International studio (26.1905)

engraver, with references to authorities, and shows
ten artotype reproductions of as many examples of
the most noteworthy prints. Its admirable manner
of compilation, and arrangement of indices, have
been most favourably remarked and are worthy of
special note.
Two years ago, in response to a request for prices
and samples, came a collection of two hundred and
fifty prints—restrikes from the original plates in the
Chalcographie du Louvre—selected with great care
and excellent judgment by the Minister of Educa-
tion, and presented by the French government to
the Library of Congress. Many of these are very
fine, and collectively they set forth the progress of
the art of engraving through the seventeenth and
succeeding centuries. The earliest example is by
Bolswert (who lived between tlje years ig86 and
1659), and is a reproduction of a painting entitled
TAe Cowceft, by a contemporary artist—Jacob
Jordeans. Picart, Masson, Baudet, Edelinck,
Rouselet and Adran best represent the early schools
of the seventeenth and eighteenth centuries; and
Desnoyers, Langier, Lefevre, Salmon, Mare,
Massard, Franyois, Baillard, Chaplin, Deveaux,
Veyrassat, Laguillermie, Haussoullier and Poynat
those later ones of the nineteenth and twentieth.
There are in this collection, beside engravings, cer-
tain etchings very worthy of mention—such, for
example, as a reproduction of Rembrandt's
af .E7K77MMM, by Jan Pieter de Frey; one of the
by Ruysdae, etched by Daubigny; one of
Van Eyke's 0/ f&e Dowr, or 0/
by Leopold Flameng; and one of Ruben's
portrait of his wife, etched by Charles Chaplin.
From the Peter C. Force collection, acquired by
purchase in the late nineties, the Library came into
the possession of a group of about three hundred
and fifty portraits engraved by Saint Memin; and
through the generosity of the German government
it has more recently received seven hundred and
sixty-one fac-similes of copper and wood engravings
which reproduce old masters in the Royal collec-
tion.
The Art Patrons' Society of Berlin presented the
Library with forty-three superb heliotints, and dur-
ing the last year these have been supplemented by
a portfolio of two hundred Arundel prints. Among
recent acquisitions may also be numbered five hun-
dred and fifteen etchings by Callot and by Del la
Bella, presented by the chief of the Division, Mr.
Parsons, and two hundred and four photographs
sent by the College de France. Through the copy-
right division about fifteen thousand prints a year
are received, a few having art value, but the

majority, photographs, dependent upon their sub-
ject for their interest. These are, however, all
classified, catalogued and made accessible to the
public.
The resources of this print division have been
materially strengthened by its loan collections,
three of which are especially valuable and impor-
tant. Chief of these is the T. Harrison Garrett col-
lection, which was deposited with the division on
the gth of February, 1904—a date significant on
account of the fact that two days later (February 7)
the great Baltimore fire occurred and in its march of
destruction swept through the room in the Mercan-
tile Trust and Deposit Company, in which the
prints had been stored. For a number of years
prior to that date Mrs. Garrett and her sons had
permitted the print division to draw upon their col-
lection for its exhibitions, but it was not until the
last of January that they determined to loan the
entire collection, and only its expeditious transfer
saved it from utter destruction. This collection,
procured largely at the famous Claghorn sale, con-
sists of 19,113 prints, and, while subject to call, is


RUBENS'S SONS PAINTED BY ANTHONY VAN DYKE
ENGRAVED BY JOSHUA PETER TICKLER

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