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X; y-yyXy :;: ; : ; ;yy" ; ! : :;XyXx,': .i| :■/. ;'. .■/.; ■ viyyX'v/X- -;X;X Xy-;- : y : yy-Xyi: :y:_ X y ;X.X '; .yyy: X yXXX .;.; y l-Xy'-l ■ . . ■■- •■ ■" . : XX .:■■■■ _■.:■;■;:.■.■■■■■■■■::..■■.■■■■ X :..:■.' ■■"■•!■ • ■ ' Xyyyyy- ;•; yX;: X y'.- :::■ v;X;x | ; ;-.y .Xj X X-: y'yi; ■ ; : : : ,,:.X ! 1 i;y ;.-.-X '; yXy^-.-X . ::. : X: ::.\l[- '.;'■'■' '•]■•■': '■/■;/■:■'■ ■'.■ :':'- ] \ ; ;'i;X : ' : X '.■ X-X! :> ;■ - : - • •:•'•■) ;Xyy;XX; ,-y .; ■: X -y -;-;-.-Xyy: Xv!-X-; i'' ; l | !-;y * u ^ v : ^* 'sSI^, v* v <5 v ♦ *W v* v • - 6* ^ . ** A 4? o'JL'* +, fr ^ V ***** 4^ ^ '•' <. *' . ^-" • • A** *«» - <%„,«? ^e; ^^ ^ ^r ^3. "o . » • A . t ' * - **o A^ ««>••* *<£ » ^ v V . t V J •J^!>* • ,0*V-.,*< ^ A 1 » 0>^ : ^d* O .... ^w •' A ' A^.../ -^*- ' *°* ...^••' ,# 'a^ . ILLUSTRATED CATALOGUE OF ETCHINGS BY AMERICAN ARTISTS ALBERT ROULLIER'S ART GALLERIES 410 SOUTH MICHIGAN BOULEVARD 70! FINE ARTS BUILDING CHICAGO *z : ttz*m&imr*HG'$zi& *z ILLUSTRATEE • OF ETCHINGS BY AMERICAN ARTISTS WITH BIOGRAPHICAL SKETCHES BY H. H. TOLERTON 1913 ALBERT ROULLIER'S ART GALLERIES 410 SOUTH MICHIGAN BOULEVARD 701 FINE ARTS BUILDING CHICAGO • ft4- . Ei)t Hafcrsitif $rrBB R. R. DONNELLEY & SONS COMPANY CHICAGO Note A LT HOUGH on the day of issuing The Catalogue jC\^ of Etchings by American Artists I am able to supply each print mentioned at the price quoted, the steady advance in the value of certain rare prints sometimes renders it impossible for me to supply a duplicate impression at the original price. After the Catalogue has been examined, I should be glad to send a selection of the Etchings themselves, for in- spection, by express or mail, to any address. I pay all charges of transmission, and my correspond- ents need feel under no obligation to purchase, if the Etchings themselves do not satisfy them in every respect. Correspondents whom I do not already know, and who may desire to have Etchings sent on selection, will recognize the propriety of introducing themselves with a proper reference. ALBERT ROULLIER. January, 1913. MR. ALBERT ROULLIER takes pleasure in announcing that he will continue to make a specialty of the master- pieces of the great engravers and etchers, both of the present day and of centuries past, particularly those works which have taken definite rank as masterpieces, and are so designated in the standard books of reference on the subject. It is undoubted- ly true that such works of art are of permanent, and in many cases of increasing value, and their rarity renders them exceed- ingly desirable as choice possessions. Many works of this class are becoming exceedingly difficult to obtain, there being such a very great demand for them and their number being so limited. Search in Europe this season has demonstrated the fact that never before has it been so difficult to procure those masterpieces in black and white in the possession of which the collector takes such joy; and as the price of any commercial article is regulated by the ratio of supply and demand, in some instances the prices of the works of the best artists have considerably increased. Notwithstanding these facts, however, the folios in the Roullier Art Galleries will be found to contain an exceedingly choice assortment of Engravings and Etchings by the best artists, affording an unusual opportunity to obtain rare and fine things, many of which are unprocurable elsewhere. Particular attention has been given to securing examples by the greatest men of the various schools, both old and modern, and at the Galleries may always be seen a representative collec- tion of the Old Masters of Line Engraving and Etching, such as : Martin Schoengauer Joseph Ribera Glockenton Andrea Mantegna Israel Van Meeken J. B. Piranesi Master of the Die George Schmidt Albert Diirer Sir David Wilkie Henri Aldegrever Francesco Goya George Pencz Rembrandt H. S. Beham Adrian Van Ostade Lucas van Leyden Paul Potter Henri Goltzius Antoine Van Dyck Claude Le Lorrain Anthony Waterloo W. Hollar Cornelius Visscher Jacques Callot Jacques Ruysdael Marc Antonio Adrian van de Velde Antonio Canaletto The folios are particularly rich in choice examples of the old French and Italian Schools of Line Engraving of the seven- teenth and eighteenth centuries and the eighteenth century English School of Mezzotint and Stipple Engraving from the plates of such famous men as : Robert Nanteuil Valentine Green Gerard Edelinck C. H. Hodges Antoine Masson Wm. Pether Les Drevets J. Jones Jean Morin John Young Jacob Houbraken James MacArdell J. G. Wille George Clint Charles Bervic S. W. Reynolds Auguste B. Desnoyers John Raphael Smith Raphael Morghen J. Smith Giuseppe Longhi Charles Turner William Sharp James Watson Sir Robert Strange Thomas Watson Paolo Toschi J. Ward Edward Mandel Wm. Ward W. Dickinson Samuel Cousins Richard Earlom Richard Houston John Dixon Francesco Bartolozzi The Roullier Galleries make a specialty of the portraits of famous men and women of great historic periods, as well as of the present day; including Kings and Queens, Presidents, English Jurists, and other celebrities of the Legal, Medical, Literary, Dramatic and Musical professions, both European and American. > Many of these Prints are very rare and done by the well- known masters of Line Engraving, Mezzotint and Etching and consequently are valuable as works of art aside from their interest as portraits. Sacred and classical subjects are also well represented in the portfolios. In addition the modern French, Swedish, Spanish, British, and Dutch etchers (as well as those American etchers not other- wise mentioned in this catalogue) are represented by a well- chosen selection from the work of such well-known artists as: Sir Seymour Haden Axel Haig D. Y. Cameron Mortimer Menpes Sir Frank Short Samuel Palmer Charles J. Watson Martin Hardie Hedley Fitton Frank Brangwyn Andrew Affleck Nathaniel Sparks Col. R. Goff Percival Gaskell Johnstone Baird Albany Howarth E. S. Lumsden James Tissot James McBey Malcolm Osborn Charles Holroyd John Fullwood William Strang E. Robertson J. H. Mackensie E. M. Synge William Walker Stanley Anderson Fred Burridge Fred S. Farrell F. Marriott E. L. Lawrenson Alphonse Legros Felix Bracquemond J. B. Jongkind Chas. Storm van 's Gravesande Felix Buhot Mariano Fortuny Charles Meryon Anders Zorn J. F. Millet Camille Corot Charles Daubigny Charles Jacque Auguste Lepere Gustave Leheutre Ernest Meissonier Ferdinand Gaillard Maxime Lalanne Paul Raj on Jules Jacquemart Adolphe Appian Francois Simon Edgar Chahine Eugene Bejot Jean Frelaut Camille Fonce Leopold Flameng Charles Waltner Paul Helleu Brunet-Debaines J. McNeill Whistler Otto H. Bacher Mary Cassatt F. S. Church Frank Duveneck Henry Farrer Thomas R. Manley Peter Moran Thomas Moran Charles W. Mielatz J. C. Nicoll Charles A. Piatt Stephen Parrish Edith Loring Peirce Ernest Roth George Senseney James D. Smillie C. A. Vanderhoef and many other artists. The Roullier Booklets AID, GEORGE CHARLES ----- Painter -Etcher By Lena McCauley. 14 illustrations CHANDLER, GEORGE WALTER - Painter-Etcher By Marie Bruette. 6 illustrations FRELAUT, JEAN ------- Painter-Etcher By Alice Roullier. 8 illustrations GALTON, ADA -------- Painter-Etcher By Edward Ertz. 8 illustrations GLEESON, C. K. - - - - - - - - Painter-Etcher By Lena McCauley. 6 illustrations GRAVESANDE, CHARLES STORM VAN'S - Painter-Etcher By Marie Bruette. HORNBY, LESTER G. ------ Painter-Etcher By Marie Bruette. 7 illustrations LEPERE, AUGUSTE ------- Painter -Etcher By Alice Roullier. 8 illustrations MACLAUGHLAN, DONALD SHAW - Painter-Etcher By Lena McCauley. 8 illustrations NORDFELDT, B. J. OLSSON ----- Painter- Etcher By Lena McCauley. 7 illustrations SCHNEIDER, OTTO J. ----- - Painter-Etcher By Lena McCauley. 1 1 illustrations SIMON, T. FRANCOIS ------ Painter-Etcher By Alice Roullier. 8 illustrations SMITH, J. ANDRE ------- Painter-Etcher By Lena McCauley. 6 illustrations WASHBURN, CADWALLADER - Painter-Etcher By Marie Bruette. 13 illustrations WEBSTER, HERMAN A. ----- - Painter -Etcher By Lena McCauley. 9 illustrations WHITE, CHARLES HENRY ----- Painter -Etcher By Henry Winslow. 9 illustrations SOME ETCHERS OF ARCHITECTURE— JOSEPH PENNELL, D. Y. CAMERON, CHARLES MERYON By Lena McCauley. 26 illustrations THE INFLUENCE WHICH ART HAS HAD UPON SOCIETY Illustrated A QUIET PLACE WORTH SEEING Illustrated 10 Page George Charles Aid ....... 13 George Walter Chandler . . .... 23 Charles W. Dahlgreen .... . . 31 C. K. Gleeson • • • 37 Lester G. Hornby ........ 45 Katharine Kimball ..... ■ • 55 Bertha Lum ......... 63 Donald Shaw McLaughlan . . . . 71 John Marin ......... 81 Bror. J. Olsson-Nordfeldt ... . . 87 Joseph Pennell .... . . 97 Otto J. Schneider . . . . . . . -105 J. Andre Smith ... . . . . 113 Everett L. Warner . . . . . . .121 Cadwallader Washburn . . . . . . 129 Herman A. Webster .... ... 139 Charles Henry White ... . 145 George Charles Aid '3 u PRACTICALLY from the beginning of his career as an etcher, Mr. Aid has had the attention and the encourage- ment of the public — the public which discriminates, and which enjoys picturesque and historic scenes simply and graphic- ally placed by a skilled hand onto the copper plate. Born about thirty-five years ago in Quincy, Illinois, the artist received his earliest artistic training at the St. Louis School of Fine Arts. Like most young artists, he drifted in due course to Paris, where he continued his studies under the teachings of Jean Paul Laurens and Benjamin Constant. His painted canvases exhibited at the Paris Salon and at many important exhibitions in the United States have attracted attention by their sterling merit; but it is to his fame as an etcher that we desire to call attention at the present time. His etchings as well as his paintings have been admitted to the Salon, and in 1904 he received the award of a silver medal in the Department of Fine Arts at the Louisiana Purchase Exposi- tion in St. Louis. In 1906 a selection of his etchings was shown in an exhibi- tion made by four young American artists at the American Art Association in Paris. Since that time, however, the artist has been the recipient of additional honors, proving that interest and enthusiasm in the work he is producing have not abated. Mr. Aid always tells his story clearly, forcefully and con- vincingly. He excels in composition. His plates always form a picture harmonious and pleasing, and this, added to the fact that he prints his own proofs, thereby assuring precisely the effect desired, accounts, in large measure, for his popularity. His subjects cover a fairly large area — scenes in Granada, Holland, Belgium, Venice, Florence, France, and of course Paris. Some of his most successful plates are those etched by the artist in the chateau country of the Loire — Blois, Amboise, 15 Chenonceau, Azay-le-rideau and other famous places, which have been rendered with charm and insight. He has rendered the architecture of the chateaux faithfully, while not neglecting to impart the suggestion of romance which clings about these historic homes of Old France. His newer plates including scenes in Rouen, Beauvais, Carcassonne, Albi, and also the new Italian ones of San Remo and other places, have all the characteristics of his former prints, with the added strength that experience and study always bring to the artist who is ever striving to conquer new problems. 16 o '"} r o « 1/ Chateau de Chinon (Catalogue No. 47) Venice {Catalogue No. 55) 18 GEORGE CHARLES AID The sizes in this and all other catalogues represent the full measurement of the plate including plate mark and lettering, and in each instance the width is given first. FRENCH SERIES PJRIS i LA CITE (1334x8^) - - - - - - - $15.00 2 COUR DE ROHAN (6x734) ----- 8.00 3 HOTEL DE CLUNY ( 9 Kx7>,)- - - - - 15.00 4 PORT DE LA RAPEE (6^x7)- - '- - - 10.00 5 MARCHE AUX POMMES (io3 4 x8y 2 ) - - - 15.00 6 NOTRE DAME ( 5 H x 3K) - - - - - - 8.00 7 PONT SAINT MICHEL (n'.xg.^) - - - 12.00 8 PONT NEUF (6x3^) ------- 9 . 00 9 PONT NEUF NO. 2 (6K x 7) ----- I2 .oo 10 PONT NEUF NO. 4 (13K * 9 X A) - - - - 15.00 11 PONT NEUF NO. 5 (8x634) ----- I2 . 00 12 PONT MARIE (8^ x 8^) ------ io .oo 13 LA CONCIERGERIE (8^x10) - - - - 15.00 14 PASSAGE DES CARMELITES (7^x934) - - 12.00 15 LE CORDONNIER (10^ x 8) - - - - - 12.00 16 LA PENICHE (n34x634) ------ 15.00 17 SAINT NICHOLAS DU CHARDONNET (6^2x934) - - - - - - - - - 10.00 18 LE PONT DE PUTEAUX (9K x 6%) - - - 12.00 19 LA SEINE A PUTEAUX ( 5 3 4 x8;4) - - - 12.00 20 NOTRE DAME D'AMIENS (7x11)- - - - 15.00 21 LA PLACE DES HUCHERS, AMIENS (934x1134) --------- t. 5 . 00 22 L'EGLISE SAINT PIERRE, BEAUVAIS (6>£ x 934) - - - - - - - - - 12. 00 23 RUE DE L'EVECHE, BEAUVAIS (9 x 7X) - - 12.00 24 LA FLECHE, ROUEN (s4xn4) - - - - 12.00 25 SAINT OUEN, ROUEN (9x11^) - - - - 12.00 26 MARTIQUES (5^x8^) - - - - - - 10.00 19 27 LE QUAI DE BRESSON, MARTIQUES (7^ x 6^) - --------- $10.00 28 ALBI (0^x7^) -------- io .oo 29 CATHEDRALE SAINT CECILE, ALBI (6^x9^2) - - - - - - - - - 10.00 30 LE CASTELVIEL, ALBI (5^x7^)- - - - 10.00 31 CARCASSONNE (6^x7^) - - - - - 12.00 32 LE PONT VIEUX, CARCASSONNE (g}i x SJ4) - 12.00 33 COIN DU MARCHE, LOUVIERS (7^x9^) - 1500 34 LA VIEILLE MAISON A LOUVIERS (7^x8) - 12.00 35 QUIMPERLE, BRITTANY (3^x6^) - - - 9.00 36 CHARTRES --------- io .oo 37 PORT D'HONFLEUR (7^ x 10^) - - - - 15.00 38 DANS LA VALLEE DE L'EURE (10^x7^) - 1500 39 LA CONCIERGE -------- 10.00 40 LE JEUNE TAUREAU - - - - - - - 12.00 41 CHATEAU DE BLOIS (8^x6)- - - - - 10.00 42 CHATEAU DE BLOIS, PORTE D 'ENTREE (6 x 8^) - - - - - - - - - - 10.00 43 CHATEAU DE BLOIS, L'ESCALIER FRANgOIS I (5^x8^)- - - - - - - - - - 10.00 44 LE LOIRE A BLOIS (7^ x 5^) 8.00 45 CHATEAU D'AMBOISE (9K x 7X) - - - 10.00 46 CHAPELLE DU CHATEAU D'AMBOISE %/4 x 5K) - - - - - - - - - - 10.00 47 CHATEAU DE CHINON (o>£ x 7K) - - 10.00 48 CHATEAU DE CHAMBORD (12^x7^) - - 10.00 49 CHATEAU DE CHAMBORD, BORDS DE LA COSSON ( 9 K x 6K) - - - - - - - IOO ° 50 CHATEAU DE CHENONCEAUX (9^x7^) - 10.00 51 CHATEAU DE COUCY (ioKx8K)- - - - 12.00 52 BALCON, CHATEAU D'AZAY LE RIDEAU (8 x 4}4) ---------- 10.00 53 CHATEAU DE LANGEAIS (8J< x s l A) - - - 9- 00 54 CATHEDRALE SAINT GATIEN, TOURS (8Xx 5 M)- --------- 8.00 20 ITALIAN SERIES 55 VENICE (plate destroyed — \o>Y A x 6 l / 2 ) - - - - $10.00 56 FERRUCHIO, VENICE (8^x6) - - - - 10.00 57 TWILIGHT, VENICE (7H * 9H) ... - I4 . 00 58 EVENING, VENICE (6 x 4 K) - - - - - 8.00 59 DESDEMONA'S PALACE, VENICE (8' 4 x 5 K) - 900 60 THE BALCONY, VENICE (5 x 6}4) - 8.00 61 CASA GISMONDA, SAN REMO (6' 4 x 9 1 /) - - 10.00 62 LES DEUX PONTS, SAN REMO (8^x10^) - 15.00 63 PONTE DEI BORGIA, SAN REMO (9K x 8J/ 2 - 12.00 64 LES BALCONS, ISOLABONA (6^x8^) - - 10.00 65 ISOLABONA (10^ x 8^) - - - - - - 15.00 66 LES OLIVIERS (9^x6) - - - - - - 10.00 67 FRANCESCA (53^x8^) - - - - - - 10.00 68 PIAZZA PARROCHIALE, DOLCTACQUA (7 x g*4) - - ~ - - ~ ~ - - - 12.00 69 IL FABRO (8 I 4 x6K) - - - - - - - 10.00 70 MADONA DELLACHE (4H x 8^0 - - - - 8.00 71 CANAL ROTTERDAM (plate destroyed— $y 2 x 7.1.4) 10.00 72 WINDMILL AT ZUYNDRECHT, HOLLAND (iH x sH) ---------- 9 . 00 73 WINDMILL AT MECHELEN, BELGIUM x 8) - - - - - - - - - - 9. 00 74 COURTYARD, SEVILLE, SPAIN (5x6) - - 8.00 23 24 MR. CHANDLER is a young American artist who, al- though he has been etching no more than five years, has already won for himself an enviable position among modern etchers by the substantial merit of his prints. The artist, a native of Milwaukee, Wisconsin, began his artistic career by entering the field of journalistic illustration in New York City during his early manhood. However, satisfying himself that his ambitions as an artist would never be fully realized as an illustrator only, he began traveling extensively, finally settling in Paris, where he became affiliated with the Julian Academy. In 1908 he was awarded an Honorable Mention at the Salon, and the same year a collection of his prints was taken by the City of Paris to be placed in the Petit Palais. Mr. Chandler, besides being an excellent draughtsman, understands thoroughly the technic of etching, the careful biting of the plate, the laborious and painstaking toil of printing the finished proof. During the last few years the artist has devoted himself more enthusiastically than ever to etching, as the decided strength and charm of his new plates abundantly prove. Among the thirty-seven prints we catalogue, all of which have the stamp of the artist 's personality expressed in a medium which seems especially adapted to the rendering of his ideas, we would single out as particularly worthy of mention, "The Minarets" and "The Burning Ghats — Benares," two plates which un- doubtedly owe a large part of their charm to the suggestion of the mystery and mysticism of the Far East. Then there are bits of Old Rouen, such as the delightful "Portail de St. Maclou," and many plates inspired by the pictur- esqueness of the streets of the old town; also a variety of brilliant and harmonious plates of Paris, notably "Le Pont Neuf, " "Le Dejeuner" and " Aux Bords de la Seine." Among his Italian Series, his plates of the Ponte Vecchio, Florence, are among the most successful and popular. 25 Although Mr. Chandler, as one may readily observe, has traveled for the most part in well-worn paths, it is not a twice told tale that he offers us, but a story and a picture that are quite his very own. With fresh vision he has confidently approached the tradition- al subjects, and the result has more than justified his choice. 26 Burning Ghats, Benares, India (Catalogue No. 35) Les Travaux du Metro, Paris (Catalogue No. 7) 27 ■ The Thames at Chelsea {Catalogue No. ig) La Rue Ruissel, Rouen {Catalogue No. 12) 28 GEORGE WALTER CHANDLER {In each instance the width is given first) FRENCH SERIES PARIS i UN VIEIL AMI CHARLOT (7 x 4X) - - - % 8.00 2 LA SCIERIE (7x5) ------- I0 .oo 3 CHEZ LE PLANEUR (7^x5^) - - - - 10.00 4 DANS L'AVENUE DE SAXE (10x7) - - - 10.00 5 LE DEJEUNER (8x5)- - - - - - - 10.00 6 DRAUGHT HORSES {8x^4) ----- 5 oo 7 LES TRAVAUX DU METRO ( 4 3 4 x 5' ,) - - 10.00 8 LE PONT NEUF (12 x 10K) ----- 2 o.oo 9 LE PONT NEUF (9 x 12X) - ----- 15.00 ROUEN 10 LA RUE DE LA GROSSE HORLOGE (8^ x 12)- 15.00 11 PORTAIL DE SAINT MACLOU (5^x10^) - 10.00 12 LA RUE RUISSEL (9x14^) .__"!_ IS . 00 13 LA ROBEC (7x10^) ------- 10.00 14 LA FLECHE (5 x 10K) - ------ io .oo 15 COUR DU CERF, PONT DE L'ARCHE (7>4 x 5;kQ- - - - - - - - - - 10.00 16 THE OLD LOCK, PONT DE L'ARCHE (10x63^) ---------- 8.00 17 LE MOULIN A MORET ( 9 K x 6) - - - - 10.00 18 SURREY CANAL, LONDON (10^x7) - - - 7.50 19 THE THAMES AT CHELSEA (14X x 8)4) - - 1500 20 CATHEDRAL AT GENEVA ( 4 ^ x 9) - - - 10.00 21 LE ROBEC A DARNETAL (9x10^) - - - 10.00 22 PLACE SANTA CLARA, NICE ($}{ x nJ4) - - 10.00 IT A II AN SERIES 23 SAN PIETRO IN BANCHI, GENOA (5x9^) - 10.00 24 SHIPYARD, CAMOGLI, ITALY (11^x10^) - 10.00 25 PIAZZA SAN SEBASTIANA, SAN REMO (8Xx 7 K)- --------- 7.50 29 26 TORRENTE SAN ROMOLO, SAN REMO (1234 x 1 1) - $15.00 27 PONTE TRINITA, FLORENCE (8^4 x 6^4) - 10.00 28 PONTE VECCHIO, FLORENCE (7x7^) ----- 10.00 29 PONTE VECCHIO, FLORENCE (9V4X12K) ----- 15.00 30 PONTE VECCHIO, FLORENCE (i5>4 x 10) ------- 20.00 31 VIA VECCHIO, PERUGIA (6x12^) 15.00 32 VIA DELL' AQUILA, PERUGIA (5x7) 10.00 33 ARCO D ELLA MANDOLA, PERUGIA (5K x 8)- 10.00 34 VIA RITORTA, PERUGIA (6x10^) 15.00 35 THE GHATS, BENARES, INDIA (n^xoK) - 1500 36 THE MINARETTES, BENARES, INDIA (ll3^x IOJ.<0 -------- I5-00 37 STREET IN SFAX, ALGIERS (7^x12.^) - 15.00 30 31 32 THAT the impulse to find expression for ideas awakened by the contemplation of beauty is inherent in the nature of the born artist, and will, sooner or later, "find a way," is wonderfully demonstrated in the career of Charles W. Dahlgreen. Born in Chicago in 1864, at an early age he manifested a lean- ing toward art, and at his first opportunity, when he was twenty- two years of age, he went to Europe, entering the Arts and Crafts School at Diisseldorf, Germany. There he remained about one year and a half, and during that period took a first prize for one of his paintings, a study of still life. Coming back to Chicago, the untoward circumstances of his life were such that he was compelled to abandon an art career and devote himself to business. "But," says the artist, "after sixteen years, during which time I had no opportunity to study or work on artistic lines, I went, one day, up into the attic and got down my old palette, on which I even found some of the old paint encrusted by time. I was then forty years of age and I started my art career all over again, studying for the year 1904 with John Johansen and Charles Francis Browne." The next year the artist entered the Art Institute of Chicago, and after a period of study in that institution he went abroad for a second time, spending a year of travel and study in Ger- many, Holland, France, and Italy. Mr. Dahlgreen 's paintings as well as his etchings have been shown in many European and American cities, and although he first began to etch in 1908, he developed so rapidly his own system of landscape etching that he exhibited a selection of his prints in the Paris Salon of 1909. The artist's etched work consists entirely of landscape sub- jects, and his style, though different from that of other artists who have etched similar scenes, has poetic feeling and a composi- tion always pleasing. Views of the open country, frequently with masses of rolling white cloud which give an atmosphere of great spaces, are among his favorite themes. "A Bit of Country 33 Road," "After a Spring Rain," "A Poem" are some of his happiest efforts, and in the somewhat new experiment of printing his etchings in colors he has achieved some very clever work. Constantly striving after a higher ideal and full of enthusiasm, we are confident that in the future a large measure of success and fame will come to the artist. 34 Heatherlands {Catalogs No. 6) On a Country Road No. 2 {Catalogue No. p) 35 CHARLES W. DAHLGREEN {In each instance the width is given first) i FALKENBERG, GERMANY (12x10) - - - $7.50 2 WESEL, GERMANY (6^x4^)- - - - - 5.00 3 NURNBERG, GERMANY (8x5) - - - - 6.00 4 ON THE HILL TOP (7 x 5K) - - - - - 6.00 5 A BACKWATER {drypoint, sH x sH) ~ - - 5-°° 6 HEATHERLANDS (10 x 8) - - - - - - 12.00 7 SUNSET CLOUDS (6^x5)- - - - - - 6.00 8 A CLOUDY DAY (5^x4^) - - - - - 6.00 9 ON A COUNTRY ROAD, No. 2 (5^ x 8) - - 8.00 10 ON A COUNTRY ROAD, No. 3 (12K x 17) - - 15.00 11 AT NIGHT ( 4 Kx6K) - - 5- 00 12 EVENING ON THE MARSHES, No. 1 (6K x 5K) 5.00 13 EVENING ON THE MARSHES, No. 2 (6^x5^) 500 14 CYCLONE CLOUDS (6K x s l A) - 5 • 00 15 CONCERT EVE (10x8) - - - - - - 10.00 16 A POEM, NO. 2 (6x8)- 6.00 17 AFTER A SPRING RAIN (6x8) - - - - 6.00 18 THE WILLOWS (8x6) - - - - 6.00 19 THANKSGIVING (3K x 4H) 3 • 50 20 CHRISTMAS (7X5K) - - - - 6.00 Etchings in Colour 21 SUN BEHIND CLOUDS (7 x 5^) - - - - 6.00 22 THE VALLEY IN WINTER (7 x 5^) - - - 6.00 23 WINTER (10x8) - - - - - - - - 8.00 24 REFLECTIONS (3^x4^) ----- 3 . 5 o 25 MOORLAND (6K x 5) ------ 5 . 00 36 37 WE are rather more than reasonably certain that Mr. C. K. Gleeson will, in the not remote future, attain an especial eminence as a painter-etcher. His etched work to date, while displaying opportunities for the supercritical, yet reveals so clearly the artist's strong grasp of the essentials that the effect is wholly satisfying. The prints of his Paris "Series" are not only exceedingly interesting, but many of them are among the artist's very best work. Such plates as "Saint Eustache et Les Halles," "On the Boulevard," "Pont des Arts," and "Under Pont Sully," reveal at a glance that the artist "knows his Paris," and that he has the deftness to instill into his etchings so much of the life of every day, that we feel the pulse of the great city. Mr. Gleeson was born in Saint Louis, Missouri, some thirty- three years ago, but did not manifest any very decided interest in art before he reached the age of twenty-six. At that time he began studying at the Museum of Fine Arts in Saint Louis, with the declared intention of becoming a newspaper cartoonist. He worked for some years there under the guidance of Mr. Wuerfel and Mr. Carpenter, both in oils and in pen and ink sketching. In 1906, his financial circumstances becoming easier, he discarded entirely his earlier ambition and went to Paris, where he entered the studio of Carlo Rossi. He first exhibited his prints at the Salon in 1909, since which time his work has appeared at many important exhibitions. The artist has made some fine etchings in his travels through Ireland, and his newer plates done at Haarlem, Utrecht, Niirn- berg, etc., are very skillfully executed and display a very marked appreciation of the charm of these old cities. Of very decided opinions on art matters, Mr. Gleeson has developed in a more or less independent manner, and one is not suqurised to learn that his knowledge of the technic of etching has come from his own experiments with the acid. His quite recent etchings in Spain, which will soon be in the Roullier Galleries, will prove to be, we have every reason to anticipate, the artist's most notable accomplishment. 39 Saw Mill, Utrecht (Catalogue No. 6g) Saint Eustache et les Halles, Paris (Catalogue No. 3) 40 C. K. GLEESON (In each instance the width is given first) FRENCH SERIES PARIS i COURTYARD, MARCHE DE CARMES (7x9^) $10.00 2 SAINT JULIEN LE PAUVRE (5x7) - - - 6.00 3 SAINT EUSTACHE ET LES HALLES (4^x6) - 7.00 4 MARCHE SAINT GERMAIN (5^ x 7) - - - 7.00 5 UNDER PONT SULLY (5 x 7) - - - - - 7.00 6 RUE DES PROUVAIRIES (4 x $%) - - - - 6.00 7 CREPUSCULE (9^x7^) - - - - - - 10.00 8 LE CHEMIN DE FER (7 x 5) - - - - - 7.00 9 SAINT ETIENNE DU MONT (5x7) - - - 5.00 10 HOTEL DE VILLE, No. 1 (5 x 7) - - - - 8.00 11 HOTEL DE VILLE, No. 2 (4^x3^) - - - 5.00 12 SALLE MICHELANGELO, LOUVRE (5x7) 7.00 13 PONT-DES-ARTS (4^x3^) 5- 00 14 LOUVRE, SOUTH FAgADE (4^ x 3 K) - - - 7 00 15 NOON HOUR (sH^4H) ------ 6.00 16 LE PETIT CAFE DANS LA RUE DU FOUR (7 x 4 3 X) ---------- 5 . 00 17 KIOSQUE (j'AxsH) ~ ~ - - - - - 7- 00 18 THE BAROMETER, THORIGNY (9^x8) - - 8.00 19 THE PASSAGE (9K x 7) - - - - - - 10.00 20 ON THE BOULEVARD (8>< x $H) ~ - - ~ 6.00 21 L'OPERA (8^ x 7K) -....-- io .oo 22 PLACE THEATRE FRAN^AISE (9x8) - - 10.00 23 INSTITUTE, No. 1 (9X x 7) - - - - - 10.00 24 UNDER CHARENTON BRIDGE (9K x 7) - - 10.00 25 PLACE PONT NEUF (9^x6^) - - - - 8.00 26 PONT NEUF, No. 2 (9^ x 7X) - - - - 10.00 27 LA CITE, No. 2 (5 x 5) ...--- 7 .oo 28 PLACE SAINT MICHEL (9^x7) - - - - 8.00 29 INN OF THE GOLDEN COMPASS (10x8^) - 12.00 41 3 QUAI AUX FLEURS (7x5) - - - - - $ 6.00 31 CONCIERGE (7x9^) - - - - - - - 10.00 HAVRE 32 BASSIN DOCK (5^x5) - - - - - - 10.00 ^ GRAND QUAI (6^x4^) ...... 6.00 34 HIGH TIDE (8xsK) - - - - - - - 700 35 BASSIN DU ROI {9% x 7) - - - - - - 8.00 36 LOW TIDE (4^x3^) ------- 4.00 37 QUAI CASIMIR DELAVIGNE (4^ x 3^) - - 6.00 38 BASSIN DE LA BARRE ( 9 K x 7) - - - - 8.00 39 ANCIENNES HALLES, ROUEN (5K x 8tf) - - 8.00 40 IN CHERBOURG HARBOR (7x5)- - - - 6.00 41 RIVER LEA IN CORK, IRELAND (7 x 4K) - 7 00 GERMAN SERIES 42 A HAMLET, BAVARIA (7X x 9K) - - - - 10.00 43 OLD FRANKFORT (8 x 9) - - - - - - 10.00 44 IN THE ROEMERBERG, FRANKFORT (9K x 7) ---------- 10.00 45 A CORNER OF FRANKFORT (9,^x8)- - - 10.00 46 A VIEW OF HEIDELBERG (9% x 4X) - - 10.00 47 HEIDELBERG CASTLE (8J< x 9 K) - - - 10.00 48 NASSAUER HAUS, NURNBERG (7^x9^) - 10.00 49 AN OLD COURT (7X x 9 K) - - - - - 10.00 50 TOWER, NURNBERG (5^x10) - - - - 10.00 51 DURER'S HOUSE, NURNBERG (10 x 7*2) - - 10.00 52 THE WILLOW, NURNBERG (9^x7^) - - 10.00 53 A VIEW OF ROTHENBERG (9^x4^) - - 1000 54 A COTTAGE, ROTHENBERG (9^ x 7K) - - 10.00 55 HEGERTERHAUS, ROTHENBERG (9^ x 7K) - 10.00 56 THE TAUBER VALLEY, ROTHENBERG (7^x9^)- --------- 10.00 57 BINGEN FROM THE HEIGHTS {9% x 4 K) - 10.00 42 HOLLAND SERIES 58 THE GILDED SQUARE, BRUSSELS, BELGIUM (7X9K) ---------- $10.00 59 ROTTERDAM (9^x7)- - - - - - - 10.00 60 MILL, HAARLEM (7 x 9) - - - - - - 10.00 61 WEIGH HOUSE, HAARLEM ( 9 > 2 x 7) - - - 10.00 62 SPAARNE, HAARLEM (9X x 7X) - - - - 10.00 63 CATHEDRAL, HAARLEM (9 x 7) - - - - 10.00 64 HAARLEM (9^ x 6^) ------- io .oo 65 WAREHOUSES, AMSTERDAM (9X x 5K) - - 10.00 66 CANAL, AMSTERDAM (8 x 8) - - - - - 10.00 67 BELL TOWER, SACRE CCEUR ( 4 I 2 x 6) - - 7.00 68 CANAL, UTRECHT (9X x 5^) - - 10.00 69 SAW MILL, UTRECHT (7x9'.) - 10.00 70 LANDSCAPE NEAR LEYDEN (gJ4 x 7) - - 10.00 71 VIEW OF LEYDEN (9 x 63<) ----- io .oo SWITZERLAND SERIES 72 LIMMER QUAI, ZURICH (7x4^)- - - - 8.00 73 SAINT MARTIN, BALE (5 x 4 K) - - - - 700 74 STREET FAIR, LUCERNE (4^ x ^A) - - - 400 75 SPRUERBRUCHE, LUCERNE (6x5) - - - 6.00 76 GUTSCH, LUCERNE (4^x7) ----- 6.00 ITALIAN SERIES 77 SCUOLO DI SAN MARCO, VENICE (5^x7^)- 8.00 78 RIO DEL MENDICANTI, VENICE (7^x5^) - 7.00 79 RIO DI SAINT ANDREA, VENICE (7 x 5) - - 7.00 80 CANAL ST. PIETRO, VENICE (9^x7) - - 10.00 81 GRAND CANAL, VENICE (9 x 6K) - - - 1000 82 LAUNDRY HOUSE, COMO (4^x7) - - - 6.00 83 CITTADELLA, PISA (4^x3^) - - - - 4.00 84 ARCH OF TITUS, ROME (6^x5)- - - - 7.00 85 PALATINE HILL, ROME (8x5) - - - - 7.00 86 IRENE, No. 1 (7 x 9X) 7.00 87 IRENE, No. 2 (4>^x6>4) - 5.00 43 45 46 OF all the American artists who, having gone to Paris to paint, remained to etch, no one of them has caught the spirit and atmosphere of Parisian life with a more facile and masterly touch than the painter-etcher Lester G. Hornby. Having done some preliminary etching in Marblehead and other New England towns and villages, he went, in 1906, to Paris, and has made .that metropolis his abiding place since that time, except for his travels extended over various parts of Spain, France, Belgium, Germany, Holland, and England, of which journeyings he has preserved an interesting record, as Mr. Roullier's ample portfolios abundantly prove. Mr. Hornby has not only the appreciation of the general public, but he enjoys as well the approbation of discerning critics. In a word, he is an artist who has arrived, and his work is shown constantly in important exhibitions in this country and in Europe. Reviews and notices of his print exhibits have appeared from time to time in such periodicals as "The Studio, London," "Figaro," and "La Revue de l'Art." Of the artist's Paris plates one might single out "Carrefour de la Croix Rouge," "Old Court in Rue Vercingetorix " "Cloitre St. Honore," "Rue Eginhard," "L'Hiver dans le jardin du Luxembourg," and the later prints, "Le Jardin des Tuileries" and "La Fete du Palais Royal" as particularly pleasing not only for their clever draughtsmanship, but also for the unerring skill with which the artist selects his compositions, making each print a page from real life, and a thing not too formal. His newer plates done at Gland-sur-Marne of rural landscape are quite a departure in method, the line being more broken and open, and a tendency being also apparent in printing the proofs, to rely less on shading and to emphasize more the value of the line. Of these etchings "Le Pont" is unquestionably one of the most pleasing and successful. As the result of a sojourn in North Africa during the winter of 1908, we have the fascinating etchings in and about Tunis, some of which are printed in color. In fact the artist has done some very 47 meritorious work in color printing; his " La petite fille au marche" being one of his happiest efforts, and the etchings done in Wales have lent themselves to color printing with considerable success. Mr. Hornby however has not exhausted his possibilities, and his admirers feel justified in expecting in the future, a series of etch- ings fully up to the high standard he has already set for himself. 4 8 AW Le Jardin des Tuileries, Paris (Catalogue No. 45) Le Pont (Catalogue No. 75) 49 Rainy Sunday, San Marco, Venice {Catalogue No. 76) Old Court in Rue Vercingetorix, Paris {Catalogue No. 16) 50 LESTER G. HORNBY {In each instance the width is given first) FRENCH SERIES PARIS i DANS LE JARDIN DU PALAIS ROYAL (n^ x 7^) - - - - - - - - - $25.00 2 QUAI AUX FLEURS (5)4 x 8>i) - - - - 10.00 3 RUE DE L'HOTEL DE VILLE (5^x9^) -. - 12.00 4 BOULEVARD MONTPARNASSE (4^x6^)- - 10.00 5 RUE DE L'ECOLE POLYTECNIQUE (6^x9^) 12.00 6 CLOITRE ST. HONORE {Salon des Artistes Franqaise, 1907, 6^x9) - - 15.00 7 RUE MADAME {Salon, 1907, 5^x9) - - - 10.00 8 RUE DU SABOT {Salon, 1907, sH x io#) - - 12.00 9 RUE DU SABOT, EVENING (5>£ x 8*<) - $12.00 23 LA MODELE (3^ x 5) ------- io .oo 24 SPANISH DANCER (4^x6^)- - - - - 4.00 25 RUE DE VENISE (6 x 9K) - - - - - 12.00 26 A MONTROUGE, PROPRIETAIRE ET CHIEN 6J4 x 10) - - - - - - - - - - 12.00 27 RUE DE RENNES (3^x5^) - - - - - 10.00 28 UN ETAMEUR, PASSAGE DU DRAGON (Salon, 1908, 4^x7^/4) - - - - - - - 10.00 29 THE LITTLE BALCONIES (6 x 4 K) - - - 1000 30 MARKET DAY, BOULEVARD EDOUARD QUINET (8^x6) - 12.00 31 LE CARREFOUR DE LA CROIX ROUGE (n^x8X) --------- 15.00 32 LE GROS CHOU (9^x6^) ..__'. I5 . 00 33 LE RENDEZ-VOUS (9 x 5^) - - - - - 12.00 34 CAFE JULIEN, RUE MOUFFETARD (11^x8^) - - - - - - - - - 20.00 35 RAINY DAY, LE PONT NEUF, PARIS (g}4 x 7*4) 15.00 36 PASSAGE ST. PIERRE (7K x 5X) - - - - 10.00 37 A LA GAITE ; MONTPARNASSE (6^x4^) - 10.00 38 CANAL ST. MARTIN (Salon des Artistes Franqaise, 1907, 9^ x 7^) - - 12.00 39 LES PARISIEN COCHERS (6^x4^) - - - 10.00 40 LA FETE DU PALAIS ROYAL (7^x5^) - - 18.00 41 LA LETTRE D 'AMOUR (&y 8 x 6*4) - - - 12.00 42 LA MARCHANDE DE FLEURS (6^x4^)- - 12.00 43 LA MAISON ROMAIN, JOUR DE MARCHE (11^x8^4) - - - - - - - - - 20.00 44 CAFE DU ROND POINT (8^x6) - - - - 12.00 45 LE JARDIN DES TUILERIES (g*/ 2 x sH) - - 20.00 46 NOTRE DAME (9^x7) ------ 18.00 47 CHARENTON (7K x $ l A) - - ~ - ~ - 10.00 48 PASSAGE DES PATRIARCHES (Syi x 6*4) - - 12.00 49 LA VIEILLE PORTE (Salon, 191 1, 6*4 x g) - - 15.00 50 LA PORTE (Salon, 1911, 7^x9^) - 18.00 52 51 LA FETE A FANTIN {Salon, ign, 7H x 9K) - $20.00 52 DIMANCHE (6Xx4^) 12.00 53 L'ANE a LA GARENNE (7^ x 5K) i4-oo 54 a TROUVILLE (8 x $y 2 ) - - - 14.00 55 LES COMMERES (6>^x6K)- --------- 15.00 64 LE MATIN (8^x6^) ------- 18.00 65 LES FERMES (9^x7^) - - - - - - 18.00 66 L'EGLISE (934x734) ------- 18.00 67 L'EGLISE (8^x5)- ------- 12.00 68 LES BLANCHISSEUSES (8^x5^) - - - 15.00 69 LES COCHONS (5 x 63<) - - - - - - 12.00 70 L'EGLISE A CLAYS (Salon, ign, 6y 2 x g) - 15.00 71 CHATEAU, PASSY-SUR-MARNE (7^x5) - - 12.00 72 THE GOOSE GIRL (9^x6^) ... - - I5 . 00 73 LA COUR A ST. MAMMES (12^x8^) - - 25.00 74 A BOURG LA REINE (Salon, 1911, 83^x6^) i5-oo 75 LE PONT (734x534) ------- 18.00 76 RAINY SUNDAY, SAN MARCO, VENICE (8KX5K)- --------- I2 .oo 77 IN THE GIUDECCA, VENICE (834x534) - - 12.00 78 PORTE DE RIALTO, VENICE (8^x534) - - 12.00 79 OLD SPANISH HOUSES, SPAIN (8 x io4) - - 15.00 80 OLD STREET LEADING TO PLAZA DE JOCODOVER, TUNIS (8^x11^)- - - - 20.00 53 81 PASSAGE ARABE, TUNIS (8^ x n^) - - $15.00 82 DELFT (8^4x53^) 12.00 83 COLOGNE FROM THE RHINE (8^x5^) - 10.00 84 THE HERRING FLEET, ENGLAND (9^ x 7X) 15.00 85 BLACKWELL REACH (9^x6) - - - - 15.00 86 WONDERLAND, CONEY ISLAND (9^x6^) - 12.00 {Etchings printed in Colour) PARIS 87 LA PETITE FILLE AU MARCHE (4J4 x 6) - 12.00 88 EVENING OF THE BAL MASQUE (14^x9^) 20.00 89 JOUR DE MARCHE, AVENUE DES GOBELINS (10^2 x 5;kQ - - - - - - - - - 20.00 90 CAFE DU ROND POINT (8^x6) - - - 18.00 91 PARISIAN WORKMEN (4K x 6) - - - - 12.00 92 A LA GAITE, MONTPARNASSE {6% x 4 K) - 12.00 93 THE HOIST (4^x6^)- ------ 10.00 94 RUE ST. JACQUES (5^x8^) - - - - 12.00 MISCELLANEOUS 95 IN THE GARDEN OF THE KING'S ARMS, COOKHAM ON THAMES (9^ x 7^) - - 18.00 96 IN HAPPY VALLEY, WALES (11^x6) - - 20.00 97 LLANDUONO, WALES (11^x6) - - - - 20.00 98 THE RIVER TYNE, NEWCASTLE (8^ x 5^) - 18.00 99 ROTTERDAM, DUSK (7^x9^) - - - - 18.00 100 AFRICAN HA YFIELD, MOONLIGHT (9^x6^) 15.00 101 ZEB, TUNIS (8KxiiM) ------ 15.00 102 THE STORY TELLER, TUNIS (8 x 10}^) - - 20.00 103 ARAB MUSICIANS, TUNIS (8^x5^) - - 12.00 104 ARAB VEGETABLE DEALERS, TUNIS (8>i x 10^) - - - - - - - - - 20.00 105 IN OLD TOLEDO, SPAIN - - - - - - 18.00 106 DANCING GIRL, SEVILLE, SPAIN (3 x 4 K) - 10.00 54 55 IT is unfortunate for print collectors that, until recently, the etchings of Miss Katharine Kimball have not been more widely known in this country. They are so superior in draughtsmanship and composition, and so beautifully executed that they immediately arrest the attention of the appreciative and the discerning. In fact, it is not too much to say that many of these prints will rank in the future among the best etching done during the present day. Like many of our American artists who have won fame abroad, Miss Kimball was born in New England. She received her early education at the Jersey Ladies College at St. Helier, and afterward attended the National Academy of Design in New York City. The artist's life at present, however, is chiefly spent in England and France, as one may readily judge from the titles of the prints themselves. One finds in the folio a goodly portion of etchings portraying scenes in Paris, among which we acknowledge a weakness for "La Facade de Pierre Lescot," Louvre, and "LaVieille Ecole de Medecine." These prints are really superb in the fine impres- sions, and when one studies them and also those beautiful prints, "The Lock at Moret-sur-Loing," and "Le Presbytere de Saint Maclou," Rouen, one wonders what the artist may accomplish in the future, in view of the fact that she has been etching some- thing less than ten years. As an illustrator Miss Kimball's work has been familiar for some time to the readers of The Century Magazine, The Studio, Gazette des Beaux Arts, and other publications, and the repro- ductions of her prints add considerable charm to such books as Okey's "Paris:" Gilliat Smith's "Brussels," and Sterling Tay- lor's "Canterbury." "Jasper's Gate House," which we repro- duce, is one of the most brilliant of the etchings done in Kent, England, and appeared in 191 2 in "Rochester," one of the "Artists' Sketch Book Series." The artist is a member of the Royal Society of Painter- Etchers, London, and Associe du Salon des Beaux Arts, Paris, 57 and her etchings are frequently shown at the annual exhibitions of these and other important and influential societies in London and on the continent. Selections of her etchings are represented in the permanent collections of the New York Public Library, Boston Art Museum, Victoria and Albert Museum, London, and the Bibliotheque d'Art et d'Archeologie, Paris. That her judgment as an art critic is highly esteemed is amply evidenced by the fact that she was elected to serve on the Jury of the Salon d'Automne, Paris, 1912. That the fine enthusiasm of the artist for the medium of etching may continue unabated, is the sincere wish of her ad- mirers, and they look forward with anticipation to her future accomplishment. 58 ■*r Le Louvre, Facade de Pierre Lescot (Catalogue Xo. 20) Street in Moret-sur-Loing (Catalogue No. 27) 59 £) - - - - 7.00 13 A WINDY DAY ALONG THE SEINE (iox8K) 1000 14 LE LOUVRE ET LE PONT DES ARTS (63^ X5JO- --------- 8.00 15 ST. GERVAIS (734x7^) ------ 8.00 16 BATEAUX LAVOIRS ET LE PONT ST. MICHEL (7K X 7K)- - - - - - - - - - 10.00 17 ST. NICHOLAS-DU-CHARDONNET (4^x7) - 5.00 18 PONTONS ON THE SEINE (11x8) - - - 10.00 19 TOWERS OF NOTRE DAME (7 x 10) - - - 10.00 20 FACADE OF PIERRE LESgOT, LOUVRE (9^x7) ---------- 10.00 21 A CORNER OF OLD PARIS (6^x9^)- - - 700 22 OLD SCHOOL OF MEDICINE (4^x7) - - 10.00 61 23 LA MAISON BARLIER, RUE DE L'ABBAYE (7^X9^)- -------.. $ io .oo 24 OLD HOUSE NEAR ST. JULIEN LE PAUVRE (8^x11) ---------- 10.00 25 THE REPAIRING FLOAT (utf x ?}>£) - - - 10.00 26 LOCK, MORET-SUR-LOING ( 9 x6K) - - - 10.00 27 STREET IN MORET-SUR-LOING (7^ x 10K) - 10.00 28 CHURCH AT MORET-SUR-LOING - - - - 7.00 29 BRIDGE AND MEDIEVAL HOUSES, MORET-SUR-LOING (8xio^0 - - - - 8.00 30 OLD HOUSES AND BARQUE AT MORET-SUR- LOING (ii3^x8K) ------- 10.00 31 NOAH'S ARK, LANNION, FINISTERE (6^4 x 6) --------- - 5 . 00 32 IMPASSE DE LA HAUTE TOUR D 'ARGENT, ROUEN (5^x10) ------- io .oo 33 MAISON DE CHALON RUE DE SALA- MANDRE, ROUEN (7x10) - - - - 10.00 34 L'ANCIEN PRESBYTERE DE ST. MACLOU, ROUEN (7x10) - - - - - - - - 10.00 35 ROUTE DE ST. MAMMES (11^x7^) - - 10.00 36 MOULIN A LE COQ, BELGIUM ( 4 ^x6K) - 10.00 37 OLD HOUSES, DORDRECHT (5^x7^) - - 5.00 38 THE CEMETERY, VENICE (8^ x 5^) 5.00 39 FISHING BOATS, VENICE (6^x5) 5.00 62 63 64 ALTHOUGH Mrs. Bertha Lum is not, strictly speaking, an etcher, we are including her wood-block prints in colour in this catalogue because of their beauty and fascination. They are in a class by themselves. Japanese in spirit and feeling, they differ from the work of native Japanese artists in so many ways and yet make an appeal difficult to analyze but quite irresistible — "The Orient" seen with Occidental eyes. The artist (Bertha Boynton Bull) was born in Iowa and received her earliest, and in fact the major part of her art education in Chicago at the Art Institute, paying particular attention to the courses in design and life. After leaving the Institute the artist obtained considerable additional instruction from Mr. Frank Holme, at that time conducting the Holme School, and she likewise acknowledges her indebtedness to Anna Weston, the well-known designer of stained glass, with whom she spent several years. "My first trip to Japan," says Mrs. Lum, "was in 1903, but I did no work in the shops then. Buying tools, brushes, and everything necessary for printing, I worked out the process after my return home, "Theatre Street" and "Home-Coming" be- ing the first, successful prints. In 1908 I went again to Japan and worked every day for three months in one of the shops, cutting blocks, and then spent six weeks working with a printer. In 191 1 I returned to Japan, at which time I took a house, where I had several printers working under my instruction." No mere dilettante, as one may readily see, Mrs. Lum is not only the fortunate possessor of an artistic genius of the rarest kind, but she is also a student, earnest, sincere and thorough. Her prints display an intimate understanding of that sensuous art of Nippon, which is the very life of the people. Take, for example, such of her newer things as "Wind and Rain" and "Fishermen" -with what unerring skill these designs are drawn, and with what a deal of cleverness, is brought into the composition, that wonderful art of omission! The del- icate colouring of these prints (unfortunately lost in reproduction) 65 is unrivalled, and unrivalled too is the truly Whistlerian regard for detail, everything in the making of all her prints being studied with the greatest care. The artist has many prints in which groups of children playing form the main feature of the composition. These have an undeniable charm, especially "The Magic Carpet," "Cherry Blossoms," and "Kites." Difficult indeed would be the task of one who essayed to choose that one of the collection which is the most beautiful in composition, or the strongest in technical mastery; all area like lovely in their colour harmony. Being printed on that thin, wiry, specially prepared rice paper of Japan, they seem at times almost too ethereal and as if, as one might say, a breath would blow them away. In fact they are nothing and they are everything. 66 y^ *s Bamboo Road {Catalogue No. 25) Wind and Rain {Catalogue No. 26) 67 o / ^ *»i 68 BERTHA LUM (In each instance the width is given first) i JUNKS IN THE INLAND SEA (63 i x n^i) - $11.00 2 EVENING (4^xi 3 X) ------- 9.00 3 RAINY TWILIGHT (9^x7) ----- 6.00 4 FLOWER GIRLS (3 x ?tf) ------ 3.00 5 SISTERS (3^x15%) - - - - - - - 6.00 6 O FUJI SAN (3KX13K) - 4.00 7 AOYAGI (Green willow, 4^ x 10^4) - 8.00 8 FOX WOMEN (8^x12^) - - - - - - 16.00 9 PAGODA (5>;xioK) - - - 7.00 10 HOMECOMING (3^x9) ------ 8.00 11 THEATRE STREET, YOKOHAMA (4^x8^) - 10.00 12 WINTER (14x8) - - - - - - - - 14.00 13 THE BRIDGE (5x9^) ------ 4 . 00 14 FISHERMEN (6 x 10) - - - - - - - 8.00 15 KITES (15x8)- - - - - - - - - 12.00 16 MAGIC CARPET (io> 2 x 14K) ----- 7.00 17 SNOWBALLS (9^ x 10K) ------ 6.00 18 GOBLIN DANCE (15 x 9) ------ I4 . 00 19 ON THE RIVER (18 x io#) ----- 16.00 20 PINES (534x14) -------- 9.00 21 TANABATA (7^x15) ------- 12.00 22 PINES BY THE SEA (13x0) - - 9.00 23 RAIN (6Kxn) 6.00 24 TEMPLE GATE (5x10) 6.00 25 BAMBOO ROAD (10x8^)- - - - - - 10.00 26 WIND AND RAIN (15x10) - 15.00 27 CHERRY BLOSSOMS (12x18)- - - - - 12.00 28 PETER (3x10) -------- 3.00 29 CHILDREN (2>^x8K) - - - - - 10.00 ROUEN 21 TOUR DE ST. LAURENT {4*4 x 8K) - - - 12.00 22 TOUR DE BEURRE (2x3^ - 6.00 23 PASSAGEWAY (4x5^) - 10.00 24 LA FLECHE (3 x 6^) ------- I4 . 00 25 RUE DU CHASSEUR ( 4 Kx63 4 ) - - 10.00 26 RUELLE DES PIGEONS (2^x4^) 10.00 27 SAINT OUEN (6^x5^) - - - 14 -oo BRITTANY 28 THE LITTLE FORGE (5^x5^) - - - - 18.00 29 LUSCANEN (7^x5^) - - - - - - 15.00 77 30 LA FERME AUX VACHES (11^x4) - - $15.00 31 RUELLE DES HALLES, VANNES (2^x7^) - 8.00 32 RUELLE DU PECHEUR (sH x 8K) - - - 1400 33 LANDSCAPE (11^x4)- .._... IO ,oo 34 LA PORTE GAYOLE, BOULOGNE-SUR-MER (6x4^4) - - - - - - - - - - 14.00 35 LANDSCAPE, POIGNY, FRANCE (11x4^) 15.00 36 POIGNY, FRANCE {small plate, 3K x 3) - - - 5.00 37 LES DEUX CHAUMIERES, POIGNY (4^x3) - 5.00 38 LE MOULIN SAINT MAURICE (3^4 x 3K) - - 8.00 39 SLEEPING RAG VENDOR (9X x ?tf) - - - 15.00 40 THE TANNERY (7X x 13X) - - - - - 10.00 41 THE CANAL, CHARENTON (6}4 x sH) - - H 00 42 LA PETITE PASSERELLE (3J4X3) 750 43 THE BUILDERS (oval, g x ^H) ~ ~ - - ~ i5-oo 44 THE TWO HORSES (3K x 2%) 5 • 00 45 FORGE OF THE CARMELITES (7J4X9K) - 20.00 ITALIAN SERIES VENICE 46 LION COLUMN (2^x3^ - - - - - 7.50 47 FISHERMEN OF CHIOGGIA (9^ x 12K) - - 25.00 48 THE MARKET (15 x 10K) ------ 30.00 49 MORNING (6Kx2^) ------- 12.00 50 IDILLIO VENEZIA (9*4 x 8>£) - - - - - 20.00 51 THE DARK CANAL (4^ x 4 K) 8.00 52 THE CLOCK TOWER (4^x11^) - - - - 25.00 53 WITHIN THE MARBLE CITY ( 9 K x 11^) - 25.00 54 SAIL YARD (5KX5M)- ------ 15.00 55 SALUTE ( 4 x 7 K) - - - - - - - - i5-5o 56 THE GREAT DOME (4^x7) - - - - - 10.00 57 DOORWAY OF THE DOGES (734 x 15K) - - 30.00 58 CALLE DEL PARADISO (4^x73^) - - - 15.50 59 THE GHETTO (9x11)- - - - - - - 30.00 60 THE BOAT BUILDERS (10^x8^) - - - 20.00 61 THE CURVED CANAL (11x8^) - - - - 25.00 78 SONG FROM VENICE No. 2 $25.00 VENETIAN BYWAYS 10.00 VENETIAN NOONTIDE 25.00 BRIDGES AND PALACES 25.00 IN GIORGIONE'S LAND 20.00 WAYSIDE SHRINE 24.00 HOUSE OF CERES 42.00 SUMMER DREAMS 25.00 RIO VERONA 25.00 BY THE MUNSONE 30.00 FIELDS OF ASOLO 30.00 LEAVES OF ASOLO 30.00 WINDOWS OF PARIS 12.00 WINTER (DRYPOINT) 20.00 PORTRAIT (DRYPOINT) 30.00 NOTE — -The fifteen prints listed above comprise the latest work of Mr. D. S. MacLaughlan, and were received at the Roullier Galleries too late for classification. 62 SAN GREGORIO (5^x6^) ..... $ io .oo 63 THE BRIDGES (4x5^) - - - - - - 9.00 (Songs of Venice) 64 A SONG OF VENICE (12x10) - - - - 30.00 65 SUNLIGHT AND SHADOW (10x12) - - - 20.00 66 THE WHITE PALACE (13 x 10K) - - - - 30.00 67 SANTA MARIA FORMOSA ( 9 }{ x 7K) - - - 18.00 FLORENCE 68 PONTE TICINO (7^x5^)- - - - - - 16.00 69 THE CYPRESS GROVE (8^x11^) - - - 30.00 70 THE CERTOSA (8^x4^)- - - - - - 20.00 71 PALAZZO VECCHIO (4x12^)- - - - - 16.00 (Fields of Tuscany) 72 TUSCANY (11^ x 8^) _._... 20 . o 73 SAN GIMIGNANO (6H x 6>£) - - - - - 15.00 74 FIELDS OF SAN GIMIGNANO (13 x 8J4) - - 35.00 75 THE HILL CITY (6^x5^) - - - - - 1500 76 VAL D'EMO (12 x sK) - - - - - - - 20.00 77 VAL D'ARNO (8 x S}4) - 7.50 78 THE FOUNTAINS (6J4 x 4^) - - - - - 15.00 79 SIENA ROADSIDE (3X x 4 K> - - - - - 10.00 80 THE BILLOWS (11^x4^)- - - - - - 10.00 81 TUSCAN FARM (6^x3) - - - - - - 8.00 82 PERUGIA (8^x5^) - - - - - - - 18.00 83 PA VIA (8X x 8) ._...... 20.00 84 BOLOGNA (5^x4^) ------- 10.00 85 EMELIA (5K x 4^) ....--. io .oo 86 PARMA (3^6 X4K) - - 10.00 87 TIVOLI (9^ x 7) ......... I5 .oo 88 MELONCELLO (S}4 x 6K) - - - - - - 18.00 89 THE TOWERS (4/4'xio) - - - - - - 18.00 90 THE CITY OF TOWERS (12^ x 10K) - - - 18.00 91 SAN LUCA DEL COLLINI (8^ x 8^) - - - 20.00 92 THE DANCE OF SPRING (i8^xi2><) - - 40.00 93 LE TAUREAU ITALIEN (1% x 2^) 5 . 00 79 SWITZERLAND SERIES 94 HOUSES ON THE AARE, NEAR THUN (8^x7^0 --------- $20.00 95 A CASTLE IN THUN (7^ x 10^) - - - 20.00 (Pages from the Alps) 96 ABOVE THE MOUNTAINS (11^x9^) 15 -oo 97 THE TWO PINES (7H x ioj4) - - - - 25.00 98 MOUNTAIN PEAKS (7^*5^) " " I2 °° 99 THE GRIMSEL (14^x12) - 40.00 100 LAUTERBRUNNEN (14^x10^) - - - - 50.00 101 BERNESE OBERLAND (i 4 3 4 x 10^) - - 30.00 102 ROSSINIERES (7^x934) ------ I2 . 00 103 STORM IN THE ALPS (9^x7^)- - 10.00 ENGLISH SERIES 104 BEFORE SAINT PAUL'S, LONDON (10x7) - 15.50 105 ON THE THAMES, LONDON (6^x2^) - - 10.50 106 THE LITTLE POOL, LONDON (11^x7^) - 15.50 107 THE LIFE OF THE THAMES, LONDON (12^ X I03/£) - - - - - - - - - 3O.OO 108 THE POOL, LONDON (10x15) - - 30.00 109 THE GREAT GATE (6 x 834) - - - - 12.50 no LOADING BARGES (7K x 5K) - 10.00 in THE SMUGGLERS' COVE (83 4 x7) - - 20.00 112 A DEVONSHIRE VILLAGE (ii3 4 x6)- - 20.00 113 THE TROUT BROOK, DEVONSHIRE (7x8^) 10.00 114 LYNTON, DEVONSHIRE (8^xn3 4 ) - - 15.00 115 THE WINDMILL (3^ x sH) - - 8.00 116 FORGE OF THE WHITE HORSE (7 x $M) ~ 1200 117 FISHING BOATS ($H x A l A) - - - - - 14-00 118 THE GREAT OAK (6^x5^) - 15.00 119 LION (a fragment, 7^ x 4^) - - - - - 8.00 120 JACK (Dog asleep, 3^2x2^2) - - - - - 8.00 121 TOPSY (5 T 4x6) -------- 8.00 122 PLATE OF SKETCHES (4J4 x 4K) 7-5© 80 8i JOHN MARIN, the well-known painter-etcher, was born in New Jersey a little more than thirty years ago. He entered the Stevens Institute of Technology with the intention of becoming an architect, and after leaving the Institute he followed that profession for several years. His interest in Art becoming so strong, however, that it was necessary to make a choice between an artistic career and his profession, he chose the former, entering the Pennsylvania Academy of Fine Arts where he remained two years. After another year of study at the Art Students League in New York City he went abroad and in 1905 entered the Delecluse Academy in Paris. Mr. Marin 's etchings are characterized by a certain lightness of touch and delicacy of line, that make his work not only unique in character but charming in effect. Paris has been the place which has made the most powerful appeal to his imagination, and such plates as "Le Bal Bullier," and "La Place St. Jacques," are full of the magic of the famous city. He has also traveled in Holland from which country he has brought back some excellent etchings, especially the "Amster- dam." His Venice plates are quite up to the standard of his other work, especially noteworthy being "Ca D'Oro, " and "La Fenetre," two etchings which have been universally admired. He has also etched several plates of scenes in Rouen, and his "Chartres Cathedral" is considered by many critics as one of the best renderings in black and white that has been made of that beautiful edifice. The artist has not etched of late years, however, but we understand that he is soon to take up his etching needle once more, and doubtless, in the not far distant future his newest plates will be obtainable. 83 Place Saint Jacques, Paris (Catalogue No. 15) mm* ^ Chartres Cathedrale (Catalogue No. 26) JOHN MARIN (In each instance the width is given first) FRENCH SERIES PARIS i LE BAL BULLIER (7^ x $y 2 ) - - - - - $ 9.00 2 QUAID'IVRY (iXxsk). - ~ 5- 00 3 LE PONT NEUF ( 5 J A x 7H) - - - - - 7.00 4 LES VIEILLES MAISONS PRES LE PONT NATIONALE (7^x5^) ------ 6 .oo 5 SAINT GERMAIN DES PRES ($}.- 2 x 7 3 4 ) - . IOO o 6 QUARTIER DE LA MAISON BLANCHE (7 x 5) 5.00 7 COUR DU DRAGON (5K x 7^) - - - - 6.00 8 NOTRE DAME (10^x12^) - - - - - 22.00 9 LA VIEILLE MAISON, QUAI DTVRY ( 5 H x 7^) 6.00 10 LE VIEUX MOULIN, SAINT MAURICE (8^x6^) - 6.00 11 CATHEDRALE DE LEON (5^x8^) - - - 900 12 NOTRE DAME, VUE DU QUAI CELESTINS (9 J A x 7 3 A) - - - - - - - - - 1 5 • 00 13 SAINT GERVAIS PAR LA RUE GRENIER- SUR-L'EAU (73^x9^) - - - - - - 24.00 14 PAR LE QUAI DES ORFEVRES (8J< x 7X) - 12.00 15 LA PLACE SAINT JACQUES (7x5) - - - 9.00 16 RUE MOUFFETARD (5x7) - - - - - 7.00 17 L'OPERA (i 2 3 4 'xioK)- ------ 18.00 18 L'EGLISE DE LA MADELEINE (10K x 12J&) - 18.00 19 CATHEDRALE DE MEAUX (6^x8^)- - - 20.00 ROUEN 20 SAINT OUEN (83 4 ') - - - - 12.00 85 24 LA VIEILLE MAISON, LA RUE DES ARPENTS (8>(x6^)- _....-.-- $12.00 25 LA CATHEDRALE, PRES DU VIEUX MARCHE (7^ X 9 3/i ---------- 15. 00 26 CHARTRES CATHEDRALE {Plate destroyed, 8%"xii) - - - - - - 15.00 27 OLD STRASBURG (Planzbadgasse, 9 x 8) - 15.00 28 LE PONT, CANAL D 'AMSTERDAM (7^x5^4) 6.00 29 CANAL D 'AMSTERDAM (5x7) 7 . 00 30 LA PLACE FRAUEN KIRCHE, NURNBERG (9^x7^)- --------- 15.00 31 FRAUEN KIRCHE, NURNBERG (7x9^) - - 15.00 VENETIAN SERIES 32 SANTA MARIA DELLA SALUTE (7x5) - - 10.00 33 LE PONT SAINT PANTOLINI (5K * 7^0 - - 7 -°° 34 LA CLOCHETTE DE SANTA MARIA ZOBENIGO (5H x iH)- --------- 6.00 35 DOORWAY OF SAINT MARK'S (6^x9) - - 10.00 36 CA D'ORO (9^ x 7) _.----- I5 . 00 37 PIAZZETTA SAN MARCO (8>< x 6#) - - - 14.00 38 CANAL SAN PIETRO (6]4 x 4 M) - - - - 6.00 39 CAMPANILE SAN PIETRO (5 x 6^) - - - 7.00 40 CAMPANILE SAN ROCCO (4^ x 6J<) • - - - 7.00 41 PONTE GHETTO (7K x gl4) ----- 8.00 42 LES GONDOLIERS (7 x 5) - - - - - - 6.00 43 PONTE PARADISO (5 x 7) - - - - - - 6.00 44 SESTIERI DI DORSO DURO (5x7) 8.00 45 PAR LA FENETRE (5^ x 7^) ----- 24.00 46 PALACE JANUS DARIUS (sK x 7^) - - - 10.00 47 THE BRIDGE, ROMA ONESTA (5x7) 6.00 48 LE PONT (7 x 5) - - - - - - - - 7.00 49 LA FENETRE (5 x 7) - - - - - - - 6.00 87 88 A RT happens. Whistler has said it and the lives and works of r\ creative artists go far to prove it. There are no rules. There is no formula. In all probability the author of " The Cloud ' ' could not analyze the process by which it was put together. Haden, apparently without preparation, went one day out into the open and etched those incomparable masterpieces of land- scape; and Whistler, if he had a secret of drawing, has left no record of what it was. When considering the etched works of Mr. Nordfeldt it is well to bear in mind that he, as well, has been indebted to the schools for but little more than the rudiments, and has perfected his own style. Born in Scania in the south of Sweden in 1878, he came, when thirteen years of age, with his parents to Chicago, and it was while he was employed on a local newspaper, four or five years later, that his artistic tendencies first made themselves apparent. At the Chicago Art Institute he obtained his earliest train- ing and the advice and encouragement of Frederick Richardson and John H. Vanderpool. In 1900 he went to Paris, entering the studio of Jean Paul Laurens, remaining there, however, but a very short time. His paintings were exhibited at the Spring Salon of 1901 and during the fall of the same year he exhibited at the Royal Academy in London. Exhibiting in 1906 with the International Society of Sculptors, Painters and Engravers in Milan, Italy, he was awarded a silver medal by the Italian government. Since that time he has shown his work at many exhibitions in Europe and America. Mr. Nordfeldt has done some very clever work in wood-block prints, and has by no means lost his interest and enthusiasm for painting, as his very recent work abundantly proves. But more particularly of his etchings. We have some very delightful prints by him as records of his travels in Europe ; such as "The Palaces," Florence, characteristic scenes in Venice, and the highly original Tangier plates. Returning to Chicago, however, in 191 1, he soon became im- pressed by the recent astonishing growth of the city, and the power and efficiency of modern industrial plants. Seizing the very spirit of the most vital and influential thing in modern life, he took his copper plate, in a manner much like Joseph Pennell, out into the world of every day and made its beauty and signifi- cance patent to all. Skyscrapers in construction, street scenes in "Little Italy," plant of the Illinois Steel Company, views of the Calumet River, the "works" at South Deering; all are ren- dered with marvelous insight, and with a certain crispness in execution that make an immediate appeal. The new Chicago series done during the Spring of 191 2 are, in a way, even more successful than the earlier ones. Drawn with a little surer touch, with a more perfect blending of medium and subject, and printed with a regard to fine shading which conceals nothing of the value of the "line," these new plates go far to place the artist among the most noteworthy of modern etchers. The "Park Row" is an especially interesting print as a record of what will soon be a thing of the past, aside from its technical merit, and his "Illinois-Michigan Canal" is one of his most successful efforts. During the summer of 191 2 the artist made a journey to the Pacific Coast, bringing back the "Series" on San Francisco and Portland, Oregon. These San Francisco prints take us into the very atmosphere of the city which is being builded anew; scenes on Golden Gate Beach, buildings half finished, vistas down streets which climb those terrible hills, like Siena, and, of course, the Chinatown plates which reveal all that is most characteristic in this famous quarter. These 191 2 plates are reminiscent of Whistler in the true, firm drawing of the figures, so full of life and motion, and Whist- lerian, also, in a certain way is "The Little Shop on Piles" at Portland. Mr. Nordfeldt is an expert printer and himself prints each and every proof, a fact especially interesting in view of the fact that his plates rarely bear more than thirty-five impressions, when the plate is destroyed. These recent etchings — the new Chicago ones and the Pacific Coast sets — reveal, not only the artist's perfect control and understanding of the technic of etching, but they are also the product of his keenest inspirations. 90 En £ x 7K) - - - - - - - - - 12.00 94 56 THE "B" AND "O" BRIDGE (11^x8) - - $12.00 57 GAS TANK TOWN (11^x7^) - - - - 12.00 58 THE ILLINOIS STEEL COMPANY {South Chicago, 11^x8^) - - - - - - 18.00 59 THE COAL CHUTES {South Chicago, 10^ x 6^) - 12.00 60 THE OPEN HEARTH FURNACE (South Chicago, io}4 x jj4) - - - - - - 12.00 61 THE BESSEMER CONVERTERS (South Chicago, 10x7^4) - - - - - - 12.00 62 THE NIGHT SHIFT (South Chicago, 11K x 7K) - 12.00 63 FIVE O'CLOCK (South Chicago, 9^8X12) - - 12.00 64 CALUMET RIVER (South Deering, n^i x 9) - - 12.00 65 GRAIN ELEVATORS (South Deering, n# x 8) - 12.00 66 SMOKE (South Deering, 12x9)- - - - - 12.00 ITALIAN SERIES 67 GIUDECCA CANAL (7^x4^) - - - - 12.00 68 FIRST PROCESSION (2^x4^) - - - - 6.00 69 SECOND PROCESSION (2K x 3^) - - - - 6.00 70 THIRD PROCESSION (2^x3^) - - - - 6.00 71 CHIASSO DEI MANETTI (4x4^)- - - - 12.00 72 FLORENTINE PALACES (8 x S H) - - - - 12.00 73 MARITTIMA (io> 4 x 6} 4) - - - - - - 12.00 74 THE LONG VENICE (10x6^)- - - - - 12.00 75 CA DI MOSTO (6K x 9 K) - - - - - - 12.00 76 THE SHOEMAKER (6}{ x g?4) - - - - - 15.00 77 SHIPBUILDERS (8x6^) - - - - - - 12.00 SPANISH SERIES 78 TARIFA (9XX4X)- - - - - - - - 12.00 79 MALAGA HARBOR (8x6^) - - - - - 12.00 AFRICAN SERIES 80 MARKET WOMEN (3 x 3^) ----- 5 . 00 81 JEWISH MARKET, TANGIER (7^ x 6^) - - 10.00 82 BAB-EL-FEZ (9^x6) ------- 12.00 83 SOCCO-GRANDE (iox6^) - - - - - 12.00 95 84 BIGOTE (5^x7) - $12.00 85 ABDSOLAM (5^ x 7) ------- 12.00 86 THE JEW OF TANGIER ( 5 K x 7) - - - - 15.00 87 MOHAMEDE (5^ x 7) ______ I20 o 88 THE STORY-TELLER (6^x4^) - - - - 12.00 89 SPICE MERCHANTS (6^x5) - - - - 12.00 90 ANITA {Dry point, 6 x 10) - - - - - - 10.00 91 ANITA STANDING (Drypoint, 4 x $H) ~ ~ 10.00 92 HELEN, A PORTRAIT (5^x7) - - - - 10.00 93 PORTRAIT OF THE ARTIST'S FATHER (8x12)- - - - - - - - - - 15.00 94 PORTRAIT OF THE ARTIST'S MOTHER (8x12)- - - - - - - - - - 15.00 95 WASHINGTON MARKET, NEW YORK CITY " (5^x320 --------- 12.00 WOODCUTS IN COLOUR 96 THE BRANCH (8x10) - - - - - - 8.00 97 THE PIANO (10^ x 8) - - - - 8.00 98 ANGLERS, THE MIST (12^ x 8^) 8.00 99 THE ROCK, NAHANT (13^x8) - - - - 8.00 100 THE SKYROCKET ------- 8.00 101 THE BRIDGE (10^x8) ------ 8.00 102 THE PINES (7KX11K) - - - - - - 8.00 103 THE TREE (9^x12)- ------ 8.00 104 THE THREE TREES ------- 8.00 105 SMALL WAVE. MOONRISE (n^'x^s) - - 8.00 96 97 JOSEPH PENNELL, etcher, lithographer, author and illus- trator, has been before the public as an artist for so many years that his name has become a household word wherever the arts of engraving and etching are valued and enjoyed. Born in Philadelphia July 4, i860, after a training obtained in the Pennsylvania Academy of Fine Arts, at the age of twenty he was already making his first etchings of scenes in his native city. Four years later, in 1884, he removed permanently to Europe, and has made his home abroad almost exclusively since that time. At present, however, it is of Pennell the etcher that we would more particularly speak. As an etcher his fame is secure. He stands to-day among the greatest of etchers now living. Mr. Pennell's work is never heavy, labored or overdone, nor is nervous fumbling over a thing already finished a fault that may be laid at his door. His prints sparkle and glow with light and color. They have incisiveness, brilliancy, dash. These characteristics of his proofs are undoubtedly due in large measure to the artist 's customary method of work, which is very interest- ing. Choosing a place in some crowded street or in some industrial plant, he draws with the etching needle, swiftly and with practiced hand, upon the copper plate which he holds in the other hand. Apparently neither the noise of traffic nor the curiosity of the passers-by has power to move him from his concentration. Few artists have the audacity to work in this manner. A pre- liminary drawing of the scene, copied later onto the copper, serves their purpose better. But how he succeeds, and how much of knowledge and experience go into the drawing of those crisp lines! Mr. Pennell is an expert printer of etchings and has printed a large number of the proofs from his plates. The printing of etchings is a rather difficult and toilsome operation, but one has the advantage of knowing when an artist prints his own proofs that they are as he wishes them. It is not generally known to the public, I believe, that most of his etched copper plates, 99 including all the early ones, have been destroyed. This is a very wise thing for an etcher to do as soon as the wear from the print- ing becomes apparent. In the art of lithography Mr. Pennell has attained a pre- eminence in no way inferior to his reputation as an etcher, but his work in this medium, until very recent years, has not been as extensive, and consequently not as generally known as his etchings. His recent large plates of scenes in New York City ; Charleroi ; Belgium; Gary, Indiana; Niagara, and the quite new and fasci- nating ones of Panama and other places, have not only been widely seen and admired, but have brought fresh laurels to one who, not content to rest on the achievements of the past, works on with vigor and vision undiminished. In connection with Mr. Pennell's late work in lithography, which many have erroneously imagined was a new medium for the artist, it is interesting to recall what Whistler wrote to the Fine Arts Society of London more than a decade ago in reference to the Spanish lithographs: "I have seen these fresh lithographs Mr. Pennell has brought back from Spain with him. They are charming. There is a crispness in their execution, and a light- ness and gayety in their arrangement as pictures that belong to the artist alone; and he only could, with the restricted means of the lithographer — and restricted, indeed, I have found them — have completely put sunny Spain in your frames." In collaboration with Elizabeth Robins Pennell, the artist's wife, Mr. Pennell is the author of various important books on artistic subjects; notably, "Pen Drawing and Pen Draughts- men," "Lithography and Lithographers" (the latter the most important work on the subject extant), and the comprehensive and sympathetic "Life of Whistler" which remains the authorized "life" of that artist. The artist is, of course, a member of the Royal Society of Painter-Etchers, London, as well as of numerous other influential societies of a similar character, both at home and abroad, and has, in fact, received during his lifetime the highest honors that may be paid to a painter-etcher. At the Roullier Galleries there is a well-chosen collection of nearly three hundred of Mr. Pennell's prints, not only the new industrial ones, both etchings and lithographs, which lately have been the absorbing passion of the artist, but also those etchings of London, its streets, monuments, bridges etc., etchings in Rouen, Amiens, Venice, Rome and the Spanish lithographs. Also at the Galleries may be found the New York series of etchings, those made in Pittsburgh, Philadelphia, and quite recently in Chicago. The Tower Bridge, London 11 x 8' 4 ' S12.00 - .f ' t • - • ' The Lifting Bridge, Chicago 12^x9^ $12.00 The Way to Bessemer 7x11 $12.00 Mills at Gary, Ind. Lithograph 22^x17^ $24.00 102 Landing Place, Leghorn 1 A -i^i $12.00 - - • ' The Rialto, Venice 10x7 3 4 $12.00 L J The Light Lagoon, Venice 10x7% $12.00 I0 3 io5 io6 OTTO J. SCHNEIDER, the American Helleu, was born in 1875 and spent his earliest years at Atlanta, 111. He came to Chicago at the age of twelve, and in that city he received his first art instruction at the Chicago Art Institute. He first came into notice as an illustrator, and it was in those hours which were not devoted to his usual occupations that he developed his own particular "gift," which has made him famous. Although the artist has done some meritorious work in land- scape etching, it is undoubtedly his drypoint portraits of men and women that will be more particularly cherished in the future. His portraits of women are characterized by brilliancy and dash. With a well trained hand the artist has placed these studies onto the copper plate, with a touch while apparently so slight, yet firm and sure. His sketch entitled " An American Girl" is full of animation; that well-known drypoint "The Gainsborough Hat" has a free swinging line that is very pleasing, while such plates as "An Old Settee," "A Puritan Maiden," and "Attentiveness" have an old-time flavor that is quite captivating. They are all deservedly popular. His portraits of men are among his most notable successes, and in such plates, for example, as those of "Elbert Hubbard," "Justice Blackstone," "Mark Twain," and "Theodore Roose- velt," he gives us not only a recognizable likeness of the original, but the artist has happily caught the most characteristic, most essential thing in the personality of his subject. His portraits of Abraham Lincoln, one of which we reproduce, are by many considered the best procurable of the great American. Mr. Schneider may equal his past triumphs, but it almost seems, when one is turning over the folios, that he could hardly surpass them. 107 y pq -< 13° STEEPED in the atmosphere of Old Mexico, an etcher of distinguished attainment, widely traveled and of ripe culture, Mr. Cadwallader Washburn has won, on his merits, an enviable place among modern artists. Early in his career, while searching in various ways to "find himself," the artist chose the study of architecture as most suited to his tastes, and entered the Massachusetts Institute of Technology at Boston. This training, however, supplemented by a course at the Art Students ' League in New York City, and the direct personal influence of Wm. M. Chase, the well-known American portrait painter, finally led him to Paris, where he fell under the spell of Sorolla, the painter of sunlight. The influence of the Spaniard was so potent that he was induced to remain with him in Madrid for the space of some two years. This special training is interesting in that it leads naturally to an explanation of why Mexico has laid such a hold upon the imagination of the artist, and why he has chosen that field for some of his best efforts, and why he is there to-day, traveling with a bodyguard strong enough for protection in the present unsettled state of the country. The artist has etched some plates in Europe, it is true, — scenes in Venice and Verona, etc. — but his best successes have been accomplished on this side of the world. It was in 1903 that Mr. Washburn first used etching to ex- press his ideas, and a trip to the Orient resulted in his bring- ing home his series of etchings of scenes in Japan, which, though interesting, especially his plates of the temples at "Kitano" and "Tokyo," are not the high-water mark of the artist's achieve- ment. As to what are his most successful etchings, it would be rather difficult to state with exactness. The Mexican series, unique among prints, are wonderful in their rendering of that peculiar Mexican architecture, derived 131 from Spain, it is true, but changed, developed, molded into something to meet the requirements of a new land and another climate. With a few exceptions, notably the prints of the "Borda Garden, Cuernavaca," the artist has chosen architectural sub- jects, the public buildings and cathedrals of Mexico City, the several views of "Templo Parroquial, Taxco," and the churches at Cuernavaca, Contreras and Guanajuato. Displaying in their economy of line the hand of the skilled draughtsman, these plates have all the interest of etchings beautifully executed, with the added charm of the exotic, for Mexico, while at our very doors, remains a sealed book to most northerners; and then, in every print one feels that hard and brilliant sunlight, beating so fiercely on the facades of churches, shining into dark corners of old streets, and illuminating the groups of lazy natives. Unfortunately, the artist has lost by shipwreck the majority of the plates of the Mexican series, and the proofs from these plates are exceedingly scarce. The "Norlands Series," done near the summer home of the Washburn family in Maine, rank easily among the best of land- scape drypoints which have appeared in recent years. These plates are remarkable for the artist's comprehension of the beauty of what one might call ordinary country views. Such plates as "Lilypads," "Windy Morning," "Fuller Hill Road," "Field of Oats," "Androscoggin River," "After Sunset," and "Elms, East Livermore," do not make their appeal because of anything bizarre in their composition. Almost everyone is familiar with quiet rural scenes, but then not everyone is an artist, and so, because Mr. Washburn has the "gift to see," we have for our delight these little gems of art. It is gratifying to know that, defying the dangers of political revolution, he is at present working on a new Mexican series, which we have every reason to trust will be the equal of his earlier efforts, and may indeed even surpass them in beauty. 132 Elms, East Livermore, Maine (Catalogue No. 70) West Side Templo Parroquial, Taxco (Catalogue No. 2q) 133 CADWALLADER WASHBURN {In each instance the width is given first) JAPANESE SERIES i NATIVE RESTAURANT (5H * 3 l A) - - - - $17.00 2 PARK, KYOTO (6 x ^/ 2 ) - - - - - - 17.00 3 BRIDGE IN PARK, KYOTO (5x4) - - - 17.00 4 CREEK IN THE WOODS, KYOTO (3H x s l A) - 1700 5 BY THE SUMIDA RIVER, KYOTO (5X x 3^) - 17.00 6 BRONZE LAMPS OF THE SHIBA TEMPLE, KYOTO (6^x934) ------- 25.00 7 BUDDHIST TEMPLE, KYOTO (9^x6^) - - 20.00 8 WINDING STEPS (5^8x3) - - - - - 14.00 9 BURIAL PLACE OF SHINRAN SHONIN AT HIGASHIOTANI, KYOTO (534 x 4 K) - - - 1700 10 TEMPLE ENTRANCE KIYOMIZU— DERA, KYOTO (4K x 6) ------- 20.00 11 EXTERIOR OF TEMPLE AT KIYOMIZU-DERA, KYOTO (6 x 4 K) - - - - - - - 20 . 00 12 FAMOUS DRAGON FONT OF KIYOMIZU-DERA TEMPLE, KYOTO (9x11^) - - - - 40.00 13 TWIN IDOLS IN THE OUTSKIRTS OF TOKYO (5KX3K)- --------- 17.00 14 STONE STEPS, NARA ($% x 3K) - - - - 17.00 15 BRONZE LAMPS, NARA (5^ x 3 K) - - - 1400 16 A FONT IN NARA (3H * 5 3 A) - - - - - 14°° 17 IRIS GARDENS, HONKIRI (6^ x 4K) - - - 1800 18 STUDY OF BRONZE DRAGON (6 x 4 K) - - 1700 19 TEMPLE OF KITANO (6^x934) - - - - 25.00 20 BY THE RIVER UJI (5^x334) - - - - 17.00 21 BRIDGE AT UJI (5^x3) ------ I4 .oo 22 BUDDHIST PRIEST ( 4 K x 6) - - - - - 50.00 23 TOY MERCHANT (4X x 6) - - - - - - 35.00 24 TOKYO BEAUTY (7X * 9H) - - - - - 45.00 25 HEAD OF A NATIVE (5 x 6 l / 2 ) - - - - 17.00 26 HEAD OF A MENDICANT (4^ x 6) - - - 20.00 134 MEXICAN SERIES 27 TEMPLO PARROQUIAL, TAXCO (7^x11^) - $35.00 28 TOWER OF TEMPLO PARROQUIAL, TAXCO (6 X Il3<) ---------- 35.00 29 WEST SIDE OF TEMPLO PARROQUIAL, TAXCO ( 7 #xii#) ------- 35.00 30 CHURCH IN CONTRERAS (5^x7) - - - 20.00 31 GARDEN OF LA VALENCIANA, GUANAJUATO (7^4 x 11M) - - - - " " " " " 35 °° 32 LA CAMPANIA (8x12) ------ 35.00 ^ WEST FAgADE OF LA VALENCIANA (8 x 12) - 35.00 34 FRONT FAgADE OF LA VALENCIANA, GUANAJUATO (7^ x n#) - - - - - 35.00 35 TEMPLO DE SALUDE, MIXCOAE (8x11^) - 35.00 36 CATHEDRAL OF LEON (8x12) - - - - 35.00 37 SAGRARIO METROPOLITANS MEXICO CITY (8x12) - - - - - - - - - - 40.00 38 FAgADE, OF CHURCH OF NUESTRA SONORA DEL CARMEN, CELAYA (8x11^) - - - 35.00 39 VIEW FROM COLONIA MIRAVAL (7^ x 3 H) - 5000 40 ROAD TO COLONIA MIRAVAL, CUERNAVACA (iI^X 7^) --------- 100.00 41 PORFIRIO DIAZ BRIDGE, CUERNAVACA (10x8) ---------- 100.00 42 CALLE HIDALGO, CUERNAVACA (7^ x 3K) - 5000 43 STONE BENCH, BORDA GARDEN, CUERNAVACA (11^x7^) - - - - - 100.00 44 MEXICAN MENDICANT (4x10) - - - - 50.00 45 MEXICAN SOMBRERO (6x9) 50.00 NORLANDS SERIES 46 ROAD NEAR ROUND POND (8^x6)- - - 20.00 NORLANDS SERIES III 47 AFTER SUNSET (7^x4^) - - - - - 15.00 48 BOG CREEK, No. 2 (11^x8) - - - - - 20.00 135 49 WOOD NOTES (12 x 7K) - - - - - - $30.00 50 CREEK FERNS (11^x6) ------ 25.00 51 LIGHT AND SHADOW (8^x6) - - - - 20.00 52 BEAR MOUNTAIN (8^x6) - - - - - 20.00 53 FULLER HILL ROAD (7^x4)- - - - - 15.00 54 ANDROSCOGGIN RIVER {Leeds Central, 9 x 6) - 20.00 55 ENTRANCE TO WOOD ROAD (8^x5^) - - 20.00 56 JAY BRIDGE ROAD (8^x6) - - - - - 20.00 57 ANDROSCOGGIN BANKS (7^x3^) - - - 1500 58 MARTIN STREAM MEADOW, No. 2 (7^x3^)- --------- 15.00 59 ANDROSCOGGIN RIVER {Gilbertville, y}4 x 3H) - ~ - - ~ ~ - I 5-°° 60 SHOWERS {Fuller Hill, 7 J A x 3H) - - - - i5-oo 61 FIELD OF OATS (7K x 3^) - - - - 15.00 62 SUNSET GLOW (7^x3^) - - - - - 15 -°o 63 CREEK FOLIAGE (4^x7^) - - - - - 15.00 64 A GULCH (5^x9)- _-._--. 20.00 NORLANDS SERIES IF 65 A DEAD LOG (9^ x 7K) - - - - - - 25.00 66 WIND (8^x6) _..___-. 15 .00 67 BROOK AT BARTLETT'S MILL (8x5) - 15.00 68 FIELD IN GILBERTVILLE (7^4x5) - - - 15.00 69 FIELD IN SOUTH LIVERMORE (7^x5) - - 15.00 70 ELMS AT EAST LIVERMORE (8^x7) - - 20.00 71 SEVEN MILE CREEK (8 x 5) - - - - - 15.00 72 ELMS AND MEADOW NEAR DEAD RIVER (8x5)- - - - - - - - - - - 15.00 73 MEADOW BRIDGE (9 x 6 l / 2 ) - - - - - 20.00 74 ELMS AT TOLLAWOLLA (9^x6^) - - - 20.00 75 ROAD NEAR STRICKLAND'S FERRY (8x5) - 15.00 76 MEADOW CREEK, NORTH JAY (8K x sH) - 20.00 77 POOL NEAR TOLL YWOLLY (7^ x 5) - - - 15.00 78 ROLLING COUNTRY, NORTH JAY {8}{ x 5K) - 1500 79 ELMS AT SOUTH LIVERMORE (7^ x 10) - - 50.00 136 80 MAPLE TREE BY RIVER SIDE (7K x 10) - $25.00 81 HIGH NOON AT MEADOW (6J< x 8) - - - 20.00 82 JAY HILL (6>^ x S l A) - - - - - - 30.00 3 THE LITTLE BRIDGE (5^x4) - - - - 20.00 4 STREET OF THE THREE KINGS (4^x5^) - -'0.00 5 DER LANGER FRANZ (3^x5) - - - - 20.00 6 LOWENPLATZCHEN (6^x8) - - - - - 30.00 7 L'HORLOGERIE-FRANKFORT (7 x 7^) - - 20.00 8 SPITALPLATZ-STRASBOURG (8x7) - - - 20.00 9 AU SOLEIL D'OR, STRASBOURG (8K x 7K) - 24.00 10 COIN DU VIEUX MARCHE, MARSEILLE (j)4 x ii?4) - - - - - - - - -24.00 11 QUARTIER SAINT JEAN, MARSEILLE (4K x 10X) 18.00 12 LE VIEUX PORT, MARSEILLE (6x4^) - - 12.00 13 LA MAISON MELINE, PARIS (6^x8^) - - 20.00 14 LA VIEILLE ECOLE DE MEDECINE, PARIS (7^4X11^) - - - - - - - - -24.00 15 NOTRE DAME DES ANDELYS (7x11) - - - 50.00 16 THE BELFRY, BRUGES (3^x6^) - - 10.00 17 RUE A MORLAIX (5^x7^) ----- 10.00 18 AN OLD COURT, BOURRON (4^x5^)- - 10.00 19 LA CHAUMIERE (6^x4^)- - - - - - 10.00 20 LA PAYSANNE (2 x 4) - - - - - - - 10.00 144 145 MR. CHARLES HENRY WHITE, author as well as artist, holds a place among American etchers more or less unique because of his characteristic etchings of American cities. Born in Canada in 1878, he obtained a large portion of his art instruction abroad, chiefly in Paris and Rome, and yet it is not his foreign plates which have given him his greatest renown. Speaking of his European prints, it is undeniably true that the "Bruges Series" are quite charming, and they render in a manner quite satisfying the quaintness of the old town. But as the artist himself says in one of those travel sketches which frequently accompany the publication of his etchings, (or is it the etchings which illustrate the text?), "All artists go to Bruges." But not all artists go to Salem, Baltimore, Richmond, Charles- ton, New Orleans; nor, having gone, would they have given us exactly what we have from the plates of Mr. White, namely: very clever prints, displaying in every line the skilled craftsman and in addition the special genius of the artist in their composi- tion. For Mr. White has the happy faculty of choosing just the right old bridge to sketch, just the right old corner-store or sleepy street, making each "series" of his prints complete, in that a bit of local colour in each is distinctly felt. There is an air of romance about such plates as "A Bit of Mount Vernon Street," Boston, "Saint James," Richmond, "The Sloan House," Charleston, or "The Balcony," New Orleans. Possibly the artist puts something of himself into these plates. At any rate, we know of one who was led into taking the trip to Charleston merely from having seen these prints of that famous old Southern city. How anticipation was more than fulfilled would take too long to tell. The artist's etchings of Chicago and Pittsburg are among the best which have been done of those cities, rendering as they do their restless ultra-modern spirit and life. Although the artist may, and doubtless will, continue to delight us with his sketches on the copper-plate, they can but add fresh laurels to a reputation securely founded. 147 The Sloan House, Charleston {Catalogue No. 56) The Valley of Unrest, Pittsburg {Catalogue No. ji) The Rectors, Baltimore (Catalogue No. 42) 1 Rue de l'Ane Aveugle, Bruges [Catalogue No. 71) 149 CHARLES HENRY WHITE {In each instance the width is given first) NEW YORK SERIES i HATTERAS FISHERMEN, FULTON MARKET ( 9 ^x 7 K)- --------- $15.00 2 FULTON STREET (6^xgK) - - - - - 20.00 3 FULTON ARCADE (7^x6^) - - - - - 18.00 4 FULTON MARKET (8^x7^)- - - - - 20.00 5 SOUTH STREET, FULTON MARKET (10^ x 4^) - - - - - - - - - 12.00 6 ERIE BASIN, FULTON MARKET (10 x 6#) - 15.00 7 EAST RIVER BRIDGE, No. 1 (8# x 7X) - - 20.00 8 EAST RIVER BRIDGE, No. 2 (o>< x 6#) - - 20.00 9 THE OLD WHARF, No. 2 (4^x7) - - - 20.00 10 A BIT OF BLEECKER STREET (6^x4^) - 10.00 11 THE CONDEMNED TENEMENT (6K x 4^) - 20.00 12 HUDSON STREET (6^x4^) - - - - - 15.00 13 THE BOILER WORKS (9K x 7) - - - - 20.00 14 THE SHIPSMITH (5^x5) - - - - - 10.00 15 FIVE POINTS (7^x6)- - - - - - - 10.00 16 THE TENEMENT (7^ x 10) - - - - - 20.00 HARLEM SERIES 17 THE IRON BRIDGE (7^ x 8) ----- 15.00 18 BILL CONKLIN'S (9^x6^) - - - - 15.00 19 THE KILLS (7^ X5K) - - - - - - 20.00 20 MORRISANIA (6^x8^) - - - - - - 15.00 21 HARLEM RIVER (834 x 434) - - - - - 15.00 PHILADELPIA SERIES 22 WASHINGTON MARKET (7 x 9^) - - - - 15.00 23 CUTHBERT ALLEY (7 x 834) - - - - - 15.00 24 WATER STREET HOUSES (83^x634) - - - 20.00 25 ALONG THE SCHUYLKILL {&A*sH)- - - 20.00 150 CHICAGO SERIES 26 LITTLE ITALY (5^x9^)- - - - - - $12.00 27 QUINCY STREET (5^x11^) ----- i 5 .oo 28 EXOTIC CHICAGO (5^ x 6K) - - - - - 25.00 29 THE BASCULE BRIDGE (9^x7^) - - - 20.00 30 GRANT PARK (5^x9^) - - - - - - 15.00 PITTSBURGH SERIES 31 THE VALLEY OF UNREST (10x5^) - - - 12.00 32 SMITHFIELD BRIDGE (8J4 x 6J4) - - - - 12.00 33 IN THE TOILS (10K x 5K) - - - - - 20.00 BOSTON SERIES 34 A BIT OF MT. VERNON STREET (5*^x7^) - 20.00 35 BOSTON SLUMS {$yi x SH) - - - - - 20.00 36 TEA WHARF (83 4 x 7) - ------ 2 o.oo SALEM SERIES 37 CHESTNUT STREET (6^x8) - - - - - 12.00 38 ESSEX STREET (4^x8^) - - - - - 12.00 39 LOWER SALEM ( 9 }i x 6K) - - - - - 12.00 40 LAFAYETTE STREET (9^x7) - - - - 20.00 BALTIMORE SERIES 41 ALONG PLEASANT STREET (9^x6^) - - 15.00 42 THE RECTOR'S {$y 2 x 10^) - - - - - 14.00 43 IN THE OLD QUARTER (8x6) - - - - 25.00 44 LONG DOCK (7^x4^) - - - - - - 20.00 RICHMOND SERIES 45 THE OLD PORTICO (7^x6K) - - - - 20.00 46 BELLE ISLE (8^x5^) - - - - - - 15.00 47 RIVERSIDE PARK (7X x 5K) - - - - - 20.00 48 OLD RICHMOND (6^x5^) - - - - - 1500 49 SAINT JAMES --------- 15.00 151 CHARLESTON SERIES 50 QUEEN STREET (5K x 6K) " " " " - $15.00 51 STATE STREET SHOPS (9x5)- - - - - 20.00 52 CHARLESTON (A dry point, 4X x 4X) - - - 25.0c 53 THE PIAZZA (4x8) - - - - - - - 15.00 54 THE BARBER'S SHOP (4^ x 6^) - - - - 18.00 55 THE GARAGE (7^ x 5^) - - - - - - 18.00 56 THE SLOAN HOUSE (8^x6^) - - - - 20.00 57 TRADD STREET (5K x 8^) - - - - - 15.00 58 THE CORNER STORE (3% x &i) - - - - 12.00 59 THE HOUSE OF THE SISTERS - - - - 20.00 NEW ORLEANS SERIES 60 THE OLD SPANISH PRISON (7^x9^) - - 20.00 61 AN OLD COURTYARD (6>£ x 9 K) - - - - 1500 62 THE BALCONY, ROYAL STREET (334x734) - 15.00 PARIS SERIES 63 A BIT OF ST. ETIENNE-DU-MONT (6}4 x 8^) 16.00 64 RUE DE LA MONTAGNE, ST. GENEVIEVE (7Kx6K)- - - - - - - - - - 18.00 65 IN THE LATIN QUARTER U?4 x gtf) - - - 1500 66 THE DERELICT (7X x 9 y 2 ) - - - - - 20.00 67 DISMANTLED PARIS (6K x 5K) - - - - 1400 68 RUE ST. JACQUES (5^x8) - - - - - 14.00 BRUGES SERIES 69 THE HALFTIMBER HOUSE (3^x8) - - - 12.00 70 THE LACEMAKERS (4^x8^) - - - - 18.00 71 RUE DE L'ANE AVEUGLE (5x11) - - - 16.00 72 HOTEL DE GENES (6^x8^) - - - - 20.00 73 THE OLD BRIDGE (5K x 6^) - - - - - 12.00 74 LE QUAI VERT (6 x 5K) - - - - - - J 5-oo 75 GHENT, A FRAGMENT ( 4 K x 9K) - " - H-oo VENICE SERIES 76 THE WOODEN BRIDGE (4^x334) - - - 8.00 77 THE GONDOLA YARDS (5K x 3H) " " - J 5-oo C B 78 4 152 &°+ ^ -JoKP/ >A : . ***** vv A*i&.-.V y.-;Sk. o A-^V r o ° " * ♦ ^^•. "W .-ate-, v.** y$t&'. \f -+~ '"' -A> .... "<* "'••" ^ .... "ft.