j! Fine -Arts Library
A PRINT-LOVER'S HUNDRED
A PRINT-LOVER'S HUNDRED
ONE HUNDRED ENGRAVINGS, ETCHINGS,
WOODCUTS, MEZZOTINTS AND LITHOGRAPHS
OF SIX CENTURIES
M. KNOEDLER & COMPANY, INc.
I4 EAST 57TH STREET
UNIVERSITY OF. FLOIIDA LIJBRARE
"To have known the best, and to have
known it for the best, is success in life."
J.W. MACKAIL "The Classics"
,y-*c-.- _--.--- .*--~^
REMBRANDT: YOUNG MAN SEATED AND REFLECTING
(Of the same size as the original etching)
YOUNG MAN SEATED AND REFLECTING
Hind 151. Bartsch 268.
Signed and dated 1637.
"The simplicity of its execution is as remarkable as the characterization is
profound. The placing and the marvelous technique single the plate out
amongst the best of all etched portraits." W. P. ROBINS
ARTISTS REPRESENTED IN THIS MONOGRAPH
: ALDEGREVER, HEINRICH
BEHAM, HANS SEBALD
LAUTENSACK, HANS SEBALD
MASTER E. S.
MASTER M. Z.
MECKENEM, ISRAHEL VAN
CANALE, ANTONIO (Canalett
flourished 151i-after 1563
about 1482-after 1514
before 149o-after 1548
I462-flourished through 1522
- VAN DYCK, ANTHONY
VAN LEYDEN, LUCAS
VAN OSTADE, ADRIEN
REMBRANDT, HARMENSZ VAN RIJN
VELLERT, DIRICK JACOBSZOON
DEBUCOURT, PHILIBERT Louis
FRAGONARD, JEAN HONOR
GELLE, CLAUDE (Lorrain)
HELMAN, ISIDORE S.
LATOUR, HENRI FANTIN-
LEP RE, AUGUSTE
MILLET, JEAN FRANCOIS
- MORIN, JEAN
GOYA Y LUCIENTES, FRANCISCO
BONE, SIR MUIRHEAD
BONINGTON, RICHARD P.
BROCKHURST, GERALD L.
CAMERON, SIR DAVID Y.
HADEN, FRANCIS SEYMOUR
SMITH, JOHN RAPHAEL I752-1812 91
WARD, WILLIAM 1762?-1826 96
WATSON, THOMAS 1743?-1781 90
ARMS, JOHN T. I887- 121
BENSON, FRANK W. 1862- 120
WHISTLER, J. A. McNEILL 1834-1903 112
ZORN, ANDERS 1860-1920 122
MASTER E. S.: ST. MARK
MASTER E. S.
"Not only was he the greatest artist of all the German engravers working
prior to 1470, but he was by far the most prolific ... Because of this and the
way in which he was copied, he exerted an enormous influence over all en-
graving north of the Alps down to 1500, and even later." W. M. IVINs, JR.
~. .-7-- --
- , ,
SCHONGAUER: BAPTISM OF CHRIST
"In his sweetness and charm unequalled among the print makers who
were his contemporaries, Schongauer may be thought of as the outstanding
engraver to come out of the tradition of the Van Eycks and Roger van der
Weyden." W. M. IVINs, JR.
THE BAPTISM OF CHRIST
Lehrs 8. Bartsch 8. Watermark: Small bull's head with St. Anthony's cross.
About 30 proofs known.
Collections: Count Archinto; Graf Yorck von Wartenburg.
SCHONGAUER: CHRIST CROWNING HIS MOTHER
CHRIST CROWNING HIS MOTHER
Lehrs 17. Bartsch 72.
Collection: Graf Yorck von Wartenburg.
In Christ and Mary on a Throne and Christ Crowning his Mother the full
blossom of Schongauer's art is seen. Until the end of the century his in-
fluence remained paramount among German engravers, and, like that of
E. S. was felt, in no inconsiderable degree, as far abroad as Italy.
SCHONGAUER: ST. JOHN ON THE ISLAND OF PATMOS
ST. JOHN ON THE ISLAND OF PATMOS
Lehrs 6o. Bartsch 55. Watermark: Head of Serpent.
Collections: Graf Yorck von Wartenburg.
"I John, who also am your brother, and companion in tribulation and in
the kingdom and patience of Jesus Christ, was in the isle that is called
Patmos, for the word of God, and for the testimony of Jesus Christ. I was
in the Spirit on the Lord's day, and heard behind me a great voice, as of a
trumpet. . And he said unto me, Write: for these words are true and
faithful." The Revelation of St. John the Divine
MASTER M. Z.: CAVALIER AND LADY
MASTER M. Z.
"One is justified in assuming that Master M. Z. was a painter, probably in
Munich, who, like the Master of the Hausbuch, occasionally engraved a
few plates. . His engravings present the picture of a personality which
possesses attractive and sympathetic features sufficient to assure him a
permanent importance in the history of German Art about 1500."
CAVALIER AND LADY
Bartsch 19. Watermark: Bull's Head with Caduceus and St. Anthony's Cross.
Collection: Northwick Park.
VAN MECKENEM: THE SPINNER
ISRAHEL VAN MECKENEM
"If Meckenem cannot rival Schongauer's masterpieces in the expression of
form, he can point to some creations, at least, that are of equal excellence."
"All kinds of subjects pertaining to his time are treated in his prints. ....
His engravings attract by the abundance of their subject, the manifold
variety of contemporary costumes, and the wealth of their detail."
Lehrs 509. Geisberg 411. Bartsch 183. Only State.
Collection: Gottfried Eissler.
VAN MECKENEM: THE PRESENTATION
IN THE TEMPLE
THE PRESENTATION IN THE TEMPLE
Lehrs 57. Geisberg 36. Bartsch 37. Only State.
Watermark: Gothic p with Flower.
From "The Life of the Virgin." Simeon, the High Priest, receives from the
arms of the Virgin Mary the Infant Christ. In the panel, at upper right, is
shown the Circumcision.
"For a series of engravings of the 'Life of the Virgin' Meckenem has made
use of pictures by the elder Holbein . Whether Meckenem himself saw
the pictures, which are still preserved at Augsburg, or how their composi-
tion was communicated to him, remains still unknown."
HOLY FAMILY WITH A BUTTERFLY
"Albrecht Diirer, can be pronounced almost without qualification as the
greatest of all line engravers-a man who found in this phase of art a
means of expression perfectly at one with his genius." A. M. HIND
THE HOLY FAMILY WITH A BUTTERFLY
Dodgson 4. Koehler 2. Bartsch 44. Attributed date: 1495-1496.
DURER: ST. EUSTACE
Dodgson 32. Koehler 32. Bartsch 57.
Watermark: High Crown.
ADAM AND EVE
Dodgson 39. Koehler 34. Bartsch I. Signed ALBERT DORER.
Date: 1504. With the second cleft in the trunk of the tree.
Watermark: Bull's Head.
Dodgson, Fourth State of Five. Bartsch, First State.
"The date fixes the position of 'Adam and Eve,' and its delicacy harmonizes
well with the group of plates which surround it, and at the head of which
it stands, technically as well as artistically considered. Nowhere else has
Diirer treated the flesh with such caressing care, using much fine dotting in
the modeling, and in no previous plate has he used such a variety of tex-
tures in a conscious striving for color. It is very instructive in this respect to
compare the 'Adam and Eve' with 'The Virgin and Child with the
Monkey' which despite the variety of objects, is pure black and white, as a
result of the uniformity of texture, and with 'The Virgin Sitting by a Wall'
in which variety of texture is carried further than in any other of Diirer's
"It was this engraving of 'Adam and Eve' according to Thausing 'which
first brought Diirer before the world in the full consciousness of his power,
as undisputedly the greatest master of the burin' [of his time]. . The
great significance of these figures for the people north of the Alps is this,
that they proclaim the emancipation of the flesh, under the influence of the
antique-its release from the curse which for fifteen hundred years had
rested upon it." S. R. KOEHLER
DURER: ADAM AND EVE
MELANCHOLY (MELENCOLIA I)
Dodgson 73. Koehler 70. Bartsch 74.
Collection: Galichan. Cologne, Ten Cate Duplicate.
"Then, having grown both in power and in courage, as he saw that his
works were prized, Albrecht executed some copper-plates that astonished
the world. He also set himself to make an engraving, for printing on a
sheet of half-folio, of a figure of Melancholy." GIORGIO VASARI
DURER: ST. JEROME IN HIS STUDY
ST. JEROME IN HIS STUDY
Dodgson 74. Koehler 71. Bartsch 60.
Collection: Adolphe Hirsch.
"Finally, he published the sheet with S. Jerome in the habit of a Cardinal,
writing, with the lion sleeping at his feet . .and nothing better could be
done in this field of art." GIORGIO VASARI
CRANACH: ST. GEORGE SLAYING THE DRAGON
Lucas Cranach may be regarded as pre-eminently the painter of the Ger-
man Reformation. He was moved even more deeply than Diirer or Holbein
by the religious influences of the times. He was the intimate friend of
Luther and embracing his doctrine warmly, he endeavored to set it forth
in his art.
ST. GEORGE SLAYING THE DRAGON
Saint George, according to the legend, was a prince of Cappadocia, who
died the death of a martyr under Diocletian. His most celebrated deed was
the killing of a dragon which threatened to devour the royal princess, Aja.
CRANACH: ST. CHRISTOPHER
Bartsch 58. With the date I506 on a tablet. Collection: Dr. A. Strater.
Christopher is said to have lived in Syria, and to have been of prodigious
height and strength. As a penance for having been a servant of the devil,
he devoted himself to the task of carrying pilgrims across a river where
there was no bridge. Christ came to the river one day in the form of a
child, and asked to be carried over, but his weight grew heavier and heavier
till Christopher nearly broke down in the middle of the stream. When they
reached the shore the child said "Marvel not, for with me thou hast borne
the sins of all the world."
ALTDORFER: VIRGIN AND CHILD WITH ST. ANNE
(Of the same size as the original engraving)
"Let it here suffice to quote the words of a pre-eminent authority, who
speaks of him as 'destined shortly to a front rank as an artist, as an
engraver to the first and greatest place of all.' T. STURGE MOORE
"One might compare the work of Albrecht Altdorfer to a sweet fruit within
a rough shell. No other artist, not even Diirer, puts such deep feeling into
his work as does he." H. W. SINGER
VIRGIN AND CHILD WITH ST. ANNE
Bartsch 14. Albertina Duplicate.
"Altdorfer is not influenced by the splendidly composed Italian art, more
reflective than compulsive in its origin. He is indifferent to all externals
and lived a greater spiritual life than any of the other little masters."
H. W. SINGER
The Knight The Monk
(Of the same size as the original woodcuts)
"Any attempt to discuss or expatiate upon the artistic merits of the Dance
of Death is today a matter of supererogation, they have long since earned
their proud position among the greatest pictorial masterpieces of the world.
. They need neither explanation of subject matter nor vicarious judgment,
for they speak directly and with the utmost simplicity to whosoever looks at
them, and they are so impersonal, so emotionless, in their manner of
presentation that they have no age. They are now and they will always be
modern." WILLIAM M. IVINS, JR.
THE KNIGHT THE MONK
Passavant 30. Passavant 23.
"Holbein introduces a hundred little touches of shrewd observation, bring-
ing the conception down to a more human level .... It is in the delineation
of such gestures, fearful in their quiet gaiety, that the great wonder of the
series lies." DOUGLAS PERCY BLISS
(-MNEM IN -c.MINE VNVSTArt
H. S. BEHAM: YOUNG WOMAN ACCOMPANIED
BY DEATH AS A JESTER
(Of the same size as the original engraving)
HANS SEBALD BEHAM
"If Barthel was the more talented artist, Hans Sebald Beham . attained to
a greater virtuosity in engraving, and left a far more prolific work .
Toward the end of the twenties his technique reached its highest point, and
in most of the prints between 1520 and 1540 the lineal system is significant
and strong, that of a Marcantonio on a tiny scale. In the last ten years of
his life his virtuosity even increased, his technique becoming more delicate
as it lost some of its vitality." ARTHUR M. HIND
YOUNG WOMAN ACCOMPANIED BY DEATH
AS A JESTER
Collections: Paul Gellatly; Paul J. Sachs.
KLrI '"\l ZE k-
cIT^ ^ ^l;;~R~~
H. S. BEHAM: STANDARD BEARER AND DRUMMER
(Of the same size as the original engraving)
STANDARD BEARER AND DRUMMER
("In the Peasants' War 1525")
"Here were fascinating contrasts, these 'fine' soldiers, and the wretched, but
for that reason no less dangerous, peasant-warriors, who were forbidden to
wear the garb of the lansquenet. At times the artists have sought to enhance
the timeliness of their prints still further by means of explanatory or 'speak-
ing' inscriptions: 'Der Krieg ist aus-Wo nun himans.' (War is over-Now
what next.) is found upon the picture of the suddenly jobless lansquenets,
and Sebald Beham has added to his figures of the drummer Acker Concz
and the color bearer Klos Wuczer, two decades later, the explanatory
remark 'Im Bauern Krieg 1525' (In the Peasant War 1525)."
Q3\~ caN~T&A Norfi~'&3!
PLymA. ~ Q.RECis*DOCTI* MONVAENrA-pFHILIPPI
l.. .. HIC ETA -0y,... SiT- I/MAGO-VIDES- ,
'I LVTR MO No, VE VlT/E DEAPT~-i TRiBVS- EOERT.ANNI
S TALIS .VBIlV LV V-CONSPICIENDVS ERAT I
I. LIPPVS MELANT~TON
I,' .... D : -.>QOC ,
ALDEGREVER: PHILIP MELANCHTHON
Watermark: Armorial shield with circle surmounted by a cross.
Melanchthon, the colleague of Luther in the work of the Reformation, cele-
brated for his learning as "Praeceptor Germanie," was born February 16,
1497, and died April 19, 156o. Diirer's engraved portrait of 1526 is world-
famous; the portrait of Aldegrever showing Melanchthon, in later years, is
certainly not less interesting.
HIRSCHVOGEL: THE CASTLE ON THE ISLAND
The etchings of Augustin Hirschvogel bear dates from 1545 to 1549. The
more one studies his landscape plates, breathing the spirit of the true nature-
lover, the more fascinating do they become. He has eliminated all non-
essentials, concentrating his attention upon what were, to him, the most
significant features, and in this respect he may have influenced the work of
more than one nineteenth century master.
THE CASTLE ON THE ISLAND
Bartsch 55. Signed with Hirschvogel's monogram and dated 1546.
Collection: Friedrich August II, Dresden.
Seven impressions only are recorded by Schwarz.
HIRSCHVOGEL: LANDSCAPE WITH BOATS
LANDSCAPE WITH A RIVER, FIVE BOATS
AND A CASTLE
Bartsch 57. Signed with Hirschvogel's monogram and dated 1546.
"Here we have the beginning of true landscape etching. Hirschvogel's great
importance lies in the fact that he was the first to gain atmospheric per-
spective by varied strength of line: possibly by employing more than one
needle rather than by stopping-out." E. S. LUMSDEN
"These landscapes, probably etched on iron, are very important as showing
the first use of more than one strength of line in the same design."
E. S. LUMSDEN
LAUTENSACK: LANDSCAPE WITH VILLAGE
AND A RIVER
HANS SEBALD LAUTENSACK
"The best part of Lautensack's work consists of landscapes, fresh studies of
nature with rich variety of finely wooded country, with villages and water-
sheds. Lautensack's landscapes are pure etching without any touch of burin
or dry-point, but showing better effects of tone and finer pictorial feeling
than those of Hischvogel." F. LIPPMANN
LANDSCAPE WITH VILLAGE AND A RIVER
Bartsch 32 and 33.
Dated 1551. The two plates, joined together, form one composition.
Watermark: A Crown.
LAUTENSACK: LANDSCAPE WITH HAGAR AND
LANDSCAPE WITH HAGAR AND THE ANGEL
"And God heard the voice of the lad; and the angel of God called to Hagar
out of heaven, and said unto her, What aileth thee, Hagar? fear not; for
God hath heard the voice of the lad where he is.
"Arise, lift up the lad, and hold him in thine hand; for I will make him a
"And God opened her eyes, and she saw a well of water; and she went,
and filled the bottle with water, and gave the lad drink."
. T L
MENZEL: THE BEAR PIT
"But it is more important to point out that the tradition and practice of
lithography were preserved and handed down by one man, the greatest
of modern Germans; that of the story of original lithography in Germany,
from the death of Senefelder until the present, there would be little to tell
if it were not for Adolf Menzel . His technical interest led him in 1851
to his Versuche auf Stein mit Pinsel und Schabeisen-Attempts on the
Stone with the Brush and Graver." J. AND E. R. PENNELL
THE BEAR PIT
Boch 404 (No. 6 of "Versuche auf Stein mit Pinsel
und Schabeisen"; 1851).
I TA LY
ONED D LR LENTh .\ *TRA >y[LL.
ACWPiNSANDo tLCOP- IETOSFAVJLLA
I NLGi-GANPRO PHETA ELQLD BBE INCA.WfARt
NILVENTREVI R.INAL DIHVAANAANUCI A
SIENZACONGIVNTO DVOmo MOPTA[LAFARFI
ECCOTAL CoIA FIAF oPRANATVRA
FACTA-,TERQi L CHELVNIVERSoNA I C'P.A J
FLORENTINE XV CENTURY: DELPHIAN SIBYL
Florentine XV Century
THE DELPHIAN SIBYL
Hind 3B. First State, of three.
Collection: Friedrich August II, Dresden.
K IP. F".-
A!tTE P!ccP'OA ~
Kk LVJ.MAE4.ft!. R E
FLORENTINE XV CENTURY: PHRYGIAN SIBYL
THE PHRYGIAN SIBYL
Hind 9B. First State, of three.
Collection: Friedrich August II, Dresden.
The Sibyls are twelve in number, and were engraved both
Broad manner of the Finiguerra School.
in the Fine and
* );"- .-&
~;- ----- --
\- ^ ^L. ^^*M
^c^^ffiBHB~~BSM H^ -Bl
G. CAMPAGNOLA: CHRIST AND THE WOMAN
About 1482-After 1514.
"Giulio Campagnola, of Padua, belongs to the School of Bellini, and is
strongly influenced by Giorgione. . He attains a tender and pictorial
effect, peculiar to himself, by his method of scattering between the lines a
number of small dots to express shadows and gradations of tone."
CHRIST AND THE WOMAN OF SAMARIA
Hind I. Kristeller 2. Borenius 8.
This plate may belong to the latter part of Campagnola's career as an
engraver. The beautiful landscape, as also the hill to the left, is entirely
in line; while the flick-work upon the figures and garments is of a more
open character. There is an amplitude in the design of the seated woman
which suggests Giorgione or Palma, but one cannot definitely name any
painting by either of these masters from which Campagnola has borrowed
MANTEGNA: THE ENTOMBMENT
"The seven engravings, which are the only ones that can be claimed as his,
suffice indeed to assure him his position among the leaders in the graphic
arts . All the skill and all the feeling of one of the greatest and richest
art periods, the golden Quattrocento, is summed up in the ripest and
freest form in Mantegna's engravings. Therefore it was that even in the
time of the greatest Raphael worship they maintained their place beside
the 'divine artist', and they remain even today, when this worship has been
transferred from Raphael to Rembrandt and Velasquez as fresh and as soul-
stirring as are the works of Bach compared to those of Beethoven and the
modern composers." PAUL KRISTELLER
Hind 6. Bartsch 3.
Collection: Charles Delanglade.
"Cette estampe, don't Vasari fait mention, est une des plus parfaites de
l'oeuvre d'Andre Mantegna tant pour les expressions et la gravure."
SCHOOL OF MANTEGNA
THE TRIUMPH OF CAESAR: THE ELEPHANTS
Hind I. Bartsch 12.
THE TRIUMPH OF CAESAR: SOLDIERS
Hind 2. Bartsch 13.
"The fifth and sixth of Mantegna's Triumph subjects. The nine 'cartoons'
of the Triumph of Caesar (strictly paintings executed in tempera on paper
stretched on canvas), which the master did for Francesco Gonzaga, were
purchased by Daniel Nys for Charles I soon after 1627, and are now to be
seen, defaced by successive restorations, in Hampton Court. The work was
started possibly soon after the Marquis Francesco's accession in 1484, but
not completed until about 1494. Even then Mantegna may have projected
further subjects; so at least we may infer from the engravings of the
Senators, which seems to be after some study by the master for another
subject in the same series, which was never carried out. Only two parts
of the finished work were engraved in Mantegna's school, and these
show variations from the pictures which point to the fact of their being
engraved after studies made before the final development of the idea had
been reached. In both engravings the figures are less massively conceived
than in the cartoons, and smaller in proportion to the size of the composi-
tion. The youth leading the ox in the Elephants will illustrate this point
of difference, and also the relative stiffness in the rendering of movement
which characterizes the prints in comparison with the cartoons.
"The engraving of the Elephants is very like Mantegna's authentic work,
but lacks his distinction in drawing. He could hardly at any period-much
less at the time of his Triumphs-have perpetrated the meaningless right
hand of the youth in the central foreground, and the contours generally
seem too sharp and jagged for the master. Moreover it would have been
contrary to the general usage of painter-engravers that he should make a
finished engraving of a design he intended to carry out in another medium.
There is nothing to show for certain whether Mantegna himself conceived
and directed the reproduction on copper of those Triumph designs, or
whether it was the independent undertaking of engravers who had chanced
to get possession of some of the original drawings, perhaps after the master's
death. But the incompleteness of the set seems to make in favour of the
latter supposition." ARTHUR M. HIND
THE TRIUMPH OF CAESAR: THE ELEPHANTS; SOLDIERS CARRYING TROPHIES
Hind I and 2. Bartsch 12 and 13.
The fifth and sixth of Mantegna's Triumph subjects.
ROBETTA: ALLEGORY OF ENVY
1462-flourished through 1522.
"In spite of his lack of grip in drawing and affectations of style, he seldom
fails to put into his work the peculiar quality of grace and charm which
belongs to so many of the secondary Florentine artists imbued with the
spirit of Botticelli and Filippino Lippi." A. M. HIND
ALLEGORY OF ENVY
Hind 15. Bartsch 24.
Collections: Sternberg, Munderscheid, Freiderich Augustus II.
ROBETTA: ALLEGORY OF ABUNDANCE
ALLEGORY OF ABUNDANCE
Hind 13. Bartsch 18.
First State; before the two holes in the center of upper and lower mar-
gins. Watermark: Circle, with bow and arrow surmounted by cross.
Collection: Northwick Park.
"How pleasing Robetta can be, when to all appearance original, is well
illustrated in his Allegory of Abundance and his Ceres. The irregularity of
the scheme of shading fails to detract from their charm."
ARTHUR M. HIND
MONTAGNA: APOLLO AND MARSYAS
Before 149o-After 1548.
"Benedetto Montagna, like Nicoletto da Modena, showed in his later work,
a preference for finished compositions of small compass, which would have
been well adapted to book illustrations. A series of this kind illustrates inci-
dents in Ovid's Metamorphoses, but there is no evidence for, and every
probability against, their ever having been used in books." A. M. HIND
APOLLO AND MARSYAS
Hind 38. Bartsch 31.
Collection: Albertina Duplicate.
DOMENICO CAMPAGNOLA: WOMAN RECLINING IN A
Flourished 15II-after 1563.
Whether Domenico Campagnola was a Venetian or a Paduan by birth is
not certainly established, but the assumption is that he was a pupil and the
artistic heir, if not a family connection, of Giulio Campagnola. He did not,
however, follow Giulio's stipple method, and as an engraver handles the
line with a somewhat loose though picturesque touch.
WOMAN RECLINING IN A LANDSCAPE (VENUS)
Hind o1. Bartsch 7.
Collections: Friedrich August II, Dresden.
Other impressions: British Museum; Vienna; Berlin; Dresden; Paris.
"The original drawing in reverse for this engraving is in the Museum, from
the collection of Sir Peter Lely; presented by Mrs. Gilbert, 1896."
ARTHUR M. HIND
CANALETTO: A LE PORTE DEL DOLO
ANTONIO CANALE, CALLED CANALETTO
"In Antonio Canale (Canaletto) we come to one of the great architectural
etchers of all time. His system of etching was extremely simple. He used
tremulous horizontal and vertical lines almost entirely, employed cross-
hatching sparingly, avoided hard edges and strong darks, and obtained the
most brilliant illumination by greying his skies and concentrating the light
elsewhere. The finest of his plates are "The Canal Lock at Dolo," "The
Tower of Malghera," and "The Porch with a Lantern."
JOHN TAYLOR ARMS
A LE PORTE DEL DOLO
De Vesme 5. First State.
"Real feeling is expressed in the somewhat austere plates of that master
painter, G. A. Canale, whose strong, simple linework gives one intense
pleasure, and may well have been the parent of much subsequent etching
where brilliant effects of sunlight upon buildings has been the motif."
E. S. LUMSDEN
LEYDEN: REST ON THE FLIGHT INTO EGYPT
LUCAS VAN LEYDEN
"In the study of humanity in its most varying moods and in its simplest
dress, Lucas strikes the keynote of his country's art." A. M. HIND
REST ON THE FLIGHT INTO EGYPT
Bartsch 38. Watermark: Little jug with flower.
"Behold, the angel of the Lord appeareth to Joseph in a dream, saying,
Arise, and take the young child and his mother, and flee into Egypt."
LEYDEN: ADAM AND EVE DRIVEN FROM THE
GARDEN OF EDEN
ADAM AND EVE DRIVEN FROM THE
GARDEN OF EDEN
Bartsch I1. Watermark Shield with fleur de lys. Collection: Mariette.
The work of Lucas van Leyden is earnest, full of sentiment, dramatic,
rich in ideas, impatient, showing at times a boldness, and a great com-
prehensive power. Pictorial breadth combines with the rigorous quality of
the engraving to produce extraordinary effects.
LEYDEN: SUSANNA AND THE ELDERS
SUSANNA AND THE ELDERS
Bartsch 33. Watermark: Little jug with flower.
Collection: British Museum Duplicate.
"Now Susanna was a very delicate woman, and beauteous to behold ....
When the people departed away at noon Susanna went into her husband's
garden to walk. And the two elders saw her going in every day, and walk-
ing; so that this lust was inflamed toward her . And there was nobody
there save the two elders, that had hid themselves, and watched her."
VELLERT: ST. LUKE PAINTING A PORTRAIT
OF THE VIRGIN
DIRICK JACOBSZOON VELLERT:
DIRICK VAN STAR
"Vellert's engravings have the merit of that exquisite workmanship, the
last to disappear of those qualities which contribute to the glory of early
Flemish art, and the glamour of the fading tradition of the Van Eycks still
clings to them." A. E. POPHAM
ST. LUKE PAINTING A PORTRAIT OF THE VIRGIN
Bartsch 9. Watermark: Gothic 3.
Collection: Fiirstlich Hohenzollernsches Museum, Sigmaringen.
VELLERT: CHRIST CALLING SS. ANDREW AND PETER
CHRIST CALLING SS. ANDREW AND PETER
Bartsch 3. Watermark: Armorial Shield.
Collection: Andreas Boerner.
"In this combination of etching with engraving, Lucas Van Leyden had a
follower in an Antwerp artist whose identity has only recently been estab-
lished, Dirick Jacobszoon Vellert ('Dirick Van Star,' as he has been called
from his signature, D. V. with a Star). This point of contact, their close
connection in style, and the fact that Vellert's earliest etchings are dated
1522, when Lucas was at Antwerp, seem to show that Vellert was inspired,
if not instructed in this sphere of art, by Lucas Van Leyden himself. ..
His prints are chiefly of small dimensions, and he is strictly one of the
Flemish Little Masters." ARTHUR M. HIND
A.- .,- ..'--.J * _. Ij
WIERIX: HENRIETTE DE BALZAC
HENRIETTE DEBALZAC D'ENTRAIGES
Engraved 1600. Alvin 1860. Second State with the address of
Watermark: Fleur-de-Lys in crowned shield with letters W. R. below.
Henriette was eighteen when Henry IV met her and fell violently in love
with her. In 1599 she was established as the reigning favorite, becoming
Marchioness of Verneuil. She remained Henry's mistress until his death in
161o, although the premature birth of a dead child relieved him of his
conditional promise to marry her.
GOLTZIUS: HENRY IV
Dutuit 173. Fourth State. Watermark: Crowned fleur-de-lys.
"Goltzius has complete command of the whole gamut of technical expres-
sion. His portraits range in character from prints of the most minute hatch-
ing to others of the greatest breadth of line work." ARTHUR M. HIND
HENRY IV, KING OF FRANCE AND NAVARRE
Son of Antoine de Bourbon, King of Navarre, and Jeanne d'Albret. He
became the head of the Huguenot party on the death of the Prince de
Cond6 in 1569, succeeded to the throne of Navarre in 1572. He survived
the massacre of St. Bartholomew to hold the throne of France from 1589
until his assassination in i61o.
VAN DYCK: JOSSE DE MOMPER
ANTHONY VAN DYCK
"He had all the great qualities; he had perfect freedom and exquisite
refinement. His aims were few, choice of means instinctively wise and
right, his command of them absolute, his success complete."
P. G. HAMERTON
JOSSE DE MOMPER
Dutuit 7. Wibiral 7. First State. "Extremement rare."
Watermark: Phoenix in laurel wreath.
REMBRANDT: SELF-PORTRAIT LEANING
ON A STONE SILL
REMBRANDT HARMENSZ VAN RIJN
"As we all say that Phidias is the greatest sculptor, Homer the greatest
epic poet, and Shakespeare the greatest dramatist; so are we all agreed
upon the world wide supremacy of Rembrandt." HAMERTON
REMBRANDT LEANING ON A STONE SILL
Hind 168. Bartsch 21. Second State.
"This is a splendid example of high culture in the art of etching, going far
enough in the darks for the expression of power, but completely, even in
the darkest parts, avoiding the mere thickness and density of printing
ink, whilst the treble notes of this linear music are light and clear and
faithfully true in tone." HAMERTON
REMBRANDT: THE THREE TREES
THE THREE TREES
Hind 205. Bartsch 212. Only State. Signed, and dated 1643.
"With the Three Trees we come to the most famous of Rembrandt's etched
landscapes. This plate stands in the same sort of relation to the rest as the
Mill to the rest of his landscape paintings. It is the grandest and most
typical, most expressive of the master's temperament. For once Rembrandt
builds up a landscape design out of sky and earth; and the something
elemental which inspires it gives the etching a pregnancy and significance
which are absent from the other etchings, in themselves at their best, more
intimately charming. There are those who object to the straight, hard lines
of the rain; but I do not find them untrue, and they are of great value in
the design. Then, what beauties lurk in this etching whenever one looks
at it! The return of the light after rain, than which there is nothing more
beautiful in nature, gives a wet sparkle to the fields; and again we notice
how the trees in their dark relief give glory to the space of luminous clear-
ness beyond. The wagon on the top of the high bank is moving toward
the light, and a painter sits by the roadside, sketching the passing of the
storm. An angler fishes in a pool; lovers, hardly discerned, sit together,
away from the world in a thicket's obscurity. All the plain, so solitary at
first, is filled with moving life." LAURENCE BINYON
REMBRANDT: LANDSCAPE WITH MAN SKETCHING
LANDSCAPE WITH MAN SKETCHING
Hind 213. Bartsch 219.
Only State. Attributed date, about 1645.
Watermark: Armorial shield supported by two lions.
"When, however, we turn to etching the case is entirely different. Here
Rembrandt stands out as an inexplicable phenomenon of his time. He had
no predecessors, he had no contemporaries, and he had no successors until
the nineteenth century brought forth its great men. He stands there in the
seventeenth century a unique figure, and no one can say from whence
came his art. He does not show a mere tendency toward nineteenth century
landscape. He is as modern as the men of the nineteenth century them-
selves; and while he has had his equals in two or three of them, he remains
today an unsurpassed modern among the moderns."
w4 Ckfinlt%. i
.a,..JE r .V ..... d.. a sa. vu'j .ah flwrbA ominei t/. ,'
Watermark: R ., Collection: Marseille Halloway.
JAN CORNELIS SYLVIUS, PREACHER
"This was the face of Sylvius, whose eloquence taught that Christ should
be adored, and showed to men the true path to Heaven. With these lips
we heard him speak to the people of Amsterdam, with these he preached
to the Frisians. Piety and religion were long safe in the keeping of an
unyielding champion. Brightly shone the light of his life, revered for its
virtues, and even in the infirmities of age he taught strong men. A lover
of sincerity, he disdained all mere pretense of right nor cared by a fair
front alone to pleasheth good. This was his belief, that Jesus could be
better preached by a nobler life, less well by thunders of eloquence. Amster-
dam, cherish the memory of him who by his character set the standard
for the city's life and maintained it by help of God himself." C. BARLAEUS
for the city's life and maintained it by help of God himself." C. BARLAEUs
-4-- ~ -
REMBRANDT: LANDSCAPE WITH MILKMAN
LANDSCAPE WITH MILKMAN
Hind 242. Bartsch 213. Second State.
"What is it that gives these landscapes their enduring charm, and why do
we rank them so high? It lay in what Rembrandt was: in the depth and
greatness of his humanity."
"How it is we cannot say, but there has passed into these little works, of
which we cannot choose but be conscious, though it was not consciously
expressed, the spirit of one of the fullest deepest natures that ever breathed."
REMBRANDT: CHRIST PREACHING
Hind 256. Bartsch 67. Only State. Attributed date, about I652.
"I have said that Rembrandt equalled this plate (the 'Hundred Guilder
Print') in character study in one instance only. This instance is the little
plate of Christ Preaching. Though less important than the 'Hundred
Guilder Print,' the Christ Preaching is certainly as strong as, if not stronger
than, its great companion in its drawing of human character. The pro-
found attention of the assembly, and the marvellous expression of their
faces as they listen to the words of Christ, make an impression upon us
that cannot be forgotten, and we are as if we ourselves were there listening
to what the Preacher has to say." ATHERTON CURTIS
"No artist has ever been able to give a more sympathetic picture of love for
mankind than that of the Saviour standing in a dark space on a brilliantly
lighted eminence, and speaking, with upraised hands, to the people
gathered round him .. The whole forms a wonderful painter's poem on
the text: 'I am the true Light.' H. KNACKFUSS
REMBRANDT: LANDSCAPE WITH
LANDSCAPE WITH A SPORTSMAN AND DOGS
Hind 265. Bartsch 221.
Second State Collection: Rudge.
"Ici par exception, ce sont des montagnes d'un grand style, de belles lignes
bien mouvement6es, de belles fabriques. On dirait que le peintre a jete les
yeux un instant sur l'oeuvre du Titien qu'il possedait, ou peutetre sur
quelqu' une des estampes que Baudet venait de graver apris Nicolas Pous-
sin. On ne voit pas en effet dans quelle parties de la Hollande, Rembrandt
aurait pu dessiner, d'apres nature des montagnes d'un aussi grand carac-
tere." CHARLES BLANC
REMBRANDT: ST. JEROME READING
ST. JEROME READING IN AN ITALIAN LANDSCAPE
Hind 267. Bartsch 104.
Second State. Watermark: Arms of Amsterdam.
"Often we have heard amateurs express regret that Rembrandt never com-
pleted such a beautiful plate. But artists in general do not agree. The very
incompleteness pleases them; they like the feeling of search in the execu-
tion and of wildness in the landscape." CHARLES BLANC
REMBRANDT: CHRIST PRESENTED TO THE PEOPLE
CHRIST PRESENTED TO THE PEOPLE
Hind 271. Bartsch 76. Signed and dated: Rembrandt f 1655.
Fourth State. Collection: British Museum Duplicate.
"The figures are indicated with lines marvellous and incisive, as though
Rembrandt felt that brevity and conciseness of linear statement best ex-
pressed the brutality of this foul murder of its innocent victim." E. MICHEL
At an age when most artists keep to the groove they have found, Rem-
brandt was more alert and receptive than ever, working out his composi-
tions with a constant eye to further development in the direction of intensity
of emotion and concentration of idea." A. M. HIND
REMBRANDT: CHRIST HEALING THE SICK
CHRIST HEALING THE SICK
(Hundred Guilder Print)
Hind 236. Bartsch 74. Second State.
"The whole composition is the most perfect masterpiece possible of expres-
sion, and this is Rembrandt's highest achievement in the poetry of light.
It is no mere sunlight that in one place envelops the figures, almost with-
out shadow, and in another casts its faint reflection on the groups that
are emerging from darkness; it is the light of Redemption, shining in the
darkness of human existence." H. KNACKFUSS
REMBRANDT: THE DESCENT FROM THE CROSS
THE DESCENT FROM THE CROSS BY TORCHLIGHT
Hind 280. Bartsch 83. First State.
"The enormous differences of effect to be gained by the mere printing can
be seen most pertinently in the various impressions that exist of the Descent
from the Cross by Torchlight of 1654, and the Entombment. The rude
treatment of form exhibited in these works, embodying a certain primeval
simplicity and largeness of emotion, is one of the phases of Rembrandt's
style which has most appealed to the modern artist." ARTHUR M. HIND
OSTADE: THE FIDDLER AND THE HURDY-GURDY BOY
ADRIEN VAN OSTADE
"The plates which he has left all show a true appreciation of the character
of his medium. . Of his street scenes we may specially mention the
Fiddler and the Boy with a Hurdy-Gurdy and the Fete under a Large Tree,
where he combines his groups of peasants chatting, drinking, and dancing
before the inn and in the distance with wonderful skill." HIND
THE FIDDLER AND THE HURDY-GURDY BOY
Bartsch 45. Rovinski 45. Second State, of 5.
Collections: J. Rosenberg; Paul J. Sachs.
DE GOURMONT: CHILD SEATED NEAR A PORTICO
"Jean Gourmont appears first as a printer, in Paris, about 1506, and from
1522 to 1526 seems to have worked at Lyons. His plates show delicate
engraving and a fine sense of composition, and are obviously influenced by
Italian models. He was particularly fond of setting his subjects amid the
rich architecture of the Renaissance, and of portraying its intricate perspec-
tive with peculiar care." FRIEDRICH LIPPMANN
CHILD SEATED NEAR A PORTICO
Collections: Count C. W. de Renesse-Breidlbach; Duc d'Arenberg.
GOURMONT: ELOY AT THE FORGE IN THE PRESENCE OF
(Of the same size as the original engraving)
ELOY AT THE FORGE IN THE PRESENCE OF
Eloy, or Eligius by his Latin name, was born about 588, at the village of
Chatelas, and was of humble origin. He went to school at Limoges, and
there learned the trade of goldsmith, in which he so excelled that when,
in 61o, he went to Paris, he attracted the attention of the treasurer of
King Clothaire II. The king was so pleased with the beauty of Eloy's work,
and the probity of the man, that he employed him in state affairs. His
successor, Dagobert I, made Eloy Master of the Mint. He cut the dies for
the money, and there are known thirteen pieces bearing his name. King
Clovis II, after the death of Dagobert, made Eloy Bishop of Noyon in 641,
although a layman. He is the patron of Bologna and Noyon and of gold-
smiths and all other metal-workers.
DUVET: MOSES SURROUNDED BY THE PATRIARCHS
"The oldest and the greatest of French Renaissance engravers was Jean
Duvet of Langres. . It is to be expected that there will be many who
never will, never can, throw themselves into the frame of mind necessary
to enjoy or appreciate Duvet's work-but for those who are able to do so,
few more interesting prints have ever been made in Europe."
WILLIAM M. IVINS, JR.
MOSES SURROUNDED BY THE PATRIARCHS
Robert-Dumesnil & E. de Boullaye 2.
Collection: Friedrich August II, Dresden.
DUVET: DUVET STUDYING THE APOCALYPSE
DUVET STUDYING THE APOCALYPSE
Robert-Dumesnil & E. de Boullaye 27.
Collection: Julian Marshall.
"Because of certain technical deficiencies he has not received from most
historians the recognition due him, but his independence as an artist and
the intensity, inspiration, vividness, and passion, of his work place him on
a lofty plane." JOHN TAYLOR ARMS
L r ttTLt
CALLOT: PARTERRE OU JARDIN DE NANCY
"Statements in the superlative are among the most insidious temptations
that beset the critic, but with full knowledge of their danger we need not
hesitate to name Callot as the supreme wizard in the art of depicting a vast
number of figures within a small space. He was the master of the secret
of scale and could exemplify the largeness of vitality as opposed to the large-
ness of dimension, the value of spirit and action as opposed to the necessity
for detail." GEORGE S. HELLMAN
PARTERRE OU JARDIN DE NANCY
De Meaume 622. First State.
Before the name of Israel Silvestre as publisher. Tres-belle piece.
Charles IV, duc de Lorraine and his wife, Nicole, are shown watching the
ball-players in the foreground.
i-mpura; '- ~cI
CALLOT: THE HANGMAN'S OAK
THE MISERIES OF WAR
Meaume 564 to 581.
The complete set of 18 plates. Second States, of 3, with the verses
beneath, and the name of Israel as publisher.
"C'est en vain que nous y cherchons une "Satire de la guerre." Ce n'est
pas a Callot qu'il faut demander cela, c'est A Goya. Ce sont toujours des
guignols divertissants qu'on nous montre avec le talent le plus surprenant.
Ces vols A main arm6e sur les grands chemins, ces pillages et incendies, ces
d6vestations de monastires, ces pendaisons de coupables, ces estrapades ces
mendiants, ces mourants, ces scenes d'h8pitaux qu'on nous repr6sente ne
nous font pas fr6mir, ne nous desolent pas, ne nous inspirent pas la haine
du crime et de la guerre, mais nous ravissent d'aise, par le prodige de leur
execution. Nous n'entendons pas dire certes, que Callot a commis une
erreur, mais nous croyons que l'on c'est laiss6 entrainer par l'admiration a
des fausses interpretations de ses intentions. Avec cela les "Grandes Miseres
de la Guerre" restent une des plus precieuses productions de l'art de l'eau-
forte." PIERRE-PAUL PLAN
CALLOT: BREAKING UPON THE WHEEL
THE MISERIES OF WAR
Meaume 564 to 581.
The complete set of 18 plates. Second States, of 3, with the verses
beneath, and the name of Israel as publisher.
"Ceci repr6sente particulierement la vie du soldat et est un tableau de tout
ce qu'il fait souffrir aux autres et des malheurs aux quels il est lui-meme
expos ... C'est un des ouvrages ou cet habile graveur a donn6 le plus de
preuves de son savoir et qui lui a acquis, en meme temps, le plus de
reputation." PIERRE MARIETTE
"Jacques Callot is an etcher of extraordinary originality . His two series
of The Miseries of War give a by no means exaggerated picture of the
horrors that attended warfare in Callot's time, and which he knew only two
well from personal experience. He may be counted as one of the pioneers
of the new methods that were adopted later with so much success by the
Dutch Masters, and may rank among the forerunners of Rembrandt."
CLAUDE: THE RAPE OF EUROPA
CLAUDE GELLEE, (LORRAIN)
"Claude Lorrain knew the real world thoroughly, even to its smallest
detail. He stands to Nature in a double relation; he is both her slave and
her master; her slave by the material means which he is obliged to employ
to make himself understood; her master, because he subordinates these
material means to a well-reasoned inspiration, to which he makes them
serve as instruments." GOETHE
THE RAPE OF EUROPA
Robert-Dumesnil 22. First State.
Collections: Dr. A. Striter; B. Baldinger.
"So she spake, and smiling, she sat down on the back of the bull, and the
others were about to follow her. But the bull leaped up immediately, now
he had gotten her that he desired, and swiftly he sped to the deep. The
maiden turned, and called again and again to her dear playmates, stretching
out her hands, but they could not reach her. The strand he gained, and
forward he sped like a dolphin, faring with unwetted hooves over the
wide waves." MoscHus: IDYL II.
(Translated by Andrew Lang)
MORIN: GUIDO BENTIVOGLIO
GUIDO BENTIVOGLIO, CARDINAL
Engraved from the painting by Anthony van Dyck.
Robert-Dumesnil 43. Belle piece.
"In Cardinal Bentivoglio, papal nuncio to the Court of Louis XIII, we have
Morin in his grand manner transferring all the color of the original canvas
to his copper-plate and interpreting his model with a boldness, a softness,
a clearness of purpose, and a strength of sympathy wholly admirable. This
portrait alone would have established Morin's fame."
Louis R. METCALFE
JEAN HONORt FRAGONARD
"Avec l'etonnante intuition des grand artistes, Honor6 Fragonard n'eut
qu'a laisser courir la pointe d'acier sur le cuivre pour &re un maitre en fait
de gravure, et le peu qu'il a laiss6 dans ce genre inspire le regret qu'il ne
s'y soit pas adonn6 davantage." HENRI BERALDI
BACCHANALE: KNEELING SATYR, YOUNG WOMAN,
BABY GIRL AND BABY SATYR
P. de Baudicour 8. First State.
"L'Italie lui inspire encore ces d6licieux Jeux de Satyres, quatre pieces con-
nues aussi sous le nom de Bacchanales, ex6cutses en 1763, voluptueuses
fictions closes sous ses doigts habiles et aussi grassement que finement
graves. . Fantaisies charmantes graves pour le grand plaisir des yeux
et qu'encadrent des touffes de lierre et de roseaux: Ne dirait-on pas de
divines terrecuites tombees dans l'herbe du socle d'un Priape, ou plutot ne
font-elles pas penser a des pierres graves ramassees par le peintre francais
dans la grotte des nymphes oh se baignait Chloe?" HENRI BERALDI
i~~~ ~~ -4 rrQ-~~or/r
DE LAUNAY: LES HAZARDS HEUREUX
DE L ESCARPOLETTE
LES HAZARDS HEUREUX DE L'ESCARPOLETTE
Portales and Beraldi 12. Lawrence and Dighton 85.
Engraved by Nicolas de Launay after the painting by Fragonard.
Fifth State, of seven. Fleuron engraved by Choffard.
Of all De Launay's work, perhaps of all the engravings of the period, the
best known is Les Hazards Heureux de l'Escarpolette, and it is interesting
to note what Messrs. Portales and Beraldi say about it: "Surtout la cel6bre
estampe Les Hazards Heureux de l'Escarpolette. Cette estampe est le fin du
fin, a quintessence, le dernier mot de l'art galant de l'6poque."
DE LAUNAY: LE BILLET DOUX
LE BILLET DOUX
Bocher ro. Engraved in 1778 by Nicolas de Launay after Nicolas Lavreince.
"Cette scene se passe dans un salon d6cor6, et le m6rite de la gravure ajoute
a l'agr6ment de la composition." Mercure de France, April, 1778
"Four of De Launay's engravings are among the finest of the whole period
and they are all after Lavreince-Le Billet Doux, Qu'en dit l'Abbe?, La
Consolation de l'Absence and L'Heureux Moment. In these four prints
technique has said the last word, the drawing in all its details is exquisite
and their charm irresistible." H. W. LAWRENCE
DE LAUNAY: QU'EN DIT L'ABBE?"
QU'EN DIT L'ABBE?
Bocher 51. Engraved in 1788 by Nicolas de Launay after Nicolas Lavreince.
"Cette estampe, agreable de gravure et de composition, fait pendant a celle
d6ja connue des m mes artistes intitul6e: Le Billet Doux."
Mercure de France, November I, 1788
"The beautiful estampe galante, it may confidently be affirmed, will main-
tain its position. Exhaling the very spirit of the ancien regime, its charms
must ever appeal to all lovers of daintiness and grace; whilst at the same
time, owing to its accurate delineation of architecture and costume, it is
certain to retain an undying interest for the student of the vanished age."
HELMAN: LES DELICES DE LA MATERNITY
ISIDORE STANISLAS HELMAN
LES DtLICES DE LA MATERNITY
Bocher 1354. Engraved in 1777 after Moreau le Jeune.
"The first twelve prints of the second series of Le Monument du Costume
represent the life of a lady of fashion, and the second twelve those of a
court gallant. The engravers were judiciously chosen, and between them
they produced by far the finest series of plates engraved in the eighteenth
century. . Moreau's composition and drawing is everywhere distin-
guished, and he needed no ornamental frame to set off his pictures."
H. W. LAWRENCE AND B. L. DIGHTON
DEBUCOURT: PROMENADE PUBLIQUE
PHILIBERT LOUIS DEBUCOURT
"There remains only one more engraver to discuss, but he is, by universal
consent, one of the greatest of all this group, Philibert Louis Debucourt. In
his best period, from 1785 to 18oo, he was a true painter-engraver, the only
one of the engravers in colour of his period who worked entirely from his
own designs, pictures, gouaches or drawings in water-colours."
LA PROMENADE PUBLIQUE
Engraved in 1792 by Philibert Louis Debucourt after his own painting.
"In his masterpiece, the large Promenade Publique of 1792 the scene is once
more the garden of the Palais Royal. Never was a Parisian crowd, never
were the marronniers of Parisian open spaces, depicted with such felicity."
"It is one of the last of Debucourt's inimitable pictures of the world as he
saw it, with an eye that discerned infallibly what was of the essence of the
scene, what was worth recording for the information and the pleasure of
posterity. Manners have changed; all the old joie de vivre and informal
merriment which he saw in the Palais Royal have given place to the some-
what guinde and rigid deportment of the Empire. But Debucourt sets it all
down faithfully and without prejudice. He is the painter of the manners of
his day, without any artificiality or archaism, and that is what makes his
work so interesting and of such permanent value."
DEBUCOURT: LA NOCE AU CHATEAU
LA NOCE AU CHATEAU
Fenialle 21. Third State, before the title but with the coat of arms. The
name of the artist and the date (1789) scratched with the needle. Engraved
by Debucourt from his own design.
"Le Minuet de la Marice and 'La Noce au Chateau' mark the artist's full
mastery of the delicate and complex process of colour printing with four
"In Debucourt we have the "graveur qui cre6." Much of the peculiar merit
which renders his engravings still so delightful is doubtless due to the fact
that he painted his subjects before he engraved them, and thus won a
double mastery over their expression." LADY DILK
DEBUCOURT: LE MINUET DE LA MARIEE
LE MINUET DE LA MARINE
Fenaille 8. Fourth State, of 6, before the title, but with the coat of arms.
The name of the artist and the date (1786) scratched with the needle.
Collections: Paul Dutasta, Cortland F. Bishop.
Engraved by Debucourt from his own design.
"Le Minuet de la Mariee is one of Debucourt's most successful and im-
portant works in "la gravure gouache". It is superior to "La Noce au
ChAteau" (1789)-though this is amongst his best-and may take equal
rank with the famous "Promenade de la gallerie du Palais Royal."
ISABEY: ABSIDE EXTERIEURE DE L'EGLISE
"His lithographs number less than sixty, but few as they are, their artistic
excellence places him, beyond all question, among the six or seven great
masters of the art." ATHERTON CURTIS
ABSIDE EXTERIEURE DE L'EGLISE
FANTIN-LATOUR : SIEGFRIED AND THE RHINE MAIDENS
"An enthusiast in music, he has undertaken to translate into drawings the
melodic inspirations of Schumann, Berlioz, Wagner, and Brahms. His
vapourous designs are graceful and elegant."
SIEGFRIED AND THE RHINE MAIDENS
H6diard 31. Second State of the first Stone (1880) Presentation proof.
MILLET: PEASANTS GOING TO WORK
JEAN FRANCOIS MILLET
"Fashions in art will change ... The unheralded, will some day be famous.
But in the roll of honor of the nineteenth century there is no name more
certain to go down to posterity as that of a master in art than the name of
Jean Francois Millet." F. KEPPEL
PEASANTS GOING TO WORK
Delteil 19. Fourth State, of seven. Collection: Alfred Sensier.
"The essence of the painter's feeling is here, in these few strokes of black
on white; and the essence of his feeling is more valuable than even the
splendid glow of color by means of which he enhanced, on canvas, its
effect." MRS. SCHUYLER VAN RENSSELAER
MERYON : LABSIDE DE NOTRE DAME DE PARIS
"That superb series is a monument unique in its sensitive, imaginative, and
deeply spiritual expression of architectural form and meaning, and such
plates as 'The Morgue,' 'The Apse of Notre Dame,' 'The Stryge,' 'The
Gallery of Notre Dame,' and the 'Rue des Mauvais Gargons,' are among
the greatest of man's achievements on the copper-powerful, restrained, con-
centrated, beautiful in their clarity, rich in their inner meaning, faultless
in their execution." JOHN TAYLOR ARMS
L'ABSIDE DE NOTRE-DAME DE PARIS
Wright 38. Fourth State, of 8.
"This view of Notre-Dame is strikingly majestic. The Cathedral, which in-
spired a poet to write one of the most beautiful works of our generation,
appears to have exercised a great influence over Meryon's dreamy spirit, and
to it we owe his loveliest plate. In it he has shown that, already a poet and
a draughtsman, he was also a great colourist." PHILIPPE BURTY
MERYON: LA TOUR DE L HORLOGE
LA TOUR DE L'HORLOGE
Wright and Delteil 28.
"When Meryon made his vigorous etching of the Tour de l'Horloge the
restorations which are now completed were still going on. . Since that
time a further step has been taken, and in a few days the Pont-au-Change
will be only a memory. Meryon's etching will therefore become historic."
L'Artiste, October 31, 1858
DEGAS: FEMME NUE DEBOUT, A SA TOILETTE
"La gravure, pour Degas, fut en meme temps un amusement, une jouis-
sance et un moyen d'exprimer sa pens6e, non pas seulement une transpo-
sition de certaines de ses ceuvres." PAUL LAFOND
FEMME NUE DEBOUT, A SA TOILETTE
Delteil 65. Third State, of four. De toute raretd. Signed proof.
In these lithographs, Apres le Bain, Femme Nue Debout a sa Toilette,
everything is dispensed with that does not tend immediately to the end in
view-a moving figure in an envelope of light. The mass and movement of
the body are given, and much of its character, but its definite form is sug-
gested rather than insisted upon.
DEGAS: AU LOUVRE: MUSEE DES ANTIQUES
AU LOUVRE: MUSEE DES ANTIQUES
Delteil 30. Fourth State, of 6. Etching and aquatint.
"Degas avait grav6 une autre planche en vue de sa publication dans une
revue d'art; c'est le Musee des Antiques, au Louvre. Cette revue qui se
serait appelke Blanc et Noir, devait avoir pour collaborateurs artistiques en
outre de Degas, Bracquemond et Desboutin. La revue resta a l'etat de pro-
jet aucun numero ne vit le jour, bien que le tirage des cuivres, tout au
moins en ce qui concern celui de Degas, avait &te effectu6.
LEPERE: BORDS DE LA VIE
"In one phrase is summed up the essential aim of the engraver who treats
his art with respect, .. 'Not to imitate. To express.' Lep re has followed his
own doctrine to its logical conclusion. Never servile, even in his most
faithful portraiture of a nature that enchants him, he works with a pleni-
tude of science, but also with unwearied freshness of inspiration and a sym-
pathetic feeling for the character of his subject."
ELISABETH LUTHER CARY
BORDS DE LA VIE
Lotz-Brissonneau (continued) 150.
"This strong sense of appropriate and austere design, supported by such an
easy grace of handling, is unusual in any age, and especially in our own,
when grace and austerity find it almost impossible to live together in one
man's work." ELISABETH LUTHER CARY
FORAIN: FEMME NUE, ASSISE SUR SON LIT, DE FACE
"His etched line is like that of no other artist. On first making its acquaint-
ance, one feels the shock of strangeness and surprise which is always caused
by the first contact with an important innovation. It is so personal to the
artist that it can never 'make a school'; such attempts at imitating it as have
hitherto been made are deplorable failures." CAMPBELL DODGSON
FEMME NUE, ASSISE SUR SON LIT, DE FACE
Gu6rin 42. Only State. Twenty-five impressions. Collection: Balleen.
"The etching of a girl, sitting on her bed, in its frank simplicity and per-
fectly direct and successful technical execution, is one of the finest things
in Forain's oeuvre. CAMPBELL DODGSON
FORAIN: LE PREVENU ET L ENFANT
LE PREVENU ET L'ENFANT
Gu6rin 52. Third State.
"Le Privenu et I'enfant in which a tiny, chubby boy, lifted in his mother's
arms, recognizes his father in the dock and moves his little hand and foot
in greeting, affords an agreeable contrast to the rather grim contents of
most of these studies of the tribunal. It is a case where, if the First State
appears absolutely perfect in its presentment of all the essentials of the
scene, yet the numerous additions made in the final state are quite har-
monious and complete the picture successfully." CAMPBELL DODGSON
FORAIN LE CALVAIRE
.--- .... -- .-,
, __ _-- -. \. ,
Gu6rin 58. First State.
"The subject is, I think, without a precedent in religious art. There are no
crosses; the only trace of the tragedy just enacted is the ladder held erect by
a group of workmen on the right, who stand with heads bent in sympa-
thetic reverence and sorrow while the Mater Dolorosa, bowed with grief,
is led away from the scene by two of her nearest and dearest. All our sym-
pathies now are with her; the body of her Son, by whose cross she has
watched so long, has been taken from her to the tomb."
FORAIN: L'IMPLORATION A LOURDES
L'IMPLORATION DEVANT LA GROTTE, LOURDES
Undescribed by Gu6rin. First State.
"Most beautiful, however, of all this set, and the finest etching, in all proba-
bility, that the twentieth century has yet produced is L'Imploration. The out-
line is of the simplest; there is the barest suggestion of the tapers and votive
offerings hung in the grotto; the simplicity of the printing is in perfect ac-
cord with the character of the design, and the master has achieved with
matchless success the omission of everything irrelevant and trivial."
FORAIN: UNE SAISIE
Gu6rin 4. Only State. Proof No. 7 of ten impressions.
"In the period which witnessed the production of these many series of
satirical cartoons, Forain was already actively engaged in one of the two
branches of original art in which he excels, Lithography. .. So many of
the lithographs exist only in a few trial proofs that the number of collec-
tions that are at all extensive is very limited, and these are chiefly in
private ownership in Paris." CAMPBELL DODGSON
GOYA: GOD FORGIVE HER: IT IS HER OWN MOTHER"
FRANCISCO GOYA Y LUCIENTES
"Goya, both in himself and for his influence, is one of the greatest artists
that the world has seen these last hundred and fifty years-and his greatest
work is his black and white." W. M. IVINs, JR.
"GOD FORGIVE HER: IT IS HER OWN MOTHER"
Delteil 53. (No. 16 of the "Caprices") Third State of 4.
"The damsel . is accosted by an old and decrepit beggar-she repulses
her; the beggar woman insists. The beauty turns and recognizes her-this
poor old woman is her mother." From "The Caprices" (Lefort No. 16)