78475 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Albany E.Howarth (1872-1936), etching on paper, Arca della Conca, Perugia, signed and dedicated in pencil, 19cm x 21.5cm, mounted, glazed and framed . Condition Report:

Salvador Dali, angel of dada and surrealism, 1971, Transworld Art lithograph/etching, signed in pencil, no. 24/40, plate 53cm x 41cm, framed . Condition Report:Very slight paper discolouration, no foxing or paper damage

AR * Trevelyan (Julian, 1910-1988). LK927, 1978, etching with aquatint on deckle-edged wove paper, signed, titled and numbered 41/150 in pencil, the full sheet, publisher's blindstamp to lower right, with Christie's Contemporary Art Certificate of Authenticity, some light handling creases and a few minimal marks (not affecting image), plate size 35 x 47.5 cm (13 3/4 x 18 3/4 ins), sheet size 58 x 77 cm (22 3/4 x 30 1/4 ins), unframedQTY: (1)

* Swanevelt (Herman van, 1603-1655). Wooded riverside landscape with figures, hillside dwelling, against a mountainous backdrop, from the series Hill Landscapes, state ii of iv, etching on laid paper, with close-trimmed margins, lower right corner torn with slight image loss and repaired, short closed tear to right edge, lined to verso, plate size 177 x 275 mm (7 x 10 3/4 ins), sheet size 178 x 279 mm (7 x 11 ins), together with:Cunego (Giuseppe, 1760-1781). A pair of Italianate landscapes with figures after Francesco Antonio de Capo (fl. 1775-1800), etching on wove, close-trimmed, lined to verso, light dust-soiling, sheet size 133 x 279 mm (5 1/4 x 11 ins) and 133 x 287 mm (5 1/4 x 11 1/4 ins), Rosa (Salvator, 1615-1673). St. Albert, the Companion of St William (suffering self-imposed penance), circa 1661, etching on laid paper, central horizontal fold, light dust-soiling and minor spotting, plate size 340 x 228 mm (13 1/2 x 9 ins), sheet size 428 x 314 mm (16 3/4 x 12 3/8 ins), Ribera (Jusepe de, 1591-1652). The Martyrdom of St. Bartholomew, 1624, etching on laid paper, dust-soiling, ink splashed and marks, trimmed to image and tipped onto backing paper, sheet size 317 x 238 mm (12 1/2 x 9 3/8 ins), Pfenninger (Heinrich, 1759-1815). Self-portrait in profile, etching on laid, plate size 232 x 190 mm (9 1/8 x 7 1/2 ins), sheet size 256 x 213 mm (10 x 8 3/8 ins), plus other etchings and engravings including three etchings on wove after Jacques Callot depicting battle scenes and street scene with walking wounded, each trimmed to image and lined to verso, approximately 85 x 185 mm, four small engraved Augustin Zenger (18th century), several engraved portraits by Houbraken and George Vertue, portrait of John Locke, 1738, etc.QTY: (35)

* Renoir (Pierre-Auguste, 1841-1919). Le Chapeau Epinglé (third plate), 1894, etching, signed in the image lower left, on cream wove paper, the second state, as issued in the book Renoir et ses Amis by Georges Riviere (1921), plate size 120 x 830 mm (4 3/4 x 3 1/4 ins), framed and glazedQTY: (1)

* Piranesi (Giovanni Battista, 1720-1778). Due Colonne co'loro Capitelli, Architrave, Fregio, e Cornice (from Le Antichità Romane II), 1756, etching on laid paper, a good, strong impression, 'Piranesi Archit. dis. ed inc' to lower right, plate size 39.5 x 25.2 cm (15 3/4 x 10 ins), framed and glazed (63.5 x 50 cm), not examined out of frame, together with Piranesi (Francesco, 1758/59-1810). Tre Frammenti trovati nella Villa Adriana in Tivoli (from Vasi, Candelabri, Cippi..., II), 1790, etching on thick laid paper, with wide margins, plate size 39.5 x 25 cm (15 3/4 x 9 3/4 ins), sheet size 52 x 37.5 cm (20 1/2 x 14 3/4 ins), mounted, plus Capitello che si vede nel palazzo Massimi (from Vasi, Candelabri, Cippi..., II), 1778, etching on thick laid paper, wide margins, plate size 39.5 x 25 cm (15 3/4 x 9 3/4 ins), sheet size 51.5 x 36.7 cm (20 1/4 x 14 1/4 ins), mounted, and Piranesi (Giovanni Battista, 1720-1778). Uno de’Frammenti dell’antica pianta di Roma… indicante la pianta della scena del Teatro di Marcello (from Le Antichità Romane IV), 1756, etching on laid paper, 'Piranesi archit. dis. inc.' to lower right, with a 'TF' watermark indicating a Paris edition of circa1807-1835, central fold, very wide margins, minimal spotting, plate size 40 x 60 cm (15 3/4 x 23 1/2 ins), sheets size 60.5 x 88.5 cm (23 3/4 x 34 3/4 ins), plus Sezione traversale de' cunei inferiori del Teatro di Marcello (Le Antichità Romane IV), 1756, etching on laid paper, a rich impression, large margins, plate size 42.5 x 25.4 cm (16 3/4 x 10 ins), sheet size 60.5 x 44 cm (23 3/4 x 17 1/4 ins), and Pinata dell'avanzo del Teatro di Marcello, from Le Antichità Romane IV, 1756, etching on laid paper, wide margins, plate size 39 x 25.7 cm (15 1/4 x 10 ins), sheet size 61 x 44 cm (24 x 17 1/4 ins), plus six further etchings by Piranesi of architectural fragments and other studies of the Teatro di Marcello from Le Antichità Romane QTY: (12)NOTE:G. Piranesi: Wilton-Ely 380; Focillon 245; Ficacci 237.F. Piranesi (both works): Wilton-Ely 1005; Focillon 718; Wilton-Ely 495/499/494; Focillon 362/366/361; Ficacci 353/357/352.

* Baldrey (Joshua Kirby, 1754-1828). East Window of King's College Chapel, Cambridge, 1809, fine hand-coloured stipple etching on two conjoined sheets, overall plate size 110 x 61 cm (43.5 x 24 ins), with margins, framed and glazed (frame size 122 x 77 cm or 48 x 30 1/4 ins)QTY: (1)NOTE:Fine large-scale coloured print of the famous east window at King's College Chapel, Cambridge, a late Gothic stained glass window showing the Passion sequence.

* Callot (Jacques, 1592-1635). The Old Woman with the Cats, from the series The Beggars (Les Gueux), circa 1622-23, etching on laid paper, depicting a woman dressed in rags sitting by a bucket of coals, a cat sitting in her lap, another by her feet, first state, with wide margins, some light marks and partial light toning, plate size 139 x 88 mm (5 3/8 x 3 7/16 ins), sheet size 175 x 126 mm (6 7/8 x 4 15/16 ins), window-mounted, framed and glazed (32.5 x 26.5 cm), together withGloriosisimae Virginis Dei Parae Elogium, etching on laid paper, depicting a cartouche surrounded by putti and scenes from the life of Mary, the second state (of 3), old ownership inscription in brown ink to verso 'G. Storck a Milano 1799. Inv No 1812.', sheet size 98 x 74 mm (3 7/8 x 2 7/8 ins), plusTeniers (David, 1610-1690). Pilgrim with Folded Hands, etching on laid paper, trimmed to or just inside plate mark, 96 x 64 mm (3 3/4 x 2 1/2 ins), window-mounted (30.5 x 20 cm) QTY: (3)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.Lieure 503, i (Callot, Old Woman with the Cats) and Lieure 509, ii/iii (Gloriosisimae).

* Kolbe (Carl Wilhelm, 1757-1835). Wooded Landscape with Waterfall, etching on partially watermarked wove paper, depicting two oak trees on a grassy hill, two cows standing by a river, a shepherd and his dog resting, some light marks to sheet edges, including one short closed tear repaired to right hand margin not affecting image, trimmed to plate margins, sheet size 39.8 x 32.3 cm (15 5/8 x 12 5/8 ins), framed and glazed (60 x 49 cm) QTY: (1)NOTE:Provenance: Collection of John Rowlands (1931-2016), former Keeper of Prints and Drawings at the British Museum.

* Crome (John, 1768-1821). Road by a Stricken Oak, 1813, etching on laid paper, from the portfolio titled Thirty-One Original Etchings of Views of Norfolk, issued in 1821, plate size 15.25 x 19 cm (6 x 7 1/2 ins), sheet size 17.3 x 21.3 cm (6 7/8 x 8 3/8 ins), wood frame, glazed, together withBurgess (William Walter, 1856-1908). Cheyne Walk, west of Beaufort Street, Chelsea, 1894, etching on japon paper, from the edition of 100 proofs, printed for the artist by Frederick Goulding and published in 1894, signed in pencil lower left, plate size 145 x 280 mm, with margins, framed and glazed, plus a view of a castle by Paul SandbyQTY: (3)

* Worlidge (Thomas, 1700–1766). The Hundred Guilder Print (Christ with the Sick around Him), after Rembrandt, 1758, etching and drypoint, signed with initials and dated 1758 to lower right corner, platesize 276 x 393 mm (10 7/8 x 15 1/2 ins), with narrow margins, sheet size 281 x 397 mmQTY: (1)NOTE:A copy after Rembrandt's famous large scale etching (Bartsch 74).

* Haden (Seymour, 1818-1910). Kensington Gardens II (Large Plate), 1859, etching with drypoint, printing with selectively wiped plate tone, signed in pencil to lower margin, image size 19.7 x 12.5 cm (7 3/4 x 4 7/8 ins), sheet size 23.5 x 15.6 cm (9 1/4 x 6 1/8 ins), framed and glazed (42.3 x 32.4 cm), together with Out of Study Window, etching, depicting a view of a city emerging from behind trees and bushes, image size 10.5 x 25.6 cm (4 1/8 x 10 1/8 ins), framed and glazed (32 x 42.5 cm)QTY: (2)NOTE:Schneiderman 31.Provenance: Out of Study Window was purchased in April 1987 from Garton & Cooke, thence by descent through the family.

* Rembrandt (van Rijn, 1606-1669). Adoration of the Shepherds: A Night Piece, 1652, etching on cream laid paper, the 8th state (of 8), on 19th century paper, plate size 149 x 198 mm, mounted QTY: (1)NOTE:Hind 255, viii/viii; Bartsch 46

* Waterloo (Anthonie, 1609-1690). Village beside a canal, etching on laid paper, the third state (of 3), issued by Pierre-Francois Basan, circa 1770, with narrow margins, sheet size 124 x 214 mm (5 x 8 1/2 ins), laid down on later cream laid backing paper, with unidentified old initials in brown ink 'JK' to verso, framed and glazed, together with other various old master prints including five others by Anthonie Waterloo, Yan van Londerseel (1570-75/1624-25), Landscape with Christ Healing the Possesed Woman after Van Coninxloo, Louisa Augusta Greville (active 1743-62) after Annibale Carracci, Landscape with a Large Tree, 1760, Salvator Rosa, Diogenes Adolescentem manu bibentem, 1772, Van Voerst after van Dyck (Philip Herbert, 4th Earl of Pembroke), Gaspard Dughet, A. Genoels, Jacob Cats etc., various sizes, all framed and glazedQTY: (13)NOTE:The Illustrated Bartsch 91, S3 (for the first item).

* Kilian (Lucas, 1579-1637). Portrait of Johann Fürleger, 1626, engraving on laid paper, with castle watermark, printed inscription 'Lucas Kililan Aug ad vivum delineavit et sculpsit A.o 1626' to lower margin, sitter's name in ink in a contemporary hand to cartouche, with wide margins, pale damp stain to lower blank margin, hinge mounted onto backing board, plate size 190 x 130 mm (7 1/2 x 5 ins), sheet size 300 x 189 mm, framed and glazed (350 x 290 mm), together with:Küsel (Matthäus, 1629-1681). A pair of portraits of Georg Paul Imhof, after Georg Strauch, circa 1664, together two engravings on paper, manuscript inscriptions on recto to both in ink and pencil, plate size 244 x 175 mm (9 3/4 x 7 ins), in a multi-aperture mount, framed and glazed (440 x 580 mm),Vico (Enea, 1523-1567). Ex Antiquis Cameorum et Gemmae Delineata, comprising 12 proof engraved vignettes on single sheet of laid paper, plate size 305 x 430 mm (12 x 17 ins), sheet size 313 x 440 mm (12 3/8 x 17 3/8 ins), window-mounted,Weiditz (Hans, 1495-1537). Sheep shearing, milking and butchery, early 16th-century, woodcut on laid paper, trimmed to image, sheet/image size 140 x 153 mm (5 1/2 x 6 ins), window-mounted, frames and glazed (270 x 275 mm),Dietterlin (Wendel, 1550-1599). Plate 171 from Architectura von Austheilung, Symmetra und Proportion der fünft Seulen, 1593-1598, etching on laid paper, plate size 248 x 183 mm (9 3/4 x 7 1/4 ins), window-mounted, framed and glazed, plus other engravings including six maritime battle scenes by Jacques Callot (1592-1635), three of which from the l'Île de Ré series, unframed, and two others various, framed and glazedQTY: (13)

* Callot (Jacques, Nancy 1592-1635). Tuscan Farmyard, pen and brown ink on vellum, sheet size 119 x 168 mm (4 3/4 x 6 5/8 ins), a few surface marks, sheet reinforced to verso with thin strips of paper to outer edges, traces of adhesive to the left margin verso, inscribed in a later hand in pencil 'Callot' and printed collector's mark of A. Gluenstein (Lugt 123) to centre of the sheet verso, framed and glazedQTY: (1)NOTE:Provenance: Adolf Glüenstein (1849-1918), Hamburg (Lugt 123); Estate of Michael Jaffé (1923-1997), art historian and former director of the Fitzwilliam Museum, Cambridge.Adolf Glüenstein began, at the age of just 18 or 19, to form a collection of drawings and watercolours by both modern and old masters, which eventually comprised 400 old master drawings and 1200 modern works. After his death part of his collection was sold by C. G. Boerner in Leipzig from 1918 onwards; several drawings from this collection are described in Boerner's list XXXVII Handzeichnungen alter Meister des XV. bis XVIII. Jahrhunderts.Accompanying this drawing is a photograph of Chatsworth Drawing Album 20 (Callot, number 362) attributed to Francois Collignon after Callot of the same subject, bearing an inscription to lower left 'J. Calot inven et fe' (not in Callot's hand). The photograph is accompanied by a sheet of printed notes on the Collignon drawing by Michael Jaffé in red ink. His comment reads: 'the finely drawn original, presumably intended as a finished model for an etching or engraving, was offered at Christie's, London sale 15 December 1992 (162, as circle of Callot), pen and brown ink on vellum, 116 x 165 mm, inscribed 'Callot' verso, from the collection of A. Glüenstein (L. 123). The heavy penwork of the Devonshire drawing, imitating Callot's finer and more various strokes, and missing the sprightliness and wit of his figures, indicates a less brilliant follower. The same farmyard, seen from a different angle, appears in Callot's etching La Fattoria (Lieure, no. 219). The original model was recognised as such by the compiler before the sale. It was now in an English private collection. Callot's inventions of the finest execution were drawn on vellum rather than white paper for luxurious effect, e. g. also the Distant view of Toul, with the arms of Porcellets and Designs for the festival floats and participants for 'La Guerra d'Amore'. A further pen, brown ink and brown wash drawing on laid paper was offered at auction by Dorotheum, Vienna, Master Drawings, 10 April 2019. lot 103, which the auction house suggested could be by an Italian artist from the circle of Remigio Cantagallina, executed after an original composition by Callot.Literature: For the similar work attributed to Collignon at Chatsworth, see Michael Jaffé, The Devonshire Collection of Northern European Drawings, Umberto Allemandi, 2002, Volume V (French Artists), number 1665.

* Manet (Edouard, 1832–1883). Charles Baudelaire de Face III (Portrait of Charles Baudelaire, Full Face), 1868, etching on thin laid paper, the 4th and final state, with printed inscription to lower margin of the image 'Peint et Gravé par Manet 1865' and 'Imp. A. Salmon', plate size 94 x 82 mm (3 7/8 x 3 1/4 ins), sheet size 197 x 149 mm (7 3/4 x 5 7/8 ins), hinge-mounted, framed and glazedQTY: (1)NOTE:Moreau-Nélaton 16; Guérin 38; Harris 61.Final published state of Manet's portrait of Baudelaire, after a photograph by Nadar.

* Scultori (Adamo, also known as Adamo Ghisi, 1520-1582). Allegory of Slavery (Servitude), after Andrea Mantegna, 1573, engraving on laid paper, trimmed close to platemark, 205 x 145 mm (8 x 5 3/4 ins), framed and glazed, 390 x 310 mm, together with Horse Attacked by a Lion, after Julio Romano, oval etching on wove paper, trimmed to platemark and laid on larger sheet, 128 x 180 mm (5 x 7 ins), framed and glazed, 290 x 335 mm QTY: (2)NOTE:Bartsch XV, 428, 103; Bellini 106 ii/iii (Servitude); Bartsch XV, 429, 107 (Horse attacked by a Lion).

* Anderson (Stanley, 1884-1966). Avignon, from the Rhône, 1926, etching with drypoint on wove paper, a fine impression, signed in pencil, from the edition of 75 artist's proofs, titled 'Avignon, from the Rhône. Edition 75 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, P. & D. Colnaghi label to frame verso, evenly toned, plate size 22.2 x 39.8 cm (8 3/4 x 15 3/4 ins), sheet size 29.7 x 50.1 cm (11 3/4 x 19 3/4 ins), framed and glazed (42.5 x 60 cm), plus Le Marché, Falaise 1926, etching with drypoint on Millbourn wove paper, signed in pencil, from the edition of 60 artist's proofs, titled 'Le Marché, Falaise. Edition, 60 proofs -' by the artist to lower sheet edge, with margins, tipped-on to backing board at the upper sheet corners verso, light mount staining, plate size 19.1 x 26.7 cm (7 1/2 x 10 1/2 ins), sheet size 28.1 x 42.6 cm (11 x 16 3/4 ins), hinge-mounted, and La Lieutenance, Honfleur, 1926, etching with drypoint on Whatman watermarked wove paper, a rich impression, signed in ink, from the edition of 60 artist's proofs, titled 'La Lieutenance. Honfleur. Edition. 60 proofs.' by the artist in pen to lower blank margin, with margins, tipped-on to backing board at the upper sheet corners verso, plate size 19.9 x 37.8 cm (7 3/4 x 15 ins), sheet size 27.9 x 45.1 cm (11 x 17 3/4 ins), hinge-mounted, together with two further drypoint etchings 'Les Arcades, Dieppe' and 'Place St Gervais, Falaise', each signed by the artist, mountedQTY: (5)NOTE:Meyrick & Heuser 173; 172; 171; 180; 170.

AR * Brockhurst (Gerald Leslie, 1890-1978). The Two Melisandes, 1928, etching on cream wove paper, with J. Whatman watermark, from the edition of 111 proofs, signed in pencil by the artist, a crisp impression, title and date in another hand to lower blank margin with the same information to the mount recto, with margins, minimally hinged with tape to left margin verso, plate size 15.5 x 8.8 cm (6 x 3 1/2 ins), sheet size 28.5 x 21.5 cm QTY: (1)NOTE:Wright/Fletcher 60.

AR * Brockhurst (Gerald Leslie, 1890-1978). Melisande, 1920, etching on cream laid paper, from the edition of 55 proofs, published July 1920, signed in pencil, P. & D. Colnaghi label to frame verso, plate size 139 x 113 mm (5.5 x 4.5 ins), mount aperture 15.5 x 13 cm, framed and glazed (43 x 34.5 cm)QTY: (1)NOTE:Wright/Fletcher 7.

* Lefebvre (Valentin, circa 1642-1682). Christ and the Woman of Samaria, after Annibale Carracci (1560-1609), sanguine and red chalk on laid paper, heightened with grey wash, with additional strip of paper added at the left margin, some marks and minor restorations, sheet size 281 x 400 mm (11 1/8 x 15 3/4 ins), mounted on 20th century backing card, with earlier 20th century printed sticker bearing the number 645, and a later printed sticker bearing the lot number 119, as well as a pencil inscription to verso '2.350/1984, Lefebvre de Venise (1608-1677), Cat. E 119'QTY: (1)NOTE:A reversed copy after the painting Christ and the Samaritan Woman or The Woman at the Well (1593-1594) by Annibale Carracci. Part of a series of frescoes in the Palazzo Sampieri, or more likely, the etching after this work by Francesco Brizio (circa 1574-1623), dated 1595 in the image, and measuring 288 x 415 mm. The print was previously attributed to Guido Reni (Bartsch XVIII.304.52). The original painting is now in the Brera, Milan.

* Brockhurst (Gerald, 1890-1978). Geneviève, circa 1922, etching on ivory laid paper, signed in pencil, with characterful inky artist's fingerprints to upper and lower sheet edges, with margins, titled 'Geneviève' in another hand to lower blank margin, tipped-on to backing board at the upper sheet corners verso, plate size 20 x 15 cm (8 x 6 ins), sheet size 29.2 x 23.5 cm (11 1/2 x 9 1/4 ins), hinge mounted, together with Le Beguin, 1922, etching on cream laid paper, signed in pencil, also with inky finger marks to sheet edges, with margins, titled 'Le Beguin' in another hand, tipped-on to backing board at the upper sheet corners verso, plate size 13.8 x 11 cm (5 1/2 x 4 1/4 ins), sheet size 18.5 x 23 cm (7 1/4 x 9 ins), hinge mounted, plus Aglaia, 1926, etching on ivory wove paper, signed in pencil, with margins, titled 'Agalia (sic) (Mrs Brockhurst)' to lower blank margin, tipped-on to backing board at the upper sheet corners verso, plate size 12.5 x 8.7 cm (5 x 3 1/2 ins), sheet size 28 x 21.4 cm (11 x 8 1/2 ins), hinge mounted QTY: (3)NOTE:Wright/Fletcher 30; 33; 54.The sitter in all three etchings is Brockhurst's first wife, Anaïs Folin.

* Rembrandt (van Rijn, 1606-1669). The Raising of Lazarus (The Large Plate), 1632, etching on laid paper, with partially visible watermark at centre with the letter T, lettered in the plate to the right of Christ:: 'RHL [in ligature] van Ryn f', probably the 8th state, trimmed close to plate margins, neat archival repairs to upper outer corners, plate size 14 1/2 x 10 1/16 in. (36.8 x 25.5 cm), sheet size 372 x 260 mmQTY: (1)NOTE:Hind 96, viii/xiii; Bartsch, Hollstein 73.The Raising of Lazarus: The Larger Plate, c.1632, one of the largest and finest of Rembrandt's etchings, is also one of his most reworked plates.After Rembrandt’s death in 1669, the first record of the original copper plates appeared in an inventory of his estate created by his friend, the print dealer Clement de Jonghe. The plates then passed through several hands but it wasn’t until the latter half of the 18th century that the first significant posthumous impressions of the existing copperplates were made. This was under the ownership of Parisian dealer Claude Henri Watelet, who was a very skilled etcher himself and the first to rework some of the plates.

* Rembrandt (Harmensz van Rijn, 1606-1669). A Woman Making Water, 1631, etching on pale cream laid paper, probably later 18th century, collector's mark (Lugt 2774) to lower right corner of Sir Edward Astley (1729-1802), and a further collector's mark (Lugt 567) of the Arenberg Collection, Brussels and Nord-Kirchen, Westphalia, additonal ownership inscription in ink to verso (partly illegible): Ch. Naudet, dated 1817, plate size 80 x 65 mm (3 1/4 x 2 1/2 ins), sheet size 96 x 74 mm (3 5/8 x 2 15/16 ins), hinge-mounted to modern cream laid paper with framing borders in black ink, pale brown wash and gilt paper, window-mountedQTY: (1)NOTE:Provenance: Sir Edward Astley (1729-1802), of Norfolk (Lugt 2774); Arenberg Collection, Brussels and Nord-Kirchen, Westphalia (Lugt 567); Charles Naudet (inscription dated 1817).Sir Edward Astley acquired the important collection of Old Master prints formed by the painter Arthur Pond. According to Lugt, Pond's collection was famous for its many examples of the work of Rembrandt. Astley's print collection was sold in London by Langford on the 27th March 1760 and the following eighteen evenings: The genuine, entire and well-known collection of Etchings and Prints by Masters of the greatest Eminence, Purchased by Sir Edward Astley, Bart., of Mr. Arthur Pond, lately deceas'd (among which are those very scarce and valuable prints by Rembrandt, which Mr Pond had, with the greatest care, been many years collecting).Duke Louis-Engelbert d'Arenberg (1750-1820), and Duke Engelbert-Marie d'Arenberg (1872-1949). The latter disposed of a large part of his print collection in 1902 in a sale held at Christie's London on 14th July and following days.

* Reni (Guido, 1575-1642). Infant Christ and St. John the Baptist, circa 1595-1600, etching on laid paper, sheet size 130 x 185 mm, plate size 119 x 168 mm (4 5/8 x 6 5/8 ins), with margins, framed and glazed, with printed gallery label to verso of Ernest Brown & Philipps Ltd., The Leicester Galleries, London, additional exhibition label for The Collection of the late Hugh Walpole (Part 3), Leicester Galleries, London, June 1946, catalogue number 1, to versoQTY: (1)NOTE:Provenance: Sir Hugh Walpole (1884-1941), Brackenburn, Cumbria. Walpole purchased Brackenburn overlooking Derwent Water in Cumbria in 1923 and lived there until his death in 1941. He enlarged the house and converted the upper storey of the nearby garage to a library and study, which eventually housed his art collection, as well as his 30,000 books.Bartsch XVIII, 287, 13.

* Austin (Robert Sargent, 1895-1973). Woman's Head (artist's wife), 1925, black chalk with fleks of brown chalk, signed and dated in brown to lower right, RSA studio stamp to lower margin, 3.29 in pencil to lower margin, sheet size 39 x 30.5 cm (15 1/4 x 12 ins), number '14' in pencil to verso, mounted, (44 x 41 cm), together withMother's Child No.1, red, black and brown chalk on laid paper, with 'INGRES' watermark, signed to lower right, studio stamp to lower margin, with title and '2.7' in pencil, some light general toning, a small pin hole to each corner, sheet size 53 x 38 cm (20 7/8 x 15 ins), '18' in pencil to verso, mounted (60 x 44.5 cm), plusSeated Child, 27 June 1933, black and brown chalk with ink on laid paper, with 'Charles I' watermark, signed and dated in pencil to lower right, '15' in pencil to lower margin, sheet size 46.5 x 33 cm (18 1/4 x 13 ins), mounted (63 x 50 cm), and 9 other drawings, mainly figure studies in pencil, charcoal and ink, 2 signed, dated and stamped, largest 45.5 x 57 cm (17 3/4 x 22 1/2 ins)QTY: (13)NOTE:Robert Sargent Austin was born in Leicester, England on May 23, 1895. A student of printmaking at the end of the "etching revival," Austin studied at the Leicester Municiple School of Art (1909 - 1913), and then at the Royal College of Art in London preceeding and after World War I. There he studied engraving under Sir Frank Short, and was awarded the Rome Scholarship to study engraving in Italy in 1922. While there, he met and married writer Ada May Harrison. The couple returned to England in 1926 and Austin began teaching at the Royal College.During World War II Austin enlisted as a war artist, recording the efforts of women in the Royal Air Force and nursing services. Upon his return, he taught at the Royal College of Art, and worked as an advisor on the design of banknotes to the Bank of England.In 1927 he was elected a Fellow of the Royal Society of Painter-Etchers and Engravers, he was elected a full member of the Royal Watercolour Society in 1934, and later also served as president, from 1957 to 1973. He was elelcted an Associate of the Royal Academy in 1939 and to the full membership in 1949.

* Piranesi (Giovanni Battista, 1720-1778). Veduta delle antiche Sostruzioni fatte da Tarquinio Superbo dette il Bel Lido..., from Veduta di Rome, 1776, etching on thick paper, the 3rd state (of three) with '741' printed upper right, published by Firmin-Didot, Paris, 1835-39 (or slightly later), 'Regia Calcografia Roma' blindstamp, with margins, toning to very edge of blank margins, short closed tear and small area of loss to right margin, sheet verso with remnants of old adhesive and with some overall toning, plate size 45 x 68 cm (17 3/4 x 26 3/4 ins), sheet size 56 x 81 cm (22 x 31 3/4 ins), framed and glazed (61.5 x 87 cm)QTY: (1)NOTE:Hind 125 iii/iii. Wilton-Ely 258; Focillon 841; Ficacci 996.

* Rembrandt (van Rijn, 1606-1669). Self Portrait in a Velvet Cap with Plume, 1638 [but later], etching on pale cream laid paper, with indistinct watermark, probably late 18th century, trimmed to margins, upper outer corner repaired (without loss), sheet size 207 x 157 mm (8 3/16 x 6 3/16 ins), hinge mounted to upper and lower left corners, card window-mount, with an (erroneous) printed auction catalogue description pasted at foot for Rembrandt's etched portrait of Jan Asselyn, third state, dated 1967QTY: (1)NOTE:A copy (probably by Basan) of Rembrandt's self-portrait of 1638 (Bartsch 20, Hind 156, Hinterding 170). The original measures 134 x 103 mm.

* Cooke (Nigel, 1973-). Cryptoveldt, 2003, soft ground etching on Arches wove paper, signed, dated and numbered 30/90 in pencil, published by Counter Editions, London, the full sheet, in original tissue wrapping, and held within publisher's printed protective card packaging, with accompanying publisher's printed catalogue, plate size 39.5 x 60 cm (15 1/2 x 23 1/2 ins), sheet 64 x 84.5 cm (25 1/4 x 33 1/4 ins)QTY: (1)NOTE:'Cryptoveldt', Cooke's first fine art print, graphically evokes the same zoned-out wasteland characteristic of his paintings.Nigel Cooke is known for his ambitious paintings that re-imagine the monochrome as vast toxic landscapes rendered in noxious, polluted colours. Appearing in tiny, almost imperceptible detail, are the signs of urban excess; upturned and burnt out shells of cars, graffiti infested sidewalks and decapitated heads of beautiful wasters (Taken from the publisher Counter Edition's website).

* Austen (Robert Sargent, 1895-1973). The Angel of Saint Matthew, Orvieto, 1924, etching on buff laid paper, signed in pencil, titled in the lower margin, from the edition of 40 artist's proofs, with margins, tipped-on to backing board with tape to top corners verso, plate size 11.5 x 10.1 cm (4 1/2 x 4 ins), sheet size 25.2 x 18.7 cm (10 x 7 1/4 ins), hinge-mounted, plus Sisters of Assisi, 1925, etching and engraving on ivory laid paper, signed and dated in pencil, titled in the lower margin, from the edition of 30 artist's proofs, with margins, tipped-on to backing board with tape to top corners verso, plate size 13.1.x 10.6 cm (5 x 4 1/4 ins), sheet size 26.6 x 21.1 cm (10 1/2 x 8 1/4 ins), hinge-mounted, and The Bell No 2, 1927, copper line engraving on laid paper, signed and dated in pencil, with title to lower left corner of sheet, with margins, plate size 11.4 x 15.7 cm (4 1/2 x 6 1/4 ins), sheet size 24 x 18.2 cm (9 1/2 x 7 1/4 ins), unframed, and four further prints by the same artist, including 'Zoutlande', 'Boy and Calf', 'Italian Fair' and a further copy of 'The Angel of St Matthew, Orvieto', all signed, some dated, all unframedQTY: (7)NOTE:Campbell Dodgson 51, - , 73, 82, 68, 40

* Durer (Albrecht, 1471-1528). The Abduction on a Unicorn, 1516, etching on laid paper, a good, dark Meder c impression with the rust marks in the plate, with city gate watermark (Meder 263, similar to Briquet 15940, dateable to the 1550's), plate size 310 x 213 mm (12 1/4 x 8 3/8 ins), with 1mm or 2mm outer margins, generally in good condition, verso with some old light waterstains, remains of paper hinges to top margin verso, late 19th/early 20th century backing card inscribed with details of the print in pencil QTY: (1)NOTE:Bartsch 72; Meder 67; Schoch, Mende, & Scherbaum 83.

* Strang (William, 1859-1921). The Thunderstorm, 1889, etching with drypoint on laid paper, signed lower right, title in another hand to verso, the third (of three) states, printed with plate tone, tipped-on to backing board, mount stained, scattered spotting, plate size 30 x 35 cm (12 x 13 3/4 ins), sheet size 32 x 41 cm, framed and glazed, together with The Bathers, 1932, etching on laid paper, signed lower right in pencil 'Wm. Strang fec. DS.', additionally signed by David Strang, tipped-on to backing card, plate size 17.5 x 20.2 cm (7 x 8 ins), sheet size 20.2 x 22.6 cm, framed and glazed (34.5 x 35.5 cm), together with Stevens (Geoffrey, 1899-1979). The Well, 1933, etching on laid paper, signed in pencil, plate size 15.5 x 22.8 cm (6 x 9 ins), framed and glazed (35.5 x 42 cm) and Landscape with Chapel, 1933, etching, signed in pencil, plate size 19.5 x 26.6 cm (7 3/4 x 10 1/2 ins), framed and glazed (39 x 46 cm), plus five further works by various artists including John Dixon (The Axe of Brandonan), Alfred Waldron (Bathers in Tree) and John Nicholls, various sizesQTY: (9)

* Piranesi (Giovanni Battista, 1720-1778). Senatus Populusque Romanus Monumenta Marmorea Magistratuum Triumphohorumque AB Urbe Tempora Divi Augusta..., from Lapides Capitolini sive Fasti Consulares Triumphalesq. Romanorum, 1800, etching on thick laid paper, a strong impression, presence of 'TF' watermark (to both sheets) suggests a later Paris edition [c.1807-1835], wide margins, central fold where the two sheets are joined on verso, three further vertical folds, a little mount stained, dust soiling to top right margin, repaired 8 cm closed tear to lower left portion of image, tipped onto backing board in three places with tape, Sanders of Oxford information sheet to verso, plate size 50.3 x 123 cm (19 3/4 x 48 1/2 ins), sheet size 58.6 x 135 cm (23 x 53 ins), framed and glazed (78 x 150 cm). QTY: (1)NOTE:Wilton-Ely 558; Focillon 427; Ficacci 482.

* Anderson (Stanley, 1884-1966). Alperton, Middlesex, 1911, etching on laid Japon paper, a fine impression with real contrast, signed in pencil, from the edition of 25 artist's proofs, with margins, tipped-on to backing board at the upper sheet corners recto, in very fine condition, plate size 13.8 x 19.8 cm (5 1/2 x 8 ins), sheet size 17.2 x 23 cm (63/4 x 9 ins), hinge-mounted, together with Eynsford, Kent, 1913, etching on wove paper, signed in pencil, edition size not recorded (the artist is thought to have destroyed much of the edition), with margins, tipped-on to backing board at the upper sheet corners recto, plate size 12.6 x 20.1 cm (5 x 8 ins), sheet size 17 x 23.8 cm (6 3/4 x 9 1/4 ins), hinge-mountedQTY: (2)NOTE:Meyrick & Heuser 45 & 69.

* Hopfer (Hieronymus, 1528-1563). The Landscape with Cannon, after Durer, 1520–1550, etching on laid paper, a strong clear impression, collector's mark to verso of J. P. M. Cerroni (Lugt 1432), old (probably 19th century) pencil inscription to verso with the artist's name and title of the work in French, sheet size 193 x 282 mm (7 5/8 x 11 1/8 ins), window-mountedQTY: (1)NOTE:Provenance: Johann Peter Maria Cerroni (1753-1826), Austrian historian and civil servant, Brunn. An avid collector of manuscripts, early books and prints, Cerroni's library was catalogued under the title Bibliotheca Cerroniana, and published in Vienna in 1833-1834. The sale of his print collection took place in Vienna at Artaria, in March and October 1828, and included fine examples of the early German printmakers as well as the Italian, Dutch, and French schools.Hopfer copied Dürer's last etching Landscape with Cannon, also known under the title The Large Cannon or simply The Cannon, slightly reduced from the original size. In the foreground, the artist shows a warlike scene. On a slope stands a cannon on which a mercenary with a halberd is leaning. While another halberdier stands guard in the hollow just behind it, a third accompanies a group of men who appear foreign due to their clothing. Hopfer's initials, including the Augsburg Pyr, at upper left. Later impressions bear the number '62' underneath, belonging to the Nuremberg publisher David Funck, who owned the plate in the 17th century, numbered it and distributed impressions at that time.

AR* Buckland Wright (John, 1897-1954). Dancer II, 1953, etching on wove paper, one of 40 editioned impressions, signed in pencil bottom right, titled bottom left 'Dancer II', with personal inscription 'for Frank' (Frank Martin), plate size 21.5 x 18.7 cm (8 2/5 x 7 3/10 ins), sheet size 33 x 27 cm (13 x 10 7/10 ins), light time toning to extreme borders, unframedQTY: (1)

* Tanner (Robin, 1904-1988). February, 1974, etching on thick wove paper, second (of two) states, from the sole edition of 25 signed proofs, printed by the artist and published by Garton & Cooke in 1984, signed 'Robin Tanner fec. et imp', titled 'Etching: February', with an additional inscription by the artist 'This impression was printed for Marjorie Green at the Old Chapel Field Press, Kingston Langley, Wiltshire', the full sheet, some light toning to sheet, plate size 26 x 16.1 cm (10 1/4 x 6 1/2 ins), sheet size 44 x 31.7 cm, together with Wren and Primrose, 1935, etching on thick cream wove paper, an impression from the original plate by Jeremy Blighton and Anthony Dyson for Merivale Editions, London, from the unnumbered edition of 122, the full sheet, plate size 9.3 x 11.3 cm (3 5/8 x 4 1/2 ins), sheet size 37.6 x 45.3 cmQTY: (2)NOTE:Garton 32 & 19.

* Buckland Wright (John, 1897-1954). La Visiteuse du soir, 1953, etching on wove paper, signed in pencil bottom right, titled bottom left 'La Visiteuse du soir', with personal inscription 'for Frank' (Frank Martin), plate size 15 x 10.2 cm (5 4/5 x 4 ins), sheet size 24 x 16.8 cm (9 1/2 x 6 3/5), light time toning to extreme borders, unframed, together with Psyche and Cebrus, 1937, etching on mould paper, signed with initials in the plate, titled in pencil bottom left and date bottom right, plate size 12.8 x 8.8 cm (5 x 3 2/5 ins), sheet size 33 x 25.5 cm (13 x 10 ins), studio stamp verso, mountedQTY: (2)

* Piranesi (Giovanni Battista, 1720-1778). Veduta della gran Piazza e Basilica di S, Pietro situata ove erano anticamente il Circo e gl'Orti di Cajo e Nerone nella Valle Vaticana, 1772, etching on heavy laid paper, a very good, strong impression with contrasts, the first state (of 3), from the series Vedute di Roma, with margins, short closed tear to left margin without loss, plate size 463 x 707 mm (18 1/4 x 27 7/8 ins), sheet size 49 x 72.5 cm (19 1/4 x 28 1/2 ins), hinge-mounted to upper edge of the sheet only, black and gilt frame, glazed, together with Veduta interna della Basilica di S. Pietro in Vaticano, 1748, etching on laid paper, from the series Vedute di Roma, the first state, plate size 41 x 60 cm (16 1/8 x 23 5/8 ins), sheet size XXX, framed and glazedQTY: (2)NOTE:Wilton-Ely 234 & 137. Hind 101 & 4.

* After Rembrandt (van Rijn, 1606-1669). Doctor Faustus in his Study, 1652, heliogravure on Michallet laid paper, with watermark, a copy by Charles Amand-Durand (1831-1905), with his small printed red stamp to verso, sheet size 222 mm x 165 mm, card window-mount together with five 19th and 20th reprint editions; The Persian, 1632, etching on cream laid paper, from the original, a posthumous impression, probably 19th century, modern version by Basan or Bernard, The Virgin with the Pomegranate and Old woman, (a late, probably19th century impression with creases), Joseph and Potiphar’s Wife, 1634, (a 20th century reproduction, Amslerdruck, with stamp to verso), The Presentation in the Temple, circa 1639, (a 20th century impression on cream wove paper, reworked, with circular blue printed stamp to verso) and Abraham Casting out Hagar and Ishmael, (20th century reprint, Amslerdruck)QTY: (6)NOTE:Hind 260 (Faustus); Hind 92 (The Persian).A heliogravure on laid paper after Rembrandt's Faustus (Bartsch 270, Hind 260) by Amand-Durand. Published in Eaux-Fortes et Gravures des Maitres Anciens, tirees des collections les plus celebres by Edouard Lievre and Georges Duplessis, published by Amand-Durand, Gazette des Beaux-Arts, Goupil and Co, Holloway & Fils, Miethke & Wawra, Paris, 1878.

Siobhan Coppinger (b.1955) hand signed 1974 etching of the moon from ltd edition of 25 - frame 43cm x 33cm

Alter Bridge - 4 LP records, 1x12" EP record and 1 box set; Live at the O2 Arena + Rarities - Sealed 2017 EU Box set 4xLP, Live At The Royal Albert Hall - 2018 EU pressing 3xLP, Blackbird - Sealed 2013 EU pressing 2xLP with side 4 etching, The Last Hero - Sealed 2017 German pressing 2xLP picture discs, Walk The Sky 2.0 - Sealed 2020 German pressing 12" EP coloured vinyl and The Last Hero - 2016 EU pressing 2xLP

Bring Me The Horizon - Live At The Royal Albert Hall (For Teenage Cancer Trust) LP record; 2016 EU pressing 3xLP with side 6 etching (limited edition of 750)

Motorhead - 5 LP records and 2x7" singles; Inferno - 2xLP Sealed 2004 German release, Aftershock - Sealed RSD 2014 reissue limited edition numbered picture disc, Clean Your Clock - 2xLP 2016 EU release grey vinyl, Bad Magic - Sealed RSD 2016 limited edition reissue ochre vinyl, Louder Than Noise...Live In Berlin - 2021 EU release 2xLP, 7"s; Overkill - 2016 US release numbered - side B etching with microfibre bag and Motorhead - 1981 picture disc

Metallica - 2LP record and 1x12" single; Through The Never (Music From The Motion Picture) - Sealed 2013 US release 3xLP box set, Garage Inc. - 2014 EU reissue, Lords Of Summer - RSD 2014 Sealed 12" single with exclusive live version and side B etching

Country Metal - 8 LP records; Thunder: Rip It Up - 2017 German pressing 2xLP signed limited edition gold vinyl, All The Right Noises - Sealed 2021 UK & EU pressing 2xLP blue and orange 'galaxy' vinyl, Stage - 2018 UK 3xLP, Nickelback: Get Rollin' - Sealed 2023 pressing orange vinyl, Feed The Machine - 2017 pressing red marble vinyl, Stone Broken: All In Time - 2019 UK remaster, Ain't Always Easy - Sealed 2018 EU pressing and Monster Truck: Sittin' Heavy - 2016 EU 2xLP red vinyl with side 4 etching

Disturbed - 5 LP records; Ten Thousand Fists - 2015 EU reissue 2xLP, Live At Red Rocks - 2xLP 2017 EU pressing, Immortalized - 2015 EU pressing 2xLP with side 4 etching, Indestructible - 2015 EU reissue and Evolution - 2018 EU pressing

A 1930s etching by Anne Montgomery.

Various Metal - 9 LP records and 1x10" single; Blackberry Smoke: Leave A Scar Live - Sealed 2014 2xLP limited edition 'bottle green' vinyl, Like An Arrow - Sealed 2016 pressing, Volbeat: Doc Holliday/Lonesome Rider - RSD 2014 10" single gold vinyl, Outlaw Gentlemen & Shady Ladies - Sealed 2013 2xLP + CD, Tremonti: A Dying Machine - 2018 2xLP, Marching in Time - 2021 2xLP with side 4 etching, Black Stone Cherry: Kentucky gold vinyl, Gentlemans Pistols: Hustler's Row white vinyl, As Lions: Selfish Age and The Charm The Fury: The Sick, Dumb & Happy

The Rolling Stones - 2 LP records; Sticky Fingers - Sealed 2015 remaster 2xLP deluxe edition with zipper, Goats Head Soup - Sealed 2020 remaster 1xLP + 7" single with etching

Samhain - Unholy Passion - White vinyl (no etching) 12" EP record

Rival Sons - 5 LP records and 1x7" single; Head Down - Sealed 2012 UK pressing 2xLP, Pressure & Time - Sealed 2011 UK & EU pressing (uncertain vinyl colour), Great Western Valkyrie - Sealed 2014 EU pressing 2xLP black/white splatter vinyl (limited edition of 300 copies), Hollow Bones - Sealed 2016 pressing (uncertain vinyl colour), Feral Roots - 2019 EU pressing 2xLP with side D etching and Electric Man - RSD 2014 pressing 7" single green vinyl

Myles Kennedy / Guns N' Roses / Izzy Stradlin - 5 LP records; Myles Kennedy: 2x The Ides Of March - 2021 pressing 2xLP with side D etching (one unsealed on black vinyl, one sealed with uncertain colour), Year Of The Tiger - 2018 US & EU pressing, Guns N' Roses: Greatest Hits - Sealed 2020 EU pressing 2xLP on limited edition gold/red vinyl, Izzy Stradlin: 117° - Sealed 2015 EU pressing limited edition on coloured vinyl numbered 46 out of 1000

An etching by Dorothy Sweet? together with a watercolour.

Stone Temple Pilots / Queens Of The Stone Age / Foo Fighters - 6 LP records; Stone Temple Pilots: Core - 2013 EU reissue 2xLP with side 4 etching, Stone Temple Pilots (2018) - 2018 EU pressing, Queens Of The Stone Age: ...Like Clockwork - Sealed 2013 pressing 2xLP, Villains - Sealed 2017 EU pressing 2xLP with side 4 etching (plus 14 exclusive art prints), Foo Fighters: Greatest Hits - 2009 UK & EU pressing 2xLP and Concrete And Gold - 2017 EU pressing 2xLP with side 4 etching

After Albrecht Durer, black and white etching, The Prodigal Son Amid the Swine, unframed, 11ins x 9ins

Circle of Frank Brangwyn, man and donkey crossing a stone bridge, indistinctly signed l.r., sepia etching, No.1/200, 48 by 57cm, framed

John Hooley (British, 20th Century), 'Hulk and Shed', signed and dated 1976 l.r., titled l.l., etching in colours, No.1/40, 46 by 30cm, framed

Etching of a boat launch and two vintage prints