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 (), December, 1925

3. EARLY SPRING, GLOUCESTERSHIRE (. 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 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 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. . . . There is no better stem and branch drawing than his in all contemporary art." P. G. HAMERTON

35. BREAKING UP OF THE "AGAMEMNON" Harrington 145. First State. "With such a subject as this for a motive, an etcher will do manly work, if the strength to do it is in him. And this is manly work." P. G. HAMERTON

CHILDE HASSAM 1859- "These prints are in large number portraits of places and as such they possess extraordinary merit." ROYAL CORTISSOZ

36. THE SKIMPHAMPTON ROAD, EASTHAMPTON

12 "*^-t-< %%^s%- ...

-•• Y Ha

SIR FRANCIS SEYMOUR HADEN 34. A River in Ireland

13 CHARLES JACQUE i813-1894 "He will certainly be remembered as one of the master etchers of our time." P. G. HAMERTON 37. LA BERGERIE Guiffrey 161. Presentation proof, inscribed: a Mes amis Moris''. etMme. Mortn and annotated: epreuve de remarque avant la planche terminee. "Void la piece le plus incontestablement celebre de tout l'oeuvre." GuSTAVE BOURCARD 1837-1911 "A great painter and one of the greatest etchers of the Nineteenth Century, Legros' prints bear the mark of a profound mind, lofty outlook and austere style." E. S. LUMSDEN 38. HENRY EDWARD MANNING: CARDINAL Poulet-Malassis 43. Undescribed trial proof between First and Second States, before added shading above the left hand. "He gives to masculine character nobility and dignity; or rather, he is im­ pressed immensely by the presence of these things in his subjects." 39. LE CANAL: EFFET DU MATIN Legros 178. Third State. Proof No. 1 of fifty impressions. "His studies of pollard trees are most masterly in design and luminosity." E. S. LUMSDEN AUGUSTE LEPERE 1849-1918 "In one phrase is summed up the essential aim of the engraver who treats his art with respect: 'Not to imitate; to express.' Lepere has followed his own doctrine to its logical conclusion. . . . He works with a plenitude of science, but also with unwearied freshness of inspiration." ELISABETH LUTHER CARY 40. LA N O C E QUI PASSE (Etching) Lotz-Brissoneau (continued) 186. (a) First State. Proof No.5 of seven impressions. Collection: Lotz-Brissoneau. (b) With Lepere's name at lower right, and with much additional work throughout the plate. Proof No. 8 of fifty impressions. 41. LE GROS HORLOGE: ROUEN (Wood-engraving) Lotz-Brissoneau 174. First State. The sky in uncrossed lines. Collections: Auguste Lepere; Lotz-Brissoneau. 42. LE GUEUX DES CAMPAGNES (Woodcut: cut with a penknife) Lotz-Brissoneau 246. Only State. Unpublished. Collection: Lotz-Brissoneau. J4 I !

ALPHONSE LEGROS 38. Henry Edward Manning: Cardinal

15 DAVID LUCAS 1802-1881 "A unique position among the mezzotinters is filled by David Lucas, the interpreter of Constable. The 22 plates of the set Various Subjects of Land­ scapes show some of the engraver's best work." ARTHUR M. HIND 43. SPRING: A MILL ON A COMMON Wedmore 2. Proof before all letters. JAMES McBEY 1883- "He has always been untiring in adventure, seeking always to find the new peak, the further view." MARTIN HARDIE 44. G A M R I E Hardie 151. "A spacious and original design, the pictorial motive of which is the radiant splendour of sunrise over the calm waters of the bay." MALCOLM C. SALAMAN

45. GALE AT PORT ERROLL Hardie 215. Collection: Charles B. Eddy. "There is a new watchfulness, from a new angle of vision, in this superb study of a lonely fishing smack running into the friendly shelter of a friendly haven." MARTIN HARDIE EDOUARD MANET 1832-1883 "A leader of French Art, Edouard Manet, engraved a moderate number of plates which cannot cease to interest the student. In his lifetime they were little known, only the most restricted circulation having been given to them." FREDERICK WEDMORE 46. I.E GUITARISTE Moreau-Nelaton 4. Fourth State, of 5, with the name of Delatre as printer. "Manet, the famous painter, etched plates of great interest, . . . they have qualities that many technically finer plates conspicuously lack." W. P. ROBINS 47. L E GAMIN Moreau-Nelaton 11. Second State, with the name of Manet at upper left. Manet painted a picture, about i860, of this subject. From it he etched this plate and made the lithograph catalogued below. 48. L E GAMIN (Lithograph) Moreau-Nelaton 86. Second State, with the title; and inscriptions below. 16 JAMES McBEY 44. Gamrie

>7 1821-1868 "Meryon was one of the greatest and most original artists who have appeared in Europe; he is one of the Immortals; his name will be inscribed on the noble roll where Diirer and live forever." P. G. HAMERTON

49. LE STRYGE Wright 23. Fifth State. Collection: Seymour Haden. On the back, in autograph of the printer, August Delatre: tres belle ep. apres I'effacage des vers. "The Stryge is the stone devil, leaning on the parapet of the upper balcony of the tower of Notre Dame . . . Meryon has immortalized him. This etch­ ing would make a brute think." H. DE CLEUZIOU

50. LE PETIT PONT Wright 24. Fourth State. "One of the most satisfyingly complete and monumental plates ever pro­ duced." E. S. LUMSDEN

51. LA TOUR DE L'HORLOGE Wright 28. (a) Second State, of ten. Before all letters and before initials CM. in upper right corner. On Japan paper. The "First State," mentioned only by Burty, is unknown to Delteil and Wright. "When Meryon made his vigorous etching the restorations, which are now completed, were still going on, but the view lost nothing in picturesqueness on that account, as one may see by Meryon's etching. . . . Since then a fur­ ther step has been taken: Meryon's etching will therefore become historic." UArtiste. October 31, 1858 (b) Third State. With the initials in upper right corner. On papier verddtre.

52. TOURELLE DE LA RUE DE LA TIXERANDERIE Wright 29. (a) First State, of five. Before the initials CM. in upper right corner; before gaps in the horizontal shading at lower left were filled in, etc. "The stately turret, and the free foliage of the vine about its base, would have had charms for any sketcher, but Meryon alone could have seen the full ar­ tistic availableness of the modern chimneys and roof." P. G. HAMERTON (b) Second State (now Third). With the initials; the gaps filled in. Collections: P. Wiesbach; Gottfried Eissler; Paul Davidsohn. CHARLES MERYON 51 A. La Tour de l'Horloge

'9 53- SAINT ETIENNE-DU-MONT Wright 30. Fourth State, of eight. On Japan paper. "The St. Etienne-du-Mont is one of those etchings which possess the abiding charm of perfect things." FREDERICK WEDMORE

54- LE PONT NEUF Wright ^. (a) Sixth State, of ten, with eight lines of verse below. On papier verdatre. (b) Seventh State. The verses effaced. "The Font Neuf is the most picturesque of existing Parisian bridges. . . . The wonder is that the delighted hand could work so firmly here, that it did not tremble with the eagerness of its emotion and fail at the very instant of fruition." P. G. HAMERTON 55. LE PONT-AU-CHANGE Wright 34. (a) Fifth State, of twelve. Collection: Sir John Day. "His most beautiful work, in effect of sky, is the Pont-au-Change." PHILIPPE BURTY (b) Eleventh State, with five or six small balloons in the sky.

JEAN-FRANgOIS MILLET 1814-1874 "A man who had given his whole life to etching only . . . could not have been more truly a born etcher than Millet showed himself to be—few though were the plates and many though were the canvases he worked upon." MRS. SCHUYLER VAN RENSSELAER 56. A WOMAN CHURNING Delteil 10. Third State. Annotation on top margin reads a la vente Millet epreuve rare completement essayee. 57. TWO MEN DIGGING Delteil 13. Fourth State. "When an action is more complicated and difficult of expression he takes it at the beginning and at the end, as in Two Men Digging, and makes you understand everything between. . . . You feel the recurrent rhythm of the movement and could almost count the falling of the clods." KENYON COX 58. THE WATCHERS Delteil 14. Second State. Collection: N. A. Hazard. "Very few impressions were taken when Millet destroyed the plate (which was of zinc)." ALFRED LEBRUN

20 CHARLES MERYON 54A. Le Pont Neuf

21 SAMUEL PALMER 1805-1881 "His execution is of that highest kind which has no independent essence, but lingers and hesitates with the thought, and is lost and found in a bewilder­ ment of beauty." P. G. HAMERTON

59. THE RISING MOON (AN ENGLISH PASTORAL) Hardie 7. Working Proof I. Before the name lettered at the left, and before the signature. Proof exhibited at Wolverhampton, 1892; and at the Victoria and Albert Museum, 1926. Collection: A. H. Palmer.

60. THE EARLY PLOUGHMAN Hardie 9. Working Proof No. 4. At back "Printed by A.H. P. Novbr 8'/> 1873 at new press No. 6. Retroussage—Best of that day. Spalding and Hodges' paper—left dirty by circular canvas wipe. For Drawg Room."

"It is impossible to appreciate the full technical merit of such work as this without at the same time knowing what the lines mean, and sharing the sweetness of the ineffable sentiment which they are intended to convey. It is the sentiment of a poet and a painter, who loves the loveliest hours and has watched them all his life." P. G. HAMERTON

61. THE LONELY TOWER Hardie 12. Working Proof 3. Proof marked "A. H. Palmer, Private Press. Newman St. Exhibited at Wolverhampton." Collection: A. H. Palmer. Proof exhibited at the Victoria and Albert Museum, 1926.

"Now that I have softened the unfinished films, the sky in The Lonely Tower forms part of the most subtle piece of gradation I have ever realized. . . . We must reach poetic loneliness—not the loneliness of the desert, but a secluded spot in a genial pastoral country, enriched also by antique relics, such as those so-called Drudic stones." SAMUEL PALMER

22 SAMUEL PALMER 61. The Lonely Tower

23 JAMES A. McNEILL WHISTLER 1834-1903 "In keenness of observation and range of appreciation, in faculty of selection and power of concentrative and concise expression, in masterly use of contrasts of light and shade, in boldness and strength and in delicacy and refinement as well, Whistler was not only the unsurpassed etcher, but a supreme artist." HOWARD MANSFIELD

62. I L E D E LA CITE Kennedy 60. Only State. Collection: H. H. Benedict. "On the impression in the Lenox Library, in Whistler's writing, 'from win­ dow of Louvre'." E. G. KENNEDY

63. THE GUITAR PLAYER (MATTHEW WHITE RIDLEY) Kennedy 140. Third State, of five. From the Royal Collection, Windsor. One of the dry-point masterpieces of Whistler's "Leyland period."

64. THE LITTLE LAGOON Kennedy 186. Second State. "The same amazing effect of distance is produced in many others of the Venice etchings, such as the Little Lagoon, San Giorgio and Upright Venice." T. R. WAY 65. THE DOORWAY Kennedy 188. Fourth State, of seven. Collection: Tracy Dows. "The Venice sets reveal the master definitely developing from the manner of his previous etchings and forming a style peculiarly his own. They are un­ approachable in the elimination of all but the very essentials needed to form the beautiful pattern of line and tone." W. P. ROBINS

66. TWO DOORWAYS Kennedy 193. Sixth State. Collection: J. H. Wrenn. "It was in plates like this that Whistler carried his system of printing further than anyone else. . . . Whistler added richness by covering the lines, painting on them a tone of ink, and so obtained a quality and depth that no one had achieved before, scarce attempted." JOSEPH PENNELL

67. LONG LAGOON Kennedy 203. First State. Collection: Tracy Dows. "The strokes are almost to be counted, yet how they assist the eye to complete the picture for itself!" HANS W. SINGER

24 :-^

JAMES A. MCNEILL WHISTLER 65. The Doorway

^5 68. BALCONY: AMSTERDAM Kennedy 405. Third State. Presentation proof. In Whistler's writing: To Mrs. Philip Rathbone—the most charming of hostesses, and signed with Whistler's "butterfly" signature. "Most of the Venetian studies are superb and are already extremely rare. It is still more seldom that we encounter those enchanting and marvelous pro­ ductions of a yet later period, whose themes were taken from northern France, Holland and especially Belgium. When by a mere chance any of these find their way into the market they are eagerly secured for many times their weight in gold." HANS W. SINGER (See Frontispiece)

69. LIMEHOUSE (Lithotint) Way 4. First State. "Drawn at Limehouse on the stone direct. 35 proofs. Drawing erased." T.R.WAY 70. THE DANCING GIRL (Lithograph) Way 30. Presentation proof. In the handwriting of C. L. Freer: To my friend Mr. Frederick S. Church. C. L. Freer Detroit August jth 1890. "There are also his little nudes, with the harmony of line, the purity of pose, the grace of contour, for which they have been likened to the work of Tanagra." JOSEPH PENNELL 71. THE THAMES (Lithotint) Way 125. "The Thames must rank as one of the masterpieces of lithography." T. R. WAY ANDERS L ZORN 1860-1920 If to be in absolute control of one's instrument is to be a master, Zorn is a master etcher. . . . The portrait gallery he has created forms an Iconography of distinguished men and women of his time. 72. HENRY G. MARQUAND Asplund 81. (a) Trial Proof, unknown to Delteil or Asplund, who knew of one state only of this plate. This impression is reproduced, and fully described, by Campbell Dodgson, in The Print-Collector's Quarterly, Volume 20, No. 2 (April, 1933), pages 82-84. S° far as we know it is unique. In Zorn's autograph: first proof to my friend lues, affectionately Zorn. (b) The completed plate. 35 proofs only printed. Collection: Loys Delteil. 26 JAMES A. MCNEILL WHISTLER 70. The Dancing Girl

27 73- SUNDAY MORNING Asplund 86. Second State. Twenty-five proofs only were printed. Here are seen, in their highest perfection, the qualities which proclaim Zorn a master in a field which he made so peculiarly his own—the play of light on the firm but satin-like texture of the flesh of his favorite Dalecarlian peasants.

74- ZORN AND HIS MODEL Asplund 149. Fifth State, of six. Collection: Jules Gerbeau. "Of this fine plate there were printed about thirty impressions only." LOYS DELTEIL The painting, one of Zorn's masterpieces, is in the Stockholm Museum and is accounted one of the finest paintings in that city.

75. EMMA RASMUSSEN Asplund 183. "The blond beauty of her hair; the fair, tender flesh, sparkling eyes, and lips slightly open, showing the small even teeth, are in perfect harmony. The line is more delicate than is the artist's wont, and both as a portrait and as an etching it is a lasting delight." SOME MASTERS OF PORTRAITURE

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