christ Carried to the Tomb. Painter-etching. Assumed date, 1645. Bartsch. No. 84. Only one state known. Very early impression, with much burr and an unusual amount of tone on the plate. From the F. S. Haden and Marsden J. Perry Collections. REMBRANDT VAN RIJN 735. Christ in the Midst of His Disciples (the incredulity of Thomas). Painter-etching. 1650. Bartsch. No. 89. Only one state known. Very fine impression on paper with the watermark "Folly." Extremely rare. This plate is executed in a wonderfully free and summary manner, which accords somewhat with the subject, the sudden apparition of Christ in the midst of his Disciples. The kneeling figure in the foreground, the figure of the doubting Thomas, and the crowd at the left, are especially fine. The impressions are extremely rare. REMBRANDT VAN RIJN 736. Petee and John at the Beautiful Gate or the Temple. Painter-etching. 1669. Bartsch. No. 94. Second state. Veby beautiful pboof on Japanese paper, before the cross hatchings on the arch reaching down to the capital of the left column. From the John Astley, R. Dighton and Sir Joshua Rey- nolds Collections. The Dighton Collection was made famous, or rather notorious, owing to the fact that it was partly made up of prints which Mr. Dighton stole from the British Museum. He was in the habit of going to the Museum to make copies of certain of the valuable prints, but he actually carried away some of the originals themselves in his portfolio. This print, however, does not bear the stamp of the Museum, and it is not probable that it was among those which he stole. REMBRANDT VAN RIJN 737. The Death of the Virgin. Painter-etching. 1639. Bartsch. No. 99. Second state. A very early impression with the fully shaded armchair, which is still full of burr, and before the little vertical lines on the bedpost. REMBRANDT VAN RIJN 738. St. Jekome Wuiting Near a Pollaed Willow. Painter- etching. 1648. Bartsch. No. 103. Second state. Supeeb impeession op geeat beilliancy and feeshness, with the signature ; on Japanese paper. Framed. From the Hawkins and J. Charlon Collections. REMBRANDT VAN RIJN 739. St. Jeeome in an Italian Landscape. Painter-etching. Bartsch. No. 104. Second state. Supeeb, eaely impression, showing much burr, especially on the mane of the lion. In perfect con- dition. Framed. REMBRANDT VAN RIJN 740. St. Francis Beneath a Tree, Praying. Painter-etching. 1657. Bartsch. No. 107. Second state. Superb impression from the finished plate, on Japanese paper. Exceedingly rare. From the Hawkins, Earl of Aylesford, Duke of Buccleugh and Alfred Hubert Collections. All of the grandeur of Rembrandt's last period is seen in this print. It was executed at a time when he had been deserted by public favor, and in fact by everybody, except Hendricke Jaghers, his mistress. The plate was evi- dently done entirely to please himself and without any consideration for the taste of the public. In fact it has never been a favorite except with those who have made some study of Rembrandt's works and possess a little insight into the real meaning of his art. REMBRANDT VAN RIJN 741. The Spanish Gipsy (Prcciosa). Painter-etching. Assumed date, 1641. Bartsch. No. 120. Only one state known. Superb impression, in pereect CONDITION. Impressions of this plate are or the great- est RARITY and are ONLY POUND IN THE MOST COMPLETE COLLECTIONS. From the Marsden J. Perry Collection. REMBRANDT VAN RIJN 742. The Synagogue. Painter-etching. 1648. Bartsch. No. 126. Intermediate state between the second and third; not men- tioned by Rovinski, Seidlitz or Hind. Very tine impres- sion, with an additional set of lines in the shadow on the stone in the middle ground, but before the other re- touches. REMBRANDT VAN RIJN 743. Cupid Reposing. Etching. Bartsch. No. 132. Rejected by most authorities as not being by Rembrandt. A VERY FINE IMPRESSION OF A VERY RARE PLATE. From the Six and R. v. Seydlitz Collections. REMBRANDT VAN RIJN 744. Beggars at the Door of a House. Painter-etching. 1648. Bartsch. No. 176. First state. Superb impression, before the additional work on door-post near the nose of the old man giving alms. In perfect condition. Framed. REMBRANDT VAN RIJN 745. Beggar Turned to the Right ("tis vinnich kout"). 1634. — Beggar Turned to the Left ("dats niet"). Paint- er-etchings. 1634. Bartsch. Nos. 177 and 178. Only one state known. Very pine and strong impres- sions. From the J. C. D. Hebich and E. Schroeter Collections. "These etchings have been attributed to Solomon Savry, whom a recent writer erroneously assumes to have been a pupil of Rembrandt. There is nothing in their execution to support this theory; the figures are coarsely and carelessly drawn, but, as I have shown before, we need not for that reason doubt their authenticity. Their idea was probably borrowed from S. Beham, who in 1542 designed and engraved two little plates of a farmer and laborer, on one of which is the legend, 'Es ist kalt Weter,' and on the other, 'Das schadet nit'; but Rembrandt's plates are in no sense copies of these prints." — ^Middleton. REMBRANDT VAN RIJN 746. Six's Bridge. Painter-etching. 1645. Bartsch. 208. Third state. Very pine impression, with the hats of both men standing on the bridge, shaded. From the J. Marsden Perry Collection. One of the rarest, and, in spite of its slightness, one of the most beautiful of Rembrandt's landscapes. The legend concerning this etching is that when Rembrandt was about to sit down at the hospitable board of Burgomaster Jan Six it was found that mustard was lacking. The servant was dispatched to buy it, and Rem- brandt made — and won — a wager that he would etch a plate before the servant could return with the mustard. REMBRANDT VAN RIJN 747. A View of Amsterdam. Painter-etching. Assumed date, 1640. Bartsch. No. 210. Second state. Beautiful impression without the hare and the upper line of the tower, on paper with the water- mark "Folly." Large margin. From the Robert Dumesnil Collection. REMBRANDT VAN RIJN 748. The Landscape with the Three Trees. Painter-etching. 1643. Bartsch. No. 212. Only one state. Fine, early impression, rich and trans- parent. "Ce paysage est un des plus beaux et des plus finis que Rembrandt ait fait; il est d'un effet trfes brillant, et grav6 avec beaucoup de gout. Les belles ^preuves en sont tr^s rares." — Baktsch. REMBRANDT VAN RIJN 749. Reversed Copy of the Landscape with the Three Trees. Etched by William Lord Byron. From the W. H. Daugherty Collection. REMBRANDT VAN RIJN 750. The Landscape with the Three Cottages. Painter-etching. 1650. Bartsch. No. 217. Third state. Superb impression in perfect condition. Extremely rare op this quality. REMBRANDT VAN RIJN 751. The Landscape with a Ruined Tower and a Clear Fore- ground. Painter-etching. Assumed date, 1650. Bartsch. No. 223. Third state. Very fine impression with a considerable amount of tone left on the plate, emphasizing the dark [No. 751 — Continued'] and stormy effect on the landscape. This is undoubted- ly ONE OP THE FINEST. IMRESSIONS IN EXISTENCE. Framed. From the J. KoUmann Collection. "Ce qui est certain, c'est que le Paysage a la tour est un des plus beaux de I'oeuvre." — Charles Blanc. "The print, which, for well-considered breadth and maintained unity of effect (not so much for dainty finish), is the 'last word' of landscape art, the perfect splendid phrase which nothing can appropriately follow, after which there is of necessity declension — ^if not collapse." — Fkederick Wed- MOBE. REMBRANDT VAN RIJN 752. An AacHED Landscape with a Flock of Sheep. Painter- etching. 1650. Bartsch. No. 224. Second state. Very fine impression with the distant horizon added behind the two figures on the left. PEMBRANDT VAN RIJN 753. The Landscape with a Cottage and Haystack. Painter- etching. 164(1. Bartsch. No. 225. Only one state known. An impression of the highest ORDER. Framed. REMBRANDT VAN RIJN 754. A Large Landscape with a Mill-sail Seen Above a Cot- tage. Painter-etching. 1641. Bartsch. No. 226. Only one state known. Very fine impression. From the H. D. Seymour Collection. ". . . makes a most poetical picture, as if by magic, out of an old, low cottage and a lime tree, a stream gliding silently between its flat banks among the meadows, the sails of a few windmills visible in the distance and a town on the verge of the low horizon." — H. Kn-ackfttss. REMBRANDT VAN RIJN 755. Rembrandt's Mill Painter-etching. 1641. Bartsch. No. 233. Only one state known. Superb early impression, before [No. 755 — Continued^ any of the effect obtained in the sky by the use of sulphur was lost. "Here we see nothing but a windmill, a few houses, and a perfectly flat horizon; but what a refined and indescribable charm — the secret of true art which defies analysis — ^lies in the sincerity with which this scene is rendered." — Knackpuss. . REMBRANDT VAN RIJN 756. The Goldweigher's Field. Painter-etching. 1651. Bartsch. No. 234.. Only one state known. Superb impression with some BURR. This plate is universlly admitted to be among THE THREE OR FOUR OF ReMBRANDt's GREATEST LAND- SCAPES. From the La Motte-Fouquet and an unidentified collection. Fagan. No. 254. "The landscape known as the Goldweigher's Field is one of the best exam- ples of the way in which the master could work in true nineteenth century spirit. It is full of the feeling of the air and space and is handled in a broad, free style that would be remarkable even in the greatest of nine- teenth century artists." — Athebton Cuktis. REMBRANDT VAN RIJN 757. Old Man Seated, with a Flowing Beard, Fur Cap and Velvet Cloak. Painter-etching. Assumed date, 1632. Bartsch. No. 262. Second state. Very fine impression before the re- touch. From the Chevalier de Cloussin Collection. ". . . but what a beautiful portrait! What an astounding representation of an old man!" — Chahles Bi.Aifc. REMBRANDT VAN RIJN 758. Old Man with a Divided Fur Cap. Painter-etching. 1640. Bartsch. No. 265. First state (of 3). Very fine impression before the slipped burin stroke near the left eye. ". . . work of great dignity and beauty, but not likely to be popular, from the absence of vigorous blacks. It is, however, admirably drawn, and though the distinctions of tone and local color are slight, this etching is one of the most brilliant that Rembrandt ever executed, and perfectly harmonious in its own key," — P. G. HAMsaTON, REMBRANDT VAN RIJN 759. Young Man Musing. Painter-etching. Bartsch. No. 268. Second state. Fine impression with the cheek cleared. REMBRANDT VAN RIJN 760. Doctor Faustus. Painter-etching. Assumed date, 1652. Bartsch. No. 270. First state. Superb impression before the additional shading on the book at the right and before much roulette work on the drapery and garment. On the curious gray paper which Rembrandt sometimes used for his plate of St. Jerome in an Italian Landscape. Framed. From the Hawkins Collection. REMBRANDT VAN RIJN 761. Portrait of Cornelis Claesz Anslo, Mennonite Preacher. Painter-etching. 1641. Bartsch. No. 271. Second state. Very fine impression, the white strip at the bottom of the plate was worked over. From the Chevalier J. de Franck, Nahl and W. S. Carter Collections. "Ce portrait est un des plus beaux et des plus finis que nous ayons de la pointe de Rembrandt. Ce morceau est rare." — Baetsch. REMBRANDT VAN RIJN 762. Portrait of Clement de Jonghe, Print-seller. Painter- etching. 1651. Bartsch. No. 272. First state. Superb impression before the arch and be- fore some work on the outer fold of the cloak. One op the most beautiful and most famous portraits by the master. "Nothing in all the great etched work of Rembrandt is in craftsmanship more unobtrusively magnificent, and in its suggestion of complex character nothing is more subtle." — Frederick Wedmore. "As to the portraits of Clement De Jonghe which Rembrandt etched, one has no need to remark how fortunate is the arrangement or how beautiful the effect, how imposing the pensive expression of this personage whom one would so little suspect of being a merchant occupied with the prosaic details of his business and to whom Rembrandt — who always idealized nature according to his own ideas — has been able to give, as in the case of the Young Haaring, an air of revery so profound and the austere mel- ancholy of a, philosopher in meditation." — Charles Blanc. REMBRANDT VAN RIJN 763. Portrait of Jacob Haaeing (The "Old Haaring"). Painter- etching. Assumed date, 1655. Bartsch. No. 274. Second state. Very fine impression with the added pil- lar in the centre of the window on outside. In perfect condition. From the Edward Utterson Collection. This pokteait, as well as being one or the most beautiful op Rem- brandt, iSj at the same time, of the utmost scarcity. It is bakely found OUTSIDE OF THE GREAT PUBLIC COLLECTIONS. REMBRANDT VAN RIJN 764. Portrait of Jan Lutma, the Elder. Goldsmith at Gron- ingen. Painter-etching. 1656. Bartsch. No. 276. First state. Superb proof before the window and the signature. Printed on parchment and excessively RARE. Framed. From the John Webster and W. L. A. Dillaway Collec- tions. "C'est un des plus beaux que Rembrandt ait grav6. Le caractfere de la tSte y est rendu principalement avec tout I'esprit imaginable.'' REMBRANDT VAN RIJN 765. Portrait of Jan Asselyn, the Painter, (Nicknamed "Crab- betje"). Painter-etching. Assumed date, 1674. Bartsch. No. 277. Third state. Very fine impression with the background completely cleaned and the portrait retouched. REMBRANDT VAN RIJN 766. Portrait of Ephraim Bonus, Jewish Physician. Painter- etching. 1647. Bartsch. No. 278. Second state. An impression of the finest quality. with the burr removed from the ring; in perfect condi- tion. Framed. From the La Motte-Fouquet, A. Alferoff, Dr. Strater and Marsden J, Ferry Collections. REMBRANDT VAN RIJN 767. Portrait of Jan Uytenbogaert, Preacher of the Sect of THE Arminian Remonstrants. Painter-etching. 1635. Bartsch. No. 279. Sixth state. Slendid impression after the two irregular corners of the octagon had been made even, but before the crude retouches on the curtain at the right. With a col- lector's mark "Anchor" in dry stamping, not mentioned by Fagan. REMBRANDT VAN RIJN 768. Portrait of Jan Cornelis Sylvius, Preaching. Painter- etching. 1634. Bartsch. No. 280. Second state. Superb impression after the big scratch in the right upper margin had been burnished out. In perfect condition. From the L. Galichon and A. Artaria Collections. "This is one of Rembrandt's best portraits. It is very scarce, especially a good impression of it; as the etching being tender, many could not be taken off before the plate was worn." — Wilson. "The following is a, translation of the Latin inscription in the lower margin: This was the face of SyWius, whose eloquence taught that Christ should be adored and showed to men the true path to Heaven. With these lips we heard him speak to the people of Amsterdam, with these he preached to the Frisians. Piety and religion were long safe in the keeping of an unyielding champion. Brightly shone the light of his life, revered for its virtues, and even in the infirmities of age he taught strong men. "A lover of sincerity, he disdained all mere pretense of right nor cared by a fair front alone to please the good. This was his belief, that Jesus could be better preached by a nobler life, less well by thunders of elo- quence. Amsterdam, cherish the memory of him who by his character set the standard for the city's life and maintained it by help of God Himself." — C. Baelaeus. "No further do I praise his merits which I fain would imitate, but seek to present in verse. — P. S. REMBRANDT VAN RIJN 769. Portrait of Jan Uytenbogaert, Receiver-General (usu- ally called "The Gold- Weigher"). Painter-etching. 1639. Bartsch. No. 281. Second state (of 4). Superb impression before the re- touch BY Captain William Baillie. Framed. REMBRANDT VAN RIJN 770. PORTEAIT OF LlEVEN WlLLEMSZ VAN CoPPENOL, WniTlNG- Masteb. The larger plate. Painter-etching. Assumed date, 1658. Bartsch. No. 283. Fifth state. Veky fine impression of the state_ before the plate was cut down. On paper with the watermark "Folly." This is one of Rembrandt's latest plates and the impression is accompanied by an original autograph of the sitter. From King Ferdinand of Portugal, Herman Weber and H. S. Theobald Collections. REMBRANDT VAN RIJN 771. Portrait of Jan Six (Burgomaster Six). Painter-etching. 1647. Bartsch. No. 285. Third state. Fine and harmonious impression with the name and age of the personage in the lower margin. Framed. "The portrait of Jan Six is unquestionably Rembrandt's masterpiece in the way of highly finished shading, and was evidently executed with the inten- tion of carrying his art, for once, as far as was possible for him in that special direction." — P. G. Hameuton. REMBRANDT VAN RIJN 772. A Bearded Man Wearing a Velvet Cap with a Jewel Clasp. Painter-etching. 1637. Bartsch. No. 313. Only one state admitted lately. Exceedingly fine im- FRESSION. From the J. Reiss and Marsden J. Perry Collections. REMBRANDT VAN RIJN 773. Rembrandt's Mother Seated at a Table, Turned to the Right. Painter-etching. Assumed date 1631. Bartsch. No. 343. Second state. Superb and brilliant impression before the removal of the black spot near the tip of the nose. From the Baron Von Lanna Collection. "Sa tete, qui est vue de trois quarts, est ext6mement fine et porte le carac- t^re d'une femme trfes-agie." — Ch. Blanc. REMBRANDT VAN RIJN 774. An Old Woman Sleeping. Painter-etching. Assumed date between 1635 and 1637. Bartsch. No. 350. Only one state known. Exceedingly fine impeession. REMBRANDT VAN RIJN 775. Three Heads or Women. Painter-etching. Assumed date 1637. Bartsch. No. 367. O lightly etched. Second state. Very fine impeession fT 'HE THREE HEADS. f ,-; i 'i -, are probably portraits of Saskia. The upper head is ■n ! I Icintiful etching of his wife that the master has left us. ; ^ EL W\ i > lAM REYNOLDS .: nd. 17. jd at Bayswater, 1835. Pupil of C. H. Hodges. V .lAM H_ OT. Mezzotint, .tman. No. 11. John Hoppner. First state. Very fine impees- . with the name of the personage and with the word . roof." Marcia Mary Anne Arbuthnot, first wife of che Right Hon. Charles Arbuthnot, M. P., and diplomat. S, SAMUEL WILLIAM ,. Geoegiana (Gordon), Duchess of Bedford. Mezzotint. A. Whitman. No. 21. After John. Hoppner. Third state. Fifth daughter of Alexander, fourth Duke of Gordon; married in 1803, as his second wife, John Russell, sixth Duke of Bedford; died 1853. REYNOLDS, SAMUEL WILLIAM 778. Charles James Fox. Mezzotint. A. Whitman. No. 92. After John Opie. Second state. Open letter proof. Very FINE impression IN PERFECT CONDITION and with ample margin. Framed. From the W. S. Carter Collection. REMBRANDT VAN RIJN 770. PORTKAIT OF LlEVEN WiLLEMSZ VAN CoPPENOL, WrITING- Mastee. The larger plate. Painter-etching. Assumed date, 1658. Bartsch. No. 283. Fifth state. Very fine impression of the state, before the plate was cut down. On paper with the watermark "FoUy." This is one of Rembrandt's latest plates and the impression is accompanied by an original autograph of the sitter. From King Ferdinand of Portugal, Herman Weber and H. S. Theobald Collections. REMBRANDT VAN RIJN 771. Portrait op Jan Six (Burgomaster Six). Painter-etching. 1647. Bartsch. No. 285. Third state. Fine and harmonious impression with the name and age of the personage in the lower margin. Framed. "The portrait of Jan Six is unquestionably Rembrandt's masterpiece in the way of highly finished shading, and was evidently executed with the inten- tion of carrying his art, for once, as far as was possible for him in that special direction." — P. G. Hamerton. REMBRANDT VAN RIJN 772. A Bearded Man Wearing a Velvet Cap with a Jewel Clasp. Painter-etching. 1637. Bartsch. No. 313. Only one state admitted lately. Exceedingly pine im- pression. From the J. Reiss and Marsden J. Perry Collections. REMBRANDT VAN RIJN 773. Rembrandt's Mother Seated at a Table, Turned to the Right. Painter-etching. Assumed date 1631. Bartsch. No. 343. Second state. Superb and brilliant impression before the removal of the black spot near the tip of the nose. From the Baron Von Lanna Collection. "Sa t6te, qui est vue de trois quarts, est extSmement fine et porte le carac- tfere d'une femme trfes-ag^e," — Ch. Blanc. REMBRANDT VAN RIJN 774. An Old Woman Sleeping. Painter-etching. Assumed date between 1635 and 1637. Bartsch. No. 350. Only one state known. Exceedingly fine impkession. REMBRANDT VAN RIJN 775. Three Heads of Women. Painter-etching. Assumed date 1637. Bartsch. No. 367. One lightly etched. Second state. Very fine impression WITH THE THREE HEADS. All three studies are probably portraits of Saskia. The upper head is perhaps the most beautiful etching of his wife that the master has left us. SAMUEL WILLIAM REYNOLDS Born in England, 1773; died at Bayswater, 1835. PupU of C. H. Hodges. REYNOLDS, SAMUEL WILLIAM 776. Mrs. Arbuthnot. Mezzotint. A. Whitman. No. 11. After John Hoppner. First state. Very fine impres- sion with the name of the personage and with the word "Proof." Marcia Mary Anne Arbuthnot, first wife of the Right Hon. Charles Arbuthnot, M. P., and diplomat. REYNOLDS. SAMUEL WILLIAM 777. Georgiana (Gordon), Duchess of Bedford. Mezzotint. A. Whitman. No. 21. After John Hoppner. Third state. Fifth daughter of Alexander, fourth Duke of Gordon; married in 1803, as his second wife, John Russell, sixth Duke of Bedford; died 1853. REYNOLDS, SAMUEL WILLIAM 778. Charles James Fox. Mezzotint. A. Whitman. No. 92. After John Opie. Second state. Open letter proof. Very fine impression in perfect condition and with ample margin. Framed. From the W. S. Carter Collection. REMBRANDT VAN RIJN 770. POETRAIT OF LlEVEN WiLLEMSZ VAN CoPPENOL, WrITING- Mastee. The larger plate. Painter-etching. Assumed date, 1668. Bartsch. No. 283. Fifth state. Very fine impression of the state before the plate was cut down. On paper with the watermark "Folly." This is one of Rembrandt's latest plates and the impression is accompanied by an original autograph of the sitter. From King Ferdinand of Portugal, Herman Weber and H. S. Theobald Collections. REMBRANDT VAN RIJN 771. Portrait oe Jan Six (Burgomaster Six). Painter-etching. 1647. Bartsch. No. 285. Third state. Fine and harmonious impression with the name and age of the personage in the lower margin. Framed. "The portrait of Jan Six is unquestionably Rembrandt's masterpiece in the way of highly finished shading, and was evidently executed with the inten- tion of carrying his art, for once, as far as was possible for him in that special direction." — P. G. Hamerton. REMBRANDT ^'^^N RTJN EEMBEAITDT, YM RUK , ^ ^ . 772 A. "Jewish Bride", Paintor-etclimc. Hiss E. G. T'lCBride, *.^i,a.ijiiAj.NijX o Mother Seated at a Table, Turned to the Right. Painter-etching. Assumed date 1631. Bartsch. No. 348. Second state. Superb and brilliant impression before the removal of the black spot near the tip of the nose. From the Baron Von Lanna Collection. "Sa tSte, qui est vue de trois quarts, est extgmement fine et porte le carac- t^re d'une femme trfes-ag6e." — Ch. Blakc. REMBRANDT VAN RIJN 774. An Old Woman Sleeping. Painter-etching. Assumed date between 1635 and 1637, Bartsch. No. 350. Only one state known. Exceedingly fine impression. REMBRANDT VAN RIJN 775. Three Heads of Women. Painter-etching. Assumed date 1637. Bartsch. No. 367. One lightly etched. Second state. Very fine impression WITH THE THREE HEADS. All three studies are probably portraits of Saskia. The upper head is perhaps the most beautiful etching of his wife that the master has left us. SAMUEL WILLIAM REYNOLDS Born in England, 1773; died at Bayswater, 1835. PupU of C. H. Hodges. REYNOLDS, SAMUEL WILLIAM 776. Mrs. Arbuthnot. Mezzotint. A. Whitman. No. 11. After John Hoppner. First state. Very fine impres- sion with the name of the personage and with the word "Proof." Marcia Mary Anne Arbuthnot, first wife of the Right Hon. Charles Arbuthnot, M. P., and diplomat. REYNOLDS, SAMUEL WILLIAM 777. Georgiana (Gordon), Duchess of Bedford. Mezzotint. A. Whitman. No. 21. After John. Hoppner. Third state. Fifth daughter of Alexander, fourth Duke of Gordon; married in 1803, as his second wife, John Russell, sixth Duke of Bedford; died 1853. REYNOLDS, SAMUEL WILLIAM 778. Charles James Fox. Mezzotint. A. Whitman. No. 92. After John Opie. Second state. Open letter proof. Very fine impression in perfect condition and with ample margin. Framed. From the W. S. Carter Collection. REYNOLDS, SAMUEL WILLIAM 779. Fishermen Going Out. Mezzotint. 1805. A. Whitman. No. 400. After George Morland. Proof before all letters not men- tioned by Whitman. Very fine. ANTONIO RICCIANI Born in Rome, 1775; died — . RICCIANI, ANTONIO 780. The Death or Priamus at the Taking of Troy. Line- engraving. Apell, p. 358. No. 12. After P. Benvenuti. First state. Proof before all letters, with the engraver's name only. Very rare. Framed. JOSEPH THEODORE RICHOMME Born in Paris, 1785; died there, 1849. Pupil of Regnault and Coiny. RICHOMME, JOSEPH THEODORE 781. Triumph of Galathea. Line-engraving. ApeU, p. 359. No. 9. After Raphael. Second state. Open letter proof, with the engraver's stamp. Framed. Companion to No. 782. RICHOMME, JOSEPH THEODORE 782. Thetis Carrying the New Armure to Achilles. Line- engraving. Apell, p. 359. No. 10. After F. Gerard. Second state. Open letter proof, with the engraver's stamp. Framed. Companion to No. 781. RICHOMME, JOSEPH THEODORE 788. Neptune and Amphitrite. Line-engraving. Apell, p. 359. No. 11. After Giulio Romano. First state. Proof with the art- ists' names only. Framed. CHRISTOFANO ROBETTA Born in Florence, 1463, and worked until 1533. "Vasari, who has given a long chapter to engravers by profession, does not mention Robetta. He seems to have considered this artist a mere goldsmith. Whatever may be the cause of this forgetfulness — and it is of little consequence, the plates being more eloquent than the best authenticated descriptions — -ne must assert that the prints signed with his name merit special attention. Drawn with unerring beauty and elegance, and engraved with a boldness and ease rare amongst the early Italians, they may sometimes be marred by timidity and inexperience, never by want of taste nor incorrectness of design." — Dtjplessis. ROBETTA, CHRISTOFANO 784. The Adoration of the Magi. Painter-engraving. Bartsch, XII. No. 6. A very fine and strong impression; evidently a contem- porary print. The plate of this engraving is stiU pre- served in the British Museum. It has been printed often in later periods and modern impressions are of frequent occurrence. On the reverse of the plate is the engraving for the Allegory of the Power of Love. ROBETTA, CHRISTOFANO 785. Allegoey of the Powee of Love. Painter-engraving. Bartsch, XIII. No. 25. Fine early impression and extremely rare. This design is engraved on the reverse of the plate, The Adoration of the Magi. Bartsch. No. 6. ANTOINE LOUIS ROMANET 1748—? ROMANET, ANTOINE LOUIS 786. Le Bain. Line-engraving. Portalis and Beraldi, III, p. 412. No. 2. After S. Freudeberg, Proof before the title. Veky fine iMPEESSiON, but cut close. Raee. JOHANN HEINRICH ROOS Born at Otterdorf (Palatinat), 1631; died in Frankfurt a|M, 1685. ROOS, JOHANN HEINRICH 787. Shepheed and Flock Resting. Painter-etching. Bartsch. 38. Second state. Fine impeession. Framed. FRANCESCO ROSASPINA Born at Monte Scudolo, near Rimini, 1762; died in Bologna, 1842. Disciple of Volpato and Morghen. ROSASPINA, FRANCESCO 788. The Dance oe Cupids (also called the Rape of Proserpine). Line-engraving. Apell, p. 366. No. 12. After F. Albano. First state. Beautieul proof before ALL LETTERS AND THE BORDER. Framed. NICOLETTO ROSEX (ROSSI or ROSA) (Called Da Modena) "Flourished at Modena (?) about 1490-1511. Italian engraver and gold- smith of the 16th century, born in Modena. In his early works he came under the influence of Mantegna's style. . . . He developed about the same time (1500) a, style of composition quite his own, among engravers of the time, nearly always surrounding his saint or allegorical figure in a fan- tastic setting of classical ruin." — Hind. ROSEX, (ROSSI or ROSA), NICOLETTO 789. Pallas. Painter-engraving. Bartsch, XVIII. No. 48. Very rare. From the Earl of Cholmondeley's Collection. PETER PAUL RUBENS Born in Antwerp, 1577; died, 1640. RUBENS, PETER PAUL 790. St. Catherine. Painter-etching. Dutuit, V. No. 15. Third state. Very fine impression and extremely rare. "A few etchings are attributed to Rubens himself — three with some show of reason. . . . 'St. Catherine in the Clouds,' 'An Old Woman and a. Boy with Candles,' and a bust of Seneca. The first, which is the most powerful work of the three, is signed in its second state, 'P. Paul Rubens fecit.' In composition it corresponds to one of the ceiling paintings done by Rubens for the Jesuits' church of Antwerp in 1620." — Hind. JACOB RUYSDAEL Born, 1628(29); died, 1682. RUYSDAEL, JACOB 791. Les VoYAGEuas. Painter-etching. Dutuit. No. 4. Fine impression. Duplicate from the British Museum. THOMAS RYDER and J. L. COSSE Born, 1746; died, 1810. RYDER, THOMAS, and COSSE, J. L. 792. Genius of Modesty Pkeventing Love Unveiling Beauty. Stipple. After G. B. Cipriani. Veey fine impression with the title, printed in brown. Framed. WILLIAM WYNNE RYLAND Born in Ix)ndon, 1733; died there, 1783. Pupil of Ravenet, Boucher and LeBas. RYLAND, WILLIAM WYNNE 793. Cupid Tied to a Tree by the Graces. Stipple. After A. Kauifmann. Very fine impression in red. Cir- cular. Framed. RYLAND, WILLIAM WYNNE 794. Telemachus in Aula Spartana (Telemachus at the Court of Sparta) — Telemachus Redux a Penelope (Telema- chus Brought Back to Penelope). Stipples. Both after Angelica Kauffmann. Brilliant impressions in red, perfect in condition. Framed. (2) RYLAND, WILLIAM WYNNE 795. The Judgment of Paris. Stipple. After Angelica Kauffmann. Fine impression with the inscription, printed in black. Circular. Framed. RYLAND, WILLIAM WYNNE 796. Sleeping Venus. Stipple. After Angelica Kauffmann. Fine proof below letters printed in red. Circular. Framed. RYLAND. WILLIAM WYNNE 797. Venus Presenting Helen to Paris — The Flight of Helen AND Paris. Stipples. Both after Angelica Kauffmann. Superb impressions in i-ed, with full margin and in perfect condition. (2) These two prints are mentioned in Bryan's "Dictionary of Painters and En- gravers" as being among the artist's best work. H. SACHS Pupil of E. Mandel. SACHS, H. 798. In der Dammerung. Line-engraving. 1869. Apell, p. 371. No. 6. After Spangenberg. First state. Artist's proof on India paper. Framed. HERMAN SAFTLEVEN Born in Rotterdam, 1609; died In Utrecht, 1G85. SAFTLEVEN, HERMAN 799. Landscape with a Big Tree. Painter-etching. Bartsch, I. No. 28. Very fine impression in perfect condition. Works by this etcher very rarely find their way into the market. NATALE SCHIAVONE Born at Chiozza, 1777; died in Venice, 1858. Pupil of R. Morghen. SCHIAVONE, NATALE 800. The Assumption of the Virgin. Line-engraving. Apell, p. 377. No. 2. After Titian. The painting formerly in the Church of Santa Maria Gloriosa dei Frari, and now in the Gallery of the Academy of Venice. First state. Proof before all let- ters and before the coat-of-arms. Superb impression in PERFECT condition and ample margins. Framed. From the W. S. Carter Collection. LUIGI SCHIAVONETTI Born at Bassano, 1765; died in London, 1810. Pupil of Volpats and Bar- tolozzi. SCHIAVONETTI, LUIGI 801. The Canterbury Pilgrimage (Chaucer's Canterbury Pil- grims). Line-engraving. Andresen, II, p. 452. No. 12. After Thomas Stothard. Finished by J. Heath after the engraver's death. Fine open letter proof with one line of the inscription. Framed. GEORG FRIEDRICH SCHMIDT Berlin, 1712-1775. "Schmidt was the son of a poor weaver, and lost six precious years as a soldier in the artillery at Berlin. Owing to the small- ness of his size he was at length dismissed, when he surrendered to a nat- ural talent for engraving. Arriving at Strasburg, on his way to Paris, he fell in with Wille, a wandering gunsmith, who joined him in his journey, and eventually in his studies. The productions of Schmidt show ability, originality, and variety rather than taste. His numerous portraits are excellent, being free and lifelike, while the accessories of embroidery and drapery are rendered with effect. As an etcher he ranks next after Rem- brandt." — Sumner. SCHMIDT, GEORG FRIEDRICH 802. Portrait of Himself "with the Spider." Painter-etching. Jacoby. No. 141. Very fine, early impression before the additional shading near the thermometer. From the E. Schraeter Collection. J. F. SCHMIDT SCHMIDT, J. F. 803. Portrait of Maurice Quentin de la Tour. (The small plate.) Line-engraving. 1772. Jacoby. No. 89. Second state. Superb impression with the inscription. JAKOB MATTHIAS SCHMUTZER Born in Vienna, 1733; died there, 18X1. He studied for a time in Paris un- der Wille's direction. SCHMUTZER, JAKOB MATTHIAS 804. St. Ambrose Refusing Emperoe, Theodosius Admittance to THE Church. Line-engraving. ApeU, p. 379. No. 5. After P. P. Rubens. Second state. Proof before letters with the pillars. Very fine. From the Burleigh James Collection. MARTIN SCHCENGAUER Born at Ulm, about 144S; died at Colmar, 1491. He first studied with his father, who was a goldsmith, and afterward seems to have visited Flanders, where he studied under Roger Van der Weyden. SCHCENGAUER, MARTIN 805. The Angel of the Annunciation. Painter-engraving. Bartsch, VI. No. 1. Very fine impression on paper with the watermark "Fleur- de-lys." A tear in the lower part carefully repaired. Companion to No. 806. From the Prince de Paar and Alfred Morrison Collections. This impression shows the fine lines in the face and hands which give such peculiar delicacy to the finest impressions of Schosngauer's prints. It is only in impressions of this class that Schoengauer's peculiarly subtle modelling can be really appreciated. It is by the simplest possible technic that he at- tained the wonderful purity and delicacy of effect for which his prints have always been famous, and these qualities can only be appreciated in the earliest impressions. SCHCENGAUER, MARTIN 806. The Virgin of the Annunciation. Painter-engraving. Bartsch, VI. No. 2. Beautiful rich impression in perfect condition. Of almost all the early German engravers' work, Schon- gauer's are the most difficult to obtain in fine impres- sions. Companion to No. 805. From the P. Gellatly Collection. SCHCENGAUER, MARTIN 807. The Annunciation. Painter-engraving. Bartsch, VI. No. 3. Superb impression and of the greatest rarity. SCHCENGAUER, MARTIN 808. The Nativity. Painter-engraving. Bartsch, VI. No. 4. Extremely pine impression and of the greatest rarity. Framed. SCHCENGAUER, MARTIN 809. The Passion of Christ. Painter-engraving. Bartsch, VI. Nos. 9-20. A COMPLETE SET, ALL EQUALLY SUPERB IMPRESSIONS. Sin- gle impressions are very rarely found in such quality. An ENTIRE SET CAN HARDLY BE DUPLICATED. From the Prince Alexander Lobanow Rostowsky Collec- tion. (12) SCHCENGAUER, MARTIN 810. Christ Carrying the Cross (the large plate). Painter- engraving. Bartsch, VI. No. 21. Fine impression of an extremely rare plate. Repaired on the left margin and two tears cleverly mended. Framed. SCHCENGAUER, MARTIN 811. The Crucifixion. Painter-engraving. Bartsch, VI. No. 25. From the R. Scholtz Collection. SCHCENGAUER, MARTIN 812. The Virgin and Child with a Parrot. Painter-engraving. Bartsch, VI. No. 29. Fine impression. From the Von Nagler Collection; also Duplicate from the Berlin Museum. SCHCENGAUER, MARTIN 813. The Viugin Seated in a Court-yard. Painter-engraving. Bartsch, VI. No. 32. Superb impression and of great rarity. From the Count G. Archinto Collection. SCHCENGAUER, MARTIN 814. The Death of the Virgin. Painter-engraving. Bartsch, VI. No. 33. Superb impression of one of the finest works of the master. With the unknown collector's mark "J. G." (Perhaps J. Gerbeau.) Framed. SCHCENGAUER, MARTIN 815. Christ Appearing to Magdalen. Painter-engraving. Bartsch, VI. No. 36. Fine impression. Duplicate from the Berlin Museum. SCHCENGAUER, MARTIN 816. Temptation of St. Anthony. Painter-engraving. Bartsch, VI. No. 47. A superb, silvery impression, in perfect condition. Extremely rare. From the Count G. Archinto and G. D. de Arozarena Col- lections. SCHCENGAUER, MARTIN 817. St. George Killing the Dragon. Painter-engraving. Bartsch, VI. No. 50. This delightful little print is one of the rarest and most charming of Schoengaucr's works. The present impres- sion is wonderfully fresh and brilliant. SCHCENGAUER, MARTIN 818. St. James the Greater Defeating the Saracens. Painter- engraving. Bartsch, B. VI. No. 53. Fine impression and extremely rare, particularly in such excellent state of preservation. Considering that public collections, such as the British Museum and the [No. 818 — Continued~\ Berlin Museum are compelled to take many of Schoen- gauer's prints torn across or lacking in height or breadth, the value of a perfect impression of this size may be bet- ter appreciated. Framed. From the A. Morrison Collection. SCHOENGAUER, MARTIN 819. St. Martin Dividing His Cloak. Painter-engraving. Bartsch, VI. No. 57. SUPEKB IMPRESSION AND OF THE GREATEST RARITY. SCHCENGAUER, MARTIN 820. God the Father and the Virgin Mary Seated on a Throne. Painter-engraving. Bartsch, VI. No. 71. Fine old impression and extremely rake. Duplicate from the British Museum. SCHCENGAUER, MARTIN 821. Coat-of-arms, with a Woman Nursing a Child. Painter- engraving. Bartsch, VI. No. 100. A CURIOUS and rare print. SCHCENGAUER, MARTIN 822. CoAT-OF-ARMS, WITH A WiLD Man (Family von Baldinger). Painter-engraving. Bartsch, VI. No. 103. Fine and very rare. / From the W. Esdaile, R. Balmanno, Dr. Striiter and Von Baldinger Collections. SCHCENGAUER, MARTIN 823. Coat-of-arms, with a Wild Man. Painter-engraving. Bartsch, VI. No. 105. Very fine and rare. SCHCENGAUER, MARTIN 824. Incense Buhner. Painter-engraving. Bartsch, VI. No. 107. SuPEHB IMPRESSION on paper with the watermark "High Crown." One of the finest specimens of oknamental WORK WHICH has probably NEVER BEEN SURPASSED. GABRIEL SCORODOMOFF Born, 1748; died, 1792. Pupil of Bartolozzi. SCORODOMOFF, GABRIEL 825. Cupid and Nymphs. Circular. Stipple. After Angelica Kauffmann. Brilliant proof before all LETTERS in red, with small margin. SCORODOMOFF, GABRIEL 826. Triumph of Beauty. Circular. Stipple. Very fine proof befoue all letters, printed in red. Framed. ADAMO SCULPTOR (Also known as Ghisi) Flourislied in Mantua about 1566-1580. Supposed to have been a. son of Giovanni Battista Sculptor. SCULPTOR, ADAMO 827. Three Cupids. Engraving. Bartsch, XV. No. 23. After Giulio Romano. "This is the best print which was engraved by Adam Ghisi, if indeed it be by him, which might be contested." — Bartsch. Bartsch followed the older cataloguers in giving the name of Ghisi to the whole of the Sculptor family. DIANA SCULPTOR (Also known as Ghisi) Born at Mantua, about 1535; died about 1587. Supposed to have been a daughter of Giovanni Battista Sculptor. SCULPTOR, DIANA 828. The Birth of Apollo and Diana. Engraving. Bartsch, XV. No. 39. After Giulio Romano. First state. Before "Horatius Pacificus Formis" was added on the plate. , Framed. "The dates on her sixty plates range from 1581 to 1588. About 1579 she married the architect and sculptor, Francesco Ricclarclli."— Bbyan. SCULPTOR, DIANA 829. A Sacrifice to Jupiter. Engraving. Bartsch, XV. No. 40. After Giulio Romano. First state. Early impression, before the address : "Horatius Pacificus Formis." From the Robert Dumesnil and A. Morrison Collections. GIOVANNI BATTISTA SCULPTOR (Also known as Ghis'i) Born at Mantua, 1503; died there, 1575. "He was an architect, painter and engraver, and a disciple of Giulio Romano and Marcantonio. After the death of the former he became architect-in-chief to the Duke of Mantua. He engraved about twenty plates, the dates on which range from 1535 to 1540. In tecluiique they are dry, deficient in half tones, but good in drawing. He used to be considered the head of tlie Ghisi family, but later researches proved that his name was really Sculptor." — Bryax. SCULPTOR, GIOVANNI BATTISTA 830. Hercules Suffocating Antaeus. Engraving. Bartsch, XV. No. 12. After Giulio Romano. Early impression. From the Sir Thomas Lawrence Collection and also a duplicate from the Kunsthalle Bremen. WILLIAM SHARP Born in London, 1749; died there, 1824. Pupil of B. West and F. Bar- tolozzi. "This engraver may claim kindred with the best. His first essays were the embellishment of pewter pots, from which he ascended to the heights of art, showing a power rarely equalled. Without any instance of peculiar beauty, his works are constant in character and expression, with every possible excellence of execution; face, form, drapery — all are as In nature." — Chables Sumneb. SHARP, WILLIAM 831. The Doctors or the Church. Line-engraving. Apell, p. 393. No. 6. After Guido Reni. Second state. Proof before letters, with the coat-of-arms and with the device on the ribbon. Very fine. Framed. "This picture, painted in Guido's early and most powerful manner, was eminently suited to the innate vigor of the engraver, and his translation of it is a work of art in its truest sense. Every part of it is managed with the most consunnuate skill, and in the finest keeping; the drapery well and [No. 831 — Continued] nobly arranged, the deep thought and character of each head admirably rendered, the anatomy most carefully developed, and the drawing perfect; a profound sense of meditation pervades the whole, well fitting the character of the scene. Sharp considered it his best work." — W. S. Baker. SHARP, WILLIAM 832. St. Cecilia. Line-engraving. 1790. Apell, p. 393. No. 7. After Domenichino. Second state. Proof before all let- ters, but with the border. Framed. From the Wm. H. Daugherty Collection. SHARP, WILLIAM 833. PoiiTiiAiT OF Dii. John Hunteu, Anatomist. Line-engraving. Apell, p. 396. No. 38. After Sir Joshua Reynolds. Very fine and rare. Framed. "It is of portraits especially that I write, and here Sharp is truly eminent. All that he did was well done; but two were models; that of Mr. Boulton, a strong, well-developed country gentleman, admirably executed, and of John Hunter, the eminent surgeon, after the painting by Sir Joshua Rey- nolds, in the London College of Surgeons, unquestionably the foremost portrait in English art, and the coequal companion of the great portraits in the past; but here the engraver united his rare gifts with those of the painter." — Charles Sumner. JOHN KEYSE SIIERWIN Born, 1751 (?); died, 1790. SHERWIN, JOHN KEYSE 834. RoxALANA (Mrs. Abington). Stipple. After Sir Joshua Reynolds. Fine impression in black INK AND IN PERFECT CONDITION. SHERWIN, JOHN KEYSE 835. A Tale op Love. Stipple. After Sir Henry Bunbury. Very nicely printed in colors, well preserved and with enough margin to show the plate- mark. Framed. WILLIAM SHERWIN Born in Wellington, Shropshire, about 1650 and flourished from 1670 to 1711. Died about 1715. SHERWIN, WILLIAM 836. Portrait of Edward Ward. (Author of "London Spy," etc.) Line-engraving. Fine, early impressiok; rare. From the F. Walker Collection. JOHN SIMON Born in Normandy, 1675; died in London, 1765. SIMON, JOHN 837. CoLLEY CiBBER. Apparently in the character of Lord Top- pington in the "Careless Husband." C. Smith, III. No. 39. After Grisoni. Celebrated actor and writer, born in Lon- don in 1761 ; Poet Laureate ; severely satirized by Pope ; died 1757. Only one state known. Very fine impression. Framed. From the Royal Collection at Windsor Castle. JEAN PIERRE SIMON Worked in London about 1785. SIMON, JEAN PIERRE 838. Angels' Heads (Children of Lord William Gordon) (Miss Frances Isabella Kerr Gordon). Stipple. After Sir Joshua Reynolds. First state. Proof before letters printed in black ink. Very fine and rare. SIMON, JEAN PIERRE 839. Credulous Lady and Astrologer. Stipple. Portalis and Beraldi, III, p. 548. After J. R. Smith. Very nicely printed in colors. Framed. SIMON, JEAN PIERRE 840. Sleeping Nymph (Mrs. Opie). Stipple. After John Opie. Superb proof before letters, printed in brown. Large margin. Framed. JEAN-BAPTISTE SIMONET Born in Paris, 1742; died there, 1813. "Another engraver who was a favorite interpreter of the worlc of Baudouin was Jean Baptiste Simonet, whose three most celebrated prints are 'Le Coucher de la Marine,' 'Le Modele honnete,' and 'La Soiree des Tuileries.' . . . The essential charac- teristics of Simonet as an engraver were lightness of touch, correctness of execution and absolute fidelity to the original design." — Ralph Nevill. SIMONET, JEAN-BAPTISTE 841. Le Couche de la Mariee. Line-engraving upon the etching by Jean Michel Moreau le jeune. Portalis and Beraldi, III, p. 567. No. 2. After P. A. Baudouin. Proof before all letters with the coat-of-arms only. Extremely fine impression on large PAPER with untrimmed edges. Very^ rare in such fine condition. SIMONET, JEAN-BAPTISTE 842. Le Danger du Tete-a-Tete. Line-engraving. Portalis and Beraldi, II, p. 557. No. 4. After P. A. Baudouin. Very fine and rare. "Simonet's best work, apart from 'I^e Coucher de la Marine,' is 'Le Danger du Tete-i-Tete,' also after Baudouin, and in this worlc his ability with the mordant as well as with the burin is clearly seen." — Laurence and Dightox. SIMONET, JEAN-BAPTISTE 843. La Soiree des Tuileries. Line-engraving. Portalis and Beraldi, III, p. 557. No. 5. After P. A. Baudouin. Proof before all letters and before the border. Very fine and excessively rare. " 'La Soiree des Tuileries' is incomparably superior to its pendant 'Rose et Colas,' being indeed one of tlie most pleasing of French prints. 'Rose et Colas,' though pretty, is more ordinary in style, and in consequence less valuable than 'La Soiree des Tuileries,' of which it may be added, two gouaches still exist." — Ralph Nevill. JOHN SMITH Born, 1652; died, 174.2. "Even in his own time the merits of this engraver were highly appreciated, and subsequent writers, as Walpole, have con- sidered him one of the great improvers of the art. He certainly excelled in brilliancy of effect, and was powerful, clear and correct in drawing." — Chalonee Smith. SMITH, JOHN 844. Wm. WrcHERLY. Mezzotint. C. Smith, III. No. 284. After Sir Peter Lely. Second state. Very fine impres- sion WITH THE INSCRIPTION. RaRE. JOHN RAPHAEL SMITH Born at Derby, 1759; died at Doncaster, 1812. "About 17G7 he came to London, and, it is said, first engaged himself as a shopman, but soon en- tered on the career of an artist. He practiced painting extensively, and drew with great spirit. A very considerable number of his prints are from his own designs and pictures, yet lie was most successful in his renderings of the works of Gainsborough, Reynolds and Romney. The prints pub- lished by him between the years 1775 and 1787 are, nearly without exception, among the most admirable productions ever executed in mezzotint." — Chaloner Smith. "Among all the engravers the art of mezzotint has produced, J. R. Smith is perhaps the most skilful and accomplished. His scraping has all the strength and vigor of a man who is complete master of his craft, while his training as a painter enabled him to add to bis touch the true feeling of the artist." — Alfred Whitman. SMITH, JOHN RAPHAEL 845. The Hon. Mrs. E. Bouverie. Mezzotint. 1799. C. Smith, III. No. 19. Half length. After John Hoppner. First state. Proof before all letters and before the border, probably unique. Splendid impression, with a small margin. Arabella, daughter of Sir Chaloner Ogle, Bart.; married, first, in 1785 (his second wife), Hon. Edw. Bouverie, youngest son of the 1st Earl of Radnor, who died in 1824; second, in 1828, Robert Talbot, son of Richard Talbot, who died in 1843. SMITH, JOHN RAPHAEL 846. Mrs. Caenac. Mezzotint. 1778. Smith, III. No. 31. Full length portrait. After Sir Joshua Reynolds. Sec- ond state. Beautiful proof with the artist's name and the publication line in scratched letters. Elizabeth, only daughter of Thomas Rivett, Esq., of Derby, M.P.; married John Carnac, Esq., brigadier-general in the East India Company's service, who died at Mangalore, 1800. SMITH, JOHN RAPHAEL 847. The Clavering Children. Mezzotint. 1779. C. Smith, III. No. 41. Whole length. After George Romney. Pirst state. Very FINE PROOF with the artists' names in scratched letters only. At top and sides no margin, at the bottom only one-half inch. Children of George Clavering of Greencroft, Esq. The girl died unmarried, 1795 ; the boy, born 1771, succeeded his uncle. Sir Thomas, LL.D., of Axwell Park, Co. Durham, as 8th Baronet. Died at Clifton, 1853. SMITH, JOHN RAPHAEL 848. Lady Catherine Pelham Clinton. Mezzotint. 1782. C. Smith, III. No. 43. Whole length. After Sir Joshua Reynolds. Second state. Pine impression with the inscription. Prom the A. Morrison Collection. Born 177fi, only daughter of Henry Pelham Clinton, styled Earl of Lincoln, and giund-iliiughter of Ilfjuy, Duke of Nevifcastle; married, 1800, William, styled Lord )<'oIkstoiic. She died .it Paddington, 1801. SMITH, JOHN RAPHAEL 849. Miss Cumberland. Mezzotint. 1779. C. Smith, III. No. 49. Half length. After George Romney. Pirst state. Very FINE PROOF BEFORE THE INSCRIPTION in Scratched letters. Elizabeth, eldest daughter of Richd. Cumberland, Esq.; married, 1782, Lord Edward Charles Cavendish-Bentick, who was youngest son of the 2d Duke of Portland, and died in 1819. She died at Ramsgate, 1837, aged 77. SMITH, JOHN RAPHAEL 850. The Gower Family. Mezzotint. 1781. C. Smith, III. No. 68. Whole length standing. After George Romney. First state. Very fine scratched letter proof. Susan, second daughter of Alexander Stewart, 6th Earl of Galloway; mar- ried, 1768, Granville, 2d Earl Gower. She died 1805, aged 60. Her chil- dren were: Georgiana, born 1769; Charlotte Sophia, born 1771; Susanna, born 1773; Granville, born 1773. SMITH, JOHN RAPHAEL 851. Mrs. Phoebe Hoppner (Sophia Western). Mezzotint. 1784. C. Smith, III. No. 87. Half length. After John Hoppner. First state. Superb proof before the border line and the changes in the face. Probably UNiauE. SMITH, JOHN RAPHAEL 852. Lady Caroline Montague (as Winter). Mezzotint. 1777. C. Smith, III. No. 110. Whole length standing. After Sir Joshua Reynolds. First state. Proof with the artists' names and publication line in scratched letters. Born 1774; third daughter of Henry, 3d Duke of Buccleugh; married at Richmond, 1803, Charles Douglas, Bart. She survived her husband, who died in 1837. SMITH, JOHN RAPHAEL 853. The Hon. Miss O'Neill. Mezzotint. 1798. C. Smith, III. No. 123. After W. Peters. Half length. Undescribed state, before the first mentioned by Smith. Proof with the artists' names only in scratched letters. The publication line is put on in ink by hand. Probably unique. Henrietta Boyle, only child of Charles, Lord Dungarvan; married, 1777, John O'Neill, Esq., who died of wounds received in action with the Irish rebels, 1798. Was an early patron of Mrs. Siddons, and is described as a most charming person. She died in Portugal in 1793, aged 37. SMITH, JOHN RAPHAEL 854. The Childeen of Walter Synnot, Esa. Mezzotint. 1782. C. Smith, III. No. 160. After J. Wright. First state. Beautiful scratched LETTER PROOF. Plate mark missing. Walter Synnot, Esq., of Ballynoyer House, Co. Armagh, who was after- wards knighted, married, first, 1770, Jane, daughter of John Seton, Esq., of Camberwell, Surrey, representative of the Setons of Parbroth. Their children are those represented : Marcus, born 1771: Walter; and Maria Eliza, died unmarried in 1800, aged 24. SMITH, JOHN RAPHAEL 855. The Ferkgatherers. Mezzotint. Not mentioned by Smith. After George Morland. Print in colors. Framed with black glass mat. SMITH, JOHN RAPHAEL 856. Visit to the Grandfather. Mezzotint. Engraved by E. Dayes. Fine open letter proof with margin. Framed. SMITH, JOHN RAPHAEL 857. A LoisiR. Stipple. Nicely printed in colors. JONATHAN SPILSBURY Flourished in London from 1760 to 1790. SPILSBURY, JONATHAN 858. Miss Jacobs. Mezzotint. 1762. C. Smith, III. No. 21. Three-quarter length sitting. After Sir Joshua Reynolds. First state. Extremely fine proof before all letters. Small margin. SIR ROBERT STRANGE Bom in one of the Orkney Islands, 1733. Died in London in 1792. "Strange had a style of his own — rich, soft and peculiarly adapted to the rendering of flesh tints." — The Golden Age of Engravistg. STRANGE, SIR ROBERT 859. Abraham Sending Away Hagar. Line-engraving. 1767. Le Blanc. No. 1. After Guercino. First state. Proof before all letters. Very fine. STRANGE, SIR ROBERT 860. The Madonna or St. Jerome with St. Mary Magdalen and Angels (called "The Day of Correggio"). 1771. Le Blanc. No. 7. After Correggio. Second state. "Among the many fine subjects which Strange engraved . . . there is none more attractive or a more faithful translation of the original than the famous 'Madonna of St. Jerome, with the Magdalen and Angels.' " — Wiliis O. CHAPIlf. "His acknowledged masterpiece is the 'Madonna of St. Jerome,' called 'The Day,' after the picture by Correggio." — Chahles Sumner. STRANGE, SIR ROBERT 861. Venus — Danae. Line-engravings. 1768. Le Blanc. Nos. 27 and 35. Both after Titian. Second states. A beautiful pair, in FINE CONDITION WITH UNCUT MARGINS. (2) STRANGE, SIR ROBERT 862. Venus and Adonis. Line-engraving. 1779. Le Blanc. No. 29. After Titian. First state. Proof before all letters. Very fine and rare. Proofs of Strange's engravings are of THE UTMOST rarity, MORE SO THAN OF ANY OF THE OTHER master-engravers. STRANGE, SIR ROBERT 863. Fortune. Line-engraving. 1778. Le Blanc. No. 41. After Guido Reni. First state. Beautiful proof before all letters. Very rare. Framed. STRANGE, SIR ROBERT 864. Charles I and the Marquis of Hamilton. Line-engraving, 1782. Le Blanc. No. 45. After A. van Dyck. First state. Superb proof before all letters. This is one of the three great portaits by THIS ENGRAVER. Framed. STRANGE, SIR ROBERT 865. The Children of Charles I Le Blanc. No. 49. After A. van Dyck. Second state. Superb impression IN PERFECT condition. STRANGE, SIR ROBERT 866. Apotheosis of the Princes Octavius and Alfred, Children of George IIL 1786. Le Blanc. No. 50. After Benjamin West. First state. Very fine proof before all letters. Framed. FIFTH SESSION WEDNESDAY AFTERNOON, APRIL 14, 1915 AT THE AMERICAN ART GALLERIES BEGINNING AT 2.30 o'CLOCK Catalogue Nos. 867 to 1028 inclusive NICOLAS HENRI TARDIEU Born in Paris, 1674; died tiiere, 174.9. TARDIEU, NICOLAS HENRI 867. L'EMBAnauEMENT POUR Cythere. Line-engraving. Portalis and Beraldi, III, pp. 582-83. No. 1. After A. Watteau. Superb impression, in perfect con- dition. This plate ranks as the finest of all plates AFTER Watteau. DAVID TENIERS Born in Antwerp, 1610; died in Brussels, 1C90. TENIERS, DAVID 868. The Archers. Painter-etching. Dutuit, V. No. 37. First state. Fine impression. Framed. ROBERT THEW "An excellent engraver in the chalk and dotted manner; was born at Patrington, Holdernesse, in 1758; served until 1783 as a soldier, and then, at Hull, took to engraving visiting cards and addresses. His head of an old woman, after Gerard Douw, first brought him into notice, and he was afterward employed by Boydell on the large plates for his 'Shake- speare.' He died 1802."— Buyan. THEW, ROBERT 869. Mr. and Mrs. Cosway. Stipple. After Richard Cosway. Fine impression in brown. PAOLO TOSCHI Born at Parma, 1788; died there, 1854. Pupil of Bervic. Director of the Academy of Fine Arts. TOSCHI, PAOLO 870. Madonna della Tenda. Line-engraving. Apell, p. 431. No. 2. First state. Proof before all letters. Very fine. "The last of the great Italian engravers was Paolo Toschi, pupil of Ber- vic, who was himself a pupil of Wille. It remained for Toschi to discover in the lovely frescoes of Correggio, at Parma, a mine of the richest ore, which his predecessors for more than three centuries had scarcely touched. The 'Madonna della Scala,' the 'Incaronata' and the pair of groups of cherubs may be cited as examples of what Toschi has done for Correggio and for art."- — Golden Age of EifGHAviifG. TOSCHI, PAOLO 871. Madonna della Scala. Line-engraving. Apell, p. 431. No. 3. After Correggio. Remarque proof. Exceedingly fine and very kake. This is admitted to be the most beautiful of all Toschi's engravings. TOSCHI, PAOLO 872. La Discesa della Croce (Dsecent from the Cross). Line- engraving. 1843. ApeU, p. 431. No. 6. After Daniel di Volterra. First state. Remarque proof with the white square on the cross. Very fine and rare. Framed. TOSCHI, PAOLO 873. Venus and Adonis. Line-engraving. Apell, p. 431. No. 8. After F. Albano. First state. Proof before all letters. Very fine and rare. This is the principal part of the l^icture in the Louvre. Framed. CHARLES TURNER Born at Woodstock, 1774; died there, 1857. TURNER, CHARLES 874. Miss Cholmondeley. Mezzotint. A. Whitman. No. 111. Full length standing. After John Hoppner. First state ; FINE PROOF BEFORE THE BETOUCH, WITH large margin. Framed. TURNER, CHARLES 875. Admiral Loud Nelson. Mezzotint. A. Whitman. No. 401. Full length portrait. After John Hoppner. Earlier state than the first mentioned. Proof before all letters, touched upon by the painter to indicate to the engraver where to lighten the plate. Very fine and extremely rare. This engraving was published on the day of Nelson's funeral, by P. & D. Colnaghi & Co. There had been no time to engrave the title on the plate, and the proofs were sold wet as they came from the printer. Only a very few have been preserved, and the present impression, touched upon by the painter of the picture, is probably unique. TURNER, CHARLES 876. Lord Newton (Charles Hay). Mezzotint. A. Whitman. No. 403. After Sir Henry Raeburn. Half length. First state. Very FINE. Open letter proof with good margin. TURNER, CHARLES 877. Interior of a Cottage. Mezzotint. A. Whitman. No. 745. After Thomas Gainsborough. Third state. Very fine. Script letter proof. Framed. TURNER, CHARLES 878. Little Cottager. Mezzotint. A. Whitman. No. 746. After Thomas Gainsborough. Tliird state. Framed. TURNER, CHARLES 879. Hebe. Mezzotint. A. Whitman. No. 761. After F. Huet-Villiers. First state. Very fine proof BEFORE letters. Framed. J. M. W. TURNER 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 Studiorum' came forth a truly monumental work, taking rank with the highest produc- tions of Turner's genius." — W. G. Rawlinson. TURNER, J, M. W. 880. Junction oir Severn and Wye. Etching and mezzotint. Rawlinson. No. 28. Drawn, etched and engraved by J. M. W. Turner. Sec- ond state; with the letter H in the lower right corner of the margin, but before the dot in the bow of the P. of the initial letters. Framed. From the W. S. Carter Collection. "One of the most beautiful of the 'Liber' subjects. Fine impressions have a certain rare bloom on them — if I may use the word. They seem to recall the indescribable bright freshness one has sometimes seen over a landscape on a June morning, when the increasing warmth of the sun has just — but only just — cleared off the early mists, and, with a clear sky overhead, everything is sparkling with dew." — Rawlinson. TURNER, J. M. W. 881. Woman at a Tank, or Hindoo Ablution. Etching and mez- zotint. Rawlinson. No. 38. Engraved by W. Say. First state. Before the mark resembling a broad capital A. in the margin. Framed. From the W. S. Carter Collection. "Exceedingly fine. . . . The print is intensely poetical in feeling through- out." — Rawlinson. TURNER, J. M, W. 882. SoLWAY Moss. Etching and mezzotint. Rawlinson. No. 52. Engraved by Thomas Lupton. Second state. A single diagonal stroke in the left lower corner in the margin. Framed. From the W. S. Carter Collection. " 'Solway Moss' is one of the truly grand plates of the 'Liber'— perhaps the grandest of them all. Both painter and engraver seem to have surpassed themselves here." — Rawlinson. TURNER, J. M. W. 883. The Castle Above the Meadows (often called "Oakhampton Castle." E. P.) Etching and mezzotint. Rawlinson. No. 8. First state; very fine pkoof with the letters E. P. in OPEN CAPITALS. Framed. VAN ASSEN VAN ASSEN 884. Lady Hamilton. Stipple. Fine impression, in perfect condition. Framed. CORNELIS VAN DALEN, Jk. Flourished at Amsterdam from 1643 to 1665. VAN DALEN, CORNELIS, Jr. 885. Giovanni Boccaccio. Line-engraving. Andresen, p. 318. No. 9. After Titian. First state. Sufeeb proof before all LETTERS. ANTHONIE VAN DYCK Born in Antwei'p, 1599; died in London, 164.1. "No true critic can be indifferent to Van Dyck. He was one of tlie great princes of the art. . . . He had all the great qualities; he had perfect freedom and exquisite refinement. . . . His aims were few, his choice of means instinctively wise and right, his command of them absolute, his success complete." — P. G. Hauierton. VAN DYCK, ANTHONIE 886. Christ with the Cane. Painter-etching. Dutuit, IV, p. 155. A. Second state. Very fine impression from the finished plate (most likely finished by Lucas Vorsterman) before the words: "A Bon Enfant cxcu," were added following the word "Privilegio." VAN DYCK, ANTHONIE 887. Lucas Vorsterman. Painter-etching. Wibiral. No. 14. Not mentioned by Fagan. First state (of 5). Superb impression of the pure etch- ing, with margin. Extremely rare. From the A. Curtis, H. S. Theobald and two other collec- tions. "On regard cette piece coinnie le ehef-d'oeuvre des eaux-fortes de Van Dyck." — WiDiRAL. VAN DYCK, ANTHONIE 888. Frans Franck. Painter-etching. Wibiral. No. 6. Second state. Very fine proof before the inscription AND THE border-line. In perfect condition, and with unusually large margin. VAN DYCK, ANTHONIE 889. Jan de Wael. Painter-etching. Wibiral. No. 17. First state (of 6). Very fine impression before the left arm and hand have been indicated and before all letters. Of the greatest rarity. From the H. S. Theobald Collection. CHARLES STORM VAN S GRAVESANDE Born at Breda, 1841. "There are few etchers in any age who are at the same time simple in their methods of work and original. The proportion of such etchers at the pres- ent day is small indeed. . . . The truth is, as any one who likes to try it will soon discover for himself, that the j)0wer of etching simply and beau- tifully at the same time is very rare. It has always seemed to me, and it seems to me still, that this gift is the gift for an etcher."- — P. G. Hamerton. "I find Gravesande the ideal painter-etcher — a maker of illusions rather than of lines — whose lines are so fused and lost in the perfect whole that we see and feel what is done, with never a thought for the means whereby it got itself done. It is a comfort to sit down before the work of such an artist as this." — John Williabison Palmer. VAN 'S GRAVESANDE, CHARLES STORM 890. Entree de Foret (near Kellieim, Bavaria). Original dry- point. Rice. No. 25. Signed proof. Framed. VAN 'S GRAVESANDE, CHARLES STORM 891. Moulin au Bokd du Gein, pees Abcoude. Painter-etching. Signed artist's proof on Japanese paper. Very fine im- pkession; the dry-point rich and velvety. One of the most highly prized of the master's dry-points. Framed. From the W. S. Carter Collection. LUCAS VAN LEYDEN Born in Leyden in 1494; died in 1533. "His engravings rank witli tliose of Marc Antonio and Albert Diirer. Good impressions are exceedingly rare, and even during the lifetime of the artist sold at high prices." VAN LEYDEN, LUCAS 892. Adam and Eve. Painter-engraving. 1519. Bartsch, VII. No. 8. Veey fine impression. From the A. Morrison Collection. VAN LEYDEN, LUCAS 893. Adam and Eve After the Expulsion. Painter-engraving. 1519. Bartsch, VII. No. 11. VAN LEYDEN, LUCAS 894. The Same. Woodcut. Bartsch, VII. No. 11. Reversed copy by Christopher van Sichcm. VAN LEYDEN, LUCAS 895. Cain Killing Abel. Painter-engraving. Bartsch, VII. No. 13. A delicate, early impression with wide margin. From the W. Esdaile, Baron Marochetti and A. Mon-ison Collections. VAN LEYDEN, LUCAS 896. Lot and His Daughters. Painter-engraving. Bartsch, VII. No. 16. Old impression on paper with the "Gothic P." Framed. VAN LEYDEN, LUCAS 897. Davib Playing the Harp Befoue Saul. Painter-engraving. Bartsch, VII. No. 27. Veey fine and ekilliant impression, on paper with the watermark of the "Gothic P." In splendid condition. One of the finest of this engraver's plates. Framed. "Nothing can surpass the exquisite work of this engraving, nor aught rival its marvellous and brilliant silveriness." — Willshibe. VAN LEYDEN, LUCAS 898. Solomon Adoring the Idols. Painter-engraving. Bartsch, VII. No. 30. Framed. VAN LEYDEN, LUCAS 899. Esther Before Ahasuerus. Painter-engraving. Bartsch, VII. No. 31. Fine impression on paper with the watermark "Gothic P." VAN LEYDEN, LUCAS 900. Triumph of Mordecai. Painter-engraving. Bartsch, VII. No. 32. Fine impression on paper with the "High Crown." Framed. VAN LEYDEN, LUCAS 901. Susannah and the Elders. Painter-engraving. Bartsch, VII. No. 33. Fine, old impression. VAN LEYDEN, LUCAS 902. The Rest in Egypt. Painter-engraving. Bartsch, VII. No. 38. Fine impression. From the A. Morrison Collection. Bartsch says that this plate must have been engraved about 1508. It is noticeable that very little foliage drawn to a large scale occurs in Diirer's work, while it is very frequent in that of Lucas. VAN LEYDEN, LUCAS 903. The Baptism of Christ. Painter-etching. Bartsch, VII. No. 40. VAN LEYDEN, LUCAS 904). Christ Befoee the High-Peiest. From the round Passion. Painter-engraving. Bartsch, VII. No. 59. Veuy fine impression, on paper with the watermark "High Crown." Extremely rare. Framed. VAN LEYDEN, LUCAS 905. Christ Presented to the People. Painter-engraving. Bartsch, VII. No. 71. . Fine impression. Slightly repaired. Framed. VAN LEYDEN, LUCAS 906. The Great Crucieixion (Calvary). Painter-engraving. Bartsch, VII. No. 74. Fine and very rare. VAN LEYDEN, LUCAS 907. Christ Appearing to Magdalen. Painter-engraving. Bartsch, VII. No. 77. Very fin^ impression. j^ " ^ From the A. Morrison Collection. One of the most beautiful of the prints of Lucas van Leyden. Both Durer and Lucas represented Christ, in this scene, as wearing a broad- brimmed hat, probably founding this conception on the phrase in the Gos- pel: "She, supposing him to be the gardener." VAN LEYDEN, LUCAS 908. Return of the Prodigal Son. Painter-engraving. Bartsch, VII. No. 78. Brilliant impression. Framed. VAN LEYDEN, LUCAS 909. St. Luke. Painter-engraving. Bartsch, VII. No. 104. Superb impression. Framed. From the A. Morrison Collection. The singular position of the Ox's head is due to the fact that the Saint is using the tips of its horns as a rest to support the book in which he is writ- ing. This plate was believed by Bartsch to have been engraved about 1508. VAN LEYDEN, LUCAS 910. The Conversion or Saul. Painter-engraving. 1509. Bartsch, VII. No. 107. Fine impression on paper with the watermark "Jug." Framed. VAN LEYDEN, LUCAS 911. Temptation of St. Anthony. Painter-engraving. Bartsch, VII. No. 117. Very brilliant impression on paper with the "Gothic P." Framed. VAN LEYDEN, LUCAS 912. St. George Liberating the Princess. Painter-engraving. Bartsch, VII. No. 121. Very fine impression. From the A. Morrison Collection. Undated, but believed to have been engraved about 1608. Lucas would then have been only fourteen at the time he engraved this plate, and indeed there is something about the viray in which the Princess weeps at the prospect of being eaten by the Dragon and wipes away her tears in childish fashion with the back of her hand that tempts one to think that the artist who con- ceived it must himself have been a child who believed in the German fairy- tales not so very long before. VAN LEYDEN, LUCAS 913. The Dance of the Magdalen. Painter-engraving. 1519. Bartsch, VII. No. 122. Superb impression on paper with the watermark "Gothic P." A tear in the upper portion of the print has been carefully mended. From the R. Fisher Collection. "This beautiful piece, which Lucas engraved in the period of his greatest power, is one of his best works. Fine impressions are extremely difficult to find. They were already sold during the lifetime of Lucas at a golden florin, which was for that epoch a very great price ; since then fine impressions have become still rarer, time having destroyed the greater number of them, and the price has rapidly increased, collectors sometimes pushing the print to enormous sums." — Bahtsch (1796). VAN LEYDEN, LUCAS 914. Mahomet and the Monk Sergitjs. Painter-engraving. 1508. Bartsch, VII. No. 126. This is Van Leyden's first dated print. It illustrates the story of why the prophet forbade the drinking of wine. In company with his friend, the monk Sergius, Mahomet once fell asleep, overcome with wine. During this time a soldier killed the monk and put the sword into the prophet's hand. On his awakening, the soldiers told him that it was he who had killed the monk while drunk. Mahomet knew nothing about it, but realized the ter- rible consequences of overindulgence and prohibited the use of wine. VAN LEYDEN, LUCAS 915. The Poet Virgii. Suspended in a Basket. Painter-engrav- ing. Bartsch, VII. No. 136. Fine old impression, slightly repaired. Framed. VAN LEYDEN, LUCAS 916. The Promenade. Painter-engraving. Bartsch, VII. No. 144. Fine impression. VAN LEYDEN, LUCAS 917. A Buffoon Kissing a Woman. Painter-etcliing. Bartsch, VII. No. 150. From the W. Drugulin and A. Morrison Collections. VAN LEYDEN, LUCAS 918. The Musicians. Painter-engraving. Bartsch, VII. No. 155. This is one of the charming prints of the period of Durer's influence, full of a fine humor, and though small it is one oi the most desirable plates of the engraver. VAN LEYDEN, LUCAS 919. The Dentist. Painter-engraving. Bartsch, VII. No. 157. Extremely rare and from a technical point, one of the best pieces by the master. VAN LEYDEN, LUCAS 920. The Milkmaid. Painter-engraving. Bartsch, VII. No. 158. A MOST BRILLIANT IMPRESSION. Framed. From the J. S. Morgan Collection. VAN LEYDEN, LUCAS 921. Ornament with Two Dolphins. Painter-engraving. Bartsch, VII. No. 161. Fine impression. VAN LEYDEN, LUCAS 922. Ornament with Two Sphinxes. Painter-engraving. Bartsch, VII. No. 162. VAN LEYDEN, LUCAS 923. Ornament with Two Mermaids. Painter-engraving. Bartsch, VII. No. 164. The corners missing. VAN LEYDEN, LUCAS 924. An Escutcheon with Two Winged Genii. Painter-engrav- ing, Bartsch, VII. No. 167. From the Mariette and Von Nagler Collections; also Du- plicate from the Berlin Museum. ISRAEL VAN MECKENEM Worked in Bocholt and died there, 1503. Goldsmith and engraver. "There is evidence that Israel's stylistic connection with the Netherlands may be referred in a particular degree to a possible apprenticeship with Master W. Like most of the early engravers, he was a goldsmith, and never in fact much more than a clever craftsman. He was a prolific producer, his work amounting in all to 670 plates, but a large proportion are copies from E. S., Schoengauer, the young Diirer and others. He was one of the first engravers to apply to any extent the idea of reworking old plates after they were worn with many printings. Nor did he limit this practice to his own engravings, but reworked numerous plates of others, e.g., of E. S. and F. V. B., and more than all of the 'Master of the Berlin Pas- sion,' who has been recently identified with Meckenem's father." — Hind. VAN MECKENEM, ISRAEL 925. The Dance op Herodias. Engraving. Bartsch, VI. No. 9. Very fine impression of one of the engraver's most inter- esting plates. Op great rarity. VAN MECKENEM, ISRAEL 926. Chkist Careying the Cross. From the Passion. Engraving. Bartsch, VI. No. 17. A MOST ERILLIANT IMPRESSION. From the Ambroise-Firmin Didot and Louis Galichon Col- lections. VAN MECKENEM, ISRAEL 927. St. Luke Painting the Picture op the Virgin. Engraving. Bartsch, VL No. 107. St. Luke is supposed to represent the father of the en- graver. Superb impression. From the A. Morrison Collection. VAN MECKENEM, ISRAEL 928. St. Gregory. Engraving. Bartsch, VL No. 101. Very fine and extremely rare. VAN MECKENEM, ISRAEL 929. The Holy Family. Engraving. Bartsch, VL No. 143. Very fine and extremely rare. VAN MECKENEM, ISRAEL 930. The Guitar-Player and the Lady. Engraving. Bartsch, VL No. 174. This print and the following may be considered perfect examples of van Meckenem's work. Very scarce. From the A. Morrison Collection. VAN MECKENEM, ISRAEL 931. The Falconer and the Lady. Engraving. Bartsch, VL No. 177. This print and the foregoing may be considered perfect examples of van Meckenem's work. Very scarce. From the A. Morrison Collection. VAN MECKENEM, ISRAEL 932. The Bath. Engraving. Bartsch, VI. No. 187. Very fine impression and extremely rare. VAN MECKENEM, ISRAEL 933. The Genealogical Tree of Christ. Painter-engraving. Bartsch, VI. No. 202. This being an ornamental plate, it is most likely an original design by the master and not like most of his other plates, a copy of another engraver's work. ADRIAEN VAN OSTADE Born in Haarlem, 1610; died there, 1685. "Among the Genre Painters of HoUand, Adriaen Van Ostade holds, both as painter and as etcher, the first rank. Pupil of Frans Hals. At that time his fellow-student, Adriaen Brouwer, and later on, Rembrandt, had great influence upon his development. Rembrandt particularly influenced him in composition." VAN OSTADE, ARDIAEN 934. Le Coup de Couteau. Painter-etching. Dutuit, V, No. 18. Very fine impression before the plate was retouched. From the Prince Soutzo Collection. VAN OSTADE, ARDIAEN 935. Le Remouleur. Painter-etching. Dutuit, V. No. 36. First state. Superb impression with the thin border- line and before the shading below the left arm of the knife- grinder. With full margin and in perfect condition. From the Alfred Hubert Collection. VAN OSTADE, ARDIAEN 936. Le Charcutier. Painter-etching. Dutuit, V. No. 41. Second state. Very brilliant, early impression with THE thin border-line. From the Duke of Buccleugh and Baron Von Lanna Col- lections. VAN OSTADE, ARDIAEN 937. Le Violin et le Petit Vielleuk. Painter-etching. Dutuit, V. No. 45. Second state. Superb impkession before the cross-hatch- ing of the figure of the man seated in front of the door. From the Verstolk de Coelen, Guichardot and A. Hubert Collections. VAN OSTADE, ARDIAEN 938. La Danse au Cabaret. Painter-etching. Dutuit, V. No. 49. Sixth state. This is pkobablt the finest impression in existence. From the A. Hubert Collection. "It is probable that, like many painters, Ostade set too low a value on his etchings, not troubling to put them much into commerce during his life- time. This view would at least account for the rarity of early impres- sions, and it is only in these that their true virtue can be seen, as nearly all the plates have been many times heavily reworked." — Hind. DIRICK JACOB SZOON VELLERT (^Dirick van Star) Flourished at Antwerp between the years ISll and 1544. "In. this com- bination of etching with engraving, Lucas van Leyden has a follower in an Antwerp artist whose identity has only recently been established, Dirick Jacobszoon Vellert (Dirick van Star), as he has been called, from his signature. This point of contact, their close connection in style, and the fact that Vellert's earliest etchings are dated 1532, when Lucas was in Antwerp, seem to show that Vellert was inspired, if not instructed, in this sphere of art by Lucas van Leyden himself. As a designer of glass windows, Vellert had been at work in Antwerp for a decade before he turned to engraving." — Hind. VELLERT, DIRICK JACOBSZOON 939. St. Bernard Painting a Picture of the Virgin. Painter- engraving. Bartsch, VHI. No. 8. Very fine and rare. ENEA VICO Born at Parma, 1533; died at Ferrara, 1570. "Engraver and archaeologist. He went at an early age to Rome, where he was first instructed by Tom- maso Barlacchi. . . . He soon reached excellence, studying successively the manners of Giulio Bonasone, Agostino Veneziano, Caraglio, and especially Marc Antonio. Passavant dates from about 1550 the development of a manner of his own, remarkable for delicacy of execution and the skilful use of fine, closely-set lines." — Betas'. VICO, ENEA 940. Battle of the Lapiths and Centauks. Engraving. 1542. Bartsch, XV. No. 30. After Salviati. The Lapiths fighting against the Cen- taurs, who are attempting to carry away Hippodamia, wife of Pirithous. Good old impression. From the Sir M. Masterman Sykes Collection. This plate is cited by Bryan as one of Vice's best works. PIERRE VIEL Born in Paris, 1775; died — . His style of engraving is neat and finished. VIEL, PIERRE 941. Diane au Bain. Line-engraving. Portalis and Beraldi, III, p. 617. After P. Mettay. Framed. CORNELIS VISSCHER Born in Haarlem about 1620; died there, 1670. He was a pupil of Peter Soutman, but adopted a manner of his own and lias never been surpassed in the technic of line engraving. His 'Giles Bouma,' the 'Pancake Woman,' the 'Seller of Rat's Bane' and the 'Cat' may be cited as models of per- fection in the carriage of the burin. — Bryan. VISSCHER, CORNELIS 942. The Pancake Woman. Painter-engraving. Dutuit, VIL No. 42. Third state. Supeeb impression from the finished plate, but before the words : "Clement de Jonghe exc." From the Benoni White Collection. VISSCHER, CORNELIS 943. Vendee of Rat Poison. Painter-engraving. Dutuit, VI. No. 43. Third state. Proof before any inscription on the lower plate-margin. Very fine impbession. VISSCHER, CORNELIS 944. The Mouse Tkap. Painter-engraving. Dutuit, VI. No. 45. Second state. Superb impression before the name of THE ENGRAVER. VISSCHER, CORNELIS 945. Gellius de Bouma. Line-engraving. 1656. Dutuit, VI. No. 89. From life. Third state. Very fine impression with the date in the middle of the lower margin. One of the mas- terpieces or portrait-engraving. VISSCHER, CORNELIS 946. LiEVEN VAN Coppenol (writing master). Line-engraving. Dutuit, VI, pp. 494-495. No. 93. Second state. Very fine proof before all letters, with the corrected right sleeve. From the A. Bourduge Collection. VISSCHER, CORNELIS 947. Henrietta Catherine op Nassau. Line-engraving. 1649. Dutuit, VL No. 137. After G. Van Honthorst. Beautiful and rare. Framed. VISSCHER, CORNELIS 948. Jan de Paep. Line-engraving. Dutuit, VI. No. 111. Second state. Very finjs, on paper with the watermark "Folly." Framed. FRANCOIS VIVARES Born at Lodhve, 1712; died in London, 1782. Pupil of J. B. Chatelain. VIVARES, FRANCOIS 949. Landscape with "The Rape of Eukopa." Line-engraving. 1769. Andresen, II, p. 678. No. 22. After Claude Lorrain. First state. Very fine proof before all letters. Framed. From the W. H. Daugherty Collection. FRANZ VON BOCHOLT Worked before van Meckenem; from 14-50 to 1480. "Another engraver whose work betrays the influence of the Dutch School, and of Dierick Bouts in particular, is known merely by his monogram FVB. In spirit he comes nearer than any engraver of the time to the Master of the Amsterdam Cabinet and to Schoengauer. His 'Samson and the Lion' has much of the vivacity of the former master, while technical analogies in the use of dry- point, though more sparingly applied, may be noted in his greatest plate, the 'Judgment of Solomon.' Old traditions call him Franz von Bocholt, but as yet no foundation has been discovered for the identiflcation." — Hind. VON BOCHOLT, FRANZ 950. Judgment of Solomon. Painter-engraving. Bartsch.VL No. 2. NICOLAS JOSEPH l'aine VOYEZ Born at Abbeville, 1742; died (?). VOYEZ, NICOLAS JOSEPH I'Aine 951. La Toilette. Line-engraving. Portalis and Beraldi, III, p. 630. No. 3. After S. Freudeberg. WILLIAM WALKER Born in Edinburgh, 1791 ; died in London, 1867. WALKER, WILLIAM 952. Sir Walter Scott. Line-engraving and stipple. 1826. Apell, p. 454. No. 4. After Sir Henry Raeburn. A very fine open letter proof. Framed. JAMES WARD Born in London, 1769; died there, 1859. Pupil of J. R. Smith. WARD, JAMES 953. Mrs. Billington as St. Cecilia. Mezzotint. 1800. C. Smith, IV. No. 5. Full length, standing. After Sir Joshua Reynolds. Sec- ond state. Veky fine open lettee proof. Framed. From the Royal Collection at Windsor Castle. WARD, JAMES 954. Diana and Her Nymphs. Mezzotint. Andresen, II, p. 702. No. 2. After P. P. Rubens. Fine impression. From the W. Lawson Collection. WILLIAM WARD Born in London, 1766 ; died there, 1826. Elder brother of the foregoing and the most distinguished pupil of J. R. Smith. WARD, WILLIAM 955. Daughters of Sir Thomas Frankland. Mezzotint. 1797. C. Smith, IV. No. 38. After John Hoppner. Second state. Very fine open LETTER PROOF WITH LARGE MARGIN AND IN PERFECT OR- DER. Framed. WARD, WILLIAM 956. Elizabeth, Countess of Mexboeough. Mezzotint. 1784. C. Smith, IV. No. 58. After John Hoppner. First state. Proof before the re- duction of the plate. Extremely rare. Elizabeth, daughter of John Stephenson, Esq., of East Burnham, Co. Bucks, married, 1782, John, 2d Earl of Mexborough. Died 1821. WARD, WILLIAM 957. Portrait of George Morland. Mezzotint. 1805. C. Smith, IV. No. 60. After Robert Muller. Proof before the first state, men- tioned by Smith. Brilliant proof before all letters [No. 957 — Continued] and before the grounded space outside the border was cleaned. The name of G. Morland is written in pencil on the bottom of the plate in Morland's (.'') handwriting. Probably this was a trial proof submitted to the artist. WARD, WILLIAM 958. David Wilkie. Mezzotint. 1818. C. Smith, IV. No. 90. After Andrew Geddes. The only state known. SurERB iMPKEssioN IN PERFECT CONDITION. Framed. From the W. S. Carter Collection. WARD, WILLIAM 959. Mrs. Michael Angelo Taylok, as Miranda. Mezzotint. Not mentioned by C. Smith. After John Hoppner. Superb proof of great richness AND EXTREMELY RARE. Framed. WARD, WILLIAM 960. Outside of a Country Alehouse. Mezzotint. 1797. Andresen, II, p. 704. No. 16. After J. Ward. Very fine impression in colors. Framed. WARD, WILLIAM 961. Selling Rabbits. Mezzotint. After J. Ward. Very fine impression in colors. Framed. Companion to No. 962. WARD, WILLIAM 962. Compassionate Children. Mezzotint. After J. Ward. Very fine impression in colors. Framed. Companion to No. 961. WARD, WILLIAM 963. The Citizen's Retreat. Mezzotint. After J. Ward. Very fine impression in colors. Framed. WARD, WILLIAM 964. The Kite Entangled. Mezzotint. Andresen, II, p. 704. No. 17, After G. Morland. Very eine impression in coloks, WITH UNCUT MARGIN. Framed. WARD, WILLIAM 965. The CoauETTE at Her Toilet. Mezzotint. After G. Morland. Very fine impression in color. Framed. Companion to No. 966. WARD, WILLIAM 966. Domestic Happiness. Mezzotint. After G. Morland. Very fine impression in color. Framed. Companion to No. 965. WARD, WILLIAM 967. Hesitation. Stipple. Nicely printed in colors. ANTHONIE WATERLOO Born in Amsterdam, about 1609; died there after 1676. "He is best known as an engraver and etcher. His plates usually represent forest subjects, and according to Bartsch they amount to 136. They are etched with spirit and facility and retouched with the graver." — Bbyan. WATERLOO, ANTHONIE 968. Set of Six Landscapes. Painter-etchings, Bartsch, II. Nos. 65-70. First state. Very fine impressions with full margins. From the Schroeter Collection. WATERLOO, ANTHONIE 969, Landscape with Elijah Fed by the Ravens. Painter- etching. Bartsch, II. No. 136. Superb impression in perfect condition. From the H. S. Theobald Collection. CAROLINE WATSON Born in 1761 (?); died, 1814. WATSON, CAROLINE 970. Contemplation (Hon. Lady Stanhope). Stipple. After Sir Joshua Reynolds. Early impression in black, before the title was changed to "Hon. Lady Stanhope." JAMES WATSON Bom in Ireland, 1740; died in London, 1790. WATSON, JAMES 971. Mrs. Abington (as The Comic Muse). Mezzotint. 1769. C. Smith, IV. No. 1. Full length, standing. After Sir Joshua Reynolds. First state. Veky beautiful proof before all letters. Framed. WATSON, JAMES 972. Mrs. Catherine Bunbury. Mezzotint. 1778. C. Smith, IV. No. 18. After Sir Joshua Reynolds. Second state (first published state). Scratched letter proof. The plate-mark is cut off at the bottom. Eldest daughter of Captain Kane Homeck; married, 1771, Henry William Bunbury. Died 1799. WATSON, JAMES 973. Elizabeth, Duchess of Manchester, and Her Son, as Diana AND Cupid. Mezzotint. C. Smith, IV. No. 97. Full length. After Sir Joshua Reynolds. First state. Fine proof with the artsts' names only. Framed. THOMAS WATSON Born in London, 1743; died there, 1781. WATSON, THOMAS 974. Lady Catherine Bampfylde. Mezzotint. C. Smith, IV. No. 2. Full length, standing. After Sir Joshua Reynolds. Sec- ond state. Very fine proof with the artists' names and the publication line in engraved letters. Framed. WATSON, THOMAS 975. Mrs. Beresfoed, Mrs. Gardiner, Lady Townshend, Known AS THE Irish Graces. Mezzotint. Daughters of William Montgomery of Magbie Hall; Mrs. Beresford is at the left and the Lady Townshend at the right. C. Smith, IV. No. 6. From a painting by Sir Joshua Reynolds. Second state. Fine impression before the names of the personages were erased and the new title: "A Sacrifice to Hymen," was put on the plate. Framed. From the Royal Collection at Windsor Castle, JAMES HENRY WATT Born in London, 1799; died there, 1867. WATT, JAMES HENRY 976. The Procession of the Flitch of Bacon. Line-engraving. Apell, p. 445. No. 7. After Thomas Stothard. Very fine open letter proof ON India paper. Framed. FRANCIS WHEATLEY WHEATLEY, FRANCIS 977. The Cries of London. Stipple. The complete set of thirteen. No. 1. Primroses, engraved by L. Schiavonetti. No. 2. Milk Below Maids, engraved by L. Schiavonetti. No. 3. Sweet China Oranges, engraved by L. Schiavo- netti. No. 4. Matches, engraved by A. Cardon. No. 5. New Mackerel, engraved by L. Schiavonetti. No. 6. Knives, Scissors to Grind, engraved by G. Vendra- mini. No. 7. Fresh-gathered Peas, engraved by G. Vendramini. No. 8. Duke Cherries, engraved by A. Cardon. No. 9. Scarlet Strawberries, engraved by G. Vendramini. No. 10. Chairs to Mend, engraved by G. Vendramini. [No. 977 — Continued'] No. 11. New Love-song, engraved by A. Cardon. No. 12. Hot Spice Gingerbread, engraved by G. Vendra- mini. No. 13. Turnips and Carrots, engraved by T. Gaugain. Beautifully feinted in colors and very rare in such BRILLIANT AND WELL-PRESERVED SPECIMENS. All framed. (18) JAMES ABBOTT McNEIL WHISTLER Born in Lowell, Mass., 1884; died in London, 1903. "With the master- etchers of the world — M6ryon's equal in some respects, and, in some respects, Rembrandt's — there stands James Whistler. Connoisseurs in France and England, in America, Holland, Bavaria, concede this now." — ^Fbederick Wedmobe. "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, the most perfect, as a whole, that any etcher has ever accom- plished." — Joseph Pennell. WHISTLER, JAMES ABBOTT McNEIL 978. FuMETTE. Painter-etching. Kennedy. No. 13. Mansfield. No. 15. Wedmore. No. 18. One of the "12 etchings from Nature." Very fine early IMPRESSION on deep yellow India paper of the first pub- lished state ; before the reprinting of the plate. From the Tracy Dows Collection. It is- said that the model for Fumette was a little milliner of the Latin Quarter, named Eloise. WHISTLER, JAMES ABBOTT McNEIL 979. La Marchande de Moutarde Kennedy. No. 22. Mansfield. No. 22. Wedmore. No. 16. One of the "12 etchings from Nature." Second state, with the address of Delatre. Proof on India paper, mounted on plate paper. Framed. "In 'La Marchande de Moutarde' and 'The Kitchen' . . . are beauti- ful chiaroscuro effects." — T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 980. The Kitchen Kennedy. No. 24!. Mansfield. No. 24!. Wedmore. No. 19. One of the "12 etchings from Nature." First state on deep yellow India paper. Framed. WHISTLER, JAMES ABBOTT McNEIL 981. Annie Seated. Painter-etching. Kennedy. No. 30. Mansfield. No. 29. Wedmore. No. 24. Very fine first state on greenish paper Exteemely eaee. On the lower margin is written in pencil by Sir Seymour Haden, her father: "Annie Haden, 1859." WHISTLER, JAMES ABBOTT McNEIL 982. Old Westminster Beidge. Painter-etching. Kennedy. No. 39. Mansfield. No. 38. Wedmore. No. 36. One of the "16 etchings." Veey fine impeession. Framed. WHISTLER, JAMES ABBOTT McNEIL 983. Eagle Whaee (Tyzac, Whiteley & Co.). Kennedy. No. 4!l. Mansfield. No. 40. Wedmore. No. 39. One of the "16 etchings." The plate was destroyed. The proof signed with the "butterfly" on the lower margin. Marked at the back "Veey fine peoop," and again signed by the artist. Framed. From the Monsignor Doane Collection. WHISTLER, JAMES ABBOTT McNEIL 984. The Lime-Buunee. Painter-etching. Kennedy. No. 46. Mansfield. No. 45. Wedmore. No. 44. One of the "16 etchings." One of the most beautiful of Whistler's plates, and probably the earliest example of a system of composition which became very characteristic of him — that of a vista seen through a frame. Later ex- [No. 984 — Continued] amples of it are: The Traghetto, The Beggars, Doorway and Vine, San Biagio, and perhaps the last and frankest expression of all, The Garden. In these plates the fore- ground and middle distance are treated as an elaborate frame, for the most part in shadow, through which is seen a small and brilliantly-lighted distance. Framed. WHISTLER, JAMES ABBOTT McNEIL 985. Becquet (The Fiddler). Dry-point. Kennedy. No. 52. Mansfield. No. 52, Wedmore. No. 48. One of the "16 etchings" On the margin Becquet has writ- ten : "Mon portrait grave par Whistler, Becquet." Framed. Sir Seymour Haden, who could certainly be trusted not to overpraise Whistler's work, said of this plate, "Rembrandt never did anything finer." "The man began life as a sculptor, and then became a musician. Whistler often saw him, and liked him. He died a few years ago in Paris." — Joseph Pennell. WHISTLER, JAMES ABBOTT McNEIL 986. Annie Haden. Dry-point. Kennedy. No. 62. Mansfield. No. 62. Wedmore. No. 57. Framed. Of this beautiful and rare dry-point one might well quote Mr. Whistler's dictum concerning the Infantas of Valasquez, who, "clad in {Esthetic hoops, are, as works of art, of the same quality as the Elgin Marbles." "The most dignified portrait Whistler ever etched. It is as big in feeling as a portrait in oil, a proof that great art is not to be judged by size." — Joseph Pennell. WHISTLER, JAMES ABBOTT McNEIL 987. Weary. Dry-point. Kennedy. No. 92. Mansfield. No. 92. Wedmore. No. 83. This has been peonounceb by one of the gkeatest liv- ing JUDGES or Whistler to be the finest impression in EXISTENCE. Printed on thin Japanese paper of a rather warm tone. Framed. WHISTLER, JAMES ABBOTT McNEIL 988. Speke Hall No. 1. Painter-etching. Kennedy. No. 96. Mansfield. No. 95. Wedmore. No. 86. The monogram has been introduced and the figure enriched with dry-point. Framed. From the Mortimer Menpes Collection. WHISTLER, JAMES ABBOTT McNEIL 989. The Guitak-playee. Dry-point. Kennedy. No. 140. Mansfield. No. 138. Wedmore. No. 122. Very fine impression on old laid paper and unusually rare. One of the finest plates of Whistler's Middle — or Leyland Period. It is the portrait of Ridley the artist, and is distinguished by much greater strength and bold- ness than most of his plates of this time. WHISTLER, JAMES ABBOTT McNEIL 990. London Bridge. Dry-point. Kennedy. No. 153. Mansfield. No. 150. Wedmore. No. 123. Original dry-point, very fine impression before the lines of shading on the rowboat in front were made closer and uniformly extended to the gunwale. From the Tracy Dows Collection, WHISTLER, JAMES ABBOTT McNEIL 991. Old Putney Bridge. Painter-etching. Kennedy. No. 178. Mansfield. No. 175, Wedmore. No. 145. Exhibited at the Royal Academy in 1879 and published by the Fine Art Society, London. Very delicate and BEAUTIFUL IMPRESSION OF THE ONLY STATE PUBLISHED, signed with the Butterfiy, From the Tracy Dows Collection, WHISTLER, JAMES ABBOTT McNEIL 992. NOCTUKNE Kennedy. No. 184. Mansfield. No. 181. Wedmore. No. 160. One of the "12 etchings" Trial proof, perhaps unique, undescribed by Wedmore. With two gondolas in the fore- ground to the left. Printed and signed by Mr. Whistler. On the back of the print is written, in the autograph of the artist, "Trial proof. Early." On old, laid paper. A supEEB iMPUEssiON ; but the "night effect on the wide waters," spoken of by Wedmore, is not visible in this state, which seems to be intended to represent early morning. Framed. WHISTLER, JAMES ABBOTT McNEIL 993. The Little Lagoon Kennedy. No. 186. Mansfield. No. 183. Wedmore. No. 152. One of the "12 etchings" Superb golden proof of this ex- tremely rare plate. Framed. From the Mortimer Menpes Collection. "That Mr. Whistler did not need the smoke and mist of London to inspire him is most abundantly shown in these Venice plates. Here he had to deal with brilliant, clear atmosphere, yet he could give us just as much effect of space as he could in a silvery Nocturne. . . . The same amazing effect of distance'' (already noted in the Little Venice) "is produced in many others of the Venice etchings — such as the Little Lagoon, San Oiorgio, the Upright Venice, and the Long Venice." — T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 994. The Palaces Kennedy. No. 187. Mansfield. No. 184. Wedmore. No. 153. One of the "] 2 etchings" Unusually fine pkoof, printed in brown ink. Much more atmospheric than most even of the finest impressions. Framed. From the Mortimer Menpes Collection. "Somewhat similar and equally fine are The Balcony, The Palaces, and the Two Doorways; the four prints showing superb draughtsmanship and very effective contrasts of light and shade." — T. B. Wat. WHISTLER, JAMES ABBOTT McNEIL 995. The Doorway Kennedy. No. 188. Mansfield. No. 185. Wedmore. No. 154. One of the "12 etchings." On Japanese paper. Framed. This superb impression is from the collection of Queen Victoria and bears the royal stamp at the back. "Much richer in effect and with more elaboration of detail than is usual in this series, is the Doorway. A beautiful view of what has once been a palace. . . . The fine architecture of the exterior with the rich drapery of the windows, is very beautifully indicated, and the water in the fore- ground is wonderfully transparent." — T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 996. The Teaghetto, No. 2. Kennedy. No. 191. Mansfield. No. 188. Wedmore. No. 156. One of the "12 etchings." Supeeb impression before the figure of the man at the left of the group sitting at the table was more fully indicated and before the foul biting at the bottom. Framed. "But there are no such perfect plates in the world as The Beggars, The Traghetto, The Two Rivas, and The Bridge." — E. R. and J. Pektnell. WHISTLER, JAMES ABBOTT McNEIL 997. Two Doorways Kennedy. No. 193. Mansfield. No. 190. Wedmore. No. 158. One of the "12 etchings." This print seems to be much rarer than some of the other great pieces of the Venice Set. Very rich proof in black ink on white Holland PAPER. Framed. WHISTLER, JAMES ABBOTT McNEIL 998. The Beggars Kennedy. No. 194. Mansfield. No. 191. Wedmore. No. 159. One of the "12 etchings" Superb early impression, be- fore the margin was cut. Signed with the "butterfly" in pencil. WHISTLER, JAMES ABBOTT McNEIL 999. The Mast. Painter-etching. Kennedy. No. 195. Mansfield. No. 192. Wedmore. No. 160. One of the "12 etchings." Superb peoof of the first published state; signed with the butterfly. Marked by the artist with two 00 on the back. From the Tracy Dows Collection. WHISTLER, JAMES ABBOTT McNEIL 1000. Turkeys. Painter-etching. Kennedy. No. 199. Mansfield. No. 196. Wedmore. No. 165. One of the "26 etchings." Proof signed with the butterfly. The plate destroyed. Extremely fine. From the Petit-Didier Collection. WHISTLER, JAMES ABBOTT McNEIL 1001. Nocturne : Palaces. Kennedy. No. 202. Mansfield. No. 199. Wedmore. No. 168. One of the "26 etchings." Superb trial proof before the monogram and the diagonal shading in the upper part of the plate between the two palaces. Impression of a very rich golden brown color. Framed. From the H. S. Theobald Collection. WHISTLER, JAMES ABBOTT McNEIL 1002. Long Laooon Kennedy. No. 203. Mansfield. No. 200. Wedmore. No. 169. One of the "26 etchings" An impression before the but- terfly. One or two little accidental scratches visible in the former proof have been burnished from the plate. This impression is a wonderful example of Whistler's ge- nius AS A printer. Framed. From the H. S. Theobald Collection. WHISTLER, JAMES ABBOTT McNEIL 1003. Upright Venice. Kennedy. No. 205. Mansfield. 202. Wedmore. No. 172. One of the "26 etchings." A trial proof. The foreground has been etched in, but the shadow of the large gondola was lengthened in the regular edition. Framed. From the Mortimer Menpes Collection. WHISTLER, JAMES ABBOTT McNEIL 1004. The Riva, No. 2. Kennedy. No. 206. Mansfield. No. 203. Wedmore. No. 175. One of the "26 etchings." Beautiful and early impres- sion. Extremely rare. Framed. From the Mortimer Menpes Collection. WHISTLER, JAMES ABBOTT McNEIL 1005. The Balcony Kennedy. No. 207. Mansfield. No. 204. Wedmore. No. 177. One of the "26 etchings." The Doorway has been en- riched with dry-point and there is further shading on the balcony. Framed. From the Lawrence W. Hodson and Jules Gerbeau Collec- tions. "The printing of the water is very good." — Joseph Pennell. WHISTLER, JAMES ABBOTT McNEIL 1006. The Garden Kennedy. No. 210. Mansfield. No. 207. Wedmore. No. 180. One of the "26 etchings." With the additional shading on the lintel of the door. Framed. "Whistler by this time has called into requisition the resources of ink — the plate is painted with ink; it is wiped exactly where wiping adds to the effect of it; and so we have as no one else could have given it to us . . . the 8am, Biagio, and that marvelous piece, the Garden." WHISTLER, JAMES ABBOTT McNEIL 1007. Long Venice Kennedy. No. 212. Mansfield. No. 209. Wedmore. No. 182. One of the "26 etchings" Framed. "The view from — I imagine — the Casa Jankovitz, where he lived most of the time while he was in Venice." — Joseph Penneix. WHISTLER, JAMES ABBOTT McNEIL 1008. Noctukne: Furnace Kennedy. No. 213. Mansfield. No. 210. Wedmore. No. 183. One of the "26 etchings." Framed. "This is a marvelous piece of chiaroscuro. "Very dependent upon Mr. Whistler's printing, and to be compared only with the veiy finest impres- sions of the Forge and the Little Forge." — Frederick Wedmore. "In the Furnace, a nocturne in which, through a square opening in the wall at the side of a canal, is seen an interior brilliantly lighted by a furnace, the effect of chiaroscuro is still more exquisite." — T. R. Way. WHISTLER, JAMES ABBOTT McNEIL 1009. Noctubne : Salute. Painter-etching. Kennedy. No. 226. Mansfield. No. 223. Wedmore. No. 199. Superb impression. Probably the finest in existence. From the Mortimer Menpes Collection. WHISTLER, JAMES ABBOTT McNEIL 1010. Cameo, No. 1 (catalogued by Wedmore as "Mother and Child"). Painter-etching. Kennedy. No. 347. Mansfield. No. 333. Wedmore. No. 224. Superb impression of this extremely rare etching. Signed with the butterfly, and on the back marked by Whistler: "third proof" and signed with the butterfly. From the Tracy Dows Collection. WHISTLER, JAMES ABBOTT McNEIL 1011. Balcony, Amsterdam. Kennedy. No. 405. Mansfield. No. 404. Wedmore. No, 262. Superb proof of the finished plate on thin old laid paper, signed with the butterfly. Signed again on the back; apparently a selected proof from a collector. Very SCARCE. WHISTLER, JAMES ABBOTT McNEIL 1012. Long House — Dyer's — Amsterdam. Painter-etching. Kennedy. No. 406. Mansfield. No. 408. Wedmore. No. 266. Extraordinarily fine impression on thin Japanese paper, marked by the artist with on the back This is a superb EXAMPLE OF WhISTLER's LAST PERIOD AND IS AMONGST THE RAREST, OR PERHAPS THE VERY RAREST, OF HIS GREAT PLATES OF THE AMSTERDAM Series. It is about the finest subject in the series from an artistic point of view. WHISTLER, JAMES ABBOTT McNEIL 1013. Pierrot. Painter-etching. Kennedy. No. 407. Mansfield. No. 406. Wedmore. No. 264. Beautiful impression, of the utmost rarity. Framed. "Most of the Venetian studies are superb, and are already extremely rare. It is still more seldom that we encounter those enchanting and marvelous productions of a yet later period, whose themes were taken from northern France, Holland, and especially Belgium. When by a mere chance any of these find their way into the market they are eagerly secured for many times their weight in gold; comprising, as they do, the very finest specimens of art in existence. I refer in particular to such studies as The Smithy, Palace, Brussels, Square llouse. Balcony, Amsterdam, Pierrot . . ." — Prof. Dr. Hans W. Singer. WHISTLER, JAMES ABBOTT McNEIL 1014. The Limehouse. Lithograph. Extremely rare. Framed. ROBERT WHITE Born in London, 1615; died at Bloomsbury in 1704. Pupil of David Loggan. WHITE, ROBERT 1015. Portrait of Orlando Bridgeman (keeper of the Great Seal). Line-engraving. Very eine impression, with a little margin. CHARLES WILKIN Born in London, 1750; died there, 1815. WILKIN, CHARLES 1016. Lady Cockburn with Her Three Sons. Stipple. Andresen, H, p. 732. No. 1. After Sir Joshua Reynolds. Fine proof, with no other inscription, but the artists' names in scratched letters. Framed. JOHANN GEORG WILLE Born near Koenigsberg (Grand duchy of Hesse), 1714-1715; died in Paris, 1808. "About the year 1736, in company with his countryman, Georg Friedrich Schmidt, he went to Paris to devote himself to engraving, an art which he greatly influenced. He soon received the favorable notice of Hyacinthe Rigaud, some of whose portraits he engraved, and, directed and advised by that master, rose rapidly into eminence, becoming the fore- most engraver of his time. . . . His prints bear dates from 1738 to 1790, after which time he became blind and impoverished during the Revolution. . . . He was the teacher of Bervic, J. V. von Miiller, Tardieu, and other eminent engravers, who in turn transmitted his instructions to their pupils, amongst whom were Desnoyers, Longhi, Toschi, Anderloni, and J. F. W. Muller."— W. O. Chapin. WILLE, JOHANN GEORG 1017. Instruction Paterneli^e (usually called the Satin Gown). Line-engraving. Apell, p. 4.61, No. 9. After G. Terburg. Fourth state. Fine old impres- sion WITH the inscription. The engraver's chef d'oeuvre. WILLE, JOHANN GEORG 1018. L'Obseevateub, Disteait Apell, p. 462. No. 19. After Fr. Mieris. Second state. Splendid pkoof befoee LETTEES, WITH THE COAT-OF-AEMS. WILLIAM WOOLLETT Born at Maidstone, 1735; died in London, 1785. "By an intelligent union of the point and burin he carried landscape engraving to a perfection unknown before his time, and still unsurpassed. His foregrounds are as deep and vigorous as his distances are tender and delicate." — Bbtan. WOOLLETT, WILLIAM 1019. Roman Edifices. Line-engraving. 1772. Andresen, II, p. 750. No. 10. After Claude Lorrain. First state. Proof with coat-of- arms, the artists' names, publication line and "Vol. II., etc.," in lightly etched letters. Framed. From the W. H. Daugherty Collection. WOOLLETT, WILLIAM 1020. The Temple of Apollo. Line-engraving. 1760. Andresen, II, p. 750. No. 11. After Claude Lorrain. First state. Proof with the names of the artists only. Veey fine and eaee in this state. Framed. From the W. H. Daugherty Collection. WOOLLETT, WILLIAM 1021. The Maid of the Mill. Line-engraving. 1768. Andresen, II, p. 751. No. 17. After J. Richards. Fine impeession with the title. Framed. From the W. H. Daugherty Collection. MARTIN ZASINGER (also ZAGEL) A goldsmith-engraver, working at Munich about the year 1500. Much doubt exists as to his identity, there having been other masters contemporary with him who used similar monograms. The earliest date on his existing work is ISOO, and he is thought not to have been alive after 1509. He is also said to have been a pupil of Wolgemut, with whom Diirer studied. ZASINGER (also ZAGEL), MARTIN 1022. A Tournament. Painter-engraving. 1500. Bartsch, VI. No. 14. The great Tournament in front of the new town hall of Munich. Signed with Martin Zasinger's initials and dated 1500. Impkessions of Zazinger's plates or such QUALITY AND IN SUCH EXCELLENT CONDITION AS THIS ONE ARE OF THE GREATEST RARITY. ZASINGER (also ZAGEL), MARTIN 1023. The Couple Embracing. Painter-engraving. Bartsch, VI. No. 15. This is an impression of the highest quality, and very RARE. Framed. ZASINGER (also ZAGEL), MARTIN 1024. Woman Beating Her Husband Bartsch, VI. No. 18. Very fine and rare. Duplicate from the British Museum. ANDERS L. ZORN Born at Mora, Sweden, in 1860. "Near the extreme end of the range of the art in one direction — at the opposite pole to the subtle delicacies of a Whistler — I should put Mr. Zorn's bold, spirited, swiftly executed, yet completely satisfying works. Mr. Zorn's method attracts us in the sense that, while seemingly hasty and almost illogical, it proves itself magnifi- cently adequate, and therefore skilfuU and artful in the highest sense."— Mbs. Schuyler van RENssELAEn. ZORN, ANDERS L. 1025. Portrait of Mrs. Granberg. Painter-etching. Signed artist's proof. Framed. ZORN, ANDERS L. 1026. L'ete. Painter-etching. 1907. / --, a __ Delteil. No. 210. ' "^ Signed artist's proof on Whatman paper. ZORN, ANDERS L. 1027. The Precipice. Painter-etching. 1909. ^ .2 J - """' Signed artist's proof. -^ 1 v/'/r -* ZORN, ANDERS L. 1028. MoNA. Painter-etching. ^^ C . (The artist's mother.) Signed artist's proof. ^ V / AMERICAN ART ASSOCIATION, Managess. THOMAS E. KIRBY, AuCTIONEEE. ^§..-.- viz; ^^V^-^A/////// ^ =i:>c t ^■r /! u '2 Y // z/^/. " //^}. /^^~- COMPOSITION. PRESSWORK AND BINDING BY \ ADDITIONAL VOLUMES OF THE LIBRARY OF THE LATE GENERAL BRAYTON IVES TO BE SOLD DURING THE REGULAR SESSIONS AT THE TIMES INDICATED BY THEIR RESPECTIVE CATALOGUE NUMBERS AS SET DOWN HEREIN TO BE SOLD DURING THE REGULAR SESSIONS AT THE TIMES INDICATED BY THEIR RESPECTIVE CATALOGUE NUMBERS AS SET DOWN HEREIN ARNOLD, (MATTHEW) 30A. The Woeks of Arkold. Portrait on Japanese paper. 15 vols. 8vo, blue silk, gilt, gilt backs, uncut. London: Macmillan & Co., 1904 Limited Edition de Luxe. CATLIN, (GEORGE) 148A. Catlin's Nokth American Indian Portfolio. Hunting Scenes and Amusements of the Rocky Mountains and Prairies of America. From Drawings and Notes of the Author made during Eight Years' Travel amongst Forty- Eight of the Wildest and most remote Tribes of Savages in North America. Contains 25 plates beautifully COLORED and MOUNTED ON CARDBOARD, WITH NEAT TITLE FOR EACH PLATE IN PEN-AND-INK PASTED ON. Large folio, in half morocco portfolio, with the Original Text and plates loosely laid in, portfolio somewhat worn, a few spots on a plate or two. London: George Catlin, Egyptian Hall, [1844] These plates mounted on cardboard are in the origi- nal COLORING and FIRST IMPRESSIONS, resembling closely the original water-colored drawings. With title and 12pp. of text. Plates measure 18 inches by 24 inches. CHILD, (FRANCIS JAMES) 153A. English and Scottish Ballads. Edited by Francis James Child. 8 vols. 12mo, morocco backs and boards, as issued, gilt tops. Boston, 1860 DE VINNE, (THEODORE LOW) 233A. Title-Pages as Seen by a Pkintee. With numerous illus- trations in facsimile. 8vo, half red morocco and boards, as issued, uncut. New York: The Grolier Club, 1901 One of 325 copies on Italian handmade paper. EVELYN, (JOHN) 328A. Diary and Coeeespondence. Edited from the original MSS. at Wotton by William Bray. New Edition, corrected, revised and enlarged. Portraits. 4 vols. 12mo, tree calf, gilt. London, 1872 FREEMAN, (EDWARD A.) 371A. A History or Aechitectuee. Frontispiece. London, 1859 ; The Historical Geography of Europe. 2 vols, one of text, one of maps. London, 1881. All Fiest Editions. Together, 3 vols. 8vo, uniform half morocco, gilt backs, gilt tops. London, 1859-1881 FREEMAN, (EDWARD A.) 371B. The Histoey of the Noeman Conquest of England, its Causes and its Results. Third Edition, revised. Folding maps. 5 vols. Oxford, 1877-1876; The Reign of William Rufus, and the Accession of Henry the First. Fiest Edi- tion. 2 vols. Oxford, 1882. Together, 7 vols. 8vo, half russia, gilt backs, gilt tops. Oxford and London, 1877-1876-1882 GIBBON, (EDWARD) 397A. The Histoey of the Decline and Fall of the Roman Empire. Portrait. 8 vols. 8vo, full polished calf, gilt backs and sides, gilt edges. Oxford and London : William Pickering, 1827 One of the Oxford English Classics. GREEN, (JOHN RICHARD) 412A. The Whitings of Green, Compeising: History of the English People. With maps. 4 vols. London, 187T-1878-1879-1880 The Making of England. With maps. London, 1881 The Conquest of England. With portrait and maps. London, 1883 All First Editions. Together, 6 vols. 8vo, 5 (the first and last-named) in full polished calf, the second-named in uniform half calf, gilt backs, mainly uncut. London, 1877-1883 GROTE, (GEORGE) 420A. The Writings of Gbote, Comprising; A History of Greece, from the earhest period to the close of the genera- tion contemporary with Alexander the Great. With por- trait, maps and plans. Fourth Edition. 10 vols. London, 1872 Aristotle. Edited by Alexander Bain and G. Croom Rob- ertson. First Edition. 2 vols. London, 1872 Grote (Mrs.). The Personal Life of George Grote, com- piled from family documents, private memoranda, etc. Portrait. First Edition. London, 1873 Bain (Alexander). The Minor Works of George Grote, with critical remarks on his intellectual character, writ- ings, and speeches. Portrait. First Edition. London, 1873 Plato, and the other Companions of Socrates. Third Edition. 3 vols. London, 1875 Together, 17 vols. 8vo, uniformly bound in tree calf, gilt backs and sides, by Cecil and Larkins. London, 1872-1875 HALLAM, (HENRY) 4<25A. The Writings op Hallam, Comprising; The Constitu- tional History of England, from the Accession of Henry VII. to the Death of George II. 3 vols. London, 1855 [No. 4<25A — Continued] Introduction to the Literature of Europe in the Fifteenth, Sixteenth, and Seventeenth Centuries. 4 vols. London, 1855 View of the State of Europe during the Middle Ages. 3 vols. London, 1855 Together, 10 vols. 12mo, full polished calf, gilt backs, gilt tops, uncut, by Oliver and Boyd. London, 1855 HELPS, (ARTHUR) 460A. The Spanish CoNauEST in America, and its Relation to the History of Slavery and to the Government of Colonies. With maps. All First Editions. 4 vols. 8vo. full pol- ished calf, gilt backs. College arms on sides, marbled edges. London, 1855-1857-1861 HILDRETH, (RICHARD) 468A. The History oe the United States of America. 6 vols. 8vo, half calf, gilt backs, gilt tops. New York, 1849-1852 HUME, (DAVID), and SMOLLETT, (TOBIAS) 499A. The History oe England. Numerous fine portraits. 13 vols. 8vo, full polished calf, gilt back, gilt edges. Oxford and London: William Pickering, 1826 One of the Oxford English classics. JAMES, (G. P. R.) 514A. The Writings of James, Comprising; A History of the Life of Edward, the Black Prince. Folding map. First Edition. 2 vols. London, 1836 The Life and Times of Louis the Fourteenth. 4 vols. Second edition of Vols. 1 and 2, first edition of Vols. 3 and 4. With portraits. London, 1838 A History of the Life of Richard Coeur-de-Lion. First Edition. 4 vols. London, 1842 The History of Charlemagne. Portrait. Second Edition. London, 1847 [No. 514A — Contmuedl The Life of Henry the Fourth, King of France and Na- varre. Portrait. Fiest Edition. 3 vols. London, 1847 Together, 14 vols, uniformly bound in tree calf, gilt backs and sides, by Cecil and Laekins. London, 1836-1847 JOMINI, (BARON) 528A. Life of Napoleon. Translated from the French, with Notes by H. W. Halleck. 5 vols., including the Atlas of maps. 8vo, and oblong 8vo, uniformly bound in half crimson morocco, gilt backs, gilt tops. New York, 1864 Several extra portraits are included. LECKY, (W. E. H.) 597A. The Weitings of Lecky, Compeising; A History of the Rise and Influence of the Spirit of Rationalism in Europe. Second Edition. 2 vols. London, 1865 A History of England in the Eighteenth Century. Sec- ond Edition, revised. 8 vols. London, 1879-90 Together, 10 vols. 8vo, full polished calf, gilt backs, gilt tops, uncut, by Tout. London, 1865-90 MACAULAY, (LORD) 656A. The Woeks of Macaulay. Edited by his sister, Lady Trevelyan, comprising, — History of England, Essays, Speeches, Lays of Ancient Rome, and Poems. Portrait. 8 vols. 8vo, tree calf, gilt backs, binding of one volume repaired. London, 1866 NICOLAY. (JOHN G.), and HAY, (JOHN) 749A. Abeaham Lincoln; A Histoey. Portraits. 10 vols. 8vo, original cloth, gilt tops. New York, 1890 PALGRAVE, (SIR FRANCIS) 762A. The Histoey of Noemandy and of England. Fiest Editions. 4 vols. 8vo, full polished calf, gilt backs, gilt tops, uncut, by Tout. London, 1851-1857-1864 SCOTT, (SIR WALTER) 867A. The Waverley Novels. Numerous illustrations on steel arid wood. 48 vols. 12mo, half green levant morocco, gilt backs, gilt tops, edges scraped. Edinburgh, 1859-1860 SHAKESPEARE, (WILLIAM) 876A. The Pictorial Edition of the Works of Shakespeare. Edited by Charles Knight. Numerous illustrations. 8 vols, royal 8vo, tree calf, gilt backs and sides, gilt edges. New York, n. d. SHEPARD, (THOMAS) 899A. Theses Sabbaticae; or, The Doctrine of the Sabbath; wherein (1) Morality, (II) Change, (III) Beginning, (IV) Sanctification are clearly discussed, which were first handled more largely in sundry Sermons in Cambridge in New-England, etc. London, 1650 Also Certain Select Cases Resolved ... by Thomas Shepard (sic), sometimes of Emanuel-CoUedge in Cam- bridge, Now Preacher of God's Word in New-England. London, 1850 In one volume, small 8vo, full polished calf. London, 1650 The George Brinley-Brayton Ives copy, with bookplates of both. AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY, Auctioneer. COLUMLilAN NATURAL CI ASP NO. 63M PAT. 1,2S0,DS3 PAT. 1,533,048 THE UNITED STiT^: Eh ELOPE CD. SPRl; jriELD.HASS 6 ■'2 X gi/z SCOTT, (SIR WALTER) 867A. The Waveeley Novels. Numerous illustrations on steel and wood. 48 vols. 12mo, half green levant morocco, gilt backs, gilt tops, edges scraped. Edinburgh, 1859-1860 SHAKESPEARE, (WILLIAM) 876A. The Pictoriai, Edition or the Works of Shakespeare. Edited by Charles Knight. Numerous illustrations. 8 vols, royal 8vo, tree calf, gilt backs and sides, gilt edges. New York, n. d. SHEPARD, (THOMAS) 899A. Theses Sabbaticae; or, The Doctrine of the Sabbath; wherein (1) Morality, (II) Change, (III) Beginning, (IV) Sanctification are clearly discussed, which were first handled more largely in sundry Sermons in Cambridge in New-England, etc. London, 16S0 Also Certain Select Cases Resolved ... by Thomas Shepard (sic), sometimes of Emanuel-CoUedge in Cam- bridge, Now Preacher of God's Word in New-England. London, 1850 In one volume, small 8vo, full polished calf. London, 1650 The George Brinley-Brayton Ives copy, with bookplates of both. AMERICAN ART ASSOCIATION, Managers. THOMAS E. KIRBY, Auctioneer. SALES OF THE YEAR Record of Public Auctions of Artistic and Literary Property in the United States No. 1 The Brayton Ives Collection of Prints AMERICAN ART GALLERIES April 12-Uy 1915 Published by the AMERICAN ART NEWS CO., Inc. 15 East Fortieth Street NEW YORK PRICE TWENTY-FIVE CENTS Sale of the Brayton Ives Collection of Prints American Art Galleries, April 12-14, 1915 IVES RECORD PRINT SALE. At the sale of the Brayton Ives col- lection of prints which began April 12 at the American Art Galleries and ended on the afternoon of April 14, the records were broken in the prices for a number of the Rembrandts and for some of the Schoengauers and Durers. The total for the 1,029 lots was $290,819.50. The sale of the prints was one of the most important ever been held, here or abroad. Auctioneer Thomas E. Kirby faced a crowded room at all the five ses- sions of -the sale, and dealers as well as collectors were present from various parts of this country, while foreign dealers were represented directly and by agents. The great collection of Rembrandts ranged high in price, the remarkable impression of "The Three Crosses" bringing $8,500 from A. H. Hahlo & Co., of this city, after a spir- ited competition, with Curator Fitzroy Carrington, who was purchasing for the Boston Museum. The last time this print was sold at auction it brought $4,500. _ The second highest price of the even- ing of April 13 was- $5,000, given by Mr. Albert Roullier, of Chicago, for the "Hundred Guilder Print"— "Christ Healing the Sick." The same price was paid by Mr. Joseph E. Widener, of Philadelphia, for the portrait of "Jan Lutma." Hahlo & Co. gave $3,300 for the print of "Rembrandt Leaning on a Stone Sill," while the "Landscape with the Three Cottages" went to Mr. W. Jaretski at $3,350. Mr. Roullier gave $2,600 for the "Land- scape with a Ruined Tower in Clear Fore- ground;" $2,200 for the portrait of "Jan Rix" and $2,100 for "An Arched Landscape with a Flock of Sheep." The London firm of P. & D. Colnaghi & Obach gave $2,550 for the "Portrait of Jacob Haaring." The same amount was given by Hahlo & Co. for "St. Francis Beneath a Tree Praying." J. F. Drake, Inc., gave $2,050 each for the "Gold- weigher's Field" and "Portrait of Clement de Jonghe." Knoedler & Co. gave $2,000 for the "Landscape with a Cottage and Haystack," and Mr. D. Allen the same amount for the "Portrait of Ephraim Bonus." When it came to the Schoengauers, Mr. Roullier gave $3,300 for the "Death of the Virgin" and $1,900 for the "Angel of the An- nunciation" and Mr. D. Allen $1,525 for "The Virgin Seated in a Courtyard" and $1,175 for the "Passion of Christ." On the afternoon of April 13, the Boston Museum gave $3,100 for "Master L. Cz.'s" "Christ Entering Jerusalem." The Meryons brought record prices, Mr. D. Allen giviilg $3,100 for "L'Abside de Notre Dame de Paris;" P. & D. Colnaghi & Obach, $2,975 for the Tarocchi cards and Mr. Joseph E. Widener $2,500 for Jones' "Mrs. Charles Davenport," after Romney. The highest price at the opening sessions on April 12 was the $2,600 given by James F. Drake, Inc., in the evening for Green's "Georgiana, Duchess of Devonshire," after Reynolds, a copy of which sold at the Hol- lins' sale at the Anderson Galleries in Janu- ary for $1,600. Otto Bernet, as agent paid $2,500 for Durer's "Adam and Eve." The impression of the "Melancholia" went to Mr. Drake for $2,050, and "The Nativity," for $1,700. M. Knoedler & Co. gave $1,525 for "Knight, Death and the Devil;" Mr. Roullier, $1,400 for "The Virgin and Infant Christ with a Pear;" Mr. Dreicer, $1,375 for "St. Hubert" and P. & D. Colnaghi & Obach, $1,325 for the "Coat of Arms with a Skull." The highest price of the afternoon of April 14 was $6,700, a record; t)aid by W. W. Seaman, agent, for the set of 13 "Cries of London." The Boston Museum paid $3,200 for Ward's "Daughters of Sir Thomas Frankland" after Hoppner. The Whistlers sold remarkably well, J. E. Drake, Inc., giv- ing $2,900 for No. 992, "Nocturne' =>"'i $2,150 for "Two Doorway," while Knoedler & Co. paid $2,500 for "Nocturne — Palaces." The total of the first session on the after- noon of April 12, was $22,442.50, for the sec- ond session on the evening of April 12, $50,- and M. the 254, for the third session, afternoon of April 13, $51,670.50, and for the fourth session on the evening of April 13, $96,255, and for the fifth and concluding session, on the after- noon of April 14, $70,197.50, making a grand total for the prints of $290,819.50. The ag- gregate totals of the sale are the highest ever obtained here or abroad, considering the number of lots. THE SALES LIST. The following is a list of the prints sold during the five sessions, beginning Monday and ending Wednesday afternoon, with the prices and the names of the buyers: First Session. 1 — Agar, J. S., "Charlotte, Princess of Wales," after Jones ; Stipple, R. Eder- heimer $ '-SO 2 — Agar, J. S., "Mrs. Duff," after Cosway; Stipple. Max Williams S.OO 3 — Agar, J. S., "Lady Heathcote," after Cosway; Stipple. Mrs. Forsyth Wickes ZOOO 4 — Aldegrever, H., "Lot and His Daugh- ers :" Painter-engraving. C. Timp- kin 15.00 5— Aldegrever, H., "The Nativity"; Paint- ei -engraving. A. Hahlo & Co 52.50 6 — Aldegrever, H., "Portrait of Martin Luther;" Painter-engraving. A. Roul- lier 85.00 7 — Aldegrever, H., "Portrait of Himself at the Age of 35" Painter-engrSving. Paul J. Sachs 30.00 8 — Aldegrever, H., "Children Playing Near a Well"; Painter-engraving. Mrs. Chauncey 20.00 9 — Altdorfer, A., "The Crucifixion" Paint- er-engraving. C. Timkin 140,00 10 — Altdorfer, A., "A Cup"; Painter-engrav- ing. Paul J. Sachs 27.50 11 — Brookshaw, R., "John Paul Jones"; Mezzotint. C. Deardon 120.00 12 — Brookshaw, R., "Major-General Israel Putnam"; Mezzotint. C. Deardon.. 85.00 13 — Brookshaw, R. "General Wolfe"; Mez- zotint. C. Dearden 85.00 14 — Brookshaw, R., "Colonel Benedict Ar- nold"; Mezzotint. C. Dearden 55.00 15 — Brookshaw, R., "Maior-General Hora- tio Gates"; Mezzotint. C. Dearden 90.00 16 — Brookshaw, R., "Commodore Hopkins"; Mezzotint. C. Dearden _ 85.00 17 — Brookshaw, R., "Another Impression of the same" ; Mezzotint. Kennedy & Co 70.00 18 — Brookshaw, R., "Captain Isaac Hull" ; Mezzotint. Max Williams 135.00 19 — Brookshaw, R., "George Washington"; 1 Mezzotint. Max Williams 200.00 ; 20— Dawe, G., "Sir Walter Raleisrh"; Mez- | zotint; Engraving. J. M. Hart 5.00 i 21 — Enguidanos, T. L.. "Father Bartholo- I meo de Las Casas" ; Line-engraving. ' Max Williams 3.00 22 — Fisher, E., "Beniamin Franklin" ; Mez- zotint. F. Meder 1 10.00 23 — Green. V., "General Nathaniel Greene"; Mezzotint. J. M. Hart 180.00 24 — Josi, C, "Ihaddeus Kosciusko"; Stip- ple. Mrs. J. Heinmann 20.00 25 — Meyer, H., "Commodore Stephen De- catur," after Jarvis ; Stipple. C. Deardon 50.00 26 — Tanner, B., "Macdonough's Victory on Lake Cham'^lain," after Reinagle ; Line-engraving. E. A. Armstrong. . 70.00 27 — Ticbout, C, "General Horatio Gates"; Stipple. C. Dearden 60.00 28 — Anderloni, F., "The Assumption of the Viroin" ; Line engraving. Mrs. Geo. Fearon 15.00 29 — Anderloni, P., "Moses at the Well," Poussin; "Christ and the Woman taken in Adultery," after Titian; (2) Line-engravings. T. Richmond $ 25.00 30 — Anderloni, P., "Judgment of Solomon," after Raphael ; Line-engraving. T. Richmond 5.00 31 — Anderloni, P., 'Madonna del Passag- gio," after Raphael; Line-engraving. Paul J. Sachs 10.00 32 — Anderloni, P.. "Expulsion of Heliod'o- rus," after Raphael; "Attila Before Rome," after Raphael (2) Line En- gravings. T. Richmond 10.00 33 — Andrea, Z., "Judith with the Head of Holofernes"; Eno-raving. D. Allen.. 65.00 34 — Andrea, Z., "Three Amoretti" ; Engrav- ing. D. Allen 130.00 35 — Andrea, Z., "Four Women Dancing"; Engraving. A. Hahlo & Co 175.00 36 — Andrea, Z., "Ignorance and Mercury; an Allegory of Virtue and Vice" ; Engraving. P. D. Colnaghi & Obach 160.00 37 — Anonymous, "Purgatory" ; Woodcut. Paul J. Sachs 32.50 38 — Anonymous, "Venus upon the Sea" ; Engraving. Paul J. Sachs 42.50 39 — Appleton, T. G.. "Lady Hamilton as the 'Ambassadress'," after Romney; Engraving. Mrs. C. S. Baylis 30.00 40 — Atkinson, T. L., "Lady Godiva," after Van Lerius; Mezzotint. Mrs. J. Heinmann 12.50 41 — Aubry, H., "Psvche et I'Amour" ; Litho- ograph. T. Richmond 5.00 42 — Audouin, P., "Venus Blessee," after Raphael: Line-engraving. G. Busse. 10.00 43 — Audran, B., "Jean-Baptiste Colbert" after LeFebvre ; Line-engraving. R. Ederheimer 10.00 44 — Baldini, B.. "Mars"; Engraving. Bos- ton Museum 440.00 45 — Baldini, B., "Luna" ; Engraving. Bos- ton Museum 460.00 46^Baldini, B., "Dante and Virgil with the Vision of Beatrice," after Botticelli; Engraving. Boston Museum 90.00 47_B3nkel, J., "Castor and Pollux," after Rubens. T. Richmond 5.00 48— Barbari, J. de, "St. Catherine" ; Engrav- ing. P. D. Colnaghi & Obach 400.00 49 — Barbari, T. de, "Anollo and Diana"; ,„, .„ Engraving. A. Hahlo & Co 185.00 50 — Barbari, T. de. "Mars, Venus and Cu- nid"; Engravine. A. Hahlo Sr Co.. 610.00 51 — Barlow, T. O., "Portrait of Charles Dickens," after Firth ; Mezzotint. W. T. Wallace 40.00 52— Barney, W. W., "George Spencer, F.ar! of Sunderland and Lord Charles Spencer," after Cosway; Mezzotint. M. Knoedler & Co HO.OO 53 — Bartoloi'zi, F., "Cupidon Achete Trop- Cher," after Stuart ; Stipple. D. Al- len 37.50 54 — Bartolozzi, F., "Genius Describing Beautv," after Cipriani; Stipple. M^ Knoedler & Co 25.00 55 — Bartolozzi. F., "Prudence and Beauty," after Cipriani; Stipple. M. Knoedler & Co •, 27.SC 56 — Bartolozzi, F., Another impression of the same, after Cipriani; Stipple. Paul A. Isler S5.00 57 — Bartolozzi, F., "Love Caressed; Love R»iected," after Cipriani ; Stipple. R. Ederheimer 15-00 58 — Bartolozzi, F., "A Nest of Cupids," Miss Aspinwall • btipple. A. Hahlo & Co $ 140.00 59 — Bartolozzi, F., "The Graces Crowning the Bust of Raphael," after Cipriani; Stipple. Mrs. J. Oestcrlein 6.00 60 — Bartolozzi, F., "Hercuies and Omphale," after Cipriani; Stipple. Paul A. Isler 7.00 61 — Bartolozzi, F., "Venus Attired by the Graces," after A. Kauffmann; Stipple. R. Ederheimer 440.00 62 — Bartolozzi, F., "Venus Chiding Cupid." after Reynolds ; Stipple. Paul A. Isler 17.50 63 — Bartolozzi, F., "Venus Presenting the Cestus to Juno," after Cipriani ; Stip- ple. Paul A. Isler 12.50 64 — Bartolozzi, F^ "Venus Surrounded by Cupids" ; "Tlie First Kiss of Love," after Cipriani (2) Stipples. Paul A. Isler 25.00 65 — Bartolozzi, F., "Victory," after Cipri- ani; Stipple. E. R. Lyon 6.00 66 — Bartolozzi, F., "Girl Looking into a Mirror, after A. Kauffmann ; Stip- ple. Paul A. Isler 35.00 67 — Bartolozzi, F., "The Power of Beauty," after A. Kauffmann ; "The Power of Love"; (2) Stipples. W. W. Seaman, agt 25.00 68 — Bartolozzi, F., "Rural Innocence" ; Stip- ple. W. W. Seaman, agt 110.00 69 — Bartolozzi, F., "A St. Giles' Beauty," after Benwell; Stipple. J. F. Drake, Inc 115.00 70 — Bartolozzi, F., "The Twelve Months," after Hamilton; (11) Stipple. J. F. Drake, Inc 1,100.00 71 — Bartolozzi, F., "Wisdom," after Cipri- ani; Stipple. Kennedy & Co 80.00 72 — Bartolozzi, F., "Mrs. Abington as the Comic Muse," after Cosway; Stip- ple. R. Ederheimer 25.00 73 — Bartolozzi, F., "The Honourable Miss Bingham," after Reynolds ; Stipple. Boston Museum 90.00 74 — Bartolozzi. F., "Portrait of Bonaparte," after Appiani; Stipple. Francis M. Whitehouse 180.00 75 — Bartolozzi, F., "Miss Farren," after Lawrence; Stipple. J. F. Drake, Inc. 1,625.00 76 — Bartolozzi, F., "George IV., When Prince of Wales," after Russell ; Stip- ple. Francis M. Whitehouse 160.00 n — Bartolozzi, F., "Simplicity," after Rey- nolds; Stinple. R. Ederheimer 60.00 78 — Bartolozzi, _F., "The Fair Moralist and Her Pupil," after Cosway ; Stipple. R. Ederheimer 15.00 79 — Bartolozzi, "Another Impression of the Same; Stipple. W. Seaman, agt., "P." 35.00 80 — Bartolozzi, F., "Portrait of Angelica Kauffmann," after herself; Stipple. Mrs. J. Oesterlein 20.00 81 — Bartolozzi, F.. "The Lamb Family," after Reynolds; Stipple. J. F. Sa- bin : 45.00 82 — Bartolozzi, F., "Mary, Queen of Scots, and Her Son. James I," after Zuc- caro; Line-engraving. A. RouUier. . 70.00 83 — Bartolozzi. F., "William Murray, Lord Mansfield." after Reynolds ; Stipple. Mr. Janiske 150.00 84 — Bartolozzi, F., "Lady Smvth," after Reynolds; Stipple. W. W. Seaman, agt.. "P." 52.50 S5 — Bartolozzi, F., "The Rt. Hon. Lavinia, ' Countess Spencer," after Reynolds. Boston Museum 880.00 86 — Bartolozzi. F.. "Edward. Lord Thur- low," after Reynolds; Stipple. L. A. Morris 42.50 87 — Bartolozzi. F., "Le Silence," after Car- racci; Line-engraving. Paul A. Sachs 15.00 88 — Beauvarlet, T. F. "Le Retour du Cour- rier," after Boucher; Line-engraving. Louise McCarthy 95.00 89— Beauvarlet, J. F., "La Famille d'u Fer- mier," after Fragonard ; Line-engrav- ing. T. Richmond 27.50 I 90 — Beauvarlet, J. F., "Le Rendez-vous Agreeable," after Raoux ; Line-engrav- ing. Kennedy & Co $ 20.00 91 — Beauvarlet, J. F., "Lecture Espagnole," after Beraldi ; Line-engraving. Mrs. / T. Wickcs 17.50 92 — Beauvarlet, J. F., "Le Comte d'Artois et Mile. Clotilde," after Drouais; Line-engraving. A. Roullier 27.50 93 — Beauvarlet, J. F., "Portrait of J. B. Poquelin de Moliere," after Bourdon; Line-engraving. A. Roullier 75.00 94 — Beauvarlet, J. F., "Danish Cavaliers Se- duced by the Nymphs of Armida; Telemachus in the Island of Calyisso," after Bourdon (2) ; Line-engravings. T. Busse 15.00 95 — Beauvarlet, J. F., "L'Hymen et L'Amour," after Boucher ; Line-en- graving. T. Richmond 10.00 96 — Behara, B., "Battle of Nude Men"; Painter-engraving. A. Hahlo & Co.. 45.00 97— Beham, B,. "The Three Skulls"; Paint- er-engraving. Paul A. Sachs 22.50 98 — Beham, B., "Portrait of Emperor Charles V." ; Painter-engraving. A. Roullier 220.00 99 — Beham, B., "Portrait Emperor Ferdi- nand I." ; Painter-engraving. D. Al- len ^. 115.00 100 — Beham, H. S., "Moses and Aaron" ; Painter-engraving. A. Hahlo & Co.. 27.50 101 — Beham, H. S., "Judith"; Painter-engrav- ing. M. Knoedler & Co 27.50 102 — Beham, H. S., "Job and His Comfort- ers"; Painter-engraving, A. Roullier 65.00 103— Beham, H. S., "The Virgin with a Parrot" ; Painter-engraving. D. Allen 75.00 104— Beham. H. S.. "The Feast at Cana" ; Painter-engraving. Miss L. Scovill . . 62.50 105 — Behara, H. S.. "Christ Standing on the Globe" ; Painter-engraving. A. Hahlo & Co 40.00 106— Beham, H. S., "The Prodigal Son"; Painter-engraving. Paul A. S.Tchs.. 30.00 107 — Beham, H. S., "The Four Evangelists"; (4) Painter-engravings. M. Knoedler & Co 50.00 108 — Beharn. H. S., "Justice of Emperor Trajan"; Painter-engraving. D. Al- len 22.50 109— Beham, H. S., "The Judgment of Paris" : Painter-engraving. D. Allen 50.00 110— Beham, H. S., "The Labors of Hercu- les" (12) ; Painter-engravings. P. Berolzeimer 75.00 111— Beham, H. S., "Leda and the Swan"; Painter-engraving. M. Frankel .... 22.50 112 — Beham. H. S., "Patience"; Painter-en- graving. A. Roullier 85.00 113 — Beham, H. S.. "Death and the Young Woman" ; Painter-engraving. D. Al- len 40.00 114— Beham, H. S.. "Death and a Nude Woman" ; Painter-engraving. M. Knoedler & Co 45.00 lis — Beham, H. S., "Triumph of Women;" Painter-engraving. M. Knoedler & Co 27.50 116 — Beham, H. S.. Another Impression of the same ; Painter-engraving. P. D. Colnaghi & Obach 17.50 117 — Beham, H. S., "Egidius Herbstmoon and Simon Weinmoon" ; Painter-en- engraving. M. Frankel 22.50 118 — Beham, H. S., "Peasants Fighting"; Painter-engraving. A. Roullier 25.00 119— Beham, H. S., "Ich will auch Hit"; Painter-engraving. C. B. Hoyt 7.50 120 — Beham, H. S., "Vignette with Satyrs"; Painter-engravinor. P. D. Colnaghi & Obach 15.00 121 — Beham, H. S., "Vignette with a Cuirass and the Two Genii"; Painter- en grav- ing. P. D. Colnaghi & Obach 25.00 122 — Beham, H. S.. "Ornament"; Painter- engraving. A. Roullier 12.50 123 — Beham, H. S., "Cupid as a Jester"; Painter-engraving. J. M. Hart 15.00 124 — Beham. H. S., "Ornament with Two Genii" ; Painter-engraving. C. B. Hoyt 12.50 125— Berchem, C. P., "The Bag-Piper and the Horseman"; Painter-etching; A. Hahlo & Co $ 135.00 126 — Bervic, C. C, "The Rape of Dejaneira," after Reni ; Line-engraving. R. Fried- enberg 35.00 127 — Bei-vic, C. C, "Education of Achilles," after Resrnault; Line-engraving. R. Friedenberg > 35.00 128 — Bervic, C. C, "Laocoon," after Bouil- lon; Line-engraving. M. Frankel... 60.00 129— Bervic, C. C, "Louis XVI," after Cal- let. Line-engravino'. A. Roullier.... 70.00 130 — Binck, J., jJavid and Bathseba"; Painter-encraving. M. Knoedler & Co 65.00 131 — Blanchard, Jr., A. J. B, M., "Barthol- ome Esteban Murillo," after himself; Line-engraving. T. Busse 7.50 132 — Blooteling, A., "Admiral Egbert Meesz Kortenaer," after van der Heist ; Line-engraving. Milton T. J. Einstein 17.50 133 — Blot, M., "Le Verrou," after Fragon- ard ; Line-engraving. E. T. Bonaven- ture 10.00 134 — Blot, M^ "Mons. LeDauphin et Mad- ame, Fille du Roi^" after Mme. Le Brun; Line-engravmg. A. Roullier.. 40.00 135 — Bolswert, S. A., "The Chase of Melea- ger and Atalanta," after Rubens; Line-ensrraving. Keppel & Co 7.50 136 — Bonasone, G., "Scipio Wounded;" En- graving. Kennedy & Co 5.00 137 — Bonasone, G., "Young Man Slayin|r a Sea-Monster," Engraving. T. Rich- mond 7.50 138 — Bonasone, G., "Portrait of Michael An- gelo Bounarotti," Engraving. A. Roullier 10.00 139 — Bonnet, L. M., "Le Dejeuner de Fan- fan : *Ah ! qu*il est joli,' " after Van- gorp; Color-engraving. Dr. Rosen- bach 250.00 140 — Bonnet, L. M., "Lady Drinking Coffee," Color-print. Kennedy & Co 270.00 141 — Bonnet, L. M., "The Milkmaid," Color- print. ICennedv & Co 270.00 J42 — Bonnet, L. M., "Le Chevre Bien Amee: Le Petit Cavalier; Le coq Secouru," (3) Color-prints. R. Ederheimer. . . 135.00 143— Bonnet, L. M., "Le Reveil de Venus," after Boucher; Color-engraving. Ken- nedy & Co 75.00 144 — Bonnet, L. M., "Venus et I'Amour," after Boucher; Color-engraving. Ken- nedy & Co 100.00 145 — Boughton, G. H., "Return of the May- flower," Mr. Lawrence 10.00 146 — Bovi, M., "Art; Nature," after Cip- rani (2); Stipples. J. F. McGuire. 180.00 147 — Bovi, M., "Cornelia, Mother of the Gracchi," after Titian; Stipple. T. Richmond 40.00 148 — Bracquemond, F., "Portrait of Mons. Ed'mond de Goncourt," Etching. Herbert E. Rogers 40.00 149 — Bracquemond, F., "Le Vieux Coq," Painter-etchinT. A. Roullier 85.00 ISO — Eramante, D., "Prophet Nathan Bles- sing David," Painter-engraving. Paul A. Sachs 70.00 151— Brescia, G. A. da, "The Holy Family, „with St. John," Engraving. D. Allen 250.00 152 — Brescia, G. A. da, "A Woman Water- in ir a Plant," Line-engraving. Paul A. Sachs 45.00 153— Brooks, T., "The First Lesson." after Bateman; Engraving. E. V. Loomis 6.O0 154 — Browne, .7., "A Landscape with the Bap- tism of the Lunuch ; a Landscape with Cephalos and Procris," after Gellee (2) ; Line-engravings. Mr. Frankel 25.00 155- Buck, A., "Ride on a Horse to Ban- bury Cross; Ride on Pick Back, My Darling," after Gellee (2). J. F. Mc- Guire 160 00 156— Buck, A., "What's That, Mother?" af- ,,, „t,er Buck; Stipple. J. F. McGuire... 150.00 157— Buhot, F., "Les Voysins de Cam- pagne," Painter-etching. A. Roullier 60.00 158 — Bunbury, Sir H., "The Mouse's Peti- tion," Stipple. George W. Hill.....$ 9500 159 — Bunbury, Sir H., "Marion," Stipple George W. Hill 9300 160— Burger, J., "Flora," after Titian; Line- engraving. E. V. Loomis g OO 161 — Burgmair, H., "Emperor Maximilian and His Counsellors," Woodcut. A. Hahlo & Co .' 55 00 162 — Burke, T., "Cupid Binding Aglaia to a Laurel; Cupid Disarm'd by Euphro- sine," after Kaufifmann (2); Stip- ples. D. Allen los.flO 163' — Burke, T., "Lady Rushout and Daugh- ter," after Kauftmann (2) ; Stipples. R. Ederheimer 200.00 164 — Calame, A., "Landscape," A. Roullier. 5 00 165— Callot, J., "The Martyrdom of St. Se- bastian," Painter-etching. Miss R. Lorenz, agent 50.OO 166— Cameron, D. Y., "Rembrandt's Farm," Painter-etching. R. C. Bondy 205.00 167— Cameron, D. Y., "St. Marks, Venice," Painter-etching. W. Jariske 370.00 168 — Cameron, D. Y., "Abbazia," Painter- engravinfi. A. Hahlo & Co 410.00 169 — Cameron, D. Y., "Palace of Joannis Darius, Venice," Painter-etching. E. W. Schurman 280.00 170— Cameron, D. Y., "Elcho-on-the-Tay, Scotland," R. C. Bondy 210.00 171 — 'Campagnola, D., "Pentecost," Painter- engraving. Boston Museum 75,00 172 — Cagpagnola, D., "The Virgin Adored bv Saints," Painter-engraving. F. Meder 45.00 173 — Campagnola, D., "Another Impression of the Same," A. Roullier 85.00 174 — Campagnola, D., "The Musical Shep- herds," Painter-engraving. M. Knoed- ler & Co 420.00 175 — Campagnola, D., "Nude Female," Ken- nedy & Co 250.00 176 — Campagnola, D., "Christ and the Sa- maritan Woman," Painter-engraving. Boston Museum 260.00 177 — Campagnola, D., "St. John the Bap- tist," Engraving. Paul A. Sachs... 1,325.00 178 — Campagnola, D.. "Ganymede," Painter- engraving. E. Spencer 230.00 179 — Campagnola, D., "The Astrologer," En- craving. E. Spencer 120.00 180— Canale, A., "Four Small Views of Ven- ice," Painter-etchings. A. Hahlo & Co 85.00 181 — .Canale, A., "The Large Views of Ven- ice," Painter-etchings. P. D. Col- naghi & Obach 127.50 182 — Canot, P. C., "The Tempest," after de VHeger ; Line-engraving. Miss L. A. Morris ''50 183— Caraglio, G. J., "The Battle of the Buck- ler and the Lance," after Raphael; Engraving. T. Richmond 12.50 184 — Carracci, A.. "Pan Tamed by Cupid," after Raphael; Etching. G. Busse. 5.00 185 — Carracci, A.. "Portrait of Titian," after Ranhael ; Painter-engraving. A, Roullier 35.00 186 — Carracci. A., "Susannah and the Eld- ers," Painter-etching. Max Williams 5.00 187 — Carracci, A., "The Christ of Capra- rola," Etching and engraving. A. Roullier 12.50 188— Chauvel, T. N., "Solitude," after Dau- bignv; Etching. Kennedy & Co 120.00 189— Chauvel, T. N., 'Le Lac," after Corot; Etching. E. N. Schurman 27.50 190— Cheesman, T., "Lady Hamilton as "The Spinster," after Romney; Stipple. „ Boston Museum • Z60.0U 191 — Chereau, F., "Nicolas de Largilliere, after his own painting; Line-engrav^ ing. R. Ederheimer "•"'' 192— Choffard, P. P., "Les Amours Cham- petres," after Baudouin; Line-en- graving. E. F. Bonaventure l'-^" 193— Claessens, L. A.. "The Descent from the Cross." after Rubens; Line-engraving. T. Richmond .••••■ '"" 194— Clint, G., "William Pitt," after Hopp- ner; Mezzotint. Mrs. T. Wickcs.... 52.50 195— Clint, G., "Miss Arabella Jane Wil- mot," after Hoppner; Mezzotint. Kennedy & Co $ 130.00 196 — Colored Prints, *'Fisher Girl — Nurse Girl," Line-engravings. J. F. Mc- Guire 110.00 197— Conde, J., "Mrs. Fitzherbert," after Cosway; Stipple. Kennedy & Co 3S.00 198 — Conde, J., "Signora Storage as Eu- phrosyne," after de Wilde; Stipple. J. F. Sabin 12.50 199— iConde. J., "Mrs. Tickell," after Cos- way; Stipple. R. Ederheimer 17.50 200— Copia, J. L., "The Green Plot; The Grove," after Lavreince. F. Meder. 20.00 201 — Couche, J., "La Coquette Fixee," after Fragonard; Line-engraving. Miss R. H. Lorenz, agent 22.50 202 — Cousins, S., "Penelo-- Boothby," after Reynolds; Mezzotint. F. S. Arnold 47.50 2C3 — Cousins, S., "Mrs. Braddyll," after Rey- nolds; Mezzotint. Fraicis M. White- house 210.00 204 — Cousins, S., "Beatrice Cenci," after Reni; Mezzotint. Leopold Wormser. 32.50 2CS — Cousins, S., "Miss Rosamond Croker," after Reni; Mezzotint. M. Knoedler & Co 150.00 206 — Cousins, S., "Lady Dover and Child," after Lawrence ; Mezzotint. Francis D. Whitehouse 75.00 207 — Cousins, S., "Lady Gray and Children," after Lawrence ; Mezzotint. Keppel & Co 230.00 208— Cousins, S., "Master Lambton," after Lawrence; Mezzotint. Francis D. Whitehouse 400.00 209 — Cousins, S., "Sir Thomas Lawrence," after his own painting; Mezzotint. Leopold Wormser 17.50 210 — Cousins, S., "La Surprise," after Du- bufe; Mezzotint. Leopold Wormser. 52.50 211 — Cousins, S., "Sunshine of Love," after Raoux; Mezzotint. Mr. Lawrence.. 65.00 212 — Cousins, S., "The Age of Innocence," after Reynolds ; Mezzotint. Mr. Law- rence 80.00 213 — Cranach. L., "The Penance of St. John Chrysostom," Painter-engraving. F. Meder 30.00 214 — Cranach, L., "Another Impression of the Same," A. Hahlo & Co 62.50 Second Session. 215 — Da Carpi, U., 'The Descent from the ■ Cross," after Raphael ; Woodcut. Paul A. Sachs 30.00 216 — Dambrun, J., "La Liberie Perdue; L'Epouse Mai Gardee," after Le Brun ; Line-engravings (2). Miss Louise McCarthy 70.00 217 — DauIIe, J., "Catherine Mignard," after Mignard; Line-engraving. Max Wil- liams 25.00 218 — Daulle, J., "Jean-Baptiste Rousseau," after Aved; Line-engraving. Max Wil- liams 20.00 219 — Dean, T., "Mercury," after Reynolds; Mezzotint. D. Allen 37.50 220- de Bry, T. T., "Soldiers Marching Called 'The Triumph of Death,' " Engraving. T. Richmond 10.00 221 — de Brv, J. T., "Designs fnr Beltclasps; Designs for Scissors Cases," Painter- engraving. F. Busse 7.50 222— de Bry, J. T.. "Portrait of Theodor de Bry," possibly by Boissard ; Engrav- ing. Miss L. M. Havs 7.50 223— de Bry, J. T., "Pride and Folly," Pain- ter-engraving. Kepnel & Co 7.50 224 — Debucourt, P. L., "Lft Compliment," Color-engraving. M. Knoedler & Co. 375.00 225 — Debucourt, P. L., "Les Bouquets," Color-engraving. V fnoedler & Co. 375.00 226— Debucourt, P. L.. "L'Escalade, ou Les Adieux d'u Matin," Color-engraving. Joseph E. Widener 825.00 227 — Debucourt, P. L.. "Heur et Malheur, ou la Cruche Cassee," Color-engrav- ing. Joseph E. Widener 550.00 228 — Debucourt, P. L "Le Menuet de la Moriee," Color-engraving. Kennedy & Co $ 975.00 229 — Debucourt, P. L., "La Noce au Chat- eau," Color-engraving. Kennedy & Co 975.00 230 — Debucourt, P. L., "La Promenade du Jardin d'u Palais-Royal," Color-en- graving. Kennedy & Co 500.00 231 — Debucourt, P. L., "La Promenade de la Galerie du Palais-Royal," Color-en- graving. M. Knoedler & Co 350.00 232 — Debucourt, P. L., "La Promenade Pub- lique," Color-engraving. M. Knoed- ler & Co 250.00 233— Delaram, F., "Sir William Segar, Gar- ter King at Arms," Painter-engraving. T. Richmond 5.00 234 — Delatre, J. M., "Children Feeding Chic- kens, after Hamilton ; Stipple. D. Allen 15.00 235 — Delaune, E., "Les Quatres Petits Com- bats," Painter-engravines (4). E. C. Wendt 20.00 237 — Demarteau, G., "I.p Berber — La Ber- gere," after Huet ; Color-engravings •'1. Kennedy & Co 160.00 238 — Demarteau, G., "La Bergere," after Huet; Color-engraving. E. F. Bona- venture 145.00 239 — Demarteau, G., "La Bergere au Chien," after Huet ■ Color-engraving. E. F. Bonaventure 65.00 240 — Demarteau, G., "Young Girl with a Rose in Her Hair," after Boucher ; Color-ene^ravin"- Kennedy & Co 500.00 241 — Demarteau, G., "Pastorale No. 585; Pastorale, No. 586," after Huet; Col- or-engravmgs <2). Kennedy & Co... 190.00 242 — Demarteau, G., "La Grande Pastorale, No. 601," after Huet; Color-engrav- ing. Kennedy & Co 250.00 243 — Demarteau, G., "L'ete." after Huet. E. F. Bonaventure 80.00 244 — Demarteau, G., "Nvmphe au Mouton; Nvmphe au Papillon," after Huet ; Color-engravinffs (2). E. F. Bona- venture 90.00 245— Dent, M., "The Bass-Reliveo with Three Cupids ; also known as the Throne of Neptune," Engraving. A. RouUier 35.00 246 — Dent, M., "The Judsrment of Paris," Engraving. Max Williams 7.50 247 — Dent, M., "Venus and Cupid Carried by Dolphins," Engraving. A. B. Lingam 27,50 248 — Deny, J. or M., "Le Consomme," after Moitte: Line-engraving. Joseph E. Widener 250.00 249 — Descourtis, C M., "La Foire de Vil- lage," after Taunay; Color-engrav- ing. Dr. Rosenbach 170.00 250 — Descourtis, C. M., "La Noce de Vil- lage," after Taunay; Color-engraving. Dr. Rosenbach 170.00 251 — Descourtis, C. M., "La Rixe," after Taunay; Color-engraving. Joseph Du- veen 400.00 252 — Descourtis, C. M., "La Tamborin," af- ter Taunay; Color-engraving, Joseph Duveen 400.00 253 — Descourtis, C. M., "L'Amant Surpris," after Schall; Color-engraving. Paul A. Isler 290.00 254 — Descourtis, C. M., "Vue d'un Pont Sur L'Aar," Color-engraving. J. F. Drake, Inc 27.50 255 — Desnoyers, L. A. B.. "St. Marguerite," after Raphael ; Color-engraving. Miss Louise McCarthy 45.00 256 — Desnoyers, L. A. B., "Belisaire Portant Son Guide," after Gerard ; Line-en- graving. E. S. Benjamin 45.00 257 — Desnoyers, L. A. B., "Napoleon I. in Coronation Robes," after Gerard; Line-engraving. Miss R. Lorenz, agt. 2S.00 258— Desnoyers, L. A. B., "Charles Maurice Talleyrand de Perigord." after Ger- ard," Line-engraving. G. Busse 25.0Q 259 — Dickinson. W., "Childish Amusement." after Morland; Mezzotint. Kennedy & Co 130.00 2i50— Dietrich, C. W. E., "The Shepherd's Family,'* Painter-etching. G. Kohn.$ 261— Dietrich, C. W. E., "The Peddler," Painter-etching. Kenpel & Co 262 — Dietrich, C. W. E., "Nymphs Bathing Near a Cave," Painter-etching. A. Roullier 263 — Dixon, J., "The Misses Crewe," after Reynolds; Mezzotint. Gerald Letts. 264 — Dolendo, B., "Joseph Justus Scaliger," Painter-engraving. Max Williams.. 26S — Doughty. W., "Rev. William Mason," after Reynolds ; Mezzotint. Kennedy & Co 266 — Drevet, P., "Robert d'e Cotte," after Rigaud; Line-engraving. A. Roullier 267 — Drevet, P., "Louis Auguste de Bour- bon, Prince de Dombes," after de Trov; Line-engraving. W. W. Sea- man, agent "T" 268 — Drevet, P., "Hjracinthe Rigaud," after his own paintmf : Line-engraving. W. W. Seaman agent "T" 269 — Drevet, P., "Samuel Bernard." after Ri- gaud ; Line-engraving. A. H. Hahlo & Co 270 — Drevet, P., "Jacnues Benigne Bossuet," after Rigaud ; Line-engraving. A. H. Hahlo & Co 271 — Drevet, P., "Adrienne Lecouvreur," af- ter Coypel ; Line-engraving. A. Roul- lier 272 — Duchange, G., "Charles de la Fosse," after Rigaud'; Line-engraving. Her- man G. Weinker 273— Dumee, E. F., "The Chase," Stipple. W. W. Seaman, agent 274 — Dunkarton, R., "Hon. Henry Adding- ton," after Copley ; Mezzotint. Miss R, H. Lorenz, agent 275 — Dunkarton, R., "Miss Hampfield," af- ter Peters ; Mezzotint. Joseph E. Widener 276 — Durand, A. ^B., "Ariadne," after Van- derlyn; Line-engraving. E, S. Ben- iamin 277 — Durer, A., "Adam and Eve," Painter- engraving, v^tto Bemet, agent "S" 278 — Durer A., "Anonymous old "copy of the same," P. Berolzheimer 279— Durer, A., "The Nativity," Painter-en- ffraving. J. F. Drake, Inc 280— Durer, A., "The Little Passion," Pain- ter-engravines (16). D. Allen 281 — Durer, A., 'The Prodigal Son," Pain- ter-engravinqr. - I'^derheimer 282 — Durer, A., "The Virgin with a Crown of Stars," Painter-engraving. A. Roul- lier 283 — Durer, A.. "The Virgin Seated on a Grassy Bank," Engraving, A. Roul- lier 284 — Durer, A., "The Virgin Crowned by Two Angels," Painter-engraving. Mi- chael Dreicer 285— Durer, A., "The Virgin and the In- fant Christ Holding a Pear," Pain- ter-engraving. D. Allen 236 — Durer, .i.. "Madonna cA the Monkey," Painter-engraving. Michael Dreicer. 287— Durer, A., "The Holy Family with the Locust," Engraving. Boston Museum 288— Durer. A., "St. George on Horseback," Painter-en eravinq*. D. Allen 289— Durer. A., "St. Hubert," Painter-en- graving. M. Dreicer 290 — Durer, A., "St. Anthonv," Painter-en- graving. P. D. Colnaghi & Obach.. 291 — Durer A., "St. Terome," Dry-point. J. F. DraKe, Inc 292— Durer, A., "St. Terome in His Cell," Painter-engravir ■ A. K. Kuhn 293 — JJurer. A., "St. ^-rome in Penitence," Painter-engraving. Max Williams... 29^1 — Durer, A., "St. Genevieve," Painter- engraving. Mr. Schoslev 295 — Durer, A., "Three Genii," Painter-en- graving. Dr. F. Kaemmerer 296 — Durer, A., "A Satyr Family," Painter- engraving. E. Snencer 297— Durer, A., "The Carrying off of Amy- mone," Painter-engraving. D. Allen 7.00 50.00 15.00 75.00 2.00 27.50 90.00 52.50 115.00 100.00 660.00 55.00 5.00 60.00 60.00 530.00 15.00 2,500.00 8.00 1,700.00 420.00 310.00 410.00 1,400.00 . . 160 190.00 525.00 460.00 310.00 1,375.00 260.00 1,000.00 375.00 190.00 260.00 180.00 140.00 320.00 298 — Durer, A., "The CaiTying Off of a Younj^ Woman on a Unicorn," Painter-engraving. E. Baerwald $ 50.00 300 — Durer, A., "Melancholia," Painter-en- ter-engrkving. A. B. Spingarn 65.00 graving. J. F. Drake, Inc 2,050.00 301 — Durer, A., "Group of Four Nude Wom- en," Painter-engraving. F. Medcr. . . 110.00 302 — Durer, A., "The Dream," Painter-en- graving. M. Knoedler & Co 265.00 503 — Durer, A., "The Great Fortune," Pain- ter-engravin&. Mr. Ralph 320.08 304 — Durer, A., "Justice," Painter-engrav- ing. Kennedy Ik Co 250.00 305 — Durer, A., "J. he Offer of Love," Pain- ter-engraving. D. Allen 100.00 306 — Durer, A., "Hostess and Cook," Pain- ter-engraving. R. Johnston 170.00 307 — Durer, A., "Three Peasants," Painter- engraving. J. M. Hart 80.00 308— Durer, A., "The Standard Bearer," Painter-engraving. P. D. Colnaghi & ( (bach 95.00 309— Durer. A., "The Assembly of Soldiers," Painter-engravin"-. A. Roullier 125.00 310 — Durer, A., "Knio-ht, Death and the Devil," Painter-engraving. M. Knoed- ler & Co 1,525.00 311 — Durer, A., "The Cannon," Painter-etch- ing. Max Williams 60.00 312 — j-<-urer. A., "Coat-of-Arms with the Cock," Painter-etching. Francis M. Whitehouse 260.00 313 — Durer, A., 'Coat-of-Arms with the Skull," Painter-etching. P. D. Colna- ghi & Obach 1,325.00 314 — Durer, A., "Erasmus of Rotterdam," Painter-etching. Keppel & Co 240.00 315— Durer, A., "The Last Supper," Wood- cut. Paul A. Sachs 80.00 316 — Durer, A., "The Circumcision," Wood- cut. A. H. Hahlo & Co 160.00 317 — Durer, A., "The Virgin Surrounded by Many Angels," Woodcut. Michael Dreicer 230.00 318 — Durer. A., "Christ Appearing to St. Gregory," Woodcut. W. L. Fleishur 45.00 319— Durer, A., "Portrait of Ulrich Varnbu- ler," Woodcut. E. Baerwald 250,00 320— Durer, A., "Portrait of Himself," Wood- cut. Arthtir K. Kuhn 70.00 321— Dusart, C,. "The Drunkards," Painter- etching. Mr. Scholle 45.00 322 — Dusart, C. "The Dancing Dog," Pain- ter-etching. A. Roullier 45.00 323— Duvet, J., "^The Combat of St. Michel and the Dragon," Painter-etching. D. Allen 95.00 324 — Duvet, J., "Poison and Antidote," after da Vinci; Engraving. Paul A. Sachs 12.50 325 — Duvet, J., "Triumphal Procession," Painter-engraving. Miss L. M. Hays 15.00 326— Earlom, R., "A Flower Piece; a Fruit Piece," after Van Huysum ; Mezzo- tints (2). Ger.ild Letts 270.00 327 — Edelinck, G.. "Moses," after de Cham- "aigne ; Mezzotint. Kennedy & Co. 95.00 328 — Edelinck, G._, "Philippe de Cham- '^aigne," Line-engraving. A. Hahlo & Co 180.00 329 — Edelinck, G., "Martin van den Bo- gaert." after Rigaud; Line-engraving. F. Meder 105.00 330 — Edelinck, G., "Prince Ferdinand, Bishop of Paderborn and Munster," after Michelin: Line-engraving. J. M. Hart 15.00 331 — Edelinck, G., "Jules Hardouin Man- sart," after Rigaud; Line-engraving, Miss D. G. Morris 20.00 352 — Edelinck, G., "israel Sylvestre," after Le Brun ; Line-engravir-'. F. Meder 35.00 333— Elstracke, R., "Richard Whittington," Line-engraving. Miss L. M. Hays... 5.00 334 — Edwards, A., "Lady Hamilton as Em- ma," after Romney; Mezzotint. Ger- ald Letts 80.00 335— Faber, J., "Sir Godfrey Kneller," after his own painting; Mezzotint. Miss Louise McCarthy -. 60.00 336 — Faoius, G. S. & T. G., "The Sleeping Venus," after Titian; Stipple. T. Richmond , 10.00 8 357 — Faithorne, W., "Ralph Browning," Line- engraving. G. Kohn $ 33S — Faithorne, W., "Henry Hare," after his own design; Line-engraving. F. Meder 339 — Faithorne, W., "Edmund Elys," Line- engraving. E. Spencer 340^ — Faithorne, W., "bir John Fortescue," Line-engraving. F. Meder 341 — Faithorne, W., "John Mordaunt, Vis- count Mordaunt," Line-engraving. G. Baerwald 342 — Faithorne, W., "Henry More," Line- engraving, F. Meder 343— Faithorne, W., "Sir John Ogle," Line- engraving. P. Berolzheimer 344 — Faithorne, W., "Hugh Peters," Line- engravings (2). Max Williams 345 — Faithorne, W., "Margaret Smith, Widow of Thomas Gary," after Van Dyck ; Line-engraving. D. Allen , 346 — Faithorne, W., "The Frontispiece to 'The Reign of King Charles, " Line- engraving, F. Meder 347— Felsing, G, J., "St, Cecilia." after Hof- mann; Line-engraving, William Law- 348— Filleul, P., "La Belle Bouquetiere," after Paterre ; Line-engraving. Miss Louise McCarthy 349 — Finlayson, J., "Elizabeth, Duchess of Argyle," after Read ; Mezzotint, A. H, Hahlo & Co 350— Fisher, E., "Miss Sarah Bunbury," Mez- zotint, E. Spencer 351 — Fisher,- E., "Lady Elizabeth Keppel." after Reynolds ; Mezzotint. J. F. Drake, Inc 352 — Fisher, E., "Hope Nursiner Love," after Reynolds; Mezzotint. R. Johnston.. 353 — Fisher^ E., "Lady Amabel and Lady Jemima Yorke," after Reynolds ; Mez- zotint. Kennedy & Co 354— Fonce, C, "Lichfield Cathedral," Pain- ter-etching. Mr. Wickes 355— Fonce, C, "Village Pond," Painter- etching. M. Karagheimer 356 — Fontainebleau, The School of, "Battle Between Cavalry and Foot Soldiers," after Penni ; Engraving. Max Wil- liams 357 — Forster^ F., "Dido and AEneas," after Guerm; Line-engraving. M. Lund- heimer 358 — Fragonard, J. H., "Satyr Family," Pain- ter-etching. F. Meder 359 — Fragonard, J. H., "L'Armoire," Painter- etching. F. Meder 360 — Gaillard, F,, "Joannes Bellinus," En- graving. T. Richmond 361 — Gaillard, F., "Oedipus," after Ingres; Engraving. F. Meder $ 362 — Gaillard, F., "The Man with the Pink," after van Eyck; Engraving. A. H. Hahlo & Co 363— Gaillard, F., "Pope Pius IX"; Engrav- ing, E, Spencer 364 — Gaillard, F,, "La Crepuscule"; Engrav- ing. ' I. Richmond 365— Gaillard, F., "Wax Bust," after Ra- Iihael; Engraving. F. Meder 366 — Gaillard, F., "Dom Prosper Gueranger, Abbe of Solesmes"; Engraving. .Bos- ton Museum 367— Gaillard, F., "Pope Leo XIII"; En- graving. T. Richmond 368 — Gaillard, F,, "Monsignor Pie, Bishop of Poitiers" ; Engraving. Leo M, Prince 369— Gaillard, F., "The Disciples at Em- maus," after Rembrandt; Engraving. A. H. Hahlo & Co 370— Gaillard, F., "St. George," after Ra- phael; Engraving. Keppel & Co.... 371 — Gaillard, F., "Soeur Rosalie"; Engrav- ing. Boston Museum 372 — Gaillard, F., "Portrait of Ferdinand Gaillard"; Engraving. T, Richmond. 373 — Galestruzzi, G. B., "Silenus Accom- panied by Fauns and Satyrs" ; En- graving. Keppel & Co 6.00 , 6.00 12.50 7.50 12.S0 20.00 6.00 15.00 20.00 17.50 8.00 20.00 475.00 165.00 90.00 80,00 130.00 7.50 17.50 7.50 7.50 35.00 27.50 6.0O 22.50 105,00 10.00 5.00 17.50 70.00 5.00 20.00 40.00 17.50 80.00 3.00 5.00 374 — Gaugain, T., "Childish Impatience," after Cosway; Stipple. Kennedy & Co $ 35.00 375 — Gaugain, T., "Dancing Dogs," after Morland; Stipple. J. F. Drake, Inc. 850.00 376 — Gaugain, T,, "Guinea Pigs," after Mor- land; Stipple. J. F. Drake, Inc 850.00 377 — Gaultier, L., "Three Children"; En- graving. Paul A. Sachs 10.00 378 — Gautier, J. F., "Portrait of Voltaire," after Gautier fils. M. Knoedler & Co 55.00 379 — Gelle, C, "La Danse au Borde de L'Eau" ; Painter-etching. P. D. Col- naghi & Obach 60.00 380 — Gelle, C, "Le Bouvier"; Painter-etch- ing. A. Roullier 790.00 381- — Gelle, C, "La Danse Sous Les Arbres" ; Pamter-etching. D. Allen 90.00 382 — Gelle, C, "Le Soleil Couchant"; Painter-etching, A. Roullier 600.00 383 — de Ghendt, E., "Le Soir," after Baudouin; Line-engraving. Dr. Ros- enbach 17.50 384 — Ghisi, G., "Caius Marius Intimidating Soldiers Sent to Kill Him" ; Engrav- ing. Paul A. Sachs 7.50 385 — Ghisi, G., "Birth of Memnon," after Romano ; Engraving. T. Richmond. . 5.00 386 — Glockenton, A., "Christ Entering Jeru- salem"; Engraving. Keppel & Co... 35.00 387 — Glover, G., "Portrait of John Fox, the Martyrelogist" ; Line-engraving. Miss L. J. Hays 4.00 388 — Goltzius, H., "The Massacre of the Innocents" ; Painter-engraving. W. Weinstein lO.OO 389 — Goltzius, H., "Pieta" ; Painter-engrav- ing. F. Meder 60.00 390 — Goltzius, H., "The Standard-Bearer" ; Painter-engraving. G. Busse 55.00 391-— Goltzius, H., "A Captain of Infantry" ; Painter-engraving. G. Busse 40.00 392 — Goltzius, H., "Life Size Portrait of the Engraver Himself" ; Painter-engrav- ing. Max Williams 175.00 393 — Goltzius, H., "The Son of Frisius with His Dog" : Painter-engraving. Kep- pel & Co 100.00 394-^Gourmont, J., "The Massacre of the Innocents" ; Painter-engraving. Paul A. Sachs 80.00 395— Gourmont, J., "The Flagellation"; Painter-engraving. M. Knoedler & Co 85,00 396 — Green, V., "Lady Elizabeth Compton," after Reynolds ; Mezzotint. J. F. Drake, Inc 600.00 397 — Green, V., "Ann, Duchess of Cumber- land," after Gainsborough ; Mezzotint. J. F. Drake, Inc 300.00 398— 'Green, V., "Henry Danvers, Earl of Danby," after van Dyck; Mezzotint. M. Knoedler & Co 90.00 399 — Green, V., "Georgiana, Duchess of De- vonshire," after Reynolds ; Mezzo- tint. J. F. Drake, Inc 2,600.00 400 — Green, V., "Mary Isabella, Duchess of Rutland," after Reynolds ; Mezzo- tint. Kennedy & Co 750.00 401 — Green, V., "Emily Mary, Countess of Salisbury," after Reynolds; Mezzo- tint. J. F. Drake, Inc 775.00 402 — Green, V., "Benjamin West and Son"; Mezzotint. B. S. Mauer 30.00 403 — -Green, V., "Master Bradshaw and His Sisters,' after Wright; Mezzotint. Kennedy & Co 160.00 404 — Green, V.. "A Winter's Tale," after Opie ; Mezzotint. A. Roullier 90.00 405 — Gullard, E., "Isabel," after Raeburn; color-mezzotint. Gerald Letts 60.00 406— Haden, F. S., "Thames Fisherman"; Drypoint. P. D. Colnaghi & Obach. 475.00 407 — Haden, F. S., "Kensington Gardens" ; Painter-etching. D. Allen 140.00 408 — Haden, F. S., "Egham" ; Painter-etch- ing. Kennedy & Co 220.00 409— Haden, F. S.. "On the Test"; Painter- etching. A. Roullier 210.00 410— Haden, F. S., "Early Morninff— Rich- moftd"; Painter-etching. Mr. Ralph.$ 150.00 411— Haden, F. S., "The Mouth of the Brook" ; Drypoint. Kennedy & Co. 250.00 412 — Haden, F. S., "Kensington Gardens"; Painter-etching. R. Ederheimer. . . . 160.00 413 — Haden, F. S., "A By-Road in Tipper- ary" ; Painter-etching. Kennedy & Co 1,700.00 414 — Haden, F. S., "Combe ' Bottom"; Painter-etching. Mr. Dick 95.00 415— Haden, F. S., "Shere Mill Pond"; P-ainter-etching. Edward M. Solo- mon 310.00 416— Haden, F. S., "Sunset In Ireland"; Drypoint. Edwin Mayer 500.00 417 — Haden, F. S., "Battersea Reach"; Painter-etching. Mr. Dick 90.00 418— Haden, F. S., "Yacht Tavern, Erith" ; Painter-etching. A. O. Levy 140.00 419— Haden, F. S., "The Three Sisters"; Painter-etching. S. Lebmann 100.00 420 — Haden, F. S., "Breaking up of the Agamemnon" ; Painter-etching. Ken- nedy & Co 220.00 421 — Haden, F. S., "Challow Farm"; Painter-etching. Frederick Eckstein 90.00 422 — Haden, F. S., "A Lancashire River" ; Painter-etching. D. Allen 110.00 423 — Haden, F. S., "An Early Riser"; Painter-mezzotint. A. Roullier 300.00 ■'"' 668 — Paye R. M., Jr., "Miss Decamp," after Pave; Stipple. Miss E. G. Mc- Bride Vx-v-.- *•"" 669 — Payne, J., "Mr. Hobson of Hobson s Choice, the Famous Cambridge Car- rier," Line-engraving. Kennedy & Co .•••^■■- ^°'"' 670— Pencz, G., "Christ Tempted by the Dev- il," Painter-engraving. Paul J. Sachs 11. UO 671 — Pencz, G., "The Conversion of Saul, Painter-engraving. D. Allen 22.50 672 — Pencz, G., "Thomiris Immersing the Head of Cyrus in a Bag Filled with Blood," Painter-engraving. J. M. Hart :•••• I'-SO 673 — Pencz, G., "Jason and Medea," Painter- engraving. Paul J. Sachs W-OO 674— Pencz, G., "Horatius Codes Defending the Bridge at Rome," Painter-en- graving. D. Allen '2.50 13 675 — Pencz, G., "Triumph of Bacchus/' Painter-engraving. Keppel & Co $ 17.50 676— Pether, VV., "Portrait of W. Pether," Mezzotint. Keppel & Co 45.00 677 — Pether, W., "A Jew Rabbi," after Rem- brandt; Mezzotint. M. Knoedler & Co 110.00 678 — Piranesi, G., '"N^iew of the Temple of Janus — The Coliseum," Painter-etch- ings (2). Otto Bernet, agent "L". 70.00 679 — Piranesi, G., "Isle of the Tiber — The Pantheon," Painter-etchings (2). Arnold A. Hatch 80.00 680 — Piranesi, G., "Interior of the Coliseum - — Exterior of the Coliseum," Painter- etchincs (2). J. F. McGuire 100.00 681 — Piranesi, G., "The Arch of Titus — The Arch of Constantine," Painter-etch- ings (2). Arnold A. Hatch 140.00 682 — Pollaiuolo, A., "Battle of the Nudes," Engraving. D. Allen 975.00 683 — Ponfce, N., "Annette et Loubin," after Baudouin ; Line-engraving, Kennedy & Co 50.00 6S4 — Porporati, C. A., "The Bath of Susan- nah," after Santerre ; Line-engraving. Miss E. G. McBride 35.00 685 — Porporati, C. A., "Venus -Caressing Cu- pid," after Battoni; Line-engraving. Max Williams 35.00 686 — Porporati C. A., "II Bae'no de Leda," after Correggio; Line-engraving. Miss E. G. McBride 25.00 687 — Porporati, C. A., "Girl with Dog," after Greuze ; Line-engraving. Mr. Good- friend 12.50 688 — Raffct, A., "Combat d'Oued-AUeg," Max Williams lO.OO 689— Raibolini, F., "Lucretia," P. D. Col- naghi & Obach 30.00 690— Raibolmi, J., "Bacchanal," P. D. Col- naglii & Obach 75.00 691 — Raimondi, M. A., "Adam and Eve," E. Spencer 15.00 692 — Raimondi, M. A., "Joseph and Poti- phar's Wife," after Raphael ; Engrav- ing. E. Frenkel 22.50 693 — Raimondi, M. A., "Tlie Masacre of the Innocents," after Raphael ; Engrav- ing. Max Williams 27.50 694 — Raimondi, M. A., "The Last Supper," after Raphael ; Engraving. R. 0. Bondy 85.00 695 — Raimondi, M. A., "Paul Preaching at Athens," after Raphael ; Engraving. Kennedy & Co 35.00 696— Raimondi, M. A., "The Martyrdom of St. LaTA^rence," Engraving. H. B. Dick SO.OO 697 — Raimondi, M. A.. "St. Cecilia," after Raphael; Engraving. H. B. Dick... 105.00 698 — Raimondi, M. A., "The Dance of Cu- pids," after Raphael ; Engraving. Kennedy & Co 140.00 699 — Raimondi, M. A., "Two Fauns Carry- ing a Child in a Basket," Engraving. Paul T. Sachs 37.50 700 — Raimondi, M. A., "The Judgment of Paris," after Raphael ; Engraving. A. H. Hahlo & Co 350.00 701 — Raimondi, M. A., "The Young and the Old Bacchant," after Romano ; En- graving. G. Busse 17.50 702 — Raimondi, M. -\.,, "Vulcan, Venus and Cupid." Engraving. Boston Museum 390.00 703 — Raimondi. M. A., 'Mars, Venus and Cu- pid," Engraving. Paul J. Sachs.... 30.00 704— -Raimondi, M. A., "Trajan Crowned by Victory," Engraving. C. F. Wil- liams 27.50 705 — Raimondi, M. A., "A Man and a Wom- an Conversin"- at the Edge of a Wood," Engraving. D. Allen 140.00 706 — Raimondi, "Poetry," after Raphael; Engraving. F. Meder 50.00 707 — Raimondi, M. A., "The Three Doctors," Engraving. Paul T. Sachs 130.00 708 — Raimondi, M. A.. "The Hunt of Tra- jan," after Raphael ; Engraving. G. Busse 17.50 709— Raimondi. M. A., ^The Climbers," after Angelo; Engraving. F. Meder 150.00 710 — Rairnondi, M. A., "La Casolette," after Angelo- Engraving. F. Meder $ 45.00 711 — Raimondi, M. A., "Portrait of Ra- phael," Eiigraving. Kennedy & Co. 40.00 712-^Rajon, P., "Portrait of Cardinal New- man," after Unless: Etching. Mr. Ralph 220.00 713 — Rembrandt, Van R., "Portrait of Rem- brandt Wearing a Soft Cap," Pain- ter-etching. Miss E. G. McBride. . . 180.00 714 — Rembrandt, Van R.. "Portrait of Rem- brandt with a Flamboyant Sword," Painter-etching. Louis Bamberger. 180.00 715 — Rembrandt, Van R., "Portrait of Rem- brandt in Velvet Cap and Plume," Painter-etching. Miss E. G. McBride 100.00 716 — Rembrandt, Van R., "Rembrandt Lean- ing on a Stone" Sill," Painter-etch- ing. A. H. Hahlo & Co 3,300.00 717 — Rembrandt, Van R., "Portrait of Him- self, Drawing," Painter-etching. A. H. Hahlo & Co 180.00 718 — Rembrandt, Van R., "Abraham Send- ing Away Hagar," Painter-etching. R. O. Bondy 160.00 719 — Rembrandt, Van R., "Abraham Caress- ing Isaac," Painter-etching. M. Knoedler & Co 70.00 720 — Rembrandt, Van R., "Jacob Lamenting the Supposed Death of Joseph," Painter-drawing. A. H. Hahlo & Co. 160.00 721 — Rembrandt, Van R., "King David in Prayer," Painter-etching. J. M. Hart 110.00 722 — Rembrandt, Van R., "The Blindness of Tobit," Painter-etching. A. H. Hahlo & Co 360.00 723— Rembrandt, Van R,, "The Angel Ap- pearing to the Shepherds," Painter- etching. A. H. Hahlo & Co 450.00 724 — Rembrandt, Van R., "The Presentation in the Temple," Painter-etching. D. Allen 1,300.00 725 — Rembrandt, Van R., "The Flight Into Egypt — the Holv Family Crossing a Rill," Painter-etching. A. Roullier. 200.00 726— Rembrandt, Van R., "The Rest in Egypt," Painter-etching. Miss E. G. McBride 90.00 727 — Rembrandt, Van R., "Christ Disputing with the Doctors," Painter-etching. Kraushaar & Co 150.00 728 — Rembrandt, Van R., "Christ Preach- ing," Painter-etching. E. Mitchell. 560.00 729 — Rembrandt, Van R., "Christ and the Woman of Samaria ; Among Ruins," Painter-etching. D. Allen 100.00 730 — Rembrandt, Van R., "Christ Healing the Sick," Painter-etching. A. Roul- lier 5,000.00 731 — Rembrandt, Van R., "The Agony in the Garden," Painter-etching. M. Knoedler & Co 260.00 732 — Rembrandt, Van R., "The Three Crosses," Painter-etching. A. H. Hah- lo & Co 8,500.00 733 — Rembrandt, Van. R., "The Crucifixion," Painter-etching. M. Knoedler & Co. 200.00 734^-Rembrandt, Van R., "Christ Carried to the Tomb," Painter-etching. M. Knoedler & Co 250.00 735 — Rembrandt, Van R., "Christ in the Midst of His Disciples," Painter- etching. D. Allen 410.00 736 — Rembrandt, Van R., "Peter and John at the Beautiful Gate at the Tem- ple," Painter-etching. J. B. Mabon. 230.00 737— Rembrandt, Van R., "The Death of the Virgin," Paintei'-etching. Max Wil- liams 1 10.00 738— Rembrandt, Van R., "St. Jerome Writ- ing Near a Pollard Willow," Pain- ter-etching, D. Allen 410.00 739 — Rembrandt. Van R., "St. Jerome in an Italian Landscape," Painter-etching. M. Knoedler & Co 325.00 740 — Rembrandt, Van R., "St. Francis Be- neath a Tree, Praying," Painter- etching. A. H. Hahlo & Co 2,550.00 741 — Rembrandt, Van R,. "The Spanish Gipsy," Painter-etching. J. F. Drake, Inc. 700.00 14 742 — Rembrandt, Van E., "The Synagogue," Painter-etching. D. Allen ^ 743 — Rembrandt, Van R., "Cupid Repos- ing," Etching. P. D. Colnaghi & Obach 744 — Rembrandt, Van R., "Beggars at the Door of a House," Painter-etching. Keppel & Co 74S — Rembrandt, Van R., "Beggar Turned to the Right," "Beggar Turned to the Left," (2) Painter-etchings. R. Ederheimer 746— Rembrandt, Van R., "Six's Bridge," Painter-etching. M. Knoedler & Co. 747 — Rembrandt, Van R., "A View of Am- sterdam," Painter-etchings. Meredith Hare 748 — Rembrandt, Van R., "The Landscape with the Three Trees," Painter-etch- ings. Mr. Ralph 749 — Rembrandt, Van R., "Reversed Copy of the Landscape with the Three Trees," Painter-etchins:. Miss E. G. Mc- Bride 750 — Rembrandt. Van R.. "The Landscape with the Three Cottages," Painter- etchings. W. Jaretski 751 — Rembrandt, Van R., "The Landscape with a Ruined Tower and Clear Fore- ground, Painter-etching. A. Roul-tier 752— Rembrandt, Van R., "An Arched Land- scape with a Flock of Sheep," Pain- ter-etching. A. Roullier 753 — Rembrandt, Van R., "The Landscape with a Cottage and Haystack," Painter-etching. M. Knoedler & Co. 7S4 — Rembrandt. Van R., "A Large Land- scape with a Mill-sail Seen Above a Cottage," Painter-etching. D. Allen 755— Rembrandt, Van R., "Rembrandt's Mill," Painter-etching. Mrs. J. H. Russell 756- Rembrandt Van R., "The Goldweith- er's Field," Painter-etching. J. F. Drake, Inc 757— Rernbrandt. Van R., "Old Man Seated, with a Flowing Beard, Fur Cap and Velvet Cloak," Painter-etching. Mr. Phillips 758— Rembrandt, Van R., "Old Man with a Divided Fur Cap," Painter-etching. A. H. Hahlo & Co 759 — Rembrandt. Van. R.. "Young Man AIus- ing," Painter-etching. D. Allen 760 — Rembrandt, Van R., "Doctor Faustus," Painter-etching. A. H. Hahlo & Co.. 761— Rembrandt. Van R., "Portrait of Cor- nells Claesz Anslo, Mennonite Preacher," Painter-etching. A. Roul- lier 762 — Rembrandt, Van R., "Portrait of Clem- ent de Jonghe. Print-seller," Pain- ter-etching. J. F. Drake, Inc 763 — Rembrandt, Van R., "Portrait of Jacob Haarine," Painter-etching. P. D. Colnaghi & Qbach 764 — Rembrandt. Van R., "Portrait of Jan Lutma, The Elder," Painter-etching. Joseph E. Widencr 765 — Rembrandt, Van R., "Portrait of Jan Asselyn, the Painter," Painter-etch- ing. James D. Brown 766— Rembrandt, Van R., "Portrait of Ephraim Bonus, Jewish Physician," Painter-etching. D. Allen 767 — Rembrandt, Van R., "Portrait of Jan Uytenbogaert, Preacher of the Sect of the Arminian Remonstrants," Painter-etching. M. Knoedler & Co. 768— Rembrandt, Van R., "Portrait of Tan Cornells Sylvius. Preaching," Pain- tef-etching. A. H. Hahlo & Co 769— Rembrandt. Van R., "Portrait of Jan Uytenbogaert, Reveiver-General," _ Painter-etching. R. Ederheimer I/O — Rembrandt, Van R., "Portrait of Lieven Willemsz van Conpenol," Painter- etching. J. F. Drake, Inc '"1— Rembrandt, Van R., Portrait of Jan Six," Painter-etching. A. Roullier. 772— Rembrandt, Van R., ^A Bearded Man Wearing a Velvet Cap with a Jew- el," Pamter-etching. Keppel & Co. ; 260.00 65.00 975.00 60.00 450.00 290.00 890.00 35.00 3,350.00 2,600.00 2,100.00 2,000.00 210.00 850.00 2,050.00 170.00 180.00 270.00 620.00 340.00 2,050.00 2,550.00 5,000.00 130.00 2,000.00 260.00 600.00 210.00 850.00 2,200.00 350.00 772a— Rembrandt, Van R.. "Jewish Bride," Painter-etching. Miss E. G. McBride$ 210.00 773 — Rembrandt, Van R., "Rembrandt's Mother Seated at a Table, Turned to the Right," Painter-etching. A. H. Hahlo 850.00 774— Rembrandt, Van R., "An Old Woman Sleeping," Painter-etching. Mar- shall Field 300.00 775— Rembrandt, Van R., "Three Heads of Women," Painter-etching. Mr. Ralph 230.00 776— Reynolds S. W., "Mrs. Arbuthnot," after Hoppner; Mezzotint. Gerald Letts 260.00 777 — Reynolds, S. W., "Georgiana, Duchess of Bedford," after Hoppner; Mezzo- tint. M. Knoedler & Co 300.00 778 — Reynolds, S. W., "Charles James Fox," after Opie; Mezzotint. Max Wil- liams 45.00 779 — Reynolds, S. W., "Fisherman Going Out," after Morland; Mezzotint. J. F. Sabin 210.00 780 — Ricciani, A., "The Death of Priamus at the Taking of Troy," after Benvenuti, Line-engraving. E. Frenkel 12.50 781 — Richomme, J. T., "Triumph of Gala- thea," after Raphael; Line-engrav- ing. G. Busse 7.50 782 — Richomme, J. T., "Thetis Carrying the New Armor to Achilles," after Ger- ard; Line-engraving. G. Busse 7.50 783 — Richomme, J. T., "Neptune and Amphi- trite," after Romano ; Line-engrav- ing. T. Richmond 10.00 784— Robetta, C, "The Adoration of the Magi," Painter-engraving. D. Allen 50.00 785 — Robetta, C, "Allegory of the Power of Love," Painter-engraving. Paul J. Sachs 95.00 786 — Roraanet, A. L.. "Le Bain," after Freudeberg; Line-engraving. Dr. Rosenbach 90.00 787— Roos, J. H., "Shepherd and Flock Resting," Painter-etching. G. Kohn 12.50 788 — Rosapina, F., "The Dance of Cupids," after Albano ; Line-engraving. F. Meder 40.00 789 — Rosex, N., "Pallas," Painter-engraving. D. Allen 75.00 790 — Rubens, P. P., "St. Catherine," Pain- ter-engraving. A. H. Hahlo & Co... 30.00 791 — Ruysdael, J., "Les Voyageurs," Painter- engraving. M. Knoedler & Co 80.00 792 — Ryder, T., and Cosse, J. L., "Genius of Modesty Preventing Love Unveil- ing Beauty," after Cipriani; Stipple. T. Richmond 10.00 793— Ryland, W. W., "Cupid Tied to a Tree by the Graces," after Kauffmann; Stipple. Keppel & Co 35.00 794 — Ryland, W. W., "Telemachus in Aula Spartana," "Telemachus Redux a Penelope," after Kauffmann; Stipples (2). D. M. P. Cobb 15.00 795 — Ryland, W. W.. "The Judgment of Paris," after Kauffmann ; Stipple. E. Frenkel 10.00 796 — Ryland, W. W., "Sleeping Venus," af- ter Kauffmann; Stipple. J. F.. Sabin 12.50 797 — Ryland, W. W., "Venus Presenting Helen to Paris^the Flight of Helen and Paris," after Kauffmann; Stipple. Mrs. J. H. Russell 60.00 798 — Sachs, H., "In der Dammerung," after Spangenbernner; Mezzotint. J. F. Drake, lie 1,800.00 852 — Smith, J. R,, "Lady Caroline Mon- tague," after Reynolds ; Mezzotint. Dr. Rosenbach 875.00 853— Smith, J. R., "The Hon. Miss O'Neill," after Peters; Mezzotint. P. D. Col- nai-hi & Obach 550.00 854 — Smith, J. R., "The Chimren of Walter Svnnot. Esq., after Wright; Stipple. Mr. Erdmann 525.00 855 — Smith, J. R., "The Fern Gatherers," after Morland ; Mezzotint. Otto Ber- net, agent "L" 95.00 856 — Smith, J. R., 'Visit to Grandfather," ^.j-ezzotint. Gerald Letts 80.00 857— Smith, J. R., "A Loisir," Stipple. Dr. Rosenbach 200.00 858 — Spilsbury, J., "Miss Jacobs," after Rey- nolds; Mezzotint. P. D. Colnaghi & Obach 525.00 859 — Strange, Sir R., "Abraham Sending Away Hagar," after Guercino ; Line- engraving. Max Williams 5.00 860— Strange, Sir R 'The Madonna of St. Jerome with St. Mary Magdalen and Aneels," after Correggio. Boston Museum 2.00 861 — Strange, Sir R.. "Venus — Danae/' after Titian; Line-engraving (2). E. Mit- chell 5.00 862 — Strange, Sir R., 'Venus and Adonis," after Titian; Line-engraving. R. Fri- denberiT 9.00 863 — Strange, Sir R., "Fortune," after Reni; Line-engraving. F. Meder 5.00 864 — Strange, Sir R., "Charles I. and the Marquis of Hamilton," after van D"ck; Line-eno-raving. F. Med'er... 52.50 865— Strange, Sir R., "The Children of Charles I.," after van Dyck; Line- engraving. Boston Museum 5.00 866 — Strange, Sir R., "Apotheosis of the Piinces Octavius and Alfred, Children of George III.," after West; Line- engraving. F. Meder 5.03 16 Fifth Session. 867 — Tardieu, N. H., "L'Embarauement pour Cythere," after Watteau; Line-en- graving. Miss R. H. Lorenz $ 868 — Teniers, D., "The Archers," Painter- etching. Keppel & Co 869— Thew, R., "Mr. & Mrs. Cosway," after Cosway; Stipple. J. F. Sabin 870— Toschi, P., "Madonna della Tenda," Line-engraving. Louis J. Reclcendor- fer 871 — Toschi, P., "Madonna d'ella Scala," af- ter Correggio; Line-engraving. P. Friedenberg 872 — Toschi, P. "La, Discesa della Croce," after Albano; Line-engraving. E. Snencer 873 — Turner, C., "Miss Cholmondeley," Mez- zotint. Dr. R. O. Born 874 — Turner, C, "Admiral Lord Nelson," Mezzotint. M. Knoedler & Co 875 — Turner, C, "Admiral Lord Nelson," af- ter Hoppner; Mezzotint. Boston Mu- seum 876 — Turner, C, "Lord Newton," after Rae- burn : Mezzotint. M,. Knoedler & Co. 877 — Turner, C, "Interior of a Cottage," af- ter Gainsborough i Mezzotint. James D. Brown 878— -Turner, C, "Little Cottage," after Gainsborough; Mezzotint. G. H, Kinnecutt 879— Turner, C, "Hebe," after Huet-Villiers ; Mezzotint. M. H. Lvnch 880 — Turner, J. M. W., "Junction of Severn and Wye," Etching and Mezzotint. A. H. Hahio 881— Turner, J. M. W., "Woman at a Tank, or Hindoo Ablution," Mezzotint and etching. Comtesse de Bernard 882— Turner, J. M. W., "Solway Moss," Mez- zotint and etching. Dr. R. O. Born 883— Turner, J. M. W., "The Castle Above the Meadows," Mezzotint and etch- ing. Comtesse de Bernard 884 — Van Assen, "Lady Hamilton," Stipple. L. J. Reckendorfer 885 — Van Dalen, C, Jr., "Giovanni Boccac- cio," after Titian ; Line-engraving. W. T. Wallace 886 — Van Dyck, A., "Christ with the Cane," Painter-etchtng. Ke^^-^el & Co 887 — Van Dyck, A "Lucas Corsterman," Painter-etching. Boston Museum... 1 888 — Van Dyck, A., "Frans Franck," Painter- etching. Mr. Rogers SS9 — Van Dyck, A., "Jan de Wael," Painter- etching. D. Allen 890 — Van's Gravesande. C. S., "Entree de Foret," Drypoint. Keppel & Co 891 — Van's Gravesande, C. S., "Moulin au Bord du Gein, Pres Abcoude," Pain- ter-etching. Boston Museum 892— Van Lcyden, L., "Adam and Eve," Pain- ter-etching. T. Richmond 893— Vnn Leaden, L.; "Ad.-im and Eve After the Expulsion," Painter-etching. T. Richmond 894 — Van Leyden, L., "The Same," Wood- cut. K. O. Aharonian 895— Van L--den, .L., "Cain Killing Abel," Painter-engraving. K. O. Aharonian 896— Van Leyden, L., "Lot and His Daugh- ters." Piinter-engraving. R. C. Bondy 897 — Van Leyden, L., "David Playing the Harp Before Saul," Painter-engrav- ing. Boston Museum 898 — Van Levden, L., "Solomon Adoring the Idols," Painter-engraving. M. Knoedler & Co 899— Van Levden, L., "Esther Before Aha- suerus," Painter-engraving. M. Knoedler & Co 900— Van Leyd'en, L., "Triumph of Morde- cal," Painter-engraving. Mrs. J. H. Russell 901— Van Leyden. L., "Susannah and the Elders," Painter-eni?raving. Miss Hays 90.00 52.50 7.50 7.50 25.00 15.00 12.50 240.00 SOO.OO 240.00 70.00 110.00 90.00 160.00 95.00 160.00 100.00 27.50 55.00 100.00 ,025.00 150.00 375.00 150.00 180.00 30.00 10.00 5.00 17.50 35.00 250.00 70.00 40.00 75.00 130.00 902— Van Leyden, L., "The Rest in Egypt," Painter-engraving. A. H. Hahlo & Co, $ 903 — Van Leyden, L., "The Baptism of Christ," Painter-engraving. R. C. Bondy 904 — Van Leyden. L., "Christ Before the High Priest," Painter-engraving. Miss Hays 905 — Van Leyden, L., "Christ Presented to the People," Painter-engraving. Mrs. J. H. Russell 906 — Van Leyden, L.. "The Great Crucifix- ion," Painter-engraving. Mrs. J. H. Russell 907 — Van Leyden, L., "Christ Appearing to Magdalen," Painter-engraving. D. Allen 908 — Van Leyden L., "Return of the Prodi- gal Son, Painter-engraving. D. Allen 909 — Van Leyden, L., "St. Luke," Painter- engraving. A. H. Hahlo & Co 910 — Van Lf^vden, L., "The Conversion of Saul," Painter-engraving. R. C. Bondy 911 — Van Levden, L., "Temptation of St. Anthony," Painter-engraving. A. H. Hahlo & Co 912^Van Leyden, L., "St. George Liberat- ing the Princess, Painter-engraving. E. Spencer 913 — Van Leyden, L., "The Dance of the Maiydalen," Painter- en graving. Mrs. J. H. Russell 914 — Van Leyden. L., "Mahomet and the Monk Sergius," Painter-engraving. R. C. Bondy 915 — Van Leyden, L., "The Poet Virgil Sus- pended in a Basket," Painter-en- "ravinpf. M. Knoedler & Co 916 — Van _ Levden, L., "The Promenade," Painter-engravincr. L. J. Recken- dorfer 1 917 — ^Van Leyden, L., "A Bufoon Kissing a a Woman," Painter-engraving. A. B. Bork 918 — Van Leyden, L., "The Musicians," Painter-engraving. Mrs Oesterlein 919 — Van Leyden, L,, ""The Dentist," Pain- ter-enfrraving. E. Frenkel 920 — Van Le-den, L., "Milkmaid," Painter- engraving. Mrs. ■'' H. Russell L.. "Ornament with Two Painter-engraving. T. 921 — ^Van Leyden, Dolphins," Richmond 922 — Van Leyden, L., "Ornament with Two Snhinxes," Painter-engraving. E. Frenkel 923 — Van Leyden, L., "Ornament with Two Mermaids," Painter-engraving. K. D. Aharonian 924 — Van Leyden, L., "An Escutcheon with Two Winged Genii," Painter-engrav- ing. E. Frenkel 925 — Van Meckeneiri, I., "The Dance of Herodias," Engraving. P. D. Col- naghi & Obach 926 — Van Meckenera. I., "Christ Carrying the Cross," Engraving. Paul D. Sachs 927 — Van Meckenem, I., "St. Luke Painting the Picture of the Virgin," Engrav- in?. A. H. Hahlo & Co 928 — Van Meckenem, I,. "St. Gregory," En- graving. Paul D. Sachs 929 — Van Meckenem, I., "The Holy Fam- ily," Engraving. A. H. Hahlo & Co. 930 — Van Meckenem, T.. "The Guitar Player and the Lady," Engraving. Boston Museutn 931 — Van Meckenem, I., "The Falconer and the Lady," Engraving. P. D. Colna- ghi & Obach 932 — Van Meckenem, I,. "The Bath," En- graving. P. D. Sachs 933 — Van Meckenem, I., "The Genealogical ' Tree of Christ," Painter-engraving. M. Knoedler & Co 934 — Van Ostade. A., "Le Coup de Cou- teau," Painter-etching. E. Frenkel. 170.00 35.00 lOO.OO 180.00 260.00 150.00 150.00 220.00 120.00 440.00 210.00 250.00 70.00 260.00 30.00 17.50 15.00 15.00 330.00 10.00 13.00 5.00 12.50 450.00 60.00 800.00 150.00 800.00 290.00 280.00 190.00 120.00 35.00 17 935 — Van Ostade, A., "Le Remouleur," Pain- ter-etchmg. A. Rouillier ! 936 — Van Ostade, A., "Le Charcutier," Pain- ter-etching. Paul D. Sachs 937 — Van Ostade, A., "Le Violin et le Petit Vielleur," Painter-etching. A. RouUier 938 — Van Ostade, A., "Le Danse au Cab- aret," Painter-etching. A. H. Hahlo & Co 939 — Vcllert, D. J., "St. Bernard Painting a Picture of the Virgin," Painter- engraving. R. Ederheimer 940 — Vice, E., "Battle of the Lapiths and Centaurs," Engraving. Keppel ix Co. 941 — Viel, P., "Diane au Bain," after Met- tay ; Line-engraving. Dr. Rosen- bach 942 — Visscher, C, "The Pancake Woman," Painter-engraving. D. Allen 943 — Visscher, C, "Vender of Rat Poison," Painter-engraving. R. Fridenberg., 944 — Visscher, C. "The Mouse Trap," Pain- ter-engraving. A. Roullicr 94S — Visscher, C, "Gellius de Bouma," Line- engraving. F. Meder 946 — Visscher, C, "Lieven van Coppenol," Line-engraving. F. Meder 947 — Visscher, C, "Henrietta Catherine of Nassau," after Van Honthorst; Line- engraving. A. Rcullier 948 — Visscher, C, "Jan de Paep," Line-cn- gravinp. Dr. Richard Jordon 949 — Visscher, C, "Landscape with 'The Rape of Europa,' " after Lorrain ; Line-engraving. Loiuis J. Recken- dorfer 9S0— Von Bocholt, F., "Judgment of Solo- mon," Painter-engraving, Paul J. 951— Voyez, N.' J." "La ToiieVte,"' after Freudeberg: Line-engraving. Boston Museum 952— Walker, W., "Sir Walter Scott," after Raeburn- Line-engraving and Stipple. W. S. Wallace 953— Ward, f., "Mrs. Billinifton as St. Ce- cilia, after Revnolds ; Mezzotint. iCennedy & Co 954 — Ward, J., "Diana and Her Nymphs," Rubens; Mezzotint. M. H. Lynch. 955 — Ward, W.. "Daughters of Sir Thomas Frankland," after Hoppner; Mezzo- tint. Boston Museum 956 — Ward, W., "Elizabeth, Countess of Mex- borough," after Hoppner; Mezzo- tint. J. F. Drake, Inc 957 — Ward, W., "Portrait of George Mor- land," after MuUer; Mezzotint. M. H. Lynch 958_Ward, W., "David Wilkie," after Geddes; Mezzotint. Max Williams. 959 — Ward, W.. "Mrs. Michael Angelo Tay- lor, as Miranda," after Hoppner ; Mezzotint. P. D. Colnaghi & Obach 960 — Ward, W., "Outside of a Country Ale- house," after Ward; 'Mezzotint. J. F. Drake, Inc 961— Ward, W., "Selling Rabbits," after Ward ; Mezzotint. J. F. Drake, Inc. 962 — ^Ward, W.. "Compassionate Children," after Ward; Mezzotint. J. F. Drake, Inc 963— Ward, W., "The Citizen's Retreat," after Ward; Mezzotint. Kennedy & Co 964 — Ward, W., "The Kite Entangled," after Morland ; Mezzotint. Kennedy & Co. 965— Ward, W., "The Coquette at Her Toi- let," after Morland; Mezzotint. Ken- nedy & Co 966 — Ward, W., "Domestic Happiness," after Morland; Mezzotint. Kennedy & Co. 967 — Ward, W.. "Hesitation," Stipple. M. Knoedler & Co 968— Waterloo, A., "Set of Six Land- scapes," Painter-etchinc'S (6). H. A. House 969 — Waterloo, A., "Landscape with Elijah Fed by the Ravens," Painter-etch- ing. D. Allen , f 85.00 50.00 90.00 230.00 55.00 20.00 25.00 27.50 27.50 35.00 35.00 20.00 30.00 17.50 12.50 170.00 30.00 180.00 200.00 60.00 3,200.00 575.00 60.00 60.00 2,600.00 1,350.00 525.00 525.00 475.00 825.00 300.00 300.00 450.00 50.00 55.00 970 — Watson, C, "Contemplation," after Reynolds; Stipple. Mrs. Forsythe Wickes ; $ 20.00 971 — Watson, J., "Mrs. Abington," after Reynolds; Mezzotint. Mr. K. Hersch 600.00 972 — Watson, J., "Mrs. Catherine Bu^bury," after Reynolds; Mezzotint. J. D.. Brown 120.00 973 — Watson, J., "Elizabeth, Duchess of Manchester, and Her Son, as Diana and Cupid," after Reynolds; Mezzo- tint. Kennedy & Co 80.00 974 — Watson, T., "Lady Catherine Bamp- fylde," after Reynolds; Mezzotint. J. F. Drake, Inc. 1,250.00 975— Watson, T., "Mrs. Beresford, Mrs. Gar- diner, Lady Townshend, known as the Irish Graces," Mezzotint. J. F. Drake, Inc 275.00 976 — Watt, J. H., "The Procession of the Flitch of Bacon," after Stothard; Line-engraving, F. J. Sweeney 20.00 977— Whealley, F., "The Cries of London," (complete set of 13) ; Stipple. W. W. Seaman, agent "M" 6,700.00 978 — Whistler, J, A. McN., "Fumette," Painter-etching. L. J. Reckcndorfer 90.00 979 — Whistler, J. A. McN., "La Marchande de Moutarde," L. J. Reckcndorfer. . 80.00 980— Whistler, J. A. McN., "The Kitchen," P. D. Colnaghi & Obach 625.00 981— Whistler. J. A. McN., "Annie Seated," W. W. Seaman, agent "M" 150.00 982— Whistler. J. A. McN., "Old Westmin- ster Bridge," Painter-etching. M. H. Lynch 100.00 983— Whistler. J. A. McN.. "Eagle Wharf," Painter-etching. Mrs. J. H. Russell 160.00 984 — Whistler, J. A. McN., "The Lime- Burner," Painter-etching. A. O. Levy 250.00 985 — Whistler, J. A. McN., "Becquet," Dry- point. R. C. Bondy 270.00 986— Whistler, J. A. McN., "Annie Haden," Drv-point. Joseph E. Widener 1,800.00 987— Whistler, J. A. McN., "Weary," Dry- point. Marshall Field 1,650.00 988- Whistler. J. A. McN., "Speke Hall No. 1." Painter-etching. P. D. Colnaghi & Obach ..:.... 550.00 989— Whistler, J. A. McN., "The Guitar- Plaver," Dry-point. P. D. Colnaghi & 'Obach 1,450.00 990— Whistler, J. A. McN., "London Bridge," Dry-point. P. D. Colnaghi & Obach 500.00 991— Whistler, J. A, McN,, "Old Putney Bridge," Painter-etching. Mr. Ralph 40C.0O 992— Whistler, J. A. McN., "Nocturne," Etching. J. F. Drake. Inc 2,900.00 993— Whistler. J. A. McN.. "The Little Lag- oon," Etching. J. F. Drake, Inc 550.00 994— Whistler. J. A. McN., "The Palaces," Etching. Mrs. T. H. Russell 1,050.00 995 — Whistler, J. A. McN.. "Tlie Doorway," Etching. J. F. Drake. Inc 1,725.00 996— Whistle.r J. A. McN., "The Traghet- to," Etching. J. F. Drake, Inc 1,250.00 997 — Whistler, T. A. McN., "Two Door- ways," Etching, T. F. Drake, Inc.. 2,150.00 998— Whistler, J. A. McST., "The Beggars," Etching. J. F. Drake 1,500.00 999— Whistler, J. A. McN., "The Mast," Painter-etching. R. C. Bondy 550.00 1000— Whistler, J. A. McN., "Turkeys," Painter-etching. C. W. Kraushaar. 310.00 1001 — Whistler, J. A. _ McN., "Nocturne: Palaces." Painter-etching. M. Knoedler & Co 2,500.00 1002— Whistler, J. A. McN., "Long Lag- oon," Painter-etching. J. F. Drake 800.00 1003— Wliistler. T. A. McN., "Upright Ven- ice." Painter-etching. J. F. Drake. 750.00 1004— Whistler. J. A. McN., "The Riva," Painter-etching. R. C. Bondy 725.00 1005— Whistler, J. A. McN., "The Balcony," Painter-etching. J. F. Drake 875.00 1006— Whistler, J. A. McN., "The Garden," Painter-etching. J. F. Drake 950.00 1007— Whistler, J. A. McN., "Long Ven- ice," Painter-etching. J. F. Drake. 500.00 18 1008 — Whistler, J. A. McN., "Nocturne: Furnace," Painter-etching. R, C. Bondy $ 825.00 1009 — Whistler. J. A. McN., "Nocturne: Salute," Painter-etching. Mr. Ralph 1,250.00 1010 — Whistler, J. A. McN., "Cameo," Pain- ter-etching. A. H. Hahlo & Co 700.00 1011— Whistler, J. A. McN., "Balcony, Am- sterdam," Fainter-etching. M. Knoed- ler & Co 1,?50.00 1012— Whistler, T. A. McN., "Long House — Dyer's Amsterdam, Painter-etching. Ill Knoedler & Co 1,950.00 1013 — Whistler J. A. McN^, "Fierrot," Pain- ter-etchmf. J. F. Drake, Inc 1,650.00 1014 — Whistler, J. A. McN., "The Lime- house," Lithograph. W. S. Wallace 200.00 1015 — White, R., "Portrait of Orlando Bridgeman," Line-engraving. F. Me- der 5.00 1016— Wilkins, C, "Lady Cocktrurn with Her Three Sons,'' after Reynolds; Stipple. Mrs. Payne 125.00 1017 — Wille, J. G., "Instruction Patemelle," after Terburg; Line-engraving. F. Meder 27.50 1018— Wille, J. G., "L'Observateur Dis- trait," after Mieris; Line-engraving. F. Meder 17.50 1019— WooUett, W., "Roman Edifices," after Lorrain ; Line-engraving. A- Roul- lier $ 30.00 1020— Woollett, W., "The Temple of Apol- lo," after Lorrain; Line-engraving. D. Allen 30.00 1021— Woollett, W., "The Maid of the Mill," after Richards; Line-engraving. Ken- nedy & Co 22.50 1022— Woollett, W., "A Tournament," Pain- ter-engraving. A. RouUier 100.00 1023— Woollett, W.. "The Couple Embrac- ing," Painter-engraving. Keppel & Co. 500.00 1024 — Woollett, W., "Woman Beating Her Husband," Painter-engraving. Paul D. Sachs 75.00 1025— Zorn, A. L., "Portrait of Mrs. Gran- berg," Painter-engraving. Mr. Ralph 140.00 1026 — Zorn, A. L., "L'Ete," Painter-engrav- ing. A. H. Hahlo & Co 120.00 1027 — Zorn, A. L., "The Precipice," Pain- ter-engraving. Mrs. J. H. Russell.. 225.00 1028 — Zorn. A. L., "Mona," Painter-engrav- ing. Miss E. S. Kendall 260.00 Total $2)90,819.50 19 COLUMLilAN NATURAL CLASP NO. 63M PAT, 1,250,033 PAT. 1,593.048 THE UNITED STiTrs ch 'ELOPE CO. SPHl.taFIELD.MASS, 6 2 X 9V2