rho} 
 
 ag? a TATE oS UTC 
 
 wp Sa eT SIE TI TO ano 
 
j is well known in the pictur® market — 
 [ee eg work of Anders Zorn will bring, 
 , Ly _price at this time. ‘This is 
 the fact that Sweden, made espe- 
 ily pro perous by the war, is deter- 
 1 at whatever price to bring back into 
 3 ake Works of the greatest 
 diaba produced. Zorns are 
 specially good investment 
 
 . high figures ‘which the 
 1€ for one of, his etchings, 
 e Dos, Evening,” in New 
 _. This went to A. H. Hahl 
 : “$3900, and is one of the only’ 
 ssions that were taken before 
 fan e sBiste 9 oc S destroyed. It is a small. 
 i nips toy by. 6% inches inches, and. 
 ; ie is womaidert one of the finest of Zorn’ s° 
 | etchings from the nude, being beautifully 
 atmospheric and more poetic in feeling 
 than sonie of his more closely studied fig- 
 ; ures. The subject is in back view, her body 
 | bent forward a little and her head turned 
 rin profile as she climbs carefully over 
 ‘Some rocks at the foot of a cliff which 
 rises. above her on one side, while the sea 
 | is Selow her at the right. 
 here was also a painting by Zorn in 
 { this sale, which was of the collection of 
 j the late S. S,Rosentamm, and this went 
 to Knoe & Co. for $7000. It was.a 
 Winter sCene called “‘The Water Pails” 
 and showed a pretty young Swedish girl, 
 in light fur-trimmed suit ‘and red apron, 
 carrying two large wooden pails on a yoke 
 “across her shoulders. eahncgeahapacertn saree 
 | fhe chief interest in the sales, however, 
 } centred in the prints, which in addition to 
 the Zorns included fine Diirers and Rem- 
 brandts and the work of contemporary 
 men, such as Charles W. Bartlett, André 
 Smith, Timothy Cole, Hedley Fitton, Sey- 
 mour Haden and William Auerbach Levy. 
 The Zorns are said to have been the best 
 “collection of his etchings ever put up for 
 ‘Sale in any country. 
 The reports of the sale of the Rem- 
 | brandts state that “‘Six’s Bridge’ went 
 to Hahlo for $1025; for “Landscape with a 
 Milkman,” J. O’Connor paid $2800: “The 
 : Gold Weighet’s Field” brought $3100 from 
 Knoedier & Co.} Albert Roullier, the Chi- 
 cago print Rabies paid $2700 for “‘Clement 
 jde Jonghe,” and $2400 for “Ephraim 
 Bonus,” “Burgomaster Jan Six,’’ went to 
 Hahlo for $2100. 
 { Kennedy & @%. paid the first four-figure 
 { price tera 2 Zorn, fiving $1525 for ‘Rosita 
 | Mauri,” and r “The Artist and His 
 | Wife,” Kep & Co. paid $1500. ‘‘Madame 
 Armand Dayot” went to Hahlo for $1650, 
 ;and H. V. Jones paid $1200 for “Saint 
 { Ives, Le Pecheur.”’ To G. W. Kraushaar 
 } went “The Waltz’’ for $1450, and Kenhedy 
 3 Co. gave $1175 for “L’Orage,.”’ “Hy 
 Omnibus” was knocked down to Knoedler 
 [S Co. for $1100, and Albert Roullier paiq 
 $1990 for “The Toast.” r the same. price 
 @ Irlandaise,”’ also c nnie,”” went 
 
 ““wKennedy & Gee 
 
 pga 
 
 | 
 
 Leads Sale ¢ of the Late 8.5, Ss. 
 
 n m Collection. 
 
 *e) 
 
 aS 
 
 Zor} ine FO 4 $7,000 
 
 F900, 
 
 embrandt - Etching’ ig 
 _Weilgher’s Field,” Brings 51907 
 =-171 Numbers, $89,742. 7 
 
 esata 
 Be 
 
 by 
 
 Old masters and -néw “went up ‘in big 
 peidds together in the! sale of: thé. col- 
 lection of etchings of the late. So Ss. 
 
 ‘Rosenstamm. at. the American Art Gal- 
 
 leries. last: évening:: There was standing 
 } room only in the sales ‘gallery, and the | 
 eka! numbers—Duerers, Rembrandts, and | 
 
 | Zorns—of the collection brought $69,742. 
 This included one painting, the only: one 
 
 inthe collection, a Maree. oll b 
 Zorn, which went to Knoedler 
 $7,000. This was an attesetive’ ‘Winter 
 “scene, .‘‘ The Water Paits,”” the ‘dast 
 number in the’ sale, a pretty. young 
 Swedish girl in light fur-trimmed * suit 
 and. red apron who is‘ Bigele, two 
 ‘large wood pails’ on a neck 
 
 i 
 
 aie Gold 
 
 pe | 
 
 | 
 
 The interest of the sale .céntred in ihe! | 
 
 ‘prints, opening with the work of .con- 
 ‘temporary. men, Charles W., Bartlett,. 
 | Andre Smith, Timgthy ¢ Jole;. Hedley it. 
 | ton, Seymour Haden and William’ Auer- 
 back Levy. The remaindér. were the 
 | works of the two. old. masters and’ An- 
 ders Zorn. It was said to be the best 
 collection of etchings of ‘the Swedish 
 eee ever put up for gale in any coun- 
 
 "at was a Zorn which brought the high- 
 est price among the étchings, No. 119. 
 ‘‘ Baigneuse de Dos, Hvening,’’ which 
 went to A. H. Hahlo & Co. for $3,900. 
 | This was a third te second state’ of 
 itwo, proof signed in the plate, ‘* Zorn, 
 1896,’’ and.on the lower margin:in pen- 
 cil ‘ Zorn.” .It was a smail etching, 
 9% by 6%, a fine, delicate impression on 
 
 | Dutch paper in perfect condition... Only 
 
 a dozen impressions were-taken before 
 
 H. Prices in’ four figures began with the 
 
 | Rembrandts; 82, *** Six’s Bridge,’’ went 
 to Hahlo for $1,025; 
 with’ a Milkman, * No. : 
 
 ‘| paid . $2,300; ae The 
 
 | FYeld,”’ No. 85, - brought». 
 
 || Knoedler, & Co.;- Albert. Roullier,” the 
 |; Chicago print dealer, ‘paid $2,700 for No. 
 87, “‘ Clement de Jong is and’ $2 ane. for 
 
 dy Preece 
 
 . O'Conner 
 Gola” " Weigher’s 
 $3,100. from 
 
 for 
 
 No. 89,. ‘* Bphraim -Bonus.’ 
 id Burgomaster Jan: Six,’’ went iy ahlo 
 for $2,100. 
 
 Kennédy & Co. paid the” first four- 
 ‘figure price for a. Zorn,, giving $1,525 
 for ‘‘ Rosita Mauri,’’ No, 96, and. for 
 
 || No. 97, ‘‘ The Artist:and His Wife,’’; Kep- 
 i; pel & Co, paid 51,500, * Madame .Ar- 
 mand Dayot,’”’ 0. 98, went to Hahlo 
 for -$1,650, and H. V. Jonés’ paid $1,200 
 for No. 100, ‘‘ Saint.Ives, Le Pecheur.”’ 
 iis G. W.. Kraushaar went’ No; 101, 
 “The Waltz,’’ for $1,450, and’ Kennedy. & 
 ‘Co; gave $1,175, for No. 108, “* L’Orage.”’ 
 |‘ #n Ornnibus,’” No. .107, was; knotkeéed 
 i_ down to Knoedler & Co. for: $1,100, \and 
 | Albert, ,Roullier paid $1,900 for ‘<The 
 Toast,’’» No: 111. For the. same, price 
 tne anaes also’ called’ “Annie,” 
 No. 13, went to Kennedy .& Co. 
 There was an afternoon sale- from the 
 Rosenstemm. collection; snuff. bottles and 
 
 ‘silver, porcelain : and glass. : This 
 
 ‘brought returns of $9,813, making a 
 ‘total for the sales of: the aay of $80,555, 
 Mrs. A. Vogel paid ia highest. prices 
 iof the Meraoor, $1,050 for a, cheat .of 
 iflat silver, $470 for “4 tea, and coffee 
 bervie and $355 for a silver’ tray-- Chi* 
 
 SE rectal ains,<iv~ies,, & willbe sold 
 +ternoony —— 
 
oat pO “The. ‘Water - 
 ak of. Riedie by. Bory 
 
 ae o Connos Sea. the ar 
 oe night for ‘the, etching ‘ 
 
 ‘the: ad: tots) being $8,556, ; 
 - Rouillier bought Rembrandt’s 
 entitled | “Clement de Jonghe’ for: 
 nd another: etching by the same 
 titled '“Bphraim  Bonus,’’ for’ 
 e also paid $1,900 for a small Zorn | 
 entitled “The Sia ats t A. Hahlo 
 
 or $2, 100 and paid $1,650 for “Madame - 
 nd Dayot,’’ by Zorn. Kennedy & Co, - 
 id $1,900 for ‘‘L’Irlandaise’”’ and $1,525 for 
 “Rosita Mauri,” another etching by Zorn, 
 and also $1,175 ‘for “L’ Orage,” by the same | 
 eo unie C. W. Kraushaar gave ba 450 for 
 Zorn’s “The Waltz.” 
 
 rota fashioned set of silver. ware 
 Beetle ht the top price of $1,950, paid by 
 ‘Mrs. A. Vogel, at the afternoon sale. 
 Other silver articles, including trays, cubs 
 and plates, also. went to Me peel for} 
 $1,000. . te ‘ 
 
 ae 
 
 i! 
 
 No, 98, Zorn’s 
 lier paid $2,700 for 
 
 “Clement de qoR 
 Rembrandt's : 
 
 $1 ane for No. sees 
 
 pee 
 
 No, | if “phe oe | a 
 ‘ he R 
 
 The let for 12 
 
ON PUBLIC EXHIBITION 
 3 AT THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 a ENTRANCE, 6 EAST 23rp STREET 
 
 BEGINNING FRIDAY, JANUARY 23rp, 1920 
 AND CONTINUING UNTIL THE TIME OF SALE 
 
 = "THE CELEBRATED ROSENSTAMM COLLECTION OF 
 7 : MASTERPIECES OF ETCHINGS BY 
 
 | ae ZORN, REMBRANDT AND DURER 
 ..tsé AND ANN ORIGINAL PAINTING BY ZORN 
 
 b 
 
 QO 
 
 E 
 
 7 
 
 = TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 
 i> BY ORDER OF L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 
 | EXECUTORS OF THE ESTATE OF THE LATE S. S. ROSENSTAMM 
 
 | ON TUESDAY EVENING, JANUARY 27, 1920 
 
 | Es COMMENCING PROMPTLY AT 8:00 O’CLOCK 
 
 2 . AT THE AMERICAN ART GALLERIES 
 
AEH RIE Ow 
 
 : 
 Fe 
 = 
 
 ZORN 
 se—“Ann 
 
 RS 
 
 ANDE 
 
 *Trland 
 
 ie”’ 
 
 al 
 
 L 
 
 113] 
 
 [ No. 
 
ILLUSTRATED CATALOGUE OF 
 THE CELEBRATED ROSENSTAMM COLLECTION 
 
 MASTERPIECES OF ETCHINGS AND 
 AN ORIGINAL PAINTING BY 
 
 ANDERS ZORN 
 
 “TOGETHER WITH NOTABLE PRINTS BY 
 
 REMBRANDT AND DURER 
 
 TO BE SOLD WITHOUT RESERVE OR RESTRICTION 
 
 BY ORDER OF L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 
 EXECUTORS OF THE ESTATE OF THE LATE S. S. ROSENSTAMM. 
 
 ON TUESDAY EVENING, JANUARY 27, 1920 
 
 COMMENCING PROMPTLY AT 8.00 O?>CLOCK 
 
 THE SALE TO BE CONDUCTED BY 
 MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
 THE AMERICAN ART ASSOCIATION, Manacers 
 
 NEW YORK CITY 
 
PREFATORY NOTE RELATIVE TO THE LATE 
 S.S. ROSENSTAMM’S COLLECTION OF ETCHINGS 
 
 The Etchings collected by the late Mr. 8. S. Rosenstamm of New York 
 
 City show a careful selection and a keen desire for the better impressions of 
 the more notable examples of the works of Diirer, Rembrandt and Zorn, and 
 with one or two exceptions are all in “Collector’s’”’ state. 
 _ The Collection of Etchings by ANDERS ZORN is the most important one 
 ever offered at public sale in America, and includes some examples from the 
 collection used by Delteil for illustrations in his important Catalogue on Zorn. 
 There are in this collection twenty-nine examples published since the issue 
 of Delteil’s Catalogue. These are arranged chronologically and each plate 
 given a number which the same would bear if Delteil’s Catalogue were brought 
 to date. It has however been impossible to give the State of these latter etch- 
 ings, owing to the fact of Delteil’s Supplement having as yet not been issued. 
 In all cases the Zorn plates herein described are loosely hinged and matted, 
 and in instances where a frame has been added, the same statement holds true, 
 the back of the frame being fitted with knobs so that the same can be easily 
 removed and the print inspected. 
 
 The Collection of Etchings by REMBRANDT VAN RIJN contains twenty- 
 five examples of this Master’s work, some of which are from great European 
 Collections, several are without doubt as fine impressions as is possible to 
 obtain. The impressions of,—Christ in the Garden of Olwes; Clement de 
 Jonghe; The Goldweighers Field; Descent from the Cross; Landscape with 
 Milkman; and View of Amsterdam, are most brilliant examples of these prints. 
 The framed prints are loosely hinged and matted and as in the case of the 
 framed Zorn prints, the backs are fastened with knobs so as to allow an easy 
 inspection of the print. r 
 
 The Engravings by ALBRECHT DURER are very fine, and considering 
 the earlier work of this Master-—some one hundred years prior to Rembrandt 
 —they show an equal desire on the part of the late owner to obtain the finer 
 impressions of the same. Notable among these plates are, the Engravings 
 of—Knight, Death and the Devil; The Virgin with the Monkey; The Pen- 
 ance of Saint John Chrysostom; The Rape of Amymone; and Melancholia. 
 The woodcuts include brilliant examples of,—Saint John Holding the Seven 
 Golden Oandlesticks; The Seven Angels with Trumpets; and The Dragon 
 with Seven Heads. The framed prints are as in the two preceding instances 
 loosely hinged, matted and with back fitted with knobs, so as to allow an 
 easy inspection of the print. 
 
 Besides the above this collection contains Etchings by Hedley Fitton, and 
 William Auerbach Levy; a fine Mezzotint by Seymour Haden; Etchings and 
 Drawings by Andre Smith; Woodcuts by Timothy Cole; Woodcuts in Color 
 by Charles W. Bartlett; and two series of colored Sporting Prints after H. 
 Alken. 
 
Conditions of Sale 
 
 1. Any bid which is merely a nominal or fractional advance may be rejected by 
 the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
 juriously. 
 
 2. The highest bidder shall be the buyer, and if any dispute arise between 
 two or more bidders, the auctioneer shall either decide the same or put up for 
 re-sale the lot so in dispute. 
 
 3. Payment shall be made of all or such part of the purchase money as 
 may be required, and the names and addresses of the purchasers shall be given 
 immediately on the sale of every lot, in default of which the lot so purchased 
 shall be immediately put up again and re-sold. 
 
 Payment of that part of the purchase money not made at the time of sale, 
 shall be made within ten days thereafter, in default of which the undersigned may 
 either continue to hold the lots at the risk of the purchaser and take such action 
 as may be necessary for the enforcement of the sale, or may at public or private 
 sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
 chaser, and the deficiency (if any) arising from such re-sale, shall be a charge 
 against such purchaser. 
 
 4. Delivery of any purchase will be made only upon payment of the total 
 amount due for all purchases at the sale. 
 
 Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., - 
 and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 
 
 Delivery of any purchase will be made only at the American Art Galleries, or 
 other place of sale, as the case may be, and only on presenting the bill of purchase. 
 
 Delivery may be made, at the discretion of the Association, of any purchase 
 during the session of the sale at which it was sold. 
 
 5. Shipping, boxing or wrapping of purchases is a business in which the 
 Association is in no wise engaged, and will not be performed by the Association 
 for purchasers. The Association will, however, afford to purchasers every facility 
 for employing at current and reasonable rates carriers and packers; doing so, how- 
 ever, without any assumption of responsibility on its part for the acts and charges 
 of the parties engaged for such service. 
 
 6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
 passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
 ciation will exercise due caution in caring for and delivering such purchase, it 
 will not hold itself responsible if such purchase be lost, stolen, damaged or 
 destroyed. ; 
 
 Storage charges will be made upon all purchases not removed within ten days 
 from the date of the sale thereof. 
 
 7. Guarantee is not made either by the owner or the Association of the cor- 
 rectness of the description, genuineness or authenticity of any lot, and no sale will 
 be set aside on account of any incorrectness, error of cataloguing, or any imper- 
 fection not noted. Every lot is on public exhibition one or more days prior to its 
 sale, after which it is sold “as is” and without recourse. 
 
 The Association exercises great care to catalogue every lot correctly, and will 
 give consideration to the opinion of any trustworthy expert to the effect that any 
 lot has been incorrectly catalogued, and, in its judgment, may either sell the 
 lot as catalogued or make mention of the opinion of such expert who thereby 
 would become responsible for such damage as might result were his opinion with- 
 out proper foundation. 
 
 SPECIAL NOTICE. 
 
 Buying or bidding by the Association for responsible parties on orders trans- 
 mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
 charge or commission. Any purchase so made will be subject to the above Condi- 
 tions of Sale, which cannot in any manner be modified. The Association, however, 
 in the event of making a purchase of a lot consisting of one or more books for a 
 purchaser who has not, through himself or his agent, been present at the exhibition 
 or sale, will permit such lot to be returned within ten days from the date of sale, 
 and the purchase money will be returned, if the lot in any material manner differs 
 from its catalogue description. 
 
 Orders for execution by the Association should be written and given with 
 such plainness as to leave no room for misunderstanding. Not only should the lot 
 number be given, but also the title, and bids should be stated to be so much 
 for the lot, and when the lot consists of one or more volumes of books or objects 
 of art, the bid per volume or piece should also be stated. If the one transmitting 
 the order is unknown to the Association, a deposit should be sent or reference 
 submitted. Shipping directions should also be given. 
 
 Priced copies of the catalogue of any sale, or any session thereof, will be 
 furnished by the Association at a reasonable charge. 
 
 AMERICAN ART ASSOCIATION, 
 American Art Galleries, 
 Madison Square South, 
 New York City. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 
 UNRESTRICTED PUBLIC SALE OF MASTERPIECES OF ETCHINGS 
 FROM THE ESTATE OF THE LATES. S. ROSENSTAMM OF NEW YORK CITY 
 TO BE SOLD BY ORDER OF THE EXECUTORS 
 L. M. KRAMER, WILLIAM J. WOLLMAN AND L. J. LIPPMANN 
 
 TUESDAY EVENING, JANUARY 27th, 1920, COMMENCING PROMPTLY AT 8:00 O’CLOCK 
 
 CHARLES W. BARTLETT 
 
 Contemporary American Wood Engraver 
 
 BARTLETT, CHARLES W. 
 1. Benares. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate-—C. W. B.—Benares, 
 1916, and on lower margin in pencil,—Charles W. Bartlett. 
 
 Height, 11% 3 width, 834 inches. 
 
 BARTLETT, CHARLES W. 
 2. BENARES. Modern Woodcut. 
 Japanese style color-print. Same inscription as preceding. 
 Height, 117%; width, 834 inches. 
 
 BARTLETT, CHARLES W. 
 3. Tas Manat, Acra. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate——C. W. B.—Taj- 
 Mahal-Agra, 1916, and on lower margin in pencil,—Charles W. 
 Bartlett. 
 
 Height, 1014; length, 15 inches. 
 
 BARTLETT, CHARLES W. 
 4, Tag Manat, Acra. Modern Woodcut. 
 Japanese style color-print. Same inscription as preceding. 
 Height, 1014; length, 15 inches. 
 
 BARTLETT, CHARLES W. 
 5. Kyoto. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate,—C. W. b.—Kyoto, 
 1916, and on lower margin in pencil,—Charles W. Bartlett. 
 
 Height, 9; length, 14 inches. 
 
Sale Tuesday Evening, January 27th 
 
 BARTLETT, CHARLES W. 
 6. Kyoro. Modern Woodcut. 
 Japanese style color-print. Same inscription as preceding. 
 Height, 9; length, 14 inches. 
 
 BARTLETT, CHARLES W. 
 %. Miono MatsuBARA. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate—C. W. B.—Muiono 
 Matsubara, 1916, and in pencil on lower margin,—Charles W. 
 Bartlett. 
 
 Height, 9; length, 13% inches. 
 
 BARTLETT, CHARLES W. 
 8. Miono Matsusara. Modern Woodcut. 
 Japanese style color-print. Same inscription as preceding. 
 Height, 9; length, 138% inches. 
 
 BARTLETT, CHARLES W. 
 9. Dat Laxn, Kasumir. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate,-—C. W. B.—Dal 
 Lake Kashmir, 1916, and on lower margin in pencil,—Charles W. 
 Bartlett. 
 
 Height, 1014; length, 1514 inches. 
 
 BARTLETT, CHARLES W. 
 10. Dat Laxn, Kasumir. Modern Woodcut. 
 Japanese style color-print. Signed as preceding. 
 Height, 1014; length, 1514 inches. 
 
 BARTLETT, CHARLES W. 
 11. Kosr. Modern Woodcut. 
 
 Japanese style color-print. Signed in the plate,—C. W. B.—Kobe, 
 1916, and in lower margin in pencil,—Charles W. Bartlett. 
 
 Height, 9; length, 14 inches. 
 
 BARTLETT, CHARLES W. 
 12. Kose. Modern Woodcut. 
 Japanese style color-print. Signed as preceding. 
 Height, 9; length, 14 inches. 
 
Sale Tuesday Hvening, January 27th 
 
 BARTLETT, CHARLES W. 
 13. Usurpusz. Modern Woodcut. 
 Japanese style color-print. Signed in the plate——O. W. B.—Ushi- 
 buse, 1916, and on lower margin in pencil,—Charles W. Bartlett. 
 Height, 87%; length, 14 inches. 
 
 BARTLETT, CHARLES W. 
 14. WatEr- Patace, Uparpur. Modern Woodcut. 
 Japanese style color-print. Signed in the plate—C. W. B— 
 Udarpur, 1916, and on lower margin in pencil,—Charles W. 
 Bartlett. 
 Height, 1014; length, 15 inches. 
 
 BARTLETT, CHARLES W. 
 15. Water Patace, Uparpur. Modern Woodcut. 
 Japanese style color-print. Signed as above. 
 Height, 1014; length, 15 inches. - 
 
 BARTLETT, CHARLES W. 
 16. Upareur. Modern Woodcut. 
 Japanese style color-print. Signed in the plate-—C. W. B.— 
 Udaipur, and on lower margin in pencil,—Charles W. Bartlett. 
 Height, 834 ; length, 117% inches. 
 
 BARTLETT, CHARLES W. 
 17. Uparpur. Modern Woodcut. 
 Japanese style color-print. Signed same as preceding. 
 Height, 834; length, 117% inches. 
 
 COLORED SPORTING PRINTS 
 18. THE First STEEPLE-CHASE ON RecorD. Colored Aquatints. 
 
 Engraved by J. Harris. Drawn by H. Alken. London, Published 
 March 1st, 1839, by Ben. Brooks, at his Eclipse Sporting Gallery, 
 48 High St., Oxford. 
 
 Together, 4 pieces. Height of each, 1034; length, 141% inches. 
 Each Framed. 
 
 The above comprises the series of four handcolored aquatint sporting 
 prints illustrative of the first steeple-chase on record. 
 
 PLATE I. IpSwicu, the Watering-place behind the Barracks. Preparing 
 
 to start—All sorts of Odds—The Grey for choice. 
 PLATE II. The large field near Biles’s Corner. Whoop! and away !— 
 The Major in trouble,—Subden’s linen suffers. 
 
 PLATE III. The last field near Nacton Heath. Accomplished Smashers— 
 é arun upon the Bank. 
 
 PLATE IVY. Nacton Church, and Village. The finish—a good five still alive 
 —Grand Chorus, “The Lads of the Village.” 
 
Sale Tuesday Evening, January 27th 
 
 COLORED SPORTING PRINTS 
 19. THe Hunt. Colored Aquatints. 
 
 Engraved by F. C. Lewis. Drawn & Etched by H. Alken. 
 
 Together, 8 pieces. Height of each, 12; length, 1914 inches. All 
 Framed. Each plate has a wide margin with the engraver’s and 
 artist’s names. There is cut-out mat on each which covers the 
 entire margins up to the edge of the engraving. ‘The title of 
 each shows in the cut-out. 
 
 The complete series of these handcolored aquatint sporting prints, com- 
 prising,— 
 
 The Meet; Drawing Cov er ; Snob Is Beat; Tally Ho! and Away; The 
 Whissendine Appears in View; Full Cry, Second Horses; The Pace 
 Begins to Tell; The Death. 
 
 ILLUMINATED INITIAL 
 20. BrBticaL Sussect. Illuminated in Pale and colors. 
 
 The letter “H” in the centre of which is the bust of a Bishop, faken 
 from an Lluminated Manuscript. 
 
 Fine specimen of 15th century illumination. 
 Height, 4144; width, 414 inches. 
 
 ANDRE SMITH 
 
 Contemporary American Etcher 
 
 SMITH, ANDRE 
 21. Brauvats. Drawing in Pencil. 
 
 Signed in pencil at lower left,—Andre Smith, Beauvais, June, 1914. 
 Delicately rendered parallel perspective, on warm toned paper. 
 
 Height, 984; width, 714 inches. 
 
 SMITH, ANDRE 
 22. Pont Nevr, Paris. Drawing in Pencil. 
 
 FINE DELICATE RENDERING, signed in pencil,—Andre Smith, Parts 
 June 4th, 1914, at lower left. 
 
 Height, 93g; width, 534 inches. 
 
 SMITH, ANDRE 
 23. Puace DE L’Hotet pr Vinie, AmiENsS. Drawing in Pencil. 
 
 Signed in lower right,—Andre Smith, and in lower left,—Place de 
 Hotel de Ville. VERY FINE DELICATE COMPOSITION. 
 
 Height, 634; length, 734 inches. 
 
Sale Tuesday Evening, January 27th 
 
 SMITH, ANDRE 
 24. Sarnt Mactovu, Roven. Drawing in Pencil. 
 Signed in lower right,—Andre Smith, 1914, and in lower left,— 
 St. Maclou, Rowen. Drawn on warm toned paper, very delicately 
 rendered. 
 
 Height, 934; width, 8 inches. 
 
 SMITH, ANDRE 
 25. THE INNER GATE, SAN Gimicano. Etching. 
 
 Proor, signed in the plate,—Andre Smith, 1913. FINE IMPRESSION. 
 Plate destroyed. 
 
 Height, 1014; width, 78 inches. 
 
 SMITH, ANDRE 
 26. THE Moto. Etching. 
 
 ProoF, signed in the plate-——Andre Smith, Venice 1913. FINE 
 IMPRESSION, limited edition. 
 Height, 7; length, 814 inches. Black frame with gilt inside. 
 
 TIMOTHY COLE 
 
 Contemporary American Wood-engraver 
 
 COLE, TIMOTHY 
 27. THe FrLower Girt. Woodcut. 
 After Murillo’s painting. Proor, signed in pencil,—Timothy Cole. 
 FINE IMPRESSION on rice paper. 
 Height, 714; width, 51 inches. 
 
 Si, TIMOTHY 
 28. THe Hatt. Woodcut. 
 After Morland’s painting in the National Museum au Louvre, Paris. 
 Proor, signed in pencil,—Timothy Cole. FINE IMPRESSION, in 
 perfect condition, on rice paper. 
 Height, 514; length, 63 inches. 
 
 COLE, TIMOTHY 
 29. La Maternite. Woodcut. 
 After Eugene Carriere’s painting, Luxumberg, Paris. PRroor, 
 signed in lower margin,—Timothy Cole. SILVERY IMPRESSION, 
 perfect condition, on rice paper. 
 
 Height, 614; length, 8% inches. 
 
Sale Tuesday Evening, January 27th 
 
 COLE, TIMOTHY 
 30. Tuer Prart NECKLACE. Woodcut. 
 
 After Vermeer’s painting. Proor, signed in pencil,—Timothy Cole. 
 RIcH IMPRESSION, printed on rice paper, sight tear in upper left 
 margin. 
 
 Height, 934; width, 8 inches. 
 
 FRANCESCO PIRANESI 
 Italian engraver. Born, at Venice, 1720; died, 1778. 
 
 PIRANESI, FRANCESCO 
 31. SceNoGRAPHIA INsuLA TIBERNEA. Engraving. 
 Late impression. 
 Height, 814; length, 1714 inches. 
 
 a 
 
 HEDLEY FITTON 
 Contemporary English Etcher 
 
 Born in 1859. His architectural plates show great decorative power. 
 
 FITTON, HEDLEY 
 32. Run Sarnt Romain, Roven. Htching. 
 Dunthorne, No. 21. 
 
 Proor, signed in the lower margin,—Hedley Fitton. FINE RICH 
 AND CLEAR IMPRESSION. 
 
 Height, 1214 ; length, 1314 inches. Gold Gothic frame. 
 This print is possibly dry-stretched in the framing. 
 
 FITTON, HEDLEY 
 _ 83. ApvocaTESs CLOSE, EpinpureH. Etching. 
 Dunthorne, No. 25. 
 
 Proor, signed in the plate——H. Fitton, and in lower margin, in 
 pencil,— Hedley Fitton. FINE IMPRESSION, in perfect condition. 
 
 Height, 103g; length, 1714 inches. Gold Gothic frame. 
 This print is possibly dry-stretched in the framing. 
 
 FITTON, HEDLEY 
 34. Sarnt EriENNE: Beauvais. Etching. 
 Dunthorne, No. 30. 
 
 Proor, signed in the plate,—J. H. H., and in pencil,—Hedley Fitton. 
 FINE IMPRESSION, IN PERFECT CONDITION. 
 
 Height, 1734; width, 117% inches. Gold Gothic frame. 
 This print is possibly dry-stretched in the framing. 
 
Sale Tuesday Evening, January 27th 
 
 FITTON, HEDLEY 
 
 35. THe CHURCH OF THE THREE Kines. S. Eminion, GUYENNE. 
 Etching. 
 
 Dunthorne, No. 32. 
 
 Proor, signed in the lower margin in pencil,—Hedley Fitton. Very 
 CLEAR IMPRESSION, in perfect condition. 
 
 Height, 1214; length, 1334 inches. Gold Gothic frame. 
 This print is possibly dry-stretched in the framing. 
 
 FITTON, HEDLEY 
 36. Saint ErT1ENNE Lunoces. Etching. 
 Dunthorne, No. 34. 
 Proor, signed in pencil,— Hedley Fitton. FINE IMPRESSION. 
 Height, 1354; length, 1634 inches. Reeded gilt frame. 
 This print is possibly dry-stretched in the framing. 
 
 FITTON, HEDLEY 
 3%. Rostyn Cuaprt. Etching. 
 Dunthorne, No. 36. 
 
 ProoF, signed in the plate, H. F., and in lower margin, in pencil,— 
 Hedley Fitton. RicH IMPRESSION, IN PERFECT CONDITION. 
 
 Height, 1634 ; width, 11% inches. Gold Gothic frame. 
 This print is possibly dry-stretched in the framing. 
 
 SIR FRANCIS SEYMOUR HADEN 
 
 Eminent English etcher and surgeon. Born at London, 1848; died there in 1910. 
 President of the “Royal Society of Painter-Etchers.”’ 
 
 HADEN, SIR FRANCIS SEYMOUR 
 38. GRAYLING Fisuine. Mezzotint. 
 Harrington, No. 241. 
 
 Proor, signed on lower margin in pencil,— Seymour Haden. FINE 
 IMPRESSION, in perfect condition. 
 
 Height, 714; length, 1134 inches. Framed in gilt. 
 This plate was awarded a gold medal when first exhibited, Paris. 
 
 WILLIAM AUERBACH LEVY 
 
 Contemporary American Etcher 
 
 LEVY, WILLIAM AUERBACH 
 39. THe CapmMan. KEtching. 
 Proor, signed in pencil,—William Auerback Levy. FINE IMPRES- 
 SION, in perfect condition. Hdition limited. 
 Height, 10; width, 7% inches. Black frame. 
 
Sale Tuesday Evening, January 27th 
 
 LEVY, WILLIAM AUERBACH 
 40. THE Capman. Etching. 
 
 Proor, signed in pencil as above. With additional writing on lower 
 margin.—Harly proof selected for S. 8. Hosenstam, Weeds is 
 
 Height, 10; width, 77% inches. 
 
 LEVY, WILLIAM AUERBACH 
 41. THE Journey’s Env. Etching. 
 
 First state, signed in plate-——W. A. LZ. 1915, and in pencil,— 
 William Auerback Levy. FINE IMPRESSION. 
 
 Height, 6; length, 11% inches. 
 
 LEVY, WILLIAM AUERBACH 
 42. THE JourNEY’s Enp. Etching. 
 First state. Signed as preceding. 
 Height, 6; length, 117% inches. 
 
 LEVY, WILLIAM AUERBACH 
 43. THe New Tatmoup. Etching. 
 
 First staté. Proor, signed in pencil,—Walliam Auerback I evy, 
 1915. BRILLIANT IMPRESSION. RARE. 
 
 Height, 12; width, 10 inches. Black frame. 
 
 LEVY, WILLIAM AUERBACH 
 44, Tue Exite. Etching. 
 Signed in the plate,—W. A. L., and in lower margin in pencil,— 
 William Auerback Levy, 1911. RicH Impression. Only fifty 
 proofs taken, and plate destroyed. 
 Height, 544; length, 8 inches. Black frame. 
 
 LEVY, WILLIAM AUERBACH 
 45, Cecco. Htching. 
 
 Proor, signed on lower margin in pencil,—Wualliam Auerback Levy, 
 (1912. FINE Impression. Only fifty proofs taken, and plate 
 destroyed. 
 
 Height, 834; width, 514 inches. Black frame. 
 
Sale Tuesday Evening, January 27th 
 
 LEVY, WILLIAM AUERBACH 
 46. MarcHanp D’Hasrr. Etching. 
 Proor, signed in plate,—William Auerback Levy, 1918, and in 
 pencil,—Walliam Auerback Levy, imp. FINE IMPRESSION. 
 Height, 1334; width, 97 inches. 
 This plate shows additional work added to the trowsers. 
 
 LEVY, WILLIAM AUERBACH 
 4%. Marcuanp D’Hasir. Etching. 
 
 First sTATE, signed in the plate——William Auerback Levy, 1918, 
 and in lower margin, in pencil,—William Auerback Levy. FINE 
 IMPRESSION, about one-eighth margin at top and sides, and about 
 one-quarter inch at bottom. 
 
 Height, 1334 ; width, 97% inches. Black frame. 
 
 LEVY, WILLIAM AUERBACH 
 48. THe Sorrse. — Etching. 
 
 Proor, signed in the plate,—William Auerback Levy, 1912, and in 
 pencil, on lower margin,—Wdliam Auerback Levy. FINE IM- 
 PRESSION. | 
 
 Height, 714; length, 10 inches. Black frame. 
 
 LEVY, WILLIAM AUERBACH 
 49. Morxe. Etching. 
 Proor, on Japan paper, signed in pencil,—Second Proof. Wallvam 
 Auwerback Levy, imp. FINE IMPRESSION. 
 Height, 6; length, 834 inches. 
 
 LEVY, WILLIAM AUERBACH 
 50. Tue PatrrarcH’s Prayer. Etching. | 
 Proor, signed in pencil,— William Auerback Levy, imp. 1914. RicH 
 CLEAR IMPRESSION. Only fifty impressions taken, and plate de- 
 stroyed. 
 Height, 10; width, 7% inches. Black frame. 
 
 LEVY, WILLIAM AUERBACH 
 51. Farruruyt. Etching. 
 Proor, signed in lower margin in pencil,—first state, William 
 Auerback Levy, vmp 16. RICH CLEAR IMPRESSION. 
 Height, 7; length, 97% inches. Black frame. 
 
Sale Tuesday Evening, January 27th 
 
 ALBRECHT DURER 
 
 Born, Niirnberg in 1471; died there 1528. He was of Hungarian de- 
 scent; his father coming from the little village of Eytas in Hun- © 
 gary. In 1486, Albrecht entered the studio of Michael Wolgemut, 
 the best Niirnberg painter of the 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 return to Niirnberg in 1494, and his 
 works from that date until 1505 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 1520-1521, Diirer was in the Netherlands and the works from that 
 time until his death in 1528 comprised 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 successors, 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 sympathetic 
 a grasp of the human heart.”—LionreL Cust. 
 
 [The prints in this collection described as with frames are all loosely 
 hinged with adjustable backs. ] 
 
 DURER, ALBRECHT 
 52. Saint JOHN HOLDING THE SEVEN GOLDEN Caxpreeaee Woodcut. 
 Bartsch, No. 62. 
 First staTE. EXTREMELY FINE IMPRESSION, perfect condition. 
 
 With the German text on the reverse side. From the series of the 
 Apocalypse. 
 
 Height, 1514; width, 114, inches. 
 From the Liphart collection. 
 
 DURER, ALBRECHT 
 53. THE SEVEN ANGELS witH TRUMPETS. Woodcut. 
 
 Bartsch, No. 68. 
 
 First sTaTE. EEXTREMELY FINE IMPRESSION, in perfect condition. 
 
 Height. 1514; width, 111% inches. 
 
 With the German text on the reverse side. From the series of the 
 “Apocalypse.” 
 
 From the Liphart collection. 
 
ALBRECHT DURER 
 The Virgin with a Monkey 
 [No. 60] 
 
Sale Tuesday Evening, January 27th 
 
 DURER, ALBRECHT 
 54. Saint JoHN EHatine THE Boox. Woodcut. 
 Bartsch, No. 70. 
 First state. EXTREMELY FINE IMPRESSION, 10 perfect condition. 
 Height, 1514; width, 1114 inches. Black frame. 
 
 From the series of the “Apocalypse.” With the German testt' on the 
 reverse side. A duplicate from the Berlin Museum. 
 
 DURER, ALBRECHT 
 55. THe Dragon with SevEN Heaps. Woodcut. 
 Bartsch, No. 
 FIRST STATE. ee FINE IMPRESSION. ‘Two thin places at 
 lower left corner, otherwise in perfect condition. 
 Height, 155g; width, 1114 inches. Black frame. 
 
 From the series of the “Apocalypse.” With the German text on the 
 reverse side. A duplicate from the Berlin Museum. 
 
 DURER, ALBRECHT 
 56. THs ANGEL WITH THE KEY OF THE Eine Woodcut. 
 Bartsch, No. 75. 
 
 Apparently a proof before the text on the reverse side. VERY FINE 
 IMPRESSION, without water-mark. IN PERFECT CONDITION. 
 Height, 1514; width, 11 inches. Black frame. 
 
 From the series of the “Apocalypse.” 
 
 DURER, ALBRECHT 
 57. TweELVE PLATES FROM SMALL PAssIONS ON CopPpER. ENGRAVINGS. 
 Bartsch. Numbers, as given below. 
 
 ALL FINE IMPRESSIONS, and with the exception of three thin spots, 
 in perfect condition. 
 
 Height of each, 434; width, 3 inches. Framed with Imperial Jap- 
 anese covered mats. ‘Together, 12 pieces in three frames. 
 
 EACH ONE BEARS THE STAMP OF THE FRITZ RUMPH COLLECTION. 
 
 LIST OF ABOVE ENGRAVINGS 
 
 (1) Tur Man oF Sorrows. Bartsch, No. 3. 
 
 (2) Cirrist ON THE Mount or Otives. Bartsch, No. 4. 
 
 (3) CHrist TAKEN BY THE JEWS. Bartsch, No. 5. 
 
 (4) CHrist Brerorr CarapHas. Bartsch, No. 6. 
 
 (5) CuHrist Brerore Pinate. Bartsch, No. 7. 
 
 (6) CHRIST CROWNED witH THORNS. Bartsch, No. 9. Signed on 
 back,—T.. Mariette, 1668. About half of this signature is missing. 
 
 (Continued 
 
CHT DURER 
 
 ALBRE 
 nance of 
 
 ostom 
 
 t John Chrys 
 62] 
 
 ain 
 
 NS) 
 [ No. 
 
 e 
 
 The Pe 
 
Sale Tuesday Evening, January 27th 
 
 [No. 57—Continued | 
 
 caused by a small portion of back layer of the paper having been 
 torn off, 
 
 “ALL PRINTS SIGNED MARIETTE ARE USUALLY VERY FINE IMPRESSIONS.”’— 
 M. A. Hird. This remark applies to the front surface of the above. 
 
 (7) CHrRIst BEFORE THE PEOPLE. Bartsch, No. 10. Signed on the 
 back,—T. Mariette, 1668. 
 
 (8) PrratrE Wasuinc His Hanns. Bartsch, No. 11. 
 (9) CHRIST ON THE Cross, Bartsch, No. 138. 
 
 (10) THE ENToMBMENT, Bartsch, No. 15. 
 
 (11) THe Resurrection. Bartsch, No. 17. 
 
 (12) Sr. Prerer anp St. JoHN HEALING THE LAME. Bartsch, No. 18. 
 This last print is considered one of the series, although not offi- 
 cially catalogued as such. 
 
 DURER, ALBRECHT 
 58. THE VIRGIN witH SHorT Harr. Engraving. 
 Bartsch, No. 38. 
 
 Signed in the plate-—A. D. 1514. BEAUTIFUL SILVERY IMPRESSION, 
 in perfect condition, about one-sixteenth inch margin, all around 
 outside of the plate-mark. 
 
 Height, 434; width, 31, inches, Black frame. 
 
 DURER, ALBRECHT 
 59, THE Virnain Crownep By Two AncgEts, Engraving. 
 Bartsch, No. 39. 
 
 BEAUTIFUL SILVERY IMPRESSION, IN PERFECT CONDITION, about one- 
 eighth inch margin all around outside of plate-mark. 
 
 Height, 6; width, 41% inches. Black frame. 
 
 DURER, ALBRECHT 
 60. THE Vircin witH A Monxery. Engraving. 
 Bartsch, No. 43. 
 
 Signed in the plate——A. D. EXTREMELY FINE IMPRESSION. There 
 are two faint stains in upper portion of print. Bull’s head water- 
 mark in the paper. 
 
 Height, 714; width, 434 inches. Black frame. 
 
 From the Collections of J. Peoli, Firmin-Didot, Robert Hoe, and 
 Montague Flagg. 
 
 [See Illustration | 
 
ALBRECHT DURER 
 The Rape of Amymone 
 [No. 63] 
 
Sale Tuesday EHvenng, January 27th 
 
 DURER, ALBRECHT 
 61. Saint Hupert. Engraving. 
 Bartsch, No. 5%, 
 
 Signed in the plate,—A. D. VERY FINE RICH IMPRESSION, on high 
 crown paper, cut all around close to plate mark. 
 
 Height, 1334; width, 1014 inches. 
 
 This print has a sharp fold across the middle, which is very evident 
 on the back, but scarcely noticeable on the face of Das otherwise 
 in good condition. 
 
 From the Baldinger collection. 
 
 DURER, ALBRECHT 
 62. THE PENANCE oF Saint JoHN CHrRysostom. Engraving. 
 Bartsch, No. 63, 
 
 EXTREMELY RICH IMPRESSION, with water-mark of the two towers, 
 cut just outside plate line. 
 
 Height, 7; width, 45g inches. Black frame. 
 
 A duplicate from the Dresden Museum, and from the collection of 
 R. Scholtz. 
 [See Illustration ] 
 
 DURER, ALBRECHT 
 63. THe Rape or AMyMoneE. Engraving. 
 Bartsch, No. 71. 
 
 Signed in the plate,—A. D. EXTREMELY FINE IMPRESSION, in per- 
 fect condition. 
 
 Height, 9 13-16; width, 7 7-16 inches. Black frame. 
 From the Scholtz and Galichon collections. 
 
 [See Illustration | 
 
 DURER, ALBRECHT 
 64. THE Errects or JEALousy. Engraving. 
 Bartseh, No. 73. 
 
 , with the High 
 crown water-mark in the paper. In perfect condition. Trimmed 
 just outside line bordering the engraved composition. 
 
 Height, 1254; width, 834 inches. Black frame. 
 
— 
 -_ 
 =a 
 re 
 aes, 
 rad) 
 eo 
 . Ag 
 Ome 
 Ha SO 
 ma6 
 Se! 
 Se 
 eA 
 ees 
 Pes 
 4 
 
 io 
 < 
 1g 
 
 Kn 
 
Sale Tuesday Evening, January 27th 
 
 DURER, ALBRECHT 
 65. MELANCHOLIA. Engraving. 
 Bartsch, No. 74. ; 
 Signed in the plate——A. D. 1514. Fine Impression, in perfect 
 condition, cut on the line bordering the engraved composition. 
 Height, 93¢; width 7 5-16 inches. 
 As usual, this print bears no water mark. 
 
 DURER, ALBRECHT 
 66. Tur Dream. Engraving. 
 Bartsch, No. 76. 
 EXTREMELY FINE IMPRESSION, cut to plate, in perfect condition. 
 Height, 73g; width, 434 inches. Black frame. 
 British Museum duplicate. 
 
 DURER, ALBRECHT 
 67. Tur THree Peasants. Engraving. 
 Bartsch, No. 86. 
 
 Signed in the plate——A. D. VERY FINE IMPRESSION, in perfect con- 
 dition, cut to plate-mark at bottom and right, cut just inside 
 plate-mark at top and left. 
 
 Height, 4144; width, 3 inches. Black frame. 
 From the Scholtz collection. 
 
 DURER, ALBRECHT 
 68. THe GreAT Horse. Engraving. 
 Bartsch, No. 97. 
 
 Signed in the plate,—4. D. 1505. VERY FINE IMPRESSION, margin 
 at top and sides, very narrow, one-eighth at bottom. There is a 
 slight fold across the middle of print, which does not detract from 
 the beauty of the impression. 
 
 Height, 65g; width, 484 inches. Black frame. 
 From the Schlosser collection. 
 
 DURER, ALBRECHT 
 69. Kniaut, DEATH, AND THE Devin. Engraving. 
 - Bartsch, No. 98. 
 
 Signed in the plate-—A. D. 1513. VERY FINE IMPRESSION, in per- 
 fect condition. There is a narrow margin bordering the engraved 
 composition. 
 
 Height, 95g; width 711/16 inches. Black frame. 
 
 From the collection of G. Storch of Milan. 
 
 [See Illustration ] 
 
REMBRANDT VAN RIJN 
 Christ in the Garden of Olives 
 [No. 76] 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 
 Born, Leyden, 1607; died, Amsterdam, 1669. Pupil of Swanenburch 
 and Pieter Lastman. “The opinion among etchers which en- 
 thrones Rembrandt as the King of his craft is the most recent 
 instance of perfect unanimity among people of all nationalities. 
 As we all say Phidias was the greatest sculptor, Homer the great- 
 est 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 in- 
 fluential graphic artists of all time.’—P. G. HAMERTON. 
 
 [The Rembrandt prints in this collection described as with frames are all 
 loosely hinged with adjustable backs. ] : 
 
 REMBRANDT VAN RIJN 
 70. REMBRANDT Drawine. LHtching. 
 Rovinski, No. 22. 
 
 HIGHTH STATE OF TEN. ProoF; signed in the plate-——Rembrandt 
 1648. RIcH AND BRILLIANT IMPRESSION, full of burr, in perfect 
 condition, very narrow margin all around outside of plate-mark. 
 
 Height, 614; width 514 inches. 
 
 REMBRANDT VAN RIJN 
 71. ABRAHAM SENDING Away Hacar. Etching. , 
 Rovinski, No. 30. 
 
 ONLY STATE. FINE IMPRESSION, in perfect condition, about one- 
 quarter inch margin all around outside plate-mark. 
 
 Height, 43g; length, 57/16 inches. Black frame. 
 
 REMBRANDT VAN RIJN 
 72. ABRAHAM TALKING To Isaac. Etching. 
 Rovinski, No. 34. 
 Proor, signed in the plate,—Rembrandt 1645. FINE IMPRESSION, 
 in perfect condition, showing a narrow margin all around. 
 Height, 644; width, 54% inches. Black frame. 
 Berlin Museum duplicate, also from the collection of Theobald. 
 
 REMBRANDT VAN RIJN 
 73. ANGELS ANNOUNCING THE BirTH or Curist. Etching. 
 Rovinski, No. 44. 
 THIRD STATE OF FOUR. Signed in the plate——Rembrandt 1634. 
 
 EXTREMELY FINE IMPRESSION, in perfect condition, about one 
 sixteenth margin all around outside plate mark. 
 
 Height, 1014; width, 811/16 inches. Black frame. 
 This impression shows the distant landscape clearly. 
 
Mies 
 
 ; 
 RL 
 he 
 
 REMBRANDT VAN RIJN 
 Descent from the Cross 
 [No. 78] 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 "4, CHrist DRIVING THE Money CHANGERS. OUT OF THE TEMPLE. 
 Etching. 
 
 Rovinski, No. 69. 
 
 First STATE OF THREE. Signed in the plate-—Rembrandi 1635. 
 BRILLIANT IMPRESSION, in perfect condition, very narrow mar- 
 gin all around. Yo 
 
 Height, 534 ; lenipthy 6 34 mcbes Black frame. 
 
 REMBRANDT VAN RIJN 
 ”5. Curist DRIVING THE MonEY CHANGERS OUT OF THE TEMPLE. 
 Etching. 
 
 Rovinski, No. 69. 
 
 FIRST STATE. FINE IMPRESSION. 
 Height, 53g; width, 634 inches. 
 
 From the Tracy Dow’s collection. 
 
 REMBRANDT VAN RIJN 
 76. CHRIST IN THE GARDEN OF OLIvEs Etching. 
 Rovinski, No. 75. 
 
 ONLY STATE, signed in plate-—Rembrandt. SUPERB IMPRESSION, 
 showing one-eighth margin all around. 
 
 Height, 4144; width, 314 inches. Black frame. 
 [See Illustration | 
 
 REMBRANDT VAN RIJN 
 77. Curist CruciFIED BETwEEN Two TuiEves. An Ova. Etching. 
 Rovinski, No. 79 
 
 First STATE OF TWO. EXTREMELY FINE IMPRESSION, in perfect 
 condition. Wide square margin with corners slightly clipped. 
 
 Height, 6; width, 452 inches. Black frame. 
 From the Arozarena, and Schindler collections. 
 
 REMBRANDT VAN RIJN 
 78. DESCENT FROM THE Cross BY TorRcHLIGHT. Etching. 
 Rovinski, No. 83. 
 FIRST STATE OF TWO, signed in the plate——Rembrandt 1654. Ricu 
 AND BRILLIANT IMPRESSION, in perfect condition, showing about 
 one-eighth margin all around. 
 
 Height, 814; width, 614 inches. Black frame. 
 [See Illustration ] 
 
[#8 “ON] 
 -UBUIYITIA GIA odvospue’y 
 
 Nfld NVA LONVUAWNAS 
 
 SO 
 
 Stine Gigs 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 ?9. Curist aT Emmaus. Etching. 
 
 Rovinski, No. 87, 
 
 SECOND STATE OF Two, signed in the plate——Rembrandt F 1634. 
 EARLY IMPRESSION with considerable burr throughout the plate. 
 Slight tear about one inch long in lower right corner, neatly re- 
 paired, otherwise in perfect condition, showing about one-eighth 
 inch margin all around outside of plate. 
 
 Height, 854; width, 6% inches. Neatly framed. 
 
 REMBRANDT VAN RIJN 
 80. THe DEATH OF THE VIRGIN, Etching. 
 Rovinski, No. 99; 
 FINAL STATE OF THREE, signed in the plate——Rembrandt, 1639. 
 VERY FINE IMPRESSION, in perfect condition. Narrow margin at 
 top and sides, about. 5¢-inch on bottom. 
 Height, 1614; width, 1214 inches, Black frame. 
 
 REMBRANDT VAN RIJN 
 81. Woman Preparine To Dress ArreR BaTuHine. Htching. 
 Rovinski, No. 199. 
 SECOND STATE OF Two, signed in the plate,—Rembrandt 1658. Ex- 
 TREMELY FINE IMPRESSION, in perfect condition, on Japan Paper, 
 narrow margin almost all around the plate. 
 
 Height, 614; width, 514 inches. Black frame. 
 From the Von Lanna, and Tetlow collection. 
 
 REMBRANDT VAN RIJN 
 82. Srx’s Bripez. Etching. 
 Rovinski, No. 208. 
 THIRD STATE OF FOUR, signed in the plate,—Rembrandt 1645. 
 VERY FINE IMPRESSION, perfect condition, very narrow margin 
 all around outside plate-mark. 
 Height, 514; length, 8% inches. Black frame. 
 
 REMBRANDT VAN RIJN 
 83. VIEW oF AMSTERDAM. Etching. 
 Rovinski, No. 210. 
 
 FINE IMPRESSION, with about one-half inch margin all around, in 
 perfect condition. 
 
 Height, 514; width, 4384 inches. Black frame. 
 
[gs “ON] 
 PPLT SioysPoaMplopy omnL 
 NfId NVA LONVAAWAY 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 84. LanpscAPE witH A Mitkman. Etching. 
 Rovinski, No. 213. 
 
 SECOND STATE OF TWO. BEAUTIFUL IMPRESSION, full of burr, thin 
 spots at lower corner, margin trimmed outside of plate-mark. 
 
 Height, 254; length, 6% inches. Black frame. 
 From the Richard Fischer collection. 
 [See Illustration] 
 
 REMBRANDT VAN RIJN 
 85. THE GoLpWEIGHERS Frenup. Etching. 
 
 Rovinski, No. 234. 
 
 ONLY STATE, signed in the plate-——Rembrandt 1651. ExTREMELY 
 FINE IMPRESSION, about one-eighth inch margin all around out- 
 side of plate-mark, slight paper fold traverses print from top to 
 bottom, but does not detract from the beauty of the impression. 
 
 Height, 4%; length, 1234 inches. Neatly framed. 
 
 From the collections of De Festetics, Chambers Hall, and Theodore 
 Irwin. 
 
 This is considered by many connoisseurs Rembrandt’s most beautiful 
 landscape. 
 
 [See Illustration ] 
 
 REMBRANDT VAN RIJN 
 86. Doctor Faustus. Etching. 
 
 Rovinski, No. 270. 
 
 SECOND STATE OF FOUR. EXTREMELY FINE IMPRESSION, perfect 
 condition, showing about one 14 inch margin all around, outside 
 platemark. 
 
 Height, 85; width, 65g inches. Black frame. 
 
 From the Fritz Rumpf collection. 
 
 REMBRANDT VAN RIJN 
 87%. CLEMENT DE JoNGHE. Etching. 
 Rovinski, No. 272. 
 
 THIRD STATE OF SIX, signed in the plate,—Rembrandt. IMPRESSION 
 OF GREATEST BEAUTY, in perfect condition, very narrow margin all 
 around outside of plate-mark. 
 
 Height, 814; width 61% inches. Black frame. 
 From the collection of Henri le See des Tournelles. 
 
 [See Illustration | 
 
VAN RIJN 
 
 REMBRANDT 
 
 ghe 
 
 Clement de Jon 
 
 87] 
 
 [N 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 88. ABRAHAM FRANCE. Etching. 
 Rovinski, No. 273. 
 
 SIXTH STATE OF NINE. SUPERB IMPRESSION, on Japan paper, in 
 perfect condition, showing about one-eighth inch margin all 
 around. 
 
 Height, 61¢; length, 83 inches. Black frame. 
 From the Theobold collection. 
 
 REMBRANDT VAN RIJN 
 89. EpHraim Bonus. Etching. 
 Rovinski, No. 278. 
 
 SECOND STATE OF Two, signed in the plate-——Rembrandt 1647. 
 SUPERB IMPRESSION, in perfect condition, cut all around just on 
 plate line. 
 
 Height, 97/16; width, 615/16 inches. Black frame. 
 
 From the collections of de la Motte Fouque, Alferoff Straeter, and 
 Marsden J. Perry, 
 
 REMBRANDT VAN RIJN 
 90. BurGOMASTER JAN Six. Etching. 
 Rovinski, No. 285. 
 THIRD STATE OF FOUR, signed in the plate——Rembrandt 1647. FINE 
 
 IMPRESSION, in perfect condition, about one-sixteenth inch margin 
 all around outside of plate-mark. 
 
 Height, 954; width, 734 inches. Black frame. 
 
 REMBRANDT VAN RIJN 
 91. Otp Man witH Larce WHITE Bearp. Etching. 
 Rovinski, No. 307. 
 
 FIRST STATE OF TWO, signed in the plate,—At 1630, FINE IMpREs- 
 SION, in perfect condition, showing about one-eighth inch all 
 around. 
 
 Height, 434; length, 35g inches. Black frame. 
 
 REMBRANDT VAN RIJN 
 92. OLD Man, witH A Ricw VEtvEeT Cap. Etching. 
 Rovinski, No. 313. 
 
 ONLY STATE, signed in the plate-——Rembrandt 1637. ExTREMELY 
 FINE IMPRESSION, in perfect condition, showing about one-sixteenth 
 inch margin all around. 
 
 Height, 3%; width, 33g inches. Black frame. 
 
 From the Kalle, and Von Lanna collection. 
 
Sale Tuesday Evening, January 27th 
 
 REMBRANDT VAN RIJN 
 93. THE GREAT JEWISH Brine. Etching. 
 Rovinski, No. 340. 
 
 FINAL STATE OF FOUR. Signed, R. 1634. FINE IMPRESSION, in per- 
 fect condition, narrow margin all around outside the plate mark. 
 
 Height, 814; width, 614 inches. Black frame. 
 
 From the Boehm collection. 
 
 REMBRANDT VAN RIJN 
 94. Rempranpi’s Moruer, Turnep to Lerr. Etching. 
 Royinski, No. 344. 
 
 SECOND STATE OF TWO, signed in the plate,—Rembrandt. FINE IM- 
 PRESSION, in perfect condition, with about one-sixteenth margin 
 all around. 
 
 Height, 6144; width, 434 inches. Black frame. 
 
 ANDERS ZORN 
 
 Swedish painter and etcher. Born at Mora in Dalecarlia in 1860. 
 “But it is in his etchings that the art of Anders Zorn is seen in 
 its highest vigor, creativeness and sureness of hand, whether these 
 etchings be done directly from nature or are transcriptions of his 
 masterly paintings. Lines apparently scribbled at random, and 
 which might seem to harshly gash the copper-plate, result in a 
 whole, which is strong, clear, and vivid, and the etchings present 
 picture expressing the most delicate and fleeting phases of ex- 
 pression and gesture.”—HeEnrri MARCEL. 
 
 [The Zorn prints described in this collection as with frames are all loosely 
 hinged with adjustable backs. | 
 ZORN, ANDERS 
 95. AxpL Herman Hata. Etching. 
 
 Delteil, No. 17—1884. 
 
 First sTATE OF TWo. Proor, signed,—Zorn, 84., and on lower 
 margin in pencil,— Zorn. FINE RICH IMPRESSION, on Japan paper. 
 There were only twenty-five proofs printed, covering all states, 
 the plate destroyed. OF THE GREATEST RARITY. 
 
 Height, 1514; width, 1014 inches. 
 
 ZORN, ANDERS 
 96. Rostra Mauri. Etching. 
 Delteil, No. 34—1889. 
 
 THIRD STATE. Proor, signed in the plate,—Zorn, 89, and on lower 
 margin in pencil,—Zorn. CLEAR BRILLIANT IMPRESSION, on Van 
 Gelder Zonen paper, in perfect condition. 
 
 Height, 934; width, 61g inches. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS : 
 97%. Porrrair or THE Artist AND His Wire. Etching. 
 Delteil, No. 42—1890. 
 
 SECOND STATE OF Two. PRrooF, signed in the plate-—Zorn, and on 
 lower margin in pencil,—Zorn. FINE BRILLIANT IMPRESSION, on 
 Imperial Japan paper. About forty or fifty impressions printed, 
 plate destroyed. 
 
 Height, 1214; width, 814 inches. Guilt frame. 
 
 [See Illustration ] 
 
 ZORN, ANDERS 
 98. Mapame ARMAND Dayor. Etching. 
 Delteil, No. 47—1890. 
 
 First sTtaTH OF Two. Signed on lower margin,—Zorn first state two 
 proofs. VERY RICH AND BRILLIANT IMPRESSION, on Van Gelder 
 Zonen paper. Of the utmost rarity. } 
 
 Height, 814 ; width, 534 inches. 
 
 AS ONE OF THE TWO EXISTING PROOFS of the first state, of this beau- 
 
 tiful portrait, it takes rank as a Zorn etching of the very first 
 importance. 
 
 From the Strolin collection. 
 
 ZORN, ANDERS 
 99. J. B. Faure. Etching. 
 Delteil, No. 52—1891. 
 
 THIRD STATE OF THREE. Proor, signed in the plate-——Zorn 1891, 
 and on lower margin in pencil,—Zorn. CLEAR DELICATE IMPRES- 
 ston, on Dutch paper, in perfect condition. About twenty proofs 
 were printed, and the plate destroyed. 
 
 Height, 93g; width, 63g inches. 
 
 From the Strolin collection. 
 
 ZORN, ANDERS 
 100. Sarnt Ives, “Le Precueur.” Etching. 
 
 Delteil, No. 53—1891. 
 
 SECOND STATE OF TWO. PRrooF, signed in the plate-—Zorn 1891, 
 and on lower margin in pencil,—Zorn. FINE CLEARLY PRINTED 
 IMPRESSION. There were about twenty or thirty impressions 
 printed, and the plate destroyed. 
 
 Height, 10%; width, 734 inches. 
 
ANDERS ZORN 
 Portrait of the Artist and his Wife 
 [No. 97] 
 
Sale Tuesday Evening, January 27th eli 
 
 ZORN, ANDERS 
 101. Tor Waurz. Etching. 
 Delteil, No. 54—1891. 
 
 FINAL STATE OF THREE, signed in the plate,—Zorn 1891, and in 
 pencil on lower margin,—Zorn. VERY FINE IMPRESSION, on 
 Dutch paper. Only forty impressions taken, and plate destroyed. 
 
 Height, 1214; width, 85¢ inches. Guilt frame. 
 
 ZORN, ANDERS 
 102. “La DaME A LA CIGARETTE.” “MADEMOISELLE X.” Htching. 
 
 Delteil, No. 62—1891. 
 
 SECOND PLATE. First sTaTE, signed in pencil—Zorn. BRILLIANT 
 IMPRESSION. There were about twenty-five or thirty proofs taken, 
 and plate destroyed. | 
 
 Height, 614; width, 45g inches. Gilt frame. 
 
 [See Illustration | 
 
 ZORN, ANDERS 
 103. “L?Oracs.” Etching. 
 Delteil, No. 63—1891. 
 
 FINAL STATE OF FOUR, signed on lower margin in pencil,—Zorn. 
 FINE BRILLIANT IMPRESSION, on Van Gelder Zonen paper, in per- 
 fect condition. Only about thirty impressions printed, and plate 
 destroyed. é 
 
 Height, 734; width, 584 inches. 
 
 ZORN, ANDERS 
 104. Le Reveiz. Htching. 
 Delteil, No. 64—1891. 
 
 SECOND STATE, signed in pencil,—Zorn, CLEAR DELICATE IMPRES- 
 ston, on Dutch paper, in perfect condition. There were about 
 thirty impressions printed, and the plate destroyed. 
 
 Height, 53g; width, 4 inches. 
 
 ZORN, ANDERS 
 105. MapAME Simon. Etching. 
 Delteil, No. 66—1891. 
 
 SECOND PLATE. FourtTH sTaTE. Proor, signed in the plate,—Zorn, 
 and in pencil,—Zorn. EARLY AND VERY FINE IMPRESSION, in per- 
 fect condition. 
 
 Height, 914; width, 614 inches. 
 
 About thirty proofs were printed, before the plate was published in 
 “Pan” the German paper. The plates printed in “Pan” did not 
 bear the signature of Zorn. 
 
 From the Petitdidier collection. 
 
9%? 
 
 selle X. 
 
 “Mademoi 
 
 2] 
 
 ORN 
 
 SZ 
 arette— 
 
 1g 
 [No. 10 
 
 ANDER 
 
 ala C 
 
 La Dame 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 106. Les Jovrturs D’EcuEc. Etching. 
 Delteil, No. 67—1891. 
 OnLy sTATE. Proor, which, however, does not bear Zorn’s signature. 
 FINE IMPRESSION. There were only six impressions of this plate — 
 taken before the plate was LESSEE EXTREMELY RARE. 
 
 Height, 514; width, 4 inches. 
 
 ZORN, ANDERS 
 107. EN Omnisus. Etching. 
 Delteil, No. 71—1891. 
 
 FINAL STATE OF THREE. Signed on lower margin in pencil,—Zorn. 
 FINE BRILLIANT IMPRESSION, on Van Gelder Zonen paper. About 
 seventy-five impressions taken in all, and plate destroyed. 
 
 Height, 11; width, 734 inches. 
 [See Illustration | 
 
 ZORN, ANDERS 
 108. Ernest Renan. Etching. 
 Delteil, No. 72—1892. 
 
 FINAL STATE OF FIVE, signed in the plate,—Zorn 1892, and on lower 
 margin in pencil, —Zorn. BRILLIANT IMPRESSION. There were 
 about one hundred impressions taken in all, and the plate de- 
 stroyed. 
 
 Height, 9; length, 1314 inches. Gilt frame. 
 [See Illustration ] 
 
 ZORN, ANDERS 
 109. Mapame Oued Bratt. Etching. 
 Delteil, No. 78—1892. 
 
 SECOND STATE OF Two. Proor, signed in the plate,—Zorn 1892, 
 and in pencil on lower margin,—Zorn. VERY BRILLIANT IMPRES- 
 sIonN, on Van Gelder Zonen paper, in perfect condition. Rares. 
 
 Height, 734; width, 514 inches. 
 
 ZORN, ANDERS 
 110. La Lecturr—Mr. ann Mrs. CHARLES DEEriNe. Etching. 
 Delteil, No. 78—1893. 
 FINAL STATE OF THREE. Proof, signed in pencil,—Zorn. Brit- 
 LIANT IMPRESSION, on Dutch paper, in perfect condition. There 
 were about forty impressions taken, and plate destroyed. 
 Height, 914; width, 61% inches. 
 
ZORN 
 ibus 
 107] 
 
 ANDERS 
 
 En Omn 
 
 [No. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 111. Tur Toast. Etching. 
 Delteil, No. 80—1893. 
 
 SECOND PLATE. FINAL STATE OF FOUR, signed on lower margin in 
 pencil,Zorn. BRILLIANT IMPRESSION, in perfect condition. 
 There were about seventy proofs taken, and the plate destroyed. 
 
 Height, 1214; width, 1014 inches. Gilt frame. 
 [See Illustration | 
 
 ZORN, ANDERS 
 112. Henry Marquanp. Etching. 
 Delteil, No. 81—1893. 
 
 ONLY STATE, signed in the plate,—Zorn 1893, and on lower margin 
 in pencil—Zorn. BRILLIANT IMPRESSION, on Dutch paper, in 
 perfect condition, 
 
 Height, 10%; width, 7384 inches. 
 [See Illustration ] 
 
 ZORN, ANDERS 
 113. L’?IRLANDAISE, ALSO CALLED “ANNIE.” Etching. 
 
 Delteil, No. 84.—1894. 
 
 ONLY sTATE. Proor, signed on lower margin in pencil,—Zorn, and 
 in the plate——Zorn 1894. N.Y. HEXTREMELY FINE IMPRESSION. 
 There are only about 30 impressions of this plate. 
 
 Height, 11; width, 7% inches. 
 
 [See Frontispiece for Illustration | 
 
 ZORN, ANDERS 
 114. Sunpay Mornine In Datarne. Etching. 
 Delteil, No. 85—1894. 
 SECOND STATE OF TWO. ProorF, signed in pencil—Zorn. FINE RICH 
 
 IMPRESSION, in perfect condition. About twenty-five proofs were 
 printed, and the plate destroyed. 
 
 Height, 107%; width, 77% inches. 
 ZORN, ANDERS 
 115. My Mopget anp My Boat. Etching. 
 Delteil, No. 90—1894. 
 
 THIRD STATE OF FOUR, signed in pencil,—Zorn. UNUSUALLY RICH 
 proor, on Dutch paper, in perfect condition. About twenty-five 
 proofs exrst, plate destroyed. 
 
 Height, 914; width, 614 inches. 
 From the Pierre Lorillard collection. 
 [See Illustration | 
 
 f 
 
[80T ON] 
 uBUOY JSIUIG 
 
 NUOZ SYUMAUNV 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 116. M. er Mug. Pontus FursteNnserG. ALSO cALLED “A SwerpisH CoL- 
 LECTOR, AND His Wire.” Etching. 
 
 Delteil, No. 96—1895. 
 
 FINAL STATE OF THREE. Signed on lower margin in pencil,—Zorn. 
 FINE RICH IMPRESSION, on warm Dutch paper, in perfect condi- 
 tion. Rare. , 
 
 Height, 77%; length, 11 inches. 
 
 ZORN, ANDERS 
 117. Ausert Brsnarp AND His Mops. Etching. 
 Delteil, No. 103—1896. 
 
 ONLY STATE. Proor, signed in pencil.—Zorn. VERY BRILLIANT 
 IMPRESSION, on Dutch paper, in perfect condition. There were 
 only about twenty wmpressions printed from thas plate. 
 
 Height, 914; width, 614 inches. 
 
 ZORN, ANDERS . 
 118. MapamsE Grrpa Haarore. Etching. 
 Delteil, No. 104—1896. 
 
 FIRST STATE OF TWO, UNIQUE PROOF, signed in pencil,—Zorn, with 
 inscription in pencil on lower margin. RICH AND BRILLIANT IM- 
 PRESSION on Van Gelder Zonen paper. HXTREMELY RARE. 
 
 Height, 98g; width, 614 inches. 
 The first state is described by Delteil as being extremely rare. 
 
 ZORN, ANDERS 
 119. BatanEusE DE Dos. “Eventna.” Etching. 
 Delteil, No. 108—1896. 
 
 THIRD PLATE. SECOND STATE OF Two. ProoF, signed in plate,— 
 Zorn 1896, and on lower margin in pencil,—Zorn. FINE DELICATE 
 IMPRESSION, on Dutch paper, in perfect condition. There were 
 only eleven or twelve impressions taken, before this beautiful plate 
 was destroyed. | 
 
 Height, 914; width, 614 inches. 
 
 ZORN, ANDERS _ 
 120. Saint GaupENS AND His Mops. Etching. 
 Delteil, No. 111—1897. 
 
 ONLY STATE, signed in pencil on lower margin,—Zorn. FINE IM- 
 PRESSION. 
 
 Height, 514; width, 714 inches. Gilt frame. 
 
ANDERS ZORN 
 The Toast 
 [No. 111] 
 
.Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 121. Auaustus Saint Gaupens. Etching. 
 Delteil, No, 112—1897. 
 
 SECOND staTE. Proor, signed in the plate,—Zorn, and in pencil,— 
 Zorn, FINE IMPRESSION, on Dutch paper. 
 
 Height, 77%g; width, 544 inches. Gilt frame. 
 
 ZORN, ANDERS 
 122. Kine OscaR THE SECOND OF SWEDEN. Etching. 
 Delteil, No. 130—1898. 
 
 SECOND PLATE. SECOND STATE OF Two. Proor, signed on lower 
 margin, in pencil_—Zorn. BRILLIANT IMPRESSION. 
 
 Height, 934; length, 7 inches. Gilt frame. 
 This proof bears a dedication in his writing. 
 
 ZORN, ANDERS 
 123. Miss Maup Casset. Etching. 
 Delteil, No. 157—1898. 
 
 THIRD STATE OF TWO, signed in the plate——Zorn London 1898, and 
 on lower margin in pencil,—Zorn. FINE IMPRESSION with con- 
 siderable tone left on plate, on Van Gelder Zonen paper, in perfect 
 condition. About eighteen or twenty wmpressions taken, and the 
 plate destroyed. 
 
 Height, 7; width, 5 inches. 
 
 ZORN, ANDERS 
 124. Paris, Erret p—E Nuir. Etching. 
 Delteil, No. 140—1898. 
 
 THIRD PLATE. SECOND STATE OF TWO. Signed on lower margin in 
 pencil Zorn. FINE IMPRESSION, on warm Dutch paper, in per- 
 fect condition. There were siateen or seventeen proofs printed, 
 and the plate destroyed. VERY RARE. : 
 
 Height, 914; width, 63g inches. 
 
 ZORN, ANDERS 
 125. ZorN AND His Moper. Etching. 
 
 Delteil, No. 148—1899. 
 
 SECOND PLATE. SIXTH STATE. Proor, signed in plate,—-Zorn 
 1899, and in pencil,—Zorn. VERY RICH IMPRESSION, on Dutch 
 paper. 
 
 Height, 934; width, 7 inches. Guilt frame. 
 
 This is the actual impression described by Delteil in his catalogue. 
 
 From the collections of Petitdidier, and Wallace de Wolf. 
 
ZORN 
 
 ses 
 
 De La C8 & Lae ih ES ap Smee era 
 i Af 2 Bes 23 oe ee opm 
 i o alli se 
 : op 
 
 112] 
 
 Henry Marquand 
 [No. 
 
 ANDERS 
 
 oe pa He 
 Lp here nt saat tea 8G ff 
 Ae ttt th ahhh foal y 
 Jt wh 
 4 : : | : 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 126. Mur. Maya von Hersnz. Etching. 
 Delteil, No. 149—1900. 
 Proor, signed in plate,—Zorn 1900, and on lower margin in pencil— 
 Zorn. CLEAR BRILLIANT IMPRESSION, on Japan paper, in perfect 
 condition. | 
 Height, 954; width, 734 inches. Guilt frame. 
 
 ZORN, ANDERS 
 12%. A SwepisH Maponna. Etching. 
 Delteil, No. 150—1900. 
 
 FINAL STATE OF THREE, signed in pencil,—Zorn. A PARTICULARLY 
 FINE IMPRESSION, on Dutch paper, in perfect condition. 
 
 Height, 934; width, 734 inches. 
 The proofs of this plate are often unsatisfactory, but this impression 
 1S VERY FINE. ; 
 
 ZORN, ANDERS 
 128. Princess IncEBore. Etching. 
 Delteil, No. 152—1900. 
 
 First PLATE. TuHrrpD staTE. Proor, signed in the plate,-Zorn 
 1900, and on lower margin in pencil,—Zorn. VERY RICH IMPRES- 
 ston, on Dutch paper, in perfect condition. Rar. 
 
 Height, 11%; width, 95 inches. 
 
 ZORN, ANDERS 
 129. Au Prano—Miss ANNA Burnett. KEtching. | 
 Delteil, No. 159—1900. 
 SECOND STATE OF TWO, signed in pencil,—Zorn. VERY FINE IM- 
 PRESSION, on warm-toned Japan paper. 
 
 Height, 7384; width, 5% inches. 
 
 ZORN, ANDERS 
 130. A New Batuap. Etching. 
 Delteil, No. 169—1903. 
 
 ONLY STATE. Proor, signed on lower margin in pencil,—Zorn. 
 PARTICULARLY RICH AND BRILLIANT IMPRESSION. 
 
 Height, 57%; length, 9 inches. 
 
ANDERS ZORN 
 My Model and My Boat 
 [No. 115] 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 131. Mapame GRANBERG. Etching. 
 Delteil, No. 171—1903. 
 
 THIRD STATE OF FOUR, signed in the plate,—Zorn 1903, and on lower 
 margin in pencil,—Zorn. UNUSUALLY BRILLIANT IMPRESSION, 
 on Dutch paper, in perfect condition. 
 
 Height, 7; width, 45 inches. 
 
 ZORN, ANDERS 
 132. Les Deux Moperes Pres pu Lit. Etching. 
 Delteil, No. 174—1903. 
 
 SECOND STATE OF TWO. Proor, signed on lower margin in pencil,— 
 Zorn. FINE IMPRESSION. There were about twenty proofs taken, 
 and the plate destroyed. 
 
 Height, 77%; width, 57% inches. 
 
 ZORN, ANDERS 
 133. PorTRAIT OF THE Artist. Etching. 
 Delteil, No. 180—1904. 
 
 FINAL STATE OF THREE, signed in the plate,—Zorn 1904, and on 
 lower margin in pencil,—Zorn. FINE RICH IMPRESSION, In perfect 
 condition. 
 
 Height, 6%; width, 5 inches. 
 
 ZORN, ANDERS 
 134. Miss Emma Rassmussen. . Etching. 
 Delteil, No. 182—1904. 
 
 Onty sTaTE. Signed on lower margin in pencil,—Zorn. BRILLIANT 
 IMPRESSION, on Dutch paper, in perfect condition. 
 
 Height, 77%; width, 57 inches. 
 
 ZORN, ANDERS 
 135. Ipa. Etching. 
 Delteil, No. 195—1906. 
 
 SECOND STATE. Proor, signed on lower margin in pencil,—Zorn. 
 VERY RICH AND BRILLIANT IMPRESSION, on Dutch paper, in perfect 
 condition. 
 
 Height, 984; width, 614 inches. Gilt frame. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 136. Hemua. Etching. 
 Delteil, No. 197—1906. 
 
 SECOND STATE. Proor, signed in plate——Zorn 1906, and on lower 
 margin in pencil,—Zorn. BRILLIANT IMPRESSION, on Dutch paper. 
 Only about fifty impressions printed, and the plate destroyed. 
 
 Height, 614; width, 45 inches. 
 
 ZORN, ANDERS 
 137. Raccomopace. “Mernpine.” Etching. 
 Delteil, No. 198—1906. 
 
 ONLY STATE, PROOF, signed in pencil,—Zorn. FINE RICH IMPRES- 
 SsIoN, on Dutch paper. 
 
 Height, 734; width, 534 inches. Gilt frame. 
 
 ZORN, ANDERS 
 138. PREMIERE SEANCE. Etching. 
 Delteil, No. 200—1906. 
 SECOND STATE OF Two, signed on lower margin in pencil,—Zorn. 
 VERY RICH AND BRILLIANT IMPRESSION. There were only about 
 fifteen impressions of this plate printed. EXTREMELY RARE. 
 
 Height, 77%; width, 5% inches. 
 
 ZORN, ANDERS 
 139. CercLtEs D’Eav. Etching. 
 Delteil, No. 212—1907. : 
 Proor, signed in the plate——Zorn 1907, and on lower margin in 
 pencil,—Zorn. VERY FINE CLEARLY PRINTED IMPRESSION, in per- 
 fect condition. 
 Height, 75g; width, 41% inches. Gilt frame. 
 
 ZORN, ANDERS 
 140. Epo. Etching. 
 
 Delteil, No. 213—1907. 
 
 OnLy sTATE. Proor, signed in plate,—Zorn 1907, and on lower 
 margin in pencil,—Zorn. FINE CLEARLY PRINTED IMPRESSION. 
 in perfect condition. 
 
 Height, 7; width, 45g inches. Gilt frame. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 141. Prince Paut TrovuBetsKxoy. Etching. 
 Debteil, No. 217—1908. 
 
 Proor, signed in the plate-—Zorn, and on lower margin in pencil,— 
 Zorn. FINE IMPRESSION. 
 
 Height, 115g; width, 734 inches. 
 
 This print bears the following inscription,—“Mon portrait fait a 
 Stockholm pendant que je modele le portrait de Zorn. Paul 
 Troubetskoy.” , 
 
 THE FOLLOWING ETCHINGS ARE SUBSEQUENT TO DELTEIL’S 
 CATALOGUE. THE CATALOGUE NUMBER ASSIGNED TO EACH 
 PIECE IS APPROXIMATELY THE NUMBER WHICH THAT 
 ETCHING WOULD BEAR IF DELTEIL’S CATALOGUE WERE 
 BROUGHT UP TO DATE. 
 
 ZORN, ANDERS 
 142. Tue New Maip. Etching. 
 Subsequent to Delteil. No. 221—1909. 
 
 Proor, signed in the plate,—Zorn 1909, and on lower margin in 
 pencil_—Zorn. FINE RICH IMPRESSION, in perfect condition. 
 
 Height, 1134; width, 734 inches. Guilt frame. 
 
 ZORN, ANDERS 
 143. LitgEwatoH. Etching. 
 Subsequent to Delteil. No. 224—1909. 
 
 Proor, signed in the plate-—Zorn 1909, and on lower margin in 
 pencil— Zorn. FINE IMPRESSION. 
 
 Height, 734; width, 534 inches. Guilt frame. 
 
 ZORN, ANDERS 
 144. Tue Precipice. Etching. 
 Subsequent to Delteil. 1909; 
 
 Proor, signed in the plate,—Zorn, 1909, and on lower margin,— 
 Zorn, KINE CLEAR IMPRESSION, on Van Gelder Zonen paper, in 
 perfect condition. 
 
 Height, 914; width, 614 inches. 
 
 ZORN, ANDERS 
 145. Tue TuHree Graces. Etching. 
 Subsequent to Delteil. No. 230—1910. 
 
 Proor, signed in the plate,—Zorn, and in pencil on lower margin,— 
 Zorn. FINE RICH IMPRESSION, and in perfect condition. 
 
 Height, 614; width, 45 inches. 
 
150] 
 
 ANDERS ZORN 
 Dagmar 
 [No. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 146. Wer. Etching. 
 Subsequent to Delteil. No, 232—1911. 
 Proor, signed in the plate-—Zorn 1911, and in pencil,—Zorn. VERY 
 FINE IMPRESSION. 
 
 Height, 614; width, 45¢ inches. 
 
 ZORN, ANDERS 
 14%. Dzos Marz. Etching. 
 Subsequent to Delteil. No. 237—1911. 
 
 Proor, signed in the plate,—Zorn 1911, and in pencil—Zorn. FINE 
 IMPRESSION, 1n perfect condition. 
 
 Height, 7; width, 484 inches. Guilt frame. 
 
 ZORN, ANDERS 
 148. Mona. Etching. 
 Subsequent to Delteil. No. 238—1911. 
 
 VERY FINE IMPRESSION, signed in the plate,—Zorn 1911, and on 
 lower margin in pencil—Zorn. On Dutch paper. 
 
 Height, 934; width, 7 inches. 
 
 ZORN, ANDERS 
 149. SxerrI Kuuia. Etching. 
 Subsequent to Delteil. No. 244—1912. 
 
 Proor, signed in the plate,—Zorn-1912, and on lower margin,— 
 Zorn. FINE CLEAR IMPRESSION. 
 
 Height, 934; width, 734 inches. 
 Many of the impressions of this plate were somewhat blurred in the 
 printing. 
 ZORN, ANDERS 
 150. Dagmar. Etching. 
 Subsequent to Delteil. 
 
 Proor, signed in the plate,—Zorn 1912, and in pencil on lower 
 margin,—Zorn. FINE IMPRESSION. 
 
 Height, 97%; width, 7 inches. 
 [See Illustration | 
 
 ZORN, ANDERS 
 151. SEAWARD SKERRIES. Etching. 
 Subsequent to Delteil. No. 247—1913. 
 
 Proor, signed in the plate-—Zorn 1913, and on lower margin,— 
 Zorn. FINE CLEAR IMPRESSION. 
 
 Height, 74g; length, 9% inches. Gilt frame. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 152. Vatkutia. Etching. 
 Subsequent to Delteil. No. 248—1912. 
 Proor, signed in pencil on lower margin,—Zorn. BRILLIANT IM- 
 PRESSION. 
 Height, 1134; width, 734 inches. 
 
 ZORN, ANDERS 
 153. FrigHteNep. Etching. 
 Subsequent to Delteil. No. 250—1912. 
 Proor, signed on lower margin,—Zorn. FINE IMPRESSION, in per- 
 fect condition. 
 Height, 784 ; width, 534 inches. 
 From the Amster Collection. 
 
 ZORN, ANDERS 
 154. A Letrer. LHtching. 
 
 Subsequent to Delteil. No. 252—1913. 
 
 Proor, signed in plate,—Zorn 1913, and on lower margin in pencil, 
 Zorn. FINE IMPRESSION, in black ink. 
 
 Height, 614; width, 414 inches. 
 
 Some of the impressions of this plate, are printed in red ink, but 
 those in black ink are preferable. 
 
 ZORN, ANDERS 
 155. SHattow. Etching. 
 
 Subsequent to Delteil. No. 255—1913. 
 
 Proor, signed in the plate——Zorn 19138, and on lower margin in 
 pencil— Zorn. FINE IMPRESSION. 
 
 Height, 1134; width, 734 inches. 
 
 This is among the finest of Zorn’s recent plates, giving a wonderful 
 representation of sunlight. 
 
 ZORN, ANDERS 
 156. Earty. Etching. 
 
 Subsequent to Delteil. No. 257—1917%. 
 
 Proor, signed in plate,—Zorn 1914, and on lower margin,—Zorn. 
 PARTICULARLY FINE IMPRESSION, on Van Gelder Zonen paper, in 
 perfect condition. 
 
 Height, 934; width, 7 inches. 
 
Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 157. Gui. Etching. 
 Subsequent to Delteil. No. 263—1914. 
 Proor, signed in the plate——Zorn 1914, and in pencil, on lower 
 margin,—Zorn. FINE IMPRESSION. 
 Height, 5; width, 434 inches. Guilt frame. 
 
 ZORN, ANDERS 
 158. THE Swan. Etching. 
 Subsequent to Delteil. No. 268—1910. 
 Proor, signed in the plate,—Zorn 1915, and on lower margin in 
 pencil,—Zorn. FINE IMPRESSION, and in perfect condition. 
 Height, 934; width, 7384 inches. Guilt frame. 
 
 ZORN, ANDERS 
 159. SetF Portrait with Fur Cap. Etching. 
 Subsequent to Delteil. No. 269—1916. 
 Proor, signed in plate,—Zorn 1916, and on lower margin in pencil, 
 —Zorn. FINE IMPRESSION, in perfect condition. 
 Height, 7; width, 414 inches. Guilt frame. 
 This is considered among the finest of the Artist’s recent plates. 
 
 ZORN, ANDERS 
 160. Byst. Etching. 
 Subsequent to Delteil. No. 270—1916. 
 Proor, signed in plate——Zorn, and on lower margin in pencil,— 
 Zorn. FINE RICH IMPRESSION, on Van Gelder Zonen paper. — 
 Height, 934; width, 7 inches. 
 
 ZORN, ANDERS 
 161. THz Two. Etching. 
 Subsequent to Delteil. No. 271—1916. | 
 Proor, signed in the plate——Zorn 1916, and on lower margin in 
 pencil,—Zorn. FINE IMPRESSION, on Van Gelder Zonen paper, 
 in perfect condition. | 
 
 Height, 7%; width, 57% inches. 
 
 ZORN, ANDERS 
 162. THE Two. Etching. 
 Proor. Same inscription as on preceding, FINE IMPRESSION. 
 Height, 7%; width, 5% inches. 
 
_ Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 163. DANcE at Gopsmor. Etching. 
 Subsequent to Delteil. No. 272—1917. 
 
 Proor, signed in the plate,—Zorn, 1917, and on eee margin in 
 pencil Zorn. FINE RICH IMPRESSION, on Van Gelder Zonen 
 
 paper. 
 Height, 1114; width, 734 inches. 
 
 ZORN, ANDERS 
 164. THe Canin. Etching. 
 Subsequent to Delteil. No. 275—1917. 
 Proor, signed on lower margin in pencil,—Zorn. VERY FINE IM- 
 PRESSION, on Dutch paper, in perfect condition. 
 Height, 115g; width, 77% inches. 
 This plate is considered to be one of the finest etched in recent years. 
 
 ZORN, ANDERS 
 165. Vickre. Etching. | 
 
 Subsequent to Delteil. No. 276—1918. 
 
 Proof, signed in the plate-—Zorn, and on lower margin in pencil,— 
 Zorn. FINE RICH IMPRESSION. 
 
 Height, 734; length, 115 inches. 
 
 This is considered to be one of the most brilliant of Zorn’s recent 
 plates. : 
 
 ZORN, ANDERS 
 166. Vickr. Etching. 
 Proor. Same inscription as preceding. FINE RICH IMPRESSION. 
 Height, 734; length, 115¢ inches. 
 
 ZORN, ANDERS 
 teers, No. 2. Htching. 
 Subsequent to Delteil. No. 277—1917. 
 Proor, signed in plate,—Zorn, and on lower margin in pencil,— 
 Zorn. FINE IMPRESSION, on Dutch paper, in perfect condition. 
 Height, 77%; width, 5% inches. 
 This is considered to be one of the finest of Zorn’s recent plates. 
 
 ZORN, ANDERS 
 168. Sappo. Etching. 
 Subsequent to Delteil. No. 278—1917. 
 Proor, signed in plate,—1917, and on lower margin in pencil,— 
 Zorn. On Van Gelder Zonen paper. 
 Height, 814; width, 71 inches. 
 
“ 
 
 ANDERS ZORN 
 
 ils 
 
 Pa 
 
 The Water 
 
 Wi 
 = 
 om 
 oe) 
 q 
 om 
 oD 7 
 cis 
 = re 
 om e 
 S Oo 
 mh ZH 
 pues — 
 ioe) 
 q 
 — 
 et) 
 om 
 
 Or 
 
Here tb 
 
 SWEDISH PEASANT GIRL IN WINTER COSTUME. BY ANDERS L. ZORN. 
 
 Swedish, 1860-——. Reproduced from the original painting in the possession of Arthur H. Hahlo & Co., New York. 
 
 —See ‘‘ The Field of Art.”’ 
 
- Sale Tuesday Evening, January 27th 
 
 ZORN, ANDERS 
 169. Sappo. Etching. 
 Proor. Same inscription as on preceding. FINE IMPRESSION. 
 Height, 81g; width, 714 inches. | 
 
 ZORN, ANDERS 
 170. Atprer. Etching. 
 Subsequent to Delteil. No. 279—1917. 
 Proor, signed in pencil on lower margin,—Zorn. FINE IMPRESSION, 
 on Dutch paper, in perfect condition. 
 Height, 7; width, 484 inches. 
 
 ORIGINAL PAINTING IN OIL 
 
 ZORN, ANDERS 
 171. THe Water Parts. Oil Painting. 
 An outdoor Winter scene of warmth, comfort and content, even of 
 _ jollity and happiness, with industry made a pleasure and duty 
 0: done with cheer. In the foreground, as the principal element of 
 the composition a fair and rosy young maiden of the northern 
 clime, momentarily halting in a path freshly covered with snow, 
 ® as she comes forward carrying with care two large wooden water- 
 0, ' pails supported on a neckyoke. She is in light gray, with a short 
 cloak fur-trimmed, and a red apron comes to view, with sympa- 
 thetic color notes in stocking and the twisted kerchief that binds 
 her hair. Snow weights the green branch of a tree which swings 
 into the picture above her head, and in the background another 
 plump young girl is gathering an armful of logs for the fire, from 
 the shelter of a brown woodshed abutting upon a cottage. 
 
 Signed at the lower right,—Zorn, 1895. Exhibited at the Brooklyn 
 Institute of Arts and Sciences, 1916. Exhibited at The Swedish 
 Exhibition, New York, 1916, No. 155. From Arthur K. Hahlo 
 & Co., New York. 
 
 Height, 4734 inches; width, 357 inches. 
 
 [See Illustration | 
 
 AMERICAN ART ASSOCIATION, 
 
 MANAGERS. 
 
 THOMAS E. KIRBY, 
 
 AUCTIONEER. 
 
en. 
 =x = 
 
 % 
 to 
 - 
 
 oe 5 
 
 LIGENT APPRAISALS 
 
 a ' 
 
 =. 
 
 “INTEL 
 
 - FOR 
 ___‘ UNITED STATES AND STATE TAX 
 
 INSURANCE AND OTHER PURPOSES 
 
 “THE AMERICAN ART ASSOCIATION 
 
 IS EXCEPTIONALLY WELL EQUIPPED 
 <i TO FURNISH 
 
 = 
 
 APPRAISEMENTS AND INVENTORIES 
 
 OF 
 
 i. “ART PROPERTY, BOOKS, MANUSCRIPTS, JEWELS 
 AND PERSONAL EFFECTS OF 
 EVERY DESCRIPTION 
 
 AT CHARGES COMMENSURATE 
 WITH THE DUTIES INVOLVED 
 
 THE AMERICAN ART ASSOCIATION 
 MADISON SQUARE SOUTH 
 
 NEW YORK 
 TELEPHONE, 3346 GRAMERCY 
 
 (ee - reaps oe eenerein terreno mae meena sanemnaisennin ar arene nr - - ~- = ~ - 
 a — er pean ee ante z 
 al Y : 5 _— Pied —— — . ’ a ~ era a 
 ; . 4 “AS ee m tis = 
 a " 4 _ = C Eat 
 : i - ~ tik ry ee ji 
 ' * pA - = 2 Wao Oey ies 
 Ey) Seen 
 ’ e A i 
 ’ a r 
 
AND BINDING BY 
 
a 
 #2 “f ° 
 Tones 
 
 a 
 
 Pig Ape, PR 
 
 . 
 
 mn, > 
 
 ete 
 ane > : : 
 
 ¥ 
 
Seth 
 ve : 
 
aw S99 
 aE sali at 
 
 esses 
 
 pri ted Wb hay 5s 
 
 sap 
 i. 
 
 eee 
 
 tbe Seasbmats teh hres 
 
 ls 
 
 ae 3 
 Hoes 
 ade 
 
 getg. 
 
 oe 
 eae. 
 
 oe peeks 
 
 meh res 
 ioe P< 
 een 
 ig *, 
 = 
 Pte sLatinds + Na 
 Tesisis 
 ie Bi) 
 
 asa 
 
 ae tulehesete Yd TaNe ap yea» $ 
 i 43 
 by : ¥ MAY Sy, 
 Raat tanken tatiana 
 Feptra ty tie a tase tet 8 rea a4 4 
 + 419 aie ¥ : rae 4,9 Cotes) 
 aticbeant eet 
 
 Ca a 
 
 ais 
 a 
 
 Sats 
 7 Pts abst a $i 
 Sas 
 acne Perley sas 
 UT ee angehy 
 PESOS Leas 2 
 + iy. 342 
 
 5 
 $} 
 £4 
 3 
 + 
 f 
 %. 
 ey 
 
 sot 
 
 Seis Wy} uF 
 
 tj het - 
 
 Ny 
 
 teales 
 M 
 
 as 
 
 tar} 
 ms 
 3 
 
 ra 
 
 t 
 
 let 
 Pte tt 
 wating ts 
 
 Rab ane 
 + 
 
 f 
 
 Fe 
 
 SPshepes 
 Dey 
 ry aA, 
 ; i ary 
 ne tye 
 
 Re BS a ieatg 
 LER ALS toi 
 i Rap 
 
 PET pei eh 
 “e 
 
 PISS ; 
 ane oe 8 bod 
 Fe 
 
 ieedes 
 
 ad of 
 eae z2 
 ices te aiea, 
 toda 
 or gk nd 
 me) 
 a 
 " - 
 
 ar 
 ea 
 
 ad 
 one: 
 
 rh 
 ron - 
 a cee = 
 rctew nt 
 — e 
 pees 
 
 o~ 
 
 Fe Oe 
 
 "i 
 patric 
 Fe Oe 
 
 ates 
 
 pee oe 
 
 ak 
 
 For 
 Peas