if NOY. : 1924 , Cen tg2h a | NeAnk | SALE NUMBER 1871 PUBLIC EXHIBITION FROM SUNDAY, NOVEMBER SECOND DRAWINGS BY THE OLD MASTERS FROM THE COLLECTIONS OF RICHARD EDERHEIMER NEW YORK AND THE LATE FAIRFAX MURRAY LONDON, ENGLAND TO BE SOLD BY AUCTION THURSDAY, FRIDAY EVENINGS NOVEMBER SIXTH, SEVENTH AT EIGHT-FIFTEEN O CLOCK THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Present] 489 PARK AVENUE AT FIFTY“NINTH STREET, NEW YORK 1924 Ry ivy ae iii es) /s a P . a ‘ i . 2 _—— PIERO DELLA FRANCESCA [NUMBER 232] SALE NUMBER I87I PUBLIC EXHIBITION FROM SUNDAY, NOVEMBER SECOND DRAWINGS BY iia OLD MASTERS FROM THE COLLECTIONS OF RICHARD EDERHEIMER NEW YORK AND THE LATE FAIRFAX MURRAY LONDON, ENGLAND TO BE SOLD BY AUCTION THURSDAY, FRIDAY EVENINGS NOVEMBER SIXTH, SEVENTH AT EIGHT-FIFTEEN O CLOCK THE ANDERSON GALLERIES [MITCHELL KENNERLEY, Presipent | 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1924 CONDITIONS OF SALE ALL BIDS TO BE PER LOT AS NUMBERED IN THE CATALOGUE. The highest bidder to be the buyer. In all cases of disputed bids the decision of the Auctioneer shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased shall be resold immediately. Purchases to be removed at the buyer’s expense and risk within twenty-four hours from the conclusion of the sale, and the remainder of the purchase money to be paid on or before delivery, in default of which The Anderson Galleries, Incorporated, will not be responsible for any loss or damage whatever, but the lot or lots will be left at the sole risk of the purchaser, and subject to storage charges. All lots will be placed on public exhibition before the date of sale, for examina- tion by intending purchasers, and The Anderson Galleries, Incorporated, will not be responsible for the correctness of the description, authenticity, genuine- ness, or for any defect or fault in or concerning any lot, and make no warranty whatever, but will sell each lot exactly as it is, WITHOUT RECOURSE. If accounts are not paid and purchases removed within twenty-four hours of the conclusion of the sale, or, in the case of absent buyers, when bills are rendered, any sum deposited as part payment shall be forfeited, and The Anderson Gal- leries, Incorporated, reserve the right to resell the lot or lots by either private or public sale, without further notice, and if any deficiency arises from such resale it shall be made good by the defaulter, together with all expenses in- curred. This condition shall be without prejudice to the right of this Com- pany to enforce the sale contract and collect the amount due without such resale, at its own option. The Anderson Galleries, Incorporated, will afford every facility for the employ- ment of carricrs and packers by the purchasers, but will not be responsible for any damage arising from the acts of such carriers and packers. The Anderson Galleries make no charge for executing orders for their cus- tomers and use all bids competitively, buying at the lowest price permitted by other bids. A Priced Copy of this Catalogue may be obtained for One Dollar THE ANDERSON GALLERIES, INC. PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE PLAZA 9356 . SALES CONDUCTED BY MR. FREDERICK A. CHAPMAN AND MR. A. N. BADE Mr. Epernemerr has been abroad for the last year and a half, and for twelve months had a studio in Florence. Until six years ago he was an active dealer in prints and drawings by Old Masters. When he took up portrait painting, he retired gradually from his former activities. But like every lover of drawings, he naturally let no oppor- tunity escape to acquire whatever seemed specially attractive to him, and after selling the greater part of his collection in 1919 he quickly gathered a new one. Forty of the pieces here presented were obtained by him during his leisure hours abroad. The rest are a part of his collection formed between 1919 and 1923. Only the best and most interesting specimens have been chosen from his much larger holdings. While refraining from offering his discoveries at private sale, as he used to do as a dealer, he naturally wishes to make some practical use of his knowledge and experience, so that he may be enabled to paint without compromise and without the handicap of too great an economic strain. He hopes that this sale will make it possible for him to con- tinue the work that he has taken up, without undue distractions for at any rate a short span of time. The second evening of the sale will be devoted entirely to drawings previously in the collection of the late Mr. Fairfax Murray. It is a well-known fact that Mr. Murray once sold his famous collection of original drawings to the late Mr. Pierpont Morgan, and they now form an important feature of the splendid Morgan Library. After disposing of his great collection, Mr. Murray continued until his death to gather the drawings that seemed significant to him. One day Mr. Ederheimer purchased ten very important drawings from the Florentine dealer, Bruscoli. Only after he had acquired these pieces did he learn that they had been consigned to the dealer by one of the sons of the late Mr. Murray, and originally formed a part of the collection which that gentleman bequeathed to his sons when he died. They were selected from a group of thirty fine drawings then offered. Shortly afterwards, the holdings of another son were offered to Mr. Kderheimer. Chey formed a collection of 825 drawings of various ranks and importance. Real lovers of drawings do not confine their interest to established things and great names. This collection contained a large number of so-called Italian Baroque drawings ; drawings of the late 16th and 17th centuries which attract the keen attention of the cognoscenti in Europe, though until now they have only slightly interested the collectors of America. Not being an exten- sive capitalist, Mr. Ederheimer had to refrain from acquiring this unusual collection, until a New York gentleman became sufficiently interested to enable him to make the purchase. But only 150 of the best drawings from the collection were selected. None of these have ever been shown in America. They were consigned to The Anderson Galleries from Europe, and are offered here to give all collectors an equal opportunity. It is unnecessary to dwell at any length upon the merits of the gathering that is about to be dispersed. ‘The descriptive part of the catalogue and the drawings will speak for themselves. But we feel that no collection of drawings of such importance ‘has been offered by auction in this country. The two sections of the catalogue have one thing in common: the late Mr. Murray was a pure lover of drawings, as Mr. Ederheimer is. The latter has gathered his treasures mainly from the standpoint of the artist, being always guided by the artistic value of the work rather than by the attribution or the name. Mr. Murray, spending the later years of his life in Italy, concentrated especially upon the Italian Schools, and his collection shows, besides almost unique trea- sures, a large number of fine drawings by Italian Masters of the 16th and 17th centuries,—specimens rarely encountered here before. Of the great features of the sale we may mention in the first place the extraordinary drawing by Piero della Francesca, considered to be the only known drawing by that Master, who is now regarded as one of the greatest painters of all times. ‘The Raphael drawing is no less important. Worthy of special notice are the group of Caracci drawings, the Baroccis, the Tiepolos, father and son, the Luini and many others. Of the Dutch and French drawings those by Claude Lorrain and by Willem Van de Velde are of exceptional interest. Mr. Ederheimer’s gathering is more varied in character: he has always focussed his attention more upon the northern schools. The primitive schools contain some quite extraordinary features. We mention only the Master of the Amsterdam Cabinet, the Master of the Playing Cards, and the wonderful Early Lombard School drawing. As to the Rembrandt group, we refer to Mr. Ederheimer’s interesting notes in the catalogue. The Rubens and Tiepolo drawings were ac- quired upon the advice of the greatest authority in the field. The Boucher group seems especially significant. The pair of Cupid subjects shows Boucher at his very best: they are quick decorations, jotted down by the Master in his brilliant dash. School drawings of carefully executed 18th century nudes command a better market, but nothing comes nearer to the fire of artistic creation of a Master than these pure drawings. The descriptive part of the catalogue was written by Mr. Eder- heimer. He offers no new attributions unless supported by high authority, but rather retains the old ones or refers the work simply to a school. If he does not agree fully with the old attribution he says so frankly, giving the reasons which have led to his decision. ‘The catalogue has been compiled with more than ordinary care, and should prove a conservative and trustworthy, as well as an interesting, guide to the collection. ORDER OF SALE THURSDAY EVENING, NOVEMBER SIXTH EARLY NETHERLANDS, GERMAN AND SWISS SCHOOLS © 1- 12 FLEMISH AND DUTCH SCHOOLS 13- 59 ITALIAN SCHOOLS 60- 98 FRENCH SCHOOL, 16TH-18TH CENTURY 99-128 ENGLISH AND AMERICAN SCHOOLS 129-147 19TH CENTURY DRAWINGS 148-162 FRIDAY EVENING, NOVEMBER SEVENTH DUTCH, FRENCH AND OTHER SCHOOLS 163-210 ITALIAN SCHOOLS, 15TH AND 16TH CENTURIES 211-266 ITALIAN SCHOOLS, 17TH CENTURY 267-308 ITALIAN DRAWINGS, 18TH CENTURY 309-322 PORTFOLIOS 323 SALE THURSDAY EVENING, NOVEMBER DEX Eds jd 8:15 FIRST SESSION NUMBERS 1-162 EARLY NETHERLANDS, GERMAN AND SWISS SCHOOLS NUMBERS 1-12 CORNELIS ENGELBRECHTSEN LEYDEN, 1468-1533 Pee SING FEASTING, WHILE OUTSIDE HIS PALACE . A SAINT IS BEING MARTYRED Rich circular composition in chiaroscuro. Pen and India ink with white high-lights, on gray ground. Apparently designed for a glass window. Previously attributed to Jacob van Oostzanen. One of the characteristic glass painter compositions of the period, which are often attributed to Lucas Van Leyden. Diameter, 9 inches From the Collection of Ploos Van Amstel, and. the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921. THE MASTER OF THE AMSTERDAM CABINET | ALSO CALLED MASTER OF THE HOUSE-BOOK OR HEINRICH MANG | GERMAN, MIDDLE OF THE 1LDTH CENTURY 2. ‘TWO COMPOSITIONS ON ONE SHEET Pen drawings heightened with water color, probably by a later hand. On the one side, Coronation of a Bishop, in a church, to the left of which, on the steps, numerous people are seen, some kneeling in prayer and others in vivid conversation. In the back- ground, to the left, a medieval street scene. On the reverse, a rich and puzzling composition. In the background can be seen apparently a reproduction of The Martyrdom of the Ten Thousand. Groups of prisoners are being tortured and beaten near the walls of the city. To the right, a group of martyrs on six crosses, while a seventh cross is being erected. In the middleground, a battle scene. In the foreground, a king sur- rounded by courtiers; to the right, a group of knights, standing. In the left hand lower corner, an old signature, ‘“Hupse Martin” (Handsome Martin), the name under which Martin Schongauer was known by his contemporaries. This drawing was known to the writer while still in English possession under the attribution to Schongauer. It, however, shows nothing of the minute technique of that master.. The peculiar penmanship is quite similar to the burin strokes of the Amsterdam cabinet engraver. The figure of the youth standing nearest the centre in the fore- ground is quite typical of the latter. An almost identical figure is to be seen in one of his best known engravings. Drawings of this period in such perfection of execution are extremely rare. Height, 81, inches; width, 5° inches Previously in the Collection of Van der Willigen, Amsterdam, and the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921. ATTRIBUTED TO HANS SEBALD BEHAM GERMAN SCHOOL, 1500-1550 MAN AND WOMAN, RIDING ON A SEA-HORSE A crowned eagle above. A superb German pen drawing, very close to Diirer, possibly by Hans von Kulmbach. Drawings of this school are exceedingly rare. Height, 6% inches; width, 51% inches ATTRIBUTED TO HANS BURGKMAIR GERMAN SCHOOL, 16TH CENTURY SCENE FROM THE LIFE OF EMPEROR MAXIMILIAN Rich circular composition. Chiaroscuro drawing, in pen and India ink, with white high-lights on gray paper. An important drawing from the Gigoux and Lanna Collections. It was catalogued as Burgkmair in the Lanna sale, but Dr. Friedlaender to whom I submitted this drawing doubted the attribution and drew my attention to a series of twelve similar drawings for glass paintings in the Munich collection, assigned to Joerg Breu. This same composition is in that series, but in the reverse. Diameter, 924 inches HANS BALDUNG GRIEN GERMAN SCHOOL, 1480-1545 ST. DIONYSIUS THE AREOPAGITE Full length, holding his own severed head upon a book. On the reverse, three figure studies in sanguine. Important pen draw- ing from the Dr. Waldeck and Lanna Collections. Height, 12 inches; width, 74 inches 3 ~l HANS HOFFMANN NUREMBERG, 1548-1600 DEAD PIGEON Beautiful gouache painting in the style of the famous drawings of birds by Durer. Height, 684 inches; width, 14 inches From the A. Artaria Collection. THE MASTER OF THE PLAYING CARDS GERMAN, WorkKED 1430-1440 CHRIST TIED TO A COLUMN Being scourged by two executioners, a third one kneeling in the left centre, mending his scourge. Below, design of Gothic floral ornament. Pen drawing, heightened with red and yellow. The penmanship is quite identical with the burin work of the famous early engraver. This attribution has been confirmed by Dr. Fricdlaender, of the Berlin Museum, and other authorities. Drawing of first importance and of excessive rarity. Mounted on inside of an old book cover. Height, 734, inches; width, 5 inches From the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921, CHRISTOPH MURER (MAURER) FAMOUS SWISS GLASS PAINTER, 1558-1614 ORPHEUS PLAYING TO THE ANIMALS Pen and India ink drawing from the R. Peltzer Collection, where it was attributed to Daniel Lindtmayer, 1552-1607, of the same school. This drawing, however, has been pronounced by a good authority as typical of the manner of Murer. Fine and rare specimen, Height, 64 inches; width, 84g mches A 10 ist 12 TOBIAS STIMMER SWISS-GERMAN, 1539-1592 TWO BLIND MUSICIANS Chiaroscuro drawing in pen and India ink, with white high- lights on dark gray paper. Height, 614 inches; width, 7 inches DESIGN FOR A COAT-OF-ARMS Pen, India ink and touches of water color. ec . . Ly ‘ 2 : ' ‘ as ee ; E “ * » e ‘ vi 4 A 2 ¥ © t “ «- i] 3 aa = : a E z “ x - : La r 7 2 + = Pe g 3 > ae F s art 4 e z ? = of : \ ; ¢ 4 * % <4 . t , + = \ * : 5 \ ? 4 ae = . . ' P . 1 . 4 4 bs - % ¥ . . fe f * hal Ty * 2 - ys bd . ri * te 7 . , - ge m es ; : 5 < t i 4 . j . ? + * ee oat AG iy oh / 4 : \ ck | Ses ne Cee tee ; SEE ILLUSTRA" ; ep We WI LUSTRATION - ‘ a 12 if aura - eee Mek dat * sia i , eats s =< “ae a s.@ ey * +. ih Pe [ot waawnn | LAINVUAWNAY UVZVATA AGNV VOOdUddy : 31 TEMPTATION OF CHRIST Pen drawing. An almost identical drawing, somewhat larger, from the Collection of Sir Joshua Reynolds was sold for $3000 at The Anderson Galleries about two years ago. The writer saw this drawing in the collection of a well-known Florentine connoisseur, and obtained it by exchanging one of his own drawings, in order to find out which of the two drawings 1s the authentic one. Careful comparison of this drawing with the reproduction of the other betrays a somewhat freer flow of line in this than in the one previously sold. Otherwise they tally almost line by line, with the exception that the other drawing shows the two figures on a large platform. It is inconceivable that a master like Rembrandt should copy himself line by line, even more so that a pupil should have made such a close repeti- tion in the studio. We offer the drawing here just as it is, and leave it to others to decide which of the two is the original. From the J. D. Boehm Collection, Vienna, 1794-1865, Lugt 271 and 1442. Height, 47g inches; width, 51/4 inches [SEE ILLUSTRATION | 32. JACOB TEMPTED BY POTIPHAR’S WIFE . Superb drawing in pen and India ink, rich in chiaroscuro. This drawing was discovered by the writer in a little print store at Florence, It is immaterial to him whether it was done by Rem- brandt or Jan Lievens. He thinks that Rembrandt did the pen work, and a pupil added the chiaroscuro. Height, 71% inches; width, 10 inches 14 TEMPTATION OF CHRIST REMBRANDT [NUMBER 31] 34 AART DE GELDER SCHOOL OF REMBRANDT, 1645-1727 THE GOOD SAMARITAN, MANNOAH HIS WIFE, AND THE ANGEL Spirited pen and sepia wash drawing, typical of the Rembrandt school. We know a whole series of drawings of this kind, apparently done to illustrate the Bible, and all showing the reference to the Bible text in the same handwriting. From the Heseltine-Richter sale, Amsterdam, 1918. Height, 8 inches; width, 12% inches ROELAND ROGHMAN SCHOOL OF REMBRANDT, 1597-1685 LANDSCAPE Hilly foreground with trees to the right; a Cathedral tower in the middle distance. Pen and India ink. On the reverse another landscape drawing in pen and ink. Height, 4 inches; width, 614 inches PETER PAUL RUBENS 1577-1640 THE THREE GRACES Magnificent chiaroscuro drawing in black and white chalks on bluish-gray paper. An old signature in ink in lower left corner which is possibly authentic. This drawing forms a study for the painting in the Vienna Academy. While the two heads, as well as the hands and feet, show unmistakable traces of an awkward restoration, the centre part of the drawing is of such purity and beauty of modelling that this is unquestionably an authentic work of prime importance. Acquired in Berlin upon the advice of Dr. Max J. Friedlaender. From the K. E. von Liphart Collection, Lugt 1687, and R. von Liphart, Lugt 1758. . Height, 1634 inches; width, 105% inches [SEE ILLUSTRATION | 16 THE THREE GRACES PETER PAUL RUB ENS [NUMBER 35_| ATTRIBUTED TO PETER PAUL RUBENS 1577-1640 36 ACADEMIC STUDY OF AN ATHLETE Pen drawing from the Collections of Sir Thomas Lawrence and Robert Priolo Roupell (Fagan, 451), on the mount a note (initialled by R. P. R.): “One of the selected drawings by Rubens exhibited by Messrs. Woodburn in 1835, No. 55 in the Lawrence catalogue.” The study of the figure of a man, anatomically treated. A capital drawing. The old attribution is here re- tained, not having another more definite to offer. This drawing, however, once came into the hands of the writer attributed to Michelangelo. European authorities to whom it was submitted prefer to place it in the school of Michelangelo rather than Rubens, although early academic drawings by the latter of similar penmanship are known. The writer considers the drawing earlier than Rubens, and Italian, pointing probably to Baccio Bandinelli, Michelangelo’s pupil and rival. But it is better than the Bandinelli drawings known to him. Height, 1134 inches; width, 634 inches From the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921. SCHOOL OF RUBENS 37 DRAWING IN BLACK AND RED CHALKS Two angels appearing to an assemblage of nobles and clergy. A beautiful drawing. From the R. Peltzer Collection. Height, 836 inches; width, 1214 mches ANTON TER HIMPEL DUTCH SCHOOL, 17TH CENTURY 388 LANDSCAPE With houses by a brook; in the foreground an angler. Clever charcoal and India ink drawing. Height, 74/4 inches; width, 12 inches 18 CORNELIS 'TROOST FAMOUS DUTCH ARTIST, 1697-1750 39 PORTRAIT BUST OF J. CAMPO-WEYERMAN (1677-1745) 40 41 Painter and pamphleteer, surrounded by five cupids and little satyrs. Signed: ‘Troost iv et fec.” in lower right. Clever sanguine drawing from the Pinto and Habich Collections. Engraved. Height, 7 inches; width, 58, inches JACOB VAN DER ULFT 1629-1688 ITALIAN CITY With antique buildings, statues, and many people. Beautiful sepia drawing. Height, 6 inches; width, 8 inches VALLERANT VAILLANT 1625-1677 LARGE PASTEL PORTRAIT HEAD OF A YOUNG MAN Very finely executed. Many pastel portraits by Vaillant in this identical style are known. Height, 16 inches; width, 1214 inches HENDRIK VAN AVERKAMP Apout 1585-1663 GROUP OF THREE MEN ON THE ICE To the left a dog. Pen drawing, exquisitely heightened in water color. A typical representative of the more spirited work of the artist’s best period, showing little of the mannerism ex- hibited in his later drawings. Height, 434 inches; width 384 inches From the Grahl Collection, and the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921. 19 44, 46 ABRAHAM VAN DIEPENBECK 1599-1675 PORTRAIT HEAD OF MICHAEL. OPHOVIUS, BISHOP OF BOIS LE DUC | Beautiful drawing in pen, India ink and black and red chalks. Signed A Diepenbeck in lower right. This is undoubtedly the same head as on Rubens’ portrait in The Hague. Dhiepenbeck belonged to the close followers of Rubens. Height, TV imches; width, 614 inches (a) AANEAS AND DIDO Decorative drawing in rich composition. Sanguine. Height, 614 wmches; width, 9 inches (b) MYTHOLOGICAL COMPOSITION Of the same quality as the preceding drawing. Sanguine. Height, 644 inches; width, 834 inches (c) ANOTHER SCENE FROM THE SAME SERIES Sanguine, heightened with white. (8) Height, 6 inches; width, 1114 inches BARTHOLOMEUS VAN DER HELST 1611-1670 HEAD OF A YOUNG WOMAN Exquisite little drawing in black and red crayons, on gray paper. Signed “Van der Helst” on verso. Height, 584 inches; width, 44% inches THE BROTHERS ADRIAN AND FRANZ: HALS A magnificent charcoal drawing on greenish-gray paper. This drawing came into my possession under the above title and attribution. Dr. Friedlaender of the Berlin Museum, comment- ing on the remarkable breadth and power of the design, said that it seemed more likely to him that Franz Hals, himself, was the artist. Height, 10 inches; width, 7° mches 20 47 48 ANTHONY VAN DYCK 1599-1641 APOLLO DRAWING HIS BOW Beautiful and characteristic charcoal drawing on gray paper. Height, 74% mches; width, 934 inches CHRIST CAPTURED ON THE MOUNT OF OLIVES (THE KISS OF JUDAS) Pen and charcoal. This drawing bears on the reverse in pen an old attribution to Ventura Salimbeni. It was purchased by me from Charles A. de Burlet, Berlin, who stated that the present attribution was made by Prof. Bode, who stated that the picture in which Van Dyck used this composition is known to him. A powerful and dramatic sketch. Height, 8 inches; width, 11 inches WILLEM VAN DE VELDE FAMOUS DUTCH MARINE PAINTER, 17TH CENTURY 49 A SAILING VESSEL, SEEN FROM THE FRONT 50 Brilliant pen and India ink drawing. Height, 734 mches; width, 5 imches JAN VAN HUYSUM 1682-1749 ITALIAN LANDSCAPE, WITH FIGURES Sanguine drawing, signed in lower right. Height, 614 inches; width, 1144 inches 21 51 54 55 ADRIAN VAN OSTADE 1610-1685 A WOMAN ASLEEP 3 Seated on a chair, with a little boy, also asleep, bent over her knees. Signed “A. v. Ostade” in lower right. Superb water color of miniature-like fineness. Height, 388 inches; width, 214 mches From the Hibberts and Esdaile Collections, and from the Collec- tion of a New York Gentleman, sold at The Anderson Galleries, February 1921. OLD WOMAN Combing the hair of a little boy. Companion to the preceding piece; in the same manner and from the same collections. An exquisite pair of drawings, brilliant representatives of the minute technique of the Master. Signed. Height, 33 inches; width, 214 inches SKATING PEASANT PUSHING A SLEIGH Superb pen and sepia drawing. Framed. Height, 1% inches; width, 334 inches From the Gigoux and Lanna Collections. PEASANT, SEATED, DRINKING Pen and India ink drawing in Ostade’s typical style. Height, 3% inches; width, 114 inches From the Dr. Goldstein Collection. JACOB VAN RUYSDAEL 1630-1682 BARNYARD To the right, a woman washing; to the left, four pigs. Pencil drawing, touched with India ink, in the peculiar and character- istic flow of line of the master. Height, 314 inches; width, 7 inches From the Collection of a New York Gentleman, sold at The Anderson Galleries, February 1921. 22 56 57 58 a9 HENDRICK VERSCHURING 1627-1690 TWO HORSEMEN, DRINKING BY AN INN India ink wash, with white high-hghts on blue paper. Height, 634 mches; width, 8 inches THOMAS WYCK DUTCH SCHOOL, 1616-1686 MAN WITH TWO HORSES In conversation with a couple. Brillant little India ink drawing. Height, 4144 inches; width, 334 inches JAN WYNANTS 1615-1679 TWO MEN IN LANDSCAPE A typical Wynants drawing, pen and India ink. Height, 334 inches; width, 3 inches From the Robinson and Dr. Goldstein Collections. LAMBERT ZUTMAN, CALLED SUAVIUS 1510-1567 PROCESSION OF MANY PEOPLE Supposed to be a study for the artist’s engraving: Sts. Peter and Paul healing the sick. Pencil drawing. Height, 1214 inches; width, 8 inches From the Earl of Pembroke Collection. 23 ITALIAN SCHOOLS NUMBERS 60-98 CHRISTOFANO ALLORI (SOMETIMES CALLED BRONZINO) 60 SHEET WITH STUDIES OF HANDS AND PART OF A HUMAN FIGURE Black, red and white chalks on gray paper. On the reverse a sanguine study of a hand. A beautiful drawing. Height, 1014 inches; width, 8 inches ATTRIBUTED TO PAOLO CAGLIARI, CALLED PAOLO VERONESE 61 TWO ANGELS Interesting chiaroscuro drawing in black and white chalks on green paper. Height, 8 inches; width, 12 inches ATTRIBUTED TO DOMENICO CAMPAGNOLA 1484-1556 62 WIDE MOUNTAINOUS LANDSCAPE With classical ruins and statues. Like most of the drawings with the above attribution, this drawing was also attributed to Titian. Although it has all the earmarks of Campagnola’s style, his composition and typical flow of line, I am not fully con- vinced of his authorship. In certain spots it lacks his peculiar precision of line and resembles more the style of Titian. I am inclined to believe that Agostino Caracci made this drawing. I have seen numerous drawings of his which bear strong resem- blance to the manner of Domenico Campagnola.