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INTRODUCTION. 
 
 When the Black and White Exhibition of the Association was 
 held in 1 88 1, the Committee expressed the hope that a further and 
 more complete attempt would soon be made in the same direction. 
 The present effort is in one sense, more restricted than th^ form.r, 
 being confined to one branch of the engraver's art, but that 
 probably the highest— Etching. 
 
 In order to appreciate the effects obtained, it is well to bear 
 in mind that etching never means a pen and ink drawing, but is 
 a branch of engraving, of which the process may be briefly stated 
 as follows : a metal plate, generally copper, is covered with a thm 
 coat of blackened varnish, known as etching ground ; through this 
 the artist sketches in his design, laying bare the plate at each 
 stroke. The acid is then applied and eats into the plate wherever 
 exposed by the touch of the needle. If variation of tone and a 
 difference of force in the lines is required, the more delicate 
 portions of the sketch are " stopped out," that is, covered by 
 varnish, so that they shall not be affected by any subsequent 
 exposure to the acid, which is again applied ; and so on, until 
 the plate is completed. After the acid has performed its work, 
 and the plate thoroughly cleaned it is ready for the printer, unless 
 the arti- sees fit to finish or enrich his work with "dry point," 
 that is, o cut directly into the bare plate, thus raising a little ridge 
 of metal or "burr" which holds the ink and gives a strong effect. 
 
» 
 
 m* 
 
 iv. 
 
 'J'hc orinting of a fine plate demands such delicate skill and 
 judgment.'that its success rests very largely in the experience of 
 the printer. For the printing, different materials arc used m order 
 to obtain the best possible effect, both as regards the subject and 
 the manner in which the plate is worked. We (^nd papers of 
 every variation of hardness or softness, vellum, parchment, and 
 sometimes satin ; and in general the material is somewhat of a 
 guide to the condition of the Etching, as any care shewn m the 
 selection of the material should indicate a desirable condition of 
 the plate. 
 
 •"Trial,- or 'Artist's Proofs,' as at one time they were 
 "properly called, are the impressions (generally very limited in 
 "number) taken, from time to time, from a plate while it is m 
 •'progress, for the information and correction of the artist and 
 '• answer to the proofs and revises of a literary work in its passage 
 " through the press : ' States ' on the contrary, refer to finished or 
 " published plates, the ' First State ' of which, is the technical 
 "■ equivalent to the ' First Edition ' of a book." Sir Wm. R. Drake, 
 
 A ' Remarque ' proof indicates the very choicest condition of 
 the plate and takes precedence of the Artist's proof ; and the origin 
 of such proofs was probably accidental ; before the plate was 
 completed the artist, either to try the condition of his needle or to 
 amuse himself, scratched a small design on the margin of his 
 plate and this was reproduced in the first impression taken, to be 
 rubbed out when the plate was ready for formal printing. Some 
 distinguished etchers are intolerant of the remargue ; in the etched 
 work of Seymour Haden and Whistler for instance, no such thing 
 is to be found. 
 
 An ' Artist's ' proof has no lettering of any kind and is often 
 signed by the etcher, or by the etcher a.id artist. 
 

 
 V. 
 
 A ' Proof Before Letters,' is one in which the title does not 
 appear but the etcher's, or the etcher's and artist's names appear 
 in small engraved letters. 
 
 ■ An ' Open Letter ' proof is one in which the title is added 
 but in outline only. 
 
 All impressions following are termed ' Lettered ' or « Plain 
 prints. 
 
 The Committee are indebted to all those who have so readily 
 responded to their request, and particularly to Mr. Keppel, of 
 New York, through whose courtesy they are enabled to present 
 several examples of Rembrandt and others of the old masters. 
 As the material of this introduction and of the notes throughout the 
 Catalogue is largely drawn from the recognized authorities, the 
 Committee trust that this general acknowledgement will excuse 
 the frequent omission of well known names. 
 
•4 
 
 ABBEEVIATIONS. 
 
 ^ p Signed Arlist's Proof. 
 
 „ p' Remarciue Proof. 
 
 ^' p""^ Trial Proof. 
 
 ." p ' s* ". ' ". Trial Proof, Signed. 
 
 r,' Y^ I ' [[[ Proof Before Leiters. 
 
 ^ p ' Numbered Proof. 
 
 ' ' First Stale. 
 
 ' Second State, &c, 
 
 ' "''... Bartsch's " Peintre Graveur." 
 
 .Sir W. Drake's Catalogue of 
 
 Seymour Haden. 
 ^ For sale, apply to Secretary. 
 
Catalogue. 
 
 APPIAN (Adolphe). 
 
 One of tl.c most easy ami graceful of living etchers ; he i.s csijccially 
 fom oVrl^'ing trees with beautiful branches and twigs shewing 
 theirllicute cS;tlineB against the sky. Unr vuxrc. m^ Lc Marau. 
 dt Burbanchc arc csi-ccially fine examples of th;» quality. 
 
 1. Landscape. 
 
 2. Une mare. 
 
 3. Marais de Burbanche. 
 4." A summer day. 
 
 s. P. 
 p. u. L. 
 
 « 
 
 BACHER (Otto H.). 
 
 • Born at Cleveland, Ohio ; studied ftt Munich, Venice and Paris. 
 Seymour Haden says of this artist's etchings of Vcmcc, tha they 
 evE a strong artistic feeling and are characterized by a bold and 
 painter-liko treatment throughout. 
 
 5. Venice, p. b. l. 
 
 BALL (Wilfred). 
 
 6. " Light thickens and the crow, &c." 
 
 7. Bunyan's Cottage. 
 
 8. Ann Hathcway's Cottage. 
 
 9. Village of Estow. 
 to. St. PauFs. 
 
 11. Westminster. 
 
 12. The Tower. 
 
 s. p. 
 
 (I 
 II 
 
 <( 
 (I 
 
8 
 
 BAECLAY (Edgar). 
 
 13. The Steps at Capri, s. p. 
 
 BEACQUEMOND (F.), 
 
 14. La rixe, after Mdmnnier. R. p 
 
 BELIN-DOLLET (Gustave). 
 
 15. Going to work, after Millet. 
 
 1 5 A. The same. Early state mi while, paper 
 
 BELLOWS (A. E.). 
 
 16. Canterbury Cathedral, s. p. 
 
 BERKELEY (Stanley). 
 
 17. Homeward wending through silver sheen R. 
 
 BICKNELL (A. H.). 
 
 18. Venetian fishing boats, p. b. l. 
 
 BOITLAED (Auguste, Eils). 
 
 iQ. Men ancien regiment, after Ed. Detaille. r. 
 
 BEUNET-DEBAINES (Alfred). 
 
 20. The Cornfield, after Constable. S. p. 
 
 21. Pastorale, after Corot. 
 
 22. Rue de I'Epicerie, Rouen. 
 
# 
 
 BUHOT (Fdlix), 1847— 
 
 F^lix Huliot wus born at Vulogncs, in olil Noinuiinly, luiil of liis 
 work, Philippe Uurtjr, Inspector of Beaux Arts, sayH : " In lii.s 
 coniposition.s nothing is dcvoitl of nicanini; or of life, ami lii.s linny- 
 ing is haniionioua ami tnic. If lie in .sonictiniCM fantastic, his 
 fantasies uro quiet smiles rather than l)roa<l laiif^lis, and when ho 
 is satirical his satire is never wounding, b.it always kindly," 
 
 The faithfulness of his English etchini,'8 shews his keen ap))rccia- 
 tion of the distinctive character of English atniosiihere aiid local 
 colour as contrasted with that of France. 
 
 * 23. 
 
 The Thames at Gravesend. 
 
 s. p. 
 
 * 24. 
 
 Westminster Palace. 
 
 T. V. 
 
 * 25. 
 
 Westminster Palace. 
 
 
 * 26. 
 
 Clock Tower, Westminster. 
 
 T. I', 
 
 * 27. 
 
 Clock Tower, Westminster. 
 
 
 * 28. 
 
 County Neighbours. 
 
 s. p. 
 
 * 29. 
 
 Les bergeries. 
 
 i( 
 
 33. 
 
 Bay of St. Malo. 
 
 « 
 
 CALLOT (Jacquea), 1593-1635. 
 
 30 A. The Great Fair of Florence. 1620. 
 
 This plate is probably as tine a specimen of this artist's work as 
 anything he produced, except his celebrated Temjdalmi of /it. 
 Anthony. 
 
 GASTIGLIONE (Giovanni Benedetto), 1616-1670. 
 
 A Genoese artist, who is said to have studied under Vandyck, and 
 whose etchings display almost the same masterly effects of light 
 and sliadc as those of Rembrandt. 
 
 30 B. Eastern Head. 
 
 CHAIGNEAU (Ferdinand). 
 31. The shepherd, r. p. 
 
10 
 
 CHAUVEL (Th.). 
 
 32. L'orage, after Diaz, 
 
 33. Solitude, aficr Dauhigny. 
 
 s. P. 
 u 
 
 Parchment, 
 
 CHURCH (F. S,). 
 
 An Aiucrican etcher, well known for bis graceful treatment of idyllic 
 subjects. 
 
 * 34. A lesson in Wisdom, s. p. 
 
 T 
 
 CLAUDE DE LORRAnTE. 1600-1682 
 
 His et.bin,s do -t number n.rotlj.n^cjt^cight^^ 
 more -si>irit than dcxtcri y " ^j^^^ 'iV'S^ 
 
 genius l)efore tho world. 
 
 35. La Port de Mer "a la grosse Tour. p. b-^ l- 
 
 36. Le dessinateur. 
 
 COROT (J. B. C), 1796-1875. 
 
 shew no sense of the iiso of ^"1°', ^"^,,,'';°v'''5ii they arc full of 
 
 their peculiar charm. 
 
 37. Souvenir d'ltalie. p. b. l. 
 
 38. Environs de Rome. 
 
 C03TELL0 (H.). 
 
 39. Helpmates. 
 
 40. Abbeville. 
 
 s. p. 
 
T 
 
 11 
 
 C OXE' (R. C), American. 
 
 41. The fog whistle, s. p. 
 
 42. The Narrows— New Yprk Harbour. 
 
 s. P. 
 
 ,Uc 
 
 inco 
 itcd 
 rncr 
 3 his 
 
 CRUIKSHANK (George), 1792-1878. 
 
 His ^vork is «o fa.niliar to U8 through his interpretations of Dick'^ns 
 and earlier writers of the century that, I'^'^ J^JPf,'. J.^.^'^'SfJ.V ° 
 overlook his inq.orUucc on account of our '^'/'^''''''"f. , J'"^^: ."^ 
 said of his L'ciius: " Aniony the reckless los.-.ts of the n it 
 Hervicc of intellectual powerNdth whicli this century muh be 
 cWcd very f.H- are. to n.y nnnd, more to he re'^etteJ than that 
 wSis involved in its having turned to ^^^^if'^l^^'^J^Z 
 the illustration of the career of ' Jack Shephtrd ai ;l oi in<. 
 'Irish lU^ellion." the great graver (I use t^^ W dd.berate^ 
 and with large meaning) and singular genius of Crujksliank. 
 
 42 A. Jack O' Lantern. ,1842. 
 
 DAMMAN (Benjamin Augusta Louis). 
 
 43. The gleaners, after Millet. s. p. 
 
 44. The shepherdess, after Millet. 
 
 was, 
 od of 
 as in 
 pathy 
 things 
 
 form 
 ;ull of 
 Giving 
 
 DAUBIGNY (C. F.), 1817-1878. 
 
 His early employment as an illustrator of ^°°^« rrepa;«l the way 
 for attempts with the etching needle, and, "^ 1841 and 1845 Uc ^ 
 exhibited several plates executed by bimself ; Irom tha. time 
 untU his death he produced over one hundred etchings. Ho 
 dStroyed many of his plates in order to use them for new ^york 
 and f?om This cause, several of his early prints arc exceedmgly 
 
 S. S constant aim is rather unity -^ f «f,^l^'',?,J?";° f Si ' 
 ness of detail, so that in judging his work the effect as a whole 
 must be constantly borne in mind. 
 
 45. Orchard at Antwerp, p. b. l. 
 
 46. Pare 4 Moutons, le matin. Fine old impresston with date 
 
 of first publishers. 
 
 47. Les vtndanges. t. p. 
 
 48. Le gud 
 
12 
 
 DAUTKEY (Lucien). 
 
 49. La glaneuse, a/Ur Jules Breton. R. v. Pan/uncnt. 
 This plfite was highly appiovcd of by Jules Brotou himself, 
 
 DELACllOIX (Ferdinand Victor Eugene), 1799-1863. 
 
 The etchings of this wonderful colouvist arc few "\ »\'";_\^<=': ^^";|,''i;; 
 interesting as being early specimens of the revival ol the ait ui 
 
 France. 
 50. Arabes d'Oran. 
 
 DETAILLE (Edouard). 
 
 A mipil of Mcissonnicr, this artist devotes himself almost exclusively 
 li ary snbiccts. His etchings display the same f^cem'^^O o 
 teing and freedom of treatment t*lmt distinguish his moic 
 elaborate work. 
 
 51. A Uhlan, -p. b. l. 
 ELTEN ' (Kruseman Van.), 1829— 
 
 Born in Alkman, Holland, where he received his training, and in 
 ^° 84 wtnt to liaarlein, ^;here he ^tudie.l.undcr Liesle and othe^ 
 He produced much of his work in America, and his etching, like 
 his painting, is distinguished by a fine delicacy of feeling. 
 
 52. In the grove. 
 
 53. Noon — Sanspoint. 
 
 54. Old windmill. 
 
 53. River in Holland. ' ■ 
 
 56. River in Scotland. 
 
 57. Delaware and Hudson Canal. 
 
 s. P. 
 
 K 
 ({ 
 (i 
 tl 
 
 IC 
 
 FARRER (H.) 
 
 58. Sunset. P. B. L. 
 
 59. Venetian fishing boats. 
 
 s. P. 
 
13 
 
 FLAMENG (Uopold), 1831— 
 
 Sll rrrcrtril^^mSr^^ cntic CharU. Blanc, the 
 title "Illustrious." 
 
 ,vi; 
 in 
 
 * 60. The Night Watch, a/fer RonbrandL 
 
 * 61. The Syndics, 
 
 (I 
 
 ely 
 
 of 
 
 01c 
 
 I in 
 crs, 
 like 
 
 FOKTUNY (Mariano), 1838-1874. 
 
 Of Spanish birth and early training at Barcelona where he gained 
 the Phx dl Jioinc, thi/artist passed the greater part ol his life 
 Rome inaking frequent visits to Morocco, Spam and Pam 
 It h°sL"y death at thirty-six, of Roman ever, prevented that 
 Sudevefopmcntofhis artf towards which he w<.s making such 
 wonderful advances. 
 «' What Chopin is to music, it appears to us that Fo^tuny is to art. 
 '' and botli of them have more of the gypsy wildncssand strange- 
 " ncss of Spain in their works than of the sweet cla.ssic composure 
 "of Italy. '^ 
 
 * 62. Mendiant. 
 
 * 63. Arabe veiUant le corps de son ?.mi. 
 
 * 64. Tireuse de cartes. 
 
 GAILLAED (Claude Ferdinand). 
 65. Soeur Rosalie. R. p. 
 
 GAUTIER (Lucien). 
 
 66. Lake of Como, after Corot. 
 
 s p. 
 
 one of Corot's finest paintings, 
 
14 
 
 GEDDES. 
 
 * 67. Mr. and Mrs. Teny. 
 
 * 68. Old woman looking at ring. 
 
 GRAVESAKDE (C, Storm Van s.) 
 
 Carl Nicolaas Storm Van. a Gravcsandc is a Dutch gentleman with 
 the title of Jonkccr, a.ul is a Doctor of Law of the UmvcrHity of 
 Levilen Ho had a great love for art and hoa devoted his hie to 
 painting and etching. He ranks among the greatest of inoderu 
 ctchcrsrpossessing in an eminent degree the great gift ol the tnie 
 etcher, simplicity. 
 
 69. Bateaux de pbche. 
 
 70. Menhirs h. Carnac. 
 
 71. On the Zuyder Zee. 
 
 72. The ferry. 
 
 73.. The River Vecht, Holland. 
 
 74. Entree de forSt. 
 
 75. Au bord du Gein, pres Abconde. 
 
 s. p. 
 « 
 
 <( 
 
 ^6. The Y near Amsterdam. On/y StaU, entirely dry point. 
 
 GREUX (Gustave Marie). 
 
 77. The spinner, after Millet s. p. 
 
 78. The shepherd, " p- b. l. 
 
 HAIG (Axel H.) 
 
 s. p. 
 
 79. An old Hanseatic Town. 
 
 80. Seville Cathedral. 
 
 81. Street Scene in Seville. 
 
 82. Mont St. Michel. 
 
 83. Limburg on the Lahn. 
 
 84. North Chancel Aisle, Westminster Abbey. 
 
 85. View from St. Edmund's Chapel, Westminster Abbey, s.p 
 
15 
 HARDY (Heywood). 
 
 86. Half Way House, s. p. 
 
 HADEN (Francis Seymour). 
 
 Mr. Seymour Hadcu, who is a London aurgcoii in largo jiructice, (hut 
 took to etching as a recreation, and made audi extraordinary pro- 
 ^resn that his amusement wa.s the means of adding largely to his 
 income, from wliich, however, he derived no personal iirofit at 
 (irst, as he devoted it nearly all to the support of the hospital 
 winch he had founded. None of his work is that of an amateur 
 (we here use this word in the Knglish sense), for he seems to have 
 developed irom the hrst a consummate j-ractical skill and a most 
 original and artistic treatment of his suhjects ; he ha.s follow.d 
 in the footsteps of his master, Ilembrandt, with i.crftctly marvel- 
 lous success and to-day stands at the head of Knglish etchers. 
 
 c./^''"'.9.?"I"'"'^'' "" '"^'■^'""'tc in having such examples a.s the 
 .Shcrc Mill Fond, which is considered to l,e his finest examide of 
 pure etching, and the Sanacl in Ireland tlie hest example of his 
 dry point, and such examples of his early manner as E-jham anrj 
 Saiuid on t/ic T/uimcs. IIis broail, masterly skill is shewn in such 
 strong works as a Lunccishirc. River and Orecnunch, the former 
 o_t which Haden himself considered as one of his most representa- 
 tivo prints. _ His skill in reproductive work, shewn in the Calais 
 tw, 13 not in any way behind his original efforts, and it must bo 
 remembered that while original work, provided that it is of the 
 same guality, may stand higher than reproductive, still, this 
 latter is always a gicat test of adaptability of the etcher. 
 
 Iho numbers to the right of the subjecta are those of Sir Wm. 
 Urake s catalogue. 
 
 87. Mytton Hall 
 
 88. Egham 
 
 89. Water Meadow. . . . 
 
 90. Early morning, Richmond. 
 
 91. Kensington Gardens . 
 * 92. A By-road in Tipperary . 
 
 93. Shere Mill Pond. Yellow paper. . 
 
 94. Shere Mill Pond. White pzper. 
 
 95. Sunset in Ireland. 
 
 96. Battersea Reach, , . . 
 
 97. Kilgaren Castle 
 
 98. Cardigan Bridge. 
 
 99. Sunset on the Thames, 
 ioo. Eriih Marches. 
 101. Battersea Bridge. Zinc, 
 
 Signed 
 
 D 
 
 • 13 
 
 f( 
 
 3S. 
 
 14 
 
 
 • 
 
 20 
 
 (( 
 
 2S, 
 
 21 
 
 (1 
 
 • 
 
 • 
 
 12 
 
 (( 
 
 • 
 
 28 
 
 (( 
 
 2 3, 
 
 35 
 
 (( 
 
 2 3. 
 
 •35 
 
 
 2S. 
 
 44 
 
 ti 
 
 . 
 
 45 
 
 (1 
 
 ■ • 
 
 • 
 
 58 
 
 (1 
 
 I S. 
 
 60 
 
 • 
 
 I S. 
 
 83 
 
 (1 
 
 • 
 
 102 
 
 (1 
 
 • 
 
 • 
 
 190 
 
16 
 
 ,0. Breaking up of the Agao^cmnon 
 
 103. Nine Barrow Down. • • 
 
 104. Challow Farm. 
 X05. Warcham Bridge. 
 106. Grim Spain. • • 
 
 . 107. Windbor. • • ' * 
 X08. Greenwich. 
 109. Greenwich. 
 1x0. Lancashire River • • 
 
 Signed 
 
 it 
 
 P. U. L. 
 
 Signed 
 
 •^.v..'. 20 impressions onl,.^^^^^^^^^ 
 
 2 S. 128 
 
 . 150 . 
 
 . 158 
 
 . X59 
 168 
 
 I S. 183 
 I S. 184 
 184 
 189 
 192 
 140 
 
 p. U. L- 
 T. P. S. 
 
 HEIUCOMER (HubcvL). 
 Miss Grant, s. v^ 
 
 113- 
 
 HOLLOW AY (C. E.)- 
 114 Tower of London. 
 XI 5. Rochester Bridge. 
 
 HOOIC (J. G.), B.A 
 
 s. p. 
 
 In ^Iv. Hook, 
 his aiiu being .- 
 and shade. Tlie Ai/l/ 
 his owivl'iii"^"'K- 
 xx6. The Egg Gatherers. 
 
 ISRAELS {^o^d), 1824- 
 
 s5sH£2SiS2Si$ 
 
 P. B. L. 
 
 as (Josef), '^'■■^- ^^^^,^ .„, .. ,,.,.. ..-.a., .'i-., 
 
 Bora »t A""'";":;!"!:' the H»g"». . ,, ,,,^, it .t ouce »ro»l" » 
 
 S. P- 
 
 117. The smoker. 
 
 tt8 The fisherman. 
 
 „, Girl and boy with boa,, V. »■ ^. 
 
17 
 
 , 128 
 
 158 
 
 . 159 
 i68 
 
 5. 1S3 
 S. 184 
 . 184 
 7, 189 
 .. 192 
 s. 14° 
 
 JACQUE (Charles) 1813— 
 
 Rustic lifo ill M its picturcscivicness is louinl to iicvfcclioii iii Bur- 
 Snarand hero Lciuc. tho great r.ai..tur of rural sconcrv. fouud 
 Un material for Lis best etchings. ^lis greatest skill is slicwu iii 
 KS hion and poultry. A^imniLer of his plates will comparc 
 favounri,ly witl. the best work of the l)ast, unci he will ulways be 
 remei.ibeied among the great etchers of our time. 
 
 120. Unc ferme. 
 
 121. The coming btorm. p. u. l. 
 
 JACQUEMAET (Jules). 
 
 Jacaucinart is the greatest etcher of still life the world has r.vcr.seen. 
 Then Us ather published the Uisloirc do a Pcrrcchunc, the book 
 was mustratcd by the son's etchings, and later he ^v^s instruct 1 
 to illustrate the Jewels of the Louvre, a coinmission ''« ^''^o 
 in the most marvellous manner. Never before had pearl, agato 
 and jasper appeared so life-like on paper. 
 
 12 2. China cups, &c. p. b. l. 
 
 X23. Le soldat et le fiUette, after Van der Mecr. R. i'. 
 
 124, Leliseur, a//^/-.^mjtf««ifr. s. p. 
 
 e lino work, 
 .tionsofUgUt 
 
 ; icudoriug ot 
 
 JONGKIND. 
 
 A T^aintcr of the modern Dutch school, who has developed wo idcrfu 
 strength in etching, more particularly in las effects of water and 
 shipping The Sokic du krt is considered one of his best plates. 
 
 125. Sortie du Port de Honfleur. 
 
 p. B. L. 
 
 i, under I'iuoti 
 
 oucoavi-)'i'^l»*^° 
 tlicr than that 
 
 lingS' 
 
 liNIGHT (Joseph). 
 
 126. The misty morn. 
 
 127. The Clouded heaven. 
 
 
 
18 
 
 LALANKE (Maxime). 
 
 ^♦Phcr ave grace luul elegance, com- 
 
 liZ. The canal. 
 
 120. Environs de Pans. 
 
 , .o. Sunset, a/Ur Dauhigny- 
 
 L V^^^v^n^^. after Daiihigny^ ^ 
 
 3a. Mornu.--^^-^^^^'^'''- 
 
 p. B. 1" 
 
 S. I'. 
 
 R. P. 
 
 LAW (David). 
 133. Venice. 
 
 s. p. 
 
 ,34. Old Mill at Ambleside. '^* 
 ,35. Venice by Moonlight. 
 
 LECOTJTEUX (Axistide Lionel). 
 ,36. The spinner, fl//^r///VW- 
 
 s- P. 
 
 T -pap OS (Alpbonae), 1837— ■ 
 
 " an old mastev bciattu. 
 of his stylo. 
 
 P. B. L. 
 
 13' 
 
 Portrait Of G.F. Watts. R. A. 
 
 LEENHOOE (Eerdinand). 
 
 x,8. Love repelled. ajUr Bougereau s. p. 
 X39. Love triumphant. aJUr L. Penault. 
 
 L'HEB^inTE (Ldon). 
 
 s. i. 
 
 140. The haymakers 
 
 141. Rouen Cathedral. " 
 
 ^m-m- 
 
iO, COPf 
 
 lis been Btylcd 
 ^appy example 
 
 19 
 
 MACBETH (Robert W.) 1848. 
 
 Mr. Macbeth lias been particu)«.:''y aucccs^rul in traiivlating tlio 
 wofk^ of I'iiiwcll, Walker aiii Masn ; liis syiiiputhy with their 
 •choc 'las cnablfd him to n^' <i:' .. tliu niant ol' the artists with 
 roiimrkablo fidelity, and )io cu.iIjs tlio same ipiality into hii* more 
 roccnt ctcliin^^ froui the old inustcru. 
 
 14a. The Harvest Mooib S. P. 
 
 143. The Mushroom "lAthercrs, after Fred. Wallur. " 
 
 144. The Pied Piper of Hamlin, after G.J. Pinwell. •• 
 
 " Ai\d crt three shrill notes Hie pipe hwl uttered, 
 Yuu hfard as if ui\. aniwj muttered ; 
 And the muttering yrcw to a ijnnnljlinij, 
 And the (jrambUivj grew to a mi'jhty rumhling, 
 And out of tltc /uiuscs the rats came tumtlini." 
 
 145. The Pied Piper of Hamlin, after G.J Finwell, s. P. 
 
 " Old tame the children running : 
 AH (Ilc IMle boys and girls, 
 With rosy checks and Jla;cen curls, 
 And sparkling eyes aiul teeth like pearls. 
 Tripping and skipping, ran merrily after 
 Tlui wonderful music with shouting aiul lawjlUer." 
 
 146. Marlow Ferry, after F. Walker, s. p. 
 
 * 147. Bacchus and Ariadne, after Titian, s. p. 
 
 This fine plate is priidcd by Ooulding, one 0/ the mast successful 
 printers of our day. 
 
 * 148. A pastoral symphony, after G. Mason, s. p. 
 
 MAR^KE (E. Van.) 
 
 149. Cattle, p. B. L. 
 
 MARIS (Matthias). 
 
 150. The Sower, after Afii/et. s. p. 
 150 A. Five small etchings, framed. 
 
 MARTIAL (A. P.) 
 
 151. Les Cancalaises, after Feyin-Perrin. r. p. 
 
20 
 
 MERYON (Chavles), 1821-1868. 
 
 nud left It "-^ ISie^^olJ '^'^^^ ^^ ^^^^ I"^"' f ont tnay be imag- 
 broken health, he Q."eri"" jj- ^\ sam'Ointniont nmj^ n„ainst 
 
 ^^^?^ r i^^cSS^^cKt hS chosen coj- J- :-i,Srcame 
 incd when he ^ »s^°Yiour blindness ; ^^^V ' rrdlc to achieve his 
 him on account o' "-lour o ^^^^ ^^^^^,^„ ""of 'th° old Dutch 
 
 the inspiration '^1'%'^° ;°" \vith the prints f^;"^ ° ctivcncss 
 success in black ana ^b te- recognized the ^ttracti 
 
 sailor, Remy Zccinan ^ofo e ^iim, ^^^^^^.^^ ^^^ -^^ ^^ITJ^S- Paris. 
 
 of local subjects. ^n^^^^^Yf L ous with W^,^'!"^£lu Vealth. 
 
 ^'^"'I'r^'^ "rwfry Su!^^^ ^^^f\^n unrecognized geiiiuB 
 
 L L'Abside de Notre Dame. 
 
 4:ToureUe.RuedelaT.xerandene. 
 
 xVs. La Pompe, Notre Dame. 
 
 156. Le Por^t au Change. 
 
 157. LeStryge. ■ 
 
 MILLET (Jean Francois), 1814-1875. 
 
 :MiLL£'i- V • „f modern etchings than 
 
 re. artists ^^^^^^^Z S^^figSal -Jj^^^^SS 
 
 Jean Francois ^^^^ "=, (.^JJintinS^^y '*"'^' Tl ^nus S nchmen of 
 , the translations nus ^a mt ^g^ . of the famouB 1 "^^^^^^.^^ 
 
 Damman and others. ^,13 hfc ^ ^^ a na ^^other, 
 
 thfi earlier part of.this a_u J.'^^^^^^. ^nd, W^e 'nany^.^^^^ ^^^ 
 
 'struggle t"°y .>-^^^°Stoo late'to reward ^J^X'S of "Koi'mandy. 
 universal among the Dreni- j 
 
 2S. 
 II 
 
 It 
 
 iS. 
 
 2 S. 
 
21 
 
 MILLET — Continued. 
 
 tho priesthood, and so received au education at tlie hands of tho 
 Cure, which stood him in good stead in after life. Ilia ccnius 
 shewed itself in early attempts with the pencil, and his father at 
 once agreed to submit tho result to tho judgment of Mouchel, a 
 jiainter, at Cherbourg. Tho decision was favourable, and hence- 
 forward his career was determined. Towards Paris, that centre of 
 art, in his day as in ours, ho was naturally drawn, and tln.ro his 
 life-long struggle began. In one of his visits to Gruchy, lie married 
 a girl whose portrait he had painted on a former visit, and they 
 returned together to face the unknown in the great city. Tho 
 winter found them often without fuel and without food, but the 
 artist, knowing he must prevail, never faltered nor turned from 
 his work. His friend, Alfred Sensier, who fully recognized l>is 
 genius, was a faithful supporter and encourager through his 
 struggle, and when the struggle \\as over forever, an enthusiastic 
 chronicler of tlie life of his friend. His etchings ure nearly all 
 rare, many of them are unique, and all are strongly characteristic 
 of the artist and his love for nature. 
 " Fashions in art will change ; some living artists who have acquired 
 " great fame, have perhaps already outlived their immortality, 
 " while others to-day unheralded will, in the future, be famous. 
 " But in the roll of honour of the nineteenth century, there is no 
 " name more certain to go down to posterity as that of a master in 
 " art than the name of Jean Frangois Millet." 
 
 158. Les becheurs. Proof on parchnctit. 
 
 159. Les bScheurs. Proof on yap. Paper. 
 
 160. La grande berg^re. Only State. 
 
 ;u.\, '■ V, 
 
 Frenchmen ot 
 ard, unceasing 
 many another, 
 .i.„,) toiler. He 
 tofKormandy, 
 lily. Their lot 
 he ambition so 
 vas destined fov 
 
 MONGIN (Augustin). 
 
 161. The song, ajttr Meissonnier. s. P. 
 
 MOEAN (Mrs. Mary Nimmo). 
 
 This etching jirooured Mrs. Moran's election to membership of tho 
 London Society of Painter-Etchers. 
 
 162. The Goose Pond. 
 MOEAN (Peter) 1842— 
 
 Mr. Moran, although born in England, has passed the greater i»art 
 of his life and produced his work in America. 
 
 163. The passing storm. 
 
 164. A summer afternoon. 
 
 165. The nearest way home, 
 ififi. P.eturn of the herd= 
 
 167. Evening. 
 
 168. Neschamony Creek. 
 
 R. p. 
 
 s. p. 
 (( 
 
 II 
 
 11 
 11 
 
# 
 
 # 
 
 22 
 
 PvcsidcntofthePhilaaclpWa 
 
 p. \\. h 
 
 MORAN (Thomas) 1837- 
 
 .n elder brother of thoi.vcccdinKan.l 
 169. I'assaic Meadows. 
 
 wonderful chiavascuro. 
 
 ,70. Man and woman conversing. 
 171. Lesbarangueurs. 
 
 -■'^^rretun bonne, point. 
 
 15. 37- 
 
 D. 19- 
 
 n. 13- 
 B. 3- 
 
 PALMER (Samuel) 1805-1881. 
 
 . -r,_ _i;„V rt-n.Vicr 
 
 :EK (Samuel) lou.-- 
 
 by these tew I>Ut=stiMi>« ^^^^^_y hivc let s» ,J 
 
 marvel uiai- u, '""■• ".-. .^^^jclihe so greatly cxcc'i^ j ^^ ^^^^ 
 
 beluridJu:amo..a.Unvvhi^^. there is a ^gje^aUeal^o^^,, ^^^^.^^^ 
 
 
 ,74. The early ploughman, p. »• i-- 
 175. The morning of hte. 
 
 176'. The herdsman. 
 177. The rising moon. 
 
 p. B. L. 
 T. P. S. 
 
 PARK. (John). nftif H. Maccallum. 
 
 ,,9. Gfflln8l.am Church. S. P. 
 
• 
 
 # 
 
 23 
 
 dclplii* 
 
 uis Hals, 
 
 ■izcd as a. 
 rkablc for 
 
 doEon plates, 
 >urs, as little 
 1-3. But :t 13 
 cncvation will 
 BO few works 
 Ho possessed 
 of line in Ws 
 ul the details, 
 
 //. Maccallutn. 
 [u. I'. 
 
 PAREISH (Stephen) 
 
 In tho work of Stephen Parish, wo liave the rare example of a man, 
 wlio, after devoting his early years to business, lonnd liiniself 
 mined by a Hiiddcn (iuctnation of trade, and, ('Oinpaiativoly lato 
 in life, turning his attention to art, lias niaJo liis mark as an 
 otclier ; should any one be sceptical oi' the siicce.ss of a man wlio is 
 willini/ to put his heart into his work and lias a lieart to put into 
 it, let him look at tlieso wonderful productions. 
 
 i8o. 
 
 Fishery on the Dee. 
 
 S. P 
 
 i8i. 
 
 London Bridge. 
 
 (( 
 
 182. 
 
 Greenwich Hospital. 
 
 (1 
 
 183. 
 
 Low Tide — Bay of Fundy. 
 
 (( 
 
 184. 
 
 Fishermen's houses, Cape Ann. 
 
 K 
 
 185. 
 
 Evening. 
 
 (( 
 
 186. 
 
 The Upper Hudson. 
 
 (( 
 
 187. 
 
 Paluel, Normandy. 
 
 «( 
 
 188. 
 
 Gloucester Ferry. 
 
 « 
 
 189. 
 
 Market place, Gretot. 
 
 (t 
 
 190. 
 
 The Upper Delaware. 
 
 (( 
 
 191. 
 
 Drought on the Schroon. 
 
 (( 
 
 192. 
 
 A northern moorland. 
 
 (( 
 
 193. 
 
 Hastings. 
 
 (( 
 
 194. 
 
 Getting under way. 
 
 (( 
 
 195- 
 
 Normandy cottages. 
 
 (1 
 
 196. 
 
 On the Dee, Chester. 
 
 <l 
 
 197. 
 
 Belleville on the Passaic. 
 
 (( 
 
 198. 
 
 In port, Gloucester. 
 
 (( 
 
 199. 
 
 Old Acadian Inn Yard. 
 
 « 
 
 200. 
 
 In Cornwallis Valley. 
 
 <( 
 
 201. 
 
 Marblehead. 
 
 <( 
 
 202. 
 
 In the meadows. 
 
 (( 
 
 203. 
 
 Lobster Cove, Anniquam. 
 
 « 
 
 204. 
 
 A farm near the sea. 
 
 (( 
 
 205. 
 
 On the Canal, Trenton, N.J. 
 
 « 
 
 206. 
 
 Portsmouth, N.H. 
 
 t< 
 
 207. 
 
 Calling the geese. 
 
 « 
 
 208. 
 
 Annisquam. 
 
 l( 
 
 209. 
 
 On the Annisquam. 
 
 <( 
 
 a 10. 
 
 Mills on the Schroon. 
 
 il 
 
24 
 
 s. V, 
 
 « 
 (I 
 (( 
 
 It 
 
 <( 
 
 It 
 
 It 
 
 tt 
 
 (I 
 
 tt 
 
 PAUElSH-CoutiuuccZ. ^^ ^^ 
 
 211. Rocks of Cape Anne. 
 
 * 212. Quebec. «• 
 
 * 213. Dieppe. 
 
 PLATT (C. A.). AmeHcan. 
 
 .X4. Providence, Rhode^^^^^^^^^^ . 
 
 2iq.'01d House, Windsor, NOva 
 
 11 Providence, Rhode Island. 
 
 217. Windsor, Nova Scoua. 
 
 218. Craft at low tide. 
 
 219. Bangor, Maine. 
 
 225. High and dry. 
 
 QUEYEOY (Louis Armaiid). 
 226. Rue des Arenes, Bourges. 
 Thi3i3onoofhi3bestpUtc3. 
 
 * .,„. Portrait of Lord Temyson. 
 
 Stantial burgess u Ao - '^^ tUcTcarncdprofe.s|on3, k^c.^-'^p 
 local masters. 
 
1 
 
 I 
 
 ( 
 
 II 
 
 II 
 
 II 
 
 l> 
 
 II 
 11 
 il 
 
 at Las always uud 
 „g. The general V 
 ust be placed witU 
 .own that he was 'V 
 >lfH birtb. in 3c 8. 
 iroie.-.siona.i'^'-'^'^V'P 
 when he turned his 
 d him under the best 
 
 26 
 
 REMBRANDT VAN llV:^— Continued. 
 
 His gonius as a painter is undoubted, but iiurliat.s liism-catcst 
 merit is the recognition of tlic possibilities of the art ol'ctcliin" all 
 j)rovious cllorts in which liad so far only been tentative "nis 
 Kcnius not only revealed to liini the possibilities, but, pcrliaiis 
 even more Avonderful, as c:carly indicated tlie limitations of tlio 
 art ; so that lus eflccts and the methods by wliich he riroductd 
 them were always legitimate, and to a surpassing degree ulfectivo. 
 His plates evince the most extraordinaiy facility of hand and 
 display the most consummate intelligence of tlio effect of light 
 and shadow, his most admirable productions are his portraits 
 which are executed witli a finesse and expres.-ion tliat are 
 uiiecjual od. Bartsch has satisfactorily determined tlie date of 
 Ins death as 1665. 
 
 •-a 
 
 •■a 
 
 1630. 
 
 228. Portrait of Rembrandt and Saskia, 
 
 229. Portrait of himself with scarf. 
 
 230. Rembrandt designing. 
 
 231. Portrait of Lieven Coppenol. 
 
 232. The Entombment. 
 2 33« Presentation in the Temple. 
 
 234. Abraham and Isaac. 1645. 
 
 235. Pancake woman. 1631. 
 
 236. Death of the Virgin. 1639. 
 
 237. Le paysage au dessinateur. 
 
 238. Clement de Jonge (?) 1651. 
 238 A. The angel ascending from Tobii. and his family, b. 43. 
 238 B. The Circumcision, with the cask and net. 1654. b. 47. 
 238 c. Jacob and Laban. 1641. Signature reversed, u. 118. 
 238 D. The Descent from the Cross. 1633. b. 81. 
 
 ROBERTSON (Charles). 
 
 239. Toilers of the deep. b. p. 
 
 1636. 
 
 B. 17 
 B. 22 
 B. 282 
 
 ].. 86 
 49 
 
 5 
 124 
 
 99 
 219 
 
 ROBERTSON (H. R.) 
 
 240. Ave Maria, r. p. p. 
 
 241. The shrimpers, I?, p. 
 
 242. " The ploughman homeward plods his weary way." r. p. 
 
 243. "The lowing herd winds slowly o'er the lea." r. p. 
 
 D 
 
26 
 
 SA^^DHAM (Henry). 
 
 s. 1'. 
 
 , . v\ 1712-1775. 
 
 H 
 
 * 
 
 n (George ^vcdevi^V^- J^„ ...^'-e.^^ S 
 
 '■ nf Unus' Daughter. 
 
 * 246. Tobias. 
 
 248 A. Head, nso- . . 
 
 SLOCOMBE (EdNvavd). 
 ,,0. ChaUontSt.GUes. 
 4o. HUton's cottage. 
 
 251. Andromeda, 
 
 252. Daphne. 
 
 s. p. 
 
 II 
 
 254- 
 
 SLOCOMBE (E.) 
 
 257. The Rookery. 
 
 tv::^fre.ewro.e.. 
 
 S10XHE (Uo™^)- 
 
 r. sweethearts at,d W-ve- 
 :t. Boulogne Shrimpers. 
 
 S. P- 
 R. p. 
 
 s. p.. 
 
 11 
 
 S. P. 
 n 
 
• 
 
 27 
 
 STRANG (William). 
 
 262. Study of a female head. Dry point. 
 
 263. Peasant's head. 
 
 s. p. 
 
 
 ^robclsdorff. 
 
 TEYSONNIERES (Pien'e Salv; Frederic). 
 
 264. Daughters of the sea, ajter A. Delobbe. r. p. 
 
 TISSOT (J.) 
 
 265. An afternoon walk. s. p. 
 
 TOUSSAINT (Henri Charles). 
 
 266. Tour de I'Horloge, Rouen. 
 
 267. Palais de Justice, Rouen. 
 
 TURNER (Joseph Mallard William), 1775-1851. 
 
 TiU'uor's sliavo in this plate, as in most of his others, consisted of 
 the etching alone, and although a fine mezzo-tint engiavur him- 
 self, this part of tho work was i sually handed over to other 
 artists. 
 
 268. East Gate Winchelsea, etched by Turner, mezzo-tinted 
 
 by S. W. Reynolds. 
 
 UNGER(W.) 
 
 269. A Jewish Biide, after Rembrandt, p. b. l. 
 
 270. Eleanora Gonzage, after Titian, p. b. l. 
 
 UNKNOWN. 
 
 270 A. High Priest. A very remarkable example of pure dching 
 270 B. Musician. An example of etching in line. 
 
• 
 
 '• 
 
 28 
 
 VA^^DEKHOOF (C.'H.) 
 271. Dordrecht, s. p. 
 
 WALTNlill (Ch.) 
 
 ,,. The Blue Boy, .Ar G^./.^/'^'W'- 
 ^,1 The Angelas, after MiKet. 
 1 Harmony. «//-^^^f- 
 ,75. Le dorcur. after Remhrandt 
 
 •s=='Ssrr;~.. 
 
 * 280. The waning of the day «; J 
 281. Between Love and Riches, aji 
 281 A. A philosopher. 
 
 WATEBLOO (Aatoy) 1618-1660. 
 
 in minuto detail. 
 
 K. P. 
 
 S. P- 
 (t 
 
 (t 
 
 (( 
 
 R. P. 
 
 u 
 
 (( 
 
 S. P. 
 (( 
 
 (I 
 
 582. The travellers. 
 
 p. B. L. 
 
 WILKIE (Sir David) 1786-1841. 
 
 283. Mother and child. 
 * 284. Boys and dog. 
 
'j» 
 
 • 
 
 20 
 
 WHISTLER (James). 
 
 Thn t'rcat etcher of the Thamca in of American extraction and 
 Htu^ed in Pari In painting ho is celebrated for h,B hannomes 
 of colour, and Ilamerton calls hia otchinifs "notes of strange 
 concu rcncesoflinc." Hia fame rests chiefly on his etchings of 
 ?hc wharves shipping and bridges of the thumcs but ho ha-s 
 done some beautiful ligure pic- .s^s well, among the best of which 
 are The kitchen and an Old Jiag Womm, 
 
 2^i5. Old Hungerford. 
 
 286. Black Lion Wharf. 
 
 287. Wapping Wharf. 
 
 288. Putney. 
 
 289. The Old Rag Woman. 
 
 290. The kitchen. 
 
 291. Portrait of Seymour Haden, Mrs. Haden and Whlstle^ 
 
 WYLLIE (W. L.). 
 
 292. The River of Gold. s. p. 
 
 293. Toil, Glitter, Grime, ^'C, " 
 
 Ucity, 
 chings 
 sought 
 lortaut 
 d them 
 
 in Kng- 
 ity. He 
 cw plates 
 
 YON (Edmond). 
 
 294. Le Bas de Montigny. 
 
 295. Paturage, after Julien Dupri. 
 
 s. P. 
 
 ZILCKEN (Philippe). 
 
 ' 296. butch mill, flAr>J. i>/flm. 
 
 297. Goats, after F. P. Fermeuletu 
 
 298. Woman and calf, after A. Mauve. 
 
 299. Landscape with cattle, after WUliam Maris. 
 
 300. Aan Let Buiten Spaarne, after/. H. Weissenbrach. 
 
 301. Fishing boats, after H. W. Mesday. 
 
 302. Church interior, after J. Bosboom. 
 
 303. On the seashore, after B. /. Blommers. 
 
 304. Washing the baby, after Josef Israels. 
 
 305. The spinners, after A. 1 jhuys. 
 
 ZORN. 
 
 
 306. Spanish cousins. 
 
 307. Sisters. 
 
 S. P. 
 
 s. p. 
 
 II 
 
 (I 
 i( 
 
# 
 
 CONTRIBUTORS. 
 
 »* 
 
 Hon. J. J. C. ABBOTT, Q.C. 
 Mr. R. B. ANGUS. 
 L. J. FORGET. 
 
 E. B. GREENSHIELDS. 
 S. GREENSHIELDS. 
 JOHN HOPE. 
 
 F. KEPPEL, (New York.) 
 W. H. MEREDITH. 
 
 D. MORRICE. 
 D. R. ycCORD. 
 W. McLENNAN. 
 JO?IN POPHAM.^ 
 A. F. RIDDELL. 
 Messrs. W. SCOTT & SON- 
 Mr. J. W. TEMPEST. 
 
 VI 
 
 
 A/co h^ c i- ! 
 
* 
 
 • 
 
 '1 
 
 I