The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-03-22
TEE BURRIrT COLLECTION OF
ETCHINGS.

In the composite exhibition which \
being held 1t the American Art Galleries
the collection Of etchings, formed by the
late Mr.. A. n. BurTitt Of Waterbury. Conn.
b Of quite unusual interest. Al Mr.. Ffts-
roy Darlington IN his introduction 10 the
catalogue observes: For M siss. no coilec-
tion In this country could compare with VI
inasmuch a. II contained . greater Per-
osntage Of the Acknowledged masterpieces
Of the etchers Of the nineteenth century
than any other; In impressions OF the finest
quality. The actual number Of etchingu
oatalogued ID small, but many Of them ars
20 early in state 90 very rare, or Of such
beauty Of impression that money cannot
buy their duplicate
Mr.. Burritt indeed, was q distinguished
representative Of that now variety OF con-
noisseur. the American collector. He had
Q very shrewd sense Of buying for invest
ment; In fact, he regarded his collection a.
one Of the forms OF his life insurance. At the
Same time his own taste and judgment
wero peculiarly keen and he loved his pos
sessions dearly. 1t is-in the mingling OF
the spirit Of the investor and Of the enthu-
siastic amateur that this species Of collec-
torship Il distinct. He began as most
men do, backing their fancy or follow
ing the current tips: but, a. his knowl-
edge increased, he continually weeded
out from his collection. substituting finer
or rarer states. replacing Indifferent ex-
amples Of . master by others more sd-
mirable and gradually widening the scope
Of representation; always with the two
fold consideration OF their future increase
in value and Of their present satisfaction
TO himself.
Another interesting aspect Of the matter
Ia tho fact, that, while II was originally In
tended to dispose OF this collection In Lon
don, the decision Of those responsible for
the sale was finally given In favor Of New
York. That they are justified seems as
sured from the reports one hears that sd-
vance bids for a portion of the collection
already show a handsome profit on the
whole investment; q circumstance which
proves the keen appreciation in this country
for what is distinguishably the best.
Near the entrance Of the gallery Is hung
q group Of Gravesande's prints, brilliant
examples Of an exceptionally vigorous
artist. How impressive. for instance, Ia
the 'Entree du ForAt,' with its depth OF
psnetrable black against which portions
Of the foliage and some tree stems are de-
tachsd In light! What q genial gravity Of
feeling pervades his "Cathednl OF Dor
drecht'! The illusion Of the sky Ia extraor-
dinarily real, the great tower 10 solemn
in It's strength and repose. the foreground
Of water treated with such knowledge and
breadth Of style. But his masterpiece 10
the Moulin al Bord du Gein, 50 exquisitely
placid in sentiment, 30 marvellously COM
plete as q piece Of technique; the whole
20 assured In it's effect. Compare with this
the transportation Of the same theme, done
In dry point and printed upon vellum. 1t
gives new and exquisite Interpretation.
Fi1ther along the wall are four Miliets;
Two Men Digging Peasants Going to
Work. The Wool Carter' and The
Gleaners' Had Mr. Burritt lived he might
have added The Man With the Wheel
barrow and -Shepherdess Knitting as
Mr.. Darlington suggests; but in these four
prints he had very signal representation
Of the kind and quality Of Millets work.
and in this brief summary, II only for the
sake Of recording my own snjoyment.
will single out the two Men Digging
The present u superb impression Of .
plate which, by reason Of the extraordinary
veracity with which the contrasted actions
of the two figures are rendered. II one OF
the grandest studies OF movement that
Millet has left US.
little further on We reach Q handful
Of Rembrandts. which except for good i'm
prsssions OF The Mil and Landscape
With Thatohsd Cottage and Hay Barn
and a brilliant only stats Of Christ Dis
putting With the Doctors' need not keep
" long from the Meryons that succeed.
There are six Of these, which DO not include
81 Etienns du Mont Or The Norge.
point. L Abside de Notre Dame de Paris.
While that b indeed Q giant II does not,
however. reduce It's neighbors 70 pygmies.
The same quality Of deep ina eination and
vsas Ss Ss noSy o. P
and -Is Pont Nsuf. prssminsntly 10 Popt
panion Of the Il Abside'
BY this time, y not before, the fsscina-
hold Of ones ina gination. What . rare
treat to enjoy this wtee In eeQusnoe such
various sensations, derived from thees
choicely ssIscted groups Of masteml II
" the same throughout the exhibition.
cont ~ isSsiy S.ins .' lin By he ,ns.:.
ct Of some fresh form and quality Of on.
pgeasion To which In different hands this
most psrsoaal medium lends itself
Among he stray prints We .hail note
= bvsnaIa eby NV tmknosesoh W Noo ufvt
state ~ Clauds's la Bouvier.' thoas two |
by yscqus, la Bsrgsris.
and Ia Berserie BAarnai.e;' IL Grand |
Fumeur' and lee R<strcs.- by Melssonier: |
Wan 0ssAds's 'lss Pech~urs' and The |
Little Bridge by Ruysdssl
boms thlry-seven prints represent 81 |
liz bsst tbs art ~ sir seymour Hsden.
Among the varietiss arr . ssooad state az |
a Myes In Ir.lsnd.' of which only ons |
othsr impression 10 known. too oui 81 The |
welye iispse~.ions ~ this hrsi state u |
A MveS IN Ir~land.' the hrss sats ~ "A |
~ -sosd N rPps,ssy;' trial peoof a. q
trsaI psoof .c' Of sThs Mouth az . Bsook,'
NJ which only sis lmpssssieas vess printed; |
. hrsi STATE ~ ths ssnAilef 'ksssslnxtoa |
.:s.s q .ts,.s $500 &c. sss sss r. 10 T.
Dssks os kashIsf. and t~AstAa - auso- |
sFsph dsdiosiisa 's~yneuS assisa . |
Ts whl.,lsss n~al..s as,.sa IN.
kstnis~s' 10 isIsssrnisd tsles IN chs ~ |
tiss athss 40 Indie bStss, shlls u yis 80. |
a..s s.sis .'.sss Z fos.srsl,ly Ne lsa.
z'hs us,sfs fsssss.ss, lssssssS slsls,. |
1900: ;;:it;'S .:.: :'''S r.: ~ -; -. =,
ssys.ss,. Iiavsssslar ~ sls .e.ssy