Worcester College

Full Collection Guide

Here follows the list of 52 volumes from Clayton's appendix (Clayton, 1992):

I. Blue paper bound in striped marbled boards and vellum; inscribed on spine: 'PICTURAE RAPHAELIS […] THOL: […]LI'. Containing 68 prints, page size 540 x 396 mm. Loose inside: 'The manner in wch Raphaels paintings stand in The Chambers in the Vatican Mr Jervas 1700 from Rome', with drawings showing the layout of Raphael's paintings in the Vatican. 1-22: Picturae Raphaelis Sanctii Urbinatis ex Aula et Conclavibus Palati Vaticani, by F. Aquila, published by D. de Rossi (1722); 23-32: The Raphael Cartoons at Hampton Court published by T. Bowles in London and F. de Poilly in Paris (c.1720) and the seven small cartoons by Gribelin (1720); 33-41: other prints after Rapahel; 42-49: Thornhill's cupola of St Paul's in red; 50-59: Chasteau's Miracle of the Fishes and Dorigny's Planetarium; 60-68: Thornhill's frontispiece to the Oxford Bible and the designs for St Paul's in black.

II. Blue paper bound in striped marbled boards and vellum; title on spine lost. Containing 73 folios with 90 prints, page size 604 x 461 mm. 1-30: title-page and portrait frontispiece to Imagines Veteris ac Novi Testamenti (G.G. de Rossi, 1675), prints after Raphael by or after Marcantonio, Veneziano, Goltzius (Galatea), modern French engravers, Madonna published by Cooper, etching by Alexander; 31-36: Domenichino and Carlo Maratta by Jacob Frey; 37-57: small Hampton Court Cartoons by Gribelin, proofs of statues by Gérard Audran; 58-74: Dorigny Planetarium, chalk drawing after Raphael, prints after Raphael by Veneziano, Bonasone, G. Audran, Kirkall and Trench; 75-93: prints after Giulio Romano, Michelangelo, Polidoro da Caravaggio, Mantegna, Dürer, Agostino and Annibale Caracci, Titian and Veronese.

III. Prints bound in striped marble boards and vellum; spine lost. Manuscript list of 63 prints by Clarke (prints by Kirkall subsequently inserted into list; others, e.g. The Luxembourg Gallery, never listed). Containing 132 prints of various sizes, boards 710 x 605 mm. 1-11: Pinacotheca Hamptoniana by Dorigny, two Hampton Court Cartoons by Audran, Death of Ananias after Poussin; 12-23: prints after Raphael, Giulio Romano and Annibale Carracci; 24-50: The Luxembourg Gallery after Rubens; 51-105: prints after Albano, Poussin, Mignard, van Francken, Le Sueur, Coypel, Bourdon and Jouvenet; 106-12: prints of Louis XIV's victories after Van der Meulen; 113-32: S. Bibiana and other prints after Cortona, Ciro Ferri and Coypel.

IV. Blue paper bound in striped marble boards and vellum; title on spine lost. Containing 118 prints, page size 605 x 465 mm. 1-33: portrait of Poussin, prints after Poussin; 34-45: title and nine mezzotints by Smith after 'Titians' at Blenheim; 46-55: Rubens's ceiling of the Whitehall Banqueting House by Gribelin, six Venetian paintings at Kensington and Windsor by Gribelin, Hercules at the Crossroads by Gribelin; 56-103: prints after Caravaggio, Correggio, Ferri, Le Sueur, Coypel, Lairesse, Fouché, Titian by Gaywood and a Susanna after Dahl; 104-13: large portraits after Vanderbank; 114-18: drawing of Baalbek, Thornhill's etching of his own design for fireworks, Agony in the Garden by Burghers.

V. Purple paper bound in brown spotted marbled boards and vellum; spine lost. Containing 160 prints, boards 898 x 678 mm. 1-63: Bernini tomb of Urban VII, tomb of Richelieu, prints after Watteau, Vleughels, Jeurat, Antoine Coypel; 64-78: Guercino and Domenichino paintings in Rome by Dorigny (1699), Domenichino decoration in S. Andrea by Dorigny (1707), Titian by Baron (1732); 79-107: prints after Le Brun, including Meleager series, various versions of the Alexander series, Conquests of Louis XIV; 108-16: large prints after Poussin; 117-30: Girardon Gallery; 131-60: Heliodoro by Maratta, Raphaels in the Vatican by F. Aquila (1722), including three-sheet Battle of Constantine 1683, Sequere me by Coypel juxtaposed with Raphael's Transfiguration by Thomassin, Veronese, prints after Giulio Romano by Bartoli.

VI. Prints bound in striped marble boards and vellum. Containing 163 prints on 144 sheets of various sizes, boards 860 x 615 mm. 1-17: all the large plates by Salvator Rosa; 18-34: F. Albani's frescoes in the Aede Verospia (Frezza 1704); 35-58: 25 prints after Carlo Maratta; 59-66: S. Agnese by Dorigny after Ciro Ferri; 67-82: Aeneas frescoes in the Pamfili Palace after P. da Cortona; 83-92: ceilings of the Barberini Palace after P. da Cortona; 93-102: frescoes in the Pitti Palace after P. da Cortona (1661); 103: Choice of Hercules; 104-41: decorations in the Farnese Gallery and Farnese Cubiculi after Annibale Carracci; 142-53: Cupid and Psyche in Farnese Garden after Raphael; 153-63: Life of Charles I published by T. Bowles.

VII. Prints bound in striped marbled boards and leather. Containing letterpress and 36 prints, sheet size 600 x 404 mm. 1-36: Tableaux du Cabinet du Roy, Première Partie (1679), text describing 24 plates, supplemented by twelve further prints, nearly all from the Cabinet, most impressions printed by Goyton.

VIII. Blue paper bound in striped marble boards and vellum; title on spine broken. Containing 119 folios with 149 prints, page size 598 x 455 mm. 1-6: Royall Martyr by Faber from Clarke's collection, prints by and after Bourdon, Hollar, Bos, Ghisi; 7-15: two coloured medley prints published by King, etchings printed in colour by Jan Teyler; 23-55: prints after Le Brun; 56-85: small French history prints, mostly published by Audran; 86-93: prints after Guido Reni, one from Robert Child's collection by Simon, two by Bloemaert, and prints after Maratta and Rubens; 94-105: Triumph of Caesar after Mantegna by Andrea Andreani, and two line-engravings of same; 106-30: Killing of Niobids, Moeurs et Façons des Turcs by Pieter Gecke van Aelst; Good Offices by Baron; 131-49: prints after Hogarth: the more virulent variant of Henry VIII with Ramsay's verses (1729), Southwark Fair (1733/4), The Rake's Progress (1735), A Modern Midnight Conversation, A Harlot's Progress (1731) and The Denunciation by Sympson (1729).

IX. Prints bound in striped marbled boards and vellum; title on spine. 33 pp. letterpress and 20 prints, sheets 408 x 270 mm. Il Claustro di S. Michele in Bosco di Bologna depinto dal Famoso Lodovico Carracci e da altri Eccellente Maestri uscita dalla suo Scola (Bologna 1694).

X. Sheets bound in striped marbled boards and vellum; contents listed on front endpaper. Containing 42 prints, page size 366 x 486 mm. 1-16: Heroicae Virtutis Imagines quas Eques Petrus Berrettinus Cortonensis pinxit Florentiae…(G.G.
de Rossi, 1691); 17-42: frescoes in the Gonzaga Palace, Mantua, after Giulio Romano and Primaticcio by Bartoli.

XI. Sheets bound in striped marbled paper boards and vellum. Containing 37 prints, boards 540 x 460 mm. 1-12: Labours of Hercules, with 1-6 invented and etched by Louis Chéron and finished by G. Vandergucht, and 7-12 invented and engraved by Vandergucht; 13-34: Don Quixote after Charles Coypel, published by G. Vandergucht; 35-37: Mémorable Jugement de Sancho after Coypel by Joullain, Denunciation by Sympson after Hogarth, presentation copy of a gem of Britannicus belonging to Hugh Smithson by Beauvais after Hussy.

XIIa,b. Prints bound in striped marbled boards and vellum; titles on spine: 'VEDUTI DI VENET' and 'ADRI VENET'; manuscript title pages: Il Gran Teatro di Venezia overo Raccolta delli Principali Vedute e Pitture; vol. I containing 64 views by Felippo Vasconi numbered by hand with manuscript 'tavola' by Clarke attached to endpaper; vol. II containing 57 prints of paintings, boards 485 x 380 mm, sheets 475 x 370 mm.

XIII. Prints bound in striped marbled boards and vellum; title on spine lost; containing 67 prints, sheet size 280 x 210 mm. 1-67: title and 61 Figurine followed by two tritons and four monsters by Salvator Rosa.

XIV. Prints bound in wrappers, containing 36 devotional prints by Thomas de Leu, sheet size 265 x 185 mm.

XV. Cream paper bound in full buckskin; on front endpaper 'Rue de Boaune vis a vis L'hostel de Mally'; index in French on back endpaper, not compiled by Clarke; containing 97 prints, sheet size 423 x 278 mm. Portraits of the Imperial Family, some after Rubens and Titian, including Maximilian I by Lucas van Leyden, Encounter of Spanish and Portuguese Ambassadors, and Don Jon of Austria by Ribera.

XVI. Prints, then blue paper bound in striped marbled boards and vellum; spine lost. Containing 146 folios with 469 prints, page size 485 x 289 mm. 1-10: True Portraitures by Vertue with subscriber's wrapper; 11-53: portraits of notable Englishmen, mostly seventeenth century; 54-93: drawings of statues on Clarendon Printing House by Thornhill, decorative prints by Gribelin, heads of English Civil War participants; 94-205: Alfred the Great and subsequent notable English intellectuals, many clerical, many Fellows of Oxford; lawyers, doctors, writers, criminals, Parliamentarians; 206-360: Protestant theologians by Faber after Holbein, Turks, antique busts by Faber after Rubens, foreign portraits, including painters and engravers, many published by Desrochers; 361-469: mezzotints by Smith and Robinson, drawings reproducing paintings, sixteenth-century prints, the American Aloe, satires including The Punishment Inflicted on Lemuel Gulliver (1726), Operas and Masquerades (1723-24), Newcomen Engine by Beighton, drawings by William Cary and by Thornhill, Deadly Sins by Goltzius, Bubble Cards.

XVII. Purple paper bound in brown dotted marbled boards and calf; containing 175 prints, page size 580 x 440 mm. 1-15: head of Christ by Mellan, English royal family; 22-29: generals; 58-84: bishops, Oxford divines, intellectuals including drawing and print of John Radcliffe by Vertue (1719); 86-103: XII Celebrated English Poets by Vertue, proofs of Prior and Pope by Vertue and White; 104-18: Antique busts after Rubens, two more by Baron after Wood, Thornhill; 119-36: 'Beauties' after Van Dyck by Van Gunst and after Kneller by Faber; 137-75: painters, statesmen, criminals, including Sarah Malcolm by Hogarth, admirals.

XVIII. Prints bound in full leather; title on spine: 'ICONES FUNDATORUM UNIV OXON & CANTAB'. Containing 43 prints, sheet size 353 x 243 mm. Faber's set of Oxford founders, worn impressions.

XIX. Prints bound in full leather; title on spine: 'EFFIGII PONTIF & CARDIN'. Index in manuscript by Clarke. Effigies insignia nomina cognomina Patriae et dies promotionis ac obitis summorum pontificum et S.R.E. Cardinalium Defunctorum ab anno MDCLVIII; vol. I containing 133 plates, Benedict XIII added later; vol. II containing 136 plates, Clement XII added later, sheet size 342 x 230 mm.

XX. Prints bound in striped marbled boards and leather; title on spine: 'PORTRAITS OF CARDINALS'. Containing 57 portraits published by Dom. or Phil. de Rossi numbered by hand, sheet size 355 x 235 mm.

XXI. Prints bound in striped marbled boards and vellum; title on spine: 'ITALIA & ROMA' with G.C. monogram; index by Clarke of 54 'Prints in this Volume', omitting those by Roberts and Visentini. Containing 76 prints, 54 numbered by hand, boards 527 x 408 mm. 1: Coronelli view of Venice; 2-25: views of Venice, Naples, Livorno, Genoa, Tivoli, Bologna, Perugia, Lucca, Novarra, Milan, Palestrina, most by P. Mortier; 26: Tivoli by Duperac; 27-40: views of Rome by Silvestre, Specchi, Falda and Wouters, interspersed (but not numbered) are six reconstructions of Roman amphitheatres by Bishop Roberts; 41-54: views of the Vatican and Papal palaces, including a copy of a drawing of the design of the Vatican Library made for Henry Aldrich in 1710 and Prospectus Magni Canalis Venetiarum by Visentini (1735).

XXII. 1: cream paper bound in striped marbled boards and leather, sheets 280 x 450 mm, I Vestigi dell'Antichita di Roma by Etienne Duperac (1575), map of 'Roma Antiqua' and 40 prints; 2: prints bound in striped marbled boards and vellum; title on spine: 'ANTIQ: DI ROMA POZZOL.&C' with GC monogram. Vestigi delle Antichità di Roma, Tivoli, Pozzuolo et Altri Luoghi come si ritrovano nel secolo XV by Marco Sadeler (De Rossi edition of 1660), 50 prints, sheets 280 x 410 mm.

XXIII. Prints bound in full leather, sheets 370 x 475 mm, Colonna Traiana, 119 plates by Bartoli; text by Bellori; published (after 1667) by G.G. de Rossi.

XXIV. Prints bound in full leather, sheets 360 x 470 mm, Columna Antoniniana, 77 plates by Bartoli; text by Bellori; published by the author, n.d.

XXV. Prints bound in full leather, sheets 475 x 300 mm, Veteres Arcum Augustorum, 52 plates by Bartoli; text by Bellori; published by G.G. de Rossi (1690).

XXVI. Prints bound in full leather, sheets 365 x 470 mm, Admiranda Romanorum Antiquitatum, 83 plates by Bartoli; text by Bellori; published D. de Rossi (1693).

XXVII. Containing (a) Le Pitture antiche delle Grotte di Roma e del Sepolcro de Nasoni, 35 plates by Bartoli, text by Bellori, A. de Rossi (1702); (b) Gli Antichi Sepolcri, overo Mausolei Romani et Etruschi, 110 plates by Bartoli, text by Melchiori, published D. de Rossi (1704).

XXVIII. Prints bound in full leather, Raccolta di Statue Antiche e Moderne, 162 plates by F. Aquila, Audenaert, Dorigny, de Poilly etc., text by Maffei, published by D. de Rossi (1704).

XXIX. Prints bound in striped marbled boards and vellum; title in manuscript on front endpaper. Raccolta di Vasi Diversi, 51 plates by F. Aquila, published L.P. de Rossi (1713).

XXX. Insignium Romae Templorum Prospectus, 122 plates, published G.G. de Rossi (1684).

XXXI. Studio di Architettura Civile, 267 plates by F. Aquila, C. Cort etc., published in three parts by D. de Rossi from 1702.

XXXII. Prints bound in striped marbled boards and vellum, containing 107 prints, sheets 277 x 417 mm. 1-33: Le Fontane di Roma nelle Piazze by G.B. Falda, published by G.G. de Rossi (1691); 34-51: Le Fontane delle Ville di Frascati by Falda; 52-79: Le Fontane ne Palazzi e ne Giardini di Roma by G. F. Venturini, Falda and L. Rouhier; 79-107: Le Fontane del Giardino Estense in Tivoli by Venturini.

XXXIII. Prints bound in full leather. Containing 126 prints, sheets 362 x 465 mm. 1-44: Palazzi di Roma di piu celebri architetti by Pietro Ferrerio; 45-105: Nuovi Disegni dell architettura, e piate de Palazzi di Roma de'piu celebri architetti by Falda; 106-26: Li Giardini di Roma by Falda.

XXXIV. Prints bound in striped marbled boards and vellum; title on spine: 'OPERA DI BAROMIN / VILLE DE RHEIMS &C' with GC monogram. Containing 58 prints, boards 563 x 420 mm. 1-45: Opera del Caval Francesco Boromino (Rome 1720); 46-58: views of Reims, its Cathedral and the coronation of Louis XV.

XXXV. Prints bound in full leather; title on spine: 'PLANS & VUES DE VERSAILLES'. Unbound manuscript contents list. Containing 105 prints, boards 520 x 356 mm, sheets trimmed to 508 x 345 mm (most folded). 1-18: views of the Château by Silvestre (1664-84), orangery, stables; 19-30: water-theatres by Silvestre, Le Pautre and Simonneau (1677-89); 31-64: basins, fountains, sphinxes, vases and herms by Le Pautre (1670s); 65-85: statues, various sculptors, by Le Pautre, Audran, Chauveau and the Edelincks; 86-104: Description de la Grotte de Versailles (1679), title and 11 pp. letterpress and 23 prints of exterior and interior.

XXXVI. Prints bound in full leather; title on spine: 'PLANS ET VUES DE MAISONS ROYALES'. Containing 118 prints, boards 520 x 356 mm, sheets trimmed to 508 x 345 mm (most folded). Unbound: Abrégé des choses les plus Remarquables, & les plus curieuses du Chasteau du Louvre & de la Maison Royale de Fontainebleau [1715]. 1-5: Louvre; 6-16: Tuileries, Nations, Arc de Triomphe at St Antoine; 17-20: Vincennes; 21-22: Château de Madrid; 23-25: St-Germain-en-Laye; 26-33: Fontainebleau; 34-37: Monceaux; 38-39: Chambord; 40-41: Blois; 42: Compiègne; 43: Marimont; 44-49: towns and fortresses of Stenay, Sedan, Mommedy, Jametz, Verdun, Metz, Marsal; 50-67: Statues et Bustes Antiques des Maisons Royales (1679), list by Clarke, 4 pp. letterpress by Félibien describes eighteen plates by Mellan; 67-110: statues and busts by Baudet (1678-81); 111-118: new and antique statues by Thomassin.

XXXVII. Prints bound in striped marbled boards and vellum; illegible title on spine with GC monogram. Containing 81 prints, sheets 505 x 378 mm (some folded). 1-30: Les Plans, Profils et Elevations, des Ville et Château de Versailles, avec les Bosquets, et Fontaines, tels qu'ils sont a present; Levez sur les Lieux, Dessinez et Gravez en 1714 et 1715; 31-52: plans, elevations and views of the orangery and chapel (Le Pautre); 53: Machine de Marly; 54-66: Elevations of the Louvre and the Eglise du College, temple de Ste Marie, Place de Victoires; 67-81: Clagny by Mansart, Pont Neuf by Schenk, Phillip III's palace at Naples, Meudon.

XXXVIII. Prints bound in full leather. Inscribed: 'Paris, Julliet 1715'. Handwritten title-page: 'Receuil des Planches des Sieurs Marot Pere et Fils a Paris chez Jean Mariette'; engraved contents list continued in manuscript and completed with 'Quelques planches dont il n'y a point de mention dans la table imprimée' (95-111). Containing 242 prints, sheet size 437 x 285 mm. 1-237: plans and elevations by the Marot; 238-42: plans and views of Marly published by Mariette.

XXXIX. Prints bound in striped marbled boards and vellum; title on spine: 'MAISONS FRANCAIS'. List by Clarke of 170 subjects. Containing 173 prints, boards 285 x 437 mm. Architectural prints published by Pierre Mariette, mostly plans and elevations of houses and gardens of superior quality, with views of churches by Marot (95-118), and a set of twelve palaces by Marot (119-30).

XL. Prints bound in striped marbled boards and vellum; title on spine 'CHIMINES' and GC monogram. Boards 392 x 522 mm, trimmed sheets 382 x 515 mm; containing Desseins de Cheminées by J. Berain, 24 plates and three drawings.

XLI. Prints bound in striped marbled boards and vellum; title on spine: 'ORNEM CHEMEN CHAIRES &C' with GC monogram; manuscript list of titles on inside board. Containing 95 prints, sheet size 297 x 396 mm. 1-7: Dessins de Divers Ornemens et Moulures Antiques et Modernes [1707]; 8-14: 'L'ambris' designed by Le Pautre, published J. Mariette; 15-20: Dessins de Cheminée et l'Ambris de Menuiserie pour la décoration des Appartemens by Blondel, published Mariette; 21-35: 'Elevations de divers Chaires de Predicateurs', published Mariette or Le Blond; 36-57: Livre de divers Ornemens pour plafonds, Cintres surbaissez, Galleries, & autres by Jean Cotelle, published Mariette; 58-63: Nouveaux Desseins de Pieds de Tables et de Vases et Consoles de sculpture en bois by Pieau, published Mariette; 64-71: Nouveaux desseins de Meubles et Ouvrages de Bronze et de Marqueterie by Boulle, published Mariette; 72-77: Portes Cochere de Menuserie, by Francard, published J. Mariette; 78-83: Desseins pour embellir les Chaires Roulantes by N. Loire, published N. Langlois; 84-89: Grand Alcoves a la Romaine by Le Pautre, published P. Mariette (1667); 89-95: Alcoves a la Royalle by Le Pautre, published P. Mariette.

XLII. Prints bound in striped marbled boards and vellum; title on spine: 'LE BRUN FONTAINES & FRISES MARIT' with GC monogram. Trimmed sheets 585 x 415 mm; containing 39 plates on 25 sheets: Receuil de divers Desseins de Fontaines et de Frises Maritimes.

XLIII. Prints bound in striped marbled boards and vellum; title on spine: 'F.B. ORN' with GC monogram. Containing 77 prints, trimmed sheets 405 x 268 mm. 1-6: Grilles, balcons; 6-12: Potences etc.; 13-18: Nouveau desseins de Plaques by Pineau, published Mariette; 19-24: Cartouches by G.B. Toro; 25-30: Trophées by Toro; 31-36: Nouveau Livre de Vases by Toro; 37-42: Desseins arabesques a plusieurs Usages by Toro; 43-48: Livre de Tables de diverses Formes by Toro; 49-68: Designs from the Arch of Constantine by Mattheo Piccioni, published G.G. de Rossi; 69-77; Raphael Planetarium by Dorigny.

XLIV. Prints bound in striped marbled boards and vellum; title on spine broken. Containing 65 prints, boards 530 x 405 mm. 1-8: Triumphal arches for Return of Charles II by Loggan, Hollar's 1666 view, Old Gates of London by Vertue for the Society of Antiquaries; 8-22: Plans of St Paul's after Wren's drawings, views authorized by Wren after Robert Trevitt, elevations by Loggan and published by T. Bowles; 23-34: new London churches and public buildings, surveys of Gothic churches by Hawksmoor and Stukeley; 34-58: various, including views of Queen's by Burghers, King's by Gibbs, Jacobite houses by Gibbs, Llandaff Cathedral by Burghers, Albermarle's house at Zutphen, Montagu House; 59-65: views of Oxford, Northampton, Coventry, Peterborough and Warwick by the Bucks, and the Trial of Dr Sacheverell.

XLV. Britannia Illustrata (1709), lacking views listed in the engraved contents but extra-illustrated with Hatfield, Shobden Court, Stainborough and the Earl of Strafford's villa at Twickenham.

XLVI. John Sleezer's Theatrum Scotiae (1693) extra-illustrated with Scottish houses and gardens by J. Nutting and views of Edinburgh published in Amsterdam.

XLVII. Prints bound in full leather; no title on spine. Containing 23 plates, sheets 368 x 467 mm; loose pamphlet and print, A Description of the Funerall Procession of His Grace John, late Duke of Marlborough published Thomas Taylor; bound, The Order and Ceremonies used for and at the Solemn Interment of … George, Duke of Albermarle (1670), title, letterpress and 21 plates.

XLVIII. Prints bound in full leather; title on spine: 'THE PEMBROKIAN STATUES': inscribed: 'Donum honorabilis admodum Thomae Comitis Pembrokia AD MDCCXXXI', with manuscript index by Clarke; containing etched title-plate and 74 prints of statues by Cary Creed, sheets 290 x 230 mm.

XLIX. Prints bound in full vellum; note: 'Empt: Amstelodami 14 Junij styl novo 1706'. Containing Afbeelding van't Stadt Huys van Amsterdam by Jacob van Campen; La Premier Partie de plusieurs figures et ornements, de la Maison de Ville d'Amsterdam by Artus Quellinus; second part of same. All published by Frederick de Wit, sheets 440 x 300 mm.

L. Prints bound in full vellum; title on spine: 'SAEL VAN ORANGE'. Note: 'O:15:0'. Containing 54 prints, sheets 455 x 285 mm. 1-12: De Sael van Orange; 13-34: Schoorstein-Wercken; 35-44: Het Stadhuys van Maastricht; 45-52: Swanenburch; 53-54 Vredenburch. All after Post by Jan Mathys and published by Frederick de Wit in Amsterdam.

LI. Prints bound in full leather; containing 115 prints, sheets 313 x 405 mm (some folded). Views of palaces, gardens, towns and churches in Sweden by van den Aveelen, Swidde, Marot, Peringsköld and Perelle, mostly published in Stockholm (1691-1702), with three prints of Nicodemus Tessin's palace by Sébastien Leclerc (1697).

LII. Prints bound in full leather. Containing 99 prints, sheets 323 x 200 mm. 1-50: Signorum Veturum Icones by Jan de Bisschof, title, 2pp. letterpress, 50 prints; 51-81: Diverse viste della cita in Candia Malta by Jan Peeters, Diverse viste delli Dardaneli, by L. Vorsterman after Peeters, Diverse viste delli Luoghi e Contrade di Barbaria after Peeters; 81-99: Novae Regionum Aliquot Amaenissimarum Delineationes by Merian (1625).

The following additional volumes are included in the catalogue:

LIII. This album contains an early set of David Loggan's Oxonia Illustrata (in stitched sheets, as issued by the printseller, royal watermark) bound in with some forty private plates showing plans and elevations of projected buildings, chiefly in Oxford; also a set of elevations of Blenheim Palace. 86 prints. [This volume originally had drawings by Hawksmoor bound in, but these have been removed.]

LIV. David Loggan, Oxonia Illustrata, a later set than LIII. 45 prints.

LV. Bound in red morocco with gold embossed coat of arms. Title on spine 'THEATRE DE LA GRANDE BRETAGNE'. Endpapers. Pencil note on inside by Richard Sayce: 'Plate of Chelsea Hospital inserted 18th century French red morocco with marbled endpapers. Arms of Pierre Delpech de Cailly. Same plates in Britannia Illustrata, 1709'. This is evidently a set that was exported to France by Mortier, or bought from the French-speaking bookseller by a tourist. Not from George Clarke's collection. 1-81: Nouveau Theatre de la Grande Bretagne, David Mortier (1708); 82: Royal Hospital at Chelsea, Kip, published C. Browne (1694).

LVI. 1-96: [Livre de Grotesques] sixty plates on thirty sheets followed by thirty-six single-sheet prints of grotesques designed by Androuet Du Cerceau. The larger plates match the 36 'Grands Grotesques' described in Millard, p.17, but in reverse of the plate illustrated. The small plates are on paper watermarked with the Le Tellier coat of arms similar to Gaudriault 134 and J D in cursive script. This probably indicates a date of printing around 1700. 97-108: [Twelve Cartouches] twelve plates by Collignon after della Bella, probably originally published by Langlois (Guilmard, p. 316) and republished by Pierre Mariette; 109-114: Desseins de Brasiers by Alexis Loir, published Mariette; 115-120: Panaux Dornements by Alexis Loir, published Mariette; 121-132: [Divers Ornemens I] N. Loir, published Mariette; 133-144: [Divers Ornemens, Trophées et Panneaux] N. Loir, published Mariette; 145-156: [Divers Ornemens II] N. Loir published by Mariette; 157-168: [Divers Ornemens III] N. Loir, published Mariette.

LVII. Volume of prints by Jean Le Pautre and others, bound in vellum and striped marbled paper. George Clarke's bookplate. Paginated list of contents in Clarke's hand on blank page. Signed 'GC' on verso of first plate. Plates numbered possibly not by Clarke. 1-12: Le Pautre, Grand Cheminées a la Romaine; 13-15: Lambris a la Romaine; 16-21: Livre de Cheminées à la Moderne; 22-27: Nouvelles Cheminées à Paneaux de Glace; 28-39: Cheminées et Lambris a la mode; 40-51: Nouvelles Cheminées a la Mode; 52-57: Nouvelles Cheminées Gravé sur les desseins de Mr. Francard; 58-60: Ornements Pour embellir les chapiteaux, Architraves Frizes, et Corniches; 61-2: [two fireplaces]; 63: [cornices]; 64-69: Nouveaux Desseins de Cheminees a l'Italiene; 70-75: Porte Cochere; 76-80: Desseins de Lambris à l'Italienne; 81-4: four plates by Marot; 85-90: Vasi fatti al moderno; 91-102: Portraicture de Diverses Vases; 103-8: [vases]; 109-114: Tombeaux ou Mozoles; 115-121: [funerary monuments]; 122-127: Livre de Lit a la Romaine; 128-133: Nouveaux Dessins de Gueridons; 133a-144: Sepultures et Epitaphes; 145-150: Confessionaux; 151-156: Chaires de Predicateur; 157-162: Chaires de Predicateurs et Oeuvres de Marguillers; 163-168: Nouvelles Inventions pour faire les banes des oeuur ou fermettent les Marguillers.

LVIII. Prints connected with the Queen's College, Oxford. 3 groups of prints stitched into soft covers. i) 1-9: in a white - or white stained brown cover - 180 x 243 mm, inscribed on the flyleaf, 'GC / DD: Rev. Dris Gul: Lancaster Propositi dign: 1714.' ii) 10-19: in a brown - or white stained brown cover - 180 x 243 mm, inscribed on verso of the flyleaf, 'DD: Reverendus Gul: Lancaster SS:T:D:Coll: Reginensis Propositus - Oct: 4 - 1715 GC.' iii) 20-29: in brown wrappers with a floral pattern printed in pink and gold, 248 x 198 mm, with 4 pp. letterpress and letterpress title The Present State of the New Buildings of Queens College in Oxford. With an Ichnography of the Whole, and Cuts of the several Parts of the said Buildings Engraved. Inscribed on the title page: 'GC/ Donum Reverendi Dris. Smith, Praepositi, Kal: Martij MDCCXXX.'

LIX. 37 naval prints, including 6-18 Thomas Fagge, The Bends of a Ship, London (1700).

LX. Prints bound in mottled leather with gold blocks on spine. Title on spine: 'BELLES MAISONS DE FRANCE'; marbled endpapers; bookplates of Clarke and Worcester College. Title plate signed 'GC'. 317 prints. 1-287: Veües des Belles Maisons de France, published by Nicolas Langlois (1707); 288-305: Veües de Rome et des Environs, published Langlois, with views of St Mark's Square and the Escorial; 306-317: Receuil des Plus Beaux Edifices, et Frontispices des Eglizes de Paris, published Mariette.

LXI. Prints bound in marbled boards and vellum. Title on spine: '[?Maisons] FRA[nçois] & VIGNOLA'. George Clarke's bookplate. Containing 81 prints. 1-32: views of French houses, published Mariette; 33-5: King Street and Whitehall Gates by Vertue; 36-73: Regola delli cinque ordini d'architettura di M Iacomo Barozzio da Vignola, Rome (1607); frontispiece signed 'GC' centre and verso. Note verso ?by Clarke, 'Memdam This booke of Vignola, did belong to Inigo Jones, & the writeing in the margin is his hand'. 74-81: Porte di Michel Angelo, Rome (1610).

LXII. 100 plates of statues by Francois Perrier (Paris, 1680) with title plate and two index plates bound in mottled leather with gold-tooled spine. Title on spine: STATV DV PERRIER. Marbled endpapers; Clarke's bookplate. Title plate signed GC.

LXIII. 112 prints bound (the Mortiers on hinges) in mottled leather, gilt tooling on spine with GC cypher and title 'CARLEVARIIS VEDUTE DI VENETIA'; bookplates of George Clarke and Worcester College; 4pp index in Clarke's hand listing only the Carlevariis prints, omits the Teyler but indicates the Mortiers with 'Quelques Veües &c'. 1-106: Luca Carlevariis, Le Fabriche e Vedute di Venetia (1703) (but inserted at 7 is Johannes Teyler, view of S. Maria della Salute); 107-12: views of Venice, published by Pierre Mortier (1704).

LXIV. 142 plates bound in vellum and red, white and blue marbled boards. Title on spine: 'IL NUOVO THEATRO DELLE FABRICH & CHIESA DI ROMA' with GC cypher. Bookplates of George Clarke and Worcester College. List of contents in Clarke's hand. Title plate of first part signed 'GC'. Il Nuovo Teatro delle Fabriche et Edificii, in prospettiva di Roma Moderna (1665-1699), libro primo 35 plates, secondo libro 17 plates, terzo libro 38 plates, quarto libro 52 plates.

LXV. Prints bound in full leather: Le antiche lucerne sepolcrali figurate (1691), 116 prints by Pietro Santi Bartoli of antique tomb lamps, published by Giovanni Francesco Buagni. Commentary by Giovanni Pietro Bellori. Bound with Symbolica Dianae Ephesiae statua (1688), which also includes some prints by Bartoli.

LXVI. Prints bound in marbled boards: 54 plates by Pietro Santi Bartoli after the illustrations in the Vatican Virgil (Vat. lat. 3225) and the Codex Romanus (Vat. lat. 3867). No title or inscriptions. Bartoli was commissioned by Cardinal Camillo Massimi to make copies of the Virgil illustrations in 1677. The best known edition of the prints is Antiquissimi Virgiliani codicis fragmenta et picturae ex Bibliotheca Vaticana ad priscas imaginum a Pietro Sancti Bartoli incisae (Rome, 1741). Clarke's prints predate this edition. Pomponi mentions an edition of 1725, Storia dell' Arte 75 (1992), p. 224, n.113. Clarke has transcribed a passage from Jonathan Richardson, An Account of some of the Statues … in Italy etc (1722) p. 264, noting how Bartoli had taken 'great liberties' in making the manuscript illustrations appear 'of the finest Antique' rather than 'altogether Gothick'.

LXVII. Le Pitture Antiche delle Grotte di Roma e del Sepolcro de' Nasoni (Rome, 1706). Leather bound volume with 75 prints by Pietro Santi Bartoli and Francesco Bartoli. Commentaries by Michelange de la Chausse and Giovanni Pietro Bellori. 25-59 are a reissue of the plates from Le pitture antiche del sepolcro de' Nasonii nella Via Flaminia (for which see vol. XXVII).

LXVIII. 12 prints bound in marbled boards: etchings by Pietro Santi Bartoli after the monochromes by Giulio Romano in the basamenti of the Sala di Costantino in the Vatican Palace. Clarke has annotated the prints, indicating the position of each picture in the decorative scheme, with reference to Giovanni Pietro Bellori's Descrizzione delle Imagini dipinte da Rafaelle d'Urbino (1695), pp. 62-3 (Clarke's copy of this text is annotated.)

LXIX. 74 prints bound marbled boards. 1-43: Parerga, atque ornamenta, ex Raphaelis Sanctii prototypis, a Ioanne Nannio Utinensi, in Vaticani Palatii Xystis (c.1670), etchings by Pietro Santi Bartoli after decorative motifs in stucco and fresco from the Vatican Logge by the School of Raphael (see N. Dacos, Le logge di Raffaello, Rome, 1977).

LXX. Prints bound in full leather: Opera selectiora, quae Titianus Vecellius Cadubriensis, et Paulus Calliari Veronensis inventarunt ac pinxerunt' (1682), 48 prints after Titian and Veronese, with a title-plate, by Valentin Le Fevre ( or Le Febre). This is the second of four editions, the first being published in Venice in 1680. The full set should have 53 prints according to Thieme-Becke and Hollstein, although Zanetti states there are 51 and that the best editions are 'in carta grande e forte' (Della pittura Veneziana, 1771, p. 534). Clarke's set conforms to this description, with some sheets having several prints from separate plates; there are 50 images in total. Clarke has numbered, and reordered the set, cutting out and remounting some prints.

LXXI. Historia del Testamento Vecchio Dipinta in Roma nel Vaticano da Raffaelle di Urbino (Rome, 1607), set of 51 etchings by Giovanni Lanfranco and Sisto Badalocchio after the frescoes by Raphael's workshop in the Vatican Loggia. Clarke's set is missing the three-plate dedicatory letter to Annibale Caracci.

LXXII. Prints bound in leather: i) Set of 12 etchings by Pietro Santi Bartoli after monochrome frescoes in the basamenti of Raphael's Vatican Loggia (now destroyed); ii) set of 12 counterproofs of the preceding prints; iii) set of 12 engravings by Etienne Delaunne of Battles and Triumphs. This set is the third state identified by Robert-Dumesnil, published by Langlois and dating from the seventeenth century.

LXXIII. King James Bible, published in Oxford in 1701, extra-illustrated with i) Imagines Veteris ac Novi Testamenti (1675), 52 prints after Raphael's Vatican Loggia by Cesare Fantetti and Pietro Aquila, etc. (the two frontispieces and the print of Raphael's 'Isaiah' from this set are probably those pasted in Album II); ii) Sacred Geography contained in Six Maps (1716); iii) a print after Michelangelo's 'Last Judgement' by Fulcanus; iv) a print of St. John by Burghers.

LXXIV. 25 prints bound in vellum: Nova Racolta di Palazzi Diversi nel Alma Citta di Roma (1650), after drawings by Pietro Ferrerio. Grelle (1996) states that a 1655 set of 44 prints of 'Palazzi di Roma', after Pietro Ferrerio, were the first architectural prints published by the De Rossi shop. Clarke's set predates this.

LXXV. Prints bound in full leather: Studio d'Architettura Civile by Ferdinando Ruggieri in three parts. i) 1722: title-plate, frontispiece, 3 sheets of letterpress and 80 prints; ii) 1724: frontispiece, title-plate, 3 sheets of letterpress and 80 prints; iii) 1728: frontispiece, title-plate, 3 sheets of letterpress, 77 prints, 5 inserted pen and ink drawings with Latin inscriptions. The first title-plate is annotated 'D:D Stephanus Fox, Armiger 1727'.

LXXVI. Description Generale de l'Hostel Royal des Invalides by L.J.D.B., published 'chez l'auteur, dans l'Hostel Royal des Invalides' (1683) 18 prints.

In addition there are folders of unbound prints, which include prints of: buildings in Oxford and other English buildings, including sets of prints of Whitehall Palace and Wilton; Parisian and other French buildings, (including prints by Marot and Mariette); buildings in Rome; foreign city plans, several of Rome; Pierre Mortier's views of Italy; maps and plans, some military; miscellaneous items, including some prints of the temple at Baalbek and some ephemeral items. There are also a series of large prints in rolls, including Histoire d'Alexandre by Audran and Edelinck after Le Brun, and some framed prints. The location number for these different types begins: folder, roll, or framed.