UM 
 
 kkh 
 
 
 
 r£ 
 
 • /4-•? 
 
 ft 
 
Digitized by the Internet Archive 
 in 2019 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/catalogueofgenui9181wins 
 


 
 
COLLECTION 
 
 OF 
 
 PRINTS, PAINTER’S ETCHINGS, DRAWINGS, 
 
 AND PAINTINGS, 
 
 LIVERPOOL, 
 
 WHICH WILL BE SOLD BY AUCTION 
 By Mr. WINSTANLEY, 
 
 At his Rooms in Marble-Street, Liverpool, on Thursday the 5th 
 of September and the following days (Sundays excepted). 
 
 I he Extensive and Valuable Collection of ENGRAVINGS, 
 PAINTER’S ETCHINGS, and PRINTS.—The Genuine 
 and Valuable Collection of PICTURES—and the choice and 
 well-selected Collection of DRAWINGS.—The Property of 
 WILLIAM ROSCOE, Esq. 
 
 The Prints and Engravings comprise, 
 
 A series of Prints from the works of the Greek and Italian 
 Painters, illustrative of the progress of Painting in Italy, 
 from the earliest to the later ages. 
 
 A series of Prints, illustrative of the progress of Engraving 
 in Italy, Germany, and Flanders, including choice Specimens 
 of every Artist of eminence, from the earliest period to Agostino 
 Caracci in the Italian School, and from Francis Stoss to 
 Fdelinck in the German and Flemish. 
 
 A highly valuable Collection of Etchings by the Italian 
 Painters, consisting of the works of the most eminent 
 Masters, who have etched their own Designs, from Parmigiano 
 to Carlo Maratti. Of the Flemish and Dutch Painters in the 
 various walks of History, Landscape, Cattle, Drolls and In¬ 
 teriors, and of the French School, including fine examples 
 of Claude, Callot, Gaspar Poussin, Sebastian Bourdon, fyc. 
 
 An Assemblage of fine Prints, after Rubens, by the most 
 celebrated Engravers of his time—choice Impressions of the 
 Vandyke Heads —several fine works of Rembrandt and his 
 School—rare Specimens of Wood and Chiaro-scuro Prints, by 
 
advertisement of sale. 
 
 the Italian and German Masters—Engravings from Antique 
 Busts and Statues, a few select Books of Prints—valuable 
 Portfolios, &c. 
 
 The Drawings are a selection of the Works of the greatest 
 Masters of the Art, classed and arranged so as to form a 
 series of the Productions of the early and later Florentine, Ro¬ 
 man, Venetian, and Lombard Schools. Many of them being 
 highly valuable, and peculiarly interesting. 
 
 The Pictures comprise undoubted Specimens of many of 
 the scarcest Italian Masters, from the time of the Greek Artists, 
 to the close of the Fifteenth Century: a Collection of the 
 Works of the German and Flemish Masters, from the Com¬ 
 mencement of the School under John Hubert van Eyck to 
 a recent period. 
 
 Many rare and valuable Portraits of Artists and Literary 
 Characters : the Superb Picture of Leo X. with the Cardinals 
 de ’ Medici and Rossi by Andrea del Sarto, an unique and 
 exquisite Head of Christ by Lionardo da Vinci, a Holy Fa¬ 
 mily by Domenico Ghirlandaio, with a Frieze by Michel- 
 agnolo. The Nativity by Bernardo Lovini, St. Roch giving 
 Alms, by Guido from the design of Annibale Caracci ; the 
 Elevation of the Serpent, by Nicolo Poussin; St. Cecilia, by 
 Rubens; the celebrated Picture of St. Hubert, by Lucas van 
 Leyden, mentioned in his Life by Carlo van Mander, and 
 many others of high value. 
 
 • - * -*■ ■ *. . . » . «w' .. 4 i» • ^ . 
 
 The Pictures aud Prints may be viewed on Monday tire 2d, Tuesday the 3d, and 
 Wednesday the 4th of September; and the Drawings, on Friday the 13th, Saturday 
 the I4th, and Monday the 16 th of September. Catalogues of the whole may be had of 
 Messrs. Cadell and Davies, Strand; Messrs. Payne and Foss, Pall Mall; Messrs. 
 J. and A. Arch, Cornhill; Messrs. Longman, Hurst, Rees, Orme, and Brotvn, Pater¬ 
 noster-row; Mr. Triphook, 23, Old Bond Street; Mr. Evans, Pall Mall; and Mr. 
 Cochrane, No. 1, Catherine Street, London: Mr. John Ballantyne, Edinburgh; 
 Messrs.'Mundell and Doigg, Glasgow; Mr.'Drewry, Derby ; Mr. Morgan, Litchfield; 
 Messrs. Knott and Lloyd, Birmingham; Messrs. Nortons, Bristol; Mr. Parker 
 Oxford; Mr. Deighton, Cambridge; Mr. Broster, Chester; Mr. Walton, Printer,’ 
 Shrewsbury; Mr. Todd, and Mr. Wilson, York; Mr. Rodford, Hull; Mr. Edwards, 
 Halifax; Mr. Wm. Ford, Manchester; at the place of sale, and of Mr. Winstanley, 
 Church Street, Liverpool; price three shillings each. 
 
 To prevent improper intrusion, no person will be admitted to the View or Sale without 
 
 a Catalogue. 
 
CATALOGUE 
 
 Li W! ft 
 
 OF THE 
 
 GENUINE AND ENTIRE COLLECTION OF 
 
 PRINTS, 
 
 BOOKS OF PRINTS, Sic. 
 
 THE PROPERTY OF 
 
 WILLIAM ROSCOE, Esq. 
 
 WHICH WILL BE SOLD BY AUCTION, 
 
 By Mr. WINSTANLEY, 
 
 AT HIS ROOMS IN MARBLE-STREET, LIVERPOOL, 
 
 On Monday the 9 tk of September , and ten following days , 
 
 Sunday excepted , 
 
 THE SALE TO BEGIN AT ELEVEN O’CLOCK PRECISELY. 
 
 To be viewed on Thursday, 5, Fiiday 6, and Saturday 7; and Catalogues may be had of 
 Messrs. Cadell and Davis, Strand; Messrs. Payne and Foss, Pall Mall; Messrs. J. and A. 
 Arch, Cornhill; Messrs. Longman and Co. Paternoster-row; Mr. Triphook, 23, Old 
 Bond street; Mr. Evans, Pall Mall; and Mr. Cochrane, No. 1, Catlrarine-street, Lon¬ 
 don; Mr. John Ballantyne, Edinburgh; Messrs. A. and J.M. Duncan, Glasgow; Mr. 
 Drewry, Derby; Mr. Morgan, Litchfield; Messrs. Knott and Lloyd, Birmingham; 
 Messrs Nortons, Bristol; Mr. Parker, Oxford; Messrs. Deighton & Sons, Cambridge; 
 Mr.Broster, Chester; Mr.Watton, Printer, Shrewsbury; Messrs.Todd, York; Mr.Wilson 
 and Mr.Rodford, Hull; Mr. Edwards, Halifax; Mr. Win. Ford, Manchester; at the place 
 of Sale, and of Mr. Winstanley, Chureh.street, Liverpool; price three Shillings each» 
 
 To prevent improper intrusion, no person will be admitted to the View or Sale without 
 a Catalogue. 
 
 1816 , 
 
 U 
 
 

 
 : >,* | *f / I 3fft ' 
 
 ' . ' 3e| !•% 0 
 
 T J5I 
 
 tt. 
 
 I 
 
 rf 
 
 
 1 ’ • '■■ '• > wi i WHuum 
 
 ' ■ ■■ ■' >' • 5 
 
 • •"• vrt-ij- >$4 4 , sl^ 
 
 j A r;, ^5^'* 
 
 Printed by Smith 4’ Galwuy t 
 Liverpool. 
 
CONDITIONS OF SALE. 
 
 I. The highest bidder to be buyer; and if any dispute arise, 
 the lot to be put up again. 
 
 II. No person to advance less than sixpence; above five pounds, 
 two shillings and sixpence; and so on in proportion. 
 
 III. The buyer to give in his name and place of abode, and to 
 
 pay five shillings in the pound as earnest for each lot, if 
 required. 
 
 IV. The lots to be taken away with all faults, or errors of de¬ 
 
 scription, at the expence and risk of the purchaser, with¬ 
 in three days after the sale; and the remainder of the 
 purchase-money to be paid on or before delivery. 
 
 V. The auction duty to be paid by the purchaser. 
 
 VI. Upon failure of complying with the above conditions, the 
 deposit-money to be forfeited, and the lots which remain 
 uncleared re-sold by public or private sale, and the defi¬ 
 ciency (if any) attending' such re-sale, shall be made good 
 by the defaulters at the present sale. 
 
 MR. WINSTANLEY will faithfully execute the Com¬ 
 missions of such Gentlemen as cannot attend the Sale; and respectf ully re¬ 
 quests that they will he particular as to their limits. Such Commissions as 
 may he discretionary or unlimited, will be attended to in the order in which 
 they are received. 
 
 Liverpool, August 19, 1816. 
 
INDEX 
 
 TO THE DAYS OF SALE. 
 
 FIRST DAY, Monday, 9th September. 
 
 Antique Statues, &c. 1-21 
 
 Series of Painters, Greek School,. 22-39 
 
 -Florentine School,. 40-80 
 
 ---Roman School, . 81-114 
 
 SECOND DAY, Tuesday, 10th September. 
 
 Series of Painters, Roman School continued,.... 115-137 
 
 -Venetian School,. 138-176 
 
 ---Lombard School, . 177-226 
 
 THIRD DAY, Wednesday, lltli September. 
 
 Series of Engravers, Italian, . 228-355 
 
 FOURTH DAY, Thursday 12th September. 
 
 Series of Engravers,G erman and Flemish,. 356-509 
 
 FIFTH DAY, Friday, 13tb September. 
 
 W orks of Kerens,. 510-584 
 
 Vandyke Portraits, . 585-627 
 
 SIXTH DAY, Saturday, 14th September. 
 
 Painter’s Etchings,. 628—757 
 
 SEVENTH DAY, Monday 16th September. 
 
 Painter’s Etchings continued, . 758-895 
 
 EIGHTH DAY, Tuesday, 17th September 
 
 Painter’s Etchings continued, . 896—1037 
 
 NINTH DAY, Wednesday, 18th September. 
 
 Painter’s Etchings continued, .1038—1173 
 
 TENTH DAY, Thursday, 19th September. 
 
 Painter’s Etchings continued, .1174—1216 
 
 Wood Prints,.1217—1260 
 
 Prints in Chiaro Scuro,.1262—1317 
 
 Prints in Aquatinta, .1318—1321 
 
 ELEVENTH DAY, Friday 20th September. 
 
 Books of Prints, .1322—1352 
 
 Portfolios,.1353—1383 
 
CATALOGUE, &c. 
 
 FIRST DAY’S SALE. 
 
 ENGRAVINGS 
 
 FROM 
 
 ANTIQUE STATUES , BUSTS , 8fc. 
 
 1 Ten of Statues, from the Library of St. Mark at Florence, 
 
 engraved by Faldoni , Gregori , and others. 
 
 2 Ten ditto. 
 
 3 Ten ditto. 
 
 4 Ten Busts, from the same collection, ditto. 
 
 5 Ten ditto 
 
 6 Fifteen ditto. 
 
 7 Eight Bas-reliefs from the same, ditto. 
 
 8 Seven—the four Horses, the Bull in bronze, and two Lions 
 
 in marble, from the same, ditto. 
 
 9 Six—five of Altars, and one of Vases, from the same, ditto . 
 It) Six Statues from the palace of the Thuilleries, by Baudet. 
 
 11 Six ditto. 
 
 12 Twelve Busts, from the same, ditto t 
 
 13 Fourteen ditto, ditto. 
 
 14 Six—five Statues from the Ducal Palace, by Faldoni , and 
 
 one other. 
 
 First Day. 
 
 A! a r 
 
 9 - 
 
 A A 
 /*- 
 
 /A 
 
 / - 
 
 /A , 
 
 6 
 
 A ^ 
 /2J> 
 
 Yp. 
 
 B 
 
2 
 
 STATUES, kc. 
 
 First Day. 
 
 //./> 
 
 /<?,./> 
 
 /&- 
 
 A7~0 
 
 / 4 ~/> 
 
 4- 
 
 15 Twelve Statues, engraved by Mellan. 
 
 16 Twelve ditto. 
 
 17 Thirteen—ten ditto, and three Busts. 
 
 18 Twelve of Statues from the Antique. 
 
 19 Thirteen—the twelve Months, with the title, by Tob. Sadehr 9 
 
 from missal drawings. 
 
 20 Nine—six after ancient Greek pictures, very curious, and 
 
 three after antient pictures, kc. 
 
 21 Two—Quintus Curtius from the statue by John Bernini , b y 
 
 Desplaces ; and Adam and Eve, after the statue by 
 Baccio Bandinelli. 
 
SERIES OF PRINTS 
 
 ILLUSTRATING THE RISE AND PROGRESS OF 
 
 PAINTING. 
 
 
 GREEK SCHOOL . 
 
 22 Four, the Crucifixion, from the Vienna library, and three 
 
 others after early works of Greek artists. 
 
 23 Two, the Evangelists, ditto. 
 
 24 Four, the four Evangelists, early wood prints, from MSS. 
 
 of the tenth century— curious. 
 
 25 Three, St. Luke, an imitation of an early Greek drawing, 
 
 by Metz , and two others. 
 
 26 Nine various, from ancient MSS. in the Vatican, &c. 
 
 27 Eight ditto, various. 
 
 28 Five, from ancient Mosaics. 
 
 29 Eight various. 
 
 30 Four, the Ladder of Paradise, from a MS. in the Vienna 
 
 lib. the emperor Emanuel Paleologus and his family, 
 and two others— curious. 
 
 31 Sixteen various, from ancient missals. 
 
 32 Forty-eight pieces of Scripture History, from an ancient 
 
 MS. in the Vienna library. 
 
 33 Five pieces from ivory sculptures, &c. 
 
 34 Five from Mosaics in the Pontificate of Paschal II. 
 
 35 Four, the ancient Confessional in S. Pietro Vaticano, and 
 
 three others. 
 
 36 Ten from ancient pictures and monuments. 
 
 First Day* 
 
 ///.A 
 
 //'.A 
 
 AA. 
 
 /3,A 
 
 //-Ay 
 
 A../ 
 
 //'- 
 
 //J,6 
 
 A/- 
 
 A- 
 
 / 
 
 9y 
 
 A A - 
 
4 
 
 SERIES OF PAINTERS. 
 
 I 
 
 First Day. 
 
 /c„ 37 Five, the ticket to view the chapel of our Lady of Loretto, 
 
 and four of the miraculous images of Italy. 
 
 //,. * 38 Seven, Salvator Mundi, and six of the Virgin and Child, 
 from different churches in Italy —very curious. 
 
 39 Eight various subjects of ancient art, from the Chevalier 
 d’Agincourt. 
 
 FLORENTINE SCHOOL. 
 
 GUIDO DA SIENA.—1221. 
 
 /✓, '2" 40 Four, the Madonna in the church of S. Domenico at Sienna, 
 
 painted in 1221, with the inscription— 
 
 Me Guido de Senis diebus depinxit amenis , 
 
 Quern Christus lenis nullis vult agere pcenis. 
 
 A. D. MCCXXI. 
 
 from the Etruria Pittrice. 
 
 GIUNTO PISANO—1236. 
 
 The martyrdom of St. Peter, from the same. 
 
 ANDREA TAFI.—1240. 
 
 The Madonna with four saints, ditto. 
 
 MARGHERITONE D’ AREZZO—1260. 
 
 St. Francis d’ Assize, ditto. 
 
 GIOVANNI C1MABUE—Born 1240. 
 
 / A /2s* 41 Six, the Madonna del Borgo Allegro, from the celebrated 
 
 picture in the chapel of the Rucellai, from the Etruria 
 Pittrice. 
 
 \ 
 
 GIOTTO DI BONDONE. 
 
 The Navicello or Bark of Giotto, an imitation of the 
 drawing by Metz. 
 
 The burial of the Virgin, from the Etruria Pittrice. 
 
SERIES OF PAINTERS. 
 
 5 
 
 BUONAMICO DI CHRISTOFORO. 
 
 Called BUFFALMACCO. 
 
 St. John the Baptist, from the same. 
 
 STEFANO FIORENTINO. 
 
 Portrait of Clement V. on horseback, from a drawing, by 
 Metz. 
 
 TADDEO GADDI. 
 
 Three Fathers of the Church, from the Etruria Pittriee. 
 SIMONE MEMMI. 
 
 42 Five, Christ bearing- the Cross, from the Etruria Pittriee. 
 Ditto, a single figure, imitation by Metz. 
 
 f 
 
 MASOLINO DA PANICALE. 
 
 The Vocation of St. Peter and St. Andrew. 
 
 First Day. 
 
 9~ 
 
 TOMASO GUIDE 
 Called MASACCIO. 
 
 Two pieces, figures in imitation of drawings, by Metz. r // 
 
 43 Seven, after the celebrated pictures in the Chapel of the 
 
 Brancacci, engraved by Tomaso Piroli. 
 
 44 Six, Condemnation of St. Peter and St. Paul, from the /- - 
 
 Etruria Pittriee. 
 
 SPINELLO ARETINO. 
 
 The death of St. Benedict, from the same. 
 
 ANTONIO FIORENTINO. 
 
 The death of St. Ranieri, from the same. 
 
 PAOLO UCCELLI. 
 
 The inebriety of Noah, from the same work. 
 
 LORENZO DE BICCI. 
 
 Martin V. granting the charter to the church of S. Ma- 
 ria Nova, from the same work. 
 
0 
 
 SERIES OF PAINTERS. 
 
 First Daj. 
 
 FRA GIOVANNI ANGELICO. 
 
 Judas betraying Christ, from the Etruria Pittrice. 
 
 BENOZZO GOZZOLI. 
 
 /„ 45 Seven, the inebriety of Noah, from the same. 
 
 ANDREA DEL CASTAGNO. 
 
 Crucifixion with four Saints, ditto. 
 
 ALESSIO BALDOVINETTI. 
 
 Two studies of figures, imitations by Metz > 
 
 The adoration of the Shepherds, from the Etruria Pittrice. 
 
 FRA FILIPPO LIPPI. 
 
 A female Saint at prayers, an imitation by Metz. 
 
 The adoration of the Shepherds, from the Etruria Pittrice. 
 
 FILIPPO LIPPI, Jun. 
 
 St. Philip the Apostle performing a miracle, from ditto. 
 ANTONIO POLLAIUOLO. 
 
 /, tf" - 46 Seven, the Martyrdom of St. Sebastian, an outline. 
 
 Two Archers, from the same picture, ditto. 
 
 ANDREA VEROCCHIO. 
 
 The Madonna and Saints, from the Etruria Pittrice. 
 
 DOMINICO GHIRLANDAIO. 
 
 The Nativity, in imitation of a drawing by Metz. 
 
 The death of St Francis, from the Etruria Pittrice. 
 
 SANDRO BOTTICELLO. 
 
 Studies of figures, imitations by Metz. 
 
 The Virgin and many Saints, from the Etruria Pittrice. 
 
 COSIMO ROSELLI. 
 
 A 47 Five, the Marys going to the Sepulchre, from ditto. 
 
SERIES OF PAINTERS. 
 
 7 
 
 FRANCESCO GRANACCI. 
 
 The Virgin giving the girdle to St. Thomas, from the 
 Etruria Pittrice. 
 
 LORENZO DI CREDI. 
 
 Studies of Virgin and Child with saints, an imitation by 
 Metz. 
 
 The Nativity, from the Etruria Pittrice. 
 
 LUCA SIGNORELLI. 
 
 The institution of the Eucharist, ditto. 
 
 LIONARDO DA VINCI. 
 
 48 Five, the battle of the standard, from the Etruria Pitrice. 
 
 Three anatomical studies, by Bartolozzi. 
 
 Studies of Horses, an imitation by Metz. 
 
 49 Six—four heads by Bartolozzi , from his Majesty’s collec¬ 
 
 tion ; one of machinery, ditto; and the Last Supper, by 
 Ryland. 
 
 MICHELAGNOLO BUONAROTTI. 
 
 50 Three, Portrait of Michelagnolo by Ghisi. 
 
 Michelagnolo’s Dream, an early engraving, marked 
 
 MICHAEL ' ANGEL VS * IN • YEN. 
 
 The same subject, with variations, by Van Stein. 
 
 51 Three, Frontispiece to Hamilton's Schola Italica Picturce. 
 
 The Creation of Adam and Eve, from the same work. 
 Adam and Eve in Paradise, Ditto. 
 
 52 Seven, The Cartoon of Pisa, entire composition. 
 
 m 
 
 Six of studies, various. 
 
 53 Two, Tomb of Julius II. by Ghisi. 
 
 The Statue of Moses, from the same tomb, by an anony¬ 
 mous Artist, but attributed to Beatrizet. 
 
 54 Four, Tomb of Lorenzo di Medici, Duke of Urbino, in the 
 
 chapel of S. Lorenzo, at Florence, engraved by Ghisi. 
 
 First Day. 
 
 " /f 
 
 /tf./t 
 
 /'4 t ? r- 
 
 /S- 
 
 //>■ 
 
8 
 
 SERIES OF PAINTERS. 
 
 First Day. 
 
 55 
 
 / 2 - 56 
 
 57 
 
 AJ —58 
 
 59 
 
 60 
 
 /#,. / 61 
 
 //• 62 
 
 ^-4'.- 63 
 
 2 ^ ,64 
 
 t^j ^ 65 
 
 66 
 
 . 67 
 
 Tomb of Julian de Medici, Duke of Nemours, by Ghisi. 
 
 The Virgin seated between St. Cosmo and St. Damiano, 
 in the same chapel, by Ghisi. 
 
 The Fall of Phaeton, early engraving, anonymous. 
 
 Two, The last Judgment by Martin Rota , original print. 
 
 Copy of the same, marked M. G. 
 
 Two, The last Judgment by J. Wierix. 
 
 The same subject, anonymous , proof impression. 
 
 One, The last Judgment by Julio Bonasone , very rare. 
 
 Two, A Group from the last Judgment, engraved by Dome¬ 
 nico Fiorentino, extremely rare, fine impression. 
 
 Another group from the last Judgment, a fine and early 
 etching, inscribed, 
 
 MICHAEL ANGELVS BONAROTA FLOS DELIBATVS &C. 
 
 INVENTOR FACIEBAT. 
 
 extremely rare. 
 
 Two, Another group, from Ditto, anonymous , fine impression. 
 
 Another group, by G. Ghisi. 
 
 One, Bacchanalian Infants, JEneas Vicus incid. 1566, fine 
 impression, rare. 
 
 One, The Martyrdom of St. Peter, by Michael Lucensis, 
 fine impression, extremely rare. 
 
 Six, of the Prophets and Sybils, from the Sistine Chapel, by 
 Georgius Mantuanus , fine impressions. 
 
 Three, of the Prophets and Sybils, by Volpato. 
 
 Three, Leda, by 2Eneas Vicus, 1546 ; and two others, the 
 same subjects, with variations. 
 
 One, The Burial of Christ, inscribed, Mich. Angeli. Bona - 
 roti . Florentini . Manu . Sculpta . Romce. 
 
 Four, Design for the church of St. Peter’s, at Rome, by 
 
 Agostino Venetiano, 1517, rare. 
 
 Elevation of the principal front of the same, as altered by 
 Ant. da Sangallo. 
 
 Section of the same. 
 
 Interior View of the Farnese Palace. 
 
SERIES OF PAINTERS. 
 
 9 
 
 68 Four, The Archers by Bartolozzi ; two of figures by Ditto , 
 
 and lady’s head by Sharp. 
 
 69 Ten, Holy Family, and nine others, various studies. 
 
 70 Sixty-three, figures and groups, from the Sistine Chapel, 
 
 engraved by Adam Mantuanus , on seven sheets. 
 
 First Day. 
 
 //- 
 
 /, / 
 
 /A- A>. 
 
 BACCIO BANDINELLI. 
 
 \ 
 
 71 Two, Academy of Bandinelli by JEneas Vicus. 
 
 The Slaughter of the Innocents, a grand composition by 
 J. B. de Cavalleriis. 
 
 
 ROSSO ROSSI. 
 
 
 72 Three, Francis I. entering the Temple of Immortality, en¬ 
 graved by Renal. Boivin. 
 
 Adoration of the Wise Men, by Cherubino Alberti , 1574. 
 Assumption of the Virgin, from the Etruria Pittrice. 
 
 
 ANDREA DEL SARTO. 
 
 
 73 Five, The Holy Family, circle by Callot . 
 
 Dead Christ, with Virgin and Saints. 
 
 St. Joachim by Dom. Vitus , 1580. 
 
 Holy Family by Gregori , a Lunette. 
 
 Ditto by Cossa. 
 
 / / 
 
 FRA BARTOLOMMEO. 
 
 
 74 Five, various, by Patch. 
 
 75 Five, Holy Family, the Purification of the Virgin, and three 
 
 others. 
 
 q.A> 
 
 /v~ 
 
 PERINO DEL VAGA. 
 
 
 76 Six, various. 
 
 ///- 6 
 
 GIUSEPPE SALVIATI. 
 
 77 One, The Virgin, with S. Antonio and S. Bernardo, by 
 Zucchi. 
 
 
 c 
 
 
 ! 
 
10 
 
 SERIES OF PAINTERS. 
 
 First Day. 
 
 LODOVICO CIGOLI. 
 
 A 78 One, Peter and John healing- the Cripple, by Dorigny, 
 
 DIFFERENT MASTERS OF THE FLORENTINE SCHOOL, 
 79 Twenty, from the Etruria Pittrice. 
 
 y,. /’ 80 
 
 Eight Imitations of Drawings, various. 
 
 A 
 
 ROMAN SCHOOL. 
 
 PIETRO PERUGINO. 
 
 81 Seven, The entombing of Christ, by Du Flos, from the Or¬ 
 leans Collection, and six others, various. 
 
 RAFFAELLO D’URBINO. 
 
 / 82 Two, Portrait of Raffaello, by Pontius, rare. 
 
 Ditto by Hollar. 
 
 S3 Two, ditto, by Strange, fine. 
 
 Ditto, by Larmessin, from the Cabinet du Roi. 
 
 84 Five, Portraits of Carondelet by Larmessin, the Cardinal 
 
 Julio de Medici, Castigiione, and two others by Edelinck , 
 from the Crozat Collection. 
 
 85 Two, Jane of Arragon Queen of Sicily, by Chereau, and 
 
 Cardinal Pole by Larmessin , from ditto. 
 
 /•/$.- 86 Eleven, from the Frescos in the Vatican, by Pietro Aquila, 
 
 large sheets. 
 
 2 „ /?■■ /> 87 Four, Theology, Philosophy, Justice, and Poetry, from cir¬ 
 cles in the Vatican, by Raphael Morghen , fine im¬ 
 pressions. 
 
 88 One, The Dispute on the Sacrament by George Mantuanus s 
 large sheet, fine impression. 
 
 /A 89 Two, The Creation of the Animals, marked raph. vrbn. 
 
 INVEN. 
 
 Joseph’s Dream, raph. vr. in. 
 
SERIES OF PAINTERS. 
 
 11 
 
 90 Two, Justice, by Strange , from the Vatican. 
 
 Mercy, by Volpato , Ditto. 
 
 91 Four, the Altar-piece in the chapel of the Chigi and two 
 
 subjects of Sybils, from Ditto, by an antient En¬ 
 graver unknown , very rare. 
 
 In these works, Raffaello appears to have adopted the style of 
 
 Michelagnolo. 
 
 92 One, The first design tor the Attila, before the introduc¬ 
 
 tion of S. Leo, attributed by Heineken to Bonasone , 
 rare. 
 
 93 Four, The Madonna della Sedia, by jEgidius Sadler. 
 
 St. Cecilia by Thomassin. 
 
 The Nativity, anonymous. 
 
 Holy Family, Ditto. 
 
 94 Four, The Holy Family, by Jerome Frezza. 
 
 Ditto, by Poilly. 
 
 The Virgin and Child, and St. John, by Larmessin. 
 Virgin, with the Child .asleep, Poilly. 
 
 95 Three, Holy Family, by Cheveau. 
 
 Ditto, by Reymond. 
 
 Ditto, anonymous. 
 
 96 Three, Marriage of St. Catharine, by Bloemart. 
 
 Virgin and Child, with Elizabeth and John. 
 
 La Madonna della Pescia, by Bartolozzi. 
 
 97 One, The Madonna della Pescia, from the picture in the 
 
 Escurial, by Fernando Selme , 1782, impression. 
 
 98 Four, Holy Family, by Frey , from the Cabinet du Roi. 
 
 Virgin and Child, with Elizabeth and John, Poilly . 
 Virgin and Child, from the Escurial, by Simoneau. 
 
 Ditto, the same, proof impression. 
 
 99 Four, Virgin, Child, and St. John, by Chereau . 
 
 Virgin and Child, by Dujlos. 
 
 Ditto by Larmessin 
 Ditto by James Hop wood. 
 
 First Day. 
 
 4 - 
 
 /f: /r 
 
 /j+6 
 
 /&*/> 
 
 / 2 - 
 
 / ~ 
 
 /57.6 
 
12 
 
 SERIES OF PAINTERS. 
 
 FirA Day. 
 
 //U> 
 
 A- h 
 
 /'•- 
 
 y 1 .. /} 
 
 £■/> 
 
 /U 
 
 r- 
 
 //../> 
 
 A #> 
 /,. /< 
 
 100 Three, The Virgin with the Pinks, by Boulanger . 
 
 Virgin and Child, by Flippart. 
 
 The Virgin and Saints, by Pazzi , from the picture at 
 Foligno. 
 
 101 Two, Isaiah, by Ccesar Fantelli. 
 
 The Virgin, large Circle, by Poilly. 
 
 102 Three, St. Michael, by Rousselet. 
 
 Ditto, by Claude du Flos. 
 
 St. George, by Larmessin. 
 
 103 Three, St. Michael, by Ditto. 
 
 St. George, by Ditto. 
 
 Judith, by Lurcher. 
 
 104 Three, St. John Baptist, by Simon Vallee. 
 
 St. John, in the Desert, Chereau. 
 
 St. John the Evangelist, Larmessin. 
 
 105 Two, St. Margaret, by Surugue. 
 
 Ditto by Troyen , from the Brussels Gallery. 
 
 106 Two, The Transfiguration, by Chereau. 
 
 Holy Family, by Pittau, fine impression. 
 
 107 Five, The Vision of Ezekiel, Larmessin. 
 
 Christ bearing his Cross, Ditto. 
 
 Christ in the Garden, by Flippart , 
 
 The Entombing of Christ, by Dvjlos , and 
 The same subject by Count Caylus. 
 
 108 Ten, various imitations of drawings, &c. 
 
 109 Ten ditto, studies for school of Athens, &c. 
 
 110 Seven ditto, various subjects, fine. 
 
 111 Twelve —six, of Arabesques, by Agostino Veneziano , rare. 
 
 Six emblematical figures, Cariatydes. 
 
 112 Ten, Ditto, larger, by Audran. 
 
 -113 Fifty, Ralfaelle’s Bible, etched by Giov. Lanfranco Sf Sisto 
 Bada/occhi. 
 
 114 Eight, The Cartoons of Raffaelle, from the originals at 
 Hampton Court, by Gribelin, with the Title, fine im¬ 
 pressions. 
 
13 
 
 SECOND DAY'S SALE. 
 
 ROMAN SCHOOL , 
 
 CONTINUED. 
 
 GIULIO ROMANO. 
 
 115 Five, the amours of Jupiter, by Poilly , L'Epicier, Sfc . 
 
 from the Orleans collection. 
 
 116 Two, the creation of Eve, by Haussart. 
 
 The adoration of the shepherds, by Desplaces , from Do, 
 
 117 Nine, the triumph of Titus, by Desplaces. 
 
 Nymphs bathing 1 , by Poilly. 
 
 Christ curing the leper, by Surugue. 
 
 Two imitations of drawings. 
 
 GIOVANNI DA UDINE. 
 
 Two grotesques, imitations of drawings. 
 
 TIMOTEO DELLA VITE. 
 
 Two imitations of drawings. 
 
 DON GIULIO CLOVIO. 
 
 118 Two, the conversion of Saul, Jine impression. 
 
 The intombing of Christ, by Camillo Grajfico, ditto. 
 
 POLIDORO DA CARAVAGGIO. 
 
 119 Eight of friezes, and one imitation of a drawing. 
 
 Second Day. 
 
 / 
 
 ✓ 
 
 //*■ // 
 A 
 
 A- -A 
 
 A - A 
 
14 
 
 SERIES OF PAINTERS. 
 
 Second Day. 
 
 MARCELLO VENUSTI. 
 
 Cl. (i 120 One, the stoning- of St. Stephen, by Corn. Cort. 1578. 
 Jine impression. 
 
 SICIOLANTE DA SERMONETA. 
 
 /J).~ 121 Five, Virtue, an allegorical subject, by Haussart. 
 
 BALTHAZER DA SIENNA. 
 
 St. Jerome, by Chateau. 
 
 GAUDENZIO FERRARI. 
 
 The Nativity, by Poilly. 
 
 The Pentecost, by Hortemels. 
 
 ANDREA LUIGI D 1 ASSISE. 
 The Holy Family, by Tardieu. 
 
 FEDERIGO BAROCCI. 
 
 122 
 
 123 
 
 124 
 
 / 
 
 6 125 
 
 6 *(, 120 
 n „ /? 127 
 
 0~- 128 
 
 Two, Virgin, St. Roch, and St. Sebastian, Bloemart. 
 
 Virgin, Child, and St. John. 
 
 Two, Virgin, Child, and St. John, by Raphael Guidi. 
 
 Holy Family with the cat, by Corn. Cort. 
 
 Two, St. Jerome, by Villamena. 
 
 Christ appearing to Mary, by Luca Ciamherlano. 
 
 Two, repose in Egypt, Corn. Cort. Jine impression. 
 
 The institution of the order of the preachers, by Mgidius 
 Sadeler, ditto. 
 
 Two, entombing of Christ, by ditto. 
 
 The calling of St. Andrew, by ditto. 
 
 Two, the descent from the cross, by Villamena, Jine im¬ 
 pression. 
 
 St. Francis in the desert, ditto. 
 
 One, the presentation of the Virgin, a grand composition, 
 by Thomassin , rare. 
 
SERIES OF PAINTERS. 
 
 15 
 
 TADDEO ZUCCAEO. 
 
 129 Two, Christ in the Sepulchre, by Raimond. 
 
 Second Day. 
 
 . 
 
 FREDERIGO ZUCCARO. 
 
 The Annunciation, by Raph. Sadeler. 
 
 MICHELAGNOLO MERIGI. 
 
 Called CARAVAGGIO. 
 
 130 Five, his own portrait, and three others, from the Crozat /&<•/* 
 collection, and the three Apostles, by Bause . 
 
 BARTOLOMMEO MANFREDI. 
 
 131 Six, Two, by Haussart. 
 
 VALENTINE 
 
 The four Evangelists, by Rousselet. 
 
 132 One, the tribute money, by Stepli. Baudet, fine, 
 
 CIRO FERRI. 
 
 » * / 
 
 133 Two, Moses striking the rock, by Pietro Aquila. 
 
 PIETRO DA CORTONA. 
 
 Daniel in the lions’ den, by Aug. d Via. 
 
 CARLO CIGNANI. 
 
 134 Five, St. Benedict, by Jac. Frey. 
 
 GIAMBATISTA GAETLE 
 Called BACHICHE. 
 
 St. John preaching in the wilderness, by FEpicier. 
 St. Clara, by L. Desplaces. 
 
 J. F. ROMANELLI. 
 
 Moses striking the rock, by Honssart. 
 
 The finding of Moses, by Simon Vallee. 
 
 135 Five, The Israelites gathering manna, G. . Raymond . 
 
 /■ 
 
 /- 
 
16 
 
 SERIES OF PAINTERS. 
 
 Seeond Day. 
 
 I 
 
 ANDREA SACCHI. 
 Christ hearing his cross, Vallee. 
 Hagar in the desert, Simonneau. 
 Death of Abel, by Hortemels. 
 
 The Nativity, by F. Pilsen. 
 
 PIER FRANCESCO MOLA. 
 
 /$ 136 Four, St John preaching in the wilderness, G. Lebas. 
 
 Jacob and Rachel, by Jeaurat. 
 
 Repose in Egypt, by ditto. 
 
 LUCA FERRARI. 
 
 The executioner bringing the head of St. John the Bap¬ 
 tist, by B. Curtus. 
 
 CARLO MARATTI. 
 
 137 
 
 /X6 138 
 
 'f* ^ 139 
 
 6* 6 140 
 
 Five, Tuccia the Vestal virgin, two different impression*, 
 with variations. 
 
 The Annunciation, by Tardieu. 
 
 St. Francis adoring a picture of the Virgin, by G. Frey. 
 Wise men’s offering, by ditto. 
 
 Four, Judith and Holofernes, by ditto. 
 
 Joseph and Potiphar’s wife, by ditto. 
 
 Adoration of the shepherds, by Poilly. 
 
 Flight into Egypt, by Frey. 
 
 One, Galetea, by Audran , fine. 
 
 Four, St. John preaching, by Dupuis. 
 
 St. Bernard reconciling the antipope Victor to Inno¬ 
 cent II. by Frey. 
 
 FRANCESCO TREVISANI. 
 
 Holy family, by Nicholas Pigne. 
 
 POMPEO BATTONI. 
 Apotheosis of Benedict XIV. by Frey 9 
 
SERIES OF PAINTERS. 
 
 17 
 
 Second Day 
 
 VENETIAN SCHOOL. 
 
 GIOVANNI BELLINO. 
 
 138 Four, Three from the ancient Brussels Gallery, and one £ 
 
 imitation of a drawing-. 
 
 GIORGIONE DA CASTEL FRANCO. 
 
 139 Christ bearing his Cross, by Horthemels. 
 
 A pastoral subject by Dupuis. 
 
 Two figures by J. Troyen. 
 
 The Finding of Moses, by P. Aveline. 
 
 TiTIANO VECELLI. 
 
 140 Two, Portrait of Pietro Aretino, by Hollar, fine and rare. 
 
 Ditto of Daniel Barbaro, by Ditto , ditto. 
 
 141 Four, Portrait of Pietro Aretino, by Hollar. 
 
 Ditto of Francis I. by Petit. 
 
 Ditto of Lady with a Black, two, with variations. 
 
 142 Three, Portrait of P. Aretino, by Vercruys. 
 
 Ditto of Ippolyto d£ Medici. 
 
 Ditto of Cosmo d£ Medici, by Picchianti. 
 
 143 Two, The Conaro Family, by Baron. 
 
 The Descent from the Cross, by Rousselet. 
 
 144 Two, Noli me tangere, by Tardieu. 
 
 Holy Family, by Peter de Jode. 
 
 145 One, Christ at Emaus, called The Table-cloth, by Ant. 
 
 Masson , fine and rare. 
 
 146 Three, Danse, by Vercruys. 
 
 Ditto, by Des Place. 
 
 Human Life, by Ravenct. 
 
 147 Four, Danse, by Lisebetius. 
 
 The Martyrdom of St. Lawrence, by Sadeler. 
 
 D 
 
 
 & 
 
 h.. h 
 
 A //~ /o 
 
 A 7— 
 
IS 
 
 SERIES OF PAINTERS. 
 
 Second Day. 
 
 Virgin and Child, by Corn. Bloemaert . 
 
 S. Christopher, by Zncchi. 
 
 148 Three, Jupiter and Antiope, by Baron. 
 
 The same subject etched by Corneille. 
 
 A Bacchanalian Scene, anonymous. 
 
 149 Two, The Court of Heaven, by Corn. Cort. 
 
 S. Peter Martyr, by Martin Rota. 
 
 150 The Court of Heaven, by Corn. Cort. 
 
 Virgin, Child, and S. John, by Vercruys. 
 
 Vanity, by Befebre. 
 
 151 Three, Prometheus, by Corn. Cort. 
 
 Diana and Calisto, by Ditto , fine, and rare. 
 
 The same subject, varied, by Van Kessel. 
 
 152 Four, The Pentecost, by Corn. Cort. 
 
 The Repose in Egypt, by Ditto. 
 
 Ditto, by Julio Bonasone. 
 
 St. George and the Dragon, by Corn. Cort. 
 
 153 Four, The Triumphs of Petrarch, a set, by Pomaredc 
 
 /Z. 154 Venus blinding Cupid, by Strange , fine impression . 
 
 Titian’s Son and his Nurse, by Murphy , mezzotinto. 
 
 
 
 y 
 
 /* 
 
 //• 
 
 0 - 
 
 ANTONIO EEGILLO, called PORDENONE. 
 
 j /t 355 Two, S. Lawrence and other Saints, by Zucchi. 
 
 The entombing of Christ, by Troyen. 
 
 GIACOMO ROBUSTI, called TINTORETTO. 
 
 //),. 156 Two, Christ washing the Feet of his Disciples, by Zucchi . 
 
 The Murder of the Innocents, by JEgidius Sadler t fine 
 impression. 
 
 fijl £ 157 Five, The last Supper, by Zucchi . 
 
 S. George, by Ditto. 
 
 S. Jerome and S. Andrew, by Ditto. 
 
 Jacob’s Ladder, by Ditto. 
 
 The Column of Fire, by Ditto. 
 
SERIES OF PAINTERS. 
 
 19 
 
 158 
 
 159 
 
 160 
 
 161 
 
 162 
 
 163 
 
 164 
 
 165 
 
 166 
 
 167 
 
 Four, Aurora, by Zac chi. 
 
 Cybele, by Ditto. 
 
 S. Peter adoring the Cross, by Ditto. 
 
 The Martyrdom of S. Christopher, by Ditto. 
 Three, The Birth of Saint John, by Horthemels. 
 The Flight into Egypt, by Osscnbeck. 
 
 The Israelites gathering Manna, by Ditto. 
 
 Second Day 
 /£< 
 
 GIACOMO BASSANO. 
 
 Nine, Diana and Actseon, by Dupille. 
 
 Six landscapes and two heads, from Ihe Brussels Gallery. 
 
 PAUOLO VERONESE. 
 
 Two, Christ at Emaus, by Claude Dujlos. 
 
 The Adoration of the Shepherds, by Jacobs. 
 Three, Adoration of the Magi, by Horthemels. 
 The Marriage of Saint Catherine, by Ditto. 
 Rebecca at the Well, by Moyreau. 
 
 Two, The Finding of Moses, by Jeaurat. 
 
 The Disciples at Emaus, by Thomasin. 
 
 Four, Christ in the Tomb, by Caspar Duchange. 
 Mercury and Herse, by Jeaullain. 
 
 A Sacrifice, by Lefebre. 
 
 Esther and Ahasuerus, by Hollar. 
 
 
 ALESSANDRO VERONESE. 
 
 Two, The Deluge, by Edelinck, Jine impression. 
 The Marriage of S. Catherine, by Scotin } ditto * 
 
 JACOMO PALMA. 
 
 Eight, The Salutation, by Lisibetius. 
 
 Niobe, by Ossenbeck. 
 
 Six others from the Brussels Gallery. 
 
 Three, The Assumption of the Virgin, anonymous. 
 
 
20 
 
 SERIES AF PAINTERS, 
 
 Second Day. 
 
 The Martyrdom of S. Sebastian, by Sadeler, 
 
 Saint Jerome, by Goltzius. 
 
 166 Two, The Holy Family, by Picart, fine impression, 
 Scourging of Christ, by Sadeler, ditto. 
 
 ANDREA SCHIAVONE. 
 
 X 6 169 Five, Jupiter and Io, by Aveline. 
 
 Four Scriptural subjects, from the Brussels Gallery. 
 
 PIETRO DEL VECCHIO. 
 
 /> 170 Five, Two by Vorsterman , from the Brussels Gallery 
 
 POLIDORO of VENICE. 
 
 Three Holy Families, Ditto. 
 
 CARIANI. 
 
 (> 1^1 Four, Christ bearing the Cross, by Boel. 
 
 VAROTARI. 
 
 Three, from the Brussels Gallery. 
 
 JEROME MUTIEN. 
 
 /* /? ‘ ~ 172 Six, Five upright landscapes, with Saints, by Cornelius 
 
 Cort, Jine impression. 
 
 Saint Francis receiving the Stigmata, by Ditto. 
 
 $ 173 Three, Christ washing the Feet of his Disciples, by Des- 
 place. 
 
 The Resurrection of Lazarus, by S. Vallee* 
 
 The Holy Family, by F. Villamena. 
 
 PAULO FARINATO. 
 
 t- / 1 
 
 P 174 Three, Holy Family, by Thomasinus. 
 
 MARCO DEL MAURO. 
 Adoration of the Magi, anonymous. 
 
SERIES OF PAINTERS. 
 
 21 
 
 VALERIO BASSANINO. 
 
 Rape of the Sabines, by Lorenzini. 
 
 DOMENICO FETI. 
 
 175 Seven, David, by Chereau. 
 
 Portrait of a Comedian, by Larmessin. 
 
 The Virgin, by Frederick Hortemels. 
 
 Four others, from the Brussels and Crozat Collections. 
 
 176 Five, Dives and Lazarus by Haussart. 
 
 Adoration of the Shepherds, by Ravenet. 
 
 The Guardian Angels, by N. Dupuis. 
 
 Rural Life, by Scotin. 
 
 Melancholie, by Tkomassin. 
 
 LOMBARD SCHOOL. 
 
 f 
 
 ANDREA MANTEGNA. 
 
 177 Two, imitations of drawings, by Metz. 
 
 FRANCESCO FRANCIA. 
 
 17S Two, an allegorical subject, engraved by G. Folkema , from 
 the Dresden gallery. 
 
 Virgin, Child, and Saints, an imitation, by Metz . 
 ANTONIO DA CORREGGIO. 
 
 179 Three, a portrait, engraved by Tanje from the Dresden 
 
 gallery. 
 
 A portrait, Arcolano Armafrodito, by Hollar . 
 
 A Lady’s head, by Watson. 
 
 180 Two, the marriage of St. Catherine, by Mercati. 
 
 The St. Jerome, by Corn. Cort. 
 
 Second Day. 
 
 //.£ 
 
 //,- 
 
 A- 
 
22 
 
 SERIES OF PAINTERS. 
 
 Second Day. 
 
 //- 
 
 //./> 
 
 7 - 
 
 <f.6 
 
 /, /i 
 
 7 * 
 
 /- 
 
 7 - 
 
 /a/> 
 
 /, /t>~ 
 
 181 Three, The Nativity called La Notte, etched by Mattliiolu 
 
 The same subject, anonymous. 
 
 The Virgin and Child, from ditto. 
 
 182 Three, The Virgin, Child and St. John, a large circle, by 
 
 Bazin. 
 
 Holy family, an etching, by Aquila. 
 
 Virgin and Child, ditto, anonymous. 
 
 183 Two, Virgin and Child, by Bom. Cu?iego. 
 
 Ditto, by Vorsterman. 
 
 184 Three, Marriage, of St. Catherine, by Mercati. 
 
 The same subject, by Capitelli. 
 
 The same subject, by Angelica Kauffman. 
 
 185 Two, Repose in Egypt, by Fr. Brizio. 
 
 Virgin and Child, fine etching, anonymous. 
 
 186 Six, Virgin and Child, by Brouet. 
 
 Marriage of St. Catherine, large circle. Pic art. 
 
 Virgin and Child, by Corvi. 
 
 Ditto, by Cooper and two others. 
 
 187 Four, Two Allegorical, by Picart. 
 
 Two Etchings, anonymous. 
 
 188 Three, La Madonna della Scala, Ravenet. 
 
 An Allegorical subject by Lorenzini. 
 
 An etching of a martyrdom, by Vanni. 
 
 189 Two, Diva Magdalena, by Bartolozzi. 
 
 Christ in the Garden, by Cunego. 
 
 190 Two, Virgin and Child, with S. George and other Saints, 
 
 from the Dresden Gallery, by Beauvais. 
 
 Virgin and Child, with Saints. 
 
 191 Two, Danse, by Buchange. 
 
 Venus and Cupid, by Sornique. 
 
 192 Twelve, The Groups from the ceiling of the church of the 
 
 Benedictines at Parma, 12 pieces with the title, by 
 
 Jacobus Maria Jovianinus, 1700, Jine impressions , 
 very rare. 
 
SERIES OF PAINTERS. 
 
 193 Twelve, from the Ceiling at Parma, etched by Vanni,fine , 
 
 and rare . 
 
 < • 
 
 194 Seven, Various, of the Reception of the Virgin into Hea¬ 
 
 ven, from the dome at Parma, by Aquila , fyc. 
 
 195 Six, Groups from Ditto, by Badalocchio , the set , fine and 
 
 rare. 
 
 196 Four, Virgin and Child, by Edelinch . 
 
 Three studies by Ryland. 
 
 FRANCESCO MAZZUOLI. 
 
 Called PARMEGIANO. 
 
 197 Six, St. Peter returning from prison, by Corn . Cort . 
 
 Holy Family, by Eneas Vico . 
 
 Virgin and Child, by Bonasone . 
 
 And three others. 
 
 19S Four, Holy Family, by Bonasone. 
 
 And three others. 
 
 199 Two, A Marriage, by Caraglio. 
 
 The Holy Family, with St. John, by Bis si, 
 
 PRIMATICCIO. 
 
 200 Six, Vulcan’s Forge, anonymous . 
 
 Four groups by Ghisi. 
 
 One other. 
 
 201 One, The Gods on Olympus, from the centre of the ceil¬ 
 
 ing of Fontainbleau, very fine and rare. 
 
 FRANCESCO SALVIATI. 
 
 202 Three, The Martyrdom of St. Catherine. 
 
 JULIO CAM PI. 
 
 Holy Family, with Saints and Angels, anonymous . 
 
 LORENZO SABBATINI. 
 
 The Feast at Canaan, by Corn . Cort . 
 
 23 
 
 Second Day. 
 /~/#^ - 
 
 //- 
 
 s ;.6 
 
 4 - 
 
 '/,6 
 
 //^ 
 
 m 
 
 /‘-t 
 
24 
 
 SERIES OF PAINTERS. 
 
 Second Day, 
 
 A- 204 
 
 ^ 205 
 
 206 
 
 /C 207 
 ^ 20S 
 ^ 209 
 
 0c r 210 
 
 t J 
 
 6'.6 211 
 ^212 
 
 BENVENUTO GAROFALO. 
 
 Two, The Virgin adoring the Infant Jesus, by Poilly. 
 Christ with the Samaritan Woman, by Hortemels. 
 
 LODOVICO CARACCI. 
 
 Six, His Portrait by Town/y. 
 
 The Nativity of St. John the Baptist, by Cunego. 
 
 St. John, preaching in the Wilderness, by Wagner, 
 Ceres, by Pisari. 
 
 Pluto, by Ditto. 
 
 Abraham and the Angels, by Rosaspina . 
 
 AGOSTINO CARACCI. 
 
 Two, Virgin and Child, with Saints, by Fariati. 
 
 A Landscape with figures, by Bartolozzi. 
 
 ANNIBALE CARACCI. 
 
 Three, Calvary, by Desplaces. 
 
 St. Francis, by Corneille. 
 
 One other, by Bartolozzi. 
 
 One, Saint Roche giving Alms, by Camerata , fine im 
 pression. 
 
 Two, Saint Gregory, with Angels, by Frey. 
 
 The Assumption of the Virgin, by Chasteau. 
 
 The Stoning of St. Stephen, by Ditto. 
 
 Venus, by Lorenzini. 
 
 Two, The Stoning of St. Stephen, by Baudet. 
 
 The Silence, by Picart , fine impression. 
 
 DOMENICO ZAMPIERI. 
 
 Called DOMENICHINO. 
 
 One, The Communion of St. Jerome, etched by C. Tester 
 Two, The same subject by Frey. 
 
 Justice and Temperance, by Ditto. 
 
SERIES OF PAINTERS. 
 
 213 Four, Groups of the Evangelists, by Dorigny . 
 
 214 Three, King David, by Rousselet. 
 
 St. Cecilia, by Pica. 
 
 JEneas and Anchises, by G. Aadran. 
 
 215 Two, Adam and Eve, by Tardieu. 
 
 Diana and her Nymphs, etched by Venturini. 
 
 Second Day. 
 
 
 GUIDO RENI. 
 
 216 Two, The Doctors of the Church, by Frey, fine impression. 
 
 St. Francis in Meditation, by Rousselet. 
 
 217 Four, The Labours of Hercules, by Ditto. 
 
 218 Two, Holy Family, with St. John. 
 
 Erigone, by Vermeulen. 
 
 219 One, Cleopatra, by Strange, fine impression. 
 
 A><- 
 
 / 2 ^ 
 
 FRANCISCO ALBANO. 
 
 220 Six, His Portrait, by Frezza. 
 
 Nox, by Ditto. 
 
 Polyphemus, two plates, by Ditto. 
 
 Apollo, &c. by Ditto. 
 
 Venus, by Ditto. 
 
 221 Five, The Nativity of the Virgin, by Bartolus. 
 
 Jupiter and Leda, anonymous. 
 
 Venus and Cupid, by Dufios. 
 
 One emblematical, by Bloemart. 
 
 The Nereiads, by Cunego. 
 
 FRANCISCO BARBIERI. 
 
 Called GUERCINO. 
 
 222 Four, His Portrait, by Clouvet. 
 
 S. Petronilla, by Frey. 
 
 Two etchings by Bartolozzi. 
 
 GIOVANNI LANFRANCO. 
 
 223 Two, The separation of St. Peter and St. Paul, by Picart 
 
 E 
 
 /A 
 
 /> 
 
 6,6 
 
28 
 
 SERIES OF PAINTERS, 
 
 Second Day. 
 
 S. BADOLOCCHI. 
 
 i >» A 
 
 The Judgment of Paris, by Frezza. 
 
 SEBASTIANO CONCA. 
 
 224 Two, The Virgin and Child, with Saints, by Frey . 
 
 The Virgin in Glory, with Angels, by Ditto. 
 
 225 Fifteen, after various Italian Masters, some rare. 
 
 228 Eight,, ditto, ditto. 
 
 226 Six ditto. 
 
THIRD DAY’S SALE. 
 
 SERIES OF PRINTS 
 
 ILLUSTRATING THE RISE AND PROGRESS OF 
 
 ENGRAVING. 
 
 ITALIAN. 
 
 228 Nineteen, curious specimens of early engraving, very rare . 
 
 BACCIO BALDINI. 
 
 229 One, Dante and Virgil at the entrance of the wood, after 
 
 Sandro Botticelli. rariss . 
 
 230 Two, Beatrice recommends Dante to the care of Virgil, 
 
 after ditto, rariss. 
 
 Another copy of the same, in a different state .— These 
 very early specimens are from the rare edition of 
 Dante, of 1481. 
 
 ANTONIO POLLAIUOLO. 
 
 231 One, Hercules and Anteeus, arched at the top, a brilliant' 
 
 impression , and of the greatest rarity. 
 
 \ 
 
 232 One, The Battle in the Wood, inscribed opvs antonii 
 
 POLLAIOLI FLORENTINI. RARISS. 
 
 ANDREA MANTEGNA. 
 
 233 One, The Virgin and Child, the original print; of which 
 
 Strutt has given a copy in his Dictionary of Engravers. 
 
 Third Bay. 
 
 A- - 
 
 A/d-~ 
 
 r, /?./> 
 
 J‘4— 
 
28 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. 
 
 f 234 One, Hercules and Antaeus, with the inscription divo 
 
 HERCVEI INVICTO. 
 
 235 One, Combat of Sea Gods, excited by Envy, c< Ce mor - 
 '4./2.R V “ ceau est un cles plus beaux de V oeuvre de Mantegna. 
 
 “ Vasari en fait mention .” v. Bartsch , Peintre Gra¬ 
 ven r. iii. 239. 
 
 jf/l— 236 The same, a fne impression , but cut less. 
 
 Jafi One, Combat of two Tritons. 
 
 238 The Triumph of Bacchus and Silenus.— This print is also 
 cited by Vasari. 
 
 f/,. 6 239 One, the descent from the Cross, fine impression , extreme¬ 
 ly rare, mentioned by Vasari. 
 
 — 240 One, The burial of Christ, “ Cette estampe, dont Vasari fait 
 <e mention, est une des plus parfaites de V ceuvre d y 
 
 “ Andrea Mantegna, tant pour le dessein que pour 
 
 * 
 
 “ les expressions Sf la gravure .” Bartsch , xiii. 230. 
 The original picture by Andrea Mantegna is in this 
 collection. 
 
 - 241 One, The Senate of Rome accompanying a Triumph.— Proba¬ 
 bly intended as a part of his triumph of Julius 
 Ccesar , but not introduced in that ivork. 
 
 /„/$< 242 Two,Another copy of the same, Soldiers bearing trophies, 
 
 very fne. 
 
 ZOAN ANDREA. 
 
 /* // 243 One, four Nymphs dancing, from a design of Andrea 
 
 Mantegna. Bartsch, xiii. 305. 
 
 // _ 244 One, an allegorical subject of seven figures, after Andrea 
 Mantegna. Bartsch, xiii. 304. 
 
 A /- - ~ 
 
 J. A. BRIXIENSIS. 
 
 Two, Senators of Rome attending a Triumph, a copy from 
 the print of Andrea Mantegna, fne impression. 
 Grotesque ornaments with figures, marked io. an. bxvs. 
 
SERIES OF ENGRAVERS. 
 
 29 
 
 ROB ETTA. 
 
 Third Day, 
 
 246 One, the adoration of the Magi, fine impression, Bartsch, L ?„ ft 
 
 xiii. 396. 
 
 247 One, Venus surrounded with Cupids, fine impression, very /„ 
 
 rare. Bartsch, xiii. 403. 
 
 248 One, Cupid binding a young man to a tree. Bartsch , 
 
 xiii. 406. 
 
 DOMENICO CAMPAGNOLA. 
 
 25(^ One, a female reclined in a landscape, inscribed do. camp. 2 * 3 ~ V 
 1517. 
 
 JULIO CAMPAGNOLA. 
 
 249 One, St. John the Baptist, inscribed ivlivs campagnola. f. 
 fine impression. 
 
 2 ,. //>< 
 
 ANONYMOUS. 
 
 250 One, Portait of a Florentine Lady , nearly the size of life, 2?" 
 
 turned towards the right, and elegantly dressed, with 
 an ornament of jewels on her forehead, apparently 
 from the design of Lionardo da Vinci , and executed 
 in a style which indicates a very early state of the art: 
 but without the name or mark of any engraver. —Of 
 this very rare and singular print, no description has 
 been found, or copy met with, in any catalogue or 
 collection. 
 
 251 One, the four sons of the king shooting at the dead body <?" /V ^*- ' 
 
 of their father, from the Gesta Romanorum. v. War- 
 ton’s History of English Poetry, vol. 3, Dis¬ 
 sertation, p. xxii. A curious specimen of very early 
 engraving. 
 
30 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. 
 
 MARC ANTON 10 RAIMONDI. 
 
 252 One, four Cupids at play, one of them is endeavouring to 
 carry another in a kind of pannier, assisted by the 
 two others ; marked m.a.f. at the bottom, on the right; 
 on the pannier is inscribed the year 1506.— One of 
 the earliest productions of Marc-Antonio, at the age 
 of nineteen ; engraved after Francesco Francia, rare. 
 
 /'> /f 253 Three, the death of Lucretia, with the Greek inscription. 
 
 The first print engraved by him after the works of Raf- 
 faelle. “ Extremement rare” Bartsch , xiv. 156. 
 
 The same subject copied in reverse, by Agostino Vene¬ 
 tians , very fine. 
 
 The same subject in a landscape, with a different des¬ 
 cription ; supposed by Heineken to be Dido. Diet, 
 des Artistes , vol. i. p. 347. 
 
 s? y 254 Three, Adam and Eve driven from Paradise, after Michel- 
 
 agnolo , in the ceiling of the Sistine chapel. “ Ex¬ 
 tremement rare.” Bartsch, xiv. 4. ivhere he has 
 erroneously attributed the design to Raffaelle. 
 
 Another impression of ditto. 
 
 Two figures, standing and pointing towards some distant 
 object, after Michelagnolo , Heinek i. 362. 
 
 '2,, 255 One, the Queen of Sheba visiting Solomon, very fine im¬ 
 
 pression. 
 
 /Vl/ 7 256 One, the Virgin and Child, called La Vierge au Palmier. 
 Heinek i. 291. 
 
 C’est une des plus parfaites que Marc-Antoine ait 
 gravees d'apres Raphael. Bartsch xiv. 69. 
 
 /,._ 257 Three, the Virgin and Child, w ith St. Ann and St. Eliza¬ 
 
 beth, called la Vierge au berceau. Bartsch xiv. 70. 
 
 A copy, attributed by Bartsch to Marco da Ravenna. 
 “ des plus trompeuses qu'on a jamais faite , et qui a 
 ete toujours confondue avec V original , me me par les 
 
SERIES OF ENGRAVERS* 
 
 connoisseurs lesplus exerces .” Bartsch ib. He has 
 shewn the slight differences hy an engraving , tab. xiv. 
 
 %. 5. 
 
 Another copy, reverse in red ink. 
 
 *258 Three, the Virgin and Child seated in the clouds, from a 
 design for the great picture of Raffaelle at Foligno, 
 Jine impression. 
 
 Copy of the same, well executed. 
 
 A repetition of the same design, with variations, with the 
 heads of Cherubim added by Agostino Caracci. 
 
 259 Two, the Virgin, Child, and St. Ann, in a niche. The 
 
 Virgin seated on the right, with the Child standing on 
 her knee, St. Ann opposite receiving the Child from her. 
 The cypher of Marc Antonio at the bottom, on the left. 
 This print resembles a larger one described by Hcine- 
 ken i. 292. extremely rare . 
 
 The little Pest, called the Morbetto, fine impression , hut 
 much cut doivn . 
 
 260 Two, Christ seated between two columns in the Temple, 
 
 the Virgin and another ascending the steps, called by 
 Bartsch, Notre Dame d Vesccdier. 
 
 Copy of the same, with the tablet marked m. a. f. 
 
 2G1 One, the Virgin lamenting over the dead body of Christ, 
 called. La Vierge au bras nud. Cette piece rare 
 est une desplus belles productions de Marc-Antoine.” 
 Bartsch xiv. 40. 
 
 262 One, the Saviour seated in the clouds, between the Virgin 
 
 and St. John ; St. Paul and St. Catharine below; called 
 the Five Saints, mentioned by Vasari as a large and 
 very fine print. Mariette’s impression, with his name. 
 
 BRILLIANT AND RARE. 
 
 263 One, The Descent of the Holy Ghost, v. Heinek. i. 377, 
 
 who thinks it is engraved by Caraglio. 
 
 ° i 
 
 U I 
 
 Third Day* 
 
 A - 
 
 /fc 
 
 /F./> 
 
32 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. 
 
 // 264 
 
 /. 265 
 
 A _ 2 «* 
 
 /,//. 207 
 y 268 
 2 <59 
 
 A /7 270 
 /.. /_ 271 
 
 One, the Martyrdom of St. Laurence, after Baccio Bandi - 
 nelli, a fine impression. 
 
 “ Cette superbe estampe , rare, est une de 
 
 celles on Marc-Antoine a fait voir ce qu'il etoit ca¬ 
 pable de fiaire dans sa plus grande force” Bartsch* 
 xiv. 90. 
 
 This print was engraved by Marc-Antonio in return for 
 the assistance afforded him by Bandinelli in prevail¬ 
 ing 1 on Clement VII. to release him from prison ; where 
 he was confined as a punishment for engraving a series 
 of indecent prints after Giulio Romano, with the verses 
 of Pietro Aretino. 
 
 Two, Hercules and Antaeus. Heinek i. 311. Bartsch xiv, 
 346. The design is by some attributed to Michelag- 
 nolo. 
 
 Cupid and the Graces, one of the Angles in the Palazzo 
 Chigij^mc old impression. 
 
 One, Neptune appeasing the Storm, surrounded by nine 
 other historical subjects from Virgil, called the Quos 
 Ego. 
 
 One, the Parnassus. “ Une des plus belles estampes que 
 Marc-Antoine ait gravees .” Bartsch xiv. 300. 
 
 One, the Judgment of Paris, an early impression, before 
 the Address of Salamanca. 
 
 One, Marc-Antonio’s Dream, erroneously called by Bartsch 
 “ Le Songe de Raphael ,” from the design of Marc- 
 Antonio, fine impression, extremely rare. 
 
 Two, Angelica and Medoro, after a design of Giulio Ro¬ 
 mano. Bartsch xiv. 359* 
 
 Copy of the same. 
 
 One, the Stregozzo, called in France La Carcasse, attri¬ 
 buted by some to Agostino Veneliano, on account of the 
 letters a. v. found on some of the later impressions, and 
 supposed by others to have been begun by Marc- 
 Antonio, and finished by Agostino. An early impres - 
 
SERIES OF ENGRAVERS. 
 
 33 
 
 Third Day. 
 
 sion, without the letters , but with the tablet of Marc- 
 Antonio. 
 
 The design is attributed by Lomazzo to Michelagnola . 
 
 272 Two, a Lion Hunt, from an ancient bas-relief, inscribed 
 
 “ Qibce stabantf Sfc. with the cypher of Marc-An - 
 tonio. 
 
 The Battle of the Cutlass, without mark or name. 
 
 273 Three, Sacrifice to Priapus, after Giulio Romano , with the 
 
 cypher. Heiiuek i. 328. 
 
 A Dance of nine Children. Heinek i. 369. 
 
 A Satyr carrying a naked Woman. Heinek i. 310. 
 
 274 Two, the Cassolette, supposed to have been designed by 
 
 Raffaelle , for Francis I. Bartsch xiv. 362. 
 
 Cleopatra asleep, from an ancient statue at Rome. 
 
 275 Five, The Virtues—Faith, Justice, Charity, Prudence, and 
 
 Temperance ; with the cypher ; fine impressions. 
 
 276 Five, Christ seated, in sorrow, and four others, copied by 
 
 Marc-Antonio, from the Life of Christ by Albert Du- 
 rer; all marked with the tablet of Marc-Antonio, and 
 with that of Albert Durer. 
 
 277 Seventeen, the Life of the Virgin, copied from the en- c /,, /2^, 
 
 gravings in wood by Albert Durer , and marked with 
 his cypher. In the last print is the cypher of Marc- 
 Antonio. 
 
 The set by Alb. Durer consists of 24 prints , ofivhich 
 Marc Antonio copied only 17. 
 
 278 Nine, an emblematical frieze, with six figures, Heinek. i. j?,. 3 — 
 
 318, very rare; and eight others, various, some rare . 
 
 279 Thirty-two, the History of Cupid and Psyche, in thirty- 3^— 
 
 two pieces, by Marc-Antonio and his Scholars Agos- 
 tino Veneziano and Marco da Ravenna , from the 
 designs of Raffaelle — a fine and perfect set. 
 
 f 
 
34 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. . 
 
 DOUBTFUL PIECES, 
 
 AND COPIES AFTER MARC-ANTONIO. 
 
 /. - 
 
 /.. //- 
 
 280 Two, the Descent from the Cross. “ Copie tres exact e, 
 
 fiaite trait pour trait d'apres Vestampe originate, par 
 une anonyme .” Bartsch xiv. 37 . Very fine im¬ 
 pression. 
 
 Noah commanded to build the Ark, with the letters r. v. 
 (Raphael Urbinas) on the step , fine impression. 
 
 281 Two, the Assumption of the Virgin, after Raffaelle. 
 
 Christ healing the Sick, after Ditto , very fine. 
 
 282 Four, Alexander ordering the Works of Homer to be placed 
 
 in the Chest of Darius, after Raffaelle. 
 
 The Archers, after Michelagnolo. 
 
 Venus after having bathed, Cupid with his bow T , after 
 the original of Marc-Antonio. “ Superieurement bien 
 gravee par un anonyme de beaucoup de merite.” 
 Bartsch xix. 225. 
 
 A Woman drawing a Thorn from her Foot, after Raffa¬ 
 elle, marked 1532. 
 
 AGOSTINO VENEZIANO. 
 
 A///*. 213 Two, the Sacrifice of Abraham with the mark a. v. although 
 
 Vasari says, the print is engraved by Marc-Antonio; 
 beautiful impression. 
 
 The Benediction of Isaac, marked a. v. 1524. 
 
 /A , ^ 284 Two, the Annunciation, marked rap. inv . fine impression. 
 
 The Nativity, after Giulio Romano. 
 
 V- 285 Two, the Virgin and Child, St. John presenting a wreath of 
 flowers, marked a. v. 
 
 Virgin and Child in the clouds, with Angels, marked a.v. 
 
 //..6 280 Two, Alexander and Roxana, very fine. 
 
 A naked Woman, seated, her right hand resting on a vase. 
 y ^7 287 Two, an emblematical subject, representing an Assembly 
 
 in the clouds, a Woman blowing a trumpet, &c. after 
 Bandinelli , marked 1510, a. v. very rare. 
 
SERIES OF ENGRAVERS. 
 
 35 
 
 Cleopatra with the Serpent, her right hand on an urn, on 
 which are the letters a. v. above is the year 1515, after 
 Bandinelli. 
 
 288 Two, Psyche taken up into the air by Zephyrs, after Rcffd- 
 
 elle, fine impression , before the address of Lafreri. 
 Hercules strangling the Serpents, dated 1533, very fine 
 impression. 
 
 “ Cette estampe est une de celles qu' Augustin d 
 gravee avec le plus de soin et d'art, et elle est une des 
 plus parfaites de son oeuvre .” Bartsch xiv. 237. 
 
 289 Two, Lycaon changed into a wolf, after Raffaelle with 
 
 the letters a. v. and the year 1524. 
 
 A Figure from the Cartoon of Pisa, by Michelagnolo 
 marked a.v. 1517. 
 
 290 One, Hercules and Antaeus, an old emaciated female seated 
 
 on the ground, supposed to be the Earth (the mother 
 of Antaeus) with the year 1533 and the letters a.v. 
 The design is generally attributed to Raffaelle, but 
 Heineken supposes it to be after either Michelagnolo 
 or Rossi. 
 
 291 Two, An Old Shepherd reposing, said to be after Dome¬ 
 
 nico Campagnola , marked a.v. A very early print 
 of Agostino, referred to by Mr. Landseer, in his 3df 
 Lecture , as the first instance of stippling. 
 
 A Female reposing with a Child in her arms, a Landscape 
 in the back ground, marked a. v. rare. 
 
 292 Two, Venus and Cupid in a Landscape, without mark, after 
 
 Raffaelle, fine impression. 
 
 The same subject with variations, a Landscape seen 
 through a window. 
 
 293 Three, Pedestal for a Column, sent to Raffaelle , from 
 
 Constantinople. 
 
 Third Day. 
 
 /. <}- 
 
 /*- 
 
 /. /2 _ 
 
 /- - 
 
 A- 
 
36 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. 
 
 Psyche on a Dolphin attended by Cupid, a butterfly 
 above, erroneously called Mentis by Heineken i. 621. 
 
 The triumph of Silenus after Ruffaelle. 
 
 /„ /f. 294 One, Venus and Vulcan with Cupids, marked Raph. Urb. 
 
 dum viveret. inven. and below a tablet with the 
 letters' A. v. 1530. It is more probably from a design 
 of Giulio Romano , fine impression. 
 
 2 2 295 A group of five figures from the School of Athens, with 
 
 the portait of Raffaelle, marked m.d.xxiiii. a .y. fine 
 impression. 
 
 /a 296 Two, A group from the Cartoon of Pisa, called the Grim- 
 
 peurs, marked 1524. a.y. fine impression. 
 
 The Statue of Apollo. 
 
 2 * /tf. 297 Two, The Cemetery, or Les Squelettes, after Bandinelli, 
 
 with the inscription avgvstinvs venetvs de mvsis 
 faci ebat 1516 fine impression. The family name 
 of Agostino is known only from this print. 
 
 The Academy of Baccio Bandinelli , marked 1530 A.v. 
 
 2a 2 ~ 298 Two, The Assembly of the Gods, said by Vasari to be 
 
 engraved by Agostino and Marco du Ravenna , after 
 Raffaelle. 
 
 The Nuptial feast of Cupid and Psyche, attributed by 
 Vasari to the same engravers, fine impression. 
 
 /C /- 299 Four, The Evangelists after Julio Romano. 
 
 MARCO DA RAVENNA. 
 
 /<■ /*—, 300 Three, Venus after bathing, after Raffaelle , Bartsch xiv. 
 
 225. 
 
 A copy, reverse, very fine. 
 
 Another larger, with considerable alterations. 
 
 ‘2 .. 2 .-301 Two, Venus and Cupid riding on Sea Monsters, with the 
 
 engraver’s usual mark. 
 
SERIES OF ENGRAVERS. 
 
 37 
 
 A Nymph drawing- a thorn from her foot; before her 
 a rabbit, companion to the former, fine impression. 
 
 302 Two, St. Michael, trampling- the Demon under foot. 
 
 A Woman leading a Lion, attributed by some to Marc 
 Antonio, jine impression. 
 
 303 Two, The rape of Helen, after Raffaelle, fine impression, 
 
 A Nymph on a Triton, a rudder in his hand. 
 
 304 Two, La Madonna della Pescia, from the Picture in the 
 
 Escurial, fine impression. 
 
 A group of Figures, from the School of Athens. 
 
 305 Two, Laocoon, after the antique Statue, before the modern 
 
 repairs, marked marc vs raven as. and at the bottom 
 laochoon. “ Estampe tres rare” Heinek 1.656. 
 The Statue of Marcus Aurelius. 
 
 306 One, The Slaughter of the Innocents, after Baccio Bandi- 
 
 nelli, a superb impression. 
 
 307 Thirteen, Christ and the twelve Apostles, ivith the usual 
 
 mark. 
 
 Third Day. 
 0 - 
 
 /. 2 ~ 
 wu 
 
 X 4?- 
 
 /> i~ 
 
 A 
 
 GIULIO BONASONE. 
 
 SOS Two, Adam and Eve driven from Paradise, “ Bizarre com¬ 
 position.”— The design is attributed in Wincklers’ 
 catalogue, to Amico Aspertini. 
 
 The Animals quitting the Ark, after Raffaelle. 
 
 309 Two, Joseph sold by his Brethren, after Raffaelle. 
 
 The Cup found in Benjamin’s Sack, Jine. 
 
 310 Two, The Nativity of John the Baptist. “ Jacobus Flo - 
 
 rentinus , inventor .” Julio B. in. supposed to be after 
 the design of Pontormo. 
 
 The Virgin in Grief, the Body of Christ extended before 
 her on a bier, after Raffaelle. 
 
 311 Two, The Virgin and Child, with St. Nicholas, and other 
 
 Saints, after Parmigiano. 
 
 /‘J~ 
 
 //> - 
 /,/r^ 
 
38 
 
 SERIES OF ENGRAVERS. 
 
 Third Day, 
 
 The Tiburtine Sybil pointing out to Augustus the Virgin 
 and Child in the Clouds. 
 
 /* j ^ 312 Two, Saturn and his three Sons, after Jul. Romano. 
 
 Nymphs and Satyrs in a Cavern by the Sea Side, after do. 
 
 /</ — 313 Two, Jupiter nourished by the Goat, after Ditto. 
 
 Angelica and Medoro, after Ditto. 
 
 /I /j 314 One, A Battle of Cavalry, in which two figures, armed with 
 
 swords, appear in the air. The first idea of Raffaelle 
 for his picture of Attila. 
 
 ~ 315 Four, St. Mark the Evangelist; St. John and St. Peter 
 healing the Lame Man ; St. Paul preaching; and St. 
 Paul and the Dragon, after Perino del Vaga. 
 
 //p _ 316 Two, The Virgin washing the Saviour’s feet, probably from 
 the engraver’s own design. 
 
 The Vintage of Venus, Ditto . 
 
 317 Three, Europa, after Raffaelle. 
 
 Apollo instructiug the Goddess of Painting. 
 
 Mars and Venus discovered by Apollo. 
 
 GIACOPO CARAGLIO: 
 
 fif- 318 Two, The Death of Abel, after Perino del Vaga. 
 
 A Battle, r. i. jacobus, ver. f. after Raffaelle , fine 
 impression. 
 
 319 Twenty, of the Gods of the Heathens, after Rossi Rossi , 
 very fine impressions. 
 
 DOMINICO BARBIERI, called DOMINICO FIORENTINO. 
 
 /, 2. — 320 Two, Four Skeletons, in various attitudes, vases and ar¬ 
 mour in the back ground, fine. 
 
 A Banquet, in the manner of the ancients. 
 
 NICOLO BEATRIZET. 
 
 » 5 321 Two, Christ releasing Souls from Purgatory, after Raffaelle. 
 
 Cain and Abel sacrificing, after Ditto. 
 
39 
 
 SERIES OF ENGRAVERS. 
 
 322 Three, The Flaying- of Marsias, the letter B. on a die. 
 
 Two Battles, from the antique, with the same mark. 
 
 323 Four, .Eneas and Anchises, after Raffaelle , Ditto. 
 
 Another, with variations, Ditto. 
 
 A Frieze, Children with Music, &c. Ditto . 
 
 Hercules subduing Vice, Ditto. 
 
 Third Day. 
 
 A- 
 
 2ENEAS V1CUS. 
 
 324 Two, Dead Christ, supported by St. Joseph, and lamented /,. /jr 
 
 by the holy women, after Raffaelle , 1543. 
 
 The Battle of the Amazons, fine and rare. 
 
 325 Two, Mars and Venus, after Julio Romano. /,. 2 - - 
 
 The Contest between the Picae and the Muses, jeneas 
 VICVS PARM. RESTITVIT, 1553. 
 
 BENEDETTO STEFANI. 
 
 326 Two, The Battle of the Lapithse. 
 
 LUCA BERTELLI. 
 
 The Tribute Money, after Dominico Campagnola. 
 GIOVANNI BR1TANO. 
 
 327 Three, River Gods pouring out their Urns, after Giulio 
 
 Romano , and two others, various. 
 
 CASPARO REVERDINO. 
 
 328 Three, The Vision of St. Peter, marked C. Reverdinus f. 
 Christ crowning the Virgin, surrounded by angels, the 
 Father above giving the benediction. 
 
 The Burial of Christ, after Primaticcio , marked A. fon- 
 
 TA. BLEO. BOL. 
 
 GIORGIO GHISI MANTUANO. 
 
 A 
 
 329 Five, Mars and Cupid, after Giulio Romano. 
 
 The Marriage of S. Catharine, after the same . 
 
 
40 
 
 SERIES OF ENGRAVERS. 
 
 Third Day. 
 
 A Lion devouring a Horse, after the same. 
 
 History, an emblematical figure, after the same. 
 
 The Continence of Scipio, after the same. 
 
 2, 
 
 330 Two, The Nativity, with the Shepherds; Angels above, 
 “ Gloria excelsis ,” marked, G. MF. 
 
 The Ascension, marked, G. MF. 
 
 
 331 Three, Hercules, from the ancient statue. 
 
 /f- 
 
 Mars and Venus, with three Cupids. 
 
 Cupid and Psyche crowned. In the back ground a sacrifice. 
 332 Two, The Punishments, or Prison Scene, after Julio Romano. 
 The Salutation of the Virgin and Elizabeth, after Fran¬ 
 
 2. 2.- 
 
 cesco Salviati. There is an etching of the same sub¬ 
 ject, by G. B. Passarotti , v. Etchings. 
 
 233 One, Raffaelle’s Dream, rare. 
 
 DIANA MANTUANA. 
 
 
 334 Two, Abraham offering up Isaac, after Don Giulio Clovio> 
 1575. 
 
 ///- 
 
 The taking down from the Cross, after J. B. Mantuano. 
 Diana flia incidebat. 
 
 335 Five, Three pieces, composing a frieze of horsemen, after 
 Giulio Romano , Rome, 1575. 
 
 A Sacrifice, after the same. 
 
 A Conversation, after the same, inscribed diana. 
 
 /f- 
 
 PERIECOUT ER. 
 
 336 Five, Two of Terms, marked with the monogram S. P. 1535, 
 rare. 
 
 CORNELIUS CORT. 
 
 Moses and Aaron before Pharoah. 
 
 The Holy Family, after Taddeo Zuccaro. 
 Justice rewarding Merit, after Fred. Zuccaro. 
 
SERIES OF ENGRAVERS. 
 
 41 
 
 AGOSTINO CARACCI. 
 
 337 Three, Portrait of Agostino, by Simon. 
 
 Portrait of Titian, with the inscription above, Titian i 
 
 VECELLII PICTORIS CELEBERRIMI AC FAMOSISSIMI 
 VERA EFFIGIES. 
 
 Portrait of Johannes Gabriel Comicus, nuncupatus Sivel. 
 338, Fifteen, Christ and the Apostles, in fifteen prints, sup¬ 
 posed to be his earliest productions , fine set. 
 
 339 Two, The Virgin extending her mantle over two Saints 
 
 kneeling, with the verses, 
 
 “ Color che uniti in charita perfetta,” &c. 
 
 Dead Christ in the lap of the Virgin, after Michelagnolo, 
 
 340 Four, The Fan, Jirst impression . 
 
 The two pieces of theatrical scenery 
 The Dog of Agostino. 
 
 The Parable of the Sower. 
 
 341 Three, Cupid covering the eyes of a Satyr, to prevent his 
 
 looking at two Nymphs. 
 
 St. Francis praying before a Crucifix. 
 
 342 One, The Great St. Jerome, the plate of which was un¬ 
 
 finished at Agostino’s death , and was completed by 
 Francesco Brizio. 
 
 343 One, The Ecce Homo, after Correggio , 1587. 
 
 344 One, The Virgin and Child, with S. Catharine and S. 
 
 Jerome, called the Great S. Jerome, after the same , 
 1586. 
 
 345 Two, The Virgin and Child, surrounded by angels scat¬ 
 
 tering flowers, after Giulio Campi, but without name 
 of either painter or engraver. 
 
 Jacob and Rachel, after Dionysius Calvart, 1581. 
 
 346 Three, St. Francis in extasy, an angel in the air playing 
 
 on a violin, after Francesco Vanni. 
 
 The Virgin in a Crescent giving suck to the Child, two 
 cherubim above, after Giacopo Ligozzi. 
 
 Fourth Day 
 / 6 ~ 
 
 /r 
 
 / 3 ~ 
 
 /■- 
 
 /j~ 
 
 '/2 — 
 /O- 
 
 I 
 
 \ 
 
 A 
 
 G 
 
42 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 /^- 347 
 348 
 fJl 349 
 
 .. //- 350 
 
 /6- 351 
 
 /Z- 352 
 /T 353 
 
 / Jtfc— 354 
 y'■ y t ^ 355 
 
 The Holy Family. The Virgin raises the linen from the 
 Child with her right hand. 
 
 One, The Ascension of Christ from the midst of his Disci¬ 
 ples, after Domenico Passignano, 1588. 
 
 One, iEneas, attended by his Wife and Son, carrying off 
 his Father from Troy, after Federic Barocco . 
 
 Six, Mercy, Truth, Justice, and Peace, after Horatio Sam - 
 machini , 1580. 
 
 Mercury and the three Graces, after Tintoret. 
 
 Wisdom, Peace, and Abundance sending away Mars, 
 after the same. 
 
 Two, The Holy Family, with the infant S. John seated 
 above an arch ; below is S. Michael trampling on the 
 Dragon, after Lorenzo Sabhatini , 1582. 
 
 The Virgin, attended by three Angels, appearing in the 
 clouds to S. Jerome, after Tintoret. 1588. 
 
 Two, The Crucifixion—the Virgin fainting, after Paolo 
 Veronese. 
 
 The Marriage of S. Catharine, an Angel playing the 
 violoncello, after the same. 
 
 One, Dead Christ, supported by the Virgin and an Angel, 
 after the same , 1582. 
 
 Two, The Holy Family; S. John bringing a Lamb ; below, 
 are S. Anthony and S. Catharine, after the same. 
 
 The Martyrdom of S. Justina, in two sheets, after the 
 same. 
 
 Six, Various, sujets libres 
 
 Eight, Ditto. 
 
FOURTH DAY S SALE. 
 
 SERIES OF ENGRAVERS 
 
 CONTINUED. 
 
 GERMAN AND FLEMISH MASTERS. 
 
 FRANCISS STOSS, or STOLTZERS. 
 
 Fourth Day. 
 
 356 One, The Resurrection of Lazarus, a composition of four- ///„ <f~— 
 teen figures. At the bottom, near the middle, is the 
 mark of the artist, fine impression, in the highest pre¬ 
 servation , from Hillier’s collection. 
 
 Strutt supposes the works of this master to he the earliest 
 specimens of engraving , and executed about the year 
 1450: and Bartsch describes only three prints by 
 him , of which this is the largest . 
 
 FRANCIS VAN BOCHOLT. 
 
 357 One, The Judgment of Solomon, marked F. v. B. fine 
 
 impression. 
 
 Heineken says, there are no prints more ancient than 
 those of Bocholt, who teas a shepherd in the Pays 
 de Berg , and of whom he has given a long account. 
 
 358 One, St. George in Armour, combating the Dragon. This 
 
 print is referred to by Bartsch as an instance of the 
 
 2, /2J 
 
44 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 alteration of the letters F. v. B. to I. v. M. which 
 shews that the plate had come into the possession of 
 Israel van Mecheln, who is supposed to have been the 
 scholar of Bocholt, and who published the engraving 
 as his own. 
 
 JOHN ANCKER DE ZVVOTT. 
 
 J __ 359 One, Christ on the Mount of Olives, a large composition, sur¬ 
 
 rounded with an ornament of rich gothic architecture ; 
 at the top, near the centre of which is inscribed 
 fine impression , extremely rare. 
 
 MARTIN SCHOEN, or SCHONGAUER. 
 
 /, 2 ~ 
 
 A 
 
 S..A 
 
 360 Two, The Nativity, the Virgin, turned towards the right, 
 
 adores the infant Christ, who is lying before her, with 
 the usual mark. 
 
 St. Christopher walking towards the left, his staff in his 
 right hand. 
 
 361 Two, The Baptism of Christ, on the right an Angel with a 
 
 large cloth. 
 
 A Peasant and his Wife going to Market. 
 
 362 Four, St. John the Apocalypse, in his left hand he holds the 
 
 book with a lamb upon it, and points to it with his 
 right. 
 
 St. Martin dividing his Cloak with a Beggar. 
 
 St. Michael, in long drapery, killing the Dragon. 
 
 St. Agnes, a book in her right hand, a palm in her left. 
 
 363 Four, Christ crowned with thorns, St. Luke painting the 
 
 Virgin, Christ on the Mount of Olives, and a copy, 
 marked i.u.c. 
 
 ISRAEL VAN MECHELN. 
 
 /..///^~ 364 One, The birth of the Virgin, marked Iferad. fo. m. fine 
 
 impression. 
 
 i 
 
 f //, ^ 365 One, The massacre of the Innocents, ditto. 
 
SERIES OF ENGRAVERS. 
 
 45 
 
 Fourth Day. 
 
 366 One, Christ amongst the Doctors in the Temple, brilliant. 
 
 367 Two, St. Peter and St. Andrew. Below the former is in¬ 
 
 scribed “ credo in deum ,” and under the latter <c et 
 injhesu xpto .” 
 
 St. Christopher marching through the river to the right, 
 where a hermit approaches to meet him ; Christ is 
 kneeling on the shoulder of the Saint, and gives the 
 benediction with his right hand. Below are the letters 
 i. m. very distant from each other, upright. Size, 5^ 
 by 4, not in Bartsch. 
 
 368 One, The Real Presence, Christ appearing in the cele¬ 
 
 bration of the Mass, rare. 
 
 369 Three, A Gentleman with a feather in his cap, walking with 
 
 a Lady. Behind the tree, to the left, is a figure of 
 Death with an hour glass in his hand. At the bottom 
 a German inscription, and under it Israhel v. M. 
 
 A Concert; a Gentleman playing on the guitar, and a 
 Lady on the harp, extremely rare. 
 
 Four small circles of Saints. 
 
 WENCESLATJS OF OLMUTZ. 
 
 370 Five, The Martyrdom of St. Bartholomew, marked with the /., /£__ 
 
 letter W. extremely rare. 
 
 Four Apostles, with marks, very rare. 
 
 ALBERT GLOCKENTHON. 
 
 371 Three, Christ carrying the cross, below are the letters A. G. /,. 
 
 in gothic characters. 
 
 A Woman with a helmet and shield. 
 
 A Virgin with a lamp. 
 
 MAIR. 
 
 372 One, Samson carrying away the gates of Gaza, at the bot- — 
 
 tom, to the left, is inscribed maik. 
 
40 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 MATTHIAS ZAGEL, or ZINGEL. 
 
 2»/J 373 Two, A Lady and Gentleman seated in a Landscape, 
 
 marked M. Z. fine impression. 
 
 The Martyrdom of S. Catharine, Ditto. 
 
 JOHN DUVET, 
 
 Called the MASTER of the UNICORN. 
 
 2>. ^ 374 Two, The Martyrdom of St. John the Evangelist, inscribed 
 
 Johannes Duvet fac. 
 
 / *. c- 375 Six ancient prints, some with marks, curious. 
 
 ALBERT DURER. 
 
 /., 376 Four, Portrait of Albert Durer the father, after Albert 
 
 Durer , by Hollar , fine impression . 
 
 Portrait of Albert Durer, by Hondius. 
 
 Ditto, smaller and different by Ditto. 
 
 Ditto, by Francis Delaram , with curtains. 
 
 /. £ 377 Two, Ditto, in profile, by Meclhior Lorich, 1550. very fine. 
 
 Ditto, by Stock f after a picture of Thomas Vincidor of 
 Bologtoa, 1520. 
 
 /2~- 378 Five, Ditto, The anachronic Portrait, whole length, by Lu¬ 
 cas Kitiaii, after the pictures of Albert Durer , painted 
 in 1509, and 1517, with various inscriptions. 
 
 Portrait from the Florentine gallery. Preisler f. 
 
 Ditto, in an ornamental oval, and two others. 
 
 //.. /r 379 Two, Frederick called the wise, Elector of Saxony, the 
 patron of Martin Luther, m.d.xxiiii. 
 
 Copy of the same, well executed. 
 
 / ^ 380 Albert, Cardinal Elector of Brandenburg, called the Little 
 
 Cardinal, m.d.xix. 
 
 The same in profile, called the Great Cardinal, m.d.xxiii. 
 
 Do. fine impression. 
 
 2If 3S1 Three, Philip Melancthon, 1526. 
 
 Bilibaldus Pirckheymer, 1524. both fine. 
 
 Erasmus, fine impression, extremely rare . 
 
SERIES OF ENGRAVERS. 
 
 47 
 
 Fourth Day, 
 
 382 The Adam and Eve, dated, 1504. as fine an impression as /&* 
 
 possible , and in the highest preservation. 
 
 383 The Copy, by John Wierinx. 1565. 
 
 Another Copy, by John Duvet , very fine. 
 
 384 Two, The Nativity, Joseph drawing water. 1504. y / 
 
 Copy, reverse. 
 
 385 Sixteen, The Life of Christ, with a copy of No. 1. fine 3. /2 . 
 
 impressions , and a uniform set. 
 
 386 Five, Christ standing, his hands tied before him. 1512. 
 
 rare , and Copy. 
 
 Christ standing at the foot of the Cross, his arms ex¬ 
 tended. Ditto. 
 
 The Crucifixion, 1508, and Copy, reverse. 
 
 387 Two, The Large Crucifixion, an outline', never finished. 3 •- •— 
 
 The Crucifixion, a small circle, called the Pommel of the 
 Emperor’s Sword. 
 
 Bartsch says, this is one of the finest of Albert's prints, 
 and at the same time one of the rarest of his works. 
 
 388 One, The Prodigal Son herding Swine. The figure is said 
 
 to be a portrait of the artist. 
 
 389 Eight, The Virgin and St. Ann. 
 
 The Virgin in a crescent, and Copy. 
 
 Ditto, different, with the date 1508. and two Copies. 
 
 Ditto, different, with a sceptre. 1516. and Copy. 
 
 390 Six, The Virgin seated near a trellis. 1503. and Copy. yy 
 
 Ditto, at the foot of a tree. 1513. and Copy. 
 
 Ditto, seated, a string of pearls on her forehead. 1512. 
 
 Ditto, standing, in a crescent. 1514. 
 
 391 Eight, The Virgin seated near a Castle, with a bunch of /, t /y € 
 
 keys at her side. 1514, and two different copies. 
 
 Ditto, on a cushion, the Child in swathing clothes. 1520. 
 
 Ditto, with flowing hair, an angel crowning her. 1520. 
 
 Ditto, seated before a trellis, and crowned by two an¬ 
 gels. 1518, and copy reverse. 
 
 / /A. /, 
 
 4 - 
 
48 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 The same subject, larger, one of the finest prints of the 
 master, 1518. not mentioned by Bartsch. Proba¬ 
 bly the original print , of which the others are copies* 
 /&,. /} 392 Four, The Virgin and Child, in a landscape, 1511. 
 
 The same subject reversed, 1513. 
 
 The Virgin and Child before a large gateway, the Fa¬ 
 ther in the clouds, 1520, ; 
 
 The Virgin and Child, in a landscape ; a monkey chained 
 in the foreground, called La Vierge au Singe . ; 
 
 /,. 393 One, The Holy Family, Joseph asleep; the Father, with 
 
 the dove, in the air ; a butterfly in the foreground ; 
 called La Vierge au Papillon. rare and very fine. 
 
 394 Five, The Apostles, all that were engraved by the master* 
 brilliant impressions. 
 
 _ 395 Five, St. Sebastian tied to a column, an arrow in his fore¬ 
 
 head. 
 
 Ditto, tied to a tree, his hands above his head. 
 
 St. Anthony seated on the ground, reading before a cross ; 
 a city in the back ground. 1519. and Copy. 
 
 St. John the Apocalypse with a sword and balance, seat¬ 
 ed on a lion. 
 
 / 39G Five, St. George on Horseback, with a banner; the dra¬ 
 
 gon dead at his feet. 1508. 
 
 St. George on foot, a standard in his right hand. 
 
 St. Christopher; Christ resting his right hand on the 
 head of the saint. 1521. 
 
 Ditto, different, Christ pointing with his right hand. 1521. 
 
 St. Anthony reading. 1519. 
 
 2 1 __ 397 Two, St. Jerome in the chamber writing, 1514, brilliant 
 
 impression, and a Copy. 
 
 /J ^ 398 One, St. Jerome in the Desert, a Lion in the fore ground, 
 
 very fine. 
 
 3 .. /J..6 399 0ne ’ St. Jerome seated behind a bench, in the midst of rocks, 
 
 turning towards the left, and adoring a crucifix, 1512. 
 
SERIES OF ENGRAVERS. 
 
 49 
 
 extremely rare , a beautiful proof impression, with 
 the burr, from Sir P. Lely’s collection. 
 
 400 One, St. Hubert and the Stag-; the largest engraving of the 
 
 artist on copper, and one of his rarest and most finished 
 pieces, fine impression. 
 
 A picture by Albert, of the same subject , with vari¬ 
 ations, is in this collection. 
 
 401 Four, St. Genevieve, called “ the Woman sitting near the 
 
 cavern,” very fine. 
 
 The Burial of Christ, 1507. one of the most highly fi¬ 
 nished prints of the master. 
 
 402 St. Dunstan, or the Dream; a man asleep, the devil 
 
 blowing into his ear, a naked woman standing before 
 him, very rare , and a Copy. 
 
 403 One, The Melancholy, 1514, fine impression, 
 
 404 One, Pandora, called also, et Fortune and Temperance,” 
 
 brilliant impression. 
 
 405 Six, Fortune standing on a Globe, a staff surmounted with 
 
 flowers, in her right hand. 
 
 A Witch on a Goat, and Boys at play. 
 
 Satyr playing on a pipe ; a Woman and Child on the 
 ground, 1505, and a copy. 
 
 A Turk with a bow, speaking to a Woman and Child. 
 Three Peasants debating 
 
 406 Five, A Man drawing a bow, a Woman with a stag seated 
 
 before him ; called by Bartsch, “ Apollo and Diana." 
 A Woman carried off by a Triton, called the Rape of 
 Amymone. 
 
 Boys blowing Trumpets ; original and two copies. 
 
 407 One, Satyr and Nymph, attacked by a Woman, and de¬ 
 
 fended by a Man, called by Bartsch, “ the Effects of 
 Jealousy,” brilliant impression. 
 
 408 Two, William Tell and his Companions, six figures, in de¬ 
 
 bate; one on horseback, rare. 
 
 Fourth Day. 
 
 
 r \ 
 
 /■ /Z— 
 
 / J ,.6 
 
 /r 
 
 /.. 2 . 
 /,. 4 ._ 
 
 II 
 
50 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 /'■ 4 - 
 
 - 
 
 /?- 
 
 /. //:- 
 
 \ 
 
 /?- 
 /.. 3 
 
 Four Women naked, called the Sorceresses; a globe- 
 above, with the letters o. g. h. and the year 1497. 
 
 409 Two, A Gentleman, with a feather in his cap, walking* 
 
 with a Lady, very fine. 
 
 A Shield, with a Scull surmounted by a helmet and fea¬ 
 thers; a Satyr behind, whispering to a Lady, brilliant . 
 
 410 Three, A Man and Halbert, with a white Horse, 1505. 
 
 Ditto, under an archway, 1505. 
 
 A Shield, with a Lion ; a helmet above, surmounted by 
 a cock. 
 
 411 Two, The Horse of Death, 1513, beautiful impression , 
 
 and copy. 
 
 412 Nine, A Man, with a frying-pan, walking with a Woman; 
 
 called “ the Cook.” 
 
 A Peasant and his Wife at Market, 1512, and copy, 
 marked y. c. 
 
 A Peasant speaking to a Woman, two copies. 
 
 Peasants Dancing, 1514. 
 
 The Bag-piper, 1514. 
 
 The Standard-bearer, two copies. 
 
 413 Four, A Lady on Horseback speaking to a Man, rare. 
 
 Man on Horseback, galloping, ditto. 
 
 An old Man sitting with a young Woman, in a landscape, 
 giving her money; called “ Judah and Tamar,” rare. 
 The Monstrous Hog, very rare. 
 
 414 Ten, of Madonas, &c. by and after Albert Durer , some 
 
 rare. 
 
 415 Six, By and after Albert Durer , fine. 
 
 416 Five, Angels bearing the sudarium, 1513. 
 
 Dead Christ, after Albert Durer , by Goltzius. 
 
 Virgin, Child, and St. Ann, after ditto, 1534. 
 
 The Circumcision, after ditto, marked m. r. 
 
 Virgin crowned by Angels, a circle, with tlje mark of 
 Albert Durer » 
 
SERIES OF ENGRAVERS. 
 
 51 
 
 Etchings on Iron, by Albert Durer. 
 
 .Fourth Day- 
 
 41? Six, The Man of Sorrows, seated, with the scourge on his 
 knees, two impressions, 1515, 
 
 Ditto, Christ standing near a tree, his hands tied before 
 him, 1512. 
 
 Christ on the Mount of Olives, 1515. 
 
 An Angel bearing the sudarium, two impressions. 
 
 418 Two, The Cannon, and German Soldiers, 1515. 
 
 A Man mounted on a Unicorn, carrying off a Woman by 
 force, 1516. ' 
 
 419 Two, The Holy Family, attended by a woman, and two /SVf\ 
 
 men, faintly etched, but good impression, extreme¬ 
 ly RARE. 
 
 A Woman with large breasts, asleep, and five Men ; one 
 of whom turns away his face, as if in disgust; fine 
 impression , extremely rare . 
 
 Prints by Albert Purer, not noticed in any Catalogue. 
 
 420 One, Christ mocked ; he is seated towards the left, and 
 
 turned towards the right, his left arm resting on his 
 knee, and supporting his head—to the right, a man 
 with a ferocious countenance, seated under an arch, 
 with a reed in his left hand, points out to Christ the 
 place of his execution ; below the right foot of Christ 
 is the usual mark of Albert . Size, eight inches by six, 
 fine impression. 
 
 421 Two, Two Hogs with their Young. The mark of Albert 
 
 Purer is near the middle, at the bottom of the print, 
 size, 3-g by 2J. 
 
 A groupe of five Dogs, with the mark of Albert Purer 
 at the bottom towards the left. Highly finished, size , 
 
 4 i hy 8 i* . , , . 
 
 422 Eight, Various, by Albert Purer, some scarce, with his 
 
 portrait in a circle. 
 
52 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 2 ,. 3 ^ 423 
 
 /r.3 424 
 
 /./_ 425 
 
 /&,. /^426 
 /»//- 427 
 
 /• / 428 
 
 /. /# _ 429 
 
 HENRY ALDEGREVER. 
 
 Two, His own Portrait, inscribed imago hinrici ALDE- 
 GREVERS. SVZATIEN ALTA. XXXV. On Vellum, fine 
 impression . 
 
 William, Duke of Juliers and Cleves, 1540, fine im¬ 
 pression. 
 
 One, John of Leyden, with his sceptre, very fine and rare. 
 Nine, Four, the History of the Good Samaritan, the set. 
 1554. 
 
 Five, the History of Dives and Lazarus, the set. 1554. 
 Seven, The Virtues, 1552. complete set. 
 
 Twelve, The Labours of Hercules, 1550. 
 
 HANS SEBALD BEHAM, called HISBEN. 
 
 Eighteen, on one sheet, various, fine impressions. 
 
 Twelve, The labours of Hercules, 1545. ditto. 
 
 GREGORY PENS. 
 
 /J 430 Eight, Sofonisba. 
 
 Tarquin and Lucretia. 
 
 Virginius stabbing his Daughter, and two others. 
 
 H. ALTORFER. 
 
 Four small, various subjects, curious. 
 
 JAMES BINCK. 
 
 431 Nineteen, Three, various subjects, two in circles. 
 
 HANS BROSAMER. 
 
 Three, various subjects, extremely rare . 
 
 P. VAN LAUTENSACK. 
 
 Three Gamesters, a circle, rariss. 
 
SERIES OF ENGRAVERS. 
 
 53 
 
 THE LITTLE MASTERS. 
 
 Twelve various. 
 
 JEROME HOPFER. 
 
 4-32 Three, The Flight into Egypt, very rare. 
 
 DAVJD HOPFER, 
 
 A Crucifixion, small circle. 
 
 V. DIETERLIN. 
 
 A Fountain, with grotesque figures. 
 
 LUCAS VAN LEYDEN. 
 
 433 Three, His own Portrait, in a large hat, by himself \ 1525. 
 
 Ditto, by Stock. 
 
 Adam receiving the apple from Eve. 
 
 434 Five, Adam and Eve in Paradise, 1520. 
 
 Eve giving the apple to Adam, 1529. 
 
 Adam and Eve expelled from Paradise, 1527. 
 
 The Death of Abel, 1520, and copy. 
 
 435 Eight, Abraham putting away Hagar, 1516. 
 
 Abraham and the Angels. 
 
 Lot and his Daughters, 1530. 
 
 Five, The History of Joseph. 
 
 436 Two, David praying, 1528. 
 
 The Triumph of Mordecai, 1515. 
 
 437 Three, The Baptism of Christ, two impressions. 
 
 Christ tempted in the Wilderness, 1518. 
 
 438 Three, Christ appearing to Mary in the Garden. 
 
 The Ecce Homo, a circle. 
 
 The Crucifixion, ditto. 
 
 439 Three, The return of the Prodigal Son. 
 
 Virgin and Child, with Angels, 1523. 
 
 St. Peter and St. Paul, holding the sudarium, 1517. 
 
 Fourth Day. 
 
 i , 
 
 /r - 
 
 4 , x \ 
 
 / „ 
 
 % 
 
 /,. /2 „ 
 
 /AL 
 
 A A 
 
 //_ 
 
 A 
 
54 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 440 Thirteen, Four, the Evangelists, 1518. 
 
 "Virgin and Child under a tree, 1518. 
 
 Christ bearing his Cross, 1515. 
 
 St. Peter and St. Paul in conversation. 
 
 St. Jerome, 1521, and copy, marked i. v. M. 
 
 Four, various. 
 
 ^ — 441 Five, Temptation of St. Anthony. 
 
 Four, of Saints. 
 
 / /A 6 442 The Dance of the Magdalene, 1510, fine. 
 
 *2 443 Two, Mahomet with the Monk, 1508, ditto. 
 
 Virgil lowered in a basket, 1525. 
 
 /- 444 Six, various. 
 
 /*. 2 — 445 Six, The Laitiere, 1510. 
 
 The Naked Woman and her Dog, 1510. fine. 
 
 Four, various. 
 
 ^ 446 Eleven, of the Life of Christ, &c. 
 
 /,/& - x 447 Ten, ornaments, &c. various. 
 
 MARTIN HEMSKERCK. 
 
 ^ 448 Two, Lot and his Daughters. 
 
 Jacob’s Journey. 
 
 /2 - _ 449 Three, The Conversion of Saul. 
 
 David and Abigail. 
 
 The Death of Abel, 1549. 
 
 NICOLAS DE BRUYN. 
 
 /*- « — 450 Two, Balaam and Balak, two sheets. 
 
 The Circumcision, whole sheet, fine impression. 
 
 JOHN SADELER. 
 
 451 Two, The Annunciation. v 
 
 The Martyrdom of St. Ursula and the virgins. 
 
 ^ 452 Four, The four Times of the Day, after Theodore Be 
 nard , fine set. 
 
 /A. 453 Four, The four Seasons, after ditto . 
 
SERIES OF ENGRAVERS. 
 
 55 
 
 EGIDIUS SADLER. 
 
 Fourth Day. 
 
 454 Three, St. Sebastian, fine. /& 
 
 The Crucifixion, with the Virgin and St. John, after 
 John ab Ach. 
 
 Hercules and Cerberus, fine impression. 
 
 ANT. WIERINX. 
 
 455 Five, The Holy Family, after Francis Floris. 
 
 JOHN DE GHEYN. 
 
 Pittacus Mitylenseus, 1G16. 
 
 St. Luke, in a circle. 
 
 LAMBERT SUAVIUS. 
 
 Peter and John healing the Lame Man. From his own 
 design, fine. 
 
 C. BLOEMART. 
 
 The Owl, fine impression. 
 
 HENRY GOLTZIUS. 
 
 456 Two, Portrait of Henry Goltzius, by Suyderhoefi, fine. 
 
 A Man in a large hat. 
 
 457 Five, Johannes Zurenus. 
 
 Peter Forest, ae. 64. 1586, fine. 
 
 Philip Galle, the engraver, 1582. 
 
 Anonymous Portrait, in an oval, bene agere et nil timers, 
 1583. two copies. 
 
 Catharine Decker, very fine. 
 
 458 Three, The Virgin and Child, in an oval. 
 
 “ II n'ya peut-etre pas d'estampe dont la finesse et la 
 deliedtesse de burin soient egales d celle-ci; et d cet 
 egard ce morceau , qui est un des principaux et des 
 plus rares de Goltzius, peut-etre regarde comme un 
 chef-d' oeuvre de Varl de la gravure." Bartcsh. in. 19. 
 
 Holy Family ; Joseph shewing the Child to the Shepherds 
 by candle light. This print was left unfinished, very fine. 
 
 The Virgin and Child, small oval, highly finished. 
 
 ■* % 
 
 
 \ 
 
56 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. 
 
 459 
 
 460 
 ✓fc' ~ 461 
 
 S/~ 462 
 
 /f - 463 
 
 /4 464 
 
 V 
 
 /4 465 
 
 //.. /, 466 
 
 /. /S- 407 
 
 //>, <' 4GS 
 
 Six, the masterpieces of Henry Goltzius, the set, rare 
 and fine. 
 
 One, Goltzius’s Dog, very fine impression, extremely rare . 
 The Copy, by R. G. (Raphael Guidi,J fine impression. 
 The Fall of Phaeton, after Corn. Cornells , a circle. 
 
 JACQUES MATHAM. 
 
 Four, Portrait of Matham, by Vandevelde. 
 
 Venus and Adonis. 
 
 Cymon and Iphigenia. 
 
 A Crucifixion ; the Virgin praying. 
 
 Three, Holy Family. 
 
 The Infant Christ, with a glory of angels. 
 
 Infant St. John, in the Wilderness. 
 
 JEAN SAENREDAM. 
 
 Six, Of Women mentioned in the New Testament, the sei, 
 fine and rare. 
 
 Eight, Of Persons named in the Holy Scriptures, with La¬ 
 tin verses, by Grotius, fine. 
 
 JEAN MULLER. 
 
 Three, Mercury carrying away Psyche, after a groupe in 
 bronze, by Adrian de Vries , 1593. 
 
 Venus and Cupid, Nymphs offering fruits. 
 
 One, emblematical* with portraits. 
 
 Eight, The Man of Sorrows, seated on a tomb between 
 two angels, very fine . 
 
 VARIOUS. 
 
 Seven, by Goltzius , Matham , Cort , &c. 
 
 HENRY COUNT GOUDT. 
 
 Eight, Seven, his Engravings complete, fine set , with the 
 Portrait of Elsheimer, by Hollar . 
 
SERIES OF ENGRAVERS. 
 
 469 Four, Copy of the Angel and Tobit, by Hollar. 
 
 Ditto, of the Ceres, by ditto , Latona and Peasants, after 
 Elsheimer , by Magdalen Pass, and a Landscape, after 
 ditto, with Tobit and the Angel, by Corn. Galle. 
 
 470 Six, Various, by Dom. Custos, Sadeler, IVunmans, Bloe- 
 
 mart, and Galle. 
 
 PAULIS PONTIUS. 
 
 471 One, Holy Family, with St. Paul, after Vandyke, Jine im¬ 
 
 pression. 
 
 472 One, St. Joseph Presbyter, and the Virgin, after ditto. 
 
 473 One, Le Roi boit, after Jacques Jordaens, very Jine im¬ 
 
 pression. 
 
 474 One, St. Martinus,EpiscopusTuronensis, after ditto, very Jine. 
 
 PETRUS DE JODE. 
 
 475 One, Rinaldo and Armida, after Vandyke, brilliant im¬ 
 
 pression. 
 
 476 Two, St. Michael and the Dragon. 
 
 Christ and Nicodemus, after Adam van Oort. 
 
 ARNOLD DE JODE. 
 
 477 Christ and St. John, after Vandyke, engraved in London, 
 
 tempore incendii maximi, 1666. 
 
 LUCAS TORSTERMAN. 
 
 47S Dead Christ, in the lap of the Virgin, with angels, after 
 Vandyke, Jine impression. 
 
 479 Satyr and Peasants, after Jacques Jordaens, Jine and rare. 
 
 S. a. BOLSWERT. 
 
 480 Two, Pan, in a Landscape with Goats, after Jordaens , 
 
 very Jine. 
 
 Satyr and Woman milking a Goat, ditto, ditto. 
 
 481 Two, Peter denying Christ, after Gerard Seghers, brilliant 
 
 impression, rare. 
 
 Fourth Day. 
 
 / r, /4r — 
 
 0- 
 
 6 
 
 V- 
 
 /. 
 
 A. A 
 A /17^ 
 
 A /_ , 
 
 i 
 
58 
 
 SERIES OF ENGRAVERS. 
 
 Fourth Day. ^2 One, The Ecce Homo, after Vandyck, ajine Vanden Enden 
 
 C/ /• — 
 
 impression. 
 
 HENRY SNYERS. 
 
 /„ // 6 483 One, The Philistines binding Samson, after Vandyke, fine 
 
 impression. 
 
 JAC. NEEFS. 
 
 y„ S) 484 One, The Satyr and Peasant, after Jordaens, jine. 
 
 CORNELIUS VISCHER. 
 
 485 Three, His own Portrait, “ Corn. Viscker, fecit, 1645.” 
 
 rare, and fine impression. 
 
 The Angel ordering Abraham to quit his Country, proof, 
 before the letters. 
 
 A Holy Family, St. John presenting a pear to the Sa¬ 
 viour, ditto. 
 
 486 Two, The Coach attacked and robbed, after P. de Laer, 
 
 very line. 
 
 The Lime-kiln, after de Laer , ditto. 
 
 /,. /V — 487 One, A Landscape, with Peasants and Cattle, after ditto, 
 
 fine and rare. 
 
 A 488 One, The Gipsy and her family, fine impression. 
 
 A/J- 489 One, The Pancake Woman, ditto. 
 
 A/A 490 One, The Antiquarian, very fine and rare. 
 
 JEAN VISCHER. 
 
 yi. 491 One, The Moor, after Corn. Vischer, fine and rare v 
 /<— 492 Two, Tabagies, after Ostade, very fine impressions. 
 
 J. SUYDERHOEF. 
 
 //_ 493 Two, Portrait of Gilles de Clarges, after Mireveldt, very 
 fine impression. 
 
 Ditto, of Tegularius, after Frank Hals , ditto. 
 
 / >■ 2.-494 Three, Swalmius, after Frank Hals, ditto. 
 
SERIES OF ENGRAVERS. 
 
 50 
 
 Fourth Day. 
 
 //. 
 
 // 
 
 //>. 
 
 Swalmius, after Rembrandt, very jine impression . 
 
 Samuel Amphingius, after Hals, ditto. 
 
 495 One, The Mess-fighters, after Terburg, fine. 
 
 496 Two, Tabagies, after Ostade. 
 
 497 One, An Interior, with Boors quarrelling, after ditto. 
 
 498 One, Ostade's Ball, after ditto, Jine impression. 
 
 499 One, The four Burgomasters, after Keyser, a brilliant 
 
 IMPRESSION. 
 
 500 One, Another copy. /.S^— 
 
 501 One, The peace of Munster, after Gerard de Barch, with y, m $ ^ 
 
 Portraits of the Spanish and Dutch Envoys, the 
 Prince of Orange, &c. extremely fine and rare. 
 
 ANNA MARIA SCHURMAN. 
 
 502 One, Her own Portrait by herself, with four Latin verses, // - 
 
 extremely Jine and rare. 
 
 ROB. NANTEUIL. 
 
 503 Two, Portraits, fine. //; 
 
 ANTOINE MASSON. 
 
 504 One, Portrait of D’Ormesson, very Jine. rariss. /*_ 
 
 505 One, Ditto of Brisacier, called the Grey-headed Man, p y. 
 
 beautiful impression, rariss. 
 
 506 One, Christ at Emmaus, called the Table Cloth, after Titian, 
 
 
 very fine impression. 
 
 G. EDELINCK. 
 
 507 One, The Battle of the Standard, after L. da Vinci, proof 
 
 <2 
 
 IMPRESSION. 
 
 508 One, The Holy Family, after Raphael, superb impres - 
 
 SION, EXTREMELY RARE. 
 
 VARIOUS. 
 
 509 Two, St. Anthony of Padua adoring the Virgin, by Rousselet. /> 
 
 A Skirmish of Cavalry, after Farocel, by Preisler. 
 
FIFTH DAY’S SALE. 
 
 WORKS OF RUBENS. 
 
 Fifth Day. 
 
 /. 6 510 Three, Rubens in a large hat, by Pontius, very fine. 
 
 Two views of his house, (la maison Hilwerie) at 
 Antwerp. 
 
 /„ ? 511 One, Philip IV. brilliant impression, before the ad¬ 
 
 dress of Gilles Hendrix. 
 
 One, Elizabeth de Bourbon, wife of Philip IV. com¬ 
 panion to the last lot, and equally fine. 
 
 512 One, The Fall of the Angels, by Vorsterman , bril¬ 
 
 liant. 
 
 513 Two, Lot quitting Sodom, by Vorsterman, very fine. 
 
 Lot with his Daughters, by W. de Leew. 
 
 514 One, job tormented by his Wife and Devils, by Vorsterman, 
 
 very fine and rare. 
 
 3 — 515 One, The Brazen Serpent, by Eolsivert, very fine. 
 
 /Z — 516 One, Samson and Balilah, by Matham, very fine. 
 
 /. //^ 517 One, Abigail meeting David, by Lommelin, fine im¬ 
 pression. 
 
 /" <^'-518 One, The Judgment of Solomon, by Bolswert, capital 
 
 AND RARE. 
 
WORKS OF RUBENS. 
 
 61 
 
 519 One, The Defeat of Sennecharib, by Soutman , brilliant, 
 
 before the alteration , very rare. 
 
 520 One, Judith cutting- off the head of Holofernes, by Cornelius 
 
 Gallc , first impression , before the address of Col- 
 laert, fine and rare. 
 
 521 One, Judith putting the head of Holofernes into a sack, 
 
 called the little Judith , by Alex. Voet.jun. urith the 
 address of Cornelius Galle, but not the engraver's 
 name. 
 
 522 One, Esther before Ahasuerus, by Colins , with the last 
 
 address , brilliant and very scarce. 
 
 523 One, Daniel in the Lion’s Den, by Francis Lamb, a proof 
 
 ON INDIA PAPER. 
 
 524 One, Susannah and the Elders, by Vorsterman, very fne 
 
 and scarce. 
 
 525 One, The same subject, by Pontius , brilliant. 
 
 526 Three, The Sacrifice of Abraham, by Cornelius Galle. 
 
 Samson destroying the Lion, by Wyngaerde. 
 
 David slaying Goliath, by Panneels. 
 
 527 One, The Annunciation, by Bolswert, M. Vanden Enden, 
 
 exc. brilliant. 
 
 528 One, The Visitation, by De Jode, brilliant and rare. 
 
 529 One, The Nativity, and Shepherds offering, large upright, 
 
 by Vosterman, 1620. brilliant and rare. 
 
 530 One, The Nativity, by Bolswert , upright, Virgo quatn. 
 
 genuit adoravit. M. Vanden Enden, exc. brilliant. 
 
 531 One, The Nativity, large upright, by Pontius. 
 
 532 One, The Wise Men’s Offering, by Lommelin, fne im¬ 
 
 pression. 
 
 533 One, The Circumcision, by Lommelin ; on the back is a 
 
 curious representation of the delivery of souls out of 
 purgatory, according to the diploma of Pope John 
 XXII . confirmed by succeeding pontiffs, rariss. 
 
 534 One, The Return from Egypt, by Vorsterman , 1620. 
 
 Brilliant. 
 
 Fifth Day. 
 
 X- /> ■ 
 
 AS - 
 
 '9- 
 
 /. A 
 
 A/? - 
 
 AS ^ 
 /- 
 
 /. /_ 
 
 cL /? - 
 A./t- 
 A /- 
 
 / ~ 
 
 2, 2- 
 
WORKS OF RUBENS. 
 
 62 
 
 Fifth Day. 
 
 /a 4 — 
 
 2 Li 
 
 3<~ - 
 
 /I A 
 
 /# 
 
 //>- 
 /, /i Z 
 
 // . 
 
 X ./*- 
 
 /Mi: 
 
 A//- 
 
 \ 
 
 y/' 
 
 535 One, The Decollation of St. John Baptist, by Bolsivert, half 
 
 figures, Jine. 
 
 536 One, Herod’s Feast, by Bolswert , Jine. 
 
 537 One, Caesar’s Coin, J. Vischer , rare. 
 
 538 One, The Tribute Money, found in the fish’s belly, vade 
 
 ad mare, See. very fine and rare. 
 
 539 One, Christ giving the Keys to St. Peter, by Peter de Jode. 
 
 fine. 
 
 540 Two, The same subject, by Soutman , and the miraculous 
 
 Draught of Fishes, by ditto. 
 
 541 One, The Raising of Lazarus, by Boetius a Bolswert, 
 
 MOST BRILLIANT AND RARE. 
 
 542 One, The Last Supper, by Soutman , from the Drawing by 
 
 Rubens , after the picture by Lionardo da Vinci, in 
 two sheets, not joined, very fine and rare. 
 
 543 One, The Last Supper, Composition of five figures, from a 
 
 drawing by P. Soutman. P. Van Sompelin, sculp. 
 Anno 1643. very rare, not noticed by Basan. 
 
 544 One, The Ecce Homo, by Cornelius Galle, very fine. 
 
 545 One, Christ bearing his Cross, by Pontius. 1632. 
 
 JESUS BAJULANS CRUCEM, &C. BRILLIANT IMPRES¬ 
 SION. 
 
 ✓ 
 
 546 One, The Crucifixion, by Bolswert . ciiristus cruci- 
 
 FIXUS. 
 
 547 One, The Crucifixion between the two Thieves, by S. a 
 
 Bolswert , fine. 
 
 548 One, The Crucifixion, the Madonna and St. John standing, 
 
 by Neefis. 
 
 549 One, The Descent from the Cross. “ Lucas Vorsterman 
 
 scu/psit et excud. anno 1620 ."fine, before the address 
 
 it 
 
 of C. van Merlen. 
 
 550 One, The Resurrection of our Saviour, Bolswert . Martin 
 
 Vanden Enden Exc. most brilliant. 
 
 551 One, The Maries at the Tomb, by Vorsterman, fine and rare. 
 
WORKS OF RUBENS. 
 
 63 
 
 552 One, Our Saviour at Emaus, H. Witdouc, sculps, 1638. 
 
 Very Jine and rare. 
 
 553 One, The Ascension, “ Videntibus illis &c.” by S. a Bols - 
 
 wert, 31. V. JEnden, exc. brilliant. 
 
 554 Two, The Descent of the Holy Spirit, by Pontius, fine. 
 
 The Trinity, hic est filius meus dilectus, by Bob - 
 wert, fine. 
 
 555 One, The Fall of the Damned, “ Lapsum Draconis ,” kc. 
 
 by Soutman, 1642. Before the address of Bouttats, 
 on two sheets joined, brilliant. 
 
 556 Two, The Four Fathers of the Church, by C. van Dalen, 
 
 jun. fine. 
 
 The Coronation of the Virgin, by Pontius, coronatio 
 div^e. virginus, fine. 
 
 »57 Two, The Virgin, with the Child standing on a table, op¬ 
 posite a fountain. “ puteus aquarum viventium,” 
 by S. a Bolswert, rare and fine. 
 
 Holy Family; Jesus and St. John caressing a lamb, 
 Bolswert, fine. 
 
 558 One, The Holy Family, with the Bird, by Bolswert , £t de¬ 
 
 licate mEtE esse” kc. fine. 
 
 559 One, The Madonna and Child, in a niche, which boys are 
 
 adorning with garlands of fruit, by Galle , very fine 
 impression. 
 
 560 One, The Holy Family, by Witdouc, “ quandum pRiEG- 
 
 NANTUM,” kc.fine. 
 
 561 One, The Virgin and Child, leaning on a cradle, supposed 
 
 to be by P. de Jode. virgo dei genitrix, kc. 
 Erasmus Quellinus, exc. 
 
 562 One, The Child Jesus and St. John playing with a lamb, by 
 
 C. Galle, (Edelinck) very fine. 
 
 563 Four, Madonna and Child asleep, by Vorsterman. 
 
 Holy Family, with S. Elizabeth and John, by ditto. 
 
 The JNativity, by Panncels. 
 
 Fifth Day. 
 
 /' 9 - 
 A* ~ 
 
 / ^ 
 
 A,.//- 
 
 j.. /<r^ 
 
64 
 
 WORKS OF RUBENS. 
 
 Fifth Day. 
 
 The Virgin and Child, with St. George, and other saints, 
 by Eynliouedt. 
 
 /,/< 564 One, The Martyrdom of St. Andrew, very fine impression , 
 
 by Alex. Voet, jun. 
 
 X 565 One, The Conversion of St. Bavon, by Pilsen. 
 
 /,./&— 566 One, St< Francis Xavier performing a miracle, by Marinus, 
 
 fine and rare. 
 
 567 One, St. Ignatius Loyola exorcising the possessed, by Ma¬ 
 rinus, very fine and rare. 
 
 /- /- 568 One, S. Justus, beheaded, carrying his head in his hand, 
 
 by Witdouc. 
 
 if & 569 One, The Martyrdom of St. Livinus, bishop of Ghent, by 
 
 Caukercken , before the address of Gaspar de Hollander, 
 
 EXTRA, RARE, AND BRILLIANT. 
 
 //, //- 570 One, St. Roch interceding for those afflicted with the 
 
 plague, by Pontius , brilliant and rare. 
 
 ^ _ 571 One, The Martyrdom of St. Thomas, by Neefs , very fine. 
 
 3, /?„/i&72 One, St. Anne educating the Virgin, by Bolswert , 
 
 “ Audi filia,” &c. Martin Vand. Enden, exc. 
 very fine. 
 
 673 Two, St. Cecilia, by Witdouc and Bolswert , fine. 
 
 The Ordination of a Bishop, by Soutman , ditto. 
 
 574 One, A Drunken Silenus, supported by a Satyr and a 
 Moor, by Suyderhoefi P. Soutman , exc. fine. 
 
 % „ 6 'X 575 One, Thomyris, ordering the head of Cyrus to be plunged 
 
 into a basin of blood, by Pontius , satia te san¬ 
 guine, he. fine and rare. 
 
 ‘Hs./Zy 576 One, The Lion Hunt, by Bolswert, fine impression. 
 
 A. 577 One, The same subject, by De Leew , different design. 
 
 *2 _ 578 One, The Bear Hunt, by Soutman , fine. 
 
 *2, (m 679 One, Hunting the Crocodile and Hippopotamus, by De Leew. 
 
 The Lion Hunt, by Moyreau. 
 
 V,'. 580 One, Hunting the Boar of Caledonia, by Van Kcssel, (but 
 
VANDYKE PORTRAITS. 
 
 65 
 
 r 
 
 without his name) brilliant Sf rariss. with the 
 address of H. De Neyt. 
 
 581 Two, Diana chasing- the Stag-, by Goupy. 
 
 Silenus in a Procession, by Popels. 
 
 58*2 Four, Lions, by Blooteling , very fine impressions. 
 
 583 Three, Three Females with fruit, by Theodore Van Kessel. 
 
 The Roman Charity, by Alex Voet , jun. 
 
 Baucis and Philemon, by J. Meyssens , fine. 
 
 584 Twenty-one, The Set of Landscapes, by Bolswert, fine im - 
 
 pressions, with the portraits of Rubens and Van¬ 
 dyke. 
 
 PORTRAITS BY AND AFTER VANDYKE. 
 
 585 Five, of Painters , His own Portrait, by Neefs. 
 
 Sebastianus Vranx, by Bolswert. 
 
 Franciscus Frank, jun. by Hand ins. 
 
 Adrianus Stalbert, by Paul Pontius. 
 
 Jacobus Jordaens, by De Jode. 
 
 586 Five, Ditto. Rubens, by Bolswert , 
 
 Henricus Van Baelen, by Pontius. 
 
 Cornelius Schut, by ditto. 
 
 Johannes Livens, by Vorsterman. 
 
 Adrianus Brauwer, by ditto. 
 
 587 Six, Ditto. Petrus Paulus Rubens, by Lutma. 
 
 Isaac Mytens, by Pontius. 
 
 Joannes Wildens, by ditto. 
 
 Gaspar de Crayer, by ditto. 
 
 Lucas Van Uden, by Vorsterman. 
 
 Quintinus Simons, by Peter de Jode. 
 
 588 Six, Ditto. Theodorus Vanlonius, by Pontius. 
 
 Palamedes Palamedessen, by ditto. 
 
 Gerardus Segers, ditto. 
 
 K 
 
 Fifth Day* 
 
 ; i 
 
 % 
 
 /#./> 
 
 /.-Z— 
 
 /?../, 
 
 J .. 
 
 /■/*- 
 
 /.. /.? , 
 
 \ 
 
 X /- 
 
VANDYKE PORTRAITS* 
 
 GO 
 
 Fifth Day, 
 
 / /• 
 
 / /- 
 
 '9 
 
 'A 
 
 4 - 
 
 Cornelius de Vos, by Vorsterman. 
 
 Andrea Van Ertvelt, S. a. Bolswert. 
 
 Cornelius Poelenborch, P. De Jode. 
 
 589 Six, Ditto. Deodatus del Monte, by Vorsterman »- 
 
 Cornelius Sachtleven, by ditto. 
 
 Adam de Coster, by Peter De Jode „ 
 
 Martinius Rychart, by Jac. Neefs. 
 
 Simon de Vos, by Pontius. 
 
 Anthonius VanOpstal, Jac. de Man. 
 
 590 Six, Ditto. Artus Wolfart, by Cornelius Galle „ 
 
 Gerardus Honthurst, by Pontius. 
 
 Joannes Van Ravesteyn, by ditto . 
 
 Theodorus Rombouts, by ditto. 
 
 Henricus Steinwyck, by ditto. 
 
 Joannes Snellinx, by ditto. 
 
 591 Six, Ditto. Jodocus de Momper, etched by Vandyke* 
 
 The same, by Vorsterman. 
 
 Horatius Gentilescius, by ditto. 
 
 Michael Mireveidt, by Delphius. 
 
 Simon Vouet, by Van Vorst. 
 
 Christophorus Vander Lamen, by Clouet. 
 
 592 Six, Ditto. Horatius Gentilescius, by Vorsterman . 
 
 Peter Snayers, by ditto. 
 
 Thomas Willeborts Bosschaerts, by Vischer. 
 
 Petrus Stevens, by Vorsterman. 
 
 Gerard Honthurst, by Pontius. 
 
 Gaspar Ravesteyn, by ditto. 
 
 The whole of this lot are Vanden Enden impressions. 
 
 593 Four, Ditto. Joannes Snellinx, etched by Vandyke. 
 
 Paul de Vos, ditto, finished by S. a Bolswert. 
 Guil.de Vos, ditto, ditto. 
 
 Franciscus Snyders, ditto, finished by Neefs. 
 
 594 Four, Ditto, Adamus Van Noort, etched by Vandyck. 
 
 Joannes De Wael, ditto. 
 
VANDYKE PORTRAITS. 
 
 ' 67 
 
 Justus Sutterman, ditto. 
 
 Franciscus Franx, ditto. 
 
 505 Jodocus De Momper, etched by Vandyck. 
 
 Joannes Breugel, ditto. 
 
 Petrus Breugel, ditto. 
 
 Joannes Snellinx, ditto. 
 
 590 Five, of Engravers ■, Sfc. Paul us Pontius, by himself. 
 Petrus DeJode, by Vorsterman. 
 
 Petrus De Jode, junior, by P. De Jode. 
 
 Lucas Vorstermans, by Luc. Vorstermans , 
 
 Henricus Liberti (organista) by P. DeJode , jun. 
 
 507 Six, Ditto. Carolus De Mallery, by Vorsterman. 
 
 Jacobus Callot, by ditta. 
 
 Theodorus Galle, by ditto. 
 
 Gulielmus Hondius, by himself. 
 
 Joannes Baptista Barbe, by Bolswert. 
 
 Robertus Van Voerst, by himself. 
 
 598 Four, Ditto. Lucas Vorsterman, etched by Vandyck. 
 
 Ditto, ditto. 
 
 Paulus Du Pont ditto. 
 
 Petrus De Jode, by Vorsterman , Vanden Enden im¬ 
 pression. 
 
 599 Six, of Statuaries , Sfc. Andreas Colyns De Nole, by De Jode. 
 
 Hubertus Vanden Enden, by Varsterman . 
 
 Joannes Van Milder, ditto. 
 
 Theodorus Rogiers, by Pet. Clouet. 
 
 Jacobus De Bruick, by Pontius. 
 
 Ditto, a Vanden Enden impression , ditto. 
 
 000 Five, of Amateurs , Cornelius Vander Geest, by Pontius. 
 Petrus Stevens, by Vorsterman. 
 
 Jacobus de Cachopin, ditto. 
 
 Antonius Cornelissen, ditto. 
 
 ■iFifth Day. 
 
 /~/ 4 - 
 
 
 
 /- - 
 
 
 
68 
 
 VANDYKE PORTRAITS. 
 
 Fifth Day. 
 
 /- A 
 
 Carolus della 
 
 /< 3 ~ 
 
 /.. /<?. 
 
 
 
 /. 8 
 
 /. /- 
 
 Antonius De Tassis, by Jacobus Neefs. 
 
 Wenceslaus Coeberger, by Vorsterman. 
 
 601 Six, Religious and Literary , &c. Joannes 
 
 Faille, by Lommelin. 
 
 Joannes Baptista De Bisthoveri, ditto. 
 
 Antonius Triest, by De Jode. 
 
 Aubertus Mirseus, by Pontius. 
 
 Carolus Scribanius, by Clouet. 
 
 Cardinal Bentivoglio, by Morin. 
 
 602 Six, Ditto. Justus Lipsius, by, S. a Bolswert. 
 
 Eques Puteanus, by Pet. de Jode. 
 
 Antonius Triest, ditto. 
 
 Paulus Halmalius, ditto. 
 
 Diodorus Tuldensis, ditto. 
 
 Ceesar Alexander Scaglia, by Pontius. 
 
 603 Five, Ditto. Joannes Vanden Wouwer, by Pontius. 
 
 Constantius Hugens, by ditto. 
 
 Henderikus du Booys, by Corn. Vischer. 
 
 Nicolaus Fabricius de Peiresc, by Vorsterman. 
 
 Alexander della Faille, by Lommelin. 
 
 604 Three, Ditto. Erasmus Rotterdamus, etched by Vandyck,rare. 
 
 Nicolaus Rockox, by Pontius. 
 
 Casperius Gevartius, by ditto. 
 
 605 Three, English Portraits , Sir Balthazar Gerbier, by Pontius. 
 
 Sir Kenelm Digby, R. V. Vorst. 
 
 Inigo Jones, by ditto. 
 
 606 Three, Ditto , Antonius Vandyck Eques, by Vorsterman. 
 
 Maria Ruten, by Bolswert. 
 
 Marguerite Lemon, by Hollar. 
 
 607 Four, Princes and Generals , Thomas Howard, Comes A- 
 
 rundeliae, &c. by Hollar. 
 
 Philipus Herbertus, Comes de Pembroke, &c. by Van 
 Voerst. 
 
 Gustavus Adolphus, by Pontius. 
 
 Ferdinandus III. Imperator Rom. by Corn. Galle. 
 
VANDYKE PORTRAITS. 
 
 69 
 
 608 Six, Various, Princes , Generals , &c. by Pontius. 
 
 609 Six, Ditto, ditto, four by Vorsterman, and two by De Jode. 
 
 610 Eight, Ditto, ditto, by Bolswert , Matham, Van Voerst , 
 
 Lauwers , Galle, and Pe Baillu. 
 
 611 Four, Female Portraits, Henrietta Maria, by Couchet. 
 
 Maria de Medicis, by Pontius. 
 
 Maria Austraica, Fred. III. uxor, by C. Galle. 
 
 Isabella Clara Eugenia, by Vorsterman. 
 
 61*2 Five, Ditto. Helena Leonora de Sieveri, Vischer. 
 
 Johanna de Blois. by De Jode. 
 
 Genova D’Urphe, by ditto. 
 
 Margaretta Princeps Lotharingia, by ditto. 
 
 Beatrix Corantia, by ditto. 
 
 613 Nine, Ditto. English Female Nobility, by Lombart, very 
 
 fine impressions. 
 
 614 Three, Various, Henricus Comes Vanden Berghe, by Paul 
 
 Pontius. 
 
 Henricus Arundelliae Comes, by Lombart. 
 
 Philippus Comes Pembrokise, by ditto. 
 
 All very fine impressions. 
 
 615 Three, English Nobility, Margaret Smith, afterwards Lady 
 
 Caryt' 
 
 William Villiers, Viscount Grandison. 
 
 Patricius Lord Viscount Chawarts, by V. Gunst. 
 
 Very fine impressions. 
 
 PORTRAITS, &c. AFTER VARIOUS MASTERS. 
 
 616 Eleven, Various Portraits from the ancient gallery at Brus¬ 
 
 sels, after Titian , &c. 
 
 617 Seven Ditto, Foreign Portraits by Goltzius, Sadler, Sfc. 
 
 618 Nine, Nine Large Prints of the History of Mary de Me¬ 
 
 dici. some curious. 
 
 619 Twenty-one, of Painters , from the Work called “ The 
 
 “ True Effigies of the most eminent Painters,” all 
 
 ifth Day. 
 / - 
 / 4 - 
 
 /" — 
 
 /'• 6 - 
 
 A / 
 
 \ 
 
 \ 
 
 6- 
 
 / 2 - 
 A. 2 ~ 
 
 2, /S^ 
 
70 
 
 PORTRAITS, kc. 
 
 Fifth Day. 
 
 /'■ y - 
 
 A /- 
 
 \ 
 
 A2- 
 
 of them very select impressions , many of them proofs , 
 RARE. 
 
 020 Four, Ditto. Agostino Sanese, p£ec<? fres rare. Heinek. 
 1. 56. 
 
 Giovan di Bologna, G. V. F. 
 
 Jacob Binck. 
 
 Alessandro Allori, called Bronzino, by Violanti. 
 
 621 Four, Ditto. Wenceslaus Hollar, by himself. 
 
 Fran. Vanden Wyngaerde, by Hollar. 
 
 Francis Mieris, by Blooteling. 
 
 Isaac Moucheron, by Van Halen , proof. 
 
 022 Five Ditto. Cornelius Cort, by himself. 
 
 William Baur, etched by himself 
 Carolus Van Savoyen, by himself. 
 
 J. F. Schmidt, by himself. 
 
 Gerard Dou, etched by Schalcken. 
 
 623 Three, Ditto. Sir Joshua Reynolds, by Sherwin,fne proof. 
 
 Angelica Kaufman, by Bartolozzi, fne impression . 
 Francis Bartolozzi, small circle , coloured. 
 
 624 Four, Various , Fra. Paolo Sarpi, mezzotinto, by Dickins . 
 
 Alexander Pope, by Bovi, oval. 
 
 Portrait after Rembrandt, by Dupuis. 
 
 Michael de Montagne, by Ficquet. 
 
 625 Two, Ditto. Mary Queen of Scots, and James I. whole 
 
 lengths, after Zucchero , by Bartolozzi, fne. 
 
 Thad. Kosciusko, by Sharp , ditto , 
 
 626 Ten, Ditto, Portraits of Alexander Pope, etched by Jona¬ 
 
 than Richardson , very rare. 
 
 627 Six, Ditto, Four of Jonathan Richardson, one of Milton, 
 
 and one of Mr. Allen, by ditto , ditto. 
 
71 
 
 i 
 
 SIXTH DAY’S SALE. 
 
 PAINTERS ETCHINGS. 
 
 i 
 
 ITALIAN. 
 
 FRANCESCO MAZZUOLI, Called PARMIGIANO. 
 
 There being no complete Catalogue published of the worhsof Parmigiano, 
 his Etchings in this Collection are more fully described than is usual in 
 Sale Catalogues , and the size given in English Measure. 
 
 628 Two, Portrait of Parmigiano, from the Florentine Gallery. Sixth Day. 
 
 Moses before the Burning Bush; he is prostrate on the ^ ^ 
 ground; and looks up towards the right to the flames. 
 
 Size 5—8j. This is supposed to be the first print 
 etched by Parmigiano. From Mr. Barnard’s Collec¬ 
 tion—not in Mariette’s, or Winckler’s. 
 
 629 One, Moses found by Pharoah’s Daughter ; a composition of rfy — 
 
 nine figures ; two large trees on the left. Size S|—5f. 
 
 From the same collection. 
 
 630 One, The same print much more worked upon; in parti- /,. //— 
 
 cu*ar the arm of the woman to the left, which is 
 thrown over the shoulder of her companion, is in the 
 first impression almost entirely light, but in this is all 
 in shadow. Size —5^. 
 
 Both these impressions have the mark A M in a cypher , 
 supposed to be the mark of Andrea Schiavone, called 
 Meldolla, From Mr. Barnard’s collection . 
 
72 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 /<■/$- 
 
 A./f 
 
 631 One, The same subject reversed, with variations, and of a 
 
 larger size. Buildings in the back ground. This im¬ 
 pression is unfinished at the bottom to the left, doubtful. 
 Size 10|—8^. From Mr. Barnard's collection. 
 
 632 Four, Judith, her scymiter raised in her right hand, looks 
 
 back towards her attendant on her left, who is putting 
 the head of Holofernes into a bag. Size 6—3^. From 
 the collection of Martin Folkes, esq. 
 
 The Virgin in prayer, called the Immaculate Concep¬ 
 tion ; she is turned towards the left, and looks back 
 to the dove on the right. Size 4|—2§. 
 
 The Madonna and Child ; she is seated towards the left, 
 and turned in profile to the right, the Child raised in 
 her arms. Size 3^ —From Pond’s collection , af¬ 
 terwards Mr. Blackburn’s. 
 
 The Little Nativity ; one of the Shepherds raises both 
 hands over the Infant in the middle of the print; a fe¬ 
 male, half figure, appears in the bottom corner to the 
 right. Size 4|—3|. 
 
 633 One, The Nativity, or Shepherd’s Offering; the Virgin 
 
 kneeling ; behind her Joseph saddling the ass ; two 
 Shepherds in the back ground running. Size 6^—9§. 
 EXTREMELY RARE. 
 
 634 Two, The Nativity, or Shepherd’s Offering ; the Virgin 
 
 seated on the ground towards the left, and turned 
 nearly in profile towards the right; St. Joseph stand¬ 
 ing behind her; five shepherds on the right. Size 
 —12f. The impression of this very rare print is 
 faint , and the upper part damaged. 
 
 This is probably the print to which Mariette alludes , and 
 which he says he would not exchange for any of thefi nest 
 drawings of the master. “ tanto e preziosa questa 
 graziosissima stampaLettere Pittoriche , 2. 315. 
 
painter’s etchings* 
 
 73 
 
 The Adoration of the Magi; the Virgin sitting towards 
 the right, directed towards the left; one of the Magi, 
 with a very long beard, presents a covered cup on a 
 salver ; a composition of sixteen figures ; horses and 
 camels in the back ground. Size 12-—13. extreme¬ 
 ly rare , but much discoloured. 
 
 635 One, The Holy Family ; the Infant in a cradle in the mid¬ 
 
 dle of the print ; St. Catharine, with her hands folded 
 on her breast adoring him; in the back ground St. 
 John holds in his right hand a chalice, from which 
 rises a crested snake. Size 13—8. From the collec¬ 
 tion of Dr. Mead, afterwards Mr. Barnard’s. 
 
 636 One, The same print, a subsequent impression, with the 
 
 cypher A. M. on the pedestal behind the Virgin, 
 which mark does not appear in the former impres¬ 
 sion ; a proof that this mark zvas put on after the 
 frst impressions were printed , by some one ivho 
 wished to appropriate the etching to himself or was 
 the publisher. 
 
 637 One, The Holy Family with St. Anne ; St. Joseph points 
 
 out the Saviour to a mitred bishop, who is adoring 
 under a trellis ; the bishop is on the right side of the 
 print, and turned in profile towards the left. Size 8f 
 —6. From Mr. Barnard’s collection. 
 
 638 One, The Holy Family; St. Elizabeth presents St. John to 
 
 the Saviour ; a figure above holds a chalice in his left 
 hand. Size 11|—8J. From Mr. Barnard’s collection. 
 
 639 Two, The Holy Family ; the Virgin, seated in a mountain¬ 
 
 ous landscape near the middle of the print, gives the 
 Child to St. Ann, who receives him on her knees ; St. 
 Nicholas, as a mitred bishop, and St. Joseph, are u\ 
 
 L 
 
 Sixth Day. 
 
 - 
 
 A. ^ 
 2,.Af - 
 
74 
 
 PAINTER S ETCHINGS. 
 
 Sixth Day. 
 
 2../r~ 
 
 / 
 
 y 
 
 J.S7- 
 
 
 /s 
 
 4 ,/f 
 
 ?, , 
 
 conversation behind the Virgin, on the left side of the 
 print. Size 11—8. 
 
 A Copy of this print, with several variations, by Bonasone. 
 
 640 One, The Holy Family ; St. John, kneeling, presents fruit 
 
 to the infant; the Magdalen standing on the right of 
 the print, her right hand on her breast; a casket in the 
 left; on the other side a young mitred Bishop adoring. 
 Size 13|— From the tollection of Dr. Mead, 
 afterwards Mr. Barnard’s. 
 
 641 One, The Holy Family, with St. Elizabeth; an angel on 
 
 the right bringing flowers, which the Virgin is weaving 
 into a garland; on the foreground in the centre a 
 rich casket. Size 13—8|. This impression has 
 been tinted and heightenedFrom Mr. Barnard’s 
 collection, 
 
 642 One, The Presentation in the Temple, the dove descend¬ 
 
 ing ; Zaccharias joins his hands in prayer ; on the right 
 a female figure brings in a child thrown over her shoul¬ 
 der ; on the foreground a boy with a pair of doves, 
 fourteen figures. Size 11—8. .From Dr. Mead’s co/- 
 lection , afterwards Mr. Barnard’s. This fine and 
 early impression appears to be larger than that in 
 Mariette's collection , the plate having afterwards been 
 shortened at the top , where there was a defect in the 
 copper . 
 
 643 One, St. John preaching, his right arm raised; below him 
 
 twelve figures of men and women, and two children, 
 as his audience. Size 12J—8§. Fi'om Mr. Barnard’s 
 collection , not in Winckler’s. 
 
 644 One, Christ accompanied by his disciples, adored by the 
 
 multitude; a composition of twenty figures; he raises 
 his right arm and blesses them. On two plates joined. 
 Size 15J—11J. From Rysbrack’s collection, 
 
 645 Two, The Return of the Prodigal Son; he is on his knees 
 
painter’s etchings. 
 
 75 
 
 2 , // - 
 
 2,. fa 
 
 Sixth Day 
 
 before his father, who receives him with a kiss. The 
 house appears to the right. Size 5f—3f. 
 
 The Miraculous Draught of Fishes, after Raffaelle, 
 marked in large letters iu the corner to the left R. V, 
 supposed to be etched by Meldolla. Size 11—7|-. 
 
 From Mr. Barnard’s collection. 
 
 646 One, The Burial of Christ, St. Joseph on the left, extend¬ 
 
 ing his arm over the Virgin, who supports the Body of 
 Christ. Size 13j-—9j. Of this subject there is ano¬ 
 ther etching , with considerable alterations , attributed 
 to Guido Reni, (see his etchings.) 
 
 647 Four, The Resurrection of Christ; he stands in the tomb, 
 
 and raises a banner in his right hand. Size 8|—5J. 
 
 Another impression of the same, stronger. 
 
 A copy in the same direction, very well etched, same 
 size, it may be known by having cross hatchings on 
 the shaft of the halbert. At the back of this impres¬ 
 sion is written, Claude Augustus Mariette , 1695. 
 
 Virgin and Child with St. Elizabeth ; St. John bringing 
 fruit in his lap. Size 1\ —6. 
 
 648 Two, Christ appearing to the three Maries at the foot of a 
 
 flight of steps ; he raises his left arm as if taking 
 leave ; two half figures near an arch below on the 
 right. Size 8^—5|. Fine impression tinted and 
 heightened. From Mr. Barnard’s collection . 
 
 Peter and John healing the lame man ; he is on the 
 ground, with a staff in his left hand. Size 9—6^ 
 
 649 One, Peter and John healing the lame man; from the 
 
 Cartoon of Raffaelle , with variations. Size lOf—16. 
 
 650 Two, The Marriage of St. Catharine ; an angel in the air y 
 
 bringing a wreath of flowers. F. Parmensis, F. “ piece 
 gracieux .” Winck. 3070. doubtf ul. Size 6f—4~. 
 
 The same subject, a copy by Vespasiano Strada, with 
 many variations; marked, Vespasiano Strada L. F• 
 
 j../j 
 
 3 ■ 
 
76 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 3 , 1 - 
 
 
 A./J 
 
 One, St. Peter returning from prison to the house of 
 Mary the mother of John. Size 11^—16^. From 
 
 Mr. Barnard’s collection , in whose catalogue it is 
 called “ a subject unknown .” There is a copy of this 
 print by Corn. Cort. 
 
 652 Two, A young St. John Baptist, seated on a stone, near 
 
 him two old men in conversation. Size 4|-—3f. 
 
 St. Roch standing, a long staff in his right hand, his 
 dog in the back ground. Size 4\ —2|-. 
 
 653 Thirteen, Christ and his Disciples, in thirteen prints ; whole 
 
 length figures, the set, marked F. P. Size 5—2^. 
 
 654 Five, Three of the Apostles, part of a set, different from 
 
 the above. Size about 5—3. 
 
 Two figures of Apostles, probably from another set, larger 
 than the above, each marked at the back, “ Mariette, 
 
 A. A- 
 
 A. q. 
 
 1733.” Size 7—3} 
 
 655 Six, Figures of the Apostles; part of a set of a still 
 
 larger size, and in a grand style. Size 8|— 
 
 656 One, A Monumental Design ; above are the Virgin and 
 
 Child in an oval, and below, a figure in a reclined 
 posture ; at the bottom a frieze with a Heathen sacri¬ 
 fice. Size 12—8f. On blue paper , before the address 
 of Ang. Falco. 
 
 657 One, Another Monumental Design ; a bishop supported by 
 
 angels reclines on the sarcophagus ; in a frieze below, 
 the ceremony of consecrating a bishop. Probably a 
 design for the tomb of Girolamo Aleandro. 
 
 658 One, The Rape of Helen, on two sheets joined, with the 
 
 following inscription. 
 
 Oil I ENTIRES CGELIS I LION 
 CECIDIT. M.D.XL.VIJ. 
 
 EXERGETIBES CGELIS. 
 
 RENOVABITER. A. M. 
 
 Size 20—15f. Etched by Andrea Meldolla. From Mr. 
 Blackburn’s collection. 
 
painter’s etchings. 
 
 77 
 
 659 Three, Circe leaning- on her right arm, a wand in her left 
 hand, before her a globe and skull. Size 6|—3J. 
 
 Circe, without the wand ; before her a globe, and part 
 of another figure, inscribed nedimeon. Size 4J —3. 
 
 A Female Figure in meditation; her head resting on her 
 right hand. Size — 4\. 
 
 6G0 Two, Diana, or an Amazon seen on the back ; a spear 
 in her right hand, and raising her shield in her left. 
 She 6J—3J. 
 
 Cupid throwing his dart with a great effort. Size 6—3j. 
 
 661 Five, A Woman with a flying veil, a vase in each hand, 
 
 and one on each side of her. Size 4-g—3. 
 
 A Sacrifice, cut, and the entire subject, a copy. 
 
 A Philosopher in meditation, his head reposes on his 
 right hand. Size 4\ —2J. 
 
 Hercules and Cerberus, F. P. Size 3|-—3. 
 
 662 Two, A Winged Female holding up a naked youth by the 
 
 arm. Size 4~—2f. 
 
 A Woman, with a flying veil, holding a sieve; probably 
 the vestal Tuccia. Size 4 —2|-. 
 
 The extreme rarity of the etchings by the hand of 
 Parmigiano, which are now considered, as equally 
 valuable with his drawings , is too well known to 
 render it necessary to repeat it ivith each lot. 
 
 ETCHINGS after PARMIGIANO, 
 
 Some of which are erroneously attributed to him, in Winckler’s and 
 
 other Catalogues. 
 
 663 Three, Judah and Tamar in a wild landscape, Fran. Pa. 
 
 inv. Winck. 3062. 
 
 The same subject, a free etching marked P. NF. 
 
 Joseph and Potiphar’s Wife, marked F. Parmens. f. 
 Winck. 3062. 
 
 Sixth Day. 
 
 /„ / 3 - 
 
 /..//- 
 
 /J- 
 
 /.. / 
 
78 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 
 /?_ 
 
 4 - 
 
 664 Two, A Nativity, with the Shepherd’s adoration, with the 
 
 mark of an ancient engraver. For an impression without 
 the mark , see Winckler, 3086. 
 
 A Copy of the same, by Maura Oddi. 
 
 665 Three, r I he Martyrdom of St. Peter and St. Paul; the Empe¬ 
 
 ror presiding at the execution. On the base of the throne 
 is inscribed, Jacobus Parmensis fecit. Winck. 3087. 
 From Mr. Barnard’s collection. 
 
 Holy Family, with St. Mary the Egyptian, presenting 
 a dove, after Parmigiano (by Francisco Torbido , 
 called II Moro.J 
 
 Copy with variations, by T . Sadeler. 
 
 €66 Three, A Woman draped, seen on the back with a crucifix. 
 Parmigiano F. etched by Guido. 
 
 A winged Female Figure, sitting on a large stone, and 
 looking up ; a book in her right hand, date, 1542. 
 Penelope at work with her servants weaving, an impres¬ 
 sion in brown ink. 
 
 667 Two, A Woman sitting, pointing with her left hand, with two 
 children, marked MR. L D. 1540. 
 
 Holy Family, a composition of eight figures, marked L. D. 
 very fine. 
 
 FRANCESCO PRIMAJICCIO. 
 
 By, or after him. 
 
 668 Two, Adam and Eve in Paradise, with animals ; a horse gra¬ 
 zing, on the right. 
 
 The Adoration of the Magi, a large composition. 
 
 /. / 669 Two, Hie Nativity, Shepherds adoring, St. Joseph seated 
 
 on steps above. 
 
 Dead Christ at the foot of the cross, with the Virgin, St. 
 Mary Magdalen, and S. John. 
 
 / <2 670 Two, Boys playing with apples, called Eros and Anteros. 
 
 The etching is attributed to Primaticcio, in Winck- 
 ler’s catalogue, No. 3472. rare . 
 
painter’s etchings. 
 
 79 
 
 A Female Figure, seated, with three children, and a 
 globe, ditto, No. 3471. ditto. 
 
 €71 One; Nymphs carrying water, a shepherd drinking ; a sin¬ 
 gular composition of nine figures, extremely rare . 
 
 672 Two, Cadmus, with the monogram aiF. 
 
 The contest between Neptune and Minerva ; above, is an 
 assembly of the gods. 
 
 673 Three, Diana and Endymion, with the letter F. (Fontainbleau) 
 
 Bologna invent. 
 
 A Female Figure reclined on an arch, sounding a trum¬ 
 pet, A. Fontenebleau , Bologna , L. D. 
 
 Nymphs cultivating a garden; above is a term of Priapus. 
 
 On the pedestal is A. Fontenebleau. 
 
 Several of the foregoing etchings are attributed to an 
 artist , called Leo Daven, or Daris, whose name is in- 
 scribed only on a single print , after Titian , (in the 
 next lot) where it appears (as far as it is intelligi¬ 
 ble ) Leo Daris ; from the resemblance of the engrav¬ 
 ing of which , to those of the prints marked L D. it 
 is presumed by Heineken, Huber, and others, that they 
 are by the same hand; a supposition ivhich seems 
 to be totally groundless , as the prints marked L D. 
 are in a much f ner and bolder style of etching than 
 that after Titian. 
 
 TITIANO VECELLI. 
 
 674 One, Venus blinding Cupid. <e Titianus inventory “ Leo 
 
 Daris fe. Roma. Super, per.” extremely rare. 
 
 675 One, The Virgin and Child, with St. Catharine and two 
 
 saints. Titianus f. an etching, usually, though pro¬ 
 bably erroneously, attributed to Titian, bariss. 
 
 Sxth Day. 
 
 ‘ 2 ,. // 
 
 /,. A,f 
 /. /- 
 
 /?, 
 
 /«' * 
 
80 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 X. A> ~ 
 
 /~ 4 - 
 
 2,. /?J 
 2 ,. // 
 
 A 
 
 BATTISTA DEL MORO. 
 
 076 Two, A large landscape, with cattle and figures, inscribed 
 Battista del Moro, Yer. F. 
 
 Two female saints, finely etched, attributed to Paolo 
 Veronese, rariss. 
 
 FEDERIGO BAROCCI. 
 
 077 Four, Portrait of Barocci, by Simon. 
 
 The Virgin in the clouds, surrounded by a glory ; the 
 infant Jesus in her lap ; cherubim in the upper corners 
 of the print, marked F. B. V. F. 
 
 The same subject reverse, from a different plate. From 
 the collection of Martin Folkes, Esq. 
 
 Copy of the same by Agostino Caracci. 
 
 678 Two, The Virgin and Child, the infant reposes on her left; 
 
 at the bottom, to the left, is marked Federicvs Ba- 
 rocivs Fec. et inv. rariss. 
 
 St. Francis, on his knees, receiving the stigmata, rariss. 
 
 679 One, The Annunciation ; the angel with a lily in his left 
 
 hand; a cat asleep in the corner to the left, Federicus 
 Barocius Vrb. inventor excudit. 
 
 680 One, St Francis in adoration; called the Pardon of St. 
 
 Francis; four verses below; on the right, Federicus 
 Barocius Urbinas Inventor Incidebat, 1581. circu¬ 
 lar at the top , 
 
 PAOLO FARINATI. 
 
 681 Two, St. John the Evangelist receiving the inspiration of 
 
 the Holy Spirit, marked Paolo Farinato, f. 1567. 
 
 The Virgin and Child, in a landscape ; her right hand 
 embraces the infant St. John, who is playing with a 
 lamb. 
 
painter’s etchings. 
 
 81 
 
 €82 
 
 683 
 
 684 
 
 685 
 
 686 
 
 687 
 
 688 
 
 689 
 
 690 
 
 Two, A Charity; a female seated in a landscape with three 
 children and a rabbit; called in Winckler Venus and 
 Loves. 
 
 St. Mary Magdalene adoring the Crucifix; a book in 
 her left hand, Pavl . farinat s . f. 
 
 Three, The Virgin and Child, with St. John, who brings 
 fruit to Christ, etched by Horatio Farinati, as ap¬ 
 pears by the letters ho. f. f. at the bottom of the 
 print. 
 
 Cupid asleep, in a landscape, his bow in his right hand, 
 his quiver at his feet. 
 
 A copy of the same reversed. 
 
 One, Venus seated in the clouds, with Cupid on her knee, 
 from whom she is taking his bow and arrow. 
 
 Two, St. Luke seated, in a landscape ; the head of the bull 
 oil his right. 
 
 Six Angels bearing the Cross and the instruments of 
 the passion. 
 
 Three, Five Cupids playing in the air in various attitudes. 
 
 Virgin and Child, wfith St. John. 
 
 A Frieze ; Silenus on a Goat, supported by infants; others 
 playing with a lion. 
 
 One, The Destruction of Pharaoh and his host in the Red 
 Sea, after Paolo , by Hor. Farinato. 
 
 One, Christ taken down from the Cross, 1583. Ditto . 
 
 Sixth Day. 
 
 /s 
 
 //*- 
 
 /J r 
 
 /L 
 
 /'/- 
 
 /J 
 
 BATTISTA FRANCO. 
 
 Five, His own Portrait, by Baron. 
 
 A Sheet of Heads, of Characters, Hands, Feet, &c. 
 Franco fecit . 
 
 Three of Friezes, kc. from the antique. 
 
 Two, The Angel appearing to Abraham, tres vidit et 
 vnvm adoravit, on the root of a tree to the right, are 
 the letters, B. M. 
 
 
 M 
 
82 
 
 painter’s etchings. 
 
 Sixth Day. 
 /'■/* 
 
 /„a; _ 
 
 /,. a _ 
 
 A - 
 
 Moses striking- the Rock. Large composition, fine. 
 
 691 Two, The Annunciation, the Virgin kneeling. 
 
 The Nativity, a choir of angels in the clouds. 
 
 692 Two, Abraham offering up Isaac, Franco form. 
 
 The Nativity, nearly the same composition as the former, 
 but larger. 
 
 693 Two Dead Christ, with Mary Magdalen, See. 
 
 The Burial of Christ. 
 
 694 One, Presents brought to Solomon; supposed by Huber 
 
 to represent Melchisedec, king of Salem ; in the back 
 ground a lion attacking an elephant. 
 
 095 One, Messengers consulting an oracle in the temple of Bac¬ 
 chus, without name or mark. 
 
 696 Two, Diana and her Nymphs reposing; a satyr behind a 
 tree, Batista Franco fecit. 
 
 Virgin Child and St. John, Batista Franco fecit. 
 
 G1ACOPO PALMA, 
 
 697 Three, St. John Baptist in the Wilderness, marked Palma*. 
 
 A Copy of the same, reversed. 
 
 Samson, his head reposing in the lap of Dalilah. 
 
 698 Two, The Woman taken in adultery. 
 
 The Virgin and Child, adored by St. Jerome and two 
 other saints. 
 
 cf* ^ 699 Three, Christ appearing to St. Thomas, marked Palma. 
 
 St. Jerome and Pope Damasus debating. 
 
 Judith giving the head of Holofernes to her servant; the 
 dead body in the foreground, marked Palma , Jacobus 
 Franco formis cum privilegio. 
 
 ~ 700 Four, A Study of Heads, he. Palma fece. 
 
 A figure of Victory. 
 
 The Woman taken in Adultery, 
 
 The Adoration of the Shepherds, etched by another hand. 
 
painter's etchings. 
 
 83 
 
 BATTISTA FONTANA. 
 
 701 One, Christ on the Cross between the two thieves; a 
 
 composition of many figures ; circular at the top. On 
 a stone in the foreground, Battista Fontana. From 
 tke collection of M. Folkes, Esq. 
 
 702 One, The Crucifixion, called inWinckler the great Calvary, 
 
 resembling the former in design, but on a larger 
 scale. 
 
 RAPHAEL SCHIAMINOSSI. 
 
 703 Three, An Angel, after L. Cambiaso . 
 
 A Charity, after ditto. 
 
 The Descent of the Holy Ghost, from his own design . 
 
 BARTOLOMMEO PASSAROTTI. 
 
 704 Four, A Man standing, seen in front in a Roman dress. 
 
 The Virgin in glory, an angel at her feet, without mark . 
 Two Pieces, St. Andrew and St. John, marked b. 
 PASAROT. 
 
 705 One, The Salutation of the Virgin, and St. Elizabeth, after 
 
 Francesco Salviati ; marked in reverse Fran. Salviatus 
 pinxit. Pasarottus imitavit. 
 
 “ Primo taglio dicono che facesse all ’acqua forte, e 
 non troppo buono .” Malv. 1. 83. rariss. 
 
 FRANCESCO VANNI. 
 
 706 Two, St. Francis de Paul, reposing at the foot of a tree, 
 
 meditating on a crucifix in his hands, fne and rare. 
 
 BARTOLOMMEO SCHIDONE. 
 
 The Holy Family; the infant with the cross, seated on a 
 table before the Virgin. The only etching known of 
 the artist . 
 
 Sixth Day, 
 $„/, 
 
 >- 
 
 A- 
 
 X- _ 
 
 A A - 
 
84 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 VENTURA SALIMBENI. 
 
 707 Two, The Annunciation; a choir of angels above. Ventura 
 Salimben. Senensis Inventor, fecit, Romos, 1594. 
 
 A Copy, reverse Ventura Salimben. Senensis Inventor. 
 /& _ 70S Three, The Marriage of Joseph ancl Mary, marked V. S. I. 
 1590. 
 
 St. Agnes, with the lamb, marked Ventura Salimbeni. 
 Two Saints adoring the Virgin in the clouds, after 
 Salimbeni . 
 
 GEO. BATTISTA GALESTRUZZI. 
 
 709 Three, A Frieze after Polidoro, and one ditto, marked 
 
 G TA M TI F< 
 
 VESPASIANO STRADA. 
 Holy Family, and St. John. 
 
 J. B. CATENARO. 
 
 710 Two, A Charity. The only etching known of this Master . 
 
 CAMILLO PROCACCINO. 
 
 The Holy Family ; St. Joseph presents fruit to the 
 Child, who looks up to him. Camillo Procaccino Bol. 
 Invent. Incid.it. 1593. 
 
 / u /p — 711 Two, The Holy Family; St. Joseph in front reclining on 
 
 the saddle of his ass. Camillo Percaccino Invent . 
 Incidit. 
 
 The Holy Family; St. Joseph behind the Virgin; the ass 
 drinking. Procacinus. F. 
 
 LODOVICO CARACCI. 
 
 712 Two, The Virgin and Child, with St. John; four verses 
 below, “ O Regina del del speranza nostra, fyc.” 
 1G04, Ludovico Caratio fece. 
 
 The same subject reversed, with the verses. L. Caratio 
 fecit Roma. Pietro Stefanoni, 1604. 
 
painter’s etchings. 
 
 85 
 
 Sixth Day, 
 
 713 Two, The Virgin giving suck to the Infant, marked Lod. 
 
 Carr. in. f. 1592. 
 
 The same subject, from a different plate, Lod. Carr. in. 
 
 714 One, The Virgin and Child adored by angels. Lo. C. 
 
 Petri Stefanoni exc. before the address of Van Aelst. 
 
 715 One, A Holy Family, under an arcade, marked Lodovicus 
 
 Caraccius inv. f. On blue tinted paper. 
 
 * 
 
 ETCHINGS after LODOVICO, 
 
 By PAINTERS of the SCHOOL of the CARACCI. 
 
 ?•« 
 
 7IG Three, The Flight into Egypt; an angel leading the ass. 
 by Fra. Brizio , and a duplicate. 
 
 The same subject, larger and reverse, etched by Lod . 
 Mattioli. 
 
 717 Four, Galatea carried by two Dolphins, by Oliviero Dol- 
 
 Jini. “ bell' aqua forte." Malvasia. 
 
 The Prophet Isaiah, after the picture of Lodovico , in the 
 church of St. Bartholomew at Bologna. Mattliiolus f. 
 A Charity ; a female figure sitting in the clouds, with 
 three children, Gioseffo Rolli f. 
 
 The same Print, another impression, with variations. 
 
 718 Two, St. Francis on his knees, receiving the Child from the 
 
 Virgin, who appears to him in the clouds, a fine etching , 
 without mark , supposed by Heineken to be executed 
 by Fr. Brizio, or Pietro Faccini. Malvasia attributes 
 the design to Annibale, and says that the picture be¬ 
 longed to the Capuchins at Bologna , to whom it ivas 
 given by him; he calls the print “ franchissima acqua 
 forte," but has not mentioned, the engraver. 
 
 The Virgin with the Child, in a crescent, between St. 
 Jerome and St. Francis, etched by Girolamo Rossi. 
 
 719 St, Pellegrino king of Scotland adoring the Virgin, from 
 
 fit. /> 
 
 /„ /. 
 
 % 
 
so 
 
 painters’ etchings. 
 
 Sixth Day. 
 
 the picture of Lodovico, in the oratory of that saint 
 in Bologna. From Mr. Barnard’s collection. 
 
 St. Benedict driving’ the Courtezans from the temple, 
 without name of painter or engraver. 
 
 720 One, Christ crowned with thorns. Lod. Car inv. Coriola - 
 nus,f. a r aq. f. rare. Winckler, 786. 
 
 ANNIBALE CARACCI. 
 
 721 Three, Portrait of Annibale, by Clouet. 
 
 Ditto, etched by Jon. Richardson. 
 
 Susannah and the Elders, with the address of Ste - 
 v fanoni. 
 
 /./?- 722 One, The same, a fine proof impression. 
 
 /, f 723 Three, Dead Christ, in the lap of the Virgin, accompanied 
 
 by St. Elizabeth, St. John, and the Magdalene ; called 
 the Christ of Caprarola , marked Annibal Caraccius , 
 in.fe. Caprarolce , 1597. 
 
 The same; copy in reverse, marked Annih. Caraccius inv. 
 
 The same, another copy, reverse, marked Annibal Car - 
 raccius inven. Caprarolce. 
 
 /r 1 724 Three, The Virgin and Child, with St. Elizabeth and St. 
 
 John ; the Virgin giving drink to St. John, marked 
 Annib. Caraccius , in. et fecit , 1606. Called La Virgine 
 della Scodella. 
 
 The same subject, a copy by J. Couvay y in the same 
 direction as the original. 
 
 The same subject, another copy, freely etched, without 
 mark , reverse. 
 
 A. /_ 725 Two, Holy Family ; Christ and St. John embracing on the 
 
 cradle ; St. Joseph, seated with his back against a co¬ 
 lumn reading a large book, marked Anni. Carr . inv.fe. 
 1590. A beautiful impression , from the collection of 
 Martin Folkes, Esq. 
 
 The same subject, a copy reversed, without mark. 
 
painter’s etchings. 
 
 87 
 
 720 Two, The Virgin and Child ; he is looking down towards a 
 bird at his feet, marked A. C. 
 
 A Holy Family ; Christ taking a bird from St. John, 
 marked Anni . Car. Bol.f. in. and below, 1581. En¬ 
 graved with the tool. Said by Malvasia to be in emu¬ 
 lation of Agostino. 
 
 727 Two, The Nativity, or the Shepherds adoration, called II 
 
 presepe de'' Caracci; marked Annibal Carracci fecit , 
 et inv. 
 
 The Crowning with Thorns, inscribed Annibal Carracci 
 in. et fecit , 1006. very fne. 
 
 728 Two, St. Jerome in the Wilderness; a stone in his left hand, 
 
 resting on a book, marked, An. Caracci fe. 
 
 S. Francis, seen in front, sitting, holding a crucifix in 
 both hands, a scull on his knee, marked 1585. An 
 etching, worked on with the tool. 
 
 729 The Magdalen resting on a haircloth, and contemplating 
 
 a crucifix tied to the branch of a tree, marked Carra. 
 in. 1591. fine. 
 
 730 Three, Jupiter and Antiope; called by Malvasia , Venus 
 
 on abed, marked 1592.^. C. 
 
 Virgin and Child ; an angel attending, marked Annibal 
 Caracci in. fecit, with the dedication of Stefanoni. 
 Heinek. 3. 050. 
 
 Virgin and Child; imitated from the above; inscribed 
 A. C. invent. Dedicated to the Marquis of Somerset, by 
 Michael Ritus, Anglus. 1047. (Michael Wright.) From 
 Sir P. Lely's, and Barnard’s collections. 
 
 731 One, The Soucoup of Caracci. 
 
 Silenus lying on the ground : two satyrs pouring wine 
 into his mouth, enriched with a large circular ornament 
 of vines and grapes, which two boys are gathering, 
 engraved by Annibale upon a silver salver, for Don 
 Giovanni di Castro, who presented the artist with 500 
 
 Sixth Day. 
 
 / 4 - 
 
 \ 
 
 <j\. A 
 
 0 
 
 /S2^ 
 
 /- - 
 
 /. A. ^ 
 
88 
 
 painter’s etchings. 
 
 Sixth Day. 
 
 crowns. See Malv. 1. 103. of the greatest ra- 
 
 rity. not in Winckler. 
 
 
 ETCHINGS after ANNIBALE, by PAINTERS of the CARACCI 
 
 SCHOOL. 
 
 732 Three, Christ and the Woman of Samaria, marked Annib. 
 
 Car. invent, et sculp. 1610, but etched by Fr. Bri- 
 zio , in competition with the alms of St. Roch by Gui¬ 
 do. Malvasia informs us that the name of Annibale was 
 put on the plate by the painter Stefanoni, ignorantly 
 leaving the year 1611, although Annibale died in 
 1608. 
 
 The Nativity, with the offering 1 of the wise men. The 
 etching is attributed to Annibale, but doubtful. 
 
 The same subject, larger and reversed, Lud. Mattliiolus , 
 incid. Bon. 
 
 /2- 
 
 733 Two, Paris receiving the golden apple from Mercury, 
 marked Anni. Car. in. fe. “ elle paroit etre douteuse 
 Heinek. 3652. 
 
 A A. 
 
 The same subject, in the same direction, in an octagon 
 plate. C. Cesius , del. et sculp. Romee. 
 
 734 Two, Venus and Adonis, after Annibale , by Luigi Scara - 
 muccia , (called Perugino,J fine etching, curious 
 and rare. 
 
 Holy Family; St. John bringing cherries to the infant, 
 dedicated by Stefanoni, to whom Heineken attributes 
 the etching , 3. 667. 
 
 ' 9 - 
 
 GUIDO RENI. 
 
 735 Five, Portrait of Guido in an oval, inscribed Guido Rheni 
 Pittore Bolognese , mori d'anni 68, nel 1642. C. G. 
 delin. IG. exc. Viterbii. 
 
 The Holy Family, St. Joseph seen at a distance through 
 an arch, inscribed “ JEternum Patrem, fyc .” Bartsch 
 
painter’s etchings. 
 
 89 
 
 Cat. de Guide. No. 1 , without the address of Van Aelst, 
 but with the letters G. R. F. 
 
 Another impression, with the address of Vincenzo Cenci 
 Romce.for. G. R. F. 
 
 A third impression, without any address, and the letters 
 g. R. f. in small capitals, at the bottom to the right. 
 
 A Copy, Ventura Salimb. fee. his name inscribed in 
 reverse characters. 
 
 736 Three, The Virgin and Child, in an oval, the head of the 
 
 infant inclines to the right of the print, without mark «, 
 Bartsch No. 2. 
 
 A Copy, reverse, ditto. 
 
 Another Copy, in wood, by Coriolanus , marked 
 Corio. f. 
 
 737 Four, The Virgin and Child, in a circle of double lines, from 
 
 the same design as the preceding, with an alteration in 
 the drapery, proof impression, without name or mark. 
 Bartsch. No. 3. 
 
 A Copy in the same direction, executed chiefly with the 
 graver. 
 
 The Virgin and Child; the same subject repeated ; a re¬ 
 verse of the former. Bartsch. No. 4. 
 
 A Copy reversed, marked Guido JRenus inv. Lud. 
 Matthiolus, f. 
 
 738 Two, The Virgin, Child, and St. John, she is seen in profile, 
 
 directed to the right; St. John kissing the feet of 
 Christ. 
 
 A Copy, in the same direction ; well executed, but with 
 a broader needle, without name or date. 
 
 739 Three, The Virgin, Child, and St.John; the Virgin places 
 
 her left hand on the shoulder of St. John ; the infant is 
 seated on two cushions, outline rudely etched, oval. 
 The Holy Family; the Virgin seated towards the left, 
 
 n 
 
 Sixth Day. 
 
 4 - 
 
 /_ 
 
 /3 
 
 /a,/' 
 
90 
 
 painter’s etchings. 
 
 Sixth Day, 
 
 holds the infant on a table, who gives his benediction 
 to St. John kissing his right foot; above, are two 
 angels strewing flowers, executed with the graver. 
 
 A Copy in the same direction, but executed with a 
 broader point. 
 
 /#- 740 Two, The Holy Family ; the Virgin, seen in profile and 
 
 directed towards the left, is seated near an arcade; far¬ 
 ther to the left St. Joseph, a book in his hands, looks 
 towards the Virgin, a proof before the inscription . 
 
 The same, with the inscription Guido Reni fecit. 
 
 741 Two, The same subject, etched by Guido , in reverse, and with 
 considerable alterations, St. Joseph being resting on a 
 table, with his head on his left hand ; two angels above 
 strewing flowers ; at the bottom is inscribed, Guidus 
 Renus inventor et incidit, and in the lower 
 margin. Maria mater gratiee , Sfc. 
 
 The same subject, etched by Guido; the figures are in 
 the same direction as the last, but that of St. Joseph is 
 altered, his head rests on his right hand; the angels 
 are omitted, and St. John is introduced kissing the 
 hand of the Virgin. 
 
 A A 742 Two, The Virgin and Child ; she is seen in front sitting^ 
 
 her left hand under her head, her right supports the 
 infant, who is looking up at a bird flying, which he 
 holds by a string. Bartsch has omitted this in his ca¬ 
 talogue , perhaps on the authority of Heineken, who 
 has included it amongst the prints after Ann. Carr. 
 and says it is engraved by an anonymous artist; but 
 the authority of Malvasia is perhaps preferable, who 
 has particularly described it amongst the etchings by 
 the hand of Guido, Fels. Pitt. 1.115. 
 
 A Copy, reverse, well executed, marked in the bottom 
 margin to the right, in rude letters. G. R. I. Petrvs 
 
painter's etchings. 
 
 91 
 
 car°lus, decAro v jIS. Cantarini also etched this 
 subject,, v. his works. 
 
 743 Two, St. John, on his knees, adoring the infant Christ, 
 
 who receives him with open arms ; on the right of the 
 print is the lamb. This print is said to be after a de¬ 
 sign of Agostino Caracci. extremely rare , from 
 Mariette's Collection. 
 
 Copy of the same, marked at the bottom on the right, 
 Agos. Caracc. in. 
 
 744 One, St. Christopher carrying Christ; he sits on the right 
 
 shoulder of the saint, who carries his staff in his left 
 hand. Guid. inv. e.f. 
 
 745 Three, St. Jerome turned towards the left and praying befora 
 
 a crucifix; he appears to be emaciated by abstinence. 
 A Copy, in the same direction, with the difference in 
 the cloud, as described by Bartsch. 
 
 The same subject, a reverse, from an unfinished etching, 
 but different from, and superior to either of the other, 
 not cited hy Bartsch. rariss. 
 
 746 Two, St. Jerome reclining on a rock, reading in a book which 
 
 he holds with both his hands ; his head is towards the 
 left; in the back ground is a landscape. A slight but 
 spirited sketch, rariss. 
 
 An emblematical figure of science or study, represented 
 by a female sitting, holding a tablet in her right hand, 
 and a pair of compasses in her left; to the right, a 
 winged genius dipping a pen in an inkstand. 
 
 747 One, Portrait of Pope Paul V. in an oval, inscribed pavlvs. 
 
 V. PONT. OPT. MAX. EXTREMELY RARE. 
 
 748 Three, Head of an Old Man in profile, turned to the right, 
 
 finely etched. 
 
 Head of an Old Man, with a flowing beard, lightly etched , 
 A Female Figure, seen on the back, her head turned to- 
 
 Sixth Dtsf. 
 
 
 A* - 
 
 /J_ 
 
 I 
 
painter’s etchings. 
 
 wards the right, holding the cross. Generally attri¬ 
 buted to Farmigiano, whose manner it much resembles. 
 
 ETCHINGS BY GUIDO, 
 
 After OTHER MASTERS. 
 
 749 One, A Glory of Angels, after Luca Cambiaso; towards 
 the left, at the bottom, is inscribed, Lucas Cangiasius 
 inv. and in the lower margin. Jubilemus Deo salu- 
 tari nostro, with the dedication of Stefanoni , 1607. 
 <£ Cette estampe est une des plus belles de V oeuvre de 
 Guide.” Bartsch. 
 
 750 One, The Burial of Christ, after the design of Parmigiano , 
 with considerable variations, as described by Bartsch f 
 No. 44. 
 
 751 One, The Holy Family ; St. Clara adoring the Infant, with 
 
 a ciharium in her left hand, on which the Infant places 
 his right. Before the address of\ an Aelst. 
 
 £ 752 Two, St. Roch distributing alms; after the celebrated 
 
 picture of Annibale. Marked Anibal. Car. invenit. P. 
 Stefanonius formis , cum privilegio ; and to the right, 
 1610. 
 
 The same subject by a different hand; a proof before 
 the address of Mariette. 
 
 Guido copied the great picture of Carracci, whilst he 
 ivas a scholar ivith them , on copper , inserting two 
 figures to the right. The copy is in this collection. 
 ^_ 753 Three, The Virgin giving suck to the infant Jesus; she 
 
 presses her breast with her right hand. Inscribed An. 
 Car. in. and at the bottom, Lactasti sacro ubere. 
 Heiueken attributes the etching to Annibale. 
 
 Two Copies in reverse. 
 
 PRINTS after GUIDO, by PAINTERS of the BOLOGNESE SCHOOL. 
 
 K 
 
 % . 754 Two, The Patron Saints of the City of Bologna, a superb 
 
 etching, by Flaminio Torre. 
 
painter’s etchings. 
 
 03 
 
 The Martyrdom of St. Andrew, Guido Reni, pinxit, 
 Carlo Cesio , sculp. 
 
 755 Nine, The Virgin and Child ; she is seen in front, a rosary 
 
 in her right hand, oval, the corners ornamented with 
 flowers. An inscription of four verses—“ Verginebella , 
 i vostri eterni jiori ,” &c. At the bottom, to the left, 
 are the letters G. R. I. 
 
 Heads of Christ and of the Virgin ; with six Heads of 
 Apostles, in ovals. 
 
 Ces estampes attributes au Guide, sont extremement 
 rares , et Von n' en trouve presque jamais toute la 
 suite complete a la fois .” Bartsch. 
 
 756 Two, Christ and the Woman of Samaria ; the woman is 
 
 standing towards the left of the print, her right hand 
 on her breast. Bartsch says that this is engraved by 
 an anonymous Italian artist , and that the design is 
 attributed to Guido, but is more probably by Albano. 
 The inscription , C. Maratta fecit, is erroneous , and 
 is only found, on the later impressions . 
 
 Fortune, represented by a figure of a woman slightly 
 draped, her hair dishevelled, and a purse in her right 
 hand, from which she pours money as she passes over 
 the globe ; a winged genius behind endeavouring to 
 retain her; at the bottom, to the left, are the letters 
 G. R. I. and towards the right, H. S. F. probably 
 Hieronymo (or Girolamo) Scarsella. 
 
 757 Two, The Slaughter of the Innocents; two angels above, 
 
 with branches of palm ; after the picture of Guido, by 
 Bolognim . 
 
 Feasants bringing presents to a saint, a large upright 
 etching by Giovunnini. 
 
 Sixth Day. 
 
 
 
94 
 
 SEVENTH DAY’S SALE. 
 
 PAINTERS ETCHINGS. 
 
 ITALIAN CONTINUED. 
 
 SIMONE CANTARINI DA PESARO, 
 
 Called IL PESARESE. 
 
 ^rcnttipn. 758 Three, Adam and Eve eating- the forbidden fruit. 
 
 Repose in Egypt; St. Joseph presenting fruit, erroneously 
 inscribed G. Renus, in. et. fee. 
 
 A Copy, reverse. 
 
 /- 759 Two, Repose in Egypt; an Angel gathering dates. 
 G. Renus , in. 
 
 A Reverse, before the letters, erroneously attributed to 
 
 \ 
 
 Guido. 
 
 7 — 700 Two, A Holy Family ; St. Joseph resting his hand on a 
 table. Mattio Bolzetto For. Pad. 
 
 Repose in Eg 3 'pt; St. Joseph pointing out a landscape. 
 /Z ,.0 761 Thr ee, Repose in Egypt; the Virgin presenting fruit to 
 the Infant. 
 
 Repose in Egypt; St. Joseph at the foot of a tree. 
 
 A Copy, reverse. 
 
 - 762 Three, Repose in Egypt; St. Joseph sleeping. 
 
 Repose in Egypt; St. Joseph reading. 
 
 A Copy, reverse. 
 
painter’s etchings. 
 
 95 
 
 763 Two, Holy Family; with St. Elizabeth and St. John. 
 
 Holy Family, the same subject as the last, etched 
 by Cantarini, in reverse, and with some alterations. 
 The usual copies are erroneously inscribed, G. Renus, 
 in. et. fee. but this impression is before the inscrip¬ 
 tion, and before the outline of the lower part of the 
 left arm of St. John was marked. 
 
 764 Six, Holy Family; St. Joseph with a book; St. John adoring 
 
 Christ. Simone Cantarini, in. et fee. 
 
 Holy Family ; the Child standing on the knee of the Vir¬ 
 gin embracing her; St. Joseph regarding them ; St. 
 John behind with a banner. S. C. Pesaro, fe. 
 
 A Copy, in the same direction. 
 
 A ditto, reverse. 
 
 A Holy Family; the Infant holding a chaplet with both 
 hands ; St. John reading. S. C. da Pesaro, fe. 
 
 A Copy, in the same direction, with the same in¬ 
 scription. 
 
 765 Four, Holy Family; St. Joseph raising a curtain. S. C. 
 
 da Pesaro, f. 
 
 Holy Family; St. John kisses the hand of the Infant. 
 The Virgin and Child, in a glory ; three angels adoring; 
 
 below to the right, two cherubim. S. C. da Pesaro, f. 
 A Copy, reverse, by Mite Hi. 
 
 766 Four, The Virgin and Child; the Infant, lying on her knee, 
 
 holds with the right a string with a bird flying. The 
 same subject as the etching of Guido, by whom it was 
 designed, although attributed by some persons to 
 Annibale. 
 
 The Virgin and Child in the clouds; she holds the Infant 
 towards the left, and looks back towards the right; at 
 her feet two heads of cherubim. 
 
 Christ bearing his cross ; he is turned towards the right. 
 A Copy, reverse, marked G. T. F. S. C. I. 
 
 SeventhDay. 
 
 9-6 
 
 //..6 
 
 S'- 6 
 
 / 3,6 
 
 X 
 
9 6 
 
 painter’s etchings. 
 
 Seventh Day, 
 
 /6,. ?> 707 Three, The Virgin in glory, crowned by two angels; her 
 
 right foot on a crescent. 
 
 St. John in the Desert; a cross in his left, in his right a 
 cup receiving water from the rock. 
 
 A Copy, in reverse. 
 
 70S Three, St. Sebastian tied by his right hand to a tree. 
 
 St. Anthony of Padua, turned towards the left, adoring 
 the Infant, who places both hands under the chin of 
 the saint. An early impression before the address 
 of Rossi. 
 
 The small St. Anthony of Padua; he is turned towards 
 the right, and holds the Infant in his arms, extremely 
 rare. 
 
 769 Three, St. Benedict healing the demoniac, after the picture 
 
 of Lod. Carucci, in the cloister of St. Michael in Bos- 
 co, inscribed, lvd. caracc. invent. 
 
 The Guardian Angel conducting an Infant. 
 
 Copy, reverse. 
 
 /f '770 One, Jupiter, Neptune, and Pluto, paying homage to the 
 
 arms of Cardinal Borghese, fne impression. 
 771 Four, Jupiter and Europa. 
 
 Mercury and Argus ; Argus reclines under a tree, whilst 
 Mercury plays to him. 
 
 A Copy of the same, reverse. 
 
 Venus and Adonis; the dog in the corner to the right. 
 /3 772 Fortune, standing with her right foot on the globe, a winged 
 
 genius striving to hold her by the hair, marked G. 
 Renus , in. et. fee. but designed and engraved by Can - 
 tarini. 
 
 Another impression, in reverse, without the letters. 
 
 Frontispiece of a book ; a shield with arms supported by 
 three angels; Fame blowing her trumpet; below, to 
 to the right, a river god. very rare . 
 
painter’s etchings. 
 
 97 
 
 SeventhDayv 
 
 St. Benedict, when a youth, avowing his determination to 
 retire into the desert. From the picture of Lorenzo 
 Garbieri, in the cloister of San Nicholas in Bosco. In 
 scribed in reverse letters, S. C. Pesarese , delin. and 
 etched in the manner of Cantarini. 
 
 GIOVANNI ANDREA S1RANI. 
 
 774 Three, The Virgin and Child, with St. John, who is pre- 
 senting a bird to Christ, an oval, after Guido. The 
 same design is etched by Loli. 
 
 Apollo flaying Marsias, marked on the foreground sirano. 
 an oval in length. 
 
 The holy family, with St. Elizabeth and St. John ; Jo¬ 
 seph working with an axe, marked Siranus inv. rare . 
 not in Bartsch. 
 
 ELISABETTA SIRANI. 
 
 775 Two, The Virgin, Child, and St. John, in a circle, after //- 
 Raffaelle , with the inscription, Opus hoc, &c. “ su - 
 perbe pieced ’ Bartsch. 
 
 Lucretia dying, with the dedication to Paleotti. 
 
 i 
 
 GIROLAMO SCARSELLO. 
 
 776 Three, Saturn seated with a scythe in his right hand, after 
 
 Siruni, inscribed in reverse letters sir i. gir. s. f. 
 Cupid on a dolphin, discharging an arrow, marked 
 sir. i. g. s. 
 
 Bacchus astride on a boar, supported by two infants, 
 marked Sirano i. g. s. f. 
 
 ■c : 
 
 ALESSANDRO BADIALE. 
 
 \ 
 
 777 Two, Repose in Egypt, the Virgin sifting under a palm * 
 
 tree suckling her infant. Siranus in. 
 
 /£6 
 
 //- 
 
 o 
 
98 
 
 painter’s etchings. 
 
 SeveuthDay. 
 
 Christ taken from the Cross, the Magdalen kissing his 
 feet, marked Flaminio Torre inventor, a. b. f. d. d. 
 
 GIOVANNI PERUZZINI. 
 
 778 Two, Hercules recovers Bejanira, after having, wounded 
 
 Nessus, who is attempting to draw the arrow from his 
 back, marked g. p. 
 
 Mars carrying off Venus from Vulcan, who is employed 
 in the forge with the Cyclops ; on a label to the left is 
 inscribed arma acri facienda viro. a shield of 
 arms is suspended to a tree. 
 
 Both these pieces are enumerated by Bartsch, 
 amongst the ivorks of the contemporaries of Guido ^ 
 but he has not given the name of the engraver. 
 
 LORENZO LOLL 
 
 779 Three, The Virgin and Child with St. Elizabeth and St.„ 
 
 John, who holds the left hand of Christ as he reposes 
 on the knee of the Virgin,, an oval upright. Sirano i. 
 Lorenzo Loli f 
 
 A copy in the same direction, without mark*. 
 
 Another copy reverse, ditto. 
 
 #!. {> 780 Four, The Virgin, Child, and St. John, the same design 
 > » v , as Sirani, with slight alterations noticed by Bartsch, 
 
 oval. 
 
 The Virgin and Child, she is, raising the linen from the 
 Child with her right hand, after JEliz. Sii'ani. at the 
 top to the right Etiz. S. in. and at the bottom on the 
 left, L. Lol. f. 
 
 St. Jerome, whole length, sleeping before a crucifix, two 
 angels above; marked s. 1 . Lau. Lo.f. 
 
 781 Two, St. Jerome reading, the book rests on a scull, his 
 head reposing on his right hand. 
 
 The Virgin, St. Anthony of Padua, and St. Nicholas 
 
painter’s etchings. 
 
 Albergati, a fine etching by Loli, from his own de¬ 
 sign, inscribed Laur. Lo. i. f. 
 
 782 Seven, The genius of study, figure of a young man wing-. 
 
 ed. Laurentius Lo. F. SIrani , I. 
 
 Renown, a winged female with two trumpets. Sirani I 
 Laurentius Lolius , f. 
 
 The arms of Guasta Villani, supported by winged genii, 
 dedicated, “ All illustrissimo Signor , fyc. Filippo 
 Guasta Villani , I. A. Sirani , in. L. LL. F. 
 
 783 Four, Cupid breaking his bow; another crying, 1640. 
 
 Two Cupids wrestling. 
 
 Two Cupids, one of whom is taking a bow frpm the other,' 
 marked Lo. 
 
 Young Hercules strangling the serpents. 
 
 784 Four, Cupid asleep under a pavillion. 
 
 Bacchanalian Infants, one of whom is giving wine to the 
 »■ other. 
 
 Perseus and Andromeda, after Sirani. 
 
 Cupid on a dolphin, by Scarsello. 
 
 VARIOUS. 
 
 785 Ten, By and after the Carracci , Guido , Sfc. 
 
 GIOVANNI LANFRANCO. 
 
 786 Two, Triumph of a Roman emperor, his largest etching , 
 
 The Mystery of the Trinity, after Lanfranco. 
 
 09 
 
 Seventh Day. 
 
 
 #- 
 
 //- 
 
 / S ,.6 
 
 HORATIO BORGIANI. 
 
 787 Two, Dead Christ; much foreshortened, with three at- /"& 
 tendants. 
 
 St. Christopher, large etching, very fine. 
 
 ODOARDO FIALETTI. 
 
 788 Twelve, Scherzi d’Amore ; the complete set, fine. 
 
 789 Four, The Marriage of Cana, after Tintoretto. 
 
 Do. with the inscription. 
 
 A 2 ^ 
 
 A — 
 
100 
 
 painter’s etchings. 
 
 tSeventhDay. 
 
 STEFANO MAGGIORE, 
 Temptation of a Saint, after Dominchino. 
 
 OLIVIERO GATTI. 
 
 The Virgin and Child, after Lorenzo Garbieri. 
 
 GIOV. FRANCESCO BARRIER!, called GUERCINO DA CENTO. 
 
 /- - 790 One, St. Anthony of Padua, exremely rare and fine, only 
 
 one other etching is known by him. 
 
 791 Three, Venus and Adonis, after ditto , by Pasqualini. 
 Virgin and Child, with an angel, ditto , by ditto. 
 
 Ditto, with St. John, ditto. 
 
 /4 792 Five, Four, the Evangelists, ditto. 
 
 Charity, a large upright, by ditto. 
 
 /ft 793 Twelve, a set of landscapes, with title, by Matthioli . 
 
 BENEDETTO GENNARO. 
 
 //_ 794 Two, St. Jerome meditating in a cavern, fine and rare. 
 
 GIOVANNI BATTISTA MOLA. 
 
 Cupid breaking his bow, fine and rare. 
 
 \ , PIER FRANCESCO MOLA. 
 
 /f~— 795 Two, The Virgin giving the breast to the infant Jesus. 
 
 Joseph discovering himself to his brethren, proof. 
 
 . ' * 
 
 GIOV. FRANCESCO GRIMALDI, called BOLOGNESE. 
 
 / ^ 796 Four large landscapes with figures. 
 
 797 Four upright ditto, with figures. 
 
 CARLO MARATTI. 
 
 //4 '798 Five, The Nativity of Christ. 
 
 r lhe Virgin, with the Child asleep, oval. 
 
 The Virgin, Child, and St. John, 1C47. do. 
 n The Marriage of St. Catharine, do. two impressions. 
 
painter’s etchings. 
 
 101 
 
 Seventh Day. 
 
 799 Five, The Salutation, an upright. / _ 
 
 The Nativity of the Virgin. 
 
 The Annunciation. 
 
 The Adoration of the Magi. 
 
 The assumption of the Virgin. 
 
 800 Five, The Marriage of the Virgin. 
 
 Four Scripture subjects, Lunettes. 
 
 801 Two, Heliodorus, a large etching , from the picture of Raf- /7 
 
 faelle , in the Vatican. 
 
 The scourging of St. Andrew, after Dominichino. 
 
 * " •*' • - ' ? \ 
 
 DOMENICO MARIA CANUTE 
 
 802 Two, St. Roch, marked Dom. Ma . Canuti. fee. /J— 
 
 The Virgin of the rosary, d. m. c. f. 
 
 803 Two, St. Francis in prayer, after Guido. 
 
 JULIO CESARE VENENTI. 
 
 A sultan with his mistresses, after Canuti. 
 
 GIOV. BATTISTA MERCATI. 
 
 804 Two, The baptism of Christ, from his own design. 
 
 St. Bibiana refusing to worship idols, after him. 
 
 PIETRO DA CORTONA. 
 
 805 Three, The executioner presenting the head of St. John to — 
 
 Flerodias. 
 
 CINTHIO BUCCANIGRA. 
 
 The martyrdom of a bishop, after Hyacinto Brandi. 
 
 “ rare .” sec Winck. Cat. i. p. 140. 
 
 F. A. MELONI. 
 
 St. Agnes, after Carlo Cignari, oval. F. A. 31. fecit. 
 
102 
 
 PAINTER S ETCHINGS. 
 
 SsventhD«y. 
 
 PIETRO DA PETRI. 
 
 806 One, Souls redeemed from purgatory, a grand composition, 
 beautifully etched, and highly finished, inscribed “ Pe¬ 
 trus de Petri , Inven. § Sculp.” brilliant impression. 
 
 BIAGIO PUCCINI. 
 //^ 807 Two, St. Francis adoring the Virgin. 
 
 F. ZUCCARELLI. 
 The Flight into Egypt. 
 
 DOMENICO MARIA VIANI. 
 
 80S Two, The Apotheosis of S. Philip Benicius, Dom. Ma . 
 Viani Bonon. inn. et inc. 
 
 GUISEPPE MARIA BARTOLINI. 
 
 A Saint ascending to heaven; above, a winged female with a 
 plumed helmet, bearing a tablet, inscribed charitas— 
 Guiseppe Ma. Bartolini , inv. scul. 
 
 LORENZO PASSINELLI. 
 
 /, f '809 One, St. John preaching in the wilderness, a grand compo- 
 
 position of many figures, finely etched by the painter. 
 From Winckler’s collection. 
 
 /^ _ S10 Two, Mars receiving a shield from the hands of Juno, by 
 
 the orders of Jupiter; from the ceiling painted by 
 Pasinelli for Montecuculi, etched by Giovanni Giu¬ 
 seppe del Sole. From Winckler’s collection. 
 
 A Concert of angels. L. Passinelli inv. FLippolito Ma- 
 racci inc. 
 
 $11 One, A Miracle performed by S. Antony of Padua, after 
 Pasinelli. Lorenzini , delin. a large composition, arched 
 at the top. From Winckler’s collection. 
 
 FRANCESCO ANTONIO MELLONI. 
 
 / ( y„ 6 SI 2 Three, S. Charles Borromeo, endeavouring by his prayers 
 to stay the plague at Milan, after Marc Antonio Fran - 
 
 ceschini , 1700. 
 
painter’s etchings. 
 
 103 
 
 LODOVICO MATTIOLI. 
 
 SeventhDay 
 
 S. Antony of Padua caressing- the infant Jesus, after Giu¬ 
 seppe Crespi. 
 
 S. Luke painting- the Virgin—the ticket or summons for 
 the meeting of the society of painters at Bologna, after 
 Giu. Crespi. 
 
 ETCHINGS f he BOLOGNESE SCHOOL, by anonymous Artists. 
 
 813 Four, The Holy Family, marked at the bottom, to the left, /2 — 
 
 AG. F. 
 
 The Virgin and Child, with St. John, who is bringing 
 fruit to Christ. 
 
 The Infant Christ, surrounded by angels caressing S. 
 
 Anthony of Padua, who is kneeling before him on the 
 steps of the altar, inscribed S. Antonio da Padua. 
 
 Alla Pace—Io lacomo Rossi form. Romce , and to the 
 left of the print, 1640. An etching resembling the great 
 S. Antoni / o/‘Cantarini. 
 
 The Infant Christ standing on the hand of St. Antony of 
 Padua, and caressing him. 
 
 814 Four, S. Antony of Padua kneeling before the altar, and ef , . /> 
 
 caressed by the infant Christ, marked G. M. I. E. 
 
 The Roman Piety, after Mariana Crespi. F. P. S. 
 
 S. Jerome writing in a large book, two angels dictating, 
 without name or mark. 
 
 St. John adoring Christ, who places his right hand under 
 the chin of the saint. 
 
 815 Four, S. Ubaldus driving away evil spirits, after Alessandro A. ^ 
 
 Maganzi. 
 
 A Sybil, a large figure, without name or date ♦ 
 
 The Judgment of Paris, a fan, beautifully designed , and 
 freely etched. 
 
 A sainted prelate in adoration, after Guido , in wood, 
 fine and rare . 
 
1G4 
 
 painter's etchings. 
 
 /?_ 818 
 819 
 
 /?J, 820 
 
 SeventhDay 
 
 81G Four, A Landscape, marked M. R. Marco Ricci , and 
 three other Italian landscapes. 
 
 GIOV. BENEDETTO CASTIGLIONE. 
 
 /> __ 817 Two, The genius of the artist, inscribed Genium Jo. Be - 
 nedicti Castilionis Januen. inv. fe. 
 
 Portrait of Castiglione , by himself, in a bonnet and 
 feather, inscribed GB. Castilionis Genovese fe. 
 
 Six—Five heads in turbans and oriental dresses, and a 
 copy by Cooper, rare. 
 
 Fifteen, of fancy heads, chiefly oriental characters. 
 
 Two, Silenus attended by three satyrs; Pan seated at the 
 base of a statue of Priapus. 
 
 A young shepherd, with his crook on his shoulder, 
 mounted on a horse. 1658. 
 
 821 Two, Diogenes the cynic, searching amongst animals and 
 ruins with his lantern. 
 
 The discovery of the dead bodies of two saints in a ca¬ 
 vern by torch light. 
 
 /#,. 822 Two, The raising of Lazarus; Jesus stands on the right, 
 
 encircled with glory. 
 
 Tobias burying the dead. 
 
 Three, Melancholy, or a Sorceress seated at the entrance of 
 a cavern, surrounded with implements of magic, ani¬ 
 mals, &c. a wand in her left hand. 
 
 Another Melancholy, a female reposing at the foot of a 
 monument, her head resting on her hand, and a skull 
 and book on her knee; upright, inscribed, ct XJbi 
 Ini ce tab'll it as ibi virtus. ,y 
 
 The angel appearing to Joseph, and ordering him to fly 
 with the Mother and Child into Egypt, G. B. Cas- 
 tilione fecit. 
 
 824 Two, The flight into Egypt; the family under a palm tree, 
 with angels in the branches. 
 
 Noah and his sons assembling the animals to enter the 
 ark. fine impression . 
 
 /?„ 6 823 
 
painter’s etchings. 
 
 3 OS 
 
 825 Three, A pastoral landscape; two young- shepherds on 
 
 horseback, and another on foot driving their flocks. 
 Pan reposing at the foot of the statue of Priapus. 
 
 Two figures, one of whom points with his right hand 
 to an inscription, the other is gathering up books. 
 
 826 Three, The nativity, etched with a fine point, proof before 
 
 the name , upright. 
 
 The same subject, angels bearing a scroll, inscribed 
 “ Glor. in. excel.” oblong. 
 
 . j 
 
 Rachel concealing her father’s idols. 
 
 827 One, A battle with knives between a woman and a young 
 
 man, whom she is in the act of stabbing; without the 
 name of the artist, very rare. 
 
 Although attributed in Winckler’s Cat. to Cas- 
 taglione, this piece resembles Spagnoletto, both in 
 subject and execution. 
 
 828 Six, of sacred history, after Castiglione , etched by Barto « 
 
 lozzi, and acquainted, large oblongs. 
 
 Swent^Day 
 
 //,./? 
 
 A. A3- 
 
 A?- 
 
 SALVATOR CASTIGLIONE. 
 
 829 One, The raising of Lazarus; inscribed Salvatore Casio 
 Genov. 1645. 
 
 The only piece known of this mastery who was the 
 brother of Benedetto. 
 
 BARTOLOMMEO BISCA1NO. 
 
 830 Two, The Father, with the dove, attended by angels c A/ 
 
 ivithout mark. 
 
 The Circumcision, a fine proof 
 
 831 Two, A group of angels. / 
 
 The offering of the kings, B. Biscainus in. et HO. 
 
 Damon ex. 
 
 832 Two, Holy family, St. John kissing the Saviour’s foot. //? - 
 
 The Virgin and Child, Damon, ex. 
 
 833 Three, Holy family, Joseph reading; the Child at the /, /J.. — 
 
 p 
 
106 
 
 painter’s etchings. 
 
 SeventhDay. 
 
 breast; St. John in the distance with a cross, a cat in 
 the foreground. Biscainu$ f. Damon , ex. 
 
 Holy Family ; the Virgin contemplates the Infant lying 
 on the ground ; an angel above, “ Gloria in excelsis, 
 Biscaino ,” 1055. 
 
 St. Joseph, with the Child, small upright. 
 
 /S- 834 Three, Susanna and the Elders, upright and oval. 
 
 The Nativity ; a shepherd bearing a lamb, upright oval. 
 The Marriage of St. Catherine, upright oval. 
 
 /„/Y 835 Three, Holy Family, the child at the breast; St. Joseph 
 
 standingbehind, St. John and the lamb in the foreground. 
 Biscainus , inv. et f. 
 
 St. Margaret, at prayer, turns towards the dragon with the 
 cross in her right hand. Damon ex. 
 
 The Magdalen lying in the wilderness, a crucifix in her 
 bosom. 
 
 /f f ,Y 836 Two, S. Christopher taking up the Infant. 
 
 S. Christopher setting down the Infant. 
 
 /*//*- 837 One, The Nativity, with a glory of angels. Biscainus. 
 
 Genue. F. Damon , ex. the largest and scarcest print 
 of the master , whose etchings are all very rare. 
 
 FRANCESCO AMATO. 
 
 /„ Y 838 Two, St. Joseph seated before two columns, instructing 
 
 the infant. Franc. Amatus in. 
 
 S. Jerome under a rock, reading; a skull before him ; the 
 lion at his feet. Franc. Amatus , in. 
 
 These etchings closely resemble those of Biscaino. 
 
 GUISEPPE RIBERA, called SPAGNOLETTO . 
 
 /?- 
 
 839 Two, S. Jerome seated on the ground, reading a scroll. 
 S. Jerome alarmed at the sound of a trumpet. 
 
painter’s etchings. 
 
 107 
 
 SeveplliHay. 
 
 840 Two, The same subject differently treated ; the trumpet is /&- 
 
 twisted. 
 
 S. Peter at prayer, witli the usual marks, and the date 
 
 1621. 
 
 841 Two, The Martyrdom of St. Bartholomew, very fine im - /> 
 
 pressicm. 1624. 
 
 Dead Christ, lamented by the Virgin, the Magdalen, 
 and St. John, marked with the letters G. R. reversed, 
 probably etched after Guido , rare. 
 
 842 Three, Silpnus extended on the ground, near a large wine /. - 
 
 vessel, fne impression. 1628. 
 
 Battle between a Centaur and a Triton, Galatea borne on 
 another triton in the distance, attributed to Spagnoletto 
 in Winekler’s Cat. rare. 
 
 A Satyr with both arms tied to a tree, scourged by a Cu¬ 
 pid in the air, very rare and- fne . Attributed to 
 Spagnoletto in Mariette’s catalogue. 
 
 843 Eight, A Figure sitting crowned with laurel, and resting 
 
 his head on his hand, in meditation, supposed to re¬ 
 present Dante : and seven studies of heads, &c. 
 
 844 One, The Martyrdom of St. Andrew, a spirited etching, /? — 
 
 probably after Spagnoletto , dedicated by Gio. Bapt. 
 Gambardella, but without name of painter or engra¬ 
 ver, RARISS. 
 
 CARLO SARACENO. 
 
 845 Three, The keys of St. Peter, found in the belly of a fish. /, /J _ 
 
 “ Carolus Saracenus pinxit .” 
 
 The Holy Family, with a concert of angels; another ga¬ 
 thering dates, marked Carolus Saracenus , invent. 
 
 FINE PROOF. 
 
 The Death of the Virgin, after Saraceno, by J. Clerc , 
 a fine and, highly finished etching. 
 
 STEFANO DELLA BELLA ^6 
 
 S46 Eight, Four heads of animals. 
 
108 
 
 painter’s etchings; 
 
 Seventh Day 
 
 A Sportsman speaking- to a Woman, in a landscape, rare w 
 Travellers on Horseback, a circle, rare . 
 
 A Huntress, with her dog, 
 
 A Seaport, scarce. 
 
 847 Eight, Three, the Triumph of Death. 
 
 Three, Ditto, Holy Families, rare. 
 
 Two, The Virgin and Child, do. 
 
 GIULIO CARPIONI. 
 
 // 
 
 848 Two, The Holy Family ; the Virgin seated at the side of a 
 
 monument, reading. 
 
 The Holy Family ; the Virgin holding the Child over the 
 cradle ; an angel adoring. 
 
 849 Three, Christ praying on the Mount; an angel presenting 
 
 the cup. 
 
 The Virgin sitting at the foot of a tree ; the infant St. 
 
 John bends to the ground, to kiss the foot of Christ. 
 St. Antonio of Padua, on his knees adoring the infant 
 
 Jesus. 
 
 850 Three, St. Jerome penitent; he looks up towards three 
 
 cherubim. 
 
 The Magdalen penitent on her knees, her hands joined. 
 Holy Family; the Virgin reading, proof before the ad¬ 
 dress o/Cadori. 
 
 GUISEPPE CALETTI, called CREMONESE. 
 
 851 Two, David carrying off the head of Goliath, Joseffo Cre- 
 monese inventor, rare. 
 
 ANTONIO BALESTRA. 
 
 A Soldier standing and giving directions to another sit¬ 
 ting; an army in the back ground. A, Ballestra fe. 
 
 RARISS. 
 
painters’ etchings. 
 
 109 
 
 PIETRO TESTA. 
 
 Seventh Day. 
 
 852 Five, Portrait of Pietro Testa, by himself. 
 
 Four, the History of the Prodigal Son, “ P. Testa in. et 
 fecit , Ronue. 
 
 853 Three, Abraham preparing' to sacrifice Isaac. 
 
 Holy Family; the Virgin in profile turned towards the 
 left, lightly etched . 
 
 The Virgin, with the Infant before her, trampling on the 
 dragon, Jo. Ccesar Testa , inc. 
 
 854 Three, Holy Family attended by three angels, one of whom 
 
 offers the Infant an ewer on a plate. 
 
 The infant Christ embracing the cross, the Father above 
 surrounded with angels. 
 
 The same print, a reverse. 
 
 855 Three, Dead Christ, angels lamenting. 
 
 The adoration of the Kings, a glory of angels above. 
 
 The Virgin and Child in the clouds, encircled by che¬ 
 rubim with palms, &c. 
 
 856 Four, The Martyrdom of St. Erasmus, “ S. Erasme ora 
 
 pro nobis , rare. 
 
 St. Roch and St. Nicolas invoking the Virgin to stay the 
 plague. 
 
 St. Jerome; three infant angels carrying his cardinal’s 
 hat. 
 
 S. Jerome reposing in the desert, his right hand supporting 
 a bonk, infant angels above, arched. 
 
 857 Four, The death of Cato of Utica. 
 
 Chiron educating Achilles. 
 
 The Birth of Achilles. 
 
 Achilles dragging the body of Hector round the walls of 
 Troy. (The picture is in this collection.) 
 
 858 Three, The Rape of Proserpine. 
 
 Agis and Cleombrotus, rare , called, in Winckler, the 
 Death of Hippolitus, the son of Theseus. From Ma¬ 
 riettas collection , with his autograph . 
 
 X- ^ 
 
 &/> 
 
 AfZ 
 
 y,. & 
 
 /jz/> 
 
 /£,./> 
 
110 
 
 painter’s etchings. 
 
 9 - 
 
 SeventhBay, / 
 
 Socrates discoursing in the Symposium with Alcibi- 
 ades. 
 
 859 Two, The Sacrifice of Iphigenia. 
 
 The death of Dido. 
 
 /A, A 860 Four, Venus appearing to Aeneas, attended by Cupids. 
 
 Adonis returned from the chase, and caressed by Venus. 
 
 Venus and Cupids. 
 
 The same subject, larger, with variations. 
 
 ///J 861 Thr ee, A Philosopher discoursing on the sciences and arts, 
 surrounded by numerous allegorical figures. 
 
 An allegorical piece, consisting of various groups of 
 figures admiring a griffin flying; on a pedestal are 
 inscribed eight verses, “ All' apparir dell ’ Indico pas- 
 toreSfc. 
 
 An allegorical piece in honour of Innocent X. whose por¬ 
 trait and arms appear in an oval on a monument sur¬ 
 rounded with figures and emblems. 
 
 ^ 862 Two, Wisdom and Science expressing their disgust at vice 
 
 and intemperance ; towards the left of the print a young 
 man holding in his right hand an oval tablet, on which is 
 inscribed altro diletto ch ' imparar non trovo. 
 
 A subject nearly similar to the last; a young man near 
 the middle of the print holds a large book under his left 
 arm, attended by truth with a torch and crowned with 
 laurel by Fame ; on the front, towards the left, is a fi¬ 
 gure of Time chained to the ground; inscribed “ Chi 
 camina per la via della virtu , <§fc.” 
 
 s/2,^. 863 Two, The Lyceum of painting’, a large composition, exhi¬ 
 biting the interior of a splendid edifice, with numerous 
 groups employed in the theory and practice of painting 
 
 The Triumph of Painting ; in the centre a female seated 
 in a car drawn by two horses, holds in her right hand a 
 pencil, and in her left a shield, on which is represented 
 a large star; above a figure of Iris with the rainbow ; 
 
painter’s etchings. 
 
 Ill 
 
 SeventhDay. 
 
 three inscriptions below, viz. Effectus exprimit. Ar- 
 cum meretur. Parnaso triumphat. 
 
 864 One, An allegorical representation of human life; on the right, 
 
 Truth, raised by Time, is dragged down by Envy ; to 
 the left, a group of river gods holding a vase, from 
 which two savage men are eagerly drinking ; near the 
 middle of the print is a pole on the top of which 
 are suspended a bottle of water and a loaf of bread, 
 which a group of monkeys are striving to obtain by 
 mounting on each others shoulders, fine impression. 
 
 8G5 Seven, The Sybil shewing Augustus the Virgin and Child in ^ £ 
 
 the heavens, called the miracle of Ara Coeli, design¬ 
 ed by Giovanni Colli and Gherardo Lucchese, scho¬ 
 lars of Pietro Testa , and engraved by Giaco?no Barri. 
 
 RARE. 
 
 Jupiter and lo, after Pietro Test a. oblong. 
 
 Five after drawings, &c. of Pietro Testa. 
 
 SALVATOR ROSA. 
 
 8GG Sixty-two, The Banditti; on a tablet in the first plate is in¬ 
 scribed, ii SoIvator Posa has ludentis otii C arolo 
 Rubeo singularis Amicitice Pignus D. JD. D. the set. 
 
 S67 Three, A group of three figures in a landscape, the principal 
 one pointing with his right hand, a pipe in his left, 
 
 rare. 
 
 Two Battles of Sea Monsters. 
 
 865 Three, Two of river gods, and one of Pan piping, with two 
 
 other figures. 
 
 8C9 Two, A Warrior in armour lying on his back, and tied 
 with both hands to a tree; called in Winckler's cat. 
 
 Ferragau faisantpenitence de ses peches. An upright. 
 
 A Saint attached by both hands above his head to a 
 tree, ditto . 
 
 2 - 2 . 
 
 fir 6 
 
 S- 
 
 A. Ac 
 
112 
 
 painter’s etchings. 
 
 Seventh Day, 
 
 //* O 870 T wo, Apollo and the sybil, ditto. 
 
 Glaueus and Scylla, ditto , Jive impression. 
 
 /$S - 871 Three, Ceres presenting the fig-tree to Phytalus. Hie Ce~ 
 rerem tectis Phytalus susceperat Heros , Sfc. 
 
 A Warrior seated on the ground, sleeping on his buckler; 
 
 above, on the left, a river god reposing on his urn. 
 Jason destroying the dragon. 
 
 872 Two, The Genius of Salvator Rosa, an emblematical print, 
 
 inscribed, 
 
 Ingenuus , Liber , Pictor Succensor et JEqtius , 
 Spretor opum mortisque , hie meus est Genius. 
 
 Salvator Rosa. 
 
 Alexander, giving his opinion on the works of Apelles, is 
 derided by his scholars. 
 
 873 Two, Diogenes, seeing a young man drinking from his 
 hand, throws away his cup. 
 
 Plato discoursing with his disciples, in the garden of 
 Academus. 
 
 /✓_ 874 Two, Democritus, at the foot of a mountain, in meditation. 
 
 Alexander visiting Diogenes, seated at the entrance of 
 his tub. 
 
 875 Four, Regulus put to death by the Carthaginians. 
 
 The Death of Polycrates. 
 
 The Infant (Edipus found on Mount Cithera. 
 
 The Fall of the Giants, a Jine set. 
 
 CARLO SACCHI 
 
 876 One, The Adoration of the Magi, a large upright etching, 
 from his own composition, 1649. very rare. 
 
 6 877 One, The Nativity, a large upright, after Tintoretto . 
 
 
 
 LUCA GIORDANO. 
 
 /4r 
 
 878 One, The assumption of St. Ann; Christ placing the crown 
 on her head, and the Virgin presenting her with a 
 
painter’s etchings. 
 
 113 
 
 sceptre ; inscribed at the bottom, <£ Sancta Anna,” 
 and within the margin, the name Lucas Jordanus. 
 upright. 
 
 879 One, Another impression, inscribed Lucas Jordanus , in* 
 
 et. sculp. Pa. Pelrini excu. Neapoli. 
 
 880 One, Christ preaching amongst the doctors, he is raised on 
 
 high steps, on the right of the print is inscribed, L. Jor¬ 
 danus , inv. et.fe. large oblong. 
 
 881 One, The slaughter of the priests of Baal, L. Jordanus , F. 
 
 large oblong, extremely fine. 
 
 882 One, Another of the same. 
 
 883 One, The Woman taken in adultery, Lucas Jordanus , F. 
 
 1653. large oblong , extremely fine and rare. 
 
 The above are all the etchings knoivn of this master. 
 
 Seventh Day. 
 
 /<?- 
 
 //- 
 
 X. 
 
 GIOSEPPE DIAMANTINI. 
 
 884 Two, Diana and Endymion, Joseph Diamantinus. in. 
 
 Mars and Verms, Eques Diamans. in. 
 
 885 Four, The angel appearing to Hagar in the Desert, Eques 
 
 Diams. in. 
 
 Holy Family, with St. John and Elizabeth, without name 
 or mark. 
 
 Three Nymphs, with flowers and fruit, attended by Cu¬ 
 pids, without name or mark. 
 
 886 Four, A River God, and three Nymphs; two others in the 
 
 back ground in conversation. Eques Diams. in. 
 
 Venus borne by dolphins, Eq. Diam. 
 
 Fortune flying over the globe, without name or mark. 
 Cupid and Psyche, an oval, without name or mark. 
 
 9 - 
 
 4 ~ 
 
 GTACINTO GEMIGNANI. 
 
 8S7 One, Cleopatra dissolving the pearl, Hyacintus Gimignanus 
 Pistoriensis pinx. sculp, fine and rare. 
 
 /Z, _ 
 
 Q 
 
114 
 
 painter’s etchings. 
 
 Seventh Day 
 
 /0 - 
 
 GIOV. BATTISTA DEL SOLE. 
 
 888 Two, A Battle, an oblong-; Gio. Batta del Sole invert, et fe. 
 FRANCESCO VIEYRA, called IL PORTOGHESE. 
 
 Minerva defending Coronis from Neptune. Fran. V r . a Lu- 
 zit, inv. pinxit et sculp sit, Romce , 1724. 
 
 889 Two, The Fates, an allegorical subject on the death of 
 his brother, a large circle, very fine and rare. 
 
 MARCO AURELIO. 
 
 The Tiburtine Sybil pointing out to Augustus the Virgin 
 and Child in the clouds. Marco Au. F. 
 
 GEO. BATTISTA TIEPOLO. 
 
 //<■ // 890 Five, Four of Caprici, oriental figures, &c. fine. 
 
 One, Joseph and the Child, do. 
 
 , I. DOMENICO TIEPOLO. 
 
 /#„/ 891 Two, The Holy Family, Joseph adoring, an oblong, Do. 
 Tiepolo, fecit et inv> 1732. 
 
 The Repose in Egypt, angels adoring, marked Dom. 
 Tiepolo, inv. et inc. anno 1750. 
 
 
 GAETANO GANDOLFI. 
 892 Four etchings, very fine and spirited. 
 
 VARIOUS. 
 
 ^893 Three, The Conversion of Saul, after Lazaro Baldi, 
 fine. 
 
 St. Lazarus the Martyr, Monk, and Painter, after ditto , 
 by Filippo Luti. 
 
 The Death of Abel, ivithout name or mark , very fine. 
 
painter’s etchings. 
 
 ] 15 
 
 894 Two, An Interior, with figures playing the game of Moro, 
 
 with the monogram I. C. 1545. very fine and rare. 
 
 The Holy Family, with St. Elizabeth and St. John, a fine 
 etching, said in Winckler, No. 3710, to be after 
 Raphael. 
 
 895 One, Christ bearing the cross, a large upright etching, 
 
 EXTREMELY FINE. 
 
 Seventh Day. 
 
 / A- 
 
116 
 
 Eighth Day, 
 
 3 ./- 
 
 4 - 
 
 /, A ~-- 
 
 EIGHTH DAYS SALE. 
 
 PAINTER'S ETCHINGS 
 
 CONTINUED. 
 
 GERMAN, FLEMISH, and DUTCH MASTERS. 
 
 P. P. RUBENS. 
 
 896 One, St. Catharine, a design for a deling-, fine impression, 
 
 marked “ P. Paul. Rubens, fecit very rare. 
 
 897 Two, An old Woman with a candle, at which ahoy is light¬ 
 
 ing- another, etched by Rubens, and finished by Bols- 
 ivcrt. 
 
 GUIL. PANNEELS. 
 
 The same subject, with a skeleton in the background, 
 from a design of Rubens . 1631. 
 
 ANTONY VAN DYCK. 
 
 898 One, The Ecce Homo. Anto. van Dyck, invenit. et fecit , 
 
 aquaforti. fine impression. 
 
 899 Two, Titian and his mistress, after Titian. 
 
 The martyrdom of St. Catharine, marked Antoni van 
 Dyck, EXTREMELY RARE. 
 
painter’s etchings. 
 
 117 
 
 KARL VAN MANDER. 
 
 i 
 
 900 Two, Two female figures; a conversation, rare and cu¬ 
 
 rious. 
 
 JOHN SNELLINX. 
 
 The Fates in action; death looking in at the door, very 
 fine and rare. 
 
 JACQUES JORDAENS. 
 
 901 Two, The Descent from the Cross. 
 
 Jupiter and Io. 
 
 902 Three, Mercury and Argus. 
 
 A Woman and Satyrs ; a child sucking a goat. 
 
 Feasants and Cattle. 
 
 JEAN BAPTIST DE WAEL. 
 
 903 Fourteen, Capricci and Figures, in a grand style of design, 
 
 EXTREMELY RARE AND FINE. 
 
 904 Four, Two of the history of the Prodigal Son, after Corne¬ 
 
 lius de Wael , and two others, after ditto ♦ 
 
 HANS LAUTENSACH. 
 
 905 Three, David throwing the stone at Goliath, rare. 
 
 J. J. SANDRART. 
 
 The Ruins of Rome. J. J. Sandrart , fee. 
 
 J. VAN ORLEY. 
 
 Narcissus surveying himself in a fountain. 
 
 H. SCHONEFELDT. 
 
 90G Two, A Philosopher meditating among tombs, J. H. 
 Schonefeldt , fecit , 1654. 
 
 r v 
 
 JONAS UMBACH. 
 
 David praying for the people. 
 
 Eighth Day. 
 
 /. 
 
 /f~~ 
 
 /. 2 - 
 
 A/A. 
 
 / 6 - 
 
 A/c & 
 
 \ 
 
118 
 
 painter’s etching 
 
 /* 
 
 E.ghth Day. SAMUEL BOTSCHILD. 
 
 907 Six, Four, the times of the Day. 
 
 Two, of allegorical figures. 
 
 908 Six, JEneas and Anchises. 
 iEneas and the Tiber. 
 
 . Vulcan and Thetis. 
 
 Hercules and lola. 
 
 Two of Concerts of Music. 
 
 909 Six, Two of Bacchanalian Scenes. 
 
 Two, Peace and Faith ; circles. 
 
 Two, various. 
 
 A./r* 10 Six, various. 
 
 WILLIAM BAUR. 
 
 /„ ^^911 Five, The Siege of Limbourg, very spirited. 
 
 CORNELIUS SCHUTS. 
 
 
 Virgin, Child, St. John, and the Angel, fine. 
 A Sacrifice. 
 
 MICHAEL SWEERTS. 
 
 The Dead Christ, on the lap of the Virgin, with St. 
 Mary Magdalen, and St. John. 
 
 T. ZAUFFALV. 
 
 The Philistines putting out the eyes of Samson. 
 
 GERARD LAIRESSE. 
 
 /, /SZ~ 912 Seven, Portrait of Lairesse, with emblems, and six of alle¬ 
 gorical subjects, large oblong, very fine impressions. 
 /# 913 Two, The Sacrifice of Iphigenia, fine. 
 
 ^Eneas and Dido, fine , proof. 
 
 /S ' 914 Seven, Six subjects of Heathen Mythology. 
 
 A Bacchanalian Scene, his best etching, a fine im¬ 
 pression. 
 
painter’s etchings. 
 
 119 
 
 P. SUBLEYRAS. 
 
 Eighth Day. 
 
 915 One, Mary Magdalene anointing the Saviour’s feet, by Sub - 
 leyras, after his own picture, printed in red inky rare. 
 
 B. RODE. 
 
 916 Two, The Martyrdom of the Christians, under Nero, in the 
 amphitheatre at Rome. 
 
 Russian Travellers, on sledges, very fine. 
 
 DAVID TENIERS. 
 
 917 Three, Portrait of David Teniers, sen. 
 
 Ditto of David Teniers, jun. by De Jode. 
 
 Ditto of Ditto, by Lucas Vorsterman. 
 
 918 Th ree. Portrait of a man with a glass, an old woman with 
 
 him, marked D. T. in a monogram. 
 
 An old Man with a beard, a glass in his hand. 
 
 The Sense of Feeling, a man removing a plaster from his 
 hand. 
 
 919 Eight, Four Tabagies, rariss. 
 
 Four copies of the same, reverses. 
 
 920 Two, An Incantation. 
 
 ✓ 
 
 The Temptation of St. Antony. 
 
 921 Two, An old Man playing the mandolin, a woman with a 
 
 ballad, and a peasant listening at a window above. 
 Flemish Courtship, the man has a glass in his left hand. 
 
 922 Two, The temptation of S. Antony, fine. 
 
 The Interior of a Kitchen, ditto. 
 
 923 One, Boors playing at cards, a composition of seven figures, 
 
 very fine. 
 
 924 Two, The Village Feast, many figures, fine. 
 
 Quarrelling Boors, do. 
 
 925 One, An Incantation, large, extremely fine and rare. 
 92G Two, A Landscape, with a guidepost, two boors in con¬ 
 versation. 
 
 M.6 
 
 \ 
 
 /&c & 
 
 A- 
 
 A 
 
 K 
 
 V 
 
 (> 
 
 A 
 
 
120 
 
 painter’s etchings. 
 
 Eighth Day. 
 
 / 
 
 A Ditto, with cottages, and two boors in conversation, 
 one of them sitting. 
 
 927 Nine, The five Hermits, fine . 
 
 Four figures, various. 
 
 /. /— 928 Two, The Archers. 
 
 The Bowlers. 
 
 /** % — 929 Four, Peasants regaling at the door of a cabaret. 
 
 Ditto, by firelight and moonlight. 
 
 A Peasant and his dogs, by Coryn Boel , after Teniers. 
 A ditto, piping. 
 
 9- 930 Six, Boors regaling, by Coryn Boel , after Teniers . 
 
 Five various subjects, by ditto , Sfc. 
 
 ADRIAN VAN OSTADE. 
 
 Two, His Portrait, by Gole. 
 
 The Painter in his attelier. 
 
 Eight, Heads, &c. various, some rare. 
 
 Two, A Man with a pipe and jug, looking out of a window. 
 
 A Man and Woman, ditto. 
 
 Six, Five of figures, and one copy reversed. 
 
 Five, The Mountebank, and four others. 
 
 Two, The Peasant’s Cottage. 
 
 The Interior of a barn, with fowls. 
 
 Three, Children at a cottage door, very fine. 
 
 The Village Fair. 
 
 Two Children fishing from a bridge. 
 
 Two, Peasants singing at a window, fine and scarce. 
 
 The Grace, 1653. 
 
 Four, Killing the Hog, first impression. 
 
 The Peasant’s Family. 
 
 The Pedlar. 
 
 The Mess Fighters. 
 
 Six, Various. 
 
 1 v ■ '' 
 
 Three, The Cobler, and two others, one very rare. 
 
 Six, The Knife Grinder, and five others. 
 
 /X_ 931 
 
 /4— 932 
 //- 933 
 
 934 
 
 V- 935 
 
 /tf _936 
 A 037 
 
 //- 938 
 
 939 
 
 
 940 
 /o- 941 
 /2« /> 942 
 
 f 
 
 v 
 
painter’s etchings. 
 
 121 
 
 943 Two, The Village Feast, with the pig, fine. 
 
 The Travelling Musicians. 
 
 944 One, The Dance, fine impression. 
 
 945 Two, The Taster, fine. 
 
 An Interior, with a woman filling a pipe, and many- 
 other figures, marked ostade, F. “ piece douteuse." 
 
 EXTREMELY RARE. 
 
 Eighth Day. 
 
 V 
 
 CORNELIUS BEGA. 
 
 946 Five, Three Boors in conversation, and four other Etch¬ 
 
 ings of single figures, fine impressions. 
 
 947 Four, The Peasant’s Family, and three others, smaller. 
 
 948 Three, Rustic Courtship, a Woman and Child, and a Boor 
 
 lighting his pipe, all fine. 
 
 949 Three, A Conversation, five figures. 
 
 A Boor looking out of a window, very fine impression. 
 Flemish Courtship, fine proof, without the name. 
 
 950 Four, The Peasant’s Family, unfinished, very fine. 
 
 A Woman and Child, extremely fine. 
 
 A Woman carrying a basket, and one other. 
 
 951 Two, Flemish Conversation of five figures, very fine. 
 
 The Peasant’s Family, very small , rare. 
 
 DEUCHAR. 
 
 952 Seven Imitations of Dutch etchings. 
 
 CORNELIUS DUSART. 
 
 < 
 
 953 Three, Peasants singing. /O - 
 
 Man and Woman singing on a road, in the back ground 
 figures at an inn door. 
 
 The Shoemaker, very fine. 
 
 954 Two, The Doctor and the Corn-cutter, fine impressions. /*. /& 
 
 955 One, The Village Fair, with peasants dancing, extreme- 
 
 LY FINE. 
 
 R 
 
122 
 
 painter's ETCHING*. 
 
 Eighth Day; 
 
 M. SCHOEVARDTS. 
 
 ' 956 Three, The Village Feast 
 
 \ , . • . 
 
 G. VAN. SCHAGEN. 
 
 Boors regaling, after Ostade, and one other. 
 
 JAN VANDER VELDE. 
 
 /J - 957 Four, The Seasons, 1617. fine impressions, rare 
 
 AND CURIOUS. 
 
 J. MOLINAER. 
 
 /- 958 Two, Boors carousing, an Interior, called Les Debauches. 
 
 “ Ce morceau est trcs rare.” Bartsch, IV. 1. The 
 
 V ** i . , * 
 
 only etching of this master. 
 
 ADRIAN BROUWER. 
 
 1 * 
 
 A Peasant asleep; three others in the back ground, 
 marked A. Brouw.—extremely rare. 
 
 PIERRE MOLYN. 
 
 At- 959 Two, A Soldier reposing, speaking to another who is 
 
 standing before him. 
 
 Two peasants reposing on a bank, in conversation, mark¬ 
 ed P. Molyn, scu, extremely rare, not mentioned 
 by Bartsch. 
 
 ANDREW BOTH. 
 
 J v 
 
 Five, The Five Senses, marked A. Both, inven. J. Both 
 fecit. 
 
 Notwithstanding the above marks, ivhich are only those 
 of the publisher , and the authority of Bartsch, who con¬ 
 siders John Both, as the engraver , they are more pro¬ 
 bably both designed and etched by Andrew Both, 
 whose name is given in very slight characters in the 
 first number. “ A. both f ” 
 
PAINTER S ETCHINGS. 
 
 123 
 
 Eighth Day. 
 
 CORNELIUS SACHTLEVEN. 
 
 961 Thirteen, Portrait of Sachtleven, after Vandyke , by For- X- A // 
 sterman. 
 
 Twelve, of Peasants, single figures, the set, marked 
 on No. 1 . C. Sachtleven , fecit, J. P. Berendrecht, 
 ex. EXTREMELY RARE. I 
 
 JAN. MI EL. 
 
 962 Two, A Peasant taking a thorn from his foot. 
 
 A Woman and Boy, an ass in the back ground. 
 
 THOMAS WYCK. 
 
 963 Nineteen, his etchings, extremely fine and rare. 
 
 J. DASSONVILLE, 
 
 964 Seven various subjects. 
 
 
 4 "*- 
 
 //< 
 
 REMBRANDT. 
 
 The Numbers refer to JDAULBY's Catalogue. 
 
 965 Seven Various Portraits of himself. Nos. 2, 3, 14, 17, 19, %»/& — 
 
 21, and 12, or 293. 
 
 All of them fine impressions , No. 17, is of the greatest 
 rarity , and it has been generally supposed no suth 
 print existed. 
 
 966 Four, Portrait of Rembrandt , No. 22. A*. &c. - 
 
 Ditto, of Rembrandt and his wife. No. 24. 
 
 Ditto of Rembrandt in the mezetin cap and feather. 
 
 No. 25. 
 
 Ditto of Rembrandt drawing. No. 27. 
 
 SUBJECTS from the OLD TESTAMENT 
 
 967 Two, Abraham entertaining the three angels, No. 30. fine. A* A 1 
 
 Abraham sending awayHagar and Ishmael, No. 31. ditto. 
 
 a. 
 
 
 
124 
 
 painter’s etchings. 
 
 Eighth Day 
 
 /*— 968 Two, Abraham with his son Isaac. No. 32. 
 
 Abraham’s Sacrifice, No. 33, both fine. 
 
 /„ _ 969 Two, The combat of David with Goliath, the second print 
 
 for a Spanish book. No. 34. 
 
 The Angel ascending from Tobit and his family, No. 42. 
 fine. 
 
 — 970 Jacob lamenting the supposed death of Joseph, No. 35. 
 
 Joseph telling his dream to his brethren, in the presence 
 of his father and mother. No. 37. 
 
 SUBJECTS from the NEW TESTAMENT: 
 
 /* 3 ' One, The Angel appearing to the Shepherds, No. 43. 
 
 /rfcfif 972 Two, The Nativity, or Adoration of the Shepherds, No. 44. 
 
 The same subject, a night piece. No. 45. 
 
 // — 973 Two, The Circumcision. No. 46. 
 
 The Little Circumcision, No. 47. 
 
 /Js. O 974 Two, The presentation of Jesus in the vaulted temple. 
 No. 49. 
 
 The presentation, with the angel, fine. No. 51. 
 
 //^//— 975 Four, The little Flight into Egypt. No. 52. 
 
 The Flight into Egypt, a night piece. No. 53. 
 
 The Rest in Egypt, ditto. No. 57. 
 
 The same subject, etched with a very light stroke, the 
 first of No. 58. 
 
 / 076 Four, The Virgin and the Infant Jesus in the clouds, 
 
 No. 60. 
 
 The Holy Family: Joseph looking through a window. 
 No. 62. 
 
 Jesus disputing with the doctors in the temple, a sketch. 
 No. 63. 
 
 The same subject, a larger sketch. No. 64. 
 
 977 Two, Jesus driving the money-changers from the temple. 
 No. m. 
 
 The Prodigal Son. No. 70. 
 
painter’s etchings. 
 
 125 
 
 Eighth Day. 
 
 978 Three, Jesus with the Woman of Samaria at the well. A/J^ 
 arched, No. 71. 
 
 The same subject, an upright. No. 72. 
 
 The small Resurrection of Lazarus. No. 73. 
 
 •979 One, The larger Resurrection of Lazarus. No. 74. «- 
 
 980 One, The Hundred Guilder Piece, a fine impression , very 
 
 rare. No. 75. 
 
 981 One, The same subject, by Capt. Baillie, fine impression , 
 
 982 One, The three Crosses, fine. No. 80. 
 
 983 Two, The Good Samaritan. No. 77. 
 
 Our Lord in the Garden of Olives. No. 78. 
 
 984 Two, The little Crucifixion. No. 82. 
 
 The descent from the Cross, a night-piece. No. 86. 
 
 985 Two, The descent from the Cross, a Sketch, No. 85. 
 
 The funeral of Jesus, No. 81. 
 
 986 Two, Our Lord and the Disciples at Emmaus. No. 90. 
 
 The same subject, (the little print.) No. 91. 
 
 987 Four, St. Peter and St. John at the beautiful gate of the 
 
 temple. No. 95. 
 
 The Baptism of the Eunuch. No. 96. 
 
 The Martyrdom of St. Stephen, two impressions. No. 98. 
 
 PIOUS SUBJECTS. 
 
 988 Three, St. Jerome sitting before the trunk of an old tree. 
 
 No. 102. 
 
 S. Jerome kneeling, two impressions. No. 103. 
 
 989 One, St. Jerome, unfinished, first impression, rare. No. 
 
 104. 
 
 990 Two, St. Francis praying. No. 107. 
 
 A Man meditating. No. 110. 
 
 991 Two, Hunting Pieces, the second and third of the set. No. 
 
 113. rare. 
 
 FANCY SUBJECTS. 
 
 992 Two, The Blind Bagpiper. No. 115. 
 
 The Ratcatcher. No. 117. 
 
 X. A 
 A -A 
 
 />- ~ 
 
 //■ 
 
 A.?. 
 
 A4- 
 
 (/ 
 
 /■Z 
 
 » v 
 
 /< 
 
126 
 
 painter’s etchings. 
 
 Eighth Day, 
 
 /* f r - 
 
 993 
 
 A/2~ 994 
 
 One, The Marriage of Jason and Creusa, 
 verses. No. 124. 
 
 Five, The Goldsmith. No. 119. 
 
 The Jews’ Synagogue. No. 122. 
 
 The Schoolmaster, No. 126. 
 
 The Draughtsman. No. 128. 
 
 with the Dutch 
 
 Peasants Travelling. No. 129. 
 
 995 Six, The Jew with the high cap. No. 131. 
 
 \ % An old Man with a Boy. No. 132. 
 
 The Blind Fidler. No. 137. 
 
 The old Man without a beard. No. 143. 
 
 An old Man with a bushy beard. No. 144. 
 
 The Persian. No. 145. 
 
 /0» 6 996 One, The Hog. No. 152. 
 
 EXTREMELY SCARCE. 
 
 /fZ- 997 One, Two Beggars coming from behind a bank, the large 
 plate , EXTREMELY RARE. No. 158. 
 
 998 Five, A Beggar, a profile, in a cap, 156. 
 
 Two Beggars, a man and a woman conversing, 157. 
 
 A Beggar Woman, in the manner of Callot. No. 161. 
 
 A Beggar Woman asking alms. No. 164. 
 
 A Beggar warming his hands, (a copy.) No. 167. 
 
 A/~ 999 Two, The Shepherds in the Mood, scarce. No. 181. 
 
 The Bathers. No. 187. 
 
 At? looo 
 
 1001 
 
 /• 
 
 /&. 
 
 1002 
 
 ACADEMICAL SUBJECTS. 
 
 One, A Painter drawing after a model. No. 184. 
 
 Two, A Man sitting on the ground. No. 188. 
 
 A Woman Bathing near the foot of a large tree. No. 193. 
 Two, A Woman sleeping, a satyr behind, scarce. No. 195. 
 A naked Woman, seen from behind. No. 197. 
 
 LANDSCAPES. 
 
 2 cT1003 Two, Six’s Bridge. No. 200. 
 
 View of Omval, near Amsterdam, No. 201. 
 
 2f. /O 1004 Three, View of Amsterdam. No. 202. 
 
 A Village, with a square tower, arched. No. 210. 
 
painter’s ETCHINGS 
 
 127 
 
 A Farm House and Barn, 211. 
 
 1005 Three, The Sportsman. No. 203. 
 
 An arched Landscape, with an obelisk. No. 218. 
 
 A Cottage with white pales. No. 224. 
 
 1006 Two, The three Trees, fine impression, but a little stained. 
 
 No. 204. 
 
 1007 A Copy of ditto, reversed. 
 
 Eighth Day. 
 
 > \ 
 6,.t> 
 
 PORTRAITS OF MEN. 
 
 1008 Three, A Man with a large beard. No. 239. 
 
 An Old Man, in a fur cap divided in the middle. No, 245. 
 A Young Man musing. No. 248. 
 
 1009 Two, Abraham Yander Linden. No. 244. 
 
 Janus Silvius. No. 246. 
 
 1010 Two, Manasseh Ben Israel. No. 249. 
 
 Dr. Faustus. No. 250. 
 
 1011 Two, Regnier Hansloo. No. 251. 
 
 Clement de Jonge. No. 252. 
 
 1012 Two, An old Man with a large white beard. No. 242. 
 
 Young Haring, (cut plate.) No. 255. 
 
 1013 Two, John Lutma. No. 256. 
 
 Joannes Lutma Aurifex, Joannes Luttna, junior fecit, 
 1656. 
 
 1014 Two, Asselyn, or Crabbetje, in an oval, No. 257. 
 
 Utenbogardus, with the verses by Grotius, fine. No. 
 
 At e_ 
 
 A.//- 
 /. //,.6 
 
 - 
 
 1015 One, Utenbogardus, or Uytenbogaert, the banker, usually 
 
 called the Gold weigher, very fine and scarce. No. 261. 
 
 1016 Two, The Great Coppenol, the head only. No. 263. • /2— 
 
 The entire subject, fa copy) 
 
 (the reduced plate) is attached. No. 263. A 
 
 The Burgo Master Six, a copy, by Basan. 
 
 FANCY HEADS OF MEN. 
 1018 Two, An oriental head, first of No. 266. 
 
 / 6 * 6 
 
128 
 
 painter’s etichngs. 
 
 Eighth Day. 
 
 /«/#- 
 
 /,S~ 
 
 Bust of an old Man, with a large beard. No. 268. 
 
 1019 Six, Bust of an old Man bald-headed with a long beard* 
 
 No. 269. 
 
 Ditto, of a Man with a beard from ear to ear. No 277. 
 and four others, various, viz. 282, 276, &c. 
 
 1020 Six, Heads various, No. 298, and copy, 299,288, 283, and 
 
 281. all fine. 
 
 1021 Seven, The Great Jewish Bride, cut , No. 311. 
 
 Six Heads, various, two of 313, 316, 318, 325, and one 
 other, curious. 
 
 1022 Seven, Four Studies, various, Nos. 329, 331, 333, 334, 
 
 and three heads, viz. No. 362, and two others. 
 
 '/4 
 
 /t 
 
 /f\ 
 
 /iJ 
 
 fi t. 
 
 6 >« 6 
 
 ETCHINGS by tlie SCHOLARS of REMBRANDT, &c. 
 
 1023 One, Judah and Tamar, by Lastman , called by mistake in 
 
 the supplement , Lot and his daughters. 
 
 1024 Two, St. Jerome in a Cavern, by Ferdinand J3o/.No. 3. ancL 
 
 the Nativity, or woman suckling her child. No. 1, by 
 ditto. 
 
 1025 Four, Portrait of a Young Man in a high crowned hat, by F, 
 
 Bol. No. 4. 
 
 Ditto of a Young Woman holding a pear, by ditto. No. 6. 
 Ditto of an Old Man in a hat, with a beard, by ditto. 
 
 A Head of an Old Man in a cap, by P. Quasi. 
 
 1026 Two, Lot and his Daughters, No. 29. 
 
 Isaac blessing Jacob, by Van Vliet , No. 33. 
 
 1027 Eight of a set of Beggars, by ditto, fine impressions. No. I. 
 
 1028 Two, Abraham and the angels, by Muycken , 1637. fine 
 
 impression , and the Holy Family. 
 
 1029 Three, Head of a Persian in a furred robe, cap and fea¬ 
 
 thers, and two other Heads, by Livens. 
 
 1030 Three, David playing before Saul, by De Leeuiv , and 
 
 two by Capt. Baillie , after drawings by Rembrandt . 
 
painter’s etchings. 
 
 120 
 
 1031 Four Heads by Schmidt, after Rembrandt , beautifully 
 
 etched, and fine impressions. 
 
 1032 Six, Five imitations of Rembrandt, by Benjamin Wil¬ 
 
 son, curious, and one by Verbecque, rare . 
 
 1033 Six, Heads by Worlidge, of Rubens, Evelyn, Dr. Baker , 
 
 Rembrandt, and two others, fine . 
 
 1034 Six, Two ditto by Worlidge, one by Hess, one by Capt. 
 
 Baillie, and three others. 
 
 1035 Seven, Five Heads in the manner of Worlt dge by J. S . 
 
 and two others, finely etched. 
 
 1036 Seven, Various, one by, and six after, Rembrandt. 
 
 1037 One, The Night-watch, from the picture of Rembrandt, 
 
 in the Stadthouse at Amsterdam, by Claussen, A fine 
 
 Eighth Day, 
 
 A ^ 
 
 / v ,.6 
 
 9 ~ 
 
 /y 6 
 
 PROOF IMPRESSION. 
 
180 
 
 NINTH DAY’S SALE. 
 
 PAINTER’S ETCHINGS. 
 
 GERMAN, FLEMISH, and DUTCH MASTERS. 
 
 CONTINUED. 
 
 Ninth Day, 
 
 /tf ^ t' 
 
 /a ^ — 
 
 /- 9 ~ 
 /,. //- 
 
 /sz 
 
 NICOLAS BERGHEM. 
 
 1038 Six, of Cows, including the title, the set; called La Lai- 
 
 tiere, C. Berchem , fee. et excud . 1644. ijery fine. 
 
 1039 Six, of Sheep. Title, a woman with a paper in her right 
 
 hand, called, 44 The woman's book.” 
 
 1040 Six, of Goats. Title, a man sitting with a dog, called, 
 
 44 The man's book.” 
 
 1041 Eight, of Sheep. Title, a woman leaning her right arm 
 
 on a stone, on which is inscribed, Animalia, Sfc . 
 
 1042 Eight of Goats. Title, a Man with his dog. 
 
 1043 Four oblongs, of Cows, Horses, &c. the set. 
 
 1044 Five, upright Landscapes, with peasants and cattle ; one, 
 
 the peasant playing the flute, marked, 1652. fine 
 impressions. 
 
 1045 Two, Cows drinking, and shepherds with cattle; a large 
 
 oblong. 
 
 La Vache qui pisse. Shepherdess and boy asleep. 
 
painter’s etchings. 
 
 1046 ? One, The three Cows in a landscape. 
 
 “ Ce morceau qui est tres rare , est un des plus beau de 
 Voeuvre de Berghem .” Bartsdh. 
 
 BRILLIANT IMPRESSION. 
 
 1047 One, a Man seen on the back, sitting- on an ass, speaking 
 
 to a peasant, called the bagpiper. 
 
 “ Ce morceau est aussi un des plus beaux et des plus 
 finis de Voeuvre de Berghem. II est tres rare. Bartsch. 
 
 fine impression. 
 
 1048 One, A man bare-headed, sitting sideways on an ass, be¬ 
 
 fore him a goat and a sheep, extremely rare. 
 
 1049 One, a Landscape, with a peasant standing, seen on the 
 
 back, and pointing with his left hand, a woman near 
 him, seen sitting on the ground, and suckling her 
 child, THE RAREST ETCHING OF THE MASTER, 
 BEAUTIFUL IMPRESSION. 
 
 1050 One, The Shepherd playing on the flute, before the num¬ 
 
 ber, EXTREMELY RARE AND FINE. 
 
 1051 Three, The Goat’s Head, the very rare print of 
 
 ichich a copy is given by Bartsch, in his “ peintre 
 graveur, fine impression , and two other Goat’s 
 Heads, on the same sheet, ditto. 
 
 PAUL POTTER. 
 
 1052 Eight, etchings of Cattle, called the Bull-book, the set. 
 
 1053 One, Cattle in a landscape, called, Le Vacher. Paulus 
 
 Potter, in. et f 1649. The reduced plate, fine . 
 
 1054 One, A Landscape, with sheep, a shepherd playing the 
 
 flute, extremely rare. 
 
 ADRIAN VAN DE VELDE. 
 
 1055 Ten of Cattle, the set complete. 
 
 1056 Eleven, Eight of the above set, one of Dogs, and two 
 
 small, of Sheep. 
 
 Ninth Day. 
 
 ?,./e 
 
 2 - 
 
 2 » a -. 
 
 / /0~ 
 
 \ 
 
 A 2 - 
 
 /» 2 — 
 /,. f- 
 
 2 ,. ~ 
 
 /,. //. 
 
132 
 
 PAINTERS’ ETCHING*!. 
 
 Ninth Day. 
 
 A.//- 
 
 ///> 
 V. A 
 
 > 
 
 /..//- 
 
 AJ~~ 
 
 / 2 ~ 
 
 A//r~ 
 
 3- r~ 
 
 A //- 
 
 \ 
 
 /■ 'F 
 
 1057 Three, A pied bull and three sheep, in a landscape. 
 
 Two Cows, one lying at the foot of a tree, ditto. 
 
 A cow and two sheep at the foot of a tree, ditto. 
 
 6 Ce dernier morceau , un des principaux de V oeuvre de 
 Van de Velde, est un veritable chef d'oeuvre. Bartsch. 
 
 1058 Three, Duplicates of the last lot, fne impressions. 
 
 T059 One, The Shepherd and Shepherdess, with their flock. 
 
 Adryaen Vande Velde fe. et ex. 1653. extremely 
 RARE. 
 
 P. DA LAER, called BAMBOCCIO. 
 
 1060 Eight of different animals, the set complete, f ne impres¬ 
 
 sions. 
 
 1061 Six of Horses, the set, ditto. 
 
 1062 Five small etchings of various subjects ; each particularly 
 
 described by Bartsch in his catalogue of the ivorks of 
 P. Da Laer, extremely scarce. 
 
 1063 Two, The Industrious Family ; a woman spinning, a man 
 
 with a hammer, &c. very rare. 
 
 “ Ce morceau est ce que P. Da Laer, d grave avec le 
 plus de soin Bartsch. 
 
 Cattle, in a landscape, after P. Da Laer , by John 
 Van Noordt. Petrus Van Laer inv. J. V. N. fecit. 
 1644. “ Cette estampe est rare. Bartsch. 1. 17. 
 
 JAN FYT. 
 
 1064 Eight of various Animals ; the set, very fne. 
 
 1065 Eight of Dogs, &c. the set, first impression, before the 
 
 alteration of the name of Fyt to that of Snyders , 
 EXTREMELY RARE AND FINE. 
 
 THIERRY STOOP. 
 
 1066 Twelve of Horses, a fne set. 
 
 JOHN HENRY ROOS. 
 
 1067 Five, of Sheep and Goats, oblongs. 
 
painter’s etchings. 
 
 133 
 
 10G8 Seven, of Sheep, large uprights, very Jine. 
 
 1069 One, The Shepherdess and Cattle, a cow in the foreground, 
 
 upright. 
 
 “ Cette belle estampe est du meilleur terns de H. Roos, 
 elle est tres rare” Bartsch. 
 
 Bartsch has given a copy of this rare 'print in his 
 
 PEINTRE GRAVEUR. 
 
 1070 Five, Four of Sheep. 
 
 J. ROOS. 
 
 One of Sheep ; two lying down, one near the foot of a 
 tree on the left; one standing on the right, extreme¬ 
 ly rare. Not in Bartsch. 
 
 JOHN VANDEN HECKE. 
 
 1071 Thirteen, Flis own Portrait, by Waumans. 
 
 Twelve, of different animals, the set, fine. 
 
 J. DEN VYL. 
 
 1702 Three, of Cattle, all his etchings, extremely rare. 
 
 ALBERT CUYP. 
 
 1073 Six, of Cows ,fine. 
 
 G. BLEKER. 
 
 1074 Three, of Cattle and Figures, very rare. 
 
 ABR. HONDIUS. 
 
 1075 Three, The Buffalo and Tiger. 
 
 Wild Boars amongst the reeds. 
 
 PAUL VAL SOATER. 
 
 Landscape and Cattle, with figures, large oblong. “ Paul 
 Van Somer in. et fecit Parisiis, 1671. 
 
 Ninth Day. 
 
 2 „/ 0 - 
 
 2 ./^- 
 
 A//_ 
 
 /,. //- 
 
 / 6 - 
 
 
 
 / <. /?/ __ 
 
134 
 
 painter’s etchings. 
 
 Ninth Day. 
 
 S‘< - »- 
 
 /f * —« «— 
 
 3 /. 
 
 jU - 
 
 G. CAMPHUYSEN. 
 
 1076 Four, A Cow standing-, directed towards the righl, 
 
 marked G. Camphuysen, extremely rare. 
 
 ' MOSES UTENBROECK. 
 
 Two Asses, with various other animals. 
 
 An Ass, anonymous. 
 
 Four Asses, inscribed, Siamo cinque. 
 
 J. JONCKHEER. 
 
 1077 Three, The three Greyhounds,./. Jonckheer f. rare. 
 
 J. BORESOM. 
 
 Cows, A. Boresorn , f. ditto. 
 
 Sheep, marked B. 
 
 J. VANDEN MEER, Jun. 
 
 1078 One, A Sheep lying down with two lambs, marked J. v. 
 
 der Meer de jonge f. 1685. Of this rare print Bartsch 
 has given a copy in his Pei NT re Graveur. 
 
 1079 One, A Sheep standing with two Lambs, under a large 
 
 tree ; another lying down to the right. 
 
 <e Ce morceau est extremement rare. Les animaux et le 
 pay sage y sont d ’ un gout et une legerete egalement 
 admirables; on doit settlement regretter qua V eau 
 forte y a un peu trop mordu.” Bartsch. Also copied 
 by Bartsch in his Peintre Graveur. 
 
 The above are the only etchings known of this master. 
 
 JACQUES VANDER DOES. 
 
 1080 One, A group of five Sheep; a building with a Shepherd 
 
 and his flock in the distance on the right. J. Vander 
 Does In. A 0 , 1650. 
 
 “ Cette belle estampe est d’ une rarete si extreme qu'elle 
 
painter’s etchings. 
 
 135 
 
 manque dans la plupart des collections le plus riches 
 et le mieux assortes. Bartsch, iv. 194. 
 
 The only etching known of the master ; it is copied by 
 Bartsch in his Peintre Graveur. 
 
 JOHN BAPT. WEENIX. 
 
 1081 One, A Cow, in a landscape, much foreshortened, and 
 
 seen nearly in front, but inclined towards the right; 
 in the back ground mountains rising towards the left; 
 inscribed in the upper margin in reverse letters, Gio. 
 Batta. Weenin. A. D. 1049, a di 19. Ottre , and 
 below, on the right of the print, J. Weenix. Size, 7 
 inches by 4f, upright. 
 
 This print, etched by Weenix during his residence in, 
 Italy, was unknown to Bartsch, ivho has described 
 another of nearly the same size, and which seems to 
 be a companion to the present, a copy of ivhich he 
 has given in his Peintre Graveur. 
 
 KARL DU JARDIN. 
 
 1082 His etchings of landscape, cattle, &c. complete, 
 
 in fifty-two pieces, including a fine impression of the 
 scarce etching of the Shepherd’s playing the pipe, at¬ 
 tributed to Du Jardin, but etched by Berghem . 
 
 HERMAN SWANEVELDT. 
 
 1083 Six, of Cattle and Landscapes. 
 
 VARIOUS. 
 
 1084 Three, A large Landscape, with Cattle and Figures, after 
 
 Berghem, by D. Dankerts. 
 
 A Sea-port, after Wouverman, by Justus Dankerts. 
 
 A Landscape, with Figures, &c. after Berghem , by J. 
 Vischer. 
 
 Ninth Day 
 
 /- - 
 
 AfZ 
 
136 painter’s ETCHINGS,. 
 
 Ninth Day. 
 
 J. LONDONIO. 
 
 % 
 
 /,. 1085 Four, of Cattle and Figures, oblong, 
 
 /" & 1086 Four ditto, of Goats, &c. upright. 
 
 W. H. SCHWEICKHARDT. 
 
 //) T 1087 Eight, of Cattle, &c. the set, 
 
 * 
 
 VARIOUS. 
 
 /„ ft^ 1088 Eight etchings by Berghem , Le Due , Vandervelde 
 
 Fyt , Sfc. 
 
 y£f7. 1089 Eight ditto of Landscapes. 
 
 /S7. 1090 Eight ditto, by Waterloo , Swancveldt. fyc. 
 
 1091 Six, Le fils Debauch^, a title-page, etched by Rubens . 
 and five others, by Gerard Lairesse, Schutz , $c. 
 
 ESAIS VANDER VELDE. 
 
 ^ 1092 One, A Landscape and Figures, a man with his dog in the 
 
 foreground, fine and rare. 
 
 J. S A VARY. 
 
 //A ^1093 Six Landscapes, with Figures, inscribed J. Savary fecit, 
 J. le Clerc , ex. rare. 
 
 WM. DE BUYTENWEG. 
 
 /" 1094 Six Landscapes, curious and rare. 
 
 JOHN DE GHEYN. 
 
 y c _ 1095 Six oblong Landscapes, with figures, the set, curious and 
 scarce. 
 
 ALBERT FLAMEN. 
 
 
 Four oblong Landscapes, views of the Chateau de 
 
 Longtoise. 
 
painter’s etchings. 
 
 137 
 
 Ninth Day. 
 
 HENRY HONDIUS. 
 
 1096 The four times of the Day, upright, fine impressions, /&<- 
 
 EXTREMELY RARE. 
 
 /- 
 
 / 
 
 4C 
 
 
 WILLIAM NIEULANDT. 
 
 1097 Six large Landscapes, and Figures, after Paul Brill. 
 
 1098 Ten, Six ditto, ditto. 
 
 HERMAN SACHTLEVEN. 
 
 1099 Four, His own Portrait, by himself. 
 
 Three Landscapes. 
 
 LOUIS DE VADDER. 
 
 1100 Three, A Landscape, etched by himself. 
 
 A ditto, after him, by Arnold de Jode. 
 
 Another by DeJode, after Foucquiere. 
 
 JOHN ALMELOVEEN. 
 
 1101 Five, Three Landscapes, fine impressions , after Sacht - 
 
 leven. 
 
 VINCENT VANDEN VINNE. 
 
 Two Landscapes, fine impressions, scarce. 
 
 JOHN VAN ACHEN. 
 
 1102 Four large Landscapes and Figures, after Sachtleven , fine 2. 
 
 impressions, scarce. 
 
 9 
 
 ALBERT MEYERINGH. 
 
 1103 Four upright Landscapes. 
 
 1104 Four, Oblong ditto, fine. 
 
 HERMAN SWANEVELDT. 
 
 1105 Twelve, Views in and near Rome, the set, with the title, 
 
 1106 Four ditto, larger, with figures, very fine . 
 
 T 
 
 /- 
 
 / 4 ~ 
 
 2 , 
 
painter’s etchings. 
 
 138 
 
 Ninth Day. 
 /a 
 
 //>- 
 
 /r- 
 
 & 
 
 A/fi 
 
 \ 
 
 / -/ & 
 
 1107 Four ditto, two of them fine impressions , the two others, 
 
 with subjects from ancient mythology. 
 
 1108 Three ditto, larger uprights, and one oblong, the Death 
 
 of Adonis. 
 
 C. VERBOOM. 
 
 1109 Three, Two oblong Landscapes, very fine , and rare. 
 
 J/VANDEN STOCK. 
 
 A Landscape and Figures. 
 
 ALLART VON EVERDINGEN. 
 
 1110 Four, The four Fountains, very fine. 
 
 1111 Five, Landscapes, various. 
 
 ADRIAN VANDER CABEL. 
 
 1112 Six Landscapes, with Figures, fine impressions. 
 
 1113 Five, A Title-piece, a Sea-piece, and a Landscape* 
 
 Two Landscapes by Glauber . 
 
 ROLAND ROGHMAN. 
 
 1114 Eight oblong Landscapes, the set. 
 
 1115 Four ditto, larger. 
 
 FRANCIS WOUTERS, 
 
 1116 Four Landscapes, with figures, the set, marked Eras , 
 
 Wouters , 1649. ext. rare. 
 
 JOHN HACKAERT. 
 
 1117 Six Landscapes, the set, rare. 
 
 JOHN BOTH. 
 
 1118 Ten, Six oblong, and four upright. Landscapes, with £« 
 
 gures, the set, complete and very fine. 
 
pointer’s etchings. 
 
 139 
 
 JACOB RUYSDAEL. 
 
 1119 One, An oblong- Landscape, with an old cottage, a peasant 
 
 and his dog crossing a bridge ; called “ le petit Pont 
 
 1120 One, A ditto, with a large tree; two peasants and a dog 
 
 travelling on a road, called “ le deux Paysans et leur 
 chien 
 
 1121 One, A ditto, a village on the border of a brook, over¬ 
 
 hung by a large tree, called “ Le Ruisseau traversant 
 le village 
 
 1122 One, A ditto, a woody sGene with water, three travellers 
 
 goingtowards the right, called “ les Voyageursfi first 
 impression , extremely rare. 
 
 1123 Two, A smaller Landscape, with three oaks near the centre, 
 
 Rysdael in. f. 1649. called “ Le Bouquet de trois 
 chenesP 
 
 A ditto, a field of corn surrounded by trees, called “ Le 
 Champ horde d'Arbres.” 
 
 HENRY NAIWYNX. 
 
 1124 Four, Landscapes, rocky scenery, fine and rare . 
 
 1125 Three, Ditto, ditto, ditto. 
 
 J. SMEES. 
 
 1126 Six, Oblong Landscapes, with Figures and Cattle. 
 
 SIMON DE YLIEGER. 
 
 1127 Three, Two oblong Landscapes with cattle, and figures, 
 
 very fine. 
 
 1128 A View on the sea coast, with fishermen, kc.fine and rare, 
 
 LUCAS VAN UDEN. 
 
 1129 Four, Landscapes, with figures. 
 
 1130 Eight, Ditto, the set. 
 
 Nir.th Day« 
 
 4 
 
 " I 
 
 4 - - 
 
 /f- 
 
 /■ //. 
 A \ 
 
 //A 
 
 /../?_ 
 
 2 ^ 
 
140 
 
 painter’s etchings. 
 
 Ninth Day. 
 
 V0- 
 
 /0- 
 /,. 6 - 
 
 A 2~~ 
 /A 
 
 A 7^ 
 /»? r 
 
 /,.A— 
 
 A/- 
 
 /,3^ 
 
 /2- 
 /- - 
 
 /<- - 
 
 A //L 
 A /2 _ 
 
 v 
 
 ANTONY WATERLOO. 
 
 The Numbers refer to Bartsch, Peintre Graveur. Vol. 2. 
 
 page 11, &c. 
 
 1131 Three, Landscape, with peasants in a wood, proof \ No. 1. 
 
 Ditto, good impression . 
 
 Ruins, No. 2. 
 
 1132 Four, Set of Landscapes, No. 3 to 6. 
 
 1133 Twelve, Eight, of a set of twelve Landscapes, No. 7 to 
 
 18, Numbers 9, 11, 12, and 17, are wanting. 
 
 L’ Entree du bois. No. 19. 
 
 L’ Ecluse, No. 20. 
 
 1134 Twelve, A set of Landscapes, with figures. No. 21, 
 
 and 32. 
 
 1135 Six, Five of a set of six ditto, No. 33 to 38. No. 36 is 
 
 wanting. 
 
 A Moonlight, No. 39. 
 
 1136 Six, of a set of ditto, No. 47 to 52. 
 
 1137 Six, Three Landscapes, with figures, Nos. 53, 54, 55. 
 
 A Duplicate of 54, and two reverses of the same, with 
 alterations. 
 
 1138 Five, A Landscape, with figures at a gate. No. 56. 
 
 Two other impressions of ditto 
 A Landscape, with water, No. 57. 
 
 A Ditto, ditto. No. 58. 
 
 1139 Six, Set of Landscapes with figures, No. 59 to 64. 
 
 1140 Six, A set of ditto, ditto, 65 to 70. 
 
 1141 Three, Landscapes, with figures, 77, 78, and 80. 
 
 1142 Six, Ditto, fine, 89 to 94. 
 
 1143 Three, Ditto, larger, 101, 105, and 106, fine. 
 
 1144 Six, A set of large oblong Landscapes, with figures, 107 
 
 to 112. 
 
 1145 Six, A set of oblong Landscapes, with figures, 113 to 118. 
 
 1146 Six, A set of upright ditto, 119 to 124. the Mill, See, 
 
 very fine. 
 
painter’s etchings. 
 
 141 
 
 1147 Six, A set of ditto, with figures from ancient Mytholo¬ 
 
 gy, fine, 125 to 130. 
 
 1148 Three, A Landscape, with Zipporah circumcising her 
 
 son, 134. 
 
 A Ditto, with Elijah fed by ravens, 135. 
 
 A Ditto, with Tobit and the angels, 136. 
 
 1149 Two, A large oblong Landscape, 108, a fine proof, 
 
 with the figure of a woman and a dog, near the centre, 
 added by the artist, very rare and curious. 
 
 A Ditto, with figures fording a brook, 109. a traveller 
 descending the road, added by the artist. 
 
 1150 Two, A large oblong Landscape, 116, an unfinished 
 
 proof, the tree to the right being without foliage; a 
 figure inserted with the pen by the artist. 
 
 The same Landscape, a fine finished proof, with two 
 figures, added by the artist. 
 
 1151 One, A large oblong Landscape, 118, a fine proof, with 
 
 figures of a man and child descending the road, and 
 two figures and a boy on the hill, added by the artist. 
 
 1152 One, A large oblong Landscape, 111, with a figure 
 
 added by the artist. 
 
 1153 Six, oblong Landscapes, the set. 
 
 1154 Eleven, Ditto, various. 
 
 LUDOLF BACKHUYSEN. 
 
 1155 Two, Figures on a sea coast. 
 
 A Sea Port, with figures, very fine and scarce, 
 
 1156 Three, The Triumph of Neptune. 
 
 Two of Shipping. 
 
 REGNIER ZEEMAN. 
 
 1157 Eight of Sea Ports, dated 1656. 
 
 1158 Eight, of ditto, views near Amsterdam, a fine set. 
 
 1159 Eight, of Sea-fights, &c. 
 
 Ninth Daj. 
 
 A /?' ~ 
 
 -.V s * s 
 
 //>- 
 
 /.//~6 
 
 /.. 
 
 A /3- 
 
 /6~ 
 A <}- 
 
 A /*■ — 
 A-/4- 
 /,. /A— 
 
142 
 
 painter’s etchings. 
 
 Ninth Day. 
 
 fif - 
 
 / 2 - 
 
 ' 9 - 
 
 A //- 
 
 % 
 
 As'- 
 
 JOHN VANDER VINNE. 
 
 1100 Twelve, A set of Views near Haerlem, fine impressions. 
 
 FRANCIS VAN BLOEMEN, called HORIZONTE 
 
 1161 Eight, Two uprights, views near Rome. 
 
 Six, a set. Views near Rome, without name or mark. 
 
 P. RYSBRACK. 
 
 1102 Six, Four Landscapes, Diana with Actseon, &c. the set. 
 Two, Ditto, anonymous. 
 
 COUNT HAGEDORN. 
 
 2163 Eight, Six Landscapes. 
 
 Two smaller ditto. 
 
 ISAAC MOUCHERON. 
 
 1164 Six, Two Views of Gardens, with statues, &c. 
 
 F. E. WEIROTTER. 
 
 Four Landscapes, &c. 
 
 T. BEICH. 
 
 1165 Six, Upright Landscapes, with cattle and figures, the set, 
 
 very fine and rare. 
 
 ADRIAN VAN DIEST. 
 
 1160 Six, Two Landscapes, with figures. 
 
 Four Landscapes, in the manner of Weirotter, marked 
 J. G. H. 
 
 FRANCIS PAUL FERG. 
 
 1167 Nine of Figures and Landscapes, inscribed (( Capricci 
 fatti per F. F. 
 
 
painter’s etchings. 
 
 ABRAHAM GEONELS. 
 
 1168 Eight, Landscapes and Figures. 
 
 FERD. KOBELL. 
 
 1169 Two, Views of Monasteries, with figures, very fine and 
 
 scarce. 
 
 W. E. DIETRICHY. 
 
 1170 Two, The Satyr and Peasant’s Family, a fine impression > 
 
 1730. 
 
 A Landscape, with ruins and cattle, ditto , 1744. 
 SOLOMON GESSNER. 
 
 1171 Five, His own Portrait, and four Historical. 
 
 1172 Ten, Landscapes and figures, the set. 
 
 VARIOUS. 
 
 1173 Eight, Landscapes, by different artists, some of them fine 
 
 and scarce. 
 
 143 
 
 Niiith Day. 
 
 /(7- 
 
 /*. 2 - 
 
 /,./*— 
 
 A- 2— 
 
144 
 
 * 
 
 TENTH DAY’S SALE. 
 
 PAINTER S ETCHINGS. 
 
 CONTINUED. 
 
 FRENCH MASTERS. 
 
 Tenth Day JACQUES CAI.l.OT. 
 
 / 3 
 
 ''' ' " 1174 Fifteen, His Portrait, after Vandyck , by Vorsterman. 
 
 Ditto, by Locmans. 
 
 Thirteen, Les Fantasies thirteen pieces, with the dedi¬ 
 cation to Monsieur Louis de Baufrement, 1635. fine 
 proofs before the numbers. 
 
 1175 Six, The Fan, or “ Battaglia del Re Tessi edelReTinta, 
 &c.” marked Jac. Callot in Nancy. 
 
 The same subject, reversed, marked Jac. Callot fecit. 
 The Four Banquets, very fine and rare. 
 
 /Z 1176 Four, The Gypsies, or les Bohemiens, complete. 
 
 /&— 1177 Three, The View of the Pont Neuf at Paris, with the 
 ancient Tour de Nesle. 
 
 An unfinished proof of ditto, very fine. 
 
 The Gate of Paradise. 
 
 Z/~ 1178 Two, The Little Fair, very rare, fine impression. 
 
 Saint Nicholas preaching in the wood. 
 
 ^ 1179 Three, The Catafalque of the Emperor Matthias, 1619. 
 
painter’s etchings. 
 
 145 
 
 The Exorcism, after Andrea Boscoli. 
 
 The Stag 1 Hunt, fine impression. 
 
 1180 Three, The Card Flayers, a night-piece, rare. 
 
 The Holy Family, circular, ditto . 
 
 Les Supplices. 
 
 1181 One, The Temptation of St. Antony, large plate, fine im¬ 
 
 pression , before, the address of Israel. A little stained. 
 
 1182 Eighteen, The large Miseries of War, a fine set. 
 
 Tenth Day, 
 
 4 '- 
 
 - 
 
 A. BOSSE. 
 
 
 1183 Three, A Statuary in his Attelier, 1642. 
 
 /C 
 
 P. BREBIETTE. 
 
 
 Two, of Battles, 1625. 
 
 1184 Three, A Frieze. 
 
 Bacchus and Ceres. 
 
 The Elephant and Leopard, large and fine. 
 
 /sz 
 
 CLAUDE VIGNON. 
 
 
 1185 Four, The Martyrdom of St. Laurence, fine 
 
 The Ascension, ditto. 
 
 The Baptism of Philip. 
 
 Two Saints sleeping, marked c. v. f. 1620. 
 
 /- _ 
 
 H 
 
 LAURENT DE LA HYRE. 
 
 
 1186 Two, The Holy Family, angels bringing fruit, large ob¬ 
 long, 1640. 
 
 
 LOUIS BOULOGNE. 
 
 
 St. Patil exorcising a demoniac, rare. 
 
 
 FRANCOIS PERRIER. 
 
 
 1187 Four, St. Roch, healing the sick. 
 
 St. Sebastian. 
 
 A Holy Family. 
 
 A. 
 
 \ 
 
 V 
 
146 
 
 T nth Day. 
 
 /<y 
 
 / 3 - 
 
 //>- 
 
 /s~ 
 
 /y~ 
 
 # ... 
 
 />■*//- 
 
 //- 
 
 2 * 
 
 /.. /y- 
 
 painter’s etchings* 
 
 / 
 
 N. DORIGNY. 
 
 Silenus and Bacchantes. 
 
 ANTONY RIVALZ. 
 
 1188 Three, Two emblematical. 
 
 One, the Martyrdom of S. Symphonianus, rare. 
 
 RAYMOND LA FAGE. 
 
 1189 Four, The Brazen Serpent, a large sheet, upright. 
 
 The Fall of the Angels, ditto, oblong. 
 
 Two Friezes. 
 
 SEBASTIAN BOURDON. 
 
 1190 Nine Holy Families, &c. various. 
 
 1191 Six, Four ditto. Sacred Subjects. 
 
 One, The Virgin, Child, and St. Ann; Christ treading 
 on a serpent, ext. rare, not in Heinecken. 
 
 The Flight into Egypt. 
 
 1192 Six, The Return of Jacob, Jine. 
 
 Holy Family, with St. John. 
 
 Ditto, proof, before the address of Mariette, and three 
 others of sacred subjects. 
 
 1193 Four, Flight into Egypt, oblong. 
 
 JACQUES COURTOIS, called BOURGOGNONE. 
 
 1194 Eight, of Battles, Jine impressions , the set; rare. 
 
 1195 Four, of large ditto, the set , extremely rare . 
 
 CHARLES LE BRUN. 
 
 1196 Four, The four times of the Day, very Jine and rare. 
 
 EUSTACE LE SUEUR. 
 
 1197 One, Virgin and Child, and St. John, with the Lamb, 
 
 extremely rare and Jine , his only etching. 
 
 PETER MIGNARD. 
 
 1198 One, St. Scholastica adoring the Virgin, very rare and 
 
 Jine , his only etching. 
 
painter’s etchings. 
 
 147 
 
 M. A. CORNEILLE. 
 
 1199 Two, St. Andrew kneeling- before the cross. 
 
 The Virgin, Child, and St. John, very fine and rare . 
 
 ANTONY COYPEL. 
 
 1200 Three, The Ecce Homo, very fine. 
 
 The Dead Christ, a small oval, very fine . 
 
 The Tribute Money. 
 
 PAROCEL. 
 
 1201 Six, Four of Boys playing, &c. 
 
 FRANCIS DE NEVE. 
 
 Diana and Endymion. 
 
 F. PERELLE. 
 
 A Landscape and figures. 
 
 J. LE POTRE. 
 
 1202 Four, Boors carousing. 
 
 P. NOLPE. 
 
 Man and Woman dancing. 
 
 The Beheading of John the Baptist, a fine etching, ano¬ 
 nymous, 
 
 A Soldier on horseback, ditto. 
 
 GASPAR DUGHET, called POUSSIN. 
 
 1203 Four, Landscapes, circles, very rare, 
 
 1204 Four, ditto, oblong, very fine and rare, 
 
 ADRIAN MANGLARD. 
 
 1205 Seven, Views and Landscapes near Rome. 
 
 CLAUDE GELEE, called LORAINE* 
 
 1206 Two, Campo Vaccino. 
 
 Landscape with cattle and figures. 
 
 Tenth Day. 
 
 /,. /> __ 
 
 /-. 
 
 /. - 
 
 //Z 
 
 /.. //.. /> 
 ■ 2 .. //— 
 
 /f 
 
148 
 
 painter’s etchings. 
 
 . Tenth Day. 
 
 /A 1207 Three Landscapes with figures. 
 
 A 1208 Three Ditto, ditto. 
 
 /f y~- 1209 Four Ditto, ditto, one with Robbers, &p. 
 
 //?— 1210 Four ditto. 
 
 /,./# 1211 Four ditto. 
 
 1212 Four ditto. 
 
 /"/& — 1213 Five ditto, Landscapes and Sketches, ext. rare. 
 
 FRANCESQUE, or FRANCESCO MILE. 
 
 /, /A- 1214 Eight, Two Landscapes. 
 
 H. MAUPERCIIE. 
 
 Two small Landscapes. 
 
 DOM. BARRIERE. 
 
 The Embarkment of St. Ursula, after Claude . 
 
 D. BOISSIEUX. 
 
 Two Landscapes. 
 
 A. F. BAUDOINS. 
 
 A Landscape. 
 
 P. J. DE LOUTHERBOURG. 
 
 AS, 1215 Four, La Bonne petite Sceur. 
 
 La Tranquillite Champetre. 
 
 L’Evocation des Morts, after Loutherbourg , by Fou~ 
 quieres . 
 
 Watering Horses, after ditto. 
 
 * 
 
 CLAUDE MELLAN. 
 
 /} 1216 The Head of Christ, in a spiral line, curious. 
 
149 
 
 Tenth Day. 
 
 WOOD PRINTS. 
 
 GERMAN MASTERS. 
 
 1217 Thirteen, Specimens of early WoodPrints. A? 
 
 1218 Six, Ditto, rare and curious. A/2 
 
 MICHAEL WOLGEMUTH. 
 
 1219 Four, Pope Pius II. and the Emperor Frederick III. and /6. 
 
 three others. 
 
 ALBERT DURER. 
 
 1220 Two, Portrait of Albert Durer , in profile. 
 
 Ditto, of Ulric Varnbuhler , 1522. fine impression. 
 
 1221 One, Another, the finished print in chiaro scuro, beauti~ 
 
 ful impression. 
 
 1222 Three, Christ mocked. 
 
 Ditto, with the letter press. 
 
 The Last Supper, 1510, very fine. 
 
 1223 Two, Hercules killing- an armed warrior, from an ancient 
 
 Italian engraving. 
 
 A Cavalier on horseback, followed by a foot soldier. 
 
 1224 Three, Samson tearing the lion. - ^ 
 
 Holy Family ; angels crowning the Virgin. 
 
 The Martyrdom of St. Catharine, rabbits in the fore¬ 
 ground. 
 
 1225 Six, Two from the Revelation. 
 
 Four of the Life of the Virgin. 
 
 1226 Three, The Virgin appearing to St. Matthew. 
 
 St. Catharine. 
 
 The Last Supper, 1523. 
 
 1227 Two, The Siege of Vienna, 1527. called the chef d'oeuvre 
 
 of Albert Durer. 
 
 A /*- 
 
 _ 
 
 /- ~ 
 
 /S~ 
 
 A/?- 
 
 /$*- 
 
150 
 
 WOOD PRINTS, 
 
 Tenth Day. 
 
 4.//- 
 
 H»/0- 
 
 //.. 
 
 /<, //- 
 X 
 
 A3 - 
 A/i7- 
 
 A 
 
 s. 
 
 • ^ 
 
 /,. A- 
 
 A 
 
 The Trinity, extremely rare. 
 
 1228 Thirty -six. The small Life of Christ, fine impressions. 
 
 1229 Ten, of the large Life of Christ, 1510. fine impressions . 
 
 1230 Fifteen, Two from the Life of the Virgin, and thirteen 
 
 from the Life of Christ. 
 
 33$ rnjK'T '?•> rip- .it '■.-..roj».?T 
 
 LUCAS CRANACH. 
 
 1231 Six, Three from the Life of Christ. 
 
 St. Christopher. 
 
 St. Matthew. 
 
 The Crucifixion. f 
 
 1232 Two, Venus and Cupid. 
 
 A wounded Warrior, attended by a man in fantastic ar¬ 
 mour, and by three naked women. 
 
 1233 Two, Hunting the Boar, an armed Warrior standing ,1500. 
 
 HANS BALDUNG, called GRUNN. 
 
 A Saint, with a staff or halbert. 
 
 1234 Five, The taking down from the Cross. 
 
 The Virgin, St. John, and St. Mary, lamenting near the 
 dead body of Christ. 
 
 The Conversion of Saul. 
 
 Saint Sebastian, and another Saint 
 
 HANS BURGMAIR. 
 
 1235 Five, St. Luke painting the Virgin, 1530. 
 
 Four pieces from the Life of Christ. 
 
 HANS SCHAUFFLEIN. 
 
 1236 Nine, A Conversation ; a gentleman and lady. 
 
 Ditto, its companion. 
 
 A Man and Woman, with four children. 
 
 Ditto, between them the figure of Death. 
 
 Five small prints of the Life of Christ, 
 
WOOD PRINTS. 
 
 151 
 
 JOHN WALTER VAN ASSEN. 
 
 1237 Ten, Four prints of the Life of Christ. 
 
 Six ditto, various. 
 
 JOST AMMAN. 
 
 1238 Fourteen, Six of Tournaments, &c. 
 
 Eight small prints, various. 
 
 1239 Fifty-nine, Historical, Oriental Heads, &c. 
 
 Tenth Day. 
 
 A 
 
 //~ 
 
 Ad¬ 
 
 albert altorfer. 
 1240 Five, Small prints, fine. 
 
 CHRISTOPHER JEGHERS. 
 
 1241 Two, Head of an Old Man, after Rubens. 
 
 The Coronation of the Virgin, after ditto, a deling. 
 
 1242 Two, The Temptation of Christ, after ditto, ditto,very fine. 
 
 A large Landscape, after ditto , in chiaro scuro, very 
 fine. 
 
 4 - 
 
 /Z- 
 
 VARIOUS. 
 
 1243 Eleven, The Wise Men’s Offering, and ten small prints. A A- 
 
 I TALI AN MASTERS. 
 
 1244 Four, Dead Christ, on the knees of the Virgin, without /./3 
 
 name or date. 
 
 The Martyrdom of St. Cecilia, after the design of Rctf- 
 faelle. 
 
 Hercules and Omphale, marked i. m. s. 
 
 Tobit healing his father, with the cypher, M. C. very fine: 
 
 1245 The Martyrdom of the Theban Legion by the order of « 
 
 Maximian in the Valley of the Penine Alps, a grand 
 composition, in eight sheets, composing a print five 
 feet wide, by three feet and a half high, inscribed. 
 
152 
 
 .Tenth Day. 
 
 /,. /? _ 
 
 /, /i>- 
 /.. - 
 Z. Z' 
 
 «* N 
 
 3 : 
 
 2 . 
 
 WOOD PRINTS. 
 
 in. yenetia. il vieceri, to which has been added 
 with a pen, Giorgione In. fine impression , in the 
 highest preservation . 
 
 O/* tAis pery rare and curious print , representing va¬ 
 rious modes of crucifixion, no impression is found in 
 Winckler’s collection, nor in any catalogue that has 
 been examined. 
 
 TITIANO VECELLI. 
 
 1246 Two, A Landscape, with figures and cattle, a man feeding 
 
 goats, a woman milking. 
 
 St. Jerome in the Desert. 
 
 1247 Two, St. Jerome in the Desert, very fine. 
 
 S. Francis receiving the stigmata, ditto. 
 
 124S Two, Samson and Dalilah. 
 
 Milo devoured by a lion. 
 
 1249 Two, St. Sebastian, St. Francis, St. Ambrose, and other 
 
 saints, fine impression. 
 
 The Holy Family, with St. Ann, from St. Peter Lely’s 
 collection. 
 
 1250 One, The Deluge, on two sheets, fine impression , ex¬ 
 
 tremely rare. v. Papillon, 160. 
 
 1251 One, The Army of Pharaoh drowned in the Red Sea, in 
 
 twelve sheets; marked “ In Venetia per Domenico 
 
 DELLE GRECHE DIPINTORE YeNETIANO, M.D.XLIX. 
 “ Estampe de la plus grande rarete and sans contredit 
 des plus grand,es dans la graveure. Winckler, 4912. 
 
 1252 One, The Triumph of Christianity, a frieze in ten sheets, 
 
 composing a print nine feet long, by sixteen inches 
 wide, designed by Titiano in 1508, and particularly 
 described by Vasari. Of the greatest rarity , not in 
 the collection of Winckler. 
 
 1253 One, The Statue of Laocoon and his Sons, burlesqued, 
 
 said to have been a parody by Titian on the works of 
 
WOOD PRINTS. 
 
 Baccio Bandinelli , but more probably a jeu d'esprit 
 on the antique statue, rare . 
 
 Tenth Day. 
 
 1255 One, Francesco Donato, Doge of Venice, kneeling before c3 ~ 3 — 
 the Virgin, attended by saints, in two sheets, scarce. 
 
 The foregoing prints of Titian, are perhajis the finest 
 specimens of wood engraving ever produced. The 
 
 execution of them has been attributed to Titian asivell 
 as the design ; Out , at all events , there is reason to 
 believe that the drawings on the blocks are by his own 
 hand. 
 
 VARIOUS. 
 
 1256 Three, The Nativity, marked B. attributed to Domenico _ 
 
 Beccafumi. 
 
 Another Copy, very fine. 
 
 Our Saviour and the Woman of Samaria, marked Hie¬ 
 ronymus Tarvisius pinxit, F. Denato sinsit. 
 
 GIUSEPPE SCO LARI. 
 
 1257 Two, The Rape of Proserpine, large sheet. 
 St. Jerome, ditto. 
 
 1258 Two, St. George and the Dragon, ditto. 
 
 The Interment of Christ, on two sheets, upright, marked 
 
 2. 2- 
 
 Gioseppe Scolari , inv. 
 
 These four prints are entirely executed ivith the tool } 
 
 without cross-hatchings. 
 
 LUCA CANGIAGIO. 
 
 1159 Four, Sheet Prints, various subjects, fine. 
 1260 Six, Ditto, one washed by Cangiagio himself 
 
 A - 
 A /Z- 
 
164 
 
 PRINTS IN CHIARO SCURO; 
 
 CALLED BY THE FRENCH CAMAYAUX. 
 
 r ? l HnVK 
 
 UGO DA CARPI; 
 
 Said to be the Inventor of Prints in Chiaro Scuro. 
 
 Tenth Day. 
 
 /,. 3- 
 
 /. .. 
 
 1262 Two, A Woman sitting, a Man speaking to her, called 
 
 j Raffaelle and his mistress. 
 
 A Sybil sitting, a boy holding a flambeau, after Raffaelle. 
 
 1263 Three, Jacob’s Ladder, after ditto, very fine. 
 
 David and Goliath, inscribed Raphael vrbinus, per 
 v go DA carpi, cited, by Vasari, “piece tres rare.” 
 Christ seated on the steps of the Temple ; the Virgin 
 and St. Martha ascending to him, after Raffaelle. 
 
 1264 Two, The Descent from the Cross, marked in the lower 
 
 margin, Raphael vrbinas. 
 
 The Death of Ananias, after ditto, with the name of 
 Ugo da Carpi. 
 
 1265 Two, Jesus Christ at table with Simon the Pharisee, after 
 
 Raffaelle, by Ugo da Carpi, (although published 
 with the mark of Andrea Andreani, 1609.) v. Bartsch 
 xii. 40. 
 
 The miraculous Draught of Fishes, ditto. 
 
 1266 Two, St. Peter preaching the Gospel, after Polidoro, with 
 
 the mark of Andreani in. Mantona, 1608, but accord¬ 
 ing to Bartsch, executed by Ugo du Carpi. Bartsch, 
 
 xn. 77. 
 
 ^ » 
 
 The Virgin, with St. Sebastian and a bishop, after Ba- 
 rocci, a proof impression , before Andreani had, put 
 
PRINTS IN CHIARO SCURO. 
 
 J55 
 
 his mark upon it , and the year 1605, as in the im¬ 
 pressions cited by Bartsch, xn. 66. 
 
 1267 Three, St. Peter and St. John, after Parmigiano, also with¬ 
 
 out the mark o/Andreani. 
 
 St. John adoring- Christ, after ditto. 
 
 A Naiad, surrounded by various animals, after Titian , 
 RARISS. 
 
 1268 Three Venus and Cupids, after Raffaelle, enumerated by 
 
 Vasari among the works o/Ugo da Carpi. 
 
 Pan and Marsyas, after Parmigiano , oval. 
 
 Pan recovering his pipe, ditto. 
 
 1269 Two, Saturn, and a Boy with a balance, after do. with 
 
 the mark of Andreani, which is not found on the first 
 impressions. 
 
 Envy driven by Hercules from the Temple of the Muses, 
 after Baldassare Peruzzi , inscribed bal. sen. per 
 v go. u tres rare.” Bartsch. 
 
 FRANCESCO MAZZUOLI called PARMIGIANO, and bis Pupil, 
 
 ANTONIO DA TRENTO. 
 
 1270 One, Diogenes seated before his tub; a cock without fea¬ 
 
 thers beside him, inscribed franciscus. parmen. 
 
 PER VGO. CARP. 
 
 Notivithstandmg the above inscription , this print is 
 most probably executed by Parmigiano himself as 
 Vasari, a contemporary , expressly states it to be by 
 his hand. “ E Francesco Parmigiano intaglio, in uno 
 foglio reale aperto, un Diogene, che fu piO. bella stam- 
 pa, che alcuna, che mai facesse Ugo.” Voi. ii. 422. 
 Bartsch seems to have mistaken this passage in Va¬ 
 sari, when he says , “ Suivant Vasari, Ilugues da Car¬ 
 pi n’ a rien fait de plus beau que ce clair-obscur.’* 
 xii. 100. 
 
 Tenth Day. 
 
 /,. /- 
 
 /S- 
 
 /- /L 
 ■ \ 
 
 ■9 
 
156 
 
 PRINTS IN CHIARO SCURQ. 
 
 Tenth Day. 
 
 1271 Two, The Sacrifice of Isaac. 
 
 The Adoration of the Magi, marked F. P. 
 
 /'• 4- 1272 Two, The Virgin and Saints; St. Joseph speaking to a 
 
 bishop. 
 
 The Martyrdom of St. Peter and St. Paul. 
 
 //. 1273 Tliree, The Virgin and Child ; St. John asleep, am oval. 
 
 St. Cecilia, a circle, with the mark of Andrea An- 
 dreani. 
 
 The Tiburtine Sybil pointing out to Augustus the Virgin 
 in the clouds. 
 
 “ Tres belle piece , et une de celles cites par Vasari.’’ 
 Bartsch. 
 
 /r- 1274 Three, Circe presenting the cup to the companions of 
 Ulysses, a circle. 
 
 Circe drinking in the presence of the companions of 
 Ulysses, ditto. 
 
 Jason returning with the Golden Fleece, with the mark 
 of Andreani. 
 
 /J/ 1275 Five, Four of the Virtues—Faith, Temperance, Pru¬ 
 
 dence, Hope. 
 
 A Man sitting, seen on the back. 
 
 w Cette figure est d'unc singuliere beaute pour la co¬ 
 llection du dessein et pour la legerete de la touche ” 
 Bartsch. 
 
 _ 127G Six, The Lute Player timing his lute. 
 
 The young St. John in the Wilderness, pointing to a 
 crucifixion, before the mark of Andreani . <£ Clair- 
 obscur cViine grande beaute Bartsch. 
 
 Another of the same, different impression . 
 
 The Virgin and Child, a small oval. 
 
 A Philosopher sitting. 
 
 Diana at the cliace. 
 
 /£- 1277 One, People paying divine honours to the beautiful Psyche. 
 
 The design of this is attributed by some to Giuseppe 
 Salviati. 
 
PRINTS IN CHIARO SCURO. 
 
 157 
 
 Teuth Day. 
 
 1278 One, The Presentation in the Temple, a woman in the / ^. _ 
 
 foreground bearing a child on her shoulder, inscribed 
 at the bottom, del salviati, and with the mark of 
 Andreani. “ In Mantova , 1608.” 
 
 1279 Two, Another Copy, fine impression , without the name /./- 
 
 of Salviati, or the mark of Andreani, ivltich appear 
 only on the later copies. 
 
 The design is undoubtedly by Parmigiano, and the en¬ 
 graving is attributed by Bartsch to an anonymous 
 artist. 
 
 Nymphs Bathing, some impressions have the mark of 
 Andrea Andreani, who frequently affixed it to the 
 works of preceding artists, either fraudulently, or as 
 the publisher. 
 
 Partsch has attributed several of the foregoing prints 
 to other engravers ; but it is sufficiently ascertained 
 that Parmigiano engraved on wood, as well as on cop¬ 
 per, and that he taught the art to Antonio da Trento, 
 who executed the blocks under his own eye. It has 
 been said that Parmigiano devoted much of his time 
 to alchemy ; but these pursuits were probably nothing 
 more than the processes necessary for his etchings and 
 wood prints. The account of the materials employed 
 by him seems to favour this opinion: “ Perdeva tutto 
 il giorno in tramenare carboni, legne, bocce di vetro, 
 ed altre simili bazzicatureT —Vasari, n. <334. 
 
 DOMENICO BECCAFUMI, called MECARINO. 
 
 1280 Two, St. Peter, grandly draped, with the keys and a large /•* //— 
 
 book. 
 
 Another Saint, a tablet in his right hand. 
 
 1281 Two, A Philosopher, raising his mantle over his shoulder ^<— 
 
 with his right hand, a pair of compasses in his left; 
 on the ground a globe; extremely rare. 
 
158 
 
 T, nth Day. 
 
 
 
 a e 
 
 /r 
 
 PRINTS IN CHIARO SCUEO 6 . 
 
 The four Doctors of the Church, fine and rare. 
 
 Bartsch attributes the execution of the above four pieces 
 to some anonymous artist , after the designs of Bec- 
 cafumi; but there seems no reason to doubt that they 
 are engraved by that painter himself; at least Vasari , 
 who was his contemporary , ascribes them to him with- 
 out hesitation :—“ E perch’ era quest’ uomo capric- 
 cioso, e gli riusciva ogni cosa, intaglio da se, stampe 
 di legno, per far carte di chiaroscura; e se ne veggi- 
 ono fuori due Apostoli, fatti eccellentemente, uno de’ 
 quali n’avemo nel nostro libro di disegni, con alcune 
 carte di sua mano, disegnate divinalnente.’ , Vasari n. 
 520. 
 
 JO. NICOLO VICENTINO. 
 
 1282 Two, Christ healing the Lepers, after Parmigiano , in¬ 
 
 scribed at the bottom, on the right, Joseph. Nicolavs 
 Vicentini, first impression, before the mark of An - 
 
 dreani. 
 
 “ Cest un des plus parfaits qui ait ete executes sur les 
 desseins du Parmesan .”—Bartsch. 
 
 The Death of Ajax, after Polidoro da Caravaggio , with 
 the mark of Andreani, in Mantova, 1666, very fine. 
 
 1283 Three, Another Impression of the Death of Ajax. 
 
 Hercules strangling the Lion, after a design of Raf - 
 faelle , with the mark of Andrea Andreani, but attri¬ 
 buted by Bartsch to Vicentino. 
 
 The same Subject, differently treated, marked raphel. 
 
 YRR. IN. 
 
 1284 One, Clelia escaping with her Companions from the Camp 
 
 of Porsenna; after Maturino . 
 
 1285 Three, The Adoration of the Magi, after Parmigiano , an 
 
 oblongj^rsf impression. 
 
 The Same, second impression , ivitli the mark of Andrea 
 Andreani, and the year mdcv. 
 
PRINTS IN CHIARO SCURO. 
 
 159 
 
 The Adoration of the Magi, after Parmigiano, an up¬ 
 right, marked F. P. Nic s . Vicetino. T .fine impression . 
 
 1286 One, Venus caressing Cupid in a Landscape, Titianus. /£ — 
 inv. Nicolaus Boldrinus Vicentinus incidebat. 1566. 
 
 An impression before the chiaroscuro blocks . “ Ce 
 
 morceau est rare” Bartsch* 
 
 ALESSANDRO GHIANDINI. 
 
 1287 One, The Virgin surrounded by Saints, with the mark of /A £ 
 Andreani, IN Mantova, 1610. but the name of 
 the real engraver may be perceived in letters left in 
 ivhite on the lower step of the tribune . “ Taglio 
 
 d ’ Alex. G hi and ini ” 
 
 ANDREA ANDREANI. 
 
 1288 Ten, Triumph of Julius Caesar, from the paintings of 
 Andrea Mantegna , for Francesco Gonzaga, marquis 
 of Mantua, in ten prints, including the title, 159S. 
 3289 One, Pilate washing his hands, a large print in two sheets, 
 with the name of Andreani , and the year marked on 
 the step of the tribune of Pilate, in gothic characters, 
 1585, after Giovanni di Bologna, fine impression in 
 brown ink. 
 
 . . ... • 4 * 
 
 1290 Two, Eve on her knees, from the pavement of the Duomo 
 
 of Sienna, after Beccafumi, 1587. 
 
 Christ placed in the Sepulchre, after Raffaelle da Reg¬ 
 gio, fine impression. 
 
 1291 Two, The Virgin and Child, after Andrea Casolani. 
 
 The Virgin and Child, attended by a Bishop with his 
 crozier, after ditto, 1591. 
 
 1292 Two, The Virgin and Child, after Francesco Vannu 
 
 i 
 
 without name or mark. 
 
 m .... . 
 
 Virgin and Child, after Ligozzi, 1585. fine impres¬ 
 sion. 
 
 A. /£ _ 
 
 
 4 - 
 
 /s 
 
160 
 
 PRINTS IN CHIARO SCURO. 
 
 Tenth Day. 
 
 /P „ 1293 Three, Two groups of the Rape of the Sabines, after the 
 sculptures of Giovanni di Bologna, 1584. 
 
 One Ditto, a Roman on horseback, carrying off a Sabine 
 woman. 
 
 /t.#— 1294 Three, Virtue struggling against Love, Error, Interest, 
 
 and Opinion, an emblematical piece, after Ligozzi , 
 1585. beautiful impression. 
 
 The Christian Hero combating Demons, after a design 
 of Battista Franco , 1590. 
 
 The Adoration of the Magi, after Lovini, fine impres¬ 
 sion. 
 
 /„ /, 1895 The army of Pharaoh drowned in the Red Sea, a large 
 
 piece in four sheets, after Titian , 1589. fine and 
 rare. 
 
 ?v k f; * “ * * • - • r /. 
 
 JEROME BOLS. 
 
 //_ 1296 One, A Theatrical Scene, for the Comedy wf Ortensio, 
 
 represented by the academicians of the Intronati, be¬ 
 fore the grand duke Cosmo, I. designed by Barto¬ 
 lommeo Neroni , called Biccio. Bartsch, xii. 157. 
 very rare. 
 
 ANTONIO CAMPI CREMONESE. 
 
 /" £ - 1297 Four, A Lady playing on the guitar, marked ant. cre. 
 
 Mutius Sccevola, placing his hand in the fire, marked 
 anto. cremonense. a small upright, not tinted, 
 RARE. 
 
 P. MORELSE. 
 
 Nymphs dancing, with Cupid between them, “ Aligerum 
 trahit , Sfc. yy P. Morelse , 1612. 
 
 The Death of Lucretia. “ Nata jaces, fyc.” marked P. 
 Morelse, In. 1612. 
 
PRINTS IN CHIARO SQURO. 
 
 1G1 
 
 BARTOLOMEO CORIOLANO. 
 
 1298 Three of Sibyls, after Guido. 
 
 1299 Five, A Woman presenting- the head of St. John to He- 
 
 rodias, two impressions different. 
 
 The Alliance of Peace and Abundance, after Guido. 
 
 St. Jerome, after do. 
 
 Head of Cupid asleep, after do. fine. 
 
 1300 Four, Virgin and Child, after do. an oval, 1630. 
 
 The same subject reversed, with alterations. 
 
 Virgin, Child, and St. John, 1647. 
 
 A Thesis, or emblematical piece, after do. representing 
 two female figures, attended by genii, with various 
 inscriptions, v. Bartsch, xn 139. 
 
 1301 Two, The Fall of the Giants, a large piece in four sheets, 
 
 after Guido , engraved in 1641, and published in 
 1647. FINE IMPRESSION. 
 
 1302 Another Copy of the same, ditto. 
 
 ANT. MARIA ZANETTI. 
 
 «• 
 
 1303 Eight, after Parmigiano , fine impressions. 
 
 1304 Six, after do. very fine. 
 
 “ Ces clair-obscurs (dont il y en a qui rappellent les 
 beaux travaux de Hugues de Carpi, et les autres 
 egalent les productions dcs graveurs en bois les 
 plus distingueesj sont devenus extremement rares 
 Bartsch. 
 
 ITALIAN MASTERS. ANONYMOUS. 
 
 1305 Three, The Slaughter of the Innocents; a grand compo¬ 
 
 sition, after a design of Rafj'aelle ; a spirited outline , 
 before the chiuro scuro blocks 9 or the mark ND B, 
 
 Y 
 
 Tenth Day, 
 
 /. /<?- 
 
 - 
 
 /.. /- 
 
 /,./&- 
 
162 
 
 PRINTS IN CHIARO SCURO. 
 
 Tenth Day 
 
 v 
 
 /. 2 - 
 /: Sf- 
 
 1544. as is found in the common impressions. Flo-^ 
 rent le Compte attributes the engraving to Ugo da 
 Carpi, or Mantegna, and Heineken to Nicolo Vi* 
 eentino. 
 
 The Continence of Scipio, after Julio Romano. 
 
 Hercules destroying the Lion, after Raffaelle. 
 
 1306 The Marriage of St. Catharine, after Correggio. 
 
 Ditto, after Parmigiano , before the chiaro scuro blocks* 
 Boys at Play, after Parmigiano. 
 
 1307 Three, The entombing of Christ, after ditto , before the 
 
 chiaro scuro. 
 
 The crowning with Thorns, ditto. 
 
 A Man, seen on the back sitting before a cavern, and 
 stretching his arms towards a light; called by Bartsch, 
 the Solitary , and supposed by him to be engraved 
 after the design o/Peruzzk The engraver is known 
 only by his mark , which appears in the print , y h s. 
 whence he is called the Master of the name of Jesus* 
 v. Bartsch xti. 147. 
 
 1308 Three, The Holy Family, with St. Elizabeth and St. 
 
 John, after Correggio, but which Mariette attributes 
 to Dosso of Ferrara. A first impression , before the 
 name of Correggio, or the alterations that appear in 
 the second, v. Bartsch, xii. 60. 
 
 Ceres in search of Proserpine ; she is seen on the back, 
 and appears terrified at the sight of Cerberus, upright, 
 without name or mark. 
 
 The Conversion of Saul, after Luca Cambiaso , marked 
 lc. gg. N. fe. p. s. F. a fine sketch. 
 
 1309 Three, Venus taking his bow from Cupid; probably from 
 
 a design of Parmigiano, upright. 
 
 The Descent of the Holy Ghost, from a design of La¬ 
 zar o Baldif fine impression. 
 
 Samson destroying the Lion, on blue paper « 
 
PRINTS IN CHIARO SCURO. 
 
 163 
 
 1310 Two, The Woman taken in adultery, on blue paper, 
 
 The Last Supper, a frieze, upwards of three feet long, 
 by ten inches wide, do. 
 
 These are executed in a bold style , and heightened; 
 without name or mark. 
 
 GERMAN, FRENCH, and ENGLISH MASTERS* 
 CHRISTOFFER JEGHERS. 
 
 1311 T wo, A Portrait, P. P. Rubens , del. fy excudit. Chris¬ 
 
 toff er Jeghers , sculp, fine. 
 
 A Repose in Egypt, St Joseph, and the Infant asleep, 
 angels playing with a lamb, in a rich landscape, P. 
 P. Rub. delin'. Sf exc. C. Jeghers, sculp. 
 
 From the freedom and spirit of the design , as well as 
 from the expression , Rubens delin. there can be no 
 doubt that this fine piece was drawn on the block by 
 the hand of Rubens himself. 
 
 HENRY GOLTZIUS. 
 
 1312 Three, Night, an emblematical piece, a large oval, 
 
 H. G . f. fine. 
 
 Elijah fed by Ravens, do. 
 
 A Cottage in a landscape, H. G. do. 
 
 FREDERIC BLOEMART. 
 
 1313 Eight, A Painter drawing an academy figure, after Abra¬ 
 
 ham Bloemart , marked Fredericas Bloemart, filius, 
 fecit. 
 
 Aaron, sitting, with the censer, after do. 
 
 St. John, and other figures and sketches, after Par- 
 migiano. 
 
 Ditto, with variations. 
 
 Two Figures on one plate, after do. 
 
 A Female Saint praying to a crucifix® 
 
 Sophonisba and two attendants. 
 
 Tenth 
 
 X- tr~ 
 
 
 /Z- 
 
 X, X . 
 
164 
 
 PRINTS IN CHIARO SCURO. 
 
 Tenth Day. 
 
 * 
 
 /»/g- 
 
 2. S- 
 
 The foregoing , hy Bloemart, are all tinted upon an 
 etched outline. 
 
 The Holy Family. 
 
 NICOLAS LE SUEUR 
 
 1314 Four, Jupiter and Europa, after Paul Farinato. 
 
 The Rape of Proserpine, after do. 
 
 Diana and Endymion, after Sebastian Conca. 
 
 The Virgin and Saints, after Pietro da Petri, tinted on 
 the etching of Count Caylus. 
 
 These four large uprigh ts are fine and rare impressions, 
 from the Crozat collection. 
 
 J. T. PRESTEL. 
 
 1315 Four, St. Margaret destroying the Dragon, after Ligozzi, 
 
 tinted in umber and gold. 
 
 STEPHEN SLAUGHTER. 
 
 A Sketch of many Figures, after Parmigiano, etched 
 and tinted, marked Steph n . Slaughter, f. 1773. fine. 
 
 JOHN SKIPPE. 
 
 A Head after ditto, and two etchings after Parmigiano 
 by the elder Laniers , rare. 
 
 ARTHUR POND. 
 
 A Saint reading, after ditto. 
 
 E. KIRK ALL. 
 
 1316 Six, Saints in adoration, after Pietro do Cortona. 
 
 Noah’s Sacrifice, after Paul Veronese. 
 
 Ananias struck blind, after Sir Ja. Thornhill. 
 
 The Marriage of St. Catharine, after Parmigiano, etched 
 arid tinted from a wood block. 
 
 The same print mezzotinted. 
 
 Holy Family, with St. John and Elizabeth. 
 
PRINTS IN CHIARO SCURO. 
 
 J. B. JACKSON. 
 
 1317 Five, A Woman sitting- in meditation, after a print of 
 
 Parmigiano. 
 
 The Death of St. Peter Martyr, after Titian. 
 
 The Finding of Moses, after Paul Veronese. 
 
 The Marriage of St. Catharine, after do. 
 
 The Virgin and Saints, after do. 
 
 The last four large uprights are uncommonly fine im~ 
 press ions. 
 
 EARLY PRINTS IN AQUA-TINTA. 
 
 J. B. LE PRINCE. 
 
 1318 Nine, Six Fancy Heads, entitled <c Suite de Coeffures 
 
 dessinees d’apr£s nature.” J. B. Le Prince , 1768. 
 The invention of aqua-tinta is attributed to Le Prince 
 and these are supposed to be his first publication. 
 Three, Le Chartier et la Laitiere, 1768—Le Poele 1770, 
 et La Nourrice. 
 
 1319 Three, La Danse Russe. 
 
 P. J. DE LOUTHERBOURG. 
 
 Two, Joseph Prince de Maronettes, et sou Fils cadet, en 
 habit de guerre. 
 
 P. P. BURDETT. 
 
 1320 Eight of Statues, Busts, Historical, Landscapes, kc. 
 
 specimens of different processes in aqua-tinta. 
 
 1321 Six, Ditto, of Shells, and Sea-weeds. 
 
 These attempts to execute prints in aqua-tinta were 
 made about the same time as those of Le Prince, by 
 Mr. Burdett, an amateur artist , in Liverpool , whQ is 
 chiefly known to the public by his excellent maps of 
 Derbyshire) and Cheshire. 
 
 165 
 
 Tenth Day. 
 
 Ad- 
 
 
 /-/> 
 
 
 \ 
 
166 
 
 Eleventh 
 
 A u J?r 
 //- 
 
 J„ A 
 A /- 
 
 A? 
 
 A A 7 -. / 
 
 
 O E .3 00 is 
 
 ELEVENTH DAY’S SALE. 
 
 ' 
 
 BOOKS OF PRINTS. 
 
 ' 
 
 1322 Part of the Letter-press of the Etruria Pittrice, containing 
 
 fifty-six portraits of Italian painters, vignettes, fcc. 
 
 1323 I regali sepolcri del Duomo di Palermo, Naples, 1784. 
 
 1324 Azione Gloriose degli Uomini Illustri Fiorentini, espresse 
 
 co loro rittratti nelle Volti del 1’ imperial galleria di Tos¬ 
 cana, calf. 
 
 1325 A Set of Fourteen Historical Prints, the actions of the Me¬ 
 
 dici, fine impressions. 
 
 1326 The Gates of the Baptistery of the Church of S. Giovanni at 
 
 Florence by Lorenzo Ghiberti, etched in outline, with 
 the groups, in large sheets, half bound . 
 
 1327 Etchings from the designs of Parmigiano , by Faldoni,fne 
 
 impressions, Venice y 1780, ditto. 
 
 1328 Racolta di Cento pensieri diversi de Antonio Domenico 
 
 Gabbiani, engraved by Cipriani, Bartolozzi and o- 
 thers, Florence , 1762. 
 
 1329 I Palazzi di Roma, by Giacomo de y Rossi, calf. 
 
 1330 Varie Pitture a Fresco de’ principali Maestri Veneziani, 
 
 Venezia, 1760, half bound. 
 
 1331 Patch’s Imitations of the pictures of Giotto, in twelve plates, 
 
 of Masaccio twenty-six, of Fra. Bartolommeo twenty- 
 four, half bound, Russia. 
 
 1332 Sgrilli (Bein San) descrizion e studie del anti qua Fabbrica 
 
 di S. Maria del Fiore* Fo* Fer. 1733. plates . 
 
BOOKS OF PRINTS. 
 
 1333 The Regular Architect, translated from the original of 
 
 Giacomo Barozza de Vignola , by John Leeke, 
 London fol. 1669. 
 
 1334 Esequie d’ Arrigo IV. Christianissimo Re di Francia cele¬ 
 
 brate in Firenze, descritte da Giulio Giraldi, fol. Fir. 
 1610. with numerous plates by Luigi Rosaccio, an 
 artist not mentioned by Strutt. 
 
 1335 Esequie di Ferdinando II. Gran Duc-a di Toscana descritto 
 
 da Manfreai Macigni. Fo. Fir. 1671. with prints by 
 J. B, Fulda. 
 
 1336 Vesalius Andrea, de Humani Corporis fabrica epitome, fol. 
 
 Basil, 1542, with the plates, beautifully engraved in 
 wood, from the designs of John Calcar , scholar of 
 Titian. Mariette’s copy, whose autograph appears at 
 the third figure. 
 
 1337 The Prayer Book of Albert Darer , the portrait, and orna¬ 
 
 mented borders beautifully etched on stone, by Strixaer, 
 very curious , half bound. 
 
 1338 Gravures en Bois, des anciens maitres Allemands tir6s des 
 
 planches originales, recueillies par Jean Albert de 
 Derschau, two parts. 
 
 These impressions are printed from the original wood, 
 blocks which have been recently discovered , and exhi¬ 
 bit a history of the art of wood engraving . 
 
 1339 Gallerie du Palais du Luxemburg, a brilliant copy, 
 
 splendidly bound in red morocco, enriched with the 
 royal arms of France. 
 
 1340 Bentley’s Designs for Gray’s Poems, fine impression , pub¬ 
 
 lished by Dodsley, 1753. half bound calf. 
 
 1341 One hundred and nineteen Etchings, from the designs of 
 
 different masters, by Giuseppe Canale , half bound 
 Russia * 
 
 1342 Flaxman’s Designs for the Odyssey of Homer, outline, boards . 
 
 167 
 
 v 7 1 
 
 Eleventh 
 Day. y 
 
 At. 6 
 /.4\_ 
 
 Af— 
 
 & ■ ■ - i 
 
 J.. 6 — 
 
 l V 
 
 $<■/(>- 
 
 V' % 
 
 * 
 
 At. /e - 
 
 \ 
 
 /2 __ 
 A 6 — 
 
168 
 
 BOOKS OF PRINTS. 
 
 Eleventh 
 
 , 1343 
 
 ?,.//- 1344 
 1345 
 
 32 .//- 1346 
 
 <F&/2- 1347 
 
 25 a //. 
 
 \ 
 
 sJe. 
 
 1348 
 
 1349 
 
 1350 
 
 1351 
 
 ■ v. 
 
 & // 
 
 The Italian School of Design, by Wm. Young Otley, Esq . 
 forty-three imitations of drawings, from his collection; 
 with the letter-press. 
 
 Twenty-four fine prints in chiaro-scuro, from Italian mas¬ 
 ters, by John Skippe, Esq. fine impressions. 
 
 Chamberlaine’s imitations of Drawings by Lionardo da 
 Vinci , the Caracei , and other masters, in his Majesty’s 
 collection, eight numbers. 
 
 Holbein’s Portraits of illustrious Persons of the court of 
 Henry VIII. from the original drawings in his Ma¬ 
 jesty’s collection; a most complete and beautiful 
 copy , having the portraits of Hans Holbein, and his 
 wife, and the miniatures of Henry and Charles Bran¬ 
 don, superbly bound in brown Russia , gilt leaves . 
 
 British Gallery of Pictures, No. 1. to 13, inclusive, second 
 series, the plates beautifully coloured, an early sub¬ 
 scription copy. 
 
 British Gallery of Pictures, frst series, fine proofs, on In¬ 
 dia paper, No. 1 to 46, inclusive. 
 
 Architecture and Views of the Academy Felix Meritis at 
 Amsterdam. 
 
 Designs of Inigio Jones and others, published by S. Ware, 
 
 The true Effigies of the most Eminent Painters, and other 
 famous artists that have flourished in Europe, one hun¬ 
 dred and twenty-five plates, London, 1694, folio . 
 
 Wilson’s Sketch Book, 4to, fne impressions. 
 
169 
 
 ▼ \ \ *.*• • X v v ' • V 
 
 PORTFOLIOS . 
 
 $ • It' t v ‘ . - 
 
 1353 One, Containing about eighty leaves of strong drawing 
 
 o ' • 
 
 paper, bound in Russia , 25 by 30 inches, lettered, 
 GREEK SCHOOL. 
 
 1354 One, Ditto, Florentine school , Yol. 1, 
 
 1355 One, Ditto, ditto II. ' 
 
 1356 One, Ditto, roman school I. 
 
 1357 One, Ditto, ditto , II. ] 
 
 1358 One, Ditto, Venetian school. 
 
 1359 One, Ditto, bolognese school. __ 
 
 1360 One, Ditto, lombard school. 
 
 1361 One, Ditto, (24 by 18) stamfe di legno. 
 
 1362 One, Ditto, of seventy leaves, (25 by 17,) Engravings, 
 
 GERMAN SCHOOL. 
 
 1363 One, Ditto, ditto, flemish school. — j 
 
 1364 One, Ditto, etchings , Parmigiano, &c. I. 
 
 1365 One, Ditto, ditto, Caracci , II. 
 
 1366 One, Ditto, ditto , Salvator Rosa, III. 
 
 1367 One, Ditto, ditto, Castiglione , IV. 
 
 1368 One, Ditto, ditto, Rembrandt , Y. 
 
 1369 One, Ditto, ditto, Teniers, VI. 
 
 1370 One, Ditto, ditto, Waterloo , VII. _ 
 
 1371 One, Ditto, ditto, Callot, VIII. 
 
 1372 One, Ditto, ditto, Bcrchem, IX. ^ — _ — 
 
 1373 One, Ditto, ditto , Sachtleven. ^ — -- 
 
 Eleventh 
 
 Day. 
 
 J,//l — 
 
 /-/- 
 
 6 ,-/ 4 - 
 
 3 - / 
 <? r 
 
 A 
 
 a - 
 
 a": _ 
 
 z. f~. — 
 
 2.. Z - 
 .f~- 
 
 2 . 2 - 
 
 2 .. 
 
 2. __ 
 
 3 .. 3 ~ 
 
 3 .. 3 — 
 
170 
 
 PORT-FOLIOS. 
 
 1374 One, Ditto, (22 by 17) half-bound Russia, lettered, fle¬ 
 mish MASTERS. 
 
 //> 1375 One, Ditto, ditto. 
 
 (1376 One, (25 by 20) in calf lettered, engravings, Italian 
 Y* r"\ school, Yol. I. 
 
 11377 One, Ditto, ditto, Vol. II. 
 
 1 4978 One, Ditto, (no leaves 25 by 18,) yellow morocco leather 
 I laps. 
 
 1379 One, Ditto, ditto. 
 
 1380 One, Ditto. 
 
 1381 One, Ditto, ditto. 
 
 82 One, Ditto. 
 
 1383 One, Ditto, half bound in Russia, ditto. 
 
 /./^f-1384 One, Ditto, ditto. . , /? 
 
 BUSTS, FIGURES, Sic. 
 
 /4/13S5 A fine Bust of Apollo, heroic size. 
 
 //?__ 1386 A 
 
 ditto 
 
 of Bacchus. 
 
 /#_ 1387 A 
 
 ditto 
 
 of Germanicus. 
 
 ^/1388 A 
 
 ditto 
 
 of Juno. 
 
 /4/1389 A 
 
 ditto 
 
 of Achilles. 
 
 //- 1390 A 
 
 ditto 
 
 of Antinous. 
 
 ,£4/1391 A Pair of smaller ditto, Cicero and Demosthenes. 
 /> // £’_1392 A fine Figure of Moses, after Michelagnolo. 
 
 * /^ t _1393 A Pair of recumbent Figures. ditto. 
 
 / />„/1394 A Pair of ditto. ditto. 
 
 s- J a t ot. 
 
 Printed by Smith Galway, 
 
 Liverpool. 
 

 
 

 
 
 
 
 
 
 
 
 

 
 llflp 
 
 AwnotJ 
 )tUfi 
 1—i UJ> 2- 
 
 
 
 
 
 THE 6Hi¥ ClNTEk 
 immi