.%. IMAGE EVALUATION TEST TARGET (MT-3) 1.0 I.I If 1^ II M ll|||^ ;2.2 20 1.8 125 1-4 IIIIII.6 '/} ^ /a VI ^M / M ^^ Vf 4^ iV ^^ o -^ %^*".-s^ ^'^^ ^■ ^ 6^ ^ %^ ^ L CIHM/ICMH Microfiche Series. CIHM/ICMH Collection de microfiches. Canadian Institute for Historical Microreproductions Institut Canadian de microreproductions historiques 1980 Technical Notes / Notes techniques The Institute has attempted to obtain the best original copy available for filming. Physical features of this copy which may alter any of the images in the reproduction are checked below. L'Institut a microfilm^ le meilleur exemplaire qu'il lui a 6t6 possible de se procurer. Certains ddfauts susceptibles de nuire d la quality de la reproduction sont not^s ci-dessous. m Coloured covers/ Couvertures de couleur D Coloured pages/ Pages de couleur n Coloured maps/ Cartes g^ographiques en couleur n Coloured plates/ Planches en couleur D Pages discoloured, stained or fcxed/ Pages d^color^es, tachet^es ou piqu6es E Show through/ Transparence D Tight binding (may cause shadows or distortion along interior margin)/ Reliure serr6 (peut causer de I'ombre ou de la distortion le long de la marge int^rieure) □ Pages damaged/ Pages endommag^es D Additional comments/ Commentaires suppl6mentaires Bibliographic Notes / Notes bibliographiques D Only edition available/ Seule Edition disponible D Pagination incorrect/ Erreurs de pagination n Bound with other material/ Reli6 avec d'autres documents Cover title missing/ Le titre de couverture manque Plates missing/ Des planches manquent D Pages missing/ Des pages manquent Maps missing/ Des cartes g^ographiques manquent D Additional comments/ Commentaires suppl^mentaires mages appearing here a/e the best quality ble considering the condition and legibility i original copy and in keeping wvi.i the g contract specifications. Les images suivantes ont 6t6 reproduites avec le plus grand soin, compte tenu de la condition et de la nettet6 de I'exemplaire film6, et en conformity avec les conditions du contrat de filmage. 1st recorded frame on each microfiche shall in the symbol —»► (meaning CONTINUED"), I symbol V (meaning "END"), whichever IS. riginal copy was borrowed from, and I with, the kind consent of the following ition: National Library of Canada Un des symboles suivants apparaitra sur la der- nidre image de chaque microfiche, selon le cas lo symbole — ^ signifie "A SUIVRE", le symbole Vsignifie'FIN". L'exemplaire film6 fut reproduit grSce d la g^n^rositd de I'^tablissemeni prt^teur suivant : Bibliothdque nationale du Canada or plates too large to be entirely included exposure are filmed beginning in the l«ft hand corner, left to right and top to n, as many frames as required. The ing diagrams illustrate the method: Les cartes ou les planches trop grandes pour 6tre reproduites en un seul clich6 sont film6es it partir de I'angia sup6rieure gauche, de gauche d droite et de haut en bas, en prenant le nombre d'images ndcessaire. Le diagramme suivant illustre la mdthode : f irt Association of Montreal ^^\ u / FIRST EXHIBITION OF Works of Art ' IN Black &vW/hite Febniary 1881, . The Catalogue % / In presenting this Catalogue of the first Black and IVhite Exhibition given by the Association, the Committee regret that the time allowed for its pre- paration has not been sufficient for more than a mere List of the Works exhibited ; and this must also be Jheir excuse for any errors in arrangement, or in the Catalogue. It has been thought desirable to enter the Engravings and Etchings under the names of tlie artists who translated tlu painters' effects of colour into Black and IVhite , rather than under the names of the artists who created the original designs The readiness with which possessors of Works of Art have contributed from their collections at . the first request of the Committee will encourage the Association in undertakfitg a like exhibition in the future. The Committee have been surprised at the number of excellent specimens of both Engrav- ings and Drawings yet remaining in the hands of collectors, and which have never been seen by the public ; and they feel sure that any future exhibition can be made quite as attractive as they hope the jpresent one may prove to be. CATALOGUE. 1512, Durer (Albert), 1471-1528. 1. Port.ait of liimsclf, 1527. 2. Virgin and Child. ,-^. Holy Family. 4. The l'\)iir Horsemen of the Revelation. 5. The [Presentation in the Temi'le. ('). The Flight in I'".gy])t. 7. I'^leven small [)rinls, each 4^/^ x 3 : Christ freeing Souls from Purgatory. Christ before T'iiate. Christ mocked. 15 1 2. Christ scourged. 151 2. Christ bearing the Cross. 151 2. Crucifi.\ion. 151 1. The Descent from the Cross, 1501. The l-aUombment. 151 2. The Resurre( tion. 151 2. Fcce Homo. 1509. (?) Peter healing the Cri])j)le. 8. The Circunicision. Lucas Van Cranach ( 147 "-1553)- 9. Christ at the Well of .Samaria. Lucas Van Leyden (149.^1533). 10. Small Female Figure standing on Clouds. 15 18. 1 1. The Raising of Lazarus. Beham (Hans Sebald), 1500-1548. On(i of the " Little .\Listers." 12. (a) The Prodigal Son, 1538. {l>) Hercules and the Shirt of Xessus. Cock (Jerome), 1498-1570. 13. Sacrificial Procession. Veneziano (Agostino de Musis, called), 1 490-1 540. 14- Hercules nnd the Lion. \ -:^2?^.~ After Ka(l\ielle. 15. The Intervention of Caniillus. 1531. G-oltsiuS (Flenry). 155.S-1617. 16. The Circumcision, iu the manner of Durer. ry >v iS. Two romi)anion pieces— Xight and Day. lode (Peter de, the elder). 1570-1659. 19 -Marria^^e of Saint Calhe w^i —After Titian Galle (Philij)). i5.;;7. 3c, Tiie Annunciation.— 4//^/- BlockUvit. G-alle (Cornelius), r6oo. 21. Infant Christ d ■ ]o\\x\.~After Rulnin, 22. Quis ut Deus. Caracci (Annibale), 1560-1609. 23. Holy family. Sadeler (Raphael), 1555-1616. 24. The Salutation. Vandyck (Sir Anthony), 1599-1641. 25. Christ Crowned with Thorns.-Tu'o impressions, but evidentiv not from the same plate. Castiglione (Ciovjnni Benedetto), 1616- 1670. 26. The Genius of Castiglione; a frontispiece. \ 27. Man's He.. ', with cap and feather. Du Jardin (Karel), r625-r678. j 28. Sleeping Pigs. Waterloo (Anthony), 1618-1670. 29. Small T.andscape. 3 Maratti (Carlo), 1625-17 13. 30. Adoration of the Magi. After his own design. 31. Madonna and Child. After his omn efesi,i:n, Schut (Cornelius), 1 600-1 66c. 32. Madonna and Child with St. John. ZZ' {(i) Madonna and Child. (d) Madonna and Child. (c) Infant Christ. Polanzani (Francesco), born 1700. 34. An Old Man with Money Bag. After Nogari, M., 1783- 35- The Offering. Visscher (John), 1636. 36. Peasant with Animals at a Fountain. After Berghem. Zeeman (Reinier), born 161 2. 37- Seven Sea Pieces. After his 07vn designs. Rosa (Salvator), 1615-1673. 38. Three small Figures. • Rembrandt, 1 606-1674. 39- Christ driving the Money Changers out of the Temple r6^6 40. The Prodigal Son. 1635. ^ • ^ • 4r. The Resurrection of Lazarus. 42. Christ healing the Sick. - The Hundred Guilder " print 43. Christ presented to the People. ^ 44- The Descent from the Cross. 45- The Crucifixion. 46. The Death of the Virgin. 47- Studies of Heads. 48. The Descent from the Cross. 49- Old Man with Hat. 50. Ephraim Bonus. Reproduction of 2nd state Si.'Headof an Old Man. Worlidge rrhomas), c'icd r'/^.S. 5-'. Hold. After Rcmhran(/t. MasSOn (AnthoinO, \()},(^-\ioo, 5 ^ A Toilrait. After Ronhrandt. Stella ((^-^l.iiKlia Hoiisonncl), 1636-1697. 54. Denial of St. I'ctrr. After Poussiit. 5-}(?. St. IV'tcr and St. John healing tlic .sick. After the same. 51/'. Mo-rs stiikin}4 the RorV. After the same. Unknown. 55. I'lil). I)\ \'iss( her. Bartolozzi n'mncesci)). i7:;o-iSr^ 56. I'aitiiii,^ of Her lor. After C/p/ iivii. 57. ( 'Ivsses ;ind IVnelope. After Rii:;auii. 57. ia ) fiiintcr and Lcda. After Wita/ie. (I.an(lsca])c by ("onilc 57. (/', ) iJacchanais. After LaJy Diana Ikaue/ere. Morghen (Raphael). i755-fS.:;3. 5S. Anrora. After Guido. 59. iNfadonna and Child \sith Infant St. John Moclietti (C.) * 60. .Apollo an.R..\. After Ion Ihn/a 70. Sir William Chatnhei.. After Sir Joshua Krvnohh. 71. George the 'I'lunl. (Shortly before his death/) ' Miss Stephens. Aft(r Fradel/e. I -■ Turner i Charles,. 17; ^-1x57, 7.V Remhran.h 111 Persian Mabit, [)ainte(.l bv himself. 7 b Su- iM-anci., lUmd Head. Aftfr Nelson Cook. 7W- Dr. Harnik.ML After Raducru. -Me//.olini. 7.V Robert Diekson. D.I). After Raehurn. \\cu.u\m, Phillips (Charles). 1737. 76. 'i'he Philosopher. After Rembrandt. Gallot (jacijue,-,). 159,^-1635. 77- 'iV'ii -mall drsigns from - Les Fantasies." 153^, wiih title abu llH-ee portraits of Callot. one engraved by I-Vrdmand. rr,.;, Ward (U'iiiiam, .\. r. a.) 7S. Canning, .ifter Steivardson. 79' Robert Darley Waddilove. After A/a rs/m//. 80. Rev. Thomas Chalmers. A^ter Gedcks, Drevet (Peter, the younger), 1697-1739. 81. liossuet. After Riga Uii. Edelinck ((ierard). 1627-1707. 8. '. Martin Vanden Baugart. After Rigaud, 83. Charles r..e Brun. After Be Largilliere. ^la. Charles D'Hozier. After Rigaud. Le Olerc (Sebastian), 1637-17 14. 84. Apotheosis of Louis XIV. After Le Brun. Dupont (Henriquel). 85. Louis Philippe. After Gerard 6 Bervic (Charles Clement), 1 756-1822. 86. Louis XVI. Aftep' CalUt. Sharp (William), 1 749-1824. Lear in the .Storm. Aj'tcr West. 87. {a) Trial Proof. 88. {h) Finished Plate. WooUett 0\'illiam), 1735-1 785. 89. Death, of Wolfe. After West. 90. k Landscape witii .-Eneas and Dido, After /o/us atut Monuncr. Strange (Sir Robert), 1721-1792. 91. Charles L After Vandyck. 1770. 9.'. Henrietta ALiria, with the Prince of Wales and Duke of Vork. After the sa me. 1782. 93. The ALigdalene. After GuUio, 1753. ^ Clemens (LT.) 94. Death of Montgomery. After Trumbull. (Vestilmle.) Muller (Christian Kriedrich von). 1 783-1816. 95. Christ on the Cross. After Albert Dura-. 96. St. John. After Domenichino. Galame (Alexander), born 18 15. 97. Solitude. 98. The 'I orrent. (Original etchings. Lorichon ( ) 99. Virgin and Child. After RaffaelU. Fariat (Benoit), 1646-1720. TOO. The Dead Christ, 1694— from an altar piece hi marble by Domenico Guidi. Bettelini (Pietro), born 1763. 1 01. Magdalene. After Schidone. Eichens (Fr^d^Hc Edouard), born i8o4. \02. The Woman taken in Adultery. After Fordenone. HoUoway (Thomas), 1748-1827. '03. 104. Two of the cartoons at South Kensington, .S. I/Ahhe Terray. After Rosltii. Ri.qUioi; N'at, joi /nr Aca/i p/atc for t/i< AeaJeniy. Chereau {i'raiuH)is), i6(So-i7J9. 141. Nicolas de Lanny. .Ifter R/gaiut. G-rignon ( L) 142. Ce.sar de Jjourhon. Hainzelmann (Ellas). 1640-1693. 14,1. David Thoiiian. After De Neve. Meunier (J. li.) J 44. l-ouis XVII. in the 'I'emi^le. After Wappers, 9 Unknown, 145- I'^inn Vaid. MLV/o-iint. AJtn Moiiaiut Stephenson (j) I 16. Tcniiysun, .Ijdr Watts. Watson fjamcsj. I 17. Sir JclTicy Aniiici^t. .Ijta Jujuo/i/^. Sartain (john), Umx i.sos. i4''>- I'Urd Elgin. From a pholograpii. Unkno\/n. 149- Sir Charles Metcalfe. Willmore (James T.), 1800-1863. 150. Off'ieigmnoiith. After David dw. Proof. 151. On the 'J1i,ames. After David Ojx. Proof. ChampoUion ( ) 152. J.e Choix du Mudele. After Fortuity. Edson ( Allan ). R.C.A.. Montreal, 153 Shewanegan Falls, St. Maurice River. Indian /nk. i5:>'^ All Alone. Pen and ink. L'HuillierCV.j 154- " Uhen a Man'.s Single h.e lives at his Ease. After /. 't'atsofi is'^iehoL 155 " \yhen a xMan's Married his 'J'roubles Begin. Aftc /. Wat sun Nieol. Slooombe (C. p.) ^-:iG. Cleopatra's Needle. Original etching. The "araphic." '57- Cardinal Manning. A fine specimen of wood engraving. Bromley {\Vm ) i5«- The Gamekeeper's Pony, after /. ^. Cooper. Raddon (\Vm.) 159- " Mischief," after Edwin Landseer. 10 Say (William). 160. Thomas Lowndes. After Beechcy. Hodgetts (Thomas). 161. Sir John Poo Bcresford. After Bcic/iey. t6c. Hon. David Cathcart. After Smith. 163. Jamie the Showman. After Edmonstone, Heath (Charles), died 184S. 164. Benjamin West. After Newton. Vivares (Francois), 17 12-1782. 165. Jupiter and Eiiropa. After Claude Lorraine. Major (Thomas), born about 17 15. t66. Tlie wSwineherd. After Potter. Unknown. 167. Rev. W. Drury, head master of Harrow School. Xfinc head in Mezzotint. Lewis (Frederick Cliristian), 1 779-1856. 168. James Northcote, R.A. After Harlow. Jacque (L^on). 169. St. Deris. 170. Pigs. 171. Moulin a Monmartre. 172. Poultry. 172^7. Farm Yard. Jacque (Ch.) 173. A farm yard scene. Etching. Greux (Gustave Marie). 174. Moorland with Ponies. After Diat. Whistler (John), born 1834. 175. Billingsgate. 1859. Unger (Wilhelm) born 1837. 176. Autel de St. Ildephonse de Tolede, after Rubens. 177. Volets du Ratable, from the same. 11 Q-eorge (Ernest). 178. St. /\Jbans. Macbeth (R. W.) born 1848. M9. Potato Harvest in the Fens. Park (J,) r8o. Shields Harbour. ■ 81. Strayed. A Moonhghi Pastora!,. aflcr Lai.son. \'6\a. Flatford Lock, after Constab'e. Jazet (P.) 182. \5\\ Hussard. 1878. Le Rat (P.) 183. Un Professeur de Theologie. After Jan dc Bray. Chauvel (Theophile) born i83i. 184. Pecheurs Ecossais attendant robscurJK:-, after Hunter, Michetti (Paolo). 185. L' Enfant au Panier. Milius(P) 186. Jeune Femme. After Reynolds. Chifflart (F.) 187. L'Arte. Lalauze (Adoiphe). 188. The Beguiling of Merhn. After Bume-Joncs. Lalanue (Maxime), born 1827. 189. View at Haarlem, Toudouze (Edouard). 1 90. Distraction de la Chatelame. Paton (J. Noel), born 1823. 191. Two Vakntines. Watson (Saml.), 1838. 192. Distraining for Tithes. Fen and Indian Ink. 12 Way (C. I) Lausanne. 193- View from the Muimtani. Muntreal. Ktchuii:, Harris (R.). R.c.A..'roi-onto. Dnuc'iN^s III Indian Ink. m;4. Shipbuilding near Montague Bridge. P.K.I, 195. Shooting Wild Geese. P.E.I. 196. Mackerel Fishing, off Rustico, I'.K.I. 197. Cleaning .\[ackerel. Rustico. I9''!- Queen Street, Cluiiottetown. 199. Acadian Women in Church. Rustico. P,i;.l. 200. Laiiding I,ol)sters at Canoe Cove, P.E.I. Pot and Ink D>a:ctn^^. -'0 1. Tristram and Iseulie. ^02. By the Settler's Hearth. Sketching Society, London. Seven Sepia Drawings by members ol the abo.c .society < /cundtd 1808.) ^ -^ -'04. Henry P. Bone. T/ie Fates. -'^5- tlo do Scene from Conolanm. -06. do do Orpheus. 20^. Joshua Cristall. Ahasuerus. 208. John Chalon. Pastoral 209. do do Pastoral. 2\o. A. Chalon. Pastoral. lu lri42 Her Mfijut,ty hououicd the Society l,y pivi-ng a eul.jcet tor Btudy, and accepted a selectiou of the drcawingH. Cruickshank (\V.) Peterboro, Ont. 211. Portrait of himself. Charcoal. Martin (T. M.), RC.A.. Toronto. 212. Ox-Tongue Lake, Muskoka. Indian Ink. Whittle (G. H.) Montreal. 213. Portrait of Dr. Beausoleil. Chalk Drawing. Sassoferrato. 214. Madonna. Autotype reproduction from the picture in the Seminario, Venice. Carre (Abraham), born 1694, 215. An Indian ink drawing. A/fo- Simon Vouet, Reye, (R.) 216. C/iii/k Drawing. Landscape. Weston (J.) 217. Scene at Point U-vis. SeJ^ia. 2rS. .Market IJoats, Quebec, ScJ^ia. 219. Hon^'cours Church. Montreal. /// Oil. 220. \'ouiig Canada. Etching. O'Brien (I- R.). I'.R.C.A.. Toronto. Draic'ings in //iduui /nk. 22 \. Falls on the Chaudiere. near Quebec. 222. North Channel, from 'I'wo-Head I.dand. Lower St. I awrence. , 22-^. Neai- An,i;e (.ardicn. (Quebec. 224. Shewanegan I-alls, St. Maurice. 225. A Street in Chateau Richer, Quebec. 226. Quebec from the Levi Shore. Unknown. 227. •• Mei-chant Barques, close reefed topsails, in North. Sea." A fine old ihawitig in sepia. Marble {]. N.), .Montreal. 22 ^-- - 3 An Angelic Salutation. copy. ^^'I'fwsca to t)c (,f the same date. A reduced 4. Fae-similes of Two Pages from a Block Book. "Lft"^;:' '"^ '~' "^' "°»^''"y •■^o- in-ded for Che 18 5- The Nuremberg Chronicle. The Niirnberg (or Nuremberg) Chronicle vvas published in that city in 1493. One of the artists, Wolgemut, was the master of Albert Durer. "The peculiarity of the cuts is that they generally n)ntain more of what engravers term 'color' than any which had previously appeared."— yif/f/^it?//, 212. 6. Imago Mortis. From the Nuremberg Chronicle. I he print was originally uncoloured. 7. Sebastian Munster's Cosmography. The plates cf the edition of 1559. The maps are engraved on wood, and the names of places are printed from metal type inserted in holes pierced in the block. — {See Jackson, pp. 413 . et set/.) 8. A Monk Preaching, 1474. (?) lac simile. This and the two following specimens are examples of la maniere crihlee. A very pure example, being composed entirely of holes punched out of the wood or metal, 9. Christ's Agony in the Garden. Facsimile. 10. De Imitatione Christi, 1507. The printers mark of Jehan Petit. The background is in la manure criblee, and the figures are white on a black surface. 11. Thomas Bewick, 1853-1828. {a) A View of the Cape of Good Hope. {b) History of British Birds. {c) History of Quadrupeds. The most striking features in the specimens shewn are the absence of cross hatching, and the use of the white lines. 10 ENGRAVING ON METAL. 12 Orlando Furioso, London, 1691. These plates are engraved on brass, and ir the preface the translator (Harrington) says that it is the second book with such plates engraved in Kngland. '3 Niello Work. Facsimilr of a I'ax in NJcllo by Ma.su Finigiierra. The Virgin surrounded by Angels and Saints. 'J'his is probably the one mentioned by Dr. Willshire as having sold for 300 gs. 14 Engraver's Tracing. i'ortrait of -'General Thomas Dalyeli," signed D. Patton. delin : 1. \ andrebanc, sculp. 15 King Lear in the Storm. By ShariJ. A/to- Benjamin Wesi. (a) Trial proof, shewing the first work of the engraver. (d) The finished plate. f) Head of Christ. Reduced copy, engraved in a single hne by Claude Mellan. The Ime begins at the tip of the nose. n- The Dying Gladiator. Engraved by Andrea Rossi, in j)arallel lines drawn diagonally from left to right. s. Etching by J. C. Oaal. Shewing the effect of a second biting. 9 Mr. Jefferson as Bob Acres (Copy;. A pen and ink drawing in the style of an etching : a comparison with the following will shew the difference. 20. View at Haarlem. Etching by Lalanne. 21. Mezzo-tint. Sir Joshua Reynolds, by S. VV. Reynolds. A perfect example of this ma- ner of engraving. I J