Burlington jfine Hits Club. 1883. EXHIBITION OF ETCHINGS . BY "' REN I ER ZEEMAN AND ' KAREL DU JARDIN, WITH ILLUSTRATIVE DRAWINGS. PRINTED FOR THE LONDON : BURLINGTON 1883. FINE ARTS CLUB. From the Library of Frank Simpson Burlington jfine Hrts Club, 1883. EXHIBITION OF ETCHINGS BY REN I ER ZEEMAN AND KAREL DU JARDIN, WITH ILLUSTRATIVE DRAWINGS. LONDON : PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 1883. LONDON : METCH1M & SON, 20, PARLIAMENT STREET, S.W.. AND 32, CLEMENT'S LANE, E.C. LIST OF CONTRIBUTORS. Henry Brodhurst, Esq., St. John Dent, Esq., * Richard Fisher, Esq., * F. Seymour Haden, Esq., * John Malcolm, Esq., of Poltalloch., * John L. Roget, Esq., R. P. Roupell, Esq., Q.C. * The Contributors whose names are thus marked are Members of the Club. Digitized by the Internet Archive in 2014. http://archive.org/details/exhibitionofetchOOburl INTRODUCTORY REMARKS. In the series of collections illustrative of the History of Art which it is one of the main objects of this Club to arrange year by year, in its gallery, the important development of Engraving which took place in the Low Countries in the seventeenth century has, as yet, been only partially exhibited. Any adequate representation at one view of the whole school of the old Dutch Etchers is, indeed, rendered impossible by the overshadowing brilliancy of Rembrandt's genius. But, two collections having already been made (in 1867 and 1877) of the works of that great master, the ground has now been cleared for the display of lesser luminaries. There still remain, however, so many artists of distinction, whose works deserve a fuller opportunity of study than could be afforded in a general gathering having any pretension to a complete representation of the school, that it has been thought best to select one or more individual masters at a time for detailed examination, without abandoning the idea of a more comprehensive survey, should it be found practicable on a future occasion. The two Etchers chosen for this year's contemplation, Renier Zeeman and Karel du Jardin, are placed together rather by way of contrast than of comparison, although the qualities which they 6 possess in common are such as characterize the school to which they belong, and are essential to the phase of art in which they alike excelled. Their Works illustrate the novel application of power which constitutes the originality of the Etchers of the seventeenth century, considered as a school. Never before their time had the point become so free an instrument in the Painter's hand for the expression of his artistic thought, or so perfect a substitute for the pencil in delineating the objects and aspects of nature. By them, the grace, the spirit, and the force, which belong to a perfect sketch — that terse yet lucid form of the language of graphic art, where the means are so simple, the suggestive power so great — were first shown to be attainable with the willing line and varied tones placed at the Artist's command in the process of engraving with acid. In their etched work, both the Artists before us exhibit, in their different ways, worthy examples of such effective use of these agencies. Taken together, moreover, they cover considerable ground in the range of their subjects. Du Jardin, an animal painter par excellence, was also a refined Etcher of Landscape. In a few subjects he shows his power of figure-painting ; and, even in portraiture, he holds his own by a single specimen. Zeeman, almost unique in shipping and marine subjects, is also an admirable Etcher of buildings. In sentiment, the two men have little in common. While the work of one is strictly topographic, that of the other is mainly 7 artistic. The one is thoroughly Dutch, matter of fact, and influenced chiefly by the ruder incidents of the sea. The other, though also Dutch, has become half Italian by long sojourn in the South ; and, moved by the genius loci, has learnt to invest even the homeliness of the farm-yard with a sort of classicism. Corresponding to this diversity of feeling, and probably arising therefrom, is the marked difference in their modus operandi. Zeeman's firm handling has a robustness and a decision which befit the scenes of active life, and the working character of the objects he portrays. Du Jardin, on the other hand, has a touch more delicate and tender, as being at leisure to note the details of the objects he draws, to enjoy the sparkling light upon their surface, and linger in a caressing way over their most pleasing aspects. To say, however, that Zeeman's art is topographic, in no degree implies that it is wanting in real artistic quality. His city views are not mere architectural studies, nor are his views of shipping mere likenesses of ships. Apart from their technical merit, the attractive quality of his etchings is chiefly due to the vivid representation they afford of a past age. In this respect they are "historical" painting, in the only true sense of the word. With these pictures before us of the northern Venice, her gabled streets, her groves of masts and trees by the water-side, her quays, teeming with active life, — so like, yet so distinct from, the Amsterdam of to-day, — one can scarcely fail to be impressed with the intense reality of the scene, or to feel oneself carried back in imagination into the very midst of the living world, as it was two centuries ago. 8 Zeeman's shipping, notwithstanding the antique fashion and quaint build of the vessels, has still a workmanlike look that can be appreciated even by a landsman. His marine subjects not only present a curious record of the various craft in use in his day, but comprise a veritable epitome of the rough daily labour and scenes of industry in which the sailor-artist himself took part. To persons who enjoy a stroll among the docks of a busy port, or to loiter by the sea, and watch the passing ships, and the picturesque incidents of a sailor's beach, his many prints of vessels in the course of building, launching, careening, &c, are capable of affording a similar source of delight. Whether Zeeman was, himself, an actor in the sea fights he has so graphically depicted, or, like the elder Van de Valde, was present in the capacity of " Special Artist," history does not relate ; but he seems to set down the dire incidents of battle as if he had them actually before his eyes. He indicates the drowning of.a ship's crew by a cluster of black spots on the water's surface ; and, in a few telling scratches he notes with graphic force the savage onslaught of the boarding-parties on the decks of the enemy. In the spirited Plate called "The Mutiny," (No. 2), where a deadly struggle is represented on board a small vessel, he shows considerable dramatic power in dealing with a subject of human interest. And it is, indeed, mainly by the natural way in which he enlivens his views with figures, that he imparts to them the sense of reality above-mentioned. These persons are always where they would be likely to be ; and they betray no sort of consciousness of being 9 introduced to aid the artistic effect. Yet they are really marshalled with a very judicious eye to the grouping which the subject requires. A proof of this is, that they are never obtrusive. Zeeman's chief weakness, as an Engraver, is in his skies. His laboured and smoke-like clouds have been justly condemned. Opinions, also, may be divided as to his delineation of waves. In some of his Plates, particularly in a set of four, entitled " The Elements" (B. 19 to 22) ; he certainly contends against atmospheric difficulties with but poor success ; and he would, doubtless, come within Mr. Ruskin's sweeping category of Dutchmen who have " libelled the sea." But in his best Plates the sky plays a subordinate part, and there are, at any rate, life and movement in his waves, as well as in his ships. In turning from the etchings of Renier Zeeman, to those of Karel du Jardin, we pass at once from the throng of men into the heart of the country, and partake of its repose. "When the spirit is harassed by the rough realities of the world," writes Mr. Seymour Haden, "nothing so likely to tranquilize it as the ample folio containing the works of Du Jardin. Peace and quietness are stamped on their face, together with a charm of line and treatment not to be expressed in words." There is no need to dilate here on the merits of this admirable artist. The truth and beauty of his etchings are univer- sally acknowledged, and we have but to gaze on the fine proofs here assembled, to be satisfied of the justness of the high estimation in which they are held. IO In the case of both our artists, the materials for biography are very slight. We know of Zeeman, that his real name was " Nooms." It is inscribed on a few of his plates, with " Zeeman " as an alias. The latter was a popular surname, conferred upon him as a mark of his original calling, he having been a seaman before he turned painter. His first, or christian, name is variously written as Renier, Remi, Remy, or Remigius. It is said, with probable truth, that he was a self-taught artist. Indeed, the only painter among his countrymen from whom he could have learnt much in his own peculiar line, was the elder Van de Velde, who appears to have been his senior by two years. If the date 1612, to which Zeeman's birth is usually ascribed, be correct, he can scarcely, as has been alleged, have been much under the influence either of Backhuysen, who was born nineteen, or the younger Van de Velde, who was born twenty- one, years after him. And certainly it was not from them that he learnt to etch ; for Van de Velde is unknown as an engraver, and it was not until fifty years after Zeeman published his first set of plates, that Backhuysen began to work upon the copper. We may well be content to admit that Renier Nooms had no other teacher than Nature. He was clearly, in his way, a man of original genius. The son of a poor fisherman of Amsterdam, consigned to the life of a common sailor, he employed his leisure, when a mere cabin-boy, in the exercise of his pencil, drawing everything he saw. Then he tried to put colour to his sketches, and, with the kind help of some amateurs, who gave him the means of perfecting his art, soon raised himself to a recognized position as a skilful painter of shipping and marine subjects and finally acquired 1 1 a reputation so high, as to induce the " Great Elector," Frederick William, to send for him to the Court of Berlin. There he is said to have remained for some time, painting many pictures at high prices, to the adornment of the town and most of the royal residences. As to the precise period of his sojourn in Prussia, biographers are silent. But it must have been after 1640, when Frederick William succeeded his father to the Electorate of Brandenburg ; at which date Nooms was 28 years old. By that time, or shortly after, his position as a painter appears to have been established in his own country, for (as we learn from Weigel, p. 269) a set of prints, after his works, was published by Visscher in 1642. It was not until after leaving Berlin that he himself took to etching, continuing, at the same time, his practice with the brush. His earliest plates, however, which bear a date, were published in Paris in 1650, when he must already have been in that city, several of the subjects being sketched in the neighbourhood. After this date, such further facts as are recorded of the artist appear to have been inferred from the evidence of the dates upon his published plates. All that we can further do, therefore, to elucidate his career, is to set down the following notes as chrono- logical landmarks. In 1 650 were published in Paris the 13 small plates just referred to, entitled " Recueil de Plusieurs Navires et Paysages " (see Nos. in to 1 14) ; and in 1652, also at Paris, a set of 8, entitled "Quelques Navires" (Nos. 13 to 20). In the same year, 1652, on the 7th of July, the Town Hall of Amsterdam was on fire, and there exists a curious and rare print of the conflagration designed, etched, and published by Zeeman himself at Amsterdam. It is the largest of his plates, but not one of the best, and has the appearance of a print got up quickly for the occasion, when the event was one of special interest. Passing over a small piece dated 1653, with the name " Remi Zeeman," which Weigel (p. 268) regards as doubtful, the next epoch to be noted is 1654, when the Two Blockhouses on the Amstel which guarded the entrance to Amsterdam were destroyed. They form the subject of two of Zeeman's plates, on one of which (No. 3) is inscribed a record of the short existence of these buildings : — " Gemaakt A"- 1651. Afgebrooken A 0, 1654." Being a single plate,, it is not unlikely to have been published soon after, in commemoration of the event. The other view (No. 56), a winter scene with skaters, is in the third part of a series of 36 plates of Shipping (Nos. 2 1 to 60) published at Amsterdam in three parts, and it serves to mark that publication as having probably taken place between 1651 and 1654,. when these buildings were standing. We have then a set of 8 plates of Seaports (B 23 to 30, described by Weigel, pp. 2 48 to 250) published at Amsterdam in 1656, to which the series in this collection, Nos. 5 to 12, are a second part ; and to this year belongs the interesting drawing No. 115. Zeeman was then 44 years of age. After this no date of publication occurs until 1675, but three 13 small plates are mentioned of three memorable engagements in 1673 between the Dutch and the combined fleets of England and France, which Weigel supposes to be in the nature of broadsheets issued on the occasion. Finally, in 1675 the series of plates, Nos. 69 to 8 1, of " Men-of- War, Fly-boats, Ships Building, and Careening, &c," were issued in London by Arthur Tooker of the Strand, who professed to have received them directly from the artist. He was then 63, and there is no record of him after that date. Several important series of plates, including the Views in Paris and Amsterdam, and the set of Sea Fights, are without a date ; and it must be left to experts to determine the probable times of their production. It is the set of eight Views in Paris that are said to have inspired the great French etcher Meryon with the idea of his own series of prints of the old City, which he published with a dedica- tion to Renier Zeeman, and a copy of verses in his praise. Of Karel du Jardin's history there is also but little to relate. Although his etched work was nearly contemporaneous with that of Zeeman, he was by much the younger of the two. V arious dates, ranging from 1625 to 1640 have been given of his birth. As, 14 however, the first would make him only one year younger than his master Berchem, and the last only 12 when he executed his first plate, the chances are in favour of an intermediate date. We may be content with 1635, and to wonder with Bartsch at the proficiency displayed by the artist in 1652, when at the age of 17 he etched the "Frontispiece" (Nos. 117, 118), the "Sleeping Pigs" (No. 141), and the "Field of Battle" (No. 136). A native of Amsterdam, and trained early in the school of Berchem, he travelled to Rome, and passed some years in Italy among a joyous band of young artists, his countrymen, who were associated under the name of the Bentivogel Society, by whom he was nicknamed " Buck's Beard " (Bokkbaart). Returning to Holland, he spent the next eight years in his native land ; and then, yearning again for the south, left his home under a promise to escort a friend as far as Texel. Once at that port, he set sail with him for Leghorn, and rejoined his old associates at Rome. There is a gossiping tale, which Bartsch repeats, that he left Holland the second time to escape from the domestic trouble arising from a mercenary marriage, which he had made at Lyons on his way home before, to enable him to pay his debts. However that may be, he never again left Italy, but died at Venice on the 20th of November, 1678, in a fit of indigestion, after residing a year in that city. M. Dutuit discovered his signature in a church in Rome with the date 1676. The latest date on Du Jardin's plates is 1660, being that of the "Boy and Two Donkeys" (No. 156), and the "Herdsman and Three Oxen" (No. 126). If the year assigned to his birth be correct, he was then but 25 years old ; and he died at 43. 5 The etchings of Karel du Jardin, being- published in a numbered set, are classified by Bartsch as existing in four States, the first only being that before the numbers. In this, their " proof" state, however, M. Dutuit has registered one or more slight variations in some of the plates, and his numbering of these is referred to in the following catalogue, although in such cases the composition remains unaffected. To the collection of Etchings, a few Drawings, by the two Masters under review, have been added, in order to provide an opportunity of instructive comparison. As both Etchers, in accordance with the practice of their School, were in the habit of working, not directly from nature upon the copper, but from drawings previously made, an inspection of the kind of sketches which served -as such memoranda may aid in the formation of a juster estimate of the intention of their engraved work than could be obtained from an exclusive study of the Etchings. Two Indexes have been placed at the end of the catalogue, to enable those who are familiar with Bartsch's list to find any print therein specified which may be in this collection. J. L. R. May, 1883. CATALOGUE. Abbreviations : — B. — Bartsch's " Le Peintre Graveur." W. — Weigel's " Supplement " to ditto. D. — Dutuit's " Manuel de l'Amateur d'Estampes." I.— ETCHINGS BY RENIER ZEEMAN. A SEA PIECE, WITH SHIPPING. Marine. B. I. Described by Bartsch, V. 127. First State. W. No. 82 (W. 170) is a pendant to this Plate. Lent by Mr. Haden. THE MUTINY. L'emeute des matelots. B. 2. Described by Bartsch, V. 128. Second State. W. — After removal of the words " Dancker Dankarts, Exc." Weigel considers this State as fine as the first. The man's bust in an oval wreath of laurel at the top of the Print on the right is said to be a Portrait of Schipper Kees de Jonge, captain of one of the vessels. Lent by Mr. Haden. i8 3 THE TWO BLOCK-HOUSES ON THE AMSTEL, AMSTERDAM. " De tzvee Blockhuisen op den Amstel buiten Amsterdam." Les deux maisons fortifies sur V Amstel. B. 3. Described by Bartsch, V. 128. First State. W. Before the words " Gemaakt, Ano. 165 1. Afgebrooken. Ano. 1654." Lent by Mr. Haden. 4 THE PEST-HOUSE, AMSTERDAM. " Het Pest-huis buiten Amsterdam." Le Lazaret des pestif tires d Amsterdam. B. 4. Described by Bartsch, V. 129. Lent by Mr. Haden. 5 tO 12 THE NAVIGATION OF VARIOUS CHANNELS. " Het Nut en Vermakelik Gebruyk van Verscheyde Binne-waters." A set of 8 Plates. Marines, en Deux Parties (Seconde Partic). B. 31 — 38. The Title Plate described by Bartsch, V. 134; the remaining seven by Weigel, pages 250 to 252. The State, which appears to be intermediate between the Second and Third, as described by Bartsch, is in reality the last State ; the words, " W. de Broen Excudit " having been removed. Lent by Mr. Haden. 13 tO 20 VARIOUS VESSELS. " Quelque nauieres .... 1632!' A set of 8 Plates. Quelques Navires. B. 39—46. The Title Plate described by Bartsch, V. 135, the remaining seven by Weigel, pages 252 — 254. Second State. W. With address of J. van Merlen. Lent by Mr. Haden. 19 21 to 60 AMSTERDAM SHIPPING AND VIEWS. Verscheyden Schepen, en Gesichten van Amstelredam." A set of 36 Plates, in 3 Parts of 12 Plates each. Differens Vaisseanx d'Amster dam. B. 63-98. Described by Bartsch, V 137-140. Lent by M r. Haden. PART I.— 21 to 36. B. 63 to 72. (21) The Title-Plate (a 1). B. 63. Second State. W. With the address " C. Danckerts, Exc." (22) The Title Plate (a 1). B. 63. Third State. W. With the address " Amstelodami, apud Dancker Danckerts." (23) The Title Plate (a 1). B. 63. Fourth State. W. With the address " Amstelodami, apud Clement de Jonghe." Weigel suggests that Clement de Jonghe's known excellence as a printer may account for the impressions of the Fourth being better than those of the Third State. (24 to 34) Plates a2 to a 12. B. 64—74. (35 to 36) Plates a6 to aio. B. 68—72. (See Nos. 28 and 32). First State. W. Before the " a." PART II.— 37 to 48. B. 75 to 86. State apparently intermediate between the second and third of Weigel having both the address of Clement De Jonghe, and the words " Tweede deel." PART III— 49 to 60. B. 87 to 98. First State. W. With " C. Danckerts Excudit." 20 61 tO 68 VIEWS IN AMSTERDAM. " Verschetde gesichten binnen Amsterdam ." A set of 8 Plates. Differentes vues de dedans de la ville d' Amsterdam. B. 47 to 54. Described by Bartsch, V. 135, 136. First State. W. Before the numbers, and before the publisher's address on the first Plate. Lent by Mr. Haden. (61) The Title Plate (1) " S. Anthonis Marckt met de Waegh? B. 47. (62) Plate 2. " De Eenhoms S/uys." B. 48. (63) Plate 3. " De Noorder Marckt met de Kerck!' B. 49. (64) Plate 4. " De RoowaenscJie Kaey." B. 50. (65) Plate 5. " Het veer van de Uytersche schietsc/my ten" B. 51. (66) Plate 6. " De Appelmarckt." B. 52. (67) Plate 7. " Het Ley tsche veer" B. 53. (68) Plate 8. " Het Naerder veer." B. 54. 69 tO 81 DOCKS AND SEA PIECES. A set of 13 Plates. Differentes Marines, Ports, Rades, &c, W. 107 to 118 bis. Described by Weigel, pages 258 to 262. First State. W. Before the numbers and the name of Zeeman, and before the inscription on the Title-plate. In the Second, or earliest published, state the first Plate bears the address of Arthur Tooker, of London, and the date 1675. Weigel points out that Bartsch has entered this series twice over in his list. Under the numbers 107 to 118, and the name " Diffcrentes Marines" the latter mentions the above states, together with a third, but gives no specific description of the Plates. Subsequently, under the numbers 140 to 151, he takes note from a sale catalogue of a set of Plates, of which he has seen the title-plate only, and his description of this agrees with the title-plate of the present series. In both cases he reckons the number of Plates in the set as twelve. According to Weigel, it is only in the first, or proof, state that a thirteenth Plate is to be found. Both writers regard these as among the best of Zeeman's works. (69) Title-plate B. 140. W. 107. Described by Bartsch, V. 144, and by Weigel, page 258. Lent by Mr. Haden. (70 to 81) W. 108 to 118 bis. Described by Weigel, pages 258 to 261. Lent by Mr. Haden. (72a) W. 1 10. Another proof impression (see No. 72.) Lent by Mr. Brodhurst. 82 SEA PIECE. Marine. W. 170. Described by Weigel, page 266. No. 1 (B. 1) is a pendant to this Plate. Lent by Mr. Haden. 83 tO 89 GATES OF AMSTERDAM, " Nieuwe en Eygentlycke, Afbeeldinghe der Stadts-Poorten van Amsterdam:' A Set of 8 Plates (one wanting). Les Portes de Ville d' Amsterdam, B. 119 to 126 (122 wanting.) First state. W. Lent by Mr. Haden. 22 90 THE PAVILION OF MADEMOISELLE, AND A PART OF THE LOUVRE AT PARIS. " Het hof van Mademoiselle en een stuck van de Loeiter tot Parys." The first of a Set of 8 Plates, " Vues de Paris et de ses Environs" B. 55. Described by Bartsch, V. 1 36. First State. W. With address of " Clemendt de Jonghe." This plate, which, with three others of the same series, was copied by Meryon, the French etcher, is said to have suggested to him the idea of his " Views of Old Paris." Lent by Mr. Roget. 91 tO 98 SEA FIGHTS. " Niewe Scheeps Batalien." A set of 8 Plates. Diverses Batailles Navales. B. 99 — 106. The Title-Plate described by Bartsch, V. 140, 141 ; the remaining 7 Plates by Weigel, pages 256 to 258. Second State. W. With the address of Clement de Jonghe ; reckoned as the First State by Bartsch. Lent by Mr. Haden. 99 tO 110 EMBARCATIONS, &c. A set of 13 Plates (one wanting). Divers Embarqnements et Autre. B. 127 to 139 (wanting 139). First State. W. With address of Dancker Danckerts. Lent by Mr. Haden. Ill tO 114 FOUR SMALL SUBJECTS (Nos. 3, 4, 9 and 12). From a set published at Paris in 1650 with the title " Receiiil de plusieurs Nauires et Paisages /aits apres le naturel par R. Zeeman!' Described by Bartsch, V. 131. These are the earliest Etchings by Zeeman which bear a date. Lent by Mr. Roget. 23 II.— DRAWINGS BY RENIER ZEEMAN. 115 A LARGE SHIP ON THE STOCKS. Upon the carved stern are the words, " Quelqe Nanieres designes par R. Zeetnan, A - 1565, No. /." Beyond, on the right, in the middle distance, is a man-of-war with three masts, and five sails spread, and in the distance, a town. On the left, trees or houses are seen on the horizon, and, nearer, are several vessels. More than twenty men are variously engaged on the ship or on shore in the foreground. Three are round a fire on the right ; one stands near the left corner, with a boathook on his shoulder, and to the left of the centre a man with his left hand on the shoulder of a gentleman in a cloak, points with his right towards the horizon. This is evidently intended for the title of a series of designs, but it does not correspond with any described Plate. Indian ink. 1 1 in. wide by 6}{ in. high. Lent by Mr. Haden. 116 SEA PIECE. A calm, with a large ship at anchor, and other vessels. Described in the Catalogue of the Malcolm Collection, No. 890. Signed " R. Zeeman." Indian ink. 1 1 1 in. wide by 7^ in. high. Lent by Mr. Malcolm, of Poltalloch. 24 III. — ETCHINGS BY KAREL DU JARDIN. A Complete Set ; Nos. 117 to 143 being Proof Impressions. 117 THE FRONTISPIECE. B. i. Before number or inscription. First State. D. Lent by Mr. Haden. 118 THE FRONTISPIECE. B. i. With inscription, but before number. Third State. D. Lent by Mr. Haden. 119 THE MULES. B. 2. Before number. First State. D. Lent by Mr. Haden. 120 THE COW AND CALF. B. 3. Before number. First State. D. Lent by Mr. Haden. 121 THE SLEEPING DOGS. B. 5. Before number. First State. D. From the Verstolk Collection. 122 THE TWO HOGS. B. 15. Before number. Lent by Mr. Brodliurst. Lent by Mr. Haden. 123 THE THREE PIGS NEAR A HEDGE. B. 16. Before number. Lent by Mr. Haden. ^5 124 THE TREES WITH EXPOSED ROOTS. B. 17. Before number. With margin. Lent by Mr. Brodhnrst. 125 THE FOUR MOUNTAINS. B. 18. Before number. Second State. D. With margin. Lent by Mr. Brodhnrst. 126 THE HERDSMAN AND THREE OXEN. B. 22. Before number. With good margin. Lent by Mr. BrodJinrst. 127 THE SHEPHERD BEHIND THE TREE. B. 23. Before number. , Lent by Mr. Brodhnrst. 128 THE TWO OXEN. B. 24. Before number. Lent by Mr. Haden. 129 THE PEASANT WOMAN IN THE WATER. B. 27. Before number. Lent by Mr. BrodJinrst. 130 THE TWO ASSES. B. 6. Before number. First State. D. Lent by Mr. Dent. 131 THE GOAT AND THE TWO SHEEP. B. 7. Before number. Second State. D. Lent by Mr. Dent. 26 131a the sheep lying down by THE PALINGS. B. 35. Before number. Lent by Mr. Dent. 132 THE SHEEP LYING DOWN BY THE TRUNK OF A TREE B. 36. Before number. Lent by Mr. Dent. 132a THE SHEEP LYING DOWN. B. 37. Before number. Lent by Mr. Dent. 133 THE SHEEP AND THE FLIES. B. 38. Before number. Lent by Mr. Dent. 134 THE MULETEERS. B. 20. Before number. Lent by Mr. Haden. 135 THE SHEPHERDESS TALKING TO HER DOG. B. 31. Before number. Lent by Mr. Brodhnrst. 136 THE FIELD OF BATTLE. B. 28. Before number. Lent by Mr. Haden. 137 THE LARGE LANDSCAPE. B. 32. Before number With large margin. Lent by Mr. Brodhurst. ^7 138 THE FLOCK OF SHEEP AND GOATS. B. 33. Before number. Lent by Mr. Dent. 139 THE COWS, THE BULL, AND THE CALF. B. 34. Before number. L^ent by Mr. Haden. 140 THE TWO HORSES. B. 4. Before number. Lent by Mr. Haden. 141 THE THREE PIGS SLEEPING BEFORE A STABLE. B. 8. Before number. First state. D. Lent by Mr. Haden. 142 THE MAN TYING HIS SHOE. B. 11. Before number. Lent by Mr. Haden. 143 THE MULE WITH BELLS. B. 29. Before number. Lent by Mr. Haden. 144 The following eight Plates ; with the numbers : — THE TWO SHEEP. B. 40. THE EWE AND ITS LAMB. B. 42. THE STUDY OF HEADS. B. 44. THE SHEPHERD AND HIS DOG. B. 45 THE LITTLE LANDSCAPE WITH THE GOATS. B. 47. THE GOATS BY THE WATERSIDE. B. 48. THE PACK HORSE, B. 49. THE CARRIAGE AT THE INN DOOR. B. 50. Lent by Mr. Haden. 28 145 The following eight Plates; with the numbers : — THE FAMILY. B. 43. THE STUDY OF HEADS. B. 44 THE SHEPHERD AND HIS DOG. B. 45 THE BUILDINGS WITH THE SQUARE TOWER. B. 46. THE LITTLE LANDSCAPE WITH THE GOATS. B. 47. THE GOATS BY THE WATERSIDE. B. 48, THE PACK HORSE. B. 49. THE CARRIAGE AT THE INN DOOR. B. 50. Lent by Mr. Fisher. 146 THE SAVOYARD, OR VIOLIN-PLAYER. B. 51. D. 52. With the number (52). Lent by Mr. Fisher. 147 THE HERDSMEN PLAYING ON THE FLAGEOLET. D. 51. With the number (51). This plate is by Berchem. Bartsch, who describes it as No. 6 among the works of that master (V. 258), supposes that some print-seller, into into whose hands it had come, placed the number upon it, and added it to the set of etchings by K. du Jardin. Lent by Mr. Fisher. 148 THE THREE PIGS NEAR A HEDGE. With the number. Lent by Mr. Haden. 149 THE VILLAGE ON A HILL. B. 9. With the number. Lent by Mr. Haden. 29. 150 THE TWO MEN AND THE STONE IN THE WATER B. 10. With the number. Lent by Mr. Haden. 151 VIEW OF THE RUINS OF A TEMPLE. B. 12. With the number. Lent by Mr, Hade 11. 152 THE TREES WITH EXPOSED ROOTS. B. 17. With the number. Lent by Mr. Haden. 153 THE MAN WITH HIS DOG. B. 21. With the number. L^cnt by Mr. Haden. 154 THE TWO HORSES BY THE PLOUGH. B. 25. With the number. Lent by Mr. Haden. 155 THE OX AND THE ASS. B. 26. With the number. Lent by Mr. Haden. 156 THE BOY AND TWO DONKEYS. B. 19. With the number. Lent by Mr. Fisher. 157 THE MULETEERS. B. 20. With the number. Lent by Mr. Fisher. 30 158 THE MAN WITH HIS DOG. B. 21. With the number. Lent by Mr. Visiter. 159 THE HERDSMAN AND THREE OXEN. B. 22. With the number. Lent by Mr. Fisher. 160 THE FOUR GOATS. B. 13. With the number. Lent by Mr. Fisher. 161 THE THREE SHEEP AND A GOAT. B. 14. With the number. Lent by Mr. Fisher. 162 THE TWO HOGS. B. 15. With the number. Lent by Mr. Fisher. 163 THE THREE PIGS NEAR A HEDGE. B. 16. With the number. Lent by Mr. Fisher. 164 THE SHEEP LYING DOWN BY THE PALINGS. B. 35. With the number. Lent by Mr. Fisher. 165 THE SHEEP LYING DOWN BY THE TRUNK OF A TREE. B. 36. With the number. Lent by Mr. Fisher. 3i 166 THE SHEEP LYING DOWN. B. 37. With the number. Lent by Mr, Fisher. 167 THE SHEET AND THE FLIES. B. 38. With the number. Lent by Mr Fisher. 168 THE SHEEP BY THE STRAW HEDGE. B. 39. With the number. Lent by Mr. Fisher. 169 THE TWO SHEEP. B. 40. With the number. Lent by Mr. Fisher. 170 THE DOG AND THE CAT. B. 41. With the number. Lent by Mr. Fisher. 171 THE EWE AND ITS LAMB. B. 42. With the number. L^ent by Mr. Fisher. 172 THE OX STANDING AND THE CALF LYING DOWN. B. 30. With the number. Lent by Mr. Haden. 173 PORTRAIT OF VOS, DUTCH POET. B. 52, With the inscription. Lent by Mr. Haden. IV.-DRAWINGS BY KAREL DU JARDIN. 174 FOUR COWS AND A CALF IN A MEADOW. Black chalk, touched with Indian ink. Described in the catalogue of the Malcolm Collection, No. 717. This composition, reversed in the print, is that of the etching B. 34. (Sec No. 1 39 in the present collection.) Lent by Mr. Malcolm, of Poltalloch. 175 AN ITALIAN LANDSCAPE. Indian ink. Described in the catalogue of the Malcolm Collection, No. 723. Lent by Mr. Malcolm, of Poltalloch. 176 LANDSCAPE WITH A FLOCK OF SHEEP AND A GOAT. Black chalk. Described in the catalogue of the Malcolm Collection, No. 720. Lent by Mr. Malcolm, of Poltalloch. 177 A ROMAN RUIN, WITH A FORD, FIGURES AND ANIMALS. In the left of the foreground, a man, mostly in shadow, while preparing with a long stick to urge an ass with sacks across a stream, turns to a woman seen en face in sunshine beyond the bank on which he stands. In the stream stand a laden mule, a cow, and two goats ; and a dog is partly seen. The ruin occupies the centre and main part of the composition. Beyond it is a house among trees and small hills. Signed " K. du Jardin." Indian Ink. 7 inches wide, by inches high. Lent by Mr. Roupell. 33 178 ITALIAN FIGURES AND ANIMALS CROSSING A FORD. In the centre a horse, with a man sitting sideways on his back, stops to drink. A woman follows with a basket of fruit on her head. A cow, four sheep, and a goat are also in the water. In the background a ruin and hills slightly sketched. Signed and dated " 1676, K. du Jardin f. Romae." Red chalk. Formerly in the collection of Sir Anthony Westcomb. 107 inches wide, by 7% inches high. Lent by Mr. Roupell. 179 THREE SMALL STUDIES OF ANIMALS. Italian chalk. Described in the Catalogue of the Malcolm Collection. No. 719. Lent by Mr. Malcolm, of Poltalloch. 180 STUDIES FROM NATURE. A Woman Milking a Goat ; A Calf Sucking ; and Sketches of Goats. Italian chalk. Described in the catalogue of the Malcolm Collecti on No. 718. Lent by Mr. Malcolm of Poltalloch. 181 SHEEP LYING DOWN. Slight Study from Nature; in black chalk. Described in the catalogue of the Malcolm Collection, No. 721. Lent by Mr. Malcolm of Poltalloch. 182 A DOG LYING DOWN. Highly finished study in red chalk. Described in the catalogue of the Malcolm Collection, No. 722. Lent by Mr. Malcolm of Poltalloch. INDEX A. THE ETCHINGS OF RENIER ZEEMAN ; as enumerated by Bartsch and Weigel ; with references to the Numbers under which they are placed in this Collection. For B. i B. 2 B. 3 B. 4 B- 5 B. 6, 1 Marine. 2 Emeute des Matelots. 3 Les Blockhuisen. 4 Le Lazaret. B. 9 B. io to 13 B. 14 B. 15, 16 B. 17 B. 18 B. 19 to 22 B. 23 to 30 ... B. 31 to 38 ... B. 39 to 46 B. 47 to 54 B. 55 B. 56 to 62 B. 63 to 74 B. 75 to 86 B. 87 to 98 B. 99 to 106 W. 107 to 118 bis B. 119 to 121 ... 123 to 126 127 to 138 139 5 to 12 13 to 20 Plusieurs Navires. Les Elements. Marines, i re Partie. Marines, 2 de Partie. Quelque Navires. 61 to 68 Vues d'Amsterdam. Vues de Paris. Vaisseaux d'Amsterda Batailles Navales. Marines, Ports, &c. Portes d'Amsterdam. I Embarquements, &c. 35 B. 140 to 151 See No. 69 to 8 1 Marines. B. 152 to 154 Batailles Navales. W. 166 Marines, Vues, &c. W. 167 168 Bataille Navale. Arrive'e d'un Vaisseau. 169 Une Riviere de France. 170 82 Marine. 171 La Mascarade. 172 to 174 Petites Marines. 175 Apotheose d'amiral Tromp. 176 Marine. 177 (Un Debarcadere.) 36 INDEX B. THE ETCHINGS OF KAREL DU JARDIN ; as enumerated by Bartsch ; with references to the Numbers under which they are placed in this Collection. This mark * indicates a Proof impression. N.B. — The admission of Duplicates from' different Collections has been rendered unavoidable by two or more Prints being mounted on the same sheet. B i See Nos. 117*. 118* For B 28 See Nos. 136* B 2 119* B 29 143* B 3 I20* B 30 172 B 4 I40* B 31 !35* B 5 121* B 32 137* B 6 130* B 33 138* B 7 131* B 34 139* B 8 B 35 i3 IA * , 164 B 9 149 B 36 132*, 165 B IO 15° B 37 - 132A*, 166 B 1 1 142* B 38 133*, 167 B 12 B 39 - 168 B 13 l6o B 40 144, 169 B 14 l6l B 41 170 B 15 122*, 162 B 42 i44> I7 1 B 16 123*, i 4 8, 163 B 43 145 B 17 124* 152 B 44 I44> 145 B l8 125* B 45 144, M5 B I 9 156 B 46 J 45 B 20 134*, i57 B 47 144, 145 B 21 J 53> ^8 B 48 144, 145 B 22 126*, B 49 144, M5 B 23 127* B 50 144, 145 B 24 128* B 5 1 - 146 B 25 r 54 (5't) - 147 B 26 "55 B 52 ... 173 B 27 129* f Berohem's Plate. GETTY RESEARCH INSTITUTE 3 111 3125 01023 lllj ^