Syracuse University Art Galleries the Cloud Wampler Collection of Prints

Syracuse University Art Galleries The Cloud Wampler Collection of Prints

Syracuse University

A SUPPLEMENT FEATURING JOHN TAYLOR ARMS MUIRHEAD BONE ANDERS ZORN

Preface by MICHAEL HARPER

Introduction by LAURENCE SCHMECKEBIER and CLOUD WAMPLER

Catalog by Syracuse University Art GalleriesALEXANDRA K. SCHMECKEBIER PREFACE

As Syracuse University begins its second century of great promise and challenge, it is symbolic of this beginning that the School. of Art should have a new Dean and the University Collection should acquire its first director and full-time staff. As new arrivals, the staff feels a keen sense of responsibility in continuing the work so ably begun by others. Through the generosity and support of the Uni versity's friends such as Cloud Wampler, and under the thoughtful guidance of Laurence Schmeckebier, Dean Frontispiece: Cloud Wampler Emeritus of the School of Art, Syracuse University has built a large collection of original prints which is out standing in both quality and comprehensiveness. We who are beginning our efforts on behalf of the University are spending a major part of our time surveying the riches that we have inherited, in order that we may more intelli gently pursue the acquisition of new works with the aid of our friends. The desire for a comprehensive collection must not be motivated by mere acquisitiveness-quantity alone must not be our goal. We should seek the same high quality that is so obviously a part of the Cloud Wampler Collection and the same scholarly soundness that has marked Pro fessor Schmeckebier's work. In order to attain these goals, we are guided by. the purpose of a University collection which is to aid the scholar and student in his search for knowledge and undetstanding. For the art student, this means a familiarity with both historic and current ex amples .of art in order that he may build his own profes sional and creative efforts upon a rational foundation. For Syracuse University Art Galleries the historian of art, the collection furnishes an opportunity to acquire at firsthand a familiarity with the objects of his study; and because of the special nature of prints as con veyors of ideas, as well as works of art in themselves, they are often important sources of information for the political and cultural historian. Further, because the University feels a responsibility to a larger community than that of the campus alone, we also shall strive to share our treasures and intellectual resources with all: students, patrons, and interested members of the public.

Michael B. Harper Curator of Prints and Drawings INTRODUCTION

Cloud Wampler's magnificent gift of his collection of prints to Syracuse University in 1964 established this I have always admired the boldness with which lorn did institution as a major repository of art works associated his work. I started buying the lorns when I could not with the professional education of artists. The publication afford to buy etchings by Rembrandt, as it seemed to me of a scholarly catalog, ~c itself the pioneer product of a that lorn had many of the basic talents possessed by graduate research program, served not only as a tribute Rembrandt. to Mr. Wampler but also as a unique and highly useful Furthermore, I have always liked prints that show handbook on the history of prints for students and con people, and of course lorn did a great deal of this kind noisseur alike. of work. The subsequent donation of a substantial number of As for Bone, I like his work and became particularly prints by John Taylor Arms, Muirhead Bone and Anders fond of his etchings that revealed buildings and land Zorn is a significant demonstration of the continuity of scapes. this creative and educational relationship. Vlhen the origi With respect to Arms, I had the privilege of knowing nal gift was made, these artists were retained simply be this artist and have actually seen him at work. In addition, cause Mr. Wampler could not bear to part with them. I came to admire the infinite detail of the Arms etchings. They were his favorites because of their special qualities Some of my Arms prints were dedicated to me by the of technical excellence, aesthetic sensitivity and love of artist. detail through which is mirrored the artist's universal ideal of perfection. Cloud Wampler In a sense, they reflect the collector himself. For many years a tower of strength in the Syracuse community, Mr. Wampler was not only a successful business man of na tional standing but also was active as a leader in banking, industrial and civic organizations. His contact with the world of the artist was always one of his greatest sources of inspiration and satisfaction. Characteristically, it was this penetration into the deeper realm of the individual artist that seemed to fascinate him over a longer period of time. This continuity of the connoisseur is both infectious and inspiring. FromSyracuse the previous availability of the prints forUniversity Art Galleries study on an individual basis, there has now been devel oped an established program of exhibitions designed to serve both the general University student and the pro fessionally motivated artist. The themes and purposes vary in many directions, from problems of iconography and technical procedure to historical evolution and social ex pression. It is the more penetrating study of individual accomplishment, however, that reveals the deeper qualities of individual conviction and integrity. This is to be found' in the remarkable work of these artists and for this again we are grateful to the generosity of Cloud Wampler.

Laurence Schmeckebier

*THE CLOUD WAMPLER COLLECTION OF PRINTS/SYRA· CUSE UNIVERSITY, Catalog and Introduction by Alexandra K. Schmeckebier, Syracuse 1965. r

CATALOG OF THE COLLECTION Vezelay. 1929. 12% x 714 Normandy Noon. 1936. 3Y4 x 7% State II State III; signature and date inscribed on plate; signed Inscribed: "To my dear friends Bob and Marguerite Nis· and dated in pencil bet, John Taylor Arms 1939"; signed and dated in pencil ARMS, JOHN TAYLOR American, 1887-1953 66.101 (9) 66.101 (18) One of the most highly esteemed American enrrravers he work~d both in the United States and Franc~. Bor~ in Gargoyle Studies. 1924. 31/8 x 31/8 A Breton Calvary. 1932. 514 x 3 Washmgton, D.C., he studied at Princeton University and Signed and dated in pencil Signed and dated in pencil Massachusetts Institute of Technology, was trained as an 66.101 (10) 66.101(19) architect, and in ~919 turned completely to the graphic arts. He was a pupIl of Ross Turner, David Gregg, Despra A Gargoyle and His Quarry, Notre Dame. 1920. 7 x 5Y4 deHes, Felton and Brown. Often called the "modern me Crystal and fade VI. 1940. 7¥2 x 6% (A &E) Signed and dated in pencil 25/75 diev~list," he has produced drawings and etchings of the Signed and dated in pencil 66.101 (11) archItectural monuments of Normandy, Champagne, Bur 66.101 (20) gun~y, as ~ell as those of Spain and Italy, especially Vemce. He IS also known for his city views and a few A Devil of Notre Dame. 1929. 8 x 5¥2 l~ndscapes. His prints are highly prized and in the collec Inscribed "To my friend Robert Nisbet, John Taylor Arms Nativity II (Christmas Card). 1936. 6% x 4% (plate), tIons of most American and European museums. 1930"; signed and dated 1929 in pencil 1 x 1 (image) 66.101 (12) 66.101 (21) Jewelry (Detail of Choir Screen, Saint Cecilia, Albi). 1938 2%6 x 1%6 The Gothic Spirit. 1922. 11% x 6% Cobwebs. 9% x 7% Signed and dated in pencil Trial Proof VI of State I on light blue paF~r; signed and 66.101 (1) Signed in pencil dated in pencil 66.101 (22) 66.101 (I3) Albi. 1927. 9% x 1014 On the plate: "Albi 1926"; signed and dated in pencil BONE, MUIRHEAD British, b. Scotland, 1876-1953 66.101 (2) Medieval Pageantry. 1934. 12% x 8% Born at Patrick, near Glasgow; after studying there and Figures etched by Kerr Eby and architecture -etched by at Ayr, he settled in London in 1901 at the age of 25, hav John Taylor Arms; signed and dated by both artists in Precious Stones-Notre Dame, Les Andelys. 1926 ing already more than one hundred plates of various sub· 314 x 2Ys pencil on blue paper jects to his credit. His special individual interest has been 66.101 (14) Inscribed to E. Cloud Wampler; signed and dated in pencil scaffold-covered buildings, though hc has varied it with Syracuse University Art Galleriesportraits and landscapes. He is considered a supreme 66.101(3) French Lace: West Portal, Main Facade of Notre Dame, master of drypoint, which he also combines with etching, Laigle.1940. 3 x 1% Villefranche-en-Rouergue.1949. 7% x 4% and such architectural mood pieces as Ayr Prison are re State II; signed and dated in pencil Signed and dated in pencil garded as being among his masterpieces. 66.101(5) 66.101(15)

Tontine Gates, Glasgow III. 1899. 6% x 4% (E & D) Eglise St. Michel, Pont l'Eveque. 1927. 914 x 4% A Spanish Profile (Puerto del Obispo or Doorway of the C.D. No. 46; signed and titled in pencil; inscribed on Signed and dated in pencil Bishop, South Transeptal Portal of Palencia Cathedral, plate: "Muirhead Bone" 66.101(6) Spain}.1951. 13% x 6% 66.102(1) Inscribed to E. Cloud Wampler: "This impression on early Gothic Glory: Sens, Cathedral of St. Etienne, North Portal. XIX Century French paper, selected by E. Cloud Wampler 1929. 15114 x 91/s and the artist, is dedicated to my friend E. Cloud Wampler, Rhenish Evangeliarium. 1901. 8Ys x 614 State II; signature and date inscribed on plate' signed and with appreciation-John Taylor Arms, N.A., A.R.E., C.D. 118, trial proof A; signed in pencil dated in ink ' 1951"; signed and dated in pencil Ex colI: Francis Dodd 66.101 (7) 66.101(16) 66.102(2)

B~ack and White-Trebrivan. 1932 ( ?) . 3 x 2 M.easurements are given in inches with height preceding Harbour Scene. No date. 211z x 4 Rhenish Evangeliarinm. 1901. 8 x 614 (E &D) wIdth. SIgned and dated in pencil 66.101 (8) Drawing on buff paper; signed and initialed C.D. 1181/2; signature inscribed on plate; signed in pencil 66.101(17) 66.102(3)

I Court off Trongate, Glasgow and Old Glasgow Entry. 1902. East End, Glasgow. 1911. 2 x 9% 7% x2 Portrait of Joseph Conrad I. 1923 10Y8 x 6")-4 (D) Self-portrait (A Painter-Etcher). 1889. 4% x 3 C.D. 120; only state Nine proofs only in two states, one of three proofs thus Eighty-nine proofs in six states; signed and dated in pen A.32 IV, on the plate: "18 ZORN 89" signed in pencil cil; dedicated "To Mrs. Conrad with the warmest regards Ex call: Axel H. Haig Early impressions Yo ; signed and titled in pencil 66.102(15) Ex coll: J. P. Hesseltine (red stamp on reverse) from the artist. Muirhead Bone, New York, May 31, 1923" 66.103(3) 66.102(4) 66.102(24) Rainy Night in Rome. 1913. 11% x 8% (D) Rosita Mauri. 1889. 91;4 x 61j8 A.34, State IV with inscription: "Zorn del et sc Rosita Fisher's Creek, King's Lynn. 1903. 3% x 10 (D) Signed in pencil Conrad Reading 6% X4Y8 (D) Mauri Gazette des Beaux Arts. Imp. Eudes" C.D. 155 II/2; signed in pencil 66.102(16) Extremely rare; signed in pencil 66.102(5) On the plate: "ZORN 89" 66.102(25) 66.103(4) Trinity Bridge, Cambridge. 1903. 8% x 7% (D) Porch of the Pantheon, Rome. 1915. 5% x 6% C.D. 133 1/2, Plate n; signed and titled in pencil Six proofs only in two states, State 1/2 Rev. Dr. James, of Oxford. 9Y8 x 7 (D) New Year's Card. 1890. 5V2 x 3% 66.102(6) Signed in pencil State XV of seventeen impressions; signature inscribed on A.35 (or 34a), two pencil drawings on front and two 66.102(17) plate; signed in pencil sketches on reverse Cambridge Midsummer Fair. 1904. 3% x 6% (D) 66.102 (26) 66.103 (5) C.D. 152; signed in pencil; signature inscribed on plate The Jew's Quarters, Leeds. 5% x 3% (D) 66.102(7) Fisherman at St. Ives. 1891. 11 x 7% Signed in pencil Rabindranath Tagore. 1926. 9% x 5% (D) Signature inscribed on plate; signed in pencil A.53 1/2, on the plate: "18 ZORN 91"; signed in pencil; Ex call: H. H. Brydon (stamped on reverse) rare first state on buff paper, stamp on back South Gate, King's Lynn. 1904. 8 x 7 (D) 66.102(18) 66.102(27) C.D. 153 II/2; excellent impression on Japan paper; 66.103(6) signed in pencil Sir David W. Bone (The Artist's Brother) 5% x 8")-4 (D) Ex colI: Cortland F. Bishop The Waltz. 1891. 13")-4 x 18% The Jew's Quarter, Leeds. 5% x 3% (D) Signature inscribed on plate; signed and titled in pencil 66.102(8) Signed in pencil (duplicate) A.54 HI/3, on the plate: "ZORN 1891"; signed in pencil 66.102(28) 66.102(19) 66.103(7) Oxfordshire.1906. 5% x 9 (D) C.D. 198; signed in pencil; signature inscribed on plate Dr. Frank Weitenkampf 10% x 5 (D) Le Matin (Morning). 1891. 9% x 6V8 66.102(9) The South Coast., No.2 5 x8% (D) State IV (uncatalogued); signature inscribed on plate; A.60 HI/3, on the plate: "1891 ZORN"; signed in pencil Signature inscribed on plate; signed in pencil signed in pencil 66.103(8) Liberty's Clock. 1907. 10 x 4% (D) 66.102(20) 66.102(29) C.D. 206 (?) ; signed in pencil Girl with a Cigarette I I. 1891. 6~ x 4% 66.102(10) A.62 I (twenty-five to thirty impressions), on the plate: A fternooSyracuse n, Sahagrin V 113 x 7 (D) University DODD,Art FRANCIS Galleries 4 "ZORN"; signed in pencil Sixty-four proofs; signature inscribed on plate; signed Portrait of the Artist (small plate). 1908. 4 x 31h (D) in pencil 66.103(9) Muirhead Bone at the Press. 1908. 12 x 10V2 (D) Signed in pencil 66.102(21) 66.102(11) Signed and titled in pencil Storm. 1891. 7% x 5% Ex coIl: Sir Muirhead Bone A.63 IV /4, on the plate: "ZORN" twice; signed in pencil Chiswick Mall in Flood and A Cheshire Farm. 1908. Repairing the Auld Brig, Ayr 7% x 9% CD) 66.102(30) 66.103(10) 8%x7%(D) Thirty-eight proofs only; signed in pencil; in the margin 3 Two on one plate; signed in pencil appears a note in the artist's hand: "This shows one arch ZORN, ANDERS Swedish, 1860-1920 Le Reveil. 1891. 5 / 8 x 3% 66.102(12) .::J' the Auld Brig, Ayr, & was done during the re-construc A.64 II/2, on the plate: "ZORN"; signed in pencil 66.103 (11) . tion. The Brig is preserved because of Berns' poem 'The Pepita II. 1883. 6% x 4,% The Ypres Tower, Rye. 1909. 5% x (D) Twa Brigs'. Muirhead Bone" 10~ A.I0; initialed on plate; signed in pencil 66.102 (22) Mme. Simon II. 1891. 9% x 6")-4 One of eight proofs only; signed in pencil; signature in 66.103(1) scribed on plate A.67 IV /4, on the plate: "ZORN" 66.102(13) 66.103(12) Dogana, Venice 7% x 11 (D) Repose or Mary. 1884. 8% x 5V2 Near Chichester. 1909. 41;1 x 10 (D) Signature inscribed on plate; signed in pencil; C.D. Sup. A.13, rare edition of fifty proofs, superb impression on Ernest Renan. 1892. 9 x 131,4 One of forty-four proofs; signed in pencil 281, thirty-six impressions in fourteen states light green paper A.73 IV/5, on the plate: "ZORN 1892"; signed in pencil 66.102(14) Ex colI: Rennie; Charles S. Carstairs On the plate: "Zorn"; signed in pencil Ex call: H. H. Brydon (stamp on front lower right) 66.102(23) 66.103 (2) 66.103 (13) Paul Verlaine II. 189S. 9% x 6% A Dark Corner. 1903. 7% x 5% Auguste Rodin. 1906. 8% x 6 Old Soldier (Prinsen). 1911. 5112 x 43;8 A.94, three states, on the plate: "18 ZORN 95"; signed in A.175 II/2, on the plate: "ZORN"; signed in pencil A.207, on the plate: "1906 ZORN"; signed in pencil A.24.5, on the plate: "1911 ZORN"; signed in pencil pencil 66.103(23) 66.103(33) 66.103(44) 66.103(14) At Prayer. 1911 or 1912. 7%, x 5%, John Hay. 1904. 7%, x 5% Edo.1907. 7 x 4%10 A.246 II/2, on the plate (in the letter) : "ZORN"; signed King Oscar II. 1898. 10% x 7 A.179 II/3, on the plate: "18 Febr ZORN 1904"; signed A.214 IIl/3, on the plate: "1907 ZORN"; signed in pencil A.132, on the plate: "1898 ZORN"; signed in pencil in pencil 66.103 (34) in pencil 66.103(45) 66.103(lS) Ex call : DeWald (stamp at bottom center) 66.103(24) BasI Anders, Clock maker at Mora. 1907. 6% x 4Vz A.216 II/2, on the plate: "ZORN 1907"; signed in pencil Skerrikulla (A Skeri Girl). 1912. 9% x 7%, Laughing Model I (Modele en buste, viant). 1898 A.24.7 II, on the plate: "ZORN 1912"; signed in pencil Self-portrait I. 1904. 6'V8 x 5 66.103(35) Sx3% 66.103 (46) A.134 II/2, on the plate: "1898 ZORN"; signed in pencil A.180 Il/3, on the plate: "ZORN 04"; signed in pencil Rare impression, about twenty-five or thirty proofs only 66.103(25) Prince Paul Troubetzkoy I. 190B. 11%. x 73;4 Dagmar. 1912. 9%, x 7 A.21B Ill/3, on the plate: "ZORN Troubetzkoy has mig"; 66.103(16) A.250, only state, on the plate: "ZORN 1912"; signed in Traveling Companion (Mr. Charles Deering). 1904. signed in pencil pencil 7%x6 Billiards. 1898. 7 x S 66.103 (36) 66.103(47) A.137, only state, on the plate: "ZORN 1898 Mora"; A.182, only state, on the plate: "Through Grand Canion signed in pencil Arkansas 10 March 1904 ZORN"; signed in pencil Prince Paul Troubetzkoy II. 1909. 9% x 7 V allkulla. 1912. 11314 x 7% Ex call: Beurdeley (stamp) 66.103(26) A.219, only state, on the plate: "ZORN" and inscription A.251, only state, on the plate: "ZORN 1912"; signed in 66.103(17) in reverse; signed in pencil pencil Emma Rasmussen. 1904. 7% x 5% 66.103(37) 66.103(48) Mrs. Grover Cleveland II. 1899. 9% x 6V8 A.183, only state, on the plate: "ZORN 1904" A.146, (VI), on the plate: "ZORN 1899"; signed in 66.103 (27) Oxenstierna. 1909. 9% x 6%, Professor fohn Berg. 1912. 7 x 4% pencil A.220 1/1, on the plate: "ZORN 1909" and the Oxen A.252 111/3, on the plate: "ZORN 1912"; signed in pencil 66.103(18) Self-portrait with Inscription. 1904. 61;4 x 4% stierna coat of arms with baron's coronet; signed in pencil 66.103(49) A.185 III, on the plate: "ZORN 1904"; inscribed: "Gardi 66.103(38) KoIMargit.1900. 5 x 3% onums weiser wen an wilda" ("His work shows his will") ; The Letter. 1913. 614 x 43;4 A.152, only state, on the plate: "ZORN"; signed in pencil signed in pencil Aurore.1909. 7% x 5% A.2S4 11/2, on the plate: "1913 ZORN"; signed in pencil 66.103(19) 66.103(28) A.221 IV /4, on the plate: "ZORN 1909" and the Oxen 66.103(50) stierna coat of arms; signed in pencil VillageSyracuse Violinist. 1 x University66.103 Art (39) Galleries Eka.191:1 x Senator Billy Mason. 1900. 7%, x 5% 1904. 6 4 4% 3Y2 40/8 A.159 1/2, on the plate: "ZORN Chicago 1900"; signed A.186, only state, on the plate: "ZORN 1904" A.255, only state, on the plate: "ZORN 1913"; signed in in pencil on Japan paper, fifty proofs 66.103 (29) The New Maid. 1909. 11% x 7% pencil Ex call: DeWald (stamp lower center) A.227 IV /6, on the plate: "ZORN 1909"; signed in pencil 66.103(51 ) 66.103 (20) Betty Nansen. 1905. 10%, x 6'V8 66.103 (40) A.190 IV, on the plate: "ZORN 1905" Shallow. 1913. 11% x 71/2 At the Piano. 1900. 7% x 6 Signature and dedication to Tyge Moller in pencil Precipice. 1909. 9% x 6Vs A.259, on the plate: "ZORN 1913"; signed in pencil A.160 II, on the plate: "ZORN 1900" 66.103 (30) A.228 II/2, on the plate: "19 ZORN 09"; signed in pencil 66.103(52) Extremely rare impression on Japan paper 66.103(41) Inscribed in pencil: "To friend Sullivan Xmas souvenir The Bride's Maid or Demoiselles d'Honneur. 1905. Elin.1913. 73;4 x 11% of Zorn" 5~~ x 7%, Wet.1911. 6% x 4% A.260 nI/5, on the plate: "ZORN 1913," lower left, Ex call: A. W. Scholle (stamp on reverse) A.192, only state, on the plate: "ZORN 1905"; signed in A.240 III, on the plate: "19 ZORN 11"; signed in pencil "ZORN" and lower right, "1914" (only in III); signed 66.103(21) pencil 66.103(42) in pencil 66.103(31) 66.103(53) The Storehouse. 1903. 8 x 5% Djos Mats. 1911. 7 x 4%, A.169, on the plate: "1903 ZORN" Kesti, A Peasant Girl of Mora. 1906. 6% x 4% A.243, on the plate: "Djos Mats Zorn 1911"; signed in Berserk. 1914. 9%, x 7 Extremely rare impression signed in pencil A.196 II/2, on the plate: "ZORN 1906"; signed in pencil pencil A.261 IV /4, on the plate: "1914 ZORN"; signed in pencil 66.103(22) 66.103 (32) 66.103(43) 66.103 (S4) WHISTLER, JAMES ABBOTT McNEILL American, LOCKE, W. R. Early. 1914. 9% x 7 BENSON, FRANK W. American 1862-1951 1834-1903 A.262, only state, on the plate: "ZORN 1914"; signed in pencil On Swift Wings 11 3;4 x 93;4 "Changing Weather" Gulf of Mexico, Florida. 1936. Old Hungerford Bridge 5% x 8% 66.103 (55) Signed in pencil 9%x11 Signature inscribed on plate (damaged) 66.104(1) Signed, titled and dated in pencil 66.104(15 ) Frida.1914 7% x 5%, 66.104(10) A.263, only state, on the plate: "ZORN 1914"; signed in WOOD, FRANKLIN T. American, 1887-1953 On the Redhead Grounds 9% x 73;4 pencil Signed in pencil PIRANESI, GIOVANNI BATTISTA Italian, 66.103(56) 66.104(2) 1720-1778 Head of an Old Man with a Beard 6 x 5 Signed in pencil Frida. 1914. 73;4 x 53;4 66.104(16 ) A.263 (damaged), on the plate: "ZORN 1914"; signed in BRACQUEMOND, FELIX French, 1833-1914 Vedula del T empio della Fortuna Virile 15V2 x 24Y2 pencil 65.275( 1) 66.103(57) Portrait of Alphonse Legros 6V2 x 4V2 66.104(3) REMBRANDT HARMENSZ. V AN RUN Dutch, Crown Princess Margaret of Sweden. 1914. 9% x 7 1606-1669 A.264, on the plate: "ZORN 1914"; signed in pencil Erasmus 9% x 7% 66.103(58) Marked in pencil B.39 III ] an Uytenbogaert, Receiver-General (The Gold Weigher). Ex colI: Roger Mars (stamp) 1639. 10 x 8 Gulli 1. 1914. 5 x 3V2 66.104( 4) Inscribed in plate, lower left: "Rembrandt F. 1639" A.265, on the plate: "ZORN 1914"; signed in pencil Print made from recently reworked plate Ex colI: Rosenstamm 66.104(17) 66.103 (59) HADEN, FRANCIS SEYMOUR British, 1818-1910

The Swan. 1915. 93)1, x 73;4 Newcastle Emlyn. 1864. 4%. x 6 RODIN, AUGUSTE French, 1840-1917 A.269 (III?), on the plate: "ZORN 1915"; signed in On the plate, right: "Newcastle Emlyn 17 Aug 1864 S_ pencil Haden"; initialed in pencil Antonin Proust. 1908. 9% x 7 66.103(60) 66.104(5) Inscribed: "en hommage a Madame Kate Simpson Aug. Rodin 1908"; signed in pencil Self-portrait. 1916. 7 x 4% Corner of the Fishmarket 8 x 6 66.104(11) A.270, on the plate: "ZORN 1916"; signed in pencil Initials inscribed on plate: "L. W. H."; signed in pencil; 66_103(61) Syracuseembossed initial stamp University Art Galleries Antonin Proust. 1908. 9% x 7 66.104(6) Rare first state, only five or six impressions Gopsmor Cottage. 1917. 8 x 7 Ex coll: E. A. Seasongood, no. 259 A.278, on the plate: "1917 ZORN"; signed in pencil JOHN, AUGUSTUS EDWIN British, 1879-1961 66.104(12) 66.103(62) Young Woman Musing 31;.4, x 3 Sappo.1917. 111/4 x 7% RYDE, CHAUNCEY F. Plate No. 28, Print No. 18; signed in pencil, D.37 only A.275 Ill/3, on the plate: "ZORN 1917"; signed in pencil 66.104(7) 66.103(63) Farm in Winter 6% x 9 (E & D) Signed in pencil Dalecarlian Peasant (Lavards Anders). 1919. 61/8 X4V2 The Old Haberdasher 6% x 6 66.104(13) A.283, only state, on the plate: "Lavards Anders ZORN"; Plate No. 52, Print No. 3/25, D. 36 VIII Signed and titled in pencil signed in pencil WEBSTER, H. A. 66.103(64) 66.104(8)

OIs Maris. 1919. 7% x 11% Nude Study of an Old Man or Old Man Seated 4 x 6 Les Quais d' Audierne. 1938. 5V2 x 7V4 Signed and dedicated in pencil: "To Cloud Wampler- A.286, only state, on the plate: "1919 ZORN"; signed in Plate No. 49, Print No. 6/25, D. 99 only pencil Signed and titled in pencil very cordially H. A. W." 66.103(65) 66.104(9) 66.104(14) JOHN TAYLOR ARMS Cobwebs

Syracuse University Art Galleries Syracuse University Art Galleries

JOHN TAYLOR ARMS Normandy Noon

JOHN TAYLOR ARMS Albi JOHN TAYLOR ARMS A Gargoyle and His Quarry

JOHN TAYLOR ARMS A Spanish Profile

Syracuse University Art Galleries MUIRHEAD BONE Repairing the Auld Brig, ArT