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ALL DETAILS OF ILLUSTRATION 
 Thaw’ AND TYPOGRAPHY 
 
 i 
 
ON PUBLIC EXHIBITION 
 
 AY THE AMERICAN ART GALLERIES 
 
 MADISON SQUARE SOUTH, NEW YORK 
 ENTRANCE, 6 EAST 23rp STREET 
 
 BEGINNING SATURDAY, MARCH 25, 1916 
 AND CONTINUING UNTIL THE TIME OF SALE 
 
 ENGRAVINGS, ETCHINGS AND WOODCUTS 
 
 BY THE OLD AND MODERN MASTERS 
 
 BEING PART Il OF THE LEVY COLLECTION 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 BY ORDER OF ELIZABETH B. LEVY ON 
 
 WEDNESDAY, MARCH 29, AND THURSDAY, MARCH 30 
 AT 8:00 O’CLOCK IN THE EVENING 
 
 AT THE AMERICAN ART GALLERIES 
 
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 Elizabeth Petrowna, Empress of Russia 
 
 GEORG FRIEDRICH SCH) 
 
 (See No. 425) 
 
CATALOGUE OF 
 
 ENGRAVINGS, ETCHINGS AND WOODCUTS 
 BY OLD AND MODERN MASTERS 
 
 tae PROPERTY OF ELIZABETH B.. LEVY 
 
 TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
 AT 8:00 O’CLOCK ON THE EVENINGS OF 
 
 WEDNESDAY, MARCH 29, AND 
 THURSDAY, MARCH 30, 1916 
 
 THE SALE TO BE CONDUCTED BY 
 MR. THOMAS E. KIRBY AND HIS ASSISTANTS, OF 
 THE AMERICAN ART ASSOCIATION, MANAGERS 
 
 NEW YORK CITY 
 
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Conditions of Sale 
 
 1. Any bid which is merely a nominal or fractional advance may be rejected by 
 the auctioneer, if, in his judgment, such bid would be likely to affect the sale in- 
 juriously. 
 
 2. The highest bidder shall be the buyer, and if any dispute arise between 
 two or more bidders, the auctioneer shall either decide the same or put up for 
 re-sale the lot so in dispute. , 
 
 3. Payment shall be made of all or such part of the purchase money as 
 may be required, and the names and addresses of the purchasers shall be given 
 immediately on the sale of every lot, in default of which the lot so purchased 
 shall be immediately put up again and re-sold. 
 
 Payment of that part of the purchase money not made at the time of sale, 
 shall be made within ten days thereafter, in default of which the undersigned may 
 either continue to hold the lots at the risk of the purchaser and take such action 
 as may be necessary for the enforcement of the sale, or may at public or private 
 sale, and without other than this notice, re-sell the lots for the benefit of such pur- 
 chaser, and the deficiency (if any) arising from sueh re-sale, shall be a charge 
 against such purchaser. ; 
 
 4. Delivery of any purchase will be made only upon payment of the total 
 amount due for all purchases at the sale. 
 
 Deliveries will be made on sales days between the hours of 9 A. M. and 1 P. M., 
 and on other days—except holidays—between the hours of 9 A. M. and 5 P. M. 
 
 Delivery of any purchase will be made only at the American Art Galleries, or 
 other place of sale, as the case may be, and only on presenting the bill of purchase. 
 
 Delivery may be made, at the discretion of the Association, of any purchase 
 during the session of the sale at which it was sold. 
 
 5. Shipping, boxing or wrapping of purchases is a business in which the 
 Association is in no wise engaged, and will not be performed by the Association 
 for purchasers. The Association will, however, afford to purchasers every facility 
 for employing at current and reasonable rates carriers and packers; doing so, how- 
 ever, without any assumption of responsibility on its part for the acts and charges 
 of the parties engaged for such service. 
 
 6. Storage of any purchase shall be at the sole risk of the purchaser. Title 
 passes upon the fall of the auctioneer’s hammer, and thereafter, while the Asso- 
 ciation will exercise due caution in caring for and delivering such purchase, it 
 will not hold itself responsible if such’ purchase be lost, stolen, damaged or 
 destroyed. 
 
 ; Storage charges will be made upon all purchases not removed within ten days 
 from the date of the sale thereof. 
 
 7. Guarantee is not made either by the owner or the Association of the cor- 
 rectness of the description, genuineness or authenticity of any lot, and no sale will 
 be set aside on account of any incorrectness, error of cataloguing, or any imper- 
 fection not noted. Every lot is on public exhibition one or more days prior to its 
 sale, after which it is sold “as is” and without recourse. 
 
 The Association exercises great care to catalogue every lot correctly, and will 
 give consideration to the opinion of any trustworthy expert to the effect that any 
 lot has been incorrectly catalogued, and, in its judgment, may either sell the 
 lot as catalogued or make mention of the opinion of such expert, who thereby 
 would become responsible for such damage as might result were his opinion with- 
 
 out proper foundation. SPECIAL NOTICE 
 
 Buying or bidding by the Association for responsible parties on orders trans- 
 mitted to it by mail, telegraph or telephone, will be faithfully attended to without 
 charge or commission. Any purchase so made will be subject to the above Condi- 
 tions of Sale, which cannot in any manner be modified. The Association, however, 
 in the event of making a purchase of a lot consisting of one or more books for a 
 purchaser who has not, through himself or his agent, been present at the exhibition 
 or sale, will permit such lot to be returned within ten days from the date of sale, 
 and the purchase money will be returned, if the lot in any material manner differs 
 from its catalogue description. 
 
 Orders for execution by the Association should be written and given with 
 such plainness as to leave no room for misunderstanding. Not only should the lot 
 number be given, but also the title, and bids should be stated to be so much 
 for the lot, and when the lot consists of one or more volumes of books or objects 
 of art, the bid per volume or piece should also be stated. If the one transmitting 
 the order is unknown to the Association, a deposit should be sent or reference 
 submitted. Shipping directions should also be given. 
 
 Priced copies of the catalogue of any sale, or any session thereof, will be 
 furnished by the Association at a reasonable charge. 
 
 AMERICAN ART ASSOCIATION, 
 American Art Galleries, 
 Madison Square South, 
 New York City. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 
 UNRESTRICTED PUBLIC SALE BY ORDER OF MRS. ELIZABETH B. LEVY 
 LARCHMONT, NEW YORK 
 
 First Session, Numbers | to 278, inclusive 
 
 WEDNESDAY EVENING, MARCH 29th AT 8.00 O’CLOCK PROMPT 
 
 ALBERTI, CHERUBINO. 1553-1615. 
 1. THE ANNUNCIATION. 1571. Engraving. Bartsch XVII. 
 
 No. 9. Very fine impression. 
 
 ALDEGREVER, HEINRICH (TRIPPENMAKER). 
 1502-after 1555. (One of the “Little Masters.’’) 
 
 2. PORTRAIT OF THE ENGRAVER BY HIMSELF. En- 
 graving by Hendrik Hondius. 
 
 8. THE HISTORY OF LOT. 1555. Engravings. Bartsch 
 VIII. Nos. 14-17. Fine set of early impressions and 
 well preserved. (4.) 
 
 4. THE UNNATURAL FATHER. 1553. Engraving. Bartsch 
 VIII. No. 73. Good old impression. From the Burleigh 
 
 James Collection. 
 
 5. THE INFANT HERCULES KILLING THE SNAKES. 
 1550. Engraving. Bartsch VIII. No. 83. The first 
 plate of the set “Labors of Hercules.” Very good old 
 impression. From the H. F. Sewall Collection and Dupli- 
 cate of the Boston Museum. 
 
First Session, Wednesday Evening, March 29th 
 
 ALDEGREVER, HEINRICH. (Continued) 
 
 6. THE VIRTUES. 1552. Engravings. Bartsch VIII. Nos. 
 117-128. An interesting but uneven set. Three are very 
 good. es, 
 
 7. THE VICES. 1552. Engravings. Bartsch VIII. Nos. 124- 
 130. A similar set to the preceding, but more even. One 
 of them very fine. Cia) 
 
 8. THE WEDDING DANCERS. 1588. Engravings. Bartsch 
 VIII. Nos. 160-171. A very fine and even set of highly 
 interesting costume plates. Complete sets are extremely 
 rare. From the “A. W.” and J. Novak Collections. 
 
 (12.) 
 
 9. PORTRAIT OF THE DUKE OF JULIERS AND CLEVES. 
 1540. Engraving. Bartsch VIII. No. 181. Second 
 state, with the additional inscription ‘“‘In imagine . . . Eo- 
 banus Hessus,” in the upper part of the stone sill. Very 
 closely trimmed and _ inlaid; a small part of the lower 
 corners replaced. ‘The few large portraits by this mas- 
 ter, are exceedingly rare and this is the most important 
 and rarest of them. 
 
 10. PORTRAIT OF ALBERT VON DER HELLE. 1588. En- 
 graving. Bartsch VIII. No. 1&6. With the misspelling 
 “DLR” instead of “DER.” Very fine impression. A 
 strip of paper 9mm wide has been replaced at the top and 
 another strip 11mm at the bottom. 
 
 ALTDORFER, ALBRECHT. About 1480-1588. (One of 
 the “Little Masters.” ) 
 
 11. SAMSON CARRYING OFF THE GATES OF THE TOWN. 
 Engraving. Bartsch VIII. No. 2. Good old impression. 
 
 12. SAMSON KILLING THE LION. Engraving. Bartsch 
 VIII. No. 26. Good old impression, slightly repaired. 
 
First Session, Wednesday Evening, March 29th 
 
 ALTDORFER, ALBRECHT. (Continued) 
 138. A CENTAUR. Engraving. Bartsch VIII. No. 37. Fine 
 
 old impression and rare. 
 
 14. MUCIUS SCAEVOLA. Engraving. Bartsch VIII. No. 40. 
 Very good old impression. From the Christian Hammer 
 Collection. 
 
 15. PYRAMUS AND THISBE. Engraving. Bartsch VIII. 
 No. 44. 
 
 16. A MAN IN ARMOR. Engraving. Bartsch VIII. No. 50. 
 
 Very fine old impression. 
 
 17. THE SMALL STANDARD BEARER. Engraving. Bartsch 
 VIII. No. 52. Fine old impression with a small weak 
 spot in the paper of the upper edge. 
 
 18. JAHEL AND SISERA. Woodcut. Bartsch VIII. No. 43. 
 
 Good and clear impression with margin. 
 
 19. THE SLAUGHTER OF THE INNOCENTS. 1511. Wood- 
 cut. Bartsch VIII. No. 46. Fine, clear impression with 
 the border-line complete. 
 
 20. THE VIRGIN HOLDING THE CHILD IN HER ARMS, 
 STANDING IN A CHURCH. Woodcut. Bartsch VIII. 
 No. 48. A beautiful impression, as fine as pen drawing. 
 A small hole in the right hand upper corner carefully re- 
 
 paired. 
 
 21. SAINT GEORGE. 1511. Woodcut. Bartsch VIII. No. 55. 
 A rare print, but not as fine an impression as those pre- 
 ceding. With margin. 
 
 AMLING, CARL GUSTAV. 1651-1701. 
 
 22. OTTO OF WITTELSBACH TAKING A FORTRESS IN 
 THE ALPS. Engraving from a tapestry by P. Candid, 
 Andresen, I. 
 
First Session, Wednesday Evening, March 29th 
 
 ANONYMOUS ENGRAVER OF THE XVI. CEN- 
 TURY. (One of the “Little Masters.” ) 
 
 23. A LANSQUENET HOLDING THE HORSE OF A STAND- 
 ARD BEARER. Engraving. Bartsch X. No. 13. Fine 
 
 old impression. 
 
 AUDOUIN, PIERRE. 1768-1822. 
 
 24. PORTRAIT OF LOUIS XVIII. Full length standing, in 
 
 ' coronation robes. 1818. Engraving after A. J. Gros. 
 
 Apell, No. 39. Second state, with the title and with the 
 dedication. Very fine and decorative. 
 
 BALDUNG, HANS (called GRUN). About 1476-1545. 
 
 25. THE SLEEPING STABLEBOY AND THE WITCH. 
 Woodcut. Passavant III. No. 76.—Bartsch VIII. No. 15 
 attributes this rare print to Hans Brosamer. Very fine 
 impression on paper .watermarked ‘‘Crowned shield with 
 three lilies and below a gothic p.” Briquet No. 1728. 
 Slight repair in upper left hand corner, and printers 
 crease. 
 
 BARTOLOZZI, FRANCESCO. 1728-18138. 
 
 26. HISTORY 1792.—POETRY. 1792. Engravings. ‘Tuer, 
 No. 61 and 97. The latter after Angelica Kauffmann. 
 Small oval plates printed in black; MERCURY and 
 CUPID. Ticket for Mr. Giardini’s concert in London. 
 Engraving after Cipriani. Not mentioned by Tuer. Fine 
 print with deckel edges and the collector’s mark, Fagan 
 343. (3.) 
 
 27. CARACTACUS, King of the Silures, delivered up to OSTO- 
 RIUS the Roman General by Cartismandua Queen of 
 the Brigantes, 1788. Stipple after W. Hamilton. Tuer, 
 No. 1200. Fine impression in black, with margin. 
 
First Session, Wednesday Evening, March 29th 
 
 BARTOLOZZI, FRANCESCO. (Continued) 
 
 28. DEPARTURE OF MARY QUEEN OF SCOTS TO 
 FRANCE, WHEN A CHILD. 1794. Stipple after R. 
 Westall. Tuer, No. 1219. Proof before letters printed 
 in brown. Very fine; with margin. 
 
 29. CUPID AND PSYCHE. 1789. Stipple after his own de- 
 sign. ‘Tuer, No. 1437. HERCULES WELCOMED BY 
 THE GODS. Stipple printed in gray. (2.) 
 
 30. CUPIDON ACHETTE TROP CHER. 1786. Stipple after 
 Jos. Thurts’ water color after the antique. ‘Tuer, No. 
 1508. Oval printed in red. Very fine impression with 
 large margin. 
 
 31. PORTRAIT OF NAPOLEON BONAPARTE. 1802. Stip- 
 ple after A. Appiani. Not mentioned by Tuer. Fine im- 
 pression in black. 
 
 32. PORTRAIT OF GEORGE F. HAENDEL. 1789. Stipple 
 from the statue in Vauxhall Gardens. For Dr. Arnold’s 
 edition of Haendel’s works. Not mentioned by Tuer. 
 
 BEATRIZET, NICOLAS. About 1515-1560. 
 
 33. DEATH OF MELEAGAR. 15483. Engraving after a de- 
 sign attributed to Giulio Romano. Robert-Dumesnil TX. 
 No. 82. First state (of 3); before “Horatius Pacificus 
 Formis” was added in the foreground to the right. Very 
 fine impression on paper watermarked “Crossbow in cir- 
 cle.’ J%mm. margin all around. 
 
 34. PORTRAIT OF HENRY II., KING OF FRANCE. 1558. 
 Engraving. Robert-Dumesnil IX. No. 40. Second state. 
 The portrait has been completely changed and the date 
 is now 1558 instead of 1556. Fine impression on paper 
 watermarked “Eagle in crowned circle.” Closely trimmed. 
 
First Session, Wednesday Evening, March 29th 
 
 BEATRIZET, NICOLAS. (Continued) 
 
 35. ROMAN SOLDIERS BATTLING AGAINST THE DACES. 
 15538. Engraving from an antique bas-relief. Robert- 
 Dumesnil IX. No. 97. Second state; the ground of the 
 hexagonal shield is shaded with dots. Fine old impres- 
 sion on paper watermarked “Agnus Dei in circle.” Very 
 small stain. : 
 
 BEAUVARLET, JACQUES FIRMIN. 1781(?)-1797. 
 
 36. LE RENDEZ-VOUS AGREABLE. Engraving after Raoulx. 
 Portalis and Beraldi I. No. 16 d. With full margin, but 
 slightly creased. 
 
 37. MORDECAI REFUSING TO BOW BEFORE HAMAN.— 
 
 | HAMAN ARRESTED. Engravings after F. de Troy. 
 Portalis and Beraldi I. No. 18. From ‘‘The History of 
 Esther.” Fine impressions; the second without margin 
 is inlaid. 2) 
 
 38. PORTRAIT OF EDME BOUCHARDON, SCULPTOR. 
 Engraving after Drouais, for the engraver’s reception by 
 the Academy in 1776. Portalis and Beraldi I. No. 28. 
 Second state, with the inscriptions. With margin; AN- 
 OTHER COPY of the same. Unfinished trial proof, 
 showing the face and hands only in thin outline. With 
 large margin. From the Robert Hoe Collection. 
 
 (2.) 
 
 39. THE DOUBLE SURPRISE. Engraving after Gerard Dow. 
 Not mentioned by Portalis and Beraldi. Fine. Closely 
 
 trimmed. 
 
 BEHAM, BARTHEL. 1502-1540. (One of the “Little Mas- 
 Lesa) 
 40. COMBAT OF EIGHTEEN NUDE MEN. Engraving. 
 
 Bartsch VIII. No. 16. Good impression of a very rare 
 plate. With the collector’s Mark Fagan 587. 
 
First Session, Wednesday Evening, March 29th 
 
 BEHAM, BARTHEL. (Continued) 
 
 Ay, 
 
 42. 
 
 44. 
 
 THE THREE SORCERESSES. Engraving. Bartsch VIII. 
 No. 42. This plate was completely worked over by his 
 brother Hans Sebald, who put his mark on it. Slightly 
 clipped. Very rare. From the R. Scholtz Collection. 
 [See No. 51] 
 
 MAN SEATED ON THE STUMP OF A TREE. Engrav- 
 ing. Bartsch VIII. No. 45. Closely trimmed, but fine. 
 
 Very rare. 
 
 . PORTRAIT OF EMPEROR CHARLES V. Engraving. 
 
 Bartsch VIII. No. 60. Good impression on paper water- 
 marked “Folly.” Closely trimmed and inlaid; a small 
 hole in the top of the hat carefully repaired. Exceedingly 
 rare. 
 
 PORTRAIT OF EMPEROR FERDINAND I. Engraving. 
 Bartsch VIII. No. 61. Good impression on paper water- 
 marked with the monogram J. and C. Closely trimmed 
 and inlaid, a small tear through the inscription carefully 
 repaired. Exceedingly rare. 
 
 . PORTRAIT OF LEONHART VON ECKH. Engraving. 
 
 Bartsch VIII. No. 64. Second state, the head is cov- 
 ered with a hat besides the calotte. Very fine impres- 
 sion, closely trimmed and with a slight printer’s crease. 
 Very rare. From the Duke of Aremberg and P. Gellatly 
 Collections. 
 
 . TEN NUDE CHILDREN PLAYING. Engraving. Un- 
 
 known to Bartsch. Passavant IV. No. 71. Very rare. 
 From the Count von Lepell Collection and Duplicate of 
 the Berlin Print Room. 
 
First Session, Wednesday Evening, March 29th 
 
 BEHAM, BARTHEL. (Continued) 
 47. VENUS AND A SATYR. Engraving. Unknown to Bartsch. 
 
 Passavant IV. No. 79b. who states that he had never seen 
 it. He refers to “Kunstblatt 1853. p. 215” where the 
 only other impression known to be in existence is men- 
 tioned as being in the-collection at Gotha. ‘Two corners ~ 
 repaired; otherwise a fine impression. Of the greatest 
 rarity. 
 
 (See Reproduction) 
 
 BEHAM, HANS SEBALD. 1500-1550. (One of the “Lit- 
 tle Masters.”’) 
 
 48. ADAM AND EVE. 15438. Engraving. Pauli No. 7. 
 (Bartsch 6). Third state (of 5); showing four sets of 
 lines in the deepest shadows of the background surround- 
 ing Eve. Very fine impression. From the Robert Hoe 
 Collection. 
 
 49. THE EXPULSION FROM PARADISE. 15438. Pauli No. 
 8. (Bartsch 7). Second state (of 3); two sets of lines 
 are shading the background between the legs of Eve. 
 Very fine impression. From the Jan Wussin Collection. 
 
 50. THE PENITENCE OF ST. CHRYSOSTOM. Engraving. 
 Pauli, No. 70. (Bartsch, 215.) Eighth state; showing 
 the rays of the sun issuing from the clouds. Very fine 
 impression, with a small margin. 
 
 51. DEATH AND THE THREE NUDE WOMEN. Engraving. 
 Pauli, No. 152. (Bartsch, 151.) Second state; before 
 the second set of vertical lines on the cheek of the woman 
 on the right. Very fine impression, with a small margin. 
 
 52. EIGHT NUDE CHILDREN. Engraving. Pauli, No. 212. 
 (Bartsch, 210.) Only one state known. Circular plate, 
 very fine impression but closely trimmed. . 
 
eR] 
 
 BARTHEL BEHAM 
 Venus and a Satyr 
 (See No. 47) 
 
 MARTIN SCHOENGAUER 
 The Dragon 
 (See No. 446) 
 
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First Session, Wednesday Evening, March 29th 
 
 BEHAM, HANS SEBALD. (Continued) 
 
 53. TWO WOMEN BATHING AND A FOOL. 1541. Engray- 
 ing. Pauli, No. 216. (Bartsch, 214.) Fourth state; 
 between the left leg of the fool and the right leg of the 
 woman, a fourth set of lines has been added. Very fine 
 impression. 
 
 54. THE GENIUS OF THE ALPHABET. 1542. Engraving. 
 Pauli, No. 288. (Bartsch, 229.) Third state; under the 
 left wing a new set of strong diagonal lines has been added, 
 
 so that there are now four sets. Very fine impression. 
 From the Robert Hoe Collection. 
 
 55. THE LITTLE FOOL. 1542. Engraving. Pauli, No. 284. 
 (Bartsch, 230.) Second state; the background has been 
 shaded with a third set of lines, a small hole carefully 
 repaired. From the Robert Hoe Collection. 
 
 56. FEMALE GENIUS WITH THE ARMS OF THE EN- 
 GRAVER. 1535. Engraving. Pauli, No. 269. (Bartsch, 
 258.) GENIUS HOLDING A SHIELD AND HEL- 
 MET. Pauli, No. 270. (Bartsch, 259.) Only one state 
 known of each. Fine impressions. Rare. (2.) 
 
 BERVIC, CHARLES CLEMENT. (Jean Guillaume). 
 1756-1822. 
 
 57. LA DEMANDE ACCEPTEE. 1784. Engraving after N. 
 C. Lepicié. Royal Folio. Apell, No. 6. Second state; 
 proof with coat of arms and only one line of inscription. 
 Fine impression of a charming composition, with 1 inch 
 margin. A small tear in the upper margin carefully re- 
 paired. Duplicate of the Munich Print Room. 
 
 58. PORTRAIT OF GABRIEL SENAC DE MEILHAN. 1783. 
 Engraving after J. S. Duplessis. Apell, No. 11. Second 
 state; with the inscriptions. Fine impression on old pa- 
 per, watermarked “Double Eagle and Crown.” Big mar- 
 
 gin. 
 
First Session, Wednesday Evening, March 29th 
 
 BINCK, JACOB. ’—About 1569. 
 58a. EVE. Engraving after H. S. Beham. Bartsch VIII. No. 2. 
 
 Fine impression. From the Robert Hoe Collection. 
 
 5838. HERCULES AND NESSUS. -Engraving. Bartsch VIII. 
 No. 49. Fine impression; closely clipped at the bottom. — 
 From the Robert Hoe Collection. 
 
 58c. DESIGN FOR A DAGGER SHEATH. Engraving. 
 Bartsch VIII. No. 88. Fine and very rare. <A small tear 
 carefully repaired. From the Robert Hoe Collection. 
 
 -BONASONE, GIULIO. About 1581-1574. (Follower of 
 
 Marcantonio. ) 
 
 59. NOAH, HIS FAMILY AND ANIMALS LEAVING THE 
 ARK. 1544. Engraving after Raphael. Bartsch XV. 
 No. 4. First state; before Lafreri’s address. Fine old 
 impression on paper watermarked ‘‘H in circle with a star 
 above it.” From the Burleigh James Collection. 
 
 60. JUDITH LEAVING THE TENT OF HOLOPHERNES, 
 Engraving after Michelangelo. Bartsch XV. No. 9. Sec- 
 ond state; with Lafreri’s address. Fine early impression, 
 the guide lines for the inscription still plainly visible. On 
 paper watermarked “Agnus Dei in circle,” small parts of 
 the lower corners replaced. 
 
 61. THE ENTOMBMENT. 1563. Engraving after Titian. 
 Bartsch XV. No. 44. First state; before Lafreri’s ad- 
 dress. Very good impression; a small part of the left 
 lower corner replaced. From the P. Mariette and P. Gel- 
 latly Collections. 
 
 62. SCIPIO WOUNDED IN BATTLE AGAINST HANNIBAL. 
 Engraving after Polidoro. Bartsch XV. No. 81. Very 
 fine early impression (the ink penetrating the paper), on 
 paper watermarked “Scale in circle with a star above it.” 
 Small margin. From the Dr. Guerard and J. Marshall 
 
 Collections. 
 
First Session, Wednesday Evening, March 29th 
 
 BONASONE, GIULIO. (Continued) 
 63. CLOELIA’S FLIGHT ACROSS THE TIBER. Engraving 
 
 64. 
 
 65. 
 
 66. 
 
 G7. 
 
 68. 
 
 after Polidoro. Bartsch XV. No. 83. First state; be- 
 
 fore Lafreri’s address. Early impression (the ink pene- 
 
 trating the paper), on paper watermarked “H in a shield.” 
 
 Small tears along the edges carefully repaired. 
 
 JUPITER FALLING IN LOVE WITH JUNO AGAIN. 
 
 1546. Engraving after his own design. Bartsch XV. 
 No. 92. Early impression, but a trifle stained. 
 
 JUPITER, NEPTUNE AND PLUTO DIVIDING THE 
 
 UNIVERSE. Engraving after Giulio Romano. Bartsch 
 XV. No. 93. Good impression, creased. 
 
 PAN, CERES AND CUPID. Engraving after Giulio Ro- 
 
 mano. Bartsch XV. No. 170. Fine old impression on 
 paper watermarked “Scale in a circle.” <A tear carefully 
 repaired. Rare. Duplicate of the Boston Museum. 
 
 SATURN AND HIS THREE SONS, JUPITER, NEP- 
 
 TUNE AND PLUTO AS YOUNG BOYS. Engraving 
 after Giulio Romano. Bartsch XV. No. 172. Very good 
 impression on paper watermarked “Lion of Flanders in an 
 oval border with a crown.” Small margin. From the 
 
 Griggs Collection. 
 
 THE BATH. Engraving after his own design. Bartsch XV. 
 
 No. 177. Very early impression on paper watermarked 
 “Anvil and Hammer in circle.” From the M. Master- 
 man Sykes Collection. 
 
 BOSSE, ABRAHAM. 1602-1676. 
 69. THE PAINTER, (on the easel a portrait of Louis XIII, 
 
 a boy holding a mezzotint engraving by Peter Schenck.) 
 
 Engraving after his own design. Andresen I. No. lla 
 on paper watermarked with a coat-of-arms. <A very in- 
 teresting costume plate. 
 
First Session, Wednesday Evening, March 29th 
 a eee 
 
 BROSAMER, HANS. About 1506-1552. (One of the “Lit- 
 tle Masters.”’) 
 
 70. JUDGMENT OF PARIS. Circular engraving. Bartsch 
 VIII. No. 11. Beautiful impression, with large, slightly 
 tinted margin. Very rare. 
 
 71, LAOCOON. 1538. Engraving. Bartsch VIII. No. 15. With 
 
 margin. Rare. 
 
 CALLOT, JACQUES. 1592-1635. 
 72. PORTRAIT OF THE ENGRAVER. Etching finished with 
 
 the burin by Lucas Vorsterman after A. van Dyck. Dutuit 
 IV. No. 83. Second state; before the additional line of 
 inscription “Calcographus . . . Lotharingia.” Very fine 
 impression on paper watermarked “Baton of Basel in a 
 crowned shield and below the letters P. V.2 A margin of 
 5mm. all around. Very rare. From the “Z” Collection. 
 
 73. THE TEMPTATION OF ST. ANTHONY. 1635. Etch- 
 ing. Meaume, No. 139. Fourth state; with the slip of 
 the graver between the right arm and wing of the larger 
 demon. A small piece replaced in the centre of the upper 
 edge. Rare. 
 
 74. THE MIRACLE OF ST. MANSODY. Etching. Meaume, 
 No. 141. Seventh state; before the slip of the graver on 
 the face of the young man directly behind the prince. Very 
 good impression, closely trimmed. 
 
 75—THE TWENTY THREE EARLIEST CHRISTIAN MAR- 
 TYRS IN JAPAN. Etching. Meaume, No. 155. First 
 state; before “I. Siluestre ex. cum priuil Regis,”’ in the 
 left lower corner. Very fine impression on paper water- 
 marked with the big interlaced “Cs.” 
 
Furst Session, Wednesday Evening, March 29th 
 
 CALLOT, JACQUES. (Continued) 
 
 16. THE TRAGEDY OF SOLIMAN V. Meaume, No. 437. 
 Three plates of the “Big Miseries of War,’ Meaume, No. 
 567, 569 and 581. Fine impressions with margin; TWO 
 PILGRIMS. Meaume, No. 687; CAPRICCIO No. 23, 
 Meaume, No. 816. All etchings. From the Baron Scheff- 
 ler Collection (in part). (6.) 
 
 77. THE PRODIGAL SON. Etching. Meaume, No. 666. Sec- 
 ond state; with the inscriptions. Fine, early impression 
 on paper watermarked “4 with the letter B” and oppo- 
 site this a larger undecipherable watermark.” From the 
 B. Keller and Baron von Lanna Collections. 
 
 78. OLD COPIES AFTER PONT NEUF. Meaume, No. 713. 
 Second suit and 12 of the “BOSSUS” (Hunchbacks). 
 Meaume, Nos. 748, 750, 752, 754, 755, 757, 759, 760, 761, 
 762, 764, 765 in reversed position. All etchings. 
 
 (13.) 
 
 CARAGLIO, GIOVANNI JACOPO. About 1500-1570. 
 
 79. THE DESCENT OF THE HOLY GHOST. Engraving 
 after Raphael. Bartsch XV., No. 6. First state; before 
 any inscription. Fine, early impression on paper water- 
 marked “H and Star.” With margin. 
 
 CARRACCI, AGOSTINO. 1557-1602. 
 €0. HOLY FAMILY. 1597. Etching. Bartsch XVIII. No. 43. 
 
 Fine impression on paper watermarked “Lily in circle.” 
 A small part of the right upper corner replaced. Bartsch 
 says concerning the above, “Carracci engraved this plate 
 in 1597 after one of his own designs. At that time he 
 was at his best and this head of Joseph certainly proves 
 ub”? 
 
First Session, Wednesday Evening, March 29th 
 cD OE de ae a ee 
 
 CARRACCI, AGOSTINO. (Continued) 
 81. ST. JEROME IN PENITENCE. Etching. Bartsch XVIII. 
 
 No. 75. First state; the plate is unfinished and as the 
 engraver left it at his death. Very fine impression on 
 paper watermarked “Agnus Dei in circle.” From the A. 
 F. Didot, Peoli and Robert Hoe Collections; ANOTHER 
 IMPRESSION. Second state; the plate has been finished 
 under the direction of Lodovico Carracci by Fr. Bricci, a 
 pupil of Agostino’s. Bartsch says: “It is a misfortune 
 that this plate should have remained unfinished, because 
 without a doubt there is nothing more beautiful, more 
 perfect and more free than this work of the engraver.” 
 
 (2.) 
 
 CASTIGLIONE, GIOVANNI BENEDETTO.  1616- 
 
 1670. 
 
 82. THE ANIMALS BEING DRIVEN TOWARDS NOAH’S 
 
 84 
 
 85 
 
 86 
 
 ARK. Etching. Bartsch XXI. No. 1. Early impres- 
 sion, on paper watermarked with the “Monogram of 
 
 Christ.” 
 
 _ TOBIAS ORDERING THE DEAD TO BE BURIED. 
 
 Etching. Bartsch XXI. No. 5; THE RESURREC- 
 TION OF LAZARUS. Etching. Bartsch XXI. No. 6. 
 
 (2.) 
 
 . DISCOVERY OF THE BODIES OF ST. PETER AND 
 
 ST. PAUL. Etching. Bartsch XXI. No. 14; PAN’S 
 FESTIVAL. 1648. Etching. Bartsch XXI. No. 16. 
 Third state; the words “Alla Pace” are added after the 
 date. (2.) 
 
 _ THE DRUNKEN PAN AND THREE SATYRS. Etching. 
 
 Bartsch XXI. No. 18. Very fine impression. From the 
 John Tetlow Collection. 
 
 ._ DIOGENES LOOKING FOR AN HONEST MAN. Etch- 
 
 ing. Bartsch XXI. No. 21. Fine, old impression, with 
 
 margin. 
 
First Session, Wednesday Evening, March 29th 
 
 CASTIGLIONE, GIOVANNI BENEDETTO. = (Con- 
 tinued ) 
 
 87. TWO MEN AND A CHILD AMONG RUINS. Etching. 
 Reversed plate of Bartsch XXI. No. 27. This must be 
 a second plate of the same object not known to Bartsch, 
 as the signature also differs from the one described—it 
 reads: “Geo. Benedetto Castiglione fec.” From the Count 
 M. von Fries Collection. 
 
 CHODOWIECKI, DANIEL. 1726-1801. 
 
 88. PORTRAIT OF THE ENGRAVER by J. C. Frisch. En- 
 graving by B. Salomon. 1796. Engelmann, No. 1. 
 
 89. CATTLE REPOSING. Etching after Dietricy. Engel- 
 mann, No. 26. Second state; with the artists’ names. 
 Fine impression with large margin. 
 
 90. LES ADIEUX DE CALAS A SA FAMILLE, (the large 
 plate.) Etching after his own painting. Engelmann, 
 No. 48, II. Second state; the date has been changed to 
 1768. A tear in the upper and lower margin. Laid down. 
 
 91. PORTRAIT OF P. J. F. WEITSCH. Etching after John 
 Fr. Eich. Engelmann, No. 181. Only one state known. 
 Fine. Inlaid for extra illustrating; PORTRAIT OF F. 
 G. LUEDKE. 1780. Etching after the artist’s own 
 design. Engelmann, No. 379. Only one state known. 
 With collectors mark Monogram F. R.; PORTRAIT OF 
 PROFESSOR ANDREAS BOEHM, GIESSEN. Etch- 
 ing after a drawing by Christine Countess von Solms 
 Laubach. Engelmann, No. 530. Only one state known. 
 
 (3.) 
 
 92. PORTRAIT OF F. E. VON ROCHOW. Etching after his 
 own design. Engelmann, No. 191. Fourth state; with 
 the address on the letter. Fine impression with margin. 
 
First Session, Wednesday Evening, March 29th 
 
 CHODOWIECKI, DANIEL. (Continued) 
 
 93. ILLUSTRATION TO GATTERER’S “POEMS.”  Engel- 
 mann, No. 265. Only one state mentioned; ILLUS- 
 TRATIONS TO HIPPEL’S “LIVES.” Engelmann, 
 Nos. 801, 302, 308. Only one state mentioned; ILLUS- 
 TRATION FOR LICHTENBERG’S “ORBIS PIC- 
 TUS.” 1780. Engelmann, No. 342. Only one state 
 mentioned; FRONTISPIECE FOR “HISTORY OF A 
 GENIUS.” 1780. Engelmann, No. 346. Only one state 
 mentioned. All etchings. (6.) 
 
 94—DIE WERKE DER FINSTERNISS. (The Deeds of Dark- 
 ness.) <A satirical print on the infringers of copyright. 
 1781. Etching. Engelmann, No. 394. Second state; 
 with the inscriptions. Very fine impression of an inter- | 
 esting plate, with small margin. From the Dr. F. Schnit- 
 zer and Heide Collections. 
 
 95. TWELVE ILLUSTRATIONS TO “NICHT MEHR ALS 6 
 
 SCHUSSELN.” (Not more than 6 plates.) 1781. 
 Etchings after his own designs. Engelmann, No. 395. 
 Third state; with all inscriptions. Complete set, in fine 
 condition. (12.) 
 
 96. ILLUSTRATION FOR LICHTENBERG’S “ORBIS PIC- 
 TUS.” Engelmann, No. 401. Only one state mentioned ; 
 ILLUSTRATION FOR COVENTRY’S “LITTLE 
 CAESAR.” Engelmann, No. 429. Only one state men- 
 tioned; ILLUSTRATIONS FOR “SIEGFRIED VON 
 LINDENBERG.” Engelmann, No. 480, III and IX; 
 1788, the plates by G. Bottger; FRONTISPIECE FOR 
 J. J. ROUSSEAU’S “HELOISE.” Engelmann, No. 535. 
 Only one state mentioned; ILLUSTRATIONS FOR 
 WIELAND’S “IDRIS.” Engelmann, Nos. 607 (1780) 
 and 608 (1789). Only one state mentioned. All etch- 
 ings after his own designs. Ci) 
 
First Session, Wednesday Evening, March 29th 
 
 CHODOWIECKI, DANIEL. (Continued) 
 
 97. THREE ILLUSTRATIONS TO KLEIN’S “LIVES OF 
 GREAT GERMANS.” ARMINIUS. 1782. Engel- 
 mann, No. 436. The second plate. Third state; the date 
 after the name of the artist has been removed; LOUIS 
 THE PIOUS. 1784. Engelmann, No. 500. Third state; 
 with all inscriptions, but before the date was removed. 
 This state is not mentioned by Engelmann; TUSNELDA 
 A PRISONER OF WAR. Engelmann, No. 534. Third 
 state; with all inscriptions. All etchings after his own 
 designs. Fine impressions with large margins. (3.) 
 
 98. ILLUSTRATIONS FOR SPRENGEL’S “NORTH AMER- 
 ICAN REVOLUTION.” 1784. Engelmann, No. 492, 
 muti Os 1, 2, 4, 6,7, 8,9, 10,12... After the etcher’s 
 own designs. ‘The copies by D. Berger. All etchings. 
 
 (9.) 
 
 93. LEOPOLD DUKE OF BRUNSWICK GOING TO HIS 
 DEATH in the flood of the Oder, trying to rescue some 
 of his subjects. Etching after his own design. Engel- 
 mann, No. 540. Third state; with the underscoring of 
 seven and one half words of the title and with the man 
 swimming in the flood. Fine impression with margin. 
 
 Rare. 
 
 100. TWELVE HUMAN CHARACTERISTICS. Etchings after 
 his own designs. Engelmann, No. 609. Second state; 
 with the inscriptions. Very fine impressions on one sheet 
 with deckel edges. Uncut sheets are very rare and much 
 in demand. 
 
 101. TWELVE ILLUSTRATIONS OF MODERN HISTORY 
 FOR THE “GOTHAISCHER HOF KALENDER.” 
 1790. Etchings. Engelmann, No. 614. Second states; 
 with the inscriptions. A good even set. (12.) 
 
First Session, Wednesday Evening, March 29th 
 
 CHODOWIECKI, DANIEL. (Continued) 
 
 102. FOUR ILLUSTRATIONS TO THE HISTORY OF BRAN- 
 DENBURG FOR THE “HISTORISCH GENEALO- 
 GISCHER CALENDER.” 1791. Etchings after his 
 own designs. .Engelmann, No. 638. Only one state men- 
 tioned. Fine impressions of the same sheet, which has 
 been cut in two. (2.) 
 
 103. TWELVE ILLUSTRATIONS TO THE “FABLES” by 
 Gellert, Gleim, Hagedorn and Lichtwer for the pocket- 
 calendar of 1795. Etchings after his own designs. 1792. 
 Engelmann, No. 680. Only one state mentioned. Very 
 fine impressions on three sheets. Uncut sheets are very 
 rare and in much demand. From the Dr. F. Schnitzer 
 
 and Heide Collections. (3.) 
 
 104. ILLUSTRATIONS FOR “DEUTSCHE MONATS- 
 SCHRIFT.” 1798. TEZEL WAYLAID. Engelmann, 
 No. 908. Second state; with inscription; ELECTOR JO- 
 HANN SIGISMUND OF BRANDENBURG QUAR- 
 RELLING WITH THE DUKE OF NEUBURG. En- 
 gelmann, No. 904a. Unfinished trial proof of the rejected 
 plate; THE SAME. No. 904b. The second plate. Sec- 
 ond state; without the sketches in the margin. Fine im- 
 pression with margins. All etchings after his own designs. 
 
 (3.) 
 
 105. ILLUSTRATIONS FOR “BECKER’S TASCHENBUCH.” 
 Engelmann, Nos. 763, 764, 765, 766. Second states, 
 without the sketches; HEITERE ABSCHIEDS-STUN- 
 DE. Engelmann, No. 792. Second state; with the in- 
 scription; ILLUSTRATION FOR “BECKER’S AL- 
 PENREISE.” Engelmann, No. 695. Second state; with 
 the inscription; ILLUSTRATIONS FOR LANG’S 
 “TASCHENBUCH.” 1799. Engelmann, Nos. 899, 
 900. Second states; with the inscriptions; ILLUSTRA- 
 TION TO A LAFONTAINE’S HERRMANN LANGE 
 IN “TASCHENBUCH VON LANG.” 1800.  Engel- 
 mann, No. 909. Second state; with the inscriptions; IL- 
 LUSTRATIONS FOR BECKER’S TASCHENBUCH. 
 1801. Engelmann, Nos. 923, 926. Second states; with 
 the inscriptions. All etchings after his own designs. 
 
 (12.) 
 
First Session, Wednesday Evening, March 29th 
 
 CLAESZ, ALLART. (Dutch “Little Master.) About 
 1520-1555. 
 
 1054. A SOLDIER STRICKEN BY DEATH, TRYING TO 
 WARD OFF THE BLOW. Engraving. Bartsch IX. 
 No. 39. Rare. 
 
 COLLAERT, ADRIAEN. About 1520-1570. 
 106. AMERICAE RETECTIO. Engravings after Jan van der 
 
 Straet. A very even set on paper watermarked “Eagle 
 with a bugle on the shield.” Small margin. (4.) 
 
 CORT, CORNELIS. About 1530-1578. 
 
 107. MOSES AND AARON BEFORE PHARAOH. 1567. En- 
 graving after T. Zuccaro. Andresen I. No. 1. Third 
 state (of 5) before “Joannis Orlandi formis 1602,” was 
 
 added. 
 
 108. THE ANNUNCIATION. 1577. Engraving after Titian. 
 Le Blanc II. No. 26. 
 
 109. TRUTH INSPIRING THE PAINTER TO PAINT MIN- 
 ERVA, MERCURY AND THE GRACES presenting to 
 an assemblage of the Gods, the Goddess of Painting and 
 the 9 Muses, who have come to protest against the unjust 
 triumph which Fortune gave Vice over Virtue. Engrav- 
 ing on two plates. Le Blanc II. No. 154. Early state, be- 
 fore any inscription and before the white spaces in the 
 lower part were filled. Fine impression and extremely 
 rare. (2.) 
 
 CRANACH, LUCAS. 1472-1553. 
 
 110. THE MARTYRDOM OF THE TWELVE APOSTLES. 
 1548. Woodcuts. Bartsch VII. Nos. 37, 38, 45, 46, 47. 
 Fine old impressions. Rare. (5.) 
 
First Session, Wednesday Evening, March 29th 
 
 CRANACH, LUCAS. (Continued) 
 
 111. SAINT GEORGE ON HORSEBACK, KILLING THE 
 DRAGON. Woodcut. Bartsch VII. No. 64. Very fine 
 
 impression with the full border line. Very rare. 
 
 112. THE GREAT TOURNAMENT. 1506. Woodcut. Bartsch - 
 VII. No. 124. Good impression with the border line com- 
 plete. Two small tears in the margin skilfully repaired 
 and a small piece inserted in the upper edge. Very rare. 
 
 DAULLE, JEAN. 1707(1703?)-1763. 
 118. PORTRAIT of BARON; celebrated Comedian. 1732. En- 
 graved after de Troy. Portalis and Beraldi I. No. 42. 
 Second state; with the inscription. Fine impression with 
 large margin. 
 
 114. PORTRAIT of J. B. COIGNARD, Printer to the King and 
 for the Academy. Engraving after Voireau. Portalis 
 and Beraldi I. No. 58. Second state; with the addition 
 “de PAcademy Imperiale d’Augsbourg.” Fine impression 
 
 with margin. 
 
 115. PORTRAIT OF CATHERINE MIGNARD. 1785. En- 
 graving after Pierre Mignard. Portalis and Beraldi I. 
 No. 57. Very fine impression. 
 
 116. PORTRAIT OF JEAN. MARIETTE. Engraver, Dealer in 
 books, and Collector. 1747. Engraving after A. Pesne. 
 Portalis and Beraldi I. No. 84. Second state; with the 
 inscription. Fine impression with one-half inch margin. 
 
 117. PORTRAIT of MADEMOISELLE PELISSIER. Engravy- 
 ing after H. Drouais. Portalis and Beraldi I. No. 96. 
 Third state; with Basan’s address: Fine impression. 
 
 118. PORTRAIT of CLAUDE DE SAINT-SIMON. Bishop of 
 Metz. 1744. Engraving after H. Rigaud. Portalis and 
 Beraldi I. No. 106. Second state; with the inscriptions. 
 Fine impression with a small margin. 
 
First Session, Wednesday Evening, March 29th 
 
 DE BRY, JOHANN THEODORE. 1561-1623. 
 119. THE WEDDING OF REBECCA AND ELIEZAR. En- 
 
 120. 
 
 121. 
 
 123. 
 
 124. 
 
 126. 
 
 graving after P. Peruzzi. Andresen I. No. 1. A very 
 fine impression. 
 
 TRIUMPH OF CHRIST. Engraving after Titian. Andre- 
 
 sen I. No. 2. A very fine impression. 
 
 TRIUMPH OF BACCHUS. Engraving after Giulio Roma- 
 no. Andresen I. No. 4. The same quality; left upper 
 corner carefully repaired. 
 
 2. THE GOLDEN AGE. Circular engraving after A. Bloem- 
 
 aert. Andresen I. No. 6. First state before the ad- 
 dress of Wolf or Probst. Very fine impression with 
 margin. 
 
 THE VENETIAN BALL OR ANTENOR’S WEDDING. 
 Circular engraving after Bernard and H. Goltzius. An- 
 dresen I. No. 11. Fine impression. Two worm holes near 
 the edges carefully repaired. 
 
 MARCHING LANSQUENETS, also called TRIUMPH OF 
 DEATH. Engraving. Andresen I. No. 12. Fine im- 
 
 pression. 
 
 . MARCHING LANSQUENETS WITH A STANDARD 
 
 BEARER IN THE CENTRE. Engraving after Jost 
 Amman. Andresen, No. 15. Fine impression. The two 
 left corners carefully repaired. 
 
 TWO GENII HOLDING AN EMPTY CARTOUCHE. = En- 
 graving after Q. M. S. an unknown artist, perhaps a gold- 
 smith. Nagler IV. No. 3463; A MERMAID. Engrav- 
 ing apparently after the same. Not mentioned by any 
 authority. Unusually rare. (2.) 
 
First Session, Wednesday Evening, March 29th 
 
 DE BRY, THEODORE. 1528-1598. 
 
 127. ORGUEILLE ET FOLLIE. Allegorical design. Circular 
 engraving. Andresen I. No. 2. 
 
 128. DE HOPMAN VAN NARHEYT. Portrait of the Duke o1 - 
 Alba, with a satirical border. Circular engraving. An- 
 dresen I. No. 2a. Wrongly described as being the same 
 plate as the one preceding. Fine impression with large 
 margin. 
 
 DELLA BELLA, STEPHANUS. 1610-1664. 
 
 129. RUINS OF THE TEMPLE OF ANTONINUS PIUS WITH 
 THE FORUM. 1656. Etching. A very interesting 
 
 plate in good condition. 
 
 130. STAGHUNT. Etching. Le Blanc I. No. 155; PARK 
 SCENE. Etching. Both fine impressions and with large 
 margins. (2:) 
 
 DE GHEYN, JACOB. 1565-after 1615. 
 
 181. OFFICERS AND SOLDIERS ON FOOT. 1587. Engray- 
 ings after drawings by H. Goltzius. Dutuit IV. Nos. 
 2-12. A very interesting set, in fine condition, only 
 lacking No. 1. (11.) 
 
 DESNOYERS, AUGUSTE GASPARD LOUIS 
 BOUCHER. 1779-1857. 
 
 132. PORTRAIT OF NAPOLEON IN HIS CORONATION 
 ROBES. Full length standing. Engraving after F. 
 Gerard. Apell, No. 40. Fourth state; with the in- 
 scriptions. Fine impression of this superb plate, with full 
 margin. 
 
First Session, Wednesday Evening, March 29th 
 
 DIETRICY (DIETRICH), CHRISTIAN WILHELM 
 ERNST. 1712-1774. 
 
 133. PORTRAIT OF THE ENGRAVER by himself. Engraved 
 by J. Schmutzer. Apell, No. 21. Second state; before 
 the address. Fine impression with large margin. 
 
 1384. THE ADORATIOIN OF THE SHEPHERDS. = 1756. 
 Painter-etching. A very early impression, of unusual 
 richness. With 15 mm. margin. Inlaid for extra illus- 
 trating. 
 
 135. THE SATYR IN THE PEASANT’S HOME, also called 
 the great LENTILEATER. 1739. Painter-etching. 
 Linck, No. 40. ‘Third state. 
 
 136. THE KNIFEGRINDER in van Ostade’s manner. 1741. 
 Painter-etching. Linck, No. 75. Fourth state; before 
 the number “68” was burnished out. Fine impression 
 with margin. From the Griggs Collection. 
 
 187. LANDSCAPE WITH TWO COTTAGES AND A HAY- 
 BARN. Painter-etching. First state before the numeral 
 “80”; with burr. Very rare; LANDSCAPE WITH A 
 HUNTER ON HORSEBACK NEAR A BIG ROCK. 
 Painter-etching. First state; before the artist’s name. 
 Very rare. From the F. Gawet and Griggs Collections. 
 
 (2.) 
 
 DREVET, CLAUDE. 1710-1782 (72 or 68%). 
 
 138. PORTRAIT OF HENRI OSWALD, CARDINAL. 1749. 
 Engraving after H. Rigaud. Didot, No. 12. The only 
 state known. Very fine impression, perfectly intact, with 
 large margin. 
 
 189. PORTRAIT OF COUNT PHIILIP LOUIS ZINZENDORF. 
 1730. Engraving after H. Rigaud. Didot, No. 15. 
 Third state; with the inscriptions. Fine impression with 
 small margin. 
 
First Session, Wednesday Evening, March 29th 
 
 DREVET, PIERRE (the father). 1663-1788. 
 140. PORTRAIT OF RENE FRANCOIS DE BEAUVEAU, 
 
 141. 
 
 143. 
 
 144. 
 
 145. 
 
 Archbishop. 1727. Engraving after H. Rigaud. Didot, 
 No. 17. «The only state known. Fine impression on 
 paper watermarked “Monogram of Christ and three nails _ 
 on a heart, in oval.” Small margin. 
 
 PORTRAIT OF JEAN PAUL BIGNON, Abbé of Saint 
 Quentin and Librarian to the King. 1707. Engraving 
 after H. Rigaud. Didot, No. 22. Second state; before 
 “Gabriel Josephus etc.” was changed to “F. Stephanus 
 Guillemin etc”. Fine impression with a very small mar- 
 
 gin. 
 
 . PORTRAIT OF NICOLAS BOILEAU-DESPREAUX, 
 
 celebrated poet. 1704. Engraving after De Piles. 
 Didot, No. 23. The only state. Fine early impression 
 with a small margin. 
 
 PORTRAIT OF THE SAME. Engraving after F. de Troy. 
 Didot, No. 25. First state, before an “e” was added 
 to the name of the painter. Fine but very small mar- 
 
 gin. 
 
 PORTRAIT OF ANDRE FELIBIEN, General Supervisor 
 of Bridges and Highways. Engraving after C. Le Brun. 
 Didot, No. 46. The only state known. Fine impression 
 
 ‘with margin. 
 
 PORTRAIT OF ORONE FINE DE BRIANVILLE, Abbé 
 of Pontigny. Engraving after H. Rigaud. Didot, No. 
 47. Second state; with the lines indicating stones in the 
 background outside of the oval. Fine old impression on 
 paper watermarked with “Double eagle”. 
 
First Session, Wednesday Evening, March 29th 
 
 DREVET, PIERRE (the father). (Continued) 
 
 146. PORTRAIT OF MARIA SERRE (Mme. Rigaud); Mother 
 of the painter. Engraving after H. Rigaud. Didot, 
 No. 110. Second state; the name of the painter has 
 been removed from the stone base. Fine old impression 
 on paper watermarked “P. a heart, C” between two lines 
 rounded off at the ends. Very small margin. 
 
 147. PORTRAIT OF HYACINTHE RIGAUD, the celebrated 
 Portrait Painter. Engraving after H. Rigaud. Didot, 
 No. 111. Second state; before the date was changed to 
 1703. A small tear in the right upper corner repaired, 
 otherwise good. Small margin. 
 
 DREVET, PIERRE IMBERT. 1697-1739. 
 
 148. PORTRAIT OF GUILLAUME DUBOIS, Cardinal and first 
 Minister. Engraved after H. Rigaud. Diudot, No. 15. 
 Second state; with the inscription. Very fine impression 
 on paper watermarked “Big double eagle.” Slightly 
 foxed; with margi%. 
 
 149. PORTRAIT OF CLAUDE LE BLANC, Minister of War. 
 Engraving after A. le Prieur. Didot No. 23. Second 
 state; with the inscription. Fine impression, with very 
 small margin. From the Cope Collection. 
 
 150. PORTRAIT OF FRANCOIS PAUL DE NEUFVILLE DE 
 VILLEROY, Archbishop of Lyons. Didot No. 28. The 
 
 only state known. Good impression, with very small 
 margin. 
 
 151. PORTRAIT OF DENIS DE SAINTE-MARTHE, HIS- 
 TORIAN. Engraving after Cazes. Didot, No. 30. The 
 
 only state known. Fine impression with margin. 
 
First Session, Wednesday Evening, March 29th 
 
 DUPIN, N. 1753-2 
 
 152. PORTRAIT OF A. R. J. TURGOT, Comptroller of Finances. 
 Engraving after Cochin. Portalis and Beraldi II. No. 
 17. Large margin. From the E. B. Holden Collection. 
 
 DURER, ALBRECHT. 1471-1528. 
 
 153. PORTRAIT OF THE ENGRAVER by himself. Etching 
 by W. Hollar. 1645. Parthey, No. 1390. First state; 
 before the word “‘pinxit” after “ipse Albertus.” Fine 
 but closely trimmed; The SAME PORTRAIT, but a 
 smaller copy. Etching. Heller, No. 32, repaired. From 
 the A. Artaria Collection. (2.) 7 
 
 154. THE AGONY IN THE GARDEN. 1515. Etching on 
 iron. Bartsch VII. No. 19. Very good impression; 
 the rust-spots very light. From the R. Sturgis and Griggs 
 Collections. 
 
 155. THE SUDARIUM DISPLAYED BY ONE ANGEL. 1516. 
 Etching on iron. Bartsch VIII. No. 26. Very fine im- 
 pression; the rust-spots scarcely visible. With a small 
 margin. From the W. Koller and Griggs Collections. It 
 also bears a Collector’s mark not mentioned by Fagan. 
 
 156. THE PRODIGAL SON. Engraving. Bartsch VII. No. 28. 
 A strong early impression, but creased and not clean; 
 closely trimmed. 
 
 157. THE VIRGIN CROWNED BY TWO ANGELS. 1518. 
 Engraving. Bartsch VII. No. 39. A superb impression, 
 somewhat closely clipped at the top. From the M. J. 
 Perry Collection. 
 
 (See Reproduction) 
 
 158. ST. CHRISTOPHER. Engraving. Bartsch VII. No. 52. 
 Good old impression showing the plate-mark. 
 
ae 
 
 as 
 a 
 
 Ra 
 
 oa 
 
 nee 
 
 Saeen 
 
 as 
 
 ALBRECHT DURER 
 
 Two Angels 
 No. 157) 
 
 irgin crowned by 
 
 V 
 
 (See 
 
First Session, Wednesday Evening, March 29th 
 
 DURER, ALBRECHT. (Continued) 
 
 159. 
 
 160. 
 
 161. 
 
 162. 
 
 163. 
 
 164. 
 
 165. 
 
 THE DREAM. Engraving. Bartsch VII. No. 76. Fair im- 
 pression of the middle of XVIIth century, on paper 
 watermarked “Crowned shield with fleur-de-lis,” which 
 is the same as Rembrandt used for many of his finest 
 impressions. Large margin. 
 
 THE LITTLE FORTUNE. Engraving. Bartsch VII. No. 
 78. Good impression. <A piece of white paper torn out 
 and carefully reset in the right edge. With a Collector’s 
 mark monogram “Gothic D. B.” stamped in green. 
 
 THE STANDARD-BEARER. Engraving. Bartsch VII. 
 No. 87. A very fine, strong impression. Small pieces of 
 white paper replaced in the two upper corners. Impres- 
 sions of this quality are very rare. 
 
 THE ASSEMBLY OF WARRIORS. Engraving. Bartsch 
 VII. No. 88. An unusually fine impression on paper with 
 the big bull’s head, Hausmann No. 1 as watermark. With 
 a small margin and in perfect order. Extremely rare in 
 such condition. 
 
 PEASANT AT MARKET. 1519. Engraving. Bartsch 
 VII. No. 89. Very fine, silvery impression with a small 
 margin. Rare in this quality. 
 
 THE OFFER OF LOVE. Before 1495. Engraving. 
 Bartsch VII. No. 98. One of his earliest plates. Good, 
 old impression before the plate was corroded and before 
 the retouch, but with three pieces of white paper re- 
 placed, two in the sky and one in the right-hand lower 
 corner. 
 
 THE COOK AND HIS WIFE. Engraving. Bartsch VII. 
 No. 97. Good old impression. <A very small false margin 
 all around. 
 
First Session, Wednesday Evening, March 29th 
 
 DURER, ALBRECHT. (Continued) 
 
 166. THE COAT-OF-ARMS WITH THE COCK. Engraving. 
 Bartsch VII. No. 100. Good old impression with three 
 pieces of white paper replaced, one in the right hand 
 upper corner, one towards the left upper corner, and one 
 in the left lower corner. 
 
 167. PORTRAIT OF PHILIPP MELANCTHON. 1526. En- 
 graving. Bartsch VII. No. 105. A somewhat weak im- 
 pression. Skinned on the back and laid down. 
 
 168. THE SMALL PASSION. Woodcuts. Bartsch VII. Nos. 
 23, 28, 29, 30, and 33. No. 23 with Latin text. 
 
 (5.) 
 
 169. THE EIGHT PATRON SAINTS OF AUSTRIA. Wood- 
 cut. Bartsch VII. No. 116. From the Sir Peter Lely 
 Collection. 
 
 170. HERCULES. Woodcut. Bartsch VII. No. 127. Early im- 
 pression on paper with the watermark “High crown” 
 which differs somewhat from Hausmann, Nos. 4, 21 and 
 36. The left lower corner has been replaced and the 
 print backed. 
 
 EARLOM, RICHARD. 17438-1822. 
 
 171. ALOPE. 1787. Stipple after G. Romney. Wessely, No. 
 9. With the inscription. Impression in light black; 
 large margin. 
 
 EDELINCK, GERARD. 1640-1707. 
 
 172. SAINT-LOUIS, King of France, kneeling before the Crucifix. 
 Engraving after C. LeBrun. Robert-Dumesnil VII. No. 
 28. The only state mentioned. With margin. 
 
First Session, Wednesday Evening, March 29th 
 
 EDELINCK, GERARD. (Continued) 
 
 173. 
 
 74. 
 
 175. 
 
 176. 
 
 et. 
 
 178. 
 
 SAINT CHARLES BORROMEO, kneeling before the 
 Crucifix praying for relief from the plague raging in 
 Milan. Engraving after C. LeBrun, Robert-Dumesnil 
 VII. No. 29. Third state. Good, old impression on 
 paper watermarked with a maltese cross in a round 
 wreath. Closely trimmed. 
 
 SAINT MAGDALEN, (said to be a portrait of Mme. La 
 Valhére). Engraving after C. LeBrun. Robert-Dumes- 
 nil VII. No. 82. Fifth state; with Drevet’s address “aux 
 Galleries du Louvre.” Laid down. 
 
 PORTRAIT OF JACQUES BENIGNE BOSSUET, Bishop 
 of Meaux. Engraving after H. Rigaud. Robert-Dumes- 
 nil VII. No. 156. First state; before the period after 
 “Rigault”. Very fine impression on large paper with 
 
 deckel edges. 
 
 FERDINAND, Prince bishop of Paderborn and Munster. 
 Engraving after Michelin. Robert-Dumesnil VII. No. 
 202. First state; before the coat-of-arms was taken off 
 and reengraved and the inscription changed. Very fine 
 impression with large margin. 
 
 PORTRAIT OF NICOLAS FEUILLET, Canon of Saint 
 Cloud. Engraving. Robert-Dumesnil VII. No. 204. 
 Second state; the “K” in Edelinck’s name is finished and 
 after “Sculpsit” the letters “C. P. R.” have been added. 
 Fine impression on paper watermarked “House.” With 
 margin. From the F. Gawet Collection. 
 
 PORTRAIT OF CHRISTIAN HUYGHENS, Celebrated 
 physicist and mathematician. Engraving. Robert-Dumes- 
 nil VIL. No. 225. Second state; with the name of the en- 
 graver. Very good impression on paper watermarked, 
 “P, a heart G. between two lines,” a paper which was 
 used by Morin. Small margin. From the F. Didot Col- 
 lection. 
 
First Session, Wednesday Evening, March 29th 
 
 EDELINCK, GERARD. (Continued) 
 
 179. PORTRAIT OF JEAN JACQUES KELLER, Commissioner 
 for the foundries of artillery in France. Engraving after 
 de Largilliere. Robert-Dumesnil VII. No. 229. Third 
 state, with the inscription plate. Good old impression 
 of an interesting portrait. Small margin. 
 
 180. PORTRAIT OF PIERRE MIGNARD, First painter to the 
 King and etcher. Engraving after P. Mignard. Robert- 
 Dumesnil VII. No. 274. Second state; with the inscrip- 
 tion. Early impression, the background a trifle rubbed. 
 Closely trimmed; Portrait of JOSEPH JUSTE SCAL- 
 IGER, Professor of Literature at Leyden. Engraving. 
 Robert-Dumesnil VII. No. 316. The only state men- 
 tioned. Good impression with a small margin; Portrait 
 of SAINT VINCENT DE PAUL, founder and first Gen- 
 eral Superior of the preachers of the Mission and the 
 Sisters of Charity. Engraving after Simon Francois. 
 Robert-Dumesnil VII. No. 338. The only state men- 
 tioned. Fine old impression on large paper watermarked 
 
 “Grape”. (3.) 
 
 181. PORTRAIT OF ANNE JULES, DUC DE NOAILLES, Mar- 
 shal of France. Engraving after H. Rigaud. Robert- 
 Dumesnil VII. No. 284. First state; before the verses were 
 changed to: “Ce Vainqueur....Religieux.” Fine im- 
 pression but closely trimmed. 
 
 182. PORTRAIT OF JEAN-CHARLES PARENT, Chevalier. 
 Engraving after J. Tortebat. Robert-Dumesnil VII. No. 
 287. Fourth state; the “G” before “Edelinck” has been 
 reengraved. Good old impression very closely trimmed. 
 
 183. PORTRAIT OF ISRAEL SILVESTRE, Designer to the King 
 and etcher. Engraving after C. LeBrun. Robert-Dumes- 
 nil VII. No. 819. Third state; with the view of Paris. 
 Very good impression on paper watermarked “CATI- 
 NAVD.” Closely trimmed. From the Griggs Collec- 
 
 tion. 
 
First Session, Wednesday Evening, March 29th 
 
 EDELINCK, GERARD. (Continued) 
 
 184. PORTRAIT OF ABRAHAM TENIERS, the painter. En- 
 graving after A. Teniers. Robert-Dumesnil VII. No. 326. 
 The only state mentioned. Fine old impression with a 
 small margin. Rare. 
 
 ELSTRACKE, REGINALD. About 1598-1625. 
 
 185. PORTRAIT OF RICHARD WHITTINGTON, Lord Mayor 
 of London. Engraving. Andresen I. No. 10. Second 
 state; with the cat. Good old impression closely 
 trimmed. From the Granger and W. Cole Collections. 
 
 FACIUS, G. S. About 1750-after 1814; and FACIUS, J. G. 
 About 1750-after 1802. 
 
 186. DANAE. 1780. Stipple after Titian. Andresen I. No. 11. 
 
 Proof before letters in brownish black. Small margin. 
 
 FICQUET, ETIENNE. 1719-1794. 
 187. PORTRAIT OF LODOVICO ARIOSTO. Engraving after C. 
 
 Eisen. Faucheux, No. 3. Seventh state; not mentioned 
 by F.; another portion has been added to the frame. From 
 the Holden Collection; Portrait of JEAN BATUE. 
 Engraving after J. Robert. Faucheux No. 9. Early 
 impression with Odieuvre’s address. Very good and with 
 big margin. (2.) 
 
 188. PORTRAIT OF DE CHENNEVIERES. Inspector of Hos- 
 pitals and first Commissioner of War. Engraving. Fau- 
 cheux, No. 31. Second state (of 4); with the misspelling 
 “cincere.” Fine, with margin; The Bust of M. TULLIUS 
 CICERO. Engraving from the antique after a draw- 
 ing by P. P. Rubens. Faucheux, No. 82. Only one state. 
 Fine impression on India paper with large margin; Por- 
 trait of PIERRE CORNEILLE. Engraving after C. 
 LeBrun. Faucheux, No. 34. Fourth state. (3.) 
 
First Session, Wednesday Evening, March 29th 
 pase chee 
 
 FICQUET, ETIENNE. (Continued) 
 
 189. PORTRAIT OF GASPARD DE CRAYER. Engraving after 
 C. Eisen. Faucheux, No. 36. Only one state; Portrait of 
 JOLIOT DE CREBILLON. Engraving. Faucheux, 
 No. 87. Second state; before the names of the artists; 
 Portrait of RENE DESCARTES. Engraving after G.. 
 Edelinck. Faucheux, No. 39. Fourth state; before the 
 artists’ names. From the Holden Collection (in part). 
 
 (3.) 
 
 190. PORTRAIT OF JEAN DUNZ. Engraving. Faucheux, No. 
 46. Second state; with the engraver’s name. On India 
 paper, large margin; Portrait of A. VAN DYCK. En- 
 graving after C. Eisen. Faucheux, No. 49. Third state; 
 with the text on the back. Laid down. Both from the 
 Holden Collection; Portrait of HENRY DE LORRAINE, 
 COMTE DE HARCOURT. Engraving after N. Mi- 
 gnard. Faucheux, No. 65. Second state; Odieuvre’s ad- 
 dress has been burnished out. (3.) 
 
 191. PORTRAIT OF JEAN DE LA FONTAINE. Engraving 
 after H. Rigaud. Faucheux, No. 61. Eighth state; the 
 brook is shaded, on India paper. From the Burleigh James 
 Collection; Portrait of JACQUES DE LA COUR. 
 1747. Engraving. Faucheux, No. 81. Second state; 
 with the inscription. Very large margin. From the 
 Holden Collection; Portrait of F. DE LA MOTHE LE 
 VAYER. 1775. Engraving after R. Nanteuil. Fau- 
 cheux, No. 84. Fifth state; with the artists’ names. 
 
 (3. ) 
 
 192. PORTRAIT OF FRANCOISE D’AUBIGNE, Marquise de 
 Maintenon. Engraving after P. Mignard. Faucheux, No. 
 93. Second state; with the inscription. Fine impression 
 with large margin. 
 
First Session, Wednesday Evening, March 29th 
 
 FICQUET, ETIENNE. (Continued) 
 
 198. PORTRAIT OF PIERRE MIGNARD. Engraving after H. 
 Rigaud. Faucheux, No. 99. First state; with Odieuvre’s 
 address; Portrait of M. DE MONTAIGNE. 1772. En- 
 graving after Dumoustier. Faucheux, No. 102. Third 
 state; before the artists’ names. On India paper. From 
 the Holden Collection; Portrait of ANTOINE FRAN- 
 COIS PREVOST. Engraving after G. F. Schmidt. 
 Faucheux, No. 118. Second state; Odieuvre’s address 
 burnished out, on India paper. From the Holden Col- 
 lection. (3.) 
 
 194. PORTRAIT OF SAMUEL PUFENDORFF. Engraving 
 after D. Klocker Ehrenstrahl. Faucheux, No. 120. Only 
 one state; Portrait of JEAN FRANCOIS REGNARD. 
 Engraving after H. Rigaud. Faucheux, No. 122. Third 
 state; before the artists’ names; portrait of DAVID 
 RYCKAERT. Engraving. Faucheux, No. 123. Only 
 one state; on India paper, with margin. From the Holden 
 
 and EK. C. Kennedy Collections. (3.) 
 
 195. PORTRAIT OF JEAN BAPTISTE ROUSSEAU. En- 
 graving after G. F. Schmidt. Faucheux, No. 131. Third 
 state (of 5) before the inscription; Portrait of JEAN 
 JACQUES ROUSSEAU. Engraving after De La Tour. 
 Faucheux, No. 132. Seventh state; before the artists’ 
 names. On India paper. From the Holden Collection. 
 
 (2.) 
 
 196. PORTRAIT OF GUILLAUME CLAUDE SAUGRIN. En- 
 graving. Faucheux, No. 1385. Second state with the in- 
 scription; Portrait of JONATHAN SWIFT. Engravy- 
 ing. Faucheux, No. 141. The only state. From the 
 Holden Collection. (23) 
 
 197. PORTRAIT OF W. VAILLANT. Engraving after C. Eisen. 
 Faucheux, No. 152. The only state. Laid down; Por- 
 trait of AROUET DE VOLTAIRE. 1762. Engraving 
 after DE LA TOUR. Faucheux, No. 162. Fifth state; 
 with the artists’ names. From the Holden Collection; 
 Portrait of PHILIP WOUWERMAN. Engraving af- 
 ter C. Eisen. Faucheux, No. 173. Only one state. From 
 the Holden Collection. 
 
First Session, Wednesday Evening, March 29th 
 
 FORSTER, FRANCOIS. 1790-1872. 
 
 198. L’AURORE ET CEPHALE. 1821. Engraving after P. 
 N. Guerin, Apell, No. 9. Fourth state; with the inscrip- 
 tion; LA MAITRESSE DU TITIEN. Engraving after 
 Titian. Apell, No. 18. Second state; with the inscrip- 
 tion but before the address of Artaria and Fontaine. - 
 Very fine impression. (2.) 
 
 199. PORTRAIT OF HENRI IV. OF FRANCE. Engraving after 
 Lancrenon. Apell, No. 21. With the inscription; Por- 
 trait of ALEXANDER VON HUMBOLDT. Engrav- 
 ing after Steuben. Apell, No. 22. First state; proof 
 before all letters. (2.) 
 
 200. PORTRAIT OF AUG. FRED. LOUIS VIESSE DE MAR- 
 MONT. Engraving after a drawing from Life by Man- 
 eret. Apell, No. 24. With the inscription; PORTRAIT 
 OF N. C. OUDINOT, DUC DE REGGIO. Engraving 
 after a drawing from ,Life by Robt. LeFevre. Andre- 
 sen I. No. 21. Open letter proof on India paper. 
 
 (2.) 
 
 201. RAPHAEL SANZIO A L’AGE DE 15 ANS. 1848. En- 
 graving after Raphael. Apell, No. 25. Third state; with 
 the inscription; RAPHAEL SANZIO. 1836. Engrav- 
 ing after Raphael. Apell, No. 26. Third state; with 
 the inscription. (2.) 
 
 GAILLARD, ROBERT. 1722-1785. 
 
 202. JUPITER ET CALISTO. Engraving after Fr. Boucher. 
 Portalis and Beraldi II. No. 1b; with the inscription. 
 
 GELLEK, CLAUDE. (Lorrain.) 1600-1682. 
 
 203. THE FLIGHT INTO EGYPT. Painter-etching. Robert- 
 Dumesnil XI. No. 1. First state; the border line is light 
 and incomplete. Very fine impression. From the Griggs 
 Collection. 
 
First Session, Wednesday Evening, March 29th 
 
 GELLEE, CLAUDE. (Continued) 
 
 204. THE APPARITION.  Painter-etching. Robert-Dumesnil 
 XI. No. 2. Third state. The horizontal border line of 
 the top touches the vertical line in the corner. From the 
 Burleigh James and Griggs Collections. 
 
 205. THE DRAUGHTSMAN. Painter-etching. Robert-Dumes- 
 nil XI. No. 9. Third state; the corners of the plate are 
 rounded off. From the Griggs Collection. 
 
 206. THE SEAPORT WITH THE BIG TOWER. Painter- 
 etching. Robert-Dumesnil XI. No. 18. Second state; 
 with the number “9” in the left margin, but with the 
 corners still pointed. From the Nahl Collection. 
 
 207. THE WOODEN BRIDGE.  Painter-etching. _Robert- 
 Dumesnil XI. No. 14. Second state; before the inscrip- 
 tion in the lower margin. 
 
 208. APOLLO AND THE SEASONS. Painter-etching. Robert- 
 Dumesnil XI. No. 20. Third state; the border line has 
 been strengthened. 
 
 209. THE FOUR GOATS. Painter-etching. Robert-Dumesnil 
 XI. No. 27. Second state; the margin has been cleaned. 
 
 Very fine. 
 
 GHISI, GIORGIO. 1520-1582. 
 
 210. HERCULES REPOSING IN A LANDSCAPE. 1567. En- 
 graving after his own design. Bartsch XV. No. 56. Laid 
 
 down on account of tears. 
 
 211. A CEMETERY. Skeletons leaving the tombs taking on new 
 bodies for appearance at the Last Judgment. 1554. En- 
 graving after J. B. Britano. Bartsch XV. No. 69. Very 
 fine impression. A tear on the left side carefully repaired. 
 From the Julian Marshall Collection. 
 
First Session, Wednesday Evening, March 29th 
 
 GOLTZIUS, HENDRIK. 1558-1616. 
 
 212. 
 
 215. 
 
 216. 
 
 THE SIX MASTER PIECES BY GOLTZIUS; dedicated 
 to William V. Duke of Bavaria. LEngravings after his 
 own drawings in the manner of Raphael, Parmeggiano, 
 Bassano, Diirer, Van Leyden and Baroccio. Dutuit IV. 
 Nos. 15-20. Third states; with the numerals before “P. — 
 Schenck Jun.” following Visscher’s address. Good im- 
 pressions. No. 16 is a duplicate of the Boston Museum. 
 
 (6.) 
 
 . THE PASSION. 1598. A set of twelve engravings after 
 
 his own designs. Dutuit IV. Nos. 27-88. The most de- 
 
 celving copies described by Dutuit, only No. 7 (Du. 
 
 33) being from the original plate. An interesting set. 
 (12.) 
 
 . PIETA (The Virgin weeping over the dead body of Christ, 
 
 in her lap). 1596. Engraving after his own design. 
 Dutuit IV. No. 41. Fine impression, on contemporary 
 paper watermarked “Quartered shield with a lion ram- 
 pant in 2d and 8rd. quarter.” With margin. Rare. 
 
 APOLLO DEFEATING PAN IN A MUSICAL CONTEST. 
 1590. Engraving after his own design. Dutuit IV. No. 
 140. First state; before the address of G. Gallays. A 
 very fine impression with a few trifling repairs. The 
 collector’s mark “Monogram A. R.” in circle is not men- 
 tioned by Fagan. 
 
 HERCULES CARRYING HIS MACE. 1589. Engraving 
 after his own design. Dutuit IV. No. 142. First state; 
 before “J. C. Visscher excu.” Fine impression on paper 
 watermarked “Crowned shield with three fleur-de-lis.” A 
 couple of stains and a few slight repairs. 
 
 - PORTRAIT OF DIRCK VOLCKERTSZ COORNHERT, 
 
 (The master of Goltzius). Engraved after his own paint- 
 ing. Dutuit IV. No. 164. Fine early impression be- 
 fore the border on paper watermarked “Crowned shield 
 with fleur-de-lis and the Monogram W. R.” Large mar- 
 gin. From the F. Rumpf Collection. 
 
First Session, Wednesday Evening, March 29th 
 
 GOLTZIUS, HENDRIK. (Continued) 
 
 218. PORTRAIT OF PHILIP GALLE, the engraver. 1512. 
 Engraving after his own design. Dutuit IV. No. 170. 
 Second state; with the inscription. Fine old impression 
 but closely trimmed. 
 
 219. PORTRAIT OF ROBERT COUNT LEICESTER. Engrav- 
 ing on a gold plate after his own design. Dutuit IV. No. 
 175. <A very fine impression, closely trimmed and inlaid. 
 
 From the Kalle and F. W. Klever Collections. 
 
 220. PORTRAIT OF NIQUET. 1595. Engraving after his own 
 design. Dutuit IV. No. 177. Good impression with small 
 margin; the left edge has been slightly repaired. With 
 the collector’s mark ‘Monogram of the Gothic letters 
 Ph. R.” in a shield stamped in greenish blue ink. 
 
 221. PORTRAIT OF JOHANNES ZURENUS. Engraving after 
 his own design. Dutuit IV. No. 189. First state; be- 
 fore the coat-of-arms in the right upper corner. Very 
 fine impression on paper watermarked “Small crowned 
 shield with the baton of Basle and below the letters N. 
 H. M.” With small margin and the collector’s mark 
 “Monogram Gothic Ph. R.” on a shield stamped in green- 
 ish blue ink. 
 
 222. PORTRAIT OF THE SON OF FRISIUS, WITH THE 
 DOG. 1597. Engraving after his own design. Dutuit 
 IV. No. 190. Second state; the plate is terminated. Very 
 good old impression with a small margin. <A small tear 
 in the tree carefully repaired. 
 
 223. THE SAME PORTRAIT. The copy known by the mono- 
 gram “R. G.” 1599. Engraving. Dutuit IV. No. 190. 
 
 Second copy. Fine impression. 
 
 224. PORTRAIT OF ADRIAAN VAN SWIETEN. 1579. En- 
 graving from life. Dutuit IV. No. 201. A very fine im- 
 pression with margin. 
 
First Session, Wednesday Evening, March 29th 
 
 GOLTZIUS, HENDRIK. (Continued) 
 
 225. 
 
 227. 
 
 228. 
 
 22u; 
 
 230. 
 
 231. 
 
 232. 
 
 PORTRAIT OF NIKLAAS PIETERSZ DAVENTER; 
 Mathematician. 1595. Engraving from Life. Dutuit 
 IV. No. 205. First state. An extremely fine impression 
 of a very delicate plate. Small margin. 
 
 . PORTRAIT OF SIMON SOVIUS, Rector at Amsterdam. 
 
 1583. Engraving from Life. Dutuit IV. No. 207. Very 
 fine impression with margin. From the F. Didot Collection. 
 
 PORTRAIT OF AN UNKNOWN (perhaps Jonker Jan van 
 der Noot). 1578. Engraving from life. Dutuit IV. No. 
 211. Old impression on paper watermarked “Shield 
 with a diagonal bar.” With margin. Rare. From the 
 Griggs Collection. ie 
 
 AN OFFICER HOLDING A HALBERD, full length stand- 
 ing, (Gerrit de Young of Haarlem). 15838. Engraving 
 after his own design. Dutuit IV. No. 215. Good old 
 impression on paper watermarked with a quartered shield. 
 Small margin. 
 
 ANOTHER OFFICER CARRYING A STANDARD, full 
 length standing, (Gerrit Korneliszen Velserman, officer at 
 the Siege of Haarlem). Engraving after his own design. 
 Dutuit IV. No. 217. Good old impression, with margin. 
 From the Griggs Collection. 
 
 PORTRAIT OF GERARD DE JODE, printseller. Engrav- 
 ing wrongly attributed to Goltzius, but it may be after 
 his design. Dutuit IV. No. 300. First state; before the 
 Monogram of the engraver. Very good impression, closely 
 trimmed. Rare. 
 
 MILITARY SCRIBE—AN OFFICER. From the set “Three 
 Dutch Soldiers.” Engravings after his own designs done 
 by his pupils. Dutuit IV. Nos. 95 and 96. Good old im- 
 pressions. (2.) 
 
 PORTRAIT OF HEINRICH VON SCHWARZENBERG. 
 1607. Woodcut by C. van Sichem. Dutuit IV. No. 3. 
 
First Session, Wednesday Evening, March 29th 
 
 GOUDT, HENDRIK. 1585-1630. 
 
 233. TOBIAS GUIDED BY THE ANGEL, called the “Little 
 Tobias.” 1608. Engraving after A. Elzheimer, Andre- 
 sen I. No. 1. 
 
 234. THE “BIG TOBIAS.” 1618. Engraving after <A. Elz- 
 heimer. Andresen I. No. 2. A small hole carefully re- 
 paired and retouched. 
 
 235. LANDSCAPE WITH THE FLIGHT INTO EGYPT; night 
 effect. Engraving after A. Elzheimer. Andresen I. No. 
 3. First state; before Elzheimer’s name was added. Very 
 fine. 
 
 236. THE BEHEADING OF ST. JOHN. Engraving after A. 
 Elzheimer. Andresen I. No. 4. Fine impression, but cut 
 oval and inlaid. 
 
 237. JUPITER AND MERCURY AT THE HOME OF PHIL- 
 EMON AND BAUCIS. 1612. Engraving after A. Elz- 
 heimer. Andresen I. No. 6. Fine impression from the 
 
 Th. Rodenacker Collection. 
 
 238. AURORA. 1613. Engraving after A. Elzheimer. Andre- 
 
 sen I. No. 7. Fine impression. 
 
 GUTTENBERG, CARL. 1743-1792% 
 
 239. WILHELM TELL. Engraving after H. Fiiessli, terminated 
 by Klauber. Andresen I. No. 5. Third state; the Ger- 
 man inscription is to the left and the French to the right 
 of the vignette. 
 
 HIRSCHVOGEL, AUGUSTIN. 15038-1553? 
 
 240. COAT-OF-ARMS of the LASSLA VON EDLASPERG. 
 1545. Painter-etching. Passavant III. No. 144. Sec- 
 ond state; with the monogram and date. Fine impres- 
 sion on paper watermarked with the Double eagle. Rare. 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. 1607-1677. 
 
 241. 
 
 242. 
 
 243. 
 
 244, 
 
 245. 
 
 246. 
 
 24:7. 
 
 CHRIST CRUCIFIED. 1652. Etching after A. van Dyck. 
 Parthey, No. 107. On paper watermarked “Crowned 
 shield with fleur-de-lis.’ A large plate. 
 
 MAGDALEN KNEELING BEFORE THE CRUCIFIX. 
 Etching after P. van Avont. Parthey, No. 179. First 
 state; with “Pet. van Avont inuenit et excud. Cum pri- 
 uilegio.”” A very fine impression; laid down. 
 
 PALLAS. 1646. Etching after A. Elzheimer. Parthey, No. 
 270; DIANA’S NYMPH ASLEEP. Etching with the 
 figure engraved by P. Pontius. From the Duke of Arem- 
 berg and Dr. Guereau Collections. (2.) 
 
 ILLUSTRATIONS to the Fables of A’sop:—THE EAGLE 
 AND THE JACK-DAW. Parthey, No. 336; THE 
 EAGLE AND THE TURTLE. Parthey, No. 378. Both 
 etchings. T'wo very fine impressions with margins. From 
 
 the Griggs Collection. - (25) 
 
 ALLEGORY REPRESENTING THE PEACE AT MUN- 
 STER. Etching after C. Schut. Parthey, No. 467. Sec- 
 ond state; before Joan Meyssens’ address was replaced 
 by that of J. Galle. From the Collection of A. Apell; 
 SIX PLAYING CHILDREN. 1647. Etching after P. 
 van Avont. Parthey, No. 517. Slightly spotted. 
 
 (2.) 
 
 LANDSCAPE WITH FOUR WINDMILLS. 1650. Etch- 
 ing after Breughel. Parthey, No. 1215; THE WOLFS- 
 BRUNNEN near Heidelberg. Etching. Parthey, No. 
 1238. From the Bronner Collection. (2.) 
 
 PORTRAIT OF SR. ROBERT BARKLEY. Justice of the 
 Kings Bench. Etching. Parthey, No. 1288; Portrait of 
 FRANCIS LORD COTTINGTON, Chancellor of the Ex- 
 chequer. Etching. Parthey, No. 1290; Portrait of 
 HENRY HASTINGS, Earl of Huntington. Etching. 
 Parthey, No. 1301. (3.) 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. (Continued) 
 
 248, 
 
 249. 
 
 250. 
 
 251. 
 
 252. 
 
 253. 
 
 254. 
 
 PORTRAIT OF SR. RICHARD HUTTON, Justice of the 
 Kings Bench. Etching. Parthey, No. 1302; Portrait of 
 LIONEL CRANFIELD, Earl of Middlesex. Etching. 
 Parthey, No. 1308. From the John Barnard Collection; 
 Portrait of JOHN PYM. Etching. Parthey, No. 1313. 
 With the platemark. (3.) 
 
 PORTRAIT OF PHILIP LORD WHARTON. Etching. 
 Parthey, No. 13823; Portrait of HENRY BURTON. One 
 of the five English controvertists. Etching. Parthey, 
 No. 1328. Impression with the platemark. (2.) 
 
 PORTRAIT OF ALTOVITI or DELLA CASA. 1649. Etch- 
 ing after Titian. Parthey, No. 1339. Fine impression on 
 paper watermarked “Folly.” 
 
 PORTRAIT OF PIETRO ARETINO. 1647. Etching after 
 Titian. Parthey, No. 1346. First state; before the plate 
 was reduced in size and the Italian inscription replaced by 
 one in French. 
 
 PORTRAIT OF PIETRO ARETINO. 1649. Etching after 
 Titian. Parthey, No. 13848. Part of the inscription is cut 
 off, but a fine impression. 
 
 PORTRAIT OF THOMAS HOWARD, Earl of Arundel. 
 Etching after A. van Dyck. Parthey, No. 1858. Dutuit 
 IV. No. 181. First state; with J. Meyssens’ address. Fine 
 impression on paper watermarked “Folly,” with large mar- 
 gin. From the Hermann Weber Collection. 
 
 PORTRAIT OF DANIELO BARBARO. 1650. Etching 
 after Titian. Parthey, No. 1359. Good impression. From 
 the H. Lempertz sen. Koln Collection. 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. (Continued) 
 
 255. 
 
 256. 
 
 257. 
 
 258. 
 
 259. 
 
 260. 
 
 PORTRAIT OF H. VAN DER BORCHT. 1649. Etching 
 after J. Meyssens. Parthey, No. 1365. First state; with 
 the misspelling “‘Walles” instead of “Galles.” Fine impres- 
 sion with a small margin. Very rare. From the H. Lem- 
 pertz sen. Koln Collection. 
 
 PORTRAIT OF BUFFALMACO or TODESCHO DI CASA 
 FUCHERA. 1650. Etching after Giorgione. Parthey, 
 No. 13867. Second state; with “Antu-piae” after Verte. 
 
 PORTRAIT OF JOHN CLENCH, Justice of the Queen’s 
 Bench. 1664. Etching. Parthey, No. 1376. Very good im- 
 pression on contemporary paper, watermarked “Crowned 
 shield with fleur-de-lis and the monogram W. R.” with 
 a small margin. A little tear near the left upper corner 
 carefully repaired. From the Griggs Collection. 
 
 PORTRAIT OF VITTORIA COLONNA. 1650. Etching after 
 Seb. del Piombo. Parthey, No. 1879. Very good impres- 
 sion on contemporary paper, watermarked “Folly”; with 
 a small margin. From General Rolas du Roseij Col- 
 lection. 
 
 PORTRAIT OF LORD DENNY. 1647. Etching after Hans 
 Holbein. Parthey, No. 1387. Brilliant impression. The. 
 margin somewhat unclean and small defects along the 
 right and left edges carefully repaired; Portrait of 
 REVD. JOHN DIODADI. Etching. Parthey, No. 1388. 
 Second state; the date in the upper margin has been 
 changed from 1643 to 1647. With margin. (2.) 
 
 PORTRAIT OF DURER’S FATHER. 1644. Etching after 
 A. Diirer. Parthey, No. 13889. Very good impression on 
 contemporary paper, watermarked “Folly.” With small 
 margin. 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. (Continued) 
 
 261. PORTRAIT OF ALBRECHT DURER. 1645. Etching after 
 A. Diirer. Parthey, No. 1390. Before the word “pinxit” 
 after “ipse Albertus.” Very good impression on con- 
 temporary paper, watermarked “I. B.” With a small 
 margin. 
 
 262. PORTRAIT OF SIR WILLIAM DUGDALE. 1656. Etching 
 from life. Frontispiece to his “History of Warwick- 
 shire.” Parthey, No. 1392. Second state; the inscrip- 
 tion: “Ovid: Nescis etc” is burnished out and just below 
 the right corner is engraved: ‘‘Wen. Hollar delin. et 
 Scul.” With small margin. 
 
 263. PORTRAIT OF REVD. ALEXANDER HENDERSON. 
 1641. Etching. Parthey, No. 1415. The man’s figure of a 
 good impression, which very likely had been injured, has 
 been cut out and pasted over that of a later impres- 
 sion; Portrait of HANS HOLBEIN. 1647. Etching 
 after H. Holbein. Parthey, No. 1418. Early impression 
 before “F. de Wit excud’”; Portrait of RICHARD 
 HOOKER. Etching. Parthey, No. 1421. Strong im- 
 pression; laid down. Rare. From the J. G. Collection— 
 
 [possibly J. Gerbeau. | (3.) 
 
 264. PORTRAIT OF CHARLES I. Etching after Van Dyck. 
 Parthey, No. 1434. This is really the left part of plate No. 
 544, which was separately printed. Good old impression 
 on contemporary paper, watermarked “Two columns, be- 
 tween them the letters A. R. O. and above a beehive and a 
 grape.” Closely trimmed. 
 
 265. PORTRAIT OF CHARLES LOUIS, PRINCE PALATINE 
 OF THE RHINE. 1646. Etching after Van Dyck. Par- 
 they, No. 1447—Dutuit IV. No. 159. Third state; H. 
 v. d. Borcht’s address has been burnished out. Good 
 old impression on contemporary paper watermarked 
 “Folly”; with margin. From the F. Walker and E. B. 
 Holden Collections. 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. (Continued) 
 
 266. 
 
 4 Te 
 
 268. 
 
 269. 
 
 270. 
 
 Abas 
 
 272. 
 
 PORTRAIT OF CATHARINA CORNARO, QUEEN OF 
 CYPRUS. 1650, Etching after J. Palma. Parthey, No. 
 1455. First state; with the inscription “La Bella Lavra 
 del Petrarca etc.” Very good impresson on paper water- 
 marked with the two big interlaced Cs. No margin. 
 
 PORTRAIT OF MARGARET LEMON. 1646. Etching 
 after A. van Dyck. Parthey, No. 1456. Very good, early 
 impression on paper watermarked “Eagle with the Baton 
 of Basle.” Large margin. 
 
 PORTRAIT OF BONAVENTURA PEETERS. Etching af- 
 ter J. Meyssens. Parthey, No. 1480. First state; with 
 the misspelling “pertout”’ instead of “partout.” Fine early 
 impression on contemporary paper, watermarked “small 
 crowned shield with fleur-de-lis.’ 10mm. margin all 
 around. From the H. Lempertz sen. Kéln Collection. 
 
 PORTRAIT OF PETER, PAUL RUBENS. Etching after 
 P. P. Rubens. Parthey, No. 1498. A very decorative 
 plate. 
 
 PORTRAIT OF JOHN SPOTISWOOD, Archbishop. 1639. 
 Etching. Parthey, No. 1505. Good impression, slightly 
 stained. Very small margin; Portrait of STOCKHOVE. 
 1650. Etching after J. van Oost. Parthey, No. 1507. 
 Early impression on paper watermarked “Folly”; with 
 margin. (2.) 
 
 PORTRAIT OF THOMAS WENTWORTH EARL OF 
 STRAFFORD. 1640. Etching after A. van Dyck. Par- 
 they, No. 1508a. Early impression before “& Kt of the 
 Most Noble order of the Garter” was added after “Coun- 
 cell etc.” and before “Londini” after the date. Laid down 
 on account of weak places in the paper. Rare. 
 
 PORTRAIT OF TITIAN’S DAUGHTER LAVINIA. 1650. 
 Etching after Titian, Parthey, No. 1511. Early im- 
 pression on contemporary paper, watermarked “crowned 
 shield with fleur-de-lis and the monogram W. R.” | 
 
First Session, Wednesday Evening, March 29th 
 
 HOLLAR, WENZEL. (Continued) 
 273. PORTRAIT OF LADY BUTS. 1649. Etching after H. Hol- 
 
 274. 
 
 275. 
 
 276. 
 
 2b. 
 
 278. 
 
 bein. Parthey, No. 1649; HEAD OF AN OLD MAN 
 WITH CURLY HAIR. Etching after Leonardo da 
 Vinci. Parthey, No. 1587. On paper watermarked “Coat- 
 of-Arms of Amsterdam’; HEAD OF A MAN WITH A 
 FELT HAT. 1646. Etching after M. Zimmermann. 
 Parthey, No. 1644. All good old impressions. (3.) 
 
 PORTRAIT OF A WOMAN WITH BIG RUFF. 1636. 
 Etching. Parthey, No. 1654. With the number 7, closely 
 trimmed; Portrait of the DAUGHTER OF THE FIRST 
 DUKE OF BUCKINGHAM. (?) 1678. Etching. Par- 
 they, No. 17380. With margin; inlaid for Extra-Illus- 
 trating. Scarce. Both good impressions. C25) 
 
 COSTUMES OF WOMEN;; circular plates. A YOUNG 
 LADY OF STRASSBURG. 1643. Etching. Parthey, 
 No. 1985; A LADY WEARING A MAN’S BROAD- 
 BRIMMED HAT. Etching. Parthey, No. 1941. Both 
 
 very fine. Early impressions with margin. (2.) 
 
 A MUFF WITH RICHLY EMBROIDERED BROCADE. 
 1647. Etching. Parthey, No. 1946. Good old impres- 
 sion with small piece of white paper replaced in the left 
 lower corner. 
 
 THE BEGGARS. Etchings after J. Callot. Parthey, Nos. 
 2024-2027. Good old impression on paper watermarked 
 with the “big interlaced Cs.” Two of them with a small 
 tear carefully repaired. ( 4.) 
 
 THE CHALICE. 1640. Etching after A. Mantegna. Par- 
 they, No. 26438. Good impression with some repairs in 
 the white paper along the edges and corners. With a 
 collector’s mark not mentioned by Fagan. Rare. 
 
AT THE AMERICAN ART GALLERIES 
 MADISON SQUARE SOUTH, NEW YORK 
 
 UNRESTRICTED PUCLIC SALE BY ORDER OF MRS. ELIZABETH B. LEVY, 
 LARCHMONT, NEW YORK 
 
 Second Session, Numbers 279 to 540, inclusive 
 
 THURSDAY EVENING, MARCH 30th, AT 8.00 O'CLOCK PROMPT 
 
 HONDIUS, WILLEM. 1600-after 1652. 
 
 279. PORTRAIT OF WILLIAM PRINCE OF NASSAU. 16380. 
 Engraving after I. Mytens. Old impression on paper 
 watermarked ‘‘Crowned shield with fleur-de-lis and the 
 Monogram W. R.” Closely trimmed. 
 
 HOPFER, DANIEL. About 1493-1536. 
 
 280. TRIUMPHAL ARCH OF CHRIST.  Painter-etching on 
 two plates. Bartsch VIII. No. 21. Old impression on 
 paper watermarked “Coat-of-arms of Augsburg,” before 
 the number 45. With margin. 
 
 KAUFFMANN, ANGELICA. 1741-1807. 
 
 281. RINALDO AND ARMIDA. Painter-etching. Also five 
 other plates by the same artist, two of them portraits. 
 An interesting collection of her original work. (63) 
 
 282. TELEMACHUS DEPLORING THE FATE OF HIS 
 FATHER ULYSSES—FLIGHT OF PARIS AND 
 HELENA. CIRCULAR. Both stipple by W. W. Ry- 
 land. Printed in red. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 KAUFFMANN, ANGELICA. (Continued) 
 
 283. INTERVIEW BETWEEN EDGAR AND ELFRIDA. 
 1786, Engraving by W. W. Ryland. Fine impression 
 
 with margin. 
 
 KILIAN, BARTHOLOMAUS. 1680-1696. 
 
 284. PORTRAIT OF GEORG WINCKLER. 1679. Engraving. 
 LeBlanc II. No. 63. Very fine impression with a small 
 margin. From the J. Kollmann Collection. 
 
 KLAUBER, IGNATZ SEBASTIAN. 1754-1820. 
 
 285. PORTRAIT OF CARLE VANLOO. Engraving after C. N. 
 le Sueur. Engraved for his reception at the Academy. 
 Andresen I. No. 10. First state; before any inscription. 
 Very fine and with large margin. 
 
 KRUG, LUDWIG. ?-15382. 
 
 286. THE MAN OF SORROWS. Engraving. Bartsch VII. No. 
 6. Rare. 
 
 KUSEL (Kiislen), JOHANNA SIBYLLA. 1646-1717. 
 
 287. “PLUSIEURS TESTES COIFFEES A LA PARISIENNE 
 FAITTE.” 1680. Etchings after Della Bella. A very 
 interesting set. (2) 
 
 LEONI, OTTAVIO. About 1576-after 1628. 
 
 288. PORTRAIT OF J. L. BERNINUS. 1622. Sculptor. Paint- 
 er-etching. Bartsch XVII. No. 19. 
 
 289. PORTRAIT OF SIMON VOUET. 1625. Painter. Painter- 
 etching. Bartsch XVII. No. 39. Good impression with 
 
 large margin. 
 
Second Session, Thursday Evening, March 30th 
 
 LONGHI, GIUSEPPE. 1766-1831. 
 
 290. PORTRAIT OF THE ENGRAVER. Engraving from life 
 by Gius. Beretta. Apell, No. 8; TRIUMPH OF SCIPIO. 
 Engraving after Nattini. Apell, No. 21. First state; 
 proof with “Pietro Buonaccorsi dep.—G. Longhi inc.” 
 Very fine and with an autograph inscription of six lines by 
 the engraver. Unique. (2.) 
 
 291. BUST OF A NEGRO. 1801. Engraving after P. P. Rubens. 
 Apell, No. 26. With the engraver’s stamp; full margin; 
 BUST OF AN OLD MAN WITH A BEARD. 1800. 
 Engraving after Rembrandt. Apell, No. 29; BUST OF 
 AN OLD WOMAN. 1807. Engraving after his own de- 
 sign. Apell, No. 31. Fine impression on large paper and 
 with the artist’s signature. Rare. (3.) 
 
 292. BONAPARTE AT THE BATTLE OF ARCOLA. 1798. 
 Engraving after J. Gros. Apell, No. 36. With small 
 
 margin. 
 
 293. PORTRAIT OF GEORGE WASHINGTON. ~ Engraving 
 after Stuart. Apell, No. 47. Hart, No. 841c. Large 
 margin. 
 
 294. BLIND MAN’S BUFF. Engraving after N. Poussin by F. 
 Caporali under Longhi’s direction. Apell, No. 4. First 
 state; proof with the artists’ names only and the pub- 
 lisher’s (J. Velten) stamp. Full margin. 
 
 MANDEL, JOHN AUG. EDUARD. 1810-1882. 
 
 295. ECCE HOMO. 1858. Engraving after Guido Reni. Apell, 
 No. 7; MATER DOLOROSA. 1858. Engraving after 
 Carlo Dolce. Apell, No. 8. Both with the inscription; 
 on plate paper. (2.) 
 
 296. PORTRAIT OF F. W. BESSEL, Astronomer of the Univer- 
 sity of Koenigsberg. Engraving after J. Wolff. Apell, 
 No. 23. Finished trial proof; with the engraver’s name 
 only in scratched letters. Proof on India paper with an 
 autograph dedication of the engraver to the printer. Ex- 
 tremely fine. Unique. 
 
Second Session, Thursday Evening, March 30th 
 
 MANDEL, JOHN AUG. EDUARD. (Continued) 
 
 297. PORTRAIT OF RAPHAEL AT THE AGE OF 15. En- 
 graving after himself. Apell, No. 86; Portrait of TIT- 
 IAN after himself. Apell, No. 38; Portrait of VAN 
 DYCK after himself. Apell, No. 39. All with the inscrip- 
 tion, on plate paper. (3.) 
 
 MANTEGNA, ANDREA. 1481-1506. (AFTER HIS 
 DESIGN.) 
 
 298. CHRIST DESCENDING INTO LIMBO. 1492. Engrav- 
 ing by an unknown artist in Mantegna’s manner after one 
 
 of his drawings. Bartsch XIII Addition. No. 2. Rare. 
 
 MARCENAY DE GHUY, ANTOINE DE. 1724-1811. 
 
 299. PORTRAIT OF CHARLES V. Engraving after N., Por- 
 
 talis and Beraldi III. No. 2; Portrait of CHARLES 
 
 VII. Engraving after N., Portalis and Beraldi. No. 3. 
 
 ; (2.) 
 
 300. PORTRAIT OF HENRI IV. 1764. Engraving after Jan- 
 
 net. Portalis and Beraldi III. No. 7; Portrait of MAR- 
 
 SHAL VILLARS. 1778. Engraving after Rigaud. 
 Portalis and Beraldi. III. No. 11. (25) 
 
 301. PORTRAIT OF CHARLES DUKE OF BRUNSWICK. 
 Engraving after La Fontaine. Portalis and Beraldi III. 
 No. 22. Proof, before the clouds in the sky and the shad- 
 ing of the right hand had been put in and before the river 
 had been completely shaded. 
 
 MASSARD, JEAN BAPTISTE. 1740-1822. 
 
 302. ADAM AND EVE. Engraving after C. Cignani. Apell, 
 No. 1. First state. Proof with the artists’? names only. 
 With margin. 
 
 303. THE DEATH OF SOCRATES. Engraving after L. David. 
 Apell, No. 15. First state; proof before all inscriptions. 
 With margin. 
 
Seniesa 
 Seen ene 
 cociomecseeess 
 
 / 
 / 
 #: 
 i 
 
 3: wwanesegnarseseenag es 
 SEPDPEREES TESS STE SE: 
 SSERERES Re per e ASS 
 
 sine (HEE TTI 
 eet sseterseceeseeeseccses scasusecserguneecesseste Pisses 
 cS sede es 
 
 pipecunbscccZ sage cceus gaeasnar saasegbeteecautsatiaateaans ss 
 
 ANTOINE MASSON 
 Guillaume De Brisacier 
 
 (See No. 304) 
 
Second Session, Thursday Evening, March 30th 
 
 MASSON, ANTOINE. 1636-1700. 
 
 304. GUILLAUME DE BRISACIER, Secretary to Queen Anne 
 of France. 1664. Engraving after N. Mignard. Robert- 
 Dumesnil II. No. 15. Fourth state; the two mistakes 
 in the spelling have been corrected. Fine impression. 
 
 (See Reproduction) 
 
 305. PORTRAIT OF MARIN CUREAU DE LA CHAMBRE, 
 Physician to the King. 1665. Engraving after P. Mi- 
 gnard. Robert-Dumesnil II. No. 24. First state; be- 
 fore the cross hatching on the cheek. One of the master 
 pieces of the engraver. Closely trimmed. From the Count 
 von Enzenberg Collection. 
 
 306. PORTRAIT OF PIERRE DUPUIS, Flower painter. 1663. 
 Engraving after N. Mignard. Robert-Dumesnil II. No. 
 25. Good old impression with the signature of Claude 
 Augustin Mariette and date 1696 on the back. 
 
 307. HENRI DE LORRAINE, COMTE D’HARCOURT, also 
 called “Le Cadet a la pérle”. 1667. Engraving after N. 
 Mignard. Robert-Dumesnil II. No. 84.. Third state; 
 
 with the slip of the graver. Large margin. 
 
 308. HENRI DE LA TOUR D’AUVERGNE, VICOMTE DE 
 TURENNE. 1669. Engraving after the engraver’s own 
 painting. Robert-Dumesnil II. No. 65. The only state; 
 with small margin. A tear carefully repaired. Very rare. 
 
 MASTER B. OF THE DIE (Benedetto Verini’). About 
 1582- (7) : 
 
 309. APOLLO ORDERING HERCULES TO DRIVE ENVY 
 FROM THE TEMPLE OF THE MUSES. Engraving 
 after B. Peruzzi. Bartsch XV. No. 17. Second state; 
 with the retouch of Thomassin; CIBELE ON HER 
 CHARIOT. Engraving after Giulio Romano. B. XY. 
 No. 18. With “Ant. Lafreri” near the right lower cor- 
 ner; APOLLO PURSUING DAPHNE. Engraving after 
 Giulio Romano. No. 3 of the “History of Apollo and 
 Daphne.” B. XV. No. 21. First state; the right breast 
 of the River God is shaded. From the Griggs Collection. 
 
 (3.) 
 
Second Session, Thursday Evening, March 30th 
 
 MASTER B. OF THE DIE. (Continued) 
 
 3094. CUPIDS AT PLAY. Engraving after Raphael. Bartsch 
 XV. No. 80; SCIPIO DEFEATING SYPHAX. En- 
 graving after the antique. Bartsch XV. No. 73. Laid 
 down. (2.) 
 
 MASTER I. B. (IORG BENZ, possibly the same as GEORG 
 PENCZ.) About 1500-1554. 
 
 310. PORTRAIT OF PHILIPP MELANCTHON. 1530. En- 
 graving. Bartsch VIII. No. 10. Rare. 
 
 311. TRIBULATIONS OF THE HEART. 1529. Engraving. 
 Bartsch VIII. No. 80. Laid down. 
 
 312. A BAGPIPER AND A WOMAN. Circular engraving. 
 Bartsch VIII. No. 36. Very good, old impression. From 
 the B. Keller and Coppenrath Collections. 
 
 MATHAM, JACOB. 1571-1631. 
 
 3138. THE INFANT ST. JOHN. Engraving after H. Goltzius. 
 Dutuit IV. No. 13. First state; before any address. 
 THE INFANT CHRIST, seated on cushions. 1597. 
 Engraving after H. Goltzius. Dutuit IV. No. 87. First 
 state; before any address. Both brilliant impressions on 
 contemporary paper; with small margins. (2.) 
 
 314. ANDROMEDA CHAINED TO A ROCK. 1597. Engraving 
 after H. Goltzius. Dutuit IV. No. 66. First state; be- 
 fore N. Visscher’s address. Brilliant impression, on con- 
 temporary paper watermarked “Double Eagle.” Small 
 margin. 
 
 315. PORTRAIT OF ABRAHAM BLORMAERT, Painter. En- 
 graving after P. Moreelse. Bartsch III. No. 185. Good 
 impression on paper watermarked “Baton of Basle.” 
 Closely trimmed. 
 
Second Session, Thursday. Evening, March 30th 
 
 MELLAN, CLAUDE. 1598-1688. 
 316. PORTRAIT OF CLAUDE MELLAN. 1635. Engraving by 
 
 himself after his own design. Montaiglon, No. 1.. First 
 state; before the plate was reduced in size for the set pub- 
 lished by Odieuvre. Small margin. 
 
 317. MOSES AND THE BURNING BUSH. 1663. Engraving. 
 Montaiglon, No. 4. First state; before “‘cum p. R.” was 
 replaced by “a Paris chez Bligny;’” ADAM AND EVE. 
 Engraving. Montaiglon, No. 27. One state only, on con- 
 temporary paper watermarked “Crowned shield with 
 Fleur-de-lis, and below the letters F. G.’ Has been 
 folded and a couple of small tears repaired. Both prints 
 with margin. (2.) 
 
 318. BUST OF THE VIRGIN, in oval border. Engraving. 
 Montaiglon, No. 17. On contemporary paper watermarked 
 “Maltese cross, on circular medallion with chain and 
 cross.” Small margin, with tear carefully repaired. 
 
 319. THE SUDARIUM. 1649. Engraving in one spiral line. 
 Montaiglon, No. 25. Impression with the crack in the 
 plate. No margin. 
 
 320. CHRIST DEAD ON THE CROSS. Engraving. Montaig- 
 lon, No. 28. On paper watermarked “Grape in circular 
 border.” Very small margin; CHRIST BORNE TO 
 THE TOMB. 1678. Engraving. Montaiglon, No. 31. 
 On paper watermarked “Monogram of Christ”. Small 
 margin; THE VIRGIN lamenting over the dead body of 
 CHRIST. 1688. Montaiglon, No. 32. On paper water- 
 marked “Maltese Cross on circular medallion with chain 
 and cross”. Large margin. Duplicate of the Bibliotheque 
 
 Nationale, Paris. (3.) 
 
Second Session. Thursday Evening, March 30th 
 
 MELLAN, CLAUDE. (Continued) 
 
 321. SAINT ALEXIS. 1649. Engraving. Montaiglon, No. 49. 
 First state; before “cum p. R.” in the right lower cor- 
 ner. On paper watermarked “Agnus Dei and below it in 
 letters AGENESEL.” and “Grape with tablet and let- 
 ters on it”; SAINT AUGUSTIN. 1660. Engraving. 
 Montaiglon, No. 52. On paper watermarked “Double 
 eagle with a heart.” Both with margins. (2.) 
 
 322. SAINT BERNARD giving the hood to a novice. Engraving. 
 Montaiglon, No. 55. On paper watermarked “shield with 
 3 rings surrounded by two laurel branches”; SAINT 
 BERNARD giving his rules to a novice. Engraving. 
 Montaiglon, No. 57. On paper watermarked “bugle and 
 crown’; SAINT BERNARD ready to give the host to 
 a running man pursued by soldiers. Engraving. Mon- 
 taiglon, No. 58. On paper watermarked “Bugle and 
 crown, with a heart between the letters B and C below 
 it.” All with small margin. (3.) 
 
 323. SAINT GREGORY. 1681. Engraving. Montaiglon, No. 
 , 77. On paper watermarked with the “Monogram of Christ, 
 a heart and three nails in an oval.” With margin; SAINT 
 JEROME. 1665. Engraving. Montaiglon, No. 82. On 
 paper watermarked “Grape in circular border.” With 
 
 small margin. (29) 
 
 324. SAINT ANN AND FOUR OTHER SAINTS. 1648. En- 
 graving. Montaiglon, No. 95. On paper watermarked 
 “Grape and opposite M. I.” Small margin; SAINT 
 THERESE 1661. Engraving. Montaiglon, No. 105. 
 On paper watermarked “Grape in circular border.” Small 
 margin; The CONCILIUM. 1665. Engraving. Mon- 
 taiglon, No. 111, Second state; the plate is finished. On 
 paper watermarked with the “Monogram of Christ and 
 three nails on a heart in oval.” Small margin. (3.) 
 
Second Session, Thursday Evening, March 30th 
 
 MELLAN, CLAUDE. (Continued) 
 
 325. DIANA IN HER CHARIOT, HESPERUS GUIDING THE 
 HORSES. Engraving after Berretini. Montaiglon, No. 
 118. Fine old impression with small margin. PERSEUS 
 RESCUING ANDROMEDA. Engraving. Montaiglon, 
 No. 121. Small margin; LUCRETIA. Engraving after 
 S. Vouet. Montaiglon, No. 122. Fine impression. Small 
 margin. From the Mary J. Morgan and Blake collections. 
 
 (3.) 
 326. HERCULES, WOMAN SEATED, VENUS, MAN, AND 
 
 VENUS. 1675. From “Gaxieria GiustTIniana, etc.” En- 
 graving after the antique sculptures. Montaiglon, Nos. 
 128, 130, 134, 140, 149. On paper watermarked “Grape 
 in circular border’ and also ‘“‘Fleur-de-lis in a circle;” 
 DANCING FAUN. No. 14 of “Statues et Bustes an- 
 tiques des Maisons Royales.” Engraving after the an- 
 tique. Montaiglon, No. 160, on paper watermarked 
 “Grape”. No margin. (6.) 
 
 327. PORTRAIT OF CARDINAL BENTIVOGLIO. Engraving. 
 Montaiglon, No. 169. No margin, the upper corner 
 clipped. From the Nahl collection; Portrait of VICTOR 
 Le BOUTILLIER. Engraving. Montaiglon, No. 175. 
 Second state; The plate is reduced in size for Odieuvre’s 
 publication; Portrait of JEAN PIERRE CAMUS. En- 
 graving. Montaiglon, No. 176. Very small margin. 
 
 (3.) 
 
 328. PORTRAIT OF NICOLAS GRILLET, Bishop of Bazaz. 
 Engraving. Montaiglon, No. 192. Small margin. 
 
 329. PORTRAIT OF VINCENZO JUSTINIANI. Engraving. 
 Montaiglon, No. 197. Second state; with the inscription. 
 Small margin. 
 
 330. PORTRAITS OF LOUIS XIV, ANNE of Austria and MON- 
 SIEUR. Engraving. Montaiglon, No. 206. On paper 
 
 watermarked “Grape”. With small margin. 
 
Second Session, Thursday Evening, March 30th 
 
 MELLAN, CLAUDE. (Continued) 
 
 331. 
 
 332. 
 
 333. 
 
 334. 
 
 336. 
 
 PORTRAIT OF FRANCOIS THEODORE DE NESMOND, 
 
 President of Parliament, Paris. Engraving. Montaiglon, 
 No. 219. Small margin. 
 
 PORTRAIT OF LOUIS dORLEANS. 1622. Engraving. 
 Montaiglon, No. 220. State cannot be ascertained as the 
 print is closely trimmed. Good impression. 
 
 PORTRAIT OF POPE URBAN VIII (Barbarini). 1624. 
 Engraving. Montaiglon, No. 237. Second state; with 
 
 Vouet’s Monogram. No margin. 
 
 PORTRAIT OF FATHER YVES. 1677. Engraving. Mon- 
 taiglon, No. 244. On paper watermarked “Monogram of 
 Christ, a heart and three nails in an oval.” Large mar- 
 gin; Portrait of ANNE OF AUSTRIA, Queen of France. 
 Engraving. Montaiglon, No. 245. One corner replaced. 
 
 (2.) 
 
 . ALLEGORY representing the foundation of the Roman Col- 
 
 lege by the family Borghese. Engraving. Montaiglon, 
 No. 261. Third state; with the shield in the right lower 
 
 corner. Small margin. 
 
 HERCULES AND ATLAS. Engravning. Montaiglon, No. 
 264. First state; before the arms of Foucquet or Gondy 
 were engraved on the tablet. On paper watermarked 
 “Crowned shield with bugle and the letters T. D. below it.” 
 Fine impression. No margin and a tear in the centre of 
 the top; REPUTATION carrying a shield with the arms 
 of Sublet Desnoyers. Engraving. Montaiglon, No. 268. 
 Second state; after the initial and crown of Louis XIV. 
 were changed to the above arms. On paper watermarked 
 “Crowned shield with fleur-de-lis.” Small margin; MI- 
 NERVA BETWEEN PEACE AND JUSTICE. En- 
 graving. Montaiglon, No. 269. Fourth state with the 
 arms of M. de Mesmes. Several tears along the edges care- 
 
 fully repaired. (3.) 
 
Second Session, Thursday Evening, March 30th 
 
 MELLAN, CLAUDE. (Continued) 
 
 337. MERCURY LEADING MINERVA to a tree where the 
 French arms are visible. 1685. Engraving. Montaiglon, 
 No. 266. Second state; “A Paris aux Galleries du 
 Louvre” has been burnished out. On paper watermarked 
 “Crown and star.” With margin; THESIS of ANTOINE 
 TALON. 1648. Engraving. Montaiglon, No. 285. 
 Only three of the seven plates. On paper watermarked 
 with the “arms of France and Austria surmounted by a 
 crown and surrounded by a chain with a maltese cross, 
 below it a tablet with the letters A. C.” With margins. 
 
 (4.) 
 
 338. SAINT BERNARD kneeling before the Apparition of the 
 Virgin. Frontispiece for his works. Engraving after 
 Stella. Montaiglon, No. 800. Second state; with the 
 inscription. On paper watermarked “Crowned shield with 
 bugle and below it a tablet with the letters D. I.” With 
 margin; INTELLIGENCE, MEMORY and INCLINA- 
 TION. 1625. Engraving after S. Vouet.— Montaiglon, 
 No. 372. On paper watermarked “Grape”. Small margin. 
 
 (2.) 
 
 MERCURI, PAOLO. 1804-1884. 
 
 339. THE REAPERS. 1831. Engraving after’ L. Robert. 
 Apell, No. 8. Second state (of 5), the first finished state. 
 Artist’s proof with the names of the engraver and printer 
 and date. Very fine impression with full margin. Very 
 rare. 
 
 340. PORTRAIT OF MADAME DE MAINTENON. Engraving 
 after Petitot. Apell, No. 5. State unknown to Apell; 
 proof before the border and the engraver’s name. Very 
 fine impression on large paper, with signed and dated auto- 
 graph dedication to the engraver, Luigi Paradisi. Uniaur. 
 Apell states that there is a very deceptive copy of this 
 plate without inscription and border. 
 
Second Session, Thursday Evening, March 30th 
 
 MERCURI, PAOLO. (Continued) 
 341. PORTRAIT OF P. JOANNES A CAPISTRANO, Franciscan 
 
 Monk and Crusader. 1824. Engraving unknown to 
 Apell. Proof before all letters, and before the border, with 
 
 good margin. Perhaps unique. 
 
 MORGHEN, RAPHAEL. 1758-1833. 
 342. PORTRAIT OF RAPHAEL MORGHEN. Stipple after 
 
 343 
 
 344. 
 
 B45 
 
 Pietro Ermini by Francesco Vendramini. With margin; 
 Marble bust of LORD BYRON by Bartolini. Engraving 
 after a drawing by E. Cateni. Halsey, No. 28. Fifth state. 
 With margin; Portrait of BENVENUTO CELLINI. En- 
 graving after G. Vassari. Halsey, No. 83. Trial proof; 
 with the white collar. First state mentioned by Halsey. 
 Perhaps the only other impression besides the one in the 
 British Museum. With large margin. Very fine. From 
 the J. Marshall Collection. (3.) 
 
 - PORTRAIT OF LADY HAMILTON as The Comic Muse. 
 
 LA 
 
 Engraving after Angelica Kauffmann. Halsey, No. 44. 
 Second state; with the inscription “Quam. .. . Latio.” 
 
 With margin. 
 
 FORNARINA. 1814. Engraving after Raphael. Hal- 
 sey, No. 64. Second state; with the artists’ names, the 
 coat-of-arms and one line of the inscription in open let- 
 ter. Fine impression, with small margin and with the en- 
 graver’s dry stamp; ANOTHER IMPRESSION. The 
 fourth state, with the full inscription. (2m) 
 
 . LOT AND HIS DAUGHTERS. 1787. Engraving after F. 
 
 Barbier}. Halsey, No. 87. Second state; with the ar- 
 tists’ names only. Fine impression with margin; THE 
 REPOSE IN EGYPT. 1788. Engraving after N. Pous- 
 sin. Halsey, No. 149. Third state; with the full in- 
 scription. (2.) 
 
gies 
 
 igs nttemeimasiamiontncs 
 
 a 
 
 Pap Rae 
 
 [ESSERE LE TS OSS ITE OL BY SAE P PANS DB NEGA 90 SERORRE 
 
 ELLE 
 
 VX S 
 
 Arve EL 
 
 JAN MULLER 
 Ambrosius Spinola 
 (See No. 350) 
 
Second Session, Thursday Evening, March 30th 
 
 MORGHEN, RAPHAEL. (Continued) 
 346. PORTRAIT OF NICCOLO MACCHIAVELLI. 1795. En- 
 
 graving after A. Bronzino. Halsey, No. 91. Second state; 
 with artists’ names and dates only, and with margin and 
 the complete plate mark. Fine. 
 
 047, PORTRAIT OF FRANCESCO DI MONCADA. 1792. En- 
 graving after A. Van Dyck. Halsey, No. 121. Fifth state; 
 before the retouch, marked by the cross hatchings on the 
 armor. Closely clipped and creased in one corner; Por- 
 trait of an UNKNOWN NUN 1794. Engraving almost 
 entirely by Raphael Morghen’s brother Antonio. Halsey, 
 No. 134. No other state mentioned. (2.) 
 
 348. PORTRAIT OF CARLO ALESSANDRO VOLTA, the Elec- 
 trician. Engraving after Sabatelli. Halsey, No. 180. 
 Third state; open letter proof, with margin and with G. 
 Piatti’s dry stamp; Portrait of RAPHAEL. Engraving 
 by Antonio Morghen after Raphel. Apell, No. 14, open 
 letter proof. Large margin. (2.) 
 
 MULLER, JAN. 1571(7)-After 1625. 
 349. PORTRAIT OF PRINCE MAURICE OF NASSAU. 1618. 
 Engraving after M. Mierevelt. Bartsch III. No. 58. 
 Good old impression, on contemporary paper, water- 
 marked, “Baton of Basle and a house,” (the watermark 
 
 of Hiisler of Basle.) With margin. 
 
 350. PORTRAIT OF AMBROSIUS SPINOLA, Minister of War 
 and of the Finances in the Netherlands. Engraving after 
 M. Mierevelt. Bartsch II. No. 59. Very fine old im- 
 pression with margin. 
 
 (See Reproduction) 
 
 351. PORTRAITS OF ALBERT, Archduke of Austria and ISA- 
 BELLA CLARA EUGENIA, Infanta of Spain. 1615. 
 Both engravings after P. P. Rubens. Bartsch III. Nos. 62 
 
 and 63. Two very interesting portraits; with large mar- 
 gins. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 MULLER, JOHANN FRIEDRICH WILHELM. 1782- 
 1816. 
 
 352. ST. JOHN EVANGELIST. Engraving after Domenichino. 
 Apell, No. 4. Sixth state; with the date 1812. 
 
 MULLER, JOHANN GOTTHARD VON. 1747-1830. 
 
 353. PORTRAIT OF JOHN G. von MULLER, the Engraver, En- 
 graving by E. Morace after F. Tischbein. Apell, No. 20. 
 Third state; with the inscription. Large margin. , 
 
 354. LA PETITE JAVOTTE. 1772. Engraving after P. A. 
 Wille. Apell, No. 18. Second state; LA MERE BRI- 
 GIDE. Engraving after P. A. Wille. Apell, No. 19. 
 Second state. Both with full margins and with Ebner’s 
 Stamp. (2.) 
 
 355. PORTRAIT OF ANTON GRAFF, Painter. Engraving after 
 A. Graff. Apell, No. 26. Fourth state; with the inscrip- 
 tion and the dry stamp of Frauenholz. With large mar- 
 
 gin. 
 
 356. PORTRAIT OF F. C. LODER, Anatomist. Engraving after 
 F. Tischbein. Apell, No. 30. Third state; the inscription 
 is reenforced; Portrait of CHR. W. HUFELAND, Phy- 
 sician. Engraving by Joh. Fr. Muller after F. Tischbein. 
 Apell, No. 18. Third state; as above. Both with the 
 dry stamp of Frauenholz and with large margin. (2.) 
 
 NANTEUIL, ROBERT. 1623 (1625?) -1678. 
 
 3857. PORTRAIT OF ROBERT NANTEUIL, pastel painter and 
 engraver. Engraving by Gerard Edelinck after Nanteuil’s 
 own painting. Robert-Dumesnil VII. No. 282. Third 
 state with “se ipsu delineauit” instead of “se ipse delin.” 
 Small margin. 
 
eee pase 
 
 M 
 
 E VANDO 
 
 ROBERT NANTEUIL 
 
 De Vendome 
 
 18 
 
 Franco 
 
 362) 
 
 (See No. 
 
we 
 
Second Session, Thursday Evening, March 30th 
 
 NANTEUIL, ROBERT. (Continued) 
 
 358. 
 
 359. 
 
 360. 
 
 361. 
 
 362. 
 
 363. 
 
 MOSES. Engraving after Phil. de Champagne.  Robert- 
 Dumesnil IV. No. 1. Third state; with Drevet’s ad- 
 dress. One of the masterpieces of engraving. With 
 margin. 
 
 PORTRAIT OF DREUX D’AUBRAY, Civil Guard at the 
 Chatelet de Paris. 1658. Engraving from life. Robert- 
 Dumesnil IV. No. 25. Only one state. Very fine impres- 
 
 sion on paper watermarked “Folly”; with large margin. 
 
 PORTRAIT OF CARDINAL ANTOINE BARBARIN, 
 Archbishop of Reims. 1663. Engraving from life. Rob- 
 ert-Dumesnil IV. No. 29. Second state; with four per- 
 pendicular lines along the right edge of the plate. Very 
 small margin. 
 
 PORTRAIT OF ANTOINE DE MORANGIS, Counsellor of 
 State and Superintendent of the Finances. 1661. En- 
 graving from life. Robert-Dumesnil IV. No. 31. Only 
 one state. Very fine early impression on paper water- 
 marked “‘Coat-of-arms with shamrock and two stars;” 
 with large margin. 
 
 PORTRAIT OF FRANCOIS DE VENDOME, DUC DE 
 BEAUFORT. Engraving after Nocret. Robert-Dumes- 
 nil IV. No. 83. First state, before P. Mariette’s name 
 was substituted for that of LeBlond. A very fine im- 
 pression. 
 
 (See Reproduction) 
 
 PORTRAIT OF POMPONE DE BELLIEVRE, First Pres- 
 ident of Parliament, Paris. 1653. Engraving after Philip 
 de Champagne. Robert-Dumesnil. No. 36. Second state; 
 with the inscription on the white tablet. Fine impression 
 on paper watermarked with the “interlaced Cs in a laurel 
 wreath”. Small margin. Duplicate of the Biblothéque 
 Nationale, Paris. 
 
Second Session, Thursday Evening, March 30th 
 OO I Es a 
 
 NANTEUIL, ROBERT. (Continued) 
 364. PORTRAIT OF CHARLES BENOISE, Counsellor at the 
 
 365. 
 
 366. 
 
 367. 
 
 368. 
 
 369. 
 
 Parliament, Paris. 1651. Engraving after Philip de 
 Champagne. Robert-Dumesnil IV. No. 38. Only one state. 
 Very fine, early impression on paper watermarked with the 
 “Monogram of Christ.” Small margin. Duplicate of 
 the Bibliothéque Royale, Paris. 
 
 PORTRAIT OF JEAN CHAPELAIN, Poet and Member of 
 the Academy. Engraving from life. Robert-Dumesnil IV. 
 No. 60. Second state (of 4); before the two small locks 
 of hair in the centre of the forehead. Very good im- 
 pression on paper watermarked “Grape”. With 12mm. 
 margin all around. 
 
 PORTRAIT OF CHRISTINA QUEEN OF SWEDEN. 
 1654. Engraving after S. Bourdon. Robert-Dumesnil IV. 
 No. 67. Third state; the interrogration mark after 
 “Esclaues” no longer resembles an “S’. Old impression on 
 paper watermarked “G. y. B.” Very closely trimmed. 
 
 PORTRAIT OF JOHN EVELYN, Author of “Sculptura”. 
 1662. Engraving from Nanteuil’s own drawing. Robert- 
 Dumesnil IV. No. 93. Intermediate state between the third 
 and fourth; the coat-of-arms on the closed book to the 
 right has been burnished out but the monogram on the 
 book to the left still remains. Old impresssion on paper 
 watermarked “Lion of Flanders in a crowned oval border.” 
 With margin. 
 
 PORTRAIT OF PIERRE GASSENDI, Provost of the 
 Church at Digne in Provence. 1658. Engraving from life. 
 Robert-Dumesnil IV. No. 101. Second state; before the. 
 dot over the sign after “Diniensis.” Very good impres- 
 sion, closely trimmed. | 
 
 PORTRAIT OF LOUIS HESSELIN, Counsellor of state. 
 1658. Engraving from life. Robert-Dumesnil IV. No. 
 110. Second state; with tthe inscription on the stone. 
 With margin a trifle stained. 
 
Second Session, Thursday Evening, March 30th 
 
 NANTEUIL, ROBERT. (Continued) 
 
 370. 
 
 371. 
 
 372. 
 
 373. 
 
 374. 
 
 375. 
 
 PORTRAIT OF MICHEL LE TELLIER, Minister of State, 
 Chancellor and Keeper of the Seal of France. Engraving 
 after Philip de Champagne. Robert-Dumesnil IV. No. 
 131. Only one state. Fine impression with small margin. 
 
 PORTRAIT OF CHARLES MAURICE LE TELLIER, 
 Archbishop of Reims. Three quarter life size. 1672. En- 
 graving from life. Robert-Dumesnil. No. 141. First state; 
 before any changes. Exceedingly fine impression on paper 
 watermarked ‘“Coat-of-arms with Shamrock and _ two 
 stars.” Closely trimmed at top and the two sides. 
 
 PORTRAIT OF RENE DE LONGUEIL, MARQUIS DE 
 MAISONS, Superintendent of Finances. 16538. Engrav- 
 ing from life. Robert-Dumesnil. No. 166. Fourth state 
 (of 6); the date is changed to 1662. Good old impres- 
 sion on paper watermarked “Coat-of-arms with shamrock 
 and two stars”; with margin. 
 
 PORTRAIT OF EDOUARD MOLE, President. of Parlia- 
 ment, Paris. Engraving from life. Robert-Dumesnil. No. 
 193. First state; before the background was made to 
 represent marble. Good old impression on paper water- 
 marked “CATINAUD”. With margin. Two small tears 
 on the left and at the bottom carefully repaired. 
 
 PORTRAIT OF FRANCOIS THEODORE DE NESMOUR, 
 President of Parliament, Paris. 1653. Engraving from 
 life. Robert-Dumesnil IV. No. 201. Only one state. 
 Good old impression, on paper watermarked ‘Coat-of- 
 arms with shamrock and two stars.” The border slightly 
 stained. With margin. 
 
 PORTRAIT OF PIERRE PONCET, Master of the Petitions 
 and Counsellor of State. 1660. Engraving from life. 
 Robert-Dumesnil IV. No. 215. Second state; the collar is 
 shortened and the strings and tassels are visible, but be- 
 fore the date was changed to 1673. Fine old impression 
 but slightly scratched in the border towards the right 
 lower corner. No margin. 
 
Second Session, Thursday Evening, March 30th 
 ee a eee ee ee 
 
 NANTEUIL, ROBERT. (Continued) 
 
 376. PORTRAIT OF CLAUDE REGNAULDIN, Attorney Gen- 
 eral. 1658. Engraving from life. Robert-Dumesnil IV. 
 N. 216. First state; before the “crochet” after the date. 
 Fine impression on paper watermarked ‘“Coat-of-arms 
 with shamrock and two stars”. With margin and the col- 
 lector’s Stamp monogram W. 38. 
 
 377. PORTRAIT OF FRANCOIS SERVIEN, Bishop of Bayeux. 
 1656. Engraving after Philip de Champagne. Robert- 
 Dumesnil IV. No. 225. First state; before the name of 
 the subject. Fine impression on paper watermarked 
 “Monogram of Christ and three nails in oval’. With small 
 margin. 
 
 378. PORTRAIT OF CLAUDE THEVENIN, Canon of the 
 Church of Paris. Engraving from life. Robert-Dumesnil 
 IV. No. 281. Second state (of 4); with one vertical dash 
 only in the centre of the upper margin. Fine impression 
 on paper watermarked “Monogram of Christ and three 
 nails in a circle”. Small margin. From the Baron Maro- 
 chetti Collection. 
 
 PENCZ, GEORG. About 1500-1550. (One of the “Little 
 Masters.”’) 
 
 379. ABRAHAM SENDING AWAY HAGAR. Engraving. 
 Bartsch VIII. No. 3. Clear impression, before any re- 
 touch. From the Reiss Collection. 
 
 380. THE HISTORY OF TOBIT. 1543. Engraving. Bartsch 
 VIII. No. 13-19. An almost complete set, only No. 14 is 
 lacking. (6.) 
 
 381. ILLUSTRATIONS TO THE OLD TESTAMENT 
 graving. Bartsch VIII. Nos. 20, 23, 24, 25, 27, and 
 28. Number 27 is from the P. Mariette, Posonyi and 
 Baron v. Lanna Collections—it also bears the collector’s 
 mark Fagan No. 118. Good impressions. (6.) 
 
Second Session, Thursday Hvening, March 30th 
 
 PENCZ, GEORG. (Continued) 
 
 382. 
 
 383. 
 
 38 4. 
 
 385. 
 
 386. 
 
 387. 
 
 388. 
 
 PROCRIS. 1539. Engraving. Bartsch VIII. No. 73. Fine 
 impression. One corner repaired. From the P. Gellatly 
 Collection; REGULUS. 1535. Engraving. Bartsch 
 VIII. No. 77. A small tear carefully repaired. 
 
 (2.) 
 
 SAPHONISBE DRINKING POISON. Engraving. Bartsch 
 VIII, No. 82. Closely trimmed; ARTHEMISIA having 
 the ashes of her husband poured in her drink. Bartsch, 
 VIII. No. 83. With small margin. (2.) 
 
 THE TAKING OF CARTHAGE. 1539. Engraving after 
 Giulio Romano. Bartsch VIII. No. 86. First state; 
 before Salamanca’s Address. Slight repairs along the 
 edges. From the F. DeBois and possibly Baron D. v. 
 Denon Collections. It also bears an autograph mark of 
 a collector with the date 1670 in the back. 
 
 THETIS ENTRUSTING CHIRON with the education of 
 ACHILLES. 1543. Engraving. Bartsch VIII. No. 
 90. Fine impression; has been folded once. From the 
 
 Willet, Evans, St. John Dent and T. Waller Collections. 
 
 A WOMAN HOLDING A HARP. 1544. Circular engraving. 
 Bartsch VIII. No. 96. Fine impression, somewhat close- 
 ly trimmed. From the Griggs Collection. 
 
 THE SEVEN DEADLY SINS. Engravings. Bartsch. 
 VIII. No. 98-104. An almost even set; among them 
 three with margins. (i) 
 
 THE TRIUMPHS DESCRIBED BY PETRARCA.  En- 
 gravings. Bartsch VIII. Nos. 117-122. Good impres- 
 sions—three of them slightly stained. (6.) 
 
Second Session, Thursday Evening, March 30th 
 
 PODESTA, GIOVANNI ANDREA. About 1620-(?) 
 
 389. THE THREE BACCHANALS. 1640.  Painter-etchings. 
 Bartsch XX. Nos. 2, 8, and 4. Nos. 2 and 8 are first 
 states, before Salvuci’s address was changed to Rossi’s. 
 Fine old impressions on contemporary paper watermarked 
 “Monogram of Christ in oval’. All with margins. From 
 
 the Griggs Collection. (3.) 
 
 PORPORATI, CARLO ANTONIO. 1741-1814. 
 
 390. ABRAHAM SENDING AWAY HAGAR. Engraving after 
 A. v. d. Werff. Apell, No. 2. First state. Proof with 
 the coat-of-arms and the engraver’s name only. Fine im- 
 pression, but without the platemark. 
 
 RAIMONDI, MARCANTONIO. About 1480-1530. 
 
 391. ADAM AND EVE DRIVEN FROM PARADISE. Engray- 
 ing. Bartsch XIV. No. 2. Fine impression but laid down. 
 Very rare. 
 
 392. THE QUEEN OF SHEBA VISITING SOLOMON. En- 
 graving after Raphael. Bartsch XIV. No. 18. Good old 
 impression; the ink has penetrated the paper. In very 
 good condition. 
 
 393. THE MASSACRE OF THE INNOCENTS. The plate with 
 the “fir-tree’’. Engraving after Raphael. Bartsch XIV. 
 No. 18. Very fine, early impression with a few small 
 
 restorations. Closely trimmed. Exceedingly rare. From 
 the F. Debois and P. Gellatly Collections. 
 
 (See Reproduction ) 
 
 394, THE MASSACRE OF THE INNOCENTS. The plate with- 
 out the “fir-tree’. Engraving after Raphael. Bartsch 
 XIV. No. 20. Fine early impression; the ink has pene- 
 trated the paper. Closely trimmed. Rare. 
 
(S68 “ON 22S) 
 
 $}UVIOUUT oy} JO ILOBSSBIAT UL 
 
 IQNOWIVY OINOLINVOUVI 
 
Second Session, Thursday Evening, March 30th 
 
 RAIMONDI, MARCANTONIO. (Continued) 
 395. THE LAST SUPPER. Engraving after Raphael. Bartsch 
 
 396. 
 
 397. 
 
 398. 
 
 399. 
 
 400. 
 
 401. 
 
 XIV. No. 26. Very good, old impression with a few small 
 pieces of white paper inserted near the lower edge. One 
 of rarest prints of the master. 
 
 THE MARTYRDOM OF SAINT LAWRENCE. Engrav- 
 ing after B. Bandinetti. Bartsch XIV. No. 104. Sec- 
 ond state; the second fork is almost completely burnished 
 out. Very good old impression and very rare. 
 
 ENTELLUS AND DARES. Engraving by Marco Dente da 
 Ravenna after Raphael. Bartsch XIV. No. 195. Sec- 
 ond state; with “Ant. Sal. exc.” Very good impression on 
 paper watermarked “Cross-bow in circle.” With margin. 
 From the Burleigh James and Griggs Collections. 
 
 THE RAPE OF HELENA. Engraving by Marco Dente da 
 Ravenna after Raphael. Bartsch XIV. No. 210. From 
 the J. Kollmann Collection. 
 
 THE JUDGMENT OF PARIS. Engraving after Raphael. 
 
 Bartsch XIV. No. 245. Very good old impression, be- 
 fore the retouch. ‘Traces of the pumice-stone are still 
 visible. With enough margin just to show the border line 
 at top and two sides, while at the bottom 3 mm have been 
 cut off. A few tears skilfully repaired. Exceedingly rare. 
 
 THE JUDGMENT OF PARIS. Engraving after Raphael. 
 The copy by Marco Dente da Ravenna. Bartsch XIV. 
 No. 246. Very fine impression before the retouch by 
 Villamena. With small margin. Rare. 
 
 VENUS, CUPID AND MINERVA; a study of the three fig- 
 ures in “Judgment of Paris.” Engraving after Raphael. 
 Bartsch XIV. No. 310. Attributed to a pupil of Rai- 
 mondi. Fine impression. From the Hibbert and P. Gel- 
 latly Collections. It also bears the collector’s mark 
 
 Fagan No. 180. 
 
Second Session, Thursday Evening, March 30th 
 
 RAIMONDI, MARCANTONIO. (Continued) 
 
 402. MARS, VENUS AND CUPID. 1508. Engraving imitating 
 Diirer, (See “Effects of Jealousy.”) Bartsch XIV. No. 
 345. A very good impression. From the P. Gellatly Col- 
 
 lection. - 
 
 REMBRANDT VAN RYN. 1606-1669. 
 
 403. THE LANDSCAPE WITH THE THREE TREES. Cap- 
 tain William Baillie’s reversed copy. Dutuit V. No. 209, 
 fifth copy. Second state; The plate is mezzotinted and 
 a flash of lightning strikes the trees. Very good impres- 
 sion with full margin. 
 
 REYHER, ROBERT. 1838-1877. 
 
 404. PORTRAIT OF FRIEDRICH VON SCHILLER. 1863. 
 Engraving after, Anton Graff. Apell, No. 16. With the 
 
 inscription; on India paper. 
 
 RIBERA, JOSE DE (‘Lo Spagnoletto”). 1588-1652. 
 
 405. HOLY WOMEN WEEPING OVER THE DEAD BODY 
 OF CHRIST. Painter-etching. Bartsch XX. No. 1. 
 Very good impression. From the Nahl Collection. 
 
 406. SAINT PETER KNEELING. 1621. Painter-etching. 
 Bartsch XX. No. 7. Fine impression on paper water- 
 marked “Small crowned shield with fleur-de-lis and below 
 it the letter D”’. Large margin. From the Robert- 
 Dumesnil Collection. 
 
 407. SILENUS. 1628. Painter-etching. Bartsch XX. No. 
 13. Second state; with the inscription “Al molto. .. . 
 Romano D. D.” Good impression, but has lost the four 
 corners. 
 
eel ANTONIN 
 Se SRLS 
 
 j 
 
 song ree 
 
 4 
 
 RVBE NS. 
 
 LV 
 
 > 
 S 
 
 3 
 
 cae 
 
 ir 
 
 PETER PAUL RUBENS 
 
 Portrait of Rubens, after Himself 
 
 (See No. 412) 
 
— 
 
Second Session, Thursday Evening, March 30th 
 
 ROTA, MARTINO. 1540-1590. 
 
 408. CHRIST APPEARING TO SAINT PETER. 1568. En- 
 graving after Raphael. Bartsch XIV. No. 6. Good 
 
 impression on contemporary paper. 
 
 409. PORTRAIT OF EMPEROR MAXIMILIAN II. 1575. En- 
 graving. Bartsch XVI. No. 83.. Good old impression. 
 Rare. 
 
 410. VENUS AND ADONIS. Engraving. Bartsch. XVI. No. 
 
 108. Brilliant impression. 
 
 ROWLANDSON, THOMAS. 1756-1827. 
 411. THE SURPRISE—WOOD-NYMPHS. 1799. Etchings 
 
 after F. Albano. Fine impression printed in brownish 
 black, witn full margins. (2.) 
 
 RUBENS, PETER PAUL. 1577-1640. 
 
 412. PORTRAIT OF P. P. RUBENS (after himself). The cele- 
 brated engraving by Paul Pontius (Du Pont). Dutuit 
 VI. No. 48. Third state; with the inscription. Fine old 
 impression, cut close to the border line and inlaid. Very 
 rare. 
 
 (See Reproduction ) 
 
 413. PORTRAIT OF P. P. RUBENS. Engraving after A. Van 
 Dyck by P. Pontius (Du Pont) Dutuit IV. No. 68. Third 
 state; With “Paul du Pont Sculp.” below Van Dyck’s 
 name, but before Van den Enden’s address was burnished 
 out and the letters “G. H.” added in the centre of the 
 lower edge. Fine impression on paper watermarked 
 “Crowned shield with the Baton of Basle and below it the 
 letters P. V.”” Good margin. Very rare in this state and 
 quality. From the Camberlyn and J. P. F. Kalle Col- 
 
 lections. 
 
Second Sesion: Thursday Evening, March 30th 
 
 RUBENS, PETER PAUL. (Continued) 
 
 414. PORTRAIT OF CHARLES DE LONGUEVAL, COMTE 
 DE BUQUOY. Engraving by Lucas Vorsterman. Du- 
 tuit VI. No. 61. Second state; before the height of the 
 plate was slightly reduced and the eye of Providence. 
 Very good impression in perfect order and with a small 
 margin. 
 
 415. RECUEIL DE LA GALERIE DU LUXEMBOURG. 1707- 
 1710. A set of twenty-five engravings apotheosizing the 
 lives of Mary de Medicis and Henry IV of France, by 
 Massé, G. Edelinck, L. Chatillon, G. Duchange, Loir, J. 
 Audran, A. Trouvain, B. Audran, Picart, Simonneau 
 Painé, B. Picart and C. Vermeulen. Dutuit VI. No. 14; 
 The plates 1, 2, 38, 8, and 18 are missing. Good old im- 
 pressions with large margins. ( 20.) 
 
 416. A LION HUNT. Engraving by Schelte A Bolswert. Dutuit 
 VI. No. 1; LANDSCAPE-WITH A GASTIE ae 
 graving. Dutuit VI. No. 15; LANDSCAPE WITH 
 PEASANTS DANCING. Dutuit VI. No. 20. From the 
 R. W. Weir Collection (in part). (3.) 
 
 RYLAND, WILLIAM WYNNE. 1782-(387).-1783. 
 
 417. ANTIOCHUS AND STRATONICE. Engraving after P. de 
 Cortona. Andresen I. No. 12. First state; proof with 
 coat-of-arms without the motto. With margin; RATI- 
 FYING THE MAGNA CHARTA BY KING JOHN. 
 The engraver’s last plate. Stipple after J. Mortimer. 
 Andresen I. No. 16. First state; script letter proof. 
 With margin; a small tear repaired. (2.) 
 
 418. PORTRAIT OF JOHN EARL OF BUTE, Lord of the 
 Treasury. 1760. Engraving after Ramsay. Le Blanc, 
 No. 80. With the inscription. Good impression, with 
 margin. 
 
Second Session, Thursday Evening, March 30th 
 
 SAENREDAM, JAN. 1565-1607. 
 
 419. “IT IS TO LAUGH.” Engraving after H. Goltzius. Dutuit 
 IV. No. 64. First state; with “T ’is om te lachen” only. 
 Fine impression on contemporary paper watermarked 
 “shield with diagonal bar and two lions rampant.” Close- 
 ly trimmed. 
 
 SCHMIDT, GEORG FRIEDRICH. 1712-1775. 
 
 420. PORTRAIT OF GEORG DIETLOF VON ARNIM.  Post- 
 master General. 1753. Engraving after A. Pesne. Wes- 
 sely, No. 38. (J. 75). One state only. Fine impression 
 with small margin. Rare. From the B. Keller Collection. 
 
 421. PORTRAIT OF JOHANNES BERNOULLI. 1743.  Pro- 
 fessor of Mathematics. Engraving after J. R. Huber. 
 Wessely, No. 8. (J. 54); Second state; with the inscrip- 
 
 tion. Fine impression, with margin. 
 
 422. PORTRAIT OF FRIEDRICH WILHELM BORCK, Minis- 
 ter of State and War. 1764. Engraving after A. Pesne. 
 Wessely, No. 12. (J. 86). Second state; with the in- 
 scription. Fine impression with margin. From _ the 
 Bronner and Frankfurt Museum Collections. 
 
 423. PORTRAIT OF C. G. DE TUBIERES DE CAYLUS, 
 Bishop of Auxerre. Engraving after Fontaine. Wessely, 
 No. 18. (J. 40.) Second state; with the inscription. 
 Old impression with margin; PORTRAIT OF CHRIS- 
 TIAN AUGUST, PRINCE OF ANHALT-ZERBST. 
 1750. Engraving after A. Pesne. Wessely, 20. (J. 66). 
 
 Second state; with the inscription. Large margin. 
 (2.) 
 
 424. PORTRAIT OF SAMUEL BARON VON COCCEJI, Chan- 
 cellor. 1751. Engraving after A. Pesne. Wessely, No. 
 23. (J. 67). Second state; with the inscription. Close- 
 ly trimmed; PORTRAIT OF JOH. MELCHIOR DING- 
 LINGER. 1769. Etching after A. Pesne. Wessely, No. 
 27. (J. 148). Third state; the upper lip has five ver- 
 tical lines from the right nostril down. With large mar- 
 
 gin. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 SCHMIDT, GEORG FRIEDRICH. (Continued) 
 
 425.. ELISABETHA PETROWNA, EMPRESS OF RUSSIA, in 
 coronation robes, full length standing. 1761. Engravy- 
 ing after L. Tocqué. Wessely, No. 80. (J. 82). Second 
 state; with the inscription. - A beautiful impression of this 
 great plate, in perfect condition. The engraver’s master- 
 
 eet (See Frontispiece ) 
 
 426. PORTRAIT OF FRIEDRICH VON GORNE, Postmaster 
 General. Engraving. Wessely, No. 45. (J. 70). Sec- 
 ond state; before the inscription was changed from French 
 to German. Good impression with small margin; POR- 
 TRAIT OF J. OFFRAY DE LA METTRIE. Physician 
 and Philosopher. Engraving. Wessely, No. 58. (J. 
 76). Fifth state; “de Vies” has been changed to “des 
 Ris.” Large margin. (2.) 
 
 427. PORTRAIT OF LOUISE ALBERTINE VON BRANDT, 
 Baroness Von Grapendorf. Engraving. Wessely, No. 
 46. (J. 74). First state; before the names of the ar- 
 tists and with the white place on the wing of Saturnus. 
 Fine impression with large margin. Very rare. From 
 J. A. Borner, Niirnberg, who affixed his signature to the 
 finest prints only. 
 
 428. PORTRAIT OF FREDERICK HENRY, PRINCE OF 
 PRUSSIA. 1767. Engraving after A. Vanloo. Wes- 
 sely, No. 49. (J. 88). Second state; before the two dots 
 between the word “Roy” and the date. Fine impression 
 with margin. 
 
 429. PORTRAIT OF ADRIENNE LE COUVREUR. Engravy- 
 ing after Fontaine. Wessely, No. 62. (J. 27). Third 
 state; before Odieuvre’s address was burnished out. Good 
 
 impression with large margin; PORTRAIT OF D. J. N. 
 
 LIEBERKUMN, Physician. Etching. Wessely, No. 65. 
 (J. 138). Second state; before the slips of the graver on 
 the left margin had been burnished out. With the etcher’s 
 dry stamp, which he affixed to especially selected impres- 
 sions only. With margin. Very fine and rare. From the 
 “D” Collection, Fagan No. 129. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 SCHMIDT, GEORG FRIEDRICH. (Continued) 
 
 430. PORTRAIT OF PIERRE MIGNARD, the celebrated 
 painter. 1744. Engraving after H. Rigaud. Reception- 
 plate to the Academy, Paris. Wessely, No. 70. (J. 59). 
 The state cannot be ascertained as the margin is com- 
 pletely missing. An unusually brilliant impression; Por- 
 Trait oF ANTOINE FRANCOIS PREVOST, Almoner 
 to the Prince de Conti. 1745. Engraving from life. 
 Wessely, No. 89. Fourth state; with the comma after the 
 word “Roy”. Good impression with margin. (2.) 
 
 431. PORTRAIT OF PHILIP V. KING OF SPAIN. Engraving 
 after Vanloo. Wessely, No. 86. (J. 60). Second state, 
 before the ornaments on the border and before ‘Vanloo”’ 
 was changed to “Wanloo,” etc. Only the face of the por- 
 trait is Schmidt’s work, the rest is engraved by Wille. 
 The border which is on a separate plate is by an unknown 
 engraver. Very fine impression with large margin. From 
 
 the Aug. Spazier Collection. 
 
 432. PORTRAIT OF CYRILL, COUNT RASUMOWSKY. 
 1762. Engraving after L. Tocqué. Wessely, No. 90. 
 (J. 83). Second state; before the entire inscription had 
 been burnished out and reengraved and the wording 
 changed from “omnium Russiar. . . .” to “S. J. Maj. 
 Parvae Russiae. .. .” Very fine impression with large 
 margin. From the Aug. Spazier Collection. 
 
 433. PORTRAIT OF REMBRANDT. 1771. Etching after 
 Rembrandt. Wessely No. 91. (J. 151). Second state; 
 with the dedication. Good old impression, with margin; 
 ANOTHER PORTRAIT OF REMBRANDT (sup- 
 posed). 1771. Etching after Rembrandt. Wessely, No. 
 92. (J. 150.) Third state; with the inscription in the 
 lower margin. Good impression with a small stain. Small 
 
 margin. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 SCHMIDT, GEORG FRIEDRICH. (Continued) 
 
 434 
 
 435. 
 
 436. 
 
 437. 
 
 438. 
 
 439. 
 
 PORTRAIT OF CONSTANTIN SCARLATI, Prince of the 
 Moldawa. Engaving after Liotard. Wessely, No. 100. 
 (J. 39). Only one state. Very fine impression with mar- 
 gin. From the Aug. Spazier Collection. 
 
 PORTRAIT OF THE ENGRAVER DRAWING. 1752. 
 Painter-etching. Wessely, No. 102. (J. 134). Second 
 state; with the artist’s name. Fine impression with mar- 
 gin; PORTRAIT OF THE ENGRAVER, called “With 
 the spider.” 1758. Painter-etching. Wessely, No. 1038. 
 (J. 141). Third state; with the third set of lines on the 
 wall near the window. Fine impression with large margin. 
 From the Aug. Spazier Collection. (2.) 
 
 PORTRAIT OF J. J. DE SCHOUWALOW, Chamberlain to 
 the Czar of Russia. 1762. Etching after Lagrenée Wes- 
 sely, No. 108. (J. 143.) First state; before additional 
 work and the slip of the graver at the upper edge of the 
 collar. Good impression with margin. Very rare. From 
 a collection unknown to Fagan. 
 
 PORTRAIT OF JEAN BAPTISTE SILVA, consulting phy- 
 sician to the King. 1742. Engraving after H. Rigaud. 
 Wessely, No. 112. (J. 52). Only one state; Good old 
 impression with very small margin; PORTRAIT OF DA- 
 VID SPLITGERBER, Banker. 1766. Engraving after 
 J. M. Falbe. Wessely, No. 113. (J. 87.) Private plate. 
 False proof on India paper. A fine impression with large 
 margin. (2.) 
 
 PORTRAIT OF HENRY VOGUELL, Merchant of London. 
 1746. Engraving after A. Pesne. Wessely, No. 118. 
 (J. 64). The only state. Good impression with very 
 small margin. Rare. 
 
 PATRIARCH JACOB. 1757. Etching after Rembrandt. 
 Wessely, No. 127. (J. 1839.) Second state; with the 
 white space at the top. Large margin; UNKNOWN 
 PORTRAIT OF A MAN. 1768. Etching after Rem- 
 brandt. Wessely, No. 129. (J. 127.) Second state; 
 with the inscription. Good margin. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 SCHMIDT, GEORG FRIEDRICH. (Continued) 
 
 440. PORTRAIT OF REMBRANDT WHEN YOUNG. 1753. 
 Etching after Rembrandt. Wessely, No. 130. (J. 117). 
 Second state; with the set of horizontal lines on the cap. 
 Fine impression with large margin; HEAD OF AN OLD 
 MAN. Etching. Not mentioned by Jacoby and Wessely. 
 
 (2.) 
 
 441. BUST OF AN OLD WARRIOR. Painter-etching. Wes- 
 sely, No. 148. (J. 116). First state; before the set of 
 horizontal lines on the fur lining of the cap. Fine im- 
 pression with margin; THE PERSIAN. 1756. Etching 
 after Rembrandt. Wessely, No. 150. (J. 120). Third 
 state; with the second dot after the date. With large 
 margin. C25) 
 
 442, LOT AND HIS DAUGHTERS. 1771. Etching after Rem- 
 brandt. Wessely, No. 159. (J. 178). Fourth state; with 
 the complete inscription. Small margin. From the “G. 
 H.” Collection; VIRGIN, CHILD, AND SAINT JOHN. 
 1773. Etching after A. Van Dyck. Wessely, No. 165. 
 (J. 176.) Second state; with the full inscription. With 
 small margin; THE FATHER OF THE JEWISH 
 BRIDE. 1770. Etching after Rembrandt. Wessely, 
 No. 190. (J. 129.) Second state; before the slip of the 
 graver on the paper bearing an inscription. With small 
 margin. (3.) 
 
 SCHOENGAUER, MARTIN. About 1445-1491. 
 
 443. THE CROWN OF THORNS. (From the Passion). En- 
 graving. Bartsch VI. No. 13. At the top the white 
 paper is cut off; at the left side 4mm and at the bottom 
 7mm of the printed surface has been lost. Three small 
 tears repaired. Very rare. 
 
 444. THE RESURRECTION. (From the Passion.) Engraving 
 Bartsch VI. No. 20. Very closely trimmed. Laid down 
 on account of imperfections. Browned by age. Very 
 rare. 
 
Second Session, Thursday Evening, March 30th 
 
 SCHOENGAUER, MARTIN. (Continued) 
 445. THE SYMBOL OF SAINT LUKE. Engraving. The re- 
 
 versed copy of an anonymous old master. Bartsch VI. 
 
 No. 75. 
 
 446. THE DRAGON. Engraving. Bartsch VI. No. 938. Very - 
 
 good impression; but has lost about 2mm on each side. 
 
 (See Reproduction) 
 
 SCULPTOR, DIANA. (Erroneously called Ghisi.) About 
 1535-after 1587. 
 
 447, CHRIST MAKING SAINT PETER THE HEAD OF THE 
 CHURCH. Engraving after Raphael. Bartsch XV. 
 
 No. 5. Fine old impression with margin. 
 
 448. THE BIRTH OF APOLLO AND DIANA. Engraving after 
 Giulio Romano. Bartsch XV. No. 39. First state; be- 
 fore any address. Fine impression with large margin. 
 From the “F. V.” Collection. 
 
 SHARP, WILLIAM. 1749-1824. 
 
 449. PORTRAIT OF WILLIAM SHARP, the engraver. 1817. 
 Engraving after G. F. Joseph. Baker, No. 59. Third 
 state; before the name was engraved in the white space. 
 Proof on India paper. Small margin. 
 
 450. THE DOCTORS OF THE CHURCH. 1785. Engraving. 
 after Guido Reni. Baker, No. 18. Sixth state; with the 
 full title. Cut close to the plate mark. 
 
 451. PORTRAIT OF FILMER HONYWOOD, M. P. 1804. En- 
 graving. Baker, No. 50. Second state. Proof before all 
 letters, with full margin and deckel edges; PORTRAIT 
 OF JOHN HUNTER, the great anatomist. 1788. The 
 small plate. Engraving after Joshua Reynolds. Baker, 
 No. 53. The only state. With good margin. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 SHARP, WILLIAM. (Continued) 
 
 452. PORTRAIT OF KEMBLE, Actor. 1803. Engraving after 
 M. A. Shee. Baker, No. 58. Third state; open letter 
 proof, with full margin and deckel edges; PORTRAIT OF 
 THOMAS PAINE, author, 1793. Engraving after G. 
 Romney. Baker, No. 61. First state; open letter proof, 
 with full margin and deckel edges. (2.) 
 
 STRANGE, SIR ROBERT. 1721-1792. 
 
 453. PORTRAIT OF ROBERT STRANGE, the engraver. Circu- 
 lar engraving after J. B. Greuze. Apell, No. 50. Only 
 one state; with full margin; ABRAHAM SENDING 
 AWAY HAGAR.—ESTHER BEFORE AHASUERUS. 
 Both 1762. Engravings after Guercino. Apell, Nos. 1 
 and 2; Second states; with the inscriptions. Fine impres- 
 sions with large margins. (3.) 
 
 454. LAOMEDON, KING OF TROY. 1775. Engraving after 
 Salvator Rosa. Apell, No. 30. Second state; with the 
 full inscription. Fine impression on large paper with 
 deckel edges; BELISARIUS. 1757. Engraving after 
 Salvator Rosa. Apell, No. 36. Second state; with the 
 inscription. Large margin. (2.) 
 
 455. DEATH OF DIDO. 1776. Engraving after Guercino. 
 Apell, No. 81. Second state; before the third line of the 
 inscription “ad exemplar etc.” was added. A very rich 
 impression, with full margin. 
 
 456. CHARLES I, KING OF ENGLAND, in Coronation robes, 
 1770. Engraving after Van Dyck. Apell, No. 45. Sec- 
 
 ond state; with the inscription. Good margin. 
 
 THOURNEYSSER (Thurneyssen), JOHANN JACOB. 
 1636-1718. 
 457. PORTRAIT OF CAMILLE DE NEUFVILLE DE VILLE- 
 ROI, Archbishop of Lyon. 1672. Engraving after N. 
 Mignard. Le Blanc, No. 24. Very fine impression with 
 good margin. Very rare. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN DE PASSE, CRISPIN. About 1565-1637. 
 
 458. PORTRAIT OF PETRUS DE FUENTES, Spanish General 
 and Governor of Belgium. Engraving. Franken, No. 616. 
 Fine old impression on paper watermarked “Crescent 
 with a face.” Bricquet, No. 5829; with large margin; 
 PORTRAIT OF C. JULIUS CAESAR. Engraving not » 
 mentioned by Franken. Old impression on paper water- 
 marked “Small double eagle surmounted by a crown.” 
 
 With margin. (2.) 
 
 459. PORTRAIT OF JAMES I., KING OF ENGLAND. 1613. 
 Engraving. Franken, No. 681. Fine old impression 
 on paper watermarked “Eagle with the baton of Basle.” 
 
 (about 1605). Very small margin. Extremely rare. 
 From the E. B. Holden Collection. 
 
 460. PORTRAIT OF MARTEN HARPERTSZOON TROMP, 
 celebrated Dutch Admiral. Engraving from _ life. 
 Franken, No. 905. Good old impression on paper water- 
 marked “Crowned shield with tower.” Very small mar- 
 gin, slightly stained and one corner of white paper re- 
 placed. Rare. 
 
 VAN DYCK, ANTHONIE. 1599-1641. 
 
 461. PORTRAIT OF JODOCUS DE MOMPER, Painter. 
 Painter-etching. One of the twenty undisputed plates by 
 the master. Dutuit IV. No. 7. Fifth state; the letters 
 “G. H.” have been burnished out and the upper corners 
 carefully replaced. 
 
 462. PORTRAIT OF FRANS SNYDERS. Painter. Painter-etch- 
 ing. One of the twenty undisputed plates by the master. 
 Dutuit IV. No. 11. Fourth state; the letters “G. H.” 
 have been burnished out. On paper watermarked 
 “Crowned shield with fleur-de-lis and below it the mono- 
 gram W. R.” From the edition of Gillis Hendricx or 
 J. Meyssens between the years 1675 and 1900. Full 
 margin; Also AN OLD DRAWING of the same portrait 
 in black chalk. (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 VAN DYCK, ANTHONIE. (Continued) 
 
 463. PORTRAIT OF WILLEM HONDIUS, Engraver. En- 
 graving by W. Hondius. Dutuit IV. No. 35. Fifth 
 state; PORTRAIT OF ADAM DE COSTER, the painter. 
 Engraving by Peter de Jode. Dutuit IV. No. 38. Fifth 
 state. Both prints in the same state and condition as 
 the preceding number; Also TWO OLD DRAWINGS 
 in black chalk of the same portraits. ( 4.) 
 
 464. PORTRAIT OF CORNELIS POELENBORCH, Painter. 
 Engraving by Peter de Jode. Dutuit IV. No. 42. Sixth 
 state; PORTRAIT OF CORNELIS’ VAN DER 
 GUST, Painter. Engraving after Paul Pontius. Dutuit 
 IV. No. 54. Fifth state. Both prints in the same 
 state and condition as the preceding number; Also 
 TWO OLD DRAWINGS in black chalk of the same 
 portraits. (4.) 
 
 465. PORTRAIT OF GERARD HONTHORST, the painter. 
 Engraving by Paul Pontius. Dutuit IV. No. 58. Sev- 
 enth state; PORTRAIT OF DANIEL MYTENS, the 
 Painter. Engraving by Paul Pontius. Dutuit IV. No. 
 62. Fifth state. Both prints in the same state and con- 
 dition as the preceding number; Also TWO OLD 
 DRAWINGS in black chalk of the same portraits. 
 
 (4.) 
 
 466. PORTRAIT OF PALAMEDES PALAMEDESSEN, battle 
 painter. Engraving by Paul Pontius. Dutuit IV. No. 
 64. Fifth state; PORTRAIT OF THEODOR ROM- 
 BOUTS, Painter. Engraving by Paul Pontius. Dutuit 
 IV. No. 67. Fifth state. Both prints in the same state 
 and condition as the preceding number; Alsos TWO 
 OLD DRAWINGS in black chalk of the same por- 
 traits. (4.) 
 
Second Session, Thursday Evening, March 30th 
 
 VAN DYCK, ANTHONIE. (Continued) 
 467, PORTRAIT OF ADRIAAN STALBENT, landscape painter. 
 
 Engraving by Paul Pontius. Dutuit IV. No. 72. Sixth 
 state; PORTRAIT OF JAN WILDENS, landscape 
 painter. Engraving by Paul Pontius. Dutuit IV. No. 
 
 _ 76. Fourth state. Both prints in the same state and 
 
 condition as the preceding number; Also TWO OLD 
 DRAWINGS in black chalk of the same portraits. 
 
 (4.) 
 
 468. PORTRAIT OF JACOB DE CACHOPIN, Art amateur. 
 
 469 
 
 470 
 
 Engraving by Lucas Vorsterman. Dutuit IV. No. 82. 
 Fifth state; PORTRAIT OF HUBERT VAN DEN 
 EYNDEN, sculptor. Engraving by Lucas Vorsterman. 
 Dutuit IV. No. 87. Fourth state. Both prints in the 
 same state and condition as the preceding number. Also 
 TWO OLD DRAWINGS in black chalk, of the same por- 
 traits. (4.) 
 
 . PORTRAIT OF CHARLES DE MALLERY, Engraver. 
 
 Engraving by Lucas Vorsterman. Dutuit IV. No. 93. 
 Fifth state; PORTRAIT OF JAN VON MILDERT, 
 sculptor. Engraving by Lucas Vorsterman. Dutuit IV. 
 No. 4. Sixth state. Both prints in same state and con- 
 dition as the preceding number. Also TWO OLD DRAW- 
 INGS in black chalk of the same portraits. (4.) 
 
 - PORTRAIT OF CORNELIS DE VOS, the Painter. En- 
 
 graving by Lucas Vorsterman. Dutuit IV. No. 100. 
 Fourth state; PORTRAIT OF ANDREAS VON ERT- 
 VELT, marine painter. Engraving by Schelte a Bol- 
 swert. Dutuit IV. No. 102. Third state. Both prints 
 in the same state and condition as the preceding num- 
 ber; Also TWO OLD DRAWINGS in black chalk of the 
 
 same portraits. (4.) 
 
 471. PORTRAIT OF THOMAS PRINCE OF SAVOY. Engrav- 
 
 ing by Paul Pontius. Dutuit IV. No. 166, Second state; 
 before the address of Gillis Hendricx was burnished out. 
 Fine impression on paper watermarked “Grape.” Small 
 margin. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN DYCK, ANTHONIE. (Continued) 
 
 472, PORTRAIT OF DON JERONIMO DE BRAN, Art ama- 
 teur. Engraving by Lucas Vorsterman. Dutuit IV. 
 pp. 288-284. First state; before the additional work 
 on the sword hilt, and the strip of embroidery running 
 down the right sleeve. Very fine impression on paper 
 watermarked ‘Folly with five bells.” With small mar- 
 gin. Dutuit says that this state is of the greatest 
 rarity. 
 
 VAN LEYDEN, LUCAS. 1494-1533. 
 
 473. PORTRAIT OF LUCAS VAN LEYDEN. Engraving by 
 Cornelis Galle (Th. Galle excud.). Fine impression on 
 paper watermarked with the monogram “P. L. Z.” 
 Small margin. From the Burleigh James and P. Gel- 
 latly Collections. 
 
 474. THE EXPULSION FROM PARADISE. 1529. Engravy- 
 ing. Dutuit V. No. 4. On paper watermarked with the 
 “Gothic P.”; CAIN KILLING ABEL. 1529. Engrav- 
 ing. Dutuit V. No. 5. Laid down From two collec- 
 tions unknown to Fagan; ADAM AND EVE LAMENT- 
 ING THE DEATH OF ABEL. 1529. Engraving 
 Dutuit V. No. 6. On paper watermarked ‘‘small shield 
 with fleur-de-lis and above it a cross.” From the Bur- 
 
 leigh James and P. Gellatly Collections. C3.) 
 
 475. LAMECH AND CAIN. 1524. Engraving. Dutuit V. No. 
 14. Good old impression. 
 
 476. LOT AND HIS DAUGHTERS. 1530. Engraving. Du- 
 tuit V. No. 16. Very good impression. From the Baron 
 von Lanna Collection 
 
 477. ABRAHAM SENDING AWAY HAGAR. 1516. Engrav- 
 ing. Dutuit V. No. 18. Old impression. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN LEYDEN, LUCAS. (Continued) 
 
 478. 
 
 480. 
 
 481. 
 
 482. 
 
 483. 
 
 484, 
 
 JOSEPH TELLING HIS DREAMS—JOSEPH AND 
 POTIPHAR’S WIFE—JOSEPH IN PRISON— 
 JOSEPH BEFORE PHARAO. 1512. Engravings. 
 Dutuit V. Nos. 19, 20, 22, and 28. Good old impres- 
 sion, before the retouch. On paper watermarked with — 
 the “Gothic P.” Slightly repaired and two with stains. 
 From the Duke of Aremberg Collection. 
 
 . DAVID PLAYING BEFORE SAUL. About 1508. En- 
 
 graving. Dutuit V. No. 27. Good impression with 
 large margin. One of his most important plates. 
 
 SUSANNAH AND THE ELDERS. About 1508. Engrav- 
 ing. Dutuit V. No. 33. Good impression on paper 
 watermarked “Quartered shield with five circles, eagle, 
 two hermines and a fleur-de-lis. No margin. 
 
 SAINT JOACHIM EMBRACING SAINT ANN. 1520. 
 Engraving. Dutuit V. No. 34. Very good impression; 
 closely trimmed and with a thin corner. 
 
 THE ADORATION OF THE MAGII. 15138. Engraving. 
 Dutuit V. No. 37. Late impression of the original. 
 Slightly repaired, no margin Dutuit says: “This is one 
 of the most important and rarest works of the engraver.” 
 
 THE ADORATION OF THE MAGII. 1513. Engraving. 
 A contemporary and very deceptive copy on paper water- 
 marked “Little Jug.” Laid down on account of imperfec- 
 tion; Also ANOTHER COPY by an engraver of the end 
 of the XVIIIth, or beginning of XIXth, century. (2.) 
 
 THE BAPTISM OF CHRIST. About 1510. Engraving. 
 With small margin. From the H. F. Sewall collection 
 and Duplicate of the Boston Musem. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN LEYDEN, LUCAS. (Continued) 
 
 485. 
 
 486. 
 
 487. 
 
 488. 
 
 489. 
 
 490. 
 
 491. 
 
 SIX PLATES OF THE PASSION :—THE BETRAYAL 
 OF CHRIST.—THE MOCKING OF CHRIST.—THE 
 FLAGELLATION.—THE CROWN OF THORNS.— 
 THE CRUCIFIXION AND THE ENTOMBMENT. 
 Dutuit V. Nos. 45, 47, 48, 49, 52, and 54. With the ex- 
 ception of No. 47 they are possibly the copies by Jan 
 Muller. Good impressions with margins. No. 47 is the 
 original, bears M. Petri’s address and is without margin. 
 
 From the Baron Scheffler Collection. (6.) 
 
 CHRIST PRESENTED TO THE PEOPLE. 1510. En- 
 graving Dutuit V. No. 71. Contemporary impression. 
 Laid down on account of imperfections. No margin. 
 Duplicate of the Boston Museum. 
 
 CHRIST APPEARING TO MARY MAGDALEN. 1519. 
 Engraving. Dutuit V. No. 77. Fair impression. No 
 margin. From the Baron de Triqueti and Griggs Collec- 
 tions. 
 
 THE RETURN OF THE PRODIGAL. About 1516. En- 
 graving. Dutuit V. No. 78. Second state, with “Mar- 
 tini Petri excud.” Small margin. 
 
 THE CONVERSION OF SAINT PAUL. 1509. Engrav- 
 ing. Dutuit V. No. 107. Very good impression on con- 
 temporary paper, watermarked ‘Crowned Pitcher.” 
 Closely trimmed and small defects along the edges care- 
 
 fully repaired. From the Theobald Collection. 
 
 SAINT CHRISTOPHER. About 1521. Engraving. Du- 
 tuit V. No. 109. Good old impression, with a very small 
 margin on three sides. Rare. 
 
 SAINT JOHN IN THE DESERT. 1513. Engraving. 
 Dutuit V. No. 110. Good old impression; with a small 
 margin. From the Baron von Lanna Collection. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN LEYDEN, LUCAS. (Continued) 
 
 492. THE BEHEADING OF SAINT JOHN. About 1513. En- 
 graving. Dutuit V. No. 111. Good, old impression, 
 closely trimmed and with a small stain. From the Baron 
 von Lanna Collection. 
 
 493. SAINT ANTHONY, THE HERMIT. 1521. Engraving. 
 Dutuit V. No. 116. Good old impression, closely 
 trimmed. From the Z. J. Karnicki and Baron von Lanna 
 Collections. 
 
 494. THE TEMPTATION OF SAINT ANTHONY. 1509. En- 
 graving. Dutuit V. No. 117. Fair impression on paper 
 watermarked “Dart and the letter W.” Closely trimmed 
 just leaving the border line. 
 
 495. SAINT FRANCIS OF ASSISI. About 1514. Engraving. 
 Dutuit V. No. 120. Good old impression but very close- 
 ly trimmed. At the top it has lost from 2 to 5 mm. 
 
 496. SAINT MARY MAGDALEN GIVING HERSELF UP TO 
 THE PLEASURES OF THE WORLD. Also called 
 “Saint Magdalen’s Dance.” 1519. Engraving. Dutuit 
 V. No. 122. First state before “Martini Petri exc.” was 
 added. 
 
 497. SAINT MARY MAGDALEN IN THE DESERT. About 
 1508. Engraving. Dutuit V. No. 123. Fairly good im- 
 
 pression with margin. 
 
 498. THE SEVEN VIRTUES. 15380. Engraving. Dutuit V. 
 No. 127-183. A fairly good set. No. 131. On paper 
 watermarked with the “Gothic P.” Nos. 127 and 182 
 with the numerals 1 and 7. No. 183 on paper water- 
 marked “Grape with leaf.” Mostly close-trimmed, a few 
 with a very small margin. (ie) 
 
 499. PYRAMUS AND THISBE. 1514. Engraving. Dutuit 
 V. No. 135. Fairly good impression, on paper water- 
 marked “Grape with leaf.” Closely trimmed. 
 
Second Session, Thursday Evening, March 30th 
 
 VAN LEYDEN, LUCAS. (Continued) 
 
 500. PALLAS. The engraver’s last plate. Engraving. Dutuit 
 V. No. 189. Very good impression, before the letter 
 “L.” Closely trimmed. From the P. Gellatly Collection. 
 
 901. THE STANDARD BEARER. 1510. Engraving. Du- 
 tuit. No. 140. Good impression. Repaired and with a 
 false margin. From the Von Nagler, Berlin Museum and 
 Cope Collections. Rare. 
 
 502. A FOOL KISSING A WOMAN. 1520. Engraving. Du- 
 tuit V. No. 150. Good old impression. Trimmed down 
 1-2mm. From the Baron von Lanna Collection. 
 
 5038. THE DAIRYMAID. 1510. Engraving. Dutuit V. No. 158. 
 With a small margin. A very interesting plate. 
 
 504. HEAD OF A WARRIOR. 1527. Engraving. Dutuit V. 
 No. 160. Fairly good impression, trimmed down a trifle 
 at the bottom. 
 
 505. PORTRAIT OF HIMSELF. 1525. Engraving. Dutuit 
 V. No. 173. This is now considered an etching of the 
 XVII century after Diirer’s portrait of Van Leyden; 
 PORTRAIT OF A YOUNG MAN; (Supposed to be 
 his own). Engraving. Dutuit V. No. 174. Fairly good 
 impression. Closely trimmed. (25) 
 
 VAN MECKENEM. ?—15038 
 506. JUDITH. Engraving. Bartsch VI. No. 4. Fairly good 
 
 impression but stained and laid down on account of im- 
 perfections. 
 
 507. THE MASS OF SAINT GREGORY. Engraving. Bartsch 
 VI. No. 100. Fairly good impression with margin. 
 
Second Session, Thursday Evening, March 30th 
 
 VELLERT, DIRCK JACOBSZ. (Dirk van Star) Flour- 
 ished 1511-1544. 
 
 508. SAINT BERNHARD ADORING THE VIRGIN AND 
 CHILD 1524. Engraving. Bartsch VIII. No. 8. A 
 small tear in the upper left corner carefully repaired. 
 Old impression on paper watermarked “Crowned shield 
 with circle and three stars.” Briquet, No. 1093. Very 
 rare, 
 
 (See Reproduction) 
 
 VENEZIANO, AGOSTINO (A. DE’ MUSI). About 
 1510-1540. 
 
 509. ABRAHAM’S SACRIFICE. Engraving after Raphael. 
 Bartsch XIV. No. 5. Fine early impression, the ink 
 penetrating the paper, with margin. From the Julian 
 Marshall Collection. 
 
 910. THE TRIUMPH OF SILENUS. Engraving after Raphael 
 or Guilio Romano. Bartsch XIV. No. 240. Early im- 
 pression, the ink penetrating the paper. Stained, and 
 small defects in the paper. With margin. From the Wil- 
 liam Sharp Collection. 
 
 dll. THE “STREGOZZO.” Engraving after Michel Angelo or 
 Raphael. Bartsch ‘XIV. No. 426. Second state; with 
 Veneziano’s initials. With margin at top and bottom. 
 
 VERTUE, GEORGE. 1684-1756. 
 
 512. PORTRAIT OF GEORG VERTUE. Etching after his own 
 drawing, by T. Priscott; PORTRAIT OF SARAH 
 DUCHESS OF SOMERSET. 1736. Engraving after 
 T. M. Q. Small margin; PORTRAIT OF BENJAMIN 
 JOHNSON. 1730. Engraving after G. Honthorst. Fine 
 
 impression. Small margin, inlaid. (3.) 
 
DIRCK JACOBSZ VELLERT 
 
 ild 
 
 d Ch 
 
 ‘Irgin an 
 
 the V 
 
 Bernhard adoring 
 
 St 
 
 508) 
 
 (See No 
 
Second Session, Thursday Evening, March 30th 
 
 VICO, ENEA. About 1520-1570. 
 513. COSMO DE MEDICIS, GRAND DUKE OF TUSCANY. 
 
 Engraving after his own design. Frontispiece to “Dis- 
 cors! Sopra esc. Venezia 1558.” Bartsch XV. No. 239. 
 Very fine impression; PORTRAIT OF ANTONIO 
 FRANCESCO DONI. Engraving. Bartsch XV. No. 
 245. Ca) 
 
 514. PORTRAIT OF CHARLES V. 1550. Engraving after his 
 own design. Bartsch XV. No. 255; the original. Very 
 good old impression. Rare. 
 
 VILLAMENA, FRANCESCO. About 1588-1648. 
 
 515. THE LAST JUDGMENT. 1603. Engraving. Nagler XX. 
 No. 47. On contemporary paper. With margin. Rare. 
 From the Griggs Collection. 
 
 VISSCHER, CORNELIS. 1629(?)-1658(7?). 
 
 516. THE ANTIQUARY (Andrea Odoni). Engraving after 
 Correggio. Dutuit VI. No. 52. First state; before any 
 inscription. Fine impression on paper watermarked 
 “Crowned shield with fleur-de-lis and the monogram W. 
 
 R. below it;” also monogram of Christ and the letters 
 Po coe | Small margin. 
 
 517. PORTRAIT OF GELLIUS DE BOUMA, (one of the por- 
 traits known as “The Big Beards”). 1656. Engraving 
 from life. Dutuit VI. No. 89. Second state; before the 
 date. Brilliant impression on paper watermarked *Fleur- 
 de-lis,” and with small margin. The chef-d’oeuvre of the 
 engraver. 
 
 518. ANOTHER IMPRESSION of the same, apparently earlier, 
 but cut down. On paper watermarked “Crowned shield 
 with fleur-de-lis” and the monogram W. R. below. (Rem- 
 brandt paper). With the Collector’s stamp P. B. in 
 greenish blue ink. 
 
Second Session, Thursday Evening, March 30th 
 a 
 
 VISSCHER, CORNELIS. (Continued) 
 
 519. PORTRAIT OF LIEVEN VAN COPPENOL, the Writing 
 master. Engraving from life 1658. Dutuit VI. No. 
 98. Second state; the front of the right sleeve is lightly 
 shaded, but still before any inscriptions. Very fine im- 
 pression on paper watermarked, “Monogram of Christ.” 
 
 From the A. F. Didot Collection. 
 
 520. PORTRAIT OF JAN MERIUS. Engraving from life. Du- 
 tuit VI. No. 103. Second state. Good old impression 
 with small margin. 
 
 521. PORTRAIT OF VONDEL, the Poet. Engraving from life. 
 Dutuit VI. No. 120. Seventh state; with “1657 aet. 
 70” but before “Justus Danckers Excud.” Very good 
 impression on paper watermarked “Small Folly”; with 
 margin. 
 
 522. PORTRAIT OF FRANCISCUS VALDESIUS. 1649. En- 
 graving. Dutuit VI. No. 130. Second state; with the 
 inscription and the number I. Very good impression 
 with margin; PORTRAIT OF JANUS DOUSA. 1649. 
 Engraving. Dutuit VI. No. 182. Second state; with 
 the inscription and before the number III was burnished 
 out. Fine impression with margin. C25) 
 
 VISSCHER, JAN. 1634-1692(7). 
 
 923. PORTRAIT OF ABRAHAM VAN DER HULST, Vice Ad- 
 miral of Holland. Engraving after J. Van der Helst. 
 Andresen IH. No. 4, Fine impression with margin. 
 
 VORSTERMAN, LUCAS. About 1595-1675. 
 
 524, PORTRAIT OF ERASMUS OF ROTTERDAM. Engray- 
 ing after J. Holbein. Nagler XX. No. 80. From the 
 
 Thomas Lawrence and Griggs Collections. 
 
Second Session, Thursday Hvening, March 30th 
 
 WILLE, JEAN GEORGES. 1715-1808. 
 
 525. 
 
 526. 
 
 527. 
 
 528. 
 
 Cr 
 iw) 
 No) 
 
 PORTRAIT OF JEAN GEORGES WILLE. 1771. En- 
 graving by P. C. Ingouf after a design by P. A. Wille, 
 the son. Good impression with margin; ANOTHER 
 PORTRAIT OF THE SAME. 1776. Engraving by I. 
 G. Miiller after J. B. Greuze. Apell No. 41. Third 
 state; with the address of the engraver. Very good im- 
 pression with margin. A trifle foxed. (2.) 
 
 SAPPER OF THE SWISS-GUARDS. 1779. Engraving 
 after his own design. LeBlanc No. 86. Third state; 
 proof before letters, with the coat-of-arms and the en- 
 graver’s name. Very fine impression with large margin. 
 
 PORTRAITS OF LOUIS, DAUPHIN OF FRANCE, AND 
 MARIE JOSEPHE, OF SAXONY, DAUPHINE OF 
 FRANCE. Both engravings after Daniel Klein. Le- 
 Blanc No. 106 and 108. Very good impressions with 
 large margins. No. 106 from the W. Benoni White Col- 
 lection. (23) 
 
 PORTRAIT OF PIERRE DE GUERIN DE TENCIN, 
 Cardinal. Engraving after E. Parrocel. Le Blanc No. 
 109. Second state; with the inscription, but before the 
 cross of the Archbishop, in the coat-of-arms, was coy- 
 ered with dots. Fine impression with margin. 
 
 . PORTRAIT OF CHARLES, COMTE D’AUMALE, 
 
 Lieutenant General. 1751. Engraving after Jean 
 Chevalier. LeBlanc. No. 128. Second state; with the 
 inscription. Fine impression with small margin; POR- 
 TRAIT OF CHARLES FREDERICK, MARGRAVE 
 OF BADEN AND HACHBERG. 1745. Engraving 
 after J. F. Guillebaud. LeBlanc No. 156. Second state; 
 with the inscription. Good impression with margin. 
 
 (2.) 
 
Second Session, Thursday Evening, March 30th 
 
 WILLE, JEAN GEORGES. (Continued) 
 
 5380. PORTRAIT OF WOLDEMAR DE LOEWENDAL, 
 MARSHAL OF FRANCE. 1749. Engraving after 
 M. Q. De la Tour. LeBlanc No. 122. Third state; with — 
 
 the inscription. Very good-impression with margin. 
 
 5381. PORTRAIT OF LOUIS PHELYPEAUX, Comte de Saint- 
 Florentin. 1751. Engraving after J. L. Tocqué. Le 
 Blane No. 124, Fourth state with the word “Ministre” 
 added. Small margin. 
 
 532. PORTRAIT OF ABEL FRANCOIS POISSON DE VAN- 
 DIERES; Director General of Buildings. Engraving 
 after J. L. Tocqué. 1761. LeBlanc No. 125. Fifth 
 state. ‘To the inscription has been added a statement to 
 the effect that this is the engraver’s Reception plate. 
 Strong impression with full margin. 
 
 533. PORTRAIT OF NICOLAS RENE BERRIER, Lieutenant 
 of Police. Engraving after Jacques de Lyen. LeBlanc 
 No. 127. Third state; with the inscription, but before 
 the addresses of Bretin and Basan. Very good impres- 
 sion with margin. 
 
 534. PORTRAIT OF JEAN BAPTISTE MASSE. Painter. 
 1755. Engraving after J. L. Tocqué. LeBlanc No. 1380. 
 Third state; with the address of the engraver added to 
 the inscription. Good impression, a trifle foxed; with 
 big margin. 
 
 535. PORTRAIT OF HENRI LIEBAUX, Geographer, 1747. 
 Engraving after Jean Chevalier. LeBlanc No. 181. 
 First state; proof before all letters. Brilliant impression 
 with good margin. Very rare. From the F. Rumpf Col- 
 
 lection. 
 
 536. PORTRAIT OF ELISABETH DE GOUY, Wife of H. 
 Rigaud. 1743. Engraving after H. Rigaud. LeBlane 
 No. 145. Third state; with the printer’s address added 
 to the inscription. Full margin. 
 
Second Session, Thursday Evening, March 30th 
 
 WILLE, JEAN GEORGES. (Continued) 
 
 537. PORTRAIT OF FREDERICK II., KING OF PRUSSIA. 
 1757. Engraving after A. Pesne. LeBlanc No. 151. 
 Second state; with the inscription. Good impression with 
 margin. 
 
 5388. PORTRAIT OF TYCHO HOFMAN, Danish Nobleman. 
 1745. Engraving after J. L. Tocqué. LeBlanc No. 1638. 
 Fourth state (of 6); with the inscription in Latin. Very 
 good impression with margin; PORTRAIT OF 
 JOHANN MARTIN PREISLER, the engraver. 1743. 
 Engraving from life. LeBlanc No. 168. Second state; 
 with the inscription. Good impression, with margin. 
 
 (2.) 
 
 539. PORTRAIT OF HIERONIMUS VON ERLACH, Mayor 
 of Bern. Engraving after Rusca. LeBlanc No. 167. 
 First state; with the inscription in German. Fine im- 
 pression, closely trimmed and laid down. Rare. 
 
 WOOLLETT, WILLIAM. 1735-1785. 
 
 540. DEATH OF GENERAL WOLFE. Engraving after B. 
 West. Andresen II. No. 25. Fifth state; a small tear in 
 the lower margin repaired. 
 
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