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  5. Berman, Destruction Ancient City
  6. Bonasone, Sculptures of Persians
  7. Brissot de Warville, Parc à Moutons
  8. Brizio, Satyr Spying on a Nymph
  9. Brouet, Grand Saint-Ouen
  10. Buhot, Idée du Frontispice
  11. Cameron, Glen Strae
  12. Charlet, Une Reconnaissance
  13. Cochin, Hercule Gaulois
  14. Collaert, St. Maclovius (St. Malo)
  15. Coornhert, Battlefield in America
  16. Daubigny, L’Heritage de la Voiture
  17. Denon,Family Seated Near a Wall
  18. Dietterlin, Ornamented Fountain
  19. Dugas, La Pentecôte
  20. Duplessis-Bertaux, The Church
  21. Dürer, The Young Couple
  22. Fantin-Latour, Baigneuses
  23. Gillot, Livre de Portières
  24. Good, Portrait of a Lady
  25. Grasset, La Belle Jardinière
  26. Gropper, The Art Patron
  27. Hackaert, A la Cava
  28. Haid, Woman Lighting Her Pipe
  29. Higgins, Two Peasants Arguing
  30. Hollar, Woman of Antwerp
  31. Huybrechts, Ornament
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  34. Lalanne, Passage de la Marmite
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  36. Lepic, Le Président Arbod
  37. Levine, A Hand Holding a Cigar
  38. Nadelman, Reclining Female Nude
  39. Nolpe, Peasant Man and Woman
  40. Nolpe, Peasant Woman
  41. Nura, Seraphine Sews
  42. Ossenbeeck, The Merchant
  43. Ostade, Bust of a Peasant
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  54. Taquoy, Horses and Hounds
  55. Viera, Coronis Pursued by Neptune
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  57. Voyez, La Visite Inattendue
  58. Willman, The Four Seasons
  59. Wit, Onder of Over (Under or Over)

29. Eugene Higgins
(1874-1949)
Two Peasants Arguing

(click on image to print)
Higgins, Two Peasants Arguing

Two Peasants Arguing

Monotype, 251 x 193 mm. Fine, rich impression in brown with scraped and wiped highlights on thick wove paper; upper right and lower left corner tips lacking and filled in on the backing board. Unsigned, as usual, but clearly Higgins’ work and from the old Kennedy Galleries stock. Considered a member of the Ashcan School, Higgins studied for long in France and clearly shows the influence of Millet and Daumier, if not in drawing style then certainly in subject matter and attitude. There is none of the humor of some of the other Ashcanists and the concern is with the lost and the downtrodden. His monotypes, of which technique he was clearly a master, align themselves more with his paintings than with his etchings; indeed several of them present the same images as the paintings and are probably preliminary studies.

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