UC-NRLF
$B 3T1 ast
ESgjglATALOGUE OF
vSSt AN exhibiti n
bSElj ILLUSTRATIVE
OF A CENTENARY OF AR-
TISTIC LITHOGRAPHY
J796-J896
AT THE GROLIER CLUB,
Twenty-nine East Thirty-second Street, New York,
March the Sixth to March the Twenty-eighth,
MD.CCCXCVI
0-
o$
INTRODUCTION.
ITHOGRAPHY,the art of printing
from stone, has reached its cente-
nary age. This occurrence is well
worthy of commemoration by hold-
ing a review of its achievements.
The exhibition of prints to which
this catalogue is to serve as a guide has been
undertaken with that end in view; and, in spite
of our isolation from the chief theater of the early
achievements in artistic lithography, enough will
be found in the collection to make possible the
tracing of the development of this important art
from its infancy in Germany to our own latest
home products.
The story of the invention of lithography, and
of its inventor, Aloys Senefelder, has been told
so often that a repetition seems trite; but the
occasion appears to call for a condensed recital of
the principal events in the history of the man
whose memory we honor by our exhibition. This
recital will reveal at the same time the steps taken
to reach at last results so unexpected by him and
so wonderful : unexpected, because when Sene-
felder began to experiment, in the search after
an inexpensive mode of printing his own liter-
ary productions, he had no idea that he would
4 INTRODUCTION.
finally invent a third printing process, entirely-
different from the two which were then the only
ones known (intaglio and relief); wonderful, be-
cause in his time it would have been considered
an impossibility to take an impression from a sur-
face on which the design was neither in relief
nor in intaglio. Such an undertaking would have
been thought simply absurd, the scheme of an
idle dreamer.
Aloys, the eldest son of Peter Senefelder, was
born in Prague, the capital of Bohemia, Novem-
ber 6, 1 77 1. His leaning was toward the dra-
matic arts, but his father prevailed upon him to
study law. While a student of law, eighteen
years of age, he wrote poetry and a play, " Der
Maedchenkenner," which latter was most favor-
ably received. A year later he lost his father, and,
being the eldest of nine children, he had to relin-
quish his law studies and devote himself to the
support of the family. His thoughts at first nat-
urally turned to the dramatic arts, in which he
had already achieved some success ; and he put
his whole energy into this field of work, acting
in the double capacity of author and performer.
Two years of this life was, however, enough to
cool the ardor of his enthusiasm for the stage,
and the writing of plays alone continued to oc-
cupy his attention.
Aloys's business talents were of the lowest or-
der; he was poor and in debt throughout his life.
The printing of his plays for publication was too
expensive for his means, and he tried to become
his own printer ; but here again he found that the
purchase of types required capital not within his
reach, and he was obliged to exert his ingenuity
to devise or discover some substitute for types.
INTRODUCTION. 5
He began his experiments by etching on cop-
perplate ; and was led, for economy's sake, to
practise the necessary reverse- writing on polished
floor-tiles, which in Munich (where he then lived)
consist of a close-grained limestone quarried in
the neighboring town of Solenhofen. He ob-
served that the acid used for etching copper
would likewise bite stone, and that to correct any
error a retouching-ink was wanted. To this end
he devised a compound of wax, soap, and lamp-
black, which he formed into sticks to be dissolved
for use with pen or brush, as is done with india-
ink. These sticks of retouching-ink formed the
first and most important step toward the final
invention of lithography. The special ingredients
entering into their composition alone made the
invention possible. The following incident, as
told by himself, which bridged the chasm sepa-
rating the old from the new art of printing, will
make this plain.
It was in the year 1796 that his mother called
on Aloys, busy with his experiments, to write a
memorandum for linen to be delivered to the
waiting washerwoman. Not a sheet of paper
could be found ; every scrap had been used for
proofs ; and, besides, the writing-ink was dried
up. In this emergency he seized a stick of his
retouching-ink, and wrote the desired memoran-
dum on one of the polished Solenhofen stone
slabs which happened to be handy, intending to
copy it on paper later. Preparing to clean his
writing from the stone, the thought occurred to
him to submit it to the action of diluted aquafortis
and observe results. He found, as he had hoped
and expected, that the acid acted rapidly on the
stone all around his writing, and soon left this
6 INTRODUCTION.
latter in sufficient relief to enable him to print
therefrom as easily as from type.
This was the first printing from stone of which
Senefelder then had any knowledge; and, al-
though true lithography as we know it to-day
(that is, printing from a flat surface) was not
evolved by him until two years later, he dates
his invention from the time of this happy inci-
dent, as being the starting-point for all his sub-
sequent discoveries.
In the course of the application of his inven-
tion to practical purposes, Senefelder continually
sought for means of lessening his labor; and he
found that by writing with his retouching-ink on
gummed paper and then transferring this writing
from the paper to his stone, in the manner at pres-
ent so well known, he could save the (to him)
more difficult process of reverse-writing on the
stone itself. In the course of this process he
observed that, accidentally immersing such a
gummed sheet of paper covered with writing in
water on the surface of which there happened to
be a few drops of oil, the oil was not absorbed
by the paper, but accumulated on the writing,
which, as we know, was done with a greasy sub-
stance. This observation, that oil was repelled
by, the moist surface of the gummed paper but
absorbed by the ink, was sufficient to lead him to
grasp the principle and apply it to his stone slabs.
Instead of etching his writing into relief, he sim-
ply treated it with acidulated gum solution, not
of sufficient strength to act perceptibly on the
stone. The result, in inking-up, met his highest
expectation. As long as the stone was kept
moist the blank parts repelled the fatty printing-
ink, and the greasy writing or drawing could alone
INTRODUCTION. 7
be charged. This discovery proved the founda-
tion for all the various processes of lithography,
or chemical printing, as Senefelder called it at
the time.
The ingenuity and tireless energy displayed
by Senefelder in his efforts to broaden the field
of the application of his discovery to commercial
and artistic purposes, to invent presses, tools, ma-
chinery, and to keep his head above water in
the mean time, deserve our highest admiration.
He was an inventor of the true type, never cowed
by difficulties to overcome, always hopeful, al-
ways sanguine of success, and withal generous
and open-handed to a fault.
Senefelder died February 24, 1834, after he
had elaborated all the processes now in vogue
except photolithography. He lived long enough
to witness the introduction of his art into all
the civilized countries of the globe ; long enough
to witness its highest artistic achievements in
black and white, which will be standards of per-
fection for all time to come.
It is to be remarked here that the invention
could not have been made in any other country
in the world, as Solenhofen, in Bavaria, alone
furnishes that particular quality of limestone use-
ful for lithography. It is only quite lately that
quarries of a similar, though inferior, quality of
this mineral have been opened in America.
Lithography is the most versatile of all known
methods of reproduction. It will admit of flat,
even tints, and of tints gradated from the darkest
shade to highest light, while it can equally as
well imitate a crayon-drawing, a line-engraving,
or a stipple-engraving. Add to this the latest
discoveries in the application of photography to
8 INTRODUCTION.
the preparation of printing-plates, and the facil-
ities which the process offers to color-printing, as
well as to artistic expression in black, and we
must admit that the genius of Senefelder has be-
queathed to art and commerce an heirloom of
incomparable value.
Germany, of course, profited first and most
from Senefelder; next to it, France, England,
and other European countries; but not least,
our own United States, though latest in the
field. France (where the process was first suc-
cessfully introduced, in Paris, by the Comte de
Lasteyrie in 1815, followed by Engelmann in the
following year) has furnished the greatest num-
ber of artist lithographers, although Germany has
proved not deficient in that direction we need
merely to mention the names of Strixner, Piloty,
Adolf Menzel, Feckert, Kriehuber, and scores of
others; but for brilliant work the French, con-
sidering their achievement as a whole, excel the
Germans. The introduction of lithography into
the United States dates from the year 18 19, or
even earlier Boston, Philadelphia, and New
York each claiming the honor of the first press.
The earliest lithograph published in the United
States is presumably the plate drawn and printed
by Bass Otis for the " Analectic Magazine" for July,
1819. In the description accompanying this ex-
ample of early art we are told that it was drawn
upon a stone brought from Munich. " But," con-
tinues the writer, " the art has been successfully
tried on specimens of stone from Frankfort, in
Kentucky." Few painters of our country have
devoted their genius to drawing on stone, but
among them may be mentioned Rembrandt
Peale, J. Foxcroft Cole, Winslow Homer/Thomas
INTRODUCTION. 9
Moran, etc., while Newsam, Sarony, Charles
Parsons, and Baker may be named as prominent
professional lithographers. Almost all the work
done here is for industrial and purely commer-
cial purposes, but the commercial product in this
country has reached an artistic development
which makes it certainly equal to the best that
is produced in Europe; especially is this the
case in dry etching with the diamond and in
chromolithography.
The honor of the invention of chromolithog-
raphy belongs, no doubt, to Senefelder himself,
as in his work on lithography, published in 1818,
he employs already prints in which he uses color,
and speaks in this connection of the possibility
of making facsimiles of oil-paintings. He thus
published the idea and furnished the means by
which to carry it out, requiring simply the cun-
ning hand of the patient intelligent experimenter
to gain, step by step, the present perfection.
So much for lithography as an item of gen-
eral interest. For the details of the various
processes employed by the craft, as etching, pen-
drawing, crayon-drawing, wash- and stump-draw-
ing, etc., we must refer those interested to the
manuals on the practice of the art, of which a
great number have been published.
The great revival in the art for true artistic
expression now sweeping over Europe will, we
hope, soon find an echo on the shores of the
New World. That lithography is preeminently the
handmaid of the artist, who desires to see his
work reproduced in the spirit as conceived by him,
is proven by the work of the masters that has
come to us from the past generation; and who
can doubt, in examining the prints on exhibition,
IO INTRODUCTION.
that for tone and color qualities, true to the ar-
tist's conceptions, it is unexcelled by any other
of the reproductive processes? Lithography
amply deserves the high place as the most facile
medium for artistic expression and reproduction
which it has been accorded by the foremost
artists of a past generation, and which it is fast
coming to be awarded again, after all other avail-
able mediums have had their turn. Let the ar-
tists heed the appeal.
Louis Prang.
AN ATTEMPT AT A
BIBLIOGRAPHY:
A list of some Works on Lithography,
[Although this list makes no pretensions to completeness,
yet it is believed that all important books on the history
or technique of the art will be found noted here,'}
Anleitung zum Steindruck. [Anon.] Tu-
bingen, 1810. 4 .
Aresti, Jos. Lithozographia ; or, aquatinta
stippled gradations produced upon drawings
washed or painted on stone. London, 1856.
8.
Audsley, G. A. The art of chromolithogra-
phy popularly explained. London, 1883. F.
Bardet di Villanova, Federico. Istruzioni
su i tre principali metodi dell' arte litografica.
Napoli, 1830. 80.
Bankes, . Lithography; or, the art of
taking impressions from drawings and writ-
ing made on stone, [by Bankes ?] With
specimens. ... 2d ed. London, 1816. 8.
12 BIBLIOGRAPHY.
Beyer, L. M. Leptolithographie oder Kunst,
auf von 2 bis 6 Linien Dicke ohne Verande-
rung der Presse nach alien in der Lithogra-
phic bekannten Manieren zu drucken. . .
Eichstadt, 1831. 40.
Bouchot, Henri. La lithographic (Biblio-
theque de Fenseignement des beaux-arts.)
Paris [1895]. 12.
Brandin, Fr. Wlh. Praktische Anweisungzum
Steindruck. Berlin, 1821. 8.
Bregeaut, L. R. Manuel complet theorique
et pratique du dessinateur et de rimprimeur
lithographe. 1827. 12 . 2d ed., Paris,
1827. 3d ed.,Troyes, 1834. Nouvelle ed.,
Paris, 1839.
[Same. Another ed.] Nouveau manuel
complet de Pimprimeur-lithographe. Nou-
velle d. f tres augmentee par M. Knecht . . .
et M. J. Desportes. (Manuel-Roret.) Paris,
1850. 180. With Atlas.
For later edition, see Knecht.
[Same. German translation :] Vollstan-
diges Handbuch fur Lithographen . . . ; aus
dem Franzosischen. 2. Ausgabe . . . Ulm,
1829. 80.
Bry, Auguste. Traite" de Tautographie ... 2?
6d. Paris, 1862. 12.
Centenaire de la lithographic Catalogue
officiel de 1' Exposition : 1795-1895. [Paris,
1895.I 80.
BIBLIOGRAPHY. 13
Chevallier, J. B. A., #</ Langlume,
Memoire sur Tart du lithographe. Amelio-
rations a y apporter : Paris, 1829. 8.
Only 50 copies printed.
Traite complet de la lithographic; ou,
manuel du lithographe ; avec des notes par
Mantoux et Joumar. Paris, 1838. 8.
Duchatel, F. (essay eur a la Societe des Impri-
tneries Lemercier). Traite de lithographie ar-
tistique . . . Paris [1893]. Sm. F.
Eberhard, H. W. Die Anwendung des Zinks
statt der Stein- und Kupferplatten zu den ver-
tieftenZeichnungsarten. . . Darmstadt, 1822.
8.
Praktischer Unterricht im Steindruck.
Darmstadt, 1823. 8.
Ecole des Beaux-Arts. Exposition gen-
rale de la lithographie . . . , 16 avril 24
mai, 1891. [Catalogue.] Paris, 1891. 8.
Engelmann, Godefroy or Godefroi. Manuel
du dessinateur lithographique . . . Paris,
1823. 8. 2ded., 1824. 3d ed., 1830.
Rapport sur la lithographie introduite en
France par Pauteur. Mulhausen, 1815. 4 .
Traite th^orique et pratique de lithographie.
Mulhouse, Paris, i839- , 4o. 4 .
[Same, German translation :] Das Ge-
sammtgebiet der Lithographie . . . ; mit den
nothigen Zusatzen versehen von W. Pabst
und A. Kretzschmar. . . 2. Ausgabe. Leip-
zig, 1843. 4.
14 BIBLIOGRAPHY.
Every man his own printer ; or, lithography
made easy. [Anon.] London, 1854. 8.
Ferchl, Frz. Maria. Geschichte der Errichtung
der ersten lithographischen Kunstanstalt bei
der Feiertags-Schule fur Kunstler und Tech-
niker in Munchen. Miinchen, 1862. 8.
Figaro lithographe. [Special illustrated num-
ber of the " Figaro," issued in celebration of
the centenary of lithography, Paris, 189 5.]
F
Geheimniss der Steindruckerei, Das; von
einem Kunstfreunde. Schweinfurt.
Geheimniss des Steindrucks, Das. Leipzig,
1828. 80.
Hempstead conversazioni. Sketches in litho-
tint and lithography, in illustration of the dif-
ferent processes. 1847. 4-
Heurtier, Regnault, Guerin, Desnoy-
ers and Castela. Rapport fait a PAca-
d6mie des Beaux-Arts sur la lithographie, et
particulierement sur un recueil de dessins
lithographies par M. Engelmann. Paris, Jan.,
1817. 40.
Hove, F. B. van. Autographie, oder das
Verfahren, jede auf autographischem Papier
verfertigte Zeichnung oder Schrift auf Stein
iiberzutragen und schnell zu vervielfaltigen.
Hamburg, 1828. 16 .
Der Steindruck nach den sichersten und
untruglichsten Grundsatzen und alien bis
BIBLIOGRAPHY. I $
heute in der Lithographie gemachten Fort-
schritten und Verbesserungen fasslich darge-
stellt . . . Hamburg, 1828. 8.
Hullmandel, C. The art of drawing on stone
. . . London [1824]. 8. 2d ed., 1835.
Another ed., 1840.
On some important improvements in litho-
graphic printing. [London, 1827.] 8.
On some further improvements in litho-
graphic printing. London, 1829. 8.
Reply to some of the statements in an ar-
ticle entitled, " The history of lithography,"
published in the " Foreign Review," no. vii.,
for July, 1829. London, 1829. 8.
See also Raucourt.
Knecht, . Nouveau manuel complet du
dessinateur et de Pimprimeur-lithographe.
Nouvelle Edition, entierement refondue . . .
(Manuel-Roret.) Paris, 1867. 12 . With
atlas.
For earlier editions see Br6geaut, L. R.
Kohl, Frz. Praktische Anleitung zur Litho-
graphie. Wien, 1820. 8.
Lithographers' directory : directory for lith-
ographers, photographers [etc.], in the U. S.,
Canada, Mexico, Central and South Amer-
ica. New York, 1887-88. 2d annual edition,
1889.
Lorilleux, C. Traite* de lithographie. Paris,
1889. 8
1 6 BIBLIOGRAPHY.
Mairet, F. Notice sur la lithographie ou Tart
(Timprimer sur pierre, par M * * * [Anon.]
Dijon, 1818. 12 .
Reprinted with the author's name, Chatillon-sur-Seine,
1824.
[Same. German translation :] Kurzer Abriss
der Lithographie oder Steindruckerei ; aus
dem Franzosischen. Pesth, 1819. 8.
Mason, Cyrus. Practical lithographer. Lon-
don, 1852. 12.
Monrocq, L. Manuel de lithographie sur
zinc. Paris, 1885. 8.
Muller, Frederik, & C 1 ?. La lithographie :
ecoles franchise, neerlandaise, allemande, an-
glaise et russe. Catalogue a prix marques.
Amsterdam, 1890. 8.
Peignot, G. Essai historique de la lithogra-
phie. . . ; par G. P. [i. e. G. Peignot.] Paris,
1819. 8.
Contains a u notice bibliographique des ouvrages qui
ont paru sur la lithographie," which gives interesting da-
ta in regard to early articles in scientific and technical
periodicals.
Pescheck, H. E. Das Ganze des Steindrucks
. . . (Neuer Schauplatz der Kiinste und
Handwerke . . .; 43. Band.) Weimar, 1829.
12 . 3. Auflage, 1856.
For later editions, see "Weishaupt, H.
Rapp, Hnr. Das Geheimniss des Steindrucks
. . . ; beschrieben von einem Liebhaber. Tu-
bingen, 181 o. 12.
BIBLIOGRAPHY. 1 7
RailCOTirt, Col. Memoire sur les experiences
lithographiques faites a Pficole royale des
Ponts et Chauss6es de France ; ou, manuel
th^orique et pratique du dessinateur et de
l'imprimeur lithographique. Toulon, 1819.
80.
[Same, English translation :] Manual of
lithography ; or, memoir on the lithographi-
cal experiments made in Paris, at the Royal
School of the Roads and Bridges ; translated
... by C. Hullmandel. London, 1820. 8.
Richmond, W. D. Colour and colour print-
ing as applied to lithography. (Wyman's
technical series.) London, 1885.
The grammar of lithography. (Wyman's
technical series.) London, 1878, 1879. 12 .
6th ed., 1880. 9th ed., 1886.
[Same. German translation :] Grammatik
der Lithographie . . . Leipzig, 1880. 8.
Senefelder, Aloys. L'aquatinta lithogra-
phique, ou maniere de reproduire les dessins
faits au pinceau. Paris, Treuttel cV Wurtz y
1824. 4 .
Musterbuch uber alle lithographischen
Kunstmanieren. Munch en, 1809. 4 parts.
Fo.
Portefeuille lithographique, ou recueil de
sujets de divers genres, dessins et imprimis
sur planches lithographiques nouvellement
inventus pour la multiplication de tous des-
sins, etc. Paris, Senefelder, 1823. Pamphlet
of 12 plates. F.
3
1 8 BIBLIOGRAPHY.
Recueil papyrographique : premiers essais
d'impression chimique sur cartons lithogra-
phiques nouvellement inventus par M. Aloys
Senefelder. 4 .
Vollstandiges Lehrbuch der Steindruckerey
. . . Munchen, 18 18. Sm. 4 . Cheaper ed.,
1821 and 1827.
Plates to this with the title : Sammlung von mehreren
Musterblattern in verschiedenen Kunstmanieren, als Bey-
lage zu Alois Senefelders Lehrbuch des Steindrucks.
Munchen, 1818. 4 .
[Same. English translation :] Complete
course of lithography. London, 18 19. 4 .
[Same. French translation :] L'art de la
lithographie . . . Paris [etc.], Treuttel &*
Wurtz, 18 1 9. 40. Plates, F.
Senefelder, Karl. Lehrbuch der Lithogra-
phie . . . Regensburg, 1833 [1832]. 8.
Stanbury, G. Guide to lithography. New
ed. London, 1854. 8.
Straker, C. Instructions in the art of lithog-
raphy. London, 1867. 8.
Unterricht fur Ktinstler und Kunstliebhaber
die auf Stein zeichnen wollen. Berlin, 1823.
4.
Printed in Litho.
Vidal, Leon. Traite pratique de photolitho-
graphic . . . (Annales de la photographic
Bibliotheque photographique.) Paris, 1893.
12.
BIBLIOGRAPHY. 19
Waldhecker, C. F. Die Kunst einen gleich-
formigen Druck beim Steindruck zu erreichen,
nach einer neuern wohlfeilen Methode durch
Angabe einer neuen Presse. Osnabruck,
1832. So.
Weishaupt, Heinr. Das Gesammtgebiet des
Steindrucks ... 4. Aufl. von " Pescheck.
Das Ganze des Steindrucks " in ganzlicher
Umarbeitung. (Neuer Schauplatz der
Kiinste und Handwerke . . . ; 43. Bd.)
Weimar, 1865. 5. Auflage, 1875.
For earlier editions, see Pescheck, H. E.
NOTES.
The works enumerated under an artist's name are
lithographed by him in each case, unless specially other-
wise noted. The oft-appearing " lith. by " refers to the
printer.
When more than one example by an artist are exhibited,
they are placed together, though of different dates, the
earliest work in each case fixing the artist's chronological
position in the catalogue ; but this order has not always
been preserved on the walls, on account of the greatly
varied sizes of the prints, and the restricted size of the
cases. For the many undated prints the dates have,
whenever possible, been found in various books of refer-
ence; or, that failing, approximate dates have been as-
signed.
It has naturally not always been possible to secure the
best example of an artist's work, but, as a rule, represen-
tative pieces are shown.
In the sketches of the artists biographical detail has not
generally been aimed at. The object has been to deal sim-
ply with each man as a lithographer ; and where amplifi-
cation has been indulged in, the intention was to give
information regarding the history of the art.
Limited space made it necessary to confine the present
exhibition to artistic lithographs in black and white, and to
one, two, or at most three specimens of each artist's
work. At some time in the future, however, the Grolier
Club will hold an exhibit of artistic color-printing and
general commercial work, accompanied by the implements
of the art and trade.
The usual difficulties of cataloguing have been enhanced
in the present case by the utter absence of any previous
work of the kind. The information given was in many
cases discovered only by search through, and comparison
of, numerous authorities.
CATALOGUE.
SENEFELDER, Aloys.
Inventor of lithography (i 771-1834). (For biog-
raphy, see the Introduction to this catalogue. See,
also, the Bibliography for editions of his work on
lithography.)
1 A plate printed by Senefelder (1808).
" The plate of fragments of antique pottery is from
'Collection of Roman Antiquities in Bavaria,' Mu-
nich, 1808. Ferchl, p. 55, says that these plates were
printed by Aloys Senefelder, the inventor of lithog-
raphy, himself."
2 Portrait of Senefelder, by N. H. Jacob,
printed by G. Engelmann (1819).
3 Portrait of Senefelder, by Fr. Hanf-
staengl (1834).
4 Autograph receipt.
Translation : u I herewith acknowledge the receipt
of a further sum of three hundred francs on account,
from Messrs. Treuttel und Wiirtz.
"Paris, April 1st, 1820.
" Good for 300 fr.
"Aloys Senefelder."
22 CATALOGUE OF
FISCHER Joseph.
Austrian painter and engraver (i 769-1822). Vis-
ited Paris and England. Enjoyed the patronage of
Prince Nicholas Esterhazy.
5 A group of five at table (London, 1803).
From nature. Very rare. " In Germany, the
first lithographs (figure-subjects) were executed in
1805, and even then but few."
WAGENBAUER, Max Joseph*
Bavarian landscape-painter of note in his time
(1 774-1829). Paid much attention to the infant art
of lithography, and worked on the stone with some
freedom of touch.
6 Landscape (Munich, probably 1804).
" Max Wagenbauer, whom Ferchl in his 'History
of the Organization of the first Lithographic Art-estab-
lishment ' (Munich, 1862), classes among ' the first
seven patriotic Munich artists ' who practised lithog-
raphy. On p. 46, among the works executed by
Wagenbauer in 1804, he mentions 'six small land-
scapes, oblong,' of which this would appear to be one."
Twenty plates by M. J. Wagenbauer were issued
in a folio volume with the title : " Vorlagen fur Land-
schaft-Zeichner " (Miinchen,Im Verlage der Lithogr.
Kunstanstalt an der Feyertags-Schule, 1823). These
studies of trees and landscapes are rare.
DALARMI (or D'Alarmi), A.
German artist.
7 Peasant's hut at Wolfahrtshausen
(Munich, 1805).
Signed, A. D. " Exceedingly rare."
LITHOGRAPHY. 23
WINTER (or Wittiter), Raphael
German painter and etcher (1784- 1 852). Taught
by Mettenleiter. Made a specialty of animal sub-
jects. According to Bryan (" Dictionary of Painters
and Engravers "), Winter " started a lithographic es-
tablishment in Rome, and afterward became director
of the Royal Lithographic Institute of Bavaria."
From Nagler (" Ktinstler-Lexicon " ) we learn that in
1809 he found employment as chief lithographer in
the lithographic establishment of the Royal Council
of State, in Munich, organized by Mettenleiter, and
in 185 1 was still inspector of that institute. His
lithographs, with some other early work, such as the
Due de Montpensier's efforts (1805-06), form the point
of departure of artistic lithography.
8 Snarling dogs (1806).
In 1817, an oblong folio was published with the
title: " Anleitung zur Thier-Zeichnung von Raphael
Winter" (Miinchen, Lithograph. Kunstanstalt bey
der Feyertags-Schule). It contains 14 plates, and is
PILOTY, Ferdinand*
German lithographer (1785 or '86-1844). During
1808-37, in collaboration with artists like Strixner,
Flachenekker, and J. Woelffle, he issued several col-
lections of reproductions of masterpieces in the Royal
Galleries at Munich and Schleissheim, etc. The work
of these men was clean, careful, and creditable, some-
times very artistic in feeling, although a certain deli-
cacy of sympathy seems lacking, and honest, if some-
what monotonous.
9 Portrait of Franz Snyders (about
1810?).
After A. van Dyck. This piece appeared in " Ko-
niglich-baierischer Gemalde Saal zu Miinchen und
Schleissheim, lith. von Strixner, Piloty, Hohe, Selb,
und Flachenekker" (Munich, 1817-36), 2 vols., folio.
24 CATALOGUE OF
MASSAI, Pietro.
10 Romagna, environs of Firenzuola
(about 1810 ? ).
" Pietro Massai, dis Litografia Salucci."
Shows the characteristic of all early lithographs, a
silvery gray tone.
R*
11 Horsemen (18U or '15?).
" Sauerveid inv. R. . . del.
" Lithographed by C. de Lasteyrie."
The anonymous artist might well have signed his
name to this interesting plate, which in force of ex-
ecution and characterization might bear comparison
with H. Vernet's " Lancer."
WINTTER (or Winter), Heinrich E.
Bavarian painter and lithographer ( 1 788-1825), bro-
ther of Raphael. Pupil of Mettenleiter; in 1809 ob-
tained a position in the lithographic establishment
of the Royal Council of State in Munich.
12 Maria Antonia Walburga (1815).
ODEVAERE, Joseph Dionisius.
Belgian historical painter ( 1 775-1830). Court
painter. In 1828, Nagler tells us, "he combined
with Paelink, von Bree, Ducq, Goubaud, and Renard
for the publication of the " Fastes belgiques : galerie
lithogr. des principaux actes d'hroisme civil et mili-
taire." Jobard of Brussels directed the printing.
Odevaere himself lithographed some plates.
13 Portrait of himself (Paris, 1816).
The artist faces the spectator, a cloak thrown
loosely over his shoulders, holding a small litho-
graphic stone, on the top edge of which is written :
" I. Odevaere se ipsum littographice del. parisiis
1816."
LITHOGRAPHY. 2$
SCHINKEL, Karl Friedrich.
Celebrated German architect and landscape-painter
(1781-1841).
14 Castle Prediama, at Crein, 12 hours
from Triest (1816).
Drawn from nature, with the pen, on stone. Lith-
ographic print by Fr. Klinsmann, Berlin.
VERNET, Hor ace.
French military painter of note (1 789-1863). One
of the very earliest of artist-lithographers. In his
work on the stone he depicted familiar and humorous
scenes in military life with a light and lively touch.
After some years he abandoned the pale manner for
a heavier crayonage, of which M Les Forcats " is a
noteworthy example.
A " Catalogue de l'ceuvre lithographique de M.
J. E. Horace Vernet," by Bruzard, was issued at Paris
in 1826; Beraldi finds it incomplete and unclassified.
15 Lancer (1816).
Lithographed by G. Engelmann. Called by
Beraldi ( who names Lasteyrie as the printer ! ) the
"veritable starting-point of painter-lithography."
16 African hunter (1818).
Unusually careful, effective, and elaborate in
execution.
17 A la grace de Dieu : Hussar embrac-
ing a girl.
Lithographic printing establishment of C. de Las-
teyrie, Rue du four. St. Germain, No. 34.
ENGELMANN, Gottfried or Godefroy.
Born at Mulhouse, 1 788, died in Paris, 1839.
Studied under Regnault. Went to Munich to gain
a knowledge of the technique of lithography from the
inventor and under the direction of Ch. von Mann-
26 CATALOGUE OF
lich, and followed Lasteyrie in introducing this new
art in Paris, where he opened an establishment in
1816. A good draftsman. Issued several manuals on
his art. (See the Bibliography.)
18 Diploma awarded to G. Engelmann,
17th March, 1817, by the Athene des
Arts, for his improvements in the
lithographic art. Facsimile of sig-
natures and lithographic study (1817).
GROS, Baron*
A noted French historical painter. Pupil of David
(1771-1835). Executed two lithographs in 1817,
" Arabe du desert " and the following:
19 Mameluke on horseback, with an
attendant (1817).
VIGNERON, Pierre Roch.
French painter (i 789-1872). Executed a number
of lithographs, portraits, and figure subjects. " Vig-
neron," says Bouchot, "had adopted the lachrymose
and sentimental style which marks the transition be-
tween the classicism of David and the romanticism
of Delacroix. . . . Later on Vigneron, in his por-
traits, imitated Grevedon or Deveria."
20 Portraits of the Vigneron family
(1817).
Lithographed by C. de Lasteyrie. " Very rare,
very fine, and very early. A good and curious ex-
ample of the beginnings of lithography in France."
21 Portrait of Wilhelmine Schroder-Dev-
rient (about 1840).
Proof before all letters. With autograph lines of
the singer.
OTIS, BASS.
American portrait-painter (1784-1861).
LITHOGRAPHY. 27
22 Landscape (1819).
Supposed to be the earliest lithograph produced
in the United States. Drawn and printed by Otis
(the stone was brought from Munich), and published
in the " Analectic Magazine " for July, 1819 (though
the print is dated 1820!). " The print has little re-
semblance to the modern lithograph, the lines being
incised or corroded, and therefore it has more the
character of a coarse etching, but it is interesting in
the history of the art."
AUBRY-LECOMTE*
French lithographer ( 1 797-1858). Called the
prince of lithographers. Devoted himself mainly
to the reproduction of paintings by other artists,
Prud'hon's work, we are told, being especially well
suited to his style and the velvety softness of the
lithographic crayon.
23 Sulmalla. Nina. Comhal. Uthal
(1821).
After Girodet-Trioson. G. Engelmann, lith.
24 The Italian pilgrim (1838).
" Aubry Lecomte, del. J. P. Quenot, direx*
Litho. by C. Motte." After Bonnefond. "Is con-
sidered one of the most finished and finest pieces
among French lithographs. "
PROUT, Samuel*
English landscape-painter ( 1 783-1852). Executed
many copies for instruction in drawing, and litho-
graphic views of buildings and other archaeological
monuments.
25 Part of the church at Arque (1821).
Printed by C. Hullmandel, London.
GRENIER, Frangois.
French history and genre painter (1793-1867).
28 CATALOGUE OF
26 Victories and conquests : the French
descending the Nile (1821).
Litho. by C. Motte.
ISABEY, Jean Baptiste.
French painter (i 767-1855). One of the earliest
painters to practise lithography. His crayon- work
was "very vaporous and silvery."
27 Stairway of the great tower of the
Chateau d'Harcourt (1821).
G. Engelmann, lith. Interesting on account of
the delicate treatment of the two figures (cavalier
and lady) on the steps.
EKEMAN-ALLESSON, Lorenz.
Swedish lithographer, (1791-1828). Came to Sax-
ony in his 15th year. The King of Wiirttemberg
appointed him professor and director of the newly
established lithographic institute at Stuttgart. He
issued several books used as copies in schools, and
executed faithful reproductions of the works of others.
28 Landscape (1822).
Marquard Wocher, inv. Wood interior, with five
small human figures. Careful study of large tree in
foreground. Published by I. Velten, of Carlsruhe.
HARDING, James Duffield.
English landscape-painter ( 1 798-1863). Promoted
lithography, and received two gold medals from the
Academie des Beaux-Arts for his drawings on the
stone. An artist of amazing facility and dexterity.
Published "Sketches at Home and Abroad," 1836
("printed with two stones in tints"); "The Park
and the Forest," 1841 (" a set of beautiful sketches
drawn on the stone with a brush instead of the crayon,
a plan he devised, and to which he gave the name of
'lithotint'." "Dictionary of National Biography,"
London, 1890, vol. xxiv, p. 336), etc.
LITHOGRAPHY. 29
29 Part of Greenwich Hospital from the
Ravensborne (published June 1,
1822).
Drawn from nature and on stone by J. D. Har-
ding; printed by C. Hullmandel, London.
30 Church of St. Sauveur at Caen (pub-
lished Aug. i, 1829).
After R. P. Bonington.
GliRICAULT, Theodore*
French painter (1 791- 1824), one of the masters of
the "golden age" of lithography, whose realistic
tendencies and reaction against academic art are
felt in his works on the stone as well as in his can-
vases. Drew a noted series for Hullmandel, in
London. Two thirds of his eighty lithographs, we
are told, are studies of horses. (See Ch. Clement's
" Gericault : tude biographique et critique, avec le
catalogue raisonne" de Pceuvre du maitre." 3d
edition. Paris, 1879).
31 Blacksmith (about 1823).
Gericault, del. Lith. by Villain. Gihaut, pub.
LOWSTADT, C T.
Swede.
32 Portrait of E. Swedenborg (Stock-
holm, 1823).
HULLMANDEL, Charles Joseph.
English lithographer, of German parentage (1789-
1850). "In 1818," we are told in Bryan's " Dic-
tionary of Painters and Engravers" (new ed., 1886),
"he commenced his experiments in lithography,
. . . and made many great improvements in the
art. To him are due a graduated tint, and the use
of white in the high lights; he invented lithotint
(! see under Harding, J. D., in this catalogue), and
he used the stump on the stone. "
30 CATALOGUE OF
33 Plate XI in his " Art of drawing on
stone" (1824), illustrating "Some
causes of failure."
BONINGTON, Richard Parkes*
English painter (1801-28). Although cut off in
the flower of his youth, he left some sixty lithographs
of the first rank (see A. Bouvenne's " Catalogue
de l'ceuvre grave" et lithographic de R. P. Boning-
ton "), the most important of which appeared in
Baron Taylor's "Voyages pittoresques en France."
These exquisitely delicate delineations of architec-
tural monuments, to quote Beraldi, are marked by
" such picturesque qualities and so personal a color
that they acquire the importance and interest of
veritable original compositions."
34 Rue du gros horloge, Rouen (1824).
Lith. by G. Engelmann. Executed for Taylor's
work. " Bonington's chef-d'oeuvre." Beraldi.
35 Glenfinlas (1826).
Printed by Villain. From " Vues pittoresques de
l'Ecosse" (1826).
KRUGER, Franz*
Royal Prussian court-painter (1 797-1857). Made
a specialty of portraits and horses. Known as
" Pferde-Kruger," on account of his skill in depict-
ing horses.
36 Portrait of C. F. Schinkel (1824).
Lithographic institute of L. Sachse & Co. Pub-
lished by Gropius Brothers, Berlin.
37 Military exercises (not dated).
GOYA Y LUCIENTES, Francisco Jos* de.
Noted Spanish painter (1 746-1828), also known as
a satirist and caricaturist of very remarkable, though
LITHOGRAPHY. 3 1
eccentric, genius. See " Francisco Goya : etude bio-
graphique et critique, suivie de l'essai d'un catalogue
raisonne* de son ceuvre grave" et lithographic," by Paul
Lefort, 1877.
38 Spanish diversion (1825).
Gaulon, lith. Executed at Bordeaux.
CHARLET, Nicolas Toussaint.
Noted French delineator of military subjects (1792-
1845). There is much glorification of Napoleon in
his numerous drawings, and he excelled in depicting
the vie intime of the soldier, as also in illustrations of
child life. Col. de la Combe has prepared a catalogue
of his numerous lithographs. (See " Char let et son
ceuvre," by A. Dayot, Paris, 1893.)
39 They are the children of France (about
1825).
Lith. by Villain. Pub. by Gihaut Bros., Paris.
Refers to the children of General Foy. Inscription
on stone in background reads : " Foy. The grateful
fatherland adopts thy children. 1825."
DELACROIX, Eug&ie*
The lithographic work of this famous painter ( 1 799-
1863) shows indeed " what vigor and color the lith-
ographic crayon can acquire in the hand of a master."
Granting all that may be said regarding weakness of
drawing and conception in lithographs like the " Ham-
let " series, for instance, yet in pieces such as those
exhibited here he seems to have well nigh exhausted
the resources of the stone in the vigorous rendering
of shadow and color suggestion.
40 Macbeth and the witches (1825)
Executed almost entirely '
ground of crayon. Lith. by <
41 Lion de 1' Atlas (1829)
Executed almost entirely with the scraper on a
ground of crayon. Lith. by C. Engelmann.
32 CATALOGUE OF
42 Tigre royal (1829).
Lith. print by H. Gaugain, Paris, 2d state. " Chefs
d'ceuvre in drawing and in color, the ' Lion ' and the
* Tiger' are numbered among the most celebrated ex-
amples of lithography." Beraldi.
SUDRE, Jean Pierre*
French artist (i 783-1866). His most noted lith-
ographs are those reproducing works by Ingres,
which would naturally appeal to one of his classic
grain.
43 The odalisque (1826).
After Ingres. Lith. print, by Bove, directed by
Noel aine & Co.
BOILLY, Louis.
French painter (1761-1845), took up lithography
when over fifty, and executed a considerable number
of drawings on the stone.
44 Public festival (1826).
This curious and interesting plate depicts the de-
grading effects of the gratuitous distribution of wine
to the people, on the occasion of the King's fte.
PEALE, Rembrandt.
American portrait-painter (1778-1860). Paid some
attention to lithography. Dunlap quotes Peale thus
(vol. 2, p. 57) : "I was among the first of the artists
who employed this admirable method of multiplying
original drawings. My first attempt in New York
was a head of Lord Byron, and a female head from
a work of Titian. In 1826 I went to Boston and
devoted myself for some time to lithographic studies,
and executed a number of portraits and other sub-
jects, and finally a large drawing from my portrait of
Washington, for which I obtained the silver medal
from the Franklin Institute at Philadelphia in 1827.
Unfortunately the workmen, by some neglect, de-
stroyed this drawing on the stone when but a few
impressions were taken."
LITHOGRAPHY. 33
45 Stephen Girard, with facsimile of
letter (1826).
Lithograph of Pendleton.
46 Washington (copyright secured 1827).
" Drawn on stone by Rembrandt Peale. Pendle-
ton's lithography, Boston. From the original por-
trait painted by Rembrandt Peale." A remarkably
fine piece of work. Especially noteworthy for its
textures and the delicate treatment of the face. Rich,
black crayon age in the drapery and stone work.
CHENEY, John.
American engraver (1801-85). Famous for his ex-
quisite line engravings, mainly done for the "Annuals "
so popular in the '30's. See S. R. Koehler's " Cata-
logue of the engraved and lithographed work of John
Cheney and Seth Wells Cheney."
47 Blennerhasset's Island (1828).
From "The Memorial" (Boston, 1828).
48 Abbotsford (1828).
J. Cheney, del. from Dewint. Pendleton, litho.
HESSE, Henri Joseph*
French painter (1 780-1849). Drew portraits and
drawing-copies on the stone. " His lithographic
portraits belong to the best of the series * Galerie
francaise.'"
49 Portrait of Benj. West (1828).
Lith. print by Chabert.
BICHEBOIS, Louis Pierre Alphonse*
French lithographer (born in the year IX, in
Paris). Executed many plates for books of travel.
50 Port of White Hall, Lake Champlain
(1828-29).
5
34 CATALOGUE OF
Figures by V. Adam. Bove's lith. printing establish-
ment, directed by Noel aine" & Co. A plate from
"Itineraire pittoresque du fleuve Hudson, et des
parties laterales de l'Amerique du Nord, d'apres les
dessins originaux pris sur les lieux par J. Milbert
. . . , et lithographies par Adam, Bichebois [etc.]"
(Paris, 1828-29), 2 vols., 4 Atlas, F.
ORLOWSKI, Alexander.
Russian battle-painter, of Polish birth ( 1 780-1829,
or 1 777-1832). Came early to St. Petersburg, and in
1812 was already court painter there.
51 "Detachment of Cossacks falling on a
caravan of Tcherkesses " (St. Peters-
burg, 1829).
COLIN, Alexandre Marie.
French painter (1798-1875).
52 Portrait of R. P. Bonington (1829).
London, printed by Engelmann, Graf, Coindet &
Co. With facsimile of Bonington's signature, and
the suggestive quotation :
" Too like the lightning, which doth cease to be,
Ere one can say It lightens!
" Shakespeare, ' '
GUDIN, Theodore.
French marine painter (1802-80). Very popular
during the reign of Louis Philippe.
53 Capt. Aubert, commander, the " Jean
Baptiste," of Caen, saving the crew
of the American brig " Lydia " (1829).
T. Gudin, pinx! et lith.
DEVfcRIA, Achille.
French painter, son-in-law of the lithographic
printer Motte (1800-57). A lithographer of the
first rank, an exceedingly prolific artist, who pro-
LITHOGRAPHY. 35
duced much commercial work not worthy of his
powers. Excelled in portraiture, and delineated the
woman of the elegant world with virtuosity.
54 Portrait of Victor Hugo (1829).
Lithographed by C. Motte.
GREVEDON, Henri.
French portrait-painter and lithographer (1776
i860). Soon devoted himself entirely to lithography,
being " accredited and official lithographer " during
1825-45. His very numerous portraits, especially
those of women, are careful in execution, and are in-
teresting artistically and as records of the costumes
of the time.
55 Mme. Grevedon, of the Gjjinase
Dramatique (1830).
Lithographed by Bichebois ain, Paris.
DECAMPS, Alexandre Gabriel*
Famous French painter (1803-60). Executed
about 100 lithographs (see Adolph Moreau's cata-
logue, " Decamps et son ceuvre," Paris, 1879), many
of them masterpieces. He drew exceptional sug-
gestions of color from the stone, as in the following
piece, specially referred to by Beraldi :
56 Children frightened by a watch-dog
(from "Sujets de chasse," 1830).
Lith. and pub. by Gihaut Bros.
57 Fox-hunter (about 1830).
Lith. and pub. by Gihaut Bros.
ROBERT, Uopold.
French painter (1 794-1835).
58 The shepherd's repose (1831).
Lith. by Grgoire & Dneux, pub. by Gihaut Bros.
36 CATALOGUE OF
BELLANGli, Hippolyte*
Noted French military painter (1800-66). Most
of his nearly 500 lithographs (catalogued by Jules
Adeline, in his " Hippolyte Bellange et son ceuvre,"
Paris, 1880) were executed during the years 1823-
34. He is often named with Raffet and Charlet, but
though his subjects were similar to theirs, the nature
of his work was different ; furthermore, these two
others, especially Raffet, were practically lithograph-
ers, while Bellange" was primarily a painter.
59 Troops on the march (1832).
Lith. and pub. by Gihaut Bros. From his "Al-
bum lithographique " for 1833.
PENDLETON'S LITHOGRAPHY, Bos-
ton*
( View of the ear of Dionysius.
60 < Scenery of Mount /Etna (Boston,
( 1831).
Two plates from A. Bigelow's " Travels in Malta
and Sicily."
ENDICOTT.
61 Portrait of Thomas DeWitt, D. D.
(183-).
" Waldo and Jewett, pinxt. Litho. of Endicott,
359 Broadway," New York. Wm. Dunlap, in his
" History of the . . . Arts of Design" (1834), vol.
2, p. 454, says: "John Crawley, jr., ... is engaged
at Endicott's and wSwett's establishment, and I have
seen some beautiful specimens of this mode of draw-
ing by him." Possibly the present portrait is one
of Crawley's productions.
NOEL, Lon,
French artist (1807-79). Devoted himself to
lithography, executing over 1000 pieces, over half of
LITHOGRAPHY. 37
them portraits. The latter are of interest mainly as
pictorial documents, for he soon grew conventional
in style.
62 Mile. Juliette (1832).
Lithographed from nature by L6on Noel. Lith.
by Kaeppelin & Co. A penciled note states that the
subject is Mme. Drouet, mistress of Victor Hugo.
Appeared in "L' Artiste."
NEWSAM, Albert.
American lithographer (1809-64), deaf-mute. In
1827 was placed with Cephas G. Childs, engraver, and
partner of Henry Inman in the lithographic business ;
subsequently, for many years, chief artist in the es-
tablishment of P. S. Duval, Philadelphia. Executed
numerous likenesses of eminent personages, as well
as many contributions to Catlin's "Indian portrait
gallery," and was " a most excellent draughtsman of
the head." His name is indelibly associated with the
rise and progress of the art in America. See J". O.
Pyatt's " Memoir of Albert Newsam " (Phila., 1868).
63 Portrait of W. Rawle (1832).
"Painted by H. Inman. A. Newson \sicf\ 9 del.
Childs and Inman, lith"," Phila. One of his most
important works. A vigorous drawing, freely handled.
64 Portrait ofWm. C. Preston (1833?).
" Painted by S. S. Osgood. A. Newsam, del.
Childs and Lehman [sic/], lith," Phila. Cephas
G. Childs (1 793-1871) during 1831-35 conducted a
lithographic establishment in partnership with Henry
Inman the portrait-painter.
65 Rt. Rev'd. William White, D.D. (1843).
Published in the annual report for 1843 of the
Pennsylvania Institution for the Deaf and Dumb. A
portrait of the first president drawn by Newsam, "late
pupil of the institution." Duval, lith. The bishop saw
38 CATALOGUE OF
Newsam when 1 1 years old making chalk sketches
in the street, and took him to the newly opened in-
stitution.
RAFFET, Auguste*
One of the greatest, if not the greatest, of lithog-
raphers (1804-60), whose real worth has been fully
appreciated only in recent years. His lithographs
form a pictorial history and " an imperishable monu-
ment in glorification of Napoleon and the French
army." The tattered and poorly fed soldier of the
republic, the tier cely-mustached grog nard of the em-
pire, the militaire of a later date, of Constantine, of
Sebastopol, all were delineated by him with a truth-
ful touch as individuals and in masses, large bodies
of men being handled with a remarkable combination
of detail and breadth. Nay, he has even permitted
his fancy to carry him into the unseen world in his
depiction of the " Nocturnal Review " of the phantom
of the Grande Armee by its "Little Corporal."
" Raffet," says Beraldi, " revolutionized the painting
of battles." He continues, " Armies have a soul:
Raffet saw this and expressed it." He was an hon-
est, earnest worker, with talent of a very high order,
and posterity has honored him, as it had Senefelder
by the erection of a monument (in Paris). See
H. Giacomelli's " Raffet : son ceuvre lithographique
et ses eaux-fortes " (Paris, 1862) ; and A. Bry's " Raf-
fet, sa vie et ses ceuvres" (Paris, 1861; 2d ed., 1864).
66 Polish infantry marching against the
enemy, 1813 (1832).
Lith. and pub. by Gihaut Bros.
67 The nocturnal review (from "Album "
for 1837).
68 Battle of Oued-Alleg (1840).
MADOU, Jean Baptists
Belgian painter ( 1 796-1877). Originally a lithog-
rapher, and during 1821-40 issued a number of col-
LITHOGRAPHY. 39
lective works, such as " Picturesque Views in Bel-
gium," " Scenes de la vie des peintres de l'cole fla-
mande et hollandaise " (1840), etc.
69 The old beaux (about 1833).
Printed by Benard.
MAURIN, Nicolas Eustache.
French painter and lithographer (1798 or '99-1850).
Mainly occupied with lithography. Specialty : por-
traits.
70 Portrait of Giacomo Meyerbeer (about
1833),
Drawn from nature by Maurin. Lith. by Delpech.
ISABEY, Eug&ie.
Noted French painter (1804-86). One of the
masters of lithography, whose marines are especially
noteworthy. " If Bonington had not made his Gros
Horloge," says Beraldi, " Isabey would be a lithog-
rapher without a rival.' ' The exuberant bravura col-
oring of his paintings is echoed in the rich tones of
his lithographs.
71 Environs de Dieppe (1833).
Printed by C. Motte.
72 Mar6e basse (1833).
Printed by C. Motte.
VEITH.
Joh. Philipp Veith ( 1 769-1835), Nagler tells us,
" had three sons . . . devoted to art. One . . . lived
[in Vienna] as lithographer." Possibly the present
artist is the one referred to.
73 Portrait of Edward of Paris, born 1819,
died 1833. (1834?).
40 CATALOGUE OF
DAUMIER, Honors
French caricaturist (1808-79). An artist of un-
doubted power, whom the somewhat extravagant
praise of his enthusiastic French admirers has com-
pared to the greatest painters of all time. His
thousands of drawings on the stone will surely trans-
mit his fame with that of Gavarni and the others in his
own line. See Arsene Alexandre's " Honore Dau-
mier, l'homme et l'ceuvre " (Paris, 1888).
74 " Le ventre lgislatif : aspect des
bancs ministriels de la Chambre
improstitu^e de 1834" (1834).
Eighteenth drawing of the " Association Men-
suelle" (month of January). At Aubert's. Lith.
by Becquet. "It has been attempted to describe
minutely this admirable chef d'ceuvre, . . . but
. . . that tells us nothing. The piece must be
seen. ' ' Beraldi.
75 " Enfonc6 Lafayette ! . . . attrape\
mon vieux" (1834).
At Aubert's. Lith. by Delaunois. Twenty-first
drawing of the " Lithographic mensuelle " (month of
May). In the foreground, Louis Philippe, in mourn-
ing, is dissimulating his joy. In the background,
the hearse of Lafayette, and, on the right, a view
of Per e Lachaise. "Chef-d'ceuvre." Beraldi.
HANFSTAENGL, Franz von.
Bavarian lithographer of note (1804-77). Entered
Mitterer's lithographic institute in Munich ; in 1834
opened a lithographic atelier (which soon flourished,
and published many portraits by himself). During
1835-52 was engaged on reproductions of master-
pieces in the Dresden gallery. In 1853 turned his
attention to photography.
Portrait of Senefelder (1834).
(See under Senefelder, No. 3.)
LITHOGRAPHY. 41
76 Portrait (1834?).
Military man, facing toward the left ; cloak pass-
ing over right arm and shoulder and under left arm.
Proof before all letters. Careful execution.
77 Gerard Dow's "Writing Master"
(1836).
Printed under the direction of, and published by,
F. Hanfstaengl. From the "Dresden Gallery "
series. A characteristic and delicate example of the
best German lithographic reproductive work of the
time.
DUPR6, Jules.
Famous French landscape-painter (1811-89). Ex-
ecuted seven interesting lithographs for the earlier
volumes of" L' Artiste."
78 Banks of the Somme, Picardy
(1835?).
From " L' Artiste." Lith. by Benard and Frey.
RUDE, Ft angois*
French sculptor (1784-1855).
79 Neapolitan fisherman (1835).
Signed Rude. " Lith. by C. Motte." Beraldi says
of this piece : " The little lithographic reproduction
of the ' Neapolitan fisherman,' published by ' L'Ar-
tiste ' in 1835, has been attributed to him. As this
lithograph is most delicately crayoned, it was con-
cluded that Rude, at the first effort, attained a better
grain than all the professional lithographers. It
would be amusing if, after such eulogies, it were
simply from the hand of Alophe."
HUET, PauL
French landscape-painter (1804-69). Like De-
camps and others, he drew exceptional effects from
that rich gamut of tones that lies between the white
6
42 CATALOGUE OF
of the paper and the deep, velvety black of the crayon.
In such work, fairly palpitating with strong feeling
for color, one hardly recognizes the gray crayonage
of the earliest lithographs. "The twelve pieces of
his album of landscapes (1829) are so many little
chefs-d'oeuvre," says Beraldi.
80 Landscape (about 1836?).
No lettering. No signature. No date.
MENZEL, Adolph.
Noted German painter (b. 1815). The master
of lithography in Germany. Richard Graul avows
that his memorable efforts on the stone (1851) " not
only indicate the highest degree of artistic power of
expression in a thoroughly peculiar art-language, but
have also remained unsurpassed even in these days
of more extended technical ability in lithography."
81 Frederick William, the great elector,
receives the oath of fealty of the Prus-
sian " Landstande," at Konigsberg,
Oct. 18, 1663 (1836).
Printed by the Lith. Institute of L. Sachse & Co.,
through Berndt. A plate from the " Denkwiirdig-
keiten aus der brandenburgisch-preussischen Ge-
schichte in 16 Blattern, componirt und lithographirt
von A. Menzel," published by L. Sachse & Co., Ber-
lin, of which only 12 plates were issued. This work,
in its faithful and uncompromising realism, seems
akin to the productions of some of the old German
masters. Executed with the crayon, and an occasional
touch of the scraper. Menzel's first series of litho-
graphs, executed with the pen (" Kiinstlers Erden-
wallen," 1834), the " Denkwiirdigkeiten," and the
publication from which the following plate is taken,
form a continuous illustration of the development of
an artist of great power in this special field.
82 A plate from " Versuche auf Stein mit
Pinsel und Schabeisen " (Berlin, 1851).
Published by Rocca Bros., printed by J. Hesse,
Berlin. A veritable virtuoso-production. Done with
brush and scraper.
LITHOGRAPHY. 43
83 The boy Christ in the Temple (1852).
Brushed and scraped on the stone by A. Menzel.
Printed by J. Hesse, Berlin. A lithograph of the
highest interest, and an excellent piece of character-
drawing.
ACHENBACH, Oswald.
German landscape-painter (b. 1827). Still living
in Diisseldorf.
84 An Italian autumn evening (1836).
Painted and drawn on stone by Osw. Achenbach.
Published by the Lith. Institute of Arnz & Co., Diis-
seldorf. Tinted. ,
DAVID, Jules.
French painter, illustrator, and lithographer. His
style is marked by a certain conventional prettiness.
" Nothing special to say of him ; his work is a dimin-
utive species of that of Victor Adam." Beraldi.
85 Economy (12th year) : " Now, Mama,
when I have six francs, will you take
them to the savings bank ?" (1836.)
Printed by Lemercier, published by Jeannin, Paris.
The border by Danjoy. From " Good and Bad Con-
duct," an album moral which won the first prize of
2000 francs, proposed by Benjamin Delessert, presi-
dent of the Savings Bank of France.
HARDING, George Perfect.
English portrait-painter (d. 1853). Occupied mainly
in making water-color copies of historical portraits,
and furnishing designs for various historical and anti-
quarian publications.
86 William Upcott, Islington, March 27
(1837).
Portrait of a noted book-lover. " G. P. Harding
ad vivum del. et fecit." Day & Haghe, lith" to the
King. Pub d . April, 1837, by G. P. Harding,
Lambeth.
44 CATALOGUE OF
BAUGNIET, Charles.
Belgian artist (1814 ?). Lithographed several
hundred portraits of prominent people. Worked for
25 years in England; then settled in Paris and devoted
himself to painting society pictures well known in this
country.
87 Portrait of Paul Delaroche (Paris,
1837).
Three-quarter length. A white canvas on an easel
back of the figure throws the head into relief.
GAVARNI.
Pseudonym of the French illustrator and carica-
turist, Guillaume Sulpice Chevallier (1804-66), who
signed his earlier work Hippolyte Chevalier. Dur-
ing 1830-38 he drew fashion-plates, titles, " album-
subjects," and the like, very elegant and graceful.
Found his true vocation in pictorial satire, but also il-
lustrated much. Handled the lithographic crayon with
a sketchy verve, a brilliancy that gives to his work
on the stone a place among the products of the great
masters of the art, Beraldi places the number
of his original lithographs at 2700. See " Gavarni :
Phomme et l'ceuvre," by E. and J. de Goncourt
(Paris, 1873).
88 Much shall be forgiven her, for she
has danced much (1838 ?).
Printed by Bertauts, Paris.
89 Masked ball (1839 ?)
90 Edmond and Jules de Goncourt
(" Masques et Visages: Messieurs du
Feuilleton ; " 1. 1852 or '53 ?).
ADAM, Victor,
French painter of historical subjects and land-
scapes (1801-65 or '67). As a lithographer, he
LITHOGRAPHY. 45
evinced an astonishing fecundity and facility. His
work consists mainly of popular historical pictures,
studies of animals, intended for drawing-copies, and
the like.
91 Departure from Fontainebleau (about
1838).
Lithographed by C. Motte.
BODMER, Karl.
Swiss painter and etcher (1809-94). Traveled in
North America in 1832-34 with Alexander Maxi-
milian, Prince of Neuwied, whom he accompanied
as draftsman. Pictured the forest and its inhabit-
ants in masterly variations. Made four large litho-
graphs of adventures among the Indians, for which
his friend and neighbor at Barbizon, J. F. Millet, in-
troduced the figures ; he produced many lithographs,
and numerous etchings on copper and by the
" Comte " process.
92 Deer on the prairie, evening (about
1838).
No lettering.
93 'Wood-interior; small figures of
hunter and dog. Deer in middle
distance (about 1838).
No lettering. Both done with crayon and scraper.
LEMUD, Aimi de-
French lithographer (1816-86). Not very pro-
lific; his lithographs number but 22. "The painter-
like qualities in his lithographs, the subjects chosen,
the romantic spirit pervading them, made them cal-
culated to please both artists and public. " See " Cata-
logue de l'ceuvre lithographic et grave* de A. de
Lemud," by A. Bouvenne (Paris, 1881).
46 CATALOGUE OF
94 Master Wolfframb (1838).
Printed by Lemercier, Benard & Co. " Aime* de
Lemud . . . attained a certain celebrity in a single
day, with a single lithograph. Adjectives fail with
which to qualify the success of ' Master Wolfframb,'
a success which will remain famous in the annals
of prints; it was instantaneous, enormous, prodi-
gious." Beraldi> ix : 1 19. This, like the following,
is executed with the crayon, the scraper being freely
used.
95 The return to France (1841).
u De Lemude {sic / ) del* " Printed by Lemer-
cier, Benard & Co. The coffin of the emperor, borne
by soldiers, and surrounded by specters of the
Grande Arme'e,is greeted by the enthusiastic people.
" This superb composition, Lemud's masterpiece."
Beraldi, ix : 125.
KREINS, Hilaire Antoine*
Flemish landscape-painter and designer (1806-62).
Engraver ; executed some lithographs.
96 Flemish wedding in the 17th Century
(184-?).
After painting by Henri Leys.
FENDERICH, Charles.
American (?). Executed a number of portraits in
the U. S. in 1841.
97 Portrait of John Tyler, President of
the U. S. (1841).
From life on stone. Pub. by Chas. Fendench,
Washington City, D. C. P. S. Duval's Lith. Press,
Phila. Crayon.
LITHOGRAPHY. 47
PETTENKOFER, August.
Austrian painter (1821-93 or '94). First worked
as a designer and lithographer.
98 The news (about 1843 ?).
After a water -color by C. Schindler. Lith. by A.
Pettenkoffer \sic /~\, Pub. by Aloys Leykum, Imp.-
Roy. Court lithographer. Crayon ; scraper used to
produce effect of white chalk once so much in vogue.
Printed in one tint.
VERBOECKHOVEN, Eugene.
Belgian animal painter (1799-1881). In addition
to his numerous paintings, once so popular in the
States, he did many etchings and lithographs.
99 Three dogs beside a stone wall (1844).
Drawn on stone after nature by Verboeckhoven.
Printed and published by Aubert & Co., Paris.
Printed in one tint. Numbered " 9 " in lower margin,
center (evidently one of a series).
CALAME, Alexander*
Celebrated Swiss painter (1810-64), "whose lith-
ographed modeles of landscape long ruled supreme."
100 Oaks (London, published 1st January
1844, by the Anaglyphic Co.).
Lith. -print of Cattier, Paris. Tinted.
101 Landscape (1850?).
LLANTA, Jacques Francois Gauderique*
1807-60. Lithographed religious subjects and
portraits.
102 Portrait of Baron Desnoyers (1845),
After fidouard Dubufe.
48 CATALOGUE OF
EICHENS, Philipp Hermann*
German painter (b. 1812). Worked mostly in
Paris. Important in commercial engraving; much
employed by Goupil. In 1842 he was awarded a
third medal for lithography, in which medium he ex-
ecuted numerous portraits in Germany.
103 Portrait of himself (1846).
Printed by L. Sachse & Co., Berlin.
KRIEHUBER, Joseph.
Austrian painter and lithographer (1800-76). His
lithographs, mostly portraits, are very numerous, and
rank with the best German work. He and Petten-
kofer were the masters of original lithography in
Austria.
104 A morning with Liszt (1846).
Portraits of Kriehuber, Berlioz, Czerny, Liszt, and
Ernst.
105 Portrait of the artist Kriehuber (i860).
Drawn on the stone by himself. Printed by Joh.
Haller. This proof he presented to N. Sarony, with
the signed inscription : " The artist to the artist :
souvenir.' '
JACQUE, Charles.
Noted French painter and etcher (1813-94), cele-
brated in France and America for his artistic render-
ing of animal and landscape subjects as also for his
hundreds of fine etchings. See " L'ceuvre de Ch.
Jacque: Catalogue de ses eaux-fortes et pointes-
seches," par J. J. Guiffrey (Paris, 1866).
106 The fisherman, rainy weather
(1847?).
"Souvenirs d'artistes," No. 53. Printed by Ber-
tauts, Paris.
LITHOGRAPHY. 49
107 Cattle being led to the watering-place
(1848 ?).
Proof before letters.
JULEN.
French lithographer (b. 1802?). Executed prin-
cipally portraits and drawing-school copies, long ac-
cepted as models.
108 Portrait of B6ranger (about 1848 ?).
" Galerie du Voleur," No. 54. Printed by Aubert
&Co.
COLE, Thomas*
American painter (1801-48).
109 The Good Shepherd (1848).
Drawn on stone by the late Thos. Cole. " To the
artists of America this print is respectfully dedicated
by Maria Cole. 1842." Published by John P. Rid-
ner, 497 Broadway. Copyrighted 1849.
GALLAIT, Louis*
Belgian painter (1810-87). Quite famous for his
paintings of historic subjects.
110 Family of fisherfolk at Blankenbergh
(1848).
" Gallait, peint et lith." Lith. by Simonau & Too-
vey.
CHAPLIN, Charles*
French painter (1825-91), well-known by his ele-
gant delineations of women, and salon decorations.
The lithographs here exhibited illustrate a phase of
his art not familiar to many.
7
50 CATALOGUE OF
111 Study of a young woman, nude
(1849).
After " Milet " (J. F. Millet). Bertauts, printer.
Autograph signature of Chaplin.
112 Herdsmen of C^vennes (1850 ?).
"Ch. Chaplin, pinx. et lith." Printer, Bertauts,
Paris. From " L' Artiste." Salon of 1850.
AVIGNON, f. d\
French ( Franco- American ?) artist, engaged by
Brady to touch up photographs ; was associated with
him for a number of years.
113 Portrait of W. H. Prescott (1850).
F. D'Avignon, lith. from dag. by Brady. D'Avig-
non's Press, 323 Broadway. A plate from the " Gal-
lery of Illustrious Americans " (N. Y., 1850). Copy-
righted by Brady, D'Avignon & Co.
114 Portrait of Ralph Izard.
Proof. No date.
BARYE, Antoine Louis*
Celebrated French sculptor (1 795-1875), executed
some lithographs. His bronzes are as well known
and appreciated here as in his own land.
115 Study of a tiger (1850).
Barry e [j*V/]. Lith. by Delaunois. "L' Artiste,"
1850.
116 Bear of the Mississippi (1850?).
Printed by Benard.
MOUILLERON, Adolphe.
French professional lithographer of note (1820-81).
Especially successful in his reproductions of paintings
LITHOGRAPHY. 5 1
by others. "His lithographs," says Beraldi, "are
executed with such brilliant resources that they have
the flavor of original pieces."
117 Andr6 V6sale (1851 ?).
After a painting by E. Hamman. Printed by Ber-
tauts, Paris.
MILLET, Jean Frangois.
French painter of note (1814-75), has left three or
four lithographs. See Alfred Lebrun's " Catalogue of
the Etchings, Heliographs, Lithographs, and Wood-
cuts done by T. F. Millet; translated by F. Keppel "
(N. Y., 1887).
118 The sower (1851).
Done for "L' Artiste," but not published. One
proof taken in 1851. The stone was mislaid, and the
impressions taken in 1879 show it to be much dam-
aged.
BID A, Alexandre*
French painter in water-colors, and illustrator ( 1 820-
1894). Best known by his many designs (etched by
others) for the Bible.
119 A muezzin (1851).
A plate from Bida's " L'Orient pittoresque."
DOR, Gustave.
Famous French illustrator, painter, and sculptor
(1832-83), made his debut as a caricaturist and lithog-
rapher. The characteristic qualities of this genius
are practically the same in all his work, whatever the
medium a Gallic verve, ardent imagination, fantastic
- invention, and astonishing facility and productiveness.
120 A carnival scene (1852 ?).
A plate from the " Folies-Gauloises ? "
52 CATALOGUE OF
DEKKER, H. A. C
Dutch artist.
121 Poetry (1853).
After Jos. Israels. Lith. print by J. D. Steuer-
wald, Amsterdam.
SOULANGE-TEISSIER, Louis Emmanuel
French reproductive lithographer of great repute
(b. 1814). " Has been principally the interpreter of
Rosa Bonheur."
122 The charcoal-burners (pub. 1st Oct.,
1854).
After Rosa Bonheur. Print by Lemercier. Crayon ;
scraper used, giving the familiar chalky effect.
HERVTER, Adolphe.
French landscape-painter and etcher (1821-79).
Pupil of Eug. Isabey, by whom he was influenced.
His lithographs in crayon or wash are not without
interest.
123 Old woman and pig (1854).
Printed by A* Bry, Paris. Lettered " Hervier 4 " ;
probably a plate from his album, " Lithographies ar-
tistiques." Crayon-drawing.
BRESDIN, Rodolphe-
French artist (1822-85), known as " Chien-Cail-
lou." Said to have been very poor. Described by
Champfleury, in " Chien-Caillou. ,, Catalogue of his
work by A. Bouvenne. Work mostly etched.
124 The comedy of.death (1854).
Drawn with the pen. Printed by Lemercier,
Paris. Autograph signature. The artist revels in a
maze of grotesque and fanciful details, a medley of
strange beings and forms that seems ludicrous rather
than horrible, the product of a somewhat diseased
imagination.
LITHOGRAPHY. 53
125 The good Samaritan.
His most important production. Pen-drawing.
Printed by Lemercier, Paris.
NANTEUIL, Celestin.
French painter (1813-73), " the romantic illustrator
par excellence" a "lithographer of the first rank."
Executed numerous original and reproductive litho-
graphs for "L' Artiste," Bertauts's publications, etc.
See Ph. Burty's "L'Age du romantisme: Celestin
Nanteuil, graveur et peintre " (Paris, 1887).
126 Cupids guarding the door (1855).
Printed by Bertauts.
ACHENBACH, Andreas.
German landscape and marine painter (b. 1815).
Brother of Oswald, and still living at Dusseldorf.
127 Coast of Capri (1855).
Painted and drawn on stone by Achenbach. Pub-
lished by the Lithographic Institute of Arnz & Co.,
Dusseldorf. Pen-drawing.
ROPS, Felicien.
Belgian illustrator, lithographer, etcher (b. about
1835 ?). An artist of raffinement, with a peculiar im-
agination ; known to many mainly by his sujets libres.
Executed some noteworthy lithographs, especially
the ' Burial in the Walloon Country." "As soon
as he became master of the lithograph process,"
says Beraldi, regretfully, " he entirely abandoned it."
Erasthene Ramiro (pseudonym of Eugene Rodri-
gues) has prepared a u Catalogue descriptif des lith-
ographies de Felicien Rops " (Paris, 1891).
128 To our subscribers (about 1856).
A New Year cartoon from the journal " Uylen-
spiegel" (founded by Rops in Brussels, 1854), giv-
ing portraits of the artist and his eleven collabora-
tors.
54 CATALOGUE OF
129 Waterloo medal (about 1860).
A satirical print directed against the Empire.
Printed in two tints.
FECKERT, Gustav*
One of the best of modern German reproductive
lithographers (b. 1820). His works, we are told,
" show a high degree of perfection and technical
mastery in entering into the spirit as well as the
coloristic peculiarities of the original." One of his
finest productions is the full-length portrait of M.
Raven6, from a painting by Prof. L. Knaus.
130 Forgetting pain (about 1857 ?).
After L. Gallait's "Power of Music" or "Bohemian
Musicians." Printed by W. Korn, Berlin.
FRERE, fidouar d.
French genre painter (1819-86). Drew a few
lithographs. Very popular as a painter of peasant
children.
131 Boy looking at prints (1857).
" fid. Frere, pinx. et lith." Salon of 1857. Printed
by Bertauts. Publ. in " L' Artiste " of 1858.
ANASTASI, Augusts
French landscape-painter (1820-95.) Little known
to the present generation, having been blind for
about twenty-five years.
132 Banks of the Meuse, at Zwindrecht,
Holland (1857).
" A. Anastasi, pinx. et lith. ' ' Salon of 1 85 7. Ber-
tauts, printer. From " L' Artiste " of 1857.
LITHOGRAPHY. 55
BOULANGER, Louis.
French (1806-67). " One of the Romantic painters
par excellence. . . . Left very curious lithographic
work ... of that romanticism which Theophile
Gautier called ' hugolatre and racinophobe. ' " Be-
raldi.
133 Paganini in prison (186-?).
Lith. by Lemercier. From "L* Artiste."
DIAZ DE LA PENA, Narciso Virgilio.
French painter, of Spanish parentage (1808-76).
Did some noteworthy lithographs.
134 Amorous madmen (1860 ? ).
Bertauts, printer, Paris. From " L' Artiste."
DUVAL & CO.
A well-known firm of lithographers, for over thirty
years in Philadelphia. A. Newsam was the chief
artist of the establishment.
135 Miniature of Washington on ivory
(1860).
After Mrs. Sharpless. Executed for J. J. Smith and
J. F. Watson's "American Historical and Literary
Curiosities," 2d series (N. Y,, i860).
BRASCASSAT, Jacques Raymond*
French painter (1805-67).
136 Sheep resting (Oct. 1, 1860).
Brascassat, pinx. et lith. Printed by Bertauts,
Paris. Published by Goupil. No. 4 in " Etudes des
animaux."
56 CATALOGUE OF
SABATIER, L6on*
French artist. From 1827 to 1872 lithographed
innumerable "picturesque views " for various books
of travel and descriptive works on Paris, the Seine,
Constantinople, etc. " As pieces for the portfolio of
amateurs," says Beraldi, "we find nothing to note in
this inexhaustible production but some ' Marines '
lithographed in wash after Isabey and Le Poitevin."
137 View of Venice (about 1861?).
After Liem (misprint for Ziem). Printed by Le-
mercier, Paris. No. 174 of" Les artistes contempo-
rains."
HOMER, Winslow*
American painter in oil and water-colors, and illus-
trator (b. 1836). Has made etchings and lithographs.
138 The coffee call (1862?).
139 The baggage train (1862 ?).
Both from " Campaign Sketches," (1862?) lith. and
publ. by L. Prang & Co., Boston. Crayon and
scraper. Printed in one tint.
SARONY, Napoleon*
Born in Quebec, 1 82 1, the year of the great Napo-
leon's death at St. Helena. His father, an old Bruns-
wicker,had fought against the" Little Corporal," but
was such an admirer of the great warrior that he
named Sarony after him. He was brought to New
York when very young. At the age of thirteen he
found his first employment with the lithographers
Risso & Brown; then with Robinson. Before he
was of age he was employed by Nathaniel Currier,
afterward the well-known firm of "Currier & Ives,"
with whom he remained several years. On leaving,
he established the firm of Sarony & Major. The
name of Knapp was soon added. Their business be-
came very large and profitable. Sarony, retiring in
LITHOGRAPHY. 57
1858, went abroad to study painting, which he had to
abandon through the loss of his fortune, and, on the
advice of his brother Oliver, then a successful pho-
tographer in England, he took up that art and estab-
lished himself in Birmingham. He returned to New
York in 1866, since which time his career has been
manifest.
140 Portrait of Napoleon Sarony (1863).
Drawn by himself on a lithographic stone which has
never been printed from, and is most interesting on
that account.
MANET, fidouar d.
French founder of the "impressionist" school of
painting (1832-83). His lithographs are of but slight
artistic interest, apart from the personality of their
author. See Edmund Bazire's " Manet " (Paris,
141 Title of " Plainte moresque/' a piece
of music for the guitar, by J. Bosch
(about 1863 ?).
Printed by Lemercier & Co., Paris.
142 The gallery (about 1871 ?).
Drawn with the brush.
BARGUE, Charles*
French painter (d. 1883). Began as a lithographer,
and in that capacity was awarded medals in 1867 and
1868.
143 Small street of the port, environs of
Morlaix (about 1864).
After Hervier. Printed by Bertauts, Paris. From
U U Artiste." Crayon-drawing, scraper freely used.
58 CATALOGUE OF
GUY, Seymour Joseph*
American painter (b. in England, 1824).
144 Certificate of contribution to the
Brooklyn and Long Island Fair in
aid of the U. S. Sanitary Commission
(1864).
Endicott & Co., lith., 59 Beekman St., N. Y.
GILBERT, Addle
French painter and engraver (b. 1828). Began
to lithograph in 1848 and to etch in 1868, gaining an
honorable position in each field.
145 Maria. (1865).
After Bonnat. Salon of 1865. Printing by Bec-
quet, Paris. A fine, honest bit of crayon-drawing.
BAKER, Joseph E.
American lithographer, employed successively by
Bufford and the Forbes Co., two Boston firms of lith-
ographers. Has drawn portraits and theatrical win-
dow-posters.
146 Portrait of Edward Everett (1865).
After photo, by Black & Case. Lith. and pub. by
J. H. Bufford.
BONHEUR, Rosa.
Noted French animal painter (b. 1822).
147 Head of lioness, with facsimile of a
letter from the artist, the latter dated
June 27, 1865.
148 Sheep in the fold (about 1866).
On tinted paper. No lettering. Autograph sig-
nature of the artist.
LITHOGRAPHY. 59
COURBET, Gustave*
French painter (1819-77). Of his few etchings
and lithographs, Beraldi says : " All this, notwith-
standing the painter's name, is frankly bad." And
Bouchot tells us that " Courbet treated lithography
as he did painting, with the roughness of a peasant
teasing a woman of the world.' '
149 The apostle Jean Journet, setting
out to conquer universal harmony
(about 1866).
Lith. by Vion.
PIRODON, Eugene Louis*
French painter and lithographer. Executed nearly
600 lithographs, including many reproductions of
paintings.
150 "Victory" (1866).
Dog and dead hare. After the picture by Troyon.
Bertauts, printer, Paris. Published in " L' Artiste,"
1866.
FRIZZELL, S, S,
American.
151 Elaine (1866).
After W. M. Hunt. Pub. by Hendrickson, Doll
& Richards, Boston. Crayon, slight scraping. Soft
effect.
VERNIER, fiMILE,
French lithographer and painter (d. 1884). "Ver-
nier's lithographs," says Beraldi, "at first of a credit-
able color, finally fell into a uniform and dishearten-
ing gray."
152 The angelus (about 1868?).
After J. F. Millet. Printed by Lemercier & Co.,
Paris. Proof before letters.
60 CATALOGUE OF
MORAN, Thomas*
American landscape-painter, etcher, and illustrator
(b. in England, 1837).
153 A wood interior (1868).
No. I of "Studies and Pictures by Thos. Moran."
Jas. McGuigan, printer, Phila.
154 South shore of Lake Superior (1869).
From a study made in 1859. Only 10 or 12 im-
pressions taken when the stone was accidentally de-
stroyed. A forcible work, and his best, the artist
asserts. Printer as above.
WIANELLI.
Italian artist.
155 Sepulchre of the Sannazzaro in S.
Maria del Parto (about 1869?).
" Wianelli dis. Forino litog." A good and quite
delicate example of Italian work.
BENASSAI, GIUSEPPE.
Italian landscape painter (1835-78).
156 "La quifcte Landscape (1869).
"Autographic sketch by Giuseppe Benassai, of
Reggio .Calabria," after the picture premiated at
Florence in 1868. Torino, lith. by F Doyen. Pen-
drawing, slightly filled in with crayon. A poor spe-
cimen of Italian work.
CHAUVEL, Thtophilc
French painter-etcher (b. 183 1), noted for his re-
productive etchings. Executed also a small number
of lithographs, which are simply extraordinary in
their effective rendering of the brush-work of noted
masters.
LITHOGRAPHY. 6 1
157 The storm (1869).
After Diaz. No lettering. Autograph signature
of Chauvel.
158 On the waves (1872).
Generally known as " The Phantom Ship." After
a pastel by Charles Meryon. ioo impressions by
Lemercier & Co., Paris.
159 Cows at the watering-place (1874).
After Troyon. Proof before letters. The original
picture is in the Walters collection, Baltimore.
DELESSARD, A.
French decorative and landscape painter ; worked
in New York for some years, then returned to Paris.
160 Twilight (about 1870?).
A. Delessard, pinxt. and lith. Published by Geo.
Ward Nichols, 756 Broadway, N. Y.
RONDEL, Frederic.
Franco- American painter (b. in Paris in 1826) ; has
lived and worked in America since 1855.
161 Twilight (about 1870?).
After Geo. Inness. Published by Geo. Ward
Nichols, 756 Broadway, New York.
SIROUY, Achille.
French lithographer (b. 1834), very skilful.
162 Miss Meyer (1870).
After Prud'hon. Printed by Mg- Bry. Proof be-
fore letters. Lettering in pencil by Sirouy. "...
The pieces after Meissonier, Prud'hon, Decamps, and
Delacroix give a special importance to Sirouy's work,
and place him among the most skilful artists of repro-
ductive lithography." Beraldi.
62 CATALOGUE OF
COLE, Joseph Foxcrof t*
American landscape and animal painter (1837-92).
Began life as a lithographer in Bufford's establish-
ment, Boston, where Winslow Homer also was en-
gaged at the time, and where Eastman Johnson had
been before him. L. Prang & Co. published, in
1870, "Album of American Artists ; Part I : Pastoral
subjects, from the paintings of J. Foxcroft Cole.
Drawn on stone by the artist." It contained six
plates, which, together with his " Pastoral " and
" Pastoral, No. 2," are believed to be the only original
lithographs executed by him.
163 Pastoral (about 1870?).
J. Foxcroft Cole, pinx. and lith. Print by L. Prang
& Co. Published by E. A. Doll, Boston.
LEGROS, Alphonse*
French painter and engraver (b. 1837). In Eng-
land since 1863. A " Catalogue raisonne de l'ceuvre
grave" et lithographic de M. Alphonse Legros, 1855
1877," by A. P. Malassis and A. W. Thibaudeau,
was published in Paris in 1877.
164 Portrait of Champfleury (1875).
WHISTLER James Abbot McNeill,
American-born painter and etcher (b. 1834 or
1836). This well-known, talented, and eccentric ar-
tist shows his characteristic qualities in a number of
lithographs, most of them quite sketchy. In works
like his " Chelsea fish shop " he shows the same light-
ness of touch and succinctness as in his etchings, yet
to the loving student of the products of the golden
age of lithography it may still be considered an open
question whether the lithographic process is especially
well suited to Whistler. However, it is a highly in-
teresting matter to observe artists of modern ten-
dencies striving to express themselves in an art that
seemed so well adapted to the artistic needs of the
period of the " men of 1830."
LITHOGRAPHY. 63
165 The toilet (published 1878).
Proof before all letters. Crayon, stump, and
scraper.
166 The canal, VitnS.
Light crayon sketch. Proof before all letters.
RIBOT, Thfcodule*
French painter (1823-91). " Th. Ribot, sa vie et
ses ceuvres," is by L. de Fourcaud.
167 Portrait of his son (1880?).
Crayon and scraper.
FANTIN-LATOUR, Henri.
French painter-lithographer (b. 1836). " An en-
thusiast in music, he has undertaken to translate
into drawings the melodic inspirations of Schumann,
Berlioz, Wagner, and Brahms." His vaporous de-
signs are graceful and elegant. See " Les maitres
de la lithographie : Fantin-Latour. fitude, suivie du
catalogue de son ceuvre," by G. H6diard (Paris,
1892), and " Un peintre melomane : Fantin-
Latour," by R. Bouyer (Paris, 1895).
168 Frontispiece: the genius of music
(1881).
Winged figure bearing tablet inscribed with the
names of Schumann, Berlioz, Wagner, and Brahms.
Salon of 1 88 1.
169 " After the portrait which I made of
myself at the age of 17 years. H.
Fantin " (1892).
170 To Stendhal (1892).
A winged female figure decorating the tomb of
Henri Beyle with flowers. Printed by Lemercier,
Paris. These three, like all his lithographs, are
done in crayon, freely scraped.
64 CATALOGUE OF
CHARTRAN, Theobald.
French portrait-painter. Visited America in recent
years. Executed a series of portraits on stone.
171 Portrait of Carolus Duran (1885).
Crayon, with some scraping.
VERGNES, CAMILLE.
French lithographer. Since 1881, has exhibited
various reproductions of paintings by contemporary
painters, with much success.
172 Portrait of Leon Cogniet (1886).
After Bonnat. Proof before letters. Autograph
signature. An effective and honest piece of work.
DETAILLE, Edouard.
French painter and illustrator of note (b. 1848).
173 Sketches of Zouaves, etc. (1886).
Autograph note : * Trial lithograph, of which twenty
impressions were made. Not placed on the market.
E. Detaille."
174 Artilleryman standing guard over a
cannon.
Autograph note: " Separate impression of a litho-
graph made for a military publication, not to be found,
and published for a charity festival. Separate im-
pression, very rare. E. Detaille. ,,
ISRAELS Josef.
Dutch painter (b. 1824).
175 Winter, also in life (1890).
LITHOGRAPHY. 65
MAUROU, Paul.
French (b. 1848). Has attracted much attention
by his large portrait heads, executed in a vigorous
and masterly manner, such as his " Mounet-Sully as
Hamlet," after J. P. Laurens (1889), gaining a
medal for his work.
176 Thomas of Aquinas (1890).
After Laurens. Salon of 1891. Proof before all
letters. Thirty impressions. Autograph signatures
of Laurens and Maurou.
BAUER, M.
Contemporary Dutch artist of advanced tendencies.
177 The caliph, accompanied by a nu-
merous escort (1891).
A plate from " La 16gende de St. Julien l'hospi-
talier " : ten lithographs after Gustave Flaubert (La
Haye, 1891), twenty copies only. Vague in draw-
ing, like all his work.
REDON, Odilon.
French artist (b. 1840). A symbolist, whose
mystical and fantastic conceptions on stone have
found some admirers, but are undecipherable to
common mortals. Jules Destr^e has compiled a
" Catalogue descriptif des lithographies de Redon."
178 Eyes closed (1891).
Fifty impressions. " Redon's best piece ; it is
perfectly comprehensible. ' ' Beraldi,
CASS ATT, Mary.
American painter and etcher, living in Paris.
9
66 CATALOGUE OF
179 Lady in opera-box (1891).
Autograph note by the artist: "... This early
and only attempt at lithography. Five proofs, stone
effaced. May, 189 1." Crayon and scraper.
LUNOIS, Alexandre,
French (b. 1863); has passed at a bound into the
very first rank of contemporary lithographers. He
juggles with his medium, at times producing an as-
tonishing resemblance to process copies of wash
drawings, but in his reproductions of work by Dau-
mier, Ulysse Butin, etc., he suppresses his identity.
180 Nocturnal adoration of the Holy Sa-
crament (about 1892).
Proof before all letters. 6 impressions of this
state. Autograph signature. Done with brush and
scraper.
CHERET, Jules,
Noted French designer of posters (b. 1836). His
work is marked by verve, elegance, a certain French
esprit, and a maximum of effect with few colors.
181 A plate from " L'Estampe originale "
(1892).
Printed in brown.
DAGNAN-BOUVERET, Pascal Adolphe
Jean*
French painter (b. 1852).
182 Adoration of the shepherds (1892).
DILLON, Henri Patrice*
French lithographer, essentially of to-day.
183 Plate from a series of months (1892).
Proof without lettering. Signed in pencil.
LITHOGRAPHY. 67
184 Landscape, pool in foreground
(1893).
Proof without lettering. Remarque. Crayon and
brush were tried on the margin, shown in this im-
pression.
BESNARD, Albert.
French painter, noted for his chromatic vagaries
(b. 1849).
185 Death at the door, surprising a fam-
ily at table (about 1893).
From "L'Estampe originate." No lettering.
PUVIS DE CHAVANNES, Pierre.
French decorative painter, (b. 1824).
186 Plate from "L'Estampe originate "
(1893).
Figure of woman, seated, with Phrygian cap. Clift
and view of sea in background. Printed in brown.
No lettering.
ROBIDA, Albert.
French draftsman and writer (b. 1848). A "de-
scriber of manners " and caricaturist; of a " caprici-
ous verve, a singular fancy," somewhat bizarre in
style, and very prolific.
187 Old building on a cliff, possibly in-
tended for Mont St. Michel (1893).
WICXENDEN, Robert J.
American painter, living in France.
188 The return of the flock (1893).
Remarque proof, before all letters. Autograph
signature.
68 CATALOGUE OF
DESBOUTIN, Marcellin.
French painter-etcher (b. 1822). Has executed
genre-subjects and many portraits in dry-point.
189 Portrait of himself (about 1894).
From "Album des peintres-lithographes." No
lettering. Loosely handled.
BRACQUEMOND, Felix.
French artist (b. 1833). Began his art-life, when
quite young, in a lithographic establishment. Best
known as an etcher of great talent and originality.
190 Nude female, in woods, reaching for
fruit hanging over her head (1894).
Autograph signature. No lettering. Crayon;
scraper slightly used.
191 Female bather (1894).
Second state. No lettering. Autograph note by
the artist : " Lith. sketch, made in order to try the
color values which the crayon gives for each color."
Crayon; some scraping.
BUHOT, Felix.
French painter and etcher (b. 1847). "Buhot,"
says Beraldi, "has a note of his own, full of life and
very modern."
192 Jean Buhot (Sat., July 16, 1894).
Portrait of a boy. As in many of his etchings, the
broad margin is filled with sketches and crayon-marks.
Autograph note by the artist : " Sketch from nature
on paper (transferred to stone). 25 impressions
(stone destroyed)."
HERKOMER, Hubert.
German painter, composer, etcher, and what not,
an artist of much versatility and force. Born 1849 m
Munich ; lives and works in England.
LITHOGRAPHY. 69
193 Spring song (1894).
One of a small series of illustrations for a musical
composition of his own. Crayon and scraper.
GEOFFROYJean.
Well-known French painter of child-life (b. 1853)*
194 Heads of two children (1894).
From the "Album des peintres-lithographes."
No lettering. Almost pure crayon-work. Little
scraping.
GCENEUTTE, Norbert.
French painter-etcher of Parisian subjects (1854-94).
He had much talent and did numerous etchings and
dry points.
195 Figure of woman, in hat and cloak
(1894),
1st state; 3 impressions. Broad margin on right
filled with rough sketches, and marks made in trying
the crayon. No lettering.
STORM VAN 'SGRAVESANDE, Charles.
Dutch etcher (b. 1 841).
196 Marine, with small sailing vessels ;
city in background (1895).
Autograph signature. Crayon ; a few scratches
with scraper. While reminding one of the succinct-
ness and simplicity of method in the artist's etchings,
this lithograph does not seem to show the same sure-
ness of touch born of absolute familiarity with the
medium.
MUYDEN, Evert van.
Born at Rome, of Swiss parents, 1853. Lives in
Paris. Noted etcher of animal subjects.
IO
70 CATALOGUE.
197 Lion reposing (1895).
Signed autograph note by the artist : " Only 20
impressions. Stone destroyed." Crayon; touched
up with the pen.
198 Lion attacking buffalo (1895).
Original lithographic drawing in wash, pen, and
crayon, on prepared paper. This drawing, in its
present state, may be transferred to a lithographic
stone and printed from.
INDEX OF
ARTISTS REPRESENTED.
(The figures refer to the numbers of the exhibits,
not to the pages.)
ACHENBACH, A. 127.
ACHENBACH, O. 84.
Adam,V. 50, 91.
Alarmi, A. d\ See Dal-
ARMI, A.
Anastasi, A. 132.
Aubry-Lecomte. 23, 24.
Avignon, F. d\ 113, 114.
Baker, J. E. 146.
Bargue, C. 143.
Barye, A. L. 115,
Bauer, M. 177.
Baugniet, C. 87.
Bellange, H. 59.
Benassai, G. 156.
Besnard, A. 185.
Bichebois, L. P. A.
Bida, A. 119.
BODMER, K. 92, 93.
BOILLY, L. 44.
BONHEUR, R. I47, I48.
BONINGTON, R. P. 34,35.
BOULANGER, L. I33.
Bracquemond, F. 190,
191.
Brascassat, J. R. 136.
u6.
50.
Bresdin, R. 124, 125.
Buhot, F. 192.
Calame, A. 100, 101.
Cassatt, M. 179.
Chaplin, C. hi, 112.
Charlet, N. T. 39.
Chartran, T. 171.
Chauvel, T. 157-159.
Cheney, J. 47, 48.
Cheret,J. 181.
Chevallier, G. S. See
Gavarni.
Chien-Caillou. See
Bresdin, R.
Cole, J. F. 163.
Cole, T. 109.
Colin, A. M. 52.
Courbet, G. 149.
Crawley, John, Jr. 61.
Dagnan-Bouveret, P. A.
J. 182.
Dalarmi, A. 7.
Danjoy. 85.
Daumier, H. 74, 75.
David, J. 85.
72
INDEX.
D'Avignon. See Avig-
non.
Decamps, A. G. 56, 57.
Dekker, H. A. C. 121.
Delacroix, E. 40-42.
Delessard, A. 160.
Desboutin, M. 189.
Detaille, E. 173, 174.
Deveria, A. 54.
Diaz de la Pena, N.
V. 134.
Dillon, H. P. 183, 184.
Dore, G. 120.
Dupre, J. 78.
Duval & Co. 135.
Eichens, P. H. 103.
Ekeman-Allesson, L. 28.
Endicott. 61.
Engelmann, G. 18.
Fantin-Latour, H. 168-
170.
Feckert, G. 130.
Fenderich, C. 97.
Fischer, J. 5.
Frere, E. 131.
Frizzell, S. S. 151.
Gallait, L. 1 10.
Gavarni. 88-90.
Geoffroy, J. 194.
Gericault, T. 31.
Gilbert, A. 145.
Ggeneutte, N. 195.
Goya y Lucientes, F. J.
de. 38.
Grenier, F. 26.
Grevedon, H. 55.
Gros, Baron. 19.
Gudin, T. 53.
Guy, S. J. 144.
Hanfstaengl, F.
77.
3,76,
Harding, G. P. 86.
Harding, J. D. 29, 30.
Herkomer, H. 193.
Hervier, A. 123.
Hesse, H. J. 49.
Homer, W. 138, 139.
Huet, P. 80.
HULLMANDEL, C. J. 33.
ISABEY, E. 71, 72
ISABEY, J. B. 27.
Israels, J. 175.
Jacob, N. H. 2.
Jacque, C. 106, 107.
JULIEN. 108.
Kreins, H. A. 96.
Kriehuber, J. 104, 105.
Kruger, F. 36, 37.
Legros, A. 164.
Lemud, A. de. 94, 95.
Llanta, J. F. G. 102.
LOWSTADT, C. T. 32.
Lunois, A. 180.
Madou, J. B. 69.
Manet, E. 141, 142.
Massai, P. 10.
Maurin, N. E. 70.
Maurou, P. 176.
Menzel, A. 81-83.
Millet, J. F. 118.
Moran, T. 153, 154.
Mouilleron, A. 117.
Muyden, E. van. 197,198.
Nanteuil, C. 126.
Newsam, A. 63-65.
Noel, L. 62.
Odevaere, J. D. 13.
Orlowski, A. 51.
Otis, B. 22.
INDEX.
73
Peale, R. 45, 46.
Pendleton. 60.
Pettenkofer, A. 98.
Piloty, F. 9.
PlRODON, E. L. 150.
Prout, S. 25.
PUVIS DE CHAVANNES, P.
186.
R. . . II,
Raffet, A. 66-68.
Redon, O. 178.
Ribot, T. 167.
Robert, L. 58.
Robida, A. 187.
Rondel, F. 161.
Rops, F. 128, 129.
Rude, F. 79.
Sabatier, L. 137.
Sarony, N. 140.
SCHINKEL, K. F. 14.
Senefelder, A. 1-4.
Sirouy, A. 162.
Soulange-Teissier, L
E. 122.
Storm van 's Grave-
SANDE, C. I96.
SUDRE, J. P. 43.
Veith. 73.
Verboeckhoven, E. 99.
Vergnes, C. 172.
Vernet, H. 15-17.
Vernier, E. 152.
Vigneron,P. R. 20,21.
Wagenbauer, M. J. 6.
Whistler, J. A. M. 165,
166. J *
WlANELLI. 155.
WlCKENDEN, R. J. 188.
Winter, R. 8.
WlNTTER, H. E. 12.
s o 4 5 i s*