YALE UNIVERSITY LIBRARY

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OF
PAINTER ETCHINGS AND
ENGRAVINGS
OF THE XIX CENTURY

THE METROPOLITAN MUSEUM
OF ART
EXHIBITION OF
PAINTER ETCHINGS AND
ENGRAVINGS
OF THE XIX CENTURY
CONSISTING MAINLY OF
LOANS
FROM PRIVATE COLLECTIONS

NEW YORK
M C M X V I I

Copyright by
The Metropolitan Museum of Art
April, 1917

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IV

LIST OF LENDERS
Miss Elizabeth Achelis
Miss Margaret Achelis
William Loring Andrews
H. H. Benedict
Mr. and Mrs. George W. Davison
Theodore de Witt
Charles B. Eddy
Hamilton Easter Field
William B. Osgood Field
A. E. Gallatin
Mr. and Mrs. Robert Hartshorne
Mr. and Mrs. W. M. Ivins, Jr.
E. G. Kennedy
Howard Mansfield
Van Horne Norrie
Henry McMahon Painter
Mr. and Mrs. Edward Robinson
S. S. Rosenstamm
Paul J. Sachs
Albert W. Scholle
Mrs. John W. Simpson
Felix M. Warburg
J. Alden Weir
William A. White
Edwin W. Winter
Grenville Lindall Winthrop

INTRODUCTION
The present exhibition, while making no pretense of
being retrospective in the sense of presenting a careful
survey of the last century, nevertheless contains repre
sentative groups of painter etchings and engravings by a
number of the better known artists of the period, and
thus makes possible an easy comparison of their work
and personalities.
It contains prints by several painters, prominent
among them Blake and Goya, the major or a large part
of whose activity lay in the eighteenth century, and it
contains none by a great many living artists who worked
in the nineteenth century. The eighteenth-century
artists who are included produced the greater number
of their prints in the nineteenth century, while the living
men who are not included have in most instances done
the greater part of their work in the present century.
It is hoped at a future time to have an exhibition of
contemporary work in which their plates will be shown.
Roughly speaking, the prints shown may be divided
into two categories: those made by men whose principal
business was etching and who therefore enjoyed a
thorough command of the more meticulous aspects of
the special technique, and those made more or less as
the by-play of men whose serious business was painting
or some other art. The etchings made by the latter
class of artists are distinguishable from the others by a
certain dash and vim, a more pronounced display of
personality, and, generally, by better draughtsmanship
VII

The Metropolitan Museum of Art
and far greater expressive power. Also, it must be
noted, they have in most cases a tendency not to be
too nice in their use of process. Rodin, for instance,
never made an etching, his very few dry points being
quite casual and almost accidental, but nevertheless
such things as his two portraits of Victor Hugo and that
of Antonin Proust will, by their sheer draughtsmanship,
always be considered among the very small number of
great engraved portraits.
The word "painter" when applied as an adjective to
etchings and engravings denotes prints the artistic
value of which is primary and independent and not
secondary or derivative. Such prints may or may not
be reproductive, in the sense that they are copies of
paintings or other works of art, although as a rule they
are made either directly from nature or from their
maker's own original designs. Thus, among the pro
fessional etchers, Haden made several, and Bracque-
mond a good many, etchings after paintings by other
men, while Meryon not only copied prints by the masters
of the seventeenth century but reproduced a number of
drawings and miniatures. Of the occasional etchers,
Manet and Daubigny, and later Zorn, have frequently
made etchings after their own paintings, Zorn in at
least one instance, that of the very well-known The
Toast, making his etching from a photograph pf his
painting and not from the painting itself. Not infre
quently two men have worked on the same plate, one
of them playing a subordinate part subject to the di
rection of the other. Many of Turner's etched plates
for his Liber Studiorum were mezzotinted under his
immediate supervision by other men, notably Charles
Turner, while the mezzotints by David Lucas which are
shown were done under Constable's eye and subject to
his constant correction and criticism, although Constable
himself seems not to have worked upon the plates them
selves. In the case of several of the etchings by Corot
and Millet those artists did not themselves apply the
VIII

Introduction
acid to the plates, that delicate operation being per
formed for them by Bracquemond. The one outstand
ing fact about the painter etching or engraving is that
somehow, whether or not actually reproductive in the
sense just alluded to, and whether or not the plate from
which it was printed was actually worked upon by the
artist immediately responsible for its design, it has the
quality of being itself a real thing and not merely a
reproduction. Sometimes, of course, it is difficult to
say whether or not the word "painter" should be applied
to a print, and several instances on the border line
will be found in this exhibition.
The processes used in the production of the prints
on the walls are many and complicated, in numerous
instances three and four different methods having been
used on the one plate. From a purely technical point of
view, every picture printed from an incised metal plate
is an engraving. There are many methods of incising
a plate, those most usually referred to being etching,
aquatint, stipple, dry point, mezzotint, and line en
graving. Pure dry points, mezzotints, and line engrav
ings are produced without the aid of acid. In line engrav
ing (see Gaillard's L'Homme a l'Oeillet) the lines are
made with a plough-shaped instrument called a burin,
which is held in the palm of the hand and pushed along
the top surface of the plate, so that it cuts out a metal
shaving. The earliest mezzotints appear to have been
made by rolling something like a rat-tail file over the
copper plate, thus covering it with a series of little holes
and minute projections, which were afterward smoothed
away in the places which it was desired should not
hold the ink in printing. Modern methods of mezzo
tinting (see the Lucas prints), while much improved
and quite different so far as concerns the tools used,
produce essentially the same results. Dry points (see
Whistler's Weary, Haden's Windmill Hill, and the
untinted plates by Miss Cassatt) are made by scratching
the surface of the plate with a sharp piece of steel,
IX

The Metropolitan Museum of Art
which is held like a pencil. This process is like the
mezzotint in that it not only cuts a line below the sur
face of the plate but also throws up a burr. From its
ease and simplicity, for it is the simplest of all processes,
it has been much used by the painter etcher, and its
results are commonly included under the head of etching.
It is not a satisfactory method from an economic
point of view, as a plate prepared in this way will yield
but very few impressions. A pure etching (see the
plates by Jongkind, Manet, and Millet) is made by
covering the plate with a thin acid-resisting coat of
wax and other substances, called a ground, upon which
the draughtsman draws with a hard, pointed tool,
usually referred to as the etcher's needle. The needle
in passing to and fro removes the ground from the surface
of the copper in thin lines. After the drawing is com
pleted, the plate is subjected to any one of a number
of acids, called mordants, which bite away the surface
of the copper exposed by the needle. When the lines
have been bitten deeply enough, the plate is removed
from the acid and the ground is cleaned away. The
lines thus made, like those made by the burin, are sunk
beneath the surface of the plate. Stipples and aqua
tints are etchings, differing from ordinary etching in
being tone rather than line processes. In stipple, a
process rarely if ever used in a painter etching or engrav
ing, the grounded plate is covered by hand with a minute
series of points. In aquatint (see Goya's Por que fue
sensible) a ground is used which reticulates, so that when
looked at under the microscope it resembles a cracked,
sun-dried mud flat. The naked surface of the copper
which appears in the minute striations between the cakes
of ground is attacked by the acid when the plate is put
in the bath. As soon as any part of a stipple or aqua
tint has been sufficiently bitten, the plate is removed
from the acid bath, that part is coated over with an acid-
resisting surface, called stopping-out ground or varnish,
and the plate again put in the acid. This process is re-

Introduction
peated until all parts have been properly bitten. The
more delicate gradations of tint are produced by burn
ishing. A soft-ground etching (see the Girtins) is made
by spreading a suet-like ground on the plate over which
a piece of paper is then stretched. The drawing is made
on the paper with a pencil, and when it is finished the
paper is removed, carrying away with it from the plate
more or less of the ground according as the pencil has
been pressed into the paper. The plate is then bitten
like an ordinary etching. A number of nineteenth-
century etchers have not disdained to have photogravures
made from their drawings, subsequently reworking the
photogravure plates themselves.
To print a plate prepared in any of these ways, it is
smeared over with ink which is well rubbed into the
lines, after which the surface of the plate is wiped
more or less clean, in such a manner that the ink is
left in the sunk lines and clinging about the various
projections from the surface of the plate. The inked
plate is then placed on the bed of the press, a piece of
moistened paper is placed upon it, a blanket is laid
over the paper, and the whole run through the press,
which in essentials resembles a wash wringer. The
cylinder of the press acting upon the blanket drives the
water-soaked paper down into the ink-filled lines below
the surface of the plate. In prints such as those of
Whistler's Black Lion Wharf, the ink was very cleanly
wiped off the surface of the plate, so that the only thing
that printed was the ink in the lines. In Whistler's
Nocturne, however, a great deal of ink was left on the
surface of the plate, as well as in the few lines. Much
of the pleasing effect of an etching depends on the skill
of the printer in wiping the plate.
In addition to the effects that are produced by leav
ing ink on the surface of the plate, many artists retouch
their prints, Whistler's The Boy, for instance, showing
clearly where he worked over it with a brush laden
with a greenish gray water color. In the Lucas mezzo-
XI

The Metropolitan Museum of Art
tint called Summerland, Rainy Day, the indication of
rain has been produced by scratching away the black
ened surface of the print with a knife. In Palmer s
Opening the Fold a similar result has been achieved by
touching up the print with Chinese white. Some
prints by Miss Cassatt are shown in which elaborate
color effects have been produced by printing several
aquatint plates charged with different colored inks one
after the other on the same piece of paper. The fullest
and richest color was achieved by William Blake whose
plates were etched in reverse so that the lines stood up
above the surface of the plate instead of lying below it.
These plates he printed in one or more colors, subse
quently heightening the impressions with water color,
and in some instances with gold, as in the plates from
the Songs of Innocence and of Experience here exhibited.
There has been, and doubtless will continue to be,
much discussion as to whether certain prints are etchings
or are not etchings, there seeming to be some magic in
the appellation which when given to a print entitles it
to a respect which otherwise it does not enjoy. The
fundamental fact, however, is that the distinction be
tween an etching and an engraving is, owing to the cus
tomary mixture of processes used on copper plates,
almost impossible to draw. Meryon's prints are always
thought of as etchings, and yet Haden, a learned con
noisseur and student and a friend of Meryon's, refused
to call him an etcher, styling him "artist engraver,"
for the reason that such a large part of the work on his
plates was produced by the use of engraving tools. As
Beraldi, who wrote the great canonical book about
nineteenth-century prints, which, incidentally, contains
a great deal of witty and entertaining reading, has pointed
out, if an engraver and an etcher are given the same
design to copy, the engraver will produce an "engraving,"
a great part of which has been made by the technical
etching process, and the etcher will produce an "etching"
an important part of which is technically line engraving.
XII

Introduction
In fact, the familiar "engraved" pictorial vignettes upon
our bank notes are almost all etching — certainly with no
more engraving in them than there is in such a plate
as Meryon's Morgue, which no one ever thinks of as
an engraving. Many of the Goyas exhibited are mix
tures of etching, dry point, engraving, and aquatint,
and it is impossible to class them under any single tech
nical heading, while Blake's Elijah in the Fiery Chariot
almost defies a technical description.
The chief concern of the person who looks at prints
for pleasure should be not by what process each was
made, but whether or not it is a good picture. Process,
being only a means to an end, is and should remain an
entirely secondary thing, a matter to be considered
seriously, if at all, only by those who are themselves
engaged in the making of pictures — a proposition em
braced in Whistler's axiom to the effect that art in its
refinement requires the concealment of its means.
Legros and Blake, at either end of the last century,
said that etching or engraving was nothing more than
drawing on copper, and Blake went on to say that he
who draws best engraves best.
W. M. Ivins, Jr.

xiii

CATALOGUE
NUMBERS I TO 122 WILL BE FOUND IN THE FIRST
GALLERY, 123 TO 248 IN THE SECOND GALLERY,
AND 249 TO 359 IN THE THIRD GALLERY

WILLIAM BLAKE
1757-1827
19-24, Twenty-four pages from the Songs of In-
38-43. nocence and of Experience
Rogers Fund, 19 17
25. "And I only am escaped to tell thee" (From
The Book of Job)
Gift of Edward Bement, 1917
26. "So the Lord blessed the latter end of Job"
(From The Book of Job)
Gift of Edward Bement, 1917
27. "Every one also gave him a piece of Money"
(From The Book of Job)
Gift of Edward Bement, 1917
28. "Let the Day perish wherein I was Born"
(From The Book of Job)
Gift of Edward Bement, 19 17

The Metropolitan Museum of Art
34. "Thus did Job continually" (From The Book
, °f Job) Gift of Edward Bement, 191 7
35. "When the morning Stars sang together . ."
(From The Book of Job)
Gift of Edward Bement, 1917
36. "Thou hast fulfilled the Judgment of the
Wicked" (From The Book of Job)
Gift of Edward Bement, 191 7
37. "I am Young & ye are very Old . . ." (From
The Book of Job)
Gift of Edward Bement, 191 7
33. An illustration from the Song of Los
Lent by W. A. White
30. An Aged Man Addressing a Multitude
Lent by W. A. White
29. The Accusers of Theft, Adultery, and Murder
Lent by W. A. White
32. Frontispiece of Visions of the Daughters of
Albion Lent by W. A. White
31. Elijah and the Fiery Chariot
Rogers Fund, 1916
RICHARD PARKES BONINGTON
1801-1828
118. Bologne Lent anonymously 2

Painter Etchings and Engravings
FELIX BRACQUEMOND 1833-1914
192. Trembles au Bord de la Seine (B. 218, 2ndjstate)
Lent by Mr. and Mrs. G. W. Davison
202. Ebats de Canards (B. 221, ist state)
Lent by Mr. and Mrs. G. W. Davison
198. Le Vieux Coq (B. 222, 4th state)
Lent by Mr. and Mrs. G. W. Davison
199. Les Mouettes (B. 223, 4th state)
Lent by Mr. and Mrs. G. W. Davison
193. Canards Surpris (B. 778, 7th state)
Lent by Theodore de Witt
194. Vanneaux et Sarcelles (B. 175, 2nd state)
Lent by Theodore de Witt
214. Portrait of Meryon (B. 77)
Lent by J. Alden Weir
196. Le Corbeau (B. 115, 1st state)
Lent by E. G. Kennedy
200. Le Canard (B. 116, 3rd state)
Lent by E. G. Kennedy
203. L'Hiver (B. 180, 3rd state)
Lent by Howard Mansfield
197. Alfred de Curzon (B. 25)
Lent by Howard Mansfield
201. Jules Didier (B. 29)
Lent by Howard Mansfield
3

The Metropolitan Museum of Art
205. Sarcelles (B. iii, 3rd state)
Lent by Theodore de Witt
195. Le Lievre (d'apres A. de Balleroy) (B. 277)
Lent by Howard Mansfield
204. La Mort de Matamore (B. 177, 4th state)
Lent by Hamilton Easter Field
FELIX BUHOT
1 847-1 898
308. La Falaise Lent by Howard Mansfield
309. Les Oies Lent by Howard Mansfield
310. Les Petites Chaumieres (B. 149)
Lent by Howard Mansfield
311. Les Fiacres (B. 123)
Lent by Howard Mansfield
MARY CASS ATT
(contemporary)
328. Mother and Child
Lent by Mrs. Robert Hartshorne
329. Mother and Baby
Lent by Mrs. Robert Hartshorne
313. Mother Nursing her Child
Lent by Mrs. Robert Hartshorne

Painter Etchings and Engravings
331. Child Dressing
Lent by Mrs. Robert Hartshorne
314. Young Woman at Table
Lent by Mrs. Robert Hartshorne
321. The Garden Wall
Lent by Mrs, Robert Hartshorne
312. Preparing for the Bath
Lent by Mrs. Robert Hartshorne
324. The Baby's Bath
Lent by Mrs. Robert Hartshorne
326. The Kiss (trial proof)
Lent by Mrs. Robert Hartshorne
316. The Toilet (trial proof)
Lent by Mrs. Robert Hartshorne
330. Mother and Child
Lent by Mrs. Robert Hartshorne
317. The Coiffure Gift of Paul J. Sachs, 1916
315. The Naked Baby
Gift of Paul J. Sachs, 1916
327. The Letter Gift of Paul J. Sachs, 1916
325. The Dressmaker Gift of Paul J. Sachs, 19 16
318. La Femme au Perroquet
Gift of Arthur Sachs, 1916
5

The Metropolitan Museum of Art
320. La Bonne et l'Enfant
Gift of Arthur Sachs, 1916
322. Bibi Joue Gift of Arthur Sachs, 1916
319. Mother and Child
Lent by Mrs. Robert Hartshorne
323. Mother and Child
Lent by Mrs. Robert Hartshorne
THEODORE CHASSERIAU
1819-1856
115. Scene from Othello
Lent by Hamilton Easter Field
114. La Mere et l'Enfant (B. 24)
Lent by Hamilton Easter Field
NICOLAS FRANCOIS CHIFFLART
a
1825-I9OI
190. An Allegory Lent by Hamilton Easter Field
191. The Draughtsman Lent by Hamilton Easter Field
J. B. C. COROT
1796-1875
Si. Paysage d'Italie (D. 7, ist state)
Lent by Theodore de Witt
6

Painter Etchings and Engravings
78. Ville d'Avray, Le Bateau sous les Saules
(D. 2, 2nd state)
Lent by Theodore de Witt
78. Ville d'Avray, L'Etang au Batelier (D. 3, 2nd
state) Lent by Theodore de Witt
80. Environs de Rome (D. 6, 3rd state)
Lent by Theodore de Witt
79. Dans les Dunes (D. 9, 1st state)
Lent by Theodore de Witt
JOHN SELL COTMAN
1 78 2-1 842
9. Postwick Grove, Norfolk
Lent anonymously
11. Twickenham Lent anonymously
12. Whitby Lent anonymously
10. St. Botolph's Priory, Essex
Lent by Hamilton Easter Field
JOHN CROME
1768-1821
53. Road through Woodland
Gift of Paul J. Sachs, 1917
52. Road Scene, Trowse Hall near Norwich
Rogers Fund, 19 17

The Metropolitan Museum of Art
CHARLES FRANCOIS DAUBIGNY
i 8 17-1878
76. La Seine a Port Morin (B. 115)
Lent by Theodore de Witt
75. La Vendange (H. 107, ist state)
Lent by Theodore de Witt
66. Le Marais aux Cigognes (H. 77)
Lent by Theodore de Witt
69. Les Cerfs sous Bois (H. 75)
Lent by Theodore de Witt
68. La Pecherie (H. 69)
Lent by Dr. H. McM. Painter
77. Les Vaches au Marais (H. 76)
Lent by Dr. H. McM. Painter
64. L'Approche de l'Orage (H. 44)
Lent by Dr. H. McM. Painter
70. Le Bac de Bezons (H. 74, 1st state)
Lent by Dr. H. McM. Painter
73. Le Printemps (H. 81, ist state)
Lent by Howard Mansfield
65. L'Arbre aux Corbeaux (H. iio)
Lent by Howard Mansfield
72. Le Lever du Soleil (H. 61, 2nd state)
Lent by Dr. Van Home Norrie
71. Le Gue (H. 108)
Lent by Howard Mansfield

Painter Etchings and Engravings
67. Le Grand Parc a Moutons (H. 86, ist state)
Lent by Howard Mansfield
74. Pommiers a Auvers (B. 116)
Lent by W. M. Ivins, Jr.

EUGENE DELACROIX
1798-1863
II3. LlONNE DECHIRAfSIT LA PoiTRINE D'UN ArABE
(D. 25, ist state)
Lent by E. G. Kennedy
119. Tigre Couche dans le Desert (D. 24, 3rd state)
Lent by E. G. Kennedy
116. Un Seigneur du Temps de Francois Ier (D. 15,
5th state) Lent by Hamilton Easter Field
112. Juive d' Alger (D. 18, ist state)
Lent by W. M. Ivins, Jr.
CLAUDE FERDINAND GAILLARD
1834-1887
189. Dom Prosper Gueranger (B. 38)
Lent by A. W. Scholle
187. Soeur Rosalie (B. 48)
Lent by A. W. Scholle
188. L'Homme a l'Oeillet (B. 25)
Lent by Howard Mansfield

The Metropolitan Museum of Art
ANDREW GEDDES
1783-1844
108. Portrait of Nasmyth (L. io)
Lent by Howard Mansfield
106. Portrait of his Mother (L. i)
Lent by Howard Mansfield
107. Peckham Rye (L. 31)
Lent by Howard Mansfield
109. Hampstead — Cane Wood (L. 33)
Lent by C. B. Eddy
THOMAS GIRTIN
1775-1802
5. View of the City from the Pont Marie (prior
to the aquatint) Lent anonymously
4. The Tileries and Bridge from the Quai
d'Orsay (prior to the aquatint)
Lent anonymously
2. The Waterworks at Marly (prior to the aqua
tint) Lent anonymously
3. View of the Pont Neuf and Notre Dame
(prior to the aquatint) Lent anonymously
6. The Louvre and Bridge of the Tuileries from
the Pont Neuf (prior to the aquatint)
Lent anonymously 10

Painter Etchings and Engravings
8. La Rue St. Denis (prior to the aquatint)
Lent anonymously
FRANCISCO GOYA Y LUCIENTES
I 746- i 8 28
90. Las rinde el Sueno (No. 34 of the Caprichos)
Lent by William B. Osgood Field
95. Por que fue sensible (No. 32 of the Caprichos)
Lent by William B. Osgood Field
93. Que viene el Coco (No. 3 ofthe Caprichos)
Lent by William B. Osgood Field
94. Que se llevaron! (No. 8 ofthe Caprichos)
Lent by William B. Osgood Field
88. Ni asi la distingue (No. 7 of the Caprichos)
Gift of Walter E. Sachs, 1916
91. Bien tirada esta (No. 17 ofthe Caprichos)
Gift of Walter E. Sachs, 1916
92. Mala noche (No. 36 of the Caprichos)
Gift of Walter E. Sachs, 1916
96. A caza de dientes (No. 12 of the Caprichos)
Gift of Walter E. Sachs, 1916
97. Bellos consejos (No. 15 ofthe Caprichos)
Gift of Walter E. Sachs, 1916
100. Tauromaquia, No. 20
Gift of Walter E. Sachs, 1916
11

The Metropolitan Museum of Art
105. Tauromaquia, No. 10
Gift of Walter E. Sachs, 1916
101. Tauromaquia, No. 8
Gift of Walter E. Sachs, 1916
99. Tauromaquia, No. 16
Gift of Walter E. Sachs, 1916
103. Tauromaquia, No. 26
Gift of Walter E. Sachs, 1916
98. The Second Prisoner (L. 257)
Lent by C. B. Eddy
g _g Five prints from the Proverbs
gn. Lent anonymously
102. Barbaros (No. 38 ofthe Miseries of War)
Lent anonymously
82. Y no hai remedio (No. 15 ofthe Miseries of War)
Lent anonymously
104. No se puede mirar (No. 26 of the Miseries of
War) Lent anonymously
84. Tampoco (No. 36 ofthe Miseries of War)
Lent anonymously
FRANCIS SEYMOUR HADEN
1818-1910
271. Thames Fishermen (H. ii, 1st state)
Lent by Mr. and Mrs. G. W. Davison
12

Painter Etchings and Engravings
257. Egham (H. 15, trial proof B)
Lent by Mr. and Mrs. G. W. Davison
275. Windmill Hill, No. i (H. 163, ist state)
Lent by Mr. and Mrs. G. W. Davison
261. Sub Tegmine (H. 17, ist state)
Lent by Mr. and Mrs. G. W. Davison
255. Egham Lock (H. 16, trial proof C)
Lent by Mr. and Mrs. G. W. Davison
267. The Little Boat House (H. 177, ist state)
Lent by H. H. Benedict
262. The Assignation (H. 109, 1st state)
Lent by H. H. Benedict
273. Little Calais Pier (H. 98, ist state)
Lent by H. H. Benedict
264. An Early Riser (H. 240, 2nd state)
Lent by Dr. Van Home Norrie
266. The Breaking Up of the Agamemnon (H. 145,
trial proof D)
Lent by Dr. Van Home Norrie
272. Mytton Hall (H. 14, ist state)
Lent by Dr. Van Home Norrie
256. Battersea Reach (H. 52, ist state)
Lent by Dr. Van Home Norrie
258. The Terrace, Cintra (H. 193)
Lent by Howard Mansfield
13

The Metropolitan Museum of Art
276. Sunset in Ireland (H. 51, trial proof F)
Lent by A. W. Scholle
259. The Mouth of a Brook (H. 26, trial proof A)
Lent by A. W. Scholle
263. A By-Road in Tipperary (H. 30, 2nd state)
Lent by Miss Margaret Achelis
268. Shere Mill Pond (H. 38, 1st state)
Lent by Miss Elizabeth Achelis
269. Kensington Gardens (H. 12, ist state)
Lent by Miss Elizabeth Achelis
270. Kensington Gardens (H. 28, 2nd state)
Lent by Miss Elizabeth Achelis
274. Challow Farm (H. 175, trial proof D)
Lent by Miss Elizabeth Achelis
260. Early Morning, Richmond (H. 22, ist state)
Lent by Miss Elizabeth Achelis
265. A River in Ireland (H. 91, ist-state)
Lent by Miss Elizabeth Achelis

ADOLPHE HERVIER
1821-1879
121. Three etchings Lent by J. Alden Weir
122. Two etchings Lent by E. G. Kennedy

Painter Etchings and Engravings
122. One etching Lent anonymously
PAUL HUET
i 804-1 869
117. Landscape Lent by Edwin W. Winter
120. Landscape Lent by Edwin W. Winter
CHARLES JACQUE
1 8 13-1894
237. La Sortie des Moutons (B. 452)
Lent by Howard Mansfield
240. Interieure de Bergerie (B. 445)
Lent by Howard Mansfield
239. Une Ferme (B. 189)
Lent by Howard Mansfield
238. La Truffiere (B. 85)
Lent by Howard Mansfield
JULES JACQUEMART
1837-1880
186. Cristal de Roche et Vase de Jade (G. 156)
Gift of Howard Mansfield, 1917
185. Drageoir de Cristal de Roche (G. 148)
Gift of Howard Mansfield, 1917
IS

The Metropolitan Museum of Art
J. B. JONGKIND
1819-1891
128. Canal de Hollande, pres de Rotterdam, Hiver
(R l6) Lent by J. Alden Weir
127. L'Escaut a Anvers, Soleil Couchant (B. 15)
Lent by J. Alden Weir
126. Entree du Port de Honfleur (B. 12)
Lent by J. Alden Weir
123-125. Three etchings from the Cahier de Six
Eaux Fortes Lent by E. G. Kennedy
MAX KLINGER
(contemporary)
297. Fighting Centaurs
Lent by Mr. and Mrs. Edward Robinson
298. The Alarm
Lent by Mr. and Mrs. Edward Robinson
299. Simplicius at the Hermit's Grave
Lent by Mr. and Mrs. Edward Robinson
300. The Bear and the Elf
Lent by Mr. and Mrs. Edward Robinson
301. See-Saw Lent by Mr. and Mrs. Edward Robinson
302. Radirte Skizzen
Lent by Mr. and Mrs. Edward Robinson
16

Painter Etchings and Engravings
303. Simplicius Learning to Write
Lent by Mr. and Mrs. Edward Robinson
304. The Fallen Rider
Lent by Mr. and Mrs. Edward Robinson
MAXIME LALANNE
1 8 27-1 886
180. Richmond (B. 57)
Lent by Edwin W. Winter
181. Beuzeval (B. 52)
Lent by Edwin W. Winter
179. Aux Environs de Paris
Lent by Edwin W. Winter
l82. VlLLERS (B. 53)
Lent by Edwin W. Winter
177. Les Ormeaux de Cenon (B. 109)
Lent by Edwin W. Winter
178. A Neuilly (B. 7)
Lent by Edwin W. Winter
ALPHONSE LEGROS
1837-1911
280. The Refectory
Lent by Mr. and Mrs. G. W. Davison
286. The Landscape with a Pool
Lent by Howard Mansfield
17

The Metropolitan Museum of Art
284. The Farm with the Big Trees
Lent by Howard Mansfield
285. Peasant Seated by a Hedge
Lent by Mr. and Mrs. G. W. Davison
278. Portrait of Val Prinsep
Lent by Howard Mansfield
294. The Monk at the Organ
Lent by Howard Mansfield
1
283. Portrait of G. F. Watts
Lent by H. H. Benedict
292. The Storm Lent by Theodore de Witt
288. The Edge of the Wood
Lent by Mr. and Mrs. G. W. Davison
282. The Canal Lent by Dr. Van Home Norrie
290. Poplars near Amiens
Lent by H. H. Benedict
287. Portrait of Rodin
Rogers Fund, 191 7
291. The Sleeping Philosopher
Lent by H. H. Benedict
279. The Bell Ringer
Lent by Howard Mansfield
293. An Aged Spaniard
Lent by W. M. Ivins, Jr.

Painter Etchings and Engravings
296. The Death Watch
Lent by W. M. Ivins, Jr.
281. Death and the Woodman
Lent by W. M. Ivins, Jr.
289. The Ambulance Lent by W. M. Ivins, Jr.
295. Death in the Pear Tree
Lent by W. M. Ivins, Jr.
277. The Fagotters Lent by W. M. Ivins, Jr.
DAVID LUCAS
1802-1881
44. Summerland — Rainy Day (after Constable)
Lent by J. Alden Weir
51. A Heath (after Constable)
Lent by J. Alden Weir
45. Castle on the Nare (after Constable)
Lent by J. Alden Weir
50. Summer Noon (after Constable)
Lent by J. Alden Weir
46. The Glebe Farm (after Constable)
Lent by J. Alden Weir
48. The River Stour (after Constable)
Lent by J. Alden Weir
19

The Metropolitan Museum of Art
47. Salisbury (after Constable)
Lent by J. Alden Weir
49. Hampstead Heath (after Constable)
Lent by Grenville Lindall Winthrop
ED0UARD MANET
1832-1883
241. Gamin Buvant a la Regalade (B. 43)
Lent by A. E. Gallatin
245. Olympia (B. 32)
Lent by A. E. Gallatin
242. Femme a la Mantille (B. 12)
Lent by J. Alden Weir
248. Le Fumeur (B. 36)
Lent by A. E. Gallatin
244. L'Enfant a l'Epee (B. 27)
Lent by Howard Mansfield
247. Lola de Valence (B. 3)
Lent by J. Alden Weir
246. Eva Gonzalez (B. 23)
Lent by Mrs. W. M. Ivins, Jr.
243. Charles Baudelaire (B. 25)
Lent by Paul J. Sachs
MATTHYS MARIS
(contemporary)
307. The Lady with the Distaff
Lent by William Loring Andrews
20

Painter Etchings and Engravings
307. Head of a Woman
Lent by William Loring Andrews
307. Under the Tree
Lent by William Loring Andrews
307. Landscape Lent by William Loring Andrews
307. The Enchanted Castle
Lent by William Loring Andrews
CHARLES MERYON
1821-1868
218. Tourelle, Rue de la Tixeranderie (D. 29, ist
state) Lent by H. H. Benedict
221. La Morgue (D. 36, 3rd state)
Lent by H. H. Benedict
219. Le Petit Pont (D. 24, ist state)
Lent by H. H. Benedict
209. La Galerie de Notre Dame (D. 26, 3rd state)
Lent by H. H. Benedict
222. La Rue des Toiles, Bourges (D. 55, 2nd state)
Lent by Theodore de Witt
220. L'Entree du Couvent des Capucines a Athenes
(D. 61, 2nd state)
Lent by Theodore de Witt
225. L'Arche du Pont Notre Dame (D. 25, 3rd state)
Lent by Dr. Van Home Norrie
21

The Metropolitan Museum of Art
210. St. Etienne-du-Mont (D. 30, 4th state)
Lent by Dr. Van Home Norrie
207. Le Pont Neuf et la Samaritaine (D. 46, 3rd
state) Lent by Theodore de Witt
223. La Rue des Mauvais Garcons (D. 27, 3rd state)
Lent by A. W. Scholle
211. La Tour de l'Horloge (D. 28, 3rd state)
Lent by A. W. Scholle
208. Le Pont Neuf (D. 33, 3rd state)
Lent by A. W. Scholle
212. Le Stryge (D. 23, ist state)
Lent by A. W. Scholle
216. Le Stryge (D. 23, 5th state)
Lent by Miss Elizabeth Achelis
217. L'Abside de Notre Dame (D. 38, ist state)
Lent by A. W. Scholle
213. L'Abside de Notre Dame (D. 38, 4th state)
Lent by Miss Elizabeth Achelis
215. Le Pont au Change (D. 34, 5th state)
Lent by Miss Elizabeth Achelis
224. Le Pont au Change vers 1784 (D. 47, ist state)
Lent by Theodore de Witt
206. La Pompe Notre Dame (D. 31, 6th state)
Lent by A. W. Scholle
22

Painter Etchings and Engravings
JEAN FRANCOIS MILLET
1814-1875
230. La Bouillie (D. 17, 2nd state)
Lent by H. H. Benedict
234. La Gardeuse d'Oies (D. 16)
Lent by H. H. Benedict
226. La Veillee (D. 14, 2nd state)
Lent by H. H. Benedict
236. La Fileuse Auvergnate (D. 20, 4th state)
Lent by Mr. and Mrs. G. W. Davison
235. La Cardeuse (D. 15)
Lent by Mr. and Mrs. G. W. Davison
227. Les Glaneuses (D. 12, ist state)
Lent by Mr. and Mrs. G. W. Davison
228. La Barateuse (D. 10, ist state)
Lent by A. W. Scholle
229. Le Paysan Rentrant au Fumier (D. ii, ist state)
Lent by A. W. Scholle
233. Le Depart pour le Travail (D. 19, ist state)
Lent by A. W. Scholle
231. La Grande Bergere (D. 18)
Lent by Howard Mansfield
232. Les Becheurs (D. 13, 3rd state)
Gift of David Keppel, 19 17
23

The Metropolitan Museum of Art
SAMUEL PALMER
i 805-1881
59. The Morning of Life (Hardie 10)
Lent by Theodore de Witt
62. The Willows (Hardie 1)
Lent by Thecdore de Witt
58. The Vine (Hardie 5)
Lent by Howard Mansfield
61. The Lonely Tower (Hardie-12)
Lent by Howard Mansfield
57. The Bellman (Hardie 11)
Lent by Howard Mansfield
55. The Rising Moon (Hardie 7)
Lent by Howard Mansfield
54. The Sleeping Shepherd — Early Morning
(Hardie 6) Lent by Howard Mansfield
56. The Herdsman's Cottage (Hardie 3)
Lent by H. H. Benedict
63. Opening the Fold (Hardie 13)
Lent by Grenville Lindall Winthrop
60. Christmas (Hardie 4)
Lent by Grenville Lindall Winthrop
.24

Painter Etchings and Engravings
CAMILLE PISSARRO
1830-1903
253. Effet de Pluie a Rouen (B. 38)
Lent by William Loring Andrews
252. Port de Rouen (B. 34)
Lent by William Loring Andrews
250. Rue du Gros Horloge a Rouen (B. 35)
Lent by William Loring Andrews
251. Marchande de Marrons, Foire de St. Martin
(B. 17) Lent by William Loring Andrews
249. Prairie et Moulin a. Osny (B. 37)
Lent by William Loring Andrews
254. La Gardeuse d'Oies (B. 62)
Lent by W. M. Ivins, Jr.
AUGUSTE RODIN
(contemporary)
357. Les Amours conduisant le Monde (D. i, 2nd
state) Lent by Robert Hartshorne
359. Victor Hugo, de face (D. 7, 2nd state)
Rogers Fund, 1916
354. Victor Hugo, de trois quarts (D. 6, 4th state)
Lent by Mrs. John W. Simpson
358. Antonin Proust (D. io, 4th state)
Lent by Mrs. John W. Simpson
25

The Metropolitan Museum of Art
356. La Ronde (D. 5, 1st state)
Lent by A. E. Gallatin
355. Bellona (D. 3, 3rd state)
Lent by Mrs. John W. Simpson

CHARLES STORM VAN'S GRAVESANDE
(contemporary)
184. Route dans les Dunes (B. 226)
Lent by Howard Mansfield
183. Route pres Vilvorde (B. 37)
Lent by Howard Mansfield
175. Bateaux sur le Zuyderzee (Zeeburg) (B. 164)
Lent by Howard Mansfield
176. Une Digue a Bornheim sur l'Escaut (B. 39)
Lent by Howard Mansfield
J. M. W. TURNER
1775-1851
1. The Castle above the Meadows (R. 8, the
etching) Lent by Theodore de Witt
7. Apuleia in Search of Apuleius (R. 72, the
etching) Lent by Theodore de Witt
14. Holy Island Cathedral (etched by J. M. W.
Turner, mezzotinted by Charles Turner) (R. 11,
ist state) Lent by A. W. Scholle
26

Painter Etchings and Engravings
15. Calm (R. 44, 3rd state)
Lent by A. W. Scholle
18. Aesacus and Hesperie (R. 66, 2nd state)
Lent by A. W. Scholle
13. Crypt of Kirkstall Abbey (R. 39, ist state)
Lent by A. W. Scholle
16. Raglan Castle (R. 58, ist state)
Lent by A. W. Scholle
17. The Bridge in Middle Distance (etched by
J. M. W. Turner, mezzotinted by Charles Turner)
(R. 13, ist state)
Lent by Mr. and Mrs. G. W. Davison

JAMES ABBOTT McNEILL WHISTLER
1834-1903
135. The Black Lion Wharf (M. 41, K. 42, 2nd state)
Lent by Mr. and Mrs. G. W. Davison
137. The Limeburner (M. 45, K. 46, ist state)
Lent by C. B. Eddy
131. Bibi Lalouette (M. 51, K. 51, 2nd state)
Lent by J. Alden Weir
134. Amsterdam from the Tolhuis (M. 91, K. 91,
ist state) Lent by Theodore de Witt
132. Weary (M. 92, K. 92, 2nd state)
Lent by J. Alden Weir
27

The Metropolitan Museum of Art
173. The Velvet Dress (M. 105, K. 105, 2nd state)
Lent by H. H. Benedict
171. Maude Standing (M. 113, K. 114, 9th state)
Lent by H. H. Benedict
138. Model Resting (M. 118, K. 100, 2nd state)
Lent by H. H. Benedict
140. The Boy (M. 135, K. 135, 7th state)
Lent by Theodore de Witt
169. Price's Candle Works (M. 151, K. 154, ist state)
Lent by H. H. Benedict
167. Old Battersea Bridge (M. 174, K. 177, 2nd state)
Lent by Theodore de Witt
156. Little Venice (M. 180, K. 183)
Lent by C. B. Eddy
158. Palaces (M. 184, K. 187, 2nd state)
Lent by Robert Hartshorne
144. The Doorway (M. 185, K. 188, 6th state)
Lent by Dr. Van Home Norrie
146. The Traghetto, No. 2 (M. 188, K. 191, 4th state)
Lent by J. Alden Weir
157. The Riva, No. i (M. 189, K. 192, 3rd state)
Lent by H. H. Benedict
142. Beggars (M. 191, K. 194, 6th state)
Lent by Dr. Van Home Norrie
28

Painter Etchings and Engravings
147. The Mast (M. 192, K. 195, 6th state)
Lent by H. H. Benedict
159. Turkeys (M. 196, K. 199, ist state)
Lent by H. H. Benedict
168. San Giorgio (M. 198, K. 201, ist state)
Lent by H. H. Benedict
160. The Bridge (M. 201, K. 204, ist state)
Lent by J. Alden Weir
149. Upright Venice (M. 202, K. 205, 2nd state)
Lent by Robert Hartshorne
162. The Garden (M. 207, K. 210, 8th state)
Lent by C. B. Eddy
150. The Dyer (M. 216, K. 219, ist state)
Lent by H. H. Benedict
166. Grand' Place, Brussels (M. 363, K. 364)
Lent by Robert Hartshorne
152. The Large Pool (M. 171, K 174, 7th state)
Lent by Robert Hartshorne
151. Whistler (M. 54, K. 54, ist state)
Lent by A. W. Scholle
164. The Balcony, Amsterdam (M. 404, K. 405, 3rd
state) Lent by A. W. Scholle
163. The Embroidered Curtain (M. 411, K. 410, 4th
Lent by A. W. Scholle
29

The Metropolitan Museum of Art
165. Cameo No. i (M. 333, K. 347)
Lent by A. W. Scholle
154. Nocturne, Palaces (M. 199, K. 202, 9th state)
Lent by Miss Elizabeth Achelis
148. Nocturne (M. 181, K. 184, 5th state)
Lent by Miss Elizabeth Achelis
130. The Kitchen (M. 24, K. 24, 2nd state)
Lent by Miss Elizabeth Achelis
172. Axenfeld (M. 64, K. 64, 3rd state)
Gift of William Loring Andrews, 1883
133. Eagle Wharf (M. 40, K. 41)
Harris Brisbane Dick Fund, 1917
129. Drouet (M. 55, K. 55, 2nd state)
Harris Brisbane Dick Fund, 1917
139. Rotherhithe (M. 66, K 66, 3rd state)
Harris Brisbane Dick Fund, 1917
141. Florence Leyland (M. 109, K 110, 9th state)
Harris Brisbane Dick Fund, 1917
136. The "Adam and Eve," Old Chelsea (M. 172, K.
175, 2nd state)
Harris Brisbane Dick Fund, 19 17
143. The Piazzetta (M. 186, K. 189, 3rd state)
Harris Brisbane Dick Fund, 1917
161. Fruit Stall (M. 197, K. 200, 6th state)
Harris Brisbane Dick Fund, 1917
3°

Painter Etchings and Engravings
155. The Balcony (M. 204, K. 207, nth state)
Harris Brisbane Dick Fund, 1917
145. Nocturne: Furnace (M. 210, K. 213, 7th state)
Harris Brisbane Dick Fund, 1917
153. Quiet Canal (M. 211, K. 214, 5th state)
Harris Brisbane Dick Fund, 1917
170. Dordrecht (M. 239, K. 242, 2nd state)
Harris Brisbane Dick Fund, 1917
174. Pierrot (M. 406, K. 407, 4th state)
Harris Brisbane Dick Fund, 1917
SIR DAVID WILKIE
1 785-1841
110. Benvenuto Cellini and Pope Paul III
Lent by Howard Mansfield
in. The Lost Receipt
Lent by Howard Mansfield
ANDERS ZORN
(contemporary)
351. The Swan Lent by C. B. Eddy
333. Zorn et sa Femme (D. 42, 2nd state)
Lent by F. M. Warburg
344. J. B. Faure (D. 52, 3rd state)
Lent by S. S. Rosenstamm
3i

The Metropolitan Museum of Art
341. Rosita Mauri (D. 34, 3rd state)
Lent by S. S. Rosenstamm
335. Le Pecheur (St. Ives) (D. 53, 2nd state)
Lent by S. S. Rosenstamm
337. Effet de Nuit (D. 140, 2nd state)
Lent by S. S. Rosenstamm
334. Mme. Simon (D. 66, 4th state)
Lent by S. S. Rosenstamm
350. L'Orage (D. 63, 4th state)
Lent by S. S. Rosenstamm
353. Oscar II, Roi de Suede (D. 130, 2nd state)
Harris Brisbane Dick Fund, 1917
352. The New Maid
Harris Brisbane Dick Fund, 1917
332. La Lecture (D. 78, 3rd state)
Lent by S. S. Rosenstamm
343. M. et Mme. Furstenberg (D. 96, 3rd state)
Lent by S. S. Rosenstamm
338. Baigneuse de Dos (D. 108, 2nd state)
Lent by S. S. Rosenstamm
348. Mon Modele et mon Bateau (D. 90, 4th state)
Lent by S. S. Rosenstamm
339. Portrait of H. G. Marquand (D. 81)
Lent by C. B. Eddy
32

Painter Etchings and Engravings
349. Le Toast (D. 80, 3rd state)
Lent by C. B. Eddy
340. Portrait of M. S. Loeb (D. 113, 3rd state)
Lent by F. M. Warburg
346. La Valse (D. 53, ist state)
Lent by A. W. Schclle
345. La Dame a la Cigarette (D. 62, ist state)
Lent by A. W. Scholle
336. Au Piano (D. 159, ist state)
Lent by A. W. Scholle
342. Ernest Renan (D. 82, 3rd state)
Lent by A. W. Scholle
347. L'Omnibus (D. 71, 3rd state)
Lent by S. S. Rosenstamm
WILLEM DE ZWART
(contemporary)
305. The Toper Lent by Howard Mansfield
306. A Landscape Lent by Howard Mansfield

33

of this catalogue
one thousand copies were printed
APRIL, I917