Clara Leigh Dwight
Works of Elbridge Kingsley
A Life Sketch, Complete List of Book
fcf Magazine Engraving, a Full Show-
ing of Art Work, Original and Re-
productive, by First Proofs on Japan
Paper. Miscellaneous Collection of
Blocks, Tools and Appliances used
in Engraving. Photographs on the
Wood, and Drawings by the En-
graver. r.E^]^r : iment$ witb.. Process
ings. Medals gnd'Diplppaas.
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Compiled £5? Arranged for
MT. HOLYOKE COLLEGE
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Nature never did betray
The heart that loved her; 'tis her privilege,
Through all the years of this, our life, to lead
From joy to joy; for she can so inform
The mind that is within us, so impress
With quietness and beauty, and so feed
With lofty thoughts, that neither evil tongues,
Rash judgments, nor the sneers of selfish men
Nor greetings where no kindness is, nor all
The dreary intercourse of daily life,
Shall e' er prevail against us, or disturb
Our cheerful faith, that all which we behold
Is full of blessings.
AT the time when Elbridge Kingsley had reached
the height of his reputation as an engraver, in
the production of the works of great artists, it
was said of him by one perfectly conversant with what
had been accomplished by masters of the burin through
history down to the present: —
" Mr. Kingsley, having the courage of his convic-
tions, has made and published an engraving directly from
nature, claiming for it a virtue of its own which should
induce the more pretentious of the Graphic Arts to sit
closer and make room for it on their high perch. This
innovation set the many tongues of conformity to anything
but sweet discourse, yet it was no unripe fruit of the
artist's endeavor, but the result of years of devoted, lov-
ing assiduity. Many times his must have been a depth
of discouragement requiring a consecrated faith to lift him
to the level of the original purpose. The experiment
discovered to him broader fields and a greater liberty than
he had set down for himself. His engraving from nature
was an inspiration. It served its purpose when it brought
him to nature, and from the close intimacy thereby es-
tablished led to the development in him of the most prom-
inent exponent in this country of the conjoint arts of
painting and engraving."
For his original work from nature and for reproduc-
tions from the Barbazon painters of France a gold medal
was given to Mr. Kingsley at the Paris Exposition of
1889. Contrary to the foreign attitude, this work in
America was met with antagonism by painter and en-
graver, and received scant courtesy except at the hands
of art departments directly interested. On one occasion,
however, while he was encamped on Mt. Holyoke in a
sketching car, a few engravers gave countenance to his
original work, and with much good will prepared an
article for the Century Magazine which they illustrated
with specimens of their own work from nature.
Elbridge Kingley was born September 1 7th, 1 842, at
Carthage, Ohio, now a suburb of Cincinnati. He was
the son of Moses W. Kingsley and Rachel W. Curtis,
both natives of Hatfield, Mass. The sojourn of his-
parents in Ohio was short, for they returned to Hatfield
when he was six months old, where they lived upon a
farm and reared a family of six boys* The father died
in 1893 and the mother in 1900. Their lives were
spent mostly in Hatfield with little connection with the
outside world. The first journey of the father to Ohio
when a young man, by way of the Erie Canal, occupied
a period of six weeks.
His boyhood life was that of most boys in New Eng-
land at that period, farm work in summer and the village
school in winter. There were no excursions from home
until, when thirteen years of age, a summer's work at a
neighbor's gave him sufficient means to venture across the
river to enter Hopkins Academy in Hadley, The mem-
ory of this first experience of absence from the paternal
roof is enlivened by recollections of home sickness and of
a visit with some wood-choppers to the top of Mt. Holyoke,.
where the vivid impression of the Connecticut valley
stretching away for miles, all in white, glowing in the
sunshine, stamped itself upon his mind in a manner that
has never been effaced. Schoolmates also tell of statues
made by him of the snow, and of a gorgeous water color
drawing of '* Belshazzar's Feast " done in crimson and
gold, the thought born in the environment of a Puritan
At the age of sixteen he experienced a complete sever-
ance from the home nest by becoming an apprentice at
the office of the Hampshire Gazette in Northampton^
Here he went through the usual routine of acquiring the
printer's trade, and made some efforts at drawings to
illustrate the books read in leisure hours. A whole edition
of Cooper received his attention in outline, and the stirring
examples of F. O. C. Darley were to him a constant in-
spiration. This quiet existence continued till the end of
the apprenticeship and the breaking out of the Civil War.
The drum beat raised the wish to be off to the war with
companions of the same age, but his ambition could not
be gratified on account of near-sightedness which precluded
the idea of his ever doing execution with a gun. So the
eyesight that spoiled a soldier was saved for the study of
On coming of age there was a flight to New York,
that Ultima Thule in the imagination of all country boys.
A first experience was to get lost in the Five Points
where, alas, how different the squalor, filth and reeking
humanity from the fairy palaces which a boyish imagina-
,in the country had pictured. After explorations sufficient
to acquire familiarity with city streets, a course of study
was commenced in the drawing schools of the Cooper
Union. This was continued through the first winter,
going back and forth to a boarding house in Brooklyn,
then a long journey. In the following spring there was
a short experience at typesetting as substitute on the New
York Tribune, and a remembrance of the famous hand-
writing of Horace Greeley, the knotty places requiring
the whole office force to decipher.
A chance at steady typesetting on a monthly, published
'by J. W. Orr, 75 Nassau Street, brought Mr. Kingsley
into contact with Mr. Orr's then famous wood engraving
establishment, and gradually he commenced the study of
engraving and finally left the printing department. Then
there came a short married life and the starting at house-
keeping on 59th Street. Engraving was done by him for
the firm of Lossing & Barrett and for Edward Sears of
Beekman Street, a large share of the work being of a
The famous engravers then worshipped by younger
men were W. J. Linton, John P. Davis, Bogert, Annin,
Minton and Whitney, with a few foreigners both
French and English, whose prints were sought and
After the war Mr. Kingsley was married for the second
time to Elizabeth W. Cook, of Hadley, Mass. She died
in 1 89 1, leaving a family of three children. He also
entered into business at Northampton in the combined
lines of printing, engraving and lithography. The bus-
iness panic of 1873-75 brought the country business to
an end, but meanwhile he had commenced a period of
sketching from nature and drawing with a class under J.
Wells Champney, who was the first art teacher at Smith
College. Then came the drifting back to New York
and joining the new current, — the new school of Amer-
ican wood engraving. The distinction between the
new and the old school consisted mainly in the use of
photography to put a copy on the wood, and an almost
complete revolution in the variety of textures used. This
was a necessity with the various mediums employed by
artists making a copy. The demand for this class of
work originated with the illustrated magazine published
by Charles Scribner, now known as "The Century."
This new direction in engraving isolated the older
men. There was but one from the older generation who
stepped over the gulf and succeeded in identifying himself
with the new school so as to keep on producing to the
present time. This was John P. Davis. Other prom-
inent names among those who belonged to the new school
in the beginning were Cole, Juengling, Smithwick,
French, King, Kruell, Johnson, Closson and Wolf. It
was difficult to enter the sacred circle, but after repeated
trials, a foothold was gained by Kingsley and he
became perhaps the wildest innovator of all. Every-
thing questionable, or out of the ordinary, came to be
reserved for him to make intelligible. At this time not
much had been attempted directly from paintings. The
engraver's copy it was thought must be all in black
About the first distinct trend of Kingsley's work to the
painters was in connection with the American landscape
painter George Inness, Sr., of whose kindness Mr. Kings-
ley has many pleasant recollections. He made no con-
nection with portrait or figure painters, and probably
there was in him no natural adaption for this class of
work. Indeed the rest of the men of the new school
divided as to their work into special directions, and there
was little running together on the same lines. This sep-
aration was natural aud instinctive, and was followed and
acquiesced in with good feeling by all. Cole established
in Europe his special field of "The Old Masters; "
Juengiing, the opposite in character of textures, had an
ambition to become a painter, but died in the midst of
his usefulness; Kruell and Johnson took first positions in
portraiture; while with a few members of the school their
work was still of a general character.
The home ties of a growing family brought Kingsley
back to Hadley. There also came to him a longing to
sketch out of doors. For convenience in this, and for
engraving also, the sketching car was built that has become
such a feature in his work. Many original blocks have
been engraved in it at various places in the Connecticut
valley. The first trip in the sketching car was made in
September, 1879, to a Hadley swamp on Fort River,
where the time was spent in sketching in oils, and in en-
graving a drawing by Granville Perkins. The same year
trips were made to Hadley cemetery and to the mountains
west of the valley.
There now followed much original work. A number
of original engravings from nature were produced by Mr.
Kingsley beginning with a block engraved in the sketch-
ing car while encamped in the Hatfield woods. The
quality of this work aroused considerable discussion and
dispute, even to the denial of its being engraved from
nature on the spot. These engravings were used mainly
to illustrate poetry. A volume of poems by Whittier,
containing some of them, was published by Houghton,
Mifflin & Co., of Boston. About this time Scribner's
Magazine was changed to " The Century " and moved
to new quarters, and Mr. Kingsley received orders to
reproduce for this magazine landscapes from the Barbazon
school of painters. This employment brought him in
contact with some of the best work of the great masters,
as well as with the owners of their paintings.
Meanwhile a society had been formed called " The
Society of American Wood Engravers " with John P.
Davis as secretary, of which Mr. Kingsley was a mem-
ber, and there developed an ambition for broader work.
A large volume was published under the auspices of the
society in two editions, one plain and the other of Japan
proofs. At the Paris Exposition of 1889 the United
States Commissioner took a personal interest in the exhibit
of the American engravers and an extensive showing was
made, and Mr. Kingsley received the gold medal for his
engravings. On its return this exhibit travelled from
Boston to San Francisco, being shown at the principal art
centers, and Kingsley and Davis lectured on wood en-
graving at many of the exhibitions. This period marks
the height of public interest in wood engraving.
The photographic process plate, with its cheapness and
facility of production, presently began to make such in-
roads upon the livelihood of the engraver that the bulk of
the profession was soon crowded out. Some retained
positions by learning to retouch and help out the process
plate, and a few were still employed to do exceptional
work. Mr. Cole retained his position of reproducing the
old masters for the "Century" and 'to him was awarded
the gold medal of the Paris Exposition of 1 900. Mr. Wolf
also kept on with the "Century/ ' and Johnson likewise at
intervals in portraiture. Kruell went into large portraits
for the Japan proof alone, publishing with the true painter-
engraver spirit. Probably no portraits on wood have
ever equalled the artistic excellence of the most important
examples of this series. French worked away on original
work, both large and small, appearing at intervals in the
magazines. Mr. Cleaves continued at painting and en-
graving his own sketches and, with Mr. Davis, worked
with Mr. Kingsley whenever the latter went on his ram-
bles with the sketching car in the Connecticut valley.
Devotion to the cause of landscape art, both painting and
engraving from the same hand, has been principally con-
fined to these artists, W. P. Cleaves, John P. Davis and
Elbridge Kingsley, who have kept on through all dis-
Kingsley' s work for publishers practically ended in 1 890
with a record of about three hundred plates. The most
important of these are the original engravings from nature
and the reproductions from prominent painters. Since
1890 his engraving has been mainly on large work for the
Japan proof alone, concerning which the general public
has little knowledge. Some of the reproductions in this
list, comprising about twenty-five plates, represent Dau-
bigny, Inness, Ryder, Bliss Baker and Murphy. There
are four engravings after D. W. Tyron, and several or-
iginals. Some of these have stages of trial proof, — ten
to twenty in number from the first prooving. Such
works serve a purpose similar to that of the steel engrav-
ing and the etching, and have a corresponding value. It
cannot fail to gratify the artist engraver to receive for a
single Japan proof an amount almost as great as that which
he received in times past for the block itself. It is to be-
understood accordingly that Kingsley and his fellow
painter-engravers now treat wood engraving practically
as the painter-etchers of Europe treat etchings, and in fact
the most cordial sympathy, as well as support, which they
receive, comes from the same source, the buyers of fine
pictures for private collections.
There are several extensive collections of Japan proofs
from the wood block owned by individuals and public
institutions both in Europe and America. These in time
will probably be valued highly as relics of a lost art. At
present there is but one complete collection of Kingsley's
work. It is known as the " Clara Leigh Dwight Col-
lection," and is preserved in the Dwight Memorial Art
Building of Mount Holyoke College.
There are signs in the heavens. With the growth of
art in the schools, and the building of art galleries in con-
nection with libraries and colleges, environments are
forming in many places to encourage individual art in
America, and the time draws near when it will not be
necessary for the creative artist to go far from home to
find encouragement, much less to go abroad to receive
foreign appreciation before obtaining recognition in his
These engravings were col-
lected by Clara Leigh Dwight,
wife of John Dwight, of New
York City, and dedicated by
her to Mt. Holyoke College
Book and Magazine Proofs
i In the Steerage. From -a drawing by James E.
This first engraving of Mr. Kingsley was made in 1878. The
drawing by Mr. Kelly was borrowed from Scribner's Art Depart-
ment, photographed on the wood and a trial made of its reproduc-
tion. The result brought him into connection with Mr. Kelly,
and further experiments were made as shown in Nos. 2, 3 and 4.
2 In the Market. From a drawing by James E.
3 A Head. From a drawing by James E. Kelly.
4 A Head. From a drawing by James E. Kelly.
5 "When the Swallows Homeward Fly,
From a drawing by Jennie Browns Combe.
This was the first engraving paid for by Scribner. Following a
suggestion of Mr. Kelly, every spot in the drawing was repro-
duced, — even a tear in the paper was shown in the engraving.
6 Samples of Diamond Rock. Drawn on the
7 Grinding. From a drawing by Walter Shirlaw.
8 Baby Seal.
9 Baby Seal. Drawn on the wood and engraved
twice by the engraver.
io Punished. From a drawing by A. C. Redwood,
i I Birds. From a drawing by Mrs. R. Swain Gif-
1 2 Factory Closing. From a drawing by Walter
13 A Piece of Tape. Engraved from the object
14 Cottage Door. From an early drawing of Mary
15 Hunter's Fright. From a sketch by Harrison
Mr. Kingsley was directed to Walter Shirlaw for assistance in
making this engraving, and together they worked out what was
then considered a novel result, especially in variety of textures.
16 Spinning. From a drawing by F. Deilman.
17 Transportation. From a drawing by F. Deil-
18 Outline Drawings. From sketches by an art
19 Sea Lions. Drawn on the wood.
20 Edison as a Boy. From a drawing by James
21 Edison's Experiments. From a drawing by
James E. Kelly.
22 Edison Signalling. From a drawing by James
The above were from an article on the life of Edison. Before
making these illustrations the artist and Mr. Kingsley visited
the inventor in his workshop at Menlo Park, N. J.
23 Diamond. Drawn on the wood by the engraver.
24 Horse Dealer. From a drawing by James E.
25 Shipping Horses. From a drawing by James
26 Hunting the Rhinoceros. From a drawing
by James E. Kelly. Engraved for St. Nicholas.
27 The Stowaway. From a drawing by James E.
28 In Swimming. From a drawing by James E.
29 In Brazil. From a drawing by J. W. Champney.
This artist was the first instructor in art at Smith College. Mr.
Kingsley joined his classes, and commenced sketching from nature
under his instruction. Mr. Champney made a trip to Brazil for
Scribner's, and this drawing was one of a series of illustrations for
30 Mardi-Gras in New Orleans. From a
drawing by J. W. Champney.
31 Ashore. From a drawing by James E. Kelly.
32 Tile Club.
The above engravings were made from drawings by an Artist's
Engraved from drawings used as trade marks by an iron firm in
40 In Brazil.
41 " "
From drawings made in Brazil by J. W. Champney.
42 Trinity Church. From a drawing by Warren.
43 The Waterfall. From a drawing by Kappes for
44 The Reaper. After a painting by Meyer.
45 In Brazil. From a drawing by J.W. Champney.
46 The Color Guard. After a French painting.
47 The Cradle. After painting by Meyer.
48 The Mayflower.
50 Departure of the Mayflower.
From drawings by Granville Perkins.
These three engravings were made to illustrate an edition of Long-
fellow published by Houghton, Mifflin & Co., of Boston.
5 1 A Wharf. From a drawing by Granville Per-
52 The Rescue. From a drawing by F. Deilman.
53 The Picnic. From a drawing by Taber.
54 Thread the Needle. After a painting.
55 Fish. Drawn on the wood.
56 The Reception. From a drawing by F. Deil-
57 In the Gallery. From a drawing by Mills.
58 In the French Quarter. From a drawing by
Will H. Low.
59 Traps From a drawing by Mills.
60 Col. Sellers. From a statuette.
61 In the Lock. From a drawing by Granville
62 Tennyson. From photographs.
64 An Observer. Original.
65 Fishing. From a drawing by Taber.
66 Whittier's Study. Drawn on the wood.
67 Stage Journey. From a drawing by Mills.
68 Fishing at Sea. From a drawing by Gran-
69 In the Dock.
70 Elevator. From drawings by C. Vanderhoof.
7 1 French Quarter. From a drawing by Robert
72 Painting. From a drawing by Taber.
73 Gambling. From a drawing by Mills.
74 Storm. From a drawing by Granville Perkins.
From drawings by the Salmagundi Club.
79 Fort Meadow. Original.
80 Ice Freshet. Original.
81 White Birches. Original.
82 Hadley Cemetery. Original.
83 Hadley Meadow. Original.
84 Buried Alive. From a drawing by Robert
85 The Cripple. From a drawing by F. Deilman.
86 The Runaway Engine. From a drawing by
87 Children. From a drawing by F. S. Church.
88 A Cathedral. From a drawing by Reardon.
89 Boy and Dolphin. From a sculpture by Bauer.
90 Kite Flying at Sea. From a drawing by Burns.
91 Curiosity Shop. From a drawing by Vander-
92 Boyhood of Frederick the Great. From
93 Lachine Rapids. From a drawing by H.
94 Frederick the Great. From a photograph.
q r ti ii (« (< C«
96 The Wreck. From a drawing by Granville
97 Bird. Original.
98 Coney Island. From a drawing by Taber.
99 Fourth of July. From a drawing by Zogbaum.
100 Gateway to Catholic College, Montreal.
From a drawing by H. Sandham.
101 Temple Court, London. From a drawing by
102 Among the Lions. An illustration for St.
103 The Dolphin. From a drawing by Beard.
104 The Pitcher. From a photograph.
105 The Seasons. Spring.
1 06 " " Summer.
107 " " Autumn.
108 " " Winter.
From drawings by F. Debour.
109 The Sentinel. From a drawing by C. Wood-
no Old Curiosity Shop, London. From a
drawing by C. Vanderhoof.
1 1 1 The Rabbit Story. From a drawing by Lang-
1 1 2 The King's Jester. After a painting by Meyer.
113 The Doorstep. From a drawing by H. R.
114 Marsh Hunting. From a drawing by Thomas
115 Canoeing. From a drawing by Burns.
1 16 Siegfried. From a drawing by Robert Blum.
117 Meadow Brook. Original.
This was the first block ever engraved directly from nature. It
was made by Mr. Kingsley while encamped with his sketching
car in the Hatfield meadows. It was never published. Several
poems were written for it.
1 1 8 Gate at Quebec. From a drawing by Henry
119 Arab Model. From a drawing by Harper,
120 Head. After a painting by Sargent.
121 Head. From a drawing by F. Fowler.
122 Ice Boat. From a drawing by Burns.
123 Fisher's Family. After a painting.
1 24 A Doorway. Drawn on the wood.
1 25 Under the Sea. From a drawing by Beard.
126 On the Thames. From a drawing by H.
127 Along the Shore. From a drawing by Rein-
128 Frederick the Great. From a photograph.
129 Along the Thames.
130 " " "
From drawings by Sandham.
1 3 1 Along the Coast. From an etching by Parrish.
132 Boy and Dolphin. From a sculpture by
133 Christmas. From a drawing by T. T. Merrill.
134 In a Cave. From a drawing.
135 Ancient Sculpture. From a photograph.
136 Circus Horse. From a drawing.
1 37 Portrait of Matthew Arnold. After a paint-
ing by G. F. Watts.
138 Ancient Sculpture. From a photograph.
139 Ancient Sculpture. From a photograph.
140 Old Inn. From an etching.
141 Church Interior. From a drawing.
142 Portrait of Matthew Arnold. After a paint
ing by G. F. Watts.
143 Ancient Sculpture. From a photograph.
144 Sailor Mending. From a drawing by Butler.
145 Portrait of Madame Gerster. From a
146 The Friends. From a drawing by J. H. Cocks.
147 Baron Castine. After a painting by Will H.
148 Gymnasium. From a drawing by J. H. Cocks.
149 Longfellow. From a drawing by Smedley.
150 Flock of Sheep.
151 Curing Heather.
152 In the Heather.
153 In the Lane.
From drawings by Harry Fenn.
154 Among the Hills. From a drawing by Rear-
155 In India. From a drawing by F. C. Jones.
1 56 Portrait. From a photograph.
157 High Bridge. After a painting by Geo. Inness.
158 Under the Greenwood. After a painting by
159 McCoomb's Dam. After a painting by Geo.
These were the first of a number of reproductions from the
paintings of George Inness. The sympathy between this painter
and Mr. Kingsley was most cordial, and it is probably owing to
this that Mr. Kingsley' s engravings, after this period, show a
distinct trend toward landscape as his special line of work.
160 Jersey Swamp. Drawn on the wood.
161 Upper New York. After a painting by Geo.
162 In a New England Forest. Original.
This was the first published original of Mr. Kingsley. It was
engraved in the Hatfield woods from the window of the sketch-
ing-car, or while lying in the shade of the bushes and holding the
block in the sunlight for the better seeing of textures. A simple
statement of the manner of its production was published with the
engraving in the * ' Century ' ' at the time. The methods em-
ployed were disputed by professional engravers and the innovator
was regarded as a fraud by those who worked in different and
more conventional ways for their results.
163 Loitering. After a painting by Geo. Inness.
164 Coming Storm. Original.
165 Bumble Bee.
166 Springtime. "
167 Among the Pines. "
168 Button Balls.
These engravings constituted Mr. Kingsley' s first attempt to
illustrate a whole article in an original way. The article was en-
titled *' Signs and Seasons," by John Burroughs. This brought
him into delightful connection with the eminent naturalist at his
country home on the Hudson, and from this close observer of
nature Mr. Kingsley received encouragement to deal with the
larger phases of sunshine and shadow, and the glories of autumn
171 Cherokee Rose. Original.
172 Memorial to Frederick 'Walker. From a
173 In the Country. From a drawing by Alfred
1 74 Twilight. From a drawing by Henry Sandham.
175 Tailpiece. From a drawing.
176 Landscape. Original.
177 At Sea. Original.
This was used to illustrate an article entitled " At Sea," by John
Burroughs. It endeavors to portray the loneliness of the human
atom afloat in a vast expanse of ocean. The author visited Mr.
Kingsley after the engraving was finished and was very kind in
his commendation of it. Seymour Hayden, an English painter-
etcher, was at this time on a visit to America, and during a
lecture in Chickering Hall used this print as a text to urge the
value of original work.
178 Winter. Original.
To illustrate an edition of Longfellow, published by Houghton,
Mifflin & Co.
179 Harbor of San Francisco. From a drawing
by T. Moran.
180 Valley of Mexico. From a drawing by T.
181 Rock in the Sea. Original.
1 82 In the Woodland. Original.
183 Midwinter Night. "
184 Spring. "
185 Capital City.
These were engraved for the Century Magazine to illustrate
186 Mount Washington. Original.
187 Snow Storm.
189 The False Beacon.
190 The Ship on Fire.
191 In the Woods.
192 The Merrimac.
193 In the Glen.
194 Mount Chocorua.
195 Thunder Storm.
196 Last Walk in Autumn.
197 The Sunset.
198 The Lakeside.
199 T^ e Burial Ground. Original.
These were engraved to illustrate "Poems of Nature," by
Whittier, published by Houghton, Mifflin & Company. To
prepare himself for making these illustrations Mr. Kingsley visited
Whittier' s home in Amesbury and the poet's haunts in the
200 General Grant's Headquarters. From a
20 1 Houses of Parliament. From a drawing by
202 Kingsley's Car at Whately Glen. From
a drawing by Harry Fenn.
203 Hunting Moose. From a drawing by H.
204 Street in Teheran. From a photograph.
205 Thermometer. From a drawing by Nugent.
206 Hunting Camp.
209 Deer Herd.
210 The Flight.
211 The Chase.
212 The Slaughter. From drawings by G.
These were engraved to illustrate an article on hunting.
213 Cathedral Arch. New Haven. Original.
214 Central Church. "
217 Summer Residence.
218 Lillies and Forget-me-nots.
219 Residence. New Orleans.
220 Residence. "
These engravings were made to illustrate a memorial volume for
the wife of Judge E. C. Billings of New Haven, Ct.
221 Wood Gatherers.
222 Landscape and Cattle.
223 Forest at Fontainebleau.
224 Lake Nemi.
226 Orpheus Greeting the Morn.
After paintings by Corot.
These were the first of a series of reproductions of the paintings
of the French Barbazon School.
229 Rustic Picture.
230 Christ Appearing to Mary.
231 Temple of the Mind.
After paintings by A. P. Ryder.
233 Ravines of Apremont.
234 Mount St. Michael.
236 The Farm.
After paintings by Rousseau.
237 Landscape in Sunshine.
238 Landscape in Shadow.
After paintings by Diaz.
239 Lake in Russia. From a photograph.
240 Twilight. From a drawing by W. L. Taylor.
241 Ticonderoga. From a drawing by Wm. Hole.
242 Sea Coast. From a drawing by R. Swain
243 At Sea. From a drawing by Halsell.
Z44 Battle of Memphis. From a drawing. A
civil war illustration.
245 The Shepherd. From a drawing by Alfred
246 Fujiyama. After a painting by Twatchman.
247 Winter in the Adirondacks. After a paint-
ing by Twatchman.
248 'White Birches. Original.
This was made from a painting of Mr. Kingley's which he painted
from the sketching car on the side of Mt. Holyoke under
"Titan's Piazza." For this engraving Mr. Kingley received
the gold medal at the Paris Exposition, 1889.
249 A Quiet Spot. From a painting by Mr. Kings-
ley made in Fort Meadow.
250 Wailing Place of the Jews. After a paint-
ing by Vereschagin.
251 Old Hadley Street. Original.
After a painting by Mr. KINGSLEY. The view is taken from
the artist's house in Hadley.
252 The Three Bells. Original.
253 The St. Lawrence. From a drawing.
254 The Nell Gwynne House. From a drawing.
255 T he Old Maple. Original.
After a painting by Mr. KINGSLEY, made in Whately Glen
256 Winter Idyl. Original.
257 In the Shadow of Mt. Holyoke. Original.
258 Battle Ground of Fredericksburg. From
259 Montauk Light. After a drawing by Twatch-
260 Great Shoshone Falls. From a photograph.
261 Little Shoshone Falls. From a photograph.
262 Twilight. From a drawing by Perry.
263 Autumn. From a drawing by Twatchman.
264 Winter. From a drawing.
265 Master of Ballantre. From a drawing by
266 Sacred Boo Tree of India. From a photo-
267 Forest of Fontainebleau. From a drawing
by T. Robinson.
268 Gate of Japan Garden. From a drawing by
269 Gate of Temple. From a drawing by John
270 Feather, From a drawing.
271 Tail Piece. From a drawing.
272 At Sea. From a drawing by Burns.
273 Moonlight. From a drawing by H. D.
274 Chinese Theatre. From a drawing.
275 Squadron Evolution. From a drawing by
276 House in California.
'277 " " " From photographs.
278 In the Woods. Original.
279 Warwick Castle. From a drawing by Taylor.
280 Twilight. After a painting by Daubigny.
281 The Seaside. " ee << cs
283 Spring. After a painting by Monet.
284 Storm. After a painting by G. Michel.
285 Sunset. After a painting by G. Michel.
286 Quarries of Montmartre. After a painting
by G. Michel.
287 Tragedy of the West. Original.
288 Snow Storm. «
289 Jonah. After a painting by A. P. Ryder.
290 Greylock. Original.
291 Street in Holyoke. Original.
292 Evening. "
293 Bloody Brook. "
294 The Bohemians. After a statue by Bartlett.
295 Canal Bridge.
296 Vermont Hills.
297 Canal in Jersey.
298 The Hillside.
After paintings by T. Robinson.
299 Cambridge Marshes. From a photograph.
300 Flight of Birds. Original.
Japan Proofs of Engravings
MADE FOR AN ART PURPOSE
301 Icebergs. Original.
302 In the Harbor. Original.
303 Morning. After a painting by Geo. Inness.
304 Flying Dutchman. After a painting by A. P.
305 Silence. After a painting by W. Bliss Baker.
306 The Old "Well. After a painting by J. Francis
307 Midsummer. After a painting by Daubigny.
308 Niagara. After a painting by Geo. Inness.
(An experiment in color.)
309 Historic Ground in the Connecticut
310 New England Elms. Original.
311 Late Summer. After a painting by R. Collin.
312 Greylock. Original.
313 Journey Northward. Original.
314 White Mountains. Original.
315 White Mountains.
A set of trial proofs of the preceeding.
316 Autumn Evening. After a painting by D.
317 Reverie. Original.
318 Old Homestead. After a painting by J.
319 Winter Evening. After a painting by D. W.
320 Springtime. After a painting by D. W. Tryon.
A set of trial proofs of the preceeding.
322 Moonrise. After a painting by D. W. Tryon.
Block of " White Mountains."
" " " Canal."
" showing Drawing on the Wood.
" showing Photograph on the Wood.
" sawn from the Log.
Tools. A Variety of Gravers ; eye-glass and Frame ;
Sand-bag and Oil Stone.
Medal from the Chicago Exposition.
Photographs of Paintings redrawn by Mr. Kingsley.
1 Photograph of Painting by Rousseau.
2 Reverse Negative of the preceeding.
3 Photograph of Landscape by Rousseau.
4. " " " " Diaz.
< ( <<
r (t ce a
6 " " " " Corot.
8 Reverse Photograph of "White Birches."
9 Photograph of Painting by Rousseau.
i Kingsley's Car in Hadley Meadows.
2 Devil's foot-ball, Mt. Holyoke.
3 Mt. Holyoke from Fort Meadow.
4 Scene in Whately Glen.
5 Kingsley's Childhood Home in Hatfield.
5 *< ** << *t <t
7 View from Mt. Holyoke.
EXPERIMENTS WITH PROCESS PLATE
1 Print on Copper Plate. Hadley Street.
2 Screen Negative " "
•2 tt (f (( ft
4 tf " Kingsley's Studio, Hadley.
5 Etched Copper Plate, Whately Glen.
6 Screen Negative, Titan's Pier.
7 " " Mt. Holyoke.
8 " *< Fort River.
9 Print from Process Plate, Kingsley's Studio, Hadley.
from Mt. Holyoke.
Hooker Birthplace, Hadley
Winter, Hadley Meadow.
Five Points' Children.
1 7 Print from Process Plate, Worcester Park.
1 8 " « <« « Hadley Cemetery.
19 Print from Process Negative, Kingsley's Studio.
" " Hadley Bridge.
" " Hadley Cemetery.
" " Hadley Street.
" " Hadley Mill.
" " Fort Meadow.
Early Drawings and Engravings.
Portraits of Barbazon Painters.
BOSTON PUBLIC LIBRARY
3 9999 06505 786 9
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