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iviAj^^rt 1903 



for Connoisseurs 



















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


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

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


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


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 



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 


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 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- 

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 

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 lu- knew t.i 

rill' llAKA ol 


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 


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 


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 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. 


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 


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- 

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 


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 


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- 


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. 

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. 



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 

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 

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 


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. 

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 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. 


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 

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 


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. 


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. 


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 



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 


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 


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. 


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. 



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. 


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. 


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 

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 

— 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 


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




March 2 





Former Prices at 
Auction, 1901-3. 



Higliest. Lowest. 

£ s. d. £ s. 





Tacitus, Agricola. 

I goo 

225 P. 


8 12 6 4 12 




Edited by J. W. 



Not occurred. 


Mackail. 33 pp. 

Cobden - Sander- 


300 P. 


4 16 3 14 




son, T. J. Ideal 



Not occurred. 



Book. 9 pp. 

Mackail. J. W. 


300 P. 




, Wm.Morris.Ad- 



Not occurred. 



dress on. 27 pp. 

Tennyson. Seven 


325 P. 


Not occurred. 



Poems and Two 



Not occurred. 




55 PP- 
Milton. Paradise 


300 P. 






Lost. 387 pp. 

25 V. 


41 10 41 10 




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. 



See table. 

Formerly Sold. 





(. s. 

Dante, 1481 .. 

V, No.i. 

Lakelands, 1891 360 

Dante, 1472 .. 

V, No. 3. 

Lakelands, 1891 80 


Scott. Waverley 

L No. I. 

Egerton Clarke, 

Novels. E.P. 

1899 .. .. 226 


Scott. 83 auto. 

in, No. I. 

Scott Huxley, 


1899 . . . . 305 



IV, No. I. 

i87o's . . . . 450 

Burns. Poems, 

V, No. 7. 

Lamb, 1898 .. 67 




Burns. Poems, 

Scott. Latin 

V. No. 14. 

Lamb, iSgS .. 31 



See text 

1890-8 .. .. 4 



Boyd, Z. Forme 

See te.\t 

Macdonald,i8g7 13 



of Catechising 

Tenn yson. 

VI, No. 6. 

iS90's .. .. 20 

35 10 

Poems, 1827. 



£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- 

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 

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 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) 


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. 


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 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. 


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 

|. 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. 


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 


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 

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- 

W. Creech, 
Edinburgh, for 
T. Cadell, 

8. Shakespeare 

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

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. 

• "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 


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. 


■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," 



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. 


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. 

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. 

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. 

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 



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

. Wilson, 



1596 January 22. 

John Keynes 1542 March iS 

W.deWorde, I 1525-9 March ig 

&c. ! 


The Hague 
For L. Har- 
rison & John 

171 2 March 21 

1577 " .V well-known 
March 30 


veil pre 

up at end. By 1 

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- 

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. 




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

title. (1026) 

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" ~ 


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. Defective. (»J Sold with all faults. R.P. Record Price. 


OR Place. 


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. 
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) 



March 20 . . 

tor Longman 


for Taylor & 


bson Car 

for E. Moxon 

i«33 ; 




arch 25 (H 



■■ .' 

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




To Mrs 
7S. H 



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


cut, / 
"p. 3 

ubd. OS 
6 and 


each. 'See "Book S 

ales of 




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


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 

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) (■') 


for W. Black- 
wood and J. 

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 


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) 



January 15(1') 

G. Norman, 


January i5(i') 


P.. guaritch 

Bradbury & 


March 2f) (11) 

Evans, for E. 




Gibson Car- 



Bradbury & 



Evans, for 

Ed. Moxon 

Scott." Ex.libris of Ja 

'13. Blackford" 
£89.'^ R.p"" 

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 

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 

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, 

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

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- 

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. 
los. 6cl. 1855. ;f 27s. od. .. 
Gaisford, 1890, /Tn. 

Beckford,i882,i2Knr.. 203 
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 



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 ^ The aggre- 
gate of the bids in Wellington Street practically 
justified this valuation. 


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. 


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 
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-: 


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. 


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. 



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 \' " (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. 


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 


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 


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 

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. 


Among tliem I wc^uld innition particularly I)iaz"s 
•'Pink I"lo\vi-Ts " 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. 

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- 


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. 

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 


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- 

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 



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. 


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- 


•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 

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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 

'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;. 



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. 


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. 


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. 


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. 



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 

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 



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 


(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 


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. 


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. 


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. 





FOR MAY 1903 

















APRIL 1903 




for Connoisseurs 
illustrated k^uhlishedMontM^ 


















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


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 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. 

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. ' 

.\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. 

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 


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 ! 



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 



Facsimile of title page of Aldine Ovid with signature of Shakespea 


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 


Sh.ikcspeare's signatures 


tho Biackfriars Deed 

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


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 

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. 



Le MusSe d'Art. Galerie des chefs d'oeuvre et precis de I'histoire 
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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, 
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Flandreysy (J. de). Femmes et diiesses : la Venus de Milo, la 
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Vols. II.-III. of the Geschichte der Modernen Kunst. An 
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No. XVIII. of E. Heyck's Monographien zur Weltgeschichte. 
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The Victoria History of the County of Essex, Vol. I. (13 x 8.) 
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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, 
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Wakkman's Handbook of Irish Antiquities. Third edition by 
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In 160 pages this volume of the " Villes d'art c^lebres " collec- 
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• Sizes (helglil 

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A history of the city of Amsterdam in its golden age, illus- 
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An excellent biography and critical appreciation of Dalou's 
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" The first complete study of the master that has appeared in 

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

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Vol. VII. of Knackfuss' Monographs on Artists, with 12S illus- 
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(9 X 6.)^ London (De la More I'ress). 





Kkinhardt (R.). Die GesetzmiissiKkeit der griechischen Baukunst. 
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.\ supplement of 40 pages to the work published last year. It 
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Besides a very e.xbaustive account of the church itself, the 
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A monograph published upon the completion of the church's 
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Cook (T. .\.). Spirals in nature and art, a study of spiral formations 
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I'.L-Roi'EA.v AN-n Japanese Gardens. A series of papers read before 
the .\merican Institute of Architects. Edited by G. Brown. 
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Chapters on Italian, English, French and Japanese landscape 
gardens, with illustrations and plans. 


Lakenestre (G.) and Richtenberger (E ). La peinture en Europe, 
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An important contribution to the literature of the origins of 
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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- 
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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 

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. 


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. 



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. 


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 



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). 

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 

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). 

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- 
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 


BissiNG (F. von). Catalogue general des antiquites egyptiennes du 
musee du Caire. Fayencegefasse. (14x10.) Vienne (Holz- 

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 

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. 


(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. 

A technical work, with chapters upon old and modern glass 
and a bibliography. 


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 


Dante. La Divina Commedia, nuovamente illustrata da artisti 

italiani a cura di V. Alinari. II. Purgatorio. (14 x 10.) Firenze 

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.] 

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. 


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 

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 

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 " ! 


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). 

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 

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 

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 


The I-oi.lowing .are also Announced :— 
Cherot (B). Le Portrait de Bourdaloue d'apres de R^centes 

HiLDEBRAND (.\.). Le Problemedela Forme dans les Arts Figuratifs. 
RoGER-iMiLEs. Le Style Piranesi. 
La Guerke racontee par llmage. A. V. de P. 


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 

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 

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- 

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 



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 : — 


enry Bright 

. Bacton Beach 

6iby 91 in. 




S. Cotn 


. The Windmill . . 




. The Storm : Yarmouth 




Beach (water-colour) 

. A Landscape with a Rain- 
. Buildings on a River 

23 byiSiin. 






. A Landscape with Peasant 

gj by 134 in. 


Woman on a Road 



. Old Bathing House, St. 
Martin's-at-Oak, Nor- 




. A Heath Scene : Sun 

27 by35iin. 



Breaking Out after a 


. The Edge of a Wood .. 




. Costessey Old Hall 

12 byiyiin. 





Bishop's Bridge, Norwich 

27 by43iin. 




57 15 
68 5 


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 

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 

.. Dutch Boats off Gorleston ioJbyi4jin. 115 10 o 
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 

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- 


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 



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. 


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 

.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. 


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. 



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 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 

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 


same, with the title, £6;^ ; and the same price was ob- 
tained for La Toilette de Venus (Madame de Pompa- 

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. 



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 

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 


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 


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. 


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- 


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. 



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 


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 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. 


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. 


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 


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 : — 


Edinburgh 1858 

C 5- 
3 10 


Gla'^gow 1859 


.\dara Sims 

Soiled, cut down . . 

Edinburgh 1869 


Sir J. Simeon 

Uncut, orig. blue 

Pickering 1870 

IS iS 



.\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 

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. 



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 : — 


Uncut part . . 
Imperfect cut copy 
Riviere's charge 
Profit . . 

/J54 15 

Uncutpart, completed 350 
Imperfect copy, resold 4 


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 

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. 


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 
£ 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 
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. 


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.. 


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. 


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- 


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 


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 


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 


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. 


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 

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 

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. 



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- 

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 

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 


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. 



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- 

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. 

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 


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 


(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. 

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- 

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. 


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 

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, 



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 


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 


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: — 



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 . . 


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 

Boethius, " very fair " 

History of Jason 

Dictes and Sayings of Philosophers 

/: s. d. 


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" .. 

Book of Hawking, etc., on vellum, folio, with 65 illu- 


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 


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 


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 . . 


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; 


Sir John Mandeville's Travels. " very valuable ' 

Two Breviaries, " very curious " 

Two Missals, finely illuminated 

/• s. d. 


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 


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. 


£ 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 


£ 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 

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 

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. 



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 

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- 



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 

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 

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 


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. 


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. 



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 that the last of these did not 
strike me as being of the artist's finest composition. 



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 

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. 


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. 


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. 


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. 





FOR JUNE 1903 



FOR MAY 1903 















MAY 1903 




for Connoisseurs 
illustrated kfuhlishedMontyif 


















•DiD-rTma /iMrr TiniMr; ';nppr.TTMT7MT^ THTRTV.TTTVTr <;HiT.r.iNr;.S POST FR 













The Salon 89 

Pakis Sales 50 

Pakis Notes 94 

Notes from Rouen . . . . . . . . . . 96 





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 


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 


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 

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 

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 

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 
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. 


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 



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 

.\ 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 

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 

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 


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 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 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 

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 

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, 



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 


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 


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 



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 


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. 



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 


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. 



■ 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 


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 

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 

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 ; 


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 


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 



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 

For P. 


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) 


Thos. Mil- 


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 






May 21 

May 9 

May 20 

May 19 

May 20 

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. 


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 


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. 


AuTiiOK OR Translator, Title, 

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. 


for J. Jag- 

gard : by Jos. 


and for J . 


For Peter 


For Richard 


161 1 


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 


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, 

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 


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) 

OR Place. 

;. Eton, Dub- 

23, Chapel 

Chapman & 

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""" 

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 
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 

Important duplicate copies mentioned 

* 'The Book Sales of 1902 with Tabulated Prices.' The Sav.le 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. 



Author or Translator, Title, 

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. 

or Place. 

for Thos. 

James Ballan- 
tyne, Edin- 
burgh, for 
Hurst & Co. 

For Taylor & 

For Edward 

S. &J.Ridge, 

Stewart & 
Murray for 
Smith El- 

Bradbury & 

May 21 

May : 

1849-50 May 

orig. half bindinsj, ^25 


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. 


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. 


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. 


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 

. Polidori's 1843 May 7(H).. 185 

pr i vate 


* " 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. 


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 


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 


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 

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. 



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 


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. 

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. 


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 


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. 

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. 


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 


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. 


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 


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- 



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 <>f it. 

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- 

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. 




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. 



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 


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 

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. 


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. 

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. 
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. 


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 

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 


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 


(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. 


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. 

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. 

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 


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 



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. 


(from ouk PARIS correspondent) 


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 

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. 


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, 


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 

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 ! ' 

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 

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. 
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- 



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 ? 




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 


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. 


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 


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 

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. 

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 


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. 



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. 


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 

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 


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. 



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). 

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.'] 


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 

Mevkr (A. (■>.). Donatello. (10x7) Leipzig (Velhagen & Klasing), 
3 marks. 

No. i.xv. of Knachfuss' Kunstler-Monographien ; 141 illustra- 

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 

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.] 


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. 

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), [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. 

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, 

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Reinach (S.). Recueil deletes antiques idealesouidealisees. (10x7) 

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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. 
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Heilmeyer {.\.). Die moderne Plastik in Deutschland. (10 x 7) 

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Sammhmg illustrirtes Monographien, x. 185 illus. 
Mazerolle (F ). Les medailleurs fran9ais du xv" siecle au milieu 

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The first volume contains a history of French medallic art 

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Welch (C). History of the Worshipful Company of 

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von .•\. K. (ij -. lu) Perlin (Hessling), 24 marks. 

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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]. 


Terentius. Codex Ambrosianus H. 75 inf. phototypice editus. 
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(17 X 15) Lugduni Batavorum (Sijthoff), /^lo. 

Vol. VIII of Codices Graeci et Latini, edited by S. De Vries, 
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BiBLioTHEQL'E Natiq-^ale, Departemeut des Manuscrits. Fac- 
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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) 

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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.] 


Catalogue of the valuable collection of Coins and Medals the 
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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, 
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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), 


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^ 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. 























— — — n 

JUNE 1903 ! 



for Connoisseurs 



























Paris . . . . . . . . . . . . . . . . 102 

Rouen 104 

Miscellaneous 105 


HOLI.ANIi 109 







HOOKS luj 



PARIS 125 

ROUEN 129 






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 


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 

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 

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. 


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. 


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': 


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. 


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 


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 


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- 

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.' 



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- 


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 


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. 


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 


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 


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. 



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. 


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 



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 


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. 

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- 


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 

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. 



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- 


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 

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. 


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 


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 

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 



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 

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-. 


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 


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- 

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 



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 


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. 



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 


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 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 


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. 


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 


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 


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 



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 


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. 


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. 


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. 


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") •• •• •• •• 15 o 



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. 


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 

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. 


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 

j. Horae. On 248 leaves of fine vellum. Gothic charac- 
ters. 24 small ani 2 miniatures. 15th 
century. Formerly in Ruskin's library, contains 
his ex-libris. June' 17 (98) 19S o 

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 

Publisher, Date. 

OR i LACE. D. 

Shakespeare, W. First Folio. I2jby 
7f in. Crimson morocco extra by 
Bedford. (493) (') 



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 


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, 




(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. 


Adthor or Translator, Title, 

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 

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) 

OR Place. 

. van Me- 
eren, .Ant-' 
,verp ? ) 

Old Richard Jugge 
John Cawocxl 

W. Tavlor . . 

T. Cotes for 

R. Allot 







Date of 



Oct. 4. 

June 19 



June 19 



June 19 



June 19 


1641-73 June iS 


June 17(H).. 

Sidney, (May 

B Collins, 


June iS 

Salisbury, for 

F. Newbery 

For P. 


June 19 


Ruth Raworth 



for Humphrey 

(June 20) 


S. Simmons 


June 18 

for Peter 


For Clement 


June 20 


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 


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 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. 



OR Place. 


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, 

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. 

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. 

r. Davison 
for Taylor & 

James Ballan- 
tyne, Edin- 
burgh, for 
Hurst & Co. 

T. Miller for 
Taylor & 

J. & J. Jack- 
son, Louth, 
for Simpkin 
& Marshall 

Italy for C.& 
J. Oilier 

Date of Sale. 



types 01 
& Shaw 

G. Norman 

for B. Qua- 

For Baldwin, 


T. Davison 

for Juvenile 

1 ibrary 

Bradbury & 
Evans for E. 
•'or Taylor & 

Oxford, for 


1813 17 


Mai t 1 anc 
(June 20) 

Sidney (May 

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,^ 


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. ]:iefective. (') Sold 


T. Phimmer 

1802 N 

for G. & J. 


Bradbury & 


Evans for E. 


Bradbury & 


Evans for E. 


E. ■Wilson . . 


(June 20) 

May 22 (H) 

16 10 

(June 20) 


(June 20) 

14 10 

(June 20) 


Sidney (Ma\ 



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 


' 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. 


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 


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 

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 

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 


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 


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 


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 . 


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 


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 



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 ; 


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 


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 



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 


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 


(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. 


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, 



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 

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- 


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. 


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. 



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. 



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 

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.] 


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.] 


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 

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). 

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 

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 


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 

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 

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. 


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), [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.] 


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. 




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 

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 


BouCHOT (H.), Bibliotheque Nationah 
Xylographiques du Departement de 

' 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.] 


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- 


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. 


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. 






















JULY 1903 



for Connoisseurs 

























ITALY 137 






PRINTS ,4., 




1. PARIS ,5j 




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 


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 
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 



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 

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. 


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- 

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 



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-^. 


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 

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. 




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. 


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 

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 



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 


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. 

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 


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. 


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, 

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 



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 


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. 



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. 



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 



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 


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. 


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. 


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 


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 



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 


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 



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. 


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. 


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. 


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 



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- 


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 


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 

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 

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. 



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. 


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 


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. 


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. 



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 


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. 


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 


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- 
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 

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 



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, 


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 


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. 



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 

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 



Venice and of so many other fine works, which make 
him the worthy successor of Giorgione, Titian and 

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 

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, 


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 


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. 


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 




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. 


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. 


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.] 


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. 


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.) 


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 

Royal Academy Pictures, 1903. (13 x 9) London (Cassell), 7s. 6d. 


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). 


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.] 


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.] 


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. 
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 





















AUGUST 1903 




for Connoisseurs 
illustrated k^ahlishedMont^ 























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- 
liminary circulars that it would be sold separately. 

It has, however, been found, after six months' trial, 
that there is not sufficient public demand for the in- 
formation about sales and other matters contained in 
the Gazette to warrant its being published separately, 
although many of our subscribers have expressed warm 
appreciation of it. We have, therefore, decided to 
return to our original plan of issuing The Burlington 
Gazette only to subscribers to The Burlington 
Magazine, that is to say, to those who subscribe in 
advance for one year. It will in future be sent to 
subscribers in the same cover as the Magazine. 

We take this opportunity of pointing out the 
advantages which are obtained by prepaid subscrip- 
tions. By a prepayment of thirty-five shillings for the 
year a subscriber not only obtains the supplement, but 
also the title-page and index of each quarterly volume, 
which costs sixpence to those who do not subscribe. 

It should be clearly understood that by subscribers 
we mean only those supplied directly from the office 
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scription less the trade commission. The Magazine 
will then be sent, together with the supplement and the 
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scriber, and the agent will subseciuently receive his 
commission on each annual renewal of the subscription. 
We invite the trade to take advantage of this 
arrangement, which means a great saving of trouble 
to the agent without any diminution of profit. 

The Burlington Gazetti-: will continue to be 
issued monthly as a rule, but it is possible that in 
one or two of the summer months, when there is little 
doing, it may not be issued. A supplement will be 
issued with the October number of the Magazine on 
October 15, and will contain a review of the picture 
sales of the season just closed, together with other 

N0.6. Vol. I.— Suplciubcr 1903 N 



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 



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 


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 


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. 

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 


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 


' medal had 
the slightest 
claim to be 
consi dered 

The late 
Mr. H. Syer 
Cuming, who 
paid a good 
deal of atten- 
tion to the 
various forms 
of this cha- 
racter, held 
the opinion 
that they were 
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, 

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, 




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- 

The whole 
story of these 
forgeries is 
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