House & Garden 
Jfurmture of &U tfje 
Historic €pocf)si 
Wi 
visit to these Galleries will reveal 
every requisite of Furniture and Deco¬ 
rative Objects appropriate to the mod¬ 
ern home. 
There are complete groups which 
□J will contribute the dignity and air 
of hospitality so intimately associated 
with the well-appointed Dining Room, 
and equally charming ensembles for 
the daintily arranged Chamber and 
Boudoir. 
tflT In addition, there is provided for both 
rU formal and informal rooms, a profusion 
of unusual occasion pieces—most of them 
not elsewhere retailed, available withal at 
no prohibitive cost in this interesting 
establishment, for two-score years de¬ 
voted exclusively to these industrial arts. 
tfTT Suggestions may be gained from de 
Til luxe prints of well-appointed interiors, 
which will be sent gratis upon request. 
NciuTjork ® allmcs 
Grand Rapids Rirniture Company 
INCORPORATED 
34~36West 32-Street 
New^tork City 
The Mirror of Mars 
(Continued from page 23) 
modest prices, despite their beauty and 
interest; others command large prices. 
“The Assembly of Warriors” by Albrecht 
Durer, as an example, fetched $125 at 
the Ives sale in New York a couple 
of years ago. I think it would bring 
more now. On the other hand I picked 
up a fine impression of “The Three Sol¬ 
diers” by Hans Sebald Beham (1500- 
1550) for three dollars, and on another 
occasion, at public sale, a copy of 
Beham’s “The Sentinel” for less than 
that amount. 
Of course, the collector-to-be must 
not forget that a knowledge of prints 
and a familiarity with their individual 
characteristics makes one far more apt 
to have such “finds,” though that need 
not discourage one. The point is, that 
one should know a good thing when he 
sees it. That is often more than the 
dealer (who handles prints on the side) 
sometimes knows. A true instinct for 
the beautiful and for the interesting will 
enable one to form a print collection 
that will be a perennial pleasure to its 
owner. As in the case of other collect¬ 
able things, there are spurious prints on 
the market, but I think it is easier to 
detect a fraudulent print than to dis¬ 
cover the spuriousness of many objects 
in other fields of collecting. 
17th and 18th Century Prints 
With the engravings of the 17th Cen- 
An amusing German souvenir 
print of the present war , issued 
in 1915. By Paul Hosch 
A bitter satire on Germany 
plundering by O. E. Cesare. 
Courtesy of the New York Sun 
duced into his compositions, even when 
these plates were very small. 
The 18th Century was prolific in 
prints having to do with wars and war¬ 
riors. The field here is rich in material 
that need not tax the resources of the 
amateur, who will, of course, not be 
apt to find in his path fine early im¬ 
pressions of such rarities as “The Dis¬ 
asters of War,” that epochal series of 
aquatints by Francisco Goya, the Span¬ 
iard. Of these Prideaux says: “They 
were undoubtedly suggested to the artist 
by the sight of his own country under 
foreign government during the short 
reigns of Joseph Bonaparte, but the treat¬ 
ment is so universalized that there are 
no details to indicate any particular na¬ 
tional disaster. They convey to the 
spectator the nightmare of war seen in 
the blackness and horror of dreams, and 
possess that mixture of fascination and 
repulsion which pervades so much of the 
painter’s (Goya was court painter) 
work. They constitute indeed the most 
impassioned diatribe against war ever 
formulated by pen or brush, and the 
very fact that they are removed from 
the individual and the particular lifts 
them into the sphere of the epic. Goya, 
who had lived quietly abroad during the 
expulsion of the French from Spain, 
(Continued on page 60) 
tury die collector of military 
prints finds an increasing ar¬ 
ray of subjects and of masters. 
A second state of Rembrandt’s 
“Battle” may chance to go for 
$20, while the “Rembrandt 
with the Sabre” fetched £2,000 
at the Holford sale in London 
in 1893, the highest amount 
that, up to that time, had ever 
been paid for a single print. 
In this century worked 
Jacques Callot of Lorraine, 
whose seventeen etched scenes 
in the series of “Les Grandes 
Miseres de la Guerre” may 
well be sought by every collec¬ 
tor of military prints. Fortu¬ 
nately they come within the 
means of the moderate purse. 
Callot it was who nobly re¬ 
fused Louis XIII’s commis¬ 
sion to etch a plate represent¬ 
ing the French king’s victory 
over Lorraine (Callot’s native 
country, although he lived and 
worked in Italy). Callot was 
noted for the astonishing 
number of figures he intro- 
"War,” from a lithograph 
by J. Rambert, a French 
artist. Published by De- 
larue in 1851 
