LANDSCAPE ETCHING

INlandscape, as in portraiture, we are greeted on the threshold byAlbrecht Dürer. From his many drawings, water-colors, and the beautifully engraved backgrounds in a number of his plates, we know him to have been a profound student of natural forms and of atmospheric effects, sensitive to the character of the country he portrays; and it is a matter of regret thatThe Cannonis the only plate in which the landscape element outweighs in interest the figures.The Cannon, which is dated 1518, is etched upon an iron plate, not necessarily because Dürer was unacquainted with a suitable mordant for copper, but rather, one is inclined to believe, because, etching having been used in the decoration of arms and armor, iron would naturally suggest itself as the most appropriate metal for the purpose. Although the cannon (“The Nuremberg Field Serpent”), to the left, and the five Turks, to the right, are the main motives of the composition, they are drawn and bitten with lines of exactly the same weight and character as the landscape itself, and we can, if we will, consider them as accessory figures, concentrating our attention upon the altogetherdelightful village, its church spire pointing heavenwards, while in the distance wooded hills rise towards the sombre sky, and to the left a seaport is indicated. Dürer either ignored or was unaware of the effects to be obtained by repeated rebitings, and consequently the plate is of a uniform tone. Within his self-imposed limits he has thoroughly understood the possibilities of the medium and has availed himself of them, adopting an open, linear technique, in marked contrast to his highly elaborate engravings on copper of this period.

Albrecht Altdorfer, who was born in Regensburg about 1480 and died in February, 1538, is notable as one of the earliest interpreters of landscape for its own sake. He has left us ten landscape etchings. None of them is dated, but they clearly belong to his last period. In them he has merely transferred to metal his mode of pen drawing, an excellent style in a way, since it is linear and suggestive, but lacking distinction and that passionate, dramatic quality which is so impressive in the painting,St. George, in the Munich Gallery, the engraving of theCrucifixion; or theAgony in the Garden, a drawing in the Berlin Print Room.

ALBRECHT DÜRER. THE CANNONSize of the original etching, 8⅝ × 12⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

ALBRECHT DÜRER. THE CANNON

Size of the original etching, 8⅝ × 12⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

AUGUSTIN HIRSCHVOGEL. LANDSCAPESize of the original etching, 5⅝ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

AUGUSTIN HIRSCHVOGEL. LANDSCAPE

Size of the original etching, 5⅝ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

The etchings ofAugustin Hirschvogelare even simpler in treatment than those by Altdorfer. They bear dates from 1545 to 1549. The more one studies his landscape plates, breathing the spirit ofthe true nature lover, the more fascinating do they become. He has eliminated all non-essentials, concentrating his attention upon what were to him the most significant features, and in this respect he may have influenced the work of more than one nineteenth century master.

Hans Sebald Lautensack, who was some twenty years Hirschvogel’s junior, was born in Nuremberg about 1524. The greater number of his landscape plates fall within the years 1551 and 1555. He is neither so simple nor so direct as Hirschvogel, and his plates suffer from over-elaboration. In an attempt to give a complete representation of the scene the value of the line is lost, and, in the majority of cases, the composition is lacking in repose.

For almost a century we have no landscape etchings of prime importance. Then, in 1640,Rembrandtappears on the scene with hisView of Amsterdam, the first of a series of twenty-seven masterpieces which, beginning with this plate, comes to an end withA Clump of Trees with a Vista(1652). TheView of Amsterdamis, among Rembrandt’s landscapes, comparable to the portrait of himself leaning on a stone sill, inasmuch as it is, in its own simple linear mode, a model of what etching can be at its best.

As in the case of all these etchings, with the exceptionof theThree Treesand theLandscape with a Ruined Tower and Clear Foreground, the sky is left perfectly blank, and our imagination must supply the quiet sunshine of a cloudless day or that delicate grayness which makes Holland a perpetual delight to the painter.

TheWindmill(1641) is Rembrandt’s firstdatedetching. It is truly a portrait of a place, not only in its outer aspect, but in that inner spirit which, if it be present, moves us so profoundly, as in the case of Meryon’s etchings of Paris and Piranesi’s plates of ancient Roman edifices; or, if it be absent, leaves us disappointed and cold. In theWindmill, “we feel the stains of weather, the touch of time, on the structure; we feel the air about it and the quiet light that rests on the far horizon as the eye travels over dike and meadow; we are admitted to the subtlety and sensitiveness of a sight transcending our own; and even by some intangible means beyond analysis we partake of something of Rembrandt’s actual mind and feeling, his sense of what the old mill meant, not merely as a picturesque object to be drawn, but as a human element in the landscape, implying the daily work of human hands and the association of man and earth.”[12]

[12]Rembrandt’s Landscape Etchings. By Laurence Binyon. The Print-Collector’s Quarterly. Vol. 2, No. 4, p. 414.

REMBRANDT. THE WINDMILLSize of the original etching, 5¾ × 8¼ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. THE WINDMILL

Size of the original etching, 5¾ × 8¼ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. THREE TREESSize of the original etching, 8½ × 11 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. THREE TREES

Size of the original etching, 8½ × 11 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

To the same year belong theLandscape with a Cottage and HaybarnandLandscape with a Cottage and a Large Tree, two delightfully spacious plates. There is one etching in 1642, theCottage with a White Paling, in which dry-point is judiciously used to give richness to the shadows.

To the following year, 1643, belongs theThree Trees, the most famous of Rembrandt’s landscape etchings. Note how Rembrandt has suggested the passing of a summer thunder-storm, the rain-charged clouds rolling away to the left, while from the right the returning sunshine bathes the composition in glory, making each freshly washed leaf and blade of grass sparkle in its beams. Even the hard, slanting lines of rain in the upper left portion of the plate have their purpose, affording a needed contrast to the swiftly changing clouds, which the freshening breeze drives before it over the peopled plain and the far-reaching sea in the distance.

In 1645 there are five landscape etchings. If theThree Treesis Rembrandt’s most elaborate plate,Six’s Bridgeis, in some ways, his most learned performance. According to tradition, it was etched “against time,” for a wager, at the country house of Rembrandt’s friend, Jan Six, while the servant was fetching the mustard, that had been forgotten, from a neighboring village. There is, however, nothing hasty or incomplete about it. Itis, to use Whistler’s words, “finished from the beginning,” beautifully balanced, not a line wasted, of its kind a perfect work of art.

There are no more landscapes until 1650, a good year, since it gives us eight plates, every one worthy of the most serious consideration. Rembrandt by this time apparently had become dissatisfied with the relatively limited range of light and dark obtainable by the pure etched line, and from now onwards he relies more and more upon dry-point to obtain his effects, at times executing his plates entirely in that medium.

TheLandscape with a Haybarn and a Flock of Sheepis one of the loveliest plates of this period. There is a brilliancy in the first state, a quiet harmony in the elaborated second state, which makes a choice difficult. Each, in its way, is of compelling beauty.

Hardly less delightful is theLandscape with a Milkman, with a view of the sea to the right, while at the left the cottages snuggle beneath their protecting trees.

REMBRANDT. SIX’S BRIDGESize of the original etching, 5⅛ × 8¾ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. SIX’S BRIDGE

Size of the original etching, 5⅛ × 8¾ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR FOREGROUNDSize of the original etching, 4⅞ × 12⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. LANDSCAPE WITH A RUINED TOWER AND CLEAR FOREGROUND

Size of the original etching, 4⅞ × 12⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF SHEEPSize of the original etching, 3¼ × 7 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. LANDSCAPE WITH A HAYBARN AND A FLOCK OF SHEEP

Size of the original etching, 3¼ × 7 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. THREE COTTAGESSize of the original etching, 6¼ × 8 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. THREE COTTAGES

Size of the original etching, 6¼ × 8 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

TheLandscape with a Ruined Tower and Clear Foregroundis, perhaps, of all these etchings the noblest and the most dramatic. In the sky to the left are piled thunder clouds. A faint breeze, the precursor of a coming storm, gently moves the upper branches of the trees. There is an expectanthush, a tenseness, and we are made to feel that in a few minutes the first heavy raindrops will be driving through the over-charged air. Otherwise all is still, the sky to the right being yet quiet and undisturbed. With the fewest etched lines Rembrandt has indicated the form and growth of the trees, adding, just where needed to give emphasis and enrichment, touches of dry-point, concentrating his richest blacks on the noble clump which shuts off the road leading toward the left. With such simple means, with black lines and white paper, he has given us by his art a more convincing record of one of Nature’s noblest spectacles than most painters, with a full palette at their command, could achieve in a lifetime of labor.

In theThree Cottagesdry-point is used with magnificent effect. Early impressions of this masterpiece have a richness, a bloom, which is unmatched among Rembrandt’s landscape plates. A fine impression of the third state, with the added shading on the gabled end of the first cottage, represents the plate admirably. To be seen at its best, however, it should not be too heavily charged with ink, since the tree forms thereby are confused. Work such as this is so seemingly simple that one may readily overlook the power of analysis and the superb draughtsmanship it displays. Everyone who loves Rembrandt’s landscapes—and who thatknows them does not love them?—must bitterly regret that at about this time, in the very plenitude of his powers, he saw fit to bring his landscape work to a close.

It is true that we have theGoldweigher’s Fieldof 1651—an unsurpassed masterpiece—and in the following year theLandscape with a Road Beside a CanalandA Clump of Trees with a Vista; but had he treated a landscape motive with the passion which breathes from theThree Crosses,Christ Presented to the People, or thePresentation in the Temple, how much richer and fuller would landscape art have been!

TheGoldweigher’s Field, by tradition the country seat of the Receiver General, Uytenbogært, whose portrait Rembrandt had etched in 1639 (TheGoldweigher), is, in point of suggestiveness, second to none of Rembrandt’s plates. The eye is gently led from field to fertile field, each with its own individual character and filled with interesting little details, and finally rests upon the quiet sea which stretches to the horizon.

Contemporary with Rembrandt, treating scenes essentially the same, a whole school of etchers produced an enormous number of plates, many of them charming, but none to be classed with the permanently great work in the history of the art.

REMBRANDT. GOLDWEIGHER’S FIELDSize of the original etching, 4¾ × 12⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. GOLDWEIGHER’S FIELD

Size of the original etching, 4¾ × 12⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

JACOB RUYSDAEL. WHEAT FIELDSize of the original etching, 4 × 6 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

JACOB RUYSDAEL. WHEAT FIELD

Size of the original etching, 4 × 6 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

Hercules Seghersis interesting because of hischoice of wild, rugged mountains for his subject-matter and of his experiments in color printing, but as an etcher he is of historical importance only.

Jacob Ruysdaeldisplays a knowledge of tree forms and an appreciation of their beauty, rare at any time. His work at its best recalls that of the great nineteenth century master, Théodore Rousseau, though the latter’s few plates show a greater economy of means and an equal affection for Nature in her wilder moods. TheWheat Fieldis one of Ruysdael’s most satisfying plates. The sky, with its rolling clouds, is simply treated and shows a knowledge and reticence in the use of line denied to the greater number of his more laborious contemporaries, who, in the main, when they endeavored to “finish” a plate ended by leaving it fatigued and stiff.

Claude Gellée, calledClaude Lorrain, is the one seventeenth century French landscape etcher. Born in the year 1600 in the Diocese of Toul and the Duchy of Lorraine (whence he derives the name by which he is best known), early orphaned, at the age of thirteen, after a varied and picturesque boyhood, journeyed to Rome, thence to Naples, and later to Venice. In 1627 he settled permanently in Rome, where he remained until his death in 1682.

His etchings are the fruit of that indefatigable study of nature which he pursued almost until theday of his death. Heedless of fatigue, he would spend day after day, from sunrise until nightfall, noting every phase of dawn, the glory of sunrise, or the majesty of the sunset hours. For him the modest nook held no charm and exerted no fascination. He chose for his theme Nature in her more spacious aspects—wide-stretching horizons and deep overarching skies, with clumps of stately trees, between and beyond which are to be seen castle-crowned hills, or a half-ruined temple, the relic of Imperial Rome, a passionate love for which burned with a steady flame in Claude, more Roman than the Romans themselves in his worship of the Eternal City and all that could recall her vanished glory.

Claude’s paintings are to be seen in nearly every European gallery of importance, but his etchings are seldom met with. Really fine impressions (by which alone they can be judged) are unfortunately very rare. His work would seem to divide itself into two periods: 1630 to 1637, and 1662 and 1663. It is to the earlier period that his finest work belongs, the later plates being heavy and stiff in treatment. Claude’s etchings show none of that economy and suggestiveness of line which make of Rembrandt’s most summary sketch a continuous stimulus and delight. They are highly wrought pictures, as carefully and lovingly finishedin all details as are the paintings themselves. Etching, dry-point, the burnisher, and a tone produced by roughening the surface of the plate with pumice-stone or some similar material, all are called into play to produce a harmonious result, and of their kind there is nothing finer.

TheDance Under the Treesshows Claude in his most purely pastoral vein—classic pastoral—seen through Virgilian eyes and interpreted in the spirit of the Eclogues. It is carefully composed and beautifully drawn; and if, to our more modern taste, there seems a little too obvious an “arrangement,” with the two vistas balancing one another at the right and left of the central group of trees, we must remember that landscape, no less than literature or costume, has its fashions, and that, in Claude’s time, balance and proportion were esteemed of greater value than the freedom and spontaneity which we today, more insistent on the individual note, esteem the chief charm of etching.

Le Bouvier, etched in 1636, is accounted Claude’s masterpiece. “For technical quality of a certain delicate kind it is the finest landscape etching in the world. Its transparency and gradation have never been surpassed.”[13]It is the work of a real nature lover and true poet, and sums up in afew square inches all that is best of Claude’s art when it has shaken itself free from the “set scene” and theatricalities. Technically it is not less admirable. The copper has been caressed, so to speak, with the needle, until it responds by yielding all those elusive half lights and luminous shadows which play among the leaves of the noble trees to the left, while on the right the landscape fairly swims in light and air. For this same quality of sunlight Claude tries again and again in his etchings, inSunrisewith complete success. When he essays to interpret Nature in her sterner moods, as in theFlock in Stormy Weather(his one plate of the year 1651), he is far less happy. The clouds, which should be heavy with rain, are unconvincing, though the suggestion of movement in the trees is excellent, and in no other plate has he treated architecture with a firmer touch or in a more picturesque manner.

[13]Etching and Etchers. By Philip Gilbert Hamerton. London; Macmillan & Co. 1868. p. 178.

After the middle of the seventeenth century, etching, as an original, creative art, is increasingly neglected for almost two hundred years, though it grows in popularity as an easy and expeditious mode of “forwarding” a plate to be finished with the burin.

CLAUDE LORRAIN. LE BOUVIERSize of the original etching, 5⅛ x 7¾ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CLAUDE LORRAIN. LE BOUVIER

Size of the original etching, 5⅛ x 7¾ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES JACQUE. TROUPEAU DE PORCSSize of the original etching, 5⅛ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES JACQUE. TROUPEAU DE PORCS

Size of the original etching, 5⅛ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

ToCharles Jacque, in the early “forties,” belongs the honor of having restored etching to its proper and legitimate place as a suggestive andlinear art. His method is based on a thorough understanding of its limitations and qualities as exemplified by Rembrandt and his lesser contemporaries in Holland; and both by his work (he has left between five and six hundred plates) and by his influence, he is the father of the nineteenth century revival of etching, not only in France, where its possibilities were appreciated at once by the Romantic group and the “Men of 1830,” but in England, through Seymour Haden and Whistler.

Charles Jacque was born in Paris on May 23, 1813, and to the last (he died at the ripe age of 81, in the year 1894) he retained, in country life, something of the city man’s point of view, the love of the “picturesque,” the anecdotic, in marked contrast to his greater contemporary, Jean-François Millet, whose few etchings form an epic of the soil even more powerful than his paintings. For all that, Jacque is a true etcher, working along the soundest lines and safest traditions. He is unequal: his work suffers at times from a hankering for “finish”; but at his best his little plates are delightfully suggestive, every line being there for a purpose, and not a line too much.

Up to 1848 he had completed some three hundred etchings and dry-points, and it is among this group that many “masterpieces in little” are to be found. It would be hard to find a better model of stylethan theWheat Field. The print is scarcely larger than a visiting card, but it conveys a sense of spaciousness and “out of doors” sadly lacking in many a painting in full color and of a hundred times its size. TheTruffle Gatherersis likewise of modest size, but the landscape with its leafless trees is full of air, and the sense of life and movement, as well as the effective composition of the “rooters” accompanied by their herdsman, is, from many points of view, unexcelled.

TheStorm—Landscape with a White Horseis one of Jacque’s finest interpretations of wind and rough weather. This dry-point, unfortunately very rare, recalls the work of Rembrandt in his mature period. The sky, slashed with driving showers, the trees swayed this way and that by the gusty wind, the white horse with legs firmly braced, its mane and tail matted by the rain against its neck and flank, all combine to heighten and intensify the effect.

Younger than Jacque by four years (he was born February 15, 1817),Charles-François Daubignydiffers from him in that it is the lyric, the spiritual aspect of nature, rather than the incidental and picturesque details of country life, which moved him.

CHARLES JACQUE. STORM—LANDSCAPE WITH A WHITE HORSESize of the original dry-point, 6⅜ × 8⅜ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES JACQUE. STORM—LANDSCAPE WITH A WHITE HORSE

Size of the original dry-point, 6⅜ × 8⅜ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES-FRANÇOIS DAUBIGNY. DEER IN A WOODSize of the original etching, 6⅜ × 4⅜ inchesIn the Museum of Fine Arts, Boston

CHARLES-FRANÇOIS DAUBIGNY. DEER IN A WOOD

Size of the original etching, 6⅜ × 4⅜ inchesIn the Museum of Fine Arts, Boston

None of the other Barbizon men has so successfully interpreted the freshness of early morning,the sparkle of sunrise on tender young leaves or dew-bespangled grass, the tranquility of the quiet pool hidden in the depth of the forest. His first plate, etched in collaboration with his friend Meissonier, is dated 1838, and all through the “forties” Daubigny continued to etch either original motives or such as were commissioned by editors for the embellishment of various publications, in many cases poems and songs of a pastoral nature. It is, however, to the following decade that his finest work belongs—a series of little masterpieces which, in their way, remain unequalled. His plates, small in size, are as carefully worked out as those of Claude but with a truer feeling for the elusive charm of still, untroubled places. Later his style grows broader and bolder. Less is actually said, more is suggested. There is a freedom in his line work which these etchings of his middle period had hardly led us to expect but for which, in truth, they were the finest preparation. He has learned to eliminate the non-essential; and in etching theart of omissionis the supreme virtue.

One of the most suggestive plates of his middle period isDeer in a Wood. The treatment is perfectly simple and straightforward, truly linear, as all good etching should be, but the spirit of the scene is captured and portrayed in these few, seemingly careless, lines.Deer Coming Down to Drinkis anotheraltogether delightful plate in the same series. The early morning air is vibrant with the glory of sunrise, and the little leaves clap their hands in joy.

“Has it not often occurred to you, in your explorations as a tourist, to see suddenly open before you a break in the landscape, a little valley, calm, in repose, full of elegant and tranquil forms, of discreet and harmonious colors, of softened shadows and lights, bordered by hillsides with rounded and retiring forms and where no step seems to have troubled the poetic silence? A pond, placed there like a mirror, reflects the picture, and bears on its cup-like edge sheaves of rushes, coltsfoot, arrow-heads, water-strawberries and the white and yellow flowers of the water lily, amid which swarm a buzzing world of insects and gnats.... As you approach, some heron, occupied in dressing its plumage, flies off, snapping its beak; the snipe runs away, piping its little cry; then everything falls again into silence, and the valley, welcoming you as its guest, takes up under your eyes its mysterious work.”[14]All this and more Daubigny gives us by his art.

[14]Count Clément de Ris. L’Artiste. June, 1853.

CHARLES-FRANÇOIS DAUBIGNY. DEER COMING DOWN TO DRINKSize of the original etching, 6⅛ × 4⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES-FRANÇOIS DAUBIGNY. DEER COMING DOWN TO DRINK

Size of the original etching, 6⅛ × 4⅝ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES-FRANÇOIS DAUBIGNY. MOONLIGHT ON THE BANKS OF THE OISESize of the original etching, 4⅜ × 6½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

CHARLES-FRANÇOIS DAUBIGNY. MOONLIGHT ON THE BANKS OF THE OISE

Size of the original etching, 4⅜ × 6½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

Daubigny’s success as a painter, the constantly increasing demand for his work, left him little time, as years went by, for etching. “If only I could paint a picture thatwouldn’tsell,” he once said insheer desperation, and, momentarily, his superb renderings of the mystery of evening and night accomplished his object, though now they are jealously guarded in some of the world’s finest collections. But toetchnight, tosuggestmoonlight—there was a problem indeed! Whistler in his “Nocturnes” paints, so to speak, on his plate with printer’s ink. Daubigny relies on lines alone, to produce his result. “Night cannot be etched” is the dictum of more than one authority. No, nor sunlight either, nor clouds! None of these things can be pictured so that blind eyes can see them. But to those who will meet the etcher half way, who are content with a suggestion and are capable of reconstructing from it the artist’s mood, these simple linear plates of Daubigny’s last period are a revelation and a delight.Moonlight on the Banks of the Oisemeasures scant four by six inches, yet what a feeling of space there is in it! Only a born etcher could have succeeded by means so simple, and seemingly inadequate, in capturing the very spirit of such a scene.

Corot’s etched work comprises fourteen plates. It was not until 1845, when he was in his fiftieth year, that he made his first experiment. “Corot took a prepared copper-plate and drew in the outlines and masses of the well-knownSouvenir of Tuscany, but did not proceed to the ‘biting in’process. Some years later Félix Bracquemond discovered the plate in a nail-box at Corot’s studio and begged the master to complete it, offering to take charge of the ‘biting in.’ Corot then took the plate and added the tones and details of the final state.... There was something in the use of mordants and acids that seemed to frighten Corot, and he always called in some good friend such as Bracquemond, Michelin or Delaunay to assist in this delicate process.”[15]

[15]Le Père Corot. By Robert J. Wickenden. The Print-Collector’s Quarterly. Vol. 2, No. 3. p. 382.

In etching his method is as personal as in his painting. He entirely disregards all the accepted canons of the art. Line,as line, hardly exists in his plates; it is scribble, scribble, everywhere. The tree trunks, the rocks, foreground and distance, often the foliage itself, all are as “wrong as wrong can be,” so far as accurate representation is concerned. Yet Corot, great artist and great nature poet, can transgress every rule and still succeed in conveying his message. In the best of his etchings hedoessucceed admirably.Souvenir of ItalyandEnvirons of Romeof 1865 (Corot was then nearly seventy years of age) are among the most interesting prints of the period. In these plates, and others like them, Corot has given free rein to his poetic and imaginative powers and has drawn upon his memory of theItaly of his youth. In method, in their disregard of line, form and texture, they are shining examples of what etching shouldnotbe. In decorative quality, poetic suggestion, and sentiment they are altogether delightful.

CAMILLE COROT. SOUVENIR OF ITALYSize of the original etching, 11⅝ × 8⅝ inchesIn the Museum of Fine Arts, Boston

CAMILLE COROT. SOUVENIR OF ITALY

Size of the original etching, 11⅝ × 8⅝ inchesIn the Museum of Fine Arts, Boston

JEAN-FRANÇOIS MILLET. THE GLEANERSSize of the original etching, 7½ × 10 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

JEAN-FRANÇOIS MILLET. THE GLEANERS

Size of the original etching, 7½ × 10 inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

InMillet’setchings the landscape and the figures are so inter-related as to make any separate study of them unavailing. They are models of significant draughtsmanship and profound feeling, in which nothing is introduced that does not bear directly upon the main theme.Shepherdess Knitting,Peasants Going to Work,Two Men Digging, and above all theGleaners, have each their perfect setting. The wide-stretching plain, slightly undulating, shimmers in the hot summer sunshine, which bathes in a golden glow the three women gleaning, the harvesters gathering in the rich fruits of their toil, and the little village, snuggling amid its trees in the far distance to the right.

Etchers, like poets, are “born, not made.” But, as also in the case of poets, natural gifts will avail little if they are not reinforced by that capacity for taking infinite pains, through which alone a man may so master his medium as to shape it readily to his artistic needs. The etched work ofSeymour Hadenis no chance happening. It is the fruit of close and analytical study, by a man of forceful character and scientific attainments, of the bestmodel of style, the etchings of Rembrandt; supplemented by a familiarity with the work of his contemporaries in France, the land of clear and logical thinking; and in no art is clarity and brevity of speech more essential than in etching. From the beginning, Seymour Haden was in possession of all his powers, both in etching and in dry-point. There is no uncertainty in that which he wishes to say, no fumbling in his manner of saying it. The reticences and half-hesitations of Daubigny are not for him; there is no place for Corot’s scribbled poetry. He will give us a strong man’s interpretation of the lovely English landscape, in which he takes a pride, as in any other personal possession—God’s visible and abounding bounty to a superior people. It is “the bones of things” (his own phrase) that he wishes, above all else, to give. At his best he succeeds magnificently, but in much of his work, structurally fine though it be, it is the frame rather than the spirit that he portrays.

SEYMOUR HADEN. CARDIGAN BRIDGESize of the original etching, 4½ × 5⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

SEYMOUR HADEN. CARDIGAN BRIDGE

Size of the original etching, 4½ × 5⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

SEYMOUR HADEN. BY-ROAD IN TIPPERARYSize of the original etching, 7½ × 11¼ inches(If supported click figure to enlarge.)

SEYMOUR HADEN. BY-ROAD IN TIPPERARY

Size of the original etching, 7½ × 11¼ inches(If supported click figure to enlarge.)

SEYMOUR HADEN. SUNSET IN IRELANDSize of the original dry-point, 5⅜ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

SEYMOUR HADEN. SUNSET IN IRELAND

Size of the original dry-point, 5⅜ × 8½ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

SEYMOUR HADEN. SAWLEY ABBEYSize of the original etching, 10 × 14⅞ inchesIn the Collection of the Author(If supported click figure to enlarge.)

SEYMOUR HADEN. SAWLEY ABBEY

Size of the original etching, 10 × 14⅞ inchesIn the Collection of the Author(If supported click figure to enlarge.)

A Water Meadow(incidentally, a plate which the artist himself liked) is a fine transcript of a sudden shower in the Hampshire lowlands. It is bold and painter-like, admirable from every point of view, though some may preferOn the Test, with its truly noble sky, etched later in the day from a somewhat different point of view.Cardigan Bridgeis a model of what a sketch should be, free, suggestive, spontaneous,yet full of knowledge. It is one of five similar plates, etched in a single day, August 17, 1864, a “good day” indeed, such as rarely comes to etchers or to painters! The more one sees of modern etching, the more one is inclined to value work of this order. It is so easy, so fatally easy, to make wriggles in the water and scribbles in the sky; but to suggest, by these seeming careless loops and latchets, the flow of the river, the movement of clouds, the splendor of the setting sun—thatindeed is another matter! Yet all this, and more, Seymour Haden has done in a magisterial manner.

By-road in Tipperaryis the largest and most highly prized of his woodland plates and well deserves the reputation it so long has enjoyed. Structurally the trees are very fine, both as to branch and stem drawing; and, as in the two plates ofKensington Gardens, the suggestion of foliage with the light filtering through the leaves is quite beautiful.Sunset in Irelandis a plate which the artist, the collector, and the general public all unite in praising. “Thatis the plate,” said Seymour Haden, shortly before his death, “which, in years to come, will fetch the enormous prices!” And his prophecy has come true. Both in its earlier states, less rich in burr, with a luminous evening effect, and in the later and darker impressions, it is “a thing of beauty”—one of the most remarkable landscapeplates of modern times, wherein the artist has captured, for once, all the poetry and melancholy sentiment of the twilight hour.Sawley Abbey, on the River Ribble in Lancashire, has, to some of us, however, a “swing” and pattern, which make of it a better and more manly plate. It must be seen in an early state to be adequately judged. For some inexplicable reason the artist saw fit later to “clean up” the sky and all the foreground to the right, leaving the plate cold, empty, and almost meaningless.

Nine Barrow Down, a dry-point, is in Haden’s happiest vein. It is instinct with that priceless quality, the “art which conceals art,” and is so seeming simple that one may readily forget that its “simplicity” is the result of a most rigid selection of the essential lines, guided by the knowledge of a lifetime.

There is a growing tendency among the younger and more “advanced” collectors to belittle Seymour Haden and his work. Unquestionably there are many etchings which fall far short of his best; butat his best, in the dozen or two plates of which he himself approved, he towers far above any of his contemporaries, and there seems little likelihood of his supremacy in landscape being seriously threatened.

J. A. McN. WHISTLER. ZAANDAM (First State)Size of the original etching, 5⅛ × 8⅝ inchesIn the Collection of Howard Mansfield, Esq.(If supported click figure to enlarge.)

J. A. McN. WHISTLER. ZAANDAM (First State)

Size of the original etching, 5⅛ × 8⅝ inchesIn the Collection of Howard Mansfield, Esq.(If supported click figure to enlarge.)

REMBRANDT. VIEW OF AMSTERDAM FROM THE EASTSize of the original etching, 4⅛ × 5⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

REMBRANDT. VIEW OF AMSTERDAM FROM THE EAST

Size of the original etching, 4⅛ × 5⅞ inchesIn the Museum of Fine Arts, Boston(If supported click figure to enlarge.)

Whistler, “the greatest etcher and the most accomplishedlithographer who ever lived” (according to Mr. Joseph Pennell), seems to have interested himself in landscape hardly at all. Not even his most ardent disciples would assert that the master’s few purely landscape plates contribute greatly to the pyramid of his fame. But even here one must tread softly.Whistlerium tremensis still a highly contagious disease; and has not his official biographer written “All his work is alike perfect”? How then may a modest lecturer presume to praise or compare? Let Mr. Pennell speak: “Look at Rembrandt’s prints made, I do not know whether with Amsterdam or Zaandam in the background, and then at Whistler’s of the same subjects. Rembrandt drew and bit and printed these little plates as no one had up to his time. But Whistler is as much in advance of Rembrandt as that great artist was of his predecessors. In these little distant views of absolutely the same subject, Whistler has triumphed. It is not necessary to explain how: you have only to see the prints to know it.... The older master is conservative and mannered; the modern master, respecting all the great art of the past, is gracious and sensitive, and perfectly free.”

“You have only to see the prints to know it.” Well, let us look at two of them: Rembrandt’sView of Amsterdam, of 1640, and Whistler’sZaandam. “Why drag in Velasquez?” the master ofthe gentle art of making enemies is reported to have said, upon one historic occasion. This time, so far as landscape etching is concerned, may it not be Rembrandt’s turn to say, “Why drag in Whistler?”

LANDSCAPE ETCHING

BIBLIOGRAPHY

Fine Prints.By Frederick Wedmore.15 illustrations. Edinburgh: John Grant. 1905.The Great Painter-Etchers from Rembrandt to Whistler.By Malcolm C. Salaman. Edited by Charles Holme.191 illustrations. London, Paris, New York: The Studio. 1914.Four Masters of Etching.[Haden, Jacquemart, Whistler, Legros.]By Frederick Wedmore.Original etchings by Haden, Jacquemart, Whistler, and Legros. London: Fine Art Society. 1883.Dutch Etchers of the Seventeenth Century.By Laurence Binyon.4 reproductions and 29 text illustrations. London: Seeley & Co. 1895. (Portfolio Artistic Monographs. No. 21.)Altdorfer, Albrecht(c. 1480-1538)Albrecht Altdorfer.By T. Sturge Moore. Edited by Laurence Binyon.25 illustrations. New York: Longmans, Green & Co.; London: The Unicorn Press. 1901.Albrecht Altdorfers Landschafts Radierungen.Edited by Max J. Friedländer.9 reproductions and 1 text illustration. Berlin: Bruno Cassirer. 1906. (Graphische Gesellschaft. Publication 3.)Albrecht Altdorfer and Wolf Huber.By Hermann Voss.160 reproductions on 63 plates. Leipzig: Klinkhardt & Biermann. 1910. (Meister der Graphik. Vol. 3.)Gellée, Claude, calledLorrain(1600-1682)Claude Lorrain; Painter and Etcher.By George Graham.4 reproductions and 23 text illustrations. London: Seeley & Co. 1895. (The Portfolio Artistic Monographs.)Rembrandt Harmensz van Rijn(See also Bibliography under “Some Masters of Portraiture,” p. 224.)Rembrandt’s Landscape Etchings.By Laurence Binyon.8 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 407-432. Boston. 1912.Jacque, Charles Émile(1813-1894)L’oeuvre de Ch. Jacque; catalogue de ses eaux-fortes et pointes sèches.By Jules Marie Joseph Guiffrey.With an original etching. Paris: Mlle. Lemaire. 1866.———.Nouvelles eaux-fortes et pointes sèches.Supplement au catalogue. Paris: Jouaust & Sigaux. 1884.Charles Jacque.By Robert J. Wickenden.18 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 1, pp. 74-101. Boston. 1912.——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)Daubigny, Charles Francois(1817-1878)C. Daubigny et son oeuvre gravé.By Frédéric Henriet.5 original etchings and 4 reproductions. Paris: A. Levy. 1875.Daubigny.By Jean Laran.48 reproductions. Paris: Librairie centrale des Beaux-Arts. n. d. (L’Art de Notre Temps.)Charles-François Daubigny; Painter and Etcher.By Robert J. Wickenden.15 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 2, pp. 177-206. Boston. 1913.——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)Corot, Jean Baptiste Camille(1796-1875)Corot.By Loys Delteil.An original etching and 102 reproductions. Paris: L’auteur. 1910. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 5.)Corot and Millet.With critical essays by Gustave Geffroy and Arsène Alexandre. Edited by Charles Holme.120 illustrations. London, Paris, New York: John Lane. 1902. (The Studio.)“Le Père Corot.”By Robert J. Wickenden.9 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 3, pp. 365-386. Boston. 1912.——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)Millet, Jean-François(1814-1875)Jean-François Millet.By Arsène Alexandre.The Etchings of J. F. Millet.By Frederick Keppel.85 illustrations. London and New York: John Lane. 1903. (The Studio.)Jean-François Millet.By Loys Delteil.Illustrated. Paris: L’auteur. 1906. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. I.)Alfred Lebrun’s Catalogue of the Etchings, Heliographs, Lithographs and Woodcuts Done by Jean-François Millet.Translated from the French by Frederick Keppel.With additional notes and a sketch of the artist’s life. 7 reproductions. New York: Frederick Keppel & Co. 1887.Jean-François Millet; Painter-Etcher.By Mrs. Schuyler Van Rensselaer.With a biographical sketch of Millet by Frederick Keppel. 11 illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. 1st series.)The Art and Etchings of Jean-François Millet.By Robert J. Wickenden.14 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 2, pp. 225-250. Boston. 1912.——— ———. Reprinted. Boston: Houghton Mifflin Company. 1914. (Print-Collectors’ Booklets.)Millet’s Drawings in the Museum of Fine Arts, Boston.By Robert J. Wickenden.11 illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 1, pp. 3-30. Boston. 1914.Haden, Francis Seymour(1818-1910)A Descriptive Catalogue of the Etched Work of Francis Seymour Haden.By Sir William Richard Drake.London: Macmillan & Co. 1880.The Engraved Work of Sir Francis Seymour Haden, P. R. E.By H. Nazeby Harrington.250 reproductions on 109 plates. Liverpool: Henry Young & Sons. 1910.The Water-Colors and Drawings of Sir Seymour Haden, P. R. E.By H. Nazeby Harrington.8 illustrations. The Print-Collector’s Quarterly, Vol. 1, No. 4, pp. 405-419. Boston. 1911.Sir Seymour Haden, Painter-Etcher.By Frederick Keppel.5 illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. 1st series.)Personal Characteristics of Sir Seymour Haden, P. R. E.By Frederick Keppel.27 illustrations. The Print-Collector’s Quarterly. 2 parts. Part I. Vol. 1, No. 3, pp. 291-316. Part II. Vol 1, No. 4, pp. 421-442. Boston. 1911.Whistler, James Abbott McNeillThe Etched Work of Whistler. Illustrated by Reproductions in Collotype of the Different States of the Plates.Compiled, arranged, and described by Edward G. Kennedy. With an introduction by Royal Cortissoz.1002 reproductions. New York: The Grolier Club. 1910.A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler.By Howard Mansfield.1 portrait. Chicago: Caxton Club. 1909.Whistler as a Critic of His Own Prints.By Howard Mansfield.12 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 4, pp. 367-393. Boston. 1913.The Life of James McNeill Whistler.By Elizabeth Robins Pennell and Joseph Pennell.97 illustrations. 5th edition. Philadelphia: J. B. Lippincott Company. 1911.Mr. Whistler’s Lithographs; the Catalogue.By Thomas R. Way.1 lithograph. London: George Bell & Sons. 1896.Whistler’s Lithographs.By Thomas R. Way.18 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 279-309. Boston. 1913.The Lithographs by Whistler, Illustrated by Reproductions in Photogravure and Lithography, Arranged According to the Catalogue by Thomas R. Way, with Additional Subjects Not Before Recorded.166 reproductions. New York: Kennedy & Co. 1914.The Art of James McNeill Whistler.By T. R. Way and G. R. Dennis.11 portraits and 41 plates. London: George Bell & Sons. 1904.Whistler’s Etchings; a Study and a Catalogue.By Frederick Wedmore.London: A. W. Thibaudeau. 1886.———. Same. 2nd edition. London: P. & D. Colnaghi & Co. 1899.The Gentle Art of Making Enemies.By J. A. McN. Whistler.London: William Heinemann. 1890.———. Same. 2nd edition. 1892.———. Same. 3rd edition. 1904.The Gentle Art of Making Enemies.Edited by Sheridan Ford.Paris: Delabrosse & Compagnie. 1890.Cameron, David Young(1865- )D. Y. Cameron; an Illustrated Catalogue of His Etched Work; with an Introductory Essay and Descriptive Notes on Each Plate.By Frank Rinder.444 reproductions. Glasgow: J. MacLehose & Sons. 1912.Cameron’s Etchings; a Study and a Catalogue.By Frederick Wedmore.London: R. Gutekunst. 1903.Bone, Muirhead(1876- )Etchings and Drypoints by Muirhead Bone.By Campbell Dodgson.Portrait. London: Obach & Co. 1909.

Fine Prints.By Frederick Wedmore.15 illustrations. Edinburgh: John Grant. 1905.

The Great Painter-Etchers from Rembrandt to Whistler.By Malcolm C. Salaman. Edited by Charles Holme.191 illustrations. London, Paris, New York: The Studio. 1914.

Four Masters of Etching.[Haden, Jacquemart, Whistler, Legros.]By Frederick Wedmore.Original etchings by Haden, Jacquemart, Whistler, and Legros. London: Fine Art Society. 1883.

Dutch Etchers of the Seventeenth Century.By Laurence Binyon.4 reproductions and 29 text illustrations. London: Seeley & Co. 1895. (Portfolio Artistic Monographs. No. 21.)

Altdorfer, Albrecht(c. 1480-1538)

Albrecht Altdorfer.By T. Sturge Moore. Edited by Laurence Binyon.25 illustrations. New York: Longmans, Green & Co.; London: The Unicorn Press. 1901.

Albrecht Altdorfers Landschafts Radierungen.Edited by Max J. Friedländer.9 reproductions and 1 text illustration. Berlin: Bruno Cassirer. 1906. (Graphische Gesellschaft. Publication 3.)

Albrecht Altdorfer and Wolf Huber.By Hermann Voss.160 reproductions on 63 plates. Leipzig: Klinkhardt & Biermann. 1910. (Meister der Graphik. Vol. 3.)

Gellée, Claude, calledLorrain(1600-1682)

Claude Lorrain; Painter and Etcher.By George Graham.4 reproductions and 23 text illustrations. London: Seeley & Co. 1895. (The Portfolio Artistic Monographs.)

Rembrandt Harmensz van Rijn(See also Bibliography under “Some Masters of Portraiture,” p. 224.)

Rembrandt’s Landscape Etchings.By Laurence Binyon.8 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 4, pp. 407-432. Boston. 1912.

Jacque, Charles Émile(1813-1894)

L’oeuvre de Ch. Jacque; catalogue de ses eaux-fortes et pointes sèches.By Jules Marie Joseph Guiffrey.With an original etching. Paris: Mlle. Lemaire. 1866.

———.Nouvelles eaux-fortes et pointes sèches.Supplement au catalogue. Paris: Jouaust & Sigaux. 1884.

Charles Jacque.By Robert J. Wickenden.18 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 1, pp. 74-101. Boston. 1912.

——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)

Daubigny, Charles Francois(1817-1878)

C. Daubigny et son oeuvre gravé.By Frédéric Henriet.5 original etchings and 4 reproductions. Paris: A. Levy. 1875.

Daubigny.By Jean Laran.48 reproductions. Paris: Librairie centrale des Beaux-Arts. n. d. (L’Art de Notre Temps.)

Charles-François Daubigny; Painter and Etcher.By Robert J. Wickenden.15 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 2, pp. 177-206. Boston. 1913.

——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)

Corot, Jean Baptiste Camille(1796-1875)

Corot.By Loys Delteil.An original etching and 102 reproductions. Paris: L’auteur. 1910. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. 5.)

Corot and Millet.With critical essays by Gustave Geffroy and Arsène Alexandre. Edited by Charles Holme.120 illustrations. London, Paris, New York: John Lane. 1902. (The Studio.)

“Le Père Corot.”By Robert J. Wickenden.9 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 3, pp. 365-386. Boston. 1912.

——— ———. Reprinted. Boston: Houghton Mifflin Co. 1914. (Print-Collectors’ Booklets.)

Millet, Jean-François(1814-1875)

Jean-François Millet.By Arsène Alexandre.The Etchings of J. F. Millet.By Frederick Keppel.85 illustrations. London and New York: John Lane. 1903. (The Studio.)

Jean-François Millet.By Loys Delteil.Illustrated. Paris: L’auteur. 1906. (Le peintre-graveur illustré, XIXᵉ et XXᵉ siècles. Vol. I.)

Alfred Lebrun’s Catalogue of the Etchings, Heliographs, Lithographs and Woodcuts Done by Jean-François Millet.Translated from the French by Frederick Keppel.With additional notes and a sketch of the artist’s life. 7 reproductions. New York: Frederick Keppel & Co. 1887.

Jean-François Millet; Painter-Etcher.By Mrs. Schuyler Van Rensselaer.With a biographical sketch of Millet by Frederick Keppel. 11 illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. 1st series.)

The Art and Etchings of Jean-François Millet.By Robert J. Wickenden.14 illustrations. The Print-Collector’s Quarterly, Vol. 2, No. 2, pp. 225-250. Boston. 1912.

——— ———. Reprinted. Boston: Houghton Mifflin Company. 1914. (Print-Collectors’ Booklets.)

Millet’s Drawings in the Museum of Fine Arts, Boston.By Robert J. Wickenden.11 illustrations. The Print-Collector’s Quarterly, Vol. 4, No. 1, pp. 3-30. Boston. 1914.

Haden, Francis Seymour(1818-1910)

A Descriptive Catalogue of the Etched Work of Francis Seymour Haden.By Sir William Richard Drake.London: Macmillan & Co. 1880.

The Engraved Work of Sir Francis Seymour Haden, P. R. E.By H. Nazeby Harrington.250 reproductions on 109 plates. Liverpool: Henry Young & Sons. 1910.

The Water-Colors and Drawings of Sir Seymour Haden, P. R. E.By H. Nazeby Harrington.8 illustrations. The Print-Collector’s Quarterly, Vol. 1, No. 4, pp. 405-419. Boston. 1911.

Sir Seymour Haden, Painter-Etcher.By Frederick Keppel.5 illustrations. New York: Frederick Keppel & Co. 1901. (The Keppel Booklets. 1st series.)

Personal Characteristics of Sir Seymour Haden, P. R. E.By Frederick Keppel.27 illustrations. The Print-Collector’s Quarterly. 2 parts. Part I. Vol. 1, No. 3, pp. 291-316. Part II. Vol 1, No. 4, pp. 421-442. Boston. 1911.

Whistler, James Abbott McNeill

The Etched Work of Whistler. Illustrated by Reproductions in Collotype of the Different States of the Plates.Compiled, arranged, and described by Edward G. Kennedy. With an introduction by Royal Cortissoz.1002 reproductions. New York: The Grolier Club. 1910.

A Descriptive Catalogue of the Etchings and Drypoints of James Abbott McNeill Whistler.By Howard Mansfield.1 portrait. Chicago: Caxton Club. 1909.

Whistler as a Critic of His Own Prints.By Howard Mansfield.12 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 4, pp. 367-393. Boston. 1913.

The Life of James McNeill Whistler.By Elizabeth Robins Pennell and Joseph Pennell.97 illustrations. 5th edition. Philadelphia: J. B. Lippincott Company. 1911.

Mr. Whistler’s Lithographs; the Catalogue.By Thomas R. Way.1 lithograph. London: George Bell & Sons. 1896.

Whistler’s Lithographs.By Thomas R. Way.18 illustrations. The Print-Collector’s Quarterly, Vol. 3, No. 3, pp. 279-309. Boston. 1913.

The Lithographs by Whistler, Illustrated by Reproductions in Photogravure and Lithography, Arranged According to the Catalogue by Thomas R. Way, with Additional Subjects Not Before Recorded.166 reproductions. New York: Kennedy & Co. 1914.

The Art of James McNeill Whistler.By T. R. Way and G. R. Dennis.11 portraits and 41 plates. London: George Bell & Sons. 1904.

Whistler’s Etchings; a Study and a Catalogue.By Frederick Wedmore.London: A. W. Thibaudeau. 1886.

———. Same. 2nd edition. London: P. & D. Colnaghi & Co. 1899.

The Gentle Art of Making Enemies.By J. A. McN. Whistler.London: William Heinemann. 1890.

———. Same. 2nd edition. 1892.

———. Same. 3rd edition. 1904.

The Gentle Art of Making Enemies.Edited by Sheridan Ford.Paris: Delabrosse & Compagnie. 1890.

Cameron, David Young(1865- )

D. Y. Cameron; an Illustrated Catalogue of His Etched Work; with an Introductory Essay and Descriptive Notes on Each Plate.By Frank Rinder.444 reproductions. Glasgow: J. MacLehose & Sons. 1912.

Cameron’s Etchings; a Study and a Catalogue.By Frederick Wedmore.London: R. Gutekunst. 1903.

Bone, Muirhead(1876- )

Etchings and Drypoints by Muirhead Bone.By Campbell Dodgson.Portrait. London: Obach & Co. 1909.

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