BORDEAUX, QUAI DES CHARTRONS

Size of the original print, 4 by 5 inches.

From the etching by Maxime Lalanne. No one ever etched more gracefully than Lalanne, nor had a greater command over the resources of etching. In this particular he resembles Jules Jacquemart, whose plates are unsurpassed marvels of "biting' or corroding of his etched copper plate.

PORTRAIT OF WHISTLER

From the drawing by Paul Rajon

Size of the original drawing, 94 by 7 inches.

In this excellent portrait the white lock of hair, of which Whistler was so proud,

is well in evidence, also the single eyeglass.

WHISTLER AS AN ETCHER

Reprinted, by permission, from "The Outlook"

N introducing the subject of Whistler as an etcher I cannot do so better than by citing the opinion of the man whom I believe to be the best living authority on the subject. I mean Joseph Pennell, the American artist and critic, who was the stanch friend of Whistler to the end, and who, in collaboration with his distinguished wife, has written a biography of the master which must prove to be the standard for all time to come, although other biographies are also in preparation. "There is no man so fit for the sea as a sailor," and there is no man so competent to write on the etchings of Whistler as is a brother etcher, who not only knows fine etching when he sees it, but goes beyond the intelligent outsider by also knowing just why, from a technical and constructive point of view, the etching is so signally good. Mr. Pennell's superlatives in writing of Whistler's etchings are not the ravings of some irresponsible enthusiast, but the words of a recognized critical authority.

Here, then, is a condensed extract of what Mr. Pennell has written in a London magazine on the subject of Whistler's etchings: "Whistler was the greatest etcher and the most accomplished

lithographer who ever lived. All his work is alike perfect. It has only been produced under different circumstances, and is an attempt to render different effects or situations. Therefore the methods vary, but the results are always the same-great; the greatest, the most perfect, as a whole, that any etcher has ever accomplished." After the death of Whistler in 1903 Mr. Pennell also wrote of him, in the North American Review: "The greatest artist of modern times is dead. These are strong words, and I mean them to be. Not one since Velasquez and Rembrandt has had such an effect on the art of the world. He knew he was making great art. He was so sure of it that, even during his lifetime, he compelled an unwilling public to admit it. But for those of us of the younger generation it is impossible to understand the compulsion. Because he was so serious, because he was so honest and strong, they (the critics) think he must have been a fraud. He was the most intensely American of Americans. But though Whistler passed almost all his life in England and but a few years in France, he followed American affairs with the feelings and the emotions of a patriot. No tribute that can be bestowed upon him by the United States will be too great for his glory."

I quote liberally from Mr. Pennell because I heartily concur with his opinions on this subject. Artists are supposed to be, in general, jealous of one another; but the intimate intercourse of Mr. and Mrs. Pennell with Whistler shows us a beauti

Size of the original print, 83 by 6 inches.

From the etching by Whistler. This is one of the "French Set," etched in 1858. Not many copies of the set were printed, and only the trifling sum of two guineas was asked for each set, twelve subjects and an etched Title. In the present year (1910) the price of a fine proof of this one of the set of twelve is about a hundred guineas.