EEPOBTS FEOM THE SECTIONS. 309 



considered one of the most finished and perfect of Eembrandt's 

 etchings, was sold in London in June last for £270, one of his 

 celebrated portraits of Von Tolling for £500, and one of Ephraim 

 Bonus, the Jewish physician, for £160. At this sale about 200 

 of his etchings realized £4i,293. " Christ healing the Sick," better 

 known as the 100-guilder piece, from the fact that Eembrandt 

 would never sell an impression under 100 guilders (about eight 

 guineas), was considered as Eembrandt's masterpiece. At a sale 

 in London, in 1867, of Sir C. Price's collection, a copy of this in 

 the first state of the plate realized the enormous sum of £1,180. 

 The British Museum was supposed to contain one of the finest 

 collections of Eembrandt's etchings. Mr. Montefiore then alluded 

 to other celebrated painters of the 17th century who were skilful 

 etchers, enumerating amongst others, Claud, Annibal Carraci, 

 Eubens, Van Dyck, Ostade, Teniers, Salvator Eosa, Berghem, 

 Paul Potter, &c. ; he also dwelt on the works of Callot and Delia 

 Bella, two very prolific etchers who flourished during the same 

 period. 



Mr. Montefiore remarked that the art of etching had not been 

 much practised or appreciated in England, although England had 

 produced some very good etchers. Some years back a few artists 

 had formed themselves into an Etching Club, and had published 

 some of their etchings from time to time, which had been much 

 sought after. Amongst English etchers might be mentioned — 

 Turner, who, however, merely employed the needle for outline, 

 filling in with mezzotint ; Landseer in his early days had pub- 

 lished a series of etchings ; Wikie, David Eoberts, Cope, Ansdell, 

 Hunt, Millais, Creswick, Eedgrave, &c,, also etched. At the 

 present day he considered that there was no English etcher equal 

 to Seymour Haden, of wicker coffin celebrity, an amateur, and 

 surgeon by profession. There was a boldness and free handling 

 about his work not approached by any other etcher of the English 

 school, and indeed there were few contemporary etchers equal to 

 him elsewhere. Mr. Montefiore submitted for the inspection of 

 the members a very fine example of Haden's, called the " Break- 

 ing-up of the Old Agamemnon" to which, at the time of its 

 publication, the Times devoted a column and a half. He stated 

 that there had been a great revival of the art of etching in 

 Prance of late years, owing in great measure to the exertions of 

 the well-knpwn and enterprising publisher, Monsieur Cadart, 

 who had made the printing and publication of etchings a 

 speciality — his prints were, as a rule, much superior to those 

 produced in England. Having already alluded to some of the 

 old masters of the Prench school of etchers, such as Claude, 

 Callot, &c., he would not occupy their time further by dwelling 

 at length on the modern school, but would in conclusion, merely 

 allude to one who might with justice be considered at its head, 



2 a 



