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Seventy-Five Masterpieces of Graphic Art Supplementing a Century Of

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VOLUME THREE NUMBER TWO THE PRINT-COLLECTOR'S BULLETIN AN ILLUSTRATED CATALOGUE FOR MUSEUMS AND COLLECTORS SEVENTY-FIVE MASTERPIECES OF GRAPHIC ART SUPPLEMENTING "A CENTURY OF PROGRESS IN PRINT-MAKING" AS SHOWN AT THE ART INSTITUTE OF CHICAGO M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY,SEVENTH STREET NEW YORK 1933 THE PRINT-COLLECTOR'S BULLETIN AN ILLUSTRATED CATALOGUE FOR MUSEUMS AND COLLECTORS SEVENTY-FIVE MASTERPIECES OF GRAPHIC ART SUPPLEMENTING "A CENTURY OF PROGRESS IN PRINT-MAKING" AS SHOWN AT THE ART INSTITUTE OF CHICAGO M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK J933 JAMES A. MCNEILL WHISTLER 68. Balcony, Amsterdam JOHN TAYLOR ARMS 1887- " It is good that such a man should interpret the Middle Ages for us." ELIZABETH M. WHITMORE I. VENETIAN FILIGREE "In Venetian Filigree we have another marvelously executed plate by Mr. John Taylor Arms showing his love of the texture and surface of architectural forms. His delicate, beautiful line accents the detail of marble and ornament, and the shadows and sunlight play their part in rendering a finished plate, which, by the by, took the prize for the best print by a member of the Chicago Society of Etchers at the First International Exhibition of Prints in Chicago." SUSAN A. HUTCHINSON 2. LACE IN STONE: ROUEN ROBERT AUSTIN 1895- "The austerity of life and noble simplicity of landscape and architecture in­ spire him with deep regard, and their emotional significance is suggested with rare tenderness and clear apprehension of truth." MORNING POST (London), December, 1925 3. EARLY SPRING, GLOUCESTERSHIRE (Etching. 1922) 4. PLANE TREE COTTAGE (Line Engraving. 1927) FRANK W. BENSON 1862- "My pictures of wild fowl are entirely the result of things seen in nature and drawn from memory." FRANK W. BENSON "His plates are miracles of flexible handling and justness of design." HELEN M. FAGG 5. MALLARDS AT EVENING Paff 271. Trial Proof D. Three proofs only. Before additional vertical lines in the sky, and before the distant land, and ripples in the water. 3 ALBERT BESNARD 1849- A painter and etcher of distinction and originality. 6. LE DEJEUNER Godefroy 50. Only State. 7. LA MERE MALADE Godefroy 90. 8. LA BIARROTE Godefroy 157. First State. Two proofs only. In Besnard's autograph: ier etat tirage d'artiste. Collection: Besnard. MUIRHEAD BONE 1876- "Bone is undoubtedly the supreme master of dry-point, and one of the great etchers in the history of the art." E. S. LUMSDEN 9. LEEDS Dodgson 181. First State. Eight impressions only. 10. LIBERTY'S CLOCK Dodgson (Supplement) 246. Collection: Jenkins. SIR D. Y. CAMERON 1865- "D. Y. Cameron's art possesses a quality of its own, a richness of tone in the treatment of architecture, which is the achievement of great power and individuality." ARTHUR M. HIND II. PALACE OF THE STUARTS, STIRLING Rinder 285. First State. Collection: Macaulay. Probably the earliest example of Renaissance architecture in Scotland. 12. ROBERT LEE'S WORKSHOP Rinder 375. Third State, the plate completed in dry-point. Collection: Lady Cameron. 13. MY LITTLE LADY OF LUXOR Rinder 407. First State, of five. Before shadow on legs of figure or front of pedestal. This mirror is said to belong to Dynasty XVIII. 14. DINNET MOOR Rinder 431. First State, of four. "As a landscape artist Cameron remains pre-eminently the exponent of Nature in his native land." FRANK RINDER 4 SIR D. Y. CAMERON 12. Robert Lee's Workshop 5 MARY CASSATT 1845-1916 Her line is direct and firm, and of remarkable pliancy. 15. LE THE (a) Early State, before additional work on the teapot, the background, and throughout the plate. (b) With this additional work. JEAN BAPTISTE CAMILLE COROT 1796-1875 "He felt the mystery of nature; the delightfulness of cool grey mornings and dewy evenings; the palpitating life of gleaming river-shores and the trembling of the light branches wherein the fitful breezes play." P. G. HAMERTON 16. LE CLOCHER DE ST. NICHOLAS-LEZ-ARRAS Delteil 19. 17. LE MOULIN DE CUINCY Delteil 28. EDGAR DEGAS 1834-1917 "La gravure, pour Degas, fut en meme temps un amusement, une jouissance et un moyen d'exprimer sa pensee." PAUL LAFOND 18. JOSEPH TOURNY, ENGRAVER Delteil 4. (a) Undescribed trial proof before the First State of Delteil. Before the numerous accidental scratches in the upper portion of the plate were taken out, and before the plate was (apparently) rebitten. Collections: Degas; Metropolitan Museum of Art, Duplicate. (b) First State, as described by Delteil. 19. AU LOUVRE: MUSEE DES ANTIQUES Delteil 30. Fourth State, of six. FRANK DUVENECK 1848-1919 "Some of Mr. Duveneck's large plates are among the best things done in recent years, and are quite wonderful in the way they reproduce the color and busy stir and strongly contrasted effects of modern Venice." MRS. SCHUYLER VAN RENSSELAER 20. PIAZZA SAN MARCO, VENICE (a) Early State, before additional work in the sky, on the boy at the left, figures in foreground, etc. (b) With this added work. 6 \ ,: EDGAR DEGAS I8B. Joseph Tourny, Engraver 7 JEAN LOUIS FORAIN 1852-1931 "Profiting by the experience that his eye and hand have gained in all these years of rapid, eager work, in other mediums, Forain suddenly reveals him­ self as one of the great etchers of the world." CAMPBELL DODGSON 21. LE PREVENU ET L'ENFANT Guerin 52. Third State. "he Prevenu et I'Enfant affords an agreeable contrast to the rather grim con­ tents of most of these studies of the tribunal." CAMPBELL DODGSON 22. L'IMPLORATION DEVANT LA GROTTE, LOURDES (Third Plate) Undescribed by Guerin. First State. "Ulmploration is a masterpiece, with a surging sense of impassioned appeal; its economy of line is literally amazing." W. P. ROBINS "The finest etching, in all probability, that the twentieth century has yet produced." CAMPBELL DODGSON 23. LA MIRACULEE A LOURDES (First Plate) Undescribed by Guerin. First State. Collection: Forain. "Another group of etchings of the utmost interest dates from 1912. There are at least nine, possibly more, of the Lourdes etchings, which include some of Forain's finest plates." CAMPBELL DODGSON 24. LA MIRACULEE A LOURDES (Second Plate) Undescribed by Guerin. First State. 25. U N E S A I S I E (Lithograph) Guerin 4. Only State. Proof No. 7 of ten impressions. FERDINAND GAILLARD 1834-1887 "Great engraver! Gaillard is that today and for all time: by his drawing, and by the extraordinary and personal qualities of his work. ... A number of his plates can take their place beside those of the engravers of any period whatsoever." HENRI BERALDI 26. DOM PROSPER GUERANGER: ABBE DE SOLESMES Beraldi 38. (a) Proof in progress. Before much additional work on the face, especially the left temple. The pectoral cross in oudine. (b) Proof in progress. The face more fully modelled, the throat shaded, etc. The pectoral cross still is in outline. (c) Tenth State. The background white. Collection: Gaillard. "Vers la dixieme etat le fond a ete entierement efface, il est blanc: les epreuves de cette qualite sont tres belles." HENRI BERALDI JEAN-LOUIS FORAIN 22. L'Imploration devant la Grotte, Lourdes 9 " G A V A R N I" (Guillaume-Sulpice Chevallier) 1804-1866 "His touch is magical. His figures are absolutely living in their movements and in the expressions of their faces. ... So great is the artist's imagination that the resources of his mind are inexhaustible. Day after day he gives us a new creature of his brain." ATHERTON CURTIS 27. LES PARENTS TERRIBLE. NO. 2 Armelhault and Bocher 1421. First State. "Truly, Baron . it's not because he's my son, but even when he was only a little fellow, Tata . (we called him Tata) well, he already drew . droll things." 28. GROUP OF THREE FIGURES Armelhault and Bocher 2676 (CEuvres Fosthnmes). Drawn on the stone by Gavarni, but never finished or published. Four or five proofs only. The drawing effaced from the stone. F. L. GRIGGS 1876- "To appreciate the etchings of Mr. Griggs our minds must be attuned to peaceful meditation at the evening hour, sung in immortal verse by Gray and Collins." CAMPBELL DODGSON 29. SAINT BOTOLPH'S, BOSTON (England) Dodgson 33. First State. 30. TATTERSHALL Third State. 31. ST. IPPOLYT'S "No other living etcher approaches Palmer so closely in the high finish of his finely etched work. He is a master of technique." CAMPBELL DODGSON 10 F. L. GRIGGS 29. St. Botolph's, Boston 11 SIR FRANCIS SEYMOUR HADEN 1818-1910 "At his best, in the dozen or two plates of which he himself approved, he towers far above any of his contemporaries, and there seems little likelihood of his supremacy in landscape being seriously threatened." ENGRAVERS AND ETCHERS 32. SUB TEGMINE Harrington 17. Trial Proof A; before the plate was reduced in size. Three impressions only. About thirty impressions in all (Trial proofs A, B; First State and Second State) were taken from the plate. The signature, and the title Greenwich, are in the handwriting of Whistler, and the plate was etched by Seymour Haden on the same day as Whistler's Greenwich Pensioner. 33. A BY-ROAD IN TIPPERARY Harrington 30. Trial Proof B. The upper part of the trees, on the left, foliated. This beautiful plate was done in the park of Viscount Hawarden, at Dun- drum, and was exhibited at the Royal Academy in 1861. "I think that there is little doubt that Haden will go down to posterity as a 'supreme etcher'." E. S. LUMSDEN 34. A RIVER IN IRELAND Harrington 91. First State. Twelve impressions only. "He is master of foliage, he has drawn some trees magnificently.
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  • Military Themes in British Painting 1815 - 1914

    Military Themes in British Painting 1815 - 1914

    / Military Themes in British Painting 1815 - 1914. Joan Winifred Martin Hichberger. Submission fcr PhD. University College, London. 1985 1 Abstract. Joan Winifred Martin Hichberger. Military Themes in British Painting 1815-1914. This thesis examines the treatment of the Bzitish Army and military themes, in painting, during the period 1815- 1914. All the works discussed were exhibited at the Royal Academy, which, although it underwent modifications in status, remained the nearest equivalent to a State Institution for Art in Britain. All the paintings shown there were painted with the knowledge that they were to be seen by the controllers of the Academy and the dominant classes of society. It will be inferred then, that the paintings shown there may be taken to have been acceptable to ruling class ideologies, and are therefore instructive of "official" attitudes to military art. Representations of the contemporary Army, in this period, fell into two main catagories - battle paintings and genre depictions of soldiers. Chapters one to three survey battle paintings; studying the relation of this genre to the Academy; the relative popularity of the genre and the career patterns of its practioners. The critical reception of battle pictures at the Academy and certain important public competitions will be noted and considered in the context of contemporary ideologies about art and about the Army and its men. Chapter four discusses the vital concept of "heroism" and its treatment in English military art. In particular, the reasons for the popularity of certain military figures above their peers, in academic art, will be explored. It will be argued that the process of "hero-making" in art was not determined by professional success alone, but was often the result of the intervention of patrons, publicists and pressure groups.