Watteau, Boucher and the French engravers and etchers of the earlier eighteenth century

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GREAT ENGRAVERS : EDITED BY ARTHUR M. HIND

PATRON. M. DE JULIENNE.

WA EAU

BO UC E R

AND THE FRENCH ENGRAVERS

AND ETCHERS OF THE EARLIER

EIGHTEENTH CENTURY

WILLIAM HEINEM A<N N
LONDON i 9, ' '

BOOKS OF REFERENCE

HUBER, M., ROST, C. C. H., and MARTINI, C. G. Manuel des curieux et

des amateurs d'art. Zurich 1 797-1808. Vol. VIII (Ecole de France,

seconde partie) 1804

RoBERT-DuMESNiL, A. P. F. Le Peintrc-graveur Fran9ais. Paris 1835-71
BAUDICOUR, P. de. Le Peintre-graveur Fran9ais continued Paris 1859,

1861

DUPLESSIS, G. La gravure en France. Paris 1861
GONCOURT, Edmond de. Catalogue Raisonne de 1'oeuvre peint, dessind, et

grave d'Antoine Watteau. Paris 1875
BOCHER, E. Les gravures fran9aises du 1 8e siecle. IV. Lancret. Paris

1877

PORTALIS, R., and BERALDI, H. Les graveurs du 18° siecle. Paris 1880-82
DOHME, R. Antoine Watteau, und die Schule Watteau's. Jahrbuch der

kgl. Pr. Kunstsammlungen. IV (1883) 217
BOURCARD, G. Les Estampes du i8e siecle. Ecole Francaise, Paris

1885

Dessins, gouaches, estampes, du i8c siecle. Paris 1893
FRISCH, Albert. Gemiilde und Zeichnungen nach dem von Boucher und

unter dessen Leitung gestochenen Werke, in Lichtdruck hergestellt

von A. F. Berlin [1885-88]
MANTZ, Paul. Antoine Watteau. Paris 1892 (and Gazette des 'Beaux-Arts^

1889, 1890). Cent Dessins de Watteau graves par Boucher. Paris

1892

PHILLIPS, (Sir) Claude. Watteau. London 1895 (revised edition 1907)
SCHE>ER, Gaston. Catalogue des Estampes . . . composant le Cabinet des

Estampes de la Bibliotheque de 1' Arsenal. 3" livraison, pp. 154-188.

Paris 1895 (contains the most authoritative list of Julienne's "CEuvre

de Watteau ")
DILKE, (Lady). French Engravers of the Eighteenth Century. London

1902

Josz, Virgile. Antoine Watteau. Paris 1905
MICHEL, Andre. Fran9ois Boucher. Paris 1907
NOLHAC, Pierre de. Fran9ois Boucher. Paris 1907

NEVILL, Ralph. French Prints of the Eighteenth Century. London 1908
DELTEIL, LOYS. Manuel de 1'Amateur d'Estampes du i8e siecle. Paris

1910

WATTEAU, BOUCHER, ETC.

IT need hardly be said that Watteau does not figure in this series
by virtue of being a great engraver or etcher. But it is our
intention to deal with phases and periods of engraving as well
as with separate masters of the art, and a period is often best
defined by the painter who was the inspiring force behind a whole
group of engravers. Watteau was never the head of a school of
engravers in the same sense as Rubens. Rubens realised, like Raphael
and Van Dyck, the practical benefit that might be reaped from issuing
prints after his own works, and almost monopolised the time of
several of the greatest engravers of the period, keeping them in some
instances in his studio, and giving the closest supervision to the pro-
gress of their work. With Watteau, on the other hand, it remained
rather for the publisher and patron to have his work reproduced in
engraving, and in spite of his early popularity, a premature death at
the age of thirty-six rendered it impossible for any large number of
prints to have been produced under his personal supervision. It was
only after his death that his constant friend and patron, M. de
Julienne, was able to realise the project of a corpus of engravings
that should adequately illustrate the master's achievement as painter
and draughtsman. And no painter has received a more magnificent
monument than the superb " Recueil " carried out by Julienne as a
memorial to his friend. The engraving by Tardieu, after a lost picture,
given as our frontispiece, is the happiest record of a disinterested
friendship that will always reflect honour on the master's patron.

Julienne's corpus, in four large folio volumes, appears to have been
completed in 1734, and issued in a hundred copies at an original
price of five hundred livres.* The first volume bears the title
" L'ceuvre d'Antoine Watteau, Peintre du Roy en son Academic
RoYale de Peinture et Sculpture. Grave" d'apres ses tableaux et
desseins originaux tires du Cabinet du Roy et des plus curieux de
1'Europe. Par les soins de M. de Jullienne. Fix£ a cent exemplaires
des pres epreuves." This first volume is almost entirely limited to
reproductions of the paintings (including both easel pictures and de-
corative panels), with the exception of two charming series of small
plates, the " Figures de Modes, dessinees et gravees a 1'eau-forte
par Watteau et termin£es au burin par Thomassin le fils," and the
" Figures francaises et comiques nouvellement invente'es par Watteau "

* A later edition was announced by the widow of Fran9ois Chereau in
1739, at a price of 250 livres.

5

GREAT ENGRAVERS

(engraved by Desplaces and others). Then followed two somewhat
smaller folio volumes reproducing about three hundred and fifty
drawings, with the title " Figures des differents caracteres de paysages
et d'etudes dessindes d'apres nature par Antoine Watteau. Gravdes
a 1'eau-forte par des plus habiles peintres et graveurs du temps.
Tirees des plus beaux Cabinets de Paris. A Paris chez Audran,
graveur du Roy, et chez F. Chereau, graveur du Roy." Finally
as the fourth volume of the series came the second of the paintings,
with the title " CEuvre des estampes gravies d'apr£s les tableaux et
desseins de feu Antoine Watteau . . . 4* et derniere volume. A
Paris chez Gersaint." It is clear from a reference to the progress of
the work in the second part of the " Figures des differents caracteres,"
and from an announcement of the second volume illustrating the
paintings, that the volumes were issued severally as they were
completed, and in the order we have given. Julienne was no doubt
personally responsible for commissioning the engraving of the majority
of the plates in the first and last volumes, as well as the whole series of
plates after the drawings. But from the addresses that figure on many
of the prints in the two volumes of paintings, it appears that he must
also have obtained possession of, or permission to use, numerous plates
previously published by printsellers such as Gersaint and Chereau.

The plates in the two volumes of drawings are numbered (up to
350), but in regard to the two volumes reproducing the paintings
it is difficult to define exactly what they originally contained, as the
plates are not numbered, and all the bound copies known seem to
show variations. Works of this kind tend to get cut up and sold
separately, so that bound copies are of great rarity and value. There
is an extremely fine series in the British Museum that once belonged
to the well-known eighteenth-century collector John Barnard ; the
Bibliotheque Nationale, Paris, possesses another, while the most
interesting series of all is in the Bibliotheque de 1'Arsenal, Paris.
In this last series the published engravings after the drawings are
supplemented by a large number of plates which were prepared for
the work but never used in the regular issue. The plates of the
" Figures des difFer^nts caracteres" occur in several states, (i) separate
proofs before the numbers; (ii) the ordinary published state with the
numbers ; (iii) with further shading, and landscape background
added by Huquier, who had acquired the plates and issued them
later with a new numbering. Their beauty is almost entirely spoilt
by the additions made in this late issue.

It is surprising how large a number of the engravings are after
6

WATTEAU, BOUCHER, ETC.

paintings whose present locality is unknown, if indeed they are not
irretrievably lost. But there is no catalogue of Watteau's painted
work in existence done from a comprehensive first-hand study of his
works throughout Europe,* so that one may reasonably hope that
many of the subjects are still to be unearthed in private, and even
public, collections. We have indicated as far as possible in our list
the locality of the original pictures or drawings.

The engravers who reproduced Watteau's pictures worked in a
mixed style of line-engraving and etching, which is the direct
development of the method of Gerard Audran, the most important
of the classical French engravers of the preceding century. Two
of Gerard's nephews, Jean Audran and Benoit Audran the elder,
contributed largely to the perfecting of the particular style of
engraving which marks the school, while Jean's son, Benoit Audran
the younger, did even more after Watteau than his father or uncle.
The sparkling play of light on costume which characterises Watteau's
Fetes Galantes could only be rendered in its brilliance by the clear
lines of engraving, but his landscape and the subtle varieties of tone
on every moving form and figure needed the etcher's freer touch to
interpret. No engravers, except perhaps those of the school of
J.'M. W. Turner, have surpassed the achievements of N. H. Tardieu,
Benoit Audran the younger, Laurent Cars, and J. P. Le Bas (to
cite some of the best of Watteau's interpreters) in translating the
most delicate tones of the brush into terms of black and white.

In the reproduction o|^rawings one feels that the engravers were
less successful. It is enough to compare the wonderful chalk drawing
of a Lady's Head, in the collection of Mr. J. P. Heseltine, with the
etching, to realise how much has been lost of the exquisite delicacy of
sentiment and expression of the original. And in this case the etcher
is Franfois Boucher, the greatest genius in the whole group of graver-
interpreters. Much of course must be allowed for the practical im-
possibility of rendering the soft shades of black and red chalk (the usual
medium of Watteau's drawing, and the direct descendant of a style
frequently used by Rubens) in the hard lines of black and white. Never-
theless when originals are not known and when we make no special
demands on fidelity of reproduction, it must be confessed that the
etchings of Boucher, the Audrans, Comte Caylus, Cars, Lepicie,
Tremolliere, and the rest are delightful reflections of Watteau's style.

* The brothers De Goncourt were among Watteau's most sympathetic
appreciators, but their catalogue of his work (the best in existence) was
based on little first-hand knowledge except for the pictures in France

7

GREAT ENGRAVERS

It is interesting to note in certain instances the existence not
only of Watteau's first sketch from the life, but of more careful
drawings (either by Watteau himself, or by his engraver) used as the
immediate originals for the prints. I would refer in particular to /
the subject L Acteur Poisson en habit de paysan, in the engraved series
" Figures Fran9aises et Comiques," for which the immediate original
for the engraving by Desplaces is in Stockholm, and the larger and
much more spirited first sketch in the British Museum. One is
tempted to regard the smaller elaborated study as the work of the
engraver, but as two similar studies are preserved in Stockholm for
Watteau's original etchings in the "Figures de Modes," it is more
likely that they are all Watteau's own drawings.

We have referred to the plates after the drawings as etchings, and
to those reproducing the pictures as engravings. But strict definition
is dangerous, for few of the plates are pure etchings in the sense
of being only bitten by the acid and not cut with the graver at all.
In fact it will be found that in nearly every case the etched line is
reinforced with the burin to give the brilliance and sparkle which
would otherwise be lost.

Watteau's few original etchings are all here reproduced.
First seven small costume studies in the series of eleven " Figures
de Modes" (see i-vn) ; then the preliminary etching in La Troupe
Italienne, a subject which was also reproduced, ostensibly from a
drawing, by Francois Boucher (see vm, ix) ; and finally, if
tradition be correct, the preliminary etchfig of the Recrue allant
joindre le Raiment, which was finished in engraving by S. H.
Thomassin (x). This last subject shows Watteau in the less
familiar vein of painter of scenes of military life. His early life at
Valenciennes, where he was born just on the borders of Flanders
and France,* was a natural centre of military activity, and it is
interesting that this picture was practically the first that really started
him on his short career of success in Paris. He cares little for the
horrors, the miseries, or the pomp of war, these are left to artists such
as Callot, Goya, and Van der Meulen, but his genius for colour and
movement finds a congenial theme in the sparkling evolutions of
marching battalions, rendered with such vitality and swing in the
subject reproduced.

While speaking of Watteau's early life at Valenciennes, we would

* But for the treaty of Nimeguen in 1678 (six years before his birth) by
which the border was newly marked out, Watteau would have been born a
Fleming.
8

WATTEAU, BOUCHER, ETC.

refer to an engraving by Lehardy de Famars of a lost picture, La
Vra'ie Gaiet/, which shows how absolutely Flemish his early work
must have been. It is remarkable that the exquisite painter of the
Fetes Galantes could at one period have been producing a picture of
peasant life which might pass for a Teniers. Perhaps this close
dependence on Teniers may account for the loss of this and other
Watteau pictures in the same style. They may merely be hiding
somewhere under the more likely name of the Flemish master.

According to its title, Boucher's print of La Troupe Itallenne
etched after a drawing by Watteau. Granting the possibility of a
misleading inscription, and that it is actually based on the same
picture reproduced by Watteau and Simonneau (now in the collection
of Baron Edmond de Rothschild), it is interesting for its individual
rendering of the subject. It is much less of one tone than the
Watteau etching, and has all the emphatic touches which are asso-
ciated more with a drawing than a finished painting. There was a
version of the subject at Blenheim, but I have not been able to find
whether this could have been Boucher's original rather than the
Rothschild picture. As it was sold for only twelve guineas in the
great sale of the Marlborough pictures at Christie's in 1886, one is~
inclined to infer that the picture was merely a copy.

As an etcher Francois Boucher is the most important figure in
the earlier part of the eighteenth century in France. The repro-
duction of Watteau's drawings was one of the earliest works of the
famous painter. M. de julienne was as clear-sighted in his encourage-
ment of the young Boucher as he had been with Watteau, giving him
carte blanche to engrave as many as he pleased of the series of draw-
ings he intended for his Watteau (Euvre. Altogether Boucher
etched about a hundred and twenty-five out of the whole series of three
hundred and fifty, besides engraving several of the paintings (mostly
the decorative panels) that were published in the other two volumes.
In addition to his work for Julienne, Boucher etched a considerable
number of separate subjects, chiefly no doubt in the early part of his
career before he had attained his popularity as a painter. */Three of the
most charming of these are here reproduced (LI-LIII). With him as
with Watteau, the more important prints from the point of view of
the market and the collector are not his own original etchings but
engravings by others after his paintings and drawings. Of the line-
engravings Beauvarlet's pair of Le 'Depart du Courier and L ' Arriv/e
du Courier are among the most attractive and popular. His_drawings
were reproduced less frequently by the methods of line-engraving and

9

GREAT ENGRAVERS

etchTngTrhat had to suffice for Watteau, than in the process of crayon-
engraving, which was only discovered towards the middle of the
eighteenth century by J. C. Francois. By the use of roulettes, mattoirsy
needles, and punches of various descriptions, either through the etched
ground as a preliminary to biting with the acid, or directly on to the
plate as with the graver, a very close facsimile of the texture of a chalk-
drawing could be obtained. The roulette includes tools of various forms
with the common feature of a revolving head, provided with a serrated
edge or a surface of cutting-points to produce the grain on the copper;
the matto'ir, an instrument with a butt-end provided with irregular
points like the roulette. Sometimes an impression was produced from
several copper-plates to give a variety of colours. Louis Bonnet in
particular carried the process of crayon-engraving to great perfec-
tion for the reproduction of coloured drawings and pastels. We have
not reproduced any of his famous pastel engravings, for their quality
would be almost entirely lost in half-tone reproduction, but merely
give in this place two of Demarteau's monochrome crayon-engravings
after drawings by Boucher (LVIII, LIX). Gilles Demarteau was
a much better artist than Bonnet, only less inclined to the experi-
ments in colour which render Bonnet's work so remarkable.

Towards the end of his life, about 1719-20, Watteau had passed
some time in England, a fatal change, according to his friends' reports
of the progress of the consumption to which he finally succumbed
in 1721. It was here he met Philippe Mercier, a French painter
born in Berlin, whose family is portrayed, in the rare etching re-
produced on Plate LX. According to the lettering, both etching and
painting are by Mercier, but a tradition preserve^ij^ Mariette states
that it was based on a sketch by Watteau. It is certain that the
Mercier children occur in several of Watteau 's drawings.

With Claude Gillot we complete our illustration of the immediate
entourage of Watteau. Watteau had been his pupil, and probably
owed more to him in the formation of his own style than to any of
his other masters. Unfortunately too little is known about Gillot's
painting to make the exact relation between master and pupil at all
clear. But one of the most careful students of Watteau, Robert
Dohme, has suggested that the Depart des Comldiens Italiens which
is attributed to Watteau on the engraving by Louis Jacob
(the only record of the lost picture) is in reality by Claude Gillot.
The event recorded in the picture-ji.s the expulsion of the Italian players
from their theatre in Paris in ^70)7 at the order of Louis XIV, who
interpreted one of their plays, La Fausse Prude, as an attack on Madame
10

WATTEAU, BOUCHER, ETC.

de Main tenon. The figures are unusually stiff for Watteau, but
this may, of course, be the fault of the engraver. Even if Watteau
be the author, it was probably Gillot who supplied him with draw-
ings of the event, for the costume makes it unlikely that it could
have been painted from the life after the return of the Italian
comedians in 1716. Gillot is of considerable interest in the develop-
ment of French ornament design, through the variety he introduced
into the Berain traditions, both in developing a more naturalistic
treatment of the animal and vegetable subsidiaries in design, and in
his adoption of the figures of Italian comedy in place of the con-
ventional classic divinities. Watteau also worked for some time
after leaving Gillot under another decorative painter, Claude Audran
(the third of that name, and brother of Jean Audran), the keeper
of the Luxembourg. But Audran was less of an innovator than
Gillot, and we may take it that it was chiefly to the latter that
Watteau owed his early familiarity with the Harlequins, Mezzetins,
and other figures from Italian comedy, which not only supplied
him with so much immediate material, but helped to a large extent
in the formation of the exquisite but artificial atmosphere which
characterises most of his paintings.

Comte Caylus, who seems to have acted the part of candid friend
and critic to Watteau and many artists of his circle, states that
Gillot's rupture with Watteau (like Watteau's with his too successful
imitator, Lancret) was due to jealousy. According to his story,
Gillot, on the rupture with Watteau, entirely gave up painting and
devoted himself henceforth to engraving, not deigning to appear as
a rival of a painl^w^hom he saw had outstripped him in the public
favour on his own ground. But whatever the truth of the matter,
the best work that Gillot has left is certainly contained in his
etched plates. The series of Bacchanals shows him as a most spirited
draughtsman with a splendid sense of harmonious design, while the
four plates of the Life of a Satyr offer some of the most fascinating
diableries to be found in French art of the period. We reproduce two
plates from each series (LXI-LXIV).

From the existence of two original drawings in the British*
Museum for similar subjects which were never transferred to copper,
we may infer that Gillot projected engraving a larger number of
Bacchanals than the four known plates.

Watteau's imitators, Lancret and Pater, were reproduced by many
of the same engravers represented in the present series of plates.
But prints after both these painters are so numerous and attractive

ii

GREAT ENGRAVERS

that it has been decided to reserve them with a view to a separate
volume in a later series.

Charles Natoire and Charles Hutin, who were both pupils of the
painter Francois Lemoyne, worked as etchers somewhat in the
manner of Boucher. But Hutin shows an even lighter vein, and
a charming fancy that in some sense anticipates the exquisite etchings
of Fragonard.

Fragonard, in company with Moreau le Jeune and other French
engravers and illustrators of the second half of the eighteenth
century, will be represented in a later volume of the present series.
In the present volume the illustrators of books are merely represented
in Jean Baptiste Oudry and H. F. Gravelot. Gillot has only been
here illustrated by his larger and more important separate prints:
But his little plates (both original etchings and engravings after his
designs) to Houdart de la Motte's Fables, 1719, are among the most
charming book illustrations of their kind, and their date thoroughly
entitles him to the appellation of the Father of the French school
of vignette. Oudry is better known for his paintings of animals,
but the plate which we reproduce from the quarto edition of
Lafontaine's Fables, 1755 (for which he designed all the illustrations),
shows him equally at his ease in society genre, and the master of
a reserved, but delicately expressive style.

Gravelot is of particular interest as one of the chief links between
the French and English art of the period, for he was settled in
England for the greater part of the twenty years preceding 1754.
Moreover he forms a fitting close to the series illustrating the French
$ engravers and etchers of the earlier eighteenth century, as he is a
typical representative of the transition from the style of Watteau to
that of Moreau le Jeune, Marillier, and the other vignettists of the
second half of the century. In our illustrations he is shown in his
earlier phase. The two engravings by L. Truchy (another French-
man who was working in England about the middle of the century) are
from a series published by John Bowles in 1744-45. Of eight in the
British Museum, six are engraved by Truchy, and one each by Thomas
Major and Charles Grignion. Gravelot's original pencil drawing for
the plate by Grignion (a Lady with a Fan] is in the British Museum.

The British Museum also possesses several other somewhat larger
studies of single figures of a similar type by both Gravelot and his
pupil Grignion. They are attractive drawings in black chalk and
stump heightened with white on grey paper, but they are entirely
without the piquant and incisive quality that characterises Watteau,
12

WATTEAU, BOUCHER, ETC.

Lancret, and Pater. Gravelot did good work in England in such
illustrations as those to Richardson's Pamela, 1742, but they are dull
in comparison with the charming plates he produced after his return
to France for Marmontel's Contes Moraux, 1765.

LIST OF PLATES

The following abbreviations are used : B. = Baudicour ; G. = Goncourt ;
R.-D. = Robert-Dumesnil. I am indebted to the kindness of Sir Claude
Phillips for several of the references to pictures, also to M. Camille
Doucet and M. Gaston Schefer for other details.

Portrait of Antoine Watteau with
M. de Julienne. Engraved by
N. H. Tardieu after a painting
by Watteau. G. 14. Frontispiece

ANTOINE WATTEAU. Original
etchings :

Seven plates from the " Figures de
Modes." i-vn. G. 3-9. R.-D.
1-7. Several drawings for this series
are in the National Museum, Stock-
holm (reproduced, Schb'nbrunner und
Meder, Handzeichnungen aus der
Albertina und anderen Sammlungen,
No. 1 1 02

La Troupe Italienne. vm. G. I.
R.-D. 8. Finished by Charles
Simmoneau. After a picture in the
collection of Baron Edmond de
Rothschild, Paris. The same subject
as etched by Boucher is illustrated on
the same page.

Recrue allant joindre le regiment.
x. G. 2. Finished by S. H.
TAomassin. The etching is attri-
buted to Watteau on the authority oj
Mariette (Abecedario). After a
picture in the collection of Baron
Edmond de Rothschild, who also
possesses a proof of the etching before
Thomassin's elaboration.

PRINTS AFTER WATTEAU, from
" L'CEuvre d'Antoine Watteau
. . . grave d'apres ses tableaux
et desseins originaux par les soins
de M. de Julienne, a Paris" (2
vols. almost entirely after pictures),
and its supplement " Figures de
different caracteres de paysages et
d'etudes dessinees d'apres nature"
(2 vols. after drawings)

I. — After pictures (from the first 2
vols.) ; the following engravers
and subjects :

BENOIT AUDRAN THE YOUNGER. La
Tete-a-tete, xi. G. 168

L'Enchanteur. xn. G. 130

P. A. AVELINE. L'Enseigne de Ger-
saint. xin. G. 95. After the
picture in the Imperial Palace, Berlin

La Famille. xiv. G. 134

FRAN9ois BOUCHER. La Troupe
Italienne. ix. G. 71. Placedin
the volumes with the engravings
after pictures, but according to [iff
title after a finished drawing of the
same subject reproduced in Wattearff
original etching (see vm)

Le Printemps. xv. G. 257

L'Hiver. xvi. G. 260

La Coquette, xvir. G. 433

'3

GREAT ENGRAVERS

LAURENT CARS. Fetes Veniticnnes.
xvin. G. 135. After the picture

in the National Gallery of Scotland.
C. N. COCHIN THE ELDER. La

Mariee de Village, xix. 6.148.

After the picture in the Palace oj

Sans Souci, Potsdam.
Louis CREPY. La Perspective, xx

G. 152

L'Escarpolette. xxi. G. 273
CHARLES DUPUIS. Le9on d' Amour.

xxn. G. 144. After the picture

in the Imperial Collection, Potsdam
JACQUES DE FAVANNJS. Les Agre-

ments de 1'Ete. xxm. G. 99
pRAN90is JOULLAIN. Les Agrements

de 1'Ete. xxiv. G. loo
J. P. LEBAS. L'Assemblee Galante.

xxv. G. 1 08. After the picture

in the Berlin Museum
La Game d'Amour. xxvi. G. 136.

After the picture in the collection of

Sir Julius Wernher
J. E. LIOTARD. Le Chat Malade.

xxvii. G. 93
MARIE JEANNE RENARD DUBOS.

L'Ete. xxvin. G. 47. After

the picture in the collection of Mrs.

Lionel Phi/lips
GERARD SCOTIN. Le Lorgneur.

xxix. G. 146. After the picture

in the collection of Baron Edouard

de Rothschild, Tarts
La Serenade Italienne. xxx. G.
165. After the picture in the collec-
tion of Alfred C. de Rothschild, Esq.
N. H. TARDIEU. Portrait of Watteau

with M. de Julienne. G. 14.
See Frontispiece

Les Champs-Elysees. xxxi. G. 116.
After the picture in the Wallace
Collection
L'Embarquement pour Cytherc.

xxxn. G. 128. After the pic-
ture in the Imperial Palace, Berlin
S. H. THOMASSIN. Harlequin and
Columbine (voulez-vous triom-
pher des belles ?). xxxm. G.
179. After the picture in the
Wallace Collection

II. — .After drawings (from the
second two volumes) ; the follow-
ing engravers and subjects, with
their number in the series
FRANCOIS BOUCHER. Portrait of
Watteau. xxxiv. G. 12. B. 45.
Ajter a drawing by Watteau in the
Musee Cond'ee, Chant illy
5. Lady, full length, seen from the
back. xxxv. G. 352. After a
study for the picture " La Belle
Polonaise" in the Hermitage, St.
Petersburg
7. Lady seated, holding a fan.

xxxvi. G. 355

87. Lady dancing, seen from the
back; face in profile to r. xxxvn.
G. 446. B. 79
96. Lady seated on the ground, seen

from the back, xxxix. G. 459
Medallion of Watteau, surrounded
by cupids and the Graces, who
shed tears on his tomb. XL. G.
13. Frontispiece to Vol. 11
163. Decorative design with a
gardener and girl in a landscape.
XLI. G. 540. B. 98
178. Lady seated on the ground
with a young man playing the
guitar. XLII. G. 555. B. 102.
After a study for the picture
"V Amour Paisible" in tke Im-
perial collection, "Potsdam
214. Lady seated, in undress. XLIII.

G. 591. B. 108
238. Lady seated, nursing a child.

WATTEAU, BOUCHER, ETC.

XLIV. G. 615. B. 118. After a

drawing in the British Museum
252. Lady's head, enveloped in a

dark cloak. XLV. G. 630. After

a drawing in the collection off. P.

Hesehine, Esq.
303. Scene in a Garden. XLVI.

G. 683
339. Giiles with a guitar slung

round his back. XLVII. G. 721
C. N. COCHIN THE ELDER
18. Mezzetin, dancing, seen from

the back, xxxvm. G. 366.

From a figure in a drawing in the

collection of M . Gas ton Menier,ftom

the Goncourt collection (reproduced

Braun, 65. 467)

LAURENT CARS. 263. The Dressing-
room. XLVIII. G. 641
COMTE DE CAYLUS. 164. Mezzetin,

standing with right arm extended,

and left hand on his heart. XLIX.

G. 541

273. Portrait of a Lady. L. 6.652
ORIGINAL ETCHINGS BY FRANCOIS

BOUCHER. Cupid and the Caged

Dove. LI. B. 2
Le Petit Savoyard. LII. B. 5
Two Children and a Cat, asleep.

LIU. B. 3

PRINTS AFTER FRAN$OIS BOUCHER
La Fontaine de 1'Amour. Engraved

by P. A. Aveline. LIV
Le Depart du Courier. Engraved

by J. F. Beauvarlet. LV
L'Arrivee du Courier. Engraved by

J. F. Beauvarlet. LVI
Les Charmes de la Vie Champetre.

Engraved by Jean Daulle. LVII

The Family. Engraved by Giiles
Demarteau. LVIII

Lovers in a Landscape. Engraved
by Giiles Demarteau. LIX

PHILIPPE MERCIER. The Painter
and his Family. LX

CLAUDE GILLOT. Original Etchings

Fete de Diane. LXI. This and the
following are from a series of four (the
others being "Fetes de Bacchus, et
de Faune"). The original study
for the " Fete de 'Diane " was in
the Goncourt collection (Br. 65. 467).
There are two Gillot drawings of a
similar subject in the British Museum

Fete du Dieu Pan. LXII

L'Education. LXIII. This and the

following are from the " Life of a

Satyr," in four plates, the other

two subjects being " La Naissance "

and " Les Obseques "

Le Mariage. LXIV

CHARLES NATOIRE. L'Ete. LXV.
Original etching by Natoire,
finished by Eenoit Audran the
younger

CHARLES HUTIN. Original etchings

Children playing with a goat.
LXVI. B. 17, i

Design for a fountain. LXVII. B. 26, n

J. B. OUDRY. La Jeune Veuve.
Etched by Martin Marvie, and
finished in engraving by N. D.
de Beauvais. LXVIII. From La-
fontaine, Fables, Paris 1755

H. F. GRAVELOT. A lady, in full-
length. Engraved by L. Truchy.

LXIX

A gentleman, in full-length. En-
graved by L. Truchy. LXX

t The title-page border is after the border to some prefatory verses on
"L'Art et la Nature" in the first volume of Julienne's " CEuvre de
Watteau " in the British Museum.

I. ANTOINE WATTEAU. ORIGINAL ETCHING FROM THE
" FIGURES DE MODES." G. 4

Antoine Watteau. Painter, draughtsman, and etcher ; b. Valenciennes,
1684 ; d. 1721 ; w. chiefly in Paris.

W. I

ANTOIXE WATTEAU. ORIGINAL ETCHINGS FROM THE
" FIGURES DE MODES." II., G. 9 ; III., G. 3

ANTOINE WATTEAU. ORIGINAL ETCHINGS FROM THE
" FIGURES DE MODES." IV., G. 6 ; V., G. 8

ANTOINF WATTEAU. ORIGINAL ETCHINGS FROM THE
" FIGURES DE MODES." VI., G. 7 ; VII., G. 5

•

IX. ANTOIXE WATTEAU. LA TROUPE ITALIENNE. ETCHED
BY FRANCOIS BOUCHER

Francis Boucher, painter and etcher; b. 1703; d. 1770; w. in
P.iris ; the most famous decorative painter of his time

VIII. ANTOINK W.V1TEAU. LA TROUPE ITALIENNE. ORIGINAL
ETCHING, FINISHED IN ENGRAVING BY CHARLES
SIMOXNEAU. AFTER THE PICTURE IN 'I HE COLLEC-
TION OF BARON EDMOND DE ROTHSCHILD, PARIS. G. r

Charles Simmonneau, line-engraver ; b. Orleans, 1645 ; d. 172^ ;
w. in Paris

X. AXTOINE WATTFAU. RECRUE ALLANT JOINDRE LE
REGIMENT. THE ETCHING ATTRIBUTED TO WATTEAU ;
THE ENGRAVING FINISHED BY S. H. THOMASSIN. G. 2
Simon Henri Thomassin, line-engraver; b. 1688 j d. i/^j-O j vv. in
Paris

~

XI. ANTOINE WATTEAU. LA TETE-A-TETE. ENGRAVED BY
BENGIT AUDRAN, THE YOUNGER. G. if>8
B. Audran, the younger, line-engraver; b. 1700; d. 1772; w. in
Paris

XII. ANTOINE WATTEAU. L'ENCHANTEUR. ENGRAVED BY
BENOIT AUDRAN, THE YOUNGER. G. 130

XIII. ANTOINE WATTEAU. L'ENSEIGNE DE GERSAINT.
ENGRAVED BY P. A. AVELINE. AFTER THE PICTURE
IN THE IMPERIAL PALACE, BERLIN. G. 95
Pierre Alexandra Aveline, line-engraver ; b. 1710 (or 1697 ?>, d.
1760; w. in Paris

W. 2

XIV. ANTOINE WATTEAU. LA FAMILLE. ENGRAVED BY P.- A.
AVELINE. G. 134

XV. ANTOINE WATTEAU. LE PRINTEMPS. ENGRAVED BY
FRANCOIS BOUCHER. G. 257

*-""

V3l:

\ 3ft * 'V.-

XVI. ANTOINE WATTEAU. L'HIVER. ENGRAVED BY FRANCOIS
BOUCHER. G. 260

XVII. ANTOINE WATTEAU. LA COQUETTE. ENGRAVED BY
FRANCOIS BOUCHER. G. 354

.

XVI II. ANTOINF, WATFEAU. FETES YENITIENNES. ENGRAVED
BY LAURENT CARS. AFTER THE PICTURE IN THE
NATIONAL GALLERY OF SCOTLAND. G. 135
Laurent Cars, line-engraver; b. 1699; d. 1771 ; vv. in Paris

I

KI'.TKS VEX1T1KNNKS

i

II ^ I \ \ I ' V I I \
r.o I \ \ I . .N i . i . \

XIX. ANTOINE WATTEAU. LA MARIEE DE VILLAGE. EN-
GRAVED BY C. N. COCHIN, THE ELDER. AFTER THE
PICTURE IN THE PALACE OF SANS SOUCI, POTSDAM.
G. 148

C. N. Cochin, the elder, line-engraver; b. 1688 ; d. 1754; w. in
Paris

XX. ANTOINE WATTEAU. LA PERSPECTIVE. ENGRAVED BY
LOUIS CREPY. G. 152

Louis Crepy, line-engraver ; w. in Paris, ab. 1725-1750

XXI. ANTOINE WATTEAU. L'ESCARPOLETTE. ENGRAVED BY
LOUIS CREPY. G. 273

w. 3

XXII. ANTOINE WATTEAU. LECON D' AMOUR. ENGRAVED BY
CHARLES DUPUIS. AFTER THE PICTURE IN THE
IMPERIAL COLLECTION, POTSDAM. G. 144

Charles Dupuis, line-engraver ; b. 1685 ; d. 1742 ; w. in Paris, and
London

XXIII. AXTOINE WATTEAU. LES AGREMENTS DE L'ETE
ENGRAVED BY JACQUES DE FAVANNES. G. 99

Jacques dc Fnvannes, line-engraver ; b. 1716 ; d. 1770 ; w. in
Paris

XXIV. ANTOINE WATTEAU. LES AGREMENTS DE L'ETE.
ENGRAVED BY FRANCOIS JOULLAIN. G. 100

Francois Joullain, line-engraver ; b. 1697 ; d. 1779 ; w. in Paris

i is .U.KI.KMI.NTS DK LKTK

..nn.if fii-in/ /><ir

'',.!„,' ./:• i /><,-•/ X. /'<>»'<•.• .""• i /'i,fc ,'>.
/•„„..:: <l? lun/e . ;

KSTIV.I.. om K< lAiioNKS

r fii.rtii K.t;iiif'lai- iiltnft,iii'.> ,/,'/'i,1
F//I///I/C /./'(»/««/ mi" /«//• -u.t i'l Lihlii

XXV. ANTOINE WATTEAU. L'ASSEMBLEE GALANTF, EN-
GRAVED BY J. P. LEBAS. AFTER THE PICTURE IN
THE BERLIN MUSKIAI. G. 108

Jacques Philippe Lcbas, line-engraver; b. 1707; d. 1783; w. in
Paris

XXVI. ANTOINE WATTEAU. LA GAME D'AMOUR. ENGRAVED
BY J. P. LEBAS. AFTER THE PICTURE IN THE COLLEC-
TION OF SIR JULIUS WERNHER. G. 136

XXVII. ANTOINE WATTEAU. LE CHAT MALADE. ENGRA\ KD
BY J. E. LIOTARD. G. 93

Jean Eticnne Liotard, painter, line-engraver, and etcher ; b.
1702; d. 1789; w. in Geneva, Paris, Italy, London, and Con-
stantinople ; most famous for his portraits in pastel

I I CHAT AIM. Al)l.

XXVIII. ANTOIXK \Y.\TTK.\r. L'ETE. ENGRAVED BY MARIE
JEANNE RENARD DUBOS. AFTER THE PICTURE IN
THE COLLECTION OF MRS. LIONEL PHILLIPS. G. 47
M. J. Renard Dubos, line-engraver; b. ab. 1700; pupil of C.
Dupuis ; w. in Paris ; one of the few women engravers of the
time

XXIX. ANTOIXF, \V ATTF.Al'. LE LORGNEUR. ENGRAVED BY
GERARD SCOTIX. AFTER THE PIC1UKI. IX THE
COLLECTION OE BAROX EDOUARD DE ROTHSCHILD,
PARIS. G. 146

Gerard Jean Baptiste Scotin, the younger, line-engraver : b. 1698 ;
d. after 1745 ; \v. in Paris, and London

w.4

XXX. AXTOINE WATTEAU. LA SERENADE ITALIENNE.
ENGRAVED BY GERARD SCOTIN. AFTER THE PICTURE
IN THE COLLECTION OF ALFRED C. DE ROTHSCHILD,
ESQ. G. 165

I. A SI.RI.NADK 1 1. \I.IK\.\K

/,• •/;,/./.•.», ,VWM<I/ nti>

1 I A I 1C \ C' \\ I VI K).

XXXI. ANTOINE WATTEAU. LES CHAMPS ELYSEES. EN-
GRAVED BY N. H. TARDIEU. AFTER THE PICTURE IN
THE WALLACE COLLECTION. G. 116

Nicolas Henri Tardieu, line-engraver ; b. 1674 ; d. 1749 ; w.
in Paris

XXXII. ANTOIXE WATTEAU. L'EMBARQUEMENT POITR
CYTHERE. ENGRAVED BY N. H. TARDIEU. AFTER
THE PICTURE IN THE IMPERIAL PALACE, BERLIN.
G. 128

XXXIII. ANTOINE WATTEAU. HARLEQUIN AND COLUMBINE.
ENGRAVED BY S. H. THOMASSIN. AFTER THE
PICTURE IN THE WALLACE COLLECTION. G. 179

XXXIV. ANTOINE WATTEAU. PORTRAIT OF HIMSELF
ETCHED BY FRANCOIS BOUCHER, AFTER A DRAWING
IX THE MUSEE CONDE, CHANTILLY. G. 12

^PaUeau^oar lit «C \ntuiv, snic J/it-un-ia: l<i/t'n/.>'
• J'nt tn:>- n\viiti.i!.<;:;iit/ Jc.f i/t>ri.'-, tiu'il i\vnl </<•//<•

f '(unauf tun- nutri' m, mi ne LJ />iw<t/rn< I'liuf A/A',
' ' '

XXXV. ANTOINE WATTEAU. LADY, FULL LENGTH, SEEN
FROM THE BACK. ETCHED BY FRANCOIS BOUCHER.
AFTER A STUDY FOR THE PICTURE OF "LA BELLE
POLONAISE," IN THE HERMITAGE, ST. PETERSBURG.
G. 352

XXXVIII. ANTOINE WATTEAU. MEZZETIN DANCING, SEEN
FROM THE BACK. ETCHED BY C. N. COCHIN, THE
ELDER. FROM A FIGURE IN A DRAWING IN THE
COLLECTION OF M. GASTON MENIER. G. 366

XXXVII. ANTOINE WATTEAU. LADY DANCING, SEEN FROM
THE BACK. ETCHED BY FRANCOIS BOUCHER. G. 446

• • ...

>— I

HH

w. 5

XXXIX. ANTOINE WATTEAU. LADY SEATED ON THE GROUND,
SEEN FROM THE BACK. ETCHED BY FRANCOIS
BOUCHER. G. 459

l_

XL. FRANCOIS BOUCHER. MEDALLION OF WATTEAU,
SURROUNDED BY CUPIDS AND THE GRACES, WHO
SHED TEARS ON HIS TOMB. ORIGINAL ETCHING.
FRONTISPIECE TO VOLUME II OF THE " FIGURES DE
DIFFERENTS CARACTERES." G. 13

XLI. ANTOINE WATTEAU. DECORATIVE DESIGN WITH A
GARDENER AND GIRL IN A LANDSCAPE. ETCHED BY
FRANCOIS BOUCHER. G. 540

XLII. ANTOINE VVATTEAU. LADY SEATED ON THE GROUND
WITH A YOUNG MAN PLAYING THE GUITAR.
ETCHED BY FRANCOIS BOUCHER. G. 555

XLIII. ANTOINE WATTEAU. LADY SEATED, IN UNDRESS.
ETCHED BY FRANCOIS BOUCHER. G. 591

XLIV. ANTOINE WATTEAU. LADY SEATED, NURSING A
CHILD. ETCHED BY FRANCOIS BOUCHER. AFTER
A DRAWING IN THE BRITISH 'MUSEUM. G. 615

I

V,

XLV. ANTOINE WATTEAL1. LADY'S HEAD, ENVELOPED IN A
DARK CLOAK. ETCHED BY FRANCOIS BOUCHER.
AFTER A DRAWING IN THE COLLECTION OF J. P.
HESELTINE, ESQ. G. 630

XLVI. ANTOINE WATTEAU. SCENE IN A GARDEN. ETCHED
BY FRANCOIS BOUCHER. G. 683

w. 6

XLVII. ANTOINE WATTE AU. GILLES WITH A GUITAR Sl.IXG
ROUND HIS BACK. ETCHED BY FRANCOIS BOUCHKR.
G. 721

XLVIII. ANTOINE WATTEAU. THE DRESSING-ROOM. ETCHED
BY LAURENT CARS. G. 641

XLIX. ANTOINE WATTEAU. MEZZETIN, STANDING WITH
RIGHT ARM EXTENDED, AND LEFT HAND ON HIS
HEART. ETCHED BY COMTE DE CAYLUS. G. 541

Anne Claude Philippe de Tubieres, Comte de Caylus, archaeologist,
amateur, and etcher; b. 1692; d. 1765; w. in Paris; travelled
and collected antiquities in Greece, and the East ; his chief work
is his Recur il d'Antiyuitcs (1752-67) ; he etched a very large number
of plates after old master drawings

L. ANTOINE WATTEAU. PORTRAIT OF A LADY. ETCHED BY
COMTE DE CAYLUS. G. 652

LII. FRANCOIS BOUCHER. LE PETIT SAVOYARD. ORIGINAL
ETCHING. B 5

LI. FRANCOIS BOUCHER. CUPID AND THE CAGED DOVE-
ORIGINAL ETCHING. B. 2

LIU. FRANCOIS BOUCHER. TWO CHILDREN, AND A CAT,
ASLEEP. ORIGINAL ETCHING. B. 3

LIV. FRANCOIS BOUCHER. LA FONTAINE DE L'AMOUR.
ENGRAVED BY P. A. AVELINE

I. A F0\ TAINT. 1)F, i.AMOl

LV. FRANCOIS BOUCHER. LE DEPART DU COURIER. EN-
GRAVED BY J. F. BEAUVARLET

Jacques Firmin Beauvarlet, line-engraver ; b. 1731 (?) ; d. 1797;
w. in Abbeville, and Paris

v/. 7

LVI. FRANCOIS BOUCHER. L'ARRIVEE DU COURIER. EN-
GRAVED BY J. F. BEAUVARLET

LVII. FRANCOIS BOUCHER. LES CHARMES DE LA VIE
CHAMPETRE. ENGRAVED BY JEAN DAULLE
Jean Daulle, line-engraver; b. 1707 (or 1703?); d. 1763; w. in
Abbeville and Paris

LVIII. FRANCOIS BOUCHER. THE FAMILY. ENGRAVED IN
THE 'CRAYON MANNER BY GILLES DEMARTEAU

Gilles Demarteau, crayon-engraver; b. Liege, 1722; d. 1776; w.
in Paris

LIX. FRANCOIS BOUCHER. LOVERS IX A LANDSCAPE. EN-
GRAVED IN THE CRAYON MANNER BY GILLES
DEMARTEAU

LX. PHILIPPE MERCIER. THE PAINTER AND HIS FAMIIA.
FROM A RARE ETCHING IN THE COLLECTION OF
J. P. HESELTINE, ESQ.

Philippe Mercicr, painter, line-engraver, and etcher ; b. Berlin, 1689 ;
il. 1760 ; \v. in Paris, Italy, and London

LXI. CLAUDE GILLOT. FETE DE DIANE. ORIGINAL
E 1 CH1NG

Claude Gillot, painter, etcher, and designer of book illustrations ;
b. Langres, 1673 '> &. 1722 ; w. in Paris ; one of Watteau's masters

LXII. CLAUDE GILLOT. FETE DU DIEU PAN. ORIGINAL
ETCHING

LXIII. CLAUDE GILLOT. I/EDUCATION, FROM THE "LIFE
OF A SATYR." ORIGINAL ETCHING

w, 8

LXIV. CLAUDE GILLOT. LE MARIAGE, FROM THE " LIFE OF
A SATYR." ORIGINAL ETCHING

LXV. CHARLES NATOIRE. L ETE. ORIGINAL ETCHING BY
NATOIRE, FINISHED IN ENGRAVING BY BENOiT
AUDRAN, THE YOUNGER

Charles Joseph Natoire, painter and etcher ; b. Nimes, 1 700 ; d.
1777; w. in Paris, and Rome

0<v.

L

•

LXVI CHARLES HUTIN. CHILDREN PLAYING WITH A GOAT.
ORIGINAL ETCHING. B. 17, i

Charles Hutin, painter, draughtsman, sculptor, and etcher ; b. 1715 ;
d. 1776 ; w. in Paris, and Dresden

LXVII. CHARLES HUTIN. DESIGN FOR A FOUNTAIN.
ORIGINAL ETCHING. B. 26, n

LXVIII. JEAN BAPTISTE OUDRY. LA JEUNE VEUVE. ETCHED
BY MARTIN MARVIE, AND FINISHED IN ENGRAVING
BY N. D. DE BEAUVAIS. FROM LAFONTAINE, FABLES
PARIS, 1755

Jean Baptiste Oudry, painter, etcher, and designer of book illus-
trations ; b. 1686; d. 1755 ; w. in Paris

Martin Marvie, painter, and line-engraver; b. 1712; d. ifter
J755 5 w-

Nicolas Dauphin de Beauvais, line-engraver, b. ab. 1688 ; d. 1763 j
w. in Paris

LXIX. H. F. GRAVELOT. A LADY, IN FULL LENGTH. EN-
GRAVED BY L. TRUCHY

Hubert Francois Gravelot, etcher, line-engraver, and designer of
book illustrations ; b. 1699 ; d. 1773 ; w. in Paris, and London
L. Truchy, line-engraver ; b. Paris 1731 ; d. 1764 ; w. in London

LXX. H. F. GRAVELOT. A GENTLEMAN, IN FULL LENGTH
ENGRAVED BY L. TRUCHY

PRINTED AT THE BALLANTYNE PRESS LONDON

GREAT
ENGRAVERS

A SERIES OF REPRODUCTIONS
OF THE GREAT MASTERS

ARTHUR M. HIND

PRICE 2/6 NET
PER VOLUME

LONDON MCMXl

WILLIAM HEINEMANN

GREAT ENGRAVERS

A SERIES OF REPRODUCTIONS OF THE GREAT MASTERS
OF ENGRAVING WITH SHORT INTRODUCTIONS BY

ARTHUR M. HIND

Author of "A SHORT HISTORY OF ENGRAVING AND ETCHING"
Bound in Paper Boards.- Price 2/6 net. per volume.

THE Publisher announces a series of volumes, each volume devoted
to a particular master or group of engravers, and containing 64
• i pages of illustration, an introduction, short bibliography and
biographical notes, and in the case of the monographs, a complete
or select list of the works of each artist.

The aim of this series is to present the whole history of engraving
and etching in illustration. Chief among the artists represented are the
painters like Diirer, Rembrandt and Van Dyck, whose original engravings
and etchings on copper hold an independent place of equal artistic
importance beside their larger works in painting. Then follow some of
the master interpreters, engravers like Marcantonio and John Raphael
Smith, whose work is as convincing in its own medium as the originals they
reproduce. The whole will form an adequate and comprehensive survey
of one of the finest and most admirable of the arts.

The following 6 volumes will be issued during 1911 : —

DURER

His Engravings and Woodcuts.

VAN DYCK

and the great Engravers and Etchers of portrait of the Seventeenth Century
(including the complete etched work of Van Dyck, and examples by
Rembrandt, Bolswert, Pontius, Muller, Suyderhoef, Van Dalen, Blooteling,
Lievens, Hollar, De Moor, Leoni, Morin, Mellan, Regnesson, Nanteuil, Van
Schuppen, Edelinck, Masson, Faithorne, Lombart, Loggan and the Drevets).

WATTEAU, BOUCHER

and the French Engravers and Etchers in the earlier XVIII Century
(including all Watteau's original etchings, and examples by Boucher,
Simonneau, Thomassin, Audran, Aveline, Cochin, Crepy, Dupuis, Favannes,
Joullain, Lebas, Liotard, Renard Dubos, Scotin, Tardieu, Cars, Caylus,
Daulle, Demarteau, Mercier, Gillot, Natoire, Hutin, Oudry, Gravelot).

JOHN RAPHAEL SMITH

and the great English Mezzotint Engravers of the time of Reynolds
(including examples by Frye, McArdell, Houston, Fisher, Dixon, the
Watsons, Pether, Earlom, Finlayson, Valentine Green, Dickinson, Jones,
Walker, Elizabeth Judkins, Hodges, Doughty, Marchi, Keating, Hudson,
Gainsborough Dupont, the Wards, Charles Turner, S. W. Reynolds, Clint,
J. M. W. Turner and David Lucas).

[Continued on page 4.

GREAT » ENGRAVERS

SPECIMEN ILLUSTRATION

GOYA

His Aquatints, Etchings, and Lithographs.

ITALIAN

MANTEGNA

AND THE

PRE-RAPHAELITE

ENGRAVERS

Including many early Florentine Engravings oy Finiguerra and anonymous
craftsmen of the time of Botticelli (examples of Niefli, and selections from
the series of Planets, Prophets and Sibyls, Otto prints, Dante's " Divine
Comedy," and the " Triumphs of Petrarch "), anonymous prints of North
Italy (e.g., some of the so-called "Tarocchi Cards"); other subjects
after Mantegna, Leonardo da Vinci and Bramante ; and examples by
the following engravers : Pollaiuolo, Robetta, Giovanni Antonio da Brescia,
Zoan Andrea, Nicoletto da Modena, Jacopo de' Barbari, Girolamo
Mocetto, Benedetto Montagna, Giulio and Domenico Campagnola, and
the master of I. B. (with the bird).

Other volumes will be announced in due course.

ORDER FORM

To Mr.

Bookseller.

Kindly send me the following
volume.... of "THE GREAT ENGRAVERS,"
by ARTHUR M. HIND, published by WILLIAM
•^ HEINEMANN, 21, Bedford Steeet, London, W.C.,
price 2J6 net. volume, for which I enclose
£ : s. d.

.DURER JOHN RAPHAEL SMITH

.VAN DYCK GOYA

.WATTEAU, BOUCHER ..MANTEGNA

(Signature)
(Address}

LONDON : WILLIAM HEINEMANN

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

Kind, Arthur Mayger

Watteau, Boucher ani
the French engravers.