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78475 Los(e)/Seite
Los 304
Rembrandt Harmensz. van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching, 1659, but a later impression of New Hollstein's fifth state (of six), on thin laid paper with partial watermark of [?] postal horn or variant of the rod of Basel, platemark 81 x 215 mm (3 1/4 x 8 1/2 in), sheet 195 x 230 mm (7 3/4 x 9 1/8 in), faint exposure lines within the margins, small nicks and marginal losses, a few faint spots (unframed) Literature:Bartsch 94; New Hollstein 312 v/vi
Los 92
Paula Rego (1935-2022)Sing a Song of Sixpence II, from Nursery Rhymes (Rosenthal 58)Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 510 x 375mm (20 x 14 3/4in)
Los 141
Salvador Dalí (1904-1989)Argus, from Mythologie (Field 63-3A; M&L116a)Drypoint with etching and heliogravure, 1963, signed in pencil, numbered from the edition of 150, printed by Atelier Robbe, published by Pierre Argillet, Paris, on BFK Rives paper, with full margins, sheet 565 x 759mm (22 1/4 x 29 7/8in)
Los 298
Rembrandt Harmensz. van Rijn (1606-1669)The Flight into Egypt: A Night PieceEtching with drypoint, 1651, a very fine impression of New Hollstein's sixth state (of nine), printing with tone on and around the head of the donkey, Joseph's hands and Mary, on laid paper with partial indistinct watermark, sheet 128 x 111 mm (5 x 4 3/8 in), trimmed to or just within the platemark, expertly inset at edges into conservation window mount (unframed)Literature:Bartsch 53; New Hollstein 262 vi/ix
Los 223
Pablo Picasso (1881-1973) Peintre and modèle (Bloch 1131; Cramer 127) Etching, 1963-64, signed in pencil, numbered from the edition of 150, as included in 'Les Dames de Mougins', printed by Atelier Crommelynck, published by Éditions Cercle d'Art, Paris, on Auvergne Richard-de-Bas wove paper, with margins, sheet 302 x 285mm (11 7/8 x 11 1/8in)
Los 281
Rembrandt Harmensz. van Rijn (1606-1669)Joseph and Potiphar's WifeEtching, 1634, but a later impression of New Hollstein's third state (of four), printing with faint plate tone on cream laid paper without watermark, sheet 92 x 115 mm (3 5/8 x 4 1/2 in), trimmed to or just within the platemark, minor nicks and careful repairs with support to lower corners verso (unframed)Literature:Bartsch 39; New Hollstein 128 iii/iv
Los 278
Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with SaskiaEtching, 1636, but a later impression of New Hollstein's third state (of four), printing with plate tone on cream laid paper without watermark, 106 x 96 mm (4 1/8 x 3 3/4 in), thread margins or trimmed up to platermark, minor nick to upper left corner, thinning visible verso to lower right corner, minor surface dirt (unframed)Literature:Bartsch 19; New Hollstein 158 iii/iv
Los 222
Pablo Picasso (1881-1973)Circus Scene with Horse's Head, Woman Dressing and Clown, from 156 Gravures (Baer 2000)Etching, 1971, with the artist's signature stamp, numbered from the edition of 50, on BFK Rives wove paper, published by Galerie Louise Leiris, Paris, with full margins, sheet 440 x 568mm (17 1/4 x 22 1/4in)
Los 314
Rembrandt Harmensz. van Rijn (1606-1669)Woman Bathing her Feet at a BrookEtching, 1658, but a later likely 18th century impression of New Hollstein's second state (of two), printing with plate tone on laid paper without watermark, platemark 158 x 79 mm (6 1/4 x 3 1/8 in), sheet 173 x 97 mm (6 7/8 x 3 7/8 in), some wear showing in the plate, scattered spotting and surface dirt (unframed)Literature:Bartsch 200; New Hollstein 309 ii/ii
Los 305
Rembrandt Harmensz. van Rijn (1606-1669)Christ at Emmaus: the Larger PlateEtching with drypoint and engraving, 1654, a good but later impression of New Hollstein's fourth state (of five), printing with only the first signs of wear to the cross-hatching by Christ's feet but before final reworking, on fine laid paper without watermark, sheet 212 x 164 mm (8 3/8 x 6 3/8 in), trimmed to or just within the platemark, some spotting and even toning, careful repairs to perforations near Christ's halo, small repaired nick to the centre left (unframed)Literature:Bartsch 87; New Hollstein 283 iv/v
Los 249
James Abbott McNeill Whistler (1834-1903)BillingsgateEtching and drypoint, 1859, a good impression of MacDonald's final state (of 9), printing with plate tone Arches laid paper, platemark 150 x 225 mm (5 7/8 x 8 7/8 in), sheet 215 x 308 mm (8 1/212 1/8 in) (unframed)Literature:Kennedy 47; MacDonald 51 ix/ix
![Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, bu](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/ffb71873-22f5-4dc8-9ba7-b1200081daaf/468x382.jpg)
Los 291
Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, but a later impression of New Hollstein's sixth state (of eight), printing before Lamoureux's address in the lower right corner, with heavy wear in the plate, on laid paper fully affixed onto card support, sheet 541 x 424 mm (21 3/8 x 16 3/4 in), several old repairs to nicks and tears, mainly extremities, conservation to old horizontal creases (unframed)Literature:Bartsch 81; New Hollstein 119 vi/viii
Los 146
Salvador DaIí (1904-1989)Lady Godiva (Field 69-6; M&L 337)Drypoint with etching, 1969, signed in pencil, numbered from the edition of 125, published by Jean Schneider and Editions Empreinte, Basel, with their blindstamp, on Japon nacré paper, with full margins, sheet 774 x 565mm (30 1/2 x 22 1/4in)
Los 284
Rembrandt Harmensz. van Rijn (1606-1669)Bald Headed Man in Profile Right: the Artist's Father (?)Etching and drypoint, 1630, a good impression of New Hollstein's final state (of five), on laid paper without watermark, platemark 69 x 57 mm (2 5/8 x 2 1/4 in), sheet 80 x 64 mm (3 1/4 x 2 1/2 in), showing some signs of wear in the heavily cross hatched areas, some spotting and surface dirt, careful repair in the upper left corner (unframed)Literature:Bartsch 292; New Hollstein 62 v/v
![Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/51ef5205-f895-4588-8dd4-b12000821816/468x382.jpg)
Los 303
Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but later impression of New Hollstein's second state (of two), with the gaps shaded out, but only showing faint signs of rust in the upper left quadrant, on ivory laid paper without watermark, platemark 95 x 142 mm (3 3/4 x 5 5/8 in), sheet 104 x 154 mm (4 1/8 x 6 in), pencil number '121' in the lower left corner margin (unframed)Literature:Bartsch 125; New Hollstein 282 ii/ii
Los 307
Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of the fifth state (of five) on laid paper without watermark, platemark 163 x 127 mm (6 3/8 x 5 in), sheet 184 x 142 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (7 1/4 x 5 1/4 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v
Los 286
Rembrandt Harmensz. van Rijn (1606-1669)The Landscape with the CowEtching and drypoint, circa 1650, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream wove paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 107 x 132 mm (4 1/4 x 5 1/4 in), minor surface dirt (unframed)Literature:Bartsch 237; New Hollstein 251 iii/v
Los 306
Rembrandt Harmensz. van Rijn (1606-1669)The Circumcision in the StableEtching, 1654, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermark, platemark 94 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), spotting and minor browning (unframed)Provenance:Raffaele Alianello (Lugt 5k)Literature:Bartsch 47; New Hollstein 280 iv/v
Los 288
Rembrandt Harmensz. van Rijn (1606-1669)Bust of a Man wearing a high cap, three-quarters right: the Artist’s Father (?)Etching, 1630, a good but later impression of New Hollstein's fifth/sixth state (of six), on laid paper without watermark, platemark 103 x 85 mm (4 1/8 x 3 1/4 in), sheet 106 x 87 mm (4 1/8 x 3 3/8 in), showing some signs of wear in the heavily cross hatched areas, repair to the upper left and two lower corners, surface dirt (unframed)Literature:Bartsch 321; New Hollstein 57 v/vi
![Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, b](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/5f802ebe-0f4f-4349-b3e3-b1200081d519/468x382.jpg)
Los 290
Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, but a later Basan impression of New Hollstein's eighth state (of eight) on chine collé and thick wove paper, with Lamoureux's address printing in the lower right corner, platemark 533 x 406 mm (21 3/4 x 16 in), sheet 570 x 455 mm (22 1/2 x 17 7/8in), handling creases, spotting and surface dirt (unframed)Literature:Bartsch 81; New Hollstein 119 viii/viii
Los 311
Rembrandt van Rijn (1606-1669)Sheet of Studies: Beggar Couple, Head of an Old Woman (fragment)Etching, with traces of drypoint, circa 1632, a good impression, albeit a fragment, of New Hollstein's second state with the foul biting removed, on laid paper without watermark, sheet 75 x 47 mm (2 7/8 x 1 7/8 in), small loss to the upper left corner, scraping verso with minor cockling to the sheet (unframed) Literature:Bartsch 363; New Hollstein 115 ii/ii
Los 91
Paula Rego (1935-2022)Ride a Cock-Horse, from Nursery Rhymes (Rosenthal 42)Etching with aquatint extensively handcoloured in watercolour, 1989, signed numbered and inscribed A/P in pencil, one of 14 artist’s proofs, aside from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 515 x 380mm (20 1/415in)
Los 224
Pablo Picasso (1881-1973) after.Famille des SaltimbanquesEtching with chine collé, circa 1950, signed in red crayon, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, and with their blindstamp, on Japan paper, with full margins, sheet 765 x 560mm (30 1/4 x 22 1/4in)
Los 282
Rembrandt Harmensz. van Rijn (1606-1669)The Tribute MoneyEtching, circa 1635, a good clear impression of New Hollstein's first state (of four), some minor signs of wear in the plate, but before any re-work, on thin laid paper without watermark, sheet 74 x 102 mm (2 7/8 x 4 in), minor touches of red chalk recto and verso, small touch of black ink to one area of cross-hatching, minor repair to centre left edge (unframed)Literature:Bartsch 68; New Hollstein 138 i/iv
Los 142
Salvador Dalí (1904-1989) Le Jugement de Paris, from Mythologie (Field 63-3I; M&L 123b)Drypoint with etching and heliogravure printed in colours, signed in pencil, numbered from the edition of 20 in roman numerals, printed by Pierre Argillet, published by Robbe, Paris, on Japan paper, with full margins, sheet 763 x 564mm (30 x 22 1/4in)
Los 299
Rembrandt Harmensz. van Rijn (1606-1669) The Raising of Lazarus: The Larger Plate Etching and engraving, circa 1632, but a later impression of New Hollstein's seventh/eighth state (of nine), on very thin Japan-like buff tissue or chiné, platemark 368 x 257 mm (14 1/2 x 10 1/8 in), sheet 377 x 263 mm (14 3/4 x 10 3/8 in), tipped onto paper support, some marginal nicks and tears where the tipped on sections have been lifted up, overall toning and some browning, minor surface dirt (unframed)Literature: Bartsch 73; New Hollstein 113 vii-viii/ix
Los 160
Salvador Dalí (1904-1989)Pêcheur Penitant, from FlorDalí (Field 69-11E; M&L 348c)Etching and lithograph printed in colours, 1969, signed and dated in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 740 x 543mm (29 1/8 x 21 3/8in)
Los 251
Francisco de Goya (1746-1828)El de la rollona (Nanny's boy), plate 4 from the series: Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), a few marginal repairs and surface dirt (unframed)Literature:Harris 39 III.1
Los 138
Marc Chagall (1887-1985)Lot and His Daughters, from Bible (Cramer 30)Etching hand-finished with watercolour, 1958, initialled in pencil, numbered from the edition of 100, printed by Raymond Haasen, published by Teriade, Paris, on Arches paper, with full margins, sheet 520 x 387mm (20 1/4 x 15 1/4in)
Los 279
Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with Feathered Cap and PlumeEtching, circa 1638, but a later impression of New Hollstein's third state (of four), printing with plate tone on laid paper without watermark, platemark 134 x 104 mm (5 1/4 x 4 1/8 in), sheet 136 x 105 mm (5 3/8 x 4 1/8 in), thread margins, faint diagonal crease (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv
Los 252
Francisco Goya (1746-1828) Ni asi la distingue, plate 7 from "Los Caprichos" Etching and aquatint, circa 1799, a good impression of the first edition, Harris's first state on cream laid paper without watermark, platemark 197 x 147 mm (7 3/4 x 5 3/4 in), sheet 300 x 215 mm (11 3/4 x 8 1/2 in), good margins, small crease to lower left corner but well outside the image, minor spotting (unframed) Literature: Delteil 44, Harris 42
Los 214
Pablo Picasso (1881-1973)Femme vue de Dos (Bloch 822)The original copper plate for the etching, 1956, printed by Atelier André Moret, Paris, overall 380 x 280mm (15 x 11in)The etching appeared in Témoignage, by Jean Cocteau, as an homage to Pablo Picasso on the occasion of his seventy-fifth birthday.
Los 144
Salvador Dalí (1904-1989) Les Chevaux Bleus (Field 66-1; M&L 142b)Drypoint with etching and extensive hand-colouring, signed in pencil, numbered from the edition of 50 in roman numerals, printed and publised by Pierre Argillet, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 653 x 511mm (25 5/8 x 20 1/8in)
Los 302
Rembrandt Harmensz. van Rijn (1606-1669)Christ Disputing with the DoctorsEtching, 1654, a good but slightly later impression of New Hollstein's only state showing minor signs of wear, printing with plate tone on thin laid paper without watermark, platemark 96 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), faint exposure lines within the margin, small rust spot within the upper centre blank area (unframed)Literature:Bartsch 64; New Hollstein 281 i/i
Los 143
Salvador Dalí (1904-1989) Sainte Anne (Field 65-3; M&L 132)Drypoint with etching, heliogravure and extensive hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, printed by Pierre Argillet, published by Robbe, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 765 x 570mm (30 1/8 x 22 3/8in)
Los 301
Rembrandt Harmensz. van Rijn (1606-1669) Christ and the Woman of Samaria among Ruins Etching, 1654, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream laid paper without watermark, some wear in the densely cross-hatched areas, platemark 120 x 103 mm (4 3/4 x 4 1/8 in), sheet 125 x 110 mm (4 7/8 x 4 1/4 in), minor surface dirt (unframed) Literature: Bartsch 71; New Hollstein 127
Los 208
Pablo Picasso (1881-1973)Peintre devant son Tableau, from Le Chef d’Oeuvre Inconnu (Bloch 92; Baer 133)Etching, 1927, signed and numbered in bistre, from the edition of 99, printed by Louis Fort, Paris, with their blindstamp, published by Ambrose Vollard, Paris, on Van Gelder Zonen wove paper, with full margins, sheet 505 x 380mm (19 3/4 x 15in)
Los 158
Salvador Dalí (1904-1989) Sainte Trinité, Sainte Persistance de la mémoire, from Dix recettes d'immortalité (Field 73-20H; M&L 574a)Drypoint with etching and heliogravure printed in colours, 1973, signed in pencil, numbered from the edition of 10, as included in the portfolio Dix Recettes D'Immortalité, printed by Ateliers Rigal, published by Audouin-Descharnes, Paris, with the 1973 authentication inkstamp verso, on Japan paper, with wide margins, sheet 563 x 380mm (22 1/8 x 14 7/8in)
Los 161
Salvador Dalí (1904-1989)Reverence de Grosillier, from FlorDalí (Field 69-11J; M&L 353c)Etching and lithograph printed in colours, 1969, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 746 x 546mm (29 3/8 x 21 1/2in)
Los 289
Rembrandt Harmensz. van Rijn (1606-1669)Christ before Pilate: Large PlateEtching with drypoint and engraving, circa 1635-1636, a good lifetime impression of New Hollstein's fourth state (of five), printing with much depth, on laid paper with watermark of Strasbourg Lily with slightly indistinct '4' below [see Hinterding's watermark A.c., datable to 1655], sheet 537 x 439 mm (21 1/8 x 17 1/4 in), trimmed within the platemark, several expert careful repairs to minor losses, some restored with careful pen facsimile, notably the edge of the step to the lower centre, edges reinforced verso with very fine tissue, drying crease and other old folds with careful support verso (unframed) Literature:Bartsch 77; New Hollstein 155 iv/v
Los 297
Rembrandt Harmensz. van Rijn (1606-1669)The Baptism of the EunuchEtching, 1641, but a later impression of New Hollstein's third state (of four), on cream laid paper without watermark, sheet 192 x 222 mm (7 1/2 x 8 3/4 in), trimmed to or within the platemark but edges expertly re-margined, minor surface dirt (unframed)Literature:Bartsch 98; New Hollstein 186 iii/iv
Los 58
David Hockney (b.1937)The Church Tower and the Clock, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 76) Etching with aquatint, 1969, signed in pencil, numbered from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, the sheet printed to the edges, each 444 x 397mm (17 3/8 x 15 5/8in)
Los 156
Salvador Dalí (1904-1989) Saint Julien-le-Pauvre (Field 73-10; M&L 460)Drypoint with etching with hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, printed by Editions Argillet, Paris, with the Dalí blindstamp, on Japan paper, with full margins, sheet 655 x 505mm (25 3/4 x 19 7/8in)
Los 310
Rembrandt van Rijn (1606-1669) Three Heads of Women, One Asleep Etching, 1637, a later impression of New Hollstein's third state (of three) on thin laid paper without watermark, slightly slipped impression, platemark 142 x 95 mm (5 5/8 x 3 3/4 in), sheet 157 x 107 mm (6 1/8 x 4 in) (unframed) Literature: Bartsch 368; New Hollstein 161 iii/iii
Los 295
Rembrandt Harmensz. van Rijn (1606-1669)Beggar with a Wooden LegEtching, circa 1630, but a later impression of New Hollstein's third state (of four), showing signs of wear in the densely hatched areas printing with plate tone on laid paper, platemark 104 x 65 mm (4 1/8 x 2 1/2 in), sheet 117 x 71 mm (4 5/8 x 2 3/4 in), minor surface dirt (unframed)Literature:Bartsch 179; New Hollstein 49 iii/iv
Los 300
Rembrandt Harmensz. van Rijn (1606-1669)Jews in the SynagogueEtching with drypoint, 1648, but a later impression of New Hollstein’s final state of nine, on thin laid paper without watermark, platemark 71 x 128 mm (2 3/4 x 5 in), sheet 82 x 137 mm (3 1/4 x 5 3/8 in) (unframed)Literature:Bartsch 126; New Hollstein 242 viii/ix
Los 129
Georges Braque (1882-1963) after.Le Nid Vert Etching and aquatint printed in colours, 1950, signed in pencil and numbered from the edition of 300, on BFK Rives paper, and printed by Atelier Crommelynck with their blindstamp, published by Maeght, Paris, with full margins, sheet 380 x 497mm (15 x 19 1/2in)
Los 60
David Hockney (b.1937)Beautiful and White Flowers, from Illustrations for Fourteen Poems from C. P. Cavafy (MCA Tokyo 58) Etching with aquatint, 1966, signed and dated in pencil, numbered from the edition of 75, published by Editions Alecto, London, on Crisbrook handmade wove paper, with full margins, sheet 569 x 397mm (22 3/8 x 15 5/8in)
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78475 Los(e)/Seite