ish { pi ilps) Chas. M if ee if iat f be He a mt ‘ Ena ro u iy - iy ih 4 ON PUBLIC VIEW AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK ENTRANCE, 6 EAST 23rp STREET BEGINNING THURSDAY, JANUARY 25tTu, 1917 AND CONTINUING UNTIL THE TIME OF SALE ENGRAVINGS AND ETCHINGS BY THE MASTERS MODERN MEZZOTINTS PRINTED IN COLORS FROM COLLECTIONS OF NOTE AND IMPORTANCE TO BE SOLD AT UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN ON MONDAY, TUESDAY AND WEDNESDAY JANUARY 29TH, 30TH AND 31st, 1917 AT 8:15 O’CLOCK IN THE EVENINGS AT THE AMERICAN ART GALLERIES _ ? ANDERS ZORN Eventnc,—BaicnevusE dE Dos.—Delteil, No. 108 [See No. 492 in this catalogue | ILLUSTRATED CATALOGUE OF ENGRAVINGS, ETCHINGS AND MEZZOTINTS FROM COLLECTIONS OF NOTE, INCLUDING THOSE OF H. V. JONES, Esq., oF MINNEAPOLIS, MINN. Mrs. MARGARET F. EVERIT, oF Newark, N. J., AND THE LATE Mrs.WILLIAM H. REID, OF NEW CANAAN, CONN. TO BE SOLD WITHOUT RESERVE OR RESTRICTION BY ORDER OF THE VARIOUS CONSIGNORS REFERRED TO HEREIN ON MONDAY, TUESDAY AND WEDNESDAY, JANUARY 29rn, 30TH AND 31s1 AT 8:15 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 Rea - a" ee BK IMPORTANT AND INTERESTING INFORMATION RE- GARDING THE VARIOUS COLLECTIONS OF ETCHINGS, ENGRAVINGS AND MODERN MEZZOTINTS HEREIN CATALOGUED TO BE SOLD AT UNRESTRICTED PUBLIC SALE JANUARY 29th, 30th and 31st, 1917 UNDER THE MANAGEMENT OF THE AMERICAN ART ASSOCIATION The Etchings and Engravings forming the collections consigned to the Association by H. V. Jones, Esq., of Minneapolis, and Mrs. Margaret F. Everit, of Newark, New Jersey, together with a few noteworthy addi- tions from other private sources, comprise important examples of XVIth, SVIITH, XVIIIth and XIXth century Masters. The greater number of impressions are PROOFS SIGNED BY THE ARTISTS, MANY ON JAPAN oR INDIA PAPER, SEVERAL BEING RICH PROOF IMPRESSIONS OF FIRST OR EARLY sTaTeEs of the plates. The collection formed by Mrs. Margaret F. Everit, is one of the finest for its size ever offered at public sale in America, the plates being all of the best possible quality, both as to impression and condition. The collection of mezzotints printed in color, formed by the late Mrs. William H. Reid, of New Canaan, Connecticut, includes examples of nearly all the best modern engravers in this style; among others being, —S. ARLENT EDWARDS, SYDNEY E. WILSON, E. GULLAND, FRED MILLAR, CHARLES BIRD, CLIFFORD R. JAMES, and E. MILNER. Most of the engravings are now out of print, and many are quite unobtainable. All the prints are in perfect condition, free from all spots, and are artistically framed in gold or bronze frames. The subjects after Hoppner, Lawrence, Raeburn, and Reynolds are particu- larly beautiful and pleasing. The etchings by JAMES ABBOTT McNEILL WHISTLER rank in quality and condition with those in the General Brayton Ives collec- tion, many of the plates being EARLY IMPREssIONS, and PROOFS ON JAPAN or InpIA paper, and include, a complete series of the “Frencu Set,” SEVERAL OF WHICH ARE EARLY STATES; SIGNED ARTIST’S PROOFS, with the “Butterfly” signature of the following,—‘Battersea Bridge,” “Nocturne: Palaces,” “The Riva No. 2,” “Chancellerie Loches,” *“Becquet,” and “Rotherhithe;” also, a RICH PROOF IMPRESSION ON JAPAN PAPER OF “T'he Kitchen.” Among the more noted examples of the works of ANDERS ZORN may be mentioned the following,—‘Henry Marquand,” “Evening— Baigneuse de Dos,” “Mlle. Maya Von Hetjne,” “Mlle. Emma Rassmus- sen,” “Mona,” “Circles in the Water,” and “Seaward Skerries.’ Att ARE SIGNED ARTIST’S PROOFS, AND BRILLIANT IMPRESSIONS. SIR FRANCIS SEYMOUR HADEN is represented by 28 different subjects, among the more notewor thy being the following si¢nep artist’s PROOFS,— Kensington Gardens” (both large and small plates), “Mytton Hall,” “Early Morning, Richmond Park,” “A By-Road in Tipperary,” “Shere Mill Pond,” “Sunset in Ireland,” “Breaking Up of the Agamem- non,” “Calais Pier,’ “A Lancashire River,” and “Early Riser.” The etchings by DAVID YOUNG CAMERON comprise 81 different subjects, including the following st¢nep artist’s proors,—‘The Palace of Joannis Darius,” “Ca D’Oro,” “Elcho on the Tay,” “The Doge’s Palace,” “Chartres,” “Old Sawmur,” “The Desert,” “The Mosque Door- way,” and “Street in Cairo.” ALL ARE FINE IMPRESSIONS. Among the plates by CHARLES MERYON are the following, aru FINE IMPRESSIONS AND OF THE GREATEST RARITY,— ‘Rue de la Tivxeran- dere,” “Abside de Notre Dame,” and “Le Pont au Change.” Other famous etchers and engravers represented by examples of their work, include the following,—_FELIX BUHOT, ALBRECHT DURER, GILLES DEMARTEAU, DONALD SHAW McLAUGHLAN, REMBRANDT VAN RIJN, FRANK SHORT, J. M. W. TURNER, and ALPHONSE LEGROS, the latter being represented by four stGNEp ARTIST’s PROOFS of his best works. Attention should be called to the Monographs by Rinder on “Cam- eron,” and Harrington on “Haden,” both works of great importance, and to the brochures and other works by and about Whistler. STATEMENT AS TO OWNERSHIPS The property herein consigned consists of either the whole, or a part of the collections of the following,— H. V. JONES, ESQ., of Minneapolis, Minnesota. MRS. MARGARET F. EVERIT, of Newark, New Jersey. The late MRS. WILLIAM H. REID, of New Canaan, Connecticut. Sold by order of William H. Reid, Esq., Executor. The late JOHN HENRY OSBORNE, of Auburn, New York. JAMES C. McGUIRE, ESQ., of New York City. STANLEY LUTWYCHE, ESQ., of Brighton, England. A WELL-KNOWN NEW YORK BANKER. A NEW YORK COLLECTOR. A NEW YORK COLLECTOR, Sold by order of an agent. AN ENGLISH COLLECTION. The items belonging to each consignor are set down in the following schedule,— The property of H. V. JONES, ESQ., of Minneapolis, is herein catalogued under Numbers,—111, 112, 113, 114, 115, 116, 117, 118, 119, 125, 124, 125, 126, 127, 180, 181, 1383, 184, 185, 186, 137, 138, 139, 141, 142, 145, 146, 147, 148, 149, 150, 152, 154, 156, 157, 159, Popol ete. 176, 177, 179, 181, 182, 183, 184, 185, 190, 192, 194, 195, 197, 199, 203, 205, 208, 209, 211, 213, 214, 214a, 215, 216, 217, 218, 220, 221, 222, 225, 226, 227, 228, 229, 230, 281, 2382, 233, 234, 238, 241, 243, 244, 247, 249, 250, 251, 252, 253, 255, 256, 257, 258, 260, 261, 263, 264, 265, 266, 267, 268, 269, 2771, 2772, 2'73, 274, 275, 276, 277, 278, 279, 280, 281, 282, 288, 284, 285, 286, 287, 288, 289, 292, 298, 294, 295, 297, 299, 302, 308, 304, 305, 306, 307, 308, 309, 310, 311, 312, 313, 314, 315, 316, 317, 318, 319, 320, 321, 322, 324, 325, 327, 328, 332, 333, 334, 335, 336, 337, 338, 339, 340, 341, 342, 343, 344, 345, 346, 347, 348, 349, 3850, 351, 352, 353, 354, 355, 356, 357, 358, 359, 360, 361, 362, 363, 365, 366, 367, 368, 369, 370, 371, 372, 373, 375, 376, 377, 378, 379, 380, 381, 382, 386, 387, 388, 389, 390, 393, 395, 396, 397, 398, 399, 400, 401, 403, 404, 405, 406, 407, 408, 409, 412, 418, 414, 415, 416, 417, 418, 419, 420, 421, 422, 428, 424, 425, 426, 427, 428, 439, 4538, 454, 458, 459, 460, 462, 464, 483, 484, 485, 486, 487, 488, 489, 495, 498. The property of MRS. MARGARET F. EVERIT, of Newark, New Jersey, is herein catalogued under Numbers,—140, 158, 161, 173a, 178, 235, 287, 239, 240, 242, 245, 246, 248, 259, 262, 262a, 262b, 262c, 266a, 270, 290, 291, 296, 298, 301, 326, 829, 330, 364, 394, 402, 411. 436, 446, 448, 452, 456, 465, 466, 467, 468, 469, 470, AT1, 472, 473, AT4, 475, 476, 477, 478, 479, 480, 481, 482, 492, 504, 506. The property of the late MRS. WILLIAM H. REID, of New Canaan, Connecticut, is herein catalogued under Numbers,—2, 3, 4, 6, 7, 8, 9, 10, 12, 18, 16, 17, 18, 19, 20, 21, 27, 2oeeee, 30, 31, 82, 33, 34, 35, 36, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, 58, 54, 55, 56, 57, 58, 59, 60, 61, 62, 68, 64, 65, 66, 67, 68, 69, 70, 71, 72, 78, 74, 75, 76,77, 78, 79, 80, Sl; aes ae 86, 87, 88, 89, 90, 91, 93, 94, 95, 96, 98, 100, 104, 105, 323. The property of the late JOHN HENRY OSBORNE, of Auburn, New York, is herein catalogued under Numbers,—191, 196, 200, 202, 204, 206, 207, 210, 383, 384, 385. The property of JAMES C. McGUIRE, ESQ., of New York City, is herein catalogued under Numbers,—143, 151, 158, 155, 162, 163, 164, 165, 166, 167, 168, 169, 170, 171, 172, 178, 212. The property of STANLEY LUTWYCHE, ESQ., of Brighton, England, is herein catalogued under Numbers,—254, 429, 430, 431, 432, 438, 434, 435, 487, 438, 440, 441, 442, 443, 444, MAB, 447, The property of a WELL-KNOWN NEW YORK BANKER is herein catalogued under Numbers,—109, 110, 128, 129, 1382, 186, 187, 188, 189, 223, 224, 891, 392, 410, 455. The property of a NEW YORK COLLECTOR is herein catalogued under Numbers,—l, 5, 11, 14, 15, 22, 23, 24, 25, 26, 37, 82, 92, 97, 99, 101, 102, 103, 106, 107, 108. The property of a NEW YORK COLLECTOR, sold by order of an agent, is herein catalogued under Numbers,—144, 193, 198, 374, 449, 450, 451, 457, 461, 468, 490, 491, 4938, 496, 497, 500, 501, 503, 507, 510. The property of an ENGLISH COLLECTOR is herein catalogued — under Numbers,—120, 121, 122, 180, 201, 219, 236, 331, 494, 499, 502, 505, 508, 509. | 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 benetit 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 aniount 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 oily 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 remoyed 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 “fas 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 BY ORDER OF THE VARIOUS COLLECTORS AND OWNERS HEREINBEFORE DESIGNATED First Session, Numbers 1 to 173a, inclusive MONDAY EVENING, JANUARY 29th, Mie 8215.0 ' CLOCK MEZZOTINTS BY MODERN ENGRAVERS, PRINTED IN COLORS ALL FINE IMPRESSIONS Without defects, artistically framed in gold or bronze frames. [Numbers 1 to 98, inclusive | THOMAS G. APPLETON Modern mezzotint engraver. APPLETON, THOMAS G. 1. Jonn Cuarres, Lory ALTHORP. After Sir Joshua Reynolds. Framed. Mezzotint. SIGNED PROOF, PRINTED IN Se \ COLORS. APPLETON, THOMAS G. O 2. Lapy Hamitron as THE SHEPHERDESS. Mezzotint. ai“ After George Romney. SIGNED PROOF, PRINTED IN COL- \ ors. Framed. APPLETON, THOMAS G. 8. Lavy PetHam C.uinTON. i! After Sir Joshua Reynolds. ve cotors. Framed. Mezzotint. SIGNED PROOF, PRINTED IN First Session, Monday Evening, January 29th HUGO H. BANNER Modern mezzotint engraver. BANNER, HUGO H. 4. Mrs. Wourr. Mezzotint. After Sir Thomas Lawrence. Si1GNED PROOF, PRINTED IN cotors. Framed, with wide margins. BANNER, HUGO H. 5. Miss Farren. Mezzotint. After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN cotors. Framed. ra) CHARLES BIRD Modern mezzotint engraver. BIRD, CHARLES 6. Mona Lisa. Mezzotint. After Leonardo da Vinci. SIGNED PROOF, PRINTED IN COL- ors. Framed. BIRD, CHARLES Y. Lapy SuHeEeFFrireLp. Mezzotint. After Gainsborough. SicNED PROOF, PRINTED IN COLORs. Framed. BIRD, CHARLES 8. RempBranpt’s Mitzi. Mezzotint. After Rembrandt. S1iGNeEpD PROOF, PRINTED IN COLORS. Framed, with wide margins. BIRD, CHARLES 9. Tur AvEeNvE or Trees. Mezzotint. / After M. Hobbema. SiGNED PROOF, PRINTED IN COLORS. Framed. First Session, Monday Evening, January 29th W. G. BLACKALL Modern mezzotint engraver. BLACKALL, W. G. 10. Grorcrt Gisze. Mezzotint. After Holbein. SIGNED PROOF, PRINTED IN COLORS. Framed. M. CORMOCK Modern mezzotint engraver. CORMOCK, M. 11. Mrzrx Map anp Cownerp. Mezzotint. After George Morland. SigNED PROOF, PRINTED IN coLors. Framed. T. HAMILTON CRAWFORD Modern mezzotint engraver. CRAWFORD, T. HAMILTON 12. WonpeERLAND. Mezzotint. After L. Walker. S1GNED PROOF, PRINTED IN COLORS. Framed. ; S. ARLENT EDWARDS Contemporary mezzotint engraver. Reintroduced color-printing in Amer- ica in 1900. Said to be the only artist who, himself, performs every step in the production and distribution of the colored print. His colors are blended by himself on the plate, and he rocks each plate in a manner most suitable to his subject. ur spi EDWARDS, S. ARLENT 18. La Bette FerronniereE. Mezzotint. Butler, No. 37. After Leonardo da Vinci. SIGNED PROOF, PRINTED IN coLtors. Framed. First Session, Monday Evening, January 29th EDWARDS, S. ARLENT 14. Mrs. Davenport. Mezzotint. Butler, No. 39. After George Romney. SIGNED PROOF, PRINTED IN COLORS. Framed. EDWARDS, S. ARLENT 15. CounttEss oF Mrxporovucu. Mezzotint. v Wy Butler, No. 46. ek After John Hoppner. SieNED PROOF, PRINTED IN COLORS. Lt Framed. EDWARDS, S. ARLENT 16. Maponna. Mezzotint. Butler, No. 55. After Perugino. SicNED PROOF, PRINTED IN COLORS. Framed. EDWARDS, S. ARLENT 17. Exvirna. Mezzotint. Pe: Butler, No. 59. a After Pierre de la Francesca. SrGNED ARTIST’S PROOF, PRINTED IN coLors. Framed, with wide margins. EDWARDS, S. ARLENT 18. Maponna. Mezzotint. 5° Butler, No. 638. Ye nt . . >) After B. Luini. SigNep prooF, PRINTED IN COLORS. 2 Framed. EDWARDS, S. ARLENT peg. SmmoNETTA Vespucci. Mezzotint. fe Butler, No. 67. After Pollajuolo. Stenep PROOF, PRINTED IN COLORS. Framed, with wide margins. o™~ EDWARDS, S. ARLENT 20. Martin Van NiEUWENHOVE. Mezzotint. Butler, No. 72. pes After Hans Memling. SigNEep PROOF, PRINTED IN COLORS. \) Framed. \ / First Session, Monday Evening, January 29th EDWARDS, S. ARLENT 9 21. Louise pe Bourson, Ducuesst DE Maint. Mezzotint. ‘ Butler, No. 74. » After Mignard. SigNED PROOF, PRINTED IN COLORS. Framed. EDWARDS, S. ARLENT 22. Mrs. Luoyp. Mezzotint. a b* After Sir Joshua Reynolds. SigNED PROOF, PRINTED IN cotors. Framed. EDWARDS, S. ARLENT 23. SopuiE Arnovuup. Mezzotint. : After Gerard. SIGNED PROOF, PRINTED IN COLORS. y) Framed. EDWARDS, S. ARLENT 24. Marize ANTOINETTE. Mezzotint. f ov ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND \? COLORED IN Mr. Epwarps’ EARLY sTYLE. Framed. EDWARDS, S. ARLENT 25. DucHEss OF DEVONSHIRE AND Cutip. Mezzotint. ~ After Sir Joshua Reynolds. Artist PROOF, SIGNED AND D° PRINTED ON THIN PAPER AND COLORED IN Mr. Epwarps’ EARLY STYLE. Framed. EDWARDS, S. ARLENT 26. Cuez Dinvrerot. Mezzotint. ARTIST PROOF, SIGNED AND PRINTED ON THIN PAPER AND Uy, COLORED IN Mr. Epwarps’ EARLY STYLE. Framed. v H. T. GREENHEAD Modern mezzotint engraver. GREENHEAD, H. T. 27. Barspara. Mezzotint. - After George Morland. SiGNED PROOF, PRINTED IN COL- a ors. Framed. First Session, Monday Evening, January 29th GREENHEAD, H. T. 28. Doris. Mezzotint. Bae After George Morland. Ure xi ors. Framed. Ke GREENHEAD, H. T. 29. Janet. Mezzotint. A 0 7 / i ors. Framed. GREENHEAD, H. T. 30. Mapncr. Mezzotint. 3 After George Morland. ” ; ors. Framed. | GREENHEAD, H. T. 31. [Marcarer.| Mezzotint. After George Morland. ors. Framed. os GREENHEAD, H. T. 32. Mitty. Mezzotint. After George Morland. ors. Framed. yy After George Morland. SIGNED SIGNED SIGNED SIGNED SIGNED EK. GULLAND Woman engraver in mezzotint. GULLAND, E. 33. ViscounTEss ALTHORP. Mezzotint. After Sir Joshua Reynolds. PROOF, PROOF, PROOF, PROOF, PROOF, Modern school. " ; cotors. Framed. » GULLAND, E. 34. Mrs. Stewart or Puyseity. Mezzotint. / After Sir Thomas Lawrence. coLtors. Framed. PRINTED PRINTED PRINTED PRINTED PRINTED IN IN IN IN COL- COL- COoL- COL- COL- SIGNED PROOF, PRINTED IN SIGNED PROOF, PRINTED IN First Session, Monday Evening, January 29th DRMNnas ee ee -GULLAND, E. i 35. Lapy Sera Merave. Mezzotint. After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN { | cotors. Framed. GULLAND, E. 36. Lapy Waxprcrave. Mezzotint. p After Sir Joshua Reynolds. SicNED PROOF, PRINTED IN \ 7/ cotors. Framed. E. L. HAYNES Modern mezzotint engraver. HAYNES, E. L. p 37. SUMMER. Mezzotint. Ad SIGNED PROOF, PRINTED IN coLors. Framed. n° vo. WILL HENDERSON Modern mezzotint engraver. HENDERSON, WILL Be 88. Cuerry Riez. Mezzotint. 4? After Millais. SigNeED PROOF, PRINTED IN COLORS. : Framed. HENDERSON, WILL 39. Mrs. Norru. Mezzotint. After George Romney. SIGNED PROOF, PRINTED IN COLORS. 69 “t Framed. HENDERSON, WILL 40. Tue Per Rapstr. Mezzotint. / After Corteaux. SIGNED PROOF, PRINTED IN COLORS. a : Framed. HENDERSON, WILL 41. MapEMOISELLE DE BLIVEs. Mezzotint. After J. M. Nattier. SriGNED PROOF, PRINTED IN COLORS. Framed, with wide margins. ” First Session, Monday Hvenng, January 29th HENDERSON, WILL 42. MapamME DE LA Porte. Mezzotint. / After J. M. Nattier. SigNep PRooF, PRINTED IN COLORS. dD’ Framed, with wide margins. oO HENDERSON, WILL 43. Lapy’s Porrrarr. Half-length. After Sir Joshua Reynolds. Siegnep PROOF, PRINTED IN vi yf cotors. Framed. G. M. HESTER Modern mezzotint engraver. HESTER, G. M. ye 44. Countess or Euston. Mezzotint. AY, After John Hoppner. SicNep pRooF, PRINTED IN COL \| : ors. Framed. HESTER, G. M. 45. Lapy CHartorre CampsBety. Mezzotint. pp. SIGNED PROOF, PRINTED IN cCoLors. Framed. EK. T. HUBBARD Modern mezzotint engraver. HUBBARD, E. T. 46. Lapy Hamitron as a Baccnante. Mezzotint. After George Romney. SigNep PROOF, PRINTED IN COL- 4? i ors. Framed. HUBBARD, E. T. 47. Nett Gwynn. Mezzotint. After Sir Peter Lely. Sienep proor No. 29, printTED IN Vy oe, cotors. Framed. yc First Session, Monday Evening, January 29th CLIFFORD R. JAMES Modern mezzotint engraver. JAMES, CLIFFORD R. 3, 48. Countess or WestmeEAtTH. Mezzotint. 6: After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN ; cotors. Framed. JAMES, CLIFFORD R. yo 49. Lapy Wittovcney pvE Eressy. Mezzotint. 7 After Lawrence. SIGNED PROOF, PRINTED IN COLORS. > a Framed. JAMES, CLIFFORD R. py 50. Lapy Enizaspetu Ler. Mezzotint. © ° After Sir Joshua Reynolds. SicNepD PROOF, PRINTED IN Mo) cotors. Framed. JAMES, CLIFFORD R. f° 51. Perwcess Metrernicu. Mezzotint. After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN , a? coLors. Framed. JAMES, CLIFFORD R. 52. Tue Departure For Scuoot. Mezzotint. 4 After W. R. Bigg. SiagNeED PROOF, PRINTED IN COLORS. , et Framed. JAMES, CLIFFORD R. 53. Tue Rerurn rrom Scuoor. Mezzotint. Text y After W. R. Bigg. SicNED PROOF, PRINTED IN COLORS. » : Framed. w F. MARRIOTT Modern mezzotint engraver. MARRIOTT, F. 54. Courryarp, CaEN. Mezzotint. ed SIGNED PROOF, PRINTED IN coors. Framed. 4 ik First Session, Monday Evening, January 29th MARRIOTT, F. 55. Bruces, Betctum. Mezzotint. SIGNED PROOF No. 16, PRINTED IN cotors. Framed. PD , / t. } a) PERCY MARTINDALE o Modern mezzotint engraver. MARTINDALE, PERCY +” 56. AcE or Innocence. Mezzotint. ID After Sir Joshua Reynolds. SicNep PROOF, PRINTED IN ) ‘ A+ cotors. Framed. ? 2 MARTINDALE, PERCY 40 57. Simpuiciry. Mezzotint. , ane After Sir Joshua Reynolds. Siegnep proor, PRINTED IN /) ) cotors. Framed. . MARTINDALE, PERCY 58. Lapy’s Porrrarr, half-length, seated, curtain in background A and water showing on left. Mezzotint. ra ae SIGNED PROOF, PRINTED IN coLors. Pub. 1911, by Chas. | . Dunworth. Framed. FRED MILLAR Modern mezzotint engraver. MILLAR, FRED 59. Giovanni Axpizz1. Mezzotint. cer’ After Ghirlandaio. SicNED PROOF, PRINTED IN COLORS. 7 Framed. MILLAR, FRED 60. Mrs. Hasperrretp. Mezzotint. Ys SIGNED PROOF, PRINTED IN coLtors. No. 218. Small folio. Framed. First Session, Monday Evening, January 29th MILLAR, FRED > 61. Fountain or Love. Mezzotint. fi After Fragonard. SIGNED PROOF, PRINTED IN COLORS. Framed, with wide margins. MILLAR, FRED 62. Mrs. Roxprnson as Perprra. - Mezzotint. < | After George Romney. SicNep proor, No. 195, PRINTED |: vi iN cotors. Framed, with wide margins. MILLAR, FRED 63. Mrs. Rosryson. Mezzotint. A After Gainsborough. S1iegNep proor No. 180, PRINTED Y/ in coLtors. Framed, with wide margins. “\ EK. MILNER Woman engraver in mezzotint. Modern school. MILNER, E. 64. Lapy CasriterEAcH. Mezzotint. Y After Sir Thomas Gainsborough. SIGNED PROOF, PRINTED iN cotors. Framed, with wide margins. MILNER, E. 65. Lapy Prerriz. Mezzotint. ¥ After Gainsborough. S1GNED PROOF, PRINTED IN COLORS. a’ Framed, with wide margins. MILNER, E. 66. Master Lampron. Mezzotint. cy, After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN 4 , . coors. Framed. MILNER, E. 67. Mapame Lovisr. Mezzotint. After J. M. Nattier. SIGNED PROOF, PRINTED IN COLORS. & Small folio. Framed, with wide margins. in First Session, Monday Evening, January 29th MILNER, E. 68. AnNE Lampron anp Famity. Mezzotint. After John Hoppner. SieNep PROOF, PRINTED IN COLORS. c Framed. ed, MILNER, E. 69. THe Renearsat IN THE Park. Mezzotint. After Nicolas Lancret. SigNED PROOF, PRINTED IN COL- rs ors. Framed. ,? : / (¢ PAYREAU f z Modern mezzotint engraver. PAYREAU 70. Carouine, Countess oF Caruiste. Mezzotint. After George Romney. SiGNep PROOF, PRINTED IN COL- ? ors. Framed. 4 ore : H. MACBETH RAEBURN Modern mezzotint engraver. RAEBURN, H. MACBETH 0 V1. A Vistr ro GRANDMOTHER. Mezzotint. ; ee After Northcote. SigNep PROOF, PRINTED IN COLORS. 4? Framed. RAEBURN, H. MACBETH 72. A Vistr To GRANDFATHER. Mezzotint. | After Northcote. SigNED PROOF, PRINTED IN COLORS. ait Framed. J. P. SABIN Modern mezzotint engraver. SABIN, J. P. 73. MapamMer pE CLtErMont. Mezzotint. / After Nattier. SIGNED PROOF, PRINTED IN COLORS. Framed. First Session, Monday Evening, January 29th HERBERT SEDCOLE Modern mezzotint engraver. SEDCOLE, HERBERT 74. Narure (The Calmaday Children). Mezzotint. After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN / cotors. Small foio. Framed. —e y Toe A ALFRED SKRIMSHIRE Modern mezzotint engraver. SKRIMSHIRE, ALFRED © 75. MEtBourRNE CurItpREN. Mezzotint. oc After Sir Joshua Reynolds. SiGNED PROOF, PRINTED IN }{ coLors. Framed. SKRIMSHIRE, ALFRED “6. Tue SrrawBerry Giri. Mezzotint. er After Sir Joshua Reynolds. SicgNED PROOF, PRINTED IN 1 = cotors. Framed. ~ SKRIMSHIRE, ALFRED w7 A Boy anp Rassit. Mezzotint. 3 After Sir Henry Raeburn. SIGNED PROOF, PRINTED IN COL- > oe 4 ors. Framed. <4? SKRIMSHIRE, ALFRED “8. Boy witn Guirar. Mezzotint. fast SIGNED PROOF, PRINTED IN coLors. Framed. Beh 7 SKRIMSHIRE, ALFRED 79. Serrine Sun. Mezzotint. After George Romney. SIGNED PROOF, PRINTED IN COLORS. gst f Framed. First Session, Monday Evening, January 29th RICHARD SMYTHE Modern mezzotint engraver. SMYTHE, RICHARD 80. Lapy ExizaneruH Conyncuam. Mezzotint. | | After Sir Thomas Lawrence. SigNED PROOF, PRINTED IN \ cotors. Framed. ~ Se oe — SMYTHE, RICHARD fa 81, Lapy CoxnyneHam anp Curtp. Mezzotint. — a After Sir Joshua Reynolds. SigNep PROOF, PRINTED IN eo ee coors. JIarge folio. Framed. oe. SMYTHE, RICHARD 82. CountEss oF HarEwoop. Mezzotint. 2 After John Hoppner. SIGNED PROOF, PRINTED IN COLORS. j Lh Framed. Yet SMYTHE, RICHARD 83. Lapy Fremimne. Mezzotint. Pye After Sir Joshua Reynolds. SicgNep pRooF, PRINTED IN A se cotors. Framed. SMYTHE, RICHARD 70 84. Harrincron Famity. Mezzotint. A ey After Sir Joshua Reynolds. SigNep PROOF, PRINTED IN i) ce 2D cotors. Framed. SMYTHE, RICHARD 85. Lapy Incuieurxn. Mezzotint. | oe After Sir Thomas Lawrence. SIGNED PROOF, PRINTED IN fe je hey coors. Framed. SMYTHE, RICHARD 86. Lapy’s Porrrarr, half-length. Mezzotint. 0 | After Sir Joshua Reynolds.] SicNEp PROOF, PRINTED IN cotors. Published by Connell, 1910. Framed. First Session, Monday Evening, January 29th F. G. STEVENSON Modern mezzotint engraver. STEVENSON, F. G. . y 87. Mrs. Davenport. Mezzotint. \ After George Romney. SIGNED PROOF, PRINTED IN COL- ors. Framed. ; STEVENSON, F. G. 88. Curtpren Baruine. [The Hoppner Children.] Mezzotint. of After John Hoppner. SIGNED PROOF, PRINTED IN COLORS. , d- Framed. STEVENSON, F. G. & 89. Juvenite Retirement. [The Douglas Children.] Mezzotint. 4 After John Hoppner. SigNED PROOF, PRINTED IN COLORS. 42 ; Framed. STEVENSON, F. G. 90. Maponna Detua Sepia. Mezzotint. Ae After Raphael. SigNED PROOF, PRINTED IN COLORS. Ze t Framed. R. W. STEWARD Modern mezzotint engraver. STEWARD, R. W. 91. Mrs. Berri. Mezzotint. After Sir Henry Raeburn. SicNED PROOF, PRINTED IN coLtors ON Inpra PAPER. Framed. / EK. STODART Modern mezzotint engraver. STODART, E. 92. Miss Mruts. Mezzotint. After Ward. SIGNED PROOF, PRINTED IN coLors. Framed. + Colored reproduction after E. L. Henry. Framed. COLOR-PRINT AFTER E. L. HENRY z, 101. First American Rariroap Trarn. a Colored reproduction after E. L. Henry. Framed. 7] COLOR-PRINT AFTER REMBRANDT VAN RIJN 102. Man rw Armor. Oy After Rembrandt. Colored reproduction. Published by |. Hanfstaengl. Framed. COLOR-PRINT AFTER ANTHONIE VAN DYCK ‘ 103. Wriiiiam II. or Orance. After Van Dyck. Colored reproduction. Published by ? Hanfstaengl. Framed. COLOR-PRINT 7 104. Suspsecr arrerR Prero Detita Francesca. Gold frame. ww COLOR-PRINT 105. Brarrice D’Este. Italian color-print. Gold frame. COLOR-PRINT 106. CurvesrE Warer-cotor Drawines. ‘ag Four subjects in three frames. 7 COLOR-PRINT 107. View oF THE Roya Excuancet, Lonpon. Original colored impression, published by Laurie & Whittle, / 1794. ee oo ea 2 First Session, Monday Evening, January 29th COLOR-PRINT 108. Vue pu Poxr Nevr; Arc pE TRIoMPHE DE L’ETOoILe. Old colored lithographs by Lemercier. Together, 2 pieces. ANDREW F. AFFLECK Contemporary English etcher. AFFLECK, ANDREW F. LO 109. Doorway, Sanra Cruz. Etching. Signed in pencil,—‘‘Andrew F. Affleck.” Ina hand carved gold frame. AFFLECK, ANDREW F. 110. Torepo Carnepray. Etching. Signed in pencil,—“‘Andrew Affleck.” In a hand carved gold frame. JAN ALMELOVEEN “Dutch painter and engraver of Mvdrecht, near Utrecht, flourished towards the close of the 17th Century. He is better known by some etchings of landscapes, executed with great lightness and intelligence, after the manner of Saftleven, than by anything he has left us as a painter.”—BRYAN’S “Dictionary of Painters and Engravers.” ALMELOVEEN, JAN 111. View or River wirh Boats 1x Forecrounn. Etching. Bartsch, No. 30. Signed in the left hand margin,—‘Jan Almeloven Inv. et fecit.” ADOLPHE APPIAN French painter and etcher. Born at Lyons in 1819; died there in 1898. Pupil of Corot and Daubigny. “My admiration for Appian’s work as an etcher (he is a charming painter also) was already great several years ago, but the more I see how rare his qualities are in contemporary art, or in any art the more I feel disposed to value them.”’—Pp. G. HAMERTON. APPIAN, ADOLPHE 112. Borp pu Lac. Etching. Signed in upper left corner of plate, “Appian.” Fine EARLY PROOF. First Session, Monday Evening, January 29th APPIAN, ADOLPHE 118. A GorcE pE Loup, Environs pE Lyon. Etching. 7 FINE EARLY PROOF. ALBERT BAERTSOEN Contemporary Belgian etcher. Born in 1866; living in Ghent. BAERTSOEN, ALBERT 114. Vieux Ovats. Etching. Signed in pencil,—‘‘A. Baertsoen.”’ / \\ MARIUS A. J. BAUER Contemporary Dutch artist. Born at The Hague in 1867. Renowned for his delineation of the spirit of the Orient. “How admirably, are cities and their populace rendered by this artist, sensitive, keen-eyed, full of the spirit of his subjects, sensing the move- ment, the gesture, the action, and knowing cunningly how to give his im- pressions outward form.”—PHILIPPE ZILKEN. BAUER, MARIUS A. J. 115. Persian Festivat. Etching. Van Wisselingh, No. 209. - >) Signed in pencil,—“M. Bauer.” ? A “With his assistance, we live again through fateful stories of love 8 8 ey and intrigue; with his help we stand aside and watch processions streaming out of palaces, and mosques, or pacing through a narrow street or along some open causeway.”—A. TOMSON. BAUER, MARIUS A. J. 116. Srreer ww Catro. Etching. / \ Van Wisselingh, No. 220. \ Signed in pencil, with the initials,—“M. B.” BAUER, MARIUS A. J. 117. Tue Hory Ganecers. Etching. Van Wisselingh, No. 222. Signed in pencil,—‘M. Bauer.” Rare anp FINE. “For the most part he gives in his pictures the impression of a thickly populated place; of a place where people live lives full of a incident; of a place where to men all things are possible; where C beggary or sudden prosperity, a first meeting with the loveliest of women, or violent death, may fall to a man’s lot at any corner.”— / A. TOMSON. [See Reproduction | Zoe (ON “Ybuyassr1y, WO A—'SHONVY) ATOPY FHT, | YWaHOVE CV SOTUVI First Session, Monday Evening, January 29th BAUER, MARIUS A. J. 118. Maarryp. Etching. Not in Van Wisselingh. °° n Etched in 1898. Signed on the plate, and in pencil,—“M. ¢ ; ys Bauer.” BAUER, MARIUS A. J. 119. On rHEe Roors. Etching. Not in Van Wisselingh. Signed in pencil,—“M. Bauer.” EUGENE BEJOT Contemporary French etcher, born at Paris in 1865. “We turn to Béjot, an artist as individual as Lepére, but less demonstrative. Within narrower limits than Lepére he concentrates his thought and his work . . . Béjot makes the discovery that he has produced an ‘oewvre.’ It is to Paris— to his love of Paris—that he owes the greater part of it.”—FREDERICK WEDMORE. BEJOT, EUGENE 120. La Morcut, Pont St. Lovis. Etching. ’ Etched in 1905. Signed on the plate, and in pencil,— |. “Eug. Béjot.” Earty state. Ve BEJOT, EUGENE 121. Le Pont ve L’Arcuevicut. Etching. o, Etched in 1908. Signed on the plate, and in pencil,— / “Eug. Béjot.” BEJOT, EUGENE 122. Le Perit Bras pe 1a Serve. Etching. Signed in pencil,—“‘Eug. Béjot.” Proor PRINTED ON . BLUISH-GREEN PAPER. FINE AND RARE. Ka First Session, Monday Evening, January 29th BEJOT, EUGENE 123. Le Perit Bras pe va Serve. Etching. Signed in pencil,—‘Eug. Béjot.” FINE IMPRESSION ON ) i ay GREEN PAPER. = : ONE OF THE FINEST AND MOST CHARMING OF B&JoT’s ~ PLATES. DRAWN UPON IN PENCIL BY THE ARTIST. BEJOT, EUGENE 124. Pont Sarnt Louis. Etching. O Signed on the plate, and in pencil,—“‘Eug. Béjot.” Proor $7 PRINTED IN BROWNISH INK. EUGENE BLERY French landscape etcher. Born at Fontainebleau in 1805; died at Paris in 1887 . . . He was Charles Meryon’s only teacher, and the latter always had a great affection for his former master. BLERY, EUGENE 125. Les Perrrs Terrains. Etching. / Beraldi, No. 5. FINE IMPRESSION. NN ABRAHAM BLOOTELING Dutch draughtsman, line engraver and mezzotinter. Born at Amsterdam, 1634; died some time after 1685. Pupil of Cornelis Van Dalen. ; BLOOTELING, ABRAHAM 126. Apranam Hermanus. Line-engraving. Wessely, No. 16. | Engraved after the painting by J. Sievens. Signed on the lower margin,—‘‘4. Blooteling sculp.” 'Two tears in upper left corner. From the Ambrose Firmin Didot and Louis Galichou collections. —— First Session, Monday Evening, January 29th MINNA BOLINGBROKE Contemporary English woman etcher; wife of the etcher C. J. Watson; lived at Norwich and London. BOLINGBROKE, MINNA 127. A Corner oF THE Piazzetra. Etching. Etched in 1900. Signed on the plate, and in pencil,— oY “Minna Bolingbroke.” ) WILLIAM BOND Engraved many of the portraits by Sir Joshua Reynolds, and is believed to have died early in the 19th century. He was Governor of the “Society. of Engravers.” BOND, WILLIAM 128. Tur Younc Girsry. Stipple engraving. After Barker. Prixrep 1x coors, and retouched by = hand. Lerrer proor. SPLENDID IMPRESSION, with small ° margins outside the plate mark. ae eee of : - a sgn Companion piece to “The Little Forester.” jo BOND, WILLIAM 129. Tur Lirrte Forester. Stipple engraving. After L. S. Bond. Prixrep 1 corors, and retouched by f+, hand. Lerrer proor. Fine rrpression, cut on the plate & ey OE al line. A few small rust spots. Companion piece to “The Young Gipsey.” MUIRHEAD BONE Contemporary Scotch etcher. Born in 1876 near Glasgow; living in London. He has achieved renown by his subtle drypoints and masterful drawings. “One of the most artistic of all the British etchers, a consummate master of the drypoint medium.’—nerman struck, in Die Kunst des Radierens. BONE, MUIRHEAD 130. Tue Fosse, Lincotn. Drypoint. Dodgson, No. 184. Signed on the plate, and in pencil,—‘Muirhead Bone.” / ExTREMELY RARE. Onty 18 PROOFS PRINTED. First Session, Monday Evening, January 29th JAN BOTH “The most conspicuous and important man in the Arcadian group is Jan Both. He was a man of Utrecht, where he was born in 1600, and where he died in 1652. Quite young he left the studio of his master Bloemart and traveled through France to Rome. There the soft sunshine of Claude fascinated him and he began to follow in the footsteps of that famous painter.”—LAURENCE BINGON. BOTH, JAN 131. Le Granp Arsre. Etching. Bartsch, No. 3. Signed on upper right corner of the plate,—‘Both fe.” A First STATE BEFORE THE ADDRESS OF MATHAM. 7| ' From the collection of W. Bell Scott. FRANCOIS BOUCHER Born at Paris in 1703; died there in 1790. By his paintings and his designs for engravers, he dominated the artistic tendencies of his period. BOUCHER, FRANCOIS 132. TérE pe Femme. Drawing. Drawing with colored crayon on brownish paper. Framed. Ao eee From the Peoli collection. / Pad ey FELLX BRACQUEMOND French etcher. Born at Paris in 1833; died in 1915. Technically he was one of the most consummate etchers ever known. At the time of his death he was the dean of French engravers. He numbered among his friends all the great artists of his time, many of whom he assisted with instruc- tion and advice. BRACQUEMOND, FELIX 133. La Nuts p’Oracre. Etching. oY Beraldi, No. 219. 4 Frye Earzty impression. Signed on the plate, and in pen- i cil,—‘Bracquemond.” BRACQUEMOND, FELIX 134. Le Lac. Etching. Beraldi, No. 287. 5 Etched after the painting by Corot. Signed on the mar- gin,x—‘‘Bracquemond, sc.” First Session, Monday Evening, January 29th er ce ee OUEST eee BRACQUEMOND, FELIX 135. Le Sor. Etching. Beraldi, No. 342. Etched after the painting by Theodore Rousseau. Signed in ink,—“Bracquemond.” F EarLy PROOF ON JAPAN PAPER BEFORE THE PUBLISHED r\ a STATE. 5 PROOFS ONLY. PRESENTATION PROOF TO PauUL Mantz, THE GOVERNMENT INSPECTOR OF FINE ARTS. FELIX BUHOT French etcher. Born at Valognes, Normandy, 1847; died.at Paris in 1898. “Let us say at once that Buhot—painter and etcher, is above all a poet. His technique is assuredly far from being simple. But he is free. He is not the slave of rules and formular. The world at large cannot fail to admire the form of his message.”—LEONA BENEDITE. BUHOT, FELIX / 7-186. Au Fit p’Eav. Etching. » : Bourcard, No. 5. Etched after G. Jundt. BUHOT, FELIX 187. L’Aneetus. Etching. Bourcard, No. 72. 0 Be Signed in pencil,—‘Feli2 Buhot.” Bowurcaryp’s THIRD \P sTATE, with added line work in sky and trees. BUHOT, FELIX 138. Le Bas Hamer. Aquatint. Bourcard, No. 107. / Stamped with Buhot’s special stamp. An illustration of 5 b “Une Vieille Maitresse.”’ BUHOT, FELIX 139. Le Rerovr pes Artistes. Etching. Bourcard, No. 125. First state. Four proors onty. Signed on the plate, ) yy (and in pencil,—“Felia Buhot.” First Session, Monday Evening, January 29th BUHOT, FELIX 140. Les Perires Cuaumiires. Drypoint. Bourcard, No. 149. Aas /) Signed on the plate,—‘‘Feliz Buhot,” and in pencil,— : Ni oe | a “F. B.” BEAUTIFUL IMPRESSION, PRINTED BY THE ARTIST. IN PERFECT CONDITION. BUHOT, FELIX ,o 141. Le Secret pe Mairre Corneitre. Etching. ames Beraldi, No. 111. SY : Signed on the plate,—“F. Buhot.” Etched with sym- phonic margin. BUHOT, FELIX 142. Les Ores. Etching. ) . me Beraldi, No. 166. ferns Signed in pencil,—‘“‘epreuve d’artiste Felia Buhot.” Fine ree IMPRESSION. Mas SS DAVID YOUNG CAMERON Celebrated contemporary Scotch painter and engraver. Born at Glasgow in 1865. “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.”—¥YREDERICK KEPPEL. CAMERON, DAVID YOUNG 148. Upper Crypr Vautiry. Etching. Rinder, No. 31. Etched in 1889. One of the Clyde Set, published in 1890 ( D° in 22 sets. Signed on the plate, and in pencil,—‘D. Y. . Cameron.” Printed by F. Goulding, and so signed by him in pencil,—‘*F’. Goulding, imp.” CAMERON, DAVID YOUNG 144. Upper Crypr Vatiey. Etching. Rinder, No. 31. Be . One of the Clyde Series published in 1890 in 22 sets. / \0 Signed on the plate, and in pencil_—‘D. Y. Cameron.” o Proor printed by F. Goulding, and so signed by him. First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG 145. Sounp or Kitprannon AND Entrance tro Locu Fyne. Etching. _ 24 Rinder, No. 45. a Signed on the plate, and in pencil,—‘D. Y. Cameron.” IMPRESSION PRINTED BY THE MASTER-PRINTER, FREDERICK GouLDING, AND SO SIGNED BY HIM IN PENCIL,—‘‘F’. Gould- ing imp.” CAMERON, DAVID YOUNG 146. Perru. Etching. | Rinder, No. 72. \ Etched in 1890. Signed on the plate, and in pencil,— | “D. Y. Cameron.” CAMERON, DAVID YOUNG 147. Wuire Hovsr Criose. Etching. * Rinder, No. 86. Signed on the plate, and in pencil,—“D. Y. Cameron.” CAMERON, DAVID YOUNG 148. Tue Winpmity. Etching. Rinder, No. 1381. . Etched in 1892. Signed on the plate, and in pencil,— b “Dt. Y. Cameron.” One of the “North Holland Set.” Ten complete sets and a few additional impressions. i / FINE. Ta CAMERON, DAVID YOUNG / 149. Lecrorr. Etching. \ - Rinder, No. 177. es Etched in 1893. Signed on the plate, and in pencil,— D. Y. Cameron.” About twelve impressions. VERY RARE. CAMERON, DAVID YOUNG 150. A Borper Town. Etching. Rinder, No. 196. Etched in 1894. Signed on the plate, and in pencil,— na “1D. Y. Cameron.” Fixe impression. Rare. ! First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG 151. Drysuren. Etching. Rinder, No. 282. Etched in 1896. Signed on the plate, and in pencil,— “D. Y. Cameron.” Fine IMPRESSION ON WIDE MARGINED PAPER. On September 26, 1882, Sir Walter Scott was interred here, in the tomb of his maternal ancestors, the Hali- burtons of Newmains, who at one time owned Dryburgh Abbey. CAMERON, DAVID YOUNG 152. Lepatc. Etching. Rinder, No. 278. Etched in 1897. Signed on the plate, and in pencil,— “D. Y. Cameron.” Srconp state before the plate was cut down. Rare. ‘CAMERON, DAVID YOUNG 153. “Yr Banks anp Brass.” Etching. Rinder, No. 279. Etched in 1897. Signed on the plate, and in pencil,— “D. Y. Cameron.” Srconp starr, before various dry- point touches. CAMERON, DAVID YOUNG 154. VaLe or THE CrypE. Etching. Rinder, No. 2838. Signed on the plate, and in pencil,—‘D. Y. Cameron.” VERY FINE. “As an etcher of landscape Cameron’s achievements are certainly not less, indeed as I think they are more, considerable, than in architecture. In the landscapes there may with greater surety be traced the way in which linear organization, design, emphasis of mass, and the whole technical equipment have ceased to be exploited as ends in themselves, but instead have increasingly been used as means toward the shaping of fundamentally expressive images.”— FRANK RINDER. First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG 155: Tue Horst Guarps. Etching. Rinder, No. 292. Be Etched in 1899. Signed on the plate, and in pencil,— ~ “TD. ¥Y. Cameron.” One of the London Set, published in i pit 1900, in 35 complete sets, and a few additional impressions. a First state, before additional work on building to extreme left. CAMERON, DAVID YOUNG 156. Tue Paxace or Joannis Darius. Etching. Rinder, No. 309. “ Y ~ Signed in pencil,—“D. Y. Cameron.” First starr BEFORE y THE LENGTHENING OF THE SHADOW OF THE DOORWAY IN THE rl WW WATER. EXTREMELY RARE. ‘?) ‘ : CAMERON, DAVID YOUNG 157. Ca D’Oro. Etching. a / Rinder, No. 310. a oy, Etched in 1900. Signed in pencil,—“D. Y. Cameron.” 4 x VERY FINE AND RARE. CAMERON, DAVID YOUNG : 158. Ca D’Oro. Etching. Rinder, No. 310. ul Signed in pencil,—‘D. Y. Cameron.” BEAUTIFUL RICH 7 IMPRESSION, ON JAPAN PAPER. IN PERFECT CONDITION. a bo EXTREMELY RARE. ONE OF THE ARTIST’S MASTERPIECES. 2 CAMERON, DAVID YOUNG 159. Excuo on tHE Tay. Etching. Rinder, No. 312. / Signed on the plate, and in pencil,—‘D. Y. Cameron.” Eariy sTATE, UNDESCRIBED BY Rinper. The plate is Vv" larger,—1014 x 18 15/16 inches; before the denser shad- iS : 4 ing on the trees to extreme left. “And of the landscapes, what? Here, even more than in other direc- ie) tions, perhaps, Cameron has come to substitute for a certain objective o/ impartiality, at first strongly tinged with the influence of Rembrandt, ~ a vision interpretive of a grave and haunting inner rhythm, a rhythm 0 sustained by abiding nostalgia for light and the message of light.”— \ , FRANK RINDER. ae \ ; ad y’ First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG ~« 160. THe Docr’s Patace. Etching. ( Rinder, No. 826. { Etched in 1902. Signed on the plate, and in pencil,— \ x xf ~ “D. Y. Cameron.” EXTREMELY RARE. oe “Cameron’s real theme is architecture. But it is Architecture EN charged—as Meryon’s Architecture in his Paris prints is charged ,, (and charged indeed beyond all else in the world)—with human , ' association.” —FREDERICK WEDMORE. [ See Reproduction] CAMERON, DAVID YOUNG 161. Cuartres. Etching. Rinder, No. 327. ie Signed on the plate, and in pencil,—‘“D. Y. Cameron.” W/, BEAUTIFUL IMPRESSION. EXTREMELY RARE. CAMERON, DAVID YOUNG 162. Hoven pre Sens, Paris. Etching. Rinder, No. 363. 4 7 Etched in 1904, Signed on the plate, and in pencil,— 9 : a “D. Y. Cameron.” FINE IMPRESSION. ly MS Ye“ The name commemorates the fact that in the fifteenth cen- ~ Y tury, when this hotel was built for the occupation of the Le Archbishops of Sens, Paris was under their ecclesiastical Cys ; jurisdiction. CAMERON, DAVID YOUNG 163. O_p Saumur. Etching. - Rinder, No. 371. _- Etched in 1905. Signed on the plate, and in pencil,— “D. VY. Cameron.” Fourtu state, before several em- phatic drypoint touches on street and steps to the left. Oxry 4 or 5 IMPRESSIONS OF THIS STATE, AND ONLY ABOUT 35 proors IN ALL. BEAUTIFUL IMPRESSION. Balzac in “Eugenie Grandet” graphically describes one of | the half-deserted quarters of Saumur. ‘ o : n/\ / > [onSoyez¥o sty} UT OOT ‘ON 226 ] 978 ‘ON ‘lapurgy—aovIvd §,a90q FHI, NOWHNVO DNOOA AIAVG ee ASS, Puta First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG 164. PruscarpeNn. Etching. Rinder, No. 880. | Etched in 1906. Signed on the plate, and in pencil,— SDoY “Cameron. * 4 CAMERON, DAVID YOUNG 165. On tHE Ovurtue. Etching. / Rinder, No. 398. bonne Etched in 1907. Signed on the plate, and in pencil,— i vs ie “D. Y. Cameron.” Sxrconp state, before additional dry- | ‘| WA point work. RicH mmpREssION ON JAPAN PAPER. CAMERON, DAVID YOUNG 166. Tue Desert. Etching. Rinder, No. 410. Etched in 1909. Signed on the plate, and in pencil,— 0° “D. Y. Cameron.” Turrp state, before the plate was ee cut down. Rare. — CAMERON, DAVID YOUNG ‘eg —. 167. Tur Mosaurt Doorway. Etching. t Rinder, No. 4138. AONE I Etched in 1910. Signed on the plate, and in pencil,— es ( “D. Y. Cameron.” 'Tutrp state, with three lamps, and i oe : at : before the second figure cast a deep shadow. Sprenpip a. . IMPRESSION. OF GREAT RARITY. CAMERON, DAVID YOUNG 168. rete in Carro. Etching. oe . Rinder, No. 414. ». 2 Etched in 1910. Signed on the plate, and in pencil,— VE. y oY “D. Y. Cameron.” FrIxe R1cH IMPRESSION. : y x CAMERON, DAVID YOUNG ° 169. Tur Wine tess CurmerA, Amiens. Etching. Rinder, No. 416. AS. Etched in 1911. Signed on the plate, and in pencil,— We “D. Y. Cameron.” PrRoo¥r PRINTED ON OLD DutTCH PAPER. 0 First Session, Monday Evening, January 29th CAMERON, DAVID YOUNG 170. Yvon. Etching. Rinder, No. 425. - { Etched in#l91]. Signed on the plate, and in pencil,— yp “D. Y. Cameron.” Rich IMPRESSION. \ J A famous restaurant in Chartres. CAMERON, DAVID YOUNG 171. A Car or Busastis. Etching. Rinder, No. 426. 0 i Etched in 1911. Signed on the plate, and in pencil,— ( ¥ “D. Y. Cameron.” Ricu proor on oLpD DUTCH PAPER. CAMERON, DAVID YOUNG 172. Tue Lion anp tHE Unicorn. Etching. p Rinder, No. 427. my Etched in 1911. Signed on the plate, and in pencil,— ey, “D. Y. Cameron.” This etching serves as a frontispiece \ to the Edition de Luxe of the Rinder catalogue. p° CAMERON, DAVID YOUNG 173. Peaxs or Arran. Etching. Not in Rinder. . p? / Signed on the plate, and in pencil,—“D. Y. Cameron.” Early STATE BEFORE THE PLATE WAS CUT DOWN. FINE oO . aV/ IMPRESSION. CAMERON, DAVID YOUNG 173a. RixpEx (Franx). D. Y. Cameron. An Illustrated Cata- logue of his Etched Work, with Introductory Essay & Descriptive Notes. 4to, half vellum and cloth, gilt top, 4 d a uncut. Glasgow, 1912 | / Special Edition on hand-made paper,—No. 169 of 200 copies—with 4 4 f) Proors oN JAPANESE VELLUM, and Etching of the “Lion and the Uni- b corn,” as frontispiece, sIGNED IN THE AUTOGRAPH OF THE ARTIST. AT THE AMERICAN ART GALLERIES MADISON SQUARE SOUTH, NEW YORK UNRESTRICTED PUBLIC SALE BY ORDER OF THE VARIOUS COLLECTORS AND OWNERS HEREINBEFORE DESIGNATED Second Session, Numbers 174 to 34/7, inclusive TUESDAY EVENING, JANUARY 30th, AT 8:15 O’CLOCK MARY CASSATT Born at Pittsburgh in 1855. She studied at the Pennsylvania Academy of Fine Arts and later with Degas. She has won for herself the position of one of the foremost depicters of child life in France and America. CASSATT, MARY 174. Woman Houpine Cutty. Drypoint. Signed in pencil,—“‘Mary Cassatt.” Earity TRIAL PROOF. VERY FINE AND RARE. CHARLES CHAPLIN French painter and etcher. Born at Les Andelys in 1825; died at Paris in 1891. CHAPLIN, CHARLES 175. Tue Spryner. Etching. Beraldi, No. 14. Signed on the plate, and in pencil,—‘Ch. Chaplin.” Proor. R. J. CHATTOCK English etcher. Flourished about 1870. CHATTOCK, R. J. 176. Tue Srone Brince. Etching. )° Signed in pencil,—‘*R. S. Chattock.” Second Session, Tuesday Evening, January 30th THEOPHILE CHAUVEL French etcher. Born at Paris 1831. As a pupil of Picot and dAligny, he won renown, not only by his own painter-etchings, but by his interpreta- tions of paintings of Daubigny, Dupré and Rousseau. CHAUVEL, THEOPHILE eres CLAUDE 178. CLAUDE 179. Bor L’Orace. Lithograph. Delteil, No. 104. Drawn after the painting by Diaz. Signed in pencil,— “Th. Chauvel.” Tria Pproor. Bri~tiuiant ImMpREssion. From the collection of Alfred Le Brun. CLAUDE GELEE DE LORRAINE French painter and etcher. Born in 1600 at Chamagne in the ancient province of Lorraine. With the exception of boyhood and two years of wandering, the whole of his life and all of his work was executed in or near Rome. He died in 1682. ; “Claude was indefatiguable to get a really solid basis of art training, to penetrate into the utmost secrets of nature. Day after day he would be up before dawn and far into the Campagna, heedless of fatigue he would stay there until after nightfall, noting every phase of nature.”— SANDRART. (GELEE) DE LORRAINE Le Pont vr Bors. Etching. Robert-Dumesnil, No. 14. Unsigned. First stare. SUPERB IMPRESSION, IN PER- FECT CONDITION. From the collections of Camberlyn, Robert Dumesnil and Firmin-Didot. (GELEE) DE LORRAINE Tue Rare or Evropa. Etching. Robert-Dumesnil, No. 22. Signed in the lower right corner,—‘Claude Gelée, 1634.” From the W. B. Cooke collection. A CHARMING INVENTION IN THE TRADITION OF THE GRAND STYLE OF LANDSCAPE PAINTING. Second Session, Tuesday Evening, January 30th JEAN BAPTISTE CAMILLE COROT “Corot, born in 1796, united the classic and romantic in his education; but remained so personal in his views that his art retained a youthful fresh- ness up to the time of his death in 1875.”—r. 5. wicKENDEN. COROT, JEAN BAPTISTE CAMILLE 180. Souvenir v’Irauie. Etching. Delteil, No. 5. Tuirp state, with the letters and rounded corners. Corot iy drew the subject on the copper and his friend, Bracque- mond... bit it in.” I~ COROT, JEAN BAPTISTE CAMILLE 181. Dawns tes Dunes. Etching. Delteil, No. 9. Etched in 1869. Signed on the plate in the margin,— eorol.” CHARLES FRANCOIS DAUBIGNY French painter and etcher. Born at Paris in 1817; died there 1878. “Thirty years have passed since Daubigny laid down his brushes and etching-needle forever. Yet his fame has broadened year by year, and his works have kept their place among the classics in Art.”—Rr. g. WICKENDEN. DAUBIGNY, CHARLES FRANCOIS 182. Le Nip pe w’Aicie. Etching. Henriet, No. 48. Signed on the bottom of the plate,—“Daubigny del. et 3 sculp. ONLY STATE. Engraved after his own painting in the Salon of 1844. ANDRE DAUCHEZ Contemporary French etcher and aquatinter. Born in 1870; lived in Paris and Brittany. DAUCHEZ, ANDRE 183. Anse A Mer Basse. Etching. ) Catalogue, No. 48. / Signed on the plate, and in pencil,—“‘André Dauchez.” Impression No. 5 or 30 PROOFS PRINTED. NON 9A 3" os a Second Session, Tuesday Evening, January 30th JEAN JACQUES DE BOISSIEU French etcher. Born, 1736; lived at Lyons; died in 1810. He was one of the first to practice landscape etching after the great period of classical engraving in France, and was therefore, in a sense, a fore- runner of the Barbizon etchers. DE BOISSIEU, JEAN JACQUES 184. Vue Prise A L’ARBRESTE, EN Lyonnais. Etching. ) De Boissieu (Rapilly), No. 89. / “a ¢ Signed on the lower margin,—“D B 1793.” From the collection of Henri le Sec des Tournelles. WILLEM JACOBSZ DELFF Dutch engraver. Born at Delft in 1588; died there in 1638. He engraved chiefly the paintings by his father-in-law,—Michiel van Miereveldt. DELFF, WILLEM JACOBSZ cy 185. JosepH Det Mepico. Line-engraving. oigtd Franken, No. 44. On ee poe ae Engraved after the painting by Duyster. Inscription on ( the margin lettered in ink. VERY FINE AND SCARCE. N me GILLES DEMARTEAU Inventor of the Crayon manner. “Another successful engraver was Gilles Demerteau (1722-1776), whose imitations of Boucher’s drawings are so skillfully executed, as on hasty examination to deceive any but the practised eye.”—R. NEVILL. vy DEMARTEAU, GILLES ae fr388. Tire pe Femme. Engraving. pio L. de Leymarie, No. 249. Ny ( Encravine In coor, in the crayon manner, after the ¥ oe drawing by Boucher. With the engraver’s address, and ay the No. 249. Very rine anp RARE. Margin trimmed to engraved border. Framed. a’ Second Session, Tuesday Evening, January 30th DEMARTEAU, GILLES 4 187. Tre pe Femme. Engraving. L. de Leymarie, No. 250. ENGRAVING IN COLOR, in the crayon manner, after the drawing by Boucher. With the engraver’s address, and the No. 250. Very FINE AND RARE. Margin trimmed to engraved border. Several creases and a very slight tear. Companion piece to the preceding. Framed. DEMARTEAU, GILLES 188. Le Marcuanp p’Huirres. Engraving. L. de Leymarie, No. 454. ENGRAVING IN coLor, in the crayon manner, after the drawing by Clermont. Impression cut close to engraved surface, and new margin attached; title, address and num- ber added by hand, the number being put on inaccurately, 456 instead of the correct number, 454. Fixe mvpReEssIon. Framed. Companion to “La Marchande de Lait.” DEMARTEAU, GILLES /— 189. La Marcuanpe ve Lair. Engraving. L. de Leymarie, No. 455. ENGRAVING IN coLor, in the crayon manner, after the drawing by Clermont. With the title, engraver’s address, and the No. 455, and with 14 inch margin outside the engraved border. SpLENDID IMPRESSION AND CONDITION. One slight pin prick. Framed. Companion piece to “Le Marchand d’Huitres.” PIERRE DREVET French engraver. Born at Loire in 1663; died at Paris in 1738. Pupil of Germain Andran, at Lyon and later of the latter’s more famous brother,— Gérard Andran, at Paris. The Drevets, father and son, were the dominant influence in the engraving of their time. DREVET, PIERRE 190. Rogert pre Corre. Line-engraving. Firmin-Didot, No. 34. Engraved after the painting by Rigaud. Signed on the plate,-—‘Gravé par Pire Drevet.” Ont or DReEvET’s FINEST PLATES. XG i ss Second Session, Tuesday Evening, January 30th ALBRECHT DURER Celebrated German painter and engraver. Born of Hungarian descent at Nuremberg in 1471, died there in 1528. He studied with Michael Wolgemut at Nuremberg and made several journeys to Italy. Like so many of the great artists of the period, he was a man of wide attainments. A scientist, writer, and mathematician as well as artist, he counted among his friends Erasmus, Luther, Melanchthon, Bellini and Raphael. His influence domi- nated the engraving of all the North Countries. His copper-engravings, woodcuts, and even his etchings in their way have never been surpassed. “Diirer did not possess the the modern sense of limitation. . . His imagi- nation was deeply suggestive, straightforward, and marvelously fertile in invention; but he interpreted the imaginative world in terms of daily and often homely life; he knew beauty only as German Beauty, and life and its material surroundings only as German life and German civili- zation. . . But the grotesqueness disappears as the eye becomes acquainted with the unfamiliar, and the mind is. occupied with the emotion, the intellectual idea, and imaginative truth expressed in these sometimes ugly modes, for they are of that rare value which wins forgiveness for far greater defects of formal beauty than are apparent in Diirer’s work.”— GEORGE EDWARD WOODBERRY. DURER, ALBRECHT 191. Tue Fruaceiuation. Woodcut. Bartsch, No. 8. . Signed on the block with the monogram,—*4.D.” From the set of the Great Woodcut Passion. Margin slightly trimmed on the left. Several mended tears. With Latin text on the back. DURER, ALBRECHT 192. Tur Propicat Son. Engraving. Bartsch, No. 28. Signed at the bottom of the plate with the monogram,— “A.D.” Goop IMPRESSION IN FINE conpiITION. Printed in black ink on paper water marked with the Little Jug. Duplicate from the Berlin Museum. A very early plate, as may be known by the style of the monogram, and also by the treatment, especially in the trees. It is generally believed that, in “The Prodigal Son,” Diirer has drawn his own portrait. Second Session, Tuesday Evening, January 30th DURER, ALBRECHT 193. Tue Propicat Son. Engraving. Bartsch, No. 28. i Signed on the plate, with the monogram “A.D.” Fair \ , impression, trimmed slightly within plate-line at the top, two corners slightly mended. Framed. DURER, ALBRECHT 194. Tuer Viren with SHort Hair. Engraving. Bartsch, No. 33. Signed on the plate with the monogram “A.D. 1514.” FINE IMPRESSION IN GOOD CONDITION. -“For in the same way as they (the ancients) applied the most beau- tiful figure of a man to their idol, Apollo, thus we will take the same > 4 measurement for Christ, the Lord, who is the most beautiful of all ; the world. And as they have used Venus as the most beautiful woman, thus will we chastely devote the same graceful figure to the most pure Virgin, the Mother of God.”—atsrecut pirer’s Notes for an Introduction to his Book, “On the Proportions of the Human Body.” [See Reproduction | DURER, ALBRECHT 195. Virern Nursinc THE Cuitp. Engraving. Bartsch, No. 36. Signed on the plate with the monogram,—“4.D.” 1512.” , 0° Fair impression, trimmed just inside plate-mark. One thin spot and one pin prick, otherwise in good condition. DURER, ALBRECHT 196. Curist Nattep To THE Cross. Woodcut. Bartsch, No. 39. Signed on the block with the monogram,—“4.D.” From 2 the set of the Little Woodcut Passion. SpLeNpID EARLY “Y IMPREssIoN, before the text on the back, but slightly torn and trimmed inside the margin. Note from Diirer’s Diary of a Journey to the Netherlands,—‘Sold to Sebald Fischer at Antwerp. The Small Passion 4 sets for 1 florin; The Apocalypse, The Large Passion, The Life of the Virgin, 4 sets for 1 florin.” [2 . ECHT DURER ALBR Snort Harr.—Bartsch, No. 33 19 NW EL 3) = = fs cr H in this catalogue | 4 4 No vo v 2 SS uf Second Session, Tuesday Evening, January 30th DURER, ALBRECHT tg / “ve 197. Tue Hoxry Famiry anp THE Dracon Fry. Engraving. 7 Bartsch, No. 44. THs Is ONE OF THE EARLIEST OF HIS PLATES AND WAS DONE PROBABLY ABpout 1495. Signed on the plate with the monogram,—‘“4.D.”’ DURER, ALBRECHT 198. Hoty Famity wirn tHe Dracon Fry. Engraving. Bartsch, No. 44. Signed on the plate, with the monogram,—“4.D.” Proor with the slipped stroke above Mary’s head. Margins rather frail, and with several very small tears mended. Framed. DURER, ALBRECHT wy ( 199. Sr. Jerome rN Penirence. Engraving. Bartsch, No. 61. Signed near the bottom of the plate with the monogram,— dy | D 9 “St. Jerome was one of the favorite saints of Diirer’s and later times, and therefore often taken as a subject by artists. The lion accompanies him because, according to the legend, he drew a thorn from the paw of the animal which ever afterwards was his com- panion.”—s. R. KOEHLER. DURER, ALBRECHT f 200. Tue Marryrpom or Str. Joun THE Evanceuist. Woodcut. Bartsch, No. 61. Signed on the block with the monogram,—*‘4.D.” Fixe IMPRESSION, WITH MARGIN. From the set of the Apoca- lypse. DURER, ALBRECHT 201. Sr. Jerome In Penrrence. Pen and Wash Drawing. Bartsch, No. 61. A copy by an anonymous hand after the engraving by Diirer. From several unidentified collections. Second Session, Tuesday Evening, January 30th EERIE OF Ties eel Ti av DURER, ALBRECHT 202. Tur Seven Gotpen Canpiesticks. Woodcut. Bartsch, No. 62. / Signed on the block with the monogram,—*4.D.” From if a the set of the Apocalypse first issued in 1498. Five [S\ IMPRESSION with Latin text on the back. “And I turned to see the voice that spake with me. And being turned, I saw seven golden candlesticks; and in the midst of the seven candlesticks One like unto the Son of Man, clothed with a O garment down to the foot, and girt about the paps with a golden Aw, girdle. His head and His hairs ‘were white like wool, as white as . snow, and His eyes were as a flame of fire; and His feet like unto fine brass, as if they burned in a furnace; and His voice as the sound of many waters, And He had in His right hand seven stars; and out of his mouth went a sharp two-edged sword; and his coun- tenance was as the sun shineth in its strength.” DURER, ALBRECHT P } 208. Tue Lirrte Fortune. Line-engraving. Lh . id ( Bartsch, No. 78. es Signed on the plate with the monogram,—*‘4.D.” Ricu vee IMPRESSION IN FINE CONDITION. From the Hérédia collection. DURER, ALBRECHT 3 204. Joacuim AND ANN UNDER THE GoLpEN Gatr. Woodcut. { A Bartsch, No. 79. I] Zz Signed on the block with the monogram,—“4.D.” From ca the set of the “Life of the Virgin.” FINE IMPRESSION. 5 The material for the “Life of the Virgin” was gathered yi mostly from the Apocryphal Gospels. This scene repre- sents the father and mother of Mary after the return of Joachim from the wilderness, where the angel had prom- ised him a daughter. DURER, ALBRECHT f 205. Fricut into Ecypr. Woodcut. wy Bartsch, No. 89. Signed on the block, with the monogram,—‘A.D.” Early » state with the Latin text on the reverse. ONE OF THE A RAREST AND MOST CHARMING suBJECTs in the series of the “Life of the Virgin.” Good impression with plate-line intact. On paper with the watermark “Haussmann, IN Second Session, Tuesday Evening, January 30th DURER, ALBRECHT 4? 206. CHrist AMonG THE Doctors. Woodcut. Bartsch, No. 91. Signed on the block with the monogram “4.D.”” From the set of the “Life of theVirgin.” Fair impression. Also, copy of the same executed on copper, by Marcantonio Raimondi. Rare and fine impression. In perfect con- dition. Together, 2 pieces. DURER, ALBRECHT 207. Tur Deatni or THE Vircin. Woodcut. Bartsch, No. 938. Signed on the block with the monogram,—‘“‘4.D. 1510.” From the set of the “Life of the Virgin.” Poor impression. DURER, ALBRECHT em, 208. Tue Lirrie Horst. Line-engraving. Bartsch, No. 96. Signed near the bottom of the plate with the monogram,— “A.D.” Engraved in 1505. From the A. Donnadieu collection. DURER, ALBRECHT 209. ArserT oF BranpEnBuRe. Line-engraving. Bartsch, No. 108. Signed on the plate with the monogram,—‘“‘4.D.” From the F. Debois collection. DURER, ALBRECHT y A 210. Marryrpom or St. CatHerine. Woodcut. Bartsch, No. 120. Signed on the block with the monogram,—‘4.D.” a psn" Ywo “Seymour Haden.” a Second Session, Tuesday Evening, January 30th HADEN, SIR FRANCIS SEYMOUR r~ 245. A By-roap ry Treperary. Etching. gx" Harrington, No. 30. Etched in 1860. Signed on the plate, and in pencil,— “Seymour Haden.” Eanty proor, before the rust in the lower right corner was removed. SUPERB IMPRESSION, ON THIN JAPAN PAPER. OF THE GREATEST RARITY. ONE OF THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE PLATE. [See Reproduction | HADEN, SIR FRANCIS SEYMOUR 246. Suere Mitt Ponn. Etching. Harrington, No. 88. Etched in 1860. Signed on the plate, and in pencil,— “Seymour Haden.” BEAUTIFUL IMPRESSION, IN PERFECT CONDITION. OF GREAT RARITY. — “With the single exception of one plate, by Claude, this is the finest etching of a landscape subject, that has ever been executed in the world.”—». g. HAMERTON, in “Etching and Etchers.” n) HADEN, SIR FRANCIS SEYMOUR 247. Dunprum River. Etching. Harrington, No. 49. _ Signed in pencil,—‘Seymour Haden.” Hirst state. HADEN, SIR FRANCIS SEYMOUR 248. Sunset in IrneLanp. Drypoint. Harrington, No. 51. Etched in 1863. Signed on the plate, and in pencil,— “Seymour Haden.” BEAUTIFUL RICH IMPRESSION, FULL OF BURR. OF THE GREATEST RARITY. “4 Sunset in Ireland is Haden’s best work in ‘dry-point, and it certainly deserves its reputation of one of its author’s masterpieces. The quiet, peaceful sunset behind the dark masses of trees makes a plate of exquisite beauty. There are great differences in the various states, so that a choice among them is extremely difficult. The rich, dark, late-evening effect of the second state is quite as fine in its way as the lighter and more delicate early-evening effect of the earlier impressions.” —ATHERTON CURTIS. [ansoyeze9 sty} Ul GHZ ‘ON 206 | ‘O08 ON “Uo?bwisi0 F]— AUVUAddL], NI Gvou-Ag W NHGVH YOOWAUS SIONVUA YIS Second Session, Tuesday Evening, January 30th HADEN, SIR FRANCIS SEYMOUR 249. Tue Towine Pato. Drypoint. ee Harrington, No. 76. ov . Signed on the upper right corner of the plate,—“Seymour Haden 1864.” Firsr stare with the words,—Hampton 0 Court.” ) This plate was one of the set of “Etudes 4 l’Eau-forte” published in France, with descriptive notes by Philippe Burty, in 1865-6. Seymour Haden always thought this one of his best plates. / HADEN, SIR FRANCIS SEYMOUR Tp « 250. Kew Air. Etching. Harrington, No. 86. Etched in 1861. Signed on the plate, and in pencil,— “Seymour Haden.” First state. / HADEN, SIR FRANCIS SEYMOUR 251. Horstry’s Corracrs. Etching. AY Harrington, No. 101. Signed on the plate, and in pencil,—“Seymour H aden.” 3, First sTATE. HADEN, SIR FRANCIS SEYMOUR Harrington, No. 1381. / a, Etched in 1868. Signed on the plate, and in pencil,— “Seymour Haden.” First state. Ay C/ 252. A River ry Werrincron Park. Etching. HADEN, SIR FRANCIS SEYMOUR VA 258. Tue Breaxinc Up or tHe Acamemnon. Etching. : Harrington, No. 145. on . Signed on the plate, and in pencil,—‘“S. Haden.” Src- Q x OND STATE. a “With such a subject as this for a motive, an etcher will do manly work if the strength to do is in him. And this its manly work.”— p. G. HAMERTON. “Perhaps all things considered, the artist’s master- piece.” —ATHERTON CURTIS. [See Reproduction | [onsoyeyvo styy UL BGZ “ON 09g | ‘NONWAWVOY DHL 40 dQ ONINVaUG AHI, CEL (ON ‘wopbursiv NAHGVH YWOOWAHS SIONVUA UIS Second Session, Tuesday Evening, January 30th 4s HADEN, SIR FRANCIS SEYMOUR Qh t 254. A Bric at Ancuor. Etching. Harrington, No. 147. Signed on the plate,—‘‘Seymour Haden 1870.” The pen- cil signature is not genuine. A” HADEN, SIR FRANCIS SEYMOUR 255. Carats Pier. Etching. < Harrington, No. 157. 0 Etched after the painting by Turner. Signed in pencil,— ae “Seymour Haden.” Tuirp srate. AxBout 8 IMPRESSIONS. a “This superb etching stands alone in the history of art. The scene 3 could not be more strongly felt nor more vividly presented, had the etcher been working from nature instead of a painting by another 4 hand. When this etching appeared, Haden received an enthusiastic letter from John Ruskin, in which the latter exhorted him to devote A ’ the remainder of his life to etching the paintings of Turner.”— FREDERICK KEPPEL. HADEN, SIR FRANCIS SEYMOUR wy 256. Ye Comprteatr AncLER. Etching. ag fi Harrington, No. 166. Pf Etched in 1877. Signed on the plate, and in pence a: “Seymour Haden.” FINE IMPRESSION PRINTED ON JAPAN * PAPER. HADEN, SIR FRANCIS SEYMOUR 257. InstpE THE Cork ConvENT, Cintra. Etching. Harrington, No. 195. 1) Etched in 1877. Signed on the plate, and in pencil,— M/es/ “Seymour Haden.” First svat. HADEN, SIR FRANCIS SEYMOUR ae 258. Winpsor. Original etching. Harrington, No. 199. { : Signed on the plate, and in pencil,—*F. Seymour Haden.” ey boo SECOND sTATE. 25 impressions. / From the collection of Sir William Drake, the cataloguer / of Haden’s etchings. Second Session, Tuesday Evening, January 30th HADEN, SIR FRANCIS SEYMOUR 259 . A Lancasnire River. Etching. Harrington, No. 215. Etched in 1881. Signed on the plate, and in pencil,— “Seymour Haden.” One hundred proofs only of this state. In Sir Seymour’s opinion this is one of his very finest plates. It was awarded the Medal of Honor at the Paris Exposition of 1889, and represents a well-known salmon pool on the Ribble. HADEN, SIR FRANCIS SEYMOUR 260. Tue Turee Catves. Etching. Harrington, No. 222. Signed on the plate, and in pencil,—‘Seymour Haden.” First state. HADEN, SIR FRANCIS SEYMOUR 261. Tue Txst at Lone Parisu. Etching. Harrington, No. 224. Signed on the plate, and in pencil,—‘“Seymour Haden.” ONLY STATE. HADEN, SIR FRANCIS SEYMOUR 262. Earty Riser. Mezzotint. sO- S yo Harrington, No. 240. Signed on the plate, and in pencil,—‘‘Seymour Haden.” SUPERB IMPRESSION IN IMMACULATE CONDITION. PRoor PRINTED BY GovLpING, and so signed by him,—‘‘Fime proof, F. Goulding imp.” O¥ THE GREATEST RARITY. ONE OF THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE PLATE. HADEN, SIR FRANCIS SEYMOUR 262a. Mippieron (Caries Henry). Remarks on the Exhibition of the Etched Work of Rembrandt, at the Burlington Arts’ Club, in 1877. 8vo, wrappers. pp. 4. [An excerpt from the Royal Archaological Society Quarterly, January, 1878.] [Also] Second Session, Tuesday EHvening, January 30th [ No. 262a—Continued | Haven (Srr Francis Seymour). The Etched Work of Rembrandt. A Monograph. Written as an Introduction to a Chronological Exhibition of Rembrandt’s Etchings,— being the first of its kind,—held at the Burlington Fine Arts Club, May, 1877. Royal 8vo, boards, uncut. London, 1879 | A reprint issued the same year as the first edition. [Also] Mippieton (CHartes Henry). A Reply to a Letter and a Pamphlet published by F. Seymour Haden, Esq., F.R.C.S. — under the title of “The Etched Work of Rembrandt.” Addressed to a Committee of the Burlington Arts Club. pp. 10. 8vo, stitched. London, 1879 Laid in, is the “Letter” referred to, an excerpt from “The Athe- nacum,’ April 5, 1879). [Also] Haven (Sir Francis Stymovur). The Etched Work of Rembrandt; True and False. A Lecture. First Epirion. pp. 24. 8vo, original wrappers, uncut. London, 1895 Together, 4 pieces, as a lot. HADEN, SIR FRANCIS SEYMOUR 262b. Drake (Str Wirriam Ricwarn). A Descriptive Catalogue of the Etched Work of Francis Seymour Haden. First Enition. London, 1880. Harrincron (H. Nazzpsyr). A Supplement to Sir William Drake’s Catalogue of The Etched Work of Sir Francis Seymour Haden, P.R.E. First Eprrion. London, 1908. Together, 2 vols. royal 8vo, original cloth. London, 1880-1908 ADEN, SIR FRANCIS SEYMOUR 262c. Harrincton (H. Nazesy). The Engraved Work of Sir Francis Seymour Haden, P.R.E. An illustrated and de- \ scriptive catalogue. With 109 plates containing repro- f ductions of 250 etchings. First Eprrton. Small folio. & * original green morocco back, cloth sides, gilt top uncut. ‘ Liverpool, 1910 No. 48 of 75 copies printed and auroGrAPHED BY THE AUTHOR. ~ One of the most notable monographs of our time. Second Session, Tuesday Evening, January 30th OLIVER HALL Contemporary English etcher. Born in 1869; lived at London and Fittleworth. He received a Medal at the International Exhibit at Munich in 1896. “Mr. Oliver Hall, a young but distinctly interesting and strongly gifted etcher . . . his work has one characteristic more than another—though grace and freedom are its characteristics too—the one that is most its own x is the continual evidence his plates afford of his enjoyment of growth and building up.”—rrEDERICK WEDMORE. HALL, OLIVER 263. A CumBerLAnp Pass. Etching. ‘a a Signed in pencil,—‘Oliver Hall.” Proor pRintED IN ~ d BROWN. 7 HALL, OLIVER ie 264. Tue FresHentne Breeze. Etching. Signed in pencil,—‘‘Oliver Hall.” HALL, OLIVER | Wf ~~ 265. KirksTone Pass. Etching. Signed in pencil,—“Oliver Hall.” HALL, OLIVER ry ie , 266. Ory Timser Jetty, Kine’s Lynne. Etching. K Signed in pencil,—‘“‘Oliver Hail.” PHILIP GILBERT HAMERTON English author and etcher. Born in 1834. HAMERTON, PHILIP GILBERT 266a. Ercuine & Ercuers. Numerous reproductions of the work of Meryon, Haden, Whistler, Palmer, Rajon, Unger, and C) \ - others. Turrp Eprrion. Small folio, original half roan, Q) \ / gilt top, uncut. London, 1880 % cb ayher Second Session, Tuesday Evening, January 30th CHILDE HASSAM Born at Boston in 1859, and studied art in Boston and Paris. He is one of the foremost painters and etchers in America. HASSAM, CHILDE 267. Tue Sreps. Etching. , Zigrosser, No. 52. | ( Etched in 1915. Signed on the plate and in pencil with aN ae the monogram. The steps of the old Holley House, at 5 Cos Cob, Connecticut. ; / 2 § \ PIERRE EDMOND HEDOUIN French painter and engraver. Born at. Boulogne-sur-Mer in 1820; died at Paris in 1889. He achieved greatest fame for his reproductive etchings after Boucher, Millet and others. HEDOUIN, PIERRE EDMOND 268. Inrerior, wirH Peasant Woman AnD Cuitp. Etching. Etched in 1876. Signed at the bottom of the plate,— rh “Edm. Hedouin.” f 9 PAUL HELLEU \ Contemporary French draughtsman and etcher, living in Paris. “With M. Helleu, beauty—beauty of no conventional order, the rapid charm of movement, of expression, of contour—is the inspiring and satis- factory thing. He lives in its intimacy, and he reveals it.”—FrrEeDERICK WEDMORE. HELLEU, PAUL 269. Porrrair or A Girt. Drypoint. yy | Signed in crayon on the margin,—‘Hellew.” Hrtiev + published aLL HIS DRYPOINTS IN EXTREMELY LIMITED { \e EDITIONS. nS “T can really give these drypoints no other title than to call them— Glimpses of the Grace of Woman.”’—ep. DE GONCOURT. HELLEU, PAUL 270. Muir. X. Drypoint. Signed in pencil,—‘‘Helleu.”’ Sharp, clear impression, full of burr. Printed on Van Guelder paper. \\ 0 ! Second Session, Tuesday Evening, January 30th EARL HORTER American etcher. Born in Philadelphia in 1884. He has successfully caught the spirit of New York City in many of his etchings. HORTER, EARL S 271. Orv Gareway, Divan, France. Ktching. : Etched in 1916. Signed in penecil,—“E. Horter.”” Proor 4 IN BROWN INK, ON PLATE PAPER. CHARLES H. HUARD Contemporary French etcher, living at Paris. HUARD, CHARLES H. 272. Lz Vieux Port a Marsermutes. Etching. > Signed in pencil,—‘C, H. Huard.” Fine impression. HUARD, CHARLES H. 273. Netcz A Bet Arr. Etching. Signed on the plate and in pencil,—“‘C. H. Huard.” 25 / PROOFS ONLY. PAUL HUET French etcher and painter. Born in 1804; died, 1869. He was a romantic and landscape painter allied to the group of men of 1830. HUET, PAUL 274. Les CHaumibres. Etching. Delteil, No. 10. ( Etched in 1838. Signed in upper left corner of plate,— “Paul Huet.” Serconp sTATeE. INDIA PROOF BEFORE LETTERS. HUET, PAUL 275. Pres pE Fontainesitev. Etching. Delteil, No. 16. l Signed on the plate,—‘Paul Huet.” PRoor BEFORE ALL LETTERS. Second Session, Tuesday Evening, January 30th HUET, PAUL 276. Maison DE GarpE A CompieGNnE. Etching. ik Delteil, No. 18. 4 Signed in the margin with the stamp,—‘“Paul Huet.” ( FINE IMPRESSION ON JAPAN PAPER. \ From the collection of Philippe Burty and Sir Wilham Drake. HUET, PAUL 277. Les Bateneuses. Etching. fof Delteil, No. 34 d | Signed with the stamp,—“Paul Huet.” InNpdIA PAPER proor, with full margins. ' { fy JOSEF ISRAELS “Josef Israels was born at Groningen in 1824. At first he thought of © becoming a rabbi, due no doubt to his ever lofty and serious outlook on — life, but later he became attracted to art and studied under Kruseman of. Amsterdam and Delaroche of Paris. . . It was only later, in 1855, while recuperating at a sea-side resort, that he found his true medium of ex- pression—the delineation of intimate peasant life and the picturing of the infinitely suggestive country and coast of his native Holland. He died in 1911 at The Hague.” / ISRAELS, JOSEF é / 278. Lirrte Jounny. Etching. : ( Hubert, No. 18. \\ Etched in 1875. Unsigned. ISRAELS, JOSEF 279. Girt with Basket, SEATED ON THE SHorE. Etching. Hubert, No. 19. Unsigned. 3 z -y CHARLES JACQUE ' French painter and etcher. Born at Paris in 1818; died at Barbizon in ~ 1894. Jacque began his artistic career as a vignettiste. . “His original etchings did not begin to appear until about 1841 and from that time, for several decades, in Paris, and at intervals at Barbizon, he continued a prolific activity. At his best . . . Jacque is among the great etchers in the significance of his expression as a linealist.’—a. M. HIND. JACQUE, CHARLES | 280. Porte p’Unr CuHaumizre. Etching. ny, Guiffrey, No. 52. A, Signed in the lower margin of the place,—“Ch. Jacque.” — \ L0 a JACQUE, 281. JACQUE, 282. JACQUE, 283. JACQUE, 284. JACQUE, 285. JACQUE, 286. JACQUE, 287. Second Session, Tuesday Evening, January 30th CHARLES DEVANT DE Maisons. Guiffrey, No. 63. Signed on the lower right corner of the plate with the initials,—“*C. J.” Etching. CHARLES Paysace, CHAUMIERES. Guiffrey, No. 69. Signed in the lower margin,—“‘Ch. Jacque.” Etching. CHARLES Dervant La Matson. Guiffrey, No. 72. Signed on the plate and in the margin,x—“Ch. Jacque.” Etching. CHARLES Une Cour. Soft ground etching. Guiffrey, No. 75. Signed in upper right corner of plate,—“Ch. Jacque 1845.” 'Tuirp state. CHARLES Paysace, LABOUREURS. Guiffrey, No. 79. Signed on the upper left corner of the plate,—“‘Ch. J. 1845.” Etching. CHARLES Lr CuHemIn DE Hatrace. Guiffrey, No. 200. Signed on the plate, and in pencil,—*“Ch. Jacque.” First sTATE. PROOF SPECIALLY SIGNED BY JACQUE IN PENCIL. SUCH SIGNED PROOFS ARE EXTREMELY RARE. Etching. CHARLES L’Oracr. Etching. Undescribed by Guiffrey. Signed on the plate, and specially signed in pencil,—*Ch. Jacque.” FINE IMPRESSION ON INDIA PAPER. Second Session, Tuesday Evening, January 30th JACQUE, CHARLES 288. Various Ercurines, as follows,— NS Le Vieux Marcuanp. Guiffrey, No. 214. Signed on the SY plate,—“Ch. Jacque.” /] VIEILLARD EN Priere. Guiffrey, No. 219. Signed on the plate, —‘Ch. Jacque.” First stare. Cuirronnier. Guiffrey, No. 224. Signed on the plate-—*“Ch. Jacque.” : Menpiants. Guiffrey, No. 233. Signed on the plate,— ‘Ch. Jacque.” 20 impressions only. ( ; Buvevurs. Guiffrey, No. 234. 10 impressions only. as La Novrrice. Guiffrey, No. 243. 25 impressions only. Le Cavauier. Guiffrey, No. 248. 20 impressions only. Together, 7 pieces. JULES JACQUEMART Reproductive etcher. Born at Paris in 1837; died there-in 1880. He is renowned for his etchings of jewels and still life. /JACQUEMART, JULES 269. Tue Sotprer AND THE Lavenine Girt. Etching. 4é ( Beraldi, No. 268. | Etching after the painting by Vermeer. Signed on the plate, and in the margin,—‘‘Jules Jacquemart aqua fortis 1866.” Proor stTaTE. FINE IMPRESSION WITH FULL \\ v MARGIN. / “Rarely was a master’s subject or his method better interpreted than in this print.”—rrEDERICK WEDMORE. / JACQUEMART, JULES | gf 290. Tue SoipreR AND THE Laventne Girt. Etching. | Etching after the painting by Vermeer. Signed on the plate, and in margin,—‘Jules Jacquemart acqua fortis 1866.” FINE IMPRESSION, OF THE PROOF STATE; cut in- side the plate mark, thereby effacing the coat-of-arms. Second Session, Tuesday Evening, January 30th JACQUEMART, JULES 291. Tripop. Etching. Signed on the plate,—‘‘Jules Jacquemart.” Proor BE- FORE LETTERS. FINE IMPRESSION. ONE OF THE ARTIST’S MASTERPIECES. | From the collection of Alfred Le Brun. GEORG JAHN Contemporary German painter and etcher. Born at Loschintz, near Dresden in 1859. Studied at the Dresden Academy. He is a member of the “Dresdener Kunst Genossenschaft.” JAHN, GEORG 292. AuTscHLEsIscHEs MApcuen. Etching. Signed in pencil,—“‘Georg Jahn.” JOAN BARTHOLD JONGKIND Dutch painter and etcher. Born at Lattrop, in 1819. About 1846; went to Paris and studied at the atelier of Eugéne Isabey. He spent his time between France and Holland, and exhibited at the Salon. Died in 1891. JONGKIND, JOAN BARTHOLD 293. Le Cuemin vE Harace. Etching. Delteil, No. 5. vy) Seconpd sTATE. AUTOGRAPH INSCRIPTION TO Henry Fon- pREY Paris Aprit 11, 1864. FrNe Impression. MAXIME LALANNE French etcher. Born in 1827; died in 1886 at Paris. “No one ever etched so gracefully as Maxime Lalanne. This merit of gracefulness is what chiefly distinguishes him. There have been etchers of greater power, of more striking originality but there has never been an etcher equal to him in a certain elegance from the earliest times till now.’—P. G. HAMERTON. LALANNE, MAXIME 294. Tue Banks or tHE THames. Etching. Beraldi, No. 56. EARLY IMPRESSION. “Jolie petite piece dans le gout de Seymour Haden.”—serarot. VAs) Second Session, Tuesday Evening, January 30th LALANNE, MAXIME vA 295. Roven. Etching. / Beraldi, No. 122. : Etched-in 1884. Signed on the lower left corner of the plate,—‘M. Lalanne.”’ d From the Lalanne collection. ALPHONSE LAMOTTE French engraver. Born in 1844, He was a pupil of Henriquel-Dupont. 0 “ LAMOTTE, ALPHONSE Y 296. Vicrortr THERESE Aas Diana. Etching. I / Etching after Nattier. SicNED REMARQUE PROOF, ON JAPAN PAPER. Framed. AUGUSTE LANCON French etcher. Born at St. Claude, 1836; died in 1885. He lived in Lyons and Paris. / LANCON, AUGUSTE /( 297. Tur Lion. Etching. : / Y Etched in 1875. Signed on the lower margin,—4 % s Lancon.” BENJAMIN LANDER American painter and etcher of the late 19th century. LANDER, BENJAMIN | [ 298. Lanpscare. Etching. Ly \ Etched in 1888. Signed on the plate, and in pencil,— “B. Lander.” Proor on JAPAN PAPER. Framed. GASTON DE LATENAY Contemporary French etcher; lived at Paris and Versailles. LATENAY, GASTON DE ! y ( 299. La Cuaumizre. Etching. Signed in pencil,—G. de Latenay.” Impression No. 4, \ 9 oF 80 PROOFS PRINTED. Second Session, Tuesday Evening, January 30th Loo. SaaS SE RE A PR ee econ iS are ed ALPHONSE LEGROS Born at Dijon in 1837; died at London in 1911. “Legros loves that which is simple and permanent. He loves the soil and in humanity he loves those who are nearest to the soil. His sympathy is so great that it imbues the most material objects and gives a soul to sunny meadows, trees lost in the fog, valleys swept by storm, and the smoke rising from a burning hamlet. The keynotes of his work are sin- cerity, sympathy, and power.”—pavuL BURTY HAVILAND. LEGROS, ALPHONSE 301. Tur Canat. Etching. Legros Catalogue, No. 178. Signed on the plate, and in pencil,—‘‘4. Legros.” arty PROOF, BEFORE THE NUMBERED EDITION. BEAUTIFUL IM- PRESSION, OF ONE OF THE ARTIST'S BEST PLATES. LEGROS, ALPHONSE ( : - / 302. Listizre pe Bots. Etching. Legros Catalogue, No. 306. Signed in pencil,—‘4. Legros.” First srate. Brauti- FUL IMPRESSION, printed in bistre and retouched by the artist with a pen. From the Arthur collection. LEGROS, ALPHONSE Port pe Vuze. Etching. Legros Catalogue, No. 393. Signed in pencil,—‘‘A. Legros.”” BEAUTIFUL CLEAR IM- PRESSION. “Beauty and dignity of form, the passage of weather, the rustle of air-touched leafage, the gentle flow of some almost secret stream, and then the great lines of a wide stretching country, and a per- spective vast as that of Rembrandt’s Goldweigher’s Field,—these, and no local accuracy, but these understood with all a poet’s and great artist’s depth, make the charm, irresistible and lasting, of Legros’ etched landscape.”—FREDERICK WEDMORE. LEGROS, ALPHONSE Vv 304. Paysacr. Drypoint. Legros Catalogue, No. 498. Signed in pencil,—‘4. Legros.” 25 proofs only. Firsr PROOF FROM THE PLATE. FINE RICH IMPRESSION, full of burr. Second Session, Tuesday Evening, January 30th Pe RENE eestor O a S GUSTAVE LEHEUTRE Contemporary French etcher. Born at Trozes in 1861; living at Paris. He is one of the most individual of contemporary etchers. Loys Delteil is at present engaged in making a catalogue of his work. LEHEUTRE, GUSTAVE 305. Le Nouveau Pont A Laeny. Etching. / 7 ie Catalogue, No. 43. Signed in pencil,—‘G. Leheutre.” SECOND STATE. 10 2 PROOFS ONLY. PLATE DESTROYED. LEHEUTRE, GUSTAVE 306. Les Borps pe LA Brestx. Drypoint. Catalogue, No. 59. ee, yd Signed in pencil,—‘G. Leheutre. No. 17 oF 20 PROOFS , as PRINTED. v . AUGUSTE LEPERE Contemporary French woodengraver and etcher. Born in 1849. “The etchings of Auguste Lepére possess, to perhaps a higher degree, than the etchings of any other living artist, that indefinable quality which we call charm. They form a real contribution to art, and one which nobody else in the world could have made—the contribution of his own per- sonality.”"—DAVID KEPPEL. LEPERE, AUGUSTE Le Be ie 307. Qual pe LA GarE—LE Desarpeur. Etching. ‘Boe Lotz-Brissonneau, No. 93. ye Signed in pencil,—“‘4. Lepére.” First stare. 3 PROOFS en ONLY. LEPERE, AUGUSTE 308. Le Pont Nevr. Original etching. Lotz-Brissonneau, No. 124. oe Signed in pencil—‘A. Lepére.” SECOND STATE. 30 is PROOFS PRINTED OF THE SECOND STATE. ; “Lepere joins to an admirable naiveté of emotion, a free and vibrant execution and an instinctive sense of simplification, and by the suppression of useless detail attains to the severe grandeur, to the style, in a word, which characterizes great works of art.”— HENRI VENER. / Second Session, Tuesday Evening, January 30th JAN LIEVENS Dutch painter and etcher. Born at Leydon, in 1607; died in Antwerp about 1672. He studied under Lastman who was also Rembrandt’s teacher. His etchings show the influence of Rembrandt. LIEVENS, JAN 309. Heap or an Oty Man, Turnep Tro Ricut. Etching. Probably Dutuit supplement—‘Pieces attributed wholly or in part to Lievens,” article six. From the collection of Pierre Mariette 1681. O DONALD SHAW MacLAUGHLAN Contemporary American etcher. Born in Canada in 1876; living abroad. “T know of no modern etcher who has ‘arrived’ (in the best critical sense) more rapidly than Donald Shaw MacLaughlan. In 1900 this young Canadian, of Scottish ancestry, who had studied painting in Boston, was making his first experiments on the copper under the spell of ‘Old Paris.’ But already, only eleven years after his modest debuts, A. M. Hind has called him one of the few etchers of today whose architectural and landscape etchings are comparable in a sense of style, with those of Cameron and Bone, betraying the same touch of the artist of conviction.”—cIlEVELAND PALMER, in his “Print Collection Quarterly.” /MacLAUGHLAN, DONALD SHAW 310. La Rut Murrerarp. Etching. Etched in 1900. Signed in pencil at the top,—‘D. S. MacLaughlan.” Fixe mprression. Rare. MacLAUGHLAN, DONALD SHAW 311. La Porre Gayore, BouLoeneE-sur-MER. Etching. Etched in 1902. Signed on the plate, and in pencil,— “D. Shaw MacLaughlan.” MacLAUGHLAN, DONALD SHAW 312. Irarian Roapsipe, Srena. Etching. Etched in 1905. Signed in pencil,—‘D. S. MacLaugh- Be) lan. MacLAUGHLAN, DONALD SHAW 313. Lynron,; Encianp. Etching. Etched in 1906. Signed on the plate, and in pencil,— “D. S. MacLaughlan.” Second Session, Tuesday Evening, January 30th MacLAUGHLAN, DONALD SHAW 314. Ferme Aux Vacues, Brirrany. Etching. Etched in 1906. Signed on the plate, and in. pencil,— “D. S. MacLaughlan.” MacLAUGHLAN, DONALD SHAW >, 85. CoppersMITHs. Etching. Signed in pencil,—‘D. Shaw MacLaughlan.” Frye 1n- yA re J se ee PRESSION ON JAPAN PAPER, THE ARTIST'S PERSONAL PROOF. y ns ONLY TWELVE PROOFS PRINTED. MacLAUGHLAN, DONALD SHAW ra 316. Parma. Etching. Ae. Signed in pencil,—*D. S. MacLaughlan.” , eee, DONALD SHAW AO 317. Quart DE L’HoTet vE Vite, Paris. Etching. LG Signed in pencil,—“D. Shaw MacLaughlan.” Rare. t MacLAUGHLAN, DONALD SHAW , [ 318. Sarmnt Séverty. Etching. \ Signed in pencil,—‘D. Shaw MacLaughlan.” SEconp | ™ STATE. FRANCOIS MARECHAL Contemporary Belpian etcher. Was living at Liége. MARECHAL, FRANCOIS 319. L’Averse, Bois pE Breux, Etching. / / Signed on the plate, and with the monogram in red crayon, Sa —‘F.M.” ANTOINE MASSON French portrait engraver. Born at Louvry near Orleans in 1636; died at Paris in 1700. MASSON, ANTOINE 320. Mapame Hetryor. Line-engraving. ; f f Robert-Dumesnil, No. 36. bAy 7 Signed on the plate,—*Ant. Masson sculpt. 1683.” Second Session, Tuesday Evening, January 30th MASSON, ANTOINE $21. PEREFIXE DE Beaumont. Laine-engraving. Robert-Dumesnil, No. 61. Signed on the plate,—‘Ant. Masson sculpebat 1664.” First STATE, BEFORE LETTERS. FINE IMPRESSION. THEODOR MATHAM Dutch engraver. Born at Haarlem in 1569; second son and pupil of Jacob Matham. He travelled in Italy and settled down in Holland where he engraved many portraits; died about 1677. MATHAM, THEODOR 322. Renier Pauw. Line-engraving. / Engraved after the painting by Mytens. Signed on the wy plate-—‘Th. Matham Sculpsit.” SPLENDID IMPRESSION. (Br A few minor printer’s folds. ARMAND MATHEY-DORET Contemporary French reproductive etcher. Born at Besancon in —i854. He was a pupil of Waltner. MATHEY-DORET, ARMAND 323. Cuartes THE First. Etching. After Van Dyck. Arrist siGNED Proor. Framed. CHARLES MAURIN Contemporary French etcher. MAURIN, CHARLES 324. La VacuEre. Woodcut. Signed on the block with the imitials, and in pencil,— “Maurin.” A small tear in the woman’s dress; another iY slight one mended, in the margin. Second Session, Tuesday Evening, January 30th CLAUDE MELLAN French painter and engraver. Born at Abbeville in 1598; died at Paris in 1688. Pupil of Villamena in Rome. His works enjoyed an immense vogue in his time, but later his fame went into eclipse. He is just beginning to be appreciated at his true worth today. He influenced among others, the celebrated engraver Robert Nanteuil. MELLAN, CLAUDE 325. Sr. Perer Noxasaur. Line-engraving. 4) Montaiglon, No. 90. Fe ae a Signed on the plate,—‘“Cl. Mellan Gall. inven. et {> chine ot ag Ga PROOF. From the collections of Pierre Mariette, A. Donnadieu, and H. Denfer-Dumesnil. “St. Peter Nolasque, in extreme feebleness, is borne by o-” Angels to receive the Communion.” La, THIs Is ONE OF THE RAREST OF MELLAN’s works. It was designed and engraved at Rome in 1628. JACQUES REICH Contemporary American reproductive etcher and portraitist; living at New- dorp, New York. : REICH, JACQUES / 364. Wuistier. Etching. © Etching after the painting by Boldini. SicNep artist's Lie, bh ‘ u ee PROOF, WITH REMARQUE. Proof, number 3 of 50 printed. “ Third Session, Wednesday Evening, January, 31st REMBRANDT VAN RIJN Celebrated Dutch painter and etcher. Born at Seyden in 1607; died at yeaa 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 / \ 2 8 365. “0° REMBRANDT AND Saskia. Etching. Bartsch, No. 19; Hind., No. 144. ¢ Signed in the upper left corner of the plate,—‘‘Rembrandt f, 1636.” First srare with the slipped stroke. Frye mm- PRESSION WITH MARGIN COMPLETE. From the collection of Pierre Mariette. REMBRANDT VAN RIJN 366. Apranam Caressine Isaac. Etching. Bartsch, No. 33. Hind, No. 148. / ly : Signed on the lower left corner of the plate,—“‘Rembrandt F.” First sTaTE BEFORE THE SLIPPED STROKE ABOVE Isaac’s SHOULDER. Duplicate from the University of Cambridge Collection. REMBRANDT VAN RIJN 367. (0- Tue Vision or Ezexrer. Etching. r7 Bartsch, No. 36. Hind, No. 284. Signed and dated on the plate,—‘Rembrandt 1655.” This and three similar plates were designed for a book in Spanish, ‘Piedra gloriosa o de lor estatua de Nebuchad- nesar,” Amsterdam, 1655, by Rembrandt’s friend, Samuel Menasseh Ben Israel. Copies of the book containing the original plates are excessively rare. Third Session, Wednesday Evening, January 31st Sean Ss pe seer cg ne nr Sea toa Ed lee oT REMBRANDT VAN RIJN 368. Josep Retatinc His Dream. Etching. 60.8" Bartsch, No. 37. Hand, No. 160. ma Signed on the plate,—‘Rembrandt f 1638.” Srconp b state (Hind) with curtain still lght. REMBRANDT VAN RIJN 369. Lion Hunt. Etching. yy Bartsch, No. 115. Hund, No. 180. 4 he Etched about 1641. Fre IMPRESSION. o The influence of Rubens is to a certain extent visible in the ie three etchings of lion hunts which Rembrandt made. REMBRANDT VAN RIJN 370. Two Peasants Travetiine. Etching. 2 -°° Bartsch, No. 144. Hind, No. 116. : \° Etched about 1637. Onty sTATE. REMBRANDT VAN RIJN ¥ Ss Etching. \% Bartsch, No. 151. Hind, No. 14. iO Etched about 1630. Signed in the upper right corner of : the plate with the initials in reverse, before the retouch. From the collection of Henri Sec des Tournelles. 371. Orv Maw wirn a SuHorr Bearp, Restine Acainst a Banx. REMBRANDT VAN RIJN 372. View or AmsterDAM. Etching. ve Bartsch, No. 210. Hund, No. 176. 1 0. Copy of the original etching, probably by J. Bretherton. Lower left corner slightly mended. REMBRANDT VAN RIJN 373. Jan Corneuis Syivius. Etching. aioe é Bartsch, No. 266. Hind, No. 111. at v, Signed on the left side of the plate,—“Rembrandt ft 1634.” \ \ 0 FINE IMPRESSION. From the collection of Theodore Roussell. Third Session, Wednesday Evening, January, 31st REMBRANDT VAN RIJN 374, Jan Cornelis Syivivs. Etching. l,O # Bartsch, No. 266. Hind, No. 111. Signed on the plate,—“Rembrandt ft. 1634.” Several thin places in the margin. FINE IM- PRESSION. Framed. REMBRANDT VAN RIJN 375. Busr oF AN Otp Man witrn Friowine Brarp ann WHITE yo SueEve. Etching. by ” Bartsch, No. 291. Hind, No. 26. 2 Etched about 1680. OwNty sTATE. REMBRANDT VAN RIJN 376. Man 1x a Broap Brimmep Har anp Rverr. 3 Bartsch, No. 311. Hund, No. 158. ed Onxty state (Hind). Impression cut, trimming off the monogram RF. f. 1630. Etching. PAUL RENOUARD Contemporary French etcher. Born, 1845; living at Paris. His ani- mal studies are well known. RENOUARD, PAUL 377. Lions. Etching. i Signed in pencil,—‘P. Renouard.” 20 PROOFS ONLY. Ss THEODULE RIBOT French painter and etcher. Born, 1823; died 1891. delineations of Parisian cooks and_ scullions. Famous for his RIBOT, THEODULE 378. La Cortr. Etching. Beraldi, page 196. F Signed on the plate-—“Th. Ribot 8.” One of the set of |? “Scenes Culinaires.” Third Session, Wednesday Evening, January 31st GRAADT VAN ROGGEN Contemporary Dutch etcher. ROGGEN, GRAADT VAN 379. Durcu Courryarp. Etching. 7 Signed in pencil,—Graadt van Roggen.” Printed by the VA artist. Proor. Number 13, of 25 impressions printed. " ERNEST D. ROTH Contemporary American painter and etcher. Born in 1879. ROTH, ERNEST D. 380. Aspazzia, San Grecorio, VENICE. Etching. ty Etched in 1905. Signed on the plate, and in pencil,— IA “Ernest D. Roth.’ PRroor on JAPAN PAPER. vy 10 THEODORE ROUSSEAU <<. French painter and etcher. Born at Paris in 1812; died at Barbizon in 1867. “With Corot, Daubigny, Dupré and Diaz, he founded the modern French school of landscape painting. Few, if any, have surpassed him in the rendering of atmospheric effects, in the ability to diffuse light and air throughout a landscape, and in the power of communicating to others the deep feelings excited by Nature in a highly sensitive organization like his own.’—FREDERICK KEPPEL. ROUSSEAU, THEODORE 381. Un Sire pu Berry. Etching. Delteil, No. 2. gO E aX ONLY STATE. VERY FINE IMPRESSION. /\) ray From the collection of Alfred Le Brun. J ) “Fauforte demeurée inédite, tirée & peu d’épreuves. Cuivre détruit.”—pELTEIL. TH. RALLI SCARAMANGA Contemporary Italian etcher. SCARAMANGA, TH. RALLI y 382. Viertte Rue A Marticues. Soft ground etching. \\ y Signed in pencil,—‘7’. Rallt Scaramanga.’ staTE. No. 5 or 26 IMPRESSIONS PRINTED. j ’ FourtTH Third Session, Wednesday Evening, January, 31st HANS SCHAUFFLEIN Eminent German painter and wood-engraver. Born at Niirnberg in 1490; died there in 1540. He was a pupil of Albrecht Diirer and drew the illustrations to the “Theuerdank” of the Emperor Maximilian. He also made twenty designs for the “Hochzeits Tanz.” In 1515 he was made a “burgher” of the town of Nordlingen. SCHAUFFLEIN, HANS 383. THE Passion or JEsus Curist. Woodcuts. / Bartsch, No. 34. ND: Thirty-six woodcuts. The set of thirty-five blocks first appeared in an edition ye of “Speculum domini nostu,” etc. Niirnberg, 1507. WHISTLER, JAMES ABBOTT McNEILL I, 416. Lirrte Arruur. Etching. “oo Kennedy, No. 9. " One of the French Set published in 1858. Signed on the plate,—“ Whistler.” Fine EARLY IMPRESSION, on Inp1IA Sd. PAPER, with original margins. ii This and the twelve following etchings [Numbers 416-428, Wil inclusive| constitute the “French Set,’’ published in 1858. So PERFECT A SET, COMPLETE IN NUMBER, AND OF THE FIRST PRINTING, IS NOW EXCEEDINGLY RARE AND ALMOST IMPOS- SIBLE TO PROCURE. WHISTLER, JAMES ABBOTT McNEILL 417. Annie Stanpine. Etching. oe Kennedy, No. 10. a One of the French Set published in 1858. Signed on the S plate,—‘Whistler.’” Fourru strate before additional work on the legs. Frye EARLY IMPRESSION ON INDIA PAPER, with original margins. WHISTLER, JAMES ABBOTT McNEILL 418. La Mere Gétrarp. Etching. ag Kennedy, No. 11. One of the French Set published in 1858. Signed on the a plate,—“‘Whistler.”” FINE EARLY IMPRESSION ON INDIA PAPER, with original margins. ae Third Session, Wednesday Evening, January 31st A WHISTLER, JAMES ABBOTT McNEILL 419. Fumerre. Etching. 7 56 Y Kennedy, No. 13. One of the French Set published in 1858. Signed on the plate-—‘Whistler.” Finr EARLY IMPRESSION ON Inp1a PAPER, with original margins. “I remember one especially—they called her the tigresse. She sat to Whistler several times with her curly hair down her back. She had a good voice and I often thought she had suggested Trilby to Du Maurier. . . . She was the model for Fumette, Eloise, a little modiste, who knew de Musset by heart and would recite his verses to Whistler, and who one day in a rage tore up, not his etchings, as Mr. Wedmore says, but the Gavarni-like drawings. Whistler was then living in the Rue St. Sulpice, and when he came home, to find the pieces piled high on his table, he wept over the ruin, literally wept, according to Oulevey.’—1rvuKe tones, in “The Life of Whistler.” WHISTLER, JAMES ABBOTT McNEILL 420. La Reramevse. Etching. c* eo ay fe a Kennedy, No. 14. One of the French Set published in 1858. Signed on the plate,—‘ Whistler.” Finz EARLY IMPRESSION ON InpIA PAPER, With original margins. WHISTLER, JAMES ABBOTT McNEILL 421. Ew Prern Soret. Etching. Kennedy, No. 15. . One of the French Set published in 1858. Signed on the plate,—‘ Whistler.” Fixe EARLY IMPRESSION ON Inp1A PAPER, with original margins. WHISTLER, JAMES ABBOTT McNEILL 422. Liverpun. Etching. ‘'Y J a by Kennedy, No. 16. One of the French Set published in 1858. Signed on the plate,—‘J. Whistler.” Frve arty Proor on Inpra PAPER, With original margins. : Lhird Session, Wednesday Evening, January, 31st WHISTLER, JAMES ABBOTT McNEILL 423. An Unsare Tenement. Etching. A: oo Kennedy, No. 17. ks One of the French Set published in 1858. Signed on the plate,—‘ Whistler.” Tuirp srare before the address of Delatre was effaced. Fine rarity tmpressions on Inpra PAPER, with original margins. “The Unsafe Tenement is a splendid etching, in unfaltering decision of line and in grand massing of light and shade, which has not destroyed the Dutch-like finish of parts, such as the stable fork with its shadow thrown on the wall.”—serNHARD SICKERT. WHISTLER, JAMES ABBOTT McNEILL 424, A STREET In SaverneE. Etching. ,&. Kennedy, No. 19. per One of the French Set published in 1858. Unsigned. Fovurtu state before the address of Delatre was effaced. FINE EARLY IMPRESSION ON Inpra paper, with original margins. “There are in the French set, prints, like the night scene in the Alsatian village called A Street at Saverne, which are as good as any that, came after, and if looked at carefully the same arrange- ment of lines, the same seeking for the same effects, will be found there as in the Venetian plates. The plate might be called the first of the Nocturnes.”—sosErHm PENNELI. WHISTLER, JAMES ABBOTT McNEILL 425. La Vieirxe Aux Loaues. Etching. 05 0 ; 4) a Kennedy, No. 21. One of the French Set published in 1858. Signed on the plate,—‘ Whistler.” Stconp strate before the address of Delatre was effaced. Frne EARLY IMPRESSION ON INDIA PAPER, with original margins. WHISTLER, JAMES ABBOTT McNEILL 426. La Marcuanpe pE Mourarpe. Etching. aN f Kennedy, No. 22. One of the French Set published in 1858. Signed on the plate,—‘Whistler.”’ Tuirp state before a line was drawn through the name and address of Deldtre. Fine EARLY IMPRESSION ON InpIA PAPER, with original margins. Third Session, Wednesday Evening, January 3ist WHISTLER, JAMES ABBOTT McNEILL ¢ 427. Tur Kitcnuen. Etching. Jyh @ Kennedy, No. 24. One of the French Set published in 1858. Signed on the plate-—‘ Whistler.” Srconp stave before additional re- touches. BEAUTIFUL EARLY IMPRESSION ON INDIA PAPER, with original margins. On a pencil drawing of this subject in the Freer collection Whistler wrote: “Cuisine & Lutzelbourg.” Lutzelbourg is now Luxembourg. “There are, as, for instance, in those dark alleyways of the Venetian set, or The Kitchen of the French series, passages of luminous shadow which Rembrandt never approached in the Burgomaster Six, or in any similar subject.”—JsosEPH PENNELL. WHISTLER, JAMES ABBOTT McNEILL 428. Tirte to THE Frencu Ser. Etching. Jb “ Kennedy, No. 25. One of the French Set published in 1858. Signed on the plate with the words,—‘Douze Eaux Fortes d apres Nature, par James Whistler,” and dedicated to “Mon viel Ami Seymour Haden.” On iy state. FINE EARLY IM- PRESSION ON INDIA PAPER, With original margin. WHISTLER, JAMES ABBOTT McNEILL 429, Lirrte Artuur. Etching. ls oye “ Kennedy, No. 9. Signed on the plate to the left,—* Whistler.” WHISTLER, JAMES ABBOTT McNEILL 430. La Mére Gérarp. Etching. ~ hy Kennedy, No. 11. Signed on the plate,—‘Whistler.” FrxE IMPRESSION. “An old lady, who is said to have written poetry, and, possibly, in consequence, came down in the world, and was forced to sell violets at a gate of the Luxembourg Gardens. Whistler painted and etched her several times, and of her, in the Latin Quarter, endless stories were told by him.’—sosEPH PENNELL. WHISTLER, JAMES ABBOTT McNEILL 431. Fumerre. Etching. Kc y 6 VY Kennedy, No. 138. Signed in the lower right corner of the plate,—‘ Whistler.” See No. 419. Third Session, Wednesday Evening, January, 31st WHISTLER, JAMES ABBOTT McNEILL 432. La Rerameuse. Etching. nes Kennedy, No. 14. iY my Signed in the lower right corner of the plate,—“ Whistler.” WHISTLER, JAMES ABBOTT McNEILL 433. Liverpun. Etching. a) S yo Kennedy, No. 16. ¥)\ ~ Signed in the lower left corner of the plate,—‘J. Whistler.” WHISTLER, JAMES ABBOTT McNEILL 434, La MarcHanpeE dE Mourarpe. Etching. T a Kennedy, No. 22. (0 y Signed on the pavement,—‘Whistler.” PRroor PRINTED WITH BROWNISH INK, ON THIN JAPAN PAPER. WHISTLER, JAMES ABBOTT McNEILL | K° 435. La Marcuanne vE Movurarpe. Etching. ce», Kennedy, No. 22. » Signed on the pavement,—‘ Whistler.” WHISTLER, JAMES ABBOTT McNEILL 436. Tue Kircuen. Etching. ¢ 4 Kennedy, No. 24. 0 \0 Signed on the plate,—“Whistler.”” Srconp srare, before additional work to the left. SuprerB IMPRESSION ON HEAVY 7 ( JAPAN PAPER. OF THE GREATEST RARITY. eg From a collection unknown to Fagan. hg . “Whistler, with a nature essentially aristocratic, . . . yet accepted the very things that seem most commonplace to commonplace people, and showed us their interest. So great an artist—the fantastic beauty of Venice and the scaffolding for the ‘Savoy’ appealed to him together. Understanding each, with each he knew how to deal. And that is one of the reasons why San Biagio, The Garden, and The Kitchen, lie unabashed forever beside the noblest Rembrandts— lie by the Lutma and the Clement de Jonghe, lie by the Landscape with an Obelisk and by The Goldweigher’s Field.”’—vrreverick WEDMORE. [See Reproduction | JAMES ABBOTT McNEILL WHISTLER Tue Kircnuen.—Kennedy, No. 24 [See No. 436 in this catalogue | Third Session, Wednesday Evening, January, 31st eee eee Cr ar ee 2 ee ee WHISTLER, JAMES ABBOTT McNEILL 437. Tue Wine Guass. Etching. yo Kennedy, No. 27. Signed in the lower left corner of the plate,—‘‘ Whistler.” PROOF ON JAPAN PAPER. a) “The exquisite still-life little piece, “The Wine Glass,” a per- formance in which, for once and for once only, Whistler with a plate as notable as the Shell of Rembrandt or the Muffs of Hollar, tried to rival, and succeeded in rivalling, the achievement in painting of De Heym.”—rrepvertcK wepmMore—“Whistler and Others.” WHISTLER, JAMES ABBOTT McNEILL 438. SkymMour Sreatep. Etching. ey” r % Kennedy, No. 29. . Unsigned. WHISTLER, JAMES ABBOTT McNEILL 439. Seymour Sranpinc Unper a Tree. Etching. 0 0 Kennedy, No. 31. \by Signed in the lower right corner of plate,—‘Whistler.”’ A portrait of Sir Seymour Haden’s son and Whistler’s nephew, Seymour Haden, Jr. WHISTLER, JAMES ABBOTT McNEILL 440. Seymour Stanpinc Unper a Tree. Etching. hy, 4 Kennedy, No. 81. y P Signed in the lower right corner of the plate,—‘ Whistler.” WHISTLER, JAMES ABBOTT McNEILL 441. Reapine py Lampuicut. Etching. Kennedy, No. 32. 4 4 Signed on the table-—‘“J. Whistler.’ PRroor PRINTED yp WITH BROWNISH INK ON JAPAN PAPER. A portrait of Lady Haden, Whistler’s half-sister. There is an etching by Haden of the same subject done at the same time. Third Session, Wednesday Evening, January 31st WHISTLER, JAMES ABBOTT McNEILL 442. GrEENWwicH Park. Etching. U7, Kennedy, No. 35. | Signed in the lower left corner of the plate,— Whistler.” ProoF ON JAPAN PAPER. “Qne of the very few landscapes he either etched or painted. a ) Landscape did not appeal to him. Had it, however, his work would ~ have been just as distinguished as his portraits. He always said that there was no such thing as a landscape or a portrait painter. A man can paint anything if he can paint at all.”—JsosEPH PENNELL. WHISTLER, JAMES ABBOTT McNEILL 443, LanpscapE wiry THE Horse. Etching. ( t ay Kennedy, No. 36. / ee Signed on the plate,—* Whistler 1859.” WHISTLER, JAMES ABBOTT McNEILL 444. Limenouse. Etching. ,» Kennedy, No. 40. V |0 Signed on the plate,—‘‘ Whistler 1859.” Proor TROM THE DESTROYED PLATE. WHISTLER, JAMES ABBOTT McNEILL 445. BirtincscaTe. Etching. ,\ Kennedy, No. 47, (VU >> Signed on the plate,—“ Whistler 1859.” > “The solidity of the buildings introduced into this plate—the clock-tower and the houses on the quay—is a rare achievement in etching . . . The strength of their realization lends delicacy to the thin-masted fishing boats with their yet thinner lines of cordage, and to the distant bridge and the gray mist of London, and to the faint clouds of the sky.”—FrrepERIcK wEDMorE—“Four Masters of Etching.” WHISTLER, JAMES ABBOTT McNEILL 7 446. Becauet. Etching. yy , Kennedy, No. 52. é . N° mye Unsigned. Furn rich PROOF, PRINTED ON THIN JAPAN S PAPER. BEAUTIFUL IMPRESSION. > Seymour Haden, who certainly could be trusted not to overpraise Whistler’s work, said of this plate: “Rembrandt never did anything finer.” Third Session, Wednesday Evening, January, 31st WHISTLER, JAMES ABBOTT McNEILL 447, Venus. Etching. jw Kennedy, No. 59. ea 2 Signed in the lower left corner of the plate-—“Whistler % 0 L359.” WHISTLER, JAMES ABBOTT McNEILL 448. RoruernirHe. Etching. Yo 7 Kennedy, No. 66. 0 Signed on the plate,—“Whistler, 1860.” Fu1Li ricu 4 J i PROOF, ON THIN JAPAN PAPER. SUPERB IMPRESSION. “This plate was made on the balcony of the Angel Inn, still stand- yy 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. WHISTLER, JAMES ABBOTT McNEILL 449. Tue Force. Etching. 0 - Y Kennedy, No. 68. ) One of the Thames Set. Signed on the plate-—“‘ Whistler, 1866.” IwrrEssIOon ON JAPAN PAPER. Framed. WHISTLER, JAMES ABBOTT McNEILL 450. Two Sures. Etching. Kennedy, No. 148. Signed on the plate with the “Butterfly.” Fixe mvpreEssion IN PERFECT CONDITION. Printed by F. Goulding, and so signed by him in pencil,—“F’. Goulding imp.” From the printer’s private collection. WHISTLER, JAMES ABBOTT McNEILL 451. Lirrte Smirurietp. Etching. a y, Kennedy, No. 160. 30 Unsigned. Onty state. Proor on oxp Inpia Paper. Two small tears mended, one in the printed surface, and one in the margin. Third Session, Wednesday Evening, January 31st WHISTLER, JAMES ABBOTT McNEILL 452. Apam anp Eve Tavern, Oup Cuetsea. Etching. vy Kennedy, No. 175. Signed on the plate with the “Butterfly.” PRroor PRINTED on WHATMAN PAPER. eS WHISTLER, JAMES ABBOTT McNEILL 453. BarrersEA Briper. Etching. / 60 & Kennedy, No. 177. . ' K Signed on the plate and in pencil with the “Butterfly.” " Firru state. ImpressloN PRINTED BY WHISTLER HIMSELF } AND SIGNED ON THE TAB WITH THE “Butterfly imp.” — 7 WHISTLER, JAMES ABBOTT McNEILL 454. Huriincuam. Etching. 2 4 jg) Kennedy, No. 181. rae Signed on the plate and in pencil, with the “Butterfly.” FINE IMPRESSION ON OLD DuTCH PAPER. WHISTLER, JAMES ABBOTT McNEILL 455. Tur Breecars. Etching. ( Aa Kennedy, No. 194. & "| Unsigned. Prinrep IN BROWN-BLACK INK, ON HOLLAND oe ai ~y\ PAPER. Small spot of glue visible. Framed. “After Whistler’s death, 12 or 14 impressions were taken from the plate by F. Goulding, that being the number due to The Fine Art Society.”—s. G. KENNEDY. . WHISTLER, JAMES ABBOTT McNEILL 456. Nocturne: Pauacres. Etching. yg?” Kennedy, No. 202. \ Printep By WHISTLER HIMSELF, AND SO SIGNED BY HIM IN | PENCIL, WITH THE “Butterfly ump.” ExQuIsITELY BEAU- TIFUL IMPRESSION, IN PERFECT CONDITION. (3 / “If it was interesting to watch the biting of the plates and the \ gradual development of the perfect picture, it was even more fasci- / re nating to see him print them. During this period he depended very : greatly upon a painting of printing ink upon the plate to help com- is) ty / plete his pictures, especially in the watery foregrounds, of which there na were several amongst the Venice set; and it was little short of a . marvelous to see how he graduated and softened the ink with the palm N ii of his hand. He was accustomed to pull through his plates on the press himself, a feat requiring no little strength.”—r. r. way. — Third Session, Wednesday Evening, January 31st WHISTLER, JAMES ABBOTT McNEILL 457. Lone Lacoon. Etching. ) . # Kennedy, No. 203. ) lo Printed by Whistler himself, and so signed by him in pen- jv Y cil with the “Butterfly imp.” First stare BEFORE THE > S f “Butterfly.” DELICATE IMPRESSION. Small hole in sky, yo? mended. .EKramed. WHISTLER, JAMES ABBOTT McNEILL 458. Tyr Riva No. 2. Etching. ae hs fs \\0e ' Kennedy, No. 206. v" Signed in pencil with the “Butterfly.” Skrconp sTATE. O SPLENDID IMPRESSION, PRINTED BY WHISTLER HIMSELF AND uN O SIGNED ON THE TAB WITH THE “Butterfly imp.” oY? “More than once he was delightful in his joyous admiration of } Yj the more important of the Venice etchings, protesting against the opinion, still more or less prevalent, which classes these as inferior to the Thames etchings. ‘Can’t people see,’ he would say, ‘that my etchings show progress all along from the beginning.’ ”’—nHowarp | MANSFIELD. | [See Reproduction | WHISTLER, JAMES ABBOTT McNEILL 459. Quier Canar. Etching. D Kennedy, No. 214. jv 4 Printed by Whistler himself and so signed by him in pen- > cil, with the “Butterfly imp.” One of the set of “T'wenty Sia Etchings” published in 1886. Thirty sets only. Fine IMPRESSION. WHISTLER, JAMES ABBOTT McNEILL 460. SaturrE—Dawwn. Etching. t / Kennedy, No. 215. my) o ASO: SIGNED ON THE PLATE AND IN PENCIL WITH THE ““Butter- fly.’ IMPRESSION PRINTED BY WHISTLER HIMSELF AND SIGNED BY HIM ON THE TAB WITH THE “Butterfly imp.” WHISTLER, JAMES ABBOTT McNEILL 461. Drury Lane. Etching. “ Kennedy, No. 237. a ~ One of the series of “TJ'wenty-Sia Etchings’ published by the Fine Arts Society in 1886. Signed on the plate with the “Butterfly.” On ty stTaTE. FINE IMPRESSION, PRINTED IN BROWNISH INK. JAMES ABBOTT McNEILL WHISTLER Tue Riva No. 2.—Kennedy, No. 206 : —_——_—_ Third Session, Wednesday Evening, January, 31st WHISTLER, JAMES ABBOTT McNEILL 462. Recent’s Quaprant. Etching. 1 i Kennedy, No. 239. SIGNED ON THE PLATE AND IN PENCIL WITH THE “Butter- fly.” Intermediate state between second and third, with the balustrade shaded but before the removal of figures to fe the left of the pillar. ( : IMPRESSION PRINTED BY WHISTLER HIMSELF AND SIGNED ON THE TAB WITH THE “Butterfly imp. FINE AND RARE. WHISTLER, JAMES ABBOTT McNEILL 463. Otp CrotHes SHor, Numper 1. Etching. " Kennedy, No. 257. | A) " ne Signed on the plate with the “Butterfly.” First srare ( S ~~ before additional work on the doorway. Impression trimmed to the plate-line and tab, but not signed in pencil. Rare. WHISTLER, JAMES ABBOTT McNEILL 464.. CHANCELLERIE Locues. Etching. )6 Kennedy, No. 383. Signed on the plate and in pencil with the “Butterfly.” / Fourtu start. Impression printed by Whistler himself he : and signed on the tab with the “Butterfly ump.” Fre AND RARE. ‘ ay) Nature contains the elements, in color and form, of all pictures, \ as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science these elements, that the result may be beautiful—as the musician gathers his notes and forms his chords, until he brings forth from chaos glorious harmony. In all that is dainty and lovable he finds hints for his own combinations and thus is Nature ever his resource and always at his service, and to him is naught refused.”—wuistrer—‘Ten O’Clock.” WHISTLER, JAMES ABBOTT McNEILL 465. St. JAMES STREET—JuUNE, 1878. Kennedy, No. 169. : From “Vanty Fair,” July 2, 1878. Reproduction, au- thorized by Whistler. [Also] “A Sympnony.” (Caricature, full length of Mr. Whistler. ) By “Spy.” From “Vanity Fair,” July 12, 1878. Prob- ably a reproduction. Together, 2 pieces. Third Session, Wednesday Evening, January 31st WHISTLER, JAMES ABBOTT McNEILL 466. WristLeR v. Rusxix. Art & Art Critics. Tuirp Eprrron. 8vo, wrappers, uncut, pp. 20. London, Dec. 24, 1878 WHISTLER, JAMES ABBOTT McNEILL 467. Nocrurnes, Marines & CHEvVALET Pieces. Small Collection Kindly Lent by Their Owners. 8vo, wrappers, uncut. [ London, 1878 | First Eprrion, the issue with title as above, and “T/lustrated Lon- don News,’ with the “Butterfly” beneath on last page. WHISTLER, ‘JAMES ABBOTT McNEILL 468. Mr. Wuisrier’s “TEN O’Ciock.” First Eprrion. 8vo, wrappers, uncut, pp. 31 (page 30, blank). London, 1888 The author’s famous Lecture on Art, with the strange title, bestowed upon it, it is said, because- of the fact that it was de- livered by the author at the late hour noted, as he did not wish people “rushing from their dinners to hear him.” WHISTLER, JAMES ABBOTT McNEILL 469. “Ture Forrnicutty Review,” June, 1888, containing Alger- non Charles Swinburne’s contribution: “Mr, Whistler’s Lecture on Art.” 8vo, wrappers. [ Excerpt, the portion containing the Lecture only. | Philadelphia, 1888 WHISTLER, JAMES ABBOTT McNEILL 470. Way (Tuomas R.). Mr. Whistler’s Lithographs. Frontis- piece (portrait of Whistler, after a photograph). First Epitrron. 8vo, vellum back, and boards, uncut. London, 1896 No. 81 of 140 copies printed, EACH ONE AUTOGRAPHED BY THE AUTHOR. WHISTLER, JAMES ABBOTT McNEILL 471. Even versus Wuistrter. The Baronet & the Butterfly. A Valentine with a Verdict. S8vo, cloth back and boards, | uncut. New York, 1899 | Third Session, Wednesday Evening, January, 31st Sr eee ses Fw, aero EN EEL Tae WHISTLER, JAMES ABBOTT McNEILL ‘472, Wepmore (Frepericx). Whistler’s Ktchings. A Study and a Catalogue. Second Edition, revised and_ enlarged. 12mo, cloth, uncut, paper label. London, 1899 No. 80 of 100 copies printed. It contains the inserted slip announc- ing that the publisher has for sale copies of Mr. Wedmore’s work on Meryon. WHISTLER, JAMES ABBOTT McNEILL 473. THe GENTLE Art or Maxine Enemies. Square 8vo, cloth back and boards, uncut. New York: John W. Lovell Co., 1890 WHISTLER, JAMES ABBOTT McNEILL 474. |CaTaLocuE or AN] Exuisrrion or Ercuines, by J. McNeill Whistler. Etched portrait of Whistler, after himself, original issued in 1859. 8vo, wrappers, uncut. [| Preface, by Frederick Wedmore.| pp. 11 ++ pp. 16. London, 1908 WHISTLER, JAMES ABBOTT McNEILL a1 Oejia.(C. J.).| The Peacock Room, Painted for Mr. F. R. Leyland, by James McNeill Whistler, removed in its en- tirety from the late owner’s residence & exhibited at Messrs. Obach’s Galleries, at 168 New Bond Street, London, W. Illustrated. 4to, wrappers, uncut. [| London] 1904 Illustrated newspaper account of the “Room” laid in. WHISTLER, JAMES ABBOTT McNEILL 476. |CaraLtocuE or A] Memoria Exuipirion of the Works of J. McNeill Whistler,—Etchings, Dry Points, & Litho- graphs. 8vo, wrappers, uncut, pp. 33. Boston, 1904 WHISTLER, JAMES ABBOTT McNEILL 477. |CaraLtocuE oF A] Memortat Exuisirion of the Works of J. McNeill Whistler,—Oil Paintings, Water Colors, Pas- tels, Drawings. 8vo, wrappers, uncut, pp. 24. Boston, 1904 Third Session, Wednesday Evening, January 31st WHISTLER, JAMES ABBOTT McNEILL 478. Parntincs, Drawines, Ercuines & LirnocrapHus [| Catalogue of a] Memorial Exhibition . . . held under the auspices of [The International Society of Sculptors, Painters & Gravers|. Fourru Eprrion. 8vo, wrappers, pp. 126. B London, 1906— 4 WHISTLER, JAMES ABBOTT McNEILL 479. CATALOGUE oF THE MemorrAL Exursition of the Works of the late James McNeill Whistler, . . . in the New Gal- lery, Regent Street, London. Portrait and numerous fac- similes. Royal 8vo, cloth back and boards, gilt top, uncut. London, 1905 Edition de Luxe. Only a small number printed. WHISTLER, JAMES ABBOTT McNEILL 480. Wripr v Wuistier, being an acrimonious Correspondence on Art, between Oscar Wilde and James A. McNeill Whistler. | 7 First Epirion. pp. 20, 8vo, wrappers, uncut. London: Privately printed, 1906 One of 400 copies printed. WHISTLER, JAMES ABBOTT McNEILL 481. Venice Pasters. First Epirion. pp. 4, 12mo, wrappers, uncut. [London:] Printed by T. Way, 21, Wellington Street, Strand (undated) WHISTLER, JAMES ABBOTT McNEILL 482. “Norers” — “Harmontres” — “Nocturnes.” First Epirion. — pp. 8, 8vo, wrappers, uncut. J. McNeill Whistler, Tite Street. Chelsea (undated) JEROME WIERIX Engraver. Born at Antwerp or Amsterdam in 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 works. WIERIX, JEROME 483. VirciIn and Cuinp. Laine-engraving. Signed on the margin of the plate,—“Hieronymns Wierix fecit et Hacudit.” Third Session, Wednesday Kvening, January, 31st Inne COS KS A ne Oe ee JEAN GEORGES WILLE Born at Kénigsberg in 1715; died at Paris in 1808. He first worked with a gunsmith. He went to Paris and worked with Daullé who signed many of the plates which Wille actually engraved. Wille soon achieved fame on his own account, and engraved portraits after the leading French portrait painters. Later in life he devoted himself more to the genre subjects of the Dutch School. WILLE, JEAN GEORGES 484. Le Concert pe Famitiz. Line-engraving. Le Blanc, No. 54. Engraved after the painting by Schalken. First srarre, BEFORE LETTERS. FINE IMPRESSION. PreseNTATION Proor from Wille to his pupil the engraver Aliamet. According to his Journal it took Wille two years and four months to engrave this plate. WILLE, JEAN GEORGES ‘ 485. Mairresse p’Ecore. Line-engraving, Le Blanc, No. 70. Engraved after the painting of P. A. Wille. Signed on the plate-—“Gravé par J. G. Wille.” W. WITSEN Contemporary Dutch etcher. He has received many medals and honors, among them the Gold Medal of merit “Arti et Amicitiae Amsterdam 1910,” given by H. M. the Queen. WITSEN, W. 486. Winter Eventnc. Etching with aquatint. Van Wisselingh, No. 414. Signed in pencil,—‘ Witsen.”’ 4 ’ WILLIAM LIONEL WYLLIE Contemporary English etcher. Born, 1851. Has travelled all over the world. His etchings are chiefly boating and fishing scenes. WYLLIE, WILLIAM LIONEL ) 487. CoLcHEsTER Sprat Boats. Original etching. Signed in pencil, “W. L. Wyllie.” Third Session, Wednesday Evening, January 31st romaine earn ise Oa ATE EAE PHILIPPE ZILKEN Contemporary Dutch etcher. Born in 1857; living at The Hague. ZILKEN, PHILIPPE 488. Provenine Oxen. Etching. Etched after the painting by Mauve. Signed on the plate, and in pencil,—‘Ph. Zilken a. f.” ay ANDERS ZORN Swedish painter and etcher. Born at Mora in Delcarlia 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 pictures expressing the most delicate and fleet- ing phases of expression and gesture.” —HENRI MARCEL. ZORN, ANDERS / 489. Henry Maravann. Etching. hue Delteil, No. 81. © Etched in 1893. Signed on the plate, and in pencil,— /) u “Zorn. Oniy strate. About 35 impressions. FINE i PROOF IN PERFECT CONDITION. VERY RARE. 4 : : ZORN, ANDERS a 490. La Venus pE La VILLETTE. Etching. Delteil, No. 82. O Signed in pencil,—‘“Zorn.” PRooF ON CROWN PAPER. ee a oO Slight crease. ZORN, ANDERS 491. Mrs. Porrer Parmer. Etching. } | Delteil, No. 105. | Signed on the plate, and in pencil,—**Zorn.” PrRoor on \ 0 HOLLAND PAPER. Third Session, Wednesday Evening, January, 31st ZORN, ANDERS 492. Eveninc—Baicnevuse pr Dos. Etching. Delteil, No. 108. Etched in 1896. Signed on the plate, and in pencil,— “Zorn. SUPERB IMPRESSION ON OLD DuTcH PAPER. OF THE UTMOST RARITY. ONE OF THE MOST BEAUTIFUL PROOFS EVER PRINTED FROM THE PLATE. / “In its supple grace and vibrant vitality the delicately modulated ( back of the bending figure of The Bather—Evening is a pantheistic 0 / hymn to the eternal efflorescence of life. She pauses in the silvery twilight before breaking the surface of the mirror-like lake into a b ; thousand jewels of refracted light, and she is as much a part of the a) enshrouding stillness as the aged rocks on which she stands. Whistler / 0 never did anything more evanescent than the landscape of this plate, which is printed in a key as light and airy as the magically executed AG 0 lines, that give the softness of the figure’s contours as well as the hardness of the rocks and the veiled serenity of distant lake and woodland.”—s. NItsEN LAURVIK. [ See Frontispiece for Reproduction | ZORN, ANDERS 493. Errer pe Nuir. Etching. o Delteil, No. 109. o Etched in 1897. Signed on the plate, and in pencil,— “Zorn. PROOF PRINTED ON BROWN PAPER. ZORN, ANDERS 494. Mrs. Creventann. Etching. Delteil, No. 144. O ; Signed on the plate, and in pencil,—‘‘Zorn.”’ ZORN, ANDERS / 495. Mure. Maya von Heisne. Etching. P Delteil, No. 149. a Etched in 1900. Signed on the plate, and in pencil,— “Zorn.” Only about 50 or 60 impressions. Fine anp VERY RARE. ZORN, ANDERS 496. Tue Guirar Prayer. Etching. Delteil, No. 155. SO y Etched in 1900. Signed on the plate, and in pencil,— “Zorn.” Third Session, Wednesday Evening, January 31st ZORN, ANDERS 497. Tur New Bartuap. Etching. re Delteil, No. 169. S Signed on the plate, and in pencil,—‘Zorn.” ProoF | PRINTED ON BROWN PAPER. Done in 1908. ZORN, ANDERS ~ / (0 4.98. Mure. Emma Rassmussen. Etching. + ry Delteil, No. 182. Vv Etched in 1904. Signed on the plate, and in pencil,— “Zorn.” ONLY STATE. VERY FINE AND RARE. ZORN, ANDERS 499, Le Viotniste pE Vittace. Etching. Delteil, No. 185. Etched by Zorn after his own painting of the same title. jo Published in the Gazette de Beaux Arts and in a monograph L on Zorn’s works by Edouard André. Signed on the lower — left corner of the plate,-—“Zorn,” but not signed in pencil. ZORN, ANDERS 500. Arsert Encstrom. Etching. Delteil, No. 187. . Etched in 1905. Signed on the plate, and in pencil,— a “Zorn.” Proor Printep IN Sepia. Undescribed by Delteil. Vv Etched in 1911. Signed on the plate, and in pencil,— “Zorn.” ZORN, ANDERS 506. Srawarp Skerries. Etching. Not in Delteil. -) Done in 1913. Signed on the plate, and in pencil,— “Zorn. FINE IMPRESSION, ON CROWN PAPER. ZORN, ANDERS 507. Crown Princess or SwepEN. Etching. 0 Not in Delteil. Etched in 1914. Signed on the plate, and in pencil,— “Zorn. PROOF oN VAN GUELDER PAPER. Done in 1914. ZORN, ANDERS 508. Exim. Etching. ES) Undescribed by Delteil. 0) Etched in 1914. Signed on the plate, and in pencil,— “Zorn,” ZORN, ANDERS 509. Dataro. Etching. Undescribed by Delteil. os ( - Etched in 1915. Signed on the plate, and in “Zorn.” | é an ZORN, ANDERS 510. Ar Praver. Etching. a a ( 3 Not in Delteil. ; ae eae Signed in pencil,—‘“‘Zorn.”’ ‘Slight printing-crack * \y top. | a = + AMERICAN ART ASSOCIATI THOMAS E. KIRBY, AUCTIONEER. FOR INHERITANCE TAX AND OTHER PURPOSES THE AMERICAN ART ASSOCIATION IS EXCEPTIONALLY WELL EQUIPPED TO FURNISH INTELLIGENT APPRAISEMENTS OF PeteaND LITERARY PROPERTY Pee ieeoe NI PERSONAL EFFECTS OF EVERY DESCRIPTION IN CASES WHERE Peel oALES ARE EFFECTED hmeroMmMiINAL CHARGE ONLY WIEL BE MADE THE AMERICAN ART ASSOCIATION MADISON SQUARE SOUTH NEW YORK TELEPHONE, 3346 GRAMERCY COMPOSITION, PRESSWORK AND BINDING BY THE GETTY CENTER LIBRARY ” 1917 Jan.29 NeAmdJ c.1 American /Engravings and etchings 87-P17738 Ser oo Fees eee aS =, oT =>: a eo f s[¥) auth “ Hie : Hmehy Lh oo — + i) ht 4 ms i i te uh te panel BAN mh bce l} Heath = =: Se Se eto a ys te aN reed HH Nak pa Oi