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PatTAwTOGU H 


ETCHINGS 


MUSEUM OF FINE ARTS. 


(GRAY ROOM.) 


JANUARY, 1879. 





E. H. GREENLEAF, Curator Gray Engravings. 


BOSTON: 
ALFRED MUDGE & SON, PRINTERS, 
34 ScunooLn STREET. 
1870. 





REMBRANDT VAN RYN, 1608-1669. 


Sd d at 2 pies 


OWI or 


10. 


12. 
18. 


14. 


15. 


16. 
+i. 
18. 
19. 


Gray Collection of Engravings. 


Coppenol. The large portrait. Bartsch, LI. 

Cornelius Sylvius. 

The Three Trees. Brilliant impression. 

Uytenbogaert, the Gold-Weigher. First state, with 
finished face of the portrait. 

The Three Crosses. Bartsch, ILI. 

Old Man, with Large Beard and Fur Cap. 

Rembrandt and his Wife. 

Bust of Rembrandt, with Fur Cap and Robe. 

Abraham Franz. On parchment. 

Jacob lamenting the Death of Joseph. 

Descent from the Cross. <A sketch. 

The Deposition from the Cross. Bartsch, IT. 

Abraham sending away Hagar. 

Christ healing the Sick, called the Hundred Guilder 
Piece. 

Animpression not strong nor early of Bartsch’s first state of 
the plate, with a pear-shaped arch or vault in the background 
over the Saviour’s head. 


The Same. Bartsch, II. 


With additional work by Rembrandt, before the retouch by 
Capt. Baillie. The additional shading of the background covers 
the design of the arch. Brilliant impression, full of burr. 

Bartsch did not know of the first state of Claussin and Wilson, 
of which not more than eight impressions are believed to be 
known. 


Portrait of an old Woman with her Hands crossed. 
Doctor Faustus. 

Beggars at the Door of a House. 

The Good Samaritan.. 


4 


20. The Burgomaster Six. Bartsch, between I and II. 


Impression on Japan paper, with Rembrandt’s name in right- 
hand corner, and date 1647, the two middle figures of which 
are reversed. Rare and precious impression, in fine condition. 


21. Renier Ansloo. Superb impression. 

22. Rembrandt’s Mill. 

23. Jan Lutma. 

24. The Same. 

25. Death of the Virgin. 

26. Christ preaching. Called, Le petit la Tombe. 
27. Ecce Homo. First state of the finished plate. 
28. Young Man musing. 

29. The Tribute Money. 

30. Man under a Trellis. 


DAUBIGNY. 
Ate Loaned by 
31-51. Twenty Landscapes.and Frontispiece. 


Museum of Fine Arts. 
52. Landscape. Etched on collodion plate, and photo- 


graphed. J. C. Bancroft. 
53. Shepherd and Sheep. Etched on collodion 

plate. i 
54. Sheep. First state on Japan paper. C. C. Perkins. 


55. Le Buisson. After Ruysdael. Sam. P. Avery, N. Y. 
56. Landscape, with cows. Etched on collodion plate. 
J. C. Bancroft. 
JEAN FrANgOIS MILLET. 
57. Water Carrier. Etched on collodion plate. i 


58. Woman churning. H. Wunderlich & Co., N. Y. 

59. The Seamstress. Ks 

60. Man with a Wheelbarrow. sé 

61. The Wool Carder. Very rare. Superb proof on India 
paper. Sam. P. Avery.. 


62. The Spinner. First state with the star. 
H. Wunderlich & Co. 
63. Shepherdess knitting. Sam. P. Avery. 


5 


J. JACQUEMART. 


64. Fire-Arms. 

65. A Frame. 

66. The Squirrel and the Fly. 
67,65. Jewelry. 

69. Portrait of Théophile Gautier. 
70. Balzac’s Cane. 


EUGENE DELACROIX. 


70a. Panther. 
70b. Tiger. Etched on collodion plate. 


CH. COURTRY. 
71. Portrait of Carolus Duran. 


COROT. 
72,73. Landscapes. 
TH. ROSSEAU. 
74, Plateau de Belle Croix. 
75. Chéne de Roche. 
76. Landscape. 


sels) eh» LAESSOT. 
77. Girl Asleep. 
BRACQUEMOND. 


Loaned by 
C. C. Perkins. 


Sam. P. Avery. 


66 


C. C. Perkins. 
J.C. Bancroft. 


BoP Avery: 


Etched on collodion plate. J.C. Bancroft. 


Sede > A ete 


78. Portrait of Daubigny. First state, ten im- 


pressions only. 


79. Portrait of Méryon, fromlife. Plate destroyed. 


80. Le Haut d’un Battant de porte. 
81. Landscape. After Corot. 
82. Les Canards ont bien passés. 


CH. Mé&ryon. 
83. Bain-froid Chevrier. 
84. Coat of Arms of the City of Paris. 
85. Moliéere’s Tomb. 
86. Entrée du Convent des Capucines. 
87. Rue des Toiles, Bourges. 
88. Tourelle, dite de Marat. 


66 


C. C. Perkins. 


66 


H. Wunderlich & Co. 


C. C. Perkins. 


66 


S. P. Avery. 


H. Wunderlich & Co. 


S. P. Avery. 


89. 


90. 


91. 


92. 


93. 
94. 
95. 
96. 


‘97. 

98. 

99. 
100. 
101. 
102. 
103. 
104. 
105. 
106. 
107. 
108. 
109. 
110. 
111. 


6 
Loaned by 
Portrait of M. Lecomte. After S. Boulanger. 
H. Wunderlich & Co. 
Paris in Seventeenth Century. Left Bank 
of the Seine, between the Pont Notre 
Dame and the Pont au Change. . 
Bird’s Eye View of College Henry IV, Lycée Napo- 
leon. Unfinished plate. With steamboat. 
S. P. Avery. 
Bird’s Eye View of College Henry IV, Lycée Na- 
poleon. Taken from the Pantheon. Finished 


plate. H. Wunderlich & Co. 
Pavilion de Mademoiselle, after Zeeman. ie 
Le Grand Chatelet. After design of 1780. ‘‘ 
Rue des Chantres, Paris, 1862. se 


Portrait of himself, 1854, with the inscription, 
‘* Messire Bracquemond 
A peint en cette image 
Le sombre Méryon 
Au grotesque visage.’’ 


C. C. Parking 


Eaux Fortes de Paris, par Méryon. is 
L’ Arche du Pont Notre Dame. * af 
Le Pont au Change vers 1784, d’aprés Nicolle. ‘ 
Pont Neuf. 6 
Le Stryge. ts 
La Galerie de Notre Dame. se 
Pauvre Pompe Notre Dame. uf 
Rue des Mauvais Garcons. a 
La Rue de la Tixéranderie. tf 
Les Tours de Notre Dame. % 
Saint Etienne du Mont. - 
Le Pont au Change. eS 
La Morgue. i 
La Pompe Notre Dame. es 
L’ Abside de Notre Dame. * 


All the preceding etchings are very early and exquisite im- 
pressions. A paper on “ Méryon, and Méryon’s Paris,” by F. 


112. 


113. 
114. 


115. 
116. 


117. 


118. 


ano, 
120. 
121. 


122. 
123. 
124. 


125. 


126. 
127. 
128. 


129. 
130. 


7 


Loaned by 


Br eecors, may be found in the ‘‘ Nineteenth Century,”’ for May, 
1878. Inthe “Gazette des Beaux Arts,’”’ Vols. XIV and XV, 
1863, is a catalogue of Méryon’s work, by M. Philip Burty. 


A. VALLON. 


Landscape. S. P. Avery. 


J. VEYRASSAT. 
Harvesting. 
Portrait of his Mother. 


LEYS. 
Church Mass. 
The Procession. 


GEROME. 
Eastern Study. 


LL. FLAMENG. 


Portrait of Seymour Haden. On parchment. 
Unique. 


Saskia (after Rembrandt). Dry-point margin. 
Portrait of J. A. Ingres. Dry-point margin. 


sy of Delatre. Plate destroyed. Six 
impressions only taken. 
y of Méryon when mad. 
Croquis d’aprés Nature et d’aprés les maitres. 


The Night Watch (after Rembrandt). C.C. Perkins. 


F. WALKER. 


Boy and Blind Man. S. P. Avery. 


D. WILKIE. 


Seat of Hands. Very rare. 
Cottage Door. 
Study of Heads. Rare. 


P. G. HAMMERTON. 


Study of Driftwood. 
Last Year’s Leaves. 


8 


Loaned by 
FRANCIS SEYMOUR HADEN. 


One set of twenty-five etchings, entitled ‘* Etudes 4 )’Eau- 
forte par Francis Seymour Haden.’”’ Published Paris and 


London, 1866 (131-155): — ~ Gray Collection. 
131. Sunset in an Irish Park. 4 
132. Thomas Haden. After Wright of Derby. bis 
133. Entrance of the Chateau of Mytton. uy 
134. Evening. ce 
135. Duck Pond. = 
136. House of the Blacksmith, Benj. Davis. es 
137. View taken from Seymour Haden’s House. 
138. Fulham on the Thames. oe 
139. The Thames at Battersea. rae 
140. Promenade along the Shore. de 
141. Sunset on the Thames. 
142. Lord Harrington’s House. i 
143. Shepperton on the Thames. ‘~ 
144, Kew on the Thames. Y 
145. Terrace at Richmond Park. a 
146. Railway Works at Brentford. - 
147. Watering-Place. ast: 
148. Village of Kidwelly. fe 
149. Chateau of Kilgaren on the Teivy. 
150. Sunrise at Cardigan. a 
151. Suburb of Old Chelsea. bs 
152. The Teivy at Newcastle in Emlyn. “ah 
158. Brentford Ferry on the Thames. 
154. Floodgates of Egham. «e 


155. Egham on the Thames. 


156. Old Chelsea Church. Trial before the plate 

was cut. S. P. Avery. 
157. Fulham on the Thames. First state. H. W. & Co. 
158. House of J. C. Horsley, R. A., at Wiiles- 

ley, Kent. On zinc. Plate destroyed. 

Proof on vellum. Rare. S. P. Avery: 
159. A By-Road in Tipperary. Extremely rare. 

Plate destroyed. “ 


160. 


161. 
162. 
163. 
164. 
165. 


166. 


167. 


168. 
169. 
170. 
171. 
172. 


173. 


174. 
175. 
176. 


iii. 


178. 


170. 
180. 
181. 
182. 
183. 


9 


Loaned by 
** Sub Tegmine Fegi.” Trial. Subsequently 
abandoned. Unpublished. S. P. Avery. 
Topsail Barges. Trial proof. e 
The Herd. Plate destroyed. re 
Fishermen on the Thames. H. W. & Co. 
Water Meadow. ve 


Breaking up of the old War-Ship Agamemnon. 
Museum of Fine Arts. 
Calais Pier. Fragment of plate in progress. 


S. P. Avery. 
Calais Pier. After Turner. Second state. 

H.W. & Co. 
The Feathers Tavern. Proof. S. P. Avery. 
The two Asses. Unpublished. Touched eon a: 
Twickenham Bushes. First state. € 
Stems. A study. Unpublished. fs 
Lady reading. (Mrs. H.) Rare; before 

much work in the background. ¢ 


TURNER. 


Etchings for the Plates of the Liber Studiorum. 


Procris and Cephalus. See ‘‘ Modern Painters,” I, pp.. 
3838-394. (With finished mezzotint.) 


C. E. Norton.. 
Blair Athol. vf 
Rivaulx Abbey. - 
AHisacus and Hesperie. See ‘‘ Modern Paint- 
ere,’ I, p. 389. sa 
Ben Arthur. See “ Modern Painters,” IV, 
p. 315. a 
Swiss Bridge, Mont St. Gothard. Por Via 
Mala. es 
Stork and Aqueduct. al 
Smugglers. a 
Dunstanborough Castle. fe 
Sea Piece. £4 


Hindoo Ablutions. 


1-12. Scenes in Brittany. 


184. 


185. 
186. 
AST. 
188. 
189. 
— 190. 
I9t. 
192. 
193. 
194. 
195. 
£96. 


197. 
198. 
199. 
200. 
201. 
202. 
203. 
204. 
205. 
206. 
207. 
208. 
209. 
210. 
ail. 


ae 


jt bs 


10 


JAMES WHISTLER. 


Loaned by 


Born, Lowell, Mass.; resides in London. 


Superb proof impressions of this 


artist’s first set of etchings, entitled ‘‘ Douze 
eaux fortes aprés nature,’’ par James Whistler. 
Dedicated ‘‘a mon vieil ami, Seymour Haden ” 


(afterwards his brother-in-law). 


Title-Page. L’Artist at les Gamins en Brétagne. 
Messrs. Doll & Richards. 


. Liverdun. 

. En plein soleil. 

The Unsafe Tenement. 
La Mere Gerard. 

. Street at Saverne. 

. Little Arthur. 

La Vielle aux Loques. 
La Rétameuse. 

. La Marchande de Moutarde. 
. Fumette. 

. The Kitchen. 

. Annie. 


DF OO DNS OF HW DH 


Figures near a lake, two impressions. 


Portrait of Whistler. 
Weary. 

Female figure. 
Arthur Seymour. 

A Young lady. 

The Piano. 

Speke Hall. 

Riault (portrait). 
Mile. Finette. 
Liverpool. — 

Delatre (portrait). 
Limehouse Wharf. 
The Rag Shop (before the figure). 
La Mére Gerard. 


&o 


6¢ 


S. P. Avery. 
C. E. Norton. 


Gb 


S. P. Avery. 


66 


66 


H. Wunderlich. 
8. P. Avery. 


6 


H. Wunderlich. 


66 


§S. P. Avery. 


212. 
213. 
214. 
215. 
216. 
217. 


11 


La Soupe 4 trois sous. 
Pothouse on Thames. 
Towards Thames Tunnel. 
Early Sketches. 

St. James St. 

Portrait. 


_ Loaned by 
C. E. Norton. 


66 


Excessively rare. ‘ 


Gray Collection. 
H. Wunderlich. 
S. P. Avery. 


Sixteen Hichings of Scenes on the Thames, and other subjects. 


218. 
219. 
220. 
221. 
222. 
223. 
224, 
225. 
226. 
227. 
228. 
229. 
230. 
23 L. 
232. 
233. 
234. 


235. 


236. 
237. 
238. 
239. 
240. 


241. 
242. 
243. 


Black Lion Wharf. 

The Forge. First state. 
‘ aS Second state. 

Old Westminster Bridge. 

Wapping Wharf. 

Old Hungerford Bridge. 

The Pool. 

Thames Warehouses. 

Wapping. 

The Little Pool. 

Eagle Wharf. 

Lime House. 

The Fiddler. 

The Lime Burners. 

Milbank. 

Battersea. 

Chelsea Bridge. 


R. SWAIN GIFFORD. 


4. On the Lagoon, Venice. 
state. 


C. E. Norton. 
Gray Collection. 
C. E. Norton. 
Gray Collection. 

66 
C. E. Norton. 
Gray Collection. 
C. E. Norton. 

66 

66 


66 


H. Wunderlich. 
C. E. Norton. 


6¢ 


Gray Collection. 
14 


First proof of second 


The Artist. 


6. Padanaram Salt Works. First proof. a 


5. Dartmouth Salt Works. 
3. Old Tree in Swamp at Nonquitt. 
1. The Hayrick. 
2. Nonquitt. 
AvuG. DELATRE. 
Landscape. 
Croquis. 
Ruins of a Chateau. 


‘244, 


(245. 


"246. 


“247. 


‘248. 


‘249, 


"250. 
"251. 

252. 
293. 
254. 


256. 
256a. 


O57, 
O58. 
259. 
260. 
261. 
262. 


12 


Loaned by 
MICHELIN. 
Brookside. Very rare proof before the sky, 
etc. | S:P. Avery. 
ALMA TADEMA. 
A Fantasy. 6 
C. Riport. 
Portrait of Vallon. 4 
DIAz. 
Valley of the Solle. te 
MANET. 
The Young Page. $6 
E. DETAILLE. 
Essai 4 1’Kau-forte. Unpublished. 4 
MAXIME LALANNE. 
Rue des Marmousets, Vieux Paris. C. C. Perkins. 
Moliére’s House. Very rare proof. Sam. P. Avery. 
Trees and Water. Artist’s proof.- = 
Two Landscapes on same Sheet. C. C. Perkins. 
Richmond-on-the-Thames. Selected proof. 
Sam. P. Avery. 
Le Grand Chatelet. Artist’s proof, before 
the cutting of the copper. “ 
Only three impressions of this state. 
Street in an Old Town. Artist’s proof. - 
A Concarneau. W. R. Ware. 
APPIAN. 
A Gorge de Loup, environs de Lyon. C. C. Perkins. 
Chemin de Roches, environs de Creys. UE hs 
River Scene. | Sam. P. Avery. 
Coast View. as 
Return from Fishing. H. Wunderlich & Co. 


St. Remo. 6c 


263. 


264. 
265. 
266. 
267. 
268. 
269. 
270. 
271. 
272. 


One 


273. 
274. 
275. 
276. 
277. 
278. 
279. 
280. 
281. 


282. 


283. 
284. 


285. 
286. 


287. 


13 


Loaned by 
J. A. MITCHELL. 


The Grand Opera, Paris. S. A. Witherell. 


One set of nine Etchings, ‘‘ Fugitive Sketches.” 
Title-Page. 
On the Stage at the Grand Opera. 
Babes in the Wood. 
Omnibus Passengers. 
Dangerous: Passing. 
Jealousy. 
A Poor Relation. 
Asking Papa. 
A Friend in Need. 


set of nine Htchings, *‘ A travers  Haposition,” lent by 
F. M. Howe. | 

Le Premier Coup d’ceil. 

Souvenir de la Rue des Nations. 

Le Repos. 

Un Egaré. 

Une Erreur. 

Une Bourrasque sur le Pont de Jena. 

Sous la Cascade. 

Section d’ Alimentation. 

Le Retour de |’Exposition. 


CANALETTO. 
The Bridge at Dresden. Gray Collection. 


W. Wootterr & Pouncy. 
Landscape. After Wilson. C. C. Perkins. 


66 66 66 


CH. CHAPLIN. 


Rubens’s Wife. After Rubens. C. C. Perkins. 
Death. After Decamps. J. C. Bancroft. 
GALLAIT. 


Woman and Child. S. P. Avery. 


288. 


289. 

290. 
291. 
292. 


293. 
294. 
295. 
296. 
297. 


298. 


299. 
300. 


301. 


302. 


14 


Loaned by 
BRASCASSAT. 
Sheep and Wolf. First state. S. P. Avery. 
DELAUNAY. 
Harfleur. C. E. Norton. 
Church of St. Pierre & Caen. A 
Wood Interior. Gilbert Attwood. 
66 66 
RAJON. 
Portrait of Darwin. After Ouless. C. E. Norton. 
a of J.S. Mill. After Watts. 
‘¢ of Carlyle. H. Wunderlich & Co. 
oh of Susanna Rose. S. PadvAverys 
‘¢ of Bracquemond. After the artist. 
Ce 
The old Temeraire. After Turner. 7 
GAILLARD. 
Madonna and Child. Etching reinforced by lines of 
the graver. C. E. Norton. 
A. WATERLOO. 
Landscape. M. Oudinot. 
Landscape after Ruysdael. + 
SALVATOR ROSA. 
Democritus meditating. s 
H. VAN SWANEVELT. 
Rest in Egypt. A 
K. DUJARDIN. 
The Two Asses. bie 
A Sheep lying before a Fence. Gray Collection. 


Three Pigs lying before a Sty. oy 


15 


RUYSDAEL. 
307. Little Bridge. 
308. Cottage on a Hill. 
| GUIDO RENI. 
399. Holy Family. 
310. The Alms of St. Roch. 
STEFANO DELLA BELLA. 
311. Landscape. 


312-319. Suite of eight Military Views. 
320-322. Three Landscapes. 


: : HUET. 
323, 324. Two Landscapes. 


A. VAN OSTADE. 


325. Woman spinning in Front of a House. 


326. <A Bridge. 
PERELLE. 
327. Landscape with Figures. 


MARTIAL. 


Loaned by 
Gray Collection, 


66 


¢¢ 


6¢ 


M. Oudinot. 


66 ; 


328-332. Lettre sur les Elements de la Gravure 4 I’ Eau- 


forte. 


A. LEGROS. 


C. C. Perkins. 


833. Portrait of Aug. Delatre. Only fifteen impressions 


taken. 


S. P. Avery. 


334. Portrait of Carlyle. Very beautiful proof. < 


FREDERICK WILLIAM III, KING OF PRUSSIA. 


335. A Pack-Horse. Amateur etching. 


L. COUTURIER. 
336. La Patrouille. 


E. YON. 
337. Vue prise aux Buttes Montmartre. 


Gray Collection. 


W. R. Ware. 


66 


338. 
338a. 


339. 
340. 


341. 


342. 


343. 


344, 
345. 
346. 
347. 
348. 
349. 
30). 
351. 


352. 
353. 
354. 
355. 
356. 
357. 
358. 


359. 


16 


A. TATI&E. 
Paris en train. 
Antwerp. After de Blois. 


A. CARACCI. 


Holy Family of Year 1590. 
Madonna with Porringer. 


Cow and Sheep. 


Shepherd playing on Flute. 


F. BOUCHER. 
Landscape. 


Sir ANTHONY VYVANDYCK. 


I. de Momper, painter. 

Petrus Breughel, painter. 

Portrait of J. Snellinx, painter. 

A. van Noort, painter. 

Portrait of Franciscus Franck, painter. 
Johannes Breughel, painter. 

Erasmus of Rotterdam. 

Portrait of I. Suttermans, painter. 


Loaned by 


W.R. Ware. 
F. B. de Blois. 


Gray Collection. 


6e 


M. Oudinot. 


66 


Gray Collection. 


66 
66 


a9 


CLAUDE GELKE. (called Le Lorrain). 


The Dance under the Trees. 

Le passage du Gué. 

The Wooden Bridge. 

Le Porte de Mer 4 la Grosse Tour. 
Le Bouvier. 

The Goatherd. 

The Robbers. 


JAN CHALON. 


Gray Collection. 


66 


An aged Lady reading. After Rembrandt. 


Gray Collection 


17 


‘ Loaned by 
CILARLES JACQUES. 
360. Le Matin. . C. C. Perkins. 
361. Landscape after Rembrandt. - 
362. Violoncello Player. J. C. Bancroft. 
363. Pigs. 66 
364. Bugle Boy. th 
365. Windmills. } be 
366. La Rentrée. C. C. Perkins. 
367. Sheep and Shepherd. “i 
A. MASSON. 
368. The Gleaners. After J. F. Millet. J.C Bancroft. 
R. REDGRAVE. © 
369. The Silver Thames. S. P. Avery. 
| B. Bossi. 
370-381. Twelve Heads. Gray Collection. 
BERGHEM. 
882. Crossing a Brook. ot 
J. DE FREY. 
383. The Hermit. After Brekelenkamp. ee 
RETZSCH. 
384. The Chess-Players. ae 
385. Venus and Cupid. ts 
386. Catching a Butterfly. 7 
DESBOUTIN. 
387. Portrait of Lepic. 5. 1. Aver. 
388. Monk reading. C. C. Perkins. 
389. Adoration of the Shepherds. zs 


L. LE COUTEUX. 


390. General Prim. After H. Regnault. 
H. Wunderlich & Co. 


F. B. DE BLOIS. 


391, 392. Two Game Pieces. After the Artist. 
F. B. de Blois. 


13 


Dr. L. M. YALE, President of the N. Y. Etching Club. 


393. 
394. 
395. 
396. 
397. 
398. 
399. 
400. 
401. 


403. 
404. 


405. 
406. 


407. 


408. 
409. 
410. 
411. 


412. 


A. Portrait. 


Sketch from Nature. _ 
Poplars at Kew Bridge. 

A Gate of Canterbury Close. 
Seaside Cliff. 

“The Happy Autumn Fields.” 
At Larchmont Manor. 

Sketch from Nature. 

Hunter’s Point. 


The Council of Amsterdam. 


Etched plate prepared for burin finish. 


C. C. PERKINS. 


Plate XXII, for Tuscan Sculptors. 


Le Manoird’Ango. First proof. 


BARYE. 
Stag and Lynx. 


F.- J. COLLIGNON. 


Pigs. After Decamps. 


J. DUPRE. 
Shepherd. 
FERDINAND Bou. 
Man with a Feather Cap. 
The Officer. 
Man with his Feather in his Cap. 
Woman with a Pear. 


R. SCHICK. 
The Last Chord. After Bocklin. 


Leaned by 
The Artist. ~ 


C. C. Perkins. 


The Artist. 


66 


S. P..AVverg. 
J. C. Bancroft. 


C. C. Perkins. 


Gray Collection. 


66 


H. Wunderlich. 
Gray Collection. 


S. Baxter. 


413. 
414. 


415. 
416. 
417. 
418. 
419. 


420. 
420a. 


421. 


422. 


423. 


424. 
425. 


426. 
427. 


428, 


429. 


19 


Loaned by 
ISRAELS. 
The Artist’s Mother. So A Vely. 
Boy in a Chair. eg 
VALERIO. 
Etudes des Saules. C. C. Perkins. 
Berger slovaque. xf 


Juharz des bords de la Korés. Third state. ‘* 
4 ) eg Fourth state. ‘* 

Forgeron tsiganes des Montagnes. Second state. 
6¢ 


“ “ Third state. “ 


The Captive. ss 
FORTUNY. | | 
Portrait of Zamacois. First state, two impressions 
only. Plate lost.  §. P. Avery. 
Cu. BELLAY. xe it 
Portrait of Paul Baudry. | bs 
A. LEROY. 
Holy Family. After Raphael. | C. C. Perkins. 
MEISSONNIER. 
Group from Rabelais. gE S.2Pe Avery 


Man writing and Soldier standing. 


CH. DE GRAVESENDE. 


Return from Fishing. S. P. Averye 
Port of Honfleur. . y 


ACHILLE BENOUILLE. . 
Pond ina Wood. Etched on glass. C. C. Perkins. 


PoTkEMONI. 


Etang de la Canau (Gironde). _C. C. Perkins. 


430. 
431. 


434. 


435. 


436. 
437. 
438. 
439. 
440. 
441. 


y eee 
ae” 


20 
Loaned by 
A. POTEMONT. 
Place du Carrousel and Tuileries. W. R. Ware. 
Jardin des Tuileries. a 


COINDRE. 


Besan¢on. " 


W ALTNER. 


Portrait of Spanish Lady. After H. Regnault. 
. Doll & Richards. 


A. CHARREYRE.- 
Eece Homo. After Rembrandt. H. Wunderlich & Co. 


GEORGE SNELL. 
Lillebonne in Normandy. George Snell. 


JAMES D. SMILLIE (of New York). 


Hayricks. The Artist. 
Cedars near Poughkeepsie (on zinc). . 
Near Salt Lake City. * 
Near Poughkeepsie. ‘s 
The Farm Lane. br 


Chewing the Cud. a 








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