Henri Pène du Bois.

The library and art collection of Henry de Pène du Bois, of New York online

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imperfect proofs of some of the plates). Large 4to, sewed,
uncut, as issued. N. Y., Brentano Brothers, n. d.

No. I of limited edition issued at some $25.00 to subscribers only.

The Count de Vermont, who is an old French army officer and a member of
the " Noblesse de France," has been settled for some time in this country. He


treats the coatsof-anns of American families from altogether different stand-
points from either that of the late Albert Welles, of the American College of
Heraldry, or from that of the New York World's Special Heraldic Commissioner
who wrote up the " Blue Blood of Europe " and the " American Shoddyocracy. "
The Count has admitted no coat-of-arms in his book but what has been endorsed
by European authorities and American works of repute.

1867 ViELLOT (L. P.) rfOuDART (M. P). La Galerie des Oiseaux.

Illustrated with nearly t^^o plates of birds. 2 vols. 4to, cloth.

Paris, 1834

1868 ViLLEMAiN (A. F.). Etudes d'Histoire Moderne. Small

8vo, half calf, gilt. Paris, 1857

1869 Violet (The). With steel engravings. Small 8vo, roan,

gilt edges. N. Y., Leavitt &= Allen, n. d.

1870 Ward (Elijah). Speeches on Commercial, Financial and

other Subjects. Portrait. 8vo, cloth. N. Y., 1877

187 1 WASHINGTON (George).- A Message from the Presi-

dent OF THE United States of America to Congress
RELATIVE to Fkance AND Great BRITAIN, delivered
December 5th, 1793, with the papers therein referred to.
8vo, sheep (binding broken). Rare.

VhWa.., published by order of the House of

Representatives, 1793

1872 WASHINGTON. A Message from the President of

the United States of America to Congress relative
to the French Republic, delivered January 19th, 1797,
with the papers therein referred to. 8vo, sheep (name on
title). Rare.

Phila., published by order of the House of

Representatives, 'l^q^

1873 WASHINGTON. Vie de, par David Ramsay. Portrait

<?/ Washington engraved by Maeret. iSvo, sewed, uncut.

Paris, 1809

1874 Washington and Franklin. Boyhood and Manhood of.

Illustrated. Thick i2mo, cloth. N. Y., 1876

1875 Washington. — Soldier and Patriot, the Story of George

Washington by F. M. Owen. Illustrations. lamo,
cloth. London, n. d.

1876 WEBSTER (Noah, LL.D.). American Dictionary of the

English Language, thoroughly Revised and Enlarged by
C. A. Goodrich and N. Porter. Portrait, engraved title,
colored plates of arms and flags, and numerous cuts in text.
Thick large 4to, half morocco, cloth sides, marbled edges,
with incised alphabetical ihdex on front edge.

Springfield, 1884



1877 WEBSTER. — I Dissertations | on the | English Lan-
guage: I with Notes, | Historical and Critical. | To which

an Essay on | a Re-

is added j by Way of Appendix,
formed Mode of Spelling, | with
^ Arguments on that Subject. | By NOAH WEBSTER, jun.
Esquire | . Thick small 8vo. Handsomely bound by
Emile Rousselle in crushed levant morocco, inside gold
borders, rounded corners and gilt edges.

Boston, printed at Boston, for the anthor,

byjsaiah Thomas and Company, 1789
VERY RARE and a splendid copy.

1878 WHITE (Richard Grant). "Words and their Uses "; also

" Every-Day English," Together 2 vols. Small 8vo, fresh
cloth. Boston, 1880-83

1879 Whitney (J. D.). The Metallic Wealth of the United

States, desci-ibed and compared with that of Other Coun-
tries. Large 8vo, cloth, uncut. Phila., 1854

1880 Yates (Edmund). His Recollections and Experiences.

Portrait. Small 8vo, fresh cloth, totally uncut.

London, Bentley, 1885

1881 Yriarte (Charles). Les Princes d'Orleans, preface par

Edouard Herv£. Portraits. Small 4to, sewed, uncut.

Paris, 1872
1882° Yule (George). Memory Manual. Minimo, sewed.

N. Y., 1883




IX. prints awA g^nuarelUs.

"Engraving is one of the fine arts; and in this beautiful family has been the
especial handmaiden of painting. . . . An engraving is not a copy or imitation,
as is sometimes insisted, but a translation. . . . Nor is it a mere imitation, but
as Bryant's Homer and Longfellow's Dante are presentations of the^ great
originals in another language, so is the engraving a presentation of painting in
another material which is like another language. . . . Nobody can examine a
choice print without feeling that it has a merit of its own different from any
painting. A work of Raphael, or any of the great masters, is better in an
engraving of Longhi or Morghen than in any ordinary copy, and would probably
cost more in the market. A good engraving is an undoubted work of art, but
this cannot be said of many paintings which, like Peter Pindar's razors, seem
' made only to sell.' " — Charles Sumner.

ABBEMA (Louise).

1883 "Parisienne (1886)."

ANDERLONI (Pietro, Born 1784 and Died 1849).

1884 " The Holy Family," after Raphael.

Brilliant old original impression of this beautiful print, after the
famous picture in the Stafford Gallery. In black oak frame. Pietro Anderloni
was one of the most celebrated of the pupils of Longhi, whom he succeeded as
President of the Academy of Engravers at Milan.


1885 "Fishing Boats."

This and the following numbers are all original etchings by this
master of the needle. Gold frame. P. G. Hamerton says: — " My admira-
tion for Appian's work as an etcher (he is a charming painter also) was already
great several years ago, but the more I see how rare his qualities are in contem-
porary art, or in any art, the more I feel disposed to value them. His work is
always quite easy and graceful in manner, never strained, never betraying an
effort, and it hardly ever fails to charm by a most delicate feeling for the poetry
of natural landscape."



1886 "San Remo, Italy."

Proof on Japan paper. One of the artist's large plates, and con-
sidered ONE OF HIS best.


1887 "Un Soir Bord du Rhone a Rix."

Proof on Japan paper. " Fine in feeling and quite masterly in execution.
One of those scenes which ought to make anybody a poet, at least until the
light has died out of the west, and the shining river is finally darkened for the
night. " — Hamerton.


1888 " Rocks by the River."

Proof on Japan paper.


1889 "Drawing the Net."

Proof on Japan paper.


1890 "A Path by the River."

Proof on Japan paper.


1891 "The Water Mill."

Proof on Japan paper.


1892 " The Anglers."

Proof on Japan paper.


1893 " Au Valromey."

Proof on Japan paper.


1894 "Gorge de Loupe."


1895 " A Rocky Road — Environs of Creys."

AUDOUIN (Pierre, Born 1768 and Died 1822).

1896 "La Musicienne Hollandoise," after Metzu.

AUDRAN (Benoit, "the elder," Born 1661 and Died 1721).

1897 " JfeAN B artiste Colbert," after Lefebvre.

Benoit Audran was the pupil of his father and also of his uncle, the celebrated
Gerard Audran. He engraved several fine portraits which have justly estab-
lished his reputation. His style is bold and clear, his drawing is correct ; and
there is a fine expression' of cliaracter in his heads. This portrait of Colbert is
considered to be one of his best plates.



1898 "Landscape."

Original etching.


1899 " A Street Scene at Rouen."

Original etching. Fine proof on Japan paper.

BAQUOY (Jean Charles, Born 172 1 and Died 1777).

1900 " The Death of Adonis," after Poussin.

BARRY (Auguste, Born 1836 and Died 1886).
1900* "Dominie Sampson."
Proof on Japan paper, slightly unfinished. Au^ste Bany was of
French extraction and inherited the artistic tastes of his race. Bred a marble-
cutter, he followed that occupation for many years, when the almost general use
of granite for monumental inscriptions compelled him to seek some other
means of livelihood. He turned his attention to etching, which he practised for
some fourteen years before his death. Possessed of but little originality, he
developed a marvelous aptitude for reproducing the work of others. Some of
his copies of Seymour-Haden, Cruikshank, Worlidge, etc, , are marvels of pains-
taking care and accuracy, He was a most industrious worker, producing from
first to last some eight to nine hundred plates.


1901 " Only for Friends," after Lossow.

Proof on Japan paper.


1901* "Cupid and Venus," after Lossow.
Proof on Japan paper.


1902 " Roger Payne, the famous London Bookbinder."
Working proof on India paper, slightly unfinished.


1903 " The Love Letter," after Bunbury.

Fine old impression, engraved in stipple after the manner of Bar-


BARTOLOZZI (Francesco, Born 1727 and Died 1815).

1904 " Cupid Crowning a Young Girl with Flowers,"
after Guercino.

This and the lots following by Bartolozzi, are all fine old impres-
sions. Ebony frartie.

" Bartolozzi's engravings have litefally had their ups and downs: first ascend-
ing to the drawing-room, later climbing to the bed-room, and eventually to the
attic or lumber-room, where they remained half or perhaps wholly forgotten,
until a revival of the taste for. his fine work brought them down by the same
stages to the drawing-room and boudoir. That they never again will be' skyed '
is tolerably certain."^TuER.



1905 " Mother and Child," after Peregrini.


1906 "Children at Play," after Guercino.


1907 "The Holy Family," after Guercino.


1908 " Bandits," after Guercino. (2)


1909 "A Sacrifice," after Guercino.


1910 " A Warrior," after Guercino.


1911 "Reapers at Damvillers, Department of the


Okiginal etching by the famous pupil of Cabanel. Proof on India


191 2 " The Return from the Fields."

Original painter's etching. Proof before letters on Japanese paper .
Gold frame.

BAUDET (Etienne, Born 1636 and Died 171 1).

1913 " The Tribute Money," after Valentine.

BAUDOUIN (Pierre Antoine, Born 1723 and Died 1769).

1914 "The Toilet."

Curious and rare eighteenth century stipple engraving. Printed-
IN COLORS. White and gold frame.


1915 " The Gate of Heaven ''; " The Angel of Hope";
" The Star of the Morning "; and " The Angel of
Consolation," after Claude Jacquand. (4)

Proofs on India paper.

BEAUV.<^RLET (Jacques Firmin, Born 1731 and Died 1797).

igi6 "Edme Bouchardon, Sculptor to the King,'' after


Fine. Engraved by the artist for his reception piece at the Acad-
emy, in 1776.'



1917 "The Fox Disturbed,'' after Oudray; "A Day's
Sport," after Huet. (2)

A pair' of fine sporting subjects by this excellent engraver. Brilliant old im-
pressions, neatly framed.

BEGA (Cornelis Pietersz, Born 1620 and Died 1664).

1918 " Peasant Woman Going to Market."
Originai. etching by this Master. Bartsch 18.

BEHAM (Hans Sebald, Born 1500 and Died 1549).

1919 "Pacientia."

This is a brilliant impression, and a fine original specimen, neatly framed, of
the famous " Little Master." It is dated 1540, and inscribed " Sebaldus Beham
Pictor Norcus Faciebat." Dr. Adolf Rosenberg, in his able Essay on the
German Little Masters, says : — "As a draughtsman he (Behara) stands at the
head of all the imitators of his model and teacher, the great Durer, whilst as a
copper-plate engraver he even surpasses him in the tenderness and delicacy of
his technical treatment, as well as in his artfstic feeling. In the execution of
form and outline he also displays a better and more delicate taste."

A fac-simile of this print will be found at the commencement of this division.


1920 "A March of Soldiers.''

Rare. A very large woodcTjt, 57 x i2>^, in fine preservation. This



192 1 " The Bath, many Women and Children Bathing."

Large woodcut (round). Bartsch 83.


1921* "Six Women Bathing, a Man observing them
through an open window."

Large woodcut. Bartsch 80.

BEISSON (Francis Joseph Etienne, Died 1820).

1922 "Venus " after Titian.

Proof before letters. Of this famous picture it is related that when
Phillip 11. heard that the Palace of the Prado was burned, he earnestly de-
manded if the Titian Venus had escaped destruction, and on being informed
that it was one of the few that had been saved, he exclaimed, ' ' Then every other
loss may be supported." This print was commenced by Beisson and finished
by Le Bas.

BELLOWS (Albert F.).

1923 " Going to Church — Sunday Morning."

A pencil sketch, neatly framed, by this celebrated aquarellist. "Bellows'
soft river-banks, his trees trembling with light, and the quiet skies of Summer
have long made his paintings loved, and they have also served to develop the
taste for water-colors among us." — London Art Journal.


BERGHEM (Nicholas, Born 1620, Died 1683).

1924 "Sheep and Lambs."

Original etching. Bartsch No. 42.

" The great industry of Berghetn, and his accurate Icnowledge of cattle, give
him a certain firmness and precision with the point, which are amongst the
chief reasons for his reputation as an etcher." — P. G. Hamerton.


1925 " Will She Come ?"

Original etching. Proof before letters, on India paper.

BERVIC (Charles Clement, Born 1756 and Died 1822).

1926 " The Education of Achilles,'' after Regnault.

A fine old impression of this beautiful and celebrated print in oak frame, gilt
in the grain. Bervic,the most eminent of modern French engravers, was a pupil
of the famous J. G. Wille, but he early emancipated himself from that master's
peculiar style. A portrait which he executed in 1783 first revealed the power
which Bervic possessed of freeing himself from the influences of his early educa-
tion and of rendering most fully and characteristically the varied details of his
subject. This talent soon met with its due reward. In 17S4 he was elected a
member of the Academy. Sovereigns and nations hastened to do homage to his
talents. Louis XVI. gave him the apartments in the Louvre which had been
vacant since the death of the painter Lepicie. The Order of the Reunion was
conferred upon him in 1813, and the Legion of Honor in 1819. Most of the
academies of Europe enrolled liim among their members, and he became a
member of the Institute of France. He established a school of engraving, in
which his constant aim was to warn his pupi's against the baneful influence of
servile imitation, and guide each one accordipfj to the bent of his own individual
genius. Toschi and Dupont, both famous engravers, were his scholars."


1927 " Louis XVI.," after Callet.

A brilliant impression of (his celebrated plate before the plate was broken,
finely framed in oak, gilt. Robert E. Graves, of the British Museum, writes: —
"The full-length portrait of Louis XVI. in his coronation robes, after the
portrait by Callet at Versailles, established the reputation which Bervic had
obtained by the wonderful brilliancy and softness with which he reproduced in
black and white the diverse tones and textures indicated in painting by the aid
of color."

Bervic was a revolutionist of an advanced type, and at one of the meetings of
the " Societe Populaire des Arts" he broke this plate, and tore in halves all the
proofs of it which he possessed. The plate has since been repaired by Challet,
and later impressions taken from it. These, however, are of no great value com-
pared with the impression described above.

BETTELINI (Pietro, Born 1763 and Died 1828).

1928 " David," after Zampieri.

" Bettelini was an eminent Italian engraver. He early received instruction
Irom Gandolphi and Bartolozzi, but in his later works he inclined more to the
style of Raphael Morghen. He is particularly happy ir) his transcripts of light
and elegant forms, and enters with much taste and spirit into the subject he
copies. He does not aim at producing brilliant effects, but exercises his graver
with care and delicacy, corresponding with the style of the original picture.
He was lield in high estimation by Thorwaldsen, who employed him to engrave
some of his finest works."— Bryan.



1929 " St. John," after Domenichino.

Proof before all letters.


1930 " St. Sophia," after Domenichino.

Proof before all letters.


1 93 1 "The Amateur Artist," after Meissonier.
Beautiful proof before letters on Japan paper.

BLANC (Charles).

1932 "The Chevalier," after Meissonier.

Proof on India paper. Etched by Charles Blanc, the celebrated
art critic, and signed by him with the needle. ■ ,


1933 " Mirabeau replying to the Marquis de Breze.''

Original etching. An admirable specimen of modern "dry point."
Artist's proof on Japan paper, signed; in fine carved oak frame, with deep
French mat.

This spirited etching represents the well-known incident which occurred just
before the founding of the National Assembly. The occasion was the famous
sitting of the " Tiers-Etat," June 23d, 1789, when the Deputies were ordered
by the King to disperse. The noblesse and the majority of the clergy
departed, but the commons still lingered in uncertainty, and Mirabeau began to
address them on the mission with which they were-intrusted by the nation. At
this moment he was interrupted by the entrance of the Marquis de Breze, hat on
head, representing the " divine right " of his royal master.

The King's Master of Ceremonies immediately begged permission to remind
the meeting of the monarch's command. The orator turned upon him with the
gaze of a lion — " Go tell your master," said he, "that we are here by the will
of the people, and no power but the force of bayonets shall drive us hence."
This is the moment chpsen by the artist for his very graphic illustration.


1934 " Jean-Francois Millet."

Original etching. Proof before letters on India paper. A life-
like portrait of the great painter.


1935 "The Morning Salutation."

A proof on Japan paper of an original etching by this artist, neatly
framed. It represents a young and beautiful woman just risen from her couch,
a wrapper thrown loosely around her — discovering the charms which it is
intended to conceal. She is about to fondle her pet, a magnificent specimen
of the parrot tribe, who appears to reciprocate the affection of his mistress.


BONNET (Louis Marin, Born 1743 and Died 1793).

1936 " Head of a Young Girl," after Boucher.

Neatly framed — one of the rare old fac-similes of Boucher's chalk drawing,
executed by Bonnet on copper with such fidelity that, take away the margin, it
would be extremely difficult for even experts to tell the difference between the
original and the copy.


1937 " A Brilliant Sunset."

Original etching, proof on satin, one of a few impressions only in
this state.

BOUCHER (Francois, Born 1703 and Died 1770).

1938 " Venus and Cupid."

A fine fac-simile of a chalk drawing by this celebrated delineator of the nude
feminine form.


1939 '• A Young Girl Bathing."

Another nude'study after this artist, similar to the previous lot.

BOUILLIARD (Jacques, Born 1744 and Died 1806).

1940 " Daphne and Apollo," after Vanloo.

Brilliant open letter proof.


1 941 " Love Mending his Bow," after Mazzola.

BRACQUEMOND (Felix, Born 1833).

1942 "Wild Ducks''

Original ETCHING. Proof on Japan paper. Rare. Hamerton writes: —
"If M . Bracquemond had pursued etching regularly there can be little doubt
that he would have taken a decided rank amongst the best etchers of the age.
Unfortunately, however, for this particular branch of art, he accepted an
engagement at Sevres, which has since occupied all his time "

Emile Bergerat is still more enthusiastic in his praise. He says: — "He
(Bracquemond) stands, by good right, as an etcher hors ligne, having no worthy
rival except Jules Jacquemart. A proof of a plate by Bracquemond is ^ precious
object, and sells for the highest price. The English consider them as choice
titbits, and rarely allow one to escape them when sold."


1943 "The Mirror,'' after Chaplin.

A fine specimen of Bracquemond's method of treating the female

NUDE figure.


1943* "Charles Meryon."

A characteristic and lifelike portrait of the unfortunate artist etched from life
by his friend Bracquemond in 1853. Very scarce.



1944 "A Vase with Flowers."

Original etching. Proof before letters on Holland paper.


1945 " A Yoke of Oxen," after Du Buisson.

Proof on India paper.


1945* " Jules Fleury-Husson — called Champfleury."


, 1946 " Portrait of a Young Girl."

An exquisitely finished drawing, signed by the artist, in crimson velvet and
gold frame.

BROMLEY (William, Born 1769 and Died 1842).

1947 "Boy and Tablet," after Leonardo da Vinci.

Fine old impression of this beautiful specimen of "pure line.

BROWN (John Lewis).

1948 " A Military Reconnaissance."

Original etching. Proof before letters on India paper.


1949 " Tne Funeral of Wilkie," after J. M. W. Turner.

A fine impression, neatly framed, of this spirited etching. It represents the
well-known incident of the burial of the painter Wilkie, during the night, at sea.
It has been said that Turner will live through the admirable rendering of his
pictures by the clever line engravers employed by the publishers to translate
them, but he has certainly, in later days, been as fortunate in the excellent
etchers who have chosen his works to demonstrate their powers with the needle.
Not the least of them is Brunet-Debaines, of whom Hamerton says: — "Few
etchers of the modern French school have produced such uniformly good work."


1950 "The Church of St. Mary in the Strand, London."

Original etching. Proof before letters on Japan paper. Cherry
Wood frame.

BUHOT (Felix).

1951 "Boulevard de Clichy, Paris — National FiSte,
June 30TH."

Original etching. Proof on India paper.


BURGKMAIR (Hans, Born 1473 and Died 1559)-

1952 " Marriage of the Emperor Maximilian."

Hans Burgkmair was the friend and fellow-laborer of Albert Durer in the
service of the Emperor Maximilian I. His prints are principally, if not entirely
on wood, and are designed with extraordinary spirit and fire. Indeed the endless
imagination and richness of suggestion, as well as truth to the life of his time,
and dramatic value to be found in his works, place him in the highest rank of
,the illustrative artists of the world. For a further notice of Burgkmair see
No. 75 of the Pene du Bois Collection.


1953 " Coronation of the Emperor Maximilian."

1954 " The Emperor and Empress in the Garden."
BURNAND (Eugene).

195s " A Drove of Oxen at Camargue."
Original etching. Proof before letters on India paper.

CAFFI (Cavaliere Ippolito, Born 1814 and Died 1866).

1956 " The Soldier's Promenade " and " The Devotees."

a pair (neatly framed) of original water-color drawings by this clever artist,
who, although he painted principally architectural subjects and sea pieces, was
very happy in delineations of social life. His style is much that of Gavarni at an
early {)eriod in his career — a vein of quiet humor combined with artistic excel-
lence. These two drawings are evidently from the life. The old soldier with
his two comrades — a lately joined recruit, and another who has seen some ser-
vice, are proceeding arm in-arm barrackward, after an evening's enjoyment, the
cost of which has apparently emptied all their pockets. The three old women
at church, an exquisite bit of humorous satire, insinuating that none of them
feels very happy at their devotions.

CALAMATTI (Luigi, Born 1802 and Died 1869).

1957 " Dante."

Proof before all letters.

CALAME (Alexandre, Born 1810 and Died 1864),

1958 "The Bird of Night — Owls."

A Very characteristic original study, drawn on stone by this famous artist.

CAREY (Charles.)

1959 "Awaiting an Audience," after Meissonier.

Proof before letters on Holland paper.

CARS (Laurent, Born 1699 and Died 1771).

i960 " Mlle. Clairon as Medea," after Vanloo.

This masterpiece of Vanloo's was engravedby Cars in conjunction with his

Online LibraryHenri Pène du BoisThe library and art collection of Henry de Pène du Bois, of New York → online text (page 49 of 55)