HORNBY'S ETCHINGS OF THE GREAT WAR i\ M\ u 'Y ' A ...1 . ii;'' .. Tto'it ' i^^'' *i?lil^:^~»^. m^^;p^m '^ .Tec^l 12.1 H GOODSPEED'S MONOGRAPHS No. 3 PHOTOGRAPHIC PERMIT Not transferable. No.T".i/.-5\ From 'Vm>:V:* ^ ,n the area occupied by make sketches j^liT lliiiiliajr ) the American Army, during the period stated hjjdolli witttne pi'ovision that sll such photographs will be suMmted fo^^fpHgt ship to the Photographic Censor, Signal Cor^^-Ulorato^ P<>»^ Namur>VVV...X«**Vrvl4*~vJr?*/^ 5/ £? ^ "^ Chief/ Pass used by Mr. Hornby permitting him to make SKETCHES at the front. Lester G. Hornby A self portrait. HORNBY'S ETCHINGS OF THE GREAT WAR WITH A COMPLETE AUTHORITATIVE LIST OF ALL HIS PLATES (1906-1920) AND WITH TWO OF THE ARTIST'S LETTERS FROM THE FRONT By Louis A. Holman 1921 CHARLES E. GOODSPBED Be CO., BOSTON (Lester G. Hornby was born at Lowell, Mass., March 27, 1882. He studied at the Rhode Island School of Design, the Eric Pape School in Boston, the Art Students' Leagne in New York and under Jean Paul Laurens and others in Paris. His first plates were etched in Paris 1906. (See list, page 20.) Hornby was in Europe when the war broke out and saw the British and French mobilizations. In 1915 he was at the front with the French troops. In 1918 he was with the Americans. Although gassed he did not spend a day in the hos pital. After the Armistice was signed he had a slight attack of influenza but was able to sail for home in good health about Nov. 28, 1918.) Copyrieht 1921. by . E. GOODSPBED & CO. All riehts reserred No. i86 The Observer. Valley ofthe Marne. HORNBY'S ETCHINGS OF THE GREAT WAR ONE does not conclusively prove himself an artist by drawing correctly, or an etcher by successfully biting a plate. It is quite possible that a clear brain and nimble fingers account for both results, and that the man has no sense of art, or anything to say that warrants the using up of a single copper plate. Unfortunately these facts are not widely recognized, but Time, sitting on the bench, usually pronounces a just verdict. We have but to wait. Since Hornby some fourteen years ago began etching, there has never been a question about his ability to draw correctly, and it was soon apparent that his etchings had about them a good deal of that 5 spontaneity which the art at its heights demands. As the years have passed Time's judgment has been heard in two continents. It is that Hornby has something to say, and that, given the opportunity, he says it forcefully and artistically. The year that the war began, — to cite but one concrete in stance of this judgment, Dr. Frank Weitenkamph justly spoke of him as "an artist who is original without a shriek, without a blaze of discord. He has recognized and utilized tradition ; he has re spected the limits of his art, but has moved freely, unhampered within them." What his opportunities were before the war and how well he measured up to them is an old story. It is unnecessary to try here to add anything to what the pages of The Studio, Art and Progress, La Revue d' L'Art, Figaro, Le Temps and many other authorities have so well recounted at length, and to which the permanent collections of the national museums of art in Europe and America bear continuous witness. It was in 1918 that Hornby's great opportunity came. Throughout the whole North American con tinent, in response to a second call to arms young men were hurrying forward that they might not be wanting where duty or danger called. In the con fusion of the hour there was many a mistake, many a needless sacrifice, many a foolish assignment. But Hornby was one of the fortunate ones. He was attached to the Commission on Public Infor mation and given permission to wander at will 6 wherever there were American troops. So be passed those ever memorable summer and autumn days of 1918 in the rain, and mud, and cold (more nerve- racking, says many a soldier, than the German bombs) gathering, on this front and that, " information " that was not wired to America, or relayed to the Commandant's headquarters, but rapidly and care fully tabulated with pencil, pen and brush on small sheets of paper to be finally given to the world in the form of drawings and etchings. They con stitute a permanent record of the war to which in future years descendants of those who bore part in the conflict will turn with ever increasing pride and satisfaction. These pictorial records are original human doc uments, — stenographicall}'^ recorded, but having the valuable additional quality of being so happily put down that, per se, they delight the eye even while they carry one into the midst of the awful struggle. Sometimes Hornby made as many as fifty sketches under fire, in a single morning. No matter what the number, each was done with unhesitating, rapid sureness, by a master of brevity and of complete ness. His years of practice, with eye and hand working in perfect unison, had given him this mar velous facility. His previous long and intimate acquaintance with the country where the war was fought contributed a thousand and one facts to the final result, thus making him, perhaps, the one American artist absolutely qualified for the great task before him. 7 k-t l-'-r- No. i68 The Marne Advance at Vaux. In peaceful student-days Hornby had wandered about France, always at home with the people. Now in the days when war laid waste the country he loved, he lived with the soldiers, a soldier, par taking of their experiences through each day and night. It was by entering thoroughly into the life of Paris that he, years before, had succeeded so admirably in giving us etchings of Paris second to none among those of modern men ; by living a peasant in the land of peasants he had produced etchings of the Marne country that breathe the very 8 spirit of rural France ; so by natural sequence when Hornby lived a soldier in the army of his country men he produced a set of etchings worthy of the man and of the opportunity. The two letters of Hornby that follow speak for themselves. Though not written for publication they show the same keen-sighted, accurate observer of life and of events, that is so evident back of the wonderfully virile series of etchings. This series is, I believe, destined to stand as the greatest pictorial record of America's part in the Great War. Grand Nouvel Hotel, Ltons, July 29, 1918. I AM now in the south of France — the routine of all blesses Americans ; but don't draw the con clusion that I am a blesse; far from it. I am here with Herbert with a government car, stopping in the large industrial centers giving conferences and movies on what America is doing in the war ; and it would surprise people at home to know the wonders that are being done over here. There are miles and miles of new quais in the different ports, and our own railroads connecting them with the front. Thousands upon thousands of motor trucks of enor mous size continually going over the roads with sup plies that are being landed daily. And divisions twice the size of French and English divisions going to the front in surprising numbers and speed. The C. P. I. (Committee on Public Information) has done everything possible to faciliate my work in 9 getting sketches of the front, and I have a pass allowing me to go to any front of the army. As soon as I received this precious paper I promptly took advantage of it and left for Chateau-Thierry. I fell in with a division of Texas boys who had put in a generous supply of cigars, candy and canned goods. I rode along with them on one of the supply trucks, showing my genuine and demonstra tive appreciation for the good things that came my way. The road was occasionally shelled and the first truck to get hit was the bread truck. A lot of bread was being left in the road, so I picked up a few loaves and brought it along under my coat and threw it under the seat of our truck. And hours after when it got dark and the roads became congested, a column of infantry, mud soaked and hungry, stopped beside us and asked for bread. Well, I was glad I had salvaged that bread. I never saw bread appre ciated more. We had gone through Belleau Woods where the fighting had torn almost every tree to shreds. There were still Germans dead in the woods, and a number of hastily made graves of Americans who had turned the Boche advance into a retreat. We passed the road leading off to Chateau-Thierry, but I wouldn't have left that supply train for anything in the world. Evening was just coming on and our artillery fire, already behind us, was barking, cracking, booming and thundering as though the sky would split open from the shock and tremble of the big guns. We donned helmets, made ready our gas masks 10 and crept along between our guns and the high fagot camouflage on the enemy's side of the road. We saw the silhouettes of two avians almost directly over us fighting it out to a finish. The enemy plane had come over locating our train and the gun emplace ments. Another avion shot down from out of no where, banked abruptly, slid into a nose dive and rolled up under the enemy's tail, opening fire at him with deadly accuracy. It all happened so quickly that the falling machine had hardly struck the earth before the victor had shut off his engine and was sweeping down to within a hundred feet of our heads, leaning over the side of his machine, and reveabng the American colors on his plane. We parked on the edge of a dense woods, and regardless of the deafening batteries concealed in the trees, stretched out for a short sleep. I was awakened by the tramping of infantry. It was now pitch dark and roads were crowded ; long bedraggled columns of twos going and coming from the lines — not trenches ; no, we were away ahead of the old trenches and advancing too rapidly to make anything more than the hastiest sort of consolidations, small scooped out places that might be useful in an emergency. An enemy " star light " floated over us and lit up the countryside like daylight, then there was a long hiss punctuated by a deafening explosion, and the gas alarm was passed down the line. We wore our gas masks for a few minutes until the wind veered and took the fumes back where they came from. 12 The artillery fire of the enemy seemed to be weakening, and by early morning but few shells dropped near enough to be dangerous. With the light of dawn we found ourselves sprinkled about the wooded edge of a wheat field heavily fringed with underbrush ; the first rays of daylight pierced the misty darkness here and there ; the woods seemed to be alive with men. Groups standing, some sitting, some scrawling hasty notes ; Grenaders restlessly arranging their deadly missiles ; " chau-chad " gun ners with their automatics and ammunition. Officers were busy with brief orders and words of assurance. Mingling with the muifled clicking of rifles and bayonets an occasional sniper's shot found its way into this restless woodland quiet. Shelling had begun somewhere down the line and kept coming nearer and nearer. The whole woods was soon rent by deafening bursts of high explosives and shrap nel, and from across the wheat field the irritating rat-tat-tat of enemy machine guns now working on our first three lines — already " going over " through the wheat. Hell itself had broken loose with its smoke and smell of gasses. I was in the third line and with about six others was extremely intent upon making a full-length im pression of my figure at a point as near sea level as the wheat field had to offer. We were being sprin kled with wheat clipped off above our heads when one boy got inquisitive and raised himself to locate the gun, but dropped down again and soon broke into an oath revealing a complete mastery of technique 13 in profane expression. " S ' matter buddy? " one of us ventured. " S ' matter ! look at that ! " He held up his left sleeve showing how a machine gun bullet had just missed his arm taking a piece out of the sleeve. " And that's where I always wanted to get mine, too." A cherished vision of two months be hind the lines seemed to vanish before him forever, and he put himself down for being S. O. L. (Sure out o' luck) . By this time we had worked in on the enemies flank with grenaders and automatics, and cleaned up the objectives in that neck of the woods, taking a number of prisoners, machine guns and ammunition. The people at home cannot begin to realize the work the boys are doing. It is impossible to comprehend the courage and tenacity that this turning of the tables stands for without actually seeing them in action. The next evening I went back to Chateau-Thierry and found quarters in a hospital that had been bombed shortly before I arrived, regardless of the huge red cross painted on the roof . The 11 1th Field Hospital had just moved in and were sitting down to mess when I got there about midnight. It was the first real meal I had had for three days. I had the good luck to fall in with an officer who offered me his bed while he was on duty. This with good meals for two days and I was all set up again. Knocking about as I do one gets a pretty good cross-section on humanity. And it has been my luck to meet fine types of both officers and men with the outfits I have been with. 14 No. i8i The Advance, Romagne Chateau-Thierry now, and the C — T. I knew over here as a student presents a great note of con trast. The old hotels along the river, "The Giraffe" and "The Elephant " are now masses of ruins. My first glimpse inside " The Elephant " was by moon light coming down through shell holes in the roof. Broken plaster was piled over the chairs and billiard tables in the old "Salle" where we had had such good times in student days. Kuined houses now fall over one another and into the barricade streets. The place is deserted and silent, but for the occasional hum of an avion over head or the bombs at night. 15 [Romagne,] Bat. B 146th F. A., November 7, 1918. EVER since I last wrote to you I have been along the front of this recent advance that seems to have made the Hun shout " Kamarad ! " The infantry have had to go through all the hell the enemy had to offer here in the woods. Attack and counter attack following one another day in and day out. But things are moving steadier now. The Howitzers booming down behind the P. C. have had their tar gets advanced again and again, and are now at work on the Meuse bridges where the enemy's retreat must be considerably harrased by our heavies. Another duel is on. We have a nine-inch dud set upon a chopping block in the court, it ricochetted from one building to another, wakening an American K. P. who was taking a nap there. The dud and Tony rolled out into the court together. The dudgradually stopped but not so with Tony. Some time later he was still shaking. One of the fellows asked how he felt ; " Fifty years old, — and this morning I was only twenty-five." During the first days of the drive we had warm autumn weather ; and along the roads in the morning one could look off across the trench scarred hills north of the Argonne and imagine perfect hunting days. Yesterday I saw a covey of young quail whirr-r up out of the dusty shell-torn bushes along the roadside. Nov. 8. Now we are covered with mud and have been for four days, but this offers certain advantages 16 No. iSz After the Attack At a Bridge near Romagne by way of camouflage for one has simply to embrace the landscape — you don't even have to be told when, and one blends perfectly with the surroundings. Nov. 9. We went back to Cunel this morning and saw in the roof and wall of the old farm house shel tering the P. C. one place where two nine-inch shells went through the same hole, during the artillery duel we had heard going on above us. The Captain re marked, "They must have our range." No one dis puted this conclusion. But there is a certain feeling of relief now for the firing from across the river has become very intermittent. Report has come in, that we have the enemy's main arteries of communication under fire ; and every thing indicates that it must be so. For the last two nights we have had no visits from the bombers. " Light out " has gone around a few times, and everyone becomes silent and listens for the uneven hum of an enemy plane. Orders have come for the outfit to get in traveling position ; the guns are being pulled up along the road and we expect to advance in the night. I was going to stay behind for awhile, but it looks as though it would be more interesting up here. There are articles by Mr. Hornby on his war experiences in the Century, Dec. 1914, and the Outi,ook, Aug. 30, 1916. 18 No. lyj Seicheprey 1, 5 ip,,i., * SEICHEPREY A handful came to Seicheprey When winter woods were bare When ice was in the trenches And snow was in the air The foe looked down on Seicheprey And laughed to see them there. The months crept by at Seicheprey The growing handful stayed With growling guns at midnight ; At dawn, the lightning raid. And learned in Seicheprey Trenches How war's red game is played. September came to Seicheprey ; A slow-wrought host arose And rolled across the trenches And whelmed its sneering foes And left to shattered Seicheprey Unending, sweet repose. Capt. joseph mimcs hanson. •Sent to Mr. Hornby in ms. Seicheprey together. by the author, after they had visited 19 COMPLETE LIST OF THE ETCHINGS OF LESTER G. HORNBY. Abbreviations Z, of C. — In Permanent Collection of the Library of Conurress, Washington N.P.I,.— " " ]\ Newark Public Library B. M. of P.A. — " " " Boston Museum of Fine Arts C.A.I.— " " " Chicago Art Institute V. and A. M.— " Victoria and Albert Museum, S. Kensington, London Hornby is also well represented in the National Museums of Germany and France. Seventy-five per cent of the etchings are out of print. Fifty per cent of the plates have been destroyed. The figures following the date give the whole number of impressions made. PARIS The Soul of a City. Mr. Hornby's etchings and drawings have captured the poetry as well as the '¦'character" of Paris. Mr. Hornby is evidently a possesser of a variety of gifts working in unusual har mony, and his equal mastery of various styles and media is remarkable. The romance of old buildings on the He de la Cite, the bohemianism of " Le Rat Mort, ' ' the elegance of the Bois, the quaint " character " of street vendors, small shopkeepers and funny, good old sotHs enjoying a play of La Gaite. Mr. Hornby is equal to them all. No better pictures of Paris and Paris life have ever been made, RICHARD LE GALLIENNE in the NEW YORK TIMES. 1 Parisian Cockers 1906 10 2 C16itre St. Honorg "8 Salon, 1907 The technique of etchings seems to have presented little difficulty to him, for within a very brief period he had so familiarized himself with its intricacies as to be able to produce a series of plates which the Societe des Artistes Francais found sufficiently meritorious to in clude in their annual Salon. The same year (igoj) the Salon d' Automne paid the same compliment to his skill. — THE STUDIO, LONDON. 3 Vieux Passage, Palais Royal 1906 18 4 Rue du Sabot ' ' 8 Salon, 1907 5 Canal St. Martin " 8 Salon, 1907 6 St. Nicolas du Chardonnet ' ' 6 7 Passage St. Pierre " 18 L. of C. 8 Rue Madame ' ' 8 9 Porte de la Cour du Dragon ' ' 8 20 10 Little Shops, Rue de Vaugirard 1906 6 L. of C. 11 Vieux Passage, Rue de Vaugirard ' ' 8 L. of C. 12 Vieux Hotel de Sens 14 13 Old Court, Rue Vercingetorix " 30 L. of C. 14 Rue de L'Hotel de Ville 20 15 Rue Eginhard ' ' 30 Salon, 1908 16 Rue du Sabot (Evening) ' ' 20 Salon, 1907 L. of C. ' ' Rue du Sabot " is an effective night scene in Paris. as is the little plate entitled " Parisian Cochers." The effects gained by means of ihe retroussage in these plates are very powerful, A. J. PHILPOTT in the BOSTON GLOBE. 17 Rue du Rennes 1906 Published in la revue de l'art anciennb ET MODERNS PARIS. LA REVUE DE L'arT speaks of Mr. Hornby, " — dont la concision nous etonne, nous autres, Latins bavards." 18 LaModfele 1906 10 GREAT BRITAIN 19 In Happy Valley. Llandudno, Wales 18 20 Welsh Farmhouses. Llan dudno, Wales " 18 21 Blackwall Beach 10 22 The River Tyne at Newcastle 12 L. of C. A poetic little print is the one entitled " The River Tyne, Newcastle. ' ' It looks almost as if Turner might have done it, — A. j. P. PARIS 23 Caf6 du Rond Point 1907 50 Salon, 1907 L. of C, N. P. L. Turning from these to the sketches made in Paris — in old Paris — one begins to comprehend the versatility of Mr, Hornby's sympathies andgenius. Take the little plate entitled " Cafe du Rond Point," It is delight fully sketchy and suggestive, both in the character ofthe architecture and the life. It is well balanced as a com position by means of a broad street foreground, and it is bizarre in its luminosity, — A. J. P. 21 24 The Little Balconies, from my Studio 1907 60 Afler living in a city for a long time, one reaches a point where one no longer really sees tt. The great value of etchings and drawings such as these is that they make us see and appreciate the thousand and one beauties of familiar and charming corners of old Paris, where we used to take our walks when we were young, in the days when we were wise enough to take the time to idle. Hornby takes us again through these pleasant and re freshing streets. We find the narrow balconies, the curious passage-ways, the little restaurants of the Latin Quarter and we realize better the wealth of charm ofthe most human of capitals and hospitable of cities. LOUIS THOMAS in LA FRANCE. 25 Quai Aux Fleurs 1907 60 The immediate rendering of the theme, without any superfluity of detail, into a work of art, PAUL CHAUVET, JOURNAL DE L'ALANTIQUH, PARIS. 26 Boulevard Montparnasse 1907 15 27 Passage St. Paul " 40 28 Au Jardin du Luxembourg " 8 L. of C. 29 Palais du Luxembourg " 11 Salon, 1908 30 Le Pont Marie ' ' 12 31 St. Nicolas des Champs ' ' 12 Salon, 1908 32 A la Gait6 Montparnasse ' ' 60 33 Charenton " 15 SPAIN 34 Little Spanish Wine House ' ' 30 35 In Old Toledo " 30 One ofthe richest plates in the entire collection is one made in Spain, entitled "In Old Toledo." In this plate you feel the strength ofthe architectural pile, and at the same time there is all the spell and mystery in the tone values. The accents are strong, but the tones are all rich and deep, — A. J. P. 36 Burgos 1907 30 37 Wine House in Moonlight ' ' 30 38 Gypsy Dancer, Seville • ' 30 39 Paseo de San Sabastian ' ' 30 40 Old Spanish Doorway, Seville ' ' 20 41 Street to Plaza de Zocodover, Toledo " 30 22 HOLLAND42 Rotterdam Canal, Twilight 1908 50 43 Dutch Fishing Boats ' ' 50 44 DeUt " 60 Such rapid impressions followed by instantaneous com position, account for Hornby's excessive lightness of touch. PAUL CHADVET VENICE 45 Rainy Sunday at San Marco, Venice 1908 60 46 In the Guidecca l( 30 47 Canal in Venice " 40 48 Ponte di Rialto " 18 49 Souvenir de Venice ( ( 40 50 Cologne from the Rhine *' 50 FRANCE 51 Passage des Patriarches (1st state) ( i 18 B.M.ofF.A. 52 Passage des Patriarches (2nd state) 1919 60 B.M.ofF.A. 53 Market Day on Boulevard Edgar Qninet 1908 18 54 La Lettred'Amour '* 18 Salon, 1909 5556 5758 59 60 ' Little Balconies," "La Leitre d' Amour " and the charming " Quai aux Fleurs " all invite description, so tellingly do they give us not only the familiar outlines of these picturesque localities, but the atmosphere replete with human interest, which envelopes them. Seldom does he give us a plate in which this interest is lacking . And it is in this comprehensive outlook that much of the strength of Mr, Hornby' s plates He ; this keen interest in the life ofthe people combined with forctful powers of ex pression. These are of the qualities that combine to make the great etcher — MARIE BROUETTE. Swiss Chalets 1908 18 Aux Ambassadeurs ' ' 30 The lady of "¦Aux Ambassadeurs," — the art oj omission, — M. BROUETTE. A Montrouge 1909 24 Caf6 Julien-Rue Mouffetard " 18 Salon, 1909 Le Gros Chou ' ' 18 L'Hiver dans le Jardin du Luxembourg ' ' 60 Salon, 1909 C. A. I. 23 Again in " L'Hiver au Jardin du Luxembourg" a new rendering is given to an ofl repeated corner. The Cour des Retnes is shown with the outlines of the Palais in the distance. It is the children's playground, but covered with the snows of winter and deserted with the change of seasons. To be sure one small maiden is seen on the highway, but led by a maternal hand, every line of the alert, little figure tells us where there will be no loitering by the way and that weightier matters have replaced the careless joys of summer . The vacant chairs reminiscent of as many charming little faces and their attendant " Nou-nous," gay with variegated ribbons line the Circle, while in the foreground some dozen sparrows, " vrais gamins de Paris," alone seem glad te linger, — MARIE BROUETTE. 61 Rainy Day, Pont Neuf 1909 25 N. Y. P. L. The Pont Neuf is given a new and delightful expres sion. Incited more by the historic glamour which rests over the oldest bridge in Paris, than by its architectural beauties, it is made the setting for a plate in which human interest predominates. It is the Pont Neuf on a rainy day, near to the hour of twilight. Some half dozen figures are hurryini; onward through the driving rain. In the long line of buildings on the Quai, Mr. Hornby has given us a splendid bit of architectural drawing, while the handling of stem and branch to the right strikes a happy note in an extremely well balanced plate. — MARIE BROUETTE. 62 Ruedel'&olePolytec 1909 63 Passage de la Petite Boucherie " 64 MaisonRomain,JourdeMarch6 " 65 Carrefour de la Croix Rouge ' ' 66 Au Rat Mort TUNIS67 Inthe01dPort,Bizerte, Tunis " 30 Since he came to Paris in igo6 and started studying European life, his talent and taste have taken him to an immense variety of scenes, from Tunis in the South to the top of Scotland in the North, Cheerful and happy in the shows of life, wiih a tremendous amount of vitality, Hornby has now made a name for himself not only in Paris where he has sho-wn his work at the Salon every year since igoj and at the Societe des Amis de I'Eau Forte, but also in England and America, PAUL CHAUVET 24 60 Salon, 1909 N. Y. P. L 60 Salon, 1909 15 15 18 68 Street in Tunis 1909 40 69 Arab Cafe ' ' 40 70 Little Shops, Tunis ' ' 40 71 Arab Musicians ' ' 40 PARIS 72 Dans le Jardin dn Palais Royal " 60 Salon, 1912 L. of C. 73 La FSte du Palais Royal 1911 25 (Plate sent to the Gazette des Beaux Art for pub lication with an article on the etcher's work just as war was declared in i<)i4. — and never heard from after — probably lost at sea.) 74 Marchande de Fleurs 1911 12 75 The Little " Rendez-Vous " " 60 Hornby's pictures, thus seen and rendered in queer nooks and corners of Paris, breathe an air of unpreju diced observation, recorded with light yet precise indica tion. The life and surroundings, figures not forming a mere staffage for the buildings, nor the latter solely a background for the figures, but all seen as parts of a picture of Paris in which houses and streets and people form a characteristic ensemble. DR. WEITENKAMPE in "am. GRAPHIC ART." 76 " Aux " 3 Bouteilles 1911 22 FRANCE 77 Le Pont, Marne " 40 Salon, 1911 78 The Goose Girl, Try-sur-Marne " 8 79 L'Eglise i Gland " 6 80 La Jardiniere, Matin, Marne " 22 Salon, 1911 His rare feeling for luminosity in atmosphere is finely expressed in a garden scene, in which an old woman and a wheelbarrow are the central features against a light backgrouud, in which swims a fine old building, — A. J. p 81 Le Matin, Gland sur Marne 1911 24 Salon, 1911 C. A. I., In other important etchings, such as " Le Matin," there is a very beautiful expression of light, and the com position is as unusual as it is charming. W. H. DOWNES in the BOSTON TRANSCRIPT. 82 Les Cochons, Try-sur-Marne 1911 6 83 La F§te ^ Pantin " 25 Salon, 1911 84 Les Blanchisseuses, Marne 25 8 Salon, 1911 10 Salon, 1911 24 4 6 12 Salon, 1911 8 28 L. of C. 26 Salon, 1911 ted in the igii Salor. — A. J- P- 4 25 Salon, 1912 22 Salon, 1913 25 27 85 Les Lavoirs Si Chateau-Thierry 1911 86 Chateau de Passy, Marne ' 87 Les Petite Maisons, Bourg- la-Reine ' ' 88 L'ArcenCiel 89 La Porte de Samois 90 Les Commferes " 91 La Porte, Moret 92 La Vieille Porte, Moret " La Vieille Porte " was exhib It is a clean, virile bit of etching, 93 La Basse Cour 1912 94 La Brise 95 La Petite Epicerie ' ' % A Trouville 97 Vieilles Maisons, Reims " Another interesting Rheims composition shows some quaint corner shops not far from the Place de la Cathe- drale which were subsequently ruined by the German shell fire, — w. H. D. 98 Cour & St. Mammes 1912 4 99 Vieille Femme Aux Champs, Marne " 25 Salon, 1912, V. & A. M. 100 Dans les Champs, Marne " 25 Salon, 1912 Dans Les Champs " is a big composition, yet very simple. The figure of the peasant woman in the fore ground and the delicate shadow that sweeps across the immediate foreground intensifies the feeling of space and of light in the composition. — A. J. P. 101 La Colline, Marne " 40 Salon, 1913 There is another somewhat similar in character in which vast masses of circular clouds — rather light — seem to be flying across the sky. The cloud forms are exquisitely drawn, and by a curious arrangement oj the lines in the clouds and the direction of the lines in the sky he emphasizes the feeling of movement, while the bent foliage through which you feel the wind blowing completes the effect on the eyes and the mind. — A. J. P. 102 Le Gamin, Marne 1912 40 103 La Petite Ferme, Normandie " 30 S. K. M. 104 Dimanche, Normandie " 24 105 Dimanche Matin, Marne " 20 S. K. M. 106 Les Boh^miens, Normandie " 24 26 107 L'Anea,laGarenne,Normandiel912 8 108 Ciel et Champs, No. 1, Normandie ' ' 18 Of the " Sky and Field" series there art nine prints, in which the subjects are virtually restricted to delicate studies of sky effects over an open country, several of them being remarkable for the luminous and silvery effects of sunlight obtained by the simplest means, — W. H. D. 109 Ciel et Champs, No. 2, Marne 1912 15 110 Ciel et Champs, No. 3, Normandie ' ' 18 llOo Ciel et Champs, No. 4, Marne " 18 111 Ciel et Champs, No. 5, Normandie ' ' 6 112 Ciel et Champs, No. 6, Normandie ' ' 4 113 Ciel et Champs, No. 7, Normandie " 18 L. of C. 114 Ciel et Champs, No. 8, Loire " 18 115 Ciel et Champs, No. 9, Normandie ' ' 18 116 Moulin Sannois ' ' 18 117 Moulin Loire ' ' 20 118 Au Bord de la RiviSre, Normandie " 60 Salon, 1913 119 Notre Dame de Paris ' ' 25 120 Ramasseuses des Fagots, Marne " 30 121 Le Ciel Pluvieux, Marne " 40 L. of C, S. K. M. " There is one plate which shows the fine freedom and certainty of the artist perhaps more than any he has done. It is a wind and rain storm passing over a low, dark landscape in which is a curved road. It is dramatic in a sense, but it is in the way that he has handled the cloud-covered sky that his genius for line is revealed. You feel the vastness of the sky and the mass of the great clouds, from some of which the rain falls in slanting sheets. And you feel the movement in the clouds which is emphasized by the value and character of the landscape." — A. J. P. 122 Le Petit Chemin, St. Michel 1912 12 123 Quai du Bassin, Boulogne " 35 Small 123a Quai du Bassin, Boulogne " 5 Before plate was cut down 27 124 Le Chanson 1912 40 125 Le Chateau i Langeais, Loire " 18 But it is in his urban compositions and his plates O) picturesque old buildings in France, especially some of those from the so-called chateau country of Touraine, that Mr, Hornby makes his most personal appeal, — w. H. D. 126 Le Chateau \ Luynes, Loire 1912 18 127 La Marne ^ Chateau Thierry ' ' 18 "Among the Marne valley subjects, one is glad to ge) another look at such admirable plates as " La Marne a Chateau Thierry." — w. H. D. There is one little plate — "Za Marne" — in which you are looking into a blazing sun well up above the horizon over a river and bridge and a quaint city on both sides of the river. Turner would have hesiiatea to attempt this in etching, for there is a quality of ir idescent luminosity in such a sky which is very difficult to indicate in line Yet Hornby has done it in this plate, but it is doubtful if it could be suggested so well had he not printed the plate himself. The composition is well balanced and the intensity of the light is suggested in all parts of the picture, — A.J. P. 128 Le Gouter, Villiers 1912 25 L. of C. 129 Le Fanage, Marne ' ' 11 1st state 130 Le Fanage, Marne " 40 2nd state . . . The later work of Lester Hornby is remarkable , In all his plates executed this year {7gr2-ij) the same distinctive energy and quality of vitality are distin guished — "THE STUDIO," Special Etching Num ber, London, 1913. 131 Le Jardin, Petit Palais Royal 1912 12 132 La FSte a St. Cloud 1913 12 133 Fin du Jour, Marne ' ' 8 134 Rue du Pont-k-Dame Renaud , Rouen ' ' 8 135 Chateau Gaillard, Normandy ' ' 6 136 Le Village, Normandy ' ' 25 137 PScheur Breton, Douarnenez 1914 30 138 A Road in Brittany • ' 20 139 La Cath^drale, Reims, July " 60 Mr, Hornby made an etching of tke cathedral at Rheims just a day or two before thefirst bombardment, and it is believed that his plate is the last one made on the spot prior to the virtual destruction ofthe monument, — W. H. D. 28 140 La Porte St. Denis, Paris 1916 24 L. of C. 141 La Porte de Valois, Palais Royal " 60 142 Vieux Quartierdel'Orphainate " 7 143 Vieilles Maisons Rue de Vaugirard ' ' 12 144 Rue des Tuileries ' ' 40 Very picturesque and choice bits of architecture seen through rarely sympathetic eyes and expressed in fine artistic terms. — a. J. P. 145 Across Pont St. Michel 1916 40 The understanding and idealising af city life, — his eye is quick to follow its manifold manifestations and his warm-hearted sympathy is equally quick to discern in the unceasing phantasmagoria of street activity, only what is essential and permanent , -PAUL CHAUVET CHICAGO 146 Site of Old Fort Dearborn 1916 18 147 West Randolph St. from the Viaduct ' ' 18 148 Rush St. Bridge " 60 149 The Market in South Water St. " 18 150 Park Row from Michigan Boulevard ' ' 40 151 The Library " 12 152 Michigan Bid. at the Art Institute ' ' 40 153 In the Stockyards ' ' 18 154 The Field Museum, Jackson Park " 10 155 State Street from Van Buren " 12 RIVIERA156 Mediterranean Fishermen ' ' 40 157 The Bay of Cannes ' ' 30 158 Street in Grasse ' ' 30 159 In the Alpes Maritimes ' ' 30 WEST INDIES AND BRITISH GUIANA 160 Coast of Trinidad near Sangre Grande 1917 40 161 On the Maraval Road, Coolie Hut, Trinidad " 40 162 West Indian Fishermen in the Trade Winds " 40 29 163164 165166 Coolie Women. Demerara, British Guiana 1917 30 In a Coolie Village, Demerara, British Guiana ' 40 The Cocoanut Grove, Dominica " 40 Barbados ' ' 30 ETCHINGS OF THE GREAT WAR The impression of the American Jront in France which Mr, Lester G, Hornby shows belong amongst the better works of art which have been produced by the war , , , You apprehend with something like ust the movement, the reality which he manages lo express, . , . His picture of life at the front is veracious. More than that, Mr, Hornby's work is fresh and personal. He is interesting where some technicians of greater resources have been commonplace, — ROYAL CORTISSOZ, N. Y. TRIBX7NK. In spite of the law which forbade a foreigner' s traveling with the troops, Hornby went from Audierne to Paris with the men who had been mobilized. He has told the story of this adventure in the CENTURY, for Christmas, igi4. Afier the United States had entered the war, Hornby came to France with the American Army in igi8 and was with the American troops who made the advance at the Marne and who fought at the battles of the Argonne and the Meuse. — LOUIS THOMAS in "la FRANCE." 167 Chateau-Thierry 1918 90 168 The Marne Advance at Vaux ' ' 90 169 An Army Smithy in the Marne Valley ' ' 60 170 Automatics and Shrapnel, Soissons ' ' 70 171 ' ' Going Over ' ' through a Wheat Field near Soissons 70 172 Along the Road near Belleau Woods 70 173 Caf6 du Theatre, Chaumont 90 174 Supply Train in the Market Place, Toul 80 174a Supply Train in the Market Place, Toul 12 1st State 175 Seicheprey, 30 80 176 Ruins along the Meuse, Verdun 1918 177 The Camouflaged Bridge, Varennes ' ' 178 The " M. P. , " Argonne 179 First Aid Station, Argonne ' ' 180 Camouflaged Auto Shelter, Cheppy ' ' 181 The Advance, Romagne " 181a " 182 After the Attack. At a Bridge near Romagne ' ' 183 Machine Gunners, Buzancy " 184 Wire Cutters, Early Morning, near Montfaucon ' ' 185 A Dog Fight in the Air, at Cunel 186 The Observer. Valley of the Meuse ' ' 187 The Post Commander's Dugout, Bantheville " 187a The Post Commander's Dugout, Bantheville " 188 The Night of the Armistice, Casino de Paris ' ' 189 The "Jump Off." Tanks with pioneer infantry and smoke. Beyond Banthe ville 190 The Americans at Chateau- Thierry ' ' 191 The Fighting Yank 192 3000 Miles from Turner's Comer ' ' 192a The Post Commander ' ' 80 80 909090 90 4 1st State 60 30 (Sold only with complete set) 90 7080 90 4 1st State 6050 6040 1012 MASSACHUSETTS 193 194 195196 197 198 Skating in Gloucester Harbor 1919 Rocky Neck in Snow In Gloucester Harbor Gould's Bridge, Ipswich 50 12 12 40 40 50 1st State 2nd State 3rd State 31 BOSTON, 1920 One may grasp the spirit of old Boston more securely than by visiting the places pictured. Only on " rare October day at sunset does the spirit of the past peer forth from among the shadows around the landmarks of Old Boston, and then it is for a mo'ment only and for the eyes of dreamers. It is at such a moment and with such eyes that Mr, Hornby has caught Old Boston, — BOSTON HERALD. 199 Faneuil Hall from Quincy Market 40 200 Quincy Market 40 201 Quincy Market from Merchant's Row 40 202 State Street .Subway Entrance 30 203 Park Street Church from the Common 40 204 Custom House Tower from the Public Gardens 40 205 Palais des Justice 1920 250 Complete edi tion bought by the Chicago Society of Etchers for its members. No. jy4 Supply Train in the Market Place, Toul THE GOODSPEED MONOGRAPHS Louis A. Holman, Editor Of interest to all lovers of prints and of books, I . Arthur William Heintzelman, Etcher 2. Sears Gallagher's Etchings of Boston 3 . Hornby's Etchings of the Great War (/k Preparation) 4. Rembrandt and his Etchings 5. The Work of Wenceslaus Hollar. Fro'm the German of Gustav Partkey 6. Early English Engraved Portraits By Alfred Whitman Others to follow 25 cents each, postpaid GOODSPEED'S BOOKSHOP, 5a Park St. BOSTON