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%;      SPECIAL  ARTICLE  ON  THE  TIARA  OF  SAITAPHARNES— See  Page  1. 

NUMBER  I        VOLUME  I  APRIL  1903 

THE 

BURLINGTON 

GAZETTE 

FOR    APRIL    1903 

BEING    THE    MONTHLY   SUPPLEMENT   TO 

THE  BURLINGTON  MAGAZINE  FOR  CONNOISSEURS 

OF  THE   PREVIOUS   MONTH 


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PARIS:   LIBRAIRIE   II.    FLOURY,  i,  BOULEVARD    DES   CAPUCINES 

BRUSSELS:   SPINEUX  &   CIE.,  62,  MONTAGNE   DE   LA  COUR 

LEIPZIG:   KARL  W.   HIERSEMANN,  3,   KONIGSSTRASSE 

AMSTERDAM:   J.   G.   ROBBERS,   64,   N.   Z.   VOORBURGWAL 

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NUMBER  I    VOLUME    1 


iviAj^^rt  1903 


THE 


BURLINGTON 
MAGAZINE 

for  Connoisseurs 
Mustratedk^uhlishedMonthh/ 


IK 


CONTENTS 


EDITORIAL  ARTICLE.— THE   BURLINGTON    MAGAZINE 

ALUNNO   DI    DOMENICO.— BERNHARD   BERENSON 

FRENCH  FURNITURE  OF  THE  LOUIS  XIV.  PERIOD.— EMILE  MOLINIER 

THE   EARLY   PAINTERS   OF  THE   NETHERLANDS.     ARTICLE   I.— 

W.   H.  JAMES   WEALE 
CONCERNING   TINDER-BOXES.     ARTICLE   I.— MILLER   CHRISTY 
A    LOST    "ADORATION    OF    THIC    MAGI"    BY    SANDRO    BOTTICELLI.— 

HERBERT   P.    HORNE 
ON    ORIENTAL   CARPETS.      ARTICLE    I 
THE    HOTEL   DE    LAUZUN.— ROSE    KINGSLEY  and   CAMILLE 

GRONKOWSKI 
THE    DATE   OF   VINCENZO   FOPPA'S   DEATH.— C.   JOCELYN    FFOULKES 
A   NOTE   ON    FIVE    PORTRAITS   BY  JOHN    DOWNMAN,   A.R.A.— JULIA 

FRANKAU 
NEW   ACQUISITIONS   AT  THE   NATIONAL   MUSEUMS 

LONDON 

THE     SAVILE     PUBLISHING    COMPANY,     LIMITED 

14,   NEW   BURLINGTON   STREET,   W. 

PARIS:  LIBRAIRIE  H.  FLOURY,  i.  BOULEVARD  DES  CAPUCINES.     BRUSSELS:  SPINEU     &  CIE.. 

62.    MONTAGNE  DE  LA  COUR.        LEIPZIG:  KARL  W.  HIKRSEMANN.  3,  KONIGSSTKASSE 

AMSTERDAM  :   J.  G.  ROBBERS,  64  N.Z.  VOOKBURGWAL 

NEW  YORK  :  SAMUEL  BUCKLEY  &  CO..  100.  WILLIAM  STREET 


CE  HALF-A-CROWN  NET;  ANNUAL  SUBSCRIPTION  (INCLUDING  SUPPLEMENT)  THIRTY-FIVE  SHILLINGS  POST  F 

PWir.R    IN    Till-'    I'NITRn   STATKR     flNP    nni  T  AP    K'KT-      IW    nTHPP    irniJirTrlM    rnirMTRIFC!     ,f     ,„     r.r   ^  Rn   MARVC;   NKT. 


THE    BURLINGTON    GAZETTE 

Bi;iNC;  THIv   MONTHLY  srpPLi<;\l  KX  T    TO  Till-; 

HrRi.ixciiox  M  \(..\/ixi':  ior  connoisseurs  oi'  Till':  i'rhv'ious  month 


WKITTI'N   ItY  Till-    VirOMTE  C. 


TnH  Tiani  of  Saitaph;uiios,  vvliicli  was  boiif,^ht  by 
the  Miisee  du  Louvre  in  1896.  now  forms  the  prin- 
cipal subject  of  discussion  ;  and  althoufjh  it  is,  to 
say  the  least,  regrettable  that  the  mass  of  the 
f)ublic,  necessarily  incompetent,  should  suddenly  ha\e 
taken  sides  for  or  against  the  authenticity  of  the 
famous  ornament,  may  we  not,  on  the  other  hand, 
regard  as  a  comforting  symptom  the  passion  with 
which,  in  our  day  of  excessive  utilitarianism,  a  ques- 
tion of  so  high  an  order  is  being  debated  in  every 
direction  ? 

The  tiara  at  this  moment  figures,  of  course,  as  an 
accused  person  :  but  the  accused,  according  to  the 
most  respectable  and  the  justest  traditions,  and  also 
according  to  law,  must  be  held  to  be  innocent 
until  the  verdict  is  delivered.  The  verdict  alone 
can  pronounce  it  guilty.  An  inquiry  has  been 
opened  :  it  beseems  us  to  await  its  results.  We 
shall  then  know — at  least,  let  us  hope  so — both  its  in- 
trinsic value  and  the  name  of  its  maker,  if  there  be 
a  maker  to  discover !  I  feel  it  to  be  my  duty  simply 
to  relate  the  history  of  the  question  and  to  simi  up 
the  different  opinions  which  it  has  called  fortli. 

I. -THE    HISIORY   OF   THE   QUESTION 

I-irst   Phase — Before  the  purchase    of  the    tiara    by  the 

Louvre 

It  was  at  the  end  of  1895  that  Dr.  von  Schneider, 
Professor  at  the  University  of  \'ienna  and  Director  of 
the  Museum  of  .-\nti<]uities,  first  saw  and  held  in  his 
hands  the  Tiara  of  Saitapharnes.  His  first  impression 
was  an  overwhelming  one  :  "At  the  first  sight,  the 
want  of  harmony  offered  by  the  fashioning  ('  die  Form- 
gebung  ■)  of  each  of  the  parts  displeased  me,  and  I  re- 
ceived the  distinct  impression  of  an  imitation.'"  Plu' 
next  day,  Herr  von  Schneider  brought  together  two 
nrcha-ologists  and  an  artist,  "  all  three  men  of  ripe 
judgement  and  great  experience,"  in  whom  he  had 
"  the  same  confidence  to-day  that  he  had  then."  All 
three,  whether  prompted  bj-  archaeological  reasons  or 
technical  motives,  declared  the  tiara  to  be  authentic. 
Herr  von  Schneider  was  not  convinced,  and  refused 
tc  countenance  the  purchase  of  the  tiara  by  the 
Imperial   Museum. 

.\bout  the  same  time.  Count  Michael  von  Tyskie- 
wicz,  the  well-known  collector,  received  a  letter  from 
\ienna  proposing  that  he  should  buy  the  Olbia 
tiara  together  with  the  necklace.  The  writer,  whose 
signature  was  illegible,  asked  Count  von  Tyskiewicz 
to  give  him  an  appointment,  by  telegram,  either  at 
X'eiiice  or  Milan,  in  order  that  he  might  see  the 
originals.  The  Count  was  unable  to  decipher  the 
address  and  could  not  send  a  reply  ;  but  he  wrote 
later  that,  if  he  had  been  able  to  answer,  he  would 
"certainlv   have  refused  to  take  anv   trouble    in    the 


THK   TIAR.^    OF    SAITAPHARNES 

RORTIIAYS,   REPRESEXTATIVK    IN    I'ARIS    OE    THK  HUKLINGTON   MAGAZINE 

Paris,  Mareh  30,   1903 
matter;  for  an  object  of  that  importance  coming  from 
Olbia  could  not  but  raise  doubts  in  his  mind." 

Early  in  1896,  Mr.  Murray,  the  head  of  the  De- 
partment of  Creek  and  Egyptian  Antiquities  at  the 
British  Museum,  received  a'  letter  from  a  Mr.  Hoch- 
mann,  from  Olbia,  offering  him  the  tiara.  Mr.  Mur- 
ray replied  that,  knowing  as  he  did  that  Mr.  Hoch- 
mann  was  occupied  in  the  fabrication  of  antique 
objects  of  art,  he  was  not  at  all  interested  in  the 
matter.  "  In  the  following  year,"  says  Mr.  Murray, 
"the  same  person  came  to  London  with  several 
articles  in  gold  and  offered  them  to  me.  All  were 
false."  Mr.  Murray's  opinion  has  not  altered.  "  I 
am  certain  that  the  tiara  is  false,"  he  says,  "  but  I 
am  bound  to  admit  that  three  of  our  most  "competent 
experts  on  Egyptian  and  Greek  antiquities  have  alwavs 
maintained  its  genuineness." 

In  i8gG  also,  M.  Laferriere,  at  that  time  a  Councillor 
of  State,  sent  to  M.  Heron  de  \'illefasse,  .Member  01 
the  Institute,  Keeper  of  Greek  and  Roman  Anti(]uities 
at  the  Louvre,  two  merchants  who  wished  to  sell  two 
separate  ornaments  which  had  been  discovered,  the\- 
said,  in  the  exca\ations  in  the  south  of  the  Crimea. 
They  asked  200,000  fr.  The  articles  appeared,  on 
examination,  to  be  genuine  and  fine.  Messrs.  Theo- 
dore Reinach  and  Corroyer  placed  the  sum  mentioned 
at  the  disposal  of  the  Louvre,  which  thus  became  the 
possessor  of  the  Tiara  of  Saitapharnes. 

Second  Phase — The  First  Controversies 
On  August  I,  1896,  the  authenticity  of  the  tiara 
was  publicly  and  violently  contested  by  a  German 
savant  of  indisputable  worth,  Herr  Furtwiingler,  who 
published  in  the  Cosinopolis  review  a  passionate 
article,  in  which  he  enumerated  his  objections.  The 
chief  of  these  were  concerned  with  the  Greek  inscrip- 
tion in  epigraphic  characters.  In  the  September 
number,  M.  de  N'illefasse  replied  to  Herr  Furtwiingler, 
and  M.  Collignon  summed  up  the  whole  discussion 
that  had  been  raised  in  the  Recueil  Piot,  Vol.  \'I.  I 
must  also  mention  the  works.of  Messrs.  P.  Foucart  and 
Hollcaux,  two  eminent  epigraphists,  who  replied  to 
the  criticisms  levelled  against  the  tiara  in  the  report 
of  the  Academy  of  Inscriptions,  August  7.  i8g6,  and 
in  the  Revue  Archeolo<^ique,  \'ol.  XXIX,  pp.  158-171. 
On  the  other  hand,  on  August  2  of  the  same  year, 
at  the  Tenth  Archaeological  Congress  at  Riga,  in 
Russia,  M.  Ernest  de  Stern,  Director  of  the  Odessa 
Museum,  read  a  report  on  the  Tiara  of  Saitapharnes, 
in  which  he  disputed  its  genuineness.  "  As  the  result 
of  various  considerations,"  he  wrote  later,  "  I  had 
become  convinced  that  the  tiaro  in  the  Louvre  was 
the  masterpiece  of  a  laboratory  of  forgers."  .And 
here  M.  tie  Stern  alluded  to  the  firm  of  Hochmann  of 
Otehakoff.   or  Olbia.      M.  de  Stern  declared  that   his 


.  I.— April,  1903 


THE     BURLINCxTON     GAZETTE 


conviction  was  shared  li}'  M.  Jurgewicz  (since  de- 
ceased). General  Earthier  de  La  Garde,  and  all  the 
Russian  archaeologists,  including  M.  Kondakoff,  with 
the  sole  exception  of  M.  Kieseritzky. 

In  Ma}^  i8g6  M.  Salomon  Reinach  received  a 
letter  from  Rome  from  Count  Michael  von  Tj'skiewicz 
(to  whom  the  tiara  had  been  offered,  as  I  have  said), 
in  which,  referring  to  a  correspondence  of  M.  Treuner, 
who  was  himself  convinced  of  the  authenticity  of  the 
tiara,  he  said  :  "As  for  myself,  I  will  tell  you  frankly 
that,  without  having  seen  the  object,  I  am  persuaded 
that  it  is  a  very  skilful  imitation." 

The  disputes  of  the  savants  were  to  find  their  echo 
in  the  French  Chamber.  On  November  j8.  1S96,  in 
the  course  of  the  discussion  of  the  Fine  Arts  Budget, 
M.  Paschal  Grausset  vigorously  disputed  the  genuine- 
ness of  the  famous  tiara.  He  recalled  the  fact  that 
the  eminent  Russian  professor,  M.  Wesselowski,  had 
declared  that  the  tiara  had  been  manufactured  at 
Oksakoff,  "  where  similar  ones  were  turned  out  daily." 
M.  Raujon,  the  government  commissioner,  replied  by 
declaring  that  "  the  Louvre  had  not  bought  the  tiara 
with  its  eyes  closed,  but  that  an  appeal  had  been  made 
to  every  sort  of  authority  that  French  science  could 
supply."  He  quoted,  in  his  turn,  the  opinion  of  the 
Director  of  the  St.  Petersburg  Museum,  who,  after  hav- 
ing previously  entertained  doubts  regarding  the  tiara, 
had  come  to  examine  it  and  been  entirely  reassured. 

The  ensuing  years  saw  the  disputes  prolonged 
without  being  exhausted  ;  but  they  were  confined  to 
the  learned  and  special  reviews,  and  gradually  public 
opinion  ceased  to  interest  itself  in  them.  Still,  in 
1897,  ^I-  de  Stern  published  in  the  Philological  Review 
of  Berlin  an  article  in  which  he  accused  M.  Rachou- 
mowski,  an  engra\er,  of  being  the  author  of  the  tiara. 
The  Journal  des  Dcbats  had  reproduced  these  lines  : 
M.  Salomon  Reinach  had  even  made  fruitless  en- 
deavours to  find  M.  Rachoumowski  at  Odessa,  when 
the  latter  sent  to  the  Journal  des  Dcbats  the  follow  ing 
note,  which  was  published  on  October  3,  1897  : 

"  No.  4,009  of  your  valued  paper  contains  an 
extract  from  an  article  by  M.  de  Stern,  in  which  he 
says  that  '  antiquities  '  are  manufactured  in  my  work- 
shop. I  must  give  a  categorical  denial  to  this  assertion. 
M.  de  Stern  did,  in  fact,  come  here  and  displayed  an 
interest  in  my  work.  I  showed  him  a  skeleton  in 
miniature,  in  gold,  which  I  have  executed  for  the 
approaching  International  Exhibition  in  Paris;  but  I 
do  not  know  what  anticiue  models  M.  de  Stern  can 
have  seen  at  my  place.  The  honourable  Director  of 
the  Museum  probably  took  for  antiquities  some  little 
miniature  figures  which  were  to  serve  forseals.  How- 
ever greatly,  therefore,  I  ought  to  be  flattered  by  the 
singular  advertisement  which  M.  de  Stern  has  given 
me,  and  by  his  thought  of  declaring  mu  to  be  tlic 
author  of  the  celebrated  tiara,  I  must  deidine  this 
unmerited  honour. 

(Signed)         "J.   Rachol-mowski, 
'•  l-:ngrav.'r." 

This  document,  as  a  matter  of  fact,  did  nothing  to 
allay  the  disputes  of  the  savants.  I  find  in  the  review 
L' Anthropologic,  \'ols.  IX  and  X,  a  series  of  letters 
emanatingfrom  M.de  Stern  and  M.  Salomon  Kiiuach. 
But  I  will  reserve  these  for  later  mention. 


In  Januarj'  1897  ^^-  Thiebault-Sisson  was  at 
St,  Petersburg  and  made  the  acquaintance  of  the 
Assistant-Keeper  of  the  Hermitage  Museum,  M. 
Wesselowski,  who,  in  the  course  of  an  interview, 
instructed  him  on  the  subject  of  the  tiara  in  question. 
M.  \A'esselowski  ended  his  argument  with  these  words  : 
"  Where  was  the  tiara  made  ?  I  do  not  hesitate  to 
reply,  '  In  Russia.'  Was  it  made  by  Rachoumowski  or 
another  ?  Does  it  come  from  a  workshop  at  Odessa 
or  from  Otchakoff,  the  two  centres  for  the  fabrication 
of  false  gold  ornaments  ?     It  matters  little." 

It  would  seem,  however,  as  though  the  point  did 
matter,  since,  several  years  later,  the  question  suddenlv 
burst  out  anew  in  broad  daylight,  and  bore  precisely 
upon  the  presumptive  authors  of  the  Tiara  of  Saita- 
piiarnes. 

Third  Phase- The  (hic^lion  in  March  1903 

In  March  igo  ;,  111  i  mhihc  tion  with  a  Pille  forgery 
in  which  he  was  unplu  atcd.  a  certain  M.  Mayence- 
Elina  declared  himself  the  maker  of  the  too  illustrious 
tiara.  To  advance  the  statement  was  easy  :  to  pro\-e 
it  was  more  difficult.  For  some  days  the  press  was 
literally  inundated  with  letters  and  interviews  with 
M.  Elina.  Needless  to  say  that  the  most  barefaced 
lies  came  to  contradict  one  another,  and  that,  after 
the  first  shock  caused  by  this  bold  declaration,  public 
opinion  recovered  itself  and  obliged  M.  Elina  to  come 
forward  as  an  amiable  mystery-monger.  All  those 
whom  he  had  accused  easil}-  proved  the  falseness  of 
all  his  allegations,  and  the  vevy  dead  spoke ;  for. 
M.  Elina  having  dragged  the  name  of  M.  Spitzer 
into  the  business  of  the  tiara,  the  Baron  Coche.  M. 
Spitzer's  son-in-law,  contented  himself  with  pro\ing 
that  his  father-in-law  had  died  on  April  2^.  1890,  fi\e 
j-ears  before  the  Odyssey  of  the  tiara. 

M.  Salomon  Reinach,  one  of  the  scholars  who  do 
France  the  greatest  honour,  had  at  once  scented  a 
fraud,  and,  in  an  interview  published  on  March  24  by 
the  Temps,  he  spoke  of  M.  Elina  as  "  a  facetious  Karj, 
who  was  not  a  bad  hand  at  a  farce."  On  the  27th, 
M.  Elina  fuUyjustified  M.  Salomon  Reinach's  appreci- 
ation by  declaring  in  a  public  letter  that  all  that  he  had 
said  touching  the  fabrication  of  the  piece  was  an  inven- 
tion, and  that  he  intended  to  put  an  end  to  the  jokt' : 
"  I  hope,"  he  concluded.  "  that  I  shall  not  be  blamed 
too  se\-erely  for  emiiloying  this  means  of  serving  [?  ?  ?J 
the  farce-writers  and  thr  writers  of  revues  de  fin 
d'annee." 

The  imaginative  Elina  disappeared,  but  the  hypo- 
thetical Rachoumowski  reappeared  and  gradually 
emerged  from  the  clouds  in  which  he  had  been  pleased 
till  then  to  wrap  himself.  After  the  disturbance 
caused  by  Elina's  pseudo-re\elations,  the  Louvre 
became  uneasy.  The  press  had  this  time  taken  the 
matter  <jf  the  tiara  seriously  ;  it  was  necessary  that 
something  should  be  done.  Moreover,  a  friend 
of  .M.  Rachoumowski,  living  in  Paris,  M.  K.  Lif- 
schitz,  wrote  to  the  Matin  to  declare  that  he  had 
often  seen  his  friend,  at  frequent  intervals,  working  in 
his  shop  in  Odessa  at  the  famous  tiara. 

A  violinist  of  Danish  birth,  Madam,-  Malkiiie, 
corroborated  what  M.  Lifschitz  had  said,  and  dcland 
that  she  had  heard  M.  Rachoumowski  speak,  tluve 
months  ago. -of  a  work  bv  himself  wln.li  lu-  knew  t.i 


rill'      llAKA     ol 


.\irAi'ii.\K.\i-:s 


be    preserved    in    tlu-    Musee   du   Louvre,   luul    of  his 
inability  to  have  himself  recognized  as  the  author." 

Lastly,  the  Fi^iuro.  having  begged  one  of  its  friends 
in  Odessa  to  ask  the  artist  himself  for  a  categorical 
reply,  received  the  following  telegram  : 

"  Odessa,  March  5. 
"  Israel  Kacliouuunvski,  engraver,  living  at  j6, 
Ouspenskaia  Street,  Odessa,  categorically  declares 
himself  to  be  the  author  of  the  tiara.  He  states  that 
he  executed  it  in  1896,  to  the  order  of  a  person  who 
came  from  Kertch.  Kachoumowski  offers  to  go  to 
Paris  if  he  is  given  1,200  fr." 

I  think  that  M.  Salomon  Kiinarli,  on  receipt  of 
this  telegram,  found  the  key  of  the  situation  : 

■•  Now  things  are  becoming  interesting,"  he  said. 
'•  Well, we  must  send  for  this  Kachoumowski.  He  must 
come  here,  not  with  his  affirmations  and  his  protesta- 
tions, but  with  his  models,  his  designs,  his  moulds, 
which  will  be  unexceptionable  witnesses.  Then  we 
shall  have  him  cross-examined  by  archaiologists,  b\- 
epigraphists,  by  goldsmiths,  and  we  shall  get  to  the 
bottom  of  his  business." 

This  would,  in  fact,  be  the  surest  nuans  of  pro- 
ceeding to  an  definitive  inquiry. 

The  inquiry  has,  indeed,  begun.  The  Tiara  of 
Saitapharnes  has  been  withdrawn  from  the  public 
gallery  and  placed  under  seal.  In  the  Senate,  M. 
Chaumie,  the  Minister  of  Fine  Arts,  has  summed  up 
the  question  as  follows: 

•' When  this  object  the  tiara  was  laiil  before  the 
Committee  for  Purchases,  it  was  unanimously  con- 
sidered, at  that  moment,  as  authentic  .  .  .  The 
committee  included  men  of  considerable  scientific 
celebrity  and  of  absolute  disinterestedness.  (Hear, 
hear.)  It  is  a  fact  that  some  protests  appeared  in  the 
reviews,  and  there  is  nothing  to  be  surprised  at  in  this; 
for,  really,  if  we  were  to  depri\e  the  archseologists  of 
the  right  of  discussion  on  epigraphical  matters,  we 
should  be  removing  them,  to  a  great  extent,  from  the 
most  estimable  occupation  in  which  it  is  their  mission 
to  indulge.  (Laughter.)  Nevertheless,  a  calm  seemed 
to  have  set  in  until  now,  when  a  debate  has  been 
raised  in  the  Press  .  .  .  The  keepers  of  the 
Louvre  .  .  .  came  to  me  and  said,  '  Certain  par- 
ticulars that  have  latel\-  come  to  light  have  caused  a 
doubt  in  our  minds.'  I  thought  that,  so  soon  as  a 
doubt  arose  in  the  mind  of  the  administration  regard- 
ing an  object  installed  in  our  ni-.tional  collections,  our 
first  duty  was  to  withdraw  that  object.  This  w\is  done 
without  delay.  (Hear,  hear.)  1  have  ordered  an  in- 
quiry; it  will  be  conducted  with  absolute  strictness. 
The  very  distinguished  and  honourable  men  who 
believed  most  firmly  in  the  authenticity  are  those  who 
most  eagerly  desire  that  an  absolute  light  should  be 
thrown  upon  the  matter.  The  public  shall  be  fully 
informed;  it  shall  learn  the  whole  truth.  I  ask  only 
that  I  maybe  given  the  necessary  time.  (Hear,  hear.)" 
An  official  note  has  since  been  issued,  and  I  give 
it  in  full : 

"The  Minister  of  Public  Instruction  has  ordered 
M.  C'lermont-Ganneau,  Member  of  the  Institute  and 
Professor  at  the  College  of  I-" ranee,  to  hold  an  inquiry 
and  make  a  report  on  the  subject  of  the  genuineness 
of  the  Tiara  of  Saitapharnes.     The  incjuiry  will  be  as 


thorough  as  possible,  and  the  Minister  has  given  him 
full  powers  to  receive  all  informations  and  depositions 
necessarv  in  order  to  make  manifest  the  truth.  M. 
Clermont  -  Ganneau  is  well  known  to  the  learned 
public  for  his  admirable  expert  reports  on  the  false 
Moabitc  pottery  in  the  Berlin  Museum  and  on  the 
forged  manuscript  of  the  Hible  which  was  bought  by 
the  British  Museum  some  fifteen  jears  ago  and  which 
was  easil}'  proved  to  be  false." 

I  would  add  that  I  believe  that  the  i,joo  fr. 
demanded  by  M.  Kachoumowski  were  sent  by  tele- 
graph two  days  ago.  The  journey  from  Odessa  to  Paris 
takes  thirty-six  hours.  Let  us  "hope  that  the  Kussian 
engraver  will  cover  the  distance  in  less  than  a  year. 

II.  Till-;  SIATK  i)K  oriMoN 
I  would  certainly  not  have  the  absurd  vanity  to 
dream  of  taking  sides  in  favour  of  either  of  the 
opinions  that  are  dividing  the  most  illustrious  savants 
in  Europe.  I  confess  even  that  it  is  a  matter  of 
regret  to  me  to  see  the  newspapers  seizing  upon  and 
discussing  from  day  to  day  the  genuineness  of  an 
object  the  appraising  of  which  falls  within  the  do- 
main of  Science  and  not  of  the  Press.  I  should  be 
sorry  to  see  controversial  questions  of  this  kind  find  a 
home  in  the  "  dailies."  They  are  out  of  place  there. 
The  tone  of  a  scientific  discussion  inevitably  becomes 
lowered  when  it  is  carried  on  in  the  newspaper  press, 
and  the  width  of  the  subject  is  narrowed  down  to 
points  of  details,  to  minutia:  which  either  are  incom- 
prehensible, or  else  lend  themselves  too  easily  to  mis- 
interpretation. The  eagerness  of  the  reporter,  his 
haste  to  be  well  ahead  of  his  rivals,  and  his  tendency 
to  imagine  that  he  has  understood,  grasped,  and 
retained  all  that  is  said  to  him  :  all  these  combine  to 
give  an  equivocal  and  painful  appearance  to  a  discus- 
sion of  this  sort.  Truth  could  never  come  out  of  a 
well  so  filled  up  with  ''latest  intelligence."  Be  this 
as  it  may,  I  must  here  summarize  the  different  aspects 
of  the  discussion. 

According  to  M.  Wesselowski,  of  whom  M.  Thie- 
bault-Sisson  has  constituted  himself  the  interpreter, 
the  Tiara  of  Saitapharnes  has  against  it  that  it  comes 
from  Olbia,  from  Odessa,  from  Russia,  from  the  South 
of  Kussia,  where,  as  everybody  knows,  the  laboratories 
of  the  forgers  are  at  work.  Here  is  a  more  than 
doubtful  origin  to  begin  with.  But,  if  we  examine 
the  tiara,  we  see  that  its  subjects  are  copied  from 
various  authentic  objects,  such  as  the  silver  vase  of 
Nicopolis,  the  stone  signed  Dexamenos  of  Chios,  etc. 
The  two  large  central  subjects  have  the  shape  and 
features  of  a  good  Kussian  moujik  ;  the  two  friezes  are 
purely  Byzantine  ;  the  inscriptions  are  in  relief,  whereas 
all  the  inscriptions  on  Greek  gold  objects  are  in  intaglio. 
Lastly,  the  epigraphy  is  more  than  defective  and  is  at 
variance  with  the  turns  of  Greek  grammar. 

The  labours  of  Messrs.  Foucart  and  HoUeaux,  as 
regards  the  epigraphy,  and  of  Messrs.  Heron  de 
\'illefosse,  CoUignon  and  Theodore  Keinach,  as  re- 
gards the  arch;eology.  refute  M.  Wesselowski's  asser- 
tions. M.  Theodore  Keinach,  in  two  letters  published 
by  the  Tciiif>s,  calls  intention  to  the  fact  that  Herr 
I-'urtwiingler,  a  sworn  enemy  of  the  tiara  if  ever  one 
li\ed,  wrote  in  Cosnwpulis  (1896,  p.  575)  that  the 
frie/es    "are    borrowed    from    the    admirable    large 


THE    BURLINGTON     GAZETTE 


golden  ,<,'or_vtes  of  Nicopolis,  a  work  of  about  the 
year  400  B.C.'"  The  eminent  scholar,  after  dealing 
with  the  epigraphic  arguments,  adds  that  Messrs. 
Wesselowski  and  Thiebault-Sisson  have  done  a  real 
service  to  the  discussion  by  bringing  into  it  the  two 
forgeries  known  as  the  "  silver  dish  "  and  "  the  golden 
crown."  "  A  comparison,"  he  says,  "  of  the  two 
objects,  especially  of  the  second,  with  the  tiara  is  very 
instructive.  To  any  practised  eye  it  provides  the  evi- 
dent proof  that  the  artist  who  perpetrated  the  former 
might  work  for  two  hundred  years  without  being  able 
to  copy  the  latter  ;  they  are  as  far  apart  as  day  and 
night."  Even  the  best  imitation  objects  of  the  gold- 
smith's art  which  have  come  from  the  South  of  Russia 
during  the  past  ten  years,  "  and  which,"  adds  M. 
Theodore  Keinach,  "  evidently  draw  their  inspiration 
from  the  tiara  in  the  Louvre,  betray  by  numerous 
blunders  the  forgers'  ignorance,  bad  taste  and  lack 
of  style.  No  one  has  as  yet  succeeded  in  pointing  to 
a  single  fault  of  this  kind  in  the  tiara;  its  defects  (and 
no  one  denies  their  existence)  are  those  of  its  time, 
the  third  century  B.C.,  and  of  the  semi-barbarian  sur- 
roundings amid  which  it  was  manufactured." 

If  we  take  up  again,  besides,  the  various  extrane- 
ous criticisms  that  have  been  formulated  against  the 
tiara  since  1895,  we  find  that  they  all  have  as  their 
ground-work  and  starting-point  the  bad  repute  of  the 
origin  of  the  ornament :  it  comes  from  a  house  of  ill- 
fame  ;  it  comes  from  a  shop  where  forgeries  are  manu- 
factured; and  most  of  its  detractors  at  first  refused 
even  to  look  at  it,  knowing  whence  it  came  :  Messrs. 
Furtwangler,  von  Tyskiewicz,  Murra\-,  \on  Schneider, 
Berthier  de  La  Garde,  de  Stern,  etc. 

I  think  it  may  be  interesting  to  quote  here  the 
most  important  passages  from  the  article  published  by 
^L  Salomon  Reinach  in  1898  in  L'Anthropolo'ne 
(Vol.   IX,  p.  715)  : 

"  In  reality,  the  question  raised  by  the  Tiara  of 
Saitapharnes  is  one  of  the  most  difficult  and  interest- 
ing that  have  ever  invoked  the  criticism  of  the  archreolo- 
gists.  Among  those  whose  names  carry  weight,  Herr 
Furtwangler  is  still  the  only  one  who,  after  seeing  it, 
declared  it  to  be  false  ;  but,  however  great  may  be  the 
errors  with  which  he  accompanied  the  account  of  his 
opinion  (first  in  Cosinopolis,  and  then  in  a  work  en- 
titled Intcrmczd),  the  doubt  once  awakened  by  a  con- 
noisseur of  his  attainments  was  naturally  bound  to 
spread.  We  can  surely  neglect  the  writings  of  certain 
persons  who  have  done  nothing  more  than  add  police 
evidence  to  the  arguments  of  Herr  Furtwangler  ;  but 
no  archaeologist  has  the  right  to  slumber  on  the 
pillow  of  certainty  so  long  as  Herr  Furtwangler,  whose 
competence  is  sufficiently  known,  persists  in  his 
opinion.*  Arguments  against  genuineness,  derived 
from  the  object  itself,  there  are  none.  The  inscription 
is  irreproachable  (this  has  been  proved  by  Messrs. 
Foucart  and  Holleaux) ;  thcadjustmcntof  the  draperies 
of  the  figures,  the  thousand  archjeoiogical  details 
which  so  extensive  a  decoration  admits  of,  escape  all 
serious  criticism. 

"Herr  Furtwangler  at  first  maintainctl  that  all 
the  episodes    were  borrowed    from   works    that    were 

llcrlln  Musc'Uin,  loyally  adinlllcd  In  mj  that  he  had  boon  deceived.  It  is  impos- 
sible, therefore,  to  suppose  thai  he  would  voluntarily  persevere  in  an  error 


alreadv  known.     It  has  been  formally  prosed  to  him 
that  this  is  not  so. 

"  On  the  other  hand,  there  remain  four  grave 
reasons  for  suspicion  : 

"  I.  The  tiara  came  from  a  house  at  Otchakoft 
which  has  already  placed  a  number  of  forged  articles 
on  the  market ; 

"  2.  The  stated  provenance,  Olbia,  has  long  been 
a  repository  of  the  most  suspicious  goods  (see  the  late 
Count  Tyskiewicz' account  in  the  Revue  Archcologiquc, 
1897,  II,  p.  i6g)  ; 

"  3.  It  is  difficult  to  explain  to  oneself  how  an 
article  of  this  importance  can  have  been  discovered 
without  giving  the  alert  to  the  collectors  or  the  archaeo- 
logists of  the  district  ; 

"  4.  The  style  of  the  tiara  seems  harder  than  that 
of  analogous  objects  discovered  at  Olbia  and  pre- 
served in  the  Hermitage  Museum. 

"  I  mention  this  last  argument,  of  which  I  have 
been  told  by  serious  people,  with  all  reserve,  as  I  have 
never  myself  visited  the  St.  Petersburg  Museum.  Its 
force,  however,  is  decreased  by  the  fact  that  M.  de 
Kieseritzky,  the  Keeper  of  the  Archfeological  Museum 
of  the  Hermitage,  having  long  examined  and  studied  the 
tiara,  pronounced  formall}'  in  favour  of  its  genuineness. 

"  Unfortunately — and  this  strangely  complicates 
the  affair — the  Tiara  of  Saitapharnes  also  has  its 
'  secret  dossier.'  I  am  able,  however,  without  betraying 
confidences,  to  assist  the  reader  to  form  an  idea  of 
what  that  dossier  consists. 

"  Both  before  and  after  the  purchase  of  the  tiara 
by  the  Louvre,  different  museums  and  collectors  were 
asked  to  buy  wonderful  gold  ornaments,  some  of  them 
furnished  with  inscriptions,  which  were  said  to 
come  from  Olbia.  .  .  .  Now  these  are  all  false ; 
they  swarm  with  archaeological  solecisms  and  the 
incorrectness  of  their  inscriptions  is  grotesque.  But 
several  of  them  present  such  striking  analogies  either 
of  decoration  or  of  style  with  the  tiara  that  we  are 
obliged  to  choose  between  these  two  hypotheses  : 

"  I.  Either  the  tiara  of  the  Louvre  is  an  original 
piece,  secretly  discovered  some  twelve  or  more  years 
ago,  which  first  served  as  a  model  to  a  laboratory  of 
forgers  who  tried  to  put  imitations  on  the  market 
before  disposing  of  the  original  ; 

"  2.  Or  else  the  tiara  of  the  Louvre  is  the  master- 
piece of  that  laboratory  which  has  produced  nothing 
but  almost  ridiculous  booby-traps  before  and  since. 

"  One  feels  the  unlikehood  of  this  latter  hypothesis. 
Here  we  have  people  who  were  once  remarkable 
archaeologists,  excellent  epigraphists,  who  found  them- 
selves rewarded  for  their  talents  by  an  unhoped-for 
success,  and  who  have  since  flooded  the  market  with 
nothing  but  '  fnkfis,'  postichcs,  screaming  forgeries,  fit  to 
be  sold  some  day  or  other  by  the  weight  of  the  metal, 
the  considerable  work  of  the  goldsmith  counting  for  no- 
thing. How  can  one  explain  so  pitiful  a  deterioration 
instead  of  the  progress  that  was  to  be  expected  ? 

"  It  is  easy  for  me  to  point  all  this  out  in  general 
terms,  but  the  reader  who  has  not  seen  the  articles 
ill  <]iicstioii  must  take  my  word  for  it.  .  .  .  That 
is  what  I  call  the  'secret  dossier  of  the  tiara." 

"  This  state  of  things  will  last  until  the  forgeries 
have  been  melted  down  or  bought — which  I  dare  not 
hope — by   sonic  public  collection.      So  long  as  they 


'ICTURli    SALES 


belong  to  private  persons,  we  shall  have  to  rcsij,'n 
ourselves  to  silence  or  be  content  to  work  a  few 
individual  conversions  behind  closed  doors.     .     .     . 

".1/  the  present  moment,  I  think  that  no  archaologist 
hiis  the  right  to  be  absolutely  positive  on  the  subject  of  the 
tiara.  He  must  weigh  the  arguments  for  and  against, 
studv — if  he  have  the  time — the  gold  work  of  the  south 

of  Russia,  and wait !     Learned  Europe  forms  an 

ever-accessible  tribunal,  which  needs  no  official  con- 
vocation in  order  to  have  a  new  fact  brought  before  it." 

I  think  that  there  is  nothing  to  add  to  this  luminous 
argument,  perfect  in  its  impartiality  and  perfect  in  its 
dialectics.  I  may  note,  however,  that  in  L'A  nthropologic 
(\'ol.  X^,  in  1899,  M.  de  Stern  replied  to  M.  Salomon 
Kcinach.  The  distinguished  Russian  scholar,  in  his 
letter,  relied  on  a  law-suit  brought  in  Odessa,  in  i<S97, 
by  M.  Souroutchane,  a  well-known  collector,  against 
Schupsel  Hochmann,  of  Otchakoff,  the  man  who  sold 
the  tiara  to  the  Louvre.  Two  of  the  pieces  in  litiga- 
tion were  said  to  have  been  incited  down  by  order  of 
M.  Kachoumowski.  But  this  sentence  in  M.  de  Stern's 
report  of  the  case  is  worthy  of  note  :  "  It  was  impos- 
sible for  me  to  come  to  a  definite  conclusion  in  this 
matter    of  the  tiara] ." 

In  the  same  volume  of  L'Anthropologie,  M.  Salomon 
Reinach  replied  to  M.  de  Stern,  and  discharged  this 
Parthian  bolt  at  him  by  the  way  : 

"  M.  de  Stern  knows  that  articles  in  gold,  manu- 
factured in  Russia,  have  to  bear  the  Government 
5tamp.  The  tiara  of  the  Louvre]  bears  no  stamp. 
If  he  is  so  persuaded  of  its  falseness,  why  does  he  not 
cause  proceedings  to  be  instituted  in  this  connection 
against  the  vendor,  who  would  be  guilty  of  avoiding 
the  fiscal  formality  of  the  stamping?  "' 

It  would  be  easy  to  multiply  opinions,  but  several 
folio  volumes  would  in  that  case  be  needed  to  contain 

THE    PICTU 

The  season  with  regard  to  public  sales  of  pictures 
has  so  far  been  extremely  uneventful.  The  fact  that 
no  great  collection  has  as  yet  been  submitted  to  that 
most  impartial  of  critics,  the  auctioneer's  hammer,  need 
cause  but  little  wonder,  as  such  an  event  is  always 
of  the  rarest  occurrence  before  the  commencement  of 
the  recognized  London  season.  Besides,  even  during 
that  privileged  period,  we  have  not  seen  in  London 
within  the  last  two  or  three  years  one  of  those  disper- 
sals of  treasures  to  which  dealers  and  amateurs  of 
pictures  eagerly  flock  from  the  four  corners  of  the 
globe,  and  which  in  after  days  remain  fi.xcd  in  their 
memories  as  landmarks  in  the  history  of  art. 

But  no  single  work  has  yet  appeared  in  any  London 
sale-room  of  sufticient  beauty  to  e.xcite  the  enthusiasm 
of  art-lovers,  or  of  sufficient  artistic  interest  to  arouse 
the  controversial  spirit  of  the  critics.  Paintings  of  the 
highest  standard  are  daily  becoming  rarer  in  the  market. 
The  greatest  works  of  the  old  masters,  such  as  ha\  e 
not  found  a  permanent  resting-place  in  a  national  mu- 
seum; the  finest  portraitsof  the  Early  English  School, 
apart  from  those  held  fast  in  the  grip  of  an  aristocratic 
entail ;  the  most  perfect  productions  of  the  I'rench 
landscape  masters  of  i8jO,  have  now  been  absorbetl 
into  the  collections  of  the  e.xtremely  wealthy  on  both 
sides  of  the  .Atlantic.     Their  release  in  the  near  future 


them  all.  It  is  easy  to  gather  from  the  foregoing  how 
numerous  and  varied  the  opinions  have  been.  .Many 
who  were  most  positive  in  1896  modified  their  views  in 
1897.  Many  of  them  agree  with  Mr.  Murray  in  pro- 
nouncing certain  portions  of  the  tiara  to  be  genuine. 
.M.  Charles  Ravoisson  Mollien  is  "  not  certain  of  the 
authenticity,  but  believes  the  Hellenism  of  the  best 
portions  to  be  ver\'  probable." 

This  is  not  the  view  taken  by  M.  Salomon  Reinach, 
who  has  been  good  enough  to  give  me  an  interview. 
M.  Salomon  Reinach,  whose  opinions  I  have  summar- 
ized above,  has  not  changed;  either  the  tiara  is  en- 
tirely false,  or  else  the  tiara  is  completely  genuine. 
M.  Reinach  is  awaiting  the  arrival  of  M.  Rachoumow- 
ski.  Let  us,  then,  await  it  with  him.  That  is  where, 
at  this  moment,  lies  the  actual  interest  of  the  (juestion 
that  has  given  rise  to  so  much  to-do,  and  to  the  utter- 
ing of  so  much  nonsense.  Has  it  not,  in  fact,  been 
asserted,  amid  other  absurdities  betraying  an  igno- 
rance of  all  geographical  ideas,  that  the  discovery  of  the 
forgery  would  cause  criminal  proceedings  to  be  taken 
against  the  Russian  engraver?  Now  the  Statute  of 
Limitations  runs,  and  M.  Rachoumowski  can  come  to 
Paris  without  fear — and,  perhaps,  without  reproach. 

But  there  is  a  lesson  to  be  derived  from  the  "  affair 
of  the  tiara."  It  crops  up  unsought  for,  and  a  most 
interesting  article  could  be  written  on  forgers  and 
forgeries  in  art  matters.  We  must  beware,  however, 
lest,  after  being  at  one  time  too  confident,  we  pro- 
ceed to  the  other  extreme  and  end  by  denouncing 
the  "  Gioconda"  or  the  "  Lesson  in  Anatomy."^ 

P.S. — April  6  (by  telegram).  Rachoumowski  ar- 
rived yesterday.  He  will  be  examined  at  once  by 
M.  Clermt)nt-Ganneau,  and  we  shall  probably  not  have 
long  to  wait  for  a  definite  pronouncement. 


RE    SALES 

is  in  the  great  majority  of  cases  most  unlikely,  except 
in  the  event  of  a  severe  financial  crisis  or  an  unforeseen 
social  change.  He,  therefore,  who  would  seek  un- 
familiar masterpieces  on  the  ever-changing  walls  of 
the  sale-room,  must  perforce  in  the  meantime  be  satis- 
fied wnth  the  crumbs  left  over  from  the  great  feasts  of 
the  past  ;  and,  if  he  be  at  all  fastidious  as  to  the  qual- 
itv  of  those  very  crumbs,  he  can  have  found  but  little 
during  the  last  few  months  to  satisfy  his  appetite. 

No  great  collection,  no  single  isolated  chef  d'auvre, 
has  come  forward  ;  but  the  connoisseur  who  visited 
Christie's  during  the  few  days  preceding  February  21 
can  but  have  been  pleased  with  the  charming  small 
collection  of  "  cabinet "  ])ictures  the  property  of 
the  late  Lady  Page  Turner.  Here  was  a  modest 
gathering  of  some  fifty  works,  pointings  and  drawings, 
of  the  Dutch  and  French  Schools,  with  over  a  dozen 
productions  of  a  single  Italian  painter,  F.  Guardi.  The 
charm  of  this  collection  was  due  to  the  evident  care 
and  knowledge  with  which  each  item  had  been  selected. 
It  was  clearly  apparent  that  Sir  Edward  Page  Turner, 
when  he  purchased  his  works  of  art  between  the  years 
1858  and  1873,  did  not  do  so  because  they  were 
fashionable,  or  because  walls  must  be  covered,  but 
because  he  loved  and  understood  the  masters  with 
whose  creations  he  elected  to  live.     The   fact   that   a 


THE     BURLINGTON     GAZETTE 

gouache  drawing,  attributed  to  Boucher,  was  no  doubt 
the  work  of  a  lesser  man,  or  that  a  head  of  a  girl, 
labelled  "  Greuze,"  was  certainly  not  that  master's 
work,  was  more  than  compensated  by  the  beauty  of 
the  specimens  by  Philips  Wouwerman,  by  J.  Wynants, 
by  Caspar  Netscher,  and  the  pair  of  landscapes  by 
F.  Boucher. 

The  latter  are  both  charming  examples  of  the 
French  painter's  decorative  manner  ;  truth  to  nature, 
after  which  Watteau  was  already  straining,  thus 
establishing  himself  as  the  real  precursor  of  the  plein- 
airistes  of  the  nineteenth  century,  was  not  the  aim  of 
Boucher  :  the  bluish  atmosphere  of  these  two  can- 
vases, the  purely  conventional  arrangement  of  trees, 
buildings,  and  figures,  show  that  he  sought  merely  to 
achieve  a  graceful  decorative  effect,  and  in  this  he 
has  perfectly  succeeded.  Both  pictures  are  signed  in 
full  and  dated  1762,  a  period  at  which  Boucher  was 
at  the  apogee  of  his  fortune.  They  represent  woody 
river  scenes,  with  peasants  and  animals,  and  were 
sold  for  1,580  guineas  the  pair. 

Another  charming  work  of  the  French  School  of 
the  eighteenth  century  was  a  reduction  by  J.  M. 
Nattier  of  his  large  portrait  of  Elizabeth,  Duchess  of 
Parma,  aunt  of  Louis  XVI.  She  is  seated  under  a 
tree  in  a  picturesque  blue  hunting  costume,  with  a 
three-cornered  hat,  and  has  that  lovely  peach-like 
complexion  with  which  Nattier  was  wont  to  endow 
his  sitters.  This  small  canvas,  only  15^  in.  by  izh  in., 
fetched  850  guineas. 

To  the  French  School  also,  but  of  a  slightly  later 
period,  belonged  a  pair  of  beautiful  panels,  only  I2|-  in. 
by  giin.,  each  representing  a  lady  in  white  dress 
walking  in  a  landscape.  No  artist's  name  was  men- 
tioned in  the  catalogue  in  connection  with  these  two 
exquisite  works,  and  indeed  it  is  a  matter  of  no 
small  difficulty  to  identify  their  author.  Almost  too 
good  to  be  attributed  to  Jean  Baptiste  Hilaire,  they 
seem  earlier  than  Boilly  in  his  best  period,  yet  they 
have  that  painter's  delicacy  of  drawing  and  colouring. 
720  gns.  did  not  seem  an  exaggerated  value  for  the 
pair,  notwithstanding  their  unknown  parentage. 

Francesco  Guardi,  Venetian  by  birth  and  pupil  of 
Canaletto,  belongs  no  doubt  to  the  Italian  School ;  but 
he  may  with  justice  be  said  to  be  the  most  French  of 
Italian  painters.  The  boldness  of  his  lines,  his  vigorous 
contrasts  of  light  and  shade,  his  composition  seem- 
ingly hap-hazardyet  always  elegant  and  well-balanced, 
the  general  breadth  of  his  handling,  might  be  the 
characteristics  of  a  Frenchman.  If  a  further  test  be 
necessary,  a  visit  to  Hertford  House  will  show  how 
thoroughly  the  works  of  Guardi  harmonize  with  those 
of  French  artists,  and  how  they  appear  to  be  in  their 
most  natural  element  when  surrounded  by  French 
works  of  art  and  furniture.  This,  Sir  Edward  Page 
Turner  seems  to  have  fully  realized,  and  therein  no 
doubt  lies  the  reason  of  his  having  admitted  into  his 
collection  so  many  works  of  Guardi,  alone  of  all  his 
compatriots.  Some  of  these  canvases  were  unimpor- 
tant in  size,  but  nearly  all  were,  if  not  of  the  very 
finest  quality,  yet  good' characteristic  examples  of  the 
master.  The  two  best  ones,  "  The  Mouth  of  the 
Grand  Canal"  and  "The  Island  of  San  Giorgio 
Maggiore,"  both  12J  in.  by  20  in.,  fetched  390  gns. 
and  .150  gns.  respectively. 


Apart  from  the  group  of  P'rench  pictures  and  works 
of  Guardi,  the  Page  Turner  Collection  contained 
fourteen  paintings  of  the  Dutch  School  of  the  seven- 
teenth century.  Of  these,  the  first  to  claim  our 
attention  are  the  two  excellent  examples  of  Philips 
\\'ouwerman,  who,  in  the  painting  of  horses,  remains 
unsurpassed  to  this  da\-,  and  well-nigh  unapproached. 
He  alone  seems  to  have  succeeded  in  imparting  to 
every  horse  in  his  compositions,  so  to  speak,  a  distinct 
personality,  in  causing  the  countenance  of  each  animal 
to  express  courage,  pain,  rage,  terror,  or  content,  with- 
out giving  it  that  false  human  mask  which  mars  the 
productions  of  the  great  majority  of  animal  painters 
when  they  attempt  more  than  to  reproduce  the  mere 
outer  form  of  their  model.  In  this  respect,  as  well  as 
in  the  exquisite  finish  and  perfection  of  detail  asso- 
ciated with  the  name  of  Wouwerman,  the  two  Page 
Turner  examples  leave  nothing  to  be  desired.  The 
first,  "A  Conflict  of  Cavalry,"  is  described  as  follows 
in  Smith's  Catalogue  Raisonne  (Supplement,  No.  162)  : 
'•  The  scene  exhibits  a  field  of  battle,  in  which  are 
depicted  the  confusion  of  opposing  parties ;  of  those 
nearest  the  e)'e  of  the  spectator  is  a  group  of  six 
cavalry  combatants,  two  of  whom  are  struggling  des- 
perately together  for  the  possession  of  a  standard. 
One  of  them,  on  a  roan  charger,  is  aiming  a  cut  with 
his  sword  at  his  adversary,  who  is  prepared  to  revenge  it 
with  his  pistol ;  a  third,  in  a  Turkish  dress,  bestrides 
a  fallen  horse,  and  is  defending  himself  against  an 
infantry  soldier  who  is  levelling  a  musket  at  him  ;  to 
the  right  is  a  fourth  combatant  on  a  dark,  fiery  steed, 
attacking  a  foot  soldier  who  is  piercing  the  side  of  his 
beast  ;  and  beyond  these  is  a  fifth,  falling  headlong 
from  a  galloping  grey  horse.  An  excellent  work  of  the 
master"  (panel  I3jin.  by  i8|^  in.).  This  picture  was 
sold  in  1864  in  the  collection  of  Mr.  J.  M.  Oppenheim 
for  330  gns. ;  its  present  value  proved  to  be  nearly 
double,  namely,  600  gns. 

The  other  Wouwerman,  "  The  Halt  of  the  Tra- 
vellers," though  no  better  in  quality  and  only  slightly 
larger  (igl^  in.  by  17^  in.),  fetched  a  considerably  higher 
price,  namely,  880  gns.  This  may  be  accounted  for 
by  the  fact  that  the  subject,  not  being  a  battle  scene, 
is"  more  to  the  taste  of  the  majority  of  amateurs. 
"  The  scene  depicts  a  cottage  standing  on  the  right, 
before  which  a  post-waggon  has  stopped  ;  a  cavalier 
is  assisting  a  lady  to  alight  ;  a  gentleman  in  a  red 
coat  stands  in  the  foreground  talking  to  a  stableman, 
while  his  white  horse  is  drinking  from  a  pail  ;  a  group 
of  peasants  are  on  the  right,  and  a  gipsy  with  two 
children  are  on  the  bank  of  a  river  on  the  left." 

Wouwerman,  like  many  other  painters  of  his  time, 
occasionally  collaborated  with  one  or  other  of  his 
contemporaries  in  the  execution  of  a  picture.  He 
often  inserted  figures  and  animals  in  the  landscajies 
of  his  master,  Jan  Wynants,  during  the  hitter's  resi- 
dence at  Haarlem,  before  he  migrated  to  Amsterdam. 
A  fine  example  of  a  "  Falcon  Chase,"  in  Buckingham 
Palace,  is  the  result  of  these  two  masters'  co-opera- 
tion. After  \\'ynants  left  Haarlem,  the  life  interest 
in  his  pictures  was  usually  inserted  by  Lingelbach  or 
Adriaen  van  de  Velde.  The  latter  was  especially 
successful  in  this  kind  of  "  etoffage,"  and  was  accord- 
ingly employed  by  many  artists,  such  as  Hobbema, 
Ruysdael,  Van  der  Heyden,  Wynants,  Hakkert,  Vcr- 


THE    HALT   OF  THE   TRAVELLERS 
By  Ph.  Wouwerman 


boom,  and  Moucheron.  F"rom  his  brush  undoubtedly 
are  the  tif^ures  and  animals  in  the  two  landscapes  by 
Jan  W'ynants  which  belonged  to  Lady  Page  Turner. 
The  smaller  one,  "  A  Sportsman  Shooting  a  Rabbit  " 
(II  in.  by  15  in.),  is  an  exquisite  example,  a  clear  and 
airy  landscape  with  a  beautifully  painted  sk}- ;  it  is 
signed  and  dated  1667,  and  is  described  In'  Smith 
(Cat.  Kais.  Supplement,  No.  20)  :  "  The  view  exhibits, 
on  the  left  a  broken  sand-hill,  on  the  farther  side  of 
which  [is   a  sportsman   aiming  at   a   rabbit  ;  a    rustic 


fence  extends  along  the  centre,  and  on  the  right  of 
the  picture  is  a  winding  road,  on  which  is  a  cavalier 
on  horseback,  with  a  man  on  foot  b\-  his  side  and 
some  dogs  ;  more  remote,  on  the  same  road,  is  a 
second  party  approaching  :  the  distant  landscape 
shows  an  open  country,  finel\-  varied  with  trees  and 
meadows,  amidst  which  may  be  descried  the  village 
church  :  thistles  and  other  herbage  give  effect  to  the 
foreground.  Painted  in  the  artist's  most  esteemed 
nKuiiier."      It    fetrlKcl   .|io   gns..   whereas  the  second 


THE    BURLINGTON     GAZETTE 


Wynants,  though  larger  in  si^e,  onl}'  reached  350  gns. 
The  difference  was  due  to  its  greatly  inferior  quality, 
the  picture  being  dry  in  execution,  and  somewhat 
lacking  in  atmosphere  :  still,  it  is  a  fair  example  of  the 
artist,  and  is  to  be  found  noted  in  Smith,  No.  71. 

The  picture  by  Adriaen  van  de  Velde  alone,  and  not 
in  collaboration  with  anyone  else,  "A  Woman  Wash- 
ing her  Feet  in  a  Brook,"  was  one  of  the  few  unsatis- 
factory works  in  this  collection  :  not  that  any  doubt 
could  be  cast  upon  i:s  authenticit}-,  but  it  is  far  below 
the  artist's  usual  standard  of  excellence,  as  a  com- 
parison with  the  examples  in  the  National  Gallery 
would  at  once  make  evident.  Probably  it  has  suf- 
fered from  the  bad  quality  of  the  pigments  which  this 
master  not  infrequently  employed,  for  some  parts  are 
now  almost  black,  and  it  is  scarcely  likely  that  a 
painter,  usually  so  lucid  and  transparent,  should  have 
allowed  the  picture,  with  its  present  aspect,  to  leave 
his  hands.  It  had  passed  through  severarwell-known 
collections,  and  on  this  occasion  fetched  350  gns., 
a  fall  of  over  ;^'8o  since  its  last  appearance  in  the  sale- 
room in  1864. 

The  genre  painters  of  the  Dutch  School,  as  opposed 
to  their  confreres  in  landscape,  were  only  represented 
by  two  names  in  the  Page  Turner  collection,  Gerard 
Dow  and  Gaspar  Netscher,  to  make  no  mention  of  a 
small  and  very  unimportant  Teniers.  The  Gerard 
Dow  represents  "  A  Girl  at  a  Window,  with  a  mouse- 
trap, which  she  is  showing  to  a  kitten  held  under  her 
arm.  A  duck  is  hanging  up  on  the  left  side,  and  a 
pewter  jug  lies  on  the  sill ;  the  sides  of  the  window 
are  adorned  with  ivy  "  (Smith's  Cat.  Rais.,  No.  62). 
This  picture  has  no  doubt  been  a  very  fairl}-  good 
example  of  Rembrandt's  great  pupil ;  but  at  the  time 
of  the  sale  it  appeared  in  a  terribly  cracked  condition, 
and  until  the  old  varnish  is  removed  it  is  impossible 
to  ascertain  how  far  the  damage  has  penetrated  the 
paint.  This  fact  notwithstanding,  it  was  sold  for 
340  gns.,  ten  times  its  price  in  1783  at  the  sale  of  the 
collection  of  Count  de  Merle. 

A  splendid  example  of  Gaspar  Netscher's  earlier 
manner  is  the  group  entitled  "  Portraits  of  a  Lady,  a 
Gentleman,  and  a  Child  "  (Smith's  Cat.  Rais.,  No.  6). 
Painted  in  1663,  this  interior  bears  the  strongest 
evidence  of  the  influence  of  Netscher's  more  famous 
master,  Gerard  Terburg ;  it  is,  in  fact,  executed 
absolutely  in  the  manner  of  Terburg,  and  resembles 
that  master's  work  to  a  remarkable  degree  ;  it  exhibits 
no  doubt  neither  the  power  of  handling,  nor  the 
marvellous  wealth  of  harmonious  detail,  nor  yet  the 
sparkling  brilliance  of  light,  that  distinguish  the  greater 
man's  productions;  but  it  is  still  further  remote  from 
the  weak  and  mannered  portraits  which  Netscher 
turned  out  in  great  numbers  in  the  closing  years  of 
his  life.  Sold  for  £41  at  the  Prince  de  Conti's  sale  in 
1779,  it  now  fetched  370  gns.,  which  seemed  a  low 
price  for  so  excellent  a  work,  especially  when  compared 
with  the  very  small  and  somewhat  doubtful  specimen 
attributed  to  Netscher  which  immediately  followed  it 
and  reached  310  gns. 

There  remains  but  one  picture  to  be  mentioned  in 
this  collection,  and  that  belongs  to  the  English  School. 
In  the  midst  of  the  works  I  have  described  of  the 
Dutch  and  French  Schools  of  the  seventeenth  and 
eighteenth  centuries,  it  was   somewhat    startling   to 

8 


discover  a  canvas  signed  T.  Sidney  Cooper,  1S44, 
"  Waiting  for  the  Ferry  ";  one  could,  in  fact,  barely 
refrain  from  inquiring,  "  Que  diable  allait-il  faire  dans 
cette  galerc  ?  "      It  was  sold  for  320  gns. 

The  Pagr  Tinner  Sale  having  occupied  little  more 
than  ati  hour,  during  which  over  £10,000 was  realized, 
the  rest  of  the  day  was  devoted  to  the  disposal  of  other 
properties,  which,  howe\-er,  contained  but  few  things 
of  real  interest.  There  were  four  pastel  portraits  by 
John  Russell, R. A.,  but  only  one  of  a  lady,  "  Mrs.  Sarah 
G arrow  "  ;  this  fetched  510  gns.,  while  her  husband, 
'■  William  Garrow,  Esq.,"  only  found  a  purchaser  at 
90  gns.  The  two  others  represented  boys,  decora- 
tively  more  valuable  than  adult  males,  though  less  so 
than  persons  of  the  opposite  sex.  "  Master  Daniel 
Gregor}'  "  was  sold  for  170  gns.,  and  "  Master  de  Lyne 
Gregory  "  for  200  gns. 

A  large  "  View  in  a  Dutch  Town  "  was,  for  some 
reason  diflicult  to  define,  attributed  to  Pieter  de 
Hooghe,  with  whose  work  it  has  nothing  in  common, 
and  it  was  knocked  down  at  42  gns.  The  "  River 
Scene  with  Bridge  and  Angler,"  attributed  to  Jacob 
Ruj'sdael  and  sold  for  220  gns.,  must,  if  really  the 
work  of  that  master,  be  a  ver}-  early  example. 

A  small  collection,  the  property  of  a  lady,  which 
ended  the  sale,  contained  several  pictures  of  fair  merit, 
amongst  which  may  be  mcntinned  "  A  Dutch  Peas- 
ant." bv  C.  Diisart,  well  painted,  but  uninteresting  in 
subject  (jddgns.)  ;  "Dead  Partridge,  Jay,  and  other 
]!irds,"  by  j.  U\t  (300  gns.) ;  "A  Group  of  Flowers 
in  a  \'asc,"  b\-  J.  \'an  Os  (230  gns.);  and  finally,  "A 
Road  by  a  River,  with  Figures  on  Horseback  and 
Beggars,"  a  pleasing  example  by  J.  Wynants, 
though  not  equal  to  the  Page  Turner  specimens 
(290  gns.). 

The  sale  of  Februar\-  21,  which  I  have  described 
above,  was  by  far  the  most  interesting  that  has  so  far 
occurred  ;  but  on  the  previous  Saturday,  February  14. 
a  crowded  room  witnessed  the  disposal  of  an  impor- 
tant canvas  by  Constant  Troj-on,  the  property  of  the 
late  James  Macandrew,  Esq.  It  is  entitled,  ''  La 
Vallee  de  la  Touques  :  the  last  day  of  Summer,  "  and 
measures  8  ft.  6  in.  in  height  bj-  6  ft.  11  in.  in  width. 
This  is  not  an  example  of  Troyon's  mature  and  finest 
period,  but  a  somewhat  early  work,  probably  painted 
about  1845  to  1850  ;  nor  does  the  interest  centre  on 
cattle,  for  the  painting  of  which  the  great  French 
artist  is  so  justly  famous;  such  cows  as  the  picture 
contains  are  treated  merely  as  accidents  in  the  land- 
scape. P'or  these  reasons,  and  also  on  account  of  its 
enormous  size,  this  is  not  perhaps  an  eminently  de- 
sirable Troyon,  but  it  is  a  splendid  example  of  French 
landscape  painting  in  the  middle  of  last  century — it 
is  full  of  sunshine,  and  the  atmosphere  is  rendered 
with  rare  perfection.  It  fetched  2,600  gns.,  which 
would,  of  course,  be  a  very  low  price  for  a  Troyon  of 
such  importance,  were  it  of  the  finest  qualit}'. 

A  pair  of  portraits  b)-  Drost  were  the  only  other 
objects  of  interest  in  the  Macandrew  collection. 
Drost  is  a  painter  of  whose  life  almost  ncjthing  is 
known,  except  that  he  was  a  pupil  of  Rembrandt 
about  1638.  Even  his  name  is  doubtful :  he  is  known 
sometimes  as  Willem,  sometimes  as  Gerard,  and 
sometimes  as  Cornelis.  These  two  portraits  are  said 
to  be  those  of  the  Artist  and  his  Wife,  and  the  latter 


Ill-:    I'K  irKi- 


SALKS 


bears  a  signature  and  the  date  1653.  It  was  sold  for 
640  gns.,  and  the  companion  portrait  for  440  gns. 

The  sale  of  various  properties  on  February  28  was 
notable  only  for  two  pictures,  both  by  English  land- 
scape painters  of  the  first  half  of  the  nineteenth  cen- 
tury. The  first  was  a  small  canvas  by  that  youthful 
genius.  Richard  Parkes  Bonington,  whose  early  death 
at  the  age  of  twenty-seven  was  as  great  a  calamity  to 
the  world  of  art  as  the  loss  of  Keats  or  Chatterton'was 
to  literature.  The  '' \'iew  of  the  French  Coast  near 
Dieppe,"  which  belonged  to  Sir  Hugh  .\dair,  is  a  tender 
and  beautiful  example  of  Bonington's  work,  and  it 
fetched  300  gns.,  although  only  cji  in.  by  lai  in.  in  size. 
More  remarkable  still  was  a  masterly  sketch  of  "  .\ 
House  at  Hampstead,"  by  Constable,  2]i  in.  by  19  in., 
which  was  sold  for  480  gns.  The  large  white  house 
standing  at  the  top  of  a  hill,  strongly  outlined  against 
a  cloudy  sky,  is  the  only  part  of  the  picture  which 
approaches  completion  :  the  foreground  and  one  or 
two  figures  are  merely  indicated  with  great  dashes  of 
colour  and  long  sweeps  of  the  brush.  Such  a  sketch, 
rendering  as  it  does  with  extraordinary  power  the 
spontaneous  impression  of  the  artist's  mind,  is  worth 
many  a  highly-finished  picture,  although  it  would  no 
doubt  be  termed  a  daub  by  those  (their  name,  alas, 
is  legion)  who  consider  photographic  accuracy  the 
highest  possible  attainment  in  painting. 

To  such  as  these  the  water-colours  of  Birket  Foster 
and  William  Hunt  must  cause  boundless  delight ;  and 
the  fact  that  on  the  following  Saturday  (March  7) 
a  work  by  the  first-named  reached  750  gns.  shows 
that  I  do  not  exaggerate  their  number.  This  drawing,  it 
is  true,  is  of  unusual  size  (27  in.  by  60  in.)  and  possesses 
real  qualities  of  draughtsmanship  and  colouring  ;  but 
there  can  be  little  doubt  that  a  severe  drop  in  price 
will,  in  the  not  very  distant  future,  overtake  works  of 
this  character,  and  that  they  will  follow  on  the  down- 
ward grade  the  once  highly-rated  productions  of  Land- 
seer,  Edwin  Long,  and  Frith.  Similar  reflections  were 
awakened  by  the  large  air-less  canvas,  '"  The  Head  of 
the  Loch,"  Peter  Graham's  Academy  picture  of  1894, 
which  was  sold  for  950  gns.  on  the  same  afternoon. 

The  portrait  of  "  Colonel  Charles  Churchill  "  sold 
on  March  14,  for  480  gns.,  was  painted  by  Sir  Joshua 
Reynolds  in  1755  shortly  after  his  return  from  ItaU'. 
Like  nearly  all  Sir  Joshua's  works  of  this  early  period, 
this  portrait  is  very  much  faded  ;  every  vestige  of  red 
or  carmine  has  disappeared  :  this  is  especially  notice- 
able in  the  face  and  hands,  which  have  assumed  a 
yellowish-green  appearance.  The  damage  is  the  more 
to  be  regretted  as  the  portrait  is  otherwise  an  extremel}- 
fine  one,  full  of  character  and  dignity,  powerfulh- 
painted  and  carefully  modelled.  It  is  a  three-quarter 
length  presentation  of  the  Colonel,  standing  in  a 
landscape  in  a  fawn  -  coloured  dress  with  leather 
baldrick  ;  his  left  arm  rests  on  the  stump  of  a  tree, 
and  he  holds  a  hunting  crop  in  his  right  hand. 

On  the  same  day  a  "  Portrait  of  a  Lady  "  attributed 
to  Sir  Joshua  Reynolds,  but  probably  by  Hudson, 
apparently  failed  to  change  hands  at  480  gns. ;  this 
portrait  was  seen  at  Christie's  only  last  year  in  the 
collection  of  Mr.  Emil  Heinemann,  when  it  fetched 
580  gns.  This  sale  also  included  a  pretty  head  of  a 
lady,  in  white  dress  with  a  large  hat  and  powdered  hair, 
attributed  to  Sir  Joshua's  pupil,  the  Rev.  W.  Peters 


(340  gns.);  and    a   fairly  good   Morland  dated   1791. 
"Peasants,  Horse,  and  Pigs  before  a  Barn  "  (250  gns.). 

There  was  very  little  to  attract  the  connoisseur  in 
the  sale  of  March  21,  apart  from  a  group  of  twelve 
drawings  in  red,  white,  and  black  chalk  and  one  pastel 
by  Helleu,  and  a  scries  of  seven  black-and-white  draw- 
ings by  Leon  Lhermitte.  The  former  were  executed 
with  the  dash  and  freedom — spontaneous  or  assumed 
— which  is  the  well-known  characteristic  of  the  artist, 
and  they  fetched  prices  \arying  between  £11  and  £"24. 
-Among  the  works  by  Lhermitte,  three  church  in- 
teriors attracted  bids  of  70  gns.,  95  gns.,  and  125  gns. 
respectively. 

Two  enormous  canvases  b\-  Sidney  Cooper  re- 
appeared from  the  artist's  sale  last  April,  and  showed 
an  appreciable  falling-off  in  value.  "  Pushing  off  from 
Tilbury  Fort,"  exhibited  at  the  Academy  in  1884, 
fetched  370  gns.,  £200  less  than  last  year.  "  Separated, 
but  not  Divorced,"  a  figure  of  a  bull,  larger  than  life, 
only  brought  50  gns.,  one  quarter  exactly  of  its  price 
eleven  months  ago.  True  it  is  that  every  picture- 
buyer  has  not  the  wall-space  to  hang  works  of  such 
huge  dimensions,  but  it  is  clearly  evident  that  Cooper's 
cattle  pieces  are  not  destined  to  maintain  the  com- 
l)arati\ely  high  prices  which  have  been  sometimes  paid 
for  them. 

Two  Presidents  of  the  Royal  Academy  were  repre- 
sented, each  by  one  important  work,  in  the  very 
indifferent  collection  of  some  twenty  odd  modern 
pictures  belonging  to  Sir  Joseph  W.  Pease,  Bart., 
which  were  offered  at  Christie's  on  March  28.  Both 
Lord  Leighton's  "  .\  Moorish  Garden,"  and  Sir  E.  J. 
Poynter's  "  The  Catapult,"  have  been  several  times  at 
loan  exhibitions  since  they  were  first  shown  at  the 
Academy  in  1874  and  1868  respectively.  Neither  has 
improved  with  age. 

"A  Moorish  Garden:  A  Dream  of  Granada,"  is 
the  full  title  of  Lord  Leighton's  picture,  and  though 
the  first  half  may  be  acceptable,  the  raison  d'iire  of 
the  sub-title  is  not  easy  to  explain.  In  the  stiff  com- 
position and  light  technique  there  is  little  that  is 
dream-like,  and  poetical  feeling  is  entirely  absent.  A 
little  girl  in  a  rich  and  picturesque  costume  walks  in 
the  foreground  carrjing  a  copper  vessel,  and  followed 
by  two  peacocks,  the  one  white,  the  other  decked  in 
the  gorgeous  plumage  that  belongs  to  the  bird  of  Juno. 
The  background  is  formed  b\-  an  avenue  of  water 
covered  in  with  arches  of  evergreens,  at  the  further 
end  of  which  stands  a  Moorish  building.  Leighton's 
skilful  rendering  of  draper}-  and  firm  correctness  of 
drawing  are  well  exemplified  in  this  picture,  which 
fetched  880  gns. 

Sir  E.  J.  Poynter's  large  canvas,  "  The  Catapult  : 
Siege  of -Carthage,"  exhibits  deep  and  careful  study  of 
ancient  modes  of  warfare.  Here  we  see  in  action  the 
catapult  throwing  massive  red-hot  projectiles,  the 
battering-ram  attacking  the  walls,  worked  under  the 
protection  of  a  large  shield  of  skins,  whilst  huge  stones 
and  burning  pitch  arc  being  poured  on  to  the  assail- 
ants. But  the  whole  scene,  overcrowded  with  archaeo- 
logical detail,  is  more  like  a  stage  tableau  than  a 
reproduction  of  actual  fighting ;  with  so  much  going 
on,  it  is  singularly  lacking  in  movement  and  life:  the 
picture  was  knocked  down  at  (mo  gns. 

M.R. 


THE    PRINT    SALES 


The  season  of  1903  must  now  be  spoken  of  partially 
in  the  past  tense ;  yet  it  has  been  singularly  des- 
titute so  far  of  any  surprises.  There  have  been 
no  abnormally  phenomenal  prices,  and,  what  is 
still  more  important,  no  signs  have  been  e\ident  of 
any  deviation  from  the  now  well-worn  path  which  has 
been  trodden  by  modern  collectors  for  the  past  few 
years.  To  some  extent  this  is  reassuring,  for  a  certain 
amount  of  anxiety  must  be  felt  at  the  beginning  of 
each  season  by  collector  and  dealer  alike.  In  the 
somewhat  long  interval  which  has  elapsed  since  the 
preceding  sales  of  importance,  things  have  had  time 
to  rearrange  themselves.  Old  collectors  may  have 
died  off  or  their  collections  have  become  so  full  that 
they  have  ceased  buying ;  others  again  have  lost 
interest,  and  again  the  dissemination  of  knowledge  or 
even  the  publication  of  some  new  book  may  have 
tended  to  di\ert  attention  from  certain  channels  into 
others.  So  that  the  first  sales  are  a  fairly  good 
criterion  of  what  may  be  expected  throughout  the 
year. 

For  the  past  few  years  the  market  has  been  in  a 
matter-of-fact  condition ;  coloured  prints  and  mezzo- 
tints after  the  English  masters  of  the  eighteenth  cen- 
tury have  been  the  all-absorbing  pursuit,  and  the  great 
line-engravers  of  the  seventeenth  and  eighteenth  cen- 
turies are  still  neglected,  while  stipples  often  of  very 
small  artistic  value  are  pursued  with  an  ardour  worthy 
of  a  better  cause.  These  forms  of  engraving,  there- 
fore, however  much  they  may  be  open  to  criticism 
from  a  purely  artistic  standpoint,  must  necessarily 
claim  the  greater  share  of  attention  in  an  article  on 
print  sales. 

Of  course  there  is  a  certain  class  of  prints  which 
have  long  been  beyond  the  caprice  of  fashion — whose 
position  is  not  only  beyond  the  stage  of  controversy, 
but  whose  value  in  a  monetary,  sense  is  just  as  unas- 
sailable as  a  picture  by  Raphael  or  a  bronze  by 
Donatello.  These  are  the  works  of  the  men  of  the 
Renaissance  —  Albrecht  Diirer,  Martin  Schongauer, 
Marcantonio  Raimondi,  Robetta,  Veneziano — and  of 
the  great  masters  of  the  needle  of  the  seventeenth 
century  in  Holland  and  elsewhere.  Fine  impressions 
of  any  of  these  have  an  assured  value,  because  not 
only  have  their  merits  alwa\'s  appealed  to  the  greater 
and  most  cultivated  intellects  throughout  the  civilized 
world,  but  also  the  museums  of  Europe  contend 
eagerly  for  their  possession  whenever  a  fine  example 
is  offered  of  a  "  state  "  which  they  do  not  possess. 

The  collector  of  to-day  of  moderate  means,  for 
these  reasons  has  before  him  a  task  of  the  greatest 
difficulty.  If  he  turns  his  attention  to  the  fifteenth  and 
sixteenth  century  men,  he  finds  himself  not  only  face 
to  face  with  prices  which  may  seem  extravagant  in 
themselves  but  are  by  no  means  so  when  artistic 
qualities  are  taken  into  consideration,  but  he  finds  too 
the  hopelessness  of  accumulating  in  a  single  lifetime 
anything  like  a  fine  representative  collection.  Again, 
brilliant  impressions  of  the  great  mezzotint  engravers 
after  the  eighteenth-century  English  School  have  be- 
come equally  impossible  for  him,  for  the  interest  which 
has  been  manifested  in  them  during  the  last  decade  by 
the  most  opulent  collectors  has  been  phenomenal,  and 


prices  have  attained  a  level  which  must  give  cause  for 
pause  to  anybody  but  the  wealthiest  and  most  enthu- 
siastic devotee  of  the  art  of  the  eighteenth  century. 
Then  again  the  value  of  stipple  prints,  be  they  in 
colours  or  red  or  brown,  has  advanced  to  a  propor- 
tionate extent.  The  consequence  is  that  at  the  present 
time  the  collector  of  moderate  means  is  compelled  to 
content  himself  with  poor  impressions  and  prints  in 
bad  state,  or  to  pursue  a  branch  of  collecting  which 
meets  with  less  favour  by  the  wealthy  collector  of  the 
day.  In  this  direction  there  is  plenty  of  scope  for  ob- 
taining some  of  the  finest  specimens  of  the  engraving 
art  which  have  ever  been  executed. 

Even  for  those  whose  purse  is  unlimited  the  col- 
lecting of  the  finest  "  states "  of  mezzotints  and 
coloured  prints  is  becoming  more  and  more  hedged 
with  difficulties.  The  best  are  strongly  held,  and  only 
at  rare  intervals  come  into  the  market,  and  are  then 
again  immediately  absorbed  into  the  cabinets  of  the 
wealthy,  not  again  to  emerge  for  perhaps  a  lifetime. 
This  state  of  affairs  has  an  injurious  effect  in  more 
ways  than  one.  It  has  a  tendency  to  weaken  the 
critical  faculties  of  the  connoisseur  ;  for,  if  he  never 
or  rarely  sees  early  and  fine  impressions,  he  gradually 
becomes  so  used  to  the  lower  grades  that  he  loses 
somewhat  his  sense  of  proportion.  Further,  he  may 
become  aware  of  the  inferiority  of  his  specimens,  and, 
seeing  nothing  but  discouragement  and  disappoint- 
ment in  his  hobby,  either  relinquish  collecting  alto- 
gether, or  at  least  assume  a  condition  of  inertia,  which 
renders  him  for  the  future  a  small  factor  in  the  situa- 
tion. To  prognosticate  how  far-reaching  this  will 
ultimateU'  extend  is,  of  course,  pure  conjecture,  but 
its  decided  infiuence  must  be  being  felt  at  the  present 
moment. 

One  result  already  has  been  to  bring  into  promi- 
nence the  lesser  lights.  For  example,  witness  the 
amount  of  attention  which  is  being  bestowed  upon  the 
later  mezzotint  engravers,  such  as  S.  W.  Ke}noIds 
and  Samuel  Cousins,  particularly  when  the  latter  is 
engraving  after  Lawrence.  Several  were  included  in 
the  sale  of  February  4  at  Sotheby's,  when  a  fine 
impression  in  a  good  state  of  the  "  Countess  Gower 
and  Child  "  realized  £6g,  (a  good  impression  of  the 
ordinary  print  at  Christie's  on  March  11  fetched 
£28  7s.  od.)  ;  •'  Lady  Peel,"  on  India  paper,  with 
etched  letter  title,  £2;^  los.  od.  ;  and  a  proof  before  all 
letters  of"  Miss  MacDonald,"  £37.  Again,  at  Christie's 
on  P"ebruary  25  a  proof,  "  The  Countess  Grey  and 
her  Children,"  brought  £^2  lis.  od.  Again,  take  per- 
haps the  most  popular  print  Cousins  ever  executed, 
"  Master  Lambton,"  after  Lawrence :  a  fine  proof 
before  letters  of  this  was  sold  at  Sotheby's  on  Feb- 
ruary 4  for  £72,  and  a  proof  before  the  French  address 
at  Christie's  on  February  12  for  ^'21. 

There  are  few  collectors,  however,  who  would  place 
either  Cousins  or  Reynolds  on  the  same  level  as  the 
great  mezzotint  engravers  of  the  eighteenth  century. 
In  other  words  the  art  was  in  a  decadent  state  from 
which  it  has  never  wholly  recovered.  In  some  meas- 
ure the  present  situation  has  been  created  by  the 
modern  collector  differentiating  between  the  produc- 
tions of  the  engraver  on  quite   other  than  an  artistic 


basis.  He  has  followed  the  lead  given  him  by  his 
contemporary  in  pictures,  and  placed  subject  tirst  and 
intrinsic  merit  second.  .^  picture  or  a  print  must  be 
attractive  in  subject  to  command  a  high  value — a 
pretty  girl  inot  too  old),  a  pleasing  interior,  or  a  group 
of  children.  Portraits  of  men,  no  matter  what  artistic 
qualities  they  may  possess,  are  placed  quite  in  another 
categor}',  save  in  exceptional  instances  where  the  per- 
sonage represented  has  great  historical  qualifications, 
which  imparts  an  interest,  quite  outside  artistic  con- 
sideration. The  engravers  never  anticipated  such  a 
state  of  feeling  on  the  part  of  posterity,  and  simpl\ 
executed  what  came  their  way.  Hence  the  life-work 
of  an  engraver  is  cut  into  two  portions  by  the  collector 
of  this  type,  and  to  th6  lesser  he  devotes  all  his  atten- 
tion, neglecting  it  may  be  in  so  doing  th^;  very  best 
portion  of  the  artist's  work.  Thus  the  scope  of  his 
operation  is  so  much  narrowed  that  competition  be- 
comes very  keen  for  fine  impressions  of  the  coveted 
spiecimens,  and  prices  soar  higher  and  higher. 

On  precisely  the  same  basis  we  arrive  at  the  reason 
for  the  vastly  augmented  interest  in  the  paintings  of 
Hoppner.  who  at  present  holds  the  record  for  a  single 
picture  in  a  London  auction-room.  Hoppner  was 
particularly  happy  in  delineating  female  beauty.  He 
could  impart  a  softness  and  delicacy  to  the  head  which 
no  man  since  has  ever  surpassed.  This  very  same 
qualitv  lends  itself  peculiarly  well  to  a  beautiful  tran- 
scription by  the  meziiotint  process,  and  it  has  been  a 
matter  of  surprise  that,  with  current  fashion  set  so 
determinedly  in  this  direction,  the  prints  after  his 
works  have  not  attracted  more  attention.  However, 
they  are  rapidly  overtaking  their  precursors  executed 
after  Revnolds'and  Romney.  .\  particularly  fine  im- 
pression' in  the  first  state,"  with  full  margin,  of  the 
"  Countess  Cholmondeley  and  her  Son  "  by  Charles 
Turner,  realized  £'204  15s.  od.  on  February  12  at 
Christie's,  and  a  fine  impression  with  etched  letter 
title,  but  unfortunately  cut  close,  of  the  "  Duchess  of 
ISedford,"  by  S.  W.  Reynolds,  brought  ;^'ioi  on  Feb- 
ruary 4  at  Sotheby's.  Large  as  these  prices  would 
have  appeared  some  years  ago,  they  are  iiuite  moderate 
now  ;  in  fact,  it  is  rather  surprising  that  such  prints 
after  Hoppner  by  Charles  Turner  as  the  "  Countess 
of  Cholmondeley  and  her  Son,"  "  Lady  Louisa 
Manners,"  and  "  Miss  Cholmondeley"  do  not  bring 
prices  somewhat  in  proportion  to  those  given  for 
mezzotints  after  Reynolds. 

Turning  to  the  latter,  we  find  the  best  impressions 
still  retaining  the  immense  hold  they  have  upon  the 
attention  of  connoisseurs,  as  refiected  by  the  value  set 
upon  the  few  fine  examples  which  have  yet  been 
offered  this  season.  A  particularly  beautiful  impres- 
sion, in  the  first  state  before  any  inscription,  of  the 
"Viscountess  Spencer  and  Daughter,"  by  J.  Watson, 
coming  from  the  Buccleuch  Collection,  which  was 
sold  at  Christie's  on  February  25,  must  be  con- 
sidered cheap  at  3^273;  whilst  fair  impressions  of  the 
"Countess  of  Salisbury,"  by  Valentine  Green,  and 
"  Lady  Bampfvlde,"  bvT.  Watson,  realized  £"105  and 
£■68  5s.  od.  respectively  on  March  11  in  the  same 
room.  In  the  same  sale  Jones's  charming  plate  of 
"  Signora  Baccelli,"  after  Gainsborough,  in  the  second 
state  with  the  inscription,  but  before  the  erasure  of 
the  words  ■•  Feby.  5,  17S4  by  J.  Jones  No.  63,"  unfor- 


Till-     I'lvIXT     SALF.S 

tunately  in  very  bad  condition,  still  was  hardly  at  its 
current  value  at  £23  2s.  od.  Prints  after  Romney  arc 
firmer  than  ever,  as  witness  the  £100  obtained  for  a 
good  print  of"  Lady  Hamilton,"  by  J.  Jones,  in  brown, 
at  Sotheby's  on  February  4. 

Leaving  the  portrait  men  and  coming  to  "fancy" 
subjects,  the  general  all-round  quality  of  the  specimens 
offered  has  been  poor  and  prices  high.  Renewed 
interest  is  evidently  being  manifested  in  Bartolozzi,  if 
we  may  judge  from  the  £"135  given  on  March  11  at 
Christie's  for  fair  impressions  of  "The  St.  James 
Beauty"  and  "The  St.  Giles  Beauty."  For  the 
qualitv,  even  taking  into  consideration  their  good  state 
and  perfect  margins,  it  was  perhaps  more  than  their 
full  value.  Cheaper  by  far  was  the  "  History  of 
Letitia,"  after  .George "  Morland,  by  J.  R.  Smith, 
printed  in  colours,  which  at  the  same  sale  realized 
£'98  143.  od.  There  seems  to  be  a  remarkably  stable 
interest  sustained  in  this  class  of  prints,  which  is  all 
the  more  noteworthy  when  the  (juality  of  the  speci- 
mens which  have  been  offered  so  far  is  borne  in  mind. 
They  are  mostly  in  stipple,  and  there  is  perhaps  no 
variety  of  print  which  admits  of  such  successful 
"faking"  as  a  stipple  print  in  colours.  Moreover, 
there  is  every  temptation  now  to  fake  impressions  ; 
the  price  which  can  be  obtained  for  even  the  poorer 
specimens  leaves  ample  margin  for  skill  and  ingenuity, 
however  misplaced  it  may  be,  to  be  profitably  em- 
ploved  in  this  direction.  There  is  such  a  demand,  and 
the  number  of  fine  prints  is  necessarily  so  limited, 
that  little  astonishment  can  be  expressed  if  attempts 
are  made  to  create  a  supply.  By  this  is  not  neces- 
sarily implied  the  vulgar  production  of  actual  frauds, 
quite  of  modern  manufacture,  although  plenty  of  this 
kind  of  thing  exists,  but  the  skilful  improvement  of 
genuine  though  inferior  prints.  In  the  sale  at 
Christie's  on  March  11  was  offered  a  very  unequal 
set  of  Wheatley's  "  Cries  of  London,"  some  of  which 
were  good,  but  others  again  of  poor  quality,  evidently 
having  been  collected  regardless  of  the  effect  they 
would  ha\c  when  hung  together.  They  cannot  be 
considered  cheap  at  £'i8g.  More  reasonable  in  price 
and  better  balanced  were  the  set  sold  on  February  25 
for  £"ioo  i6s.  od.  M  the  sale  on  February  25  two 
very  good  prices  were  obtained,  considering  the 
quality,  for  "  Lady  Hamilton,"  after  Romney,  by 
Cheesman,  proof  without  the  title,  £"65  2s.  od.,  and  a 
first  state  of  Mrs.  Jordan  as  "The  Romp,"  after 
Romney,  by  Ogborne,  £'i6  5s.  6d. 

Many  of  the  remarks  which  have  been  made  upon 
stipple  prints  of  "  fancy  "  subjects  are  equally  aj)- 
plicable  to  the  engravings  after  George  Morland  in 
colours.  Their  price  is  still  high,  as  witness  "The 
Sailor's  Return,"  by  P.  Dawe,  a  fair  impression  of 
which,  printed  in  colours,  realized  £'38  17s.  od.  at 
Christie's  on  February  25;  and  "Guinea  Pigs  and 
Dancing  Dogs,"  by  Gaugain,  proofs  before  the  title, 
which  brought  £44  2s.  od.  in  the  same  rooms  on 
March  11. 

One  of  the  most  remarkable  events  which  have  so 
far  occurred  was  the  sale  of  an  unusually  fine  series, 
on  March  18  at  Christie's,  of  rcmarquc  proofs  after 
Meissonier.  "  1814,"  by  Jacquet,  and  "  La  Rixe,"  by 
Bracquemond,  on  vellum,  both  signed  by  the  painter, 
reached   the  high   figure   each   of   £236  5s.   od.     .\n 


THE    BURLINCTON     GAZETTE 


undue  value  must  not.  however,  be  placed  on  this  figure, 
because  a  collection  of  no  less  than  twenty-five  prints 
after  the  great  Frenchman  were  brought  together  all 
in  very  fine  condition,  and  competition  was  accord- 
ingly stimulated  beyond  what  might  be  expected  under 
less  favourable  conditions.  For  example,  "  Une  Lec- 
ture chez  Diderot,"  by  Monzies,r(;)nar^z(£  proof,  signed, 
realized  £"39  i8s.  od.,  whereas  the  same  proof  in  the 
same  state  at  Sotheby's    on    February   14    was    sold 

Even  more  remarkable,  in  the  comparison  between 
the  two  sales,  was  ''  L'homme  a  la  Fenetre,"  by 
Le  Rat.  The  impression  at  Sotheby's,  a  remarque 
proof,  signed  by  both  painter  and  engraver,  brought 
£iT,  IDS.  od.,  whereas  the  impression  at  Christie's, 
signed  by  the  painter,  was  sold  for  jTjg  i8s.  od. 
These  two  sales  serve  to  show  how  more  than  sus- 
tained is  the  interest  in  Meissonier.  Of  course  the 
painter  has  been  peculiarly  fortunate  in  the  men  who 
have  worked  after  him,  for  in  their  transcriptions  of 
his  art  they  have  caught  all  his  spirit  and  finesse. 
Still,  one  is  inclined  to  think  that  the  charm  lies,  in 
this  instance,  rather  with  the  painter  than  the  trans- 
lator into  -black  and  white,  and  the  question  as  to 
whether  this  upward  tendency  is  justifiable  time  alone 
will  solve. 

Amongst  the  landscape  men  some  good  prints 
after  Constable  have  been  offered.  A  fine  proof  be- 
fore letters  of  "The  Lock,"  by  Lucas,  realized 
£57  los.  od.  on  February  25  at  Christie's.  It  re- 
mains one  of  the  enigmas  in  the  print  world,  the 
persistent  neglect  with  which  prints  by  Lucas  after 
the  great  English  landscape  painter  are  treated.  At 
Sotheby's  on  March  3  a  brilliant  proof  of  "  Castle- 
acre  Priory  "  fetched  but  £2  19s.  od. ;  an  India  paper 
proof  of  "  Stonehenge,"  £2  15s.  od. ;  a  proof  of  "  The 
Glebe  Farm,"  on  India  paper,  £1  12s.  od.  ;  and  "A 
Mill,"  in  the  same  state,  together  with  "  Yarmouth," 
£1  14s.  od.  Surely  works  of  so  high  quality  cannot 
remain  for  long  under  such  a  cloud.  Another  series 
was  sold  at  Christie's  on  March  18,  when  the 
iiighest  price  realized  was  ;^4  los.  od.  for  an  en- 
graver's proof  of  "  Old  Sarum,"  with  Constable's 
signature  (the  latter  not,  by  the  way,  on  the  plate, 
but  cut  off  somewhere  else  and  pasted  on).  "  Ded- 
ham  Mill,"  in  proof  state,  brought  £4.  An  interesting 
pen-and-ink  and  wash  sketch  by  Constable,  evidently 
for  indicating  some  arrangement  of  the  masses  to 
Lucas  for  "  Hampstead  Heath,"  was  cheap  at  a 
guinea.  In  the  same  sale  "The  Vale  of  Dedham," 
open  letter  proof,  brought  £1  los.  od.  ;  and  "The 
Lock"  and  "The  Cornfield,"  proofs  before  letters, 
£2  los.  od.  together.  These  were  all  framed,  and 
were  not  in  the  best  of  condition. 

Interest  is  well  maintained  in  modern  etchings. 
The  i^  plates  of  "  Scenes  in  the  Bull  Ring,"  by  Goya, 
produced  £4  15s.  od.  at  Sotheby's  on  March  4 ; 
wliilst  the  first  state  of  the  "Arab  Mendicant,"  by 
I'ortuny,  was  cheap  at  28s.  At  the  same  sale  there 
were  some  exceedingly  interesting  etchings  included. 
A  fine  series  by  Seymour  Hadcn  sold  well.  Tiic 
best  were  the  first  published  state  of  "The  Iim, 
Purfleet,"  ^^4  los.  od.,  and  a  "  River  Scene  witii 
Cattle  Drinking,"  £.\.  \'ery  fair  impressions  of 
"  Men  Digging,"  and  "  Woman  at  Needlework,"  by 


Jean  Francois  Millet,  were  cheap  too  at  £^  los.  od. 
together. 

But  attention  was  largely  engrossed  by  the  seven- 
teen plates  by  ^^'histler  which  were  oftered — a  fine 
impression  of  the  scarce  plate  of  "  A  Street  at 
Saverne"  producing  £"5  5s.  od.  :  whilst  an  early 
print  with  Whistler's  monogram  in  pencil  of 
"  The  Bead  Stringers  "  was  not  dear  at  £5  12s.  6d. 
Some  good  impressions  were  offered  on  March  iS, 
when  ■■  The  Thames  Police  "  and  "  Chelsea  Bridge  " 
together  were  sold  for  £(3  6s.  od.  But  one  example 
of  the  unfortunate  Charles  Meryon  was  included — 
the  exquisite  "View  on  the  Seine,"  which  sold  fairly 
well  at  £"6  5s.  od.  It  is  indeed  remarkable  that  more 
interest  is  not  manifested  in  Meryon's  work,  for  as  an 
etcher  he  has  a  power  and  intensity  which  place  him 
in  the  forefront  not  onl\-  of  modern  etchers  but  of  the- 
greatest  men  in  tlie  history  of  the  art.  Perhaps  if 
some  systematic  exhibition  of  his  works  was  attempted 
attention  might  be  stimulated  in  him. 

The  sales  so  far  have  been  unusually  rich  in  ex- 
amples of  those  great  men  of  the  Renaissance,  who, 
whatever  comes  and  goes,  have  an  abiding  hold  which 
acts  as  a  bulwark  against  the  fiercest  assaults  of 
caprice  or  fashion.  On  March  4  Sotheby's  offered 
a  verv  interesting  assemblage.  Included  was  a  good 
selection  by  Israel  van  Meckenen — "  'V\\v  Crown  of 
Thorns  "  selling  for  £()  los.  od.,  and  •'  Christ  washmg 
the  Disciples'  Feet  "  for  f\2  13^.  od.  Still  the_  prices 
were  not  high  for  the  (iiuiHty  of  the  prints  offered. 
There  was  a  somewhat  p  u)i-  cijpx  i;)t'  "  The  Entomb- 
ment," by  Andrea  Mantegna,  which  was  about  at  its 
value  at  £2,  whilst  a  good  impression  of  "  Cimon 
Nourished  by  his  Daughter."  by  Hans  Sebald  Beham, 
was  the  principal  attraction  in  a  lot  of  four,  which 
brought  £2  los.  od.  (at  the  sale  on  February  ij  the 
scarce  two  small  panels  of  ornament  were  sold  for 
£"4  4s.  od.).  It  is  curious  that  his  brother  Barthel's 
engravings,  although  little  inferior,  should  be  held  in 
less  esteem  ;  for  example,  a  good  impression  of  the 
"  Portrait  of  the  Emperor  Charles  V."  realized  but 
los.  A  nice  print  of  "  The  Parable  of  the  Good 
Samaritan,"  by  Heinrich  Aldegraver,  was  cheap  with 
five  others  at  £2  i6s.  od.,  and  the  same  remark  equally 
applies  to  Jakob  Binck's  scarce  plate  of  "  The  Siiep- 
herd  "  at  £^,  with  four  minor  prints.  An  exceedingly 
charming  "  Virgin  and  Child,"  worked  in  niellu,  was 
certainl}-  below  its  value  in  a  small  lot  which  has  sold 
for  £'8  los.  od. 

The  examples  of  Lucas  van  Le\den  and  Rem- 
brandt which  were  offered  call  for  no  notice  with 
the  exception  of  an  average  print  of  Clement  de  Jonge, 
by  the  latter,  which  was  hardly  a  bargain  at  £j  5s.  od. 
a"  woodcut  seldom  seen  in  the  sale-room,  by  Albrecht 
Diirer's  pupil,  Hans  Burghmair,  r>f  '•  Adam  and  Eve," 
was  knocked  down  at  £"5. 

The  examples  of  .Mbrecht  Diirci  himself  were 
of  good  qualit}-,  but  unfortunately  many  were  not  in 
the  best  of  condition.  "  The  Virgin  with  the  Pear  " 
realized  £'15  los.  od.  ;  "  Melancolia,"  although  cut, 
£"io  5s.  od.  ;  a  fine  impression  of  "  The  Great  P'or- 
tune,"  damaged  at  the  corners,  £j  ;  and  of  the 
woodcuts,  a  very  fine  second  state,  before  the 
monogram,  Diirer's  painting  of  himself,  was  not 
dear  at  £'13. 


THE     PRINT    SALES 


The  series  by  the  Nuremberg  master  offered  in 
the  same  rooms  on  February  13  were  quite  exceptional. 
The  complete  set  of  the  woodcilts  of  "  The  Passion  of 
Jesus  Christ,"  twelve  in  number — early  impressions, 
but  the  title  had  unfortunately  been  coloured — was 
by  no  means  dear  at  £'36,  and  £"13  was  a  moderate 
price  for  a  tine  cop\-  of  the  rare  plate  of  the  large 
"  Head  of  Christ,'"  and  the  same  price  for  an  eijually 
good '■  Holy  Family"  with  "Saint  Anne  and  Saint 
Jerome  in  His  Study"  in  one  lot.  The  engravings 
on  metal  included  "■  St.  Jerome  in  His  Cell,"  £'38  : 
"  Melancolia,"  £"31  :  "  The  Assembly  of  Warriors," 
£'21 ;  and  a  complete  and  uniformly  printed  set  of 
"The  Passion  of  Jesus  Christ,"  £"6i. 

The  examples  of  Marc  Antonio  Raimondi  and  his 
School  were  of  not  the  same  interest.  The  best  were 
"The  Massacre  of  the  Innocents,"  after  Raphael,  by 
Marc  .\ntonio,  £"6  5s.  od. :  "  Portrait  of  Raphael," 
first  state,  by  Giulio  Bonasone,  £'2  5s.  od. ;  and  "  The 
Adoration  of  the  Kings,"  by  Robetta,  £2  los.  od. 

Special  mention  should  be  made  of  quite  an  ex- 
ceptionally good  print  of  "■  The  Crucifixion,"  by  Mar- 
tin Schongauer,  which  was  by  no  means  dear  at 
/13  15s.  od.  The  Rembrandts  were  of  good 
quality,  although,  with  the  exception  of  the  "View 
of  Amsterdam  "  (which  had  a  good  margin,  and  rea- 
lised £"26),  the\-  were  hardly  of  the  best  selection  as 
far  as'subject  is  concerned.  Rembrandt's  "  Mill,"  a 
fair  impression  in  good  state,  was  sold  for  £'19  los.  od. 
The  painter's  own  portrait,  by  .\drian  van  Ostade, 
before  the  hat  was  reduced,  and  before  the  words  "et 
excud,"  from  the  Barnard  Collection,  was  not  dear  at 
£-j  5s.  od. ;  whilst  '•  The  Smoker  at  the  Open  Win- 
dow "  would  come  under  the  same  category  at  £4. 

Among  the  English  portraits  on  February  13  at 
Sotheby's  the  series  by  \\'illiam  Faithorne  presented 
most  interest.  A  good  impression  of  "  Frances, 
Countess  of  Essex,"  after  \'andyck,  was  sold  for  £"4, 
and  "  James,  Marquis  of  Hamilton,"  first  state,  with 
the  address  of  Sir  Robert  Peake,  £"6  15s.  od.  The 
scarce  print  of  "  Carew  Reynell,"  but  with  thr  in- 
scription cut  off,  realized  £'2  15s.  od.,  and  "■  Eilward, 
Marquis  of  Worcester,"  the  same  price. 

For  the  past  few  years  enthusiastic  collectors  of 
the  charming  prints  of  Wenceslaus  Hollar  have  been 
wanting,  even  his  "  London  Views"  hardly  retaining 
the  hold  which  they  formerly  possessed.  It  was  con- 
sequently quite  pleasurable  to  see  a  fairly  good  im- 
pression of  "The  Chalice,"  after  Andrea  Mantegna, 
realize  £'4  5s.  od.  in  the  same  place,  but  the  two 
lots  of  portraits  only  averaged  about  2s.  each  portrait. 
"Richmond  Palace,"  "Windsor  Castle,"  and  "The 
Royal  Exchange,"  iiuwever.  sold  better,  together 
realizing  £2  i8s.  od. 

The  magical  art  of  Rembrandt,  whether  it  be  mani- 
fested in  portrait  or  subject,  can  only  be  adequately' 
translated  by  one  form  of  engraving — mezzotint.  The 
more  modern  attempts  by  means  of  etching  fall  la- 
mentably short,  because  it  is  impossible  to  render  his 
stupendous  power  and  masculine  vigour  of  handling 
without  having  recourse  to  the  intensity  of  flat  masses. 
Consequently,  if  the  art  of  mezzotint  engraving  could 


be  revived  in  the  same  perfection  as  it  existed  in  the 
latter  half  of  the  eighteenth  century,  the  modern 
transcriptions  of  the  mighty  Dutchman  would  be 
hopelessly  banished.  But  great  as  the  strides  have 
been  in  the  direction  of  such  a  revival  within  the  past 
few  years,  the  modern  engraver  has,  up  to  the  present, 
studiously  avoided  grappling  with  Rembrandt.  He 
prefers,  for  obvious  reasons,  the  pictures  of  the  Eng- 
lish masters,  such  as  Romney  or  Lawrence.  Again, 
the  small  number  of  satisfactory  impressions  which 
can  be  taken  from  a  purel\-  mezzotint  plate  acts  as  an 
insurmountable  stumbling  block  to  the  engraver  and 
l)ul)lisher  of  these  days,  when  the  number  of  "  proofs" 
alone  are  required  not  to  fall  short  of  three,  and  in 
some  cases  four  figures. 

This  seemingly  hopeless  shortcoming,  which,  in 
modern  art,  is  not  by  any  means,  by  the  way,  limited 
to  one  branch,  should  impart  an  enhanced  interest  in 
those  superb  plates  which  our  great  English  engravers, 
Earlom.  Mc.Vrdell,  Dixon,  Haid,  and  others,  have 
wrought  after  some  of  Rembrandt's  works.  But  that 
this  is  not  the  case  the  sale  at  Christie's  on  March  25 
serves  to  illustrate. 

There  were  presented  a  fine  series  nearly  all  bril- 
liant impressions  in  good  state,  and  the  prices  realized 
would  seem— if  one  were  not  well  acquainted  with 
current  fashion — ludicrously  small.  For  example,  a 
first  state  of  "  Christ  in  the  Temple,"  by  Mc.Ardell, 
los.  6d.  ;  the  magnificent  "  Rembrandt's  Wife,"  by 
Earlom,  £\  2s.  od.  "The  Standard  Bearer,"  by  Pether, 
los.  od.  ;  an  engraver's  proof  of  one  of  Mc.Xrdell's  very 
finest  efforts  and  a  triumph  of  the  mezzotint  art^"  A 
Cottage  Interior,"  £-5.  The  highest  price  obtained 
was  £"17  17s.  od.  for  a  brilliant  impression  of  Rem- 
brandt's "  Framemaker,"  by  Dixon. 

When,  however,  the  prints  after  Reynolds  were 
reached,  \ery  different  prices  were  obtained.  An 
average  impression  of  "  Lady  Hamilton  as  a  Bac- 
chante," by  John  Raphael  Smith,  was  sold  for 
£'54  I2S.  od.  ;  "Elizabeth,  Countess  of  Derby,"  by 
W.  Dickinson,  £25  4s.  od. ;  a  fair  print  of  "  Muscipula 
and  Robinetta,"  printed  in  colours  by  J.  Jones, 
£'31  los.  od.  ;  and  a  moderately  good  print  by  the  same 
engraver,  after  Romney,  of  the  "Hon.  Mrs.  Beres- 
ford,"  brought  the  highestpriceof  theday— £"75  12s.  od. 
Even  an  inferior  copy  of  "  The  Countess  of  Oxford," 
by  S.  W.  Reynolds,  after  Hoppner,  which  had,  more- 
over, been  cut,  realized  £'21. 

There  was  also  a  very  fine  series  of  mezzotints, 
after  the  Dutch  masters  of  the  seventeenth  century, 
but  the  value  which  was  placed  upon  them  was  much 
the  same  as  was  the  case  w  ith  those  after  Rembrandt. 
One  of  the  best  prices  obtained  was  for  Earlom's 
"  Watermill,"  after  Hobbema,  £"13  2s.  6d.  This, 
however,  is  rather  due  to  the  interest  manifested  in 
the  Dutch  landscape  painter  at  the  present  time  than 
toany  extraordinary  artistic  qualities  in  the  engraving, 
for  viewing  it  in  the  light  of  a  transcription  of  Hob- 
bema, it  can  hardlv  be  pronounced  a  success.  Su- 
perior to  this  was  a'first  state  of  J.  Watson's  excjuisite 
rendering  of  "The  Letter,"  by  Gabriel  Metzu,  which 
fetched  /'16  i6s.  od.    The  remainder  sold  very  poorly. 


S1L\^ER    SALES 


In  the  collecting  of  old  silver  as  an  object  of  art. 
under  the  rules  laid  down  by  the  fashion  of  the 
moment,  with  the  prices  incidental  thereto,  the  con- 
noisseur of  moderate  means,  but  sound  artistic  judge- 
ment, has  before  him  a  great  opportunity.  It  is  rarely 
that  the  sale  price  of  antique  silver  in  this  country  is 
based  to  any  extent  on  its  artistic  value.  The  chief 
factors  in  determining  its  value  are  absolute  authen- 
ticitv  (a  matter  most  difhcult  to  prove),  native  origin, 
good  hall-marks,  and,  in  the  case  of  most  of  the  very 
high-priced  pieces,  the  bearing  of  a  date  anterior  to 
1640. 

It  is  to-day  perfectly  possible  for  a  collector  of  the 
most  restricted  means  to  acquire  many  fine  pieces  of 
silver  of  foreign  origin  at  very  little  over  breaking-up 
prices:  even  the  less  important  productions  of  such 
noted  English  silversmiths  as  Paul  Lamerie,  Cour- 
tauld,  Willaume,  Heming,  and  in  later  times  Paul 
Storr,  and  countless  other  master-craftsmen,  are  to  be 
picked  up  at  relatively  low  prices.  All  those  who 
visited  the  e.xcellent  exhibition  of  table  silver,  recently 
organized  by  the  P"ine  Art  Society  at  their  Bond  Street 
galleries,  must  have  been  struck  b}-  the  case  of  Maltese 
silver,  partly  classical  in  design,  partly  Oriental,  and 
sometimes  purely  rococo,  but  always  charming  and 
exquisitely  proportioned  :  yet  the  other  day  several 
examples  of  this  work  went  at  Christie's  for  a  matter 
of  shillings  per  ounce,  while  at  the  same  sale  English 
spoons  and  forks,  of  plain  design,  though  of  slightly 
earlier  date,  were  fetching  almost  as  man_\-  pounds. 
To  come  to  the  actual  siher  sales  already  held,  and 
their  results. 

The  first  one  of  any  importance  was  that  on 
February  19th,  of  the  plate  belonging  to  the  late 
General  A.  W.  H.  Meyrick,  and  various  properties, 
wherein  was  included  the  much-discussed  West  Mailing 
jug,  and  other  interesting  pieces.  Of  General  Meyrick's 
actual  property,  only  two  lots  were  of  sufficient  interest 
to  be  chronicled.  The  James  I.  silver-gilt  standing 
salt,  bearing  the  London  hall-mark  1613,  and  the 
maker's  mark  D.  G.,  with  an  anchor  between — a 
remarkably  fine  example  of  early  seventeenth-century 
work — weighed  i6Joz.,  was  iifin.  high  and  4^  in. 
at  its  greatest  diameter,  and  cost  £1,150,  or  £^0  per 
ounce,  to  give  it  its  commercial  quotation.  This  piece 
both  in  form  and  decoration  is  typical  of  the  English 
workmanship  of  that  period.  In  Cripps's  Old  English 
Plate  the  maker's  mark  is  recorded  as  being  on  a 
paten  at  St.  Mary's,  Beverley,  Yorks.  The  other  piece 
was  a  large  Swedish  peg  tankard,  embossed,  chased, 
and  engraved  with  formal  designs  of  Howers  and 
arabesques,  and  with  a  medal  let  into  the  centre  of 
the  cover :  it  weighed  over  54  oz.  and  realized  ;rijo. 

The  West  Mailing  jug  has  been  so  much  before 
the  public  that  there  is  nothing  left  to  say  about 
it.  An  interesting  relic  of  considerable  artistic 
merit,  in  the  shape  of  a  parcel-gilt  tankard  and  cover, 
repousse  and  chased  with  a  classical  scene,  made  at 
Augsburg  about  1698,  and  presented  b)-  Peter  the 
Great  to  Admiral  Crump,  for  services  rendered  that 
monarch  during  his  stay  in  England,  was  sold  for  only 
£145,  which,  placing  historic  interest  and  sentiment 
out  of  the  question,  was  a   by  no    means   excessi\e 

14 


price.  \t  the  same  sale  several  fine  Jacobean  and 
Caroline  porringers  and  tankards  made  from  £y  to 
£15  per  oz. 

At  another  sale  also  at  Christie's,  just  a  week  later, 
a  Commonwealth  porringer,  dated  165S,  and  decorated 
with  ornamentations  of  scrolls  and  fircones,  and  with 
small  scroll  handles  terminating  in  serpents'  heads, 
weighing  8  oz.  11  dwt.  and  measuring  4^  in.  high  by 
6j  in.  across,  fetched  £303  los.  6d.  This  high  price 
was,  of  course,  accounted  for  to  a  considerable  extent 
by  the  small  quantity  of  metal  in  the  piece.  In  addition 
to  the  above-mentioned  porringer,  the  other  articles 
of  interest  were  six  Charles  II.  rat-tailed  table-spoons 
with   flat   handles  and   pear-top  ends,  the  bowls  and 


handles  moulded  and  chased  with  scroll  work,  £jo,  or 
about  £12  apiece,  while  two  more  pairs  almost  similar 
only  sold  at  the  rate  of  £s  apiece.  A  James  I.  and 
Charles  seal-top  spoon  made  respectively  £1^  and 
£14  los.,  while  a  fine  pair  of  oblong  tea-caddies  em- 
bossed and  chased  in  the  rococo  style  by  T.  Heming, 
1750,  in  a  silver-mounted  shagreen  case,  were  a  decided 
acquisition  at  £40.  So  also  was  the  remarkably  pure 
Queen  Anne  cup  and  cover  by  David  Willaume  (illus- 
trated) which  made  £548  15s.  6d.  and  weighed  over 
81  oz.  It  is,  as  will  readily  be  seen,  a  noble  piece  in 
the  true  acceptance  of  that  word. 

Christie's  sale  of  the  12th  March  included  three  note- 
worthy lots.  First  and  foremost  the  fine  Charles  II.  gob- 
let with  its  bowl  ornamented  with  a  wide  band  of  leaf- 
age and  fircone  decoration  on  a  finel}'  matted  surface. 


SALES    OF    IV)  !>;(:£  LA  IN     AND    I'OTTl-KV 


Tliisdaiiitx  i)ifce  of  silver  was  only  3V  in.  hif,'li  ;iiui  a 
little  over  30/.  in  weight.  It  bore  the  London  liall- 
niark,  1664,  with  maker's  mark,  S.B.,  above  a  trefoil, 
and  was  contained  in  an  original  contemporary  stamped 
leather  case.  It  realized  £"57  7s.  The  other  two  lots 
were  a  James  I.  silver-gilt  seal-top  spoon  dated  1607, 
/■15  15s.,  and  a  good  example  of  Paul  Lamerie  in  his 
more  sober  style,  in  the  shape  of  a  plain  vase-shaped 
caster  pierced  at  the  top  with  trellis  and  scrolls,  and 
decorated  below  with  applied  ribs,  which  fetched 
£57  15s-,  or  -^"5  los.  an  oz. 

The  collection  of  the  late  J.  M.  Stobart,  of  Wands- 
worth Common,  sold  at  Christie's  on  the  26th  of  the 
same  month,  was  chiefly  remarkable  for  some  very  fine 
early  English  spoons,  which,  as  usual,  were  the  object  of 
the  "keenest  contention,  with  the  resultant  high  prices. 


The  pickofthespoons  was  undoubtedly  the  pair  of  Com- 
monwealth ones  with  curved  hexagonal  handles  and 
seal-top  ends  engraved  with  monograms:  they  were 
dated  1652,  and  bore  a  maker's  mark,  \.l'.,  probably 
that  of  .\ntony  Fickettes.  They  fetched  £1 15  the  pair. 
At  the  same  sale,  from'  another  property,  a 
James  II.  Apostle  spoon  with  a  figure  of  St.  Peter, 
the  nimbus  pricked  with  initials  and  date  1616,  by 
(ieorge  Robertson,  of  Edinburgh,  sold  for  £"25.  .\c- 
cording  to  Cripps,  this  silversmith  was  master  of  the 
Cuin/iehous,  and  made  the  Edinburgh  city  mace  in 
1617.  A  small  Commonwealth  shallow  dish,  weighing 
4  oz.  2  dwt.,  made,  in  the  same  sale,  £'71  15s.  od., 
or  £"17  los.  od.  an  ounce.  It  had  shell-shaped  han- 
dles", and  was  repousse  with  bands  of  formal  bead- 
ing, with  a  date  mark,  1656. 


SALES  OF  PORCELAIN  AND  POTTERY 


One  of  the  most  satisfactory  e\ents  in  the  art  world 
this  season,  and  one  at  which  all  real  connoisseurs 
will  most  unfeignedly  rejoice,  is  the  evident  entire  re- 
turn to  popular  favour  of  fine  old  Chinese  porcelains 
of  everv  description.  This  rehabilitation  of  an  old  es- 
tablished favourite  was,  of  course,  sooner  or  later  an 
absolutely  inevitable  occurrence,  since  all  serious 
collectors  of  ceramics  were  bound  (no  matter  to  what 
country,  period,  or  even  factory  their  special  attention 
was  devoted)  to  come,  more  or  less,  into  contact  with 
the  products  of  the  early  Chinese  factories  directly 


trating  the  rise  in  the  value  of  almost  every  sort  of 
art  since  1850-60.  The  collection  contained  fine  spe- 
cimens of  Chinese,  Sevres,  and  Dresden  porcelains; 
the  most  noteworthy  of  the  first-named  description 
being  a  pair  of  cylindrical  vases  decorated  in  famille- 
verte  enamel  over  glaze  on  powdered  blue  ground  with 
landscapes,  flowers,  and  utensils.  Their  period  was 
the  hitter  part  of  the  Khang-He  dynasty,  and  their 
height  17  inches.  They  realized  £"661  los.  od.  A 
globular  bottle  of  the  same  dynasty  and  of  somewhat 
similar  style  of  decoration,  11  inches  high,  made  £195. 


they  started  studying  their  hobby  with  any  degree  of 
thoroughness  or  intelligence.  No  intelligent  collector 
of  ceramics,  European  or  otherwise,  can  afford  to 
neglect  the  products  of  a  country  that,  for  fully  a 
thousand  years,  held  intact  the  secret  and  with  it 
the  monopoly  of  the  manufactiuv  of  true  porcelain 
from  kaolin. 

The  first  important  sale  of  porcelain  heUl  this  year 
at  Christie's  was  that  of  the  collection  of  the  late  Lady 
Page-Turner,  of  Brighton,  which  was  also  the  first 
important  art  sale  generally  of  the  season,  and  is  of 
great  cdnrational  significance  t.)  the  collector  as  ilhis- 


havingcost  £'i2  forty  years  ago  :  and  a  pair  of  almost 
similar  bottles,  8  inches  high,  £'205,  as  against  £'iS  in 
the  sixties.  Two  pair  of  triple  gourd-shaped  bottles, 
and  a  pair  of  pear-shaped  bottles,  also  of  the  Khang-He 
dynasty,  and  variously  decorated,  fetched,  respectively, 
£"126,  £"140,  and  £^147,  having  cost  their  late  owner 
£"io,  £;i8,  and  £"i8  forty  years  ago.  A  famille-rose  ovi- 
form jar  and  cover,  and  a  pair  of  beakers,  with  floral 
decorations,  belonging  to  the  Ken- Lung  dynasty, 
16  inches  high  (purchased  in  1869  for  £90).  went  for 
£■$67  los.  od.  Of  the  Dresden  china  £"204  15s.  od. 
was  paid  for  a  piiir  of  oviform   vas<s    partly  encrusted 

15 


Tl]K     BrKLTXC.TOX     GAZETTE 


with  coloured  flowers,  and  each  painted  with  a  pas- 
toral scene,  after  Lancret,  on  one  side  and  sprays  of 
flowers  on  the  other. 

The  sensation  of  the  sale  was  undoubtedly  provided 
by  the  pair  of  Sevres  bisquit  figures  of  girls  bathing, 
after  the  celebrated  Falconet,  135-  inches  high,  which 
fetched  ;f  2,205  >  having  been  purchased  by  the  late  Sir 
Edward  Page-Turner  for  only  ;^"'i50  in  1867.  An  oblong 
plateau  of  the  same  china,  with  an  oval  panel  in  the 
centre  painted  by  Evans,  with  exotic  birds  and  foliage 
on  a  turquoise  blue  ground,  made  ^£"278  5s.  od. 

At  the  same  sale,  though  from  a  different  source, 
the  following  pieces  of  porcelain  are  worth  record- 
ing : — ^A  pair  of  Khang-He  oviform  famille-verte 
vases  and  covers,  enamelled  with  buildings,  ter- 
races, and  figures,  14  in.  high,  £^2^  los.  od.  ;  a  pair 
of  powdered-blue  bottles  of  the  same  dynasty,  ena- 
melled in  famille-verte  panels  with  flowers,  branches, 
and  rocks,  in  colours  and  gold,  85^  in.  high,  £315. 
The  only   high-priced   piece  of  English  china  was  a 


jiair  of  square-shaped  Chelsea  vases.  14^  in.  high, 
with  pierced  necks,  and  open  trellis  covers  encrusted 
with  sprays  of  coloured  flowers,  and  painted  on  the 
bodies  with  single  figuif^  fmin  thr  Italian  p:iiitomimc 
in  panels,  £609. 

The  sale  on  the  following  I^iday  of  the  collection 
of  the  late  Su"  Hugh  Adair  was  almost  entirely  a 
china  one,  and  included  man}-  fine  examples  from  the 
best  known  Continental  factories  and  many  others 
bearing  marks  which,  though  highly  esteemed  across 
the  Channel,  are  but  little  known  or  appreciated  by  our 
own  collectors,  so  that  by  comparison  with  their 
better-known  rivals  they  realized  but  small  prices. 
The  catalogue  of  this  sale  was  exceptionally  lucid  and 
well  arranged. 

From  a  purely  commercial  point  of  view,  the 
Sevres  china  was  far  ahead  of  everything  else,  as  the 
quoted  prices  will  shew.  The  highest  priced  lot  in  the 
collection,  though  by  no  means  the  most  beautiful 
or  even  decorative,  was  the  higlil\-  pedigreed  vase  and 

16 


cover  from  the  Londonderry  and  ©udley  collections, 
which  fetched  the  extravagant  (I  use  the  word  ad- 
visedly) price  of  £"1,995.  The  ground  of  this  vase  is 
turquoise,  and  it  is  decorated  by  Morin  with  a  quay 
scene  shewing  shipping  and  figures  moving  casks  and 
bales  on  one  side,  and  on  the  other  with  a  naval 
trophy.  Inartistic  and  hideous  though  this  vase  un- 
doubtedly is,  one  must,  in  justice,  admit  that  the 
quality  of  the  painting  is  as  fine  as  could  be  de- 
sired, so  that  blame  must  be  attached  to  the  period 
and  its  fashion  rather  than  to  the  potter  and  artist. 
The  ecuelle  and  stand  painted  by  Noel,  with  trail- 
ing sprays  of  flowers  and  pale  blue  and  pink  ara- 
besques on  a  pale  canary-j-ellow  ground  and  dated 
1778,  which  fetched  £997  los.  od.,  is  infinitely  more 
artistic  ;  but  even  this  piece  belongs  to  a  decidedly 
decadent  period,  which  is  perilously  bordering  on  that 
of  the  Directoire  and  Empire,  those  graves  of  good 
taste.  All  our  readers  who  \'iewed  this  sale  will  ha\e 
observed  for  themselves  the  difference  in  artistic  merit 
between  the  two  lots  just  chronicled,  and  the  three 
which  we  are  now  about  to  mention,  namely  : — A 
cabaret,  dated  1764,  and  painted  by  Boulanger  with 
sprays  of  flowers,  and  with  gilt  trellis  and  scroll-work 
by  Theodore.  It  consisted  of  a  teapot,  cup,  and 
plateau,  and  realized  ;^'"3i5.  £"231  was  paid  for  an  oval 
ecuelle  cover  and  stand  painted  in  1772,  with  cupids 
and  amatory  trophies  in  grisaille  on  a  gros  blue  ground, 
gilt  with  foliage  by  Fontaine.  A  set  of  three  oviform 
vases,  painted  in  1757  by  Castel  with  children, 
amatorj-  trophies,  and  sprays  of  flowers  suspended 
from  mauve  ribands,  made  ;fi26.  Of  the  Dresden,  a 
ligure  of  a  lady  dancing,  7  in.  high,  fetched  £2^1  ;  a 
similar  price  being  paid  for  a  group  of  a  jay,  squirrel, 
beetle,  and  caterpillars  on  an  oak-tree  trunk,  21  in. 
high,  from  the  C.  K.  Mainwaring  collection.  A  pair 
of  figures  of  gentlemen  in  masquerading  costumes,  from 
the  Due  de  Forli's  collection,  fetched  ^^'157  los.  od.  : 
and  a  pair  of  groups  from  the  same  collection,  of 
Chinese  ladies  and  children,  £'189. 

The  highest  price  paid  for  any  single  lot  of  Dresden 
was  £'472  los.,  given  for  a  garniture  of  three  vases  and 
a  pair  of  beakers  of  the  Augustus  Rex  period,  most 
exquisitely  decorated  in  the  Chinese  taste  with  figures, 
animals,  and  birds,  which  we  here  illustrate,  mainly 
as  an  example  of  how  ftir  the  quaint  and  the  graceful 
can  be  combined.  An  exceedingly  fine  ecuelle  and 
stand,  painted  with  port  scenes,  landscapes,  and  figures, 
made  /241  los.  A  square-shaped  vase  and  cover, 
painted  with  peasants  and  landscapes,  and  encrusted 
with  festoons  of  flowers,  and  masks  supported  b}-  a 
group  of  three  children  with  a  swan,  and  with  a  cover 
surmounted  by  a  figure  of  Cupid,  isin.  high,  ^^"325  los. 
A  clock  in  a  case  of  scroll  outline,  painted  with  garden 
scenes  and  figures,  and  surmounted  by  the  figure  of  a 
nymph,  16  in.  high,  ,(^320  5s.  od.  Of  the  miscellaneous 
Continental  porcelains,  the  most  noteworthy  pieces 
were  :  A  Frankenthal  group  of  a  lady  and  gentleman 
love-making  in  a  scroll-shaped  arbour,  from  the  collec- 
tion of  the  Baroness  von  Zandt,  i  lin.  high,;r220  los.  od., 
and  a  Tournay  sucrier  and  cover,  painted  with  named 
birds  in  panels  round  the  borders,  on  a  dark  bine 
ground  gilt  with  arabesques,  £27  6s.  od.  It  is  exactly 
similar  in  pattern  to  the  King's  service  at  Windsor. 
Among  the  lesser-known  marks  represented  here  arc 


those  of  Loosdrccht,  Venice,  Amstel  Nvniplienherj,', 
Le  Nova,  and  F"ulda. 

Sir  Hiif,'h  Adair's  collection  was  not  over  rich  in 
tine  En^hsh  china.  The  most  important  item  of 
native  manufacture  was  a  pair  of  rather  late  gold 
anchor  Chelsea  hexagonal  vases,  with  exceptionally 
line  decorations  in  the  French  style  of  Bacchantes 
and  Satyrs  in  a  landscape  in  upright  panels  on  maroon 
ground,  and  gilt  with  birds,  festoons  of  flowers,  and 
scrolls,  7i  in.  high,  £,504  los.  od.  This  pair,  which 
we  illustrate,  was  from  the  collections  of  Sir  Robert 
and  Horace  W'alpole,  and  Lord  Cadogaii.  An  11  in. 
\ase  and  a  pair  of  Xin.  ones  en  suite,  also  of  Chelsea, 
and  decorated  with  mythological  subjects  in  grisaille, 
fetched  £rio  5s.  od.,  the  same  price  being  given  for  a 
pair  of  5  in.  Worcester  vases,  painted  with  exotic  birds 
on  apple-green  ground,  with  gilt  scroll  borders. 

The  next  china  sale  of  note  was  that  of  March  ij, 
when  three  small  collections  were  dispersed,  the 
most  important  lots  of  Sevres  being  the  following  : 
A  cabaret  with  the  rather  late  date  of  1786,  and 
consisting  of  eight  pieces,  ;f2,ioo.  This  set  is 
of  canary  yellow,  painted  b\-  Leve  pcrc,  with  vases, 
sprays  of  various  flowers,  and  exotic  birds  on  white 
border,  and  with  similar  frie2es  in  mauve  on  the 
yellow    ground.       .\    long    dessert    service    of  feuille 


MISCELL.ANEOUS    OBJI-XTS    OF    .\RT 

dc  chotix  pattern  painted  with  bouquets  of  flowers  on 
a  white  ground  made  £546 ;  a  fine  early  jardiniere, 
i/G,^,  with  apple-green  ground,  painted  by  Michel, 
with  one  panel  containing  a  pastoral  subject  and  three 
others  decorated  with  bouquets  of  flowers,  £40(j.  At 
the  same  sale,  a  pair  of  old  Chinese  circular  cisterns, 
decorated  with  pheasants  and  branches  of  flowers  on 
two  large  leaf-shaped  panels  of  ma^^arin  blue,  made 
£"262  los. ;  and  a  Chelsea  ecuello  and  stand,  painted 
with  Watteau  subjects  of  children  in  fan -shaped 
panels  on  a  dark  blue  ground  enriched  with  delicate 
gold  ornamentation,  £441. 

In  a  miscellaneous  sale  on  March  10,  a  fine  speci- 
men of  Wedgwood's  rare  copy  of  the  Barberini  or 
Portland  vase  fetched  £126. 

On  March  20  a  pair  of  Sevres  evantail  jardinieres 
and  pierced  stands,  decorated  with  oval  panels  of  birds 
and  flowers  on  turcjuoise  ground,  made  £"220  los.  :  and 
a  scarce  pair  of  old  Wedgwood  oblong  pla(iues  of  blue 
jasper,  decorated  in  relief  with  nymphs  sacrificing, 
and  a  group  of  Cupid  and  children,  £102  i8s. ;  while 
an  exceptional  pair  of  oviform  Buon-Retiro  vases, 
painted  with  medallions  of  classical  figures,  and  bands 
of  arabesque  foliage  on  salmon,  white,  and  gold 
ground,  and  mounted  in  chased  ormolu,  fetched  £iiS- 
The  vases  were  two  feet  high. 


MISCELLANEOUS    OBJECTS    OF    ART 


The  Page-Turner  collection  was  especially  rich  in 
specimens  of  Chinese  and  French  porcelain  mounted 
in  chased  ormolu  of  the  Louis  XV  and  XVI  periods, 
many  of  which,  as  will  be  seen  by  the  quoted  prices, 
fetched  large  sums,  for  which  in  some  cases  the  porce- 
lain and  in  others  the  mounts  were  mainly  responsible, 
though  the  actual  harmon\-  of  the  ensemble  was  fre- 
quently an  important  factor.  The  sum  of  £819  was 
paid  for  a  pair  of  old  Chinese  o\iform  vases  of  the 
Ming  dynasty,  ribbed  so  as  to  represent  applied  bands 
of  bamboo,  and  enamelled  with  various  floral  orna- 
ments in  black,  green,  mauve,  and  buff,  and  with 
ormolu  feet,  rims,  and  handles  cast  and  chased  with 
rams'  heads  and  laurel  mouldings,  in  the  style  of 
Louis  XVI.  .\  pair  of  barrel-shaped  rouge-de-fer  vases 
of  the  Khang-He  dynasty,  decorated  with  a  flowing 
design  of  conventional  flowers,  and  with  Louis  XV 
ormolu  mounts  cast  and  chased  with  a  composition 
of  scrolls  and  leaves,  the  handle  of  the  cover  formed 
as  a  gryphon,  made  £^483.  A  pair  of  Chinese  vases 
enamelled  with  figures  of  children  sporting  on  a  coral 
ground,  and  with  Louis  X\T  laurel-pattern  mounts 
£i()q  los.  Another  pair  of  fluted  Celadon  bottles 
similarly  mounted  realized  £110  5s.  ;  while  a  tripod 
Koro  of  Chinese  cream  porcelain  with  Louis  XV 
mounts  went  for  £162  15s.  £110  ~,s.  was  given  for 
an  interesting  soapstone  jardiniere  carved  with  aquatic 
plants,  and  with  Louis  X\'  mounts,  and  enamelled 
metal  foliage  encrusted  with  Dresden  china  flowers. 
\  pair  of  old  Sevres  turquoise-blue  vases  decorated 
with  panels,  each  painted  with  a  si)ray  of  roses 
encircled  by  a  gilt  oak  foliage  frame,  the  pair  set  in 
Louis  XVI  ormolu  mounts  of  acanthus  and  laurel 
pattern,  fetched  £336 ;  and  a  Sevres  bowl  and  cover 
painted  with  detached  bouquets  of  flowers  in  poly- 


chrome, and  mounted  in  the  style  of  Louis  X\', 
£178  los.  The  highest  price,  however,  paid  on  this 
da\-  for  a  piece  of  mounted  porcelain  was  £"S6i  for  an 
old  Celadon  vase  of  the  Ming  dynasty,  probably 
mounted  by  Duplessis  in  the  style  of  Louis  X\T. 
The  quality  of  the  mounts  was  exceptionally  fine  and 
of  the  most  elaborate  description,  since  they  were 
both  pierced  and  chased,  and  of  peculiar  symmetry. 

Although  several  clocks  and  candelabra  of  French 
eighteenth-century  work  were  sold  at  the  Page-Turner, 
Kimberly,  and  Bunbury  Sales  for  good  prices,  still 
they  were,  after  all,  only  of  the  best  ordinary  quality. 
There  have  been  but  two  examples  of  old  French 
metal-work  sold  this  \ear  about  which  we  can  con- 
scientiously enthuse,  and  they  were  both  sold  the 
same  day  as  the  Page-Turner  collection,  though 
neither  of  them  formed  part  of  it.  These  were  tiie 
Celadon  porcelain  vase  already  mentioned,  which 
fetched  £861  ;  and  a  pair  of  ormolu  andirons  of 
the  most  superb  modelling  and  execution  which 
made  £^1,785.  These  andirons,  which  are  18  in. 
high  and  29  in.  long,  represent  respectively  the  end 
of  a  stag  hunt  and  a  boar  hunt,  and  depict  the  quarry 
in  the  act  of  being  torn  down  by  groups  of  hounds 
against  a  cascade  of  water;  while  the  plinths  and 
bars  display  dead  game,  hunting  trophies,  and  oak 
branches.  The  contrast  between  the  hunting  scenes 
— which  are  replete  with  vigour  and  movement,  even 
the  flow  of  the  water  being  strenuously  simulated — 
and  the  absolute  deadness  of  the  dead  game  is  so 
striking  as  to  be  almost  incredible.  One  sees  the 
very  inertness  and  relaxation  of  the  muscles  as  plainly 
as  though  they  were  real  creatures  of  fur  and  feather. 
No  bron;«e  of  any  period  whatsoever  could  have  been 
more  expressively  wrought. 

17 


THE    BURLINGTON    GAZETTE 

One  piece  of  tine  armour  only  has  so  far  come  to 
the  hammer  this  year.  It  belonged  to  Mr.  Peter 
Seguier,  and  was  sold  on  the  same  day  as  the  Page- 
Turner  collection.  It  was  a  buffe  or  vizor  of  late 
sixteenth  -  century    workmanship,    embossed,    surface 


Louis  XVI  Parqueterie  Secretaire.     Page-Turner  Collection. 
By  permission  of  A.  Wertheimer 

chased,  and  entirely  gilt,  and  decorated  in  low  relief 
in  variously  shaped  panels,  the  two  principal  ones 
representing  children  lighting  and  the  reconciliation. 
The  style  of  the  design  is  somewhat  similar  to  that  of 
the  celebrated  suit  made  for  Henri  II,  and  now  in  the 
Louvre.     This  vizor  made  /'315. 

With  the  exception  of  one  or  two  isolated  lots,  the 
Page-Turner  sale  is  responsible  for  the  best  P'rench 
furniture  sold  this  season,  and  the  Adair  sale — though 
they  were  not  part  of  that  collection — for  the  Chippen- 
dale and  other  English  examples. 

In  the  Page-Turner  collection  the  high  price  of 
£1,680  was  paid  for  a  small  Louis  XV  Bonheur-du- 
jour  secretaire.  It  was  on  cabriole  legs,  and  lightly 
mounted  with  chased  ormolu.  The  moulded  panels 
were  of  tulip  wood  inlaid  with  detached  sprays  of 
flowers  and  scrolls  in  rosewood.  It  cost  its  late 
owner  £21,  in  1868.  ;{i"504  was  given  for  a  very 
graceful  Louis  XVI  upright  parqueterie  secretaire 
inlaid  on  the  front  and  sides  with  a  chequer  design 
in  hare  and  satinwood,  and  mounted  with  classic 
ormolu  mouldings.  We  are  reproducing  it  as  being  an 
excellent  example  of  its  kind.  We  also  reproduce  the 
next  lot,  a  finely-proportioned  Louis  XVI  parqueterie 
writing  table  on  fluted  legs,  and  ormolu  mounted,  which 
was  sold  for  £466.  A  small  cylinder-fronted  par(]ue- 
terie  secretaire  of  very  simple  design,  the  panels  being 
inlaid  with  a  trellis  of  satinwood  and  ebony  on  a 
mahogany  ground.     Its  legs  are  fluted  and  tapering. 


and  it  is  lightly  mounted  with  chased  ormolu  of  a 
severe  design.     It  fetched  £390. 

Another  piece  worth  mentioning  is  a  Louis  XVI 
parqueterie  commode  which  realized  3^714.  It  has 
three  drawers,  and  its  panels  are  inlaid  with  a  simple 
parqueterie  of  satinwood  and  iiKdi(),i;an\  :  thr  lr,i,'s  art' 
fluted,  and  decorated  at  the  top  with  (hiiimIh  iii(iiiiit>, 
and  the  escutcheons  and  handKs  are  of  uniiolu  (  hascd 
in  festoons  of  flowers  and  laurel  branches.  The  piece 
is  stamped  H.  RIESENER,  ME. 

English  furniture  of  the  eighteenth  century  still 
fetches  the  prices  which  are  causing  dealers  to  ran- 
sack nur  mansions,  farmhouses,  and  even  cottages, 
with  tireless  energy. 

On  the  same  day  as  the  Adair  sale,  two  chairs, 
similar  to  the  notorious  thousand-guinea  pair  of 
Chippendales  sold  last  year,  were  unable  to  reach 
half  that  sum,  being  adjudged  at  3^399 — an  excellent 
lesson  in  sale-room  ethics.  If  I  mistake  not,  they 
were  also  offered  last  year,  and  then  withdrawn  at 
the  last  moment,  under  somewhat  sensational  circum- 
stances, on  a  disputed  point  of  ownership,  now,  I 
presume,  amicably  settled  ;  hence  their  reappearance. 
A  pair  of  very  fine  cabinets  in  the  style  of  Chippen- 
dale, with  doors  decorated  with  Gothic  designs,  and 
cornices  of  lattice  pattern,  the  various  mouldings 
being  of  classical  design,  fetched  /"840.  A  set  of  eight 
Chippendale  chairs — four  with  arms  and  four  with- 
out— made  ;£500.  An  oblong  Chippendale  stool  on 
cabriole  legs,  carved  with  flowers  and  terminating  in 
dolphin  feet,  fetched  £105.  £115  los.  was  paid  for  a 
pair  of  old  English  armchairs,  the  arms  terminating 
in  gilt  eagles'  heads,  and  on  cabriole  legs  with  eagle's 
claw  and  ball  feet.  A  table  en  suite  made  the  same  price. 
A  square-back  settee  on  six  cabriole  legs  with  lion's 
claw  and  ball  feet,  ^^105,  and  large  armchair  en  suite, 
£54  I2S.  3^294  was  paid  for  a  Chippendale  settee  on 
carved  cabriole  legs  with  claw  and  ball  feet,  double 
back  carved  with  fluted  shell  ornaments,  and  scroll 


Louis  XVI  Parqueterie  Writing  Table.     Page-Turner  Collection 
By  permission  of  A.  Wertheimer 


arms  terminating  in  eagles'  heads ;  and  £58  is.  for 
a  gilt  mirror  in  Chippendale's  Chinese  style,  pro- 
fusely carved ;  an  English  satinwood  secretaire,  with 
revolving  cylinder  front,  cabinet  above  and  drawers 
below,  and  painted  with  flowers  and  doves,  £210. 


BOOK    SALES,    fANUARY-MARCU 


Until,  on  March  23,  Messrs.  Sotheby  began  the  five 
days'  dispersal  of  the  Hbrary  of  printed  books  and 
manuscripts  belongjing  to  Sir  Thomas  David  Gibson 
(  arinichacl.  Hart.,  of  Castlecraig,  Peeblesshire,  no 
-ingle  property  of  importance  had  come  under  the 
hammer  since  January.  The  collection  of  books  of  the 
late  Mr.  Lionel  Johnson,  a  literary  poet  and  critic  of 
insight  and  fine  taste,  was  little  other  than  a  working 
library.  He  was  an  admirer  of  Walter  Pater,  whose 
Essays  from  the  "Guardian,"  one  of  100  copies  printed 
for  private  circulation  in  i8g6,  contributed  £"8  15s.  od. 
to  the  total  of  £"322  14s.  6d.  realized  for  275  lots.  John 
.\ddington  Symonds'  Renaissance  in  Italy,  1881-2, 
5  vols,  original  cloth,  brought  ^14  :  a  presentation 
copy  from  Sir  Walter  Scott  to  .Alexander  Boswell,  of 
Auchinleck,  of  S.  Rowlands'  The  Letting  of  Humours 
Blood  in  the  Head  Vaine,  1814,  £8  2s.  6d. 

Apart  from  the  tables  which  follow,  a  number  of 
books,  etc.,  which  do  not  come  within  the  scope  of 
any  of  them,  call  for  note.  A  selection  may  be  made, 
more  or  less  in  chronological  order.  A  copy  of  the 
liiiclid  from  the  press  of  Ratdolt,  Venice,  1482,  the 
tirst  work  printed  with  mathematical  diagrams, 
brought  £31  (Hodgson,  February  18,  Lot  489), 
against  £27  los.  od.  for  a  good  copy  in  1892  :  The 
Falle  of  Princis,  Pynson,  1527,  iij  in.  by  7^  in., 
wormed,  £"30  (Sotheby,  February  11,  Lot  1163) — it 
almost  fell  to  a  bid  of  g  gns. :  the  first  English  edition 
of  Peter  Martyr's  Decades  of  the  Nezcc  U'orlde  of  West 
India,  1555,  lacking  the  maps,  and  with  one  leaf  de- 
fective. £"41  los.  od.  (Hodgson,  February  17,  Lot  397). 
In  the  sale  of  properties  from  various  sources,  So- 
theby, March  16-21,  a  presentation  copy  from  the 
author  to  the  Rev.  Dr.  Curteis  of  Isaac  Watts'  Cate- 
cliisms  or  Instructions  in  the  Principles  of  the  Christian 
Religion,  first  edition,  printed  for  E.  Matthews  in  1730, 
6i  in.  by  3f  in.,  in  original  sheepskin  binding,  made 
/"40  (Lot  1131*:  Sheridan's  The  Rivals,  first  edition, 
printed  for  J.  Wilkie,  1775,  a  presentation  copy  "  From 
the  author,"  the  uncut  leaves  measuring  S|  in.  by  5^  in., 
in  morocco  e.xtra,  £41  (Lot  1017) — it  was  published 
at  IS.  6d.,  and  in  1901  a  large  copy,  in  morocco  by 
Riviere,  fetched  £20  los.  od.  ;  and  in  an  altogether 
different  kind,  the  recently  published  Clarendon  Press 
reprint  of  the  First  P'olio  Shakespeare,  its  first  occur- 
rence at  auction,  ^S  15s.  od.,  against  an  issue  price 
of  5  gns.  (Lot  1273*).  Of  several  works  from  the 
Hibbert  Library,  in  which  unspecified  defects  have 
been  discovered,  re-offered  on  March  ig,  mention 
may  be  made  of  The  Cronycle  of  Englande,  from 
Notary's  press,  1515,  title  in  facsimile,  £"41  (Lot  839) 
—it  brought  /'130  in  1892  ;  and  the  editio  princeps  of 
Morc's  Utopia,  1551,  some  letters  of  the  title  restored 
in  facsimile,  £'46  los.  od.  (Lot  S52),  against  £70  when 
sold  as  perfect.  A  quarto  volume  containing  the  editio 
princeps  of  Goldsmith's  The  Traveller,  io|  in.  by  8J  in., 
pul)lished  at  is.  6d.,  The  Deserted  I'illage,  in  second 
edition,  and  poems  by  W'.  Somerville,  Wodhul,  G. 
Keate,  etc.,  made  £"20  los.  od.  (Sotheby.  February  11, 
Lot  1 127)  ;  a  ipiarto  volume  of  seventeenth-century 
Tracts,  among  them  .1  Short  Treatise  against  Stage 
I'layes,  1625,  £"41  (Sotheby,  January  23,  Lot  461); 
and  the  first  edition  of  Day's  Blind  Beggar  of  Bednal 
Green,  in  modern  morocco,  £"11  (Christie,  February  24, 
Lot  40). 


On  March  21  a  feature  in  the  sale  at  Wellington 
Street  was  the  long  series  of  works  from  more  or  less 
famous  modern  presses.  There  were  52  lots  asso- 
ciated with  the  Kelmscott  Press,  34  with  the  \alc, 
34  with  the  Doves,  9  with  the  Essex  House,  4  with 
the  Roycroft,  4  with  the  Caradoc,  2  with  the  Elston 
Press  of  New  '\'ork.  The  Kelmscott  Press  books  on 
paper  show  a  severe  decline  from  the  high  level  of 
prices  established  in  igoo-r.  It  is  necessary  to  give 
one  or  two  instances  only.  The  Hon.  Richard  C. 
Gros\enor's  copy  of  the  Chaucer,  in  stamped  pigskin, 
from  the  design  by  William  Morris,  executed  at  the 
Doves  Bindery,  fetched  but  £"92,  as  against  £"112  for 
the  F.  S.  Ellis  copy  in  1901,  and  £'115  for  an  example 
last  year;  a  copy  in  binding  as  issued  brought  but 
£"80  los.  od.,  as  against  the  record  price  of  £"94  on 
June  7  last ;  moreover,  the  Gibson  Carmichael  copy, 
in  Scottish  brown  morocco,  that  did  not  commend 
itself  to  buyers,  fell  at  £"76.  425  copies  of  the  Chaucer 
on  paper  were  printed  at  £"20  each.  The  Bihlia  Inno- 
centinm,  1892,  realized  £"ii  5s.  od.,  as  against  £'27  in 
1900,  and  a  published  price  of  i  gn. ;  the  two-volume 
Rossetti,  1893-4,  published  at  4  gns..  £'12  5s.  od., 
against  £"18  17s.  6d.  in  1899.  On  the  other  hand,  the 
books  printed  on  vellum  all  advanced,  as  will  be  seen 
from  the  tabular  statement  here  printed. 

KELMSCOTT  PRESS  BOOKS  ON  VELLUM 

Wnrk  I  Dale     ^°-  °'  I    '**"*  '       FciTOcr  AuctioD  Price, 

Work.  uale.  copj^s J  p^^   ,  ^^^5.  March  21. 


Life  of  Wolsey 

The  Well   at    the   189C 

World's  End. 
Water  of  the  Won-    1897        C 

drous  Isles. 
The        Sunderin,?    1897      10 

Klood 
German  Woodcuts   1897        8      5  gns 

of  15th  Century. 


1893        6      10  gns.    Ellis,  1901,44     o     50    o 
189C        8      20  gns.    Ellis,   1901,3c     o     58  10 


z.ijns.       Not  occurred 
ogns 


—     1900,  23  10     41     o    o 
Not  occurred.        46    o    o 


The  Essex  House  issues  included  one  of  50  copies 
on  vellum  of  Shelley's  Adonais,  £20  5s.  od. :  the  \'ale 
Press  publications,  Mrs.  P>rowning's  Sonnets  from  the 
Portuguese,  1897,  £"7 — it  was  published  at  6s.  and 
fetched  £"9  5s.  od.  in  1901  ;  the  Omar  Khayyam,  1901, 
on  vellum,  £"10. 

Of  the  1,450  copies  on  paper,  80  on  vellum,  issued 
b\-  the  Doves  Press  since  its  establishment  in  igoo, 
only  about  ten  on  paper  and  one  on  \ellum  had 
occurred  at  auction  prior  to  March  21.  No  fewer 
than  32  copies  on  paper  and  eight  on  vellum  of  the 
five  works  came  under  the  hammer  within  half-an- 
hour.  Almost  needless  to  say  one  example  only  of 
the  Tacitus  on  vellum  was  offered.  The  owner,  a 
well-known  connoisseur,  placed  no  reserve  upon  it. 
yet  it  made  exactly  twenty  times  its  issue  price.  It 
may  be  assumed  that  Messrs.  T.  J.  Cobden-Sanderson 
and  Emery  Walker  each  hold  a  cop}-,  and  the  re- 
maining two  are  not  likely  to  come  into  the  market 
for  long.  In  the  tabular  statement  the  highest  prices 
paid,  where  duplicates  occurred,  are  given.  At  Messrs. 
Hodgson's,  on  March  25,  The  Ideal  Book  realized 
£"5  los.  od.  It  may  be  noted  that  the  published 
prices  of  the  forty  Doves  Press  books  offered  in 
Wellington   Street  aggregate   £"94  us.  6d.  ;  the   total 


THE    BURLINGTON     CxAZETTE 

amount   paid   for  these   £"389  3s.   6d.,   or  an  average 
of  more  than  four  times  issue  vahie. 


DOVES    PRESS 

BOOKS 

Hishes 

I^rices 
March  2 

Work. 

Date. 

Copies. 

Issue 
Price. 

Former  Prices  at 
Auction,  1901-3. 

I. 

" 

Higliest.       Lowest. 

£    s.     d.      £    s. 

d. 

I 

s. 

d. 

Tacitus,  Agricola. 

I  goo 

225  P. 

25s. 

8   12     6      4   12 

0 

7 

12 

6 

Edited  by  J.  W. 

5V. 

5gns. 

Not  occurred. 

105 

0 

0 

Mackail.    33  pp. 

Cobden  -  Sander- 

1900 

300  P. 

I2S.6d. 

4   16     0      3  14 

0 

4 

7 

6 

son,  T.  J.    Ideal 

loV. 

3gns. 

Not  occurred. 

16 

10 

0 

Book.     9  pp. 

Mackail.     J.     W. 

1901 

300  P. 

36035 

0 

5 

5 

0 

,    Wm.Morris.Ad- 

15V. 

3gns. 

Not  occurred. 

15 

15 

0 

dress  on.   27  pp. 

Tennyson.     Seven 

1902 

325  P. 

25s. 

Not  occurred. 

2 

3 

0 

Poems  and  Two 

25V. 

6gns. 

Not  occurred. 

15 

■5 

0 

Translations. 

55  PP- 
Milton.     Paradise 

1902 

300  P. 

3gns. 

95095 

0 

8 

12 

6 

Lost.     387  pp. 

25  V. 

X5gns. 

41  10    0   41  10 

° 

41 

10 

0 

The  most  important  dispersal  of  tlie  three  months 
was  that  of  the  Gibson  Carmichael  librar}-,  the  i,ig8 
lots  yielding  a  total  of  £9,(>i()  12s.  6d.,  or  equal  to  an 
average  of  about  ;^8  is.  od.  each.  The  outstanding 
books,  MSS.,  etc.,  are  entered  with  particulars  in  the 
various  tables,  but  it  is  convenient  here  to  show  at  a 
glance  the  phenomenal  advances  in  several  items  since 
last  they  changed  hands. 

GirsSON    CARMICHAEL    LIBRARY: 
ADVANXES 


Work. 

See  table. 

Formerly  Sold. 

s. 

d 

Gibson 
Carmichael. 

£ 

(.        s. 

Dante,  1481     .. 

V,  No.i. 

Lakelands,  1891  360 

Dante,  1472     .. 

V,  No.  3. 

Lakelands,  1891    80 

0 

0 

252     0 

Scott.  Waverley 

L  No.  I. 

Egerton  Clarke, 

Novels.    E.P. 

1899       ..      ..  226 

0 

0 

800     0 

Scott.     83  auto. 

in, No.  I. 

Scott      Huxley, 

letters. 

1899       . .      . .  305 

0 

0 

4S5     0 

LatinBible.MS. 

IV,  No.  I. 

i87o's       . .      . .  450 

0 

0 

Burns.    Poems, 

V,  No.  7. 

Lamb,  1898     ..     67 

4 

0 

1S7     0 

1793- 

Burns.     Poems, 

1787. 
Scott.         Latin 

V.  No.  14. 

Lamb,  iSgS     ..     31 

10 

0 

SS     0 

See  text 

1890-8       ..      ..      4 

0 

0 

44     0 

Grammar 

Boyd,  Z.  Forme 

See  te.\t 

Macdonald,i8g7     13 

10 

0 

37     0 

of  Catechising 

Tenn  yson. 

VI,  No.  6. 

iS90's        ..      ..     20 

0 

0 

35   10 

Poems,  1827. 

/I.557 

4 

0 

£i.5i&  10 

The  Latin  Crammav  was  that  used  by  Sir  Walter 
Scott,  and  has  on  the  lly-leaf  his  signature,  "  Walter 
Scott,  Junr.,"  as  well  as  two  drafts  of  a  legal  docu- 
ment written  by  him  as  Clerk  of  the  Court,  "  Edin- 
burgh, 14  Eebruary,  1826."  Zachary  Boyd's  Clearc 
Forme  of  Catechising,  before  the  giving  of  the  Sacrmnent 
of  the  Lord's  Supper  is  a  i2mo.  volume  from  the  press 
of  George  Anderson,  1639,  and  is  said  to  be  the  first 
book  printed  in  Glasgow.  It  has  been  stated  that 
the  present  copy  is  the  only  one  known,  but  two  or 
three  others  at  least  exist.  Mr.  Alexander  Macdonald, 
of  Glasgow,  paid  about  half-a-crown  for  it  some  years 
ago.  Adriani  Turnehi  Adversariorum,  tomi  IIL,  a  folio 
printed  at  Basel  in  1581,  with  the  signature,  "  Su 
l>en:  Josonij."  and  the  motto,  "Tanquii  Explorator,'" 
on  title,  fetched  £11  5s.  od.     The  75  lots  catalogued 


under  Dante  contributed  £1,964  gs.  6d.  to  the  total. 
As  an  instance  of  the  relatively  high  sums  paid  at  the 
sale  of  libraries  such  as  this,  as  compared  with  mis- 
cellaneous dispersals,  it  may  be  said  that  the  interest- 
ing quarto,  CCC  Notable  Books  added  to  the  Library  of 
the  British  Museum  under  the  Keepership  of  Richard 
Garnctt,  1890-99,  in  half  morocco,  fetched  £z  4s.  od., 
against  i8s.  in  cloth,  as  issued,  on  January  22. 

Few  important  bindings  have  occurred.  On 
January  27,  however,  a  small  folio,  Venice,  1559,  in 
polished  brown  calf,  the  sides  covered  with  elaborate 
gold  ornaments,  with  the  large  arms  of  Princess  Anna 
of  Denmark  in  the  centre  of  the  upper  cover,  Saxon 
and  Danish  arms  on  the  under  cover,  brought  £146  ; 
and  at  Messrs.  Hodgson's,  on  March  26,  a  i2mo 
book  in  old  panel  calf  binding,  with  the  arms  of 
France  and  England  supported  by  angels  on  one  side, 
the  Tudor  rose  supported  by  angels  on  the  other, 
attributed,  probably  mistakenly,  to  Garrat  Godfrej-,  of 
Cambridge,  made  £'28. 

Coming  more  or  less  under  the  category  of  literary 
relics,  or  at  any  rate  of  relics  associated  with  notable 
writers,  are  two  objects  made  from  the  Mulberry  Tree 
reputedly  planted  by  Shakespeare  in  the  Garden  of 
New  Place,  Stratford-on-Avon.  On  March  21  Messrs. 
Sotheby  sold  the  armchair,  which  for  long  had  been 
in  the  "Weston  Park  Museum,  Sheffield,  at  £145; 
and  on  March  16  Messrs.  Puttick  made  £50  oi^  a 
writing-standish,  75  in.  long,  4Hn.  wide,  3  in.  deep. 
Again,  on  March  26,  there  occurred  at  Messrs. 
Hodgson's  Izaak  Walton's  Lives,  1670,  with  inscrip- 
tion from  the  author,  "  For  Mr.  Jo.  Swinfin,  Iz: 
Wa : ."  Probably  this  is  the  John  Swynfen,  the 
politician,  to  whom  Pepys  alludes  in  his  Diary,  No- 
vember 10,  1662,  as  "  the  great  .  .  .  Parliament- 
man,"  M.P.  for  Tamworth,  Secretary  to  Lord  Man- 
chester. 
Table  No.  I.— SETS   OF   PRINTED   BOOKS 

1.  Scott,   Sir  W.      Waverley    Novels.      First   editions.        £      s     d. 

74  vols.  8vo.  1814-29.  Top  edges  gilt,  others 
uncut.  Sold  without  mention  of  any  defects.  From 
Egerton  Clarke  sale,  1899,  £^26.  Crushed  olive  mo- 
rocco extra  by  Riviere.     Gibson  Carmichael  {980)        800     o     o 

2.  Bunyan  J.      Collection  of  his  various  writings,   277 

vols.,  sold  with  all  faults.     March  16  (92)     . .  . .      205     o     o 

3.  Fraser,    Sir    \Vm.      Family    Histories.      A  series  of 

9  works,  ig  vols.,  Edinburgh,  1858-97.  Gibson 
Carmichael  (443-51) 107   15     o 

4.  Cultivation  of  Roses.    72  vols.    In  various  languages, 

various  sizes  and  dates.  Half  rose  morocco,  rose 
device  on  backs,  white  marbled  sides.  Gibson 
Carmichael  (900)  . .  . .  . .  . .  . .       76     o     0 

5.  Maitland  Club  Publications.     56  vols.     4to.      Half 

morocco.     Gibson  Carmichael  (731) 64     o     o 

6.  Burlington  Fine  Arts  Club.     7  exhibition  catalogues, 

L.P.,  1891-1901.     Gibson  Carmichael  (151-7)        ..       51     3     o 

7.  Shakespeare,  W.     Julius  Caesar,  Berlin,  1741  ;  Timon 

of  Athens,  Prague,  1778  ;  Venus  and  Adonis,  Halle, 

1783.     All  in  German.     March  21  (1278-80)  ..       50     0     o 

8.  The  Tudor  Translations.     Edited   by  W.  E.  Henley. 
33  vols.    8vo.     Half  buckram.     1890-1902.     March 


25  (151)  (H)  

Sir  W.  Poetical  Works.  12  vols. 


Scott,  Sir  W.  Poetical  Works.  12  vols.  8vo.  Presen.: 
"  To  Robert  Shortreed,  Esq.,  the  friend  of  the  author 
from  youth  to  age,  and  his  guide  and  companion 
upon  many  an  expedition  among  the  border-hills  in 
quest  of  the  materials  of  legendary  lore  which  have 
at  length  fiU'd  so  many  volumes.  This  collection  of 
the  result  of  their  former  rambles  is  presented  by 
his  sincere  friend,  Walter  Scott,  22  April."  (Sold 
May,  1900, /39.)     Gibson  Carmichael  (985) 

Stevenson,  R.  L.  Edinburgh  edition,  28  vols.  Letters, 
2  vols.     1894-9.     Grosvenor  (1284) 


BOOK    SALES 


11.  Badminton  Library.    29  vols.    L.P.    4to.     1885-1902.        C    »     '' 

Half  morocco,  uncut.     February  24  (115)  (C)         ..       35    o    o 

12.  Scottish  History  Society  Publications.    '40  vols.  8vo. 

Blue  cloch.  uncut.  1887-1902.  Complete.  Gibson 
Carmichael  (99S)  24     o    o 

13.  Collection  of  anarchist  documents,   in  various  lan- 

guages. alx)Ut  2.000.  In  24  folio  cases,  inscribed 
"Evolution  Libertaire  since  1871."     March  16(223)       20    o    o 

14.  Edinburgh  Bibliographical  Society's  Papers.     5  vols.. 

1896-1901.     Gibson  Carmichael  (383)  ..         ..       20    o    o 

15.  Corneille,  P.     Le  Theatre.  Paris.  1664.  5  vols,  in  4  ; 

Les  Tragedies  et  Comedies.  Paris.  1665-76-78.  5 
vols.  10  vols,  in  o.  5J  by  33  in.  Morocco  extra 
by  Traut- Bauzonnet  From  Potier  sale,  1870. 
2.400  frs.     March  17  (300)        i5    5    o 

16.  Pepys.  S.    Diary,  with  Pepysiana  and  Index.    10  vols.. 

8vo.  LP.  Half  vellum,  uncut.  1903-9.  Jan- 
uary 30  (662)        . .         . .         . .         •  •       1500 

Note.— (C)  Sold  by  Chrislie  ;  all  others  by  Sotheby. 

Table  No.  II.— ILLUSTRATED   OR 
GRANGERISED   WORKS 

1.  Portraits  of  Winning  Horses  of  the  St.  Leger.  1815-43,     ^       '■   ''■ 

29  plates,  and  of  the  Derby  Stakes.  1S27-43. 17  plates: 
in  all  46  engravings  after  J.  F.  Herring,  original  im- 
pressions, finely  coloured,  i  volume,  half  morocco. 
February  24  (165)  (C) 190    o    o 

2.  The  Sporting  Magazine.  1792-1870.     156  vols.     With 

Gilbey  index.  1892.     Half  calf  and  half  morocco. 

With  all  faults.     February  24  (109)  (C)         ..         . .     160    o    o 

3.  Granger,  J.     Biographical  History  of  England,  1824, 

10  vols.   Extra-illustrated  with  over  2.500  portraits. 

Half  morocco.     March  18(692)         150    o    o 

4.  Boydell.  J.  &  J,     History  of  River  Thames.   1794-6. 

2  vols.,  enlarged  to  4  by  introduction  of  900  extra 
illustrations.  Morocco  extra  by  Guild  of  Women 
Binders.     March  16  (245)         loi     o    o 

5.  La  Collection  Spitzer.     On  vellum  paper.     6  vols. 

Morocco    super    extra,    by    Zaehnsdorf.      1890-2. 

Gibson  Carmichael  (236)  85    o     o 

6.  Lilford.  Lord.     Birds  of  the  British  Islands.     First 

Issue.     7  vols.     Svo.     Brown   morocco.    1885-97. 

Gibson  Carmichael  (691)  81     o     o 

7.  Goupil  series  of  monographs.     7  works.     Japanese 

paper,  with  duplicate  sets  of  the  plates.  1893-1901. 
Aggregate  published  prices.  £s(>.  Boarded  calf 
extra.    Gibson  Carmichael  (503-9) 78  17    6 

8.  Laborde.  M.  de.     Choix  de   Chansons  Mis  en  Mu- 

sique,  Paris.  1773.  4  vols.  Old  French  red  morocco. 
Plates  by  Moreau,  Le  Barbier,  St.  Quentin.  Gam- 
bert  (68) 65     0    o 

9.  Blagdon.    F.    W.      Authentic   Memoirs    of    George 

Morland.  1806.  21  coloured  plates  by  Bell.  Dodd.  etc. 

Orig.  half-binding  with  label,  uncut.   March  19  (942)      59    o    o 

10.  Ireland.  W.  H.    Life  of  Napoleon  Bonaparte.   4  vols.. 

Svo.  Orig.  bds..  uncut.  Plates  by  Cruikshank, 
coloured  by  hand,  from  original  designs  of  Vernet. 
Denon.  etc..  executed  in  Paris  by  Duplessis  Bertaux. 
1823.     January  24  (667)  39  10     o 

11.  Annals  of  Sporting  and  Fancy  Gazette.  1S22— May 

1828.  13  volumes.  8vo.,  uncut.  Morocco  extra 
by  Riviere.  Specimen  monthly  wrapper  bound  up 
with  each  vol.  Coloured  plates  by  Aiken  and 
Cruikshank.  other  plates  by  Landseer.  Herring,  etc. 
March  16  (33) 37     o    o 

12.  Turner.  J.  M.  W.     Picturesque  Views  in  England  and 

Wales.  2  vols.,  folio.  1838.  India  proof  im- 
pressions of  the  96  plates,  descriptive  illustrations 
by  H.  E.  Lloyd.     January  24  (945) 35   10     o 

13.  Frankau,  Julia.     John  Raphael  Smith.     8vo.     Cloth. 

With    portfolio    containing    50    reproductions     in 
colours,  etc.     1902.     March  25  (269)  (H)     ..         ..       27  10    o 
Note.— (C)  Sold  by  Chrlslic  ;  all  oiIrts  by  Sotheby. 

Table  No,  III.— ORIGINAL  MSS.,  LETTERS,etc. 

1.  Scott.  Sir  W.     83  auto,  letters.  August  21.  1S07.  to       ^      s.    d. 

September  29.  1832.  chiefly  to  his  brother.  Thomas 
Scott,  and  to  Mrs.  Thomas  Scott.  Interleaved  and 
bound  in  i  vol.,  crushed  brown  morocco  extra  by 
Riviere.  From  Scott  Huxley  sale.  1899,  unbound. 
;r305.     Gibson  Carmichael  (979)        485     o    o 

2.  Burns.   R.     Two  orig.  holograpn   poems ;     "  Hear, 

Land o' Cakes. and  Brither  Scots."  and  "The  Kirk's 
Alarm."  In  all  145  lines.  Given  by  poet  to 
grandfather  of  seller,  who  was  Minister  of  Keir. 
Dumfriesshire.     March  16  (98)  125    o    o 


.  Collection  of  auto,  letters,  signatures,  etc..  laid  down 
in  four  4to.  albums.  ICxamples  by  Scott.  Words- 
worth. Thackeray,  and.  pre-eminently,  a  page  of 
orig.  MS.  of  Pickwick  (describes  wedding-breakfast 
at  old  Wardles.  Chap.  XXVIII..  and  is  believed  to 
be  the  only  fragment  in  Great  Britain).  February  20 
(i>27)(H) 

|.  Savonarola.  Girolamo.  Holograph  letter,  i  J  pp.  folio, 
about  iij  by  8|  in..  76  lines,  to  his  mother.  Signed  ■ 
and  dated  "  Ex  Florencia  die  9.  Decemb.  1485.  Vro 
figliolo  frate  Hieronymo  Savon''."  Original  from 
which  Morris  printed  "  Epistola  de  Contemptu 
Mundi."     Gibson  Carmichael  (935) 98 

;.  Stevenson.  R.  L.  Markheim.  Orig.  auto.  MS.  30  pp.. 
sm.  4to..  signed  "  Robert  Louis  Stevenson."  Crushed 
green  morocco.  With  .Vrticle  as  printed  in  Unwins' 
Annual.  1886.  Half  green  morocco.  (Sold  July  5. 
1S99.  ;f6i.)     Gibson  Carmichael  (1058)        ..         ..       70 

3.  *  Wilson.  Arthur.  The  Swisser.  Acted  at  the  Black 
Friers.  1631.  Written  on  64  leaves,  sm.  4to..  c.  1640. 
The  margins  throughout  damp-rotted.  Old  sheep. 
Now  in  British  Museum.     February  20     (1125)  (H)       45 

7.  Ducis.  Jean  Francois,  first  French  Editor  of  Shake- 
speare. 26  auto,  letters  to  Prince  of  Wurtemburg. 
81  pp..  1763-73.  Contain  references  to  Ducis' 
acting  editions  of  Macbeth,  etc.  Privately  printed 
in  1899.     March  17  (455)  30  _ 

S.  Brontii,   C.      Miscellaneous   Poems.     12  pp.,  in  her 

minute  hand,  dated  May  31.  1830.     March  16  (80)       25 

9.  Drake,  N.  Orig.  MS.,  mostly  in  cipher,  of  "  .\  Jour- 
nal of  the  First  Siege  of  Pontefract  (1664)."  32  pp. 
Inscribed  "I  desire  that  this  MS.,  in  my  great- 
grandfather's writing,  may  never  go  out  of  the 
family.  Francis  Drake."  Transcripts  by  Sir  Fran- 
cis Drake,  etc.     March  17  (481)         22 

0.  Ruskin.J.     Orig.  autograph.  8  pp..  folio.     "  Does  the 

persual  of  works  of  fiction  act  favourably  or  un- 
favourably on  the  moral  character  ?  "  Said  to  have 
been  written  at  the  age  of  sixteen  or  seventeen. 
March  19  (972) 22 

1.  Lamb.  C.     Auto,  letter  to   Miss   Fryer,  with  poem. 

"  Love  will  come."     Unpublished.     March  13  (4S1)       20 

2.  *  Beaumont  and  Fletcher.     Bonduca.     Written  on  25 

leaves,  folio.,  c.  1617.  Fine  state  in  old  vellum. 
Hiatus  in  text  of  last  act  thus  explained  :  "The  oc- 
casion why  these  (scenes)  are  wanting  here,  the 
booke.  whereby  it  was  first  acted  from,  is  lost ;  and 
this  hath  beene  transcribed  from  the  fowle  papers 
of  the  authors  wh.  were  found."  Now  in  the  13ritish 
Museum.     February  20  (11 24)  (H) 19 

3.  Henry  VU.  of  England.     Letter  to  Philippe  le  Beau. 

Archduke  of  Austria,  King-consort  of  Castile,  con- 
cluding phrase  in  Henry's  autograph.  Fine  bold 
signature,     c.  1504.     March  13(420)  ..         ..       14 

4.  Shelley.  P.  B.     .Vuto.  letter  to  Oilier,  Pisa,  Novem- 

ber 10,  1820,  anent /VoH«//(fKS  and  Julian  and  Mad- 

dalo.     March  13  (654) 14 

[5.  Symonds.  John  .\ddington.     Life  of  Michael  .Vngelo 
Buonarroti.     1891.     3  folio  vols.,  with  set  of  plates 
as  issued  with  the  book.     March  25  (156)  (H)         . .       10 
*  Not  original  autograph. 
Note.— (H)  Sold  by  Ilodsson ;  all  others  by  Sotheby. 

Table  No.  IV.— DECORATIVE   MSS. 

1.  Biblia  Sacra  Latina  cum  Prologis  S.  Hieronimi.     On       C 

593  leaves  of  vellum.  19}  by  15  in.  Large  gothic 
characters,  double  columns.  36  lines  to  full  page. 
78  large  miniatures,  59  ornamental  initials,  all 
illuminated  in  gold  and  colours.  .\nglo-Norman. 
late  13th  century.  3  vols.,  Gibson  Carmichael 
(58).     (Bought  about  the  seventies  for  ;f 450)  ..     610 

2.  New  Testament.  Wycliffe  Translation.     On  341  leaves 

of  thin  vellum,  Oh  by  ■\h  in.  27  very  fine  illuminated 
borders.  Inscription  on  p.  i  by  William  Lambarde. 
first  historian  of  Kent,  states  that  MS.  was  given  to 
him  in  1591  by  Ralph  Rokeby.  Master  of  St.  Ka- 
tharine's Hospital.  MS.  later  in  the  possession  of 
William  Herbert  and  in  that  of  Charles  Mayo. 
F.R.S  ,  an  ancestor  of  Mr.  Mayo  Leman,  the  seller. 
English,  c.  1431.     March  20  (115S) 580 

3.  Horze.    On  vellum.    23S  leaves,  7J  by  5J  in.    French. 

Saec.  XV.  20  painted  and  illuminated  arched  mini.a- 
tures,  surrounded  by  rich  borders  of  scroll  flower- 
work.  Old  French  brown  morocco,  with  Crucifixion 
and  Annunciation  in  gold,  engraved  silver  clasps 
and  corner  ornaments  "  A  well-known  .\mateur." 
March  30  (22) 400 


too    o    o 


o    o 
o    o 


THE    BURLINGTON    GAZETTE 


4.  Missalead  Usum  Parisiensem.  OnveHum.  295  leaves,       i 

lol  by  7  in.  Musical  notes  in  red  and  black.  Anglo- 
French,  Saec.  XIV.  18  small  miniatures,  many 
borders  and  initials.  Modern  French  red  morocco 
From  Didot  collection.  "  A  well-known  Amateur," 
March  30  (32) 390 

5.  Horae.     On  vellum.    105  leaves,  8J  by  7J  in.    French, 

Saec.  XV.  Eleven  pages  wholly  occupied  by  minia- 
tures, four  on  a  page.  Velvet  binding,  in  morocco 
case.     March  18  (600) 295 

6.  Biblia  Sacra  Latina.     On  thin  vellum      56S  leaves, 

iih  by  75  in.  147  initials.  Lacks  five  leave?. 
Anglo-French,  Sa;c.  XIII.  Modern  boarded  rough 
red  morocco.  (Ashburnham  Appendix,  No.  IV.) 
"  A  well-known  Amateur,"  March  30  (6)       . .  . .     280 

7.  Boccaccio,  G.     Des  Clercs  et  Nobles  Femmes.     On 

vellum.  (30  leaves,  13  by  igi  in.  One  large  minia- 
ture, 40  illuminated   square  miniatures,  3  by  25  in. 


French,  Sfec.  XV.     Old  calf.     Gibson  Carmichael       £ 
(81) 244 

Horae.  On  vellum.  163  leaves,  2j'',;  by  i}g  in.  English 
or  Anglo-French,  Sa?c.  XIV.  23  miniatures.  Eigh- 
teenth century  black  French  morocco,  in  open 
pocket  case,  similar,  lettered  "  Livre  d'Heures 
de  la  Reine  Jeanne  de  Naples."  From  the  col- 
lections of  Prince  Galitzin,  1825,  and  Duchesse 
de  Herri,  1864.  "  A  well-known  Amateur,"  March  30 
(19)  230 

Officia.  On  vellum,  53  leaves,  4a  by  2§  in.  North 
Italian,  late  S,tc.  XV.  Numerous  miniatures, 
initials,  borders,  and  coats-of-arms.  i2mo.  Gibson 
Carmichael  (819)  ..  ..  ..  ..  ..     225 

Horae,  York  Use.  On  vellum.  105  leaves,  13 
miniatures,  enclosed  in  large  initials,  gi  borders,  15 
large  initials.  English,  c.  1280.  Old  English  red 
morocco.     March  18  (599)       ..         ..         ..         ..180 


Table  No.   V.— PRINTED    BOOKS,^5o   OR  ^QRE 


Printer, 
Publisher, 
OR  Place.- 


Date  of  Sale. 


Divine  Comedy.      First  Flo-      Nicholas  Lo-        1481 
"tion,  Landino's  Commen-  I  renz,  Florence 
tary.     Folio,    16  by   loi  in.      Blue  I 
morocco  by  Lewis.     (270") 


2.  Shakespeare,  \V.     First   Folio,   iz\  by 

■j'i  in.        Modern     boarded     russia. 
(1273)  (•') 

3.  Dante.     Divine    Comedy.     E.P.   with 

a   date.      Folio,    11 J  by  Sin.      Old 
English  blue  morocco.     (267) 

4.  Dante.    Divine  Comedy.    Folio,  125  by 

9g  in.     gi    leaves.     Half   bound,    in 
shp  case.     {268) 

(Spenser,    E.     Faerie  Queen.     Part  I 
E.P.,  4to.,  7f  by  5'  in.,  CoGpp., 
4  II.,     600-5,     unpaged.        Red 
3.-  morocco 

,,     Faerie   Queen.      Part  II.      E.P. 
4to  ,  7§  by  Sj'j  in.     Limp  vellum. 
V  (1044) 

6.  Shakespeare,  W.     Second  Folio,  13  by 
8Jin.     i8th  cent,  russia.     (1275) 


Burns,  R.  Poems  Chiefly 
Scottish  Dialect.  2  vols.,  S 
morocco.     (1C6) 


George  &  Paul 
de  Bursch- 
bach,  Mantua 
for   W.   Pon- 
sonby 


W.  Creech, 
Edinburgh,  for 
T.  Cadell, 
London 


8.  Shakespeare 
Windsor. 
Morocco. 


\V.      Merry    Wives    of      For   Arthur 
4to.,   2nd   edtn.      28   11.         Johnson 
(■263) 


Colonna,  F.  Hypnerotomachia  Poli- 
phili.  E.P.  Folio,  12J  by  8  in. 
Morocco.     (239) 

Shakespeare,  W.  Fourth  Folio,  14J  by 
gin.     Grig.  calf.     (913) 


1619       March  21    . . 


1685     '  January  24. 


For  H.  Her- 
ringman,  E. 
Brewster,  R. 
Chiswell,&R 
Bentley 

•  "The  Book  Sales  of  1902  with  Tabulated  Prices,"  The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets,  (h)  Sold  by  Hodgson,  (p)  by  Puttick,  all  others  by 
Sotheby.     (')  Slightly  defective.     («)  Defective.     P)  Sold  with  all  faults.     R.P.  Record  Price. 


K.F.     19 

design! 

impressed  direct  on  pages,  others  mounted  in  the  blank 
spaces.  Some  plates  very  slightly  damaged,  inside  and 
lower  margins  of  first  leaf  of  inferno  rejiaired.  This  is 
Hamilton  Palace  copy,  1884,  £380,  re-sold  Lakelands,  i8gi, 
JC360,  afterwards  in  collection  of  M.  Maglioni,  at  whose 
sale  in  Paris  it  brought  about  £500.  Mr.  (.juariich  was  the 
buyer  on  all  four  occasions.  Possibly  it  is  that  from  Stowe 
collection,  1848,  £50  los.  Crawford,  18S7,  19  pl.ites,  £4-0 
prob.  former  R.P.    *  See   "Book   Sales  of  1902,"  p.  i8 

Sidney  Lee's  Census,  Postscript,  LXXVIIIa.  Owned, c.  1850, 
by  Benjamin  Powys,  bequeathed  in  1876  to  Richard  Hil- 
house.  Rebound,  c.  1840.  *See  "Book  Sales  of  1002," 
p.  :8,  No.  2. 

R.P.  Large  illuminated  initial  on  p.  i,  also  for  the  Purgatoria 
and  Paradiso.  This  is  Sunderland  copy,  1882,  1^46,  re-sold. 
Lakelands,  1S91,  £80.  Pinelli,  1789,  24*  gns. ;  " 
1853,  £46;  Ashburnham-  i8n-7  irih  ~' 
Bauzerian  jeune,  £142. 

U.P.  Three  large  painted  and  illuminated  initials.  Late 
i8th  century,  88  leaves,  90  fr. ;  Heber,  1830's,  lacking 
3  leaves,  £11.    Copy  in  Huth  Library. 

leaves. 


■J  by 


U.P.    Title-page    and   inner  i 

Vol.  L,  slight  I  y.M' I     ^' 

Dent,   1827.  ni 

Gardner,  iS^i, 

leaves  repain  .;,  .    ,    i  1  , 

ton,  1896,  Willi  .1"   I  !'■  Hi,li 

and    the    four  leaves  wliic 

19D1,  mor.  by  Riviere,  £147. 

p.  23,  No.  97. 
Title-page  split  and  backed,  leaf  with  verses  backed 


Bysshe,  1679,  6s.  2d.; 
.nglo-Poet.,    10    gns. ; 

!S  at  end  of  Vol.  I., 
replace  them,  £85  ; 
3ook  Sales  of  1902," 


Bedford 


spot! 


original  calf,  £540, 


Name  and 


» See  "  Book  Sales  of  1902,"  p.  18, 


trifling  but  sincere  mark 

for  his  worth  as  a  Man,  hi 

kindness  as  a  Friend.     However  infc-riour  mow  i>r  atter- 

wards  I  may  rank  as  a  Poet;  an  li' n-    1  >  inm    1..  wlm  1, 

few  Poets  can  pretend,  I  trust  I  ^Ii  'J  *      i  '  !  u  :        ::::i;. 

to  serve  me,  have  I  ever  paid  a  COIN  ii  ;  i:r  1  |m  ;,  , 
ofTruth.  TheAuthor."  Price  .ninlinMc  t.  n,  .  1  i|.ii..n. 
This  copy  from  Lamb  sale,  iHgs,  64  t^iis.  iTt'siiuation 
copies:  Stewart,  i«88,  to  Mrs.  Riddeli,  £83;  Uecembur, 
1902,  to  Patrick  Miller  of  Dalswinton,  £250.  *See  "  Book 
Sales  of  1902,"  p.  16,  No.  3. 
R.P.,  despite  lower  corner  of  two  leaves  torn.  Pubd.  41!. 
Steevens,  1800,  £1  4s.,  re-sold,  Roxburghe,  1812,  £1  3s., 
and  F.  Perkins,  1889,  morocco,  £42;  Brayton-Ives,  i8gi, 
orig.  paper  covers,  9790. 

Ashburnham,  1897,  Emperor  Charles  V.'s  copy,  contemp. 
calf,  £i5r,  prob.  K.P.  Huth  copy  described  as  on  thick 
paper.  'See  "  Book  Sales  of  1902,"  p.  22.  No.  73,  and 
p.  24,  No.  115. 

Save  for  a  few  worm-holes  at  end,  sound  and  clean,  but  not 
so  fresh  as  Mackenzie  copy,  ijj  by  gin.,  sold  for  £142, 
R.P.,  December  16.  1902.  1903,  Gibson  Carmichael  (1019), 
t.p.  and  last  leaf  backed,  mor.  by  Bedford,  £90.  'See 
"  Book  Sales  of  1902,"  p.  20.  No.  39. 


BOOK    SAL1-:S 


Printer, 
Publisher, 
OR  Place. 


Date  op  Sale., 


Milton,  J.     Paradise  Lost.    E.P. 
7  by  5J  in.     Old  calf.     (870) 


12.  Hor.T.  Roman  Use.  On  vellum.  Svo. 
(1044) 

ij.  Goldsmith,  O.  The  Vicar  of  Wake- 
field. E.l'.  2  vols,  in  one.  i2mo. 
Old  calf.     (562) 

14.  Hums.  R.  Poems  Chiefly  in  the 
Scottish  Dialect.  Svo..  S\  by  5^  in. 
Old  inlaid  calf  by  Scott  of  Edin- 
burgh.    (165) 


15.  Spenser,     E.       Prothalamion.       IC.l'. 

4to..  7i  by  5jin.  Morocco  e.\.  by 
Kiviere.     (192) 

16.  Burns.    K.      Poems    Chiefly    in    the 

Scottish  Dialect.  E.P.  8vo.,  y'i  by 
4j  in.  Morocco  extra  by  Riviere. 
(163) 

17.  Dante.     Divine    Comedy.     E.P.   with 

Benvenuto  da  Imola's  Commentary. 
Folio.  13}  by  9  in.  374  leaves. 
Morocco  by  Bedford.     (269) 

18.  Chaucer.  G.    Works.    Folio.    Morocco 

by  Riviere.     (646) 

19.  Dante.     Divine  Comedy.      E.P.  with 

woodcuts.  Folio.  \Iodern  red  mo- 
rocco.    (272) 

20.  Pole.     Cardinal.      Pro     Ecclesiastics; 

Unitatis  Defensione.  Libri  IV.  E.P. 
Folio,  iii  by  8J  in.  Old  half  calf. 
(963) 

21.  Whittington,    R.      De  Octo   Partibus 

Orationis.  With  nine  other  gram- 
matical works.     4to.     Calf.     (913) 

22.  Shakespeare,   W.    Timon   of  Athens. 

Svo.     (1256) 

23.  Holinshed,  R.    Chronicles  of  England, 

etc.  E.P.  2  vols.  Folio  Mo- 
rocco extra  by  Clarke.     (18) 


S.  Simmons,        1667        March  19 
for    Peter 
Parker         ' 


Simon       Sep.  16,    January  31 


Milion 


Vostre 

B.    Collins, 
Salisbury,  for 
F.  Newbery 
W.   Creech. 
Edinburgh 


.    Wilson, 
Kilmarnock 


,498 
1766 

1787 


1596       January  22. 


John  Keynes        1542        March  iS 


W.deWorde,  I   1525-9     March  ig 

&c.  ! 


ForT.Johnson, 

The  Hague 
For  L.  Har- 
rison &  John 
Hunne 


171 2       March  21 

1577      "  .V  well-known 
amateur," 
March  30 


I'oct., 


veil   pre 

up  at  end.    By  1 

0  receive  £5  down  and  £5  for'each  subsequent  edition 

)  copies.    Pubd.  35.    Manton.  167S,  3<;. :  IMbl.  Anglo- 

■815.   5   gns. ;  Bindley,    i»to,    »iiIi    if>'''i   1  l> ,   orii;. 

5,  jfj  9s.,  re-sold,  Bliss,  I-   ■     .  I    11.  1.    .(-64. 

llful,"  orig.  binding,  £28  1.  , . .  s  .j( 

and  errata  foltowin)4  In   <  ^  ;  1       .   L'.rt-," 

Vol.  VI..  p.  85),  old  cM,  £35  ..,-..     ;    , .    ,      l.irKu. 

in  oriK.  binding,  £120,  K.R  Orii;.  ;.:.-.  •.:  i;:  ,  ,  ion  ol 
.Mr.  W.  Baker,  ilertford.  Sec  Mr.  W  ynnu  E.  Uailet-s 
article,  "The  Bibliographer,"  Feb.  1903. 

100  34  large  and  37  small  woodcuts,  borders  to  every  pase. 
Bruycres  -  Chalabre,  1833,  50  fr. ;  Le  Chevalier.  1857. 
300  R*. ;  Ashburnhaui,  1897,  gg  by  6j  in.,  while  the  former 
is  only  6;by  4jin..  £i< 


Sales  o!  1902,"  p.  20,  No.  40. 

JS  "To  Mr.  Nicol  as  a  small  but  sincere  mark  of  gratitude  and 
friendship.  The  Author."  This  copy  from  Lamb  sale, 
1898,  30  gns.  Pubd.  6s.,  to  subscribers  5s.  Price  in  large 
pan  attributable  to  inscription.  Roxburgbc.  1812,  7s.; 
Young,  1890,  uncut,  £14  15s.;  Hibbert.  1902,  morocco, 
£30  10s. :  189H,  "the  blanks  in  this  edition  were  filled  up 
ill  Burns'  own  hand  the  hrst  year  he  settled  in  Dumfries- 
shire, William  Burnside,"  £37  jos. 

J2      K.P.    Bibl.  Anglo-Poet.,  5 gns.;  GaUford,  1890,  £8. 


printed.    Pubd.  3s.    »  See  "  Book  Sales  1 


66      R.P.    Pinelli,  1789,   ■  liellissinio,"  5  gns.;  Crawford,  1S8.-,  £14  ; 
.\shburnham,  1S97,  £30 ;  Founuine,  1902,  £32. 


L-  nrst  appeared. 
Bright,    1845,   "good,  large,  sound,"   £5    12s.  6d.;    Alex. 
Youn?,  i8go,  i2i  by  SJ  in.,  some  worm-boles,  £25. 
54      65  rude  cuts.  10  by  6  in.    Fountaine,  1902,  £72,  R.P.    *  See 
"  Book  Sales  of  igo2,"  p.  23,  No.  100. 


Book  gave  great  alarm  to  Henry  VIII.,  Latimer  prcach<>d 
against  it,  Cranmer  was  ordered  to  reply  to  it.  Earl  of 
Guildford,  1829,  24  gns.;  Bright,  1845,  £6;  Craufurd,  1854, 
I. .P.,  £64,  now  in  Huth  Library;  1901,  morocco  extra, 
£35  los. 

A  collection  of  some  of  Whittington's  grammatical  manuals. 
Chiefly  late  editions,  and  some  imperfect. 


Said  to  have  eluded  Shakespeare's  biographers  and  biblio- 
graphers. 

With  the  double-page  view  of  Edinburgh,  the  cancelled  p.  90 
in  Ireland,  and  castrations  of  pp.  75-80.  •  See  "  Book 
Sales  of  I9»2,"  p.  25,  No.  133. 


Table  No.VI.— NINETEENTH    CENTURY    FIRST    i;i)ITIONS 


.VUTIIOR    OR    TkA.NSLATOR,    TlTLli, 

De.scriftio.s'. 


Byron,  Lord.    Hours  of  Idleness.   Svo.,      8.  &  J.  Ridge, 
6}J  by  4§in.     Russia.     Lacks   half  Newark 

title.     (1026) 


Library 
Date  of  Sale. 


1807       January  31. 


£ 

130  R.P.  for  an  ungrangeriscd  work  by  Byron.  (Former  R.P. : 
1901,  Poems  on  Various  Occasions,  Orig.  boards,  uncut, 
7i1t  by  4i  In,    10    "Edwd.    Noel    Long,    Coldm.    Gds., 

n  t"  ~ 

Pubd. 

1807";  on  verso,  "If  ever  these  poems  attain  a  second 
edition,  let  the  preface  be  omitted,  ;iiid  tlic  whole  printed 
from  this  volume,  with  such  .iliiTi-.i  :^  ,  ,r  1  ,rkcd  in 
the  margin.    B.    Nov.  loth,  1807         '  i    rover: 

"  This  book  was  Riven  to  me  1'.  I      1  :.  .iving 

Grantham  in  the  month  of  S.'it  1    :   I'.rown- 

low."  Bindley,  1819,  i8s.;  Sykis.  ;  i  m.  I  1  ;.  |.a|)pr 
copies  :  1891.  morocco  by  Lewis,  i  10  5s. ;  Cr.iinpton,  tSgfi, 
uncut,  £20;  Weaver,  i8o3.  orig.  boards,  uncut,  auto,  letter 
to  G.  Byron,  1801,  £17 ;  Nichols,  ipoo,  orig.  boards,  uncut, 
in  morocco  case  by  Morrel,  £25 ;  Frascr,  1901,  uncut,  8J  In  , 
morocco  by  Bedford.  £24. _ 

»  "The  Book  Sales  of  1902  with  Tabulated  Prices,"  The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets.  (11)  Sold  by  Hodgson,  (i>)  by  Puttick,  all  others  by 
Sotheby.     (')  Slightly  defective.     0  Defective.     (»J  Sold  with  all  faults.     R.P.  Record  Price. 


THE    BURLINGTON    GAZETTE 


Printer, 
Publisher, 
OR  Place. 


Library 

Date.   I  or  IPrice.' 

Date  of  Sale. 


Keats,  J.     Poems.     8vo.,  6/,.,  by3jin. 
Green  calf.     (G15) 


C.   Richards, 
for  C.  and  J. 


1S17        March  18 


Wordsworth,  W.    Poems.    2  vols.   Svc, 
6Jbv4Ain.     Uncut.     Orig.  boards. 
(1150) 
r  Lamb,  C.     Essays  of  Ella       . . 

iLast  Essays  of  Ella.  2  vols. 
Svo..  7J  by  4j  in.,  uncut.  Brown 
morocco.  {672) 
Morris,  Wm.  Story  of  Gunnlaug  the 
Worm-Tongue  and  Raven  the  Skald. 
On  vellum.  Svo.  Hoards,  canvas 
back.     (18S) 


WoodeVInnes, 

1S07 

March  20    . . 

tor  Longman 

&Co. 

for  Taylor  & 
Hessey 

G 

bson    Car 
michael 

for  E.  Moxon 

i«33 ; 

Chisvvick 

IS9I 

M 

arch  25  (H 

Press 

Keals 

■■  .' 

.   ll.Myl.lon,   froi,,  his 
77,  K.P.  *  See  "Book 

fei 
Sal 

rof 

1902,' 

To  Mrs 
7S.  H 
simila 

I-e 

alii 

mcr,  from  William  Word 
veil  Pliillipps,  1K89,  board 
a.    *  See  ••  Book  Sales  ot 

1902 

th." 
cut,  / 
"p.  3 

ubd.  OS 
6  and 

6d. 
15. 

each.    'See  "Book  S 

ales  of 

1902,' 

Jneofth 

rub 
Th 

copies  on  vellum.  Bla 
icaled.     Black-letter 
e  Gnnnlaug  Saga   In 

nk 

paces  for 

t  based  or 

6.  Tennyson,  A.  and  C.  Poems  by  Two  J.  &  J.  Jack- 
Brothers.  i2mo.,6§by  4j{  in.,  uncut.  !  son,  Louth, 
Leaves  not  cut  open.  Orig.  brown  for  Simpkin 
boards.     Br.  morocco  case  (ioij6)  &  Marshall 


ossetti,  J).  G  Sir  Hugh  the  Heron.  G.  Polidori's 
24pp.,  uncut,  S:}  by  6^  in.  Unbound.  Private  Press 
(15S) 


Meredith.    G.       Poem 
green  cloth.     (756) 


Orig.      J.  W.  Parke 


9.  Bronte,  Anne.  The  Tenant  of  Wild- 
fell  Hall.  3  vols.,  Svo.  Orig.  cloth, 
uncut.     (79) 

10.  Scott,  Sir  W.     Tales  of  My  Landlord. 

First  series.  4  vols.  i2mo.,  yk  by 
4/,.  in.,  uncut.  Library  boards. 
(462)  (■-■) 

11.  Lamb,  C.    Prince  Dorus.    Svo.    5J  by 

4j  in.  Last  leaf  slightly  damaged. 
Orig.  yellow  wrapper.     (425) 

12.  Kossetti,'D.  G.    Poems,  Hand  and  Soul, 

etc.  Apparently  proofs.  7jby4f'i;in. 
Unbound.     (159)  (■') 


Newby 


J.Ballantyne, 
for  W.  Black- 
wood  and   J. 
Murray 

for     M.    J. 


sins,  probably  grease 

vould  have  tetched  ; 

for  about  ;C20 


:.P.  Superb  fresh  condition,  sa 
in  inner  margins,  but  for  w 
much  higher  price.     Sold  sc         .  _ 

Thompson,  r8S7,  orig.  cloth,  uncut,  ;('ii  los. ;  Manstield  M; 
kenzie,  i88g,  morocco  by  Riviere,  uncut,  £1^  ;    Gaisfo 
1890,  morocco,  i2gns. ;    i8gi,  orig.  boards,   label,  unc 
£17;  .Anderson,  r8g2,  orig.  state,  "fine,"  ' 
£28;  Egerton  Clarke,  1899,  orig.  state,  " 
case,    £^0,     J.    and    J.    Jackson    paid    authors    £2 
copyright.    In  1892,  orig.  MS.  and  publisher's  copy  of 
in  fine  state,  made  £480.   *See  "  Book  Sales  of  1902," 
No.  21. 


1S43         March  25  (h)   !  35   10     First  printed 


1S51 
184S 
1816 


Feb.  26(h).. 


March  26  (h)     30 


em,  written  when  twelve  or  IhirtLen. 

his  grandfather,  f  .  I  .  1  I  ri  .if.ll'ou 
October  26,'i843,  signed  "Gal. 1 1'       1        i  ii." 

ballad  exists  only  for  a  do7c  II     ■  1.        -  "lli 

here  and  there,  and  for  reaLl.  i  I  1:  Mii^ 

Apparently  third  occurrence  .u    uuu -n,     i-im,  mG; 

r.  Meredith's  autograph  on  title.  R.P.,  save  for 
March  20,  1902,  with  auto,  corrections,  poems  and  ! 
£60.    *  See  '*  Book  Sales  of  1902,"  p.  27,  No.  14. 


1H69        March  25  (ii) 


Dedication  leaf  and  piece  out  of  one  page  in  Vol.  I.  lacking, 
but  R.P.  despite  defects.  Edges  entirely  untrinimed.  Pubd. 
28s.  Owner  thought  of  selling  at  £2.  Scott-Huxley,  1899, 
half  calf,  sig.  of  Thomas  Scott  on  title,  £25 ;  Egerton 
Clarke,  1899,  shorn,  modern  boards,  £4  l8s. ;  1899,  pristine 
slate,  uncut,  labels,  £28  los. 

Pubd.  IS.  6d.  Engravings  sometiiues  attributed  to  Blake. 
♦  See  "  Book  Sales  of  1902,"  p.  27,  No.  12. 


■,6  Iiarlicst  collected  form  it 
Some  not  republished, 
pagination,  and  the 


13.  Scott,  Sir  W.    Lady  of  the  Lake.    4to. 

Half  calf.     {1180) 

14.  Scott,  Sir  W.     Guy  Mannering.    Vols. 

2  and  3   only.   '8vo.,  7j;  by  4ii.  in., 
uncut.     Orig.  boards.     (171) 

15.  Fitzgerald,  E.     Omar  Khayyam.    4to., 

8  J   by  6i\  in.     Orig.   brown   paper 
wrappers.     (123) 

16.  Tennyson,   A.      Poems,  Svo.,    6j;    by 

4i   in.,   uncut.      Orig.   bds.,   paper 
label,     (436) 

17.  Tennyson,  A.     Helen's  Tower,     4to  , 

9'i  by  75  in.      Orig.  glazed  salmon- 
coloured  wrapper.     (1102) 

18.  Tennyson,  A.     I'oems.     2  vols.     8vo., 

6'i   by  4j  in.,   uncut.     Orig.   brown 
boards,  labels.     (43) 


liallantyne.. 

1H15 

January  15(1') 

G.     Norman, 

1S59 

January  i5(i') 

for 

P..    guaritch 

Bradbury    & 

I8J3 

March  2f)  (11) 

Evans,  for  E. 

Moxon 

Privately, 

(1861) 

Gibson  Car- 

Clandeboye 

michael 

Bradbury    & 

1842 

l'-cbru.iry9.. 

Evans,  for 

Ed.  Moxon 

Scott."    Ex.libris  of  Ja 


'13.  Blackford" 
£89.'^   R.p"" 


Pubd. 
See  "  Hook  Sales  of  1902,"  p.  27, 


Stlbbs,  1892,  boards,  uncut,  author's  autograph  attached, 
£10  5S.;  Buckley.  1893,  uncut,  ijgns.;  1899,  orig.  boards, 

f)apcr  label,  "  fine,"  in  morocco  case,  £13  ;  igoo,  orig.  state, 
abels,  £17,  R.P. 


*  "  The  Book  Sales  of  1902  with  Tabulated  Prices,"  The  Savile  Publishing  Company,  Ltd.,  2s.  Important  duplicate  copies  mentioned 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets,  (h)  Sold  by  Hodgson,  (f)  by  Puttick,  all  others  by 
Sotheby.     (')  Slightly  defective.     ('-)  Defective.     (^)  Sold  with  all  faults.     K.P.  Record  Price. 


Till'     I';.\RL    ol-    rRI-;\\H'S    HLAKI-.    COLl.l'X  TlON 


The  connoisseur  is  a  strange  and  unaccountable 
being.  In  general,  he  insists  that  an  artist  or  the 
craftsman  shall  be  dead  ere  he  honour  him  ;  and 
even  then  he  often  remains  undecided  for  decades, 
perhaps  ft)r  centuries.  William  l-Slake  is  a  case  in 
point.  The  largest  sum  ever  received  by  Blake  for  a 
series  of  original  works — not  a  single  drawing,  mark 
you — was  £"150,  paid  in  weekly  instalments  of  £2  or 
£"j.  which  sufficed  to  supply  the  needs  of  the  little 
household  on  the  first  floor  of  3.  Fountain  Court, 
Strand,  where  one  of  the  two  rooms  occupied  served 
for  purposes  of  sleeping,  living,  kitchen,  and  studio. 
On  March  30,  when  there  came  under  Messrs.  Sotheby's 
hammer  thirty-four  original  drawings  in  colour  and 
si.xteen  other  "  lots  "  of  works  by  Blake,  the  property  of 
the  Earl  of  Crewe,  the  sum  of  £9.776  5s.  was  paid 
for  them.  This,  in  truth,  is  a  signal  instance  of  post- 
humous sale-room  fame  accorded  to  an  artist  whose 
most  idiosyncratic  endeavours  rank  with  the  loftiest 
productions  of  British  art.  This  is  not  the  place  to 
discuss  the  genius  of  William  Blake,  for  we  aim  to  do 
little  more  than  give  a  report  of  the  Crewe  sale.  Yet, 
in  connexion  with  the  phenomenally  high  prices 
1  calized,  Blake's  indifference  to  what  the  majority  of 
us  regard  as  the  tangibilities  of  life  is  worth  recalling. 

Speaking  of  painters  who  in  his  own  day  earned 
large  money-rewards,  he  was  wont  to  say  that  they 
were  the  object  of  just  pity,  having  sold  their  birth- 
right for  a  mess  of  pottage,  while  "  I  possess  my 
visions  and  peace."  It  was  in  this  spirit — the  spirit 
of  the  dreamer,  the  visionary,  the  mystic — -that  he 
ever  approached  life ;  it  was  in  this  spirit  that, 
imaginatively  at  white  heat,  he  wrought  the  Job 
engravings,  sevi-ral  of  them  of  imperishable  beauty 
and  significance ;  it  was  in  this  spirit  that  on  Sunday, 
August  12,  1827,  he  died  "singing  of  the  things  he 
saw  in  heaven."  The  works  of  Blake  are  unecpial  ; 
but  the  best  of  them  have  kindled  the  enthusiasm  of 
almost  every  lover  of  the  beautiful  during  the  past 
seventy  years.  A  poor  old  man,  in  shabby  clothes, 
once  gazed  for  long  at  a  little  girl,  and  then,  stroking 
her  hair,  said,  "  May  God  make  this  world  to  you,  my 
child,  as  beautiful  as  it  has  been  to  me."  The  man 
was  I^lake,  the  girl  a  child  of  fortune.  That  is  the 
prayer  undidactically  pictorialised  in  the  Job  engra\ing 
(if  the  Sons  of  God  shouting  for  joy,  the  arms  intro- 
duced to  right  and  left — this  a  culminating  after- 
inspiration  which  does  not  appear  in  the  coloured 
designs — suggesting  the  endless  sequence  of  this  sing- 
ing hierarchy.  We  should  like  to  know  where  in  this 
design,  passionately  sculpturesque,  exquisite  in  pur- 
pose and  execution,  are  the  lack  of  balance,  the 
iccentricity,  even  the  madness,  often  attributed  to 
P.lake. 

The  tabular  statement  which  follows  gives  details 
nf  those  works  in  the  Crewe  collection  which  realized 
at  least  £100.  The  Job  series  opened  at  £1.500,  and 
Mr.  (juaritch  had  as  his  final  opponent  Mr.  .\.  Jackson, 
who Tn  igoi  bought  for  £700  the  late  Mr.  P'rederick 
S.  Ellis's  splendid  copy  of  the  Sottf^s  of  Innuccnce  and 
Experience,  with  decorative  borders,  given  by  Blake 
to  his  friend  Edward  Calvert,  the  artist.  This  order 
of  things  was  reversed  in  the  case  of  the  second  most 


important  lot,  the  original  inventions  for  Milton's 
L' Allegro  and  //  Penseroso,  wherein  colour  is  fre- 
quently put  to  finer  uses  than  in  the  Job  drawings, 
for  Mr.  A.  Jackson  was  the  buyer,  Mr.  Ouaritch  the 
under-bidder. 


to  the  Book  of  Job. 
21  orig.  designs  in  colour  ; 
portraitof artist,  22enf;rav- 
ings,  proofs  on  India  paper 

Original  Inventions  for  L'Al- 
legro  and  II  Penseroso.  12 
orig.  designs  in  colour,  6} 
by  sin. 

The  Book  of  Urizen,  1794. 
4to.,  unbound.  27  numbered 
plates,  coloured. 

Songs  of  Innocence  and  Expe- 
rience, 1783.  Water  mark, 
i«i8.  4to.,  half  calf.  54 
plates,  coloured. 

America,  A  Prophecy,  1793. 
4to.,  unbound.  16  num- 
bered plates  and  frontis- 
piece, coloured. 

Marriage  of  Heaven  and  Hell. 
4to.,  brown  morocco.  Te.\t 
and  designs  on  27  plates, 
coloured. 

Europe,  A  Prophecy,  1794. 
4to.,  unbound.  17'  plates, 
coloured. 

Song  of  Los,  1795.  4to.,  un- 
bound. Frontispiece  and 
8  leaves  in  colours,  printed 
one  side  only. 

Young's  Night  Thoughts. 
The  designs  coloured  for 
Mr.  Butts.  Polio,  red  mo- 
rocco. 

Visions  of  the  Daughters  of 
.\lbion,  1793.-  4to.,  un- 
bound. 6  leaves,  printed 
in  colours. 

The  Book  of  Ahania,  1795. 
4to.,  unbound.  5  engraved 
plates,  2  coloured  vignettes. 


5gns.       1827, /21    .. 

Tite,  1874,  ^61. 
Beaconsfield,  £65. 
Beckford,i882,/'i46. 
los.  6cl.     1855.  ;f  27s.  od.     .. 
Gaisford,  1890, /Tn. 


Beckford,i882,i2Knr..     203 
uncoloured. 
Gaisford,  1890,  £50 


7s.  fid.      Gaisford,  rSgo,  122 

/26  los.  od. 


1855,  £^  13s,  od.  ..        103 


Tile  |cili  ili.iwings  are  those  executed  for  Blake's 
loyal  patron,  Mr.  lUitts,  whose  son  sold  them  10 
mV.  Monckton  Milnes,  first  Lord  Houghton,  the  father 
of  the  Earl  of  Crewe.  The  Linnell  family  possess  a 
second  set,  as  well  as  the  original  engraved  plates  to 
which  they  more  nearly  correspond,  and  it  was  for 
these  that  John  Linnell'paid  Blake  the  £"150  alluded 
to  at  the  beginning  of  this  notice. 

In  1793  Blake  issued  a  characteristic  prospectus 
from  which  are  taken  all  save  one  of  the  prices  in  the 
second  column  of  the  above  table.  The  exception 
is  the  SoHf^s  of  Innocence  and  Experience,  which  in 
the  prospectus  are  described  as  8vo.  volumes  in  illu- 
minated printing,  each  with  25  designs,  priced  at  los. 
the  pair.  Instead,  we  have  set  down  5  gns.,  the  amount 
stated  to  have  been  paid  for  copies  worked  up  in 
colour  by  the  artist.  The  ordinary  selling  price  to 
friends — ^and  there  were  no  other  buyers — was  from 
ps.  to  2  gns.  The  fact  that  the  work  was  laid  by  in 
sheets  accounts  for  the  existence  of  many  copies  short 
of  some  plates.  Soon  after  Blake's  death  his  widow 
sent   to  the   Bishop  of   Limerick,  in   exchange  for  a 

25 


THE    RURLINCxTON     GAZETTE 

cheque  of  20  gns.,  the  artist's  own  copy,  whose  paper 
has  the  water-mark  of  1825.  The  Gaisford  example 
of  America,  A  Prophecy  is  that  presented  by  lUake 
to  C.  H.  Tatham,  the  architect,  on  October  7,  1799. 
As  indicative  of  the  rise  in  the  money-value  of  orij:;inal 
drawings  bv  Blake,  it  may  be  stated  that  a  particularly 
fine  example,  "  Oberon  and  Titania,"  acquired  from 
the    artist's    widow    h\    Mr.   Cary,   the    translator    of 


Dante,  chan,<,'ed  hands  a  few  years  ago  at  Imt  _]  i^ms. 
Allowing  for  the  engravings  and  the  portrait,  a  value 
of  over  £"260  each  was  placed  on  the  Job  water-colours. 
It  is  said  that  the  Earl  of  Crewe's  Blake  collection 
had  some  time  prior  to  the  auction  been  offered  en  blue 
to  a  well-known  connoisseur  at  ^Tio.ooo.  The  aggre- 
gate of  the  bids  in  Wellington  Street  practically 
justified  this  valuation. 


MANUSCRIPT    SALES 


Thk  number  of  Manuscripts  that  have  passed 
under  the  auctioneer's  hammer  this  spring  has  been 
unusually  small.  During  the  week  ending  March  21, 
Messrs.  Sotheby  sold  a  collection  of  books  belonging  to 
various  owners,  amongst  which  were  :  786.  A  Sarum 
Book  of  Hours,  fourteenth  century,  wanting  the  first 
leaf  of  the  kalendar  and  several  leaves  of  text, 
£21  IDS.,  Ouaritch.  901.  A  Psalter  and  Canticles, 
twelfth  century,  German,  ^TiS,  Leighton.  910.  A 
French  Book  of  Hours,  with  borders  to  every  page, 
c.  1500,  with  entries  of  the  marriage  of  Jehan  Esperit, 
of  Chatillon-sur- Seine,  and  Marie  Le  Grant,  and 
of  the  births  of  their  children,  1552-60,  £44,  Soth- 
eran.  599.  A  Printer  of  York  Use  of  the  end  of  the 
thirteenth  century,  with  thirteen  storied  versals,  one 
representing  the  funeral  of  the  B.  Virgin,  £iSo, 
Robson.  600.  A  French  Book  of  Hours,  wanting  the 
kalendar,  having  eleven  leaves,  each  adorned  with  a 
large  and  three  smaller  miniatures,  several  wrongly 
described,  £295,  Quaritch.  601.  A  French-Flemish 
Book  of  Hours,  with  seven  miniatures,  £"49,  Tregaskis. 
602.  Another  from  Toul  or  Verdun,  with  ten  curious 
miniatures  and  the  owners'  initials,  I.  M.,  £46, 
Mercer.  603.  Another,  £4^^,  Leighton.  A  copy  of 
the  first  edition  of  The  Arte  of  Limming  (R.  Tottell, 
1573)  was  bound  up  with  a  collection  of  capital  letters 
described  in  the  catalogue  as  "  Alphabetum  pauperis 
monachi  fratris  Thome  de  Kempis  ordinis  regularium." 
Such  a  collection  by  the  hand  of  the  author  of  the 
Imitation,  who  was  a  first-rate  calligrapher,  would  have 
been  of  great  value,  but  the  cataloguer  had  carelessly 
omitted,  after  "  monachi,"  the  words  "  in  schola  hu- 
milis,"  the  "  pauper  monachus  "  being  William  Middle- 
borch,  who  lived  in  1578;  the  lot  fetched  £'13.  609. 
Histoirc  de  la  Conquest  de  Jerusalem,  with  15  storied 
initials,  fourteenth  century,  £85,  Crane.  1158.  An 
English  version  of  the  New  Testament,  with  illumi- 
nated borders,  fifteenth  century,  ^^"580,  Ouaritch. 
Among  the  rarer  printed  works  were :  939.  The  Hil- 
desheim  Missal  of  1499,  wanting  title  and  f.  8,  and  the 
Canon,  £21,  Tupper.  518.  The  Diurnal  of  the  Scotch 
licncdictines  of  Vienna,  1515,  £iS  los.  480.  The  His- 
toric of  Philip  de  Commines,  1596,  original  calf,  stamped 
in  gold  with  the  Tudor  rose,  ensigned  with  the  royal 
crown,  which,  by  the  way,  is  no  proof  that  this  was 
Queen  Elizabeth's  copy,  fetched  £41,  Dodridge. 

The  same  auctioneers  sold  on  March  23  and  four 
following  days  the  library  of  Sir  Thomas  Carmichael. 
Among  the  manuscripts  were  :  58.  A  folio  Bible  of 
the  thirteenth  century,  formerly  belonging  to  the 
Celestines  of  Amiens,  adorned  with  78  fine  miniatures 
and  59  ornamental  initials,  £610.  410.  The  consti- 
tutions   of    a    Florentine    confraternity,    1451,    £61. 

26 


Ooo.  A  French  P>ook  of  Hours,  e.  1525,  £110.  Goi. 
Another  Book  of  Hours,  with  9  miniatures,  B>ruges 
work  of  the  first  half  of  the  sixteenth  century;  all 
purchased  by  Mr.  Ouaritch,  who  also  acquired  fnr 
£"252  the  Dante,  printed  at  Foligno  in  1472  by  John 
Numeister,  which  at  the  Sunderland  sale  in  1882  only 
fetched  £46.  The  1481  Florentine  edition,  with  all 
the  19  designs  by  Botticelli  and  Baldini,  also  fell  to 
Mr.  yuaritch  for  £"1,000,  a  very  high  price  ;  the  last 
seventeen  illustrations  being  impressions  taken  off 
separately  and  mounted  in  the  blank  spaces,  and  of 
these  five  were  slightly  damaged. 

The  same  auctioneers  sold  on  March  30  some 
interesting  manuscripts  from  the  collection  of  a  well- 
known  amateur,  amongst  them  (6)  a  Latin  Bible  of 
the  middle  of  the  thirteenth  century,  written  in  an 
English  hand  with  fine  storied  and  ornamental  initials, 
from  the  libraries  of  Lord  Ashburnham  and  William 
Morris,  £^"280,  Leighton. 

19.  A  charming  little  Book  of  Hours  (65  by  50  milli- 
metres) of  the  fourteenth  century  ;  by  a  Bruges  calli- 
grapher, with  borders  of  ivy  leaves,  with  birds,  animals, 
and  grotesques,  23  delicately  coloured  miniatures,  and 
figures  representing  the  signs  of  the  Zodiac  and 
occupations  of  each  month.  From  the  libraries  of 
Prince  Galitzin,  the  Duchess  of  Berry,  and  Charles 
Elton,  Esq.  £"230,  Delaine. 

20.  A  Book  of  Hours  written  at  Bruges  by  an 
Italian  scribe ;  with  borders  of  natural  flowers,  birds, 
etc.  on  brush  gold  ground,  and  23  miniatures ;  the 
original  sides  of  the  binding  adorned  with  a  panel 
stamp  with  the  inscription  :  OB  LA\'DEM  XPRISTI 
LIBRVM  HVNC  RECTE  LIGAVI  LVDOVICVS 
BLOC,  inlaid.     £"152,  Quaritch. 

21.  Another  Book  of  Hours,  with  broad  borders  of 
flowers,  birds,  and  monsters,  and  ornamental  initials, 
in  the  original  binding,  each  side  adorned  with  two 
impressions  of  a  panel  stamp  with  the  legend  "  lacolnis 
van  Gavere  me  ligavit."  In  the  kalendar  are  numerous 
notes  written  by  Charles  van  Houcke,  archdeacon  of 
Ypres,  chiefly  relating  to  the  abbey  of  Nonnenbossche, 
rebuilt  at  his  expense,  1604-1608.  This  volume  was 
in  the  possession  of  Anthony  Askew,  who  died  in  1774, 
and  of  Michael  WodhuU,  who  bought  it  in  1786  for  iSs. 
In  1886  it  fetched  £"36,  and  now  only  £i^  los. 

22.  .Another  Book  of  Hours,  with  20  miniatures 
by  a  Paris  artist  ;  the  following  of  unusual  design 
are:  the  B.  \'irgin  suckling  the  Infant  Jesus  within 
a  flaming  nimbus  ;  the  Infant  Jesus  with  outstrettlud 
arms,  protected  by  an  angel,  walking  to  His  mother  ; 
the  Coronation  of  the  Virgin,  who,  attended  by  two 
angels,  kneels  before  the  throne  of  God  ;  a  bedroom 
with  Death  striking  the  bridegroom.    £"400,  Quaritch. 


A    ciiivoNiei.i-: 


Til 


ii()Ti-.L    DKoror 


.52.  A  Paris  Missu!  of  thr  fourteenth  century  with 
ivy-lerif  borders  and  18  siiiall  miniatures.  h'rom 
the  Didot  collection.     £^90,  Quaritch. 

.58.  A  Psalter  and  Canticles  with  five  miniatures, 
the  first,  skilfully  desifjned  anil  dclicalelv  executed  by 
a  (ihent  miniaturist  in  i4iSo,  represents  Martin  \'ilain, 
lord  of  Assenede,  and  Antonia  de  Masmines  kneeling' 
at  two  prayer-desks  in  an  oratory,  the  altar  adoriuxl 
with  a  triptych  representing  the  Carriajje  of  the  Cross, 
Calvary,  and  the  Resurrection.  The  fjrcen  frontal  of 
the  altar  and  the  border  of  the  last  pajje  adorned  with 
the  knighfs  device  :  xiiij  within  a  j,'arland  formed  by 
two    stems   of  a    hop-vine    with  Ajliajje   and    fruit,  a 


pictorial  rebus  si>^nif\in^  ''verdien  in  hope."  merit 
in  faith.  Later  on,  when  the  family  adoptetl 
French  manners  and  tiie  meaninj,'  of  the  device 
was  forj,'otten,  the  descendants  came  to  be  known 
as  Vilain  quatorze.  This  volume,  executed  in  1480, 
retains  its  original  binding,  each  side  adorned 
with  four  impressions  of  a  panel  stamp  with  the 
legend,  "  Ora  pro  nobis  sancta  dei  genitrix,"  £140. 
This  in  a  recent  catalogue  of  F".  Edwards  was 
priced    £Joo. 

Full  descriptions  of  these  manuscripts  are  given  in 
the  privately- printed  catalogues  of  the  collection  of 
H.  Yates  Thompson,  Esq. 


A    CIIROMCLH    OF    THK    liOTi;!.    DROIOT 


Tm-:  Paris  auction-mart  is  in  the  twelfth  ward,  near 
the  Houlevard  des  Italiens,  and  is  bounded  by  the 
Kue  Drouot,  the  Rue  Rossini,  the  Rue  Chauchat, 
and  the  Rue  de  la  Grange-Bateliere.  It  is  a  heavy, 
rectangular  building,  consisting  of  a  lofty  ground-floor, 
a  first  floor,  and  an  attic  decorated  with  medallions 
reiiresenting  various  objects,  doubtless  to  typify  the 
diverse  nature  of  the  sales  that  are  held  in  the  estab- 
lishment. The  rooms  are  rather  gloomy  ;  they  arc 
pervaded  by  a  nauseous  smell ;  and  the  general 
impression  is  repulsive.  The  irony  of  things  ordains 
that  the  most  beautiful  artistic  productions  should  be 
brought  to  this  dismal,  hideous,  and  insanitary  abode. 
True,  they  onl\-  pass  through  it  to  take  flight  to  seemlier 
and  more  appropriate  dwellings.  I  propose  to  describe 
their  passage  monthly  (except  on  this  first  occasion, 
when  my  chronicle  begins  with  January  i)  to  the 
English  public.  I  shall  not,  however,  give  lists  of  titles 
and  prices,  which  would  be  wearisome  and  mono- 
tonous to  read,  but  will  rather  endeavour  to  call  the 
attention  of  connoisseurs  only  to  leading  works  which 
concern  the  history  of  art  :  to  indicate,  as  far  as 
possible,  the  places  where  they  will  take  refuge  after 
the  catastrophes  that  have  brought  them  to  the 
hammer  ;  to  show  the  evolution  of  the  public  taste,  as 
displayed  in  the  bidding  and  the  briskly  disputed 
prices;  in  a  word,  to  extract  some  philosophy  from 
these  sales,  which,  for  the  reader's  convenience,  will 
be  classified  not  according  to  the  dates  alone,  or  the 
names  of  the  vendors,  but  according  to  their  nature, 
in  five  groups  :  Antiquities  :  Painting  and  Drawings  ; 
Sculpture;  F"urniture  and  Objects  of  Art;  Prints, 
ISooks,  Manuscripts,  and  Autographs. 


AN' 


irriii;s 


In  spite  of  the  present  disfavour  into  whiili  works 
bearing  only  upon  the  arch;eologv  of  anti(pnty  have 
fallen,  it  may  nevertheless  be  said  that  the  sales  of 
this  class  continue  to  attract  a  select  public  which 
gives  tiiem  a  fairly  good  reception.  This  was  observed 
in  the  case  of  the  sales  of  January  19,  23,  and  jj 
(Gilbert  Collection),  and  of  March  2  and  3. 

Here  were  seen  antique  bronzes,  as  for  instance 
two  ■'  Minervas,"  one  wearing  an  Athenian,  the  other 
a  Corinthian  helmet,  which  fetched  390  and  170  fr. 
respectively:  four  "  Chaste  \'enu.ses  "  (650,375,330, 
and  765  fr.) ;  a  "  Young  Upright  Athlete,"  of 
Greek     workmanship     (1,200    fr.);      a    chased     and 


interlaced  Etruscan  bronze  plaquette,  representing 
"  BelIero[)hon  slaying  the  Chimaera."  For  an  Attic 
amphora,  with  figures  drawn  in  black  on  a  light  brown 
background,  representing  the  legend  of  "  Bacchus  and 
Ariadne,"  the  price  of  170  fr   was  easily  obtained. 

A  greater  interest  was  taken  in  some  Tanagra  and 
.Aegina  statuettes,  although  the  credit  enjoyed  by  these 
works  tends  to  decrease.  Is  this  because  of  the 
numberless  forgeries  that  have  flooded  the  market 
since  fashion  first  became  infatuated  with  coroplastic 
art  ?  Many  genuine  amateurs  no  longer  care  to  run 
the  risk,  and,  rather  than  possess  imitations,  prefer  t(j 
admire  the  authentic  works  acquired  by  the  museums 
long  before  the  ingenuity  of  the  trade  flung  itself  upon 
this  prey,  such  as  those  in  the  Louvre  or  those  which 
form  part  of  the  Oppermann  and  Janze  Collections 
in  the  Medal  Room  of  the  National  Library. 

The  highest  price  reached  by  any  of  these  little 
figures  was  190  fr.  They  exhibited  no  new  details. 
As  always,  they  represented  young  and  pretty  women, 
unpretentious  and  unacademic.  surprised  in  their 
natural  attitudes  as  they  went  about  their  usual  occu- 
pations, their  arms  concealed  under  the  cloak  or 
chiton,  holding  a  fan,  their  hair  gathered  into  a 
corymbus,  themselves  seated  or  standing.  .\s  always, 
again,  touches  of  blue,  white,  or  red  paint  stand  up 
on  the  skirts  or  fokis  of  the  dra[)cry,  thus  aildini,'  the 
gaiety  of  colour  to  the  smiles  of  those  young  and 
pretty  women. 

II.— I'AlNTl.XCiS  AM)  UKAWINGS 

Sales  of  pictures  and  drawings  have  been  very  nu- 
merous since  Januarv-.  The\-  have  dispersed,  notably, 
the  Deleuze,  Wertheimer,  Roussel,  Bodinier  and 
Bougon  ("ollections,  which  vary  in  importance.  In 
so  far  as  it  is  possible  to  generalize  in  so  nice  a  matter, 
it  is  entertaining  to  observe  that  the  attention  of  our 
present  art-lovers  is  becoming  more  attached  to  the 
drawings,  as  though  they  had  become  surfeited  with 
pictures,  and  now  found  a  greater  pleasure  and  relish 
in  this  more  careless  and  independent  form  of  art. 

Certainly,  one  of  the  most  interesting  sales  oi 
DK.wviNGS  to  the  art  historian  was  that  of  the  orna- 
mental designs  of  the  seventeenth  and  eighteenth 
centuries  collected  by  Henry  Lacroix,  better  known 
under  his  literary  pseudonym  of  "  Bibliophile  Jacob" 
(Januarv  27,  28,' and  29);  the  total  reached  about 
40,000   fr.      Here  we  see  drawings  by  .Audran,  after 


THE    BURLINGTON    GAZETTE 

Mignard  ;  "Apollo  distributing  Rewards  to  the  Arts 
and  Sciences,  and  Minerva  crowning  the  Genius  of 
France ''  (loo  fr.)  ;  a  design  for  a  bed,  by  Dela- 
fosse  (260  fr.)  :  "  The  Triumph  of  Neptune,"  by  Claude 
Gillot  (200  fr.). 

Another  sale,  held  on  February  z^,  also  comprised 
some  interesting  eighteenth-century  drawings,  es- 
pecially a  "  Charlatan,"  by  Van  Blarensberghe,  the 
artist  who  painted  such  pretty  miniatures  for  the  Petit 
Trianon,  in  the  time  of  Marie  Antoinette  (150  fr.)  ; 
a  portrait  of  Jacques  Firmin  Beauvarlet,  engraver 
to  the  king,  by  C.  N.  Cochin  the  younger  (146  fr.) ; 
"  Almsgiving  "  and  "  Returning  from  the  Well,"  sepia 
drawings  by  Fragonard  (160  fr.)  ;  "  La  Peche,"  by 
Le  Prince  (470  fr.)  ;  a  "  Frontispiece  for  Fairy  Tales," 
by  Marillier  (500  fr.)  ;  "  The  Arrival  of  the  Players  at 
Le  Mans,"  a  drawing  by  Audry  (650  fr.)  ;  a  redchalk 
drawing  by  Hubert  Robert :  "  First  View  of  the  Temple 
of  Scrapis  at  Pozzuoli "  (150  fr.) ;  a  "  Group  of 
Dancers,"  by  Watteau  (260  fr.) ;  a  "  Dancing  Step," 
executed  by  Mile.  Guimard.  in  pen  and  sepia  (370  fr.)  : 
total,  ig,ooo  fr.' 

In  M.  Bodinier's  Collection  (t'ebruary  17)  were  a 
charcoal  drawing  by  Corot  (450  fr.)  ;  another,  "  River- 
banks,"  by  Daubigny  (370  fr.);  and  a  pen-and-ink  draw- 
ing by  Meissonier,  "  An  Officer  of  the  First  Republic," 
which  was  sold  for  270  fr. 

The  collection  of  the  late  M.  G.  Pochet  (February  7) 
was  much  more  important.  Amateurs,  as  is  readily 
understood,  coveted,  in  particular,  three  drawings  by 
Goya  :  "  Caricatura  d"Ias  Carracas,"  "  Es  dia  de  su 
Santo,"  "Disparate  pensar "  (250  fr.) ;  "  Behind  the 
Sunshade,"  by  Louis  Legrand  (360  fr.)  ;  a  "  Study  of 
a  Little  Girl,"  by  Degas  (201  fr.) ;  Rops's  "  Theft 
and  Prostitution  ruling  the  World  "  (600  fr.) ;  his  ten 
"Devices"  (160  fr.),  and  his  "Woman  with  the 
Bronze "  (250  fr.) ;  and,  lastly,  a  fine  set  of  Con- 
stantin  Guys  :  "  Driving,"  "  Walking,"  "  Talking  " 
(105  fr.);  "Scenes  de  filles "  (220  fr.)  ;  "Various 
Scenes  "  (195  fr.).  This  is  the  artist  to  whom  Baude- 
laire devoted  the  famous  chapter  of  his  Art  roman- 
tiquc,  in  which  he  speaks  of  the  "  Painter  of  modern 
life,"  without  naming  him,  and  ends  with  the  words  : 

"  He  has  sought  everywhere  the  fleeting,  transient 
beauty  of  present  life,  the  character,  often  eccentric, 
violent,  excessive,  but  always  poetic,  of  that  which  the 
reader  has  permitted  us  to  call  modernity  ;  he  has 
succeeded  in  concentrating  in  his  drawings  the  b'tter 
or  heady  savour  of  the  w'ine  of  Life." 

On  January  20,  a  delicate  artist,  still  a  young  man, 
M.  K.  X.  Royssel,  allowed  seventy-two  of  his  dainty  pas- 
tel-drawings to  be  dispersed  for  a  sum  of  about  5,000  fr. 
These  are  jottings  of  landscapes  observed  on  the  shores 
of  Normandy  or  in  the  Forest  of  Saint-Germain  ;  the 
juxtaposition  of  unexpected  colours  is  so  skilful  that 
the  conjunction  presents  complementary  harmonies  of 
the  gayest  character  and  the  softest  to  the  eye,  as,  for 
instance,  yellow  crops  under  a  sky  of  turquoise,  or 
the  lapis-lazuli.  of  the  sea  skirting  emerald  banks, 
while  verdant  branches  stretch  out  over  the  blue. 

■A.nother  success  was  that  achieved  by  the  Wilh-ttc 
sale  (March  6),  which  produced  12,000  fr.  It 
took  place  in  verv  original  cirrnmstnnres.  One  line 
day.  in  fa c^,  we  were  told  that  th<-  Picrmt  nf  Mmit- 
martre  had   fallen   ill,  and   that   tin-  d.ictor  who  was 

28 


attending  him  had  urged  him  most  positively  to  go  to 
the  Mediterranean  coast.  But  the  draughtsman  was 
suffering,  in  addition,  from  the  disease  of  Panurge  : 
lack  o*f  money.  And  so  he  resigned  himself,  and  sent 
to  public  auction  a  few  of  his  compositions,  such  as 
"  L'Automne  n"est  pas  la  saison  de  I'amour  "  (360  fr.), 
"  A  preuve  que  les  gar^ons  valent  plus  que  les  filles  " 
(430  fr.),  "  Le  Triomphe  de  Mossieu  qui  de  droit  " 
(490  fr.)  ;  and,  above  all,  "  Achetez,  il  va  trepasser  " 
(305  fr.),  the  allegory  of  which  was  obvious,  and 
calculated  to  move  kind  souls  to  pity. 

Painting  formed  but  a  small  part  of  the  sale 
arising  from  the  Deleuze  Estate  (January  17).  The 
"Bearer  of  Good  Tidings,"  by  that  M.  Drolling  of 
whom  the  Louvre  possesses  so  savoury  a  "  Kitchrn." 
was  sold  for  1,050  fr.  Four  pictures  attributrd  to 
Desportes  fetched  3,600  fr.  A  "  Sea-piece  "  attributed 
to  Combet  obtained  no  higher  bid  than  200  fr. 
It  is  well  that  the  public  should  be  warned  against  a 
crowd  of  pictures  which  rove  about  the  world  under  the 
name  of  this  master.  They  are  forged  in  so  barefaced 
a  manner  that  it  is  inconceivable  that  any  connoisseur 
should  be  entrapped  by  them.  Certainly  the  painter 
produced  a  large  number  of  pictures,  about  1,200  in 
all ;  he  was  an  inveterate  worker,  and  few  artists  have 
produced  as  much  as  he  in  so  short  a  space  of  time, 
for  his  period  of  activity  stretches  from  1840  to 
1877  ;  but,  notwithstanding,  not  one  of  his  works  was 
carelessly  executed ;  in  fact,  it  is  their  impeccable 
workmanship  that  forms  the  best  proof  of  their 
authenticity.  The  Musee  Carnavalet  of  Paris  has 
just  bought,  for  about  500  fr.,  a  portrait  by  the  same 
painter  of  Henri  Miirger,  the  author  of  the  Scenes  de 
la  vie  de  Bohciue. 

The  collection  of  the  late  M.  Felix  Bougon  (Feb- 
ruary 17)  was  of  a  very  varied  character.  It  included 
Italian  artists,  although  the  pictures  were  mostly 
"attributed"  to  thein ;  Dutchmen,  such  as  Van 
Goyen  :  the  "Banks  of  the  Maas "  (1,050  fr.)  ; 
Flemings,  such  as  Jan  Gossaert,  called  Mabuse :  a 
"  Virgin  and  Child  "  (2,920  fr.) ;  Breughel :  the  "  Ado- 
ration of  the  Magi,"  an  effect  of  snow  (361  fr.)  ; 
Patenier :  "St.  Jerome  Praying"  (4,150  fr.) ;  and 
Frenchmen,  including  Louis  David  :  a  sketch  for  the 
painting  of  "  Chantereine  "  (900  fr.),  and  some  pretty 
and  dehcate  De  Marnes  :  the  "  Attack  on  the  Dili- 
gence"  and  its  counterpart  (600  fr.).  Generally 
speaking,  Italian  pictures  are  being  received  with 
marked  disfavour,  whereas  Northern  painting  is  retiu'n- 
ing  into  public  credit.  And  such  manifestations  as 
the  exhibition  of  the  Flemish  Primitivi;s  held  at 
Bruges,  or  that  which  is  being  planned  of  the  French 
Primitives  prior  to  1500,  do  not  tend  to  stay  that 
movement ;  on  the  contrary.  Italian  painting  is  pay- 
ing the  penalty  of  having  too  long  monopolized  the 
attention  of  experts  and  art-lovers  to  the  prejudice 
of  the  artistic  products  of  Northern  countries.  It  is 
also  true  to  say  that  nearly  everything  has  been  said 
on  the  former,  while  the  latter,  or  at  least  a  great 
portion  of  them,  are  still  awaiting  the  historians  and 
commentators. 

In  obedience  to  the  hiw,  almost  witli(.)ut  exception, 
which  causes  collectors  sijoner  or  later  to  part  with 
that  whirJi  it  has  amused  them  so  greatl\-  to  bring 
together,  M.  Bodinier  sold  his  pictures  on  lubruai  \-  17. 


A    CHRONICLE    OF    THE     II(*)TEL    DROUOT 


Among    tliem    I    wc^uld    innition  particularly    I)iaz"s 
•'Pink   I"lo\vi-Ts "    ti.ooo   fr.>:    Lepiiit-'s   "  N'illajjL-  on 
the  Hanks  of  a   Kiver  '  (3,000  fr.) ;  ''  Uante's  Bark," 
f  after    Delacroix,    by    Manet    (560    fr.)  ;    a    sketch    by 

Troyon,  the  "  Wood-cutters"  (360  fr.)  ;  "  A  Keadinj^ 
at  the  Comedie-I-'ranvaise,"  by  Heim  (600  fr.) :  the 
•Laundry-maids"  and  "Underwood,"  by  Corot 
(1,250  fr.)'. 

Much  higher  prices  were  reached,  on  I'ebruary  n, 
by  some  picked  canvases,  such  as  the  "  Beach  of 
Portrieux  at  Low  Tide,"  by  Daubigny  (5,400  fr.)  ;  a 
■'Still  Life,"  by  X'ollon  (4,100  fr.) :  and  a  "Young 
Chinese  Princess,"  by  Diaz  (3,700  fr.).  .\  "  Winter 
Landscape,"  by  Claude  Monet,  was  knocked  down  at 
4,600  fr.  .-\nd  this  leads  me  to  mention  the  present 
and  ever-increasing  vogue  of  the  Impressionists,  who, 
thanks  to  the  Caillebotte  Becjuest,  have  now  been 
admitted  to  the  National  Museum  of  the  Luxembourg, 
and  who,  after  a  long  period..of  slighting  and  oppo- 
sition, are  now  carefully  studied,  in  their  turn  in- 
fluence the  evolution  of  painting,  and  force  their 
way  into  the  private  collections  against  solid  payments 
in  hard  cash. 

In  an  earlier  sale,  mention  must  be  made  of  J.  B. 
Huet's  "  Several  Persons  near  a  Water-course  in  a 
Landscape"  (goo  fr.).  and  a  "  Fishing-smack  on  the 
Normandy  Coast,"  by  Isabey  (1,620  fr.). 

On  March  q  began,  at  the  Hotel  Drouot,  the  sale 
of  Emile  Zola's  effects,  which  did  not  attract  as  many 
amateurs  as  one  would  have  thought.  This  was  a 
disillusion  and  a  surprise  to  man\-.  Some  consider 
that  the  sale  was  not  sufficiently  advertised  ;  others 
that  it  followed  too  closely  upon  the  master's  death, 
and  that  his  political  attitude  had  kept  away  certain 
irreconcilable  amateurs  ;  lastly,  it  was  said  that  the 
connoisseurs  who  had,  in  earlier  days,  had  the  honour 
of  viewing  the  Zola  collection,  were  not,  on  returning 
from  their  visit,  impressed  with  the  opinion  that  the 
great  writer  was  an  artist  of  delicate  and  refined 
taste,  or  that  many  of  his  objects  of  art  were  inte- 
resting.    But  what  will  people  not  say  ? 

Be  this  as  it  may,  while  carefully  refraining  from 
overwhelming  Zola  under  the  artistic  reputation  of 
the  Goncourts,  it  is  only  fair  to  admit  that  he  was 
one  of  the  first  adherents  of  the  Impressionists,  that 
he  fought  by  their  side,  and  that  he  lived  long  enough 
to  establish  their  triumph,  of  which  a  proof  would  be 
found,  if  others  were  lacking,  in  his  very  sale,  since 
Camille  Pissarro's  "Grove"  fetched  920  fr.,  Claude 
Monet's" Water-party"  2,085  f""--  '^"^  Paul  Cezanne's 
"  linlevement  "  4,200  fr.,  his  "  Shell-fish  "  3,000  fr., 
his  "  Studio  Corner  "  about  2,100  fr.,  etc. 

111.— FURNITURE  AND  OliJKCTS  01"  ARf 
It  would  be  even  more  difficult  than  in  the  case  of 
the  above  sales  to  mention  all  the  pieces  of  furni- 
ture and  objects  of  art  deserving  of  attention,  so  great 
is  the  number  of  works  passing  through  the  Hotel 
Drouot  that  come  under  this  category.  Our  ambition 
must  be  limited  to  discussing  the  i7iore  important 
among  them,  lest  we  should  have  to  draw  u|i  an  in- 
terminable and  wearisome  list. 

It  may  be  said  that  public  favour  continues  to 
affect  the  furniture  of  the  Louis  XV,  Louis  .WI,  and 
First  Empire  periods.      Nevertheless,  it    is    perhaps 


undergoing  some  slight  modification,  and  this  must 
doubtless  be  attributed  to  the  evolution  in  taste  to- 
wards the  "  New  Art."  From  this  point  of  view,  the 
International  Exhibition  of  igoo  has  exercised,  in 
this  direction,  a  most  decided  influence,  which  it  is 
incumbent  upon  the  observer  to  study  in  its  results. 

In  the  sale  of  the  Deleuze  Estate,  the  objects 
which  fetched  the  highest  prices  were  a  ewer  in  old 
Rouen  earthenware,  with  blue  decorations  (1,220  fr.)  : 
eleven  blue  Delft  plates,  with  figures  representing  the 
months  of  the  year  (goo  f r  ) :  two  candelabra  bj-  Leon 
Bertaux,  formed  of  groups  of  two  children  (1.720  fr.) ; 
a  Louis  X\'  backgammon  table  in  njsewood  and  vio- 
let wood  (i,g20  fr.).  Special  mention  must  be  made  of  a 
very  large  Gobelins  tapestry,  representing  "  Athaliah 
driven  from  the  Temple  "  ;  it  was  executed  by  Neilson 
after  Antoine  Coypel,  and  was  knocked  down  for  the 
sum  of  24,000  fr. 

Among  other  sales:  January  26  and  27,  a  flounce 
of  one  and  a  half  metres  in  old  N'enetian  rose- 
point  (820  fr.)  :  February  4,  a  Louis  XVI  clock  in 
white  marble  and  bronze,  signed  by  Heutschet,  of 
Strasburg  (1,020  fr.),  some  fragments  of  sixteenth- 
century  tapestry  (635  fr.  and  5g5  fr.),  etc.  :  Feb- 
ruary II,  a  seventeenth-century  Dutch  brass  candle- 
stick, by  Johannes  Specht,  of  Rotterdam  (500  fr.),  a 
fragment  of  sixteenth  -  century  Flemish  tapestry 
(5,220  fr.),  some  eighteenth-century  tapestries,  with 
birds  (i,g20  fr.)  ;  F'ebruary  12  and  13,  a  Louis  X\' 
drawing-room  suite  in  Aubusson,  representing  La 
Fontaine's  fables  (1,000  fr.),a  First  Empire  drawing- 
room  suite,  in  mahogany  and  bronze  (880  fr.).  On 
February  16,  the  earthenware  pieces  froin  the  G.  Pull 
workshop,  after  Bernard  Palissy,  Fran(;ois  Briot,  and 
Germain  Pilon,  produced  about  8,000  fr. 

But  the  sensational  sale  of  the  season  was  that  of 
the  famous  collection  of  Chinese  and  Japanese  objects 
of  art  of  Mr.  Tadamasa  Hayashi,  who  was  Commis- 
sary-General for  Japan  at  the  Exhibition  of  1900.  It 
lasted  from  February  16  to  21,  and  produced  a  total 
of  418,000  fr.  The  Musee  du  Louvre  bought  a  vat 
by  Karr-Sen  (600  fr.),  a  bell  (265  fr.),  an  eighth- 
centurj-  bronze -gilt  statuette,  the  "  Bodhisattva 
Miroku  "  (4,000  fr.) :  and  the  Lyons  Museum  some 
eighteenth-century  kakemonos  and  some  religious 
embroideries  by  Takumo  (8,000  fr.  in  all). 

Here  are  the  principal  prices.  In  Scim'TIKIC  : 
"  Miroku,"  a  figure  in  lacquered  earth,  of  the  reign 
of  the  Empress  Suiko  (5g3-628),  carved  Torii,  bought 
by  the  Dresden  Museum  for  5,400  fr. :  a  "  Seated 
.•\mida,"  twelfth  century  (2,000  fr.).  Cakvko  Wood  : 
the  Bodhisattva  Jizo  holding  the  ringed  pilgrim's  staff 
and  the  emblematic  jewel  (tenth  century),  bought  by 
the  Dresden  Museum  for  1,500  fr.  ;  the  priest  Mongaku 
seated,  twelfth  century  (3,800  fr.).  M.'VSKS  by  Nio, 
eighth  century  (i,2io"fr.).  LAcni'i£R-woKK :  a  gold 
scent-box  by  Foghidachi,  with  heraldic  chrysanthe- 
mums, .AchitragaTochimitzu  (830  fr.);  an  ink-horn  of 
the  period  of  Tochimasa,  fifteenth  century  (3,650  fr.); 
a  square  ink-horn,  a  noble  Okibirame  piece  in  raised 
gold  laccjuer  (2,000  fr.  1  :  a  seventeenth-century  square 
writing-case,  decorati'd  with  clouds  edgetl  with  gold  on 
a  black  ground,  an  old  plum-tree  on  the  bank  of  a  wavy 
stream,  with  flowers  in  coral  and  silver  (4,650  fr.)  ; 
others  of  Koani  (1,520  fr.,  2, goo  fr.,  etc.):   a  writing- 


THE    BURLINGTON     GAZETTE 


case  of  Shemso  I.  (1,450  fr.);  a  writing-case  of  Ka- 
jikawa  I.  (3,505  fr.) ;  a  group  in  gold  lacquer  of  two 
children  on  stools,  by  Kajikawa  (1,480  fr.)  ;  a  nine- 
teenth-century rectangular  box  (1,000  fr.). 

The  series  of  inkos,  or  medicine-boxes,  fetched 
prices  ranging  from  joo  to  400  fr.  They  were  de- 
corated with  seals  of  Shunso,  Masazane,  Matsatsugon, 
Nagahawa,  Nagataka,  etc.  Here  are  the  Porce- 
lains :  an  aubergine  vase  (3,900  fr.);  an  aubergine 
cup  (2,000  fr.)  ;  a  cylindrical  brazier  (2,050  fr.)  ;  a 
moonlight  vase  (1,600  fr.).  Chinese  Pottery:  a 
Teminsku  bowl  (995  fr.).  Corean  Pottery  : 
a  sixteenth-century  hemispherical  bowl  (1,500  fr.)  : 
a  seventeenth-century Kimuraperfuming-pan  (1,500  fr.) 

The  Chinese  Bronzes  included,  among  others,  a 
large  Dai-bay  vat,  of  the  Chang  Dynasty  (7,100  fr.)  ; 
a  vase  for  libations,  of  the  Teheouana  Tang  Dynasty 
(B.C.  1134-A.D.  618),  which  made  3,560  fr. ;  a  Song 
vase  (2,950  fr.) ;  a  Ko  vase  (1,600  fr.).  The  Japanese 
Bronzes  :  a  statuette,  Bodhisattva  Miroku  (4,000  fr). : 
a  Djobinu  ewer  (1,550  fr.).  Vakouma  Embroideries 
(5,100  fr.  and  2,000  fr.).  Lastly,  there  was  a  large  num- 
ber of  kakemonos,  which  fetched  prices  varying  from 
200  to  2,000  fr.,  excepting  a  few  by  Utamaro,  of  which 
one,  the  interior  of  a  house  at  Shisagawa,  with  women 
and  children,  made  7,100  fr.,  and  one  by  Hokusai, 
domestic  scenes  on  New  Year's  Day,  2,900  fr.,  etc. 

It  will  be  seen  from  these  few  prices  that  the 
Japanese  vogue,  started  in  the  first  placeby  Edmondand 
Jules  de  Goncourt,  and  continued  by  Pierre  Loti,  is  far 
trom  being  exhausted.  The  recent  addition  to  the 
Print  Room  in  the  National  Library  of  1,800  illustrated 
Japanese  books,  collected  by  M.  Theodore  Duret, 
which  give  opportunities  for  the  study  of  the  whole 
evolution  of  the  art  of  the  Japanese,  has  set  an  official 
sanction  upon  the  admirable  productions  of  the  masters 
of  that  country,  who,  now  that  they  are  better  known 
and  studied  by  many  contemporary  artists  of  all  kinds, 
exercise  a  decisive  influence  upon  our  latter-day  art  in 
its  different  manifestations. 

IV.-BOOKS,  MANUSCRIPTS,  PRINTS,  AU  roC.KAPIIS 
Autographs  are  no  longer  in  such  great  demand  as 
formerly ;  nevertheless,  there  is  still  a  public  of 
special  amateurs  for  this  kind  of  document,  and  a  sale 
held  on  January  22,  consisting  of  not  many  lots,  pro 
duced  7,000  fr.  A  letter  of  Fran9ois  Boucher's,  which 
was  sold  for  105  fr.,  is  interesting,  because  it  shows 
that  the  painter  received  600  livres  for  a  landscape 
and  a  small  ceiling-piece,  to  be  painted  in  a  library 
(May  18,  1740).  Here  is  a  letter  of  Kenan's,  dated 
October  26,  1886,  in  which  he  says  that  one  of  his 
works  was  inspired  by  a  letter  of  St.  Catherine  of 
Siena  (105  fr.) ;  a  note  from  Thiers,  of  November  5, 
1848,  containing  prognostications  on  the  candidates 
for  the  office  of  President  of  the  Republic  (300  fr.)  ; 
a  letter  from  Madame  de  Sevigne  to  the  Comtesse  de 
Guitaut,  in  which  she  confesses  to  money  difficulties, 
and  asks  for  a  loan  of  two  thousand  francs,  "  car  mes 
besoina  sont  quasy  aussi  pressants  que  ceux  des 
pauvres  a  (lui  on  donne  le  ble  "  (495  fr.). 

At  another  sale,  on  January  3,  the  sum  of  490  fr. 
was  paid  for  some  notes  by  Mile.  Georges,  addrc^ssed 
to  Mme.  Desborde-Valmore  and  relating  to  an  inter- 
view which  the  great  actress  had   had  with  Napoleon 

30 


at  the  Chateau  de  Saint-Cloud,  and  1,870  fr.  for  her 
Memoirs,  which  are  important  as  bearing  upon  the 
history  of  the  stage  under  the  First  Empire. 

An  important  sale  of  prints  took  place  on  March 
14.  An  engraving  h\  Gaugain  (1796),  after  Daves, 
entitled,  "  An  Airing  in  H\de  Park,"  produced  3,950  fr.: 
"  As  You  Like  It  "  (1741)).  by  J.  R.  Smith  (3,950  fr.)  ; 
'•A  Walk  in  the  Palais- Koyal,'"  by  Delacourt  (1,920  fr.)  ; 
"  Indiscretion."  by  Janinet  (3.000  fr.)  ;  a  "  Head  of 
Flora,"  after  Boucher  (2,800  fr.)  It  will  be  seen  that 
the  public  favour  still  clings  to  the  fine  prints  of  the 
eighteenth  century,  and  there  are  no  signs  that  it  is 
likely  to  desert  it.  As  for  those  of  the  seventeenth 
century,  they  continue  to  enjoy  no  credit  at  all,  and 
I  foresee  no  change  in  this  respect. 

The  sales  of  books  and  manuscripts  have  been 
many  and  productive.  We  have  had  that  of  M.  A.  G., 
lasting  from  January  5  to  10,  and  consisting  of  modern 
books  in  fine  states  ;  of  M.  Pochet  (February  5  and  6), 
at  which  a  copy  of  the  Paauici'on,  translated  by  Le 
Mayon  (London,  17371.  with  illustrations  by  Eisen, 
Gravelet,  and  Cochin,  frtdied  330  fr.  :  Gravelet  and 
Cochin's  Aliiianach  Icunoloi^iqiic.  743  fr.,  and  7'rn/;f rase, 
by  Morel  de  Vinde  (Ditlot.  i7i)7'.  with  the  facsimile, 
700  fr. ;  of  M.jde  Roziere,  the  late  senator  and  pro- 
fessor at  the  Ecole  des  Chartes  (February  9  to  13)  : 
this  was  the  specialist  librarj'  of  an  archivist  and 
erudite,  and  attracted  hardly  any  competition  :  and 
of  Emile  Zola  (March  9  to  13).  At  this  sale,  the 
whole  of  which,  all  told,  produced  about  150,000  fr., 
the  following  deserve  to  be  mentioned  in  particular  : 
Flaubert's  VriiK  conies,  with  this  dedication,  "  A  Emile 
Zola,  bon  bougre  et  du  talent !  "  (69  fr.) ;  the  Patrie 
en  danf(er,  of  the  Goncourts,  who  inscribed  the  copy 
thus,  "  A  Emile  Zola,  avec  lequel  on  ira  causer  de  son 
ventre  ces  jours-ci  "  (190  fr.) ;  and,  lastly,  Waldeck- 
Rousseau's  (Questions  snciales,  with  the  following 
dedication,  "  .V  Emile  Zola,  en  temoignage  d'ad- 
miration." 

But  the  sensational  sale  was  that  of  the  library  of 
M.  Thevenin,  assistant  director  at  the  Ecole  des 
Hautes  Etudes,  which  produced  nearly  150,000  fr. 
(March  4  and  5).  There  were,  first  of  all.  Illuminated 
Books  of  the  fifteenth,  sixteenth,  and  seventeenth 
centuries.  Of  these,  the  higher  prices  were  obtained 
for  the  Hours  of  Pigouchet  (2,005  f"".),  the  Breviary 
of  Simon  Vostre  (2,500  fr.),  the  Teu'dannckh 
(1,600  fr.),  the  Champfleury  of  Geoffroy  Tori  (1,300  fr.), 
the  Hours  of  Tory,  1531  (3,300  fr.),  the  Hypneruto- 
machic  of  Kerver,  1546  (1,400  fr.),  the  Entree  ck 
Henri  11  a  Paris,  1549  (2,700  fr.),  etc. 

Among  Illustrated  Books  of  the  eighteenth  and 
nineteenth  centuries,  I  may  mention  the  Sucre  de 
Louis  .Vr,  bv  Audran,  1723  (1,200  fr.)  ;  the  (Euvrcs  de 
Moli'cre,  with  figures  by  Laurent  Cars,  after  Boucher, 
1734  (1,650  fr.);  Fables  choisies  iniscs  en  vers,  figures  by 
.■\udrv  (1,565  fr.)  ;  Boccaccio's  Decameron,  London, 
1757-61  (1,300  fr.) ;  the  Conies  ct  nouvellcs  en  vers,  by 
La  Fontaine,  in  the  Fermiers-gen6raux  Edition,  with 
nine  plates  by  Eisen  and  Chaffard,  and  binding  by 
Derome  (4,505  fr.)  ;  Ovid's  Metamorphoses,  1767-71 
(2,525  fr.),  Dorat's  Baisers  (1,415  fr.)  ;  the  Temple  de 
Guide  (1,130  fr.)  ,  the  Monument  du  costume  of  Moreau 
the  Younger,  etc.,  1789   (1,200  fr.)  ;  Epoqucs  les  plus 


ICONIC 


DUOUOT 


tutt'fcssaiitcs  dcs  ri-roliitions  dc  I 'mis.  1790  (i.noo  fr.t  : 
a  Beraiigcr,  1647-66.  with  a  binding  by  Mariiis  Miciicl 
(1. 000  fr.)  ;  etc. 

Noteworthy  Bindings  of  the  sixteenth  and  seven- 
teenth centuries  inchided  a  fine  specimen  of  Groiier : 
Liber  dc  providcntia  Dei  ....  by  Pico  de  Mirandola. 
which  fetched  6,420  fr.  ;  a  Homer,  1537,  from  the 
same  collector's  library  (1,000  fr.)  ;  Le  Discorsi  di 
nohilita,  by  Th.  Maioli  (4,100  fr.) :  an  Ovid,  by  Cane- 
varius,  1543  (3,000  fr.)  ;  the  binding  a  la  fanfare, 
attributed  to  Clovis  Voe,  for  Sacra  return  histnria 
(1,400  fr.):  a  copy  of  .1«/hx  Gclliiis  that  had  belonged 
to  Margaret  of  \'alois  (2.820  fr.)  ;  a  du  Gascon  binding 
for  an  OJfice  of  the  Mr^iii  (1,350  fr.) ;  an  Ovid,  binding 
attributed  to  Ruette  (2.700  fr.)  ;  a  du  Gacon  binding 
for  the  Tlunattriis  ahscoitditus,  1647  (3,000  fr.),  etc. 
There  were  also  some  eighteenth-century  bindings  and 
some  romantic  bindings,  the  prices  of  which,  however, 
were  much  lower,  excepting  that  of  the  Veritable  or 
potable,  with  a  binding  by  Padeloup. 

But  the  principal  book  in  this  sale  was  the  Hours 
of  Margaret  of  Rohan,  Countess  of  .\ngouleme,  which 
was  knocked  down  to  Mr.  Quaritch,  of  London,  for 
close  upon  40,000  fr.  This  is  a  work  on  whicii  M. 
Henri  Bouchot,  the  Keeper  of  Prints  in  the  National 
Library  in  Paris,  has  written  a  most  interesting  and 
learned  notice.  The  manuscript  was  written  and 
illuminated  in  the  time  of  Louis  XI,  about  1470,  for 
Margaret  of  Rohan,  the  daughter-in-law  of  \'alentine 
\'isconti,  grandmother  to  Francis  L  It  contains 
fifteen  miniatures,  which  may  be  compared  with  those 
executed  by  Jean  Fouquet  for  the  Hours  of  Etienne 
Chevalier.  This,  briefly,  constitutes  the  importance 
(if  the  work  which  M.  Bouchot  has  studied  with  so 
much  love. 

Who  is  the  author  of  the  miniatures  ?  A  priori, 
we  must  reject  their  ascription  to  Fouquet,  because  of 
the  absolute  difference  in  craftsmanship  and  inspira- 
tion, as  well  as  any  ascription  to  Flemish  hands  : 

"  Everything  concurs,'"  says  M.  Bouchot,  "  to  point 
to  Central  France  as  their  country  of  origin  :  the 
type  of  their  male  figures,  their  somewhat  short, 
vigorous,  and  stubby  dimensions,  their  rude  and 
kindly  expression  of  face,  the  gentleness  without 
insipidity  of  the  women.  Even  the  costumes  and 
arms  agree  with  the  landscapes,  houses,  and  fortresses 
to  confirm  us  in  this  opinion." 

The  figures  are  painted  from  nature,  but  are  in- 
spired by  those  which  were  drawn,  for  the  purpose  of 
their  performances,  by  the  actors  in  the  old  mystery- 
plays.  The  characters  are  shorter  than  those  drawn 
by  Fouquet,  and  also  the  nude  figures  are  executed 
with  greater  care.  Fouquet's  son  has  been  suggested 
as  the  possible  artist  :  but  the  dates  do  not  tally,  and 
the  manner  of  treating  the  animals,  in  which  Foucjuet 
displays  so  admirable  a  realism,  comparable  with  that 
of  Pisanello.  removes  all  thought  of  him  and  his,  even 
if  the  other  objections  be  valueless.  Nor  could  these 
miniatures  be  the  work  of  Colinet  de  Merties,  suggested 
by  M.  Leopold  Delisle.  M.  Bouchot,  reading  on  the 
page  representing  the  High-priest  Caiaphas,  page  43, 


the  words  IAS  CO\'A,  and  remembering  that  a  regis- 
(I'r  of  the  Tresor  des  Charles  in  the  National  Re- 
cords (KK  55,  fol.  Si)  mentions  a  certain  Johannes 
Couart,  an  illuminator,  living  at  Bourges,  who  worked 
for  Margaret  of  .^njou,  (Jiieen  of  France,  wife  of 
Charles  \TI,  puts  forth  the  hypothesis  that  this 
Berrichon  artist,  descended  from  the  masters  em- 
ployed by  the  Duke  of  Berry,  might  be  the  illumi- 
nator of  the  manuscript  in  question,  unless,  indeed, 
the  inscription  simply  refers  to  Caiaphas,  as  was  some- 
times, it  appears,  the  case  in  the  Middle  Ages. 

I  may  add  that  this  work  was  mentioned  in  an 
inventor}-  compiled  at  .Xngouleme  in  April  I4<j7, 
Margaret  of  Rohan  having  died  in  the  preceding 
year.  During  the  nineteenth  century  this  manu- 
script was  successively  the  propert}'  of  Pottier,  the 
librarian  at  Rouen,  of  Diblot,  the  collector,  and  of 
M.  Marcel  Thevenin.  It  is  covered  in  a  dark-green 
binding,  dating  to  about  1620.  The  miniatures  are : 
"Christ  in  His  Glory"  and  the  "Symbol  of  the 
Evangelists";  the  "Annunciation,"  in  which  the 
angel  perhaps  represents  Charles  of  \'alois-Angouleme, 
son  of  Margaret  of  Rohan ;  the  "  Adoration  of  the 
Shepherds,"  with  a  landscape  picturing  the  banks  of 
the  Seine  and  the  Loire,  and  a  Virgin  suggesting 
Margaret;  "  Judas's  Kiss,"  a  night  effect  in  the  man- 
ner of  Bourdichon  ;  the  "Judgement  of  the  Damned," 
in  the  style  of  Fouquet,  and  a  "  St.  Michael,"  which 
is  meant  for  the  young  Count  of  Angouleme  ; 
"Christ  before  Caiaphas";  "Jesus  in  the  Prartorium": 
"Jesus  bearing  the  Cross,"  with  a  fortified  city  of 
Touraine ;  the  "Crucifixion,"  with  characters  re- 
sembling those  of  Fouquet,  a  blue  sky,  and  the  lances 
of  the  Grandes  chroniijues,  in  the  National  Library  ; 
"  Preparations  for  the  Descent  from  the  Cross";  the 
"  Resurrection  "  ;  a  blank  page,  perhaps  reserved  for 
the  portrait  of  John,  Count  of  Angouleme;  "Jesus 
Driving  the  Money-changers  from  the  Temple,"  with 
Renaissance  capitals  and  Italo-F'rench  architecture  ;  a 
"Judgement  of  the  Countess,"  in  the  style  of  Fouquet, 
with  Count  Charles  as  St.  Michael  and  the  Princess 
Margaret  lying  on  a  flag-stone;  a  "Portrait  of  Mar- 
garet of  Rohan,  Countess  of  Angouleme,"  in  a  black 
and  white  dress,  in  an  orator\',  before  a  prie-dicu, 
which  doubtless  contained  the  manuscript :  a  "  Holy 
Face  of  Christ,"  an  "  admirable  type  of  a  fair- 
skinned,  red-haired  Frenchman,"  surrounded  by 
l-'rench  and  Tourainean  rays  which  take  the  place  of 
the  nimbus.  All  these  miniatures  combine  to  form 
a  magnificent  whole,  which  England  has  every  right 
to  be  proud  of  possessing  at  this  moment. 

Such  is  the  summary,  in  bold  outlines,  of  the 
sales  held  in  Paris  from  January  i  till  about 
March  15.  Without  being  heavily  burdened,  this 
season  will  nevertheless  count  in  the  history  of  the 
rare  and  curious,  because  it  included  the  Hayashi  and 
Th6venin  Sales,  both  of  which  were  important  not 
only  because  of  their  greatness  as  a  whole,  but  because 
of  the  quality  and  interest  of  that  which  they  con- 
tained and  the  new  materials  which  they  offered  to 
the  investitrations  of  the  searcher.  G.  R. 


GENERAL    NOTES 


The  book  which  Mr.  Quaritch  is  stated  to  have  ob- 
tained from  Ghent  for  £800  at  the  sale  of  the  Hbrary 
of  Count  Nedouschiel  of  Tournay,  is  an  imperfect 
copy  in  good  clean  state  of  Lc  Recueil  cies  Histoires 
dc  Troyes.  printed  by  William  Caxton  about  1476.  The 
volume  wants  both  blanks,  as  described  by  Blades, 
ed.  1877,  p.  169,  and  six  printed  leaves,  including  the 
end.  It  has  the  commencement  of  the  text  complete. 
Blades  enumerates  six  copies,  of  which  two  are  in  the 
British  Museum  and  the  National  P'rench  Collection 
respectively.  At  the  foot  of  the  first  page  in  the 
Quaritch  copy  occurs  a  Latin  inscription  testifying  to 
its  early,  not  coeval,  ownership  by  Johannes  Egidius 
Le  Fort,  "  Rex  Armorum." 

The  chances  of  finds  in  the  book  market  ought 
not  even  yet  to  be  thought  desperate.  A  well-known 
bibhopole  — and,  marry,  bibliophile,  too  — landed 
not  so  long  since,  as  part  of  a  bundle  bought  for  a 
few  shillings  at  Sotheby's,  an  uncut  copy  of  the 
first  edition  of  Stevenson's  Rubaiyat  of  Omar 
Khayyam.  A  copy  of  Thackeray's  Flora  and  Zephyr 
went  at  an  out-sale,  inter  alia,  for  some  15s.,  was 
sold  to  a  specialist  in  the  trade  for  sixty  pounds,  who 
sold  it  to  a  confrere  for  twice  sixty  pounds.  A  medium 
copy  of  Willobie's  Avisa,  edit."  (1635,  occurred  in 
Mr."  Murray's  (of  Derby)  catalogue,  at  12s.  6d.,  and 
elicited  a  host  of  orders  by  wire  and  post;  but  the 
owner  adjudged  it  to  Professor  Dowden.  The  name 
"  Avisa  "  is  compounded  of  the  initial  letters  of  the 
legend  "  Amans  Vxor  Inviolata  Semper  Amanda." 

The  rarity  of  books  formerly  belonging  to  Thomas 
Hobbes  of  Malmesbury  is  not  generally  known,  and 
accounted  for  the  very  high  price  realized  for  a  small 
volume  sold  at  Sotheby's  rooms  a  month  or  two  since, 
as  recorded  in  Book  Sales  of  1902.  Hobbes  acted 
during  many  years  as  tutor  at  Chatsworth,  and  was 
domiciled  there  ;  and  his  private  library  seems,  after 
his  death,  to  have  remained  in  the  house,  where  it  still 
is.  The  occurrence  of  specimens  in  the  market  is 
consequently  accidental  and  unfrequent. 

An  illustration  of  the  uncertainty  of  prices  at 
auctions  occurred  at  the  Mackenzie  sale,  at  Sotheby's, 
where  Maidment's  Excerpta  Scotica,  1825,  of  which 
only  six  complete  copies  are  known,  went  for  15s. 
It  cost  the  late  owner  at  the  Mackellar  sale  in  1898 
£-j  5s.  It  had  been  Kinlf)ch's,  and,  although  one 
leaflet  was  in  MS.,  it  was  muw  complete  than  Laing's, 
which  sold  for  £21. 

The  Royal  Library  at  Turin  has  lately  acquired 
the  portion  of  Leoiuirdo  da  Vinci's  MS.  work  on 
the  riitiht  of  Birds  required  to  complete  the  text 
already  there.  Leonardo,  like  his  contemporary 
Michael  Angelo,  was  a  man,  as  we  know,  of  the  most 
extraordinarily  varied  attainments,  and  embraced 
among  his  studies  nearly  every  branch  of  human 
learning  and  skill.  We  recognize  him  primarily  as  the 
great  painter  ;  but  to  his  own  age  he  was  equally 
familiar  as  a  sculptor  and  an  engineer. 

Among  the  Rothschild  MSS.  presented  to  the 
British  Museum  is  one  of  the  French  version  of  the 
Decameron  by  Premierfait— a  large  folio,  with  several 
coarse  illuminations,  but  highly  interesting  as  having 
been    apparently    bound    in    'the    shop    of    Thomas 


Berthelet  the  printer  for  Edward  Seymour,  Duke  of 
Somerset,  whose  motto,  "  Foy  pour  Debvoir,"  is  on 
the  covers. 

Messrs.  Hodgson  &  Co.  disposed  on  Febru- 
ary 17  and  three  following  days  of  a  miscellaneous 
assemblage  of  old  and  modern  literature,  including  an 
assortment  of  early  typography.  Many  of  the  older 
books  had  suffered'  from  neglect,  but  a  few  were  in 
fine  and  desirable  state.  A  copy  of  Peter  Martyr's 
Decades,  1555,  in  old  calf  binding,  formerly  the  pro- 
perty of  William  Painter  (not  the  author  of  the  ruhuc 
(f  Pleasure,  but  apparently  an  Oxford  dignitary  of  the 
seventeenth  century),  sold  for  ^^''41  los.  od.,  though 
wanting  the  maps  and  having  adefective  leaf — an  extra- 
vagant price.  Lot  374  was  a  series  of  rare  early  Italian 
tracts  on  Marriage,  etc.,  1516-18,  bound  up  together 
at  or  about  the  time,  the  binder  having  employed  as 
pasteboard  an  almost  complete  copy  of  an  other- 
wise unknown  Prognostication  of  1517  in  English, 
and  two  leaves  of  an  equally  undescribed  metrical 
tract  on  matrimony  or  love  from  the  press  of  Wynkyn 
de  Worde.  The  remains  of  the  Prognostication  in- 
clude the  first  and  last  leaves,  but  the  whole  of  the 
piece,  which  is  said  to  be  "translate  in  the  famous 
city  of  Andwerpe,"  is  more  or  less  cropped  and  mu- 
tilated. The  large  device  of  De  Worde  is  on  the  verso 
of  the  leaf  containing  the  colophon  ;  in  order  to  assist 
in  the  identification  of  the  tract,  I  subjoin,  besides 
the   portions  given  in  facsimile,   two  stanzas: 

Whan  I  harde  her  bable  and  langage 

Her  gentyll  termes  spoken  so  properly 

I  do  me  wysshe  for  to  be  in  to  the  age 

Of  eyghten  neyntene  or  foure  and  twenty 

Suche  assawtes  than  gyue  wolde  I 

That  for  it  she  sholde  haue  no  nede  to  craue 

Of  the  grete  pleasure  that  she  sholde  haue. 

If  that  she  go  to  banckettes  and  daunces 
She  doth  neuer  offence  therin  certayne 
Nedes  she  must  haue  her  pleasaunces 
In  some  place  to  make  her  glad  and  fayne 
Wherfore  1  dare  well  say  and  sustayne 
That  after  with  me  I  wolde  haue  her  ledde 
If  ony  soner  I  had  ben  to  her  wedde. 

The  Italian  tracts  themselves  are  of  the  greatest 
rarity  and  beautifully  preserved,  and  two  of  them  may 
have  suggested  to  tlie  writer  a  series  of  English  pro- 
ductions on  the  same  subject,  printed  by  De  Worde 
about  this  time.  The  contents  of  the  volume  are 
Italian,  the  end-papers  English,  and  the  binding  pro- 
bably French — a  singular  combination. 

The  miscellaneous  sale  at  Sotheby's  on  March  i()- 
21  yields  in  its  character  and  results  a  certain  amount 
of  serviceable  criticism.  The  property  offered  had  in 
some  cases  been  submitted  to  competition  more  than 
once  before,  and  the  prices  were  highly  capricious 
and  speculative.  The  sole  key  to  the  high  figures 
attained  by  a  portion  (indeed  a  large  one)  of  the  entire 
ctjllection  'appears  to  be  the  prevailing  bias  in  favour 
of  anything  tiircctly  or  indirectly  bearing  on  Shake- 
speare, and,  again,  of  a  few  favourite  authors,  ancient 
or  modern.  Old  plays,  and  tracts  illustrative  of  the 
early  drama,  sell  well  :  but  they  must  be  first  editions. 
We  find  here   (Lot  66)  Boaden's  Portraits  of  Shake- 


GENERAL    NOTES 


•ipcart'.  1SJ4,  the  aiithcir's  own  copy,  with  his  MS. 
notes,  hringinj;  £"iy,  and  (Lot  1036)  George  Steevens's 
copy  of  his  edition  of  the  poet,  1793,  an  ordinary 
one,  carried  to  £i^.  No.  79,  Anne  Bronte's  own  copy 
of  The  Teutnit  of  Wildfcll  Hall,  produces  £'32 ;  a 
collection  of  Bunyan's  works,  a  series  of  no  importance, 
is  deemed  worth  ^'aos  ;  and  two  copies  of  verses  in 
the  autograph  of  Burns  reali/ie  £""125.  Lot  300,  Lc 
Theatre  de  P.  Conwille,  10  vols,  1664-78,  the  Mon- 
tesson  copy,  which  sold  at  the  Potier  sale  for  2,400 
francs,  now  brings  £"15  5s.  od.  Two  items,  615  and 
S70,  the  former  a  Keats,  half-bound  and  cut,  pre- 
sented to  Cowden  Clarke  (£"122).  and  a  Milton's  Pani- 
dise  Lost,  with  the  first  title-page,  in  the  original  calf 
(£"i02),  are  characteristic  of  the  present  drift  towards 
homage  to  great  names,  although  a  singularly  curious 

oot^^i^i^man  bttiDt 

rSS?^>;ccftbat!f  fluft}  'f^iifi^iuJjaliWi;,^ : 

,  ^%;!  v^ficfti,,!;-.:,.  ^  ..:•■>•■■:;.(>• 

3Se«ll^C,iatl«::'i:-,,C._, 


•iiiCC 


<5:i;3;  tflfcf c  tnaspf I)  bp  t^o  i*^.-. I'f ^ iie  ' 

7 . :  ■:c^'Ji  '^  tjmtrtTjaTOTeTpcm'' "' " 
f^oa-  •  .-.-^tjarKOfojtoaieJtfic  ^'^ 
jfOIg;^.^::;[^Jaufi3■:rp^a£C^II^)rcnJ^ 

Sulfite  .b.uOiir.Joj&f^tVojflCiUi?- 
RT^t^;  tiv:afdc:  4mcnt£aVirm£'!jtitJr. 

5£t>£CfiSiiSS^nrf^ttoetlj  ill  bfei'.-crc 
fCljaf.mnwtpajje  aUis  oiu  nf  t«n£ 
^0 1:-*-;;  sltb  t^  i-cmanutejf  '^Ijucff 
Cuc  iiipofca  bp  itiarfter 'P^IKiuciiUtic 
l)rtnciu.rti)cK<;»n5airemn:iie  * .  \ 
•  il^^f^dtw  ;dcn(nt.'>nOtcir.iat?'agf 


I 


land  the  Painter,  a  very  fine  original  copy,  was  not 
deemed  too  dear  at  £"59;  but  913,  a  series  of  Robert 
Whittinton's  grammatical  tracts,  some  imperfect,  at 
£■51,  and  1129  and  1131,  two  trivial  and  dull  publica- 
tions by  Dr.  Watts,  at  £ii  and  £40  respectively,  were 
ostensibly  very  much  so.  The  same  may  be  predi- 
cated (Lots  1278-83,  sold  together  for  £'50)  of  certain 
late  editions  of  separate  plays  of  Shakespeare  of  no 
importance,  printed  at  the  Hague  and  at  Dublin, 
which  have  been  drawn  out  by  the  excessive  price 
obtained  at  Sotheby's  very  recently  for  three  similar 
pieces.  The  dramatic  collector  is  apt,  like  his  ci»t- 
freres  in  other  departments,  to  be  too  omnivorous 
and  undiscriminating.  When  1164,  Le  Rommant  de 
la  Rose,  a  MS.  on  vellum  of  the  fifteenth  century, 
from  the  Ashburnham  Collection   (where  it   sold  for 


*  pSaisprTt 


Aatu«:taffictii5U*iXt«ata);:f 
'4^miim  u.  f iCTtflwte  b?  tttpiiho  5"?  tw^Sc 
1feB*i!'mgemtiKtanjou3  tpt<of»-^.u-oiJ 
i)ts  i)ouv  itttiK  famcatrtc  tt^  of  tljcftiw;. 


k 


I 


pamphlrt  altril)utud  to  Montaigne  (Lot  347)  goes  for 
£21,  and  a  still  rarer  piece,  Christits  Rediviviis,  1543, 
by  Nicholas  Grimoald,  one  of  the  most  important  con- 
tributors to  Tottdl's  Miscellany,  1557,  was  knocked 
down  at  £24  (Lot  570).  That  was  better,  however, 
than  its  fortune  on  the  previous  occasion  a  short 
time  since  at  the  same  rooms,  when  it  changed  hands 
for  a  few  shillings.  Lot  354  was  a  tract  purporting 
to  be  by  one  Richard  Cromwell,  soldier,  surgeon,  and 
assassin,  hanged  at  Lichfield  in  1691,  but  more  prob- 
ably from  another  jsen.  It  fetched  £^4  because  it  was 
published  by  Michael  Johnson,  Dr.  Johnson's  father, 
and  discloses  the  fact  that  he  carried  on  a  collateral 
trade  in  quack  medicines,  a  list  of  which  is  advertised 
at  the  end.     942,  Blagdon's  Memoirs  of  George  Mor- 


priiited  by  Wyiikyii  dc  Worde 

£■110),  came  up,  the  auctioneer  thought  it  desirable  to 
point  out  that  articles  of  this  kind  had  since  greatly 
risen  in  value  ;  but  he  could  not  induce  any  bidding 
after  £"90. 

1 183  (£'20).  A  lot  unpromisingly  described  as 
Scrmones  Dominicales,  a  rather  thick  4to  volume, 
which  had  lost  its  covers,  and,  in  fact,  mainly  con- 
sisted of  Latin  theological  discourses  written  in  a  very 
contracted  though  fairly  legible  hand  of  the  earlier 
half  of  the  fifteenth  century.  But  it  so  happened 
that  a  small  portion  (toward  the  end)  was,  in  this 
case,  better  than  the  whole,  as  someone,  about  1420, 
appears  to  have  utilized  the  blank  leaves  and  other 
spaces  for  the  insertion  of  some  extremely  curious, 
interesting,  and  even  important  English  songs,  carols. 


THE    BURLINGTON    GAZETTE 


and  lullabies.  Nine  leaves  are  occupied  by  a  part- 
song  in  the  vernacular,  with  diamond-shaped  musical 
notes,  to  which  I  have  been  unable  to  find  anything 
exactly  similar  in  print,  although  in  Ritson's  Ancient 
Songs  there  is  a  specimen  or  two  of  analogous  cha- 
racter, and  in  Dr.  Rimbault's  little  Book  of  Songs  and 
Ballads,  1851,  occurs  An  Ancient  Lullaby  Song  from 
the  unique  music  book  printed  by  Wynkyn  de  Worde 
in  1530.  The  latter,  however,  is  posterior  to  the 
pieces  in  the  MS.  in  question. 

A  sale  of  Autographs  and  Historical  Documents 
was  held  at  Sotheby's  rooms  on  March  12  and  13. 
The  following  were  the  leading  items:  87.  Signa- 
ture of  Francis  II  of  France,  husband  of  Mary 
Queen  of  Scots,  1559,  fine  and  well  preserved,  £10; 
121.  Bill  of  Charges  of  Sir  Lewis  Lewkenor,  Master 
of  the  Ceremonies,  1609,  interesting  document  signed 
by  the  Earls  of  Salisbury  and  Suffolk,  los.  ;  142. 
Autograph  letter  of  Mary  Beatrix  D'Este,  queen  of 
James  II,  £y  2s.  6d. ;  166.  Autograph  letter  of  Sir 
Joshua  Reynolds  to  Benet  Langton,  Johnson's  friend, 
;^'4  4s.  od. ;  228.  Autograph  verses  by  R.  Burns, 
;£'io  los.  od. ;  382.  Pietro  Aretino  to  the  Cardinal  of 
Ravenna,  1549,  fine  example,  £"5;  420.  Signature  of 
Henry  VII  of  England  to  a  letter  dated  from  Rich- 
mond, with  a  line  in  his  autograph,  to  the  King  of 
Castile,  a  very  bold  signature,  £14  5s.  od. ;  A.  L.  S. 
of  Henrietta  Maria,  queen  of  Charles  I.,  1628,  to  the 
Duke  of  Savoy,  £14  los.  od. ;  433.  La  Fontaine, 
original  MS.  of  his  tale,  "  Le  Fleuve  Scamandre," 
£g  5s.  od.  (not  free  from  suspicion) ;  481.  Lamb 
(Charles),  Letter  to  Miss  Fryer,  with  a  copy  of  verses, 
3  pp.  4to,  ;f20  los.  od.;  528.  Southampton,  H.  Wriot- 
tesley.  Earl  of,  signature  on  an  acquittance,  1624, 
£y  15s.  od.  (this  was  Shakespeare's  Earl)  ;  643. 
Brough's  Songs  of  the  Governing  Classes,  1855,  a  copy 
sent  by  the  author  to  Thackeray,  with  autograph  re- 
marks by  the  latter,  £^1  ;  Shelley,  letter  to  Oilier, 
1820,  on  literary  matters,  ;ri4;  723.  Lamb,  letter  to 
Moxon  about  his  own  history,  no  date  (paper  water- 
marked 1825),  £8.  Lot  481  furnished  an  e.xtract  from 
the  letter,  in  which  Vagarying  was  misprinted  En- 
gaging. The  two  days'  sale  produced  £954  13s.  od. 
As  regards  Lot  420,  Henry  VII  addressed  Philip  of 
Austria  as  "  mon  fils,"  and  subscribes  himself  his 
father  for  no  better  reason  than  the  connection  arising 
from  the  marriage  of  his  son  Arthur  to  Catherine  of 
Arragon,  sister  of  Philip's  wife.  Lot  643  was  returned 
by  the  buyer  as  a  forgery,  and  Lots  644  and  776  were 
passed  on  the  same  account.  A  considerable  number 
of  these  Thackeray  forgeries  arc  in  the  market. 

The  well-known  collection  of  English  coins  formed 
by  Mr.  L.  A.  Lawrence,  F.R.C.S.,  occupied  the  at- 
tention of  Messrs.  Sotheby  &  Co.  on  February  24  and 
three  following  days.  It  had  been  brought  together 
by  the  learned  owner  in  connexion  with  his  numis- 
matic researches,  and  the  examples  had  not  been 
chosen  so  much  from  their  condition  or  rarity,  as  for 
the  sake  of  the  technical  lessons  to  be  learned  from 
their  legends.  At  the  same  time,  the  catalogue  em- 
braced a  considerable  number  of  very  uncommon 
pieces,  and  its  value  was  enhanced  by  the  new  chrono- 
logical distribution  of  the  Edward  and  Henry  pennies 
and  by  the  presence  of  many  not  noticed  by  Hawkins 
in  his  monograph  on  the  Silver  Coins  of  England. 

34 


The  four  days'  sale  represented  686  lots,  and,  as  the 
principle  of  grouping  together  largely  prevailed,  per- 
haps between  3,000  and  4,000  items.  The  amount 
realized  was  £925  15s.  od.  Among  the  more  notable 
lots  may  be  cited  the  following,  with  the  proviso  that 
the  general  state  of  preservation  was  inferior  for  the 
reason  given  above.  Yet  in  carefully  examining  the 
four  days'  sale  there  was,  perhaps,  a  larger  proportion 
of  fair,  and  even  fine,  examples  than  might  under  the 
circumstances  have  been  anticipated: — 3.  Epaticus, 
inscribed  British  coin  in  silver,  exceedingly  rare  and 
fine,  £8  15s.  od.  ;  9.  A  fine  penny  of  Ceolwolf  I,  £y, 
47.  A  Canopy  penny  of  William  I.,  struck  at  Tam- 
worth,  £5  I2S.  6d.  :  63.  A  Wareham  penny  of  the 
same,  £^  2s.  6d.  ;  84.  A  Rochester  penny  of  Henry  I, 
;^4  5s.  od.  ;  1 01.  A  London  penny  of  the  same, 
£5  2S.  6d. ;  109.  Another,  very  fine  and  a  unique 
variety,  £11  ;  198.  Noble  of  Edward  III,  early  4th 
coinage,  very  fine,  £8  17s.  6d.  ;  295.  Light  Quarter 
Noble  of  Henry  IV,  £()  los.  od. ;  299.  London  Groat 
of  same,  £10  ;  304.  Another,  £6  2S.  6d. ;  527.  Gold 
Crown  of  Edward  VI,  without  king's  name,  and  E 
cut  over  H  on  one  side  of  the  shield,  a  very  early 
issue,  £jf\  653.  Charles  I  penny  of  Oxford  Mint, 
most  rare,  £10. 

The  principal  buyers  were  Messrs.  Lincoln,  Ready, 
and  Spink  &  Son,  and  anything  which  was  of  high 
quality  fetched  its  value.  A  curious  history  attached 
itself  to  No.  3,  the  silver  Epaticus.  Though  so  rare 
a  piece,  a  jeweller  had  two  of  them,  for  which  he  had 
paid  IS.  6d.  each.  When  they  were  cleaned  they 
struck  him  as  curious,  and,  Mr.  Lawrence  calling,  he 
sold  one  of  them  to  him  for  £1,  the  other  he  retained. 
British  coins  in  this  metal  are  by  far  the  rarest. 

We  have  received  :  i.  From  Messrs.  Ellis  &  Elvey 
their  hundredth  Catalogue  of  Manuscripts,  Early 
Printed  Books,  and  Books  of  Music,  with  reproductions 
of  a  miniature  and  three  bindings,  to  which  they  have 
prefixed  an  interesting  notice  of  their  predecessors, 
who  since  Brindley  founded  the  business  in  1728  at 
22,  New  Bond  Street,  then  recently  built,  have  car- 
ried it  on  there  without  interruption.  2.  From 
Messrs.  Leighton,  the  first  parts  of  what  will  be  a 
valuable  book  of  reference  ;  those  now  issued  contain 
in  720  pages  descriptions  of  2705  manuscripts,  early 
printed  and  other  books  of  interest,  with  600  repro- 
ductions of  title-pages,  colophons,  miniatures,  cuts, 
and  fine  bookbindings,  some  of  the  last  designed  and 
executed  by  the  firm,  who  have  produced  some  good 
original  work  imbued  with  the  spirit  of  the  old  crafts- 
men. 3.  From  Mr.  L.  Rosenthal,  of  Munich,  a  cata- 
logue of  1562  incunabula  with  48  facsimiles,  and  of  440 
bibliographical  works.  The  value  of  this  catalogue 
is  enhanced  by  the  addition  of  five  indexes  of  books 
noticed  by  Hain,  of  those  not  mentioned  by  him,  of 
places  where  printed,  of  printers,  and  of  subjects. 

A  further  portion  of  the  collections  of  the  late 
.Sir  Thomas  Phillipps  will  be  sold  by  Messrs.  Sotheby 
on  .-^pril  27  and  five  following  days.  The  majority 
of  the  manuscripts  appear  to  'oe  of  historical  interest, 
and  include  some  royal  wardrobe  accounts,  but  there 
are  also  a  number  of  classical  works  and  a  few  Bibles 
and  liturgical  books; — a  dozen  or  more  volumes  retain 
their  original  stamped  bindings.  The  following  should 
prove  interesting : — 


.55-'.  JonriKil  of  Edw;uci  Southwell  liiiriiiK  a  tour 
in  tiic  North  of  I'raiice  in  17J5,  !,'i\  inj,'  particulars  as 
to  pictures,  manuscripts,  statues,  etc. 

466.  Account  kept  by  Nicolas  Picart  of  all  pay- 
ments for  paintings  in  the  gallery  and  Queen's  chaiii- 
lier  at  I'-ontaineblcau  in  the  year  1535-J6. 

483.  A  descriptive  catalogue  of  the  art  treasures 
of  the  Dauphin  of  France  at  Versailles  in  1689. 


PARIS    NOTES 

5,54.  Account  of  expenditure  connected  with  the 
funeral  of  Henry  II  of  France,  1559,  including  pay- 
ments to  Francis  Clouet. 

1 145.  Journal  of  a  Tour  in  Italy,  written  bv  a 
Yorkshire  man  in  1755,  giving  details  as  to  pictures 
and  works  of  art,  among  others  of  pictures  just  then 
bought  by  Lord  Leicester,  now  at  Holkham. 


PARIS    NOTES 


FROM    OUK    PARIS    CORRESPONDENT 


Ir  has  ajipeared  to  me  that  the  readers  of  the 
BiKi.iNGTuN  Mac.A/CINE  might  be  interested  in  the 
monthly  history  of  the  French  museums,  a  history 
which  permits  of  a  narrative  of  their  doings  and,  in 
particular,  of  their  acquisitions  and  their  internal 
changes.  Space  is  necessarily  very  limited  in  this 
first  number,  in  which  I  have  had  to  sum  up  the  events 
of  the  first  three  months  of  the  year. 

I  ho])e  that  the  exactness  of  the  information  which 
I  shall  supply  will  be  accepted  as  an  excuse  for  a 
monotonousness  rendered  inevitable  in  view  of  the 
absence  of  appreciations  which  it  is  not  my  business 
to  give  here.  And  now  to  proceed  to  the  Museums. 
.\t  the  Louvre,  the  public  has  been  admitted  to  the 
new  rooms  in  which  the  very  fine  Thomy-Thierry 
Collection  is  exhibited.  It  is  a  pity  that,  in  order  to 
view  and  admire  the  Troyons,  Daubign}s,  Dupres,  and 
Meissoniers,  the  whole  galaxy  of  1830,  one  should  be 
compelled  to  climb  up  flights  of  stairs,  k)se  one's  self 
in  cold,  dark  labyrinths  and  end  by  emerging  in 
wretched  garrets  that  constitute  a  real  danger  to  the 
pictures,  some  of  which  are  already  being  ruined.  Is 
this  a  provisional  state  of  affairs?  And  will  this  pro- 
\isional  state,  according  to  the  current  saying,  last  for 
ever  ?  May  the  gods  vouchsafe  to  preserve  the  Thomy- 
Thierry  Collection  from  such  a  fate  ! 

In  Room  XX  (the  first  Primitive  Flemish  room), 
we  observe  a  "  Holy  Family  "  bj-  van  Orley,  dated  and 
signed,  recently  purchased  in  Brussels. 

In  Room  XXI  (the  second  Primitive  Flemish 
room),  the  authorities  have  at  last  made  uj)  their  minds 
to  exhibit  a  "  Virgin  "  by  Quintan  Matsys,  which  is 
out  of  the  Raties  Bequest  <jf  some  ten  years  ago. 

In  the  Grande  Galerie  now  hangs  the  portrait  bj- 
Goya  of  Don  Evaristo  Pare/  di  Castro,  the  acquisi- 
tion of  which  the  .Museum  owes  to  the  generosity  of 
an  anonymous  donor. 

In  the  Salle  Henri  II,  Combet's  "Burial  at 
Ornans"  has  been  restored  to  its  "skied"  position. 

Quite  close,  in  the  room  containing  Prud'hon's 
drawings,  will  be  exhibited  the  small  picture  by  this 
artist  which  the  Louvre  has  just  acquired  :  "  A  Young 
Girl  teased  by  her  Lovers." 

At  the  LuxEMHOiRG,  the  annual  alterations  have 
taken  place,  and  it  would  indeed  seem  that  M.  Leonce 
Benedite  has  carried  them  out  very  completely.  The 
results  are  considerable,  and  one  cannot  insist  too 
much  upon  the  value  of  the  management  of  the 
Keeper  of  the  Luxembourg.  I  regret  not  to  be  able 
to  do  more  than  merely  mention  the  new  pictures, 
drawings,  prints,  and  pastels.  Portraits:  "Madame 
F.  L.,"  by  Fantin-Latour;  "  M"  C,"  by  Desbautin  ; 
"  Madeleine  Brohan,"  by  Baudry  ;  "  Tante  Anna,"  by 


Benjamin  Constant  :  "  Paul  .Adam,"  by  Jac(iues 
Blanche  ;  etc. 

Other  pictures:  "Cuirassiers  around  an  Inn- 
table,"  by  Guillaume  Regamey ;  the  "Justice  of  the 
Shereef,"  by  Benjamin  Constant  ;  "  Arab  Weavers," 
by  GuiiLiumet  :  the  "  Mouth  of  the  Loire,"  and 
"  Cherries,"  by  Charles  Le  Rouj- ;  the  "  Environs 
of  Mentone,"  by  Harpignies  ;  the  "Cliffs,"  by  Iimile 
Boulard  ;  the  "  Man  in  the  Large  Hat,"  by'  Dinet  : 
the  "  House  in  the  Sun,"  by  Henri  Martin  ;  and,  in 
the  Salle  Caillebottc,  a  pastel  by  Toulouse-Lautrec. 

Nor  have  the  drawings  been  forgotten.  I  notice 
two  by  Rosa  Bonheur  :  the  "  Startled  Herds,  a  Scene 
at  Falkirk  Fair,"  and  the  "  Oxen  crossing  the  Lake, 
a  Scene  at  Ballahulish  "  ;  by  Luc  Olivier  Merson,  a 
series  of  ten  drawings  :  "  Episodes  in  the  Life  of 
St.  Cecilia";  by  Paul  Flandrin,  a  set  of  very  tine 
drawings.  Moreover,  we  have  an  exhibition  of  sixty 
water-colour  drawings  by  Boudin  and  of  the  engraved 
and  lithographic  work  of  John  Lewis  Brown. 

In  the  Foreign  Room  arc  pictures  by  Tito,  Car- 
cano,  Madame  J  nana  Romani,  Morbelli,  etc, ;  and  the 
new  sculptures  exhibited  are:  "Thought,"  a  marble, 
by  Rodin  :  the  "  Bitch  Suckling  Her  Young,"  by 
Lecourtier ;  "  \'iolets,"  by  Larche  ;  a  "Naiad,"  by 
Massoulle. 

At  the  MisEE  HE  Clunv,  the  delightful  museum 
where  so  many  excjuisite  objects  are  heaped  up  in  a 
medley  which  has  not  always  "  local  colour  "  for  its 
motive  or  its  excuse,  three  small  purchases  adorn 
the  glass  cases  of  the  first-floor  rooms.  A  sixteenth- 
century  heart-shaped  reliquary,  in  gold  (Italo-By/an- 
tine  art)  :  two  silver  clasps  of  1558  (Flemish  art)  :  one 
represents  the  benediction  of  a  union  by  the  lover 
pouring  spring-water,  the  other  the  "  Three  Graces '' 
with  a  device  !  and,  lastly,  a  sixteenth-century  \'ene- 
tian  night-lamp. 

Near  Paris  lies  Vers.\ieles,  that  matchless,  mar- 
vellous museum,  which  evokes  in  the  simple  grandeur 
of  its  lines  and  beneath  the  plaintive  harmonies  of  its 
musical  waters  and  its  gorgeous  groves  a  rare  and 
noble  past.  M.  P.  de  Nolhac  :iih1  his  colleagues  leave 
nothing  undone  to  gi\'e  the  great  palace  its  full  value, 
and  to  accentuate  yet  further  the  impressive  poetic 
charm  of  its  memories  ;  and  each  month  brings  to  the 
museum,  with  a  large  contingent  of  works,  a  sum  total 
at  least  as  great  of  precious  results. 

In  February,  two  considerable  and  hitherto  un- 
known marble  bas-reliefs,  from  the  Petite-\'enise 
workshops,  were  moved  to  the  museum,  where  they 
are  exhibited  temporarily  in  X'estibule  X.XXIX.  They 
are  fragments  of  the  great  monument  to  Hoche,  exe- 
cuted by  Bai/al,  the  sculptor,  in  1797  ;  they  represent 

35 


THE    BURLINGTON    GAZETTE 

the  "  Capture  of  Ouiberon,"  and  the  "  Subjection  of 
the  Vendee." 

In  March,  the  museum  became  the  richer  by  a 
certain  number  of  busts  proceeding  from  orders  given 
by  the  Board  of  Fine  Arts.  The  more  notable  of 
these,  which  will  shortly  be  exhibited  in  the  rooms 
set  aside  for  new  acquisitions  on  the  ground  floor  of 
the  palace,  are  the  bust  of  "  Baltard,  the  Architect," 
by  Agathoii  Leonard,  and  those  of  the  Brothers  de 
Goncourt,  by  Alfred  Lenoir  and  Ringel  d'lllzach. 

Among  pictures  recently  received  I  will  mention 
an  interesting  pastel ,  portrait  of  the  Due  d'Orleans, 
father  of  Philippe  Egalite,  presented  by  M.  Thie- 
bault  Sisson,  the  eminent  art  critic  of  the  Temps,  and 
three  portraits  presented  by  Mademoiselle  de  la 
Ronciere  Le  Noury,  a  descendant  of  the  admiral  of 
that  name.  Two  are  the  work  of  the  painter  Suvel, 
who  was  Director  of  the  Academy  of  France  in  Rome 


in  1803,  and  represent  "  M.  and  Madame  Clement  de 
Ris"  ;  the  other  is  attributed  to  Hyacinthe  Rigaud, 
and  is  a  portrait  of  the  Comte  de  Genebaud  (1741). 
Gradually,  the  Versailles  Museum  is  becoming  a  com- 
plete National  Portrait  Gallery  of  France,  thanks  to 
private  gifts  and  bequests,  to  purchases  made  by  the 
museum,  to  the  liberality  of  the  State,  and,  above  all, 
to  internal  discoveries  and  new  classifications. 

At  the  Petit  Palais,  the  Dutuit  Collection  has 
been  inaugurated.  The  temporary  exhibition  of  the 
Rembrandt  etchings  is  already  closed,  and  is  now 
succeeded  by  that  of  the  works  of  Albrecht  Durer. 
But  the  keepers  of  the  collection  will  be  authorized  to 
permit  such  persons  as  shall  make  a  request  in  due  form 
to  consult  the  portfolios  containing  those  admirable 
pieces,  which  possess  an  infinite  interest  for  the  artist, 
the  scholar,  and  the  collector. 


The  tiara  presented  to  Leo  XIII 
his  Silver  Pontifical  Jubilee  is  being  much  admired  by 
art  workers  for  its  fineness  both  of  design  and  of  execu- 
tion. The  main  structure  of  the  tiara  is  in  fine  silver  ; 
while  the  three  crowns  are  formed  of  purest  gold, 
embossed  with  heraldic  designs  and  interspersed  with 
leaves  and  flowers.  In  the  lower  zone,  whence  six 
olive  branches  rise  with  alternating  movements  to 
the  second  crown,  are  six  oval-shaped  medallions. 
Three  of  these  contain  the  portraits  of  St.  Peter, 
Pius  IX,  and  Leo  XIII,  as  being  the  three  only 
Bishops  of  Rome  who  completed  an  episcopate  of 
twenty-five  years.  The  other  three  medallions  take 
the  form  of  commemorative  inscriptions.  All  six  are 
corniced  with  decorated  scrolls.  Amidst  the  floral 
work  of  the  central  zone  appear  two  other  scroll- 
corniced  medallions,  one  bearing  the  figure  of  the 
Good  Shepherd  and  the  other  the  si^la  of  Solemn 
Homage.  The  space  between  the  third  crown  and 
the  globe  and  cross  which  surmount  it  is  filled  in  with 
elegant  rose  work,  which,  drooping  towards  the  centre, 
produces  a  fine  eff'ect.  The  weight  of  the  whole  does 
not  exceed  a  kilogramme,  and  represents  a  triumph  of 
technical  skill  on  the  part  of  Augusto  Milani,  the 
Bolognese  artist  who  designed  and  executed  the  wnrh. 
The    73rd    Annual    Exhibition    of    Fine    Arts,    in 


ROMAN    NOTES 

(from  our  correspondent) 
the  occasion  of  Rome,  was  opened  on  Saturday,  March  21.  The 
King  and  Queen  of  Italy,  accompanied  by  numerous 
Ambassadors,  Princes,  and  distinguished  artists  of 
France  and  Italy — including  the  painter  Joris — spent 
the  greater  part  of  the  morning  in  viewing  the  twenty- 
two  salons  of  the  exhibition  buildings  in  the  Via 
Nazionale.  Owing  to  the  considerable  number  of 
works  accepted  from  foreign  artists  residing  in  Rome 
or  Italy,  the  exhibition  has  this  year  been  arranged 
on  tlie  topographical  plan.  Germany  is  most  in  evi- 
dence, though  very  closely  run  by  Russian  work. 
Austria  easily  excels  the  rest  with  its  fine  landscapes 
by  Brioschi,  its  marine  painting  by  Benes  Kniipfer, 
and  Seeboeck's  graceful  sculptures.  King  Victor 
Emmanuel  III  and  Queen  Elena  were  particularly 
struck  by  the  latter's  portrait  of  Baron  Pasetti, 
together  with  a  charming  fountain  piece,  and  con- 
gratulated the  artist  warmly  upon  his  skill  in  render- 
ing individual  character,  as  also  in  treating  purely 
ideal  subjects. 

The  suite  of  rooms  given  up  to  the  complete  pro- 
ductions of  Professor  Castelli,  the  eminent  landscape 
painter,  attract  special  attention  ;  and  it  is  deemed  a 
happy  thought  that  the  committee  have  been  able  to 
concentrate  his  collection  before  inevitable  dispersion 
comes. 


ANSWERS   TO   CORRESPONDENTS 

We  are  prepared  to  answer  questions  about  matters  connected  with 
art,  collecting,  etc.,  in  this  column.  All  questions  must  be  aiithen- 
ticated  by  the  sender's  name  and  address,  which  will  not  be  published. 
The  questions  will  be  numbered. 

OPINIONS   ON    WORKS   OF   ART 

We  are  prepared  to  arrange  for  expert  opinions  as  to  the  authenticity, 
etc  ,  of  works  of  art  and  old  books.  The  opinions  will  be  given  by 
members  of  the  Consultative  Committee  of  The  Blrlington  MA(iA- 
ziNE  and  other  experts  of  equally  high  standing. 

The  objects  as  to  which  an  opinion  is  desired  may  be  sent  to  this 
office,  or  we  may  arrange  for  a  visit  to  be  paid  to  the  house  of  the 
owner  when  this  is  preferred. 

The  charge  for  an  opinion  or  attribution  will  be  a  matter  ot 
arrangement  in  each  case,  and  nothing  must  under  any  circumstances 
be  sent  to  this  office  without  a  previous  arrangement. 

36 


All  objects  sent  will  be  at  the  owner's  risk  and  will  be  insured,  the 
owner  paying  the  cost  of  insurance  and  carriage  both  ways.  Though 
every  possible  care  will  be  taken  of  anything  sent,  we  cannot  under- 
take any  responsibility  in  the  event  of  loss  or  damage. 

We  do  not  undertake  valuations,  nor  can  we  in  any  case  act  as 
agents  for  sale  or  purchase.  Those  who  are  acquainted  with  these 
nnatters  are  well  aware  that  such  undertakings  on  the  part  of  a 
periodical  either  interfere  with  the  legitimate  trade  of  the  professional 
dealer  or  else  open  the  door  to  practices  not  to  the  interest  of  the 
private  vendor.  But  we  will  gladly  give  an  opinion  as  to  whether 
any  object  has  any  appreciable  value,  and  (when  possible)  what  prices 
similar  objects  have  recently  fetched  at  auction. 

Owners  wishing  to  sell  should  either — 

(i)  Advertise  in  The  Burlington  Gazettk,  which  circulates 
among  a  large  and  wealthy  collecting  public  ; 

(2)  Offer  the  object  to  a  dealer  of  repute  (the  names  of  the 
best  dealers  will  be  found  in  the  advertisement  pages  of  The 
BtJRMNGTON  Magazine)  ;  or 

(3)  Put  the  object  up  to  auction. 


NUMBER  II        VOLUME  I  MAY  1903 

THE 

BURLINGTON 

GAZETTE 

FOR    MAY    1903 

BEING    THE    MONTHLY   SUPPLEMENT   TO 

THE   BURLINGTON  MAGAZINE   FOR  CONNOISSEURS 

OF   THE    PREVIOUS    MONTH 


LONDON 

THE    SAVILE    PUBLISHING    COMPANY,    LIMITED 

14,  NEW    BURLINGTON    STREET,  W. 

PARIS:    LIBRAIRIE    H.    FLOURY,   i,  BOULEVARD   DES   CAPUCINES 

BRUSSELS:   SPINEUX  &  CIE..  62.  MONTAGNE   DE   LA  COUK 

LEIPZIG:   KARL   \V.   HIERSEMANN,  3.   KONIGSSTRASSE 

AMSTERDAM:   J.   G.   ROBBERS,   64,   N.   Z.   VOORBURGWAL 

NEW   YORK:    SAMUEL   BUCKLEY   &   CO.,   100,  WILLIAM   STREET 

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NUMBER  II     VOLUME  I 


APRIL  1903 


THE 

BURLINGTON 

MAGAZINE 

for  Connoisseurs 
illustrated k^uhlishedMontM^ 


CONTENTS 


THE   WARWICK    MS.— SIR   E.   MAUNDE   THO-MPSON.    K.C.B. 

EVOLUTION  OF  FORM  AND  DECORATION  IN  ENGLISH  SILVER  PLATE. 
PART  I.— PERCY    MACQUOID,  R.I. 

THREE   UNPUBLISHED    ITALIAN   PORTRAITS.— HERBERT  COOK,  F.S.A. 

HANS   SEBALD   BEKAM.— CAMPBELL   DODGSON 

CLIFFORD'S  INN.—  PHILIP  NORMAN,   F.S.A. .  AND  F.  L.  GRIGGS 

EARLY  PAINTERS  OF  THE  NETHERLANDS.    II.— W.  H.  JAMES   WEALE 

NOTE  ON  AN  UNPUBLISHED  HOLBEIN  MINIATURE  IN  THE  COL- 
LECTION OF  THE  ("^UEEN'  OF  HOLLAND.— RICHARD  HOLMES, 
C.V.O. 

A  DJiAWING  BY  HOLBEIN  IN  THE  COLLECTION  OF  THE  DUKE  OF 
DEVONSHIRE,  K.(i. 

NOTES   ON   VARIOUS   WORKS   OF   ART 

NEW   ACOUISITIONS   AT   THli    NATIONAL   MUSEUMS 

LONDON 

THE     SAVILE     PUBLISHING     CO^.IPANV,     LlMITEi:) 

i.j,   NEW   BURLINGTON    STREET,   W. 

PAIUS:  L1PRA!!;IK  H.  FLOURY,  i,  I50IJLF.VARI>  DES  CAPUCINHS.     15KC-SSELS:  SPIN1U:X  .vCIE. 

(j2,  .\IOMACNli;  Dr.  JLA  COUR.     ,    LEIPZIG:  KARL  W.-HlURSEMAN:.'.  ;i.  KONIGSSTKASSii 

:;ii\V   YORK:   SAMUKL  BUCKLEY   .4   CO.,    aoo,   WILLIAM   SXREET 

A^'STi:.Kl)AM;   J.   G.    ROnUERS,   N.  Z.   YOORUURGWAL,   (.(. 

'  I  0:;j;UCE:   U.   SEESHK.   :o,   VIA   TORN'ABUONl 


•RICE  HALF-A-Cl;0\VN  NET;  ANNl  AL  bUBSCKlPTJON  (INCLUDING  SUPFLliMENT)  THIRTY-FIVE  SHILLINGS  PUST  FB 
r,r,,,.-  ,-.•  -..,.,:•  r,^.•n-..•r.  .."iTt?.;    hvp  r,Ol  l.AR  NET:    IN  OTHER  FOREIGN'  COUNTRIES.  3  f-  50.  or  2.S0  MARKS  Nirf, 


THE    BURLINGTON    GAZETTE 

BEING  THK   MONTHLY  SUPPLEMENT  TO  THE 
lURLlNGTON  MAGAZINE  EOR  CONNOISSEURS  OF  THIv  PRE\'IOUS  MONTH 


THE   TEXRA    OF    SAITAPHARNES 


WRITTEN  BY  THE  VICOMTE  G.  UE  RUKTHAYS,  KEI'RESENTATIVE   IN    TARIS   OF   THE  BURLINGTON  MAGAZINE 


The  aflair  is  not  tiiiished.  M.  Clerniont-Ganneau's 
iiniuiry  is  still  proceeding.  We  have  \et  to  wait  before 
we  can  know  the  truth,  the  whole  truth  in  the  matter 
of  the  tiara.  We  must  content  ourselves  to-day,  that 
we  may  not  weary  the  attention  of  our  readers,  with 
giving  a  short  resume,  under  three  headings,  of  the  facts 
which  concern  the  inquiry,  properly  so-called,  into  the 
supposed  maker  of  the  tiara  and  the  vendors  from  whom 
the  Louvre  bought  it. 

I.— THE   INiiLMKV 
One   of   M.  Clermont-Ganneau's   friends    has    lateh' 
stated   that    "  he  was   progressing  slowly  but   surely 
towards  the  truth." 

"  If  the  metaphor  did  not  seem  to  be  somewhat 
i)old,  I  should  like  to  compare,"  he  continued,  "  his 
search  to  a  great  army  on  the  march — one  of  those  un- 
wieldy armies  which  conquer  but  little  fresh  ground 
every  day,  but  which  it  is  impossible  to  dislodge  from 
the  positions  they  have  once  captured.  Every  fresh 
point  acquired  by  the  savunt  is  a  definite  gain,  and  con- 
troversy is  rendered  useless  or  impossible." 

On  the  other  hand,  and  notwithstanding  the  silence 
preserved  by  the  man  of  science,  several  rumours  have 
been  spread  abroad,  according  to  which  M.  Clermont- 
danneau  has  already  sent  the  minister  an  unfavourable 
report  with  regard  to  the  authenticity  of  the  tiara.  He 
must  have  been  led  to  this  first  conclusion  by  personal 
and  exhaustive  study  :  the  lower  band  is  absolutely 
spurious  ;  the  middle  zone  has  been  executed  after  an 
ancient  fragment ;  the  upper  band  is  modern,  but  made 
to  resemble  an  antique. 

But  on  the  arrival  of  M.  Rouchomowski  the  inquiry 
took  a  new  turn.  The  Russian  sculptor  was  asked, 
before  the  tiara  was  handed  to  him,  to  give  a  description 
of  it  from  memory  in  all  its  details,  and  then  to  indicate 
the  sources  whence  he  had  obtained  the  tracings  and 
sketches  that  where  in  his  possession. 

After  this  the  tiara  was  shown  to  the  artist,  who 
uxclaimed  :  "  That  is  my  tiara — I  recognize  it  !  "  To 
make  assurance  doubly  sure,  M.  (Hcrmont-Ganneau 
decided  to  send  to  Odessa  for  the  sculptor's  tools;  these 
having  arrived,  M.  Rouchomowski  is  at  the  present  time 
employed  in  reproducing  on  a  strip  of  gold,  which  has 
been  placed  at  his  service,  a  bobbin  of  the  tiara — a  frag- 
ment traversing  the  three  bands.  Afterwards  there 
will  follow  a  chemical  examination  of  the  object,  by 
means  of  an  analysis  made  by  successive  retouchings. 
Such  are  the  principal  lines  that  are  being  followed 
bv  M.  Clermont-Ganncau  in  his  incjuiry.  Very  shortly 
the  inquiry  will  be  concluded,  and  in  all  probability  we 
may  have  a  chance  of  following  a  renewed  discussion 
among  the  learned  men.  ' 

II.— THE   RUSSIAN   ARTIST 
.\t    first    he    was    the    nebulous   and    enigmatical   .\, 
whose  very  existence  was  uncertain.     Even   his  name 

No.  2.    Vol.  I.— May  1903 


changed  its  letters,  like  Proteus  his  form.  We  had 
Rachaumowski,  Roukhomovski,  Rachumowski,  Rau- 
choumovski,  Rauchomowski ;  and  lastly,  in  Russian, 
Pyxocuobckiu.  Mysteries  surrounded  his  advent  into 
our  capital ;  for  three  or  four  days  he  was  seen  by  no 
one ;  no  one  went  near  him,  and  a  rumour  was  prevalent 
that  he  had  not  come.  An  assumed  name,  a  false 
address,  cabs  with  windows  up  and  blinds  drawn — all 
sorts  of  subterfuges  recalling  the  blue  glasses  and  wig 
of  a  certain  \eiled  lady,  were  requisitioned  for  the 
purpose  of  isolating  Rouchomowski  behind  a  cloud 
inaccessible  to  the  uninitiated. 

The  zeal  of  the  reporters  made  this  comic-opera 
prologue  of  no  avail.  The  unfortunate  sculptor  was 
discovered,  and  thenceforth  we  were  initiated  into  the 
smallest  details  of  his  life  in  Paris  ;  the  cutlets  he  ate, 
the  hats  he  wore  and  the  kind  of  collars  he  affected  ! 

M.  Rouchomowski  is  forty-three  years  of  age  ;  he 
is  a  Lithuanian  Jew.  He  is  married,  and  the  father 
of  six  children,  the  eldest  of  whom,  it  appears,  already 
shows  a  talent  for  sculpture.  Employed  in  a  factory, 
he  managed  to  make,  out  of  work  hours,  artistic  trifles, 
of  which  he  says  the  tiara  is  one,  and  a  sarcophagus, 
which  he  calls  "  his  life's  masterpiece."  We  have 
seen  this  sarcophagus,  which  is  a  tiny  silver  object 
of  remarkable  fineness  of  execution ;  but  if  Rou- 
chomowski really  made  the  tiara,  that  and  not  the 
sarcophagus  is  "  his  life's  masterpiece." 

One  of  the  characteristics  of  M.  Rouchomowski  is 
the  need  he  feels  to  unbosom  himself.  He  is  certainly 
not  averse  to  the  interviewer.  He  tells  his  tale  with 
much  complai-sance.  We  learn  how  he  longed  to  be 
abU;  to  settle  in  Paris,  and  how  he  despaired  of  ever 
being  able  to  do  so  ;  how  he  came  here,  and  how  he 
is  going  back.  But  when  we  ask  him  who  gave  him 
the  commission  for  the  tiara,  he  hesitates,  he  entrenches 
himself  behind  the  secrets  of  the  profession— even,  we 
are  assured,  when  II.  Clermont-Ganneau  insists  upon 
this  especial  point.  In  a  word,  though  M.  Roucho- 
mowski has  become  known  to  us,  it  is  evident  that 
there  are  other  X's  taking  refuge  behind  his  silence, 
and  that  there  are  still  clouds  remaining  to  be  dis- 
pelled. It  is  for  M.  Clermont-Ganneau  to  speak  now, 
if  haply  the  talkative  Rouchomowski  will  consent  to 
tell  all  that  he  knows.  Let  us  hope  that  the  month 
of  the  inquiry  may  not  turn  out  to  be  so  many  Journces 
dcs  Dupes. 

III.— THE  VIENNESE  MERCHANT 
Is  the  tiara  authentic?  If  not,  who  made  it?  And 
who  were  the  vendors  who  brought  it  to  the  Louvre, 
after  having  taken  it  to  most  of  the  capitals  of  Europe  ? 
.\11  these  things  are  connected,  hang  together,  and 
teach  us  many  lessons  with  regard  to  the  future. 

M.  Rouchomowski  will  not  name  the  person  who 
commissioned  him  to  make  the  tiara  ;  he  simply  states 


THE    BURLINGTON    GAZETTE 


that  it  passed  through  several  hands,  those  of  Hoch- 
mann  among  others. 

If  the  point  of  departure — M.  Rouchomowski — is 
now  ascertained,  if  we  do  not  yet  know  the  various 
intermediaries,  at  any  rate  we  have  the  point  of 
arrival,  viz.,  the  Viennese  merchant,  Vogel.  The 
Viennese  newspaper.  Die  Zeit,  disclosed  his  name, 
adding  that  Vogel  had  twice  disappeared,  and  that  it 
was  not  now  known  where  he  was.  About  the  same 
time  M.  Salomon  Reinach  received  a  letter  from  one 
of  his  colleagues  in  Vienna,  stating  that  he  knew  that 
Hochmann,  much  straitened  by  the  rebuffs  he  had 
met  in  Vienna,  had  parted  with  the  tiara  and  several 
other  articles  to  a  merchant,  of  the  name  of  Vogel 
for  the  sum  of  30,000  fr.  On  April  22  the  Viennese 
correspondent  of  Le  Temps  discovered  Vogel  the 
obscure — an  antiquary — at  No.  21,  Margarethenstrasse. 
\'ogel    allowed    himself    to    be    interviewed    with    a 


good  grace,  and  made  some  interesting  statements. 
He  believed  the  tiara  to  be  authentic.  He  admitted 
having  received  200,000  fr.,  74,000  fr.  of  which  he  kept  ; 
he  gave  86,000  fr.  to  Hochmann,  and  40,000  fr.  to  a  Pole 
(since  dead)  of  the  name  of  Szymansky,  who  was  one 
of  the  intermediaries,  and  who  came  with  him  to  Paris. 
Vogel  states  that  he  showed  the  tiara  to  the  archae- 
ologists Schneider,  Benndorf,  Bormann  and  Bucher, 
and  to  collectors  such  as  Messrs.  Dumba,  Count 
Wilczck,  and  Baron  de  Rothschild,  who  all,  with  the 
exception  of  Bucher,  believed  in  the  authenticity  of 
the  article.  What  are  Vogel's  declarations  and  evi- 
dence worth  ?  Will  he  too  be  called  upon  to  state 
precisely  what  he  has  already  advanced  to  the  inquiry 
set  on  foot  concerning  the  tiara  ?  We  should  not  like 
to  prophesy.  It  is  enough  to  remark  that  so  far 
neither  the  tiara,  nor  its  reputed  maker,  nor  its  latest 
vendor,  has  spoken  his  last  word.   Let  us  wait  for  that  ! 


SHAKESPEARE'S    HANDWRITING 

WRITTEN    BY    W.    CAREW    HAZLITT 


So  much  has  been  written,  and  such  serious 
differences  of  opinion  have  existed,  and  do 
exist,  respecting  the  surviving  signatures 
of  our  national  poet,  that  it  may  prove 
of  some  service  to  endeavour  to  state  the 
case  in  accordance  with  the  most  recent 
information.  The  establishment  of  the 
absolute  identity  of  Shakespeare  with  the 
individual  of  that  name  who  was  born  and 
died  at  Stratford,  1564-1616,  and  who 
wrote  the  poems  and  plays  which  are 
claimed  by  or  for  him  on  the  title-pages  or 
in  the  introductory  matter,  is  collaterally 
assisted  by  the  reduction  of  the  calli- 
graphic remainsto  a  chronological  sequence. 
We  have  to  bear  distinctly  in  mind,  when 
we  seek  to  criticize  these  somewhat  un- 
clerkly  examples  of  penmanship,  that  the 
great  dramatist  used  the  court,  not  (like 
Jonson  and  Bacon)  the  Italian,  hand,  and 
that  in  the  case  of  his  contemporary  and 
countryman,  Michael  Drayton,  the  cha- 
racters of  the  signature  are  equally  distant 
from  fulfilling  technical  postulates  and,  if 
possible,  still  less  elegant.  The  question  of 
handwriting  is,  of  course,  independent  uf 
that  of  educational  acquirements,  as  we 
may  satisfy  ourselves  from  innumerable 
instances,  ancient  and  modern  ;  but,  if 
Shakespeare  was  less  happy  in  his  calli- 
graphy than  in  other  directions,  the  cir- 
cumstance does  not  affect,  as  some  have 
sought  to  demonstrate,  his  general  learning, 
and  was  his  personal  idiosyncrasy  rather 
than  the  blame  of  the  excellent  provincial 
school  which  had  the  unique  honour  of 
being  his  Alma  Mater. 

It  is  almost  a  thing  of  common  know- 
ledge, that  of  Shakespeare  manuscripts  not 
a  fragment  has  come  down  to  us  beyond 
the  subscriptions  to  certain  documents,  in 
one  of  which  the  two  monosyllables  By  me 
supply  a  faint  glimpse  of  holograph,   and 

38 


OVIDII  MET  AMORPHO.SEOIN 


Facsimile  of  title  page  of  Aldine  Ovid  with  signature  of  Shakespea 


m 


two  or  three  signatures  in  books.     The  former  are 
fixabie  as  to  date  by  absolute  evidence.     They  com- 
prise the  Biackfriars  deed  of  1613  and  its  counterpart, 
preserved   in  two  public  repositories  in   England  ;  the 
will,  with  Its  three  attestations,  1616  ;  and  a  signature 
belonging  (if  genuine)  to  the  same   late   period,  and 
attached  (not  appurtenant)  to  a  copy  of  the  second  folio. 
The  latter  category  is  more  limited  in  extent  and  less 
official  in  character;   it  includes  the  Bodleian 
Ovid  and  the  Florio's  Montaigne  in  the  British 
Museum.     This  group  of  material,  with  which 
I  deal  more  at  large  in  my  recent  monograph 
on   Shakespeare,^  appears  to  be  susceptible  of 
a  classification   into  three  epochs  :    (i)   Some 
period    before    1613,   probably    between    1600 
and  1603:   (2)  the  date  of  the   purchase  from   HLiiry 
Walker  of  the  propert\-  in  Biackfriars,  1613,  in  lioth  i)f 
which    presents  itself   the    significant    •    in     the    fild 
of  the  "  W  '■  ;   (3)   that  of  the  completion  of  tin;  will  in 
the  spring  of  1616. 

I  will  now  introduce  facsimiles  of  the  first  type 
■  if  writing,  when  the  hand  was  evidentlj'  quite  firm 
ind  the  power  of  forming  letters  as  perfect  as  it 
■ver  became.  In  respect  to  the  inscription  in  the 
Montaigne  it  is  quite  necessary  to  remark  that  in 
till'  dnwnstroke  of  the  "  W"  the  ink,  or  at  any  rate 
ihi'  pen,  has  failed,  as   in   \w\  present  facsimile;    but 


in  Sir  Frederick  Madden's,  1838,  the  defect  is 
silently  made  good.  Secondly,  we  arrive,  without 
any  surmise  of  further  vestiges  of  the  poet  in  this 
sense  and  direction,  at  the  two  autographic  evidences 


W 

Sh.ikcspeare's  signatures 


^Qb^i^"^ 


tho  Biackfriars  Deed 


of  1613,   which   ma}-  be    ten    }( ars    posterior    to  the 
Montaigne  and  even  more  than  that  to  the  Ovid.  There 


SILVKESPEARE'S    H.\NDWRrriNG 

is  a  farther  silent  interval,  and  with  impressive  sud- 
denness and  abruptness  we  reach  the  close  of  the 
scene  and  of  our  resources.  There  arc,  in  the  first 
place,  the  three  subscriptions  to  the  will,  i6i6,\vhich  I 
arrange  in  the  order,  not  in  which  they  present  them- 
selves, but  in  that  in  which  I  hold  them  to  have 
been  written  for  reasons  which  I  give  elsewhere.  And 
finally  I  subjoin  a  bit  of  waif  and  stray  of  uncertain 

Signatures  to  iIil-  Will,   iIjiO,  in  the  order  in  which  they  are  held  to 
have  been  written 

origin  and  character,  but,  granting  its  authenticity,  of 
the  same  period,  namely,  a  signature  ostensibly  de- 
tached from  some  document  or  letter,  and  inserted 
iiniler  unrecorded  circumstances  in  a  copy  of  the 
]ila\s,  1632,  formerly  belonging  to  Ward  the  actor, 
who  died  in  1773,  and  before  the  signal  interest  in 
such  matters  was  aiie(|iiately  appreciated,  who  may 
iiavc  met  with  thr  viiIihir-  in  one  of  his  provincial 
tours. 


The  characters,  as  we  perceive,  are  very  tremulous 
and  indistinct,  far  more  so,  indeed,  than  those  of  the 
subscription  to  the  third  and  final  folio  of  the  will ; 
and  my  inclination  is  to  assign  the  relic  in  point  (jf 
date  to  the  short  lapse  of  time  between  the  signature 
just  mentioned  and  thoseon  folios twoand  one.  Farther 
or  nearer  than  this  I  see  no  means  of  going.  The 
calligraphic  records  in  this  case  divide  themselves, 
then,  very  unequally  into  two  classes  and  periods: 
(i)  the  Ovid  and  Montaigne,  both  in  or  before  1603; 
(2)  the  Biackfriars  deed,  the  detached  Ward  signature, 
and  the  signatures  to  the  will.  The  whole  of  the  latter 
category  more  or  less  betrays  a  failure  of  physical 
strength.  But  all,  at  the  same  time,  carry  with  them 
that  ostensible  key  to  a  common  source  and  identity 
in  the  hitherto  unrecognized  and  very  idiosyncratic 
full-point  already  specified  ;  while  some,  let  us  bear 
in  mind,  were  unknown  to  the  earlier  fabricators. 


39 


ART    PUBLICATIONS   OF    1903. 


GENERAL 
Le  MusSe  d'Art.      Galerie  des  chefs  d'oeuvre  et  precis  de  I'histoire 
de  I'art  depuis  les  origines  jusqu'au  xix''  siecle.     Ouvrage  publie 
sous  la  direction   de   M.  E.  Muntz.      Paris  (Larousse).      [Over 
900  illustrations.] 

A  series  of  essays  upon  national  arts  or  periods  of  art  by 
specialists.  Among  the  collaborators  are  MM.  E.  Bertau.\. 
C.  Diehl,  L.  Dimier,  E.  Durand-Greville,  Gonse,  Havard, 
P.  Lafond,  E.  Male,  von  Mandach,  G.  Migeon,  R.  Peyre  and 
G.  Riat. 

Knackfuss(H.).  AUgemeine  Kunstgeschichte.  III.  Kunstgeschichte 
des  Barock,  Rokoko  und  der  Neuzeit ;  Die  Kunst  im  Zeitalter 
des  Barockstils  von  M.  G.  Zimmerman.  Die  Moderne  Kunst  seit 
dem  Zeitalter  der  franzosischen  Revolution.  (lo  x  7.)  Bielefeld 
und  Leipzig  (Velhagen  &  Klasing). 

Waldstein  (C).  Art  in  the  Nineteenth  Century.  (8  x  5.)  Cam- 
bridge (University  Press). 

Flandreysy  (J.  de).  Femmes  et  diiesses :  la  Venus  de  Milo,  la 
Joconde,  les  trois  Graces  de  Raphael,  les  Muses  de  Pu\is  de 
Chavannes.  Preface  par  J.  Clar^tie.  68  pp.  4  plates  (13  x  9). 
Paris  (Societe  d' Editions  litteraires  et  artistiques). 

WiLLARD  (A.  R.).  History  of  Modern  Italian  Art.  Second  edition, 
with  a  supplement  to  the  text  and  12  additional  illustrations. 
(9  X  6.)     London  (Longmans,  Green). 

Hevesi  (L.).  Oesterreichische  Kunst  im  19  Jahrhundert.  2  vols. 
(11x17.)     Leipzig  (Seemann).      [254  illustrations.] 

Vols.  II.-III.  of  the  Geschichte  der  Modernen  Kunst.  An 
excellent  review,  in  340  pages,  of  modern  art  in  the  dual- 
monarchy  ;  painting  is  treated  rather  more  fully  than  architec- 
ture or  sculpture. 

GuiFFREY  (J.).  La  Collection  Thomy-Thiery  au  musee  du  Louvre. 
(12  X  9.)     Paris  (Libr.  de  lArt  ancien  et  moderne). 

Aristotle's  Theory  of  Poetry  and  Fine  Art  With  a  critical 
text,  etc.,  by  S.  H.  Butcher.     3  ed.     (9  x  6.)     London. 

Peltzer  (A.).  Die  iisthetische  Bedeutung  von  Goethes  I'arbenlehre. 
48  pp.     (10  X  7.)     Heidelberg  (Winter). 

ANTKIUITIES 

Bezold  (C).  Ninive  und  Babylon.  (10  x  7.)  Bielefeld  und  Leipzig 
(Velhagen  &  Klasing),  1903. 

No.  XVIII.  of  E.  Heyck's  Monographien  zur  Weltgeschichte. 
Primarily  an  historical  manual,  it  has  one  hundred  good  illus- 
trations of  every  variety  of  Assyrian  and  Babylonian  antiquities 
and  art  remains. 

Gardner  (E.  A.).  Ancient  Athens.  (9x6)  London  (Macmillan). 
Illustrated. 

Cook  (E.  T).  A  Popular  Handbook  to  the  Greek  and  Roman 
Antiquities  in  the  British  Museum.  [Plans.]  (7x5.)  London 
(Macmillan). 

Hill  (G.  F.).  Illustrations  of  school  classics.  (7  x  5.)  London 
(Macmillan), 

Mau  (A.).  Pompeii,  its  Life  and  Art.  Translated  into  English  by 
F.  W.  Kelsey.     New  edition.     (9x6.)     London  (Macmillan). 

Ubell  (H.).  Vi'er  Kapitel  vom  Thanatos  :  uber  die  Darstellung  des 
Todes  in  der  griechischen  Kunst.    68  pp.    (10x6.)    Wien  (Stern). 

Omont  (H.).  Missions  arch^ologiques  fran(;aises  en  Orient  aux 
xvii«  et  xviii'- siecles.  2  vols.  (11x9.)  Paris  (Imprimerie  Nation- 
ale),  1902. 

The  Victoria  History  of  the  County  of  Essex,  Vol.  I.  (13  x  8.) 
Westminster  (Constable),  1903. 

Besides  chapters  upon  "  Early  Man  "  (by  G.  F.  Beaumont  and 
I.  Chalkeley  Gould),  ••  Ancient  Earthworks  "  (I.  Chalkeley  Gould), 
this  volume  contains  "Anglo-Saxon  Remains,"  by  R,  A.  Smith, 
B.A.,  with  a  coloured  plate  illustrating  pottery,  metal-work  and 
glass  of  the  period  found  in  Essex. 

Wakkman's  Handbook  of  Irish  Antiquities.  Third  edition  by 
John  Cooke.  Illustrated.  (8  x  5.)  Dublin  (Hodges  Figgis)  ; 
London  (Murray). 

Brossard  (C.).  Giographie  pittoresque  et  monumentale  de  la 
I'rance:  La  France  du  Sud-Ouest.  (12x8.)  Paris  (Flammarion). 
An  illustrated  topographical  and  archaeological  survey  of  France, 
with  maps,  etc.  The  following  volumes  have  already  appeared 
in  parts  ;  La  France  du  Nord  (1900),  de  I'Ouest  (1901),  de  I'Est 
(1902). 

Pevre  (K.).  Nimes,  Aries,  Orange,  Saint-Reray.  (iixS.)  Paris 
(H.  Laurens).     [85  illustrations,] 

In  160  pages  this  volume  of  the  "  Villes  d'art  c^lebres  "  collec- 
tion gives  a  very  detailed  account  of  the  Roman  and  other 
buildings  and  remains  of  the  region.  There  is  also  a  chapter 
upon  Montmajour,  and  a  bibliography. 

NoLUAC  (P.  de).  Louis  XV.  et  Madame  de  Pompadour.  (13  x  10.) 
Paris  (Goupil).     [50  plates.] 

•  Sizes  (helglil 


Clemen  (P.)  Die  rheinische  und  die  westfalische  Kunst  auf  der 
Kunsthistorischen  Ausstellung  zu  Diisseldorf,  1902.  52  pp. 
(14x10.)     Leipzig  (Seemann).      [49  illustrations.] 

HoFMANN  (F.  H.).  Bayreuth  und  seine  Kunstdenkmale  [about 
150 illustrations].  (12x8.)  Miinchen  (VereinigtenKunstanstalten). 

Doren  (a.)  Deutsche  Handwerker  und  Handwerkbruderschaften 
im  mittelalterlichen  Italien.     (10x6.)     Berlin  (Prager). 

Bredius  (A.).  Amsterdam  in  de  zeventiende  eeuw.  Aflevering 
19-20.     (16x12.)     's-Gravenhage  (van  Stock um). 

A  history  of  the  city  of  Amsterdam  in  its  golden  age,  illus- 
trated from  paintings,  prints  and  drawings.  The  present  part 
contains  inter  alia  the  first  pages  of  a  history  of  xviith  century 
Amsterdam  painting,  commencing  with  the  portraitists  and 
historical  painters. 

Forrest  (G.  VV.).  Cities  of  India.  Illustrated.  (9x5.)  West- 
minster (Constable). 

Ldnet  oe  Lajonquiere  (E.)  Inventaire  descriptif  des  monuments 
du  Cambodge.     (11x7).     Paris  (Leroux).     Illustrated. 

Okakura  (K.).  The  Ideals  of  the  East,  with  special  reference  to  the 
art  of  Japan.     (8  x  5.)     London  (Murray). 

LuMHOLTZ  (C.).  Unknown  Me.\ico;  a  record  of  five  years'  explora- 
tion.    Illustrated.     2  vols.     (10x6.)     London  (Macmillan). 

BIOGRAPHICAL   WORKS   AND   MONOGRAPHS 

Brlin  (C).  Schweizerisches  Kunstler-Lexikon.  Dictionnaire  des 
artistes  suisses.  .  .  .  Redigiert  unter  Mitwirkung  von 
Fachgenossen.  Erste Lieferung  [A — Bod].  (11x7).  Frauenfeld 
(Huber). 

F.vbriczy  (C.  von).  Adriano  Fiorentino.  (Jahrbuch  der  Kgl. 
Preussischen  Kunstsammlungen,  xxiv,  i  Heft.  1903.) 

Holroyd  (C).  Michael  Angelo  Buonarroti.  With  translations  of 
the  life  of  the  master  by  his  scholar  Ascanio  Condivi,  and 
three  dialogues  from  the  Portuguese  by  Francisco  d'Ollanda. 
[51  illustrations.]      (8x5.)     London  (Duckworth). 

Cl'rtius  (F.).  Ernst  Curtius,  ein  Lebensbild  in  Briefen.  (9x6). 
Berlin  (Springer). 

Dreyfous  (M.).  Dalou:  Sa  vie  et  son  oeuvre.  Preface  de  M.  H. 
Roujon.     (12x8.)     Paris  (Laurens). 

An  excellent  biography  and  critical  appreciation  of  Dalou's 
work.  Rectification  of  the  account  given  of  the  sculptor's  part 
in  the  "conservation"  of  the  Louvre  during  the  events  of  May 
1871  has,  however,  since  appeared  in  the  Chronique  des  Arts 
(7  Uv.  1903). 

Gros  (A.).  Francois-Louis  Fran(;ais  :  causeries  et  souvenirs  par  un 
de  ses  (Aleves.  (9x6).  Paris  (Librairies-imprimeries  reunies). 
[12  plates.] 

Friedlaender  (M.  J.).  Geertgen  tot  S  Jans.  (Jahrbuch  der  Kgl. 
Preussischen  Kunstsammlungen,  xxiv.,  i  Heft.  1903.) 

Hatton  (J.).  Alfred  Gilbert,  R.A.  The  Easter  Art  Annual,  1903. 
(14x10.)  London  (Virtue).  [3  phototypes  and  46  process  illus- 
trations.] 

,LisTER  (R.).  Jean  Goujon,  his  Life  and  Work.  With  an  introduc- 
tion by  S.  A.  Strong.  (13x10.)  London  (Duckworth).  [20  plates, 
and  illustrations  in  text.] 

"  The  first  complete  study  of  the  master  that  has  appeared  in 
English." 

Fjschel  (O.).  Ludwig  von  Hofmann.  (10x7)  Bielefeld  und  Leip- 
zig (Velhagen  &  Klasing). 

No.  Lxiii.  of  Knackfuss'  Kunstler-Monographien  ;  well  illus- 
trated. 

HiiFSTEDE  DE  Groot  (C).  Die  Koedijck-Ratsel  und  ihre  Liisung. 
(Jahrbuch der  Kgl.  Preussischen  Kunstsammlungen,  xx)v.,  i  Heft. 

1903-) 
RiLKE   (R.   M.).     Worpswede:    Fritz  Mackensen,   Otto    Modersohn, 

Fritz    Overbeck,    Hans   am    Ende,  Heinrich  Vogeler.      (10x7.) 

Bielefeld  und  Leipzig  (Velhagen  &  Klasing). 
Knackfuss's  Kunstler-Monographien,  i.xiv. 
Spielmann  (M.  H.).     John  Everett  Millais.     (Revue  de  I'Art  ancien 

et  moderne,  Jan.,  Feb.  1903.) 
Staley  (E.).     Jean  Francois  Millet.     76  pp.     (6x4.)     London  (Hell). 

[Miniature  series  of  Painters.] 
Servaes   (F.).      Giovanni    Segantini,    sein    Leben   und    sein    Werk. 

(11  X  15.)     Wien  (Geriach).      [63  plates.] 
Gronau  (G.).     Leonardo   da  Vinci.     (6x4.)     London  (Duckworth: 

Popular  Library  of  Art). 
Rosenberg  (A.).  Leonardo  da  Vinci.     .     .     Translated  by  J.  Lohse. 

(10  X  7).     London  (Grevel). 

Vol.  VII.  of  Knackfuss'  Monographs  on  Artists,  with  12S  illus- 
trations. 
Staley   (E.).     Watteau   and   his   School.      (8x6.)      London   (Bell). 

[41  plates.] 
I5OWD0IN  (W.  G.).     James  McNeill  Whistler,  the  Man  and  his  Work. 

(9  X  6.)^  London  (De  la  More  I'ress). 


40 


AK'l"     ITP.LICATIOXS    OF 


[903 


ARCHITF.CTURE 

Kkinhardt  (R.).  Die  GesetzmiissiKkeit  der  griechischen  Baukunst. 
1.  Der  Theseustempel  in  Athen.  14  pp.  (23x15.)  Stuttgart 
(Bergstrasser).     [13  plates,  and  5  illustrations  in  te.\t.] 

Bevlie  (L.  de).  L'habitation  byzantine:  les  anciennes  maisons  de 
Constantinople.  (13x10.)  Grenoble  (Falque  et  Perrin),  Paris 
(E.  Lerou.x).     [11  plates,  and  illustrations  in  text.] 

.\  supplement  of  40  pages  to  the  work  published  last  year.  It 
deals  with  the  ancient  domestic  architecture  of  Stamboul, 
Phanar  and  Galatn,  the  most  important  specimens  of  which  the 
author  accepts  as  Byzantine  work.  Few  of  the  houses  e.\tant 
date  from  before  the  Fall  of  Constantinople. 

WiLFK,  (O).  Die  Koimesiskirche  in  NicSaund  ihre  Mosaiken,  .  .  . 
eine  Uniersuchung  zur  C.eschichte  der  Byzantinischen  Kunst  im 
1.  Jahrlausend.  {12x8.)  Strassburg  (Heitz).  [6  plates,  and  43 
text  illustrations.] 

Besides  a  very  e.xbaustive  account  of  the  church  itself,  the 
author  studies  its  place  in  Byzantine  architecture  with  regard  to 
ecclesiastical  buildings  at  Salonica,  Ancyra,  Myra,  Ephesus,  etc. 

Bakkr  (II.).  The  Collegiate  Church  of  Stratford-on-Avon  and  other 
Buildings  of  Interest  in  the  Town  and  Neighbourhood.  (8x5) 
London  (Bell). 

Way  (T.  K.)  and  Nokman  (P.).  The  ancient  halls  of  the  City  guilds 
drawn  in  lithography  .  .  .  with  some  account  of  the  history  of 
the  Companies.     (12x9.)     London  (Bell). 

Irvine  (W.  F.).  Notes  on  the  Old  Halls  of  Wirral.  40  pp.  (9  x  6.) 
Liverpool  (Young). 

HiATT  (C).  Notre  Dame  de  Paris.  A  short  history  and  description 
of  the  cathedral,  with  some  account  of  the  churches  which  pre- 
ceded it.  (8x5.)  London  (Bell).  [Handbooks  of  Continental 
Churches.] 

Massic  (H.  J.  L.  I  ).  A  short  history  and  description  of  the  church 
and  abbey  of  Mont  S.  Michel.  With  some  account  of  the  town 
and  fortress.  (8x5.)  London  (Bell).  [Handbooks  of  Conti- 
nental Churches.] 

Stepham  (K.  G.).  Der  alteste  deutsche  Wohnbau  und  seine  ICin- 
richtung.     2  vols.     (10x6.)     Leipzig  (Baumgartner). 

Gradmann  (E.),  Mkrz  (J),  and  Dolmetscii  (H.).  Die  Marienkirche 
in  Reutlingen.  5C  pp.  (14x10.)  Stuttgart  (Wittwer).  [37  plates, 
and  text  illustrations.] 

A  monograph  published  upon  the  completion  of  the  church's 
restoration.  The  building  has  interesting  mediaeval  wall  paint- 
ings and  statuary. 

Cook  (T.  .\.).  Spirals  in  nature  and  art,  a  study  of  spiral  formations 
based  on  the  manuscripts  of  Leonardo  da  Vinci,  with  special 
reference  to  the  architecture  of  the  open  staircase  at  Blois  in 
Touraine,  now  for  the  first  time  shown  to  be  from  his  designs. 
With  a  preface  by  Prof.  E.  Ray  Lankester.  Illustrated.  (8x5.) 
I.^ndon  (Murray). 

SiTTE  (C.)  L'art  de  b.itir  les  villas  :  notes  et  reflexions  d'un  archi- 
tecte,  traduites  et  completee?  par  C.  Martin.  (10  x  6.)  Paris 
(Renouard,  H.  Laurens).      [127  illustrations  and  plans.] 

I'.L-Roi'EA.v  AN-n  Japanese  Gardens.  A  series  of  papers  read  before 
the  .\merican  Institute  of  Architects.  Edited  by  G.  Brown. 
(10  X  7.)     London  (Batsford). 

Chapters  on  Italian,  English,  French  and  Japanese  landscape 
gardens,  with  illustrations  and  plans. 

PAINTING 

Lakenestre  (G.)  and  Richtenberger  (E  ).  La  peinture  en  Europe, 
Rome  :  le  Vatican,  les  ^glises.  (7  x  5.)  Paris  (Soci^ti;  frani;aiFe 
d'^ditions  d'art).     [100  illustrations.] 

Wvzewa  (T.  de).  Peintres  de  jadis  et  daujourd'hui.  (8  x  5.)  Par  s 
(Perrin).     [18  illustrations.] 

DuRRiEf  (P.).  Les  debuts  des  Van  Eyck.  (Gazette  des  Beaux-Arts, 
Jan.,  Feb.  1903  ) 

An  important  contribution  to  the  literature  of  the  origins  of 
the  Netherlandish  school,  and  confirmative  of  theories  advanced 
by  Mr.  Weale. 

Dlrkiel-  (P.).  L'Histoiredu  bon  roi  Alexandre,  Manuscrit  a  Minia- 
tures de  la  collection  Dutuit.  (Revue  de  l'.\rt  ancien  et 
moderne,  Jan.,  Feb.  1903.) 

Reinach  (S.)  Un  manuscrit  de  Philippe  le  Bon  a  la  Bibliotheque 
de  Saint-Petersbourg,  I.     (Gazette  des  Beaux-.Vrts.  .Xpril  1903.) 

Bode  (W.).  Die  Anbetung  der  Hirten  von  Hugo  van  der  Goes  in 
der  Berliner  Galerie.  (Jahrbuch  der  Kgl.  Preussischen  Kunst- 
sammlungen,  xxiv.,  1  Heft.  1903.) 

An  account,  with  a  good  reproduction  of  Van  der  Goes'  Adora- 
tion of  the  Magi,  acquiretl  in  Spain  by  the  Berlin  authorities  last 
year. 

Osr.ANiA  (F.).  .V  Glance  at  the  Grimani  Breviary,  preserved  in 
S.  Mark  s  library,  Venice.     (10x6.)     Venice  (Ongania). 

The  illuminations  of  this  famous  Netherlandish  manuscript 
are  reproduced  in  112  plates.  The  section  of  the  prefatory 
notice  (22  pp.),  treating  of  the  artists  who  worked  at  the  breviary, 
is  weak  ;  Memling,  we  are  told,  "  was  born  at  Damme  !  " 


Helbig  (J.)  La  peinture  au  pays  de  Lii:ge  et  sur  les  bords  de  la 
Meuse.  Nouvelle  iTdition  revue,  considerablement  augmentce  el 
enrichie  de  XXX  planches.     (12x8.)     Li<<ge  (Poncelet). 

GossART  (M.).  Jean  Gossart  de  Maubeuge,  sa  vie  et  son  ceuvre. 
d'aprcs  les  clerniores  recherches  et  des  documents  inedites. 
(9  X  6.)     Lille  ((Editions  du  "  Beffroi  "). 

The  documents  render  this  study  biographically  important,  but 
the  author's  knowledge  of  the  master's  works  is  frequently 
erroneous  or  incomplete. 

Maeterlinck  (L.).  Le  genre  satirique  dans  la  peinture  flamande. 
[Illustrations]     (9x6.)     Gand  (Librairie  nderlandaise). 

Pei.tzer  (A.).  Uber  Malweise  und  Stil  in  der  Holliindischen  Kunst. 
(10x7.)     Heidelberg  (Winter) 

Studies  and  appreciations  of  Paul  Potter,  Hals,  Ruisdael, 
Goyen,  P.  de  Hoogh.  van  der  Meer  of  Delft  and  Rembrandt. 

DicKFS  (W.  F.).  Holbein's  celebrated  picture,  now  called  ••  The 
.\mbassadors,"  shown  to  be  a  memorial  of  the  treaty  of  Nurem- 
berg, 1532;  and  to  portray  .  .  .  Counts  Palatine  of  the 
Rhine,  Otto  Henry  and  Philip.  (11x9.)  London  (Cassell). 
[Illustrated.]  ' 

BoucHOT  (H.).  De  quelques  portraits  du  peintre  Jean  Fouquet 
aujourd'huiperdus.  (Revuede  I'Art  ancien  et  moderne,  Jan.  1903.) 

Mauci.air  (C).  The  French  Impressionists,  iSCo-igoo.  (6x4.) 
London  (Duckworth). 

The  "  Popular  Library  of  Art."     Translated  by  P.  G.  Konody. 

Schmidt  (K.  E.).  Franzosische  Malerei  des  19  Jahrbunderts. 
(11  X  7.)     Leipzig  (Seemann).     [138  illustrations.] 

Vol.  I.  (168  pp.)  of  the  C.eschichte  der  Modernen  Kunst.  A 
compendious  account  of  the  French  School,  1800- 1900,  in  its 
so-called  classic,  romantic,  decorative,  realist  and  impressionist 
stages.  The  "Official  Art  of  the  Third  Republic  "  occupies 
15  pages.  A  chapter,  "  Dichter  und  Traumer,"  treats  of  the 
art  of  E.  Carricre,  Fantin-Latour,  tJuslave  Moreau,  and  Aman- 
Jean.        ^ 

Marx  (R.).  Etudes  sur  I'Ecole  Franijaise.  (11x8.)  Paris  (pub- 
lished by  Gazette  des  Beau.x-.'Vrts). 

Huvsmans   (J.   K.).      L'art   Moderne.      Deuxit-me   edition.     (8x5.) 
Paris  (Stock). 
A  critique  of  the  Salons,  etc.,  1879-81. 

Geffroy  (G.).  Les  Peintures  d'Eugene  Delacroix  a  la  Bibliotheque 
de  la  Chambre  des  Deputies.  (Revuede  I'Art  ancien  et  moderne, 
Jan.,  Feb.  1903.) 

Portfolio  of  the  National  Gallery  of  Scotland,  with  a  Pre- 
face by  His  Grace  the  Duke  of  Argyll.  [40  plates.]  (23  x  17.) 
London  (E.  Arnold,  and  Art  Reproduction  Co.). 

Caw  (J.  L.).  Scottish  Portraits.  Portfolio  11.  [Plates  25-48]. 
Edinburgh  (Jack). 

Muther  (K  ).  C.eschichte  der  englischen  Malerei.  (9x6.)  Berlin 
(S.  Fischer).     [153  illustrations] 

A  treatise  of  400  pages  dealing  with  every  phase  of  our  national 
painting  from  Hogarth  to  Herkomer.  There  are  also  chapters 
upon  Scotland  and  the  "Bo  s  of  Glasgow." 

Haui'T  (A  ).  Ein  Spanisches  Zeichenbuch  der  Renaissance.  (Jahr- 
buch der  Kgl.  Preussischen  Kunstsammlungen,  xxiv.,  i  Heft.  1903.) 

Caffin  (C.  H  ).  American  masters  of  painting,  being  brief  appre- 
ciations of  some  American  painters.  (9  x  7).  London  (Grant 
Richards). 

Chapters  upon  George  Inness,  La  Farge,  Whistler,  Sargent, 
Winslow  Homer,  E.  Abbey,  G.  Fuller,  H.  D.  Martin,  de  Forest 
Brush,  A.  11.  Wynant.  D.  W.  Tryon,  Horatio  Walker  and 
Gilbert  Stuart,  with  32  illustrations. 

MrcHEL  (E.).  La  collection  Dutuit;  tableaux  et  dessins.  (Gazette 
des  Beaux-Arts,  Jan.  1903.) 

Ward  (J.)  Colour  Harmony  and  Contrast,  for  the  use  of  art  students, 
designers,  and  decorators.  (10  x  6.)  London  (Chapman  and 
Hall).     [27  coloured  plates  and  diagrams] 

.-\  colour  manual  treating  the  subject  from  a  scientific  as  well 
as  a  practical  standpoint. 

SCULPTURE 

Murray  (A.  S.).  The  Sculptures  of  the  Parthenon.  (9x6.)  London 
(J.  Murray).     [18  plates.] 

Legoe  (H.  E.).  a  short  history  of  the  ancient  Greek  sculptors. 
With  a  preface  by  Prof.  P.  Gardner.  [About  40  plates] 
(8x5)     London  (Fisher  Unwin). 

Lechat  (H.).  Au  musee  de  I'acropole  d'Athines.  Etudes  sur  la 
sculpture  en  Attique  avant  la  ruine  de  I'acropole  lorsde  I'invasion 
de  Xerxis.     (10  x  7.)     Lyon  (Key),  Paris  (Fontemoing). 

A  volume  of  the  "  Annales  de  I'UniversiKi  de  Lyon,"  476  pp., 
3  plates  and  47  text  illustrations.  Studies  upon  the  archaic 
statuary  of  the  Acropolis. 

Kanzler  (Baron  R.).  Gli  Avori  dei  Musei  Profano  e  Sacro  della 
Biblioteca  Vaticana  .  .  .  con  introduzione  e  catalogo.  (21x15.) 
Roma  (Danesi). 

Vol.  I.  of  the  "Collezioni  tirtistici,  archeologiche  e  numisma- 
tiche  dei  Palazzi  pontifici,"  with  text  of  14  pp.  and  44  excellent 
phototype  plates. 

41 


THE    BURLINGTON    GAZETTE 

Haseloff  (A).    Ein  altchristliches  Relief  aus  der  Bliitezeit  romischer 

Elfenbeinschnitzerei.     (Jahrbuch  der  Kon.  Preussischen  Kunst- 

sammlungen,  xxiv.,  i  Heft.  1903.) 
ScHERER    (C).       Elfenbeinplastik    seit    der   Renaissance.       (10x7.) 

Leipzig  (Seemann  :   Sponsel's  Monographien  des  Kunstgewerbes). 

[125  illustrations.] 
Kleinclausz  (A.).     Un  atelier  de  sculpture  en  Bourgogne  a  la  fin 

du  raoyen  age;  I'atelier  de  Claus  Sluter.  (Gazette des Beaux-Arts, 

Feb  1903  ) 
Franck-Oberaspach  (K.).     Der  Meister  der  Ecclesia  und  Synagoge 

am  Strassburger  Miinster.     (10x6.)     Diisseldorf  (Schwann). 
A  study  of   the   xiiith  century   portal-statuary  of   Strassburg 

Cathedral  in  relation  to  that  of  the  school  of  Chartres ;  with 

12  plates. 
Correll   (F.).     Deutsche   Brunnen.     .     .     .     Mit   Vorwort   von   J. 

P.  Ree.     4  pp.     (i3'x  10  )     Frankfurt  a.  M.  (Keller). 
Haendcke  (B.).      Studien   zur  Geschichte  der   sachsischen   Plastik 

der  Spatrenaissance  und  Barock-Zeit.       (11x8.)      Dresden  (E. 

Haendcke). 

An  account  of  the  work  of  some  twenty-nine  Saxon  sculptors 

of   the  xvii.-xviii.  centuries,  forming  the  Schools   of   Dresden, 

Freiberg    and    Schneeberg.       The    15    plates   illustrate   altars, 

tombs  and  pulpits. 
Laban    (F.).      J.    G.    Schadows    Thonbiiste    der    Prinzessin    Louis 

(Friederike)  von  Preussen  in  der  Konigliche  Nationale  Gallerie. 

(Jahrbuch    der    Kgl.     Preussischen    Kunstsammlungen,    xxiv., 

1  Heft.  1903  ) 

Grabmalsku.n'st,     Grabdenkmaler,     Stelen,    Figuren     und     Reliefs, 

I.    Sammlung.       Berliner   Friedhofe         [40   plates]       (14x10.) 

Berlin  (Baumgartel). 
Gabelentz    (H.    von    der).      Mittelalterliche    Plastik    in    Venedig. 

(10x6.)     Leipzig  (Hiersemann).      [With  43  illustrations.] 
Fabriczv  (C.  von).    Medaillen  der  italienischen  renaissance     (10  x  7.) 

Leipzig  (Seemann  :  Sponsel's  Monographien  des  Kunstgewerbes). 

[With  181  illustrations.] 
Hill    (G.    F.).      Coins   of  ancient    Sicily.       (10x6.)      Westminster 

(Constable). 

METAL-WORK 

PoLLAK  (L).     Klassisch-Antike  Goldschmiedearbeiten  im  Besitze  Sr. 

Excellenz  A   J.  von  Nelidow,    .    .     .    beschrieben  und  erlauterl 

(13x10)     Leipzig  (Hiersemann). 

This  portion  of  the  Russian  ambassador  at  Rome's  remarkable 

collection   of  goldsmith's  work   consists   mainly  of   pieces  from 

Greece  or   Asia-Minor.     The   catalogue   (only    200   copies   pub- 
lished) has  210  pp.,  15  plates  in  colour,  and  37  text  illustrations. 
Cripps  (W.  ]  ).      Old   English   Plate,  ecclesiastical,  decorative,  and 

domestic :    its    makers    and    marks.       Eighth    edition.       (9  x  6.) 

London  (Murray).     [127  illustrations  and  2,600  facsimile  marks.] 
RouLiN  (E.).    Orfevrerie  et  ^maillerie  ;  mobilier  liturgiqued'Espagne 

(Revue  de  I'Art  Chretien,  1903,  No.  i.) 
RoULiN  (Dom  E).     Le  retable  de  San  Miguel  in  Excelsis  (Navarre). 

(Revue  de  I'Art  ancien  et  moderne,  Feb.  1902.) 
ViNSAC    (C.    D).       Ancienne    orfevrerie    L[ouis]    xvl      Recueil   de 

dessins   d'orfevrerie     .     .     .     contenant   tout   ce   qui  a  rapport 

au  service  de  la  table.      [40  plates.]      (14x9.)     Paris  (Foulard). 

[Edition  of  150  copies] 
Lefranc  {.\.).     50  planches  d'ancienne  orfevrerie  empire.     Recueil 

de  dessins  d'orfevrerie,  etc.    (14  x  9.)     Paris  (Foulard).     [Edition 

of  200  copies.] 
■Voet  (E.).     Namen  van  Haarlemsche  Goud-  en  Zilversmeden,  1382- 

1807.     28  pp.     (10x5.)     Haarlem  (Genealogisch  Archief :  Over- 

meer).     [28  facsimile  marks.] 
Wilson  (H.).     Silverwork  and  Jewellery:  a  text-book  for  students 

and  workers  in  metal.     (8  x  5.)     London  (J.  Hogg). 

The  second  vol.  of  Mr.  Lethaby's  Artistic  Crafts  series  ;  the 

author's  clear  exposition  of  his  subject  places  it  far  above  the 

level  of  technical  works.     Well  illustrated. 
Price  (F.  G.  Hilton).     The  Signs  of  Old  Lombard   Street.     With 

illustrations    by    James    West    and    others.      (9  x  6.)       London 

(Leadenhall  Press) 

A  handier  revised  edition  of  the  work  published  in  1887. 
Ferronerie    Style    Moderne:    Motifs    Executes   en    France    et    a 

I'Etranger.     (18x12)     Paris  (C.  Schmid). 

45  plates  of  modern  French  and  Belgian  architectural  fittings 

in  iron. 
Andrews  (W.    F.).     Memorial   brasses   in    Hertfordshire  churches. 

2  ed.     (9  X  5.)     London  (Elliot  Stock), 

Earle   (A.   M.).     Sundials  and   Roses  of   Yesterday      (8  x  6.)     New 
York,  London  (Macmillan). 

ARMS   ANO    ARMOUR 
Laking    (G.    I" ).     A    Catalogue   of   the   Armour   and   Arms    in    the 
Armoury  of  the  Knights  of  St.  John  of  Jerusalem,  now  in  the 
Palace,  'Valetta,  Malta.     (10x7)     London  (Bradbury,  Agnew). 
With  32  plates. 


Gelli  (J.),  and  Moretti  (G  ).  Gli  armaroli  milanesi.  I.  I  Missaglia 
e  la  loro  casa :  notizie,  documenti.  ricordi.  (12x8.)  Milano 
(Hoepli). 

A  well  illustrated  monograph  of  the  Negroni  and  Negrioli,  by 
one  who  is  probably  the  greatest  Italian  authority  upon  armour. 
Signor  Moretti's  account  of  the  Casa  Missaglia  has  also  appeared 
in  '■  L'Edilizia  moderna"  (Feb.  and  March)  of  Milan. 

Naue  (J.).  Die  voorromischen  Schwerter  aus  Kupfer,  Bronze  und 
Eisen.    [With  portfolio  of  45  plates.]   Miinchen  (I'iloty  &  Loehle). 

FURNITURE 
Morse  (F.  C).     Furniture  of  the  olden  time.     (9x6.)     New  York, 

London  (Macmillan). 

A  well  illustrated  work  dealing   with  the  English  and  Dutch 

styles  which  passed  into  North  America  in  the   xvii-xviii  cen- 
turies. 
Strange  (T.  A.).     English  furniture,  decoration,  woodwork  and  allied 

arts  during  the  last  half  of  the  17th  century,  the  whole  of  the 

i8th  century,   and   the  earlier   part   of  the  19th.     New   edition. 

(11  X  8.)     London  (published  by  the  author). 
AuDREN  (J.  M.).     Inventaire  du  mobilier  du  chateau  de  'Vitr^,  1658, 

publie  d'apres  I'original.     Paris  (Lechevalier). 
Le  Palais  de  l'Elvsee,  decorations  interieures.      [42  photographs.] 

(18  X  14)     Paris  (Guerinet). 
Meubles  d'Art  Nouveau  au  Salon  du  Mobilier  de  1902.  (18  x  13.) 

Dourdan  (Thezard). 

A  series  of  plates  illustrating  some  of  the  best  French  work  in 

"  Style  nouveau  "  furniture  ;  it  is  not  difficult  to  trace  signs  of  a 

return  to  the  older  styles. 
Salon   des  Industries  du  Mobilier.     Exposition  de  1902.     2  vols. 

[Phototypes.]      (12x8.)     Paris  (Guerinet). 
Jackson  (F.  H.).     Intarsia  and  Marquetry.    (8x5.)     London  (Sands  : 

Handbooks  for  the  designer  and  craftsm.in). 

CERAMIC   ART 

BissiNG  (F.  von).  Catalogue  general  des  antiquites  egyptiennes  du 
musee  du  Caire.  Fayencegefasse.  (14x10.)  Vienne  (Holz- 
hausen). 

De  Ridder  (A  ).  Catalogue  des  vases  peints  de  la  Bibliotheque 
Nationale.  Deuxieme  partie :  Vases  a  figures  rouges  et  de 
decadence.  (14  x  11.)  Paris  (Leroux).  [23  plates  and  100  text 
illustrations.] 

Argnani  (F.).  Ceramiche  e  maiohche  arcaiche  faentine.  (14  x  10  ) 
Faenza  (Montanari).      [22  plates,  and  illustrations  in  the  text.] 

Though  avowedly  a  counterblast  to  Guasti's  "  Di  Cafaggiolo," 
this  work  may  be  recommended  to  those  unconcerned  with  the 
relative  merits  of  Faenza  or  Cafaggiolo  as  originators  of  majolica. 
The  plates  illustrate  early  pieces  from  the  author's  collection  in 
the  Louvre,  and  that  of  Sig  Girelli  of  Faenza  ;  as  in  the  author's 
larger  work  they  are  chromo-hthographs  of  drawings  by  him- 
sell      The  edition  is  limited  to  200  copies. 


iLA.S.S 


(8  X  5.) 
by  Chapman 


Day  (L.  F.).  Stained  Glass.  With  numerous  i 
London  (Published  for  the  Board  of  Educ 
and  Hall). 

Henrivaux  (J.).  La  verrerie  au  xx<^  siecle.  (11x8.)  Paris  (E. 
Bernard). 

A  technical  work,  with  chapters  upon  old  and  modern  glass 
and  a  bibliography. 

THE    BOOK 

BiBLiA  Pauperum  nach  dem  einzigen  Exemplare  in  50  Darstellungen 
(.  .  jetzt  in  der  Bibliotheque  nationale),  herausgegeben  von  P. 
Heitz  mit  einer  Einleitung  .  .  von  W.  L.  Schreiber.  (13x10.) 
Strassburg  (Heitz). 

Facsimile  of  the  fifty  page  block  bible  of  c  1475-80,  and  an 
account  of  MSS.  and  printed  editions  of  Biblia  Pauperum. 

Oracula  Sibyllina  (Weissagungen  der  zwolf  Sibyllen)  nach  dem 
einzigen  in  der  Stiftsbibliothek  von  St,  Gallen  aufbewahrten 
Exemplare  herausgegeben  von  P.  Heitz,  mit  einer  Einleitung  von 
W.  L.  Schreiber.     (n  x  9.)     Strassburg  (Heitz). 

Reproduction  of  a  German  block-book  of  24  cuts  stated  to  be 
not  later  than  1468-70  ;  with  26  pp.  introductory  matter. 

Baer  (L).  Die  illustrirten  Historienbiicher  des  15  Jahrhunderls  ; 
ein  Beitrag  zur  Geschichte  des  Formschnittes  (12x8.)  Strass- 
burg i.  E.  (Heitz). 

An  account  (312  pp.)  of  perhaps  the  most  interesting  of  incuna- 
bula, the  illustrated  chronicles  of  the  xvth  century,  with  colla- 
tions.    It  is  to  be  hoped  the  work  will  find  an  English  translator. 

Sketchley  (R.  E.  D.).  English  book-illustration  of  to-day  :  appre- 
ciations of  the  work  of  living  English  Illustrators,  with  lists  of 
their  books.  With  an  introduction  by  A,  W,  I'ollard,  (10x6.) 
London  (Kegan  Paul).     [42  illustrations  J 


42 


Dante.      La   Divina  Commedia,   nuovamente  illustrata  da    artisti 

italiani  a  cura  di  V.  Alinari.     II.  Purgatorio.     (14  x  10.)     Firenze 

(Alinari) 
An  interesting  edition,  but  the  frequent  changes  of  style  (there 

are  some  forty  illustrators)  render  the  effect  very  unequal. 
Gibson  (S).     Early  Oxford  Bindings,     (tixg.)     Oxford  (printed  for 

the  Bibliographical  Society).     [40  plates.] 

ENGRAVING 
HvMANs  (H.).     L'estampe  de  1418  et  la  validitc'  de  sa  date.     [47  pp. 

and  I  plate.]     (9x6.)     Bruxelles  (Hayez). 
Glazier   (L.   M,).     A   book  of  thirty   woodcuts,     (g  x  7.)     London 
(Unicorn  Press). 

Unicorn  Quartos,  No.  IV. 

MISCELLANEOUS 

Manhelli  (.\.)  Nuove  indagini  su  .Antonio  Stradivari.  (10x7.) 
Milano.     [23  illustrations,  and  4  facsimiles] 

Sai.nt-SaIjns  (C  ).  Lyres  et  cithares  antiques.  (Revue  de  I'Art 
ancien  et  moderne,  Jan.  1903). 

CuvER  (E.).  Anatomie  Artistinue  des  .\nimaux.  (9  x  6.)  Paris 
(Bailliere). 

The  Year's  Art,  1903  A  concise  epitome  of  all  matters  relating  to 
the  arts  .  .  .  which  have  occurred  during  .  .  1902,  etc. 
Compiled  by  A.  C.  R.  Carter.     (7x5)     London  (Hutchinson). 

Jahrbucii  der  BiLDENDEN  KuNST,  1903.  Unter  ^Iitwirkung  von 
W.  von  Seidlitz,  herausgegeben  von  M.  Martersteig.  [Illus- 
trated ]     (12  X  9  )     Berlin  (Deutsche  Jahrbuch  Gesellschaft). 

Jellinek  (A.  L.).  Internationale  Bibliographic  der  Kunstwissen- 
schaft.  Erster  Jahrgang,  igo2,  3-5  Heft.  (9  x  6.)  Berlin 
(Behr). 

The  compiler  has  amassed  much  material  in  the  135  pages 
of  this  part.  The  essence  of  such  a  bibliography,  however,  is 
its  arrangement— in  this  case  a  defective  one.  Armour  is  classed 
«ith  iron-work  and  bronzes;  and  a  British  Museum  Catalogue 
of  Drawings  is  found  in  the  section  "  Bibliographie,  Lexika, 
Neue-Zeitschriften  "  ! 


THE    PICTURE    SALES 

SALE   CATALOGUES 
Catalogue  de  la   Collection   de   feu    Madame   veuve  Arrigoni,  de 

Milan      Vente,  7-15  Janvier,  1903.    88  pp      (13x9.)     Milan. 
Objets    d'Art   et    Peintures    de    la    Chine    et   du    Japon    r(iunis 

par  T.  Hayashi.      Deuxiome  partie,  dont   la  vente  aura  lieu 

i0-2t    f<;vrier,   1903.   a   IHdtel   Urouot.      (11x9.)       [With   27 

plates.]     Paris,  1903. 
Catalogue    de    Livres    Anciens.    Kares    et    Precieux,    heures  de 

Marguerite  de  Rohan.   Comtesse  d'.\ngoulcme.   provenant  du 

Cabinet  de  MM.  Th**».     Vente,  4-5  mars.     [With  19  plates  J 

(10  X  7.)     Paris  (Leclerc),  1903. 
Catalogue    de    Tableaux    Anciens    et    Modernes.     .     .     .     ccuvre 

importante  de  j.  van  Goyen.  beau   primitif  attribud  a  Gerard 

David     .     .         aquarelles  et  dessins,  provenant  de  la  collection 

d'un  amateur.     Vente,   5  mars.      (11x9.)      Paris  (Chevalier). 

1903. 
Catalogue  of  a  small  collection  of  illuminated  manuscripts     .     .     . 
,    the  property  of  a  wellknown  amateur  (II.  Yates  Thompson). 

Sale,  30  March  1903.    14  pp.    [g  phototypes  ]    (10x7.)    London 

(Sotheby). 
Grande    vente    de    la    collection    du    prince    Centurione    Scotto 

de  Genes,  renfermant  tapisseries,  meubles,  porcelaines,  tableaux. 

Vente,  27-29  Avril  1903.     40  pp.     [24  plates.]     (14  x  10.)    Rome 

(Sangiorgi). 
Contains  "  Collection  de  S.  E.  Lord  Philipp  Currie     .     .     . 

faiences  italiennes."     Vente,  30  Avril. 
Slater  (J.  H.).     Art  Sales  of  the  year  1902,  being  a  record  of  the 

prices  obtained   at   auction   for   pictures   and  prints   sold   from 

October  igoi   to  the  end  of  the  season  1902.     (9x5.)     London 

(Hutchinson). 

The  I-oi.lowing  .are  also  Announced  :— 
Cherot   (B).      Le    Portrait    de    Bourdaloue  d'apres  de   R^centes 

Dteouvertes. 
HiLDEBRAND  (.\.).     Le  Problemedela  Forme  dans  les  Arts  Figuratifs. 
RoGER-iMiLEs.     Le  Style  Piranesi. 
La  Guerke  racontee  par  llmage.  A.  V.  de  P. 


THE    PICTURE   SALES 


The  general  (xocius  iL-Milt. lilt  lidiii  the  Easter  holidays 
was  responsible  for  the  lull  in  the  picture  market 
during  the  greater  part  of  April ;  not  only  was  there 
an  entire  week  wholly  devoid  of  auction  sales,  but 
those  which  occurred  immediately  before  and  inime- 
diatel}'  after  Easter  were  of  a  singularly  unimportant 
character.  It  was  only  in  the  closing  days  of  the 
month  that  Christie's  shook  off  its  paschal  lethargy, 
with  the  sale  of  April  25,  comprising  "  important 
pictures  by  old  masters  and  of  the  Early  English 
School." 

These  works  were  gathered  from  various  sources, 
the  largest  single  property  being  the  collection  of 
landscapes  of  the  Norwich  School,  belonging  to 
Mr.  George  Holmes,  of  Brooke  Hall,  Norwich. 
Mr.  Holmes  had  assembled  a  limited  but  representative 
group  of  examples  of  this  particular  phase  of  British 
art,  and  he  owned  some  characteristic  works  by  the 
two  Cromes,  J.  S.  Cotman,  J.  Stark  and  George 
V'incent. 

High  above  all  the  other  members  of  the  Norwich 
school  towers  the  figure  of  John  Crome,  known  as 
"  Old  Crome,"  to  distinguish  him  from  his  son  and 
pupil,  John  Bernay  Crome.  At  the  time  when  Crome 
entered  the  lists,  the  pseudo-classical  principles  of 
Poussin  and  Claude  Lorrain  held  almost  undisputed 
sway  over  painters  of  landscajjc  both  in  England  and 
on  the  Continent;  men  even  so  truly  personal  as 
Richard  Wilson  and  Turner  had  not  yet  dared  to 
shake  off  this  nefarious  influence,  and  it  was  almost 
a  crime  for  an  artist  to  attempt  to  paint  a  landscape 
without  introducing  Italian  buildings  and  ruins, 
balanced  bv  masses  of  conventional  trees  with  a  river 


to  divide  the  comi)()sition.  Already  Gainsborough 
had  refused  to  bow  down  to  such  arbitrary  rules,  and 
in  his  footsteps  Crome  elected  to  follow.  He  realized 
the  falsity  of  a  doctrine  which  obliged  artists  to  seek 
in  Italy  sites  worthy  of  their  brush  ;  living  in  England, 
he  painted  English  landscape  as  he  saw  it,  as  it  really 
was,  beneath  an  English  sky  and  surrounded  by  an 
English  atmosphere ;  he  understood  that  the  poetry 
of  nature  lay  not  in  the  existing  or  invented  acci- 
dents of  the  ground,  but  in  the  poetic  mind  which 
received  the  impression  of  the  artist's  eye.  Nor  could 
mercantile  considerations  induce  hiin  to  forego  his 
ideals,  although  throughout  life  he  was  never  in 
flourishing  circumstances.  When  he  lay  on  his  death- 
bed, he  said,  addressing  his  son  :  "  John,  my  boy, 
paint,  but  paint  for  faine ;  and  if  your  subject  is  only 
a  pigsty — dignify  it !  "  Here  we  have  the  two  funda- 
mental principles  of  his  career:  never  to  paint  a 
}>icture  which  he  did  not  himself  hold  to  satisfy  the 
demands  of  art ;  and  to  consider  no  subject  too  lowly 
so  long  as  it  was  dignified  by  the  poetry  of  his  artist- 
mind. 

In  youth  he  was  extremely  poor.  "  To  a  man  im- 
pressed with  the  dignity  of  his  art  " — says  Dawson 
Turner  in  his  "  Memoir  of  Crome  " — "  it  were  difficult 
to  conceive  a  more  degrading  situation  than  to  be 
driven  to  the  necessity  of  painting  articles  on  sugar 
for  confectioners  with  the  object  of  obtaining  a  liveli- 
hood, or  to  be  reduced  to  clipping  the  hair  from  the 
tail  of  his  landlord's  cat  as  his  only  resource  for  sup- 
plying himself  with  pencils ;  yet  such  was  the  case 
with  Crome."  At  this  period  of  his  life,  as  at  an 
earlier,  he  was  glad  to  use  his  cast-off  aprons,  and  on 

43 


THE    BURLINGTON    GAZETTE 


one  occasion  the  ticking  of  his  mother's  bed,  to  supply 
his  urgent  need  of  canvas. 

Born  in  1769,  Cronie  founded  in  1803  the  Norwich 
Society  of  Artists,  and  this  institution  held  two  jears 
later  its  first  exhibition ;  others  followed,  yearly,  until 
the  death  of  Crome  in  1821,  and  with  less  regularity 
until  1833,  the  date  of  the  twenty-seventh  and  last 
exhibition  held  under  the  auspices  of  the  society. 
Among  the  regular  exhibitors,  besides  the  founder, 
were  R.  Ladbrooke,  Crome's  brother-in-law  and  some- 
time partner,  his  son,  J.  B.  Crome,  and  his  pupils, 
James  Stark  and  George  Vincent;  John  Sell  Cotman, 
a  Norwich  man  by  birth,  though  he  had  migrated  to 
London,  joined  their  ranks,  and  became  secretary  to 
the  institution  in  1807. 

From     the    works     of    this    group    of    painters. 


Sir  Archibakl  Campbell  o: 

Mr.  George  Holmes  formed  the  small  collection  which 
came  under  the  hammer  on  April  25,  and,  though  he 
had  no  single  work  of  the  first  importance,  each  artist 
was  represented  by  several  canvases  characteristic  of 
his  personal  style. 

The  Old  Bathing  House,  St.  Martin's-at-Oak, 
Norwich,  was  the  best  example  of  Old  Crome;  the 
whole  of  the  foreground  is  occupied  by  a  calm,  trans- 
parent river,  upon  which  are  a  man  in  a  punt,  and  in 
the  left-hand  corner  a  few  ducks.  Under  the  shadow 
of  trees  an  old  house  stands  beyond  the  river,  and 
other  buildings  are  visible  in  the  distance  on  the  right. 
The  tone  of  the  picture  is  rich  and  warm,  the  atmo- 
sphere of  an  autumn  evening  is  rendered  with  truth 
and  poetic  feeling.  Somewhat  harder,  and  lacking  in 
the  general  mellowness  of  his  master,  J.  Stark's 
Landscape  and  Cattle,  from  the  Heritage  Collection 


(1876),  excited  keen  competition  and  reached  the 
highest  price  of  any  picture  in  the  collection.  The 
Windmill,  an  oil-painting,  and  The  Storm  :  Yarmouth 
Beach,  a  water-colour,  are  both  fine  examples  of  J.  S. 
Cotman's  later  manner,  and  were  distinctly  painted 
under  the  influence  of  Turner. 

The  following  are  the  principal  prices  realized  by 
the  Holmes  collection  of  pictures  of  the  Norwich 
school  : — 


H 

enry  Bright 

.   Bacton  Beach 

6iby   91  in. 

27 

6 

J- 

S.  Cotn 

an 

.   The  Windmill       . . 

i64byi3^in. 

262 

10 

.   The      Storm  :    Yarmouth 

I4iby2iin. 

257 

5 

Beach  (water-colour) 

.    A  Landscape  with  a  Rain- 
bow 
.   Buildings  on  a  River 

23    byiSiin. 

94 

10 

I3ibyiiiin 

56 

14 

.    A  Landscape  with  Peasant 

gj  by  134  in. 

42 

0 

Woman  on  a  Road 

J 

Crome 

.   Old    Bathing    House,    St. 
Martin's-at-Oak,      Nor- 
wich 

20ibyi6in. 

273 

° 

.   A     Heath     Scene  :      Sun 

27    by35iin. 

136 

10 

Breaking    Out    after    a 

Storm 

.   The  Edge  of  a  Wood       .. 

i2Abyi6in. 

75 

12 

.   Costessey  Old  Hall 

12    byiyiin. 

42 

0 

J 

Crome 

& 

Bishop's  Bridge,  Norwich 

27    by43iin. 

57 

15 

68 


57  15 
68     5 


126     0 


R.  Ladbrooke 
J.  B.  Crome     ..  Wherries  and   Steamboat  20   byi6i 
at   the  Junction    of   the 
Yare  and  Waveney 

..   On  the  River,  near    Am-  32iby5oi 
sterdam  :   Moonlight 
J.  Slaunard       ..   The    Marl    Staithe,   near  ii;Jbyi5jin.      68 

Norwich 
J.Stark..         ..   A  Landscape  and  Cattle. .  20   by26iin.    735 

..    .-\  Landscape  with  sheep        7ibyio"in.      147 

..   The  Edge  of  a  Wood       ..     7J  by  10  in. 
G.  'Vincent        ..    St.  Benet's  Abbey,  Norfolk  17    by  235  in.    325  10     o 

..    Spearing  Salmon  in  Scot-  30    by  42  in.      273     o     o 
land 

..  Dutch  Boats  off  Gorleston  ioJbyi4jin.  115  10  o 
Pier 
Although  the  Scotsman  Patrick  Nasmyth  does  not 
|uoperly  belong  to  the  Norwich  group  of  painters, 
he  was  their  contemporary  and  has  with  them  many 
|)oints  in  common  ;  this  is  therefore  probably  the  best 
place  to  mention  a  very  fine  work  from  his  brush, 
A  Woody  River  Scene,  dated  1828,  and  measuring 
18^  by  245^  in.,  which  was  sold  a  little  later  in  the 
afternoon  for  920  guineas;  the  picture  is  remarkable 
for  a  breadth  of  handling  uncommon  in  Nasmyth's 
productions,  and  both  in  composition  and  execution 
may  be  considered  a  very  excellent  example  of  his 
work. 

The  Early  English  School  of  portraiture  was  con- 
spicuous in  this  same  sale  with  several  attractive 
works,  more  especially  three  portraits  by  Sir  Joshua 
Reynolds.  The  pair  of  Mr.  and  Mrs.  Hillersdon  of 
Harpenden,  Herts,  was  the  property  of  the  late 
General  \\' .  C.  Hadden,  R.E.,  and  although  the  lady 
fetched  950  gns.  and  the  man  only  235  gns.,  it  cannot 
be  denied  that  the  latter  was  technically  by  far  the 
finer  portrait.  Both  are  half-lengths,  painted  pro- 
bably about  1760  ;  and  from  the  flesh  of  both  most  of 
the  red  tints  have  faded.  Mr.  Hillersdon  wears  a 
blue  coat  and  vest  with  lace  frills  and  powdered  hair, 
whilst  his  wife  has  a  white  satin  dress,  with  blue  cloak 
trimmed  with  ermine,  blue  sash  and  blue  ribbons  in  her 
hair  and  round  her  neck.  The  other  portrait  by  Sir 
Joshua,  sold  as  the  property  of  a  lad}-,  is  said  to  be  a 
portrait  of  Kitty  Fisher,  whose  name  is  writ  large  in 
the'  chronique  scandaleiisc  of  the  third  quarter  of  the 


eighteenth  ceiitiirv.  This  j,'ay  lady,  wlio  was  made 
the  subject  of  many  songs  an([  pamphlets  at  the  time, 
sat  often  to  Sir  Joshua  Keynolds,  who  painted  lier  in 
many  different  poses.  In  tliis  picture,  a  little  larger 
than  the  usual  half-length  size,  she  is  represented  full 
face  to  the  spectator,  her  folded  arms  resting,  on  a 
stone  balustrade  ;  she  wears  a  white  dress  of  gauzy 
tissue  with  pink  trimming  on  the  sleeves  ;  a  large  white 
liat  casts  its  shadow  over  the  regular  oval  of  her  face, 
riie  dress  is  beautifully  painted,  the  materials  being 
rendered  with  admirable  softness  antl  transparency  of 
colour  ;  and  this  part  of  the  picture  is  in  excellent 
preservation.  L'nfortunately,  the  face  has  suffered 
greatly  through  rubbing  and  several  injudicious  clean- 


Tllli     I'ICTURE    SAL1:.S 

Hy  (i.  Komney  there  was  an  effective  three- 
quarter  length  portrait  of  Sir  Archibald  Campbell 
of  Inverneil.  Against  a  sky  background  he  stands  in 
a  scarlet  coat  with  dark-blue  facings  and  gold  braitl 
and  a  white  stock  ;  he  wears  white  breeches,  and  in 
his  folded  hands  he  holds  a  stick  and  his  large  black 
hat  ;  on  his  breast  is  the  star  of  the  Order  of  the 
Bath.  Sir  Archibald  Campbell  was  an  able  soldier 
and  no  mean  statesman ;  he  served  as  captain  in 
America  as  early  as  1758,  and  was  wounded  at  Wolfe's 
taking  of  Quebec.  He  was  again  in  America  in  1775, 
was  taken  prisoner,  and  on  his  release  was  given  the 
command  of  the  successful  expedition  against  the 
state  of  Geoi','!:!.     In    i-Sj  In    w  in!  .  !      1  ,,f 


ings,  so  that  there  is  little  trace  of  the  tine  modelling 
which  no  doubt  existed  when  the  portrait  left  the 
easel.  The  picture  only  reached  380  gns.,  a  very  low 
price,  even  considering  its  condition,  as  there  is  little 
cause  to  doubt  that  it  is  really  the  work  of  Sir  Joshua. 

An  oval  portrait  of  Mrs.  Wells,  the  first  wife  of 
Dr.  Wells,  in  lilac-coloured  dress,  with  muslin  trim- 
ming and  sash  and  pearl  ornaments,  was  also  attri- 
buted to  Sir  Joshua  Reynolds  ;  though  a  very  good 
portrait  with  a  finely  modelled  hand,  it  is  more  pro- 
bably the  work  of  Cotes,  and  was  sold  for  95  gns. 

Besides  Sir  Joshua,  Romney,  Hoppncr,  Law- 
rence and  Raeburn  were  represented  in  this  sale  by 
authentic  works. 


Pipe.     By  F.llll  Poller 


Jamaica,  and  three  years  later  governor  and  com- 
mander-in-chief at  Madras,  where  he  rendered  great 
services  to  the  country  and  to  the  East  India  Com- 
pany. He  died  in  1791,  and  was  buried  in  West- 
minster Abbey,  where  his  monument  stands  in  Poets' 
Corner.  In  this  portrait  the  grace  and  elegance  of 
attitude,  which  contributed  the  chief  charm  to  Roin- 
ney's  portraits  of  ladies,  strike  one  as  being  rather  a 
fault  than  a  quality  ;  for  there  is  none  of  the  power  of 
characterization,  none  of  the  dignity  of  e.xpression 
which  one  would  expect  to  find  in  a  great  master's 
rendering  of  a  man  of  Sir  Archibald  Campbell's 
character;  there  is,  in  particular,  in  the  pose  of  the 
hands  an   affectation   for  which   the  painter,  and  not 

•»5 


THE    BURLINGTON    GAZETTE 

the  soldier,  must  be  responsible.  The  picture  is,  how- 
ever, a  fine  decorative  work  with  a  pleasing  scheme  of 
colour,  and  it  fetched  800  gns. 

The  portrait  of  the  daughter  of  the  Earl  of  West- 
moreland, by  John  Hoppner,  is  a  iine  sketch  of  a 
curly-headed'  little  girl  represented  as  an  angel  with 
white  wings,  fluttering  amidst  the  clouds;  the  head 
only  is  complete,  the  body  and  legs  being  little  more 
than  indicated.  It  fetched  430  gns.  A  very  poor 
though  authentic  portrait  by  Hoppner,  a  half-length 
of  Lady  Pilkinton,  in  white  dress  and  blue  sash,  against 
a  red  curtain  background,  was  sold  for  115  gns. 


Shepherdess  keeping  Sheep.     By  Albert  Cuyp 

The  brilliant  colouring  of  Sir  Thomas  Lawrence 
was  conspicuous  in  the  oval  portrait  of  Frederick 
Viscount  Castlereagh,  afterwards  fourth  Marquess  of 
Londonderry.  He  is  represented  as  a  handsome 
young  man,  with  the  shining  feverish  eyes  which 
Sir  Thomas  almost  invariably  imparted  to  his  sitters. 
He  wears  a  red  coat  trimmed  with  fur,  and  a  white 
collar.     This  portrait  fetched  560  gns. 

Sir  Henry  Raeburn  was  also  represented  by  a  fine 
male  portrait,  a  three-quarter  length  of  William 
Ramsay,  a  Scottish  banker.  It  is  a  somewhat  early 
work,  and  the  handling  does  not  exhibit  the  breadth 
and  vigour  of  the  master's  best  period.  It  brought 
290  gns. 

With  the  English  School  also,  although  he  was  born 
in  Germany,  from  Dutch  parents,  must  be  classed  Pieter 
van  dcr  Faes,  better  known  as  Sir  Peter  Lely,  the 
fashionable  painter  of  the  court  of  Charles  II.  A  close 
imitator  of  the  elegance  and  purity  of  drawing  of  Van 
Dyck,  it  is  difficuh  to  explain  the  long  neglect  in  which 
Lely's  portraits  have  lingered  ;  in  his  best  work  he  ap- 
proaches very  close  to  the  nobility,  to  the  ease  and 
grace  of  pose  of  his  great  predecessor,  and  one  is  pleased 
to  note  that  his  very  real  qualities  are  at  last  beginning 
to  be  recogni;;ed  and  appreciated.  A  portrait  of  La 
Belle  Hamilton  as  Saint  Catherine,  with  a  dress  of 
beautifully  painted  satin,  fetched  215  gns.,  quite  four 
times  its  market  value  of  only  a  few  years  ago.  1  hree 
other  portraits  of  ladies  by  Lely  were  sold  for  95  gns., 
85  gns.,  and  65  gns.  respectively. 

46 


The  Anglo-Dutch  painter.  Van  der  Faes — Lely— 
furnishes  us  with  the  necessary  link  to  pass  from  the 
English  School  to  a  description  of  the  few  pictures  by 
old  Dutch  masters  included  in  the  sale  of  April  25.  A 
genuine  picture  by  Paul  Potter  is  of  such  rare  occur- 
rence in  the  market  that  the  presence  of  his  Peasants 
Dancing  to  the  Sound  of  a  Pipe  was  quite  the  feature 
of  the  sale.  It  is  described  as  follows  in  Smith's  Cata- 
logue Raisonne,  No.  49:  "A  pastoral  scene,  represented 
under  the  aspect  of  a  fine  evening.  Three  cows  stand 
in  a  group  in  the  margin  of  a  clear  stream  on  the  left, 
and  a  fourth  cow  is  a  little  beyond  them.  Near  a  hovel 
on  the  opposite  side  are  two  sheep  lying  down, 
and  an  ass  standing  near  them.  The  labour  of 
the  rustic  has  ceased,  and  he  is  now  seen 
enjoying  the  lively  dance  to  the  sound  of  a 
bagpipe;  a  company  of  three  peasants  and  the 
musician  occupy  the  centre  of  the  middle 
distance.  The  landscape  offers  a  country  di- 
versified with  trees  and  hedges,  enclosing 
meadow  grounds.  This  highly  finished  picture 
is  dated  1649." 

Paul  Potter  was  twenty-four  years  of  age 
when  he  painted  this  picture  ;  five  years  later 
he  was  laid  to  rest,  having  in  his  short  career 
asserted  himself  as  the  greatest  cattle  painter 
which  the  world  has  produced  before  or  since. 
The  picture  before  us  is  verj-  smoothly  painted 
and  is  not  distinguished  by  the  short,  dotted 
toucli,  accompanied  by  a  full  body  of  colour, 
which  characterizes  his  finest  works — those, 
for  instance,  in  the  Hermitage  at  St.  Peters- 
burg, the  National  Gallery,  and  the  Louvre. 
It  is  not  executed  (if  I  may  be  allowed  the 
anachronism)  in  the  Troyon  manner,  but 
approaches  more  nearly  to  the  handling  of  Adrian 
van  de  Velde.  An  authentic  and  finely  preserved 
signature  "  Paulus  Potter,  1649 "  appears  on  the 
woodwork  of  the  hovel  on  the  left.  The  picture 
has  a  "pedigree"  dating  back  to  the  middle  of  the 
eighteenth  century,  since  when  it  has  passed  through 
several  well-known  collections  ;  its  last  owners  were 
the  grandchildren  of  the  Prince  de  Chimay,  son-in- 
law  of  Monsieur  Pellapra,  of  Paris,  by  whose  will  it 
was  bequeathed  to  the  prince.  It  was  sold  in  1802  for 
^176,  in  1825  for  £i5S,  and,  lastly,  on  April  25  last, 

for  ;f2,835.  ^         . 

Four  hundred  and  ten  gns.  was  the  price  paid  ior 
a  small  Woody  Landscape,  by  Hobbema,  a  picture 
in  bad  condition,  but,  no  doubt,  a  genuine  work  of 
the  master ;  an  interesting  Cuyp,  Shepherdess  keep- 
ing Sheep,  described  in  Smith's  Catalogue  Rctisoiiiu'. 
No.  162,  was  withdrawn  at  460  gns.  ;  a  Wouwerman 
of  indifferent  quality.  The  Repose  of  the  Holy  Family 
(Smith's  Cat.  Rats.",  No.  136  and  Supplement  No.  47), 
whose  only  claim  to  notice  is  the  absence  of  a  white 
horse  from  the  composition,  was  sold  for  230  gns. 

We  now  come  to  the  picture  which  was  probablj- 
to  the  student  the  most  interesting  work  in  the  sale. 
I  refer  to  The  Supper  at  Emmaus,  or,  to  give  it  the 
title  bj-  which  it  has  been  generally  described,  Christ 
and  the  Pilgrims  of  Emmaus,  an  undoubtedly  genuine 
work  of  Velasquez's  earliest  period  ;  it  is  contemporary 
with  the  famous  Adoration  of  the  Magi,  of  the  Prado 
Museum,  Madrid,  the  most  important  early  work  of 


the  painter.  To  the  same  period  also  belong  the 
Christ  at  the  House  of  Martha,  in  the  National  Gal- 
lery, the  Oil!  Woman  Fryinf:  Ef^gs,  in  the  collection 
of  Sir  Frederick  Cook,  anil  the  Water  Seller  of  Seville, 
belonginj,'  to  the  Duke  of  Wellington.  All  these  works 
were  paintetl  between  1619  and  1623,  when  the  artist 
was  therefore  little  more  than  twenty  years  of  age. 
The  Christ  at  Emmaus  is  painted  with  excessive  hard- 
ness, and  the  objects  depicted  exhibit  the  almost 
sculptural  relief  characteristic  of  the  works  of  this  early 
jieriod.  The  heads,  hands,  and  draperies,  are  modelled 
with  infinite  care  and  realism,  and  the  contrasts  of 
light  and  shade  are  of  the  most  violent  description. 
Christ  and  the  two  disciples  are  seated  roimd  a  table 
covered  with  a  cloth  of  dazzling  whiteness  ;  tiie  figure 
of  the  Saviour  is  on  the  left,  brilliantly  illuminated, 
a  halo  round  His  head;  the  two  other  personages  are 
on  the  right,  more  in  shadow,  the  one  facing  the 
spectator  from  beyond  the  table,  the  other  turning  his 
back  and  recoiling  in  surprise  at  sight  of  his  Master. 

This  work,  originally  in  the  collection  of  Don  Jose 
Cannaveral,  of  Se\ille,  was  a  few  years  ago  the  pro- 
perty of  Senora  \'iuda  de  Garzon,  of  the  same  town  ; 
although  of  the  highest  interest  to  the  scholar,  it  can 
apparently  boast  of  little  attraction  for  the  twentieth- 
century  collector  as  it  fetched  only  300  guineas. 

.Another  picture  emanating  from  the  same  collec- 
tion as  Christ  and  the  Pilgrims  of 
ilmmaus  was  offered  also  as  a  work 
In-  X'elasquez.  The  Three  Musicians, 
with  musical  instruments,  seated  round 
a  table  singing  and  playing,  is  no 
doubt  a  Spanish  picture  of  the  early 
seventeenth  century  but  its  attribu- 
tion to  Velasquez  seems  impossible  to 
vindicate. 

.Apart  from  the  sale  of  April  25, 
which  I  have  described  first  as  being 
the  most  interesting,  that  of  April  4 
is  the  only  one  worthy  of  even  passing 
notice.  The  day  was  occupied  soIeK 
with  the  dispersal  of  the  collection  of 
modern  works  of  English  and  foreign 
origin,  the  property  of  Mr.  Henr\ 
James  Turner.  It  is  clearly  manifest 
that  Mr.  Turner  when  purchasing  his 
pictures  attached  the  highest  impcu- 
tance  to  the  subject  or  storj'  depictid. 
whilst  the  artistic  merit  and  qualit\  nt 
the  painting  were  to  him  only  secondar\ 
considerations  ;  in  these  circumstancts 
it  is  not  surprising  that  a  large  number 
of  his  pictures  are  artistically  (what- 
ever their  mercantile  value  may  bel  riMi 
worth  the  canvas  upon  which  they  air 
painted,  notwithstanding  the  compara 
tive,  and,  no  doubt,  ephemeral  celebrits' 
of  their  authors;  neither  is  it  to  be 
wondered  at  that  a  fair  number  failed  to 
realize  the  large  sums  which  they  probably  cusi  then 
owner  some  years  ago,  and  therefore  remain  in  hi.^ 
possession.  It  is,  however,  only  fair  to  add  that  in 
a  minority  of  cases  Mn  Turner  secured  works  which 
are  of  very  real  and  sound  merit  and  not  merely 
pleasing  to  Philistine  eyes. 


THE    PICTURE    SALES 

I'oremost  in  this  categorj'  must  be  placed  the 
works  of  J.  L.  Gerome,  consisting  of  four  oil  paintings 
and  one  water-colour.  A  pupil  of  Paul  Delaroche. 
Gerome  almost  rivals  Ingres  for  the  decision  and 
elegance  of  his  drawing  ;  his  colouring  is  always  har- 
inonious,  however  violent  may  be  the  contrast  which 
he  seeks,  however  brilliant  the  light  in  which  he 
bathes  his  scene.  He  is  conscientious  almost  to  a 
fault ;  thus,  when  he  was  engaged  in  modelling  his 
group  of  the  Gladiators  (for  Ger6me  is  a  distinguished 
sculptor  as  well  as  an  eminent  painter)  he  left  Paris 
for  Naples  in  order  to  verify  in  the  archaeological 
museum  some  detail  of  equipment,  and  was  back  again 
in  Paris  by  the  fastest  trains  before  the  clay  of  his 
statue  had  had  time  to  dry.  He  is  equally  fastidious 
in  the  choice  of  his  models,  a  fact  borne  out  by  his 
Bain  Maure,  probably  the  gem  of  Mr.  H.  J.  Turner's 
collection.  Gerome  began  this  picture  in  London 
during  the  Commune  in  1S71,  but  being  unable  to 
find  a  Nubian  model  to  satisfy  his  ideal,  he  waited 
to  finish  the  work  until,  political  tranquillity  being  once 
more  restored,  he  found  it  possible  to  return  to  Paris. 
In  this  picture  the  flesh  of  both  women,  the  black  and 
the  white,  is  painted  with  infinite  tenderness  and  deli- 
cacy of  tints.  It  has  been  exhibited  at  Vienna,  at 
Philadelphia,  and  twice  at  the  Guildhall ;  it  measures 
20  in.   by    16  in.,  and  was  sold  for  1,000  gns. 


The  other  uurka  by  Cjeronie  \\\ic: — The  Prayer  in 
the  Desert,  510 gns.  ;  In  the  Desert,  an  .Arab  sitting 
on  the  parched  sand  by  the  side  of  his  dead  horse, 
500gns. ;  Louis  XIV  and  Moliere,  470 gns. ;  and  a 
small  replica  in  water-colours  of  the  famous  picture 
Le  Duel  apres  le  Bal  Masque,  320  gns. 

■17 


THE    BURLINGTON    GAZETTE 

Mention  must  also  be  made  of  a  small  genre  com- 
position, Versailles,  by  J.  Boldini,  the  brilliant  and 
daring  painter  whose  portraits  novv  on  view  at  the 
New  Gallery  constitute  the  artistic  sensation  of  the 
year  ;  210  gns.  was  paid  for  this  little  scene  of  the  reign 
of  the  Roi  Soleil. 

Many  other  pictures  of  the  English,  Spanish  and 
French  Schools  of  the  second  half  of  the  nineteenth 


century  were  knocked  down  on  the  same  afternoon  at 
very  high  figures  ;  but  in  a  great  many  cases  it  may 
be  doubted  whether  a  sale  really  took  place.  Most  of 
these  paintings  are  of  no  possible  interest  to  the  col- 
lector or  true  connoisseur,  although  they  are  no  doubt 
eminently  fitted  to  complete  the  furnishing  of  the  average 
English  drawing-room,  crammed  to  overflowing  with 
worthless  knick-knacks  of  every  description.        M.  R. 


THE    PRINT    SALES 


The  print  sales  of  the  last  few  weeks  have  been  interest- 
ing in  more  than  one  respect.  In  the  first  place,  a  few 
very  fine  examples  of  rarities  of  desirable  impression 
and  condition  have  been  put  up — in  one  case,  a  print  in 
a  state  which,  as  far  as  I  am  aware,  has  never  before 
been  seen  in  an  auction  room — and  all  have  produced 
adequate  prices.  Secondly,  there  has  also  appeared  a 
greater  number  of  examples  either  in  bad  condition,  of 
inferioc  quality,  or  both,  which,  too,  have  changed 
hands  at  prices  which,  if  I  gauge  the  future  aright, 
have  been  materially  to  the  benefit  of  the  vendor. 
This  has  been  due  largely  to  the  feverish  impatience  of 
a  certain  class  of  collectors  to  obtain  a  coveted  fashion- 
able print,  regardless  of  condition  or  the  qualky  of  the 
impression.  These  inferior  specimens  were  in  remark- 
ably good  company,  and  the  extravagant  attention 
devoted  to  the  better  specimens  infected  purchasers  of 
the  inferior,  inflating  the  value  of  the  latter  to  a  degree 
which  would  have  been  deemed  ludicrous  but  a  few 
years  ago. 

The  worst  instances  of  inferior  specimens  were 
again  to  be  found  amongst  those  in  colours,  but  there 
were  some  flagrant  examples  among  the  mezzotints. 

The  number  of  questionable  specimens,  to  state  it 
mildly,  has  been  quite  up  to  the  average,  and  really, 
with  the  rage  in  full  swing,  the  selling  of  these  must  be 
exceedingly  lucrative,  for  occasionally  a  high  price  is 
obtained  even  under  the  hammer.  A  great  deal  too 
much  prominence  has  been  given  lately  by  the  sen- 
sational press  of  this  and  other  countries  to  the  shadier 
side  of  collecting  and  dealing.  So  much  so,  that  the 
public,  which  is  necessarily  ignorant  of  such  matters, 
is  in  danger  of  assuming  that  dealer  and  sharper,  col- 
lector and  fool,  are  synonymous  terms;  but  there  always 
have  been  honourable  dealers  and  collectors,  of  pro- 
found knowledge,  and  neither  are  by  any  means  extinct. 

In  the  sale  held  at  Sotheby's  on  March  27 
and  28  was  included  a  collection  of  water-colour 
drawings  by  Rowlandson.  They  were  for  the  most 
part  of  good  ciuality,  but  brought  inadequate  prices, 
£5  5s.  od.  being  given  for  five  illustrations  to  the  first 
volume  of  "  Dr.  Syntax."  This  was  the  best  figure 
obtained,  the  only  other  worth  mentioning  being 
Chairs  to  Mend,  which  was  sold  for  £1  lis.  od.,  The 
Pump  House  at  Bath,  ^^4  6s.  od.,  and  The  Interior  of 
Messieurs  Angelo's  Fencing  Academy,  ^^5  5s.  od. 
The  engravings  after  Rowlandson,  which  followed,  in- 
cluded the  scarce  print  of  The  Enchantress,  in  colours, 
£2  6s.  od.;  twenty-five  caricatures  and  other  engniv- 
ings,  some  in  colours,  £1  us.  od.,  and  Lc  Neglij^c  in 
colours,  £S  15s.  od.  From  these  prices  it  will  be  s. . n 
that  collectors  of  Rowlandson  are  still  lacking — another 
instance  of  those  changes  in  fashion  which  are  as  sudden 
as  they  are  unaccountable. 


In  the  same  collection,  which  belonged  to  the  late 
Baron  de  Hochepied  Larpent,  were  a  number  of 
elegantly-bound  volumes  containing  engravings  which 
were  sold,  as  is  usually  the  case,  for  inadequate  sums. 
One  contained  in  caricatures,  mostly  rare,  relating  to 
America,  and  among  them  A  Political  Lesson  or  Six 
Miles  to  Boston,  by  J.  Dixon,  realized  ^^25.  Eighty 
engravings  of  the  French  School,  many  of  them  brilliant 
impressions  by  de  Launay,  Nanteuil,  etc.,  were  sold  for 
;fii  ;  and  seventy-seven  mezzotints,  several  of  them 
proofs,  went  for  £15   15s.  od. 

A  fine  set,  early  impressions  in  good  condition, 
with  ample  margin,  with  only  one  plate  missing,  of 
Turner's  Liber  Studiorum,  fetched  3^142,  and  was  by 
no  means  dear.  As  is  well  known,  Turner  was  in  the 
habit  of  preventing  any  subscriber  obtaining  uniformly 
good  impressions ;  as  each  plate  was  issued,  the  fine 
mipressions  were  sent  off  to  those  who  had  had  bad 
ones  the  last  time.  The  later  collectors  of  Turner 
have  been  consequently  obliged  to  collect  fine  impres- 
sions if  they  desired  a  set  in  its  pristine  beauty. 
The  present  one  had  been  got  together  with  singularly 
good  judgement.  It  is  to  be  regretted  that  one  plate 
was  missing;  if  that  could  be  added,  of  equal  quality, 
there  would  be  few  better  collections.  The  lovers  of 
Turner  in  black  and  white  are  few  in  number.  Still, 
it  remains  an  absurdity  that  the  price  cheerfully  paid 
for  a  moderate  impression  of  a  colour-print  after 
Wheatley  or  Morland  will  purchase  a  complete  set  of 
seventy-one  plates,  in  fine  state,  of  the  best  work  of 
one  of  the  world's  geniuses. 

A  very  fine  set  of  thirteen  (which  included  the  scarce 
Turnips  and  Carrots),  in  colours,  of  Wheatley's  Cries 
of  London,  was  sold  for  £116.  As  the  fashion  goes 
these  were  not  dear,  five  having  titles  in  etched  letters, 
and  all  presenting  a  uniform  effect.  Amongst  the 
other  coloured  prints,  good  impressions  of  The  Morning, 
after  Hamilton,  realized  £27  los.  od.  ;  The  Evening, 
£25  los.  od  ;  and  Paying  the  Hostler,  by  S.  W.  Rey- 
nolds, after  Morland,  £ij. 

The  improvement  in  the  price  of  engravings  after 
Lawrence  continues.  A  beautifully-printed  signed 
proof  of  Lady  Gower  and  Child,  by  Samuel  Cousins, 
brought  £185,  and  an  etched  letter  copy  of  Master 
Lambton,  £33. 

As  showing  the  tendency  with  modern  engravings 
and  their  worth  in  the  eyes  of  collectors,  it  may  be 
mentioned  that  an  artist's  proof  of  Bianca,  after 
Leighton,  was  sold  for  7s. 

The  present  popularity  of  Meissonier  was  again  ap- 
jiarent,  ;^'20  being  realized  for  a  signed  remarque  proof 
on  vellum  of  La  Guide,  by  Jacquet. 

Amongst  the  portraits  of  the  English  School  some 
good  prices  were  obtained.    Dr.  Samuel  Johnson,  after 


Reynolds,  by  Doughty,  belorc  the  alteration  of  the 
address  from  that  of  the  engraver,  to  TIkjs.  Watson, 
and  therefore  in  the  third  state,  brought  £^^  ;  a  satis- 
factory impression  in  brown  of  Lady  Hamilton  as  The 
Spinster,  after  Romney,  by  Cheesman,  £^8 ;  and  a 
proof  before  letters  of  Mrs.  Parkyns,  after  Hoppner,  by 
C.  Wilkin,  ;^'40. 

On  March  31  was  sold  at  Christie's  an  assemblage 
of  Early  English  and  eighteenth-century  French  en- 
gravings, of  which  the  prints  after  Morland  attracted  the 
most  attention.  It  seems  incredible  that  collectors  can 
be  found  who  will  give  ;^'7J  los.  od.  for  such  a  bad  pair 
as  A  \'isit  to  the  Boarding  School,  and  A  Visit  to  the 
Child  at  Nurse.  The  plate  was  (juite  worn  out,  and 
but  a  ghost  of  its  former  self.  Better  certainly  was 
St.  James'  Park,  and  A  Tea-Garden,  by  Soiron,  but 
the  price  of  £183  15s.  od.  was  e.xtravagant.  Still 
more  so  was  that  paid  for  poor  impressions  of  A  Party 
.Vngling,  and  The  Angler's  Repast,  the  former  of  which 
was  badly  stained  ;  they  changed  hands  at  £215  5s.  od. 

Immediately  prior  to  this,  an  example  was  furnished 
of  the  value  of  colour  to  the  modern  connoisseur. 
Good  impressions  in  colour  of  the  Inside  of  a  Country 
Alehouse,  after  Morland,  and  the  Outside  of  a  Country 
.\lehouse,  after  J.  W^ard,  both  by  W.  Ward,  were  sold 
for  £86  2S.  od.  The  same  subjects  in  mezzotint,  only 
the  Inside  brilliant  and  its  companion  good,  were 
knocked  down  for  £4^  2s.  od.,  and,  indeed,  it  was  a 
surprise  that  they  fetched  that  sum. 

Some  large  prices  were  obtained  for  fancy  subjects. 
£152  5s.  od.  was  paid  for  line  impressions  of  Thoughts 
on  Matrimony,  by  W.  \\'ard,  after  J.  R.  Smith,  and 
Louisa,,  by  and  after  \\'.  \\'ard  ;  and  ^31  los.  od.  for 
The  Castle  in  Danger  and  How  Smooth  Brother,  by 
(iaugain,  after  Hamilton.  The  Alpine  Travellers,  after 
Xorthcote,  by  J.  Ward,  was  sold  for  £22  is.  od.,  and 
The  Rapacious  Steward  and  The  Benevolent  Heir, 
after  Bigg,  by  Gilbank,  £29  Ss.  od.  Both  were  of  tine 
([uality. 

A  particularly  good  collection  of  eighteenth-century 
French  engravings  was  offered,  and,  although  prices  all 
round  were  good,  there  was  more  justification  than  for 
those  paid  for  the  English  prints.  The  quality  in  the 
majority  of  cases  left  nothing  to  be  desired,  and  the 
condition  was  excellent. 

The  highest  prices  were  realized  for  the  Debucourts, 
a  master  whose  works  are  seldom  seen  in  London 
auction-rooms.  If  any  masters  justify  the  vogue  of  the 
colour  print,  Debucourt  and  Janinet  do.  There  is  an 
intensity  of  feeling  in  their  works,  in  spite  of  their 
obvious  frivolousness,  which  renders  them  just  as  fas- 
cinating as  a  Watteau  or  a  Fragonard,  and,  if  their 
subjects  have  a  spice  of  licentiousness,  it  must  be  at- 
tributed to  the  barefaced  immorality  of  their  century 
rather  than  to  the  artists  themselves. 

Of  works  by  Debucourt  we  had  seven  lots,  the 
lowest  price  obtained  being  £=,2  los.  od.  for  Le  Com- 
pliment and  Les  Bouquets.  The  set  of  La  Promenade 
Publi(|ue,  La  Promenade  de  la  Galerie  du  Palais  Royal, 
and  La  Promenade  du  Jardin  du  Palais  Royal,  brought 
£2j8  5s.  od.,  and  a  proof  before  letters  of  the  first- 
named,  £2^()   15s.  od. 

The  Janinets  were  quite  e(iual  in  <]uality,  but  the 
prices  were  more  moderate.  A  proof  before  letters  of 
L'Indiscretion,   after    Lavreince,   fetched    £126;    the 


THE    PRINT    SALES 

same,  with  the  title,  £6;^ ;  and  the  same  price  was  ob- 
tained for  La  Toilette  de  Venus  (Madame  de  Pompa- 
dour). 

Amongst  the  other  P'rench  prints  the  best  prices 
were  L'eleve  interessante,  by  Vidal,  after  Gerard,  proof 
before  letters,  £^2  ;  and  Le  Lever  and  Le  Bain,  after 
Baudouin,  by  Regnault,  £^7  i6s.  od. 

.'\n  interesting  feature  was  the  sale  for  £8  iSs.  6d. 
of  Porparati's  fine  print  from  Angelica  Kauffman's  pic- 
ture, Garde-a-vous  ;.the  impression  was  of  fair  quality, 
and  the  price  obtained  shows  a  renewed  interest  in 
this  talented  line  engraver. 

It  must  be  remembered  that  when  a  good  series  of 
any  particular  school  is  brought  together,  competition 
is  stimulated  beyond  normal  limits,  and,  consequently, 
too  much  stress  cannot  be  laid  upon  these  prices. 
Single  examples,  even  of  equally  good  quality,  could 
not  be  relied  upon  to  realize  so  much. 

The  sporting  prints,  all  of  which  were  in  desirable 
condition,  sold  well;  ;fii  lis.  od.  was  given  for 
Pollard's  Newmarket  Races  in  colours,  and  £g  gs.  od. 
each  for  the  same  artist's  Ascot  Heath  Races  and 
Mail  Coach  Topping  a  Hill. 

Among  the  portraits  a  fine  impression  of  Mrs.  Smith, 
by  and  after  J.  R.  Smith,  fetched  ;fi26,  and  a  first 
state  of  Miss  Anne  Brown  after  Peters  by  the  same 
engraver,  £"105  ;  these  were  the  best  prices. 

The  sale  at  Christie's  on  April  7  was  rendered 
noteworthy  by  the  inclusion  of  a  superb  first  state 
with  untrimmed  margin  of  Lady  Catherine  Pelham- 
Clinton,  by  |.  R.  Smith  after  Rejmolds.  It  w-as  sent 
up  from  the  countr\'  in  a  wrapper  accompanied  by  a 
laconic  note  asking  if  it  was  of  any  value,  and  stamps 
were  enclosed  for  its  return  in  case  of  an  unfavourable 
decision  being  arrived  at.  Evidently  the  sender  had 
not  the  remotest  idea  of  its  value  and  fully  expected 
to  have  it  returned  to  him.  If  it  had  only  been  sent 
Hat  it  would  ha\e  realized  considerably  more  than  the 
f^bj  which  was  paid  for  it.  Many  of  the  creases 
were  old  and  would  tax  the  resources  of  the  finest 
restorer  to  eradicate,  but  new  complications  had  been 
brought  about  by  its  transit  through  the  post.  Surely, 
if  an  object  is  deemed  worthy  even  by  the  most 
i,t,'norant  of  being  sent  to  Christie's,  it  is  worth  careful 
packing.  Still,  small  wonder  can  be  expressed  at  such 
a  display  of  carelessness  by  the  uninformed  when 
educated  collectors  of  long  standing  can  be  found  who 
have  not  learnt,  for  instance,  that  they  should  not 
hold  a  print  between  the  thumb  and  fingers  of  one 
hand.  It  may  be  readily  conjectured  that  when  the 
facts  of  this  romance  become  known  throughout  the 
country,  London  auctioneers  and  dealers  will  be  in- 
undated with  a  miscellaneous  assortment  of  objects, 
[)rints  in  particular,  but  it  may  be  doubted  whether 
anything  of  e(]ual  worth  will  be  often  brought  to  light. 

Immediately  following  was  a  first  published  state 
with  the  title  in  skeleton  letters  of  The  Daughters  of 
Sir  Thomas  Frankland  after  Hoppner  by  W.  Ward, 
which  was  sold  for  £"6ig  los.  od.  Large  as  these  two 
prices  may  seem,  they  were  reasonable  when  compared 
with  several  others.  I'or  example,  a  poor  impression  in 
colours  of  the  Countess  of  Oxford  by  S.  W.  Reynolds 
after  Hoppner,  although  cut,  realized  £18^  15s.  od., 
and  The  Duchess  of  Marlborough  by  J.  Jones  after 
Romney,  £50  8s.  od. 

49 


THE    BURLINGTON    GAZETTE 


There  were  some  fine  prints  after  Lawrence  and 
very  high  prices  were  obtained. 

That  ever-popular  plate  of  Master  Lambton  by 
Samuel  Cousins  was  a  first  state  when  Lawrence 
published  the  plate,  but  still  £194  5s.  od.  was  hardly  a 
small  price  for  it  ;  the  Miss  Croker,  also  by  Cousins, 
appeared  cheaper  at  £qo  6s.  od.,  as  it  was  in  the  first 
published  state  with  all  the  original  margin.  There 
is  a  great  divergence  in  the  esteem  in  which  Cousins's 
plates  are  held,  even  when  that  talented  engraver  is 
working  after  Lawrence.  Why  this  should  be  is  best 
known  to  the  collector,  for  there  is  little  difference  in 
the  success  achieved  in  any  of  his  plates,  yet  we  find 
a  presentation  proof  in  perfect  condition  of  Lady 
Acland  and  Children  producing  only  ;^8g  5s.  od. 

In  the  whole  of  the  life  work  of  Richard  Earlom 
there  are  no  more  successful  plates  than  the  Fruit  and 
Flower  pieces  after  Van  Huysum.  In  the  Fruit  piece, 
particularly,  he  achieved  a  delicacy  and  liquidity 
which  is  without  a  parallel  in  the  whole  range  of 
engraving,  whether  in  line,  stipple  or  mezzotint.  I 
may  even  go  so  far  as  to  say  that  their  artistic  merits 
are  of  a  higher  order  than  the  originals  of  Jan  Van 
Huysum  themselves.  Still,  both  plates  from  these  very 
qualities  of  delicacy  and  transparency  very  soon  wore, 
and  an  immense  difference  is  observable  between  the 
early  impressions  and  those  taken  after  the  first  few 
were  pulled  off.  The  difference  in  the  prices  which 
they  realize  shows  that  many  collectors  do  not  fully 
comprehend  this.  A  close  study  of  one  of  the  earliest 
destroys  any  desire  for  the  later  ones.  It  is  a  peculi- 
arity with  this  print  above  all  other  mezzotints  with 
which  I  am  acquainted,  insomuch  that  it  needs  a  com- 
parison of  the  two  to  fully  realize  it.  But  if  a  col- 
lector has  never  seen  any  but  an  ordinary  impression, 
he  will  be  quite  satisfied  with  it.  Even  the  later  im- 
pressions sell  well ;  the  £52  los.  od.  at  which  the 
beautiful  pair  of  etched  letter-proofs  were  sold  must  be 
deemed  a  very  reasonable  figure.  If  this  pair  were 
held  for  a  few  years,  and  the  present  taste  for  mezzo- 
tints should  remain  unchanged,  they  would  in  all  pro- 
bability realize  a  very  handsome  profit. 

The  sporting  prints  again  sold  remarkably  well. 
A  very  fine  series  in  desirable  condition  of  The  Winners 
of  the  Great  St.  Leger  Stakes,  from  1815  to  1842  in- 
clusive and  1845,  after  J.  F.  Herring  and  H.  Hall  by 
Reeves,  Hunt  and  others  in  colours  produced  £'6g. 
They  were  all  unframed.  The  set  of  four  in  colours  of 
Fox  Hunting  after  Wolfstenholme  by  Sutherland  were 
sold  for  £^-j  i6s.  od.,  and  Hounds  Leaving  Kennel, 
Drawing  Cover,  Full  Cry  and  The  Death,  £^6  15s.  od. 

Apart  from  these  the  chief  interest  of  the  sale 
centred  in  the  stipple  prints  in  colour,  of  which,  on  the 
whole,  the  best  series  of  the  year  was  presented.  The 
Wheatley's  Cries,  all  of  which  were  open  letter  proofs, 
produced  an  average  of  £38  apiece;  they  were 
very  even,  but  badly  "fo.xed,"  a  remark  equally 
applicable  to  many  of  the  finest  of  the  colour  prints, 
particularly  those  belonging  to  Count  Charles  of 
Lamberg. 

Fair  impressions  of  St.  James's  Park  and  A  Tea 
Garden  after  George  Morland  b_\'  Soiron  were  dear  at 
£157  los.  od.,but  Gathering  Wood  and  Gathering  I-'ruit 
after  the  same  master,  by  Meadows,  at  £i'6  7s.  6d.,  were 
among  the  cheapest  of  the  day.     Selling  Rabbits,  in 

50 


colours  by  \\'.  Ward,  after  J.  Ward,  brilliant,  produced 
£^0  gs.  od.,  and  Sophia  by  J.  Hogg  after  Peters 
£■96  I2S.  od. 

On  the  whole,  however,  perhaps  the  best  print  in 
this  section  was  the  Outside  of  a  Farrier's  Shop  after 
Garrard,  an  engraver's  proof  before  all  letters  and 
exquisitely  printed.  The  £iis  los.  od.  at  which  it 
changed  hands  was  distinctly  reasonable  as  the  market 
at  present  stands  in  prints  in  colours.  Compare  this 
price  for  instance  with  ^65  2s.  od.  obtained  for  a  de- 
cidedly bad  impression  of  The  Chalybeate  Well  at 
Harrogate,  by  and  after  J.  R.  Smith. 

Of  course  auction  prices  are  and  always  were  illo- 
gical ;  mere  difference  of  impression  or  condition  cannot 
by  any  means  account  for  the  perfectly  haphazard  valua- 
tions which  are  assigned  under  the  hammer,  and  it  is 
much  to  be  doubted  whether  either  collector  or  dealer 
would  pay  so  much  for  some  objects  or  let  others  go  so 
cheaply  in  calmer  moments  when  the  period  of  delibera- 
tion is  not  limited  by  the  auctioneer's  hammer.  Be 
that  as  it  may,  valuations  are  determined  largely  by 
auction  values  particularly  with  regard  to  such  things 
as  prints  and  books,  and  the  numerous  enigmas  which 
occur  serve  to  show  how  unreliable  is  an  opinion 
formed  on  such  an  unstable  foundation. 

Bartolozzi  is  on  a  fair  way,  if  one  may  judge  from 
the  sales  of  the  last  two  months,  to  regain  something 
of  his  old  popularity.  A  poor  copy  in  colour  of  The 
Countess  of  Harrington,  after  Reynolds,  realized 
£^T,  I2S.  od.,  and  even  a  print  of  Angelica  Kauffman's 
Venus  attired  by  the  Graces,  £i  i8s.  6d.  This  is  a  pleas- 
ing feature  and  betokens  a  distinct  advance  in  taste  ; 
for  I  think  I  may  say  without  fear  of  contradiction  that 
Bartolozzi  was  the  finest  stipple  engraver  we  have  had, 
and  the  current  fashion  in  coloured  prints  of  his  period 
is  largely  due  to  the  collecting  of  his  works.  Very  soon 
the  works  of  his  followers  began  to  be  collected  as 
eagerly  as  those  of  Bartolozzi  himself,  and  a  number  of 
artists  who  worked  under  his  influence  attained  a  fame 
quite  incommensurable  with  their  merits.  This  may 
sound  to  many  collectors  rank  heresy,  but  still  I  fail 
to  see  the  great  merit  in,  for  example,  Cardon  and 
Vendranini  which  many  attribute  to  them.  Bartolozzi, 
I  admit,  has  fine  artistic  qualities;  his  draughtsmanship 
is  good,  and  he  admirably  caught  the  spirit  of  the 
masters  after  whom  he  worked.  For  these  reasons 
the  want  of  attention  which  has  been  bestowed  upon 
him  of  late  years,  in  the  full  tide  of  the  coloured 
stipple  boom,  is  quite  incomprehensible. 

The  sale  at  Christie's  on  April  zz  furnished  yet 
another  instance  of  the  phenomenal  hold  that  the 
coloured  print  has  on  the  present-day  collector. 
Hardly  any  of  the  impressions  offered  could  be  con- 
sidered as  desirable,  the  majority  being  conspicuous 
by  their  lack  of  quality  and  by  their  inferior  condition. 

Fair  examples  in  colour  of  A  Party  Angling  ami 
The  Angler's  Repast,  by  Ward  and  Keating  after 
Morland,  brought  1^183  15s.  od.,  and  How  Smooth 
Brother,  and  The  Castle  in  Danger,  by  Gaugain  after 
Hamilton,  £2^  2s.  od.  These  figures,  however,  were 
(juite  reasonable  when  compared  with  £iiS  10s.  od. 
for  an  inferior  impression  in  colours,  by  Knight  after 
Romney,  of  Lady  Hamilton  as  a  Bacchante.  The 
better  side  of  the  sale  was  to  be  found  in  the  good 
series   of  mezzotints  by   Cousins,  of  which    a    large 


number  have  been  placed  on  the  market  (iiiriii^'  the 
present  season,  and  eagerly  bought,  the  consequence 
being  that  prices  have  hardened.  That  up  to  the 
present  this  has  been  justifiable  few  will  deny,  for  as 
translations  of  one  English  master — Lawrence — at 
least,  they  are  almost  worthy  of  being  placed  side  by 
side  with  the  achievements  of  the  last  decade  of  the 
preceding  century,  much  as  one  feels  their  inferiority 
technically  and  in  themselves.  Still,  excesses  should 
he  avoided,  and  the  prudent  collector  should  hesitate 
before  paying  prices  which  would  procure  him  prints 
which  are  as  great  from  a  creative  standpoint  as  they 
are  as  translations.  The  zenith,  it  may  be,  has  not 
yet  been  reached,  but  there  is  a  danger  "of  a  reaction 
in  the  near  future. 

It   should    be  remembered  tliat    in   the  opinion   of 
many  the  achie\-ements  of  Cousins  ha\e  been  equalieil 


SILVER    SALES 

at  the  present  day ;  indeed  there  are  several  living 
mezzotint  engravers  who  are  equal  to  any  but  the 
greatest  masters.  Now  if  a  picture  by  Lawrence  can 
be  as  well  engraved  to-day  as  Cousins  did  it,  there  is 
not  the  same  justification  for  paying  fancy  prices  for 
his  plates  as  there  is  for  paying  them  for  fine  impres- 
sions of  some  of  the  masterpieces  after  Reynolds  or 
Komney,  which  by  general  consent  are  unrivalled. 

For  these  reasons  the  £26  5s.  od.and  ^f  j6  15s.  od., 
which  impressions  of  Countess  Gower  and  Child 
brought,  must  be  considered  quite  enough  even  though 
the  latter  was  brilliant. 

Very  different  prices  were  realized  when  those  after 
Millais  by  the  same  engraver  were  put  up. 

The  Order  of  Release,  a  signed  artist's  proof,  pro- 
tluced  £^  15s.  6d.,  and  an  entrravir's  proof  of  The 
lilack  Hruns\\icker  £1  is.  od. 


SILVER 

The  sale  of  the  Bateman  collection  of  earlv  English 
silver,  which  took  place  at  Christie's  on  April  3,  was 
on  some  accounts  even  more  interesting  and  instruc- 
tive than  that  of  the  celebrated  Dunn-Gardner  collec- 
tion, although  it  contained  no  breathless  sensations 
like  its  predecessor.  The  late  Mr.  Bateman  was 
essentially  a  connoisseur  and  collector  of  the  old 
school  ;  he  prosecuted  his  hobby  with  skill  and  econ- 
omy ;  he  never  bought  what  was  not  necessary  to  his 
purpose,  and  he  never  purchased  an  example  unless  it 
was  as  near  to  perfection  as  possible  in  the  way  of 
preservation  and  of  unimpeachable  hall,  date  and 
maker's  marks.  He  was  ever  aiming  at  perfection 
in  every  detail ;  consequently,  if,  after  purchasing  a 
specimen,  he  found  another  which  in  some  point  or 
other  was  superior  to  his  original  acquisition,  he 
promptly  acquired  it,  discarding  the  inferior  piece. 

That  the  total  proceeds  of  the  sale  were  not  far 
larger,  was  due  to  the  fact  that  most  of  the  items  were 
of  light  weight,  since  their  collector's  object  had  been 
to  acquire  not  massive  and  costly  ornaments  but 
typical  specimens,  at  the  smallest  possible  outlay. 
Further,  a  considerable  portion  of  the  collection  con- 
sisted of  spoons,  which,  for  some  inexplicable  reason, 
are  sold  "all  at,"  and  not  by  weight,  although  surely 
a  spoon  is  no  more  a  work  of  art  than  a  porringer  or 
goblet.  The  greatest  weight  of  any  individual  lot  was 
only  16  oz.,  while  the  average  was  probably  about  6  o/.. 

The  result  of  this  sale,  particularly  of  the  collection 
of  early  apostle  and  seal-toj)  spoons,  which  was  extra- 
ordinaril}-  representative  and  perfect,  is  peculiarly 
instructive,  in  that  it  shows  in  an  epitomised  form  the 
magnitude  of  that  increase  in  price  of  fine  old  silver 
of  home-make  during  the  last  eight  }ears ;  for  nearly 
all  Mr.  Bateman's  most  valuable  acquisitions  had 
been  made  since  1895.  To  quote  one  of  many  ex- 
amples of  this  extraordinary  appreciation. 

An  Elizabethan  apostle  spoon  with  St.  John 
having  a  nimbus  of  open-rayed  form,  which  just 
realized  £"68,  was  acquired  by  its  late  owner  in  1896 
for  £j  los.  od.,  thus  showing  an  increase  of  900  per 
cent,  on  the  original  outlay.  Another  fine  spoon, 
which,  high  as  its  price  appeared,  was  by  no  means 
a  bad  investment,  was  a  Tudor  apostle  spoon,  with  a 
figure  of  St.  John  with  a  nimbus  modelled  with  radia- 


SALES 

ting  lines.  Two  more  spoons  of  great  rarity  and 
interest,  on  account  of  their  extraordinary  weight — 
they  turned  the  scale  at  over  three  ounces  apiece — 
were  the  pair  of  Charles  I  seal-tops,  dated  respectively 
1627  and  1634,  which  realized  little  short  of  £100 
apiece.  .At  the  same  sale,  though  from  another 
source,  an  Elizabethan  standing  salt  and  cover  sold 
for  £720,  a  full  price,  considering  that  it  was  by  no 
means  in  its  original  condition,  the  portion  under- 
neath the  small  statuette  of  a  man  in  armour  being 
of  later  date,  as  also  in  all  probabilitj'  were  several 
other  parts.  Had  this  piece  been  intact,  the  result 
would  certainly  have  been  vastly  different.  To  return 
to  the  Bateman  examples.  A  very  fine  maidenhead 
spoon  of  the  reign  of  Henry  V'lU,  though  catalogued 
as  of  the  previous  reign,  sold  for  a  little  under  £"50; 
a  piece  of  foreign  silver  (not  belonging  to  the  Bateman 
collection)  in  the  shape  of  a  tazza,  apparently  of  Por- 
tuguese make  of  the  Tudor  period,  and  of  uncommon 
workmanship  and  design,  but  with  rather  uncon- 
vincing date,  letters  and  hall  marks,  did  not  get 
beyond  ^^240. 

The  only  other  silver  sale  in  .April,  of  comparatively 
little  interest,  was  held  at  Christie's  on  the  23rd, 
when  the  best  piece  was  a  James  \l  two-handled 
porringer  and  cover  of  nearly  cylindrical  form,  deco- 
rated with  acanthus  and  palm  leaves,  and  with  scroll 
handles  b}'  John  Jackson,  1685,  which  realized  £'14 
per  oz.,  a  by-no-means  extravagant  price.  A  singu- 
larly typical  and  fine  example  of  Charles  II  silver 
was  the  goblet  engraved  and  punched  with  a  wide 
band  of  leafage  on  a  matted  ground,  and  with  a 
flowered  pattern  on  the  bottom,  which,  considering 
its  exceptional  qualitj-,  was  decidedly  cheap,  since  it 
realized  £26  per  oz.,  the  average  price  for  good 
ordinary  examples  of  its  t)pe.  An  interesting  item 
at  this  sale  were  three  old  pewter  spoons  sold  in  one 
lot.  One  was  an  apostle  spoon  of  early  date,  with  the 
figure  of  St.  John  ;  another,  dating  probably  from  the 
fifteenth  century,  had  its  handle  surmounted  by  a 
female  bust ;  and  the  third  had  a  mask  on  the  top, 
the  shaft  moulded  with  a  bee,  and  an  inscription  at 
the  back.  Nearly  £'200  was  given  for  a  diminutive 
Elizabethan  standing  salt,  with  a  considerable  portion 
missing;    it    was  only  ji^  in.  high. 

51 


SALES  OF  PORCELAIN  AND  POTTERY 


There  was  only  one  collection  of  china  sold  this 
month — that  formed  by  Mr.  Stevenson — chiefly  con- 
sisting of  Nankin,  and  containing  but  few  specimens 
of  the  first  order,  although  the  collection  as  a  whole 
was  interesting,  and  many  genuine  pieces,  not  abso- 
lutely of  the  first  quality,  were  sold  at  comparatively 
low  prices;  the  highest  priced  lot  in  the  sale  being 
a  Nankin  vase  painted  with  mountainous  river  scenes 
and  fishermen  on  a  dark  blue  ground,  and  with  panels 
round  the  shoulders  and  base  containing  flowers  and 
scrolls,  which  realized  £115  los.  od.  A  small  bottle 
9  in.  high  with  a  bulbous  lip  painted  with  vases  of 
flowers,  principally  iris  and  arabesques,  was  acquired 
for  £21,  and  a  set  of  three  oviform  vases  and  covers 
decorated  with  rocky  river  scenes  and  formal  flowers 
in  panels  ;r78  15s.  od.  Nearly  all  the  specimens 
were  admirably  suited  for  decorative  porposes,  but 
scarcely  up  to  the  mark  of  a  first-class  collector's  re- 
quirements, so  that   though   the  prices  all  round  were 

MISCELLANEOUS 

Although  several  pieces  of  tapestry  realized  fair 
prices  during  the  month,  there  was  nothing  especially 
noteworthy,  except,  perhaps,  the  Savonnerie  carpet, 
which  possessed  an  historical  and  sentimental  in- 
terest all  its  own  in  addition  to  its  artistic  merit, 
which  was  considerable.  This  carpet,  according  to  a 
note  in  Christie's  catalogue,  where  it  was  sold  on 
April  6,  was  originally  in  Whitehall  Palace,  and  was 
given  by  Oliver  Cromwell  to  Archbishop  Juxon,  by 
whom  it  is  said  to  have  been  given  to  a  Mr.  James 
Harris,  in  whose  family  it  remained  till  its  recent 
sale  for  £107  2s. 

The  furniture  sold  in  April  was  of  little  interest, 
although  at  Christie's  on  April  i  a  Louis  XV  par- 
queterie    commode    with    shaped    front    and    chased 

THE  APRIL 

The  London  book  sales  of  April  present  extraordi- 
narily few  features  of  interest.  There  is  no  difficulty 
in  accounting  therefor.  The  bibliophile,  he  who  loves 
his  books ;  the  bibliopole  or  dealer  in  books — I  follow 
the  definitions  of  the  Abbe  Rive,  librarian  to  the 
Due  de  la  Valliere — the  bibliognoste,  whose  knowledge 
of  title-pages  and  colophons,  of  various  editions  and 
of  the  history  of  early  presses,  is  great ;  the  biblio- 
graphe,  who  is  able  swiftly  and  succinctly  to  describe 
the  points  of  this  or  that  volume  ;  the  bibliomane, 
who  accumulates  books  more  or  less  indiscrimately  : 
these  sections  of  our  varied  body  politic  were  not 
suddenly  annihilated  at  the  end  of  March,  nor  did 
their  interest  in  the  hunt  for  rarities  flag  with  the 
coming  of  spring.  Two  causes  operated  in  rendering 
relatively  void  the  book  sales  of  April.  The  first  and 
the  greatest  was  the  occurrence  of  the  Easter  recess. 
Again,  the  auction-rooms  in  Wellington  Street  are 
subject  to  the  ordinary  cosmic  laws  ;  hence,  after  the 
five-days'  dispersal  of  the  Gibson  Carmichael  Library, 
ending  on  March  27,  and  the  Blake  sale,  followed  by 
that  of  some  decorative  manuscripts  from  the  collec- 
tion of  "  A  Well-known  Amateur"  on  the  succeeding 
Monday,  it  was  natural  that  the  bibliophilic  pendulum 
should  swing  in  the  direction  of  rest.  During  the  five 
days,  March  31 — April  4,  those  with  numismatic  pro- 
clivities had  an  opportunity  to  acquire  rarities  in  the 


good  there  were,  as  I  have  said,  no  sensations  during 
the  da}-. 

On  April  21  in  a  mixed  sale  at  Christie's  a  pair  of 
old  Chinese  hexagonal  tea-pots  with  black  enamelled 
ground  of  great  brilliance,  with  a  panel  on  each  side, 
fetched  ;^i68,  and  a  fine  powdered  blue  ewer,  pencilled 
with  gold  flowers  and  with  river  scenes  and  flowers  in 
famille-verte,  went  for  £6j  4s.  od. ;  £6^  being  given 
for  a  vase  and  cover  of  the  same  porcelain  enamelled 
with  flowers  and  utensils. 

An  interesting  instance  of  the  chances  of  the  sale 
room  was  the  small  cabaret,  in  the  now  fashionable 
canary  Sevres,  decorated  by  Niquet  with  wreaths  of 
named  flowers  on  an  alternate  white  and  yellow 
ground,  with  narrow  bands  of  gold  and  chocolate, 
which  was  within  an  ace  of  being  adjudged  to  its 
ultimate  purchaser  for  a  matter  of  about  ;£"20,  but 
having  escaped  this  degradation  was  carried  along  to 
;^-2io  by  the  persistency  of  but  one  other  buyer. 

OBJECTS    OF   ART 

ormolu  borders  excited  some  competition  and  even- 
tually fell  at  £"560  ;  and  at  the  same  rooms  on  April  21 
a  pair  of  old  English  satin-wood  side  tables,  apparently 
in  fine  condition,  with  shaped  fronts  decorated  with 
wreaths  of  flowers  in  colours,  on  black  and  gold 
lacquered  stands,  decorated  with  trophies,  fetched 
well  over  three  figures. 

At  the  same  sale,  which  contained  the  commode 
just  mentioned,  a  box-wood  rosary  bead  of  fifteenth- 
century  German  work  containing  inside  two  micro- 
scopic scenes  from  the  life  of  our  Lord  was  sold  to  a 
German  dealer  for  ^^'So,  and  several  other  Renaissance 
and  early  objets  d'art  made  fair  prices,  an  Italian 
bronze  of  the  rape  of  a  nymph  ascribed  to  G.  di 
Bologna  realizing  but  little  short  of  jf  150. 

BOOK  SALES 

first  portion  of  the  Murdoch  coin  cabinet,  but  book 
collectors  had  to  content  themselves  with  picking  up 
stray  crumbs  from  a  mixed  assemblage  of  663  lots  in 
libraries  such  as  those  of  the  late  Dr.  Manley  Sims, 
the  late  Dr.  Frederick  Martin,  the  late  Mr.  K.  W. 
Lowe,  author  of  "  A  Biographical  Account  of  English 
Theatrical  Literature,"  and  the  late  Rev.  Canon 
Cooke.  The  sale  included  an  uncut  cop)-  of  ^^'illiam 
Hayley's  "  Ballads,"  Parts  1-4,  containing  fourteen 
large  plates  and  vignettes  by  Blake,  one  of  the  original 
wrappers  wanting,  ^31  los.  od.  It  was  late  in  1801 
that  Hayley  began  writing  this  series  of  "  Ballads  and 
Anecdotes  Relating  to  Animals,"  with  the  intention  of 
benefiting  Blake  financially  by  handing  the  te.xt  over 
to  him,  free  of  charge,  to  illustrate. 

In  August,  1801,  Hayley  wrote  from  Felpham : 
"  Our  good  Blake  is  actually  in  labour  with  a  young 
lion.  The  new-born  cub  will  probably  kiss  your 
hands  in  a  week  or  two.  The  lion  is  his  third  ballad, 
and  we  hope  his  plate  to  it  will  surpass  its  prede- 
cessors." Seagrave,  the  Chichester  bookseller,  was 
entrusted  with  the  printing,  but,  so  far  from  profit 
resulting,  the  actual  outlay  was  not  covered,  and 
the  4to  series  was  finally  abandoned.  In  July  1805 
Blake  charged  Mr.  Butts  los.  od.  for  four  numbers  of 
"  Hayley's  l'>allads,"  similar  to  those  which  fetched 
30  gns.  last  month. 


On  April  (■>■-,  there  came  under  Messrs.  Sotheby's 
hammer  4,50  lots  of  hooks,  chiolly  fifteenth  and  sixteenth 
century,  sold  by  order  of  Sir  William  Infjram,  Bart.,  of 
La  \'if;ie,  in  the  sun-steeped  hill  town  of  Ro(]uebrune, 
between  Monte  Carlo  and  Cap  Martin.  Had  they 
been  in  moderately  Rood  condition,  they  would  have 
fetched  much  more  than  the  £J,^b  actually  realized  for 
them.  The  highest  price  for  a  sin<(le  work  was 
£\b  los.  od.,  paid  for  a  copy  of  the  first  edition  of 
"  Euclid,"  from  Katdolt's  press,  1482,  aj^ainst  £'31,  at 
which  a  better  example  was  valued  at  Hodgson's  on 
February  18.  Included  in  the  same  catalogue,  but 
from  other  sources,  were  Ackermann's  Histories  of 
Oxford  and  Cambridge,  1814-15,  with  the  coloured 
engravings,  £}fi  los.  od.,  less  than  half  the  sum  paid 
for  a  set  of  the  four  volumes  last  year,  and  "  The 
Microcosm  of  London,"  181 1,  ^20  los.  od. 

Charles  Lamb  is  conspicuous  amongthe  noteworthy 
authors  of  the  nineteenth  century,  scarce  svorks  by 
whom,  procurable  thirty  years  ago  for  a  number  of 
shillings  that  the  man  even  of  moderate  means  could 
afford,  are  now  worth  more  than  as  many  pounds.  At 
Messrs.  Hodgson's  sale,  April  2-7,  "  Mrs.  Leicester's 
School,  or  the  History  of  Several  Young  Ladies  Related 
by  Themselves,"  by  Charles  and  Mary  Lamb,  first 
edition,  printed  for  M.  J.  Godwin,  i8og,  fetched  the 
record  price  of  ^^40  los.  od.,  and  this  despite  the  fact 
that  the  copy,  in  pink  boards,  uncut,  was  somewhat 
stained,  page  115  mended,  and  the  final  leaf  torn  across 
the  middle,  though  without  loss  of  text.  The  cata- 
logue included  a  series  of  seventeenth-century  Quaker 
tracts,  which,  having  been  refused  by  a  dealer  at  an_\- 
price,  fetched  about  £60  under  the  hammer. 

The  last  sale  in  Wellington  Street  prior  to  the 
Easter  recess  contained  a  few  interesting  items. 
Belonging  to  the  late  Mr.  Kenneth  R.  H.  Mackenzie, 
F.S..-\.,  were  ten  eighteenth  and  nineteenth  century 
"  Horn  Books,"  alluded  to  by  Mr.  Tuer  in  his  work  on 
the  subject,  and  from  1871  to  1902  on  exhibition  at 
South  Kensington,  £32  ;  and  the  editio  princeps  of 
Fitzgerald's  "  Omar  Khayyam,"  1859,  printed  by  G. 
Norman  for  Mr.  Bernard  Quaritch,  in  original  brown 
wrapper,  ;f  29  los.  od.  .^  further  series  of  relics,  etc., 
formerly  in  the  possession  of  the  late  Miss  Kate  Perry 
and  her  sister,  Mrs.  Elliot,  intimate  friends  of  Thacke- 
ra\' — Miss  Kate  Perry's  album,  containing,  among 
other  things,  an  unpublished  autograph  poem  by 
Thackeray,  brought  £590  last  December,  it  will  be 
recalled — included  editiones  principes  of  Thackeray's 
"  Our  Street,"  1848,  and  "  Dr.  Birch  and  his  Young 
Friends,"  1849,  bound  together  in  one  volume,  with  a 
poem  of  five  stanzas,  beginning  "  Although  I  enter  not," 
in  Thackeray's  autograph,  and  a  note,  "  This  book 
written  a  great  deal  with  K.E.P.,  the  anecdotes  most 
of  them  happening  in  Chesham  Place,"  on  which  a 
valuation  of  ;f  131  was  put ;  and  Tennyson's  "  In 
Memoriam,"  first  edition,  original  state,  "  H.P.  from 
the  author,"  £10. 

On  .\pril  20  and  four  following  afternoons,  Messrs. 
Sotheby  dispersed  the  "extensive  and  interesting" 
library  of  the  late  John  Taylor  Brown,  LL.D.,  F.S.A. 
(Scot.),  \'ice-President  of  the  Scottish  Text  Society, 
of  Gibraltar  House,  lulinburgh.  Dr.  Brown,  who  died 
at  the  advanced  age  of  ninety  in  igoi,  was  one  of 
those  genial,  snuff-taking,  old-time  characters  of  whom 


THE    APRIL    BOOK    SALES 

few  remain.  Ages,  no  less  than  individuals,  must  suffer 
eclipse.  Dr.  Brown's  personality  formed  a  link  with 
a  past  which,  now  broken,  can  in  no  way  again  be 
forged.  In  1814,  as  a  boy  at  Westminster  School, 
Bertram  fourth  Earl  of'  Ashburnham,  "bought  at 
Ginger's  shop,  in  Great  College  Street,  for  is.  6d..  a 
copy  of  the  "  Secrets  of  .Albertus  Magnus."  Six  years 
later  John  Taylor  Brown,  then  aged  nine,  appeared 
before  his  astonished  father,  reeling  under  the  weight 
of  an  ancient  tome  which  marked  the  beginning  of  a 
library  not  comparable,  from  any  standpoint,  with  the 
Ashburnham,  yet  by  no  means  lacking  in  features  of 
interest.  In  Dr.  Brown's  "  Bibliomania,"  a  brochure 
reprinted  from  the  North  British  Review  in  1867,  we 
have  evidence  of  his  preference  for  annotated  books. 
The  volumes  on  his  shelves  were  to  him  as  a  host  of 
silent  friends,  always  easy  of  approach,  never  cold  in 
their  greeting.  In  part,  perhaps,  because  he  did  not 
care  to  expend  the  few  additional  shillings  which,  as  a 
contemporary  of  David  Laing,  would  have  secured 
excellent  copies  of  now  highly-prized  rarities,  in  larger 
part  because  "  pristine  condition "  was  not  to  him 
among  the  enthroned  virtues.  Dr.  Brown's  collection 
was  not  important  in  anything  like  proportion  to 
its  extent.  One  book,  however,  warrants  more  than 
passing  mention. 

About  thirty-five  years  ago  the  Edinburgh  physician 
picked  up  on  an  old  bookstall  for  one-and-sixpence  an 
uncut  copy  of  the  original  edition  of  Robert  Burns's 
"Poems,  Chiefly  in  the  Scottish  Dialect."  Even 
making  allowance  for  the  fact  that  the  8vo.  wanted 
the  title  and  the  next  three  leaves,  the  purchase  was 
indubitably  a  fortunate  one.  In  1832,  John  Payne 
Collier's  procrastination  in  deferring  till  he  returned 
homeward  through  the  Turnstile,  Lincoln's  Inn  Fields, 
the  purchase  at  is.  6d.  of  an  uncut  Kilmarnock  Burns, 
in  original  boards,  issued  in  remorseful  regret.  Most 
of  us,  probably,  would  disregard  ethics  if  a  First 
Folio  Shakespeare  or  a  Caxton  were  offered  to  us 
for  an  old  song.  .Apropos  of  Dr.  Brown's  purchase, 
the  following  tabular  statement  serves  to  show  at  a 
glance  the  steady  and  sustained  rise  in  the  price  of 
this  editio  princeps  of  Burns's  "  Poems"  during  the 
last  half  century  or  so,  but  it  must  be  understood  that 
the  undeviating  ascent  of  values,  as  here  indicated,  is 
obtained  only  by  the  omission  of  less  good  copies  : — 
THE    KILMARNOCK    EDITION    OF    BURNS. 


.\nonymous 

Edinburgh     1858 

C      5- 
3     10 

Anonymous 

Gla'^gow         1859 

8       0 

.\dara  Sims 

Soiled,  cut  down     . . 

Edinburgh     1869 

14       0 

Sir  J.  Simeon 

Uncut,     orig.     blue 

Pickering       1870 

IS     iS 

covers. 

(Catalogue) 

.\nonymous  Glasgow         1871        17 

Anonymous        "Sound"      ..         ..     Edinburgh    1874       19 
Anonymous        "Sound"      ..         ..     London  1875      34 

D.  Laing  Good,    four  lines  in     Sotheby         1879      90 

poet's    autog.,    and 

letter  from  Lockhart 

inserted. 
Gibson  Craig     Mor.  ex.,  g.e.,   some     Sotheby         1888     in 

uncut  leaves. 
Gaisford  Mor.  ex.  by  Bedford      Sotheby         i8go     120 

Anonymous        Large.    8J    by    sin.,     Sotheby         1896     121 

mor.  ex.  by  Bedford. 
Lamb  Pristine    state,   orig.     Edinburgh     1898     572 

covers.  9  by  5 j(  in.  |  1 

Brown  Mostly     uncut,      but     Sotheby       I  1903     350 

lacking    front    blue  ' 

cover  and  blue  back. 

53 


THE    BURLINGTON    GAZETTE 


Taking  the  circumstances  into  account,  the  Brown 
cop\',  so  far  from  indicating  any  tendency  to  dechne, 
marks  a  still  farther  advance  in  the  money  worth  of 
this  Kilmarnock  Burns,  especialh'  when  it  is  remem- 
bered that  the  book  was  sold  "  not  subject  to  return." 
I  am  indebted  to  Mr.  W.  B.  Dunlop,  Dr.  Brown's 
nephew,  for  the  following  details  : — 

DR.    BROWN'S   KILMARNOCK    BURNS 


Uncut  part     . . 
Imperfect  cut  copy 
Riviere's  charge 
Profit  . . 


/J54   15 


Uncutpart, completed  350 
Imperfect  copy,  resold       4 


^354 


The  imperfect  cut  copy,  whence  the  title  and  three 
succeeding  leaves  were  abstracted,  was  bought  from 
Mr.  ^^^  Brown,  Edinburgh.  Riviere's  charge  was  for 
inlaying  these  leaves  and  for  making  the  morocco  case. 
The  unsheared  leaves  measure  g  by  5f  in.,  and  are  in 
condition  no  less  good  than  those  of  the  Lamb  copy  ; 
the  work  as  sold  is  textually  perfect,  and,  so  far  as  is 
known,  complete  in  every  way  save  for  the  front  blue 
wrapper  and  the  back.  Another  instance  of  money- 
gain  is  Carlyle's  "  Early  Kings  of  Norway,"  second 
edition,  with  autograph  inscription  to  his  aunts,  which 
made  ;f  lo  5s.  od.,  against  id.  paid  for  it  at  an  Edin- 
burgh bookstall  a  few  years  ago ;  on  the  other  hand, 
one  book  for  which  Dr.  Brown  paid  £^  los.  od.,  made 
but  7s. — always  it  was  the  work  itself  and  not  its 
value  from  the  collector's  standpoint  which  interested 
him. 

As.  indubitably,  the  Burns  is  "  the  book  of  the 
month,"  so  far  as  the  auction  sales  are  concerned,  we 
may  give  some  further  particulars  of  its  origin,  for 
which  we  are  indebted  in  the  main  to  Mr.  James 
McKie's  "  Bibliography  of  Robert  Burns."  On 
April  14,  1786,  the  following  prospectus  was  issued  : — 

"Proposals  for  Ptblishing,  by  Subscription. 

SCOTTISH  POEMS.   BY  ROBERT  BURNS. 

The  work  to  be  elegantly  printed  in  one  volume 
octavo.  Price,  stitched,  Three  Shillings.  As  the  author 
has  not  the  most  distant  mercenary  view  in  publishing, 
as  soon  as  so  many  subscribers  appear  as  will  defray  the 
necessary  expense,  the  work  will  be  sent  to  the  press. 

Set  out  the  brunt  side  of  your  shin, 
For  pride  in  poets  is  nae  sin  ; 
Glory's  the  prize  for  which  they  rin, 

And  Fame's  their  joe  ; 
And  wha  best  blaws  the  horn  shall  win 

And  wherefor  no  ? 


As  a  fact,  550  ctjpies  were  subscribed  for  prior  to 
jHiblication  on  July  ji,  1786.  The  printing  press,  of 
old  oak,  now  converted  into  a  drawing-room  chair,  was 
taken  by  John  Wilson  to  Ayr,  and  after  for  long  being 
in  the  possession  of  successive  proprietors  of  the  Ayr 
Advertiser,  the  earliest  newspaper  in  the  county,  started 
by  John  Wilson  and  his  brother  Peter  in  1803,  is  now 
in  the  Museum,  Burns  Cottage.  On  the  death  of  Peter 
Wilson,  the  Rev.  Hamilton  Paul,  biographer  of  Burns, 
was  taken  into  partnershi]).  I^urns  was  himself  respon- 
sible, of  course,  for  the  cost  of  the  Kilmarnock  edition, 


but  inasmuch  as  subscribers  for  350  copies  at  thr 
shillings  each  came  forward,  there  was  even  initiall)- 1 
risk  of  loss.  The  bill  between  printer  and  author, 
transcribed  by  Mr.  McKie,  is  as  follows  : — 


Mr.  Robert  Burns, 


To  John  Wilson.     Dr. 


Aug.  28,  1786.             Printing  15  Sheets  at  ly/-         ..          ..  14  5     o 

19  Reams,  13  (juires  Paper  at  17/-     . .  16  14     o 

Carriage  of  the  Paper    . .          . .          . .  89 

Stitching  61 2  Copies  in  Blue  Paper  at  i^  4  9-1 

35   17     0 
£      i.     ,1. 
Aug.  19.  By  Cash    . .  . .  . .       630 

,,      28.  By  Cash 14   13     o 

By  70  Copies        ..  ..      10   10     o         31     6     o 

411     o 

By  9  Copies  . .  . .  . .  . .        170 

3     4     0 
Oct.  6.  By  Cash  in  Full, 

Kilmarnock         Settled  the  above  .Vccount.     John  Wilson. 

The  charge  for  stitching  in  blue  paper  each  of  the 
612  copies  printed  proves  that  none  were  initially 
bound — an  interesting  and  often-debated  detail. 

A  memorandum  of  agreement  was  drawn  up  on 
April  17,  1787,  relative  to  Burns's  disposal  of  the  copy- 
right in  his  poems.  He  and  William  Creech  met  that 
day  at  the  house  of  Henry  McKenzie,  and  the  latter 
named  100  guineas  as  a  suitable  sum.  Creech  agreed 
to  the  proposal,  "  but  as  Scotland  was  now  amply  sup- 
plied with  the  very  numerous  edition  now  printed,  he 
would  write  to  Mr.  Caddell,  of  London,  to  know  if  he 
would  take  a  share  of  the  book  ;  but  at  any  rate  Mr. 
Burns  should  have  the  money  named  by  Mr.  McKen/ie, 
which  Mr.  Burns  most  cordially  agreed  to,  and  to 
make  the  property  over  upon  these  terms  whenever 
Mr.  Creech  required  him."  Six  days  thereafter  Creech 
informed  the  poet  that  he  had  received  no  answer  from 
Caddell,  but  that  the  agreement  held  good.  On  Octo- 
ber 23,  1787,  Creech  gave  the  following  draft  : — "  On 
demand  I  promise  to  pay  Mr.  Robert  Burns,  or  order. 
One  Hundred  Guineas — value  received."  This  draft 
is  endorsed  "Received  the  contents,  May  30,  1788, 
Robert  Burns."  To-day  a  fine  copy  of  the  editio 
princeps  is  worth  six  times  that  amount. 

It  is  said  that  three  or  four  uncut  copies  only  of  the 
Kilmarnock  Burns  have  been  traced,  and  one  of  these 
has  within  recent  years  been  rebound.  Apart  from 
the  Lamb  example,  which  has  not  gone  to  America, 
a  particularly  fine  copy,  in  the  wrappers,  with  the 
paper  label  on  the  back,  is  in  the  possession  of  a 
Paisley  gentleman  ;  he  paid  £10  for  it,  refused  £2.^0 
some  years  ago,  and  is  said  now  to  value  it  at  ;f  1,000. 
This  estimate  of  three  or  four  leaves  out  of  account 
very  imperfect  examples,  such  as  that  sold  in  the  sum- 
mer of  1899  for  £()().  The  tallest  cut  copy,  reputedly, 
measuring  8g  in.  high,  is  that  presented  to  the  Kilmar- 
nock Museum  by  Dr.  McLaren.  The  British  Museum 
possesses  two  copies,  each  8  in.  high.  The  one  to  be 
found  under  C  28,  f.  2,  bound  in  old  calf,  from  Perry's 
Library,  has  several  of  the  names,  completed  in  the 
l)rinfed  text  with  asterisks,  filled  in  by  Burns  himself. 
The  "Henpecked  Country  Squire,"  for  instance,  is 
"  CamjibcU  of  Netherplace."  The  second  cop}-,  C  39, 
e.  38,  in  boards  and  half-leather,  is  in  nnich  cleanrr 
condition,  and  measiu'es  5  in.  wide.  It  has  the  jilate 
of  Holland  Watson. 


54 


AiiotluT  rontio  of  interest  in  the  Brown  library 
was  readied  when  the  two  vohunes  by  Keats  came  up 
for  sale.  The  first  edition  of  the  "  Poems,"  as  printed 
by  C.  Richards,  18  Warwick  Street,  Golden  Scpiare, 
and  published  at  6s.,  was  in  original  boards,  with  the 
label  at  the  back,  the  uncut  measurements  being  6J  in. 
by  4J  in.  It  has  the  signature  "  R.  Sherwood,  1817," 
the  price-mark  of  2s.,  probably  the  sum  paid  for  it  many 
years  ago  by  Dr.  Brown,  who  had  pasted  a  newspaper 
cutting  on  the  blank  fly-leaf,  which  lacks  its  upper 
portion.  This  copy  of  the  rare  "  Poems  "  was  valued 
at  no  less  than  £140,  a  sum  far  in  excess  of  any 
hitherto  paid  for  a  non-presentation  copy  (see  "  Book 
Sales  "  of  1902,  p.  27,  entry  2,  and  The  Burlington 
Ga/ettk  for  April,  p.  24,  entry  2).  In  March,  rgoo, 
an  example  in  similar  state,  made  £44  los.  od.,  and 
ten  years  ago  the  Buckley  copy,  described  as  in  pristine 
condition,  fetched  but  £"23  los.  od.  The  editio  princcps 
of  the  same  author's  "  Lamia,"  printed  by  T.  Davison 
for  Taylor  and  Hessey  in  1820,  was  again  in  original 
state,  the  uncut  measurements  being  7  in.  by  4I  in.  It 
was  published  in  1820  at  7s.  6d. ;  the  Hibbert  copy 
made  3s.  6d.  in  1829;  the  Crampton,  original  state, 
/ii  IDS.  od.  in  1896:  an  excellent  example,  £"71  on 
June  5  last :  and  the  Brown  copy  established  a  further 
advance  at  £"96. 

Had  the  extensive  series  of  Miltoniana  been  in 
comparably  fine  state,  the  forty-seven  lots  would  have 
realized  a  considerably  higher  total  than  the  £"205  ac- 
tually paid  for  them.  "  Paradise  Regained,"  one  leaf 
in  '■  Samson  Agonistes  "  supplied  in  MS.,  some  margins 
"  cut  to  the  quick,"  made  £"21  los.  od. ;  "  The  Doctrine 
and  Discipline  of  Divorce,"  £"20;  "  Eikonaklastes," 
with  '■  The  Tenure  of  Kings  and  Magistrates,"  1649. 
£"14;  ".Animadversions  upon  the  Remonstrants  Defence 
against  Smectymnuus,"  £"13  5s.  od.;  and  "Poems,  etc.. 


MANUSCRIPT    S.\LES 

upon   \'arious  Occasions,"  second  edition,    1675,  the 
portrait  by  Dolle,  mounted,  £11  5s.  od. 

These  works  were  in  first  edition,  save  where 
otherwise  specified.  The  "  Poems,"  in  addition  to  a 
price-mark  of  £"2  15s.  od.,  has  the  following  note  bv 
Dr.  Brown: — "Came  into  my  hands  sewed  in  blue 
paper,  and  with  the  leaves  uncut.  Mr.  Wingrave,  mv 
bookbinder,  procured  it  for  me  at  .Mr.  Whieldon's, 
bookseller,  in  Fleet  Street,  who  had  about  a  dozen  more 
copies  in  the  same  condition,  which  had  long  lain 
neglected  in  a  cellar."  As  sold,  the  volume  was  in 
calf  gilt  with  marbled  edges. 

In  the  total  of  £"2,781,  realized  for  the  i,8ro  lots 
that  formed  the  library  of  Dr.  John  Tavlor  Brown, 
there  were  included,  too,  "  Letters  written  by  the 
late  Right  Hon.  Lady  Luxborough  to  Wm.  Shen- 
stone,"  1775,  with  biographical  and  critical  notes  in 
the  autograph  of  Horace  Walpole,  £"26 ;  the  original 
edition  of  Shelley's  "  Queen  Mab,"  rebound  in  yellow 
morocco,  top  plain  margin  of  title  mended,  £'30 — the 
Hibbert  example  fetched  £"60  last  year;  rebound 
editiones  principes  of  the  same  poet's  "  Prometheus 
Unbound,"  "  Hellas,"  and  "  Rosalind  and  Helen," 
respectively  £"13  5s.  od.,  £"11  15s.  od.,  and  £"11  5s.  od.  ; 
Southey's  "  Joan  of  Arc,"  first  edition,  annotated  by 
Coleridge— it  is  the  copy  alluded  to  in  the  last  edition  of 
the  "Biographia  Literaria,"  Vol.  II.,  p.  31,  and  that 
whose  notes  are  dealt  with  at  length  in  Dr.  Brown's 
"  Bibliomania  "—£"19  ;  Drayton's  "  Battaile  of  Agin- 
court,"  1617,  with  the  signatures  of  Leigh  Hunt,  Words- 
worth, etc.,  and  marginal  pencil  notes  marked  "  D," 
this  No.  I  in  Brown's  "  Bibliomania,"  /16  15s.  od. : 
Goldsmith's  "  Retaliation  "  and  "  Deserted  \'illage," 
first  editions,  with  the  half  titles,  £'41 ;  and  Lamb's 
"  Last  Essaj-s  of  Elia,"  in  original  state,  as  published 
at  gs.,  from  the  collection  of  Rogers,  the  poet,  £"24. 


MANUSCRIPT    SALES 


Thk  further  portion — 1,355  lots — of  the  late  Sir 
Thomas  Phillipps'  collections,  sold  by  Messrs.  Sotheby 
on  .April  zj  and  following  days,  contained  fewer  items 
of  importance  than  the  catalogue  led  one  to  believe. 
Of  the  lots  mentioned  in  our  last  (p.  34)  as  likely  to 
prove  interesting,  No.  352,  the  "Journal  of  Edward 
Southwell  "  fetched  los.,  as  much  as  it  was  worth,  for 
its  "  valuable  particulars  "  of  works  of  art  are  mere 
mentions.  The  information  contained  in  the  "  Ac- 
count of  Nicolas  Picart  "  (466)  is  all  to  be  found  in 
M.  L.  Dimier's  "  Le  Primatice,"  published  in  1900. 
I  notice,  however,  that  instead  of  Juste  I'-Qucquet, 
this  manuscript  has  "  Josse  Joncques  Mamant,  paintre 
ymaiger  "  ;  Josse  is  the  F"rench,  Joos  the  Flemish 
ecpiivalent  of  Jodoc,  the  name  of  a  Breton  saint 
greatly  venerated  in  the  Low  Countries,  and  Foucquet 
is  certainly  not  a  Flemish  famih'  name.  The  follow-- 
ing  post  is,  I  think,  worth  reproducing  :  "  A  Nicolas 
Bellin  dit  Modene,  painctre,  la  somme  de  cent  livres 
tournois  .  .  .  pour  cinq  mois  entiers  qu'il  avoit 
vacque  et  besongne  avec  Francisque  de  Primadicis 
dit  de  Boullongne,  aussi  painctre,  es  ouvraiges  de 
stucq  et  paincture  encommancez  a  faire  pour  le  roy 
nostre  dit  seigneur,  en  sa  chambre  de  la  grosse  tour 
de  son  chasteau  au  dit  Fontainebleau,  a  20  livres  par 
mois."     This   lot   fell   to    Mr.    Rimell  for   £"8.     The 


"  Catalogue  of  the  Dauphin's  Treasures  "  (483),  drawn 
up  in  1689,  was  bought  by  Mr.  Nattali  for  £'43.  It 
contains  entries  of  objects  added  to  the  collection  up 
to  1702,  as  also  the  names  of  persons  to  whom  some 
were  given  by  the  Dauphin.  The  "  porcelaines " 
presented  by  the  Siamese  ambassadors  were  64  in 
number.  Among  the  ten  clocks  were  some  made  bv 
Henry  and  Balthasar  Martinot,  Gribelin  and  L'.-Mle- 
mand.  The  "  Account  of  Expenses  connected  with 
the  Funeral  of  Henry  II,  King  of  France"  (534), 
included  payments  to  "  Franc^ois  Clouet,  dit  Jannet, 
painctre  et  vallct  de  chambre";  "Francisque  de 
Carpey,  menuisier  du  roy,"  probably  an  Italian  crafts- 
man ;  and  "  Jehan  Perrault,  brodeur."  .Among  the 
liturgical  manuscripts  were  a  French  monastic  twelfth- 
century  Benedictionale  (120),  which  fell  to  Mr.  Ouar- 
itch  for  £2]  los.  od.  ;  a  Franciscan  Breviary,  with  a 
kalendar  of  the  Diocese  of  Benevento  (1S4),  which 
fetched  £1  2S.  od. ;  and  a  Carthusian  Psalter,  with 
musical  notation  of  the  fourteenth  century,  sold  for 
£■10  los.  od. ;  "  Proper  Offices  of  the  .Abbey  of  Long- 
champs,"  founded  by  the  Blessed  Isabella,  sister  of 
Saint  Louis  {J26),  sold  for£'2  4s.  od.;  Paris  Horaeof  the 
middle  of  the  fifteenth  century  (598),  for  £"3  3s.  od.  to 
Mr.  Leighton  :  this  volume  retains  its  original  binding 
adorned  with  rows  of  small  stamps.     .Another  manu- 


THE    BURLINGTON    GAZETTE 

script  (251),  in  a  bindinf^  of  similar  style,  was  bouf^ht 
for  £ig  bv  Mr.  Quaritch  ;  it  contained  three  works, 
the  last  beiiifc  described  as  "  A  Treatise  relating  to 
the  History  of  Richard  II,  by  Jean  le  Beau,  an  appa- 
rently unpublished  and  possibly  unique  manuscript, 
contemporary  with  the  author,"  a  remarkable  descrip- 
tion, as  the  chronicler  died  in  1370,  Richard  II  only 
came  to  the  throne  in  1377,  and  the  manuscript  is 
clearly  a  century  later  in  date.  Another  interesting 
stamped  binding  adorns  a  volume  of  Carthusian 
Documents  (229),  the  centre  of  each  cover  bearing 
two  escutcheons  ensigned  with  crowns,  and  eight 
animals  within  curves  formed  by  stems  of  foliage ; 
the  frame  on  one  cover  is  adorned  with  monsters, 
animals,  and  flowers ;  on  the  other,  with  flowers, 
foliage,  and  the  initials  AG  and  T  E.  This  fell  to 
Mr.  Maggs  for  £^  5s.  od.  The  binding  of  a  Ritual 
from  a  Ghent  monastery  (861),  impressed  on  each 
cover  with  a  panel  stamp  with  the  Annunciation 
beneath  a  crocketed  canopy  within  a  frame  adorned 
with  an  undulating  stem  of  foliage,  sold  for  ;fi8. 
By  far  the  most  interesting  binding  was  that  of  a 
manuscript  of  the  "  Viaticum  of  Constantinus 
Africanus"  (287),  executed  in  the  latter  half  of  the 
twelfth  century  in  some  Benedictine  monastery  in  this 
country  or  in  Normandy.  The  stamps  employed  are 
similar  to  those  in  use  at  Durham  and  Winchester, 
but  are  not  identical  with  any  of  them.  They  include 
two  of  elliptical  form,  with  full-length  figures  of  Saints 
Peter  and  Paul,  a  medallion  with  Samson  tearing  the 
lion  to  pieces  ;  these  accompanied  with  their  names 
in  capital  letters;  the  others  represent  a  warrior  on 
horseback  with  uplifted  sword,  a  centaur  discharging 
an  arrow,  a  stag,  a  lion  couchant,  monsters  and  an 
undulating  stem  of  foliage  with  two  doves.  Manu- 
scripts with  bindings  of  this  class  are  so  scarce,  that 


when  they  do  occur,  they  fetch  high  prices,  and  this 
specimen,  though  barely  measuring  22  by  14  centi- 
metres, and  with  one  cover  badly  damaged,  sold  for 
/|"89,  Mr.  Quaritch  being  the  purchaser.  One  more 
lot  calls  for  notice,  "  A  Treatise,'"  by  John  Germain, 
Bishop  of  Chalons  (497),  with  a  foreword  dated 
April  27,  1547,  in  which  he  relates  particulars  as  to 
himself  and  the  books  he  had  written.  Precluded 
from  preaching  by  infirmit}',  he  had  devised  certain 
pictures,  a  sort  of  pilgrim's  progress,  which  he  had 
had  executed  in  tapestry  and  hung  in  his  cathedral, 
and  had  written  this  book  to  explain  the  subjects. 
The  passage  is  so  curious  that  we  reproduce  it  here  : 
"  Nous  avons  ordonne  certain  patron  ou  figure,  ou 
sont  pluseurs  personnaiges  en  deux  pans  de  tapisserie, 
chascun  contenant  certains  chapitres  esquelz  avons 
descry,  portrait  et  figure  la  conduite  et  maniere 
comme  les  loyaulx  Crestiens,  militans  pelerins  et 
chevaleureux  conquerans  doyvent  tendre  a  triomphe, 
c'est  a  dire  a  gloire  et  consecucion  de  leur  bien  et 
felicite  souveraine,  que  nous  disons  triumphe,  felicite 
perpetuelle  et  paradis,  et  des  empeschemens  et  trans- 
verses  leur  baillees  par  I'ennemy  d'enfer,  et  souven- 
teffois  non  seulement  retardation  de  obtenir  souve- 
raine beatitude,  ains  en  lieu  d'icelle  perpetuelle 
dampnation  avec  leur  maistre  le  dyable  d'enfer  qui 
ont  ensuy.  Et  pour  I'accomplissement  de  nostre 
parfaite  volente  que  avons,  avons  oultre  la  doctrine 
vous  bailie  par  experience  et  alcul  en  la  compilation 
du  dit  patron  et  pans  de  tapisserie,  avons  a  la  singu- 
liere  requeste  d'aucuns  noz  dessusditz  chiers  freres  et 
curez  qui  de  ce  nous  ont  instamment  prie  et  supplie, 
entreprins  ce  present  euvre,  et  en  icelluy  par  livres  et 
chapitres  mis  en  brief  et  sommerement  le  vray  en- 
tendement  des  figures  et  personnaiges  contenus  ou  dit 
patron." 


COIN    SALES 


The  first  portion  of  the  extraordinarily  extensive 
and  highly  important  collection  of  coins  and  medals, 
almost  exclusively  in  the  English  and  Colonial  series, 
formed  by  the  late  Mr.  J.  G.  Murdoch,  was  sold  by 
Messrs.  Sotheby  &  Co.  on  March  31  and  four  fol- 
lowing days.  It  embraced  the  British,  Anglo-Saxon, 
Anglo-Norman,  and  English  coins  to  the  reign  of 
James  I,  and  will  be  succeeded  by  five  other  portions: 
the  Scottish  and  Anglo-Gallic,  to  be  sold  this  month  ; 
a  further  instalment  of  the  English,  probably  to  the 
reign  of  George  II,  in  June;  the  Colonial,  Irish, 
and  Anglo-American  series,  in  July ;  and  the  con- 
clusion of  the  English  and  the  medals  in  1904. 
It  is  considered  that,  allowing  for  the  fact  that 
the  Roman  and  Greek  series  are  not  represented, 
and  the  Continental  barely  so,  this  is  the  most 
remarkable  numismatic  event  of  modern  times.  The 
five  days'  sale  realized  £6,829  I3S-  od.,  and  extended 
to  772  lots,  a  heavy  proportion  of  which  were  single 
specimens.  The  late  owner  laid  greater  stress  on 
completeness  than  on  state,  and  perhaps  too  large  an 
admixture  of  indifferent  examples  presented  themselves 
for  the  sake  of  the  types  or  mints.  But  nevertheless 
the  catalogue  offered  an  impressive  array  of  coins  in 
the  finest  preservation  and  of  the  utmost  scarcity  of 
occurrence,  while  at  the  same   time   there  was  next 

56 


to  nothing  of  an  inedited  character,  or  in  the  direc- 
tion of  numismatic  novelties.  Nearly  the  whole 
collection  had  been  built  up  from  the  ruins  of  ante- 
cedent ones,  and  consequently  there  were  extremely 
few  surprises.  The  compilation  of  the  catalogue  left 
little  or  nothing  to  be  desired,  and  the  dubious  authen- 
ticity of  certain  pieces  was  very  properly  pointed  out, 
but  two  or  three  pieces  were  certainly  wrong,  notably 
a  penny  of  Ceolwulf  II  and  one  of  the  Offa  pennies; 
and  some  were  passed  as  spurious,  not  so  described  in 
the  catalogue.  The  Perkin  Warbeck  and  Henry  VIII 
medals,  however  (Lots  402  and  454),  should  not  have 
been  classed  among  the  coins.  Among  these  very 
extensive  assemblages  of  ancient  money  occasional 
mistakes  or  differences  of  opinion  are  apt  to  occur. 

I  shall  have  to  content  myself  with  noting  a  few 
of  the  more  conspicuous  rarities: — Anglo-Saxon  :  22. 
Cynethryth,  widow  of  Offa  of  Mercia,  penny,  ^^26 
(Boyne  specimen) ;  44.  Ethered,  Archbishop  of  Can- 
terbury, very  fine  penny,  described  as  probably  unique, 
£61  ;  92.  Alfred  halfpenny,  Oxford  mint,  termed 
unique,  £10  los.  od.  Anglo-Norinan  and  English: 
209.  H-cnry  I  penny,  struck  at  Christchurch,  Hamp- 
shire, a  very  rare  mint,  ^f  12  5s.  od.  ;  259.  Stephen  and 
Matilda  penny,  said  to  be  the  finest  known,  £^y  ; 
262.  Eustace  Fitzjohn,  cousin  of  Stephen,  penny  of 


A  CHRONICLE  OF  THR  hOTEL  DROUOT 


York,  Webb  specimen  (;f2i),  ^31  15s.  od. ;  264. 
William,  son  of  Stephen,  penny,  probably  unique,  ^^42 ; 
z-]z.  Henry  III  so-called  f^old  penny,  from  Montagu 
collection  (/"215),  only  six  said  to  be  known,  ^^325 ; 
273.  Edward  I  (or  II)  pattern  groat,  very  fine, 
£qj  ios.  od. ;  277.  Edward  III  gold  noble,  second 
coinage,  one  of  two  known  examples,  the  other  being 
in  the  British  Museum,  £75  los.  od. ;  295.  Edward  III 
half-groat,  piedfort,  ;^"'20  5s.  od.  (there  were  other 
piedforts  or  patterns.  Lots  296-8);  334.  Henry  VI 
quarter-noble,  first  coinage,  onlv  one  other  known 
(B.M.),  ^^4  ;  418.  Henry  VI 1 1"  half-George  noble, 
held  to  be  unique  (Montagu,  £275),  £495;  439.  The 
rare  dated  Tournay  groat  of  1513,  not  very  fine,  but 
better  than  the  undated  one  (43S),  £1},  15s.  od. ;  452. 
Double  sovereign,  oni)-  other  specimen  in  British 
Museum,  ^^170  ;  453.  Angel,  a  unique  type,  and  very 
li'is,  £},Qj  los.  od.  ;  458.  Edward  \'I  gold  crown, 
first  coinage,  only  two  known  (Murchison,  £"83, 
Montagu,  £(^i),  £18  ;  479.  Double  sovereign,  ex- 
tremely rare  (Montagu,  £^75),  £^-\5  '•  539-  Mary,  fine 
sovereign,  1554  (very  rare  date),  £32  los.  od. ;  540. 
Ryal,  extremely  fine,  £50  los.  od.  ;  564.  Philip  and 
Mary,  reputed  half-crown,  1554,  extremely  rare,  but 
very  poor,  ;^'i47  ;  599.  Elizabeth  hammered  gold  half- 
crown,  unknown  to  Kenyon,  £j  ys.  od. ;  641.  Milled 
shilling,  said  to  be  the  finest  known,  £12  los.  od.  ; 
659.  Proof  sixpence,  1561,  described  as  a  gem,  and 
as  probably  unique,   /"s   7s.  6d.  :    669.   Halfpenny,   a 


beautiful  coin,  £3  5s.  od.  ;  686.  James  I  Spur  royal, 
presumed  to  be  the  finest  known,  1611,  £28;  688. 
Thirty-shilling  piece,  1619,  very  fine,  but  not  very  rare 
in  such  state,  £i(i;  691.  Fifteen-shilling  piece,  1619, 
£18  5s.  od. 

I  had  the  pleasure  of  personally  knowing  the  late 
Mr.  Murdoch,  who  was  a  consummate  man  of  busi- 
ness, and  at  the  same  time  a  person  of  the  most 
agreeable  address.  He  had  been  the  architect  of  his 
own  fortune,  and  had  failed  in  two  or  three  ventures, 
before  he  succeeded  in  his  commercial  undertakings, 
which  eventually  proved  very  lucrative,  and  enabled 
him  to  apply  large  sums  of  money  to  the  purchase  of 
coins  and  china.  He  gave  liberal  prices  ;  but  some 
of  those  numismatic  specimens,  for  which  he  had  paid 
unprecedented  figures,  realized  double  their  cost — an 
indication  that  high-class  property  is  the  safest  invest- 
ment. Mr.  Murdoch'schina  has  been  sold  at  Sotheby's; 
but,  not  long  before  his  death,  a  servant  swept  a 
valuable  vase  off  a  mantelpiece,  and,  in  expressing 
concern  for  the  accident,  added  her  satisfaction  that 
it  was  an  old  one. 

The  rarity  of  the  George  Noble  itself,  and  the 
alleged  uniqueness  of  the  moiety,  may  be  ascribable 
to  their  common  use  as  amulets  or  charms,  from  the 
figure  of  the  saint  forming  part  of  the  type,  and  the 
smaller  piece,  the  face-value  of  which  was  of  course 
less,  would  be  naturally  more  in  demand.  Still  even 
worn  or  pierced  examples  do  not  seem  to  occur. 


A    CHRONICLE    OF   THE    HOTEL    DROUOT 


March  15 — April  25 
Judging  from  the  incidents  and  controversies  arising 
out  of  the  question  of  the  Olbia  tiara,  to  say  nothing 
of  the  time  of  year,  one  might  have  thought  that  the 
impetus  of  the  sales  would  have  slackened  considerably. 
Nevertheless,  this  does  not  appear  to  have  been  the 
case.  From  March  15  until  about  April  25  we  have 
had  a  great  number  of  auctions  at  the  Hotel  Drouot, 
including  some  that  were  both  interesting  and  im- 
portant, such  as  those  of  the  Gerard  de  Contades, 
F"eydeau,  de  Chaudordy,  Leon  Roux  and  Lelong 
Collections ;  nor  would  it  appear  that  the  prices 
realized  suffered  any  decline  through  the  fact  that  the 
public  is  daily  becoming  less  confiding. 

The  incidents  to  which  I  have  alluded  will  at  least 
have  had  the  happy  result — making  the  experts  and 
collectors  more  wary  in  future,  and  of  stopping,  in  a 
certain  measure,  that  traffic  in  false  works  of  art 
which  is  so  skilful  as  to  lead  even  the  best-qualified 
into  error,  so  disconcerting  to  the  art-historians 
and  connoisseurs,  and  so  prejudicial,  lastly,  not  only 
to  the  interests  of  the  possessors  of  genuine  collections, 
but  also  to  the  artists  themselves,  since  the  forgers 
apply  themselves  even  to  the  counterfeiting  of  the 
works  of  living  artists,  as  has  happened  in  the  case  of 
Renoir. 

I  may  state,  however,  that,  in  this  interval,  no 
antiquities  nor  sculptures,  at  least  none  of  any  im- 
portance, have  been  sold  by  auction  ;  and  the  absence 
of  these,  perhaps,  alone  tends  to  show  that  anything 
abnormal  has  taken  place  recentl}'  in  the  artistic 
world. 


I.-I'AINTINGS  AND  DRAWINGS 
March  16,  17  and  18  witnessed  the  dispersal  of 
the  collection  of  M.  de  Blowitz,  the  widely-known 
Paris  correspondent  of  the  Times,  who  played  so  great 
a  part  in  the  politics  of  our  time,  notably  at  the 
Berlin  Congress.  The  prices  fetched  by  the  pictures 
were  not  very  high,  except  in  the  case  of  the  portrait 
of  H.M.  Edward  VII,  King  of  England,  a  water- 
colour  for  which  the  bidding  was  exceedingly  brisk, 
as  always  happens  in  the  case  of  a  work  by  Edouard 
Detaille,  and  for  which  the  price  of  5,100  fr.  was 
eventually  obtained.  An  "  Etude  de  femme,  au 
lunch "  by  Benjamin  Constant,  fetched  1,900  fr. 
The  Broziks  and  Munkaczys  fetched  only  low  prices. 
Under  the  portrait  of  M.  de  Blowitz'  dog,  by  John 
Lewis  Brown,  the  journalist-diplomatist  wrote  the 
following  verses,  which  I  quote  as  being  curious  and 
out  of  the  common  : — 

C'est  a  John  Levis  Brown  que  je  dois  mon  bon  chien  ; 
Lui  seul  pouvait  le  peindre  et  le  peindre  si  bien  ; 
Que  si  jamais  je  perds  cette  amitic  sans  ombre, 
L'aspect  de  ce  tableau  rendra  mon  deuil  moins  sombre. 
C'est  a  John  Levis  Brown  que  je  dois  mon  chien  brun, 
Et,  pour  me  bien  comprendre,  il  faut  en  avoir  un. 

A  sale  of  pictures  which  took  place  on  March  2^ 
is  characteristic  of  the  present  movement.  It  com- 
prised a  number  of  Boudins,  the  highest  price  obtained 
being  2,000  fr.,  the  lowest  132  fr.  There  may  be 
some  illusion,  but  it  would  seem  as  though  the 
credit  of  this  artist,  long  so  pronounced,  was  about  to 
decrease.  I  must  note  the  satisfactory  bids  obtained 
for  the  productions  of  that  honest  and  inspired  artist, 
Sisley :    2,205  f""-    f^""    ^^^    "  1^''^"^  '"    -"^d     5,000  fr. 

57 


THE    BURLINGTON    GAZETTE 

for  the  "Pont  de  Moret :  soleil  du  matin."  An 
"Enfant  a  la  casserole"  by  Carriere  was  knocked 
down  at  1,150  francs.  Lastly,  some  Pissarros — the 
"  Bassin  des  Tuileries,"  the  "  Clos  d'Era^ny,"  the 
"  Port  de  Rouen  " — reached  1,000  fr.  or  nearly.  I  was 
surprised  by  the  price  (275  fr.)  obtained  for  Bonvin's 
"  Sortie  de  I'eglise."  This  conscientious  artist  does 
not  enjoy  the  reputation  which  he  deserves  and  which 
he  will  one  day  doubtless  obtain  by  one  of  those 
sudden  changes  so  frequent  in  the  history  of  art. 

In  the  same  week,  a  certain  number  of  old  pictures 
were  sold  attributed  to  French  and  Dutch  painters  of 
the  seventeenth  century.  The  bidding  was  very 
feeble.  Those  of  my  readers  who  are  good  enough  to 
follow  this  chronicle  diligently  will  perceive  that,  with 
a  few  exceptions,  I  set  no  great  store  by  pictures  thus 
attributed.  The  attribution  itself  is  often  a  ticklish, 
delicate  and  dangerous  matter.  When  there  is 
neither  a  genuine  date  nor  signature,  when  no  con- 
firmatory indication  is  present  to  carry  a  certain 
conviction,  it  is  well  that  the  art-chronicler  should 
maintain  the  greatest  reserve.  It  is  better  for  his 
purpose  that  there  should  be  fewer  works  of  an 
undisputed  than  many  of  a  controversial  character. 
And  this  applies  equally  to  the  collectors  ;  for  nothing 
is  more  deceptive  for  all  concerned  than  a  half- 
presumption. 

On  March  24,  a  "  Vallon  italien  "  by  Corot  reached 
4,500  fr.,  while  a  Harpignies,  "  Chemin  sous  bois," 
fetched  7,600  fr.  A  "  Baigneuse  "  by  Courbet  made 
205  fr.  As  with  Bonvin,  the  bidding  for  the  Courbets 
is  ridiculously  low.  We  are  far  removed  from  the 
prices  obtained  in  the  sales  of  1881  and  1882.  But 
also,  as  in  Bonvin's  case,  better  days  will  return,  when 
all  the  energetic  and  honest  prowess  displayed  in  the 
workmanship  of  these  two  masters  will  be  more  highly 
appreciated. 

This  has  already  happened,  among  others,  to 
Troyon  and  Renoir,  who  appeared  at  the  Lagarde 
sale  of  March  25,  26  and  27.  The  "  Chiens  ecossais  " 
of  the  former  reached  18,000  fr.,  whereas  at  the 
first  sale  it  had  reached  only  4,500.  As  for  the 
Renoirs,  these  were  originally  procurable  for  a  hundred 
francs  or  so  ;  and  now,  while  the  artist  is  still  living 
and  in  full  evolution,  departing  ever  further  from  that 
charming  eighteenth  century  to  which  he  owes  the 
greater  part  of  his  success,  the  "  Femme  a  I'eventail  " 
was  knocked  down  for  10,000  fr.  and  "  Reverie," 
which  represents  Jeanne  Samary,  a  former  actress  of 
the  Theatre  Frangais  and  a  witty  Parisian  woman, 
whom  ruthless  death  snatched  too  soon  from  her  art, 
was  sold  for  13.500  fr. 

The  chief  piece  in  the  sale  of  March  27  was 
Edouard  Detaille's  "  Bonaparte  en  Egyptc,"  which 
was  exhibited  in  the  Salon  of  1878.  The  canvas  was 
valued  by  the  appraisers  at  50,000  fr.  and  attained 
nearly  42,000,  which  is  a  very  handsome  figure  that 
should  please  the  painter  of  the  "  Reve,"  the  "Sortie 
de  la  Garnison  de  Huningue,''  "  Haut  les  Tetes,"  and 
"  T.  R.  H .  the  Prince  of  Wales  and  the  D  uke  of  Connaught 
at  Aldershot  Camp."  Let  us  also  note  some  works  by 
Theodule  Ribot — "  Retour  de  peche,"  "Pour  le  diner," 
the  "  Conference  " — which  kept  to  1,000  fr.  or 
thereabouts.  A  Diaz,  "  Enfants  turcs  jouant  avec  nii 
singe,"  was  well   sold  at   ,5,700  fr. ;  but   others,   su(  li 

58 


as  the  Fran9ais,  the  Raffaellis,  obtained  very  low  bids, 
while,  on  the  other  hand,  "  Dom  Perignon,  I'inventeur 
du  champagne  mousseux,"  by  Jose  Frappa,  found  a 
purchaser  at  4,200  fr.  At  the 'same  sale,  a  pastel  by 
Manet,  a  portrait  of  M.  Rene  Maizeroy,  was  sold  for 
2,550  fr.  This  is  the  place  in  which  to  point  to 
the  enormous  success  obtained  in  Paris  at  present,  in 
the  Rue  Laffitte.^by  the  masterly  pages  of  this  artist — 
the  portrait  of  Emile  Zola,  "  Thama,"  the  "  Gamin 
aux  Cerises,"  "  Au  Cafe,"  etc.— among  the  brilliant 
entourage  of  his  disciples. 

I  now  come  to  the  sales  which  are  no  longer 
anonymous,  but  which  proceed  from  known  and  famous 
collections,  such  as  that  of  M.  Gerard  de  Contades 
(April  5),  at  which  we  saw,  not  without  a  certain  sur- 
prise, a  portrait  of  Herault  de  Sechelles  as  a  child, 
half-length,  attributed  to  Greuze,  which  was  knocked 
down  for  23,000  fr.  Again,  we  had  the  second  sale 
of  the  Georges  Feydeau  Collection,  less  important 
than  the  first,  but  still  interesting.  A  number  of 
Boudins  fetched  over  2,000  fr.,  as  did  some  Fantin- 
Latours.  The  "  Christ  au  jardin  des  oliviers,"  by 
Eugene  Delacroix,  touched  nearly  8,000  fr.,  a  sum 
inferior  to  the  merit  of  the  works  of  this  great  and 
noble  artist,  so  singularly  smitten  with  the  love  of 
colour  and  form.  Works  by  nearly  all  the  votaries  of 
impressionism  were  included  in  this  collection  :  Sisley, 
Camille  Pissarro,  Lebourg,  Lepine,  Claude  Monet, 
Jongkind,  Renoir ;  even  one  by  Van  Gogh,  that 
strange,  sickly,  sometimes  powerful  artist,  with  his 
thirst  for  brutal  colours  and  simple  lines.  None  of 
these  works  reached  a  higher  price  than  2,000  fr., 
excepting  Claude  Monet's  "  Argenteuil"  (4,200  fr.), 
and  Sisley's  "  Matinee  d'hiver  "  (5,500  fr.),  "  Moret  au 
soleil  ■'  (5,000  fr.),  etc.  The  persistent  and  well-earned 
vogue  of  Sisley  is  worth  noting  in  this  connexion.  The 
sum  total  realized  by  this  sale  was  113,315  fr. 

A  great  deal  of  noise  was  made  by  the  sale  of 
M.  le  Comte  de  Chaudordy,  a  former  ambassador, 
which  took  place  on  April  20,  21  and  22.  The  per- 
sonality of  this  collector  was  no  ordinary  one,  for  he 
was  intimately  linked  with  the  events  of  1870  in  his 
capacity  as  the  diplomatist  accredited  to  the  neutral 
Powers.  Subsequently  he  was  minister  at  Berne  and 
ambassador  in  Madrid.  He  died  in  1899,  leaving  one 
portion  of  his  collection  to  the  Agen  Museum  and 
another  to  his  heirs.  It  was  the  latter  which  was  sold 
by  auction.  Particulars  will  be  found  under  "Furni- 
ture and  Objects  of  Art."  I  mention  it  here,  because 
it  included  some  gouaches  by  Chardin,  the  "  Baig- 
neuses,"  which  were  knocked  down  at  1,590  fr.  This 
is  a  fairly  high  price,  but  not  surprising,  especially  at 
the  present  time  when  we  are  talking  of  celebrating 
the  centenary  of  this  exquisite  artist,  the  painter  of 
the  eighteenth-century  middle-classes,  whose  works 
are  tinged  with  so  delicate  a  feeling  of  intimacy. 
Lastly,  I  would  call  attention  to  the  sale  of  the 
Mathias  Collection  (April  24),  at  which  a  Corot, 
"  Femme  jouant  de  la  mandoline,"  fetched  4,800  fr., 
and  a  Daubigny,  "  Coucher  de  soleil,"  io,goo  fr. 

Soon  will  be  dispersed  the  fine  collection  of  Mmo. 
C.  Lelong,  which  concerns  the  seventeenth  and  eigh- 
teenth centuries,  and  which  is  calculated  to  excite 
thc  curiosity  of  art-li >\ci-s.  It  was  contained  in  the 
liciiutiful   house  occupied    li\-  Mine.  Boisse-Leloii.t;   "ii 


A  CIIKONIC1J-:  OF  THE   ii6ti:l  drouot 


till'  Uuiii  dc  Hctliune  cm  tlie  Ilu  Saint-Louis.  I  (iiiotc 
from  the  jfourual  dcs  Arts  the  foUowiii','  information 
toiichinfj  some  of  the  tine  pieces  which  will  be  sold 
:it  three  separate  auctions:  from  April  27  to  May  i, 
from  May  11  to  15  and  from  May  25  to  2cj.  The 
proceeds  of  these  sales  will  be  devoted  to  the  Societe 
des  Artistes  Musiciens  founded  by  Baron  Taylor.  We 
shall  see  beautiful  decorations  by  Audran,  the  painter 
of  },'rotes(]ue  fifj;ures  (1658-1734) ;  by  Christophe  Huet, 
the  author  of  the  decorations  of  the  Hotel  de  Rohan, 
in  which  the  Imprimerie  Xationale  was  installed ; 
by  Charles  Lebrun,  syml)oli/in^  Africa,  Europe, 
.\sia  and  .America,  surrounded  by  arabesques  and 
foliaj^e,  masks,  shells,  trophies,  flowers  and  fruit; 
the  "Jeux  d'enfants  "  of  J.  B.  Huet;  a  panel  in  which 
Hubert  Robert  arranged  ruins  which  he  so  loved  to 
paint ;  and  the  bewitching  "  Boudoir  de  la  Duthe," 
by  Gerard  van  Spaendonck,  which  that  artist  exe- 
cuted in  1776  to  the  order  of  the  Comte  d'Artois,  later 
Charles  X. 

Among  the  pictures,  some  tine  Largillieres  must  be 
mentioned,  portraits  of  the  Duchesse  d'Orlcaiis 
and  the  Marquise  du  Chatelet  :  portraits  of  that 
exquisite  painter  Drouais  and  his  wife ;  a  small  \\<j- 
man's  portrait  by  the  Swedish  artist  Alexander 
Roslin,  the  portrait  of  Mme.  de  Crosne,  dated  1783, 
etc.  Special  note  should  also  be  taken  of  an  allegori- 
cal portrait  by  William  Beechey,  of  1803,  warm  and 
luminous  in  colour,  "The  Lady  with  the  Muff"; 
the  portrait  of  Charlotte  of  Mecklenburg-Strelitz, 
wife  of  George  HL  attributed  to  Reynolds,  which 
figured  in  the  exhibition  of  women's  portraits  at  the 
Ecole  des  Beaux-Arts  on  the  Ouai  Malatjuais  ;  and  the 
tine  "Card  Party  "  of  William  Collins:  all  canvases 
of  a  pretty  workmanship  and  a  delicate  interest. 
There  are  also  the  "  Moulin  de  Charenton  "  by 
Boucher,  the  "Saltimbanquesau  Chateau"  by  Sainte- 
Hilaire,  the  "  Orage  "  by  Loutherbourg,  and  canvases 
l)y  Tringuesse,  Natoire,  &c. :  sufficient  to  show  the 
exceptional  interest  attaching  beforehand  to  the  sale 
of  this  splendid  collection. 

l^eside  the  drawings  that  appeared  in  some  of  the 
above-mentioned  sales,  the  Hotel  Drouot  this  month 
dispersed  numbers  of  drawings,  forming  a  complete 
collection,  by  special  artists.  This  was  the  property 
of  M.  Leon  Roux,  and  concerned  particularly  the 
eighteenth  century.  The  sale  took  place  from  April 
20  to  22.  I  note  a  delightful  "  V'ue  du  Pont  Rojal  et 
des  Tuileries,"  by  Van  Blarenberghe,  that  charming 
artist,  the  author  of  fine  gouaches  and  miniatures  re- 
presenting Trianon  (1,520  fr.)  ;  a  "  \'ue  de  Pare,"  by 
I'ragonard  (850  fr.) ;  a  "  V'ue  de  la  galerie  du  Palais- 
Royal,"  by  Coqueret  (i,giofr.) ;  an  "  Assemblee  dans 
un  pare,"  by  Hoin  (2,000  fr.) ;  Mallet's  "  Apres-midi 
a  la  campagne  "  (2,650  fr.)  ;  and  an  "  Int^rieur  d'un 
l)alais  en  ruines,"  by  Hubert  Robert,  which  fetched 
4,400  fr.  As  we  see,  the  eighteenth  CQiitury  continues 
in  fashion  ;  and  is  not  this  as  it  should  be  ?  Is  it  pos- 
sible to  find  more  grace,  elegance,  prettiness,  than  in 
the  works  of  the  artists  who  flourished  in  that  century 
on  both  sides  of  the  Channel  ? 

There  were  also  sold  the  original  drawings  executed 
by  Maurice  Leloir  for  the  "  Dame  de  Monsoreau," 
.Mexandre  Dumas  the  elder's  famous  novel,  which 
achieved  so  great  a   success.     The  edition  was  pub- 


lished by  C'almaiiii  Le\y,  with  the  illustrations  en- 
graved by  Huy(jt.  This  sale  produced  a  total  of 
j6,ooo  fr.,  some  pieces  having  reached  as  high  a  price 
as  1,000  fr.,  but  the  majority  ranging  from  600  down 
to  300  and  even  So  fr. 

Very  much  less  was  fetched  by  the  drawings  of 
M.  Gaston  Vuillier,  which  realized  10,310  fr.  in  all. 
This  artist  has  recently  published  a  tine  work  devoted 
to  Miramar  ;  he  is  an  habitual  frequenter  of  the  isles 
of  Majorca  and  Minorca,  and  he  often  winters  at  Las 
Palmas,  which  is  also  a  favourite  resort  of  Camille 
Saint-Saens,  the  composer.  He  has  brought  back 
from  these  visits  to  the  erotic  climes  a  number  of  ex- 
quisite water-colour  drawings  and  gouaches,  charming 
pictures  which  will  doubtless  later  rouse  great  rivalry 
among  the  bidders  at  auction,  .\mong  the  pieces 
which  were  sold  the  other  day  I  may  mention  "  Par- 
fum  d'oranges"  (510  fr.)  ;  "  Repos'  a  la  fontaine," 
"  Petite  majolique,"  etc.  They  are  pretty  sketches 
of  inhabitants  of  the  country  pursuing  their  customary 
occupations  :  dainty  young  girls,  with  graceful  figures, 
shown  carrying  pitchers  on  their  shoulders  or  baskets 
on  their  heads,  and  standing  out  against  the  delicate 
colouring  of  the  Mediterranean  countries. 

11.— PRINTS 
I\  my  last  chronicle,  I  classed  the  engravings  with 
the  books ;  but  it  seems  to  me  to-day  more  right  to 
give  a  special  place  to  this  order  of  works  of  art,  which 
was  formerly  rendered  illustrious  by  the  greatest  mas- 
ters in  every  country,  which  is  still  worthily  repre- 
sented, and  which  has  never  ceased  to  have  its  public 
of  enthusiastic  and  enlightened  amateurs,  as  the  result 
of  the  sale  of  March  14,  75,768  fr.,  very  elocpiently 
proves.  This  sale  included  some  remarkable  engrav- 
ings of  the  English  School  of  the  eighteenth  century, 
among  which  I  will  mention  "An  .Airing  in  Hjde  Park," 
after  Dayes,  engraved  by  Gaugain,  1796.  in  colour 
(3,000 fr.)  ;  "  Louisa,"  after  W.Ward,  1786,  in  colour 
(1,520 fr.);  "ElizabethCountessofAncrum,"after Rey- 
nolds (1,130  fr.);  "The  Duchess  of  Kent,"  in  mezzo- 
tint by  Bromley,  after  Hayter  (455  fr.)  ;  "Youth," 
an  oval  medallion  engraved  by  Ryder,  after  Humphrey 
(560  fr.) ;  portraits  of  the  Princess  .Vugusta  and  the 
Princess  Mary,  engraved  by  Ward  and  Nutter  (620  fr.) ; 
"  Mrs.  Jordan  in  the  Character  of  the  Country  Girl," 
1788,  by  Osborne,  after  Romney  (720  fr.),  etc.  Special 
mention  should  be  made  of  J.  R.  Smith's  fine  engrav- 
ing, "  What  \ou  will,"  which  made  3.950  fr. 

This  collection  also  contained  a  fine  selection  of 
French  eighteenth-century  engravings,  such  as  the 
"  Carquoisdpuise,"  by  Nicolas  de  Launay,  after  Baudoin 
(1,220  fr.);  the  "  Tete  de  Flore,"  in  imitation  of  a 
pastel,  by  L.  Bonnet,  after  Boucher  (2,800 fr.):  the 
"  Promenade  de  la  galerie  du  Palais-Royal,"  by 
Debucourt,  1787  (1,920  fr.)  ;  by  the  same.  "  La  Rose, 
la  main"  (2,200  fr.):  "  Oui.  sun  arrivee  fera  notre 
bonheur,"  1796  (i,6So  fr.) :  "La  Coniparaison,"  by 
Janinet  (1.550  fr.) :  the  "  Tour  de  rHorloge,"by  Mcryon 
(1,750  fr.) ;  the  "  Bai  pare  "  and  the  "  Concert,"  after 
A.  de  Saint-.Aubin,  by  Duclos  (850  fr.),  etc.  Nor  were 
these  prices  too  high  to  pay  for  the  refreshing  smiles 
of  all  these  fine  engrasings,  representing  the  playful 
wit  of  all  those  charming  artists,  who  have  not  yet 
been  surpassed  in  elegance  or  grace. 

59 


THE    BURLINGTON    GAZETTE 


A  few  other  English  engravings  changed  hands  at 
a  sale  held  on  March  30  and  31.  The  highest  bids 
were  obtained  for  "Black  Monda\',  or  the  Departure 
for  School,"  a  mezzotint  by  Jones,  after  Bigg 
(1,660  fr.);  "Children  Pla3'ing  at  Soldiers,"  and 
"Juvenile  Navigators,"  two  mezzotints  by  Keating 
and  Ward,  after  Morland  (2,620  fr.)  ;  "  Children 
Bird's-nesting,"  and  "  Blind  Man's  Buff,"  by  the  same 
(2,100  fr.)  ;   "  Haymakers,"  by  Ward  (1,380  fr.),  etc. 

Let  me  also  name  a  few  engravings  from  the  estate 
of  M.  de  Blowitz,  sold  on  March  16,  17  and  18:  the 
"  Christ  Crucified,"  engraved  by  Koepping,  after 
Munkacsy  (280  fr.) ;  and  the  "  Christ  before  Pilate," 
by  Waltner,  after  the  same  painter  (1,200  fr.).  These 
two  engravers  are  among  the  most  worthy  of  the  con- 
temporary artists  who  devote  themselves  to  this  art, 
which,  so  far  from  being  in  its  decline,  is  more  alive  than 
ever,  even  when  the  photographic  processes  seem  to  limit 
it  more  and  more  to  its  original  plates.  And  it  will 
always  be  a  pleasure  to  mention  those  excellent  artists 
together  with  their  equals,  the  Bracquemonds,  Theo- 
phileChauvels,Patricots,SeymourHaden,Whistler,etc. 

I  will  note  lastly,  in  the  sale  of  the  H.  L.  N. 
Collection,  on  April  23,  the  Almanach  National  de 
1791,  by  Debucourt,  which  made  1,300  fr. ;  the 
"  Bouquetiere  galante,"  by  Tiflaye,  after  Boucher 
(1,010  fr.);  the  "  Hasards  heureux  de  I'escarpolette," 
by  N.  de  Launay,  after  Fragonard  (980  fr.)  ;  "  Made- 
moiselle de  T.,"  by  Janinet,  after  Lemoine  (1,000  fr.)  ; 
the  "  Petit  conseil,"  by  Janinet  (1,005  fr.) ;  the  "  Deux 
baisers,"  by  Debucourt,  1786  (2,080  fr.)  ;  etc. 

III.— FURNITURE  AND  OBJECTS  OF  ART 
However  high  the  credit  of  painting  and  engraving 
may  stand  at  the  Hotel  Drouot,  it  will  always  be  sur- 
passed by  the  vogue  appertaining  to  the  sales  of  furni- 
ture and  objects  of  art,  if  not  always  for  quality,  at 
least  for  quantity;  and  this  is  only  logical,  for,  if 
there  be  luxury  in  both,  we  may  say  that  the  second 
has  usefulness  superadded,  and  usefulness  rules  the 
world.  Hence  the  material  impossibility  of  being 
complete  in  this  respect  in  our  summary,  and  the 
necessity — greater  here  than  where  other  works  are 
concerned — of  naming  only  works  of  the  first  order 
through  their  beauty  or  their  historic  interest,  or 
both  together. 

Let  me  mention,  first,  the  Montvallat  sale  (March 
5  and  6),  prominent  at  which  were  a  set  of  Louis  XVI 
drawing-room  furniture,  in  old  Aubusson  tapestry 
6,500  fr.) ;  a  Louis  XIV  picture-frame  (1,270  fr.) ; 
two  old  Chinese  vases  (1,000  fr.),  etc.  Blowitz  sale 
(March  16,  17  and  18):  a  wooden  fan,  the  ribs  in- 
scribed with  the  autograph  signatures  of  the  plenipo- 
tentiaries at  the  Berlin  Congress  in  1878,  that  is  to 
say,  the  signatures  of  Karoly,  Haymerle,  Mehemet 
Ali,  Sadoullah,  Caratheodory,  Saint-Vallier,  Desprez, 
Launay,  Waddington,  Bismarck,  Russell,  Beacons- 
field,  Schouvaloff,  Billow,  Gortchakoff,  Andrassy,  Corti, 
Salisbury,  Hohenlohe,  d'Oubril,  with  the  portrait  of 
Werner  in  the  middle  (1,000  fr.) ;  an  eighteenth-cen- 
tury sofa,  in  wood  (1,320  fr.) ;  a  Louis  XV  tapestry 
(780  fr.),  &c.  Sale  of  March  21  :  a  Flemish  tapestry 
of  the  sixteenth  century,  red  ground  with  cariatides 
(4,100  fr.) ;  another,  with  a  ground  of  verdure  (3,030 
fr.) ;  an  Aubusson  tapestry,  representing  a  huntsman 

60 


and  shepherdess,  Louis  XVI  (1,750  fr.).  Sale  at 
Toulouse  (March  23)  :  a  Regency  drawing-room 
suite,  in  Aubusson  tapestry,  representing  the  Fables 
of  La  Fontaine  (18,000  fr.) ;  a  Louis  XV  drawing- 
room,  Aubusson,  pastoral  scenes  (10,950  fr.) ;  a 
Louis  XIV  mirror  (2,500  fr.).  Sale  of  March  30  and  31  : 
a  Louis  XV  clock,  tortoise-shell  and  bronze,  chased 
and  gilt  (4,550  fr.) ;  two  Louis  XVI  arm-chairs,  white 
lacquer,  poppies  in  a  vase,  two  easy  chairs,  and  four 
other  chairs  (18,200  fr.) ;  a  Louis  XVI  cylinder 
writing-table  (1,100  fr.)  ;  a  Louis  XVI  table,  in  satin- 
wood  (1,480  fr.)  ;  a  Flemish  tapestry  (4,400  fr.),  etc. 
Another  sale  of  March  30  and  31  :  a  Delft  pot, 
with  the  mark  of  Ghisbrecht  Kruyk,  1645  (400  fr.) ;  a 
pair  of  vases,  old  Wedgwood  pottery,  black  enamel 
(430  fr.) ;  two  Dutch  candelabra  (1,300  fr.) ;  a  red 
lacquer  clock,  old  English  workmanship  (510  fr.)  etc. 

At  the  sale  of  the  Gerard  de  Contades  Estate 
(April  3),  I  noted  a  necklace  of  393  pearls  (46,300  fr.) ; 
a  pair  of  Louis  XVI  fire-dogs  (1,450  fr.) ;  a  Louis  XVI 
cylinder  writing-table  (1,950  fr.) ;  a  Louis  XV  chest 
of  drawers,  lacquer  on  a  red  ground  (3,200  fr.)  ;  a 
silver  horse.  Regency  period  (5,000  fr.)  ;  a  Louis  XV 
drawing-room  suite,  in  Aubusson,  poppies  (18,000 fr.); 
sixteenth-century  Brussels  tapestry,  by  William  Panne- 
maker,  from  cartoons  by  Jan  Vermeyen,  representing 
the  Taking  of  Tunis  by  Charles  V.  (30,500  fr.) ;  and 
nine  pieces  of  sixteenth-century  Brussels  tapestry, 
sacred  history,  31  yards  long  (35,600  fr.).  In  Colonel 
Mapleson's  collection  (April  6  and  7)  occurred  a  ribbed, 
egg-shaped  George  II  tea-urn,  in  chased  and  ham- 
mered silver  (356  fr.) ;  and  two  statuettes  from  the 
Royal  Worcester  Factory,  representing  a  Japanese 
man  and  woman  (150  fr.).  In  the  second  Monvallat 
sale  (April  20  and  21) :  a  Louis  XVI  wainscot,  in 
carved  wood,  painted  white  (9,500  fr.) ;  an  old  chapel 
screen  of  the  time  of  Louis  XV  (1,505  fr.)  ;  a  sofa 
in  Renaissance  tapestry  (925  fr.).  In  the  Edmond 
Taigny  Collection  (April  20  and  21) :  a  Chinese  porce- 
lain ink-horn,  red  ground,  green  and  blue  enamel, 
Kang-Hi  period  (1,400  fr.) ;  a  figure  of  a  blind  man, 
in  enamelled  stone  ware,  Seto  (2,310  fr.) ;  a  ritual 
vase  of  the  Chang  Dynasty  (430  fr.),  etc. 

The  Comte  de  Chaudordy's  Collection  (April  20  to 
22)  comprised  some  fine  specimens  of  the  National 
Sevres  Manufactory,  the  remarkable  products  of  which 
were  displayed  for  the  benefit  of  visitors  at  the  Inter- 
national Exhibition  of  1900  (I  may  say,  in  passing, 
that  the  success  then  obtained  has  induced  the  Ministry 
of  Public  Instruction  to  open  a  magnificent  warehouse 
on  the  Grands  Boulevards  in  Paris,  where  the  public 
will  henceforth  be  able  to  procure  the  works  emitted 
by  the  Sevres  Manufactory  and  the  Engraving  De- 
partment of  the  Louvre.)  The  lots  included  twelve 
plates,  b'rds  and  floral  branches  (1,220  fr.);  a  plate  in 
pate  iendre,  still  life  (1,000  fr.) ;  four  preserve  dishes, 
with  bouquets  of  roses  (2,300  fr.) ;  a  pair  of  tulip 
vases,  with  flowers  (1,500  fr.),  etc.  Furniture :  a 
Louis  XV  couch  (1,205  fr.) ;  two  Louis  XIV  arm- 
chairs (5,000  fr.)  ;  a  low-seated  Louis  XV  arm-chair. 
La  Fontaine's  Fables  (1,200  fr.);  a  Louis  XV  drawing- 
room  suite  (15,000  fr.)  :  a  Louis  XVI  drawing-room 
suite,  upholstered  in  Aubusson  (i  1,100  fr.).  Tapestry  : 
a  seventeenth-century  Gobelins,  representing  the  vin- 
tage, after  the  cartoon  attributed  to  Lucas  van  Leyden 


A  CHRONICLE  OF  THE  HOTEL  DROUOT 


(30,100  fr.);  four  I'leinish  tapestries,  seventeenth  cen- 
tury (20,000  fr.) ;  three  tapestries  representing  the 
Story  of  Ariadne,  seventeenth  -  century  Flemish 
(11,950  fr.)-  The  sum  total  of  this  fine  sale  e.xceeded 
215,000  fr.  We  must  note  the  constant  favour  shown 
by  enlightened  connoisseurs  to  genuine  tapestry  of 
the  seventeenth  and  eighteenth  centuries,  whether 
Flemish  or  French,  .\ubusson.  Gobelins  or  Beauvais. 
Do  not  tapestries  form  the  finest  wall-decorations  ? 
It  would  be  desirable,  in  this  conne.xion,  that  many 
of  them  should  resume  their  natural  places  in  the 
country  houses  for  which  they  were  manufactured 
and  of  which  the  rooms  seem  so  bare  in  their  white- 
ness, for  want  of  this  ornament.  Even  if  old  tapestry 
should  one  day  run  short — and  it  does  not  seem  as 
though  that  day  were  very  near  at  hand — connoisseurs 
will  always  be  able  to  apply  to  the  national  manufac- 
tories, where  the  art  of  high-warp  work  has  not  yet 
spoken  its  last  word.  This  revival  is  shown  by  many 
signs.  The  greatest  artists,  such  men  as  were  Buriie- 
Jones  and  Puvis  de  Chavannes,  take  delight,  even  as 
did  Raphael  and  Lebrun  in  former  days,  in  designing 
tapestry  cartoons,  and,  under  the  management  of  so 
capable  an  administrator  as  M.  Guiffrey,  the  old 
workshops  of  the  Gobelins,  on  the  Bievrc,  which 
date  back  to  Colbert's  time,  have  taken  a  new  lease 
of  life. 

IV.— BOOKS,  MANUSCRIPTS,  AUTOGRAPHS 
The  second  sale  of  the  Dablin  Collection  (March 
23  to  25),  dispersed  a  number  of  pieces  bearing  specially 
upon  the  Revolution  and  the  First  Empire.  Worthy 
of  note  was  an  account-book  of  Napoleon  at  St. 
Helena,  running  from  March  1818  to  April  30  1S21, 
with  accounts  for  food  and  drugs,  kept  by  Pierron,  the 
Emperor's  steward  (485  fr.) ;  an  autograph  letter  from 
General  de  Montholon  to  Laffitte,  dated  London, 
August  18, 182 1,  and  relating  to  the  estate  of  Napoleon  I. 
(265  fr.)  ;  a  letter  from  Voltaire  to  Herault,  the  Lieu- 
tenant of  Police  (250  fr.),  etc. 

On  March  jo  was  sold  the  library  of  M.  M.  Meric, 
consisting  of  fine  contemporary  books.  The  great 
majority  were  knocked  down  at  about  300  fr.  apiece. 
Higher  bids  were  obtained  for  Charles  Baudelaire's 
Flews  dii  mal,  illustrated  by  ^Carlos  Schwabc  (566  fr.) : 
Coppee's  Passant,  by  Louis  Edouard  Tournier  (545  fr.) ; 
Alexandre  Dumas'  Trots  Mousquetaircs,  by  Maurice 
Leloir  (975  fr.) ;  Flaubert's  Lcgcndc  de  Saint  Julien 
I'Hospitalier,  by  Luc  Olivier  Merson  and  Gery-Richard 
(495  fr.)  ;  Anatole  France's  Balthazar  et  la  reine  Balkis, 


by  Henri  Caruchet  (530  fr.) ;  Thtophile  Gauthier's 
Chaine  d'or,  by  Rochegrosse  (900  fr.) ;  Hennique's 
Ihcitf,  by  Jeanniot  (300  fr.) ;  Heredia's  Trophecs  (735  fr.) ; 
\'ictor  Hugo's  Notre  Dame  de  Paris,  by  .Merson  (870  fr.) ; 
Morin's£)i;H<j«c7ic-i  parisiens  (565  fr.;';  Mussel's /A-r«/er 
abbe,  by  Lalau;ie  (599  fr.) ;  and  a  number  of  other  finely- 
illustrated  volumes,  issued  by  famed  Paris  publishing- 
houses. 

Such  is  the  rapid  summary  of  the  sales  of  the  second 
half  of  March  and  of  April,  which  possess  their  impor- 
tance, as  I  said  above,  even  though  there  be  none  to 
equal  those  of  the  Hayashi  and  Thevenen  Collections, 
described  in  my  former  chronicle.  Were  I  called  upon 
to  sum  up  the  movement  in  a  few  lines,  I  would  say,  in 
so  far  as  generalization  is  possible  in  a  matter  of  this 
kind,  that  the  best  bids  were  obtained,  in  painting,  by 
the  Corots,  the  Daubignys,  the  Detailles,  the  Troyons, 
the  Delacroi.x  and  the  Impressionists;  in  engraving, 
by  the  English  and  French  prints  of  the  eighteenth 
century;  in  furniture  and  objects  of  art,  bv  the  drawing- 
room  furniture  of  the  Louis  XV  and  Louis  X\'I  periods, 
and  the  fine  Flemish  and  French  tapestries  of  the 
seventeenth  and  eighteenth  centuries  ;  lastly,  in  books, 
manuscripts,  and  autographs,  by  the  Napoleonic  me- 
mentos, and  a  few  fine  contemporarv  editions. 

G.  R. 

P.S. — This,  April  27,  was  the  first  day  of  the  first 
Lelong  sale.  I  shall  return  to  it  at  length  in  my  next 
chronicle,  but  will  confine  myself  to-day  to  mentioning 
the  magnificent  result  of  the  first  day's  sale,  which 
produced  819,100  fr.,  and  pointing  out  a  few  particu- 
larly interesting  bids. 

The  two  top  prices  were  obtained  by  the  portraits 
of  the  painter  Drouais  and  his  wife"  (120,000  fr.), 
works  of  art  full  of  delicate  grace  in  their  tiny  form. 
There  were  also  sold  Boucher's  "  Moulin  a  Charenton  " 
(25,000  fr.)  and  "  Pecheurs  chinois"  (14,000  fr.) ; 
Boilly's  "Prelude"  (16,500  fr.)  and  "Cage  inacces- 
sible" (31,500  fr.);  and  Trinquesse's  "Jeune  fille  a 
I'ceillet  "  (33.500  fr.).  The  two  Chardins  disap- 
pointed the  expectations  of  the  connoisseurs,  and 
with  difficulty  reached  8,000  fr.  for  the  two ;  it  is  true 
that  the  attribution  was  not  necessarily  convincing. 
Lastly,  let  me  mention  a  Largilliere  (43,000  fr.),  a 
Rigaud  (49,000  fr.),  a  decoration  by  Huet  (90,000  fr.), 
and  two  engravings  after  Morland,  a  "  Tea  Garden  " 
and  "  St.  James's  Park  "  (6,000  fr.). 

The  sales  are  announced  to  take  place  shortly  of 
the  collections  of  M.  Pacully  and  of  M.  Arsene  .\le.x- 
andre,  the  art  critic  of  the  Fisraro. 


GENERAL   NOTES 


We  are  pleased  to  note  tluit  two  members  of  the 
consultative  committee  of  The  Buklington  Mag.\- 
ZINE  have  been  decorated  for  their  public  services. 
Mr.  Salomon  Reinach  has  been  promoted  to  the  rank 
o{  grand  officier  of  the  Legion  of  Honour,  and  Mr.  W. 
H.  James  Weale  has  been  named  officier  of  the  Order 
of  Leopold,  a  tardy  recognition  of  his  great  services  to 
Belgium  by  his  labours  in  connexion  with  Flemish 
art. 

In  a  tract  entitled  "The  Danger  of  the  Church 
and  Kingdom  from  Foreigners"  (1721),  it  is  stated  at 
p.  23  that  Henry  VI  sent  Caxton  to  Holland  to  learn 


printing.  I  do  not  see  any  such  account  in  Blades, 
although  Henry  is  known  to  have  been  a  book-lover, 
and  the  possessor  of  a  collection  of  MSS. 

A  rather  curious  feature,  not  hitherto  noticed,  it 
appears,  by  the  technical  authorities  on  the  suliject,  in 
the  musical  notation  of  the  connnon  version  of  the 
Psalms  by  Sternhold  and  Hopkins,  may  be  pointed 
out.  It  consists  in  the  syllabic  division  of  the  notes 
for  the  information  and  assistance  of  such  as  chose  to 
sing  the  Psalms  at  home,  and  were  not  versed  in  the 
usual  methods.  The  unique  type  of  psalmody  here 
described  seems  to  be  limited  to  three  impressions, 

61 


THE    BURLINGTON     GAZETTE 


1605-06-07  :  but  there  were  two  distinct  issues  in 
1607.  The  British  Museum  possesses  the  impressions 
of  1605,  1606  (imperfect),  and  1607  (imperfect,  and 
different  from  the  copy  employed). 

Various  circumstances  are  ever  tending  to  influence 
this  particular  market,  and  to  produce  depression  or 
inflation  of  selling  values.  Of  some  writers,  such  as 
Scott  or  Southey,  the  examples  have  grown  so  abun- 
dant that  prices  have  sensibly  receded,  at  least  for  the 
time.  Byron,  Lamb  and  Shelley,  especially  the  first 
named,  maintain  their  ground,  and  Hazlitt  has  de- 
cidedly come  to  the  front,  till  any  item  of  importance 
and  interest  brings  as  much  as  those  of  his  friend  Elia, 
while  they  are  infinitely  rarer.  Wordsworth  and  Cole- 
ridge command  good  prices  where  the  matter  offered 
is  of  any  consequence,  and  of  both  many  unpublished 
letters  still  come  into  the  market.  But  Keats,  from 
the  brevity  of  his  career  and  the  peculiar  attraction 
involved  in  his  personal  history,  stands  out  from  all 
the  rest — at  any  rate  this  side  Tweed — and  any  auto- 
graph or  other  relics  awaken  the  keenest  competition. 

It  seems  to  be  pertinent  to  the  object  of  the 
Burlington  Magazine  to  put  its  readers  on  their 
guard  against  the  growing  tendency  to  a  multiplication 
of  literary  forgeries,  and  to  the  method  of  executing 
them.  In  the  course  of  recent  proceedings  in  one  of 
the  courts  evidence  was  produced  that  Nelson, 
Burns,  and  Scott  letters  have  been  fabricated  by 
means  of  photography,  and  in  some  cases  the  authors 
of  these  frauds  have  been  identified.  Books  with 
the  autographs  of  Benjamin  Jonson,  John  Evelyn 
the  diarist,  Edmond  Waller,  and,  in  short,  any  cele- 
brated personage  whose  writing  is  marketable  and 
rare,  have  been  within  the  last  two  or  three  years 
placed  on  the  market,  but,  happily,  without  much 
success.  As  regards  Evelyn,  the  signature  of  his 
grandson  and  namesake.  Sir  John  Evelyn,  is  frequently 
offered  in  the  catalogues  as  his.  The  false  autographs 
of  Shakespeare  are  almost  in  a  category  of  their  own, 
and  are  less  apt  to  prove  a  source  of  danger  to  the 
ordinary  amateur.  But  a  yet  more  serious  evil  arises 
from  the  ingenious  sophistication  of  MSS.,  Horae 
and  other  service  books,  where  instances  occur  of  the 
illuminations  and  accompanying  text  having  been 
more  or  less  exactly  copied  to  supply  a  deficiency  ; 
and  as  MSS.  of  any  kind  bought  at  an  auction  are 
unreturnable,  it  behoves  the  unprofessional  buyer 
to  be  on  his  guard  against  this  and  a  hundred 
other  snares.  The  ccjllation  of  printed  \olumes  is 
often  somewhat  difficult:  but  that  of  MSS.  is  tenfold 
more  so. 

Memorable  as  has  been  the  lengthy  reign  of  the 
present  Pope  in  so  many  and  varied  directions,  it  has 
hardly  anything  to  show  from  the  art  point  of  view. 
When  Leo  XIII  mounted  the  papal  throne  he  found 
around  that  mediocre  group  of  artists  who  had  served 
Pius  IX.  Through  an  epoch  of  aesthetic  revolutions 
these  men  had  kept  stedfast  to  the  old  classical  and 
academical  traditions.  On  the  wreck  and  ruin  strewn 
by  the  fierce  hurricane  of  romanticism  they  began  to 
offer  stout  opposition  to  the  pioneers  of  the  realist 
school.  This  period  of  mediocrity  in  papal  art  has 
lasted  even  till  now.  Never  in  the  long  history  of  the 
Papacy  has  there  been  a  pontificate  of  any  appreciable 
duration  with  so  little  to  show  on  its  art  side.     Since 

62 


1880  more  new  churches  have  been  reared  in  Rome 
itself  than  during  any  other  corresponding  period. 
The  restorations  of  churches  and  other  ecclesiastical 
buildings  have  been  numerous  ;  and  a  vast  amount  of 
fresco  painting  has  been  executed  and  fresh  statuary 
work  added.  Yet  it  would  be  difficult  to  point  to 
anything  in  the  latter  category  which  is  not  in  the 
worst  taste  possible ;  while  among  the  fifty  new 
churches,  only  the  creations  of  the  architect  Seitz 
deserve  consideration.  The  rest  are  badly  executed, 
and  almost  all  mere  copies.  Writing  upon  this  theme 
in  a  recent  number  of  //  Giornale  d'ltalia,  the  art 
critic,  Diego  Angeli,  says  : — 

"  It  cannot  but  be  deplored  that  this  period  which 
might  have  been  so  fruitful  in  great  works  has,  never- 
theless, proved  so  uncommonly  sterile.  Indeed,  it 
would  be  no  easy  matter  to  parallel  its  barrenness  in 
the  history  of  any  pontificate.  It  is  further  regrettable 
for  the  sake  of  the  esthetic  repute  of  Catholicism.  In 
Rome,  among  all  the  new  churches  built  since  1870, 
one  only  has  been  decorated  by  a  great  artist.  I  refer 
to  the  church  of  Saint  Paul  in  the  Via  Nazionale 
where  Burne-Jones  designed  those  three  wonderful 
mosaics  of  the  apse  and  arch.  And  St.  Paul's  is  a 
Protestant  building,  planned,  executed,  and  decorated 
b}-  Protestant  artists." 

Edinburgh  and  Glasgow  had  during  many  years  a 
literary  atmosphere,  almost  undoubtedly  due  to  the 
initiative  of  Sir  Walter  Scott  on  the  one  hand  and  on 
the  other  of  the  Edinburgh  Rcvicic  and  Blackwood 
sets,  and  the  former  continued  in  this  sense  and  wa\- 
to  be  independent  of  London,  and  to  possess  a  sort  of 
bibliographical  autocracy  down  to  the  last  quarter  of 
the  last  centur}'.  It  possessed  its  own  antiquaries,  its 
own  Printing  Clubs,  its  own  Learned  Transactions,  its 
own  Societies  of  Arts,  and  its  own  school  of  book-col- 
lecting; and  at  a  certain  date  the  city  on  the  Clyde, 
less  fortunate  in  its  personal  associations  and  less  rich 
in  its  literary  institutions,  yet  wealthy  and  ambitious, 
came  forward  as  a  competitor  in  many  branches  of 
liberal  knowledge  and  culture.  Edinburgh,  however, 
must  be  allowed  to  have  preserved  its  early  supremacy, 
and  even  when  Scott  and  his  friends,  and  Jeffrey  and 
Brougham,  and  all  the  rest,  who  so  long  rendered  the 
British  Athens  a  formidable  rival  to  the  metropolis  of 
the  Empire,  had  finally  disappeared,  the  odour  of  their 
names  and  their  prestige  survived,  and  such  men  as 
David  Laing,  James  Maidment,  Gibson  Craig,  William 
Turnbull  and  others,  carried  forward  the  old  tradi- 
tions and  inherited  the  old  tastes.  The  spell  is  at 
last  broken  ;  and  one  of  the  last  links  with  the  older 
Edinburgh  has  passed  away  with  the  late  Mr.  John 
Taylor  Brown,  who  identified  himself,  like  his  prede- 
cessors, with  local  institutions,  and  was  both  a  writer 
and  a  collector  of  books.  The  preface  to  his  sale 
catalogue  before  me  terms  his  "  one  of  the  last  of  the 
large  private  libraries  for  which  Edinburgh  was  once 
so  renowned."  Mr.  Brown  had  profited  bj-  the  dis- 
persion of  all  the  most  celebrated  collections  during 
the  last  thirty  years,  and,  as  the  preface  further  states, 
he  bought  his  books  not  on  account  of  their  money- 
value  but  for  their  own  sake;  "  for  to  him  his  books 
were  his  friends — ^not  merely  articles  of  virtu."  This 
sentence  sounds  the  keynote  of  the  argument  which 
I  have  repeatedly  raised  ;  but  while  many  will  concur 


GENERAL    NOTES 


in  the  sentiment  ;in(i  adnuic  the  principle,  the  result 
under  existinf,'  conditions  is  not  to  appeal  to  those 
purchasers  who  make  literary  property  dear  and 
valuable.  For  of  bibliographical  nug;,'ets,  the  truth 
to  say,  Mr.  Brown  succeeded  in  securing  few — jier- 
haps  did  not  desire  to  do  so.  There  was  a  tolerable 
copy  of  the  Kilmarnock  Burns,  but  sold  with  all 
faults,  an  editio  princeps  or  so  of  Keats,  and  a  few  more 
such  things,  formerly  of  small  pecuniary  account. 
Let  us  rather  dwell  on  the  honourable  gratification  of 
forming  and  possessing  throughout  life  such  a  gather- 
ing of  literary  monuments,  of  which  the  owner  was 
more  than  the  caretaker,  and  which  he  accjuired  for 
the  best  reason  in  the  world,  because  they  pleased 
him.  This  is  the  best  type  of  bibliophile,  and  it  is  a 
rare  one — rarer  than  most  books.  The  portrait  of 
Mr.  Brown,  which  is  inserted  before  the  catalogue,  is 
a  fit  complement  to  the  preface,  and  when  you  have 
read  the  latter  you  turn  back  and  find  the  account 
of  the  man  in  agreement  with  his  personal  appearance. 
This  most  graphic  embellishment  might  not  in  all 
cases  prove  a  safe  experiment. 

The  author  of  a  volume  entitled  "  Book  .-Auctions  in 
England  in  the  Seventeenth  Century,"  1898,  neces- 
sarily stops  short  at  a  period  which  interposes  itself 
between  the  infancy  of  the  system  and  the  stage 
which  it  subsequently  reached  and  at  present  occupies. 
Tiiere  was  a  considerable  interval,  just  prior  to  the 
steady,  yet  at  first  very  gradual,  development  and 
advance  in  the  estimation  of  early  English  books, 
when  the  prices  realized  for  such  as  we  now  recognize 
to  be  the  most  important  and  costly  articles  in  the 
market  had  scarcely  risen  to  an  appreciable  extent 
be_\ond  those  of  the  century  above-mentioned.  We 
have  in  view,  in  offering  these  remarks,  the  epoch 
between  the  dispersion  of  the  Harleian  Library  about 
1745  and  the  sale  of  that  of  James  West,  when 
Cleorge  III  secured  so  many  precious  items,  in  1773. 
But,  besides  those  collections,  which  are  customarily 
quoted  for  their  character  and  curiosity,  there  were 
several  in  the  course  of  those  thirty  years  or  so  which 
comprised,  perhaps  by  accident,  occasional  rarities  of 
the  first  rank,  and  to  which,  in  fact,  buyers,  bearing 
names  more  generall\-  familiar,  were  indebted  for  some 
of  their  most  distinguished  treasures.  We  often  take 
down,  or  have  leave  to  examine,  a  unique  or  super- 
latively rare  book  in  the  early  English  series,  or  a 
remarkable  MS.,  and  we  are  hardly  apt  to  reflect 
whence  it  came,  when  George  II L  or  the  Duke  of 
Roxburghe,  or  Mr.  Heber,  or  Mr.  Douce  obtained  it. 
Some  time  since  it  was  my  fortune  to  meet  with 
three  catalogues  ranging  between  1748  and  1767,  the 
common  complexion  of  which  seemed  to  illustrate 
this  aspect  of  the  matter.  The  bulk  of  the  literary 
effects  submitted  for  sale  in  each  case  was  common- 
place enough  ;  but  there  were  signal  exceptions,  or,  in 
other  words,  the  owners  or  holders  had,  side  by  side 
with  much  which  has  undergone  severe  shrinkage  in 
value,  casually  stumbled  on  certain  items  which  the 
modern  auctioneer  has  learned  to  announce  in  his  lists 
in  capital  letters  with  luxuriant  descriptive  notes.  I 
append  these  selected  specialities,  with  a  proviso  that 
I  have  not  consciously  left  behind  any  particulars  in 
the  respective  cases  which  would  appeal  to  the 
bibliophile  of  to-day,   although   there  are   not  a  few 


lots   which,  agreeably  to  the   taste  of  the  eightecnlii 
century,  commanded  higher  figures:  — 

I.mKAKMiS  01--  MR.  COMAUgt'E,  Of  PUT.VEY,  AND  MK.  JOH.N'SON,  OK 
ST.  MAKTINS-lN-rUU-l-lliLDS,  ETC.  OS  SALK  UY  T.  OSBORNE 
AUOUT  ntS.    PRINTED  PRICES:— 


Caxton. 

Mirror  of  the  World,  • 
Another  copy 
Doctrinal  of  Sapience 
Cato  [3rd  ed.,  folio] 
Cordyale,  1479 
Life  of  St.  Catherine 


Mirror  of  the  Life  of  Christ 
Dives  and  Pauper     . . 

W.  DE  WOKUE. 

Golden  Legend,  1527  

Chastizin?  of  God's  Children,  14^.) 
St.  Catherine  of  Siena,  "very  fair,"  ijnj 
Flour  of  the  Commandments  of  God 
Scala  I'erfectionis,  1494 
Caxton. 

Boethius,  "  very  fair  " 

History  of  Jason 

Dictes  and  Sayings  of  Philosophers 


/:  s.  d. 


514 


Barclay's  Sallust 

Walter  Hylton's  Devout  Book,  150O 

Book  of  Good  Manners,  1507 
W.  Copland. 

Douglas's  Virgil,  1553.  "  very  fair  in  russia  leather"  .. 
MS. 

Book  of  Hawking,  etc.,  on  vellum,  folio,  with  65  illu- 
minations   

W.  I)E  WORDE. 

Four  Sons  of  .\ymon,  folio,  1504,  "  very  fair  "  . . 

*,*  Only  a  leaf  is  now  known. 
Book  of  St.  .Mbans,  1496,  "  fine  copy  " 


3     o 
15     o 


Caxton. 

Book  of  Good  Manners 

Work  of  Sapience,  "  very  fair  "    . . 

Memorare   Novissima,  "  very  fair,  bound  in  red  mo- 
rocco "     . . 
?  R.  Redhokne.  , 

.'Vrthur  of  Little  Britain,  "  very  fair,  bound  in  russia 

leather     

W.  DE  Wokde. 

Bartholomx-us,  "  fine  copy  "  

Rule  of  St.  Augustine,  1525  

Ordinary  of  Cristen   Men,  1506,  "  very  fair,  bound  in 


Pipe  or  Ton  of  Perfection,  1532 


H.  Denha 

Bentley's  Monuments  of  Matrons,  15S2 
New  Testament  in  Welsh,  1567     . . 

W.  DE  WORDE. 

Dying  Creature,  1507,  "very  fair" 
Festival,  1508,  ■'  very  fair" 
Parvula,  Caxton's  House     . . 
Stanbridge,  Accidence  and  Voeabula 

Julian  Notary. 

Hylton's  Scala  Perfectionis,  1507  . . 

Later  Printers. 

Heywood's  Spider  and  Fly,  1556  . . 
Cato,  School  of  Slovenu,  1605 
Sir  David  Lyndsay's  Poems,  15S1 . . 
James  L,  Essayes'of  a  Prentice,  15S1 
Newnham's  Night  Crow,  1590 
Batman's  Travayled  Pilgrim,  1569 

Tavistock  (Exempt  Monastery). 

Boethius,  Consolation  of  Philosophy.  1; 


MSS. 

Sir  John  Mandeville's  Travels.  "  very  valuable  ' 

Two  Breviaries,  "  very  curious  " 

Two  Missals,  finely  illuminated 


-ANGKORl)  ANI> 
/•    s.    d. 


THE    BURLINGTON    GAZETTE 

Biblia  Latina,  "  most  exquisitely  wrote  and  finely  pre-     /   s.    d. 
served"    ..  ..  ..  ..  ..  ..  ..140 

Ancient  Translation  of  the  New  Testament  into  Welsh      030 
Works  of   John  Wicliff  in  English   in    very   fine   pre- 
servation.. ..  ..  ..  ..  ..  ..010 

Ovidii  Epistolae,  "  very  finely  preserved  "  ..  ..060 

Legenda,  or  a  most  Ancient   Legend  in  English,  with 

many  illustrations         ..         ..         ..         ..         ..0186 

Printed  Boo'ks. 

Hi?den's  Polychronicon,  1495        . .  . .  . .  ..160 

VUas  Pdlrani.    Caxton,  1485         120 

TuUy  de  Senectute 2100 

Pilgrimage  of  Perfection,  Pynson,  1526,  and  another  ..     on     o 
Caxton's  Chronicle,  Julian  Notary,  and  another  . .     i   18     o 

.-Esop's  Fables.     Pynson     ..  ..  ..  ..  ..140 

MS. 

Book  of  Hours,  "  with  magnificent  illuminations  "        ..      310 

Printed  Books. 

Doctrinal  of  Sapience.     Caxton     . .  . .  . .  ..330 

Brandt,  Ship  of  Fools.     Pynson o  16     6 

*^*  At  this  Sale,  Ratcliff,  Dr   Chauncy,  White  the  bookseller,  and 

Baynton,  were  leading  buyers. 


STOCK  OF  MR.  JOHN  KING,  BOOKSELLER.    SOLD  BY  BAKER,  176X 

£    S.    d. 
Tusser's  Husbandry,  1562  ..         ..         ..         ..         ..019 

Dubravius,  1599    ..  ..  ..  ..  ..  ..  ..010 

Tree  and  Fruits  of  Holy  Ghost,  with  others,  1534    . .  ..009 

Pilgrim  ge  of  Perfection,  1526  ..         ..         ..         ..         ..016 

Liber  Festivalis  in  English,  1494  . .  . .  . .  ..050 

Mirror  of  Mirth  and  Pleasant  Conceits,  with  others,  1592  . .     043 
Whitney's  Emblems,  1586  ;   Peacham's  Emblems,  1612      ..     026 
Spenser's  Complaints,  and  another,  1591        . .         . .         ..010 

Lydgate's  Life  of  Our  Lady,  1531  ..  ..  ..  ..050 

Grange's  Golden  Aphroditis,  1577  ;  Whetstone's  Poems  ..  060 
Heywood's  Works,  159S  ;  Hawes'  Pastime  of  Plesense,  1555  o  g  o 
Hampole's    Stimulus     Conscientiae,    MS  ,    called     "  very 

ancient,"  with  two  others    ..  ..  ..  ..  ..016 

Christian  de  Pise,  Book  of  the  City  of  Ladies,  1521 . .  ..060 

Greene's  Entertaining  Tracts,  1629  (sic)  . .  . .  ..056 

Chaucer's  Tales,  "  very  ancient."     Folio       ..         ..         ..     i  13     o 

Scourge  of  Venus,  or  the  Wanton  Lady,  and  three  other 

rare  pieces       ..  ..  ..  ..  ..  ..  ..029 

Fitzgeffrey's  Epigrams,  and  five  other  rare  pieces    . .  ..039 

Thevefs  History  of  New  Found  World,  156S  . .  ..006 

Smith's  New  England,  1616  ;  Harcourt's  Guiana,  1613  ..010 
Morton's    New    English     Canaan     and     two     other     rare 

Americana       ..  ..  ..  ..  ..  ..  ..016 

LIBR.\RY  OF  A  CLERGYMAN.     SOLD  BY  PATERSON   IN   1767. 

£     S.    d. 

Lodge's  Wit's  Miserie,  1596       ..         ..         ..         ..         ..023 

Raymond's  Maiden  Queen,  1607  006 

Taylor's  Water  Cormorant,  1622  . .  . .  . .  ..006 

Johnsone's  Lantern  Light  for  Loyal  Subjects,  1603..  ..    no  price 

*„*  We  do  not  know  this  work. 

Whetstone's  Aurelia,  1593  026 

Willobie  his  Avisa,  4to.  no  date  mentioned     . .  . .  ..010 

Naturally  these  marvellous  figures,  as  they  ■would 
be  now  judged,  were  measured  by  their  current  appre- 
ciation. If  Caxtons  might  be  procured  to-day  for 
shillings,  they  would  go,  not  to  collectors,  but  to 
scholars.  Let  us  keep  the  moisture  from  coming  into 
our  mouths  or  our  eyes.  Still,  it  is  a  wee  bit  tanta- 
lizing. Ah  !  the  sales  are  over ;  the  shops  are  shut ; 
we  are  too  late.  Why,  it  is  a  hundred  and  fifty  years 
ago! 

The  death  at  Horsham  at  an  advanced  age  of  Sir 
Charles  Ishain,  of  Lamport  Hall,  Northampton,  recalls 
an  incident  which  aroused,  about  thirty-five  years  ago, 
a  powerful  sensation  in  bibliographical  circles.  For 
some  one  engaged  to  put  in  order  certain  old  books  in 
the  library  discovered  in  a  garret  or  attic  an  extra- 
ordinary treasure  in  the  shape  of  early  English  books 
and  tracts  of  the  first  order  of  rarity,  comprising 
Shakespeare's  "  Passionate  Pilgrim,"  1599,  and  an  un- 


known impression  of  "  Venus  and  Adonis,"  same  date. 
The  individual  in  question  valued  the  Shakespeare  at 
a  few  shillings ;  but  a  second  opinion  raised  the  price 
to  ;fioo.  The  owner  kept  it  and  the  rest,  however, 
and  even  when  an  offer  of  £500  for  the  Shakespeare 
was  made  on  behalf  of  the  late  Mr.  Henry  Huth  it 
was  not  accepted.  Sir  Charles  lived  to  change  his 
mind,  and  about  five  years  ago  Mr.  Christie-Miller 
was  able  to  secure  the  whole  lot  for  a  sum  running 
into  four  figures.  A  certain  proportion  being  dupli- 
cates, Mr.  Miller  handed  them  over  for  a  consideration 
to  the  British  Museum.  But  he  could  not  be  induced 
to  let  the  Shakespeare  go  there. 

Thackerajana  appear  so  far  to  show  no  S3'mptoms 
of  decline  in  commercial  value  among  a  special  ring 
of  wealthy  enthusiasts.  Quite  recently  at  Sotheby's 
three  trifling  manuscripts  and  artistic  curiosities 
brought  £2^y  !  These  childish  prices  will  have  the 
effect  in  course  of  time  of  drawing  out  other  items, 
and  there  will  succeed  the  usual  reaction.  The  com- 
petition is  already  of  the  narrowest  character.  Except 
as  a  writer  of  playful  or  humorous  verse,  Thackeray 
was  no  poet,  and  his  efforts  as  a  draughtsman  are 
simply  amateurish. 

The  Carews  of  Crowcombe  Court,  Taunton,  have 
been  lately  parting  with  some  of  their  heirlooms.  The 
objects  submitted  to  competition  formed  329  lots,  and 
for  the  most  part  were  decidedly  of  secondary  conse- 
quence. There  was  a  Sarum  Horae  from  Verard's 
press  in  fine  condition  and  in  good  old  binding,  and 
some  curious  tracts.  But  the  item  which  impressed 
me  when  I  perused  the  catalogue  was  No.  122,  which 
among  other  matters  contained  not  only  letters  of  Sir 
Nicholas  Bacon,  the  great  Bacon's  father,  but  poems 
by  him,  described  as  "  Recreations  of  his  Age."  The 
bearing  of  the  last-named  feature  would  not  have  been 
obvious  if  it  had  not  been  the  pleasure  of  a  certain 
self-complacent  section  of  the  literary  world  to  transfer 
to  the  Bacon  whom  we  best  know  the  dramatic 
writings  of  Shakespeare  and  others  ;  but  by  this  new 
light  it  seemed  expedient  to  turn  over  the  leaves  of 
the  Carevv  MS.  in  order  to  become  satisfied  that  its 
contents  were,  or  were  not,  helpful  toward  a  settlement 
of  the  question.  The  more  we  investigate  Elizabethan 
records  the  more  we  see  how  widely  spread,  even  among 
persons  not  professedly  writers,  the  practice  became 
of  taking  up  the  pen  at  leisure  moments  as  an  amuse- 
ment or  diversion.  The  father  of  Bacon  did  so,  as 
we  now  perceive  ;  and  his  son  did  so,  as  we  had  not  to 
learn. 

The  Byron  and  Thackeray  forgeries  have,  of  course, 
as  usual,  misled  even  experts,  but  they  are  on  their 
guard  at  last.  The  postal  divisions  marked  in  the 
addresses  of  the  Thackerays,  before  such  divisions  were 
introduced,  betray  in  some  cases  the  spurious  docu- 
ments. One  firm  last  year  had  five  offers  of  the  fac- 
simile made  by  Galignani  of  Byron's  letter  to  him 
about  the  Vampire,  and  inserted  by  him,  as  a  specimen 
of  handwriting,  in  his  edition  of  the  poet,  1825. 

At  p.  272  of  the   monograph  on   Shakespeare  by 
Mr.  W.  Carew  Hazlitt  he  cites  a  saying: — 

".\  trout  hamlet  with  four  legs"  '{sic), 

which  reads  so  like  a  passage  from  a  play  that  I  may 
'  Clarke's  Partsmiologia,  1639. 


64 


GENERAL  NOTES 


be  justified  in  my  view  that  it  is  taken  from  the  older 
"  Hamlet,"  produced  about  1588.  The  point  is  suffi- 
ciently curious  to  induce  me  to  take  the  present 
opportunity  of  giving  a  facsimile  of  the  line  in  the 
very  rare  book  from  which  I  derived  the  information. 
We  have  no  context ;  but  the  original  allusion  might 
be  to  an  eft  or  water  newt  taken  instead  of  a  fish.    The 


/i    trou    btmkt  mih 

ftUTt  kgs. 
Facsimile  from  John  Clarke's,  Pancmiologia,  1639. 

passage  was  known  to  Halliwell-Phillipps;  but  he  does 
not  appear  to  have  appreciated  its  possibly  very 
peculiar  significance. 

The  International  Society  of  Sculptors,  Painters 
and  Gravers  has  leased  the  New  Gallery,  Regent 
Street,  for  the  seasons  of  1904-5-6,  and  the  society's 
first  exhibition  in  these  galleries  will  be  opened 
in  Januar\-  next.  The  president  of  the  International 
is  Mr.  Whistler,  and  among  the  members  of  the 
committee  are  Messrs.  Guthrie,  Lavery,  Thaulow, 
Sauter,  Sullivan,  Pennell,  Walton,  Heny,  Priestman, 
Crahall,  Sterling  Lee  and  Harry  Wilson. 

An  interesting  and  instructive  exhibition  at  Shep- 
herd's Gallery,  in  King  Street,  St.  James's,  is  well  worth 
a  visit.  It  includes  five  or  six  landscapes  of  Henry 
Hright,  the  contemporary  of  John  Cotman  Sells, 
notably  the  fine  St.  Benedict's  Abbey,  one  of  his 
masterpieces.  Bright  takes  high  rank  among  the 
painters  of  the  Norwich  School,  and  equals  the  best 
of  them  in  his  atmosphere  qualities,  and  his  delicate 
grey  tones.  .-Ml  the  examples  found  their  way  at  once 
into  good  collections,  and  should  be  seen  before  they 
leave  the  gallery.  .Another  interesting  picture  is  the 
sketch  by  Constable  for  the  Cenotaph  in  the  National 
Gallery.  The  series  of  finished  studies  by  Sidney 
Cooper  are  most  interesting  and  show  that  painter 
at  his  best.  These  sketches  possess  a  charm  some- 
times absent  in  his  pictures.  Mention  should  also 
be  made  of  a  fine  Crome. 

The  fine  collection  of  mezzotints  left  by  the  late 
Lord  Cheylesmore  to  the  British  Museum  has  been 
gone  over  by  the  authorities  of  the  Prints  Depart- 
ment. It  consists  of  the  works  (jf  284  English  and 
70  foreign  engravers.  In  all  there  are  more  than 
10,000  specimens,  one-sixth  of  the  whole  number  or 
thereabouts  being  choice  and  well-preserved  prints  ; 
about  1,200  of  these,  including  some  of  the  rarest  and 
finest  examples  of  the  art,  have  been  selected  for 
separate  treatment.  The  trustees  intend  to  exhibit 
next  year  from  500  to  600  of  them  arranged  in  his- 
torical order,  and  supplemented  from  the  fine  collection 
which  was  previously  in  the  Museum ;  as  a  foretaste 
of  this  pleasure  they  have  placed  on  show  in  the 
King's  Library  fifty  or  sixty  fine  prints  from  the 
Cheylesmore  collection. 

M.  Heberle  (Cologne)  will  sell  on  May  1 1  the  collec- 
tion of  pictures  formed  by  the  late  Dr.  H.  Fr.  Antoine- 
Feill,  of  Hamburg,  .\mongst  those  by  old  masters  is 
a  Descent  from  the  Cross  by  a  Brabant  master  under 
the  influence  of  Roger  De  la  Pasture  and  Dirk  Bouts; 
the  figures  of  the  B.  \'irgin  and  S.  John  are  especially 
fine.     A  triptych,  by  Bartholomew  De  Bruyn,  repre- 


sents the  Adoration  of  the  Magi,  and  on  the 
shutters  the  Annunciation  and  Flight  into  Egypt, 
with  SS.  George  and  Christopher  on  the  exterior, 
c.  1535  ;  a  later  hand  has  painted  in  on  the  foreground 
of  the  shutters — interior — the  kneeling  figures  of  a 
man,  his  wife,  and  three  children.  The  Mocking  of 
Christ  is  a  replica  of  the  picture  by  Gossart  in  the 
Van  Ertborn  collection  at  Antwerp.  The  modern  pic- 
tures include  a  fine  work  by  Leys,  others  by  J.  D. 
Stevens,  E.  Hedouin,  R.  Jordan,  K.  Schlosser,  etc. 
Another  collection  of  nine  pictures  will  be  sold 
immediately  after,  including  a  small  panel  of  the  end 
of  the  fourteenth  century,  representing  the  New-born 
Saviour  adored  by  Mary  and  Joseph,  and  the  Angels 
appearing  to  the  Shepherds,  on  a  gold  ground.  A 
Portrait  of  a  Man  of  the  Westphalian  School,  and  a 
diptych  by  the  late  A.  Martin,  a  pupil  of  Steinle's, 
whose  principal  works  adorti  the  church  of  Kiedrich, 
near  Mentz,  and  the  chateau  of  Lophem,  near 
Bruges. 

The  most  conspicuous  feature  in  coin  collecting 
is  the  phenomenal  rise  in  fine  Greek  coins  in  all 
metals,  which  yield  to  the  vendor  (where  he  bought 
well  even  ten  years  ago)  an  immense  advance.  Those 
pieces  which  relate  to  cities  and  places  are  preferred 
to  the  regal  series,  of  which  there  are  more  apt, 
perhaps,  to  be  finds  ;  but  any  highly  preserved  and 
well-struck  examples  are  valuable. 

Condition  rules  more  and  more  in  every  section, 
and  poor  quality  shews  signs  of  growing  to  an  in- 
creasing discount.  Amateurs  begin  to  awaken  to  the 
real  interest  in  ancient  money  and  the  imperative  need 
of  having  the  complete  type  and  all  accessory  details, 
patination  inclusive. 

An  at  present  obscure  Italian  treatise  on  Roman 
medals  and  coins  lately  occurred  at  an  auction,  in 
company  with  a  second  work  of  foreign  origin,  and 
the  two  commanded  a  price  almost  too  humble  to  be 
mentioned.  Yet  the  former  was  the  work  of  a  dis- 
tinguished Venetian  gentleman,  Sebastiano  Erizzo 
(1522-85),  who  devoted  a  long  life  to  the  study  of 
archaeology  and  numismatics,  and  held  a  high  position 
as  a  public  servant  and  a  lecturer,  following  the  tradi- 
tions of  his  country  in  the  versatility  of  his  acquire- 
ments. His  treatises  on  certain  divisions  of  Roman 
numismatics  appeared  in  1559,  when  he  was  a  com- 
paratively young  man,  and  was  regarded  at  and  long 
after  the  time  as  an  authority.  It  is  no  derogation 
from  any  of  these  pioneering  attempts  in  progressive 
sciences,  that  they  suffer  the  changes  incidental  to  all 
such  literature.  We  ought  to  regard  such  an  author 
with  undiminished  respect,  even  if  we  cannot  lean 
on  him  as  a  guide  in  the  same  manner  as  his  contem- 
poraries did.  Where  a  writer  meets  the  world  by 
bringing  his  work  up  to  the  knowledge  of  his  day,  the 
world  should  meet  him  by  carrying  itself  back  and 
measuring  his  possibilities. 

One  of  the  most  important  puzzles  in  the  feudal 
coinage  of  France  appears  to  be  the  scantiness  and 
scarcity  of  remains  of  that  of  the  great  independent 
duchy  of  Normandy,  which  preserved  its  autonomy 
from  the  earlv  vears'of  the  tenth  century  till  the  end 
of  the  twelfth,  and  of  which  the  Meyer  catalogue  pre- 
sents nothing  in  the  shape  of  definite  and  authentic 
money  beyond  or  outside  that  of  Richard  I  of  Nor- 

65 


THE    BURLINGTON     GAZETTE 

mandy  (94^-996).  There  is  not  a  trace  of  any  currency 
of  our  William  I  or  of  his  immediate  successors. 
There  are  merely  certain  anonymous  deniers  of  bar- 
barous work  and  of  undetermined  mintage,  although 
Rouen  seems  to  have  been  the  sole  place  of  origin. 
There  is  nothing  traceable  to  Dieppe,  an  important 
town  in  the  middle  ages.  M.  Meyer,  who  secured 
every  item  which  occurred  in  his  time  for  sale,  and 
to  whom  MM.  Rollin  were  largely  indebted  in  their 
new  catalogue  of  French  coins,  was  unable  to  meet 
in  this  series  with  more  than  two  deniers  of  Richard 
and  Richard  Coeur-de-Lion,  save  four  other  lots 
comprising  degenerate  and  unidentified  productions. 
I  anne.x  a  facsimile  of  the  finer  example  from  that 
gentleman's  cabinet  of  the  Richard  I  denier,  which 
realized  100  francs  +  government  commission. 


and  the  Two   Sicilies.      It    may  consequently   prove 
interesting  to  furnish  herewith  a  representation  of  a 


Silver  Denier  of  Richard,  Duke  of  Normandy  (936-96) 

In  the  Meyer  sale.  Lot  2,683  wasa  6-ducats  in  gold 
of  Anthony,  Duke  of  Lorraine  (1508-44),  without  date; 
it  fetched  520  francs  +  5  per  cent,  government  tax, 
or  about  £21.  But  it  appeared  to  be  an  impression 
in  the  higher  metal  of  the  grand  ten  d'argent  and  a 
piece  de  plaisiv,  not  currency.  No  other  example  is 
cited. 

In  the  same  sale,  and  recurring  more  recently  in  a 
sale  at  Amsterdam  (March  1903),  were  two  gold 
pieces  of  Philip  the  Good,  Duke  of  Burgundy  (1433- 
67),  a  florifi  of  the  St.  Andrew  type,  and  two-thirds  of 
the  lion,  both  hitherto  known  only  from  the  official 
ordinances  which  sanctioned  their  original  appearance. 
Of  the  florin,  ordered  June  29,  1466,  6,370  specimens 
are  said  to  have  been  struck. 

In  the  first  part  of  the  great  Gnecchi  sale,  1902, 
Lot  500  was  a  coin  of  Gregory  XV,  a  mezzo-bolognino 
of  1621  in  copper,  which  does  not  appear  to  have 
attracted  the  attention  which  it  deserved  as  the 
earliest  large  denomination  in  the  papal  series  in  that 
metal. 


regory  XV,  1O21  (copper) 


The  copper  coinage,  of  the  popes  goes  back  to  the 
earlier  half  of  the  fifteenth  century,  but  it  was  limited 
to  the  quattrino  ;  and  the  same  seems  to  be  the  case 
with  the  early  issues  in  the  lowest  metal  in  Portugal 

66 


A,-tayi  of  1622  with  the  youthful  portrait  of  Philip  I\' 
of  Spain  on  obv.,  and  on  Rp  in  a  wreath  Vvbli  Ca  | 
Coinmo  I  Ditas.  | 

In  Spink's  Nuiiiisinatic  Cii'culai'  for  October  last, 
No.  87,281,  occurs  an  undated  thaler  of  Frederic, 
Duke  of  Saxony  (1486-1525),  with  a  legend  repre- 
senting him  as  Lieutenant-General  of  the  Empire  on 
the  obverse,  and  on  the  reverse  displaying  the  titles 
of  the  Emperor  Maximilian  I.  This  piece,  which  is 
well-known  to  numismatists,  is  usually  assigned  to 
1518,  when  Maximilian  was  still  living,  but  when  the 
unwieldy  German  dominions  were  beginning  to  tax 
the  controlling  and  administrative  faculties  of  the 
ruler  in  power ;  and  in  fact  an  earlier  one,  dated  1507, 
is  couched  in  precisely  the  same  terms,  the  govern- 
ment of  the  empire  being  entrusted  to  the  Elector  of 
Saxony  during  the  absences  of  the  emperor  in  Italy 
or  elsewhere.  The  historical  side  to  the  coin  does 
not  appear  to  have  attracted  attention ;  and  the 
ordinary  circumstances  under  which  the  empire  was 
in  lieutenancy  were  in  the  event  of  an  interregnum, 
as  in  1711,  when  the  Elector,  Frederic  Augustus, 
became  F/crtc  after  the  decease  of  Joseph  I,  and  struck 
money  in  his  own    name  in  that  capacity. 

Vicarious  numismatic  monuments  constitute  quite 
a  numerous  class  or  family,  and  are  particularly  plen- 
tiful in  certain  series,  as,  for  instance,  in  that  of  the 
Dukes  of  Wurtemberg,  where  we  meet  with  a  succes- 
sion of  Adimnistrators  with  coin-striking  authority. 
There  are  several  variant  designations :  Suzerain, 
Stadtholder,  Regent,  Lieutenant-General,  Captain-Gene- 
ral, Vicar,  or  Vicar-General.  The  ordinary  books  of 
reference  ignore  these  technicalities,  although  the 
money  falling  within  the  category  is  often  more 
curious,  and  from  its  nature  scarcer,  than  the  normal 
currency.  It  was,  of  course,  as  a  rule,  of  very  brief 
duration,  even  extending  over  no  more  than  weeks. 
In  the  early  Savoyard  and  Milanese  coinages  there  are 
man}-  picturesque  examples  with  characteristic  por- 
traits of  the  actutd  sovereign  side  by  side  witli  tlic 
deputy  during  a  minority. 

It  is  doubtful  if  any  money  was  struck  in  the  name 
of  Louis  Philippe,  while  he  was  for  a  brief  term,  after 
the  flight  of  Charles  X  in  1830,  Lieutenant-General 
of  the  short  Kingdom  ;  but  we  have  temporary  cur- 
rency of  General  Cavaignac  in  1848,  of  the  Dictatitrc 
Des  Cinq  in  1871,  and  of  the  Duke  of  Nassau  as  Re- 
gent of  Luxemburg  in  i88g,  when,  upon  the  death  of 
William  III  of  the  Netherlands,  that  portion  of  the 
territories  passed  under  the  Salic  law  to  Nassau. 


PARIS    NOTES 


Anyone  wanting  to  secure  a  fine  decorative  object, 
and  at  the  same  time  a  good  exampleof  fine  old  Indian 
workmanship,  could  have  done  so  for  a  comparativeh- 
small  outlay  at  the  sale  held  at  Christies  on  April  2j. 
The  piece  in  question  was  a  silver  casket  overlaid 
with  fine  filigree,  enriched  with  gold  scrollwork  and 
arabesques  of  green  and  blue  enamel,  and  dating  from 


the  commencement  of  last  century.     It  was  sold  at 
about  the  same  rate'as  ordinary  modern  table  silver. 

It  has  been  roughly  estimated  that  the  Middlehall 
MSS.,  which  are  supposed  to  have  cost  the  owner 
about  £150,000,  have  so  far  realized  by  auction 
£40,000;  but  a  considerable  number  have  been  sold 
by  private  contract,  and  there  is  still  a  large  residue. 


P  .A  R  I  S     NOTES 


KROM   OUR   CORRESPONDENT 


TuK  MiSKF.  in-  LorvKE  has  just  acquired  several 
important  works  which  are  not  yet  placed  in  position. 
I'oremost  among  these  are  two  landscapes  by  the 
Dutch  master,  Salomon  Ruysdael,  representing  the 
Banks  of  a  River,  and  a  Round  Tower  on  a  Barren 
Shore  ;  Meynier's  sketch  for  the  ceiling  of  the  Salle 
Duchatel,  Rome  donnant  a  la  Terre  le  Code  de  Jus- 
tinien  ;  and  a  portrait  of  Madame  Danger  b\-  Toctiue, 
which  figured  in  the  Salon  of  175.5. 

In  the  room  devoted  to  new  acquisitions,  we  find 
the  famous  basso-relievo  (Ratier  Bequest)  represent- 
ing the  bust  of  Scipio,  the  attribution  of  which  still 
continues  to  give  rise  to  lively  discussions,  some 
naming  Leonardo,  others  Verrochio  as  the  sculptor. 
In  the  same  room  are  two  stone  lantern-holders,  in 
the  form  of  angels,  fifteenth-century  French  School, 
and  a  Saint  Michael  and  the  Dragon,  in  stone,  of  the 
I-'rench  School  of  the  fourteenth  century. 

In  the  Salle  du  Trocadero,  a  few  objects  of  art 
are  being  shown  provisionally  and  under  glass. 
These  include  a  \'irgin  (Franco-German  art  of  the 
early  sixteenth  century)  ;  a  candle-stick  foot,  Roman- 
esque period,  twelfth  century;  a  small  statue  in 
bronze-gilt,  representing  Bodhisatra  Mirokou,  the 
Buddhist  incarnation  of  Charity,  tenth-century  Japa- 
nese art. 

In  the  Eighteenth-century  Room,  two  drawings  are 
to  be  exhibited  shortly ;  one  is  by  Madame  Vigee- 
Lebrun,  and  represents  Mademoiselle  de  Bonneuil, 
who  afterwards  became  Madame  Regnault  de  Saint- 
Jean  d".-\ngely,  the  mother  of  the  marshal  of  the 
.Second  Empire.  Mademoiselle  de  Bonneuil  is  dressed 
in  the  costume  in  which  Madame  Vigee-Lebrun  was 
pleased  to  deck  her  for  the  famous  Greek  supper, 
which  is  fully  described  in  the  fair  artist's  memoirs. 
Mademoiselle  de  Bonneuil  was  clad  as  a  canephor, 
crowned  with  a  garland  of  roses,  and  she  poured 
Cyprus  wines  into  amphorae,  lent  for  the  occasion  by 
the  nobleman -painter  and  amateur  engraver,  the 
Comte  de  Paroj'.  The  drawing  is  signed  and  dated 
1785.  The  other  is  a  pastel  by  Rosalba  Carriera,  and 
shows  the  jiortrait  of  the  housekeeper  of  Cronzat,  the 
well-known  financier  and  collector.  It  was  executed 
during  Rosalba's  stay  in  Paris  in  1720  to  1721,  of 
which  she  tells  in  her  own  memoirs.  These  two  draw- 
ings proceed  from  two  different  collections,  where  they 
were  bought  for  500  and  600  fr.  respectively. 

In  the  Engraving  Department  they  are  still  print- 
ing Jacquet's  triptych,  after  Mantegna,  in  colours, 
and  Gustave  Moreau's  Salome,  engraved  b\'  Sulpice. 
Soon  will  be  published  the  portrait  of  Madame  \'is- 
conti,  after  Gerard  (the  picture  in  the  Salon  des  .Sept- 


Cheminees,  from  the  tool  of  the  engraver  Charles  de 
Billy).  I  may  add  that  M.  H.  de  Chennevieres,  the 
assistant-keeper,  is  at  present  preparing  two  illustrated 
catalogues  of  the  Engraving  Department  at  the 
Louvre.  One  of  these  will  be  historical  and  analyti- 
cal, giving  all  details  and  the  sources  of  the  archives, 
and  will  appear  in  1904.  The  other,  of  a  more  rudi- 
mentary character,  will  be  published  shortly  at  the 
price  of  i  fr.  at  the  warehouse  of  the  Engraving  De- 
partment which  has  now  been  opened. 

.\t  the  LuxKMBOURG,  if  I  am  not  in  a  position  to 
point  to  any  new  purchases,  pending  those  made  in 
the  Salons  of  the  year,  I  think  it  will  be  interesting  to 
mention  the  formation  of  a  new  artistic  society,  that 
known  as  the  Arnis  du  Luxembourg,  of  which  the 
president  is  M.  fidouard  Delpeuch.  This  society 
proposes  to  collect  contributions,  gifts  and  subscrip- 
tions, and  to  employ  them  in  acquiring  works  which 
will  be  hung  in  the  rooms  of  the  museum  of  living 
artists.  On  the  other  hand  it  interests  itself  in  the 
lot  of  the  artists"  widows,  whose  destitution  is  often  a 
cruelly  ironical  fact  in  view  of  the  posthumous  and 
gilded  glory  of  the  very  men  who  have  died  amid  the 
stress  of  povertj-.  And  it  raises,  in  one  word,  the 
question  of  artistic  property  which  the  law  has  so 
badly  interpreted,  one  might  say,  as  against  the  lawful 
rights  of  the  widows  of  artists.  I  greet  the  birth  of 
the  Societe  des  Amis  du  Luxembourg  with  a  feeling 
of  genuine  sympathy,  and  offer  it  all  m}-  wishes,  with 
hopes  for  its  success. 

The  MusEE  Carnavalet,  which  has  no  need  for 
societies  of  this  kind,  nevertheless  numbers  many 
friends,  who,  in  order  to  come  there  to  admire 
and  work,  have  to  display  all  a  lover's  ardour.  For 
the  building,  which  once  had  the  good  luck  to  own  the 
adorable  and  sparkling  Marquise  de  Sevigne  as  its 
tenant,  is  at  some  distance  from  the  centre  of  Paris  ; 
to  reach  the  district  in  which  it  stands,  exquisite  as 
are  the  memories  which  this  quarter  evokes,  demands 
a  regular  journey  and  a  display  of  good-will  on  the 
part  of  the  Parisian,  who,  as  all  the  world  knows,  has 
no  love  for  mo\ing.  Be  this  as  it  may,  the  visit  is 
well  worth  the  journey,  if  journey  it  may  be  called. 
The  museum,  which  belongs  to  the  city  of  Paris,  has 
been  enriched  by  several  important  gifts  during  the 
past  month. 

Let  me  mention  that  of  M.  Maciet,  which 
includes,  amongst  others,  the  portrait  of  a  woman 
by  Tocque  ;  a  pastel  (head  of  a  woman)  attributed 
to  La  Tour;  and  a  portrait  of  a  man  attributed  to 
Prud'hon.  I  confe.ss  that  the  last  of  these  did  not 
strike  me  as  being  of  the  artist's  finest  composition. 

67 


THE    BURLINGTON    GAZETTE 


The  names  of  the  sitters  are  as  yet  unknown  ;  but  the 
authorities  of  the  museum  propose  to  make  it  their 
business  to  discover  them,  and  I  think  that  thev  should 
have  no  great  difficulty  in  doing  so,  especially  in  so 
far  as  concerns  the  two  first,  which  are  characteristic 
heads.  Note  should  also  be  taken  of  five  or  six  small 
drawings  by  Watteau,  Le  Barbier  and  Le  Prince,  and 
what  is  perhaps  an  original  La  Tour,  after  the  cele- 
brated portrait  of  J.  J.  Rousseau. 

M.  Chasseriau  has  presented  the  museum  with  the 
portrait  of  Mehul  the  composer,  painted  by  the  Baron 
Gros.  The  Che\-alier  Ernest  de  Rosemberg  gives  a 
cast  of  the  head  of  the  Due  de  Reichstadt.  And  I 
must  not  forget  to  mention  a  red-chalk  drawing  by 
Hubert  Robert  representing  the  green-house  of  the 
museum. 

At  Versailles,  the  museum  has  bought  a  picture 
by  Watteau  de  Lille  representing  the  Siege  of  Lille  in 
1792,  signed  and  dated  1794.  This  picture  will  hang 
in  the  new  Salle  de  la  Revolution  Fran^aise.  The 
museum  has  received  as  a  gift  a  pastel-drawing  by 
Galbrund,  a  portrait  of  Lafontaine  the  actor. 

Helleu,  the  painter,  has  presented  the  Print-room 
of  the  BiBLiOTHEQUE  Nationale  with  fifty  etchings 
in  dry-point  in  which  his  work  is  summed  up. 

The  Hotel  Lauzun  forms  one  of  the  topics  of 
the  day.  It  was  recently  examined  by  the  municipal 
commission,  which  has  decided  to  leave  the  rooms  in 
their  present  condition  and  to  employ  them  for  the 
housing  of  objects  of  art  which  the  city  of  Paris  may 
acquire  in  future  through  bequests  or  gifts,  provided 
that  such  objects  belong  to  the  seventeenth  century, 
being  the  period  of  Louis  XIV. 

The  Dijon  Museum  has  received  a  legacy  from 
M.  Gustave  Masson,  lately  deceased,  in  the  form  of  a 
picture  by  David,  a  portrait  of  Marie  Frangoise 
Blanche  Marlot,  the  first  wife  of  Berber  the  conven- 
tional, with  her  daughter  Rose. 

I  cannot  pass  over  in  silence  the  Exhibition  of  the 
Impressionists  held  at  M.  Bernheim's.  Here,  thanks 
to  the  collectors  who  were  willing  to  lend  them  for 
a  time,  we  have  been  able  to  admire  the  Mere  et 
Enfant  by  Mary  Cassatt,  the  Femmes  en  Blanc  by 
Berthe  Morizot,  the  Ballet,  Meditation,  by  Degas,  in 
addition  to  wonderful  Manets  (the  Linge,  the  Enfant 
aux  Cerises,   the  Bulles  de  Savon,  and  the  portrait 


of  Emile  Zola),  pure  and  limpid  Claude  Monets,  not  to 
mention  Cesannes,  Pissarros,  Sisleys,  etc. 

Again,  there  is  the  Exhibition  of  Mussulman  Art 
at  the  Pavilion  de  Marsan,  which  includes  splendid 
treasures  of  which  I  regret  that  I  cannot  write  at 
length.  I  may  mention  cursorily  the  tenth  and 
eleventh-century  pottery,  the  hammered  copper  ex- 
hibits extending  from  the  thirteenth  to  the  six- 
teenth centuries,  the  miniatures,  carpets,  figured 
silks,  velvets,  bindings,  arms  and  chests.  One  re- 
ceives a  marvellous  impression  from  this  exhibition, 
which  is  brought  together  from  the  collections  of  the 
Comtesse  de  Beam,  Marquise  Arconati-Visconti, 
Madame  Chabriere  Aries,  Madame  E.  Andre  and 
Messrs.  Raymond  Kcechlin,  Alphonse  de  Rothschild, 
Aynard,  Peytel,  Vever,  Dallemagne,  Gonse,  Albert 
Besnard,  Alexis  Rouart,  S.  Bing,  Edmond  de  Roths- 
child, the  Duke  of  Arenberg,  Ch.  Gillot,  de  Vogue,  S. 
Goldschmidt,  Beurdeley,  Manzi ;  and  our  pleasure 
is  also  due  in  a  great  measure  to  the  perfect  taste  dis- 
plaj'ed  by  the  organizers,  Messrs.  Gaston  Migeon, 
Maciet  and  Metman.  A  long  and  very  interesting 
article  could  be  written  on  this  subject  alone. 

Before  concluding,  I  should  like  to  have  spoken  of 
the  Salon  des  Artistes  Independants.  As  space  fails 
me,  I  must  content  myself  with  saying  nothing  of  it, 
whereas  there  would  be  so  much  to  be  said  of  it  that 
was  good — and  bad  ! 

The  Salon  des  Artistes  Frangais  opened  on  April  30. 
The  Salon  de  la  Nationale  opened  on  April  16. 

G.  de  R. 

N.B. — I.  I  think  it  may  be  useful  to  inform  those 
of  my  readers  who  may  be  visiting  Paris  that  the 
hours  of  opening  and  closing  the  museums  have  been 
altered  since  April  i  as  follows :  The  Louvre  and  the 
Luxembourg  can  be  viewed  from  9  a.m.  to  5  p.m. ; 
Cluny  and  Versailles  from  11  a.m.  to  5  p.m.  ;  Guimet 
and  Sevres  from  12  noon  to  5  p.m. 

2.  The  Societe  Nationale  is  open  until  June  30, 
1903,  at  the  Grand  Palais  des  I3eaux-Arts,  in  the 
Avenue  d'Antin,  from  8  a.m.  to  6  p.m.  The  entrance 
is  fixed  at  i  fr.  for  the  whole  day.  Non-transferable 
season-tickets  are  sold  for  the  entire  period  of  the 
exhibition.  All  further  information  can  be  obtained 
from  the  catalogue  of  the  works  exhibited,  which  is 
on  sale  inside  the  doors  of  the  Salon. 


ANSWERS   TO   CORRESPONDENTS 

We  are  prepared  to  answer  questions  about  matters  connected  with 
art,  collecting,  etc.,  in  this  column.  All  questions  must  be  authen- 
ticated by  the  sender's  name  and  address,  which  will  not  be  published. 
The  questions  will  be  numbered. 

No.  I. — W.  Hughes,  of  London,  exhibited  first  in  1862,  and  in  all 
161  pictures,  including  30  at  the  Royal  Academy,  71  at  Suffolk 
Street,  31  at  the  Grosvenor  Gallery.  Andrew  McCuUum,  of 
Nottingham,  exhibited  first  in  1849,  and  in  all  72  works,  including 
53  at  the  Royal  Academy,  5  at  Suffolk  Street,  and  9  at  the 
Grosvenor  Gallery. 

OPINIONS   ON    WORKS   OF   ART 

We  are  prepared  to  arrange  for  expert  opinions  as  to  the  authenticity, 
etc.,  of  works  of  art  and  old  books.  The  opinions  will  be  given  by 
members  of  the  Consultative  Committee  of  The  BtKHNGTON  Maga- 
zine and  other  experts  of  equally  high  standing. 

The  objects  as  to  which  an  opinion  is  desired  may  be  sent  to  this 
office,  or  we  may  arrange  for  a  visit  to  be  paid  to  the  house  of  the 
owner  when  this  is  preferred. 

68 


The  charge  for  an  opinion  or  attribution  will  be  a  matter  of 
arrangement  in  each  case,  and  nothing  must  under  any  circumstances 
be  sent  to  this  office  without  a  previous  arrangement. 

All  objects  sent  will  be  at  the  owner's  risk  and  will  be  insured,  the 
owner  paying  the  cost  of  insurance  and  carriage  both  ways.  Though 
every  possible  care  will  be  taken  of  anything  sent,  we  cannot  under- 
take any  responsibility  in  the  event  of  loss  or  damage. 

We  do  not  undertake  valuations,  nor  can  we  in  any  case  act  as 
agents  for  sale  or  purchase.  Those  who  are  acquainted  with  these 
matters  are  well  aware  that  such  undertakings  on  the  part  of  a 
periodical  either  interfere  with  the  legitimate  trade  of  the  professional 
dealer  or  else  open  the  door  to  practices  not  to  the  interest  of  the 
private  vendor.  But  we  will  gladly  give  an  opinion  as  to  whether 
any  object  has  any  appreciable  value,  and  (when  possible)  what  prices 
similar  objects  have  recently  fetched  at  auction. 

Owners  wishing  to  sell  should  either — 

(i)  Advertise  in  The  Burlington  Gazette,  which  circulates 
among  a  large  and  wealthy  collecting  public  ; 

(2j  Offer  the  object  to  a  dealer  of  repute  (the  names  of  the 
best  dealers  will  be  found  in  the  advertisement  pages  of  The 
Burlington  Magazine)  ;  or 

(3)  Put  the  object  up  to  auction. 


NUMBER  III        VOLUME   I  JUNE  1903 

THE 

BURLINGTON 

GAZETTE 

FOR   JUNE    1903 

BEING    THE    SUPPLEMENT  TO 

THE  BURLINGTON  MAGAZINE  FOR  CONNOISSEURS 

FOR   MAY    1903 


LONDON 

THE    SAVILE    PUBLISHING    COMPANY,   LIMITED 

14    NEW    BURLINGTON    STREET,   W. 

PARIS:    LIBRAIRIE   H.   FLOURY,  i    BOULEVARD   DES  CAPUCINES 

BRUSSELS:   SPINEUX  &   CIE.,  62    MONTAGNE   DE   LA  COUR 

LEIPZIG:    KARL   W.   HIERSEMANN,  3    KONIGSSTRASSE 

AMSTERDAM:   J.   G.    ROBBERS,   64    N.   Z.   VOORBURGWAL 

NEW   YORK:   SAMUEL   BUCKLEY   &   CO.,  100    WILLIAM    STREET 

FLORENCE:    B.   SEEBER,   20   VIA   TORNABUONI 

PRICE    FOURPExN-CE    NET  ANk'UAL   SUBSCRIPTION,  5/-  POST    FREE 

IN    THE    UNITED    STATES,  1 5   CENTS  ANNUAL   SUBSCRIPTION    TO   THE   BURLINGTON 

IN    OTHER    FOREIGN    COUNTRIES,  50  CENTIMES  MAGAZINE    (INCLUDING    THE   GAZETTE), 

OR   40   PFENNIGE  35/-   POST    FREE    IN   THE    UNITED    KINGDOM 


rUMBER  III    VOLUME  I 


MAY  1903 


THE 
BURLINGTON 


MAGAZINE 


i 


for  Connoisseurs 
illustrated kfuhlishedMontyif 


^m. 


CONTENTS 


m 


DANTE     ROSSETTI     AND     ELIZABETH      SIDDAL.  —  W.     M.     ROSSETTI 

(WITH    FACSIMILES    OF    FIVE    UNPUBLISHED    DRAWINGS   BY 

ROSSETTI) 
A   NEWLY-DISCOVERED  PACK   OF   LYONNESE   PLAYING   CARDS   (1450). 

—HENRI    BOUCHOT 
A   FORGOTTEN    PAINTER.— LANGTON    DOUGLAS 
CONCERNING   TINDER-BOXES.     ARTICLE   II.— MILLER   CHRISTY 
EARLY  PAINTERS  OF  THE  NETHERLANDS.     III.— W.  H.  JAMES  WEALE 
ON   ORIENTAL   CARPETS.     ARTICLE   II.     SYMBOLISM    IN    DESIGN 
EVOLUTION  OF  FORM  AND  DECORATION  IN  ENGLISH  SILVER  PLATE. 

PART  II.— PERCY    MACQUOID,  R.I. 
THE   DUTUIT    COLLECTION.      I.— ITS    MAKERS   AND    ITS    HISTORY.— 

ROSE    KINGSLEY   AND   CAMILLE   GRONKOWSKI 
NOTES   ON   VARIOUS   WORKS   OF  ART 
NEW   ACQUISITIONS   AT   THE   NATIONAL   MUSEUMS 

LONDON 

THE     SAVILE     PUBLISHING     COMPANY,     LIMITED 

14  NEW   BURLINGTON    STREET,   W. 

PARIS:  LIBRAIRIE  H.  FLOURY,  i  BOULEVARD  DES  CAPUCINES,    BRUSSELS:  SPINEUX&CIE. 

62  MONTAGNE  DE  LA  COUR         LEIPZIG:  KARL  W.  HIKRSEMANN,  3  KONIGSSTRASSE 

NEW   YORK:   SAMUEL   BUCKLEY  &   CO.,    100   WILLIAM   STREET 

AMSTERDAM:   J.   G.    ROBBERS,   N.  Z.   VOORBURGWAL,   C4. 

FLORENCE .   B.   SEEBER.   20  VIA   TORNABUONI 


•DiD-rTma  /iMrr  TiniMr;  ';nppr.TTMT7MT^  THTRTV.TTTVTr  <;HiT.r.iNr;.S  POST  FR 


THE    BURLINGTON    GAZETTE 

HEING  THE  MONTHLY  SUPPLEMENT    To    \'\\h 
BL'RLLXCrroX  .\LAGAZINE  FOR  CONNOISSEURS  OF  Till.  I'Rl.X'IOUS  MO.Ml 


CONTENTS 

I'ICTURE  SAI.KS O9 

I'KINT  SALES  73 

HOOK  SALES  77 

COIN  SAI,KS  82 

SILVER  SALES        S3 

I'ORCELAIN  SALES  8i 

MISCELLANEOUS  SALES  Si 

C.ENERAL  NOTES S7 

l-KOM  AHROAD: 
FRANCE: 

The  Salon 89 

Pakis  Sales  50 

Pakis  Notes  94 

Notes  from  Rouen  . .         . .         . .         . .  . .  96 

BKHUUM  97 

ART  PIBLICATIONS        99 

ANSWERS  TO  CORRESPONDENT^ 10:1 


OPINIONS    ON    WORKS    OF    ART 

We  are  prepared  to  arrange  for  expert  opinions  as  to  the  authenticity 
etc.,  of  works  of  art  and  old  books.  The  opinions  will  be  given  by 
members  of  the  consultative  committee  of  The  Burlington  Maga- 
zine and  other  experts  of  equally  high  standing. 

The  objects  as  to  which  an  opinion  is  desired  may  be  sent  to  this 
office,  or  we  can  arrange  for  a  visit  to  be  paid  to  the  house  of  the 
owner  when  this  is  preferred. 

The  charge  for  an  opinion  or  attribution  will  be  a  matter  of 
arrangement  in  each  case,  and  nothing  must  under  any  circumstances 
be  sent  to  this  office  without  a  previous  arrangement. 

All  objects  sent  will  be  at  the  owner's  risk  and  will  be  insured,  the 
owner  paying  the  cost  of  insurance  and  carriage  both  ways.  Though 
every  possible  care  will  be  taken  of  anything  sent,  we  cannot  under- 
take any  responsibility  in  the  event  of  loss  or  damage. 

We  do  not  undertake  valuations,  nor  can  we  in  any  case  act  as 
agents  for  sale  or  purchase.  Those  who  are  acquainted  with  these 
matters  are  well  aware  that  such  undertakings  on  the  part  of  a 
periodical  either  interfere  with  the  legitimate  trade  of  the  professional 
dealer  or  else  open  the  door  to  practices  not  to  the  interest  of  the 
private  vendor.  But  we  will  gladly  give  an  opinion  as  to  whether 
any  object  has  any  appreciable  value,  and  (when  possible)  what  prices 
similar  objects  have  recently  fetched  at  ; 


Owners  wishing  to  sell  should  either  : 

(i)  Advertise  in  The  Bl-rlington  Gazette,  which  circulates 
among  a  large  and  wealthy  collecting  public  :  or 

(2)  Offer  the  object  to  a  dealer  of  repute  (the  names  of  the 
best  dealers  will  be  found  in  the  advertisement  pages  of  The 
Burlington  Magazine)  ;  or 


(3)  Put  the  object  up  to  auction. 
No.  3.    Vol.  1. — June  1903 


THE   PICTURE   SALES-May   1-22 

Our  attention  is  claimed  this  month  almost  exclu- 
sively by  pictures  of  the  modern  schools,  since  the 
very  important  sale  of  the  Vaile  collection  of  eigh- 
teenth-century French  paintings  takes  place  too  late 
in  the  month  to  be  reported  in  this  present  notice,  and 
will  therefore  be  dealt  with  in  our  ne.\t  nurnbjr. 
The  two  principal  sales  of  modern  works  were  those 
of  the  Ernest  Gambart  collection  on  May  2  and  4  and 
of  the  Hamilton  Bruce  collection  on  the  i6th.  Al- 
though both  were  coinposed  mainly  of  the  works  of 
continental  artists  of  the  nineteenth  century,  they 
presented  the  most  absolute  contrast  to  one  another, 
and  one  from  which  instruction  was  not  lacking  either 
for  the  art  student  or  the  investor. 

Monsieur  Ernest  Gambart,  whom  man\-  still  re- 
member at  the  time  when  he  was  one  of  London's 
leading  picture  dealers,  was  the  friend  and  patron  of 
most  of  the  artists  whose  works  were  in  vogue  a  gene- 
ration ago ;  some  of  these  have  maintained  and  even 
increased  their  popularity,  whilst  many  have  fallen 
from  their  pedestal  into  the  ocean  of  oblivion,  ever 
ready  to  swallow  up  the  shattered  fragments  of  once 
popular  idols.  E.xamples  of  both  categories  were  to 
be  found  in  the  large  number  of  pictures  which  Mon- 
sieur Gambart  assembled  in  his  villa  of  Les  Palmiers 
at  Nice,  where  he  settled  upon  retiring  from  business 
some  thirty  years  ago,  and  which  have  now  after  his 
death  been  dispersed  at  Christie's.  Nearly  all  the 
continental  nations  of  Europe  were  represented  by 
the  work  of  some  of  their  most  famous  artists  :  France 
by  Rosa  Bonheur,  Meissonier,  Benjamin  Constant 
and  Gerome;  Spain  by  Domingo,  Pradilla,  Villegas 
and  Benlliure ;  Belgium  by  Alfred  Stevens,  Gallait 
and  Dyckmans ;  Austria  by  Hans  Makart ;  whilst 
Alma  Tadema  may  be  counted  as  the  representative 
both  of  Holland,  his  native  land,  and  of  England, 
where  he  has  since  many  years  established  his  home, 
and  where  he  has  obtained  a  knighthood  and  a  pro- 
minent position  in  the  Royal  Academy. 

It  is  no  easy  task  at  the  present  moment  to  give 
an  appreciation  of  the  work  of  Sir  Lawrence  .\lma 
Tadema,  to  fix  his  position  in  the  history  of  painting, 
to  measure  his  inlluence  for  good  or  evil  upon  the  art 
of  this  country.  A  pupil  of  Baron  Leys,  the  talented 
and  careful  Belgian  artist  whose  works  were  at  one 
time  in  very  great  demand,  Tadema  exhibited  in  his 
early  paintings  the  dry  and  prosaic  style  of  the 
Belgian  school  of  the  nineteenth  century ;  from  his 
master  he  learnt  that  regard  for  detail  which  he 
carried  in  later  years  almost  as  far  as  the  pctits  iita'itrcs 
of  the  seventeenth  century.  But  whilst  developing 
the  characteristics  of  his'  master  and  of  his  race. 
Alma  Tadema  has  succeeded  in  imprinting  upon  his 
work  a  personal  stamp;  he  has  established  for  him- 
self a  place  of  his  own  ;  he  has  created  a  ^^eiirc  which 
did  not  exist  before  him  :  he  has  devoted  himself  to 
painting  with  rare   perfection  the  polished  surface  of 

<  69 


THE     BURLINGTON     GAZETTE 

white  marble,  the  golden  reflections  of  burnished 
brass,  the  delicate  draperies  of  classical  robes,  con- 
trasted with  the  vivid  hues  of  eastern  skies,  eastern 
seas  and  eastern  blooms.  His  conscientiousness, 
combined  with  the  truly  artistic  sense  of  colour  and 
harmony  which  he  undoubtedly  possesses,  has  enabled 
him  to  produce,  in  many  cases,  things  which  in  their 
own  sphere  stand  alone  and  unequalled. 

Why,  then,  is  it  impossible  to  rank  Sir  Lawrence 
Alma  Tadema  with  the  greatest  of  those  petits  inaUres 
of  Holland  to  whom  I  have  already  referred — with 
Terburgh,  with  Metzu,  with  Gerard  Dow  ?  The  rea- 
son is  to  be  found  in  the  entire  absence  from  his 
works  of  any  true  feeling  of  life.  Technically  beyond 
reproach,  they  are  deficient  of  breathable  atmosphere  ; 
they  lack  breadth,  not  merely  of  brush-work,  but  of 
thought  and  insight  into  the  real  living  world  ;  they 
are  fancies,  often  delightful  fancies  it  is  true,  but  the 
artist's  vision  seems  to  have  been  confined  within 
the  limits  of  their  gold  frames  ;  to  the  eye  they  convey 
a  pleasing  impression  of  brightness  and  colour,  but 
the  mind  carries  away  nothing  but  the  ephemeral 
memory  of  a  pretty  picture,  executed  with  the  highest 
skill. 

Compare  with  Tadema's  works  the  paintings  of 
his  French  contemporary,  Meissonier,  who  also 
-carried  the  rendering  of  detail  to  its  extreme  point  : 
you  will  feel  precisely  what  Tadema  fails  to  conve}-, 
namely,  that  outside  the  little  panel  before  you  there 
is  the  great  world  in  which  we  live ;  it  may  be  the 
world  of  another  day,  but  it  is  no  longer  the  cold 
realm  of  fancy.  The  conviction  therefore  forces  itself 
upon  us  that  the  present  value  of  Alma  Tadema's 
pictures  is  inflated  far  beyond  the  bounds  of  reason, 
and  that  years  hence,  when  time  shall  have  reduced 
things  to  their  true  proportions,  one  will  read  with 
wonder  of  the  5,600  gns.  paid  at  the  Gambart  sale 
for  the  Dedication  to  Bacchus.  This  is  an  impor- 
tant composition  (21  in.  by  49^  in.)  characteristic  of 
the  artist's  mature  manner  ;  we  have  here  the  polished 
white  marble  delicately  veined,  the  brilliant  blue 
sea,  the  graceful  girls  in  loose  Grecian  draperies  ; 
but  the  whole  scene  is  stagey  and  artificial,  and  yet 
the  price  is  one  that  would  purchase  many  a  true 
masterpiece. 

Two  other  works  by  Tadema  figured  in  the  collec- 
tion, both  painted  in  his  early  manner  in  1872  and 
1873.  The  Egyptian  Widow,  an  uninteresting  pic- 
ture, brought  510  gns. ;  and  The  Picture  Gallery,  a 
group  of  almost  life-size  figures  in  a  Roman  gallery, 
fetched  2,500  gns. 

Meissonier,  whom  I  have  already  mentioned  in 
comparison  with  Alma  Tadema,  was' represented  by 
only  one,  and  that  not  a  very  favourable,  example,  a 
portrait  of  himself  robed  as  a  Venetian  noble.  This 
little  panel,  135- in.  by  10  in.,  fetched  1,370  gns.,  which 
shows  a  notable  falling  off  in  the  price  of  this  artist's 
works  in  the  last  few  years.  At  the  time  of  the  famous 
Secretan  sale  in  1889  such  a  work  was  worth  well 
over  ;£'2,ooo. 

Among  the  other  pictures  of  the  French  school, 
the  most  notable  were  the  important  series  of  works 
by  Rosa  Bonheur,  another  artist  who  has  been,  and 
is  still,  praised  very  far  in  excess  of  her  merits.  That 
she  possessed  a  sound   knowledge  of  anatomy,  that 


her  work  exhibits  real  qualities  of  draughtsmanship 
and  colouring,  cannot  be  denied  ;  but,  just  like  Land- 
seer  in  England,  she  painted  animals  with  human 
faces,  thus  producing  effects  of  false  sentimentality, 
which  alone  may  be  sufficient  to  explain  her  popu- 
larity with  the  vast  majority  of  the  public,  but  must 
exclude  her  from  the  ranks  of  the  true  worshippers 
of  nature.  Rosa  Bonheur  was  never  a  painter  of 
cattle  in  the  sense  that  Paul  Potter  and  Troyon  were 
painters  of  cattle  ;  she  can  in  no  possible  respect  stand 
with  Delacroix  and  Barye  as  a  limner  of  wild  animals. 
Very  high  prices  were  paid  for  her  works  during  her 
lifetime,  and  they  even  now  fetch  considerable  sums, 
as  was  shown  once  more  at  the  Gambart  sale.  The 
very  large  picture.  On  the  Alert,  better  known  as  Le 
Roi  de  la  Foret,  the  title  under  which  it  was  engraved, 
fetched  3,100  gns. ;  it  represents  the  life-size  figure  of 
a  magnificent  stag  standing  facing  the  spectator  in  a 
wood  of  beech  trees.  It  was  painted  in  1878,  two 
years  later  than  the  companion  picture  of  the  same 
size  (8  ft.  I  in.  by  5  ft.  gin.)  representing  a  group  of 
wild  boars  wending  their  way  through  a  forest,  which 
was  sold  for  1,250  gns.  under  the  title  A  Foraging 
Part} .  Drawings  of  the  same  subjects  on  a  reduced 
scale  brought  95  gns.  and  75  gns.  respectively. 

The  following  list  will  show  at  a  glance  the  prices 
fetched  by  the  works  of  Rosa  Bonheur  : — 

£     s.     d. 

On  the  Alert 97  by  69  in.  ..    3,255     o     0 

A  Foraging  Party        ..  ..  ..   97  by  69  in.  ..    1,312  10     o 

A  Wild  Cat      ..  ..  ..  ..    18  by  21^  in.        ..       3O7   10     o 

A  Noble  Charger        ..  ..  ..   36  by  30 in.  ..        2S3  10     o 

A  Norman  Sire  ..  ..  ..   36  by  20 in.  ..        294     o     o 

An  Humble  Servant  ..  ..  ..   39iby3iiin.       ..       431    10     o 

An  Old  Pensioner        . .  . .  . .   39J  by  25  in.         . .        215     5     o 

(The  last  /our  pictures  represent  horses'  hecids.) 

The  Wounded  Eagle  . .          ..          ..   57jby44in.  ..  189  o  o 

Tayo,  Martin,  and  Ronelo  : 

Three  heads  of  dogs  ..  each  18  by  15  in.  ..  714  o  0 
Barbouyo,  Bianco,  and  Ravaude : 

Three  heads  of  dogs       ..     each  18  by  15  in.  ..  £og  o  o 

The  Ram           2oiby25in.  ..  241  10  o 

The  Badger       ..          ..          ..          ..   25.5  by  32  in.  ..  367  10  o 

Chien  de  Chasse         ..          ..          ..   25  by  32  in.  ..  577  10  o 

The  Horse  Fair  (drawing)     ..          ..    23it)y5oin.  ..  105  o  o 

Lions  at  Home  (black  and  White)  . .   21  by  34  in.  ..  65  2  o 

On  the  .\lert  (drawing)           ..          ..   25 by  18 in.  ..  99  15  o 

A  Foraging  Party  (drawing). .          ..   25 by  18 in.  ..  78  15  o 

.\  Young  Lion  (black  and  white)     ..    18  by  15  in.  ..  37  16  o 

The  Lord  of  the  Herd  (black  &  white)  24  by  22  in.  ..  31  10  o 

A  few  words  will  suffice  to  dispose  of  the  remain- 
der of  the  Gambart  collection.  The  most  remarkable 
feature  was  the  enormous  depreciation  of  the  pictures 
of  the  Belgian,  Italian  and  Spanish  schools.  The 
latter  were  seen  for  the  most  part  at  the  Guildhall 
only  two  years  ago,  and  one  cannot  but  remember  the 
impression  of  ridiculous  gaudiness  which  they  pro- 
duced upon  eyes  full  of  the  images  of  the  sublime 
masterpieces  of  Velasquez,  Murillo  and  Goya,  hung 
in  the  next  room.  Of  course,  the  comparison  invited 
at  that  time  by  the  organizers  of  the  exhibition  was 
not  a  fair  one  to  the  modern  artists,  but  even  sur- 
rounded by  objects  of  their  own  class  these  pictincs 
produce  upon  the  critic  a  scarcely  more  favourable 
effect.  The  works  by  Jos6  Domingo  fetched  only  a 
fraction  of  the  prices  which  used  to  be  paid  for  his 
productions  a  few  years  ago. 

The  same  is  true  of  the  pictures  by  the  Belgian 
artists,   Louis  Gallait,  F.    Willems,  J.  Portaels  and 


tven  Alfri'd  Stevens,  whoso  fine  work,  Si)rint,',  a  figure 
of  a  girl  in  a  dress  of  about  1865,  fetched  only  ajogns. 
A  fine  series  of  ten  decorative  panels,  by  the  Aus- 
trian. Hans  Makart,  representing  mediaeval  scenes, 
was  sold  in  three  lots  for  735  gns. 

A  very  diflerent  and  a  far  pleasanter  story  is  that 
of  the  Hamilton  Bruce  sale  on  May  16.  Here  was  a 
collection  assembled  with  real  taste  and  genuine 
artistic  appreciation,  and  one  is  glad  to  note  that 
these  pictures,  whilst  they  must  have  been  for  their 
owner  a  constant  source  of  enjoyment,  have  at  the 
same  time  proved  the  finest  of  pecuniary  investments. 


THE     PICTURE     SALES 

Of  the  two,  il  is  Jacol.  Maris  who  ^hou^  iiiu>l 
clearly  the  influence  of  the  Barbizon  masters,  to  whom 
we  must  trace  the  simplicity  of  his  composition,  the 
realism  of  his  colouring,  the  directness  and  truth  of 
his  light  effects.  Where  he  differs  materiullv  from 
the  French  painters  is  in  the  atmosphere  that  bathes 
his  landscapes  ;  Holland,  traversed  in  all  directions 
by  rivers  and  canals,  has  an  atmosphere  heavily 
charged  with  moisture,  contrary  to  the  clear  and  com'- 
paratively  dry  air  of  France.  It  is  this  damp,  grey 
atmosphere  of  his  native  land  that  Maris  renders  with 
supreme  perfection,  and  by  its  means  he  infuses  poetry 


iddiii.     Liy  Jui-oLi  .M.. 


The  collection  comprised  a  few  good  canvases 
signed  by  the  French  masters  of  1830,  but  its  chief 
attraction  lay  in  the  magnificent  group  of  works  by 
the  followers  and  continuators  of  the  Barbizon  school, 
namely,  the  modern  Dutch  masters  of  landscape.  Of 
these,  the  brothers  Jacob  and  Matthew  Maris  seem  to 
have  been  the  late  Mr.  Hamilton  Bruce's  especial 
favourites ;  he  possessed  no  less  than  ten  oil-paintings 
and  six  water-colours  by  Jacob  Maris,  and  six  oil- 
paintings  and  two  drawings  by  Matthew. 


and  'soul'  into  compositions  which  in  themselves 
would  seem  to  offer  little  interest.  To  that  atmo- 
sphere is  also  due  that  impression  of  sadness  and  calm 
which  pervades  the  works  of  all  the  Dutch  painters  of 
this  school,  and  of  Jacob  Maris  in  particular.  See 
the  admirable  view  of  Rotterdam  in  this  collection  ; 
the  trees,  the  ships,  the  buildings,  are  swathed  in  a 
soft  grey  light,  which  is  reflected  in  the  river,  beneath 
a  wonderful  grey  sky  ;  besides  this  masterpiece,  there 
was    also    the   Loading  a   Barge  at  the   Mouth   of  a 

71 


THE     BURLINGTON     GAZETTE 


River — a  composition  of  the  utmost  simplicity,  but 
how  pregnant  with  the  poetry  of  repose  i  Then  there 
was  A  Village  on  a  Canal,  A  Canal  through  the 
Dunes,  and  Cottages  on  the  Dunes,  finished  studies 
painted  direct  from  nature — studies  of  a  master-hand 
guided  by  a  poet's  mind.  Less  happy  is  Jacob  Maris 
in  his  painting  of  figures,  as,  for  instance,  in  The 
Sisters,  an  interior  with  two  children, -evidently  por- 
traits; this  picture  is  somewhat  harsh  in  treatment, 
and  the  background  is  excessively  black. 

A  dreamer  is  Matthew  Maris,  and  his  pictures  are 
the  reflections  of  his  dreams.  \\'ith  the  nature  of 
these  so  does  his  method  vary,  sometimes  veiJed 
and  nebulous,  sometimes  clear  and  precise.  Now  it 
is  a  \ision  of  a  Bride,  hazy  and  intangible  in  her 
white  \eils  :  or  the  Head  of  a  (iirl,  whose  face  seems 
to  have  appeared  to  him  fur  but  a  fleeting  mimient, 
and  which  he  has  transfrrrid  i,i  his  i;an\  ,is  w  itli  all 
the  vagueness  and  mystery  nl  ihr  \ision  ;  nuw  with  a 
touch  of  infinite  lightness  he  paints  a  fairy-tale  land- 
scape with  an  Enchanted  Castle,  breathing  the  very 
spirit  of  the  supernatural  ;  now  he  evokes  a  grace- 
ful love  scene  of  bygone  days,  and  under  the  title 
He  is  Coming  shows  us  a  golden-haired  maiden  spin- 
ning at  her  wheel,  while  in  the  background  through 
the  open  door  her  lover  is  seen  approaching  as  he 
comes  from  the  chase  with  his  cross-bow  in  his  hand. 

The  following  prices  were  realized  by  the  works  of 
the  brothers  Maris  at  the  Hamilton  Bruce  sale  : 

Jacob  Maris;  £       s.  d. 

Rotterdam        ..          j6  by  4310.  ..  2,025     o  o 

Loading  a  Barge  at  the  Mouth  of  a 

River         335  by  42  in,  ..  1,622  10  0 

.\  Village  on  a  Canal             ..          ..  i61by24in.  ..  766  10  o 

A  Canal  through  the  Dunes            ..  i8iby24in.  ..  S92  10  o 

Cottages  on  the  Dune-i          ..          ..  iGbyigin.  ..  651     o  o 

The  Drawbridge         ..          ..          ..  12  by  gin.  ..  441     o  o 

The  Sisters      ..          ..          ..          ..  24by2o|in.  ..  8ig     o  o 

.-V Boy  Playing  a  Flageolet  . .          ..  14  by  gin.  ..  315     o  o 

A  River  Scene  (water-colouri          ..  lObyigiin.  .  472  10  0 

The  Downs  (water-colour)   ..          ..  I2byi6|in.  ..  325   10  o 

A  Village  Scene  (water-colour)       ..  10  by  17^  in.  ..  357     o  o 
The    Quay   at    Amsterdam  (water- 
colour)      iibyiSin.  ..  430   10  o 

Buildings  on  the  Bjnks  of  a  Ri\er 

(watercolouri     ..          ..          ..  ii.Jbytiiin.  ..  220   10  o 

A  Water-mill  (water-colour)            ..      g  by  5^  in.  ..  4S     (>  o 

Matthew  Maris : 

He  is  Coming             ..          ..          ..  I7byi2jin.  ..  1,995     °  ° 

Head  of  a  Girl            ..          ..          ..  19  by  15  in.  ..  336     o  o 

The  Bride       ..            20  by  13^  in.  ..  378     o  0 

The  Enchanted  Casll:          ..          ..  8byi3iii.  ..  756     o  o 

Montmartre     ..          ..          ..          ..  9ibyi3iin.  ..  651     o  o 

Head  of  a  Peasant  Boy        ..          ..  I9byi4iin.  ..  57   15  o 

Two  Figures;    Evening  (black  and 

white) 2i|by3om,  ..  105     o  o 

.\  Female    Figure    reclining    (black 

and  white)            ..          ..          ..  nj  by  26  in  ..  115   10  o 

These  high  figures  are  the  more  interesting  when 
compared  with  the  prices  paid  in  some  instances  by 
Mr.  Hamilton  Bruce.  For  instance,  eight  pictures 
by  Jacob  Maris  which  at  the  sale  realized  together 
£8,137  los.,  cost  their  late  owner  only  £1,465.  The 
finest  of  the  pictures  by  Matthew  Maris,  He  is  Coming, 
was  bought  by  Mr.  Bruce  for  £300.  At  the  sale, 
although  bought  in  at  1,900  gns.,  it  evoked  a  genuine 
bid  of  1,800  gns.  Montmartre,  a  small  landscape  by 
the  same  artist,  sold  for  620 gns.,  cost  only  £40. 

Other  pictures  of  the  Dutch  school  included  a 
water-colour  by  Anton  Mauve,  An  O.x  in  a  Stall. 
which    fetched   290  gns.,   compared   with   an  original 

72 


cost  of  £"50:  five  water-colours  by  J.  Bosboom,  three 
of  them  characteristic  church  interiors,  realized  to- 
gether £564  8s.,  or  four  and  a  half  times  the  price 
Mr.  Hamilton  Bruce  originally  gave  for  them. 

The  Barbizon  school  itself  was  represented  by  four 
works  of  Corot  and  one  of  Diaz.  The  latter,  A 
Forest  Glade  at  Fontainebleau,  is  not  a  fine  example 
of  the  master:  the  background  is  occupied  by  tall 
trees  thn)ugh  which  pierces  the  orange  glow  of  the 
setting  sun  :  the  light  falls  upon  a  stream  in  the 
foreground,  in  which  a  peasant  woman  with  a  red  cap 
is  bathing  her  feet ;  the  general  tone  of  the  pictue  is 
dark  and  lacks  the  transparency  of  Diaz  at  his  best. 
It  measures  17!  in.  by  11  in.,  and  was  sold  for 
370  gns. 

None  of  the  Corots,  either,  was  of  great  importance 
or  of  the  finest  quality.  Two  of  them — Through  the 
Wood,  Evening,  and  The  Bathers,  Moonlight — arc 
also  dark  and  devoid  of  that  tender,  misty  light  with 
which  the  greatest  of  poet-landscapists  often  charms 
us  so  irresistibly.  They  fetched  560  gns.  and  220  gns. 
respectively.  Of  far  better  quality  are  the  two  other 
\\  orks  by  Corot  which  belonged  to  Mr.  Bruce  :  The 
Ruined  Castle  (155  in.  by  20^-  in.)  was  sold  for 
1,100  gns.,  and  The  Harbour  (loiin.  by  15^  in.)  for 
410  gns.  The  latter  is  a  somewhat  unusual  subject 
for  this  painter,  a  view  of  the  sea  with  sailing  boats. 
It  was  sold  in  Paris  in  18S3  at  the  sale  nf  Monsieur 
Jules  Baton  for  £65. 

An  admirer  of  the  French  romanticists  cannot  but 
appreciate  at  the  same  time  the  great  English  painter 
who  was  their  precursor,  and  whose  influence  upon 
some  of  them  is  so  plainly  marked.  Thus  is  the 
presence  accounted  for,  in  the  Hamilton  Bruce  collec- 
tion, of  a  masterly  sketch  by  John  Constable  of  the 
subject  several  times  painted  by  him — The  Jumping 
Horse.  Painted  with  extraordinary  power  and  dash, 
this  study  has  the  silvery  tone  of  many  of  Constable's 
finest  pictures,  whilst  the  golden  tints  of  the  autumn 
foliage  would  justify  its  being  termed  "  a  la  Whistler  "' 
— a  harmony  in  silver  and  gold.  Its  size  is  ig^in.  b\- 
25  in.,  and  it  was  sold  at  the  low  price  of  190  gns. 

On  the  same  afternoon  as  the  Hamilton  Bruce  sale 
(May  16),  a  number  of  pictures  from  various  sources 
were  offered  in  the  same  auction  room.  Three  works 
of  some  importance  were  the  property  of  Mr.  E.  F. 
Milliken,  of  New  York ;  these  were  Corot's  Saint 
Sebastian  ;  a  small  panel.  Shrimpers  and  Cart  on  the 
Sea  Shore,  signed  Jacob  Maris;  and  Racehorses 
awaiting  the  Signal  to  Start,  by  Degas. 

The  Saint  Sebastian  w.ts  exhibited  by  Corot  at  the 
Salon  of  1853,  and  thus  belongs  to  a  period  when  the 
master,  though  in  the  full  possession  of  his  powers, 
had  not  yet  attained  that  exquisite  delicacy  of  touch 
which  marks  his  later  work  ;  in  technique  it  is  very 
similar  to  the  Macbeth  and  the  Witches  in  the  Wal- 
lace collection.  The  Saint  Sebastian  was  sold  in 
Paris,  in  1899,  in  the  collection  of  Mr.  Victor 
Desfosses,  for  £1,920.  It  was  offered  by  Mr.  Milliken 
in  New  York,  in  February  of  last  year,  and  was  bought 
in  for  £4,000.  At  Christie's,  on  May  16,  it  apparently 
again  failed  to  find  a  bu\er,  and  was  withdrawn  at 
2, 500  gns. 

"    The   Maris,  which  was  sold  fur  270  gns..  is  a  small 
picture,  iiainted  in  a  \er\-  light   kc\',  but  far  inferior  in 


quality  to  the  examples  of  the  same  artist  in  the 
Hamilton  Bruce  collection.  The  picture  bv  Dejjas, 
though  not  one  of  that  painter's  favourite  ballerine 
groups,  is  interestinf,',  as  showinf,'  his  treatment  of 
horses  as  notes  of  colour  in  a  very  light  landscape  ;  it 
fetched  650  gns. 

There  was  little  else  of  interest  in  the  sale  ;  but  it 
may  be  noted  that  a  miserable  performance  by  Edwin 
Long,  K.A.,  entitled  Australia,  and  representing  a 
girl  with  some  lambs,  was  sold  for  115  gns.  as  com- 
pared with  its  price  of  Soo  gns.  in  iSSS. 

M.  K. 


THE    PRINT    SALES— May  1=21 

The  advent  of  the  month  of  May  generally  brings 
with  it  the  finest  sales  of  the  season,  and  this  month 
has  been  no  e.xception  to  the  rule.  Their  number 
has  not  been  great  it  is  true,  but  the  quality  of 
many  of  the  specimens  offered  has  been  of  the 
tirst  order.  This  can  well  be  imagined  from  many 
of  the  prices  realized,  which  in  some  cases  marked 
a  considerable  advance  on  those  paid  earlier  in 
the  year  for  equally  desirable  specimens.  In  some 
degree  this  may  have  been  due  to  the  stimulus  im- 
parted by  private  competition  consequent  on  the 
influx  of  wealthy  collectors  for  the  London  season. 
Consequently  anj-  abnormal  prices  paid  during  May 
and  June  must  not  be  taken  too  seriously.  For  the 
nearest  approach  to  monetary  value  at  the  moment 
must  be  gauged  not  by  the  price  which  is  realized  on 
account  of  the  rivalry  between  private  persons,  whe- 
ther by  commission  or  otherwise,  but  by  the  figure 
realized  when  the  print  is  simply  submitted  to  the 
cool  and  calculating  judgement  of  the  dealers,  who  in 
the  majority  of  cases  know  what  thej'  are  buying,  and 
whilst  paying  a  fair  price,  seldom  pay  too  much. 
The  collector  who  is  not  an  expert  in  the  class  of 
prints  in  which  he  specializes  can  buy  cheaper  and 
better  through  the  medium  of  a  trustworthy  dealer 
than  if  he  trusted  his  own  judgement  in  the  public 
sale-room,  where  the  verj'  atmosphere  seems  charged 
with  an  excitement  which  militates  enormously  against 
judgement  and  coolness,  so  indispensable  in  buying 
well  and  satisfactorily.  This  coolness  only  comes 
from  long  experience,  and,  of  course,  dealers  who  fre- 
quent sales  every  day  become  so  inured  that  the\- 
never  lose  their  heads.  The  consequence  is  that 
when  they  are  present  the  novice  cannot  secure  an\- 
bargain,  because  they  know  the  value  of  every  print 
submitted,  and  would  never  let  the  value  fall  very 
much.  On  the  other  hand,  they  know  when  a  speci- 
men has  attained  its  full  value,  and  if  the  novice  goes 
on  bidding,  he  is  often  left  with  a  thing  which  costs 
him  much  more  than  it  is  worth.  Thus  if  a  collector 
is  not  very  well  up  indeed,  he  will  reap  far  more 
satisfaction,  and  have  better  value  for  his  monej-,  by 
doing  his  business  through  a  dealer,  w-ho  will  give 
him  the  benefit  of  years  of  experience. 

This  argument  I  put  forward  for  two  reasons.  In 
the  first  place,  usually  the  man  who  errs  in  this 
respect  is  he  who  can  least  afford  to  lose,  and  it  is  a 
pity  to  see  a  young  and  inexperienced  collector  at  a 
sale  pitting  himself  against   men  of  wide  knowledge  ; 


THE     PRINT     SALES 

the  day  will  surely  come  when  he  will  realize  how 
impru(ient  lie  has  been,  and  even  if  he  does  not  stop 
buying  altogether,  his  ardour  will  so  abate  that  his 
interest  must  be  materially  lessened  in  his  fascinating 
hobby. 

On  the  other  hand  it  is  particularly  annoying  for 
a  dealer  to  see  a  collector  buy  a  print  at  a  sale  and 
pay  perhaps  double  for  what  he  could  have  sold  him 
an  equally  good  impression,  and  at  no  period  of  the 
year  is  this  so  marked  as  in  April,  May  and  June.  A 
large  number  of  people  purchase  prints  in  too  many 
cases  pureh'  and  simply  because  it  is  fashionable  to  do 
so ;  they  care  little  what  they  pay,  and  so  the  careful 
connoisseur,  unless  a  particularly  rare  or  beautiful 
print  turns  up,  refrains  from  buying  until  things  have 
regained  their  normal  level. 

During  this  month  we  have  had  two  engraving 
sales  of  importance,  and  with  the  fashionable  prints 
prices  have  been  most  extravagantly  high.  The  first, 
on  May  6,  7,  8,  was  that  of  the  important  and  eclectic 
collection  brought  together,  we  are  told,  in  the 
eighteenth  century  by  Mr.  J.  Holland,  the  greater 
portion  of  which  was  of  first-rate  quality.  It  must 
have  occurred  to  many  who  went  through  the  Kem- 
brandts  that  the  former  owner  might  have  anticipated 
modern  criticism,  and  have  concentrated  his  attention 
on  getting  fine  impressions  of  all  the  rejected  plates. 
They  far  outweighed  in  number  and  in  quality  those 
which  are  now  accepted  as  being  undoubtedly  the 
work  of  the  great  Leyden  master. 

They  sold  well,  everything  considered,  and  many 
of  the  pieces  fetched  prices  beyond  what  mere  curiosity 
would  prompt,  which  shows  that  a  large  number  ol 
collectors  for  some  reason  or  another  still  accept 
them.  For  example,  the  Beggars  at  the  Door  of  a 
House  (W.  173),  one  of  the  worst  of  the  prints  still, 
in  the  opinion  of  many,  unjustly  ascribed  to  Rem- 
brandt, realized  the  highest  price,  ,^46,  whilst  several 
of  the  mora  than  questionable  plates  of  beggars  sold 
very  well.  On  the  other  hand  some  really  fine  prints 
sold  cheapl}-.  It  may  be  that  some  thought  that 
their  authenticity  was  not  beyond  dispute,  though 
many  were  undoubtedly  by  him.  .Adam  and  Eve  and 
Abraham  Entertaining  the  Angels  together  were  cheap 
at  £5  los.,  the  former  particularl)-  being  of  desirable 
qualitj',  and  although  not  early  impressions  the  Jewish 
Bride  with  Saint  Catherine  were  not  dear  at  £2^. 

An  example  of  the  uncertainty  which  prevailed  can 
be  found  in  the  /4S  paid  for  a  fair  Dr.  Faustus,  ^^'42 
for  The  Angel  Appearing  to  the  Shepherds,  and  £'26 
for  a  poor  print  of  Jan  Lutma,  whilst  Clement  de 
Jonghe  and  Abraham  Francen  realized  but  £12  to- 
gether. It  may  be  fairly  said  that  none  of  the  Rem- 
brandt etchings  sold  well,  particularly  considering 
that  many  of  the  impressions  offered  were  above  the 
average. 

The  chief  interest,  however,  centred  in  the  engrav- 
ings after  Sir  Joshua  Reynolds,  the  majority  of  which 
were  in  particularly  fine  state,  both  as  regards  quality  of 
impression  and  condition.  Under  these  circumstances 
there  was  every  prospect  of  very  large,  though  justifi- 
able, prices  being  obtained,  and  this  anticipation  was 
realized.  A  beautiful  private  first  state  of  the  Duche.ssnf 
Gordon,  by  W.  Dickinson,  before  the  inscription,  sold 
for    ;f44i,    and     L:id\    Catherine     rdham^  Clinton, 

73 


THE     BURLINGTON     GAZETTE 


brilliant,  £27^.  Amongst  the  other  women  portraits 
themost  noticeable  prices  were  LadyCaroline  Montagu, 
by  J.  R.  Smith,  £j^  los. ;  Mrs.  William  Hope,  by 
Hodges,  with  etched  letter  title,  £110  5s.;  Miss 
Jacobs,  by  Spilsbury,  proof  before  all  letters,  £283  los. ; 
Mrs.  Abingdon  as  the.  Comic  Muse,  by  Jas.  Watson, 
in  the  same  state  as  the  last,  £262  los. ;  Miss  Chol- 
mondele}-,  by  Marchi,  with  the  names  of  painter  and 
engraver  in  etched  letters,  £110  5s.;  and  the  Hon. 
Mrs.  Stanhope,  by  J.  R.  Smith,  first  state,  £252. 
Still,  large  as  these  prices  may  seem,  they  were  by  no 
means  excessive  for  the  prints  which  were  submitted, 
many  indeed  failed  to  reach  what  it  was  only  reason- 
able to  expect  that  they  would  have  done.  For  ex- 
ample, a  fine  print  of  Mrs.  Sheridan  in  the  first  state 
before  the  inscription,  by  Dickinson,  was  a  decided 
bargain  at  ;^I20  15s.,  and  a  first  state  of  Miss  Ingram, 
by  W.  Doughty,  would  come  under  the  same  category 
at  £13  13s. 

With  two  exceptions,  the  same  apathy  was  dis- 
played towards  the  men  portraits,  but  this  has  become 
a  recognized  feature  in  the  modern  print  market.  A 
whole  succession  of  fine  prints,  veritable  triumphs  of 
the  mezzotint  art,  came  up  one  after  the  other  and 
realized  but  a  pound  or  two,  in  some  cases  only 
shillings.  Surely  this  is  the  age  par  excellence  for  the 
discriminating  collector  of  small  means.  Even  a 
fine  second  state  of  Charles  James  Fox,  by  John 
Jones,  failed  to  bring  more  than  £y  7s.,  and  a  good 
impression  of  David  Garrick,  by  Thos.  Watson, 
jfio  los.  However,  a  good  second  state  with  the 
inscription  scratched  and  the  edge  finished  of  William 
Doughty's  superb  portrait  of  Dr.  Johnson  sold  for 
;f89  5s.,  and  a  first  state  of  Sir  Joshua  Reynolds,  by 
S.  W.  Reynolds,  ;^23  2s.  There  were  some  other 
noteworthy  fluctuations  as  compared  with  previous 
prices.  A  first  state  of  The  Strawberry  Girl,  by 
Thos.  Watson,  realized  £178  los.,  and  Guardian 
Angels,  by  C.  H.  Hodges,  with  title  in  etched  letters, 
;f 84 ;  whilst  Fisher's  fine  plate  of  Garrick  between 
Tragedy  and  Comedy  was  decidedly  cheap  at  £1^  15s. 
When,  however,  the  splendid  mezzotints  of  Faber, 
Smith  and  Beckett  were  reached  all  interest  seemed 
to  depart  from  the  bidding.  In  only  one  instance — 
Peg  Woffington,  by  Faber  after  Pickering,  which  sold 
for  £}5  15s- — was  anything  like  spirit  shown.  The 
remainder,  two  and  three  in  a  lot,  sold  for  shillings. 
The  same  apathy  was  shown  towards  the  small 
series  by  Richard  Earlom.  Probably  the  worst, 
artistically  considered.  The  Landscape  after  Hob- 
bema,  fetched  the  highest  price,  ;^28  7s.  The  Misers 
after  Quentin  Matsys,  and  The  Witch  entering  Hades 
after  Teniers,  brought  5s.,  although  by  no  means  in 
undesirable  state.  But,  relatively  considered,  even 
cheaper  was  the  fine  set  of  the  Marriage  a  la  Mode 
after  Hogarth,  which  sold  for  £ig  igs.,  and  an 
open  letter  proof  of  Nelson  after  Beechey,  together 
with  The  Marchioness,  by  Wharton,  ^^13  13s. 
Two  prints  by  James  McArdell,  Mary  Duchess  of 
Ancaster  after  Hudson,  and  Lady  Mary  Campbell 
after  Ramsey,  fetched  £^4  2s.  and  ,^23  2s.  respec- 
tively, which,  as  present  prices  go,  were  fair  ones, 
considering  that  they  are  both  portraits  of  good- 
looking  women.  A  first  state  of  that  contentious 
print  by  Valentine  Green,  which  Bromley  describes 

74 


as  The  Wright  Family,  a  description  which  is  im- 
possible, as  Wright  was  only  married  in  1773,  and 
this  plate  was  published  in  1769,  sold  fairly  well  for 
3^94  los.,  and  a  brilliant  impression  of  The  Air  Pump 
by  the  same  engraver  was  not  dear  at  £26  5s. 
Pethers'  somewhat  unsatisfactory  mezzotint  after 
Drouais,  of  the  Countess  Natalia  Czernichew,  a  fine 
proof  before  all  letters,  sold  for  £gc)  15s.,  and  the  same 
engraver's  Count  and  Countess  of  Provence  after 
Madame  Lebrun,  in  proof  state,  £25  4s.  The  prints 
after  Hoppner  sold  fairly  well.  The  best  prices  were 
a  first  state  of  the  Countess  of  Mexborough,  by  W. 
Ward,  /"315;  the  Hon.  Mrs.  Bouvene,  byj.  R.  Smith, 
;£"89  5s.  ;  and  Mrs.  Jordan  in  the  character  of  Hypolita, 
by  J.  Jones,  £21.  The  last  named  was  decidedly  cheap. 
Those  after  Romney  hardly  realized  expectations: 
a  good  impression  of  Lady  Hamilton  as  Nature,  by 
J.  R.  Smith,  produced  £"99  15s.  ;  Mrs.  North,  £126  ; 
The  Clavering  Children,  both  by  the  same  engraver, 
£^8  i6s.  These  were  fair  values.  Very  cheap  indeed 
were  Lady  Hamilton  as  The  Spinster,  by  T.  Chees- 
man,  £16  5s.  6d.,  and  Mrs.  Jordan  as  The  Country 
Girl,  by  J.  Ogborne,  £21. 

It  was  quite  pleasing  to  see  the  interest  manifested 
in  the  fine  series  after  Morland,  all  of  which  had  been 
brought  together  with  the  best  taste,  and  prices, 
althougii  very  well  sustained,  were  by  no  means  ex- 
cessive. .  There  are  occasions  when  the  submission  of 
a  fine  series  of  any  works  of  art,  by  attracting  wide- 
spread attention,  begets  an  extraordinary  competition. 
Such  a  condition  of  affairs  we  saw  a  few  weeks  ago, 
when  several  prints  in  desirable  state  after  Meissonier 
were  offered,  and  we  saw  how  thej^  realized  sums  which 
would  have  been  improbable,  I  might  say  impossible, 
under  less  favourable  circumstances.  Still  here  we 
had  an  example  of  exactly  the  opposite  eff"ect  from 
the  operation  of  a  similar  presentment.  The  number 
tended  against  any  augmentation  of  price,  and  the 
purchasers  can  be  congratulated  not  only  on  obtaining 
fine  specimens  of  some  of  the  best  works  after  George 
Morland,  but  of  bu3'ing  them  very  well.  The  highest 
prices  realized  were  ;^'i4i  15s.  for  J.  R.  Smith's  Feed- 
ing the  Pigs  and  Return  from  Market,  and  ^TgS  14s. 
each  for  Children  Playing  at  Soldiers,  by  G.  Keating, 
and  Juvenile  Navigators,  by  W.  W^ard,  both  of  which 
were  open  letter  proofs.  Far  cheaper  than  these, 
however,  was  the  £68  5s.  paid  for  a  beautifully  evenly 
printed  Farm-yard  and  The  Farmer's  Stable,  by  W. 
Ward,  and  also  The  Rabbit  Warren  and  Sportsmen 
Refreshing,  two  aquatints  by  S.  Aiken.  Still,  the 
average  was  about  ^^40,  which  will  be  seen  to  com- 
pare very  favourably  with  recent  sales.  Those  after 
Westall  were  disappointing.  It  may  be  that  we  are 
on  the  threshold  of  a  more  refined  taste,  in  other 
words,  a  revolt  against  the  petty  trivialities  of  this 
painter — I  do  not  say  master,  advisedly.  Here  we  had 
four  prints,  not  bad  impressions  either,  which  included 
The  Sheltered  Lamb  and  The  Young  Fortune  Teller, 
both  by  Gaugain,  selling  for  £12  is.  6d.,  or  less  than 
£3  3s.  each  ;  whilst  even  Gaiety  and  Meditation,  by 
Phillips,  both  in  colours,  brought  only  ;^'i9  19s.  It 
is  true  The  Romance  and  The  Dream,  both  proofs  by 
J.  R.  Smith,  sold  for  £26  5s.,  but  here  the  interest 
centres  rather  in  the  engraver  than  in  the  painter. 
Those    by  J.   R.    Smith    were    of    fine    quality,  and 


THE     PRINT     SALES 


roalizcd  woll  ;  a  {^ood  etched  letter  proof  of  the 
Children  of  Walter  Synnot,  after  Wright,  sold  for 
£472  IDS.,  and  a  proof  of  Hebe  after  Peters,  £63. 
On  the  third  day's  sale  the  superb  mezzotints  after 
Rembrandt  were  reached,  and  there  was  none  of  the 
lack  of  attention  which  we  deplored  in  a  recent  sale. 
Perhaps  the  finest  of  all,  a  proof  of  Dixon's  Rem- 
brandt's Frame  Maker,  of  most  exquisite  quality, 
produced  £'241  los.,  a  hi|:;;h  price,  but  not  one  penny 
too  much.  It  is  to  be  regretted  that  Dixon  did  not 
engras  e  more  after  Rembrandt,  for,  with  the  exception 
of  McArdell  and  Earlom,  and  they  do  not  surpass  him, 
there  has  not  been  an  engraver  who  could  translate 
the  mighty  Dutchman  with  such  conviction  and  power. 
Both  Pettier  and  Haid  fail  in  comparison.  There 
were  some  fine  examples  by  both  these  and  they  sold 
well.  By  Pether,  The  Standard  Bearer  brought 
£58  i6s.  ;  an  Officer  of  State,  £36  15s.  ;  a  Jewish 
Rabbi,  £52  los.— all  first  states.  A  proof  of  Haid's 
Man  in  .Armour  with  Lance  and  Shield  sold  for  jr23  2S. 
Sir  Robert  Strange  is  still  under  a  cloud,  all  of  his 
prints  selling  for  a  few  shillings,  except  the  English 
portrait  after  Vandyck,  which  is  e\idently  bought  on 
account  of  the  personage  represented  and  the  painter, 
rather  than  any  technical  excellence  of  the  engraver. 
Charles  I  with  the  Marcpiess  of  Hamilton  produced 
;f  10  los. ;  Henrietta  Maria  and  her  two  Sons 
£6  i6s.  6d. ;  Charles  I  in  his  Robes  and  the  Three 
Children  of  Charles  I,  £s  15s.  f)d.  Wooltett  was 
in  rather  better  repute  than  usual.  The  four 
Shooting  plates  after  Stubbs,  very  brilliant  impres- 
sions in  good  state,  fetched  £^7  i6s.,  and  the  First 
and  Second  Premium  Landscapes  after  Smith, 
^11  OS.  fid.,  but  man\-  of  the  others,  particularly 
those  after  Claude  and  \\'ils(jn.  made  but  a  guinea  or 
two  each. 

The  coloured  print  largely  banished  from  the  Hol- 
land sale  came  strongly  to  the  fore  in  the  sale  at 
Christie's  on  May  12  ;  in  fact,  it  was  rather  the  excep- 
tion to  come  across  an  uncoloured  print.  The  values 
put  upon  them  were  only  such  as  might  have  been 
expected  from  the  present  trend  of  fashion  and  the 
month  in  which  they  were  sold.  Perhaps  the  most 
extravagant  price  of  all  was  for  the  pair — The  Pro- 
menade in  St.  James's  Park,  and  The  Airing  in 
Hyde  Park,  by  Soiron  and  Gaugain  after  Dayes, 
of  fair  quality,  the  appearance  of  which  so  excited 
the  liidders  by  their  artistic  merits,  that  £346  los. 
was  reached  before  the  victor  carried  them  off  in 
triumph.  But  this  was  not  an  isolated  instance 
of  the  extravagant  humour  which  prevailed.  What 
You  Will,  by  J.  R.  Smith  after  himself,  realized 
£194  5s. ;  and  Delia  in  Town,  by  the  same  engraver 
after  Morland,  £94  los.  Both  were  in  colours. 
A  few  of  the  ever-present  Wheatley's  Cries  were 
submitted,  but  of  very  unccpial  quality.  The  best  was 
a  fairly  good  impression  of  Turnips  and  Carrots,  by 
Gaugain,  and  produced  £81  i8s.  ;  but  the  other  prices 
were  more  commensurate  with  their  quality,  I  will 
not  say  merits.  A  pair  of  fine  impressions  of  Court- 
ship and  Matrimony,incolours,  by  Jukes  after  William, 
was  sold  for  £90  6s.  ;  and  fair  prints  of  Morning,  or 
the  Benevolent  Sportsman,  and  Evening, or  the  Sports- 
man's Return,  after  Morland,  by  Grozer,  £43  is. 
Coming  to    the    portraits    after    the    Early    English 


School,  some  good  specimens  were  submitted.  An 
open  letter  proof  of  Barney's  unsatisfactory  Duchess 
of  Devonshire  after  Gainsborough,  brought  the  high 
price  of  ;r204  15s. ;  and  the  Two  Sons  of  the  .Martjuess 
of  Blandford,  by  the  same  engraver  after  Cosway, 
5^94  los.  It  is  quite  exceptional  to  find  engravings 
after  Sir  Martin  Shee  exciting  much  interest,  but 
at  this  sale  Charles  Turner's  plate  of  Lavinia, 
Countess  Spencer,  an  open  letter  proof,  in  good  con- 
dition, sold  for  £42,  and  the  same  in  colours,  £7^  los. 
The  prints  after  Hoppner  made  very  big  prices. 
The  Duchess  of  Bedford,  by  S.  W.  Reynolds,  an  en- 
graver's proof  before  letters,  £362  5s. :  Louisa,  Mar- 
chioness of  Sligo,  by  the  same,  proof  before  letters, 
^TifiS;  Lady  Ann  Lambton  and  Family,  by  J.  Young, 
in  the  first  published  state,  £357  ;  Juvenile  Retirement 
and  the  Hoppner  Children,  by  J.  Ward,  in  colours, 
together,  ^^178  los. ;  Lady  Heathcote  as  Hebe,  by 
|.  Ward,  open  letter  proof,  £'262  los.  ;  Mrs.  Angelo 
Taylor  as  Miranda,  by  W.  Ward,  £577  los.  The 
last  price  was  also  paid  for  a  first  state  of  Ladj' 
Isabella  Hamilton,  by  J.  Walker  after  Romney. 
Master  Lambton  after  Lawrence,  by  Cousins,  was 
offered,  a  proof  before  the  title  sold  for  £yi  8s.,  and  a 
proof  before  letters  by  the  same  engraver  of  Countess 
Grey  and  Children,  £105. 

The  French  prints  were  generally  of  good  impres- 
sion, but  oidy  sold  moderately  well,  consecpiently  we 
had  no  such  sensational  values  placed  upon  the 
Janinets  and  Debucourts  as  we  chronicled  last  month. 
Of  course,  inferiority  of  impression  had  a  great  deal  to 
do  with  this,  but  still  on  the  previous  occasion,  when 
such  a  good  series  was  submitted,  values  were  pushed 
u])  beyond  their  normal  limits.  La  Promenade  Pub- 
lique,"by  Debucourt,  was  not  a  good  impression,  still 
it  produced  £"54  12s.  Of  much  better  quality  was 
La  Comparaison,  by  Janinet  after  Lavreince,  which 
realized  only  £"30  9's.,  and  L'Aveu  Difficile,  by  the 
same,  £37  i6s.  .'\verage  prints  of  the  Noce  de  N'illage 
and  Foire  de  Village,  by  Descourt  after  De  Launay. 
were  cheap  at  £'15  15s.  Still  one  of  the  finest  en- 
gravings submitted,  and  one  which  realized  an  ob- 
viously inadequate  price,  was  La  Cruche  Cassee,  by 
Massard  after  Greuze,  a  proof  before  the  publication 
line,  and  signed  on  the  back  by  both  painter  and 
engraver.     It  brought  but  £21. 

Included  in  the  Gambart  collection,  the  sale  of 
which  commenced  with  the  pictures  on  May  2,  and 
was  concluded  on  the  following  Monday,  was  a  series 
of  engravings  after  Rosa  Bonheur,  which,  taking  into 
consideration  the  apathy  which  is  displayed  by  the 
collector  of  to-day  towards  this  class  of  print,  sold 
fairly  well.  The  highest  prices  realized  \yere : 
£'17'  17s.  for  a  fine  artist  proof,  signed  by  the  painter, 
of  Changing  Pasture,  by  H.  T.  Ryall :  £27  6s.  for 
Morning  in  the  Highlands,  by  C.  G.  Lewis;  and 
£36  15s.  for  Denizens  of  the  Highlands,  by  T.  Land- 
seer,  A.R.A.,  both  proofs  signed  by  the  painter.  These 
were,  perhaps,  fine  market  value,  but  several  of  the  re- 
mainder were  decidedly  cheap.  A  remarque  proof  of 
A  Foraging  Partv,  £"3  3S-,  Bonricairos  crossing  the 
Pyrenees,  £2  12's.  6d.,  both  of  which  were  signed, 
cannot  be  considered  other  than  very  reasonable, 
whilst  an  artist's  proof  of  a  Stampede,  by  T.  Land- 
seer,  A.R.A.,  brought  only  £1   los.,  and  a  fine  proof 

75 


THE     BURLINGTON     GAZETTE 


before  letters  of  The  Horse  I'air,  b\'  the  same  en- 
graver, /"g  gs. 

Mr.  Gambart  seems  to  have  been  particularly 
partial  to  the  works  of  Rosa  Bonheur,  but  his  selec- 
tion, at  any  rate  as  regards  his  pictures,  cannot  be 
considered  as  displaying  the  best  taste  ;  but  still  the 
sale  attracted  a  great  deal  of  attention,  and  doubt- 
lessly the  interest  manifested  in  the  oil  paintings 
found  a  corresponding  echo  in  the  prints.  The 
decline  in  value  of  engravings  after  the  great  French 
painter  and  our  own  Landseer  can  be  explained  by 
their  mediocre  value.  At  the  time  that  they  were 
executed,  the  modern  methods  of  reproduction  were 
many  of  them  unknown,  and  even  those  which  had 
sprung  into  being  were  in  their  infancy.  To-day 
these  transcriptions  would  be  quite  supplanted.  In  a 
word,  they  have  insufficient  artistic  worth  of  their 
own  to  justify  their  former  position  in  the  domain  of 
art,  and  consequently,  in  rivalry  with  these  modern 
methods  which  have  photography  for  their  base,  sink 
to  their  true  level.  At  the  time  of  their  creation,  the 
popular  interest  was  stimulated  beyond  all  sense  of 
proportion  in  the  pictures,  and  as  the  original  works 
were  quite  out  of  the  reach  of  any  but  the  wealthiest, 
a  ready  sale  was  found  for  any  reproduction  which 
had  a  semblance,  if  only  in  exterior  form,  to  the 
pictures.  Proofs  or  early  impressions  rose  to  very 
large  prices,  and  it  is  only  after  the  lapse  of  years, 
when  a  cooler  judgement  with  a  truer  sense  of  pro- 
portion is  brought  into  play,  that  their  true  artistic 
worth  is  being  realized. 

A  few  very  fine  engravings  after  John  Constable 
were  submitted  at  the  sale  at  Sotheb\''s  on  Mav  15  ;  a 
most  beautifully-printed  etched  letter  proof  of  Salis- 
bury Cathedral,  by  David  Lucas,  fetched  ;f66  and, 
considering  its  condition,  was  by  no  means  dear. 
Following  this  was  Gillingham  Mill,  and  The  Mill, 
both  proofs  before  letters,  which  realized  £g,  and 
Stonehenge,  proof  before  letters,  and  the  Mill  Stream, 
open  letter  proof,  together,  £^  5s. 

The  prints  by  Cousins  were  of  fair  qualit\-.  Lady 
Peel,  after  Lawrence,  fetched  £12  5s.,  and  _i^'io  and 
£10  los.  respectively  were  given  for  Miss  Croker  and 
Lady  Dover  and  Child.  A  moderate  impression  of 
Robert  Burns,  after  Nasmyth,  made  £6  15s.  The 
engravings  after  Hoppner  were  few,  but  good.  Still, 
many  of  them  would  be  called  unsaleable  subjects. 
Caroline  Watson's  Miss  Bover,  stipple  in  brown  of 
desirable  impression,  brought  ^11,  and  a  proof  of 
Mrs.  Jerningham,  by  H.  Meyer,  £5  5s.  By  the  same 
engraver,  The  Proposal,  in  brown,  after  Harlow,  sold 
for  £iy.  This  print  was  cut,  but  on  account  of  its 
extreme  brilliance  of  impression,  the  catalogue  was 
fair  in  its  presumption  that  it  was  a  proof  before 
all  letters.  A  beautiful  open  letter  proof  of  J.  Walker's 
plate  of  Sir  Henry  Raeburn,after  himself,  made  £4  los. ; 
Sir  Walter  Scott,  also  after  Raeburn,  a  proof  with 
Walker's  open  letter  on  India  paper,  £S  5s.,  whilst  a 
fine  ordinary  impression  of  the  same  made  £5  15s. 
The  best  print  after  Sir  Joshua  Reynolds  was  Lad\- 
Camden,  by  Schiavonetti,  a  proof  before  letters,  which 
sold  for  £12  5s.  It  was  pleasing  to  see  £5  15s.  obtained 
for  one  of  the  finest  of  Nanteuil's  portraits — Vicomte 
de  Tureime  after  Champaigne.  It  was  a  superb  first 
state  and  in  perfect  preservation.     The  prints  after 

76 


Rowlandson  sold  remarkably  well.  .'\  fine  print  of  the 
rare  Syrens,  in  brown,  brought  the  top  price,  of  £10, 
whilst  proofs  of  Married  and  Single,  both  coloured, 
with  the  titles  written,  by  Rowlandson,  sold  for  £y, 
and  the  Chamber  Council,  with  a  similar  title,  £2  5s. 
The  prints  after  Wheatley  again  attracted  a  fair 
share  of  attention.  A  proof  before  letters,  in  brown, 
with  full  margin,  of  Summer,  by  Bartolozzi,  sold  for 
£_]^,  whilst  the  same  in  black,  very  fine,  was  knocked 
down  for  only  £'4.  Winter,  in  brown,  in  exactly  the 
s  ime  condition  as  its  companion,  sold  for  a  sovereign 
more.  The  only  other  Bartolozzi  which  presented 
much  interest  was  the  Young  Maid  and  Old  Sailor 
after  Walton,  in  bistre,  in  very  desirable  impression 
and  condition,  £g  los.  A  most  interesting  item  was 
the  daintily-executed  little  oval  in  colours  of  General 
Wolfe,  a  print  of  excessive  rarity,  which  was  in  proof 
state.  The  only  marring  feature  was  a  small  spot  on 
the  right  of  the  plate,  but  this  would  be  easily  re- 
movable, as  it  did  not  appear  to  rise  from  damp. 
It  fetched  the  very  inadequate  sum  of  £'6  5s. 

On  the  second  day's  sale  the  sporting  prints  were  of 
the  most  interest.  There  was  a  very  good  series  of  fine 
quality  of  impression.  The  set  of  four  aquatints  in 
colours  of  Racing  by  Wolstenholme,  proofs  before 
letters,  realized  £20  los.,  and  the  same  price  was  paid 
for  the  four  Shooting  aquatints  after  Aiken  by  Suther- 
land. The  set  of  four  Fox  Hunting,  by  the  same, 
brilliant  impressions,  sold  for  £iy  los.  Other  good 
prices  were  Barouche  and  Tandem,  in  colours,  £12  5s.; 
the  Royal  Mail,  Moonlight,  by  Stewart,  £8  15s.; 
and  a  complete  set  of  the  forty  plates  of  the  rare 
Sportsman's  Companion,  by  J.  &  H.  Roberts,  £y  los. 

On  May  19  the  collection  of  engravings  formed 
by  Mr.  Thomas  Frost,  of  Manchester,  was  sold  at 
Christie's,  together  with  others  from  different  sources. 
It  is  to  be  regretted  that  many  of  these  had  evidently 
been  kept  in  a  damp  place,  with  the  result  that  they 
had  '  foxed.'  In  some  instances  this  had  gone  so  far 
that  recourse  had  been  had  to  treatment  by  acid. 
This,  coupled  with  cleaning,  had  destroyed  some  of 
the  interest  with  which  many  would  have  been  vested. 
Amongst  those  which  attracted  most  attention  was  the 
fine  series  by  Samuel  Cousins  after  Lawrence;  a  first 
published  state  of  Countess  Grey  and  Children 
realized  £152  5s.;  Lady  Dover  and  Child,  in  the  same 
state,  £131  5s.  ;  and  a  proof  before  the  title  of  Coun- 
tess Gower  and  Daughter,  £141  15s.  All  had  their 
original  margins.  The  impression  of  Master  Lamb- 
ton,  which  was  a  proof  before  the  title  with  Colnaghi's 
address,  had  suffered  very  badly,  and  it  fully  was  at 
its  value  at  £^6  15s.  Amongst  other  interesting  prints 
was  an  evenly  printed  proof  of  Nature  (The  Calmady 
Children),  which  was  not  dear  at  £"46  4s.  ;  a  fair  first 
state  of  Miss  Croker,  £'65  2s.;  and  a  good  first  pub- 
lished state  of  Lady  Peel,  £Si  i8s. 

The  plates  by  Cousins  after  Sir  Joshua  Reynolds 
are  amongst  his  least  successful  achievements.  Me 
had  not  the  masculine  force  and  solidity  so  essential 
to  a  worthy  transcription  of  the  first  president,  and 
consequently  they  must  appeal  perforce  on  their  own 
merits  as  mezzotints  by  Cousins,  or,  and  we  arc 
rather  afraid  this  is  only  too  often  the  case,  upon  the 
attractiveness  of  the  subject  represented.  .An  artist's 
proof  of  The  Strawberry  Girl   fetched  £25  4s.,  Mrs. 


I>radd\ll,  £"44  2s.,  first  state,  and  artist's  proofs  of  the 
Countess  Spencer  and  the  Hon.  Miss  Bingham 
together,  £43  is.  Other  prints  by  him  inchidcd  a 
superb  proof  of  that  eminently  successful  plate  of 
Robert  Burns  after  Alexander  Nasmyth,  which 
realized  £"54  12s.,  whilst  a  first-published  state  of 
Mrs.  Lister,  after  Newton,  was  just  as  dear  at  £"25  4s. 
as  the  last-named  was  cheap.    . 

Subject  again  scored  in  the  ^85  is.  given  for  a 
first-published  state  of  The  Love  Letter  after  Raoux. 
But  artistically  considered,  far  in  advance  of  any  of 
the  plates  enumerated  was  the  small  collection  bj- 
Lucas  after  Constable.  The  Vale  of  Dedham,  in  first 
state,  came  out  an  easy  victor  at  £1"/^  5s.,  whilst  next 
came  a  fairly  evenly  printed  first-published  state  of 
Salisbury  Cathedral,  £"65  2s.  The  Lock  and  The 
Cornfield  together  in  first-published  state  brought 
£"65  2s.,  whilst  an  artist's  proof  of  Hadleigh  Castle 
changed  hands  at  £34  13s. 

Still  more  remarkable  were  the  prices  realized  for 
the  smaller  plates,  which  compare  very  favourably 
with  recent  sales.  The  exquisite  Barges  on  the 
Stour  produced  jTiS  17s.  6d. ;  Stoke-by-Nayland 
Church.  £14  3s.  6d. ;  Stonehenge,  and  Cornfields 
near  Brighton,  together,  £"21  is.  6d. ;  and  the  Opening 
of  Waterloo  Bridge,  £%  8s.  All  these  very  fine  en- 
graver's proofs.  First  states  of  The  V'ale  of  Dedham 
and  Salisbury  Cathedral  sold  for  ;fi2  is.  6d.  and 
£q  19s.  6d.  respectively.  Also  by  Lucas  a  first  state 
of  The  Return  to  Port,  Honfleur,  after  Isabej-,  the 
original  picture  of  which,  by  the  way,  was  sold  on 
May  23  at  Christie's,  realized  the  enormous  price  of 
£'^7i  5S-  ;  and  the  same  engraver's  Grand  Canal, 
Venice,  after  J.  D.  Harding,  also  a  first  state,  £iq  igs. 

Some  of  the  fine-line  engravings  in  covetable  con- 
dition were  submitted,  but  inadequate  values  were 
placed  upon  them.  Ehrenbreitstein,  first  state,  by 
Prior,  was  surely  cheap  at  £3  13s.  6d.,  and  the  same 
remark  would  apply  to  an  artist's  proof  of  The 
Approach  to  Venice  at  £8  i8s.  6d.  The  highest 
price  made  was  £12  12s.  for  a  first-published  state  of 
J.  Pye's  Heidelberg.  An  artist's  proof  of  Chill 
October,  after  Sir  John  Miliais.  sold  for  £ib  i6s. 
The  prints  after  Reynolds  included  a  first  state  of 
Lady  Gertrude  Fitzpatrick,  by  J.  Dean,  £54  12s. ;  and 
an  etched  letter  proof  of  Lady  Dash  wood  and  Child, 
by  C.  Hodges,  £^21.  The  Clavcring  Children,  in  the 
second  state,  after  George  Romney,  by  j.  R.  Smith, 
produced  £73  los.  ;  and  a  very  poor  first  state  of 
Sir  Harbord  Harbord,  after  Gainsborough,  by  J.  R. 
Smith,  3^37  i6s.  A  set  of  the  13  plates  of  Wheatley's 
Cries,  good  impressions,  but  all  cut  close,  were 
knocked  down  for  £63. 


BOOK    SALES,    MAY  1-21. 

SHKI.LEY'S     DECLARATION  OF  RIGHTS.' 

No  important  private  collection  was  dispersed  in 
London  during  the  period  under  review.  On  May  6 
there  came  under  Messrs.  Sotheby's  hammer  a 
selected  portion  of  the  library  of  Crowcombe  Court, 
near    Taunton,    whose    329    lots    brought    a     total 


BOOK     SALES 

of  £1.036.  The  prominent  items  arc  included  in  the 
several  tables  of  this  article.  On  May  8-9  there  were 
sold,  for  a  total  of  £"i,24.S  4s.,  445  lots,  comprising 
the  library  of  the  late  Mr.  William  Bromley  Daven- 
port, of  Baginton  Hall,  near  Coventry,  the  most 
important  items  in  which  were  the  Third  Folio 
Shakespeare,  with  the  1663  title-page  and  the  fine 
autograph  letter  by  Ben  Jonson  (see  tables).  On  the 
second  of  the  two  afternoons  a  series  of  historical 
documents,  connected  chiefly  with  the  reign  of 
George  HI  and  the  administration  of  the  Earl  of 
Bute,  in  all  55  lots,  the  property  of  the  Earl 
of  Harrowby,  made  £"170  i6s.  6d.  On  May  13-14, 
the  chief  portion  of  the  library  of  Mr.  G.  B.  Baker- 
Wilbraham,  437  lots,  realized  £1,633  5^-  In  ad- 
dition to  the  entries  in  the  tables,  mention  may  be 
made  of  the  following  sets  of  prints,  etc. :  '  The 
Houghton  Gallery,'  Boydell,  1788,  2  vols,  in  i,  crim- 
son morocco  super  extra,  133  plates,  £"40  ;  the  '  Musee 
Francjais '  and  the  '  Musee  Royale,'  1803-18,  in  all 
9  vols.,  russia  extra,  505  plates,  £39 ;  '  The  Staf- 
ford Gallery,'  1818,  4  vols.,  morocco  extra,  the 
plates  coloured  and  mounted  like  drawings,  £'30  los. 
— published  at  £^171  14s.;  'The  British  Gallery  of 
Pictures,'  1818,  25  plates,  crushed  morocco  extra, 
3^30  —  published  at  150  gns. ;  in  a  somewhat  dif- 
ferent kind,  Ovid's  '  Metamorphoses,'  Paris,  1767-71, 
with  141  engravings  after  Boucher,  etc.,  £"39;  and 
one  of  two  copies  printed  on  vellum  by  Didot,  Paris, 
1799,  of  the  Works  of  Horace,  £'29,  this  being  the 
example  which  belonged  to  General  Junot,  sold  after 
hisdeath,  1S16,  for  £140. 

Among  the  books  from  various  sources,  including 
some  from  the  library  of  the  late  Professor  H.  R.  Hel- 
wich,  of  Prague,  and  of  the  late  Mr.  A.  T.  Jebb,  of 
Ellesmere,  Salop,  dispersed  by  Messrs.  Hodgson  on 
May  6-8,  was  one  of  extraordinary  rarity.  This  is 
the  'Automachia,  or  the  Self-Conflict  of  a  Christian," 
by  Joshua  Sylvester,  translator  of  Du  Bartas,  who 
was  born  in  the  Medvvay  region  of  Kent  in  1563.  It 
is  a  diminutive  oblong  book,  measuring  2\  by  i|in., 
printed  by  Melch.  Bradwood  for  Edward  Blount  in 
1607.  The  Huth  copy,  2\  by  ij  in.,  in  original  velvet 
cover,  had  hitherto  been  deemed  unique.  Unfortu- 
nately, the  example  at  Hodgson's,  protected  by  the 
original  silk  binding,  rubbed,  lacked  two  or  more  leaves, 
and  was  sold  with  all  faults.  It  brought  £"5  2s.  6d.  The 
poem  is  dedicated  '  To  the  most  noble,  virtuous,  and 
learned  lad}-,  the  Lady  Mary  Ne\il  ' ;  and  the  colla- 
tion in  the  Huth  catalogue  is  A,  8  11.,  the  two  first 
blank;  B-C,  811.  each:  D,  811..  the  last  two  blank. 
The  sale  included  C.  Hollyband's  'Treasurie  of  the 
French  Tongue,'  printed  by  H.  Bynneman,  1680,  said 
to  be  the  first  French  and  English  dictionary  pub- 
lished in  England,  £"12  los. ;  a  seventeenth-century 
Horn  Book,  containing  the  Alphabet  ami  the  Lord's 
Prayer,  },\  by  2;}  in.,  £"12  los. ;  the  Clarendon  Press 
facsimile  of  the  First  Folio  Shakespeare,  1902.  in 
sheepskin,  £"8  los. — it  was  issued  at  6  gns. ;  Topsell's 
'  Historic  of  Foure-Footed  Beasts,'  printed  for  W. 
Jaggard,  1607,  margins  cut.  £"ii;  and  the  first  Eng- 
lish book-auction  catalogue,  that  of  the  library  of 
Dr.  Lazarus  Seaman,  dispersed  by  William  Cooper  in 
Warwick  Lane,  October  31,  1676,  with  a  few  prices 
marked  in  a  contemporary  hand,  3  gns. 


K5 


THE     BURLINGTON     GAZETTE 


■  Far  the  most  important  series  of  books,  etc.,  details 
of  which  appeared  in  a  single  catalogue,  however,  was 
that  disposed  of  in  Wellington  Street  on  Mondaj', 
May  i8,  and  the  three  following  afternoons.  With  one  or 
two  exceptions,  notabl}'  that  of  Lady  Strachey,  owners' 
names  were  not  disclosed,  and  in  several  instances, 
doubtless,  biddings  failed  to  reach  the  reserve.  Among 
the  1,077  lots,  which  show  a  catalogue  total  of 
;fi2,045  15s.  6d.,  were  some  to  please  almost  every 
taste.  The  principal  items  appear  in  the  tables,  but 
many  others  are  hardly  less  worthy  of  mention. 

Last  year  particular  attention  was  for  the  first  time 
directed  to  the  name-variations  on  the  title-page  of 
the  Second  Folio  edition  of  Shakespeare's  '  Comedies 
and  Tragedies.'  The  first  copy  of  three  sold  during 
1902,  bearing  the  name  of  John  Smethwick,  was  then 
described  as  one  of  three  or  four  examples  known.  It 
is  now  admitted  that  six  have  been  traced,  and  even 
this  estimate  is  well  within  the  bounds,  for  the  three 
copies  which  changed  hands  at  auction  respectively  in 
1887,  1897,  and  1899,  do  not  appear  to  be  identical 
(i)  with  those  sold  last  year,  (2)  with  that  priced  by 
a  dealer  at  ;f6oo,  and  (3)  to  these  must  be  added  the 
copy  in  the  Lenox  Library,  New  York.  Now  the 
attention  of  collectors  is  directed  to  another  variant, 
'  printed  by  Thomas  Cotes  for  Richard  Hawkins,  and 
are  to  be  sold  at  his  shop  in  Chancery  Lane 
neere  Sergeant's  Inne.'  In  the  Lenox  Collection, 
which  contains  examples  with  six  variations  of  the 
title-page,  is  a  similar  copy,  but,  apparently,  none  has 
come  up  at  auction  during  the  last  twenty  years  or 
more.  The  catalogue  says  :  '  It  is  believed  that  only 
two  other  copies  are  known.'  Time  will  doubtless  prove 
whether  or  not  this  estimate  be  correct. 

Not  content  with  slight  variations  in  the  title-page 
itself,  the  practice  is  now  inaugurated  of  transcribing 
in  the  catalogue  the  imprint  at  the  end  of  the  Shake- 
speare folios.  This  opens  up  an  almost  infinite  series 
of  possibilities,  for,  as  is  well  known,  man)-  alterations 
were  made  in  the  text  of  the  1623  folio  edition,  for 
instance,  during  its  progress  through  the  press. 

The  item  which  heads  the  table  of  nineteenth- 
century  first  editions  is  from  the  rarity-hunter's  point 
of  view  of  great  importance.  The  '  lot '  belonged  to 
Lady  Strachey,  to  whom  it  was  given  by  the  late  Lord 
Carlingford  ;  and  Lady  Strachey,  after  repeated 
applications  from  would-be  buyers,  determined  to  offer 
it  at  auction.  As  will  be  seen,  it  realized  more  than 
thirty  times  the  sum  (i5gns.)  paid  for  it  by  Lord 
Carlingford  in  1870.  With  the  broadside  and  the 
rudely-printed  tract  were  sewed  up  three  letters  on 
the  subject.  The  first,  from  W.  D.  Fellowes  to 
Sir  Francis  Freeling,  Secretary  of  the  Post  Office,  and 
marked  '  most  private,'  is  dated  from  Hohhead, 
March  31,  1812.     It  begins — 

The  Surveyor  of  the  Customs  House  consuUi'd  me  yesterday  on 
having  discovered  in  the  Custom  House  a  few  days  since  a  large  deal 
box,  directed  to  Miss  Hitchener,  Hurstpierpoint.  Brighton,  Sussex, 
England,  which  had  been  landed  from  one  of  the  I'ackets  from  Ireland. 
It  contained,  besides  a  great  quantity  of  Pamphlets,  an  open  letter  of 
a  tendency  so  dangerous  to  Government,  that  I  urged  him  to  write, 
without  further  loss  of  time,  a  confidential  letter,  either  to  the  Secre- 
tary of  State,  or  to  Mr.  Percival,  and  enclose  the  letter,  and  one  each 
of  the  Pamphlets  and  printed  Declarations  (as  they  are  styled),  which 
he  accordingly  did,  by  yesterday's  post,  to  Mr.  Percival.  As  the 
letter  in  question,  which  the  Surveyor  gave  me  to  read,  contained  a 
paragraph  injurious  to  the  revenue  of  the  P.  Office,  I  think  it  my 

78 


duty  to  make  you  acquainted  with  it — it  is  as  follows  :  '  Percy  has 
sent  you  a  box  full  of  inflammable  matter,  therefore  I  think  1  may 
send  this '  .  .  .  '  Disperse  the  Declarations,  Percy  says  the 
Farmers  are  fond  of  having  them  stuck  on  their  walls.' 

The  second  letter  announces  the  despatch  of  the 
Pamphlets  and  '  Declaration  of  Rights.'  The  third 
letter  is  from  Lord  Chichester,  the  then  Postmaster- 
General,  to  Sir  Francis  Freeling,  and  runs  : — 

I  return  the  Pamphlet  and  Declaration,  the  writer  of  the  first  is 
son  of  Mr.  Shelley,  Member  for  the  Rape  of  Bramber,  and  is  by  all 
accounts  a  most  extraordinary  man.  I  hear  that  he  has  married  a 
Servant,  or  some  person  of  very  low  birth  ;  he  has  been  in  Ireland 
some  time,  and  I  heard  of  his  speaking  at  the  Catholic  Convention. 
Miss  Hichener,  of  Hurstpierpoint,  keeps  a  School  there,  and  is  well 
spoken  of;  her  Father  keeps  a  Publick  House  in  the  Neighbourhood, 
he  was  originally  a  Smuggler  and  changed  his  name  from  Yorke  to 
Hichener  before  he  took  the  Public  House.  1  shall  have  a  watch 
upon  the  daughter  and  discover  whether  there  is  any  connection 
between  her  and  Shelley. 

In  the  Fortnightly  Review,  January  1871,  there 
appeared  a  most  interesting  article  by  Mr.  W.  M. 
Rossetti,  entitled  '  Shelley  in  1812-13.'  Towards  the 
middle  of  March  1812,  the  Shelleys  and  Harriett 
Westbrook  left  Ireland,  and,  having  tried  to  make  a 
home  in  Wales,  settled  about  the  beginning  of  July 
at  Lynmouth,  Devonshire.  In  the  Record  Office  is  a 
letter,  dated  August  20,  1812,  from  the  town  clerk 
of  Barnstaple,  to  Lord  Sidmouth,  Secretary  of  State 
for  Home  Affairs,  from  which  the  following  excerpt, 
bearing  directly  on  the  broadside  sold  for  £530,  may 
be  given  : — 

Last  evening  a  man  was  observed  distributing  and  posting  some 
papers  about  this  town,  intituled  '  Declaration  of  Rights '  ;  and,  on 
being  apprehended  and  brought  before  the  Mayor,  stated  his  name 
to  be  Daniel  Hill,  and  that  he  is  a  servant  to  P.  B.  Shelley,  Ksq., 
now  residing  at  Hooper's  lodgings,  at  Lynmouth,  near  Linton,  a  small 
village  bordering  on  the  Bristol  Channel,  and  about  seventeen  miles 
from  Barnstaple.  On  being  asked  how  he  became  possessed  of 
these  papers,  lie  said,  on  his  road  from  Linton  to  Barnstaple  yester- 
day, he  met  a  gentleman  dressed  in  black,  whom  he  had  never  seen 
before,  who  asked  him  to  take  the  papers  to  Barnstaple,  and  post 
and  distribute  them  ;    and  on   Hill  consenting,   the  gentleman  gave 

him  five-shillings  for  his  trouble he  (Hill)  has  been  informed 

that  Mr.  Shelley  has  been  regarded  with  a  suspicious  eye  since  he 
has  been  at  Lynmouth,  from  the  circumstance  of  his  very  extensive 
correspondence,  and  many  of  his  packages  and  letters  being  addressed 
to  Sir  Francis  Burdett.'   And  it  is  also  said  that  Mr.   Shelley  has 

sent  off  so  many  as  sixteen  letters  by  the  same  post Daniel 

Hill  has  been  convicted  by  the  Mayor  in  ten  penalties  of  ;^'20  each 
for  publishing  and  dispersing  printed  papers  without  the  printer's 
name  being  on  them,  under  the  Act  of  39  (ieorge  HI  c.  79;  and  is 
now  committed  to  the  common  gaol  of  this  boruu:_;h  for  nut  paying 
the  penalty,  and  having  no  goods  on  which  they  could  be  levied. 
I  have  taken  the  liberty  of  transmitting  to  your  Lordship  a  copy  of 
the  paper  intituled  'Declaration  of  Rights,' and  also  another  in- 
tituled 'The  Devil's  Walk,' which  was  also  found  in  Daniel  Hill's 
possession. 

The  copy  of  the  '  Declaration  of  Rights  '  here  al- 
luded to  is  without  doubt  one  of  the  two  now  in  the 
Record  Office — Mr.  Rossetti  states  that  in  1870  the 
papers  were  there  marked  '  Domestic,  George  III, 
No.  239-40.'  The  gentleman  dressed  in  black  was  a 
fabrication  of  Hill's  brain,  inasmuch  as  Shelley  him- 
self is  deemed  to  have  instructed  him.  On  Septem- 
ber 9  another  long  letter  was  written  by  the  town 
clerk  of  Barnstaple  to  Lord  Sidmouth,  from  which  the 
following  apposite  passage  may  be  quoted  : — 

1  have  also  learnt  that  Mr.  Shelley  has  been  often  observed  on 
the  beach  in  company  with  a  female  servant  (supposed  a  foreigner), 
and  that  he  frequently,  in  her  presence  only,  has  been  observed  to 
push  out  to  sea,  from  the  rocks,  some  small  boxes  ;  and  one  day,  being 
observed  by  a  man  more  curious  than  the  rest  to  put  some  of  these 
small  boxes  to  sea,  the  man  went  out  in  a  boat,  and  brought  it  in,  and, 
on  opening  it,  he  discovered  a  copy  of  the  other  paper  which  I  sent  to 
your  Lordship,  intituled  •  Declaration  of  Rights.'     This  little  box  I 


have  seen,  and  observed  it  was  careluiiy  covered  up  with  bladder, 
and  well  rosined  and  waxed  to  keep  out  the  water,  and,  in  order  to 
attract  attention  at  sea,  there  was  a  little  upright  stick  fastened  to  it 
at  each  end,  ami  a  little  sail  fastened  to  them,  as  well  as  some  lead  at 
the  bottom  to  keep  it  upright.  This  bo.\  I  have  ordered  to  lie  safely 
taken  care  of  From  these  circumstances  there  can  be  no  room  for 
doubt  that  the  papers  found  on  Daniel  Hill  were  given  him  by  his 
master.  I  also  learnt  at  Lynmouth  that  Mr.  Shelley  had  with  him 
large  chests,  which  were  so  heavy  that  scarcely  three  men  could  lift 
them,  which  were  supposed  to  contain  papers.  Mr.  Shelley  is  rather 
thin,  and  very  yonng  :  indeed,  his  appearance  is,  1  understand,  almost 
that  of  a  boy. 

Copies  of  the  broadside  now  so  highly  valued  were, 
then,  affixed  to  houses  in  Barnstaple,  and,  as  revolu- 
tionary agents,  set  afloat  on  the  wide  sea  by  the  over- 
enthusiastic  young  poet.  The  Government  did  not 
see  tit  to  go  farther  than  espionage,  however.  On 
September  iS,  1S12,  Mr.  Litchfield  wrote  from  Lin- 
coln's Inn  to  Mr.  Addington — 

to  acquaint  him  that  he  had  had  some  conversation  with  Mr.  Becket 
upon  the  subject  of  the  enclosed  letters  from  the  Town  Clerk  of  Barn- 
staple, and  that  it  did  not  appear  either  to  Mr.  Becket  or  himself  that 
any  steps  could  with  propriety  be  taken  with  respect  to  Mr  Shelley 
in  consequence  of  his  very  extraordinary  and  unaccountable  con  luct, 
but  that  it  would  be  proper  to  instruct  some  person  to  observe  his 
future  behaviour,  and  to  transmit  any  information  which  may  lie  ob- 
t.iined  respectinghim. 

Hefore  this  date,  however,  Shelley  luul  qnittctl 
Lynmouth. 

Apart  from  the  entries  in  the  several  tables,  the 
highest-priced  lot  in  the  four  ila\s"  sale  under  notice 
was  a  set  of  the  '  Waverley  Novels  "  in  first  edition, 
74  vols.,  original  boards — shabby,  of  course — uncut,  the 
scarce  Waverley  having  an.  old  price-mark  of  i  gn. 
The  series  was  bought  by  Messrs.  Pickerin,g  and  Chatto 
for  £soo,  against  the  £"8oo  paid  by  Mr.  Ouaritch 
for  the  re-bound  Carmichael  set,  a  slight  technical 
defect  in  the  early  volumes  of  which  has  since  been 
discovered.  Sixteenth-century  books  that  call  for 
notice  include  A.  Barclay's  '  Stultifera  Navis,'  1570, 
original  sheepskin  binding,  '  Thos.  Belasys,  Lord 
Fauconberg,  his  Booke,  1677,' ;^4o— this  is  the  Hope- 
Edwardes  copy  which  in  1901  brought  the  same  sum  ; 
Simon  Rohson's  '  New  Yeeres  Gift,'  1582,  a  large 
copy,  7s'hy5^in.,;f43;  T.  Drant's' Two  Bookes  of  Hor- 
ace,' 1566,  £39 ;  Feme's  '  Blaxon  of  Gentrie,'  1586, 
large  paper,  £2-,;  '  Guillelmi  Lilli  Angli  Rudimental,' 
a  school  book  of  eight  leaves,  from  Pynson's  press. 
^-  I5i3>  £-0  5s-  ;  and  '  The  Secretes  of  the  Reverend 
Maister  Alexis  of  Piedmont,'  1562-3,  ;fi2  los.  Be- 
longing to  the  seventeenth  centurj-  were  Braithwait's 
'  Solemn  Joviall  Disuputation,'  and  '  Smoaking  Age,' 
1617,  with  the  two  engraved  frontispieces  by  Marshall, 
original  vellum,  £48  ;  Henry  \'aughan's  '  Silex  Scin- 
tillans,'  1650,  first  issue,  original  sheep,  ^^40  ;  Coryat's 
'Crudities,'  1611,  8^  by  6}  in.,  ^^38 — this  from  the 
Ashburnham  sale,  1897,  at  £16,  re-sold  Hope-Edwardes, 
1901,  £50;  Parkinson's  '  Paradisi  in  Sole,'  first  edition, 
13J  by  S\  in.,  ^^34  los.  ;  Edmund  Waller's  '  Instruc- 
tions to  a  Painter,'  editio  princeps,  ;r34,  his  '  Poem  on 
St.  James's  Park,'  1661,  and  'To  the  King,  upon  His 
MaJL-stie's  Happy  Return,'  first  edition,  £24  los.  each  ; 
William  Habington's  '  Castara,'  both  parts,  £30 ; 
Marston's  'Tragedies  and  Comedies,'  1663,  ;^'30 ; 
Alex.  Brome's  '  Canterbury  Tale,'  four  leaves,  '  printed 
in  the  yeare  164 1,'  £26  ;  and  Beaumont  and  Fletcher's 
Poems,  the  '  Golden  Remains,'  1660,  £25.  From  the 
eighteenth  century  date  Moliere's  '  Giuvres,'  1773, 
6  vols.,  with  the  portrait  and  plates  after  Moreau,  £71  ; 


BOOK     SALES 

Gray's  'Odes,'  first  edition,  uncut,  11  by  KjJ  in.,  pub- 
lished at  IS.,  with  notes,  etc.,  in  Walpoie's  writing, 
£jo;  Gray's  '  Ptjems,'  ijDH,  £20  los. ;  (.Goldsmith's 
'  She  Stoops  to  Coiuiuer,'  first  edition,  £26  ids.  ;  his 
'History  of  England,'  1771,  edges  uncut,  £s^  <  his 
'  Deserted  Village,'  1770,  a  large  copy  in  morocco,  by 
Riviere,  ^^20  5s.  :  Vol.  i  only  of  '  The  \'icar  of  Wake- 
field,' sold  with  all  faults,  the  almost  uncut  measure- 
ments being  7}  by  4}  in.,  £30  los. ;  and  W.  Sketch- 
ley's  '  The  Cocker,'  jjrinted  '  for  the  author  by  AUin 
and  Ridge  (N'euark-on-Trent)  and  sold  bv  Messrs. 
Robinswn,  Paternoster  Row,  London,  MDC'CXCIII,' 
£17  los.  This  last  was  in  original  marbled  boards, 
re-backed,  uncut,  8i  by  OJ  in.  It  was  published  at 
3s.  M.  The  1814  edition  has  hitherto  been  widely 
accepted  as  the  first :  but  there  are  at  least  two  known 
copies  apart  from  the  present  of  the  1793  issue.  Fanny 
Burney's  '  Cecilia,'  first  edition,  1782,  the  title  of 
\'ol.  II  torn,  and  each  volume  showing  signs  of  long 
use — they  had  been  in  Charles  Austen's  circulating 
library — but  uncut,  7^  by  4]  in.,  brought  £i()  los. 

Table  No.   I.  -ORIGINAL  MSS.,   LETTER5,  etc. 

!.         -        '1 

I.  Junson,  Ben.  Holograph  letter  to  Geo.  Garrard, 
signed  '  yor  true  Louer  Ben  Jonson,'  with  auto;'raph 
address.  14  lines,  following  an  epitaph  in  verse  of 
14  lines,  beginning: 


Bromley  Davenport  (245)         . .  . .  . .  . .     320     o     o 

2.  .Xmerica.     MS.,  '  The  breife  orders  att  general  meet- 

ings of  the  Councell  of  New  England  in  Amtrica,' 

1622-3.     Crowcombe  Court  (117)       ..         ..         ..       45    o    o 

3.  Carew.     Collections  for  a  History  of  the  County  of 

Somerset.     Orig.    unpublished    MS.,    Sa:c.    XVII. 

8  vols.,  folio.     Crowcombe  Court  (304)         . .         . .       29    o    o 

4.  Bacon,  Sir  Nicholas.     MS    Speeches  in  Parliament 

and  Letters  of  Sir  N  B  ,  Lord  Keeper  temp.  Eliza- 
beth, with  poems  entitled  '  Recreations  of  his  .Vge.' 
Crowcombe  Court  (122)  ..  ..  ..  ..       24     o    o 

Table  No.  II.— SOME  FINE  BINDINGS 

f     5    d. 

1.  Taylor,  Jer.     Antiquitates  Christiana?,  folio,  printed 

by  R.  Norton,  1C75.  Contemp.  English  red  morocco, 
gold  tooled,  black  inlays  heightened  with  silver, 
broad  border  filled  with  sprays  of  tulip,  compart- 
ments on  black  grounds  covered  with  pointillO 
toolings  heightened  with  silver.  Said  to  exemplify 
most  of  the  tools  used  by  Samuel  Mearne  on  tlie 
presentation  copy  to  the  Duchess  of  York  of  Ed- 
mund Waller's  Poems,  1668,  now  in  British  Museum 
May  21   (1066) 165     o     o 

2.  Charles  1.     Basilika       1662.      2  vols.     Folio.     Con- 

temp.  English  red  morocco,  attributed  to  Samuel 
Mearne,  and  possibly  executed  for  Charles  II  for 
presentation.  Sides  inlaid  and  intricately  t(X)led  in 
gold.     Pine  preservation.     May  iS  (252)      ..         ..     140    o    o 

3.  Boethius.      Consolatio    I'hilosophica.      •  Ex    Calco- 

graphia  Joannis  de  Platea  solertissimi  impressoris." 
Original  stamped  calf,  impresstil  with  many  figures 
and  groups,  having  the  binder's  mark  and  mono- 
gram I(ohn)  N(orin).     Crowcombe  Court  (127)      ..       47     o     o 

4.  Book    of   Common    Prayer.      Folio.      Oxford.    1701 

Old  black  morocco,  the  whole  of  the  sides  covered 
with  a  gilt  diaper  ot  small  squares,  each  containing 
the  crowned  cypher  of  Queen  Anne.  .\  space  is 
left  in  the  centre  for  the  lettering  '  Windsor  Royal 
Chapel.'  A  fine  example  attributetl  to  Charles 
Mearne.  MS.  note  inside  cover  reads:  -Rev  Mr. 
Smith,  Chaplain  on  board  a  man-of-war  .-ind  after- 
wards Chaplain  of  Windsor  Castle,  had  this  book 
given  10  him  when  a  new  one  was  substituted  in  its 
place  at  Windsor  Castle.  Mr.  Smith  was  afterwards 
Rector  of  Bnrgh.  in  Suffolk,  and  prcsente<I  the  Ixjok 
to  the  father  of  Mr.  Cullum,  who  has  now  presented 
it  to  me.     J.  L..  17  Apl,  iS2j.'     Mav  20  i-,yoi        ..       O3     o     o 


THE     BURLINGTON     GAZETTE 

Table   No.  III.— PRINTED    BOOKS,    £50    OR    MORE 


Printer, 
Publisher, 
OR  Place. 


Shakespeare,  W      Second  Folio. 
by8|in.     Old  calf.     (1056) 


2.  Shakespeare,    W.      Third   Folio.     125 
by  8 j  in.     Modern  russia.     (1058) 


Thomas  Cotes 
for  Richard 
Hawkins 


For  P. 

C(hetwynde) 


3.  Shakespeare.      Third   Folio.      13I    by  1  For     Philip 
8f  in.     Russia  by  C.  Smith.     (410)  1       Chetwinde 


4.  Walton,  I.      Compleat  Angler.      E.P.      T.  Maxey  for 

12  mo.     5jJ   by   3f  in.     Contemp.  [       R.  Marriot 
English  black  morocco^  richly  gilt, 
panelled  sides.     (866) 

5.  Milton,     J.       Paradise     Lost.       E.P.  ,  S.  Simmons 

4to.,  7j  by  5l  in      Orig.  sheepskin.  for    Peter 

(740)  Parker 


Defoe,  D.     Robinson  1  E.P.      2    vols., 
Crusoe.  (  8vo.,  7iby  4jin. 

The    Farther   Ad-  j'        Orig.  calf, 
ventures.  )  (309) 


W.  Taylor  . 


7.   Herbert,    G.     The    Temple :     Sacred      T.  Buck  and 
Poems    and    Private    Ejaculations.  R.    Daniel, 

E.P.  (?)     8vo.     Orig.  calf     (580)        ;       Cambridge 


8.  Horae.  Sarum  Use.  On  vellum. 
165 11.  4to.,  9^  by  6Jin.  Old  Eng- 
lish red  morocco,  gold  tooled. 
(57)  (:') 

g.  Shakespeare,  W.  Fourth  Folio.  14J 
by  8iin.     Calf  gilt.     (1041)  (') 


10.  Chettle,     H.       Englandes     Mourning 

Garment.     E.P.     4to.,    7   by   sj  in. 
Fore-edges  uncut.    Unbound.    (190) 

11.  Brathwait,  R     The  Shepheards  Tales. 

Series  I.      E.P.      25  11.     8vo.,  sJ  by 
4}  in.     Old  vellum.     (56) 

12.  Chaucer.     Works.     Folio.     Orig.  half 

holland.     (498) 

13.  Montaigne.    Essays.      E.P.  in  English. 

Folio,  loj  by  j^  in.    Mor.  by  Riviere, 
ornately  tooled.     (782) 

14.  Milton,  J.     Paradise  Regain'd.      E.P. 

8vo,,    7   by    4/„    in.      Orig.    rough 
sheepskin.     (741) 


Herringman, 
etc. 

V.S(ims?)for 
Thos.  Mil- 
lington 


Kelmscott 

Press 
Val.  Sims  for 
Ed.  Blount 


By  J.   M.   for 
John  Starkey 


15.  Smollett,  Tobias.  Expedition  of  Hum-  |  For  W.  John- 
phrey  Clinker.  E.P.  3  vols.  8vo.  '  stoninLud-^ 
Orig.  boards,  uncut.     (825)  gate   Street 

!      and  B.  Col- 
lins in  Salis- 

*  'The  Book  Sales  of  1902  with  Tabulated  Prices,' 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after 
Sotheby.     (')  Slightly  defective.     (')  Defective.     (»)  Sold  w 


1632 


(1503) 

1685 
(1603) 

1621 


1671 
(for 
1771) 


May  21 


Davenport, 
May  9 


May  20 


May  19 


May  20 


Crowcombe 
Court, 
May  6 

May  21 

May  18 

May  18 

May  19 
May  20 


R.P.  for  a  Second  Folio.  (Former  R.P..  1902,  '  John  Smeth- 
wlck '  on  title  -  page,  j2j  by  S-J  in.,  morocco,  /690.) 
Auctioneer  stated  tliat  lie  had  never  before  sold  a  copy 
'  printed  by  Thomas  Cotes  for  Richard  Hawkins,  and  are 
to  be  sold  at  his  shop  in  Chancery  Lane  neere  Sergeant's 
Inne ' ;  and  that  the  two  other  copies  known  at  present 
(one  in  the  Lenox  Collection,  New  York)  are  in  libraries 
not  likely  to  be  dispersed.  Book-plate  of  the  Rev.  George 
Bythesea.  Two  small  pieces  torn  ofl  top  corners  of  first 
two  leaves,  but  no  text  injured  •  See  '  Book  Sales  of  1902," 
p.  18,  Nos.  4  and  11.  and  p.  20,  No.  35. 

R.P.  for  1664  title-page.  (Former  R.P.,  1901,  13^  by  8;  in.,  2  11. 
missing,  old  calf,  £385.)  Book-plate 'Jolifife.'  MS.  inscrip- 
tion on  title-page,  '  I  promise  to  return  to  Mrs.  • this 

book  in  May  16S9.  witness  my  hand.'  Two  or  three  letters 
in  last  leaf  possibly  in  facsimile.  Fine  copy.  *  See  *  Book 
Sales  of  1902.'  p.  19,  No.  13. 

Title-page,  Droeshout  portrait  engraved  on  it,  leaf  of  Verses, 
in  large  type,  opposite,  each  cut  down  and  mounted.  K.P. 
for  Third  FoUo  with  rare  1663  t.p.  Hibbert,  1902,  13J  by 
8J  in.,  1663  t.p.,  and  that  dated  1664  before  doubtful  plays, 
morocco  by  Bedford,  £755.  *  See  '  Book  Sales  of  1902,' 
p.  18,  No.  3. 

Piibd.  IS.  6d.  Presentation  copy  to  Mr.  Francis  Foster, 
whose  name  is  tilled  in,  perhaps  in  Walton's  autograph, 
on  p.  3.  Angler's  song,  pp.  216-7,  full  margins  all  round, 
p.  245  wide  blank  margin  outside  the  word  'love.'  *  See 
•  Book  Sales  of  1902,'  p.  19,  No.  22. 

R.P.  for  this  book  and  also  for  a  work  by  Milton.  (Former 
Milton  R.P..  '  Lycidas,'  E.P.,  July  30,  igo2.  :Ci99.}  A  few 
wormholes  in  the  corner  of  the  last  five  leaves,  not  touch- 
ing text.  Has  the  two  blank  leaves  at  beginning  and  at 
end  :  wrong  line-numbers  uncorrected  ;  Canto  3  as  first 
printed.  Pubd.  3s.  Manton,  1678,  3s.:  Lawrence,  1892, 
large,  in  orig.  binding,  ;Ci2o,  apparently  former  R.P.  Dealer 
said  to  have  paid  £iSo  for  a  copy,  perhaps  at  auction  in 
country.    See  Burlington  Gazette,  April,  p.  23,  No.  11. 

R.P.  (Former  R.P.:  Prime,  1902,  7i  by  4t  in..  Vol.  U 
2nd  edtn.,  £245.)  Vol.  I,  with  the  catalogue  of  Taylor's 
publications  at  end,  has  fly-leaves  filled  with  contem- 
porary MS.  notes  relating  to  the  work  and  has  some  MS. 
corrections  in  text.  Roxburghe,  1812,  £1  4s.;  Percy  Ashburn- 
ham,  1897,  orig.  calf.  Vol.  U  apparently  in  rnd  edtn..  O9 : 

1902,  Vol.  1  only,  orig.  calf,  7^  by  4,' in.,  Taylor's  cat.  at 
end,  ](^223;  Hibbert,   1902,  3  vols.,  c.ilf  by   r.edtord,   £206. 

1903,  May  13,  Baker-Wilbraham  (127),  3  vols.,  \'ol.  I  lack- 
ing four  leaves  of  advertisements  at  end.  Vol.  Ill  wanting 
a  plate,  old  calf,  £151. 

R.P.  Two  copies  only  are  known  of  an  un-dated  and  maybe 
earlier  issue,  with  the  imprint  after  the  names  of  Buck 
and  Daniel, '  and  are  to  be  sold  by  Francis  Green,  stationer 
in  Cambridge.'  One  of  these  is  in  the  Huth  Library,  a 
second,  measuring  6  by  s^^j  in.,  made  $1,050  at  the  Foote 
Sale,  New  York,  1895.  Lowndes  records  a  copy  with  the 
duplicate  title,  dated  1632,  in  old  olive  morocco,  which 
sold;  Brand,  1807-8,  £3;  Heber,  1830,  £10:  Pickering, 
1854.  jC'9  15s. 

Lacks  A  I,  2,  and  3,  and  M  i.  Each  page  surrounded  by 
finely  engraved  woodcut  borders,  in  compartments  enclos- 
ing figures  of  saints,  scenes  from  the  life  of  Christ,  etc. 
Macfarlane,  No.  229,  Brunei,  No.  134,  both  quoted  from 
Panzer.  VII,  504. 

Small  portion  of  outer  margin  of  pp.  g-io  torn  off,  inner  lower 
corner  of  pp.  295-6  defective.  Otherwise  good.  •  See 
'  Book  Sales  of  1902,'  p.  20,  No.  39. 

R.P.  Shakespeare  herein  called  the  '  Smooth-tongued  Meli- 
cent.'  Strettell,  1820,  £1  i8s. :  Corser,  1867,  2  gns.,  said  to 
be  the  last  complete  copy  till  present  one  which  has  oc- 
curred at  auction ;  Halliwell-Phillipps,  1889,  £12  15s. ; 
Wiper,  1S91,  £5  los. — two  last  probably  incomplete. 

Copy  in  Huth  Library,  from  the  Mitford,  Taylour,  Park,  and 
Utterson  collections,  hitherto  deemed  unique.  'Tales' 
continued  in  *  Nature's  Embassie.' 

Pubd.  £20.  Lowest  price  obtained  at  auction  for  unsoiled 
copy  since  igoi. 

With  both  lists  of  errata,  one  at  the  beginning,  the  other  at 
the  end,  and  the  poem  by  Samuel  Daniel  prefixed,  jgoi, 
large  copy,  orig.  calf,  arms  of  I'^ngland,  with  lists  of  errata 
by  Daniel,  £76.    •  See  '  Book  Sales  of  1902,' 


,  No. 


R.P. 


Has  leaf  of  License,  dated  July  2, 1G70,  leaf  of  Errata 
end,  and  the  two  blank  leaves  at  beginning  and  entl 
""■  price-mark  is.    Turner,  1888,  mor.  by  Bedford,  £12 


Old 


Turner,  1888,  1 
Foote,  New  York,  1895,  mor.  by  Stikeman,  975. 
Jan.  15  (155)  (P.),  uncut,  7^^  by  5  in.,  wanting  leaf  of  Im- 
primatur and  t.p.  to  '  Paradise  Regain'd,'  ,^31  los. 
P.     Copies   in    original    state    very    rare.     Young,   1896, 
boards,  uncut,  £20. 


The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
descriptions,  within  brackets,  (h)  Sold  by  Hodgson,  (p)  by  Puttick,  all  others  by 
ith  all  faults.     R.P.  Record  Price. 


BOOK     SALES 


AuTiiOK  OR  Translator,  Title, 
Description. 


Printer, 
Publisher, 
OR  Place. 


16    Wither,  G.     Collection  of  Erableraes.  A.M(althewe)       1635       May  21 
Folio.      Lottery  leaf  at  end        for    Robert 
with  the  rare  pointers.     Orig.  calf.         Milbourne 

(1075  1 


Coryat,  T.  Crudities.  E.P.  4to..  8J 
by  Gin.     Orig.  sheepskin.     (199) 

Bacon.  F.,  Cornwallis.  Sir  W.,  and 
Johnson,  R.  Essays.  Three  works 
ill  one  vol.  12  mo.,  5  by  2i|'  in.,  and 
lA  in.  thick.     Orig.  vellum.     (25)0 


Congreve.       W.        Incognita.        El'. 

i2mo..  5j  by  3^  in.    Orig.  calf.    (100) 
C(halkhill?),  Alcilia.        ^ 

John  4to.,  65  by 

Marston,  J.     I'igmalion's  I      sin.    Old 
Image.       I     half  calf. 
r(age).  S.       Amos  and  {189)  ^^) 

Laura.      J 
Columbus.      Letter.      4to.       Modern 

French  green  morocco.     (ig6) 


22.  Beaumont  and    Fletcher. 

and   Tragedies.      E.P.      Folio, 
by  8}  in.     Old  calf.     (233) 

23.  Winslow,   E.       Hypocrisie   unmasked 

E.I'.       4to..  fi  by  5ft  in,       Uncut 
Unbound.     (42) 


W.  S. 


Respectively 

for     J.     Jag- 

gard :  by  Jos. 

Harrison; 

and     for    J . 

Mache 

For        Peter 

Buck 

For  Richard 

Hawkins 


161 1 
1606-7 


1692 
1613 


May  18 
May  18 


May  : 
May  : 


Comedies     ForH.Robin- 
2i  !     son  and  H. 
j      Moseley 
R.  Cotes  for 
John  Bellamy 


May  6 


24.  Glanville,    Bart.      De    Proprietatibus  1    Wynkyn  de    '(i495?)     May  19 
Rerum.       Englished    by    John    de  Worde 

Trevisa.     Folio,  loj  by  7J  in.      Mo-  , 

rocco  by  Riviere.     (529)  (') 


25.  Smith,  Captain  John.    Advertisements       J.  Haviland 
for    the     Unexperienced     Planters. 
4to.     With  other  Tracts.     (159)  (-) 


1631        May  18 


M  useum.' 
1854,  more 


a?Mault5, 


by  'ClcopliU,'  wrlilcn  'In  thf 


!  years  at  auction. 


Dr.  A.  B.  Grosart,  in  introduciion  to  reprint  of  what  Is  said 
10  be  unique  copy  of  orixlnal  edition,  1595.  in  town 
Library  at  Hamburg,  dispnlcd  Challihlil's  authorship  ol 
Hart  I.  Fan  III  dedicated  "To  my  approved  and  much 
rcspecled  (rlend  Iz    Wa(llon).'    Most  complete  copy  re- 


Slgnatures  aa-cc  in  S's,  and  dd  and  ce  in  frs.  Columbus 
Letter,  preceded  by  Verardus'  Relation  of  Capture  of 
Grenada  by  Ferdinand,  begins  on  dd  6.  Book-plate  of 
Edward  Gregory.  LeBferls,  1902,  brown  morocco,  jOjo. 
•  Sec  '  Book  Sales  of  igoj,'  p  26.  No.  162. 

With,  at  end,  K.P.  of  Wild  Goose  Chase,  1652.  HIbbert. 
igoj,  •  Comedies  and  Tragedies '  only,  mor.  by  Bedford, 
£63. 

R.P.  Seldom  occurs.  The  •  Briel  Narration,' added, '  sup- 
plied the  first  connected  account  in  print  of  the  prepara- 
tions in  Lcydcn  for  removal  to  America,  and  incldenully 
preserved  the  substance  of  John  Robinson's  farewell 
address  to  the  departing  portion  of  his  flock.'  1862.  £6  los. 

Lacks  blank  leaf  in  a,  eight  leaves  at  beginning  and  five  at 
end  in  facsimile,  a  few  leaves  mended.  Hook-plate  of 
Charles  lames  Cotes,  Pilchford  Hall.  First  l)ook  printed 
on  paper  made  in  England,  nianulacturcii  at  Hertford  by 
John  Tate,  whose  name  U  mentioned  in  the  •  Prohemium.' 
One  of  the  finest  works  produced  by  De  Worde.  Roi- 
iacklngtwo  leaves,  67  gns.;  White  Knights, 
Ashburnbam,  1897,  first  and  last  leavM  In 

.„„ ,  ^.,i;  Newnham  Davis,  ipoo,  12  by  8i  in.,  modern 

russia,  lacking  blank  leaf  of  a,  title  and  neil  leaf  inlaid, 
mended  in  several  places,  £212,  R.P. 

•  Advertisements '  has  full-length  portrait,  crowned  and  partly 
armoured,  of  Charles  I,  not  mentioned  in  Lowndes  colla- 
lation,  which  is  mended  and  mounted,  the  map  is  lacking, 
leaf  to  reader  defective.  The  volume  contains  Whit- 
bourne's  '  Discourse  and  Discoverie  of  Newfoundland, 
1623,  R.  Boothbys ' 
car,'  1646,  R.  Cove.i«=  ..u,: 
Report  of  an  Englishman.'  1614,  c 


Table  No.   IV.-NINETEENTH    CENTURY    FIRST    EDITIONS 


Shelley,  P.  B 


Declaration  of  Rights. 
Broadside,  14J  by  Sin. 
Proposals  for  an  Associ- 
tionof  .  .  .  Philan- 
thropists. Uncut,  Sjl 
bysiin.    (684) 


Shelley,  P.  B.  Queen  Mab.  8vo., 
7i  by  48  in.,  uncut.  Orig.  brown 
boards,  fresh  condition.     (820) 

Dickens,  C.  Pickwick  Papers.  Orig. 
parts,  wrappers  and  advertisements, 
with  the  Buss  plates.    8vo.     (895) 


Printer, 
Publisher, 
OR  Place. 


;.  Eton, Dub- 
lin 


P.B.Shelley, 
23,  Chapel 
Street 

Chapman  & 
Hall 


Date  ok  Sale.' 


{I8i2)'l    LadyStrachey, 
1  I       May  20 


1836-7      KemeysHart, 
May  21 


This 'lot'  in  John  Pearson's  Catalogue,  1S70,  priced  15  gns. 
Bought  by  the  late  Lord  Carlingfprd.  K.P.    y"^'  O""" 


mesilc,G.ori; 
The  '  Prop..- 
Street,  Uul'.i 
text.    R.P.  1 


ice,  marked  •  Do. 

iilv  others  traced. 
i.^n,  Winetavero 
.md  iS  pp.  Sue 
K.I'.:  '  Adonals.' 

i>ld  HIbbert,  1902, 


1821,  presenit-.i  10    sitcn.iru 
£270.) 
RP     IFormer  R.P. :    Hibberl,  1902,  calf  by   Bedford,    f6o) 

■  Fine  condition,  with  the  iltlepago,  dedication  to  Harrtct. 
and  last  leaf  containing  re|)etllion  of  the  imprint.  •  See 
•  Book  Sales  of  I902,' p.  27,  No.  13.  „       ,    . 

U  P     Pubd.  Zi.    (Former  R.P. :  Wright,  1S99.  first  i|  num. 

■  bers  Inscribed  '  Mary  H.^j-irth.  From  hers  Atfy.  (.htrlos 
Dickens.'  £105).  With  the  four  addresses  In  Nos.  J.  3.  "o 
and  15:  Seymour's  name  on  first  two  wrappers,  that  of 
R  W  Buss  on  third;  first  issue  of  Phli  plates,  advertise- 
ments In  parts  i,  2,  and  4  missing.  Every  number  bears 
date  1836. 


in  notes 
Sotheby 


Important  duplicate  copies  mentioned 


*  'The  Book  Sales  of  1902  with  Tabulated  Prices.'  The  Sav.le  Publ.sh.ng  Company  ^t"  •  »•     i^"^'^„'\„7irpu„ick'  all  others  by 
SEP    Editio  princeps.     Catalogue  numbers,  after  descriptions,  within  brackets.     (11)  Sold  by  Hodgson,  (P)  by  1  utticK,  an  otners  oy 
(')  Slightly  defective.     (»)  Defective.     (')  Sold  with  all  faults.     R.P.  Record  Price. 

Si 


THE     BURLINGTON     GAZETTE 


Author  or  Translator,  Title, 
Description. 


4.  Lamb.  Chas.  and  Mary.      Tales    from 

Shakespeir.  2  vols.,  i2mo..  yi  by 
4;  in.  Entirely  uncut.  Orig.  blue 
boards,  back  rubbed  off.     (613) 

5.  Scott,  Sir  W.    Guy  Mannering.    3  vols 

8vo.,  7J  by  4!  in.,  uncut.  Orig. 
boards,  backs  rubbed.  All  six  half 
titles.     (814) 

6.  Lamb,  C.     Essays  of  Elia.     2  \ols.    .. 

Last  Essays  ot  Elia.  i  vol. 
Svo.  t.e.g.,  others  uncut. 
Mor   by  Riviere.     (612) 

7.  Byron,  Lord.  Hours  of  Idleness.  Large 

paper.  Svo,,  8|  by  5i  in.  Orig. 
bds.,  paper  label  on  back.     (69) 

8.  Bronte,  Charlotte.    Jane  Eyre.    3  vols. 

8vo.,  7j  by  4^  in.  Uncut.  Orig. 
brown  cloth.     (60) 

g.  Thackeray,  W.  M.  History  of  Pen- 
dennis.  2  vols.  8vo.  Half  mo- 
rocco, specimen  wrapper  bound  up. 


Printer, 
Publisher, 
or  Place. 


for     Thos. 
Hodgkins 

James  Ballan- 
tyne,  Edin- 
burgh,   for 
Longman, 
Hurst  &  Co. 

For  Taylor  & 
Hessey 

For  Edward 
MoNon 

S.  &J.Ridge, 
Newark 

Stewart  & 
Murray  for 
Smith  El- 
der 

Bradbury  & 
Evans 


May  21 


May  : 


1849-50     May 


orig.  half  bindinsj,  ^25 


t 
'1 

The  first  '  Essays  •  are  in  two  states  :  '  Printed  for  Taylor  and 
Hessey,  Fleet  Street,' and  '  Printed  for  Taylor  and  Hessey, 
<)i.  I-leet  Street,  and  13,  Waterloo  Place,'  this  last  issue 
having  a  half-title  which  the  other  was  published  without 
♦  Se;  •  Book  Sales  of  190;,'  p.  27,  N'os.  6  and  15. 

43 

line  copy  of  ran-  large-l.aper  issue.  R.P.  for  example  with- 
out autograph  notes.  Nichols,  lyoo,  pristine  condition 
£2-,.    See  BuRLi.N'GTON  Gazette,  April,  p.  23,  No.  i. 

38 

R.P.  i.Sg7,  'spotless,'  17  ens. ;  satne  year,  uncut,  autograph 
signature  of  Mary  Howitt  in  Vol.  I,  i;i7.  At  the  titiie 
these  prices  were  regarded  as  the  most  remarkable  ever 
obtained  for  a  three-volume  novel. 

26 

Horace  Mayhevs  copy  org  pen  and  mk  sketch  by 
Tl  ackeray  pasted  in  de  co  er  of  \ol  II  beneath  book 
plaeofRHMck      r  1  I    ae  1     1           ote  by  Thackeray 

10.  Lamb,  Charles  and  Mary.  Poetical 
Recreations  o  the  Champion  and 
His  Literary  Correspondents.  8vo. 
Uncut.  Orig.  boards,  paper  label 
on  back.     (614) 

II  Rossetti,  D.  G.  Sir  Hugh  the  Heron. 
24  pp.  Sewed  into  a  red  paper 
wrapper.     {412) 


JohnThelwell,      1822        May  20 
Champion 


.  Polidori's        1843        May  7(H)..       185 

pr  i  vate 

press 


*  "  The  Book  Sales  of  1902  with  Tabulated  Prices,"  The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets,  (h)  Sold  by  Hodgson,  (p)  by  Puttick,  all  others  by 
Sotheby.     (')  Slightly  defective.     (■)  Defective.     (■■")  Sold  with  all  faults.  "      '  '       ' 


Record  Price. 


COIN    SALES 

A  SO-CALLED  rare  Trafalgar  medal  occurred  lately  at 
an  auction ;  but  these  medals  are  not  rare,  unless 
they  are  in  gold,  when  they  fetch  from  ^^200  to  ;£'300. 
Messrs.  Sotheby  &  Co.  were  engaged  on  the  nth, 
12th  and  13th  ulto.  in  the  sale  of  the  second  portion 
of  the  extensive  numismatic  collections  of  the  late 
Mr.  Murdoch,  embracing  the  Scottish  and  Anglo- 
Gallic  series.  The  general  character  was  not  excep- 
tionally high,  and  there  was  in  fact  a  notable  propor- 
tion of  pieces  in  very  indifferent  state,  owing  to  the 
perhaps  indiscreet  ardour  of  the  owner  for  the  posses- 
sion of  examples  with  even  the  slightest  variation  of 
type.  The  standard  of  prices  was,  under  all  the  cir- 
cumstances, as  high  as  could  be  expected  in  the 
absence  of  anyone  to  compete  for  this  class  of  coins, 
except  in  the  case  of  signal  rarities  and  dcs.idcyata. 
Some  of  the  groats  were  extremely  fine  and  desiralilc, 
and  much  of  the  gold  money  also  left  little  or  nothing 
to  be  desired.  The  Scottish  coins  commenced  with 
David  I  (1124-53).  The  money  of  William  the  Lion 
(1165-1214)  and  Alexander  III  (1249-86)  was,  as 
usual,  most  fully  represented ;  but  a  few  of  the  rarer 
specimens  of  the  latter  reign  fetched  excellent  prices. 
Mr.  Murdoch  obtained  many  of  his  Scottish  coins  by 
private  contract  en  bloc,  the  gold  noble  of  David  II 
inclusive.     The  high-water  mark  for  these  coins  was 

82 


the  famous  Wingate  sale,  when  the  late  Mr.  Coats 
and  others  were  competing,  and  they  have  shown  a 
tendency  to  recede  ever  since.  The  grand  difficulty 
has  always  been  to  obtain  highly  or  even  well  preserved 
specimens,  especially  of  the  billon  and  copper,  which 
accounts  for  the  weak  state  of  so  many  lots  in  the 
Murdoch  cabinet,  and  the  absence  of  so  many  not 
found  procurable.  We  may  note  those  numbers 
which  refer  to  more  or  less  celebrated  issues,  to  dis- 
tinguished rarities,  or  to  examples  of  more  than 
ordinary  merit.  21.  Alexander  II  Penny,  ;^8 ;  24. 
Alexander  III  Penny,  struck  at  Forres  or  Forfar,  £7 
(for  the  mint) ;  32.  Penny  of  same  ruler,  struck  at 
Renfrew,  £10  los.  (for  the  mint)  ;  44-5.  Robert 
Bruce  Halfpenny  and  Farthing,  £j  each  ;  David  II 
Gold  Noble,  imitated  from  those  of  Edward  III,  only 
four  known,  not  very  fine,  £169;  80.  Robert  III 
Short  Cross  Lion  (gold),  £1^;  121.  James  II  Half- 
Lion,  £12;  138.  James  III  Half  Rider  (gold),  £17; 
147.  James  IV  Groat,  of  crown  and  pellet  type, 
;^io  los. ;  151.  Groat  of  same,  with  Arabic  numeral 
and  Roman  lettering,  ^^22  los. ;  James  V  :  Half 
Unicorn  (gold),  ;£"20  los. ;  184.  One  third  Bonnet 
Piece,  £3,0  los. ;  204.  Mary:  Lion  (gold),  £i(y;  205. 
Ditto,  /|'20  (other  gold  coins  of  Mary  brought  high 
prices).  Mary,  Silver:  227.  Testoon,  1561,  £13  15s.; 
231.  Half  Testoon,  1562,  £18  15s.  James  VI:  Forty 
Shilling  Piece  (gold),  £i^  los. ;   268.  Ducat  or  Four 


SILVER     SALES 


Pound  Piece,  1580  (gold),  £zz  los.  ;  272.  Two  Thirds 
Lion,  1584  (gold),  £\o\  ;  27.}.  Two  Thirds  Lion 
Noble,  1587,  £40;  274.  One  third  of  same,  1584, 
/"loo;  278.  Hat  Piece,  1592,  £18  los.  Atielo-Gallic : 
Henry  V  Salute  (gold),  £62  ;  Grqs  d'Argent,  £"19. 
The  Anglo-Gallic  as  well  as  the  Scotish  series,  other- 
wise than  the  lots  cited,  brought  normal  prices. 

On  the  14th  ult.,  and  on  the  25th-26th,  took  place 
two  minor  events — the  collection  of  coins  of  Mr. 
Richard  Starkej',  and  the  Greek  and  Roman  coins 
of  M.  Paul  Charles  Stroehlin,  the  well-known  Swiss 
numismatist,  and  also  a  member  of  the  Numismatic 
Society  of  London.  The  former  was  principally  made 
up  of  a  series  of  coins  of  tiie  British  possessions  and 
colonies  formed  by  Mr.  Atkins,  author  of  the  standartl 
work  on  the  subject.  A  few  of  the  lots  were  interest- 
ing. 118.  Baltimore  Sixpence,  described  as  tine  and 
rare,  ;f  J  15s.;  151.  Fort  Marlboro,  Two-Sookoo  piece, 
1784,  fine  and  rare,  ^Ti  8s.;  154.  Annapolis  Shilling 
token,  1783,  very  fine  and  rare,  £2  4s. ;  156.  Tasmania 
Shilling  token,  1823,  very  tine  and  rare,  £2  4s.  Per- 
haps we  ought  to  add  111-12,  the  Griqua  Town  Ten- 
pence  and  Fivepence,  both  brilliant,  £2  2s.  and 
£1  13s.     There  was  nothing  novel  or  inedited. 

In  the  Stroehlin  sale  there  was  a  heavy  prepon- 
derance of  poor  specimens,  and  large  lots  were  much 
in  evidence.  But  among  the  329  numbers  there  were 
a  few  exceptions  to  the  prevailing  rule,  and  we  will 
mention  some  of  them.  i.  Roman  consular  series, 
Cossea  Gens,  Aureus  ;  5.  Vibia  Gens,  Aureus  ;  ^^. 
Pertinax,  Aureus ;  45.  Constantius  Gallus,  Aureus ; 
22^.  Carausius,  third  brass,  extremely  fine  and  pa- 
tinated.  The  collection  was  rich  in  Roman  coins 
struck  by  Gaulish  usurpers,  and  had  the  air  of  being 
indebted  to  finds,  as  several  pieces,  Philip  of  Macedon, 
Alexander  the  Great,  etc.,  were  represented  by  a 
succession  of  specimens.  The  descriptions  in  the 
catalogue  were  very  faithful,  and  did  not  appear  to  err 
on  the  side  of  over-estimation.  The  Greek  series 
included  quite  a  number  of  pieces  which  would  have 
been  eminently  desirable  in  superior  condition. 

The  collection  of  coins  in  several  series  formed  l>y 
the  late  Mr.  John  Morrison  Stobart,  and  including 
many  fine  examples  from  theCarfrae,  Boyne,  Churchill- 
Babington,  Bunbury,  and  other  cabinets,  was  offered 
for  sale  at  Messrs.  Christie  &  Co.'s  rooms  on  the  i8th, 
19th,  and  20th  ult.  Mr.  Stobart's  range  was  fairly 
wide,  and  comprehended  Greek,  Roman,  Byzantine 
and  oriental  money,  specimens  of  the  English,  Scotish, 
Anglo-Gallic,  and  continental  series,  and  a  few  gems 
and  medals,  the  two  latter  categories  of  no  particular 
extent  or  importance.  As  we  turn  over  the  pages  of 
the  carefully-prepared  catalogue,  we  meet  witii  a 
proportion  of  lots  which  deserve  citation,  with  the 
prices  realized  in  each  case.  i.  Persian  Daric,  gold, 
fine  style  and  very  fine  (Carfrae),  £4;  7.  Amyntas, 
King  of  Galatfa,  Diobol  (Carfrae),  very  fine,  £ig : 
II.  Hiero  H  of  Syracuse,  6o-Litra  piece,  very  fine  and 
rare  (Gnecchi)j  ^1^6  los.;  14.  Carthage,  electrum  piece 
of  i|  staters,  very  fine  and  rare  (Churchill-Babington), 
£2  6s. ;  75.  Trajan,  .Aureus,  interesting  type  and  very 
fine,  3^4  28.  6d. ;  86.  Lucius  Aelius,  Aureus,  very  fine 
and  very  rare,  £4  los. ;  101-2-3.  Three  Aurei  of 
Lucius  Verus,  from  the  Rome  find  of  1894,  all  in  the 
finest    state,    ^3    15s.,    £i    3s.,    and    £2    17s.    Od. : 


176.  Junius  Brutus,  denarius,  very  fine,  £2  2S.  lirithh  : 
184-5.  l^^o  fine  gt>ld  Staters  of  V'erica,  £1  3s.  and 
£2  6s.  English:  198.  Richard  III  gold  Angel  (K. 
H.  Evans),  very  fine,  £"4  2s.  6d.  ;  Henry  VIII  Sove- 
reign, third  coinage,  very  fine,  £y  15s.  ;  205.  George 
Noble,  impublished  variety,  but  cracked,  £"10  los.  ; 
218.  James  I  Spur  Ryal,  very  fine,  £"4  14s.;  219. 
I"ifteen-Shilling  piece,  very  fine  (Whittaker),  £16 ; 
22].  Charles  I  Oxford  Three-Pound  Piece,  extremely 
fine,  1643,  £"i2  5s.;  Charles  II  Pattern  Bnwd,  1662, 
extremely  fine  and  a  rare  variety ,'£3  ids.  Scottish  : 
309.  James  III  Rider  of  first  isi^ue,  very  fine,  £4; 
311.  James  V  Bonnet-Piece,  1540,  very  fine,  £6  5s.; 
315.  Mary  Forty-Shilling  Piece  (gold),  extremely  fine, 
£"12;  317.  Abbey  Crown  or  Ecu,  very  fine,  £"4  6s.; 
322.  James  \T  Hat  Piece,  1593,  very  fine,  £"io  5s.  : 
329.  William  III  Darien  Pistole,  1 701.  extremely  fine, 
£■4  28.  6d.  (this  and  the  half  of  the  same  type  are  said 
to  have  been  struck  from  the  gold  sent  over  by  the 
Darien  Company  in  the  ship  Rising  Suu).  A  nglo-Gallic  : 
^iS-  Edward  II I  Ecu,  extremely  fine,  £'4  1 7s.  6d. ;  340. 
Richard  II  Hardit  of  Bordeaux,  very  fine,  £8  2s.  6d. 
Silver,  British  :  Ouinarius  of  Tasciovanus,  struck  at 
\'erulamium,  only  two  other  specimens  said  to  be 
known,  with  another  piece,  £"6  2S.  6d.  Gold,  Con- 
tinental:  391.  Merovingian  trientes  of  Elafius  and 
Wintrio  (2),  £"2  ;  418.  Pius  IX  lOO-lire  piece,  1868, 
£"4  5s.;  434.  John  V  of  Portugal,  20,000  reis,  1726. 
£"6  los. ;  446.  Salt-Lake  City,  Mormon  5-dollar 
piece,  1849,  with  legend  '  Holiness  .  to  .  the  .  Lord..' 
extremely  rare  and  curious,  £2  los.  Lot  298.  Victoria 
pattern  Five-Pound  Piece,  1839,  was  the  common 
variety,  with  the  inscribed  edge,  the  Garter  on  left 
shoulder  of  Una,  and  the  altered  reading  Dirigc. 
It  fetched  £"9  2s.  6d. 


SILVER    SALES     April  30  to  May  15 

The  month  of  April  closed  and  that  of  May  opened 
with  the  two  days'  sale  at  Christie's  rooms  of  the 
plate,  lace,  and  exceedingly  fine  jewels  of  the  late 
Lady  Henry  Gordon  Lennox,  the  plate  of  the  late 
Mr.  White,  and  a  collection  of  jewels  from  various 
sources. 

P'ine,  however,  as  were  the  jewels,  and  handsomf 
as  was  the  plate,  any  mention  of  them  in  the  page.=  o( 
the  Gazetti;  except'in  the  most  cursory  fashion  would 
be  distinctly  out  of  place,  since,  with  a  few  isolated 
exceptions,  the  entire  catalogue  for  the  two  days  con- 
sisted of  modern  articles,  and  even  the  few  that  could. 
perhaps  more  by  courtesy  than  by  right,  have  been 
called  ancient,  realized  no  more  than  their  frankly 
modern  companions. 

Mr.  White  seems  to  have  possessed  a  singularlv 
large  service  of  plate,  consisting  as  it  did  of  seven 
dozen  and  eight  dinner  plates,  two  dozen  soup  plates, 
and  twenty  oval  meat  dishes  varying  in  size  from 
14  in.  to  12  in.  The  bulk  of  this  service  was  made  in 
1781,  though  it  was  added  to  from  time  to  time,  the 
latest  pieces  bearing  the  date  mark  of  1827.  The 
prices  of  this  service,  which  was  divided  into  seventeen 
lots,  ranged  from  2s.  iid.  to  8s.  6d.  an  ounce,  the 
total   for  the  seventeen  lots  being  only  £"570   17s.  8d. 


Si 


THE     BURLINGTON     GAZETTE 


Similar  plate  can  to-day  be  made  for  about  45.-55. 
an  ounce. 

Lady  Henry  Lennox's  jewels  (sold  on  the  30th) 
realized  £"41,116  15s.,  and  the  other  jewels  sold  on 
the  same  day  brought  up  the  grand  total  for  Friday 
to  ;f58,293  2s.  6d.  This  sale  included  the  inevitable 
;f20,ooo  (and  over)  pearl  necklace,  without  which 
apparently  no  season's  sales  at  King  Street  would  be 
considered  complete,  at  all  events  during  the  twentieth 
century.  The  one  just  sold,  however,  has  broken  the 
previous  records  by  several  hundreds  of  pounds,  having 
realized  ;£"22,500.  That  sold  last  year  as  the  property  of 
a  French  lady  of  rank,  and  which  is  now  known  to  have 
belonged  to  Mme.  Humbert,  and  the  necklace  of  the 
Countess  of  Dudley,  both  come  very  close  behind  it. 
At  this  sale  also  a  ring  containing  a  remarkably  fine 
oval  rub}'  and  two  fine  brilliants  made  ;f  1,500. 

There  has  so  far  this  month  been  only  one  sale  of 
antique  silver  worth  mentioning,  that  of  the  property 
of  the  Hon.  Mrs.  Baillie-Hamilton,  which  was  formerly 
in  the  collection  of  the  second  Marquessof  Breadalbane, 
and  the  best  pieces  in  which  were  of  German  origin. 
The  sale  also  included  (from  various  sources)  some 
good  examples  of  Elizabethan,  Commonwealth  and 
Charles  II  plate,  also  a  few  early  English  spoons  of 
no  great  importance. 

The  important  lots  in  the  Baillie-Hamilton  collec- 
tion were,  as  has  been  said,  almost  entirely  of  foreign 
manufacture;  still  there  were  two  examples  of  early 
English  work — a  Charles  II  wine-cooler  and  a  James  I 
salt-cellar — both,  however,  good  pieces  spoilt  by  rede- 
coration  at  a  later  period  and  sold  on  that  account  for 
a  far  smaller  sum  than  that  which  they  would  have 
realized  had  they  been  in  their  pristine  condition. 

Of  the  foreign  silver,  the  finest  perhaps  of  the  four 
noteworthy  lots  was  the  tankard  and  cover  of  Augs- 
burg workmanship,  circa  1600.  The  barrel  and  cover 
of  this  fine  piece  are  exquisitely  chased  with  scenes 
from  the  Old  and  New  Testaments,  the  cover  being 
surmounted  by  a  figure  of  Cupid  holding  a  shield; 
the  ^handle  is  chased  as  a  terminal  figure,  satyr's 
mask  and  eagle's  claw ;  and  the  billet  consists  of  an 
infant  Bacchanal.  This  very  fine  piece,  which  is 
coeval  with  our  late  Elizabethan  period,  only  realized 
£15  5s.  an  ounce;  but  then  it  was  made  in  an  artistic 
centre  like  Augsburg  and  not  in  London,  which  is  the 
only,  though  paradoxical,  way  of  accounting  for  the 
price.  Needless  to  say  it  was  acquired  by  a  foreign 
dealer,  as  also  was  the  next  finest  piece — a  small  cup 
by  Hans  Petzolt  of  Nuremberg,  1578,  finely  engraved 
round  the  lip  with  scriptural  subjects,  and  with  its 
lower  part  repousse  with  panels  divided  by  chased 
strapwork  ;  the  foot  is  circular  and  pierced,  and 
chased  with  a  fine  design.  This  cup,  which  only 
weighed  70Z.,  fetched  jTi 8  per  ounce.  The  same  buyer 
acquired  a  13  in.  standing  cup  and  cover  of  sixteenth- 
century  Augsburg  work  for  £11  5s.  an  ounce.  It  was 
decorated  with  bands  of  fruit  and  masks  in  strapwork 
borders,  and  engraved  round  the  lip  with  a  running 
arabesque  of  foliage  and  birds  ;  while  the  cover  was 
surmounted  by  a  figure  of  a  man  with  a  spear. 

Perhaps  the  most  exquisite  example  of  foreign 
workmanship,  however,  was  acquired  by  an  English- 
man. I  allude  to  the  sixteenth-century  hexagonal 
trencher    salt    of    Augsburg    manufacture.        It    had 

84 


moulded  borders  and  was  minutely  chased  with  stags 
and  other  wild  animals  running  in  a  landscape.  It 
weighed  only  3  oz.  18  dwt.,  and  was  but  2  in.  high, 
and  was  a  decided  acquisition  at  the  price. 

Leaving  the  Baillie-Hamilton  silver  and  coming  to 
the  early  English  pieces,  we  commence  with  what  is 
undoubtedly  the  greatest  bargain  of  this  season  so  far 
as  it  has  gone.  I  refer  of  course  to  the  silver  gilt 
Elizabethan  standing  salt  and  cover,  perfectly  and 
fully  marked  both  with  London  hall-mark  for  1573 
and  maker's  mark,  a  bird  with  outspread  wings. 
This  piece,  which  much  resembles  in  execution  the 
one  sold  earlier  in  the  year  for  over  £3,000,  though  of 
quite  different  form  and  design,  was  acquired  for 
£620,  or  little  more  than  one  third  of  its  estimated 
value  under  the  hammer.  It  stood  9^  in.  high  and 
weighed   13  oz.  9  dwt.      It   was   rectangular  in  shape  -  | 

and  supported  by  four  quaint  crouching  caryatid  gro-  ■ 

tesques.     The  entire  decoration   was   in  the  Renais-  ^ 

sance  manner,  consisting  of  chased  and  embossed 
fruits,  flowers,  masks  and  shields,  and  the  whole  was 
surmounted  by  a  figure  of  a  boy  holding  a  spear  and 
shield,  very  similar  to  that  on  the  other  salt  just 
mentioned.  It  had  an  additional  interest  and  value 
all  its  own  in  the  fact  that  its  pedigree  was  unbroken 
and  unimpeachable.  It  was  originally  made  for  or 
presented  to  Sir  Thomas  Sadleir,  a  member  of  Queen 
Elizabeth's  court,  and  had  remained  in  his  family  up 
to  the  day  of  its  sale  three  weeks  ago.  It  was  almost, 
though  not  quite,  in  its  original  condition. 

Another  very  interesting  lot  was  the  nest  of  four  , 

Charles  II  beakers,  bearing  the  shield-of-arms  and 
coronet  of  the  Earls  of  Thanet,  by  the  third  bearer  of 
which  title,  Nicholas,  they  were  presented  about  1675 
(eleven  years  after  they  were  made)  to  John  and 
Roger  Coates,  in  return  for  services  rendered.  The 
set  realized  nearly  £800,  while  only  a  quarter  of  that 
sum  was  bidden  for  an  almost  similar  nest  with  similar 
pedigree,  but  with  nearly  obliterated  date  and  maker's 
marks,  and  with  an  inscription  added  more  than  a 
hundred  years  later.  The  Cromwell  plain  tankard, 
which  formed  the  next  and  also  the  last  important  lot 
in  the  sale,  was  about  as  good  an  example  of  its  sort 
as  could  be  desired,  beside  which  it  also  had  an  interest- 
ing and  unimpeachable  pedigree.  It  stood  y^  in.  high, 
and  bore  the  London  hall-mark  for  1655.  It  was 
made  by  Henry  Greenway,  and  bore  the  following  in- 
scription, together  with  the  donor's  coat-of-arms : 
'  The  Guift  of  Isaac  Creme  Gentleman,  to  Barnard's 
Inne  London,  1656.'  This  fine  specimen  was  sold  for 
the  handsome  sum  of  £631  15s.  6d.  In  the  same  sale, 
a  small  plain  bowl  by  \V.  Fleming,  1715,  made  £g 
an  ounce. 

PORCELAIN   AND   POTTERY  SALES 
May  1  =  15 

It  would  indeed  be  difficult  to  imagine  a  more  eclectic 
assemblage  of  porcelain — and,  to  a  less  extent,  of  mis- 
cellaneous objects  of  art — than  that  sold  at  Sotheby's 
on  May  4  and  5,  constituting  the  collection  of  the  late 
J.  G.  Murdoch,  the  first  instalment  of  whose  almost 
unique  collection  of  coins  took  place  also  at  Sotheby's 
from  March  31  to  April  3,  and  was  consequently  re- 
corded   in    last    month's   Gazette.      Although    Mr. 


PORCELAIN  AND  POTTERY  SALES 


Murdoch's  collection  contained  typical  examples  from 
practicall)'  all  the  English  and  some  of  the  scarcer 
foreif^n  factories,  still  the  clou  of  the  two  days'  sale 
undoubtedly  consisted  in  his  specimens  of  Worcester, 
comprising  probably  specimens  of  every  known  variety 
uid  mark,  and  consisting  of  eighty  lots  in  all. 

Another  highly  interesting  and  characteristic  feature 
(if  the  collections  though  perhaps  'twas  caviare  to 
(he  general,  were  the  forty-five  lots  of  portraits  by 
lames  and  William  Tassie,  arranged  alphabetically, 
and  comprising  some  150  different  portraits  in  all.  In 
addition  to  these  portraits,  there  were  hundreds  of 
reproductions  from  the  same  source  of  antiepie  gems, 
medals,  coins,  seals,  camei  and  intagli ;  the  whole 
formed  an  excellent  assemblage  of  the  works  of  these 
celebrated  but  now  rather  neglected  artists. 

To  begin  with  the  Worcester.  The  first  important 
lot,  and,  for  the  matter  of  that,  the  most  important 
lot  in  the  whole  sale,  was  of  course  the  square-mark 
tea  and  coffee  service,  painted  with  panels  of  exotic 
birds  on  a  scale-blue  ground.  This  exceptionally  fine 
and  perfect  service,  which  realized  £740,  consisted  of 
seventy-seven  pieces  in  all,  reckoning  (dealer  style) 
each  lid,  traj',  saucer  and  stand  as  a  piece.  It  in- 
cluded, among  other  items,  twenty-four  teacups,  twelve 
coffee  cups  and  twenty-four  saucers.  The  same  buyer, 
a  little  later  on,  purchased  for  £^2  an  almost  similar 
tea-pot  and  cover.  A  square-mark  bowl,  decorated 
with  panels  of  mazarine  blue  and  Indian  flowers, 
made  £2^,  and  a  milk-jug  of  similar  decoration  and 
mari;  a  few  shillings  less.  A  pair  of  deep-fiuted  plates, 
with  scale-blue  ground,  decorated  with  panels  of  flowers, 
fetched  £55,  and  a  number  of  other  plates  fetched  from 
£5  to  ;^"io  apiece. 

The  porcelain  on  the  second  day  comprised,  in 
addition  to  the  Worcester,  a  very  scarce  oriental 
famille-noir  teapot  with  perforated  sides  of  panels, 
and  a  pair  of  Nantgarw  plates  with  impressed  mark, 
painted  with  groups  of  flowers  in  gilt  borders  and 
birds  in  the  centres  ;  both  of  which  sold  for  good 
prices.  Of  the  Worcester,  a  scjuare-mark  deep-fluted 
plate  with  a  mazarine  border,  painted  with  exotic 
birds,  made  £36 ;  a  similar  one  of  smaller  size, 
jTaS;  and  a  square-mark  double-handed  chocolate  cup 
and  saucer,  decorated  with  exotic  birds  on  scale-blue 
ground,  £46.  An  interesting  and  important  feature 
of  the  second  day's  Worcester  was  the  number  of 
Nelson  relics  it  contained,  the  most  noteworthy  of 
these  being  a  cup  and  saucer  from  the  historical  ser- 
vice presented  to  Admiral  \'iscount  Nelson  by  the 
ladies  of  England,  in  recognition  of  his  victories, 
which  fetched  £20  5s.  Two  cups  and  saucers  and  a 
milk-jug  decorated  with  a  wreath  of  oak  leaves  round 
the  borders,  and  Lord  Nelson's  coronet,  arms  and 
crest  in  centre,  from  Lord  Bridport's  sale,  made,  to- 
gether, ;jr52  5s.  ;  while  jTiy  15s.  was  paid  for  a  goblet 
(also  from  the  Bridport  sale)  without  arms,  but  painted 
with  an  anchor  within  a  wreath,  and  the  dates, 
'2nd  April,  Baltic,'  'The  Glorious  ist  August,'  and 
'  14th  February.'  A  tureen,  three  plates  and  a  soup- 
plate  from  the  Earl  of  Errol's  collection,  decorated 
with  subjects  of  '  Hope  '  (said  to  represent  Emma 
Lady  Hamilton),  and  marked  'Flight'  under  a  crown, 
fetched  £62  los.  A  dessert  plate  painted  in  panels 
with  royal  orders  and  V.R.  in  the  centre  (a  portion 


of  the  service  used  at  the  coronation  of  (Jueen  Vic- 
toria) made  ^9  los. 

Before  commenting  on  the  prices  made  by  the 
Tassie  portraits,  it  may  be  of  interest  to  set  forth  a 
few  facts  regarding  this  remarkable  man  (to  whom, 
together  with  Wedgwood,  Flaxman,  and  the  brothers 
Adam,  the  renaissance  of  classical  art  in  the  eighteenth 
century  was  mainly  due),  taken  from  the  admirable 
biographical  sketch  of  James  and  William  Tassie  by 
the  late  Mr.  J.  M.  Gray,  curator  of  the  Scottish 
National  Gallery  and  the  Tassie  Collection  at  Edin- 
burgh. According  to  him,  Tassie  was  born  in 
1735  (or  five  years  after  Wedgwood),  of  middle-class 
parents  (the  family  originally  came  to  Scotland  as 
refugees  from  Italy,  where  they  are  stated  to  have 
been  of  good  repute).  He  commenced  life  as  a  stone- 
mason and  acquired  his  first  real  lessons  in  art  at 
the  academy  established  in  Glasgow  by  the  brothers 
F'oulis,  printers  and  art  patrons.  It  was  here  that  he 
first  studied  the  art  of  modelling,  to  his  skill  in  which 
he  owed  his  introduction  to  Dr.  ^uin,  six  times  presi- 
dent of  the  Royal  College  of  Physicians,  Dublin,  a 
typical  virtuoso  of  the  period,  and  a  man  of  many  parts. 
It  was  conjointly  with  yuin  that  Tassie  invented  his 
celebrated  enamel  of  vitreous  paste  (really  a  highly 
fusible  glass)  in  which  most  of  his  works  were  exe- 
cuted. On  Quin's  advice  Tassie  came  to  London 
in  1766,  where,  after  a  few  years  of  hardship  and 
struggling,  his  talents  received  due  recognition,  and 
he  obtained  access  to  most  of  the  finest  collections  of 
anticiue  gems,  coins  and  medals,  which  he  repro- 
duced in  facsimile,  copying  the  colour  of  the  gems  so 
accurately  as,  it  is  said,  to  deceive  experts.  Very 
shortly  after  his  arrival  in  London,  Tassie  was  em- 
ploj'ed  by  Wedgwood,  as  the  following  bill  proves  : — 

Messrs.  Wedgwood  and  Bentley,  Bill,  Nov.  iitm,  1769. 

To  70  impressions  in  Sulfer,  at  2d  a  piece  ..11     8 

Two  enammel  impressions   . .  . .  . .  ..20 


The  great  potter  used  to  speak  of  Tassie  as  '  an 
admirable  artist  and  an  honourable  man,  whom  it  is 
a  credit  to  emulate,  although  his  seals  are  not  so  good 
as  mine.'  This  last  statement  was,  however,  palpably 
untrue,  and  it  was  the  superiority  of  Tassie's  pro- 
ductions in  this  special  branch  of  plastic  art  which 
led  shortly  afterwards  to  strained  relations  and 
mutual  recriminations  between  the  two  men.  Tassie 
executed  the  first  plaster  casts  that  were  made 
from  the  Portland  or  Barberini  vase,  before  it  passed 
from  the  latter  family  into  the  hands  of  the  former. 
In  1783  the  Empress  Catharine  of  Russia  ordered 
from  Tassie  a  complete  collection  of  his  '  Pastes  in 
imitation  of  gems  and  cameos,'  with  the  idea  of 
representing  the  origin,  progress,  and  present  state 
of  engraving.  This  Russian  collection  was  arranged 
and  described  by  Raspe,  the  archaologist  and  reputed 
author  of  'The  Adventures  of  Baron  Munchausen,' 
who  in  17S6,  on  completing  his  task,  published  an 
octavo  volume  of  thirtv-five  pages  describing  Tassie's 
methods,  and  giving  a  catalogue  of  his  principal 
productions. 


THE     BURLINGTON     GAZETTE 

Tassie's  portraits  of  contemporary  personages 
(mostly  Scottish)  were  first  modelled  from  life  in  wax, 
and  then  reproduced  in  his  vitreous  enamel  and 
mounted  on  a  background  of  clear  or  slightly  obscured 
glass,  softly  tinted  by  coloured  paper  placed  behind  it. 
In  regard  to  these  portraits  (500  in  number),  of  which 
Mr.  Murdoch's  collection  contained  about  140  only, 
it  is  interesting  to  note  that  the  prices  just  paid  for 
them,  ranging  from  £1  to  about  £6  los.  apiece,  are 
on  the  average  almost  identical  with  those  given  at 
the  great  Tassie  or  Vernon  sale  held  at  Christie's  in 
1882,  the  date  named  in  Tassie's  will  for  the  dispersal 
of  his  stock.  It  thus  appears  that  Tassie's  ordinary 
productions  have  stood  the  time  test  better  than  have 
those  of  his  quondam  employer  and  rival  Wedgwood, 
whose  value,  with  the  exception  of  picked  specimens,  is 
to-day  decidedly  lower  than  it  was  in  the  eighties,  the 
three  great  sales  within  a  short  period  of  each  other 
of  the  Shadford  'Walker,  the  W.  Holt  and  the  Cox 
collections  having  broken  the  market  in  Wedgwood  in 
a  fashion  from  which  it  is  only  now  gradually  recover- 
ing. Nearly  all  Mr.  Murdoch's  Tassies  came  origi- 
nally from  the  '82  sale,  passing  through  the  hands  of 
the  late  Mr.  Frayne  of  Cardiff  and  Weston-super- 
Mare.  Raspe's  final  catalogue  of  Tassie's  works, 
issued  in  1795,  includes  nearly  16,000  different  repro- 
ductions from  the  antique. 

In  some  miscellaneous  lots  of  china  sold  at 
Christie's  on  May  8,  a  large  old  Worcester  jug  11  in. 
high,  moulded  with  foliage  in  low  relief  and  a  bearded 
mask  under  the  spout,  and  painted  with  exotic  birds 
and  foliage,  butterflies  and  other  insects,  in  panels  on  a 
dark  blue  scale  ground,  made  the  goodly  sum  of  £147. 

At  a  mixed  sale,  also  at  Christie's,  on  the  15th, 
several  fine  pieces  of  Sevres  appeared  and  realized 
good  prices.  Amongst  the  best  lots  were  a  set  of  four 
pear-shaped  vases,  11  in.  high,  of  whole  colour  apple- 
green  porcelain  with  fine  Louis  XVI  ormolu  mounts, 
;^430  los.;  a  pair  of  white  and  gold  vases  and  covers 
painted  with  children  and  trophies  in  two  panels  and 
with  shoulders  and  covers  pierced,  standing  on  ormulu 
plinths,  £28^  los.  Others  lots  worth  noting  were  a 
cup  and  saucer  painted  by  Chabry  with  Leda  and  the 
Swan  and  an  amatory  trophy  on  an  apple-green 
ground;  a  flattened  vase  6  in.  high,  moulded  round 
the  base  with  a  frieze  of  acanthus  foliage  in  white  and 
gold  on  gros-bleu  ground ;  and  a  tea-service  decorated 
with  gilt  scroll  and  floral  ornaments  on  gros-bleu 
ground  and  painted  by  Massy  with  exotic  birds  on 
white  reserved  panels;  and  a  small  cabaret  decorated 
with  coloured  diaper  ornaments  and  festoons  of 
flowers,  ail  of  which  lots  fetched  well  over  three 
figures.  A  pair  of  terra-cotta  figures  of  recumbent 
sphinxes  with  the  heads  of  Mile,  du  The  and  Mme. 
du   Barry  were  also  very  fine. 


SALES    OF    MISCELLANEOUS 
WORKS    OF    ART— May  1  =  15 

At  the  sale  at  Christie's  on  May  15,  a  number  of 
miniatures  were  sold  ;  the  work  of  John  Smart  being 
particularly  in  evidence,  four  of  his  miniatures  tracing 
their  pedigree  back  to  the  artist's  dauglitcr,  who  gave 
them  to  a  friend  after  his  death. 

86 


The  finest  of  the  Smarts,  however,  was  the  portrait 
of  Mrs.  Ramsay,  wife  of  Allan  Ramsay,  the  Scottish 
portrait  painter.  It  was  a  most  beautiful  work, 
showing  the  lady  in  three-quarter  face,  with  full 
powdered  hair  in  ringlets  on  her  shoulder,  and  wear- 
ing a  semi-decollete  dress  of  white  lawn.  It  realized 
£252,  or  ;f62  less  than  Cosway's  portrait  of  Lady 
Beechey,  the  wife  of  another  portrait  painter. 
Although  far  lower  in  price  than  the  portrait  of 
Mrs.  Ramsay,  Smart's  pair  of  miniatures  of  the  Sykes 
children,  one  in  a  mauve,  the  other  in  a  white  coat, 
were  most  exquisite  works  of  the  first  quality.  At 
this  sale  also  was  sold  a  miniature  by  J.  Russell,  R.A., 
better  known  to  fame  as  a  pastellist,  and  a  fine  early 
male  miniature  in  a  folding  locket  of  French  enamel 
of  an  earlier  date  painted  with  wreaths  of  flowers  in 
colours  on  a  pale  turquoise  ground. 

Of  the  miscellaneous  works  of  art  sold  up  to  date 
the  two  most  notable  were  a  Louis  XVI  gold  snuff- 
box, and  a  French  sixteenth-century  casket  of  metal 
gilt  and  Limoges  enamel.  The  snuff-box,  which  was 
sold  in  the  same  sale  on  May  15  for  50s.  short  of 
£"1,000,  bore  the  Paris  date  letter  for  1765-6.  It  is 
decorated  by  J.  B.  Cheset,  with  an  oval  medallion  in 
the  centre  of  the  lid  representing  a  group  of  girls  and 
youths  sacrificing  to  Bacchus,  enamelled  en  plein  in 
grisaille  on  a  pink  ground.  The  design  at  the  bottom 
is  similar  to  that  on  the  lid  already  described.  Round 
the  border  is  a  chased  colonnade  with  apparently  niches 
enamelled  inpale  pink  and  blue,  each  containinga  statu- 
ette of  Cupid,  Flora,  Pomona  and  a  vase  painted  in 
grisaille.  The  gold  framework  of  the  centre  medallion  is 
composed  of  scroll-work,  figures,  and  festoons  of  laurel 
in  the  st}le  of  the  period,  and  the  whole  is  contained  in 
the  original  shark-skin  case.  The  Renaissance  casket, 
which  was  from  an  anonymous  source,  was  sold  on 
the  same  day  as  the  Oakley- Maund  collection.  It  is 
described  in  the  catalogue  as  being  from  the  Heck- 
scher  collection.  It  was  set  with  twelve  plaques,  of 
coloured  Limoges  enamel,  of  groups  of  children  em- 
blematic of  the  arts  of  Peace  and  War. 

The  armour  in  this  sale  consisted  of  three  sixteenth- 
century  suits — two  German  and  one  Italian  ;  the  latter, 
which  came  from  the  well-known  Cosson  collection, 
was  etched  and  gilt  with  radiating  bands  of  armorial 
trophies  ;  it  was,  however,  not  completely  of  the 
same  period.  In  the  same  collection  were  an  Italian 
sixteenth  -  century  rapier  with  a  swept  hilt,  and  a 
German  two-handled  sword  of  rather  earlier  date  with 
the  original  leather  binding  on  the  grip. 

At  the  same  sale  a  fine  panel  of  old  Brussels 
tapestry,  representing  a  triumph  of  Bacchus  and 
Venus  in  a  spirited  fashion,  with  an  elaborate  border, 
realized  nearly  ;£ 200,  while  over  ^^300  was  given  for  a 
semi-circular  cabinet  of  satinwood,  inlaid  with  festoons 
of  foliage  and  flowers  in  marqueterie  of  different 
coloured  woods.  The  doors  contained  four  plaques  of 
old  Wedgwood  blue  jasper,  with  figures  of  Muses  in 
relief.  As  English  satinwood  goes,  the  price  was  by 
no  means  excessive. 

The  best  pieces  of  French  furniture  were  sold  on 
the  15th.  They  consisted  of  a  Louis  XVI  bonhcur- 
du-jour  knee-hole  writing  table  of  mahogany,  inlaid 
with  plaques  of  Sevres  porcelain,  and  a  biscuit  plaque 
representing   a    classical    subject,    the    whole    being 


GENERAL     NOTES 


rnoutitcil  in  Diinolu.  The  next  lot  to  this  was  also 
tine,  and  consisted  of  a  pair  of  rcf^aui-  arnioires  of 
tulip  wood  inlaid  in  parqueterie  fashion,  and  mounted 
with  corners,  mouldings  and  appli(]ues  of  ormolu 
chased  with  masks  and  shells. 


GENERAL   NOTES 

It  is  satisfactiiiy  tn  be  able  to  announce  that 
Clifford's  Inn  is  not  in  immediate  danj^er,  and  that  at 
any  rate  thinj^s  will  remain  ih  slutii  quo  until  the 
autumn.  Judging  from  an  interview  with  the  owner, 
we  believe  that  he  would  place  no  obstacles  in  the  way 
of  its  being  acquired  for  the  purposes  of  preservation. 
We  also  understand  that  Mr.  Willett  had  no  ideas 
with  regard  to  the  property  vvhen  he  bid  for  it,  and  in 
fact  had  not  anticipated  becoming  the  owner  when  he 
entered  the  sale  room. 


To  the  lover  of  Dutch  art  at  its  zenith,  there 
have  of  late  years  been  few  exhibitions  which  have 
offered  the  same  attractions  as  that  recently  held  by 
Messrs.  Lawrie  at  their  Bond  Street  galleries,  con- 
sisting as  it  did  of  but  sixty-one  choice  and  remark- 
ably representative  examples  of  the  greatest  masters 


technical  and  from  the  esthetic  standpoint,  was  that 
entitled.  Portrait  of  a  Hoy  Reading.  An  unusually 
joyous  example  of  Jacob  Kuysdael,  in  his  Outskirts  of 
a  Forest,  with  figures  by  Berchem,  lucked  however 
that  wistful  and  poetical  tenderness  of  touch  that 
one  looks  for  in  the  Haarlem  master.  Jan  Stecn 
was  happily  represented  by  a  family  group  of  himself, 
his  wife,  and  tsvo  children. 


The  forty-two  paintings  and  drawings  by  .Mr.  Roger 
Fry  which  have  been  exhibited  at  the  Carfax  gallery 
in  Ryder  Street,  St.  James's,  formed  a  very  interestfng 
and  attractive  collecticm,  and  we  are  not  surprised  to 
hear  that  thirty-five  of  them  were  sold  before  the  ex- 
hibition was  closed.  Mr.  Fry  had  found  subjects  for 
his  landscapes  in  Italy,  France,  Belgium  and  Eng- 
land, and  the  drawing  of  Verona  was  generally  con- 
sidered to  be  about  the  best  of  the  water-colours. 
Mr.  Fry  is  quite  by  himself  among  modern  artists,  and 
has  succeeded  in  attaining  to  that  individuality  in  his 
art  of  which  the  straining  after  originality  is  the  most 
deadh'  foe. 


In  the  exhibition  at  Messrs.  Obachs'  galleries  of  the 
second  portion  of  Sir  John  Day's  pictures  by  modern 


m^ 


of  the  seventeenth  century.  Rembrandt  was  repre- 
sented by  two  works  ;  one  was  the  portrait  of  the  artists 
sister,  with  a  gold  chain,  painted  probably  about  i66j, 
and  consequently  in  his  earliest  method ;  the  other 
e.\ample.  The  Scribe,  though  lacking  the  finish,  par- 
ticularly in  the  hands,  of  the  earlier  work,  possesses 
that  realism  and  depth  of  feeling  which  is  so  charac- 
teristic of  the  master's  last  and  greatest  period.  Of 
the  two  paintings  by  Rembrandt's  mighty  contempo- 
rary P'rans  Hals,  by  far  the  preferable,  both  from  the 


Dutch  painters  were  several  works  by  Jacob  Maris, 
including  some  of  his  finest  productions.  The  finest 
of  all  was  perhaps  .-\  Stormy  Day,  with  its  lowering 
sky  over  which  the  wind-driven  clouds  roll  in  majestic 
masses,  which  permit  but  here  and  there  a  gleam  of 
sunshine  to  penetrate.  There  were  two  characteristic 
examples  of  Bosboom's  peculiar  art,  and  one  of  the 
best  Matthew  Maris'  conceivable  in  The  Four  Mills, 
a  cabinet  painting  replete  with  that  poetical  idealism 
which    is  his  great  charm.      The  exhibition  also  in- 

«7 


THE     BURLINGTON     GAZETTE 


eluded  one  of  the  happiest  efforts  of  William  Maris — 
Cattle  in  the  Meadows,  and  the  work-a-day  pathos 
of  Joseph  Israels  was  admirably  illustrated  by  the  low- 
keyed  feonheur  Maternal. 


Bonheur  Maternel.     By  Joseph  Israels 

Mr.  Kerr-Lawson's  Little  Landscapes  ot  Italy, 
which  have  been  on  view  at  Messrs.  Dowdeswell's 
galleries  are,  as  the  introduction  to  the  catalogue 
stated,  mainly  a  pictorial  record  of  a  tramp  through 
Tuscany.  Mr.  Lawson  seems  to  have  formed  his  style 
on  that  of  the  modern  Dutch  school,  and  the  influence 
of  Jacob  Maris  and  Mesdag  may  be  traced  in  many  of 
his  landscapes. 


Mr.  Charles  Sainton,  whose  silver-points  of  nymphs, 
elves,  and  sprites  are  well  known,  has  been  showing 
nine  miniatures  at  the  Quest  galleries,  not  indeed 
miniatures  in  the  ordinarily  accepted  sense  of  the  term, 
for  these  plaques  of  painted  ivory  were  not  portraits, 
but  only  Mr.  Sainton's  nymphs  in  another  medium. 
The  pencil  studies  for  the  pictures  were  also  shown. 


In  the  exhibition  of  paintings  of  the  Norwich 
school  at  the  galleries  of  the  Imuc  Art  Society 
were  two  fine  examples  of  John  Oome,  in  the 
midst  of  much  attributfd  to  iiim  on  very  inadequate 
grounds  ;  namely,  his  Return  of  the  Flock,  Evening, 
with  its  effect  of  warm  evening  sunlight  and  powerful 
tree-painting,    and    the   so-called   Mousehold   House, 


which,  however,  does  not  in  reality  represent  that 
historic  mansion  —  a  very  interesting  example  of 
Crome's  assimilation  of  the  magic  art  of  Hobbema. 
Stark  was  more  worthily  represented.  In  fact,  both 
the  Hay  Harvest  and  The  Ford  showed  him  at  his 
very  best.  Of  John  Sell  Cotman  was  shown  An 
Old  House  at  St.  Albans,  exhibited  at  the  Norwich 
Society's  exhibition  in  1824.  A  very  good  Peter  de 
W'indt,  Lincoln  from  the  Witham,  Sunset,  and  nearly 
ill  the  Boningtons,  particularly  his  French  Land- 
scape, and  the  Rainstorm  over  the  Heath,  which  hung 
side  by  side,  were  more  characteristic  of  their  authors 
than  were  the  majority  of  the  pictures  in  this  collec- 
tion of  the  painters  to  whom  they  were  attributed. 


Mr.  John  Balli's  collection  of  French  pictures, 
mostly  of  the  Barbizon  school,  which  has  been  on 
view  at  Mr.  McLean's  gallery  in  aid  of  the  Artists' 
Benevolent  Fund,  has  naturally  attracted  much  atten- 
tion. All  the  pictures  were  not  of  course  of  equal 
merit,  but  the  collection  has  been  carefully  formed, 
and  some  of  the  works  are  very  fine  examples  of  their 
respective  painters.  The  collection  includes  two 
Corot's  at  least,  which  may  be  described  as  among 
that  artist's  best  works,  and  On  the  Seine  is  a  particu- 
larly good  example  of  L'hermitte ;  Diaz,  Daubigny, 
and  Troyon  were  also  well  represented. 


I.'Etang.     By  Corot 

Picture  lovers  will  find  plenty  to  occupy  their 
attention  during  June.  At  Messrs.  Obach's  gallery 
tlicrc  is  an  important  exhibition  of  Masters  of  the 
Nineteenth    Century,    consisting    chiefly    of    those  of 


the  Haibi/on  school,  and  Corot  is  strongly 
represented.  In  this  gallery  is  to  be  seen  the 
work  of  Prince  Paul  Troubetskoy,  particularl\ 
a    very    fine    bron/e    of    Dante,    which     has    ever\ 

attribntr  .-f    .   ■-■■t  •■•■-'-   ••'■    ■■•       -n'r.-vli  llv  .-..,„■- 


tesy    of    Messrs.   Obach   wi 

iiln-itr  iti.in  <>f  it. 


THE    SALON 
are  enabled  to  give   an 


M  CoiuuH's  gallery  in  bond  Street  is  an  exhibi- 
tion of  Water  Colours  by  Charles  \V.  Hartlett,  an 
artist  whose  work  is  not  often  enough  seen  in  London, 
but  who  is  appreciated  in  (ilasgow  and  on  the  con- 
tinent. 


On  June  6  Mr.  Gntekunst  will  open  an  exhibition 
at  his  galleries,  i6  King  Street,  St.  James,  of  the 
etchings  of  D.  Y.  Cameron,  which  covers  the  period 
of  his  career  as  an  etcher,  and  includes  some  of  his 
best  work,  notabh'  '  The  Doge's  Palace.' 


Other  exhibitions  are  as  follows:  Pictures  by  J. 
Young  Hunter  and  Mary  Y.  Hunter,  and  Drawings 
illustrating  the  Durbar,  'by  L.  Ravenhill  and  Inglis 
Sheldon  Williams,  at  the  Fine  Art  Society;  Loan 
Ilxhibition  of  Sketches  and  Studies,  by  J.  S.  Sargent, 
R..\.,  at  the  Carfax  galleries;  Galloway  and  the 
Highlands,  by  James  Facd,  jun.,  at  the  Dore  galle- 
ries ;  the  Black  Frame  Sketch  Club,  at  the  Leicester 
gallery  ;  Water  Colours  of  the  Pyrenees,  by  F.  W. 
Sturge,  at  the  Graves'  galleries  ;  Mr.  C.  E.  Cooke 
has  an  exhibition  of  Water  Colour  Drawings  of  Knole 
House  at  Messrs.  Gillows'  galleries,  406  Oxford 
Street  ;  the  Stafford  galleries  contain  some  pictures 
by  W.  Nicholson— The  Morris  Dancers  at  Blenheim 
is  particularly  interesting  and  very  original  in  treatment. 


Mr.  R.  Catterson-Smith,  well-known  as  the  designer 
of  most  of  the  illustrations  in  the  Kelmscott  Chaucer, 
has  been  appointed  to  the  headmastership  of  the 
Birniinghaiii  Municipal  School  of  An. 


FROM    ABROAD 


FRANCE 


THE    SALON    OF    THE    SOCIETE    NATIONALS 

Should  we  feel  deceived,  vexed  or  charmed?  To 
tell  the  truth,  when  one  visits  the  Salon  of  the 
Nationale  of  1903,  there  is,  allowing  for  a  few  rare 
exceptions,  no  room  for  extreme  feelings  in  any  direc- 
tion. This  is  due,  perhaps,  to  the  fact  that  the  visitor 
expected  none  such  and  looked  beforehand  with  in- 
difference upon  a  Salon  which  was  bound  to  be  in- 
different and  to  resemble  what  he  had  already  seen. 

As  a  matter  of  fact,  I  did  not  find  that  this  was  so 
much  an  indifferent  as  an  indeterminate  exhibition, 
the  interest  of  which  lies,  perhaps,  in  its  very  indeter- 
minateness  and  attaches  rather  to  the  philosophy  of 
art  than  to  art  itself.  Add  that  its  synthesis  is  a  diffi- 
cult one,  or  that  there  is  really  no  synth<sis  to  be 
drawn  from  it,  at  least  not  at  the  first  sight. 

The  impressions  aroused  by  the  Salon  are  manifold 


and  fragmentary  :  they  escape  one  after  the  other  and 
are  soon  dissipated,  a  real  crowd  of  various  and  tleeting 
impressions,  whose  points  of  reference  are  few  and  not 
easily  distinguished.  The  causes  of  this  phenomenon 
are  somewhat  complex;  nor  could  this  well  be  other- 
wise at  an  artistic  period  in  which  unity  lies  hidden 
under  excess  displayed  by  groping  individualisms, 
which  fling  themselves  with  mistaken  frenzy  into  the 
hasty  search  for  successive  external  perceptions  that 
leave  knowledge  no  time  to  breathe  or  to  enter  into 
closer  communications  with  them.  This  is  the  very 
negation  of  the  individuality,  the  personality,  at  which 
one  arrives  by  the  most  opposite  roads !  Henceforth 
all  is  created,  but  all  is  as  quickly  lost ;  and  the  water- 
spout disappears  without  leaving  anything  living  behind 
it  This  haste  for  production,  and  for  instantaneous 
production,  naturally  excludes  all  artistic  education, 
which  would  not  be  able  to  stifle  genius,  but  would 
serve  for  the  development  of  its  originality. 

89 


THE     BURLINGTON     GAZETTE 

So  long  ago  as  1875,  Eugene  Fromentin  wrote  that 
'  in  painting  lies  a  trade  which  is  capable  of  being 
learnt,  and  which  therefore  can  and  must  be  taught, 
an  elementary  method  which  also  can  and  must  be 
transmitted  '  •  and  he  added,  comparing  his  contem- 
poraries with  the  old  masters,  '  Are  we  much  less 
well-endowed  ?  Perhaps  !  Less  eager  in  our  search  ? 
On  the  contrary.  Above  all,  we  are  less  well-educated.' 
Other  causes  come  to  light  when  one  reflects  upon 
the  impressions  aroused  by  the  Salon  of  1903.  First, 
we  have  the  circumstance  of  our  modern  surroundings, 
the  probably  increasing  difficulty  for  the  artist  to 
divide  himself  in  two  and  to  be,  as  were,  in  a  magni- 
ficent manner,  the- illustrious  painter,  at  once  the 
observer  and  even  the  actor  of  our  national  life  and 
their  supreme  expression  !  The  times  no  longer  seem 
as  though  they  were  adequate  for  the  purposes  of  art ; 
the  '  subjects'  are  diminishing  and,  thanks  to  their 
limitations,  impede  the  artist's  hberty.  The  latter  is 
flung  back  into  a  vanished  world,  of  which  he  is  no 
longer  able  to  seize  the  soul  and,  consequently,  the  life. 
Or  else  he  harnesses  himself  in  a  bored  way  to  strange 
modern  photographic  ideas,  and  his  scornful  brush 
paints  di  ess-coats  and  hair  cut  and  dressed  a  la 
Bressant ! 

Next,  we  come  to  the  sense  of  a  loss  of  creative 
power.  Aided  by  moral  cowardice,  the  painter  looks 
no  longer  outside  others  and  within  himself,  but  with- 
out himself  and  inside  others.  And  thereupon  follows 
the  most  shameless  of  pillages,  the  most  lamentable  of 
imitations,  until  the  unfortunate  glides  down  the  giddy 
slope  that  leads  to  the  horrible  '  chromo.'  On  the 
other  hand,  a  great  confidence  is  manifested  here  and 
there.  But  we  must  admit  that,  most  frequently,  it 
ends  in  disaster,  or  at  least  in  mistakes  which  have 
not  even  the  merit  of  being  finished. 

Above  all,  fearless  enthusiasm  is  dying  out.  For  I 
do  not  call  enthusiasm  the  grotesque  defiance  offered 
by  this  or  that  vainglorious  person  to  ridicule  and 
laughter.  Enthusiasm  no  longer  flourishes  in  art, 
which  has  generally  become  a  trade  rather  than  a 
vocation.  And  here  again  we  meet  with  flagrant 
instances  of  illogicality  :  in  appearance,  the  closer  that 
art  approaches  to  a  trade  the  less  trouble  does  the 
artist  take  to  learn  ;  and  yet  the  only  elect  are  those 
who  gather  before  creating.  Enthusiasm  has  disap- 
peared together  with  the  vigorous  passions  which 
alone  nourish  the  mind.  The  thirst  for  knowledge, 
the  thirst  for  creation,  the  thirst  to  give  one's  self  or 
to  conquer,  the  thirst  to  deliver  '  all  that  one  has  in 
there,'  the  passion  of  art,  in  a  word,  seems  swallowed 
up  in  the  selfish  pursuit  of  rapid  and  easy  satisfaction. 
One  of  Verrocchio's  pupils,  Nanni  Grosso,  as  he 
lay  on  his  bed  in  hospital,  refused  an  ordinary  crucifix, 
and  entreated  that  they  should  bring  him  one  by 
Donatello,  saying  that,  '  if  not,  he  would  die  in 
despair,  so  great  was  his  dislike  for  the  ill-executed 
works  of  his  art.'  Where,  in  our  day,  shall  we  find 
so  great  an  artistic  faith  ?  But,  also,  how  many  artists 
would  not  die  in  despair  if  their  own  works  were 
brought  to  them  ? 

Disdain  of  the  past,  wliich  men  refuse  to  stud}- ; 
contempt  of  the  present,  whose  forms  and  colours  are 
growing  ever  more  poor;  the  force  of  the  exigencies 
of  modern   utilitarianism  and  celerity ;  the  hurry  to 

90 


establish  one's  self  before  knowing  one's  self;  the  ex- 
haustion of  all  sensibility,  combined  with  a  systematic 
aridity  of  heart  :  these,  in  my  opinion,  are  the  princi- 
pal causes  of  the  evident  constraint  and  of  the  marked 
indecision  that  prevail  in  the  Salon  of  the  Nationale, 
where  the  laws  of  proportion,  sobriety  and  value  are 
neither  entirely  present  nor  completely  absent.  There 
is  a  gulf  between  the  period  and  the  race,  between  the 
medium  and  the  artist.  And  yet.  if  the  Impressionists 
had  only  been  willing !      .     .     .     . 

The  foregoing  will  explain  why  the  Salon  contains 
so  many  landscapes  and  sea-pieces,  all,  for  that  mat- 
ter, of  very  unequal  value.  Nature  affords  an  ever  fond 
and  helpful  refuge.  But,  even  so,  it  requires  infinite 
knowledge  and  art  to  penetrate  her  many  changes,  her 
masses  and  her  tones.  It  needs  a  lavish  equipment  of 
human  soul  to  steal  from  the  vast  soul  of  the  skies,  the 
seas  and  the  woods  a  particle  of  its  secrets  and  en- 
chantments. A  landscape  may  be  a  noble  action  in 
itself;  in  this  sense,  the  landscape-painter  really  has  a 
mission,  although  an  unconscious  mission,  and  one 
which  should  be  not  the  motive  of  the  work  itself  but 
rather  its  natural  consequence. 

Portraiture  has  a  great  vogue  this  ^ear.  We  are 
deluged  with  portraits  :  and,  if  there  are  some  interest- 
ing ones  among  them,  how  many  others  are  there  not 
that  range  from  the  most  grievous  and  arid  triteness 
to  the  most  astounding  eccentricity  !  There  are  few 
large  compositions  and  geinr  pictures.  And  among 
this  limited  number  there  are  pure  outrages  ;  chases 
qndconqiies,  mosth-  failures. 

The  chief  woVk  of  the  Salon  is  that  of  M.  Zu- 
loaga.  M.  Zuloaga,  whose  Naine  was  purchased  quite 
recently  by  the  Luxembourg,  was  already  somebody. 
He  foretold  what  he  would  one  day  be  and  realized 
certain  of  his  promises  beforehand  ;  but  the  three  pic- 
tures which  he  shows  this  year  fulfil  his  undertakings 
and  constitute  a  decisive  stage  in  M.  Zuloaga's  talent. 
I  am  of  opinion  that  he  will  be  one  of  Spain's  great 
painters. 

To  the  feeling  of  anxiety  which  one  carries  away 
from  the  Salon  of  1903,  it  seems  to  me  that  we 
should  add  that  of  hope— the  indefatigable  and  in- 
extinguishable consoler — and  the  conviction  that 
the  future  will  derive  salutary  lessons  from  the 
present  and  the  past.  It  is  necessary  that  the 
artist  should  begin  to  understand  and  follow  them. 
And,  above  all  things,  the  flickering  torches  must  be 
relighted  at  the  sacred  fire  of  passionate  enthusiasm, 
which  prevents  the  flames  from  dying  out  like  bonfires 
of  straw.  This  is  no  work  of  dilettantism,  but  a  grave 
and  austere  work,  without  which  art  might  continue 
to  exist  but  not  to  manifest  itself.  And  with  it  there 
would  cease  to  radiate  one  of  the  noblest  and  most 
salutary  centres  of  the  world's  soul.  ("..  de  K. 

PARIS    SALES— April  25  to  May  20 

Ii'  would  seem  as  though  the  more  the  season  at  the 
Hotel  Drouot  advances  the  heavier  it  becomes.  There 
have  never  been  so  main-  nor  more  important  sales. 
The  Lelong  sale  in  particular  will  long  till  the  dreams 
of  dealers  and  collectors,  thanks  to  the  almost  fan- 
tastic prices  realized,  which  furnished  enormous  totals. 
The  uncomfortable  feeling  of  a  moment  seems  to  have 
departed,  and  confidence  has  returned. 


I.-ANTIQUITIHS 

For  the  first  time  in  this  chronicle  1  liave  occasion 
to  mention  a  sale  of  Greek  and  Roman  coins  ^April 
30  to  May  2).  Among  the  fornu  r,  attention  may  be 
called  to  a  coin  (jf  Heraclea,  with  a  head  of  Pallas 
Athene  (ijo  fr.) :  one  of  Hicro  II.,  with  a  delicate 
head  of  Ceres  crowned  with  ears  of  corn  (350  fr.)  ;  of 
Philip  II.,  with  the  head  of  Apollo  (220  fr.) ;  a  coin  of 
ICphesns,  with  the  bust  of  Diana  (205  fr.)  ;  a  coin  of 
Amiochus  III.,  surnamed  the  (jreat,  with  a  seated 
Apollo  (120 fr.)  :  and  a  coin  of  Cyreiie,  decorated  with 
the  (juadriga  of  Zeus  (130  fr.).  .\mong  the  latter,  let 
ine  mention  a  Claudius,  head  wreathed  with  laurels 
185  fr.)  :  Agrippina  and  Claudius  (igofr.)  ;  Antoninus 
iiui  Marcus  AureHus,  a  denarius  with  the  two  busts 
1.020  fr.);  Faustina  Junior  (360  fr.);  Pertinax  (370 
fr.)  ;  Julia  Domna  (265  fr.)  ;  Heliogabalus  (285  fr.)  ; 
etc.  The  total  proceeds  of  the  sale  amounted  to 
21,859  fr.  50  c. 

Some  Greek  and  Roman  antiquities  were  sold  also 
from  May  11  to  14.  These  included  Cyprus  and 
Etruscan  pottery,  Corinthian,  Chalcidian  and  Ionian 
vases,  antique  goblets,  etc.  Certain  of  the  decorations 
on  these  antiquities  deserve  to  be  recorded,  notablj- 
preparations  for  a  wedding,  a  toilet  scene  and  a  scene 
of  departure,  very  delicately  and  carefully  designed. 
II.     SCULPTURE 

The  cabinet  of  M.  Felix  Ravaisson-M(;llien,  lately 
deceased,  who  was  a  keeper  of  the  Musee  de  Louvre, 
contained  some  fine  pieces  of  sculpture,  which  were 
sold  on  April  25.  The  head  of  a  Graeco-Roman  woman, 
in  marble,  was  knocked  down  for  6,100  fr. ;  a  piece  in 
carved  wood,  of  the  fourteenth  century,  Italian  work- 
manship, for  2.350  fr.  There  was  a  door-panel  by 
Donatello,  representing  angels  singing  (800  fr.) ;  a 
bust  of  Christ  praying,  by  the  same  artist,  in  terra- 
cotta (2,850  fr.)  ;  a  terra-cotta  by  Rossellino,  the 
Hlessed  Virgin  with  the  Child  Jesus  holding  a  bird 
(520  fr.).  But  the  highest  price  was  obtained,  and 
rightly,  for  a  marble  by  Michael  Angelo,  a  Bust  of  a 
Slave,  which  fetched  28,500  fr. 

Interesting  pieces  of  sculpture  also  changed  hands 
in  the  Lelong  sale,  which  included  so  many  fine 
objects  on  which  the  public  lavished  its  attention 
and  its  cash  to  the  greater  profit  of  the  Association 
des  .-Vrtistes,  founded  by  Baron  Taylor,  which  bene- 
fited by  Madame  Lelong's  estate.  A  Bust  of  a  Little 
Girl,  attributed  to  J.  B.  Lemoyne,  was  knocked  down 
for  6,000  fr.  ;  two  marble  groups,  representing  \'enus, 
standing  with  Cupid  by  her  side,  and  Bacchus,  both 
attributed  to  the  same  artist,  fetched  29,500  fr.  ;  a 
Jupiter  seated  on  the  Clouds,  attributed  to  Guillaurne 
Coustou,  12,500  fr.  ;  a  portrait,  presumably  of  Madame 
de  Jaucourt,  by  Chinart,  Lyons,  1796,  in  white  marble, 
11,800  fr. ;  a  life-size  bust,  in  white  marble,  represent- 
ing .Madaine  de  Fourcroy,  by  Pajou,  signed  and  dated 
1789,  was  sold  for  105,500  fr.,  a  very  high  price,  but 
well  deserved  by  this  sincere  and  delicate  work  of  an 
artist  who  is  not  always  esteemed  at  his  real  worth. 
III.— PAINTINGS 
Sales  of  antiquities  and  sculpture  are  not  very 
frequent.  The  case  is  different  with  picture-sales,  the 
number  of  which  is  constantly  increasing,  notwith- 
standing the  exceptional  character  of  certain  sales. 


PARIS     SALES 

such  as  that  of  the  Lelong  collection.  It  is  worthy 
of  notice  that  this  sale  lias  not  prevented  the  disper- 
sion, under  favourable  conditions,  of  many  collections 
of  much  less  importance  (.\pril  27  to  .May  i). 

The  grand  total  of  tiie  Lelong  sale  will,  no  doubt, 
easily  attain  the  sum  of  six  or  seven  million  francs. 
Pictures  fill  an  important  place  in  it.  I  will  name, 
with  an  expression  of  regret  at  not  being  able  to 
mention  all,  the  Allegorical  Portrait  by  Sir  William 
Beechey  (33, 000 fr.);  the  Cage  inaccessible,  by  Hoilly 
(31,500  fr.);  the  Moulin  de  Charenton,  by  Boucher 
(25,000  fr.)  ;  two  portraits  nf  the  .Maniuise  duChatelet, 
by  Largilliere  (43,000  fr.  and  20,800  fr.);  the  portrait 
of  Fran(;ois  Gigot  de  La  Peyronie  (1678-1747),  First 
Surgeon  to  Louis  .W.  (49,000  fr.) ;  a  portrait  presumed 
to  be  that  of  Marie  Antoinette  as  a  Wstal,  by  Schall 
(24,500  fr.)  ;  six  pieces  by  G.  van  Spaendonck.  which 
at  one  time  decorated  the  Duthe's boudoir  ( 14,500  fr.); 
the  Jeune  fille  a  roeillet,  by  Trinquesse  (33,500 fr.). 

.Astounding  and,  whatever  one  may  say,  somewhat 
exaggerated  bidding  was  obtained  by  two  portraits  by 
Drouais,  representing  the  artist  and  his  wife  (1 20,000  fr.). 
These  are  undoubtedly  fine  works,  and  the  painter 
possessed  a  pretty  and  charming  talent ;  but,  at  this 
rate,  what  prices  should  not  be  reached  by  the 
Watteaus,  Fragonards,  Bouchers,  and  Chardins! 
The  drawing-room  decoration  by  C.  Huet,  comprising 
the  Four  Seasons,  was  knocked  down  for  90,000  fr. 
As  we  see,  it  is  not  always  the  most  illustrious  artists 
that  fetch  the  highest  prices. 

Two  works  of  the  British  School  of  the  eighteenth 
century,  which  were  not  identified  with  any  certainty 
— the  Woman  with  the  Muffand  a  Young  Huntsman — 
were  sold  for  12,000  fr.  and  4,500  fr.  respectively  ;  but 
they  represent  in  a  very  imperfect  manner  in  this 
colfection  the  magnificent  eighteenth-century  fc.nglish 
school. 

In  comparison  with  these  fine  prices,  those  ob- 
tained at  the  Plassan  sale  are  hardly  worth  mention- 
ing. This  artist,  recently  deceased  and  not  at  all 
well  known  by  the  public,  left  gfiirc  pictures  and 
landscapes  of  the  environs  of  Paris — Nogent-sur- 
Marne,  Banks  of  the  Oise  at  Auvcrs.  Chaponval, 
Malescot,  Ponthierry— which  were  knocked  down 
with  difficult}'  at  sums  varying  from  300  fr.  to 
1,000  fr.  apiece. 

On  May  4,  the  collection  and  the  works  were  sold 
of  M.  Antokolsky,  the  Russian  sculptor  who  had 
passed  manv  years  in  Paris,  and  who  had  even  ob- 
tained a  Grami  I'n'x  in  the  Russian  section  of  the 
International  Exhibition  of  1900.  \  Portrait  of  a 
Gentleman,  attributed  to  Giovanni  Ikdlirii,  left  the 
bidders  incredulous  or  indifferent  and  found  a  pur- 
chaser at  no  higher  price  than  500  fr.,  as  did  a  portrait 
of  Petrarch's  Laura,  attributed  to  Memmi.  On  the 
other  hand,  a  Portrait  of  a  Nobleman,  half-length, 
dressed  in  red  and  holding  an  open  book  in  his  hand, 
dated  1523  and  attributed  to  Hans  Holbein,  was  sold 
for  25,500  fr.,  a  good  price,  considering  the  doubtful- 
ness of  the  attribution,  in  spite  of  fine  appearances. 

On  the  same  dav  was  sold  the  Pacully  collection, 
the  total  proceeds  of  which  reached  320,000  fr.  It 
included  pictures  of  the  French,  Flemish,  Dutch, 
German.  Spanish  and  Italian  schools.  This  sale 
was  accompanied  by  numerous  incidents  of  which  it 


THE     BURLINGTON     GAZETTE 

is  better  that  I  should  not  speak  at  present,  because 
I  do  not  wish  to  embitter  the  discussion,  and  because 
the  art-historian  prefers  calm  to  noise  in  the  interest 
of  his  observations  and  studies. 

On  the  other  hand,  a  few  smaller  sales  passed  off 
with  really  remarkable  tranquillity,  which  did  not  fail, 
however,  in  a  certain  measure,  to  injure  their  results, 
so  that  we  may  conclude  that,  in  this  domain,  as  in 
many  others,  a  dead  calm  is  as  undesirable  as  a 
storm.  At  one  of  these  sales  (May  2),  I  will  mention 
only  a  Bonvin,  L'Alambic  (2,250  fr.);  a  Reve  d'Orient, 
by  Benjamin  Constant  (4,500  fr.) ;  Fabiola,  by  Henner 
(2,050  fr.) ;  a  Canal  in  Holland,  by  Jongkind  (4,100  fr.) ; 
L'Attente,  by  Stevens  (1,600  fr.) ;  and  some  water- 
colour  drawings  by  Harpignies  that  fetched  400  to 
500  fr.  apiece. 

At  another  (May  4),  the  Vague,  by  Courbet 
(1,000  fr.)  ;  Ari^ane  abandonnee,  by  Fantin-Latour 
(3,950  fr.) ;  L'Eglise,  by  Jongkind  (4,050  fr.)  ;  the 
Folic  de  Charles  VI,  by  Koybet  (2,700  fr.)  ;  L'Em- 
barquement,  b}'  Ziem  (2,500  fr.)  ;  and,  in  particular,  a 
Scene  Champetre,  by  Millet  (7,100  fr.),  and  an  Avenue 
au  bord  du  Loing,  by  Sisley  (4.200  fr.). 

A  much  more  important  sale,  proceeding  from  the 
estate  of  the  late  M.  Eugene  Lyon,  took  place  on 
May  17.  A  number  of  very  interesting  canvases  were 
dispersed,  the  total  sum  realized  being  31 5,000  fr.  These 
included  the  Road  to  Delham,  by  John  Constable 
(6,000  fr.) ;  a  Paysan  a  cheval  dans  la  campagne,  by 
Corot  (73,000  fr.) ;  the  Bords  de  la  Tamise,  soleil 
couchant,  by  Daubigny  (25,500  fr.) ;  the  Bords  du 
fleuve  Sebou,  by  Eugene  Delacroix  (19,500  fr.)  ;  the 
Nyniphe  et  I'amour,  by  Diaz  (15,000  fr.) ;  the  Ruisseau, 
by  Jules  Dupre  (13,600  fr.) ;  the  Rencontre  de  cavaliers 
arabes,  by  Eugene  Fromentin  (20,000  fr.) ;  the  Charge 
d'artillerie,  by  Gericault  (25,000  fr.)  ;  the  Bceuf  blanc, 
by  Troyon  (19,500  fr.).  Two  old  pictures  had  found 
their  way  into  the  midst  of  these  moderns  :  the  Bap- 
tism of  Constantine,  by  Rubens  (18,000  fr.),  and 
Outside  the  Inn,  by  David  Teniers  (3,500  fr.). 

Let  me  also  mention,  here  and  there,  in  the  collec- 
tion of  M.  Leon  Roux  (May  5  to  8),  the  Portrait  of 
Michel  Martin  Drolling  (5,600  fr.),  the  Portrait  of 
Drolling,  by  himself  (4,010  fr.),  some  Destouches, 
which  fetched  very  low  prices  (200  fr.  to  700  fr.),  etc.  ; 
at  the  sale  of  M.  Autier  de  Cauvry  (May  8),  two  com- 
panion pictures — bouquets  of  flowers  in  a  vase — by 
Baptiste  Monnoyer  (840  fr.). 

Lastly,  a  fine  instalment  of  the  Lelong  sale  (May  11 
to  15),  to  which  I  shall  return  at  greater  leisure,  at- 
tracted bids  as  remarkable  as  those  which  had  already 
drawn  the  attention  of  art-lovers  to  this  magnificent 
collection.  The  total  realized  was  611,430  fr.  This 
is  a  noteworthy  result,  obtained  without  intrigue  of 
any  kind,  to  the  universal  satisfaction  of  collectors, 
who  were  delighted  to  acquire  beautiful  works  duly 
classed  ;  of  art-historians,  who  were  able  to  feast  their 
eyes  on  these  fine  things  and  to  increase  their  stock  of 
knowledge  ;  and  of  the  little  world  of  dealers  that  gravi- 
tate to  the  sale-rooms:  not  forgetting  the  fact  that  a 
charitable  institution  will  be  able  to  do  a  great  (ii;il  <>( 
good  with  the  proceeds  of  this  particular  sale. 

Let  me  mention,  among  the  pictures  that  fetched 
the  highest  prices,  the  Loisirs  du  marche,  by  Boilly 
(15,000  fr.) ;     the    Marchande    d'oeufs,    by    Boucher 

92 


(25,500  fr.)  ;  the  Portrait  of  a  Little  Girl,  by  Albert 
Cuyp  (14,800  fr.);  the  Petite  jardiniere  et  le  petit 
denichcur  d'oiseaux,  by  Drouais  (31,600  fr.)  ;  the  Por- 
trait of  Edouard  Froment  de  Castille,  attributed  to 
Greuze  (22,300  fr.)  ;  some  very  fine  Nattiers  :  portraits 
of  Madame  Adelaide  of  France  (33,000  fr.)  ;  of  Madame 
Victoire  of  France  (3i,ooofr.);  of  Madame  Louise 
Elisabeth  of  France  (31,500  fr.)  ;  of  the  Dauphin,  son 
of  Louis  XV  (17,000  fr.) ;  and  a  portrait  (attributed)  of 
the  Duchess  of  Chateauroux  (12,200  fr.).  Also,  the 
Portrait  d'un  garde-chasse  et  deux  chiennes  de  la 
meute  royale,  by  J.  B.  Oudry  (22,5oofr.);  the  Por- 
trait of  Louis  de  La  Tour  d'Auvergne,  Count  of  Evreux, 
by  Rigaud  (22,500  fr.) ;  the  Amour  desarme,  by  Vestier 
(10,800  fr.) ;  etc.  The  reader  will  see  that  the  favour 
accorded  by  the  public  to  the  art  of  the  eighteenth 
century  is  steadily  maintained  ;  let  us  hope  that  this 
will  continue.  That  will  be  the  best  proof  that  our 
taste  is  undergoing  no  deterioration  and  remains  pre- 
pared to  show  an  enthusiastic  appreciation  of  works 
that  are  beautiful,  delicate,  pretty,  witty  and  elegant. 

The  Arsene  Alexander  collection  produced  about 
160,000  fr.:  the  Danmier,  about  which  so  much  was 
said,  only  reached  14,000.  I  shall  come  back  to  this 
subject  next  month. 

IV.— DRAWINGS 

Public  favour  is  also  fixing  itself  more  and  more  on 
the  drawings  of  the  masters.  This  is  explained  by 
several  causes,  chief  among  which  is  the  fact  that 
drawings  are  to  be  acquired  more  cheaply  than  pic- 
tures, and  that  the  devoted  admirers  of  a  particular 
artist  are  thus  always  able  to  fill  gaps  in  their  collec- 
tions at  a  small  cost,  while,  on  the  other  hand,  art 
critics  and  historians  attach  great  importance  for  their 
studies  to  these  more  spontaneous  manifestations  of 
the  artist's  talent  and  genius. 

There  were  some  interesting  drawings  in  the  Leon 
Roux  collection,  such  as  the  Vue  du  Pont  Royal  et 
des  Tuileries,  by  Van  Blarenberghe  (1,520  fr.) ;  the 
Vues  de  Pares,  by  Fragonard,  one  of  which  was  run 
up  to  850  fr. ;  a  drawing  b}'  Lejeune,  Louis  XVI  prete 
serment  a  la  Constitution,  14  Septembre  1791 
(1,400  fr.),  etc.  The  Ravaisson-Mollien  sale  (April  25) 
was  the  means  of  dispersing  several  drawings  of  great 
importance  to  the  art-historian :  a  Head  of  an  Old 
Man,  in  grey  and  white  chalk,  by  Era  Filippo  Lippi 
(630  fr.) ;  the  Brazen  Serpent,  a  study  for  the  Sistine 
Chapel,  by  Michael  Angelo  (1,100  fr.) ;  an  Assumption, 
by  Rubens  (2,500  fr.)  ;  awash-drawing,  by  Rembrandt, 
a  Young  Man  at  Work  (2,600  fr.) ;  and,  by  the  same 
master,  a  Man  in  Bed  talking  with  a  Visitor  (500  fr.) 
and  a  Landscape  (430  fr.).  I  would  also  mention,  at  a 
sale  held  on  May  i,  a  Diligence  attelee  de  quatre 
chevaux,  by  H.  Lecomte  (550  fr.)  ;  a  design  for  a 
state-coach  intended  forthe  coronationof  LouisXVIIL, 
by  Antonio  Carassi  (1,010  fr.)  ;  and  the  Promenade 
Royale,  by  Desmarest  (710  fr.). 

Lastly,  on  Friday,  Ma}'  13,  was  sold  a  magnificent 
drawing  by  Rembrandt,  from  the  collection  of  the  late 
M.  de  Tscharner.  It  represents  the  Presentation  of 
the  Child  Jesus  in  the  Temple,  and  makes  a  great 
impression  by  the  sincere  emotion  which  it  contains, 
the  dignity  of  the  attitudes  and  the  expressive  realism 
of  the  features  and  gestures.     The  appraiser  had  had 


the  Irippy  tlioii-^ht  to  add  a  proof"  of  tlie  ftchiiif; 
exorutfd  1)\-  M.  Pool  tVoiu  the  drawiiv^.  wliicli  was 
knoi-ked  down  for  1,500  (v. 

V.  -PRINTS 
The  Lelong  collection,  which  is  so  constantly 
cropping  up  in  this  chronicle,  for  it  abounded  in  line 
works  of  every  class,  included  some  very  interesting 
engravings,  especially  of  the  eighteenth  century,  in 
addition  to  .Albrecht  Durer's  Adam  and  Eve,  which 
fetched  1,650  fr.  The  l^ritish  school  was  represented, 
among  others,  by  Selling  Fish  (520  fr.),  aTeaCjarden, 
St.  James's  Park  (5,900  fr.),  and  a  \'isit  to  the  Child 
and  Nurse  (1,050  fr.),  all  engraved  by  Ward,  after 
Morland ;  the  Alpine  Travellers,  by  Ward,  after 
Xorthcote  ('2.250  fr.)  ;  and  a  Girl  Sketching  a  Portrait 
on  the  Ground,  Children  Playing  at  the  Tomb  of 
tlieir  Mother,  by  Ward,  after  Payne  (1,500  fr.).  Miss 
i!ingham  and  the  Countess  Spencer,  by  Bonnefoy, 
after  Reynolds,  fetched  1,550  fr. ;  Lady  Smith,  by 
I',  irtolo/zi,  after  the  same  master,  520  fr. 

The  French  school  shone  through  some  of  its 
linest  plates,  such  as  Janinet's  LWmour,  la  foiit^  after 
I'ragonard  (i,<)5o  fr.),  and  the  Comparison  and  the 
Indiscretion,  after  Lawrence  (i,goo  fr.  and  2,500  fr.)  ; 
the  Rain  and  the  Lever,  by  Regnault,  after  Baudouin 
and  Kegnault  (1,500  fr.);  etc.  Debucourt,  who  has 
been  in  such  favour  for  the  last  tvventj'  years  and  who 
has  insj)ired  the  fine  works  of  Messrs.  Fenaille  and 
Henri  Houchot,  triumphs  with  the  Oiseau  ranime 
uj,2O0  fr.)  ;  the  Promenade  de  la  galerie  du  Palais- 
Royal,  in  colours  (2,450  fr.)  ;  the  Escalade,  heur  et 
malheur,  1787  (2,600  fr.)  ;  the  Main  (1,600  fr.)  :  tiu- 
Compliment,  ou  la  Matinee  du  jour  de  I'an,  17X7 
(620  fr.)  ;  the  Promenade  publique,  in  colours,  with 
the  address  of  Depeuille  (2,700  fr.)  ;  etc. 

In  the  collection  of  drawings  and  engravings  de- 
voted to  carriages,  which  was  sold  on  May  g,  I  may 
mention,  b}-  wa\'  of  memorandum,  J.  Pollard's  Mail- 
coach  changing  Horses,  the  Taglioni  Mail-coach 
changing  Horses,  the  Taglioni  Reeve  (200  fr.),  etc. 

The  sale  of  the  collection  of  Rembrandt  etchings 
of  the  late  M.  de  Tscharner  was  comparable  for  im- 
portance and  for  the  beauty  of  the  proofs  with  that 
of  the  Lelong  collection  mentioned  above.  Here 
are  some  of  the  principal  prices  obtained  :  Rembrandt 
working  on  a  Drawing  (390  fr.)  ;  Jesus  Preaching,  or 
the  Little  Tombstone,  with  rough  edges  (905  fr.)  : 
Jesus  Healing  the  Sick,  or  the  Room  of  the  Hundred 
Florins,  a  rare  proof  of  the  second  state,  before  the 
after-touches  of  Captain  Baillie  (1,850 fr.)  ;  Peter  and 
John  at  the  Gate  of  the  Temple,  with  rough  edges 
(280  fr.) ;  the  Death  of  the  Virgin  (^iSo  fr.) ;  the  Jews' 
Synagogue  (370  fr.)  ;  Three  Beggars  at  the  Door  of  a 
House  (660  fr.)  ;  the  Landscape  with  the  Three  Trees 
(630 fr.);  the  Landscape  with  the  Three  Cottages 
(2,200  fr.);  the  Cottage  and  the  Barn  (1,100  fr.)  ;  the 
so-called  Rembrandt  Mill  (850  fr.)  ;  Faustus  (820  fr. 
and  600  fr.)  ;  Jan  Si.x,  a  defective  copy  (1,050  fr.) ;  the 
Great  Jewish  P.ride  (650  fr.);  the  Old  Woman  Sleep- 
ing (430  fr.) ;  Bust  of  an  Old  Woman  (440  fr.) ;  etc. 
VI. -OBJECTS  OF   ART  AND   FURNITURE 

The  Lelong  collection  included  a  quantity  of 
pieces  of  furniture  and  objects  of  art.  These  were 
all  important,  but  to  name  them  all  is  impossible.     I 


PARIS     SALES 

will  mention  only  the  following:  a  bron/e  group, 
representing  Adam  and  Eve,  Louis  XIV  PeriotI 
(15,200  fr.)  ;  Regency  bed-heads  (6,500  fr.)  ;  an  alle- 
gorical group,  the  .Apotheosis  of  Louis  X\'  (11,100 
fr.);  a  Louis  X\' barometer  (20,500  fr.i;  a  Ransonet 
clock,  Louis  X\'  (8,100  fr.)  ;  a  Ciudin  clock  (12,800 
fr.)  ;  Louis  X\'I  bed-he.uls  (ig,20o  fr.)  :  Louis  X\' 
bed-heads  (43.500  fr.)  ;  Louis  XVI  candelabra  (25,000 
fr.)  :  a  Louis  X\T  clock  (38,000  fr.)  ;  Louis  XVI 
white  marble  vases  (25,100  fr.);  a  Verneau.x  clock 
(21,000  fr.)  ;  four  Regency  arm-chairs,  Beauvais 
tapestry.  Fables  of  La  Fontaine  (157,000  fr.)  ;  a 
Regencj'  bench,  Beauvais  tapestry  (60,000  fr.)  ;  a 
drawing-room  suite,  Beauvais  tapestry,  signed  Fran- 
cois Reuze  (150,000  fr.) ;  a  Boule  console,  Louis  XI\' 
Period  (10,000  fr.)  ;  a  Regency  cupboard  (24,400  fr.) : 
a  Regency  writing-desk  (28,200  fr.)  ;  a  Louis  XV 
chest  of  drawers  (23,000  fr.) ;  a  Louis  XV  table 
(60,000  fr.) ;  a  Louis  X\'I  console  (28,000  fr.):  a 
Regency  screen  (27,500  fr.)  :  tapestries  stitched  with 
gold  and  silver  thread,  fragments  of  the  Triumphs  of 
the  Gods,  after  Noel  Coypel,  Gobelins,  Louis  XI\' 
(76,400  fr.) :  tapestry  hangings  after  Charles  .'\u<lran. 
Gobelins,  Louis  XIV  (104,000  fr.)  ;  a  tapestry  repre- 
senting the  Rape  of  Orithjiaby  Boreas,  after  Boucher, 
Beauvais,  Louis  XV  (140,000  fr.),  etc.  The  total  was 
the  magnificent  sum  of  7,868,028  fr.  Never  did  the 
auctioneer's  hammer  fall  to  more  magnificent  bids  ; 
and  then  they  say  that  the  taste  for  ornaments  is 
departing !  May  it  long  continue  to  depart  in  this 
fashion  ! 

It  would  seem,  for  that  matter,  as  though  every 
I'ffort  had  been  brought  to  bear  upon  this  sensational 
sale.  How-  meagre,  by  comparison,  were  the  prices 
obtained  at  the  others !  It  must  be  admitted  that  the 
latter  were  far  from  offering  such  handsome  lots.  One 
of  these  was  that  of  the  Plassan  studio,  at  w^hich  a 
Persian  carjiet  was  purchased  for  2,150  fr.  by  the 
Mus6e  des  Arts  Decoratifs.  The  Antokolskj-  sale 
showed  us  Gubbio  and  Urbino  potteries,  the  prices  of 
which  varied  from  400  to  about  1,500  fr.:  a  Christ 
Crucified,  possibly  by  Jean  II  Penicaud  (7.100  fr.);  a 
laticinio,  after  Mantegna,  X'enetian,  sixteenth  century 
(i,go5  fr.)  ;  an  empire  writing-chair  (3,590  fr.):  etc. 

Here  are  also  (.April  28  and  29)  two  single  pearls 
(18,000  fr.).  Then  come  Madame  Lelong's  objects 
of  art,  among  which  I  note  in  particular,  in  Sevres 
porcelain:  a  Tete-a-tete  a  \'incennes,  1753  (ii.ioo  fr.); 
a  teapot,  by  Cornaille  (6,icofr.);  two  wine-coolers, 
decorated  by  Dutanda  (36,000  fr.) ;  a  porringer,  by 
Choisy  and  Boulanger  (8,000  fr.)  ;  two  turquoise-blue 
baluster  vases  (25,100  fr.).  Dresden:  two  parrots 
(10.300  fr.);  the  Seasons  (9,700  fr.)  ;  groups  of  figures 
exceeding  10,000  fr.  Chinese  and  Japanese  ware:  a 
scent-brazier  (5,400  fr.) ;  round  goblets  (22,000  fr.): 
green  vases,  Louis  X\T  (21,100  fr.)  ;  two  green 
spherical  vases  (93,000  fr.)  :  lidded  vases  (29,000  fr.) : 
rose-coloured  vases  (80.000  fr.)  :  etc.  Lastly,  the 
miniatures  of  the  Louis  .\\T  period  were  knocked 
down  at  from  500  fr.  to  about  2.000  fr.  each. 

In  the  collection  of  the  late  M.  Leon  Roux.  I  may 
mention  a  Sevres  cup,  1786,  decorated  by  Levc  the 
Elder  (7,400  fr.) :  an  empire  maibk  d\iitn-daix,  de- 
signed by  Charles  Percier  (7,300  fr.).  On  May  9, 
among    other    miniatures,   one   representing   Charles 

93 


THE     BURLINGTON     GAZETTE 


Philip,  Count  of  Artois,  colonel-general  of  the 
Swiss  and  Grisons,  was  sold  for  2,000  fr.  Lastly, 
generally  speaking,  the  objects  in  the  Autier  de 
Cauvry  sale  obtained  ver}'  low  prices,  with  the  excep- 
tion, perhaps,  of  two  groups,  a  huntsman  and  flower- 
girl,  in  old  polychrome  earthenware  (2,725  fr.),  and 
two  perfuming-pans  (2,450  fr.  and  2,800  fr.). 

The  above  is  a  rapid  sketch  of  the  sales  in  the 
month  that  has  elapsed  since  my  last  chronicle.  It 
is  occupied,  above  all,  by  the  different  instalments  of 
the  Lelong  sale,  although  certain  others  have  also 
been  not  without  their  own  interest  and  importance. 

G.  R. 


PARIS    NOTES 

(from  ouk  PARIS  correspondent) 

I.— THE    MUSEUMS 

In  the  Louvre,  the  Sculpture  Section  has  been  enriched 
by  several  important  works.  We  may  mention  the 
Madonna  and  Child  Surrounded  by  Angels,  a  marble 
bas-relief  by  Agostino  di  Duccio  ;  a  Franco-German 
wood-carving  of  the  end  of  the  fifteenth  century  or  the 
beginning  of  the  sixteenth,  Jesse  Asleep,  a  fragment  of 
a  large  composition  ;  a  Virgin  and  Child,  standing  on 
a  crescent,  and  a  curious  terra-cotta  group,  still  re- 
taining traces  of  various  colours,  a  German  work  of  the 
fifteenth  century.  From  a  documentary  point  of  view, 
as  well  as  for  its  iconographic  interest,  we  must  men- 
tion a  bronze  bust  of  Antoine  Arnauld  (the  great 
Arnauld)  of  the  French  school  of  the  seventeenth 
century,  author  unknown. 

In  the  Painting  and  Drawing  Section,  a  special 
room  is  being  prepared  for  the  reception  of  a  series  of 
crayon  portraits  by  Ingres  ;  it  will  also  contain  some  oil- 
paintings  of  the  master.  The  Sixtine  Chapel,  and  some 
cartoons  executed  for  the  windows  of  the  Chapel 
of  St.  Ferdinand  at  Dreux. 

In  the  Section  of  Engravings,  there  will  soon  be  on 
view  one  of  Corot's  Italian  landscapes,  engraved  by 
Greux.  It  may  be  added  that  the  sale-room  of  the 
Manufactures  et  Ateliers  d'art  de  I'Etat  has  just  been 
opened  on  the  Boulevard  des  Italiens,  at  the  corner 
of  the  rue  Favart.  Besides  the  reproductions  of 
the  Louvre  engravings,  we  find  there  products  from 
the  manufactories  of  Sevres  and  medals  from  the 
Mint. 

The  Egyptian  Antiquities  rooms  are  very  full  of 
life  just  now.  Some  new  rooms  arc  being  arranged, 
and  it  is  hoped  that  they  will  be  open  to  the  public  in 
October.  They  will  contain :  (i)  fragments  of  all  kinds, 
carved  wood,  marble,  etc.,  taken  from  the  ruins  of  a 
Coptic  monastery  at  Baouit,  in  the  south  of  Hermo- 
polis  Magna,  and  brought  home  by  M.  Cledat ;  (2)  the 
tomb  of  an  ancient  chief  of  the  Egyptian  empire  of 
the  first  dynasty,  selected  by  M.  Georges  Benedite,  the 
assistant-curator  of  the  Louvre,  from  among  the  many 
tombs  which  surround  the  pyramids. 

It  is  worth  noting  that  during  the  past  few  months 
the  Section  of  Egyptian  Antitpiities  has  been  entirely 
re-modelled,  in  so  far  as  the  rooms  containing  the 
objets  d'art,  the  jewels,  etc.,  are  concerned,  upon  a 
new  method  of  classification,  which  more  nearly  ap- 
proaches the  purely  artistic  ideal. 

94 


In  the  Section  devoted  to  Objets  d'Art  in  the 
Italian  Pottery  room,  there  have  been  placed  frag- 
ments of  pottery  of  the  fifteenth  century  from  the 
Argnani  de  Faenza  collection  ;  three  albarelli  of  the 
fifteenth  century,  one  decorated  with  a  human  figure, 
and  two  bearing  the  scutcheon  and  coat  of  arms  of 
the  Sforzas.  In  the  rooms  beyond  the  Musee  Gran- 
didier,  several  objects  bought  at  the  Hayashi  sale  have 
been  set  out ;  among  them  two  bronzes  and  tv.'o 
ancient  masks. 

A  few  changes  have  been  wrought  in  the  Tuileries 
gardens.  In  this  way  Maindron's  statue,  Velleda,  dis- 
covered in  the  Luxembourg  a  couple  of  years  ago, 
has  been  placed  near  the  Ministere  des  Colonies  ;  not 
far  from  it  the  statue  of  Echo  has  been  replaced  by 
Soldi  Colbert's  Flora. 

The  Luxembourg  Museum. — The  Minister  of 
Public  Instruction  has  accepted,  on  behalf  of  this 
museum,  M.  Gautier's  picture,  the  Dead  St.  Cecilia, 
offered  as  a  gift  by  the  Comte  de  Rambuteau. 

In  the  BiBLiOTHEQUE  Nationale,  the  room  called 
Mazarin's  room  has  donned  one  of  the  Gobelins 
tapestry  panels  destined  for  its  decoration — Antiquity 
unveiled  by  the  Engineers  of  the  Renaissance,  from  a 
design  by  the  artist  F.  Ehrman.  M.  Henri  Bouchot 
has  just  acquired  two  portraits-charges  by  Horace 
Vernet,  his  own  and  Spontini's ;  thirteen  portraits- 
charges  by  Isabey  ;  four  volumes  of  original  and  un- 
published designs  for  theatrical  costumes,  from  1830 
to  1840;  four  hundred  and  seventeen  fashion-plates 
for  the  years  1853-80,  by  Leduc  and  Pilatte  ;  and 
fifteen  albums  of  patterns  for  '  cotton-printing '  of  the 
nineteenth  century,  which  come  from  the  factories  at 
Mulhouse  and  its  environs,  a  precious  document  in  the 
history  of  our  textiles.  In  the  Galerie  Mazarine,  in 
the  Manuscript  Section,  MM.  Blochet  and  Omont 
have  just  finished  arranging  in  two  glass  cases  a  tem- 
porary exhibition  of  marvellous  manuscripts  with  min- 
iatures, of  mussulman  origin.  We  must  mention  one 
Arabian  manuscript  of  the  thirteenth  century  ;  several 
Turkish  of  the  end  of  the  fourteenth  and  the  beginning 
of  the  fifteenth  centuries;  four  Persian  manuscripts, 
which  come  from  Ispahan,  of  the  beginning  of  the 
sixteenth  century ;  another,  executed  for  a  Mongol 
sovereign,  of  the  end  of  the  fourteenth  century ;  a 
Hindu  mussulman  manuscript  of  1839  ;  a  very  curious 
early  eighteenth-century  work,  containing  portraits, 
more  or  less  authentic,  of  the  Ottoman  sovereigns  ; 
and  lacquer-work  bindings  with  designs  of  strange 
birds  and  beasts,  of  the  sixteenth  century. 

No  one  was  better  fitted  than  M.  Blochet  to 
superintend  this  exhibition.  His  '  Inventory  and 
Description  of  the  Miniatures  of  the  Oriental  Manu- 
scripts preserved  in  the  Bibliotheque  Nationale'  is  a 
remarkable  publication,  complete  and  detailed,  learned 
and  precise. 

In  the  Musee  Guimet,  the  exhibition  of  pottery, 
ceramics  and  modern  materials,  brought  from  Russia 
by  Baron  de  Baye,  will  soon  close.  The  room  in 
which  it  is  held  will  then  be  devoted  to  the  objects 
which  M.  Gayet  brought  back  as  the  result  of  his 
explorations  in  Antinoe,  in  Egypt.  One  of  the  chief 
centres  of  attraction  in  this  exhibition  will  be  the 
garments  of  a  female  magician,  and  the  articles  which 
she   used  in  the  exercise  of  her  art.     In  a  lecture, 


PARIS     NOTES 


which  is  certain  to  be  as  great  a  success  as  the  one 
upon  Thais,  M.  Gayet  purposes  to  reconstruct  one  of 
the  ancient  magician's  seances.  The  silken  materials 
of  the  same  period,  which  are  to  lie  on  view,  derive 
great  interest  from  the  fact  that  the  Roman  empire 
must  have  held  both  direct  and  indirect  relations  with 
China.  They  also  throw  much  light  upon  the  history 
of  decorative  art  in  Asia  Minor.  Besides  these  dif- 
ferent exhibits,  we  must  mention  the  Chinese  imperial 
seals,  of  jade,  with  the  imperial  emblems ;  among 
these,  that  of  Khienong,  1736-96:  a  lardstone  seal; 
bronze  vases,  of  the  eighteenth  century  most  probably, 
the  property  of  M.  Guimet,  together  with  an  old 
mirror  dating  from  the  Han  dynasty,  206  u.c.  to 
220  A.n. 

Among  the  gifts  to  the  inuseum,  we  must  mention 
the  statuettes  of  Buddhist  divinities,  of  bronze  and 
gilt  metal,  the  gift  of  M.  Holle,  a  chemist  at  Saigon; 
the  setting  up  of  Mercury  .\nubis,  and  the  worship  of 
Isis  (Vatican  Museum),  gifts  of  M.  Guimet  ;  some 
Thibetan  amulets,  and  a  series  of  Indo-Chinese  paint- 
ings, representing  various  divinities  and  personages, 
tlie  gift  of  Lieutenant  Laporte. 

In  the  MusuE  de  l'Akmee  there  is  about  to  be 
installed  a  large  bronze  medallion  of  Monge,  by  David 
d"Angers,  discovered  in  the  Palais  Mazarin. 

In  the  Musee  de  (3luny  there  will  soon  be  seen 
the  old  stained-glass  windows,  dating  from  the  thir- 
teenth, fourteenth,  and  fifteenth  centuries,  which  were 
recently  discovered  in  the  Palais  de  Justice. 

In  the  Temple  de  I'Oratoire,  M.  Cavel,  the  archi- 
tect to  the  town  of  Paris,  has  just  discovered  some 
ancient  paintings  of  real  interest.  They  are  decorat- 
ing the  vaults  of  the  first  division  of  the  arcades  in 
the  right  and  left  transepts.  One  of  them  represents 
the  conversion  of  St.  Paul  upon  the  road  to 
Damascus. 

II.  THE  EXHIBITIONS 
These  succeed  each  other  without  interruption. 
They  are  multiple,  fugitive  and  \arious.  Many  seem 
to  be  unnecessary  ;  some  inspire  despair;  occasionally 
some  retain  and  delight  us.  From  the  multitude  we 
may  single  out  the  exhibitions  of  Paul  Vogler,  Maxime 
Dethomas,  ■  Storms  van  'sGravesande,  Henri  de 
Toulouse-Lautrec,  whose  premature  death  has  cut 
shcjrt  a  talented  career  whose  progress  was  steady  and 
continuous;  F.  Vallotton  and  E.  Vuillard,  Pierre 
Laprade  and  Paul  Minartz,  etc.  We  will  pause  a 
moment  before  the  exhibits  of  the  three  Japanese 
masters  Hok'sai,  Hiroshige,  and  Kouniyoshi.  We  must 
not  forget  the  very  curious — and  instructive,  in  more 
than  one  way — Exhibition  of  a  Hundred  Palettes  of 
Modern  Painters,  from  J.  Dupre  to  Fantin-Latour, 
from  Ingres  and  Fromentin  to  Puvis  de  Chavannes 
and  Pissarro.  And  w'e  must  also  mention  the  Carolus 
Duran  Exhibition,  which  shows  the  development  of 
the  talent  of  this  modern  master,  his  manner  of  work- 
ing, his  mode  of  composition,  and  the  ideas  whence 
he  derives  his  mastery,  his  victories,  and  perhaps  also 
his  faults. 

We  have  already  dealt  with  the  National  Salon. 
Want  of  space  prevents  us  giving  a  detailed  account 
of  the  Salon  of  French  Artists.  It  must  suffice  to 
say,  in  a  few  words,  that  the  general  impression  that 
we  brought  away  with  us  was   that  of  boredom — of 


deadly  boredom — alas  !  An  infinite  number  of  rooms, 
an  indefinite  numberofwoiks,  and  everlasting  boredom. 
This  Salon  is  a  conservative,  a  dogmatist,  standing  up 
stiff  in  its  high  collar  and  white  tie,  stifling  all  liberty  in 
its  crushing  embrace,  suppressing  all  atmosphere  and 
all  joy  !  Wry  little  fresh  talent,  much  placid  incapa- 
city, as  usual,  and  some  development  of  talent  that  is 
already  known.  We  must  mention  the  works  of 
Gabriel  Ferrier,  Humbert  and  Harpignies ;  those  of 
Luc  Olivier  Merson  and  the  very  fine  triptych  of 
Henri  Martin.  W'e  would  no  wise  imply  that,  apart 
from  these  works,  there  is  nothing  good  in  the  Salon. 
There  are  others,  many  others,  that  should  be  seen 
and  described.  But,  apart  from  these  again,  there  are 
others,  and  far  too  many  of  them,  and  these  would 
swallow  up  the  small  amount  of  space  that  I  have  at 
mj-  disposal  in  the  twinkling  of  an  eye.  And  in  spite 
of  this  abundance,  I  readily  agree  with  M.  Camille 
Mauclair,  in  his  article  in  the  Revue  Blctic,  that  '  One 
comes  away  remembering  scarcely  anything — and  the 
painters  themselves  are  already  thinking  of  other 
things ! ' 

lll.-ROUND  THE  ARTISTIC  SOCIETIES 
We  think  our  readers  will  be  interested  by  a  short 
account  of  the  principal  facts  concerning  retrospective 
art,  which  have  been  brought  about  during  the  month 
by  the  different  societies  having  their  headquarters  in 
Paris. 

Monsieur  .Andre  Hallays,  of  the  Commission  du 
Vieux  Paris,  helped  to  discover,  in  a  cupboard  let  into 
a  wall  in  the  church  of  St.  Gervais,  a  fifteenth- 
century  missal,  enriched  with  miniatures.  M.  Main- 
tienne  has  offered  the  town  a  collection  of  old  prints 
and  drawings  of  the  Chateau  de  Saint-Maur. 

To  the  .\cademie  des  Inscriptions,  M.  Salomon 
Reinach  has  forwarded  some  photographs  of  a  wonder- 
ful ivory  statuette  of  a  dancer,  which  has  been  found 
at  Knossos  (Crete)  by  Mr.  Arthur  Evans. 

Before  the  Societe  des  Antiquaires  de  France, 
M.  Chenon  has  read  notes  on  the  painter-glazier 
Guilliaume  de  Marcillat,  who  was  born  at  La  Chatre, 
in  Berry,  about  1373,  and  who  died  about  1435. 
IV.-BIBLIOORAPHY 
The  •  Descriptive  Catalogue  of  the  Exhibition  of 
Mussulman  .-\rt,'  by  MM.  Gaston  Migeon,  Max  van 
Berchem,  and  M.'Huart:  Paris,  Societe  fran^aise 
d'Imprimerie  et  de  Librairie.— This  catalogue,  re- 
markably clearly  arranged,  and  containing  precious 
information,  comprises  no  less  than  952  articles,  in- 
cluding Marble,  Stone  and  Ivory  Carvings,  Wood, 
Copper,  Potterv,  Glass,  Carpets,  Tissues,  Manuscripts. 
Miniatures  and  Bindings  to  be  seen  at  the  exhibition 
held  in  the  Pavilion  de  Marsan.  It  is  a  most  con- 
scientious work,  and  a  mine  of  information. 

*  An  Inventory  and  Description  of  the  Miniatures 
of  the  Oriental  Manuscripts  preserved  in  the  Biblio- 
theque  Nationale,"  by  Monsieur  E.  Blochet :  published 
and  sold  by  J.  Maisonneuve.  S  rue  de  Mezieres, 
Paris.— We  have  already  mentioned  this  important 
catalogue  in  the  course  of  the  preceding  notes.  We 
must  mention  once  more  its  very  great  value:  every 
miniature  of  everv  manuscript  is  numbered,  and  its 
subject  minutely  described.  Date,  origin,  apprecia- 
tion of  the  artistic  (pialitics,  description  of  the  sub- 

95 


THE     BURLINGTON     GAZETTE 


G.  de  R. 

the    Sculptii: 
n   from  ti  a.n 


jects,  present  state  of  the  manuscript,  are  all  carefully 
mentioned  in  M.  Hlochefs  work,  which  is  the  result 
of  learned  observation  and  lonR  and  exhausti\'e  study. 

'The  Boscorcale  Frescoes,"  described  by  Arthur 
Sambon,  Litt.Doc.  of  the  University  of  Naples  :  Paris, 
iq  rue  Lafayette,  E.  and  C.  Canessa. —  Without 
actually  recording  the  object  of  the  Pompeian  paint- 
ings, the  interest  of  this  catalogue  is  at  once  apparent, 
from  the  point  of  view  of  decorative  art  and  even  of 
the  portraits  bequeathed  to  us  by  antiquity.  The 
works  brought  from  Boscoreale  and  described  here 
by  Mr.  Sambon — mural  paintings,  portraits  of  the 
citharist,  the  athlete,  the  winged  Dionysian  genii,  the 
woman  with  the  buckler— will  all  be  exhibited  in  the 
Durand-Ruel  (lalleries  where  thev  are  to  be  sold  on 
June  6,  1903. 

'They  are,'  says  Mr.  Sambon,  'like  dreams — 
dreams  of  richness  and  delight.  We  recognize  in 
them  the  spirit  of  the  time,  the  refined  sensuality 
of  the  Romans  of  the  Great  Empire.  It  is  the  best 
translation  of  an  "Ode  to  Horace."  ' 

N.B.— I.    Starting    from     Ma\'    i. 
Museum   in   the  Trocadero  will  be  opei 
to  5  p.m. 

II.  The  marvellous  and  extraordinary  Roucho- 
mowski  is  still  working,  slowly,  on  the  reproduction 
of  a  '  bobbin  '  of  the  tiara.  The  Minister  of  Public 
Instruction,  who  has  returned  from  Italy,  wishes  to 
have  the  inquiry  brought  to  a  speedy  conclusion.  Sd 
does  the  public.  And  M.  Clermont-Ganneau  must 
be  in  just  as  great  a  hurry  :  but  Rouchomowski 
appears  quite  the  contrary  !  When  shall  we  know 
the  result  of  the  inquiry  ? 


ROUEN 

(from    OCR    OWN    COKRESPONOENT) 

I. -SALE     OF    ANTIQUITIES 

The  sale  of  the  Glanville  collections,  formed  long 
ago  when  interesting  pieces,  untouched  by  the  breatli 
of  suspicion,  were  numerous,  by  a  learned  archaeologist, 
brought  together  many  collectors  on  May  i,  2  and  j. 
The  catalogue  showed  pottery,  arms,  enamels,  iron- 
work, bronzes,  alabaster-work  and  prehistoric  objects. 
Among  the  objects  of  historical  interest  were  included 
a  small  plate  signed  by  Marie  Antoinette  and  a  coif 
which  belonged  to  Madame  Elizabeth  of  France,  which 
were  both  acquired  at  the  sale  of  the  property  of  the 
descendants  of  Clery  de  Gaillard  the  faithful  valet  of 
Louis  XVI. 

The  following  are  the  principal  prices  fetched  by 
the  pieces  in  this  very  important  collection  : — 

Pottery.— A  Rouen  dish  with  handles,  with  de- 
sign representing  an  opium  den,  4,500  fr. ;  a  Rouen 
dish  with  hexagonal  handles,  centre  decoration  a  rayed 
medallion,  3,000  fr. ;  a  small  hamper-shaped  dish, 
715  fr. ;  small  bowl  with  Chinese  decoration,  490  fr. : 
large  round  dish  with  scallop  decoration,  350  fr. : 
porcelain  flower-vase  from  Saint-Cloud,  305  fr.  ;  small 
ewer  with  handles,  250  fr. ;  a  white  rabbit  supporting 
a  yellow  vase,  360  fr. ;  eighteen  china  plates,  220  fr. ;  a 
large  Rouen  dish  with  Chinese  decoration,  150  fr.  ; 
two  flower-holders,  old  Rouen,  170  fr. 

Arms  and  Antiouities. — An  old  French  bronze 
helmet,  triangular  in  shape,  with  herring-bone  design. 


found  at  Falaise  in  1830  with  Ave  others,  one  of  which 
is  in  the  Museum  at  Rouen,  1,700  fr. ;  a  wheel-lock 
arquebus,  inlaid  with  ivory,  engraved  with  figures  of 
animals  and  arabesques,  German  work,  seventeenth 
century,  510  fr. ;  a  processional  cross  of  enamelled 
copper,  champleve,  Limousin  work,  thirteenth  cen- 
tury, height  574  cm.,  1,200  fr. ;  Pyx,  enamel,  champ- 
leve, Limousin  work,  fifteenth  century,  610  fr. ;  part 
of  small  tile  from  the  valley  d'Auge,  small  ivory- 
car\iiig  of  the  sixteenth  century,  660  fr. ;  printing- 
block  (Diploma  of  the  Confraternity  of  Painter- 
Glaziers  of  Rouen),  acquired  by  the  Library  of  Rouen, 
220  fr.  ;  wooden  block  for  printing  pla\ing  cards, 
155  fr. 

Objects  under  Glass.— A  note-book  which  be- 
longed to  the  Duchess  of  Berry,  a  fragment  of  material 
with  a  letter  stating  that  this  material  had  been  steeped 
in  the  blood  of  the  Duke  of  Berry,  a  coif  that  belonged 
to  Madame  Elizabeth  of  France,  a  small  collar 
that  was  once  worn  by  the  Duke  of  Bordeaux,  to- 
gether fetched  500  fr. ;  a  small  Renaissance  coffer, 
460  fr. ;  a  large  coffer,  Flemish  work,  365  fr.  ;  two 
large  doors  composed  of  Renaissance  panels,  315  fr.  ; 
a  rosary  of  the  time  of  Louis  XIII,  270  fr.  ;  twn 
Henri  II  armchairs,  140  fr. 

The  library  contained  but  very  few  books  of  interest. 
Among  them  were  an  '  Office  of  the  B.  Virgin,'  a 
manuscript  of  the  fifteenth  century,  with  seven  minia- 
tures, framed  with  foliage;  a  '  Romance  of  the  Rost.-,' 
in  folio,  Gothic,  with  wood  engravings,  printed  by 
Nicolas  Desprez  ;  the  '  Liber  Chronicoruni  '  of  Hart- 
man  Schedel,  printed  at  Nuremberg  in  I-193;  a 
•  Cicero'  of  Estienne,  1555  ;  the  '  Gems  and  Precious, 
Stones  '  of  Tigurius,  1565  ;  the  '  Pragmatic  Sanction  ' 
of  William  Paraldi,  printed  by  Michael  Le  Noir,  1513. 

I  ha\-e  also  to  record  a  sale  of  no  ver\'  great  in- 
terest of  the  sketches  and  drawings  of  the  landscape- 
painter,    Edouard    Daliphard,   who   died    mam-  xears 


II.— ACQUISITIONS  OF  THE    MUSEE    DE    PEINTURE 

The  Musee  de  Peinture  acquired  from  the  Exlii- 
bition  of  Modern  Painters,  organized  by  the  Societc 
des  Amis  des  Arts,  the  following  works  : — Roses  and 
Lilies,  by  Madame  Mary  MacMonnies;  the  Rising  of 
the  Seine,  by  Luigi  Loir  ;  the  Burial  of  a  Sailor  in 
Brittany,  a  pastel  by  Le  Gout-Gerard  ;  the  Rue  Saint- 
Romain  and  the  Rue  du  Bac,  pastels  by  Minet.  The 
museum  has  also  received  the  following  gifts  from  the 
State  : — ^The  Comitia,  by  Brispot  ;  the  Souvenir  of 
Amsterdam,  by  Mademoiselle  Delasalle;  A  Woman 
reading  a  Letter,  by  Paul  Thomas ;  The  Dreaming 
Child,  by  Mademoiselle  Bresleau  ;  Lobster  and  Cra}- 
lish,  by  Bergeret. 

III.— HISTORICAL   RESTORATIONS 

Till':  Siiii's  i>r  the  Law  Coi'rts  (if  Rouen. — 
The  (|iu'sti()n  of  the  restoration  of  the  exterior  stair- 
risc  ul  the  I, aw  Courts  of  Rouen,  the  old  parliament 
house  of  NormaiRly,  has  just  been  definitely  settled. 
As  is  well  known,  after  many  vicissitudes,  the  central 
staircase  was  restored  in  1829,  together  with  other 
works  of  a  like  nature,  by  the  architect  Gregoire. 
This  was  demolished  last  year,  and  was  replaced  by 
a  polygonal   staircase,  built  against  the   front   of  the 


96 


Salle  ties  Procuieurs,  which  dates  from  1499.  This 
staircase,  the  work  of  the  architect  to  the  department 
of  Seine  Inferieure,  M.  Lucien  Lefort,  was  considered 
heavy,  massive  and  a  distigurement  of  the  whole  build- 
ing, the  chief  charm  of  which  is  the  lightness  of  its  archi- 
tectural decoration.  Besides  this,  the  construction 
of  a  crenelated  wall,  against  which  the  staircase  was 
to  rest,  completely  hid  the  edihce. 

In  accordance  with  the  consensus  of  public  opinion, 
and  the  advice  of  artists  and  the  press,  which  was 
echoed  in  the  Conseil  General  and  in  the  Chamber  of 
Deputies  when  the  I'ine  Arts  Budget  was  discussed, 
it  was  decided  by  the  Ministry  of  Public  Instruction 
and  the  Pine  Arts  that  the  staircase  should  be 
destroyed.  It  will  be  replaced  by  a  new  one,  placed 
parallel  with  the  fa(;ade  of  the  Salle  des  Procureurs, 
but  in  the  southern  angle  of  the  edifice.  Taking  as 
his  model  an  old  specification  of  1493,  preserved  among 
the  municipal  archives,  the  new  architect  appointed  by 
the  Government  to  construct  this  staircase,  M.  Sel- 
inersheim,  inspector  of  historical  monuments,  has 
reconstructed  this  staircase  with  pierced  balustrades, 
linials,  entrance  landing,  and  three  arches  which 
support  the  steps  and  the  landing.  In  its  general 
outlines  this  staircase  resembles  very  much  the  stair- 
case in  the  Chapelle  de  la  Fierte  at  Rouen,  and 
especially  recalls  the  staircase  in  the  library  of  the 
cathedral. 

These  new  plans  in  the  style  of  the  fifteenth  cen- 
tury, which  have  been  approved  by  the  Commission  of 
Historical  Monuments,  will  very  shortly  be  used  for 
the  construction  of  the  new  staircase,  which  work  is 
to  be  executed  by  MM.  Delalonde  and  Gouverneur, 
the  Parisian  contractors,  who  will  hurry  it  on  during 
the  legal  vacation.  After  this  staircase  is  completed, 
the  restoration  of  that  of  the  Court  of  Appeal,  which 
is  in  a  very  bad  state,  will  be  taken  in  hand.  Then 
will  stand  erect  in  its  integrity  this  marvellous  civil 
edifice  which  witnesses  so  forcibly  to  the  art  and  the 
skill  of  the  builders  of  the  sixteenth  century. 
IV.  -ARCHAEOLOGICAL  NOTES 

In  excavating  at  Saint-Etienne-du-Kouvray,  several 
-lone  coffins  were  found,  lying  from  east  to  west,  and 
ontaining  bones  and  an  adult  skull.  For  many  years 
iliis  place  has  been  known  as  a  veritable  Prankish 
necropolis,  and,  at  different  times,  Merovingian  sarco- 
phagi, sword-belt  rings,  bronze  articles,  black  vases 
with  figures,  etc.,  have  been  brought  to  light. 

At  .Auffay,  in  the  Canton  de  Totes,  in  the  Seine 
Inferieure,  there  have  been  discovered  in  the  old 
burial-ground  occupied  by  the  chapels  of  St.  Claude, 
St.  Maclou,  and  St.  Quentin,  Clos-Jacquet,  a  magnifi- 
cent earthen  vase  of  the  second  century.  The  follow- 
ing are  its  dimensions: — Height,  12cm.;  circum- 
ference, 36  cm. ;  weight,  205  grammes.  It  has  been 
added  to  the  collection  of  M.  Leon  Delahaye,  who 
owns  an  estate  in  this  commune. 

The  Silver  Bell. — Rouen  possesses,  in  its  com- 
munal belfry,  one  of  the  oldest  bells  in  Europe,  the 
■  Rouvel,'  or  Silver  Bell,  of  which  mention  has  been 
made  from  the  ninth  century  onwards.  In  obedience 
to  the  commands  of  William  the  Concjueror,  it  was 
used  to  ring  the  curfew  every  night  at  nine  o'clock,  a 
custom  which  still  continues,  and  which  has  never 
been  interrupted  except  during  the  years  of  the  English 


NOTES     FROM     BRUSSELS 

domination,  from  1429  to  1449.  This  bell  has  played 
its  part  in  all  the  great  political  events,  notably  in  the 
revolt  of  La  Harelle  against  the  French  monarchv  : 
it  was  confiscated  by  Charles  \T,  and  afterwards  re- 
stored to  the  commune  of  Kouen,  together  with  another 
bell,  the  '  Cache- Ribaud,"  the  ringing  of  which  formerly 
indicated  to  the  working  corporations  the  time  for 
beginning  and  leaving  off  work.  The  SiUer  Bell  bears 
the  following  inscription  on  its  upper  fillet : — Je  suis  : 
nomme  :  Rouvel :  Rogier :  Le  Feron  me  fist  fere : 
Jehan  :  Uamiens  me  fist.  .\t  the  time  of  writing,  this 
ancient  and  finely-proportioned  bell  has  not  been 
ringing  for  a  month  on  account  of  a  crack  in  its  sound- 
bow,  which  threatens  its  stability.  Several  technical 
experts  have  met  to  discuss  what  is  best  to  be  done. 
They  have  all  pronounced  against  a  complete  re- 
casting, which  would  completely  alter  the  nature  of 
this  relic  of  the  past.  X'arious  propositions  for  its 
partial  restoration,  or  its  re-welding,  have  been  also 
studied  ;  but  we  are  afraid  that  the  Silver  Bell,  which 
has  been  taken  down  from  the  belfry  of  the  Grosse 
Horloge,  where  it  hung  for  six  hundred  years,  will  have 
to  be  placed  in  the  departmental  Museum  of  .Antiqui- 
ties of  the  Seine  Inferieure. 

The  Castle  ok  Dieppe.— .All  tourists  know  the 
old  castle  of  Dieppe,  with  its  powerful  round  towers, 
and  its  moat  crossed  by  a  drawbridge.  It  was  the  old 
fortress,  built  on  the  rock  by  Charles  Desmarets  in 
1439,  with  the  assistance  of  the  communes  of  Caux, 
who  had  risen  against  the  English  invasion.  It  has 
plajed  an  important  part  in  after  wars,  and  brings 
back  to  one's  memory  Mazarin  and  Mile,  de  Longue- 
ville,  who  stayed  here.  At  the  present  day  this 
castle  and  the  Port  de  West  are  the  only  remains  of 
the  military  fortifications  of  the  old  maritime  city. 
The  old  castle  of  Dieppe  has  become  the  property 
of  the  Ministry  of  War,  by  whom  it  has  been  turned 
into  a  barracks.  Now,  in  consequence  of  changes  that 
are  being  made,  it  comes  into  the  hands  of  the  Ad- 
ministration des  Domaines,  who  are  thinking  of  offer- 
ing it  for  sale.  This  would  mean  the  disappearance 
altogether  of  this  castle,  as  interesting  from  a  historical 
point  of  view  as  from  an  artistic  one.  As  a  conse- 
quence of  the  report  of  M.  Sclmersheim,  the  inspector- 
general  of  the  Commission  of  Historical  Monuments, 
the  municipality  of  Dieppe  has  made  the  state  an 
offer  to  purchase  this  monument,  in  order  to  turn  it 
into  a  museum,  a  college,  or  some  other  institution. 
The  price  asked  by  the  state,  viz.  250,000  fr.,  has 
made  the  municipality  hesitate  about  acquiring  it :  but 
it  is  to  be  hoped  that  these  ancient  and  historical  walls 
will  be  preserved. 

G.   D. 

BELGIUM 

NOTES    FROM    BRU5SEL5 

This  chronicle  being  the  first  of  those  which  I  am 
about  to  devote  to  the  doings  of  the  museums  in 
Belgium,  I  have  thought  it  well  to  mention  the  various 
purchases,  the  new  acquisitions  and  the  changes  made 
since  the  apjiearance  of  the  first  number  of  The 
Burlington  Magazine,  and  so  make  my  readers 
acquainted  with  what  has  taken  place  during  the  last 
three  months. 


THE     BURLINGTON     GAZETTE 


Since  the  publication  of  Mr.  A.  J.  Wauters's  cata- 
logue, the  Museum  of  Painting  has  made  no  new 
acquisition.  This  catalogue  clearly  shows  the  present 
state  of  the  museum;  but  insufficiency  of  time  having 
prevented  him  from  making  an  original  and  thorough 
search,  Mr.  Wauters  has  been  able  to  bring  nothing 
personal  to  it  but  his  knowledge  of  the  history  of 
Flemish  painting.  For  the  rest,  and  notably  as  far  as 
the  Dutch  school  is  concerned,  he  has  utilized  the 
information  collected  by  Mr.  Fetis,  which,  dating  back 
some  little  time,  should  be  put  through  the  sieve  of 
severe  criticism  in  the  light  of  more  recent  evidence. 
Under  these  circumstances,  this  work  can  only  be 
looked  upon  as  a  temporary  one.  Nevertheless,  such 
as  it  is,  it  offers  a  classification  and  decision  on  the 
whole  much  supeiior  to  what  had  previously  existed ; 
it  will  help  to  clear  the  way  for  some  future  work  that 
may  be  looked  upon  as  final  and  decisive. 

Though  no  new  purchase  has  been  made  that  will 
modify  the  catalogue  recently  issued  by  the  Museum 
of  the  Old  Masters,  the  same  cannot  be  said  of  the 
Museum  of  Modern  Painters  and  Sculptors.  The 
sculpture  section  has  lately  been  enriched  by  a  small 
group  by  Mr.  Victor  Rousseau,  Vers  la  Vie,  and  by  a 
large  group  of  Wrestlers  from  the  hand  of  Mr.  Joseph 
Lambeaux.  The  first  of  these  artists  was  already 
represented  by  his  beautiful  figure  of  Denieter  ;  but 
the  second  now  gains  admittance  for  the  first  time 
by  an  important  work  which  gives  some  idea  of  the 
place  which  he  occupies  in  the  ranks  of  contemporary 
Belgian  sculpture. 

With  regard  to  the  Musees  Royaux  du  Cinquante- 
naire,  they  have  shown  signs  of  the  most  lively 
activity.  They  include  sections  of  Industrial,  Monu- 
mental and  Decorative  Art ;  Arms  and  Armour  ; 
Antiquities  and    Ethnography. 

The  Antiquities  Section  has  bem  enriched  by  the 
result  of  the  excavations  made  at  Ryckevorsel,  in  the 
province  of  Antwerp,  where,  towards  the  end  of 
January  last,  remains  of  ancient  burying-places  were 
found.  About  twenty  incinerary  barrows  were  dis- 
covered. The  absence  of  cut  stone  of  any  kind,  of  all 
Roman  remains,  the  mode  of  burial,  the  nature  of  the 
pottery,  and  the  custom  of  placing  tiny  vases  within 
the  cinerary  urns,  all  point  to  the  first  Iron  Age  as 
being  the  date  of  the  tombs. 

Since  the  beginning  of  the  year,  the  Egyptian 
Section  has  received  from  the  Egypt  Exploration 
Fund  and  from  the  Egjptian  Research  Account  a 
certain  number  of  antiquities  yielded  by  the  excava- 
tions pursued  at  Abydos  by  Professor  Petrie  and  his 
assistants,  and  at  Fayum  by  Messrs.  Grenfell  and 
Hunt.  These  additions  have  been  recently  placed  on 
view  in  the  museum. 

The  pre-historic  town  at  Abydos  has  yielded 
objects  to  which,  thanks  to  circumstances  into  which 
I  need  not  enter,  a  date  has  been  assigned,  bringing 
these  pre-historic  times  into  line  with  the  dates  as- 
signed to  the  kings  of  the  first  historic  dynasties. 
Among  the  stone  implements  I  would  mention  a  large 
handleless  knife  with  a  curved  extremity  (No.  445),' 
two  knives  with  handles  (Nos.  456  and  457),  several 
scratching  knives  (Nos.  459 -.(6i)  ;  two  small  crescents 


used  for  hollowing  cups  out  of  soft  stone  (No.  468)  : 
and  a  kindred  appliance  for  hollowing  vases  out  of 
hard  stone  (No.  476).  Among  the  divers  other  objects 
are  a  fine  head  of  a  hippopotamus  in  terra  cotta 
(No.  471) ;  the  bod\'  was  covered  with  incised  lines, 
cutting  each  other  at  right  angles  ;  numerous  traces 
of  colour  still  remain  ;  a  shell  bracelet  (No.  474)  ;  a 
quantity  of  beads  of  enamelled  terra  cotta  (No.  475)  ; 
a  fragment  of  the  border  of  a  pavement  of  terra  cotta, 
decorated  with  incised  lines  in  a  geometrical  pattern. 

A  tomb  discovered  among  the  debris  of  the  ancient 
town  has  also  fallen  to  the  lot  of  the  Musee  du  Cin- 
quantenaire  (No.  473) ;  the  funeral  furniture  of  it  is 
ver}-  scanty,  but  it  is  remarkable  on  account  of  the 
likeness  it  displays  to  the  tombs  of  pre-historic  times 
of  Yorban  Kelembo  in  Asia  Minor  and  of  Argar  in 
Spain.  Among  the  objects  belonging  to  the  epoch 
posterior  to  the  ancient  empire  we  must  record  the 
acquisition  of  a  fragment  of  stele  belonging  to  the 
thirteenth  dynasty  (No.  480) ;  a  head  of  Osiris 
(No.  482)  ;  and  a  complete  form  of  Osiris  as  a 
mummy,  standing,  sceptre  in  hand,  before  offerings 
(No.  483).  Of  the  objects  belonging  to  a  later  epoch, 
dating  from  the  thirty-sixth  dynasty  onwards,  dis- 
covered in  a  disused  cemetery,  we  must  mention  the 
funeral  statuettes  of  blue  enamel  (Nos.  484-4S5),  and 
a  small  model  of  a  sarcophagus  of  wood,  painted  and 
ornamented  with  figures  of  jackals  and  sparrow-hawks 
of  wood  covered  with  stucco.  Finally,  there  comes 
from  the  temple  of  Seti  the  First  at  Abydos,  a 
small  limestone  naos,  decorated  with  inscriptions  and 
various  subjects.  A  small  crocodile  mummy,  dated 
from  the  Roman  period,  a  mummy  of  a  child,  a  lamp 
in  the  form  of  a  satyr's  head,  dating  from  the  time  of 
the  Ptolemys,  a  presentment  of  the  god  Harpocrates, 
earthen  vases,  bracelets,  beads,  etc.,  are,  on  the  other 
hand,  contributions  owed  to  the  excavations  at 
Fayum. 

I  will  not  linger  over  the  section  of  Monumental 
Art,  for,  though  it  has  been  enriched  by  a  great  num- 
ber of  new  casts,  these  pieces  are  well  known  either  as 
historical  monuments  or  as  exhibits  in  the  European 
museums.  But  I  must  mention  five  figures  belonging 
to  the  Indo-Javanese  division  of  sculpture,  the  originals 
of  which  are  in  the  museum  at  Batavia,  and  conse- 
quently less  accessible  and  less  known  than  those 
which  are  to  be  found  in  the  museums  of  Europe  ;  they 
date  from  the  end  of  the  eighth  or  the  beginning  of  the 
ninth  century.  The  cast  of  the  Roman  portal  of  the 
hospital  of  St.  Peter  at  Louvain  also  demands  a  short 
notice.  The  greater  portion  of  the  carved  decoration 
has  disappeared  from  the  portal  itself,  but  it  has  been 
entirely  reconstructed  on  the  cast,  thanks  to  the  im- 
pressions which  were  taken  long  ago,  and  which  fill 
the  present  spaces  so  well  that  the  cast  in  this  museum 
becomes  of  considerable  archaeological  value,  as  this 
portal  was  an  architectural  and  decorative  work  of  the 
highest  importance. 

I  must  now  turn  to  the  Arms  and  .\rmour  section; 
firstly,  on  account  of  its  new  classification  and  arrange- 
ment, and  secondly,  because  of  the  recent  publication 
of  the  catalogue,  which  deserves  to  be  specially  men- 
tioned. Mr.  Van  Malderghem,  the  keeper  of  the  archives 
of  the  town  of  Brussels,  has  contributed  a  historical 
notice  of  the  Porte  de   Hal,   where  the  collection  is 


RECENT     ART     PUBLICATIONS 


exhibited  at  the  present  time.  This  is  a  conscientious 
monograph  which  does  honour  to  its  author,  and,  from 
the  nature  of  the  documents  consulted,  this  notice 
settles  all  the  discussions  that  have  arisen  concerning 
this  building,  all  that  remains  of  the  second  enclosure 
of  the  fortifications  of  Brussels.  Mr.  de  Prelle  de  la 
Nieppe  has  adiled  an  im[)ortant  historical  notice  of  war 
armour.  The  rest  of  the  book  contains  the  descripti\e 
catalogue  of  the  numerous  exhibits.  The  arms  are 
classified  according  to  the  use  to  which  they  were  put, 
tournament  or  jousting  arms,  swords,  bucklers,  etc. ; 
and  each  sub-division  is  preceded  by  a  short  explana- 
tor)-  introduction.  The  armourers"  marks  and  inspec- 
tion stamps,  collected  from  the  arms  and  armour  in 
the  museum,  arc  contained  in  an  appendix. 

Last  year  the  municipality  of  Brussels  commis- 
sioned M.  X'ictor  Gilsoul  to  paint  four  panels  repre- 
senting four  of  the  most  picturesque  spots  which  were 
to  be  destroyed  on  account  of  the  works  necessary  for 
carrying  out  the  project  of  making  Brussels  a  port  dc 
iin-r.  ^I.  Gilsoul  perforined  his  task  with  his  usual 
talent,  and  the  four  panels  were  finished  in  time  to 
take  their  place  in  the  town  hall  for  the  reception 
given  by  the  Burgomaster  of  Brussels  in  honour  of  the 
Lord  Mayor  of  London.  The  chief  magistrate  re- 
marked that  this  was  but  the  continuation  of  an  an- 
cient custom,  as  for  very  many  years  past  it  had  been  the 
practice  to  commission  artists  to  paint  memorials  of  the 
picturesque  corners  of  old  districts  as  they  were  im- 
proved awa\-  b}'  new  works. 

I  have  nothing  very  special  to  remark  concerning 
the  museums  outside  Brussels,  except  the  purchase 
(for  18.000  fr.)  by  the  Liege  museum  of  a  picture  by 
the  animal  painter,  Alfred  Verwee ;  this  museum 
already  possessed  the  Fighting  Bulls,  which  is  one 
(jf  the  finest  canvases  of  this  master.  The  Antwerp 
museum  held  an  exhibition  from  April  12  to  May  12 
of  an  important  collection  of  the  works  of  the 
Flemish  and  Dutch  masters  of  the  sixteenth,  seven- 
teenth and  eighteenth  centuries,  belonging  to  a  collec- 
tor living  in  that  town. 

Finally,  the  sale  of  the  Leroy  collection  at  Brussels, 
which  included  pictures,  porcelain,  china,  stoneware 
and  old  silver,  was  the  occasion  of  some  bidding  which 
would  interest  certain  collectors.  A  small  panel 
picture  by  Philip  Wouwermans,  L'Etrier  Rajuste 
(No.  106  in  the  catalogue),  was  sold  for  5,400  fr. ;  a 
small  portrait  of  a  woman,  by  Terburg  (No.  90),  for 
4,100  fr. ;  a  portrait  of  Jem  Mytens  (No.  62)  for 
4,100  fr.;  a  fine  portrait  of  a  woman,  by  Netscher 
(.No.  63),  for  4,000  fr. ;  a  landscape,  by  Ruysdael 
(No.  81),  for  2,200  fr.  ;  a  portrait,  by  Pourbus  (No.  76), 
for  2,100  fr.  R.  P. 

RECF3NT   ART    F^UBLICATIONS 

ANTIQUITIES 

Gauckler  (P.),  GouvET  (E.)  and  Hasnezo  (G).  Musces  et  col- 
lections arch(!ologiques  de  I'Alg^rie,  etc.  Mus(:-es  de  Sousse. 
(14x11)  Paris  (Leroux).  15  fr.  With  17  plates,  reproductions 
of  mosaics,  sculpture  and  other  antiquities. 

Marucchi  (H.),  I^  Forum  Komain  et  le  Palalin  d'aprts  les 
dernieres  decouvertes.  (9  x  6)  Paris,  Rome  (Desck-e  Lefebvre). 
[Illustrated.] 

Leitschuh     (F.F.)       Strassburg.       (10x7)       Leipzig     (Seemann>, 

4  marks.     140  illustrations.     "  Beriihmte  Kunststiitten,  iS." 

•  sizes  (blight  X  width)  In  iiichos. 


Li.NDNER   (H.).      Danzig.      (10x7)      Leipzig   (Seemann;,   3   marks. 

104' illustrations.     "  Beruhmte  Kunststatten,  ig." 
Cartwright  (J.).     Isabella  dEste,  Marchioness  of  Mantua,   1474- 

1539.  a  Study  of  the   Renaissance.     2  vols.     (9x6)      I^ndon 

(Murray),  25s.  net.     [18  plates.] 
Weber   (L.).      Bologna.      (10x7)      Leipzig    (Se-mann),   3    marks. 

••  Beriihmie  Kunststatten,  17."     120  illustrations. 
Hevwood  (W  )  and  Olcott  (L).     Guide  to  Siena,  history  and  art. 

(8  X  5)     Siena  (Torrini),  5  lire. 
Henderson  (M.  S  ).     Three  Centuries  in  North  Oxfordshire.    (8x5) 

Oxford  (Blackwell).  London  (.\rnold),  5s.      [Contains  Evelyn's 

•  List  of  the  most  notable  of  the  paintings  possessed  by  the  late 

[.ord  Clarendon.'] 

BIOGRAPHICAL    WORKS    AND    MONOGRAPHS 

Neumann  (W.).  Haliische  Maler  und  Bildhauer  des  xix.  Jahrhund- 
erts.  Biographische  Skizzen  mit  den  Bildnissen  der  Kunstler 
und  Reproductionennachihren  VVerken.  (12x8)  Riga  (Grosset), 
16  marks. 

Streeter  (A.).  BotticeUi.  (8  x  5)  London  (Bell),  5s.  net.  [Great 
Masters  in  Painting  &  Sculpture.    41  plates.] 

WiEGASD  (O.).  Adolf  Uauer :  ein  Augsburger  Kunstler  am  Ende 
des  XV  und  zu  Beginn  des  xvi  Jahrhunderls.  (10x7)  Strass- 
burg (Heitz). 

Studien  zur  Deutschen  Kunstgeschichte,  No.  43.  With  15 
plates. 

Mevkr  (A.  (■>.).  Donatello.  (10x7)  Leipzig  (Velhagen  &  Klasing), 
3  marks. 

No.  i.xv.  of  Knachfuss'  Kunstler-Monographien  ;  141  illustra- 
tions. 

Benedite  (L.).  Fantin-Latour:  6tude  critique.  (12x9)  Paris  (Lib. 
de  I'Art  ancien  et  moderne),  15  francs. 

Contains  Catalogues  of  works  by  the  artist  in  the  French 
museums,  of  works  exhibited  at  the  Salons,  and  of  the  artist's 
lithographs  and  engravings.  With  11  plates,  including  3  original 
lithographs. 

FouKCAUD  (L.  de).  Emile  Gall^.  (12x9)  Paris  (Lib.  de  I'Art  ancien 
et  moderne),  10  francs.     [With  10  plates,  and  text  illus.] 

Church  (A.  H.).  Josiah  Wedgwood,  master-potter.  New  edition. 
(11x7)     London  (Seeley).     [31  plates  and  illus.] 

ARCHITECTURE 

Delbruck  (R.).     Die  drei  Tempel  am  Forum  holitorium  in  Rom. 

84  pp.    (12x9)    Rom  (Loescher),8marks.    [Pubn.  of  the  German 

.Archaeological  Institute,  Rome.     Illustrated.] 
Ward  (J.).      The   Roman  fort  of  Gellygear  in  the  county  of  Gla- 
morgan,   excavated   by  the  Cardiff  Naturalists'   Society   in    the 

years  1899,  1900  and  1901.      (9x6)      London  (Bemrose).  7s.  6d. 

iiet. 
Brown  (G.  B.).     The  arts  in  early  England,     i,  the  life  of  Saxon 

England  in  its  relation  to  the  arts ;  u,  ficclesiastical  architecture 

in   England  from  the  conversion  of  the  Saxons  to  the  Norman 

conquest.     2  vols.     (9x6)     London  (Murray),  32s.net.     [With 

many  illustrations,  plans,  etc.] 
Steinhart  (F.  X.).     Bauern  Bauten  alter  Zeit  aus  der  L/'mgebung 

von    Karlsruhe.       (17x12)       Leipzig    (Seemann),     18    marks. 

[32  plates.] 
Blrgess  (J),  and  Couskns  (H).     The  -Architectural  .Vniiquilies  of 

Northern  Gujarat,  more  especially  of  the  districts  included  in 

the  Baroda  State.     (13x10)     London  (yuahtch  :   Kegan  Paul; 

Luzac),  31S.  6d.     Vol.  i.\,   .Vrcha'ol.  Survey    of  W.  India,   with 

III  plates. 

PAINTING 
Friedlander   (M.  J.).     Meisterwerke  der  niederlindischen  Malerei 

des  XV  u.  XVI  Jahrhunderls  auf  der  Ausstellung  zu  Brugge,  1902. 

(15  X  12)     Munchen  (Bruckmann),  100  marks. 
Edition  of  400  copies,  44  pp.  and  90  phototypes. 
MoLMENTi  (P.)  and  Ll'dwig  (G.).     Vittore  Carpaccio  et  la  Confrerie 

de  Sainte  Ursule  a  Venise.      (16  x  10)      Florence   (Bemporad). 

With  8  plates  in  portfolio  (19  x  14). 
Mendelsohn  (H.).     Der  Heiligenschein  in  der  italienischen  Malerei 

seit  Giotto.     24  pp.     (10x8)     Berlin  (Cassirer).     [Illustrated.] 
ScHLossER  (J.  von).     Zur  Kenntniss  derkunsllerischen  L'berlieferung 

ira    spiiten   Mittelalter.         Defensorium    inviolaia?    virginitatis 

B.    Marias    V. ;    Vademecum   eines    fahrenden    Malergesellen  ; 

Giustos  Augustinuskapelle  und   das    Lehrgedicht   des  Bart,  de' 

Bartoli  von  Bologna.     60  pp.      (Jahrbuch  der  kunsthistorischen 

Sammlungen  des  allerhochsien  Kaiserhauses,  xxui.  Heft  5.) 
Waser  (O.).     Anton  Graff  von  Winterthur  :   Bildnisse  des  Meisters, 

herausgegeben  vom  Winierthur  Kunstverein.     (14x10)     Zurich 

(Brunner,  printed),  32  marks. 

Contains  the  painters  biography  (1736-1813),  a  catalogue  of 

50  portraits,  with  40  photo  engr.  plates,  and  text  illustrations. 
Kkim  {.\.  W  ).     Ueber  MalTechnik,  ein  Beitrag  zur  Beforderung 

rationeller    Malverfahren.        (10x7)       Leipzig    (A.    Foersttr). 

8  marks. 

99 


THE     BURLINGTON     GAZETTE 


SCULPTURE 

Reinach  (S.).    Recueil  deletes  antiques idealesouidealisees.    (10x7) 

Paris  (Gaz.  des  Beaux-Arts),    20    francs.      [276  full-page  illus. 

and  text  illus] 
PoLERo    (V.).     Estatuas   tumuUres  de  personajes  espafioles  de  los 

siglos   XIII  al    XVII        Con    un    prologo   de  el  conde  de  Cedillo. 

(ir  X  8).     Madrid  (M.  G.  Hernandez),  7.50  pesetas. 
With  44  phototypes  of  drawings  by  the  author. 
Heilmeyer    {.\.).      Die   moderne   Plastik  in    Deutschland.     (10  x  7) 

Leipzig  (Velhagen  &  Klasing),  4  marks. 

Sammhmg  illustrirtes  Monographien,  x.     185  illus. 
Mazerolle  (F  ).     Les  medailleurs   fran9ais  du  xv"  siecle  au  milieu 

du  xvw  .     2  vols.     Paris  (Imprimerie  Nationale),  32  francs. 
The  first  volume  contains   a  history  of   French  medallic   art 

from   the  reign  of  Charles  vii  till  c.  1650.  with  documents;   the 

second  a  cata' 


more  than  1,000  medals  and   tokens. 


METAL  WORK 

CziHAK  (E.  von).  Die  Edelschmiedekunst  friiherer  Zeite 
I.  AUgemeines.  11.  Konigsberg  und  Ostpreussen.  (12 
dorf  (Schwann),  20  francs. 

With  25  phototype  reproductions  of  xv-xviii  cer 
plate,  and  facsimiles  of  marks. 

Welch  (C).     History  of  the  Worshipful  Company  of 


1  in  Preussen. 
X  g)    Diissel- 


Pewterers  oi 


i-ols. 


the  City   of   l^ondon.    based   upon 

London  ( Blades,  l.'asi  ,V  Plades). 

An  exhan^tiv.     1 m   ..I    the  trade  since  the  xivth  century 

and  of  the  r.  iiiiii.iii\  ,  1,  ^ninlemented  by  5  plates  of  marks. 
Reimann  (A.),     Klrin|il,Lsiik     iiach  Origina'lentwiirfen  und  Modellen 

von  .•\.  K.     (ij -.  lu)     Perlin  (Hessling),  24  marks. 

Reproductions  of  small  objects  and  jewellery  in  'Art-Nouveau  ' 

style.     40  plates. 

ENGRAVING 
Geisberg  (M.).     Der  Meister  der  Berliner  Passion  und  Israhel  van 

Meckenem.     Studien  zur  Geschichte  der  westlalischen  Kupfer- 

stecher    im     xv    Jahrhundert.       (10  x  7)      Strassburg     (Heitz), 

8  marks. 

Studien  zur  Deutschen  Kunstgeschichte,  No.  42.  With  6  plates 
Harrington   (H.  N).     A  supplement  to  Sir  William  Drake's  cata- 
logue of  the  etched  work  of  Sir  Francis  Seymour  Haden,  P.R.E. 

(10x6)     London  (Macmillan),  15s.  net. 
Perzynski  (F).  Der  Japanische  Farbenholzschnitt,  seine  Geschichte, 

sein  Einiluss.     (7x4)     Berlin  (Bard)  1,25  mk.     [93  pp.     loplates. 

Muther's  series  ;  Di%  Kunst,  xiii]. 

MANUSCRIPTS 

Terentius.  Codex  Ambrosianus  H.  75  inf.  phototypice  editus. 
Prefatus  est  E.  Bethe,  accedunt  gi  imagines  ex  aliis  Terenti 
codicibus  et  libris  impresbis,  nunc  primum  coUectae  et  editae. 
(17  X  15)     Lugduni  Batavorum  (Sijthoff),  /^lo. 

Vol.  VIII  of  Codices  Graeci  et  Latini,  edited  by  S.  De  Vries, 
with  330  phototypes,  containing,  in  addition,  illustrations  from 
eight  other  codices  and  printed  editions  of  Terence. 

BiBLioTHEQL'E  Natiq-^ale,  Departemeut  des  Manuscrits.  Fac- 
similes de  manuscrits  Grecs,  Latins  et  Francais  du  V  au  xiv= 
siecle  exposes  dans  la  Galerie  Mazarine.  6  pp.  and  40  plates, 
(g  X  6)    Paris  (Leroux). 

"HERALDRY 

Bote  (John,  Marquess  of),  Ste\  enson  (J.  H),  and  Lonsdale  (H.W.). 

The  arms  of  the  baronial  and  police  Burghs  of  Scotland.  (11  x  7) 

Edinburgh  (Blackwood),  42s. 

528  pp.,  and  cuts  ;   120  copies  published. 
Artin  (Yacolb),  Pasha.     Contribution  a  I'etude  du  blason  en  Orient 

(9  X  6)     Londres  (Quaritch).      [Plates  J 


LiTTA.  Famiglie  celebri  italiane.  Caracciolo  di  Napoli  per  F.  Fabris. 
(20  X  13)     Napoli  (Basadonna),  10  lire  each  part. 

Uniform  with  'Litta,'  the  two  parts  of  this  continuation  contain 
each  three  or  four  genealogical  sheets  and  a  plate  illustrating 
family  monuments. 

MISCELLANEOUS 

Singer     (H.  W.).      Versuch    einen    Diirer    Bibliographie.      (10  x  7) 

Strassburg  (Heitz),  6  marks. 

Studien  zur  Deutschen  Kunstgeschichte,  No.  41. 
Meisterwerke    der   deutschen    Glasmalerei-Ausstellung    Karlsruhe 

[igoij.     Veranstiltet  vom  Badischen  Kunstgewerbe-Verein,  mit 

einem  Begleitwort  von  F.S.  Meyer.     16  pp.     Berlin  (Kanter  & 

Mohr),  100  marks. 

100  plates,  modern  stained  and  painted  windows. 
Barker  (.A.  I'.).    An  introduction  to  the  study  of  textile  design.    (9  x  5) 

London  (Methuen),  7s.  6d.     With  illustrations  and  diagrams. 
Tapices  de  la  corona  de   Espana.      Keproduccioh   en    fototipia   de 

135  pafios.     Texto  del  conde  viudo  de  Valencia  de  Don  Juan. 

2  vols.     (13  X  17)     Madrid  (Hauser  y  Menet),  150  pesetas. 
135  plates,  and  text  in  French. 
Pavne-Gallwev    (Sir    R.,    Bart  ).      The   Crossbow,  mediaeval  and 

modern ;    its    construction,    history,   and    management,    with    a 

treatise  on  the  Balista  and  Catapult  of  the   .Ancients.     (13  x  9) 

London  (Longmans),  63s.  net.      [220  illustrations.] 
Ruskin  (J.).  Works,    i.  Early  prose  writings,  1834  to  1843.    11,  Poems. 

Edited  with  additions  from  the  original  manuscripts  by  E.  T. 

Cook  and  A.  Wedderburn.      London  (G.   Allen),   21s.  net,  each 

vol.     [Illustrated.] 

SALE   CATALOGUES 

Catalogue  of  the  valuable  collection  of  Coins  and  Medals  the 
property  of  the  late  John  G.  Murdoch,  Esq.  The  series  of 
Scottish  and  Anglo-Gallic  Coins,  which  will  be  sold  by  auction 
on  II  [-13]  May."  (lox  7)    London  (Sotheby),  1903.     [11  plates.] 

Catalogo  della  collezione  Pozzolini,  raccolta  di  majoliche,  quadri, 
bronzi,  mobili  ecc.  Vendita  12,  13  e  14  maggio.  36  pp.  ic  plates. 
Firenze  (Galardelli  e  Mazzoni). 


'I'Hr.  Following  are  also  Announce 


Eudel  (P.). 
Vachon  (M. 
Josz(V.).     ' 


Le  Truquage.     Paris  (Rouveyre),  6  fr. 
Pour  devenir  un  artiste.     Paris  (Delagrave), 


ANSWERS    TO    CORRESPONDENTS 

We  are  prepared  to  answer  questions  about  matters  connected  with 
art,  collecting,  etc.,  in  this  column.  All  questions  must  be  authen- 
ticated by  the  sender's  name  and  address,  which  will  not  be  published. 
The  questions  will  be  numbered. 

No.  2.— .\s  to  Jsmes  Tassie  see  notes  on  the  Tassie  portraits  in  this 
number.  William  Tassie  (1777-1860)  was  the  nephew  of  James 
Tassie.  He  settled  in  Leicester  Square,  and  his  seals  and  gems 
in  composition  paste  were  extremely  popular.  His  collection 
of  intaglio  and  cameo  impressions  consisted  of  over  20,000  speci- 
mens. Part  of  this  collection  was  sold  at  Christie's  in  1882.  For 
further  particulars  consult  Gray's  'J.  and  W.  Tassie,'  and  the 
Dictionary  of  National  Biography. 
No.  3.^Saitapharnes  was  king  of  Scythia.  There  is  some  doubt  as 
to  the  date  of  his  reign ;  Professor  Colli^n.ni  -.us  tluu  it  was  in 
the  middle  of  the  second  century  B.C..  Imi  iIm  nn  re  :_;fntr.ill\' 
acceptedopinion  is  that  it  was  a  century  "1  s  I  I  Ml  luf 
No.  4. — It  is  impossible  to  give  an  idea  of  \ahii-  Iroin  a  .ksi  ription. 
Transfer  pictures,  which  these  seem  to  Ix-,  are  becomin,.;  rarer, 
and  therefore  more  valuable  than  formerly. 


PRICE    FOURPENCE 
NUMBER  IV       VOLUME  I  JULY  1903 

THE 

BURLINGTON 

GAZETTE 


PRINCIPAL  CONTENTS 

FULL-PAGE     ILLUSTRATION    OF    THE     NEWLY     DISCOVERED    GAINSBOROUGH 

RECENTLY  SOLD  FOR  ;^9.ooo 
THE  EXCAVATIONS  AT  ANTINOE.    BY  THE  VISCOUNT  DE  RORTHAYS 

CRITICAL  ARTICLES  ON   ENGLISH  AND  FOREIGN  SALES  OF  PICTURES,   PRINTS, 
OTHER  WORKS  OF  ART,  BOOKS  AND  MANUSCRIPTS 

A  LIST  OF  RECENT  ART  PUBLICATIONS  IN   EVERY  LANGUAGE 

ART  NEWS  AND  NOTES  FROM  FRANCE,  BELGIUM,   HOLLAND  AND   ITALY 


LONDON 

THE  SAVILE  PUBLISHING  COMPANY,   LIMITED 

14   NEW  BURLINGTON   STREET,   W. 

PARIS:  LIBRAIRIE   H.  FLOURY,  i   BOULEVARD  DES  CAPUCINES.       BRUSSELS:  SPINEUX  &  CIE..  62  MONTAGNE  DE  LA  COUR 

LEIPZIG:    KARL  W.   HIERSEMANN.   3  KONIGSSTRASSE.        VIENNA:    ARTARIA  &  CO..   I..  KOHLMARKT  9 

AMSTERDAM:  J.  G.   ROBBERS.  64  N.  Z.   VOORBURGWAL.        FLORENCE:    B.  SEEBER.   20  VIA  TORNABUONI 

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NUMBER  IV  VOLUME  II 


— — — n 

JUNE  1903     ! 


THE 
BURLINGTON 

MAGAZINE 

for  Connoisseurs 
AstratedkfuhlishedMontJ^ 


-fs 


CONTENTS 


ar 


EDITORIAL    ARTICLES.— I.   CLIFFORD'S    INN    AND  THE    PROTECTION   OF 

ANCIENT  BUILDINGS.     II.  THE  PUBLICATION   OF  WORKS  OF  ART 

BELONGING   TO   DEALERS 

THE   FINEST  HUNTING   MANUSCRIPT  EXTANT.—W.  A.  BAILLIE-GROHMAN 

A  NEWLY-DISCOVERED  '  LIBRO  DI  RICORDI '   OF  ALESSO  BALDOVINETTI. 

PART   I.— HERBERT   P.   HORNE 
EARLY  PAINTERS  OF  THE  NETHERLANDS.     IV.— W.  H.  JAMES  WEALE 
ON   ORIENTAL  CARPETS.    ARTICLE   III.    THE   SVASTIKA 
THE   OLD   DUTCH   MASTERS  AT  THE   GUILDHALL 

EARLY  STAFFORDSHIRE  WARES  IN  THE  BRITISH  MUSEUM.  I.— R.  L.  HOBSON 
TWO  ALLEGED   GIORGIONES.— HERBERT   COOK,   F.S.A. 
ITALIAN   BAS-RELIEFS   IN   THE   LOUVRE.— A.   MICHEL 

LACE   IN   THE   COLLECTION   OF  MRS.  ALFRED  MORRISON.— M.  JOURDAIN 
NOTES   ON   OTHER  WORKS   OF  ART 
NEW   ACQUISITIONS   AT  THE   NATIONAL   MUSEUMS 

LONDON 

THE    SAVILE    PUBLISHING    COMPANY,    LIMITED 

14  NEW   BURLINGTON   STREET,  W. 

PARIS:  LIBRAIRIE  H.  FLOURY,  i  BOULEVARD  DES  CAPUCINES.     BRUSSELS:  SPINEUX  &  CIE. 

62  MONTAGNE  DE  LA  COUR.        LEIPZIG  :  KARL  W.  HIERSEMANN.  3  KONIGSSTRASSE 

VIENNA:    ARTARIA  &  CO..  I..   KOHLMARKT,  9 

AMSTERDAM:   J.  G.   ROBBERS.  N.  Z.  VOORBURGWAL  64 

FLORENCE:  B.   SEEBER.  ao  VIA  TORNABUONI 

NEW  YORK:   SAMUEL  BUCKLEY  4  CO..   100   WILLIAM   STREET  


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HKWC,  THE   MOXTIILV   SLPPLKMKNT  TO  THE 
HlRLINCiTOX  MAGAZINE  FOR  CONNOISSEURS  OF  THE  PREN'IOUS  MONTH 


CONTENTS 

THE  EXCAVATIONS  AT  ANTINOE 'loi 

NOTES  AND  NEWS  FROM  A13ROAl> 
FRANCE : 

Paris  . .         . .         . .         . .         . .         . .         . .         . .  102 

Rouen            104 

Miscellaneous 105 

HELGIIM            105 

HOLI.ANIi           109 

ITALY        no 

GENERAL  NOTES in 

ENGLISH   SALES 

PICTURES          112 

PRINTS 116 

MANUSCRIPTS            iiS 

HOOKS luj 

MISCELLANEOUS I2j 

loREIGN    SALES: 

PARIS        125 

ROUEN 129 

THE    HAGUE 130 

AMSTERDAM 130 

ART  PUBLICATIONS        130 

ANSWERS  TO  CORRESPONDENTS 132 


OPINIONS    ON    WORKS    OF    ART 

We  are  prepared  to  arrange  for  expert  opinions  as  to  the  authenticity 
etc.,  of  works  of  art  and  old  books.  The  opinions  will  be  given  by 
members  of  the  consultative  committee  of  The  Burlington  Maga- 
zine and  other  e.xperts  of  equally  high  standing. 

The  objects  as  to  which  an  opinion  is  desired  may  be  sent  to  this 
office,  or  we  can  arrange  for  a  visit  to  be  paid  to  the  house  of  the 
owner  when  this  is  preferred. 

The  charge  for  an  opinion  or  attribution  will  be  a  matter  of 
arrangement  in  each  case,  and  nothing  must  under  any  circumstances 
be  sent  to  this  office  without  a  previous  arrangement 

All  objects  sent  will  be  at  the  owner's  risk  and  will  be  insured,  the 
owner  paying  the  cost  of  insurance  and  carriage  both  ways.  Though 
every  possible  care  will  be  taken  of  anything  sent,  we  cannot  under- 
take any  responsibility  in  the  event  of  loss  or  damage. 

We  do  not  undertake  valuations,  nor  can  we  in  any  case  act  as 
agents  for  sale  or  purchase.  Those  who  are  acquainted  with  these 
matters  are  well  aware  that  such  undertakings  on  the  part  of  a 
periodical  either  interfere  with  the  legitimate  trade  of  the  professional 
dealer  or  else  open  the  door  to  practices  not  to  the  interest  of  the 
private  vendor.  But  we  will  gladly  gi\e  an  opinion  as  to  whether 
any  object  has  any  appreciable  value,  and  (when  possible)  what  prices 
similar  objects  have  recently  fetched  at  auction. 

Owners  wishing  to  sell  should  either  : 

(i)  Advertise  in  The  Burlington  Gazette,  which  circulates 
among  a  large  and  wealthy  collecting  public  :  or 

(2)  Offer  the  object  to  a  dealer  of  repute  (the  names  of  the 
best  dealers  will  be  found  in  the  advertisement  pages  of  The 
Burlington  Magazine)  ;  or 

(3)  Put  the  object  up  to  auction. 

No.  4.    Vol.  1.— July  1003 


THH    EXCAVATIONS   AT   ANTINOE 

The  Muscu  Giiiinet,  in  Paris,  lays  claim  to  be  a 
'  museum  of  rclifjions.'  This  is  its  reason  for  exis- 
tence, its  principal  interest.  But  art  does  not  absent 
itself  from  its  precincts ;  art,  which  never  loses  its 
rights  over  polite  minds,  retains  them  even  where 
museums  are  in  (piestion,  museums  of  religions  though 
they  be. 

This  is  the  ])oiiit  of  view  from  which  we  are  able  to 
take  an  interest  in  the  excavations  made  by  M.  Gayet 
at  .\ntinoc,  some  of  the  results  of  which  he  is  now  ex- 
hibiting at  the  Musee  Guimet.  They  are  contained 
in  twenty-five  glass  cases.  It  does  not  fall  within  my 
province  to  speak  of  the  mortal  remains  of  the  witch 
Myrrhitis,  of  Sabina,  or  of  the  functionaries  in  the 
purple,  nor  shall  I  strive  to  follow  M.  Gayet  in  his 
endeavours  to  solve  the  mystery  of  certain  objects 
discovered,  it  would  seem,  in  the  witch's  burying- 
vault :  a  mirror,  a  little  altar,  a  timbrel,  and  so  on. 
I  will  also  pass  by  the  inscriptions  found  on  the 
bandages,  such  as  Kri//r;^€  Ai-tu-oc,  and  the  exact  mean- 
ing of  the  crosses,  roses,  mystic  doves  and  so  forth, 
embroidered  on  the  shrouds.  Nevertheless,  it  seems 
to  me  that  I  ought  to  talk  for  a  moment  to  the 
readers  of  The  Burlington  Gazette  of  certain 
objects  or  textile  fabrics,  belonging  to  the  third 
or  fourth  century  of  our  era,  which  present  an 
undoubted  artistic  character,  both  in  colouring  and 
design. 

The  Textile  1'abuics. — Women's  dresses,  the 
clothes  of  high  dignitaries,  embroidered  shawls, 
fragments  of  embroidery  :  all  these  still  retain  an 
astonishing  and  sometimes  exquisite  colouring,  which 
passes,  in  degraded  tints,  from  salmon-pink  and 
gleaming  purple  to  the  softest  green  and  the  most 
delicate  mauve.  The  texture  is  of  wool  or  floss- 
silk;  in  the  case  of  the  women,  one  observes  a 
thick  pad  which  encircled  the  head  and  gave  it 
the  appearance  and  outline  presented  in  the  Tanagra 
statuettes. 

The  shawls  were  cmiously  ornamented  :  a  medal- 
lion figured  ill  the  centre  aiid.  at  each  of  the  four 
corners,  a  border  framing  appliques  in  tapestry.  Let 
medescribeone  of  these  shawls  :  The  central  medallion 
stands  out  against  the  purple  wool  and  represents 
Apollo  and  Pegasus.  The  four-cornered  appliques 
are  in  fine-stitch  tapestry,  real  Beauvais  work,  and 
one  of  them  shows  us  .Ap'ollo  looking  for  an  arrow  in 
his  quiver;  another,  in  a  very  perfect  state  of  pre- 
servation, represents  Apollo  and  Venus -Isis  im- 
prisoned in  the  iiersea.  Here  and  there,  scattered  over 
the  shawl,  are  diffeiL-nt  subjects,  very  brightly  tinted  : 
flowers,  roses,  medallions,  cupids,  small  fishes,  and  so 
on.     The    inspiration   of  these   subjects   is   obviousl>- 

•  Trjn^l.ilcd  by  A.  Toixcira  (in  Malios. 


THE     BURLINGTON     GAZETTE 


Greek,  but  dull  and  heavy  ;  the  pattern  is  common 
and  the  anatomy  of  the  figures  is  often  impossible. 
The  sumptuous  robes  of  the  functionaries,  in  green 
or  purple  tloss-silk,  with  long,  drooping,  useless  sleeves, 
have  figured  silk  trimmings,  which  bear  a  striking 
resemblance  in  texture  to  the  Jacquart  system  of  fab- 
rics. The  shades  vary  from  whity-grey  to  dull  pink 
or  yellow.  These  are  old  silks,  belonging  to  an  earlier 
period  than  that  of  the  robes  themselves  ;  their  pat- 
tern, which  is  very  peculiar,  obviously  dates  back  to  the 
time  of  the  Sassanides.  The  repertory  is  Persian, 
without  a  doubt.  Next  to  the  tapestry-work  a  points 
bouclcs,  we  meet  with  embroideries  on  drawn  thread, 
with  nude  figures  in  arcades. 

To  sum  up,  it  appears  that  the  artificers  made  use, 
in  a  disconnected  fashion,  of  the  different  types  of  the 
repertories  of  the  ancients.  The  human  figures  are,  for 
the  most  part,  Greek  ;  in  very  exceptional  cases,  they 
belong  to  the  east  and  come  from  Persia  or  Assyria. 
Contrary  to  precedent,  the  latter  are  correct  in  form  ; 
but,  as  I  observed  above,  they  must  have  been  derived 
from  an  earlier  period.  The  trimmings  were  probably 
what  we  should  call  family  silks,  heirlooms  almost, 
something  like  our  grandmothers'  wardrobes. 

Generally  speaking,  the  living  shape,  whether  ani- 
mal or  human,  tends  to  disappear,  whereas  the  flowered 
style,  arabesques  and  almost  geometrical  decorations 
taken  from  nature  are  largely  developed.  This  is  the 
outcome  of  an  examination  of  these  robes,  fabrics  and 
embroideries,  which  are,  above  all,  so  many  fragmen- 
tary documents. 

Objects  of  Art.— This  title  is  a  little  ambitious. 
Nevertheless,  some  of  the  objects  come  near  to 
possessing  merit.  For  instance,  in  a  figurine  of 
Isis- Venus,  discovered  in  a  tomb  and  recalling  to 
mind  the  Tanagra  statuettes,  the  curve  of  the  lips 
and  the  line  of  the  nose  are  remarkably  pure 
and  expressive.  The  hair  is  dressed  high  on  the 
head,  in  coils,  and  rises  like  a  tapering  diadem  ;  it 
is  gathered  into  a  sort  of  smooth  and  regular  knot. 
We  must  note  two  little  clay  lamps.  They  are 
very  pretty,  and  their  subjects  represent  two  cupids, 
one  apparently  seated  against  a  tree,  the  other  in  a  boat. 
Here  and  there  we  come  across  effects  of  modelling 
which  are  quite  dainty  and  charming.  A  figurine  of 
Mithras  has  life  and  strength  :  a  man  supporting  a  bull. 
Some  ivory  combs  proceed  from  the  Greek  school, 
but  in  its  degenerate  form  ;  the  same  applies  to  a  few 
fragments  of  carved  ivory.  There  are  also  some  pots 
in  terra-cotta,  glazed  and  decorated  with  the  pencil. 
One  of  these  is  very  elegantly  dented  and  of  a  charming 
shape.  Lastly  I  would  mention  the  masks  in  full- 
relief  which  decorated  the  coffins  discovered  by  the 
explorer.  Do  they  offer  any  resemblance  with  the 
features  of  the  deceased  ?  The  most  that  one  could 
suggest  is  that  some  of  them  are  not  without  expres- 
sion. But  undoubtedly  they  are  not  works  of  art — nor 
even  '  works ! ' 

On  leaving  this  exhibition,  especially  after  numerous 
and  frequent  visits,  one  takes  away  a  curious  impression : 
one  feels  as  though  one  had  seen  something,  but  some- 
thing incomplete,  incoherent  and  spoilt.  This  is  the 
result  of  fotitlks,  or  excavations :  it  also  suggests  the 
fouillis,  or  rubbish-heap.  The  indications  are  most 
attractive  :  there  are  more  than  indications  ;  but  there 


are  less  than  results.  Most  certainly,  the  excavations 
have  not  uttered  their  last  word ;  but,  when  they  ex- 
press themselves  in  this  ver\'  gradual  fashion,  there  is 
a  danger  lest  their  puling  should  die  away  before  they 
have  really  spoken  at  all. 

Gilbert  de  Rorthavs. 


NOTES    FROM    FRANCE 


THE  MUSEUMS 
The  Louvre  has  few  new  acquisitions;  but,  perhaps, 
I  shall  next  month  have  occasion  to  present  to  our 
readers  a  more  abundant  and  more  interesting  harvest. 
They  speak  of  very  remarkable  works  ;  but  those  are 
keeper's  secrets,  before  which  we  must  needs  bow. 
In  the  Painting  Section,  I  may  mention  a  work  of 
the  Augsburg  school,  fifteenth  centurs',  the  Flagellation, 
the  drawing  of  which  betrays  an  energy  that  is  in  parts 
almost  excessive.  This  painting,  which  is  not  yet  on 
exhibition,  was  purchased  for  6,500  fr.  In  the  Roman 
Antiquities  Section,  we  shall  probably  soon  see  one  of 
the  Boscoreale  frescoes.  The  Louvre  has,  in  fact, 
acquired,  although  the  purchase  has  not  yet  been 
ratified,  at  a  cost  of  15,300  fr.,  one  of  the  panels 
of  the  peristyle,  the  Winged  Genius,  with  green  wings 
and  the  head  of  a  faun  :  '  The  body  is  full-face,'  says 
the  official  description,  '  the  head  bent  to  the  right, 
the  eyes  fixed  upon  the  persons  who  enter  the  tri- 
clinium. The  genius,  immersed  to  the  knees  in  a 
bason,  holds  a  ewer  in  its  right  hand  and  a  dish  in  its 
left,  which  is  raised  to  the  level  of  its  breast.  The 
background  is  black ;  at  the  top  is  a  green  belt  with 
intricate  white  lines.'  The  section  devoted  to  Objects 
of  Art  is  the  richer  by  a  small  Limoges  reliquary, 
thirteenth  century,  from  the  Gimel  workshop,  which 
is  thus  described,  in  the  absence  of  precise  documents, 
after  the  large  reliquary  in  the  church  at  Gimel 
(Correze)  which  was  exhibited  at  the  Petit-Palais  in 
1900.  In  the  Egyptian  Antiquities  Section,  I  am  now  in 
a  position  to  complete  and  correct  my  notes  of  last 
month.  M.  Georges  Benedite  has  purchased  in  Egypt, 
on  behalf  of  the  French  Government,  a  mastabat  of  the 
fifth  dynasty.  This  mastabat  is  the  tomb  of  an  officer, 
Khouthotep,  who  lived  under  Unas  King  of  Egypt. 
I  shall  have  to  refer  again  to  this  very  important 
monument,  which  is  not  yet  installed  at  the  Louvre. 
I  also  hear  that  M.  Jouguet,  professor  at  the 
University  of  Lille,  has  recently  returned  from  Egypt, 
where,  together  with  M.  Lefevre,  a  member  of  the 
School  of  Athens,  he  has  been  directing  excavations 
at  Tehneh,  and  that  he  has  brought  with  him  a 
stock  of  funeral  paraphernalia  of  a  very  particular 
character.  It  includes,  among  other  things,  some 
imitation  mummies  of  palm  fibre,  representing  on  a 
very  small  scale  the  deceased  'osirified'  with  the 
attributes  of  Osiris,  the  whole  covered  with  a  layer  of 
delicately-modelled  wax.  These  pseudo-mummies, 
whose  apparatus  was  completed  by  little  funeral 
geniuses,  treated  in  the  same  manner,  were  fitted 
into  mummiform  coffins  with  hawks'  heads. 

*  Translated  by  A.  Teixeira  de  Maltos. 


At  the  Pi;rir-P.u.Ais  tlie  Dutuit  collection  has  not 
yet  revealed  all  its  treasures.  The  public  is  being 
permitted  to  admire  them  graduall)-,  one  after  the 
other.  I  speak,  of  course,  of  the  etchings  and  engrav- 
ings. Following  upon  the  exhibition  of  Rembrandt 
etchings,  we  had  an  exhibition  of  Albrecht  Diircrs ; 
these  have  now  also  been  returned  to  their  tutelary 
retreats,  and  the  work  of  Jacques  Callot  has  in  its 
turn  come  to  bear  witness  in  favour  of  those  lavish 
ilonors,  the  Dutuits.  Among  those  pieces,  certain  of 
which  were  the  property  of  the  Duchess  of  Chevreuse 
tleeing  before  the  harshness  of  Richelieu,  are  some  that 
concern  Nancy  ;  others  are  connected  with  Italy,  where 
C^illot,  in  his  early  youth,  paid  many  a  flying  visit  and 
subsequently  made  a  prolonged  stay,  under  the  protec- 
tion of  Cosmo  II,  in  Florence.  Here  is  a  curious  detail : 
Callot  used  often  to  draw  architectural  plans  to  order, 
which  he  sometimes  used  afterwards  as  the  background 
for  his  works.  I  will  mention,  among  those  at  present 
exhibited  at  the  Petit-Palais,  the  Foire  de  I'lmpreseta 
(  Florence),  which  laid  the  groundwork  of  Callot's  repu- 
tation; the  Scenes  do  ballet  en  Italic,  executed  for 
Cosmo  II ;  the  Gueux  and  the  Caprices,  which  form  the 
master's  two  great  series;  the  Martyre  de  Saint  Sebas- 
tien  ;  the  Miseres  et  les  malheurs  de  la  guerre,  an  admir- 
able series  in  which  we  see  the  army  marching  to  its  can- 
tonments, scenes  of  pillage  and  execution  :  the  wheel, 
the  gallows,  the  stake  and  so  on;  the  Apotres ;  the 
Martyre  de  Saint  Laurent ;  the  Fantaisies ;  the  Petite 
foire  ;  the  Revue  ;  the  Rocher ;  the  Bohemiens ;  the 
portrait  of  Louis  of  Lorraine,  one  of  Callot's  patrons ; 
the  Chasse ;  the  Rue  Neuve  de  Nancy;  the  Balli ; 
the  Predication  de  Saint  Nicolas;  etc. 

I  have  spoken  elsewhere  of  the  very  iiitiresting 
exhibition  which   is   now   being  held    at    the    MushI': 

GUIMET. 

The  MusKE  DE  l'Armhe  has  received  from  M. 
Gdouard  Detaille  a  very  fine  portrait  of  the  Marshal 
de  Saint-Arnaud,  by  Brocas,  dated  1853.  Another 
interesting  actjuisi'tion  is  a  portrait  of  Lieutenant- 
Colonel  Chabard,  governor  of  the  palace  of  Saint- 
Cloud,  painted  by  Courtet  and  dated  1846. 

•II IK    riAKA  OK  .SArrAl'HARXKS 

When  announcing  in  one  of  my  former  articles  the 
approaching  conclusion  of  M.  Clermont-Ganneau's 
inquiry  I  said :  '  In  all  probability  we  may  have  a 
chance  of  following  a  renewed  discussion  among  the 
learned  men.'  I  was  not  mistaken;  and,  although 
certain  points  in  the  eminent  scholar's  report  are 
unanimously  accepted,  others  continue  to  be  discussed. 
Nevertheless,  the  discussion  is  confined  to  scientific 
circles,  and  the  public  has  ceased  to  take  an  interest 
in  a  question  which  it  considers  completely  settled, 
as,  indeed,  it  is  in  so  far  as  concerns  the  genuineness 
of  the  tiara.  I  hope  that  I  shall  be  interesting  my 
readers  if  I  summarize  M.  Clermont-Ganneau's  report 
for  their  benefit. 

I.— The  Rouchomowski  Documents.— M.  Cler- 
mont-Ganneau  divides  these  into  four  groups  : 

1.  Fourphotographsof  the  tiara  taken  at  Odessa. 

2.  A  crayon  sketch  executed  from  memory  by 
the    Russian    goldsmith    and    representing    the 


PARIS     NOTES 

fragments  in  gold  alreadj'  fasliioned,  winch  were 
handed  over  by  the  person  who  is  said  to  have 
ordered  the  tiara. 

J.  Three  wrappers  containing  a  collection  of 
sketches,  studies,  tracings,  reversed  tracings  and 
transparent  pouncing-paper  pierced  with  punc- 
tures, which  the  artist  declares  that  he  pricked 
with  his  own  hand  and  which  should  correspond 
with  the  different  subjects  designed,  beaten  and 
chased  by  himself  upon  the  tiara. 

4.  An  engraving  cut  out  of  one  of  the  plates 

in  a  German  work  from  which  the  artist,  following 

the  directions  of  the  person  who  ordered  the  tiara, 

took    the   subjects   that    figure    in    the    aforesaid 

tracings. 

A    rigorous    examination    of    the    above    documents 

convinced  M.  Clermont-Ganneau  that  Rouchomowski 

was  neither  a  hoaxer  nor  an  impostor.     This  is  the 

first  positive  result. 

2. — The  Ordering  and  Execution  of  the 
Tiara. — After  assuring  himself  of  the  artist's  sincerity 
and  verifying  and  checking  the  very  full  and  circum- 
stantial information  supplied  by  him,  M.  Clermont- 
Ganneau  made  Rouchomowski  give  his  statement  as 
to  how  the  tiara  was  ordered  and  e.xecuted.  The 
story  is  not  without  its  comic  side. 

In  the  course  of  the  year  1895,  a  certain  person, 
X.,  who  had  already  given  Rouchomowski  work  of  the 
same  kind,  'commissioned  him  to  execute  an  article 
in  gold,  in  the  antique  style,  which  was  intended,  he 
said,  for  a  present  to  a  professor  of  archaeology  at 
Kharkov  on  the  occasion  of  his  jubilee.  The  article 
in  question  was  the  tiara.  The  work  took  six  or  seven 
months,  and  the  artist  was  paid  1,800  roubles.' 
The  portions  supplied  by  X.  were : 

I.  A  fragment  of  an  upper  cap,  with  three  bands 
decorated  with  beaten  and  interlaced  ornaments. 
i.  A  wide  middle  /one  bound  above  and  below 
by  two  twisted  fringes  running  in  opposite  direc- 
tions. 

3  and  4.  Two  small  isolated    and  non-conti- 
guous fragments,  appearing  to  have  belonged  to 
a  lower  or  terminal  band. 
'  All    these    portions    seem    at    first     to    have     been 
placed  one  on  the  top  of  the  other,  so  as  to  form  a 
whole  analogous  to  the  actual  tiara.' 

In  addition  to  handing  him  these  fragments,  X. 
seems  to  have  appointed  himself  Rouchomowski's 
guide,  giving  him  a  Russian  translation  of  Homer  to 
read  and  two  works,  of  which  one  was  published  in 
Russia  by  Messrs.  Tolstoi'  and  Kondakoff,  under  the 
title  of  '  South  Russian  Antiquities,' while  the  other  is 
a  sort  of  popular  album  published  in  Germany,  a 
'  Bilder-atlas  zur  Weltgeschichte,'  by  Weisser.  Fnjm 
the  first  were  taken  all  the  scenes  of  Scythian  life 
displayed  around  the  lower  band,  and  a  few  acces- 
sories of  the  middle  zone  of  the  tiara.  In  addition  to 
some  other  suggestions,  the  second  supplies  the 
exact  model  of  the  back  view  of  a  warrior  whicli 
forms  part  of  the  group  performing  the  sacrifice. 
M.  Clermont-Ganneau  considers  it  his  duty  to  say 
that  this,  upon  the  whole,  'confirms,  in  its  essential 
parts,  the  archaeological  diagnosis  supplied  at  the  out- 
set, with  uncommon  certitude,  by  Hcrr  Furtwiingler.' 

103 


The     BURLINGTON     GAZETTE 

3. — The  Conclusion. — After,  lastly,  applying  the 
proverb,  '  The  workman  is  known  by  his  work,"  and 
instructing  Rouchomowski  to  carry  out  different  works 
under  his  own  eyes,  including  a  partial  reproduction 
of  the  tiara.  M.  Clermont  -  Ganneau  concludes  as 
follows : 

'  From  all  the  facts  set  forth  above,  I  consider  that 
we  are  justifieH  in  concluding  : 

'  That  the  gold  tiara  of  the  Louvre  is  spurious ; 
'  That  it  was  executed  upon  instructions  of  a 
certain  X.  by  a  modern  artist  ; 

'  That  the  artist  is  Rouchomowski.' 
This  judgement,  preceded  by  a  remarkable  docu- 
mentary study,  will  be  ratified  by  all.  And  the  tiara, 
now  exiled  from  the  Louvre,  will  find  a  place  in  the 
Musee  des  Arts  Decoratifs.  And  M.  Rouchomowski, 
who  has  set  out  for  Russia,  will,  we  are  told,  return  to 
Paris  to  pursue  an  art  which,  let  us  hope,  will  no 
longer  be  that  of  forgery  ! 

But  two  contentious  and  important  questions 
remain  unsolved  in  M.  Clermont-Ganneau's  report. 
In  the  first  place,  who  is  this  alarming  person,  X.  ? 
It  appears  that  he  is  hardly  in  a  hurry  to  make  himself 
known.  Surely  his  name  must  be  unmasked  some 
day  ;  good  faith  imperiously  demands  it.  Secondly, 
M.  Clermont-Ganneau  asks  himself  whether  the  gold 
fragments  handed  to  Rouchomowski  by  X.  are  not  as 
false  as  the  tiara  itself?  The  trick  would  then  be 
complete.  But  this  is  not  the  opinion  of  a  number  of 
scholars,  and  on  this  side  a  door  is  left  open  for  dis- 
cussion. 

ROUND  TH1-:  ARTISTIC  SOCIETIES. 

At  the  .-VcADiiMiE  DES  INSCRIPTIONS,  Messrs. 
Capitan,  Breuil  and  Peyrony  call  attention  to  some 
new  prehistoric  carvings  discovered  on  the  sides  of  a 
grotto  situated  near  Eyzies  (Dordogne).  M.  Pettier 
presents  a  fragment  of  a  Greek  vase  representing  a 
horse  modelled  in  full  relief  and  identical  with  that 
which  was  found  at  Susa  by  M.  de  Morgan.  This 
fragment  bears  the  signature  of  an  artist  who  is 
already  known  to  us  :  Sotades.  M.  de  Mely  sends  the 
photograph  of  a  page  of  a  Gaignieres  manuscript, 
representing  a  white  porcelain  ewer  richly  decorated  in 
silver  gilt,  adorned  with  magnificent  enamels.  M.  de 
Mely  sees  in  this  a  specimen  of  the  rare  Chinese  por- 
celain of  Ting-Yao,  famous  under  the  Song  dynasty 
(960-1279).  M.  Chavanne  presents  a  few  observations 
on  this  question. 

The  meeting  of  the  Societes  des  Beau.x-Arts  of 
the  different  departments  was  held  at  the  Ecole  des 
Beaux-Arts.  M.  Henry  Jouin,  the  distinguished 
general  secretary,  read  a  remarkable  report  on  the 
year's  work.  The  numerous  papers  read  during  the 
course  of  the  sittings  included  a  study  by  M.  Emile 
Delignieres  on  Quentin  Varin ;  a  note  by  M.  Alfred 
Gabeau  on  some  old  needlework  tapestry,  of  very 
delicate  workmanship  ;  a  study  by  M.  Eugene  Thoison 
on  Pierre  Gobert,  the  portrait-painter;  a  work  by  the 
Abbe  A.  Bouillct  on  the  painted  altar-screen  at  Ham- 
sur-Meuse  (Ardennes) ;  etc. 

At  the  Societe  des  Antiouaires  vk  France, 
M.  Poinsot  presents  a  report  on  the  excavations  which 

104 


he  has  been  making  at  Thugga,  in  Tunis,  where  he 
has  laid  bare  some  important  ruins :  a  street,  the 
columns  of  the  Capitol,  a  temple  of  Hadrian's  time, 
sculptures,  etc.  M.  Durrieu  exhibits  photographs  of 
some  miniatures  preserved  at  Bourges,  executed  to  the 
order  of  the  Duke  of  Berry,  brother  of  Charles  V 
of  France.  M.  Moreau  de  Neris  calls  attention  to  a 
treasure- trove  of  seventeenth  -  century  coins,  dis- 
covered near  Neris. 

Gilbert  de  Rokthays. 


ROUEN  * 

The  Tombs  at  Bailleul-Neuville. — -Two  very 
curious  thirteenth-century  tombs  have  just  been 
brought  to  light  behind  the  panelling  of  the  sacristy 
of  a  little  eleventh-century  church,  at  I3ailleul-Neuville, 
near  Neufchatel.  One  of  these  tombs,  placed  under 
a  sort  of  arcosolium  or  ogival  arcade,  bears  the  re- 
cumbent statue  of  a  baron  represented  with  joined 
hands,  his  head  cowled,  himself  clad  in  a  long  surcoat, 
with  a  long  sword  slung  from  a  baldrick  lying  by  his 
side.  Another  Gothic  niche  was  discovered  opposite 
to  that  described,  but  it  is  walled  up. 

It  was  thought  at  first  that  this  was  the  statue  of 
a  Norman  baron,  Jean  de  Bailleul,  who  reigned  as 
king  of  Scotland  from  1292  to  1296,  after  accept- 
ing the  suzerainty  of  Edward  I  of  England,  who 
afterwards  took  him  prisoner  and  seized  his  kingdom. 
It  was  further  believed  that  the  second  tomb  might  be 
that  of  Devorguild,  daughter  of  the  Earl  of  Galloway, 
his  wife.  In  the  same  church  were  a  tumulary  in- 
scription of  this  Jean  de  Bailleul  and  of  his  wife,  and 
a  stained-glass  window  representing  the  same  two 
persons.  This  baron  was  long  believed  to  have 
been  he  who  reigned  over  Scotland,  according  to 
the  evidence  of  Polydore  Virgil,  Boetius  in  his  '  His- 
tory of  Scotland,'  and  Buchanan,  as  collected  by 
the  principal  Norman  historians  and  archaeologists. 
It  has  now  been  proved  by  the  labours  of  our  his- 
torical critics,  and  in  particular  by  Messrs.  Auguste 
Le  Prevost  and  d'Estaintot,  that  two  families  of 
Bailleul,  both  living  at  the  same  period,  have  been 
confused  :  the  Bailleuls  of  Ponthieu,  of  the  Seigniory 
of  Bailleul-en-Vimeu,  in  Picardy,  and  the  Norman 
Bailleuls,  of  Bailleul-sur-Aulne,  or  Bailleul-Neuville. 
These  two  families  are  absolutely  distinct  as  regards 
their  alliances,  their  arms  and  their  degrees.  John 
de  Baliol,  king  of  Scotland,  according  to  a  pedigree  in 
the  Bigot  MSS.,  was  descended  from  the  Picardy  and 
not  from  the  Norman  family. 

Thus  vanishes  the  legend  of  the  Norman  barons 
who  came  to  reign  over  Scotland,  although  this  does 
not  prevent  the  discoveries  made  in  the  church  of 
Bailleul-Neuville  from  being  one  of  the  highest  interest. 
The  tombs  that  have  been  bnnight  to  light  are  m.  1-50 
high,  under  the  arcade,  and  m.  2-9  long.  They  are 
situated  in  a  wall  m.  i'20  thick. 

The  Monument  or  the  Battle  or  Formigny. 
— A  monument  has  been  unveiled  with  much  ceremony 
at  Formigny,  in  Calvados,  to  commemorate  the  battle 
between  the  French  troops,  commanded  by  the 
Constable  de  Richemont  and  the  Uuke  of  Clermont, 
in    1450,    and    the    English    under    Thomas    Kyriel. 


As    we    know,     this     F"rench     vi 


put 


sive  end  to  the  English  sway  in  Normandy.  All 
that  existed  hitherto  to  mark  the  event  was  a 
simple  memorial  column,  erected  in  1834,  by  the  care 
of  the  famous  archaeologist,  Arcisse  de  C.iumont,  in 
the  village  of  Aigneville,  where  a  part  of  the  encoun- 
ter of  1450  took  place.  Now,  thanks  to  the  initiative 
of  a  committee  having  M.  Joret-Desclozieres  at  its 
head,  a  much  more  important  monument  has  been 
raised,  and  was  unveiled  on  June  i.  This  monu- 
ment, resulting  from  the  collaboration  of  two 
Norman  sculptors,  Messrs.  Le  Due  and  de  La 
Heudrie,  and  M.  Nicolas,  the  architect,  consists  of  a 
Gothic  pedestal,  around  which  runs  a  bronze  low- 
relief,  representing  one  of  the  scenes  of  the  battle. 
Above  the  pedestal  rises  a  bronze  group,  four  metres 
high,  representing  the  Constable  de  Kichemont,  in 
full  armour,  at  the  moment  when,  after  dubbing  his 
nephew  Clermont  a  knight,  he  commits  the  battle- 
field, on  which  both  have  just  triumphed,  to  his  keep- 
ing. Above  their  heads  hovers  a  figure  of  '  France 
revived,'  crowning  them  and  covering  them  with  her 
sword.  The  whole  is  marked  by  grandeur  of  design  and 
a  spirited  conception,  and  the  monument  will  worthily 
commemorate  one  of  the  great  feats  of  arms  in  the 
historj-  of  France. 

The  Historic  Ch.^teau  du  Champ  di;  Hat- 
AILLE. — .\  magnificent  historic  domain,  the  Chateau 
du  Champ  de  Bataille,  at  Sainte-Opportune-du-Bosc, 
near  the  Neubourg  (Eure),  is  on  the  point  of  disap- 
pearing. It  became  the  property,  of  late  years,  of 
Mr.  William  Consett,  of  London,  and  is  to  be  sold, 
with  a  view  to  its  demolition,  together  with  its  im- 
mense park.  The  woods  and  avenues  of  time-honoured 
trees  will  be  felled. 

This  chateau,  which  belonged  to  the  illustrious 
family  of  Crequi,  was  built  by  the  Count  Alexander 
de  Crequi  between  1686  and  1700.  It  consists  of  two 
huge  blocks,  with  fronts  broken  by  stone  pilasters  and 
a  central  domed  pavilion  facing  an  immense  principal 
court.  These  two  blocks  are  connected  by  a  graceful 
gallery,  which  encloses  the  courtyard  on  one  side. 
In  the  middle,  a  monumental  main  gateway  stands 
out,  flanked  by  Corinthian  pilasters,  reminding  one  of 
the  terrace  of  the  Chateau  de  Fontainebleau.  At  the 
other  end  of  the  court,  a  stone  gateway,  formed  of 
two  solid  masses  of  masonry  and  terminating  in  a 
broken  pediment,  is  adorned  with  large  and  beautiful 
female  statues,  holding  armorial  scutcheons,  with  the 
proud  motto  of  the  Crequis:  \'ul  ne  s'y  frottc.  The 
flower-gardens,  laid  out  in  the  French  manner,  are 
crossed  by  water-conduits  which  supply  the  baronial 
kitchens.  Several  avenues  used  to  stretch  across  the 
forest.  Of  these  only  one  remains ;  it  is  four  kilo- 
metres long  and  leads  from  Neubourg  to  the  chateau, 
under  the  constant  shade  of  its  venerable  elms.  This 
magnificent  domain,  apart  from  the  park  and  gardens, 
covering  180  hectares  surrounded  by  walls,  contains 
also  a  music-room,  a  chapel,  an  oranger)-,  stables  for 
twenty  horses,  a  dairy,  and  so  forth. 

The  Chateau  du  Champ  de  Hataille  was  detached 
from  the  seigniory  of  Beaumont-le- Roger  and,  after 
belonging  to  the  families  of  Meullent,\'ieux-P(jnts  and 
Crequi,  passed  into  the  possession  of  the  Harcourt 
family,  whose  old  feudal  castle,  now  the  property  of 


BELGIUM 

the  French  .Vgricultural  Society,  still  exists  in  the 
neighbourhood.  At  the  time  of  the  Revolution,  it 
belonged  to  the  Duke  of  Beuvron,  governor  of  Nor- 
mandy, and  was  looted  and  plundered  in  1795.  After 
belonging  to  the  Countess  de  N'ieu.x,  the  domain  of 
the  Champ  de  Bataille  became  the  property  of  different 
Norman  families,  who  sold  it,  in  1876,  to  Mr.  Consett. 
It  will  be  a  deplorable  thing  if  we  are  to  behold  the 
final  disappearance  of  this  superb  historic  domain, 
one  of  the  finest  specimens  of  the  domestic  architec- 
ture of  the  seventeenth  century  in  France. 

GkORGES    DlBOSC. 


MISCELLANEOUS  * 

1.  Nantes. — The  collections  of  the  Musee  des 
Beaux-.\rts  at  Nantes,  which  were  installed  in  a  new 
building  three  years  ago,  have  been  enriched  j-car  by 
year  with  purchases,  gifts,  and  exhibits  lent  or  presented 
by  the  State.  To  speak  only  of  the  present  year,  I 
would  mention,  in  painting,  works  by  Mile.  Delasalle 
and  by  Delaunay  ;  and  in  sculpture,  works  by  Bar- 
reau,  Daillion,  Lenoir  and  Lebourg.  The  Museum  of 
Archaeology  has  this  year  received  some  drawings  of 
old  Nantes,  by  M.  Petit,  presented  by  Mme.  Semeril, 
his  daughter.  It  has  also  received  on  loan  from  the 
.Archaeological  Society  of  the  Loire-Inferieure  an 
interesting  collection  of  drawings  by  Sablet.  These 
drawings  were  executed  by  the  artist  as  studies  for 
six  panels,  ordered  by  the  municipality  of  Nantes 
to  commemorate  the  visit  of  Napoleon  I  to  that  city, 
including  the  following  subjects  :  Entree  de  I'empereur 
a  Nantes ;  Audience  donnee  aux  magistrats :  X'isite 
de  I'empereur  au  lycee ;  and  L'empereur  s'embarque 
sur  le  yacht  du  Commerce.  A  number  of  studies,  por- 
traits of  the  principal  persons  concerned,  figure  in 
these  compositions. 

2.  Pau. — The  museum  has  for  some  time  past  been 
adding  works  of  considerable  merit  to  its  collection. 
I  will  mention  a  sketch  by  Murillo,  La  \'ierge  enfant ; 
an  Interieurde  convent,  by  Granier;  Saint  Paul  Ermite, 
bv  Herrera  el  .Mo/o. 


NOTES    FROM    BELGIUM 


The  .MrsHKs  Rovai'x  iu'  Cinoiantknaike  have 
been  quite  recently  enriched  by  a  piece  of  silversmiths" 
work  remarkable  for  the  beauty  of  its  enamels  and 
for  the  very  original  use  made,  in  the  very  midst  of  the 
twelfth  century,  of  blocks  of  molten,  moulded  and 
polished  crystal.  It  comes  from  the  church  o( 
Scheldewindeke,  a  parish  in  East  Flanders.  My 
readers  will  find  a  detailed  notice  of  this  new  acquisi- 
tion, accompanied  b\-  reproductions,  in  an  early 
number  of  The  Biiti.iNGTON  Maca/ine.  The 
Armour  Section  in  the  same  museum  has  been 
jiresented  by  his  Majesty  King  Leopold  II  with  a 
series  of  objects  once  the  property  of  the  first  king 
of  the  Belgians.  To  these  objects  has  been  added  a 
reproduction  in  galvanoplastic  bronze  of  the  death- 
mask  of  Leopold  I,  taken  by  Fraikin,  the  sculptor. 
Among    the    arms    I    must    mention    a    carved    and 


^•^5 


THE     BURLINGTON     GAZETTE 

engraved  sabre  ;  a  Turkish  sabre,  chased  and  .yih  in 
parts,  with  a  Damascus  blade  ;  a  cavalrj'-sword,  with 
a  chased  and  interlaced  guard  :  and  a  court-sword, 
with  a  mother-of-pearl  hilt. 

The  Medal  Room  is  the  richer  bj'  a  legacy  from 
the  deeply-regretted  collector,  Van  Schoor.  Following 
upon  the  giftof  the  Hirsch  collection,  this  important 
acquisition  gives  it  an  added  wealth.  It  will  be  re- 
membered that  Baron  Hirsch  bequeathed  his  collection 
of  antiquities,  coins  and  medals  to  the  Medal  Room 
in  Brussels,  and  that  this  collection  was  one  of  the 
richest  and  finest  in  the  world.  The  antiquities 
include  unique  pieces,  and  among  the  coins  and 
medals  are  sets  of  such  great  value  that  the  Brussels 
collection  can  compare  favourably  with  that  of  the 
most  important  museums  in  Europe.  We  have  the 
more  reason  to  be  glad  of  these  acquisitions,  inas- 
much as  the  manner  in  which  the  exhibits  are 
arranged  is  an  admirable  one.  Shown  in  a  series 
of  glass  cases,  the  medals  and  seals,  grouped  accord- 
ing to  historic  periods,  throw  a  genuine  light  upon 
the  history  of  the  countries  to  which  they  refer. 
Each  medal  or  coin  exhibited  is  accompanied  by  the 
most  exact  particulars  regarding  its  origin  and  cha- 
racter, with,  in  addition,  a  reference  to  the  work  in 
which  it  is  catalogued  and  described,  in  such  a  way 
that  the  most  precise  information  lies  within  the 
immediate  grasp  not  only  of  the  hunter  after  curi- 
osities, but  of  the  general  public. 

The  Van  Schoor  collection  comprises  2,750  pieces, 
exclusively  papal.  The  coins  are  more  numerous 
than  the  medals,  and  are  also  much  more  remarkable. 
These  2,750  pieces  are  sub-divided  into  1,550  coins, 
of  which  248  are  gold,  1,060  silver  and  242  bronze, 
and  1,200  medals,  of  which  26  are  gold,  630  silver 
and  544  bronze,  I  need  not  point  out  that  the 
numismatics  of  the  popes  are  exceedingly  important. 
They  begin  in  the  eighth  century,  under  the  pontifi- 
cate of  Adrian  I  (772-795),  and  end  about  the  middle 
of  the  nineteenth  century.  After  the  middle  ages,  the 
art  of  engraving  took  a  new  flight  in  the  pontifical 
mint ;  and  it  was  the  same  institution  that  witnessed, 
under  Sixtus  IV,  the  introduction  of  the  custom  of 
engraving  the  sovereign's  effigy  upon  the  coinage. 

The  papal  coinage  comprises  two  periods.  The 
first  extends  from  the  end  of  the  eighth  to  the  begin- 
ning of  the  twelfth  century.  During  the  whole  of  this 
period,  the  Holy  See  was  in  dependence  on  the  Em- 
pire, and  the  coins,  with  rare  exceptions,  bear  the 
names  of  both  the  emperor  and  the  pope.  The 
Roman  revolution,  provoked  by  the  inflammatory 
action  of  Arnold  of  Brescia,  closed  the  first  period  and 
serves  as  a  transition  towards  the  second.  The  old 
republican  formula  appears  with  the  four  sacramental 
letter,  S.  P.  O.  R.  Men  believe  in  anew  era  ;  we  are 
under  the  reign  of  the  Roman  senate.  But,  after  the 
intervention  of  Frederick  Barbarossa,  through  wars 
that  ravage  Italy,  the  papacy,  under  Alexander  III 
and  Innocent  III,  becomes  definitely  freed,  and  we 
see  on  the  coins  first  the  pope's  name  alone  and 
subsequently  his  effigy.  This  second  period  is  the 
only  one  in  which  M.  Van  Schoor  interested  himself. 
Among  the  finest  pieces  in  his  collection,  a  very 
special  mention  must  be  made  of  a  florin  of  John  XXII 
(1316-T334),  the  oldest  papal  gold  coin  known,  and 

106 


of  the  extraordinarily  rare  sequin  of  Pius  III.  At  the 
present  time,  only  two  or  three  specimens  of  this  are 
known,  and  the  last  sold  at  the  Rossi  sale  fetched 
2,000  lire.  M.  Alvin,  the  distinguished  keeper  of  the 
Medal  Room,  who  was  good  enough  to  supply  me 
with  this  information,  has  been  so  obliging  as  to  have 
a  cast  taken   for  me,  which  is  here   reproduced.     The 


Sequin  of  Pi 


rarity  of  this  sequin  will  be  understood  when  we 
remember  that  the  reign  of  Pius  III  lasted  only 
twenty-eight  days  (September— October  1503).  This 
pope  was  the  immediate  successor  of  Alexander  \T. 
While  Caesar  Borgia  was  lying  sick  and  only  too 
happy  to  be  able  to  maintain  himself  in  the  Vatican 
and  the  Borgo,  the  conclave  escaped  from  his  influ- 
ence. Notwithstanding  the  presence  of  the  Frencli 
army,  purposely  retained  by  the  ambition  of  the 
Cardinal  d'Amboise,  it  elected  an  old  man  on  the 
threshold  of  the  grave.  This  is  enough  to  show  the 
troublous  circumstances  and  hasty  manner  in  which 
the  sequin  of  Pius  III  was  struck.  There  were 
probably  never  more  than  a  few  copies  in  existence. 
The  successor  of  Pius  III  was  Giuliano  della  Rovere, 
who,  on  his  election,  assumed  the  name  of  Julius  II. 
Alexander  VI  died  on  August  17,  and  Julius  II  was 
elected  on  October  31,  1503.  The  brief  pontificate  of 
Pius  III  falls  between  these  two  dates. 

Among  other  items  in  the  Van  Schoor  collection 
are  sequins  of  Urban  IV,  Clement  IV,  John  XXIII, 
Martin  V  and  Eugenius  IV  ;  sequins  and  giulios  of 
Nicholas  V  ;  sequins  of  Pius  II  and  Paul  II;  double 
sequins  of  Alexander  VI  and  Julius  II  ;  the  double  gold 
crown  and  the  silver  testoon,  two  very  rare  pieces,  of 
Paul  III  ;  a  complete  set  of  the  coins  of  Adrian  \T, 
the  old  tutor  of  Charles  V,  whose  pontificate  lasted 
only  a  year  ;  the  double  sequin  of  Clement  VI  ;  the  gold 
crown-piece  of  Julius  III,  and  the  very  rare  testoon 
with  the  tiara  of  the  same  ;  the  scudi  of  Sixtus  V  ; 
the  quadruple  gold  crown  of  Paul  IV  ;  the  gold  crown 
pieces  of  Gregory  XV  ;  several  quadruple  crown-pieces 
of  Urban  VIII,  with  the  name  of  Cardinal  Barberini, 
legate  at  Avignon  ;  the  silver  scudo  of  Clement  XII  ; 
the  half-scudo  of  P>enedict  XIV  ;  lastly,  the  very  rare 
crown-piece  of  the  Roman  republic,  which  lasted  for 
one  year,  from  1798  to  1799.  Among  the  medals  are 
works  by  the  great  Italian  medallists  of  the  Renais- 
sance, and  several  remarkable  series,  including  in 
jiarticular  six  medals  by  Benvenuto  Cellini. 

KXIIIIUI'IOXS 
On  May  17,  the  inauguration  took  place  in  Brussels, 
under  the  presidency  of  H.R.H.  Prince  .Albert  of 
Belgium,  of  the  monument  raised  to  the  memory 
of  the  animal-painter  Alfred  Verwee,  on  the  Place 
de  rH6tel  de  Ville  in  the  suburb  of  Schaerbeek. 
To    celebrate    this    occasion,    the     Burgomaster    of 


Schaerheek,  assisted  l>v  the  members  of  tlie  inaugura- 
tion committee,  Iku!  org.ini/e<i  an  exhibition  of  works 
by  Wrwco  which  were  scattered  in  private  collections, 
whi  :h  were  but  little  known  and  which  the  public 
will  not  often  have  th:  opportunity  of  seeing  again. 
These  consisted  of  only  twenty-two  pictures,  nearly 
all  of  which,  however,  should  be  mentioned  as  pre- 
senting some  peculiar  aspect  of  the  master's  talent. 
Those  acquainted  with  his  work  were  here  able  to 
trace  the  evolution  of  his  method  from  the  works 
painted  in  1869,  1870  and  1872  to  those  in  which  his 
manner  had  undergone  a  transformation.  After  at 
lirst  leaning  to  amber  and  sombre  tones,  to  a  discreet, 
siber  and  powerful  scheme  of  colour,  he  allowed  him- 
self to  be  impressed  by  the  modern  search  after  light, 
underwent  to  the  full  the  inlluence  of  the  new  schools 
and  applied  it  to  the  art  of  painting  which  he  had  ac- 
quired in  so  fine  a  degree,  until  the  quality  of  his 
pictures  came  to  possess  the  appearance  of  a  rich 
enamel.  It  is  not  possible,  in  the  course  of  these 
brief  notes,  to  set  down  the  impression  resulting  from 
an  exhibition  of  this  kind,  the  first  that  has  been  held 
since  that  arranged  in  i8g6,  scarcely  a  year  after  the 
painter's  death,  under  State  patronage,  at  the  Musee 
Moderne  de  Peinture.  Among  the  justly  famous  pic- 
tures that  figured  in  the  recent  exhibition  must  be 
mentioned  the  Etalon,  the  Etalon  Mercure  and  the 
due  a  I'embouchure  de  i'Escaut.  Among  less-known 
works  with  which  we  renewed  our  aquaintance  were 
Dimanche  matin,  the  Cour  de  f"rme  and  the  Tete  de 
bcEuf  decapite,  an  admirable  study,  striking  a  deep 
tragic  note.  This  exhibition  remained  open  until 
June  I. 

The  Cercle  .Artistique  of  Brussels  and  the  new 
museum  at  Ghent  collected  almost  simultaneously  a 
certain  number  of  works  bj'  the  Belgian  painter  Gus- 
tave  Vanaise,  who  is  lately  dead.  He  had  long  been 
living  in  seclusion,  and  had  taken  no  part  in  the  exhi- 
bitions of  the  past  few  years.  He  was  very  strongly 
under  the  influence  of  the  museums,  and  particularly 
of  the  Spanish  school,  nor  did  he  ever  rid  himself  of 
this  obsession  ;  but  he  learnt  the  honest  craftsmanship 
of  painting,  which  led  him,  in  his  fortunate  moments, 
to  produce  a  few  good  portraits,  among  which  I  would 
mention  especially  the  portrait  of  Dr.  de  Saint-Moulin. 
\'anaise  executed  a  number  of  copies  in  the  museums 
of  Paris,  Madrid,  the  Hague  and  Haarlem  ;  and  these 
are  very  interesting  because  of  the  impression  which 
they  give  of  the  masters  who  haunted  this  artist, 
principally  \'elasquez. 

At  the  moment  of  writing,  the  pictures  of  Gustave 
Vanaise  have  been  removed  from  the  Cercle  Artistique 
to  make  room  for  an  exhibition  of  the  works  of  the 
engraver  David  Desvachez.  Desvachez  died  quite 
recently,  after  a  long  and  laborious  career  :  he  had 
already"  become  a  solitary  figure  in  our  latter-day 
world.  The  art  of  engraving  has,  in  fact,  been  trans- 
formed in  the  face  of  the  immense  progress  achieved 
by  mechanical  methods  of  artistic  reproduction.  Des- 
\achez  belonged  to  the  old  school,  in  which  the  en- 
graver made  it  his  study  to  reproduce  the  works  of 
others  in  form  and  in  character  ;  he  excelled  in  steel 
engraving,  which  was  so  widely  employed  for  romantic 
vignettes,  and  visitors  to  the  exhibition  at  the  Cercle 
Artistique  can  see  the  well-known  and  pretty  engrav- 


BELGIUM 

ings  which  he  executed  long  ago  from  the  famous 
drawings  by  Hi  la  with  which  the  publishers  of  the 
nineteenth  century  usj  1  to  illustrate  their  fine  editions 
of  Alfred  lie  Musset.  I  must  also  mention  the  plates 
engraved  for  Van  Dyck's  Christ,  Ingres'  Angelique 
and  Alma  Tadema's  Two  Sisters. 

At  the  Galerie  Royale,  some  fifty  pictures  have  been 
exhibited  of  the  Dutch  painter  Van  (iogh,  who  was 
one  of  the  m  )st  active  and  gifted  members  of  the 
impressionist  school.  In  this  exhibition,  we  again  find 
that  exasperated,  halting  and  incomplete  art  which 
he  drove  to  the  verge  of  a  paroxysm  in  his  pictures 
and  his  studies  of  the  environs  of  .\rlcs.  He  deserves 
to  be  studied  as  one  of  the  inost  eccentric  and  personal 
figures  in  that  modern  movement  in  which  the  for- 
mulas of  art  are  renewed. 

Lastly,  the  annual  exhibition  of  the  Societe  des 
Beaux-Arts  closed  its  doors  on  May  24.  For  some 
years  this  art  club  has  interested  itself  in  showing,  in 
a  retrospective  section,  unknown  or  little-known  works, 
by  dead  or  living  artists,  which  deserved  to  bj  intro- 
duced to  the  public.  In  this  way  we  find,  side  by 
side  with  remarkable  works  by  M.  Dillens,  M.  Lagae 
and  M.  Rousseau,  among  sculptors,  and  M.  Gilsoul, 
.M.  Frederic  and  M.  Courtens,  among  painters,  a  very 
fine  portrait  by  Constantin  Meunier,  painted  some 
twenty  years  ago  ;  a  strangely  suggestive  and  remi- 
niscent painting  by  Fantin-Latour  ;  a  portrait  by  the 
Dutch  painter  Israels;  portraits  by  Cluysenaer;  a 
magnificent  sketch  by  Mellery ;  and  a  fine  bust  by 
de  Vigne,  a  sculptor  of  a  great  school  and  an  ample 
tradition,  who  died  lately  in  Brussels  and  who  had 
passed  into  undeserved  oblivion.  To  these  have 
been  added  two  busts  by  the  French  sculptor  Rodin 
and  two  portraits  b}'  von  Lenbach,  one  of  which, 
a  portrait  of  Madame  Lambert  de  Rothschild,  is 
quite  recent  and  is  now  exhibited  for  the  first  time. 
Lastly,  by  way  of  tribute  to  the  French  painter 
Cormon,  who  has  just  passed  away,  three  of  his  pic- 
tures are  here,  shown,  including  a  fine  portrait  of  a 
man. 


Ml.SCKLLANKOL'.S 
Louv.MN. — Outside  the  movement  of  exhibitions 
and  museums,  special  mention  must  be  made  of  certain 
other  undertakings  relating  to  important  works  of  art 
scattered  about  Belgium.  A  very  painful  situation  is 
occupied  in  this  respect  by  the  fine  mural  paintings  of 
the  church  of  St.  Peter  at  Lomain.  Some  four  years 
ago,  a  series  of  twelve  decorative  subjects  was  dis- 
covered under  the  whitewash  of  the  vaulting  of  the 
apsidal  chapel.  These  mural  paintings  are  very  beau- 
tiful ;  they  represent  angels  in  various  attitudes  and 
seem  as  tliough  they  should  be  ascribed  to  the  begin- 
ning of  the  sixteenth  century.  These  works  were 
no  sooner  discovered  than  it  became  clear  that  they 
were  placed  in  conditions  which  threatened  them 
with  approaching  ruin.  The  Decorative  .\rt  Section 
of  the  .Vlusees  Royaux  du  Cinquantenaire  caused 
copies  to  be  made  of  those  pictures  which  were  the 
least  dilapidated.  The  question  of  their  preserva- 
tion has  now  become  urgent,  and  the  Royal  Com- 
mission on  Monuments  has  been  summjn;id  to  give 
its  opinion. 

107 


THE     BURLINGTON     GAZETTE 


It  has  been  proposed  to  saw  off  the  paintings;  but 
this  is  not  to  be  thought  of,  for  they  would  fall  into 
dust,  and  on  the  other  hand  the  stone  ribs  of  the 
vaults  would  prevent  the  introduction  of  an  instru- 
ment. It  has  been  proposed  to  resort  to  an  operation 
which  consists  in  pasting  leaves  of  paper  in  juxta- 
position over  the  painting,  so  as  to  form  a  pasteboard 
having  power  of  resistance,  and  next  to  remove  b}-  the 
upper  portion  of  the  \'ault  all  the  bricks,  together  with 


poses  to  make  an  experiment  on  one  of  the  vaults  from 
which  the  colour  has  disappeared  entirely.  This  por- 
tion will  be  painted  with  colours  copied  from  the  tones 
of  the  originals  by  an  allied  process  in  water-colour  or 
distemper.  Next,  they  will  try  to  remove  this  new 
painting  by  affixing  it  to  pasteboard.  Should  they 
succeed,  at  least  partially,  they  will  risk  the  operation 
on  the  old  paintings.  Should  the\-  fail,  there  will  be 
nothing  for  it  but  to  leave  these  fine  artistic   remains 


the  layer  on  whiih  the  painting  lies.  r>ut,  in  order  to 
do  this,  it  would  be  necessary  to  begin  by  shoring  up 
the  neighbouring  vault,  since  all  the  vaults  rest  one 
upon  the  other  and  the  ribs  no  longer  support  them, 
in  consequence  of  a  work  of  reparation  that  was  at  one 
time  undertaken.  Supposing  this  to  be  completed,  a 
further  danger  would  remain,  that  of  seeing  the  vault 
itself  fall  to  pieces  when  its  stabilit}-  shall  have  been 
destroyed  by  the  removal  of  a  certain  number  of  bricks. 
In    these  circumstances,  the   Commission   now  pro- 

io8 


to  die  a  natural  death.  'I'lic  two  figures,  the  best  pre- 
served of  tiie  series,  here  ri'produced  will  give  some 
idea  of  the  value  of  this  work,  touching  the  preserva- 
tion of  which  it  is,  unfortunately,  very  difficult  to  cherish 
an\-  illusions. 

'Nivelles.— 'I'lie  wiirks  of  restoration  undertaken 
in  the  church  of  St.  (ieitrudo  are  on  the  way  to  com- 
pletion. They  are  of  a  \ery  delicate  nature,  and,  t^ikiMi 
as  a  whole,  have  been  pronounced  excellent  by  the 
Royal  Commission  on  Monuments.    Nevertheless,  the 


commission  has  ordered  tlie  profiles  of  the  capitals  and 
bases  of  the  small  corner  columns  of  the  windows  to 
be  done  over  again,  as  these  are  not  quite  true  to  the 
old  profiles,  of  which  certain  specimens  have  remained 
in  position.  The  correction  will  be  made  with  the  aid 
of  zinc  models  cut  on  the  originals.  On  the  other 
hand,  some  of  the  new  abaci  appeared  to  produce  a 
rather  heav}-  effect ;  but,  as  they  were  copied  e.\a<;tly 
from  the  remains  of  the  old  one's,  the  directors  of  the 
works  have  thought  it  right  to  respect  the  primitive 
forms. 

Aui)i:rc.hi;m. — Lastly,  there  has  been  the  question 
of  the  chapel  of  St.  .Anne  at  Auderghem,  near  Brussels. 
To  begin  with,  the  chapel  has  the  advantage  of  being 
situated  on  the  top  of  a  Inll  which  is  climbed  bv  an 
old  stone  staircase  and  of  thus  constituting  one  of  the 
prettiest  sites  in  Brabant.  An  examination  ordered  to 
be  made  by  the  Koyal  Commission  on  Monuments  has 
resulted  in  the  following  conclusions: — The  towerdates 
back  to  the  end  of  the  romanesque  period.  It  presents 
an  interesting  type  of  construction  which  was  in  very 
freijuent  use  at  the  romanesque  period  in  our  regions, 
although  examples  of  it  are  becoming  daily  rarer. 
The  covering  of  the  tower  is  in  a  very  bad  state ;  it  is, 
for  a  great  part,  ruined.  The  south  wall  of  the  nave 
appears  to  date  back  to  an  even  more  remote  time. 
The  nave  and  choir  were  greatly  altered  at  the  end 
of  the  ogival  period  ;  their  shingle  roofing  has  dis- 
appeared, but  their  timber  framework  still  exists;  the 
vaulting  displays  interesting  crowns.  The  wall-space 
seems  to  have  been  widened  at  that  time.  To  sum 
up,  the  chapel  presents  an  artistic  and  archaeological 
interest  which  should  make  us  hope  for  its  preserva- 
tion. It  is  private  property,  but  the  wishes 
of  the  Royal  Commission  on  Monuments  will  pro- 
bably be  met,  for  the  owners  had  already  taken 
measures  to  ensure  the  preservation  of  the  building. 
This  fact  is,  unfortunate!}',  so  unusual  as  to  deserve 
to  be  specially  mentioned.' 

R.  PinKucci. 

NOTES   FROM    HOLLAND 

Thk  Museum  of  Industrial  Art  at  Haarlem  has  again 
given  a  sign  of  its  very  lively  activity.  After  having 
exhibited  for  some  time  a  most  interesting  and  repre- 
sentative collection  of  Walter  Crane's  vvork,  which 
was  brought  direct  from  the  Turin  exhibition  to 
Haarlem,  the  trustees  of  the  museum  charged  a 
committee  of  some  Dutch  ladies  with  the  organization 
of  an  international  lace  exhibition.  With  the  aid  of 
many  Dutch  and  foreign  collectors,  a  very  instructive 
collection  was  brought  together.  All  the  samples 
which  had  any  interest  for  the  history  of  lace  were 
classified  and  collected  in  one  '  historical  gallery,' 
which  gave  a  very  sound  idea  of  the  different  kinds  of 
lace  which  have  been  famous  in  the  course  of  the  last 
four  centuries.  Many  exquisite  types  of  beautiful 
\'enice  lace,  delicate  point  dc  rose  and  point  dc  France, 
and  still  more  refined  point  d'Alcncon  and  point 
d'Ar^cntau,  were  conspicuous  in  the  first  section  ;  then 
came  the  laces  of  Genoa  ;  ihe  guipures  dc  Flandrcs  ;  and 
the  marvellously  thin  Binche  and  Malines  lace.  In 
the  next  rooms  many  separate  specimens  were  shown, 
and  also  some  modern  lace-work,  which  showed  that 


HOLLAND 

this  industry  is  still  flourishing,  although  very  few 
pieces  possess  the  fairy-like  charm  and  delicacy  which 
distinguish  the  old  ones. 

The  society  of  living  painters,  Pulchri  Studio, 
at  the  Hague,  held  their  ninth  and  last  exhibition 
during  this  month  ;  it  was  decidedly  one  of  the  best 
held  this  season.  It  comprehended  work  by  the 
following  artists  :  B.  Bongers,  S.  ten  Catej  Ch. 
Dankmeyer,  Jose  Frappa,  Mrs.  B.  Grandmont 
Hubrecht,  Miss  A.  E.  Kerling,  Paul  Rink,  J.  C. 
Ritsema,  F.  C.  Sierig,  Jacob  Smits,  Miss  A.  Veegens, 
D.  Wiggers,  and  C.  F.  L.  de  Wild.  The  Society  of 
St.  Luke  held  its  thirteenth  annual  exhibition  of  works 
by  its  members  in  the  Municipal  Museum  at  Amsterdam 
between  May  lo  and  June  15.  A  most  interesting  ex- 
hibition of  some  pictures  and  watercolours  by  Josef 
Israels,  the  property  of  Messrs.  Scholtens  and  Son, 
was  held  by  the  society  Voor  de  Kunst,  in  the  Pro 
Patria  building  at  Rotterdam.  There  were  some  ex- 
traordinarily fine  works  of  his  early  period  and  also  of 
his  last  years.  .'\t  the  same  time  some  work  of  the 
Belgian  sculptor,  George  Minne,  was  shown,  truly 
artistic  but  rather  difticult  to  understand.  The  ex- 
hibition of  pictures  by  old  masters  included  in  the  sale 
of  July  7,  which  are  exhibited  from  June  14  till 
July  3  by  Messrs.  F.  Muller  and  Co.  at  the  rooms  of 
Arti  et  Amicitiae  at  Amsterdam,  is  attracting  the  atten- 
tion of  many  people,  and  deservedly  so,  for  there  are 
some  very  fine  pictures.  An  exceptionally  fine  example 
of  still  life  by  W.  Kalff,  perhaps  one  of  the  finest 
ever  known,  has  been  exhibited  for  some  time  at  the 
Mauritshuis  Museum  at  the  Hague.  It  was  brought 
to  Holland  from  England  by  Dr.  Bredius,  from  whom 
it  fortunately  passed  into  the  hands  of  a  well-known 
Dutch  collector. 

An  exhibition  of  old  portraits  is  going  to  be 
held  from  July  i  till  September  i  in  the  rooms  of 
the  Haagsche  Kunstkring  at  the  Hague.  As  the 
best  of  the  foreign  and  Dutch  collections  contribute 
to  this  show  it  will  very  likely  become  the  finest  exhibi- 
tion of  portrait  art  ever  held  in  Europe.  I  may  just 
mention  some  of  the  contributions,  hoping  to  give  in 
the  August  number  a  full  account  of  the  exhibition. 
A  number  of  Rembrandts,  not  shown  at  the  .Amster- 
dam and  London  exhibitions,  will  be  sent  by  Mr.  Hage 
of  Denmark,  by  Countess  Delaborde  of  Paris,  and  by 
Mr.  Jaffe  of  Nice.  Mr.  Porges  and  Mr.  Warneck, 
both  of  Paris,  are  sending  portraits  by  Frans  Hals. 
Other  works  by  this  first-rate  master  will  be  lent  by 
Earl  Spencer  (the  so-called  portrait  of  Admiral  de 
Ruyter  which  can  be  seen  at  the  Guildhall  exhibition 
this  year),  Mr.  Gumprecht  of  Berlin,  and  Mr.  Teixeira 
de  Mattos  of  Amsterdam.  Other  important  pictures 
are  to  be  sent  by  Mr.  Adolphe  Schloss  of  Paris,  Mr. 
Dahl  of  Dusseldorf,  Messrs.  Sedelmeyer  and  .Messrs. 
F.  .Muller  &  Co.,  Mr.  Kleinbcrger,  and  quite  a 
number  from  Poland  through  the  mediation  of  Count 
Mj'cielski. 

Messrs.  F.  Muller  &  Co.  are  preparing  for  the 
months  of  July  and  .-\ugust  an  exhibition  of  the 
works  of  Jan  van  Goycn  (pictures  and  drawings),  in 
the  rooms  of  .\rti  et  .Amicitiae  at  .Amsterdam.  Several 
well-known  foreign  and  Dutch  collectors  have  already 
manifested  their  approval  of  this  idea  by  contributing 
some  of  their  fine  works  by  this  master.  L. 

5  109 


THE     BURLINGTON     GAZETTE 


NOTES   FROM    ITALY* 

It  is  a  mistake  to  imagine  an  art  exhibition  in  Rome 
to  be  similar  to  those  on  view  year  by  year  north  of 
the  Alps.  It  has  the  pre-eminent  advantage  of  being 
comparative!}-  small,  comprising  only  about  a  thousand 
works  of  art  ;  but  the  proportion  of  good  works  is  even 
more  markedly  small  than  one — although,  as  a  general 
rule,  far  from  being  spoilt  in  this  respect  by  our  own 
monster  shows — can  well  imagine.  It  is  curious  to 
note  how  the  main  tendencies  of  modern  art,  natura- 
lism, impressionism,  neo-idealism  and  so  forth,  with 
their  technique  that  the  artists  ha\e  on  every  occasion 
found  for  them — it  is  odd,  I  say,  to  note  the  way  in 
which  they  are  reflected  in  modern  Italian  art ;  not  in 
such  a  way  as  if  anything  convincingly  right  is  recog- 
nized as  such,  and  therefore  passes  without  more  ado 
into  the  stock  in  trade  of  another,  but  because  it  is  a 
new  thing,  and  for  the  moment  has  prepossessed 
f 'shioii  in  its  favour. 

As  compared  with  such  modern  tendencies  the 
attitude  of  the  majority  of  Italian  artists  is,  it  would 
seem,  conservative,  i.e.  irresponsive.  They  paint  the 
same  subjects  as  years  ago  :  views  of  ancient  Rome, 
or  views  of  the  Campagna  in  garish  illumination,  or 
little  genre  pictures  in  which  the  pretty  costumes  of 
the  peasantry  in  the  hills  have  a  longer  lease  of  life 
than  in  real  life.  And  they  paint  them  as  of  old,  not 
absolutely  badly,  often  undeniably  cleverly,  but  always 
in  such  a  way  that  the  intention  of  the  picture  to  he 
pleasing,  and  if  possible  to  find  a  buyer,  obtrudes 
itself.  But  what  really  constitutes  the  attraction  of 
an  exhibition  of  art — the  sight  of  artistic  aspiration  and 
ambition,  even  where  the  standard  of  achievement  is 
perhaps  not  remarkably  high,  originality — not  the 
striving  after  originality — very,  very  rarely,  and  only 
in  isolated  instances,  rewards  the  eye  ;  and  with  a  tired 
and  bored  eye  the  inevitable  consequence  is  an  un- 
favourable verdict. 

I  should  be  embarrassed  to  know  what  to  discuss  if 
I  were  minded  to  express  pure  and  whole-hearted  ap- 
preciation of  anything  here.  Its  comparatively  most 
satisfactory  features  are  a  few  sketches,  well  viewed 
and  honestly  depicted,  by  Alessandro  Battaglia — Hay- 
makers at  Work,  properly  speaking  only  the  jottings 
of  an  artist  to  retain  what  he  has  seen.  A  certain 
amoimt  of  clever  work,  too,  is  to  be  discovered  in  the 
water-colour  section,  although  the  majority  imagine 
that  the  main  purpose  of  a  water-colour  is  to  ape  a 
painting  in  oils  as  closely  as  possible.  Admiration  for 
the  industry  with  which  a  Baz;;ani  has  painted  stone 
after  stone  into  an  ancient  arch  is,  I  admit,  always 
possible  to  conceive,  or  for  the  easy  skill  where- 
with he  reproduces  the  interior  decorations  of  the 
houses  in  Pompeii;  only,  all  that  is  far  from  making 
a  work  of  art.  A  more  correct  notion  of  technique  at 
least  is  shown  by  Nardi,  Carlandi,  Coromaldi,  and 
Alice  Weld. 

But  enough  of  that.  To  pass  to  the  clou  of  the 
exhibition,  the  niom  that  ccjntains  the  forty-five  works 
of  Domcnico  Morelli.  When,  a  year  ago,  he  died  at 
.1  ripe  old  age  at  Naples,  anyone  unacquainted  willi 
Italian  art  must  luue  thought  from  his  obituaries  in  tlic 
press  thai  an  artist  of,  say,  the  rank  of  Watts  had 
died.     Tile  |)ictures  now  exhibited  represent  a  career 

•  Translated  by  I'.  M.  Oakley  Willlaiiis 


of  some  forty  years.  A  series  of  his  most  famous 
paintings  (The  Sicihan  Vespers,  of  about  i860,  and 
The  Temptation  of  St.  Anthony,  of  about  1878)  are 
on  view,  and  yet  one  has  to  confess  that  the  lot  would 
no  longer  make  the  least  impression  either  in  Paris, 
in  Munich,  or  in  London — these  historical  pictures 
such  as  a  few  decades  ago  were  painted  all  the  world 
over,  these  superficial  ilhistrations  of  sacred  legends, 
or,  indeed,  these  positively  bad  portraits.  To  a  non- 
Italian  Morelli's  reputation  will  be  incomprehensible. 

P^oreign  countries  are  scantily  represented.  In  the 
German  section  I  would  draw  attention  to  two  por- 
traits and  landscape  studies  by  Ernst  Noeter,  and  to 
the  distinguished  portrait  of  an  old  lady  by  H.  Krauss. 
A  few  delicately  -  tinted  impressions  of  Siena,  by 
Vivian  Gu)-,  caught  my  eye ;  among  the  Russians 
some  water-colours  by  Kalmikoff.  By  far  the  most 
interesting  exhibit,  however,  was  to  be  found  in  the 
Spanish  Room  (which  otherwise  only  displayed  the 
usual  pot-boilers),  some  little  sketches  of  Venice  by 
Manuel  Benedito,  well  viewed,  and  depicted  with  a 
quick  and  original  touch.  Especially  good  were  a  few- 
shining  yellow-red  sails  against  blue  water,  or  a  bit  of 
a  street  scene  with  a  few  patches  of  colour  and  such- 
like.    The  name  is  well  worth  noting. 

Of  the  plastic  art  it  is  kinder  to  be  altogether 
silent. 

The  collections  in  the  Palazzo  dei  Conservatori, 
which  have  for  a  long  time  been  closed  to  the  public 
on  account  of  the  rearrangement  in  progress,  have 
recently  been  reopened.  A  highly  commendable 
improvement  has  been  effected.  The  number  of 
rooms  has  increased  ;  the  picture  gallery  has  been 
transferred  to  the  second  story  in  lofty  rooms  with 
top  lights.  The  chief  pieces  of  sculptury  (the  Venus 
of  the  Esquiline),  the  bronzes  (the  She- Wolf  and  the 
Thorn  Drawer),  have  been  brought  into  prominence. 
Although  not  to  be  compared  with  the  splendid  Museo 
delle  Terme  (the  finest  of  all  Roman  antique  collec- 
tions) the  sculpture  galleries  of  the  Palazzo  dei  Con- 
servatori contain  some  works  of  the  highest  rank.  In 
the  same  way  the  re-hanging  of  the  pictures  has  the 
advantage  that  all  the  important  works  meet  the  eye 
at  once,  and  that  the  small  pictures  are  for  the  most 
part  hung  on  the  line  of  vision.  The  beautiful 
Rubens;  the  attractive  portrait  of  a  lady  by  Savoldo  ; 
one  of  Titian's  early  works,  The  Baptism  of  Christ 
(no  longer  questioned  by  anyone),  gleaming  in  its 
colouring,  like  the  Noli  me  tangere  in  London  ;  the 
excellent  reproduction  of  Veronese's  Rape  of  Europa, 
can  now  be  viewed  without  distraction.  Only  one 
picture — perhaps,  considering  its  quality,  the  most  im- 
portant in  the  gallery — Guercino's  Burial  of  St.  Pe- 
tronilla  has  had  less  than  justice  done  it.  It  might 
well  have  claimed  ample  space  on  its  merits.  Its 
unfavourable  hanging  is  an  expression  of  the  little 
interest  such  a  conspicuous  work  creates  nowadaj's  ; 
only  because  it  has  the  demerit  not  to  belong  to  the 
quattrocento.  In  the  middle  of  the  building  a  little 
garden  has  been  laid  out,  and  there  against  a  high 
wail  the  fragments  of  the  whole  plan  of  the  town,  just 
as  it  was  once  laid  out,  have  been  pieced  together — -a 
work  of  remarkable  industry  and  intelligence. 

And  here  I  should  like,  for  the  benefit  of  those  in- 
terested in   the  topography  of  ancient   Rome  and  the 


history  of  its  buildings,  to  call  attention  briefly  to  two 
publications  which  deal  with  these  subjects  :  to  the  (irst 
volume  of  K.  Lanciani's  '  History  of  the  Excavations,' 
which  extends  over  the  years  from  looo  to  15JO,  and 
contains  some  very  valuable  notes  on  the  several 
buildings  of  the  town  ;  and  to  E.  Rocchi's  '  Roman 
Town  Plans  of  the  Sixteenth  Century,'  a  sort  of  con- 
tinuation of  de  Rossi's  authoritative  work. 

The  prettiest  of  all  Roman  fountains,  lying  a  little 
out  of  the  way  and  not  nearly  so  well  known  as  it 
ought  to  be,  that  of  the  tarlaru^he  (the  tortoises), 
was  one  day  defaced  by  a  fence  of  hoardings. 
There  was  plenty  of  gossip  about  it  to  the  effect 
that  the  original  was  to  be  removed  and  replaced  bj- 
a  copy.  The  real  reason  was  that  a  thorough  cleaning 
of  it  had  been  taken  in  hand.  The  water  had,  in  the 
course  of  centuries,  deposited  a  thick  layer  of  chalk  on 
the  marble.  I'or  the  first  time  justice  is  now  done  to 
the  full  charm  of  the  work.  The  splendid  amethyst- 
tinted  upper  basin  rests  on  a  broad  column  of  white 
marble  :  the  lower  basins  shade  off  into  a  more  reddish 
tint,  and  these  beautiful  colours  are  the  tone  for  the 
bronze  boys  at  the  corners.  Within  a  very  short  time 
the  restoration,  which  does  hi>n()iu' tn  themunicipalitj', 
will  be  completed. 

l-'rom  l-"lorence  comes  news  of  the  discovery  of  the 
Michael  .Vngelo  cartoons.  There  are  in  all  ten  sheets 
with  drawings  on  both  sides.  Specially  noteworthv 
is  the  profile  portrait  of  an  old  man  which  has  the 
closest  resemblance  to  the  features  of  Julius  II.  \'ery 
fine  are  an  equestrian  figure  seen  from  behind,  a  study 
for  the  Night  in  San  Lorenzo,  and  the  study  for  the 
body  of  God  the  Father  in  The  Creation  of  Adam. 
In  all  forty  studies  are  said  to  be  found  on  these  car- 
toons, on  which  an  article  by  tin;  discoverer,  N.  P. 
Ferri,  known  to  all  friends  of  FK^rentine  art  as  the 
curator  of  the  cartoon  collections  in  the  Uffizi,  reports 
concisel)-.  The  article,  illustrated  by  one  or  two  re- 
productions of  the  finest  cartoons,  is  contained  in  the 
issue  for  May  and  June  of  the  periodical  Miscellanea 
d'Arte,  which  since  the  beginning  of  this  year  has 
been  published  in  Florence  by  the  firm  of  Alinari. 

Geokg  GkONAl-. 


GENERAL   NOTES 

Mr.  .IClfnil  I'ahey  exhibited  some  rc((Mit  wnrk  at 
his  studio  in  liayswater  on  June  12.  The  ex- 
hibition consisted  of  drawings  in  gold,  silver  and 
copjK'r  pomt,  and  some  jeweller)-,  in  the  design  of 
which  one  could  trace  the  infiucnce  of  his  tutor  and 
father-in-law,  Mr.  Alfred  Gilbert,  R.A.  Mr.  Fahey's 
drawings  are  delicate  and  full  of  artistic  feeling.  In 
the  architectural  subjects  no  detail  which  would  give 
character  seems  to  have  been  missed,  and  yet  the 
general  effect  is  broad.     Mr.   Fahey's  work  deserves 


We  arc  always  glad  to  note  the  formation  of  a  new 
art  society.  The  Artists  of  De\on  and  Cornwall  have 
just  held  tlieir  first  exhibition  as  a  corporate  body, 
and  it  was  an  extremely  good  one.  Its  foundation  and 
success  was  due  in  a  great  measure  to  the  honorary 
secretary,  N.  H.  J.  Haird,  formerly  a  silver  metlallist 


GENERAL     NOTES 

at  Edinburgh,  and  now  one  of  the  best  known  Devon- 
-shire  artists.  His  picture  in  the  Institute  this  year, 
a  water-colour  of  Horses  Ploughing,  was  a  character- 
istic example  of  his  work,  and  full  of  life  and  atmo- 
sphere. 


An  interesting  record  of  the  (opening  of  the  first 
Commonwealth  Parliament  of  Australia  is  the  picture 
now  on  show  at  Maclean's  galleries  in  the  Haymarket. 
It  contains  J40  actual  p(jrtraits,  and  to  judge  "by  those 
with  whose  originals  one  is  familiar  they  are  extremely 
Hfclike.  The  artist  decided  to  paint  in  tnonochrome 
in  order  to  secure  perfect  reproduction. 


Most  of  the  galleries  in  Hond  Street  and  the  West 
End  are  open  just  now.  At  Dowdeswell's,  Mortimer 
.Menpes'  pictorial  record  of  the  Durbar  is  the  principal 
attraction.  At  these  galleries  the  gold  and  silver 
enamels  by  Nelson  and  Edith  Dawson  are  ecpially 
worth  attention,  the  artists  being  quite  in  the  front 
rank  in  this  branch  of  art. 

Most  art  lovers  who  ha\e  seen  Mr.  Nicholson's 
work  at  the  International  and  at  the  New  gallery  appre- 
ciate it,  but  hitherto  they  have  had  no  opportunity  of 


mi 

^ 

studying  it  as  a  whole.  .\t  the  Stafford  galleries  there 
is  now  open  to  tlu-m  a  thoroughly  representative  ex- 
hibition. Mr.  Nicholson's  work  is  all  his  own,  and 
his  portraits  and  character  sketches  are  delightfully 
original,  both  in  treatment  and  composition.  .\ 
favourite  subject  of  his  is  the  Morris  Dance,  an  old 
English  dance  which  still  survives  in  Oxfordshire, 
where  he  has  made  his  home.  The  accompanying 
illustration   gives    an    idea    of    the    picture,    though 


THE     BURLINGTON     GAZETTE 


allowance  must  be  made  for  the  absence  of  the  colour 
which  is  its  principal  charm.  William  Russell,  the 
principal  dancer,  is  pourtrayed  on  several  canvases. 
The  quaint  dress  gives  the  artist  a  chance  for  a  colour 
scheme  of  which  he  has  skilfulh^  availed  himself. 


It  has  been  judicially  decided  that  the  Celtic  gold 
onaments  in  the  British  Museum  are  'treasure  trove,' 
and  therefore  the  property  of  the  Crown.  The  Govern- 
m3nt  will  presumably  take  the  ornaments  from  the 
museum,  where  they  are  useful  to  students,  and  hand 
them  over  to  Dublin,  where  nobody  will  look  at  them 
again  ;  thus  is  public  money,  denied  for  artistic  pur- 
poses, wasted  on  political  jobs.  We  trust  that  the 
Government  will  have  the  decenc}'  to  refund  to  the 
British  Mu'-eum  the  ;^6oo  paid  for  the  ornaments. 

It  may  not  have  been  noticed  that  the  colonies  are 
taking  more  interest  in  art  than  has  hitherto  been  the 
case.  Australia  especially  is  adding  good  pictures  to 
the  public  galleries,  and  several  Australians  and 
Canadians  are  quietly  lajdng  the  foundation  of  good 
private  collections.  Two  rising  Australian  artists  who 
are  rapidly  coming  to  the  front  are  now  in  England. 
One  of  them,  Mr.  Streeton,  recently  exhibited  at  the 
Ryde  galleries.  His  work  is  original  and  good  in  colour 
and  composition,  and  bears  the  impress  of  the  direct 
study  and  observation  of  nature.  The  atmospheric 
qualities  of  his  big  picture,  Trafalgar  Square,  were  very 
true  an  1  most  suggestive  of  London.  The  work  of 
the  other,  Mr.  Davis,  is  known  only  to  his  brother 
artists  in  Cornwall,  but  they  find  unusual  qualities  in 
it.  One  or  two  discriminating  judges,  themselves 
distinguished  artists,  have  acquired  examples  of  it, 
and  it  is  possible  it  may  soon  be  seen  in  a  London 
gallery.  Mr.  Davis  is  a  fine  colourist,  and  his  work 
is  full  of  poetry  and  feeling. 


ENGLISH   SALES 

PICTURES 

May  2 1 -June  20. 

Saturday,  May  23,  witnessed  at  Christie's  the  most 
important  sale  of  pictures  that  has  yet  taken  place 
this  season,  and  it  seems  safe  to  prophesy  that  no 
other  will  eclipse  its  brilliance  this  year.  Not,  indeed, 
let  me  state  at  once,  that  the  assemblage  of  works 
offered  on  that  day  can  vie  in  quality  or  artistic  worth 
with  the  greatest  of  the  famous  collections  which  in 
years  gone  by  have  found  a  transitory  resting  place 
upon  the  same  walls ;  but  the  scarcity  of  really  first- 
rate  pictures  has  become  so  accentuated  in  the  last 
few  years,  and  their  monetary  value  has  been  so 
enhanced,  that  the  sale  of  May  23  created  what  may 
without  exaggeration  be  termed  a  sensation.  The 
rooms  were  constantly  filled  while  the  pictures  were 
on  view,  with  almost  unprecedented  crowds.  The 
large  central  gallery  was  entirely  occupied  by  the 
French  pictures  of  the  eighteenth  century  which 
belonged  to  Mr.  Reginald  'Uaile,  whilst  the  other 
rooms  were  hung  with  a  few  more  works  of  various 
schools  from  the  same  collection,  and  a  score  of 
pictures  gathered  from  various  sources. 


The  most  important  item  in  the  Vaile  catalogue 
was  the  set  of  four  large  decorative  panels  by  Fran9ois 
Boucher,  which  were  sold  in  one  lot  for  22,300  gns. 
They  measure  approxmiately  ten  feet  in  height  by  six 
feet  in  width,  and  represent  pastoral  scenes  painted  in 
the  conventional  style  so  much  in  favour  in  France  in 
the  eighteenth  century.  These  four  compositions,  en- 
titled The  Fortune-Teller,  The  Love  Message,  Love's 
Offering,  and  Evening,  form  an  extremely  effective  work 
of  pure  decoration.  They  are  very  graceful  in  dis- 
position, very  pleasing  in  colour,  Boucher's  favourite 
reds  and  deMcate  pinks  being  much  in  evidence  ;  still, 
they  cannot  be  said  to  represent  Boucher  at  his  best. 
They  have  not,  for  instance,  the  dashing  brilliance, 
the  nervous  vigour  of  some  of  the  artist's  decorative 
examples  of  less  unwieldy  size  in  the  Wallace  collec- 
tion ;  still  less  favourably  do  they  compare  with  the 
famous  series  of  panels  now  in  the  possession  of 
Mr.  Pierpont  Morgan,  a  work  of  similar  nature  by 
Boucher's  great  pupil  Fragonard.  When  these  Fra- 
gonards  were  exhibited  last  year  at  the  Guildhall 
Mr.  Vaile's  Bouchers  (at  that  time  still  in  the  posses- 
sion of  Mme.  Ridgway)  were  on  view  in  the  next  room, 
and  a  comparison  revealed  the  unmistakable  superiority 
of  the  former — the  lack  of  poetry,  oicnvolcc  of  the  latter. 
Two  other  works  in  the  Vaile  collection  were  attri- 
buted to  Boucher ;  of  these.  The  Triumph  of  Amphi- 
trite,  sold  for  340  gns.,  is  probably  the  work  of  one  of 
Boucher's  pupils,  but  certainly  nowhere  in  it  is  the 
hand  of  the  master  discernible.  The  other,  Diana 
Reposing,  is,  no  doubt,  a  far  better  picture,  but  it 
seems  almost  too  weak  in  design  and  in  colouring  to 
be  accepted  without  a  certain  degree  of  reluctance  as 
the  production  of  his  brush,  although  it  fetched 
3,000  gns. 

The  name  of  Fragonard  figured  twice  in  the  cata- 
logue, but  only  once  was  it  justified  by  the  quality  of 
the  work  to  which  it  was  attached  ;  this  was  in  the 
case  of  a  small  miniature  on  ivory,  measuring  only 
af  in.  by  2  in.,  representing  the  head  of  a  young  girl, 
in  a  blue  dress  with  a  circular  white  hat ;  it  is  painted 
in  the  dainty  and  delicate  manner  characteristic  of 
Fragonard  in  his  small  works,  and  was  sold  for  510  gns. 
Le  Baiser  Gagne,  a  small  canvas  attributed  to  the 
same  master,  is  a  pleasing  picture  of  his  period,  and 
obviously  painted  under  his  influence,  but  it  is  im- 
possible to  identify  it  as  his  work.  With  regard 
to  this  picture  the  catalogue  gave  a  somewhat  mis- 
leading reference  to  the  chapter  on  Fragonard  in  the 
brothers  de  Goncourt's  valuable  and  charming  book, 
'  L'Art  du  XVIIP  Siecle,'  p.  333;  no  mention  of 
Le  Baiser  Gagne  is  to  be  found  there,  but  only  a  very 
striking  passage  upon  the  voluptuous  poetry  of  the 
kiss,  as  it  was  realized  and  expressed  by  the  painter. 

Watteau,  the  creator  and  greatest  exponent  of  the 
fetes  galantes  school  of  painting,  was  unrepresented  in 
the  Vaile  collection  ;  the  attribution  to  him  of  a  medi- 
ocre portrait  of  Mademoiselle  Harcnger  cannot  be 
taken  seriously.  But  Mr.  Vaile  had  secured  examples 
b}-  two  of  his  followers,  the  two  indeed  who  of  the 
legion  of  artists  who  painted  in  this  popular  style 
most  closely  approached  their  model.  Of  both  Nicolas 
Lancrct  and  J.  B.  Pater  he  was  the  possessor  of  at 
least  one  example  whose  authenticity  is  not  open  to 
question.     The  Pleasures  of  the  Country,  by  Pater, 


is  an  important  composition  of  twenty-seven  fifjures. 
eleven  in  the  forej;rounci  and  sixteen  interspersed 
amonf,'  the  trees  a  little  distance  away.  The  central 
figure  is  in  white  satin  with  blue  bows,  and  with  rose- 
coloured  drapery  falling  at  her  left  side.  Her  features 
are  those  that  this  artist  almost  invariably  gave  to  at 
least  one  figure  in  his  pictures.  Her  companions  of 
either  sex  around  her  are  clothed  in  light  gay  attire, 
and  engaged  in  idle  pastime,  music  and  conversation. 
Tall  and  graceful  trees  occupy  the  background  on  the 
right,  an  open  landscape  on  the  left.  The  picture,  if 
it  lacks  the  power  and  breadth  of  Watteau,  both  in 
conception  and  execution  is  characterised  by  the  usual 
dainty  grace  of  Pater;  its  size  is  35  in.  by  44  in.,  and 
it  fetched  2,000  gns.  In  the  case  of  two  other  works 
attributed  to  Pater,  his  name  was  obviously  misused. 
Lancret's  Strolling  Musicians  shows  a  lady  and  a 
gentleman,  with  castanets,  dancing  in  the  foreground, 
a  musician  seated  playing  a  hurdy-gurd\-,  and  two 
lovers  under  a  tree  on  the  right.  Despite  the  absence 
of  that  finesse  of  touch  to  be  found  in  Lancret's 
best  achievements,  the  Strolling  Musicians  is  in  all 
probability  a  genuine  work,  and  it  was  sold  for 
2,500  gns.  Two  oval  companion  pictures.  Find  the 
Handkerchief  and  the  See-Saw,  showing  groups  of 
children  pla\ing  among  the  trees  of  a  park,  were  sold 
for  850  gns.  and  800  gns.  respectively,  and  may  well 
be  from  the  hand  of  Lancret. 

In  vivid  contrast  to  the  works  of  the  painters  of  the 
fcie%  galantes,  stands  the  art  of  their  contemporary, 
Jean  Simeon  Chardin.  Whilst  Watteau,  Lancret, 
Pater  and  their  followers  attached  themselves  to 
translating  the  frivolous  gaieties  of  the  court  of 
Louis  XV,  conceiving  the  world  to  be  filled  with 
nothing  but  pleasure  and  light-hearted  love,  Chardin 
devoted  his  masterly  brush  to  the  expression  of  the 
more  sober  and  laborious  existence  of  humbler  life. 
He  painted  homely  scenes  with  singular  truth  and 
tenderness,  and  reproduced  with  unrivalled  power  the 
attributes  of  the  kitchen  table.  Three  canvases  in 
the  Vaile  collection  were  described  as  being  by 
Chardin,  but  none  of  them  can  properly  claim  so  high 
a  paternity.  The  most  important  of  the  three,  Lc 
Chateau  de  Cartes,  shows  the  figure  of  a  youth  seated 
at  a  table  facing  the  right,  amusing  himself  building  a 
castle  with  playing  cards.  The  catalogue  stated  that  it 
was  exhibited  at  the  Salon  of  1741.  Now,  there  did 
figure  in  the  Salon  of  that  year  a  picture  by  Chardin, 
described  as  Le  fils  de  M.  Le  Noir  s'amusant  a  faire 
des  chateaux  de  cartes,  but  this  picture  is  in  Paris  in 
the  collection  of  Monsieur  Jacques  Doucet,  and  the 
\'aile  picture  can  be  looked  upon  as  nothing  more 
than  a  copy  of  this  very  excellent  example  of  the 
master's  work.  To  a  connoisseur  of  Chardin  the 
general  flatness  which  pervades  it,  and  the  indecision 
of  its  technique,  can  permit  no  doubt  of  the  fact.  It 
was  sold  for  200  gns.,  whereas  the  original  picture 
may  be  fairly  valued  at  ten  times  that  figure.  The 
Hermitage  at  St.  Petersburg  contains  another  picture 
by  Chardin,  of  the  same  subject  with  slight  varia- 
tions, which  figured  at  the  Salon  of  1730,  two 
years  earlier  than  M.  Doucet's  picture.  The  Young 
Princesses,  attributed  to  the  same  painter  and  sold  for 
260  gns.,  is  a  very  pretty  picture,  graceful  and  pleasing 
in  both    composition   and   colour  ;    but  whoever   its 


THE     PICTURE     SALES 

author  may  lie,  he  certainly  was  not  Chardin. 
Neither  is  the  Still  Life  of  the  \'aile  collection  any- 
thing but  a  picture  of  the  Chardin  school. 

With  a  few  passing  words  we  may  dismiss  the 
works  attributed  to  Greuse.  The  only  one  whose 
authenticity  presented  any  degree  of  probability  was 
the  oval  portrait  of  a  Heggar  Boy  in  a  grey  coat, 
standing  with  his  arms  folded.  It  is  a  fine  study,  but 
the  subject  naturally  does  not  lend  itself  to  the  sugary- 
sweet  treatment  for  which  Greuze  is  famous,  and  its 
price  was  therefore  only  195  gns.  The  two  genre 
compositions.  The  Unhappy  Family  and  The  Two 
Sisters,  are  copies,  or  at  best  school  pictures. 

We  may  now  proceed  to  examine  the  French 
portraits,  which  formed  undeniably  the  strongest  part 
of  the  collection,  although  even  here  we  are  bound  to 
make  restrictions  in  some  not  unimportant  cases. 
The  so-called  Watteau  has  already  been  alluded  to, 
but  a  misnomer  of  even  greater  importance  was  in  the 
case  of  the  Portrait  of  the  Countess  of  Neubourg  and 
her  Daughter,  upon  which  is  prominently  exposed  the 
signature  Nattier,  1740.  There  is  in  Paris,  in  the 
collection  of  Monsieur  Porges,  a  picture  almost  exactly 
similar  to  this,  with,  however,  the  all-important  dif- 
ference that  the  one  bears  every  impress  of  authen-  ■ 
ticity,  whilst  the  very  opposite  is  true  of  the  other, 
the  \'aile  picture  to  wit.  Where  is  a  trace  to  be 
found  in  this  portrait  of  the  Countess  of  Neubourg  of 
that  supremely  delicate  touch  of  Nattier  ?  Where  is 
the  satin-velvet  quality  by  which  the  softly- rounded 
faces  of  his  sitters  are  given  the  complexion  of  a  ripe 
and  untouched  peach  ?  Nattier  had  during  his  life- 
time a  great  many  copyists — Prevost,  Coqueret,  de  la 
Roche,  Hellard,  are  the  names  of  but  a  few — and 
amongst  them  we  must  seek  the  author  of  this  copy, 
to  which  no  doubt  the  signature  of  the  greater  man 
was  affixed  at  a  later  date.  The  price  it  fetched, 
4,500  gns.,  was  a  great  deal  more  than  its  value  as  a 
copy,  but  far  less  than  it  would  have  been  worth  had 
it  been  a  genuine  work  b}-  Nattier. 

•  Nattier's  son-in-law,  Louis  Tocque,  was  repre- 
sented by  a  very  charming  portrait  of  a  lady,  which 
was  sold  for  820  gns. ;  in  a  white  muslin  dress  with  a 
mauve  sash,  she  is  seated  gaily  scattering  flowers  with 
her  hands ;  she  has  dropped  flowers  in  her  lap,  and 
flowers  decorate  her  hair,  falling  in  a  trailing  garland 
over  her  breast,  whilst  a  star  hovers  curiously  over 
her  head.  Another  good  portrait  was  the  oval  half- 
length  of  a  lady  in  white  Louis  XV  dress,  with  muslin 
sleeves  and  heliotrop£  bows,  attributed  to  Antoine 
\^estier,  and  sold  for  750  gns.  A  portrait  of  Madame 
Favart,  the  celebrated  actress,  by  J.  H.  \'an  Loo, 
fetched  950  gns.,  and  another  by  I-'.  H.  Drouais  of 
Madame  Du  Barry,  characteristically  fresh  in  colour- 
ing and  graceful  in  arrangement,  reached  2,000  gns. 
I^y  far  the  finest  portraits,  however,  that  belonged  to 
Mr.  Vaile  were  those  of  M(}nsieur  and  Madame  de 
Noirmont  by  Nicolas  Largilli^re.  The  very  marked 
influence  of  the  Flemish  school,  and  in  particular  of 
Van  D\ck,  which  is  exhibited  by  the  works  of  Lar- 
gilliere,  is  due  no  doubt  to  his  sojourn  in  the  studio 
of  ,\ntony  Goebouw  at  Antwerp;  but  the  graceful 
fantasy  of  his  pose,  his  resplendent  colouring  and 
gorgeous  arrangement  of  draperv,  are  essentially  the 
attributes  of  a  Frenchman,  and  of  one  who  frc.|uented 


THE     BURLINGTON     GAZETTE 


the  dazzling  court  of  Louis  XIV.  From  iiis  Flemish 
training  he  derived  his  capacity  for  exprcssim^  i  h:i- 
racter — the  quality  which  is  wanting  in  the  wdiks 
of  most  of  his  French  contemporaries  Liiid  imme- 
diate successors.  In  this  respect  he  excelled  espe- 
cially in  his  portraits  of  men,  and  it  is  curious  to 
note  that  Largilliere  is  almost  the  only  European 
painter  of  the  eighteenth  century  whose  male  por- 
traits, caetcris  paribus,  now  command  higher  prices 
than  those  of  the  fair  sex.  Thus  his  Monsieur  de 
Noirmont,  standing  on  a  terrace,  in  a  rich  yellow 
dress  with  a  magnificent  crimson  cloak  thrown  over 
his  right  shoulder,  was  sold  for  2,500  gns.;  Madame 
de  Noirmont,  in  a  white  satin  dress  with  a  cluak  of 
leopard  skin,  seated  on  a  bank  holding  a  partridge 
and  a  pheasant,  is  not  nearly  so  powerful  a  picture, 
and  fetched  only  1,250  gns. 

Of  the  modern  French  school  there  were  t)nly  two 
examples:  the  head  of  an  Alsatian  girl  by  Henner, 
sold  for  125  gns.,  and  a  spurious  Isabey,  The  Return 
to  Port,  Honfleur,  certainly  not  the  picture  from 
which,  as  was  stated  in  the  catalogue,  David  Lucas 
engraved  his  plate  of  this  subject.  The  only  English 
canvas  of  importance  was  D.  G.  Rossetti's  Veronica 
Veronese,  painted  in  1872,  which,  endowed  with  solid 
qualities  of  conception  and  technique,  is  full  of  the 
mannerisms  and  exaggerations  of  the  Pre-Raphaelite 
Brotherhood.  It  fetched  3,800  gns.  ;  in  1898,  at  the 
Ruston  sale,  it  was  sold  for  1,550  gns.,  and  previously 
for  1,000 gns.  at  the  Leyland  sale  in  1892. 

Several  pictures  of  very  great  interest  were  in- 
cluded in  the  miscellaneous  lots  disposed  of  the  saine 
afternoon  as  the  Vaile  collection  (May  23),  and  some 
e;itremely  high  prices  were  realized.  Lord  Wimborne 
had  sent  up  his  splendid  Paul  Veronese,  Venus  and 
Mars,  which  attracted  the  admiration  of  all  visitors  to 
this  year's  exhibition  of  old  masters  at  Burlington 
House.  It  was  sold  for  6,000  gns.,  and  no  surprise 
would  have  been  felt  had  this  masterpiece  reached  a 
very  much  higher  figure.  Another  Italian  picture, 
Titian's  well-known  portrait  of  Giorgio  Gornaro  hold- 
ing a  falcon,  was  much  admired  when  the  pictures 
were  on  view  ;  it  was  previously  in  the  collection  of 
the  Earl  of  Carlisle  at  Castle  Howard,  whence  it 
passed  into  the  possession  of  Mr.  E.  F.  Milliken,  of 
New  York.  In  his  hands  it  still  remains,  having 
failed  to  find  a  purchaser  at  4,500  gns. 

Eight  pictures  of  the  early  English  school  were 
the  property  of  Mr.  E.  W.  Beckett,  comprising  two 
Romneys,  a  Gainsborough,  a  Hoppner,  and  three 
portraits  of  ladies  attributed  to  Sir  Joshua  Reynolds. 
These  three,  however,  cannot  be  accepted  as  the  work 
of  the  Royal  Academy's  first  and  greatest  president. 
The  Hoppner,  a  half-length  portrait  of  Mrs.  Huskisson, 
in  brown  dress  with  lace  frill,  is  not  a  strong  picture, 
but  it  is  authentic,  and  was  sold  for  1,900  gns.  Gains- 
borough's oval  half-length  of  Mr.  Ozier,  in  blue  coat 
and  vest  with  lace  frill  and  powdered  hair,  is  a  good 
example  of  the  master's  work,  and,  though  it  has 
suffered  to  some  extent  through  over-cleaning,  it  found 
a  buyer  at  2,150  gns.  Of  the  two  Romneys,  the  one 
is  an  early  work,  a  portrait  of  Miss  Sneyd,  in  white 
dress  and  mob  cap  with  a  blue  ribbon,  seated  at  a 
table  reading  a  book  :  it  is  tight  and  dry  in  execution 
like  all  that  artist's  early  works,  but  was  undoubtedly 


cheap  at  650  gns.  This  fact  is  emphasized  by  the 
enurmiius  price,  9,400  gns.,  paid  for  the  other  Romney, 
a  [loi trait  of  Mrs.  Blair  in  white  muslin  dress  with  a 
large  black  hat  with  feathers.  This,  it  is  true,  is  an 
example  of  the  painter's  best  period  at  the  same  time 
that  it  is  a  graceful  portrait  of  a  handsome  woman  ; 
still,  for  technical  quality  and  general  charm,  it  cannot 
bear  corniiarison  with  several  (if  the  artist's  portraits 
of  the  same  si/.— that,  for  instance,  of  Mrs.  Corrie  in 
the  National  Galler)-,  or  the  excjuisite  Countess  of 
Derby  in  the  collection  of  Sir  Charles  Tennant. 

Although  they  are  not  endowed  with  the  same 
decorative  possibilities,  a  much  higher  artistic  level  is 
reached  by  Sir  Joshua's  whole-length  portraits  of  the 
eighth  and  ninth  earls  of  Westmoreland,  the  property 
of  the  dean  of  Wells,  which  were  sold  for  2,100  gns. 
and  1,250  gns.  respectively.  Thomas,  the  eighth  earl, 
is  represented  life-size,  walking  in  a  wooded  landscape, 
with  his  hat  under  his  arm  and  holding  a  stick  in  his 
right  hand  ;  he  wears  a  \elvet  costume  of  a  wonderful 
tone  of  rosy  plum  colour,  with  a  white  wig;  his  fea- 
tures, somewhat  lacking  in  refinement,  are  full  of  life 
and  character,  and  there  can  be  no  doubt  that  this  must 
have  been  a  perfect  likeness.  The  landscape  is  painted 
with  singular  power,  and  shows  every  evidence  of  being 
entirely  from  the  master's  own  hand.  The  care  of 
filling  in  the  background  in  the  picture  of  John,  the 
ninth  earl,  seems,  on  the  contrary,  to  have  been  left 
to  an  assistant,  the  castle  in  the  distance  being  par- 
ticularly weak.  This  portrait  was  painted  at  a  later 
date,  when  the  fashionable  and  busy  artist  often 
showed  considerable  negligence  with  the  less  important 
portions  of  his  pictures.  The  ninth  earl  of  Westmore- 
land, in  blue  costume  embroidered  with  gold  braid, 
and  with  powdered  liair,  stands  leaning  against  a  tree, 
holding  his  hat  and  stick,  and  is  painted  in  far  less 
vigorous  style  than  his  predecessor. 

The  portrait  of  Miss  Isabella  Brown,  a  prett\'  little 
girl  in  white  frock  with  silver-grey  waist-band,  seated 
with  her  hands  clasped  on  her  lap,  sold  for  2,600  gns., 
is  a  charming  example  of  Sir  Henry  Raeburn,  treated 
with  the  greatest  simplicity  and  directness.  It  was 
offered  a  little  while  ago  to  the  National  Gallery  for 
;f5oo,  and,  though  it  is  a  very  excellent  picture,  the 
trustees  for  once  seemed  justified  in  their  refusal  to 
purchase  an  example  which  is  far  from  equalling  those 
already  in  the  possession  of  the  nation. 

The  most  sensational  item  in  the  entire  sale  was  the 
portrait  of  a  young  lady  by  Gainsborough,  which  is  re- 
produced on  the  opposite  i)ageby  kind  permission  of  Mr. 
Charles  Wertheimer.  The  romantic  circumstances  that 
surrounded  the  appearance  of  this  picture  in  the  sale 
room  added  considerably  to  the  excitement  caused  by  the 
huge  price  which  it  attained,  namely  g,ooo  gns.  It  is 
only  a  small  canvas,  30  in.  by  25  in.,  and  shows  the 
head  and  bust  of  a  pretty  girl,  painted  in  profile,  with- 
out hands.  The  painting  was  in  a  very  dirty  condition, 
some  parts  being  almost  obliterated  by  brown  varnish, 
and  a  large  hole  more  than  an  inch  square  pierced  the 
canvas,  fortunately  in  the  drapery  and  not  in  the  face. 
It  belonged  to  a  lady  in  Worthing,  into  whose  posses- 
sion it  came  by  inheritance  ;  she  had  no  knowledge  of 
the  identity  of  either  the  painter  or  the  sitter,  nor  of  the 
value  of  the  portrait.  It  is  certain  that  now  it  has 
been  judiciously  cleaned  and  restored  this  portrait  of  an 


The  recently  discovered  porirail  by  Thomas  Umnsborough ;  in  Uie  pob;  e^hioii  of  Mr.  Charles  Werthci 


THE     BURLINGTON     GAZETTE 


unknown  young  lad_v  is  a  thin<j  of  rare  beauty, 
but  one  can  only  stare  in  open-mouthed  wonder  at 
the  enormity  of  the  sum  given  for  it  by  its  present 
possessor,  whilst  congratulating  its  late  owner  on 
having,  to  borrow  a  phrase  from  the  financial  world, 
sold  out  at  the  top  of  the  market. 

There  is  little  to  report  upon  this  month  beyond 
the  sale  of  May  23,  which  I  have  discussed  at  length. 
Two  days  previously  (May  21)  Messrs.  Robinson  and 
Fisher  held  a  slUc  at  Willis's  Rooms,  which  included 
a  few  interesting  pictures.  A  three-quarter  length 
portrait,  said  to  represent  Miss  Glynn,  seated,  in  a 
white  dress  and  powdered  hair,  her  hands  clasped  on 
hi  I-  Lip,  \\\i^  attril lilted  to  George  Romney,  with  whose 
W'li,  It  I1.1-,  Ihiwt'Mr,  absolutely  nothing  in  common, 
l>t-\Mii(l  till-  i.u  I  ih^it  Romney  often  painted  ladies  in 
white  dresses.  This  portrait  is  in  all  probability  one  of 
the  finest  productions  of  Maria  Cosway,  the  artist-wife 
of  the  great  miniature  painter,  and  as  such  was  well 
worth  the  700  gns.  for  which  it  was  sold.  Several  other 
pictures,  one  of  which,  Raeburn's  superb  portrait  of  Sir 
John  Sinclair  of  Ulbster,  in  Highland  militia  uniform, 
is  of  quite  superlative  merit,  were  knocked  down  for 
large  and  even  enormous  prices ;  but  with  respect  to 
these  pictures  I  prefer  to  say  nothing  regarding  the 
commercial  aspect  of  the  sale.  M.  R. 


PRINTS 

May  22=June  15. 

The  sales  which  have  taken  place  during  the  latter 
portion  of  May  and  the  portion  of  June  which  has 
elapsed  have,  on  the  whole,  been  of  less  interest  than 
those  which  preceded  them.  Standing  out  promi- 
nently in  a  month  destitute  of  sensations  or  surprises 
was  the  dispersal  at  Sotheby's,  on  May  22  and  23,  of 
the  collection  made  by  George  Cruikshank  of  his  own 
works.  The  sum  realized  for  the  whole  249  lots  was  but 
;fi,04g,  and  its  obviously  inadequate  character  fur- 
nishes yet  another  instance  of  the  fickleness  of  the 
collector.  Of  course  the  lack  of  interest  displayed  in 
his  political  and  personal  caricatures  can  be  explained, 
for  the  passing  of  the  conditions  and  circumstances 
which  called  forth  their  production  has  destroyed  the 
point  of  their  satire;  but  the  very  lukewarm  reception 
accorded"  to  the  book  illustrations  is  not  so  easily  ac- 
counted for. 

The  earliest  examples  submitted  were  a  series 
of  thirteen  sketches,  executed  when  about  eight  years 
of  age,  sold  for  25s. ;  whilst  ten,  produced  during 
the  ne.xt  four  years,  produced  £5.  The  first  price  of 
any  note  was  the  ;f  10  15s.  given  for  the  original  water- 
colour  drawing  of  The  Old  Commodore,  an  illustra- 
tion of  a  popular  song  of  1813,  and  this  was  almost 
immediately  followed  by  the  well-known  portrait  of 
Edmund  Kean,  A  Theatrical  Atlas,  1814,  which 
changed  hands  at  £7  los.  The  illustrations  for 
Sir  John  Falstaff,  twenty  in  number,  were  decidedly 
cheap  at  £8  15s.,  and  the  same  remark  applies  to  the 
unique  first  proofs  of  the  Sir  Walter  Scott  series  of 
the  illustrations  to  the  Waverley  novels,  which  sjld 
en  bloc  for  £10.  The  Humorist  series,  altogether  one 
of  his  best  achievements,  produced  ,^21,  and  those 
illustrating '  Oliver  Twist,'  £16  los.     Considering  that 

iiG 


all  these  were  first  proofs  in   unique  condition,  it  will 
be  seen  that  tlie  prices  were  by  no  means  excessive. 

On  the  first  day  were  sold  two  works  of  more  than 
usual  interest.  These  were  the  fine  and  finished 
water-colour  drawing  of  Tam  o'  Shanter,  1862,  which 
for  some  unaccountable  reason  was  never  published  ; 
it  realised  -£"30.  The  other  was  the  humorous  oil 
painting  of  the  famous  clown  Grimaldi  being  shaved 
by  a  girl,  1838,  which  sold  for  £18  los.  On  the 
second  day  very  much  better  prices  were  obtained. 
The  illustrations  to  '  Grimm's  Popular  German  Stories,' 
all  unique  undivided  first-proof  etchings,  changed 
hands  at  ^^37  los..  and  the  series  for  Harrison  Ains- 
worth's  '  Miser's  Daughter,'  executed  in  1842,  in  the 
very  prime  of  his  artistic  career,  ;^I90.  These  latter 
being  the  original  designs  fur  one  of  his  most  notable 
and  popular  achievements,  iipmi  which  he  must  have 
expended  a  very  large  anniuiU  of  time  and  painstaking 
labour,  must  be  regarded  as  one  of  the  most  desirable 
items  in  the  collection.  After  these  came  the 
Fairy  Library  Series,  which  were  knocked  down  for 
£18,  and  the  'Sketches  by  Boz "  for  ;/;i8.  It  will 
be  remarked  at  once  that  the  illustrations  for  Charles 
Dickens's  work  met  with  by  no  means  the  favour 
accorded  to  many  of  the  others,  and  this  is  easily 
accounted  for.  When  reading  Dickens's  works,  we 
mentally  picture  to  ourselves  certain  characters  and 
scenes,  and  turning,  perhaps  with  one  of  these 
visions  strongly  imprinted  on  our  minds,  to  Cruik- 
shank's  illustration  of  the  person  or  scene,  it  seems 
so  strangely  out  of  harmony  with  our  own  idea  that 
the  presentment  is  repulsive  rather  than  pleasing. 
This  might  occur  with  any  novelist  and  his  illustrator, 
but  Cruikshank  is  so  grotesque  that  all  sense  of  pathos 
is  lost  just  where  it  is  most  called  for.  There  are 
many  who  share  this  view,  we  know,  and  it  accounts 
in  a  measure  for  the  meagre  share  of  attention  bestowed 
upon  this  series.  The  highest  price  of  the  sale  was 
£180,  obtained  for  the  original  water-colour  drawings 
for  Maxwell's  '  History  of  the  Irish  Rebellion,'  1798, 
which  were  executed  in  1845.  Altogether,  the  sale 
was  unique,  and  was  quite  an  education  in  itself. 
Cruikshank  was  shown  at  his  very  best,  and  it  may  be 
confidently  assumed  that  such  a  collection  will  never 
be  brought  together  again. 

Of  quite  another  character  was  the  sale  held  at 
Christie's  on  May  26,  of  modern  etchings  and  engrav- 
ings, which  included  a  very  good  series  of  those 
least  successful  of  Samuel  Cousins'  work,  the  prints 
after  Sir  Joshua  Reynolds.  Considering  the  quality 
of  the  works  submitted  very  good  prices  prevailed. 
The  Cousins  after  Reynolds  were  all  artists'  proofs 
with  the  exception  of  Mrs.  Braddyll,  which  was  a  first 
state,  and  realized  £^y  i6s.  Miss  Bowles  sold  for 
£1^  13s.,  and  The  Strawberr}'  Girl  £iy  17s.,  and  the 
same  price  was  paid  for  Simplicity,  whilst  The  Age  of 
Innocence  was  valued  at  two  guineas  less.  The  prints 
by  the  same  engraver  after  Millais  and  Leighton 
were  not  received  with  an  etjual  degree  of  interest. 
Of  course  they  arc  after  early  works  of  both  masters, 
and  have  already  assumed  an  old-fashioned  look  which 
experienced  connoisseurs  know  full  well  bodes  ill  for 
their  endurance.  Yes,  after  Millais,  fetched  ;^i  i  is.  6d.; 
No,  £1  15s.;  and  Yes  or  No,  £4  14s.  6d.  Moretta, 
after  Leighton,  produced  £11    lis.     The  few  which 


wore  submitted  after  Lawrence  produced  about  their 
present  iiuirkot  value.  Lady  Grey  and  Children, 
l)rot)f  before  letters,  sold  for  £"69  6s.,  and  a  moderate 
proof  of  Lady  Dover  and  Son,  £iz  is.  6d.  The  re- 
mainder were  of  poor  quality,  and  realised  but  a  few 
pounds  each.  There  were  some  good  mezzotints  by 
the  best  contemporary  mezzotint  engravers,  after  the 
early  English  masters,  all  of  which  sold  fairly  well. 
Miranda,  after  Hoppner,  by  Scott  Bridgwater, 
;^"g  igs.  6d. ;  Lady  Hamilton  as  a  Bacchante,  after 
Komney,  by  T.  G.  Appleton,  £15  15s.;  and  Lady 
Ligonier,  after  Gainsborough,  by  J.  B.  Pratt,  £%  8s., 
were  amongst  the  best.  They  were  all  artists'  proofs 
in  good  condition.  Of  more  artistic  interest,  perhaps, 
tiuin  these  were  the  good  series  after  landscape  painters 
of  the  present  day.  A  Mountain  Stream,  after  Peter 
Ciraham,  by  J.  H.  Pratt,  produced  ;f8  8s. ;  Sundown, 
Aj  9s.;  Moorland  Quietude,  £\i  lis.  These  two  last 
named  were  signed.  Moorland  and  Mist,  ;f  14  14s. ; 
Crossing  the  Stream,  £i-j  17s.;  and  a  Rising  Tide  and 
Ocean  Surge  together,  £"io  los.,  were  amongst  the 
best.  All  were  artists' proofs.  Another  print.  Leaving 
the  Hills,  after  an  artist  who  is  somewhat  akin  to  Peter 
Graham  in  subject  and  achievement,  J.  Farcpiharson, 
by  Sedcote,  changed  hands  at  £8  8s.  But  far  in  excess 
of  any  other  master,  numerically  speaking,  were  the 
prints  after  Meissonier.  They  were  all  remirque 
proofs,  in  two  instances.  The  Sergeant's  Portrait,  by 
Jacquet,  and  1S07,  by  the  same,  being  signed  by  the 
painter.  These  produced  £10  los.  and  ;^I5  los.  re- 
spectively. The  remainder  were  all  in  verj-good  state, 
and  produced  about  average  prices.  1806,  by  Jacquet, 
/J52  los. ;  Partie  Perdue,  by  F.  Bracquemond,  £42; 
and  Generals  in  the  Snow,  by  E.  Boilvin,  £33  12s., 
were  the  best  figures  obtained.  Good  impressions 
'if  Meissonier's  original  etchings,  Signnr  Annibal 
and  the  Man  with  the  Sword,  soli  for  £iq  19s.  the 
two.  Amongst  the  most  interesting  remaining  lots 
were  some  good  modern  prints  after  the  old  masters, 
all  of  which  sold  very  well.  A  Dutch  Cavalier,  after 
Frans  Hals,  by  Arendzen,  fetched  £1^  3s.  6d.  The 
Night  Watch,  after  Rembrandt,  by  Waltner,  ;f  10  los., 
and  ^Larie  Louise  de  Fassis,  by  Laguillermie,  after 
\'andyck,  £11  os.  6d.,  and  Rembrandt,  in  a  cap  with 
feather,  after  himself,  by  W.  Unger,  £3  3s.,  were 
perhaps  the  most  desirable.     All  were  artists'  proofs. 

\  miscellaneous  collection  was  sold  by  .Sotheby's 
on  June  5.  Some  very  good  prints  were  included,  but 
the  bulk  was  of  but  secondary  interest.  The  Marquess 
ofGranby,  after  Sir  Joshua  Reynolds,  by  J.  Watson, 
a  proof  before  letters,  and  George  IV,  after  Reynolds 
also,  by  F.  Haward,  sold  for  £4  63. ;  and  the  portrait 
by  J.  Jones,  in  colours,  after  Wootton,  of  Trcgonwell 
l-'rampton,  the  Father  of  the  Turf,  ^4.  .\  very  in- 
teresting and  rare  print,  of  peculiar  interest  to  .-\meri- 
cans,  was  offered  in  Valentine  Green's  plate,  after 
J.  S.  Copley,  of  Henry  Laurens,  the  president  of  the 
American  Congress  in  1778,  sold  for  £15  los.,  and 
was  followed  immediately  by  an  open  letter  proof  of 
Lord  Nelson,  after  Sir  W.  Beechey,  by  Richard 
Earlom,  which  was  fairly  cheap  at  £7  5s.  A  small 
collection  of  mezzotints,  published  by  J.  Bowles,  etc., 
most  of  which  were  in  very  good  state,  attracted  but 
a  meagre  share  of  attention,  the  best  price  obtained 
being  the  £z   los.  given   for   Lofty   Riding   or    Miss 


THE     PRINT     SALES 

F(jlly's  Head  Exalted.  English  and  French  Postillions 
and  G'retna  Green  or  the  Red  Hot  Marriage  in  colours, 
together.  After  these  came  a  few  prints  after  Wheatley 
and  Moriand.  The  pair,  after  the  latter,  by  T.  Row- 
1  indson,  of  Duck  Shooting,  changed  hands  at  £2  14s., 
whilst  Credulity,  after  Wheatley,  by  Cardon,  with  two 
other  prints,  sold  for  £5  2s.  6d.,  and  Reflection,  by 
R.  Stainer,  after  the  same  mister,  £3.  A  pair  printed 
with  colours,  after  Singleton,  of  the  Country  Girl  and 
the  Cottagers,  were  about  their  value  at  ^^'8  ids.  But 
on  the  first  day  the  chief  interest  centred  in  a  few 
etchings  by  modern  masters,  which,  considering  their 
quality,  sold  very  well.  First  and  foremost  must  be 
placed  a  rather  good  impression  of  James  McNeill 
Whistler's  Limeburners,  at  the  very  fair  price  of 
£S  7s.  6d.  Still,  this  was  very  much  cheaper,  com- 
paratively speaking,  than  La  Ritameuse,  by  the  same 
master,  for  this  was  by  no  means  a  good  impression. 
The  plate  had  worn  considerably  and  unequally,  so 
that  nearly  all  the  evenness  and  delicacy  was  lost. 
Particularly  \vas  this  to  be  noticed  in  the  face,  which 
seemed  to  sink,  so  to  speak,  into  the  paper,  imparting 
an  altogether  undue  prominence  to  the  drapery,  and 
destroying  all  the  symmetry  of  the  composition.  Con- 
sidering these  deficiencies,  £1  15s.  must  be  considered 
a  good  price  for  it.  There  was  a  very  good  impression 
in  the  second  state  of  Charles  Meryon's  Tourella,  Rue 
de  la  Tixeranderie,  which  realized  3^5  7s.  6d.  Apart 
from  these  the  modern  etchings  had  little  interest, 
C.  J.  Watson's  beautiful  etching  of  the  Percy  Tomb, 
Beverley  Minster,  a  signed  artist's  proof,  very  evenly 
printed,  selling  for  53.,  and  The  Evening  Song,  by 
R.  Macbeth,  Portrait  of  a  Lady,  by  P.  Thomas,  and 
two  others  by  S.  Parrish,  all  signed  artists'  proofs, 
going  for  14s.,  whilst  the  insignificant  sum  of  one 
florin  was  given  for  two  fairly  good  prints  of  Sir  John 
Millais'  Young  Mother  and  The  Baby  House,  and  six 
others.  Immediately  following  came  a  few  fine  prints 
after  J.  M.  W.  Turner,  'the  Windmill  and  Lock,  by 
Lupton,  and  A  Farm  Yard,  by  Charles  Turner,  bril- 
liant impressions,  sold  foriis.;  a  finecopy  of  Pomburv 
Mill,  by  Lupton,  7s.;  and  .\  Watermill,  by  R.  Dunker- 
ton,  Jason,  by  Charles  Turner,  and  another,  together, 
15s.  The  prices  scarcely  need  comment.  To  the 
really  intelligent  connoisseur,  who  places  art  before 
fashion,  they  are  more  than  sulicient  evidence  of  the 
decadence  in  taste  which  has  made  such  headway  in 
the  last  ten  years.  On  the  first  day  were  included 
some  very  desirable  impressions  of  David  Lucas's  prints, 
after  Constable,  and  they  all  realized  full  mirket  price. 
A  Summer  Evening,  £5  5s.:  Stoke,  by  NavlanJ, 
£8ios. ;  The  Sand  Pits,  Hampstead  Heath,  £"655., 
were  the  figures  obtained,  whilst  30s.  was  by  no 
means  an  extravagant  sum  for  a  good  proof  before 
letters  of  S.  W.  Reynolds's  mezzotint  of  Chelsea 
Reach,  after  Girton. 

Included  in  this  sale  also  were  some  examples  of 
those  fine  line  engravers  Raphael  Morghen  and  Des- 
noyers.  The  Virgin  and  Child  with  the  infant  Saint 
John,  after  Raphael,  by  Desnoyers,  proof  with  the 
lower  inscription  in  etched  letters,  together  with  La 
Belle  Jardiniere  in  print  state,  also  after  Raphael, 
produced  only  £1  12s.,  while  those  by  Raphael  .Mor- 
ghen, although  in  very  desirable  state  and  in  the  best 
of  condition,   realized    but   a  few  shillings  each,  the 

"7 


THE     BURLINGTON     GAZETTE 


highest  price  being  12s.  for  his  Portrait  of  Napoleon 
after  Tofanelli.  Following  these  was  a  good  series, 
twenty-three  in  number,  of  the  frescoes  at  Parma 
after  Correggio,  signed  proofs  before  letters  which  were 
knocked  down  for  £(>  5s.  The  only  other  items  in 
the  sale  worthy  of  note  were  a  fairly  passable  pair 
after  George  Morland  of  The  Return  from  Market, 
by  J.  R.  Smith,  and  Stable  Amusement,  by  \V.  Ward, 
which  sold  for  £%  15. 

On  June  g  a  sale  was  held  at  Christie's  of  mezzo- 
tint portraits  after  the  early  English  masters  and 
subjects  after  Morland,  Wheatley,  Ward,  together 
with  some  proofs  by  David  Lucas  after  Constable. 
Taking  them  as  a  whole  they  were  a  very  mediocre 
collection,  a  striking  contrast  to  some  of  the  sales 
which  we  have  chronicled  during  the  past  two  months. 
Notwithstanding  this  very  high  prices  prevailed,  and 
whenever  a  really  good  specimen  came  up  its  merits 
were  considerably  enhanced  by  comparison  with  its 
predecessors ;  this  gave  it  an  undue  prominence,  and 
accounts  for  many  of  the  prices  obtained.  Sir  Joshua 
Reynolds  was  again  the  victor,  £409  los.  being  given 
for  a  good  impression  with  untrimmed  margins  of 
Dickinson's  Mrs.  Pelham  Feeding  Chickens.  Still,  he 
was  run  very  close  for  first  place  by  George  Romney, 
after  whom  a  first  published  state  with  original  mar- 
gin. Lady  Hamilton  as  Nature  by  H.  Meyer,  sold  for 
^^"404  5s.  Some  other  high  prices  were  obtained  for 
his  works:  a  first  state  of  Mrs.  North  by  J.  R.  Smith 
changed  hands  at  ;^iio  5s.,  a  second  state  with  uncut 
margins  of  Miss  Cumberland  by  the  same  engraver, 
£■122  17s.,  and  Mrs.  Robinson,  £115  los.  One  of  the 
cheapest  prints,  however,  was  an  impression  of  the 
Clavering  Children  by  J.  R.  Smith  before  the  alteration 
of  the  address,  which  was  knocked  down  for  £^y  i6s. 
After  the  prints  after  Sir  Joshua,  a  proof  before  letters 
of  Viscountess  Spencer  and  Her  Daughter  by  J.  Watson 
fetched  £77  14s.,  a  first  state  of  the  Duchess  of  Buc- 
cleuch  and  Child  by  the  same  engraver,  £4g  7s.,  a 
second  state  of  the  Duchess  of  Rutland  by  Valentine 
Green,  £126,  a  second  state  of  Viscountess  Crosbie 
by  W.  Dickinson,  £88  4s.,  and  a  second  state  from  the 
Earl  of  Bessborough's  collection  of  Lady  Bamfylde, 
£j;^  los.  A  very  poor  second  state  of  Lady  Betty 
Delme  and  Children  by  Valentine  Green  was  decidedly 
dear  at  ^^54  12s.  Many  of  the  remaining  prints  fetched 
prices  more  commensurate  with  their  quality.  A 
miserably  bad  impression  of  Lady  Hamilton  as  a 
Bacchante  by  J.  R.  Smith  was  dear  at  £46  4s.,  and 
the  same  remark  applies  to  the  second  state  of 
Miss  Meyer  as  Hebe  by  J.  Jacobi.  However,  perhaps 
some  of  the  best  prints  in  this  section  were  the  men 
portraits.  A  very  desirable  impression  of  Edmund 
Burke  by  J.  Watson  in  the  first  state  sold  well,  when 
current  fashion  is  taken  into  account,  at  £6^  ;  but,  on 
the  other  hand,  J.  Watts's  fine  print  of  Joseph  Baretti 
was  considerably  below  its  value  at  £2  15s.  The 
engravings  after  Hoppner  again  sold  well.  The 
portrait  of  Lady  Louisa  Manners  by  Charles  Turner 
in  the  first  state  with  the  early  publication  line,  but 
still  not  well  and  evenly  printed,  sold  for  ;jri26,  and 
Lady  Mildmay  in  the  same  state  as  the  preceding  by 
W.  Say,  £152  5s.,  whilst  other  good  prices  were 
Countess  Cholmondeley  and  Son  by  Charles  Turner  in 
the  first  state,  £94  los.,  the  Countess  of  Mexborough 

118 


by  W.  Ward,  first  state  with  the  title  in  etched  letters, 
£99  15s.,  and  a  first  state  by  the  same  engraver  of 
Mrs.  Michael  Angelo  Taylor  as  Miranda,  £84.  The 
next  few  lots  were  of  interest  to  Nelson  collectors, 
for  they  included  the  great  admiral  on  board  the 
Victory  by  W.  Barnard  after  L.  F.  Abbot,  £"14  3s.  6d., 
the  same  on  the  seashore  by  the  same  engraver  after 
the  same  painter,  £y  17s.  6d.,  a  first  state  after  Sir 
W.  Beechey  by  E.  Bell,  £4  4s.,  an  engraver's  proof 
after  Abbot  by  Syer,  £^  5s.,  and  Hodgett's  print  after 
Beechey,  £1  15s.  The  prints  after  Morland  were  of 
very  unequal  quality,  and  except  in  very  few  instances 
they  were  of  not  very  desirable  state.  The  best  per- 
haps were  a  proof  before  letters  of  Stable  Conversa- 
tion by  W.  Ward,  which  realized  £48  6s.,  a  proof  of 
Contemplation  by  the  same,  £45  js.,  and  a  nice  pair 
of  the  First  of  September — Morning,  and  F~irst  of 
September — Evening,  by  W.  Ward,  of  which  the  first 
named  was  a  proof,  £29  8s.  A  very  cheap  lot  was  a 
nice  proof  impression  of  J.  R.  Smith's  Rabbits,  which 
sold  for  £y  17s.  6d.  The  prints  after  Lawrence  by 
Cousins  were  again  in  evidence,  but  on  the  whole  they 
were  by  no  means  good.  That  very  unequal  plate  of 
Master  Lambton  was  represented  by  a  print  of  poor 
impression,  and,  moreover,  had  the  appearance  of 
having  suffered  acutely  from  a  not  too  careful  clean- 
ing. Under  these  circumstances,  £21  was  much  more 
than  it  was  worth  ;  it  was  no  better  than  the  Miss 
Macdonald,  which  still  was  dear  at  £8  i8s.  6d. 

Much  better  than  these,  but  here  again  of  by  no 
means  the  first  order,  was  a  first  published  state  of 
Miss  Croker,  which  fetched  £54  12s.,  and  Miss  Peel 
in  the  same  state,  only  signed  by  the  engraver,  knocked 
down  for  £yi  8s.  ;  of  the  remaining  works  by  Cousins, 
the  only  one  worthy  of  mention  was  a  proof  of 
Mrs.  Braddyll  after  Sir  Joshua  Reynolds,  which  came 
from  the  celebrated  Blythe  collection,  and  changed 
hands  at  £yy  14s.  There  were  a  few  fine  examples 
again  of  David  Lucas  after  Constable.  An  engraver's 
proof,  before  the  reaper,  of  Salisbury  Cathedral — the 
large  plate — secured  the  top  price  of  £58  i6s.,but  it  was 
run  close  by  a  first  state  of  the  Young  Waltonians  at 
^^50  8s.  A  proof  before  any  letters  of  the  smaller 
Salisbury  Cathedral  was  not  dear  at  ^^5  15s.  6d.  An 
interesting  item  was  a  series  of  the  English  landscape 
open  letter  proofs,  each  initialled  by  the  painter,  which 
could  not  by  any  means  be  considered  dear  at  £24  3s. 
Of  the  remaining  prints  the  most  interesting  were  a 
first  state  with  etched  letters  of  The  Fruit  Barrow,  by 
J.  R.Smith  after  H.Walton, which  realized  ;f  1 17  i2s.6d., 
and  a  ivice  impression  with  full  margin  of  Mrs.  Mills,  by 
the  same  engraver  after  Englcheart,  £bo  i8s. 

MANUSCRIPT  SALES 

Messrs.  Sotheby's  sales  have  included  several  illu- 
minated manuscripts,  the  most  noteworthy  of  which 
were  on  June  17: — 98.  A  Horae,  248  ff.  of  fine  vellum, 
which  formerly  belonged  to  Mr.  Ruskin.  Unfortu- 
nately, most  of  the  leaves  with  large  miniatures  want- 
ing, two  only  being  left  intact ;  Saints  Peter  and  Paul 
standing  side  by  side  in  front  of  a  tree ;  and  a  Tree  of 
Jesse  ;  from  the  side  of  the  patriarch  who  is  lying  on 
a  couch  covered  with  lilac  drapery  springs  the  tree, 
the  branches  of  which  encircle  seven  figures  of  kings 
playing   musical  instruments,   while   the    main    stem 


siipi)()ils  a  fiill-lcnj,'tli  fi-ure  .if  llic  Hlossi-d  Xiij^iii  ami 
Chilli.  The  |)ages  of  the  i<aieiuiar  are  adorned  at  the 
foot  witli  the  sij,Mis  of  the  zodiac  and  ligiires  represent- 
in;,'  the  occupations  of  the  month  in  quadrifoliated 
panels.  The  text  is  surrounded  by  elaborate  bor- 
ders of  foliage  with  animals,  monsters,  and  dr<jlleries. 
An  initial  with  a  half-  length  tigtn-e,  on  the  same 
page  as  the  Tree  of  Jesse,  is  remarkably  fine.  This 
interesting  specimen  of  French  fifteenth  -  century 
work  was  sold  for  £198.  9.S.  A  French  Horae  of 
early  sixteenth  century,  176  ff.  with  11  miniatures  and 
borders  of  flowers,  in  its  original  binding,  adorned 
with  two  panel  stamps  gilt  the  uiiOHMPrOKis  Mvni 
AKMA  and  Saint  Miciiacl,  and  with  a  border  of  inter- 
laced strap-work  with  foliage  in  the  open  spaces; 
/■j(j.  c}(j.  A  French  Horae  of  early  fifteentli  century, 
.206  ff.,  with  12  miniatures  surrounded  by  t)i>rilers  of 
llowers  in  gold  and  colours  :   imperfect,  £"57. 

June  18. — 121.  Horae,  jtSiS  ff.,  with  24  small 
miniatures  by  a  Hainault  artist,  fifteenth  century, 
imperfect,  £4  17s.  6d.  122.  Manuale,  1.55  ff.,  with  12 
large  miniatures  and  17  borders  with  fiowers,  birds, 
fruit,  and  scroll-work,  Flemish,  fifteenth  century,  £l). 
12.5.  Horae,  114  ff.,  with  4  large  initials  in  gold  and 
colours,  Dutch,  fifteenth  century,  £^. 

June  19. — 41  j.  Biblia,  thirteenth  century,  443  ff. 
of  thin  vellum  minutely  written,  50  lines  to  the  page, 
in  a  binding  of  fifteenth  century,  stampeti  with  quatre- 
foils  and  roses,  £"ij.  414.  Horae  of  Paris  use,  i4Sff., 
with  20  large  and  54  small  miniatures;  early  sixteenth 
century;  inferior  work,  but  in  good  preservation,  £45. 
513.  Horae  for  the  use  of  a  Franciscan,  193  ff.,  with 
10  storied  initials,  Florentine,  fifteenth  century;  the 
iiinding  adorned  with  gilt  tooling,  designed  by  Sydney 
\'acher,  £4  5s.  51  ^.  A  Dominican  Psalter,  206  ff.,  with 
11)  storied  initials.  North  Italian,  1475,  £4  4s.  552. 
Horae,  ii.Sff.,  lieautifuUy  written;  with  a  kalendar 
adorned  with  borders  of  flowers  on  a  ground  of  brush 
gold,  the  signs  of  the  zodiac  and  occupations  of  the 
month;  8 large  miniaturesand storied bordersof unusual 
design  and  28  small  miniatures  in  the  text ;  the  work 
of  a  blemish  miniaturist,  e.xecutcd  for  a  resident  in 
the  diocese  of  Utrecht,  early  sixteenth  century.  The 
larger  miniatures  represent :  i.  The  Saviour  of  the 
world,  half  length,  in  a  purple  robe.  2.  The  C'riici- 
fixion  ;  the  Procession  to  Calvary  on  the  border  of  the 
opposite  page.  3.  Pentecost  ;  border  of  t!ie  opposite 
page,  men  hunting  and  angling  ;  a  youth  |)la)ing  tlie 
lute  and  a  maiden  with  a  unicorn.  4.  The  Blessed 
\irgin  seated  with  the  Child  Jesus  on  her  hi])  holding 
a  music  book  open,  three  angels  kneeling  singing  from 
it ;  border  of  the  opposite  page,  a  princess  in  a  cano- 
pied vehicle  accompanied  by  gentlemen  and  ladies  on 
horseback  approaching  the  gate  of  a  town.  5.  The 
Tree  of  Jesse  ;  at  the  foot,  the  Annunciation  ;  opposite 
border,  a  tournament.  6.  The  Coronation  of  the 
Jjlessed  Virgin;  opposite  border,  a  stag  hunt.  7.  The 
Last  Judgement ;  opposite  border,  scenes  from  the  life 
of  David.  8.  The  raising  of  Lazarus;  opposite  border, 
three  cavaliers  pursued  by  three  figures  of  Death.  The 
miniatures  themselves  are  surrounded  by  b(jrders  of 
natural  fiowers  on  a  groimd  of  brush  gold.  A  later 
hand  has  added  a  miniature  of  Saint  Bridget  of  Sweden, 
and  some  Brigittine  prayers.  Stamped  black  morocco 
binding  in  the  Italian  style,  £"201. 


BOOK     SALES 

June  2o.^SiS.  A  monastic  Psdt.r,  with  litanies, 
etc.,  187  ff.  (lojin.  by  7}  in.),  the  text  adorned  with 
7  storied  and  numerous  ornamental  initials  in  bur- 
nished gold  and  colours,  preceded  by  13  full-page 
miniatures  on  a  ground  of  burnished  gold,  represent- 
ing ten  scenes  from  the  Life  of  Christ,  Pentecost,  the 
Holy  Trinity  with  the  evangelistic  animals  (the  head 
and  feet  of  the  Eternal  Father  obliterated),  and  the 
Coronation  of  Our  Lady.  This  important  specimen 
of  English  Benedictine  work  of  the  early  portion  of  the 
thirteenth  century  fetched  £>i>M.  S19.  A  Dominican 
choral  book,  with  the  Common  of  Saints,  Italian, 
c.  1500,  ;(;2o  5s. 

BOOKS.      May  22  to  June  20 

'  No  important  private  collection  was  dispersed  in 
Lontiori  during  the  period  under  review.'  The  open- 
ing remark  on  the  book  sales,  May  1-21,  is  again 
applicable.  From  the  book  collectors' point  of  view 
we  cannot  regard  as  important,  for  instance,  the  por- 
tion of  the  library  of  '  An  eminent  divine,  recently 
deceased' — no  other  than  Dr.  Farrar  —  sold  on 
May  26  by  Messrs.  Hodgson  ;  the  remaining  portion 
of  the  library  of  Mr.  H.  Sidney,  the  189  lots  of  which 
fetched  ^^1,023  8s.,  at  Sotheby's  on  May  26;  the 
695  lots  of  books  comprising  the  collection  of  '  A 
gentleman  living  in  Yorkshire,'  which  on  Jime  lo-ii 
brought  ;ri,48i  14s.,  in  Wellington  Street;  or  the 
library  of  Mr.  Robert  Steele,  assistant  secretary  of  the 
Chemical  Societj-,  known  as  a  student  and  translator, 
the  609  lots  of  which  brought  about  ^^750  at  Hodgson's 
on  June  15-16.  The  highest  total  for  an  assem- 
blage of  books,  etc.,  detailed  in  a  single  catalogue,  is 
£8,523  15s.  6d.  for  the  892  lots  from  various  sources 
included  in  Messrs.  Sotheby's  three  days'  sale,  June 
18-20.  Again  it  is  necessary  to  repeat  that  in  the 
case  of  anonymous  sales  it  is  not  always  easy  to  say 
when  reserve  prices  are  reached. 

Apart  from  the  items  in  the  six  tabular  statements 
many  of  interest  have  occurred,  of  course,  but  pres- 
sure of  space  precludes  mention  of  any  of  these. 

Table  No.  I.— SETS  OF  PRINTED  BOOKS 

1.  Doves  Press.     Set  of  five  Works  so  far  issued.     .\ll         ',      '     <l. 

primed  on  vellum.  .^KSf^Kate  publishetl  price 
32gns.  See  Burlinoton  Gazettk,  April,  p.  20. 
June  20  (612}        ijo     o     o 

2.  Uoves   Press.     A  similar  set  but  printed  on    paper. 

Aggregate  iisue  price.  ;f 7  OS.  6d.     June  20  (6i  j)     ..       21    10     o 
J.  Bannatyne  Club  Publications.     176  vols.,  mostly  orig. 
half  morocco  and  cloth  binding,  1S2J-67.     Earl  of 
Northesk,  June  5  (109O)  101     o     o 

4.  Marryat.Capt.     Various  Works.     E.P.    76  vols.,  half 

blue  morocco.    June  17  (^g) 51     o    o 

5.  Ainsworth,  W.  Harrison.     V.-irious  Works.     30  lots. 

mostly  in  first  elition,  many  with  inscriptions  by 

the  author.     Ainsworth,  June  17  (161 -90J    ..  ..       32     t     o 

6.  Keade,  Chas.    Novels,  etc.     K.P.    42  vols.    Half  olive 

morocco.     1853-87.     June  17  (55) 3010     o 

7.  Burton,  Sir  K.  V.     Arabian  Nights,   1885-6.     L-icks 

vol.  .[  of  "Supplemental  Nights'     16  vols.     Cloth. 

June  iS  (102)        2fj     o     o 

8.  Stevenson.   K.I-.      Works.      Edinburgh  edition.      25 

vols.  only.     iSy.|-8.     June  iS  (145) 25  10     o 

9.  Hibliographic-il  Society's    Publications.       1893-1903. 

Steele,  June  15  (2.15  7)    (")     v  ••    -     ••  ..        11     5     o 

10.  Kipling.    Uudyard.      Works.      Edition  de  luxe.       21 

vols.     Orig.  binding.      1897- 1901.      PuUI.   10)  gns. 

In  igoo  20  vols,  fetched  Cu).     Sidney.  May   26  (70)       10  10     o 

11.  Type   Facsimile  Society  s    Publications.      Collotype 

reproductions  of  early  types      Limited  to  50  copies. 

Steele.  June  131-35)  1")  ••  ••  ••  ••         0  15     o 

H9 


THE     BURLINGTON     GAZETTE 

Nos.  I  and  2  were  sold  as  sets,  and  the  realized 
prices  compare  with  £194  los.  and  £28  os.  6d.  for 
similar  series  disposed  of  book  by  book  on  March  21 — 
taking  the  highest  prices  when  more  than  one  copy 
then  occurred,  that  is  to  say. 

The  following  are  among  the  few  important  illus- 
trated or  grangerised  works  which  have  been  offered 
during  the  month. 

Table  No.  11.— ILLUSTRATED   OR    GRANGERISED 
WORKS 

1.  Granger,  J.,  and  Noble,  M.     Biographical  History  of        I     s.    d. 

England.  The  7  vols,  extended  to  31  by  the  inser- 
tion of  about  4,480  mezzotint  and  other  portraits. 
Green  morocco.     June  iS  (235)  iSG     o     0 

2.  Gray,  Tho3.     Posms  and  Memoir.     1775,  etc.    lUus- 

tra'ted  with  150  portraits  of  the  poet,  etc.  Red  mo- 
rocco by  Lewis.  From  George  Daniel's  library,  1864, 
/40.     June  17  (97)  105     o     o 

3.  Lilford,  Lord.    Birds  of  the  British  Islands.    2nd  edtn. 

7  vols.  Olive  morocco  by  Riviere.  1896-7.  York- 
shire gentleman,  June  10  (321) 65     o     o 

The  Psalter,  brief  details  of  which  are  given  on 
the  next  table,  is  one  of  the  most  noteworthy  examples 
of  its -period  sold  for  some  time. 

Table  No.  III. -DECORATIVE    MSS. 

1.  Psalter.    On  187  leaves  of  vellum,  loH^y  7j  in.    Eng-        £     =     d 

lish  gothic  letters.  13  full-page  painted  and  illumi- 
nated miniatures,  Anglo-Saxon  in  character,  said  to 
be  earlier  than  the  text.  Seven  large  figure.d  initial 
miniatures,  with  marginil  decorations.  English, 
13th  century.  .\  fine  MS.  ;  one  of  the  '  bargains  ' 
of  the  month.     June  20  (818) 820     o     o 

2.  Horae.    On  188  leaves  of  fine  vellum.    Gothic  charac- 

ters.    8  fuli-page  miniatures,  28  smaller  miniatures. 

15th  century.     June  19  (552 201     0     0 

j.  Horae.  On  248  leaves  of  fine  vellum.  Gothic  charac- 
ters. 24  small  ani  2  half-pa.ge  miniatures.  15th 
century.  Formerly  in  Ruskin's  library,  contains 
his  ex-libris.     June' 17  (98)        19S     o     0 

The  Keats  letters,  etc.,  No.  i  on  the  next  table,  were 
catalogued  separately,  and  would  have  been  so  sold 
had  not  the  reserve  been  reached.  An  expert  had  in 
advance  set  a  maximum  value  of  £700  upon  the  series, 
so  that  the  realized  price  exceeded  this  by  50  per  cent. 

Table   No.  V.— PRINTED 

Printer, 
Publisher,       Date. 

OR    i  LACE.  D. 


Shakespeare,  W.  First  Folio.  I2jby 
7f  in.  Crimson  morocco  extra  by 
Bedford.     (493)  (') 


Table  IV.— ORIGINAL    MSS.,   LETTERS,  &c. 

I 

1.  Keats.   J.      26  auto,  letters.  1817-19  ;  9  to  Benjamin 

Bailey.  7  to  John  Taylor,  3  to  Taylor  &  Hessey,  310 
James  Rice,  i  each  to  J.  A.  Hessey.  Richard  Wood- 
house,  Miss  Reynolds,  and.  in  the  name  of  Taylor, 
'to  any  friends  who  may  call '  ;  unpublished  poem 
beginning,  '  O,  that  a  week  could  be  an  age,  and  me,' 
Orig.  MS.  of  '  Songs  01  Four  Faires.'  and  sketch  of 
Ixeats'  familv  in  writing  of  John  Taylor.  June  9 
(532-60)     .."        1070 

2.  Pope,  Alex.     iS  auto,  letters  to   Lady   Mary  Wortley 

Montagu,  and  one  to  her  husband,  Edward  Wortley 
Montagu.  In  all  63  pp.  4to  ,  and  8  pp.  Svo.  i  vol. 
Brown  morocco  by  Riviere  Lord  Harrowby, 
June  20  (704)        ..250 

3.  Elizabethan  Commonplace  Book.     232  pp.  Svo.    First 

entry  date  I   1570.      Contains  unknown   reading  of 
'  Come  live  with  me  and  be  my  love.'     Book  appears 
to  have  belonged   formerly  to  John  Thornborough, 
Dein  of  York  and  afterwards   Bishop  of  Limerick,  ' 
who  in   1575  was  chaplain   10  Henry  Herbert,  Earl 
of  Pembroke.     June  19  (525)    ..  ..  ..  ..      192 

4  Thackeray.  W.  M.  12  lines,  '  Written  in  Solitude.' 
two  sketches  anJ  a  vignette  by  him  in  Charles 
Tennyson's  •  Sonnets,'  1830.  (Sold  on  April  30, 
1902,  Hodgson's,  /300.)  See  *  '  Book  Sales  of  1902,' 
p.  i6.  No.  6.     June  17  (71)        ..  ..  ..  ..      14° 

5.  Byron,    Lord.       5    auto,    letters    to    Mr.    Cawthorn. 

1810-14.     June  9  (355-9)  53 

6.  Lamb,    C.       Characteristic    auto,    letter   to    Robert 

Southey,  August  10,  1825.     June  9  (524)       ..  ..        43 

7.  Byron,  Lord.   Auto,  letter  to  R.  B.  Hoppner,  Consul- 

General  at  Venice,  dated  Ravenna,  April  3,  1821. 
Portion  only  printed.     June  9  (531)    ..  ..  ••       39 

8.  Wordsworth,  W.     Pocket  note-book  used  while  com- 

posing 'Ecclesiastical  Sonnets.'  38pp.,  8vo.,  with 
some  variations  from  printed  text.     June  g  (491)    ..       26 

9.  Logan,  Sir   W.,  King  James's  Garter  King  of  Arms. 

Auto  copy,  signed,  of  the  Roll  relating  to  the  royal 
procession  of  March  15.  1:03.     June  8  (256)  ..       24 

10.  Herbert,   W.,  third  Earl  of  Pembroke.      Auto,  letter 

to  his  cousin.  Sir  Lionel  Talmash,  dated  '  Court  at 
Wood.tock.  tnis  26th  of  August.  1619.'  Writer 
deemed  for  long  to  be  the  'Mr.  W.  H.'  to  whom 
Shakespeare  dedicated  his  Sonnets.     June  8  (247). .        24 

11.  Ainsworlh.  W.  Harrison.    Portions  of  orig.  MSS.  of 

six  wjrks,  in  all  i.|03  leaves.  Ainiworth.  June  17 
(194-9) 23 

12.  Harte.  Bret.    Orig.  autograph,  signed,  of 'Sally  Dous.' 

yi  leaves.    Jun;  20  (820)  21 

BOOKS,    £50    OR    MORE 

Library  ' 

OR  Price.I  Notes. 

TE  OF  Sale. 


7     6 
o    o 


Alexander  de  Villa   Dei.      Doctrinale.      Pynson 
4to..  104  11..  75  by  5J  in.    Fly-leaves 
consist    of    ij   leaves  of    Caxton's  I 
'  English  Chronicles.'    anded.   1484. 
Orig.  oaken  boards,  leather  stamped  1 
in  diagonal  lines,  end  cover  broken. 
(191)  ' 


Nov.  13, 
1492 


Appleby 

Grammar 

School 

(June  IS) 


Lee  Census  No.  LXXX.  Mistakenly  said  to  liave  several 
leaves  in  facsimile.  Acquired,  c.  iSSo,  by  Myles  Birket 
Foster,  the  iandscapist,  at  wtiose  sale  in  1894  it  made 
^255.  A  second  copy,  Census  LXXXVI,  from  another 
source  {Lot  564),  12^„  by  8  in.,  many  leaves  in  facsimile, 
portrait  from  second  citn.,  sold  011  June  19  for  £150. 
See  The  Burlin(,ton  Gazette,  Ai  ril,  p.  z:.  No.  2. 

Hitherto  unknown  d.iw.\  book  .-f  I'yr.MHi.  .kxm.d  uniquu. 
BequLMlh.  .1  1-  lii'    \i.i.i.-l.>  ''.<  mil.;.. I   s   ;i  -l  !■'   Ki     "m1<I 


Littleton's  '  1  enures,'  c.  1.19a,  Choimlcy,  190;. 
was  bouglit  of  Kllis  In  1E67  lor  £5;  'Dives  ci 
1493,  Hope  Edwardes,  1901,  £100.  In  'Hand 
l-.iiBlish  iTinters'  (Bibliographical  Society)  the  1 
Is  entered  under  1498.    Of  the  '  Textus  .ilexandri 


er  1490.    yji 


•  •  ThrBook  Sales  of  1902  with  Tabulated  Prices,'  The  Savile  Publishing  Company,  Ltd.,  2s  Important  duplicate  copies  mentioned 
in  notes  E  P  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets,  (h)  Sold  by  Hodgson,  (i-)  by  Puttick,  all  others  by 
Sotheby.     (')  Slightly  defective.     (')  Defective.     (»)  Sold  with  all  faults.     "  "    "        "  ^—- 


.P.  Record  Price. 


BOOK     SALES 


Adthor  or  Translator,  Title, 
Description. 


morocco  by  Pratt.     (468)  C) 


Rook  of  Common  Praver. 
calf.     (486)  e) 


5.  Shakespeare.    W.     Rape   of    Lucrece. 
lOmo.     L'nbound.     (574) 


Defoe.  D  Robin-  ,  E.P.  2  vols.  8vo. 
son  Crusoe  I       Green  morocco 

The  Farther  \d-  j'  estra  by  Riv- 
ventures  '       iere.     (568) 

Milton,  J.  Of  Education.  Areopagitica. 
and  nine  other  Tracts  in  first  edition  ; 
Doctrine  and  Discipline  of  Divorce 
in  second  edition.  4to.,  7J  by  5.J  in. 
Some  uncut  leaves.    Orig.calf.    (203) 

Shakespeare.  Second  Folio.  i2|  by 
8^  in.     Modern  morocco.     (823) 

Chaucer.  Works  Folio.  Sheets  un- 
cut and  untrimmed.  Doves  white 
pigskin.  Morris  design.     (167) 

Shakespeare,  W.  Fourth  Folio,  14J 
by8iin.  Uncut.  Red  morocco  ex- 
tra by  Riviere.     (603) 

Goldsmith,  O.  The  Vicar  of  Wake- 
field. E.P.  2  vols.  i2mo.,  6i  by 
3jin.     Orig.calf.     (143) 

Shakespeare,  W.  Third  Folio,  13  by 
8}  in.     Red  morocco  e.xtra.    (495)  (■■) 

Milton,  J.  Poems.  E  P.  8vo  .  6J  by 
3^  in.  Blue  morocco  by  Riviere 
(880) 


14.  Milton,  I.     Paradise  Lost.     E.P.    (4th 

issue  ?)     First  title-page.     410      Old 
sheepskin,  worn.     (192) 

15.  Lodge.  T.     A  Fig   for   Momus.     E.P. 

4to..  7  by  5jin.    Red  morocco.   (790) 


lO.  Bastard,    Thos.      Chrestoleros.      E.P. 
8vo.     Old  calf.     (735) 


Printer, 
Publisher, 
OR  Place. 


.  van  Me- 
eren,  .Ant-' 
,verp  ? ) 


Old     Richard  Jugge 
and 
John  Cawocxl 


W.  Tavlor  . . 


T.  Cotes  for 

R.  Allot 

Kelmscott 

Press 

Merringman, 


Date. 

Libra 

OR 

Date  of 

Sale. 

Price 

Oct.  4. 
•535 

June  19 

£ 
185 

1559 

June  19 

.70 

1624 

June  19 

130 

1719 

June  19 

120 

1641-73     June  iS 


1632 
1S96 


June  17(H).. 


Sidney,  (May 
26) 


B    Collins, 

1766 

June  iS 

Salisbury,  for 

F.  Newbery 

For  P. 

1664 

June  19 

C(hetwynde) 

Ruth  Raworth 

1O45 

Maitland 

for  Humphrey 

(June  20) 

Moseley 

S.  Simmons 

1667 

June  18 

for    Peter 

Parker 

For  Clement 

■595 

June  20 

Knight 

R.    Bradocke 
for  J.B. 


17.  Greene.  Thos.     A  Poet's  Vision.     E.P.      For  VV.  Leake 
4to.,7by5lin     Title-page  and  roll. 
Calf.     (743)  I 


iS.  Montaigne.     Essays.     E.P.  in  English.      V.    Sims    for 
Trans,    by    Florio.      Folio.     Green         E.  Blount 
morocco  extra  by  Lloyd.     (460) 

♦■■The  Book  Sales  of  1902  with  Tabulated  Prices," 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after 
Sotheby.     (')  Slightly  defective.     (=}  Defective.     (»)  Sold  w 


1603        Ju 


itil,: 


in    r^cilinllc  (|>orbap> 


>  M  .»nd  co-operjlioii.    Five  c 

1:  :    lurln)!  hU  IKciliiic,  r..-sp«llvi!ly  In 

ij'M     .^.,-  iu.,.  .iiid   i6i6.    The  present  U  llie  6lh 

cdui.     Bmal.j.  ibij,;(;9.     E.H,  .594 :  U^nlel.  i8<m. 'bne,- 
brown   morocco    by    Lewis,    150  gns.;     Laltelands,   1891, 
morocco  by  Bedford,  ^^250. 
OrlK.  advertisements  bound  up  at  end  of  each  volnme.    Sec 
The  Burlington  Gazette,  June,  p.  So,  No.  6. 


conumiiorjry  baud,  unwashed  copy,  morocco  by  Klvicre, 

The  line  Orford  copy,  13)  by  9} in.,  orig.  calf,  mailu  f 540  in 
1895.    See  iHf.  Burlington  Gazetth,  June,  p.  So,  No  1. 

Ordinary  copies,  as  issued  in  orlg.  boards,  have  sold  during 
the  month  undt;r  notice  for  £71,  jCff'i,  and  £6i. 


Portrait  from  Fourth  Folio.  See  The  Burlingtgs  Gazette, 
June,  p.  80,  No.  s. 

Brilliant  impression  of  portrait,  title  slightly  short,  some  of 
pagination  figures  slightly  shaved.  K.P.  B.ndley,  1S19, 
jC2  los.;  Daniel,  1864,  blue  morocco,  ;£}  15s.;  Hawley, 
1894,  John  Evelyn  s  copy,  6  by  3}  in.,  old  calt,  from  Currer 
library,  ^63;  1898,  6  by  iila.,  orlg.  sheep.  ISo;  ' 

by  3J  in.,  morocco  by  Kiviere,  jCHy    '"      '  "     ' 
igo2,^  p.  22,  No.  86. 

Has  first  t.p.,  but  with  the  preliminary  leaves  of  Arguments 
and  Err.ita.    Original  error  in  th«  line-numbering  at  end 


■  See  ■  Book  Sales  of 


of  Book  3  corrected.  1903,  May  20,  exceptionally  fine 
copy,  first  edtn.  throughout.  jCm.  R.P.  See  The  Bur- 
LlSGTos  Gazette,  June,  p.  80.  No.  5. 

Si  Jollcy's  copy,  with  his  ei-libris,  which  at  the  dispersal  of  his 
library.  1844,  made  £7  los.  Seldom  occurs  at  auction. 
Lakelands,  1891,  half  morocco,  10  gns.  In  his  words 
•To  the  Rt^ader'  Lodge  complained  iJiat  he  had  been  un- 
justly taxed  with  plagiarism— this  anent  'tiUucus  and 
Scilla,'  widch  Is  in  the  Siimc  metre  as  Shakespeare's  -Venus 
and  Adonis.'  'A  Fig  for  Momus'  was  reprinted  at  the 
Auchlnleck  Press,  1817. 

76  Prob.  K.P.  Steevens,  1800,  £2  3s.:  Bindley,  1818.  'scare-.' 
I4igns.;  White  Knights,  1819,  'citrcnicly  rare."  green 
morocco,  17  gns. ;  Bright.  1S45, '  very  fine,' morocco,  7  gns. 
Dudley  Carlcion,  writing  to  John  Chamberlain,  about 
1598,  said :  '  I  send  you  tne  eplsranis  which  1  often  told 
you  of;  Thcauthor  is  Bastard,  who  lias  the  name  of  a  very 
lively  wit,  but  it  docs  not  lie  this  way ;  for  In  thi 
grams,  he  botches  up  his  verso  with  variations,  1 
conceits  so  run  upon  his  no 
be  pitied  than  commended.' 

76      Some  he.id  orn.iinents  shivcd.     l'r.>|i.  R.P.    Sfldoin  cecurs 

fine.' i;7  ■5'i.    '  ■'• '  '"-  1-  i'  '.    '  ''■>              ■  I  ;  '  :  I      li-i-n 

arelaiion  ot  s    ...  'iri-. 

Mr.  Sidney  I  ■        .  •  <'•' 

at  the  Uctfr.i.,;  :  i,    ,u.  ...  ,..                         -          ;ury. 


that  his  t 


i  raliier  to 


The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
descriptions,  within  brackets,  (n)  Sold  by  Hodgson,  (i-)  by  Puttick.  all  others  by 
ith  all  faults.     R.P.  Record  Price. 


THE     BURLINGTON     GAZETTE 

Table   No.   VI.— NINETEENTH    CENTURY    FIRST    EDITIONS 


Printer, 
Publisher, 
OR  Place. 


Date 


1.  Keats,  J.     Poems.     Svo  .  64  by  44  in., 

uncut.     Orig.  brown  boards,  paper 
label.     (848) 

2.  Keats,  J.      Lamia.      Svo.,  7  by  4J  in., 

uncut.    Most  of  leaves  not  cut  open. 
Orig.  boards,  paper  label.   (66) 

3.  Scott,    Sir    W.      Guy    Mannering.      3 

vols.,   8vo.,    uncut.       Orig.   boards, 
rubbed.     (148) 


4.  Keats,    J.      Endymion.       Svo.,    SJ    by 

53  in.,  uncut.  Orig.  brown  boards, 
label.     (847) 

5.  Tennyson,   A.  &   C.      Poems  by  Two 

Brothers.  i2mo.,  6J  by  4I  in.,  uncut. 
Most  leaves  not  cut  open.  Orig. 
brown  boards,  paper  label.     (751) 

6.  Shelley,  P.  B.     The  Cenci.     Svo.,  9  by 

5j  in.,  uncut.  Orig.  blue  boards, 
(866) 

7.  Shelley,  P.  B.     Adonais.     4to.,  8§  by 

6  in.  Light  green  mor.  by  Bedford. 
Orig.  blue  wrappers  bound  up.    (885) 

8.  Ruskin,  J.     Poems.      8vo.,  7J  by  4f  in. 

Crimson  morocco  super  extra  by 
Bedford,    t.e.g.,  others  uncut.    (419) 

9.  Fitzgerald,  E.     Omar  Khayyam.     4to., 

8^  by  6}  in.  Orig  brown  paper 
wrapper.     (554) 

10.  Shelley,  P.  B.     Alastor.      Svo.,  6^  by 

4  in.,  t.e.g.,  others  uncut.  Calf  extra 
by  Bedford.     (56) 

11.  Lamb,C.    .Vdventures  of  Ulysses.   Svo., 

73  by  4J  in.,  uncut.  Orig.  blue 
board's,  paper  label,  advertisements 
at  end.     (45) 

12.  Tennyson,  A.     Poems.     2  vols.     .Svo,, 

uncut.  Orig.  boards,  paper  labels. 
(493) 

13.  Lamb,    C.      Essays    of    Elia.       First 

Series.  Svo.,  uncut.  Orig. boards.  (46) 

14.  Coleridge,  S.  T. 

Remorse (    Svo 

Zapolya .'    Half 

The  Statesman's  Manual*,  bound 
A  Lay  Sermon    ..  ..(   (1031) 

15.  Kossetti,    D.    G.     Sister    Helen      Svo. 

Red  morocco.     (413) 


C.  Richards 
for  C.  &  J. 
Oilier 

r.  Davison 
for  Taylor  & 
Hessey 

James  Ballan- 
tyne,  Edin- 
burgh, for 
Longman. 
Hurst  &  Co. 

T.  Miller  for 
Taylor  & 
Hessey 

J.  &  J.  Jack- 
son, Louth, 
for  Simpkin 
&  Marshall 

Italy  for  C.& 
J.  Oilier 


Date  of  Sale. 


Pisa, 


vith 


types      01 
Didot 
Spottiswoodes 
&  Shaw 

G.      Norman 

for  B.  Qua- 

ritch 
For  Baldwin, 

Craddock,& 

Joy 
T.      Davison 

for  Juvenile 

1  ibrary 

Bradbury    & 
Evans  for  E. 
Moxon 
•'or  Taylor  & 
Hessey 


Oxford,      for 


1827 


1813   17 

1857 


Mai  t  1  anc 
(June  20) 


Sidney  (May 
26) 


M  ai  1 1  a  n  d 
(June  20) 


June  17   (H) 


M  ait  1  a  n  d 
(June  20) 

Maitl  an  d 
(June  20) 

Y  o  r  k  s  h  i  re 
gent  leman 
(June  10) 

Y  o  r  k  s  h  i  re 
gent  leman 
(June  II) 

June  17 


June  17 

May    22    (H) 
June  17 

May  26(H).. 


71         Pubd.  6s.  1003:  Dr.  Tj 
'         1        £140,  H. P.  for  a  noil 
an,  June  10  (.45). 


Y  o  r  k  s  h  I  re 
gent  leman 
(J urn-  I.) 


;plioiiable  conJilioii,  clein  tlicougliout.  I'rolialily 
for  a  copy  on  ordinary  paper.  Pubd.  5s.  See  The 
LiNOTON  Gazette,  April,  p.  24,  No.  6. 


£5  15s.    ■•  Sec  •  Book 


Prob.  R.P.    About  fillv.  "11      11 

,r.   .1   ■   .1    ;.ir.    Ill' 

Wise,  is  perliaps  Ih.   .              - 

uncut.    'See 'Bo..!, 

publisher.       1903,    .\l.n  1  ■  n   1 
£29  los.    See  The  Isuklin,^ 

v„^'>':i.K/,K,'A 

e  sheets  not  cut 

R.P.     »  bee  •  Book  Sales  of  i 

3  gns. ;    1902,   £25. 


Pubd.  I2S.  Thompson,  1S87, 
Koote,  New  York,  1895,  1 
See  The  Buelington  Ga; 


M.      J. 


Lamb,    C.    &    M.       Mrs.    Leicester's 

School.        Svo.       Morocco    by    He 

Coverly.    t.e.g.,  others  uncut     (S45) 

Lamb,  C.    Jol-nWoodvil,  j^^,^_f.,j^y 

4  in.  Cloth. 

Album  Verses     ^^  '-*' 


18.  Tennyson.   A.       Poems.      Svo.     6J  by 

4i  in.,  uncut.     Orig.  brown  boards, 
paper  label.     (85 1) 

19.  Tennyson,  A.     Poems  chiefly  Lyrical. 

Svo.,    uncut.      Orig.   boards,    paper 
label.     (850) 

20.  Wordsworth,    W.       Poems.      2    vols. 

Svo.,    uncut.      Orig.   boards,    paper 
labels.     (S32) 

21.  De   Quincey,   T.      Confessions  of  an 

English  Opium  ICater.     8vo.,  uncut. 
Orig.  boards,  paper  label.     (40) 


*  'The  Book  Sales  of  1902  with  Tabulated  Prices 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  altc 
Sotheby.     (')  Slightly  defective.     0  ]:iefective.     (')  Sold 

122 


T.    Phimmer 

1802  N 

for  G.  &  J. 

Robinson 

Bradbury    & 

1830 

Evans  for  E. 

Moxon 

Bradbury    & 

i«33 

Evans  for  E. 

Moxon 

E.  ■Wilson  . . 

.830 

(June  20) 

May    22   (H) 

16   10 

Maitland 
(June  20) 

i5 

Maitland 
(June  20) 

14    10 

Maitland 
(June  20) 

14 

Sidney   (Ma\ 
26) 

13 

1 

Pub.  5s.     Thompson,    il    , . 

Tennyson's  autograph,  calf,  £26  los.    *  See  '  Bool<  Sales 
of  1902,'  p.  29,  No.  40. 

Pubd.  5S.  Thompson,  1887,  with  many  corrections  in  poet's 
autograph,  I'.ilt.  /  .;G  Copies  in  orig.  boards,  uncut : 
Buckl.y,  .^'.„  '  1^  I  r.  rton  Clarke,  1S99,  'fine,  £15; 
igoo,  Willi  Ml  !       I  I   I,  November  28  (P),  £21. 

Pubd.  "s.    Ill  II  I  I  II  1  I  ii  I,  ;■  ,  1S89,  boards,  uncut,  £2  los. 


ibd.   5s.     l89( 
by  Zaclnisdoi 
preserved,  an 
"blishcr,  begKing  an  adv 
viction,  7iK"S.;  "9"=.  or 


green 
pap 


'  clean,'  orig.  bds.,  £2  ;  1898, 
",  'very  tine,'  with  the  original 

letter  from  author  to  Tait,  the 
ince  payment  to  save  him  from 
S.  state,  label,  £<i  .7^.  (id. 


ililishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
vithin  brackets,  (ii)  Sold  by  Hodgson,  (r)  by  Puttick,  all  others  by 
R.P.    Record  Price. 


MISCELI.ANF:()IIS 

May  2 1 -June   17. 

Silver.— There  have  only  been  three  sales  dmiiij,' 
the  last  four  weeks,  and  the  only  really  important 
object  that  was  offered  was  of  foreign  ori-jin.  It  was  a 
silver-fjilt  standing  cup  10^  in.  high,  bearing  the  hall- 
mark of  Aix-la-Chapelle,  early  se\enteenth  century, 
and  was  stated  in  the  catalogue  to  have  originally 
bclong.d  to  thr  guild  of  bakers  of  Bergen.  It  fetched 
£"j5o,  or  a  trifle  under  £"25  an  ounce,  at  Christie's 
on  May  jj.  It  is  of  the  very  finest  workmanship 
and  in  wonderful  preservation.  The  cylindrical  centre 
is  chased  with  a  stag-hunt,  above  and  below  which 
the  cup  widens;  the  stem  is  vaso-shaped  and  the  foot 
(  ircular.  The  scheme  of  decoration  is  typical  of 
the  period,  consisting  of  cherubs',  satyrs'  and  goats' 
masks,  groups  of  fruit  and  foliage  in  strapwork 
borders  repousse  and  chased  on  a  matted  ground. 
The  cover  is  surmounted  by  a  statuette  of  a  man  hold- 
ing a  gun  and  shield.  This  piece  is  distinctly  German 
and  is  as  good  an  example  of  the  style  of  its  country 
and  period  as  could  be  desired.  At  the  same  sale  a 
James  I  bell-shaped  salt-cellar  was  sold  for  £23  los. 
an  ounce,  although  its  absolute  originality  was  open 
to  doubt,  and  as  a  work  of  art  it  was  by  far  inferior 
t(j  the  foreign  piece  which  only  fetched  thirty  shillings 
an  ounce  more.  A  set  of  six  salt-cellars  with  festoons 
of  flowers  and  gadrooned  borders,  on  lion's  mask  and 
(law  feet,  although  of  late  date  (1S07),  and  conse- 
quently of  small  value,  were,  nevertheless,  from  an 
artistic  standpoint  of  great  merit.  In  this  sale  were 
also  a  James  II  tankard  and  cover  engraved  with 
flowers,  foliage  and  birds  in  the  Chinese  taste,  a 
Charles  II  two-handled  porringer  embossed  and  chased 
with  a  band  of  large  flowers  and  foliage,  a  curious 
silver-gilt  processional  cross,  four  feet  high,  of  seven- 
teenth-century Portuguese  workmanship,  a  Charles  I 
seal-top  spoon  pricked  with  initials  and  date  1666  with 
the  Norwich  hall-mark  inside  the  Ixnvl,  and  an  apostle 
spoon  of  the  same  reign  with  the  figure  of  St.  Matthias, 
bearing  the  York  hall-mark  for  id^j,  and  made  by 
Thomas  Harrington. 

On  June  11,  at  Christie's,  a  pair  of  sctnices  by 
Anthony  Nelme,  1697,  with  oval  centres  embossed 
with  a  coat-of-arms,  and  borders  embossed  and  chased 
with  cupids,  flowers  and  formal  foliage,  fetched 
£202  los.  fjd.,  and  a  Charles  I  sauce  dish,  with  Lon- 
don hall-mark  for  1634,  embossed  in  eight  compart- 
ments with  formal  flowers  and  scrolls,  and  with  a 
shield  surrounded  by  panels  of  [xmched  work  in 
double  dotted  circle,  and  pricked  with  initials  and  date 
1067,  made  £'17  los.  an  ounce,  and  an  Elizabethan 
seal-top  silver-gilt  spoon,  London  halt-mark  I5>S6,  but 
pricked  with  a  considerably  later  date,  1626,  £zj 
all  at. 

At  til.-  two  days'  sale  at  Christie's  of  thi'  collection 
of  the  hiti'  R.  M.  Foster,  of  Liverpool,  on  June  if) 
and  17,  a  number  of  interesting  though  unimportant 
bits  of  silver  went  in  many  cases  cheaply  ;  although 
the  early  Lnglish  spoons  realized  good  prices  in 
several  instances.  The  only  really  high-priced  piece, 
however,  was  a  small  goblet  of  the  time  ofCharles  II, 
hall-mark  for  1667,  the  b(nvl  embossed  with  formal 
tulips  on  a  nutted  ground,  and  011  plain  stem  and 
spreading   foot,  which   fifrlnd    /,"  ;7  ")>.,  an.!   wiiglii<l 


MISCELLANEOUS 

only  I  oz.  I3dwt.  Of  the  spoons  the  finest  was  an 
apostle  spoon  of  Charles  I  with  a  figure  of  St.  Andrew, 
£29  ;  another  of  the  same  reign  with  the  figure  of 
St.  James  fetching  £n>  less,  and  an  Elizabethan  seal- 
top  spoon,  15.S7,  making  £z2.  A  number  of  other 
seventeenth-century  spoons  made  from  £"5  to  £"n 
apiece. 

P0RCKI.AIN  AND  PoTTKKV.  —  On  May  25,  at 
Christie's,  an  old  Worcester  tea  service  painted  with 
festoons  of  husks  in  turciuoise,  and  classical  vases  in 
metiallions  in  dark  blue  borders,  fetched  just  over 
£■100,  while  some  Hattersea  enamel  mugs,  tea  caddies 
and  candlesticks  made  very  reasonable  prices  con- 
sidering-their  (piality.  Three  days  later,  however,  at 
the  same  rooms,  an  oviform  vase  and  cover  painted 
with  exotic  birds  in  heart-shaped  panels  on  dark 
mottled  blue  ground  and  with  gilt  scroll  and  foliage 
borders  made  £241  los.,  and  a  very  elegant  pair  of 
oval  baskets  with  open  trellis  sides  encrusted  with 
flowers  and  painted  inside  with  fruit  and  flowers, 
£100  i6s.  The  same  collection  contained  a  number 
of  Worcester  plates,  which  averaged  about  £"22  a 
plate,  one  example  alone  making  over  £"5.S,  and  a 
large  circular  dish  painted  with  exotic  birds  and 
insects  reaching  £"ij2.  A  Dresden  group  of  a  girl, 
boy  and  dog,  also  in  the  same  sale,  fetched  £"252, 
and  an  oviform  jar  and  cover  of  Chinese  porcelain 
enamelled  with  panels  of  landscapes  and  flowers  on  a 
black  grountl,  £430  los.  \i\  early  copy  of  Wedg- 
wood's reproduction  of  the  Portland  vase  fetched 
£6oiSs. 

At  an  otherwise  unimportant  sale  at  Christie's  on 
June  8,  a  record  was  created  in  Sevres,  when  a  pair 
of  Louis  XV'  table  candlesticks  with  mouldeil  white 
and  gold  scroll  borders,  painted  with  flowers  and  pas- 
toral and  amatory  trophies  and  gilt  with  baskets  of 
flowers,  with  ormolu  borders  to  the  feet  and  ormolu 
nozzles,  fetched  the  unprecedented — -and,  beautiful 
as  they  were,  may  one  say  unwarranted  ? — price  of 
£1,207  10^-  A  pair  of  blue  and  white  Sevres  biscuit 
plaques  representing  baskets  of  flowers,  and  of  particu- 
larly fine  modelling  and  flnish,  were  amongst  the  most 
artistic  lots  of  the  day. 

The  collection  of  porcelain  formed  by  Mrs.  Sea- 
borne of  Torquay,  and  soKi  at  Christie's  on  June  10, 
though  carefully  chosen  and  distinctly  representative, 
contained  no  items  of  great  merit  or  importance,  con- 
sequently there  were  no  sensational  prices.  It  was 
decidedly  a  sale  suited  to  small  and  careful  though 
eclectic  collectors,  who  appear  to  have  realized  the 
fact,  as  many  of  the  lots  were  adjudged  to  small 
dealers  and  private  bidders.  Although  the  137  lots 
realized  £1,990,  there  was  no  individual  purchase 
worth  recording. 

At  the  Mauley  Foster  sale  already  mentioned,  an 
interesting  specimen  of  Bristol  china,  a  tea-cup  and 
saucer,  part  of  a  set  made  by  Champion  for  Sir  Robert 
Smyth,  and  formerly  in  the  Edkins  collection,  fetched 
the  respectable  sum  of  £^j  i6s.  The  decoration  con- 
sisted of  portrait  medallions,  green  laurel  festoons, 
and  the  baronet's  itiitials  U.S.  interlaced.  Another 
interesting  lot  was  a  tea-cup  and  saucer  made  for 
Lord  Nelson,  and  bearing  his  coat-of-arms  and  the 
inscription,  '  Nelson,  2nd  April,  Baltic,'  and  '  San 
Josef,  Aboukir,'  in  a  medallion  with  an  anchor;  also 


THE     BURLINGTON     GAZETTE 

a  similar  pair  of  plates  inscribed  '  Nelson,  San  Josef,' 
and  '  Nelson,  14th  Febry."  The  two  lots  realized 
together  ^44  12s.  6d.  A  ver_v  cheap  mixed  lot  went 
for  £10,  containing  examples  of  Amstel,  Loodsdrecht, 
Hague  and  Menecy  ware. 

Bronzes  and  Medals. — At  Sotheby's  on  May  27- 
29  a  considerable  number  of  early  Italian  medals  and 
plaquettes  in  bronze  and  silver  were  dispersed,  and  also 
a  few  early  antique  bronzes  of  good  quality  ;  they  were 
describedas  the  property  of  a  well-known  collector.  Of 
course  objcls  d'art  of  this  class  do  not  enjoy  the  vogue 
of  porcelains  and  prints.  The  chief  medallists  repre- 
sented were  Matteo  de  Pasti,  Leon  Leoni  (whose  por- 
trait medal  of  Michel  Angelo  was  the  finest  example 
in  the  sale),  Antonio  of  Hrcscia,  and  Pisanello. 

Among  the  plaquettes  one  found  the  works  of 
Giovanni  delle  Corniole,  Melioli  of  Mantua  and  Mo- 
derno  ;  while  several  fine  pieces  of  early  German  work 
were  without  attribution.  One  of  the  most  interesting 
of  the  antique  bronzes  was  a  statuette  12  in.  high 
representing  Eros,  and  found  at  Xanten  on  the  Rhine. 
Another  was  of  Greek  origin,  Hermes  as  a  wrestler. 
The  finest  piece  of  Renaissance  bronze  was,  however, 
the  inkstand,  catalogued  as  by  Caradosso  Foppa, 
decorated  with  three  plaquettes  of  mythological  sub- 
jects on  the  lid  and  sides.  Other  fine  bronzes  were  a 
si.xteenth-century  knocker  of  Venetian  work,  showing 
Neptune  standing  on  a  shell  between  two  hippocamps, 
a  fine  salt-cellar  standing  on  three  grotesque  masks, 
and  statuettes  of  Jupiter,  Venus  and  Judith  with  the 
head  of  Holofernes. 

Miniatures  and  Objets  d'Art.— On  May  26, 
Christie's  sold  the  miniatures  of  the  late  Mr.  Seguier, 
and  also  some  from  other  sources.  The  artist  best 
represented  was  Engleheart,  his  portrait  of  a  lady  in 
decollete  white  dress  and  with  full  powdered  hair 
bound  with  pearls  made  £gg  15s.  At  the  same  sale  a 
fine  pair  of  miniatures  by  Samuel  Cooper,  representing 
a  lady  in  a  blue  dress  wearing  a  pearl  necklace,  and  a 
gentleman  in  a  black  dress  with  long  hair  and  a  wide 
lawn  collar,  realized  respectively  £136  los.  and  £84. 
A  miniature  of  the  Countess  Fitz-James,  by  A.  Plimer, 
in  a  fine  Louis  XVI  gold  box  with  medallions  of 
trophies,  etc.,  in  vari-coloured  gold,  made  the  highest 
price  of  the  day — £250.  Two  Coswa}  s,  one  of  a  gentle- 
man in  a  blue  coat  with  powdered  hair,  and  the  other 
only  a  slight  sketch  of  a  lady  with  full  powdered  hair, 
but  of  the  finest  quality,  made  respectively  £102  i8s. 
and  £147-  A  portrait  of  a  lady,  by  an  unknown  artist, 
dated  1808,  made  £115  los.,  and  another,  also  by  an 
unknown  miniaturist,  of  the  eighteenth  century,  £150. 
At  Sotheby's  was  sold  an  interesting  miniature  of 
Napoleon,  by  Isab°y,  which  he  gave  to  Lady  Holland 
in  return  for  an  ice  machine  which  she  sent  to  him  at 
St.  Helena.  This  miniature  only  got  the  poor  price 
of  £30.  At  the  Manley  Foster  sale  at  Chri.stie's,  the 
high  price  of  £609  was  given  for  a  miniature  of  Sir 
Charles  Lucas  by  Isaac  Hoskins.  This  exquisite  work 
of  art,  which  is  painted  in  gouache  on  a  playing-card, 
bears  the  artist's  initials  I.  H.,  and  the  date  1645,  and 
is  set  in  a  gold  locket  of  contemporary  date,  enamelled 
with  figures  emblematic  of  martyrdom,  in  reference  to 
the  fact  that  Sir  Charles  Lucas  was  tried  and  shot 
by  Fairfax  after  the  capture  of  Colchester.  This 
treasure    was    exhibited    in    the    South    Kensington 

124 


loan  exhibition  of  i86i;.  It  may  be  interesting  to 
mention  here  that  Hoskins  was  court-painter  to 
Charles  I,  and  was  the  master  of  Alexander  and  of 
the  more  celebrated  Samuel  Cooper.  Another  high- 
priced  work  of  art  was  sold  :  it  consisted  of  a  Louis  XV 
rectangular  gold  box  enamelled  cti  plein  by  Bourgoin, 
with  scenes  after  Teniers.  The  gold  bears  the  maker's 
mark  of  Eloi  Richard,  who  died  in  1762.  This  box, 
which  was  most  elaborately  chased  with  scroll-work 
and  fiowers,  made  £630.  For  another,  chased  with 
pastoral  scenes  in  relief  on  ground  of  blue  translucent 
enamel  and  encrusted  on  the  borders  with  trophies  of 
musical  instruments,  bows  and  sprays  of  flowers  in 
various  coloured  golds,  relieved  with  enamel,  £252  was 
given.  In  the  same  sale  a  fine  cabinet  of  ivory,  ebony 
and  tortoise-shell,  with  folding  doors,  enclosing  an 
elaborate  ivory  jcarving  representing  the  apotheosis  of 
James  II  of  England,  by  whom  it  is  said  to  have 
been  presented  to  Louis  XIV,  was  sold  for  £210.  It 
originally  came  from  Warwick  Castle,  and  is  illus- 
trated in  Richardson's  '  Old  English  Mansions.'  The 
Japanese  works  of  art  belonging  to  Mr.  Reginald 
Vaile  were  sold  at  Christie's  on  May  25.  The 
most  curious  item  in  the  collection  was  a  scented 
sword-blade  in  a  plain  scabbard,  which  fetched  £^:\  2S. 
These  scented  swords  are  of  extreme  rarity,  and  are 
keenly  competed  for  by  native  amateurs,  who  pay  most 
extravagant  prices  for  them.  Another  curio  of  especial 
interest  was  a  writing  slab,  formed  of  a  large  carved 
amethyst,  with  an  embossed  silver  ink-groove.  This 
precious  objet  d'art,  from  the  celebrated  Bowes  col- 
lection, is  one  of  the  remaining  relics  of  the  celebrated 
Tokugawa  family.  It  was  sold  for  the  small  sum  of 
;ir78   15s. — a  very  decided  bargain. 

Coins. — The  dispersion  by  Messrs.  Sotheby  of  the 
second  portion  of  the  Murdoch  collection  of  coins  and 
medals  occupied  six  days,  from  June  81-3,  and 
produced  the  total  sum  of  ^^6,596  los.  6d.,  the  period 
covered  being  from  1625  to  1714. 

The  Charles  I  crown,  by  Briot  (1632),  which  is 
described  in  the  catalogue  as  being  the  only  specimen 
known  besides  that  in  the  British  Museum,  was  sold  for 
£1  IIS.  A  fine  example  of  the  Charles  I  Shrewsbury 
half-pound  fetched  ;f  10  ;  a  rare  and  unpublished  Tower 
crown  (1632),  £39  los.  ;  another  Shrewsbury  crown 
(1642)  sold  for  £b^  los.  It  was  a  unique  specimen, 
being  the  earliest  type  of  crown  issued  from  that  mint ; 
three  Charles  I  pattern  gold  broads  by  Rawlins 
made  respectively  £3g,  £27,  and  ;^30  los.  ;  two  pat- 
tern silver  crowns  by  Briot,  one  of  them  unique, 
£60  and  £61  ;  a  pattern  Oxford  crown  in  extremely 
fine  condition,  £151.  There  were  several  fine  siege 
pieces  in  the  sale,  the  most  remarkable  being  the 
unique  Pontefract  gold  unite,  which  sold  for  £150.  A 
two-shilling  siege  piece  with  a  view  of  Beeston  Castle, 
and  struck  on  the  bowl  of  a  spoon  of  the  period  (the 
hall-mark  being  still  visible),  made  only  £S-  The 
collection  of  Scarborough  siege  pieces  was  remarkably 
fine,  several  examples  being  catalogued  as  unique  ;  of 
these  two  two-shilling  pieces  fetched  £42  los.  apiece; 
another  /J44  los.,  and  a  three-shilling  piece  £^3  los. ; 
a  shillingand  a  sixpence  of  the  same  town  made,  re- 
spectively, ;f24  los.  and  £17. 

Coming  to  the  Commonwealth,  a  vcr)-  scarce 
farthing  struck  upon  a  blank  consisting  of  an  outer 


PARIS     SALES 


lim  of  co]ipor,  an  innor  rim  of  brass,  witli  a  central 
disc  of  copper  again,  made  £41  10s. ;  a  very  rare  and 
extremely  fine  gold  crown  U658),  by  Simon,  fetched 
/■174  ;  while  a  gold  fifty-shilling  piece  (1656),  also  by 
Simon,  realized  only  £g^.  A  very  rare  gold  half-broad 
'  1656)  by  the  same  medallist  fetched  £^0.  The  two 
I  rlebrated  Simon  crowns  were  sold  on  the  fifth  day  of 
tlie  sale.  Of  the  two  crowns  the  most  valuable  was 
the  pattern,  in  unique  preservation,  of  Simon's  historic 
petition  piece  :  according  to  HoUis  this  is  the  one  which 
wasactually  tendered  to  Charles  II.  Hy  means  of  this 
pattern  crown  Simon  prayed  the  king  to  continue  him 
in  the  post  of  designer  to  the  mint,  which  he  had 
obtained  from  Cromwell.  His  petition  is  inscribed 
round  the  edge  of  the  piece,  and  runs  as  follows : 
THOMAS  SIMOX  .  most  .  hvmhly  .  pkavs  . 
vovR  MAJESTY  to    .    compare    .    this    .    his    . 

TRYALL  .  PIECE  .  WITH  .  THE  .  DVTCH  .  AND  . 
IK  .  MOKE  TRVLY  .  DRAWN  .  (S  EMBOSS'U  .  MORE  . 
(.RACE  :  FVLLY  .  ORDER'D  .  AND  .  MORE  .  ACCV- 
KATELY     .     ENGRAVEN     .     TO     .     RELEIVE     .     HIM 

The  next  lot  to  the  petition  crown  was  the  equally 
celebrated  though  not  quite  so  rare  pattern  crown 
known  as  the  '  Reddite '  crown  on  account  of  the 
motto  inscribed  round  the  edge,  reddite  quae 
CAESARis  CAESARi.  This  example  —  probably  the 
finest  known — fetched  £"215.  Other  high-priced  pat- 
terns of  this  reign  were  the  crown  by  Roettier  (1662), 
in  emulation  of  which  Simon's  petition  piece  was 
struck,  £130  :  another  crown  similar,  but  with  plain 
edge,  £'80  :  another  crown,  1665,  £82 — all  three  pieces 
were  in  gold.  A  pattern  crown  in  pewter  (1663)  bj- 
Simon,  like  the  'Reddite'  in  every  respect  save  the 
metal,  and  of  great  fineness  and  rarity,  fetched  £"57. 
Of  the  remaining  reigns  :  a  remarkably  fine  two- 
guinea  piece  of  1687  made  £24 ;  a  five-guinea  piece  of 
the  same  date,  £16  ;  a  crown  of  the  same  reign  reached 
^Tio  5s.  ;  a  five-guinea  piece  of  ( )ueen  Anne  in  brilliant 
condition,  from  the  Marsham  collection,  made £^35  los.; 
two  others  fetching  £16  5s.  and  £'13  respectively,  and 
four  more  between  £g  5s.  and  £^io  12s.  6d.  apiece. 
-V  pattern  farthing  in  gold,  by  Croker  (1713),  made 
£16  15s.,  and  three  other  specimens  also  in  gold, 
£12  5s.,  £g  5s.,  and  £7  los.  respectively.  Two 
different  proof  guineas,  by  Croker,  fetched  £17  15s. 
and  £15  17s.  6d.,  and  a  pattern  shilling  in  silver  by 
Croker  (1710)  £13.  A  very  well  preserved  and  rare 
pattern  farthing  in  copper  bv  Croker  (171^)  fetched 
£20. 

FOREIGN  SALES 

I.   PARIS— May  20  to  June  15* 

Till-:  year  is  jiroceeding  apace  ;  the  Grand  Prix  has 
I'cnrun;  we  are  packing  our  trunks  and  portman- 
;  Mus  for  the  countrj-  and  the  sea-side,  where  we  shall 
-.on  be  forgetting,  amid  the  cool  and  restful  foliage, 
or  by  the  sapphire  and  turquoise  sea,  the  feverish 
tribulations  of  Parisian  life.  And  jet  the  sales  have 
never  been  more  numerous  nor  the  bidding  brisker 
than  during  the  past  few  weeks.  No  sooner  is  one 
sale  finished  than  another  is  announced.  One  would 
think  that  buying  and  selling  was  of  humanit\-  the 
very  essence.  Hut  we  must  not  complain,  since  the 
eye,   while   still    restricted  to   the  horizon    of  Paris, 

*  Translated  by  A.  Tclxclra  de  MattQS 


thus  finds  the  opportunity  to  refresh  itself  with  the 
sight  of  beautiful  and  inspiring  works  of  art. 

.\nth.)UIT1es. — On  May  14  last  was  concluded  the 
sale  of  a  collection  of  Greek  and  Roman  antiquities 
which  I  mentioned  in  my  last  chronicle,  but  only  very 
briefly,  and  upon  which  it  were  well  to  dwell  at  a 
little  greater  length,  now  that  a  complete  and  anno- 
tated catalogue  of  this  sale  exists. 

It  included  an  interesting  selection  of  Cyprus, 
Chalcidian  and  Attic  pottery.  I  will  mention  in 
particular  a  liydria,  a  scene  at  the  fountain  of 
Callirhoe,  with  the  lights  retouched  in  white  and  a  ' 
tesselated  band  round  the  neck  (1,025  fr.)  :  a  large 
kelebe,  with  Silenus  pursuing  a  nymph,  fifth  century 
(1,000  fr.) ;  a  pelike,  a  woman  standing  up  and  turning 
round  to  admire  her  head-dress,  fifth  century  (3,800 
fr.) ;  a  large  amphora,  a  warrior  and  Victory,  and  a 
bearded  person  talking  to  a  j-oung  woman  (3,100  fr.)  ; 
another,  Neoptolemus  giving  his  hand  to  Antiochus 
(16,500  fr.)  ;  a  large  krater  (oxybaphoni,  an  Athenian 
horseman  and  a  maenad  carrying  a  thyrsus  and  a 
cantharus  between  two  satyrs  (1,900  fr.)  ;  a  hydria 
(kalpis),  the  bride's  toilet  (1,050  fr.)  ;  a  large  kylix, 
preparations  for  a  marriage  (2,600  fr.)  :  a  gilt  skyphos, 
same  subject  (1,150  fr.),  etc.  There  were  also  Pom- 
peian  paintings  :  an  aedicula,  with  a  tragic  mask 
(1,300  fr.)  :  gold  and  siKer  ornaments  :  an  enamelled 
gold  diadem  (2,500  fr.)  :  engraved  stones :  a  fifth- 
century  chalcedony,  woman  filling  a  hydria;  bronzes: 
a  male  figure  running  towards  the  right,  archaic 
Ionian  style  (14,500  fr.)  :  a  fourth-century  athlete 
(5,600  fr.)  ;  an  Etruscan  patera,  with  a  frieze  of 
animals,  sphin.xes,  griffins  (1,800  fr.),  etc.  The  whole 
sale  produced  ioq,8ii  fr. 

The  above  is  a  fairly  high  total.  As  much  cannot  be 
said  of  the  result  of  the  sale  of  the  Boscoreale  frescoes, 
which  realized  far  less  than  the  owners  expected.  These 
frescoes  came  from  that  part  of  Magna  Graecia  which 
was  already  famous  as  having  offered  to  the  study  of 
archaeologists  the  silver  plate  presented  to  the  Louvre 
by  Baron  Edouard  de  Rothschild,  the  treasure  in  gold 
coins  of  Galba,  Otho  and  Vitellius  and  the  interesting 
stock  of  furniture  which  was  accjuired  by  the  Berlin 
Museum.  They  formed  the  decoration  of  a  villa 
situated  not  far  from  Herculaneum  and  Pompeii,  of 
which  Publius  Fannius  Synistor  was  the  first  owner 
and  Lucius  Herennius  Elorus  the  last,  as  was  ascer- 
tained from  an  inscription.  It  was  destroyed  on 
November  23,  79,  and  remained  buried  under  the 
ashes  until  the  excavations  of  Signori  di  Prisco  and 
Canessa  restored  it  to  the  light  of  day. 

It  must  have  given  these  gentlemen  a  lively  plea- 
sure to  be  the  first  to  see  these  frescoes  emerging 
from  a  heap  of  rubbish.  They  d<>  not  all  belong  to 
the  same  period,  some  of  them  dating  from  the  early 
years  of  the  Christian  era.  They  display  a  highly  de- 
corative art,  with  harmonious  colouring,  firm  drawing 
and  logical  perspective,  and  they  must  be  numbered 
among  the  most  interesting  frescoes  bequeathed  to  us 
by  antiquity.  By  means  of  an  ingenious  artifice,  the 
painter  has  figured  a  portico  within  the  room,  through 
the  columns  of  which  portico  the  delighted  eye  looks 
out  upon  the  environment  of  the  villa  :  the  street,  the 
surrounding  country,  the  gardens,  the  sea.  Certain 
of  the  figures,  such  as  the  cithern-player,  doubtless 

l-'5 


THE     BURLINGTON     GAZETTE 


representing  tlie  mistress  of  the  house,  are  delightfull}- 
charming.  Tlie  general  tones,  whether  because  this 
was  so  from  the  first,  or  because  the  patina  of  Time 
has  played  its  part,  are  not  so  brilliant  as  one  would 
think,  to  judge  by  the  illustrations  in  the  catalogue 
or  those  in  Niccolini's  work,  but  are  rather  attenuated 
and  sometimes  a  trifle  grey. 

It  would  appear  that  Signor  Vinanzo  di  Frisco 
refused  1,500,000  fr.  for  these  frescoes,  which  sum  was 
offered  him  by  the  Berlin  Museum,  and  priced  them 
at  1,800,000  fr.  If  this  be  the  case,  he  must  now 
regret  that  he  did  not  accept  the  former  sum ;  for  the 
result  of  the  first  instalment  of  the  sale  fell  far  short 
of  the  figure  which  he  expected,  and  it  is  unlikely  that 
the  sale  of  the  cubiculum  that  remains  will  make 
good  the  deficiency.  This  is  a  disastrous  result,  when 
we  take  into  account  the  expenses  of  the  excavation, 
the  carriage  of  the  frescoes,  the  customs  duties  and 
the  exhibition  in  Paris.  Among  the  lots  fetching  the 
highest  prices,  only  the  following  various  fragments 
will  be  remembered  :  a  panel,  a  winged  genius,  with 
wings  extended  (15,300  fr.)  ;  the  cithern  -  player 
(100,000  fr.) ;  two  seated  figures  (50,000  fr.) ;  a  treble 
row  of  Corinthian  columns  (7,100  fr.);  garlands  of 
flowers,  golden  vessels  on  a  cymatium,  scarfed  pilas- 
ters and  Corinthian  columns  on  a  panel  (100,000  fr.)  ; 
etc.  The  total  proceeds  amounted  to  291,135  fr. 
This  figure  is  at  least  respectable ;  but  panels,  marble 
bosses,  were  seen  going  for  55  fr.,  two  yellow  slabs  for 
50  fr.,  a  mosaic  of  the  pavement,  black  on  a  white 
ground,  for  45  fr. ! 

Sculpture.  —  The  Arsene  Alexandre  collection 
(May  18,  19)  consisted  above  all  of  pictures,  which 
will  be  mentioned  later.  There  were  also  a  few 
sculptures,  the  bidding  for  which  was  not  very  high. 
Among  those  which  fetched  the  best  prices  were  the 
following  :  Monument  aux  morts,  by  Bartholomee,  a 
rough  model  for  the  celebrated  cenotaph  in  the  ceme- 
tery of  Pere-Lachaise  (3,650  fr.)  ;  Rodin's  the  Baiser 
(1,150  fr.),  the  Minotaure  (1,500  fr.),  the  Sirenes 
(1,700  fr.);  a  Mendiant  russe,  by  Carries  (3,700  fr.); 
Bebe  endormi,  by  the  same  artist  (2,000  fr.)  ;  and, 
lastly,  a  few  little  stoneware  jugs,  which  fetched  prices 
of  between  200  and  300  fr. 

In  the  fourth  sale  of  the  collections  of  Madame 
Lelong  (May  25-29)  occurred  a  certain  number  of 
works  of  sculpture  of  the  seventeenth  and  eighteenth 
centuries,  mostly  anonymous.  I  will  not  dwell  upon 
the  latter,  which  are  of  very  little  value  to  the  history 
of  art,  and  I  will  confine  myself  to  those  which  were 
signed,  or  else  identified  with  some  approach  to  prob- 
ability, as,  for  instance  :  a  group  in  terra-cotta, 
representing  Hylonome  killing  herself  before  the  body 
of  her  husband,  the  centaur  Cyllarus,  by  Chinard,  the 
eighteenth-century  artist  (2,600  fr.)  ;  a"  medallion  in 
white  marble,  a  bust  in  profile  of  the  Grand  Dauphin, 
signed  A.  C.  F.,  1689  (385  fr.) ;  a  bust  presumed  to  be 
that  of  Madame  Royale,  the  daughter  of  Louis  XVI, 
signed  Houdon,  1781  (4,300  fr.)  ;  a  bust  of  the 
dauphin,  later  Louis  XVII,  attributed  to  the  same 
artist  (5,ioofr.);  lastly,  Mercure  sur  un  nuage,  in 
white  marble,  after  Pigallc  (3,200  fr.). 

These  figures  are  not  very  high.  Still  lower  was 
that  fetched  by  a  white  marble  statuette,  by  Pradier, 
which    was    knocked  down  for  585  fr.   on  June  11  ; 

126 


it  formed  part  of  the  collection  of  Mme.  A.  C.  (Alice 
Clairval,  the  actress). 

Paintings. — Thesale  of  the  collection  of  M.  Arsene 
Alexandre,  the  art-critic  of  the  Figavo,  resulted  in  a  total 
of  169,620  fr.,  a  sum  which,  it  appears,  is  less  by  one- 
half  than  the  estimate  made  by  certain  art-lovers.  The 
principal  lot,  of  which  great  things  were  expected,  was 
a  picture  by  Daumier,  the  Fardeau,  a  very  realistic  and 
expressive  piece  of  work.  I  need  not  remind  my  readers 
of  the  sudden  favour  obtained  by  Daumier's  paintings, 
which  has  gone  so  far  as  to  constitute  an  injustice 
done  to  what  is  really  his  superior  work,  his  litho- 
graphic caricatures,  in  which  he  noted  down  the  vices 
and  oddities  of  his  contemporaries  with  such  incisive 
and  biting  strokes.  A  similar  favour  has  been  bestowed 
upon  Corofs  paintings  of  figures,  although  it  must  be 
said  that  this  great  master  was  much  less  inspired 
here  than  in  his  poetical  records  of  nature,  as  observed 
in  Italy,  in  Artois  or  in  Ile-de- France,  notably  at  the 
Fausses- Reposes  at  Ville  d'Avray.  This  favour  will 
pass  away;  or,  at  least,  these  works,  undoubtedly- 
very  interesting  in  themselves,  will  resume  their  true 
.place  in  these  masters'  productions,  that  is  to  say,  the 
second  rank.  Perhaps  it  is  already  passing  in  so  far 
as  Daumier  is  concerned,  for  the  Fardeau  made  only 
14,100  fr.,  and  even  that  figure  was  greatly  ahead  of 
those  obtained  by  other  pictures  by  the  same  artist, 
such  as  the  Blanchisseuses  (3,750  fr.),  the  Amateurs 
d'estampes  (2,950  fr.),  the  Emigrants  (2,600  fr.),  etc. 

Nearly  the  whole  of  this  collection  was  connected 
with  the  impressionist  school.  Thus  we  had  some 
pictures  by  Lebourg,  who  is  beginning  to  be  appreci- 
ated more  highly  than  he  was  :  views  of  the  Seine  at 
Rouen  and  Paris,  averaging  about  2,000  fr.  apiece ; 
Pissarro's  the  Moisson  (1,750  fr.);  Raffaelli's  Saint- 
Etienne-du-Mont  (2,350  fr.).  The  pictures  by  Lenoir 
obtained  good  prices  of  4,000  to  6,000  fr.  Those  most 
appreciated  were  Baigneuses  and  Femmes  couchees. 
The  Toulouse-Lautrecs  fluctuated  between  500  and 
1,100  fr.  The  bidding  for  the  Vignons  was  slow,  as 
was  that  for  the  impressionists  who  came  later,  such 
as  Guillaumin,  Maufra,  Leyssaud  and  Signac. 

Outside  this  school,  I  must  mention  a  few  fine 
canvases  by  Fantin-Latour,  the  master  of  dreams,  the 
delicate  conjurer  of  the  myths  that  tickled  the  ears  of 
Wagner  and  Berlioz.  These  included  the  Source 
(6,950  fr.) ;  the  Portrait  of  the  Artist  (6,000  fr.)  ;  La 
Gloire  (2,850  fr.),  etc.  Finally,  an  interesting  picture 
by  Albert  Besnard,  L'Invitee,  fetched  3,700  fr. 

In  a  sale  on  May  23,  there  passed  side  by  side,  so 
to  speak,  forming  a  strange  company,  the  Portraits 
galants,  by  Roybet  (4,350  fr.),  that  master  so  curiously 
influenced  by  Frans  Hals,  and  a  certain  number  of 
Dutch  and  Flemish  pictures.  After  all,  the  contrast 
was  none  too  shrill,  because  of  that  very  influence  of 
the  Haarlem  master !  Among  the  Dutchmen  and 
Flemings  let  me  mention  an  Interior  of  an  Inn,  attribu- 
ted to  Brouwer  (1,820 fr.) ;  the  Lion  Hunt,  by  Johannes 
Fyt  (1,300  fr.)  ;  a  Joyeux  festin,  by  \'an  der  Lanen 
(1,500  fr.);    etc. 

A  Gentilhomme  Louis  XIII,  b\'  the  same  Roybet, 
was  included  in  a  sale  of  modern  pictures  (May  29) 
belonging  to  Mme.  S.  This  canvas  was  sold  for 
4,100  fr.  Good  prices  were  also  obtained  for  pic- 
tures by  Boudin  :    the  Port    de  Bordeaux  (6,000  fr.)  ; 


Chaplin:  the  Revo  (6,000  fr.)  :  Corot :  Vill<-  .l'Avray 
(2,50of|■.);  l'':intin- Latoiir:  the  Danse  de  Paliiice 
(19,500  fr.);  Harpignies  :  a  landscape  (^,200  fr.)  ; 
Charles  Jacqiie  :  Hergerie  (6,000  fr.) ;  Joiif,'kind  :  land- 
scapes varying  from  5,000  to  6,000  fr.,  prices  well 
deserved  by  this  straightforward  artist,  who  was  so 
much  looked  down  upon  during  his  life;  Lepine :  a 
sea-piece  (4,300  fr.).  A  fine  set  of  pictures  by  Ziem, 
that  painter  of  Venice  who  is  so  greatly  in  fashion  to- 
day— the  \'oile  blanche,  the  Grand  Canal,  the  Dogana, 
tile  Kiva  degli  Schiavoni — easily  made  4,000,  5,000 
and  even  6,000  fr.  each.  Certain  travellers,  endowed 
with  minds  of  great  precision,  refuse  always  to  recog- 
nize \'enice  in  these  poems  of  glowing  colours ;  but  is 
it  necessary  that  the  image  should  be  like,  so  long  as 
it  pleases  the  eye  ?  Is  Turner  less  great  because  we 
find  his  soul  rather  than  aught  else  in  his  work  so 
dazzling  with  light  and  so  magnificent  in  its  brilliancy  ? 
1  say  this,  of  course,  without  wishing  to  establish  any 
niparison  between  those  two  zealots  for  light,  since 
I  inner  now  occupies  his  uncontested  place  among  the 
L^icatest  artists  of  all  times  and  all  countries,  beside 
(,  laude  Lorrain  and  Albert  Cuyp. 

On  the  following  day,  the  30th,  another  collection 
w. IS  dispersed,  containing  interesting  old  pictures.  Let 
iiH-  first  mention  the  most  important  lots:  a  Dressoir 
avi'C  sa  garniture  de  vaisselle  et  de  victuailles,  signed 
l-"ran(;ois  Desportes  (7,010  fr.)  ;  the  Missive,  by  Metzu  : 
a  young  girl,  seated  at  a  window  overlooking  a  park, 
reading  a  letter  that  lies  upon  a  cushion,  charming 
and  delicate  in  colour  (31,000  fr.) ;  the  .Artist  at  Home, 
by  .-\drian  van  Ostade,  from  the  Pourtales  collection  : 
dresseti  in  brown  and  wearing  a  flat  cap,  the  artist  is 
painting  near  a  semi-circular  window  with  leaded 
panes ;  this  is  the  scene  which  Ostade  himself  en- 
gra\-ed :  the  picture  fetched  14,500  fr. ;  the  Hal  a 
I'espagnole,  by  Pater  (15,200  fr.)  :  this  is  a  good  price 
for  a  painter  who,  when  all  is  said,  belongs  to  the 
second  rank ;  a  Family  Rejoicing  in  honour  of  a 
New-born  Child,  by  Jan  Steen,  which  once  formed 
part  of  the  Delessert  collection  and  was  shown  in  the 
winter  exhibition  at  Burlington  House  in  1875 
(25,500  fr.). 

I  may  mention,  besides,  the  Marche,  by  Pierre- 
Angelis  (1685-1734),  a  native  of  Dunkirk,  who  lived  in 
London  and  Rome  and  imitated  everybody  more  or 
less,  including  Watteau  (1,900  fr.)  ;  a  fine  Quai  de 
debarquement,  by  Demarne,  that  delicate  eighteenth- 
century  landscape-painter  (7,000  fr.) ;  two  landscapes 
by  Gericault,  who  painted  so  few,  from  a  house  at 
\'illers-Cotterets  and  afterwards  from  the  Chateau  de 
Montmorency  (1,205  fr.)  '•  ^  fi'i^^  portrait  of  James  II 
of  England,  wearing  a  breastplate  crossed  b\'  a  red 
sash,  with  a  squadron  in  sight,  by  Sir  Peter  Lely 
(2,600  fr.)  ;  a  triptych  by  Van  Orley,  a  Virgin  and 
Donors  (2,000  fr.);  a  portrait  of  the  Marquis  and  Mar- 
quise de  La  Mesangere,  by  Rigaud  (5,000  fr.)  ;  the 
Ford,  by  Jan  Lieberechts,  Antwerp,  1667,  with  young 
women  bathing,  a  landscape  painted  for  the  Duke  of 
Buckingham  (2,800  fr.)  ;  a  portrait  of  a  lady  of  the 
court  of  Charles  I  by  Stone  (1,050 fr.);  a  Portrait  of 
a  Man,  by  Verspronck  (1,605  fr.);  ^tc. 

No  less  interesting  and  important  to  the  history  of 
art  was  the  collection  of  Count  A.  de  Ganaj',  sold  on 
June  4,  to  which  had  been   added  two  pictures  from 


PARIS     SALES 

other  collections.  These  two  addeti  pictures  bf-lungi-d 
to  Coimtess  Robert  do  l-itz-James  and  Count  J.  de 
.Marois  respectively.  They  were  tlie  Fillcs  de  Hoiidon. 
ou  LWtelier  de  i'einture,  by  Boilly  (27,000  fr.),  anil 
the  portrait  of  Madame  Brochier,  daughter  of  the 
artist,  by  Nattier  (24,500  fr.).  The  first  represents  a 
scene  in  the  workshop  of  Houdon,  then  at  the  Louvre, 
in  which  his  elder  daughter  is  turning  the  leaves  of 
an  albimi  while  the  younger  is  engaged  in  copying 
Houdon's  L'Jicorche  ;  the  second  is  one  of  the  finest, 
daintiest,  and  most  graceful  works  of  the  portraitist 
of  Mesdames  de  France,  the  daughters  of  Louis  XV. 

The  R6cureuse,  after  Chardin,  or  of  his  school, 
fetched  6,100  fr.,  a  good  sign  of  the  present  and  most 
legitimate  favour  attaching  to  this  master's  honest 
and  straightforward  art ;  a  portrait  of  a  woman,  by 
David,  4,800  fr. ;  L'Hiver,  by  Fragonard,  8,goo  fr. 
Portraits  by  Baron  Gerard,  Mnie.  Bauquin  du  Boulay 
and  her  niece,  fetched  10,100  fr. ;  genre  scenes  by 
Marguerite  Gerard,  the  Mere  nourrice  and  the  Le(;on 
de  geographic,  7,600  fr.  and  11,000  fr.,  respectively: 
these  are  sentimental  without  being  mawkish  ;  a 
head  of  a  little  boy,  by  Greuze,  7,050  fr.  The  mag- 
nificent portrait  of  Madame  Lambert  de  Thorigny  is 
one  of  the  finest  works  of  Largillere,  not  Largilliere, 
as  the  name  has  hitherto  been  spelt,  and  was  knocked 
down  for  37,100  fr.  The  sitter  was  the  wife  of  Lam- 
bert de  Thorigny,  who  built  and  decorated  in  1640 
the  famous  Hotel  Lambert  on  the  lie  Saint-Louis, 
a  type  of  the  lordly  mansions  of  the  seventeenth 
century.  The  Salon  des  Muses,  that  charming  work 
by  Lesueur,  now  at  the  Louvre,  was  composed  for 
Lambert's  bedroom.  The  portrait  of  Madame  Anna 
de  Cornuel,  wife  of  the  paymaster-general,  who  died 
in  1696,  leaving  behind  her  the  reputation  of  a  woman 
of  exquisite  wit,  found  a  purchaser  at  no  higher  price 
than  4,300  fr. 

Very  noteworthy  also  were  the  Bergere  endormie 
and  the  Retour  de  la  bergere,  by  Francjois  Lemoine 
(18,000  fr.)  ;  Bertrand  et  Raton,  by  Oudry  (2,850  fr.) ; 
the  portrait  of  a  magistrate,  by  Perronneau  (3,000  fr.), 
an  exquisite  picture  ;  the  portrait  of  a  man  playing 
the  flute,  by  Rigaud  (2,100  fr.)  ;  the  portrait  of  a 
master  and  his  pupil,  by  Robert  Tournieres  (2,200  fr.). 
Lastly,  there  were  some  important  Carle  \'anloos  : 
a  portrait  of  two  little  princesses  playing  with  a 
parrot  (18,000  fr.);  a  portrait  of  a  young  woman  in 
deshabille ;  a  portrait  of  Mme.  Joly  de  l'"leury.  Mar- 
quise de  Montmort  (8,500  fr.).  The  portrait  of  Mme. 
Hennett,  by  Mme.  Vigee-Lebrun,  less  delicate  than 
are  most  of  this  artist's  works,  fetched  onlv  4,700  fr.  : 
the  absence  of  delicacy  was  the  fault  of  the  sitter 
rather  than  of  the  painter.  The  reader  will  have  seen 
how  rich  this  collection  was  in  the  eighteenth-cen- 
tury masters.  It  remains  to  be  hoped  that  the  more 
important  of  these  works  will  find  a  permanent  resting 
place  in  a  public  museum,  where  art-lovers  will  be 
able  to  contemplate  them  at  their  ease. 

In  the  world  of  artists  it  is  considered  a  point  of 
honour  to  come  to  the  assistance  of  fellow-artists  who, 
as  often  happens,  have  fallen  upon  evil  days,  through 
misfortune,  illness  or  old  age.  This  has  now  been 
done  for  X'ignon,  the  painter,  on  whose  behalf  a  sale 
was  organized  (June  4),  which  produced  18,500  fr. 
The   pictures  which  contributed   most    towards   this 

127 


THE     BURLINGTON     GAZETTE 


total  were  the  Toilette,  by  Fantin-Latour  (4,100  fr.)  ; 
Sur  la  falaise,  pres  Dieppe,  by  Claude  Monet 
(4,000  fr.) ;  Environs  de  Rouen,  by  Lebourg  (1,420  fr.); 
the  Dunes,  by  Camille  Pissarro  (1,500  fr.),  etc. 

A  similar  sale  was  held  (June  4  and  5)  on  behalf 
of  Mine.  Lazerges,  widow  of  the  painter,  who  bene- 
fited to  the  extent  of  53,000  fr.,  thanks  to  the  prices 
realized  by  the  following  pictures,  among  others  : 
(Eillets,  by  Bonnat  (2,200  fr.);  Admiration,  by  Bou- 
guereau  (5,000  fr.) ;  Matinee  d'ete  pres  Pont-sur- Yonne, 
by  Delpy  (2,350  fr.)  ;  Soir  d'automne,  by  Albert  Gosse- 
lin  (1,550  fr.) ;  a  study  by  Henner  (1,200  fr.)  ;  Gio- 
vannina,  by  Jules  Lefebvre  (1,040  fr.)  ;  a  landscape,  by 
Le  Sidaner  (1,015  fr.);  ^  landscape,  by  Thaulow 
(4,900  fr.)  ;  etc.  Thus  do  our  artists,  in  a  noble  spirit 
of  emulation,  themselves  provide  retiring-pensions  for 
their  brothers  in  distress  or  their  heirs.  But  it  seems 
to  me  that  scciet}'  itself  should  come  to  the  aid  of  mis- 
fortune by  instituting  official  pensions,  even  as  they 
are  talking  of  providing  old-age  pensions  for  labourers 
in  the  fields  and  the  factories.  Are  the  artists  not 
labourers  too,  and  worthy  of  the  greatest  interest, 
because  of  their  perseverance  in  the  realization  of 
their  dreams  ? 

M.  Zygomalas,  whose  collection  of  contemporary 
pictures  was  sold  on  June  8,  was  a  Marseilles  mer- 
chant, who,  like  Mme.  Lelong,  was  able  to  add  the 
cares  of  art  to  those  of  business.  It  is  fortunate,  for 
that  matter,  that  the  latter  brought  him  in  more  than 
the  former;  for  his  collection,  which  cost  him  about 
800,000  fr.,  fetched  only  492,140  fr.  under  the  hammer. 
Here  are  the  highest  prices  obtained  at  the  sale  :  The 
Ruisseau,  by  Daubigny  (21,100  fr.)  ;  the  Printemps,  by 
Charles  Jacque  (18,050  fr.) ;  the  Chenes,  by  the  same 
artist  (24,000  fr.)  ;  Jongkind's  Canal  a  Dordrecht,  for- 
merly in  the  Lutz  collection  (10,000  fr.),  and  the  Cam- 
panile de  Rotterdam,  from  the  same  collection  (18,500 
fr.)  ;  the  Debacle,  by  Claude  Monet  (28,500  fr.)  ;  the 
Bords  du  Loing,  by  Sisley  (14,100  fr.).  The  Grand 
Canal,  effet  du  soir,  by  Ziem,  which  was  bought  for 
62,500  fr.  by  M.  Zygomalas,  was  sold  for  58,000  fr.  The 
greatest  fall  in  price  was  observed  in  the  case  of  the 
Rentree  de  la  ferme,  by  Van  Marcke,  bought  at  the 
sale  of  Frederic  Humbert,  one  of  the  persons  involved 
in  the  famous  Humbert  case,  of  which  all  the  news- 
papers have  been  and  are  still  speaking.  This  work, 
which  at  the  Humbert  sale  fetched  40,000  fr.,  was 
now  knocked  down  for  26,050  fr.  It  is  only  fair  to  say 
that  the  picture  had  undergone  a  light  restoration  in 
the  interval. 

On  the  next  day,  June  9,  was  sold  a  picture  by 
Fragonard,  which,  by  itself,  constituted  the  only  item 
in  the  sale.  It  was  called  Souviens-toi !  and  was  sold, 
in  an  old  Louis  X\T  frame,  in  carved  and  gilded  wood, 
for  43,200  fr.,  which  is  not  too  high  a  price  to  pay  for 
a  w^ork  bj'  this  charming  and  graceful  painter. 

I  shall  no  doubt  have  a  further  opportunitj-  of 
referring  to  the  sale  of  the  Galerie  Hochon  (June  11), 
which  was  particularly  rich  in  objects  of  art  of  the 
Renaissance.  It  included,  in  addition,  some  pictures, 
among  which  a  N'irgin  and  Child,  an  anonymous 
Flemish  work  of  the  sixteenth  century,  fetched  the 
sum  of  6,400  fr.  Another  sale,  held  on  June  13,  in- 
cluded the  famous  Herse  by  Millet,  the  rustic  master 
of  Barbizon  and  of  the  forest  of  Fontainebleau.    This 

128 


picture  was  bought,  after  the  bankruptcy  of  M.  Gar- 
nier,  the  picture-dealer,  for  75,000  fr.,  by  a  private 
collector,  who  refused  to  pay  the  bill,  pretending  that 
the  picture  belonged  to  him.  He  was  sued,  lost  his 
case  and  died  ;  and  the  canvas  was  again  put  up  for 
sale,  for  the  benefit  of  M.  Garnier's  creditors,  who  will 
receive  45,000  fr.,  the  sum  for  which  it  was  knocked 
down  on  the  13th.  I  may  also  mention,  at  the  same 
sale,  a  Pecheur  matinal,  by  Jules  Dupre  (25,000  fr.) ; 
the  Petite  charette,  by  Corot  (12,000  fr.) ;  the  Mare, 
by  Rousseau  (14,000  fr.) ;  etc. 

Lastly,  on  June  15,  was  held  a  sale,  amounting  to 
107,000  fr.,  of  old  pictures,  in  which  the  present 
season  has  been  very  plentiful,  as  we  have  seen. 
These  included  a  portrait  of  a  gentleman,  by  van 
Ravestein  (24,000  fr.)  :  a  portrait  of  a  young  woman, 
by  Verspronck  (5.011"  fr.)  ;  a  portrait  of  a  nobleman's 
family,  attributed  t..  \an(l\(:k  (4,700  fr.)  ;  a  portrait  of 
a  man,  attributed  to  Sir  Thomas  Lawrence  (4,900  fr.) ; 
a  portrait  of  a  gentleman,  bj-  Hudson  (3,500  fr.);  etc. 

A  sale  of  eight  pictures  (June  15)  from  the  pano- 
rama of  the  battle  of  Champagny,  including  a  canvas 
painted  in  collaboration  by  Detaille  and  Neuville,  the 
Fond  de  la  giberne,  in  which  each  executed  a  special 
part,  produced  only  12,900  fr. 

Drawings. — There  were  not  many  drawings  sold  by 
auction  during  the  past  month.  The  Arsene  Alexandre 
sale  included  some  that  were  interesting,  notably  the 
Femme  a  la  fontaine,  by  Joseph  Bail  (420  fr.)  ;  Mme. 
Rejane,  by  Besnard  (540  fr.)  ;  Abbeville,  b}'  Cazin 
(800  fr.)  ;  Daumier's  the  Hercule  de  foire  (500  fr.), 
the  Amateur  de  peinture  (310  fr.)  and  the  Deux 
buveurs  (1,000  fr.)  ;  L'Ondine,  by  Fantin-Latour 
(420  fr.) ;  a  portrait  of  Daumier,  by  Alphonse  Legros 
(400  fr.)  ;  Sainte-Genevieve,  by  Puvis  de  Chavannes 
(360  fr.).  I  would  make  special  mention  of  a  fine 
drawing  by  Ingres,  a  portrait  of  a  lady  seated,  which 
fetched  2,600  fr. 

Again,  in  the  collection  of  Count  A.  de  Ganay 
figured  some  really  interesting  eighteenth-century 
drawings,  elegant  and  graceful,  as  is  everything  be- 
longing to  that  period :  a  portrait  presumed  to  be 
that  of  Mme.  Dubarry  (3,ioofr.);  portraits  of  men, 
by  A.  M.  Lenoir  (1,900  fr.)  ;  a  portrait  of  Vivien,  by 
himself  (1,500  fr.)  ;  a  portrait  of  a  woman  and  of  the 
family  of  Rateau,  the  jurist,  by  J.  B.  Perronneau 
(4,200  fr.) ;  etc. 

Miniatures. — The  Ganay  collection  also  included 
a  certain  number  of  miniatures.  I  need  not  enlarge 
upon  the  delicate  art  of  those  dainty  paintings  on 
ivory,  which  achieved  so  great  a  success  in  the  last 
century  and  earlier.  It  would  not  seem,  however,  as 
though  their  favour  were  lasting,  for  these  miniatures 
fetched  only  very  low  prices,  fluctuating,  for  the  most 
part,  between  50  and  400  to  500  fr.  Thej-  were, 
besides,  not  of  the  first  quality,  and  several  of  them 
were  not  even  identified  with  any  accurac}'. 

I  will  confine  mjself  to  mentioning  a  portrait  of  a 
woman,  in  a  white  gown,  cut  low,  and  a  blue  sash,  by 
Ledoux  (560  fr.),  and  a  portrait  of  Mile.  Constance 
Meyer,  by  Prud'hon  (600  fr.) 

Prints. — On  the  other  hand,  eighteenth-century 
prints  are  retaining  all  the  favour  of  the  public,  as 
has  been  once  more  proved,  after  so  many  other 
-occasions,  by  the   sale  of  the  Leon  Roux  collection 


ROUEN     SALES 


(May  18-20),  of  uliicli  I  n<;ret  exceedingly  that  I  am 
able  to  mention  only  thu  highest  bids;  for  all  are 
worth  mentioning,  and  considerations  of  space  alone 
prevent  mc. 

The  principal  lots,  then,  included  the  following  :  the 
Hain,  by  Kegnault,  after  Baudouin  (5.S0  fr.)  ;  the 
Coucherde  la  mariee,  by  Moreau  the  Younger,  finished 
by  Simonnet  (3C0  fr.)  ;  L'Amour  rendant  hommageasa 
mere,  by  Janinet,  after  Boucher  (375  fr.)  ;  the  Menuet 
dc  la  mariee,  1786,  by  Debucourt  (1,555  fr.);  the 
Bouquets,  ou  La  Fete  degrand'-niaman,  1788  (605  fr.) ; 
I  he  Hasards  heureux  de  I'escarpolette,  by  N.  dc 
Launay,  after  Fragonard  (665  fr.)  ;  George  III 
King  of  Great  Britain  and  Charlotte  Queen  of  Great 
Britain,  after  Lawrence  (155  fr.) ;  Ah  !  laisse-moi 
done  voir  (335  fr.)  and  the  Aveu  difficile  and  the  Com- 
paraison  (2,870  fr.),  by  Janinet ;  the  Dejeuner  Anglais, 
by  \'idal  (285  fr.)  ;  Bonaparte,  premier  consul,  by 
Levachez,  after  Boilly  (540  fr.) ;  the  Lever,  by  Keg- 
nault, and  the  Bain,  by  Kegnault,  after  Baudouin 
(880  fr.) ;  the  Bal  pare,  by  .Augusta  de  Saint-Aubin, 
after  Duclos  (230  fr.),  etc. 

Objects  ok  Akt  and  Fukniture. — It  seemed 
as  though  we  should  never  come  to  the  end  of 
the  sales  of  the  collection  of  Mme.  Lelong,  which 
have  already  filled  a  considerable  portion  of  my 
last  chronicle.  They  began  again  on  May  25  to  29, 
with  so  full  a  catalogue  that  the  mere  enumeration  of 
the  objects  contained  in  it  would  easily  fill  one-half  of 
a  copy  of  The  Burlington  Gazette.  Let  me  say 
that  this  sale  included  some  fine  Saxony  and  Sevres 
china,  among  which  I  will  call  attention  to  a  metal 
vase,  red  glaze.  Saxony  (2,300  fr.),  and  a  statuette  in 
old  Locre  biscuit-ware  (2,120  fr.).  Chinese  and  Jap- 
anese porcelain  :  two  old  celadon  vases,  with  Louis  XV 
mountings  (1,720  fr.) ;  an  egg-shaped  vase,  sea-green 
china,  birds  on  flowering  trees,  and  gilt  bronzes 
1 4,200  fr.) ;  a  turquoise-blue  china  flower-stand  (900  fr.) ; 
a  seated  figure,  old  sea-green  celadon  (1,755  fr.)  !  two 
\  ,ises  for  burning  perfumes,  china,  fruit  supported  by 
L  monster  (2,250  fr.);  two  small  china  ink- horns, 
-lirubs  and  birds  on  a  black  ground  (4,700  fr.);  two 
hexagonal  vases,  rose-colour  (4,020  fr.).  Leather- 
work  :  a  pocket-book  bearing  the  name  of  the  Mar- 
quise de  Crtiquy,  in  red  morocco,  with  a  silver  clasp 
(330  fr.).  Various  objects  :  an  ostrich  egg,  varnished, 
eighteenth  centur\-,  decorated  by  Lebel  (1,180  fr.); 
four  silver  candelabra,  signed  '  Buntzel,'  seventeenth 
century  (13,000  fr.)  ;  a  water-colour  drawing,  1786, 
by  V'an  Blarenberghe  (7,000  fr.).  Bronzes  and  clocks: 
a  Kegency  centre-piece  (6,100  fr.)  ;  a  little  dog  stand- 
ing on  its  legs,  Louis  XV  (3,000 fr.);  two  Chinese 
candelabra,  Louis  XV  (6,900  fr.) ;  a  clock  signed 
'  S.  Germain'  (11,000  fr.)  ;  Cupids  mounted  on 
dragons  (5,400  fr.) ;  a  clock  with  the  efiigy  of 
George  III,  signed  '  Roque,  au  Louvre,  1771  ' 
(24,100  fr.).  Tapestry-covered  seats,  some  of  which 
fetched  close  upon  4,000  fr.  Mirrors  and  panels,  vary- 
ing from  1,000  fr.  to  4,000  fr.  Furniture  :  two  lacquered 
Regency  cupboards  (12,000  fr.);  a  Louis  XV  stand 
signed  '  Lieutaud  '  (1,200  fr.) ;  a  small  cabinet,  deco- 
rated with  musical  instruments  (15,900  fr.)  ;  a  piece  of 
centre  furniture  (19,000  fr.) ;  an  oblong  table {26,600 fr.). 
Textile  fabrics:  a  silk  gown,  \'enetian  (4,810  fr.). 
Tapestries:  eight  tapestries,  by  Vos,   Brussels,  eigh- 


teenth century  (30,100  fr.).  This  fourth  sale  produced 
843,804  fr.,  and  the  sum  total  of  the  sales  amounts  to 
8,71 1,832  fr. 

The  other  sales  seem  poor  by  comparison,  as,  for 
instance,  that  of  the  Montvallat  collection  (May  20), 
which  produced  only  20,299  ^^-  Another  sale,  held  on 
June  3,  in  which  I  may  mention  two  tapestries,  signed 
by  the  widow  of  G.  Werniers,  and  sold  for  about 
5,000  fr.,  produced  51,000  fr.  in  all. 

The  P.  Brenot  sale  (June  5-10)  yielded  167,000  fr. 
It  included  China  porcelain  :  two  green  enamel  ink- 
horns,  sixteenth-centur\- {4,300  fr.) ;  precious  objects: 
a  crystal  cup,  Indian  {3,400  fr.);  a  jade  perfuming- 
pan,  with  monsters  (3,700  fr.);  Chinese  cloisonne-ware: 
two  vases  for  burning  perfumes,  round  basins  sup- 
ported by  three  elephants'  heads  (6,000  fr.) ;  Japanese 
lacquer:  a  rectangular  dish,  fishers'  nets  drjing,  Ka- 
makura  (3,200  fr.) ;  seventeenth-centurj- lacquer- work  : 
a  small  rectangular  cabinet,  in  gold  lacquer  (1,220  fr.) ; 
eighteenth-century  lactjuer:  a  box  with  silver-thread 
lattice-work  (2,000  fr.) ;  nineteenth-century  lac(iuer- 
work,  of  which  the  prices  varied  from  300  to  about 
1,000 fr.;  Chinese  bronzes:  a  vase  for  burning  per- 
fumes, a  ram  and  shells  (1,900  fr.)  ;  Japanese  bronzes  : 
a  perfume-burner  from  a  temple  (1,000  fr.);  arms; 
textile  fabrics  ;   furniture  ;  etc. 

In  the  Hochon  sale.  I  would  mention  especially  a 
chasuble,  two  dalmatics,  two  lectern-covers  in  red 
velvet  with  gold  and  silver  embroidery,  from  the  Es- 
curial,  by  a  Spanish  artist  of  the  Renaissance  (35,000  fr.); 
an  altar  frontal  in  cloth  of  gold,  Venetian,  Renaissance 
(5,700  fr.)  ;  a  small  picture  in  gold  and  silver  em- 
broidery, Venetian  (?),  fifteenth  century  (6,100  fr.);  etc. 

I  have  now  given  an  epitome  of  the  sales  of  the 
past  month,  mentioning  the  more  important  works  that 
marked  them.  Never,  perhaps,  even  during  the  height 
of  the  season,  was  any  one  month  so  filled  ;  and  it  is 
only  right  to  say  that  the  quality  of  the  works  put  up 
for  sale  was  not  inferior  to  the  quantity.  To  recapitu- 
late, I  may  say  that  the  month  will  be  remembered 
especially  as  having  given  us  the  Boscoreale,  Arsene 
Alexandre,  .\.  de  Gana\-,  Zygomalas,  Hochon  and 
Lelong  sales.  "        '  Georges  Kiat. 

II.— ROUEN 

Lottin  i)K  Laval,  archaeologist,  w-riter,  explorer  and 
orientalist,  was  a  very  original  type  of  the  Norman  dis- 
trict. After  publishing  a  number  of  historical  novels 
connected  with  the  romantic  movement.  Lottin  de 
Laval  visited  Italy,  lUyria,  Greece  and  Turkey.  In 
T843,  he  was  charged  by  the  French  Government  with 
a  first  mission  to  Great  and  Little  .Armenia,  Kurdistan, 
Media,  Khorassan  and  Chaldea.  In  the  course  of 
this  journey  he  developed  a  process  of  moulding  by 
means  of  damp  paper,  in  order  to  take  an  impression 
of  inscriptions  and  low-reliefs,  an  easy  and  expeditious 
process  which  became  known  as  lultiitoplastic,  after  its 
inventor.  Paper  stereotyping,  so  necessary  in  our 
modern  typographical  work,  was  evolved  from  the 
process  discovered  by  the  Norman  archaeologist. 

Thanks  to  this  process,  Lottin  de  Laval  was  able 
to  take  casts  of  the  cuneiform  inscriptions  on  the 
rocks  of  Van  and  Kashna,  of  the  low-reliefs  of  Bag- 
dad, the  colossal  figures  of  Persepolis  and  Nineveh, 

129 


THE     BURLINGTON     GAZETTE 


the  head  of  the  Memphis  Rameses  and  the  curious  in- 
scriptions on  Mount  Sinai,  in  the  course  of  a  second 
governmental  mission  in  1855.  He  thereupon  pub- 
hshed  various  works  :  a  '  Memoire  sur  les  campements 
des  Dix-Mille,'  a  '  Voyage  dans  la  peninsule  arabique 
du  Sinai,'  and  a  '  Memoire  sur  les  monuments  de 
Salmanazar.' 

During  these  explorations,  Lottin  de  Laval,  who  was 
a  distinguished  painter  and  a  talented  sculptor,  had 
collected  a  large  number  of  objects  of  art  in  his 
Chateau  des  Trois  Vals,  a  country  house  which  he  had 
built  in  the  Arab  style  at  Menneval,  near  Bernay 
(Eure).  Here  Lottin  de  Laval  died  at  the  age  of  93, 
and  here,  on  May  17  last,  were  sold  those  interesting 
collections  of  pottery,  old  and  modern  paintings 
and  drawings,  engravings,  sculptures,  old  furniture, 
bronzes,  old  and  oriental  arms,  tapestries,  stuffs  and 
hangings,  and  books,  all  by  the  care  of  Messrs.  Sau- 
vage,  notary  public  at  Bernay,  and  Cahagne,  clerk  to 
the  court  of  the  justice  of  the  peace,  assisted  by 
Messrs.  Paulme  and  Lasquin  fils,  appraisers. 

Tapestries. — ^Two  tapestries  from  the  Coomans 
factory,  seventeenth  century,  Samson  chez  Dalila  and 
La  Fille  de  Jephte,  after  cartoons  by  Simon  Vouet 
(g.ooofr.);  a  Louis  XII  tapestry,  Arras  school,  La 
Discorde  au  banquet  des  dieux  (3,120  fr.)  ;  an  Aubus- 
son  tapestry,  verdure  with  animals,  with  a  border  of 
ilowers  (1.105  fr.)  ;  a  leaf  of  a  screen  in  Louis  XVI 
Aubusson  tapestry  (341  fr.)  ;  a  tapestry  for  a  bench, 
Louis  XVI  (615  fr.);  bed-hangings  in  tapestry,  with 
small  figures,  Renaissance  period  (635  fr.)  ;  two  arm- 
chairs in  tapestry  (435  fr.)  ;  canopy  of  a  bed,  in  Vene- 
tian lace  (365  fr.)  ;  an  oriental  carpet  (310  fr.). 

Pottery. — Two  plates,  Rouen  ware  (iiofr.);  a 
large  dish,  Rouen  ware  (102  fr.) ;  two  vases,  described 
as  pots-pourris,  in  Rouen  ware  (92  fr.) ;  two  ewers, 
Rouen  ware  (150  fr.);  two  plates,  Rouen  ware  (i2ofr.); 
two  Rouen  dishes  (302  fr.).  Delft,  Marseilles,  Mous- 
tiers  and  Strasburg  ware ;  Italian  ware ;  and  pottery 
from  the  Pre  d'Auge. 

Furniture. — A  console  in  painted  wood,  Louis  XV 
period  (255  fr.) ;  a  Regency  console  in  wood  carved  and 
gilded  (151  fr.) ;  a  Louis  XV  bedstead  in  carved  and 
gilded  wood  (465  fr.)  ;  a  carved-wood  Louis  XIV 
screen  (415  fr.);  a  carved-wood  console  (400  fr.);  a 
Regency  carved-wood  frame  (415  fr.);  a  cabinet  in 
the  Ducerceau  style,  with  four  columns  and  carved 
door-panels  (1,365  fr.)  :  a  small  cabinet,  in  carved  wood 
(310  fr.);  a  cabinet  with  two  bodies  in  carved  wood 
(540 fr.);  a  Gothic  chest,  panelled,  in  carved  wood 
(499  fr.) ;  a  Louis  XIV  chest  of  drawers,  in  marquetry 
(400  fr.);  a  Louis  XV  chest  with  three  rows  of 
drawers  (400  fr.). 

Statuettes. — A  sevcntccnth-century  Virgin,  in 
ivory  (100 fr.);  a  fifteenth-century  statuette,  in  stone 
(455  fr.). 

Pictures  and  Engravings. — A  picture,  by  Hondc- 
koeter.  Birds  and  Poultry  in  a  Landscape  (300  fr.) ;  a 
Portrait  of  a  Woman,  of  the  school  of  Mignard  (610  fr.); 
two  framed  engravings  (51  fr.) ;  two  small  eighteenth- 
century  miniatures,  on  ivory  (1,020  fr.). 

Books. — '  Aepitoma  Omnis  Philosophiae,'  .\rgen- 
tinaeGruninger,  1504,  small  quarto,  with  curious  illus- 
trations on  wood  (90  fr.) ;  '  Monographic  du  palais  de 
Fontainebleau,'  by  Pfuor  (102  fr.) ;  '  Annales  et  chron- 

130 


iques  de  France  '  (65  fr.) ;  '  Histoire  genealogique  de 
la  maison  royale  de  France,"  by  Pere  Anselme,  g  vols., 
1726  (326  fr.). 

The  total  amount  produced  by  the  sale  was 
57,817  fr. 

111.— THE    HAGUE 

On  June  6-10  Mr.  Martinus  Nyhoff  sold  the  first 
portion  of  the  late  Mgr.  Schaepman's  collection.  The 
following  are  some  of  the  highest  prices  fetched  at 
this  sale,  at  which  one  of  the  chief  buyers  was  the 
firm  C.  L.  van  Langenhuysen  (B.  Mensing)  of  Am- 
sterdam :  No.  74.  Ludolphus  de  Saxonia,  Vita  Christi, 
1502,  fl.  200;  No.  79.  Tissot,  Vie  de  Jesus-Christ, 
fl.  450  ;  No.  91.  Collection  of  plates,  representing  the 
Blessed  Virgin,  fl.  125  ;  No.  304.  Newman,  Works, 
fl.  38  ;  No.  786.  The  Jesuit  relations,  fl.  250;  No.  1220. 
Bulletina  della  Commissione  archeologica,  fl.  115; 
No.  1323.  Basilica  di  San  Marco,  fl.  175  ;  No.  1543. 
Sanuti,  Diarii,  fl.  275. 

IV.— AMSTERDAM 

On  June  15-19  Messrs.  Muller  &  Co.  held  an 
important  sale  of  coins  and  medals  from  the  col- 
lections of  Jhr.  van  den  Bogaerde  of  Heeswyk, 
Jhr.  J.  H.  F.  K.  van  Swinderen,  J.  N.  Bastert,  etc. 
This  auction  comprised  many  interesting  lots,  e.g., 
No.'  1057.  A  series  of  ten  gold  mouhrs  with  the 
zodiacal  figures  on  them,  stamped  by  the  Emperor 
Nour-Eddin-Jehangir,fl.54o;  No.  1089.  Three  gold  San 
Thomes  of  Goa,  dated  1670,  1678,  and  1680,  which 
are  most  probably  the  only  existing  specimens,  fl.  900  ; 
No.  nil.  A  gold  three-guilder  piece  of  Brasil,  dated 
1646,  fl.  260.  The  V.  d.  Bogaerde  collection  had  a 
special  interest  because  of  its  many  historical  medals 
and  coins  relating  to  the  various  provinces  of  Hol- 
land, especially  Brabant  and  Flanders.  The  Bastert 
collection  included  fine  medals  relating  to  Gustave 
Adolphe  and  Poland.  In  the  fourth  section  were 
some  exquisite  gold  and  very  finely  worked  medals ; 
on  the  whole  things  fetched  very  high  prices. 

At  another  sale  of  coins  and  medals,  held  by  Messrs. 
Schulman,  some  interesting  pieces  were  disposed  of, 
e.g.  a  series  of  emergency  coins  of  Gulick,  very  scarce, 
fl.  885. 

On  June  15  Messrs.  R.  W.  P.  de  Vries  began  a 
sale  of  important  books  on  art  and  also  scarce  and 
early  editions,  the  whole  being  the  collection  of 
Mr.  Gerlings  and  a  Paris  amateur.  The  auction 
also  contained  many  modern  prints  by  Felicie,  Rops, 
Daumier,  Delacroix,  Tantin-Latour,  Redon,  Legros, 
Rodin,  Whistler,  etc.  L. 


RECENT   ART   PUBLICATIONS' 

ART    HISTORY 

DiEZ  (E.)  and  Ouitt  (J.),     tirsprung  unci  Sieg  rler  altby/.antiiiischen 
Kunst.     (12x9)     Wien  (Gerold),  K.  15. 

Vol.  III.  of  J.  Strzygowski's  '  Byzantinische  Denkmaler.'  4  plates 
and  13  text  illiis. 
CouKAjoD  (L.).     Lemons  profess(!s  a  I'teole  du  Louvre  :  i,  Origlnes  de 
r  art  roman   el  gothique;   11,  Origines  de  la  renaissance;    111, 
Origines  de  I'art  moderne.     (9  x  6)     Paris  (Picard),  30  fr. 

Tliese  papers  contain  the  essence  of  Courajod's  minute  and 
cncyclopa;dic  knowledge  of  the  influences  formative  of  French 
art.     Vol.  HI  contains  a  bibliography  of  the  author  by  G.  Briere. 
*  Sizes  (height  x  width)  in  inches. 


RECENT     ART     PUBLICATIONS 


ANTIQUITIES 

r.xKsTANo    (J.).     Mahasiia  and   Bit    KhalUf.      With  a  chapter   by 

K.  Selhe.     (13  x  10)     London  (yuaritch  for  ligyptian  Research 

Account),  20s.  net.     [43  plates  ] 
I '  vnESSY  (G.).  Catalogue  geni5raldes  antiquitds  dgyptiennes  du  musie 

du  Caire:    Textes  et  dessins  magiques.      (14x10)      Le  Caire ; 

Londres  (Quaritch),  18  fr.  15.     13  plates. 
Kdcco  (S.)  and   Manxeki  (E).     GirKenti.     Da  Segesta  a  Selinunte. 

(11x7)      Bergamo  (Istitulo   italiano  d'Arti   grafiche),  L.  3,  50. 

[No.  4  of  C.  Ricci's  '  Italia  artistica' ;  loi  illustrations.] 
IlvKTT  (F.  A.).     Florence,  her  history  and  art  to  the  fall  of  the 

republic.     {9  x  6)     London  (Methuen),  7s.  6d.  net. 
('.■ccHi(A.)     Le  chiese  de  Firenze  dal  secolo  IV  al  secolo  XX.     Vol.i: 

Uuartiere     di    S.    Giovanni.      (10x7)      Firenze    (Stabilimento 

I'ellas). 
The  author  treits  his  subject  from  an  historical  and  artistic, 

rather  tha  1  an  architectural  standpoint.     Illustrated. 
MoLMENTi  (F.  G.).     Venezia.      (11x7)     Bergamo    (Istituto   italiano 

dArtigrafiche),   L.  3.50.     [With  132  illus.     No.  3  of  C.  Ricci's 

•Italia  artistica'  ;  parts  1-2,  A-nelli's  '  Ferrara  e  Pomposa'  and 

Ricci's  •  Ravenna,'  were  published  in  1902.] 
Glklitt    (C).     Besihreibende     Dars'.ellung   der   alteren    Bau-   und 

Kunstdenm:iler  des  Konigreichs  Sachsen.    25  Heft.    Amtshaupt- 

mannschaft   Dobeln.      (ii>:7)      Dresden   (Meinhold),   10  marks. 

[Over  300  illustrations.] 

BIOGRAPHICAL  WORKS   AND   MONOGRAPHS 

Travels  in  Southern  Europe  and  the  Levant,  1S10-1817,  the  journal 

of  C.  R.  C0CKEKE1.L,  R.A.     Edited  by  his  son,  S.  P.  Cockerell. 

(9x6)     London  (Longmans,  Green),  los.  Od.  net.     [Portrait.) 
Scott  (MacD.).     Sir  Edwin  Landseer,  R.A.     (6x4),     London  (Bell), 

IS.     [Miniature  series  of  Painters.] 
Williamson  (G.  C).   Andrew  and  Nathaniel  Plimer.   (13x9)  I  ondon 

(Bell),  63s.     [O5  plates.     Edition  of  365  copies  only.] 
lloLBOKN   (J.    B.   S.).     Jacopo   Robusti,   called   Tintoretto.      (8x5) 

London  (Bell),  5s.  net.     [38  plates.     '  Great   Masters  in  Painting 

and  Sculpture.'] 
Cladel  (J.).   .Vuguste  Rodin  pris  sur  la  vie.    (10x7)    Paris  (Ed.  dela 

Plume),  3  f.  50.      [Frontispiece.] 
Seaille.s   (G.).     Leonard    de    Vinci.      Paris    (Laurens).    2   fr.    50. 

[24  illus.) 
I ;  m;atta  (M.).    Leonardo  da  Vinci  ed  i  problemi  della  terra.     Torino 

(Bocca),  15  fr. 
BwNE   (W.).     Sir  David  Wilkie,   R.A.     (7x5)     London   (W.   Scott 

Publishing  Co.),  3s.  6d.  net.     [21  plates.] 

ARCHITECTURE 

Wotton  (Sir  H.)  The  elements  of  Architecture.  Collected  from 
the  best  authors  and  examples.  (8  x  6)  London  (Longmans, 
Green),  los.Od.  net.     [Reprint  of  text  of  1624  edition.] 

Streit  (A.).  Das  Theater.  Untersuchungen  iiber  das  Theater- 
Bauwerk  bei  den  klassischen  und  modernen  Volkern.  (17  x  12) 
Wien  (Lehmann  &  Wentzel),  52  marks.  [27  plates,  and  text 
illus.] 

Marcais  (W.and  G.).  Les  Monuments  Arabes  de  Tlemcen.  (10  x  7) 
Paris  (Fontemoing),  20  francs. 

A  publication  of  the  '  Service  des  Monuments  historiques  de 
I'Algurie.'     With  30  phototype  plates,  and  82  text  illus. 

Tanner  (H.).  Old  English  Doorways.  A  series  of  historical  ex- 
amples from  Tudor  times  to  the  end  of  the  xviiith  century. 
From  photographs  by  VV.  Galsworthy  Davie,  With  historical 
and  descriptive  notes,  drawings  and  sketches.  (10  x  7)  London 
(Batsford),  15s.  net. 

Worsfold  (T.  C).  Staple  Inn  and  its  history  :  being  an  account  of 
■  The  fayrest  Inne  of  Chancerie.'  (10x7)  London  (Bumpus). 
[28-illus.] 

1.1.  Palais  de  Archives  Nationales,  ancien  Hotel  de  Rohan,  princede 
Soubise.  Recueil  des  vues  d'ensemble  &  details  des  apparte- 
ments  du  prince  et  de  la  princesse.  (16x12)  Paris  (Gu(-rinet). 
[57  plates.] 

i'li'ER  (O.)  Osterreichische  Burgen.  Zweiter  Teil.  (iix8)  Wien 
(Holder). 

A  vol.  of  270  pp.  containing  notices  of  some  forty  examples  of 
mediaeval  military  architecture  in  Austria ;  the  illustrations  in- 
clude plans  and  sections.      Vol.  1  was  published  in  1902  (8  K.). 

Der  Baumeister,  Monatshefte  fiir  Architektur  und  Baupraxis. 
(16x12)  Berlin  (Hessling) ;  i;  M,  half-yearly  vol.  (October 
igo2-March  1903).  [70  pp.,  plates,  text  illus.  and  supplementary 
matter.] 


I'AIM  IN(i 

RoSH.s  (F.).     Die  Natur   in  der    Kunsi.  Mudien  eines  .Saturlorscliers 

zur    Geschiclite    der    M.ilerei.       (10x7)       Leipzig     (Teubner). 

12  marks.     [120  illustrations. J 
Van  Dvck  (J.  C).     The  Meaning  of  Pictures:  six  lectures  given  for 

Columbia  Universit.'  at  the  Metropolitan  Museum  of  Art.    (8  x  5' 

London  (Newnes),  5s.  net.     [31  p'ates.] 
Temi'LE  (A.  G.).     The  Wallace  Collection  (Paintings)  at  Hertford 

House.      (16x12)      London    (G  .upil),  ^^40.     [Two  sets   of   100 

photogravure  plates  upon  Japanese  and  Indian  paper  respectively 

(10  in  colour),  with  historical  and  descriptive  text] 
Masterpieces  in  the   National  Gallery.  London.     (11x8)     Munchen 

(Hanfstaengl),  i2marks.    [•Galleries of  Europe."  Over  200  illus.]. 
Die   Meisterwerke   des   Rijks-Museum  zu    .\msterdam.      (11x8) 

Munchen  (Hanfstaengl).  12  marks.     ['Galleries  of  Europe. ') 
CsAKi  (M.).     Baron  Brukenthalische  Gem:ildeg:lerie.     Eine  Auslese 

von  vierzig  Gemiilden.    (13  x  10)  Hermannstadt  (Kra(lt).  m.  7.65. 
Published  upon   the  hundredth  anniversary  of   the  death  of 

Samuel  von  Brukenthal  (1721-1803).  founder  of  the  Siebenbiirgen 

gallery.     Piates  in  photogravure. 

The  Work  OF  Botticelli.     (10x7)     London  (Newnes),  3s.  6d.  net. 

[64  flales.     Newnes'  'Art  Library.'] 
RoosES  (M).     De  oude  hollandsche  en  vlaamsche  meesters  in  den 

Louvre  en  in  de  National  Gallery.     (11x7)     Amsterdam  (Maal- 

schappy  Elzevier),  32  plates. 
Mont  (Pol  de).     Les  peintres  flamands  du  xix^'"=  siecle.     Edit<:-  sous 

la  direction  de  M.  Rooses.     Traduction  de  G.  Eekhoud.     (12x9) 

Anvers  (Lib.  Neerlandaise). 

Uniform  with  Rooses'  '  Dutch  Painters  of  the  Nineteenth  Cen- 
tury,' this  work  contains  illustrated  essays  upon   F".  Courtens. 

V.  Beers,  v.  Leemputten.  Claus,  Khnopff,  Mertens.  Baertsuen.  L. 

Frederic,  v.  Aise.  Verstraete,  and  the  sculptors  C.  Meunier  and 

I.deRulder. 
Masters  of  English  Landscape  Pdinting :  J.  S.  Cotman,  David  Cox, 

Peter  de  Wint.     Edited  by  C.  Holme.     (12x8)     L^ondonCThe 

Studio'),  5s.  net. 
The  text  consists  of  essays  by  Messrs.  L.  Binyon,  A.  L.  Baldry, 

and  W.  Shaw  Sparrow.     Of  the  numerous  illustrations  19  are  in 

colour. 
Caw  (J.  L.).     Scottish  Portraits,  portfolio  in  [plates  49-72.]     Edin- 
burgh (Jack),  21S.  net. 
Heilhut  (E.).     Die  Impressionisten.     (10  x  7)    Berlin  (Cassirer). 

A  short  study  (38  pp.)   of  the  French   impressionists,  with 

31  plates. 
Wright  (A.  C).     Simple  methods  for  testing  painters'  materials. 

(8  X  5)     London  (Scott,  Greenwood),  5s.  net. 

SCULPTURE 

Edgar  (C.  C).  Catalogue  gc-niral  des  antiquitiis  ^gyptiennes  du 
mus^e  du  Caire:  Greek  moulds.  (14x10)  Le  Caire ;  Londres 
(Quaritch),  24  fr.  60. 

Scott  (F.  J).  Portraitures  of  Julius  Caesar,  a  monograph.  (10  x  7) 
London  (Longmans,  Green),  21s.net.     [With  90  illus.] 

Lasteyrie  (R.  de).  fitudes  sur  la  sculpture  franjaise  au  moyen  .ige. 
(14x11)  Paris  (Leroux),  40  fr.  [Vol.  viii,  Memoires  de 
I'Academie  des  Inscriptions,  Fondation  Plot  ;  20  photogravures 
and  text  illus.] 

Tornow  (P.).  Das  neue  Hauptportal  des  Metzer  Domes.  Kurze 
Beschreibung  des  figurlichen  Schmuckes  und  Notizen  zur 
Geschichte  des  Portales.    (9x6)   Metz  (Even).  [28  pp.  7  plates.] 

CERAMIC  ART 

Dragendorkp(H.).  Theraeische  Graeber.  (13  ><  10)   Berlin  (Reimer). 

50  marks. 

Vol.  Ill  of  Hiller  von  Gaerlringen's  '  Thera.'     I..argely  devoted 

to  pottery  '  finds.'    Many  plates  and  text  illus. 
Collignon   (M.)  and  Codve  (L  ).     Catalogue  des  vases  peints  du 

Musee  national  d'Athines:  Index.     (9x6)     Paris  (Fontemoing). 

3fr.     [Pubn.  of  the  French  School  at  .\thens.] 
Becking  (E.).     Fliesen-Boden  nach  Gemiilden  des  funfzehnten  und 

sechszehnten    Jahrhunderis.      (lo  x  10)      Stuttgart    (Hofmann), 

15  marks. 
48  col.  plates,  tile-pavement  designs  from  paintings  by  J.  van 

Eyck,  the  elder  Holbein,  Memling.  Bouts  and  others. 
Lunn  (R.).     Pottery.     A  handbook  of  practical  pottery  lor  teachers 

and  art  students.     (10x6)     London  (Chapman*  Hall),  5s.  net. 

[Illustrated.] 


THE     BURLINGTON     GAZETTE 


THE    BOOK 

PiNGRENON  (R.).  Les  Livres  ornes  et  illustres  en  couleur  depuis 
le  xv^  siecle  en  France  et  en  Angleterre.  Avec  une  bibliographic. 
(8  X  5)     Paris  (Daragon),  5  francs. 

Heitz  (P.).  Les  Filigranes  des  Papiers  contenus  dans  les  incunables 
strasburgeois  de  la  Bibliotheque  Imperiale  de  Strasbourg. 
(13  X  10)  Strasbourg  (Heitz  &  Miindel),  10  fr.  [50  pp.  of  facsimile 
watermarks.] 

HouLBERT  (C).  Les  insectesennemis  des  livres.  (g  x  6)  Paris (Picard), 
7  fr.  50.     [62  illus.] 

Lacombe  (P.),  Bibliographie  des  travau.x  de  M.  Leopold  Delisle. 
Paris  (Picard),  12  fr. 


Broome  (F.).     Decorative  brush-work  for  schools.     (11x8)     London 
(Chapman  &  Hall),  7s.  6d.  net.     [48  col.  plates.] 


les  deux  cents  Incunables 
Estampes.     (13  a  g)     Paris 


ENGRAVING 

BouCHOT  (H.),  Bibliotheque  Nationah 
Xylographiques  du  Departement  de 
(Levy). 

'  Origines  de  la  gravure  sur  bois  ;  les  precurseurs  ;  les  papiers  ; 
les  indulgences;  les  "  grandes  pieces  "  des  Cabinets  d'Europe  ; 
catalogue  raisonne  des  estampes  sur  bois  et  sur  metal  du  Cabinet 
de  I'aris.'  With  a  bound  vol.  (18  x  13)  containing  phototype  re- 
productions (log  plates)  of  the  earliest  French  woodcuts. 

Wedmoke  (F.).    Cameron's  etchings,  a  study  and  a  catalogue.  (10x6) 
London  (Gutekunst).     [Edition  of  155  copies.] 


MISCELLANEOUS 

MoscHETTi  (A.).  II  Museo  civico  di  Padova;  cenni  storici  e  illustra- 
tivi.     (13  X  lo)     Padova  (Prosperini). 

A  detailed  description  (160  pp.)  of  the  various  sections  of  the 
Paduan  Museum :  library,  archives,  artistic  and  archaeological 
collections,  with  illustrations. 

Hefner-.\lteneck  (J.  H.  von).  Waffen  :  ein  Beitrag zur  historischen 
Waflenkunde  vom  Beginn  des  Mittelalters  bis  gegen  Ende  des 
siebzehntenjahrhunderts.  (14x10)  Frankfurt  am  Main  (Keller), 
45  marks.     [100  plates.] 

Geiges  (F.).  Veralte  Fensterschmuck  des  Freiburger  Miinsters. 
(13x10)  Freiburg  im  Breisgau  (Herder),  5  marks  each  part.  [To 
be  completed  in  5  parts.     Nos.  1-2  published.] 

Heyne  (M.).  Kiirperflege  und  Kleidung  bei  den  Deutschen  von  den 
altesten  geschichtlichen  zeitenbis  zum  16.  Jahrhundert.  (10  >  7) 
Leipzig  (Hirzel),  12  marks.  [Fiinf  Bucher  deutscher  Hausalter- 
tiimer,  vol.  3.] 


Book,  impressions  of  the  East 
8)     London  ('Punch'  Office), 


Raven-Hill  (L.).  An  Indian  Sketch 
and  of  the  Great  Durbar.  (10  > 
6s.  net. 

SociETE  des  Artistes  Francais.  Catalogue  illustre  du  Salon  de  1903. 
(g  X  6)     Paris  (L.  Baschet),  3  fr.  50. 

SociETE  Nationale  des  Beaux-Arts.  Catalogue  illustre  du  Salon  de 
1903.     (9  X  6)     Paris  (L.  Baschet),  3  fr.  50. 

Catalogue  of  the  Pictures  and  Sculpture  in  the  Glasgow  Art  Gallery 
and  Museum,  Kelvingrove.  Compiled  by  J.  Paton.  Ninth 
Edition,     (g  x  6)      [21  plates.]      is. 

Galekie  Colonna.  Catalogue  des  Peintures  et  Sculptures.  'Via 
Archi  della  Pilotta,  n.  17.  (8x5)  Roma  (Tipografia  Industria 
e  Lavoro),  i  franc. 

Union  centrale  des  Arts  Decoratifs.  Exposition  des  Arts  Musulmans. 

Catalogue  descriptif  par  M.  G.  Migeon,  MM.  van  Berchem  et 

M.  Huart.     {7x5)     Paris  (Soc.  fran?.  d'Imprimerie).     120  pp., 
not  illustrated. 

Wyllie  (W.  L.,  A.R.A.).     Natures  laws  and  the  making  of  pictures. 
(14  X  10)     London  (E.  Arnold),  15s.  na. 
A  well-illustrated  treatise  on  pictorial  perspective. 


MiDDLETON  (G.  A.  T.).  The  principles  of  ; 
(9  X  5)  London  (Batsford),  2S.  6d.  ne 
grams,  and  drawings.] 


chitectural  perspective. 
[With    fifty-one   dia- 


SALE   CATALOGUES 

A  CATALOGUE  of  a  Collection  of  antique  carvings  and  things  Bud- 
dhistic removed  from  temples  and  palaces  in  Japan  and  China 
[Hirase  collection]  .  .  .  sold  May  20-22.  (8  x  5)  London 
(Robinson  &  Fisher). 

Catalogue  des  Objets  d'Art  du  moyen-age  et  de  la  renaissance,  fers, 
sculptures,  meubles,  broderies,  tableaux  composant  la  collec- 
tion de  M.  Hochon.  'Vente,  11-12  juin  1903.  (13  x  g)  Paris 
(Chevalier).     [17  plates.] 

Sambon  (A.).  Les  Fresques  de  Boscoreale  [vente  a  Paris  dans  les 
galeries  Durand-Ruel,  8  juin  1903].  (14x10)  Paris  (Canessa). 
[With  10  col.  plates  and  text  illus.] 

Collection  E.  PacuUy,  tableaux  anciens  et  modernes.  'Vente,  4  mai 
1903.     (14x10)     Paris  (Lair-Dubreuil).     [41  plates.] 

N.B.— All  these  books  can  be  seen  and  consulted  in  the  National 
Art  Library,  in  the  Victoria  and  Albert  Museum,  South  Kensington. 


ANSWERS    TO    CORRESPONDENTS 

No.  5.  —  'The  Princes  and  People  of  India,'  by  the  Hon.  Emilv 
Eden,  was  published  in  1S43  ;  the  prices  were  ^^3  3s.  (plain)  and 
/lo  los.  (coloured). 

No.  6. — The  Spanish  carpets  (several  fine  specimens  of  which  can 
be  seen  at  the  South  Kensington  Museum)  are  rare  and  beautiful 
in  colour.  They  were  chiefly  made  in  the  seventeenth  and 
eighteenth  centuries  from  Persian  patterns,  and  have  frequently 
been  mistaken,  except  by  experts,  for  fine  antique  Persian.  One  of 
the  finest  in  colour,  pattern,  and  rarity  will  shortly  be  reproduced 
in  this  magazine,  with  some  valuable  notes  by  Sir  Purdon  Clarke. 

No.  7. — We  should  advise  you  to  get  '  Hunt's  Talks  about  Art,'  an  ex- 
cellent book  for  the  general  principles  of  painting.  The  articles 
on  painting  in  the  '  Home  Arts  Self-Teacher,'  published  by 
Pearsons,  are  very  good.  The  influence  of  study  of  oriental 
design  is  evident  in  the  works  of  the  artist  you  mention.  We 
cannot  describe  his  method  beyond  saying  that  it  is  direct,  broad 
painting,  and  that  the  colour  is  fine  and  har 


No.  8. — There  was  no  doubt  a  certain  resemblance  in  Gainsborough's 
portraits  to  those  of  Reynolds  ;  due  a  good  deal  to  the  fact  that 
they  were  contemporaries,  and  all  the  peculiarities  of  the  age  and 
sometimes  the  actual  sitters  are  the  same  in  their  pictures.  There 
are,  however,  very  decided  differences  resulting  from  their  early 
surroundings.  Reynolds  supplemented  his  classical  training  and 
natural  genius  by  a  '  Magazine  of  Rules '  and  well-tried  systems. 
As  to  Gainsborough,  each  new  model  furnished  him  with 
fresh  ideas,  and  allowed  his  own  nature  to  be  reflected  in  the 
pathetic  tenderness  and  tinge  of  melancholy  which  is  seen  in 
most  ol  his  portraits.  His  peculiar  gift  was  his  power  of  colour. 
In  this  he  ranks  with  Rubens,  and  is  admittedly  the  purest  colour- 
ist  of  the  English  school.  Ruskin  even  says  of  him  :  '  In  his 
management  and  quality  of  single  and  particular  tint,  in  the  purely 
technical  part  of  painting.  Turner  is  a  child  to  Gainsborough.  His 
hand  is  light  as  the  sweep  of  a  cloud,  as  swift  as  the  flush  of  a  sun- 
beam. His  forms  are  grand,  simple,  ideal.  He  never  loses  sight 
of  his  picture  as  a  whole.  In  a  word,  Gainsborough  is  an  im- 
mortal painter.'  As  to  your  question  whether  the  enormous 
prices  given  for  the  clic/s  d'ocuvre  of  both  these  artists  will  be 
maintained,  there  is  every  indication  that  they  w-ill  even  increase 
in  monetary  value.  Fortunately,  many  of  them  are  in  the  pos- 
session of  owners  who  cannot  be  tempted  to  sell  at  any  price. 


,  PRICE     FOURPENCE 
NUMBER  V        VOLUME   I  AUGUST  1903 

THE 

BURLINGTON 

GAZETTE 


PRINCIPAL  CONTENTS 

PILGRIM   SIGNS.     BY   ARTHUR   G.   WRIGHT 

CRITICAL   ARTICLES  ON    ENGLISH   AND  FOREIGN  SALES  OF  PICTURES,    PRINTS. 
OTHER  WORKS   OF   ART   AND   BOOKS 

A  LIST   OF    RECENT  ART   PUBLICATIONS   IN    EVERY   LANGUAGE 

ART     NEWS     AND     NOTES     FROM     FRANCE,     BELGIUM,     GERMANY,      HOLLANI> 
AND    ITALY 


LONDON 

THE   SAVILE    PUBLISHING    COMPANY,   LIMITI'D 

14   NEW   BURLINGTON   STREET,   W. 

PARIS:   LIBRMRIK   H.   FLOURY,  i    UOI-'LKVARD  DiLS  CAPUCINES.       BRUSSELS:  SPINEUX  &  CIE.,  Cj  MOMTAGNK  Vl^  l-A  COUK 

LEIPZIG:    KARL   W.   HIERSEMANN.   3   KONIGSSTRASSK.        VIENNA:    ARTARIA   i  CO..   I..   KOHLMARKT  9 

A.MSTERDAM:   J.   G.    ROBBERS,  64   N.   Z.   VOORBURGW.^L.        FIX»RENCE:    C.   SEEPEK.    20  VIA    TORNABUONI 

NEW    YORK:    SAMUEL   BUCKLEV   &   CO..    100   WILLIAM    STREET 

PRICE    FOURPENCE    NET  ANNUAL   SUBSCRIPTION,  5/-  POST    FREE 

IN    THE    UNITED    STATES,   1 5    CENTS  ANNUAL   SUBSCRIPTION    TO   THE    BURLINGTOM 

IN    OTHER    FOREIGN    COUNTRIES,  50  CENTIMES  MAGAZINE    (INCLUDING    THE   GAZETTE), 

OR    40    PFUNNIGE  35/"    POST   FREE    IN   THE    UNITED    KINGDOM 


NUMBER  V    VOLUME  II 


JULY  1903 


THE 

burlingtonI 
magazine 

for  Connoisseurs 
MustratedkfahlishedMonthb^ 


fs 


CONTENTS 


iJT 


SIR  HUBERT  PARRY'S  COLLECTION  AT  HIGHNAM  COURT.— ROGER  FRY 
LORD    NORMANTON'S     PICTURES     BY    SIR    JOSHUA     REYNOLDS.— MAX 

ROLDIT 
FRENCH     FURNITURE    OF    THE     SEVENTEENTH     AND    EIGHTEENTH 

CENTURIES.      ARTICLE   II.— EMILE    MOLINIER 
THE    PLATE   OF  WINCHESTER   COLLEGE.— PERCY   MACQUOID,    R.I. 
GREEK   ART   AT   THE    BURLINGTON    FINE   ARTS   CLUB.— CECIL    SMITH 
A    NEWLY-DISCOVERED     '  LIBRO     DI     RICORDI'    OF     ALESSO     BALDO- 

VINETTI.     PART   II.— HERBERT   P.    HORNE 
MODERN    DUTCH   PICTURES   IN   THE   GUILDHALL  EXHIBITION 
MUSSULMAN    MANUSCRIPTS    AND    MINIATURES    AT    THE    EXHIBITION 

IN   PARIS.— E.   BLOCHET 
EXHIBITION  OF  ENGRAVINGS  AT  SOUTH  KENSINGTON.— E.  F.  STRANGE 
THE   SEALS   OF  THE   BRUSSELS   GILDS.— R.   PETRUCCI 
NEW  ACQUISITIONS  AT  THE   NATIONAL  MUSEUMS 

LONDON 

THE    SAVILE    PUBLISHING    COMPANY,    LIMITED 

14  NEW   BURLINGTON   STREET,  W. 

PARIS:   LIBRAIRIE  H.  FLOURY.  1  BOULEVARD  DES  CAPUCINES.     BRUSSELS:  SPINEUX  &  CIE. 

62  MONTAGNE  DE  LA  COUR.        LEIPZIG  :  KARL  W.  HIERSEMANN,  3  KONIGSSTRASSE 

VIENNA:    ARTARIA  &  CO.,   I.,   KOHLMARKT    9 

AMSTERDAM:  J.  G.   ROBBERS.  N.  Z.  VOORBURGWAL  64 

FLORENCE:   B.   SEEBER.   20  VIA  TORNABUONI 

NEW  YORK:   SAMUEL  BUCKLEY  &   CO..    100   WILLIAM   STREET 


RICE  HALF-A.CROWN  NET;  ANNUAL  SUBSCRIPTION  (INCLUDING  SUPPLEMENT)  THIRTY-FIVE  SHILLINGS  POST 
PRICE  IN  THE  UNITED  STATES,  ONE  DOLLAR  NET;    IN  OTHER  FOREIGN  COUNTRIES,  3  f.  50.  Of  2.»o  MARKSJjET, 


THE    BURLINGTON    GAZETTE 

liKINC;  THE   MONTHLY  SL'l»PLEi\H':NT  TO  TIM. 
BURLLNGTON  MAGAZINE  FOR  CONNOISSEURS  OF  THE  PRE\1<)1"^  MoXTI 


CONTENTS 

PILGRIM  SIGNS 'iH 

NOTES  FROM  PARIS 134 

BELGIUM            135 

ITALY        137 

BERLIN I3g 

HOLLAND           13Q 

GENERAL  NOTES i.,o 

ENGLISH   SALES 

PICTURES          142 

PRINTS ,4., 

BOOKS 14S 

MISCELLANEOUS 150 

FOREIGN   SALES: 

1.  PARIS ,5j 

2.  AMSTERDAM            ,55 

RECENT  ART  PUBLICATIONS           155 

OPINIONS    ON    WORKS    OF    ART 

We  are  prepared  to  arrange  for  expert  opinions  as  to  the  authenticity 
etc.,  of  works  of  art  and  old  books.  The  opinions  will  be  given  by 
members  of  the  consultative  committee  of  The  Burlington  Maga- 
zine and  other  experts  of  equally  high  standing. 

The  objects  as  to  which  an  opinion  is  desired  may  be  sent  to  this 
office,  or  we  can  arrange  for  a  visit  to  be  paid  to  the  house  of  the 
owner  when  this  is  preferred. 

The  charge  for  an  opinion  or  attribution  will  be  a  matter  of 
arrangement  in  each  case,  and  nothing  must  under  any  circumstances 
be  sent  to  this  office  without  a  previous  arrangement. 

All  objects  sent  will  be  at  the  owner's  risk  and  will  be  insured,  the 
owner  paying  the  cost  of  insurance  and  carriage  both  ways.  Though 
every  possible  care  will  be  taken  of  anything  sent,  we  cannot  under- 
take any  responsibility  in  the  event  of  loss  or  damage. 

We  do  not  undertake  valuations,  nor  can  we  in  any  case  act  as 
agents  for  sale  or  purchase.  Those  who  are  acquainted  with  these 
matters  are  well  aware  that  such  undertakings  on  the  part  of  a 
periodical  either  interfere  with  the  legitimate  trade  of  the  professional 
dealer  or  else  open  the  door  to  practices  not  to  the  interest  of  the 
private  vendor.  But  we  will  gladly  give  an  opinion  as  to  whether 
any  object  has  any  appreciable  value,  and  (when  possible)  what  prices 
similar  objects  have  recently  fetched  at  auction. 

Owners  wishing  to  sell  should  either  : 

(1)  Advertise  in  The  Burlington  Gazette,  which  circulates 
among  a  large  and  wealthy  collecting  public  ;  or 

(2)  Offer  the  object  to  a  dealer  of  repute  (the  names  of  the 
best  dealers  will  be  found  in  the  advertisement  pages  of  The 
Burlington  Magazine)  ;  or 

(3)  Put  the  object  up  to  auction. 

No.  5.     Vol.  I.— August  1903  I 


PILGRIM  SIGNS 

Not  the  least  interesting  or  remarkable  amongst  the 
varied  flotsam  and  jetsam  of  the  recurring  tides  of  our 
great  commercial  waterway  are  some  little  objects 
known  to  antiquaries  as  siguacula  or  pilgrim  signs. 
These  delicately  and  often  artistically  executed  little 
badges  are  made  of  pewter  or  lead,  and  owe  their 
wonderful  state  of  preservation 
through  several  centuries  to  the 
soft  ooze  of  the  Thames  fore- 
shore, in  which  they  have  lain 
embedded  until  the  scour  of  the 
tides  has  revealed  them  to  the 
vigilant  eyes  of  the  riverside 
beach-comber.  They  consist  of 
figures  and  devices  of  great  va- 
riety, and  were  provided  each 
with  a  pin,  cast  in  one  piece  with 
the  brooch,  to  fasten  it  to  the 
cloak  or  dress  of  the  wearer. 

These   little  signs   or  badges, 
which   appear  to  date  from    the 
thirteenth  to  the  fifteenth  century, 
were  probably  a   source  of  con- 
iNo-  1  siderable  revenue  to   the  various 

monasteries  and  churches  where 
the  shrines  of  which  they  were  the  emblems  were 
situated,  for  in  mediaeval  times  pilgrimages  were  of 
frequent  occurrence,  and  it  was  the  custom  of  the 
devout  pilgrim,  on  the  occasion  of  his  visit  to  the 
shrine,  to  purchase  a  sign  to  wear  on  his  cap  or 
cloak  as  a  souvenir  of  his  pilgrimage,  and  to  testify 
to  all  men  of  his  piety. 

Chaucer,  in  the  'Canterbury  Tales,'  tells  us  how 
his  pilgrims  to  the  shrine  of  St.  Thomas  a  Becket. 
'as  manner  and  custom  is,  signes  they  bought ;  for 
men  of  contre  should  know  whome  they  had  sought." 
How  each  one  bought  what  most  took  his  fancy  :  one, 
a  head  of  the  martyr: 
another,  a  brooch  hav'ing 
his  initial  for  the  centre- 
piece. How  the  miller,  not 
content  with  one  emblem, 
or  perhaps  unable  to  make 
his  choice  from  a  large  and 
tempting  display,  '  ypiked 
his  bosom  full '  of  the  holv 
martyr's  signs.  Judging 
from  the  variety  of  the.se 
little  badges  which  relate  to 
the    murdered    archbishop,  '"^"^  ■ 

his  shrine  must  have  enjoyed  considerable  notoriety 
during  several  centuries.  One  of  the  most  charming  is 
a  full-length  figure  of  Becket,  clad  in  his  robes  and 
wearing  the  mitre,  standing  under  a  richly  decorated 
canopy.     Another  represents  his  mitred  head  with  the 

^3i 


THE     BURLINGTON     GAZETTE 


legend,C(ipiit  Thome  No.  i^  .     Some  tiny  bells  inscribed 
Campan  Thome  |  No.  2     have  also  been  found,  and  it  is 
possible  the  pretty  and  popular  perennial,  the  Canter- 
bury Bell,  may  have  derived  its  name 
from  the   resemblance  of  its  flower  to 
these  tiny  bells  of  (_"aiitiTbur\'s  niart\r. 
In  the  inventor}-  of  tin-  tna-^nres  pre- 
served at  Canterbur)-  a  lon^  list  is  f;i\-en 
of   the   relics    of   the    saint    which    in- 
cludes his  gloves  '  adorned  with  three 
orfreys '  (bands  of  golden  embroidery), 
and  we  find  amongst  those  little  signs  a 
tiny  glove  with  the  orfreys  and  jewelled 
backs  and  the  episcopal    ring    on    the 
'^°'  ^  finger  [No.  3]  . 

There  is  a  pretty  legend  of  St.  Etheldreda  or  Awdry, 
a  favourite  English  saint.  She  was  the  daughter  of 
Anna,  king  of  East  Anglia,  and  founded  the  abbey  at 
Ely,  over  which  she  presided  as  abbess.  The  legend 
relates  that  when  travelling  from  the  north  to  Ely 
she  lay  down  by  the  wayside  to  sleep,  planting  her 
staff  in  the  ground  at  her  head,  and  that  when  she 
awoke  it  had  grown  into  a  large  tree  shielding  her 
from  the  fierce  heat  of  the  sun.  A  pilgrim  to  her 
shrine  at  Ely  in  the  fifteenth  century  bought  the  little 
sign  representing  her  with  the 
blossoming  staff,  which  was 
found  four  centuries  afterwards 
on  the  Thames  shore  near 
London  Bridge. 

A  verj' elaborate  sign  is  that 
of  Master  John  Shorne,  repre- 
senting a  preacher  in  a  pulpit, 
with  an  inscription  beneath. 
This  Sir  John  Shorne  was  a 
famous     preacher,     rector     of 

North    Marston    in    Bucking-  ' 

hamshire,  and  his  shrine  was  celebrated  far  and 
wide  for  its  reputed  virtue  of  curing  the  ague.  It  was 
removed  to  Windsor  in  1478  by  order  of  Richard 
Beauchamp,  bishop  of  Salisbury  and  dean  of  Windsor. 
On  one  occasion,  it  is  said.  Master  John  Shorne 
conjured  the  devil  into  a  boot,  which  remarkable 
performance  is  represented  on  some  of  his  signs,  and 
was  the  subject  of  a  window  in  Marston  church. 

Fifty-seven  churches  in  England  are  dedicated  to 
St.  Oswald,  a  king  of  Northumbria  in  the  seventh 
century.  He  was  killed  in 
battle  by  Penda,  king  of 
Mercia,  who  ordered  his 
head,  hands,  and  arms  to 
Ik;  cut  off  and  set  on  stakes. 
His  remains,  after  being 
buried  in  various  places, 
were  collected  and  re-in- 
terred at  St.^  Oswald's  in 
Gloucestershire.  One  of  his 
signs,  representing  the 
martyr's  full-length  effigy 
holding  the  sceptre  and 
cross,  was  found  in  London, 
^^,,  ^  v\here  it  was  probably  lost 

some  time  in  the  sixteenth 
century.  Signs  of  King  Henry  VI,  long  regarded  as 
a    saint    and  martyr,    whose    tomb    at    Windsor  wag 


much  frequented  by  pilgrims,  have  also  been  found 
in  London,  as  have  those  of  Edmund  king  and  martyr, 
and  St.  Leonard. 

During  the  fourteenth  and  fifteenth  centuries  it  was 
the  fashion  to  make  the  signs  in  the  form  of  letters,  sup- 
posed to  be  the  initials  of  various  saints.  One  in  the 
Guildhall  museum,  London,  where  so  many  of  these 
interesting  little  objects  are  preserved,  is  in  the  form 
of  a  K  [No  41,  and  emanated  from  the  shrine  of 
St.  Kenelm  at  Winchcombe. 

Two  signs  from  shrines  of  the 
Blessed  Virgin  may  be  mentioned 
here.  One,  found  near  Black- 
friars,  London,  which  probably 
dates  from  the  fifteenth  century, 
represents  her  with  the  infant 
Christ,  standing  on  a  crescent 
surrounded  with  a  flame-like 
aureole.     The  other,  a  little  sign  xo.  i, 

representing  her  with   the  infant 

Saviour  standing  in  a  little  crescent-shaped  boat,  is 
supposed  to  relate  to  our  Lady  of  Boulogne,  whose 
miraculous  effigy  is  said  to  have  been  borne  to  that 
town  in  a  ship  without  sails  during  the  seventh 
centur}-. 

Illustrations  are  given  of  two  other  foreign  signs — 
the  shell  of  St.  James  of  Compostella  I  No.  5;  ,  perhaps 
the  best  known  of  all  pilgrim  badges,  and  the  pretty 
little  fifteenth-century  badge  [No.  61,  a  fleur-de-lys 
within  a  pearled  nimbus,  probably  a  sign  of  St.  Louis 
of  France. 

It  would  be  easy  to  add  many  more  examples  of 
these  tiny  signacnla  to  those  already  described.  Enough 
has,  however,  been  said  to  show  the  great  interest 
attaching  to  them,  not  less  in  these  days  than  when 
they  shone  bravely  on  cap  and  cloak,  conferring  on 
their  wearers  a  certain  distinction. 

Arthur  G.  Wright. 


NOTES  FROM  PARIS 

ROUND  THK  ARTISTIC  AND  LEARNKD  SOCIKTIKS 
At  the  Academic  des  Inscriptions,  M.  Victor  Berard 
exhibited,  in  the  name  of  Professor  Halberr,  an  impres- 
sion of  an  Egyptian  seal  discovered  in  the  course  of 
the  excavations  at  Hagia-Triada,  near  Phaistos,  in 
Crete.  It  bears  the  name  of  Queen  Tu,  the  wife  of 
Amenophis  III.  It  is  believed  to  form  part  of  a  gold 
necklace  of  which  the  pendants  are  identical  in  appear- 
ance with  those  of  a  necklace  found  at  Mycenae.  At 
Mycenae  itself  had  already  been  discovered  a  scarab 
of  yueen  Tu  and  some  cartouches  of  King  Ameno- 
phis III.  This  implies  a  date  which  throws  a  light 
upon  the  civilization  of  Crete  and  Mycenae.  This 
date  (the  fifteenth  century  B.C.)  is  that  given  in  the 
chronicle  of  Paros  for  the  arrival  in  Greece  of  Cecrops, 
Danaus,  Cadmus  and  other  ICgyjito-Phoenician  colo- 
nists. 

At  the  Societe  des  Antiquaires  de  France,  M.  I'Abbe 
Beurlier  showed  a  low-relief  from  Saint-Paul-Trois- 
Chiiteaux,  representing  Hercules  covered  with  the  skin 
of  the  Nemaean  lion.  M.  Heron  de  Villefosse  an- 
nounced, in  the  name  of  M.  Grenier,  that  a  Roman 

•Trmslalcil  by  A.  Tcixc|ra  dc  Matlos, 


aniphitlifiitro  had  just  been  discovered  at  Met/.  M. 
Michon  exhibited  a  rubbing  of  a  mediaeval  bron/e 
plaijiiette  found  at  Rhodes.  M.  Lafaye,  in  the  name  of 
M.  Franki  Moulin,  of  Toulon,  presented  some  Roman 
objects  discovered  at  \'in/ian  (Drome).  M.  Arnauldet 
made  a  communication  touching  the  library  at  Saint- 
Mesmin-de-Missy  (Loiret).  M.  Ruelle  (pioted  a  text 
of  Lucian's  on  the  Gallic  Hercules.  M.  Thioller 
presented  a  photograph  of  a  fifteenth-century  cross, 
in  gold,  adorned  with  coloured  enamels,  discovered 
at  le  Puy.  Count  Durrien  made  a  communication 
respecting  the  miniatures  of  the  book  of  hours  of 
the  duke  of  Berry,  which  is  preserved  at  Chantilly. 
M.  Pasquier  spoke  of  the  art  works  executed  in 
1527  for  the  decoration  of  the  altar  at  Rieux  (Haute- 
Garonne).  Baron  de  Boughon  and  M.  Barbot  have 
been  elected  native  corresponding  associates.  Herr 
von  Maudach  has  been  elected  a  foreign  correspond- 
ing associate. 

The  congress  of  the  Societe  frangaise  d'Archeo- 
logie  has  this  year  held  its  seventy -second  session 
at  Poitiers,  under  the  chairmanship  of  M.  Eugene 
Lefevre-Pontalis.  M.  Tornezy,  the  president  of  the 
Societe  des  antiquaires  de  I'Ouest,  read  an  interesting 
paper  on  the  pictorial  arts  in  Poitou  in  bygone  times  ; 
M.  Rambaud  spoke  of  the  Poitevin  sculptors  of  the 
seventeenth  century;  and  M.  Berthole  of  Plantagenet 
architecture. 

G.    I)F.    RoKTlIAVS. 


NOTES    FROM    BELGIUM 


The  annual  exhibition  of  the  Society  des  Aquarellistes 
et  Pastellistes  was -opened  last  month  in  Brussels.  It 
was  the  last,  in  point  of  date,  of  a  series  of  numerous 
exhibitions,  and  the  interest  aroused  by  it  was  some- 
what diminished  by  the  fact  of  this  delay.  It  included 
pastels  by  M.  W.  Delsaux  and  Mile.  Berthe  Art  which 
deserve  inention  ;  also  an  endless  series  of  water- 
colours,  mere  repetitions  of  the  Dutch  views  of  M.  Cas- 
sicrs,  and  M.  Stacquet's  artistic  impressions.  A  small 
collection  of  works  by  M.  Edmond  Modave  had  been 
brought  together  as  a  last  tribute  to  this  painter,  who 
died  quite  young,  before  his  artistic  nature  was  able 
to  reveal  all  its  gifts. 

Next  on  my  list  comes  the  exhibition  of  the  photo- 
graphic club  known  as  I'Effort,  in  which  the  majority 
of  the  important  clubs  of  England  and  America  took 
part.  We  here  see  displayed  with  ever-increasing 
prominence  the  tendency  of  both  amateurs  and  pro- 
fessionals to  try  to  compete  with  the  effects  of  paint- 
ing and  of  the'pictures  of  the  great  masters.  A  time 
will  come  w^hen  this  will  make  no  other  impression 
than  that  of  skilful  jugglery.  In  attempts  of  this 
kind,  the  photographer  may  prove  his  taste  in  the 
choice  of  a  landscape  or  in  the  light  thrown  upon 
a  face  ;  but  it  is  quite  evident  that  he  can  never  hope 
to  equal  the  powerful  technique  or  the  thought  that 
find  their  expression  in  painting.  It  is  well  that 
this  should  be  stated  for  the  benefit  of  some  who  ap- 
pear to  forget  it. 

A  new  art  club,  the  Eenigen,  consisting  of  a  group 

•  TranslaiccI  by  A.  Tcliclra  in  M-itto-^. 


BELGIUM 

of  young  painters,  has  organized  an  exhibition  at  the 
Cercle  Artistiipie  of  .\ntvverp.  The  endeavours  here 
shown  have  been  widel)- discussed.  Tiiey  all  bear  the 
violent  character  of  a  first  effort.  In  any  case,  not  one 
of  them  is  definite  enough  to  deserve  special  mention 
in  these  notes. 

The  government  has  inaugurated  a  new  method  of 
ai)i)ninting  the  members  of  the  jury  for  the  triennial 
exhil)ition  of  fine  arts  which  is  to  take  place  this  year 
in  Brussels.  The  previous  system  had  been  repeatedly 
and  strongly  c-riticized,  for  the  arbitrary  nominations 
made  by  the  ministry  had  ended  by  introducing  among 
the  jury  a  majority  of  members  possessing  no  practi- 
cal acquaintance  with  painting  or  sculpture.  Our 
competent  minister  of  fine  arts  decided  to  return,  by 
way  of  experiment,  to  the  method  by  which  the  mem- 
bers of  the  jury  are  elected  by  the  artists  themselves. 
This  operation  has  nov/  been  completed,  and  the 
opening  of  the  triennial  exhibition  of  fine  arts  is  an- 
nounced for  September  5  next.  The  exhibition  will 
close  on  November  2. 

On  August  I  will  be  opened  at  Dinant  the  exhibi- 
tion of  '  dinatideries,'  which  has  been  in  preparation 
for  many  months.  The  object  of  the  municipal 
authorities  is  to  revive  the  memorj-  of  an  industry 
(now  unfortunately  extinct)  in  the  spot  where  it  once 
flourished.  The  reputation  of  Dinant  copper  was 
proverbial  so  long  ago  as  the  thirteenth  century,  and 
the  town  gave  its  name  to  the  articles  which  were 
manufactured  there,  and  which  were  known  for  many 
centuries  as  '  dinanderies."  The  picturesque  citj' on 
the  banks  of  the  Meuse  produced  numbers  of  curious 
cruets,  candlesticks  and  lecterns.  The  artisans  of 
Dinant  exported  their  manufactures  not  only  to  the 
old  Low  Countries,  but  also  to  France,  Germany, 
Italy,  England  and  Scandinavia.  Finding  themselves 
cramped  in  their  own  town,  some  of  them  left  it  and 
carried  the  secrets  of  their  art  to  different  places,  in- 
cluing  Tournai  and  Brussels.  Later,  during  the  bad 
days,  they  even  found  a  refuge  at  Middleburg.  The 
tragic  period  in  the  history  of  Dinant  occurred  after 
the  insult  offered  by  the  city  to  Charles  the  Bold,  the 
heir  to  the  duchy  of  Burgundy.  Charles  pursued  his 
vengeance  with  wrathful  fury,  and  sacked  the  town 
after  it  had  made  an  heroic  defence.  This  disaster 
was  unable  to  dash  the  energy  of  the  copper  founders 
and  beaters.  They  returned  to  their  ruined  city  and 
rebuilt  their  workshops  on  the  waste  banks  of  the 
Meuse. 

Copper-work  was  practised  at  Dinant  in  all  its 
aspects.  Here  guns  were  cast,  and  bells ;  various 
objects  of  ecclesiastical  furniture  were  manufactured, 
and  also  the  most  modest  household  utensils.  This 
admirable  period  of  work  and  energy  deserved  to  be 
commemorated.  The  organizers  of  the  exhibition  pro- 
pose to  give  it  an  artistic  and,  at  the  same  time,  a 
didactic  value.  They  have  appealed  to  couscils  dc 
fabriqiic,  museums  and  private  collections.  They  will 
show  the  products  of  the  Meuse  workshops  side  by 
side  with  things  of  French,  German  and  Italian  make, 
all  influenced  by  the  former  in  diflerent  degrees,  and  will 
thus  impart  a  most  interesting  and  special  character 
to  the  coming  exhibition.  The  exhibition  of  '  dinan- 
deries '  will  open,  as  I  have  said,  on  August  i  and  will 
close  its  doors  at  the  end  of  September. 

135 


THE     BURLINGTON     GAZETTE 

MUSEUMS 

The  gallery  of  modern  painting  in  Brussels  has 
recently  acquired  a  picture  by  Eugene  Verdyen,  re- 
presenting the  landscape  of  the  Meuse  at  Dave. 
Verdyen  died  at  the  moment  when  his  work  was  being 
admitted  to  the  museum.  He  was  a  painter,  endowed 
with  a  discreet  and  intimate  charm,  whose  delicate 
work  gave  proof  of  a  pensive  feeling  for  the  things  of 
nature  that  made  him  worthy  of  figuring  in  the  effort 
of  the  contemjjorary  Belgian  school. 

In  the  new  museum  at  Ghent  a  bust  has  been 
unveiled  of  the  painter  Gustave  Vanaise,  exhibitions 
of  whose  works  were  held  lately  and  simultaneously 
at  this  same  museum  and  at  the  Cercle  Artistique  in 
Brussels.  The  bust  is  by  the  sculptor  Lagae ;  it 
possesses  the  solid  construction  and  the  pursuit  of 
form  which  give  so  searching  a  character  to  Lagae's 
sculpture  and  which  sometimes  ensure  him  a  truly 
high  place  among  modern  artists. 

AUDERGHEM 

In  The  Burlington  Gazette  of  last  month  I 
gave  a  few  particulars  touching  the  chapel  at  Auder- 
ghem,  the  restoration  of  which  has  recently  been 
decided  on  by  the  royal  commission  on  monuments. 
Some  photographic  views  of  th'is  interesting  building 
are  reproduced  here  ;  and  I  must  ask  leave  to  complete 
my  notes  of  last  month  by  giving  some  more  exact 
indications. 

The  chapel  of  St.  Anne  at  Auderghem  served  as  a 
parish  church  for  the  neighbourhood  until  1843,  when 
the  present  church  was  built.  Since  then  it  has  been 
used  as  a  farm-house.  It  changed  hands  quite  re- 
cently, and  its  present  owner  has  taken  the  first 
indispensable  steps  to  save  it  from  ruin. 

The  examination  effected  by  the  care  of  the  royal 
commission  presented  interesting  conclusions  from 
the  two-fold  point  of  view  of  art  and  archaeology. 
The  chapel  of  St.  Anne  represents  the  most  important 
historical  memory  of  the  locality.     The  tower  dates 


I 

^ 

St.  Anne,  AuderKhcm 

back  to  the  end  of  the  romanesque  period  ;  its  louvre- 
windowed  bays  end  scmi-circularwise  and  are  frarned 
in  a  large  external  arch ;  they  contain  two  retreating 
lesser  arches,  supported  at  the  extremities  by  imposts 
and  in  the  centre  by  a  slender  column  ;  they  present 

136 


an  interesting  type  of  construction  which  was  in  very 
frequent  use  at  the  romanesque  period  in  our  regions, 
although  examples  of  it  are  becoming  daily  rarer. 
Only  one  of  these  bays,  the  south  one,  is  nearly  intact ; 
the  others  have  lost  their  little  column  and,  conse- 
quently, their  tympanum.  The  covering  of  the  tower 
is  in  a  very  bad  state  ;  it  is,  for  a  great  part,  ruined. 


St.  Anne,  Auderghem 

The  south  wall  of  the  nave  appears  to  date  back  to 
an  even  more  remote  time  than  the  tower.  It  has  a 
little  romanesque  bay,  the  proportions  of  which  are 
scarcely  larger  than  those  of  an  open  balistraria, 
shaped  like  a  concave  louvre-window.  The  nave  and 
choir  were  greatly  altered  at  the  end  of  the  ogival 
period :  their  roofing  was  shingle.  This  shingle  has 
disappeared,  but  its  timber  framework  still  exists  ;  and 
there  are  interesting  crowns  in  the  vaulting.  It  would 
seem  as  though,  at  that  time,  the  nave  was  widened 
towards  the  north  :  the  wall  on  that  side  is  brick  ;  it 
is  ashlar  on  the  south. 

To  sum  up,  the  chapel  of  St.  Anne  presents  a  serious 
interest.  Also,  it  is  magnificently  situated.  It  is 
reached  by  a  sunk  road  winding  between  two  hillocks, 
on  one  of  which  the  building  stands ;  formerly  there 
was  access  to  it  by  an  extremely  rustic  staircase,  which 
is  now  partly  destroyed. 

To  have  abandoned  the  edifice  to  complete  ruin  or 
violent  destruction  would  have  been  a  most  regrettable 
thing,  not  only  because  of  the  artistic  and  archaeologi- 
cal interest  of  the  chapel,  but  also  because  its  destruc- 
tion would  have  involved  the  disappearance  of  a  site 
which  may  be  regarded  as  one  of  the  most  charming 
in  the  neighbourhood  of  Brussels.  The  chapel  of 
St.  Anne  already  figures  in  the  list  of  civil  buildings 
worthy  of  preservation.  If  it  belonged  to  a  public 
body,  it  ought,  according  to  the  commission  on  monu- 
ments, to  be  classed  as  a  national  monument. 

MISCELLANEOUS 
At  the  townhall  of  Bruges,  M.  Juliaan  de  Wiendt 
has  finished  the  last  panel  for  the  large  gothic  hall. 
The  execution  of  this  work  had  been  begun  by  M.  de 
Vriendt's  brother,  when  death  came  and  surprised  him. 
This  last  panel  represents  the  inauguration  of  the  new 
Zwyn  in  1402,  and  the  blessing  of  the  harbour  by  the 
provost    of    Saint-Donatian    in    the   presence   of  the 


ITALY 


magistrates  of  the  Franc  and  of  the  city  of  Bruges, 
in  addition  to  the  consuls  of  the  various  nations. 

The  communal  council  of  Saint-Gilles,  Brussels, 
has  entrusted  the  execution  of  four  statues  intended 
for  the  external  decoration  of  the  principal  staircase 
of  the  council-hall  to  Messrs.  J.  Dillens  and  de 
Lalaing.  These  statues  will  be  in  marble.  The 
same  council  has  adopted  the  design  submitted  by 
M.  Dierickx  for  the  ceiling  of  the  '  salle  des  pas-perdus.' 

Lastly,  on  the  battle-field  of  Waterloo,  at  the 
farm  of  Rossonmie,  which  is  crossed  by  the  Plan- 
cenoit  road,  a  start  has  been  made  with  the  definite 
works  for  placing  in  position  the  bronze  eagle,  sculp- 
tured by  M.  Gerome,  which  is  to  recall,  in  the  once 
blood-stained  plain,  the  memory  of  the  French  who 
took  part  in  this  tragic  epopee. 

R.  Petki'cci. 

NOTES   FROM    ITALY* 

Uni)1-;k  the  date  of  June  iS  parliament  passed  the 
provisional  bill  regulating  the  (jiiestion  of  the  expor- 
tation of  works  of  art  from  Italy.  In  view  of  the 
great  interest  that  all  museums  and  collectors  alike 
take  in  this  problem,  it  seems  worth  while  to  consider 
the  details  of  its  enactments  more  closely. 

Article  I  forbids  the  exportation  within  a  term 
of  two  years  of  antiques  discovered  by  excavation, 
in  so  far  as  they  are  of  noteworthy  archaeological 
and  artistic  significance.  The  same  applies  to  other 
objects  of  art  which  are  of  especial  value  to  history 
and  art,  and  more  particularly  to  those  enumerated  in 
that  section  of  the  catalogue  (of  which  I  shall  have 
something  to  say  later  on)  compiled  ad  hoc,  referring 
to  private  ownership. 

Article  II.  With  every  custom  office  dealing  with 
exports,  two  officials  are  to  be  associated  who  have 
the  right  of  opposing  the  exportation  of  objects  not 
comprised  in  the  catalogue.  In  such  cases  the  final 
decision  falls  to  the  ministry  for  education. 

Article  III.  Before  the  expiration  of  a  term  of  two 
years,  the  sums  necessar)'  for  the  possible  accpiisition 
of  objects  of  especial  value  are  to  be  provided  for  in 
the  budget  estimates. 

Article  IV.  The  provisions  of  this  statute  come 
into  force  for  all  antiques  and  objects  of  art  for  which 
licence  to  export  is  required  after  June  26,  1903. 

This  provisional  enactment  therefore  comes  into 
force  for  the  following  two  years  ;  w^ithin  this  term 
steps  for  enforcing  the  law  of  June  12,  1902,  are  to  be 
taken.  This  law,  de\ised  to  regulate  the  exporta- 
tion of  works  of  art  for  the  future,  is  composed  in  all 
of  ^y  articles,  of  which  we  propose  only  to  call  atten- 
tion to  those  of  interest  to  foreign  countries. 

Article  i.  Works  of  living  artists  and  those  which 
have  come  into  existence  within  the  last  fifty  years 
are  not  within  the  scope  of  the  statute. 

Article  2.  In  addition  to  the  public  collections, 
the  property  of  confraternities  and  of  ecclesiastical 
authorities  in  churches  and  other  public  buildings  is 
inalienable,  as  are  all  objects  enumerated  in  the  cata- 
logue, in  so  far  as  they  are  the  property  of  the  state, 
provinces,  communes,  etc. 

Article  3.  The  ministry  can   sanction  the  sale  of 

•  Translated  by  P.  H.  Oakley  ' 


such  articles,  should  the  alienation  be  for  the  benefit 
of  one  of  the  aforenamed  bodies  or  of  the  state. 

Article  4.  Further,  objects  not  enumerated  in  the 
catalogue  in  the  possession  of  the  aforenamed  cor- 
porations must  have  the  authorization  of  the  ministry 
if  offered  for  sale. 

Article  5.  The  proprietor  of  such  an  object  must 
notify  every  sale-contract  or  change  of  ownership. 
The  seller  must  acquaint  the  purchaser  with  the  fact 
that  the  object  is  enunierated  in  the  catalogue ;  the 
purchaser  may  not  dispose  of  the  same  without  pre- 
vious notification. 

Article  6.  The  government  reserves  for  itself  the 
option  of  purchase  at  a  fair  price.  This  right  holds 
good  for  three,  and  in  especial  circumstances  for  six, 
months. 

Article  8.  A  progressive  duty  is  levied  on  exporta- 
tion ;  the  value  of  an  object  is  to  be  determined  by 
the  declaration  of  the  owner  and  the  valuation  of  the 
customs"  authorities.  The  government  reserves  for 
itself  the  right  of  purchase  within  two  months  and  a 
final  valuation. 

Article  9.  The  export  duty  is  not  levied  on  antiques 
imported  from  a  foreign  country. 

Article  10  et  seq.  refer  to  the  protection  govern- 
ment is  to  afford  to  public  monuments,  regulations  for 
excavations,  etc. 

Article  18.  The  ministry  may  e.xchange  with  foreign 
museums  and  alienate  duplicates. 

Article  23.  The  ministry  is  to  have  catalogues  of 
the  monuments,  objects  of  art,  and  antiques  drawn  up. 
These  catalogues  are  to  be  divided  into  two  sections ; 
the  first  dealing  with  objects  of  public,  the  second  those 
of  private  property.  In  the  first  section  those  works 
of  art  which  on  account  of  their  especial  value  cannot 
be  allowed  to  pass  into  private  possession  are  to  be 
especially  marked.  Persons  at  the  head  of  the  several 
corporate  bodies  are  to  furnish  a  list  of  the  objects  of 
art  under  their  control.  The  registration  of  such 
objects  of  private  property  is  to  be  confined  to  such 
pieces  of  especial  value  the  exportation  of  which  would 
mean  a  severe  loss  to  the  artistic  or  historical  posses- 
sions of  the  nation. 

Article  24.  Within  a  month  after  the  registration 
of  an  object  in  the  catalogue  the  ministry  is  to 
acquaint  the  owner  with  the  fact. 

Article  25.  Sales  concluded  in  contravention  of 
these  regulations  are  to  be  null  and  void.  The  penal- 
ties follow.  They  apply  also  (Article  ^i)  to  codices, 
manuscripts,  inscriptions,  copper-plate  and  wood 
engravings,  and  numismatic  collections  in  the  pos- 
session of  corporations.  For  these,  if  of  admitted 
value,  where  the  property  of  private  persons,  the  state 
can,  in  the  event  of  alienation,  re(iuire  notification  and 
reserve  its  purchase  option. 

Article  34.  The  regulations  do  not  apply  to  copies, 
reproductions  or  imitations. 

Article  37.  The  export  duty  is  fixed  at  3  per  cent, 
for  the  first  5,000  lire,  7  per  cent,  for  the  second, 
9  per  cent,  for  the  third,  11  per  cent,  for  the  fourth, 
and  so  on  up  to  20  per  cent,  on  the  value  of  the  object. 

It  will  be  seen  that  the  new  enactments  hit  hard 
the  interests  of  public  and  private  collectors  abroad. 
Will  it  indeed  after  this  be  possible  to  acquire  a  work 
of  art  of  any  importance  in  Italy  at  all  ?     We  shall 

^i7 


THE     BURLINGTON     GAZETTE 


ha\e  to  wait  to  see   how  the  enactments  of  this   law 
are  put  in  execution. 

At  the  same  time  one  or  two  observations  cannot 
be  suppressed.  It  is  inteUigible  enough  that  a  country 
with  the  artistic  traditions  of  Italy  should  do  its  ut- 
most to  preserve  its  art  treasures  in  the  milieu  in 
which  they  were  created,  and  that  the  government 
should  take  stringent  measures  to  prevent  work  of  the 
first  rank  from  going  out  of  the  country.  Who  can 
fail  to  understand  that  an  Italian  may  well  feel  pained 
when,  in  the  great  galleries  north  of  the  Alps,  he 
sees  the  altarpieces  that  adorned  the  churches  of  his 
native  land  ?  We  should  not,  however,  forget  that 
for  the  most  part  this  exploitation  occurred  at  a  time 
when  Italians  had  to  some  extent  lost  their  apprecia- 
tion of  such  matters.  What  objects  of  the  first  order 
(at  any  rate,  so  far  as  works  of  the  Renaissance  are 
concerned)  have  passed  out  of  the  country  of  late 
years  ?  The  Sciarra  gallery,  forsooth,  or  the  Chigi 
Botticelli  ?  It  is  difficult  to  take  the  outcry  on  these 
points  very  seriously  when  one  remembers  that  all  the 
chief  works  of  Botticelli  are  still  in  Florence. 

The  greatest  damage,  provided  the  law  comes  into 
force  with  all  its  provisions,  will  fall  on  the  Italian 
art  dealer,  who  sees  himself  exposed  to  continuous 
molestation.  One  can  well  understand  that  the 
dealers  in  antiques  are  bestirring  themselves  and 
endeavouring  to  prevent  the  enforcement  of  the  law 
by  their  protests. 

The  question  may  suggest  itself:  will  Italy  be  in  a 
position  to  take  advantage  of  its  option  to  purchase 
often,  more  particularly  at  the  prices  which  our  big 
collections  and  collectors  are  prepared  to  pay  for  works 
of  the  first  rank  ?  There  is  no  lack  of  goodwill  to 
furnish  the  means,  as  a  resolution  of  the  senate  goes 
to  show.  It  exhorts  the  minister  (i)  to  appropriate  a 
minimum  of  half  a  million  lire  for  purchases  in  the 
next  budget ;  (2)  to  arrange  with  the  exchequer  for  an 
advance  of  six  million  lire  towards  the  purchases  that 
during  the  first  years  when  the  law  comes  into  force 
may  seem  advisable.  That,  at  any  rate,  is  something 
to  go  on  with. 

An  example  of  sequestration  occurred  recently. 
Officialdom  in  Pisa  seized  a  painting  of  Cimabue  (?), 
depicting  St.  Francis,  that  was  alleged  to  have  a 
putative  value  of  more  than  200,000  lire  (?).  The 
noble  family  to  whom  it  belonged  is  said  to  have  in- 
tended to  sell  it  out  of  the  country.  The  picture  was 
in  the  family  chapel  in  the  church  of  S.  Francesco. 

Furthermore,  news  is  to  hand  of  several  well-known 
buildings  which  gives  rise  to  serious  misgivings  on  the 
score  of  their  safety.  Included  in  them  is  the  gothic 
church  S.  Lorenzo  at  Vicenza,  which  had  to  be  closed ; 
the  old  palace  of  the  podesta  at  Prato,  where  the  work 
of  restoration  was  taken  in  hand  at  once;  and  lastly, 
that  portion  of  the  academy  in  Florence  in  which  the 
board  of  education  is  housed.  '  The  latter,  on  account 
of  the  urgency  of  the  danger,  has  been  closed.  It  is 
to  be  hoped  that  all  danger  for  the  works  of  art  it 
contains,  among  which  is  Michelangelo's  St.  Matthew, 
has  been  forestalled. 

We  ought  not,  however,  to  be  too  quick  in  ham- 
mering an  outcry  against  thf  Italian  gmernnient  out 
of  these  reports  of  buildings  that  threaten  to  fall  in, 
as,  for  example,  was  done  in  the  case  of  the  belfry  of 

138 


St.  Mark's.  Everything,  certainly,  is  not  as  it  should 
be,  but  the  blame  must  l)e  attributed  not  so  much 
to  negligence  as  to  the  comparatively  scanty  sums  at 
the  disposal  of  the  ministry  for  the  preservation  of 
important  monuments,  the  number  of  which  in  Italy  is 
perhaps  greater  than  in  any  other  country  in  the  world. 
And  how  much  is  done,  a  book  to  which  1  should 
like  to  call  attention  for  other  reasons  might  enlighten 
those  critics  who  are  too  severely  inclined.  It  bears 
the  title  '  The  Administration  of  the  Antiquities  and 
Fine  Arts  in  Italy,  July  1901 — June  1902,'  and  is  pub- 
lished by  the  ministry  of  public  education  ;  the  preface 
bears  the  name  of  the  official  who  presides  so  intelli- 
gently over  the  many-sided  labours  of  this  department. 
Carlo  Fiorilli. 

The  book  reports  what,  in  the  course  of  the  year, 
has  been  done  for  the  public  monuments  on  the  part 
of  the  ministry,  and  gives  an  idea  of  the  immense  de- 
mands made  on  the  authorities  ;  it  shows  too  how  they, 
often  enough  with  very  scanty  means,  do  their  best  to 
forestall  the  ruin  of  works  of  art.  In  many  cases  the 
ministry  shares  the  expenses  with  corporations  and 
ecclesiastical  authorities  ;  often  private  persons  pro- 
vide the  funds  for  the  purposes  of  restoration  ;  but  in 
every  case  everything  is  done  under  the  immediate 
supervision  of  the  government  officials. 

A  further  section  of  the  book  reports  on  the  exca- 
vations, another  on  the  purchases  made  for  the  mu- 
seums and  galleries,  yet  another  section  on  prohibitions 
to  alienate  certain  works  of  art,  on  inventories  which 
have  been  taken,  and  so  on.  And  a  special  interest 
attaches  to  this  volume  from  the  fact  that  the  con- 
noisseur is  made  acquainted  with  a  number  of  works 
of  art  which,  hidden  away  in  small  towns,  are  little,  if 
at  all,  known.  Above  all,  the  reader  realizes  that  the 
monuments  are  really  not  neglected  on  the  part  of 
the  state,  as  is  far  too  eagerly  alleged  by  those  journals 
whose  only  care  it  is  to  publish  news  of  as  sensational 
a  character  as  possible.  It  is  not  fair  to  indite  the 
present  administration  because,  in  consequence  of 
peculiarly  unfavourable  political  and  financial  condi- 
tions, the  monuments  for  a  long  time  lacked  the  care 
of  which  they  stood  in  need. 

Every  foreign  critic  should  ask  himself  the  ques- 
tion whether  in  his  own  country  everything  is  planned 
on  such  ideal  lines  as  to  justify  the  presumption  of 
giving  advice  to  others.  Then  surely  many  outbursts 
which  serve  no  purpose  other  than  to  offend  the  easily 
ruffled  susceptibilities  of  the  Italians  would  cease. 

In  Florence  the  question  as  to  whether  it  would 
be  advisable  to  place  a  copy  of  Michelangelo's  David 
(at  present  in  the  academy)  .in  front  of  the  Palazzo 
Vecchio  on  the  spot  where  the  original  used  to  stand 
is  under  anxious  consideration.  An  essay  on  the 
subject  by  the  sculptor  Adolf  Hildebrand  (published 
in  the  first  place  in  Italian  in  the  Na::ionc,  then 
in  Cierman  in  the  Frankfurter  Zeilung  of  July  3)  deserves 
especial  attention.  It  is  urged  by  the  author  that,  in 
the  first  place,  a  good  copy  is  possible,  and  in  the 
second  that  the  whole  scheme  of  sculpture  for  the 
square  was  designed  with  reference  to  David,  that 
consequently  a  gap  exists  now,  and  that  for  aesthetic 
reasons  it  is  noccssar\-  to  restore  the  original  aspect 
of  tile  squaii:  1)\-  tile  installation  of  the  copy. 

Geokg  Gronau. 


BERLIN 


NOTtS    FROM    BRRLliN 

Till-;  Berlin  Ktcliers'  cabinet  (KitpfcrstiLli  Kabinct) 
exhibits  in  a  show  that  is  still  open  a  part  of  the 
collection  of  draw  injjs  of  old  masters  it  has  recently  ac- 
(jiiired  from  Herr  Adolf  von  Beckerath.  Thecollection 
comprises  about  4,000  cartoons  of  all  scliools  from  the 
fifteenth  to  the  eighteenth  century.  Its  most  valuable 
portion  consists  of  the  drawings  of  Italian  masters  of 
the  fifteenth  and  sixteenth  centuries.  In  these  the  car- 
toon collection  of  the  cabinet  had  hitherto  been  inade- 
quate and  very  full  of  gaps.  The  addition  of  the  von 
Beckerath  collection  raised  the  collection  of  the  Italian 
cartoons,  more  especially,  to  the  standard  that  for  a 
long  time  has  been  desirable.  At  the  moment  some 
150  studies  of  Italian  Renaissance  artists  are  exhibited. 
It  is  proposed  to  work  for  the  further  completion  and 
extension  of  the  collection  by  the  piecemeal  purchase 
of  cartoons.  Of  several  aC(]uisitions  of  this  kind,  only 
one  need  be  mentioned  here  ;  a  very  impressive  draw- 
ing by  Luca  Signorelli  (a  wash  drawing  in  bistre),  re- 
presenting the  head  of  a  bald  old  man  looking  upwards. 
For  admirers  of  modern  art  the  two  customarj- 
summer  shows,  the  great  exhibition  and  the  '  Seces- 
sion,' furnish  enough  to  see.  Only  they  are  not  an 
altogether  pleasurable  sight.  The  verdict  of  success 
has  gone  contrary  to  all  expectation  ;  the  great  exhi- 
bition, of  which  indeed,  to  judge  from  the  fiascos  of 
recent  years,  there  was  little  to  expect,  has  met  with 
general  approval  even  of  dyspeptic  sceptics  ;  but  the 
'  Secession '  is  a  disillusion,  and  that  not  alone  for 
the  declared  enemies  of  modern  tendencies.  Several 
circumstances,  not  onl\-  the  disfa\our  of  the  times, 
explain  that.  The  founder  and  spiritual  pastor  of 
the  Berlin  '  Secession,'  Max  Liebermann,  may  find 
occasion  for  bitter  plaint  in  the  fact  that  his  secession 
scheme  did  not  turn  out  as  he  had  reason  to  hope. 
One  thing,  however,  ma\'  give  him  comfort ;  it  is  that 
of  all  latter-day  secession  productions,  his  alone  can 
stand  the  test  of  the  vicinity  of  Edouard  Manet. 
That,  at  any  rate,  is  something  to  be  proud  of.  The 
great  Berlin  exhibition  owes  its  success  this  year  to 
its  organi/ier,  Arthur  Kampf.  One  felt  when  one 
first  entered  the  exhibition  that  a  house  too  long 
neglected  had,  to  begin  with,  undergone  a  thorough 
spring  cleaning.  This  means  that  the  jury  has  been 
severe,  and  that  consequently  a  smaller  number  of 
pictures  have  won  acceptance;  and  tl;at  something 
has  been  done  towards  the  interior  betterment  of  the 
rooms.  Much,  it  is  true,  cannot  be  made  of  the 
old  box,  but  at  any  rate  the  attempt  has  been  made 
to  house  the  exhibition  in  more  seemly  fashion  than 
heretofore.  One  large  hall  with  walls  of  a  dull  blue 
colour  has  been  re-decorated.  In  this  there  is  nothing 
that  has  not  been  done  before,  or  at  any  rate  some- 
thing of  the  kind,  but  it  is  for  all  that  a  respectable  bit 
of  work.  Foreign  art,  of  course,  contributes  largely  to 
the  lustre  of  the  exhibition  ;  but  that  was  always  the 
fate  of  the  Berlin  exhibitions,  and  for  the  present  it 
is  not  to  be  expected  that  it  shoidd  be  otherwise. 
.\rthur  Kampf,  to  whom  probably  one's  thanks 
for  it  are  solely  due,  has  contrived  to  attract  one 
or  two  shining  lights  of  the  secessionist  crowd.  If 
he   has    not  caught   Manet  he  has  got   Monet,  Sisley 

'  TransUled  by  !■.  H.  Oakley  Williams. 


and  Pissarro  ;  and  also  one  who,  in  his  mild  anaemic 
way,  stands,  it  is  true,  beyond  the  '  Secession ' 
daubers,  Puvis  de  Chavannes,  who  is  hardly  ever  on 
view  in  Berlin.  Fnglish  art  is  only  meagrely  repre- 
sented, and,  so  far  as  my  knowledge  serves,  not  in  a 
gcjod  selection  of  characteristic  examples.  The  most 
pleasing  is  J.  Shannon's  portrait  of  a  gentleman  in 
pink  hunting  coat. 

Berlin  sculpture,  once  our  pride,  grows  ever  Hatter. 
It  is  a  strange  phenomenon  that  an  art  in  the  most 
conceivably  favourable  external  circumstances,  with 
a  wealth  of  attractive  tasks,  achieves  nothing  beyond 
mediocrity  of  gaping  boredom.  One  or  two  sculptors 
who  stand  aloof  from  the  popular  and  the  busy  are 
perhaps  to  be  excepted  ;  let  us  say,  Hugo  Lederer  and 
Ernst  Moritz  Geyger.  The  latter,  who  began  as  an 
engraver,  exhibits  a  very  remarkable  bronze  bust  of  a 
young  woman  on  a  sandstone  pediment  and  a  little 
pori)hvry  vase  which,  with  great  originality,  has  been 
introduced  into  a  niche  at  its  base. 

IaKU    Si'RINGliK. 

NOTES    FROM    HOLLAND 

I.  KXHIIJITIONS 
Thk  exhibition  of  portraits  by  old  masters  organized 
at  the  Hague  by  Drs.  Bredius  and  Martin,  of  which 
I  spoke  last  month,  has  been  opened,  and  its  cUm  un- 
doubtedly is  a  fine  work  by  Rembrandt,  a  portrait  of  a 
lad>-  Icnt'by  Mr.  Hage,  a  Danish  gentleman,  who  bought 
it  quite  recently  at  Uovvdeswell's.  Although  the  girl's 
face  is  not  one  of  the  prettiest,  it  is  an  excellent 
piece  of  work.  The  treatment  is  very  sound  and 
serious,  as  is  always  the  case  in  works  of  this  period 
(about  1632).  Next  to  this  in  quality  comes  Mr. 
Kleinberger's  portrait  of  the  artist  himself,  looking  in 
merry  excitement  at  the  spectator  ;  we  should  call  this 
a  study  of  character  and  light  rather  than  a  portrait, 
but  it  IS  very  fine.  The  other  Rembrandts,  of  which 
we  had  been  expecting  much  more,  pro\ed  to  be  good 
studies,  but  of  little  importance  ;  but  all  of  these  have 
the  advantage  of  never  having  been  shown  publicly 
before.  Some  of  Rembrandt's  pupils  are  represented 
bv  some  good  specimens:  J.  Backer  appears  in  a  pair 
of  magnificent  portraits  of  a  painter  and  his  wife,  both 
painted  in  very  warm  colours.  Flinck  is  also  well 
represented  b\-  a  pair  of  very  decorative  if  feeble 
portraits  of  a  gentleman  and  his  wife,  seated  behind  a 
balustrade,  before  a  landscape  partly  hidden  by  red 
drapery  (Ch.  Sedelmeyer).  Another  pair,  much  more 
simple'  and  in  consequence  more  attractive,  gives 
us  busts  of  a  gentleman  and  his  wife,  dated  167J. 
The  fifth  work,  representing  a  young  man  (the  artist 
himself?)  in  oriental  accoutrements,  has  too  much  of 
pupils'  work  in  it.  The  same  may  be  said  o(  an  im- 
portant portrait  of  a  man  by  Aart  de  Gelder,  who  as  a 
rule  failed  in  originality  during  the  whole  of  his  life. 
A  most  interesting  portrait  of  a  lady  by  a  ceitain  un- 
known monogrammist  R.  unites  much  originality  and 
vigour  with  a  very  obvious  Rembrandtism.  A  fine 
portrait  of  an  old  lady  by  \'ictors  shows  him  too  to 
have  been  stronglv  inthienced  by  Rembrandt. 

Frans  Hals,  the  other  originator  of  a  great  indepen- 
dent school,  is  shown  at  his  best  in  a  number  of  very 
valuable  contributions.  I-'irst  in  importance  comes 
the  portrait  of  a  man,  with  large  bordered  hat  and 

139 


THE     BURLINGTON     GAZETTE 


white  collar,  looking  at  the  spectator  over  the  back  of 
a  chair.  It  is  a  superb  specimen,  sent  by  Sir  Cuthbert 
Quilter.  Hals's  school  (Codde,  Pot,  Leyster  and 
Verspronck)  can  also  be  studied  very  well  here,  and 
especially  Jan  Miense  Molenaer,  whose  magnificent 
masterpiece  was  lent  by  Jhr.  William  van  Loon.  It 
represents  a  spacious  hall  in  which  about  forty  mem- 
bers of  one  family  have  come  together  ;  it  is  a  picture 
dazzling  with  light  and  vivid  colours.  If  this  canvas 
were  not  fully  signed  and  dated  1637  one  would  at  first 
think  of  a  series  of  miniature  portraits  done  in  Frans 
Hals's  finest  way  of  painting.  Ter  Borch  displays  his 
rare  gifts  in  five  first-rate  little  portraits,  all  very  simple, 
and  distinguished  by  precision  and  detail.  A.  Cuyp 
proves  himself  to  be  just  as  skilful  a  painter  of  por- 
traits as  of  sunny  Dutch  landscapes  by  a  charming  fully 
signed  and  1649  dated  portrait  of  a  young  boy  dressed 
in  red  (Mrs.  Backer  de  Wildt).  It  is  quite  surprising 
to  think  that  so  excellent  a  portrait  painter  as  P.  Dubor- 
dieu  could  have  remained  unknown  so  long,  and  that  his 
marvellous  pictures  are  so  very  scarce.  Nicolaes  Eliasz, 
van  der  Heist,  Honthorst,  Maes,  Mierevelt,  Nason 
and  van  der  Voort  all  exhibit  excellent  work.  Also 
Vandyke,  especially  in  an  excellent  portrait  of  a  man 
in  armour  with  rose  sleeves  (the  property  of  Mr  A.  L. 
Nicholson  of  London),  a  delicious  little  picture  of  very 
delicate  colouring  and  execution.  Of  Janson  van 
Ceulen  there  is  a  large  picture  containing  six  portraits  of 
a  father  and  five  children,  disposed  like  nicely-coloured 
bonbons  in  their  cases ;  and  of  Th.  de  Keyser  a 
vigorous  man's  portrait,  the  property  of  Messrs.  Dow- 
deswell.  An  exquisite  sample  of  Moreelse  (the  painter 
of  ladies'  portraits  par  excellence)  came  from  the  ex- 
hibition at  the  guildhall  of  London.  Rubens  has 
only  got  one  portrait  of  a  man  here,  but  it  is  a  splen- 
did one,  with  a  strong  touch  of  bravura  in  it  (belonging 
to  Mr.  G.  Donaldson).  Of  the  sixteenth-century 
masters  we  should  mention  le  Maitre  de  Flemalle, 
Mabuse,  and  Pourbus;  of  the  Italian  masters  a  beau- 
tiful Bassano  and  a  fine  portrait  by  an  unknown  Vene- 
tian master;  of  the  eighteenth-century  painters  J.  F. 
A.  Tischbein  and  Mme.  Vigee-le  Brun  are  represented. 
Another  interesting  exhibition  organized  by  Messrs. 
Frederik  Muller  and  Co.  was  opened  on  July  15  in 
the  municipal  museum  at  Amsterdam,  an  exhibition 
of  the  works  of  Jan  van  Goyen.  Fortunately  the  idea 
met  with  very  great  sympathy  throughout  Holland 
and  in  foreign  countries,  and  deservedly  so,  for 
van  Goyen  is  one  of  the  best  landscape-painters  of  the 
whole  Dutch  school.  Very  few  ever  understood  so 
well  the  subtle  poetry  which  pervades  the  Dutch  land- 
scape, and  for  rendering  its  immense  spaciousness  he 
is  quite  incomj^arablc.  At  the  same  time  he  was  one 
of  the  best  colourists  among  landscape-painters,  limit- 
ing his  scheme  of  colours  as  much  as  possible,  but 
always  noticing  the  slightest  delicacy.  Perfect  har- 
mony is  one  of  the  chief  features  of  his  work ;  no  detail 
is  ever  too  prominent;  houses  and  figures  always 
are  as  if  they  were  a  part  of  nature.  The  exhibition 
comprises  nearly  si.xty  pictures,  showing  the  artist  in 
all  his  successive  phases,  which  vary  very  little,  and 
keep  throughout  the  same  strong  ideal ;  besides  these, 
there  are  about  one  hundred  of  his  drawings,  many  of 
which  were  lent  by  the  print  department  of  the  national 
museum.     Mr.  Arthur  Kay  of  Glasgow  sent  no  less 

140 


than  ten  pictures,  the  finest  of  these  being  a  skating 
scene  of  an  extreme  softness,  and  a  little  silvery  picture 
containing  nothing  but  a  great  grey  sky.  Mr.  Hum- 
phry Ward  of  London  lent  a  very  fine  panoramic 
view  in  Gelderland,  all  space  and  loftiness.  One 
magnificent  view  of  Rhenen  was  sent  by  Messrs. 
P.  and  D.  Colnaghi,  and  another  by  Mr.  Bohler  of 
Munich,  and  both  are  harmonious  in  colouring.  Baron 
Sweerts  de  Landas  (Rotterdam)  lent  a  charming  little 
landscape  with  a  rustic  bridge,  in  which  every  detail 
conveys  an  admirable  feeling  of  summer  heat.  Dr. 
Hofstede  de  Groot  enriched  the  exhibition  with  his 
beautiful  Coming  Storm  at  Sea  ;  the  oppressive  silence 
before  the  elements  break  loose  could  not  be  better 
expressed.  Many  exquisite  pictures  of  the  years 
1642-48  are  to  be  seen.  Mr.  Paravicini's  river  scene 
is  a  marvel  of  harmonious  grey  and  yellowish  tones  ; 
other  splendid  river  scenes,  in  which  the  perfectly 
flat  surface  of  the  water  recedes  until  it  meets  the  low 
shore,  were  lent  by  Mr.  van  der  Honert,  Messrs.  Agnew 
and  Sons,  Mr.  Hugh  P.  Lane,  Mr.  Bohler  and  many 
others.  Messrs.  Frederik  Muller  and  Co.  themselves 
supplied  eight  first-class  landscapes. 

Messrs.  van  Wisselingh  and  Co.  of  Amsterdam  and 
London  have  had  an  exhibition  of  modern  masters  in 
the  rooms  of  the  Pulchri  studio,  which  included 
works  by  Bastert,  Bonvin,  the  delicate  colorist, 
Bosboom,  Corot,  Daubigny,  Daumier,  Diaz,  Estall, 
Josef  Israels,  Jongkind,  A.  Legros,  J.  Maris,  M.  Maris, 
W.  Maris,  Mauve,  Michel,  Rousseau,  Shannon,  Vollon, 
Whistler  and  Witsen. 

II.     MUSEUMS 

The  municipal  museum  of  modern  art  at  Amster- 
dam has  been  enriched  by  three  valuable  pictures. 
First  a  fine  Millet,  lent  by  Mr.  van  Eeghen.  It  is  a 
woman  in  simple  dress  seated  on  the  ground  next  to  a 
little  naked  boy.  The  two  others  are  a  fresh,  woody 
landscape  by  G.  Poggenbeek  and  a  picture  by  Th.  de 
Bock,  representing  cows  near  a  pool  in  the  dunes. 

The  national  gallery  of  pictures  at  Amsterdam  has 
had  some  interesting  bequests.  Four  fine  pictures  by 
Asselyn,  Ochtervelt,  de  Lairesse  and  Th.  Wych, 
formerly  the  property  of  Mrs.  Insinger-van  Loon, 
and  a  fine  mediaeval  portrait  of  a  man  with  his  patron, 
with  finely  painted  heads  in  it,  left  by  Mr.  Leembruggen. 
Other  good  works,  though  of  no  great  value,  were 
bought ;  among  them  a  large  still-life  by  a  scarce 
master,  Floris  van  Dyck,  who  died  in  1650,  but  painted 
in  the  style  of  the  masters  of  the  late  sixteenth  century, 
a  holy  family  by  Bloemart,  an  interesting  interior 
of  a  church  by  an  unknown  master  of  1560  or  there- 
abouts, and  two  portraits  of  about  1520. 

GENERAL  NOTES 

The  International  society  of  sculptors,  painters, 
and  gravers  has  been  invited  by  the  leading  American 
academies  and  art  institutions  to  exhibit  the  work  of  its 
members  in  the  United  States.  The  society  has  ac- 
cepted the  invitation,  and  exhibitions  commencing  in 
October  have  been  arranged  for  in  the  Pennsylvania 
academy  of  the  fine  arts,  Philadelphia ;  the  Carnegie 
institute,  Pittsburg;  the  Cincinnatti  art  gallery; 
and  the  St.  Louis  museum  of  the  fine  arts,  during  the 
period  of  the  exhibition  in  that  city.  This  is  a  practical 
development  of  a  great  international  art  movement. 


Readers  of  Tin-:  Bi'ri.ington  Ga/i:tti:  will  be 
interested  to  know  that  '  Frank  Danby,'  the  author 
of  'Pigs  in  Clover,'  is  really  Mrs.  Julia  Frankau,  the 
author  of  '  i8th  Century  Coloured  Prints  '  and  '  The 
Life  and  Works  of  John  Raphael  Smith.' 


Readers  of  Tuf.  Hiklincton  Ga/kttk  who  are 
following  the  serial  articles  on  the  fascinating  sub- 
ject of  oriental  carpets  may  be  glad  of  the  informa- 
tion that  the  exhibition  arranged  by  Messrs.  Gillow 
is  still  open.  A  recent  addition  is  a  Persian  silk  rug 
of  exceptionally  line  colour  and  design,  a  replica  or 
reproduction  of  the  one  illustrated  in  Plate  i  in  the 
book  on  oriental  carpets  published  by  the  Austrian 
commercial  museum.  The  motive  of  the  centre 
panel  represents  a  scene  in  a  forest.  The  colouring  of 
the  ground  is  a  very  soft  rose  red,  the  foliage  is  in  soft 
greens  and  blues,  and  the  plumage  of  the  birds  is  very 
noteworthy,  being  rendered  in  many  colourings  and 
in  places  worked  with  metal.  The  border  is  charac- 
teristic of  this  rare  type  of  rug ;  a  scroll  of  wonder- 
fully balanced  but  intricate  ornament  is  relieved  from 
a  ground  of  a  pale  sapphire  blue.  The  smaller  borders 
are  exquisitely  designed,  and  preserve  the  artistic 
completeness  of  the  best  schools  of  Persian  design. 
It  must  be  gratifying  to  those  concerned  in  the  for- 
mation of  this  collection  that  the  South  Kensington 
authorities  recently  purchased  from  it  a  fine  antique 
Kuba  rug,  for  a  good  example  of  which  they  had  been 
for  some  time  past  in  search.  These  rugs,  which  are 
made  in  the  Caucasus,  are  considered  the  best  fabrics 
produced  in  that  district,  and  the  design  of  this 
specimen  is  most  characteristic.  For  exquisite  har- 
monies of  colour  and  perfection  of  design  it  is  difficult 
to  surpass  the  finest  specimens  of  the  antique  Persian 
carpets,  and  there  seems  to  be  an  appreciation  of  them 
which  is  steadily  on  the  increase. 


The  model  of  Mr.  Tweed's  equestrian  statue — • 
painted  to  look  like  bronze — has  now  been  placed  on 
the  summit  of  the  Wellington  memorial  in  St.  Paul's 
cathedral.  The  intention  is  that  it  may  be  seen. 
The  result  appears  to  be  unfortunate.  Set  under  an 
arch  in  the  nave,  it  canncit  be  seen  well  from  whatever 
point  of  view  it  is  approached.  It  is  impossible  in 
this  position  to  obtain  the  distant  view  which  it 
demands  owing  to  its  height  from  the  ground. 


An  account  is  given  on  another  page  of  an  inter- 
esting collection  of  pictures  now  on  show  in  the 
municipal  museum  at  Amsterdam.  It  consists  of 
some  fifty  pictures  and  sixty  drawings  by  Jan  van 
Goyen,  lent  for  the  most  part  by  English,  French, 
German,  Belgian,  Swiss  and  Dutch  amateurs.  Some- 
what quaintly  the  announcement  says  that  '  this 
exhibition  will  be  uniiiue  till  now,  and  will  place  in  a 
new  light  this  great  master,  not  yet  well  enough  appre- 
ciated compared  to  other  masters  of  the  same  period.' 
Van  Goyen  interpreted  beautifully  some  of  the  most 
striking  nature  motives  of  his  country  :  the  wide  ex- 
panses of  sky,  the  quiet  distant  horizons,  the  wide 
rivers  and  estuaries,  the  fiat  pasture  land.     During  his 


GENERAL     NOTES 

lifetime  he  was  ill-paid — how  frequently  this  is  the 
case! — and  his  speculations  in  houses  and  his  cultiva- 
tion of  tulips  proving  unprofitable,  he  died  insolvent. 


The  fine  arts  committee  of  the  St.  Louis  exhibition 
will  be  strengthened  by  the  inclusion  of  representatives 
of  the  independent  societies.  The  Arts  and  Crafts 
society,  the  International,  and  the  New  English  art 
club,  will  probably  appoint  representatives.  It  may  be 
hoped,  then,  for  the  sake  of  British  art,  that  all  differ- 
ences will  be  sunk  and  that  a  friendly  policy  will  prevail. 


The  importance  and  popularity  of  the  ecclesiastical 
and  educational  art  exhibition  has  been  enhanced 
year  by  jear  since  its  institution  nearly  a  quarter  of  a 
century  ago  at  Swansea.  The  1903  exhibition  will  be 
opened  at  Bristol  on  Saturday,  October  10,  and  will 
remain  open  for  a  week.  The  interest  and  attractive- 
ness of  the  exhibition  will  be  enhanced  by  a  loan 
collection  of  art,  including  old  plate,  embroidery,  wood 
and  ivory  carvings,  paintings,  curios,  rare  MSS.,  and 
it  is  expected  that  the  resources  of  the  diocese  will 
permit  of  such  a  collection  as  will  at  least  equal  those 
of  previous  years. 

Among  the  exhibits  will  be  a  silver-gilt  chalice  and 
paten  of  the  fifteenth  century,  from  the  church  of 
St.  Faith,  Bacton,  Herefordshire,  evidently  by  the 
same  maker  as  the  celebrated  Xettlecombe  chalice, 
which  Mr.  Cripps  considers  to  be  the  oldest  piece  of 
English  hall-marked  plate  known.  There  will  also  be 
an  ancient  paten  from  Cold  Ashton,  Chippenham,  of 
date  between  1490  and  1510.  One  of  the  objects  of 
this  collection  is  to  bring  together  representative 
specimens  of  ancient  art  of  a  corresponding  nature 
to  those  articles  at  present  in  use  in  our  cathedrals, 
churches,  and  colleges,  thus  giving  visitors  an  oppor- 
tunity of  comparison. 


The  British  museum  has  recently  issued  Part  XII 
of  the  new  series  of  reproductions  of  prints.  The 
specimens  reproduced  are  those  of  French  masters  of 
line  engraving  of  the  eighteenth  century,  including 
the  following  :  Tardieu,  Cochin  the  elder,  Le  Bas, 
Lepicie,  A.  de  Saint  Aubin  (with  two  fine  portraits), 
M()itte,Prevost,  Nicolas  de  Launay,  Scotin  and  Duclos. 

Herr  Emil  Orlik  of  Prague,  whose  work  In  litho- 
graphy in  colours  was  first  brought  into  notice  in 
England  at  the  South  Kensington  exhibition  some 
years  ago,  has  been  for  some  time  working  in  Japan 
studying  Japanese  methods  of  colour  printing.  He 
has  confined  himself  to  the  use  of  native  tools  and 
materials.  An  exhibition  of  the  results  arrived  at, 
and  also  of  some  fine  etchings  in  colour,  may  be  seen 
in  London  early  next  year,  and  will  be  interesting  as 
showing  what  measure  of  success  a  western  artist  has 
been  able  to  achieve. 

The  summer  exhibition  of  the  Fine  Art  society 
contains  some  good  water-colours. 


M   5 


THE     BURLINGTON     GAZETTE 
ENGLISH   SALES 

PICTURES 

June  20- July  20 

By  the  time  these  notes  appear  the  fine-art  sale  rooms 
of  London  will  have  entered  into  the  annual  lethargy, 
from  which  they  only  re-awaken  about  the  middle  of 
autumn.  The  last  month  of  auctions,  coinciding  with 
the  waning  weeks  of  the  social  season,  seldom  includes 
anything  of  a  very  important  nature,  and  this  year  has 
proved  no  exception  to  the  rule.  If  pictures  of  the 
highest  class  were  few  and  far  between  during  the 
height  of  the  season,  the  last  few  weeks  have  not 
witnessed,  in  public  at  least,  the  disposal  of  a  single 
example  worthy  of  a  very  lofty  rank. 

The  only  interesting  work  contained  in  the  sale  of 
niiscellaneous  properties  at  Christie's  on  June  20  was 
the  Interior  of  the  Great  Church  at  Rotterdam,  by 
Antony  de  Lorme,  a  Dutch  painter  whose  authentic 
works  are  very  rare  ;  this  important  example,  measur- 
ing 43  in.  by  42  in.,  is  signed  and  dated  1657,  and 
additional  interest  accrues  to  it  from  the  fact  that  the 
figures — three  children,  one  in  a  red  coat,  a  gentle- 
man in  black  and  brown  dress  with  a  dog,  and  three 
men  conversing  in  the  background — were  painted  by 
Gerard  Terburg.  The  architectural  details  are  tran- 
scribed with  great  care  and  finish,  and  the  atmosphere 
and  light  of  the  church  rendered  with  truth  and  feeling. 
The  picture  was  sold  for  420  gns.  ;  it  had  previously 
figured  in  the  Mieville  collection,  best  remembered  for 
the  superb  group  of  paintings  by  Troyon  which  it 
contained.     When  sold  in  1899  it  fetched  360  gns. 

The  announcement  of  the  sale  on  June  27  of  the 
collection  of  Sir  Horatio  Davies  attracted  much  atten- 
tion, as  he  was  known  to  possess  some  fine  works  of 
the  French  school  of  the  nineteenth  century,  but  one 
was  disappointed  ;  for  when  the  pictures  were  on  view, 
one  missed  a  certain  number  which  their  owner  had  lent 
in  i8g8  to  the  exhibition  of  French  pictures  at  the 
guildhall  of  London,  more  especially  the  good  examples 
by  Ch.  Jacque  and  Emile  van  Marcke,  which  had  been 
admired  on  that  occasion.  It  transpired  that  these,  as 
well  as  others  among  the  best  specimens  in  the  collec- 
tion, had  been  disposed  of  privately  before  the  sale,  and 
consequently  the  interest  was  far  less  than  it  would 
have  been  had  the  entire  collection  been  offered.  The 
pictures  of  the  Barbizon  school,  including  works  by 
Corot,  Diaz,  Daubigny,  Jules  Dupre  and  J.  F.  Millet, 
naturally  absorbed  a  large  share  of  attention  ;  none, 
however,  was  of  very  fine  (juality,  and  the  majority 
failed  to  change  hands.  The  best  Corot  showed  a 
hay-cart  coming  down  a  sandy  road  in  a  clear  and 
airy  landscape,  with  a  bunch  of  trees  standing  imme- 
diately beyond  the  road  in  the  centre  of  the  picture  ; 
its  size  is  i6i  in.  by  23I  in.,  and  it  fetched  780  gns. 
A  larger  work,  Zuydcootc  pres  Dunkerque,  27^  in.  by 
39  in.,  represents  a  fisherwoman  carrying  a  large 
shrimping  net,  walking  down  a  hill,  on  the  top  of 
which  stand  a  few  cottages ;  a  corner  of  sea  is  visible 
in  the  background  on  the  right;  the  whole  picture 
has  a  reddish  tone,  which  is  not  very  pleasing,  and  it 
appears  to  have  been  somewhat  worked  upon  since 
it  left  the  artist's  hands,  the  result  being  a  certain 
heaviness  and  lack  of  transparence,  very  foreign  to 
the  work  f)f  Corot  ;   it  reached,  however,    1,900    gns. 


Confidences,  showing  a  semi-nude  girl  lying  on  the 
bank  of  a  stream  listening  to  the  whispers  of  a 
little  cupid,  is  also  re-painted  in  parts,  and  failed 
to  find  a  buyer  at  210  gns.  A  River  Scene,  by 
Daubigny,  a  quiet  stream  flowing  between  verdant 
hills,  showed  similar  traces  of  having  been  'finished' 
by  another  hand,  and  fetched  only  300  gns.  By 
Diaz  there  was  a  heath  scene  in  Fontainebleau  forest 
under  a  rolling  sky  of  lowering  storm  clouds,  a 
dark  picture,  which  was  knocked  down  at  860  gns. ;  a 
small  panel,  Turkish  Children,  by  the  same  artist, 
very  brilliant  in  colouring,  fetched  360  gns.  Jules 
Dupre.  who  with  Theodore  Rousseau  (to  whom  two 
small  landscapes  were  falsely  attributed)  is  perhaps 
the  most  romantic  of  the  romanticists,  was  repre- 
sented by  two  sea  pieces  and  a  landscape.  Dupre 
was  the  last  to  survive  of  the  noble  phalanx  of  painters 
known  as  the  school  of  1830.  He  was  a  philosopher 
as  well  as  a  painter,  and  was  possessed  of  a  command 
of  language  uncommon  among  wielders  of  the  brush. 
Better  than  any  critic  he  could  at  times  express  in 
words  the  ideals  and  governing  principles  of  his  art. 
'Nature  is  only  the  pretext,'  he  would  say;  'the  goal  is 
art,  the  medium  is  the  individual.  Why  does  one 
speak  of  a  Van  Dyck,  a  Rembrandt,  before  mentioning 
what  the  picture  represents  ?  It  is  because  the  subject 
disappears  and  the  individual  alone,  the  creator,  re- 
mains.' '  La  nature  n'est  rien,'  he  said  again,  'I'homme 
est  tout.  Rien  n'est  bete  comme  une  montagne ;  un 
peintre  arrive,  la  regarde,  la  copie  et  la  deniaise.' 
Thus  his  powerful  personality  governed  all  he  painted, 
whether  his  theme  was  the  country  or  the  sea,  or 
even  a  battle  scene  like  that  in  the  Lille  museum, 
painted  in  collaboration  with  Eugene  Lami.  It  was 
only  during  the  siege  of  Paris,  when  Dupre  was  shut 
up  for  six  months  at  his  country  house  at  Cayeux  on 
the  Norman  coast,  that  he  began  to  translate  on  to 
his  canvas  the  immensity  of  the  waves  tossing  helpless 
boats  under  threatening,  death-laden  skies.  His  repu- 
tation, however,  rests  mainly  upon  his  landscapes,  and 
his  pictures  of  the  sea  are  less  appreciated,  though 
for  no  inherent  reason.  The  Open  Sea  of  the  Davies 
collection  was  a  beautiful  example,  and  it  fetched 
4S0  gns.  A  less  satisfactory  specimen  was  a  Coast 
Scene  with  High  Cliffs,  which  was  bought  in  at 
340  gns.,  whilst  the  landscape  called  the  Lake,  dark 
and  ralher  opaque,  met  with  a  similar  fate  at  480  gns. 
Nor  was  a  buyer  forthcoming  for  an  early  Portrait  of 
the  Artist's  "VVife,  by  Jean  Francois  Millet,  a  work 
interesting  only  as  a  document  showing  the  pupil  of 
Paul  Delaroche  long  before  he  became  the  Millet  of 
the  Angelus,  of  the  Glaneuses  and  so  many  other 
masterpieces  of  peasant  life. 

The  comparative  neglect  into  which  the  works  of 
Meissonier  have  now  fallen,  from  the  excessively  high 
pinnacle  to  which  fashion  had  borne  them  a  few  years 
ago,  was  shown  by  the  lack  of  enthusiasm  displayed 
fur  the  seven  examples  in  the  collection  of  Sir  Horatio 
Davies.  A  tiny  water-C(jlour,  Lcs  Eche\ins,  fetched 
igo  gns.,  but  the  six  oil-paintings  werr  \\  ithdraw  11  at 
prices  ranging  from  200  to  950  gns. 

Of  the  English  pictures  in  the  collcctinn,  only  two 
need  be  mentioned  :  Worcester,  an  early  work  by 
Turner,  was  sold  for  i,iod  gns.;  and  Nausicaa,  by 
Leighton,   characteristically  well  drawji,  but  equally 


characteristiciilly  cold  and  unimpressive,  fetrlu-d 
i,oio  -^ns.,  far  more  than  it  is  likely  to  be  worth  a  few- 
years  hence. 

A  picture  by  J.  S.  Sargent  so  rarely  comes  into  the 
sale-room  that  for  that  very  reason  "his  portrait  of  a 
lady  in  a  black  dress,  seated,  holding  a  fan,  claimed 
attention  among  the  works  from  various  sources  dis- 
posed of  on  the  same  da)-.  The  picture,  in  reality 
little  more  than  a  study,  was  probably  painted  many 
years  ago,  and  though  it  shows  ample  evidence  of  the 
skill  and  dash  of  Carolus  Duran's  brilliant  pupil  there 
is  a  laboured  affectation  in  both  the  pose  and  the 
technicjue  which  can  ill  bear  comparison  with  the 
masterly  execution  of  Sargent's  more  recent  works  ;  it 
was  sold  for  130  gns. 

The  Hutcher  Boy,  a  fine  work  by  the  German 
artist  Louis  Knaus,  painted  in  1879,  was  sold  for 
920  gns.;  and  a  powerful  and  brilliant  study  by  Mun- 
kacsy  for  his  well-known  picture  of  Cahary  was 
bought  in  at  500 gns.  Among  the  few  pictures  which 
belonged  to  Mr.  j.  G.  Menzies  there  figured  a  striking 
though  not  very  important  work  by  Manet,  one  of  the 
greatest  leaders  of  the  French  impressionist  school ; 
this  picture  might  be  termed  a  study  in  grey  values, 
and  shows  the  wooden  jetty  of  Boulogne  running  hori- 
zontally right  across  the  canvas  with  the  sea  both  in 
front  and  beyond.  This  bold  subject  is  boldly  treated 
with  little  apparent  regard  for  composition,  yet  with 
perfect  harmony  of  effect ;  in  the  distance  the  sky  and 
the  calm  sea  are  confounded  in  one  uniform  tone  of 
grey,  the  line  of  the  horizon  is  in  no  way  defined,  the 
difference  of  element  being  indicated  solel}-  by  the  pre- 
sence of  sailing  boats  on  the  water.  Marvellously 
clever  as  is  this  picture  in  its  apparent  simplicity,  it  is 
a  comparatively  early  work  of  Manet,  and  its  price 
of  480  gns.  shows  to  what  extent  the  painter's  ideas 
are  now  accepted,  if  not  in  this  country,  at  any  rate 
among  the  more  artistic  nations  of  the  continent  of 
Europe,  when  it  is  remembered  that  during  his  lifetime 
Manet  found  it  well-nigh  impossible  to  sell  e\'en  his 
finest  works. 

The  collection  of  the  late  Mr.  George  Gurney  of 
Eastbourne  (one  of  the  founders  of  the  Princess  Alice 
memorial  hospital)  included,  among  a  number  of  pic- 
tures of  an  aggressively  'commercial'  type,  a  few  works 
of  interest  to  the  connoisseur.  Foremost  among  these 
must  be  mentioned  the  Diana  Vernon  by  Millais, 
painted  in  1880,  and  described  as  a  three-quarter 
figure  of  a  lady  in  a  riding  dress  of  the  last  century, 
seated  in  a  landscape,  and  looking  over  her  right 
shoulder  with  her  arms  folded  ;  in  her  hat  is  a  white 
cockade.  Millais  is  one  of  the  few  modern  English 
artists  whose  works  may  be  trusted  to  endure  in  the 
appreciation  of  art-lovers  long  after  the  most  fashion- 
able of  his  contemporaries  at  the  Royal  academy 
have  been  forgotten.  In  all  his  works,  whether  of  his 
pre-raphaelite  manner  or  those  executed  after  he  had 
shaken  off  the  fetters  of  the  brotherhood,  the  true 
artistic  spirit  is  to  be  found.  Occasionally,  no  doubt, 
he  sacrificed  to  the  public's  demand  for  sentimentality, 
and  to  the  widespread  idea  that  a  picture  should  tell 
a  story.  His  reputation  in  years  to  come  will  not  rest 
uiion  such  popular  successes  and  artistic  failures  as 
the  Huguenot  and  kindred  productions;  but  the  solid 
qualities  exhibited  in  the  Yeoman  of  the  Guard  in  the 


THE     PICTURE     SALES 

National  gallery,  and  the  portrait  of  Gladstone  which 
hangs  in  the  same  room,  must  suffice  to  place  Millais 
very  far  above  the  majority  of  painters  of  the  \'ictorian 
era.  The  Diana  N'ernon  of  the  Gurney  collection  is  a 
brilliant  and  powerful  example  of  the  same  period  as 
the  National  gallery  pictures,  and  was  certainly  not 
too  dear  at  620  gns.  The  same  price  was  fetched  by  a 
good  example  of  the  art  of  J.  C.  Hook — Salmon  Pool  on 
the  Tamar.  This  artist  painted  the  sea  with  great 
realism  and  a  fine  sense  of  colour,  and  succeeded  in 
infusing  into  his  pictures  the  breezy  atmosphere  of  the 
ocean.  Four  other  works  from  his  brush  were  also 
sold  at  prices  ranging  between  340  and  450  gns. 

Among  the  water-colours  there  figured  several 
original  works  by  J.  M.  W.  Turner.  600  gns.  was  the 
price  paid  for  Chatham  from  Fort  Pitt,  a  pleasing 
example,  11  in.  by  18  in.,  of  the  artist's  middle  period, 
painted  in  1831.  Stirling  Castle,  painted  three  years 
later  as  an  illustration  to  Sir  Walter  Scott's  prose 
works  (vol.  xxiii),  although  only  3jin.  by  6  in.,  fetched 
210  gns.  Two  little  vignettes  painted  in  Turner's 
most  delicate  and  effervescent  style  for  Sir  Egerton 
Brydges's  edition  of  Milton  were  sold  for  220  gns.  and 
130 gns.  respectively;  they  represent  St.  Michael's 
Mount — Shipwreck  of  Lycidas,  and  the  Temptation  on 
the  Pinnacle  of  the  Temple.  From  the  breadth.  l)ril- 
liance,  and  spontaneity  of  Turner's  drawings  it  is  a  far 
cry  to  those  of  William  Hunt,  several  of  whose  pro- 
ductions were  also  included  in  this  sale;  flowers,  fruit 
and  birds  are  rendered  by  Hunt  with  almost  microscopic 
detail,  indicati\e  no  doubt  of  great  skill  and  consum- 
mate inastery  over  his  medium ;  but  the  want  of 
feeling,  the  lack  of  air  and  atmosphere  in  his  works, 
debar  him  from  ranking  as  a  creator  or  anything  more 
than  a  pcrfectl\-  accurate  translator.  His  water-colour 
drawing  entitled  The  Rustic  Artist  fetched  240  gns., 
Spring  Flowers  and  Birds'  Nests  120  gns.,  whilst  others 
went  for  lower  figures. 

The  only  foreign  picture  of  importance  in  the 
Gurney  collection  was  After  the  Storm,  a  fisherman's 
family  in  gloom,  by  Joseph  Israels,  which  was  sold 
for  1,080  gns:  it  is  one  of  those  interiors  in  which 
Israels  expresses  with  so  much  pathos  and  truth  the 
life  of  the  poor  Dutch  fisher-folk. 

Pictures  from  different  properties  offered  on  the 
same  day  included  a  fine  pastel  portrait  by  John  Russell 
of  Mr.  Potenger,  lord  of  the  manor  of  Compton  near 
Newbury,  in  a  brown  coat  with  powdered  hair,  sold' 
for  200  gns.  This  is  a  comparatively  high  price  for  a 
male  portrait  by  Russell,  although,  of  course,  his 
ladies  occasionally  reach  a  very  much  higher  figure. 
Raeburn,  Reynolds,  Romney  and  Gainsborough  were 
also  represented  by  portraits  of  men.  That  of  James 
Byres  of  Tonley,  antiquary  and  architect,  in  dark 
coat  with  white  stock,  by  Raeburn.  is  a  lifelike 
portrait  of  very  high  artistic  merit,  full  of  character 
and  expression  ;  it  failed,  however,  to  attract  a  pur- 
chaser at  520  gns.  The  three-quarter  length  portrait 
of  Francis  marcpiess  of  Tavistock,  in  red  coat,  seated 
at  a  table  with  papers  and  books  before  him,  by 
Reynolds,  is  dated  1766,  and  though  considerably 
faded  in  the  flesh-tints,  is  a  very  fair  example  of  Sir 
Joshua  at  this  period  of  his  career.  It  was  formerly 
in  the  collection  of  Lord  John  Russell,  and  now 
fetched   1,150  gns.     The    Romney  was  a   half-length 

143 


THE     BURLINGTON     GAZETTE 


portrait  of  an  unknown  gentleman  in  green  coat  with 
fur,  white  stock  and  powdered  wig ;  though  genuine, 
it  is  of  no  very  great  interest,  and  fetched  320  gns. 
An  unknown  gentleman  also  was  the  subject  of  the 
half-length  portrait  by  Gainsborough  sold  for  980  gns. ; 
he  wears  a  green  coat  trimmed  with  gold  braid,  a 
white  stock  and  powdered  hair.  This  can  never  have 
been  a  fine  example  of  Gainsborough's  work,  as  it  is 
negligently  painted  and  lacking  in  character  ;  it  has, 
besides,  been  much  overcleaned,  and  the  heavy  hand 
of  the  restorer  is  visible  in  many  places.  A  three- 
quarter  length  portrait  of  Grace,  daughter  of  Samuel 
Estwicke,  in  a  white  dress  with  a  blue  sash,  was 
attributed  to  Romney,  and  had  been  exhibited  as  such 
at  the  Grafton  gallery  in  1900.  This  is  one  of  the 
numerous  pictures  shown  at  that  so-called  Romney 
exhibition  which  have  no  possible  claim  to  rank  among 
his  works. 

Only  a  very  few  pictures  in  the  sale  of  July  18  at 
Christie's  deserve  a  mention.  The  directors  of  the 
Bath  assembly  rooms  compan}'  had  sent  up  the  full- 
length  life-size  portrait  of  Captain  Wade,  master  of 
the  ceremonies  at  Bath,  painted  by  Gainsborough  in 
1771.  Captain  Wade  is  shown  standing  on  a  terrace 
in  red  coat  and  breeches  and  gold  embroidered  vest, 
loosely  holding  his  hat  in  his  right  hand.  It  is  a  fine 
portrait,  although  the  pose  is  somewhat  stiff;  no 
buyer  could,  however,  be  found  to  reach  the  reserve 
price,  and  at  2,100  gns.  the  picture  was  bought  in. 
Two  broadly  painted  views  of  Venetian  buildings, 
by  Guardi,  were  sold  at  the  same  sale  for  225  gns. 
and  240  gns.  respectively  ;  another  view  of  Venice, 
but  by  a  modern  artist  of  vastly  different  technique, 
was  the  large  water-colour  by  T.  B.  Hardy,  sold  for 
100  gns.  ;  the  very  real  if  unequal  talent  of  this  artist 
will  no  doubt  be  discovered  some  day  by  his  countr\- 
men,  but  up  to  the  present  Dame  Fashion  has  not 
thought  fit  to  take  him  up,  and  his  works  lie  neglected, 
whilst  painters  far  inferior  to  him  are  lifted  to  the 
skies.  M.  R. 

PRINTS 

With  the  advent  of  the  month  of  July  the  last  phase 
of  the  London  season  is  entered  upon.  An  abrupt 
termination  will  arrive  in  the  last  week,  and  the  dis- 
persal of  works  of  art  by  public  auction  in  London  will 
cease  in  all  probability  until  November ;  consequently 
auctioneers  put  on  a  little  pressure  to  dispose  of  the 
season's  remainders,  which  almost  invariably  results 
in  a  number  of  sales  of  secondary  importance,  which 
are  usually  as  tedious  as  they  are  devoid  of  interest. 
When  these  sales  consist  of  those  articles  which  have 
no  very  clearly  defined  value,  the  prices  realized  are 
usually  not  of  the  best  description.  In  the  first  place 
society,  exhausted  with  the  fatigues  of  the  season,  has 
already  commenced  an  exodus  to  the  country,  and, 
secondly,  dealers  are  not  disposed  to  invest  largely 
when  they  know  that  several  months  must  neces- 
sarily elapse  before  they  can  hope  for  a  return  on  their 
money.  With  regard  to  prints,  however,  prices  are 
never  allowed  to  sink  below  a  certain  limit  when  good 
specimens  are  offered.  Still,  the  end  of  the  season 
always  presents  opportunities  for  favourable  buying 
to  the  collector  who  is  well  up  in  his  pursuit. 

144. 


On  June  15  the  dispersal  of  the  Royal  Aquarium 
collection  was  continued  at  Sotheby's,  and  comprised  a 
few  oil  paintings  and  drawings  which  are,  strictly  speak- 
ing, outside  my  province ;  but  in  all  probability  they 
will  not  be  referred  to  by  my  colleague,  and  as  they 
are  inseparably  bound  up  with  the  collection,  and  are 
of  interest  to  print  collectors,  I  may  be  pardoned  for 
noticing  them.  The  most  interesting  on  the  whole 
was  the  series  by  George  Armfield,  including  Paying 
a  Visit  to  the  New  Arrivals,  which  realized  ;f  14,  and 
several  clever  studies  of  dogs,  ducks  and  rabbits, 
which  averaged  £^  5s.  each.  There  was  also  an 
Otter  Hound,  which'  was  not  a  good  example  of 
Landseer,  but  still  not  dear  at  £^  3s.  The  only 
other  item  worthy  of  mention  was  an  interesting  study 
by  Wheatley  of  The  Duke  of  Newcastle's  Hunter 
and  Groom,  which  changed  hands  at  £2-  The 
water-colours,  etc.,  which  came  next,  presented  much 
greater  interest.  The  clever  Hunting  series,  eleven 
in  number,  worked  upon  by  John  Leech  himself, 
produced  ^"28  los.,  and  the  Ro_val  Hunt  in  Windsor 
Park  and  King  George  III  returning  from  Hunting,  by 
James  Pollard,  sold  together  for  ;^ii  15s. 

Two  of  the  most  characteristic  and  attractive  lots 
offered  were  sixteen  original  hunting  sketches  by  Phiz, 
in  eight  frames,  £16  los.,  and  fourteen  by  the  same 
artist,  in  seven  frames,  £14  5s. ;  whilst  a  Legend  of 
Cloth  Fair  and  other  tales,  the  six  original  engraved 
drawings,  produced  £6  12s.  6d.  The  prices  which 
were  realized  for  the  Alkens  were  somewhat  disap- 
pointing. A  Trip  to  Melton  Mowbray,  or  the  Leices- 
tershire Panorama,  fourteen  in  number,  were  knocked 
down  for  the  low  price  of  24s.  ;  whilst  the  four  com- 
prising the  Fox  Hunting  series  were  valued  at  44s., 
but  the  Shooting  series  sold  for  ^^5.  As  was  the  case 
with  the  Cruikshanks,  the  total  was  disappointing, 
126  lots  producing  but  £351  9s.  6d.  Had  the  dis- 
persion occurred  fifteen  or  twenty  years  previously, 
probably  the  collection  would  have  realized  double, 
but  as  collectors  of  drawings  and  prints  of  this  period 
die  off,  they  find  no  successors  amongst  the  rising 
generation,  and  instead  of  interest  being  displayed 
when  fine  examples  are  submitted  they  are  received 
with  an  apathy  which  would  have  been  incompre- 
hensible to  a  collector  of  the  eighties. 

On  the  following  day  was  dispersed  in  the  same 
rooms  a  collection  of  prints  and  drawings  relating  to 
the  not  very  elevating  subjects  of  cock-fighting,  horse- 
racing,  prize-fighting,  and  other  so-called  sporting 
subjects.  An  oil  painting,  painted  for  George  IV 
when  prince  of  Wales,  illustrative  of  The  Death 
Blow,  fetched  £4,  and  a  pair  of  coloured  mezzo- 
tints of  Fighting  Cocks  £2  2s.  The  Great  Match 
between  Broome  and  Hannan  and  The  Match  between 
Heenan  and  Sayers  at  Farnborough,  both  with  key 
plates,  sold  for  £2  17s.  5d. ;  whilst  £4  12s.  was  the  price 
given  for  Up  a  Tree,  by  Henry  Aiken,  and  two  others. 

Coming  back,  however,  to  more  legitimate  ground 
there  was  a  collection  of  modern  engravings,  some  of 
great  interest,  at  Christie's  on  the  same  day.  The 
Frankland  Children,  a  very  evenly  printed  artist's 
proof  after  Hoppner,  by  Scott  Bridgwater,  produced 
£16  5s.  6d.  With  the  exception  of  Diana  or  Christ  ? 
after  E.  Long,  R.A.,  there  was  not  much  of  interest 
until   the  prints  after   Rosa  Bonheur   were  reached. 


THE     PRINT     SALES 


Landais  Peasants  going  to  Market,  by  H.  T.  Ky:ill,  :in 
artist's  proof,  signed  by  the  painter,  sold  for  £"5  5s. 
A  Highland  Raid,  by  C.  G.  Lewis,  fetched  £5  15s.  6d., 
and  Changing  Pastures,  by  Kyall,  £10  los.  Both 
were  in  the  same  state  as  the  first-named.  A  few  of 
the  modern  etchings  sold  well.  Chill  October  (cer- 
tainly the  best  landscape  Millais  ever  put  on  canvas), 
artist's  proof  of  Debaine's  very  successful  transcription, 
was  not  dear  at  £"16  i6s.,  whilst  the  same  etcher's 
prints  after  Leader,  Parting  Day  and  At  Evening 
Time,  sold  for  £"15  4s.  6d.  and  £'16  i6s.  respectively. 

We  come  now,  however,  to  those  once  very  popular 
prints  executed  after  Landseer  in  which  of  late  years 
there  has  been  a  steadily  declining  market.  Certainly 
many  minor  plates  were  included  which  averaged, 
although  artist's  proofs,  some  seven  or  eight  guineas 
each,  and  small  though  these  figures  ma\-  seem,  it  is 
probable  that  the  future  will  see  a  still  further  diminu- 
tion in  price.  An  artist's  proof  of  The  Deer  Pass  by 
Thomas  Landseer,  however,  only  realized  £11  lis., 
and  the  finest  of  the  whole  series,  The  Monarch  of 
the  Glen,  by  the  same  engraver,  signed  by  the  painter, 
£46  4s.  The  ever-present  Cousins  were  again  in  evi- 
dence. Mrs.  Braddyll,  as  on  many  former  occasions, 
was  an  easy  victor,  a  proof  before  letters  selling  for 
£yi  IDS.  The  fine  line  engravings  after  the  old 
masters,  of  which  some  particularly  choice  specimens 
were  offered,  received  very  lukewarm  attention.  A 
beautiful  proof  of  the  Aurora  after  Guido  Reni  by 
Raphael  Morghen  was  valued  at  £"22  is.,  whilst 
Desnoyers'  superb  plate  of  La  belle  Jardiniere  after 
Raphael  in  the  same  state  changed  hands  for  .the 
ridiculous  price  of  £11  us.,  and  a  proof  of  Raphael's 
Madonna  della  Sedia,  by  Mandel,  at  £6  i6s.  6d.  The 
prints  after  Turner  also  sold  poorly.  Mercury  and 
Argus,  by  Willmorc,  one  of  the  first  fifty  proofs, 
realized  £12  12s. ;  Ancient  Italy,  a  first  published 
state  by  the  same  engraver,  £"10  los.,  and  Crossing 
the  Brook,  by  Brandard,  £S  i8s.  6d.  There  were 
three  good  prints  also  by  Lucas  after  Constable — The 
Lock  and  The  Cornfield  proofs  together  were  knocked 
down  for  £30  gs.,  whilst  a  first  published  state  of 
Salisbury  Cathedral  realized  £"22  is. 

Not  a  very  enticing  lot  was  offered  by  Christie's 
on  June  19.  The  sale  was  principally  composed  of 
mezzotint  portraits  after  Reynolds,  which,  with  a  few- 
exceptions,  were  of  second-rate  impression.  That 
this  was  amply  realized  was  evident  from  the  figures 
obtained.  A  first  state  of  The  Viscountess  Crosbie  by 
Dickinson  after  Sir  Joshua  Reynolds  made  by  far  the 
highest  price,  the  bidding  .not  ceasing  until  the  some- 
what extravagant  price  of  £325  los.  had  been  obtained. 
But  cheaper  perhaps  was  a  fine  first  state  of  The 
Duchess  of  Devonshire  after  the  first  president,  by 
Valentine  Green,  which  produced  £^262  los. 

A  rather  good  copy  of  Almeria  after  Opie,  by 
J.  R.  Smith,  printed  in  colours,  fetched  about  its  value, 
£■94  los.,  whilst  Dunkarton's  fine  plate  of  Miss  Mary 
Horneck  after  Reynolds,  a  proof  with  original  margin, 
cannot  be  considered  at  all  dear  at  £63.  Most  of  the 
prints  after  Reynolds  produced  small  sums,  partly 
because  many  were  portraits  of  men,  and  those  which 
portrayed  members  of  the  sex  which  is  in  favour 
with  the  modern  collector  were  in  not  very  desirable 
state.       Seeing    that    many    of   the    men   represented 


were  of  considerable  notoriety,  the  more  than  usual 
apathy  with  which  they  were  received  is  all  the  more 
astonishing.  A  proof  before  all  letters  of  Sir  Joshua 
Reynolds,  by  Valentine  Green,  realized  £"3  13s.  6d., 
and  a  very  fair  impression  of  Doughty's  plate  of 
Dr.  Samuel  Johnson  after  the  same  painter,  £"i2  12s. 
But  these  prices  were  quite  passable  beside  the  28s. 
given  for  Charles  James  Fox  by  J.  Jones,  also  after 
Reynolds.  Still,  even  when  we  came  to  prints  which 
enjoy  more  favour  at  the  moment,  the  bidding  was 
listless.  The  Strawberry  Girl,  by  T.  Watson,  was 
knocked  down  for  £"13  13s.,  and  The  Countess  of 
Pembroke  and  Son,  by  J.  Dixon,  in  the  second  state, 
£"4  4s.  In  only  two  instances  was  anything  like 
spirit  shown.  These  occurred  when  a  first  published 
state  of  Lady  Bampfylde  by  T.  Watson,  and  Mrs. 
Payne  Gallwey  and  Child  by  J.  R.  Smith,  in  the  second 
state,  were  offered.  The  former  changed  hands  at 
£"63,  and  the  latter  at  £50  8s.  In  the  English  section 
there  were  only  a  few  other  items  of  interest.  £99  15s. 
was  given  for  an  incomplete  set  of  the  Months 
(November  was  missing)  after  Hamilton,  which  were 
fair  impressions  in  colour,  and  £"86  2s.  for  a  capitally 
printed  copy,  also  in  colours,  of  He  Sleeps,  by 
P.  W.  Tomkins,  after  his  own  design.  A  few  French 
engravings  were  submitted  at  the  same  time,  but  the 
other  prices  of  note  were  £"48  6s.  for  average  impres- 
sions of  Le  Billet  Doux  and  Qu'en  dit  I'Abbe  ?  after 
Lavreince,  by  de  Launay,  and  £56  14s.  for  Les 
Hasards  Heureux  de  I'Escarpolette  after  Fragonard, 
by  the  same  engraver._ 

Again  the  line  engravings  had  a  bad  time.  Mas- 
sard's  fine  transcription  of  La  Cruche  Cass6e,  after 
Greuze,  was  valued  at  £8  i8s.  6d.,  and  the  exquisite 
Adrienne  Lecouvreur,  together  with  Guillaume  de 
Brisacier,  £"6  i6s.  6d. 

Destitute  of  interest  as  this  sale  undoubtedly  was, 
it  was  better  than  that  of  the  collection  submitted  in 
the  same  rooms  on  June  23.  There  was  little  to 
admire,  still  less  to  covet.  Quite  the  most  noteworthy 
were  La  Seconde  Suite  d'Estampes  pour  servir  a 
I'Histoiredes  Mceurs  et  du  Costume  en  France  dans  le 
XVI IP  siecle,  after  Moreau  le  Jeune.  It  was  a  com- 
plete set  of  twelve,  of  which  eleven  were  proofs.  Still, 
it  is  to  be  questioned  whether  they  were  all  issued 
together.  If  they  were  they  were  strangely  unequal. 
It  is  more  probable  that  they  have  been  brought  to- 
gether by  some  collector.  Taking  this  into  considera- 
tion £"75  I2S.  was  a  good  price  to  pay  for  them. 
Eight  of  the  third  set,  as  far  as  regards  impression, 
would  come  under  the  sariie  category,  and  were  even 
dearer  than  the  preceding  lot  at  £36  15s.  Of  the 
other  French  prints  several  reasonable  lots  are  to  be 
chronicled.  A  by  no  means  poor  impression  in  colours 
of  La  Comparaison,  by  Janinet,  was  cheap  at  £"25  4s., 
whilst  £"19  8s.  6d.  paid  for  a  proof  before  letters  of 
Beauvarlet's  exquisite  print  of  Madame  du  Barry,  after 
Drouais,  was  quite  one  of  the  cheapest  lots  in  the  day. 
The  Cries  of  London,  after  Wheatley,  in  colours,  which 
were  offered  were  of  unequal  quality,  and  all  attained 
a  very  fair  price.  Still,  there  was  not  so  much  diflfer- 
ence  in  quality  between  Matches,  by  Cardon,  and 
Turnips  and  Carrots,  by  Gaugain,  which  sold  together 
for  £'105,  and  Fresh  Gathered  Peas,  by  Vendramini, 
which  produced  £^29  8s.,  as  might  be  assumed.    At  the 

145 


THE     BURLINGTON     GAZETTE 

end  of  the  sale,  however,  came  a  few  of  quite  the 
finest  impressions  of  the  Cries  which  have  been  offered 
this  season.  These  were  in  brown  etched  letter  proofs 
of  Duke  Cherries,  and  A  New  Love  Song,  by  Cardon, 
together  sold  for  £2.^  6s.,  and  a  fine  proof  before  all 
letters  of  New  Mackerel,  by  Schiavonetti.  Still,  the 
class  of  collectors  which  devotes  its  attention  to 
coloured  stipple  prints  of  the  early  English  school  are 
tenaciously,  covetously  inclined  towards  this  series, 
and  values  even  for  very  inferior  specimens  continue 
to  have  an  upward  tendency,  in  spite  of  the  large  prices 
which  ha\'e  been  current  during  the  past  few  years. 
The  prints  after  George  Morland  have  not  been  much 
in  evidence  this  month.  However,  fairly  good  copies 
of  St.  James's  Park  and  A  Tea  Garden,  by  Soiron,  in 
colours,  produced  3^115  los.,  and  were  decidedly 
cheaper  than  A  Party  Angling  and  The  Angler's  Re- 
past, both  being  of  poor  quality,  and  yet  sold  for  £42. 
Mrs.  Siddons,  after  Downman,  quite  one  of  the  most 
successful  prints  Tomkins  produced,  was  represented 
by  a  proof  before  all  letters,  printed  in  colours  and  in 
capital  condition  ;  it  realized  3^73  los. 

I  may  perhaps  be  allowed  again  to  digress  to 
chronicle  a  sale  of  great  importance,  which  would 
not  otherwise  receive  attention.  This  was  the  dis- 
persal on  June  24  at  Sotheby's  of  the  collection  of 
drawings  and  engravings  by  William  Blake,  the 
property  of  Captain  Butts,  a  grandson  of  a  friend 
and  patron  of  Blake's.  The  drawings  were  well 
known,  being  all  catalogued  by  Gilchrist  in  his  '  Life 
of  William  Blake,'  and  the  numbers  in  parenthesis, 
dates,  and  description  which  accompanied  each  were 
culled  from  that  work.  Included  were  the  famous 
Fire,  which  sold  for  ^205,  and  the  Entombment, 
which  shows  the  genius  of  its  creator  in  one  of  his 
most  fascinating  and  at  the  same  time  awe-inspiring 
phases.  Blake  has  never  had  a  great  following ;  he 
is  perfectly  incomprehensible  to  the  many.  In  the 
first  place  because  of  his  lack  of  exterior  attrac- 
tiveness. In  an  age  like  the  present,  which  demands 
in  every  branch  of  art  before  all  things  super- 
ficial t'awdriness,  there  is  no  appreciation  for 
those  greater  qualities  which  demand  sympathetic 
appreciation  for  their  comprehension.  Blake  must 
be  numbered  amongst  these.  Then  again  these 
greater  spirits  have  not  employed  themselves  in  the 
creation  of  mere  decorative  works,  and  for  this  reason 
they  are  not  popular  with  many  opulent  collectors. 
Amongst  the  engravings,  twenty  pages  of  proofs,  some 
with  memoranda  by  Blake,  for  Young's  '  Night 
Thoughts,'  sold  for  ;£"i5  los.,  and  the  illustrations  to 
the  '  Book  of  Job,'  India  proofs,  ,^20. 

The  most  important  sale,  however,  which  we  ha\e 
to  chronicle  this  month,  is  the  dispersal  of  the  collec- 
tion of  mezzotints  the  property  of  Sir  Wilfrid  Lawson, 
which  took  place  on  June  30  and  the  following  day  at 
Christie's.  The  whole  had  been  brought  together  by 
a  member  of  the  family  towards  the  end  of  the 
eighteenth  century,  and  it  is  fair  to  presume  that  they 
had  never  been  in  any  other  hands  since  they  left  the 
engraver.  The  desires  of  the  collector  of  to-day  are 
hardly  (;f  a  kindred  nature  to  those  of  his  predecessor 
of  a  century  or  more  ago,  and  consequently  it  is  to 
be  doubted  whether  the  collection  en  bloc  would  possess 
any  great  amount  of  fascination  to  a  modern  connois- 

146 


seur.  There  was  such  a  strange  intermingling  of  good 
and  bad  impressions,  engravings  of  what  are  considered 
desirable  subjects  with  those  which  are  held  in  less 
esteem,  that  one  would  have  been  seized  with  a  desire 
to  '  weed  '  perhaps  the  larger  portion.  It  was  evident 
that  it  had  not  troubled  the  original  possessor  very 
much  whether  a  pull  from  the  copper  was  worthy  to 
be  added  to  his  collection  or  not,  so  long  as  it  was  a 
transcription  of  a  particular  picture  which  had  taken 
his  fancy.  That  this  was  the  general  view  of  the 
matter  is  sufficiently  evidenced  by  the  prices  obtained, 
£7,147  being  the  total  for  261  lots,  many  of  which 
contained  several  prints.  The  best  prices  were  given 
for  the  prints  after  Romney  and  Hoppner  ;  in  a  few 
cases  they  might  even  be  termed  extravagant.  F"or 
example,  3^262  los.  was  rather  a  long  figure  for  The 
Countess  Gower  and  Family,  by  J.  R.  Smith  after 
Romney,  considering  that  the  condition  was  not  good 
and  it  had  suffered  from  damp.  Again,  although  a 
fine  copy  with  full  margin,  £651  was  quite  enough  to 
pay  for  Mrs.  Davenport  after  the  same  painter  by 
J.  Jones,  and  the  same  remark  would  apply  to  the 
etched  letter  proof  of  Mrs.  Carwardine  and  Child  by 
J.  R.  Smith,  which  changed  hands  at  /^45i  los. 
Turning  to  the  engravings  after  Hoppner  we  had 
relatively  much  finer  examples.  The  (imlsall  c  hildren 
by  J.  Young,  which  was  rendered  additiimally  :ittrac- 
tive  b}'  being  initialled  on  the  margin  b\-  the  fngra\er, 
a  brilliant  impression,  was  cheap  at  £115  los. 
Amongst  others  which  might  reasonably  have  been 
expected  to  have  brought  more  were  Lady  Greville 
by  J.  Young,  £yi  8s.,  and  Mrs.  Young  by  the  same 
engraver,  £8  i8s.  6d.  A  very  bad  first  state  of  Eliza- 
beth Countess  of  Mexborough,  a  plate  quite  unworthy 
of  W.  Ward,  was  one  of  the  dearest  of  the  day's  sale 
at  £^i  10.  Amongst  the  engravings  after  Sir  Joshua 
Reynolds  the  bidding  was  curiously  uneven;  some  of 
the  choicest  specimens  brought  very  high  prices,  and 
others  of  equal  quality  were  received  with  an  apathy 
quite  remarkable.  A  first  state  of  Lady  Bampfylde, 
by  Thomas  Watson,  was  knocked  down  for  £241  los., 
a  fine  first  state  of  McArdell's  successful  rendering  of 
Mrs.  Bonfoy,  /.'ny  12s.,  and  a  fair  second  state  of  The 
Waldegrave  Ladies,  by  Valentine  Green,  £131  5s. 
On  the  other  hand  a  capital  copy,  second  state,  of 
Miss  Meyer  as  Hebe,  by  J.  Jacobe,  produced  the 
comparatively  small  sum  of  £iy  6s.  6d.,  and  other 
cheap  prints  were  Mrs.  Hale  in  L' Allegro,  by  J.  Wat- 
son, proof  before  letters,  £^2;  Lady  Charles  Spencer, 
by  W.  Dickinson,  £3;^  12s.  ;  and  Mrs.  Tollemache  as 
Miranda,  by  J.  Jones,  second  state,  £30  gs. 

These  were  all  sold  on  the  first  day,  and,  dis- 
ajipointing  as  many  of  the  prices  were,  they  were 
proportionally  better  than  those  which  prevailed  on 
the  second.  For  instance,  some  of  the  mezzotints 
after  Gainsborough  realized  inadequate  prices.  Jones's 
charming  plate  of  Signora  Bacelli,  with  full  margin, 
if  not  a  brilliant  impression  was  still  uniformly 
printed,  which  latter  is  far  more  important  in  any 
mezzotint  transcription  of  Gainsborough  than  depth 
and  blackness,  and  particularly  is  this  quality  to  be 
desired  with  regard  to  the  print  under  discussion,  sold 
for  £43  IS.  Again,  Ann  Duchess  of  Cumberland,  a 
first  state  after  the  same  master  by  Valentine  Cirecn, 
was  cheap  at  £"29  8s.     The  male  portraits,  it  seems 


THE     PRINT     SALES 


almost  umiecessary  to  add,  went  f<ir  low  tiRures.  A 
few,  too.  were  remarkably  f^ootl.  A  first  state  of  the 
capital  half-length  of  George  Morland,  by  W.  Ward 
after  MuUer.  £7  17s.  6d ;  a  proof  with  etched  letters 
by  Graham  after  Rembrandt  of  the  celebrated  ad- 
miral Van  Tromp,  £4  4s. :  antl  Sir  Joshua  Reynolds, 
by  L.  W.  Reynolds  after  De  Breda,  £i  3s.  The  only 
period  during  this  secton  of  the  sale  when  interest 
became  at  all  spirited  was  when  the  naval  and  military 
portraits  were  reached.  Captain  Sir  Hyde  Parker,  bj- 
J.  Walker  after  Romney,  found  a  purchaser  at  £24  js., 
and  a  very  good  copy  of  N'alentine  Green's  rendering 
of  Trumbull's  portrait  of  General  Washington 
changed  hands  at  £18  i8s.  The  majority  of  the 
theatrical  prints  were  received  with  the  indifference 
which  has  been  their  lot  of  late.  Seven  prints  sold 
for  half-a-guinea,  and  a  sovereign  or  two  purchased 
the  finest  amongst  them.  The  only  exceptions  w-ere 
an  open  letter  proof  of  Mademoiselle  Parisot  by 
J.  R.  Smith  after  Devis,  which  together  with  another 
print  sold  for  £24  3s.,  and  the  bistre  by  F.  Haward 
of  Mrs.  Siddons  as  The  Tragic  Muse,  after  Reynolds, 
which  realized  ^^5  15s.  6d.  Early  in  the  afternoon  a 
few  fairly  good  prices  were  obtained  for  portraits  in 
stipple:  among  the  best  were  :  Miss  Farren,  after  Sir 
Thomas  Lawrence  by  Bartolozzi,  £^^7  i6s.  ;  the  same 
after  Downman  by  Colher,  an  open  letter  proof  with 
full  margin,  3^21;  and  Conde's  plate,  a  passable  im- 
pression in  good  condition,  of  Mrs.  Fitzherbert,  after 
Cosway,  £"19  8s.  6d.  The  sum  total  must  indeed 
have  shown  a  remarkable  profit  on  the  original  cost 
]nice,  but  it  is  the  present  baronet's  misfortune  that 
liis  ancestor  did  not  exercise  better  judgement  in  his 
purchases,  particularly  as  it  is  fair  to  presume  that  he 
bought  direct  from  the  publishers  and  could  have  had 
a  brilliant  impression  for  just  the  same  sum  as  he 
paid  for  a  mediocre  or  bad  one.  Had  such  been  the 
case  at  least  four  times  the  amount  could  have  been 
realized. 

On  July  7  a  very  miscellaneous  collection  was 
dispersed  at  Christie's.  The  sale  opened  with  some 
very  fair  prints  by  Albert  Durer  and  Rembrandt, 
which  realized  fairly  well.  P>y  the  German  master: 
The  Knight  and  Death  produced  £71  8s. ;  the  Coat 
of  Anns  with  a  Skull,  £"42;  Adam  and  Eve,  £67  4s.; 
the  Crucifixion,  £i()  i6s.  ;  and  Melancolia,  £73  los. 
Those  plates  by  Rembrandt  which  enjoy  the  favour 
of  collectors  at  the  moment  sold  equally  well.  Mode- 
rate prints  of  the  Old  Haaring  and  Jan  Lutma, 
;ri20  15s.  ;  the  View  of  Omval,  £29  8s. ;  and  Saint 
Jerome,  first  state,  £56  14s.  There  were  also  some 
very  inferior  impressions,  but  it  did  not  seem  to  make 
much  difference  in  the  price.  Amongst  these  were 
The  Great  Jewish  Bride,  £31  los.  ;  Rembrandt 
leaning  on  a  Stone  Sill,  £78  15s.  ;  a  third  state  of 
the  Piurgomaster  Jan  Six,  £"79  i6s.  ;  and  the  worst  of 
all  (and  it  may  be  doubted  whether  it  is  b\'  Rem- 
brandt), Christ  Healing  the  Sick,  £ji  los.  These 
were  followed  by  a  beautiful  proof  of  Mercury  and 
Argus,  by  Willm'ore  after  Turner,  an  engraver's  proof 
with  notes  by  the  painter  ;  £15  15s.  was  not  any  too 
much  for  it. 

Again  the  luiglish  mezzotint  was  strongly  in  evi- 
dence, and  some  very  high  prices  were  realized  when 
the  (piality  is  taken  into  consideration.     An  average 


second  state  of  Georgiana  Duchess  of  Devonshire' 
after  Sir  Joshua  Reynolds  by  Valentine  Green,  sold 
for  £7i  los.  ;  Mrs.  Michael  .\ngelo  Taylor  as  Miranda, 
after  Hoppner  by  W.  Ward,  £■315;  and  the  Hon. 
Mrs.  Beresford,  after  Romney  by  J.  Jones,  before  the 
inscription,  in  its  original  condition,  £273.  There 
were  some  capital  Lucas's  after  Constable,  and  the 
prices  attained  showed  a  distinct  improvement  after 
the  preceding  sales. 

A  first  published  state  of  Dedham  \'ale  was 
knocked  down  for  £78  15s.;  an  engraver's  proof  of 
Salisbury  Cathedral,  £"32  lis.  ;  Flatford  Mill  and 
Hampstead,  £24  3s. ;  and  A  Summer's  Afternoon  after 
a  Shower,  and  A  Summer  Land,  £"26  5s. :  all  were 
engraver's  proofs. 

At  the  end  of  the  afternoon  there  was  quite  a  run 
of  large  prices  for  mezzotints.  A  first  state  of  The 
Countess  of  Warwick,  after  Romney,  by  J.  R.  Smith, 
£294  ;  one  of  the  first  fifty  proofs  of  S.  W.  Reynolds's 
print  after  Hoppner  of  The  Duchess  of  Bedford, 
;f  189  ;  and  even  a  second  state  of  Dr.  Johnson,  after 
Reynolds  by  Doughty,  realized  £6^. 

The  sale  held  at  Christie's  on  July  15  prcse:iteJ 
little  of  interest.  Prices  ruled  small  throughout,  and 
several  cheap  lots  were  to  be  had.  Even  the  portraits 
of  ladies  seemed  to  attract  less  interest  than  has  been 
devoted  to  them  throughout  the  season.  For  example, 
a  good  impression  of  The  Countess  Spencer  printed 
in  brown  in  bistre  was  sold  for  £12  12s.  This  was 
followed  almost  immediately  by  a  very  bad  copy  of 
Lady  Caroline  Montagu,  by  J.  R.  Smith,  which  was 
relatively  dear  at  £7  7s.  Both  being  after  Sir  Joshua 
Re\nolds,  and  there  being  no  comparison  between 
the  two  in  the  matter  of  quality,  there  was  no  doubt 
as  to  which  was  the  cheaper. 

The  fine  first  state  of  Lady  Rushout  and  Children 
after  Gardner,  by  T.  Watson,  produced  £6^  2s.,  and 
a  very  brilliant  impression  of  J.  R.  Smith's  success- 
ful plate  of  John  Philpot  Curran,  after  Laurence, 
£15  6s.  6d.  We  have  repeatedly  drawn  attention  in 
these  columns  to  the  lack  of  proportion  which  charac- 
terizes the  bidding  when  inferior  impressions  of  much 
sought  for  English  engravings  are  offered,  and  another 
striking  instance  was  afforded  by  the  £17  17s.  given 
for  Lady  ('atherine  Pelham  Clinton,  after  Reynolds 
by  J.  R.  Smith.  No  discriminating  collector  would 
have  such  an  impression  in  his  collection,  for  its 
presence  would  exercise  a  detrimental  effect  upon 
the  remainder  of  his  possessions.  To  say  that  all 
beauty  had  departed  from  the  plate  would  be  a  mild 
way  of  putting  it,  for  it  would  appear  to  the  connoisseur 
who  puts  art  before  fashion  repulsive  rather  than 
pleasing. 

The  Countess  of  Oxford,  after  Hoppner  by  S.  W. 
Reynolds,  was  of  fair  (juality,  but  still  was  not  cheap 
at  £57  16s.,  and  the  same  remark  would  apply  to  the 
Children  of  Earl  Gower,  after  Romney  by  J.  R.  Smith, 
in  the  second  state,  which  changed  hand's  at  £86  2s. 

The  line  engravers  still  are  under  a  clouil,  a  beauti- 
fully sharp  impression  of  Muller's  Madonna  di  San 
Sisto  after  Raj^hael,  an  oi)en  letter  proof,  finding  no 
further  response  in  the  bidding  than  £24  3s.  od. :  and 
two  of  the  most  desirable  prints  after  Turner  which 
have  been  offered  during  the  season  changed  hands 
for  the   relatively  insignificant   sum  of  £"15   15s.  od. 

147 


THE     BURLINGTON     GAZETTE 


These  were  the  first  state  of  Nemi,  by  R.  Wallis, 
and  Oberwessel,  by  J.  T.  Willmore.  It  seems  sur- 
prising to  the  outsider  that  with  the  boom  which  lias 
taken  place  in  the  prints  after  Constable,  which  by  the 
way  has  been  to  a  large  extent  the  creation  of  the 
season  which  has  just  drawn  to  a  close,  more  atten- 
tion has  not  been  bestowed  upon  the  equally  meri- 
torious works  of  his  great  contemporary.  Hut  still 
we  have  reason  on  this  score  to  look  forward  with 
every  confidence  to  the  near  future. 

BOOKS 

June  23  to  July   i8 

For  a  third  consecutive  month  the  words  are  appli- 
cable :  '  No  important  private  collection  was  dispersed 
in  London  during  the  period  under  review.'  More- 
over, as  it  would  have  been  impossible  to  add  on  the 
two  previous  occasions,  the  corollary  now  holds  good  : 
few  books  of  more  than  quite  ordinary  interest,  no 
matter  from  what  source,  have  been  offered  under  the 
hammer  since  June  20.  The  incident  which  claims 
first  attention,  indeed,  does  not  come  within  the 
scope  of  lots  sold  on  the  he-who-bids-most  system. 
In  connection  with  the  sale,  on  April  20,  of  the  late 
Dr.  John  Taylor  Brown's  uncut  copy  of  the  first 
edition  of  Burns's  '  Poems,'  some  interesting  details 
of  that  historic  work  were  given  in  The  Burlington 
C'^/TETTE  (see  May,  pp.  53-4).  It  will  be  recalled 
that  the  highest  sum  paid  at  auction  for  a  Kil- 
marnock Burns  is  545  gns.,  this  was  in  i8g8  for 
the  Lamb  example,  in  the  original  blue  covers,  witl 
the  label.  Till  a  month  or  two  ago  this  volume 
remained  in  the  hands  of  Mr.  Frank  T.  Sabin,  the 
then  purchaser.  Only  two  or  three  other  uncut 
copies,  in  the  original  blue  paper  wrappers,  are 
known.  One  of  these  has  just  passed  into  the  pos- 
session of  the  trustees  of  the  Burns  Monument  and 
Cottage  museum  at  the  sensationally  high  price  of 
;fi,ooo.  The  seller  was  Mr.  G.  Seton  Veitch,  of 
Friarshall,  Paisley.  He  bought  it  long  ago  from 
Mr.  James  Braidwood,  an  old  bookseller  in  Edinburgh, 
who  has  been  dead  many  years.  The  volume  came 
from  an  old  mansion  in  Midlothian  along  with 
a  number  of  other  books,  and  Mr.  Veitch,  as  we 
chance  to  know,  is  convinced  that  he  was  the 
second  owner  only  of  the  book,  and  that  it  is  one 
of  a  few  special  presentation  copies  given  by  the  poet 
to  his  patrons.  Mr.  Veitch  states  that  he  has  never 
seen  a  copy  of  the  book  equal  to  it,  the  Lamb  in  his 
view  taking  a  second  place.  The  late  Mr.  Craibe  Angus 
was  of  the  same  opinion,  and  on  Mr.  Veitch  refusing 
some  years  ago  to  accept  for  it  double  the  then  selling 
price  of  a  cut  and  bound  copy,  asked  to  have  the  first 
offer  if  ever  he  determined  to  part  with  it.  Mr.  Veitch 
is  said  to  have  paid  about  ;£"io  for  this  Burns,  so  that, 
even  after  allowing  for  compound  interest  at  a  generous 
rate  for  several  decades,  a  large  margin  of  jnolit 
remains.  In  his  invaluable  '  Bibliography  in  Outline," 
dedicated,  by  the  way,  to  Mr.  K.  T.  Hamilton  Bruce, 
whose  pictures  were  dispersed  at  Christie's  in  May, 
the  late  Mr.  Craibe  Angus  implies  that  the  earliest 
purchase  of  a  Kilmarnock  Burns  which  he  had  b{;en 
able  to  trace — and  he  devoted  years  to  the  study  of 
bibliographical  and  other  details — was  in  the  fifties 
when  James  Stillie,  the  famous  bookseller  of  George 

148 


Street,  Edinburgh,  acquired  one  at  a  sale  in  Leith  for 
the  modest  sum  of  is.  Lowndes  does  not  note  the 
occurrence  at  auction  of  the  Kilmarnock  edition  ;  the 
copy  which  at  the  Roxburghe  sale  of  1812  brought  7s. 
belonged  to  the  Edinburgh  issue  of  1787.  The  Stillie 
copy  was  in  the  publisher's  covers,  and  inserted  were 
several  songs  in  MS.,  including  '  The  Farewell.' 
More  noteworthy  still,  on  the  title  page  was  an 
inscription  by  Burns  to  the  friend  for  whom  the  MSS. 
were  made.  As  the  blue  covers  were  somewhat  frayed, 
Mr.  Stillie  sent  the  volume  to  the  binder's,  with 
instructions  that  the  edges  were  not  to  be  trimmed. 
In  those  daj-s  little  sentimental  worth  attached  to 
'  original  wrappers.'  But  binders  have  a  passion 
for  neatness,  and  Mr.  Craibe  Angus  tells  us  that  the 
foreman,  '  bent  on  making  a  tidy  job,  guillotined  the 
edges.'  For  infinitely  lesser  delinquencies  men  have 
themselves  been  guillotined,  and  for  the  sake  of  that 
foreman's  wife  and  family  it  is  fortunate  that  Mr.  Stillie 
was  not  a  bibliomaniac  of  the  kind  who  to-day  would 
sacrifice  a  near  relative,  so  to  say,  in  order  to  pre- 
serve the  '  pristine  condition  '  of  a  favourite  old 
book.  But  the  tragedy  of  this  particular  Kilmarnock 
Burns  did  not  end  here.  During  the  time  that  it 
was  in  a  large  house  on  the  banks  of  the  Clyde,  the 
precious  inscription  was  cut  from  the  title  page.  This 
loss  is  the  more  to  be  regretted  inasmuch  as  only 
one  other  copy  is  known  to  bear  an  inscription  by 
the  author. 

Several  interesting  MSS.,  etc.,  have  also  been 
added  to  the  collection  at  AUoway.  These  include  a 
holograph  letter  to  William  Creech,  with  the  MS.  of 
'Willie's  awa,'  dated  Selkirk,  May  13,  1787,  sold  at 
Dowell's  rooms,  Edinburgh,  in  December  last  for 
£132  ;  Lord  Byron's  copy  of  the  first  Edinburgh 
edition  of  the  'Poems'  (Craibe  Angus,  lot  456); 
Sir  Alexander  Boswell's  copy  of  the  Montrose  edition, 
1801,  of  the  '  Poems '  presented  to  him  by  James  Bos- 
well  (Craibe  Angus,  lot  469,  £13)  ;  a  lock  of  the  poet's 
hair,  given  by  his  widow  to  Jean  Wilson,  Mauchline; 
and  the  '  Works  '  of  Laurence  Sterne,  Dublin,  1779, 
vol.  6  only  (Craibe  Angus,  lot  474,  £"80).  This  last 
has  numerous  characteristic  marginalia  in  the  auto- 
graph of  Burns.  Apropos  Mary  Stuart  he  writes : 
'  I  would  forgive  Judas  Iscariot  sooner  than  Queen 
Elizabeth.  He  was  a  mercenary  blackguard — she  a 
devil,  genuine,  neat  as  imported  from  hell.'  Again, 
he  advocates  an  occasional  carouse  :  '  I  love  drinking 
now  and  then  ;  it  defecates  the  standinjj  pool  of 
thought.  A  man  perpetually  in  the  paroxysms  and 
fevers  of  inebriety  is  like  a  half-drowned  stupid  wretch 
condemned  to  labour  unceasingly  in  water ;  but  a 
now-and-then  tribute  to  Bacchus  is  like  the  cold  bath 
— bracing  and  invigorating.'  A  third  piece  of  Burns's 
philosophy :  '  Golden  locks  are  a  sign  of  amorous- 
ness. The  more  love  in  a  woman's  composition  the 
more  soul  she  has.' 

Among  the  most  attractive  lots  which  occurred  at 
auction  during  the  month  were  certain  letters  of  Swift 
and  Pope,  'the  property  of  a  gentleman,'  sold  at 
Christie's  on  July  8.  In  the  summer  of  1726  Dean 
Swift  was  stajing  with  Alexander  Pope  at  Twicken- 
ham, and  he  had  with  him  the  finished  manuscript  of 
'  Gulliver's  Travels,'  a  work  probably  begun  six  years 
earlier.     On  August  8,  1726,  Swift — who  seldom  pub- 


lished  s;ivc  luionvmously — wrote  n  Ion},'  letter,  in  :i 
feigned  iuiiid  and  signed  Kiciiard  Sympsun,  to  IJen- 
jamin  Motte,  the  bookseller  and  |iiiblisher,  offering  hini 
the  Travels  for  publication  ; 

My  cousin,  Mr.  Lemuel  Gulliver,  eniriisled  me  some  years  ago 
with  a  copy  of  his  Travels,  whereof  that  which  I  here  send  you  is 
about  a  fourth  part,  for  I  shortened  them  very  much,  as  you  will  find 
in  my  Preface  to  the  Reader.  I  have  shown  them  to  some  persons 
of  great  judgement  and  distinction  who  are  confident  they  will  sell 
very  well ;  and  though  some  parts  may  be  thought  in  one  or  two 
places  to  be  a  little  satyrical,  yet  it  is  agreed  they  will  give  no  offence. 

In  this  letter  Swift  himself  demands  ^^200  for  the 
copyright,  which  he  says  the  author  intends  to  devote 
to  poor  seamen.  (It  may  be  noted  in  passing  that  in 
the  article  on  Swift  in  the  '  Dictionary  of  National 
Biography  '  it  is  stated  that  the  publication  was  man- 
aged by  Pope,  and  through  Pope's  management  Swift 
obtained  £'200  for  the  copyright.)  On  a  slip  of  paper 
is  a  postscript,  again  signed  K.  Sympson,  recpicsting 
that  the  work  should  be  published  before  Christmas — 
as  a  fact  it  appeared  at  the  end  of  October.  Along 
with  this  were  Motte's  reply  to  the  proposal  of  the 
so-called  Sympson  and  a  fragment  of  another  letter  by 
him  relating  to  the  payment  of  the  ;£"20o  within  si.\ 
months  '  if  the  success  would  allow  it.'  The  period 
having  elapsed,  the  publisher  applied  for  longer  credit. 
The  following  was  Swift's  answer  : 

Mr.  Motte,  -I  send  this  enclosed  by  a  friend  to  be  sent  to  you,  to 
desire  that  you  will  go  to  the  house  of  Erasmus  Lewis  in  Cork  Street, 
behind  Burlington  House,  and  let  him  know  that  you  are  come  from 
me:  for  to  the  said  Mr.  Lewis  I  have  given  full  power  to  treat  con- 
cerning my  cousin  Gulliver's  book,  and  whatever  you  and  he  shall 
settle  I  will  consent  to. — Richard  Sympson. 


The  letter  is  endorsed:  'London,  May  4,  1727.  I 
am  fully  satisfied.  Erasmus  Lewis.'  Lewis,  of  course, 
was  the  friend  of  Swift,  Arbuthnot,  Gay,  and  of  Pope— 
who  wrote  from  Bath,  '  Mr.  Lewis  is  a  serious  man, 
but  Mrs.  Lewis  is  the  youngest  and  gayest  lady 
here.'  There  is  no  monument  to  him  in  West- 
minster abbey,  where  he  is  buried.  This  series  of 
interesting  letters  brought  82  gns.  The  original 
agreement,  dated  March  29,  1727,  for  the  publication 
of  the  '  Miscellanies  in  Prose  and  Verse,'  to  which  the 
writers  just  mentioned  contributed,  wherein  it  was 
agreed  to  make  the  payment  £4  a  sheet,  in  the  auto- 
graph of  Benjamin  Motte,  and  bearing  his  signature 
as  well  as  those  of  Pope  and  Swift,  brought  49  gns. ; 
three  letters  from  Swift  to  Motte,  1732-35,  respec- 
tively, £21,  16  gns.,  and  £13  los.  ;  five  letters  from 
Pope  to  Motte,  1728,  etc.,  relating  to  the  publication 
of  his  books,  £3,6  ;  and  nine  letters  from  Pope  to 
Charles  Bathurst,  who,  after  for  a  brief  time  having 
been  in  partnership  with  Motte,  succeeded  to  his 
publishing  business  in  the  spring  of  1738,  32  gns.  In 
connexion  with  these  letters,  etc.,  it  may  be  recalled 
that  the  highest  price  yet  paid  at  auction  for  a  copy  of 
the  first  edition  of '  Gulliver's  Travels '  was  in  1902, 
when  the  Hibbert  e.xample,  which  cost  the  collector 
27s.  6d.,  made  £100,  or  just  half  the  sum  received  by 
the  author  for  the  copyright  ;  while  2},  poems,  essays 
and  letters,  some  of  them  unpublished,  in  Swift's 
writing,  fetched  £400  at  the  Pountaine  sale  last  year. 
As  to  Pope,  ;f250  was  paid  a  few  weeks  ago  for 
19  autograph  letters  to  Lady  Mary  Wortley  Montagu 
and  her  husband,  and  in  1902  the  Ford  copy  of  his 
'  Essay  on  Man,'  with  manuscript  corrections  by  him 
in  Part  I,  realised  £igo. 


BOOK     SALES 

The  saine  Christie  catalogue  included  92  lots  of 
books  horn  the  library  of  the  late  Mr.  George  Gurney 
of  Eastbourne.  A  large-paper  set  of  '  Shakespeare's 
Plays,'  1793,  with  notes  by  Johnson  and  Steevens,  a 
glossary  by  J.  Reed,  Harding's  '  Illustrations  to 
Shakespeare,'  1793,  and  other  volumes,  made  £56; 
the  first  edition  of  '  Stones  of  Venice,'  in  red  morocco 
extra  by  Bedford,  inscribed  '  Charles  Dickens,  Esq., 
with  the  author's  grateful  regards,'  £37  ;  '  Modern 
Painters,'  vols,  iii,  iv,  and  v,  in  first  edition,  £2^  ; 
and  the  Edinburgh  edition  of  '  Stevenson's  Works,' 
with  the  '  Life,'  etc.,  in  all  32  vols.,  ^34.  From  other 
sources  came  Apperley's  '  Life  of  a  Sportsman,'  with 
36  coloured  plates  by  Aiken,  1842,  original  cloth,  £31; 
the  '  Wallace  Collection  of  Paintings,'  1903,  10  parts, 
£27;  Propert's  'Miniature  Art,'  1887,  £"20;  the  pri- 
vately printed  edition  of  Williamson  and  Engleheart's 
'  George  Engleheart,'  1902,  £10  15s.  ;  and  the  Bur- 
lington I-'ine  Arts  club  illustrated  catalogue  of  the  old 
silver  exhibition,  1901,  £"10. 

The  most  extensive  library  dispersed  was  that  of 
the  late  Mr.  W.E,  Bools,  of  Enderby  House,  Clapham. 
It  consisted  of  1,876  lots,  dispersed  on  Monday, 
June  22,  and  the  five  following  afternoons,  for  a  total 
of  £3,546  i6s.  Rare  books  in  moderately  good  con- 
dition were  the  exception.  Apart  from  two  Shake- 
speare folios,  the  highest  sum  was  paid  for  the 
'  Raigne  of  King  Edward  the  Third,  as  it  hath  beene 
sundry  times  played  about  the  Citie  of  London,'  a 
small  quarto  printed  by  Simon  Stafford  for  Cuthbert 
Busby,  1599.  The  present  copy,  measuring  6^  in.  by 
4y  in.,  has  the  title,  corners,  and  margins  of  several 
leaves  mended,  and  is  in  modern  purple  morocco  extra. 
It  is  the  rare  second  edition — the  first  appeared  in 
1596 — of  a  play  which  has  often  been  attributed  to 
Shakespeare.  On  the  verso  of  C  4,  line  13  reads, 
'  Lillies  that  fester  smell  far  worse  than  weeds.' 
The  fact  tiiat  this  is  to  be  found  word  for  word  in 
one  of  the  sonnets  (xciv.  14)  has  sometimes  been 
urged  in  favour  of  the  Shakespeare  authorship,  especi- 
ally as  the  sonnets  did  not  ajjpear  in  printed  form  ufitil 
1609.  On  the  other  hand,  as  Mr.  Sidne\  Lee  points  out, 
it  was  contrary  to  Shakespeare's  practice  literally  to 
plagiarise  himself,  and  he  suggests  that  the  line  in  the 
play,  probably  written  before  1595,  was  taken  from 
a  manuscript  copy  of  the  sonnets,  many  of  them  com- 
posed in  1593-4,  they,  like  the  sonnets  of  other  writers, 
having  circulated  for  years  in  manuscript.  The  Rox- 
burghe  cop\-  of  this  1599  edition,  catalogued  as  '  very 
rare,'  fetched  £_]  5s.  in  1812,  and  was  re-sold,  1901,  at 
jf68.  In  the  library  of  Mr.  Bools,  again,  were  the 
following:  'The  Boke  named  the  Royall,'  from  the 
press  of  Pynson,  1507,  lacking  six  leaves,  old  calf  gilt, 
£^0  los. — at  theTownley  sale,  1814,  it  fetched  11  gns. ; 
a  defective  copy  of  the  second  folio  of  Shakespeare, 
1632,  sold  with  all  faults,  £100  ;  an  example  of  the 
fourth  folio,  14  in.  by  9  in.,  old  russia,  ;<,"iio;  an  oval 
miniature  portrait  upon  vellum — for  such  things  often 
occur  in  book  catalogues— of  William  Herbert,  third 
earl  of  Pembroke,  patron  and  friend  of  Shakespeare, 
attributed  to  Isaac  Oliver,  and  dated  161 1,  £"56 ;  a 
Hor;e  printed  upon  vellum  for  Antoine  X'erard.  1503 
(Macfarlane  230?),  /;35  los. :  'The  twon  Bookcs  of 
Francis  Bacon,  Of  the  proficience  and  advancement  of 
learning,"  1605,  £26  15s.  (from  R.  S.  Turner's  library. 

149 


THE     BURLINGTON     GAZETTE 


1888,  apparently  lot  286,  £z  3s.) ;  Bacon's  '  Essayes 
or  Counsels,'  1625,  loose  in  the  original  limp  vellum 
cover,  £zb  los.  ;  Dekker's  '  Pleasant  Comedie  of  Old 
Fortunatus,' first  edition,  1600,  some  margins  cut  into, 
62^  in.  by  4tin.,  calf,  £^\  (this  is  Mitford's  copy,  1821, 
the  Rhodes  example  fetching  jTig  four  years  later)  : 
Dekker  and  Webster's  '  Westward  Hoe,'  first  edition, 
^^20  (the  fine  unbound  copy  in  the  Fountaine  library 
made  ^Tgo  in  1902)  ;  John  Nevvnham's  '  Nightcrowe,' 
1590,  containing  in  all  fifty-seven  leaves,  ^^15  10s. ; 
and  a  copy  of  the  Breeches  Bible,  1599,  in  old  English 
blue  morocco,  the  sides  covered  with  elaborate  gilt 
floreate  ornaments,  the  large  book-plate  of  Owen 
Wynne  of  Pengwerne  in  cover,  ^^29. 

The  remaining  sales  call  for  brief  mention  only. 
Messrs.  Hodgson's  catalogue,  July  i-j,  included  the 
following:  Keats's  '  Endymion,'  first  edition,  uncut, 
but  re-backed,  £37 ;  re-bound  copies  of  his  '  Zas- 
trozzi '  and  'Poems'  respectively,  £\']  and  ;^i6; 
Shelley's  '  Queen  M'ab,'  1813,  modern  calf,  £29  ; 
'Tom  Brown's  Schooldays,'  first  edition,  original 
cloth,  £8  2s.  6d. ;  a  poor  copy  of  the  original  first 
edition,  issued  in  July  1865,  and  subsequently  with- 
drawn by  the  author,  of  '  Alice's  Adventures  in  Won- 
derland,' £()  los.  ;  the  first  edition  of  '  Lorna 
Doone,'  again  in  poor  condition,  £^  los.  (soon  after 
the  author's  death  in  1900  a  copy  fetched  £37) ;  and 
the  Doves  Press  '  Agricola,'  £7  2S.  6d. 

By  about  the  middle  of  July,  after  a  somewhat 
quiet  season,  dealers  were  disinclined  to  add  to 
their  store  of  'bread  and  butter'  books.  In  these 
circumstances  bidding  in  the  ordinary  way  became 
lukewarm,  prices  flagged.  For  instance,  at  Messrs. 
Sotheby's  three-days  sale,  July  10-12,  the  'Dic- 
tionary of  National  Biography,'  66  vols.,  slipped 
back  to  £36,  against  £41  earlier  in  the  season, 
while  works  which  occur  more  frequently  relapsed  to 
a  far  greater  extent  proportionately.  This  dispersal  in 
Wellington  Street  included  The  Sporting  Maga-^inc, 
1792-1844,  incomplete,  £&i  ;  two  copies  of  150  printed 
of  the  1853-65  Halliwell  edition  of  Shakespeare's 
'Works,'  16  vols.,  £70  each;  'The  Crete  Herball,' 
printed  by  Peter  Treveris,  1526,  '  The  first  English 
Herball,'  1527,  and  '  The  Noble  experyence  of  the 
vertuous  handy  Warke  of  Surgeri,'  1525,  in  one  folio 
volume,  £32  los. ;  the  tenth  edition  of  the  '  Pilgrim's 
Progress,'  1685,  on  whose  title  page  the  author's  name 
is  spelt  Bunian,  £ii. 

At  Messrs.  Puttick  and  Simpson's,  on  July 
16-17,  there  were  sold  one  or  two  lots  of  interest. 
The  rare  '  Prometheus  Bound '  of  Mrs.  Barrett 
Browning,  first  edition,  1833,  published  at  5s., 
original  cloth,  uncut,  a  presentation  copy  to  Mary 
Maddox,  with  a  poem  of  five  verses  in  the  author's 
autograph,  made  £38  ;  Sheridan's  '  School  for  Scan- 
dal,' Dublin,  printed  for  J.  Ewling,  £25  (in  1901  a 
copy  in  morocco  extra  by  Riviere,  with  the  errata 
printed  on  the  verso  of  the  last  leaf,  made  £31)  ;  and 
the  1817  edition  of  'The  Vicar  of  Wakefield,'  original 
state,  the  24  plates  by  Rowlandson  coloured,  £21  5s. 

Finally,  there  was  the  three-days  sale  concluded  by 
Messrs.  Sotheby  on  July  18.  A  fair  copy  of  '  Robinson 
Crusoe,'  1719,  old  calf,  with  the  book  advertisements 
needed  to  complete  the  last  sheet,  brought  £106  ;  the 
first  edition    of    Keats's  '  Poems,'   original  state,  the 

1.50 


name  '  Bruce '  in  pencil  on  the  title-page,  some  verses  in 
pencil  on  the  end  fly-leaf,  £91  ;  a  particularly  fine  copy 
of  \\'illiam  Cowper's  '  Poems,'  1782-5,  2  vols.,  original 
boards,  the  uncut  measurements  being  8  in.  by  5-g  in., 
with  the  half  title  to  the  second  volume,  '  H.  B.  Bed- 
ingfield  '  stencilled  on  the  first  fly-leaf,  £47  ;  Lamb's 
'  Elia  '  and  '  Last  Essays  of  Elia,'  first  editions, 
the  first  having  the  inscription  '  Mrs.  Ayrton,  with 
C.  Lamb's  kind  regards.  N.B.  Don't  show  this  to 
Mr.  A.  (Men  are  so  jealous)  ;  at  all  events  it  is  well  to  be 
prudent,'  £^'J  ;  Lamb's  'Works,'  1818,  and  a  volume 
containing  MS.  and  printed  matter  relating  chiefly 
to  him,  £30  los.  ;  'Tales  from  Shakespear,'  1807, 
original  sheep,  6fin.  by  4  in.,  ,^25  ;  Stevenson's  auto- 
graph manuscript,  on  13  folio  leaves,  of'  Markheim,'  the 
identical  MS.  first  off'ered  to  the  Pall  Mall  Gazette,  £32— 
it  will  be  recalled  that  another  manuscript  of  '  Mark- 
heim,' on  30  pp.  small  4to,  fetched  ^^70  at  the  Gibson- 
Carmichael  sale  in  March  ;  a  1644-5  Bible,  in  con- 
temporary embroidered  binding,  worked  in  silver  and 
coloured  threads  on  white  silk,  £27 ;  Gilbert  White's 
'  Natural  History  and  Antiquities  of  Selborne,'  first 
edition,  half  calf,  uncut,  £26 ;  and  the  '  Poems  '  of 
the  I?ronte  sisters,  '  Currer,  Ellis,  and  Acton  Bell,'  the 
first  issue  of  the  original  edition,  in  cloth,  uncut,  as 
published  in  1846,  £21.  It  may  be  mentioned,  by 
the  way,  that  an  oak  chair,  once  the  property  of  John 
Wesley,  was  on  July  15  bought  on  behalf  of  the 
Charterhouse  school  for  20  gns.  Like  Crashaw, 
Addison,  Steele,  Thackeray  and  other  eminent  men, 
John  Wesley  was,  of  course,  a  Charterhouse  boy. 


MISCELLANEOUS 

June  19-July   14 

Silver. — Up  to  the  time  of  writing  this  report 
there  have  been  but  two  silver  sales,  although  I 
had  hoped  to  be  able  to  include  that  of  July  16,  with 
its  unique  set  of  Henry  VIII  apostle  spoons,  which 
have  been  appraised  at  sums  varying  between  £"4,000 
and  £6,000,  besides  several  other  fine  and  interest- 
ing examples  of  English  seventeenth-century  silver. 
The  first  of  these  sales  took  place  on  June  24,  and 
included  a  small  but  very  fair  collection  of  early 
English  spoons,  the  property  of  an  anonymous  col- 
lector, the  most  interesting  items  of  which  were  the 
four  James  I  apostle  spoons  and  two  maidenhead 
spoons  of  Henry  VIII  and  Elizabeth  respectively. 
Two  of  the  Jacobean  spoons  representing  St.  Matthew 
and  St.  James  the  Great,  with  wheel  nimbuses  and 
bearing  the  London  hall-mark  for  1609,  came  from 
the  Staniforth  collection,  and  realized  £76.  Another, 
with  the  figure  of  St.  John,  from  the  same  collection, 
probably  made  by  \\'illiam  Shute  and  with  the  London 
hall-mark  for  1624,  fetched  £27  ;  whilst  £42  was 
given  for  one  with  the  figure  of  St.  Bartholomew  with 
the  nimbus  chased  with  a  dove,  and  the  London  hall- 
mark 1616.  The  maidenhead  spoons  made  £39  and 
£40.  The  other  items  of  interest  at  the  same  sale 
were:  A  Charles  II  two-handled  porringer  and  cover, 
entirely  gilt,  bearing  the  London  hall-mark  1678, 
which  realized  over  £300.  This  piece,  which  is  stated 
in  the  catalogue  to  have  been  in  its  late  owner's  family 
for  exactly  200  years — nearl)'  ever  since  its  manu- 
facture— was  6|  in.  high  and  5j  in.  in  diameter,  and 


MISCELLANEOUS 


aliiujsl  (kvoid  of  dcconitiiiii  s;ivl-  fur  two  hnnul  bands 
of  inattiii},',  and  tlie  moulded  scroll  handles  termiiialiiif,' 
in  ^rotestjue  birds'  heads.  It  was  of  exquisite  pro- 
portions and  workmanship,  and  in  fine  preservation. 
A  tine  James  II  cup,  enj^raved  with  Chinese  decora- 
tions, and  with  reeded  neck  and  handles,  made  £6  ids. 
an  ounce ;  and  an  old  Irish  potato  ring,  pierced  and 
chased  with  figures  of  birds  and  squirrels  among 
branches  of  fruit,  flowers  and  scrolls,  and  bearing  the 
Dublin  hall-mark  1772,  fetched  £136  15s.  5d.  It 
bore  the  maker's  mark  J.  L.,  probably  John  Langlin. 
.V  James  II  porringer,  also  engraved  in  the  Chinese 
taste,  with  the  Newcastle  hall-mark'1685,  fetched  £6 
per  ounce  ;  and  a  small  Queen  Anne  teapot,  quite 
plain,  with  a  dome  top  and  facetted  sjiout,  made  by 
lienjamin  Pyne,  1714,  was  bought  for  £j^]  17s.  or  £7 
per  ounce,  a  plain  tazza  by  the  same  maker  and  of 
similar  date  going  for  only  £2  is.  per  ounce.  A 
Charles  I  plain  goblet  fetched  £"81  :js.  6d.,  and  an 
interesting  little  Charles  II  mug,  with  '  Peter  F.  F. 
Leicester  His  .  Can  .  1673  '  pricked  underneath, 
fetched  £^  2s.  per  ounce.  The  highest  price  of  the 
day,  howe\'er,  was  paid  almost  at  the  end  of  the  sale 
for  a  Norwegian  tankard.  This  fine  piece,  which 
fetched  £11  15s.  an  ounce,  was  parcel  gilt  and  en- 
graved with  foliage  and  strap-work,  the  cover  and  foot 
being  repousse  and  chased  with  fruit  and  foliage  on  a 
matted  ground,  and  a  figure  of  St.  Olaf  on  the  top. 
It  was  of  earl}'  date.  The  other  pieces  of  Norwegian 
silver  all  realized  from  7s.  6d.  to  los.  an  ounce  only, 
with  the  e.xception  of  a  parcel-gilt  tankard  bearing 
the  Bergen  hall-mark,  wliich  made  £2  4s.  Some 
earl}-  bronze  and  pewter  spoons  fetched  from  £1  to 
£3  apiece,  and  two  pewter  cupping  bowls  made 
£7  15s- 

At  Christie's  on  July  2  the  lirst  item  of  importance 
was  the  toilet  set  engraved  with  figures,  architectural 
subjects,  birds,  and  landscape  in  Chinese  style,  and 
made  during  the  reigns  of  Charles  II  and  James  II,  the 
hall-marks  varying  from  1664  to  1685.  This  set  was 
divided  into  twehe  lots,  which  were  acfjuired  by  six 
different  purchasers,  so  that  it  is  now  presumably  for 
ever  disintegrated.  It  consisted  of  eighteen  articles, 
and  realized  in  all  £84j  iSs.  6d.  The  highest  price 
per  ounce  was  £g — paid  for  a  porringer  and  cover  bear- 
ing the  maker's  mark  A.H.,  a  mark  which  also  occurs 
on  a  cup  in  the  possession  of  the  Saddlers'  company, 
mentioned  in  Cripps;  while  the  lowest  was  los.  given 
for  two  toilet  boxes.  £24  los.  was  given  for  an  in- 
teresting little  tumbler-cup  of  the  reign  of  William  III, 
bearing  the  London  hall-mark  1695,  and  engraved 
with  the — in  view  of  the  date — probal)ly  pregnant  in- 
scription, A  TOUS  NOS  AMIS,  BEVEZ  TOUT.  It 
is  easy  to  imagine  a  Jacobite  toasting  the  reigning 
sovereign  out  of  this  cup  in  the  same  spirit  in  which 
he  held  his  glass  over  the  finger  bowl,  thereby  toasting 
the  king  over  the  water.  Two  fine  old  Irish  potato 
rings,  dated  1759  and  1765  respectively,  and  pierced, 
chased,  and  embossed  with  flowers,  foliage,  birds  and 
animals,  made  £()  15s.  and  £H  15s.  per  ounce:  and  a 
William  and  Mary  plain  bowl  by  T.  Issod,  i6gi, 
fetched  /Jio6  19s.  A  jierfectly  plain  rose-water  ewer 
and  dish  of  the  reign  of  Charles  I,  by  Walter  Shute, 
1032,  fetched  ^^740  9s.  8d.  In  addition  to  its  artistic 
and  intrinsic  value,  this  piece  possessed  an  historical 


and  sentimental  interest  all  its  own.  The  dish  is 
engraved  with  a  coat  of  arms  in  the  centre  surrounded 
by  the  motto,  '  Veritas  liberabit  esperance  en  Dieu,' 
and  in  an  outer  border  enclosed  by  twisted  ribands  is 
the  inscription,  '  Ex  dono  Mariae  Slingisbie  Guilielnio 
filio  Henrici  Slingisbie  de  Screvin  et  heredibus 
masculis  dicte  Mariae,'  while  the  ewer  has  the  same 
coat  of  arms  and  motto  with  the  continuation  of  the 
inscription  as  follows  :  '  Filia  Perci  uxor  Slingisbie 
pignus  parvum  amoris  magni.'  The  William  Slingsby 
of  the  inscription  died  in  Florence;  his  younger 
brother.  Sir  Henry,  defended  York  unsuccessfully 
against  the  parliamentary  forces  after  the  battle  of 
Marston  Moor  in  1644,  and  was  executed,  on  Tower 
Hill  in  1658.  £270  was  given  for  a  very  fine  Eliza- 
bethan goblet  formed  of  a  polished  cocoanut,  mounted 
as  a  thistle  head  with  a  silver  neck-band  engraved 
with  strap-work  and  shields  with  monogram  and  date 
1626.  The  body  is  connected  with  the  plain  silver 
stem  by  four  vertical  bands  with  serrated  edges  and 
moulded  with  egg-and-tongue  ornament.  The  foot  is 
embossed  and  chased  with  cartouches  and  formal 
flowers  upon  a  finely  matted  ground,  and  the  entire 
height  of  the  piece  is  giin.  A  very  noble  piece  of 
Georgian  silver  of  rather  a  late  period  was  the  silver- 
gilt  copy  of  the  Warwick  vase  on  a  scjuare  pedestal 
made  by  the  well-known  silversmith  Philip  Kundell 
in  1820.  This  fine  trophy,  which  stood  25  in.  high, 
weighed  763^  oz.,  and  fetched  £515  7s.  2d.,  or  only 
13s.  6d-  per  ounce.  Another  vase  of  the  same  date 
and  somewhat  similar  in  size  by  Rebecca  Eme  and 
Edward  Barnard,  and  chased  with  a  lion  and  stag 
hunt,  made  6d.  an  ounce  less. 

PoKciiLAlN  AND  PoTTKRY. — The  Sales  of  porcelain 
and  pottery  since  the  middle  of  June  have  been  sin- 
gularly devoid  of  interest,  especially  as  regards  the 
products  of  European  factories,  almost  the  only  porce- 
lain of  any  importance  being  Chinese.  As  we  stated 
at  the  commencement  of  the  season,  Chinese  porcelains 
are  rapidly  returning  to  popular  favour,  and  have  in- 
creased enormously  in  value  during  the  last  few  years, 
though  even  now  their  values  are  relatively  far  lower 
than  they  were  during  the  eighteenth  century,  when 
the  court  ladies  were  satirized  as  caring  more  for 
their  Chinese  monsters  than  for  their  husbands.  The 
practical  impossibility  of  ac<iuiring  fine  examples  of 
Dresden,  Sevres,  Chelsea,  Derb}-,  Worcester,  or  even 
the  minor  English  and  continental  factories,  except 
at  prices  prohibitive  to  all  save  millionaires,  is  largely 
responsible  for  this  rehabilitation  of  an  old-time 
fa\ourite. 

At  the  sale  at  Christie's  of  Dr.  Kellock's  collection, 
mainly  of  English  porcelain,  on  June  19,  there  was 
really  no  single  lot  worth  recording,  although  from 
the  wording  of  the  catalogue  the  sale  should  have  pro- 
duced magnificent  results.  The  highest  individual  bid 
for  any  one  lot  was  £38.  An  interesting  Bow  group 
of  an  allegorical  nature,  rejiresenting  the  duke  of 
Cumberland  striking  at  the  Pretender,  was  sold  for 
I4gns.  The  entire  sale,  consisting  of  159  lots,  only 
realized  £"1,342,  a  little  over  £8  a  lot,  and,  judging 
from  the  purchasers,  the  majority  of  the  objects  will 
find  their  way  to  the  shops  of  provincial  dealers. 

On  June  23,  at  Christie's,  a  pair  of  old  Chinese 
porcelain  cisterns,  enamelled  with  flowers,  and  with 

151 


THE     BURLINGTON     GAZETTE 

fish  and  marine  plants  inside,  fetched  /i"4i5,  while  a 
pair  of  old  Nankin  cylindrical  vases,  painted  in  brilliant 
blue  with  detached  flowers,  made  £168.  At  the  same 
sale  a  highly-pedigreed  and  certificated  Sevres  dinner 
and  dessert  service,  from  the  Secretan  collection,  does 
not  appear  to  have  met  with  particular  appreciation, 
since  it  was  bought  by  a  continental  dealer  for  under 
;f300.  It  consisted  of  138  pieces,  and  was  painted 
with  bouquets  and  sprays  of  flowers  in  colours  on  white 
ground,  and  with  blue  lines  and  scrolls  on  the  border. 
No  fewer  than  seven  artists  had  assisted  at  its  decora- 
tion, from  Petit,  1756,  to  Theodore  and  Tendart,  1774 
and  1776,  so  that  as  a  combined  example  of  various 
styles  and  periods  it  was  of  almost  unique  interest. 
A  white  Dresden  crinoline  group  fetched  /^igg  los. 

On  June  22,  at  Christie's,  a  fine  pair  of  hexagonal 
famille-verte  jardinieres  enamelled  with  rocks,  flowers, 
birds  and  insects,  and  mounted  with  elephant-head 
handles  of  ormolu,  fetched  ^^252,  and  a  pair  of  Dresden 
groups  of  children,  emblematic  of  Painting  and  Sculp- 
ture, and  Summer  and  Winter,  £105. 

At  Christie's,  on  July  6,  ^^325  was  bid  for  s.  fatnillc- 
rose  cistern  enamelled  with  rocks,  peonies  and  birds, 
and  with  fish  and  marine  plants  inside.  At  the  same 
sale  a  remarkably  fine  and  rare  pair  of  old  Delft  jars 
and  covers  decorated  with  panels  of  figures,  flowers 
and  other  ornaments  in  dark  blue,  red  and  gold,  in 
imitation  of  the  style  of  old  Imari  ware,  fetched  ;fi05. 

On  July  10,  at  Christie's,  there  were  several  fine 
pieces  of  old  Wedgwood,  forming  part  of  the  otherwise 
not  very  important  collection  of  porcelains  and  works 
of  art  belonging  to  the  late  Mr.  George  Gurney.  By 
far  the  best  piece  was  the  large  campana-shaped  vase 
and  cover  of  blue  jasper  decorated  with  a  frieze  of 
cupids  sacrificing,  and  having  a  wreath  of  vines  under 
the  lip.  It  stood  on  an  octagonal  pedestal  with 
figures  of  gryphons  at  the  corners,  and  further  orna- 
mented with  prince  of  Wales's  feathers  and  a  classical 
frieze.  This  excellent  example  of  Wedgwood's  best 
manner  measured  20  in.  in  height,  and  was  bought 
for  £210,  £92  being  given  for  an  oval  frame  containing 
a  pair  of  pink  jasper  plaques  with  the  Marlborough 
gem  and  Sacrifice  to  Hymen,  one  green  and  two  blue 
jasper  plaques  in  marquisite  frames,  and  three  cir- 
cular tricolour  plaques  with  classical  subjects.  This 
interesting  lot  came  originally  from  the  Sandon  and 
Sibson  collections,  which  also  furnished  three  other 
less  important  lots.  Another  frame  containing  four 
blue-and-white  scent  flacons,  four  similarly  coloured 
plaques  with  mythological  subjects,  and  an  ivory 
patch-box  inlaid  with  eight  small  plaques  in  marquisite 
frames,  realized  £52  los.,  while  ^^30  gs.  was  given  for 
yet  another  frame  containing  seven  blue-and-white 
plaques,  nine  black-and-white  ones,  and  a  green  jasper 
portrait  of  Dr.  Fothergill,  the  celebrated  Quaker 
philanthropist,  and  author  of  '  Rules  for  the  preserva- 
tion of  health.'  Among  the  Wedgwoods  was  one  lot 
consisting  of  an  elegant  pair  of  dwarf  candlesticks,  by 
Adams,  decorated  with  a  band  of  spiral  foliage  and 
festoons,  and  a  cylinder  also  by  this  potter. 

On  July  14,  at  the  sale  of  the  china  of  the  late 
Mr.  F.  Yates  Edwards,  a  quantity  of  good  whole- 
colour  Chinese  porcelain  went  for  very  reasonable 
figures.  For  some  inexplicable  reason  self-colour  por- 
celains are  almost  completely  neglected  in  this  country, 

152 


except  when  mounted  in  fine  ormolu  ;  yet  the  Chinese 
themselves  and  also  the  American  collectors  highly 
esteem  the  best  examples  of  this  class  of  porcelain. 
Mr.  Edwards's  collection  was,  taking  it  all  round, 
remarkably  tasteful  and  well  selected,  although  con- 
taining no  one  article  of  great  value.  It  was  essen- 
tially a  connoisseur's  collection,  and  patrons  of  the 
sale  secured  many  good  bargains.  A  very  fine 
square  famille-vertc  vase,  beautifully  enamelled  with 
rocky  landscapes,  animals  and  flowers  on  a  granulated 
ground,  made  ;^65  2s.,  and  a  buff  vase  enamelled  with 
the  five-clawed  dragon  in  green,  and  fish  rising  from 
waves,  ^^27  6s.  At  the  same  sale  several  good  examples 
of  old  Rhodian  ware  went  for  very  reasonable  figures. 

Enamels  and  Bronzes. — At  the  Gurney  sale  on 
July  10  a  large  circular  koro  and  cover  of  old  Chinese 
cloisonne,  decorated  with  metal  gilt  bands  enamelled 
with  horses,  flowers  and  scroll-work  in  colours  on  a 
turquoise-blue  ground,  from  the  summer  palace  at 
Pekin,  fetched  ,^73  los. ;  and  a  circular  bowl,  similarly 
decorated,  made  ^^77  4s.  On  the  6th  a  koro  and 
cover  of  old  Chinese  cloisonne,  on  three  feet  formed 
as  the  sacred  fungus,  decorated  with  flowers  in  colours 
on  turquoise  ground,  sold  for  ^Tbg  6s. 

Objects  of  Art. — On  July  i  a  gold  medallion  of 
Constantius  II,  struck  at  Treves,  and  almost  unique, 
only  one  other  being  known,  sold  for  £157  los.  at 
Christie's.  This  piece,  which  weighs  306  grams, 
represents  on  one  side  a  laureated  and  cuirassed 
bust  with  paludimentum,  and  on  the  reverse  the 
emperor  standing  holding  a  spear,  raising  a  kneeling 
figure,  with  Valour  with  helmet  and  buckler,  and 
victory  with  a  palm  in  her  left  hand  and  crowning 
Constantius  with  her  right.  Another  rare  medallic 
coin  was  that  of  Friedrich  Ulrich,  of  Brunswick  and 
Luneberg,  1625,  showing  on  one  side  a  miner  with  a 
Bible  and  staff.     This  fetched  £23  los. 

Lace. — There  has  been  a  considerable  quantity  of 
lace  sold  this  last  month,  some  of  which  fetched  good 
prices.  On  July  25  two  flounces  of  Venetian  rose- 
point  of  the  early  Renaissance  period,  with  an  ex- 
quisite design  of  arabesque  foliage  and  flowers  and 
an  elaborate  vandyke  edge,  originally  taken  from  a 
Spanish   convent,    fetched    £b=,o.      One   flounce   was 

4  yds.  30  in.  long,  the  other  4iyds.  long  by  18  in. 
deep.  A  point  d'Argentan  flounce  with  narrow  gar- 
niture to  match,  4  yds.  long,  made;£"i26;  an  Italian 
rose-point  flounce,  4  yds.  long,  £84  ;'  another  one, 
with  a  bold  design  of  flowers  and  scrolls  finely  raised, 

5  yds.  long  and  15  in.  deep,  formerly  the  property  of 
the  late  queen  of  Holland,  fetched  £73  los. 

On  July  g  a  highly  interesting  old  Flemish  flounce 
with  medallions  enclosing  a  stag-hunt,  fountains,  birds 
and  foliage,  5|^  yds.  long  and  27  in.  deep,  together 
with  two  similar  flounces  about  4  yds.  each,  a  gar- 
niture to  match,  5^  by  zh  yds.,  and  a  piece  of  point 
d'Angleterre,  5  yds.  by  3^  in.,  fetched  in  one  lot  ;ri45, 
a  decided  bargain,  since  there  were  in  all  nearly 
23  yards  of  fine  lace.  At  the  same  .sale  a  piece  of  fine 
point  de  Venise,  i  yd.  gin.  long  by  3  in.  wide,  to- 
gether with  an  old  Brussels  collar,  made  £zf) ;  and 
a  Brussels  applique  tunic,  5jyds.  long  by  36  in.  deep, 
fetched  £so. 

Furniture. — Only  one  lot  of  English  furniture 
worth  mentioning  was  sold  last  month,  and  that  was  a 


PARIS     SALES 


suite  of  five  Hepplewhite  clKiirs  witli  shield-shaped 
backs,  each  of  the  centre-rails  inlaid  with  an  old 
\\'edf,'\vood  plaque,  which  fetched  £"136  10s.  A  con- 
siderable quantity  of  old  French  furniture,  however, 
sold  well,  much  of  it  being  covered  in  Heauvais  tapes- 
try and  of  the  Lcuiis  W  jicriod. 

FOREIGN    SALES 

I— PARIS* 

June   12   to  July   10 

The  courage  of  dealers  and  collectors  knows  no 
bounds ;  at  any  rate,  the  heat  disheartens  neither  the 
one  nor  the  other.  Now  that  the  temperature  has 
become  really  intolerable,  the  auctioneers  have  had 
\entilators  fitted  to  their  rooms  :  these  admit  a  mo- 
dicum of  fresh  air  into  apartments  once  tepid  with  the 
sultry  summer  air,  and  the  bidding  continues  as 
merrily  as  ever.  At  the  moment  when  these  lines  are 
being  written,  they  are  preparing  to  disperse  the  col- 
lection of  James  Tissot,  the  painter,  the  interest  ap- 
pertaining to  which  will  form  part  of  the  subject-matter 
of  my  next  chronicle. 

Paintings. — I  must  first  of  all  complete  my  re- 
marks on  the  Hochon  sale  (June  12),  which  I  was 
constrained  to  abridge  through  a  superabundance  of 
matter,  which  is  now  no  longer  the  case.  In  addition 
to  a  Ricci,  St.  Jerome  (1,550  fr.),  and  a  Vivarini,  Vir- 
gin and  Child  (1,600  fr.),  there  were  a  number  of 
interesting  drawings  of  the  sixteenth  and  early  seven- 
teenth centuries,  which  endowed  French  art  with  so 
great  a  wealth  of  portraits,  at  once  graceful  and 
realistic,  forming  an  incomparable  gallery  in  which  a 
whole  period  lives  again  before  our  eyes  and  without 
which  it  would  be  impossible  to  reconstitute  history 
in  all  its  psj-chology.  This  collection  included  a  Por- 
trait of  a  Man,  in  the  school  of  Clouet  (1,300  fr.)  ;  a 
Young  Woman,  half  length,  by  Corneille  de  Lyon 
(1,900  fr.);  a  Portrait  of  an  Aged  Woman,  by  Du- 
moustier  (2,020  fr.)  ;  and  a  few  portraits  of  that 
singular,  popular,  and  expressive  artist,  Lagneau : 
an  Old  Man  (2,020  fr.);  an  Old  Man  (2,250  fr.);  and 
Marie  Lavernier,  femme  Laporte  (2,250  fr.).  Works 
of  this  kind  are  not  at  all  usual  in  sales,  and  this  was 
a  reason  the  more  why  they  should  [attract  all  the 
attention  of  the  art-loving  public. 

A  sale  of  old  pictures  which  took  placeon  June  15 
and  fetched  a  total  of  107,000  fr.  included  a  few  fine 
pieces,  some  middling  canvases  and  a  larger  number 
of  attributed  works  which  failed  to  inspire  buyers  with 
confidence  and  drew  only  feeble  bids.  Among  the  first 
I  must  mention  an  expressive  Portrait  of  a  Gentleman, 
by  Jan  van  Ravestein  (24,000  fr.)  ;  a  Portrait  of  a  Lady 
of  Quality,  by  L.  M.  Vanloo  (3,000 fr.)  ;  a  Portrait  of  a 
Young  Boy,  by  Sir  William  Beechey  (4,100  fr.);  a 
Portrait  of  a  Man,,  attributed  to  Sir  Thomas  Lawrence 
(4,900  fr.) ;  another  of  a  Young  Lady,  by  Jan  Ver- 
spronck  (5,000  fr.)  ;  and  a  Portrait  of  a  Gentleman, 
by  Thomas  Hudson  (3,500  fr.). 

These  are  decent  prices.  But  what  shall  I  say  of 
certain  others  ?  Here  are  a  Berchem,  an  Undulating 
Landscape,  sold  for  500  fr. ;  a  Wouwermans,  an 
Attack  on  a  Convoy  crossing  a  River  (750  fr.) ;  a  Bunch 
of  Flowers  in  a  Vase,  by  Rachel  Ruyscli  (700  fr.)  ;  a 
Tavern  Scene,  by  Dusart  (300  fr.) ;  etc.     The  uncer- 

•  Translated  by  A.  Tclxelra  de  Mallos 


tainty  of  the  attributions  lowered  considerably  the 
bids  attracted  by  certain  works,  such  as  a  Portrait  of 
a  Gentleman,  attributed  to  Gainsborough  (1,050  fr.)  ; 
another,  attributed  to  van  Ravestein  (700 fr.);  a  Por- 
trait of  a  Marshal  of  France,  attributed  to  C.  Vanloo 
(1,800  fr.) ;  a  Portrait  of  a  Lady  of  (Quality,  attributed 
to  Vermeer  of  Delft  (2,100 fr.);  a  religious  subject, 
attributed  to  Sir  Anthony  Van  Dyck  (1,550  fr.).  This 
fact  is  very  perceptible  in  the  case  of,  among  others, 
Vermeer  of  Delft,  who  has  been  restored  to  favour  by 
W.  Burger  (J.  Thore),  who  has  been  distinguished 
from  his  namesake,  Vermeer  of  Delft  the  elder,  and 
whose  works,  so  rich  and  savoury  in  their  intimacy, 
are  now  numbered  amongst  the  fairest  gems  of  Dutch 
painting  in  the  seventeenth  century.  It  is  not  too 
bold  to  say  that,  if  the  attribution  had  been  certain,  the 
price  of  Vermeer's  picture  might  have  been  increased 
five-fold. 

On  June  22  there  was  a  sixth  sale  of  the  collection 
of  Mme.  Camille  Lelong,  whose  name  has  recurred 
so  often  in  my  chronicles.  It  produced  a  sum  of 
132,845  fr.  for  canvases  which  were  hardly  of  a  supreme 
(]uality,  the  finest  specimens  of  the  schools  of  the 
seventeenth  and  eighteenth  centuries  having  already 
passed  under  the  hammer.  La  Culbute,  in  the  man- 
ner of  Fragonard,  made  over  one  third  of  that  total, 
or  45,000  fr.,  a  sum  which  it  deserved  to  fetch  for  its 
delicacy  and  elegance;  and  two  companion  pictures, 
Scenes  galantes,  possibly  the  work  of  Lancret,  were 
knocked  down  for  10,000  fr.  The  other  prices  obtained 
were  comparatively  very  low  :  so  low,  in  fact,  that  it 
seems  hardly  necessary  to  name  them.  I  will  make 
exceptions,  however,  in  the  case  of  a  Seascape  in 
Stormy  Weather,  by  Ludolf  Backhuysen  (S50  fr.)  ;  a 
Portrait,  presumed  to  be  by  Albert  Cuyp  (500  fr.) ;  the 
Rape  of  Dejanira,  by  Guido  Reni  (2,700  fr.) ;  an 
Italian  Landscape,  by  J.  B.  Lallemand  (1,500  fr.) ; 
Ralliement,  by  J.  B.  Martin  des  Batailles  (1,400  fr.) ; 
a  Portrait  of  a  Woman,  by  M.  Mignard  (1,600 fr.); 
a  Shepherd  and  Sheep — Dinner-time,  in  the  manner 
of  Morland  (700  fr.) ;  le  Loup  berger,  le  Singe  avocat 
and  le  Chat  et  I'oiseau,  surrounded  by  arabesques,  by 
Peyrotte  (4,500  fr.) ;  two  companion  pictures,  la  Sur- 
prise agr^able  and  les  \'estales,  by  that  charming 
painter  Raoux,  who  excelled  especially  in  depicting 
the  play  of  light  upon  women's  features  (3,550  fr.)  : 
the  Storm,  by  an  undecided  English  painter  u, 030  fr.l; 
etc.  I  repeat,  all  these  works  are  not  very  interesting, 
and  the  sight  of  them  would  have  been  very  unprofit- 
able, had  not  the  beautiful  canvas  in  the  style  of 
Fragonard  mentioned  above  rejoiced  the  eye  with  a 
snowy  landscape,  which  an  untoward  fall  illumines 
with  the  smiles  of  a  young  and  pretty  woman. 

Nor  did  a  small  sale  held  on  June  2^  and  24  cause 
any  great  commotion.  It  included  a  Card-party,  by 
J.  Berckheyde  (800  fr.)  ;  a  Portrait  of  a  Woman, 
by  T.  de  Reyser  (2,500  fr.)  ;  a  Portrait  of  a  Man,  in 
pastel,  by  Vivien  (1,250  fr.)  ;  and  two  companion 
pieces.  Summer  and  Autumn,  by  J.  B.  Tiepolo 
(3,000  fr.).  If  these  last  two  canvases  are  genuine,  the 
price  is  not  high  for  works  by  the  Venetian  decorative 
master,  whose  glory,  after  undergoing  an  eclipse,  has 
once  again  thrust  itself  upon  the  attention  of  art- 
lovers.  This  indeed  is  no  more  than  is  deserved  by 
the  author   of  the   frescoes   in  the    Labia  palace  in 

153 


THE     BURLINGTON     GAZETTE 


Venice  and  of  so  many  other  fine  works,  which  make 
him  the  worthy  successor  of  Giorgione,  Titian  and 
Veronese. 

Drawings. — At  this  same  small  sale  occurred  a 
certain  number  of  drawings,  which  were  bought  at 
reasonable  prices,  as  though  the  public  taste,  wearying, 
in  a  manner,  of  painting,  were  turning  with  greater 
interest  to  that  sort  of  spontaneous  work  in  which  the 
artist's  real  temperament  stands  revealed  without 
disguise.  Almost  every  lot  in  this  section  is  worth 
naming. 

The  eighteenth-century  drawings  included  a  Por- 
trait de  M.  de  La  Neuviile-Mortfleuri,  capitaine  de 
dragons  (410  fr.),  by  Carmontelle,  many  of  whose  in- 
teresting drawings  were  bought  by  the  duke  of  Aumale 
for  the  Conde  museum  at  Chantilly  and  now  figure  in 
the  fine  catalogue  drawn  up  recently  by  M.  Gruyer, 
member  of  the  Institute  and  keeper  of  that  museum  ; 
some  Portraits  of  Women,  half-length,  by  Desrais 
(800  fr.),  that  same  Desrais  who  is  perhaps  the  author 
of  the  Promenade  du  Palais-Royal ;  an  anonymous 
portrait,  presumed  to  be  that  of  the  marchioness  of 
Pompadour  (605  fr.)  ;  Couple  consultant  I'alchimiste, 
by  yucverdo  (215  fr.) ;  a  fine  drawing,  Ruines  du  petit 
temple  de  Vesta,  a  Tivoli,  by  Hubert  Robert  (1,850  fr.); 
an  Interior  of  a  Coffee-house,  attributed  to  Rowland- 
son  (250  fr.).  There  were  also  sold  a  Vue  du  Pan- 
theon, a  Paris,  with  delicate  little  figures,  by  Poulteau 
(400  fr.)  ;  a  Portrait  of  Mile.  Constance  Mayer,  by 
Mallet  (230  fr.)  ;  a  Jeune  femme  assise,  by  Trinquesse 
(385  fr.) ;  and  one  drawing  which  looked  rather  out  of 
its  element  among  all  these  works,  a  View  of  a  Castle 
and  River,  with  figures,  which  appears  to  have  been 
drawn  in  the  sixteenth  century  by  a  German  artist 
and  which  was  knocked  down  for  the  moderate  sum 
of  320  fr. 

At  a  small  sale  of  Mme.  D.  Delizy,  we  were  able  to 
inspect  at  our  ease  a  pretty  drawing  by  Boucher,  a 
Head  of  a  Young  Woman,  which  found  a  purchaser  at 
810  fr.  As  times  go,  how  many  pieces,  signed  by 
artists  of  real  worth  and  belonging  to  the  Flemish, 
Dutch,  English,  French  and  Italian  schools  of  the 
seventeenth  and  eighteenth  centuries,  are  far  from 
attaining  so  high  a  price  ! 

Objects  of  Art  and  Furniture.— M.  Hochon's 
collection  abounded  in  objects  of  art  and  furni- 
ture of  all  kinds.  I  will  mention  a  Merovingian 
buckle,  in  bent  silver-gilt  (210  fr.)  ;  two  apothecary's 
bottles,  in  old  Faenza  ware  (900  fr.) ;  a  medal,  in 
patinated  bronze,  with  the  bust  of  Malatesta  (3^0  fr.). 
Ironwork  :  two  Flemish  torch-holders,  with  flowers 
and  spiral  scrolls  (3,200  fr.  and  4,200  fr.).  Bronzes, 
by  Barye,  displaying  all  the  celebrated  animal-sculptor's 
impetuosity  and  power  of  realistic  observation  :  a 
lioness  going  on  all-fours,  green  patina  (2,250  fr.)  ;  a 
lion,  of  the  same,  brown  patina  (800  fr.)  ;  an  ocelot 
attacking  a  stag,  brown  patina  (3,000  fr.).  A  head  of 
a  woman,  in  repousse  copper,  I'rench  workmanship  of 
the  fourteenth  century,  fetched  7,000  fr.  A  statuette 
in  brown  patinated  bronze,  representing  a  Chasseur  a 
la  lanterne  and  attributed  to  Labenwolf,  a  Nuremberg 
artist  of  the  Renaissance,  was  sold  for  720  fr.  There 
were  also  some  mediaeval  sculptures  :  among  others, 
a  carved  capital  from  the  Champagne  district,  thir- 
teenth   century    (310  fr.)  ;    groups    in    carved    stone, 

154 


fourteenth  century.  Virgins  and  Child  (1,380  fr., 
2,800  fr.,  1,000  fr.),  etc.;  a  Man  Weeping,  erect,  of 
the  same  century  (2,350  fr.).  These  prices  are  rather 
remarkable,  inasmuch  as  that  they  bear  witness  to  a 
return  of  the  taste  of  art-lovers  towards  the  so  ex- 
pressive works  of  our  old  French  art. 

A  quantity  of  carved  wood  :  a  St.  Catherine,  Ger- 
man, sixteenth  centur}-  (3,000  fr.)  ;  a  St.  Anne  carrying 
the  Virgin  and  Child,  of  the  same  period  and  coun- 
try (2,750  fr.);  the  reliquary-bust  of  St.  James  the 
Great,  French,  fifteenth  century  (3,500  fr.)  ;  part  of  a 
church  stall,  with  grotesque  figures,  sixteenth  century 
(3,ioofr.)  ;  a  trophy  of  arms,  with  small  columns, 
French,  sixteenth  century  (4,500  fr.)  ;  St.  Michael 
slaying  the  Dragon,  German,  fifteenth  century 
(6,000  fr.) ;  a  door  of  a  room  with  grotesques,  sixteenth 
century  (4,100  fr.)  ;  the  top  of  a  wooden  lectern,  six- 
teenth century  (2,400  fr.).  In  this  section  figured  a 
veiy  interesting  piece  :  two  doors  with  ten  panels,  in 
oak  carved  with  grotesque  figures,  trophies,  monsters, 
cupids,  and  masks,  busts  of  Adrian  and  Faustina, 
busts  of  Louis  XII  king  of  France,  with  the  French 
arms,  and  his  prime  minister  the  Cardinal  Georges 
d'Amboise,  archbishop  of  Rouen,  who  very  nearly  be- 
came pope  at  the  time  of  the  Italian  wars.  These 
panels  came  from  the  chateau  de  Gaillon,  once  so 
famous,  of  which  now  hardly  anything  survives  (its 
fa9ade  is  at  present  exhibited  in  the  courtyard  of  the 
Ecole  des  Beaux-Arts  in  Paris)  :  they  were  knocked 
down  for  the  handsome  figure  of  28,000  fr. 

Embroideries  and  velvets :  two  strips  of  silk  em- 
broidery in  colours  and  gold,  representing  the  Life  of 
the  Virgin,  in  the  Italian  style  of  the  fourteenth  cen- 
tury (3,300  fr.)  ;  a  picture  in  silk,  Calvary,  Italian, 
fifteenth  century  (6,100  fr.)  ;  an  altar-front  in  cloth  of 
gold,  spikes  and  crowns,  Venetian,  sixteenth  cen- 
tury (5,700  fr.)  ;  chasubles  or  fragments  of  chasubles, 
Spanish,  sixteenth  century  (1,200  fr.  to  about  3,000  fr.)  ; 
etc.  Lastl}',  a  private  collector  acquired  for  the 
sum  of  35,000  fr.  some  important  pieces  said  to  have 
come  from  the  Escurial,  and  dating  from  the  six- 
teenth century.  These  include  a  chasuble,  two  dal- 
matics, and  two  lectern-covers  in  red  velvet  with  gold 
and  silver  embroidery  ;  they  display  different  scenes 
from  the  Scriptures  :  the  Annuciation,  the  Nativit}', 
the  Adoration  of  the  Magi,  the  Circumcision,  the 
Presentation,  the  Flight  into  Egypt,  Christ  on  the 
Mount  of  Olives,  etc. 

In  the  fifth  Lelong  sale,  I  will  mention,  among 
musical  instruments  a  violoncello,  by  Carlo  Antonio 
Testore,  Milan,  1735  (2,050  fr.);  a  Stradivarius,  dated 
1720  (i2,ooofr.);  another,  dated  1725  (10,500  fr.). 
Porcelain  :  a  Chinese  vase,  famille  rose,  flowers  on  a 
red-gold  ground  (6, goo  fr.)  ;  two  Chinese  oblong 
flower-stands,  blue-grey  celadon  (1,200  fr.).  Minia- 
tures: a  Portrait  of  a  Woman,  by  Sicardi  (goofr.). 
A  number  of  watches  and  many  jewelled  ornaments, 
mainly  of  the  eighteenth  century  :  an  emerald  brooch 
(10,000  fr.)  ;  two  ear-rings,  in  gold,  rubies  and  brio- 
lettes  (7,000  fr.)  ;  two  tortoise-shell  medallions,  le 
Coucher  de  la  mariee  and  le  Fruit  de  I'amour  secret, 
after  Baudouin  (1,000  fr.).  A  barometer  in  rosewood 
and  bronze-gilt,  signed  ('harles  Le  Roy  (605  fr.). 
Three  yards  of  lace,  old  Venetian  guipure,  reliefs  and 
flowers  (3,000  fr.).     A  clock  in  bronze-gilt,  Louis  XVI 


RECENT     ART     PUBLICATIONS 


style,  signed  Barancourt,  Paris  (1,500  fr.).  Furniture  : 
four  chairs  in  carved  wood  and  f^rey  laccjuer,  witii 
acanthus  leaves  and  ribboned  wands,  Louis  XVI 
stvle,  signed  Jacob  {2,000  fr.)  ;  a  Regency  sledge, 
with  dolphins  (2,400  fr.)  ;  a  Louis  XV  writing  table 
(  5,100  fr.)  ;  a  Louis  X\'  chest  of  drawers  in  veneered 
wood  (2,000 fr.);  a  wreathed  sledge,  Louis  XVI  style 
(2,560  fr.)  ;  etc.,  etc.  In  fact,  I  should  never  end  if  I 
tried  to  point  out  all  the  interesting  pieces  in  this 
unparalleled  collection,  which  has  not  yet  been  ex- 
hausted, in  spite  of  its  six  sales,  and  which  will  continue 
til  be  dispersed  during  the  coming  season.  What  a 
ronfused  heap  of  things  must  have  been  contained  in 
that  hotel  Rouille  de  Meslay,  built  on  the  Ouai  de 
i-icthune,  in  Paris,  in  the  eighteenth  century,  where  the 
lady  who  was  once  Mme.  Boisse  and  who  became 
Mine.  Camille  Lelong  accumulated  during  her  life, 
with  jealous  but  enlightened  ardour,  so  many  beauti- 
ful or  charming  objects ! 

The  sale  of  Mme.  D.  Delizy's  collection  included, 
among  others,  two  Aubusson  tapestries,  Louis  XVI, 
with  landscapes,  draperies,  rustic  scenes,  after  Boucher, 
which  were  knocked  down  for  8,800  fr.  Also,  a  marble 
group,  jeune  femme  et  Tamour,  by  A.  Carrier-Belleuse 
( 1,000  fr.),  and  a  Baigneuse,  in  white  marble,  signed 
Marquet  de  Vasselot  (1,120  fr.),  both  contemporary 
sculptors.  Lastly,  jewels,  among  which  I  will  men- 
tion, in  the  hope  of  interesting  some  of  the  lady 
readers  of  The  Burlington  Gazette,  a  pair  of  ear- 
rings, formed  of  two  large  white  oriental  pearls,  which 
fetched  I2,og0  fr.,  while  a  necklace  of  twenty-one 
black,  grey  ancl  bronzed  pearls,  with  rubies,  sapphires 
and  brilliants,  was  sold  for  1 1,450  fr. 

In  another  sale,  I  will  mention,  as  furnishing  some 
unfamiliar  names,  a  terra-cotta  figure,  a  Man,  Seated, 
signed  Godecharle,  1797  (300  fr.);  a  terra-cotta  por- 
trait of  Albertine  baroness  de  Nivcnheim,  by  J.  B. 
Nini,  1768  (795  fr.).  Old  Rouen  plates,  including 
some  with  blue  scallopings,  obtained  prices  varying 
from  400  to  900  fr.  apiece  and  showed  the  high  faNonr 
still  maintained  by  the  old  faience  maaufactiui-d  in  the 
Norman  capital. 

The  above  are  the  principal  sales  of  the  period 
iminediately  preceding  the  end  of  the  season.  There 
will  be  a  few  more  to  close  the  campaign,  and  then  the 
auctioneer's  hammer  will  be  silent,  to  be  heard  again 
ill  the  autumn.  Already  several  important  auctions 
are  announced,  without  counting  the  conclusion  of  the 
Camille   Lelimg  sale. 

Geiikgks  Riat. 

II~AMSTERDAM 

The  only  important  sale  held  during  this  ninnth 
was  the  auction  of  pictures  forming  the  collections  of 
Rene  della  Faille  de  Waerloos  of  Antwerp,  Mrs.  van 
den  Berchvan  Heemstedeof  the  Hague,  and  some  other 
properties,  which  took  place  at  Amsterdam  on  July  7, 
under  the  direction  of  Messrs.  Frederik  MuUer  &  Co. 
The  following  big  prices  were  fetched: — No.  4.  St. 
Helena  and  the  Holy  Cross,  said  to  be  by  Marmion, 
and  certainlv  a  very  fine  fifteenth-century  picture, 
bought  for  11. "12,400  for  the  Louvre;  N0.31.  The  Three 
Crosses,  by  P.  Breughel  the  elder,  fi.  2,500,  Wilstach 
museum,  Philadelphia;  No.  46.  M.  v.  Berghe,  Por- 
trait of  a   Girl,   fl.  1,750;  No.  57.  A  changing   little 


portrait  of  an  infa 
A.    Hanneman. 


y  Curard  Dou,  11.6,700  ;  No.  6j. 
I'artie    de     Musitji 


No.  74.  J.  Jordaens,  Nympheset  Satyres,  f1.  1,250,  mu- 
seum of  Ghent  ;  Th.  de  Keyzer,  Portraits  of  a  Gen- 
tleman and  his  Wife,  very  fine  but  small,  H.  3,000,  Six 
gallery;  No.  Si.  N.  Maes,  I'enfant  gatee,  H.2,150; 
No.  gg.  Ostade,  Interior,  fine  quality,  tl.  7,000; 
No.  103.  Two  Dogs  and  a  Cat,  an  interesting  and 
genuine  picture  bj'  Potter,  fl. 4,400  (went  to  Phila- 
delphia); No.  122.  R.  van  Vries,  landscape,  H.  2,000; 
No.  132.  Wynants,  a  very  blank  little  landscape, 
fl.  3,200;  No.  172.  N.  Maes,  two  oval  portraits  of  a 
gentleman  and  a  lady,  fl.  1,275;  '*^o-  ^^9-  ^'-  "^^  ^  os, 
a  capital  portrait,  fl.  1,900,  bought  for  the  Brussels 
museum. 

RECENT   ART   PUBLICATIONS' 

ANTIQUITIES 

.\NNL'AL  OF    THE  BRITISH  ScMOOI.  AT  ATHENS,  nO.  VIII.       SeSSion   I90I- 

1902.     (8x10)     London  (Macmillan),  17s.  net. 

Art  contributions  :  A.  J.  Evans,  the  Palace  at  Knossos  ;  F  \V. 
Hasluck.  Sculptures  from  Cyzicus ;  R.  C.  Bosanquet,  Excava- 
tions at  I'raesos  ;  E.  S.  Korster,  Praesos,  the  Terracottas  ;  R.  C. 
Bosanquet.  Excavations  at  Petras  and  Palaikastro.  zo  plates 
and  text  illus. 

BuRi.iNc.Tos  Fine  Arts  Club.  Exhibition  of  Ancient  Greek  Art. 
[Catalogue.]  (i2  x  9)  London  (printed  for  the  Burlington  Fine 
Arts  Club). 

DicTioNNAiuE  d'.^rchfiologie  Chri-tienne  et  de  Liturgie,  publie  par  le 
R.  P.  Dom  F.  Cabrol,  B<:-n(5dictin  de  Solesmes,  avec  le  concours 
d'un  grand  nombre  de  coUaborateurs.  (11x8)  Paris  (Letouzey 
&  Ani).  5  francs  net,  each  part. 

The  first  two  parts  (575  pp.)  contain,  among  other  articles,  the 
following:  An,  Abbaye,  Abecf-daire.  Abel  et  Cain.  Abraham. 
Abrasax,  AbrOviations,  Abside.  Actes  des  Martyrs,  Ad  Bestias. 
Ad  Sanctos,  Adam  et  Eve.  .Vdelphia.  The  work  is  admirably 
arranged,  documented  and  illustrated. 

British  Museum.  A  guide  to  the  Early  Christian  and  Byzantine 
antiquities  in  the  Department  of  British  and  Mediaeval  Antiqui- 
ties. (9x5)  Loudon  (printe  1  for  the  Trustees),  is.  [15  plates 
and  84  text  illus.  116 pp.]. 

Stein  (M.  A.).  Sand-buried  ruins  of  Khotan.  Personal  narrative  of 
a  journey  of  archajologicil  and  geographical  exploration  in 
Chinese  Turkestan.     (9x6)     I.x)ndon  (Unwin),  21s.  net.     [Illus.] 

ScHULTz  (A.).  Das  hausliche  Leb^n  der  europaischen  Kulturvolker 
vom  Mittelalter  bis  zur  zweiten  Halfte  des  xviii  Jahrhunderts. 
(10  X  7)     Munchen  und  Berlin  (Oldenbourg),  9  marks. 

Victoria  History  of  the  counties  of  England;  Hampshire  and  the 
Isle  of  Wight.     Vol.  11.     (12x8)     Westminster  (Constable). 

Contains  the  art  contributions:  Early  Christian  art  and  in- 
scriptions, by  J.  Romilly  Allen;  Topography  of  the  Alton  Hun- 
dred, by  W.  J.  Hardy,  with  architectural  descriptions  by  W.  H. 
St.  J.  Hope  and  C.  R.  Peers.  Nearly  half  the  volume  is  t.aken 
up  by  Dr  J.  C.  Cox's  Ecclesiastical  History  of  the  County;  the 
numerous  illustrations  include  portraits,  seals,  coats  of  arms,  and 
architectural  views. 

Pendleton  (J)  and  Jacques  (W.).      Modern  Chesterfield.     (7x5) 


Chesterfield  (The  Derbyshire  Courier  Co.). 
Memorials   of  Old    Northamptonshire      Edited    by  Alice    Dryden. 

(9x6)     London  (Bemrose).  15s.  net. 

Includes   chapters   upon  Northamptonshire  Vill.iges  ;    guecn 

Eleanors  Crosses:  Sir  Christopher   Hatton  andi  his  Homes,  by 

the   Editor;    Sir    T.   Tresham    and    his    Symbolic    Buildings; 

Fotheringay,    by    M.    Jourdain.      Monumental    Elfigies   by   A. 

Hartshorne.  etc.     With  27  illustrations. 
Cais  (G  1      Paris,  les  anciens  quartiers.     (6  x  9)     Paris  (Le  Deley). 

The  three  parts  publishe.l.  dealing  with  the  Louvre  district. 

the  Citi-   the  Temple,  Marais  and  Bastile.  contain  respectively  a 

text  of  20-30  pages,  and  40  phototype  views  of  the  locality  .ind 

its  princip.1l  buildings  at  different  periods. 
RiEiiL    (B).      Augsburg.      (10x7)      Leipzig   (Scemann),   3   marks. 

■  Beruhmte  Kunststatlen.  22.'      103  illus.  

LuDORKK  (  \  )  and  Hfinzerlino  (A.).     Die  Ban-  und  Kunsldenkmaler 

von   Westfalen  :    Kreis   Siegen  ;    Kreis    Wittgenstein.      2  vols. 

(12x10)     Miinsteri.  W.  (Schdningh). 

The  copious  illustration  of  this  series  renders  it  one  of  the  best 

of  the  German  topographical  an  surveys.  10  vols,  have  appeared. 
•  SI'M  (hclclii  «  widil.)  I:i  Inches. 


THE     BURLINGTON     GAZETTE 

Philippi  (A.).  Florenz.  (10x7)  Leipzig  (Seemann),  4  marks. 
■  Beruhmte  Kunststatten,  20.'     222  illus. 

PiscHETTi  (L.).     I'ompei  com'  era  e  I'ompei  com'  e.     Napoli,  5  lire. 

Marucchi  (O.).  Le  Catacombe  Romane  secondo  gli  ultimistudi  e  le 
piu  recenti  scoperte.  Compendio  della  Roma  Sotterranea. 
(9x6)     Roma  (Desclee,  Lefebvre),  10  lire. 

Berner  Kunstdenkmaler,  Lieferung  4.     (17  x  10)     Bern  (Wyss). 

The  present  part  of  this  collection,  published  by  the  artistic 
and  antiquarian  societies  of  Bern  and  its  canton,  contains  pho- 
totypes of  an  Erlach  house  (1589),  the  lectern  in  Bern  cathedral 
(15  cent),  the  Gallo-Roman  bronze  group  '  Dea  Artio,'  and  two 
silver-gilt  '  Fankhauser  '  cups  ;  the  accompanying  text  is  in  Ger- 
man.    Pts.  1-3  appeared  in  1902. 

SwiEYKOWSKi  (E.).  Studya  dohistoryi  sztuki  i  kultury  wieku  xviii  w 
Polsce.i.  Monografia  Dukli.  (10x7)  w  Krakowie  (Drukarnia 
Universytete  Jagiellonskiego). 

A  history,  in  Polish,  of  the  town  of  Dukli  in  Galicia;  the 
illustrations  include  an  eighteenth-century  church  with  the  tomb 
of  a  Countess  Mniszech. 

Franz  Pasha.  Kairo.  (10x7)  Leipzig  (Seemann),  4  marks. 
■  Beruhmte  Kunststiitten,  21.'     140  illus. 

BIOGRAPHICAL    WORKS    AND  MONOGRAPHS 

Cervetto  (L.  A.).     I    Gaggini    da  Bissone,    lore   opere    in   Genova 

et  altrove.     Contribute  alia  storia  dell' arte  lombarda.    (19x13) 

Milan  (Hoepli).     [Illus.] 
Chamberlain    (A.    B.).     Thomas   Gainsborough.       (6x4)      London 

(Duckworth),  2S.  net.     '  Popular  Library  of  Art.'     53  illus. 
■VoGEL    (J.).     Otto   Greiner.     (12  xg)     Leipzig    (Seeman).      [40  pp., 

6  plates,  and  text  illus.]. 
Reinaud  (fi.).     Charles  Jalabert,  I'homme,  I'artiste,  d'apres   sa  cor- 

respondance.     Preface  de  J.  L.  Gerome.     (10x7)     Paris  (Hach- 

ette),  7  fr.  50.      [20  plates.] 
Staley   (E.).     Millet.     (7  x  4)     London   (Bell),   is.   net.     '  Miniature 

Series  of  Painters.' 
Hanschmann  (A.  B).     Bernard  Palissy  der  Kiinstler,  Naturforscher 

und  Schriftsteller  als  Vater  der  induktiven  Wissenschaftsmethode 

des  Bacon  von  Verulam.     (10x7)     Leipzig  (Dieterich). 
RossEiTi   (W.  M.).     Rossetti  Papers,   1862  to  1870,  a  compilation. 

(9  X  C)     London  (Sands),  los.  6d.  net. 
Bode  (W.).     Der  Maler  Hercules  Segers.     (Jahrbuch  der  Kgl.  Preus- 

sischen  Kunstsammlungen,  xxiv,  ii  Heft.) 
Mancini  (G.).  Vitadi  LucaSignorelli.  (10x7)  Firenze  (Carnesocchi), 

20  lire.      [Many  illus.] 
Macmillan  (H.).     The   life-work    of    G.    F.    Watts,    R.A.      London 

(Dent),  4s.  6d.  net.     '  Temple  Biographies.'      [11  plates.] 

ARCHITECTURE 

RoNCZEwsKi  (K.).  Gewolbeschmuck  in  romischen  Altertum.  (13  x  9) 
Berlin  (Keimer). 

Illustrated  with  31  plates  of  existing  examples  of  Roman  and 
Pompeian  painted,  mosaic  and  stucco  vault  decoration,  and  text 
illustrations.     Text,  46  pp. 

Zeller(A).  Burg  Hornberg  am  Neckar.  (15x11)  Leipzig  (Hierse- 
mann).     [11  plates,  and  text  illus.]. 

BuLS  (C).  La  restauration  des  monuments  anciens.  (10x7)  Brux- 
elles  (Weissenbruch). 

A  pamphlet  of  60  pp.  published  by  the  '  Societe  Nationale  pour 
la  Protection  des  Sites  et  (ies  Monuments  en  Belgique.' 

Newton  (E  ).  A  book  of  Country  Houses,  comprising  nineteen  ex- 
amples illustrated  on  sixty-two  plates.  (15x11)  London  (Bats- 
ford),  2IS.  net. 

Academy  Architecture  and  Architectural  Review,  1903.  Edited 
by  A.  Koch.     (10  x  7)     London  (58  Theobald's  Road),  4s.  net. 

PAINTING 

Berenson  (B.).  The  drawings  of  the  Florentine  painters,  classified, 
criticised,  and  studied  as  documents  in  the  history  and  appreciation 
of  Tuscan  art.  with  a  copious  catalogue  raisonnd.  2  vols  (18x14) 
London  (Murray),  i5gns.  net.     [Edition  of  355  copies.] 

MoLMENTi  (P.  G.).  La  pittura  veneziana.  (10x7)  Firenze  (Alinari), 
10  lire. 

A  history  of  Venetian  painting  to  the  present  time  (170  pp.), 
with  many  illustrations. 

LuDwiG  (G.)  and  Bode  (W.).  Die  Altarbilder  der  Kirche  S.  Michele 
di  Murano  und  das  .^uferstehungsbild  des  G.  Bellini  in  der 
Berliner  Galerie.  (Jahrbuch  der  Kgl.  Preussischen  Kunstsamm- 
lungen  xxiv,  ii  Heft.) 

156 


GiUDici  (D.).  II  Trionfo  della  Morte  e  la  Danza  Macabra,  grandi 
affreschi  dipinti  in  Clusone  nel  1485.  (12  x  8)  Clusone  (Giudici), 
5  lire.     [37  pp.,  2  phototype  plates]. 

Stroehl  (H.-G),  and  Kaemerrer  (L.).  Ahnenreihen  aus  dem 
Stammbaumdesportugiesischen  Konigshauses.  Miniaturenfolge 
in  der  Bibhothek  des  British  Museum  zu  London.  '  (13x10) 
Stuttgart  (Hoffmann). 

The  text  of  34  pages  consists  of  a  genealogical  notice  by  Prof 
Stroehl,  notes  upon  the  paintings  by  Ur.  Kaemerrer,  with  4  photo- 
types, and  text  illus.  An  atlas  (23x17)  contains  13  phototype 
reproductions. 

Royal  Academy  Pictures,  1903.     (13  x  9)     London  (Cassell),  7s.  6d. 

SCULPTURE 

Friesreliefs  vom  Heroon  in  Gjolbaschi-Trysa  (500  voor  Chr.)  aus 
der  Kaiserliche  Antiken-Sammlung  in  Wien.  (30  photographs 
by  J.  'Whla,  7  x  9).     Vienna  (Plaschka),  35  marks. 

Svoronos  (J.  N.).  Das  Athener  Nationalmuseum,  phototypische 
Wiedergabe  seiner  Schatze  mit  erlauterndem  Text,  Heft  i. 
(13  X  10)     Athen  (Beck  &  Barth),  M.  6.  80. 

This  publication  commences  with  the  statuary  discovered  at 
Antikythera  ;  text  of  16  pp.  and  10  plates. 

Endres  (J.  A.).  Das  St.  Jakobsportal  in  Regensburg  und  Honorius 
Augustodunensis.  Beitrag  zur  Ikonographie  und  Literaturges- 
chichte  des  12  Jahrhunderts.  88  pp.  (12x9)  Kempten 
(Kbsel).      [5  plates.] 

SupiNO  (I.  B.).  L'incoronazione  diPerdinandod'Aragona:  gruppo  in 
marmo  di  Benedetto  da  Maiano  nel  Museo  Nazionale  del  Bar- 
gello.     (11x8)     Firenze  (Seeber),  2  lire.      [16  pp.  and  i  plate.] 

Chalfin  (P.).  Museum  of  Fine  Arts,  Boston  :  Japanese  wood  carv- 
ings, architectural  and  decorative  fragments  from  temples  and 
palaces      28  pp.     (8  x  5)     Boston  (Museum  of  Fine  Arts). 

CERAMIC   ART 

Sarre  (F.).  Die  spanisch-maurischen  Lusterfayencen  des  Mittel- 
alters  und  ihre  Herstellung  in  Malaga.  Unter  Mitwirkung  von 
E.  Mittwoch  fiir  die  arabischen  Quellen.  (Jahrbuch  der  Kgl. 
Preussischen  Kunstsammlungen,  xxiv.  ii  Heft.) 

Barber  (E.  A).  Tulip  ware  of  the  Pennsylvania  German  potters; 
an  historical  sketch  of  slip  decoration  in  the  United  States.  (9  x  6) 
Philadelphia  (Pennsylvania  museum),  $1.      [100  illustrations.] 

COINS   AND   MEDALS 

Wroth  (W.).     Catalogue  of  the  coins  of  Parthia.     (9  x  5)     London 

(Published  by  the  British  Museum).     With  map  and  37  plates. 
Gnecchi    (F.   and    E.).       Guida    nuraismatica    universale.       Quarta 

edizione.     (6x4)     Milan  (Hoepli) - 

Contains  6,278  addresses,  topographically  arranged,  of  public 

numismatic   collections,   collectors,  periodicals,  etc,   throughout 

the  world. 
CATALOGUEof  the  collection  of  English  coins  and  medals  (including  the 

Petition    Crown  of   Charles    II),  the  property   of   a   nobleman. 

(10x8)     London  (Sotheby).      [2  plates.] 

HERALDRY 

Obreen  (H.  G.  a.).     Geschiedenis  van  het  geslacht  van  Wassenaer. 

(13  X  10)     Leiden  (Sijthoff).     With  20  plates. 
Hupp  (O.).     Die  Wappen  und  Siegel  der  deutschen  Staedte,  Flecken 

und    Dorfer:   iii.    Heft.     Provinz    Sachsen   und   Schleswig-Hol- 

stein.     (14x9)     Frankfur*  a. M.  (Keller). 

A  vol.  of  about  80  pp.  text  and  coloured  cuts.     Previous  parts 

dealing  respectively  with  Prussia  and  Brandenburg,  Pomerania, 

Posen  and  Silesia  were  published  in  1896  and  '98. 
MISCELLANEOUS 
Fontaine  (A.).     Essai  sur  le  principe  et  Ies  lois  de  la  critique  d'art 

(9  X  C)     Paris  (Fontemoing),  6  francs. 
Copper   (E.).     L'Art   et   la  Loi,   traits   des   questions  juridiques   se 

referant  aux   arlistes   et   aux  amateurs,  editeurs   et    marchands 

d'art.     (11x7)     Paris  (Heymann). 
Van  de  Velde  (H.).     Die  Renaissance  im  modernen  Kunstgewerbe. 

2  ed.     (8x6)     Berlin  (Cassirer). 
Pkideaux  (S.  T.).     Bookbinders  and  their  craft.     (10x6)     London 

(Zaehnsdorf),  31s.  6d. 
Revue   des  Bibliothcques  et   Archives  de  Belgique.     Tome  i,  i"'  Rt 

2''"'"   livraisons.     (10  x  6)     Renaix   (Leherte-Courtin),   10   francs, 

annual  subscription  (6  numbers). 

Besides   technical    matter,  library    ainl    ,u.  lii\,il    news,  etc., 

these    parts    contain     studies    upon    llu-     mnlil     i..,iin    of    the 

royal    library,    Brussels,    by   F.    Alviri  :     l-uK     I  n.uraving    and 

the  painters  of  the  Tournay  school,  by  \<    \.ui  I  :;isiil,icr  ;  Pierre 

Caron,  a  xvith  century  Ghent  binder,  by  .\.  Delstanche,  with  a 

reproduction  of  a  very  remarkable  renaissance  stamped  leather 


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iJT 


THE   LOWESTOFT   PORCELAIN    FACTORY— L.  SOLON 

TITIAN'S   PORTRAIT   OF   THE   EMPRESS   ISABELLA.— GEORG   GRONAU 

A   NEWLY- DISCOVERED    PORTRAIT- DRAWING    BY    DURER.  — CAMPBELL 

DODGSON 
LATER  NINETEENTH-CENTURY  BOOK  ILLUSTRATIONS.— JOSEPH  PENNELL 
ORIENTAL   CARPETS.      ARTICLE   IV. 
EARLY   PAINTERS   OF    THE    NETHERLANDS.      ARTICLE    V.— W.  H.  JAMES 

WEALE 
ANDREA  VANNI.— F.  MASON   PERKINS 
GEOGRAPHICAL   DISTRIBUTION    OF  THE   FIRST   FOLIO   SHAKESPEARE.— 

FRANK   RINDER 
RECENT   ACQUISITIONS   AT   THE   LOUVRE 
ILLUSTRATED   NOTES   ON   VARIOUS   WORKS  OF  ART 

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It  has  been  decided  to  make  an  important  change  in 
regard  to  The  Burlington  Gazette,  to  which  we 
desire  to  call  the  attention  both  of  our  readers  and  of 
the  trade. 

The  Burlington  Gazette  was  started  as  a 
supplement  to  The  Burlington  Magazine,  the 
reason  for  its  existence  being  that  it  was  felt  that  there 
were  many  matters  of  current  interest  which  could  not 
suitably  be  included  in  the  Magazine,  but  about  which, 
nevertheless,  the  readers  of  the  Magazine  would  like 
to  have  information. 

The  original  intention  was  that  the  Gazette  should 
be  issued  to  subscribers  only,  but  it  was  decided  to 
try  the  experiment  of  selling  it  to  the  public  separately 
from  the  Magazine,  and  it  was  announced  in  the  pre- 
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N0.6.    Vol.  I.— Suplciubcr  1903  N 


FORGED    ANTIQUITIES. 

I— LKAD. 

At  what  precise  period  in  the  world's  history  forgery 
of  antique  objects  first  began  it  is  impossible  to  say  ; 
but  it  may  be  assumed  that  it  was  practised  soon 
after  genuine  antiquities  acquired  a  money  value 
among  collectors.  It  is  certain  that  among  the  mis- 
cellaneous articles  labelled  antiquities,  and  described 
as  having  been  found  in  London,  there  are  often 
some  interesting  and  occasionally  ingenious  examples 
of  forged  antiquities. 

Forty-five  years  ago  some  excavations  were  being 
made  for  a  new  dock  at  Shadwell,  and  it  was  reported 
that  about  two  thousand  leaden  pilgrims'  signs  or 
badges  were  discovered  by  the  workmen  during  the 
operations.  The  alleged  discovery  created  a  great  stir, 
and,  although  there  were  doubters  from  the  very  first, 
some  antiquaries  were  disposed  to  regard  the  objects 
as  genuine.  In  1861,  however,  Mr.  Charles  Reed, 
F.S.A.,  was  able  to  show  that  the  so-called  pilgrims' 
signs  were  in  reality  the  fruits  of  a  huge  system  of 
forgery  carried  on  for  some  years.  Mr.  Reed  succeeded 
in  obtaining  the  actual  moulds  in  which  the  objects 
were  cast.  Perhaps  the  most  extraordinary  discovery 
he  made,  however,  was  that  the  moulds  were  prepared 
and  the  designs  were  made  up  by  two  illiterate  men 
whose  employment  was  mud-raking  on  the  river-side. 
Soon  after  this  period  a  large  number  of  clumsv 
forgeries,  mainly  in  the  form  of  medals  in  lead  and 
cock-metal,  were  turned  out  by  Messrs.  '  Billy  and 
Charley,'  of  Rosemary  Lane,  Tower  Hill.  A  remark- 
able feature  of  this  fraud  is  the  care  which  was 
taken  to  diffuse'the  spurious  medals  over  wide  districts. 
Specimens  have  been  found  as  far  from  home  as  the 
mines  in  South  Africa,  and  many  of  the  larger  works 
of  excavation  which  have  been  carried  out  near  London 
have  been  '  salted '  with  these  sham  medals  in  order 
that  the  workmen  might  find  a  ready  sale  for  objects 
dug  out  of  the  earth  under  the  eyes  of  spectators. 

It  is  not  unusual  to  find  specimens  still  offered  for 
sale  among  the  miscellaneous  rubbish  of  the  auction 
room  ;  but  one  of  the  curious  facts  about  this  kind  of 
forgery  is  that  medals  and  other  objects  of  the  class 
have  become  sufficiently  notorious  to  command  a  very 
fair  price  from  purchasers  who  buy  them  as  forgeries. 
Sums  varj  ing  from  half-a-crown  to  seven-and-sixpence 
are  generally  given  for  specimens. 

In  the  present  article  it  is  intended  first  to  describe 
a  few  t\pical  examples  of  these  ingenious  fabrica- 
tions in'  lead,  and  then  some  equally  curious  objects 
cast  in  brass  or  cock-metal  will  be  dealt  with. 

The  standing  figure  shown  in  Fig.  i  (ij  and  b)  is  a 
hollow  casting  in  lead,  about  5}  in.  high.  Possibly  it 
maj'  have  been  intended  to  represent  a  priest  or  some 
ecclesiastical  personage.  The  vestment  seems  to  bear 
at  the  back  some  kind  of  remote  resemblance  to  the 
cross  of  a  chasuble,  but  the  wavy  lines  which  fall  from 

157 


THE     BURLINGTON     GAZETTE 


the  waist  to  the  feet  before  and  behind,  and  the  fur-like 
markings  ail  over  the  surface,  present  difficulties  to  the 
acceptation  of  such  an  explanation.  The  head-gear 
may  have  been  intended  for  a  mitre,  or  the  idea  may 
have  been  borrowed  from  such  an  object  ;    but   this  is 


far  from  convincing.  Moreover,  instead  of  two  points 
it  has  six,  which  are  pressed  together  in  such  a  way 
as  to  partially  close  the  hollow  interior  of  the  casting. 
Attention  may  be  drawn  to  the  weakness  of 
modelling  displayed  in  the  bearded  face,  and  particu- 
larly the  slender  arms.  It  is  difficult  to  conceive  what 
is  intended  to  be  represented  bj-  the  cruciform  object 
held  in  the  uplifted  left  hand.  The  whole  figure  is 
ovoid  or  spindle-shaped  in  section.  Close  scrutinj- 
reveals   the  fact   that   the   back   of  the  head  has  been 


adapted  from  what  was  originally  intended  for  a  face. 
The  mould  for  this  half  of  the  figure  had  apparently 
been  spoiled  in  the  making  and  then  adapted  for 
another  purpose.  .\t  the  foot  is  an  inscription,  and 
the  date  looi.     While  it  must  be  admitted  that  there 


FORGED    ANTIQUITIES 

is  some  quaintness  in  this  little  figure,  the  inconsis- 
tencies of  costume,  the  impossible  date,  and  the  weak- 
ness of  detail  all  proclaim  the  ignorance  of  the  forger. 

The  vase  like  object  depicted  in  Fig.  2  is  also  cast 
in  lead.  It  is  not  without  some  elegance  of  outline, 
but  the  ornament  which  appears  in  low  relief  is 
curiously  and  hopelessly  muddled.  The  chief  feature 
in  the  ornament  is  an  erect  figure,  perhaps  intended 
for  a  king.  The  bearded  head  is  surmounted  by  a 
crown,  from  which  there  are  four  horn-like  projections. 
A  cross  is  held  in  the  left  hand.  An  unreadable 
inscription  is  placed  over  the  head  of  this  figure,  and 
the  date  1021  is  shown  at  the  back  of  the  vase.  This 
object,  like  that  shown  in  Fig.  i,  is  spindle-like  in 
section,  and  it  is  pretty  clear  that  they  were  both  the 
work  of  one  man. 

In  Figs.  3  and  4  will  be  found  representations  of 
excellent  specimens  in  lead  of  the  medal-like  objects 
of  wliich  so  many  varieties  were  fabricated  at  Tower 
Hill.  The  subjects  represented  are  usually  of  a  quasi- 
ecclesiastical  or  military  character.  The  standing 
figure  shown  in  3  a  may  be  intended  for  St.  Peter :  the 
objects  held  in  the  two  hands  are  apparently  rather 
full-sized  specimens  of  kejs.  On  the  other  side  of 
this  medal  are  two  armed  knights  possibly  engaged  in 
fighting,  but  placed  at  awkwardly  close  quarters.  (See 
Mg.  3  b.)  Above  is  a  shield  of  arms  which  may  be 
commended  to  the  attention  of  heraldic  students,  since 
it  purports  to  be  of  very  earh'  eleventh-century  date  (!) 

Authorities  on  armour  may  be  glad  to  note  the 
de\elopment  of  form  as  shown  in  a  medal  professing 
to  be  nineteen  years  later  (Fig.  4).  Here,  on  what 
may  be  considered  the  obverse  (a),  we  have  a  head 
enclosed  in  a  helmet,  whilst  on  the  reverse  (6)  is  an 
erect  armed  figure,  apparently  beating  a  retreat,  his 
broken  sword  held  as  a  state  sword  is  carried  on 
ceremonial  occasions,  whilst   his  broad  sword  behind 


him  and  a  kind  of  processional  cross  before  linn,  uinaiii 
conveniently  erect  without  any  visible  support. 

It  will  be  noticed  that  both  objects  are  fully  pro- 
vided with  marginal  inscriptions,  .\lthough  it  seems 
impossible  to  make  any  sense  out  of  them,  one  or  two 

:  159 


THE     BURLINGTON     GAZETTE 

points  are  worthy  of  notice.  Usually  they  are  mar- 
ginal, and  the  letters  of  which  they  are  composed  are 
of  comparatively  large  size.  In  the  case  of  the  quasi- 
medals  they  are  generally  separated  from  the  central 
space  by  a  circular  line.  There  is  a  distinct  disposi- 
tion in  the  mind  of  the  designer  to  make  certain 
combinations  of  letters,  such  as  MO,  ROMP,  MOQ., 
etc.  Finally,  many  of  the  letters  are  reversed,  sug- 
gesting the  "use  of'  a  kind  of  rude  stamp  in  the  pre- 
paration of  the  mould. 


Fig.   .(/' 


These  are  a  few  typical  specimens  of  what  are 
known  as  '  Billy  and  Charley  '  forgeries  in  lead,  and 
the  accompanying  illustrations,  prepared  from  photo- 
graphs of  the  actual  objects,  will  give  a  better  general 
idea  of  their  forms  than  any  mere  description. 

II— BRASS 
Many  of  the  forged  articles  professing  to  be  antiquities 
which  have  been  manufactured  in  London  and  dis- 
persed over  a  wide  area  in  England  and  elsewhere 
have  been  cast  in  brass  or  '  cock-metal '  by  means  of 
sand  or  chalk  moulds.  Cock-metal,  which  is  com- 
posed of  two  parts  of  copper  and  one  part  of  lead,  melts 
at  a  comparatively  low  temperature.  The  various  illus- 
trations in  this  article  are  entirely  of  objects  cast  in 
this  metal,  a  substance  which  was  chosen  by  the 
forgers  doubtless  on  account  of  the  case  with  which 
it  could  be  cast  in  the  desired  shapes. 

The  small  dagger  shown  in  Fig.  5  is  a  particularly 
unsuitable  weapon  for  use.  Its  total  length  is  gin., 
and  the  length  of  the  handle  is  slightly  over  3  in.  The 
whole  fabrication  is  so  bad  that  it  could  deceive  only 
those  who  are  totally  ignorant  of  arms.  A  few  of  the 
more  obvious  inconsistencies  maybe  noted':  the  blade 
is  thick  and  unserviceable  for  cutting  or  piercing;  the 
hilt  is  very  inconvenient,  and  in  the  \ery  place  where 
strength  is  most  needed,  we  find  weakness  caused  by  a 
lozenge-shaped  opening  in  the  middle  of  the  grip;  the 
guard  is  contemptibly  insufficient,  and,  most  absurd  of 
all,  there  is  a  kind  of  loop  at  the  top  intended  appar- 
ently for  the  purpose  of  suspension.  This  object 
bears  the  date  1021.     Some  forgeries  of  this  kind  have 

160 


the  hilt  in  the  form  of  a  nude  female  figure  holding  an 
apple,  supposed  to  represent  Eve. 

In  Figs.  6-10  are  shown  tj'pical  examples  of 
medal-like  discs  of  cock-metal,  nearly  all  of  which  are 
furnished  with  more  or  less  ornamental  loops  for 
suspension.  In  Fig.  6a,  the  weakness  of  modelling 
is  well  displayed,  especially  in  the  limbs  of  the  armed 
figure  and  also  of  those  of  the  animal  upon  which  he 
is  seated.  The  reverse  is  almost  equally  ill-fashioned. 
\\'hat  may  be  intended  for  a  representation  of  the 
Flight  into  Egypt  is  shown  in  Fig.  7  a,  and  here 
agam  the  long,  s'traight  arm  of  the  figure  is  noticeable. 

The  object  shown  in  Fig.  8  {a,  b)  bears  the  date 
looi  on  both  sides,  and  presents  a  mixture  of  heraldry 
and    armour    which    would    be    very    startling   to    an 


antiquary 


'  medal  had 
the  slightest 
claim  to  be 
consi  dered 
genuine. 

The  late 
Mr.  H.  Syer 
Cuming,  who 
paid  a  good 
deal  of  atten- 
tion to  the 
various  forms 
offabrications 
of  this  cha- 
racter, held 
the  opinion 
that  they  were 
evidently 
poor  copies 
from  Byzan- 
tine coins  of 
the  seventh 
and  tenth 
centuries.  He 
points  out 
that  each  of 
these  pseudo- 
antique  me- 
dallions has  a 
loop  for  sus- 
pension flank- 
ed by  a  little 
figure,  but  he 
admits  that  it 
is  hard  to  de- 
termine'whe- 
ther they  re- 
present celes- 
tial or  terres- 
trial   beings.' 

The  flanking  figures  shown  on  the  medals 
and  10  are  clearly  lishcs  or  dolphins, 
respectively. 

It  may  be  worth  while  to  note  some  of  the  chief 
features  by  which  these  forgeries  may  be  instantly 
detected.  They  are  as  follows :— Pitted  and  uneven 
surface ;  thin  and  often  gapped  edges  ;  small  amount 
of  metal  employed  in  proportion  to  superficial  space; 
poorness  of  modelling,  especially  in  the  matter  of  limbs 


'&■  5« 


Fig.  56 


in  Figs.  9 
md    birds, 


FORGED     ANTIQUITIES 


i6i 


THE     BURLINGTON     GAZETTE 


of  human  beings,  horses,  etc. ;  use  of  arabic  -figures  for 
eleventh  century  and  twelfth  century  dates ;  frequent 
use  of  dates  ;  unreadable  inscriptions  in  a  species  of 
Lombardic  type ;  incongruity  of  arms,  armour, 
costume  and  artistic  accessories;  sustained  efforts  to 
fill  the  surface  space  with  more  or  less  quaint  forms. 

It  is  a  re- 
markable and 
s  u  spicious 
fact,  too,  that 
although  it 
rarely  if  ever 
happens  that 
one  finds  two 
medals  exact- 
alike,  there 
is  a  sort  of 
general  fa- 
mily likeness 
by  which  all 
may  be  re- 
cognized. 

The  whole 
story  of  these 
forgeries  is 
naturally 
shrouded  in  a 
good  deal  of 
ob  sc  u  rity, 
and  although 
numerous  ex- 
amples of  the  articles  were  exhibited  as  forgeries  at  meet- 
ings of  various  societies,  not  very  much  definite  infor- 
mation is  now  obtainable  with  reference  to  the  origin 
and  growth  of  this  illegal  industry.  It  seems  probable 
that  the  use  of  lead  for  these  forgeries  preceded  the 
use  of  cock- 
metal,  as  in 
the  year  1864 
the  latter  ob- 
jects were 
described  as 
being  '  rather 
new  in  the 
market ' ;  but 
it  is  not 
known  whe- 
ther cock- 
metal  ever 
entirely  sup- 
planted lead. 
Some  of  the 
forged  anti- 
quities which 
were  in  circu- 
lation about 
the  same  year 
are  described 
as  being  made 
of  zinc  ;  and 
soon  the  skill  '*"■  '  ' 

of  the  forger  Ird  him  to  make  casts  from  moulds  which 
had  been  produced  from  actually  genuine  anti(iuities. 
Among  these  were  Roman  coins,  seals,  Roman 
bronze  pins,  and  bosses  of  shields  with  feeble  attempts 

162 


to    reproduce  the    spiral    forms  characteristic    of  the 
late  Celtic  period. 

There  appears  to  have  been  a  school  of  forgers  in 
France  at  about  the  same  period  as  the  leaden 
forgeries  circulated  in  London.     Little  leaden  figures 


about  35- in.  high,  professed  to  have  been  recovered 
from  the  bed  of  the  Seine,  created  a  good  deal  of 
interest  amongst  French  archaeologists.  The  figures, 
which  were  cast  in  solid  lead  and  afterwards  battered 
about  to  give  them  an  air  of  antiquity,  represented  male 
figures  wearing  somewhat  conical  hats  and  broad-heel 
shoes.  One  figure 
which  has  been  de- 
scribed was  equip- 
ped in  a  long  vest 
and  pectoral  cross, 
and  bore  the  date 
153  in  large  Arabic 
numerals.  Another 
figure  of  this  class 
represented  a  jest- 
er, his  dress  orna- 
mented with  cas- 
cabels,  and  holding 
a  human  -  headed 
bauble  which  rest- 
ed on  the  right  arm . 
Other  forgeries 
were  in  the  forms 
of  oblong  shrines 
containing  an  im- 
age within,  and 
figures  holding  a 
saw,  perhaps  in- 
tended for  St. 
Simon  or  St.  James 
the  Less.       "  ,1^.  .^ 

Since  the  period 
of  the  '  Billy  and  Charley '  fabrications  the  forging 
of  spurious  anticjuities  may  be  said  to  have  become 
almost  a  fine  art.  Unlimited  pains  are  taken  to 
produce  articles  which  shall  defy  careful  scrutiny, 
and  instances  are  not  wanting,  even  in  recent  years, 


of  a  clever  former  deceix  inj,'  some  of  the  greatest  c.\|)erts 
of  the  day. 

In  conclusion,  the  writer  would  wish  to  add  a  word 
of  thanks  to  Mr.  Edward  Lovett.  of  Croydon,  who  has 
kindly  lent  some  of  the  forged  antiquities  from  which 
the  photographic  illustrAions  of  this  and  the  previous 
article  have  been  prepared. 

rii:(iK(,i-:  Ci.iN(  II. 

FOREIGN    CORRESPONDENCE 

NOTES    FROM    PARIS* 

.\t  the  Louvre,  the  department  of  painting  lias  acquired 
a  very  remarkable  rtfteenth-century  work  of  incontest- 
able documentary  interest.  The  picture  was  sold  in 
Amsterdam.  It  was  catalogued  as  the  Invention  of 
the  True  Cross  and  attributed  at  the  time  to  Dierick 
Bouts,  the  Louvain  master.  There  was  some  very 
brisk  bidding,  at  the  sale,  between  the  Louvre  and 
the  Berlin  museum,  and  at  last  the  Louvre  became  the 
ow-ner  of  the  picture  at  a  price  of  12,400  fl.  (^'1,030). 
It  is  obviously  one  of  the  best  purchases  of  the  year. 
.\lthough  some  portions  have  been  rather  awkwardiv 
restored,  including  some  female  figures  on  the  jight 
and  a  few  details  on  the  left,  the  fact  remains  that  the 
picture  is  an  excellent  piece ;  the  painting  is  firm  and 
full ;  the  colouring  has  strength  and  gravity :  and 
the  drawing  is  full  of  expression.  It  would  be  in- 
teresting to  give  this  work  its  correct  attribution. 
The  name  of  Dierick  Bouts  has  been  ilatly  rejected. 
Generally  speaking,  the  real  author  is  to  be  sought  in 
the  French  school  of  Valenciennes.  The  name  of 
Simon  Marmion  has  been  mentioned.  This  same 
name  has  been  heard  of  in  connexion  with  the 
Chantilly  picture,  the  Translation  d'une  chasse ;  with 
the  small  Strasburg  triptych ;  with  the  Predication 
d'un  eveque,  au  milieu  d'un  paysage,  in  the  Brussels 
museum;  with  the  panels  of  the  altar-screen  of  Saiiit- 
Bertin ;  with  a  picture  in  Mr.  Turner's  collection 
which  figured  as  No.  202  in  the  retrospccti\e  exhibition 
at  Bruges:  lastl}',  with  the  manuscript  of  Philip  the 
Good  in  the  national  library  in  St.  Petersburg,  on 
which  M.  Salomon  Reinach  has  published  so  remark- 
able an  essay  in  the  Gazette  des  Beaux- Arts.  L'lnven- 
tion  de  la  \'raie  Croix  will  doubtless  offer  facilities  for 
further  labours  in  this  direction.  And  for  our  national 
museum  it  is  a  precious  acquisition  ;  none  could  be 
more  justifiable,  and  the  Louvre  deserves  all  our 
congratulations. 

I  may  mention  that  the  two  landscapes  by 
Salomon  Kuysdael,  the  purchase  of  which  I  announced 
in  No.  2  of  The  Biri.ikgton  C'V/iinn,  have  been 
hung  in  the  small  room  containing  the  van  Ostades. 
The  eighteenth-century  French  gallery  has  received  the 
portrait  of  Madame  Danger,  by  Tocqud,  and  the  Italian 
gallery  a  portrait  of  a  woman,  half-length,  by  Paris 
Bordone,  forming  part  of  the  betjuest  of  M.  de 
Vandeuil. 

In  the  Egyptian  anticjuities  section,  I  have  to  call 
attention  to  several  interesting  purchases :  a  head  of 
an  old  man  in  basalt,  of  the  Scythian  period,  full  of 
character ;  a  large  limestone  stele,  from  Denderah, 
dating  most  probably  to  the  end  of  the  old  empire  ;  a 
terra-cotta  vase  of  the  Coptic  period,  with  a  decoration 

•Translated  by  A.  Tclxclra  du  Matios. 


NOTES     FROM     PARIS 

of  animals:  and  a  collection  of  musical  instruments, 
of  different  periods,  including,  among  others,  two  flutes 
in  a  very  good  state  of  preservation. 

The  department  of  oljjects  of  art  has  purchased  at 
the  exhibition  of  Mussulman  art  a  small  flower-vase, 
decorated  with  foliage  and  inscriptions,  thirteenth- 
century  Persian  art.  M.  Maciet  has  presented  a 
plaquette,  by  Riccio  ;  M.  Alexis  Rouart  a  set  of  twelve 
Japanese  sword-guards.  Madame  Brenot  has  pre- 
sented the  museum  with  the  famous  lacquer  tray, 
Kamakoura  period,  so  well  known  to  the  enthusiasts  in 
Japanese  art,  which  formed  part  of  the  Burty  collec- 
tion and  shows  (ishing-nets  drying  by  the  sea-shore, 
stretched  on  tall,  bending  poles. 

I  cannot  pass  over  in  silence  the  important  altera- 
tions that  have  been  effected  in  the  Salle  du  Trocad^ro. 
The  whole  of  the  classing  of  the  Italian  Renaissance 
pottery  has  been  done  over  again  on  a  logical  system, 
and  henceforth  it  is  easy  to  admire  the  Casteldurante, 
Urbino,  Gubbio  and  I'aenza  ware,  of  which  the  Louvre 
possesses  so  many  marvellous  specimens. 

The  following  have  recently  been  admitted  into  the 
Luxembourg  gallery:  a  water-colour  by  M.  Georges 
Scott,  le  Jardin  de  I'Alhambra;  a  water-colour  by 
M.  Paul  Rossert,  la  Montague;  a  picture  by  M.  Rene 
Seyssaud,  les  Sainfoins  au  soleil  couchant ;  a  series  of 
drawings  and  water-colour  studies  by  M.  Joseph  de 
La  Nc/iiere,  Danseuses  siamoises.  Rues  de  Peking, 
Jeuiie  chinoise  de  Shanghai,  Restaurant  chinois, 
Marchand  de  lanternes  a  Hanoi,  Maison  de  \\\€  a 
Shanghai,  Intirieur  chinois,  Interieur  coreen,  Rem- 
parts  de  Peking,  Vues  de  Peking;  a  chest  and  an 
Etude  de  jeune  femme,  by  Armand  Point ;  and  a 
water-boiler,  in  chased  and  beaten  silver,  by  Fran9ois 
Bocquet,  from  the  salon  of  the  Societe  Nationale 
of  1903. 

The  Galliera  museum  has  arranged  an  exhibition  of 
ivory  which  does  not  seem  to  me  to  have  realized  its 
first  intentions;  I  had  hoped  better  things  of  it. 
Nothing  is  more  laudable  than  that  the  Galliera 
museum  should  tend  to  become  a  museum  of  applied 
art,  although  I  am  none  too  fond  of  that  somewhat 
hybrid  and  ambiguous  formula.  Nor,  consecjuently, 
from  this  point  of  view,  could  anything  be  more  in- 
teresting than  periodical  exhibitions  of  modern  work, 
such  as  book-binding,  ivory,  lace,  and  so  forth.  But 
ought  they  deliberately  to  exclude  the  work  of  past 
centuries  and  foreign  countries?  This  appears  tome 
to  have  been  a  very  grave  mistake,  prejudicial  to  the 
favour  of  both  the  exhibition  and  the  exhibitors.  So 
special  and  definite  an  exhibition  should  have  an 
educational  object,  carry  a  lesson  with  it  and  lead  to 
some  result ;  the  more  restricted  the  object,  the  wider 
and  the  more  developed  should  the  manner  be:  and 
this  applies  all  the  more  strongly  when  it  is  a  ques- 
tion of  art  and  of  the  art  of  ivory-workiiig  in 
particular.  By  frankly  sacrificing  the  earlier,  the 
Galliera  museum  has  deprived  the  modern  ivories  of 
one  of  their  chief  features  of  interest  and  has  singularly 
lessened  the  import  anil  value  of  this  exhibition. 
We  must  not  hold  the  keeper  of  the  museum  respon- 
sible, any  more  th;in  the  exhibitors:  I  am  informed 
that  they  had  the  keenest  desire  to  see  the  exhibition, 
which  might  have  contributed  to  such  good  purpose 
to  the    history    of  ivory,  completed.     Be   this    as    it 

163 


THE     BURLINGTON     GAZETTE 

ma3%  we  have  been  able  to  appreciate  the  works  of 
ScailHet,  Allouard,  Moreau-Vauthier,  de  Broutelles, 
Barrias,  Riviere,  Dampt,  Mascaux,  etc.  These 
certainly  include  works  of  quite  the  first  order, 
some  of  which  are  really  exquisite.  Earlier  art  is 
represented  by  the  case  of  arms  of  the  duke  of 
Chartres ;  the  Venus  sortant  de  I'onde  and  the  Bac- 
chante dansant,  executed  in  1854  for  Prince  Demidoff; 
and  that  is  all !  '  But  where  are  the  ivories  of  yester- 
year ? ' 

A  new  museum  has  been  opened  on  the  Place  des 
Vosges  in  the  house  occupied  b}'  Victor  Hugo  from 
1832  to  1848.  The  Victor  Hugo  museum,  raised  by 
the  pious  care  of  M.  Paul  Meurice,  has,  above  all,  an 
historical  and  literary  interest,  as  I  need  hardly  say. 
Nevertheless,  art  has  its  place  there.  The  museum 
contains,  on  the  one  hand,  a  very  large  number  of 
drawings  and  pictures  executed  to  illustrate  the  poet's 
works;  and,  on  the  other,  displays  the 
wood-carvings,  drawings  in  pen-and-ink, 
and  so  on,  of  the  poet  himself.  I  will 
mention  the  busts  by  David  d'Angers  and 
Rodin  ;  the  death-mask,  by  Dalou  ;  the 
Sarah,  by  Henner;  the  Burgraves,  by 
Rochegrosse ;  the  Premiere  d'Hernani, 
by  Besnard ;  the  Jean  Valjean,  by  De- 
wambez,  etc.  As  for  the  manifold  works 
of  the  master,  wood- carvings  and  pen- 
and-ink  drawings,  in  spite  of  their  artistic- 
interest,  they  fall  above  all  within  the 
domain  of  literature  and  dreams.  Dreams 
of  light  and  shade,  the  fantastic  and 
cloudy  evolution  of  a  thought,  '  the 
centre  of  all  things,  like  a  resounding 
echo  ! '  Even  as  a  draughtsman,  Victor 
Hugo  appears  to  show  a  puerility  in 
whimsicality,  a  precision  and  a  super- 
abundance of  detail,  in  the  flow  of  a 
straggling  rather  than  a  metaphysical 
imagination,  and  a  coldness  in  the  arro- 
gance of  form.  On  leaving  the  Victor 
Hugo  museum  it  happens  that  one  finds 
one's  self  thinking  of  the  Musee  Gustave 
Moreau,  where  the  painter  who  told  his 
pupils  'above  all,  not  to  be  illustrators  ' 
and  who  drew  so  much  of  his  art  from 
the  source  of  the  old  Italian  masters, 
reveals  a  brain  haunted  by  the  impos- 
sible, or  else  tormented  by  strange  and 
cruel  fancies.  And,  while  we  discover 
in  the  poet  an  artist  enamoured  of  the 
real,  in  its  gloomiest  or  maddest  manifestations,  we 
hear  re-echoing  through  the  work  of  the  painter  the 
lamentation  of  a  poet  harnessed  to  the  lacerating 
task  of  the  unreal  and  the  imponderous.  But  they 
are  united  at  one  point,  when  we  allow  for  the  enor- 
mous difference  separating  the  value  of  a  drawing 
such  as  the  Tour  des  Souris  sur  le  Rhin  from  that  of 
a  picture  such  as  the  Triomphe  d'Alexandre  or  the 
Promcthee  enchaine  ;  and  that  point  is,  perhaps,  the 
influence  of  literature  upon  works  of  art. 

G.    DE    ROKTIIAYS. 

P.S. — The  Commission  du  Vieux-Paris  is  about  to 
occupy  itself  shortly  with  a  very  interesting  discovery. 

164 


This  concerns  the  country-house  of  the  marquess  of 
Chateauneuf,  ambassador  of  Louis  XIV  to  the 
Grand  Turk  at  the  end  of  the  seventeenth  century, 
which  has  been  identified  by  an  inhabitant  of  the 
Grand-Montrouge  among  a  number  of  old  buildings 
in  that  corner  of  the  suburbs  of  Paris.  I  propose 
to  write  more  fully  on  this  subject  later. 

BELGIUM  « 

Brussels. — The  Cinquantenaire  museum  has  lately 
acquired  a  terra-cotta  low-relief  of  the  kind  known  as 
plaques  Campana,  which  decorated  the  walls  of  some 
Roman  monument  in  the  famous  gardens  of  Sallust. 
A  fragment  of  a  similar  plaque,  discovered  in  the  middle 
of  the  nineteenth  century,  formed  part  of  the  Hage- 
mans  collection  at  Liege  (Cf. '  Un  Cabinet  d'amateur.' 
Liege  :   1863.     Plate  XIII,  No.  9). 

The  plaque,  which  is  here  reproduced,  represents 


the  front  of  a  building  with  a  tiled  roof  supported  by 
four  columns  in  the  Corinthian  style.  Two  taller 
columns  sustain  a  pediment  and  delineate  an  entrance 
portico  projecting  from  the  middle  of  the  edifice.  On 
the  pediment  we  see  two  winged  Tritons  facing  each 
other  and  raising  up  a  round  shield. 

Five  figures  are  placed  in  the  intervals  of  the 
columns.  These  characters  stand  on  pedestals;  tliey 
consequently  represent  statues.  The  absence  of  any 
shaft  or  support  leads  to  the  presumption  that  tlie 
originals  were  in  bronze.  They  are  reduced  copies  of 
works  of  ancient  statuary.  To  the  left  of  the  central 
figure,  we  see  first  a  naked  young  man  holding  in  his 
*  Translated  by  A.  Teixeira  de  Mattos. 


BELGIUM 


right  hand  a  strigil,  with  which  he  is  scraping  off  the 
dust  and  sweat  in  which  tiie  contests  of  the  palaestra 
have  covered  him  ;  a  marble  replica,  discovered  at 
Frascati  and  purchased  by  the  Boston  museum,  dis- 
plays this  type  of  apoxyomenos,  which  seems  to  go 
back  to  some  statue  of  the  fifth  century  B.C.  Next  to 
this  is  a  figure  representing  a  naked  ephebe,  holding  in 
his  left  hand  a  large  pahn  bent  against  the  ground,  and 
appearing  with  his  right  to  be  pressing  a  crown  or 
wreath  upon  his  head.  The  origin  of  this  statue,  of 
which  several  copies  are  known,  is  traced  back  to 
the  school  of  Polycletus  and  perhaps  to  Polycletus 
himself. 

To  the  right  of  the  central  figure  are  two  bearded 
men,  their  hands  covered  with  the  cestus,  who  seem 
tu  form  two  companion  statues.  These  athletes  are 
imitated  from  a  group  of  wrestlers  of  which  the  proto- 
type, now  lost,  is  attributed  to  the  school  of  Lysippus. 

In  the  middle  of  the  plaque,  on  a  higher  pedestal,  is 
a  figure  taller  than  the  others,  representing  Hercules. 
The  skin  of  the  lion  is  flung  over  the  left  arm  ;  the 
right  hand  leans  upon  the  club.  The  whole  is  an  exact 
copy  of  a  colossal  statue  discovered  in  some  Roman 
baths  near  Bracciano,  and  now  placed  in  the  Chiara- 
monti  museum.  It  displays  a  combination  of  the  forms 
usual  with  Polycletus  and  Lysippus.  Hercules  is  here 
set  in  the  midst  of  ephebes  and  athletes,  as  he  was  in 
the  wrestling  school. 

In  a  stud)- devoted  to  the  placjue  of  th(*Cinquante- 
naire  in  the  annals  of  the  archaeological  institute  of 
\'ienna,  Herr  Hartwig  has  compared  this  plaque  with 
similar  plaques  discovered  in  the  same  place.  They 
are  all  the  work  of  a  potter  called  Octavius,  who 
left  his  mark  on  some  of  them;  unfortunately,  it  has 
not  been  possible  to  fix  the  period  at  which  he  lived. 
These  terra-cotta  bas-reliefs  were  reproduced  in  large 
numbers,  in  rich  polychromy,  and  were  intended  to 
form  a  frieze  on  the  partition  walls. 

Apart  from  their  decorative  value,  these  plaques 
are  important  archaeological  documents ;  for  they 
reproduce  celebrated  works  of  the  sculptors  and  so 
enable  us  to  make  good  irreparable  losses  and  to  throw 
a  light  upon  obscure  points  in  the  history  of  Greek 
sculpture. 

In  addition  to  this  piece,  of  which  the  interest,  as 
we  have  seen,  is  great,  the  Cinquantenaire  has  been 
enriched  by  various  gifts.  M.  Edmond  Macoir  has 
sent  to  it  a  fragment  of  a  vase  of  a  very  curious 
type,  discovered  at  Harmi^nies,  in  the  province  of 
Hainault.  This  fragment  consists  of  the  whole  of  the 
lower  portion  of  the  vase ;  it  is  of  earth,  of  a  dark 
grey  colour,  and  was  made  without  the  help  of  the 
thrower.  It  is  like  a  Gallic  vase  discovered  at  Mont 
de  Lanaud  (Marne),  now  in  the  Saint-Germain 
museum.  Although  it  incontestably  dates  back  to 
the  Marne  period,  it  was  found  on  the  site  of  a 
Prankish  burying-ground  bordering  upon  a  Belgo- 
Koman  cemetery.  The  fractures  which  it  displays 
i)eing  exceedingly  ancient,  the  probability  is  that  it 
comes  from  a  cemetery  overturned  and  sacked  bj'  the 
b'ranks  when  establishing  their  own  graveyard  on  the 
same  spot.  This  one  site,  therefore,  was  occupied  in 
succession  by  Gauls,  Belgo- Romans  and  Franks.  A 
similar  fact  has  been  established  at  Ciply,  not  far 
from  Harmignies. 


I  must  also  mention  a  consignment  consisting  of 
nine  palaeolithic  instruments  of  the  amygdaloidal 
variety,  in  quartzite  of  a  reddish  colour,  stained  with 
laterite,  discovered  at  Poondi,  twenty-nine  miles  west 
of  Madras ;  a  parcel  of  terra-cottas  from  Ephesus  ;  a 
few  Egyptian  bronzes ;  and  finally  a  group  of  antiqui- 
ties found  in  the  necropolis  of  Acanthus. 

GENERAL  NOTES 

The  international  society  of  sculptors,  painters, 
and  gravers  shipped  from  Liverpool  to  Philadelphia 
last  week  the  very  important  collection  of  works  by 
its  members,  numbering  about  one  hundred,  for  ex- 
hibition in  the  various  .\merican  academies  and 
galleries,  including  Philadelphia,  Pittsburg,  Chicago, 
Boston  and  Detroit.  The  collection  will  also  be 
shown  in  the  St.  Louis  museum  during  the  exhibition 
next  year.  The  works  sent  include  M.  Boldini's 
Mr.  Whistler,  M.  Blanche's  Aubrey  Beardsley, 
Mr.  Pryde's  Ellen  Terry  ;  other  portraits  by  Sauter, 
Lavery,  Walton,  Von  l.'hde,  Strang,  etc;  landscapes 
by  Mesdag,  Maris,  Glaus,  Cottet,  Priestman,  Frajia- 
como,  Murhman,  Mura,  and  Maurice.  Other  contribu- 
tors of  oils  are  Stuck,  Buysse,  Strang,  von  Bartels, 
Bauer,  Breitner,  and  Witsen.  Drawings  are  con- 
tributed by  Vierge,  Sullivan,  Maurice  Grieffenhagen 
and  Anning  Bell.  Pennell  sends  drawings  and  etch- 
ings ;  Bauer,  Strang,  Witsen,  and  Baertson  also  send 
etchings,  and  Shannon  lithographs.  The  Glasgow 
school  is  fully  represented.  A  number  of  most  im- 
portant works  -by  Mr.  Whistler,  the  late  president, 
had  been  obtained,  but  in  deference  to  the  wishes  of 
the  family  these  have  not  been  sent. 

The  delegates  of  the  Clarendon  press,  says  the 
Antiquary,  propose  to  supplement  their  facsimile  of 
the  Shakespeare  first  folio,  by  publishing  facsimile 
reproductions  of  the  earliest  accessible  editions  of  that 
portion  of  Shakespeare's  work  which  did  not  appear 
in  the  first  folio.  The  excluded  portion  consists  of 
the  four  poetical  quarto  volumes.  '  \'enus  and 
Adonis'  (1593)  '  Lucrece '  (1594),  'The  Passionate 
Pilgrim  '  (1599),  and  the  'Sonnets'  (1609),  as  well 
as  the  play  of  '  Pericles,'  which  was  first  published 
in  quarto  in  1609,  but  was  not  included  in  a  collected 
edition  of  Shakespeare's  plays  before  the  third  folio 
edition  of  1664.  The  four  volumes  of  the  '  Poems' 
and  the  volume  of  '  Pericles '  will  be  reproduced 
by  the  collotype  process,  and  will  be  similar  in  all 
respects  (size  only  excepted)  to  the  collotype  repro- 
duction of  the  first  folio  edition  of  the  plays,  published 
by  the  delegates  in  December  1902.  This  reprint 
will  be  executed  under  the  direction  of  Mr.  Sidney  Lee, 
who  will  contribute  full  introductions.  The  delegates 
hope  that  these  reproductions  will  be  ready  for  pub- 
lication in  the  autumn  of  1904. 

It  is  much  to  be  regretted  that  another  relic  of 
eighteenth-century  London,  in  the  neighbourhood  of 
Westminster  abbey,  is  in  danger  of  being  sacrificed 
to  so-called  modern  improvements.  Great  College 
Street  and  Barton  Street  are  the  two  threatened  spots, 
both  of  great  charm,  on  account  of  the  associations 
connected  with  them,  and  the  appropriateness  of  their 

165 


THE     BURLINGTON     GAZETTE 

position  under  the  wing  of  the  abbey.  Until  1902 
Great  College  Street  did  not  contain  more  than  four 
modern  buildings,  most  of  the  houses  being  of  the 
eighteenth  century,  and  having  fine  porticos  and  iron- 
work, besides  being  for  the  most  part  wainscotted. 
The  poets  Keats  and  Shelley  both  lived  in  this  street, 
and  the  house  of  the  latter  is  still  standing.  Before 
the  L.C.C.  pulled  down  the  houses  near  the  embank- 
ment this  road  followed  a  beautiful  curve,  which  the 
new  buildings  will  entirely  destroy,  as  they  are  to 
stand  back  some  feet  from  the  original  frontage. 
Barton  Street  was  built  by  Barton  Booth,  the  actor, 
who  was  a  Westminster  boy  under  Dr.  Busby,  and 
remains  practically  as  it  stood  in  early  Georgian  days, 
with  the  exception  of  two  houses  which  have  been 
annexed  by  the  school  trustees  as  a  site  for  new  class- 
rooms. The  architecture  of  both  these  streets  and 
that  of  the  neighbouring  North  Street  is  pure  Georgian, 
and  all  are  threatened  with  demolition  under  the 
Improvement  Act  of  1900.  It  is  to  be  hoped  that 
some  way  may  yet  be  found  of  preserving  this  very 
interesting  locality. 


THE    PRESENT   STATE   OF   THE 
PRINT   MARKET 

Within  the  past  few  montlis  the  books  which  have 
been  published  on  the  subject  of  prints  have  been 
both  numerous  and  good.  Good  in  that  they  have 
not  only  enlarged  many  a  collector's  sphere  of  action, 
but  have  supplied  him  with  knowledge  which  has 
rendered  his  operations  of  a  more  certain  and  inte- 
resting character.  Still,  one  phase  has  remained,  and 
rightly  so,  outside  their  scope — the  question  of  price. 
To  prevent  any  misunderstanding  as  to  the  purport  of 
this  article,  I  say  at  once  that  I  have  no  intention  of 
endeavouring  to  give  what  in  common  parlance  are 
called  '  tips.'  Nor  must  it  be  inferred  that  any  attempt 
is  being  made  to  harmonize  artistic  merit  and  mone- 
tary value,  for  the  market,  having  been  always  domi- 
nated by  fashion,  has  usually  the  most  ludicrous  idea 
of  the  proportion  between  the  two.  The  object  is 
rather  to  expose  the  anomaly,  not  to  condone  it,  and 
to  indicate  to  the  collector  of  moderate  purse  the 
course  he  should  pursue  at  the  moment  ;  not,  indeed,, 
to  get  the  best  value  for  his  money,  but  in  what 
direction  he  should  look  to  obtain  some  of  the  very 
finest  productions  of  the  engraver's  art,  which  are — 
it  may  or  may  not  be  temporarily — neglected  by  the 
average  print  collector  of  the  present  day. 

To  satisfactorily  accomplish  this  somewhat  onerous 
task  a  brief  survey  of  the  various  schools  of  engraving 
must  first  be  undertaken  and  their  merits  discussed. 
The  conclusions  arrived  at  have  been  based  to  a  minor 
extent  upon  the  personal  opinions  of  the  writer,  but 
in  a  far  greater  degree  such  opinions  have  been  tem- 
pered by  the  infinitely  more  weighty  and  matured 
judgements  of  the  men  who  have  made  a  mark  as 
connoisseurs  in  this  fascinating  pursuit  during  the 
past  century.  In  the  next  place  an  equally  brief, 
and,  it  may  be  truthfully  urged,  inadequate  review 
of  the  prices  which  have  been  paid  for  impressions 
within  the  space  of  the  last  few  years  will  be  given. 


There  are  collectors  who  trouble  themselves  but  little 
about  the  price  they  pay  for  a  print  provided  it  is  an 
example  or  a  particular  state  which  they  wish  to 
acquire.  This,  however,  is  the  exclusive  privilege  of 
the  opulent.  There  are  those,  again,  who  are  always 
seeking  to  obtain  for  shillings  what  can  only  be  ex- 
pected for  pounds.  As  every  collector  of  experience 
is  well  aware,  this  is  the  surest  road  to  bitter  disap- 
pointment and  financial  loss.  The  prudent  man 
knows  what  he  is  buying,  and  expects  to  pay  a  fair 
price  for  it.  To  those  people  who  desire  to  collect  any 
objects  of  art  which  they  do  not  fully  understand,  the 
only  advice  which  can  be  tendered  is  to  place  them- 
selves in  the  hands  of  someone  in  whom  they  have  a 
justifiable  confidence,  and  expect  to  pay  a  full  market 
price.  However  unassessable  the  creations  of  genius 
may  be  from  mere  considerations  of  monetary  value, 
such  an  assessment  has  been  accomplished,  it  matters 
not  however  unsatisfactorily.  But  these  values  are 
ever-changmg  quantities — the  highly  esteemed  to-day 
become  in  a  measure  the  discarded  of  to-morrow.  So 
precipitate  has  this  change  been  in  some  cases  that 
one  might  be  tempted  to  conclude  that  their  artistic 
(juality  was  subject  to  rapid  evaporation. 

Of  course,  there  are  in  many  cases  justifiable  and 
logical  reasons  which  account  for  a  revolution  of 
feeling,  but  in  the  main  it  is  due  to  the  unfathom- 
able whims  of  fashion.  Because  the  market  has  been 
fairly  steady  for  some  years  it  is  too  readily  assumed 
that  this  is  to  continue  for  ever.  But  a  change  must 
come.  It  may  come  now  or  it  may  be  deferred,  but 
come  it  will.  Indeed,  the  present  condition  of  the 
print  market  presents  all  the  potent  elements  of  a 
speedy  disintegration. 

Before  we  can  consider  in  what  direction  this 
will  be  it  is  necessary  to  consider  the  essential  condi- 
tions which  sustain  any  work,  so  that  its  reputation 
shall  remain  unimpaired  by  the  march  of  time,  and 
raise  it  to  a  pinnacle  of  fame. 

In  the  first  place,  in  order  to  sustain  a  great 
reputation  for  any  prolonged  period,  extraordinary 
artistic  value  is  essential.  The  doctrine  of  the  survival 
of  the  fittest  is  nowhere  so  rigidly  enforced  as  in  the 
domain  of  art  ;  not  only  is  ceaseless  criticism  of  the 
most  searching  character  brought  to  bear  as  the  years 
roll  on,  but  also  new  candidates  for  honours  present 
themselves. 

But  whether  this  excellence  is  present  to  the 
greatest  extent  or  not,  works  of  art  are  not  entirely 
free  from  the  domination  of  fashion.  Fashion  has  but 
little  to  do  with  art,  but  if  some  prominent  person 
began  collecting  paving-stones,  and  the  craze  infected 
other  people,  the  price  of  paving-stones  would  go 
up.  This  would  not  prove  that  the  hobby  had 
any  justification,  and  sooner  or  later  the  whimsical 
mortals  who  had  developed  this  form  of  mania  would 
transfer  their  affections  to  some  other  channel  which 
fashion  had  decreed,  and  paving-stones  would  fall  to 
their  normal  value.  Still,  whatever  have  been  the 
dictates  of  the  moment,  the  greatest  men  have  never 
fallen  very  low.  There  is  no  record  in  history  of  a 
Raphael  or  a  Titian,  a  Donatello  or  a  Verrocchio,  a 
Diireror  a  Rembrandt,  having  become  (piite  unmarket- 
able, vet  many  nun  could  be  citod  who  have  been 
suddenly  caught  up  in  tiie  whirlwind  of  fashion,  and 


THE     PRINT     MARKET 


after  a  few  years  have  been  dropped  even  more  sud- 
denly than  they  were  raised.  Hence,  when  any  man's 
work  does  not  contain  the  embodiment  of  the  very 
highest  artistic  genius,  no  matter  how  much  lie  may 
be  boomed,  the  reaction  will  inevitably  set  in.  The 
most  striking  example  at  the  present  time  is  the 
coloured  print,  and  it  does  not  need  much  effort  to 
trace  the  origin  of  the  hobby. 

Not  many  years  ago,  when  people  were  suddenly 
roused  to  the  beauties  of  the  furniture  of  Chippendale, 
Sheraton,  Hepplewhite,  and  other  great  spirits  of  the 
period,  collectors  arose  who  desired  to  furnish  their 
houses  as  far  as  possible  with  it.  They  lived  in  the 
palmy  days  :  shillings  were  then  timidly  asked,  where 
pounds  are  now  demanded.  Having  accumulated 
enough  furniture,  let  us  say  for  a  dining-room,  it 
became  necessary  to  have  something  on  the  walls  in 
keeping  with  the  scheme  in  view.  What  could  be 
better  than  coloured  prints?  Nothing  made  such  a 
harmonious  ensemble.  There  is  a  completeness  about 
a  room  they  furnished  in  this  manner  which  charms 
the  eye  of  the  beholder.  As  the  demand  for  the  fur- 
niture developed,  in  corresponding  ratio  were  coloured 
prints  sought  after.  Then  collectors  of  the  prints 
themselves  for  their  own  sake  came  into  being,  and  the 
hobby  has  gradually  become  more  common  until  the 
present  limits  have  been  attained.  Now,  if  its  devotees 
limited  themselves  to  the  finest  work  of  the  men  who 
printed  in  colours,  such  as  Bartolozzi  or  Schiavonetti, 
there  would  be  less  fear  of  a  fall  in  value  than  actually 
exists.  But  this  is  not  the  case,  and,  even  of  the 
mediocre  specimens  accepted  by  collectors,  counter- 
feits of  the  cleverest  description  are  offered  unblushiiigly 
on  every  hand.  The  small  print  shops  of  London  and 
Paris  are  full  of  them,  and  they  stand,  smothered  with 
dirt  and  artfully  stained,  awaiting  the  bargain-hunter 
who  ventures  into  that  '  small  curio  shop,  quite  in  the 
country,  where  the  man  knows  nothing.'  The  detec- 
tion of  these  frauds  is  sometimes  a  difficult  task  even 
for  the  most  experienced  connoisseur  or  dealer.  Prints 
are  worked  off  from  the  original  plates,  which  have 
been  in  many  cases  re-bitten,  on  old  paper,  margins 
are  added,  ordinary  prints  turned  into  proofs  in  a 
manner  which  almost  defies  discovery,  to  say  nothing 
of  the  grosser  frauds  produced  by  various  processes  of 
colour-printing,  which  generally  owe  their  origin  to 
Germany,  of  which  thousands  are  annually  sent 
to  England  and  America.  The  continual  nervous 
dread  of  being  deceived,  which  seizes  experienced  and 
inexperienced  alike,  may  ultimately  cause  connoisseurs 
to  abandon  such  dangerous  ground  and  seek  pastures 
new. 

Then  again  the  majority  of  the  finest  examples  are 
not  offered  for  sale,  and  the  average  specimens  which 
make  their  appearance  in  the  market  are  but  sorry 
reflections  of  the  pristine  beauty  of  the  plate.  Small 
wonder  then  that  the  amateur  gets  disgusted.  But 
when  a  critical  examination  of  even  the  finest  impres- 
sions is  attempted,  much  internal  evidence  will  be 
found  of  shortcomings  which  are  in  direct  opposition 
to  the  canons  laid  down  above,  an  embodiment  of 
which  is  essential  to  their  lasting  reputation.  The 
poverty  of  the  original  design  in  many  cases  is 
quite  unworthy  of  the  talent  of  a  Bartolozzi  or  a 
Schiavonetti.    Take  a  typical  example,  the  celebrated 


Cries  of  London,  after  Wheatley.  At  his  very  finest, 
Wheatley  cuts  but  a  sorry  figure  in  the  history  of 
art  in  this  country.  His  pictures  are  of  little  worth, 
and  rightly  so.  The  design  is  poor,  drawing  weak, 
and  attitude  and  expression  constrained.  The  en- 
gravings show  all  these  defects.  If  you  wish  to  see 
the  poverty  of  this  series,  compare  two,  say  Two 
Bunches  a  Penny  Primroses  and  Sweet  China 
Oranges,  which  are  quite  two  of  the  best,  with 
Hogarth's  Beer  Street  and  Gin  Lane,  and  you  will 
see  the  feeble  attempts  of  the  struggler  after  effemi- 
nate pictures<iuencss  compared  with  the  naked  truth 
of  the  philosophical  cynic.  It  may  be  urged  that  it 
is  unfair  to  make  the  comparison.  But  it  must  be 
borne  in  mind  that  each  is  a  transcription  of  London 
and  London  life,  and  if  either  is  untruthful  then  it 
ceases  to  be  of  value.  Mere  picturesqueness  without 
truth  can  never  sustain  a  work  permanently.  The 
same  criticism  could  be  levelled  against  Hamilton's 
Months  and  other  prints  too  numerous  to  mention. 
These  will  be  the  first  to  suffer  when  the  ebb  sets  in. 
The  prints  after  Reynolds,  Komney,  and  artists  of 
equal  calibre  come  into  rather  a  different  category 
because  of  the  excellence  of  the  original  picture,  which 
when  translated  by  an  engraver  of  talent  cannot  fail 
to  present  a  work  of  charming  qualities.  The  argu- 
ment against  them  is  built  chiefly  upon  two  points. 
In  the  first  place  the  stipple  engraving  is  incapable  of 
adequately  setting  forth  the  more  serious  thoughts  of 
an  artist.  In  the  case  of  our  English  portrait  painters 
this  was  only  to  be  accomplished  by  the  mezzotint. 
In  the  second  place,  when  le  Blon  and  Pond  and 
Knapton  first  introduced  printing  engravings  in 
colours,  the  idea  was  to  reproduce  faithfully  the 
original  picture  not  only  in  design  and  drawing  but 
in  colour,  and  I  am  not  aware  that  these  principles 
were  ever  abandoned.  But  what  do  we  see  when  we 
contemplate  an  engraving  in  colours  by  Bartolozzi 
after  Reynolds  ?  We  do  not  find  ourselves  reminded 
forcibly  of  Reynolds,  the  scheme  of  colouring  is  quite 
different,  we  are  attracted  by  the  alluring  colour  of 
the  engraver,  and  the  real  purport  of  the  plate  dis- 
appears. The  fact  remains  that  the  process  has  yet 
to  be  devised  which  will  reproduce  the  tones  of  a 
picture,  and  until  this  is  faithfully  accomplished  the 
most  truthful  transcriptions  of  a  Revnolds  will  be 
those  in  mezzotint. 

When  we  turn  to  mezzotints  we  find  a  very 
different  state  of  affairs  existing.  They  have  steadily 
risen  in  price,  but  it  has  been  a  justifiable  rise  which 
does  not  owe  anything  to  extraneous  influence.  The 
increased  appreciation  has  been  awarded  purely  and 
simply  on  their  own  merits.  The  great  divergence  in 
the  ptices  of  apparently  equally  meritorious  mezzo- 
tints is  due  to  subject,  a  factor  which  has  to  be 
reckoned  with  in  every  form  of  art  at  the  present  day. 
There  are  many  who  consider  Faber  nearly,  if  not 
quite,  as  fine  as  J.  R.  Smith,  and  the  great  d'ifference 
in  value  arises  from  the  fact  of  one  engraving  after 
Kneller  and  the  other  after  Reynolds.  Still,  nothing 
can  be  fairly  urged  against  the  current  value  of  fine 
mezzotints.  By  no  other  means  could  the  master- 
pieces of  our  early  portrait  painters  be  translated, 
and  the  superb  efforts  of  Smith,  Fisher,  Green, 
McArdell,  Earlom  and  a  host  of  others  will  not  lack 

167 


THE     BURLINGTON     GAZETTE 

admirers  so  long  as  the  ink  is  visible  on  the  paper. 
In  this  branch  of  the  engraver's  art,  moreover,  the 
collector  has  not  so  many  pitfalls  awaiting  him.  To 
say  that  a  mezzotint  cannot  be  'vamped'  in  a  manner 
calculated  to  deceive  an  expert  would  indeed  be  rash 
in  these  days,  but  the  requisite  ingenuity  is  incalcu- 
lably greater  than  in  the  case  of  a  coloured  print. 
The  rascality  in  the  latter  case  is  facilitated  by  many 
of  the  original  plates  being  in  existence,  and  needing 
but  re-biting  to  yield  passable  impressions.  The  plates 
of  the  mezzotint,  however,  even  if  in  existence,  are  so 
much  worn  that  they  are  useless  for  printing  purposes, 
and  the  only  chance  is  to  make  a  copy,  a  process 
which  rarely  meets  with  success.  Of  course  the 
ordinary  impressions  of  a  mezzotint  are  just  as  likely 
to  be  '  doctored  '  as  a  coloured  print.  False  margins 
can  be  added,  ordinary  prints  turned  into  proofs, 
various  washes  be  used  to  make  the  impression  appear 
more  brilliant,  etc. ;  but  the  danger  of  purchasing  a 
'  wrong '  one  is  much  less  than  in  the  case  of  a 
coloured  print.  From  the  decorative  standpoint,  the 
mezzotint  has  few  rivals.  ,  It  imparts  richness  without 
being  obtrusive,  and  no  matter  with  what  you  place  it 
it  never  foils.  The  only  danger  to  its  present  value 
lies  in  the  reflex  action  which  sometimes  follows  the 
high  figures  attained  in  such  sales  as  the  Blythe  ;  but 
there  seems  to  be  too  strong  foundation  for  the  present 
vogue  to  anticipate  any  such  tendency.  It  must, 
however,  be  borne  in  mind  that  in  no  style  of  en- 
graving does  the  plate  so  speedily  display  signs  of 
wear  as  the  mezzotint.  Hence  fine  impressions  are 
scarce.  From  a  rich,  velvety  effect  the  transition  is 
comparatively  sudden  to  a  washed-out  specimen.  Here 
lies  the  exercise-ground  for  the  discriminating  judge- 
ment of  the  connoisseur,  for  the  divergence  in  value 
is  great. 

In  treating  of  colour-prints  in  general,  I  have 
purposely  omitted  touching  upon  Morlands,  because 
I  wish  to  deal  with  those  in  black  and  those  in  colour 
at  the  same  time.  To  those  who  are  fond  of  pastoral 
subjects  there  are  few  men  in  our  British  school 
who  appeal  more  than  George  Morland.  There 
is  a  homeliness  about  his  art  that  makes  one  love 
the  man  in  spite  of  his  imprudent  life.  You  feel  at 
once  that  he  was  not  a  bad  sort  of  fellow  after  all. 
He  was  a  man  who  loved  Nature  for  herself,  and  loved 
to  paint  her,  and  right  well  did  he  succeed.  The 
amateur  of  engraving  must  congratulate  himself,  too, 
upon  the  fact  that  the  same  good  qualities  which 
display  themselves  in  his  pictures  have  been  translated 
by  the  engraver.  Consequently,  the  mezzotints  after 
him  in  black  convey  just  the  same  feelings  as  the 
originals  themselves.  There  were  men  who  understood 
his  aim  and  standpoint  and  were  content  to  give  us 
faithful  transcriptions  without  presuming  to  take 
liberties,  which  has  too  frequently  occurred  with  other 
landscape  engravers.  These  qualities  make  the 
prints  in  black  particularly  fascinating.  When,  how- 
ever, we  contemplate  those  in  colour,  we  lose  sight 
of  Morland,  the  print  becomes  an  original  picture  in 
itself  with  a  diiferent  scheme  of  colouring  to  Mor- 
land's,  and  consequently  just  the  same  arguments  can 
be  urged  against  coloured  Morlands  as  against  coloured 
Reynolds.  The  only  advantage  which  the  coloured 
Morland  can  claim  over  the  coloured  Reynolds  is  in 

i68 


the  broader  masses  of  colour  which  give  a  more 
powerful  ensemble.  The  price  of  even  the  finest  of 
coloured  Morlands  has  not  attained  such  an  extrava- 
gant level  as  many  after  other  masters,  but  it  is  quite 
enough  to  make  a  prudent  amateur  hesitate  before 
investing  in  them.  With  the  ordinary  mezzotint  after 
him,  provided  the  impressions  are  good,  I  see  no 
reason  to  warrant  an  arrest  of  the  upward  tendency. 
It  may  be  remarked  incidentally  that  at  no  time  since 
the  golden  period  of  the  art  in  this  country  have  finer 
mezzotints  been  produced  than  at  the  present  moment, 
and  many  are  quite  worthy  of  the  attention  of  the  lover 
of  art.  But  the  public  confidence  is  shaken  in  the 
modern  print,  and  not  without  justification.  The  evil 
does  not  arise  from  any  shortcomings  of  the  artist, 
but  from  the  sins  of  the  publisher.  Facing  plates, 
the  hundred  and  one  processes  which  imitate  the 
genuine  hand  engraving,  and,  above  all,  the  flagrant 
abuse  of  the  term  '  proof,'  which  has  made  it  quite 
the  exception  to  see  a  print  which  is  not  a  proof,  of 
some  form  or  another,  have  all  contributed  to  under- 
mine the  traditions  of  an  art  which  has  been  one  of 
the  artistic  glories  of  Britain. 

When  we  come  to  other  branches  of  the  engraving 
art  we  find  the  market  less  subject  to  fluctuation. 
This  arises  to  some  extent  from  the  fact  that  the 
great  masters  of  line  and  etching  are,  in  the  main, 
of  more  remote  epoch  and  have  not  leaped  into 
sudden  favour,  as  has  been  the  case  with  the  coloured 
print  and  the  mezzotint.  Again,  they  do  not  appeal 
to  nearly  so  wide  a  range  of  collectors.  Their  de- 
votees are,  however,  enthusiastic,  discriminating  and 
tenacious  of  purpose.  Hence,  although  a  steady 
increment  of  value  is  observable,  there  is  nothing  in 
it  which  could  be  designated  a  '  boom,'  and  in  all 
human  foresight  there  will  not  be  any  '  slump.'  Let 
us  consider  etchings  first. 

Rembrandt  has  always  commanded  a  long  price, 
and  there  is  every  justification  for  it,  because  to  the 
incomparable  master,  even  after  the  lapse  of  nearly 
three  centuries,  is  still  paid  an  ever-increasing  homage. 
No  reason  can  consequently  be  urged  for  anything 
else  than  an  increase  in  value.  The  best  states  of  the 
finer  plates  are  rapidly  being  absorbed  by  museums 
and  the  cabinets  of  wealthy  collectors,  from  which 
they  will  probably  never  emerge.  Still,  although  such 
prints  as  The  Hundred  Guilder  Piece  are  unprocurable 
in  the  first  state,  and  even  in  the  second  are  beyond 
the  purse  of  any  but  the  most  opulent  collector,  there 
are  yet  fine  works  by  the  master  which  can  be  con- 
sidered on  their  artistic  merits  far  below  their  market 
value.  One  of  these.  The  Death  of  the  Virgin,  can 
be  purchased  in  the  third  state  for  ^f  lo,  and  even  in 
the  Holford  sale  the  first  state  was  only  valued  at 
/i^5 — a  small  price  when  one  remembers  the  high 
character  of  the  sale  and  many  of  the  prices  produced. 
This,  in  Mr.  Ruskin's  opinion,  is  the  chef  d'cvuvre  of 
the  master. 

Connoisseurs  arc  apt,  however,  to  overlook  the 
claims  of  the  lesser  Dutchmen  and  Flemings.  The 
transcendent  genius  of  Rembrandt  seems  to  so  fasci- 
nate the  amateur  of  etchings  that  he  to  some  extent 
overlooks  the  merits  of  Adriaan  van  Ostade,  Cornells 
Bega,  Adriaan  Van  dc  Velde,  Jacob  Ruysdael,  Paul 
Potter,  Waterloo,  Vandyke,   and  others.     But  many 


well-informed  people  do  not  hesitate  to  affirm  that 
some  of  these  men  were  greater  as  etchers  than  as 
painters,  though  against  one  or  two  it  may  be  urged 
with  truth  that  they  rendered  themselves  monotonous 
by  repetition.  He  that  as  it  may,  they  are  all  remark- 
ably clever.  Their  light  is  still  hidden  under  a  bushel, 
and  they  need  exhibiting  to  bring  them  before  a  public 
which  sees  no  merit  until  it  is  pointed  out. 

What  etcher  since  Rembrandt  has  jiroduced  any- 
thing to  surpass  for  pathos  and  incisive  truth  the 
glimpses  which  Ostade  has  left  us  of  the  peasant  life 
of  Holland,  be  it  in  cottage  or  in  inn?  And  what 
modern  landscape  etcher  has  supplanted  The  Corn 
I'ield  or  The  Three  Oak  Trees,  by  Kiiysdael,  in 
the  estimation  of  the  lover  of  landscape?  Then, 
although  not  comparable  to  Rembrandt  in  rugged 
truth  and  vigorous  breadth  of  treatment,  the  portrait 
etchings  of  \'andyke  in  the  first  states,  before  the 
misdirected  energies  of  the  engraver  ruined  the  effect, 
perfect  in  its  incompleteness,  are  some  of  the  most 
fascinating  productions  of  the  brilliant  Fleming.  This 
art,  moreover,  is  the  only  one  which  has  maintained 
its  traditions  to  the  present  da}-.  We  have  recently 
had  as  fine  etchers,  if  we  except  the  cream  of  the 
work  of  Rembrandt,  as  anj-  in  the  past.  The  greatest 
mind  which  Barbizon  produced,  J.  F.  Millet,  has  left 
many  etchings  which  embody  the  finest  qualities  of 
the  art.  Yet  two  of  the  best  examples — Les  Glaneuses 
and  Les  Becheurs — -produce  but  five  or  six  guineas  at 
present.  The  same  remark  applies  to  the  little-known 
efforts  of  Daubigny.  These  two  men  need  but  time 
to  enhance  materially  the  value  of  their  work  with  the 
needle.  Then,  again,  we  have  the  unfortunate  Charles 
Meryon,  whose  productions  are  rapidly  assuming  a 
position  in  the  very  forefront  of  the  greatest  masters, 
which  they  should  have  attained  in  his  lifetime.  The 
merits  of  the  late  Mr.  Whistler  are  of  such  an  order 
that  any  review  of  etching  would  be  incomplete  with- 
out a  mention  of  his  work ;  his  etchings  always  com- 
mand a  ready  sale,  but  prices  in  his  case  will  surely 
advance  further. 

We  now  come  to  the  line  engravers,  and  it  will  be 
necessary  to  deal  with  them  under  one  or  two  different 
headings,  because  the  conditions  which  are  applicable 
to  one  section  would  not  apply  to  another.  As  in  the 
case  of  etchings  by  Rembrandt,  so  with  the  early 
masters  of  engraving,  such  as  Durer,  Lucas  van  Ley- 
den,  Martin  Schongauer,  Marc  Antonio  Raimondi, 
\'eneziano,  and  Marco  da  Ravenna,  there  always  have 
been  buyers  whenever  fine  impressions  come  into  the 
market.  The  museums  contend  eagerly  for  them,  and 
it  may  be  said  that  the  best  will  never  return  to  the 
auction-room.  These  are  the  gilt-edge  securities  in 
prints,  and  any  phenomenal  drop  in  value  is,  in  all 
human  probability,  out  of  the  question  They  are 
rising,  and  will  continue  to  do  so  whenever  offered,  and 
arc  perfectly  safe  to  buy  and  to  hold. 

But  when  we  leave  the  early  part  of  the  sixteenth- 
century  prints  for  those  of  the  seventeenth,  we  find  a 
remarkable  diminution  in  the  number  of  collectors. 
This  is  all  the  more  inexplicable  when  it  is  remem- 
bered that  at  no  period  in  the  history  of  the 
art  were  finer  pure  line  engravings  produced.  The 
legacy  of  the  studio  of  Rubens  alone  abounds  with 
triumphs    of    the     graver.      Scheltius    a     Bolsvvert, 


THE     PRINT     MARKET 

Boetius  a  Bolswert,  Lucas  Vorsterman,  Paul  Pon- 
tius, Pieter  de  Jode  the  younger,  working  under 
the  direction  of  Rubens,  executed  engravings  which 
cannot  be  excelled.  These  men  carried  to  perfec- 
tion the  effects  which  can  be  produced  by  means  of 
graduation  in  the  line  engraving.  They  were  the  first 
to  grasp  the  true  meaning  of  '  colour'  in  the  art,  and 
made  use  of  their  power  to  the  utmost ;  the  result  we 
have  before  us  to  day.  It  is  only  fair  to  ascribe  this 
insight  and  subtler  grasp  of  the  capabilities  of  the  graver 
to  Rubens,  for  it  may  be  presumed  that  he  provided 
the  initiative  whilst  the  body  of  engravers,  working 
with  a  unison  of  purpose  unknown  liefore,  carried  his 
precepts  into  execution  with  such  telling  effect.  What 
could  be  finer  than  Boetius  a  Bolswert's  plate  of  the 
so-called  Coup  de  Lance  in  the  Antwerp  gallery  ?  Yet 
when  examples  of  this  school  come  up  for  sale  they 
are  generally  bundled  into  parcels  varying  in  number 
according  to  the  press  of  business  and  the  temper  of 
the  auctioneer.  In  only  rare  instances  are  they  put 
up  singly.  I  mentioned  this  apathetic  attitude  to  a 
connoisseur,  and  his  reply  was  characteristic  of  the 
general  feeling  of  collectors  at  the  present  time. 
'  Well,'  he  said,  '  they  look  very  well  on  the  walls  of 
an  old  country  hall  buried  in  the  country,  but  they 
are  not  the  thing  for  my  town  house.  I  want  some- 
thing cheerful,  so  give  me  coloured  prints.'  The 
ambitions  of  collectors  have  undergone  a  change  since 
the  days  of  the  men  whose  names  shine  most  promi- 
nently in  the  history  of  print  collecting,  such- as 
P.  Mariette,  William  Young  Ottley,  Robert  Dumesnil, 
Sir  M.  Masterman-Sykes,  Sir  Joshua  Reynolds,  and 
Sir  Thomas  Lawrence. 

If  we  leave  the  Flemings  and  turn  to  the  Dutch- 
men, we  find  the  market  in  the  same  state  of  languor. 
To  name  but  a  few  instances,  no  logical  reason  can  be 
assigned  for  the  want  of  appreciation  which  is  at 
present  meted  out  to  the  Visschcr  family  and  Corne- 
lius in  particular,  or  to  his  generally  accepted  pupil, 
Abraham  Blooteling.  Another  superb  engraver  who 
is  at  present  being  slighted  is  Jonas  Suyderhoef,  a  man 
whose  claims  cannot  be  ignored  permanentlv.  It  is 
not  always  the  nature  of  the  subject,  an  argument 
much  urged  against  this  school,  because  there  are 
plenty  of  fine  prints  by  \'isscher,  Suyderhoef  and 
others  which  contain  no  trace  of  impropriety ;  and 
however  coarse  Ostade,  Brouwer,  Teniers  or  Steen 
ma\-  be,  their  open  coarseness  is  much  to  be  preferred 
to  the  veiled  immorality  of  Greuze  or  Boucher, 
against  whose  works  this  argument  of  suggestiveness 
is  never  used. 

Again,  there  are  those  who  level  a  charge  of 
sombreness  against  the  Dutchmen,  and  not  without 
some  degree  of  justification  from  a  decorative  point  of 
view ;  but  this  charge  will  not  hold  good  against  the 
F"renchmen,  and  yet  they  are  just  as  much  slighted 
as  their  more  northern  confreres.  The  magnificent 
achievements  of  Gerard  Edelinck  and  Robert  Nanteuil 
have  left  an  impress  upon  the  portrait  engraver's  art 
on  which  too  much  stress  cannot  be  laid.  In  fact, 
Nanteuil's  portrait  of  Pompone  de  Bellicvre  has  never 
been  surpassed  in  the  whole  range  of  portrait  en- 
graving. Such  incisive  truth  \n  character  delineation, 
such  complete  mastery  of  technical  difficulties  and 
finish  of  details,   lifts  this  plate  into  the  very  front 

169 


THE     BURLINGTON     GAZETTE 

rank.  Yet  the  auction  value  of  a  fine  impression  is 
about  £2.  Although  this  is  quite  the  chef-d'ceuvre  of 
Nanteuil,  there  are  many  others  by  him  of  almost 
equal  excellence.  Edelinck  is  little,  if  at  all,  Inferior 
in  genius,  and  the  two  men  are  of  about  equal  market 
value.  You  could  purchase  the  whole  life-work  of 
both  for  the  price  of  one  coloured  print.  Nor  do  they 
stand  alone  in  this  lack  of  attention.  The  Drevets, 
both  father  and  son,  Chereau,  Tardieu,  Beauvarlet, 
Moreau,  are  all  worthy  of  more  attention  than  is 
bestowed  upon  them  at  the  present  time. 

There  is  no  lack  of  the  decorative  element  of  the 
best  period  of  French  art  amongst  the  work  of  these 
men.  To  instance  but  a  few  of  the  leading  examples. 
Beauvarlet  has  given  us  The  Departure  and  Arrival  of 
the  Carrier  Pigeon  after  Boucher,  La  Sultana  after 
Van  Loo,  the  Children  of  the  Duke  of  Bethune  after 
Drouais ;  Drevet  pere,  the  delicious  Adrienne  Le- 
couvreur  ;  Tardieu,  Diana  and  Actaeon  after  Boucher. 
The  collector  still  treats  them  with  stolid  indifference. 
But  it  was  in  the  closing  years  of  the  eighteenth  cen- 
tury and  the  early  years  of  the  nineteenth  that  the 
technique  of  the  engraver  reached  its  culminating 
point  ;  there  was  more  originality,  more  independence 
perhaps  in  Visscher  and  Boetius  and  men  of  their 
period ;  but  for  accuracy  and  faithfulness  of  repro- 
duction this  period  has  never  been  equalled. 

The  first  in  chronological  order,  Johann  George 
Wille  is  perhaps  the  most  remarkable  of  all.  It 
seems  incredible  that  mere  black  and  white  could  go 
to  such  lengths  in  the  translation  of  the  minute  finish 
and  delicacy  of  the  '  little  masters  of  Holland.'  The 
treatment  of  details  and  accessories  in  such  pieces  as 
The  Death  of  Cleopatra  after  Netscher,  Le  Concert 
de  Famille  after  Schalken,  and  the  Musiciens  Ambu- 
lans  after  Dietrici  is  astonishing  ;  whilst  the  exquisite 
LTnstruction  Paternelle  after  Terburg  is  quite  the 
last  word  in  the  rendering  of  the  satin  dress  and  the 
drinking  glass.  Still,  any  of  the  above-enumerated 
plates,  and  many  quite  as  fine,  can  be  purchased  in 
the  market  for  about  ten  pounds.  Surely  there  is 
room  here  for  improvement !  Then  follows  Raphael 
Morghen.  It  does  not  surprise  me  that  his  work 
has  fallen  considerably  in  value ;  he  is  an  accu- 
rate copyist  and  a  perfect  master  of  his  art,  but 
it  is  possible  to  be  too  precise  and  to  become  too 
conventional,  and  that  is  where  Morghen  erred. 
He  is  rigid  and  cold  ;  and  a  constant  repetition 
of  his  works  tires  one  sooner  than  any  other  master 
with  whom  I  am  acquainted.  You  feel  that  there  is 
no  fire  in  him  ;  he  never  gets  up  any  enthusiasm  ;  and 
although  no  flaw  can  be  found  in  his  technique,  there 
is  a  quality  about  him  which  repels  you.  Here,  I  feel 
sure,  lies  the  root  of  the  apathy  displayed  towards  his 
work.  The  Last  Supper,  after  Leonardo  da  Vinci, 
still  retains  its  hold,  and  fine  impressions  are  eagerly 
purchased  when  submitted  to  auction,  a  proof  bring- 
ing from  fifty  to  seventy  pounds  and  a  good  print  five 
to  ten  according  to  the  impression.  To  a  lesser 
extent  interest  is  displayed  towards  the  Aurora  after 
Guido  Reni,  which  produces  in  the  proof  state  from 
forty  to  fifty  guineas  and  three  to  four  if  lettered. 
With  these  exceptions  his  work  is  quite  out  of  fashion, 
and  it  is  impossible  to  speak  hopefully  of  the  future. 
Indeed,  this  remark  could  be  extended  to  the  work  of 

170 


any  of  the  men  whose  work  is  now  being  discussed, 
because  the  taste  is  set  dead  against  them,  and  it 
would  necessitate  a  complete  revolution  of  the  wheel 
of  Fortune  to  reverse  this  decision,  of  which  there  is, 
at  present,  not  the  slightest  indication. 

There  are,  however,  a  few  exceptional  prints  which 
have  always  commanded  attention,  and  they  show  no 
signs  of  retrogression.  Amongst  these  may  be  cited 
Frederick  Miiller's  superb  Madonna  of  S.  Sisto,  after 
Raphael,  the  best  state  of  which  still  brings  sixty  to 
eighty  pounds,  and  Johann  Gotthard  Muller's  Ma- 
donna della  Seggiola,  an  impression  of  which  I  have 
not  lately  seen  in  the  auction  room,  but  it  retains  its 
hold  upon  a  certain  class  of  connoisseurs.  The  same 
remark  equally  applies  to  Richomme's  fine  Neptune  and 
Amphitrite  after  Guido,  a  proof  of  which  should  bring 
at  least  fifteen  pounds.  That  the  work  of  his  equally 
clever  contemporarj-,  Bervic,  is  more  depressed  than 
most  of  this  period  is  a  matter  at  which  wonder  can- 
not be  expressed.  However  fine  an  engraving  may 
be,  but  few  people  care  to  have  The  Laocoon  or  The 
Education  of  Achilles  on  their  walls,  particularly 
when  the  latter  happens  to  be  after  a  master  of  the 
povert}'  of  invention  of  Regnault. 

For  the  works  produced  during  this  period  there  is 
but  little  future.  It  would  indeed  be  impossible  for 
prices  to  sink  any  lower  ;  any  fluctuation  must  have 
an  upward  tendency,  save  in  those  cases  such  as 
Muller's  Madonna  of  S.  Sisto,  or  Raphael  Morghen's 
Last  Supper,  which  have  never  felt  the  wave  of  de- 
pression. Even  here,  however,  there  would  be  no 
justification  for  any  diminished  price.  There  is  one 
engraver,  some  of  whose  works  are  particularly  deserv- 
ing of  attention,  for  they  are  decorative,  after  masters 
who  are  and  likely  to  remain  in  favour,  and  the  quality 
of  the  engraving  is  of  the  first  order.  I  am  referring 
to  Porporati.  His  Young  Girl  with  the  Dog  is  the 
most  exquisite  thing  in  the  whole  engraved  work  of 
Greuze.  Many  would  prefer  the  print  to  the  original 
picture,  and  they  would  have  good  grounds  for  so 
doing,  for  the  engraver  has  given  all  the  good  points 
of  Greuze  without  bringing  into  prominence  the  pain- 
ful mannerisms  and  wearisome  effeminateness  of  this 
somewhat  over-rated  French  painter.  Although  this 
is  perhaps  Porporati's  best  plate,  there  are  others 
nearly  as  successful — for  example,  Gardez-vous,  after 
Angelica  Kauffman,  and  Le  Coucher,  after  Van   Low. 

We  have  come  to  the  last  man  of  this  period  with 
whom  I  shall  deal — Louis  Auguste  Boucher  Desnoyers, 
who  is  in  many  respects  the  finest  of  them  all.  When 
this  incomparable  artist  worked  after  Raphael,  his 
art  reached  its  culminating  point.  He  seems  to  so 
thoroughly  have  assimilated  the  spirit  of  the  great 
Italian  that  such  prints  as  La  Belle  Jardiniere  and 
La  Vierge  de  la  Maison  d'Albe  appear  but  a  second 
edition  of  the  original.  Yet  these  superb  productions 
can  be  obtained  for  a  mere  bagatelle.  A  proof  of  La 
Belle  Jardiniere  fetches  from  three  to  four  guineas. 
Compare  this  with  the  price  of  Muller's  Madonna  of 
San  Sisto,  to  which,  to  be  well  within  the  mark,  it  is 
equal  in  technical  (jualities,  and,  as  a  translation  of 
the  original  picture,  superior.  Surely  the  day  has 
come  for  such  inequalities  to  be  removed  and  for  Des- 
noyers to  be  appraised  at  a  figure  more  approximate  to 
his  worth.     But  the  interest  taken  in  the  mezzotints 


and  coloured  prints  of  the  English  school  serves  to 
overshadow  the  work  of  the  contemporary  line  en- 
gravers. 

There  was  a  time  when  collectors  were  passionately 
fond  of  William  Woollett,  and  he  rose  in  \alue  con- 
siilerabl}-  ;  but  these  collectors  seem  to  have  died  out 
and  the  modern  amateur  has  but  little  to  say  in  his 
favour.  In  fact  at  the  present  day  those  subjects  in 
which  he  succeeded  least  sell  the  best,  a  condition  of 
tilings  to  which  among  either  pictures  or  engravings 
it  would  not  be  difficult  to  find  a  parallel.  It  was  not 
in  such  prints  as  the  Happy  Peasants  and  the  Jocund 
Peasants  after  Dusart  tiiat  he  excelled,  but  in  his 
wonderful  plates  after  Wilson  and  Claude.  I-'or 
breadth  and  atmosphere  and  true  delineation  they 
have  never  been  excelled.  A  man  of  equal  ability  we 
have  in  Frangois  \'ivares,  and  when  working  after  any 
other  masters  than  Wilson  and  Claude  he  is  superior 
in  feeling  and  energy  of  handling.  It  seems  remark- 
able that  the  market  value  of  such  meritorious  works 
should  have  fallen  so  low.  Sir  Robert  Strange  is 
another  engraver  of  the  first  rank  who  is  neglected  by 
connoisseurs.  L'nfortimately  the  bulk  of  his  plates  are 
after  such  masters  asGuido  Reni  and  other  Holognese 
painters  who  were  the  favourites  of  the  amateurs  of 
his  day.  This  factor  will  always  have  a  retarding 
inrtuence,  but  in  his  own  merits  as  an  engraver  few 
Haws  can  be  found.  In  the  rendering  of  flesh,  as 
witness  his  Magdalene  after  Guido,  he  stands  un- 
equalled. As  to  the  immediate  futineof  the  works  by 
these  men,  one  cannot  take  an  optimistic  view  ;  taste 
is  strongly  opposed  to  the  line  engraving,  some  reasons 
for  which  I  shall  endeavour  to  give  further  on. 

Collectors  who  are  seeking  a  not  overcrowded  field 
might  turn  their  attention  in  one  direction  which  at 
the  same  time  presents  the  advantages  of  good  taste 
and  moderate  expense.  These  are  the  prints  after 
J.  M.  W.  Turner.  Of  course,  as  in  every  branch  of 
collecting,  discretion  has  to  be  exercised  by  the  inex- 
perienced amateur,  because  there  are  so  many  almost 
worthless  prints  after  the  master  which  are  still  by 
men  of  good  repute.  These  served  in  many  cases  for 
book  illustrations  and  other  popular  purposes.  They 
can  be  picked  up  in  many  second-hand  book  shops  for 
a  few  pence.  But  the  superb  productions  produced 
under  the  painter's  own  direction — and  about  the 
execution  of  which,  I  may  incidentally  remark,  he  was 
so  fastidious  that  it  brought  him  into  very  bad  odour 
with  the  engravers — -like  the  proverbial  good  wine, 
need  no  bush.  The  prints  from  the  '  Liber  Studiorum,' 
the  Keepsake  series,  Rogers's  '  Italy,'  as  well  as  many  of 
the  beautiful  single  plates,  will  always  command  the 
attention  of  the  discriminating  collector.  And  quite 
an  equal  investment  is  to  be  found  in  the  exquisite 
me;^zotints  worked  by  David  Lucas  after  Constable. 
Never,  surely,  were  artist  and  engraver  more  in 
sympathy.  If  Constable  is  the  only  man  who  has 
successfull)-  rendered  the  after  effect  of  a  shower  of 
rain  in  field  and  hedge  and  tree,  Lucas  is  the  only 
man  who  ever  engraved  it.  Yet,  with  but  few  excep- 
tions, five  to  nine  guineas  will  buy  an  engraver's  proof. 
Thus  we  see  that  the  prevailing  fashion  in  the 
picture  world  has  not  always  an  infiuence  on  the 
print  collector.  If  a  fine  Turner  or  Constable  comes 
into  the  market,  no  difficulty  is  experienced  in  getting 


THE    PRINT     MARKET 

six,  eight  or  even  ten  thousand  guineas,  but  fine 
engravings  after  them  do  not  create  the  same  excite- 
ment. In  the  foregoing  discussion  it  has  been  ne- 
cessary to  give  dry  data,  and  I  should  have  liked 
to  give  more  ;  but  only  the  leading  examples  could 
be  given,  because  the  object  of  the  present  Brticle 
is  not  to  affix  individual  values,  but  rather  to 
indicate  on  broad  lines  the  trend  of  current  fashion. 
To  successfully  accomplish  this  task  it  has  been 
necessary  to  enter  into  details  which,  if  j)iished  too 
far,  would  bore  the  reader.  However,  this  review, 
brief  as  it  may  be,  will  enable  us  to  summarize  the 
prevailing  infiuences  in  the  print  market,  and  we  shall 
be  in  a  position  to  consider  whether  these  influences 
are  of  a  permanent  character  or  likely  to  be  modified 
in  the  near  future,  and  to  form  an  idea  as  to  which 
waj-  the  pendulum  is  about  to  swing.  One  important 
point— the  chain  of  circumstances  which  has  brought 
the  present  rage  for  coloured  prints  and  mezzotints 
into  fashion — has  already  been  dealt  with.  Now  some 
space  must  be  devoted  to  the  reasons  which  have 
brought  about  the  disregard  for  line  engraving.  It 
may  be  shortly  said  that  almost  everything  which  has 
tended  to  elevate  the  colour-print  and  mezzotint  in 
estimation  has  tended  in  direct  ratio  to  depress  line 
engraving. 

Line  engraving  is  not  decorative  ;  it  has  not  the 
richness  of  the  mezzotint  ;  it  lacks  the  warmth  and 
variety  of  the  print  in  colours  ;  it  will  not  fall  in  with 
modern  schemes  of  furnishing.  An  attempt  to  mini- 
mize these  objections  is  to  be  seen  in  the  modern 
tendency  to  print  off  in  warm  reds  and  browns — an 
endeavour  to  remove  that  chilling,  repelling  effect, 
which  many  urge  as  one  of  their  reasons  fcjr  antipathy 
to  the  line.  A  great  deal  of  this  could  be  obviated  by 
judicious  framing.  There  are  man)'  people  to  whom 
a  frame  necessarily  implies  a  gilt  frame.  In  fact,  the 
day  is  not  long  past  when  to  place  a  print  in  the  hands 
of  a  professional  framer  inevitably  involved  first 
cutting  off  all  margin,  then,  after  glueing  what  was 
left  on  a  stretcher,  with  the  edges  neatly  tucked  over, 
placing  it  in  a  gilt  frame,  the  width  of  which  varied 
according  to  the  pocket  of  the  owner  and  his  ideas  of 
sumptuousness.  If  anjthing  can  make  a  line  engrav- 
ing look  cold,  it  is  gilt.  It  throttles  instantly  any  of 
the  delicate  colour  effects  of  a  l5olswert  or  a  Desnoyers, 
and  nothing  comes  out  but  the  mere  mechanism  of 
the  art.  A  coloured  print  will  stand  gilt,  as  will  a 
mezzotint  in  a  less  degree. 

The  method  first  employed,  I  believe,  by  the  late 
duke  of  Buccleuch  is  one  which  might  commend 
itself  to  amateurs  who  have  line  engravings.  \\'ith 
a  plate  24  X  20  mount  upon  a  wide  board  with  four 
inches  of  margin  at  each  side  and  five  inches  top  and 
bottom.  Then  place  'in  a  frame  com])osed  of  three 
inches  of  arched  moulding  in  polished  black  pear- 
wood,  inside  which,  that  is  next  to  the  mount,  is 
placed  an  inch  or  an  inch  and  a  half  of  neat  gold 
iDcading.  You  vary,  of  course,  the  width  of  the 
margin,  moulding,  and  beading  in  proportion  to  the 
engraving.  After  black  and  gold,  the  next  best  is 
oak  and  gold  or  even  plain  oak,  the  darker  the  wood 
the  better.  Still,  frame  as  you  will,  nothing  will  give 
the  line  engraving  the  richness,  decoratively  speaking, 
of  the  colour-print  or  mezzotint.     This  is  at  present 

171 


THE     BURLINGTON     GAZETTE 

fatal  to  its  popularity,  and  small  chance  exists  of  any 
improvement  in  current  values.  There  are  prints  such 
as  Desnoyers's  La  Belle  Jardiniere,  which  possibly 
will  show  a  marked  increase,  but  they  are  the  excep- 
tion and  not  the  rule.  Merit  is  not  sufficient  to  make 
a  work  of  art  popular  :  other  things  are  essential.  In 
these  days  there  is  a  tendency  to  place  prettiness 
before  art,  and  attractiveness  of  subject  before  excel- 
lence of  execution.  Etchings  of  the  best  masters, 
engravings  and  woodcuts  of  the  fifteenth  and  sixteenth 
centuries,  have  invariably  been  in  the  favoured  con- 
dition of  having  a  small  but  highly  cultured  and 
tenacious  following,  so  that  a  healthy  state  of  the 
market  is  always  assured.  Mezzotints  are  high  in 
price,  but,  with  the  finer  specimens  rapidly  becoming 
scarcer  and  scarcer,  there  is  no  reason  why  they 
should  not  continue  in  favour.  They  contain  the 
artistic  qualities  necessary  to  sustain  thern  perma- 
nanently,  and  they  have  nothing  antagonistic  to  the 
schemes  of  decoration  of  the  period.  As  regards 
coloured  prints,  the  price  has  been  pushed  higher  and 
higher,  and  prudent,  far-seeing  men  have  ceased  long 
since  to  pay  the  extortionate  prices  at  which  even  the 
inferior  specimens  are  sold.  Fashion  is  fickle,  and  a 
change  may  come  at  any  moment.  So  long  as  there 
is  a  demand  for  coloured  prints  the  dealers  will  puff 
their  beauties,  in  many  cases  imaginary,  and  so  long 
will  frauds  be  foisted  on  a  too-gullible  public. 

END  OF  SEASON  BOOK  SALES 

By  way  of  aii  rcvoir  to  dealers  and  collectors  prior  to 
the  autumn  recess,  Messrs.  Sotheby  generally  retain 
some  interesting  books  for  dispersal  at  the  end  of  July. 
Thus,  the  Martin  copy  of  Caxton's  Ryall  Book  fetched 
;f  1)550  on  July  30,  igoi,  and,  discarded  by  a  trans- 
atlantic collector,  who  meantime  had  acquired  the 
finer  Bedfordshire  library  copy,  was  re-sold  on 
July  30,  1902,  for  ;:ri,400.  If  this  year  nothing  so  im- 
portant occurred  in  the  two-days'  sale,  July  28-9, 
there  were  books  as  attractive  as  Shelley's  '  Adonais,' 
in  fine  condition,  which  has  gone  to  America,  as  has 
Lamb's  '  Mrs.  Leicester's  School,'  and  several  other 
works  which  appear  on  the  following  tables.  As  a 
whole  the  season,  January— July,  1903,  will  not  bear 
comparison  with  its  immediate  predecessor.  The  two 
stand  in  much  the  same  relationship  as  do  the  follow- 
ing statements,  giving  details  of  the  eight  single 
libraries  or  assemblages  of  books,  etc.,  from  various 
sources,  brought  together  under  a  single  catalogue, 
which  realized  the  highest  totals  respectively  during 
the  first  seven  months  of  1902  and  of  1903. 


1 90  J 


Henry  White         

Miscellaneous.     March  17- 
Lt.-Col.   Hibbert    .. 
Miscellaneous.     June  3-7.. 
Fountaine     .. 
Miscellaneous.     July  28-30 

J.  W.Ford 

Marshal  C.  Leffcrts 


10,732 
6,766 
4.326 
3,802 


Miscellaneous.     May  18-21 
Miscellaneous,     March  16-21 
Sir  T.  D.  Gibson  Carmichael.  Mar.  23-7 
Miscellaneous.     June  iS-20 

W.  E.  Bools.     June  22-7 

Miscellaneous.     July  28-9 

Dr.  Taylor  Brown.     April  20-4  . . 

Miscellaneous.     July  16-8 


1.077 

1 2,04s 

1.433 

9.745 

1.198 

9.639 

892 

8.523 

1,876 

3.546 

582 

3.427 

1,810 

2,781 

2,175 

/5I 


For  the  convenience  of  those  who  prefer  informa- 
tion about  outstanding  books,  etc.,  in  tabulated  form, 
there  have  been  included  in  the  tables  which  follow 
certain  lots  not  so  dealt  with  in  the  May  and  August 
issues  of  The  Burlington  G.\zette. 

Table  No.  I  -SETS  OF  PRINTED  BOOKS 

1.  Collection   of  dictionaries,   grammars,   school  books, 

etc.,  collected  by  the  late  Prof.  Helwich  of  Prague, 
many  with  notes  in  his  autograph.  28  vols.  1538- 
1671.     Sold  separately.     July  28  (109-36) 205     20 

2.  Shakespeare,    W.       Works.       16    vols.       Edited   by 

J.  O.  Halliwell.    150 copies  printed.     1853-65.    Half 

morocco.     July  10  (329)  70     o     o 

3.  Shakespeare,   W.     Plays.     15  vols,  large  paper,  1793. 

25  copies  only  printed.  Harding's  •  Illustrations  to 
Shakespeare,'    1793,   and   other  volumes.     Gurney, 

July  8  (C)  (76) 56     o     o 

4    Stevenson,    R.    L.      Edinburgh   edition,    'Life,'    etc. 

32  vols.     i894-:90i.     Gurney,  July  8  (C)  (100)       ..       34     o     o 

Included  in  No.  i  of  the  above  table,  whose 
volumes,  as  is  noted,  were  sold  separately,  were  W. 
Eider's  'Pearls  of  Eloquence,'  1655,  £16;  Wilham 
Thomas's  '  Principal  Rules  of  the  Italian  Grammar,' 
1550,  £13;  James  Bellot's  'French  Grammer,'  1578, 
^^14.  The  Edinburgh  edition  of  Stevenson's  works, 
most  satisfactory  of  the  editions  de  luxe,  continues  to 
command  a  considerable  price. 

Table  No.  11-ORlQINAL  MSS.,  LETTERS,  etc. 

1.  Cowper,  W.     43  letters  to  his  friend  and  schoolfellow, 

the  Rev.  Walter  Bagot,  1749-93-     Others  to  Cowper 

from  Bagot,  etc.     July  29  {460)  205     o     o 

2.  Thackeray,  W.  M.     'Our  Street.'  1848,  ■  Dr.  Birch,' 

1849.  E.P.'s,  Autograph  of  Katherine  E.  Perry  ; 
five  stanzas  in  Thackeray's  writing,  beginning, 
'  Although  I  enter  not '  ;  and  a  note  by  him,  '  This 
book  written  a  great  deal  with  K.E.P.,  the  anecdotes 
most  of  them  happening  in  Chesham  Place  '  Perry, 
April  8  (166)         131     o     o 

3.  Dickens,  C.       Letters   written   by  Dickens,   Words- 

worth, Lamb.  Leigh  Hunt  and  others  to  Serjeant 

Talfourd.     July  23  (131-215) 12014     6 

4  Swift,  Jonathan.  2  letters  to  Ben  Motte  anent  publi- 
cation of  '  Gulliver's  Travels,'  signed  ■  Richard 
Sympson.'     July  8  (C)  (268) 8C     2     o 

5.  Caesar,  Sir  Julius.     Orig.  state  papers,  letters,  docu- 

ments, etc.,  temp.  Elizabeth  and  James   I.     Phil- 

lipps,  April  27  (208)        74     o     o 

6.  Burns,  R.     Auto,   letter,  3  pp    4to.,  '  EUesland,    13 

June,  1788,'  to  Mrs.  Dunlop.  ■  This  is  the  second 
day,  my  honoured  friend,  that  I  have  been  on  my 
farm.'     July  23  (237) 52     o     o 

7.  Pope,  Alex.,  and   Swift,  Jon.     Orig.  agreement  for 

pubhcation  of  the  Miscellanies,  March  29,  1727. 
Signed  by  Pope,  Swift,  and  Motte.  Letter  by  Motte 
reCurrell.     July  8  (C)  (272) 51     9    o 

8.  Eliot,  George.     20  auto,  letters  to  Mr.  Simpson,  of 

Blackwood's  Magazine,  1866-77.     July  23  (215-34)       48  10     o 

9.  Catalogue  of  treasures  in  the  Dauphin's  cabinet  at 
Ver-sailles.     1689.     Phillipps,  April  29  (483)  . .       43     o     o 

10  Burns,  R.  Auto,  letter,  3  pp.  4to  ,  'Edinburgh, 
23  April,  1787,'  to  Doctor  Moore,  Clifford  St.,  Bur- 
lington Gardens.     July  23  (236)  41     0    o 


II.  Pope,  A.  First  draft  of 'The  Pastorals' as  submitted 
to  William  Walsh  for  correction  and  criticism.  125 
lines,  written  both  sides  on  4  pp.  small  ^to.,  7J  by 
6  in.  MS.  headed  by  Pope  '  Alterations  to  the 
Pastorals.'     July  29  (420)         

I J  Stevenson,  R.  L.  Markheim,  orig.  MS  15  leaves, 
folio.  Said  to  be  MS.  first  offered  to  Pall  Mall 
Gazelle.  A  second  copy,  on  30  410.  pp.,  signed, 
made  ^70  at  Gibson  Carmichael  sale     July  17  (600) 

13.  Dickens.  C.     Four  letters  to  Lord   Muljjrave,  one  to 

Capt.  Taylor,  1842-3.  In  all  loj  pp.  July  28 
(28-32) 

14.  Blake.  W.      Orig.  auto.  MS  of   '  Tiriel.'    8  leaves. 

4I0.,  written  both  sides  in  Blake's  small  hand.     July 

29(458) 

15  Thackeray.  W.  M.  Auto,  letter  to  Lady  Gordon,  with 
sketch  of  hirpself  looking  at  a  drawing.   July  25  (605) 

16.  Blake.  Admiral.     Auto,  letter,   'The  Triumph,  near 

the  buoy  off  the  Noure,  Dec.  20, 1652,'  desiring  •  the 
fleet  to  go  to  sea,  and,  by  God's  blessing,  to  regain 
the  honour  of  our  nation.'     July  24  (337)      . . 

17.  Cromwell,  Richard.    Two  signed  letters,  with  three 

impressions  of  the  protector's  seal.      July  24  (422-3) 

18.  Thackeray,  \V.  M      Auto,  letter  in  French,  '  13  Young 

Street,  a'  Kensington,  le  28  Mai,'  signed  '  Titmarsh,' 
to  Madame  Prinsep      July  25  (638) 

19.  Peters,  Hugh.     Holograph  letter,  signed  '  fifor  John 

Winthrop  Esqre.  in  New  En;.;ld.  (governor  of  Con- 
necticut),' dated  Oct.  10,  1652.     July  29  (449) 

20.  Henry  II  of  France,  .\ccount,  signed  by  Claude  Gouf- 

fier,  connected  with  funeral  of.  On  vellum.  1559 
Pliillipps.  April  29  (534)  

21.  Cromwell,  Oliver.      Two  signed  orders,    Whitehall, 

July  30,  1655.  and  April  16,  1657.     July  24  (392  and 

zi.  Shelley,  P.  B.  .\uto.  letter  to  Thomas  Moore,  '  Albion 
House,  Marlow,  Dec.  16,  1817,'  about  suppression 
of  '  Laon  and  Cythni.'     July  25  (637) 


o    o 
10    o 


10     o 
5     o 


BOOK     SALES 

23.  .-Mnsworth.  W.  HarrisoD.     140  auto,  letters  to  various 

persons,  beginning  in  1827.     Mrs.  Ainsworth.     July 

23  (88) 13  10    o 

24.  Dickens.  C.     Auto,  letter,  4  pp.  4to..  March  26,  1839, 

to   Harrison  Ainsworth,  about   disagreement    with 

Mr.  Bentley.     Mrs.  .\insworth,  July  23  (iii)  ..       10  10    o 

25.  Beethoven.     Leaf  out  of  his  note  txx)k,  said  to  be  un- 

published.   2  pp.  folio.    July  25  {590)         ..         ..        750 
Note.— E.P.,  Editio  Prlnccps,    (C)  Sold  by  Christie ;  all  oihers  by  Soih^by. 

The  end  of  fuly  sale  at  Sotheby's  contained  an  ex- 
cellent copy  of  '  Heads  of  all  Fashions,'  1642,  the 
seventeen  heads  on  the  title  including  that  of  Shakes- 
peare, which  brought  ^^47,  against  12s.  whereat  the 
Heber  copy  was  valued  in  1834,  and  the  £1  3s.  paid 
for  another  in  1854.  In  the  copy  of  Keats's  '  Endymion,' 
No.  7,  table  IV.,  there  are  many  passages  underlined 
by  B.  R.  Haydon,  and  against  the  lines  on  page  8, 
beginning  'Apollo's  upward  fire,'  he  wrote,  'How 
could  Gifford  be  such  a  brute  as  to  ridicule  this  ex- 
quisite passage.'  On  the  margins  of  pp.  14-15  is  the 
following  note  in  Haydon's  autograph  : 

I  was  walking  with  Keats  one  summer  evening  in  the  Kilburn 
meadows,  when  he  had  just  written  the  sublime  Ode  or  Address  to 
Pan.  He  repeated  the  whole  in  a  trembling  tone  of  feeling  and 
nervous  flush  of  cheek  that  kept  me  mute  till  he  had  done.  I  was 
impressed  with  its  beauty,  and  1  heard  him,  as  Milton  says  of  the 
angel,  'long  alter.'  His  manner  and  the  music  of  his  delivery 
affected  me  so  touchingly,  and  still  resounded  in  my  ears.  Poor  dear 
Keats!  Hadst  thou  never  met  Hunt,  your  fate  would  have  been 
different !     B.  R.  H. 

For  the  rest,  the  following  tables  are  self-explana- 
tory. 


Table    No.   Ill— PRINTED    BOOKS,    £50  OR   MORE 


AoTHOR  OR  Translator,  Title, 
Description. 


Printer, 
Publisher, 
OR  Place. 


Date  of  Sale. 


Burns,  R.  Poems  chiefly  in  ihe 
Scottish  dialect.  E.P.  Svo.,  un- 
cut part  measuring  9  by  5J  in. 
End  bjue  wrapper.     (252)  (') 


Fo.\e,    John,      .\ctes    ani    Monuments      John  Daye  . . 
(Foxes    Book    of    Martyrs).      E.P. 
Folio,    13   by   SJin.    Orig.   vellum. 
(546)  (') 

Shakespeare,  W.  Tragedie  of  Richard  Join  Norton, 
the  Third.  4to.,  (>l  by  5}  in.  Un-  sold  by  Ma- 
bound.     (491)  (')  I     thew  Law 


4.  Shakespeare,  W.     Tragedy  of  Othello. 

E.l'.  4to.,  7  by  41  in.  Unbound. 
(497)  {') 

5.  Nichols,    J.     History    and    Antiquities 

of  the  County  of  Leicester  4  vols, 
in  8.  Folio,  uncut.  Hall  russia. 
(520) 

6.  Raigne  of  King  Edward  the  Third.    2nd 

edn.  4to.,  6J  by  ^i'm.  Purple 
morocco  g.e.     (511) 


1786       Taylor  Brown 
(April  21) 


1629       Military  Offi- 
cer (July  29) 


350 


7.  Shakespeare,  W.  Love's  Labours  Lost. 
410.,  6i  by  5}  in.    Unbound.    (492)0 


N.O.  for  Tho- 
mas    Wah- 
ley 

1622 

A    Nobleman 
(July  29) 

1795- 

July  29 

Simon    Staf- 
ford    for 
Cuthbert 
Busby 

W.S.        for 
JohnSmeth- 
wcke 

1599 
103.' 

Bools      (June 
23) 

Military  Offi- 
cer (July  29) 

and  impertcct 


:  copies  printed.  Pubd.  3s.  Title  and  ncit  three  leaves, 
supplied  froni  a  cut  copy,  inlaid  and  mended.  Remainder 
in  fine  uncut  stale.  Uncut  portion  cost  collecior  is.  6d., 
copy.  £t6.  Highest  price  at  auction 
!,  1898,  orig.  state.  545  guineas.  Velich 
copy  recently  acquired  by  Burns  museum,  Alloway.  ri.ooo 
•See  'Book  Sales  of  1902,'  p.  20,' No.  32,  and  The  Bvr- 
LiNGTON  Gazette,  April,  p.  23,  No.  16.  and  May,  pp.  53-4. 

Xo  perfect  copy  kno*n.  Present  copy  lacks  three  separate 
woodcuts  and  Ihe  slip  at  p.  25 ;  title  baclced,  and  sliKhtly 
mended  ;  a  few  plain  corners  wormed  and  stained,  lower 
margin  of  one  leaf  mended.  Ashburnhain,  1S97,  ap[  roxi- 
mately  perfect.  jTiso. 

Ninth  edition  in  4to.,  contains  .X-Mg  lu  4's,  with  four  ori^. 
blank  leaves  at  end.  Some  headlines  shaved.  Formerly 
bound  up  with  '  Love's  Latiours  Lost,'  see  No.  7.  R  P.  for 
ninth  edition.  Steevens.  1800,  7s.;  Rhodes,  itizs.  fi  4s.; 
Halliwell  Phllllpps,  1889.  defect.,  with  all  faults,  morocco, 
£6.  (E.P.,  1597:  Heber,  1834,  ^41  95.  6J ,  resold,  Daniel, 
■864,  335  gns.) 

Lacks  sheet  D  and  last  two  leaves,  some  others  defective. 
Steevens,  1800,  MS.  notes.  28  ens.;  Rhodes,  1.S25.  ^42; 
Bindley,  1819.  54  gns.,  re-sold,  Heber.  i>34,  £28,  and 
Daniel,  1864,  £153  ;  F-  Perkins,  1889,  £130. 


Title,  corners  and  ma 
From  Henry  Pyne 

"-      "       £-3.    'Lu 
weeds,'  a  line  which   occu 
found  in  Shakespeare's  bonnets,  XCIV 
Second  edition  4to.,  contains  A-Ka  in 


rgln 
l-yiie  lib.,  1886,  8s.     Roibur^he,  |3|2,  A  < 
i-sold,  1901,  £68:  1821.  £5.    'Miles  that  fester  stucll 


into.     Formerly  bound 

No.  3.    R.I'.  for  1631  ed.tlon.  

Rhodes,  1825,  7  gns.:  Halliwell,  1835,  £9.  re-sold,  l.lbri , 

I  1(62,  .£4  6s.,  and  Tito.  187J,  /8  15s. ;  Coscns,  1S90.  cut  In 

below  margin,  with  all  faults,  £13  js  ;  1000.  unbound.  A4 

I       slljihily  dslecUvc,  somewhat  stained,  £41.     (t.i'.,  1598 : 

'        lllndloy,  1819,  ;£40  los.,  resold,  Daniel,  1864,  330  gIl^) 

•  'The  Book  Sales  of  1902  with  Tabulated  Prices,'  The  Savile  Publishing  Company.  Ltd..  2S.  Important  duplicate  copies  mentioned 
in  notes.  E.P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets.  (H)  Sold  by  Hodgson,  (p)  by  Puttick,  all  others  by 
Sotheby.     (')  Shghtly  defective.     (»)  Defective.     {■>)  Sold  with  all  faults.     R.P.   Record  Price. 

O  I/J 


THE     BURLINGTON     GAZETTE 

Table  No.  MI— PRINTED   BOOKS,  £50   OR   MORE— coHtiinmi 


Printer, 

Library 

Author  or  Translator,  Title, 

OR  Place. 

Date  of  Sale. 

8.  Book  of  Common  Prayer.    Folio,  11  by 
7gin.    Old  English  blue  mor.    (574) 

E.      Whit- 
church 

March 
7.  1549 

July  29 

79 

Whitchurch's  first  issue  of  Edward  VI's  Prayer  Book,  other 
of  his  issues  being  dated  May,  June,  etc.  The  present 
copy  contains  last  leat,  with  regulations  as  to  sale  price  ol 

1835.  8  gns. ;  Hawtrey,  1862,  £40105.;  Blew,  1895,  defec- 

9.  Spenser,  E.    Faerie  Oueen.    Parts  I-II. 

For  W.  Pon- 

1590-6   :  July  23 

53 

Sig.  -Richardus  Foulsham,  1595,'  on  last  leaf,  part  1. 
Title  to  part  I.  imperfect  and  mounted,  lacks  pp.  503-4, 
also  ■  Colin  Cloute,'  headlines  shaved.     See  Thk  Bt;R- 

4to.,  palf.     (445)  {'] 

sonby 

LINGTON  Gazette,  April,  p.  22,  No.  5. 

10    Caxton,    W.      The    Boke    named    the 

R.  Pynron  . . 

xiii        Bools      (June 

50  10 

Lacks  sheets  B.i.b.  (6  leaves),  corner  of  title  mended,  seme 

Royall.     4to.,  Old  calf.     (306)  (■) 

Sept.,         22) 
1507 

stains.  Book  plate  of  J.  Tutler  Russell.  From  Townley 
library,  1814,  11  gns.  Seldom  occurs  at  auction.  Caxlon 
printed  'The  Ryal  Book'  about  1487,  the  Bedfordshire 
library  copy  of  which  made  £2,225  in  1902.  "See  '  Book 
Sales  of  1902,'  p.  18,  No.  i.  De  Worde  printed  the  book 
in  1507. 

Table  No.  IV— NINETEENTH     CENTURY     FIRST     EDITIONS 


OR  Translator,  Title, 
Description. 


Printer, 
Publisher, 
OR  Place. 


Shelley,  P.  B.     Adonais 

7^  in.,  uncut.   Orig.  blue  paper  wrap- 
per, black  woodcut  border.  (459) 


4to.,  loj  by  I  Pisa,  with  the 
types  of  Di- 
dot 


2.  Keats,  J.      Poems.      8vo.,  6|  by  4i  in., 

uncut.     Orig.  boards,  label.     (755) 

3.  Keats,  J.     Lamia,  Isabella,   The   Eve 

of  St.  Agnes,  and  other  Poems.  8vo., 
7  by  44  in.,  uncut.  Orig.  blue  boards, 
label.     (756) 

4.  Shelley,   P.   B.      Queen   Mab.      8vo., 

uncut.     Mor.  by  Bedford.     (85) 

5.  Lamb,     Chas.      and      Mary.       Mrs. 

Leicester's  School.  Svo.,  7i  by  4^  in., 
uncut.  Orig.  grey  boards,  back 
much  rubbed.     (337) 

6.  Thackeray,  W.  M.      A   Leaf  out  of  a 

Sketch  Book.  Svo.  Orig.  printed 
wrappers.     (411) 

7.  Keats,    J.      Endymion.      8vo.,    uncut. 

Orig.  brown  boards.     (406) 

8.  Tennyson,  A.   Poems  by  Two  Brothers 

8vo.,  large  paper,  uncut.  Orig. 
boards.     {41 2) 


Barrett.       Prometheus 
I.,  uncut.      Orig.  cloth. 


9.  Browning,  E 
Bound.  8 
(390) 

10.  Kuskin,  J.     Stones  of  Venice.     3  vols., 

8vo.  Red  mor.  by  Bedford,  t.e.g., 
others  uncut.     (67) 

11.  Lamb,  Chas.  and  Mary.     Tales  from 

Shakespear.  2  vols.,  i2mo.  Old 
sheep.     (407) 

12.  [Bronte  (Charlotte,  Emily    Jane,  and 

Anne).]  Poems  by  Currer,  Ellis,  and 
Acton  Bell.  Svo.,  uncut.  Orig. 
cloth.     (655) 

13.  Dickens,  C.     Dombey  and  Son.     Svo. 

Morocco.     (27) 


C.  Richards, 

for  C.  &   J. 

Oilier 
T.  Davison 

for  Taylor  & 

Hessey 

P.B.Shelley, 

23   Chapel 

Street 
R.  Taylor  & 

Co.,forM.J. 

Godwin 

Privately 

(Emily 

FaithfuU) 

T.  Miller  for 
Taylor  &■ 
Hessey 

J. andj. Jack- 
son, Louth, 
for  Simpkin 
&  Marshall 

A.  J.  Valpy, 
M.A. 


T.   Davison 
forT.Hodg- 
kins 
Aylott       & 

Jones, 
8  Paternoster 

Row 
For  Bradbury 
and  Evans 


1813 
1809 


1827 

1833 
1851-3 
1807 
1846 


Library 

OR 

Date  of  Sale 

Price. 

July  29 

195 

Taylor  Brown 
(April  22) 

140 

Taylor  Brown 
(April  22) 

96 

July  22  (P)  . . 

66 

July  29        .. 

58 

July  29        .. 

45   10 

July  29 

40 

July  29        .. 

40  1 

July  17  (.').. 

1 
38 

Gurnev 
(July  S)  (c) 

37 

July  29        .. 

27  j 

A.  M.  Bell 
(July  17) 

" 

A  Nobleman 
(July  28) 

21 

Sig  of  W.  Haslam  on  title.  Fine  state,  wrapper  slightly 
rubbed  through  at  back,  damp  stains.  R.P.,  save 
for  Hibbert  copy,  1902,  inscribed  *  With  the  Compts.  of 
the  Author  to  Sir  Chas.  Hyde,  Bart,'  9I  by  6J  in.,  mor.  by 
Bedford,  uncut,  £42.  1903,  June  20,  mor.  by  Bedford,  orig 
wrappers  bound  up,  cut  down  to  8^  in.  by  6  in.,  £45.  See 
The  Burlington  Gazette,  July,  p.  122,  No.  7. 

Pubd.  6s.  Marked  '  R.  Sherwood,  1817.'  Appears  to  have 
cost  collector  2s.  Corner  of  second  preliminary  leaf  torn 
off.  R.P.  for  non-presentation  copy.  *See  '  Book  Sales 
for  igo2,'  p.  27,  No.  2. 

R.P.  Pubti.  7S. 6d.  *See  'Book  Sales  1902,'  p.  27,  No.  8,  and 
The  Burlington  Gazette,  July,  p.  122,  No.  2. 


;.P.  Contai 
Leycester 
pink  boar 


:,  and  dedication  intact.  See  The  Burlin 

79  pp.  and  36  pp.  of  advertisements  at  er 
18,  boards,  uncut,  £16  los. ;  1903,  April  2(: 
ncut,  leaf  torn,  £40  los. 


25  copies  only  said  to  ha\ 
.  Apparently  first  occurrent 
hish.priced   lots  said  not  I 


been  printed  for  author' 
at  auction.    One  of  se' 
have  changed  hands. 
Price  marked  9s.    Formerly  belonged  to  Mr.  J 
dean.    Interesting  auto,  note  by  B.  R.  Hayd( 


*See  '  Book  Sales  of  ] 


[nscribed  'Mary  Maddox,  from  her  affectionate  E.B.B., 
Sidmouth,  December  i8th,  1833.'  Five  verses,  'The  tears 
if  Jesus,'  in  Mrs,  Browning's  autograph,  inserted.  Pubd. 5s. 


with  the  author's  grateful  regards.' 


First  issue  of  E.P.,  with  the  relatively  scarce  Aylott  &  Jones 
imprint.  Egerton  Clarke,  1899,  orig.  state,  'iine  copy,' in 
morocco  case,  £28.    1902,  orig.  green  cloth,  6|  by  4J  in., 

'  To  Lady  Norraanby  (to  whom  the  work  is  dedicated)  firom 
Charles  Dickens,  Devonshire  Terrace,  York  Gate,  Regent's 
Park,  sixth  September,  1848.'  Originally  ]>ublished  in  20 
parts,  IS.  each,  the  bound  volume  at  i  guinea. 


*  •  The  Book  Sales  of  1902  with  Tabulated  Prices,'  The  Savile  Publishing  Company,  Ltd.,  2S.  Important  duplicate  copies  mentioned 
in  notes  E  P.  Editio  princeps.  Catalogue  numbers,  after  descriptions,  within  brackets,  (h)  Sold  by_Hodgson,  (p)  by  Puttick,  (c)  by  Chr"'=- 
all  others  by  Sotheby.     (')  Slightly  defective.     (■)  Defective.     (»)  Sold  w 


ith  all  faults.    R.P.  Record  Price. 


174 


N 
1 

B95 
suppl . 
no. 1-6 


The  Burlington  magazine 


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