Memoir of the Author James Dennistoun of Dennistoun
JAMES DENNISTOUN of Dennistoun and Colgrain was descended from the ancient and noble Scots family of the Lords de Danzielstoun. The first of his house of which authentic records can be traced is Sir Hugh de Danzielstoun, witness to a charter from Malcolm Earl of Lennox, who lived during the reign of Alexander III of Scotland, who died in 1286. His son, Sir John de Danzielstoun, was the associate-in-arms of his patriotic brother-in-law, the Earl of Wigton, and of Sir Robert Erskine in the reigns of Bruce and David II. His son, Sir Robert, was one of the young men chosen from among the "magnates Scotiæ" in 1357 as hostages for the payment to Edward III of 100,000 marks of ransom for the release of David II. He seems to have been a prisoner in England for a long time. With him the direct line of the house of Danzielstoun failed, and the representation devolved upon his brother Sir William de Danzielstoun, the first of Colgrain. So we find that in 1828 James Dennistoun of Dennistoun, the father of the author of this work, having succeeded to his father 1816 in the estates of Colgrain, Camis-Eskan, and Kirkmichael, proved his descent as heir male of Sir John de Danzielstoun Lord of Danzielstoun, and obtained the authority of the Lord Lyon to bear the arms proper to the chief of his house[1] and thereupon assumed as his designation, Dennistoun of Dennistoun. He married in 1801 Mary Ramsay, fifth daughter of George Oswald of Auchencruive, in the county of Ayr, and of Scotston, in the county of Renfrew. By her he had thirteen children, and died on June 1st, 1834.
James Dennistoun of Dennistoun, the author of this work, was born on the 17th March, 1803, in Dumbartonshire, and spent the greater part of his youth with his grandfather, George Oswald of Scotston, to whom he owed, as he said, his first impulse towards letters. About the year 1814 he and his brother George were placed under the care of a tutor, the Rev. Alexander Lochore, later minister of Drymen parish. He then proceeded to Glasgow College, and later read for the Bar, though with no intention of practising. He passed advocate in 1824, but seems by then and for long after to have been gathering information regarding the old families of Dumbartonshire, which he placed at the disposal of Mr. Irving, who acknowledges his indebtedness to him. It was in 1825 that he went to Italy, spending Christmas in Rome with a few friends, and meeting there Isabella Katherina, eldest daughter of James Wolfe Murray, Lord Cringletie, whom he married in 1835. In 1836 he sold the family estates, including Colgrain and Camis-Eskan, and purchased Dennistoun Mains in Renfrewshire, the property which gave name to his house. His visits to Italy then became frequent, their most important result being the Memoirs of the Dukes of Urbino, which he published in 1851. He died some four years later, on February 13th, 1855, and was buried at his own desire in the Greyfriars churchyard, Edinburgh, not in the family vault at Cardross.[2]
The best contemporary account of his life appeared in the Gentleman's Magazine for June, 1855, which he was so fond of quoting.
"Mr. Dennistoun," we read there, "was born in Dumbartonshire in 1803, and was the representative of the knightly house of Danzielstoun in Renfrewshire, one of the oldest Scottish families. He was educated at the College of Glasgow and qualified himself for the Bar in Edinburgh; but his taste took a different direction, and being possessed of sufficient fortune, he turned aside from the legal profession and devoted his whole attention to literature, in connection chiefly with the Fine Arts. He was an amateur of Art according to the true and proper meaning of that designation—he loved and admired Art, and studied to appreciate the best examples that the world possesses. Though in following out these studies he devoted much of his time to the Italian school, as there painting first arose in strength, yet he was no bigoted admirer, and could appreciate the qualities of all kinds of Art, whether Italian or German, ancient or modern. He then aimed at giving to the public the ideas he had formed regarding its principles, and the facts he had collected as to its history. He could not unfold before all his friends and visitors portfolios filled with sketches, done by himself, of passes in the Alps, or of scenery in the Tyrol, or of views of the Temple of the Sibyl at Tivoli, of Mount Vesuvius, etc.; but to all who wished to learn, he could impart in a manner the most simple and unpretending, but with a clearness and elegance that impressed and charmed all who were privileged to hear him (and these were many), information and instruction on almost everything relating to Art: while he often explained and illustrated what he stated by reference to examples he had himself collected—many of them of great rarity and value.
"He was a member of most of those societies formed for collecting materials for, and adding to and illustrating the literature of Scotland, and besides editing several important publications by the Bannatyne and Maitland Clubs, contributed many interesting papers on subjects connected with Art to most of the leading periodicals, particularly to the Edinburgh and Quarterly Reviews.
"His first work, we believe, was the edition of Moysie's Memoirs of the Affairs of Scotland from 1577 to 1603, which he contributed to the Bannatyne and Maitland Clubs in 1830. This was followed by the Cartularium Comitatus de Levenax, ab initio seculi decimi tertii usque ad annum MCCCXCVIII, edited by Mr. Dennistoun, and printed for the Maitland Club by Mr. Campbell of Barnhill. In 1834 another illustration of Lennox history proceeded from Mr. Dennistoun's pen, in a reprint of The Lochlomond Expedition, with some Short Reflections on the Perth Manifesto, 1715. He also edited the volume of The Coltness Collections, 1608-1840, for the Maitland Club, in 1842. The Ranking of the Nobility, 1606, was printed, along with some other papers, in The Miscellany of the Maitland Club.
"A residence in Italy gave a new bent to his pursuits. One of the first-fruits of these Transalpine studies was a deeply interesting paper on The Stuarts in Italy, published in the Quarterly Review for December, 1846. But by far the most considerable result of Mr. Dennistoun's Italian sojourn was his Memoirs of the Dukes of Urbino, published in three volumes in 1852. This work is of great value, as illustrating the state of Italy during the fifteenth and sixteenth centuries, the portion devoted to the Arts of the period being particularly interesting; and it is to be regretted that from a delicacy carried perhaps too far, he has curtailed this important section—the one he could best handle—from fear, as he states in the preface, of trenching on ground entered on by his friend, Lord Lindsay.
"Mr. Dennistoun was the writer of the article on Mr. Barton's 'History of Scotland' in the Edinburgh Review for October, 1854; and also of the analysis lately given in the same periodical of the Report by the Commission on the National Gallery, which is very masterly, and, indeed, the only successful attempt yet made to grapple with that huge accumulation of facts and opinions of all kinds.
"He had just lived to complete another very interesting work, consisting of the Memoirs of Sir Robert Strange, the excellent engraver, and of his brother-in-law, Andrew Lumisden, secretary to the Stuart princes, and author of the Antiquities of Rome. Sir Robert Strange was the maternal grandfather of Mrs. Dennistoun. To that lady, Isabella-Katharina, eldest daughter of the Hon. James Wolfe Murray, Lord Cringletie, a Lord of Session, Mr. Dennistoun was married in 1835."
In the Report from the Select Committee on the National Gallery, published by order of the House of Commons in December, 1853, we find Dennistoun as one of the witnesses. His evidence appears to have been of some value, and the articles which he wrote for the Edinburgh Review, both before and after the Report was published, are excellent both in tone and substance.
"You are the possessor," he was asked, "of a small and, I may say, very choice collection of Italian pictures, are you not?"
"A collection of early Italian pictures," he answered. And, indeed, in his day such a collection must have been very rare in England, or, in fact, anywhere else. These pictures were sold with other works of art that had been in his possession, on Thursday, June 14, 1855, and by the courtesy of Messrs. Christie, Manson & Woods, of King Street, St. James's, I am able to print the catalogue they prepared for the sale, and the prices the pictures fetched.
E.H.
CATALOGUE
OF
THE HIGHLY INTERESTING COLLECTION
OF
PICTURES,
AND
OTHER WORKS OF ART,
Of that distinguished Amateur,
JAMES DENNISTOUN, OF DENNISTOUN, ESQ., DECEASED.
The PICTURES comprise choice Examples of the Italian School, commencing with the Works of some of the earliest Masters; also of the Spanish, German, Flemish, French, and English Schools.
The other WORKS OF ART include three very interesting early Paces, of Niello Work; Tryptics, of Ivory and Bone; a few Bronzes; Majolica Plates; Illuminated Miniatures; a Crucifix, in Boxwood, etc.
WHICH
Will be Sold by Auction, by
Messrs. CHRISTIE & MANSON,
AT THEIR GREAT ROOM,
8 KING STREET, ST. JAMES’S SQUARE,
On THURSDAY, JUNE 14, 1855,
AT ONE O’CLOCK PRECISELY.
May be viewed Three days preceding, and Catalogues had, at Messrs. CHRISTIE and MANSON’S Offices, 8, King Street, St. James’s Square.
Note: The figures in brackets are the prices at which the works they refer to were bought in.
Catalogue On Thursday, June 14, 1855 At One O’clock Precisely
| Early Florentine | 1 | The Virgin, suckling the Infant | £1 | 5s. | |
| Fra Angelico da Fiesole | 2 | The Madonna, and St. John | £6 | 6s. | |
| Fra Angelico da Fiesole | 3 | The Resurrection, two soldiers sleeping beneath—very small. Pronounced by Dr. Waagen "a genuine picture." | £44 | 2s. | |
| Fra Angelico da Fiesole | 4 | The Virgin enthroned, with two saints at her side. A very interesting small work. From the Gerini Gallery; on which Dr. Waagen says, "In this little picture all that earnestness and spirituality peculiar to that master is expressed" | £56 | 14s. | |
| Berna di Sienna | 5 | The Stoning of St. Stephen—painted on gold ground | £2 | 10s. | |
| Giottino | 6 | The Crucifixion, on gold ground—small, with pointed top | £5 | 10s. | |
| Giottino | 7 | The Crucifixion, with the Maries and the centurion and soldiers beneath—on gold ground, with pointed top | £5 | 15s. | |
| Giottino | 8 | The Crucifixion, with the Virgin and St. John; the Magdalen kneeling at the foot of the cross—small square. | £4 | 4s. | |
| Taddeo Gaddi | 9 | The Epiphany, and Visitation—parts of a predella | £19 | 8s. | 6d. |
| Gentile da Fabriano | 10 | The Holy Family, seated before a building, the Magi in adoration, in the singular landscape background | £21 | ||
| School of Memmi | 11 | The Virgin and Child—a fragment | £3 | 10s. | |
| S. Memmi | 12 | The Virgin and Child, with saints on gold ground—a fragment. From the collection of M. Lauriani of the Vatican—unframed | £2 | 5s. | |
| Cos. Roselli | 13 | The Miracle of St. Augustine. An interesting composition of nine figures | £15 | 15s. | |
| Don Lorenzo Monaco | 14 | The Nativity: the Virgin kneeling, St. Joseph seated on the ground, the Infant in a manger, the shepherds and angels above. From the collection of M. Lauriani, Librarian of the Vatican | £9 | 19s. | 6d. |
| Giovanni Sanzi | 15 | The Madonna and Child | £12 | 12s. | |
| Sano di Pietro di Sienna | 16 | The death of Santa Monaca, who is being laid in the tomb by the Saviour and a bishop. An interesting specimen | £9 | 9s. | |
| Duccio di Sienna | 17 | A beautiful small tryptic, in five parts: in the centre the Virgin and Child enthroned; on the wings St. Nicholas, St. Peter, St. Paul, and St. Jerome, on gold ground; the Emperor Constantius and Empress Helena, and the Entombment on the outside of the wings. This interesting work is most perfectly preserved | £22 | 11s. | 6d. |
| Greek School | 18 | St. Nicolas: a Byzantine painting—on gold ground [Transcriber's Note: price missing in original] | |||
| Lorenzetti di Sienna | 19 | A large tryptic: the Virgin and Child, with two angels in the centre; two saints presenting devotes on each wing—painted on gold ground, with pointed tops | £30 | 9s. | |
| G. Schiavone | 20 | An altar-piece, on gold ground, described by Dr. Waagen as "an altar-piece by Gregorio Schiavone, in different compartments: in the centre the Virgin and Child; at the sides a sainted monk and John the Baptist; above, in the centre, the dead Christ, supported by two angels; at the sides, St. Anthony of Padua and St. Peter Martyr; below, on a predella of unusual height, two male and two female saints, inscribed 'Opus Sclavoni discipulus Squarcione S.' This is the best specimen known to me of this scholar of Squarcione; some of the heads are of good expression, the colouring of the flesh is less cold, the outlines of the forms less hard and cutting than usual" | £46 | 4s. | |
| Giovanni Sanzi | 21 | Portrait of Raffaele, when a boy. The head is small, the neck long, the slight figure is clothed in a tunic tight to the throat, from which it hangs straight and loose, after the Italian fashion of the fifteenth century, and though ill adapted for elegance of drapery, its deep crimson colour and gold embroideries give a certain richness to the meagrely designed costume; on a white ledge under the figure is written in a hand much resembling that of Raffaele, "Raffaele Sanzi d'anni sei nato il di 6 Ap., 1483. Sanzi padre dipinse"; the back of the panel bears these words, also in old characters, "Rittratto del Piccolo Raffaele Sazi [Transcriber's Note: should be 'Sanzi'] d'anni sei nato in Urbino il di sei di Aprile 1483, Sanzi dipinse." A pamphlet addressed by Mr. Dennistoun to the Editor of the Art Union, proving the correctness of the day of Raffaele's birth as stated in the picture, accompanies it | £55 | 13s. | |
| Bronzino | 22 | Portrait of Luigo Allemanno [Transcriber's Note: should be Luigi Alamanni], the Florentine poet, in a black dress | £5 | 5s. | |
| Baroccio | 23 | Portrait of the last Duke of Urbino, in a black dress, with a gold chain and badge of the Golden Fleece, his hand resting on a book | £6 | 2s. | 6d. |
| Raffaellino del Colle | 24 | La Madonna del Garofalo—on copper. A beautiful copy from Raffaele—in frame carved with figures | £13 | 2s. | 6d. |
| Al. Allori | 25 | Portrait of Torquato Tasso, in a black and crimson dress, holding a manuscript. Animated and delicate in conception, and carefully treated | £26 | 5s. | |
| Titian | 26 | Portrait of Ariosto, in a blue dress. The very rare engraving by Persin accompanies it | £85 | 1s. | |
| Paris Bordone | 27 | A Venetian Nobleman | £5 | 5s. | |
| School of Fiesole | 28 | The Nativity, with landscape background | £9 | 10s. | |
| Timoteo della Vite | 29 | The Magdalen, holding the vase and a book, in a landscape. Purchased from M. Lauriani, librarian of the Vatican | £6 | ||
| School of Perugino | 30 | The Epiphany: the Holy Family, seated before a building, the Magi presenting their offerings, their attendants in the background | £29 | 8s. | |
| M. Albertinelli | 31 | The Virgin and Child, seated, in a landscape | £7 | 7s. | |
| Gaudenzio Ferrari | 32 | The Nativity: The Virgin and St. Joseph kneeling over the Infant, who lies on the ground, three angels in adoration beyond, the angel appearing to the shepherds in the distance | £18 | 7s. | |
| Cima di Conegliano | 33 | The Virgin, in a blue dress, her hands clasped, with the Infant seated before her on a window-ledge; a crimson drapery behind. Signed "Joannes Bta. Cone lanensis" | £24 | 3s. | |
| Correggio | 34 | The Virgin, kneeling in adoration over the Infant, with architecture in the background—on copper | £3 | 15s. | |
| Andrea d'Assisi | 35 | The Virgin and Child, on gold ground—panel—in architectural frame of the period | £5 | 15s. | 6d. |
| Garofalo | 36 | The Nativity: The Virgin, St. Joseph, and a Shepherd, kneeling in adoration over the Infant, near a cavern; with beautiful landscape background | £23 | 2s. | |
| Michele, of Florence | 37 | The Virgin and Child, with an Angel, surrounded by a border of bone carved with figures—circular | £5 | 5s. | |
| P. Tibaldi | 38 | The Annunciation, with a choir of angels above | £8 | 18s. | 6d. |
| Baroccio | 39 | Head of an Angel | £9 | ||
| L. da Vinci | 40 | The Virgin and Child, holding a pear. Purchased at Urbino, of the Vecciarelli Family | £3 | 13s. | 6d. |
| Scarsellino di Ferrara | 41 | Christ in the garden | £3 | ||
| School of Perugino | 42 | St. Roch—a small figure | £6 | 10s. | |
| Paduanino | 43 | Head of a duchess of Medicis—a fragment | £1 | 15s. | |
| School of Giotto | 44 | Saints invoking Christ—two illuminated miniatures | £4 | 10s. | |
| School of Titian | 45 | The Virgin and Child, on a grassy bank, gathering flowers | £3 | 15s. | |
| School of Giotto | 46 | The Pentecost. A beautiful miniature, on vellum, with rich border | £8 | 15s. | |
| School of Giotto | 47 | The Crucifixion, with Saints. A beautiful miniature, on vellum, with rich arabesque border | £4 | 14s. | 6d. |
| School of Titian | 48 | Portrait of a Lady of the Medicis Family: Pellegrina, daughter of Bianca Capello, in a richly ornamented dress | £4 | 14s. | 6d. |
| A. del Sarto | 49 | The Resurrection. An interesting small work in the Master's first manner. From the de Angelis Gallery, at Sienna | £4 | 14s. | |
| C. Maratti | 50 | The Holy Family | £3 | 3s. | |
| Bronzino | 51 | The Virgin and Child, with St. Joseph and St. John. A very grand and beautiful design—circular, on panel | [£21 | 0s. | 0d.] |
| G. da Carpi | 52 | The Virgin, in a crimson and blue dress, seated, with the Infant in her lap, before a sculptured portico; a green drapery suspended above—circle on panel. The Orsini Arms on the frame | £141 | 15s. | |
| Luigi Agresti | 53 | The Last Supper. Very richly coloured, with the engraving | £6 | ||
| School of Brescia | 54 | The Virgin and Child, enthroned, with saints and angels in adoration | £4 | ||
| F. Vanni | 55 | The repose of the Holy Family—small | £2 | ||
| Schedone | 56 | The Virgin and Child | £1 | 13s. | |
| School of Parma | 57 | A female saint, holding a salver of fruit—very elegant | £4 | 4s. | |
| School of Ferrara | 58 | The Holy Family, with St. Francis and St. Jerome | £9 | 9s. | |
| Guardi | 59 | A view on a canal, at Venice, with figures | £11 | 0s. | 6d. |
| Guardi | 60 | A view on the grand canal—the companion | £11 | 0s. | 6d. |
| Scorza, of Genoa | 61 | A pastoral landscape | £1 | 6s. | |
| S. Rosa | 62 | A romantic bay scene, with figures—evening | £4 | 10s. | |
| Serani | 63 | St. Cecilia, playing on the viol da gamba | £5 | 7s. | 6d. |
| Testaferrata | 64 | A Roman piper | £1 | 1s. | |
| Antonilez di Serabia | 65 | St. Raymond of Penaforte. From the Standish Gallery | £3 | 13s. | 6d. |
| Montelinez di Serabia | 66 | St. Anthony, seated reading, near a chapel, with mountainous background. From the Standish Gallery | £2 | 2s. | |
| Zurbaran | 67 | The Madonna of Mercy—four figures kneeling round her. From the Standish Gallery | [£2 | 15s.] | |
| Murillo | 68 | The vision of St. Augustine of Canterbury: the saint is washing the feet of the Saviour, who appears in the likeness of a pilgrim; from his mouth proceed the words "Magne Pater Augustine tibi commendo Ecclesiam meam." This fine gallery picture was purchased from Don Julian Williams, by Mr. Standish, for £600, at Seville, in 1825; it was originally painted for the nuns of San Leandro Order of St. Austen, and sold by them during the troubles caused by the army of Soult, in 1810, to Dr. Manuel Real, from whom it passed to Don J. Williams. The picture is mentioned in the work of Herrera and d'Aviles Guia de Seville, 1832 | £199 | 10s. | |
| Velazquez | 69 | Portrait of a Cardinal, seated, holding a book, the chair surmounted by shields of arms. Full of dignified character. From Cardinal Fesch's gallery | £4 | 4s. | |
| School of Cologne | 70 | La Madonna Addolorata, in a crimson dress, a light-coloured robe. A very dignified figure. A fragment | [£1 | 10s.] | |
| Wilhelm, of Cologne | 71 | The Marriage of St. Catherine with St. Agnes. They are in the foreground of a landscape, with buildings in the distance. From M. Wyer, of Cologne | £14 | 3s. | 6d. |
| Van der Maire | 72 | St. Catherine, presenting a devotee. An interesting fragment | £5 | 15s. | 6d. |
| Van Eyck | 73 | A fine dyptic, with the Annunciation: the Virgin kneeling, the Angel in a rich dress, holding a sceptre:—the portrait of the donor outside. From the Collection of M. Wyer, of Cologne | £39 | 18s. | |
| Henri Blaes La Civetta | 74 | A tryptic, with the Virgin and Child in the centre, seated, in a landscape; St. Christopher and St. Anthony on the wings; an owl, the emblem of the Master. From the Collection of M. Wyer, of Cologne | £17 | 6s. | 6d. |
| Dionysius Calcar | 75 | The Crucifixion: The Virgin and St. John weeping, with landscape background | £8 | 8s. | |
| School of Hemmelinck | 76 | St. Natalitia, seated, holding a book, on which is a hand, cut off; with architectural background. From the same collection | £12 | 1s. | 6d. |
| Matth. Guinendenwald | 77 | Portrait of Philip le Bel, in a crimson dress and black hat, wearing the collar of the Golden Fleece | £6. | ||
| Van der Goes | 78 | The Virgin and Child, enthroned; a damask drapery behind; landscape background seen on each side | £22 | 1s. | |
| Lucas van Leyden | 79 | A very small female head—a fragment | 18s. | ||
| Martin Schoen | 80 | A tryptic: the Crucifixion, with the figures carved in wood, and painted background in the centre; the wings painted with the six stations; carved canopy work over the centre; the descent from the Cross painted on the outside | £12 | 1s. | 6d. |
| Sustermans | 81 | Portrait of Galileo | £4 | 10s. | |
| Sustermans | 82 | Portrait of a Florentine lady | £2 | 4s. | |
| Van Dyck | 83 | The Adoration of the Magi—a sketch in grisaille | £2 | 8s. | |
| Van Dyck | 84 | Portrait of the Earl of Strafford, in a black dress. Purchased from the Earl of Mar's collection, in 1805 | £5 | 5s. | |
| Teniers | 85 | A landscape, with peasants and poultry near a cottage—upright—on copper | £3 | 7s. | 6d. |
| Camphuyzen | 86 | A farm, with cattle, and a man milking a cow near a well. Very richly coloured | £6 | 10s. | |
| Jan Steen | 87 | Portrait of a Burgomaster | £5 | 15s. | |
| Poelemberg | 88 | The Riposo of the Holy Family, under a ruined building | £2 | 10s. | |
| Wouvermans | 89 | Travellers, reposing under a sunny bank, near a pool of water | £33 | 12s. | |
| Van Falens | 90 | Camp suttlers, with horsemen and numerous figures. From the Collection of Sir James Stuart | £5 | 10s. | |
| Swaneveldt | 91 | A study of ruins—on paper | £1 | 2s. | |
| Watteau | 92 | A fête champêtre | £1 | 10s. | |
| Rigaud | 93 | Portrait of a French lady, holding a row of pearls | £3 | 10s. | |
| Venetian | 94 | Portrait of the admirable Crichton, in black dress, seated holding a sword and a book; with long inscription. Dated 1581, with the engraving | £13 | 2s. | 6d. |
| Roman School | 95 | Portrait of the Cardinal of York, in his robes. Purchased at his villa, at Frascati | £1 | 10s. | |
| Sir P. Lely | 96 | Portrait of the Countess of Southesk, (la belle Hamilton) in a white satin dress, seated, holding a viol da gamba, in a landscape, from the collection of C.R. Sharpe, Esq. | [£7 | 17s. | 6d.] |
| Sir Joshua Reynolds | 97 | A very small head of a lady | 15s. | ||
| Anthony | 98 | Henselope Burn | 14s. | ||
| Andrew Wilson | 99 | The Cascatelle, at Tivoli, with shepherds and goats in the foreground, admirably painted | £33 | 12s. | |
| J.M.W. Turner, R.A. | 100 | A farm in the Highlands | £2 | 8s. | |
| Rev. J. Thompson | 101 | The Trosacks. A beautiful finished study, given by the artist to Mr. Dennistoun in 1829 | £3 | ||
| J.M.W. Turner, R.A. | 102 | Fishing boats caught in a squall | £8 | 15s. | |
| Millais, A.R.A. | 103 | A cottage barn, in Essex: a sketch of figures on the back | £4 | 10s. |
Works of Mediæval Art, and Curiosities
| 104 | Eleven silver touch-pieces, for the King's Evil, of the Stuarts; and three bronze Papal coins | £5 | ||
| 105 | A pair of red silk stockings, worked with gold. Belonged to the last Duke of Urbino | £6 | ||
| 106 | A curious ivory die, representing a man seated; and four silver dice, in the form of men and women seated | £1 | ||
| 107 | A pair of brass church candlesticks | £1 | 15s. | |
| 108 | The Virgin and Child—a relief, in bronze | £1 | 15s. | |
| 109 | The Flagellation—a relief, in bronze | £1 | 15s. | |
| 110 | A miniature portrait of Queen Mary, mounted in silver, with slab of agate on the back | £4 | 6s. | |
| 111 | Raffaele School—Lo Spasimo di Sicilia—a drawing, in Indian ink and pen | 6s. | ||
| 112 | A chalice, of silver, and copper gilt, with three busts of Niello work on the base | £3 | 15s. | |
| 113 | A female saint, in embroidery | 5s. | ||
| 114 | Head of St. Peter, in tapestry. From the Cardinal of York's Villa | £3 | 6s. | |
| 115 | The Crucifixion, worked in ancient lace for an altar cloth | £2 | 2s. | |
| 116 | A very rare caterpillar's web, of unusual size | [£2] | ||
| 117 | St. Mary, of Egypt, of pietra-dura, on lapis-lazuli ground | £12 | 10s. | |
| 118 | A Majolica plate, with St. Jerome, in a landscape: signed by Maestro Giorgio, 1521—imperfect | £3 | 15s. | |
| 119 | A fragment of a Majolica plate, with Mercury, with the initials of Maestro Giorgio, 1534 | 15s. | ||
| 120 | The agony in Gethsemane—a Limosine enamel | £1 | ||
| 121 | St. Dietburgha—painted on a caterpillar's web | £1 | 6s. | |
| 122 | A half dyptic, with two saints in relief in ivory, and Byzantine inscription | £1 | 11s. | |
| 123 | A crucifix, elaborately carved in boxwood, containing a rosary of silver thread | £1 | ||
| 124 | A large bronze Papal seal, with the Holy Family, and 8 smaller bronze seals—one of them, Johann Russell | £2 | 5s. | |
| 125 | Venus on a dolphin—a Venetian bronze, on oriental alabaster plinth | £3 | 10s. | |
| 126 | A bronze inkstand, supported on eagles, and surmounted by a figure | £3 | 10s. | |
| 127 | The Entombment—a relief, in bronze | £10 | 10s. | |
| 128 | A small ivory dyptic, with the Crucifixion, and the Virgin and Child, with two saints, in high relief, on gothic arches | £10 | 10s. | |
| 129 | A very interesting Pax, of Niello work, with Christ bearing his Cross, and appearing to Mary, inscribed above "Jacobus Suannes Cole"; the dead Christ, and emblems of the Crucifixion, in the lunette above | £10 | 10s. | |
| 130 | Another Pax, of niello, with the dead Christ and angels, inscribed beneath, "Pax tibi Pilastus," and frieze of arabesque; the Creation above—mounted in ivory | £9 | ||
| 131 | A curious bone tryptic, with the Crucifixion, attended by saints; St. Peter and St. Paul on the wings | £8 | 18s. | 6d. |
| 132 | A very interesting early Pax, of Niello, with the Virgin and Child enthroned, the latter holding a rosary; two saints kneeling on each side; a die on the ground in the centre | [£2 | 15s.] |
The total amount realised at the sale was £1398 15s. 6d.