R.vv: lloyB RU ? LoCt/\ CATALOGUE Tint f)rmtfi attfr trainings ANCIENT MASTERS OF THE DUTCH, GERMAN AND ITALIAN SCHOOLS, ENGRAVINGS AFTER SIR J. REYNOLDS, dtfdmigs uub English Plater-colour £1 mb rugs, THE PROPERTY OF HOWBL WILLS, ESQ. OOP FLORENCE = WHICH Mill foe £olli t)j) auction toj> Messrs. CHRISTIE, MANSON & WOODS, AT TKEX& (SEEAT E0OMS, 8 KING STREET, ST. JAMES’S SQUARE, On TUESDAY, FEBRUARY 13, 1894, A.NB FOLLOWING DAN, AT ONE O’CLOCK PRECISELY. May be viewed Two Days preceding, and Catalogues had, at Messrs. Christie, M anson and Woods’ Offices, 8 Kina Street, St. James s Square, S. W. t * CONDITIONS OF SALE. - 0 - I. THE highest Bidder to be the Buyer; and if any dispute arise between two or more Bidders, the Lot so in dispute shall be immediately put up again and re-sold. II. Ho person to advance less than Is.; above Five Pounds, 5s.; and so on in proportion. III. In the case of Lots upon which there is a i*eserve, the Auctioneer shall have the right to bid on behalf of the Seller. IV. The Purchasers to give in their Names and Places of Abode, and to pay down 5s. in the Pound, or more, in part of payment, or the whole of the Purchase-Money, if required; in default of which, the Lot or Lots so purchased to be immediately put up again and re-sold. V. The Lots to be taken away and paid for, whether genuine and authentic or not, with all faults and errors of description, at the Buyer’s expense and risk, within Two days from the Sale; Messrs. Christie, Manson and Woods not being responsible for the correct description, genuineness, or authenticity of, or any fault or defect in, any Lot; and making no warranty whatever. VI. To prevent inaccuracy in delivery, and inconvenience in the settlement of the Purchases, no Lot can on any account be removed during the time of Sale; and the remainder of the Purchase-Money must absolutely be paid on the delivery. VII. Upon failure of complying with the above Conditions, the Monty deposited in part of payment shall be forfeited; all Lots un¬ cleared within the time aforesaid shall be re-sold by public or private Sale, and the deficiency (if any) attending such re-sale shall be made good by the Defaulter at this Sole. CATALOGUE First Day’s Sale. --oo^oo - .. ■ On TUESDAY, FEBRUARY 13, 1894, AT ONE O’CLOCK PRECISELY. MISCELLANEOUS PRINTS, Etc. 1 Portrait of Cousins, after Watts, by himself; The Holy Family, after L. da Yinci; &c. 10 2 Giulio de Medici, after Baffaelle, by Gruner; St. Sebastian, after Baffaelle ; and others 9 3 Beatrix d’Este, after L. da Yinci, by Boutelie ; and other engrav¬ ings, various 6 ALTDORFER. 4 Virgin and Child (B. 15 )—fine F. ANDERLONI. 5 The Judgment of Solomon, after Baffaelle —proof before any letters G The Virgin and Child, after Baffaelle * B 2 6 4 P. ANDERLONI. 7 The Woman taken in Adultery, after Titian ; and Moses cliastising the Shepherds —proofs before any letters 8 The Passeggio Madonna, after Raffaelle —proof before letters 9 Adorent Eum Angeli, after Titian —proof before any letters AUDOU1N. 10 Jupiter and Antiope —proof with artist's names etched H. S. BEHAM. 11 Misfortune (B. 141 )—fine BERVIC. 12 St. John, after Raffaelle —proof with artist's name etched ; and another P. BETTELINI. 13 St. John, after Domenichino; and the Magdalen, after Schidone— proofs with arms only 2 14 La Vierge aux Candelabres, after Raffaelle; and others 2 BEIN. 15 St. Apolline, after Raffaelle— proof, first state; and the Deposition, after Francia, by Blanchard —print 2 A. BLANCHARD. 16 La Petite Paysanne, after Murillo— artist’s proof; and the Virgin Mary, after Luini, by Beaugrand —proof 5 BOLSWERT. 17 The Crucifixion, after Van Dyck; and two others, after Rubens 3 BRAQUEMOND. 18 Erasmus, after Holbein —proof before any letters 19 Evening, after Rousseau— artist’s proof on vellum HANS BURGMAIER. 20 Mercury with Venus (P. 199, No. 1)— rare calamatta. 21 La Joconda, after L. da Vinci —proof before any letters CARAGLIO. 21 a The Madonna seated with the Child, not described in Bartsch From the St. John Dent Collection COINY. 22 The Creation, after Michael Angelo— artist's proof; and another 2 CHAUVEL. 23 Solitude, after Daubigny— artist's proof on Japan paper 24 Ville d’Avray, after Corot— artist's proof on vellum S. COUSINS. 25 Cardinal Newman, after Lady Coleridge— trial proof 26 The Cenci, after Guido— proof with engraver's name only 27 Lady Spencer and Lord Althorpe, after Reynolds— artist's proof 28 Duchess of Rutland, after Reynolds— artist's proof 29 Pope Pius VII., after Lawrence— proof before letters 6 H. COUSINS. 30 Mater Dolorosa, after Murillo— proof before all letters DANGUIN. 31 The Knight’s Dream, after Raffaelle— print; and Rembrandt’s Wife, after Rembrandt— print 2 A. B. DESNOYERS. 32 La Yierge au Linge, after Raffaelle— proof ft 33 La Vierge de Florence, after Raffaelle— open letter proof 34 La Yierge aux Rochers, after L. da Yinci— open letter proof 35 La Yierge au Berceau, after Raffaelle— second state 36 St. Margaret, after Raffaelle— second state, fine, on India paper 37 The same— second state, on plain paper 38 Eliezar and Rebecca, after N. Poussin— proof 39 La Yierge de la Maison d’Albe, after Raffaelle— proof signed by the engraver 40 St. Catherine, after Raffaelle— open letter proof, fine 41 La Yierge au Berceau, after Raffaelle— second state, fine 42 The Foligno Madonna, after Raffaelle— open letter proof 43 The Visitation, after Raffaelle— open letter proof, laid doion C. DIEN. 44 The Sibyls, after Raffaelle— proof uith artists' names only HENRIQUEL DUPONT. 45 Mary with the Infant Saviour, after Raffaelle— fine first proof, signed in pencil A. DURER. 46 Adam and Eve (B. 1) 47 The Passion of Christ (B. 3-18)— a fine set 16 From the Cambridge Duplicate Sale 48 One of the above (B. 6) - 49 Christ on the Cross (B. 24)— fine From the Cambridge University Sale 50 Two Angels holding the Holy Handkerchief (B. 25)— somewhat damaged 51 The same— fine 52 The Virgin standing on a crescent, crowned with stars and holding sceptre (B. 32)— fine 53 The Virgin seated, embracing the Child (B. 35)—fine 54 The Virgin crowned by an Angel (B. 37) 55 The same (B. 37)— fine 56 The Virgin with a Pear (B. 41)— fine 57 The Virgin with a Monkey (B. 42 )—very fine From the Griffiths Collection 58 The same (B. 42) 59 The Five Disciples (46-50)— fine clear set , with margins 5 60 St. Christopher (B. 51) 61 St. Christopher (B. 52) 62 St. Hubert (B. 57)— brilliant impression 63 St. Jerome in his Cell (B. 60)— most brilliant 64 St. Jerome doing Penance (B. 61)— fine 65 The same (B. 61)— very fine From the Griffiths Collection 66 St. Genevieve (B. 63)— fine 67 Amymone (B. 71) 8 A. DURER. 68 Tho Rape of a Young Woman (B. IT)—fine 69 The Effects of Jealousy (B. 73) 70 Molancholy (B. 74)— very fine 71 Justice (B. 79)— fine 72 The Little Courier (B. 80) 73 The Ensign (B. 87) 74 The Bagpipe Player (B. 91) 75 The Monstrous Pig (B. 95) From the Marshall Collection 76 The Knight and Death (B. 98)— very fine 77 The same— brilliant impression, with margin 78 The Cannon (B. 99) 79 Frederick of Saxony (B. 104)— fine 80 Bilibald Pirkheimer (B. 106)—; fine 81 The Trinity— ivoodcut, very fine JEAN DUVET. 81a St. Sebastian, St. Anthony and St. Roche (B. 10)—fine G. EDEL1NCK. 82 The Battle for the Standard (44), after L. da Vinci, before the points on the sword EISENHARDT. 83 The Virgin and Child Enthroned, after Botticelli— artist's proof FELSING. 84 Salvator Mundi, after L. da Vinci— remark proof 85 11 Suonatore, after Raffaelle— proof before any letters 9 FLAMENG. 86 La Ronde de Nuit, after Rembrandt —Japan proof, and a portrait 2 F. FORSTER. 87 La Yierge de la Maison d'Orleans— proof before letters 88 The Crucifixion, after Sebastian del Piombo —proof before any letters 89 La Yierge au Bas-relief, after L. da Vinci— trial proof 90 The same —trial proof; Portrait of Albert Durer, after himself — proof, with remark 2 A. FRANCOIS. 91 Portrait of Titian, after himself; and Laura, after S. Memmi— proofs 92 The Birth of Venus, after Cabanal— proof before any letters 93 The Virgin Ascending the Steps of the Temple, after Titian— proof before any letters G. GARAVAGLIA. 94 Hagar and Ishmael, after Baroccio— proof before any letters; and The Madonna and Child of Vincenzio— proof before letters 95 Jacob and Rachel, after Appiani— proof before any letters; and La Vierge aux Balances, after L. da Vinci 96 Assumption of the Virgin, after Guido— proof before any letters 97 La Madonna della Seggiola, after Raffaelle— proof with the white string, most rare 98 The Cenci, after Guido— proof before any letters, fine 10 NOEL GAENIEB. 99 The Scourging of Christ, from Marc Antonio ; copy of Albert Durer, not mentioned by Eobert Dumesnil GIBAEDET. 100 The Deposition, after Andrea del Sarto— proof; The Annun¬ ciation, after Guercino, by Guadagnini —proof before any letters 2 101 The Triumph of Titus, after G. Eomano— proof; and The Eape of the Sabines —proof 2 H. GOLTZIUS. 102 The Virgin weeping over the Dead Body of Christ (B. 41 )—fine ; and another 2 G EUNEE. 103 La Madonna dei Ansidei —proof before any letters GUEEIN. 104 Venus disarming Cupid, after Correggio —first proof F. SEYMOUE HADEN. 105 The Agamemnon —first state 106 The Mill Pond —early impression 107 Harlech— proof, mezzotint plate HOGAETH. 108 The Bake’s Progress 8 11 HERKOMEIt 109 Tennyson —remark 'proof 110 Wagner —remark proof HOLLAR. 111 The Set of Butterflies (W. 2164—2175)—; fine 10 112 The Earl of Huntington ; and others 7 113 Lady Portland— -fine; William Burton; and others —some rare 6 114 The Earl of Arundel; and other portraits —fine 9 115 Aretino ; Catherine Cornaro ; and others 8 116 The Crucifixion, after Vandyck—; and others 5 T. HOLLOWAY. 117 The Cartoons of Raffaelle at Hampton Court— fine subscription set 7 HUOT. 118 La Vierge de la Delivrance, after Hebert— artist's proof S. JESI. 119 Tempi Madonna, after Raffaelle— proof, second state 120 Leo X., after Raffaelle— first state J. KAISER. 121 The Portrait of Six, after Rembrandt— artist's proof J. LAUGIER. 122 Le Ravissement de St. Paul, after Poussin— proof before any letters 123 The Virgin with the White Rabbit— presentation proof 124 The Duke d’Urbino, after Raffaelle— proof with white tablet; and Thalia, after Raffaelle, by Leroux— proof with remark 2 12 LAURENT. 125 The Martyrdom of St. Peter, after Titian— proof before letters ; and Marc Antonio’s Portrait, after Raffaello —first proof 2 N. LECOMTE. 126 The Holy Family, after Raffaelle, called La Perlo— proof , first state A. LEFEYRE. 127 The Adoration of the Shepherds, after Correggio— presentation proof LUCAS VAN LEYDEN. 128 The Triumph of Mordecai (B. 32)— fine From the Hawkins and Griffiths Collections 129 Christ Tempted (B. 41)— fine 130 Christ Crowned with Thorns (B. 62) ; one of the Circular Passion —fine and rare 131 St. Thomas (B. 92)—fine 132 The Conversion of St. Paul (B. 107)— fine 133 The Beggars (B. 143)— rare G. LONGHI. 134 The Reading Magdalen, after Correggio—; fine, first state 135 The Madonna del Lago, after L. da Vinci —proof with artists' names only 136 The Holy Family, with St. Elizabeth and John the Baptist, after Raffaelle —proof before any letters 137 Tho Sposalizio, after Raffaelle —proof with the verses in open letters 13 LORICHON. Ic8 The Gran Duca Madonna— proof, with artists’ names; and Titian’s Ecce Homo —proof 2 139 The Marriage of St. Catherine, after Correggio— proof with artists' names etched PETER LUTZ. 140 The Madonna and four Saints, Bagnacavallo— proof before any letters A. LOUIS. 141 Mater Dolorosa, after Ribera —proof before letters E. MANDEL. 142 The Panshanger Madonna, after Raffaelle —proof with remarlc, with artist'8 signature 143 The Little Gardeners, after Magnus— proof before letters 144 The Ecce Homo, after Guido— first state; and Mater Dolorosa, after Carlo Dolci— same state 2 145 La Bella di Tiziano, after Titian —proof with the remark, signed MANTEGNA. 146 The Resurection (B. 6) —fine, rare 147 The Descent into Limbo (B. 6)—fine, with large margin 148 The same (B. 5)— very fine From the Griffiths Collection 149 Soldiers Carrying Trophies (B. 14) 150 Fight of the Tritons (B. 17)— fine 151 A Combat of Marine Gods (B. 18)— fine 14 A. MARTINET. 152 II Suonatore, after Raffaelle —first state 153 La Yierge a la Redemption, after Raffaelle —first proof 154 The same —proof before letters; and the Infant John in the Desert, after Carracci —proof 2 155 La Yierge au Palmier, after Raffaelle —first proof MARTIAL. 156 Mare sous Bois— artist's proof on Japan paper MASQUELIER. 157 Madonna della Casa Colonna, after Raffaelle— artist's proof; and Guido’s Fortune 2 158 The Deposition, after Raffaelle —first proof J. B. MASSARD. 159 St. Cecilia, after Raffaelle —proof in the third state , before the title FRANZ MASSAU. 160 The Virgin and Child, taken from the picture by Meister Stephan —proof \ signed M A THEY. 161 The Children of Charles I., after Vandyck— artist's proof on vellum MERYON. 162 Rue Tixeranderie —second state, on Butch paper 163 Le Pont Neuf —the third state , on Butch paper 164 La Tour de l’Horloge —third state, on plain paper , laid down 15 MERYON. 165 L’Arche da Pont— second state, on Butch paper 166 La Pompe Notre Dame— second state 167 Le Pont au Change— third state 168 Rue des Mauvais Garmons— second state 169 Rue des Toiles, Bourges— -first state 170 La Morgue— second state 171 Old Gateway of the Palais de Justice— 4hird state MERCURI. 172 Christopher Columbus— first state ; and the Portrait of Philippe de Champaigne, after himself, by Metzmacher— proof with white tablet RAFFAELLE MORGHEN. 173 Gran Duca Madonna, after Raffaelle— second state, with artists' names etched 174 The same, with the title andBardi’s address 175 Jeanne d’Aragon-— proof before letters 176 Noli Me Tangere, after Baroecio— proof with the arms RAFFAELLE MORGHEN. 177 Angelica and Medora, after Matteini— proof before letters 178 The Magdalen in the Desert, after Murillo— proof before letters 179 The Holy Family, after Rubens— proof before letters ; and The Virgin and Child, after Garofolo —proof 2 180 Madonna del Cardellino, after Raffaelle— second state before the title 181 Petrarch ; Dante Ariosto; Boccaccio— open, lettered proofs 4 182 The Last Supper, after L. da Vinci— proof with the arms, and open letters 183 Leonardo da Vinci— proof before any letters; and Theseus 16 F. MULLER. 184 The Madonna di San Sisto, after Raffaelle— proof on India paper, with Italian writing J. Mt)LLER. 185 St. Cecilia, after Dominichino — proof before all letters A. PERFETTI. 186 Sybilla Persica, after Guido— proof before anij letters 187 La Bella di Tiziano, after Titian— remark proof 188 Sybilla Tersica, after Gueroino— proof before any letters 189 Sybilla Cumea, after Domenichino— proof vith the arms 190 Sybilla Samia, after Guercino— proof with artists' names only 191 La Bella di Tiziano, after Titian— proof with the arms; and A Portrait of Dante, after Giotto 2 PORPORATI. 192 Leda, after Correggio-“proo/ with the arms only RAUL. 193 The Virgin Adoring, after Perugino— proof with artists' names only; and The Ecce Homo, after Titian 2 MARC ANTONIO RAIMONDI AND SCHOOL. 194 Adam and Eve, modern copy 195 Joseph and Potiphar’s Wife (B. 9) 196 The Massacre of the Innocents (B. 21), by Marco da Ravenna 197 The Descent from the Cross (B. 32)—fine; from the Marochetti Collection ; and copy B. 2 17 MARC ANTONIO RAIMONDI AND SCHOOL. 198 The Virgin Ascending the Steps of the Temple (B. 45)— -fine; and another impression 2 199 La Vierge au Berceau (B. 63), copy A 200 The Rape of Helen (B. 210); and the Battle of the Cutlas* (B.212) 201 The Judgment of Paris (B. 245), copy B 202 The Bacchanal Frieze (B. 248) cut 203 Young Woman seated, by M. Ravenna —fine (B. 257) 204 Les deux Amours (B. 280 )—fine and rare 205 Venus sortie du Bain (B. 297) backed; and the copy C. 2 206 The Same —fine (B. 297) 207 Mars, Venus and Cupid (B. 345 )—;fine 208 Laocoon (B. 353), by M. da Ravenna —fine 209 La Femme aux Boules (B. 377); and L’Homme tenant une femme par les mains (B. 471) 2 End of First Day's Sale. ■* 0 Second Day’s Sale, On WEDNESDAY, FEBRUARY 14, 1894, AT ONE O’CLOCK PRECISELY. ETCHINGS BY REMBRANDT. 210 Abraliam’s Sacrifice (W. 39 )—fine 211 The Triumph of Mordecai (W. 44) 212 David Praying (W. 45) 213 The Nativity (W. 50) 214 Christ Preaching (W. 71) 215 Jesus Christ driving out the Money-changers (W. 73) 216 The Beggars at the Door (W. 713 )—-fine From the Mariette Collection 217 An Academical Figure of a Man (W. 190) 218 A Woman with her feet in the water (W. 197) 219 A Naked Woman, seen from behind (W. 202) 220 Clement de Jonghe (W. 274) 221 Abraham Franz (W. 275) 222 John Lutma (W. 278) 19 RICHOMME. 223 La Yierge an Livre, after Raffaelle —proof with the artists' name only 224 The Triumph of Galathea, after Raffaelle ; and Thetis with the armour of Achilles— open-letter proofs 2 225 The Triumph of Galathea, after Raffaelle— open-letter proof ROUSSEAUX. 226 Portrait of a Man, after Francia —proof in the first state F. ROSASPINA. 227 The Holy Women and Christ, after Correggio —proof with artists' * names only MARTIN ROTA. 228 The Last Judgment; and the Martyrdom of St. Peter, after Titian 2 SCHIAVONI. 229 The Assumption'of the Virgin, after Titian —open letter proof MARTIN SCHONGAUER. 230 The Betrayal of Christ (B. 10) —fine 231 St. George (B. 50)—fine and rare W. SHARP. 232 The Doctors of the Church, after Guido —proof with arms only 233 St. Cecilia, after Domenichino— open letter proof J. R. SMITH. 234 Lady Hamilton, after Reynolds— proof before letters, fine c 2 20 EDWARD SLOCOMBE. 235 Andromeda and Phryne, by Slocombe—artist's proofs 2 STEINLA. 236 The Pieta, after Era Bartolomeo —proof before the coat-of-arms ; and two others 3 237 The Madonna and Child, after Palma Yecchio —proof with remark ; and the Virgin Adoring, after Luini —proof 2 * L. SCEIIAVONETTI. 238 The Cartoon of Pisa, after Michael Angelo —proof before all letters; and St. Cecilia 2 STEIFENSAND. 239 The Adoration of the Magi, after Veronese —proof before letters ; and The Deposition, after RafFaelle, by Schultheiss 2 TARDIEU. 240 St. Michael, after Raffaelle —proof before letters; and Fortune, after M. Angelo 2 TOSCHI. 241 Diana, after Correggio —proof before all letters 242 St. Georg e—remark proof; and two Plates of Heads of Boys —proofs before letters / q 243 Madonna della Scala, after Correggio—proof before letters 244 St. Thomas —proof before letters ; and another Saint 2 245 Madonna de Velo, after Raffaelle —proof before any letters % / 21 VOLPATO. 246 The Prophets and Sibyls, after Michael Angelo —open letter proofs 6 WALTNER. 247 The Angelus, after Millet —Japan artist proof 248 The Old Clerk, after Gainsborough —Japan artist proof; and another 2 249 Master Lambton, after Lawrence —remark proof WEBER. 250 Sacred and Profane Love, after Titian —remark proof 251 Yiolanta, after Paris Bordonie— proof; and St. Peter Martyr, after Titian 2 DRAWINGS BY THE OLD MASTERS. ALBERTINELLI. 252 A Study in Black Chalk, of the Virgin and St. John; the Saviour bearing his Cross, by Beccafumi; &c. 4 BECCAFUMI. 253 A Study of a Saint —in bistre, from the Collection of Reynolds ; and Battle Scenes, by Borgognone 5 BUONAROTI (MICHAEL ANGELO). 254 Our Saviour on the Cross —in pencil; The Prophet Jonah; &c. 5 255 The Prophet Isaiah ; and various Studies, after the same master 4 22 POLIDORO CARRAVAGGIO. 256 Tobit and the Angel —in sepia ; The Crucifixion, by Casolani; and others by Cortona ; &c. 6 CALLOT. 257 A Party in a Garden —in pencil ALONZO CANO. 258 The Virgin Mary ; The Baptism of our Saviour— in pen and ink ; &c. 5 CRETI. 259 A Roman Girl— in red chalk ; Architectural Designs, by Farinati Fontana; &c. 5 260 Various Studies of Angels’ Heads and other subjects, by Fran- ceschi, B. Franco ; &c. 4 261 A curious Drawing of a Woman holding a Cornucopia— pen and ink, by Filippino Lippi, given by him to Raffaelle del Garbo 2 From the Lawrence Collection GAROFALO. 262 The Holy Family—m colour ; and others, by Lauri; &c. 4 LIOTARD. 263 A Study in colour of an Oriental ANDREA MANTEGNA. 264 A Procession of Nymphs and Centaurs; A Roman Triumph • and others, by Maratta 5 23 MURILLO. 265 The Holy Family— red chalk , washed ; and others, by Mazzola, &c. 6 PARMIGIANO. 266 Sibilla Erithrea, after Michael Angelo— in pen, from the Richardson and Lely Collections ; and others 4 PERUGINO. 267 The Crucifixion— in red chalk ; Procaccino ; and Woman playing on a Lute 3 RAFFAELLE. 268 A Study of the Virgin Mary— in bistre ; Galathea ; Psyche 3 269 A Study of a Man’s Head— in red chalk ; and The Massacre of the Innocents 2 REMBRANDT. 270 The Family of Tobit— in pen washed 271 The Interior of a Church ; A Forest Path— in pen washed 2 272 The Crucifixion—in sepia, pen washed 273 Isaac blessing Jacob— in sepia, pen washed From the Reynolds and Utterson Collections 274 The Angels appearing to the Shepherds— in sepia, pen washed; A Study of Figures Reading 2 274a The Study of a Lion— in sepia and Indian ink, pen washed 275 The Angel Appearing to Tobit— in sevia, pen washed ; and another 2 24 GUIDO RENI. 276 The Assumption of the Virgin; The Crucifixion of St. Peter and others, by Romanelli 5 277 The Executioner with the Head of John the Baptist —in red chalk; and Sacred Subjects, by Salvator Rosa ; &c. 6 ANDREA DEL SARTO. 278 A Study of Angels— in red chalk ; A Battle Scene, by Giulio Romano ; &c. 4 279 A Study of Cupids —in black chalk ; and Subjects, by Salimbeni 4 280 The Madonna del Sacco —a highly finished drawing in colours; Vespasian and Titus, by Salviati; &c. 3 SALIMBENI. 281 The Trinity with the Patriarchs and Prophets,— in colours ; &c. 6 282 Drawings in outline and pen of Biblical Subjects— signed 6 TINTORETTO. 283 The Virgin and Child with St. Joseph and St. Elizabeth ; The Madonna and Child— in bistre heightened with white; The Nativity, by Santi Titi; in pen icashed; &c. 5 MARCO UGGIONE. 284 The Nativity ; and Sacred Subjects, by Tintoretto ; &c. 6 TINTORETTO. 285 The Marriage of St. Catherine; and other Sacred Subjects— in bistre (j 25 UNKNOWN. 286 Studies of Heads and Figures —in 'pencil and chalk 7 287 A similar lot 6 288 A Man Praying, Venetian School; A draped Female Form ; &c. From the Lely Collection 5 289 Portrait of a Man— in red chalk ; &c. 4 From the Richardson and C. Rogers Collections GIORGIO VASARI. 290 The Nativity; and The Visitation— in pen ; and other Studies 5 PAOLO VERONESE. 291 A Study of a Man Kneeling— in red chalk; The Virgin in the Clouds, by Vanni; &c. 4 292 A Subject in Venetian History, scene the Place of St. Mark’s— sepia washed ; &c. 4 LEONARDO DA VINCI. 293 Study of a Man’s Head— in pen GASPAR VITELLI. 294 An Italian Seaport; &c. 3 26 FRAMED ENGRAVINGS. 295 Michael Angelo, after M. Angelo, by Francois— artist's ‘proof\ signed by the engraver 296 La Yierge au Donataire, after Raphael, by Desnoyers— proof 297 The Transfiguration, after ditto, by R. Morghen— ditto 298 Madonna di San Sisto, after ditto, by F. Muller 299 The Last Communion of St. Jerome, after Dominichino, by A. Tardieu— proof 300 The Madonna and Child, with Saints, after Holbein, by M. Steinla— proof with arms 301 The Assumption of the Virgin, after Titian— proof with arms 302 Descent from the Cross, after Rubens, by Claessens— proof before letters 303 La Spasimo di Sicilia, after Raphael, by Toschi 304 The Immaculate Conception, after Murillo, by A. Lefovre— proof before letters 305 The Descent from the Cross, after Voltcrra, by Toschi— before all letters 306 Madonna della Sedia, after Raphael, by R. Morghen— open letter proof with arms 307 Madonna and Child, with flowers, after L. da Vinci, by Franck proof before letters ENGRAVINGS— In the Folio. 308 Photographs, by Braun, of celebrated pictures and sculpture in Continental Galleries 46 309 Ditto, after E. Burne Jones, Albert Moore, &c. 32 310 The Frescoes of Giotto—38 plates —Arundel Society, 1860 27 311 La Grande Passion, par Albert Durer, reproductions of, by P. van De VVeijer—12 plates 312 The Holy Family, after Botticelli, by Gaillon —proof; &c. 6 313 Leonai do da Vinci, by E. Morgken; The Man with the Pink, by Gaillard ; &c. 13 314 Tours, by J. M. W. Turner, E.A.— unpublished ; Sheerness, Portsmouth, &c., after Turner 315 Caligula’s Palace, after ditto— framed 316 Holbein Heads, by Bartolozzi— printed in colours ; &c. 7 t 317 Musiciens Ambulans ; and Les Offres Reciproques, after Dietricy, by Wille 2 318 Pan and Psyche, after E. Burne Jones, by C. W. Campbell— artist's proof—framed 319 Miss Rich, after Hogarth, by S. Cousins, R.A.— artist's proof — ditto AFTER SIR J. REYNOLDS. 320 Simplicity, by S. Cousins, R.A.— artist's proof 321 Lavinia, Lady Spencer, by ditto— selected proof 322 Miss Penelope Booth, by ditto— artist's proof 323 The Age of Innocence, by ditto— ditto 324 Countess Spencer, by ditto— ditto 325 The Hon. Anne Bingham, by ditto— ditto 326 Lady Caroline Montagu as “ Winter,” by ditto— ditto 327 Lady Anne Fitzpatrick as “ Sylvia, ” by ditto 328 Miss Bowles, by ditto— proof before letters 329 The Strawberry Girl, by ditto— ditto 330 Angels’ Heads, by J. Scott— aitist's proof 331 Pick-a-back, by G. Zobel— proof before letters 28 332 Lady Gertrude Fitzpatrick, by J. R. Jackson— artist's proof 333 Tbe Same, by C. A. Tomkins; and Puck, by F. Stacpoole, R.A. — artist's proofs 2 334 Lady Waldegrave and daughter, by G. Zobel; &c. 2 ETCHINGS. 335 Dry point Etchings, by A. Delattre 7 336 On the Dunes; and An Interior, by J. F. Israels ; and Head of a Girl, by H. Herkomer, R.A. 3 A 337 Les Becheurs; and Les Glaneuses, by J. F. Millet 2 338 Going to Work, by ditto —first state luithout signature ; and La Gardeuso d’ Oies, by ditto 2 339 A Man Reading at a Window, after Meissonnier, by Jacquemart -—proof 340 Sunset, &c. by S. Palmer 3 341 Etchings, after Paul Potter, Berghem, &c., by A. Bartsch 342 Etchings, by Sir E. Landseer, R.A— the set of seventeen 343 The Doge of Venice, after Bellini, by P. Le Rat— remarque proof 344 Musidora, after Gainsborough, by Laguillermie— ditto 345 The Vale of Clwyd, after D. Cox, by B. Debaines— artist's proof 346 A Favourite Author, after L. Alma Tadema, R.A., by L. Lowenstan —remarque proof, framed F. SEYMOUR HADEN. 347 Battersea Bridge— first state 348 The Two Sheep 349 Purfleet 350 Fulham 351 The Mill Wheel 29 WATER-COLOUR DRAWINGS. 352 Views of Tintern Abbey 5 353 Dunbar, 1857 ; &c. 3 354 Interior of a Church ; and An Italian Coast Scene 2 355 A View in Switzerland 356 A Mountain Scene W. F. WELLS. 357 A River Scene, with castle; &c. 2 D. COX. 358 A River Scene, with ruined abbey 359 A Landscape, with church C. FIELDING. 360 A Lake Scene, with cows 361 A Lake Scene 362 A View in the Highlands ; and A Lake Scene 2 363 A Coast Scene ; and A Landscape, with cattle 2 J. D. HARDING. 364 A View in Switzerland; &c. 2 D. COX. 365 The Summit of Cader Idris ; and nine other sketches —in ' pencil ; &c. 9 366 Old Oaks at Bolton T. B. HARDY. 367 On the Maas ; and Hastings Beach 368 SOHEVENINGEN 369 Off Katwyk W. TURNER. 370 A River Scene, with cattle; and A Ruined Castle A. VICKERS. 371 A Landscape, with windmill; and A Lake Scene R. P. BELHOUSE. 372 View in Florence ; &c. R. P. LEITCH. 373 A View on the Rhine; &c. TURNER. 374 A Sea Piece, with shipping COPLEY FIELDING. 375 A Landscape, with a corn-field From the Collection of John Pye H. STANNIER. 376 The Alhambra, Granada 377 The Alhambra E. TUCKER. 378 A Highland River Scene 31 W. HAYELL. 379 A River Scene, with castle J. NASH. 380 Arundel Chapel ; &c. D. ROBERTS, R.A. 381 Nasbous, 1839 E. HUME. 382 Looking for the Boats S. PROUT. 383 A Coast Scene, with fishing boat 384 A View on the Rhine S. SOLOMON. 385 An Apotheosis ; and A Female Head W. EVANS. 386 A Lake Scene J. M. W. TURNER, R.A. 387 A View on the Rhine— a sketch 388 A View in an Old English Town 389 A View in Oxford T. GIRTIN. 390 A Gravel Pit near Bromley, Kent 391 A River Scene, with barge 392 A Landscape, with cattle 32 W. BENNETT 393 Bolton Abbey J. ISRAELS. 394 Waiting foe the Boats 395 A Shbimpeb J. ISRAELS 396 Rivaulx Abbey P. DE WINT. G. A. FRIPP, 1859. 397 A Landscape, with cows watering FINIS. London : Printed by William Clowes & Sons, Limited, Stamford Street and Charing Cross. GETTY CENTER LIBRARY 3 3125 008