Chapter XVI: Appendix: Certain Woodcuts

Though when this volume was first planned, it was supposed that in its regular course it might embrace a chapter upon Woodcuts, mature consideration and the progress of the work revealed to me the undesirableness of treating either by my own or by a more qualified hand the theme of Woodcuts, at any important length; and in adding here a Note on certain examples of that ancient art, it is convenient that I should say plainly why the matter is left to an Appendix.

First, then, treatment exhaustive, or adequate, could only have been supplied by some one other than myself: my own knowledge of woodcuts being merely that of an outsider who cannot withhold a measure of interest from any departments of Art. To have invited the continued presence of an expert--an enthusiast in the particular thing--would have been at least to deprive the book of that unity of sentiment which comes of undivided authorship, and which even in a work of this sort may conceivably be a benefit: moreover, although a complete Guide to Old Prints must include of necessity many words about Woodcuts, it was doubtful whether the subject of “Fine Prints” involved even a mention of them. I mean, it might be argued, plausibly, that Woodcuts, however fine in their design--and the design of the giant Dürer was given to some of them--are in the very nature of things scarcely “fine” in execution. To say that the best recall the utterance of noble sentiment by rough and uncouth tongue, is not for a moment to minimise their sterling worth. Lastly, too, the collectors of them--in England at least--are scanty in the extreme. When--one may ask--do they appear at Sotheby’s? As objects of research, they seem hopelessly out of fashion. It may be that they had their day when only the Past was thought interesting. But it has been one of the objects of this book to acknowledge specially the interest of more modern achievement, and not to call contemporary genius only “talent,” until it is contemporary no longer, and, being dead--and dead long since--may be accorded its due.

But I should like to tell the beginner in the study of Prints one or two quite elementary things--as, for instance, that the best and the most numerous of old Woodcuts are German; that not a few of the earlier masters of Copperplate Engraving carried out upon the wood-block certain of their designs; that in the days of Bewick the art had a certain revival, finding itself well adapted--in book illustration at all events--to the rendering of Bewick’s homely and rustic themes. And so one might go on--but after all, Book Illustration is no part of one’s theme. Let it just be mentioned about Bewick--before we leave the English woodcuts for the earlier masters--that the rarest and in some respects the most important of his works (not, I think, the most fascinating) is the piece known as the _Chillingham Bull_. When only a few impressions had been taken from it, the original block split. Hence the print’s scarcity; and in its scarcity we see in part at least the cause of its attractiveness.

A passage in the last annual report made by Mr Sidney Colvin to the Trustees of the British Museum--in his capacity as Keeper of the Prints--reminds me of a splendid gift made lately to the nation by the munificence of Mr William Mitchell: a gift which the possession of money alone, and of a generous intention, could not have empowered him to make; only deep knowledge, and real diligence in the art of collecting, made the thing possible. Through Mr Mitchell’s gift there passes into the store-house of the Department of Prints this connoisseur’s collection of German and other Woodcuts, including a series of those by Albert Dürer, which is almost complete, and “quite unrivalled,” Mr Colvin says, “in quality and condition.” The whole array includes 1290 early woodcuts, chiefly, as will be seen, German, and constituted for the most part as follows:--104 by anonymous German artists of the fifteenth and sixteenth centuries; 151 single cuts by Albert Dürer, together with the Little Passion (set of proofs), the Life of the Virgin (first state, without text), and the Great Passion, the Life of the Virgin, and the Apocalypse (all with Latin text, edition of 1511); 63 by Hans Schaufelein, including two sets of proofs of two series of the Passion; 18 by Hans Springinklee, including 14 proofs of illustrations to “Hortulus Animæ”; 7 by Wolfgang Huber; 36 by Hans Baldung; 7 by Johann Wechtlin; 19 by Hans Sebald Beham; 43 by Lucas Cranach, including a unique impression of the St George, printed in gold on a blue ground; 60 by Albert Altdorfer; 40 by Hans Burgkmair; 313 by or attributed to Hans Holbein; 9 by Urs Graf; 12 by Heinrich Holzmüller; 14 by J. von Calcar; 5 by Jost Amman; 11 by Anton von Worms; 16 by Lucas van Leyden; 6 attributed to Geoffroy Tory; one attributed to Marie de Medicis; the large view of Venice by Jacopo de’ Barbarj, first state; 9 by Niccolò Boldrini; 5 by I.B. with the bird.

An inspection of this collection alone, in the Museum Print Room, constitutes, at first hand, an introduction to the study of an ancient, quaint, and pregnant art.

So much had I written when there came to me a note from Mr O. Gutekunst, curiously confirming, on the whole, the view that I had taken as to the small place filled by Woodcuts, generally, in the scheme of the modern collector. It is not, however, so much on this account that I print the note here, as because it contains one or two particulars--especially as to money value--not named by me, and which may be of interest. “The history of Woodcuts,” says Mr O. Gutekunst--instructing my ignorance--“begins, as you know, practically with printed books in which the woodcuts took the place of the miniatures, etc., in Manuscripts. During almost the whole of the Fifteenth Century the Woodcut was thus confined to illustration, and belongs far more to the bibliophile than to the Print-collector. _Vide ‘Biblia Pauperum’_ and similar works--in Italy, Germany, and the Netherlands--Block Books, Incunabula, etc., etc. The great period of Wood Engraving as a distinct art by itself--a then and now appreciated mode of expression of the artist--is the first half of the Sixteenth Century.” Mr Gutekunst then cites to me works by masters, some of whom have been named. “There were Dürer, Cranach, Holbein, Altdorfer, Brosamer,” he says. “Fine specimens of these men’s work, particularly portraits, and when printed in one, two, or more colours, are now, and always must have been, exceedingly rare, with prices varying from, say £20 to £80 for single very fine specimens. The decadence begins with Jost Amman, for instance, in Germany, and Andreani, say, in Italy, where the works of earlier, and more particularly the masters of the wrong half of the Sixteenth Century, were reproduced in chiar-oscuro.” With the exception perhaps of the remarkable impressions in Mr Mitchell’s collection, Mr O. Gutekunst asserts that the finest specimens always were most appreciated in Germany, and adds, “There has ever been more interest taken in Woodcuts by German collectors than by any others.”

POSTSCRIPT: 1905

I somehow omitted from the First Edition of this book the reference I ought to have made to Charles Jacque. It is not necessary to treat him at length; for, while few etchers have been more prolific, it must always be recollected that to be prolific is not to be important. It is by quality that an artist, in any Art, alone becomes important. Charles Jacque’s quality varies. Many of his etchings are merely dexterous memoranda of his pictures--done for his own service, presumably, rather than for the world. Even here, he can often be very spirited; sometimes even very desirable. He has done most vivacious _croquis_. And, for those whom the vivacious _croquis_ does not content, it should be named that he has done likewise highly serious and more obviously well considered work, full of the true pictorial quality--and done it with the force of a painting in monochrome, and with an etching’s spontaneity.

* * * * *

It happens that I have just a little amended, in the text of this volume, the reference to Maxime Lalanne. By way of exception, that reference is not now quite as it stood at first: so that perhaps it may not be necessary to say anything more of Lalanne here, except just this--inequality is his characteristic, as well as elegance. He knew his business too well ever to work unadroitly. Methods of all sorts lay at his command--I do not mean “tricks.” But what did not lie at his command, was invariable fineness or freshness of vision. That is not to be wondered at. Now, however, that we have seen, at Mr Richard Gutekunst’s, the artist’s own Collection of his etchings, we have seen for the first time what they can be--in quite perfect impressions. And the result is, that true Collectors, who hitherto have been little busied about him, will look to it that Lalanne does not remain unrepresented in their portfolios.

* * * * *

Since I made my reference to Mr D. Y. Cameron, in the text, that most serious artist has more than justified anything I may have prophesied about him. In the old spirit, yet with even more marked excellence, he has continued and extended his work; and it will not be deemed out of place for me to mention that two years ago he had done so much and so well, that I addressed myself to making a Catalogue of what he had up to that time produced. My own belief in him is made evident by recording this circumstance. And a considerable Public--now eager for his prints--shares my convictions about him.

* * * * *

Muirhead Bone, in the lines that are now being written, finds himself named for the first time in this book. Of the younger etchers, there is absolutely no one who, I do not mean as regards variety of theme, but as regards perfection and intricacy of work upon a given plate, can accomplish so much. His certain and brilliant draughtsmanship, and his skill in the _technique_ of Etching--of Dry-Point especially--have been applied chiefly to records, un-Méryon-like--that is to say, vivacious and very matter-of-fact, rather than solemn or poetic--of vanishing London. Behold his _Clare Market_. If the old “Gaiety” Theatre disappears from the Strand, Mr Muirhead Bone finds it in his heart to be consoled by a new one. And he depicts the slow departure of the old, and the up-building of the new. He, more than any one, has revealed the interest of scaffolding. But he is not always re-building. Sometimes--as in his plate called the _Shot Tower_, but really devoted, not to that only, but to Waterloo Bridge and the North Lambeth Shore--nothing is threatened. And there is a hay-mow by him, “seen” in dry-point, very much as Dewint would have seen it in Water-colour. Broad, yet extraordinarily observant, is Muirhead Bone’s work.

* * * * *

At the Annual Exhibitions of the Royal Society of Painter-Etchers, there have been noticed--since the year when _Fine Prints_ first appeared--contributions, not in the least to be despised, by Miss Constance Pott and Miss Margaret Kemp-Welch. Really, some of them--Miss Kemp-Welch’s simple _In the Marsh_, for instance--are so good that they should almost suffice to enable their authors to survive the deplorable disadvantage of being only women. Quite hopefully may one look on the artistic future of these ladies--on the public recognition of it.

* * * * *

At present, however, I find in the work of a man not yet spoken of--Mr E. Charlton--more absolute unity, without monotony of repetition--more artistic individuality, in fine. Why is it not already better known? Useless question, as far as the big Public is concerned, when people go into the Exhibition and fancy that some of the best work is the self-assertive work of Mr Brangwyn, that leaps to their eyes. The German proverb says--or Mr Robert Browning once told me that it said--“What has a cow to do with nutmegs?” And what have people who do not understand in the least the spirit of Etching, got to do with modest, thoughtful little records of harbours, quays, and all that lies about them--of warehouse, boat and barge--by this dainty, accurate draughtsman, Mr Charlton, who does not want to knock any living mortals down--metaphorically speaking--by the work of his needle, but to charm them rather, to put on them the spell, wrought on those who are worthy to receive it, by the rhythm of intricate line? The lines that delight me on a quay--in a harbour--by the sheds and steamers of Newhaven or Lymington, say--delight me yet more, because they are refined upon, in the modest etchings of Mr Charlton.

Among contemporary Frenchmen, Eugène Béjot, with his Montmartre and Seine pieces, must unquestionably be named--and some of his work possessed.

* * * * *

And now we come down to grosser matter--to questions of Price. Scattered about the volume, will be found references to prices given for noble prints--and prints not noble--and of these references some are not as representative as they were eight years ago. I will not go into great detail here; but I will say a few things. First, I will say that, broadly speaking, the tendency is towards a marked increase in money value, particularly for good work, and good original work. Some few interesting artists--it is true--scarcely hold their own. The money value of Hollars--not of late years excessive--has not materially increased. Hogarth’s prints are, I consider, quite absurdly cheap--but foolish people, not in the least particular as to the things they read, are sometimes very squeamish as to the things they see. Some Dutch etchers, not discussed much in the course of my volume, are amongst those towards whom sensible interest turns. It cannot be long before the admission is made generally, that Bega--with his truth of action and his magnificence of composition, addressed to tavern themes--is fully Ostade’s equal, and not at all his follower. Of course, the greatest Dutchman--Rembrandt--increases steadily in money value. There is no fine print by Rembrandt which--bought at the current price for it--should not be, in the phrase of stock-brokers, a very “safe lock-up.” Dürers, too, have rightly gone higher; and there must be more and more recognised the happy invention and the perfect craftsmanship of the Behams and Aldegrever.

* * * * *

Interest shifts a little in regard to the Mezzotints after Sir Joshua. The money value of his pretty women--generally of title--has been so high, that, if there is common-sense left in the land, it can scarcely get much higher; but knowing people are beginning, I believe, to buy the less celebrated women--such as the _Miss Oliver_ it may be (in the illustration to the present edition of this book)--and the finer of the mezzotint portraits of men, not only after Sir Joshua, but after Romney. Turner’s “Liber” is looking up again, and the demand for Constables--David Lucas’s smaller mezzotints--will certainly not diminish.

French Eighteenth Century Prints--whether the grave Chardins, the stately Watteaus, or the lighter records of light loves--are worth more than when I wrote eight years ago: partly because well-to-do English people of taste have now taken to buying them. As for the “coloured print”--at the best, rather dainty--it will, I trust, have had its day before long.

* * * * *

The best Modern Etching--whether English or French--is more and more valued. A set of Seymour Haden’s Paris publication, “Etudes à l’Eau Forte”--consisting of twenty-five prints, worth, eight years ago, about thirty guineas together--sells to-day for a hundred and twenty. Still more conspicuous, however, is the rise in Méryons and Whistlers. At the Wickham Flower Sale, in London, last December, Méryon’s print of the _Morgue_--a Second State--fetched £86; his _St. Etienne-du-Mont_, £58; his _Galérie de Nôtre-Dame_, £56. There was no fine _Abside_ at that Sale; but elsewhere a fine First State has fetched over £200, and a fine Second State, £140. As for Whistlers, at the Wickham Flower Sale--to take three instances of different periods in the master’s work--the _Kitchen_ went for thirty-one guineas; the _Garden_ for forty; and _Pierrot, Amsterdam_, for fifty-six.

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INDEX

_Abside de Nôtre-Dame_, 72, 73, 74

_Adam and Eve_, 144, 146, 166

_Æsacus and Hesperie_, 192

_Agamemnon_, 101, 104

Aldegrever, 15, 154, 155, 156

Altdorfer, 150, 151

_Amsterdam, View of_, 53

_Ancient Italy_, 207

_Angerton Moss_, 135

Annis, 198

Antonio da Brescia, 164

_Antwerp Cathedral_, 44, 46

_Arche du Pont Nôtre-Dame_, 72

_Arms of Paris_, 81

Armstrong, Elizabeth, 135

_Arundel_, 207

Arundel, Lord, 42

_Assemblée au Concert_, 185

_Assumption_, 164

Audran, 171

Aumüller, 150, 152, 153

Aveline, 171

Avery, Samuel, 83, 109

_Baby, The_, 234

Baccio Baldini, 161

Bacon, Sir Hickman, 69

_Les Baigneuses_, 220

_Bain Froid Chevrier_, 81

_Balcony, The_, 112

Bale, Sackville, 166

_Bal Paré, Le_, 183

Barnard, John, 38, 146

Barrett, Edward, 109

Bartolozzi, 25, 26

Bartsch, Adam, 141, 149, 163

Basire, James, 190

_Basle_, 203

Bate, Francis, 225

_Battersea Bridge_, 120

_Battersea: Dawn_, 108

_Battersea Railway Bridge_, 107

_Battersea Reach_, 103

Baudelaire, 82

Baudouin, 183, 184

_Bêcheurs, Les_, 68

Beham, Barthel, 149, 150

Beham, Hans Sebald, 149, 150, 152-154

_Beignets, Les_, 182

Béjot, Eugène, 248

Bell, Anning, 235

_Ben Arthur_, 203, 204

_Bénédicité, Le_, 179

Beraldi, 84

_Beresford, Hon. Mrs_, 218

Binck, Jacob, 149, 155

Binyon, 36

_Black Lion Wharf_, 116

Blanc, Charles, 48

Bocher, Emanuel, 179

Bolingbroke, Miss, 131, 135

Bolswert, 13

Bone, Muirhead, 246

_Bonne Mère, La_, 182

_Bonus, Ephraim_, 59

_Border Towers_, 133

_Borghese Gardens_, 129

_Bosquet de Bacchus_, 173

Boucher, François, 181, 182

Bouillon, Jules, 166, 175

_Bouvier, Le_, 38, 39, 193

Boydell, Alderman, 193

Bracquemond, 82

_Brentford Eyot_, 234

Brion, 171

_Brocca Italienne_, 89

Brooke, Stopford, 109, 145, 198, 201

Brosamer, Hans, 149

Buccleuch, Duke of, 57, 203

_Buffoon and Two Couples_, 154

Burty, P., 82, 83

_Butterflies_, 45

_Calm, A_, 203

_Camargo, Mlle._, 176

Cameron, D. Y., 133, 134

_Campo, Vaccino_, 37, 39

_Canal, The_, 56

_Carrier’s Stable_, 219

Cars, Laurent, 171, 176

_Carwardine, Mrs_, 218

_Cattle Going Home in Stormy Weather_, 37, 38

_Cecilia, Saint_, 162, 167

_C’est un Fils, Monsieur!_, 186

_Chain Pier, Brighton_, 133

_Chalice, The_, 46

_Challoner, Sir Thomas_, 46

_Champs Elysées_, 173

_Chantres Espagnols_, 127

Chardin, 18, 19, 34, 87, 177-180

Charlton, E., 247

_Charles the Fifth_, 154

_Chemise en levée_, 182

_Chiffre d’Amour_, 183

_Christ Healing the Sick_, 58

_Christ Descending into Hell_, 166

_Christopher, Saint_, 142

Cipriani, 26

_Clare Market_, 246

Clarke, Mary Constance, 201

Claude, 16, 37-39

Clausen, George, 225

Clément, 166

Clint, 198

_Clovelly_, 21, 37, 205, 206

_Coat of Arms with the Cock_, 144, 146, 147, 153

_Coat of Arms with a Skull_, 144, 146, 147

Cochin, 171

Colnaghi, 56, 59, 147, 175, 202, 219

Colvin, Sidney, 164, 243

_Combe Bottom_, 106, 107

_Communion dans l’Eglise St Médard_, 127

_Concert, Le_, 183

_Conflagration in Bordeaux_, 85

Constable, 20, 210, 211, 249

Cooke, George, 21

Cooke, William, 21

_Coppenol_, 60

Corbett, 235

_Coriolanus_, 231

Corot, 85

_Cottage with Dutch Hay Barn_, 17, 54

_Cottage with White Palings_, 53

Crepy, 173

_Crowhurst_, 196

_Crûche Cassée_, 181

_Dance of Cupids_, 166

_Dance of Damsels_, 164

_Dance by the Waterside_, 38

_Dance under the Trees_, 38, 39

_Dancing Girl_, 235

Danlos, 166, 167

Daubigny, 85

David, 187

Dawe, 198

Day, Mr Justice, 69

Dean, John, 218

_Death Surprising a Woman_, 154

Debucourt, 27

Delaborde, 164

Delâtre, 118

_Delia_, 226

Demarteau, 182

_Départ pour le Travail, Le_, 68

Deprez, 23, 58, 107

_Derby, Elizabeth, Countess of_, 218

_Désir de Plaire_, 177

Dewint, 129, 211

Diderot, 170, 181

_Directeur des Toilettes_, 185

Dowdeswell, Walter, 109

Drake, Sir William, 102, 106, 121

Drevet, 13, 214

Duflos, 182

Dumesnil, 38

Dunkarton, 198

Dunthorne, 106, 122

Duplessis, 163

Durazzo, 164

Dürer, Albert, 14, 139-147, 161

Earlom, 97, 193, 212, 213

_Early Morning_, 224

Easling, 198

East, Alfred, 135

“Eaux-Fortes sur Paris,” 77

Edelinck, 13

_Edge of the Forest_, 135

_Edge of the Moor_, 233

_Edinburgh_, 43

Eisen, 183

_Elliot, Mrs_, 218

Ellis, F. S., 118

_Embarquement pour Cythère_, 173

_Empty Pitcher_, 40

“England and Wales,” 205

_Entombment_, 166

_Entrée du Convent des Capucins_, 80

_Epées, Langues de Bœuf, Poignards_, 94

_Erasmus_, 84

_Erith Marshes_, 107

_Etienne-du-Mont, St_, 72, 76

_Étude de Jeune Fille_, 98

_Etude du Dessein_, 179

_Evening, Bosham_, 130

Faber, junior, 212

_Family, The_, 41

_Fanny Leyland_, 61, 101, 115, 121

Fantin-Latour, 222

_Farm behind Scarborough_, 128

_Farmyard with a Cock_, 192

_Farmer’s Stable_, 219

_Femme à la Tasse_, 98

_Fight for the Standard_, 154

Fisher, Richard, 38, 41, 57, 146, 153, 163

Fisher, R. C., 73

_Fishermen Going Out_, 219

_Flagellation, The_, 166

_Forge, The_, 121

_Four Naked Women_, 143

Fragonard, 182, 183

_Fribourg_, 85

_Fruit Shop_, 120

Gainsborough, 215, 217, 218

_Galérie de Nôtre-Dame_, 72

Galichon, 163

_Garden, The_, 112, 121

Geddes, 52, 66, 67

“Gemmes et Joyaux de la Couronne,” 89, 91, 97

_Genii, The Three_, 140

Girtin, 194

_Glaneuses, Les_, 68

_Gobelet d’Argent, Le_, 178

Goff, Colonel, 131-133

_Goldweigher, The_, 55

_Goldweigher’s Field_, 54, 55

Goncourt, Edmond et Jules de, 184

_Goncourt, Edmond de_, 231

Gonse, Louis, 90, 96

Goulding, 118, 232

_Grande Toilette, La_, 186

Gregory, E. J., 232

Green, Charles, 231

Green, Valentine, 218

_Greenwich, Long View of_, 45

Greuze, 19, 180, 181

_Grim Spain_, 105

Gutekunst, 41, 58, 147

Gutekunst, O., 244

Gutekunst, R., 122

_Haaring, Old_, 59

Haden, Seymour, 38, 39, 64, 100-107

Hall, Oliver, 134, 135, 233

_Halliford-on-Thames_, 66

Halsted, 201

Hamerton, P. G., 73, 107, 160, 161

Hamilton, Lady, 217

Hamilton, Dr, 216

_Haut d’un Battant de Porte, Le_, 84

Heaton, Mrs, 145

Helleu, P., 22, 98

Herkomer, 131

_Heureuse Fecondité, L’_, 182

Heywood, Rev. J. J., 43, 82

Higgins, Alfred, 69

Hill, Raven, 234

_Hind Head Hill_, 203

Hippesley, Sir John, 201

Hirsch, 82

_Hiver, L’_, 176

“Histoire de la Porcelaine,” 88, 89, 90, 95, 97

Hodges, 198

Hogarth, 18

Holbein, 57

Holford, 17, 55, 58, 166

Hollar, Wenceslaus, 36, 42-47

_Hollar_, 46

_Holy Island Cathedral_, 203

Hood, Jacomb, 135, 234

Hoppner, 215

Horne, Percy, 216

Holroyd, Charles, 128, 129

Horsburgh, 37

_Hubert, Saint_, 147

Huet, Paul, 67

Hulmandel, 229

Hume, Sir Abraham, 57

Hutchinson, 121

Huysum, Jan Van, 97

Hymans, Henri, 99

_Ile Enchantée, L’_, 174

_Incendie, L’_, 127

_Ingleborough_, 206

_In the Marsh_, 247

_Isis, Temple of_, 204

“Italy,” The, 207

_Itchen Abbas Bridge_, 133

Jacque, Charles, 245

Jacquemart, Albert, 86

Jacquemart, Jules, 86-97

_Jealousy_, 145

Jeaurat, 180

_Jeu de Cache-cache_, 176

_Jeu de l’Oye_, 179

_Jeu de Quatre Coins_, 176

_Jewish Bride, The Great_, 60

_Jonghe, Clément de_, 17, 61, 62

Joseph, Samuel, 95

_Jupiter et Léda_, 182

Kemp-Welch, Margaret, 247

Kennedy, 109, 111

Keppel, Frederick, 68, 100, 109

_King’s Lynn_, 135

_Kitchen, The_, 119

Kneller, 213

_Knight of Death, The_, 145, 147

Knowles, James, 79

Koehler, 141

Lacroix, 179

_Laitière, La_, 181

Lalanne, Maxime, 85

Lancret, 18, 175

_Landscape with a Flock of Sheep_, 56

_Landscape with an Obelisk_, 54, 56

_Landscape with a Tower_, 17

_Large “Pool,” The_, 120

Larmessin, De, 176

Lavreince, 184, 185

Lebrun, 67

_Leda_, 154

_Ledikant_, 63

Legros, Alphonse, 126-128, 222

Leighton, Lord, 233

Lely, 20

_Letitia, The Story of_, 219

Lewis, 194

Leyden, Lucas van, 14, 156, 157

“Liber Studiorum,” 20, 189, 204

“Liber Veritatis,” 191, 193

_Lime-Burners_, 121

Linton, Sir J. D., 231

_Little Boathouse_, 105

Loftie, Rev. W. J., 150, 153, 154

_London from the Top of Arundel House_, 45

_London from Greenwich_, 203, 204

_London Bridge_, 120

_Low Tide and the Evening Star_, 130

_Low Tide: Mouth of the Hampshire Avon_, 133

Lucas, David, 20, 210, 211, 249

_Lucretia_, 162, 167

Lupton, Thomas, 198

_Lutma_, 17, 60

M‘Ardell, 20, 214

Maberly, 29

Macgeorge, B. B., 73, 79, 82

_Madonna with the Sleeping Child_, 154

Mansfield, Howard, 73, 83

Mantegna, 13, 161, 164, 165

Marc Antonio, 13, 162

_Marchande de Moutarde_, 121

_Margate_, 37

_Margot la Critique_, 84

_Marriage à la Mode_, 19

Marshall, Julian, 39, 45, 46

Maso da Finiguerra, 159

Massard, 19, 181

_Master of the Caduceus_, 163

_Master of 1466, The_, 161

May, W. H., 131

Meder, 41

Meer, Van der, 96

_Melancholia_, 140, 144, 145, 147

_Mère de Rembrandt au Voile Noir_, 61, 115

Méryon, 21, 69-83

Metsu, 96

Middleton-Wake, Rev. C. H., 49, 141, 143

_Mill Bridge, Bosham_, 130

Miller, William, 21, 205

Millet, Jean-François, 67, 68

_Ministrants_, 227

_Miroir Français_, 92

Mitchell, William, 243

_Modern Italy_, 207

_Mont St Gothard_, 203

“Monte Oliveto,” 128

Moreau le jeune, 19, 186

_Morgue, The_, 72

Morland, 12, 216, 219

_Mort et le Bûcheron, La_, 127

_Mort du Vagabond, La_, 127

_Muff, The_, 115

_Muffs_, 44

_Mytton Hall_, 103, 106

_Naissance de Vénus_, 182

_Naked Woman seen from behind_, 63

Nanteuil, 214

_Nativity, The_, 140

_Nave of St George’s Chapel_, 44

Niel, 82

_Nine Barrow Down_, 105

_Nocturne, Battersea_, 223

_Norfolk Bridge, Shoreham_, 132

_North of London, Six Views in the_, 45

Noseda, Mrs, 202

Noseda, Urban, 219

_Oakhampton Castle_, 199

_Océanie_, 80

_Old Clothes Shop_, 120

_Oliver, Miss_, 249

_Omval_, 55

_Orage, L’_, 96

_Ornament with a Cuirass_, 154

_Ornament, Panel of_, 157

Ostade, 36, 40, 41

_Out of Study-Window_, 104

_Painter, The_, 41

_Palaces_, 121

_Palace, Stirling_, 133

_Paris, Isle de la Cité_, 119

Parthey, 43

Passavant, 141

“Passion, Little,” 142

“Passion upon Copper,” 142

Pater, 176, 177

_Peasant Paying his Reckoning_, 41

_Peckham Rye_, 66

Pencz, 149, 155

Pennell, J., 131

_Perspective_, 173

_Petit Pont_, 73

_Petite Pompe_, 81

_Pickled Herring Stairs_, 121

_Pine Trees, Christchurch_, 132

_Plague, The_, 167

_Pompe Nôtre-Dame_, 73

_Pont-au-Change_, 72, 74

_Pont-au-Change vers 1784_, 79, 80

_Pont Neuf_, 72

_Pont Neuf et la Samaritaine_, 79

_Pope’s Villa_, 191

“Ports of England,” 206, 207

Pott, Constance, 247

_Pourvoyeuse, La_, 178

_Premier Baiser_, 96

_Price’s Candle-Works_, 120

_Procris and Cephalus_, 192

_Putney_, 225

_Putney Bridge_, 120

Pye, John, 191

_Quarrel with Drawn Knives_, 41

_Quarter Boys_, 130

_Rag Gatherers_, 119

_Rape of Europa_, 39

Raphael, 12, 162

Rapilly, 179

_Ravisher, The_, 144

Rawlinson, W. G., 189, 190, 201

_Receipt, The_, 67

Reid, G. W., 141

Rembrandt, 16, 17, 48-65, 88

_Rembrandt Drawing_, 57, 58

_Rembrandt with a Sabre_, 58

_Rembrandt with a Turned-up Hat_, 58

_Rembrandt Farm, A_, 133

_Rêve d’Amour_, 96

Reynolds, Sir Joshua, 12, 215, 216

“Richmondshire,” 206

_River in Ireland_, 101

“Rivers of France,” 207

_Road in Yorkshire_, 211

_Rochoux’s Card_, 81

Roget, J. L., 196

Romanet, 186

Romney, 12, 217

Rops, 99

Rosenberg, Dr, 150, 155

Rothenstein, Will, 229

_Round Temple_, 129

Rousseau, Théodore, 67

Roussel, Théodore, 234

_Royal Exchange_, 46

Rubens, 13, 174

_Rue des Mauvais Garçons_, 82

_Rue des Toiles_, 80

Rupert, Prince, 18

Ruskin, 198

_Salière de Troyes_, 94

_San Biagio_, 121

_Sawley Abbey_, 105

Say, W., 197

Schöngauer, Martin, 139, 140, 161

Scotin, 19

Scott, W. B., 149, 151, 155

_Sea Shells_, 46

_Seasons, The_, 45

Senefelder, 221

_Severn and Wye_, 199, 204

Shannon, C. H., 225-227

_Shepherd and Shepherdess Conversing_, 38, 39

_Shere Mill Pond_, 103, 106

Short, Frank, 129, 130

_Shot Tower_, 247

_Sichel, Mr_, 125

Sickert, Walter, 234

Siegen, Ludwig von, 209

_Six, Burgomaster_, 59

_Sleeping till the Flood_, 130

Smith, Challoner, 212

Smith, John, 20, 213

Smith, J. Raphael, 18, 213

_Smith of the Place du Dragon_, 224

_Snyders_, 40

_Sortie de l’Opéra_, 186

“Southern Coast,” 204, 205

_Speke Hall_, 121

_Spring_, 211

_Stamford_, 206

_Stonehenge_, 195

_Stork and Aqueduct_, 195

_Stourbridge Canal_, 130

_Strang, Ian_, 125

Strang, William, 124, 125

_Summerland_, 211

_Summer Storm_, 132

_Sunset_, 37

_Sunset on the Thames_, 105

Surugue, 171

_Suttermans_, 40

_Sylvius_, 60

Tardieu, 171, 173

Taunay, 27

Taylor, J. E., 201

Techener, 97

“Thames Set,” 118, 121

Thausing, 145

Theobald, H. S., 69

Thomas, Ralph, 108

Thompson, J. Pyke, 73

Thomson, George, 234

_Three Trees, The_, 55

“Tickets,” 26

_Tillie_, 120

_Timber Ships_, 225

_Toilette, La_, 184

_Toilette, La Grande_, 186

_Tolling, Van_, 60

_Tombeau de Molière_, 78

_Tour de l’Horloge_, 72

_Tourelle, dite “de Marat”_, 78

_Tourelle, Rue de la Tixéranderie_, 72

_Trees on the Hillside_, 134

Turner, Charles, 191, 197

Turner, J. M. W., 20, 21, 188-208, 210

“Twenty-six Etchings,” 117, 118

_Two Buffoons_, 154

_Two Fauns_, 166

Vandyke, 36, 39

_Vanneaux et Sarcelles_, 84

Vaughan, Henry, 201, 211

“Venice,” The, 112, 117

_Venus and Cupid_, 154

_Vignette with Four Cupids_, 154

_Vieux Coq, Le_, 85

_Virgin by the City Wall_, 140, 147

_Virgin with the Child in Swaddling Clothes_, 143

_Virgin and Child with the Monkey_, 144

_Virgin with Long Hair_, 146

Vokins, 216

_Vosterman, Lucas_, 40

Vosterman, 13

_Wael, De_, 40

_Wakefield_, 191

Walsh, Jacob, 163

Ward, William, 197

_Wareham Bridge_, 105

_Water Meadow_, 106

Wasset, 75, 82

_Watercress Gatherers_, 204

Watson, C. J., 233

Watteau, 171-175, 177, 181

Way, T. R., 222

_Weary_, 121

_Westminster Bridge_, 119, 121

Wheatley, 27

Whistler, 100, 107-121, 222-224

_Whistler’s House_, 103

_Whitstable_, 37

Wilkie, Sir David, 67

Willshire, Dr, 29

_Windmill Hill_, 104, 105

_Windy Day_, 134

_Winged Hat, The_, 223

Witte, De, 99

_Woman with the Arrow, The_, 63.

_Yarmouth_, 206

_Zaandam_, 107, 121

Zoan Andrea, 164

THE END

PRINTED BY OLIVER AND BOYD, EDINBURGH.

_Uniform with this Volume_

The Coin Collector

By W. Carew Hazlitt

_New and Revised Edition_

Illustrated with 12 full-page Plates depicting 129 Rare Pieces

_Pub 7s. 6d. net_

CONTENTS

Introductory--Collectors and Collections--Value of Coins--Unique or Remarkable Coins--Greek Coins--Rome--Continent of Europe--United Kingdom--The Coin Market--Terminology--Bibliography--Description of Plates--Index.

“Mr Hazlitt is an expert in regard to coins; his book from the
practical standpoint is trustworthy.”--_Notes and Queries._

“We may say at once that we have a very interesting and instructive
volume before us. The subject is, of course, only lightly
touched upon, and no attempt at dealing with any section of it
in detail is made. This is as it should be in a book on coins in
general.”--_Antiquary._

“Perhaps as excellent an introduction to the study of a delightful
pursuit as could have been written.”--_Daily Telegraph._

“Abreast of the latest discoveries and theories, and is sure
of a welcome from the general reader as well as from the
collector.”--_Scotsman._

“This admirable volume gives a bird’s-eye view of the whole. It is
clear that Mr Hazlitt is not only an enthusiast in the subject of his
book, but also a student whose knowledge is at once singularly wide
and remarkably accurate.”--_Publishers’ Circular._

_Uniform with this Volume_

Old Violins

By Rev. H. R. Haweis

_New Edition_

Illustrated by 12 full-page Plates of Violins by Celebrated Makers

_Pub 7s. 6d. net_

CONTENTS

Prelude--Violin Genesis--Violin Constitution--Violins at Brescia--Violins at Cremona--Violins in Germany--Violins in France--Violins in England--Violin Varnish--Violin Strings--Violin Tarisio--Violins at Mirecourt, Mittenwald, and Markneukirchen--Violin Treatment--Violin Dealers, Collectors, and Amateurs--Postlude--Dictionary of Violin Makers--Bibliography and Description of Plates.

“In matters pertaining to Old Violins he is known as a specialist,
and, moreover, one who writes in a pleasant flowing style, which
cannot be said of all specialists. His ‘Old Violins’ therefore
scarcely needs recommendation. He discourses about Italian,
French, and English violins, about varnish, strings, bows, violin
dealers, collectors, and amateurs. There are some fine plates, a
dictionary of violin makers, and a bibliography. The book is one
for reading, and also for reference, and in its lighter pages for
recreation.”--_Athenæum._

The Book Collector

By W. Carew Hazlitt

A General Survey of the Pursuit, and of those who have engaged in it,
from the Earliest Period to the Present Time; with an Account of
Public and Private Libraries, and Anecdotes of their Founders or
Owners, and Remarks on Bookbinding and on Special Copies of Books,
illustrated with a beautiful photogravure of a famous sale of books at
Sotheby’s, square cr 8vo, art canvas, gilt top, fore and under edges
uncut.

_Pub 7s. 6d. net_

“As Mr Hazlitt shows, his field of choice is wide enough. Ancient
typography fascinates some, but here a long purse is needed. Bibles
and Testaments, Liturgies, Books of Hours, or similar devotional
works appeal to others. The British Museum Library, for instance,
is singularly rich in editions in all languages of the ‘Imitatio
Christi.’ Books of travel, of voyages, and on topography, such as
county and town histories, have all their devotees, and of late
years the search for Alpine literature has become so much keener
that some books, printed barely forty years ago, have quite doubled
their published price. Yet even the systematic collector, as Mr
Hazlitt tells us, often runs risks. Here, as among all things human,
fashions and whims exist, and a particular class of literature may
have ‘booms’ and ‘slumps,’ like certain ‘stocks’ of a questionable
character. The books, for instance, in William Morris’s library were
‘below mediocrity in state,’ and of little intrinsic value, yet
they excited keen competition, and went for sums ‘which were simply
absurd.’”--_Standard._

“The subject abounds with stories, for, indeed, in a sense which the
author of the aphorism little imagined, _habent sua fata libelli_.
We might fill columns with curiosities about the buying and selling
of books from these pages. Mr Hazlitt, however, is not of the
non-literary collectors; no man could write such a book as this about
the subject if he were. Readers, therefore, as well as buyers, may
find ‘The Book Collector’ to their taste. Then there is the eleventh
chapter, with its many interesting anecdotes of inscriptions;
often the casual name or note which some purchaser or owner of a
bye-gone time has written will be of more interest than the volume
itself.”--_Spectator._

“There is pleasure nevertheless--nay, much intellectual and
sometimes pecuniary profit--in the pursuit, when intelligently
pursued. Mr Hazlitt discourses pleasantly on every side of
book-collecting, and his book will be valued by all interested in the
subject.”--_Chambers’ Journal._

_Illustrated with upwards of 450 Engravings on Wood_

Amateur’s Guide to Architecture

By S. Beale

Embracing Egyptian, Assyrian, Roman, Grecian, Italian, Renaissance,
and Early English Specimens of Tombs, Doors, Windows, Arches,
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of Wood Carving, etc.

_Post 8vo. Pub 3s. 6d._

CONTENTS