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*