We found 71174 price guide item(s) matching your search

Two Framed, Glazed and Mounted Taxidermy Butterflies together with Two matching Chinese Embroideries on Silk of Birds plus Richard Dighton (1795-1880) Coloured Etching titled ' A Discharg'd Fife-r '

Holly Maslen, contemporary Oil on Canvas titled ' Round the Island Race I ', 40cm x 102cm together with Henry Wilkinson Signed Limited Edition Fishing Etching no. 89/150 and Gouache of an Ocean Liner, signed

Stephen Lumsden RSA, RE (1883 - 1948) Thikse Monastery, etching, framed under glass, 34 x 28cm

AN 1881 ETCHING OF UPSALA MARKET IN FRONT OF THE CATHEDRAL

A LATE 19th C. PENCIL SIGNED ETCHING OF A CATHEDRAL

A RACKHAM PRINT OF FAIRIES AT THE BASE OF A TREE TOGETHER WITH A PORTRAIT AND AN ETCHING

After John Sell Cotman (British, 1782-1842): 'South East View of St Mary's Chapel at Stourbridge near Cambridge', etching, with inked legend to lower margin, 17 by 27cm, mounted and in oak frame, 32 by 42cm.

An early 20th cent etching signed lower right of a lady 

"Oliver Cromwell", an late18th century etching from an original by P.Lely 1653, the lower section printed with "His Seal and Autogrphs from the originals in the Pofsefsion of John Turner", image 18.5cm x 13.3cm, framed and under glass.

A Rembrandt etching annotated in pencil "The Street seller"

Framed etching depicting egg harvesting.

A Collection of Edinburgh original etchings and engravings to include an original etching by C.H. Clark- Princess St Edinburgh, Queen Mary's Bath House and White Horse Close signed by William Brown, 'Castle Esplanade, Edinburgh' original etching by J McKay, F.W. Simon- Grass market, Coloured etching of 'The Scott Monument' signed by the artist, 'The University, Edinburgh' and 'John Knox's House' by Alex Wilson

A Collection of original etchings and engravings to include 'Mont St Michel' signed by the artist. Watercolour depicting building, statue and tourists- signed by the artist, 'The end of the Forty Five Rebellion' drawn and etched by W.B. Hole. Etching of John Knox's house Edinburgh by G Goodway. Venice by D. Y. Cameron- signed original etching. Edinburgh Castle by Reginald Green and Edinburgh [Tolbooth] by G Goodway.

Selection of Six framed etchings and engravings to include French Rouen Gross Harloge (Great Clock) signed etchings by Charles Pinet and etching by Robert Houstin titled Loch Earn

Three Loch Scene signed etchings to include etching by Johnstone Baird

20th Century duck scene etching by Winifred Austen and Original drypoint etching titled "Great Tits" by Roland Green

Albany E. HowarthOriginal etching ''Falls Of Dochart''Signed and titled[52x62cm]

Original etching depicting entrance to the shrine of the Scottish National War Memorial.Signed Albany E.Howarth[58x40cm]

Louis Whirter RSA (1873-1932)Original etching depicting a street scene from Edinburgh.Signed by artist.[60x47cm]

§ Geoffrey Clarke R.A. (British 1924-2014) Artist Series: The Artist’s Progression, The Artist and Participation, or Mutual Thought, 2000 each signed, dated, and numbered 12/25, 10/25 and 6/25 respectively, etching on zinc, two etching and aquatint, commissioned by Strand Gallery and printed by St. Barnabas PressDimensions:25cm x 15.5cm (10in x 6 1/4in), 17.5cm x 14.5cm (6 7/8in x 5 5/8in) and 19cm x 12.5cm (7 1/2in x 4 7/8in) respectively, unframedProvenance:ProvenancePrivate Collection, UK. Note: LiteratureJudith LeGrove, Geoffrey Clarke: A Sculptor's Prints, Bristol, 2012, no. 209, 210 and 211. Innovative sculptor Geoffrey Clarke (1924 – 2014) experimented readily with materials throughout his lifetime, moving away from a figurative focus which for many years dictated his study to a more abstract direction. His fearless experiments and bold sculptures epitomised the vivacity of the post-war art scene in Britain. A graduate of London’s Royal College of Art, Clarke was acknowledged as one of the few British sculptors who actively encouraged the practice of cooperation and synergy between sculptors and architects. Characteristically monumental and large in scale, his output notably included the combined use of aluminium, stained glass, mosaic and enamel.Taking advantage of the post-war architectural boom, Clarke was known in his early years for his iron, wire and plaster works. One of the first artists to use welding in his sculptures, Clarke experimented readily with processes, trialling different modes of making which were both more cost and time effective. Often building an initial ‘skeleton’ in his sculptures, his process was undeniably influenced by anthropomorphism. Reducing the human figure to a curvilinear sculpture in his work, this technique remained in line with the rise of sculptors looking to develop a more meaningful sculptural language.In 1952, Clarke’s fame was cemented when he was selected by the Arts Council for the inclusion in the landmark exhibition of British sculpture at the Venice Biennale. Attaining several subsequent awards in the years which followed, Clarke rapidly became one of the most frequently commissioned architectural sculptors of the mid-twentieth century. A notable public commission being his work on the windows of Coventry Cathedral, which showcased his stained-glass abilities.

§ Sandra Blow R.A. (British 1925-2006) Upward Movement numbered 2/20 (lower left), with artist's estate stamp, etching with aquatintDimensions:37.5cm x 37.5cm (14 3/4in x 14 3/4in)Note: A trailblazer of 1950s abstraction, British painter Sandra Blow provided an undisputed contribution to the development of post-modernist painting in post-war Britain. Her characteristically large scale, colourful collages were mostly produced using discarded non-art materials. Drawing attention due to this unusual usage of abstract mediums, notably sawdust, sackcloth and plaster, Blow’s unique manner grew her popularity swiftly within the art world. While travelling Europe her experimentation was encouraged by artists such as partner Alberto Burri, from who Blow adopted this idea of incorporating atypical materials, experimenting with the raw sensuality of such forms.Blow’s most influential paintings were produced during the latter half of the 20th century, where her practice took clear inspiration from time spent between Italy and Cornwall. Working in a process led and intuitive way, she became known as a pioneer of the use of dynamic perspective, a technique which grew in concurrent popularity with abstract expressionism. Coupling dynamic and geometric forms, her awareness of perspective gave the works a tactile, energetic feel. Using multi-dimensional materials in partnership with paint her artistic concerns stretched to the consideration of proportion and tension.

"The White Cliff, Seaton Hole" A limited edition etching and aquatint printed and hand coloured by Roger St Barbe signed in pencil lower right and numbered 54/100 -overall size 49cm x 38cm. Along with a framed collage of fossils from The Jurassic Coast.

A collection of four framed pieces of art work by Sue Warren (local artist) including "Seed Heads" dry point etching, "Angel" collagraph, "Beanfeast" relief print and "Kitchen Sink" collage (all signed), along with a framed Andy Rollo study.

Louis Icart (1888-1950) "Youth" coloured drypoint etching showing a girl with black horse, signed in pencil lower right with blindstamp lower left and numbered 5/500 - 63.5cm x 40.5cm. Also with book on the artist detailing his works.

A framed watercolour of longhorn sheep in a meadow, signed by local artist Terry Ward overall size 38cm x 39cm, plus a limited edition colour etching 73/75 "Dawn Wind" by Graham Clilverd signed in lower corner

Edwina N. Ellis (Australian, b. 1946)'Plum Bob on shelf 1st State'1993Collagraph etching on paperLimited edition No. 2 of 20Signed to front in pencil25 x 28cm (10" x 11")Born in Sidney Edwina Ellis moved to London in 1972 and lived there until 1991. Since 1992 she has lived at Ystrad Meurig in Wales. She studied painting at the National Art School in Sidney from 1963 to 1969. In England she studied metal engraving at John Cass College between 1972 and 1973 and wood engraving with Simon Brett Summer School in 1981 and 1983.She was elected a fellow of the Royal Society of Painter Printmakers in 1985. Ellis worked as a jeweler in both Australia and London. Subsequently she took up wood engraving, specialising in multiblock colour engravings after a visit to Morocco in 1983. She has travelled widely in India, Africa and Arabia as well as Australia. Since 1984 she has exhibited regularly in both solo and group exhibitions. Her work can be seen in several public collections including the Victoria and Albert Museum, Ashmolean Museum and the University Library of California.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Edwina N. Ellis (Australian, b. 1946)'Things Greater Are in Us Contained'1995Collagraph etching on paperLimited edition No. 2 of 50Signed to front in pencil20 x 20cm (8" x 8")Born in Sidney Edwina Ellis moved to London in 1972 and lived there until 1991. Since 1992 she has lived at Ystrad Meurig in Wales. She studied painting at the National Art School in Sidney from 1963 to 1969. In England she studied metal engraving at John Cass College between 1972 and 1973 and wood engraving with Simon Brett Summer School in 1981 and 1983.She was elected a fellow of the Royal Society of Painter Printmakers in 1985. Ellis worked as a jeweler in both Australia and London. Subsequently she took up wood engraving, specialising in multiblock colour engravings after a visit to Morocco in 1983. She has travelled widely in India, Africa and Arabia as well as Australia. Since 1984 she has exhibited regularly in both solo and group exhibitions. Her work can be seen in several public collections including the Victoria and Albert Museum, Ashmolean Museum and the University Library of California.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Edwina N. Ellis (Australian, b. 1946)'Hung Plum Bob'1993Collagraph etching on paperLimited edition No. 2/50Signed to front in pencil19 x 20cm (8" x 8")Born in Sidney Edwina Ellis moved to London in 1972 and lived there until 1991. Since 1992 she has lived at Ystrad Meurig in Wales. She studied painting at the National Art School in Sidney from 1963 to 1969. In England she studied metal engraving at John Cass College between 1972 and 1973 and wood engraving with Simon Brett Summer School in 1981 and 1983.She was elected a fellow of the Royal Society of Painter Printmakers in 1985. Ellis worked as a jeweler in both Australia and London. Subsequently she took up wood engraving, specialising in multiblock colour engravings after a visit to Morocco in 1983. She has travelled widely in India, Africa and Arabia as well as Australia. Since 1984 she has exhibited regularly in both solo and group exhibitions. Her work can be seen in several public collections including the Victoria and Albert Museum, Ashmolean Museum and the University Library of California.This lot is also sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.

Salvator Rosa, Albert, the companion of Saint William of Maleval, tied to a tree / Description: Albert, the companion of Saint William of Maleval, tied to a tree. Etching made by Salvator Rosa (1615-1673) ca 1661. References: Bartsch 2, Wallace 100 only state. Good dark early impression on watermarked Italian laid paper, circular watermark. On the margins, etching is complete. / Dimensions: 34,7 cm x 22,5 cm / Condition: Good dark early impression on watermarked Italian laid paper, circular watermark. On the margins, etching is complete. / Literature: Bartsch 2, Wallace 100 only state. / Medium: etching /Circa: 1661

Mercury Appears to Aeneas in a Dream. Etching by Giovanni Domenico Tiepolo after a design by his brother Giovanni Battista Tiepolo. Excellent impression on laid paper. Full plate border and two centimeter margins. Flattened middle fold. 23,80 x 18,20 cm. Literature: De Vesme 85 (II/II) --- Rizzi 298.136 ii/ii --- Succi 1988.87

Annibale Carracci (1560-1609), after - Pan taming Eros - 1599 / Description: Etching in counterpart of the work by Annibale Carracci from 1599: Pan Taming Eros. Impression from the inventory of Naudet In his handwriting on the backside: 'Chez Naudet M des Images a Louvre 1815' / Dimensions: 18,40 x 23,50 cm / Condition: In good condition. On laid paper with a circular Italian Watermark. Tipped with top corners on a support sheet. Besides the handwritten collection mark of Naudet, also the small collection stamp in the bottom left corner. / Literature: For the Carracci etching see The National Gallery of Art, Washington D.C. Accession Number 1975.66.1 / Medium: Etching /Circa: 1599-1640

Federico Barocci - Madonna on the clouds / Description: Splendid etching taken from a subject by the master from Urbino printed with richly toned inking. The high quality and softness of this engraving, engraved in counterpart to that of Barocci, make the etching very interesting from a collector's point of view. The tones are rich in chiaroscuro and the face shows the dotted technique, well used by the master from Urbino. Among the various versions derived from the subject of Barocci, this is the closest to the original and suggests a master linked to the Baroque school. With signature F.B.V.F. (Federico Barocci Urbino Fecit) / Dimensions: 16,00 x 10,80 cm / Condition: Printed on a dense laid paper, in goos condition, without restorations. Trimmed on plate border with traces of tread margins. A couple of flattened folds. / Literature: Bartsch / Le Peintre graveur (XVII.3.2 copy) --- (Text from Michael Bury, 'The Print in Italy 1550-1620', London, 2001, cat.no.43) Barocci made only four prints. Judged in terms of the control of etching technique, this and the Stigmatization are the least proficient of the four. There is therefore a strong reason for supposing that they were the earliest. The angel heads in the upper corners of this one are very like those at the top of the Perdono and it is probable that it was made around 1581, / Medium: Etching /Circa: 1580-1620

Annibale Carracci, Madonna and child with St Elizabeth and St John the Baptist / Description: Madonna and child with St Elizabeth and St John the Baptist, etching made by Annibale Carracci ca 1606. Published by Nicolaes van Aelst. References: Bartsch XVIII 186,9; Bohlin 20 III, Posner 176. Good grey impression, printed on thin laid paper, with 1-2 mm margins. / Dimensions: 12,3 cm x 16,1 cm / Condition: Good grey impression, printed on thin laid paper, with 1-2 mm margins. / Literature: Bartsch XVIII 186,9; Bohlin 20 III, Posner 176. / Medium: etching /Circa: 1606

Giacomo Cavedone (1577-1660) - Virgin and Child, S.Anthony and S.Catherine / Description: Virgin and Child, with Saints Anthony and Catherine. A rare etching by the Bolognese painter Giacomo Cavedone, pupil of Ludovico Carracci. A rare work, not in British Museum, nor the Rijksmuseum. One found in the MET Accession Number: 26.70.3(17) / Dimensions: 36,00 x 19,20 cm / Condition: A good impression with a lot of plate tone and the early scratches in the plate still visible. With margins on laid paper with circular Italian watermark. / Literature: Adam von Bartsch Le Peintre graveur. Vienna, 1803, Vol. XVIII, cat. no. 2, p. 333. ---------See: The MET, Accession Number: 26.70.3(17) / Medium: Etching /Circa: Ca 1600-1660

Hieronymus Hopfer - The Worship of Luna / Description: Etching by Hieronymus Hopfer showing the worship of the moon, standing on a pedestal in the middle holding a torch and a crescent. This mysterious subject was first described as Die Macht der Liebe (The Power of Love) by Bartsch but after establishing the connection with the engraving by Monogamist PP from 1500-1520 showing the very same design another explanation came more obvious. As Patricia Emison in 'Zeitschrift für Kunstgeschichte', XLVIII 1985 describes the central figure is in fact the deity of the moon that could be male during a month with a masculine dedication. On the Ides of August the slaves of Rome were accustomed to gather in festival at the temple of Diana on the Aventine hill. What is shown is plausibly this event. In a setting of some architectural grandeur, offerings are being made to the god by members of an ill-clad and downtrottned crowd amongst what appears to be the tombs of dead. The cast seems to be the defeated of Rome's wars. The etching bears the initials of Hieronymus Hopfer bottom middle on the Jar with a number below it erased. On the backside the duplicate stamp of the Metropolitan Museum in New York and some pencil inscriptions about reference and state. / Dimensions: 21,40 x 29,00 cm / Condition: A good contrasted impression on a dense laid paper, complete with plate border and tread margins.In excellent condition. / Literature: Hollstein / German engravings, etchings and woodcuts c.1400-1700 (39.II) --- Bartsch / Le Peintre graveur (VIII.515.35) --- Reference for Monogrammlist PP : Bartsch / Le Peintre graveur (XIII.357.3.I), Hind 1938-48 / Early Italian Engraving, a critical catalogue (2.I), See Patricia Emison in 'Zeitschrift für Kunstgeschichte', XLVIII 1985 for the subject / Medium: Etching /Circa: 1530-1560

Willem van Nieulandt II (1584-1635) - Italian landscape by Paulus Bril / Description: From the series of 36 Italian landscapes designed by Paulus Bril: Rustic scene with hersmen and hunters near a country house. Hollstein 76-111, fourth state on six with the publishers address of Bonnart. Unidentified watermark. / Dimensions: 23,70 x 31,00 cm / Condition: A good impression trimmed on the plate border, narrow inside at bottom. Hollstein 76-111. 4/6 - Wurtzbach 4, / Medium: Etching /Circa: 1610-1630

Giovanni Battista Piranesi (1720-1778) - Villa Albani / Description: Veduta della Villa dell' Emo Sig.n Card. Alesandro Albani fuori di Porta Salaria, from the series: Vedute di Roma. Signed bottom left 'Cavalier Piranesi inc.' Etching by: Giovanni Battista Piranesi. A first state on French Lily watermarked laid paper. / Dimensions: 44,50 x 69,70 cm / Condition: Excellent impression of the first state on thick French Lily watermarked laid paper with flattened middle fold and good margins. Wilton-Ely 1994 / Giovanni Battista Piranesi, the complete etchings (222) --- Hind 1922 / Giovanni Battista Piranesi, a critical study (89. I/IV ) --- Focillon 1918 / Giovanni Battista Piranesi: Essai de catalogue raisonné de son oeuvre (853) / Medium: Etching /Circa: 1760-1778

Etching by Jacob Jordaens (1593-1678) - Jupiter, Io and Juno - / Description: This is one of only seven etchings attributed to Jacob Jordaens himself. Jupiter, Io and Juno. Jupiter, at centre, accompanied by his eagle, undresses and inspects the naked rear of Io; Juno at top right sits on a celestial cloud accompanied by two peacocks. 1652 Etching signed in lower left corner "Iac. Iordaens inuentor. 1652." Hollstein 6, first state before the address of Blooteling. / Dimensions: 28,00 x 35,50 cm / Condition: Flattened middle fold, laid paper with fiils head watermark, remains of hinges on the back. Hollstein 6, d'Hulst 1993 B97. ---- There are only seven etchings attributed to Jacob Jordaens (Hollstein 1-3, 5-7 and 9), also described in D'Hulst catalogue (pp.132-136). Although these are all lettered with Jordaens as the designer ('inventor'), they are considered as also made by him. Lit.: R.-A. D'Hulst, 'Jacob Jordaens (1593-1678), volume II: Drawings and Prints', Koninklijk Museum voor Schone Kunsten, Antwerp, 1993, nos. B93-99. No modello for this print has been identified. A painting of the same subject is in the Musée des Beaux-Arts et d'Archéologie at Besançon dateable to 1660, i.e. after the etching. ---- In the British Museum also as Print made by: Jacques Jordaens (Sheepshanks.5016) / Medium: Etching /Circa: 1652

Cornelis Schut, Adam and Eve kneel before Mary, Death and evil around them. / Description: Adam and Eve kneel before Mary. Death and evil around them. Etching made by Cornelis Schut (1597-1655) ca 1618-1655. Hollstein Dutch 92 1(2) first state of two. In good condition, very dark impression on laid paper on/and just in the blank of the margins and trimmed in the two corners in the lower blank text margin. Image is complete. Rare etching. / Dimensions: 17,1 cm x 12,8 cm / Condition: In good condition, very dark impression on laid paper on/ and just in the blank of the margins and trimmed in the two corners in the lower blank text margin. Image is complete. Rare etching. Hollstein Dutch 92 1(2) first state of two / Medium: etching /Circa: 1618-1655

Wenceslaus Hollar (1607-1677) - Cherubs on the Clouds / Description: Three cherubs and two boys seated on clouds with arms raised, some holding flowing drapery, the boys third and fifth from left, with their backs turned to the viewer; after Peeter van Avont; first state, before '8' added to lower right. Etching from a series of twelve plates titled Pædopægniont and made by Wenceslaus Hollar, designed and published in 1646 by Peeter van Avont (1600-1652). / Dimensions: 12,80 x 20,50 cm / Condition: Trimmed on plate border and mounted on a support sheet. New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (856.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (502.I) / Medium: Etching /Circa: 1646

Wenceslaus Hollar (1607-1677) - Dancing Cherubs / Description: Seven cherubs dancing in a circle on a hill; two trees behind at right; after Peeter van Avont; first state, before '7' added to lower right. Etching from a series of twelve plates titled Pædopægniont and made by Wenceslaus Hollar, designed and published in 1646 by Peeter van Avont (1600-1652). / Dimensions: 13,00 x 25,00 cm / Condition: Trimmed on plate border and mounted on a support sheet. New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (855.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (502.I) / Medium: Etching /Circa: 1646

Rembrandt Van Rijn - The crucifixion small plate / Description: The crucifixion small plate. Etching, Rembrandt Van Rijn (1606-1669), 1635. References: New Hollstein Dutch 143-2(3), Bartsch 80, Hollstein Dutch 80. Etching in excellent condition. Very good impression on velin paper, with large margins. Because of the new ink and the high quality velin paper are the details much more visible than some earlier impressions of the second state. / Dimensions: 9,5 cm x 6,7 cm / Condition: Etching in excellent condition. Very good impression on velin paper, with large margins. Because of the new ink and the high quality velin paper are the details much more visible than some earlier impressions of the second state. New Hollstein Dutch 143-2(3), Bartsch 80, Hollstein Dutch 80. / Medium: etching /Circa: 1635

Rembrandt portrait of Abraham Francen, apothecary / Description: Portrait of Abraham Francen, apothecary; seated in a chair beside a window, looking at a sheet of paper he holds between outstretched arms, an open book, statuette and skull on the table before him, triptych on wall with curtain from the window hung over its right panel, smaller framed image on wall left of triptych. Twelfth state with re-work of the shadows on the sitter's face with regular parallel lines and cross-hatching, hair re-drawn, diagonal shading added to left sleeve, cross-hatching added to wall above table. Basan edition. / Dimensions: 15,80 x 20,80 cm / Condition: Good impression on laid paper. Half centimeter margins. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (301.XII) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (291.X) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (273.X) / Medium: Etching /Circa: 1657

Jan Van Vliet (1622-1666) -The Rat Catcher / Description: Etching from the series of the beggars. A rat-catcher arguing with the rats which have come to sit in his tray which is supposedly filled with poison, other rats on the trap leaning against his right shoulder. Etching and engraving from 1632 by this collaborator of Rembrandt. Excellent impression without the number. / Dimensions: 9,50 x 6,50 cm / Condition: Excellent impression on laid paper with full plate border and margins. Very good condition. Hollstein 80 --- Jan van Vliet ( c.1600/1610 - 1668) Etcher, engraver, draughtsman and painter. Active c. 1628-1637 in Leiden, in 1632 he visited Antwerp. He was a collaborator of Rembrandt in Leiden. He worked also in Delft. Bibliography: Hollstein (106 nos); Rovinski; Bartsch-Claussin. / Medium: Engraving /Circa: 1632

Jan Van Vliet (1622-1666) - A Seated Beggar / Description: Etching from the series of the beggars. Seated beggar. Etching and engraving from 1632 by this collaborator of Rembrandt. Excellent impression without the number. / Dimensions: 9,40 x 6,80 cm / Condition: Excellent impression on laid paper with full plate border and margins. Very good condition. Hollstein 77 --- Jan van Vliet ( c.1600/1610 - 1668) Etcher, engraver, draughtsman and painter. Active c. 1628-1637 in Leiden, in 1632 he visited Antwerp. He was a collaborator of Rembrandt in Leiden. He worked also in Delft. Bibliography: Hollstein (106 nos); Rovinski; Bartsch-Claussin. / Medium: Engraving /Circa: 1632

Jan Van Vliet (1622-1666) - A Peddler / Description: Etching from the series of the beggars. A peddler seated on a grassy bench opens his box to display his wares. Etching and engraving from 1632 by this collaborator of Rembrandt. Excellent impression without the number. / Dimensions: 9,60 x 6,50 cm / Condition: Excellent impression on laid paper with full plate border and margins. Very good condition. Hollstein 79 --- Jan van Vliet ( c.1600/1610 - 1668) Etcher, engraver, draughtsman and painter. Active c. 1628-1637 in Leiden, in 1632 he visited Antwerp. He was a collaborator of Rembrandt in Leiden. He worked also in Delft. Bibliography: Hollstein (106 nos); Rovinski; Bartsch-Claussin. / Medium: Engraving /Circa: 1632

Crispijn de Passe I (1564-1637)- The archangel Jophiel / Description: archangel Jophiel holding a flaming sword and a scourge with three cords; in the background are the following scenes depicted: "the Expulsion from Paradise" and "the Expulsion of the Moneychangers". Signed "Crispin de Passe inu"; with the title: "G[h]erubim Iophiel" [behind the title is an astrological sign visible] and with the verse: "Vindicibus...fuge". Engraving with etching made by Crispijn de Passe I (1564-1637). On watermarked laid paper. / Dimensions: 14,60 x 10,10 cm / Condition: Good impression with plate border and margins. Small rust stain with needle pin hole upper right corner. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (303-II) Engraving, etching /Circa: 1590-1637

Crispijn de Passe I (1564-1637)- The archangel Chamael / Description: The archangel Chamael carrying a cup and a wooden staff; in the background are the following scenes depicted: "Chamael wrestling with Jacob" and "Agony in Gethsemane". Signed "Crispin de Passe inu"; with the title: "Principatus C[h]amael" [behind the title is an astrological sign visible] and with the verse: "Nos Israel...timet". Engraving with etching made by Crispijn de Passe I (1564-1637). On laid paper with the watermark: Strasbourg house with a snake twisted around a stake. / Dimensions: 14,60 x 10,10 cm / Condition: Good impression with plate border and mostly small margins. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (298-II) Engraving, etching /Circa: 1590-1637

François Boucher, François-Philippe Charpentier, The Graces, 1766, / Description: The Graces. Etching and aquatint in brown ink made by François-Philippe Charpentier (1734-1817) ca 1766, in the lifetime of François Boucher (1703-1770), after a grisaille or painting made by François Boucher. Printed in Paris by Pièrre-François Bassan (1723-1797). In very good condition. Fine impression on thin laid paper, with 1-2 mm margins. Very rare. / Dimensions: 29,2 cm x 21,0 cm / Condition: In excellent condition. Good dark impression on laid paper ca 1766. engraving /Circa: 1766

François Boucher, William Ryland, 1756, The Graces bathing / Description: The Graces bathing. Etching and engraving made by William Wynne Ryland (1733-1783) ca 1756. In the lifetime of François Boucher (1703-1770), after a grisaille or painting made by François Boucher. printed and published in Paris. Good impression on laid paper with 1 cm margins. with a watermark. / Dimensions: 42,6 cm x 28,2 cm / Condition: Good dark impression on laid paper with 1 cm margins with a watermark. Jean-Richard 1978 / L'Oeuvre gravé de François Boucher dans la collection Edmond de Rothschild (1549) engraving /Circa: 1756

Robert de Baudous , Cornelis Claesz. van Wieringen - Summer - 1618 / Description: A print from 'The Four Season', one of the nicest sea and rivers capes from the golden age: Summer. Riverscape with a sailing boat at left, peasants unloading hay from small boats on both river-banks, one of these boats about to reach shore in lower right corner, some larger ships and buildings in background at right; after Cornelis Claesz van Wieringen. c.1613-1618 known for his superb landscapes. Engraved by De Baudois (1574-1659) and published by Hendrick Laurentsz around 1613-1618. / Dimensions: 19,10 x 26,60 cm / Condition: Very good impression on watermarked laid paper with full plate border and mostly tread margins. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (81.I) Etching /Circa: 1613-1618

Hieronymus Cock - Roman Ruins - Basilica of Constantine - 1551 / Description: Splendid early impression of the Ruins of the Basilica of Constantine on the Foroum Romanum. From the rare series:Praecipua aliquot Romanae antiquitatis ruinarum monimenta, vivis prospectibus, a series of 25 prints of Roman ruins drawn by Cock during his stay in Rome and engraved by him after his return to Antwerp. / Dimensions: 22,90 x 28,70 cm / Condition: A very good dark strong impression of this early etching. Printed on a dense laid paper trimmed on the margins. Skillfully repairs on the border not visible in front. Otherwise very good. / Literature: Hollstein IV: Nr 22-46. ------------- Cock journeyed to Rome between 1546-8 intending to study antique sculpture, but became fascinated with the Palatine monuments, mounting expeditions to the Colosseum and the Baths of Diocletian. The drawings for several prints, survives a.o. now in Edinburgh, and were likely executed by Cock on the spot. As the other etchings from this early series, it was etched by Cock himself in the first years after his return from Rome in 1548. As a publisher, Cock would have been well aware of the potential for ruins to appeal to collectors of art as well as those interested in Rome. The series were important and came to exert a lasting influence on landscape painting from mid-century, informing the work of Pieter Bruegel the Elder and Veronese. (description credit to: Christopher P. Heuer, Assistant Professor, History of Art and Archaeology, Princeton University) / Medium: Etching /Circa: a

Hieronymus Cock (1517-1570) - Mercury and Argus / Description: Landscape with Mercury on a road and holding the head of Argus in his left hand, Argus' body lying on the ground, fields at left, a city along a bay and mountains in the background. in lower left corner: "Mercurius Argum interficit" and "Cock fecit 1558". Etching made by Hieronymus Cock for his series of twelve ' Landscapes with Biblical and Mythological Scenes'. The design is probably by his brother Matthijs Cock. / Dimensions: 22,70 x 31,00 cm / Condition: A good early impression printed with good plate tone on a dense laid paper from the period. Full plate border at three side, inside the image at right with loss. Tipped with four corners on a support sheet. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (14) --- Riggs 1977 / Hieronymus Cock, Printmaker and Publisher (43) / Medium: Etching /Circa: 1558

Pieter van der Borcht (1535-1608) - Abraham with Angels - Rare large format / Description: Abraham feeding the three angels, New Hollstein 3. An exceptional large plate signed and dated 'Fecit Pe. V. Borcht 1586'. The subject with Abraham bringing a plate of food to the three angels siting on a hill below a hughe tree, overlooking a vaste Flemish style world landscape with villages and wind-mills. The landscape with the round city gate, round temple and dolomite like mountains in the back, a fortress on a kliff seems to connect with dozens of other landscapes by Bril and Breughel who always repeat the same group of elements. This is a rare print. Only one other found online (Museum Boymans van Beuningen) / Dimensions: 27,00 x 35,40 cm / Condition: Outstanding sharp impression on a dense laid paper trimmed to the borderline. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (3) / Medium: Etching /Circa: 1586

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here an old couple with deformed faces depicted bust-length, the woman wearing a cap and dress with round collar, the man with blown-back long hair, wearing a cloak with narrow collar; after Leonardo da Vinci; first state, before the number '5' added to lower right. Etching by Wenceslaus Hollar after Leonardo da Vinci. Signed upper left 'Leonardo da Vinci inu / W Hollar fecit'. / Dimensions: 7,00 x 10,40 cm / Condition: A very good sharp early impression of the first state. On a dense laid paper with still some ink in the plate border. Condition is very good. A wonderful untouched condition. All lot's are listed with several high resolution images, which is the best way to give a clear and objective idea of the general very good condition. Textual description is limited, so please examine the images carefully and ask for more info if needed. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (747.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1593.I) / Medium: Etching /Circa: Circa 1645

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here an old woman with receding chin shown half-length in profile, wearing laced bodice, facing a man with hair cut level, or wearing a ribbed cap. Etching after Leonardo da Vinci. Signed bottom middle 'Leonardo da Vinci inuenit.' From a rare series previously attributed to Wenceslaus Hollar, but the attribution was rejected by Pennington and New Hollstein. See New Hollstein (Hollar) R118-122 for the series of deformed heads, about which little is known. They are very very close in technique and execution to the series etched by Wenceslaus Hollar Varie Figuræ et Probæ (New Hollstein, Hollar 737-750) but seem to differ when focusing more close by on the line style. These are not copies, no original by Hollar is known for this pair of figures. Rare. / Dimensions: 7,50 x 10,50 cm / Condition: Good sharp impression with full plate border and tread margins, more margin at bottom side. On a dense thin laid paper. Condition is very good with no folds, tears or stains. Moderate age toning of the tread margins. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (R119) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1599) / Medium: Etching /Circa: C.1645-1650

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here bust of an old man with upturned nose, wearing a cap with wide top over a tight-fitting cap, facing a youth with long wavy hair, wearing a soft cap with upturned rim. Etching after Leonardo da Vinci. Signed bottom middle 'Leonardo da Vinci inuenit.' From a rare series previously attributed to Wenceslaus Hollar, but the attribution was rejected by Pennington and New Hollstein. See New Hollstein (Hollar) R118-122 for the series of deformed heads, about which little is known. They are very very close in technique and execution to the series etched by Wenceslaus Hollar Varie Figuræ et Probæ (New Hollstein, Hollar 737-750) but seem to differ when focusing more close by on the line style. These are not copies, no original by Hollar is known for this pair of figures. Rare. / Dimensions: 11,00 x 16,70 cm / Condition: Good sharp impression with full plate border and tread margins, more margin at bottom side. On a dense thin laid paper. Condition is very good with no folds, tears or stains. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (R120) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1600) / Medium: Etching /Circa: C.1645-1650

Wenceslaus Hollar - Head studies / Description: Study of three heads directed to left; at top a young boy, looking down; below, profile outlines of a young and an old man. 1645 Etching made by Wenceslaus Hollar. Signed and dated within design at lower right: 'W. Hollar fecit / 1645'. / Dimensions: 7,40 x 4,30 cm / Condition: A good sharp impression trimmed on plate border left and right, slightly inside the image at top and bottom .Mounted with the borders on a collection sheet. Good condition. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (777) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1690) / Medium: Etching /Circa: 1644-1652

Jacques Callot (1592-1635) - Piazza Santa Croce, in Florence / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number. Le Jeux de Paume: Soldier hitting a large drum; in the background, crowd attending a game set on Piazza Santa Croce, in Florence. c.1621 Etching made by Jacques Callot. / Dimensions: 5,40 x8,00 cm / Condition: A very good impression of the first state, complete with full plate border and small margins on laid paper. Small remains of former album tipping on the backside. Excellent condition. / Literature: Lieure 1927 / Jacques Callot (477.I / II) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (867.I / II) / Medium: Etching /Circa: 1627

Jacques Callot (1592-1635) - Piazza del Duomo, in Florence / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number. Crowd gathered on Piazza del Duomo in Florence; in the foreground, on the left a male figure, standing in profile to right, in Florence. c.1621 Etching made by Jacques Callot. / Dimensions: 5,40 x8,00 cm / Condition: A very good impression of the first state, complete with full plate border and small margins on laid paper. Small remains of former album tipping on the backside. Excellent condition. / Literature: Lieure 1927 / Jacques Callot (477.I / II) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (867.I / II) / Medium: Etching /Circa: 1627