Men he., W SPO ae le) ae | ws WE 4 a.) oa nae, 1) x ¥ She dea 6 i ‘paket he be wee i” a > a : " a ‘ BS oo », > ‘ P eS; 4 . fe 7 f rm. ’ 4 De ay 3 = ae - Sy | aig Se Goi THE AMERICAN ART ASSOCIATION: _ DESIGNS ITS CATALOGUES AND DIRECTS an ALL DETAILS OF ILLUSTRATION = TEXT AND TYPOGRAPHY hate y ARB ee ; nt ne, 9! va es Oe ¢ "9 BS See o*- he aes ON PUBLIC EXHIBITION AT THE AMERICAN ART GALLERIES ( MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rp STREET BEGINNING THURSDAY, APRIL 5ru, 1917 MASTERPIECES OF ENGRAVERS AND ETCHERS THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, OF NEw york CITY TO BE SOLD AT UNRESTRICTED PUBLIC SALE mY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS ON TUESDAY AND WEDNESDAY EVENINGS APRIL 10TH AND 111Tu, 1917 AT 8:00 O’CLOCK IN THE EVENINGS X AT THE AMERICAN ART GALLERIES\ASSt> Pt . vets AOE ARPA SRR CHT DUR ING fee oa / ENGRA THE Drv ER ALBRE ND 69] ATH A IcHtT, Dre Kn No [ EXCEPTIONAL EXAMPLES OF THE MASTERS OF ETCHING AND ENGRAVING THE PRINT COLLECTION OF THE LATE J. HARSEN PURDY, OF NEw yorK ciITy TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS meee AY ANID WEDNESDAY, APRIL 10TH AND 11TH AT 8:00 O0’CLOCK IN THE EVENINGS THE SALE TO BE CONDUCTED BY MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF THE AMERICAN ART ASSOCIATION, MANAGERS NEW YORK CITY 1917 INTRODUCTORY NOTICE REGARDING THE PRINT- COLLECTION OF THE LATE MR. J. HARSEN PURDY OF NEW YORK CITY In collecting the engravings and etchings herein described, the late Mr, Purdy showed the same clear judgment and keen desire to procure only the best obtainable copies as he displayed in the choice of his library. The “Masters” who interested him most were of various schools, and date, from the latter part of the fifteenth century, when Albrecht Diirer reigned supreme among the German engravers, down through the highest devel- opment of the art of English portrait engraving in mezzotint, to the modern “Master” of etchers—James Abbott McNeill Whistler. Many of the plates are in “Collector’s” state, including PROOFS BEFORE ALL LETTERS and SIGNED ARTIST’s PROOFs, the impressions in most cases being of UNUSUAL BRILLIANCY. Among the more noted examples of the works of Albrecht Diirer are beautiful impressions of :—‘‘St. Jerome in His Cell,” ONE OF THE CHOICEST PIECES OF THE COLLECTION; “Knight, Death and the Devil;” “Virgin with Long Hair;” “St. George Standing;” “The Dream;” “The Standard Bearer; “Effects of Jealousy;” “Coat of Arms with the Cock;” and “Coat of Arms with the Scull.” ANDREA MANTEGNA’S plate of “The Battle of the Sea-Gods,”’ a beautiful impression, showing plate-mark and margins on all sides, can perhaps be classed as the “‘Gem of the collection,” being an absolutely unique impression. REMBRANDT VAN RIJN is represented by several etchings, in- cluding fine impression of—“‘The Triumph of Mordecai;” “View of Am- sterdam;”’ and “‘Rembrandt and Saskia.”’ Among the more noted mezzotint engravers and their work, the fol- lowing bear special mention,—Wixuiam Dickrnson’s “Mrs. Gwynne and Mrs. Bunbury;” beautiful impression of the first state; Joun Frnuay- son’s “William Drummond,” and “Maria, Duchess of Gloucester,” both beautiful impressions of the first state; Joun JoneEs’s “James Boswell” and “Black Monday,” the latter, an OPEN-LETTER PROOF; GEORGE bee ‘ 28. Mary, Princess or Orance. Mezzotint. Engraved by an unknown artist, perhaps by Blooteling. PROOF BEFORE LETTERS. SPLENDID IMPRESSION. Surface and condition good. Several thin places. Cut outside plate-mark. CuHarues II as a Cutty. Mezzotint. Smith, Letter i. Engraved after the painting by Sir Anthony Van Dyck. Second state with inscription. Five impression. Sur- face slightly wrinkled. Condition perfect. Margin 34 inch all around. Together, 2 pieces. BLOOTELING, ABRAHAM 29. Count Huyenens. Engraving. Engraved after the painting by N. Visscher. Unique STATE. SPLENDID IMPRESSION, in practically perfect con- dition. Margin on one side reinforced. Margin 14 to Y/4, inch all around. BLOOTELING, ABRAHAM 80. Tére pE L’Enrant. Engraving. Dutuit, No. 98. Le Méme. VvuE pE PRoFIt. Dutuit, No, 99. After paintings by Rubens. Together, 2 pieces. _ First Session, Tuesday Evening, April 10th JEAN JACQUES DE BOISSIEU French painter, more celebrated as an engraver. Born at Lyons, 1736; where he died in 1810. BOISSIEU, JEAN JACQUES DE 31. Paysacre. Etching. Signed on the plate,—**D. B. 1800.” Very FINE IMPREs- Tee SION IN PERFECT CONDITION. Printed on Japan paper. - ; 3 Ample margins. Mounted down for framing. ALEXANDER BROWNE “A considerable number of mezzotints of the last three decades of the 17th Century bear the names of Richard Tompson and Alexander Browne, but as they are never accompanied by anything but the word “exc.” it is doubtful whether they were ever more than the printers and publishers.” —A. M. HIND. BROWNE, ALEXANDER 32. Frances, Countess oF Portuanp. Mezzotint. Smith, No. 29. Published by A. Browne. Engraved after the painting Hd e by Sir Anthony Van Dyck. Ownty stare. FINE RICH IMPRESSION. Surface and condition very good. Margin 1g inch all around. LUIGI CALAMATTA Calamatta (1802-1869), an Italian engraver, went to Paris and had an immediate success by securing the patronage of Ingres. In 1837 he became professor at the “Academy of Fine Arts” at Brussels. Among his pupils were,—Flameng, Desvachez, Biot, and Charles Blanc. CALAMATTA, LUIGI 33. Francesca pA Rimini. Engraving, Beraldi, No. 4. Engraved after the painting by Ary Scheffer. SrippLep ane LETTER PROOF BEFORE TITLE, ON InpIA PAPER, with original margins. First Session, Tuesday Evening, April 10th DAVID YOUNG CAMERON Celebrated contemporary Scotch painter and engraver. Born at Glasgow in 1765, “In examining Cameron’s etchings it is not easy to designate his forte . . Cameron (though we hope his best work is still to be done) already shows himself equally at home when delineating pure landscape, views of build- ings and shipping, interiors, or portraits.”—FREDERICK KEPPEL. CAMERON, DAVID YOUNG 34. Tue Appazta, Venice. Etching. Rinder, No. 306. } SIGNED ARTIST’s PROOF on soft Japan paper. ‘THirD sTATE, with additional ink on the steps. Frye mpREssION printed with brownish ink. IN PERFECT CONDITION. About 830 impressions. ONE OF THE ARTIST’S MASTER- PIECES. Rare. CAMERON, DAVID YOUNG 35. Ros—E Winpow, St. Mark’s. Etching. Rinder, No. 807. SIGNED ARTIST’s PROOF on old paper water-marked with a scallop shell. FourrH srare. BEAUTIFUL IMPRES- sIon, in perfect condition and with full margins. IXxTREMELY FINE AND RARE. ONE OF THE ARTIST’S MAS- TERPIECES. [See Reproduction | MANUEL SALVADOR CARMONA Engraver and designer; born at Madrid in 17380; became a pupil of Dupuis in Paris. He died at Madrid in 1807. CARMONA, MANUEL SALVADOR 386. Le Firs pe Rusens. Engraving. Dutuit, No, 54. Engraved after the painting by Rubens. First stare, aN A before all letters. SpLENDID IMPRESSION IN PERFECT CON- & DITION. Rare. : & & > 2 & DAVID YOUNG CAMERON. ETCHING Rost Winpow, Str. Marx’s [No. 35] heehee a SY tb L First Session, Tuesday Evening, April 10th THOMAS CHEESMAN Born in 1760, and was a pupil of Bartolozzi. He worked in both stipple and mezzotint. CHEESMAN, THOMAS 387. Tue Lapy’s Last Srake, or Virtue 1n Dancer. Stipple Engraving. Dobson, page 317. Engraved after the painting by William Hogarth. Proor BEFORE ALL LETTERS. VERY FINE EARLY IMPRESSION IN PERFECT CONDITION. - Plate-line intact. Several slight \7 mended tears in the margin. VERY FINE AND RARE. Mrs. Thrale (or Mrs. Piozzi), who claimed to be the original of the picture, wrote the following account of the painting,— “The next time we went to Leicester Fields, Mr. Hogarth was painting, and bid me sit to him: ‘dnd look here now, said he, ‘I am doing this for you. You are not fourteen years old yet I think, but you will be twenty-four, and this portrait will then be like you. ’Tis the Lady’s Last Stake; see how she hesitates between her money and her honor. Take you care; I see an ardor for play in your eyes and in your heart; don’t indulge it. I shall give you this picture as a warning, because I love you now, you are so good a girl. ” PIERRE CHARLES COQUERET French engraver in aquatint; born at Paris in 1761. He studied under Janinet and produced a large number of very excellent engravings. COQUERET, PIERRE CHARLES 388. THe Horse Drearer. Aquatint. Engraved after the painting by C. Vernet. PRroor BE- FORE TITLE. SPLENDID IMPRESSION. Surface very good. , [7 Condition fair. Several tears in the margin. Rare. SAMUEL COUSINS Born in Exeter, 1801; died in London, May 7, 1887. Pupil of S. W. Reynolds. “Un des meilleurs graveurs anglais de ce siécle.”—HENRI BERALDI. COUSINS, SAMUEL 39. Prince Merrernicu. Mezzotint. Whitman, No. 109. , Engraved after the painting by Sir Thomas Lawrence. First Session, Tuesday Evening, April 10th [ No. 39—Continued | First state. VERY FINE IMPRESSION. Surface and con- dition good. Original margins. From the collection of Sir Thomas Lawrence. COUSINS, SAMUEL 40. “Turn Acain Wuittineton.” Mezzotint. Whitman, No. 234. ii Engraved after the painting by James Sant. Onzy £ oe STATE, air impression. Surface good. Condition fair. Margin 1g to 1% inch all around. Mounted on linen for framing. M. f. DANFORTH English engraver of the 19th century. DANFORTH, M. I. 41. Uncte Toxsy. Engraving. Engraved after the painting by C. R. Leslie. ScratcHep LETTER PROOF BEFORE TITLE. SPLENDID IMPRESSION IN a ae PERFECT CONDITION AND WITH ORIGINAL MARGINS. LUCIEN DAUTREY Contemporary French reproductive etcher. Pupil of Courtry. DAUTREY, LUCIEN 42. Tue GuEANER. Etching. Etched after the painting by Jules Breton. Earty Triau PROOF ON JAPAN PAPER SIGNED IN PENCIL BY BOTH PAINTER AND ENGRAVER. FINE IMPRESSION. Good con- oo ie bogs dition. A small tear to the right. First Session, Tuesday Evening, April 10th HENRY DAWE Engraver and subject painter. Born near London in 1790; died, 1848. Studied with his father, Philip Dawe, and in the Royal Academy. He assisted Turner in the “Liber Studiorum.” Became a member of the “Society of British Artists” in 1830. . DAWE, HENRY 43. Mrs. Stppons as THE Tracic Musr. Mezzotint. Not in Smith. s Engraved after the painting by Sir Joshua Reynolds. U PROOF BEFORE ALL LETTERS. SUPERB IMPRESSION. Sur- face and condition perfect. Margin 1 to 11% inches all around. VERY FINE AND RARE. JOHN DEAN Mezzotint engraver, a pupil of Valetine Green. He scraped several plates of portraits and other subjects in a very respectable style. Died in London in 1798. DEAN, JOHN 44. Mrs. Martyr. Mezzotint. Smith, No. 18. Engraved after the painting by M. Brown. First stare, -Ne SCRATCHED LETTER PROOF. SUPERB IMPRESSION. Surface Jo : very fine. Condition good. Corners of margins slightly mended. Margin 14 inch all around. Very FINE AND RARE. “Maiden name Thornton; appeared first in public as a singer at Vauxhall and was afterwards engaged at Covent Garden. She was a favorite in Rosetta and other characters in English opera.”—v. c. SMITH. FRANCIS DELARAM Born, 1590; died, 1627. Contemporary with Elstracke and Van de Passe. Engraved various plates in the neat and formal style which was prevalent at that time. DELARAM, FRANCIS 45. Kine James or Eneuanp. Engraving. FINE ImpREsSION, with letters. ConpIrion PERFECT. Cut just inside the plate-mark all around. VERY FINE AND OF THE GREATEST RARITY. ree A > ~ First Session, Tuesday Evening, April 10th DELARAM, FRANCIS 46. Henry VIII. Engraving. Signed on the plate,-—‘Francisco Delaram Scul.” First sTATE, before the address was changed to “Are to be sould ae ‘e by William Peake.” VERY FINE IMPRESSION IN PERFECT conpITION. Margin 34 inch all around. VERY FINE AND RARE. From the collections of St. John Dent and E. W. Martin. DELARAM, FRANCIS 47. Capt. ArTHUR SEVERUS NonsucH O’Toote. Engraving. VeRY FINE IMPRESSION with inscription. Condition very good; a few small mended tears. Margins 1/16 inch all Se at around. OF THE GREATEST RARITY. O’Toole was a soldier of fortune who served against the Irish rebels, and in various parts of Europe. He was the subject of an ironical Panegyric by Taylor, the water-poet, who classed him with Amadis de Gaul, Don Quixote, etc. DELARAM, FRANCIS 48. QuEEN Mary or Encianp. Engraving. Signed on the plate-—“Fran. Delaram Sculp.” First STATE. SPLENDID IMPRESSION IN PERFECT CONDITION. ig Cut on the plate-line. VERY FINE AND RARE. From the Buckingham, Dent and Walker Collections. THOMAS DE LEEUW (OR DE LEU) “Native of Flanders, was in France from 1560 to 1612. Pupil of Jean Rabel, afterwards of Antoine Caron, whose daughter he married. En- graved at first after Cornelis Cort, Sadeler, and Wierix, in a dry-point manner, but devoted himself afterwards to portraiture, in which he _ be- came one of the most distinguished artists of his time.”’—sryan’s pic- TIONARY OF ENGRAVERS AND PALNTERS. DE LEEUW (OR DE LEU), THOMAS 49. Monraicne. Copperplate Engraving. FINE rmpREssion, signed below the inscription,x—‘Thomas de Leu, fecit.” CONDITION PERFECT. i eae First Session, Tuesday Evening, April 10th DE LEEUW (OR DE LEU), THOMAS 50. Francis Il. Krye or France. Engraving. VERY FINE IMPRESSION. With inscription. In PERFECT CONDITION. DE LEEUW (OR DE LEU), THOMAS 51. Mary Stuart. Engraving. Signed on the plate,—“Tho. de lew F. et ex.” Fine 1M- PREssION. IN IMMACULATE CONDITION AND WITH FULL MARGINS. Ex- TREMELY FINE AND RARE. Proofs printed on papier verdatre are considered espe- cially desirable by Meryon collectors. MERYON, CHARLES Ors ee _ om 163. La Morevur. Etching, Delteil, No. 36. Signed on the plate,—“C. Meryon del. sculp.” Fourru sTaTE, before the title was added. BriLiiaNtT IMPRESSION in brownish ink. Prinrep sy Meryon. In PERFECT CONDITION and with wide margin. VERY FINE AND RARE. Meryon’s poem on this subject in W. A. Bradley’s trans- lation runs as follows: “Come, view, ye passerby, Where her poor children lie; A mother charitable, This Paris that you see T'o them, at all times free, Gives both a bed and table... .” [See Reproduction | lt First Session, Tuesday Evening, April 10th JEAN FRANCOIS MILLET Born in the little village of Gruchy, on the Norman coast, October 4, 1814. Died at Barbizon, January 20, 1875. “A man who had given his whole life to etching only, who had never thought of painting, and had never cared for those effects proper to painting and not to etching, could not have been more truly and markedly a born etcher than Millet showed himself to be—few though were the plates and many though were the canvases he worked upon. To depend upon lines, not tones, for expression; to make every line ‘tell, and to use no more lines than are absolutely needed to tell exactly what he wants to say; to speak strongly, concisely, and to the point; to tell us much while saying little; to suggest rather than to elaborate, but to suggest in such a way that the meaning shall be very clear and individual and impressive— these are the things the true etcher tries to do. And these are the things that Millet did with a more magnificent power than any man, perhaps, since Rembrandt. Other modern etchings have more charm than his— none have quite so much feeling. Others show more grace and delicacy of touch—none show more force or certainty, and none a more artistic ‘economy of means.’”—mrRs. SCHUYLER VAN RENSSELAER. MILLET, JEAN FRANCOIS 164. Peasant wirH WHEELBARROW. Etching. Delteil, No. 11. Signed on the plate,—“J. F. Millet.” Tirp stare, with ae the bevelled plate but before the complete erasure of Delatre’s address, BrauTIFUL IMPRESSION IN WARM RICH BROWNISH INK. Proor PRINTED BY DELATRE AND ESPE- CIALLY MARKED BY HIM IN PENCIL,—‘tres belle Epreuve Aug. Delatre.” Is perrectr conpitTion and with full mar- gin. VERY FINE AND RARE. “A laborer, in a straw hat and a knitted waist-coat, is barrowing a load of manure through a gateway opening from the yard into the orchard. In the background is a well, shaded with shrubs and pen- dent boughs. Beyond the orchard gate are bee-hives; fruit trees dip and bend over the orchard wall; and over everything is the sense of a hot, still, drowsy summer afternoon.”—w. E. HENLEY,—“Jean Fran- cois Millet.” MONOGRAMIST C. B. This master engraved in the style of D. Hopfer, and in view of the fact that the Hopfer mark is nearly always to be found in his plates, it is assumed that he was a member of the Hopfer family. MONOGRAMIST C. B. 165. Cuartes V. anp His Broruer Ferpinanp. Etching. Bartsch, No. 3. SPLENDID IMPRESSION IN PERFECT CONDITION. Cut out- side plate line. VERY FINE AND RARE. First Session, Tuesday Evening, April 10th JOHANN GOTTHARD VON MULLER Born at Bernhausen, near Stuttgart, 1747; died in Stuttgart, 1830. Pupil of J. G. Wille. MULLER, JOHANN GOTTHARD VON 166. THe Barrie or Bunker Hitt near Boston. Engraving. Engraved after the painting by John Trumbull. Impres- : sion with letters. Conpition perFect. Margin 34 to 14 lo inches all around. On the back of the picture (when it was framed) was written the following note by Mr. Purdy,—“Very fine impression, quite as good as a proof, late in the possession of the Trumbull family. Very rare. Dec. 16, "T4.—s. H. P.” ELEANOR GWYN Born about 1650; died about 1690. An English actress and celebrated beauty; after she had achieved success as an actress, she became the mistress of Charles II. ‘The subject of Peter Cunningham’s “The Story of Nell Gwyn.” , On account of the great interest in portraits of Nell Gwyn, it has been thought best to list the same, under this heading, rather than distribute them under the various engravers. NELL GWYN 167. Nett Gwynne. Mezzotint. Smith, No. 6. Engraved by Peter Van Bleeck after the painting by Sir Peter Lely. Onty starr. Goop Impression. Surface and condition perfect. Margin 14 to % inch all around. Rare. ao a ‘ “This print is probably from a genuine picture of the personage, although it is different from any of the contemporary prints. The attitude has some resemblance in parts to Lady Mooreland and Cath- erine Sidley.”—s. c. sMITH. NELL GWYN 168. Nett Gwyn. Mezzotint. Smith, No. 19. Published by R. Tompson. Fine tmpresston, with in- scription. Surface and condition fair. Mended spot in lower left corner. Cut on the plate-line, Together with First Session, Tuesday Evening, April 10th | No. 168—Continued | a modern reproduction of the same subject, The inscription reads as follows: “Had Paris seen her he had changed his suit And for this Hellen given the Golden fruit The Subjects’ wishes and the Sovereign’s Joy Who burns with better flames our second Troy. Witt, beauty; goodness, and good humor too Are more than any Venus else can shew.” Together, 2 pieces. NELL GWYN 169. Mapamre ELLEN Gwinn with Her Sons. Mezzotint. Smith, No. 20. ee Published by R. Tompson after the painting by Sir ff 5 Peter Lely. Srtconp state, with inscription. Fine 1m- PRESSION. Surface and condition good. Margin 1/16 inch all around. Rare. NELL GWYN 170. Netxt Gwyn. Mezzotint. Smith, Page 1657, No. 50. Engraved by an unknown artist, similar to Tompson M| (Smith No. 19) but with dress on, and vase to right. gi Onxiy sTATE. Fine mpression. Surface and condition perfect. NELL GWYN 171. Exesnor Gwynne. Stipple Engraving. Engraved by John Ogborne after the painting by Sir = Peter Lely. SPLENDID IMPRESSION WITH LETTERS. Con- 4U a dition very good. Cut just inside the plate-line. VeERy FINE AND RARE. First Session, Tuesday Evening, April 10th NELL GWYN 172. Nett Gwynne, Her Two Sons anp Cuarues II. Mezzo- oe tint. ag (be Not in Smith. Y Engraved by Jan Verkolje after his own design. Good impression. Surface and condition fair. Several minor folds. Margin 1/16 inch all around. NELL GWYN 173. Mapam Gwin. Engraving. Engraved by G. Valck after the painting by Sir Peter Lely. Frve rmpresston with the inscription. Condition very good. Margin 1 inch all around. The inscription reads as follows,— c~ “The Sculptors part is done the feature’s hitt of Madam Gwin, no Arte can shew her Witt.” NELL GWYN 174. Mapam Exinora Gwynne. Mezzotint, Engraved by A. de Blois after the painting by Sir Peter Lely. Goop impression with letters. Surface and con- dition fair. Margin 14 inch all around. From the Tiffin collection. NELL GWYN 175. Mapam Exinora Gwinne. Mezzotint. | Engraved by Gerard Valck, after the painting by Sir rose Peter Lely. SpLEeNnpip mmpreEssion with letters. Surface 2 and condition perfect. FuLui MARGINS. NELL GWYN 176. Mapam Evinora Gwynne. Engraving. Engraved by Gerard Valck after the painting by S. ins Couper. FINE IMPRESSION IN PERFECT CONDITION, Cut HY on the plate-line. Rare. First Session, Tuesday Evening, April 10th NELL GWYN 177. CHARLEs and James Beaucuarre (CHiLpREN or NEL Gwyy).. Engraving. 5 =a Engraved by Robert White. Britiianr mpression with / letters. Conpirion perFEcT. Cut on the plate-line. From the collection of F, Walker. NELL GWYN 178. Mapam Gwin. Engraving. Contemporary engraving in a rather crude style by an / Ar unknown artist. Good impression in good condition. Cut “ on the plate-mark. ExrreMELy RARE. NELL GWYN 179. EiEanor Gwynn. Mezzotint. Smith, No. 60. / 4 te Engraved by Valentine Green after the painting by Sir Peter Lely. Srconp state, with inscription, Fre im- PRESSION. Surface fair. Condition good. Margin 14 inch all around. NELL GWYN 180. Lapy wirn Lams. Mezzotint. Smith, No. 191. Engraved by James McArdell after the painting by Sir ld > Peter Lely. Stconp state. Good impression. Surface and condition fair, Slight mended tear on the margin. From an unidentified collection. “Mentioned by Granger and Bromley as a portrait of Nell Gwynn,,. but it does not at all resemble her.’—s. c. smrrH. NELL GWYN 181. Newt Gwyn anp CuHartes II. Mezzotint. ee Engraved by an unknown artist. Fair impression. Sur- / J face and condition good. Cut on the plate-line. First Session, Tuesday Evening, April 10th JOHN OGBORNE Born at London 1725; died in 1795. He was a scholar of Bartolozzi’s, and engraved in the dotted manner. Several of the large plates for Boydell’s “Shakespeare Galleries” are among his best work. In his later plates, line is combined with stipple. OGBORNE, JOHN 182. Mrs. JorpAN IN THE CHARACTER OF THE Romp. Stipple En- graving. Engraved after the painting by George Romney. First sTATE, with the word Romp in place of Country Girl. SPLENDID IMPRESSION. PERFECT CONDITION. Cut just outside the plate-line. VERY RARE AND FINE. [See Reproduction | DANIEL ORME Engraver and miniature painter. He worked about 1800 and exhibited many portraits in miniature at the “Royal Academy,” between 1797 and 1801. He engraved in stipple many portraits of persons celebrated at the time. ORME, DANIEL 183. Peasant Lire. Stipple Engraving. Five engravings of English peasant life. CotorEep BY HAND, FINE CONDITION. Framed. SAMUEL PALMER English watercolor painter and etcher. Born in 1805; died at Reigate in 1881. “His romantic idealism not worthily carried on the sentiment which inspired much of Blake and all of Calvert.”—a. m. HIND. PALMER, SAMUEL 184. THe Mornine or Lire. Etching. ee Hardie, No. 10. Signed on plate,—‘S. Palmer.” LerrERED IMPRESSION, on India paper with full margins. ' Published by “The English Etching Club.” J sre ahithai i boo Siimanrbee: Fay has Rony eS c Seep ANON AMAT Sh a ns ina teat neti tA Na mci en eee ce vn nf SBA CRAIN AE Hoot % ¥ | 4 q i y i % t & | 1 ae 4 Be ' | q - | . i Pe NG I ACTER OF THE Romp 182] — / STIPPLE ENGRAY THE CHAR eal Z, a © za) O S JORDAN IN Mrs [ No. First Session, Tuesday Evening, April 10th WILLIAM PETHER Born at Carlisle, 1731; died, 1795. Painted portraits and miniatures; studied mezzotinting and attained great excellence. PETHER, WILLIAM 185. Man Smoxine. Mezzotint. Not in Smith, Engraved after the painting by Metsu. StTipPpLED LETTER es PROOF BEFORE TITLE. VERY FINE IMPRESSION. Surface I< nearly perfect, mended tear in upper margin and slight printing crack on the side. Margin 1% inch all around. [ Atso, by another engraver. | Maw in Hat anp Croax. Mezzotint. Engraved by an unknown engraver, probably of the Dutch school. PRooF BEFORE ALL LETTERS. BRILLIANT IMPRES- sion in perfect condition. Together, 2 pieces, JOHANN THEOPHILUS PRESTEL German painter and engraver. Born in Swabia, 1739; died at Frankfort, 1808. He travelled in Italy and then settled at Niiremberg where he married the engraver Maria Catharina Holl, who assisted him on some of his best plates. PRESTEL, JOHANN THEOPHILUS 186. AtLecory. Woodcut. Chiaroscuro woodcut engraved on two blocks after the design by Cigozze(?) Proor BEFORE ALL LETTERS. SPLENDID IMPRESSION IN PERFECT CONDITION. Cut out- side the plate-mark. First Session, Tuesday Evening, April 10th MARC ANTONIO RAIMONDI Born in Bologna about 1480; died there about 1530. Started work in the atelier of Francesco Francia. About 1505, he came under the strong influence of Diirer. From 1509 to 1510, he seems to have been much under the influence of Lucas van Lyden. Shortly after going to Rome, he entered the studio of Raphael, with whose name his own is associated most closely in the history of engraving. RAIMONDI, MARC ANTONIO 187. ALEXANDER Piactnc Homer’s Work IN THE Toms oF Darivws. Engraving. Bartsch, No. 207. Engraved after the design of Raphael. Supers IMpPREs- as : / Lo SION iN PRACTICALLY PERFECT CONDITION. Several thin spots and minor folds. Margin 44 inch all around. Very FINE. “This print is one of the most perfect that Mare Antonio en- graved after Raphael.”—sarrscuH. RAIMONDI, MARC ANTONIO 188. Curtps Dancrnc. Engraving. | Bartsch, No. 217. & ve “i Engraved after the design by Raphael. Signed on the plate,—“M. A. F.” SPLENDID IMPRESSION WITH PLATE- a - wine intact. A few thin places, otherwise in perfect con- L U dition. ExTREMELY RARE. From the P, Gellatly collection. RAIMONDI, MARC ANTONIO 189. Mount Parnassus. Engraving. Bartsch, No. 247. Signed on the plate with the monogram,—“‘M. A. F.” Engraved after Raphael’s fresco. Very FINE CLEAR IM- PRESSION IN UNUSUALLY GOOD coNDITION. A few small ed folds and mended spots. VERY FINE AND RARE. § “Raphael painted this subject in the palace of the Vatican, but this engraving was made from a drawing differing in several respects from the painting. It is one of the most beautiful of Mare An- tonio’s engravings and also one of the best known.”—sartscH. First Session, Tuesday Evening, April 10th RAIMONDI, MARC ANTONIO 190. Venus Et L’Amovur. Engraving. Bartsch, No. 311. Engraved probably after a drawing by Raphael. Spien- r | DID EARLY IMPRESSION in very good condition. Margin oh 14 inch all around. One slight mended spot. With two unidentified collectors’ marks. “This print is one of the best things that Mare Antonio has en- graved after a drawing which is believed to be the work of Raphael.” —BARTSCH. RAIMONDI, MARC ANTONIO 191. La Srpytte. Engraving. Engraved by an unknown engraver of the school of Marc Antonio. SPLENDID IMPRESSION IN PRACTICALLY PERFECT his conpiTIon. One very slight thin place. Av From the collections of Pierre Mariette 1704, Willets 1812, Sir Mark Sykes, and Mary Jane Morgan. PAUL RAJON Born at Dijon, 1844; died in Paris, 1888. “He studied etching under Gaucherel and Flameng, and at the Salon of 1869 received a medal. In the following year, and again in 1875, he received medals for his etchings; and at the Universal Exposition of 1878, he was placed Hors Concours for his masterly portrait of Darwin.”—n. BERALDI. RAJON, PAUL 192. La QuERELLE Apaisé&e. Etching. f Beraldi, No. 19. Etched after the painting by B. Vautier. SigNED ARTIsT’s PROOF. SPLENDID IMPRESSION IN PERFECT CONDITION. RAJON, PAUL 193. Lapy Crewe. Etching. Beraldi, No, 100. Etched after the painting by Humphrey. Sic¢nep art- IST’S PROOF, SPLENDID IMPRESSION IN PERFECT CONDITION. Pier EXTREMELY FINE. U This plate was highly praised by Beraldi. First Session, Tuesday Evening, April 10th RAJON, PAUL 194. Heap or a Youne Girt. Etching. SIGNED ARTIST’s PROOF, printed in reddish ink on brown- ish paper. IN PERFECT CONDITION AND WITH FULL MAR- GINS. A charming composition. REMBRANDT VAN RIJN Celebrated Dutch painter and etcher. Born at Seyden in 1607; died at Amsterdam in 1669. Pupil of Swanenburch and Lastman, but largely self-taught. “The opinion among etchers which enthrones Rembrandt as King of his craft is the most recent instance of perfect unanimity among people of all nationalities. As we all say that Phidias was the greatest sculptor, Homer the greatest epic poet, and Shakespeare, the greatest dramatist, so we are all agreed on the world wide supremacy of Rembrandt. In his own lines of work there is no one in all history to be compared with Rem- brandt.”—». G. HAMERTON. “The whole of Rembrandt is in his engraving—his mind, tendencies, imagination, reverie, good sense, chimeras, difficulties of rendering the impossible, realities in nothingness. It is the same craftsmanship, the same set purpose, the same carelessness and insistence, the same strangeness of style, the same desperate and sudden success achieved by expression.”— EUGENE FROMENTIN. REMBRANDT VAN RIJN 195. Rempranpr anv Saskia. Etching. nS Bartsch, No. 19. Signed on the plate,—“Rembrandt f. 1636.” Srconp sTATE, after the removal of the slipped-stroke over Saskia’s right eyebrow. FINE IMPRESSIONS AND IN PER- FECT CONDITION, with small margins. From the Galichon and John Webster Collections. REMBRANDT VAN RIJN 196. RempranptT anv Saskia. Etching. Bartsch, No. 19. h A a Signed on the plate,—‘Rembrandt f. 1636.” Srconp oe state. Modern impression. Fair condition. Cut outside plate-mark all around. First Session, Tuesday Evening, April 10th REMBRANDT VAN RIJN 197. THe Triumpeu or Morpecar. Etching. Bartsch, No. 40. Unsigned. Etched about 1640. ONLY sTaTE. SPLENDID IMPRESSION WITH BURR. IN PERFECT CONDITION, with 1 inch margin all around. A few small printer’s hair-line folds, and a small skillfully mended spot near the top. FINE AND RARE. “First dry-point, then finished with delicate biting; then strongly accented with dry-point. A delightful illustration of the story. Note the subtlety with which light and shadow are interchanged and yet kept broad, and how all the curves center in Mordecai’s figure.”— c. J. HotMES,—“Notes on the Art of Rembrandt.” REMBRANDT VAN RIJN 198. Curist anp THE TrisutE Monry. Etching. Bartsch, No. 68. Unsigned. Etched about 1634. Srconp starr. Good impression with small margin. From the J. Peoli and Ambrose Firmin-Didot Collec- tions. REMBRANDT VAN RIJN 199. A View or AmstrerpAM. Etching. Bartsch, No. 210. Unsigned. Etched about 1640 or earlier. Fixe mvpreEs- SION on paper water-marked with a coat of arms and two lions. Margin 1/16 inch on top and side, cut on the plate-mark below. In prerFrect conpiTion. The quality and immaculate condition of the paper adds greatly to the beauty of the impression. Rare. From the De Paar and Ambrose Firmin-Didot Collec- tions. [See Reproduction | [661 ON] WVGCYALSWY AO MATA ONIHODH “NCTH NVA CAONVYUEINAY PEI KM GE aut Reo x rope Oaphnia aes aoe poe a a Le eee a x. reed AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK UNRESTRICTED PUBLIC SALE BY ORDER OF ALBERT W. PROSS, ESQ., AND THE NEW YORK TRUST COMPANY, AS EXECUTORS Second Session, Numbers 200 to 302, inclusive WEDNESDAY EVENING, APRIL ll1th, AT 8:00 O’CLOCK SAMUEL WILLIAM REYNOLDS Born in England, 1773; died at Bayswater, 1835. Pupil of C. H. Hodges. REYNOLDS, SAMUEL WILLIAM 200. Garrick IN THE OHARACTER OF ABEL DrucceErR.~ Mezzotint. Whitman, No, 98. AG bases Engraved after the painting by J. Zoffany. Firsr stare, before title and with the error in the artists’ names, the name Sir Joshua Reynolds being pasted over by a slip containing the name “J. Zoffany.” SpLENDID IMPRESSION. Surface and condition good. Margin 14 inch all around. REYNOLDS, SAMUEL WILLIAM 201. CHapeau DE Partie. Mezzotint. Whitman, No. 442. Engraved after the painting by Rubens, Fourru stare. i Good impression. Surface and condition fair. Mounted down. Margin 1 inch all around. There is a manuscript note on an impression of this plate to the effect that “this Print was chiefly engraved by Coussins.” Second Session, Wednesday Evening, April 11th ALEXANDER HAY RITCHIE Scotch-American engraver. Born at Glasgow in 1822. He emigrated to America where he practiced his craft in line and mezzotint. RITCHIE, ALEXANDER HAY 202. Jno. Wituiams, Fourtn BisHop oF Connecticut. Engray- ing. Mixed engraving after the painting by D. Huntington. Good impression with inscription. Signed in pencil by both painter and engraver. On India paper with full margin. — \ \ CHRISTOFANO ROBETTA Born in Florence, 1463, and worked until 1522. “The prints signed with his name merit special. attention. Drawn with unerring beauty and elegance, and engraved with a boldness and ease rare amongst the early Italians, they may sometimes be marred by timidity and inexperience, never by want of taste nor incorrectness of design.”— DUPLESSIS. ROBETTA, CHRISTOFANO 203. THe AporATION oF THE Maci. Engraving. Bartsch, No. 6. as Signed at the plate,—‘Robetta.” FINE IMPREsSION, ) rv slightly gray in places on heavy paper water-marked, i “M within a shield.” Folded across middle and with one or two slight thin spots, condition otherwise unusually fine. Margin 1/16 inch all around. Rarg. THOMAS ROWLANDSON English artist. Noted as a caricaturist. Born in London, 1756; died in 1827. Among his plates are the celebrated “Dr. Syntax” engravings. ROWLANDSON, THOMAS 204. THe Brau anp THE BELLE. Drawing, Original drawing with pen and watercolor wash. Signed, rom —*“Rowlandson.” Second Session, Wednesday Evening, April 11th EGIDIUS SADELER Dutch engraver, born at Antwerp in 1575. He went to the court of Austria and worked in Prague, where he died in 1629. SADELER, EGIDIUS 205. Heap or an Otp Man. Engraving. ee Engraved after the design by Albrecht Diirer. Good impression with letters. Ixy PERFECT CONDITION and with 14 inch margin all around. JOSEPH SAUNDERS English mezzotint engraver, flourished in London about 1772-1797. SAUNDERS, JOSEPH 206. Davin Garrick as STEWARD OF THE STRATFORD JUBILEE, 1769. Mezzotint. Smith, No. 4. Engraved after the painting by B. Van der Gucht. Src- OND STATE, with inscription. Good impression. Surface fair. Condition good. Cut on the plate-line. PETER SCHENK Painter, etcher, mezzotinter, and art publisher. Born at Elberfeld, 1645; worked at Amsterdam, where he died in 1715. SCHENK, PETER 207. Tur Propicat Son. Mezzotint. ar a mY ¢ o~ Andresen, No. 14, Engraved after the painting by Geraers. VERY FINE IMPRESSION. Surface and condition perfect. Margin 1/16 inch all around. Second Session, Wednesday Evening, April 11th WILLIAM SHERWIN Born in Wellington, Shropshire, about 1650, and flourished from 1670 to 1711; died about 1715. SHERWIN, WILLIAM 208. DanreL Drror. Engraving. Good impression with the inscription. IN PERFECT CON- DITION. Cut on the plate-mark. The inscription reads as follows,— “Here you may see an Honest Face. Arm’d Against Envy and Disgrace, Who Lives Respected still nm Spite Of Those that Punish them yt. Write.” JOHN SIMON “The engraver who must be considered as almost the rival of John Smith was John Simon, who was born in Normandy about 1765, and after prac- ticing line engraving at Paris, came to London as a refugee in the early years of the century. Upon reaching this country he seems to have devoted himself exclusively to mezzotint, and with such success that ere long he had gained a complete mastery over its -technicalities. He con- tended with John Smith for premier position, and when the latter dis- agreed with Kneller, Simon succeeded him and engraved over forty plates from Kneller’s pictures.”"—a. wuitman,—“Masters of Mezzotint.” SIMON, JOHN 209. Puirie, Eart or CHESTERFIELD. Mezzotint. aie Smith, No. 38. : Engraved after the painting by W. Hoare. Srconp STATE, with letters. Fine rmpression. Surface good. Condition perfect. Margin 1% inch all around. A fine portrait of the celebrated author of the “Letters.” SIMON, JOHN 210. Joun Mitton. Mezzotint. Smith, No. 104. Engraved after the painting by R. White. First state, before the change in the address. FINE mMPREssION. Sur- face and condition very good. A slight mended tear and a partial erasure in the inscription. Margin 14 inch all around. From the collection of Queen Victoria of England. Second Session, Wednesday Evening, April 11th SIMON, JOHN 211. Str Isaac Newron. Mezzotint. Smith, No. 109. ld «el Engraved after the painting by Sir Godfrey Kneller. : On ty state. Good impression. Surface and condition fair. Cut on the plate-mark. SIMON, JOHN 212. Mrs. ANNE OtpFieLp. Mezzotint. Smith, No. 113. ss Engraved after the painting by I. Richardson. Txirp Ai J yes sTATE, before entire inscription was changed. Condition | and surface good, a few slight mended tears. Cut just outside the plate-mark. SIMON, JOHN 213. ALEXANDER Pope. Mezzotint. Smith, No. 125. Engraved after the painting by M. Dahl. Inpe- 1 sz — TERMINATE sTATE. Lower margin trimmed 3/16 inch ¥ inside lower plate-mark, thereby cutting off space where there may or may not have been an address. Surface and condition fair. Two cross folds. SIMON, JOHN 214. Maruew Prior. Mezzotint. Smith, No. 127. Engraved after the painting by I. Richardson. First : oe sTATE, before Richardson’s address. SPLENDID IMPRES- lo d, ston. Surface and condition practically perfect. Mar- gin 1/16 inch all around. The best portrait of the poet. Second Session, Wednesday Evening, April 11th JOHN SMITH Born, 1652; died, 1742. “Even in his own time the merits of this engraver were highly appreciated, and subsequent writers, as Walpole, have considered him one of the great improvers of art. He certainly excelled in brilliancy of effect, and was powerful, clear and correct in drawing.”—cHALONER SMITH. SMITH, JOHN 215. Wittiam Concreve. Mezzotint, Smith, No. 54. 7 very good. Margin 1g inch all around. P Engraved after the painting by Sir Godfrey Keller. ‘ing Tuirp staTE. Fair impression. Surface and condition “Born near Leeds, 1669. educated in Ireland; wrote many plays, amongst them, the Double Dealer, Mourning Bride, and Way of the World. His carriage was upset in the summer of 1728 at Bath, and this is supposed to have accelerated his death in January, 1729.”— J. C. SMITH. SMITH, JOHN 216. Mary Bratrix, QuEEN or James II. Mezzotint. Smith, No. 171. es ee | & \ around. SMITH, JOHN 217. James, Duke or Ormonp. Mezzotint. Smith, No. 194. Engraved after the painting by N. de Largilliére. sTATE, before the modern imprint. CLEAR IMPRESSION. Surface and condition perfect. Margin 14 inch all } B co iF Uj SMITH, JOHN Engraved after the painting by Sir Godfrey Kneller. ONLY sTATE. VERY FINE IMPRESSION. Surface and con- dition perfect. Margin 14 inch all around. 218. THomas, Eart or Pemproxe. Mezzotint. Smith, No. 198. Engraved after the painting by W. Wissing. Srconp STATE, before the modern imprint. Fine, CLEAR IMPRES- sion. Surface and condition perfect. Margin 14 inch all around. Second Session, Wednesday Evening, April 11th SMITH, JOHN 219. ALEXANDER Porr. Mezzotint. Smith, No. 208. ld ¢ Engraved after the painting by Sir Godfrey Kneller. . Tuirp stare. Surface and condition perfect. Margin 1 to 11% inches all around. SMITH, JOHN 220. Richard STEELE. Mezzotint. Smith, No. 244. / oa Engraved after the painting by J. Richardson. Good IMPRESSION. Surface and condition very good. Margin 14, to %4 inch all around. SMITH, JOHN 221. Witi1am WycuHer.Ley. Mezzotint. Smith, No, 284. Engraved after the painting by Sir Peter Lely. Srconp STATE, with inscription. Fine mpression. Surface and ] fj- condition perfect. Margin 1/16 inch all around. td This portrait, though painted when Wycherley was 28 years old, was prefixed to a volume of his poems published in his 64th year. The quotation from Virgil pathetically alluded to the difference between his appearance at the time this picture was painted and that at the period of the publication of the book. JOHN RAPHAEL SMITH Born at Derby, 1752; died at Doncaster, 1812. “A very considerable number of his prints are from his own designs and pictures . . . The prints published by him between the years 1775 and 1787, are, nearly without exception, amongst the most admirable productions ever executed in mezzotint.”—cHALONER SMITH. “Among all the engravers the art of mezzotint has produced, J. R. Smith is perhaps the most skilful and accomplished.”—aLrreD WHITMAN. SMITH, JOHN RAPHAEL 222. Miss Carrer. Mezzotint. Smith, No. 34. Engraved after the artist’s own design. UNpDEscRIBED ae STATE, with the address of Wm. Humphrey only. Goop /3 IMPRESSION. Fine surface and condition. Margin 14 inch all around. Second Session, Wednesday Evening, April 11th SMITH, JOHN RAPHAEL —— 223. Fuirtitta. Stipple Engraving. Stippled engraving after the artist’s own design. Sr1p- PLED LETTER PROOF. VERY FINE IMPRESSION IN PERFECT CONDITION. Cut just inside the plate-line all around. A charming subject. WILLIAM SMITH English etcher and engraver, flourished, perhaps, at London about 1824. SMITH, WILLIAM 224. Joun Gay. Etching. Smith, No. 1. Engraved after the painting by Zinck. First stare, scratched letter proof. SprenpIp IMPREssION. Surface and condition practically perfect. One or two slight pin- pricks. Margin 14 inch all around. “Born near Barnstaple in 1688 apprenticed to a silk mercer in London, but quitted this employment, became known to Swift, Pope, and other literary persons, and devoted himself to poetry. In 1727 his famous “Beggar’s Opera” met with the greatest success. He was patronized by the Duke and Duchess of Queensbury. He died in 1732, and was buried in Westminster Abbey.”—s. c. sm1TH. SIR ROBERT STRANGE Born in one of the Orkney Islands, 1728; died at London, 1792. “Strange has a style of his own—rich and peculiarly adapted to the render- ing of flesh tints."—rHE GOLDEN AGE OF ENGRAVING. STRANGE, SIR ROBERT Ca 225. Tue Cuitpren oF Cuarisrs I. Engraving. Engraved after the painting by Sir Anthony Van Dyck. Regular impression with inscription. Margins intact. Puitie, Eart-or PemBroxe. Engraving. Engraved by Peter Lombart after the painting by Sir Anthony Van Dyck. Impression with letters. Condi- tion good. One or two pin-pricks. Margin 1/16 inch all around. Together, 2 pieces. Second Session, Wednesday Evening, April 11th JACQUES JOSEPH TISSOT French painter and etcher. Born at Nantes in 1836. Lived for many years at London. “Son oeuvre, un des plus importants de la gravure originale dans ces vingt derni¢res années.”—BERALDI. TISSOT, JACQUES JOSEPH 226. Miss N., or La Friteuse. Etching. Beraldi, No. 19. — Proor on Hoxuianp Paper, signed and stamped by the 40 © artist. FivgE IMPRESSION IN PERFECT CONDITION. Origi- nal margins. Mounted down for framing. MavourneEEN. Etching. Beraldi, No. 24. Proor on Hoxrianp Paper, signed and stamped by the artist. FivE IMPRESSION IN PERFECT CONDITION. Mar- gin 214 inches all around. Mounted down for framing. “Maitresse point-seche; morceau capital de l’oeuvre.”— BERALDI. Tue Portico or tHe Nationat Gautery. Etching. Beraldi, No. 32. Proor on Hoiuanp Paper, signed and stamped by the artist. Frye IMPRESSION IN PERFECT CONDITION. Origi- nal margins. Together, 3 pieces. P. W. TOMKINS “P. W. Tomkins (1760-1840), also the Queen’s engraver, was, perhaps, the most gifted and refined exponent of Bartolozzi’s method, but his ori- ginality proclaimed itself and his art had its individual charm. Bartolozzi himself generously said of him: ‘He is my son in the art, he can do all I can in this way and I hope he will do more.’ Contemporary life and art found him readily responsive, and his domestic and idyllic prints have extended their appeal from his own day to this.”—m. c. sataman,—<‘Old Engravers of England.” TOMKINS, P. W. 227. Musipora. Engraving. Stipple and his engraving after W. Hamilton. Prinrep IN coLtor and retouched largeley by hand. Lettered im- 3 /) e pression. ConpiTIon PERFECT. Ample margin. /( V Second Session, Wednesday Evening, April 11th TOMKINS, P. W. Pa yA 228. Sxatine. Stipple Engraving. Stipple engraving in color after the design by Hamilton. Touched up in color by hand. Good impression in per- fect condition. Curimps ArounpD A BonrFIRE., Stipple engraving, touched in color. Framed. Together, 2 pieces. CHARLES TURNER Charles Turner, one of the most eminent English engravers, was born at Woodstock in 1773. He entered the “Academy” in 1795 and at first worked for Boydell in Bartolozzi’s style. Afterwards he turned his at- tention to mezzotint. He was particularly successful as an interpreter of the painter, Turner, for whom he engraved twenty-three numbers of the Liber Studiorum. In 1828, having already been appointed mezzo- tint engraver in ordinary to the King, he was elected associate engraver of the Royal Academy. He died in London in 1857. TURNER, CHARLES 229. LonpoN FROM GREENWICH. Mezzotint. Rawlinson, No. 26. Engraved in mezzotint by Charles Turner OvER THE oRIG- INAL ETCHING BY J. M. W. Turner. First state. SpLEN- DID IMPRESSION. Surface and condition perfect. With original margins. “IT have already alluded to this distant view of London delightful alike in Mr. Fawkes’ brown picture and in the print which is taken with little alteration from it. In both we are attracted by the pleasant knolls and grassy slopes of the park in front, by the gleaming reaches of river beyond with white sails dotted all about, and by the fine rendering of the great city on the horizon, its very smoke made to enhance its beauty.”—w. G. RAWLINSON. TURNER, CHARLES 230. WasHincton Irvine. Mezzotint. Whitman, No. 275. Engraved after the painting by G. Stuart Newton. Uwn- DESCRIBED TRIAL PROOF BEFORE THE FIRST STATE. PRooF BEFORE ALL LETTERS. BRILLIANT IMPRESSION. Surface and condition good. Plate lines strengthened. Margin 1 to 2 inches all around. Second Session, Wednesday Evening, April 11th TURNER, CHARLES 231. CHarues I. as Prince. Mezzotint. Whitman, No. 470. [0 a Engraved after the painting by Delaram. First srare. PROOF BEFORE ALL LETTERS. VERY FINE IMPRESSION. Surface and condition perfect. Margin 14 to 1 inch all around. UNKNOWN ENGRAVERS UNKNOWN ENGRAVER 232. Mrs. Cuivre as Puiniuma. Mezzotint. Smith, No. 19 (page 1682). 7S et ENGRAVER’S PROOF BEFORE ALL LETTERS. SUPERB IM- 4 . e e Ease PRESSION. Perfect surface and condition. Margin 14 AL inch all around. Unique print; Chaloner Smith mentions but one known impression, and that one clipped. 4 f ( “The workmanship of this print is admirable, the style of Van Bleeck has some slight resemblance to it.”—s. CHALONER SMITH. [See Reproduction | UNKNOWN ENGRAVER 233. OxtiverR CromweELy. Mezzotint. Smith, page 1684, No. 26. | Engraved after the painting by Sir Peter Lely. First sTATE, before the change of address. VERY FINE IMPRES- ston. Surface and condition very good. Cut on the plate-line and margin reinforced. EXTREMELY RARE. Only three impressions of this state known. “The execution of this plate is much superior in delicacy and effect to the prints engraved by J. Sympson, but possibly it may have been done by him.”—s. c. sMITH. UNKNOWN ENGRAVER 234. Tuomas Orway. Mezzotint. Smith, page 1668, No. 95. 7 Engraved after the painting by Sir Peter Lely. Srconp 2) MEZZOTINT PHILLIDA 232] CLIVE AS [ No. UNKNOWN ENGRAVER Mrs. Second Session, Wednesday Evening, April 11th [No. 234—Continued ] sTATE, before the address was changed. Good impression. Surface and condition fair. New margin added in places. “Born in Sussex, 1651; first tried the stage, but not succeeding in it, devoted himself to writing for it; amongst his plays were the great favorites, the Orphan, and Venice Preserved. He died.in a very distressed state in 1685.”—s. c. smITH. UNKNOWN ENGRAVER 235. JANE SuHoreE. Stipple Engraving. SCRATCHED LETTER PROOF before title and artist’s name. [d oe, SPLENDID IMPRESSION, IN PERFECT conpITIon. Margin 1/16 inch all around. UNKNOWN ENGRAVER 236. JANE SHorE. Mezzotint. Not in Smith. Ss Engraved probably by Sir Christopher Wren. Proor, / $= merely with title of personage. Good umpression. Condi- tion perfect, except for one small mended spot. Ex- TREMELY RARE. UNKNOWN ENGRAVER 237. Cuarues I, wirn Henrietta anp Cuitpren. Mezzotint. Smith, page 1652, No. 20. Engraved after the painting by Sir Anthony van Dyck. / §- Onxy state. Good impression in perfect condition. From the collection of John Barnard. UNKNOWN ENGRAVER 238. WintiAM SHAKESPEARE. Mezzotint. | Engraved by an unknown artist after the Chandos por- trait. Perhaps a copy of the Cousins mezzotint, inas- | A much as it is almost the same size. Proof before letters / J on India paper. Surface and condition perfect. With margins. Second Session, Wednesday Evening, April 11th UNKNOWN ENGRAVER 239. Francis Bacon. Engraving. Engraved by an unknown artist, probably after the print / conpiTion. Margin %% inch all around. RARE, From the Ambrose Firmin-Didot collection. UNKNOWN ENGRAVER 240. Sir THomas Kiniicrew. Engraving. by Simon de Passe. SPLENDID IMPRESSION IN PERFECT VERY FINE AND Engraved by an unknown hand, probably in imitation of Abraham Bosse’s portrait. Fair impression, in fair con- dition. The inscription, in twenty-four lines, beginning “Foole that I was who had so faire a State,” has a very pointed moral. UNKNOWN ENGRAVER 241. Portrair oF A GERMAN Prince. Engraving. Unfinished trial proof with the design for the border drawn upon the margin, perhaps by the artist. iF by an unknown artist, perhaps Kilian. Fine impression | IN PERFECT CONDITION. Engraved From the Ambrose Firmin-Didot and Julian Marshall col- lections. UNKNOWN ENGRAVER 242. Apam anp Eve. Engraving. PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN PERFECT CONDITION. Framed. UNKNCWN ENGRAVER 243. Portrair or A Man. Mezzotint. PROOF BEFORE ALL LETTERS. FINE IMPRESSION. Surface and condition perfect. Margin 14 to 1 inch all around. Second Session, Wednesday Evening, April 11th UNKNOWN ENGRAVER 244. Samvet Burrer. Mezzotint. Not in Smith. ee Engraved after the painting by Sir Peter Lely. Pub- - lished by Thos. Bowles. Good impression. Surface and condition fair. Mended printing crack at top. Margin 1/, to 1 inch all around. Kirry (Ciive) Fieecine THE Oxtp Jew. Mezzotint. Published by Carrington Bowles. Lettered impression. Fair surface and condition. Together, 2 pieces. UNKNOWN ENGRAVER 245. Tuomas, ARCHBISHOP OF CANTERBURY. Mezzotint. Published by E. Cooper. Fair impression, IN PERFECT /{ a coNpDITION. Margin 1% inch all around. Witiiam WycuHerwey. Mezzotint. Published by John Bowles. Good impression, IN PERFECT conpition. Margin %%4 inch all around. Together, 2 pieces. UNKNOWN ENGRAVER 246. Rocuester anp His Mistress. Mezzotint. PROOF BEFORE ALL LETTERS. VERY FINE IMPRESSION, IN / / PERFECT CONDITION. Margin 14 inch all around. a Tue Movusrt Trap. Mezzotint. Engraved by M. Verkolje after ‘the painting by Gerard Douw. Good impression, cut on the plate-line. Together, 2 pieces. UNKNOWN ENGRAVER 247. QuEEN EizaspetH. Engraving. Published by Paul de la Honne. VERY FINE IMPRESSION, in perfect condition. Margin 1/16 inch all around. ' } QuEEN EvizasetH. Engraving. By an unknown artist. Oval, with motto, “Posui Deum adiutorem meum.” Fair impression, in good condition. Second Session, Wednesday Evening, April 11th [ No. 247—Continued | QurEEN EizaBeTH IN PARLIAMENT. Engraving. FINE IMPRESSION, with inscription. Together, 3 pieces. UNKNOWN ENGRAVER 248. Ropert Devereux, Eart or Essex. Engraving. Published by Compton Holland. Good impression, with inscription. ConpiTIoN PERFECT. Margin 14 inch all around. From the John Young Collection. ARBELLA STEWART. Engraving. Engraved by I. W. Set. Good impression, with inscrip- tion. Conpirion PERFECT. Cut outside plate-line. Together, 2 pieces. WALLERANT VAILLANT Dutch engraver. Born at Lille in 1623; died at Amsterdam, 1677. He was the friend and plate printer of Prince Rupert, reputed inventor of the process of mezzotint, and he was one of the first to work in the medium. Vaillant was one of the first to practice the new art of mezzotint engraving. VAILLANT, WALLERANT 249. Rrapinc A LetrerR. Mezzotint. Wessely, No. 183. \ 7 FIRST STATE, before the engraver’s name. Engraved after the painting by- Gerars. UNDESCRIBED Goop IMPRES- sion. Fair surface. PERFECT conpiTION. | Cut just out- side the plate-mark. Finer anp Rare. VAILLANT, WALLERANT 250. CuHaruEes I]. Wuen a Boy. Mezzotint. Signed on the plate,—“W. Vaillant fec. eb exc.” Fine impression. Surface good. ConpiTIon PERFECT. Cut just outside the plate-mark. Second Session, Wednesday Evening, April 11th GERARD VALCK Dutch-engraver. Born at Amsterdam about 1626; died there, 1720. He was first a servant to Blooteling, but having married his master’s sister, was instructed in engraving, and taken into partnership. VALCK, GERARD 251. Witutam III. or Orance. Engraving. Signed on the plate,—“‘Gravé par Gerard Valck.” PRroor 30 a BEFORE TITLE. SPLENDID IMPRESSION IN PRACTICALLY i PERFECT CONDITION. Cut on plate-line. VALCK, GERARD 252. OrrancE Mancuini, Ducuess or Mazarin. Engraving. Engraved after the painting by Sir Peter Lely. Signed “a on the plate,—“G. Valck sculp. et eacud. 1678.” a FINE IMPRESSION IN PERFECT CONDITION. Cut on the plate-line and remargined. VALCK, GERARD 253. OrtranceE Mancuini, Ducuess oF Mazarin. Engraving. Engraved after the painting by Sir Peter Lely. Proor BEFORE ALL LETTERS. SUPERB IMPRESSION IN PERFECT conpiTion. Margin 1/16 inch all around. From the collection of Alfred Hubert and another un- known to Fagan. Re PIETER VAN BLEECK Dutch painter and engraver, son of a portrait painter, was at the Hague in 1695. He went to London in 1723, where he was much employed, and died there in 1764. VAN BLEECK, PIETER 254. Porrrair or A Man 1x Darx Croax anp Hart. Mezzotint. Not in Smith. PRooF BEFORE ALL LETTERS. RICH IMPRESSION IN PER- FECT CONDITION except for one small thin spot. Margin 1g inch all around. at a Ld Cd >> Second Session, Wednesday Evening, April 11th CORNELIS VAN DALEN Engraver at Antwerp. Born about 1620. Pupil of his father and Cor- nelis Visscher. VAN DALEN, CORNELIS 255. Prerro AreEtTino. Engraving. Andresen, No. 8. fa Engraved after the painting by Titian. Firsr stare, | PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN PERFECT conpiT1on. Margin one inch all around. Very FINE. VAN DALEN, CORNELIS 256. Giorcio BarBARELLO (GIoRGIONE DA CASTELFRANCO). En- graving. Andresen, No. 10. Engraved after the painting by Titian. First stare, PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION— PERFECT CONDITION. Margin one inch all around. Fine. From the collection of F. W. Klever. VAN DALEN, CORNELIS 257. SEBASTIANO DEL Piomso. Engraving. Andresen, No, 11. Engraved after the painting by Tintoretto. First stare, PROOF BEFORE ALL LETTERS. SPLENDID IMPRESSION IN PERFECT CONDITION. Cut just inside the plate-mark. FINE. VAN DALEN, CORNELIS 258. Boccacio. | Le Blanc, No. 22. Sf Engraved after the painting by Titian. Proor BEFORE ALL LETTERS. SUPERB IMPRESSION IN PERFECT CONDITION. Margin 14 inch all around. Mounted down for framing. 5 6 Second Session, Wednesday Evening, April 11th CRISPIN VAN DE PASSE, THE ELDER Dutch line engraver. Born in 1540; died at Utrecht, 1629. He was a pupil of Coornhaert and worked in Holland, France, and England. VAN DE PASSE, CRISPIN, THE ELDER 259. QuEEN EnizaznerH. Engraving. Engraved after the design by Isaac Olivier. Fine 1m- VERY RARE. From the Collections of William Esdaile and E. G. Ken- nedy. ee PRESSION in very good condition. Cut on the plate-line. VAN DE PASSE, CRISPIN, THE ELDER 260. ExizasetH or Eneiann. Engraving. Splendid impression with inscription. Condition immacu- late. Margin 114 to 3 inches all around. Very FINE. From the Brooke and St. John Dent Collections. EizABETH OF ENGLAND. Engraving. ANA Engraved by an unknown artist. Oval picture with the a motto “Posi w Deum Adiutorem meum.” Good impres- sion, in good condition. From the Capt, Donnadieu Collection. Together, 2 pieces. SIMON VAN DE PASSE Dutch line engraver. Born in Cologne in 1574; died, 1644. He was son and pupil of Crispin, the elder, and worked in France, Germany, England, and Denmark. VAN DE PASSE, SIMON 261. Rosert Sipney, Viscount Lisye. Engraving. SPLENDID IMPRESSION with inscription. First stare. Condition very good. Cut on the plate-mark. Very i/\~ FINE AND RARE. H if On the back of the print is written,—‘From Strawberry i Hill,” implying, perhaps, that it was formerly in the pos- session of Horace Walpole. a ‘S Second Session, Wednesday Evening, April 11th VAN DE PASSE, SIMON 262. Henry, Eart or SourHamrptTon. Engraving. SPLENDID IMPRESSION with inscription. CoNpDITION PRAC- TICALLY PERFECT. A few slight thin places. Fine anp RARE. From the collection of Joseph Crawhall. Henry, Earl of Southampton, patron of Shakespeare, was born in 1578 and died in 1624. VAN DE PASSE, SIMON 263. Maria, Inranra oF Sparin. Engraving. VERY FINE IMPRESSION with inscription. CoNDITION PER- FECT. Cut on the plate-line. a Tue Princess WILHELMINA. Engraving. Printed by Crispin de Passe. Good impression with in- scription. ConpITION PERFECT. Cut outside plate- mark on side, and inside at top and bottom. Together, 2 pieces. VAN DE PASSE, SIMON 264. Epwarp SomersET, Eart or Worcester. Engraving. Fine impression with inscription. CONDITION PERFECT. Cut on the plate-line. Pore CriemenT VIII. Engraving. } Fine impression with letter. Conprrion PERFECT. Mar- IY gin 4 inch all around. ure h Francis Bacon. Engraving. FINE IMPRESSION with inscription. CoNDITION PERFECT. Margin 1/16 inch all around. Together, 3 pieces. Second Session, Wednesday Evening, April 11th JOHN VANDERVAART Born at Haerlem, 1647, went to England in 1674, Practised as a painter with Wyck and Wissing, afterwards produced very excellent pictures. He was one of the early engravers in mezzotinto. He died in 1721. VANDERVAART, JOHN 265. Str THomas Kitiuicrew. Mezzotint. Smith, No. 4. Engraved after the painting by W. Wissing. First sTATE, before the publisher’s name was changed. SpLeNpID 0) RS IMPRESSION. Surface and condition perfect. Cut out- side plate-mark. “Born 1611; page of honor to Charles I and groom of the bed- chamber to Charles II, whom he accompanied in exile. He was the author of several plays and possessed uncommon wit and humor. He died in 1682.”—s. c. smITH. LUCAS VAN LEYDEN Born in Leyden in 1494; died in 15383. His engravings rank with those of Marc Antonio and Albert Diirer. VAN LEYDEN, LUCAS 266. Apam anv Eve. Engraving. Bartsch, No. 11. Signed on the plate with the monogram,—“L.””, Engraved 3 J — after his own design in 1510. Fine impression, on paper watermarked with “The Serpent.” Cut slightly inside the plate-mark at the top. Margins reinforced. Con- dition otherwise perfect. From the collection of Louis Galichon. ADRIAEN VAN OSTADE Dutch painter and etcher. Born at Haerlem in 1610; died there in 1685. Studied with Frans Hals and was influenced by Rembrandt. “Ostade treats the technique of etching in a curious painter-like manner. He avoids the distinct line and the definite contour, he expresses the modelling with masses of uneven little strokes and shows his figure, well lighted against a dark background.”’—xnristerier, in “Kiipferstich und Holzschnitt.” VAN OSTADE, ADRIAEN 267. Rustic Courtsnip. Etching. Bartsch, No. 11. Hf } ie Fine impression of the state after the S. of Ostade was f pies Second Session, Wednesday Evening, April 11th [ No. 267—Continued | written with a Latin letter. Conpirion PERFECT. Mar- gin 14 inch all around. From the collection of the Duke of Buccleugh. PAUL VAN SOMER Engraver, born at Amsterdam in 1649. After working for some time in Paris he came to England, where he settled and died in 1694. He etched, engraved, and was one of the first to practice mezzotint. VAN SOMER, PAUL 268. Hortrenst, Ducuess or Mazarin. Mezzotint. Smith, No. 7. ; SPLENDID IMPRESSION. Surface and condition fair. Cut on the plate-line. VERY RARE. VAN SOMER, PAUL 269. Louise, DucHress or PortrsmoutH. Mezzotint. Smith, No. 14. Engraved after the painting by Sir Peter Lely. First STATE, PROOF BEFORE ALL LETTERS. SPLENDID IMPRES- sion. Surface and condition perfect. Cut just outside plate-mark. Very fine. Louise Renée de Queronalle was of a noble family in Brit- tany. She attracted the attention of Charles IL. and was 45 brought to Whitehall (with the connivance of the Duke of Buckingham and others who wished to supplant the Duchess of Cleveland), and appointed maid-of-honor to the Queen. In 1672 she had a son by Charles, and in 1673 was created Duchess of Portsmouth. Her power over Charles only ceased with his life and her extravagance was boundless. Much of the popularity of Nell Gwyn while mistress to the king was attributable to the aver- sion caused by her rival, the Duchess of Portsmouth. Second Session, Wednesday Evening, April 11th LUCAS VAN UDEN Lucas van Uden, of the School of Flanders, was born at Antwerp in 1595. He was the son of a painter, who was his first master and whom he very quickly surpassed. “Van Uden has a delicate touch, and his foliage a great deal of move- ment. His landscapes usually show a great extent of country, with clear skies and distances. . . . “The prints which this painter has left us and which are usually landscape subjects have all the qualities of his pictures. The exact number of his plates has not been determined. It is the rarest thing in the world to find any considerable number of them together. The greatest collections contain only about twenty or at the most thirty pieces.”—sarrscH. VAN UDEN, LUCAS 270. Lanpscapre. Etching. 's Bartsch, No. 5. Signed on the plate,—‘‘Lucas Van Uden fecit.” Fine IMPRESSION IN PERFECT CONDITION. From the Gawet and Rechberger collections. LanpscaPr. Etching. Bartsch, No. 19. Unsigned. Firsr srarr, before the number. Fine 1n- PRESSION in very good condition. One slight mended tear. Together, 2 pieces, AGOSTINO VENEZIANO Italian engraver, born at Venice in 1490. He was a pupil of G. Cam- pagnola, but afterwards formed his style on that of Ditirer and Marcan- tonio. He died at Rome about 1540. VENEZIANO, AGOSTINO 271. Ture Deatu or Anantas. Engraving. Bartsch, No. 42. Engraved after the design by Raphael. Goop IMpREssIon, IN PERFECT CONDITION. Cut just outside the plate-line. 4 From the M. M. Sykes, W. Esdail, J. Thorel and A. Firmin-Didot collections. Together with a late impression from the same plate, and the engraving, “La Bataille an Bouclier sur la Lance,” by Caraglio after Raphael (Bartsch, No. 59), in a late impression. Together, 3 pieces. Second Session, Wednesday Evening, April 11th JAN VERKOLJE Dutch engraver. Born at Amsterdam in 1650; died, 1693. He worked mostly at Delft, where he produced mezzotints. VERKOLJE, JAN 272. Tue Ducuess or Grarron. Mezzotint. Smith, No. 1. Engraved after the painting by Sir Peter Lely. First ——_ sTATE, before the name, P. Lely, was erased. Ricu Im- PRESSION. FINE SURFACE AND CONDITION. One or two slight printer’s folds. Cut on the plate-line and margins strengthened. Of the utmost rarity; Smith speaks of only one in existence. GEORGE VERTUE English historical engraver and mezzotinter. Born, 1684; died at London, 1756. Devoted his life to antiquarian researches. VERTUE, GEORGE _ 278. Grorrrey Cuavucer. Engraving. Thalys Engraved in 1717. Goop impression. Margin 1/16 to J 1g inches. Mounted down for framing. VERY RARE. VERTUE, GEORGE 274, ALEXANDEB Popr. Engraving. Signed on the plate,—“Geo. Vertue sculpsit.” Britiiant IMPRESSION IN PERFECT CONDITION. Margin 4 inch all around. eo ABRAHAM CowLey. Engraving. Engraved after the painting by Sir Peter Lely. Goop IMPRESSION with letters. IN PERFECT coNnDITION. Cut on the plate-mark. Together, 2 pieces. Second Session, Wednesday Evening, April 11th W. VINCENT An excellent English mezzotint engraver, worked in London in the latter part of the 17th century. His plates are frequently from his own designs. VINCENT, W. 275. Mrs. BracrGirDLE IN THE INDIAN QUEEN. Mezzotint. Smith, No. 1. Published by J. Smith. Onty strate. FINE ImMpREssION. a) eat Surface and condition perfect. Margin 1/16 inch all cy around. VERY RARE. The play of the Indian Queen was written by Sir Howard and Dryden and met with great success. VINCENT, W. 276. Mrs. Bracecirpie. Mezzotint. Smith, No. 2. Engraver’s proof before the title, The Indian Queen. 7 at FINE IMPRESSION IN PERFECT CONDITION. Cut perhaps 3) inside plate-mark. ExcrsstvELY RARE, only one other impression known to Smith. CORNELIS VISSCHER One of the most eminent engravers, whose plates rank among the best productions of the graver. Born, about 1629; died, 1658. Pupil of Pieter Soutman. VISSCHER, CORNELIS 277. Corneuis VisscHER. Engraving. Smith, No. 84. Engraved after his own design and signed on the plate,— 4] b i “Corn. Vischer fecit An. 1649.” Srconp state, with the a graver effaced. VERY FINE IMPRESSION IN PERFECT CON- pition. Margin 1/16 inch all around. ~~ Second Session, Wednesday Evening, April 11th VISSCHER, CORNELIS 278. LievEN vAN CoprENoL. Engraving. Smith, No. 93. 7 Engraved from life. Fre IMPRESSION WITH INSCRIPTION. Tuirp sTaTE, before the date 1658 was effaced. Margin cut slightly inside the plate-mark. It is interesting to compare this with Rembrandt’s etching of the same sub- ject. From the collections of Pierre Mariette, 1698, and J. Burleigh James. VISSCHER, CORNELIS 279. Heap or an Otp Woman. Etching. Smith, No. 129. é Signed on the plate,—“Cornelius de Vesscher ad vivum delineant et fecit aqua forte.” GooD IMPRESSION IN PER- FECT CONDITION. Cut on the plate-line. Tradition has it that this is a portrait of Visscher’s mother. JAN VISSCHER Dutch engraver. Brother of Cornelis Visscher. Born at Amsterdam in 1636, where he lived in 1692. VISSCHER, JAN f \ /) V/ 280. Porrrair or AN OLtp Woman (Visscher’s Mother?). Etching y Etched after the design by Cornelis Visscher. SPpiLEeNpip IMPRESSION IN PERFECT CONDITION. Cut outside the plate-mark. From the collection of the engraver Jean Georges Wille, and bearing his autograph,—‘J. G. Wille 1761.” , of Second Session, Wednesday Evening, April 11th LUCAS VORSTERMAN Flemish engraver. Born in Antwerp in 1578; died about 1656. He first studied painting under Rubens and was advised by him to take up the practice of engraving. This he did with such success that he became one of the leading engravers of the Rubens school. VORSTERMAN, LUCAS 281. Joannes Waverivus. Engraving. Engraved after the painting by Hans Holbein. VeEry f- FINE IMPRESSION with letters. PERFECT CONDITION. Margin 1% inch all around. VORSTERMAN, LUCAS 282. THomas Howarp, Duke or Norrouk. Engraving. Engraved after the painting by Hans Holbein. TxHirp STATE. SPLENDID IMPRESSION. PERFECT CONDITION. Margin 1/16 inch all around. Of unusual quality. /d a From the collections of T’. Huber and Ambrose Firmin- Didot. WILLIAM WALKER Scotch engraver. Born in Midlothian in 1793; died in 1867. Studied under John Mitchell, Woolnoth and Thomas Lupton. He published his own plates. WALKER, WILLIAM 283. Sir Watrer Scorr. Engraving. Engraved after the painting by Raeburn. Proor, with coat-of-arms, but before all letters. SpLeENDID IMPRES- SION ON INDIA PAPER WITH FULL MARGINS. VERY FINE AND RARE. i) a The engraver commissioned the painter to make this por- trait of Scott. ae Second Session, Wednesday Evening, April 11th JAMES WATSON “James Watson, born at Dublin about 1740, also learned from McArdell the true pictorial way of mezzotint, which, with facile craftsmanship, enabled him to become very early in his career one of Reynolds’s most faithful and frequent interpreters (it is curious to note that Watson was selected to engrave Reynolds’s portraits of mothers with their children). His touch was delicate rather than vigorous, and his sense of tone was keen for rich as for simple harmonies. An assiduous worker, he was so scrupulous as to the quality of his work, that if it did not satisfy him he would destroy the plate and start a fresh one. Consistency of quality therefore stamped the numerous plates of James Watson, as prosperity brightened his home, till he died in the very prime of his powers; but in nothing was he happier than in his gifted daughter Caroline, who holds among the stipple engravers as distinguished a place as her father does among mezzotinters.”—m. c. saLAMAN, Old English Mezzotints. WATSON, JAMES 284. Frances, Lapy Brincrs. Mezzotint. Smith, No. 14. Engraved after the painting by F. Cotes. STATE INDETER- MINATE. Trimmed to engraved surface, and new lower margin added. VERY FINE IMPRESSION. Surface good. WATSON, JAMES 285. SamuEL JouHnson. Mezzotint. Smith, No. 82. Engraved after the painting by Sir Joshua Reynolds. First state, before the title and the address. SpLENDID IMPRESSION. Surface and condition practically perfect. peas Margin 1 inch all around. V&Ry FINE AND RARE, ' if 2 “This is also a highly characteristic and remarkable portrait”— pa ee J. C. SMITH. Johnson did not relish Reynolds painting him as extremely near- sighted, and said to Boswell,—“Sir, he may paint himself as deaf as he chooses, but I will not go down to posterity as Blinking Sam.” [See Reproduction | JAMES WATSON. MEZZOTINT SAMUEL JOHNSON [ No. 285] Second Session, Wednesday Evening, April 11th THOMAS WATSON Mezzotint engraver. Born in London in 1748; died at Bristol, 1781. Ap- prenticed to an engraver on plate. For a time he kept a printshop in partnership with W. Dickinson. His name is one of the most distinguished of the English mezzotint engravers. WATSON, THOMAS 286. Frances, Ducuess or RicuymMonp. Mezzotint. Smith, No. 5. Engraved after the painting by Sir Peter Lely. Srconp sTATE, before the name of the personage. VERY FINE IM- Pe 4 PRESSION. Surface and condition very good. Margin A 4 2 1/16 inch all around. Number three of a set of six - 7 ‘Beauties of Windsor,” painted by Sir Peter Lely. “Daughter of Walter Stewart; appointed maid of honor to Queen Catherine in 1663. Her wonderful loveliness seriously captivated Charles II and many others, amongst them Rotier, the medallist, who came over to cut the die for the new carriage and exhibited her head on the reverse as Britannia. She, however, eloped with the Duke of Richmond and Lennox in 1667. “About two years after her marriage she was attacked by small-pox and recovered with difficulty. . . The King frequently visited her after her marriage, but merely in courtesy; . . . The Duchess appears to have divided the latter part of her life between cards and cats and died in 1702.”—s. c. smITH. JOHN WATTS An English mezzotint engraver who practised in London from 1770 to 1786. He was probably also a printseller. WATTS, JOHN 287. NaTHANIEL Lee (THE Map Poer). Mezzotint, Smith, No. 5. Va Engraved after the painting by Dobson. Onty strate. ( Goop IMPRESSION. Surface and condition good. Margin ‘8 cut just inside plate-line, and print completely laid down. ETCHING ES ABBOTT McNEILL WHISTLER JAM THe LIMEBURNER o. 288 | N [ Second Session, Wednesday Evening, April 11th JAMES ABBOTT McNEILL WHISTLER Celebrated American painter and etcher. Born in Lowell, Mass., in 18384, died at London in 1903. “With the master-etchers of the world—Meryon’s equal in some respects, and, in some respects, Rembrandt’s—there stands James Whistler. noisseurs in France and England, in America, Holland, Bavaria, concede this now.”—FREDERICK WEDMORE. “All his work is alike perfect. It has only been produced under different circumstances and is an attempt to render different effects or situations. Therefore the methods vary, but the results are always the same—great. The greatest, most perfect, as a whole, that any etcher has ever accom- plished.”—sosEPH PENNELL. WHISTLER, JAMES ABBOTT McNEILL 288. THe Limesurner. Etching. Kennedy, No, 46. Signed on the plate,—‘Whistler 1859.” First srTate, before the light perpendicular lines to the right of the figure. SOFT MELLOW IMPRESSION. Condition very good. Surface of paper slightly. broken by printing cracks. One inch margin all around. VeERyY FINE AND RARE. One of the most beautiful of Whistler’s plates and probably the earliest example of a system of composition which became very characteristic of him—that of a vista-seen through a frame. Later examples of it are: The Traghetto, The Beggars, Doorway and Vine, San Biagio, and perhaps the last and frankest expression of all, The Garden. In these plates the foreground and middle distance are treated as an elaborate frame, for the most part in shadow, through which is seen a small and unusually brilliantly lighted dis- tance.”—FREDERICK KEPPELL. [ See Reproduction] WHISTLER, JAMES ABBOTT McNEILL 289. RorHeruHitHe. Etching, Kennedy, No. 66. Signed on the plate,—Whistler 1860.” Srconpd stTATE, before additional lines on the figure and the bow of the boat. SUPERB IMPRESSION ON THIN JAPAN PAPER. Mar- gin Y4 inch all around. ExcrErpiIncLy FINE. “This plate was made on the balcony of the Angel Inn, still stand- ing on the south side of the river at Cherry Gardens. Rotherhithe is in the extreme distance. From this balcony also, the oils, Wapping, and The Thames in Ice, were painted. A scratch across the sky is in some prints. Whistler told me this was caused by a brick from the chimney being repaired falling behind him and making him jump so that he scratched the plate with his needle from top to bottom.”— JOSEPH PENNELL. [See Reproduction | nat ial eee JAMES ABBOTT McNEILL WHISTLER. ETCHING RoTHERHITHE [No. 289] Second Session, Wednesday Evening, April 11th WHISTLER, JAMES ABBOTT McNEILL 290. Barrersea Bripcr. Etching. Kennedy, No. 177. Signed on the plate and in pencil with the “Butterfly.” FourtH state before the smaller butterfly was put in. IMPRESSION PRINTED BY WHISTER HIMSELF AND SO SIGNED BY HIM WITH A CAREFULLY DRAWN “BUTTERFLY AND THE worp “imp.” A very slight fold in the center. VERY atte RARE AND FINE. “Il se mit tout simplement a reproduire a Veau-forte les scenes que les rives de .la Tamise mettaient sous ses yeux. En haut de la riviere, les vieux ponts de Putney et de Battersea, les appontements et les magasins ou se déchargent les marchandises, lVenfilade des alleges et des gabares a sec sur la rive; plus bas, vers le port maritime, les navires amarrés le long des docks ou les bateaux de peche apportant le poisson au grand marché de Billingsgate. Chose singuliére! les bords de la Tamise ainsi reproduits frappérent d’abord le public anglais, par un coté d’imprévu et de nouveaute. Les artistes anglais avaient négligé d’abaisser les yeux sur cet aspect familier des choses; le Londres, bati et affairé avait été méconnu comme vulgaire et prosaique.”—rHEopoRE DURET,—‘Whistler et son Ciwore.” [See Reproduction | ROBERT WHITE Born in London, 1615; died at Bloomsbury, 1704. Pupil of David Loggan. WHITE, ROBERT 291. Joun, Eart or Rocuestrer. Engraving. Engraving after the painting by Sir Peter Lely. Fine Fe IMPRESSION WITH LETTERS. In perfect condition. One inch | #4 34 U margin all around. JEROME WIERLX Born at Antwerp or Amsterdam, 1551; died in 1619. He is supposed to have learned the art of engraving from his brother Jan, whose style he followed so exactly that it is difficult to distinguish their work. WIERIX, JEROME 292. Henry III. or France. Engraving. WA Signed on the plate,—‘‘Teronimus W. fe.” SPLENDID IM- i PRESSION IN PERFECT CONDITION. Cut outside plate- nf < 4 as mark. VERY FINE AND RARE. ) | [See Reproduction | [062 ‘ON | aoqiugd Vas YALLIV GE ONIHOLA “YALLSIHM TITINON LLOddvy SHINVL Second Session, Wednesday Evening, April 11th SIR DAVID WILKIE Scotch painter and etcher. Born at Cults in 1785; died in 1841. He early displayed his talent for portraiture and painting and by rapid degrees became one of the most distinguished painters of his day. At the death of Sir Thos. Lawrence he was appointed Painter in Ordinary to the King. WILKIE, DAVID 293. ReapiInc THE Wixi. Etching. Laing, No. 6. Signed on the plate-—“DW 1819.” FINE IMPRESSION ON \Z Inpia PAPER. Condition perfect. Margin 1% inch all LD around. Cotrace Exterior. Etching. Laing, No. 4. Signed on the plate-—‘D W 1820.” Five ImMpreEssion on Inpia PAPER. Condition perfect. Margin 14 to %4 inch all around. | Together, 2 pieces. WILKIE, DAVID 294. MorHer anp Cuixtp. Etching. Laing, No. 9. Signed on the plate,—“D W 1820.” Impression on Iy- nye DIA PAPER, with full margins. __ /) l) Tue Lost Recerer. Dry-point. co Laing, No. 7. REMARQUE PROOF ON INDIA PAPER with full margins. In PERFECT CONDITION. Together, 2 pieces. JEAN GEORGES WILLE Born near Koenigsberg, 1714-1715; died at Paris, 1808. “His prints bear dates from 1738 to 1790, after which time he became blind. He was the teacher of Bervic, J. V. von Miller, Tardieu, and other eminent engravers.”—w. 0. CHAPIN. WILLE, JEAN GEORGES 295. La Sorur pE LA Femme pE Normanpige. Engraving. | Le Blanc, No. 72. wa Engraved after the painting by his son, P. A. Wille. ic ) PROOF BEFORE ALL LETTERS. BRILLIANT IMPRESSION IN PERFECT CONDITION. Margin 14 inch all around. Very FINE. ELROD ERENT GILL LILLE LS SEPT TT TTS g d a BX . leures les 15, fur all, ~ * 2) SOW VIS: : | fir fon A Ul ob IN fel ) cs Iss : dat dinout et re OHS JEROME WIERIX ENGRAVING oF FRANCE 292 Henry III * J | No Second Session, Wednesday Evening, April 11th ROGER (OR ROBERT) WILLIAMS Mezzotint engraver, a native of Wales, flourished about 1700-1715. He is stated to have studied under Theodorus Freres. WILLIAMS, ROGER (or ROBERT) 296. Cuarues II. Mezzotint. Smith, No. 12. Engraved after the painting by Sir Peter Lely. Srconp ~ STATE, with inscription. VERY FINE IMPRESSION. Sur- face very good. Condition perfect. Margin 4 inch all around. THOMAS WOOLNOTH English mezzotint engraver. Born 1785; died after 1836. He engraved many theatrical portraits. WOOLNOTH, THOMAS 297. R. Heper, Bishorp or Catcurra. Mezzotint. 5 Engraved after the painting by Phillips. Earty trian /) a PROOF, not completely inked. SPLENDID IMPRESSION IN : PERFECT CONDITION. THOMAS WORLIDGE English painter and etcher. Born in 1700; died at Hammersmith, 1766. He abandoned painting and devoted himself to etching, adopting a style modelled on that of Rembrandt. WORLIDGE, THOMAS 298. Ninon pE Lencuos. Etching. Engraved after the painting formerly in the possession Lie of the Countess of Sandwich. Proor BEFORE ALL LET- TERS. IN PERFECT CONDITION. Cut on the plate-line. WILLIAM LIONEL WYLLIE Contemporary English etcher. Born, 1851. His etchings are chiefly boat- ing and fishing scenes. WYLLIE, WILLIAM LIONEL 299. Hotuanp. Etching. SIGNED ARTIST’s PROOF on Holland paper. Mounted down for framing. Full margins. Second Session, Wednesday Evening, April 11th JOHN YOUNG “Another of J. R. Smith’s distinguished pupils was John Young, who was, however, senior to the Wards, having been born in 1755. He was a man of high attainments and sterling character, with a fine pictorial sense in his treatment of copper. Engraver on mezzotint to the Prince of Wales, from 1789 he succeeded Valentine Green as keeper of the British Institu- tion.”—m. c. saramMAN,—“The Old Engravers of England.” YOUNG, JOHN 300. t 801. Rosert BrioomFieip. Mezzotint. Smith, No, 8. Engraved probably after the painting by J. Rising. First state, undescribed by Smith. Proof before all let- <1) ~ ters. SPLENDID IMPRESSION. Surface and condition per- fect. Margin 1% inch all around. Verry FINE AND RARE. “Born at Honington, 1766; worked on a farm, and afterward be- came a shoemaker, his poem of the Farmer’s Boy was long finding a publisher, but on its appearance met with great success. He died at Sheffield, 1823.”—~ 3. c. smirH. RENIER NOOMS (CALLED ZEEMAN) 1623-1663. “Zeeman was par excellence the etcher of ships as Potter was of horses. In his youth he was a sailor, as his name implies, and his love for the sea is apparent everywhere in his works. Zeeman worked at Berlin, London, and Paris, as well as at Amsterdam. He was in Paris about the middle of the seventeenth century and painted a number of views of the city, among them his fine view of Old Louvre.”—w. o. cHapin,—‘Master pieces of Engraving.” Marine. Etching. Bartsch, No. 110. First stTatrE, before the name. FINE IMPRESSION. Slightly folded. Margin 1/16 inch all around. Five AND RARE. One of a set of 12 etchings. From two collections unknown to Fagan. WILLEM pvpE ZWART Contemporary Dutch etcher. Many of his etchings are published Van Wisselingh, of Amsterdam. ZWART, WILLIAM DE 302. THe Barces, Eveninc. Etching. se Signed in ink on the margin,—‘W de Zwar 3 ON JAPAN PAPER, with margins. es) \ es SLEEPING Woman. Etching. ve Signed in ink on the margin,x—“W de Zone ON HEAVY JAPAN PAPER, with ample margins, _ Together, 2 pieces. | brandt van Rijn and other Masters. AMERICAN ART ASSOC THOMAS E. KIRBY, AUCTIONEER. FOR INHERITANCE TAX AND OTHER PURPOSES _ THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF Be ART AND LITERARY PROPERTY WELS AND PERSONAL EFFECTS~-OF EVERY DESCRIPTION i IN CASES WHERE PUBLIC SALES ARE EFFECTED A NOMINAL CHARGE ONLY WILL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH ; | NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION, PRESSWORK — AND BINDING BY ,