uy-NHLF 
 
 ^B 555 ^bM 
 
GIFT OF 
 
 Mrs, L,:^ Elipman 
 
THUR WILLIAM HEINTZELMAN 
 ETCHER 
 
 GOODSPEED'S 
 
 MONOGRAPHS 
 
 No. 1 
 
THE GOODSPEED MONOGRAPHS 
 Louis A. Holman» Editor 
 
 Of intenzt to all lover % 
 of printi and of booki . 
 
 I Arthur William Heintzelman, Etcher 
 
 2. Sears Gallagher's Etchings of Boston 
 {Ready early in October) 
 
 5 Hornby's Etchings of the Great Wiit 
 
 25 cents each, postpaid 
 Others in preparation 
 
 GOODSPEED'S BOOKSHOP, 5a Park St 
 BOSTON 
 
ARTHUR WILLIAM HEINTZELMAN 
 ETCHER 
 
\<I0. ^'o ^*'i V,^A\S1 (K ^t\.^ ^^V,A^UA) 
 
 " Heintzelman's sensitive appreciation ot the 
 possibilities of an etching, his mastery of 
 technique, and his imaginative power are such 
 as to raise him high among living American 
 etchers." I,. EARI.E ROWE, Director of the 
 Rhode Island School of Design , in a recent letter. 
 
ARTHUR WILLIAM HEINTZELMAN 
 ETCHER 
 
 AN APPRECIATION OF THE MAN 
 
 AND HIS WORK WITH AN 
 
 AUTHORITATIVE 
 
 LIST OF HIS 
 
 ETCHINGS \ !!.:!'.; 
 
 By 
 Louis A. Holman 
 
 CHARLES E. GOODSPEED &: CO. BOSTON 
 
 1920 
 
\^^'' vV 
 
 \ \ 
 
 Copyright 1920, by 
 C. E. GOODSPEED & CO. 
 
 All rights reserved 
 
\v<s. t^ A*t s?i>»vv\. 
 
 ARTHUR WILLIAM HEINTZELMAN 
 ETCHER 
 
 OME twenty years ago the writer acci- 
 dentally met a well-grown lad of fifteen 
 who immediately arrested his attention. 
 The boy Avas attractive, courteous and 
 intelligent ; to his employer he gave complete satis- 
 faction ; each w^ord and act bespoke his sincerity. 
 High hopes were built upon his future. 
 
 At this particular time I was troubled over the 
 very unsatisfactory conduct of the son of a friend, 
 an unattractive boy of the same age. He showed 
 ability and ambition only in foot-ball and in the 
 
 825738 
 
; .making of trouble at school, where he did every- 
 ' 'thing but study. At home he was a trial, to the 
 neighbors an annoyance. Finally, in another^school, 
 to which in desperation he was sent, he came in 
 touch with a teacher who was also a foot-ball 
 enthusiast. This wise man gave no hasty advice 
 but, — no one knows how it happened, — in a few 
 months teacher and pupiHvere bending eagerly over 
 the same study table. A scientific pursuit gradually 
 usurped the high place of foot- ball in the youth's 
 heart and won ascendancy over every unseemly 
 motive of his life. To-day, as an honored Govern- 
 ment employee, he is doing original and extremely 
 valuable public work. 
 
 A few weeks ago I suddenly ran across an old 
 friend of the other boy, of whom I had lost track. 
 With deep regret I learned that he had attempted 
 many things but had failed in every one. "And no 
 one can say," added my informant, "that wine, 
 women, song, or any related thing has been his un- 
 doing ; he is attractive and courteous still, — but a 
 blank failure." 
 
 This is no preachment. I am pointing no moral 
 but simply giving these facts to show how absolutely 
 at fault may be the most logically formed judgment 
 regarding the future work of any young man. In 
 spite of this, however, I venture to assert that the 
 etched work of Arthur William Heintzelman gives 
 greater promise of a brilliant future than that of any 
 American etcher that has appeared within recent 
 years. 
 
 6 
 
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The need of sympathetic guidance in the use of 
 talents and in the choice of a life work is comino^ to 
 be more widely recognized. A youth is not capable 
 of forming a just estimate of his own ability. He 
 will inevitably over- or under-value some important 
 qualification. On the other hand, a cold calculation 
 by some one else of the potentiality of the motive 
 forces of this same youtji- can be of little import, 
 without taking into account the fleeting enthusiasms, 
 the deep and wild ambitions that stir the depths of 
 the boy's soul. And this can only come through 
 the keen insight born of intimate association. 
 
 It was a sort of habit with Heintzelman to fall 
 into just such sympathetic environment, from the 
 eventful day when, at the tender age of nine, he 
 entered the Saturday class of the Rhode Island 
 School of Design, to that proud moment, two years 
 ago, when as an honored guest of Frank W. Benson, 
 the celebrated painter and etcher, he bent over the 
 etching tray in his host's studio. He speaks with 
 o^lowins: face of the kindness Benson showed him 
 and of the help he received during that wonderful 
 two days' visit. The writer is cognizant of his deep 
 appreciation of much lesser services. To all those 
 whose lot it was to be his instructors he must have 
 made strong appeal. For Heintzelman's etchings 
 reveal nothing if not that they were produced by a 
 deeply sincere person. Who that has ever tried to 
 teach and has seen his directions earnestly followed 
 will ever forget the experience, or the pleasure and 
 ease with which further help was given? Under 
 
 8 
 
such circumstances the pupil gets double instruction ; 
 the teacher double pleasure. 
 
 I say this about Heintzelman's quality of appre- 
 ciation for two reasons. First, for the satisfaction 
 of those teachers who may chance to see it and, 
 second, because it is a human quality that is pitifully 
 rare. A village in China was " shot up " by robbers. 
 Twenty were killed, twenty-two wounded. " We 
 heard of it," said my friend, "and w^ent to help them. 
 The carts the wounded men's relations refused to 
 lend, we hired, mind you, at our own expense, and 
 • carried the helpless ones twenty-five miles to a 
 hospital, where they received free treatment. In 
 six weeks all were discharged, cured. Of the 
 twenty-two just one said 'thank you.' But," said 
 the missionary, after a pause, " one did. That's why 
 we stay on the job." Too many teachers will find 
 here an echo of their own experiences. 
 
 But to get back to Heintzelman. He was only 
 nine, as has been said, when he entered the art 
 school at Providence. What application must have 
 been his is shown by the fact that in the succeeding 
 eight years he won the Providence Art Club Scholar- 
 ship, the Trustees' Post Graduate Scholarship 
 for Fidelity and Ability, the Medal Competition of 
 the Rhode Island School of Design, and, lastly, the 
 Alumni Traveling Scholarship. 
 
 The latter gave him the opportunity of studying 
 abroad. So for a year, with his heart set on beins: 
 a portrait painter, Heintzelman studied in the rich 
 
storehouses where Holland, France, Spain, Belgium, 
 and Great Britain keep their choicest treasures. 
 
 His year of wandering over, he came home in the 
 Autumn of 1910, and for the next four years (be- 
 ginning, it is worth noticing,* before he was eighteen 
 years of age) he was Head of the Fine Arts Depart- 
 ment of the Detroit School of Design, at Detroit, 
 Michigan. In September^ 1914, — for the greater 
 opportunity it opened up, — he accepted the position 
 of an instructor in the Fine Arts Department of 
 the Rhode Island School of Design. 
 
 Up to this point and for about a year beyond, 
 Heintzelman was an instructor in art, with the 
 spirits of Rembrandt and Velasquez ever beckoning 
 him on. Could he have known then that his first 
 " one man show " was but a few months off, he would 
 have assumed without question that it would be of 
 portraits. 
 
 One day, however, a friend sent him a marked 
 copy of the Christian Science Monitor containing 
 an article on etching by George T. Plowman. It 
 set him thinking over a new possibility and finally 
 resulted in his getting the materials and going to 
 work. The need of more knowledge on the subject 
 brought him to Boston. Attracted by some etchings 
 in the window of a print shop, he stepped in to ask 
 about Plowman's text book. And so it v/as that I 
 first met Heintzelman, for I happened to be the one 
 of whom he made enquiry. We fell into conversa- 
 tion while he orlanced throutjh the book. As he 
 
 * Heintzelman was born Nov. 22, 1892, at Newark, N. J. 
 10 
 
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turned to go, with the book under his arm, he 
 remarked in a hesitating manner, "You see, — I've 
 been trying some phites myself." On an expression 
 of interest he took from his inside pocket a bunch 
 of letters and loose papers. From among these he 
 pulled out a few small proofs of etchings — the first 
 time they had been shown outside his studio. I 
 think I am correct in saying that the first glance 
 
 convinced me of the exceptional ability of the modest 
 young man who made them. I saw first, and with 
 great satisfaction, that they were correctly drawn, 
 although perhaps over-detailed in places. I saw, 
 too, what is much more important, that whatever he 
 might or might not do with the brush, these prints 
 bore ample proof that the etching-needle was for him 
 a perfectly natural means of expression. TJie Rabbi, 
 the first plate he had etched, proved these two im- 
 portant points to my entire satisfaction. 
 
 (Yet from what different angles we view things ! 
 There were critics for whose judgment I have great 
 respect who shook their heads over my enthusiasm.) 
 
 An invitation to exhibit ^vas given, but was de- 
 clined on the score of not having enough plates 
 ready for an exhibition. However, if the etching of 
 some more plates did not interfere w^th some volun- 
 teer war work for which he had signed up, he would 
 accept for the following autumn. 
 
 The war work was attended to and Plowman's 
 book studied with such satisfaction that when an 
 opportunity presented itself to spend an afternoon 
 
 12 
 
with the author-etcher, he availed himself of it and 
 had a pleasurable and profitable time. 
 
 Heintzelman made his bow to the great public 
 (which has treated him as well as did his teachers) 
 in Boston, October 22, 1917, at 8.30 A.M. The 
 exact time of day is given because I recall the great 
 pleasure I felt that at that hour — indeed while the 
 prints were being hung — several of them had been 
 sold. Among these was a little, half-finished dry- 
 point, The Crucifix, of which there was but one 
 impression. It was recently resold at nearly four 
 times its original price. In that the exhibition 
 created a decidedly favorable impression, it was suc- 
 cessful in the best sense of the word. 
 
 As the first published criticism of Heintzelman's 
 etchings it is of interest here to give, in part, what 
 William Howe Downes, the art critic, had to say of 
 them. The review appeared in the Boston Evening 
 Transcript for October 25, 1917. 
 
 "Goodspeed's bookshop," says Mr. Downes, 
 " introduces a new etcher in the person of Arthur 
 W. Heintzelman, whose collection of twenty-seven 
 plates, now on exhibition in the print room, shows 
 that he is an artist of distinct merit. He has had 
 some experience as a painter, but only took up 
 etching about one year and a half ago, and this is 
 his first exhibition. Most of his prints are figure 
 pieces and heads. He draws extremely well, as is 
 shown in such works as his AbduUali, Man with 
 Guitar, the Violin Player, and the head of a 
 young girl. If there is any particular influence 
 
 13 
 
indicated in his work (and there is indeed very little 
 trace of any external influence, considering that the 
 man is almost a beginner), it is that of the old 
 masters of engraving, Rembrandt and Durer and 
 Van Dyck. That is tatamount to saying that he is 
 already a rather mature artist for his years, that he 
 is especially concerned to express individual char- 
 acter through mood, action, and the marks of experi- 
 ence, as well as thorough construction and sound 
 draughtsmanship. 
 
 "It is one thing to say that a young etcher reminds 
 one of Rembrandt or of Diirer, and it is another 
 thing to say that he is consciously following those 
 masters. Wc do not suppose that Mr. Heintzelman 
 has had these great exemplars in his mind while he 
 has been at work over his plates, but it is almost an 
 impossibility for a man to be an etcher of any con- 
 sequence without being in some degree conscious, 
 more or less instinctively, of the background of his 
 art which makes its tradition so impressive and so 
 inspiring. There are bits of expressive drawing 
 here and there in the heads and hands that make one 
 think of the way the great masters worked, and that 
 in itself is certainly no slight tribute to the character 
 of the work. 
 
 " Abdullah is not only the sort of figure that 
 Rembrandt liked to etch — a half-length figure of a 
 bearded, swarthy, middle-aged man in a turban, with 
 his right hand on the neck of a pottery water jug — 
 but it has the kind of carrying quality that some of 
 Rembrandt's small, single figures possess. In the 
 
 14 
 

 
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 ^^^■U ' 
 
 
 p 
 
 ^r^^^^^^H 
 
 ^^ 
 
 :^. 
 
 
 *0. AG 0\.^ Si^V^S 
 
Man loith Guitar, the head and the hands are par- 
 ticularly well drawn and characterized ; so also the 
 action of the Violin Player is admirably felt, and 
 there is in several of the other studies of figures and 
 of heads the note of intimacy and of subtlety which 
 usually comes only with long and arduous practice 
 and experience of the art. 
 
 " Mr. Heintzelman promises to become a recog- 
 nized and appreciated etcher. * * * His art career has 
 not been a long one, since he is only twenty-four 
 years of age. He modestly says that he 'hopes to 
 be a real artist some day,' and to give the world 
 something in portraiture perhaps that will live." 
 
 It is a curious fact that many a treasure that the 
 world holds dear and " that will live " is not the thin^ 
 by which its author longed to be immortalized. 
 William Hazlitt hoped to be remembered as an artist* 
 but the world which acclaims him one of her crreat 
 masters of English scarcely knows of his deep 
 ambition. Rev. C. L. Dod£:son siorned his name to 
 books on higher mathematics. When he wrote 
 Alice in Wonderland he used a pen-name. Already 
 Dodgson and his scientific books are forgotten, but 
 Alice and " Lewis Carroll " live. Edward Lear 
 made many beautiful landscape drawings. To amuse 
 some children he produced nonsense verses, with 
 drawings equally nonsensical. Who, to-day, knows 
 Lear's landscapes? Who does not know his Non- 
 sense Boohs? Seymour Haden was always intro- 
 
 * The portrait of Charles Lamb in the National Gallery is by 
 William Hazlitt. 
 
 16 
 
duced to his American audiences as the distinguished 
 London surgeon, but it is as an etcher that he will live. 
 
 Heintzelman may paint some portraits that will 
 live. He has the best wishes of all who know him 
 for success in the attainment of this great ambition, 
 and for it he has all the qualifications of brain backed 
 up by a true eye and a dexterous hand. But the 
 verdict of the past three years is that Heintzelman 
 is preeminently an etcher. 
 
 And now let us see, without argumentation, simply 
 by presentation of facts, what that verdict is and 
 from whom it comes. First there is that of the 
 great public, expressed by the success of the many 
 exhibitions of his work. As has been said, his 
 maiden effort in this line was in Boston in Octobei-, 
 1917. His second was at the same place a year 
 later. By the autumn of 1919 Heintzelman had 
 enough plates and enough confidence in the drawing 
 power of his exhibitions to venture further from 
 home and stage a show at Keppel's in New York. 
 Exhibitions in other cities followed in such rapid 
 succession that he had difficulty in keeping pace with 
 their requirements. Detroit, Cincinnati, Providence, 
 Chicago, New York, Washington, San Francisco, 
 Boston, Los Angeles, London, Paris, and various 
 other places saw his work, all in the short space of 
 eight months, and they set their seal of approval 
 upon it by retaining choice impressions for their 
 public and private collections. 
 
 The success, we may more accurately say enthusi- 
 asm^ with which these public exhibitions were 
 
 18 
 
attended was, to an extent at least, due to the verdict 
 of the press, which viewed the work of the new 
 etcher with a most kindly eye. Frank W. Coburn, 
 in the Boston Herald, for instance gives him this 
 joyous greeting : 
 
 "A young artist to be reckoned with, one would 
 say, from the look of his show. Boston painter 
 men have been in to see his things this past week 
 and two, at least, of them, Messrs. Benson and 
 Gaugengigl, have shown appreciation by buying 
 prints. The boy has a nice sense of construction 
 and draws picturesque figures, such as his Arab 
 Abdullah with a water bottle, in a knowing way. 
 He does his own printing, sometimes with ink, that 
 is, perhaps, a bit pale, though the resultant suffusion 
 of tone is agreeable. The draughtsmanship of A 
 Market Woman and A Man ivith Guitar is ad- 
 mirable for its purpose. Here is the beginning of a 
 career which, pace Martis, should be quite dis- 
 tinguished." 
 
 I much regret that I have not at my command 
 nearly all the reviews that appeared in connection 
 with the various exhibitions. From those that it 
 was possible to get, a selection has been made that 
 will give a fair idea of the great mass. 
 
 Marion E. Fenton reviewed the first show at 
 Keppel's for Vogue. 
 
 "A new etcher, Arthur W. Heintzelman, with all 
 the unspoiled freshness of youth in his art, showed his 
 work for the first time [in New York] in the autumn 
 exhibition at the Keppel Galleries. Only a cursory 
 
 19 
 
glance at the exhibition was necessary to an apprer 
 ciation of the sensitiveness of the artist to the sub- 
 ject he represents, whether it is a small study of a 
 child knee-deep in water dazzling in the sun, or the 
 portrait of some old man or fish- woman who might 
 have stepped out of the art of seventeenth-century 
 Holland. * * ^ 
 
 "Nowhere, perhaps, are^ the sensitive quality of 
 his feeling for his subject and its reflection in his 
 technique more noticeable than in the delicate por- 
 trait drawings and the light and sure handling of his 
 drawino^s and etchino^s of children. 
 
 " It is this same quality that gives such varying 
 treatment to the ascetic Rabbi and to the fine por- 
 trait of the stocky old balloon man next it. His 
 work has still the charm of that which is swayed by 
 all that the artist admires — Rembrandt, or Paul 
 Potter — and his quiet cattle are drawn with the same 
 infinite care and express the same spirit of peaceful 
 pastures as those of Potter himself. A landscape 
 of the Gloucester country and people gives added 
 expression to his versatility and his skill, for hero 
 he depicts, not merely rough and knotty tree and 
 foreground, but delicate atmospheric distance. The 
 work of Heintzelman has that elasticity and versa- 
 tility which, combined with his fine feeling for deli- 
 cate line, his s^^mpathetic understanding of his 
 subject, and his knowledge of drawing, should carry 
 him far in the world of etchers." 
 
 In the Bulletin of the Detroit Institute of 
 Art, Ernest Heitkamp says, in part : 
 
 20 
 
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"Everything Heintzelman attempts is done with a 
 consummate mastery and certainty that gives a 
 genuine pleasure to those who view his work. His 
 draughtsmanship is immaculate, his treatment is at 
 all times suited to his subject and the end he has in 
 view. His blacks are velvety and, withal, luminous ; 
 his grays as airy and impermanent as a soft June 
 breeze ; his whites clear and effective. 
 
 "In the handling of heads Heintzelman is superb. 
 Character, truth, depth are in his line and his sur- 
 face. Yet note how effectively and cleverly, in 
 some few, he plays hands against the head for the 
 the purpose of making a picture — the head complete 
 and finished, the hands, in contrast, set in by a few 
 masterful sufiforestive lines. 
 
 " Note also in another of his pictures the cleverness 
 with which he sets down the feet of a child, as if, 
 only tolerably interested in the picture as a whole, 
 his enthusiasm flamed when he came upon a par- 
 ticularly difiicult arrangement." 
 
 " It [craftsmanship] was the charm of his earlier 
 pencil drawings," says George S. Leonard in the 
 Christian Science Monitor, " it has matured and 
 come to new beauty and strength in his later etch- 
 ings. And it is always too sensitive in quality to be 
 obtrusive. It can deftly trace the ephemeral love- 
 liness of a still harbor on a sunny morning ; limn the 
 eager body of a bathing urchin ; find the structural 
 dignity of a twisted pine, and read humanity in 
 piper and vagabond. 
 
 " It is a fashion among writers of gallery notices 
 22 
 
to compare every new portrayer of types with 
 Rembrandt, and Heintzelman has not escaped the 
 foible. Nothinor is more absurd. One mio:ht as well 
 credit Shakespeare with the ability of every new 
 writer because he uses the English language, writes 
 well, and confesses to liking Shakespeare's plays. 
 Ability always approaches ability. The roads of 
 true art always converge for the very simple reason 
 that they are founded upon common laws and seek 
 common truths. Heintzelman gives every promise 
 of becoming a leading American etcher, and it will 
 be not because of Rembrandt but because of 
 Heintzelman." 
 
 Elizabeth Luther Gary is a bit more critical in her 
 notes on one of the exhibitions. These appeared in 
 the New York Times Magazine. Only a small 
 portion are given. 
 
 " One of the recent plates is called The Sun 
 Bath, two figures, a woman half kneeling, half 
 reclining on the floor, an open book before her, and 
 the little nude child of the outdoor subjects stretched 
 beside her. The beauty of the treatment in this 
 plate calls for applause. There is not a superfluous 
 line, and every line that is there plays into a lovely 
 rhythm. The face of the mother, her gesture, and 
 the pose of the child combine to express intent 
 'nterest and complete absence of self-consciousness. 
 
 * Mf- ^ 
 
 "A series of little figures, drooping ladies with 
 pensive profiles and long beautiful hands, show the 
 kind of sensitiveness that Whistler and Rossetti had 
 
 23 
 
to models of this special linear elegance. One of 
 these ladies, of the exotic Jane Burden type, fingers 
 a long chain as she leans forward in a chair draped 
 with a patterned material. A peacock is the prin- 
 cipal element in the pattern, and the whole design 
 has individuality and piquancy. 
 
 " Perhaps the series in which a nude child is play- 
 ing out of doors best represents the difference 
 between Mr. Heintzelman's attitude and that of the 
 artist who either fears a ' sentimental ' subject or 
 embraces it without discrimination. * * * The 
 beauty of childishness is in every line of the small 
 figure, but it is a firm, daintily muscular beauty, 
 avoiding compromise with mere prettiness. 
 
 " To turn from these to the realistic Gloucester 
 characters, the musician with his bagpipe, the clumsy 
 women seated among old coppers and brasses, the 
 old woman knitting, is to perceive the breadth of the 
 artist's sympathies. * * * There is every reason to 
 expect from the artist a more concentrated art, and 
 a more sustained tension. Most of the plates would 
 gain by the elimination of detail ; but there is none 
 of the idleness of mind that does without detail to 
 avoid study, and Mr. Heintzelman's public will know 
 that what he has left out he first has mastered.'- 
 
 The great museums of the country have not been 
 behind the Public and the Press in res^isterinor warm 
 approval of the new etcher. The Metropolitan 
 Museum of Fine Arts, the Art Institute of Detroit, 
 the Chicago Art Institute, the Brooklyn Museum of 
 Art, the Ehode Island School of Art, the Cincinnati 
 
 24 
 
Museum of Art, the California State Lil)rary, the 
 Library of Congress, the New York Public Library, 
 have all honored Heintzelman during the past year 
 by adding some of his etchings to their permanent 
 collections. Moreover, all but two of the above 
 named have hospitably opened their doors for ex- 
 hibitions of his work. 
 
 But what, perhaps, is^jnore significant than any- 
 thing yet mentioned is the enthusiastic manner in 
 which his fellow etchers have raised him upon their 
 shoulders and loudly acclaimed his worth. In 
 honoring him they honor themselves and deal out a 
 certain justice, for I know of no etcher who, as much 
 as he, rejoices to find in the work of others " so much 
 to praise, so little to forgive." 
 
 The Brooklyn Society of Etchers, the Chicago 
 Society of Etchers, the Print Makers of Los Angeles 
 and the California Society of Etchers have each 
 elected him to active membership. The Brooklyn 
 Society awarded him the Barnett Prize of 1919 for 
 the best etching in the society's annual exhibition 
 and invited him to make the plate from which im- 
 pressions are given to the Associate Membership, 
 the Chicago Society gave him the Logan Prize for 
 the l)est etched figure composition in their yearly 
 show, while the California Society awarded him the 
 First Prize for the best etching shown in their 1920 
 exhibition. 
 
 Here, then, is the verdict of the public, the press, 
 the art institutions and his fellow-craftsmen as to 
 what Heintzelman stands for as an etcher. Prac- 
 
 26 (Continued on Page 32) 
 

 Ykft. \1 -WiVvVt St^^t V>^^ -\tH 
 
 Awarded : 
 
 First Prize, California Society of Etchers. 
 
 Barnett Prize, Brooklyn Society of Etchers. 
 
 Logan Prize, Chicago Society of Etchers. 
 Tkis was the last etching Heintzelman made before the 
 igig-20 exhibition season opened. The opening of the 
 present season finds it in the permanent collections of 
 eight American Museums. {See List of Etchings.) 
 
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tically all of these honors have come to him within a 
 year. It is a marvelous record. I am constrained 
 to repeat here a statement printed some months ago. 
 "No American etcher ever adv^anced so rapidly to 
 the front rank of his profession as has Heintzelman." 
 
 There is the danger, of course, that such sudden 
 success may weaken the quality of his output while 
 it increases the quantity. Although an etcher for 
 only about four years ne has been in professional 
 life for ten ; although but twenty-eight years of age, 
 the strengthening and maturing of his powers toward 
 a definite goal has been proceeding uninterruptedly 
 during the years when the average young man is 
 beating about and wondering for what port to sail. 
 Making one's own way in the world, too, has a 
 wonderfully steadying effect, lessening the danger 
 of over-contidence, while adding maturity to judg- 
 ment. 
 
 "As to the future," says Frank Weitenkampf, 
 Curator of Prints of the New York Public Library, 
 apropos of Heintzelman, in a recent letter, "predic- 
 tion is not easy because various possible elements 
 may enter to influence, fundamentally, his develop- 
 ment. As one artist put it to me, Mr. Heintzelman 
 has ^ acquired great deftness in the manipulation of 
 needle and acid.' From this first great step comes 
 development into individual expression. And that, 
 in its complete fulfilment, can hardly be definitely 
 forecast. We must await it. And we do, with 
 interest." 
 
 32 
 
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