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N comparing contemporary art with 

the art of the past, one is apt to come 

to the discouraging conclusion that 

the really great artists belong almost 

entirely to former days. Perhaps there may be 

artists among us to-day whose greatness we do 

not recognize, but in addition to that there is, I 

believe, another reason, apparent rather than 

real, for this discouragement. It is in the nature 

of an optical illusion, and while it is so obvious 

that it seems foolish to speak about it, I doubt 

whether we realize the degree to which it affects 

us. I mean the fact that the great artists seem 

to come closer together the further back we look 

^ into history, just as the telegraph poles along a 

railway line seem to get closer and closer together 

^ in the distance. The particular fifty years in 

3; which we are living seems a long stretch of time, 

J but a period of fifty years in the seventeenth or 

^ eighteenth century between one great artist and 

another counts for almost nothing in our minds. 

,^ This is peculiarly the case in the history of the 

^ difficult art of etching, an art in which the num- 

^ ber of real masters of any period has been very 

* small. 

^ To-day we show the work of Four Living Ma's- 
'>j ters of Etching : Zorn, Lepere, Cameron, and 
^ Bone. How many periods of the past have there 
X.~been in which we could have done better? At a 
certain point in the seventeenth century, say 
1640, we could have exhibited the work of Rem- 
brandt, Van Dyck, Claude, and Van Ostade. 
That would indeed have been an exhibition of 
Four Living Masters of Etching! In 1675 
Claude and Van Ostade were still living, but we 
should have lost our two greatest names and 

should have had to replace them by Callot and 
Ruisdael. In 1700 we could not have shown a 
single great etcher. Canaletto was living at that 
time but was still a child. In 1750 we could have 
shown onlj' the work of Canaletto and Piranesi, 
in 1775 that of Piranesi and Goya, in 1800 and 
1825 Goya alone. 

With the year 1850 we come to another great 
period. In that year an exhibition of the work 
of great living etchers could have included Mil- 
let, Daubigny, Haden, and Meryon. In 1875 
Jleryon had died, but in spite of that, with the 
exception of the period of 1640, it was perhaps 
the very greatest moment for etching. One could 
have exhibited Millet, Daubigny, Haden, Whis- 
tler, Legros, Buhot, Bracquemond, and Lepere. 

It appears from this that while there have been 
two periods, one about 1625 to 1650, and another 
from 1850 to 1875, that were far stronger than 
the present day in etching, there have been many 
other periods, two centuries in fact, which were 
weaker. And the four men whose work we are 
exhibiting now are by no means the only masters 
of the etching needle who are working to-day. 
There are also Pennell, Klinger, and Bauer, to 
mention only three. 

These considerations should encourage us in 
regard to the art of etching at the present day. 
It must also be remembered that the art of the 
past comes to us purged of its dross. We are apt 
to assume that there was little or no bad work 
done in the old times. For my own part I be- 
lieve, on the contrary, that there were mountains 
of it, but that it has mostly, mercifully for us, 
passed out of existence. 

David Keppel. 

October 5, 1914. 



1 Old and New Gaiety Theatres. 

(Dodgson No. 149) 

Done at CMswick early in 1904 from a drawing. 

2 Chiswick. (Dodgson No. 150) 

Done from nature in February or March, 1904. 

3 Brew Houses, Southampton. (Dodgson No. 151) 

Done from a drawing early in 1904. 

4 Cambridge, Midsummer Fair. (Dodgson No. 152) 

Done from a drawing early in 1904. 

5 South Gate, King's Lynn. (Dodgson No. 153) 

Done from a drawing early in 1904. First state 
before the lancet window. 

6 The Haystack. (Dodgson No. 157) 

Done from nature at Ely in July, 1903. 

7 Leeds. (Dodgson No. 181) 

Done in 1905. Twenty-six proofs printed. 

8 Oxfordshire. (Dodgson No. 198) 

Done in 1906. Second state of four before the tiny 
spot on the horizon to the left of the horse's foot 
was filled with trees. 

9 Hampstead Heath. (Dodgson No. 199) 

Done in 1906. Twenty proofs printed. 

' ' Bone 's best pieces out of London include a 
few which are of the outskirts of a large town, or 
a small one, or are of pure country. Of the for- 
mer, Hampstead Heath— reailj a path, a waU, and 
a row of ancient trees upon the road to ' The 
Spaniards' — . . . are the happiest instances of 
those it has been my business to appraise." 

Frederick Wedmore, Etchings. 

10 Arundel. (Not in Dodgson) 

Done in 1908. 

11 Chiswick Mall. (Not in Dodgson) 

12 A Rainy Night in Rome. (Not in Dodgson) 

Done in 1914. 


13 Bothwell. (Binder No. 34) 

Done in 1889. Only state. 

14 Church Interior, Venice. (Binder No. 219) 

Done in 1896. 

15 The Palace Doorway, Joannes Darius. 

(Binder No. 225) 
Done in 1895. Only state. 

"But there are still several plates which we 
should advise coOectors to seek: Joannes Darius, 
Dieppe Castle, The Little Devil of Florence, Nor- 
man Village, and The Smithy." 

M. C. Salaman, Print-Collector's BandhooTc, 

16 Pastoral. (Binder No. 228) 

Done in 1896. 

17 Landscape with Trees. (Binder No. 229) 

Done in 1896. Only state. 

18 Dryburgh. (Binder No. 232) 

Done in 1896. First state of five before the dry- 

On September 26th, 1832, Sir Walter Soott was 
interred here in the tomb of his maternal ances- 
tors, the Haliburtons of Newmains, who at one 
time owned Dryburgh Abbey. 

19 Cour des Bons Enfants, Rouen. (Binder No. 277) 

Done in 1897. Second state before the horizontal 
lines in the foreground. 

20 The Same. (Binder No. 277) 

Third state. 

21 The Admiralty. (Binder No. 293) 

Done in 1899. Only state. 

"Technically The Admiralty is as clever. The 
construction, of course, is firm— Mr. Cameron's 


construction is always firm, absolutely — but that 
is not the print's technical peculiarity. The indi- 
vidual merit of The Admiralty lies in the preser- 
vation of perfect relative 'values'— buildings 
drawn in detail on one plane, and buildings drawn 
just behind them on another." 

Frederick Wedmore, The Art Journal. 

22 Sienna. (Kinder No. 304) 

Done in 1900. First state of two before additional 
lines and dry-point work. 

"This sombreness and solemnity of pictorial vi- 
sion, haunted always by the brooding shadows, give 
their characteristic beauty to such fine and noble 
plates as Loches; St. Merri; the street corner with 
the sun hot on the houses, Canongate, Tolbooth; 
Chinon; Sienna." 

M. C. Salaman, Print-Collector 's SandbooTc. 

23 St. Mark's, No. 2. (Kinder No. 307) 

Done in 1900. 

24 Ponte del Trinity. (Kinder No. 325) 

Done in 1902-1907. 

25 Montivilliers. (Kinder No. 355) 

Done in 1903. 

26 The Canongate, Tolbooth. (Kinder No. 378) 

Done in 1906. Second state of three before the 
sunlight beyond the gateway at extreme right was 
replaced by dry-point shadow. 

The old Tolbooth Gaol, Edinburgh, at the north- 
west corner of St. Giles, was ' ' the Heart of Mid- 
lothian, a place old in story and name-father to 
a noble book." The Canongate, Tolbooth, or 
Court-house, temp. James VI, shown in the etching, 
has over an archway the inscription ' ' Patriae et 
Posteris 1591. ' ' 

27 Mar's Work, Stirling. (Kinder No. 386) 

Done in 1907. Second state before the dry-point 
patch by the group to the right and additional 
shadow in the doorway to the left. 

This gateway is the remains of a house buUt by 
the Earl of Mar, Kegent of Scotland, according to 
an untrustworthy tradition, with stones sacri- 
legiously taken from the ruins of Cambuskenneth. 
One of the carved inscriptions reads: 

"The moir I stand on oppin hitht 
My favltis moir subject ar to sitht. ' ' 


28 Gateway of Bruges. (Kinder No. 387) 

Done in 1907. Second state of three before in- 
crease of lines across the foreground. 

29 The Belfry of Bruges. (Binder No. 392) 

Done in 1907. The belfry was etched during the 
great annual festival of Le Saint Sang when the 
booths indicated are erected in the square at its 

30 Notre Dame, Dinant. (Kinder No. 394) 

Done in 1907. 

"We have mentioned the desirable and valuable 
North Italian set, but not yet the Belgian set, 
which includes those superbly distinguished things : 
La Maison Noire, Bruges; Old Laroche; The Bel- 
fry of Bruges; and Dinant." 

M. C. Salaman, Print-Collector's Handbook. 

31 A Valley of the Ardennes. (Kinder No. 396) 

Done in 1907. First state before more darkening 
of upper sky. 

32 Evening on the Findhorn. (Binder No. 399) 

Done in 1907. 

33 The Mosque Doorway. (Kinder No. 413) 

Done in 1910. 

34 The Chimera of Amiens. (Kinder No. 415) 

Done in 1910. 

' ' Here in The Chimera of Amiens Mr. Cameron 
is seen in one of his latest moods picturing with a 
great etcher's true economy of line and balance 
of tone, the line delicately bitten, the tone strength- 
ened by dry-point, that grim and fearsome gar- 
goyle — looking hungrily from a parapet of Amiens 
Cathedral over the city's houses and the distant 
plains. Extraordinarily fascinating in design, this 
is a plate that grows on one. ' ' 

M. C. Salaman, Modern Etchings. 

35 Appin Rocks. (Not in Kinder) 


36 Vue de St. Jean de Mont, Vendee. 

(Lotz-Brissonneau No. 48) 
Done in 1892 on zinc. Thirty-five proofs printed. 


37 Amsterdam, vue de Victoria 

Hotel. (Lotz-Brissonneau No. 116) 

Done ia 1901. Thirty-five proofs printed. 

"Lepere is incomparable in liis knowledge of 
how to express motion and life; he is a draughts- 
man of the highest rank, and has a most admirable 
grasp of technique. Every fresh plate engraved by 
him proves him to be a yet more complete master 
of his craft, and shows that his outlook is ever 
widening, his execution ever gaining fresh ease, 
his art becoming ever more and more original and 
personal. The series of etchings he brought back 
from Holland last year is an illustration of the 
constant progress I have described. How exqui- 
sitely beautiful are his views of Amsterdam ; what 
life, what go, there is in them; what decision of 
touch, what variety of effect in the biting in ; what 
intensity of color they display. ' ' 
Gabriel Mourey, Modern Etching and Engraving. 

38 La Masure. 

Done in 1900. Thirty-five proofs printed. 

A good illustration of Lepere 's power of placing 
figures and buildings in his landscape so as to form 
a beautiful design and also to envelop them with 
atmosphere. His power of doing this is the more 
remarkable since he usually works with a bold open 
line and leaves little or no tone of ink on the plate. 

' ' Lepfere joins to an admirable naivete of emo- 
tion, a free and vibrant execution and an instinc- 
tive sense of simplification, and by the suppression 
of useless detail attains to the serene grandeur, 
to the style, in a word, which characterizes truly 
great works of art. ' ' Henri Vever. 

39 L'Arrivee au Moulin. 

Done in 1906. Thirty-five proofs printed. 

' ' Thus he proceeds with extreme simplicity, with 
work in pure line, drawing the architecture clearly 
and surely, strengthening the silhouettes, bringing 
forth cleanly the principal values, the equable bal- 
ance of black and white, cet ardent foyer lumi- 
neux, following the expression of Bracquemond, 
which gives clarity to the entire print. And in 
such drawings, stripped of artifice and affectation, 
in such intense effects of luminosity, he reminds 
one in many cases of Goya or Eembrandt. ' ' 

A. Lotz-Brissonneau. 

40 Le Ballon qui tombe. 

Done in 1906. Thirty-five proofs printed. 

"As in the Journee d'Inventaire, the eye is led 
upward by the gestures of the crowd in the fore- 


ground to the point of interest, the balloon hung 
poised above the trees and houses. There is the 
same contrast of movement, too, in the agitated 
figures of the foreground with the calm lines and 
clear light of the distance. In this plate, however, 
is greater piquancy of light and shade. Figures 
are hurrying in excitement toward the scene of 
the aerial drama; tree branches are tossing, there 
are little restless clouds passing rapidly across the 
sky; the air is brisk, it is a bright day, there is 
much to see and do, and interest is keen — that is 
the story one carries away from this handsome, 
stirring print." Elisabeth Luther Gary. 

41 Vue du Port de la Meule. 

Done in 1907. First state. Nine proofs printed. 

42 Cathedrale d' Amiens, Journee d'lnventaire. 

Done in 1908. One hundred and fifty proofs 

' ' The Journee d 'Inventaire is a plate that shows 
clearly this double action of the artist 's mind. The 
. composition is stately in both line and mass. In 
the background rises the lofty architecture of the 
Amiens Cathedral; in the foreground, in deep 
shadow, is a group of figures diversely occupied. 
The upraised arms of these figures lead naturally 
to the pointed arches and ascending spires. In a 
similar fashion, the strong darks of the foreground 
mount in diminishing quantity through the heavy 
shadows in the recesses of the doorways to the 
luminous blacks that mark the slender openings 
in the towers. It is a beautiful upward movement 
that repeats the song of the Gothic spirit. 

"These wonderful darks have also another 
function. Echoed, as they are, in the small, sharp 
shadows of the multitudinous detail, they send the 
light quivering all through the picture. . . . The 
element of drama is added by the turmoil of little 
figures in shadow at the base of the cathedral, 
seen in minute detail through the translucent dark- 
ness and agitated by their human accidents and 
emotions. The whole spirit of France, its imper- 
ishable monuments, its sparkle of sunshine, its 
reasonable architecture, its vivid life, may be in- 
ferred from this remarkable plate. ' ' 

Elisabeth Luther Gary. 

43 Bords de la Vie. 

Done in 1908. Forty proofs printed. 

44 Coucher de Soleil Derriere les Arbrcs. 

Done in 1909. Forty proofs printed. 


45 Demolition de la Maison de Sabra. 

Done in 1909. Thirty-five proofs printed. 

46 L'Ondee. 

Done in 1909. 

47 La Guinguette, Route de Billancourt. 

Done in 1909. Fifty proofs printed. 

48 Le Nid. 

Done in 1909. Thirty-five proofs printed. 

' ' While all these plates are admirably expressive, 
one in particular, Le Nid, seems to me filled with 
melody, color, and charm as well as with the effi- 
cient intelligence always to be found in Lepere's 
work. A little solid house with thick walls stands 
in greenery. Children, natural, happy, uncon- 
cerned, are playing in the foreground. Beyond is 
a curve of low hill and a glimpse of flat plain ; and 
still beyond, a little town with its spire. It is all 
very naive and fresh; the outdoor setting has 
much beauty; the types of the children are unhack- 
neyed; the gestures and positions unconventional 
and spontaneous. A mere glance reveals the felicity 
of the subject-matter, but longer acquaintance is 
necessary before all the resources of the design 
are appreciated. Even in this playful note of 
pleasant summer pastime we get something of the 
gravity and serious purpose indispensable to great 
etchers as to great painters. ' ' 

Elisabeth Luther Gary. 

49 Le Nid de Pauvre. 

Done in 1909. Thirty-five proofs printed. 

" Le Nid de Pauvre is not less romantic in its 
Gothic avoidance of the ideal type." 

Elisabeth Luther Gary. 

50 Les Deux Bourrines. 

Done in 1910. Thirty-five proofs printed. 

' ' In Les Deux Bourrines . . . the groups of lit- 
tle ugly creatures, who form again a curved line 
of beauty, are characterized with a frank accep- 
tance of their unclassic physiognomies that would 
have delighted the heart of Daumier. " 

Elisabeth Luther Gary. 

51 Peupliers Tetards. 

Done in 1911. Thirty-five proofs printed. 


52 A Gentilly. 

Done in 1911. Thirty-five proofs printed. 

53 La Route de St. Gilles. 

Done in 1911. Forty proofs printed. 

54 Belle Matinee d'Automne. 

Done in 1911. Thirty-five proofs printed. 

This plate gives a wonderful feeling of a beau- 
tiful autumn day. The rendering of the delicate 
branches of the poplars with a few leaves still 
clinging to them is particularly happy. 

55 Cathedrale de Rheims. 

Done in 1911. One hundred and fifty proofs 

56 Ete de la St. Martin, "La Noce qui passe." 

Done in 1912. Fifty proofs printed. 

A very notable and beautiful plate, very original 
in conception, although in spirit it somewhat re- 
calls the work of Claude. 

On the eleventh of November, St. Martin's Day, 
or Martinmas, there is a curious survival of a 
pagan festival, Vinalia, or Wine Festival, devoted 
to Bacchus. Wines are tasted, and drawn from 
the lees, and there is general revelry and feasting. 
In the "Debate and Stryfe between Somer and 
Winter" (a translation from the French, circa 
1520), Winter says: 
' ' Somer, men make great joy what tynie I com in 

For companyes gadereth togyther on the eve of 
seynt martyn. ' ' 

57 Le Bout-Genet, Crevecoeur. 

Done in 1913. Fifty proofs printed. 

This plate is full of the charm of LepSre 's finest 
recent work. 

58 Chemin de la Briqueterie, Crevecoeur. 

Done in 1913. Fifty proofs printed. 

This plate reminds us that Lep6re was trained 
as a wood-cutter, a branch of art which he fol- 
lowed in the severe and noble style of the Diirer 
school. It was probably this training which taught 
him to eliminate all but the lines essential for con- 
veying the spirit of the picture. 

59 Pommier Renverse. 

Done in 1913. Fifty proofs printed. 

The beautiful free design of the young branches 


of the apple tree makes this little plate "carry" 
unusually well at a distance. 

60 Javelles de Seigle, CreveccEur. 

Done in 1913. Fifty proofs printed. 

61 Retour du Troupeau. 

Done in 1913. Kfty proofs printed. 

62 La Route de la Houssoye, Crevecceur. 

Done in 1913. Fifty proofs printed. 

63 La Moulin a Lidor, CrSvecoeur. 

Done in 1913. Fifty proofs printed. 

64 Promenade du Dimanche, CrSvecoeur. 

Done in 1913. Fifty proofs printed. 

"Of his latest work I should put in the first 
rank, Promenade du Dimanche, Pommier Benverse, 
La Boute de la Houssoye, Retour du Troupeau, and 
Le Bout-Genet." 

H. W. Singer, Die Moderne Graphik. 

65 La Seine au Pont National. 

Done in 1913. Thirty-five proofs printed. 

66 La Mare de la Prairie, Crevecoeur. 

Done in 1913. Thirty-five proofs printed. 

67 Souvenir de St. Denis. 

Done in 1913. Fifty proofs printed. 

68 Pommier Mort. 

Done in 1913. Thirty-five proofs printed. 

Lepere 's trees are never conventionalized, but 
always distinctive and characteristic. This tree 
could never be taken for anything but a dead 
apple-tree, just as one could not mistake the pop- 
lars of Peupliers Tetards or the oaks of A Gentilly 
or the magnificent elms of Le Bout-Genet. 


69 Rosita Mauri. (Delteil No. 34) 

Done in 1889. Third state of five before the letter. 
Proof on Holland paper. Twenty impressions only. 
From the Wheeler collection. 

This delightful portrait has been characterized 
by Mr. Edward Alkman as the " Mona Lisa of modem 


etching, less disquieting than her prototype, but 
enigmatical, suggestive, elusive as she. ' ' 

70 The Same. (Delteil No. 34) 

Another impression, also of the third state, on 
chine colle. From the Eoger Marx collection. 

71 Zorn and his Wife. (Delteil No. 42) 

Done in 1890. Very rich proof, probably his model 
for the printer. 

Etched in the artist's studio by lamplight. 

"Examined close at hand, these quick, bold, 
slanting strokes hardly seem to have definite mean- 
ing. . . . Yet, viewed at a proper distance, each is 
found to be full of most accurate purpose. The 
forms of the figures and accessories define and 
round themselves with astounding truth and force : 
everything holds its proper place in the composi- 
tion; atmosphere and light are beautifully ren- 
dered; and for dramatic vividness, for expressions 
of character, few etched portraits I have ever seen 
can compare with these." 
Mrs. Schuyler van Rensselaer, A Swedish Etcher. 

72 The Same. (Delteil No. 42) 

Another impression, printed on Imperial Japan 

73 J. B. Faure. (Delteil No. 52) 

Done in 1891. 

"J. B. Faure singing at the piano, perhaps the 
most astounding of all Zorn's plates — an interior 
with a magical atmosphere ! ' ' 

H. W. Singer, Die Moderns Graphik. 

74 The Waltz. (Delteil No. 54) 

Done in 1891. 

"... and in his dramatically effective Waltz 
with its assemblage of swaying figures moving 
rhythmically through the spacious ball-room, both 
marvels of discerning observation recorded with 
an almost clairvoyant magic of line that evoke the 
kaleidoscopic shimmer and brilliancy of the scenes 
depicted. The difficulties presented by these com- 
plex subjects are surmounted with the same non- 
chalant ease and certainty that distinguish his 
long series of individual portraits and figure 
pieces. ' ' 

J. Nilsen Laurvik, Anders Zorn. 


75 En Omnibus. (DelteilNo. 71) 

Done in 1891. 

' ' Zorn is concerned but little with abstract form 
or involved compositions. But he cannot be ac- 
cused of evading difficulties through any fear of 
failure, as he has so convincingly demonstrated in 
his vivid, sun-fleeked Interior of a Parisian Omni- 
bus with its sharply characterized passengers. ' ' 
J. NUsen Laurvik, Anders Zorn. 

76 Ernest Renan. (DelteilNo. 72) 

Done in 1892. Splendid impression, printed on 
bluish paper. 

"Strongly opposed to all the conventionalities 
of the studio, he prefers to study his subjects un- 
der natural conditions when they are off their 
guard and then to transcribe his impressions very 
largely from memory, after the essential lines have 
been noted. Thus have come into being some of 
his most memorable plates, such as the Senan, and 
the portrait of himself and his wife, each executed 
in a few hours of concentrated effort. 

' ' Here is set down for all time in a few unerring 
lines the soul and body of the man— the casuist 
and the voluptuary of thought, the Balzacian bulk 
of him physically and the bigness of him mentally. 
The massive and apparently grotesque exterior of 
this speculative dreamer, immersed in his own 
meditations, conveys something of the same sense 
of aloofness with which Rodin has invested his 
statue of Balzac. They both appear to be dream- 
ing of life and its mysteries until the immense 
torso seems but an Olympian pedestal supporting 
the domelike head. It is more than a pocket- 
edition biography, this portrait. Executed in one 
sitting in Kenan's study in April of 1892, nine 
years after his initiation into the mysteries of 
etching, this plate may be said to epitomize the 
whole art of Zorn, — his vigorous truthfulness, his 
synthetic treatment of salient points of character, 
and his love of dramatic contrasts of sharply jux- 
taposed masses of black and white." 

J. NUsen Laurvik, Anders Zorn. 

77 The Same. 

Proof dedicated to Dr. Haekerman. 

78 Mme. Olga Bratt. (DelteU No. 73) 

Done in 1892. Thirty proofs printed. 

"Different again is the portrait of Olga Bratt, 
and especially attractive because it shows that this 


very virile etcher has upon oeoasion a keen feeling 

for beauty. ' ' 

Mrs. Schuyler van Eensselaer, A Swedish Etcher. 

79 The Toast. (DelteilNo. 80) 

Done in 1893. Prom the painting in the National 
Museum, Stockholm. 

"The Idun (Goddess of Touth) is the name of 
a scientific and artistic society in Stockholm, and 
Zorn's painting was presented to the association 
on its thirtieth jubilee. Its secretary and founder 
Harald Wieselgren is seen in the foreground. In 
the adjoining room, and counting from left to 
right, are the Eoyal Antiquarian Hildebrand, 
standing; Professor Key, seated; Professor Warn, 
also seated, half hidden and seen in profile; and 
standing, seen almost full face, Nordenskjold, the 
Arctic explorer. 

' ' Here he has not worked in just the same way 
as in the Benan, but his handling is even more 
interesting when one studies how its seemingly 
reckless strokes result in an effect of so much com- 
pleteness and force. ' ' 
Mrs. Schuyler van Eensselaer, A Swedish Etcher. 

80 Henry Marquand. (DelteU No. 81) 

Done in 1892. Only state. 

"See the late Eenry Marquand, the elderly col- 
lector, of thoughtful mien, and reserved utterance, 
and wary step. ' ' 

Frederick Wedmore, Etchings. 

81 My Model and My Boat. (Delteil No. 90) 

Done in 1894. Prom the Strolin collection. 

' ' We come back to the Dalecarlian peasant girl, 
to the nude figure, and to the life in summer-time 
in the North: the long clear days; the hills; the 
lake; the boat; the model. Here the economy of 
means is most visible and most assured: the labor 
of the hand, decisive, swift— backed by the posses- 
sion of an accumulated knowledge. In these prints, 
art reaches us in its quintessence — and the joy of 
life — and a firm energy makes possible the magic 
of the touch: charges with meaning the chosen 
stroke, the chosen dot. ' ' 

Frederick Wedmore, Etchings. 

82 Mr. and Mrs. Pontus Furstenberg. 

(DelteilNo. 96) 
Done in 1895. First state of three. 


83 Mme. Gerda Hagborg. (Delteil No. 104) 

Done in 1896. Prom the Weber collection. 

84 Oscar II, King of Sweden. (Delteil No. 130) 

Done in 1898. 

85 Zorn and his Model. (Delteil No. 148) 

Done in 1899. 

86 Mile. Maja von Heyne. (DelteUNo. 149) 

Done in 1900. Superb impression. 

"Peutetre la plus jolie piSce de I'oeuvre absolu- 
ment hors pair. ' ' 
G. Bourcard, A Travers Cinq SiScles de Gravures. 

87 The Same. (Delteil No. 149) 

Another impression printed on yellowish Holland 

88 At the Piano (Miss Anna Burnett) 

(Delteil No. 159) 
Done in 1900. From the Weber collection. 

89 The New Ballad. (DelteUNo. 169) 

Done in 1903. Prom the Petit-Didier collection. 

90 The Same. (Delteil No. 169) 

Another impression printed in brownish ink. 

91 Betty Nansen. (Delteil No. 189) 

Done in 1905. Prom the Weber collection. 

A celebrated Danish actress, both in comedy and 
tragedy, and the wife of the novelist, Peter 

92 Circles in the Water. (DelteUNo. 212) 

Done in 1907. Only state. 


93 August Strindberg. 

Done in 1910. 

' ' In every instance he has successfully sum- 
marized the essential and abiding characteristics 
of his sitter, no less effectually accomplished in the 
twenty-minute impromptu of Marcelin Berthelot 
than in the more deliberately studied portrait of 
Marquand, or the very succinctly realized version 
of August Strindberg, the Swedish author. ' ' 

J. Nilsen Laui-vik, Anders Zorn. 


94 Wet. 

Done in 1911. 

95 Mona. 

Done in 1912. 

"So much has been written in praise of Zorn's 
etchings . . . that I need not do more than refer 
to his latest plates— the charming nude, Udo; 
Mona, the sympathetic portrait of the artist's 
mother ; and Bjos Mats, the old clock maker. ' ' 

Thorsten Laurin, Modern Etchings. 

96 SkeriKuUa. 

Done in 1912. 

97 Seaward Skerries. 

Done in 1912. 

98 Valkulla. 

Done in 1912. 

99 Shallow. 

Done in 1913. 

100 Three Sisters. 

Done in 1913. 

101 Frida. 

Done in 1914. 

102 Margaret, Crown Princess of Sweden. 

Done in 1914. 


»- -^ f.