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 .Mrtchlngs and drawings by 
 A catalogue ol ewnin8»„,„,„„|„„„;|||;ii| jmiii 
 
Cornell University 
 Library 
 
 The original of tliis book is in 
 tine Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924016178018 
 
A CATALOGUE 
 
 OF ETCHINGS AND DRAWINGS BY 
 
 CHARLES MERYON 
 
 AND 
 
 PORTRAITS OF MERYON 
 
 IN THE 
 
 HOWARD MANSFIELD COLLECTION 
 
 THE ART INSTITUTE OF CHICAGO 
 • MDCCCCXI 
 
The Aet Institute of Chicago 
 Depaetment of Peints 
 
 Committee, Clarence Buckingham, Kenneth S. 
 
 Goodman, Wallace L. DeWolf. 
 CcEATOE, Kenneth S. Goodman. 
 Assistant in chaege, Mrs. Helen B. Stevens. 
 
Feom the Beqtjbst of Mes. Elizabeth Hammond 
 Sticknet the Howard Mansfield Collection of 
 Etchings and Drawings by Charles Merton 
 was purchased for the permanent collection 
 OF THE Art Institute of Chicago in 1909. 
 
MERYON 
 
 Ghaxles Meryon, famous among the masters of etching, 
 was born in Paris on the twenty-third of November, 1821, 
 the son of Charles Lewis Meryon, an English physician, 
 and Pierre-Naroisse Chaspoux, a dancer at the opera, who 
 is believed to have been of Spanish origin. The father 
 soon afterward returned to Englarid, but in 1824 formally 
 acknowledged his son, providing also in a measure for his 
 education. It was this Dr. Meryon who became the medi- 
 cal attendant and secretary of Lady Hester Stanhope, on 
 her journeyings in the Levant, and her biographer and the 
 recorder of her travels. There seems to have been early 
 intercourse between Meiyon and his father's English fam- 
 ily, and intermittent correspondence between the father and 
 son almost to the date of the latter'a death, with renewed 
 offers of pecuniary aid on the one side and suspicion of 
 motives on the other. 
 
 Up to 1837, however, Meryon was for the most part 
 left to the devoted care of his mother, who died insane in 
 that year or the next, foreshadowing the mental trouble that 
 years afterward was to afflict her son. After early school- 
 ing at Passy, he was admitted, in 1837, to the Naval School 
 at Brest, where he remained for two years, rising in that 
 interval from number forty-seven to number twelve in his 
 class. Leaving the Naval School, he was assigned to one 
 and then another training ship with first class rank, and 
 thus during two years saw something of countries about 
 the Mediterranean. In 1842, he embarked as midshipman 
 
on the corvette Rhin, and on the four years' voyage of that 
 ship visited New Zealand, New Caledonia and other islands 
 of Oceanica. 
 
 Already, while on a visit with his father's family at 
 Marseilles, Meryon had thought of becoming an artist, and 
 at Toulon had received some instruction from Victor Cor- 
 douan, a landscape-painter, to whose influence Burty at- 
 tributes the peculiar softness of drawings made by Meryon 
 on this South Sea voyage, a characteristic especially observ- 
 able in the drawing of " P§che aux Palmes," in the collection 
 presently to be described. 
 
 On his return to Paris in 1847, Meryon sought a six 
 months leave of absence, which was granted and which at 
 one time seemed likely to lead to an appointment in the 
 Bureau of Charts and Maps. Lack of political influence 
 appears to have saved him from the career of office drafts- 
 man, such as Whistler years after dallied with, and while he 
 was waiting his leave of absence expired. In this difficult 
 situation he decided to leave the service, partly, as he after- 
 ward explained, because he himself felt unfitted for the 
 career of naval officer, and partly because of a cherished 
 inclination toward art. 
 
 Scarcely had Meryon's resolve to be an artist become 
 fixed than he took a studio in the Rue Hautefeuille, and 
 started out to become a painter, with such limited prelimi- 
 nary instruction as could be had from a pupU of David, 
 Philippes by name, then in the employment of the war office, 
 who set him to the customary task of making drawings from 
 antique casts. But Meryon, with characteristic eagerness 
 and full of the political enthusiasm of the time, set himself 
 to his own tasks, imagining a patriotic composition, "L'Ere de 
 
LumiSre-1848," describing it in writing, and achieving the 
 sketch for an ambitious painting, "L'Assassinat de Marion 
 Dufrdne, t la Baie des Isles (Nouvelle-Z^lande), en 1772." 
 Although this sketch, reproduced in "Notes at Souvenirs 
 sur Charles Meryon " by Aglaus Bouvenne, gained admis- 
 sion to the Salon of 1848, the discovery was made, when 
 Meryon essayed the painting, that he was afflicted with color- 
 blindness, and so one avenue toward success in his new 
 career was forever closed. 
 
 Another, fortunately for the world, presently opened 
 before him, through the opportunity, given by chance, of 
 , seeing the etchings of Eugene Bl^ry, an etcher of trees and 
 plants. These works so strongly impressed Meryon that 
 he sought instruction from the etcher, who became in conse- 
 quence known to fame chiefly as Meryon's master. Under 
 his tuition Meryon soon learned all the technical resources 
 of the art, including skill in the printing of the plates. 
 The beginning of his own work, in the years 1849 and 
 1850, was copies of the work of others, De Loutherbourg, 
 Salvator Rosa, Karel Du Jardin, Adrien van de Velde and 
 Reynier Nooms, the Dutch etcher, better known as Zeeman, 
 besides a few portraits, one of himself and one of Bl^ry, 
 both now unknown except by description, and one of Ed- 
 mond de Courtives, an impression of which is in the collec- 
 tion of Mr. B. B. McGeorge. The earliest work of all, how- 
 ever, was the "Head of Christ," or "La Sainte Face," the 
 only known impression of which is in the present collection. 
 The identity of this impression is established by Meryon's 
 own statement on the mount, that it is " after a copy of a 
 painting by Philippe de Champagne." This, together with 
 some eight others of his early etchings, one other of which, 
 
"The Sheep and the Flies," similarly identified, is probably 
 unique, was included in a gift by Meryon to B16ry, con- 
 tained in a portfolio, also in this collection, carefully lettered 
 in ink and color by Meryon's own hand. Further proof of 
 his appreciation of his master appears from the presentation 
 impressions of early states of "La Morgue " and " Entree 
 du Couvent des Capucins Frangais d, Ath6nes," both in the 
 collection. 
 
 It was in 1850 that Meryon began, with the " Petit 
 Pont," the series of Paris etchings upon which his title to 
 immortality rests. All the plates were completed within 
 the next four years, although not in the order in which they 
 were published and have uniformly been catalogued. Ac- 
 cording to M. Loys Delteil, the latest authority on Meryon, 
 none of the series followed in 1851, a year marked only by 
 the "Carved Doorway of an Old House at Bourges"; but 
 1852 witnessed the etching of the characteristic " Title " 
 and of the "Tour de I'Horloge," then under restoration, the 
 " St. Etienne-du-Mont," the " Tourelle de la rue de la Tix- 
 eranderie," then on the verge of demolition, and the " Pompe 
 Notre-Dame," soon also to disappear. In 1853, "Le 
 Stryge," that wonderful and typical grotesque of Notre- 
 Dame, and the " Galerie Notre-Dame" were achieved, and 
 finally, in 1854, the "Rue des Mauvais-Gargons," the "Pont 
 au Change," the " Morgue " and the culminating " Abside 
 de Notre-Dame." In the same year, a number of smaller 
 accompanying pieces and a few verses of weird poetical re- 
 flections, were added and the extraordinary creation was 
 complete, awaiting only appreciation. 
 
 Some stimulus it had doubtless needed, and such it had 
 in large measure received from M. Jules Niel, librarian of 
 
 10 
 
the Department of the Interior, whose generous support 
 and encouragement during the execution of the work are 
 recognized in a note of presentation on an early impression, 
 in the present collection, of the " Arms of the City of Paris." 
 Aid from this source was supplemented in the substantial 
 form of a subscription from the Department, apparently for 
 a number of copies of the whole or portions of the work, 
 since duplicate impressions of some of the finest plates, 
 printed on the " verdatre " paper of the Eighteenth Century, 
 for which Meryon had a particular fondness, and bearing 
 the stamp of the " MinistSre de I'lnt^reur" are in the present 
 collection and in some other collections. These and nearly 
 all the early proofs of the Paris etchings owe their beauty 
 of impression to the skill in printing of Meryon himself, or 
 of Auguste Delatre, who appears to have taken impressions 
 from all the plates, under the supervision of Meryon, on 
 papers of Meryon's selection. 
 
 Although the Paris series was placed on sale with the 
 principal print-sellers of Paris, at the modest price of 25 
 and 30 francs for the set, and was eagerly acquired by a 
 number of amateurs, whose names Delteil rightly records, 
 the " art patrons " of Paris remained, for the most part, in- 
 sensible of the new glory added to their city and to art, 
 or were indifferent, as many print-collectors so long con- 
 tinued to be, to the quality and rank of these great etch- 
 ings. The official representative of the art-public, the jury 
 of the Salon, had already, in 1853, rendered its verdict in 
 denying to the "Galerie Notre-Dame" a place in the exhibi- 
 tion of that year. 
 
 From some of the art critics, however, and from dis- 
 tinguished men of letters, came a due meed of appreciative 
 
praise. The approbation of one of these critics, L6on God- 
 dard, brought a letter of thanks from Meryon, modestly 
 decrying his own work as overpraised, specifying particu- 
 lars in which it seemed to the exacting etcher that his etch- 
 ings were imperfect. Such satisfaction as this and other 
 favorable criticism could give, it is gratifying to know 
 Meryon received and enjoyed while his mind remained clear 
 and was undisturbed by fears and suspicions. 
 
 Victor Hugo, in exile at Guernsey, wrote of the Paris 
 etchings, in an eloquent passage : " These etchings are 
 magnificent things. This fine imagination must not be 
 overwhelmed in the great struggle it is waging with the 
 Infinite, whether intent in thought upon Nature or Paris. 
 Strengthen him by all the encouragements possible. The 
 breath of the Universe breathes through the work of Meryon, 
 and makes his etchings more than pictures — visions." 
 
 Charles Baudelaire said of them : " By the vigor, the 
 delicacy and the certainty of his drawings, Meryon recalls 
 what is best in the work of the early etchers. We have 
 rarely seen represented with more poetry the solemnity 
 peculiar to a great capital." 
 
 Philippe Burty, who was the first to catalogue Meryon's 
 work and give it vogue, wrote thus : " The work of Charles 
 Meryon is absolutely personal. His lofty originality, which 
 is not within the comprehension of everyone, does not pro- 
 ceed from any master or any school. He was not heralded 
 by any precedent, nor will he have imitators, because he 
 has a philosophical range, especially evident in certain 
 pieces, such as the ' Morgue ' and the ' Stryge,' and because 
 his imagination so deeply imbues the subject itself as to 
 make any imitation ridiculous." 
 
 18 
 
Meanwhile the fame of Meryon had not only crossed 
 the Atlantic, but had reached the Pacific coast. From two 
 French bankers, in San Francisco, Bayerque and Pioche, he 
 received, in 1855, a commission to etch an extensive view 
 of the new city. The basis furnished for the work was not, 
 as Burty states, five little daguerrotype plates, but five 
 photographs of considerable size, among the earliest experi- 
 ments of the kind. Taken at different hours of the day, 
 these photographs failed to give a harmonious or even clear 
 view of the entire scene, and Meryon, in a letter to Burty, 
 records the extreme difficulty he encountered in making the 
 preliminary drawings for the etching, and the painful sus- 
 pense experienced in the biting-in of so large a plate. The 
 five photographs, preserved by De Salicis, were acquired at 
 his sale, in 1891, for the present collection, in which were 
 akeady the completed drawings in five sections on thin 
 transfer paper, besides a drawing of the first section in re- 
 verse and smaller sketches of characteristic figures added 
 by Meryon. The etching ultimately bore also portrait 
 medallions of the two bankers on a central tablet supported 
 by allegorical figures of "Abundance " and " Labor." 
 
 The appreciation of the discerning few could not, how- 
 ever, make up for public neglect, nor could more direct 
 methods of assistance stay the tendency to mental malady 
 which had now become alarming. Invited by the Duke of 
 Aremberg to Brussels, with a prospect of patronage, Meryon 
 failed to recover hopefulness or serenity, but suddenly and 
 without apparent reason returned to Paris. There, in spite 
 of the afEectionate care of friends, he took to his bed and 
 threatened as intruders all who came near him. It was one 
 evening while be was in this condition, that the etcher, 
 
 13 
 
Leopold Flameng, gaining admission to Meryon's room, 
 made the hasty portrait sketch in charcoal, afterward repro- 
 duced by a process, an early proof of which is among the 
 portraits of Meryon in the present collection. This was on 
 the 11th day of May, 1858, and the day after, Meryon was 
 induced to go to the asylum at Charenton-St. -Maurice. He 
 was declared to be sufEering from delirium and melancholia. 
 
 Under the influence of considerate treatment and the 
 careful routine of life at the asylum, Meryon's physical con- 
 dition, and consequently his mental state, gradually so im- 
 proved as to permit of his resuming work in a studio placed 
 at his disposal within the asylum precincts, where he etched 
 the " View of the Ruins of the Chateau of Pierrefonds " 
 from a sketch brought to him by VioUet-le-Duc, the archi- 
 tect, who was then restoring the ChS,teau. By the 25th of 
 August, 1859, Meryon's mental health was so far regained 
 that he obtained a leave of absence, returning to Paris 
 under the oversight of his old ship-comrade and lifelong 
 friend, M. de Saliois, formerly the captain of a frigate, and 
 then an instructor in the Polytechnic School. 
 
 Under commissions from friends, Meryon now under- 
 took new etchings of Paris, some of them reproductions of 
 ancient drawings, besides portraits, book plates and other 
 minor works, receiving also from the Chalcographie du 
 Louvre a commission which he was able to execute in the 
 etching of " L'Ancien Louvre," after the painting by 
 Zeeman. 
 
 Meryon had for some time cherished the project of 
 publishing an album of etchings from drawings he had 
 made at Bourges, and a souvenir album of his voyage on 
 the corvette Rhin. For both undertakings a number of 
 
plates had already been etched, but only for the latter series 
 were enough finally completed to make a special publica- 
 tion. Meryon's method of utilizing for this series the draw- 
 ings made during the voyage was to make, on transparent 
 paper, copies of the size of the plates, and by squares 
 crossed on the drawing to secure an exact reproduction in 
 etching. One of these reduced drawings, that of the "fitat 
 de la Petite Colonie Franqaise d'Akaroa," prepared for re- 
 production, is in the present collection, and may be com- 
 pared with the original drawing on the larger scale, of the 
 " P^che aux Palmes," already noticed. A small drawing of 
 "Pro-volant des lies Mulgrave," also in the collection, 
 appears, however, to have been reproduced in virtually the 
 original size. 
 
 In 1861, Meryon took in hand again the coppers of the 
 Paris series, retouched some of them, and changed the 
 drawing of others, notably in reducing the size of the 
 houses of the Rue Dauphine in the etching of the " Pont- 
 Neuf," for which the houses had originally been sketched 
 by Meryon from the street level, while the bridge and em- 
 bankment had been sketched from the river's edge. Figures 
 in the etching of the " Morgue " were changed, balloons 
 were added in the etching of the " Pont-au-Change"; 
 luminous rays were made to shine through the reconstruc- 
 tions of the "Tour de I'Horloge" and more ravens were in- 
 troduced in flight about the "Galerie Notre-Dame." After 
 about thirty proofs had been taken from such of the coppers 
 as had been re-touched, the plates were destroyed. 
 
 Meryon's work was now virtually at an end. His 
 mental disease, renewing itself, grew upon him rapidly and 
 he became possessed of pathetic hallucinations, became fear- 
 
 is 
 
ful of enemies and distrustful of his friends. Nevertheless, 
 he was not without companionship, especially the companion- 
 ship of Burty and of Braoquemond, a contemporary etcher, 
 whose work he admired, and who had twice etched his 
 portrait. 
 
 It was about this time that Meryon was visited by 
 Seymour Haden, who purchased from him a number of 
 proofs, but only to be followed through the streets of Paris 
 by the agitated artist he had thought to befriend, who in- 
 sisted on having back the proofs, which he said were of a 
 a nature to compromise him, evidently apprehensive lest the 
 English etcher should palm them ofE as his own. 
 
 By the autumn of 1866, Meryon's mental condition be- 
 came such that his friends sought medical advice, with the 
 result that, on the 12th of October, he was again placed in 
 the asylum. There he remained for the rest of his days, 
 still the victim of hallucinations and fears, and there his un- 
 quiet life came to an end on Friday, the 14th of February, 
 1868. He was buried in the cemetery of Charenton-St.- 
 Maurice, accompanied to the grave by his physician, Dr. 
 Folley, and by his faithful friends, Braoquemond, DeMtre, 
 Burty and De Salicis, the last his old comrade, who pro- 
 nounced over him these touching words of farewell : " The 
 distinguished artist ends his first existence here in this cold 
 grave. To our eyes he is no more ; but from this moment 
 he takes his place in the history of art, for he is wanting in 
 nothing which makes men illustrious — sufiEering as well as 
 talent. Dominated, driven by a divinity within him, 
 Meryon sacrificed everything to his art — the dreams of his 
 youth, an enviable career, wealth, health, reason. Every- 
 thing, did I say? — ^yes, everything but his integrity, the 
 
 18 
 
honor of his soul. Above this poor storm-tossed barque, at 
 every moment deluged and hastening to shipwreck, there 
 sang one white bird — oonsoienoe. Let us then to-day cease 
 to lament over him whom we knew as the unfortunate 
 Meryon; he will be known hereafter as the famous Meryon, 
 and his better part has already retaken its place in light, 
 eternal and serene. What if, like every one, he bore the 
 mark of human imperfection! Life had been for him a time 
 of bitter trials. Atonement is already made, and in the un- 
 known world beyond, the least of the blessings which he 
 can attain will be that which he always craved and never 
 found — Meryon is at rest." 
 
 Upon a tablet of copper, sunk in black Brittany stone 
 over Meryon's grave, is a memorial etched by Bracquemond, 
 with emblems reminiscent of the great etcher's work, 
 
 Meryon was not an etcher of the type of Rembrandt or 
 Whistler ; he was rather an engraver-etcher, reproducing 
 his own preliminary drawings instead of etching his subjects 
 on the plate from nature. His habitual method is thus de- 
 scribed by Sir Seymour-Haden : " First he made, not a 
 sketch, but a number of sketches, generally on vellum two 
 or three inches square, of parts of his picture, which he 
 then put together and arranged into an harmonious whole, 
 which whole he first bit in and worked into completeness by 
 the dry-point and the burin. What is singular and a proof 
 of his concentrativeness is, that the results had none of the 
 artificial character usual to this kind of treatment, but that 
 it is always broad and simple, and that the poetical motive 
 is never lost sight of." 
 
 Meryon was not always solicitous to represent build- 
 ings precisely as they were, nor to fit them always accurately 
 
among their surroundinga, but he often endowed them with 
 a nobility of aspect which they did not in reality possess; 
 he shaped their surroundings into harmony with them, and 
 in various ways heightened their impressiveness, and finally 
 glorified his scenes with efEects of light and shadow such as 
 no one but Meryon ever imagined. 
 
 To Meryon what was left of Old Paris was a passion. 
 It haunted him, and he, in turn, immortalized it with a de- 
 votion and a genius which make the ancient city live in his 
 works as it lives in the works of Hugo. Therefore, his 
 masterpieces take their rank with the great enduring monu- 
 ments of art. Not only these, but his minor works are vital 
 with a personality energetic and sincere, and reflect a nature 
 genuinely poetic and noble, somber though it became under 
 the shadow which hung over his life. His work stands 
 unique as a whole among the achievements of that form of 
 art in which his talent found scope. In his triumphs he 
 reached the highest summits; in whatever he did he gave 
 out of himself something worthy of being preserved by 
 time. 
 
 The collection described in the catalogue that follows 
 was begun as long ago as the autumn of 1877, by the pur- 
 chase of the sunny impression of the "Pompe Notre-Dame," 
 on paper with the water-mark " 1852, " the year in which 
 that etching was made. It has been enlarged through the 
 addition of impressions acquired one at a time, as opportu- 
 nity has offered, until it now embraces at least one impres- 
 sion from all but five plates by Meryon of which impressions 
 are known to exist, none of these five plates being of great 
 
 18 
 
importance. Changes in the artist's oonoeption of his com- 
 positions are illustrated as a rule by impressions of different 
 states of the plates in question. The special endeavor has 
 been to acquire impressions of the highest quality. 
 
 The collection of etchings has been supplemented by 
 a number of drawings. Some are drawings made in the 
 South Seas when Meryon was a midshipman on the Rhin ; 
 others were evidently preliminary to etchings. 
 
 Three catalogues of the etched work of Meryon have 
 been compiled. The first, in French, was the labor of his 
 friend Philippe Burty and was translated into English by 
 Marcus B. Huish, and published in London in 1879. The 
 second is that of Frederick Wedmore, published in London 
 in 1879, of which a second edition was published in 1892. 
 The third, far more thorough than either of the others and 
 extensively illustrated, is the catalogue, in French, of Loys 
 Delteil, published in Paris in 1907. 
 
 The etchings included in the present collection are 
 numbered, and the states are classified, according to the 
 Delteil Catalogue, although reference is also made to the 
 different numbers the prints bear in the Burty and Wedmore 
 catalogues, and to the classification of states adopted by 
 these compilers, and hitherto generally accepted. 
 
 Titles which could be readily translated are expressed 
 in English ; those which are peculiarly French remain in 
 their original form. 
 
 Delteil differs from nearly all the earlier writers on 
 Meryon, in writing his name without an accent on the e, 
 following Bouvenne in this regard, and justifying the omis- 
 sion by reference to the English origin of the name and the 
 fact that neither in his etched nor in his written signatures. 
 
with a single exception, did Meryon himself use the accent. 
 In acceptance of these reasons as convincing, the accent 
 has been omitted in what has now been written, 
 
 H. M. 
 New Yoke, November, 1909. 
 
 20 
 
Etchings and Deawings bt Charles Meeyon, 
 
 AND PORTBAITS OF MbETON. 
 
 In the Howard Mansfield Collection. 
 
In the catalogue which follows the states [have been 
 arranged and classified according to the catalogue of Loys 
 Delteil. References are also given to the catalogues of 
 Philippe Burty and Frederick Wedmore. D. refers to the 
 catalogue ef Delteil, B. to that of Burty (translated by 
 Huish), W. to Wedmore's "M^ryon" (second edition, 1892), 
 
ETCHINGS. 
 
 1 Head of Cheist, or La Sainte Face. 
 
 D. 1. B. 1. W. 78. 
 
 Unique. Note on mount: "d'apr^s une copie 
 d'une peinture de Philippe Champagne." 
 
 2 The Cow and the Ass. 
 
 D. 2, 2<J Stute. B. 2, 2a State. W. 68. 
 
 Note on margin: "C M. d'aprSs de Louther- 
 bourg." 
 
 8 A SOLDIEE, IN PROFILE. 
 D. 8, 2d state. W. 67. 
 
 Note on mount : " Soldat, d'aprSs Salvator Rosa." 
 
 4 A SOLDIEE, FULL FACE. 
 
 D. 4. B. 8. W.67a. 
 
 Probably unique. After Salvator Rosa. From 
 the De Salicis Collection. 
 
 5 The Sheep and the Flies. 
 
 D. 5 B. 5. W. 64. 
 
 Probably unique. Note on mount : " d'aprfis Karel 
 Dujardin." 
 
 6 The Theee Pigs befoeb a Hotel. 
 
 D. 6, 2d state. B. 6. W.65. 
 
 Note on margin : «C. M. d'aprSs K. D. J." 
 
 23 
 
7 The Two Hokses. 
 
 D.7. B. 7. W.66. 
 
 Note on margin : " C. M. d'aprfes K. D. J." 
 
 8 Ewe and Two Lambs. 
 
 D. 8, 2a state. W. 62. 
 
 On plate, in reverse, "A. V. V. F., 1670." On 
 margin "4" and «< Paris Imp. Del^tre." 
 
 9 The Pavilioit of Mademoiselle and a paet or the 
 
 LOUTEE. 
 
 D. 9, 2d state. B. 8. W. 68. 
 
 Note on margin : " Vue du Pavilion de Made- 
 moiselle at d'une partie du Louvre (vers 1650)"; 
 and signed in ink "C. Meryon d'aprds Zeeman." 
 
 10 Enteance op the Fauboueg of Saint-Maeceau at 
 
 Paeis. 
 
 D. 10, iBt state. B. 9. W. 69. 
 
 Before letters. Note on margin: "Entr6e du 
 faubourg St. Marceau A Paris (1650 environ)". 
 
 11 A Watee-Mill neae St. Denis. 
 
 D. 11, 2d state. B. 10. W. 70. 
 
 Note on margin: "Moulin d, eau k St. Denis," 
 and signed in ink on margin, "C M. d'aprfis 
 Zeeman." 
 
 12 The eivee Seine and the Angle du Mail, at 
 
 Paeis. 
 
 d. 12. B.ll. W. 71. 
 
 Note on margin : " C. M. 1850," " d'aprds Zeeman 
 1650 " and " De Rivier de Cijne en de bouk van 
 de Malie bain tot Parijs." 
 
 24 
 
13 Galiot db JgAN db Vyl dk Rotterdam. 
 
 D. IS, 8d state. B. 1», 2d State. W. 72. 
 
 Signed on margin: "C. M. d'aprfia Zeeman." 
 
 14 Boat from Haaelbm to Amstbedam. 
 
 D. 14, !id state. B. 18, 1st State. W. 73. 
 
 Signed on margin : " C. M. d'aprfis Zeeman." 
 
 15 South-Sba Fishees. 
 
 D. 15, let State. B. 14, let State. W. 7S. 
 
 Signed on margin: "C. M. d'aprSs Zeeman." 
 
 16 Passagers de Calais X Flbssiitgub. 
 
 D. 16, 2d State. B. 15, 1st State. W.74. 
 
 On mount: "Passagers de Calais 3. Flessingue," 
 
 Signed on margin : "C. M. d'aprfis Zeeman." 
 
 17 Title page, " Eaux -Fortes sub Paeis, par C. Meb- 
 
 yon, mdccclii." 
 
 D.17. B. 81. W. 1. 
 
 a. Title printed on green paper. 
 
 b. Title printed on white paper. 
 o. Title printed on brown paper. 
 
 18 Dedication to " Reikier dit Zeeman, Pbinteb et 
 
 Eau-Fortier." 
 
 D.18. B. 82. W.2. 
 
 Dedication of the Paris set : 42 lines of verse, be- 
 ginning, " Peintre des matelots." " C. Meryon 
 fecit MDCCCLiv " and " Imp. Rue neuve St. 
 Etienne-du-Mont, No. 26. 
 
 25 
 
19 Anciennb Poetb du Palais db Justice. 
 
 D. IB, 8d State. B. 33, Sd State. W. 3, M State. 
 
 "Paris, C. Meryon fit. mdcccliv. Imp. Rue 
 Ne. St. Etienne-du-Mont, No. 26." 
 
 20 " Qu'amb Puee Rougisse." 
 
 D. 20, iBt state. B. 84. W. 4. 
 
 Verses. "0. M., mdcccliv. Meryon imp. Rue 
 neuve St. Etienne-du-Mont, No. 26." 
 From the collection of Seymour Haden. 
 
 21 Aems op the Citt of Paris. 
 
 D. 21, 2a state. B. 85, let State. W. 5, 
 
 Before letters. 
 
 Presentation copy. On margin: "A Monsieur 
 Niel — faible t^moignage de reconnaissance pour 
 le g6n6reux appui et les encouragements qu'il m'a 
 donnas, pendant l'ex6cution de ce premier ou- 
 vrage. Son trfis humble et bien d4vou6 serviteur 
 et ami. . . C. Meryon, 13 Mars, 1855." 
 
 22 "Fluctuat NBC Meegitub." 
 
 D.22. B. 86. W. 6. 
 
 a. The etching. " Fluctuat nee mergitur" and 
 
 " MDCCCLI-IV. C. M." 
 
 b. A woodcut copy. Inscribed "Paris Guide." 
 
 23 Lb Stetge. 
 
 D. 23, 4tli state. B. 87, 2d State. W. 7, Ist State. 
 
 On green paper. From the collection of Destail- 
 leur, architect, a friend of Meryon. 
 " C M." on chimney. Under the oval: " C. Meryon 
 del. sculp ; mdcccliii (reversed) ; A. Delitre 
 
imp. rue do la buoherie, 6." Below, the following 
 lines: 
 
 "Insatiable vampire, I'l'ternelle luxure 
 Sur la grande oit6 oonvoite sa pSlture. 
 
 C. M." 
 
 24 Le Petit Pont. 
 
 D. 24, Sd state. B. 88, 2d State. W. 8, let State. 
 
 On green paper. From the MinistSre de I'lnt^- 
 rieur. Before letters but with initials "0. M." in 
 upper right hand corner. 
 
 25 L'Arche du Pont Notee-Damb. 
 
 D. 25, 8d state. B. 89, 2d State, W. 9, 1st State. 
 
 On green paper. On margin: "C. Meryon del. 
 sculp, imp. Rue Ne. St Etienne-du-Mont 26" and 
 "Paris 1853." 
 
 26 La Gaxekie de Notee-Damb. 
 
 D. 26, 8d State. B. 40, 2d State. W. 10, let State. 
 
 On green paper. From the MinistSre de I'ln- 
 t^rieur. On margin : " C. Meryon del. sculp. 
 1853," and "Imp. Rue Ne. St Etienne-du-Mont, 
 26." 
 
 27 La Rub Dts Mauvais Gaecons. 
 
 D.27. B. 41. W. 11. 
 
 a. D. let State. B. let State. W. let State. 
 
 b. D. 8d State. B. 2d State. W. 2d State. 
 
 a. Before letters, 
 
 b. "C. M." in lower left corner on stone; 
 " Meryon Imp. Rue Ne. St. Etienne-du-Mont 
 26": and verses with date: "Paris, Mars LIV." 
 
 27 
 
28 La Toue de l'Hoelogb. 
 
 D.28. B. 42. W.12. 
 
 a. D. 4th State. B. 2d State. W. let State. 
 
 b. S. 8tli State. 
 
 a. On green paper. From the Ministfire de Pin- 
 t^rieur. Before letters but with " C. M." in upper 
 right comer. 
 
 b. Monogram " C. M." in place of initials in upper 
 right corner ; the number "5" in lower left cor- 
 ner. With letters : " La Tour de I'Horloge " and 
 " A. Delatre imp. Rue St. Jacques 265." Numer- 
 ous changes : figures in scafEolding, tower roof 
 shaded, signs on buildings, two beams of light 
 from windows of building in center, trees in place 
 of round building at right end of bridge. 
 
 29 TOTJEBLLE DE LA RuB DE LA TlXEEANDEEIE. 
 
 D. 29, 2a State. B. 43, 2d State. W. 13, let State. 
 
 On green paper. From the Minist^re de I'lnt^- 
 rieur. Before letters but with initials " 0. M." 
 
 30 Saint-Etiennb-du-Mont. 
 
 D. 30, 4th state. B. 44, let State. W. 14, let State. 
 
 On green paper. From the MinistSre de l'Int6- 
 rieur. Before letters but with initials " 0. M." in 
 upper right hand corner. The tip of the clock 
 tower is effaced. 
 
 31 La Pompb Notee-Dame. 
 
 D. 81. B. 45. W. 15. 
 
 a. D. 8d State. B. Trial proof. W. Trial proof. 
 
 b. D. 4th State. B. 2d State. W. let State. 
 
 c. D. 4th State. 
 
 a. On Japanese paper. Signed " C. Meryon, 
 
 b. On green paper. On margin : "C. Meryon ft. 
 
 28 
 
Imp. R. Ne. St. Etienne-du-Mont 26" and " 1852." 
 0. In brown ink on white paper with watermark. 
 
 82 La Pbtitk Pompe. 
 
 D, 82, 23 State. B. 46, 2cl State. W. 10, let State. 
 
 A border surrounding verses beginning " C'en est 
 fait" and date " sidccoliv." 
 
 " Meryon " and " C. M. f. Imp. R. Ne. St. Etienne- 
 du-Mont 26." 
 Frontispiece of the second part of " Vues de Paris." 
 
 33 Le Pont-Neuf. 
 
 D. 88. B. 47. W. 17. 
 
 a. D. 2d State. B. let State. W. Trial proof. 
 
 b. D. 5th State. B. 5th State. W. 2d State. 
 
 c. D. 6th State. B. 4th State. W. let State. 
 
 d. D. 8th State. B. 6th State. W. 4th State. 
 
 a. On Japanese paper. Before letters. Sky un- 
 finished ; no smoke from chimneys ; before the tall 
 chimney. 
 
 b. On green paper. " C. Meryon del. sculp. 
 1853 " and "Imp. A. DeMtre, Rue de la Bucherie 
 No. 6." With tall chimney, smoke and birds. 
 
 c. On green paper. With eight lines of verse 
 beginning, •' Ci-git du vieux Pont-Neuf ." 
 
 d. On white paper. Tall chimney and smoke as 
 well as inscriptions have been efEaced. The houses 
 in center have been reduced in size. More work 
 on sky. On margin, " Le Pont-Neuf"; in upper 
 left corner, " C. M." ; in lower left corner, the 
 number "9". 
 
 34 Le Pont-au-Change. 
 
 D. 84. B. 48. W. 18. 
 
 a. D. let State. B. Trial proof. W. Trial proof. 
 
 b. D. 5th State. B. 3d State. W. let State. 
 
 c. D. 9th State. B. 5th State. W. 2d State. 
 
 d. S. 11th State. B. 8th State. W. 4th State. 
 
a. On green paper. Before sky, balloon or build- 
 ings in distance. 
 
 b. On white paper. With sky, balloon " Sper- 
 anza" and buildings in distance. " C. Meryon 
 del. sculp. MDCCCLiiii " and " Imp. R. Neuve St. 
 Etienne-du-Mont 26 ". 
 
 From the Burty Collection. 
 
 c. On white paper. With title "Le Pont-au- 
 Change ", and in upper left corner the monogram 
 " 0. M." Sky changed ; in place of balloon, cres- 
 cent moon and flocks of large birds. 
 
 d. In a preceding state the large birds were ef- 
 faced and balloons added. Several larger bal- 
 loons are added in this state, the largest lettered 
 "[Vas]co de Gama, Paris." The number "10" 
 in lower left corner, and underneath title, "A. De- 
 latre Imp. R. S. Jacques 265." 
 
 35 L'ESPEBANCB. 
 
 B. 85. B. 49. W. 19. 
 
 Verses written to accompany the " Pont-au- 
 Change." " C. M., Mars mdcccliv" and "(Au 
 bas de la X™^ des 'Eau-fortes sur Paris ')." 
 
 36 La Moeguk. 
 
 D. 36. B. 50. W. 20. 
 
 a. D. 8rd State. B. let State. W. iBt State. 
 
 b. D. 4tli State. B. 2d State. W. 2d State. 
 
 a. Before letters. Dedication: "d. Monsieur E. 
 B16ry son bien d6vou6 0: Meryon." 
 
 b. On green paper. On margin : "0. Meryon 
 del. sculp. MDCCCLIV," and " Imp. Rue Neuve St. 
 Etienne-du-Mont No. 26." 
 
 From the Seymour Haden Collection. 
 
 37 L'H6tblleeib db la Moet. 
 
 D. 87. B. 51. W.21. 
 
 Verses written to accompany " La Morgue." 
 so 
 
38 L'Abside db Notee-Damb db Paris. 
 
 D. 88, sa state. B, 52, Ist State. W. 28, iBt State. 
 
 Before date or letters. Sky completed. 
 
 40 ToMBBAu DB MoliIeb. 
 
 B. 40, 2d state. B. 63. W. 83. 
 
 a. On green paper. 
 
 b. On white paper. 
 
 " C. Meryon ft. mdcccliy. Imp. R. Ne. St.Etienne 
 du Mont, No. 26," and " MoliSre." 
 
 41 TouEELLB, Rub db l']i;colb db Medboine. 
 
 D. 41, 2d state. B. 65, Trial proof. W. 24, Trial proof. 
 
 Before all letters except on houses. Part, only, of 
 arch on top border line. In arch, monogram " C. 
 M." and the figure of oppressed Innocence. Two 
 women in cart. Before the word "Cabat" on the 
 tower and before the letters on the open book held 
 by Truth. 
 
 42 Rue des Chantebs. 
 
 D. 42, 3d state. B. 56, 8d State. W. 25, let State. 
 
 Before letters, with bells and initials " J. B." at 
 top. 
 
 43 CoixIge Henei IV. 
 
 D. 43. B. 83. W. 68. 
 
 a. D. 4th State. B. 8d State. W. 2d State. 
 
 b. D. 7tli State. B. 4tli State. W. 4th State. 
 
 a. Before monogram, but with letters : " Imp. 
 Pierron, r. Montfaucon, I"; " C. M. F"*' 1863-64," 
 and " Paris, Roohoux, Quai de I'Horloge, 19"; as 
 title, "College Henri IV, ou Lyo6e Napoleon, 
 aveo ses d^pendancea et constructions voisines," 
 
 81 
 
with a long description, dated " Paris oe 15 Jan- 
 vier 1864. With houses at left, mountains in 
 background and sailboats. 
 
 b. With new letters: "Vue a vol d'oiseau du 
 College Henri IV ou Lyc6e Napoleon, grand et 
 petit colleges. Aveo les jardins qui en dependent 
 et les constructions avoisinantes. Prise du sommet 
 du Pantheon, Paris dccclxit." " Imp. Pierron r. 
 Montfaugon I " and " 1863-64." 
 The fantastic upper portion has been replaced by 
 houses, At top are small medallion equestrian 
 portraits of Henri IV and Napoleon III flanking a 
 Latin inscription. Monogram " C. M." on house. 
 
 44 Bain-feoid Chevkiee. 
 
 D. 44. B. 84. W. 27. 
 
 a. D. 4th State. B. 2d State. W. let State. 
 
 b. S. 6th State. B. Sd State. W. 2d State. 
 
 a. With sky and inscription on the sign but be- 
 fore letters or monogram. 
 
 b. With letters. Monogram " C. M." at top, and 
 on margin : " Bain froid Chevrier, dit de ificole"; 
 " Paris MDCCCLxiv " and " Pierron Imp. Paris." 
 Accompanied by verses and dedication in ink : 
 " k Monsieur de la Pizeligre hommage de 1' auteur 
 C. Meryon. 26th Octbre 1864." 
 
 45 Lb MiNiSTiEE de la Maeine. 
 
 D. 45, 3rd state. B. 82, 2d State. W. 26, let State. 
 
 Before letters or monogram. With clouds and 
 sword on ground but before vertical lines on 
 columns. 
 
 46 Lb Pont-Nbup bt la Samaeitaine, de dessous la 
 
 I™ Aeche du Pont-au-Change. 
 
D. 46. B. 19. W. 29. 
 
 a. D. 2d State. B. let State. W. Trial proof. 
 
 b. D.8d State. B. 2d State. W. Trial proof. 
 
 a. Before letters. White spaoe around head of 
 man fishing, 
 
 b. Before letters. Lower marginal line strength- 
 ened ; spaoe around head of man fishing filled in. 
 
 47 Lb Pokt-au-Changb, vees 1784. 
 
 D.47. B.20. W.28. 
 
 a. D. 1st State. B. Trial proof. W. let State. 
 
 b. D. 6th State. B. 2d State. W. 2d State. 
 
 a. Before letters, sky or rope. 
 
 b. " Le Pont-au-Change, vers 1784," and " C. 
 Meryon, sculp, mdcccls d'aprfis un dessin de Ni- 
 oolle, tir6 du cabinet de Monsieur Destailleur, 
 arohitecte. A. DelS,tre, Imp. rue du Fg. St. 
 Jacques No. 81. 
 
 48 La Salle dbs Pas-Peedus, X l'Ancibn Palais-de- 
 
 JUSTICE. 
 
 D. 48, 3d State. B. 17, 2d State. W. 76, 1st State. 
 
 With inscription and " C. Meryon sculp. d'aprSs 
 la piSoe originale de Ducerceau, due A I'oblige- 
 ance de Monsieur Destailleur, architeote, Paris 
 
 MDCCCLV." 
 
 Dedication in pencil : " k Monsieur Lassus son 
 bien d6vou6 C. Meryon." 
 
 49 Rou PiEOUETTE Aux Halles, 1860. 
 
 D. 49, Sth State. B. 24, 8d State. W. 30, 4tli State. 
 
 After M. Laurence. 
 
 Inscriptions on right wall are changed to " Aux 
 noces de Cana," etc., instead of "Jamet M"*. 
 Mar6e." On margin : " Laurence del." and " Mer- 
 yon sculp"; and in center, "Rue Pirouette aux 
 Halles, 1860," with « Delatre Imp. R. St. J^ 265 " 
 
underneath. The letters "C. M." and "L." on 
 ohimney are efPaoed. 
 
 50 Passbkbllb du Pont-au-Change apebs l'Tncendib 
 
 DB 1621. 
 
 D. 60, 4th State. B. 37, 4tli State. W. 84, let State. 
 
 After a drawing of the time. 
 
 Before letters. Signature "C. M." at base of tree, 
 
 followed by " L " in a triangle, the stamp of the 
 
 colleotion of M. de Lagoy. Man lying on hillside 
 
 above two women washing clothes. No leaves on 
 
 tree. 
 
 51 Paetib db la CiTfi DB Paris, vbes la Fin dtj XVII^ 
 
 SiBCLE. 
 
 D. 51, 5th State. B. 28, 23 Trial proof. W. 31, Trial proof. 
 
 Left bank of the Seine between the Pont Notre- 
 Dame and the Pont-au-Ohange. Sky completed. 
 Before letters. Sign board over gables still unlet- 
 tered. 
 
 52 Le Geand Chatelet X Pabis, vbes 1780. 
 
 D 52, 2d state. B. 29, 2d State. W. 85, 1st State. 
 
 After a drawing of about 1780. Before letters. 
 
 53 L'Ancien Louvee dtj C8t£ db la Seine. 
 
 D.53. B. 80. W. 60. 
 
 a. D. 2d State. B. Trial proof. W. 1st State. 
 
 b. D. Sth State. B. let State. W. 1st State. 
 
 a. After E. Zeeman. Signed in pencil " C. M."; 
 "ap a M. du — Calcographie '^ and "3 Nov. 
 1865." Before sky. 
 
 b. Finished plate. Before letters. Note in ink: 
 " A Monsieur Reiset, Conservateur de la Chaloo- 
 
 fraphie du Louvre, son bien reconnaissant et tr6s 
 umble serviteur, Ch. Meryon, 3 Avril 1866." 
 
 34 
 
64 Doorway of an Old Convent, Rub Mieabbau, 
 
 BOUKGES. 
 
 D. 54, 1st State. B. 57, let State. W. SS, let State. 
 
 55 Rue des Toilbs a Bourges. 
 
 D. 55. B. 58. W. 86. 
 
 a. D. 2d State. B. 1st State. W. Trial proof. 
 
 b. D. Sth State. B. 8d State. W. 8d State. 
 
 a. On green paper. " 1853 " on a chimney to 
 the right. In the left foreground a dog. On mar- 
 gin : " C Meryon del. sculp. 1853 " and " Rue 
 Ne. St. Etienne-du-Mont 26." " M " on escutcheon 
 on doorway. 
 
 b. The dog has been replaced by a soldier and 
 two women. The date on chimney and the in- 
 scription on margin have been effaced. 
 
 56 Ancienne Habitation a Bourges. 
 
 D. 56, 8d State. B. 59, Sd State. W. 84, 1st State. 
 
 Before letters. "C. M." in lower left corner. Be- 
 fore vine on house. Three columns of smoke from 
 chimney on right. 
 
 58 Chateau de Chenoncbau. 
 
 D. 58, 83 State. B. 18, let State. W. 77, 1st State. 
 " C. Meryon sculp, d'aprfes Duoeroeau " and " A. 
 Delatre Imp. Rue du Fg. St. Jacques No. 81, 
 Paris." After a plate by J. Androuet Duoeroeau. 
 
 59 Ruins of the Chateau of Pieeebfonds. 
 
 D. 59, 2d State. B. 23, 2d State. W. 81, let State. 
 
 Signed " C. M." Trunks of trees along river do 
 not show. 
 
60 Chbvet db St.-Maetin-sue-Rbnbllb. 
 
 D. 60, M state. B. 26, let State W. 83, Trial proof. 
 
 After P. Langlois. Before the title but with 
 "Polyol^s Langlois 1837" and " C. M." 
 
 61 Enteeb du Couyent des Capucins, a AthInes. 
 
 D 61, 2d State. B. 16, let State. W. 32, let State. 
 
 Before letters. Note in ink on margin : "Monu- 
 ment de Lysicrate a, Athdnes — 3, Monsieur Bug. 
 B16rj, son bien d6vou6 C. Meryon." 
 
 62 Plan du Combat de Sinope. 
 
 D. 62, 2d state. B. 21, l6t State. W. 79, 1st State. 
 
 Inscribed with title and "d'aprSs le dessin d'un 
 oflBcier du navire Anglais " Retribution." " C. 
 Meryon sculp." and " A. Deldtre Imp. Rue de la 
 Bucherie, n. 6." 
 
 63 Title Page op the " Voyage X la Nouvelle- 
 Zelandb." 
 
 B. 83. B. 67. W. 46. 
 
 a. D. 1st State. B. Ist State. W. 1st State. 
 
 b. D. 4tli State. B. 4tli State. 
 
 a. On white paper. " 4 juillet 66," in pencil, by 
 Meryon. 
 
 b. On brown paper. " Diverses pieces gravies. 
 Collecte, gain, butin de course et de chasse, faita 
 au mouillage et & la mer ; pendant le voyage 3, la 
 Nouvelle Z61ande, accompli de mdcccxlii d, xlvi 
 sur le navire Rhin, sous les ordres de M'- le Capi- 
 taine de Vaisseau (mort contre-amiral en 1852), 
 A. B^rard, commandant la station a, Akaroa, 
 Presqu'ile de Banks." Inscribed tablets. Mono- 
 gram "C. M." and date "1866." On margin: 
 " Paris " and " C. M. imp. rue Duperr6 20." 
 
64 Lb Pilotb de Tonga. 
 
 D. 64, 2d State. B. 60, 2d State. W. 86, 2d State. 
 
 A deoorative border enclosing a record of the 
 achievements of a pilot at Tonga, written in poetio 
 prose, boginning "Nous partions de Tonga sur 
 un navire de guerre." "Souvenir de voyage 
 MDCccxLii-vi " and " A. Deldtre Imp. rue Fg. 
 St. Jacques no. 81." 
 
 65 Tete dk Chien db la Nouvellb-Hollande. 
 
 D. 65, 2d State. B. 62, let State. W. 88, 1st State. 
 
 66 Lb Malingee Ceyptogamb. 
 
 D. 66. B. 61. W. 87. 
 
 a. D. 2d State. B. 2d State. W. 1st State. 
 
 b. D. 4tli State. B. 8d State. W. 2d State. 
 
 a. With monogram in black in lower right corner. 
 
 b. With title and " Pierron Imp. mdccclx." In 
 the upper left corner, "N. Z."; upper right cor- 
 ner, " MDCCcxLv "; in lower left corner, " P." Mon- 
 ogram in red. 
 
 67 Notjvelle-Cai,£donie. 
 
 V. 67, 5tb state. B. 64, 8d State. W. 40, let State. 
 
 (Grande case indigene sur le chemin de Ballade d, 
 Poepo.) No letters. Monogram near lower right 
 
 68 OCEANIE, PICHE AUX PaLMES. 
 
 O. 68, 1st State. B. 65, 8d State. W. 41, Ist State. 
 
 Before letters. 
 
 37 
 
69 Pkesqu'ile db Banks. Points dbs Chaebonniees, 
 
 Akaeoa. 
 
 D. 89, 2a State. B. 66, 2d State. W. 42, let State. 
 
 Before letters. With the two boats. Many clefts 
 in the mountains. 
 
 70 Geenibes Indigenes a Akaeoa. 
 
 D. 70, Srd State. B. 63, 2d State. W. 39, let State. 
 
 Before letters. 
 
 71 Stat db la Petite Colonib Fean^aise d' Akaeoa. 
 
 D. 71. B. 68. W.48. 
 
 a. D. 2d State. B. 2d State. W. iBt State. 
 
 b. D. 5th State. W. 2d State. 
 
 a. With clouds drawn in pencil. On margin : 
 " 11 Aout 65." 
 
 b. With letters : " Nouvelle-Z6lande. Presqu'ile 
 de Banks, tiltat de la petite colonie frangaise 
 d'Akaroa. Vers 1845 — Voyage du Rhin"; and 
 " C. M. del. sculp. 1865 " and " Pierron Imp. r. 
 Montfaucon 1." 
 
 72 La Chaumieee du Colon. 
 
 B. 72, 2d State. W. 44, let State. 
 
 Before letters. 
 
 73 San Feancisoo, mdccclv. 
 
 D 73. B. 22. W. 80. 
 
 a. D. 1st State. B. 1st State. 
 
 b.andc. D. 4th State. B. 3d State. W. 1st State. 
 
 a. Before sky and much detail. One portrait 
 medallion of A. Pioche in center of an arched 
 frame, supported by " Work " and " Abundance". 
 No initials on escutcheons. 
 
 b. and c. With letters : "San Francisco, mdccclt" 
 in frame ; on margin, " C. Meryon del. sculp. 
 
 38 
 
Paris 1856 " and " A. Deiatre Imp. Rue Fg. Poia- 
 sonidre 145." Two portrait medallions of J. B. 
 Bayerque and A. Pioohe oooupy enlarged arch of 
 frame, with initials " J. B. B." and " A. P." These 
 initials are also on the esoutcheons. 
 
 74 Pe6- Volant des Isles Mdlgeavbs. La Haepb 
 Oasienne. 
 
 D. 74. B. 69. W. 45. 
 
 a. 1st state. Pencil note on margin : " Lundi 
 30J11. '66." 
 
 b. 2d state. Pencil note on margin : " (2) 31 
 juillet 1866." 
 
 o. State between 2d and 3d, with Meryon's mon- 
 ogram, printed in red, near the right upper corner. 
 d. State also between 2d and 3d, with more work 
 in sky and monogram printed in black, near right 
 upper corner. 
 
 77 Casimie Le Conte. 
 
 D. T7, 2d state. B. 88, let State. W. 86, 1st State. 
 
 After Gustave Boulanger, Inscribed : " C. Mer- 
 
 yon del. aqua forti. 1856. d'aprSs G. B." 
 
 78 EvAEisTB Bottlay-Patt. 
 
 D. 78, 3d State. B. 89, 2d State. W. 87, let State. 
 
 "With letters : title and " DelStre Imp. r. des Feuil- 
 lantines, 4, Paris." No signature. From a bronze 
 medal by David d'Angers. 
 
 79 Fean§ois VlfeTE. 
 
 D 79, Sth State. B. 90, let State. W. 88, let State. 
 
 a. and b. Before letters. Monogram within cir- 
 cle formed by snake. 
 
80 Ren£ db Buedigale, Sge. de Laudonnieee Sab- 
 
 LAIS. 
 
 D. 80, ith State. B. 94, 3d State. W. 92, let State. 
 
 With letters. Monogram " C. M." at bottom of 
 oval frame. On margin : " d'apr^s Crispin de 
 Pas " and " A. Beillet Imp. Quai de la Tournelle, 
 35, Paris." 
 
 81 PlEEEE NiVELLB. 
 
 D. 81, 5tli State. B. 91, iBt State. W. 89, 1st State. 
 
 After Michel Lasne. Alternate letters in the in- 
 scription around the portrait, " Pierre NiveUe, 
 6v§que de Lucon," printed in red ink. On mar- 
 gin, "D'apr6s'M. L." and "A. Beillet Q' de la 
 Tournelle 35, Paris." 
 
 82 Jean Beslt. 
 
 D. 83, 2d state. B. 93, Trial proof. W. 91, let State. 
 
 After Jasper Isac. With marginal lines and arms. 
 
 83 Louis Jacques Maeie Bizubl. 
 
 S. 83, 3d State. B. 96, 8d State. W. 93, 1st State. 
 
 Before letters. On margin, in pencil : " 27 Nov." 
 
 84 Th. Ageippa d'Aubign^. 
 
 D. 84, Sd state. B. 92, 1st State. W. 90, let State. 
 
 Before letters. 
 
 85 Benjamin Fillon. 
 
 D. 85, 3d state. B. 97, 1st State. W. 94, let State. 
 
 Before letters. On left edge of plate : " C. Mer- 
 yon sc. a. Pho. ixii P^." 
 
 40 
 
86 Aemand Gu£eaud. 
 
 D. 80, let State. B. 96, 1st State. W. 9S, let State. 
 
 Before letters. No frame. 
 
 87 RocHOux's Address Caed. 
 
 D.87. B. M. W.47. 
 
 a. D. let State. B. let Trial proof. W. let State. 
 
 b. D.8d State. B. let State. W. 2d State. 
 
 a. With letters. Lamp under aroh of bridge. 
 
 b. Instead of the lamp, the galley from the arms 
 of Paris. 
 
 88 Vees a Monsieur EugInk Bl£ey. 
 
 D. 88. W.48a. 
 
 Verses beginning " A vous, Bl^ry, mon Maitre." 
 Initial letters of verses, « B16ry" and « 0. M." in 
 red. " C. M. ft." and " Meryon Imp. R. Ne. St. 
 Etienne 26." 
 
 89 Vees X Monsibue Eugene BlIet. 
 
 D. 89. B.n. W.48. 
 
 Larger plate. Verses beginning " A vous, Bl^ry, 
 mon Mattre." " C. Meryon ft. Imp. rue Ne. St. 
 Etienne du Mont 26." 
 
 91 La Loi Lunaiee. 
 
 D. 91, 2d State. B. 72, 2d State. W. 49, let State. 
 
 Verses. Colored by hand by Meryon. " 0. Mer- 
 yon fit, Paris MDCCCLVI " and " Imp. R. F. St. 
 Jacques No. 81." 
 
 '41 
 
92 La Loi Lunaieb. 
 
 D. 92. B. 78. W. BO. „ „. . 
 
 a. D. 2d State. B. Ist State. W. iBt State. 
 
 b. D. 4tJi State. 
 
 a. Before letters, Meryon's monogram in pen- 
 cil in upper right corner. On margin, " 19 Sept." 
 in ink. 
 
 b. With monogram near upper left corner. " 0. 
 M. Imp. r, Duperr6 20 Paris S»- 0« 66." 
 
 93 La Loi Solaieb. 
 
 D. 93, B.74. W. Bl. 
 
 a. Proof printed in red and black, the lettering 
 heavily inked. '• 0. Meryon fit. Paris mdccclv. 
 Imp. • R. F. S. Jacques ol." Note in ink, on 
 print : " Mais I'eau, I'eau froide, glac6e, que j'ai 
 oubli^e ... 0. M." 
 
 b. Another proof more distinctly printed, with 
 darker red. 
 
 94 Pe^sentation du ValIee Maxime au Roi Louis XI. 
 
 D. 94, 8d state. B. 25, 2d State. W. 82, 1st State. 
 
 Signed « C. M. so." in lower right corner. On 
 margin, " Imp. Del^tre Paris." After a miniature 
 which belonged to Jules Niel. 
 
 95 Design Foeming a Feame foe the Poeteait op 
 
 Aemand Gu^eaud. 
 
 D.95. B. 79. W. 54. 
 
 a. D. 2d State. B. 4th State. 
 
 b. D. 9tb State. B. 7tb State. 
 
 a. On the margin, " 30 Ju. 1862," in pencil, by 
 Meryon. On open book, " Code, Lois. 
 
 b. Printed in black and red. Titles on backs 
 and leaves of books. Monogram below book in 
 center. Underneath in center, " Paris mdccclxii"^ 
 
 48 
 
on the left, " Meryon. Inv. Soulp."; on the right, 
 " A. Beillet Imp. Quai de la Tournelle 35." 
 
 96 Fbontispiecb, Catalogue of Thomas db Lbu. 
 
 D. 9a. B. 80. W. 61. 
 
 a. B. let State. 
 
 b. D. 6th State. 
 
 a. Before letters. 
 
 b. With letters. From the De Saliois oolleotion. 
 
 99 Pbtit Peincb Dito. 
 
 D. 99, 2d state. B. 70. W. 69. 
 
 With the words, " Petit Prince Dito (Bal'Je Ne"e 
 Cale.)" Eleven lines of verse. Below, " C. M. 
 fit Paris F6vrier 1864 " and " Pierron Imp. Paris." 
 
 100 Rebus. 
 
 D. 100, 2d State. B. 77. W. BS. 
 
 (Ci-git la vendetta surann^e.) 
 
 a. On margin: " C. M. fecit — Rebus — Pier- 
 ron Imp. r. Montfaucon I." 
 
 b. With "(a)" on the anvil referring to note in 
 ink by Meryon: " (a) Sorte d'enclume appel6 tas, 
 servant plus particuli^rement aux Planeurs et 
 Graveurs." " Meryon (Charles) 1»' Jun, 1863." 
 
 101 Rebus. 
 
 D. 101, 8d state. B. 78. W. 57. 
 
 (B^ranger ne fut v^ritablement fort, car il n'eut 
 jamais la clef des chants.) 
 
 "0. M. fecit 1863. Chez Rochoux, Quai de 
 I'Horloge, 19. Imp. Pierron, r. Montfaucon I." 
 
 102 Rebus. 
 
 D. 102, 2d State. W. 66. 
 
 (Non, Morny n'est pas mort, car il noce encore.) 
 Below, " Pierron imp. Paris. Janvier 1866." Mon- 
 ogram in center. 
 
DRAWINGS AND PHOTOGRAPHS. 
 
 103 POETFOLIO COVBE. 
 
 Lettered in ink and colored by Meryon for pres- 
 entation of impressions of his early etchings to 
 Eugene BI6ry, his master, (Enclosed in this port- 
 folio impressions Number 1, 3, 5, 6, 7, 13, 14, 15 
 and 16 of this collection were presented to B16ry.) 
 With attestation in ink by B. B16ry, daughter of 
 the artist, May 10, 1890. 
 
 104 DeAWING foe " OCEANIB, P6CHB AUX Palmbs, 1845." 
 
 Pencil. Inscribed " Ouvea (Wallis)." 
 
 105 Deawing foe " :6tat db la Petite Colonib Fean- 
 
 5AISB d' Akaeoa, vbes 1845." 
 
 Pencil. 
 
 106 Deawing foe " Pe&-volant des Iles Mulgeavb." 
 
 Pencil. On margin in pencil, " La harpe Oasienne." 
 On sail, "N O M?" 
 
 107 A New Zealand Float. 
 
 Pencil drawing, 
 
 108 A Deedgb. 
 
 Pencil drawing. 
 
109 Draming foe " Axciennk Habitation a Bocrges." 
 
 Pencil. '• D," in ink. 
 
 110 Drawings for "Archb du Pont Notre-Damb." 
 
 a. Pencil drawing of an arch. Note on mount 
 in ink : " pris il la cbambre claire." 
 
 b. Pencil sketch of part of the subject. 
 
 111 Bath Hovsks vnpke the " Pont-au-Chaxos."' 
 
 Pencil sketch. 
 
 112 Photographs and DEA-wiNOis for •• San Fran- 
 
 cisco." 
 
 a. Five photographs joined together. 
 
 b. Complete <Jrawing in five sections. Pencil, 
 o. Drawing of first section in reverse. Pencil. 
 d. Sketches of head, hand and foot of " ^Yo^k " 
 and sketch of figure on piazza. Pencil. 
 
 118 Sketches or MKitORANDA. 
 
 a. In red ink. 
 
 b. In red ink. In pencil : " Tous les arbres 
 4clair^s," and " les arbres en 4 ^galement telair^s.'" 
 
 4S 
 
LITHOGRAPH. 
 
 114 A Ship Undeb Sail. 
 
 Lithographed by Chauvel, after a pastel by Mar- 
 yon. 
 
 a. 1st state. Before all letters, 
 
 b. 2d state. With letters. Monogram of Mer- 
 yon in center, below, with verses underneath. At 
 the left, "Lithographic par Th. Chauvel," and be- 
 low that, " Impr^ a cent fipreuves par Lemercier 
 ts" C'®' Paris." At the right, " D'aprfes un pastel 
 par Charles Meryon," and below that, " Collection 
 de M''- Philippe Burty." 
 
 AUTOGRAPH, 
 
 115 Receipt Given to Philippe Btjett. 
 
 In ink : " Regu de M"'- Ph. Burty la somme de 
 vingt-cinq francs, pour prix de quelques gravures 
 
 faites par moi antCrieurement oMCs Paris 
 
 a, 23 Janvier 1865 , . . C. Meryon. Meryon 
 (Charles) graveur, 20 R. Duperr6." 
 
PORTRxVITS OF MERYON. 
 
 116 Head in Profile on Medallion, by FIlix 
 
 Bbacquemond . 
 
 S. 17a. B. Ist State, b. 2d State. 
 
 a. Before the verses or letters and with " B. d, 
 C. M." in left upper corner printed in red. 
 
 b. With verses by Meryon himself on plate (cut 
 down) and " C. Meryon, Rue Ne. St. Etienne-du- 
 Mont 26. MDCCCLiv." 
 
 117 Meeton Seated, by FIlix Beacquemond. 
 
 One of only ten proofs from the plate. On green 
 
 paper. 
 
 (There are numerous reproductions by process of 
 
 this etching, some signed by Braoquemond.) 
 
 118 Meeyon Sitting uf in Bed, by Leopold Flambng. 
 
 A facsimile of the drawing by Leopold Flameng, 
 1st state, before letters. Signature with date, " II 
 Mai 1858," in upper left corner. 
 
BIBLIOGRAPHY OF MERYON. 
 
 (Arranged ohronologioally.) 
 
 Burty, Philippe. L'ceuvre de M. Charles M6ryon. 
 
 In " Gazette des beaux-arts," vol. xiv, pp. 519-533, 
 and vol. xv, pp. 75-78, June and July, 1863. 
 
 Hamerton, Philip Gilbert. M6ryon. 
 
 In « Etching and Etchers," pp. 186-196, first edi- 
 tion, London, 1868 ; pp. 167-176, second edition, 
 Boston, 1876 ; and pp. 149-155, third [edition, 
 London, 1880. 
 
 Burty, Philippe. Les portraits de Charles M^ryon. 
 
 In "Maitres et petits mattres," Paris, 1877, pp. 
 110-119. 
 
 Wedmore, Frederick. M^ryon and M^ryon's Paris. 
 
 In "Nineteenth Century," vol. iii, pp. 863-874, 
 May, 1878. 
 
 In " Studies in English Art," second series, Lon- 
 don, 1880, pp. 169-202. 
 
 Wedmore, Frederick. M^ryon and M^ryon's Paris, with a 
 descriptive catalogue of the artist's work. 
 First edition limited to 113 copies. The " Nine- 
 teenth Century " article republished, with no ma- 
 terial changes, as an introduction to the catalogue. 
 London, 1879. 
 
 Second edition, revised and enlarged, limited to 
 129 copies, London, 1892. 
 
 rSturgis, Russell.] M^ryon and his work. 
 
 In " Nation," vol. xxvi, p, 409, June 20, 1878. 
 «9 
 
Burlington Fine Arts Club. Exhibition of a selection from 
 the work of Charles M6ryon. 
 Catalogue ; with an introductory sketch of M6r- 
 yon's life and works. London, 1879. 
 
 Burty, Philippe. Charles M^ryon, sailor, engraver, and 
 etcher. 
 
 A memoir and complete descriptive catalogue of 
 his works. Translated from the French of Philip 
 Burty, by Marcus B. Huish. London, 1879. 
 
 Haden, Francis Seymour. About etching. 
 
 The Fine Art Society. London, 1879. Third edi- 
 tion, London, 1881. 
 
 Ellis, F. S. A descriptive catalogue of a collection of 
 drawings and etchings by Charles M^ryon, formed 
 by the Rev. J. J. Heywood. 
 
 Seventy-five copies privately printed for Ellis and 
 White, 29 New Bond Street, London, 1880. 
 
 Wedmore, Frederick. The etchings of M6ryon. 
 
 In " The Art Journal," vol. xxxiii, p. 129, 1881. 
 
 Bouvenne, Aglaus. Notes et souvenirs sur Charles Meryon, 
 son tombeau au cimetiSre de Charenton Saint 
 Maurice. Avec un autographe, des dessins in^dits, 
 des portraits de Meryon et des gravures de 
 Bracquemond, Bouvenne, Focillon et Gaohet. 
 Paris, 1883. 
 
 Keppel, Frederick. Charles Meryon ; a biographical sketch. 
 New York. No date. 
 
 Keppel, Frederick. Catalogue of the etched work of Charles 
 Meryon, with a biographical sketch of the artist. 
 Frederick Keppel and Co., New York, 1886. 
 
 50 
 
The " biographical sketch " was reprinted in 
 " American etchers," by Mrs. Schuyler Van Rens- 
 selaer. Frederick Keppel and Co., New York, 
 1886. 
 
 [Shinn, E.] M^ryon'a etchings. 
 
 In " Nation," vol. xlii, p. 176, February 25, 1886. 
 
 Catalogue of the collection of etchings by Charles M^ryon 
 of M. de Saliois, deceased, late of Paris, . . , sold 
 by auction, by Messrs. Christie, Manson and 
 Woods, . . . July 16, 1891. London. 
 
 A Catalogue of etchings and drawings by Charles M^ryon, 
 exhibited at The Grolier Club, 29 East 32nd St., 
 New York, from January 28 to February 19, 1898. 
 
 Catalogue of M^ryon's etchings, formerly owned by Sir 
 Francis Seymour Haden, exhibited by H. Wun- 
 derlich and Co., New York, January, 1901. 
 
 Wedmore, Frederick. A Catalogue of etchings by M^ryon, 
 as exhibited at No. 168 New Bond Street, Novem- 
 ber-December, 1902, with an introduction by 
 Frederick Wedmore. Obaoh and Co., London, 
 1902. 
 
 Keppel, David. Catalogue of an exhibition of etchings of 
 Paris by Meryon, with an introduction by David 
 Keppel. Frederick Keppel and Co., New York, 
 1905. 
 
 Delteil, Loys. Le peintre-graveur illustrS (XIX® et XX« 
 siScles), tome second, Charles Meryon. Paris, 
 1907. 
 
 Keppel, David. Catalogue of an exhibition of etchings of 
 Paris with a foreword by David Keppel and a 
 biographical note. Frederick Keppel and Co., 
 New York, 1909. 
 
 Bl 
 
INDEX 
 
 No. 
 Abeide de Notre-Dame . . .88 
 Ancien Louvre dn Ct>t6 de U Seine 53 
 Ancienne Habitation k Bourges . 66 
 Ancienne Habitation & Bouiges, 
 
 drawing Ill 
 
 Ancienne Poite du Palais de Jus- 
 tice 19 
 
 Arctae du Pont Notre-Dame . . 25 
 Arche du Pont Notre-Dame, draw- 
 ings 118 
 
 Arms of the City of Paris . . 21 
 Aubign^, Th. Agrippa d' . . .84 
 
 Bain-froid Chevrier . , . .44 
 Bath Houses under the Pont-au- 
 
 Change 113 
 
 Besly, Jean 82 
 
 Bizuel, Louis Jacques Marie . . 83 
 Boat from Harlem to Amsterdam . 14 
 Boulay-Paty, Evariste . . . 78 
 Burdlgale, Ben£ de . . . .80 
 
 Catalogue of Thomas de Leu, 
 
 frontispiece 96 
 
 ChSteau de Chenonceau . . .58 
 Chaumi^re dn Colon . . ,72 
 Chevet de St. Martin-sur-Benelle . 60 
 
 CoUSge^Henri IV 48 
 
 Cow and the Ass, The ... 2 
 
 Doorway of an Old Convent, 
 
 Bourges 54 
 
 Dredge 110 
 
 No. 
 Entrde du Convent des Capuclns . 61 
 fitat de la Petite Colonie Fran- 
 
 9alee d'Akaroa . . . . 71 
 Stat de la Petite Colonie Pran- 
 
 taise d'Akaroa, drawing . . 107 
 
 Esp^rance 85 
 
 Ewe and Two Lambs ... 8 
 
 Fillon, Benjamin .... 85 
 Fluctnat nee mergitur . . .22 
 Frame for portrait of Gu^raud . 05 
 
 Galerle de Notre-Dame . . . 26 
 Galiot de Jean de Vyl de Eotter- 
 
 dam IS 
 
 Grande Case Indigene . . .67 
 Grand Chatelet k Parle . . .52 
 Grenlers Indigenes k Akaroa . 70 
 Gu^raud, Armand . . . .86 
 
 Head of Christ . 
 HOtellerie de la Mort 
 
 Le Conte, Casimlr . 
 Lol Lunaire 
 Loi Lunaire 
 Loi Solalre 
 
 . 1 
 
 . 87 
 
 . 77 
 . 91 
 . 92 
 
 Eaux-Fortes sur Paris, title page . 17 
 Entrance of the Faubourg of Soint- 
 Marceau 10 
 
 Mallngre Cryptogams . . .66 
 Meryon, Portrait by Bracquemond 116 
 Meryon, Portrait by Bracquemond 117 
 Meryon, Portrait by Flameng . 118 
 Minist^re de la Marine . . . 45 
 Morgue, La 86 
 
 New Zealand Float . . . .109 
 Nivelle, Pierre . . . . 81 
 
 Nouvelle Cal^donle . . . .67 
 
Oc^anie, Peche aus Palmes . 
 Oc^anie, Peche aus Palmes, draw- 
 ing . . 
 
 Partle de la Cit4 de Paris 
 
 Passagerg de Calais ^ Flessingne . 
 
 Passarelle du Pont-au-Change 
 
 PaTiHon of Mademoiselle 
 
 Petit Pont . 
 
 Petit Prince Dito 
 
 Petite Pompe . 
 
 Pilote de Tonga 
 
 Plan dn Combat de Sinope . 
 
 Pompe Notre-Dame . 
 
 Pont-an-Change 
 
 Pont-au-Change vers 1784 
 
 Pont-Neuf . 
 
 Pont-Neuf et la Samaritaine 
 
 Portfolio Cover 
 
 Pr&entation du Valfere Kasime an 
 
 Roi Louis XI 
 
 Presq'ile de Banks . 
 Pr5-volant des lies Mnlgraves 
 Pr6-volant des lies Mnlgraves, 
 
 drawing . .... 
 
 Qu'ame pure rougisse 
 
 Koclioux^s Address Card 
 
 Rebus: B^ranger . . . . 
 
 Rebus : La Vendetta 
 
 Rebus; Momy . 
 
 Receipt given to Burty 
 
 " Reinier dit Zeeman," Dedication 
 
 No. 
 68 
 
 River Seine and Angle dn Mail 
 
 32 
 64 
 62 
 31 
 
 84 
 47 
 33 
 46 
 105 
 
 94 
 
 108 
 
 20 
 
 87 
 101 
 100 
 102 
 IM 
 
 18 
 12 
 
 No. 
 Rue des Chantres . . .42 
 Rue des Manvais Gargons . 27 
 
 Rue des Toiles h Bourges . . 55 
 Rue Pirouette aux Halles . 49 
 
 Ruins of the Chateau of Pierre- 
 fonds 59 
 
 Saint Etienne dn Mont . . 30 
 
 Sainte Face, La . . . 1 
 
 Salle des Pas-Perdus . . .48 
 
 San Francisco 73 
 
 San Francisco, photographs and 
 
 drawings 114 
 
 Sheep and Flies .... 5 
 Ship under Sail . . . 103 
 
 Soldier, full face .... 4 
 Soldier, in profile .... 3 
 South-Sea Fishers . . .15 
 
 Stryge, Le . . . . .23 
 
 Tgte de Chien 65 
 
 Three Pigs before a Hovel . . 6 
 Tombeau de MoUfere . . .40 
 
 Tonr de I'Horloge .... 28 
 Tonrelle, Rue de I'ficole de M^de- 
 
 cine 41 
 
 Tourelle, Rue de la Tixeranderie . 29 
 
 Two Horses, The .... 7 
 
 Vers il Bugfene B16ry . . 88 
 
 Vers k Bug&ne Bl^ry 89 
 
 Vifete, Frangois . . . .79 
 Voyage k la Nouvelle Z^ande, 
 
 title page . . . . 63 
 
 Water-mill near St. Denis 11