5/6/189! 
 
 to 
 
 12/1^89: 
 
I flffc. 
 
 ** r 
 
 
THE 
 
 Holford Collection 
 
 OF 
 
 ENGRAVINGS, ETCHINGS AND 
 DRAWINGS. 
 
O.A.TA.IL.Oa-TTS 
 
 OF 
 
 THE COLLECTION OF 
 
 ETCHINGS, ENGRAVINGS AND 
 DRAWINGS, 
 
 BY AND AFTER OLD MASTERS, 
 
 FORMED BY THE LATE 
 
 ROBERT STAYNER HOLFORD, ESQ., 
 
 Of Dorchester House, Park Lane, 
 
 Comprising the Works of Albert Durer, Van Mecken, 
 
 Rembrandt, Martin Schongauer, Morghen, 
 
 Desnoyers, <fec., &c. : 
 
 WHICH 
 
 {by Order of the Executors) 
 
 $23 ill toe *olto to j) auction toy 
 
 Messrs. CHRISTIE, MANSON & WOODS, 
 
 AX TMEim QEEAI? &QQMS, 
 8 KING STREET, ST. JAMES'S SQUARE, 
 
 On TUESDAY, JULY 11, 1893, 
 
 And Three Following Days, 
 
 AT ONE O'CLOCK PRECISELY. 
 «^^ 
 
 May be viewed Friday, Saturday, and Monday preceding, and 
 Catalogues had, at Messrs. Christie, Manson and Woods' Offices, 
 8 King Street, St. James s Sqxiare, S. W. 
 
As the Etchings and Engravings forming this Collection are, 
 almost without exception, of great beauty and in perfect preser- 
 vation, it has been judged unnecessary to add words of special 
 praise to the different lots. 
 
 Attention is called to the finest and most important works by 
 large typa 
 
CONDITIONS OF SALE. 
 
 I. THE highest Bidder to he the Buyer ; and if any dispute arise 
 lietween two or more Bidders, the Lot so in dispute shall be 
 immediately put up again and re-sold. 
 
 II. No person to advance less than Is. ; above Five Pounds, 5s. ; 
 and so on in proportion. 
 
 111. In the case of Lots upon which there is a reserve, the Auctioneer 
 shall have the right to bid on behalf of the Seller. 
 
 TV. The Purchasers to give in their Names and Places of Abode, 
 and to pay down 5s. in the Pound, or more, in part of payment, 
 or the whole of the Purchase-Money, if required ; in default 
 of which, the Lot or Lots so purchased to be immediately put 
 up and again re-sold. 
 
 V. The Lots to be taken away and paid for, whether genuine and 
 authentic or not, with all faults and errors of description, at 
 the Buyer's expense and risk, within Two days from the Sale ; 
 Messrs. Christie, Manson and Woods not being responsible 
 for the correct description, genuineness, or authenticity of, 
 or any default or defect in, any Lot ; and making no warranty 
 whatever. 
 
 VI To prevent inaccuracy in delivery, and inconvenience in the 
 settlement of the Purchases, no Lot can on any account be 
 removed during the time of Sale; and the remainder of the 
 Purchase-Money must absolutely be paid on delivery. 
 
 VII Upon failure of complying with the above Conditions., the Money 
 deposited in part of payment shall be forfeited , all Lots un- 
 cleared within the time aforesaid shall be re-sold by public or 
 private Sale, and the deficiency (if any) attending such re-sale 
 shall be made good by the Defaulter at this Sale- 
 
CATALOGU E. 
 
 3 ;*:c 
 
 First Day's Sale. 
 
 c**Cc 
 
 On TUESDAY, JULY 11, 1893, 
 
 AT ONE O'CLOCK PRECISELY. 
 
 ***.c 
 
 F. ANDERLONI. 
 
 1 The Assumption of the Virgin, after Guide — proof with the 
 
 ichite key 
 
 2 Mater Amabilis — proof before any letters ; The Holy Family 
 
 after N. Poussin — proof £ 
 
 P. ANDERLONI. 
 
 3 Adorent Eum Angeli Dei, after Titian— -proof with P. A., f. 
 
 only 
 
 4 The Same Plate — proof before letters 
 
 5 The Woman Taken in Adultery, after Titian ; and the Com- 
 
 panion plate — proofs with the engraver s initials 2 
 
 6 La Madonna del Passeggio, after Raffaelle — proof with the 
 
 white D. 
 
 7 Attila and Heliodorus, after Raffaelle — proofs with the 
 
 engraver s initials 2 
 
6 
 
 ZOAN ANDREA. 
 
 8 La Danse de Quatre Femmes (B. No. 18) 
 
 MAITRES ANONYMES. 
 
 9 Euterpe (B. No. 33) 
 
 10 Melpomene (B. No. 34) 
 
 11 DIX PETITS AMOURS DANS UN VIGNOBLE (Pass. 
 
 Vol. V. p. 48) — a portion only of the print ; in the complete 
 state there are 16 cupids 
 
 THE MASTER OF 1466. 
 '///r - 12 ST. GEORGE AND THE DRAGON (B. No. 78) 9C~4^ 
 
 JACOPO DE BARBARI. 
 
 13 St. Sebastian (Pass. Vol. III. No. 27) 
 
 14 Cleopatra (Pass. No. 28) 
 
 F. BARTOLOZZI. 
 
 15 Mary Queen of Scots and James I. — ■proof 
 
 N. BKATR1ZET. 
 
 16 Our Saviour holding His Cross (B. No. 23) 
 
 17 The Fall op Phaeton (B. No. 38); The Combat with the 
 
 Dacians (B. No. 94) 2 
 
 HANS SEBALD BEHAM. 
 
 18 The Labours of Hercules (B. Nos. 96 to 107) 12 
 
NICHOLAS BERGHEM. 
 
 19 The Three Cows Reposing (B. No. 3) — before the name of 
 
 Berghem 
 
 20 The Herdsman Plating on a Flute (B. No. 6) 
 
 21 The Shepherd Speaking to a Woman (B. No. 7) 
 
 22 The Upright Subjects of Animals (B. Nos. 8, 9, 10, 11) — 
 
 No. 8 is before De Wit's address 4 
 
 23 The Oblong Subjects of Animals (B. Nos. 13, 14, 16) 8 
 
 24 THE WOMAN'S BOOK (B. Nos. 29 to 34), No. 29 has the 
 
 number and the address of Clement de Jonghe, the other five 
 pieces are before the number 6 
 
 BERTONNIER. 
 
 25 The Virgin and Child, with St. Elizabeth and other 
 
 Saints, after Raffaelle — proof before letters ; The Fornarina 
 by Bernardi — proof 2 
 
 C. C. BERVIC. 
 
 26 Dejanira, after Guido — proof before any letters ; The Laocoon — 
 
 proof with engraver's name etched 2 
 
 JACQUES B1NCK. 
 
 27 The Saviour (B. 14) 
 
 From the Esdaile Collection 
 
 V. BIONDL 
 
 28 The Virgin and Child, after Raffaelle — proof before letters 
 
A. J. B. M. BLANOHAED. 
 
 29 The Saviour ; and The Angel (jIabriel, after Delaroche — 
 both proofs before any letters and before the border 
 
 F. VON BOCHOLT. 
 
 30 THE JUDGMENT OF SOLOMON (B. No. 2) /3^~^£~«. 
 
 31 ST. MICHAEL (B. No. 30) ^ 
 
 From the Esdaile Collection 
 
 S. A. BOLSWERT. 
 
 32 The Vikgin and Child, with a Group of Angels, Dancing, 
 
 after Vandyck 
 
 33 The Marriage of the Virgin — proof before any letters ; The 
 
 Virgin and Child, " Puteus aquaruiu," &c, both after Rubens 
 
 2 
 
 34 The Virgin and Child, " Osculetur me," &c. ; The Assumption 
 
 of the Virgin, both after Bubens 2 
 
 From the Fsdaile Collection 
 
 35 Christ Crucified, "Et latrones," &c, after Rubens; Christ on 
 
 the Cross, " Ne Patris sui manibus," &c., after Vandyck 2 
 
 36 The Crucifixion, " Le Christ au mseau," with St. Johns hand 
 
 on the shoulder of the Virgin, after Diepenbeck 
 
 37 The Crucifixion, " Venerunt Milites," &c, after Rubens 2 
 
 38 The Miraculous Draught ; The Conversion of St. Paul, 
 
 after Bubens 2 
 
 89 The Dead Christ in the Lap of His Mother, after Vaudyck, 
 with the address of Van den Enden 
 
 40 The Daughter of Herodias, with the Head of John the 
 Baptist -proof; The Lion Hunt, after Bubens 2 
 
S. A. B0L3WERT. 
 
 41 The Small Landscapes, after Rubens — proofs 8 
 
 From the Esdaile Collection 
 
 42 Large Landscapes, after Rubens: The Reapers; Baucis and 
 
 Philemon ; and The Storm 3 
 
 From the Esdaile Collection 
 
 JULIO BONASONE. 
 
 43 The Virgin, with the Body of Our Saviour at the Foot 
 
 of the Cross (B. 64) ; The Birth of John the Baptist 
 (B. 76) — he/ore the address of Lafreri 2 
 
 44 Clelia Crossing the Tiber (B. 83) — before the address of Lafreri ; 
 
 The Trojan Horse (B. 85) 2 
 
 45 The Goddess Flora, with Nymphs and Cupid (B. Ill); The 
 
 Four Statues in Niches (B. 140 to 143) 5 
 
 46 Cardinal Bembo (B. 344) ; Raffaelle (B. 347) — before the 
 
 address of Rossi 2 
 
 JEAN BOTH. 
 
 47 The Woman Riding on a Mule (B. 1) ; The Great Tree (B. 3) 
 
 2 
 
 48 The Ferry ; and The Wooden Bridge (B. 7 and 10) — before the 
 
 name and number 2 
 
 GIOVANNI ANTONIO DA BRESCIA. 
 f /4 <?■ - 49 THE HOLY FAMILY (B. 5) 9^^. 
 
 From the Du Bois Collection 
 
 A. F. E. BRIDOUX, 
 50 La Viergb aux Cand&labres— ; first state ; The same, by Bette* 
 lini — ■proof 2 
 
10 
 
 HANS BUEGMAIR. 
 
 / 2 &■ — 51 ST. GEOEGE (B. No. 23) — a most curious impression on parch- 
 ment, much drawn upon and heightened with gold 
 From the Esdaile Collection 
 
 G CALENDI. 
 
 52 Christ and the Four Evangelists, after Fra Bartolomeo — first 
 
 proof 
 
 JACQUES CALLOT. 
 
 53 The Temptation of St. Anthony (Meaume, 139) 
 
 AGOSTINO CARRACCI. 
 
 54 Ecoe Homo, after Correggio (B. 20) 
 
 ' 30. - 55 THE PORTEAIT OF TITIAN (B. 154)- first state /£Uw££~ 
 
 NICOLO DELLA CASA. 
 
 56 Cosmo de Medici: half length, clothed in armour (Pass. Vol. VI. 
 
 p. 124) 
 
 H. G. CHATILLON. 
 
 57 The Archangel Michael, after Raffaelle — proof with artist's names 
 
 only 
 
 L. A. CLAESSENS. 
 
 58 The Descent from the Cross, after Rubens— proof wit h artist's 
 
 names only, on India paper 
 
 59 La Femme Hydropique, after Gerard Dow — proof with artist's 
 
 names only, on India paper 
 
 60 The Same Engraving — proof with open letters ; and The Peasant, 
 
 Smoking, after Ostade — before any lettert 
 
11 
 
 PETER CLOUET. 
 
 61 Le Jardin d' Amour, after Rubens — -first state, ivith the Dutch 
 
 verses 
 
 CHARLES COUSIN. 
 
 62 The Immaculate Conception, after Murillo — proof with artist's 
 
 names ; the Holy Family, by Casse ; &c. S 
 
 LUCAS CRANACH. 
 
 63 The Penitence of St. Chrysostom, or St. Genevieve (B. 
 
 No. 1) 
 
 From the Esdaile Collection 
 
 WOODCUTS. 
 
 64 St. George (B. No. 67) 
 
 65 An Angel weighing Innocence against Demons (B. No. 75) ; 
 
 and A Boar Hunt (B. No. 118) 
 
 66 A Tournament (B. No. 126) 
 
 67 A Tournament (B. No. 127) 
 
 CORNELIUS VAN DALEN. 
 
 68 Henry, Duke of Gloucester, after Lutticbuys — proof with the 
 arms only 
 
 A. B. DESNOYERS. 
 
 69 St. Catherine of Alexandria ; The Visitation, both after 
 Raffaelle — India paper, proofs with open letters 2 
 
12 
 
 A. B. DESNOYERS. 
 
 70 Faith ; Hope ; and Charity, after Eaffaelle — proofs 
 
 71 La Yierge a la Chaise, after Eaffaelle — proof, first state 
 
 72 La Yierge au Poisson, after Eaffaelle — proof with open letters, on 
 
 India paper 
 
 73 La Yierge au Linge, after Eaffaelle- — proof before any letters 
 
 74 La Yierge aux Eochers, after Leonardo da Vinci — proof with 
 
 artist's names only 
 
 Fromythe Esdaile Collection 
 
 gO/ - 75 LA BELLE JARDI^IEEE, after Eaffaelle— proof with art&fs 
 names only 
 
 76 La Yierge de la Maison d'Albe, after Eaffaelle — proof before 
 
 any letters 
 
 77 La Yierge au Berceau, after Eaffaelle — before any letters, signed 
 
 by the engraver 
 
 78 La Yierge de Foligno — proof with open letters, signed by the 
 
 engraver 
 
 79 Prince Charles Maurice de Talleyrand Perigord, after 
 
 Gerard — proof with open letters 
 
 THE MASTEE OF THE DIE. 
 
 80 Apollo and Marsyas (B. No. 31) 
 
 M. F. DIEN. 
 
 81 The Sibyls, after Eaffaelle — proof on India paper, with the artist's 
 
 names only 
 
P. DREVET. 
 
 82 ADEIENNE LE COUVREUR, after Coypel— proof before any 
 
 inscription 
 
 83 Another Impression — with the fault in the word " Modele " 
 
 84 Portrait of Bossuet — before the points 
 
 KARL DU JARDLN. 
 
 85 The Mules ; A Woman Crossing a Stream ; The Shepherdess 
 
 and her Dog (B. 2, 27, 31) — before the numbers 3 
 
 R. DUNKARTON. 
 
 86 Judas Iscariot Returning the Thirty Pieces of Silver, after 
 
 Rembrandt — proof with artist's names only 
 
 ALBERT DURER. 
 *j00 _. _ 87*ADAM AND EVE (B. 1) . " . , . A^^4Ch^ 
 
 J'O. -. 
 
 \ r / ;, J^ /S ?Jt.J 
 
 88 THE PASSION OF CHRIST (B. 3 to 18) * J , ■ , 
 
 89 The Man of Sorrows, with his Arms Extended (B. 20) 
 
 90 The Man of Sorrows, with his Hands Bound (B. 21) 
 
 91 The Man of Sorrows, Seated (B. 22) 
 
 /8 . _._92 THE CRUCIFIXION: The small round Plate (B. 23)— /£^£ 
 original, according to Bartsch 
 
 93 The Prodigal Son (B. 28) 
 
 94 St. Anne and the Infant Virgin (B. 29) 
 
 95 The Virgin, seated by a Wall (B. 40) 
 
 96 The Virgin, holding a Pear (B. 41) 
 
14 
 
 ALBERT DURER. 
 
 7/^. - • - 97 THE HOLY FAMILY : The babe Etching (B. 43) A~£e£~^£- 
 
 98 The Virgin with a Butterfly (B. 44) 
 /j'O. - - 99 ST. HUBERT (B. 57) ^^. 
 
 /jo. -• - 100 ST. JEROME IN HIS CELL (B. 60) ^ 
 
 101 St. Genevieve (B. 63) 
 
 102 Apollo and Diana (B. 68) 
 
 103 Amymone (B. 71) 
 
 104 The Effects of Jealousy (B. 73) 
 
 £ 2.~- 105 MELANCHOLY (B. 74) fne^U^ 
 
 106 SLOTH (B. 76) 
 
 107 THE GREAT FORTUNE (B. 77) 
 
 108 The Peasant and his Wife (B. 83) 
 
 109 The Oriental and his Wife (B. 85) 
 
 110 The Ensign (B. 87) 
 
 ^: _ . - 111 THE KNIGHT OF DEATH (B. 98) %^cU^ 
 
 112 THE COAT-OF-ARMS, WITH A COCK (B. 100) 
 w : __ . - 113 THE COAT-OF-ARMS, WITH A SKULL (B. 101) fa^u^ 
 
 114 The Apocalypse — with the Latin letterpress (B. 60 to 75) 
 
 CORNELIUS DUSART. 
 
 115 The Cabaret (B. 15); The Village Fete (B. 16) 2 
 
 LE MAITRE A L'ECREVISSE. 
 
 116 THE NATIVITY (B. 3) 
 
15 
 
 RICHARD EARLOM. 
 
 117 The Fish Shop ; and The Poultry Shop, after Snydera — 
 proofs before letters 2 
 
 GfiRARD EDELINCK. 
 
 118 Moses, after Philippe de Champagne — before the artist's names 
 
 and dedication 
 
 119 Philippe de Champagne ; and Nathanael Dilgerus n— 2 
 
 120 The Battle for the Standard, after Leonardo da Vinci 
 
 EDWARD EICHENS. 
 
 121 The Adoration op the Kings, after Raffaell© 
 
 RAFAEL ESTEVE. 
 
 122 Moses Striking the Rook, after Murillo — proof with artist's 
 
 names only 
 
 WILLIAM FAITHORNE. 
 
 123 MARGARET SMITH, LADY HERBERT, after Vandy«k 
 
 124 Lord Thomas Fairfax — with the engraver's name only 
 
 125 Henry More 
 
 FELSING. 
 
 126 II Suonatore, after Raffaelle — India proof before letters 
 
 127 The Entombment, after Raffaelle — proof with engraver's name 
 
 128 The Madonna del Tbono, after Andrea del Sarto, before any 
 
 letters 
 
16 
 
 FELSlNG. 
 
 129 The Maidens at the Well, after Bendemann — proof before 
 
 any letters 
 
 130 The Magdalen, after Steinbriick —proof before letters ; Salvator 
 
 Mundi, after Leonardo da Vinci — proof before any letters 2 
 
 JACOB FOLKEMA. 
 
 131 Jacoba Heetogin van Beyeren— proof and print 2 
 
 GIOVANNI FOLO. 
 
 132 The Madonna, after Sassoferrato ; The Ecce Homo, after 
 
 Guercino, by Fontana — both proofs 2 
 
 FRANCOIS FORSTER. 
 
 133 The Three Graces, after Raffaelle — an engraver's trial proof 
 
 (No. 6) 
 
 134 La Vierge ad Bas-relief, after Leonardo da Vinci — proof with 
 
 artist's names only 
 
 135 La Vierge de la Maison d'Orleans, after Raffaelle— proof 
 
 with the engraver's name only (No. 17) 
 
 136 Portrait op Raffaelle — proof with engravers name only (No. 5) ; 
 
 La Maitresse du Titien — before Artarias address 2 
 
 137 Raffaelle at the Age of Fifteen — similar state (No. 24) 
 
 JACOPO FRANCIA. 
 
 138 The Holt Familt (B. 15, p. 457) 
 
 139 Baochdb with his Attendants (B. 15, p. 4G0) 
 
17 
 
 GIUSEPPE FUSINATI. 
 
 140 Music, after Giorgione — proof before any letters \ Thi MagtalkN) 
 
 after Titian 
 
 MAUEO GANDOLFL 
 
 141 The Virgin and Child with St. Jerome, after Correggio — 
 
 proof before any letters ; St. Cecilia, after Eaffaelle — proof 
 before letters 2 
 
 142 Judith, after Allori— proof before letters ; &c. 2 
 
 GIOVITA GAEAVAGLIA. 
 
 143 Hagar and Ishmael, after Baroccio — proof before any letters \ 
 
 " Verbum Caro factum," after C. Maratti — proof with artist's 
 names only 2 
 
 144 Beatrice Cenci, after Guido — proof before any letters 
 
 CLAUDE GELLEE. 
 
 145 The Flight into Egypt (R. D. No. 1) — second state ; The Ford 
 
 (No. 3)— first state 2 
 
 146 The Tempest (R. D. No. 5) ; The Dance on the Bank op a 
 
 River (No. 6) — second state 2 
 
 147 The Shipwreck (R. D. No. 7) ; The Herdsman (No. 8) 8 
 
 148 The Artist, Sketching (R. D. No. 9) — -first state 
 
 149 The Dance under the Trees (No. 10) — doubtful as to first or 
 
 second state, the margin being cut close 
 
 150 The Seaport, with a Lighthouse (R. D. No. 11) — second state 
 
 151 The Brigands (R. D. No. 12) ; The Seaport, with a Large 
 
 Tower (No. 13)— first state 2 
 
18 
 
 CLAUDE GELLEE. 
 
 152 The Wooden Bridge (R. D. No. 14)- -second state ; The Sunset 
 
 (No. 15) 
 
 153 Starting for the Meadows (R. D. No. 16) — second state ; The 
 
 Herd of Cattle in a Storm (No. 18) 2 
 
 154 The Goatherd (R. D. No. 19) ; Apollo and the Seasons 
 
 (No. 20) 2 
 
 155 The Shepherd and Shepherdess Conversing (R. D. No. 21) — 
 
 first state 
 
 156 The Rape of Europa (R. D. No. 22)— first state 
 
 157 The Roman Forum (R. D. No. 23) ; The Four Goats (No. 27) 
 
 2 
 
 ADAM GHISI. 
 
 158 The Fisherman (B. No. 13) 
 
 DIANA GHISI. 
 
 159 The Entombment ; The Birth of Apollo and Diana (Nos. 8 
 and 89) — he/ore the address 2 
 
 GIORGIO GHISI. 
 
 160 The Angles of the Sistine Chapel, after Michael Angelo 
 
 (B. 17 to 22) — before the address of Nic. Van Aelst 6 
 
 161 Cupid and Psyche (B. 45); Raffaelle's Dream (B. 67) 2 
 
 ABRAHAM GIRARDET. 
 
 162 The Triumph of Titus, after Julio Romano ; Mater Amabilis, 
 after Ratfaelle, by Guidetti ; Tobit and the Angel, after 
 Raftaelle, by Guerin — all proofs 3 
 
19 
 
 HENRI GOLTZIUS. 
 
 163 The Passion op Jesus Christ (B. No. 27 to 28) 12 
 
 164 THE PORTRAIT OF GOLTZIUS (B. No. 172)— proof before 
 
 the inscription 
 
 165 HENRY IV. (B. No. 173)— with the address of P. Van Eovm 
 
 166 The Young Frisius (B. No. 190) 
 
 From the Esdaile Collection 
 
 THE MASTER H. E. 
 
 167 The Marine Gods (B. No. 3) 
 
 WILLIAM HOGARTH. 
 
 168 The Strolling Aotresses in a Barn— first state 
 
 WENZEL hollar. 
 
 169 The Seasons : half-length figures 4 
 
 170 The Portrait of Hollar (P. 1420) — second state ; Designs 
 
 for Sword-hilts, Scabbards, &c, after Holbein ; and 
 others 8 
 
 171 The Muffs 9 
 
 172 The Butterflies 12 
 
 173 The Designs for Decorated Jugs, Cups, &c, after Holbein 9 
 
 End of First Day's Sah 
 
 c 2 
 
Second Day's Sale. 
 
 >*«o 
 
 On WEDNESDAY, JULY 12, 181)3, 
 
 AT ONE O CLOCK PRECISELY. 
 
 ^XX'' 
 
 THOMAS HOLLO WAY. 
 
 174 Raffaelle's Cartoons — fine India paper impressions 7 
 
 L. HOPFER. 
 174a The Betrayal of Christ 
 
 JACOBUS HOUBRAKEN. 
 
 175 George Abbot, Archbishop of Canterbury ; Lord Keeper 
 
 Williams — proofs 2 
 
 176 Joseph Addison —proof 
 
 177 The Duke of Argyll; The Earl of Nottingham — proofs 2 
 
 178 The Earl of Arlington ; The Dokh of Lauderdale — 
 
 proofs 2 
 
 179 Catherine ob- Aragon ; Anne Boleyn ; Lord Anson — 
 
 proofs 3 
 
 180 Lord Bacon — proof 
 
 181 Francis, Earl of Bedford; Thomas, Duke of Norfolk — 
 
 proofs 2 
 
21 
 
 JACOBUS HOUBRAKEN. 
 
 182 The Duke op Buckingham; The Eael op Dorset— 'proofs 2 
 
 183 William, Earl op Bedford; and George Digby, Earl op 
 
 Bristol — proofs 2 
 
 184 John, Earl op Bedford ; and Humphrey Stafford, Duke op 
 
 Buckingham — proofs 2 
 
 185 Sir Nicholas Bacon ; and Sir John Smith— proo/s 2 
 
 186 Dudley, Lord Carlisle ; and Lord Chancellor Talbot — 
 
 •proofs 2 
 
 187 Geoffry Chaucer ; and William Buchanan — proofs 2 
 
 188 Lord Cottington ; and Charles Howard, Earl of Nottingham 
 
 — proofs 2 
 
 189 Lord Keeper Coventry; and Sir Edward Coke— proofs 2 
 
 190 Oliver Cromwell— proof 
 
 191 Thomas Cromwell, Earl of Essex; and Sir Thomas More — 
 
 proofs 2 
 
 192 John Dryden — proof 
 
 193 Sir Kenelm Digby — proof 
 
 194 Sir Fbanojs Drake — proof 
 
 195 Ann of Denmark ; Henry, Prince of Wales — proofs 2 
 
 196 Elizabeth, Queen op Henry VIII. — proof and print; and 
 
 Jane Seymour 3 
 
 197 John Fisher, Bishop op Rochester ; Sir Samuel Garth — 
 
 proofs 2 
 
 198 George I. ; and The Duke op Gloucester — proofs 2 
 
 199 Prince George op Denmark ; and Queen Anne— proofs 2 
 
22 
 
 JACOBUS HOUBRAKEN. 
 
 200 Ann of Cleves — proof ; Henry VIII. ; and Catherine 
 
 Howard — proofs 3 
 
 201 Handel — proof 
 
 202 John Hampden ; and Sir Thomas Fairfax — proofs 2 
 
 203 Sydney, Earl of Godolphin; and The Marquis of Halifax 
 
 — proofs 2 
 
 204 William Harvey ; and Thomas Sydenham— j^roo/s [2 
 
 205 Ben Johnson ; and Robert, Earl of Lindsay— proofs 2 
 
 206 General Ireton; General Fleetwood; and General Lambert 
 
 — proofs 3 
 
 207 General Lambert ; Robert Dudley, Earl of Essex — proofs ; 
 
 and Robert Devereux, Earl of Essex 3 
 
 208 James, Marquis of Montrose ; The Earl of Morton — the 
 
 large and small plates— proofs ; and John Milton 5 
 
 209 The Duke and Duchess of Marlborough — proofs 2 
 
 210 Sir Isaac Newton — proof 
 
 211 Algernon, Earl of Northumberland; and Thomas Howard, 
 
 Earl of Arundel — proofs 2 
 
 212 Thomas Otway ; The Earl of Peterborough; and General 
 
 Talmash— proofs 3 
 
 213 John Pym ; and Alexander Pope— proofs 2 
 
 214 L. Hyde, Earl of Rochester; The Marquis of Wharton — 
 
 proofs 2 
 
 215 William, Loud Russell; Sir Walter Raleigh — proofs ; The 
 
 Earl of Shaftesbury 3 
 
 216 James, Duke of Richmond— small and large plates ; Mary 
 
 Queen of Scots — proofs 3 
 
 217 Edward Russell, Earl of Orford; Lord Torrington — 
 
23 
 
 JACOBUS HOUBRAKEN. 
 
 218 The Duke of Sohomberg ; The Earl of Orkney — proofs 2 
 
 219 William Shakespear — proof 
 
 220 John, Lord Somers ; The Earl of Sunderland — proofs 2 
 
 221 Sir Bichard Steele— proof; Robert Cecil, Earl of Salisbury; 
 
 Lord Kimbolton 3 
 
 222 Edward Seymour, Duke of Somerset ; Henry, Earl of 
 
 Surrey — proofs 
 
 223 Thomas, Earl of Strafford ; Sir Philip Sidney — proofs 2 
 
 224 Robert Cecil, Earl of Salisbury ; William Cecil ; Lord 
 
 Burleigh — proofs 2 
 
 225 Archbishop Tillotson; Dr. Samuel Clark — proofs 2 
 
 226 Sir William Temple ; Sir William Morice — proofs 2 
 
 227 John Thurlow ; Sir Henry Vane ; Sir William Windham — 
 
 proofs 3 
 
 228 Sir Robert Walpole ; Sib Francis Walsingham ; The Earl 
 
 of Warwick — proofs 3 
 
 229 William Waynfleet, Bisbop of Winchester ; William of 
 
 Wickham — proofs ; Cardinal Wolsey 3 
 
 230 William III. and Queen Mary — proofs 2 
 
 PAUL DE LA HOUUE. 
 230a The Due de Sully, after Du Boys 
 
 SAMUELE JESI. 
 
 231 The Tempi Madonna, after Raffaelle — proof, ivith the engraver's 
 
 name only 
 
 232 The Lucca Madonna, after Fra Bartolomeo— two proofs before 
 
 anij letters, one damaged 
 
24 
 
 PETER DE JODE (The Younger). 
 
 233 Charles I. ; and Henrietta Maria, after Vandyck ; The 
 
 Nativity — -first state 8 
 
 NICOLAS DE LARMESSIN. 
 
 234 Cardinal Pole — proof, witlt engraver's name only 
 
 HENRI LAURENT. 
 
 235 Peter Martyr, after Titian; The Communion of St. Jerome, 
 
 after Domenichino ; St. Anne and The Virgin, after Leonardo 
 da Vinci, hy Langier — proofs 8 
 
 LAURENT. 
 
 236 Peter Martyr, after Titian —proof before any letters 
 
 LE BAS. 
 
 237 Subjects, after Berghem, Teniers, &c. 5 
 
 WILHELM VAN DER LEEUW. 
 
 288 Daniel in the Lions' Den ; Hunting Scenes ; &c, after 
 Rubens 5 
 
 L. LEMPEREUR. 
 
 239 Le Jardin d'Amour, after Rubens 
 
 J. M. LEROL'X. 
 
 240 La Vierge a l'Etoile, after Pinturicchio— proof before any 
 
 letters; and La Vierge du Mu£-£e de Parme, after 
 Correggio 2 
 
25 
 
 LUCAS VAN LEYDEN. 
 
 241 The Resurrection op Lazarus (B. 42) 
 
 242 The Passion op Jesus Christ (B. 43 to 56) 14 
 C 3 s.-.- 243 The Prodigal Son (B. 78) ^^LC*. 
 
 SS.~ - 244 THE DANCE OF THE MAGDALEN (B. 122) &^&^ 
 
 245 THE EMPEROR MAXIMILIAN (B. 172) 
 
 E. F. LIGNON. 
 
 246 Portrait op Nicolas Poussin — an engraver's proof; and Leo 
 
 X., after Raffaelle — proof 2 
 
 A. LOMMIUS. 
 
 247 The Adoration op the Kings, after Rubens 2 
 
 GUISEPPE LONGHI. 
 
 248 The Repose in Egypt, after Proccacino — proof with artist's 
 
 names only ; and Children Playing, after N. Poussin 2 
 
 249 THE READING MAGDALEN, after Correggio— first state, 
 
 before the arms 
 
 250 The Holy Family, with St. Elizabeth and John the 
 
 Baptist, " Nunc ego mitto," &c, after Raffaelle — proof with 
 Longhi's name only 
 
 251 Galatea, after Albano— proof before any letters 
 
 252 La Madonna del Lago, after Leonardo da Vinci — proof with 
 
 artist's names only 
 
 253 THE MARRIAGE OF THE VIRGIN, after Raffaelle— proof 
 
 on India paper, with the verses 
 
26 
 
 L. LORICHON. 
 
 254 The Bridgewateb Madonna, after Kaffaelle — first state, before 
 the title 
 
 r / ^ — 255 Eooe Homo, after Titian — first state, on India paper ^£<x^- 
 
 ARISTIDE LOUIS. 
 
 /2. — 256 Mignon Regrettant sa Patrik ; Mignon Aspirant au Ciel, ^ 
 after Scheffer— first state, on India paper — proofs (No. 25) 2 
 
 MICHELE LUCHESE. 
 
 /a. - 257 Moses Striking the Rock, after Raffaclle ; A Naval Combat, ^ 
 after Polidoro (Pass. Nos. 2 and 11) „ 2 
 
 ANDREA MANTEGNA. 
 
 /J-. /o ■ - 258 The Emtombment (B. 2) ^M^e^ 
 
 /J; - . - 259 The Virgin in the Grotto (B. 9) A^^t-uiy 
 
 J-o. - • - 260 A COMBAT OF MARINE GODS (B. 18) /Ow^ 
 
 y y. - 261 Another Impression — less fine /v£i~~ 
 
 J. C. MARINUS. 
 
 / - . - 262 Ignatius Loyola and St. Francis Xavier, after Rubens, /< 
 portraits by De Marcenay 10 
 
 ACHILLE MARTINET. 
 
 / /o. - 263 La Vierge a L'oiseau, after Rapfaelle— proof with artisft" 
 names ; The Portrait op Rembrandt — proof 
 
27 
 
 K. A. MASSARD. 
 
 ' /&. -. — 264 Apollo and the Muses, after Julio Romano — proof , first state ; 6^L^-c^C 
 The Coronation of the Virgin — proof 2 
 
 ANTOINE MASSON. 
 
 / /0 _ 265 Christ and the Disciples at Emmaus, after Titian ^Coc^m: 
 
 JS- - - 266 Guillaume de Brisacier (R.D. 15) — first state, befors letters Jf-.^C/* 
 
 JACOB MATHAM. 
 2. Z. - 267 The Crucifixon, after Albert Durer '^^^U^ 
 
 ISRAEL VAN MECKEN. 
 
 JS - - 268 PORTRAIT OF ISRAEL VAN MECKEN THE YOUNGER iV^y 
 
 (B. No. 2) 
 
 W - • - 269 JUDITH (B. No. 4) &^^u^ 
 
 /Z. - - - 270 THE DEATH OF THE VIRGIN (B. No. 50) &X &&~ 
 
 fa. - - - 271 JESUS CHRIST (B. No. 64) &w^ 
 
 4J: - - 272 THE VIRGIN MARY (B. No. 65) $7^6^ 
 
 J J. - . _ 273 ST. GEORGE (B. No. 99) ^/ti*c~* 
 
 // - - — 274 ST. MARTIN (B. No. 109) t U^^ 
 
 ?/ _ . _ 275 A PIECE OF ORNAMENTAL FOLIAGE WITH TWO^^X^. 
 LOVERS (B. No. 205) 
 
 P. MERCURI. 
 
 J£. ■?• — 276 St. Amalie, after P. Delaroche — India paper, proof with artist's fc^x^^cty 
 names only 
 
 /• Z. ■ — 277 Another Impression — proof before letters; and Les Moissoneurs, >c2^*«-k 
 after Leopold Robert —pi-oof second state 2 
 
28 
 
 GIROLAMO MOCETTO. 
 
 6. -■ - 278 The Calumny of Apelles (B. No. 10)— before the address, Ant. ' J^ 
 Sal. exc. 
 
 NICOLETTO DA MODENA. 
 
 2j-, - 279 The Nativity (Pass. No. 70) /aa/<r*w»+ 
 
 RAPHAEL MORGHEN. 
 
 b/. - . - 280 THE LAST SUPPER, after Leonardo da Vinci— proof ' 
 
 y j> •// 
 j- _ ^ 281 The Madonna del Sacco, after A. del Sarto — 'proof before any 
 letters ; and St. John the Baptist — proof with artist's names 
 only 2 
 
 2 /^ - 282 The Repose in Egypt, after N. Poussin — with artist's names 
 etched ; and Loth, after Guercino 2 
 
 r / # . - 283 The Transfiguration, after Raffaelle — proof $*/% &£t^<-a^U 
 
 / n _ 284 The Magdalen, after Carlo Dolci ; and Christ appearing to 
 
 the Magdalen, after Baroccio — both proofs with artist's names 
 only 2 
 
 /J /&. - 285 Madonna del Granduca, after Raffaelle— proof with B. Mf 
 only 
 
 /. j — - 286 The Magdalen, after Murillo — proof with artist's names only 
 
 /j- 287 The Madonna della Sedia, after Raffaelle—; proof 21*^4^^^ 
 
 /j- /C! _ 288 The Madonna del Cardellino, after Raffaelle— proof/before / 
 any letters 
 
 From the Esdaile Collection 
 
 , 2 _ 289 The Saviour, after Leonardo da Vinci — proof with artist's names 
 only 
 
 /?-.- 290 Tasso ; Dante; Ariosto — proofs with artist's names "only ; ' c ^f 
 Bocoacoio ; and Petracb — proofs before any Utters 5 
 
29 
 
 RAPHAEL MORGHEN. 
 
 //[—■. 291 Jeanne d'Aragon, after Raffaelle — proof be/ore any letters ^&*x^ 
 
 £. — • — 292 Portrait of Raffaelle — proof with artist's names only ; and ^ ty />j7 
 La Fobnabina — proof 2 
 
 /" /#• - 293 The Marquis of Moncada, after Vandyck — proof \ and 
 Napoleon, after Gerard — proof with artist's names only 
 
 /• / £ ■ - 294 Lobenzo de Medici, after Vasari ; and Lauba, after Memmi — 
 proofs with artist's names only 
 
 9. /O. ^295 Leonabdo da Vinci— proof with artist's names only ^k^Le/. 
 
 ?. - ■ — 296 THE AURORA, after Gnido— proof with artist' s names only J?S $. &£***■ 
 
 4. /<? '. — 297 The Jublsprudence, after Raffaelle ; and The Thbek Ages, 
 after Gerard — proofs with artist's names only 2 
 
 f Jz — 298 Charity, after Correggio — proof icith artist's names only 
 
 2 j- _ 299 Poetry, after Carlo Dolci — proof with names and arms ^£^^^6/ 
 
 2 /■ __ 300 The Circles of the Vatican, after Raffaelle ; Justice — before 
 any letters ; Theology ; Poetry — proofs with artist's names 
 only 
 
 P. MULLER. 
 
 0. - • - 301 THE MADONNA DI SAN SISTO, after Raffaelle— proof with £&**& 
 Italian writing 
 
 / . ~ 
 
 f _ 
 
 302 Another Impression — in the early state of the plate, before any/c^^w^r 
 
 letters 
 
 303 St. John the Evangelist — proof yJ^cc^c 
 
 H. C. MULLER. 
 /</, _ 304 John the Baptist with the Lamb, after Lu'ni ; i nd St. 
 Catherine, with two angels, after Leonardo da Vinci, by J. 
 G. Muller — proof before any letters 
 
80 
 
 JAN MULLER. 
 
 S. - . — 305 The Archduke Albert; and Isabella Clara Eugenia, after 
 Rubens — before the words " Cum privitegio " 2 
 
 NADAT (The Master of the Rat-trap). 
 j/ m _. -■ 306 THE TWO ARMIES (B. No. 2)— before the date 1530 
 
 ROBERT NANTEUIL. 
 
 /j - 307 JOHN EVELYN (R.D. 93)— proof in the first state, before any 
 letters or inscription 
 
 /j _ . _ 308 The Vioomte de Turenne (R.D. No. 232)— before any letters 
 
 MICHEL NATALIS. 
 
 'X 
 
 309 The Marquis del Gvasto— first state 
 
 ADRIAN VAN OSTADE. 
 
 / _ . - 310 The Man and Woman Conversing (B. 12) — second state 
 From the Esdaile Collection 
 
 / /p _ 311 The Child Asking for the Doll (B. 16) ; and The Man 
 Selling Spectacles (B. 29) 2 
 
 /. /^- - 312 The Woman Spinning (B. 31); and A Man and Woman Con- 
 versing (B. 37) — first state 2 
 From the Esdaile Collection 
 
 CRISPIN DE PASSE. 
 
 2. /0. - 313 QUEEN ELIZABETH . J^/iT &&" 
 
 From the Esdaile Collection 
 
31 
 
 ANTONIO PERFETTI. 
 
 Z. J. - 314 The Presentation in the Temple, after Fra Bartolomeo ; and , ^^.^^y 
 The Cowper Madonna, after Raffaelle — proofs with artist's 
 names only 
 
 /# # 315 Sybilla Samia, after Guercino — proof with artist' s names &£* 
 
 WILLIAM PETHBR. 
 
 2 /: - 316 The Lord of the Vineyard, after Rembrandt— proof before <?£* 
 
 letters 
 
 _, 317 The Jewish Rabbi, after Rembrandt — proof before any letters 
 
 L. PETIT. 
 
 _ 318 St. George, after Raffaelle — proof with the remark 
 
 B. PICART. 
 
 j _ 319 Portrait of Tindal ; Rapin de Thoyras — proofs 
 
 CATERINA PIOTTI. 
 
 _ . — 320 The Nativity, after Luini — proof with artist's names 
 
 F. POILLY. 
 
 2 2 — 321 The Holy Family, after Raffaelle ; The Nativity, after Guido; 
 &c* 4 
 
 From the Esdaile Collection, &c. 
 
 /J'. - 322 The Virgin and Child, with Adoring Angels, after A, Carracci ; 
 The Holy Family, after Guido ; &c. 4 
 
32 
 
 PAUL PONTIUS. 
 
 - /• //. - 323 The Crucifixion ; The Assumption of the Virgin, &c., alter 
 Rubens 3 
 
 / - • 324 The Virgin and Child, with St. George and other Saints 
 
 From the Esdaile Collection 
 
 ,q, — . — 325 Portrait of Rubens, in a large hat and cloak, after Rubens 
 
 2 — . — 326 Two Portraits of Rubens, after Vandyck ; Thomyris, with the 
 Head of Cyris 3 
 
 From the Esdaile Collection 
 
 C. A. PORPORATI. 
 
 » j\ , 327 Hagar and Ishmael, " La Zingarella " — proof xeith the arms 
 only 
 
 Y ~. — 328 Venus and Cupid, after Battoni — proof , with the arms only JLot*~££<<>***^ 
 
 J. L. POTRELLE. 
 
 j /j: _ 329 The Triumph of Love — proof before any letters 
 
 PAUL POTTER. 
 
 /. J'. - 330 The Cowherd (B. 14) — second state 
 /b. - 331 Tbk Shepherd (B„ 15) — third stale 
 
 C. RAHL. 
 
 / £ — 332 The Nativity, after Correggio- pre of with artist's names only 
 
 MAKC ANTONIO RAIMONDI and School. 
 SO. -. — 333 ADAM AND EVE (B. 1) <% a~£* 
 
33 
 
 MAI C ANTONIO KAIMONDI and School. 
 
 ^ __ . — 334 David Slaying Goliath (B. 10)— before the tablet <&JUi^t^*, 
 
 From the Sykes Collection 
 
 9. - - - 335 THE MASSACRE OF THE INNOCENTS (B. 18; %<*~U»« 
 
 From the Lely Collection 
 
 „ _ . — 336 The Same Subject (B. 20) 
 
 ■-..—. 337 Jesds Christ in the House of Simon the Pharisee (B. 28) 
 
 - . — 338 The Descent from the Cross (B. 32) /o j? / 
 
 From the Esdaile Collection ' 
 
 ~. - 339 THE VIRGIN MOURNING OVER THE SAVIOUR, "La do 
 
 Vierge au bras Couvert " (B. 35) 
 
 - • — 340 The Emtombment, by Agostino Veneziauo (B. 36) ^L^£-*£^~«^ 
 
 _ 341 The Three Marirs Mourning over the Dead Savioub 9W./rf 
 (B. 37) 
 
 _ . __ 342 Paul Preaching at Athens (B. 44) / ,- / 
 
 From the Lely Collection ' 
 
 -■ - 343 THE VIRGIN, WITH ANGELS IN THE CLOUDS /k^u~- 
 
 (B. 47) 
 /0 __ 344 The Virgin Seated in the Clouds (B. 53) 
 From the De Fries Collection 
 
 — . - 345 The Virgin and Child, with Tobit, " La Vierge au J?* X &r&^ 
 
 Poisson" (B. 54) 
 
 ; - . — 346 The Holy Family, " La Vierge au Palmier " (B. 62) ^ua^^- 
 
 End of Second Day's Sale. 
 
Third Day's Sale. 
 
 o^Xc 
 
 On THURSDAY, JULY 13, 1893, 
 
 AT ONE O'CLOCK PRECISELY. 
 
 MARC ANTONIO RAIMONDI and School. 
 
 / /^. _ 347 The Holy Family, " La Vierge au Berceau " (B. 63) vpu**^ 
 
 From the Durand Collection 
 
 J'. - - - 348 The Martyrdom of St. Laurence (B. 104) ^d^^tcy 
 
 ■ 
 J'. /#. - 349 The Five Saints (B. 113) tf'iX.cU*^ 
 
 From the BysbracTc and Lehj Collections 
 
 J/. -■ - 350 St. Cecilia (B. 116) g; 
 
 A - . — 351 St. Felicite (B. 117) ^ 
 
 From the Esdaile Collection 
 
 9. - ■ - 352 St. Veronica (B. 122) jfVif 
 
 '•> &■ -. - 353 LUCRETIA (B. 192) ^££~*~£ 
 
 -? -' ■ 354 An Emperor Meeting a Warrior (B. 196), by Agostino/ 
 
 Veneziauo 
 
 From the Rysbrack and Richardson Collections 
 
 / 4. - . - 355 Cleopatra, or Ariadne (B. 199) $-/Z. &&^<x^. 
 
 From the Esdaile Collection 
 
35 
 
 $/. - 
 
 'a. - ■ 
 
 a. - ■ - 
 
 U -■ - 
 \ -.- 
 
 c. /•. - 
 p. - - 
 & /*. - 
 
 * -• - 
 
 .v. — 
 
 /«/.- 
 
 MARC ANTONIO RALUONDI and School 
 
 356 The Triumph of Titus (B. 213) 
 
 357 Two Fauns Carrying a Child (B. 230) 
 
 From the bykes and Barnard Collections 
 
 358 The Judgment of Paris (B. 245) 
 
 359 Parnassus (B. 247) 
 
 360 Venus and ^Eneas (B. 288) 
 
 From the Hawkins Collection 
 
 361 Orpheus and Eurydice (B. 295) 
 
 From the Esdaile Collection 
 
 362 Venus and Cupid (B. 311) 
 
 363 Pallas (B. 337) — -first state before the plate was cut 
 
 364 Jupiter Embracing Cupid (B. 342) 
 
 365 Mercury (B. 343) 
 
 366 Cupid and the Three Gra-ces (B. 344) 
 
 367 Galathea (R 350) 
 
 368 The Man with two Trumpets (B. 356) 
 
 From the Lely Collection 
 
 369 Trajan Entering Rome (B. 361) 
 
 370 POETRY (B. 382) 
 
 371 A Serpent Speaking to a Young Man (B. 396) 
 
 372 THE PLAGUE (B. ±Yl)— before the inscriptions on the 
 
 light and the pedestal 
 
 373 LES GRIMPEURS (B. 487) 
 
 From the Marietta Collection 
 
 
 ray <$fSa^£trJ 
 
 o 2 
 
36 
 
 MARC ANTONIO EA1MONDI and School. 
 
 Z 9 ^. /a. - 374 La Cassolette (B. 489) <^a~ 
 
 /J£. - ■ - 375 The Portrait of Raffaelle (B. 496) — the original, and the 
 two copies doZ 
 
 j- _ . _ 376 Marcus Aurelius (B. 514) j^t^^ 
 
 From the Lely and Sylces Collections 
 
 REMBRANDT. 
 
 '<*<?. _.— 377 REMBRANDT IN A TURNED-UP HAT AND EM- 
 BROIDERED MANTLE (Wilson. No. 1)— first state, 
 almost unique, drawn upon by Rembrandt 
 
 # £ . _ . _ 378 Another Impression — fifth state ^^/i^c^t^W 
 
 From the Aylesford Collection 
 
 Z&- - ■ — 379 Another — seventh state #U 
 
 / 6> . - ■ — 380 Rembrandt, with a Scarf round his Neck (W. 17) — third 
 state 
 
 *f. - ■ — 381 REMBRANDT HOLDING A SABRE (W No. 18)— second 
 state, Wilson's first state 
 
 From the Dighton Collection 
 / /o ■ — 382 Rembrandt and his Wife (W. No. 19) 
 J- _ . . — 383 Rembrandt in a Hat and Feather (W. No. 20) 
 From the Aylesford Collection 
 
 r^. - ■ — 384 Rembrandt Leaning on a Stone Sill (VV. No. 21)--seconcZ 
 state 
 
 ?0~. - - - 385 REMBRANDT DRAWING (W. No. 22)— third state J^c-rO^. 
 
 This is actually the first state, vide Middleton (No. 160) 
 From the Barnard and Esdaile Collections 
 " The finest state of the plate " — Wilson 
 
 fjl - • — 386 Another impression — Wilsons fifth state — Middleton's /Second 
 state 
 
:,7 
 
 REMBRANDT. 
 
 7Z73-. - 387 REMBRANDT LEANING ON A SABRE (W. No. 23)— fyy&^y. 
 first state. Only four exist in this state, and as three of these 
 are in National Collections, this is the only one that can ever be 
 
 From th^AyUsfbi-d Collections. M-o^u-A^l ciy6t*fo*^- <*£*~/-£36y 
 26. - -388 Another Impression — second state /2 <rz*4^££<n«- 
 
 2/0. _ 389 Another — third state & ^, 
 
 fj. — . - 390 Abraham and the Three Angels (W. No. 36) 
 
 /£_. - 391 Abraham sending Hagar away (W. No. 37) ^U^^^^i^ 
 
 f. - ■ - 392 Abraham and Isaac (W. No. 38) ^ 
 
 6 . - — 393 Joseph Recounting Hrs Dream (W. No. 41) — first state 
 
 ■?•-• — 394 Another Impression — second state J^V^f. /X&*c<-t 
 
 f. _ . - 395 Jacob Lamenting the Supposed Death of Joseph (W. No. 42) 
 2. -.— 396 THE TRIUMPH OF MORDECAI (W. No. 44) ^~^U-*~ 
 
 3 /4\ ^ 397 The Angel Ascending from Tobit and his Family (W. No. 48) 
 — second state 
 
 y; - . - 398 THE ANGELS APPEARING TO THE SHEPHERDS ^^e^ 
 (W. No. 49) — third state 
 
 From the Barnard Collection 
 
 £ _ ; . _ 399 The Presentation in the Vaulted Temple (W. No. 54) — ^c^^co^u 
 first state ' 
 
 From the Aylesfurd Collection 
 
 i _. 400 The Presentation (W. No. 55) /- 
 
 From the Barnard Collection 
 
 \ - . - 401 THE FLIGHT INTO EGYl'T, in the style of Elsheimer fh^^tA. 
 (W. No. 61) — second state 
 
 , — ■ -* 402 Jesus Found by his Parents (W. No. 64) c\~ ** 
 
 From the Aylesford Collection 
 
 ',. - . - 403 Christ Disputing with the Doctoks (\V. No. 69) p&> 
 
 From the Chalon Collection 
 
38 
 
 REMBRANDT. 
 
 O/ - • — 404 CHRIST PREACHING (W. No. 71)- first state, on Japan 
 paper. Vide Blanc and the Rev. C. H. Middleton 
 
 4- -■ - 405 The Tbibute to C^esab (W. No. 72) ' /i^^ 
 
 $ . /0 . - 406 Jesus Chbist Dbiving the Money-changebs from thk TempIiE 
 (W. No. 73)— first state 
 
 From the Aylesford Collection 
 
 2 . — ■ - 407 Another impression — second state, and the re-touch ^Cttov&L**^. 
 
 From the Aylesford Collection 
 
 it. - 
 
 - 408 CHRIST AND THE SAMABITAN WOMAN (W. No. 74)— 
 second state 
 
 J. x /&• — 409 Anotheb Impression— third state 
 
 From the Dighton Collection „ 
 
 I J: _ . -410 THE RESURRECTION OF LAZARUS (W. No. 77)— -third 
 state 
 
 From the Esdaile Collection 
 
 / y — ■ — 411 Another Impression — sixth state ^^^u^^**^/' 
 
 S. — • — 412 Another Impression — seventh state 
 
 ■J-0 _ . - 413 CHRIST HEALING THE SICK : Called the Hundred 
 
 Guilder— print (W. No. 78)—- first stale, on Japan paper C~}f 
 
 From the Hibbert and Fsdaile Collections 6r\ 
 
 . The only Impression that can be offered at a Sale a* «*-»>»5 «£•»«-. 
 
 \00 . - ■ - 414 ANOTHER IMPRESSION— second state, on Japan paper ^QW^ 
 '• /<3 • — 415 Captain Baillie's re-touch l^LckJo^^is^ 
 
 > j'o. _ . - 416 OUR LORD BEFORE PILATE (W. No. 80)— first */a/e, / 8f*~ c ^ > * 
 Japan paper ^^^ /3<~*&^ ^A ^J^-S„yo. -. . fi,t r) 
 
 From the Aylesford Collection 
 
 J'/_ — - — 417 Another Impression — third state fy , 
 
 J C . — . — ■ 41-S Anothbb Impression — sixth stale 
 
 
39 
 
 KEMBRANDT. 
 
 ><?*-• -419 OUR LORD CRUCIFIED BETWEEN THE TWO fa^c^ 
 THIEVES (VV. No. 81)— first state 
 
 /a _. - 420 Another Impression — third state ^, 
 
 J/. 421 The Ecce Homo (W. No. 82)— second state Q&xsn&rt 
 
 j/„.— 422 The Descent from the Cross (W. No. 84) — second state /3ttt*sC^£r 
 
 4./4. — 423 The Crucifixion: The Small Oval Plate (W. No. 85) 
 
 6 . - • — 424 The Descent from the Cross (W. No. 88) 
 
 /. J'. — 425 Our Lord and the Disciples at Emmaus (W. No. 93) 
 
 / ^./^- - 426 Jesus Christ in the Middle of his Disciples (W. No. 94) A? tnsoo&Un* 
 
 la _ . _427 THE GOOD SAMARITAN (W. No. 95)— first state 9^>z^Ji^ 
 
 2. /& . - 428 Another Impression — fourth state 
 
 j: /#. ~ 429 Peter and John at the Beautiful Gate (W. No. 98) — first 
 state 
 
 /■/J- - 430 The Baptism of the Eunuch (W. 103) /^c^z^oc^C ( 
 
 T _ . _ 431 THE DEATH OF THE VIRGIN (W. No. 104)-; first state ^^^^ 
 
 From the Aylesford Collection 
 » _ 432 Another Impression — second state C ^ Q 
 
 '' 433 ST. JEROME SITTING BEFORE AN OLD TREE (W. Ax^J^a 
 
 No. 108) — first state, on Japan paper A 
 
 From the Aylesford Collection 
 r . _ 434 Another Impression — second state /? ■ // 
 
 From the Aylesford Collection 
 
 ? - — . - 435 St. Francis Prating (W. No. 112) — second state ^^cs&^cc^*- 
 
 '.— ■-— 436 An Allegorical Piece Relating to The Duke of Alva Co~bvez~^£- 
 (W. No. 114) 
 
 \ • - • - 437 THE MARRIAGE OF JASON AND CREUSA (W. No. /3^c^£^ 
 116) — first state, on Japan paper 
 
 '<./0. _ 438 A LION HUNT (W. No. 118) ^Uil*^ 
 
<Vr- 
 
 U - 
 
 2. 3\ 
 
 //* 
 
 //. /0. 
 
 48- -• 
 
 28. - 
 
 REMBKANDT. 
 
 439 THE SPANISH GIPSY (W. No. 124) ^^^ty^UlL™. 
 
 - 440 THE RAT-KILLER (W. No. 125)— second state 
 
 . 441 The Pancake 'Woman (W. No. 128)— on Japan paper 
 From the Aylesford Collection 
 
 - 442 A Jews' Synagogue (W. No. 130)— third state <*?f*A*^y 
 
 - 443 The Persian (\V. No. 150) — second state 
 
 - 444 THE SKATER (W. No. 153) 2~~<^^ 
 
 - 445 The Beggars at the Door of a House (W. No. 173)— second c^t 
 
 state 
 
 2j : _. _ 446 A PAINTER DRAWING FROM A MODEL (W. No. Mj/ 
 
 — first and second states, the first state is unique 
 
 ? /, _. _447 Six's Bridge (W. No. 205)- -second state ^a^^e^ 
 
 From the Dighton Collection ' / 
 
 >Z0- - ■ -448 VIEW OF OMVAL (W. No. 206) /3W^^~- 
 
 // //? — 449 A View of Amsterdam (W. No. 207) &4*^jiJc<as**<u 
 
 450 THE THREE TREES (W. No. 20'.)) 
 
 ifj- __ . - 451 A PEASANT CARRYING MILKPAILS ( W. No. 210)— first 
 stale, on Japan paper 
 
 From the Aylesford Collection 
 
 ^ O — • —452 Another Impression — second state, <n Japan paper /r ^fe^^*<-^< 
 
 From the Aylesford Collection 
 
 £0 _ . - 453 A LANDSCAPE, WITH TWO HOUSES— washed with .Indian 
 ink (W. No. 211) • 
 
 From the Aylesford Collection 
 
 /JO. 454 THE COACH LANDSCAPE (W. No. 212)— on Japan fapw* 
 
41 
 
 REMBRANDT. 
 
 ^ y/ -_ . „ 455 THE THREE COTTAGES (W. No. 214)- first state /h^^i. 
 
 From the Aylesford Collection 
 
 '00. _ . - 456 Another Impression — second state o£<? 
 
 From the Aylesford Collection 
 
 J* _ . — 457 Another Impression — third state C~X~ /./? 
 
 /a . -•- 458 A VILLAGE WITH A SQUARE TOWER, ARCHED (W. ;^^_ 
 No. 215)—^ first state 
 
 From the Aylesford Collection 
 
 /j--.~45 ( J Another Impression — second state , 
 
 pee 
 
 From the Barnard and Harding Collections 
 
 £.-.—* 460 A Landscape with a Man Sketching (W. No. 216) J&^f. £rd^*i. 
 
 £/<?. - 461 The Shepherd and his Family (W. No. 217) 
 
 ) . _ • -, 462 THE CANAL (W. No. 218)— on Japan paper ^ ... 
 
 From the Aylesford Collection 
 
 _ . _ 463 A LANDSCAPE, WITH A VISTA (VV. No. 219) -third cto 
 
 : _ . - 464 A LANDSCAPE WITH A RUINED TOWER (W. No. 220) J?/% &£^ 
 — first state 
 
 From the Aylesford Collection 
 
 _ . _ 465 Another Impression — second state * ._ , 
 
 From the Aylesford Collection s^ 
 
 - . - 466 THE LANDSCAPE WITH A FLOCK OP SHEEP (W. J^Ji^. 
 No. 221)— first state 
 
 From the Aylesford and Barnard Collections 
 
 __ . — 467 Another Impression — second state 
 
 From the Aylesford Collection ^c^t^A^- 
 
 - - 468 A LANDSCAPE WITH A COTTAGE AND A HAY- P 
 
 BARN (W. No. 222) ; and a counter proof 2 
 
42 
 REMBRANDT. 
 
 (/8i:- 469 A LANDSCAPE WITH AN OBELISK (W. No. 224)— first 
 
 state 
 
 From the Aylesford Collection - . y 
 
 £. /#. - 470 Another impression — second state 
 
 2.3. - ■ - 471 A Village with a Canal and a Vessel under Sail (W. S 
 No. 225) 
 
 From the Aylesford Collection 
 
 y# m _ . - 472 AN ORCHARD WITH A BARN (W. No. 227)-; first state* 
 From the Aylesford Collection 
 
 /<b. — • — 473 Another Impression— second state ^ 
 
 ?0. - ■ - 474 A COTTAGE WITH WHITE PALES (W. No. 229)— first' 6 
 state 
 
 2/. -•- 475 REMBRANDT'S MILL (W. No. 230) £<^^ 
 
 V2 _ . _ 476 THE GOLDWEIGHER'S FIELD (W. No. 231)— on Japa^^^^ 
 paper 
 
 From the Barnard Collection 
 
 Z O. - - - 477 THE CANAL, WITH TWO SWANS (W. No. 2S2)— firstly ' 
 state 
 
 From the Aylesford Collection 
 
 J. /P ■ - 478 Another Impression — second state /» 
 
 From the Poggi Collection 
 
 isf^ 
 
 0O. - ■ - 479 A LANDSCAPE WITH A LARGE BOAT (W. No. 23? 
 full of bur rw 7 f/a/L 
 
 From the Aylesford Collection 
 
 /£, — • — 480 Another Impression 
 
 JV . - ■ ~ 481 A LANDSCAPE WITH A COW DRINKING (W. No. 234) ' 
 
 first state, on Japan paper 
 
8. 482 
 
 (W. No. 243) 
 
 43 
 
 REMBRANDT. 
 
 A LANDSCAPE WITH A CANAL AND A PALISADE /Js^lZ&t 
 (W. No. 243) 
 V /p - 483 A Old Man Lifting his Hand to his Cap (W. No. 260) 
 
 £ /# . - 484 A Man with a Crucifix and a Chain (W. No. 263) — second 4^/16:^ 
 state 
 
 _. . - 485 A Old Man with a Large Beard and a Fur Cap (W, spCt 
 
 No. 264)— first state 
 
 From the Dighton Collection 
 
 J" ~ . — 486 J. A. Van der Linden (W. No. 266)— first state /rt^&^tsz- 
 
 4. /# . - 487 An Old Man in a Fur Cap divided in the Middle (W.^^i*^****- 
 No. 267) 
 
 jf. _ . __ 488 Dr. Faustus ( W. No. 272)— Wilson's first stale, full of bur do 
 
 /^ _ . — 489 Another Impression <£> jr^ 
 
 0. ^ • - 490 RENIER ANSLOO (W. No. 273) -first state J?s $f. £&*. 
 
 •) . — . — 491 Another Impression — second state /L*&Je****A* 
 
 1 - ■ - 492 Clement de Jonghe (W. No. 274) — third state ^<^£&t>** 
 ?._..— 493 Abraham Franz (W. No. 275) —fourth state ^Te^z^y 
 
 I — - — 494 Another Impression— fifth state 
 
 K - ■ - 495 OLD HAARING (W. No. 27 6)-lhird state ^^O^^, 
 
 ': - . _ 496 YOUNG HAARING (W. No. Ill)— first state tfk^6*. 
 
 A ■ From the. Aylesford Collection . * . „ 
 
 t __ . _497 JOHN LUTMA (W. No. 278)— first state, " In a very unfinished %^U^, 
 state, the aquafortis having failed " — Wilson 
 From the Barnard Collection 
 
 . - - — 498 ANOTHER IMPRESSION-^e^nMed./ira< state J^U^/Lc^. 
 
 '. — . — 499 Auother Impression — second state, and a counter proof ^S^o-^-z^^Lm 
 
14 
 
 REMBRANDT. 
 
 ',4*.-.- 500 JOHN ASSELYN (W. No. 279)--first statp , y n > -\ Ot - 
 ~>J'0- - £01 EPHRAIM BONUS (W. No. 280)-first state, with the black 
 
 %* Only three impressions exist in this state; one from 
 the Verstolk Collection is in the British Museum ; 
 another is in the Paris Museum ; the third is now 
 offered 
 From the Aylesford Collection 
 
 'J J'. - ■ - °02 Anotijer Impression - second state. An interesting contemporary 
 inscription is toritten on this 
 
 j>/. _ . - 503 Wtenbogardus, a Ddtch Minister (W. No. 281)— thirdstaTe~ v ~ eJi ~ 
 
 ',j-a. _ . _ 501 John Cornelius Sylvius (W. No. 282)— this impresswn^u^^ 
 described by Wilson as the finest 
 From the Aylesford Collection 
 
 /<?. J-. - 505 Uytenbogaert, the Gold weigher ( W. No. 283)— second state 
 
 From the Hibbert Collection 
 /■—•-— 506 The Same, Captain Baillie's re-touch J.M. Co^****^"- 
 
 }J'0. - ■ 507 COPPENOL— /Ae large plate (W. No. 285)— Wilson's ^ewntf^ 
 
 state, but really the first, vide Middleton, No. 174 
 ^ „ .jFrom the Aylesford Collection 
 
 &2. — — 508 Another Impression— fourth state ^Zc^r^d^o^*^ 
 
 From the Poggi Collection 
 
 fj#. . - 509 PORTRAIT OF VAN TOLLING (W. No. 28 Sy-secondskS^^ 
 
 ?fj. 510 THE ^^^Mk^t^ ^f^^'^o: m)-/e^nd state ^ , 
 
 Japan paper, with the two figures in the date reversed*"^- 0^-^*^ Ct ^ ( ^ c 
 
 ?j'j: 511 ANOTHER IMPRESSION— third state J^^Ua. 
 
 /j _ . — 512 A Young Man in a Mezetin Cap (W. No. 291)— second iati 
 From the Esdaile, Hibbert, and Barnard Collections 
 
45 
 
 REMBRANDT, 
 
 - /j- _ . -513 An Old Mas with a Square Beard, and in a Velvet Cap Jr^-cx C^Cyt^ 
 
 yj : ^ _514 THE GREAT JEWISH BRIDE (W. No. 337)— first state ^U^U^^ 
 From the Esdaile Collection 
 
 /£ _ . - 515 Another Impression — third state 
 
 /£ . ~ -516 Another Impression — fourth state -t^e^^^i^ 
 
 - . - 517 St. Catherine, or The Little Jewish Bride (W. No. 338) &Co 
 
 ^ _. - 518 A Head of Rembrandt; and other Studies (W. No. 357) — /^re*^-^^*- 
 second state 
 
 3. <5' - 519 Rembrandt's Wife; and Five other Heads (W. No. 359) 
 
 £ £. - 520 Two Women in Separate Beds ; and other Sketches (W. No. ^^^^ 
 363) 
 
 'S. yr*. 4. - s&. *L~yi ^6. 
 
 t^» _^_<=t-0- <rz-t-^. 
 
 End of Third Days Sale. 
 
Fourth Day's Sale. 
 
 »J*iO 
 
 On FRIDAY, JULY 14, 1893, 
 
 AT ONE O CLOCK PRECISELY. 
 
 -o>*Sc 
 
 J. T. RICHOMME. 
 
 ^ /£ — 1521 Adam and Eve, after Raffaelle — proof s£**-<^^i <^y 
 
 *2. 2 . - 522 La Vierge aux Fleurs, after Raffaelle — India paper proof, 
 before any letters 
 
 Y- 4 • - 523 Neptune and Amphitrite, after Julio Romano — proof, with 
 artist' s names only 
 
 'J". /& . - S24 Galathea, after Raffaelle — proof, first state <%<> 
 
 GIOVANNI RIVERA. 
 ^ & . — 525 Flora, after Titian — proof, with engravers name only < C&s-i^&y 
 
 ROBETTA. 
 
 -/ft _ . — 526 The Young Man with his Hands Bound (B. 17) tfne^Un. 
 
 //. - - — 527 Hercules Slating the Hydra (B. 21) ^° 
 
47 
 
 J. L. ROULLET. 
 
 j£/./J'— 528 The Three; Maries Mourning over Our Saviour, after y- 
 Carracci — proof; and The Holy Family, after Titian, by 
 Martin Rota 3 
 
 PRINCE RUPERT. 
 
 y _ . - 529 THE STANDARD BEARER A^r<^ 
 
 From the Thane and Esdaile Collections 
 
 SAILLIAR. 
 
 7 . g. __ 630 Helena Forman, after Vandyck — proof; and Portrait of Andrea ^^oc^^tr^ 
 del Sarto, by Saunders 2 / 
 
 NATALE SCHIAVONI. 
 
 f% . — 631 The Assumption of the Virgin, after Titian — proof ivith the ^^^^/° 
 
 arms only ; and The Pieta, after Vandyck, by Schiavonetti — 
 proof with artist's names only 2 
 
 MARTIN SCHONGAUER. 
 
 V • - • - 632 THE NATIVITY (B.No. 4) 2^l^L<^ 
 
 W - • - 633 THE ADORATION OF THE KINGS (B. No. 6) J?/5. . J-t^-^X 
 
 534 CHRIST PRESENTED TO THE PEOPLE (B. No. 15) 
 
 <f. - ■ — 535 THE CRUCIFIXION (B. No. 24) ^JLs&lLu* 
 
 J. - . - 536 THE CRUCIFIXION (B. No. 25) ^° 
 
 F- - ■ - 637 ST. GEORGE (B. No. 52; ^i<^^<. 
 
 /. - - - 538 ST. JAMES (B. No. 53) fr^U^ 
 
 X. -* . - 539 THE ALMIGHTY ENTHRONED (B. No. 70) tfy%&&*£**<6. 
 
48 
 
 MARTIN SCHONGAUER. 
 
 JJ-. - - - 541 ONE OF THE WISE VIRGINS (B. No. 79) g)^w^ 
 //. - ■ - 542 ANOTHER (B. No. 80) ^U^Ac^^U 
 
 Zt. _ . _ 543 ANOTHER (B. No. 81) &<*»&* 
 
 ?#. __ _j. 544 ONE OF THE FOOLISH VIRGINS (B. No. 84) ^ 
 
 ^ _ _ 545 ANOTHER (B. No. 85) /3**<^€&n«- 
 
 , / _ 546 ANOTHER (B. No. 86) facru&n 
 
 4& ■ ~~ " 
 
 WILLIAM SHARP. ^ 
 
 j£efyfai£ 
 
 t . /2?. - 547 The Doctors of the Chueoh, after Guido — proo/ be/are any 
 fevers 
 
 2 /& • - 548 St. Cecilia, after Domenichino — _proo/ fre/ore an?/ ZeMer* -&i4<spt/?Cy 
 
 / _ _ 549 The Restoration; and the Companiou, after West; &c. 
 
 P. SOUTMAN. 
 
 £ 4, . 550 The Lion Hunt ; and others, after Rubens 
 
 M. STEINLA. jp . 
 
 j /j- __ 551 The Descent from the Cross, after Fra Bartolomeo — proof / 
 before any letters; and The Coronation of the Virgin, after 
 Raffaelle, by Stolzel — proof 2 
 
 ROBERT STRANGE. ~, y 
 
 J?. J? - 552 Venus Blinding Cdpid ; after Titian ; Liberality; and Modesty, 
 after Guido ; &c. 4 
 
 ido — woof / ' 
 
 /. /j- — 553 The Viegin and the Sleeping Child, after Guido — pioof 
 before any letters 
 
4-9 
 
 ROBERT STRANGE. 
 
 -X-J. - - -- 554 The Repudiation of Hagar ; and Esther and Ahasuerus, after 6X / 
 Guercino — proofs before any letters 2 
 
 4?./#. - 555 The Death of Cleopatra, after Guido — in the same state ^z^-n^/U 
 
 /. /j: -556 The Magdalen, after Guido — in the same state ^» 
 
 ^ /j: - 557 The Hornbook, after Schidone — in the same state A^w^^e^t- 
 
 £ v . - ■ — 558 Danae ; and The Reclining Venus, after Titian — in the same ^^^^^v^. 
 state * 
 
 v- - • — 559 Fortune, after Guido — in the same state £?2<^z^£* 
 
 £p-. - 5G0 CHARLES I. AND THE MARQUIS OF HAMILTON, after S^ 
 
 Vandyck — in the same state r / 
 
 JONAS SUYDERHOEF. 
 **._ 561 B„„ r8 ^aHo, ..utsiaea 0—,*, Ot^oof ^^ 
 
 A. TARDIEU. 
 
 /. /^ __ 562 The Communion of St. Jerome, after Domenichino — proof with <?^o 
 artist's names only 
 
 PAOLO TOSC:il. 
 f. /& . - 563 The Spasimo, after Raffaelle — proof, uith artist's names only 
 
 2 o - 564 ^ ne Madonna flella Tenda, after Raffaelle — proof before any -4" **^<k*?& 
 letters 
 
 ' 
 
 ADRIAN VAN DK VELDE. 
 
 /<?. — 565 The Cow and Two Sheep ; The Pied Ox ; The Two Cows at the 
 Foot of a Tree (B. Nos. 11, 12, 13) 
 
 t 
 
50 
 
 Jf. ~ 
 
 /f. - 
 
 A. VANDYCK. 
 
 566 THE ARTIST'S OWN PORTRAIT— first state 
 
 567 PHILIPrE LE ROY— y»rri state 
 
 568 FRANCIS SNYDERS->-»< state 
 
 From the Lely Collection 
 
 569 JUSTUS SUTTEHMANS— first state 
 
 570 Titian and his Mistress— third state 
 
 
 /./<*■■ - 
 
 R. VAN VOEKST. 
 571 The Earl of Pembroke— proof 
 
 A 
 
 '/- 
 
 J. VENDRAMINI. 
 
 572 The Raising of Lazarus, after Sebastian del Piombo — proof 
 before letters 
 
 GEORGE VERTUE. 
 
 J. 
 
 J: - 
 
 / 
 
 /<?. - 
 
 J'. 
 
 - • - 
 
 2 
 
 _ . 
 
 573 John Locke — proof ; and A Drawing — in pencil and Indian ink / 
 
 574 William Warham ; Dr. Willis ; The Duke of Newcastle (l&t* 
 
 ■ "YINGS,^/ 
 
 575 Oliver Cromwell — two impressions; and Vertue's Drawings 
 
 after Cooper 4 
 
 576 Fhancis Beaumont — two states with the different Latin mottoes\\/ 
 
 John Fletcher, with " Lnsit Amahiliter" in open letters, and 
 the lo.ter state 4 
 
 /0./0. 
 
 JENKAS VICO. 
 
 577 HENRY II. OF FRANCE, three-quarter length, in complete 
 armour, and holding a sceptre — undescribed 
 
/ 1 
 
 51 
 
 CORNELIUS VISSCHER. 
 
 j /# _ 578 The Pancake Woman — third state (% , 
 
 //. /#. - 579 The Rat-killer — second state 
 
 From the Esdaile Collection ^ &^i^?f>~4 
 
 4 _ . - 580 An Old Man and Woman Courting— first state Qr ,/ 
 
 yj _ . _-, 581 Andreas Winius, " The Pistol Man "second state ^cZ^o^^u 
 
 JAN VISSCHER. 
 
 K /j. - 582 An Interior, with Peasants and Two Musicians, known ^^fe^sU^ 
 " Ostade's Bride "—proof s 
 
 From the Esdaile Collection 
 
 Z j ; _ 583 Camp Scenes, after Wouvennan — proofs 3 ^>Co 
 
 From the Esdaile Collection 
 
 F. VIVARES. 
 f t _ . — 584 The Enchanted Castle, after Claude— proof with artist's names P> c*Si^/-ey 
 
 and publication line 
 
 / 
 
 L. VOSTERMAN. 
 
 _ . _ 585 St. George and the Dragon, after Paffaelle ; and The Virgin and d&c^zJ^, 
 Child, enthroned and surrounded with Saints, after Peubens 
 proof 2 
 
 ^ __ 58fi St. Michael expelling Lucifer and his Angels, after Kul ens ; &c. jt^o 
 
 F. WAGNFR. 
 
 J- — 587 Sakontala, after Riedel— 'proof before any Utters; Venus ^(^cs^Le^ 
 disarming Cupid, after P. Veronese, by Vitale— in the same 
 state ; &c. g 
 
 E 2 
 
52 
 
 A. WATERLOO. 
 
 ^). — 588 The Two Bridges (B. No. 97); The Large Gateway (B. 100) j 
 and The Herd of Cattle, near a stone bridge (B. 102) 3 
 
 /j. _ 589 The Two Travellers Resting (B. No. 123) ; The Little Wooded £^ 
 Bridge (B. 124) ; Mercury and Argus (B. 127) ; and Tobit 
 and the Angel (B. 134) 4 
 
 'J. - • - 
 
 1. c/r - 
 
 r 
 
 J. WECHTL1N. 
 
 590 ALCON RESCUING HIS SON FROM THE SERPENT ^ 
 
 (B. No. 9) 
 
 JEROME WIERIX. 
 592 Subjects of the Virgin and Child and Saints 21 
 
 J. G. WILLE. 
 
 593 Les MnsiciENS Ambulants (Le Blanc, No. 52)- -before lett/r4, 
 with the arms 
 
 From the Esdaile Collection 
 
 / 
 
 o . — 
 
 594 Le Concert de Famili.e (No. 54) — proof before Le Blanc s first (/ 
 state 
 
 />.__. — 595 LTnstkuction Paternelle (Le Blanc, No. 55) — second state / / 
 
 '. /V • — 596 La Bonne Femme de Normandie (Le Blanc)— first state; antl^/ 
 La Sffiua de la Femme de Normandie — with the remark 
 and before the name of Wille 2 
 
 ' "" 597 Charles, Prince of Wales (Le Blanc, No. 148) j>(~ as^v^S 
 
 ■> /J'. — 598 The Cardinal York (Lc BlaiH\ No. 150)— first stale t*v 
 
53 
 
 WILLIAM WOOLLETT. 
 
 2. /J 1 - 599 Meleager and Atalanta — proof with artist's names, and publi- 
 cation line 
 
 j /j _ 600 Apollo and the Seasons — in the same state 
 
 2 /v? . _ 601 Macbeth— proof with open letters ; /SSTDido and Eneas — proof) fa^z-e^tx. 
 4./j,-6°' A — L * JfrJt&L 
 
 Jy. £. - 602 Landscapes, after Annibale Cabaoci and G. Po us sin —proofs p/a/i^t^&Y 
 before letters / 
 
 J. — . - 603 Winteb, after G. Smith — in the same state / c 
 
 4. - . _ 604 Ceyx and Alcyone ; and Celadon and Amelia, after Wilson /^cx^l*^ 
 
 ,J~. /<?. ., 605 Cicero at his Villa; and Solitude, after Wilson — proofs c/-o 
 
 icith open letters 
 
 £. J: - 606 Roman Edifices in Ruins, after Claud^- proof with artist's names /l^JuJl, 
 and publication line 
 
 2 . - . - 607 Phaeton, after Wils-on- proof before any letters 
 
 £ /j- __ 608 The Sacrifice to Apollo, after Claude — proof with the artist's J. ^jC&£vvc 
 names etched 
 
 ; _ . —609 The Fishery, after Wright— in the same state 5^^/ 
 
 MARTIN ZAGEL. 
 -. - 610 SOLOMON ADORING THE IDOLS (B. No. 1) J^/^C C^r^c 
 
 — - 611 The Tournament (B. No. 14) Jxa^U^o-l 
 

 54 
 
 M. ZIGNANI. 
 
 /2. - 612 Maddalena Strozzi Doni — proof before letters c ^a^-^e^i. 
 
 ZWOLL (MASTER OF THE NAVETTE). 
 
 - . _ 613 St. George (B. No. 13) (Lj^«- 
 
 DRAWINGS BY OLD MASTERS. 
 
 HENRI ALDEGREVER. 
 
 <?./#. - 614 PORTRAIT OF THE DUKE OF CLEVES— a very highly 
 finished drawing, in pen and ink 
 10 in. by 8^ in. 
 
 ANONYMOUS. 
 
 615 Six Missal Drawings — in colour — representing scenes in the 
 
 Life of our Saviour 
 64 m*. by 4 in. 
 
 L. BACKHUYZEN. 
 
 - — 616 Men-of-war, with other Vessels — in Indian ink — signed, and 
 
 dated 1688 
 
 14£ in. by 10^ in. 
 
 F. BAROCCIO. 
 o -, *17 A Head of a Yodng Girl — signed and dated 
 
 4^ in. by 3 it? 
 
55 
 
 NICOLAS BERGHEM. 
 
 fc?- -618 A HEED OF CATTLE AND SHEEP BEING CARRIED ^</X£^a 
 OVER A FERRY — a highly finished drawing in bistre — 
 signed 
 
 15 in. by 11£ in. 
 
 £ _ -619 A RIVER SCENE, WITH A CASCADE AND A RUSTIC^L^^ 
 BRIDGE— a beautiful drawing in colour — signed " 
 
 9 in. by 6 in. 
 
 X - - 620 FISHERMEN DRAWING A NET, WITH A SPORTSMAN J?v.%<U&^ 
 AND OTHER FIGURES— in bistre— signed 
 
 14 in. by 9 1 in. 
 
 f-- 621 CATTLE CROSSING A RIVER AND MEN PLOUGHING do 
 
 — in bistre— signed 
 
 14 in. by 10 in. 
 
 "/<?. - 622 TWO MEN WITH MULES AND OTHER ANIMALS— 9W<^ 
 signed, and dated 1657 — in bistre 
 
 15| in. by 11^ in. 
 
 J. BOTH. 
 
 ff- - 623 THE SKIRT OF A WOOD, WITH A TORRENT ^a^&U? 
 SPANNED BY A WOODEN BRIDGE- a very careful 
 pen drawing in bistre — washed icith Indian ink 
 
 11£ in. by 7| in. 
 
 - - 624 A EOCKY RIVER SCENE, WITH LARGE TREES, ^Lc^ 
 FIGUKES, AND ANIMALS— in Indian ink, pen, and 
 washed 
 
 15 tit. by 10 tn. 
 
56 
 
 A. CANALETTO. 
 
 £ /j _ . — 625 Citta di Mazorbo, Venice — an elaborate drawing in pen, ' 
 
 washed 
 
 16^ in. by 11 in. 
 
 //■ /d- - 626 A Canal Scene, on the Bank of which is a Palace -pen, 
 washed 
 
 16{ in. by 11 in. 
 
 L. CARRACCI. 
 
 * ,j. _ 627 The Virgin and Child — in pen — signed f/^^^yL^y^^ 
 
 §\ in. by 5| in. 
 
 CORREGGIO. 
 
 Jij? — . — ■ 628 A Study of Three Children — in red chalk /pt<^iz& -s. 
 
 13£ in. by 9 in. 
 
 ALBERT DURER. 
 
 //. _■ — 629 OUR SAVIOUR BLLNG DRAWN TO CALVARY": A^ 
 Subject with many Figures — in pen, with Durer's mono- 
 gram 
 
 I0| in. by 7f mi. 
 
 £ a . _ . - 630 A MAN KNEELING AND TELLING HTS BEADS— pen, 
 
 washed — on blue paper, with the monogram, and, date 1506 
 12f in. by 7| in. 
 
 J'4. _ . _ 631 AN ELABORATE PEN AND INK DRAWING OF A 
 STORK — with the monogram, and dated 1517 
 
 11 in. by 7] in. 
 
57 
 
 f/0. 
 
 /a- - 
 
 3jr _. — 
 
 s 
 
 ALBEET DUEEE. 
 
 632 A MOUNTED WAEEIOR HOLDING HIS ARMOUR AT 
 
 THE END OE A SPEAR— a pen drawing, icith the mono- 
 gram, dated 1518 
 
 15 in. by 1<H in 
 
 From the Lawrence Collection 
 
 633 A DRAWING OF TWO MEN: Busts— silver, pen, ivith the A^^t 
 
 monogram, and dated 1520 
 
 74 in. by 5 in. 
 
 /£i£^£*>L. K J'a^/Zli^, J 
 
 634 AN EAGLE — a careful drawing in pen — bistre 
 7 in. by 4§ in. 
 
 ^c^2j£h 
 
 4 
 
 EVERDINGEN. 
 
 635 A Scene in Switzerland, with chalets, a cascade and figures 
 12 in. by 7^ in. 
 From the Esdaile Collection 
 
 <?&> 
 
 t./0 - 
 
 ?. - • — 
 
 CLAUDE GELLEE. 
 
 636 An Italian Scene, with a Ruined Temple and Othsb 
 
 Buildings, and a Waterfall 
 16^ in. by 12 in. 
 
 637 A LAKE SCENE, WITH OVEEHANGING TREES— in 
 
 pen, washed and heightened with white 
 15^ in. by 10^ in. 
 
 638 A WOOD, WITH DEEE— a pen drawing in sepia, washed and /T^c^eyt 
 
 highly finished 
 
 16 in. by 10 in. 
 
 639 TWO SHEPHEEDS, WITH GOATS AND CATTLE IN 9^i^. 
 
 A LANDSCAPE, with a castle by the sea shore —pew " 
 
 washed, on grey paper 
 13£ in. by 9 in. 
 
58 
 
 CLAUDE GELLEE. 
 
 ?£.-— 640 SUNSET: AN ITALIAN SEA-PORT WITH PALACES, $h^^ 
 VESSELS, AND MANY FIGURES— in sepia, heightened 
 with white 
 
 16 }j in. by 10 j in. 
 
 LUCA GIORDANO. 
 
 / /- - 641 Cupids Dancing — a portion of the drawing is taken from the /fceASis^*- 
 Danse d' Amours of Maffaelle 
 16 L in. by 9 1 in. 
 
 G. F. BARBIERI GUERCINO. 
 
 / • _ 642 Two Women holding doves— in red chalk ^fcc**^-<? 
 
 11 in. by 9 in. 
 
 /. /j- — 643 The Virgin and Child, with St. Joseph — in coloured chalk 
 14| in. by 10^ in. 
 
 J: /<? ■ - 644 A Musical Party — in pen, washed with sepia jTa^*-^** 
 
 16 in. by 11 in. 
 
 JAN HACKAERT. 
 
 / j\ — 645 A View in Switzerland — a highly finished drawing in water a£, 
 colours 
 
 9£ in. by 6 in. 
 
 DIRK LANGENDYK. 
 
 j- /j? _ 646 A Battle Scene — signed, and dated 1805 <?&> 
 
 9| in. by 6 1 in. 
 
 J" _ . — 647 Another, of a similar subject — signed 
 11 in. by 1\ tn. 
 
f>0 
 
 J. LTNGELBACH. 
 
 / - - - 548 A Seaport, with men engaged in carrying away merchandise — ■ /faccvia*/ 
 in Indian ink — signed 
 
 11 in. by 1\ in. 
 
 ANDREA MANTEGNA, 
 
 f' 649 THE CELEBRATED DRAWING OF A CHALICE, engraved %/L*ey. 
 
 h ? Hollar ~.£ui~ff - 
 
 19 i in - h ? 10 h "'■ /$»<sUA~*~« 
 
 f 
 
 From the Barnard Collection 
 
 t. - - — 650 Our Savioub in the attitude of bestowing a Benediction, 
 attended by Two Angels — a very highly finished pen drawing 
 
 From the Esdaile Collection 
 
 G. METZU. 
 
 '• - — 651 A Young Man, in a Fur Cap, writing in a book — well finished 
 in pencil 
 
 8^ in. by 7\ in. 
 
 ANTONIO MULER. 
 
 : - - 652 Boors Quarrelling and Fighting — the name of the artist is written 5yctsts~Jd 
 on the back — a sepia drawing in pen and ink 
 
 10;j in. by 6| in. 
 
 B. E. MURILLO. 
 
 -•- 653 THE IMMACULATE CONCEPTION — in pen, washed— J^t&Uy 
 signed ' 
 
 13£ in. by 9 in. 
 
(JO 
 
 ADRIAN OSTADE. 
 
 /4J.'-~ . 654 AN INTERIOR OF A COTTAGE: A WOMAN IN CHARGE ' 
 
 OF THREE CHILDREN IS CONVERSING WITH A 
 MAN WHO LEANS IN AT THE WINDOW -in colours 
 8 in. by 5.^ in. 
 From the Esdaile and Hibbert Collections 
 
 'Zj; - ■ - 655 AN EXTERIOR OF A CABARET : A PEASANT 
 SEATED ON A BENCH HOLDS A BEER-JUG, AN 
 ITINERANT MUSICIAN PLAYS ON A FIDDLE, 
 GROUPS OF CHILDREN STAND AND SIT ABOUT, 
 THREE PERSONS LOOK OUT OF THE DOOR OF 
 THE CABARET — the beautiful well-known drawing in 
 colours, engraved in Ploos Van AmsteVs tcork 
 
 The picture is in the Royal Gallery at the Hague 
 
 13| in. by 121 { n . 
 
 />. „ . _ 656 A MOTHER AND TWO CHILDREN: A Beautiful 
 Little Drawing in Colour, Etcued by Ostade — signed 
 Vide Bartsch, No. 14, Vol. L, p. 357 
 3^ in. by 2£ in. 
 
 F. PARMEGIANO. 
 
 /. — • — 657 A Woman, with a child in ber lap — in red chalk ; another, The 
 Virgin and Child — in black and white 2 
 
 /. /#. — 658 The Virgin Mary and Infant Saviour Enthroned, St. Paul and / 
 other saints stand below — in sepia 
 91 in. by 7f in. 
 
 £ . £ . — 659 The Virgin with the Infant Saviour in her lap, They are sllr- 
 roundcd by an angel, St. John and other Saints — in sepia- 
 pen, ivashed 
 
 14 in. by 9| in. 
 
61 
 
 P. PARMEGIANO. 
 
 '£■/<?■ ~~ 660 The Entombment, an important drawing, with many figures — in ^Ssi^&i^ 
 sepia, highly finished f 
 
 1'2-j in. by 8^ in. 
 
 PAUL POTTER. 
 py. - •- G61 A FARM YARD, WITH TWO SHEPHERDS CON- ^o 
 
 VERSING, SEATED, The Yard is Full of Cattle and 
 Sheep — highly finished, in pen, washed — signed, and dated 
 1650 
 
 13tj in. by 8^ in. 
 
 J: ~ . — 062 The Head of a Young Bull, with a Garland of Flowers 
 Round his Neck — in oils 
 22^ in. by 16 in. 
 Signed, and dated 1650 
 
 DRAWINGS, 
 
 NICOLAS POUSSIN. 
 
 ^ _ . - 663 A River Scene — in sepia 
 
 11^ in. by 5 in. 
 y _ . — . 664 The Death of Hippolytus — in sepia; The Holy Persons annoint- Wz<ct<fri*x^ 
 ing the body of our Saviour — in Indian ink 2 
 
 REMBRANDT. 
 
 . _ . - 665 A POND WITH A BOAT-HOUSE AND A BOAT, IN 
 
 THE MIDDLE DISTANCE A WATER MILL AND jk-tn^td 
 STREAM, A TOWN WITH A CHURCH SPIRE 
 APPEARS IN THE FAR DISTANCE— a beautiful 
 drawing in colours 
 
 9 in. by 6 in. 
 
 From the Esdaile Collection 
 
G2 
 
 ^. _. — 666 THE EXTERIOR OF A HOUSE, A YOUNG MOTHEfi 
 HOLDING A CHILD ON HER LAP IS CON- 
 VERSING WITH TWO MEN— pen, washed, an important 
 drawing in bistre 
 1 0^ in. by 7 in. 
 
 SALVATOR ROSA. 
 / /p _ 067 A Study of Trees ; Another, after Titian ; &c. 4 
 
 PETER PAUL RUBENS. ~r 
 
 £ J: _ . _ G68 THE PORTRAIT OF ELIZABETH BRANDT, A Remaiu^P' 
 able Drawing in Black and Red Chalk, Heightened 
 with White 
 
 From the Thornhill, Lanhrink, Richardson, and Lord 
 Spencer Collections 
 
 16* ^. by 12 in. 0CXO* 
 
 / - . - 669 A STUDY OF TWO NAKED CHILDREN, ONE OF 
 WHOM IS EMBRACING A WOMAN'S HAND— in red 
 and black 
 
 llf in. by 6| in. 
 
 J. RUISDAEL. 
 
 ?/ — 670 A Moonlight Scene, with a Pond in the Foreground, a <&> 
 
 Man is Warming Himself at a Fire Lighted on the 
 Ground — highly finished, in Indian ink. 
 11 in. by 7^ in. 
 
 MARTIN SCHOENGAUER. . 
 
 j 7 _ . __G71A DESIGN FOR A CROSIER, IN WHICH IS 
 ' REPRESENTED THE VIRGIN SEATED ON A 
 
 THRONE WITH THE CHILD— engraved by ScJtoenyauet 
 Vide Bartsch, Vol. VI., p. 162- signed S. 
 llf in. by 4 1 , in. 
 
 i~a 
 
6.3 
 
 TITIAN. 
 
 ' Z0.~ -672 A STUDY FOE THE PORTRAIT OF THE ARTIST'S &%££*** 
 DAUGHTER — in black and red chalk, slightly coloured 
 16 in. by 11 in. 
 
 A. VAN DER NEER. 
 
 £~ - 673 A RIVER SCENE, BY MOONLIGHT— on blue paper, signed j4*^*^ 
 15 in. by 8^ in. 
 
 ADRIAN VAN DE VELDE. 
 
 *. 674 CATTLE BEING FERRIED OVER A RIVER— a finished *& 
 
 drawing in water colour, signed 
 12^ in. by 7 in. 
 
 p. _. ^ 675 A WOMAN, MOUNTED ON A HORSE, DRIVING ^gtu^ 
 CATTLE OVER A RIVER— highly finished in Indian ink, 
 pen, washed — signed, and dated 1663 
 
 10 in. by 1\ in. 
 
 £.- - 676 A SHEPHERDESS, SEATED NEAR A WATERFALL, do 
 TALKING TO AN OLD MAN; CATTLE, GOATS, 
 AND SHEEP ARE DISPERSED A ROUND -a finished 
 work in Indian ink, yen, washed — signed, and dated 1662 
 14 in. by 9| in. 
 
 ( _ . _ 677 ITALIAN RUINS, IN THE FOREGROUND A MAN do 
 AND WOMAN WITH GOATS AND CATTLE— highly 
 finished, in pen, washed Indian ink — signed, and dated 1659 
 10| in. by 6,^ in. 
 
 ,. _ . - 678 A DROVE OF CATTLE CROSSING A FORD- pen in<&-%&&^ 
 bistre " 
 
 15 in. by 9 in. 
 
64 
 
 W. VAN DE VELDE. 
 
 /^"//o _ __ 679 A River Scene, with Many Barges and Boats — in Indian 
 ink, pen, washed — highly finished 
 8 in. by 6^ in. 
 
 -? — 680 A Coast Scene, with a Number of Figures, Barges and / 
 
 Boats — Indian ink, pen, washed — signed 
 10^ in. by 7^ in. 
 
 JAN VAN GOYEN. 
 
 J- J' _ 681 SCHEVENING BEACH, WITH GROUPS OF FIGURES, CARTS, &f\ 1« 
 
 black chalk — signed, and dated 1652 
 7| in. by 4| in. 
 
 '0 /0 — ^82 ^ Fair IN A Dutch Town, on the Bank of a River — 
 signed, and dated 1651 — in black chalk 
 10 J in. by 6^ m. 
 
 J- /# , — 683 A Dutch Village, with a Fair — signed, and dated 1651 
 
 10^ in. by 6f m. 
 
 VAN HUYSUM (Jun.). 
 
 J~ _ . — 684 PEACHES, PLUMS, GRAPES, &c— aw elaborately finished 
 drawing in colour — signed 
 
 111 j'fl. bv 9 Ml 
 
 V. ^ - - 685 A VASE CONTAINING A GROUP OF MANY DIF-^^f 
 FERENT FLOWERS— a beautiful work of the Master- 
 signed, and dated 1739 
 8 in. by 12f in. 
 
 ISRAEL VAN MECKEN. 
 
 v /^ __ 68G AN ELABORATE DRAWING IN PEN OF A WOMAN'S 
 HEAD AND BUST 
 7£ in. by 5^ in. 
 
65 
 
 RICHARD WILSON, R.A. 
 
 687 A VIEW OF WESTMINSTER— in black chalk, on blue paper J% X &eL~y 
 
 18^ in. by 11 in. 
 
 M. WOHLGEMUTH. 
 
 688 Mates Doloeosa — in pen, highly finished 
 
 7| in. by 5| in. 
 
 PHILIP WOUVERMANS. 
 
 689 A LANDSCAPE WITH A MAN ARRANGING BAGGAGE t ; 
 
 ON A HORSE — Indian ink — signed 
 10^ in. by 6^ in. 
 
 690 Two Solander cases — bound in blue morocco 
 
 691 Two others, similar 
 
 692 Two others, similar 
 
 693 Two others, similar 
 
 694 Two others, similar 
 
 695 Two others, similar 
 
 696 A Solander case — bound in red morocco; and a mahogany case to 
 
 contain it 
 
 /C~0 ffCo $h <£o e£o ate 
 
 
 y- 
 
 London : Printed by Wii. Clowes & Sons, Limited, Stamford Street 
 and Charing Cross. 
 
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