WOOD - ENGRAVINGS BY AUGUSTE LEPERE

1920

1 y Auguste Lepere au Travail (Photo faite en 1918) CATALOGUE OF A NOTABLE COLLECTION OF WOOD- ENGRAVINGS BY AUGUSTE LEPERE [1849-1918] I

Galleries of M. KNOEDLER & CO. 556-558 Fifth Avenue near 46th St. New York Commencing October 25th, 1920

FOREWORD

AUGUST LEPERE (1849-1918)

REDERICK WEDMORE, in his book entitled "Etchings," published 1911, folio 83, writes the follow­ ing: "Auguste Lepere was known as an Original Engraver on Wood some years before he was known at all as an Etcher; a man about sixty years old, the bulk of his work in both these arts is of necessity done, and it has made him famous"

"Lepere is the indisputable master of the wood­ cut ; no rival, no contemporary, I should even add no predecessor, has approached him in the force, the delicacy, the quite extraordinary variety of his em­ ployment of it, nor in the richness of pictorial inven­ tion of which he has made it the medium." "The most amazing wood-cut that ever Lepere has wrought is of a scene and monument outside the capital: it is the capital of Normandy. His 'West Front of the Cathedral of Rouen' is the great mas­ terpiece of wood-cutting." (See L. B. 177.) 3

V LEPERE'S EARLY TRAINING IN THE ART OF WOOD-ENGRAVING When but thirteen years of age, he entered the studio of Smeeton, a wood engraver who was one of the principal "Fournisseurs du Magasin Pittor- esque," remaining with him for ten years, acquiring not only all the technical skill which Smeeton pos­ sessed, but adding to it unconsciously the artistic- resourceful genius which, lying dormant, was ready without the least encouragement to issue forth, astonishing not only his friends but the art world. It seemed incredible that one so young should pos­ sess such wonderful adaptability, one whose manners and ways were so simple and unaffected should be capable not only of mastering all the knowledge and technique of the masters who preceded him, but to "carry on," elevating the art to a pinnacle it seemed quite impossible to reach or aspire to. He raised the wood-engravers art, which at that time was looked down upon as purely commercial, to a place among the great arts. The landscapes, the cities, the villages, the country life, the churches and build­ ings all breathe of life, air and movement. M. Leonce Benedite "conservateur du Musee National du Lux­ embourg" in his able preface to Lotz-Brissonneau's catalogue of the Etchings, Wood-engravings and Lithographs of Auguste Leperes among other things writes: "II est devenu, en effet, le plus extraordi­ naire graveur sur bois; les virtuosites les plus sub- tiles du metier n'ont plus de secrets pour sa main,

4 alerte, vive, nerveuse, qui se joue de toutes les dif­ ficulty, qui rivalise avec tous les autres modes d'ex- pression de l'estampe et qui dene jusqu'a la peinture. Et, ce phenomene se produit juste a l'heure fatale ou la gravure semblait tout a fait condamnee par la decouverte et l'emploi chaque jour plus prodigieuse- ment repandu des procedes photographiques. L'une des formes les plus irremediablement attein- tes de cet art etait surtout la gravure sur bois. L'eau-forte, la lithographie garderent encore quelque force, grace a leur prestige d'arts independants. Mais le bois, lui, le bois, jusq'alors n'avait pas vecu de sa vie propre. II n'avait jamai cesse d'etre asservi a la typographic Et, tandis que le livre cou- rant, la revue, le journal, le magazine, tout ce qui avait fait vivre le bois jusqu'a ce jour, l'abandon- naient totalement, dans leur multiplication nouvelle, pour adopter les procedes photographiques, le livre d'art proprement dit traversait lui-meme de telles epreuves que les pauvres xylographes paraissaient devoir a jamais renoncer a tout espoir." NOTES UPON THE PRACTICAL PART OF WOOD-ENGRAVINC Both wood-cuts and wood-engraving are in relief and printed from the surface, the ink rolled over the same as is done in printing from type; in fact, the wood-cut and wood-engraving were developed for illustration of printed matter to appear in con­ junction with it. At first they used straight grained wood, but owing to the great difficulty of produc- 5 ing a clean line, better results were obtained with box-wood prepared by cutting it across the grain. In the large posters, however, and in the coarser work, they still use the straight grained wood. A wood-cut is produced by cutting the block with a knife—the wood-engraving with a graver—the same instrument that is employed in cutting metal. W. J. Linton, in his manual of "Instruction on Wood-Engraving," London, George Bell & Sons, 1884, makes this distinction between a wood-cut and a wood-engraving, viz.: the first process (wood-cut) is done by a mechanic; the second (wood-engraving) by an artist. Most any one with a steady hand and good eye could become an able wood-cutter, but he must be this and more to be a wood-engraver. The lines showing white when printed are the engraved lines (the counter part of the black line of the cop­ per-plate engraver or etcher). "White line alone is art." "Let us keep the name 'an engraving' for works of art only—marking the line between wood­ cut and wood-engraving." "The earliest dated wood-engraving was long con­ sidered to be a "Saint Christopher," an impression of which, colored and much damaged, is in the pos­ session of Earl Spencer. It bears the date of 1428, and was found in the Chartreuse convent of Bux- heim near Memmingen, in Suabia—one of the most ancient convents in Germany." "A book of 'Fables,' printed by Pfister at Bam­ berg in 1461, appears to have been the first book printed with types and wood-cuts." "A great engraver, indeed, was Albert—or Al- brecht Durer, a great engraver in copper,—great in that as in his painting. Great also for his designs, drawn, I suppose, by himself upon the wood. But at the date of his first work, engraving on wood had become extensively practiced. There was no need then for the hand-work in cutting, even setting aside the easily to be shown impossibility of his having had time to cut only a small portion of the design known to be his. And it may be remarked that, however skilful his hand might be in the use of the graver in copper, the altogether different and unac­ customed work of cutting with a knife would cer­ tainly not have been done by him so well as by one used to it. The very excellence (clean and exact rendering of line) would rather point to the skilled mechanic as its doer: the better the work as engrav­ ing, the less likely (and the remark applies to other painters or draughtsmen credited with engraving their own drawings on wood)—the less likely that he had any hand in it. More truly is he called 'the greatest promoter' of the art of wood-engraving, from the number as well as the grandeur of his works of that kind." *Chatto writes: "There are about two hundred subjects engraved on wood which are marked with the initials of Albert Durer's name; and the greater part of them, though evidently designed by the hand of a master, are engraved in a manner which cer- •William A. Chatto, an Englishman, b. 1799, d. 1864. Jack­ son & Chatto wrote a "Treatise on Wood-Engraving," 1838. 7 tainly denotes no very great excellence. Of the remainder, which are better engraved, it would be difficult to point out one which displays execution so decidedly superior as to enable any person to say positively that it must have been cut by Albert Durer himself." . . . Another point well taken by Mr. Chatto. There are quite a number of cross- lines in Durer's wood-cuts. The following we quote verbatim: "What is termed 'Cross-hatching5 in wood-engraving is nothing more than the black lines crossing each other for the most part diagonally; and in drawing on wood it is easier to produce a shade by this means than by thickening the lines; but in engraving on wood it is precisely the reverse, for it is easier to leave a thick line than to cut out the interstices of lines crossing each other." Jerome (Andre) Resch, best (early) engraver of his time, is said by Neudorffer, a contemporary of Durer, to have engraved most of the Durer designs. All this goes to show that the design and drawing upon the block come first and the engraving of that design second; that when both design and engraving are done by the same hand working for the same end, combining artistic knowledge with mechanical excellence, there is bound to be satisfactory results. Lepere with his inborn artistic feeling and years of experience in the studio of Smeeton, the wood- engraved, combined to erect a foundation on which he established a reputation, which one is compelled

8 to acknowledge, is both deserved and justified, and he should be regarded as the greatest wood-engraver of all times. TRIAL PROOFS ARE OBTAINED AS FOLLOWS Gently dab the engraved block over with an ink ball, being careful that the ink does not run down into the cutting, then place India paper over the block with a cardboard over the India paper, then with a burnisher rub evenly the cardboard backing until all the ink has been transferred to the India paper. FRISKET From time to time, the engraver may desire to ascertain whether certain parts of the engraved work need additions. He then cuts a "Frisket"—a Frisket is a piece of thin paper with an opening cut the size of the part he wishes to obtain an impression of, placing it over and inking the part exposed— the rest of the block covered, he obtains what he desires by the printing method described above.

9 CATALOGUE

LIST OF LEPERE'S WOOD - ENGRAVINGS Reference numbers are taken from Lotz-Brisson- neau's Catalogue of Lepere's engravings and are used in this exhibit.

L.B. 146 LA RUE DE LA MONTAGNE ST. GENE­ VIEVE, PARIS Effet de nuit There are three states, this is one of five impressions of the second state. The first state was not entirely finished, having only the word "Paris" engraved upon it. The second state bears the entire title, viz.: "Paris, la rue de la Montagne Sainte- Genevieve," also a "Cat" as a remark. The "Cat" is erased in the third state. The church of Saint-Etienne-du-Mont ap­ pears at the end of the street. Published in "l'Estampe Originale" 1886

L.B. 146a. LA RUE DE LA MONTAGNE ST. GENE­ VIEVE, PARIS The third or last state (same subject as above). There were.to have been 100 pub­ lished, but only 50 were struck off. Published in "l'Estampe Originale." 1886 10 L.B. 147 LA SEINE AU PONT D'AUSTERLITZ A Windy Day One of a small number in the second state. Maisons du Quai et l'estacade de l'lle Sainte Louis in distance. Appeared in "L'Estampe Originale" 1886

L.B. 148 LE QUAI DES GRANDS AUGUSTINS One of thirty in the second state. Over the book-stalls on the Quai des Grands-Augustins, is seen the houses on the Quai des Orfevres and the spire of "La Sainte-Chapelle." Appeared in "L'Estampe Originale" 1886

L.B. 152 QUAI DE L'HOTEL-DE-VILLE. L'Hiver One of a small number of artist proofs in the first state. It appeared in the Christmas number of "La Revue Illustree," with an article on Zola, 1888. It is a copy, with a few changes, of one of Lepere's paintings. In middle distance the Seine and the "Quai de l'H6tel-de-Ville" with fruit boats. L'Eglise Saint-Gervais-Saint-Protais is be­ yond. n L.B. 153 LA RUE DES BAREES, PARIS One of ten impressions in the second state. A winter scene in the picturesque Barres Street, Paris, illustrating life and movement with a background of the abside of the church Saint-Gervais-Saint-Protais. The front of this church faces the Hotel-de- Ville. Appeared in "La Revue Illustree" 1886

L.B. 155a. LES CHARBONNIERS Making charcoal in the Foret de Fontaine- bleau. The man at left is breaking up a log of charcoal. Appeared in "La Revue Illustree" 1887

L.B. 156 REPAS DES BUCHERONS. Foret de Fontainebleau One of a small number of proofs. Appeared in "La Revue Illustree" 1887

L.B. 156a. ABATTAGE DU PINS Foret de Fontainebleau One of a series of the four seasons, of which all but the Autumn were engraved. One of the first proofs printed on thin Japan paper. Appeared in the "La Revue Illustree" 1887 12 L B. 158 Roche-Cuvier-Chatillon Foret de Fontainebleau

L.B. 157a. LE CARREFOUR DE L'EPINE (cul-de- lampe) Foret de Fontainebleau One of a small number of proofs. Later appeared in "La Revue Illustree" under the title of "L'Hiver" 1887 L.B. 157b. ROUSSEAU ET MILLET Entree de 1'Atelier de Rousseau, et la Maison de Millet And the bronze relief by Chapu Near the Forest of Fontainebleau Artist proof retouched by the artist. (Three engravings on one block). "Le Bas-Breau" is in the N. W. Section of the forest of Fontainebleau and near the terminus of the steam tramway from Melun to Barbison, where the Hotel de l'Exposi- tion is. The bronze relief busts of Rous­ seau and Millet by Chapu have been let into the rock in the vicinity of this Hotel. Published in "La Revue Illustree" 1887 L.B. 158 ROCHE-CUVIER-CHATILLON Foret de Fontainebleau One of the six proofs. A beautiful wood- engraving, which is, among the amateurs of Paris, considered one of his best. Appeared in the "La Revue Illustree" 1887 See illustration 18 L.B. 159 ARRACHEURS DE BRUYERE Foret de Fontainebleau A beautiful proof on thin Japan paper, very few printed. The laborer in the foreground is hoeing up the heather; in the distance other workmen are burning weeds and loading a cart with refuse. Appeared in the "La Revue Illustree" 1887

L.B. 160 BRULEURS DE FOUGERES This is one of first very limited proofs in the First State. Labourers are working among the pines and boulders, burning the ferns. M. Lotz-Brissouneau, commenting upon the print, says "Cette estampe d'une extreme (I'licvtesse d'execution, comte parani les plus belles de l'artiste, mais les epreuves d'une belle venue sont tres rares." Appeared in the "La Revue Illustree" 1887

L.B. 161 UNE CHASSE A COURRE, MONT-GERARD Foret de Fontainebleau A beautiful silvery proof upon onion paper. Only very few printed. Les Monts-Gerard are situated in the western part of the forest. Appeared in "La Revue Illustree" 1887 14 L.B. 161a. LE RAGEUR Foret de Fontainebleau First state touched by the artist. This old oak of Fontainebleau must have appealed to Lepere from its appearance, suggestive of rugged human life. 1887

L.B. 163 CANTINE DE LA MERE PICHARD Foret de Fontainebleau Proof, first state on thin Japan paper. Appeared in "La Revue Illustree" 1888

L.B. 165 LE FABRICANT DE LATTES Foret de Fontainebleau Only a very small • number were printed from this plate on thin Japan paper. Appeared in "La Revue Illustree" 1888

L.B. 165a. LE PRENEUR DE SERPENT Proof on thin Japan paper. There are so many venomous snakes in the forest of Fontainebleau that men are kept busy catching them. The guide books warn those who stray from the beaten paths to provide themselves with "alcali volatil" to use in the case of adder-bites. Published in "La Revue Illustree" 1888 15 L. B. 165b. MAECHANDE DE SERPENTS Foret de Fontainebleau Appeared in "La Revue Illustree" 1889

L.B. 166 FRONTISPIECE DE "ROUEN ILLUSTREE'' (There were 21 subjects in this collection.) One of 12 artist proofs on Chinese paper. The beautiful spire of Rouen Cathedral is seen above the fine bridge which crosses the Seine, only a part of which is shown in the picture. The two prominent towers shown at the left are on each side of the west entrance of the Cathedral. Appeared in "L'lllustration" 1896

L.B. 167 LE PONT DE PIERRES, ROUEN One of 12 artist proofs, printed on Chinese paper. It is the quiet hour of evening. The laborer is resting on the bridge and the city of Rouen with its beautiful cathedral making a most impressive background. It was en­ graved in 1888. Appeared in "L'lllustration" 1896

L.B. 171 ROUEN (Four Subjects on One Block) One of a few printed upon thin Japan paper. 16 The upper right subject shows the "Rue des Charrettes" and a portion of St. Vincent. The next lower, Rue de Halage. The lower two subjects are: left, "Rue Eau de Robes"; right; "Place des Arts." This latter drawn by Lepere but engraved by H. Paillard in 1888. Published in "LTllustration" 1896 L.B. 172 PLACE VIELLE-HAUTE-TOUE, ROUEN One of twelve impressions in the first state printed upon Chinese paper. One of the Rouen set of twenty-one. Five subjects. Part of Rouen Cathedral's spire in center. The market place, the rue de l'Epicerie and below l'Edicule de la Fierte, chapelle Saint-Romain. The upper view is from the chapelle portico. Engraved in 1888. Appeared in "LTllustration" 1896 L.B. 174 LA GEOS HOELOGE, ROUEN Proof impression A fine engraving of this well-known clock with its beautiful Renaissance setting, showing also at the right a residence richly ornamented of this same architectu­ ral design, has been wonderfully portrayed in this wood-engraving which he did in 1888. Appeared in "LTllustration" 1896 17 L.B. 177 LA CATHEDRALE DE ROUEN In the first state only six impressions printed, all upon Chinese paper. Mr. Lotz-Brissonneau in his catalogue (1905) makes this remark following the description of the plate: "Cette planche est l'une des plus importantes parmi celles faites a, cette epoque, ou le graveur cher- chait la grande finesse de la taille et la finesse du ton." 1888 L.B. 177 LA CATHEDRALE DE ROTJEN Another state of the preceding being num­ ber 32 of 50 impressions, and is a proof before it was published in "L'lllustration" in 1896, in which periodical it appeared without the words "ROUEN" "A. LEPERE, del. sc," engraved upon the work itself. See illustration L.B. 178 EN ROUTE POUK LE SALON Artist proof signed on thin Japan paper. This block was designed by Lepere, but en­ graved by A. Bellanger. The scene is laid in the rue Ravignan, a street is in the Montmartre district; near the "Sacre Coeur." L.B. 180 SOETIE DU THEATRE DU CHATELET Scene de Nuit. Situated on the corner of the Quai de la Megisserie and the Place Chatelet. The 18 L. B. 177 La Cathedrale de Rouen

Theatre is near the "Hotel de Ville." The buildings in the background silhouetted against the sky are the tour de l'Horloge,, and the Conciergerie. One of the 50 proofs printed upon Onion Paper. The prints appeared afterwards in "L'Estampe Originale" 1888

L.B. 185 PARIS, VU DES GUINGUETTES SOUS LE SACRE-COEUR One of 25 proofs. One has a wonderful view from this restau­ rant on Montmartre. Lepere indicates a number of the most notable buildings, viz.: commencing at the left, La Tour Saint- Jacques, Notre-Dame, Le Pantheon, le Val- de-Grace; in the centre, le Louvre; at the right, l'Opera, and close to the edge of the plate, la tour Eiffel. Afterwards it appeared in a little volume relative to Montmartre. 1889

L.B. 185a. FETE NAUTKIUE, SUR LA SEINE, UN QUATORZE JuiLLET. Signed artist proof printed upon Japan paper. View taken from the roof of the "Legion d'Honneur" building, looking up the Seine. The first bridge Point Royal, the second 19 Pont du Carrousel, the third Pont des Arts. These three bridges connect on the north or right sides of the Seine with the Palais du Louvre. The fourth, Pont Neuf, con­ nects l'lle de la Cite, with the Quai du Soume on the north side and with the Quai Conti and the Quai Grands Augustins on the south side of the Seine. 1889 L.B. 192 QUATOEZE JuiLLET, FETE AU TROCA- DERO One of the ten proofs on Japan paper. Afterwards it appeared in the "Revue de l'Exposition." This composition is filled with movement, giving the exact impression of gaity which was the dominant note of the Exposition of 1889. 1889

L.B. 193a. LA TOUR EIFFEL Eff et de nuit Artist proof in the first state, printed upon Chinese Onion paper. A most dramatic conception of this wonder­ ful piece of engineering. Lepere has drawn his perspective from a point of view several hundred feet above the ground, with the shaft piercing the clouds and lifting its head above the moon. One cannot but feel when 20 looking at the engraving that the artist has conveyed more food for the imagination than the engineer.

L.B. 193b. FRONTISPIECE DE L'EXPOSITION One of a small number of proofs printed upon Japan paper. This beautiful engraving illustrates the ar­ rangement of the exposition buildings of 1889, with the Eiffel Tower and a portion of the Trocadero, a distant view of the Louvre, a portion of the platform of the Pont-Neuf, and the Boulevards at night. Afterwards appeared in the "Revue de l'Exposition Universelle." 1889

L.B. 195 LA PASSERELLE DE L'ALMA One of a limited number of first proofs printed on thin Japan paper. An illustration of the U. E. Paris, 1889, showing their manner of handling a crowd by not only furnishing an extra foot-way but by making it an agreeable object to look at as one passed under it by the Pont de L'Alma on the way to the exposition buildings seen in the distance. Appeared in "La Revue de l'Exposition 1889" November number. 1889 21 L.B. 195a. LE PONTON DE BATEAUX-MOUCHES Au couche du soleil. Proof on thin Japan paper. This is also at the time of the Universal Exposition of 1889, showing the little pas­ senger boats on the Seine, with the Exposi­ tion buildings in the background. Appeared in "La Revue de l'Exposition 1889" November number. 1889 L.B. 199 LE MATIN, CAREEFOUE DES FORTS- MARLOTTE La Foret de Fontainebleau A morning view, showing trees of great height, bathed in the early sunlight. There were a number of states. This is one of the proofs on Japan paper. Published later in "l'lllustration." 1889 L.B. 199a. MORET, LA PORTE DE MONTEREAU Artist proof. In Moret are the ruins of the fortifications built by Charles VII which control the en­ trance to Paris and Bourgogne; the royal chateau in which Foguet was confined; the church built about the XII century; Organs of the XV century; there are many points of historic interest in the town of Moret, a town of 2000 inhabitants. Appeared later in "Revue Illustree" 1889 22 L. B. 201 Le Boulevard pres du Vaudeville

L.B. 199b. LA GAMIN A L'ORSET La Foret de Fontainebleau Artist proof signed. Appeared in "Revue Illustree" 1889 L.B. 200 MIDI, SOUS BOIS Fontainebleau One of the few proofs signed and mono- gramed in Red. A picnic party in the forest. Appeared in August number of "La Revue Illustree." 1889 L.B. 200a. Au ROCHEE BERNARD, CHERCHEURS DE CHAMPIGNONS La Foret de Fontainebleau Artist proof on thin Japan paper. Stamp monogram of artist in Red. Published in "Revue Illustree" 1889 L.B. 201. LE BOULEVARD, PRES DE VAUDEVILLE This engraving was not published. Very few impressions were printed upon Chinese and thin Japan papers. The view is taken from the corner of the rue de la Chaussee d'Antin looking towards the Credit-Lyonnais on the Boulevard des Ital- iens. The Vaudeville stands directly back of the observer. 1889 See illustration 28 L.B. 202 QuARTIER DES GoBELINS Artist proof on thin Japan paper. The subject for this engraving was seen from the 4th floor of the house of the nihil­ ist Garowitch. It is situated on the Boule­ vard Arago. Afterwards published in "Revue Illustree." 1889

L.B. 203 LE PALAIS DE JUSTICE, VIT DU PONT NOTRE DAME One of the first trials of printing in colors, the same as did the Japanese in water-col­ ors, is here shown in colors printed with typographical ink. There are three in this exhibition, one in black and two in colors. There were 56 printed, all in typographical ink excepting six; these were done in the same medium as the Japanese, viz.: Water- colors. 1889

L.B. 203a. LE PALAIS DE JUSTICE, vu DU PONT NOTRE DAME This view which is seen from the Bridge of Notre Dame embraces, first the Pont au Change, then the Pont-Neuf and the public building, the Palais de Justice with the Tour de PHorloge, the oldest public clock in Paris, dating in the XIV century. 1889 24 L.B. 204 LES PEINTRES Foret de Fontainebleau Proof on India paper. Frontispiece de Printemps. Appeared in "La Revue Illustree" 1890 L.B. 206 LA VALLEE DE LA SOLLE VUE DU MONT CHAUVEL Fontainebleau Proof one of few printed on thin Japan paper. View from a highland restaurant overlook­ ing the valley of Solle, in the Forest of Fon­ tainebleau. Appearsd in "La Revue Illustree" 1890

L.B. 207 LA CARRIERE DE GRES This mine is near Bellecroise (Fontaine­ bleau). Springtime Proof upon Japan paper. After a very lim­ ited number were printed. It Appeared in "La Revue Illustree" 1890

L.B. 207a. Au DEFILE DU SEPT-CAVERNES Foret de Fontainebleau Printed upon Chinese paper. Appeared in "La Revue Illustree" 1890 25 L.B. 208 LE CLOVIS, PLATEAU DE BELLE-CROIX An Old Oak Tree, Foret de Fontainebleau. One of a small number of proofs printed. Appeared in the "Revue Illustree" 1890

L.B. 209 LE BOULEVARD MONTMABTE Le Soir One of a few proofs of the second printing. This is a very short Boulevard, being only 235 yards in length. But it is one of the busiest in Paris. Published in Harper's Magazine 1890

L.B. 210 L'AVENUE DES CHAMPS ELYSEES This is one of ten proofs printed upon thin Japan paper. The subject was seen from the ancient Palais de l'Industrie, and gives one an excel­ lent idea of this beautiful highway. The Obelisque appears in the distance.

L.B. 211 LES DECHARGEURS DE PLATEE Canal Saint-Martin Appeared in Harper's Magazine 1890

L.B. 212 LE STRYGE DE NOTRE DAME, PARIS This is one of ten proofs on Japan paper. In the middle distance "l'Hotel-Dieu," "La Tour Saint-Jacques," "Le Sacre-Coeur." 26 This is quite a different view from Meryon's "Le Stryge," although suggesting it. Published in Harper's Magazine 1890

L.B. 213 EMBARCADERE A BERCY Only state. Only a few printed. The Pont de Bercy crosses the Seine about halfway between the Pont Austerlitz and the Pont de Tolbiac. Appeared in Harper's Magazine 1890

L.B. 214 PARIS, VU DU PAVIKLION DE FLORE There were fifteen trial proofs, of which this is one. An interesting view showing first the Pont des Sts. Peres; above it, in the following order: the Pont des Arts, the Pont-Neuf, les Ponts au Change and Louis-Philippe. The second bridge connects with the Insti­ tute, the next bridge with the houses in the place Dauphine and the quai des Orfevres. More distant the Sainte-Chap- elle, Notre-Dame, the Conciergerie, and the Hotel-de-Ville; on the horizon the Pantheon and St. Etienne-due-Mont. Appeared in Harper's Magazine 1890 L.B. 215 LE LOUVRE VU DU PONT-NEUF One of ten proof impressions printed upon Japan paper. 27 This charming little wood-engraving makes one feel that he is moving down the Seine on one of those "bateaux-mouches"—the figures on the right, standing in one of the "refuges circulaires" of the Pont-Neuf, producing that sensation. The Pont des Arts and le Louvre occupy nearly all of the central part of the print. Appeared in Harper's Magazine 1890

L.B. 217 LE BASSIN DE LA VILLETTE Artist proof on Chinese paper. One of ten impressions. This port in the canal of La Villette, situ­ ated in the northeast environs of Paris, has a custom house, it connects, with the Canal St. Denis and Canal de l'Ourcq and the Canal St. Martin. In the distance a foot­ bridge crosses the canal. Beneath it are the business houses and docks of La Villette. Appeared in Harper's Magazine 1890

L.B. 218 NOTRE-DAME, LE SOIR This is one of ten proofs. An evening view of the abside of the cathe­ dral of Notre-Dame, seen from the Pont de l'Archeveche, which bridge connects the left side of the Seine with the He de la Cite—almost at the extreme end of the island. In the distance, at the left, le pont 28 aux Doubles," and on the horizon the tower of Sainte-Chapelle. 1890 Appeared in Harper's Magazine

L.B. 219 LE POINT-DU-JOUR One of fifteen proof impressions. Le Point-du-jour is situated on the right bank of the Seine, between the Pont-Mira- beau and the Pont de Grenelle, the latter is to be seen in the distance with the Troca- dero on the left, the Eiffel Tower on the right. As can be seen in the picture, it is a pleasure resort having various places for amusement, and many small passenger boats (Bateaux-mouches) on the river. L.B. 220 L'ABREUVOIR DU PONT MARIE One of fifteen artists' proofs on thin Japan paper. Lepere has admirably expressed the feel­ ing of twilight in this attractive engraving. The subject is a translation of a work he did in oil and appeared later in Harper's Magazine. Pont Marie connects He St. Louis with the Port St. Paul. 1890 L.B. 221 RETOUR DU BOIS, PLACE DE L'ETOILE Before signature. Trial proof probably unique. L'Arc de Triomphe seen in middle distance. 1892 29 The sky overcast and threatening, wind blowing on an autumn afternoon. 1890

L.B. 223 L'ECLUSE DU CANAL SAINT-MAETIN One of 15 proofs on Japan paper. This "Lock" is in the canal Saint-Martin. The men harnessed to the rope are drawing a canal boat into it. Published in Harper's Magazine 1890

L.B. 224> COIN DE LA RUE ROYALE One of ten impressions with Lepere's mono­ gram in Red. A portion of l'Eglise de la Madeleine is shown at the left and the Boulevard de la Madeleine disappears in the central part of the subject. Upon the mast is a notice reading "Exposition des Beaux-Arts." Published later in Harper's Magazine 1890

L.B. 225 PLACE DE L'OPERA Ten proofs, of which this is No. 3 on Japan paper, signed and stamped with monogram. The group of buildings in the center sep­ arates the rue de la Paix from the boule­ vard des Capucines; the colume Vendome in the distance; to the right the Grand Hotel; the four-in-hand is advancing towards the rue de Quatre Septembre. Engraved in 1890. Afterwards it appeared in Harper's Magazine. 1890

L.B. 225a. PLACE DE L'OPERA Another later impression of the same sub­ ject as the above. Signed by the artist on Japan paper. 1890

L.B. 226 LE COIN DE LA RUE DE LA LUNE One of the first few proofs printed upon Japan paper. This building stands on the corner of the "Rues de Clery" and "de la Lune," and is seen from the "Boulevard Bonne-Nouvelle." Appeared in the journal "L'Artiste" 1890

L.B. 228 LE BOULEVARD, AU COIN DU FAUBOURG MONTMARTRE a 6 heures du matin One of twenty-five proofs. The Taverne "Brebant" occupies the cen­ tral portion of the subject, it is No. 32 "Boulevard Poissonniere," corner of the "Faubourg Montmartre," the time is six o'clock in the morning when the "marchands des quatres-saisons" commence their busi- 31 ness. They are occupied in securing desir­ able places, with the police watching. This plate was not published. 1890

L.B. 229 LE PONT ST. MICHEL, ET LE BOULE­ VARD DU PALAIS The white house at the left center is on the corner of the "Quai des Orfevres." The bell tower of "St. Chapelle," the "Palais de Jus­ tice" and clock tower are in central back­ ground of subject. Not in Catalogue of L.B., but described under No. 229 (a larger engraving of the same subject.) 1890

L.B. 230 PARIS SOUS LA NEIGE, VU DU HAUT DE ST. GERVAIS Only very few impressions printed on China and thin Japan paper. This proof impres­ sion is in the second state, on thin Japan paper. A superb wood engraving, sketched in the early morning of March 1st, 1890, before the snow became besmeared with the smoke of Paris. This view is taken from the tower of the church Saint-Gervais overlooking the Quai de l'Hotel de Ville, which occupies the whole of the foreground dominated by the roofs of houses and the vegetable-boats upon the Seine. The bridge at the left is 32 the Pont Louis Philippe arching over the Quai Bourbon and connecting the He St. Louis with the pont St. Louis, this bridge joins He de la Cite on which Notre Dame is plainly seen in the picture. The Pantheon covered with snow appears on the horizon. Auguste Lepere lived in one of the small houses across the Seine at the right, from 1880 to 1894. Published in "Le Monde Illustree" 1890

L.B. 231 LE PARLEMENT A 9 HEURES DU SOIR, LONDRES There were only about ten proofs printed, of which number this is one; it also bears the private stamp of the artist in red. Lepere has chosen the hour when the crowd is leaving the Parliament Building, every­ where there is a feeling of movement and life, a most wonderful work of wood-engrav­ ing. It expresses the very feeling of a 4 night in London when "Handsomes" were all in vogue. "Big Ben," "Westminster Abbey, and Parliament buildings" are prom­ inent in the print. 1890

L.B. 237 PETIT BRAS AU PONT ST. MICHEL A very fine proof impression on India paper. 33 This bridge crosses a narrow arm of the Seine, connecting the Boulevard du Palais with the Boulevard Saint Michel, the chief street in the Quartier Latin. Not Published 1891 L.B. 239 LES GRAVEURS DU XIX SIECLE One of a few impressions printed upon thin Japan paper. Lepere designed this subject for Beraldi's "Les Graveurs du XIX Siecle." It shows the book-stalls on the Quai Malaquais, at the left the Seine, in the distance the Pont du Carrousel or Pont des Saints Peres, and beyond this bridge the Pavilion de Flora and the Jardin des Tuilleries. 1892 L.B. 264 L'ABREUVOIR DERRIERS NOTRE-DAME soleil couchant Proof in the second state, with artist's name engraved on picture, printed on Japan paper. Showing l'lle St. Louis, on which is seen l'abside de "Notre Dame." Lots-Brissoneau writes: "Cette planche est d'un effet tres vigoureux, l'artiste a essaye d'accorder la gravure, s'indiquant a l'aide des traits avec les finesse et les ramnements modernes que, deja., il veut abandonner; c'est une planche de transition." Appeared in Scribner's Magazine 1897 34 L.B. 272 LA PROCESSION DE LA FETE-DIEU A NANTES This is No. 3 of ten impressions in the sec­ ond state printed on Holland paper. Five of the ten impressions were printed upon Japanese paper and five on Holland paper. This beautiful historic city, the home of the "Edict," and the birthplace of the author of the catalogue of Lepere's etchings. It has been used to illustrate the procession of the Fete-Dieu entering the cathedral of Saint Peter at Nantes. Lepere received permission to copy the robes, etc., con­ tained in the cathedral, also permission to have the ecclesiastiques pose with these wonderfully embroidered religious garments. Mr. Lotz-Brissonneau's features are intro­ duced in profile in the lower left group. In the center distance is the colume of "Louis XVI" and "St. Clements Church." This engraving is also produced in colors. Five blocks are used. 1901

L.B. 273 LE BRACONNIER Dunes de Saint-Jean-de Mont (Departe- ment de la Vendee). Third state in colors — Black, Brown, Green, printed from three different blocks. 35 L.B. 293 LES DEUX CEEVETTES Only state. Six printed in Black and four in Red ink. Appeared in "L'Almanach des Gourmands." 1904. L.B. 296 LA HALTE Printed in color. From this wood engraving two or three im­ pressions were made without title (before it was used for publication as a frontis­ piece in "Les Arts de la Vie" March, 1904), in varied colors, this is one of these (the publication was printed with two blocks, viz.: black and gray-green). Later retouched by the artist, to be published in "L'Imprimerie au XXe siecle" by Marty.

L.B. 297 LES MENMANTS A LA DERNIERE-MAISON Saint-Jean-de-Mont Home of the artist First State. Number 6 of 12 impressions on Japan paper. Was first painted and exhibited at the salon 1904. Engraved in 1905, especially done for the catalogue of wood-engravings by Lepere, arranged and describced by Lotz- Brissonneau. 1905 The following not in Lotz-Brissonneau's Catalogue. 298 FIN DE JOURNEE First State. 36 299 Sore D'ETE Second State. Printed in yellow and black. Bathing scene.

299 SOIR D'ETE First State.

300 LE PAYSAGISTE First State. Artist proof, one of five im­ pressions on Japan paper. On the engrav­ ing appears "A l'ami A 1'ami A. Levieille 1912."

301 SALLE BE LECTURE DE L'EXPOSITION Artist proof on thin Japan paper. Red monogram of the artist. Through the glass window, one of the foun­ dation supports of the Eiffel Tower is faintly indicated. Published in "Revue de 1'Exposition Uni- verselle de 1889," August number.

302 DEUX FEMMES DANS LA NUIT A proof on thin Chinese paper. Signed, also with monogram printed in Red. An old and young woman walking toward the observer, in the background a number of horses and a church brightly illuminated. It is night—a starless night.

37 303 LE POET DE MANTES Remark proof No. 3 of twenty impressions. Wood-engraving. This is the "Key" block printed in Black. There are impressions printed in three colors. This large and important wood-engraving, "View of the Port of Nantes" was ob­ tained through the influence of M. Lotz- Brissonneau, who made the initial subscrip­ tion. Nantes having been his natal city, it goes without saying that he was greatly interested in having it done. The view is from a slight elevation overlooking the port, portraying great activity in shipping, a tower bridge occupies the middle distance. ^Business houses and factories are crowded into this attractive picture. 1906

38 ^Arranged £& Printed by" Lewie W, Goerck 9X5 Sixth cAve., N, Y. Cit^

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