78472 Preisdatenbank Los(e) gefunden, die Ihrer Suche entsprechen

Säbel à garde de bataille für Offiziere der Kavallerie Kräftige, minimal gekrümmte, beidseitig doppelt gekehlte Klinge (partiell etwas fleckig/narbig) mit rundem Rücken, zweischneidige Spitze in Rückenlinie, im oberen Klingendrittel beidseitig vergoldete Zierätzungen mit Trophäen, Ranken und Kränzen auf gebläutem Grund (berieben). Schweres Buntmetall-Bügelgefäß mit vier Terzspangen und durchbrochen gearbeitetem Knöchelschild in Muschelform, belederte Hilze mit Kupferdrahtwicklung. Schwarze Lederscheide (berieben, Naht teils offen, Risse) mit vergoldeten Buntmetallbeschlägen (Dellen, kleine Risse, Halteklammern fehlen), eisernes Schleppblech, zwei bewegliche Trageringe, Trageknopf am Mundblech. Roter Pompon an Klingenwurzel ergänzt. Teilweise leicht beschädigt, Altersspuren. Länge 108 cm. Sehr repräsentativ. A sabre à garde de bataille for officers of the cavalry A sabre à garde de bataille for officers of the cavalrySturdy, minimally curved blade with double fullers on both sides (somewhat stained/pitted in places), round back, upswept double-edged point, both sides of the upper third of the blade decorated with gilt etching depicting trophies, tendrils and wreaths on a blued ground (rubbed). Heavy knuckle-bow hilt of non-ferrous metal with four bars on the obverse and openwork shell-shaped knuckle guard, leather-covered grip with copper wire wrap. Black leather scabbard (rubbed, stitching partly loosened, tears) with gilt fittings of non-ferrous metal (dents, minor tears, fastening clips missing), iron drag, two movable suspension rings, frog stud at the locket. Replaced red pompon at the base of the blade. Slightly damaged in places, traces of age. Length 108 cm.Very representative.Condition: II

Löwenkopfsäbel für Husarenoffiziere, deutsch, Ende 18. Jhdt. Beidseitig gekehlte und geschwungene breite Rückenklinge mit vollflächig geätzter Damaststruktur. Am beidseitigen Ansatz vergoldete Zierätzung mit Sonne, Mond und Türkenkopf sowie kabbalistische Inschrift zwischen floraler Bordüre. Feuervergoldetes Messing-Bügelgefäß mit Mitteleisen, die Griffkappe in Form eines plastischen Löwenkopfes. Original belederter, gerillter Holzgriff mit gekordelter Drahtwicklung. Die kräftige Messingscheide mit beidseitig kurzem Ledereinsatz, zwei seitlichen Trageringen und eisernem Schleppblech. Länge 94 cm. A German lion's head sabre for hussar officers, late 18th century A German lion's head sabre for hussar officers, late 18th centuryWide, curved single-edged blade, fullered on both faces and etched all-over with a Damascus pattern. The forte decorated on both sides with a gilt ornamental etching of the sun, moon, a Turk's head, and a kabbalistic inscription set between floral ornaments. Fire-gilt brass hilt with langet, the grip cap in the form of a lion's head. Original leather covered, grooved wooden grip wrapped with twisted iron wire. The robust brass scabbard with short leather insert on both sides, two lateral suspension rings and iron shoe. Length 94 cm.Condition: II

Two 19th century framed black etchings Poets Corner, Westminster Abbey published W.H. Beyon, an early map of Venice and Return of the Bucentoro after Canaletto framed etching. H.38.5 W.52cm. (largest)

Habit of Dervise of India, a framed etching from the New Geographical Dictionary together with after Simon Gribelin (1661-1773), Lame Man healed by Peter & John and Death of Ananias each framed and glazed. H.32 W.43cm. (largest)

Sir Frank Brangwyn RA RWS (1867-1956) Etching of Santa Chiara, Toledo - signed in pencil, frame size 55cm x 41cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching, frame size 60cm x 47cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching On The Road To Figeac 1910 - frame size 61cm x 50cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching frame size 30cm x 20cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 23m x 24cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 30m x 24cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 36m x 30cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 24m x 28cm - good condition

Sir Frank Brangwyn RA RWS (1867-1956) signed etching - frame size 28m x 29cm - minor scuff to frame

A collection of antique prints comprising: The North East Prospect of Richmond in the County of York, etching by Samuel & Nathaniel Buck, dated 1749, two sheets conjoined, heavy laid/chain-lined paper, some toning and slight staining at right margin; The North Riding of Yorkshire, hand-coloured copper engraved map by Robert Morden [1695 or later], varnished laid paper mounted on board; Yorkshire, engraved map by John Seller with accompanying text; cattle beneath a tree, etching by Leopold Lowenstam (1842-1898); two hand-coloured aquatints of ships on the Thames, 1805; Doctor Syntax Entertained at College, an etched plate by Thomas Rowlandson, various sizes (7)

Native Americans. Péhriska-Rúhpa [A Minatarre or Big-Bellied Indian], Tab. XVII. An impressive portrait from Travels in the Interior of North America. Aquatint etching by Paul Legrand after Karl Bodmer on creamy wove paper bearing C. Bodmer blind-stamp. 51.8cm by 37cm (plate-mark); 63cm by 44.5cm (sheet). A rich impression and an early state with three figures in the background. Well-preserved, clean & bright, several marginal tears outside of plate-mark, some very light creasing, a few very pale spots within plate-mark. [Coblenz, Paris, London: Ackermann & Co., c. 1839-44]

Native Americans. Sih-Chidä & Mahchsi-Karehde, Mandan Indians, Tab. 20. An impressive double portrait from Travels in the Interior of North America. Aquatint etching by Hürlimann after Karl Bodmer, bearing C. Bodmer blind-stamp. 50.5cm by 32cm (plate-mark); 63.2cm by 45.2cm (sheet). A rich impression, good & bright with pale spotting. Coblenz, Paris, London: Ackermann & Co., 1 April 1841

Jules DE BRUYCKER (1870-1945) 'La Vielle Marchande' an etching. Etching not framed. Condition report: There is some light water damage to the lower part of the paper on the front and backside. Dimensions: (W:34,7 x H:45,7 cm)

Frank BRANGWYN (1867-1956) 'Santa Sophia', an etching. 1906. Dimensions: (W:54 x H:50 cm)

Henri THOMAS (1930-2016) 'Elegant lady' a coloured etching. Signed 10/25, 'Planches D'Artistes'. Dimensions: (W:41,5 x H:29,2 cm)

E J MayberryChepstow CastleWatercolourSignedTogether with another watercolour of a woodland, an etching and a print of Caerleon

J W Winkelman, 2000: a signed limited edition etching, "The London Eye", 6/100, in ebonised frame

English School (19th Century) - 'Capri', a vessel off the coast of Capri flying the English flag and other various flags, inscribed pencil and wash on tinted paper 5.5" x 7.25" together with six further pictures including a watercolour of shipping in rough seas bearing the signature G Webster, and a companion work, unsigned also another study of ships in a harbour black and white engraving showing details of the stern of a heavily carved Man-O-Wall, another hand tinted engraving of a rare duck, a book plate numbered DLXV and inscribed, and lastly a unglazed etching of a landscape, various sizes (7)

A collection of 19th Century needlework studies housed in rosewood cushion frames, etc, the largest frame 68 cm x 56 cm, together with other examples and an etching of children in a carved oak circular frame, 23 cm diameter (6)

St. Helena. Read (Lieut. R. P.), The Geographical Plan of the Island & Forts of Saint Helena is Dedicated by permission to Field Marshal His Royal Highness The Duke of Kent and Strathearn, Burgis & Barfoot, Laurie & Whittle, Burkitt & Hudson and others, October 1815, engraved map by R.Kirkwood with contemporary hand colouring, sectionalised and laid on linen, slight dust soiling and staining, two sheets of a contemporary printed description to verso, 455 x 590 mm, contained in a contemporary card slipcase with publisher's printed label to the upper cover and an etching of Napolean sitting outside a tent to the rear cover, the etching partially obscured by an old auction lot labelQTY: (1)

AR * Brangwyn (Frank, 1867-1956). The Demolition of the Post Office, 1913, etching, artist's proof, a fine impression on laid paper, signed in pencil lower right, image size 650 x 770mm, framed and glazedQTY: (1)NOTE:Gaunt 217.

* Gillray (James). The King of Brobdingnag and Gulliver [H. Humphrey, June 26th 1803], etching with aquatint and contemporary hand colouring, trimmed to the neatline, some marginal abrasion, some dust soiling and staining, slight creasing, backed with later paper, 285 x 215 mmQTY: (1)NOTE:BM Satires 10019. George III holds a spyglass to his eye to examine a Lilliputian Napoleon whom he holds in the palm of his hand. The King pronounces that '...you be one of the most pernicious little odious reptiles ever suffered to crawl upon the surface of the earth'. A fine example of Georgian jingoism and anti-French propaganda.

* Haid (J. J. et Fils publisher). L'Aprés Dinée, Augsburg, circa 1770, uncoloured mezzotint, margins strengthened on verso, slight staining, 405 x 275 mm, together with Baillie (Captain William). Soldiers Quarreling at Dice, March 1st 1769, uncoloured etching after J. Boydell, trimmed to plate mark, 285 x 375 mm, with Boilly (Louis Leopold, after). Ah Hah! qu'il est sot, circa 1800, uncoloured mixed method engraving by Petit, trimmed to plate mark, occasional repaired marginal closed tears, 420 x 465 mm, plus Faber (John). The Beauties done from the original Pictures..., circa 1750, uncoloured mezzotint after Godfrey Kneller, thread margins, slight fraying just affecting the lower margin, 460 x 310 mm, with two French genre engravings and five caricatures after Max Beerbohm and John Doyle and a 20th century impression of James Gillray caricature, various sizes and conditionQTY: (12)

Frink (Elisabeth, 1930-1993). Horse, 1972, etching printed in sepia, on thick wove paper, signed and numbered 28/75, plate size 250 x 200 mm, sheet size 295 x 240 mm, from the edition of 75 impressions issued with the deluxe edition of the book The Art of Elisabeth Frink, with an Introduction by Edwin Mullins, published by Lund Humphries in 1972, original black cloth in dustwrapper, short closed tear to upper margin, 4to (300 x 245 mm)QTY: (1)

Robert Smith, watercolour of an Austin 7 RP Saloon, Circa 1934, together with a Limited Edition etching by Lorna Atkinson 'Night Racing at Le Mans' 2/5, 1991 (2)

A German Army Double Etched K98 bayonet, with Artillery Regiment 13 etching to one side and 'Erinnerung An Meine Dienstzeit' to the other meaning 'Reminder of My Service Time', blade by Solingen, complete with scabbard possibly reproduction, please form own opinion before biddingpossibly reproduction, please form own opinion before bidding

GEORGE DONALD R.S.A, R.S.W (INDIAN b.1943) DARK VOCABULARY Etching, signed lower left, dated MCMLXXXI (1981), 56 x 76 cm Condition Report:Available upon request

Indo Burmese school, figures harvesting crops, oils on canvas. 36x56cm approx. Framed. together with collection of assorted furnishing pictures including coloured prints, watercolours, etching After Minner Bolingbroke and and an industrial skyline in oils. (5) Together with Burmese school, riverside settlement on stilts with figures in boats amongst palm trees, oils on canvas. 51x63cm approx. Glazed frame. (7) (B.P. 21% + VAT)  Images added.   Image of the encircled label.

Modern Masters of Etching, Frank Brangwyn (Second Volume 1932). (B.P. 21% + VAT)

A good Japanese sword Katana, with green and black gilded lacquer Saya (scabbard), the blade 76cm long (from notch to point), having straight 'Hamon' and being signed to the tang (Nakago) 'Echizen No Kami Fujiwara Sukehiro'. Suke Hiro was an Edo period 17th century swordsmith, but such a signature does not guarantee the age of the sword. Double handed silk bound shark skin grip with iron Tsuba and gilded dragon Menuki. Overall 1.06M long including saya. Provenance: local private vendor who's relative acquired the sword at the end of WWII. THIS ITEM REOFFERED FROM RECENT FINE SALE DUE TO THE UNEXPECTED DEMISE OF THE ORIGINAL PURCHASER. (B.P. 21% + VAT) Overall appearing in fair to good condition, silk binding is grubby, tiny loss to blade point under magnification, small area of rust to the iron tsuba. We are not able to warrant the age of this item.----Detailed Report of the Japanese Samurai Katana. Fine Art Sale – March 2023This ‘Katana’ is identified by the two handed grip or handle (Tsuka), the shallow curvature of the blade, the position and manner in which the sword is worn and, also, the positioning of the maker’s signature, which here appears on the side of the Tang (Nakago) which would traditionally face to the front, away from the body, where the sword is worn on the left side, blade curve up and held in place by the Kimono Sash. The ‘Nakago’ is signed – ‘Echizen No Kami Fujiwara Suke Hiro’. Suke Hiro was a renowned Edo period seventeenth century swordsmith. Because of his fame, there are many fakes and copies of his work, so the signature alone is not a guarantee of authenticity. However, there are many interesting features on this sword and its scabbard (Saya) which would fit with the period that the signature suggests. The Scabbard (Saya) – Ornately decorated in a dark green toned lacquer with black lacquer mottling and all highlighted with extensive gilding. The black lacquered cord loop (Kurigata), is a further indicator that this sword is a Katana. The earlier ‘Tachi’ curved sword, from which the ‘Katana’ was ultimately developed, was essentially a cavalry weapon and wielded from horseback, whereas the Katana became the favoured weapon for hand to hand combat, on foot. The ‘Tachi’ scabbard would have two cord loops and was mounted suspended, unlike the Katana which has one loop and is worn through the belt sash. The finely chisel-engraved metal binding around the scabbard has been tested and proves to be Silver. The configuration of the metalwork around the bottom of the ‘Saya’ appears to be in keeping with some Edo examples observed.The Silver banding was worn by second rank Samurai aristocrats. On this sword, the metal work on both the ‘Saya’ and the ‘Tsuka’ is beautifully enhanced by very finely hand engraved leaf scroll-work. The highest ranks wore gold bound swords. The Katana Blade – This sword has a 76 centimetre blade length, measured from the notch on which the blade collar (Habaki) seats, to the point of the blade. The blade is quite long for a ‘Katana’, which usually has a blade length in the low sixty centimetre range, though ‘Katana’ blades up to 80cm. have been recorded. This blade has a ‘Straight Hamon’ which is the line of a somewhat cloudy appearance immediately above the cutting edge and is an indicator that the blade has been ‘differentially tempered’ in the traditional manner. ‘Differential tempering’ is achieved by applying a layer of clay to the blade, of ever decreasing thickness from the spine of the blade to the cutting edge, the last few millimetres having little or no clay at all, applied to it. The blade is differentially tempered by a process of forge-firing and quenching which produces the required hard edged but flexible sword blade. It is worth mentioning that Suke Hiro achieved some fame in his later career when he developed a technique that produced the elaborately decorative ‘Toran Midare Hamon’ which, in appearance, resembled large high-rising ocean waves and was highly prized by the seventeenth century Edo Samurai. There are, however, extant blades attributed to Suke Hiro, which show a Straight ‘Hamon’. Microscopic investigation of the ‘Hamon’ on this blade, appears to reveal the ‘Martensite Crystals’ at the tempered edge, reducing in density from the cutting edge towards the back of the ‘Hamon’ (nearest to the spine), all in all suggesting that this ‘Hamon’ is correct. A ‘Hamon’ can be contrived and faked by acid etching, but this does not appear to be the case with this sword. The naked blade and Nakago of this sword appear to compare visually to the 17th. century Edo blades of the period, illustrated in ‘Facts and Fundamentals of Japanese Swords – a Collector’s Guide’ by Nobuo Nakahara (translated by Paul Martin). The cross section shape of the blade (Mune), appears to conform with the ‘gyo-no-mune’ shape seen on page 60 fig. 70 of Nobuo Nakahara’s guide. The patina on the ‘Nakago’ is of a brownish hue and the finishing hand filing marks are clearly visible.The Sword Handle (Tsuka) – The ‘Tsuka’ is the double-handed grip which is separated from the sword blade by the blade collar (Habaki) and two sword guard spacers (Seppa) which sit either side of the sword guard, itself (Tsuba). On this sword there appears to be a ‘Tsuba’ maker’s signature, in the Kanji flanking the ‘Nakago’ aperture. We think that part of the inscription on the ‘Tsuba’ makes reference to Yamashiro no Kuni province and the Kanji to the left of the ‘Nakago’ aperture, though somewhat obscured by rust, can be the name ‘Tadatsugu’. Further research has revealed that there were at least three swordsmiths of that name working in Yamashiro province, between 1644 and 1673. The ‘Tsuka’ is held in place on the ‘Nakago by a Bamboo tapered peg (Mekugi) which passes through a single hole in the ‘Nakago’ and secures the whole assembly in place. The ‘Tsuba’ is plain iron with no adornment other than the Kanji characters mentioned above. The body of the ‘Tsuka’ is made from wood, before being traditionally wrapped in a layer of Ray skin (Samegawa). There are two gilded white metal, in this case, ‘Dragon’ talismans (Menuki) , one on each side of the hilt where the sword is held and these are secured in place by a two-colour silk ‘wrap’ (Ito). The ‘Ito’ is secured at the ‘Tsuba’ end of the handle with the ‘Tsuka’ collar (Fuchi) and at the opposite end, by the ornate pommel (Kashira) which, on this sword is fashioned as two arms with hands folded, one on top of the other and embracing the top of the hilt. Both the ‘Fuchi’ and the ‘Kashira’ are emblazoned with the Family Crest (Mon) of the ‘Minokuni branch of the Ikeda family’, two of which are raised and gilded and two which are raised, but with no gilding. The circular ‘Mon’ is in the form of a stylised Butterfly.Condition – There is some degradation of the Lacquer-work on the Saya and very minor fraying of the silk in the ‘Ito’, which is also grubby in places. There is a small loss to the point of the blade which becomes apparent under magnification. There is a small area of rust visible on the signed surface of the ‘Tsuba’. There is a minor distortion of the ‘Mekugi’ peg. Otherwise, the ‘Katana’ is in very good condition.We have described this Katana to the best of our ability and knowledge but, ultimately, it must rest with the buyer regarding decisions as to authenticity and age.

A "Riding To The Hunt" limited edition silver dish with hunting scene etching by James Wyeth 1974, produced by Franklin Mint, cased and with certificate, 181g

WILLIAM CROZIER HRHA (1930 - 2011)The Re-Planting (2008)Carborundum Etching, 40 x 50cmEdition 8/40Signed, inscribed and dated 2008

WILLIAM CROZIER HRHA (1930 - 2011)The PoolCarborundum Etching, 37 x 43cmEdition 3/50Signed and inscribed

SEAN SCULLY (B.1945)Simples, (1993)Etching, 55.3 x 41.5cmEdition 7/33Signed and dated (19)'93Provenance: With Kerlin Gallery, Dublin, label verso; From the Collection of Patrick MacEntee SC

MILITARIA -- FOSSÉ, Ch.-L. Ideés d'un militaire pour la disposition des troupes (…) dans la défense et l'attaque des petits posts. Paris, A. Jombert, 1783. x, 116, 60 pp. W. printer's mark on title-p., cold. coat of arms of the Duc du Chatelet on dedication p. and 11 sumptiously cold. plates (of which 10 fold.). Mottled cf., ruled in black & decorated in gilt, spine raised in compartments w. label, silk endpapers & double marbled endpapers, bound by Gregoire Levitsky. In marbled slipcase. (Spine restored w. dec. labels, textblock & plates very clean & beautifully preserved, a fine copy). NOTE: The latter part of this volume is a separate (but related) work on military cartography by L.-M. Bonnet, 'Des couleurs propres au lavis des plans et de la conduite à tenir pour les employer'. With the gorgeous plates the author takes the opportunity to show off the crayon / pastel colour printing technique he invented, or at the very least perfected. (Cf. A.M. Hind. A short history of engraving and etching, p. 288).

KUIK, W.D. De held van het potspel. (1974). W. etching by the author, loosely added. Ocl. w. dust-j. One of 100 copies (this one 'hc'). Copy w. dedication by the author to Wim Zaal. -- J. CREMER Het perpétuum-mobile. (1978). Ocl. Copy w. dedication to Wim Zaal. Limited numb. ed. -- Id. Sneeuw. 1976. Ocl. w. dust-j. First ed. -- L.P. BOON. Fenomenale Feminatheek. (2004). Owrps. In or. wooden box. -- L. COUPERUS. Zijn aangenomen zoon. (Sub Signo Libelli), 1980. Ohcl. One of 50 numb. copies w. front. lithogr. by B. v. Blommestein. -- And 12 o. (17).

ACHTERBERG, G. Ballade v.d. winkelbediende. Almelo, De Parkwegpers, 1986. (12) pp. W. etching by A. Steenvoorden. Owrps. Printed in 50 numb. copies. -- W. HUSSUM. In druk. Arnh., (1965). Sm-8°. Owrps. Printed in 200 copies. This copy unnumb. Signed by the author. -- H. VLEK. Voor de bakker. 1970. W. 2 cold. woodcuts by T. Jansen. Sm-4°. Owrps. Printed in 275 numb. copies. Signed by author and artist. -- G. KOMRIJ. Het blauw is nooit alleen. Een excursie langs kleurgedichten. 1999. Owrps. -- And 18 o. (smaller) works. (22).

ACHTERBERG, G. Dornröschen. 25 Sonette Niederländisch & Deutsch. (Reicheneck, Aldus-Presse, 1986). 4°. Obrds. In or. slipcase. Printed on fine laid Zerkall paper in a numb. ed. of 111 copies only. Signed by the printer. -- Id. Ballade v.d. winkelbediende. Almelo, De Parkwegpers, 1986. (12) pp. W. etching by A. Steenvoorden. Owrps. -- Id. Doornroosje. (Ser Prop, 1998). Owrps. W. publ. dedication to Jos Swiers. Printed in 50 copies. -- Id. Jeugdvers I (&) II. ("Tua res agitur", 1984). 2 vols. Owrps. Printed in 78 numb. copies. -- Id. Cenotaaf. 1953. Owrps. (Wrps. sl. browned). One of 50 Roman numb. copies (XXXIII). -- And 8 o. smaller works by A. (14). (Some printed ephemera added).

ARETHUSA PERS -- LEOPOLD, J.H. Albumblad. Drie versies van 'Waar in de ondoorschenen lagen'. (1984). Owrps. Printed in 120 numb. copies. -- Id. Maân ibn Zaida. Een gedicht. A poem. (1980). 2 vols. W. an etching by G. Didelyte / O. Vychodslova. Owrps. Printed in a limited & numb. edition of 75 copies. -- H. v.d. BERG. Van Station tot Generaal. Ruisende rokken en breekbare liefdes. (1996). W. lithogr. front., signed and numb. Owrps. Printed in 150 numb. copies. -- A. STEENVOORDEN. Ons zelf spiegelen. (1980). W. 5 cold. etchings by the author. In or. envelope. Printed in a lim. ed. of 100 numb. copies. -- H. BLOKLAND. De Nederlandsche exlibris-kring na dertig jaar. (1962). Ocl. Printed in 125 copies. -- And 13 o. (smaller) works by the same press. (19).

ARETHUSA PERS -- SCHULZ, B. De straat van de Krokodillen. (1982). W. 3 engr. by H. Fajlhauer. Ohcl. Printed in a lim. & numb. edition of 75 copies. -- F. HÖLDERLIN. Zeven gedichten uit de laatste levensjaren. (1988). 4°. Owrps., uncut. One of 60 copies w. an or. etching by R. Homan. -- R.M. RILKE. Zwölf Gedichte. (1979). W. engr. by O. Volkamer. Ocl. Printed in a lim. & numb. ed. of 120 copies, our copy nr. 2. -- H. HESSE. Der Dichter. (1969). W. etchings by L. Jirincova. Obrds. Printed in 100 copies, our copy unnumb. -- Id. Flötentraum. (1969). W. engrs. by C. Bouda. Obrds. Printed in 100 copies. -- And 5 o. by the same press. (10).

DE LANGE AFSTAND -- KEMP, P. Pompon Anadyomène. 1987. W. cold. etching by P.Y. de Vries. Ohcl. Printed in 25 numb. copies. -- E. MENKVELD. Koebeest en vrouwdier. (1995). W. front. by P.Y. de Vries. Ohcl. w. dust-j. Printed in 50 signed copies. -- Id. lente. 1997. W. front. by P.Y. de Vries. Owrps. Printed in 40 copies. -- H.S. HAASSE. Yvonne de spionne en andere cabaretteksten. 2000. W. front. by P.Y. de Vries & linocut by I. Le Rütte. Owrps. Printed in 50 copies. -- (C. WEVERS & T. v. DEEL). Rust Roest. Hulde- en handdruk voor Jeroen Brouwers. 1994. Owrps. -- S. HERTMANS. In glazen kijken. 1990. Owrps. Printed in 50 copies. -- And 15 o. (smaller) works by DLA. (21).

KEMP, P. Poeder van maankop. Leiden, De Bange Duivel, 1976. W. 5 etchings by P. Jong, L. Luyten, A. Steenvoorden, M. Vroegindeweij & P. de Vroomen, all signed in pencil. Lge-8°. Ocl. Printed in 125 numb. copies. -- P. JONG & L. LUYTEN. Kroniek II. Leyden/Castillon du Gard, De Bange Duivel, 1975-76. (3) text-lvs. & 6 etchings by L. Luyten and 6 etchings by P. Jong, all etchings signed and numb. in pencil, 2 photogr. portrs., & 2 plans. 8°-obl. Ocl. Printed in 250 numbered copies. -- J.H. LEOPOLD. vijf verzen. (Leiden, Sub Signo Libelli, 1977). W. 2 lithos & 3 drawings by B. v. Blommestein. 4°-obl. Loose in owrps. porfol. Printed in 30 numb. copies. -- (W.KUSTERS, W. & H. TENTIJE, ed.). Het is zo vandaag als altijd. Voor Gerrit Kouwenaar. Banholt, (1983). W. etching signed in pencil & sev. ill. by Constant, Lucebert, Sierhuis, a.o. Ocl. Printed in 75 numb. copies. -- And 7 o. (smaller) works. (11).

(KUSTERS, W. & H. TENTIJE, ed.). Het is zo vandaag als altijd. Voor Gerrit Kouwenaar. Banholt, (1983). 55 pp. W. etching by D. Kouwenhoven, signed in pencil & sev. ill. by Constant, Lucebert, Sierhuis, a.o. Ocl. des. by K. Nieuwenhuijzen, bound by bookbindery "Phoenix". Printed in red & black, in a limited & numb. edition of 75 copies, our copy nr. 20. -- And 3 o. (4).

PHOENIX -- NOOTEBOOM, (C.). Hotel Paradijslaan 1, Shangri La, Ultima Thule, naast restaurant Chez God. Amst., Phoenix Editions, 1983. W. front. etching by J. Veerkamp, signed by the artist. Lge-8°. Ocl. Printed in 70 numb. copies, signed by the author. -- And 2 o. 'Phoenix Editions' publications. (3).

RAAMIN-PRESSE -- SHAKESPEARE, W. Venus und Adonis. Ein Gedicht in 199 Strophen / A Poem in 199 stanzas. Hamburg, 1997. 133, (3) pp. W. 6 or. engravings w. etching by Roswitha Quadflieg on 2 fold-out plates. Tall-4°. Obrds. In or. slipcase. Printed in a lim. & numb. ed. of 165 copies (#119), signed by the artist. -- Added: 4 o. works by on Quadflieg/Raamin-Presse. -- (5).

WOLKERS, J. Waar je valt daar lig je. Leiden, Burgersdijk & Niermans, 2006. 18 pp. W. cold. etching by Rien van der Nat, signed in pencil. Ocl. w. dust-j. NOTE: First edition. This copy one of 50 Roman numb. copies (#XXXVII). With Wolker's stamp of his signature with a drawing of a rooster.

BAUER, Marius Alexander Jacques (1867-1932). ("Begrafenis aan den Ganges"). (1904). Plain etching. 560 x 985 mm. Signed in pencil. (Traces of former framing on r° and v°, foxed/browned (though this is hardly visible in the image), small scratch in upper outer left part of image). NOTE: Impressive view of a funeral ceremony on the Ganges. Van Wisselingh n° 231.

BAUER, Marius Alexander Jacques (1867-1932). ("De trap van de Vrijdag Moskee te Delhi"). 1899. Plain etching, printed on Japanese paper. 547 x 665 mm. Signed in pencil and in the plate, dated in the plate. (Some cracks in paper visible in places, but in very good condition). NOTE: N° 30 (of only 43 printed). Van Wisselingh n° 225.

NAVIS INSTITORIS DE LONGE PORTANS PANEM. (N.pl., no publ., n.d. (18th c.)). Large allegorical engr./etching on laid paper w. caption in Spanish underneath, engr. in the image. 517 x 400 (sheet size). NOTE: Allegory of the 'Virgen del Rosario' as protector of the Spanish fleets. Two ships are represented: the first presents 'Jesus Crucified' as the mast, along with the Virgin who, with her Rosary, ensures the smooth running, helped by angels who tighten the ropes, and protected by the Holy Spirit. The ship carries a mystical lamb and eucharistic chalices. The second, larger boat, is 'manned' by the Virgen del Rosario holding the infant Christ and a Rosary. In the port, along with the hustle and bustle of some figures, appear the allegories of Spain and America that support the legend 'Navis institoris', etc. in vulgar Latin. A similar, but much smaller print from 1778 added. - See for a similar print: https://bibliotheque-numerique.inha.fr/collection/item/35143-sainte-vierge-notre-dame-de-grce-et-notre-dame-du-rosaire-espagne

ROPS, Félicien (1833-1898). "Le Christ au Vatican". (1880). Etching on Chinese paper. 131 x 78 mm. Under passepartout. NOTE: Exsteens Nº 4830, 5th state: "La planche est coupée aux dimensions definitives. Parue dans 'Le Christ au Vatican'"; Rouir Nº 507.

TOOROP, Jan (1858-1928). "Paul Verlaine [écrivant]. 'Hélène-Villa' - La Haye. Nov. 1892". Drypoint etching by Ph.Zilcken after a drawing by Toorop. 390 x 280 mm. Signed in the plate by Toorop (twice) and by Zilcken. Framed, glazed and under acid-free passepartout. (Unexamined out of frame, surface of image a bit chafed in upper margin, age-toning, but apparently in good condition). NOTE: W. dedication in pencil to Lucy d'Audretsch (nom de plume of Lucy Mary Franssen or Lucie Marie Franssen, 1878-1959) by Zilcken, dated 2 Dec. 1912 and monogrammed 'PhZ'. Lucy d'Audretsch's first husband was the art dealer Herman d'Audretsch. - De Vries, Cat. descr. des eaux-fortes de Ph. Zilcken, 271: "3me état".

ZILCKEN, Charles Louis Philip (1857-1930). "Primavera". Etching after a painting by M. Maris. 520 x 342 mm. Signed in pencil and w. dedication - also in pencil - to Lucy d'Audretsch, dated 1914. Framed, glazed and under passepartout. (Unexamined out of frame, some light foxing marks in places, but in very good condition). NOTE: Monogrammed 'MM' in the plate and titled in the lower blank margin. De Vries, Cat. descr. des eaux-fortes de Ph. Zilcken, 248.

G Clemens : Portrait of a gentleman, etching, dated 1899, 67cm by 48cm.

William Lionel Wyllie (1851-1931), etching and aquatint, 'The Little Trawler', signed in ink, 16.5 x 29cm

Anthony Gross (1905-1984), drypoint etching, 'Grape pickers', signed in pencil, 91/250, 28 x 35cm

Kevin Pearsh (b. 1951), artist proof etching with aquatint, 'Das Fenster', signed and dated ‘79, overall 56 x 46cm