ILLUSTRATE D CATALOGUE OF ETCHINGS & ENGRAVINGS #$r.. PUBLISHED '.Wi FREDERICK KEPPEL & : GO. 4 EAST 39th STREET, NEW YORK Digitized by the Internet Archive in 2015 https://archive.org/details/illustratedcatal00fred_0 ILLUSTRATED CATALOGUE OF ETCHINGS & ENGRAVINGS m PUBLISHED BY m FREDERICK KEPPEL & CO. 4 EAST 39th STREET, NEW YORK THE J. PAUL G£l i v C£J LIBRARY NOTE ALL of the etchings and engravings described in this catalogue (un- Jt jL less otherwise designated) are onr own exclusive publications Our aim always has been to issue works which appeal rather to people of real culture than to the larger and less critical public. In consequence we issue very limited editions of these works, and in many cases we take the further precaution of destroying the cop- per plates so as to prevent the possibility of subsequent printing from them, thus insuring the rarity and permanent value of the original edition. This catalogue mentions only a small part of our general stock. For many years our specialty has been high class and rare prints. Many of these we cannot duplicate. We shall issue, therefore, from time to time a supplement— The Print Collector’s Bulletin — in which will be listed the etchings we can then supply by such mod- ern masters as Bracquemond, Buhot, Corot, Daubigny, Gravesande, Haden, Jacque, Jacquemart, Lalanne, Legros, MacLaughlan, Mer- yon, Millet, Palmer, Pennell, Whistler, and Zorn. The Print Collector’s Bulletin will be sent post-paid to any address upon application to the publishers, and correspondence is invited concerning the etchings mentioned therein. NOTE ON THE ILLUSTRATIONS The number on each refers to the corresponding number in the printed catalogue. Owing to the limitations of the process employed, these illustra- tions are not on the same scale of reduction, but the exact measure- ment, in inches, of each original (exclusive of its margin) will be found in the descriptive text. Estimates for suitable framing will be furnished on application. M B. — This Catalogue will be mailed to any address on receipt of five tivo-cent postage stamps. CATALOGUE Note. The dimensions are given in inches and without margin. Except when otherwise specified, all the following works are original etchings. ALASONIERE (FABIEN) Born at Amboise, studied painting with Jean-Paul Laurens and etching with Lalanne and Desboutin. One of the best known of contemporary etchers. 1 LES FIANCES After the painting by Yan Dyck. Prince William II. of Orange (Holland) and Princess Henrietta Maria of England, daughter of King Charles I. They were betrothed at the age of 15 and 14 respectively— when Yan Dyck painted their portraits — and were married six years later. Their son was King William III. of England. Height 14, width 11 Eemarque proofs on vellum $18 Signed artist’s proofs on Japan paper 9 APPIAN (ADOLPHE) 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. Philip Gilbert Hamerton, Etching and Etchers, p. 202. Note. In addition to plates Nos. 2-13 we have in our present stock a num- ber of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 2 UNE MARE ‘ 1 This has always seemed to me the most exquisite piece of free branch and stem drawing in the whole range of French etching. It is this, and much more than this; for not only are the trees full of an inexpressible waywardness and grace, but the whole work — the bit of rocky bank, the little inlet of calm water, the sweet distance, and the delicate sky— all this material forms a perfect har- 5 mony, presented to us with the true passion of a tender and sensitive artist. No one but an artist can know how much this little place must have been loved before it could be etched so. Philip Gilbert Hamerton, Etching and Etch- ers , p. 206. Height 914 , width 6% Impressions on India paper, without title $6 (See Illustration) 3 AYANT LA PLUIE A fine realization of the effect in landscape when the rain is about to fall. Height 4%, width 8% I mpressions on India paper, without title $3 4 UNE MORI A A BORDIQUIER Italian landscape with a well. Height 8, width 11^4 Impressions on India paper, without title $3 5 CANAL AT MARTIGUES Height 4y 2 , width 8 Impressions on vellum, without title. $3 6 A SUMMER DAY Beautiful and delicately etched landscape, with the figures of a woman and a dog. Height 4%, width 8% Impressions on India paper, without title $3 (See Illustration) 7 FISHERMEN’S HUTS Height 41 / 2 , width 8 Impressions on Holland paper, without title $2 8 UN SOUVENIR “ Easily recognized by a windmill in the middle. To the right of this there is a sailing-boat, to the left another windmill. On a rocky bank to the right is a building with a low tower, like a remnant of feudal times. All this material is reflected in calm water. . . . The sky is shaded in fine taste . . . the effect is good. ’ ’ — Philip Gilbert Hamerton, Etching and Etchers, p. 205. Height 5, width 9% Impressions on Japan paper, without title $3 9 SOURCE DE L’ALBARINE ‘‘This is one of the most masterly of Appian ’s etchings in execution, and so harmonious in tone that I conclude it must have been done from one of the artist’s pictures. The sky and distance are delightful in quality; the distance A Summer Day, by Appian, see No. 6 Source de l’Albarine, by Appian, see No. 9 The Canal, by Lalanne, see No. 188 has almost the softness of oil. The reader may observe with advantage the art with which the water is shaded, its lightest space being small and very central, and the skilful management of what is intended to be distinct and what is in- tended to be confused. The drake flapping his wings, for instance, and the tree to the left are distinct things amidst a good deal of delightful mystery and confusion, and both are very beautifully drawn.” — Philip Gilbert Hamerton, Etching and Etchers , p. 204. Height 7%, width 14% Impressions on Japan paper $10 (See Illustration) 10 PORT OF SAN REMO Height 9%, width 13% Signed artist’s proofs on Japan paper $12 Lettered impressions 4 11 PORT OF GENOA Height 11%, width 16% Signed artist’s proofs on Japan paper $7.50 (See Illustration) 12 RETOUR DE LA PECHE A COLLIOURE Height 9%, width 13% Signed artist’s proofs on Japan paper $12 Lettered impressions 6 13 A ROCKY RIVER BED ‘ 1 This is a very fine study of rocks. . . . The figure and net are beautifully introduced. ’ ’ — Philip Gilbert Hamerton, Etching and Etchers, p. 204. Height 8%, width 14% Signed artist’s proofs on Japan paper $12 Lettered impressions 6 BACHER (OTTO H.) Born at Cleveland, Ohio. Studied at Munich, Venice, and Paris. “Otto Bacher has practised etching with accomplished skill, and with sim- plicity of execution which gives his work unusual force with no lack of effec- tiveness. His Venice plates are among the best performances of any American. His grip of locale and ability to manage with ease the complicated groupings of boats, masts, cordage, and the dazzling, fascinating undulation of water re- flections in brilliant sunlight, have enabled him to produce plates that are never lacking in either pictorial or technical interest. ’ ’ — Will Jenkins, Modern Etching and Engraving in America. “The whole of it (the set of Venice Etchings), accessories and all, evinces a strong, artistic feeling. Bold and painter-like treatment characterizes it throughout. ’’—Seymour Haden. 11 Note. In addition to plates Nos. 14-37 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 14 INTERIOR OF ST. MARK’S, VENICE This large and powerful etching is recommended as being one of the very best ever produced by an American artist. It is quite as effective as the best work of Haig, while it is more painter-like. All who have visited this magnificent old edifice will recognize the fidelity with which the artist has rendered the vast Byzantine interior with its great pillars of precious marble, its uneven, tessel- lated pavements, and the golden glow of its quaint mosaics. Mr. Bacher’s etching is of the same size as his painting, which was done in the church itself. The renowned French master, Meissonier, was painting in St. Mark’s at the same time, and Mr. Bacher is indebted to him for much friendly aid and counsel in the course of his work. Height 25%, width 16 Remarque proofs on Japan paper $30 (See Illustration) 15 THE LIDO, VENICE A great stretch of coast and sea. (This plate was finely reproduced in The Century Magazine to illustrate the article “ American Etchers,” by Mrs. Van Rensselaer.) Height 7, width 11 Signed artist’s proofs on Japan paper $8 16 CASA D’ORO, VENICE Height 7%, width 6 Signed artist’s proofs on Japan paper $6 17 VENICE, SHIPPING AND THE DUCAL PALACE Height 414 , width 13% Signed artist’s proofs on Japan paper $15 (See Illustration) 18 TWO BOATS, VENICE Height 3%, width 9% Signed artist’s proofs on Japan paper $8 (See Illustration) 19 THREE SHIPS, VENICE Height 6%, width 5% Signed artist’s proofs On India paper 12 $8 Interior of St. Mark’s, Venice, by Bacher, see No. 14 . Two Boats, Venice, by Bacher, see No. 18 The Rialto, by Bacher, see No. 21 Venice, Shipping and the Ducal Palace, by Bacher, see No. 17 20 THE GONDOLIER Height 14%, width 9 Signed artist’s proofs on Japan paper $7 21 THE RIALTO Height 4%, width 9 % Signed artist’s proofs on India paper $10 (See Illustration) 22 A CANAL IN VENICE ■ Height 9, width 6 Signed artist’s proofs on India paper $10 23 LACEMAKERS Height 13 %, width 8% Signed artist’s proofs on Japan paper $10 24 THE OLD MARKET, FLORENCE Height 7, width 10 Signed artist’s proofs on Japan paper $8 25 PONTE VECCHIO Height 7 %, width 10% Signed artist’s proofs on Japan paper .$6 26 CHIOGGIA Height 6%, width 9% Signed artist’s proofs on India paper $8 27 NET MAKERS, CHIOGGIA Height 11%, width 8% Signed artist’s proofs on Japan paper $10 28 AT REST Height 4, width 6% Signed artist’s proofs on India paper $4 29 STAUFA BRUCK, DANUBE Height 3%, width 9% Signed artist’s proofs on Japan paper $5 17 30 SUTZBACH Height 2%, width 8% Signed artist's proofs on Japan paper $4 31 THE BRIDGE, WORTH Height 5%, width 11 Signed artist's proofs on Japan paper $5 32 VILLAGE OF ALKOVEN Height 2%, width 9 Signed artist’s proofs on India paper $5 33 UNTER SCHLEISSHEIM Height 5%, width 11% Signed artist's proofs on India paper $5 34 THE LOCK, SCHLEISSHEIM Height 5%, width 3% Signed artist's proofs on Japan paper $3 35 LAVANDERIA Height 13%, width 8% Signed artist's proofs on Japan paper $10 36 POPLARS, ROYAL GARDENS Height 8%, width 5% Signed artist’s proofs on India paper $12 37 DONAUSTAUF Height 4, width 10% Signed artist’s proofs on Japan paper $4 BAUERLE (MISS AMELIA) Fellow of the Royal Society of Painter-Etchers, London. 38 INFANT BACCHUS Height 3%, width 4% Signed artist’s proofs on Japan paper $3 Fifty proofs only were printed and the plate was then destroyed. 18 Port of Genoa, by Appian, see No. 11 Fishing Boats, Holland, by Gravesande, see No. 160 BEATTY (JOHN W.), PITTSBURGH Born in Pittsburgh, Pa., 1851. Studied in Munich. Member of the Jury on Painting, World’s Columbian Exposition, Paris Exposition, etc. Director of Pine Arts, Carnegie Institute, Pittsburgh. 39 THE RETURN TO LABOR A farmer takes down the fence-rails to admit his horses to the field. This fine rustic scene is very strongly drawn and very intelligently etched. It has won high praise from the critics. Height 13, width 19% Signed artist’s proofs on Japan paper $15 BEAUVAIS (ARMAND) The paintings of this artist have won him a medal at the Paris Salon. 40 THE SHEPHERDESS AND FLOCK Etched from the artist’s own painting and exhibited at the Paris Salon. This very pleasing picture is recommended as one of the best and prettiest at a moderate price. Height 11, width 17 Signed artist’s proofs on vellum $10 Impressions on Japan paper 5 BELIN-DOLLET (GUSTAVE) Pupil of Millet and Harpignies. 41 GOING TO WORK After the original etching by J. E. Millet. Height 18, width 14% Signed artist’s proofs on old Dutch paper $12 Proofs on old Dutch paper, unsigned 6 42 THE SHEPHERDESS KNITTING After the original etching by J. F. Millet. Height 18, width 14% Signed artist’s proofs on old Dutch paper $12 Proofs on old Dutch paper, unsigned 6 BEN- YUSUF (MISS ZAIDA) 43 PORTRAIT OF F. MARION CRAWFORD Platinum photograph from life. This is perhaps the best portrait of the eminent novelist. Height 11, width 9 Prints mounted on Van Gelder paper, and signed by Mr. Crawford (50 only) $5 21 BOBERG (FERDINAND) 44 THE CHOIR OF ST. MARK’S, VENICE The designer and etcher of this fine pictorial plate is also a distinguished architect. The plate was exhibited at the Paris Salon of 1893. Height 23%, width 18% Signed artist’s proofs on India paper $24 BOILOT (ALFRED) A pupil of Ulysse Butin and Courtry. His masterly etchings have been exhibited at the Salon since 1885 45 SONG WITHOUT WORDS This fine musical subject is an ideal representation of young Mendelssohn and his sister Fanny. Height 14, width 16% Remarque proofs on vellum $20 Signed artist’s proofs on India paper 12 46 THE YOUNG MOZART Etched from the bronze statue by Barrias, in the Luxembourg Gallery, Paris. Height 11%, width 8% Remarque proofs on vellum $9 Signed artist’s proofs on India paper 5 47 THE CONNOISSEUR From the painting by Aranda. Rich interior of an artist’s studio. The painter is seen exhibiting his picture to a distinguished visitor. The costumes are of the 17th century. This minutely etched plate won an “ Honorable Mention” at the Paris Salon. Height 7%, width 6 Remarque proofs on vellum $12 Remarque proofs on Japan paper 8 Signed artist’s proofs 5 (See Illustration) 48 A GENTLEMAN READING This plate, after the painting by Meissonier, is strongly recommended as being one of the best reproductions from the renowned French master. In an old- fashioned room a quiet, intellectual gentleman, in quaint attire, is seen deeply absorbed in his book. It is a specially pleasant and restful picture for the library or reading-room. Height 10%, width 7 Signed artist’s proofs on Japan paper (See Illustration) 22 $5 Two Little Sisters, by Borner, see No. 51 49 THE HALBERDIER From the painting by Meissonier. A stalwart young soldier in rich 17th century costume stands on guard holding his halberd. Height 12, width 8 Remarque proofs on vellum $12 Signed artist’s proofs on Japan paper 5 50 THE FISHER WOMAN From the painting by Ulysse Butin. From the stern of a large fishing-boat a woman is seen fishing, while a boy in a smaller boat draws up a fish. From the Paris Salon. A capital framing subject. Height 11%, width 6 Remarque proofs on vellum $10.00 Remarque proofs on Japan paper. 7.50 Signed artist’s proofs on Japan paper 4.00 BORNER (F. A.), BERLIN 51 TWO LITTLE SISTERS After Cornelis de Yos. The daughters of the painter, Cornelis de Yos (1585-1651). Mezzotinted in the manner of the 18th century mezzotint engravers. Height 13%, width 16 Signed artist’s proofs (250 only) $36 The above quota of proofs will be printed by Goulding, of London, and the plate will then be destroyed. (See Illustration) BRACQUEMOND (FELIX) Born in Paris in 1833. ‘ ‘ Bracquemond a eu toutes les medailles. II a ete decore en 1882. En 1884 il a obtenu la recompense supreme; la medaille d’honneur, a laquelle s’est ajoutee la satisfaction de s ’entendre dire unaniment qu’il l’avait meritee plus d’une fois deja. Henri Beraldi, Les Graveurs du XIXe Siecle, Yol. 3, p. 9. Note. In addition to plates Nos. 52-58 we have in our present stock a num- ber of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bidletin, which will be mailed, free, on request. (See page 3.) 52 SEA GULLS (LES MOUETTES) Height 10%, width 17% Signed artist’s proofs $24 53 A FLOCK OF TEAL ALIGHTING (ROSEAUX ET SARCELLES) Height 12, width 9% Signed artist’s proofs $12 25 54 THE BATHER (CANARDS SURPRIS) Height 14, width 1014 Signed artist’s proofs $18 (See Illustration) 55 PHEASANTS AT DAWN (BRUMES DE MATIN) Height 8%, width 13% Signed artist’s proofs $15 56 TEAL (SARCELLES) Height 8%, width 11*4 Signed artist’s proofs $12 (See Illustration) 57 LAPWING AND TEAL (VANNEAUX ET SARCELLES) Height 10%, width 7% Signed artist’s proofs $12 (See Illustration) 58 THE COMING STORM (LA NUEE D’ORAGE) Height 9%, width 13% Signed artist’s proofs $18 (See Illustration) BRUNET-DEBAINES (A.) Born at Havre in 1845. Pupil of Lalanne, Jacquemart and Gaucherel. * 1 Few etchers of the modern French school have produced such uniformly good work. ’’—Philip Gilbert Hamerton, Etching and Etchers, p. 229. 59 HARFLEUR Height 10%, width 8% Impressions on India paper $7.50 BUHOT (FELIX) Born at Valognes, Normandy, 1847. Died at Paris, 1898. ‘ 1 The technique of Buhot is assuredly far from being simple. But he is free. He is not the slave of rules and formulas ; he has not the least respect for arbi- trary laws; he blends and mixes all the different means used for obtaining ef- fects in black and white— whether by cutting into or corroding the plate. He is not the slave of any one implement. For Buhot would not understand the traditional distinction made between a line engraver, an etcher, or a worker in dry-point, nor of all those good people who separate and group themselves ac- cording to the end at which they break the egg they are going to eat ! He used to -,ay to himself that painters are not classed according to whether they employ a round brush or a flat brush or palette-knives to work with, and without the 26 The Coming Storm, by Bracquemond, see No. 58 Teal, by Bracquemond, see No. 56 The Bather, by Bracquemond, see No. 54 Lapwing and Teal, by Bracquemond, see No. 57 least scruple he made use of all the different tools of an engraver — etching- point and burin, roulette, burnishing-tool, and scraper, and of all the different processes, etching, soft ground, dry-point, and aquatint, and particularly the infinitely delicate wash or tone, which he obtained by means of flowers of sul- phur ; and he takes advantage of the least £ 1 accident ’ ’ on the plate, such as the bur left by the point or the roughness produced by cracks in the varnish. He puts in lights with the scraper, the brush, or the stump, and he touches up the plate with the thumb or the rag, and makes use of rebiting with such consum- mate, not to say paradoxical, ability that, as M. Bourcard tells us, certain plates begun as dry-points, then carried forward with the roulette, are finally rejuvenated by being plunged into an acid bath which converts them into etch- ings. . . . “Let us say at once that Buhot — painter and etcher — is above all a poet. The world at large cannot fail to admire the form of his message, his vocabu- lary and syntax — that is to say, the means by which he expresses himself.” — Leonce Benedite, Felix Buhot : Painter-Etcher. Note. Special attention is invited to our large collection of Felix Buhot ’s etchings. A detailed list of titles and of prices Avill be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) BURGESS (WALTER W.) A distinguished architect and a Fellow of the Royal Society of Painter-Etchers. 60 THE HOUSE WHERE WHISTLER DIED In the original the inscription on the scroll is plainly visible and reads : ‘ ‘ In this house, No. 74 Cheyne Walk, Chelsea, Whistler died on the 17th July, 1903.” Height 8, width 12 Signed artist’s proofs on Whatman paper $12 61 WINCHESTER Height 8%, width 12% Signed artist’s proofs on Whatman paper $9 62 WESTMINSTER PALACE Height 21, width 31 Signed artist’s proofs on Whatman paper $36 (See Illustration) A few of the finest selected proofs bear as remarque on the lower margin an original pencil drawing by the artist, and no two of these drawings are alike. Price $72. 63 OXFORD, THE RADCLIFFE CAMERA A most interesting view showing not only The Radcliffe Camera, but also the Library of the College of All Souls, the College of All Souls, the Church of St. Mary, Virgin, and Brazenose College. Height 17%, width 26% Signed artist’s proofs on Whatman paper $30 A few of the finest selected proofs bear as remarque on the lower margin an original pencil drawing by the artist, and no two of these drawings are alike. Price $60. 1 64 CANTERBURY CATHEDRAL A companion etching to Mr. Burgess’ plate of Lincoln Cathedral, No. 65. A short .prospectus, giving a historical sketch of Canterbury Cathedral, will be mailed, free, on application to the publishers. Height 25, width 19 Signed artist’s proofs on Japan paper $24 65 LINCOLN CATHEDRAL Height 25, width 19 Signed artist’s proofs on Japan paper $24 (See Illustration) BURT (CHARLES) Born at Edinburgh, November 8, 1822. About 1845 he came to America and was employed by A. L. Dick, with whom he remained for about four years. The admirable copy of Raphael Morghen’s print of the Last Supper, after Leonardo da Vinci, which bears the name of A. L. Dick as engraver, was executed, according to Burt’s own statement, entirely by himself, and occupied three years and nine months of the time he was with that engraver. He was for many years engraver of vignettes for the Treasury at Washington. He died March, 1892. 66 PORTRAIT OF LONGFELLOW (AT THE AGE OF 75) 1 1 A very beautiful pure line engraving, it has all the refinement and sweetness and tranquillity which were not less the qualities of the poet than of his verse, and it will probably become the familiar and accepted portrait.” — Harper’s Weekly. 1 1 That most excellent engraved portrait of Longfellow which Charles Burt has engraved and Frederick Keppel has published. It is one of the best portrait engravings that has been issued in this country, a noble likeness of a noble man. It is drawn and engraved in the pure line manner. ’ ’ — Independent. From a drawing from life by the engraver. Height 8*4, width 6% Signed artist’s proofs on India paper $20.00 Unsigned proofs on India paper 7.50 CALLAHAN (J. J.) 67 NEWPORT HARBOR Height 7y 2 , width 11 % Signed artist ’s proofs on J apan paper $5 (See Illustration) 68 SALT MARSHES, NEWPORT Height 10, width 15 Signed artist’s proofs on Japan paper .$6 Westminster Palace, by Burgess, see No. 62 Lincoln Cathedral, by Burgess, see No. 65 69 A MARCH WIND Height 6%, width 11% Signed proofs on Japan paper. ... $5 CHAIGNEAU (FERDINAND) 70 MOUTONS EN PLAINE i 1 1 think this is one of the best examples of modern etching of a simple kind, being at the same time right in manner, true to nature and poetical in feeling. The figure of the shepherdess is almost sublime in her simple dignity, as she glances over her sheep. The landscape, without being minute, is grand and true, the play of light in the corn being very beautiful. Like Daubigny’s Parc a, Moutons, this etching is a genuine pastoral poem. ’’—Philip Gilbert Hamer- ton, Etching and Etchers, p. 231. Height 7%, width 15% Impressions on Holland paper, without title $4 CHASSINAT (E.) 71 A SHEEPFOLD After the painting by Anton Mauve. Height 6%, width 10% Remarque proofs on vellum $5 Remarque proofs on Japan paper 3 (See Illustration) CHURCH (F. S.) Born at Grand Rapids, Michigan. Resides in New York City. Studied with Walter Shirlaw and at the National Academy of Design. Mr. Church is a Member of the National Academy of Design, American Water Color Society, and New York Etching Club. ‘ ‘ As yet I have spoken only of our landscape etchers, and they form, indeed, a great majority among our workmen. But there are a few who have succeeded with other themes. Chief among these is Mr. F. S. Church, an artist who is so popular, and whose work has been so thoroughly discussed in Europe as well as here at home, that neither my description nor my praise is needed. His fan- tastic, graceful imagination is unique in our art, and works as well through the medium of point and acid as in other ways. ’’—Mrs. Schuyler van Rens- selaer, American Etchers, p. 20. 72 A TWENTIETH CENTURY SYMPHONY Height 8%, width 12 Signed artist’s proofs on India paper $12 73 “A TOI !” (CUPID PRESENTING A ROSE) Height 7, width 14% Signed artist ’s proofs on Japan paper 37 $6 74 “WE MEET THEE 1 Height 314 , width 5% Signed artist’s proofs on Japan paper $3 75 SILENCE (THE HEAD OF A MUMMY) Height 6, width 8 Remarque proofs on Japan paper $6 Each proof bears on the lower margin an original drawing by the distin- guished artist, and no two of the drawings are alike. 76 “A COLD MORNING, SIR!” Height 4, width 6% Signed artist’s proofs on Japan paper $6 COPPIER (CHARLES) 77 A CREOLE After the painting by Henner. Height 8 14 , width 6% Signed artist’s proofs on vellum $5 Signed artist’s proofs on Japan paper 3 78 LA MUSICA (AFTER HEBERT) Female figure with harp. A fine musical subject. Height 15%, width 10% Remarque proofs on vellum $20 COROT (JEAN-BAPTISTE CAMILLE) Born at Paris in 1796, died there in 1875 1 1 In spite of defects, the few etchings of Corot have one merit and charm — they do certainly recall to mind, by association of ideas, his charming work in oil, so full of the sweetest poetical sentiment. All sins are forgiven to the true poets. . . . Corot is a sensitive dreamer, dwelling in a world of his own.” — Philip Gilbert Hamerton, Etching and Etchers, pp. 223, 224. ‘ ‘ Corot ’s etchings are most instructive to any student of Art. In this master ’s works, as in Millet ’s, we have the rapid, decisive expression of the central ideas of the picture: it becomes an illustration of Rousseau’s maxim, that unless a picture is made on the first five lines it will never be made.” — From W. J. Stillman ’s lecture before the Union League Club, New York. Note. Special attention is invited to our collection of Corot ’s etchings. A detailed list of titles and of prices will be found in The Print Collector’s Bul- letin, which will be mailed, free, on request. (See page 3.) COUTIL (LEON) Born October 13, 1856, at Villers. A pupil of Braequemond, and one of the very best of the French etchers. He has a style of his own which is rich and full of color effect. 38 79 THE HARVESTERS From the famous picture by Jules Breton in the Luxembourg Gallery, repre- senting the harvesters leaving the field as the sun goes down. Height 9%, width 19 Remarque proofs on vellum $24 Remarque proofs on Japan paper 18 Signed artist’s proofs on India paper 12 80 BEATRIX DONATO AND TITIAN’S SON Subject from the poem by Alfred De Musset. The story is that of the son of Titian, who having painted the portrait of his beloved Beatrix, found it so beau- tiful that he would never paint another picture. The half-length figures of the beautiful blonde girl and the strong, dark young man are seen contemplating the portrait. Height 11, width 9 Remarque proofs on vellum $15 Remarque proofs on Japan paper 10 COXE (REGINALD CLEVELAND) “Mr. Coxe is a Baltimorean, a painter of the Bonnat school. His interpreta- tions all partake of the imaginative and poetical. His etchings after his own pictures are carried out to a point of finish quite equal to the originals, which he translates with an amazing tenderness of feeling, and they occupy a unique place in the productions of the etchers of our day. ’ ’ — Alfred Trumble, The Art Review. 81 THE SAILING OF THE FISHERMEN Height 12, width 24% Signed artist’s proofs on Japan paper $15 82 A HUDSON RIVER LIGHTER Height 15, width 25 Signed artist’s proofs on Japan paper $15 83 NEW-YORK HARBOR The harbor as seen from the Battery, a receding ferryboat in the foreground, the Statue of Liberty further off, and the New Jersey coast in the distance. Height 12%, width 28% Signed artist’s proofs on Japan paper $20 84 THE LOST CHORD The subject is suggested by Adelaide Proctor’s poem of the same title, made familiar to Americans by Sir Arthur Sullivan’s music. Alone, in the choir of a dim and mysterious church, a saintly looking monk is seated in a reverie with 39 his hands upon the keys of the great organ which towers above him. This pic- ture is as far removed as possible from the commonplace, and is a most impres- sive and poetical work. Height 22%, width 16 Signed artist’s proofs on Japan paper $25 85 THE RETURN OF THE FLEET A night scene off Eastern Point Lighthouse, near Gloucester, lighted by the new moon and by a lighthouse. A number of vessels coming out of the darkness are heading toward the shore. Height 9%, width 25% Signed artist’s proofs on Japan paper $15 86 ENTRANCE TO GLOUCESTER HARBOR Companion picture to ‘ ‘ The Return of the Fleet. ’ ’ The foreground shows great rocks covered with seaweed, and in the brilliantly lighted distance a number of vessels drying their sails are seen. Height 10, width 24% Signed artist’s proofs on Japan paper $15 87 THE PASSING SQUALL Under a stormy sky the black and angry waves of the sea are seen from the shore. From a sketch on the Jersey coast, suggested by Courbet’s manner in marine painting. Height 9%, width 24 Signed artist’s proofs on Japan paper $15 DAUBIGNY (CHARLES FRANCOIS) “Nearly 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. They have neither grown old nor old-fashioned, but still convey with perennial freshness the master ’s delight in the springtimes, summers, autumns and winters that greeted his painter ’s eye and poet ’s soul as he passed through the world. . . . ‘ ‘ That his etchings are not more widely known thus far, is perhaps partly accounted for by the fame of the painter having obscured that of the etcher, as well as by Daubigny’s own absolute disregard for worldly gain. He em- ployed no tricks to attract public attention, nor did he seek to tempt the col- lector by any undue multiplication of ‘states.’ Yet, as painter and etcher, none of the Barbizon men surpassed him in the freshness of his own rustic and riverside vein. It seems almost a presumption to praise him, since his fame is well-nigh universal, and those best qualified to judge concede his etchings of the purely rustic phases of landscape to be unexcelled.” — Robert J. Wicken- den, Charles Frangois Daubigny. Note. Special attention is invited to our large collection of Daubigny’s etchings. A detailed list of titles and of prices will be found in The Print Collector's Bulletin, which will be mailed, free, on request. (See page 3.) 40 The Patriotic Song, by Faivre, see No. 91 La Glaneuse, by Dautrey, see No. 88 The Fisherman’s Daughter, by Los Rios, see No. 199 DAUTREY (LUCIEN) This distinguished French etcher is a pupil of Courtry. 88 LA GLANEUSE From the painting by Jules Breton. Among the art masterpieces of Paris few pictures are better known or more admired than Jules Breton’s “Glaneuse” in the Luxembourg Gallery. The magnificent peasant woman represented is not an ordinary studio model disguised in homely attire, but is a portrait drawn in the harvest field at Courrieres in 1877. Of the etching by Lucien Dautrey Jules Breton writes: “Because I am com- pletely satisfied with your plate of my 1 Glaneuse, ’ I will with pleasure sign a selection of the best proofs. ’ ’ Height 22, width 12 Remarque proofs on vellum, signed by painter and etcher $80 Remarque proofs on vellum, signed by etcher only 60 Remarque proofs on Holland paper 48 Lettered impressions 12 (See Illustration) DESBROSSES (LEOPOLD) His etchings, exhibited at the Paris Salon, have won a gold medal. 89 TRANQUIL EVENING A rich landscape with cattle in a stream. This fine etching recalls the style of Claude Lorraine. Height 14, width 23% Remarque proofs $20 DIARD (A.) 90 LE BENe'dICITe' From the painting by Walter Gay. The original painting has been purchased by the Government for the gallery of the Luxembourg. Height 10, width 7 Unsigned proofs on Japan paper $4 FAIVRE (CLAUDE) A pupil of Charles Courtry. 91 THE PATRIOTIC SONG From the painting by Roybet. This large and magnificent plate well merits the gold medal which it won at the Paris Salon. Very few modern plates can equal ‘ 1 The Patriotic Song ’ ’ in truth and vividness of action combined with powerful pictorial effect, while for masterly and accurate drawing it stands in 45 honorable contrast with many ambitious and showy plates in which the draughtsmanship is weak, false and crude. The etching shows a quaint and picturesque interior, in which are seen two dashing cavaliers in 17th century costume. The standing cavalier is singing, with impassioned gesture, while the other, who is seated, accompanies him on the violoncello. Height 26%, width 18% Remarque proofs on vellum, signed by painter and etcher $80 Remarque proofs on Japan paper, signed by painter and etcher 50 Signed artist’s proofs on Holland paper 30 Lettered impressions 12 (See Illustration) 92 THE LACEMAKERS From the painting by Paul Soyer in the Luxembourg Gallery, Paris. Height 14%, width 19% Remarque proofs on Japan paper $18 Signed artist’s proofs on Holland paper 12 Unsigned proofs 6 93 A GAME OF CHESS From the painting by Roybet. This beautiful plate won a diploma of ‘ ‘ Honorable Mention” at the Paris Salon. Height 13%, width 17% Signed artist’s proofs on Japan paper, signed by painter and etcher $30 Signed artist’s proofs on Japan paper 15 Lettered prints 9 FARRER (HENRY) “Mr. Henry Farrer, for example, one of the earliest and most prolific of our etchers, has tried subjects of many sorts, but all of local flavor, producing his best plates, perhaps, when depicting scenes in and about the harbor of New York. His early work was very careful and elaborate, but he has gradually made his way to far greater simplicity and far greater power. I would espe- cially name several plates with dark hulls relieved against a brilliant evening or morning sky, as strikingly effective and thoroughly good in workmanship.” — Mrs. Schuyler van Rensselaer, American Etchers, p. 17. 94 THE LOWER BAY Height 8, width 12 Signed artist’s proofs on Japan paper $6 95 NEAR A FISHING STATION, EVENING Height 8, width 12 Signed artist’s proofs on Japan paper 46 $6 Shakespeare, by Flameng, see No. 98 96 THE ATLANTIC PIER, BROOKLYN Height 10, width 8 Signed artist’s proofs on Japan paper, 96A CASTLE WILLIAM Height 8, width 12 Signed artist’s proofs on Japan paper, 97 EVENING Height 9%, width 13)4 Signed artist’s proofs on India paper. $6 $6 $8 FLAMENG (LEOPOLD) 98 PORTRAIT OF SHAKESPEARE (IN LIFE SIZE) From the Chandos painting, now in the National Portrait Gallery, London. This is probably the most important portrait that has ever been published in the United States. A portrait thoroughly worthy of the subject has long been needed, not only here but throughout Europe; and the publishers having engaged the greatest living reproductive etcher to copy the finest existing portrait of the poet, the re- sult is a plate which will undoubtedly take rank as a masterpiece, and which would adorn any library — public or private. As an etcher of paintings, Mr. Flameng has won all the honors within the reach of artists, including the highest prize of all— the great Medal of Honor of the Paris Salon. Of Flameng ’s powers, Mr. Hamerton, in Etching and Etchers, writes: “He can overcome any difficulty that Rembrandt himself could overcome; and it is not an exaggeration of the truth to affirm that there exists in Europe in our own day a man who may be said to possess the hand and eye of Rembrandt. ’ ’ And of this portrait, Walter S. Carter wrote : “To say that an etching is worthy of Shakespeare, is to utter the extreme of praise; but that is what can be truthfully said of this masterpiece of Flameng: ’ ’ A short prospectus, giving a historical sketch of that famous painting, the “Chandos” portrait of Shakespeare, will be mailed, free, on application to the publishers. The proofs have been printed by Chardon of Paris, under the direct super- vision of Monsieur Flameng. The “remarques” are small portraits of Garrick and Edwin Booth, in the lower margin of the plate. Height 22, width 17 Remarque proofs on vellum $75 Remarque proofs on Japan paper 50 Signed artist’s proofs on Holland paper 30 Lettered impressions 12 (See Illustration) FOgiLLON (VICTOR) 99 THE HUSH OF NIGHT From the painting by J. F. Millet. A distinguished Boston critic writes of it thus: “The etching is very successful. It is a most delightful work, and full 49 of the simple but deep feeling of poetry for which Millet is so justly renowned. No sensitive person could stand before the picture and not feel deeply moved. ” A midnight view of the farm-yard of the painter ’s own homestead. Height 16, width 19% Remarque proofs on India paper $24 Signed artist’s proofs on India paper 15 Lettered impressions 9 100 A BURGUNDY TROUT STREAM From the etcher ’s own design. A very striking evening effect. This beautiful plate was exhibited at the Paris Salon. Height 13%, width 12% Remarque proofs on Japan paper $6 FONCE (CAMILLE) A pupil of Lalanne, Allonge, and Collier, and one of the very best of the younger French painter-etchers. 101 THE LAKE (LE LAC) From the painting by Daubigny. The plate is of the same size as Daubigny’s 1 1 Solitude, ’ ’ etched by Chauvel. Height 15, width 23 Remarque proofs on vellum $30 Signed artist’s proofs on Japan paper 15 (See Illustration) 102 THE DAWN A charming landscape, early morning effect. The plate is done in pure dry- point. Height 13%, width 10 Remarque proofs on Japan paper $6 (See Illustration) 103 THE OLD BRIDGE From the painting by Corot. This beautiful plate is specially recommended. The original painting was in the collection of the eminent French critic, the late Philippe Burty. It represents the old bridge at Gretz, near Fontainebleau. M. Burty wrote of it : 11 This is to me one of the most perfect of pictures, and M. Camille Fonce has etched it with a talent rarely shown by so young an etcher in rendering so great a master as Corot.” Height 11, width 23% Remarque proofs on vellum $24 Remarque proofs on Japan paper 15 Signed artist’s proofs on Japan paper 8 50 The Lake of Como, by Gautier, see No. 147 104 LOMBARDY POPLARS A very effective landscape, with poplar trees standing against a brilliant evening sky. Height 23, width 16% Remarque proofs on Japan paper $15 Signed artist’s proofs on Japan paper 10 105 LOMBARDY POPLARS (SECOND STATE) The plate altered and reduced in size. Height 20%, width 16% Signed artist’s proofs on India paper $6 106 PINE TREES AT AULNAY Height 14, width 8 % Remarque proofs on Japan paper $8 Signed artist’s proofs on Japan paper 5 107 OLD WILLOWS AT SEINE PORT A characteristic French landscape, after Allonge. Height 10%, width 20y 3 Remarque proofs on India paper, signed by both painter and etcher $15 FOREL (ALEXIS) An eminent Swiss etcher. Born at Morges, Switzerland, May 5, 1852. His first etchings were issued in 1881. They are done directly from nature. His etch- ings of architectural subjects have been especially commended. 108 THE GREAT OAK OF LAUSANNE Exhibited at the Paris Salon, and at the Royal Society of Painter-Etchers, London. The distinguished Swiss artist, Forel, has hitherto been known as a painter. He calls this etching 1 1 a portrait of a tree. ” It is a study of a famous old oak in the environs of his native city, and the effect of summer sunshine in this fine landscape makes it almost as decorative as a first-class painting. Height 14, width 21 Lettered prints on India paper $6 109 THE CATHEDRAL OF LAUSANNE Exhibited at the Paris Salon, and at the Royal Society of Painter-Etchers, London. It is a most picturesque sunset effect. The spires, gables and pinnacles of the cathedral stand out boldly against the glowing evening sky. Lausanne is the artist’s native city. This large and imposing etching has an admirable effect when framed. Height 21, width 15 Remarque proofs on India paper $24 Signed artist’s proofs 18 Lettered prints 6 53 FULLWOOD (JOHN), Born November, 1854. He received ins art training in Birmingham and in Paris. In 1882 Mr. Fullwood and an artist friend founded what is known now as the Newlyn School. He has exhibited at the Royal Academy, The New Gallery, The Royal Society of British Artists, of which he is a member, in Paris and in Brussels, and was one of the artists invited to exhibit at the St. Louis Exhibition to represent British Art. He stands in the front rank of contemporary landscape etchers and was elected a member of the Society of Arts, London, in 1905. He has the honor of receiving a pension from the King in recognition of his attainments as a painter and an etcher. 1 ‘ The etchings of this rising young English painter are specially recom- mended for framing. They are bold, strong, painter-like, and thoroughly original. ’ ’ 110 ROAD BY THE TRENT Height 10 y 2 , width 14 y 2 Signed artist’s proofs on Japan paper $10 (See Illustration) 111 SILVER BIRCHES A companion plate to English Pines , No. 112. Height 1314, width 9% Signed artist’s proofs on Japan paper $10 (See Illustration) 112 ENGLISH PINES A companion plate to Silver Birches, No. 111. Height 13%, width 9% Signed artist’s proofs on Japan paper $10 (See Illustration) 113 LALEHAM MEADOWS Height 5V S , width 7% Signed artist’s proofs on Japan paper $4 (See Illustration) 114 THE LOCK HOUSE Height 5%, width 7% Signed artist’s proofs on Japan paper $4 115 ENGLISH ROAD AND RIVER Height 6, width 8 Signed artist’s proofs on Japan paper $4 (See Illustration) 54 Laleham Meadows, by Fullwood, see No. 113 A River in England, by Fullwood, see No. 117 The Thames near Old Windsor, by Fullwood, see No. 128 Twickenham Elms, by Fullwood, see No. 133 English Road and River, by Fullwood, see No. 115 The Pool, by Fullwood, see No. 116 116 THE POOL Height 6, width 7% Signed artist’s proofs on Japan paper $4 (See Illustration) 117 A RIVER IN ENGLAND Height 7%, width 7% Signed artist’s proofs on Japan paper $4 (See Illustration) 118 ON THE DOWNS Height 7, width 9% Signed artist’s proofs on Japan paper $3 119 AN OARSMAN’S CAMP Height 6%, width 11 Signed artist’s proofs on Japan paper $4 120 ON THE THAMES Height 6y 2 , width 9% Signed artist’s proofs on Japan paper $4 121 A ROAD BY THE RIVER Height 9%, width 11% Signed artist’s proofs on Japan paper $5 122 HEAD OF THE LOCK Height 5%, width 7% Signed artist ’s proofs on Japan paper $3 123 IN HARDY’S COUNTRY Height 7%, width 5% Signed artist’s proofs on Japan paper $3 124 TWICKENHAM CHURCH Height 5%, width 7% Signed artist’s proofs on Japan paper $3 125 THE THAMES NEAR WINDSOR Height 5, width 7% Signed artist’s proofs on Japan paper $3 61 126 HOUSEBOAT NEAR WINDSOR Height 10, width 16 Signed artist’s proofs on Japan paper $10 127 NEAR WINDSOR Height 10, width 13% Signed artist’s proofs on Japan paper $10 128 THE THAMES NEAR OLD WINDSOR Height 14, width 10 Signed artist’s proofs on Japan paper $10 (See Illustration) 129 SUNSET ON THE THAMES Height 5%, width 7% Signed artist’s proofs on Japan paper.' $3 (See Illustration) 130 THE UPPER THAMES Height 6%, width 9% Signed artist’s proofs on Japan paper $4 131 A SAIL AT TWILIGHT Height 5%, width 7% Signed artist’s proofs on Japan paper $3 (See Illustration) 132 TWICKENHAM COMMON Height 6%, width 9% Signed artist’s proofs on Japan paper $4 133 TWICKENHAM ELMS Height 13%, width 9% Signed artist’s proofs on vellum $7.50 Signed artist’s proofs on Japan paper 5.00 (See Illustration) 134 TWICKENHAM BUSHES Height 6, width 8 Signed artist’s proofs on Japan paper $3 62 Road by the Trent, by Fullwood, see No. 110 Silver Birches, by Fullwood, see No. Ill English Pines, by Fullwood, see No. 112 A Sail at Twilight, by Fullwood, see No. 131 Sunset on the Thames, by Fullwood, see No. 129 135 A GYPSY CAMP Height 14%, width 25 Eemarque proofs on Whatman paper $24 Signed artist’s proofs on Whatman paper 18 Proofs before letters, unsigned 10 136 A DEVONSHIRE HAYFIELD A companion plate to No. 137 Height 13, width 21% 137 THE BELATED TRAVELER A pair of fine, picturesque subjects of equal size. From the Paris Salon and London Royal Academy exhibitions. Height 13, width 21% Remarque proofs on vellum $36 Remarque proofs on Japan paper 24 Signed artist’s proofs on India paper 15 Lettered impressions 9 138 A SCOTTISH TWILIGHT Height 22, width 12 Remarque proofs on Holland paper $18 Signed artist’s proofs on Japan paper 12 GAREN (GEORGES) Born in Paris February 24, 1854. A pupil of Boussard. One of the ablest of contemporary French etchers. 139 LE SOIR, VILLE D’AVRAY After the painting by Corot. Height 15%, width 19 Signed artist’s proofs on Japan paper $10 (See Illustration) 140 THE OLD HOMESTEAD After the painting by Corot. Height 13%, width 19% Remarque proofs on Japan paper $10 (See Illustration) 69 141 THE SEINE NEAR PARIS (AFTER MESGR1GNY) Height 11, width 18 Remarque proofs on vellum $15 Signed artist’s proofs on Japan paper 10 GAUTIER (LUCIEN) Born at Aix January 8, 1850. His etchings after the paintings by Corot are among his best works. 142 MORNING From the painting by Corot. A companion plate to No. 143. Height 12%, width 16 143 EVENING From the painting by Corot. A companion plate to No. 142. Height 12%, width 16 Remarque proofs on vellum $12 Signed artist’s proofs on Japan paper 8 144 WESTMINSTER ABBEY (INTERIOR) To the whole Anglo-Saxon race Westminster Abbey is unquestionably the most venerated building in the world. Founded in the year 1049 by King Edward the Confessor, and completed by succeeding kings, 1 1 The Abbey ’ ’ has stood for nearly a thousand years the emblem and centre of much that is greatest and noblest in the records of Eng- land. The founder himself was buried there in 1066, and William the Con- queror had his coronation ceremony performed there in the same year. Since then every British sovereign down to King Edward YII has been crowned in the Abbey; and burial there has remained the extremest honor which the nation could bestow upon its illustrious dead. Apart from its historic interest the magnificent Gothic architecture of West- minster Abbey renders it one of the most notable churches in Europe. The entire length of the interior is 511 feet, and the height from floor to roof 103 feet. Monsieur Lucien Gautier’s view is taken from the organ-loft, about midway in the church, looking toward the southeast and taking in the famous “Poet’s Corner, ’ ’ or south transept. Height 31, width 22% Signed artist’s proofs on Whatman paper $36 Two hundred and fifty proofs only were printed by Goulding of London, and the plate was then destroyed. 70 Le Soir, Ville d’Avray, by Garen, see No. 139 145 MORNING ON THE MARNE A companion plate to No. 146. Height 11%, width 24 Remarque proofs on vellum $12 Signed artist’s proofs on Japan paper 8 146 EVENING ON THE MARNE Height 11 %, width 24 Remarque proofs on vellum $12 Signed artist’s proofs on Japan paper 8 147 THE LAKE OF COMO From the painting by Corot. This beautiful plate won high praise at the Paris Salon. It is specially recommended for its fidelity to the original painting, which is one of Corot ’s finest. Height 15%, width 22% Remarque proofs on vellum $24 Remarque proofs on India paper 18 Signed artist’s proofs on Japan paper 12 (See Illustration) GILBERT (ACHILLE) This distinguished artist is well known as painter, etcher, illustrator, and as one of the ablest lithographers of the 19th century. 148 THE LADY IN THE BALCONY From the painting of the same size by Meissonier. The “Lady” does not appear in the picture, but she is evidently both seen and admired by the dash- ing cavalier who stands below looking upward. Height 10, width 5% Remarque proofs on vellum $12 Remarque proofs on Japan paper 8 Signed artist’s proofs on Japan paper 5 149 THE DUELIST From the painting of the same size by Meissonier. “In this superb little picture the great French master is at his best, and the etcher (who is known as one of the most accurate draughtsmen living) has faithfully reproduced the brilliancy and fire of Meissonier. ’ ’ Height 10, width 5% Remarque proofs on vellum $15 Remarque proofs on Japan paper 12 Signed artist’s proofs on Japan paper 8 73 150 LA SORTIE From the painting by Charles Jacque. This large and striking etching is one of the most important art-works of recent years. The etcher is already famous, and the renowned painter, Charles Jacque, took great interest in the plate— retouching the etcher’s work throughout. He was so well pleased with the result that he supplied the ‘ ‘remarque” with his own hand, and endorsed a selection of the finest proofs with his autograph. Height 251/,, width 20% Remarque proofs on vellum, signed by both painter and etcher $150 Remarque proofs on Japan paper, signed by both painter and etcher 120 Artist ’s proofs on Holland paper, signed by the etcher 40 Proofs before letters, unsigned 24 (See Illustration) GLINDONI (HOWARD) 151 THE PURITAN— SWORD AND EIBLE Painted and etched by Glindoni, an English artist of Italian descent. A vivid portrayal of the conscientious, stern, grim, fighting Puritan, who loved liberty and right, though he hated art and elegance as much as he hated oppression. This picture is full of character. Height 12, width 10 Remarque proofs on Japan paper $0 GRAVESANDE (CHARLES STORM VAN ’S) ‘ 1 There are few etchers in any age who are at the same time simple in their methods of w r ork and original. The proportion of such etchers at the present day is small indeed. . . . The truth is, as any one who likes to try it will soon dis- cover for himself, that the power of etching simply and beautifully at the same time is very rare. It has always seemed to me, and it seems to me still, that this gift is the gift for an etcher. ’’—Philip Gilbert Hamerton, Etching and Etchers, p. 133. “I find Gravesande the ideal painter-etcher, — a maker of illusions rather than of lines — whose lines are so fused and lost in the perfect whole that we see and feel what is done, with never a thought for the means wherebj T it got itself done. It is a comfort to sit down before the wmrk of such an artist as this.” — John Williamson Palmer, The Beauties and Curiosities of Engraving . Note. In addition to plates Nos. 152-166 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. 74 La Sortie, by Gilbert, see No. 150 The Cathedral of Dordrecht, Holland, by Gravesande, see No. 161 152 ENTRANCE TO THE FOREST “It is one of the most impressive sylvan subjects I have ever met with, and at once reminds us of Dante.” — Philip Gilbert Hamerton, Etching and Etch- ers, p. 136. Height 10%, width 17% Signed artist’s proofs on Holland paper $60 (See Illustration) 153 FELLING PINE TREES Height 13, width 20% Signed artist’s proofs on Holland paper $18 154 QUAI AT ROTTERDAM Height 9, width 14% Impressions on India paper without title $4 155 CLIFFS NEAR VEULES, NORMANDY Height 13, width 20% Signed artist’s proofs on Holland paper $18 156 OLD HOUSE NEAR KATWYK Height 9%, width 11% Signed artist’s proofs on Holland paper $18 157 THE MILL Height 8%, width 12% Impressions on Holland paper $5 158 MIDDENDUIN Height 7%, width 11% Signed artist’s proofs on Whatman paper $12 159 LANDING OF THE HERRING FLEET The fleet of fishing-boats is seen heading for the shore, where they are beached for unloading. The sea and the sky are both very effective. Height 14, width 18 Signed artist’s proofs on Holland paper $18 One hundred proofs were printed by Goulding, of London, and the plate was then destroyed. (See Illustration) 160 FISHING BOATS, HOLLAND A bold and effective composition specially suitable for framing. Height 18%, width 13 Signed artist’s proofs on Whatman paper $24 (See Illustration) 79 161 THE CATHEDRAL OF DORDRECHT, HOLLAND This is perhaps the most important plate which the artist has produced. Its powerful effect and large size render it a rival to the famous 1 1 Calais Pier ’ ’ of Sir Sevmour Haden. The church occupies the central background. The character- istic Dutch foreground is laid in with broad and vigorous lines, and a sky of great rolling clouds crowns the picture. The famous London printer, Frederick Goulding, printed 120 proofs, and the plate was then destroyed. Owing to the high quality of this limited edition, the value of these proofs is almost certain to increase, as the ‘ 1 Calais Pier ’ ’ has done. ‘ ‘ Holland has produced in our day, in the person of Storm van ’s Graves- ande, ore veritable master. His etchings and dry-points deserve the great repu- tation which they have won, and he is to-day the prime favorite, perhaps, with American amateurs. One of his works, the very large dry-point plate of the Cathedral of Dordrecht, is in itself a refutation of the too-sweeping assertion that any plate of large size must, of necessity, be bad as art. ” — The Art Re- view. Height 18, width 25 Signed proofs on Whatman paper (120 only) . . . .$72 (See Illustration) 162 ON THE VECHT, HOLLAND A characteristic Dutch scene. The weather is bleak and windy, and the picture is full of movement. This fine and artistic plate is in direct contrast to some of the artist’s tran- quil scenes, such as the ‘ 1 Au Bord du Gein. ’ ’ Being in pure dry-point, only a limited number of impressions were taken, and the plate was then destroyed. Height 11%, width 19 Signed proofs on Holland paper $36 (See Illustration) 163 OLD MILL AT DORDRECHT Height 13%, width 20% Signed artist’s proofs on vellum $60 Signed artist’s proofs on Japan paper 36 164 AN OLD OAK Height 8%, width 12% Unsigned proofs on Holland paper $6 (See Illustration) 165 VILLAGE OF ZANDVOORT Height 11%, width 9% Signed artist’s proofs on vellum Signed artist’s proofs on Holland paper 166 A SOUVENIR Height 5%, width 9 Unsigned proofs on India paper. . . . 80 $24 12 $4 An Old Oak, by Gravesande, see No. 164 Entrance to the Forest, by Gravesande, see No. 152 On the Vecht, by Gravesande, see No. 162 Landing of the Herring Fleet, by Gravesande, see No. 159 GREATBACH (WILLIAM) He has worthily carried on the traditions of the great school of English line engravers. 167 THE YARN-WINDER After the painting by Gerard Dow. Engraved in pure line. A companion plate to No. 168 Height 13, width 10 y 2 (See Illustration) 168 AN OLD WOMAN READING After the painting by Gerard Dow. A companion plate to No. 167. These are portraits of the mother of the famous Dutch master, Gerard Dow, who was born in 1613. He was specially strong in portrait-painting, but he has left very few portraits, because his slow and painstaking method exhausted the patience of his sitters. We owe these quaint and picturesque portraits to the circumstance that the artist’s old mother was always at hand, and therefore available as a model for her son. It is to be remarked that some of the finest portraits in the world are of the mothers of great painters. Height 13, width 10 y 2 Proofs on India paper $12 Lettered impressions 6 (See Illustration) HADEN (SIR FRANCIS SEYMOUR) President of the Royal Society of Painter-Etchers, London. Born September, 1818. “An artist of rare endowment and consummate practical skill. ’’—Philip Gil- bert Hamerton, Etching and Etchers, p. 294. “By general consent Seymour Haden ranks as the greatest of modern land- scape etchers. ’’—The Modern Disciples of Rembrandt. “But all the English etchings pale before those of Mr. Seymour Haden. It certainly is he who is the Master. He is essentially a landscapist, and he ex- presses amazingly the transparence of still waters, the movement of tumultuous clouds, and the beautiful outlines of trees standing out against the horizon. A thorough artist, of broad ideas, he originates or adapts processes to translate the more faithfully the impressions which he gets from nature, and the results which he has obtained range from the delicate to the superb. His velvety black tones are as rich as those of Rembrandt. ’ ’ — Paul Mantz, Le Temps, August 13, 1889. Note. Special attention is invited to our large collection of Sir Seymour Haden ’s etchings. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 85 HELLEU (PAUL) 1 ‘ . . . This brilliant and delightful sketcher ... An hour or two of strenuous, enjoyable, untired labor has sufficed for the production of each dainty, each masterly work. In an hour or two the lady or the child of M. Helleu ’s choice has found herself recorded on the copper— she and whatever accessories were deemed desirable to indicate her milieu, to place her amidst the surroundings which assist in the telling of her story. Edmond de Goncourt calls his dry- points ‘ les instantanes de la grace de la femme, ’ ‘ snap-shots, ’ shall we translate it, at the charm of modern womanhood— the womanhood of the drawing-room— ‘snap-shots,’ not less often, at the charm of refined childhood. In Helleu ’s etched work, the connoisseur will welcome what is practically the complement of the etched work of Van Dyck, who, in his score or so of plates (wonderful painter though he was of women) undertook only the portraiture of certain distinguished men. . . . “ Helleu ’s etchings prove him to be in sympathy with the most alert, which is often the most dignified and distinguished of modern youthful beauty. I know of no plate of his in which he has realized the dignity of age as Rem- brandt realized it in the etched portrait of his mother smiling, and in that other etched portrait of his mother, with a black veil and folded hands. But several times Helleu has realized what Whistler realized in the dry-point of ‘Fanny Leyland’ — the dignified beauty, the reticent tenderness, the mood, courageous or contemplative, of the better order of young, girlhood. . . . “With M. Helleu, beauty— beauty of no conventional order, the rapid charm of movement, of expression, of contour — is the inspiring and satisfactory thing. He lives in its intimacy. And he reveals it— much as Watteau did, yet in ways how fearlessly modern! — to the spectator of his work. ’’—Frederick Wedmore, Etching in England. Note. It is Monsieur Helleu ’s custom to destroy all of his copper-plates when an edition of ten or twenty proofs has been printed. The work is so delicate that the plates would not yield a larger number of perfect impres- sions. In our present stock may now be seen many fine proofs of Monsieur Helleu ’s dry-points. The number of impressions printed of any one subject being so limited, no catalogue of titles has been made, but visitors will be wel- come to see the collection at any time. HUBBARD (E. F.) A pupil of Josey, one of the most successful pupils of Cousins, the last of the great mezzotint engravers of the 19th century. 169 THE HON. MISS BINGHAM From the painting by Sir Joshua Reynolds. The portrait of Miss Bingham is considered one of the most beautiful of Reynolds’ works. It has been well ren- dered by Hubbard and is sure to take a high rank among modern mezzotint engravings. Height 12, width 10 Signed remarque proofs on India paper $12 JACQUE (CHARLES) Born in Paris, May 1813. Died, May 1894. * ‘ Charles Jacque can work, when in the humor, in as genuine a way as any master whatever. . . . He draws very admirably when the subject of his draw- 86 The Yarn-Winder, by Greatbach, see No. 167 An Old Woman Reading, by Greatbach, see No. 168 ing is one that he has a great affection for; I have noticed, for instance, that in his farm-yards the utensils are drawn with a degree of truth and precision very unusual in art, and no man ever drew poultry better. . . . His deep and sincere love of simple country-life gives a great charm to many of his etchings, and is entirely conveyed to the spectator. A sentiment of this kind escapes analysis, but communicates itself in a wonderful, ineffable way. No artist ever had the sentiment of rusticity in a purer form than Jacque. . . . He will cer- tainly be remembered as one of the master etchers of our time. ’ ’—Philip Gil- bert Hamerton, Etching and Etchers, p. 190. Note. In addition to plate No. 170 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. 170 LA BERGERIE BEARNAISE This famous etching won for M. Jacque the Medal of Honor at the Paris Exposition of 1889. Only 100 impressions were printed, and the plate was then destroyed. Signed artist’s proofs (only state) $100 JACQUE (FREDERIC) A pupil of Cabanel and of his father, Charles Jacque. 171 LE RETOUR In a late evening landscape an old shepherd is seen conducting his flock home- ward. This etching attracted great notice at the Paris Salon, and was rewarded with an “ Honorable Mention.” The painter of the picture, Charles Jacque, was so much pleased with his son’s rendering of it that he etched the beautiful little ‘ 1 remarque ’ ’ which appears on the earliest proofs. This remarque bears a date fifty-eight years later than the famous master ’s first etching. Height 1814, width 24 Remarque proofs, signed by both artists $80 Artist’s proofs, signed by the etcher 40 (See Illustration) JACQUEMART (JULES) il Jules Jacquemart is the most marvellous etcher of still-life who ever existed in the world. In the power of imitating an object set before him he has dis- tanced all past work, and no living rival can approach him. . . . The beauties which Jacquemart sees and reveals in a masterpiece of goldsmith ’s or lapidary ’s work are for the most part imperceptible by the common eye. Like a true artist and poet, he teaches us what to look for ; and we come at last by his guidance to 89 perceive magic qualities in the precious relics of the past, till cups of crystal and agate, and sword-hilts, or chalices of gold, are for us themes of inex- haustible wonder, objects of unwearied interest and contemplation. ’ ’ — Philip Gilbert Hamerton, Etching and Etchers , p. 183. Note. Special attention is invited to our large collection of Jacquemart ’s etchings. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) JONGKIND (JOHANN BARTHOLD) ‘ 1 Jongkind is invaluable to the student of etching as an example of simple line work pushed to its utmost extreme. He gives as few lines as possible, never dissimulating them. . . . 1 Could not any child of ten years old do as well?’ The true answer to this question (it is not an imaginary question) is, that, rude as this sketching looks, and imperfect in many respects as it really is, the qualities that belong to it are never attained in art without the combination of talent approaching to genius, and study of a very observant and earnest kind. ’ ’ — Philip Gilbert Hamerton, Etching and Etchers, pp. 128, 130. 172 THE PORT OF ANTWERP This is considered to be one of the most effective of Jongkind ’s plates; al- though seemingly coarse, it has a strong effect when framed. Height 6, width 9% Impressions on Japan paper $5 173 AN OUTER BOULEVARD, PARIS Height 5%, width 9% Impressions on India paper $3 174 WINDMILL AT ROTTERDAM Height 5%, width 7*4 Impressions on Holland paper $3 175 THE COAST OF HOLLAND Height 8%, width 12% Impressions on India paper $4 176 THE TOWN OF MAASLINS Height 8%, width 12% Impressions on India paper $4 Note. The above copper-plates by Jongkind were purchased by Storm van ’s Gravesande, and presented to the Amsterdam Museum. No more impressions will be printed. 90 JOSEY (RICHARD) A celebrated English mezzotint engraver. 177 THE ARTIST’S CHILD From the original by Greuze in the National Gallery, London. Height 11, width 8% Remarque proofs on India paper $24 Signed artist’s proofs on India paper 18 Lettered impressions on India paper 9 Lettered impressions on plain white paper 6 JOURDAIN (HENRI) An eminent water color artist of the modern French school. 178 A TROUT POOL Height 12, width 16 Remarque proofs on vellum $15 KRUELL (GUSTAV) Born in Dusseldorf, 1842. After serving an apprenticeship to a die-sinker and general engraver he went to Leipsic and later was himself an engraver in Stutt- gart. In 1873 he came to America and in 1881 he organized with his friend, Frederick Juengling, The Society of American Wood-Engravers. He died in 1906. 1 1 Mr. Gustav Kruell is an engraver of portraits, whose method is in a great ■degree that of a painter of portraits. His sensibility to the higher qualities of portraiture is equal to that of the best endowed painter of portraits, and he owes to this fact the intense sympathy with which he interprets the subtle modeling and the elusive denotements of character and vitality that he finds in his subjects. He is not a reproducer of brush-marks, or of the texture of thick or thin pigment, but he is the strongest engraver of the portrait in its highest and broadest sense that we have.” — William M. Laffan. 179 PORTRAIT OF GENERAL SHERMAN “I think it a very good likeness of the General in his later years. ’’—John Sherman. ‘ ‘ G. Kruell ’s portrait of General Sherman may well be rated the greatest work of this artist and the highest achievement in wood-engraving. The Nation. Height 11, width 9 Signed artist’s proofs $20 180 PORTRAIT OF ABRAHAM LINCOLN * 1 This extraordinary print of Lincoln is, we do not hesitate to say, destined to be the historic likeness of the first President of our free republic. It is based upon the same photograph which Rajon etched in an unsatisfactory way a little before his death, and which St. Gaudens used in modelling the bust of the sculptured Lincoln— that at Chicago. But Mr. Kruell has also wrought into it fhe contemporary life-mask, and has invested the whole with that interpretation 91 of character which distinguishes his portraits from those of any other artist. It is easy to say of the result that it will efface any portrait of Lincoln in black and white, hitherto produced, that may be placed beside it; but it is hard to describe in words the refinement and breadth of treatment, sureness of aim, harmony of modelling and of chiaroscuro, realism in the essential traits of physiognomy and legendary ideality of expression and sentiment which nothing has yet approached. The quality of the portrait as a whole is not only masterly, but old-masterlyj and as for the technique, it is a surprising advance even on the incomparable series enumerated above. It is a definitive challenge, by the head of the new school of American wood-engraving, to all other modes and schools of engraving to show cause why, in the estimation of connoisseurs and in commercial value, the most popular medium of pictorial art should not also be the most precious and the most sought after in its highest achievements. ’ ’— New Yorlc Evening Post. Height 10, width 8 Signed artist’s proofs $20 181 PORTRAIT OF ABRAHAM LINCOLN. (THE PORTRAIT WITH THE BEARD) Height 11%, width 8% Signed artist’s proofs $20 182 PORTRAIT OF DANIEL WEBSTER “It was but in March last that we noticed Mr. G. Kruell’s surpassing wood portrait of Lincoln, and now we have before us a Webster from the same cun- ning hand, on an even larger scale (12 x 10y 2 ), and in point of technique— what we should not have thought possible— perhaps even more to be admired. The tone of this engraving is brighter than that of Lincoln, yet there is a sober gravity in the countenance which fully expresses the weight of the lawyer and statesman. The view is a front one; the mouth firmly closed, the eyes shaded in their cavernous recesses. We cannot yet say— ‘From those great eyes The soul hath fled’; but the age depicted cannot be far from Webster’s end. The modelling of the face is extraordinarily minute, divining and interpreting the features of the original daguerreotype; but the treatment is equally broad, harmonious, unified^ and in no other one of the series of Kruell’s portraits is the brushlike and plastic quality of his art more manifest. We said deliberately of the Lincoln that it was destined to be the historic likeness of the President, for never had that homely face been treated before with so much sympathy and poetry, and at the same time so authentically. The Webster is not less calculated to cast all previous prints in the shade. To the legal profession, apt to cherish the por- traits of its great luminaries, it must commend itself at sight. Connoisseurs of engraving, on their part, will esteem it among the highest productions of the present or any other period . ’’—The Nation. Height 12, width 10% Signed artist’s proofs $20 183 PORTRAIT OF JAMES RUSSELL LOWELL The original of this portrait is a photograph taken by Pach early in 1891. It is considered by his family and most intimate friends as the best likeness extant,, and a most satisfactory presentation of the poet in his later years. Height 9, width 6% Signed artist’s proofs $10 92 Under the Old Oaks, by Lafond, see No. 187 Le Retour, by Jacque, see No. 171 A Sheepfold, by Chassinat, see No. 71 The Shepherd and Flock, by Lesigne, see No. 194 184 PORTRAIT OF GENERAL GRANT Height 11, width 8 Signed artist’s proofs $20 185 PORTRAIT OF NATHANIEL HAWTHORNE Height 8%, width 6% Signed artist’s proofs $10 186 PORTRAIT OF HARRIET BEECHER STOWE Height 9 %, width 7% Signed artist’s proofs $15 LAFOND (PAUL) 187 UNDER THE OLD OAKS After Charles Jaeque. A fine bold landscape, specially recommended. The painter, J aeque, very rarely consented to sign proofs of etchings done from his pictures ; but he was so well pleased with this one that he signed fifty proofs of it. Height 17, width 23% Eemarque proofs signed by both painter and etcher (50 only) on vellum $40 Signed artist’s proofs on Japan paper 20 (See Illustration) LALANNE (MAXIME) “Maxime Lalanne is the first artist who ever received knighthood for his qualities as an etcher. When the King of Portugal conferred upon him the Order of Christ, it was expressly in recognition of the value of his etchings ; but the King of Portugal is an etcher himself, and knows good work when he sees it. "No one ever etched so gracefully as Maxime Lalanne. This merit of grace- fulness 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 delicate elegance, from the earliest times till now. "He is also essentially a true etcher; he knows the use of the free line, and boldly employs it on due occasion.” — Philip Gilbert Hamerton, Etching and Etchers, p. 177. Note. In addition to plates Nos. 188-189 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 97 188 THE CANAL This fine etching is specially recommended. Height 6%, width 9 % Impressions on India paper, without title $6 (See Illustration) 189 ENVIRONS OF PARIS Height 8%, width 11% Impressions on India paper, without title $5 LEGROS (ALPHONSE) “Born at Dijon nearly sixty years ago, Legros has been amongst us since 1863. But it is not English life— or, indeed, any life— that has made him what he is. . . . He has been fed on the Renaissance, and fed on Rembrandt; but yet the originality of his mind pierces through the form it has pleased him to impose on its expression. He gives to masculine character nobility and dignity. Frederick Wedmore, Fine Prints, p. 126. Note. In addition to plates Nos. 190-191 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 190 PORTRAIT OF M. J. DALOU Height 8%, width 6 Signed artist’s proofs on Japan paper $30 (See Illustration) 191 PORTRAIT OF SIR EDWARD J. POYNTER, P.R.A. ‘ 1 It will be in part by such masculine, yet refined and graceful, portraits as those of M. Dalou and Mr. Poynter, such subtle ones as that of Cardinal Man- ning . . . that Legros will stand high. ’ ’ — Frederick Wedmore, Four Masters of Etching, p. 42. Height 8%, width 6% Signed artist’s proofs on Japan paper $30 (See Illustration) LESIGNE (LEOPOLD) A pupil of Le Rat. 192 LE SOIR After the painting by Anton Mauve. Height 8%, width 6% Signed artist’s proofs on Japan paper 98 $3 Sir Edward J. Poynter, by Legros, see No. 191 M. J. Dalou, by Legros, see No. 190 * 193 WINTER After the painting by Anton Mauve. Height 5%, width 8% Remarque proofs on vellum $5 194 THE SHEPHERD AND FLOCK After the painting by Anton Mauve. Height 17, width 12 Remarque proofs on vellum $20 Signed artist’s proofs on Japan paper 10 (See Illustration) 195 WASHING THE LINEN After the painting by J. F. Millet. Height 9 %, width 7 Remarque proofs on vellum $10 Remarque proofs on Holland paper 5 LOS RIOS (RICARDO DE) A distinguished painter and etcher, born at Valladolid, in Spain, 1846. Resident in Paris. The plates 197 and 199 won for the artist three gold medals, at Munich, the Paris Salon, and the Paris Exposition respectively. 196 LA FANEUSE From the painting by Lerolle. Height 22, width 16 Remarque proofs on vellum, signed by painter and etcher $45 Signed artist’s proofs on Japan paper 18 197 CURIOSITY From the painting by Passini. A characteristic scene in Venice. A crowd of picturesque Venetians are seen eagerly looking over the parapet of a bridge at an approaching gondola. The great attraction in the gondola is left, however, to our imagination, as only the prow is visible. Height 24%, width 15 Remarque proofs on vellum $48 Remarque proofs on Japan paper 36 Signed artist’s proofs on Japan paper 18 101 198 MANOLA From the painting by Gomez. A lively Spanish tambourine girl. Height 8, width 5% Remarque proofs on vellum $7.50 Remarque proofs on Japan paper 5.00 199 THE FISHERMAN’S DAUGHTER (TRAVAILLEUSE DE LA MER) This very beautiful plate has won three gold medals. It is from the painting by Charles Sprague Pearce of Boston, and was etched by the kind permission of the owner, the late Mrs. John Jacob Astor of New York. Height 22, width 17% Remarque proofs on vellum (100 only), signed by painter and etcher $60 Signed artist’s proofs on Japan paper 24 (See Illustration) 200 UNE PRELUDE Full-length seated figure of a simply dressed Spanish girl playing a guitar in an old tavern. This is an excellent framing subject. Etched from the painting of Charles Sprague Pearce of Boston, which won a medal at the Paris Salon, where the etching of Los Rios was also exhibited. Height 14, width 11 Signed artist’s proofs on vellum $15 Signed artist’s proofs on Japan paper 10 MacLAUGHLAN (DONALD SHAW) 1 1 The work of Mr. Donald Shaw MacLaughlan, a native of Boston, and since he became a painter-etcher, acclimated in France, is already very numerous, varied and of a sustained interest, of a persistent talent. This work embraces visions of old Paris, churches, bridges, quays along the Seine and corners of Bievre, souvenirs of Italy: Florence, Pavia, Tivoli, Parma, Perugia, Venice, Bologna, and several beautiful evocations of the Port of Boulogne and of the cathedral of Rouen. At Paris, his plates of ‘ Saint Sulpice, ’ of the ‘ Pont St. Michel, ’ of ‘ St. Severin, ’ of ‘ St. Julien-le-Pauvre, ’ his ‘ Tannerie, ’ his 1 Cour des Gobelins ’ ; at Rouen, his 1 Fleche ’ and his 1 Tour de Beurre ’ are prints of rare worth which belong in some sort to the mastery of Meryon, with their solid architectural construction, their clearly defined values, the capricious originality of the skies and of the waters treated with a light fan- tasy which contributes to the harmony of the whole.” — Octave Uzane, The Etchings of D. Shaw MacLaughlan. ”D. Shaw MacLaughlan is an accomplished young artist who first studied in the usual academic courses, but has found in the art of etching a form of expression far more suited to his artistic bent. Deeply conscious of the tower- ing greatness of Rembrandt, Diirer and the older masters of line, he has set himself the task of learning all in his power of the good that appeals to him in the works of such great men. It follows that such devoted enthusiasm to an ideal is bound to produce good work ; Mr. MacLaughlan has proved this already by his many cnarming and vigorously original plates. A well-known exhibitor 102 The Dawn, by Fonce, see No. 102 The Locust Grove, by Manley, see No. 201 A Quiet Harbor, by Manley, see No. 210 An Old Bridge, Lake George, by Manley, see No. 204 both in America and Europe, honours and medals have already come to him. In such an accomplished artist and conscientious student of good etching, great things may be expected from his clever hand in the years to come.” — Will Jenkins, Modern Etching and Engraving in America. Note. Mr. MacLaughlan ’s etchings have been shown at the Salon des Artistes Frangais, the Salon des Champs de Mars, the Pan-American Exposi- tion, in 1901 (when they earned for the artist a silver medal), and are repre- sented in the collection of prints at the Bibliotheque Nationale, Paris. His etchings have also been published in the Bevue de L’Art (January 10, 1903), the Gazette des Beaux Arts (July, 1903), and L’Art (June, 1903). Note. We are glad to announce that this distinguished artist has appointed us the publishers of his etchings for the United States. A detailed list of titles and of prices of such etchings as can be supplied will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) MANLEY (THOMAS R.) Born in Buffalo, N. Y., 1853. Studied at the Pennsylvania Academy of Pine Arts. 201 THE LOCUST GROVE Height 9%, width 8 % Signed artist’s proofs on Japan paper (See Illustration) $12 202 NOVEMBER Height 8%, width 12 Signed artist’s proofs on Japan paper $12 203 THE MILL FEED Height 6%, width 9 Signed artist’s proofs on Japan paper $5 204 AN OLD BRIDGE, LAKE GEORGE Height 6%, width 18% Signed artist’s proofs on Japan paper $10 (See Illustration) 205 A QUIET NOOK Height 15, width 8 Signed artist ’s proofs on J apan paper $6 206 A LOW MEADOW Height 9Vs, width 12% Signed artist’s proofs on Japan paper. 107 $10 207 SOUTHPORT Height 8%, width 19% Signed artist’s proofs on Japan paper $12 208 A BRIDGE IN CENTRAL PARK Height 12%, width 9% Signed artist’s proofs on Japan paper $10 209 ON LONG ISLAND SOUND Height 6%, width 19% Signed artist’s proofs on Japan paper $10 (See Illustration) 210 A QUIET HARBOR A companion to No. 209 Height 6%, width 18% Signed artist’s proofs on Japan paper $10 (See Illustration) 211 LATE AUTUMN Height 16, width 20 Signed artist’s proofs on Japan paper $15 212 EARLY SPRING Height 13, width 19 Signed artist’s proofs on Japan paper $15 213 NEAR SAG HARBOR Height 12%, width 18% Signed artist’s proofs on Japan paper $12 214 THE TIDE MILL Height 6%, width 18% Signed artist’s proofs on Japan paper $10 215 THE MILL POND Height 13%, width 19 Signed artist’s proofs $12 216 LAKE PEIGNEUR, LOUISIANA After the painting by Joseph Jefferson. Mr. Joseph Jefferson might have be- come famous as a landscape painter had he not devoted his artistic powers to 108 the drama. 1 ‘ Lake Peigneur ” is a characteristic bit of scenery taken from the great actor ’s estate in Louisiana. Fifty selected proofs bear the autograph of Mr. Jefferson as well as that of the etcher. Mr. Manley has been most successful in rendering the original. Height 12, width 20 Proofs signed by painter and etcher (50 only) . . .$20 217 SOURCE OF THE SUSQUEHANNA Height 12%, width 18 Remarque proofs on Japan paper $10 218 THE MEADOW BROOK Height 4%, width 6 Signed artist’s proofs on Japan paper $3 MARTIAL (ADOLPHE P.) Born in Paris, 1828 ; died 1883. 1 1 Monsieur Martial ’s labors have developed great manual skill. He has mas- tered, and mastered long ago, the technical difficulties of etching, so as to ex- press himself fully in the art without being hampered, as less accomplished men are hampered, by the torturing sense that they are saying less than they mean or something else than the thing they mean. ’’—Philip Gilbert Hamerton, Etching and Etchers , pp. 214, 215. 219 LES CANCALAISES Etched from the painting by Feyen-Perrin in the Luxembourg Gallery, Paris. The oyster beds of Caneale on the French coast are a carefully protected private property. But on a certain day yearly, during the autumn low tides, all the people of the district are allowed by a liberal old custom, to gather as many oysters as they can carry away. The sale of these oysters affords to the Can- calaise women almost the only 1 1 pin money ’ ’ they receive during the year. Rich ladies sometimes join the peasantry in their annual procession. M. Feyen-Perrin ’s painting appeared at the Salon in 1874, when it won a medal, and was purchased by the State, and the artist received the decoration of the Legion of Honor. Mr. Hamerton writes of him, in Etching and Etchers: 1 ‘ He has much true natural sympathy for the pathos of a hard life, especially as it touches woman; so, whilst many of his brethren were painting the demi- monde of Paris, Feyen-Perrin went to study a nobler though less elegant kind of a life on the seashore. ’ ’ Of the etcher, A. P. Martial, Hamerton says in the same work: “His tech- nical skill is extraordinary, and a few years ago he had scarcely an equal in this kind of ability. ’ ’ Height 13%, width 19% Remarque proofs on Japan paper $45 Unsigned proofs 18 109 MASSARD (LEOPOLD) Born in Paris, 1812; died 1889. A nephew of the celebrated line engraver Jean Baptiste Raphael-Urbain Massard. 220 A HARD SUM From the painting by Geoffroy. Height 10%, width 8% Remarque proofs on vellum $8 Signed artist’s proofs on Holland paper 4 MERYON (CHARLES) Born in Paris, November 23, 1821. Died February 14, 1868. * ‘ The case of Charles Meryon is one of those painful ones which recur in every generation, to prove the fallibility of the popular judgment. Meryon was one of the greatest and most original artists who have appeared in Europe; he is one of the immortals; his name will be inscribed on the noble roll where Diirer and Rembrandt live forever. . . . Meryon was sorely tried by public and na- tional indifference, and in a moment of bitter discouragement he destroyed the most magnificent series of his plates. When we think of the scores of mediocre engravers of all kinds, who, without one ray of imagination, live decently and contentedly by their trade, and then of this rare and sublime genius actually ploughing deep burin lines across his inspired work, because no man regarded it ; and when we remember that this took place in Paris, in our own enlightened nineteenth century, it makes us doubt whether, after all, we are much better than savages or barbarians. ’’—Philip Gilbert Hamerton, Etching and Etch- ers, pp. 167, 168. Note. Special attention is invited to our large collection of Meryon ’s etch- ings. A detailed list of titles and of prices will be found in The Print Col- lector’s Bulletin, which will be mailed, free, on request. (See page 3.) MILLET (JEAN-FRANQOIS) Born October 4, 1814. Died January 20, 1875. “A man who had given his whole life to etching only, who had never thought of painting, and had never cared for those effects proper to painting and not to etching, could not have been more truly and markedly a born etcher than Millet showed himself to be— few though were the plates and many though were the canvases he worked upon. To depend upon lines, not tones, for expression; to make every line ‘ tell, ’ and to use no more lines than are absolutely needed to tell exactly what he wants to say ; to speak strongly, concisely, and to the point ; to tell us much while saying little; to suggest rather than to elaborate, but to suggest in such a way that the meaning shall be very clear and individual and impressive — these are the things the true etcher tries to do. And these are the things that Millet did with a more magnificent power than any man, perhaps, since Rembrandt. Other modern etchings have more charm than his — none have quite so much feeling. Others show more grace and delicacy of touch — 110 The Passing Storm, by Moran, see No. 224 An August Day, by Moran, see No. 221 none show more force or certainty, and none a more artistic ‘ economy of means.’ ’’—Mrs. Schuyler van Rensselaer, J ean-Frangois Millet; Fainter- Etcher. Note. Special attention is invited to our large collection of Millet’s etch- ings. A detailed list of titles and of prices will be found in The Print Col- lector’s Bulletin, which will be mailed, free, on request. (See page 3.) MORAN (PETER) “But our finest etchings of this sort, I should say, are those of Mr. Peter Moran. Three that I have recently seen — one showing cattle in a storm, an- other cattle crossing a summer brook, and a third, sheep in a shady spring-time pasture— are truly remarkable works. They are very elaborate in treatment, yet they show that valuable kind of artistic discretion which knows where to stop. They are not in any place over-elaborate — that is, there is never any elaboration for the sake of elaboration merely, never any effort to ‘finish’ for the mere sake of finishing. Even in their most closely worked passages every line is most beautifully placed and full of meaning, and there are other pas- sages, finely harmonized with the more detailed, where the untouched paper is wisely left to play its part. They are, in short, true etchings, if very elaborate ones— etchings wrought with a true respect for the intrinsic capabilities of the art, and a true and very masterly command over its processes. Their technical qualities have won the very highest praise in Paris, where, if anywhere, good etching is understood and prized. And their pictorial qualities are yet so great that the eye most ignorant of etching must be charmed by them. If we will ask for ‘pictures’ from our etchers, we should indeed rejoice when they give them to us of so complete a kind, and yet with so much of the intrinsic charm of etching, properly so called, as does Mr. Peter Moran. ’’—Mrs. Schuyler van Rensselaer, American Etchers, p. 27. The renowned French painter, Jules Breton, on seeing Peter Moran ’s pair of etchings in Paris, asked in surprise whose works they were. The answer given him was, ‘ ‘ An American. ” “ Why, they are admirable, ’ ’ said he. ‘ ‘ The man who etched those plates is a master!” Later, Jules Breton sent to America and procured them for his own collection, writing a most complimentary letter to the artist about them. Note. In addition to plates Nos. 221-228 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 221 AN AUGUST DAY The large size and rich effect of this etching render it as decorative as a fine painting. Height 15%, width 23 ^ Remarque proofs on vellum (with double re- marque) $36 Remarque proofs on Japan paper 30 Signed artist’s proofs on Japan paper 20 (See Illustration) 113 222 GOING TO THE FAIR Although Mr. Peter Moran is best known through his original work, yet in this instance he has etched the work of a brother artist. The result is very fine. In a large landscape, full of variety, the flocks and herds are seen wending their way to the adjoining town. Height 15%, width 24% Eemarque proofs on vellum $50 Eeinarque proofs on Japan paper 35 223 AN OLD NEW ENGLAND ORCHARD (WITH A FLOCK OF SHEEP) Height 12, width 18 Eemarque proofs on Whatman paper $24 Signed artist’s proofs on Japan paper 18 224 THE PASSING STORM (CATTLE IN A LANDSCAPE) “ In ‘ The Passing Storm ’ cattle pace leisurely over a sunny, finely rendered foreground, while behind them comes the somber march of bursting rain clouds. Very different is the ‘New England Orchard,’ glittering with sunlight, where a flock of sheep graze beneath the apple boughs. This is worth study as an example of tact in omission. The etcher has carried his work far enough; he has not enfeebled his plate by over-elaboration. Eipley Hitchcock. Height 12, width 18 Eemarque proofs on vellum $36 Eemarque proofs on Japan paper 24 Signed artist’s proofs on Japan paper 18 (See Illustration) 225 RETURN OF THE HERD Height 5, width 10% Signed proofs on Japan paper $10 226 RETURN OF THE FLOCK Height 6%, width 15 Signed proofs on Japan paper $15 227 SANTA BARBARA MISSION, CALIFORNIA Height 11%, width 19% Signed artist’s proofs on Japan paper $15 228 A ROMAN CHARIOT RACE IN THE COLISEUM After the painting by A. Wagner. Etched in collaboration with Stephen J. Ferris. Height 8%, width 22% Impressions on Japan paper, 114 $6 Low Tide, Bay of Fundy, by Parrish, see No. 235 Fishermen’s Houses, Cape Ann, by Parrish, see No. 234 . NICHOLS (MISS CATHERINE M.) The paintings of Miss Catherine Nichols are well known to those who visit the exhibitions at the Royal Academy, London. Her plates are done in pure dry- point, and are vigorous presentations of English landscape or architecture. She is also a writer of high merit. 229 A SUMMER EVENING, ENGLAND Height 7, width 10 Signed artist’s proofs, printed by Goulding (50 only) $7 230 A GARDEN AT LOURDES, FRANCE Height 10, width 7 Signed artist’s proofs, printed by Goulding (50 only) $7 231 AN ENGLISH VILLAGE Height 6%, width 9 y 2 Signed artist’s proofs, printed by Goulding (50 only) $7 232 REEDS A fine effect of a lake at sunset seen through a foreground of reeds. Height 4%, width 10 Signed artist’s proofs, printed by Goulding (50 only) $5 NICOLL (J. C.) The well-known painter. Member of the National Academy of Design. “Mr. Nieoll is another artist worthy of all attention.” — Mrs. Schuyler van Rensselaer, American Etchers, p. 20. 233 AN EVENING IN AUGUST Height 16, width 22% Remarque proofs on Japan paper $18 PALMER (SAMUEL) ‘ 1 During twenty years, Samuel Palmer ’s work has become for me more and more beautiful, more and more abundantly satisfying. It is so tender as to remind us of all that is softest and sweetest in the heart of pastoral nature, and yet so learned that it seems as if some angel had met the artist in his studious solitude and taught him. Imaginations graceful as a maiden’s dream, 117 but without her ignorance; teachings profounder than those of science, yet without their pedantry; a serene spirit inherited from the true and great poets of the times of old, who are his fathers — all these he gives us with his art. The beautiful sentence in which Samuel Palmer described the excellence of Claude is accurately descriptive of his own excellence, and I would have said of him, if I had known how to write anything so good: ‘His execution is of that highest kind which has no independent essence, but lingers and hesitates with the thought, and is lost and found in a bewilderment of beauty.’ ” — Philip Gil- bert Hamerton, j Etching and Etchers , pp. 328, 329. Note. Special attention is invited to our collection of Palmer’s etchings. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin , which will be mailed, free, on request. (See page 3.) PARRISH (STEPHEN) “Mr. Parrish is one of the most sincere and straightforward of living etch- ers. ’’—Philip Gilbert Hamerton. ‘ ‘ Mr. Stephen Parrish, whom I should put, with Mr. Gifford and Mr. Farrer and Mrs. Moran, in the very first rank of home-keeping etchers, is the most popular of them all. ’’—Mrs. Schuyler van Rensselaer, Etching in America. “Stephen Parrish is an etcher whose work teems with interest regardless of the particular subject dealt with. Whether he is rendering the clear sunlight of Pennsylvania or the deeper notes of the lower Canadian Provinces, his style is always full of interest and rich in every line and mass. No American’s work shows more forcibly how this country abounds in good subjects. . . . Mr. Par- rish is one of the men who has been able to both see and feel the greatness of the old master-etchers, and to grasp their technical methods with sufficient understanding to enable him to practice on any theme with equal force and enthusiasm. ’ ’—Will Jenkins, Modern Etching and Engraving in America. 234 FISHERMEN’S HOUSES, CAPE ANN Height 12, width 19 Signed artist’s proofs on Japan paper $36 (See Illustration) 235 LOW TIDE, BAY OF FUNDY “Nothing that Mr. Parrish has done seems to me more vigorous than his ‘Low Tide, Bay of Fundy.’ with the strong line of stranded vessels outstanding against a brilliant sky, balanced by quaint houses on the shore, and with another touch in the expressive figures on the beach. ’ ’ — Ripley Hitchcock. Height 12, width 19 Signed artist’s proofs on Japan paper $36 (See Illustration) 236 EVENING ON THE SCHROON Height 7%, width 15% Signed artist’s proofs on Japan paper $15 Unsigned proofs on Japan paper 6 237 THE CANAL AT TRENTON, N. J. Height 5Y2, width 8% Signed artist ’s proofs on Japan paper 118 $5 Tower Bridge, by Pennell, see No. 295 Dock Head, by Pennell, see No. 259 Thames from Richmond Hill, by Pennell, see No. 293 Lincoln’s Inn Fields, by Pennell, see No. 273 238 MILL AT INSPECK Height 8%, width 11% Signed artist’s proofs on India paper $8 PARRISH (THOMAS C.) 239 GEORGETOWN, VIRGINIA A fine, effective etching, showing the river and bridge. Height 6%, width 11% Signed artist’s proofs on Holland paper $5 PENNELL (JOSEPH) Born in Philadelphia, July 4th, 1860. Studied at the Pennsylvania Academy of Fine Arts. His first etchings, of Philadelphia scenes, were done in 1880. In 1884, he went to Europe, and has since then resided chiefly abroad. Concerning Mr. Pennell’s etched work an authority of high repute has given his opinion thus: “In whatever he does he is always the artist ; and now that Whistler is dead and Sir Seymour Haden no longer etching, I consider that the ablest painter-etcher now living and working is unquestionably Joseph Pennell.” Note. The following is a list of the etchings by Mr. Pennell which are obtainable at the present time. All are signed artist ’s proofs, and the plates of all have been destroyed. In addition to the etchings named, the publishers can supply proofs of certain plates of the Philadelphia Series (1880-1884), the New Orleans Series (1882), the Italian Series (1884), the London Series (1891), and, in some cases, proofs of Mr. Pennell’s etchings in Spain and France, together with proofs of unpublished plates of the New York Series and of the new London etchings. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) THE NEW YORK SERIES 1 1 These recent etchings of Mr. Pennell ’s are instinct with the quality which both Whistler and Sir Seymour Haden have always maintained to be the prime •characteristic of the best painter-etching— namely, spontaneity; and what Whistler wrote a few years ago about Mr. Pennell’s Spanish lithographs might with equal truth be said of these ‘ sky scrapers ’ : 1 There is a crispness in their execution, and a lightness and gaiety in their arrangement as pictures, that belong to the artist alone. ’ . . . “Mr. Pennell certainly has discerned art in their ‘sky scrapers,’ and so competent a judge as Mr. F. Marion Crawford, on seeing these etchings, made the pithy remark, ‘I see that you have made Architecture of the New York buildings.’ He has, and yet he has depicted them truly. ’’—Frederick Keppel, Mr. Pennell’s Etchings of New YorTc “ STcy Scrapers.” Average size: Height 11, width 8 Signed artist’s proofs $12 123 240 PARK ROW 241 THE «L” AND THE TRINITY BUILD- ING 242 FOUR STORY HOUSE 243 GOLDEN CORNICE (100 BROAD- WAY) (see Illustration) 244 UNION SQUARE AND THE BANK OF THE METROPOLIS 245 TIMES BUILDING AND 42ND STREET 246 FORTY-SECOND STREET (see Illus- tration) 247 LOWER BROADWAY 248 “THE HOLE IN THE GROUND” ( 16TH STREET AND 5TH AYE.) THE LONDON SERIES “All this elaboration is in the interest of the total effect, and the total effect is always magnificently atmospheric. The drawing of the buildings has the beauty and strength of structure, and at the same time it is suffused by the air and the light and the dark. No one has so splendidly rendered the different effects of sunlight on stone, the tired, dull glare of the late afternoon, the bril- liant hard white, the ivory softness, and the glorifying vagueness of the play of light and shade on the fluting of columns and the carving of the capitals. And these etchings excel in suggesting the quality of surfaces, skies, water, foliage, the stone of the museums and churches, the brick of the Chelsea house fronts. In composition they have always a distinction and a surprise that comes from the happy point of view. It is a composition that gives to its glimpse of the scene a new unity in unexpected relations; and the fact that the scenes are always reversed, through the artist’s habit of putting the thing as he sees it directly on the plate, takes nothing from their beauty. Among the most beau- tiful are ‘Classic London — St. Martin Vin-the-Fields, ’ ‘St. Paul’s,’ ‘Lindsay Row,’ ‘Westminster Abbey— West Front,’ ‘The Tower Bridge,’ ‘The British Museum, ’ and ‘ Hampton Court Palace. ’ The ‘ classic ’ part of London is Pen- nell ’s own. And so, indeed, are the palaces and the abbey. He has had no predecessor there as he had on the Thames. And nothing could be more appro- priate to these subjects than the infinite delicacy and restraint of their elabora- tion. ’’—Walter Conrad Arensberg, Mr. Pennell’s Etchings of London. Average size: Height 12, width 7% Signed artist’s proofs $12 249 ADMIRALTY 250 BRIDGE STREET, WESTMINSTER 251 CRYSTAL PALACE 252 CHEYNE WALK, CHELSEA 253 CLASSIC LONDON, ST. MARTIN’S- IN-THE-FIELDS 254 COLISEUM FROMTRAFALGAR SQUARE 255 CUMBERLAND GATE 256 CUMBERLAND TERRACE, REGENT’S PARK 257 CANNON STREET STATION FROM THE RIVER 258 CHURCH OF ST. MARY-LE-STRAND 259 DOCK HEAD (see Illustration) 260 ENTRANCE TO HENRY VII CHAPEL, WESTMINSTER ABBEY (see Illustra- tion) ; all sold 261 GREENWICH PARK, NUMBER ONE 262 GREENWICH PARK, NUMBER TWO 263 GREAT COLLEGE STREET 264 GREAT GATE, LINCOLN’S INN 2b5 GREAT CRANES, SOUTH KENSING- TON 266 GOTHIC CROSS, CHARING CROSS 267 GOLDSMITH’S GRAVE, THE TEMPLE 268 GUILD HALL 269 HOUSE WHERE WHISTLER DIED 270 HAYMARKET THEATRE 271 HEMPSTEAD PONDS 272 LINDSAY ROW 273 LINCOLN’S INN FIELDS (see Illustra- tion) 274 LUDGATE HILL, SHOWING THE HOLBORN VIADUCT 275 LONDON BRIDGE STAIRS 276 LEADENHALL MARKET 277 LAST OF OLD LONDON 278 MARBLE ARCH 279 NUMBER 230, STRAND 280 NARROW STREET 281 ON CLAPHAM COMMON 282 OLD COURT, LINCOLN’S INN 283 QUEEN ANNE’S MANSION FROM THE LAKE 284 ROSSETTI’S HOUSE 124 Westminster Abbey, by Pennell, see No. 299 St. Paul’s, by Pennell, see No. 290 St. Paul’s, the West Door, by Pennell, see No. 291 ‘The Golden Cornice,” by Pennell, see No. 243 42nd Street, New York, by Pennell, see No. 246 285 ROYAL ENTRANCE, VICTORIA TOWER 286 ST. BARTHOLOMEW’S GATE 287 ST. BARTHOLOMEW’S, THE FOUNDER’S TOMB 288 ST. CLEMENT DANE’S 289 ST. DUNSTAN’S, FLEET STREET 290 ST. PAUL’S (see Illustration) ; all sold 291 ST. PAUL’S, THE WEST DOOR (see Illustration) 292 THAMES AT RICHMOND PEIRCE (MISS EDITH LORING). (MRS. GETCHELL) ‘ 1 Essentially a practitioner of the brilliant uses of line, the work of Edith Lor- ing Getchell is vigorous, original and effective without affectation. . . . Her hand is particularly sympathetic to all that is beautiful in foliation and growth of trees, atmospheric or climatic conditions of light, and those subtleties of nature best adapted to expression with the point. ’’—Will Jenkins, Modern Etching and Engraving in America. 293 THAMES FROM RICHMOND HILL (see Illustration) 294 THAMES WHARF 295 TOWER BRIDGE (see Illustration) 296 TRAFALGAR SQUARE 297 VALE OF HEALTH, HAMPSTEAD 298 WHITEHALL COURT 299 WESTMINSTER ABBEY, WEST FRONT (see Illustration) 300 THE ROAD TO THE BEACH, “Her ‘Road to the Sea, Nonquitt, Massachusetts,’ was one of the American plates at the Paris Salon. It is very simple in theme— merely a stretch of low coast land with a few scattered shrubs and a white road stretching away to- wards the slightly-lifted horizon line. But a great deal has been told in this simplicity. The very spirit of such a scene is caught and given. Even without the title we should know that there was salt in the air and the sea at the end of the road. ’’—Mrs. Schuyler van Rensselaer, American Etchers, p. 26. Height 6, width 17% Signed artist’s proofs on Japan paper $8 PLATT (CHARLES A.) In the opinion of competent judges this distinguished artist ranks among the few real masters of original etching. Born and bred in New York, and having studied his art here also, his landscapes, marines, and water-side views will bear comparison with the works of the greatest living etchers. “In the foremost group of American painter-etchers stands the work of Charles A. Platt. Distinguished alike for vigorous brilliancy and richness of effect, it shows that he has every variety of technical means at his disposal and is a master of each in some special way. Exceptionally gifted with versatility, he has employed his skill in many different directions. ’ ’ — Will Jenkins, Mod- ern Etching and Engraving in America. “Mr. Platt’s work is specially noticeable for its variety. He is not one of those artists, who, having once succeeded with a subject, go on repeating varia- tions on the same theme to the end of their lives. Each successive production of his is something genuinely original and not an echo of something which he has done already. He is equally well known through his paintings and aqua- relles as by his etchings. ’ ’ ‘ ‘ At the exhibition just named the honors were certainly divided by Mr. Platt and Mr. Parrish. To which of them seemed due the larger share was a question which depended greatly upon individual tastes — was a question of contrast be- tween different qualities rather than a question of more and less as regarded the same qualities. . . . Mr. Platt had, in truth, arrived at a mastery over his art. ... I do not mean a mastery of its technical resources, a mastery in hand, so much as a mastery in eye and thought. He had known precisely what he 131 wanted to do, and precisely what to do and what to leave undone in order to succeed. And the leaving of things undone is no small part of the artist ’s task with such a craft as etching. In the great art of omitting Mr. Platt is in truth accomplished, and this is what gave his prints their simplicity, their harmony, their breadth and unity of effect. ’’—Mrs. Schuyler van Rensselaer, Ameri- can Etchers, pp. 24, 25. Note. In addition to plates Nos. 301-322 we have in our present stock a number of other subjects by this eminent etcher. A detailed list of titles and of prices will be found in The Print Collector’s Bulletin, which will be mailed, free, on request. (See page 3.) 301 SPRING FLOOD Height 13, width 18% Signed artist ’s proofs on Japan paper $18 302 AN INLAND PORT One of Mr. Platt ’s very best works — which is saying a great deal. Height 11%, width 19% Signed artist’s proofs on Japan paper $18 303 THE CHARLES RIVER Height 6%, width 14% Signed artist’s proofs on Holland paper $8 304 WILLI AMSBURGH, FROM THE EAST RIVER BRIDGE Height 6%, width 9 Signed artist’s proofs $8 (See Illustration) 305 BASS RIVER, CAPE COD Height 9, width 17 Signed artist’s proofs $12 306 A CORNER OF PORTLAND, NEW BRUNSWICK Height 10, width 8 Signed artist’s proofs on Japan paper $8 307 NAPLES Height 5, width 7% Signed artist’s proofs .$8 308 RYE, SUSSEX Height 6%, width 9% Signed artist’s proofs on India paper. .$10 132 Buttermilk Channel, by Platt, see No. 309 WlLLIAMSBURGH, BY PLATT, SEE No. 304 309 310 311 312 313 314 315 316 317 318 319 BUTTERMILK CHANNEL Height 6%, width 10% Signed artist’s proofs (See Illustration) MUD BOATS ON THE THAMES Height 6%, width 11% Signed artist’s proofs $15 $9 LANNION Height 6%, width 11% Signed artist’s proofs TROUVILLE Height 6%, width 9% Signed artist’s proofs OLD WAREHOUSE, DORDRECHT Height 10%, width 16% Signed artist’s proofs PIER AT LARMOR Height 8%, width 14% Signed artist ’s proofs THE QUAY AT HAVRE Height 7%, width 13% Signed artist’s proofs A BRITTANY LANDSCAPE Height 8%, width 11% Signed artist ’s proofs LOW TIDE, HONFLEUR Height 4%, width 6 Signed artist’s proofs UNDER THE PONT MARIE, PARIS Height 5, width 8% Signed artist’s proofs ST. GERVAIS, PARIS Height 8%, width 5% Signed artist’s proofs $15 $12 $18 $12 $15 .$12 $10 $10 $10 135 320 INNER PORT, TROUVILLE Height 6%, width 9 % Signed artist ’s proofs 321 BROOKLYN BRIDGE Height 6%, width 11 Signed artist’s proofs 322 THE DREDGE Height 6%, width 13% Signed artist ’s proofs $10 $10 $12 PHILLIPS (G. H.) 323 PORTRAIT OF SIR WALTER SCOTT Engraved in mezzotint in 1864 after the painting by C. R. Leslie, R.A. This portrait was painted for Archibald Constable, Sir Walter Scott ’s publisher. Height 12%, width 10 Open letter proofs on India paper $15 PROPERT (J. LUMSDEN) Mr. Propert has long been known as a very successful amateur etcher. An edition limited to 50 proofs of plates Nos. 324-329 is now for the first time formally published. They have been carefully printed by Frederick Gould- ing of London, and each proof bears the signature of the artist. 324 GREENWICH Height 8, width 14 Signed artist’s proofs $12 325 KEW BRIDGE Height 7, width 12 Signed artist’s proofs $12 326 THE TOWER OF LONDON Height 11%, width 18 Signed artist’s proofs $18 327 THE RIVER SEVERN Height 5%, width 9% Signed artist’s proofs $9 136 Alfred Tennyson, by Rajon, see No. 332 328 CHISWICK Height 7, width 12 Signed artist’s proofs $12 329 ROMNEY Height 7, width 12 Signed artist’s proofs $12 330 SAN GIORGIO, VENICE Oval. Height 8, width 6 Signed artist’s proofs $6 331 LA SALUTE, VENICE Height 8y 2 , width 5 Signed artist’s proofs $6 RAJON (PAUL) With the sole exception of Rembrandt, Raj on was probably the greatest portrait etcher who ever lived; but, unlike Rembrandt, most of this modern master’s plates were done from originals by other artists. He was, however, an accom- plished portrait painter also, and some of his best etchings were from his own designs. One of the finest of these is his large portrait of Tennyson. It is probably the best existing portrait of the great poet. Rajon died at his beautiful home near Paris, on the 8th of June, 1888. 332 PORTRAIT OF ALFRED TENNYSON This portrait was taken while the great poet was still hale and vigorous. Its wonderful fidelity as a likeness, combined with its high artistic qualities, have given it in England (and here also) the rank of being the best portrait of Ten- nyson. In the Life of Lajon, by F. GL Stephens, the author writes of Rajon ’s “de- lightful and inexhaustible skill in working with pure line,” and cites the por- trait of Tennyson as being “simply one of the finest specimens of modern draughtsmanship. ’ ’ Height 15%, width 12 Signed artist’s proofs on vellum $75 Signed artist’s proofs on Japan paper 60 Unsigned proofs on India paper 18 (See Illustration) 333 ROSALIE Head of a child, done in soft-ground etching. Height 9%, width 7% Impressions without the title $3 334 NINETTE Head of an Alsatian girl, printed in red. Height 9%, width 7 Impressions without the title 139 $6 335 PORTRAIT OF MEISSON1ER This plate was etched at Meissonier’s special request, from his own painting, and it will certainly take rank as the best portrait of the great French master. Height 11, width 8 % Signed artist’s proofs on Japan paper $20 Unsigned proofs 6 RAMUS (EDMOND) Member of the French Academy. 336 AN ALGERIAN VILLA From the painting by F. A. Bridgman. Born in New York, but now estab- lished in Paris, Mr. Bridgman has done distinguished honor to American art. In Paris he has had high official recognition — even to the extent of receiving the Cross of the Legion of Honor. Height 15%, width 21 Remarque proofs on vellum, signed by painter and etcher (60 only) $30 Signed artist’s proofs on Japan paper 15 RIPPL-RONAI 337 PORTRAIT OF FRANZ LISZT This portrait of the great musician was painted one year before his death by his great compatriot, Munkacsy. It will undoubtedly take rank as the standard portrait of Liszt. Munkacsy ’s painting is etched by another Hungarian artist, Rippl-Ronai. The 40 proofs on vellum bear Munkacsy ’s autograph as well as the etcher’s. Height 14%, w’idth 11% Remarque proofs on vellum, signed by painter and etcher (40 only) $30 Lettered impressions 5 RODRIGUEZ (GASTON) One of the best French reproductive etchers. 338 NAPOLEON ON HORSEBACK The etching represents the principal figure in Horace Yernet’s large picture (in the Versailles Gallery) of the Battle of Marengo. Unlike many other portraits of Napoleon, this one was painted from life. Height 11%, width $% Remarque proofs on vellum $12 (The remarque is a small portrait of Josephine.) Signed artist’s proofs on Japan paper 6 140 Sewing Lesson, by Rodriguez, see No. 340 La Becquee, by Rodriguez, see No. 341 339 THE TANGLED SKEIN Prom the painting by Seignac. Height 14, width 11 Eemarque proofs on vellum, signed by painter and etcher $15 Signed artist’s proofs on Japan paper 6 340 THE SEWING LESSON This pretty etching is a veritable novelty, being done from the almost unknown but very beautiful painting by J. F. Millet. This great French master’s pictures have of late become almost as well known through various reproductions as are those of Raphael himself; but “The Sewing Lesson” — one of Millet’s finest works — has never before been reproduced in engraving or etching. The artist, suiting the handling to the subject, has treated it with an unusual degree of grace and daintiness. This etching had the distinction of being first publicly exhibited at the Paris Salon. Height 20, width 1 5% Remarque proofs on vellum $30 Signed artist’s proofs on Japan paper 15 (See Illustration) 341 LA BECQUEE This important plate is from the beautiful painting by J. F. Millet in the museum at Lille, which ranks as one of the master ’s very finest pictures. A peasant woman is seated outside and facing the door of a farm-house, on the step of which are seated three little children whom she is feeding with a wooden spoon. The very title is poetical, signifying the action of a young bird in the nest, that opens its mouth to be fed. Height 23, width 18 y 2 Remarque proofs on vellum (60 only) $40 Remarque proofs on Japan paper (60 only) 30 ( See Illustration ) 342 THE FISHERMAN’S FAMILY From the painting by Jameson. A young woman stands on the seashore with her two children, while the fisherman is seen coming toward them from his vessel. Height 19, width 15 Remarque proofs on vellum, signed by painter and etcher $30 Remarque proofs on Japan paper, signed by painter and etcher 20 Signed artist’s proofs 12 343 LA MERE TANISSE From the painting by Marie Lavieille. In the quaint interior of a French peasant’s house an old woman is seated by the fire, at work with her needle. Height 10, width 12 Remarque proofs on Japan paper 143 $8 344 BANKS OF THE MARNE After the painting by Karl Daubigny. A beautiful landscape, delicately etched. Height 8, width 13 % Kemarque proofs on Japan paper $8 Signed artist’s proofs on Japan paper 4 RUET (LOUIS) 345 LA PARTIE PERDUE This beautiful plate won a medal at the Paris Salon. It is from one of Meissonier’s finest pictures. Height 11, width 8% Remarque proofs on vellum $20 SMILLIE (JAMES D.) Member of the National Academy of Design and New York Etching Club, and of the Royal Society of Painter-Etchers, London. 346 “GOOD NIGHT AND SWEET DREAMS” A beautiful original dry-point, representing a bouquet of poppies and an antique chamber candlestick. Height 10, width 7 Signed artist’s proofs (50 only) $12 347 A BOUQUET OF HOLLYHOCKS A fine study in dry-point. Done for the Smithsonian Institute, Washington. Height 7, width 4% Signed artist’s proofs (25 only) $6 348 DOUBLE HOLLYHOCKS This original mezzotint plate makes a charming and very original picture. These three works by Mr. Smillie are worthy to take their place in the port- folio of the most fastidious collector either here or in Europe. Height 8*4, width 5 y 2 Signed artist’s proofs $8 SPINELLI (RAFAEL) 349 THE OLD LIBRARIAN From the painting by Jiminez. Particularly suited for hanging in a library. Height 15, width 11 Remarque proofs on vellum $15 Signed artist’s proofs on Japan paper 10 144 The Chess Players, by Spinelli, see No. 352 The Connoisseur, by Boilot see No. 47 A Gentleman Reading, by Boilot see No. 48 350 A SPANISH GIRL After Louis Leloir. Height 7, width 5 Eemarque proofs on vellum $3 351 THE FIRST LOVE TOKEN From the Paris Salon. From the painting by Welden Hawkins, who has etched the 1 1 remar que. ’ ’ Near a picturesque French farmhouse an Italian minstrel boy timidly presents a simple bouquet to a young peasant-girl — who receives it as timidly. The composition is full of sentiment and is treated in a novel manner. Height 16%, width 22 Eemarque proofs on vellum, signed by painter and etcher $30 Signed artist’s proofs on Japan paper 18 352 THE CHESS PLAYERS A pretty interior, from the painting of Frangois Flameng. Height 8 %, width 10% Signed artist’s proofs on Japan paper $5 (See Illustration) STODART (G. T.) 53 LCETITIA Engraved in stipple, after the painting by Eichard Cosway. The painter, Eichard Cosway, R.A., the immediate successor of Sir Joshua Eeynolds and the contemporary of Angelica Kauffman, combines in his style the force of the one and the elegance of the other. His “Lcetitia” is the portrait of the beautiful Miss Barker. The original picture is engraved by permission of the present owner, Sir Eichard Currie. Height 12, width 9 Signed artist’s proofs on India paper $18 TEYSSONNIERES (PIERRE) The paintings and etchings of M. Teyssonnieres have already won for him thir- teen medals and diplomas, including a medal from the Paris Salon and a decora- tion from the King of Italy. He was for several years professor of fine arts at Bordeaux, but is now established in Paris. 354 A MEETING After the painting by Ridgway Knight. The etching, which is one of Teysson- nieres’ finest, was exhibited at the Paris Salon. Height 18, width 24 Signed remarque proofs on vellum $48 Signed remarque proofs on Japan paper 36 Signed artist’s proofs on Japan paper 20 147 355 A VOICE FROM THE CLIFF After the painting by Winslow Homer. In a review of this notable American picture in The Century Magazine, Mrs. Schuyler van Rensselaer writes : ‘ 1 It seems to me not only one of the most com- plete and beautiful things Mr. Winslow Homer has yet produced, but among the most interesting that American art has yet created. The most interesting thing about it is its beauty of line. Three fisher-girls have a sculptural grace, they are statuesque figures— but they are living, moving, breathing beings, and not statues. Variety has been secured in such subtle, reposeful ways, that a wonderful harmony and artistic force are the result. ’ ’ Height 17, width 25 Remarque proofs on vellum $45 Remarque proofs on Japan paper 30 Signed artist’s proofs 18 (See Illustration) 356 PROCESSION OF THE FLITCH OF BACON From the painting by Thomas Stothard, R.A. The ancient English custom rep- resented is one of the most interesting of those which are kept in remembrance by the whole Anglo-Saxon race. A flitch or side of bacon was given annually to a young married couple who could prove (to a jury of six maidens and six bachelors) that during the first year and a day of their married life neither had said a cross word to the other — nor secretly wished that they were not married! This old custom has been observed, though with some interruptions, for more than seven centuries. No more significant or appropriate wedding present could be given; and no more suggestive reminder of domestic peace could be found to adorn a happy home. N. B. — A detailed historical account of the “ Flitch of Bacon” will be mailed, free, on application to the publishers. Height 12%, width 34 Remarque proofs on vellum (with double “Re- marque”) $60 Remarque proofs on Whatman paper 40 357 DAUGHTERS OF THE SEA From the painting by Delobbe, which was shown at the Paris Salon of 1885. The beautiful etching of it by Teyssonnieres won high praise at the Salon. Two handsome fisher-girls repose on the sandy shore, awaiting the return of the boats. The general effect of the picture is tranquil and restful. Height 13%, width 20 Remarque proofs on vellum, signed by both painter and etcher $60 Remarque proofs on Japan paper, signed by both painter and etcher 36 Signed artist’s proofs on Japan paper 24 Unsigned proofs before letters 12 (See Illustration) 148 A Voice from the Cliff, by Teyssonni^res, see No. 355 358 LA CHASSE AU FAUCON From the well-known painting, the 1 ‘ Hawking Party, ’ ’ by Fromentin, in the Louvre, Paris. This superb etching has already won three gold medals in Europe, including one from the Paris Salon. Height 17%, width 12% Remarque proofs on Japan paper $18 Signed artist’s proofs on Japan paper 12 Lettered impressions 6 359 LE CALVADOS The gathering of mussels on Sunday morning before the early mass. Etched by Teyssonnieres from his own painting. All the principal figures (except one) are from studies made by the artist on the spot. The old man to the extreme right is ‘ ‘ Le Pere Legrand. ” “ La Mere Legrand ” is at the opposite side, and near her is a girl who is known among her neighbors as 1 ‘ La Petite Coquette. ’ ’ The principal figure in the foreground is Mademoiselle Teyssonnieres, the artist’s daughter. This part of Normandy got its Spanish name in the time of Queen Elizabeth, when the Calvados, a vessel of the Armada, was wrecked on the coast. Height 14, width 20 Remarque proofs on vellum $60 Remarque proofs on Japan paper 36 Lettered impressions 6 360 A RIVER NEAR BORDEAUX Height 11%, width 19% Signed artist’s proofs on vellum $24 Signed artist’s proofs on Japan paper 12 361 AN AUTUMN DAY, NEAR BORDEAUX Height 10, width 1 3% Signed artist’s proofs on Japan paper $5 THEVENIN (CHARLES) 362 THE SOWER From one of Millet’s most characteristic works, and beautifully etched. Height 15%, width 19 Remarque proofs on vellum $25 Signed artist’s proofs on Japan paper 15 363 FONTAINEBLEAU After Allonge. Height 13, width 20% Remarque proofs on vellum (30 only) $12 Remarque proofs on Holland paper 8 151 VAN ELTEN (KRUSEMAN) This well-known landscape painter— member of the National Academy of De- sign, Fellow of the Royal Society of Painter-Etchers, London, and winner of a medal at the Amsterdam Exposition— was as much admired for his fine decorative etchings as for his paintings. 364 A COTTAGE BY THE SEA Height 9%, width 13% Signed artist’s proofs on Whatman paper $12 365 HOMEWARD BOUND Height 9%, width 17% Signed artist’s proofs on Whatman paper $12 366 TWILIGHT ON THE HOUSATONIC A landscape executed by the 11 soft-ground ” process. Height 13%, width 21 Signed artist’s proofs on Japan paper $15 367 THE DYKE AT SLIEDRECHT A characteristic view in Holland Height 12, width 19 Signed artist’s proofs on Japan paper $15 368 WINNOCKIE CREEK, NEW JERSEY Height 12, width 17 % Signed artist’s proofs on Japan paper $15 Unsigned proofs on Japan paper 12 369 A QUIET SPOT Height 9%, width 17% Signed artist’s proofs on Japan paper $12 Unsigned proofs 8 370 A SHADY PASTURE Height 8%, width 14% Signed artist’s proofs on Japan paper $10 Unsigned proofs 6 371 IN THE MEADOWS Height 8%, width 14% Signed artist’s proofs on Japan paper $10 Unsigned proofs 6 152 Newport Harbor, by Callahan, see No. 67 Windmill in Holland, by Van Elten, see No. 372 The King of the Desert, by van Muyden, see No. 373 Bengal Tigers, by van Muyden, see No. 374 372 WINDMILL IN HOLLAND Height 9, width 12 Unsigned proofs on Japan paper $6 (See Illustration) VAN MUYDEN (EVERT) Born at Albano, near Rome, and of Swiss parents, on July 18, 1853, he studied drawing and painting first under his father, afterward under Gerome at the Ecole des Beaux Arts in Paris. In etching he is entirely untutored, never hav- ing had a master. From 1879 to 1884 he lived in Italy and since 1884 he has spent most of his time in Paris. He received an honorable mention for his etchings at the Salon of 1887 and a bronze medal at the Paris Universal exhi- bition of 1889. “Van Muyden has both the mental and technical qualities necessary in the production of a real work of art, and he has them in a high degree. Drawing is the foundation of the graphic arts and in this van Muyden is a master. His draughtsmanship is the quality which first attracts attention in his works from the technical side. He has great love for beauty of form, especially in the lower animals, and this it is that gives much of the charm to his little sketches which, though they depend mostly on outline drawing, have all the suggestion of modeling, as well as in his more finished plates in which the modeling is carried further, but always with the love for form and the same ability to express it. 7 ’—Atherton Curtis. See “Catalogue of the Etched Work of Evert van Muyden, by Atherton Curtis. With a portrait of the artist and ten head pieces etched expressly for the catalogue and one unpublished plate. ’ ’ The edition is limited to 230 num- bered copies, at $10. 373 THE KING OF THE DESERT A great lion reposing on a crag. The margin of this fine plate is surrounded with light sketches of lions and other wild animals. Height 15, width 12% Remarque proofs on vellum $15 (See Illustration) 374 BENGAL TIGERS This fine etching is a model of admirable drawing. Two great tigers are in the foreground and in the distance a mysterious forest is seen. “Again we see two great tigers outside a mysterious tropical forest. One mounts guard, alert and fierce, while the other drinks. The composition and drawing of this picture may be called masterly; the gloomy background is full of color, while the drawing of the drinking tiger is simply wonderful; the lithe and powerful beast is actually alive.” — Frederick Keppel, Van Muyden, Painter-Etcher, p. 11. Height 16%, width 12 % Remarque proofs on vellum $15 (See Illustration) 375 LION ON A ROCK Height 6%, width 4% Signed artist’s proofs on Holland paper $4 157 376 BULL OF THE ROMAN CAMPAGNA “Van Muyden’s fondness of animals is not confined to the wild species, but extends to domestic animals as well. He has always taken great interest in the Roman ox, whose sluggish nature he interprets with great truth. ... In the same class with the Roman oxen may be placed the Roman bulls, of which the best is undoubtedly the Bull of the Roman Campagna, a superb plate, full of feeling for the beauty of the animal, especially of the beautiful curve of its graceful horns, and one of the best examples of the artist’s masterly draughts- manship. 1 ’—Atherton Curtis. Height 12%, width 16% Signed artist’s proofs on Holland paper $10 377 WHITE MARE AND BLACK COLT Original lithograph. Thirty proofs only were taken and the drawing was then effaced. Height 13%, width 17% Signed artist’s proofs $15 t 378 TIGER RESTING Original lithograph. Thirty proofs only were taken and the drawing was then effaced. Height 12%, width 16% Signed artist’s proofs $15 WALTNER (CHARLES) “L’un des grands graveurs frangais. Et graveur absolument particulier, dont le nom, marquant une etape dans la marche de son art, signifie 1 ’extreme limite de la liberte dans les procedes d ’execution — en reaction, a la fin du XIXe Siecle, contre la perte de toute liberte, infligee depuis cent ans a la graveur par la formule d’ecole. ” — Henri Beraldi, Les Graveurs du XIXe Siecle, Yol. XTI, p. 254. 379 THE PHILOSOPHER After the painting by Rembrandt, in the National Gallery, London. Height 20%, width 16% Signed artist’s proofs on vellum $60 (See Illustration) Special Note. Messrs. Frederick Keppel & Co. are glad to announce that they have purchased the few remaining proofs of this famous etching, which, by general consent, is accounted one of Mr. Waltner’s masterpieces. The num- ber of proofs, remaining unsold, being small, the right to advance the price at any time is reserved. WASHBURN (CADWALLADER) 380 COURT OF THE DOGE’S PALACE Height 9%, width 6% Signed artist’s proofs on Japan paper $15 The plate is destroyed. 158 The Philosopher, by Waltner, see No. 379 381 GRAND CANAL, VENICE Height 6%, width 9% Signed artist’s proofs on Japan paper $12 The plate is destroyed. 382 CASA D’ORO, VENICE Height 6 %, width 9% Signed artist’s proofs on Japan paper $12 The plate is destroyed. WENBAN (S. L.) Born in Cleveland, Ohio. Studied in Munich. 383 A BAVARIAN FOREST This large and bold etching is highly recommended. It is done in the broad and strong style of Sir Seymour Haden, and won high praise at the Paris Salon. Height 20%, width I 614 Remarque proofs on Japan paper $15.00 Unsigned proofs 7.50 WHISTLER (JAMES A. McNEILL) “With the master-etchers of the world— Meryon’s equal in some respects, and, in some respects, Rembrandt ’s— there stands James Whistler. Connois- seurs in France and England, in America, Holland, Bavaria, concede this now. ’ ’ —Frederick Wedmore, Fine Prints , p. 107. “All his work is alike perfect. It has only been produced under different circumstances, and is an attempt to render different effects or situations. Therefore the methods vary, but the results are always the same — great. The greatest, the most perfect, as a whole, that any etcher has ever accomplished. ’ 7 —Joseph Pennell, Whistler as an Etcher. Note. Special attention is invited to our large collection of Whistler ’s etch- ings. A detailed list of titles and of prices will be found in The Print Col- lector’s Bulletin, which will be mailed, free, on request. (See page 3.) WICKENDEN (ROBERT J.) 384 LA MERE PANNE^AYE Height 7%, width 7 Signed artist’s proofs on Japan paper $6 This beautiful lithograph of a French peasant woman, 89 years old, is the work of one of the best of our younger American painters. Mr. Wickenden has al- 161 ready done admirable work as painter, aquarellist, etcher and lithographer, and also as an author in prose and verse. “La place me manque pour citer aussi de magnifiques pieces etrangeres signees: Goya, Alma-Tadema, Sargent, mais je signalerai specialement de veritables chefs-d ’oeuvres de M. Wickenden. Une Vue de Notre Dame la nuit et La Mere Pannegaye—\me tete de vieille femme. ’’—Philippe Gilles, in his ‘ ‘ Vue d ’Ensemble ’ ’ of the Exposition Internationale du Centenaire de la Litho- graphic at Paris, 1895. ZILCKEN (PHILIP) 385 REMBRANDT IN MILITARY DRESS The famous original by Rembrandt in the gallery of The Hague is here, for the first time, represented in a satisfactory manner. The etching is bold, strong and decorative. Height 18 %, width 14 Signed remarque proofs on Holland paper $20 386 PORTRAIT OF JOHN. LOTHROP MOTLEY This portrait was painted by Bischopp in 1872 for the late Queen of Holland, at the time when Motley was her guest in the “House in the Wood” at The Hague — where the picture still hangs. Height 19, width 12 Signed artist’s proofs on Japan paper $24 ZORN (ANDERS L.) Born at Mora, Sweden, in 1860. “Near the extreme end of the range of art in one direction— at the opposite pole to the subtile delicacies of a Whistler — I should put Mr. Zorn’s bold, spirited, swiftly executed, yet completely satisfying works. . . . Mr. Zorn ’s work attracts us in the sense that, while seemingly hasty and almost illogical, it proves itself magnificently adequate, and therefore skilful and artful in the highest sense. ’ ’— Mrs. Schuyler van Rensselaer, A Swedish Etcher ( Century Magazine, August, 1893). “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 fleeting phases of expression and gesture. This extreme refinement, although couched in a disguise of affected roughness, cannot be described in words. Let us only say that these etchings— paradoxical in their coarseness of means and fineness of effect — manifest the master at his best. ’’—Henri Marcel. Note. We are glad to announce that this distinguished artist appointed us, in 1893, the exclusive publishers of his etchings for the United States. Our present stock includes impressions of all his available etchings. A detailed list of titles and of prices will be found in The Print Collector ’s Bulletin, which will be mailed, free, on request. (See page 3.) 162 BOOKS ON ETCHINGS AND ENGRAVINGS N. B. — Any of these books will be sent, postpaid, on receipt of price. THE KEPPEL BOOKLETS The First and Second Series of The Keppel Booklets are now ready. Each series consists of five Booklets, described below, inclosed in a special slide case, and will be sent, postpaid, to any address, on receipt of twenty-five cents in stamps. These Booklets measure 5% x 3 y 2 inches. They are printed by the De Yinne Press, New York. Separate Booklets can be had at 5 cents each, postpaid. FIRST SERIES CONCERNING THE ETCHINGS OF MR. WHISTLER CONTENTS Propositions by Mr. Whistler. Re- printed from his book, ‘ ‘ The Gentle Art of Making Enemies. ’ ’ Mr. Whistler’s Etchings. Reprinted from The Daily Chronicle (Lon- don), February 22, 1895. By Joseph Pennell. Whistler ’s Thames Etchings. Re- printed from the Bulletin de l’ Art Ancien et Moderne, Paris, Decem- ber, 1903. By Monsieur F. Cour- boin. Sixth edition, 69 pages, 26 illustrations SIR SEYMOUR HADEN, Painter-Etcher By Frederick Keppel Being a condensation of the lecture prepared for and delivered before the Grolier Club, and afterward repeated at the Metropolitan Museum of Art, Yale University, etc. Third edition, 24 pages, 5 illustrations JEAN-FRANCOIS MILLET, Painter-Etcher By Mrs. Schuyler van Rensselaer Reprinted, by permission, from The Independent. To which is appended a sketch of the ‘ 1 Life of Millet ’ ’ by Frederick Keppel. Third edition, 43 pages, 11 illustrations JOSEPH PENNELL, Etcher, Illustrator, Author By Frederick Keppel Reprinted, by permission, from The Outlook of September 23, 1905. First edition, 64 pages, 16 illustrations DRY-POINTS BY PAUL HELLEU By Frederick Wedmore Reprinted from Etching in England, London, 1895. Introduction by the late Edmond de Goncourt. Sixth edition, 17 pages, 4 illustrations (1 in colors) 163 SECOND AUGUSTE RAFFET By Atherton Curtis This review of Raffet ’s works has been revised and abridged by the au- thor from his chapter on Raffet in 1 ‘ Some Masters of Lithography. ’ ’ First edition, 40 pages, 14 illustrations THE LATE FELIX BUHOT Painter-Etcher By M. L£once Bdh6dite, Curator of the Luxembourg Gallery, Paris Reprinted, by permission, from La Revue de l’ Art Ancien et Moderne, Paris. Written on the occasion of the pub- lic exhibition of Felix Buhot ’s works at the National Museum of the Lux- THIRD Of the Third Series THE ETCHINGS OF PIRANESI By Russell Sturgis Third edition, 54 pages, 19 illustrations MR. PENNELL’S ETCHINGS OF LONDON By Walter Conrad Arensberg Reprinted, by permission, from The Evening Post of March 1, 1906, to which is added MR. PENNELL AS A PRINTER, by Frederick Keppel, writ- ten on the occasion of an exhibition of Mr. Pennell’s etchings of London. First edition, 43 pages, 14 illustrations SERIES embourg, and translated from the French by Madame Felix Buhot. First edition, 37 pages, 11 illustrations ONE DAY WITH WHISTLER By Frederick Keppel Reprinted, by permission, from The Reader of January, 1904. First edition, 23 pages, with facsimile (in reduced size) of an autograph letter from Whistler to Mr. Keppel MR. PENNELL’S ETCHINGS OF NEW YORK “SKY SCRAPERS” By Frederick Keppel Second edition, 24 pages, 9 illustrations CHARLES MERYON, A Biographical Sketch By Frederick Keppel Second edition, 37 pages, 13 illustrations SERIES there have been issued HOW PRINTS ARE MADE By Atherton Curtis A description of the various pro- cesses employed in the making of Prints — Engraving, Etching, Aqua- tint, Dry-point, Mezzotint— together with Notes on Printing, and a chapter on Technical Terms. Sedond edition, 28 pages Note. This Booklet, being of un- usual interest and importance to Col- lectors and to all lovers of fine prints, is also issued as a separate Pamphlet : size 7% x 5 inches, 22 pages — price 10 cents. AMERICAN ETCHERS By Mrs. Schuyler van Rensselaer Reprinted, by permission, from The Century Magazine, with the 16 original illustrations. To this is added Frederick Keppel ’s article on the life and etched work of Charles Meryon. Mrs. van Rensselaer’s pamphlet is specially recommended as giving a clear and concise view of the art of etching. 31 pages, 11% x 7%, 16 illustrations, 20 cents 164 THE BEST PORTRAITS IN ENGRAVING By the Hon. Charles Sumner The greater part of this article appeared in a New York magazine in January, 1872. The completion, as now issued, was given to the publisher, in manuscript, by Mr. Sumner shortly before his death. He gave his hearty approval to its publication in complete form, and ex- pressed the hope that it would call the attention of many persons of artistic taste to the study of those early masterpieces of the engraver’s art, the collec- tion and possession of which afforded himself so much pleasure and instruction. Fifth edition, 31 pages, 11% x 8, 13 illustrations, 25 cents THE GOLDEN AGE OF ENGRAVING By Frederick Keppel Reprinted, by permission, from Harper’s Magazine. ‘ 1 To those who wish to gather, in a few minutes ’ reading, a fair, clear, and not inadequate conception of the Art of Engraving and its Great Masters, the perusal of Mr. Frederick Keppel ’s article on the subject will prove very satis- factory. Although the spirit of condensation rules in every line, it is surprising how little of the pith and essence of the theme are omitted. The paper is re- markably clear and compendious, and is admirably written.” — Stephen Eng- lish. 1 1 Combines rare artistic excellence with a high degree of literary merit. ’ New YorTc Tribune. Fourth edition, 16 pages, 11 x 8, 13 illustrations, 15 cents LITHOGRAPHY By Atherton Curtis Reprinted, by permission, from ‘ ‘ Some Masters of Lithography. ’ ’ Second edition, 12 pages, 6x4% This Pamphlet will be mailed, free, on application to the publishers. HOW PRINTS ARE MADE By Atherton Curtis A description of the various processes employed in the making of Prints — En- graving, Etching, Aquatint, Dry-point, Mezzotint— together with Notes on Printing, and a chapter on Technical Terms. Second edition, 19 pages, 7% x 4%, 10 cents Note. This Pamphlet can also be had as Number Three of The Third Series of The Keppel Booklets. CATALOGUE OF THE ETCHED WORK OF EVERT VAN MUYDEN By Atherton Curtis With a portrait of the artist and ten head pieces etched expressly for the cata- logue and one unpublished plate ( Lion and Lioness). The edition is limited to 230 numbered copies and is printed by the De Vinne Press. Size 10 x 7 inches, 158 pages, cloth, paper label, $10 165 216 4 7 f i ii GETTY CENTER LIBRARY 3 3125 00062 7188 m y