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FRANCISCO DE GOYA Y LUCIENTES (Fuendetodos, Zaragoza, 1746 - Bordeaux, France, 1828)."Fierce Monster", no. 81 of the series "The Disasters of War".Aquatint and etching.Madrid edition, 1959.Special print run of 110 numbered copies.Size: 15 x 19,5 cm (print); 17 x 21,5 cm (paper); 30 x 40 cm (frame)."Los desastres de la guerra" is a series of 82 engravings made by Goya between 1810 and 1815. The prints were commissioned as a patriotic album by Palafox, but as the work progressed Goya expanded the subject matter to move away from the initial preconceived vision, thus constructing one of the crudest and starkest portraits of war as a concept in the history of art. In fact, in some of the prints it is not even possible to identify the perpetrators of the horrors narrated, and in the last prints, scenes typical of the post-war period are depicted.

German school; mid-20th century."Christ crucified",. 1958.Etching on paper.Hand signed and dated in the lower right area.Size: 42 x 51 cm; 54,5 x 43,5 cm (frame).In this scene the author resorts to a theme of great artistic tradition such as the crucifixion of Christ. However, the aesthetic treatment is completely groundbreaking and avant-garde. The anatomical dimensions are completely distorted and the perspective is brought forward, closing the space in the foreground, which seems to melt or melt towards the lower area, where Christ's feet are folded together in a dramatic and histrionic movement. It is evident that the work is based on the aesthetic patterns of Expressionism, which was so prominent in the German school. It is worth noting that it was a movement based on a free use of colour, a trait which, due to the technique used, is not evident in this work, but which nevertheless shows a mastery of the tones of the image.

Orientalist school; 19th century."Odalisque".Etching on paper.Signed in plate in the inferior zone.Size: 33 x 49 cm; 35,5 x 51 cm (frame).Starting from the beautiful and unreachable odalisques of Ingres, with such pale skin and elegant gestures that always lead us to think of a captive Christian princess, never an Arab woman, the different pictorial schools were developing a whole new iconography that tried to recreate in a fantastic way -since nothing is known about the Orient- a world forbidden to the Westerners and full of attractions.Orientalism should be understood as one of the currents that fed European art in the 19th century, coinciding with the triumph of the capitalist bourgeoisie and the imperialist countries, especially England and France. Within the Romantic rejection of time itself, a fantastic and free flight in time and space developed, towards antiquity and towards an Orient that stretched from Spain to Russia, passing through North Africa and even reaching Japan. If Chinese art dominated the 18th century and Japanese art dazzled the Impressionists, the Near East was to be the new discovery.

Henry Wilkinson (1921-2011). Gun dog with pheasant, dry point etching, artist signed limited edition drypoint etching number 43/75, 28cm x 32cm.

Henry Wilkinson (1921-2011). Gun dog with pheasant, artist signed, limited edition dry point etching, number 144/150, 26cm x 35cm.

Andrew Affleck,Hotel de Ville, Bruges,etching, signed;and Continental School,Utrecht,watercolour and ink, indistinctly signed, 25 x 20cm.Qty: 2

Wilfred Crawford Appleby, Edinburgh University Medical College, etching, signed and titled in pencil,plate 22.5 x 34.5cm.

Salvador Dali, La Ressuscitee (from the Le Decameron suite),drypoint etching in colours, signed in pencil, numbered EA 1/5, with certificate from Global Fine Art,sheet 45cm x 31.5cm;mounted and framed 66cm x 61cm.

Edgar L Pattison, A Moorish Courtyard,etching with aquatint, signed and titled in pencil,image 17 x 21cm.

Thomas Rollonson, Black, Brown and Fair, hand-coloured etching, 28x21cm.Qty: 1

William Strang, The Quarryman's Wife, etching, signed by William Strang and David Strang, in the margin, 11cmx15cm.Qty: 1

ROWLAND LANGMAID - an etching of ship on The Thames with St Paul's in the background CONDITION REPORTGood conditionCondition disclaimerOur team of trusted experts are on hand to help and always endeavour to provide an accurate judgement. The ultimate responsibility lies with the buyer however, and we recommend that you make every effort to inspect the lot yourself.To that end, we have provided a number of additional images for your attention.

EDUARDO CHILLIDA JUANTEGUI (San Sebastian, 1924 - 2002)."Articulation".Etching on Rives BFK paper. Copy 28/50.Work reproduced in OPUS Volume I, page 52, Nº 62001.Signed and justified in pencil.Measurements: 15.5 x 20.7 cm (print); 38 x 48 cm (paper); 39 x 49 cm (frame).The idea of articulation was a constant in the work of Chillida, who reflected the concept through painting and sculpture. In this particular case, the work on paper shows us a set of vibrant lines that seem to simulate a map in which the spectator can lose himself by looking through the lines.Chillida began his training at the School of Architecture at the University of Madrid, but abandoned his studies to devote himself to football, as goalkeeper for Real Sociedad. As a result of an injury he was forced to give up sport, and it was then that his artistic vocation awoke. He began drawing at the Círculo de Bellas Artes in Madrid, and little by little his interest in sculpture grew. It was during his years in Paris that he made his first plaster sculptures, impressed by the archaic Greek sculpture in the Louvre. He held his first sculpture exhibition in the French capital in 1950. It was at this time that he began his rivalry with the sculptor Jorge Oteiza, who accused him of plagiarising his work. Both with a work linked to the constructivist tradition, they nevertheless dealt with different themes. In 1951 he returned to San Sebastián for good, and produced his first work in iron, the material he would work with for the rest of his life. With the idea that art should be accessible to everyone, he produced numerous public works throughout his life, as well as sculptures for museums all over the world. His works dialogue with their surroundings, which is why many of them are already considered emblematic places for citizens, as is the case with the "Peine del viento" in San Sebastian and the "Puerta de la Libertad" in Barcelona. Throughout his life, Chillida received numerous prizes and awards, including the Carnegie Prize (1965), the Rembrandt Prize (1975), the Wolf Foundation Prize for the Arts (1984/85) and the Prince of Asturias Prize for the Arts (1987). He was also a member of the Royal Academy of Fine Arts of San Fernando, a member of the American Academy of Arts and Sciences, an Honorary Member of the Royal Academy of Arts in London, a member of the Imperial Order of Japan, and was awarded the Grand Cross for Humanitarian Merit by the Institution of the same name in Barcelona. In addition to his Chillida-Leku Museum in Hernani, he is represented in museums and collections all over the world, such as the Guggenheim in Bilbao, the MOMA in New York, the Reina Sofía in Madrid, the Tate Gallery in London and the Neue Nationalgalerie in Berlin.

JAUME PLENSA (Barcelona, 1955).Untitled.Etching in aquatint.Hand signed in the lower margin.Size: 22 x 13 cm; 39 x 29,5 cm (frame).Jaume Plensa studied at the Llotja School and at the Sant Jordi School of Fine Arts, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work in both material and formal terms, and began to use different materials such as metal scraps, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums of Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

JAUME PLENSA (Barcelona, 1955).Untitled, 2015.Etching.Hand signed and dated. Size: 101 x 70 cm; 119,5 x 89,5 cm (frame). Jaume Plensa studied at the Escuela de La Llotja and the Superior de Bellas Artes de Sant Jordi, both in Barcelona. He excelled in sculpture, drawing and engraving. His work focuses on the relationship between man and his environment, often questioning the role of art in society and the position of the artist. He currently lives in Paris, and was recently awarded an honorary doctorate by the School of the Art Institute of Chicago. Plensa began his career working with wrought iron mixed with polyester. Between 1983 and 1984 he began to mould iron using the casting technique, and developed a sculptural concept based on zoomorphic elements. His work gradually evolved, and he is now considered a precursor of Spanish neo-expressionism. In the nineties he introduced modifications in his work, both in terms of material and form, and began to use different materials such as metal waste, polyester and resins. During these years he produced series of walls, doors and architectural constructions, seeking to give space an absolute protagonist role. Between 1999 and 2003 Plensa became one of the pillars of world scenography, reinterpreting four classical operas by Falla, Debussy, Berlioz and Mozart with "La Fura dels Baus", and alone in a contemporary theatrical production, "La pareti della solitudine", by Ben Jelloun. He has held solo and group exhibitions all over the world, including a retrospective at the Museo Nacional Centro de Arte Reina Sofía in 2000. In June 2008 he unveiled his work "Breathing", a memorial to journalists killed in the line of duty, at the BBC headquarters in London. Throughout his career he has received numerous distinctions, such as the Medal of the Knights of Arts and Letters in 1993, awarded by the French Ministry of Culture, and the National Prize for Plastic Arts in 1997, awarded by the Generalitat of Catalonia. Considered one of the leading representatives of the new Spanish art of expressionist tendency, his work is present in the best national and international galleries and art fairs, as well as in the main museums in Europe and the United States, such as the MOMA in New York, the Kemper in Kansas, the Museo Patio Herreriano in Valladolid, the Palazzo Forti in Verona, the MACBA and the Museo Reina Sofía in Madrid.

Reginald H. Smallridge (b 1903) 'Mars Hill, Lynmouth' colour etching 16x10.5" pencil signed to margin

C. Pusworth, study of a hen, pencil signed sketch and a pencil signed etching by W Theobald of an owl

Susan Thomas Lay, etching "The Art Critic"; another entitled "Arthur"; and a portrait print

Lars Nyborg limited edition coloured etching

Harry Rountree (1878-1950), etching, 'Really Wet', 11 x 17cm

Elyse Ashe Lord, (1900-1971), drypoint etching, Indian woman with white deer, signed in pencil, 17/75, 32 x 22.5cm

AFTER HENRY HEATH (1801-1858) THE NEW STATE CARRIAGE! Hand coloured etching Published by Samuel William Fores in 1831 25.5cm x 36cm

FRENCH SCHOOL (20TH CENTURY) BRIDGE LANDSCAPE Indistinctly signed Etching Sold together with a 19th Century print of birds12cm x 15.5cmQty: 2

MIKE BIRTCHNELL (BORN 1948) UNTITLED II ‡ Signed etching58cm x 43cm

JUDITH DOWNIE (BORN 1936) ABSTRACT ‡ Signed and dated (19)61 Etching 22.5cm x 7.5cm

JUDITH DOWNIE (BORN 1936) ABSTRACT ‡ Signed and dated 1961 Etching 19cm x 14cm

Salvador Dali signed etching from the portfolio "Dalinesque Horses" || DALI SALVADOR (1904 - 1989) ets n° 75/250 uit de suite "Les Chevaux daliniens" : "Ruiter te paard" - 40 x 25 getekend

Georges Braque signed color etching n° 74/75 with an abstract composition || BRAQUE GEORGES (1882 - 1963) kleurets n° 74/75 met een abstracte compositie - 28,5 x 37 getekend

21st Cent. Roger Raveel signed etching || RAVEEL ROGER (1921 - 2013) ets n° 58/100 uit 2007 getiteld : "Tegenover het vlak" - 21,2 x 17,2 getekend afgebeeld (nr. 264) in het boek "Roger Raveel, het overzicht Grafisch Oeuvre"

René Magritte etching - with namestamp and drystamp "Gravure Originale - Atelier René Magritte" || MAGRITTE RENÉ (1898 - 1967) ets n° Epreuve d'Artiste met een compositie met bolhoed - 19,2 x 14,5 met naamstempel en droogstempel "gravure Originale - Atelier René Magritte"

20th Cent. Belgian etching - signed Roger Raveel || RAVEEL ROGER (1921 - 2013) ets n° 34/50 : "Koren" - 26,8 x 34,8 getekend

Roger Raveel signed etching in colors || RAVEEL ROGER (1921 - 2013) kleurets n° 8/100 : "Geluk en gevaar" - 39 x 30 getekend

20th Cent. surrealistic Paul Delvaux mixed media (aquarelle) on etching on Japanese paper) from the portfolio "Les derniers Beaux Jours" - signed Paul Delvaux || DELVAUX PAUL (1897 - 1996) met de hand ingekleurde (aquarel) ets op Japans papier n° 18/20 uit de suite "Les derniers Beaux Jours" - 38,5 x 27,5 cm getekend

20th Cent. Belgian etching - signed Walter Goossens || GOOSSENS WALTER (° 1943) ets n° 15/20 : "Portret van Fred Bervoets" - 32 x 22,5 getekend

Roger Raveel signed color etching || RAVEEL ROGER (1921 - 2013) kleurets n° 26/100 : "Zie de mens" - 29,5 x 39,5 getekend

20th Cent. Roger Raveel signed etching || RAVEEL ROGER (1921 - 2013) kleurets n° 9/40 uit 1991 getiteld : "Het niets, het licht en de dingen" - 19,5 x 14,5 getekend

20th Cent. surrealistic Paul Delvaux mixed media (aquarelle) on etching on Japanese paper) from the portfolio "Les derniers Beaux Jours" - signed Paul Delvaux || DELVAUX PAUL (1897 - 1996) met de hand ingekleurde (aquarel) ets op Japans papier n° 18/20 uit de suite "Les derniers Beaux Jours" - 37,5 x 29,50 cm getekend

20th Cent. Belgian mixed media (on etching) - signed Roger Raveel and dated 1984 || RAVEEL ROGER (1921 - 2013) werk in gemengde techniek (met de hand bijgewerkte ets) : "Een zwemmer vergeet" - 26,8 x 34,8 getekend en gedateerd 1984

20th Cent. Belgian etching - signed Roger Raveel || RAVEEL ROGER (1921 - 2013) ets n° 34/50 : "Bedje in atelier" - 26,8 x 34,8 getekend

20th Cent. Belgian etching - signed Yvan Theys and dated 1976 || THEYS IVAN (1936 - 2005) ets n° 11/50 getiteld "De badkamer" - 66 x 50 getekend en gedateerd 1976

René Magritte color etching with a typical composition with namestamp and drystamp "Gravure Originale - Atelier Rene Magritte" || MAGRITTE RENÉ (1898 - 1967) kleurets n° 51/150 met een compositie met peer en een roos - 15,5 x 10,5 met naamstempel en droogstempel "Gravure Originale - Atelier Rene Magritte"

Copper and Zinc etching plates and tools

Etching press with blankets

SLEVOGT, MAX (1868-1932), 4 Graphiken, 1x "Tiere und Menschen", Lithographie, mit Bleistift von Hand signiert und num. 4/50, HxB: Platte ca. 23x21 cm; 1x "Drei Personen", Lithographie, mit Bleistift von Hand signiert und bezeichnet 'Druck vor d. Auflage 11/12', HxB: Platte ca. 12x31 cm; 1x "Mephisto", Lithographie, mit Bleistift von Hand signiert, Papiertrockenstempel, HxB: Platte ca. 15x9 cm; 1x "Selbstportrait Max Slevogt", Radierung, unsigniert, HxB: Platte ca. 20x13,5 cm. Je gebräunt und fleckig, tlw. gewellt und leicht beschädigt. Je im Passepartout (Außenmaße bis 40x50 cm).| SLEVOGT, MAX (1868-1932), 4 graphics, 1x "animals and people", lithography, signed by hand in pencil and num. 4/50, HxW: plate approx. 23x21 cm; 1x "Three people", lithograph, signed by hand in pencil and inscribed 'Druck vor d. edition 11/12', HxW: plate approx. 12x31 cm; 1x "Mephisto", lithograph, signed by hand in pencil, dry paper stamp, HxW: plate approx. 15x9 cm; 1x "Self-portrait Max Slevogt", etching, unsigned, HxW: plate approx. 20x13.5 cm. Each browned and stained, partly wavy and slightly damaged. Each in a passe-partout (external dimensions up to 40x50 cm).

PIRANESI, GIOVANNI BATTISTA (1720-1778), "Veduta di un Sepolero fuori di Porta del Popolo...", mit Hirten am Fuße der römischen Ruine, Radierung/Papier, in der Platte bezeichnet und Text am unteren Rand, HxB: Platte ca. 61,5x40,5 cm, Blatt ca. 90x63 cm. Beschädigt und restaurierungsbedürftig.| PIRANESI, GIOVANNI BATTISTA (1720-1778), "Veduta di un Sepolero fuori di Porta del Popolo...", with shepherds at the foot of the Roman ruins, etching/paper, inscribed in the plate and text on the lower edge, HxW: plate approx. 61.5x40.5 cm, sheet approx. 90x63 cm. Damaged and in need of restoration.

KONVOLUT ca. 80 Graphiken, historische und religiöse Motive nach Peter Paul Rubens, Michelangelo u.a., 18. bis 19. Jh., Kupferstiche, Radierungen, Lithographien u.a., meist in der Platte bezeichnet und betitelt, HxB: Blätter bis 49x62 cm. Gebräunt, fleckig, beschädigt, tlw. aufgezogen.DAZU: Otto SCHWARZ (19./20. Jh.), Kirchenportal, Radierung, in der Platte signiert und datiert 1939, mit Bleistift von Hand signiert, bezeichnet und datiert. HxB: Blatt ca. 38x31,5 cm. Knicke, minim. Einrisse.| CONVOLUT ca. 80 prints, historical and religious motifs after Peter Paul Rubens, Michelangelo and others, 18th-19th c., copperplate engravings, etchings, lithographs, etc., mostly inscribed and titled in the plate, HxW: sheets up to 49x62 cm. Browned, stained, damaged, partly mounted.ADDED: Otto SCHWARZ (19th/20th c.), Kirchenportal, etching, signed and dated in the plate 1939, signed, inscribed and dated in pencil by hand. HxW: sheet approx. 38x31,5 cm. Creases, minimal tears.

SCHOBER, PETER JAKOB (1897-1983), "Weg zum Dorf", Radierung/Papier, u. re. mit Bleistift von Hand signiert, HxB: Platte 14,5x19,5 cm, HxB Platte ca. 14,5x19,5 cm, Passepartoutausschnitt 19x23 cm (52x41,5 cm mit Rahmen). Altersspuren, vergilbt. Im Passepartout hinter Glas gerahmt (besch.). LITERATUR: Ehrenfried Kluckert, Peter Jakob Schober, Monographie mit Werkverzeichnis, Theiss 1990, WVZ-Nr. 1968, 109.| SCHOBER, PETER JAKOB (1897-1983), "Way to the village", etching/paper, signed lower right by hand with pencil, HxW: plate 14,5x19,5 cm, HxW: plate ca. 14,5x19,5 cm, mount cutout 19x23 cm (52x41,5 cm with frame). Signs of age, yellowed. Framed in mount behind glass (damaged). LITERATURE: Ehrenfried Kluckert, Peter Jakob Schober, monograph with catalog raisonné, Theiss 1990, WVZ-no. 1968, 109.

SCHOBER, PETER JAKOB (1897-1983), "Strand", Radierung/Papier, u. re. mit Bleistift von Hand signiert, u. li. betitelt, HxB: Platte 21,5x28 cm, HxB Passepartoutausschnitt 26x33,5 cm (45x54,5 cm mit Rahmen). Altersspuren, vergilbt. Im Passepartout hinter Glas gerahmt (besch.). LITERATUR: Ehrenfried Kluckert, Peter Jakob Schober, Monographie mit Werkverzeichnis, Theiss 1990, WVZ-Nr. 1970, 112.| SCHOBER, PETER JAKOB (1897-1983), "Beach", etching/paper, signed lower right by hand with pencil, titled lower left, HxW: plate 21,5x28 cm, HxW mount cutout 26x33,5 cm (45x54,5 cm with frame). Signs of age, yellowed. Framed in mount behind glass ( damaged). LITERATURE: Ehrenfried Kluckert, Peter Jakob Schober, monograph with catalog raisonné, Theiss 1990, WVZ no. 1970, 112.

PAAR PROZESSIONSLATERNEN, 19./20. Jh., Messinggestell zapponiert, schwenkbar zur Montage auf einer Stange, sechspassig eingelegte Glasfenster im Ätzverfahren dekoriert und satiniert. H. 80 cm. Alters- und Gebrauchsspuren, eine Schraube mit Sprung und repariert, eine Zierblende an der Bügelverschraubung fehlt.| PAIR OF PROCESSIONAL LANTERNS, 19/20 Century, zapped brass frame, swiveling for mounting on a rod, six-part inlaid glass window decorated with etching and satined. H. 80 cm. Signs of age and wear, one screw cracked and repaired, one decorative panel on the bracket screw connection is missing.

May Hutchinson (20th century)Fishing boats in a harbourSigned, oil on canvas, together with a watercolour by Sihlali, a signed etching "Roe in Birchwood" by TJ Greenwood and two orinthological prints after Gould, (5)

Stefano della Bella (1610-1664) - Diverses Paisages - Two etchings / Description: Two original etchings from the series 'Diverses Paisages made by della Bella in 1643 and published by Israel Henriet (1590-1661) /// 11; shepherdess seated under trees to right, spinning with a spindle whilst guarding her flock of sheep, goats and cattle; with hills and trees in the distance and a rider on horseback behind to left. /// 6; to left, a fisherman carrying a net over his shoulder whilst walking from the river towards two large trees at centre; to right, two riders on horseback standing in a river, their horses bending down to drink, and behind, a castle on a hill. / Dimensions: 12,40 x 25,50 cm / Condition: Good impressions on a dense laid paper trimmed on plate border with a few traces of tread margins. Good condition. / Literature: De Vesme/Massar 1971 / Stefano della Bella (767.II) and De Vesme/Massar 1971 / Stefano della Bella (762.II) / Medium: Etching /Circa: 1641-1643

Karel Dujardin (1626-1678) - Two Muleteers in a landscape Two Muleteers. Landscape with a man in central foreground and driving two mules and some goats towards the right, a tree growing slantwise from right to left in right foreground, an escarpment above a river at centre with a second muleteer and two mules heading left, mountains rise in the distance; second state with at top right: "K. DV. IARDIN. / 1656 fe". With the number 20 in the lower right corner.1659 14,20 x 17,80 cm Good impression on laid paper with full plate border and tread margins. No folds, tears or stains. Bartsch / Le Peintre graveur (1.177.22) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (21.II) Etching 1656

Pieter Paul Rubens, Schelte à Bolswert, Saint Francis Xavier and Saint Ignatius of Loyola. Saint Francis Xavier and Saint Ignatius of Loyola. Engraving after a painting of Pieter Paul Rubens (1577-1640) now in Warwick Castle (Rooses 449); formerly the altar-painting of the Jesuit's Church at Brussels. Etching made in Antwerp by Schelte à Bolswert (1586-1659) ca 1633-1659. Published in Antwerp ca 1633-1659. References: Schneevoogt 1873 / Catalogue des estampes gravées d'après P.P.Rubens (103.79), Hollstein 239, Corpus Rubenianum VIII / Saints (113-114). Engraving in good condition, very good dark early impression. Printed on thin laid paper on the margins, image complete. With a good watermark. 31,4 cm x 24,2 cm / Condition: Engraving in good condition, very good dark early impression. Printed on thin laid paper on the margins, image complete. With a good watermark. Schneevoogt 1873 / Catalogue des estampes gravées d'après P.P.Rubens (103.79), Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (239), Corpus Rubenianum VIII / Saints (113-114) / Medium: engraving /Circa: 1633-1659

Allaert van Everdingen A swineherd and his pigs on a village road near a chapel; the buildings running obliquely along the road at right; from a series of twelve plates. Etching made by Allaert van Everdingen, signed with monogram at lower right. 9,90 x 14,50 cm Good impression on laid paper trimmed just inside the plate mark. Two handwritten collection signatures with date on the backside. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (43.III) --- Bartsch / Le Peintre graveur (II.183.43) 1636-1675 1636-1675

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: Three heads in profile to left; at left, outline of the head of a youth; in middle, head of an old man; at right, head of a youth, with curly hair falling over the nape of his neck; after Leonardo da Vinci; first state, before plate cut. Etching by Wenceslaus Hollar after Leonardo da Vinci. Signed bottom middle 'Leonardo da Vinci / inu: 'W. Hollar fec' / Dimensions: 6,00 x 11,10 cm / Condition: A very good sharp early impression of the first state. On a dense laid paper with still some ink traces in the plate border. Condition is good with no folds or tears, some mild foxing bottom left corner and vague ink smudge top right. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1252.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1602.I) --- Related drawing by Leonardo in the Royal Collection at Windsor (RL 12276) / Medium: Etching /Circa: 1644-1652

View of the IJ near Amsterdam with a rowing boat, Ludolf Bakhuizen View of the IJ near Amsterdam with a rowing boat. The IJ near Amsterdam ( The harbour). Etching made by Ludolf Bakhuizen (1630-1708) in Amsterdam ca 1701. From the series "Seascapes". References Hollstein Dutch 4-2 or 3(3), The Illustrated Bartsch 4. In excellent condition. Printed on laid paper with very large margins. very good dark strong impression with all the details. In good condition. Printed on thin laid paper . With two watermarks Coat of arms of Amsterdam. 17,9 cm x 24,0 cm In excellent condition. Printed on laid paper with very large margins. very good dark strong impression with all the details. In good condition. Printed on thin laid paper . With two watermarks Coat of arms of Amsterdam. Hollstein Dutch 4-2 or 3(3), The Illustrated Bartsch 4 etching 1701

Giulio Parigi - Vessels of the Argonaut, Cosimo de' Medici wedding - 1608 / Description: A sea-monster and a turtle attacking a shell. Lettered with title followed by another line, and in lower right 'Battaglia navale rapp in Arno per le nozze del Ser. Principe di Tosc l'an 1608 Giulio Parigi I'. Etching made by Giulio Parigi for the wedding celebration of Cosimo de' Medici in 1608. From a series of 19 plates by Cantagalina: Scoglio d'Arno con quatro fiumi fatto dal Sig. Filippo Salviati. This plate is not signed by Cantagallina, and Bartsch reasonably attributed it to Parigi. / Dimensions: 19,20 x 26,60 cm / Condition: Excellent impression with good plate tone on Italian watermarked laid paper. Full plate border and tread margins top right corner reattached. / Literature: Bartsch / Le Peintre graveur (XX.63.35) / Medium: Etching /Circa: 1608

Stefano della Bella (1610-1664) - Paix et guerre - Two etchings / Description: Two original etchings made by Stefano della Bella: 1. Divers desseins tant pour la paix que pour la guerre, Frontispiece to series; entrance to a fortress with two round towers, with five soldiers and a woman seated by a fire to right, cannons to left and various soldiers; with a coat of arms below. c.1641. 2. Diverses Paisages: two horsemen galloping up a hill on a path towards right, with a man seated next to his grazing horse behind to right, and a building on a hill behind to left. c.1643 Etching. Both etchings made by Stefano della Bella and published by Israël Henriet. / Dimensions: 11,80 x 25,50 cm / Condition: Good impressions on a dense laid paper trimmed on plate border with a few traces of tread margins. Good condition. / Literature: De Vesme/Massar 1971 / Stefano della Bella (264.II) and De Vesme/Massar 1971 / Stefano della Bella (765.II) / Medium: Etching /Circa: 1641-1643

Ter Tolen - After Esaias van de Velde - Tholen in Zeeland. View of a walled town, right of a river. Etching after Esaias van de Velde, published by Claes Jansz. Visscher. Numbered '4' and signed "E. Velde in." in lower right. 0,00 x 0,00 cm Excellent well inked impression with full plate border and margins on laid paper with watermark 'crowned shield' Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (23) -- Keyes 1984 / Esaias van den Velde, 1587-1630 (A.10) Etching 1615-1616

Pieter Boel - The owls / Description: View of four large owls sitting in a rock cavity at left, six smaller owls sitting on the edge of the rock at right; third state with publisher's address; from a series of six prints showing birds made by: Peeter Boel. Signed in the lower margin: "P. Boel del." and "des Ducs" and "De Poilly ex. C.P.R. St. Iacques va L'image St Benoit / Dimensions: 24,50 x 34,50 cm / Condition: Good intense black impression on laid paper with full plate borders and small margins. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (13) --- Bartsch / Le Peintre graveur (undescribed) --- Weigel 1843 / Suppléments au Peintre-Graveur de Adam Bartsch (184.13) / Medium: Etching /Circa: Ca. 1640-1660