parts of the world is not likely to bother himself with artistic
party-politics, and it is noticeable that Mr. Brangwyn does not move
with the ebb and flow of opinion in London. He is not a fashionable
painter and is not ever likely to be. In another age his art might have
produced a new school.
There have, it might be said, been two Rubens in the history of European
art. The first was Peter Paul and the second--Brangwyn.
Rubens (Peter Paul) has been out of fashion since Mr. Sickert made
Tottenham Court Road delightful by teaching us how they paint in Paris,
but Venice seems more interested in how Mr. Brangwyn paints in London.
Fine draughtsman as Mr. Brangwyn is, his drawings always remind us that
he is a painter, and a decorative painter. Curiously enough though, they
scarcely suggest a reserve of strength, in fact on the contrary, for
everything that Mr. Brangwyn has to say is stated--whether in painting
or drawing--with the utmost energy and vigour of his capacity. He gives
generously, freely, without stint from a full brush--he draws from the
shoulder as it were; and that his aim is the decoration of large spaces
in architectural settings is always apparent in his work; and that this
is its usual destiny should be remembered when his drawings are being
studied. It is through the medium of his drawings and sketches that we
have, in these days, to study Mr. Brangwyn’s art, for the large
decorations--destined for public buildings in other countries--on which
he is constantly engaged, leave England (as a rule) without being
exhibited. Doubtless we can add this loss to our list of grudges against
the officials of the painting world, for the public have long ago
realized the importance of Mr. Brangwyn’s position and are justly proud
of him. The psychological interest of his figures is of a basic and
standard kind and generally full of suggestion of forms personal to his
own art.
* * * * *
[Sidenote: _Bateman_]
The difficulty with Mr. Bateman is to take him seriously. Really he is a
most serious phenomenon--and yet the bare mention of his name sets us
chuckling in happy reminiscence and digging each other in the ribs in
cheery anticipation of jokes yet unborn.
It would be doing him but scant justice, really, if we were to give him
some honorary degree--called him Dr. Bateman and sat him in a “chair” at
one of the Universities as Professor of human psychology. Instead we
just go on buying any paper that he happens to be drawing for--and
laughing. But the day may come when he might turn round on us, wearied
of our interminable cackling, and say “Cry you devils, cry!” and then we
shall be sorry--but we shall cry all right: a few little adjustments of
that subtle line of his and the humour we value so highly would become
tragedy.
In England there seems to be a curious tradition that a drawing becomes
funny if it has a funny story printed underneath it; that the expression
on one face in a group of persons if slightly ludicrous makes a drawing
humorous. In a Bateman drawing the drawing is the humour and the humour
is the drawing. Everything is in the same terms throughout. His very
line seems to have a risible ripple in it, for his humour is the real
thing--not irony or satire but the essential spiritual faculty of
perceiving the incongruous wherever it occurs. He has a host of
imitators, abroad as well as in this home circle of islands, but they
are sheep in wolves’ clothing and the joke is not in them--they satirise
the already ridiculous.
* * * * *
[Sidenote: _Muirhead Bone_]
Mr. Muirhead Bone is another artist who has many imitators--some with
considerable technical success--but fortunately an artist’s vision is
his own and no one can borrow his eyes or his soul though they may well
nigh take the pencil from his hand. Of Mr. Bone’s vision much might be
said. It is unique in the art of the time; and in his hand a pencil
becomes a truly magical instrument--like the bow in the hand of a great
violinist: when his pencil has touched the paper one takes a keen
pleasure in each line for its own sake, and when to this is added a full
realization of the interpretation and vision they collectively record,
one may well say--here is a real draughtsman! He endows St. James’s Hall
with such beauty in his drawing of its _Demolition_ that one is tempted
to desire the destruction of several of our buildings.... Imagine what
he would draw for us if we took half the roof off the Albert Hall and
gashed a great hole in its obese side! What a flood of light he would
let into that gloomy interior and what dignity he would impart to the
last remains of that bun-like edifice!
* * * * *
And now I find that I have come to the limit of the space allowed to me
for these notes, and I look through the list of over a hundred fine
names--splendid names because they belong to men who have done splendid
things--and I realize that I have not written a word about the larger
number of them and also that if I wrote from now until my personal
doomsday I could not express the admiration I feel for the sum of their
achievement. I have written notes only on a few of those who make an
immense appeal to me; it has been a purely personal choice and, as a
fact, quite unconscious; and as that, too, very incomplete, for it was
my optimistic conviction that I should return and write about the
others--scores of them; but now the chance is gone, in a few hours from
now these notes will have been flung to the printer’s devil (a person I
have always wanted to meet--but now had better not!) I want to rush back
and explain my personal beliefs about Botticelli and his influence on
the pre-British-Raphaelites, before the chance is gone, probably for
ever; I want to air certain convictions about the principles of rhythm
in Raphael’s curving lines; I want to write of Pinturicchio and Claude;
of Fragonard and Blake; I want to write about a dozen Frenchmen who are
not in the book and more about the four or five who are; I want to argue
with an imaginary reader as to whether Mr. Dulac is greater as a
caricaturist or as a decorator; I want to abuse nearly everybody for not
fully understanding that Mr. Vernon Hill is one of our finest
draughtsmen; I want to pen a humble appreciation of Mr. Tonks and his
salutary influence as a professor and his benign influence as an artist.
I want--I have just time for that--to again remind the reader--who has
my gratitude for still being with me to the end--that a drawing is a
thing to be looked at and not written about.
GEORGE SHERINGHAM.
[Illustration: “A COURIER.” DRAWING IN PEN AND INK BY ALBRECHT DÜRER IN
THE BRITISH MUSEUM. SIZE, 7⅞ × 7⅜ IN.]
[Illustration: “THE RHINOCEROS.” DRAWING IN PEN AND INK BY ALBRECHT
DÜRER IN THE BRITISH MUSEUM. SIZE, 10¾ × 16½ IN.]
[Illustration: “THE PROCESSION TO CALVARY.” DRAWING IN PEN AND INK BY
ALBRECHT DÜRER IN THE UFFIZI, FLORENCE. SIZE, 8¼ × 11¼ IN.]
[Illustration: “PRAYING HANDS.” DRAWING IN INDIAN INK ON BLUE GROUND BY
ALBRECHT DÜRER IN THE ALBERTINA, VIENNA. SIZE, 11⅜ × 7¾ IN.]
[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO.
SKETCH IN PEN AND INK BY HANS HOLBEIN IN THE BASLE MUSEUM FOR THE
PAINTING “THE FAMILY OF SIR THOMAS MORE”]
[Illustration: “YOUNG WOMAN WITH BASKET.” DRAWING IN PEN AND INK BY
BERNARDINO PINTURICCHIO IN THE UFFIZI, FLORENCE.]
[Illustration: “THE DEAD CHRIST CARRIED OFF BY ANGELS.” DRAWING IN PEN
AND INK BY CORREGGIO IN THE UFFIZI, FLORENCE.]
[Illustration: STUDIES IN PEN AND INK BY LEONARDO DA VINCI.]
[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO.
“HEAD OF AN OLD MAN.” PENCIL DRAWING BY LEONARDO DA VINCI IN THE LOUVRE,
PARIS. SIZE, 9 × 6¼ IN.]
[Illustration: “MADONNA AND CHILD.” DRAWING IN PEN AND INK BY LEONARDO
DA VINCI IN THE BRITISH MUSEUM. SIZE, 5¼ × 3¾ IN.]
[Illustration: “HEAD OF A YOUNG WOMAN.” DRAWING IN PEN AND INK BY
LEONARDO DA VINCI IN THE WINDSOR CASTLE COLLECTION.]
[Illustration: DRAWING IN PEN AND INK BY BALDASSARE PERUZZI IN THE
BRITISH MUSEUM. SIZE, 9¼ × 8¼ IN.]
[Illustration: DRAWING IN PEN AND INK BY TITIAN IN THE BRITISH MUSEUM.
SIZE, 14 × 9⅛ IN.]
[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO.
DRAWING IN PEN AND INK BY TITIAN IN THE UFFIZI, FLORENCE.]
[Illustration: “THE TURK.” DRAWING IN PEN AND INK BY GENTILE BELLINI IN
THE BRITISH MUSEUM. SIZE, 8⅜ × 7 IN.]
[Illustration: “THE TURKISH LADY.” DRAWING IN PEN AND INK BY GENTILE
BELLINI IN THE BRITISH MUSEUM. SIZE, 8⅜ × 7 IN.]
[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE
BRITISH MUSEUM. SIZE, 16 × 11 IN.]
[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE
BRITISH MUSEUM. SIZE, 14¾ × 9⅛ IN.]
[Illustration: DRAWING IN PEN AND INK BY MICHELANGELO BUONARROTI IN THE
BRITISH MUSEUM. SIZE, 12½ × 10 IN.]
[Illustration: SHEET OF STUDIES IN PENCIL AND PEN AND INK BY
MICHELANGELO BUONARROTI IN THE BRITISH MUSEUM. SIZE, 12⅛ × 10¾ IN.]
[Illustration: “ABUNDANCE.” DRAWING IN PEN AND INK & pencil BY SANDRO
BOTTICELLI IN THE BRITISH MUSEUM. SIZE, 12½ × 10 IN.]
[Illustration: DRAWING IN PEN AND INK BY RAPHAEL IN THE ACADEMY,
VENICE]
[Illustration: “LA VIERGE.” STUDY IN PEN AND INK BY RAPHAEL FOR “LA
BELLE JARDINIÈRE” IN THE LOUVRE, PARIS. SIZE, 11¾ × 8 IN.]
[Illustration: STUDY IN PEN AND INK BY RAPHAEL IN THE LOUVRE, PARIS FOR
“THE LAMENTATION FOR CHRIST.” SIZE, 11⅞ × 15 IN.]
[Illustration: DRAWING IN PEN AND INK BY RAPHAEL IN THE BRITISH MUSEUM.
SIZE, 9¾ × 6½ IN.]
[Illustration: DRAWING IN PEN AND INK BY RAPHAEL (SCHOOL OF) IN THE
BRITISH MUSEUM. SIZE, 7¾ × 15¼ IN.]
[Illustration: SHEET OF STUDIES IN PEN AND SEPIA BY PAOLO VERONESE IN
THE POSSESSION OF A. P. OPPÉ, ESQ. SIZE, 12 × 7¾ IN.]
[Illustration: DRAWING IN PEN AND INK BY GIOVANNI FRANCESCO BARBIERI (IL
GUERCINO) IN THE BRITISH MUSEUM. SIZE, 12 × 18⅛ IN.]
[Illustration: DRAWING IN PEN AND INK BY FRANCESCO ALBANO IN THE BRITISH
MUSEUM. SIZE, 7½ × 10½ IN.]
[Illustration: STUDY IN PEN AND INK BY TINTORETTO FOR “THE MIRACLE OF
ST. MARK” IN THE UFFIZI, FLORENCE]
[Illustration: “PHILIP IV.” DRAWING IN PEN AND INK BY VELASQUEZ IN THE
ALBERTINA, VIENNA]
[Illustration: “LOT AND HIS FAMILY LEAVING SODOM.” DRAWING IN PEN AND
INK BY REMBRANDT IN THE BRITISH MUSEUM. SIZE, 6⅞ × 9½ IN.]
[Illustration: “SASKIA.” DRAWING IN PEN AND INK BY REMBRANDT IN THE
BRITISH MUSEUM. SIZE, 8½ × 6 IN.]
[Illustration: “OLD COTTAGES.” DRAWING IN PEN AND INK BY REMBRANDT IN
THE ALBERTINA, VIENNA
PHOTO. COPYRIGHT BY BRAUN AND CO.]
[Illustration: DRAWING IN PEN AND INK BY REMBRANDT IN THE BRITISH
MUSEUM. SIZE, 4 × 5½ IN.]
[Illustration: “JUDAS RESTORING THE PRICE OF HIS BETRAYAL.” DRAWING IN
PEN AND INK BY REMBRANDT. SIZE, 6 × 9 IN.]
[Illustration: PORTRAIT STUDY IN PENCIL BY CORNELIS VISSCHER IN THE
BRITISH MUSEUM. SIZE, 7¼ × 5⅝ IN.]
[Illustration: “TAVERN SCENE.” DRAWING IN PEN AND INK BY ADRIAEN VAN
OSTADE IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 6¼ × 8⅜
IN.]
[Illustration: “LE PASSAGE DU BAC.” DRAWING IN PEN AND INK BY ADRIAEN
VAN DE VELDE IN THE LOUVRE, PARIS. SIZE, 7½ × 11⅜ IN.]
[Illustration: DRAWING IN PEN AND INK BY NICOLAS POUSSIN IN THE BRITISH
MUSEUM. SIZE, 5⅞ × 7½ IN.]
[Illustration: DRAWING IN PEN AND INK BY CLAUDE LORRAIN IN THE BRITISH
MUSEUM. SIZE, 8¾ × 12¾ IN.]
[Illustration: DRAWING IN PENCIL AND COLOURED CHALKS (ARTIST UNKNOWN) IN
THE BIBLIOTHÈQUE NATIONALE, PARIS. SIZE, 13¼ × 9¼ IN.]
[Illustration: “FAUN AND NYMPH.” DRAWING IN PEN AND SEPIA BY G. B.
TIEPOLO IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 9⅛ × 8½
IN.]
[Illustration: DRAWING IN PEN AND INK BY PARMIGIANINO IN THE UFFIZI,
FLORENCE]
[Illustration: DRAWING IN PEN AND INK BY CANALETTO]
[Illustration: “VENICE.” DRAWING IN PEN AND INK BY FRANCESCO GUARDI IN
THE POSSESSION OF MESSRS. ERNEST BROWN AND PHILLIPS (THE LEICESTER
GALLERIES). SIZE, 10⅛ × 14⅝ IN.]
[Illustration: “A HUNTING PARTY.” DRAWING IN PEN AND INK & pencil BY
MARCELLUS LAROON IN THE TATE GALLERY. SIZE, 19⅛ × 13 IN.]
[Illustration: “CUPIDS PLAYING AROUND A FALLEN HERMES.” DRAWING IN PEN
AND SEPIA BY J. H. FRAGONARD IN THE POSSESSION OF G. BELLINGHAM SMITH,
ESQ. SIZE, 14⅛ × 18¾ IN.]
[Illustration: SIZE, 4¼ × 3¾ IN.
PORTRAIT STUDIES IN PENCIL BY FRANZ XAVER WINTERHALTER IN THE BRITISH
MUSEUM]
[Illustration: SIZE, 5½ × 4¼ IN.
PORTRAIT STUDIES IN PENCIL BY FRANZ XAVER WINTERHALTER IN THE BRITISH
MUSEUM]
[Illustration: “THE HARVEST WAGON.” DRAWING IN PEN AND INK BY THOMAS
GAINSBOROUGH, R.A., FORMERLY IN THE PFUNGST COLLECTION]
[Illustration: “HENRY.” DRAWING IN PENCIL AND CHALK BY RICHARD COSWAY,
R.A. IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 9 × 5¼ IN.]
[Illustration: “SALISBURY.” PENCIL DRAWING BY JOHN CONSTABLE R.A., IN
THE BRITISH MUSEUM. SIZE, 6⅛ × 9⅛ IN.]
[Illustration: PENCIL DRAWING BY GEORGE MORLAND IN THE POSSESSION OF
MESSRS. ERNEST BROWN AND PHILLIPS (THE LEICESTER GALLERIES). SIZE, 9¼ ×
11⅝ IN.]
[Illustration: “ON THE YARE.” PENCIL DRAWING BY JOHN SELL COTMAN IN THE
BRITISH MUSEUM. SIZE, 3⅝ × 5½ IN.]
[Illustration: “PARKE, MUSICIAN.” PENCIL DRAWING BY GEORGE DANCE, R.A.
IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 10 × 7½ IN.]
[Illustration: “CARNARVON CASTLE.” PENCIL DRAWING BY THOMAS GIRTIN IN
THE POSSESSION OF CHARLES MALLORD TURNER, ESQ. SIZE, 5¼ × 8⅜ IN.]
[Illustration: “CAREW CASTLE MILL.” PENCIL DRAWING BY J. M. W. TURNER
R.A., IN THE TATE GALLERY. SIZE, 10⅜ × 8 IN.]
[Illustration: “MONOW BRIDGE, MONMOUTH.” PENCIL DRAWING BY J. M. W.
TURNER, R.A., IN THE TATE GALLERY. SIZE, 8 × 10⅜ IN.]
[Illustration: PEN AND INK SKETCH BY BIRKET FOSTER, R.W.S., IN THE
POSSESSION OF WILLIAM FOSTER, ESQ. SIZE, 3¾ × 6 IN.]
[Illustration: “LADY MARY FITZGERALD.” PENCIL DRAWING BY SIR THOMAS
LAWRENCE, P.R.A. IN THE POSSESSION OF MR. FRANCIS HARVEY. SIZE, 10¼ × 8
IN.]
[Illustration: “MADAME GATTEAUX.” PENCIL DRAWING BY J. A. D. INGRES IN
THE LOUVRE, PARIS. SIZE, 10⅝ × 8¾ IN.]
[Illustration: PHOTO. COPYRIGHT BY BRAUN AND CO.
“PAGANINI.” PENCIL DRAWING BY J. A. D. INGRES IN THE BONNAT COLLECTION]
[Illustration: “C. R. COCKERELL.” PENCIL DRAWING BY J. A. D. INGRES IN
THE POSSESSION OF LT.-COL. PEPYS COCKERELL. SIZE, 8 × 6 IN.]
[Illustration: “EN TROISIÈME.” DRAWING IN PEN AND INK AND WASH BY HONORÉ
DAUMIER IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 8⅜ × 12⅛
IN.]
[Illustration: “LES TROIS CONNAISSEURS.” DRAWING IN PEN AND INK AND WASH
BY HONORÉ DAUMIER IN THE BARBIZON HOUSE COLLECTION, LONDON. SIZE, 4¼ ×
4¾ IN.]
[Illustration: PENCIL DRAWING BY CHARLES MERYON IN THE BRITISH MUSEUM.
SIZE, 9½ × 5 IN.]
[Illustration: PENCIL STUDY FOR “AMORET BOUND IN THE HOUSE OF BUSIRANE”
(“FAERIE QUEENE”) BY ALFRED STEVENS IN THE TATE GALLERY. SIZE, 12 × 9½
IN.]
[Illustration: “THE MAIL COACH.” DRAWING IN PEN AND INK AND WASH BY SIR
DAVID WILKIE, R.A., IN THE POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE,
9 × 11½ IN.]
[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION
OF CHARLES EMANUEL, ESQ. SIZE, 8 × 4¾ IN.]
[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION
OF HAROLD HARTLEY, ESQ. SIZE, 6⅛ × 4½ IN.]
[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION
OF CHARLES EMANUEL, ESQ. SIZE, 5 × 2⅞ IN.]
[Illustration: DRAWING IN PEN AND INK BY CHARLES KEENE IN THE POSSESSION
OF CHARLES EMANUEL, ESQ. SIZE, 4¼ × 5 IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY JAMES MAHONEY TO “LITTLE
DORRIT” IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 3⅝ × 5¼ IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY A. BOYD HOUGHTON FOR
“DALZIEL’S BIBLE” (UNPUBLISHED) IN THE POSSESSION OF HAROLD HARTLEY,
ESQ. SIZE, 12⅞ × 7⅞ IN.]
[Illustration: “A DARK DEED.” PENCIL DRAWING BY FRED WALKER, A.R.A. IN
THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 6 × 6¾ IN.]
[Illustration: DRAWING IN PEN AND INK BY GEORGE DU MAURIER IN THE
POSSESSION OF C. C. HOYER-MILLAR, ESQ. SIZE, 5⅞ × 9 IN.]
[Illustration: “THE OLD COUPLE AND THE CLOCK.” PENCIL DRAWING BY G. J.
PINWELL IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7 × 5⅜ IN.]
[Illustration: UNPUBLISHED DRAWING IN PEN AND INK BY KATE GREENAWAY IN
THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7 × 5⅜ IN.]
[Illustration: “THE SOUL HOVERING OVER THE BODY RELUCTANTLY PARTING WITH
LIFE.” DRAWING IN PEN AND INK AND SEPIA WASH BY WILLIAM BLAKE IN THE
POSSESSION OF EDWARD J. SHAW, ESQ., J.P. SIZE, 6⅝ × 9 IN. ONE OF THE
TWELVE DRAWINGS TO ILLUSTRATE THE EDITION OF “BLAIR’S GRAVE,” PUBLISHED
IN 1808.]
[Illustration: “JOHN BULL.” DRAWING IN PEN AND INK BY AUBREY BEARDSLEY
IN THE POSSESSION OF EDWARD J. SHAW. ESQ., J.P. SIZE, 8½ × 6¾ IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY AUBREY BEARDSLEY TO “MORTE
D’ARTHUR” IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 11¼ × 8¾ IN.
REPRODUCED BY PERMISSION OF THE PUBLISHERS, MESSRS. J. M. DENT AND
SONS.]
[Illustration: “A PORTRAIT OF HER GRANDMOTHER.” UNPUBLISHED DRAWING IN
PEN AND INK BY PHIL MAY IN THE POSSESSION OF HAROLD HARTLEY, ESQ. SIZE,
9 × 7½ IN.]
[Illustration: DRAWING IN PENCIL AND CHALK BY PHIL MAY IN THE POSSESSION
OF HAROLD HARTLEY, ESQ. SIZE, 8½ × 6¾ IN.]
[Illustration: “PALM SUNDAY IN ITALY.” DRAWING IN PEN AND INK BY
RICCARDO PELLEGRINI IN THE POSSESSION OF CHARLES EMANUEL, ESQ. “SIZE, 9½
× 12¾ IN.]
[Illustration: “SEVEN WORKS OF MERCY.” ONE OF A SET OF PENCIL DRAWINGS
BY SIR EDWARD BURNE-JONES, BART. IN THE BRITISH MUSEUM. SIZE, 14½ IN.
DIAMETER.]
[Illustration: PENCIL DRAWING BY DANTE GABRIEL ROSSETTI IN THE
POSSESSION OF G. BELLINGHAM SMITH, ESQ. SIZE, 7½ × 6 IN.]
[Illustration: “‘WHAT’S THIS?’ SAID THE LION”--ORIGINAL PENCIL DRAWING
BY SIR JOHN TENNIEL FOR “THROUGH THE LOOKING GLASS,” IN THE POSSESSION
OF HAROLD HARTLEY. ESQ. SIZE, 2¾ × 3⅝ IN.]
[Illustration: “THREE LITTLE MEN.” PENCIL SKETCH BY SIR JOHN TENNIEL FOR
“MR. PUNCH’S POCKET BOOK,” IN THE POSSESSION OF HAROLD HARTLEY, ESQ.
SIZE, 2⅝ × 3⅞ IN.]
[Illustration: “GIRL WITH PARASOL.” DRAWING IN PEN AND INK BY J. MᶜNEILL
WHISTLER IN THE POSSESSION OF MRS. G. R. HALKETT. SIZE, 6¼ × 3¾ IN.]
[Illustration: “THE BLACK-AND-WHITE KNIGHT” (SIR JOHN TENNIEL). DRAWING
IN PEN AND INK BY LINLEY SAMBOURNE (“PUNCH,” JUNE 24TH, 1893) IN THE
POSSESSION OF HAROLD HARTLEY, ESQ. SIZE, 7¼ × 5¾ IN. REPRODUCED BY
PERMISSION OF THE PROPRIETORS OF “PUNCH.”]
[Illustration: “THE RIALTO, VENICE.” PENCIL DRAWING BY WILLIAM CALLOW,
R.W.S., IN THE POSSESSION OF MESSRS. ERNEST BROWN & PHILLIPS (THE
LEICESTER GALLERIES). SIZE, 9⅜ × 14 IN.]
[Illustration: “PLACE DU PILLORI, PONT-AUDEMER.” DRAWING IN PEN AND INK
BY BERNARD PARTRIDGE. SIZE, 5 × 7 IN.]
[Illustration: “WOMEN QUARRELLING.” PENCIL DRAWING BY W. RUSSELL FLINT,
R.W.S. SIZE, 13⅞ × 20⅞ IN.]
[Illustration: “THE CHILD.” PENCIL STUDY BY CLAUDE A. SHEPPERSON,
A.R.A., A.R.W.S., IN THE POSSESSION OF MESSRS. ERNEST BROWN AND PHILLIPS
(THE LEICESTER GALLERIES). SIZE, 12¼ × 8 IN.]
[Illustration: “FOLKESTONE.” PENCIL DRAWING BY ADRIAN HILL. SIZE, 8¼ ×
13 IN.]
[Illustration: PENCIL DRAWING BY FRANK L. EMANUEL. SIZE, 11 × 7¾ IN.]
[Illustration: “THE STEAM HAMMER.” DRAWING IN PEN AND INK AND CHALK BY
FRANK BRANGWYN, R.A. SIZE, 16 × 12¼ IN.]
[Illustration: “AN OPEN SPACE.” DRAWING IN PEN AND INK BY H. M. BATEMAN.
SIZE, 18½ × 12⅜ IN. REPRODUCED BY PERMISSION OF THE PROPRIETORS OF “THE
SKETCH.”]
[Illustration: DRAWING IN PENCIL AND WASH BY GEORGE BELCHER. SIZE, 10¼ ×
5¾ IN.]
[Illustration: PENCIL DRAWING BY A. HUGH FISHER, A.R.E. IN THE
POSSESSION OF CHARLES EMANUEL, ESQ. SIZE, 11⅛ × 4½ IN.]
[Illustration: PENCIL STUDY BY STEVEN SPURRIER. SIZE, 8 × 10 IN.]
[Illustration: “ROBESPIERRE’S LIST.” ILLUSTRATION IN PEN AND INK BY
EDMUND J. SULLIVAN, A.R.W.S. TO CARLYLE’S “FRENCH REVOLUTION.” SIZE, 8⅞
× 7⅛ IN. REPRODUCED BY PERMISSION OF THE PUBLISHERS, MESSRS. CHAPMAN AND
HALL.]
[Illustration: DRAWING IN PEN AND INK BY L. LHERMITTE IN THE POSSESSION
OF CHARLES EMANUEL, ESQ. SIZE, 7¼ × 8 IN.]
[Illustration]
[Illustration: “THE SICK MOTHER.” DRAWING IN PEN AND INK BY E. BLAMPIED,
R.E. SIZE, 13½ × 18½ IN.]
[Illustration: “MOTHER AND CHILD.” PENCIL DRAWING BY SIR WILLIAM ORPEN,
R.A., IN THE POSSESSION OF CAMPBELL DODGSON, ESQ., C.B.E. SIZE, 13 × 10
IN.]
[Illustration: “AFTER BATHING.” PENCIL DRAWING BY SIR WILLIAM ORPEN,
R.A. REPRODUCED BY PERMISSION OF THE CHENIL GALLERY. SIZE, 7½ × 11 IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY ARTHUR RACKHAM, R.W.S., TO
“RIP VAN WINKLE.” REPRODUCED BY PERMISSION OF THE PUBLISHER, MR. WILLIAM
HEINEMANN. SIZE, 9 × 8 IN.]
[Illustration]
[Illustration: ILLUSTRATION IN PEN AND INK BY HARRY CLARKE TO “THE RIME
OF THE ANCIENT MARINER” IN THE POSSESSION OF SIR ROBERT WOODS, M.P.
SIZE, 6½ × 10 IN.]
[Illustration: “GRASMERE CHURCH.” PENCIL STUDY BY EDMUND H. NEW FOR AN
ILLUSTRATION IN PEN AND INK TO “POEMS BY WORDSWORTH,” SELECTED BY DR.
STOPFORD A. BROOKE, PUBLISHED BY MESSRS. METHUEN AND CO. SIZE, 3 IN.
SQ.]
[Illustration: PENCIL DRAWING BY E. VERPILLEUX. SIZE, 3½ × 9 IN.]
[Illustration: “S. ANNE’S GATE, SALISBURY.” PENCIL DRAWING BY E. HESKETH
HUBBARD. SIZE, 8⅝ × 10⅛ IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY S. H. SIME TO LORD
DUNSANY’S “CHRONICLES OF RODRIQUEZ” (PUTNAM’S SONS). SIZE, 14 × 8¾
IN.]
[Illustration]
[Illustration: “NEAR CHESHAM, BUCKS.” DRAWING IN PEN AND INK BY SYDNEY
R. JONES IN THE POSSESSION OF ROLAND P. STONE, ESQ. SIZE, 6 × 13 IN.]
[Illustration: “A SLEEPER.” PENCIL DRAWING BY VERNON HILL. SIZE, 12 × 8¾
IN.]
[Illustration: PENCIL STUDY BY WALTER W. RUSSELL, A.R.A. SIZE, 10⅜ × 8⅜
IN.]
[Illustration: “FRONT OF THE QUIRINAL PALACE, ROME.” PENCIL DRAWING BY
MUIRHEAD BONE. EXHIBITED AT THE GROSVENOR GALLERIES, LONDON.]
[Illustration: “QUAI DU CANAL, MARSEILLES.” DRAWING IN PENCIL AND WASH
BY MUIRHEAD BONE. EXHIBITED AT THE GROSVENOR GALLERIES, LONDON.]
[Illustration: “LIFE MIGHT LAST! WE CAN BUT TRY.” ILLUSTRATION IN PEN
AND INK BY HENRY OSPOVAT TO BROWNING’S “TOCCATA OF GALUPPI’S” IN THE
BRITISH MUSEUM. SIZE, 11¼ × 8¾ IN.]
[Illustration: ILLUSTRATION IN PEN AND INK BY R. ANNING BELL, R.A.,
R.W.S. TO “SHELLEY.” SIZE, 6 × 3¾ IN. REPRODUCED BY PERMISSION OF THE
PUBLISHERS, MESSRS. G. BELL AND SONS.]
[Illustration: “SACRILEGE.” DRAWING IN PEN AND INK BY F. L. GRIGGS.
SIZE, 7¼ × 5⅞ IN.]
[Illustration: “THE HUNTSMAN”
SIZE, 6 IN. SQUARE
DRAWINGS IN PEN AND INK BY JOSEPH CRAWHALL IN THE POSSESSION OF WILLIAM
BURRELL, ESQ.]
[Illustration: “AN ALGERIAN CABBY”
SIZE, 5⅜ × 9⅛ IN.
DRAWINGS IN PEN AND INK BY JOSEPH CRAWHALL IN THE POSSESSION OF WILLIAM
BURRELL, ESQ.]
[Illustration]
[Illustration: “THE STRANDED BARGE.” DRAWING IN PEN AND INK BY JAMES
McBEY. SIZE, 6⅝ × 12½ IN.]
[Illustration: PENCIL STUDY BY GLYN W. PHILPOT, A.R.A. SIZE, 5 × 4¼
IN.]
[Illustration]
[Illustration: “DELFT.” DRAWING IN PEN AND INK BY MAXIME LALANNE IN THE
POSSESSION OF CHARLES EMANUEL, ESQ. SIZE, 10 × 8½ IN.]
[Illustration: “LES BÛCHERONS.” DRAWING IN PEN AND INK BY T. A.
STEINLEN. SIZE, 10 × 7 IN.]
[Illustration: “LAVEUSES.” DRAWING IN PEN AND INK BY T. A. STEINLEN.
SIZE, 10¾ × 8¾ IN.]
[Illustration: DRAWING IN PEN AND INK BY J. L. FORAIN IN THE POSSESSION
OF MONSIEUR SIMONSON. SIZE, 9¾ × 6¾ IN.]
[Illustration: DRAWING IN PENCIL AND COLOURED CHALKS BY C. JOUAS. SIZE,
11 × 7 IN.]
[Illustration: “LE VIEUX MENTON.” PEN DRAWING BY A. LEPÈRE IN THE
POSSESSION OF MONSIEUR ED. SAGOT, PARIS. SIZE, 8¼ × 6 IN.]
[Illustration: “CRÈVECŒUR.” DRAWING IN PEN AND INK BY A. LEPÈRE IN THE
POSSESSION OF MONSIEUR ED. SAGOT. SIZE, 5½ × 8⅝ IN.]
[Illustration: “LE QUAI DE PARIS À ROUEN.” DRAWING IN PEN AND INK AND
WASH BY EUGÈNE BÉJOT. SIZE, 10½ × 7½ IN.]
[Illustration: DRAWING IN PEN AND INK BY A. ROUBILLE. SIZE, 14⅞ × 8⅛
IN.]
[Illustration: DRAWING IN PEN AND INK BY F. POULBOT. SIZE, 8 × 5 IN.]
[Illustration: “VENUS ET L’AMOUR.” DRAWING IN PEN AND INK BY BERNARD
BOUTET DE MONVEL. SIZE, 5½ × 3½ IN.]
[Illustration: STUDY IN PEN AND INK BY BERNARD BOUTET DE MONVEL FOR “LA
GAZETTE DU BON TON.” SIZE, 7¼ × 6 IN.]
[Illustration: DRAWING IN PEN AND INK BY E. CARLÈGLE FOR “VIE
PARISIENNE.” SIZE, 7 × 3⅛ IN.]