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Click here to subscribe* Kay (Bernard, 1927-2001). Beauvais, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 34 cm x 48.3 cm (13.7 x 19 ins), full sheet 51 cm x 63.7 cm (20.1 x 25.1 ins), together with the original copper printing plate, study printed from slate of the same subject, and an Artist’s Proof signed edition StarsbourgQTY: (4)
* Kay (Bernard, 1927-2001). Marseilles Houses, 1959, etching / aquatint printed in colours on wove, Artist’s Proof, signed in pencil and titled to border, plate size 33.9 cm x 48.5 cm (13.6 x 19.2 ins), full sheet 47 cm x 62 cm (18.5 x 24.7 ins), together with a signed etching of a cathedral, dated 1955, the original copper printing plate, and six trial pulls of etchings dating circa 1954QTY: (9)
* Piranesi (Giovanni Battista, 1720-1778). Spaccato della Piramide di Caio Cestio, from Le Antichità Romane III, 1756, etching on laid paper, 'Piranesi Archit. dis. ed inc.' to lower right, two small areas of staining, plate size 42 x 23.2 cm (16 1/2 x 9 ins), framed and glazed (74 x 54 cm), together with Dimostrazione in Grande di Alcune delle Parti del Primo ordine del Teatro di Marcello, from Le Antichità Romane IV, etching on laid paper, some dust soiling, plate size 40 x 25.5 cm (15 3/4 x 10 ins), framed and glazed (74 x 54 cm), plus Dimostrazione in grande di Alcune delle Parti delle Second’ordine del Teatro di Marcello, from Le Antichità Romane IV, etching on laid paper, plate size 40 x 25.5 cm (15 3/4 x 10 ins), framed and glazed (74 x 54 cm).QTY: (3)NOTE:Wilton-Ely 421/505/506; Focillon 286/372/373; Ficacci 278/363/364.
* Hollar (Wenceslaus, 1607-1677). View of Antwerp Cathedral, 1649 [but 1678-94], 2nd state etched view of the west end of the cathedral, showing the finished tower and spire on the left, the unfinished tower with a temporary roof and turret on the right, surrounded by the street with houses on left and on the right leading to a square of trees, a procession of clergy and soldiers can be seen entering the west door escorting a shrine or reliquary, second state engraved caption at foot 'Antwerpiens turris ecclesiae cathedral...' with Dutch and French translation below, the left corner of image 'Wenceslaus Hollar delineauit, et fecit, 1649' and 'Gillis Hendricx excudit Antuerpiae' on left, central horizontal fold, platemark approximately 48.5 x 34 cm (19 1 /16 x 13 6/16 ins), sheet size 50.2 x 35.3 cm, together with other etchings and engravings including van Ostade (Adriaen, 1610-1685). Family saying grace before a meal, 1653 (but later, probably 19th century), etching on wove, laid down on mount board, 15 x 12.5 cm, gilt moulded frame, glazed, 36 x 34 cm, plus six mythological scenes etched by Samuel Gribelin junior (including two after Francesco Albani), 13 x 8 cm, each framed and glazed (21.5 x 16 cm), and a pair of etchings depicting scenes from Aesop's fables, circa 1773(?), approximately 10 x 14.5 cm, each framed and glazed (23.5 x 28.5 cm); and an etching by Samuel Watts of raising Christ on the cross after Tintoretto, 1777, printed in green on laid paper, 36 x 32 cm, framed and glazed (51 x 45.5 cm), plus ten 19th century reprint etchings of views in Italy by Israel Silvestre, 14 x 24.5 cm, each in ebonised frame, glazed (22 x 31 cm) QTY: (21)NOTE:Pennington - Hollar 824. Pennington suggests the second state is from the 1678 edition of J. Le Roy, Notitia and the 1694 edition of his Castella.
* Kay (Bernard, 1927-2001). Interior at Poitiers, etching / aquatint printed in colours on wove, Trial Proof, signed in pencil and titled to border, plate size 34.1 cm x 48.5 cm (13.6 x 19.2 ins), full sheet 51 cm x 64.9 cm (19.7 x 25.6 ins), together with another trail proof of the same image, Cathedral School, Hereford, Beauvais, Strasbourg, all signed and titledQTY: (5)
* Griggs (Frederick Landseer, 1876-1938). St. Ippolyts, 1927, etching on cream laid paper, the fourth state (of 4), signed in pencil, ink monogram of the Dovers House Press to lower margin verso, plate size 135 x 120 mm (5 1/4 x 4 3/4 ins), sheet size 175 x 156 mm (7 x 6 1/8 ins), hinge-mounted to window mount QTY: (1)NOTE:Comstock 36, iv/iv.
* Waterloo (Anthonie, 1609-1690). Three landscapes, etching on paper, each inscribed top right 'Antoni Waterlo fe. et in. et ex', 'Antoni Waterlo in. et ex.' and 'Antoni Waterlo fe. et in.', one image with staining, mount aperture 13.5 x 15 cm (5 1/4 x 6 ins), uniformly framed and glazed (approx. 19 x 21.5 cm)QTY: (3)
BLADE RUNNER (1982) - Set of Los Angeles Skyline and Tyrell Pyramid Model Miniature Etching Sheets - A set of Los Angeles skyline and Tyrell pyramid model miniature etching sheets from the production of Ridley Scott's Blade Runner. Model miniatures etched into brass were used to depict the hellish Los Angeles of 2019, including the flaming refineries that dotted its cityscape in the so-called "Hades Landscape" sequence as well as the imposing Tyrell Corporation pyramid.Created by the EEG model shop, this set consists of seven cityscape sheets depicting the intricately detailed silhouettes of distant structures and three rectangular sheets for created use on the Tyrell pyramid model miniature, each made of etched brass finished in black on front. Holes are cut into each sheet for lighting. The set exhibits bending and some discoloration throughout from age and use. Dimensions: (largest) 16" x 11" (40.75 cm x 28 cm)Estimate: $4,000 - 8,000Bidding for this lot will end on Tuesday, March 12th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Wednesday, March 13th or Thursday, March 14th.
THE OFFICE (T.V. SERIES, 2005-2013) - Dwight Schrute's (Rainn Wilson) Belt with Holstered Banana - Dwight Schrute's (Rainn Wilson) belt with a holstered banana from Greg Daniels' The Office. In the Season 7 episode "Dwight K. Schrute, (Acting) Manager," Dwight received a holster as a gift and used the gun he bought to accessorize and wear it around the office until Pam (Jenna Fischer) made him replace it with a banana.This belt and its holster are both made of reddish-brown leather with decorative etching and stitching, while the banana is made of rubber. The holster was also previously used in David Milch's Deadwood. The interior side of the belt is hand-marked with "X 40" in black ink. This lot exhibits creasing and discoloration.Estimate: $1,200 - 2,400Bidding for this lot will end on Wednesday, March 13th. The auction will begin at 9:00AM PDT and lots are sold sequentially via live auctioneer; tune in to the live streaming broadcast on auction day to follow the pace. Note other lots in the auction may close on Tuesday, March 12th or Thursday, March 14th.
Twins Seven Seven, Nigerian 1944-2011 - The Lost Mask, 1989; oil and beadwork on assembled panel, signed titled and dated on the reverse 'Prince Twins Seven Seven Mask 1989' and further annotated 'cut out of "Stare" ', 52.2 x 43 cm: together with an etching on paper by the same artist 'The Anti Bird Ghost' (2) Literature: Henry Glassie, 'Prince Twins Seven-Seven: His Art, His Life In Nigeria, His Exile In America', Indiana University Press, 2010, illus. p. 294 ('The Lost Mask, 1989') Note: the first work was cut from a wrecked theatre set. Beaded works are rare for the artist; a technique honed by his colleague Jimoh Buraimoh.Twins Seven-Seven is one of the best know artists of the Oshogbo School, using his experience as a singer and dancer to create his highly individual vision. His work has been exhibited across the world, including the Pompidou Centre, Paris, Houston Contemporary Arts Museum, MoMA, New York, the National Museum of African Art, Washington, D.C. and the National Modern Art Gallery in Lagos.
David Hockney (b.1937)Two Vases in the Louvre (Scottish Arts Council 168; MCA Tokyo 154)Etching with aquatint printed in colours, 1974, signed and dated in pencil, numbered from the edition of 75, printed by Maurice Payne, Kent Jones and Dany Levy, published by Petersburg Press, London, on wove paper, with full margins, sheet 985 x 908mm (38 3/4 x 35 3/4in)
Salvador Dalí (1904-1989)Portrait of Picasso (Field 70-7; M&L 448)Etching with drypoint, collotype and pochoir printed in colours, 1970, signed and inscribed 'a/b' in pencil, numbered from the edition of 200, printed by Ateliers Rigal, Paris, published by Jean Schneider, Basel, on grey Ingres laid paper, with full margins, sheet 730 x 500mm (28 3/4 x 19 3/4in) This work was authenticated by Dali Trade on 19/05/22 and bears the authentication signature in pencil verso.
Giovanni Battista Piranesi (1720-1778)Veduta di Piazza Navona sopra le rovine del Circo AgonaleEtching, 1751, an excellent impression of Hind's second state (of six), on laid paper with watermark of Strasbourg lily within a single circle [Hind 1, noted on "early impressions"], platemark 405 x 540 mm (15 7/8 x 21 1/4 in), sheet 530 x 705 mm (20 7/8 x 27 3/4 in), minor handling creases, central vertical fold with some support, lower right corner with repair visible verso, minor spottind and surface dirt (unframed)Literature:Hind 16 ii/vi
Rembrandt Harmensz. van Rijn (1606-1669)The Raising of Lazarus: The Small PlateEtching with touches of drypoint, 1642, but a later impression of the second state (of two), printing with plate tone on laid paper without watermark, sheet 149 x 112 mm (5 3/4 x 4 3/8 in), trimmed to or just within the platemark, upper corners and edge carefully restored with support verso, minor nicks repaired (unframed)Literature:Bartsch 72; New Hollstein 206
Rembrandt Harmensz. van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, 1634, a very good impression of New Hollstein's third state (of six), on laid paper with partial watermark of a [?] stem of grapes, before later re-working, sheet 257 x 215 mm (10 1/8 x 8 1/2 in), trimmed within the platemark, some brown spotting, minor surface dirt (unframed) Literature:Bartsch 44; New Hollstein 125 iii/vi
Rembrandt Harmensz. van Rijn (1606-1669)Jan Uytenbogaert, Preacher of the RemonstrantsEtching, 1635, but a later impression of New Hollstein's seventh state (of nine), on laid paper without watermark, platemark irregular, sheet 227 x 187 mm (8 7/8 x 7 3/8 in), trimmed to platemark at upper and lower edge, some minor spotting and surface dirt, brown spots to lower right corner (unframed)Literature:Bartsch 279; New Hollstein 153
Salvador Dalí (1904-1989) Le Vieil Hippie, from Hippies (Field 69-13A; M&L 384)Drypoint with etching and extensive hand-colouring, signed in pencil, numbered from the edition of 100 in roman numerals, published by Graphik Europa Anstalt, Switzerland, with the Dalí blindstamp, on Japan paper, with full margins, sheet 653 x 508mm (25 5/8 x 20in)
Salvador Dalí (1904-1989)Fruits Troués, from FlorDalí (Field 69-11F; M&L 349c)Etching and lithograph printed in colours, 1969, signed in pencil, numbered from the edition of 200, printed by Ateliers Rigal & Matthieu, Paris, published by Werbungs- und Commerz Union Anstalt, on BFK Rives paper, with full margins, sheet 738 x 555mm (29 x 21 7/8in)
Stanley William Hayter (1901-1988)Danaë (Black & Moorhead 213) Engraving, soft-ground etching, scorper and etching printed in colours, 1954, signed, titled and dated in pencil, numbered from the edition of 95, printed by Atelier 17, Paris, published by Kornfield und Klipstein, Bern, on Lauriat wove paper, with full margins, sheet 585 x 469mm (23 x 18 3/8in)
Rembrandt Harmensz. van Rijn (1606-1669)The Death of the VirginEtching and drypoint, 1639, but a later impression of New Hollstein's fourth state (of five) on sturdy wove paper without watermark, platemark 395 x 315 mm (15 1/2 x 12 3/8 in), sheet 415 x 330 mm (16 1/4 x 13 in), repaired tear to the upper left edge, spotting and browning to the sheet (unframed)Literature:Bartsch 99; New Hollstein 173 iv/v
Rembrandt Harmensz. van Rijn (1606-1669)Abraham and IsaacEtching and engraving, 1645, a very good impression of New Hollstein's first state (of two), printing with depth and clarity on fine laid paper without watermark, only showing minor signs of wear in the densely cross-hatched areas, platemark 155 x 127 mm (6 1/8 x 5 in), sheet 161 x 131 mm (6 3/8 x 5 1/8 in), thinning and careful repair to the lower right corner, minor handling creases and faint printers' creases to the lower quadrant (unframed)Literature:Bartsch 34; New Hollstein 224 i/ii
Salvador Dalí (1904-1989) Notre Dame de Paris (Field 69-14; M&L 341)Drypoint with etching, aquatint and extensive hand-colouring, signed in pencil, numbered from the edition of 250, printed and published by Pierre Argillet, Paris, with the Dalí blindstamp, on BFK Rives paper, with full margins, sheet 503 x 653mm (19 3/4 x 25 5/8in)
Rembrandt Harmensz. van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's seventh state (of seven), on laid paper without watermark, platemark 109 x 78 mm (4 1/4 x 3 1/8 in), sheet 118 x 90 mm (4 5/8 x 3 1/2 in), minor spotting, surface dirt and light handling creases (unframed)Literature:Bartsch 124; New Hollstein 144 vii/vii
Francisco de Goya (1746-1828)Estan calientes (They are Hot), plate 13 from Los CaprichosEtching and aquatint, 1799, an excellent impression of the first edition, on laid paper without watermark, platemark 207 x 150 mm (8 1/8 x 5 7/8 in), sheet 315 x 200 mm (12 3/8 x 7 7/8 in), some minor spotting and surface dirt (unframed)Literature:Harris 48 III.1
David Hockney (b.1937)Portrait of Cavafy in Alexandria, from Illustrations for Fourteen Poems from C. P. Cavafy (MCA Tokyo 47)Etching with aquatint, 1966, signed and dated in pencil, numbered from the edition of 75, published by Editions Alecto, London, on Crisbrook handmade wove paper, with full margins, sheet 565 x 393mm (22 1/4 x 15 3/8in)
Rembrandt Harmensz. van Rijn (1606-1669)Bearded old Man in high Fur Cap, with Eyes closedEtching, circa 1635, a very good dark impression of New Hollstein's second state (of four) with vertical wiping marks distinct, showing only minor wear in the plate, on thin laid paper without watermark, platemark 114 x 104 mm (5 5/8 x 4 1/8 in), sheet 118 x 107 mm (4 5/8 x 4 1/4 in), expert repairs corners, mainly marginal (unframed) Literature:Bartsch 290; New Hollstein 148 ii/iv
Rembrandt Harmensz. van Rijn (1606-1669)The Beheading of Saint John the BaptistEtching and drypoint, 1640, but a later re-worked impression of New Hollstein's third state (of 3), printing with plate tone on sturdy laid paper with partial German text printing verso, platemark 127 x 102 mm (5 x 4 in), sheet 137 x 112 mm (5 3/8 x 4 3/8 in), minor surface dirt (unframed)Literature:Bartsch 92; New Hollstein 183 iii/iii
Salvador Dalí (1904-1989) Expulsé comme un megot par les magots, from After 50 years of surrealism (Field 74-8A; M&L 668a) Etching with drypoint and pochoir printed in colours, 1974, signed in pencil, numbered in roman numerals from the edition of 35, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 655 x 500mm (25 3/4 x 19 5/8in) This work was authenticated by Dali Trade on 06/02/24 and bears the authentication signature in pencil verso.
Albrecht Dürer (1471-1528)Christ on the Mount of OlivesEtching, 1515, but a later Meder II c impression, with the rust-marks, printing on laid paper but with very faint waterlines, some minor wear to the edges of the plate within the image apparent, sheet 220 x 152 mm (8 5/8 x 6 in), trimmed to or just within the platemark, minor cockling to the sheet (unframed) Provenance:Joseph Heller (c. 1798-1849) [Lugt 899]Literature:Bartsch 19; S.M.S. 80
Rembrandt Harmensz. van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching, 1659, but a later impression of New Hollstein's fifth state (of six), on thin laid paper with partial watermark of [?] postal horn or variant of the rod of Basel, platemark 81 x 215 mm (3 1/4 x 8 1/2 in), sheet 195 x 230 mm (7 3/4 x 9 1/8 in), faint exposure lines within the margins, small nicks and marginal losses, a few faint spots (unframed) Literature:Bartsch 94; New Hollstein 312 v/vi
Paula Rego (1935-2022)Sing a Song of Sixpence II, from Nursery Rhymes (Rosenthal 58)Etching with aquatint, 1989, signed in pencil, numbered from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 510 x 375mm (20 x 14 3/4in)
Salvador Dalí (1904-1989)Argus, from Mythologie (Field 63-3A; M&L116a)Drypoint with etching and heliogravure, 1963, signed in pencil, numbered from the edition of 150, printed by Atelier Robbe, published by Pierre Argillet, Paris, on BFK Rives paper, with full margins, sheet 565 x 759mm (22 1/4 x 29 7/8in)
Rembrandt Harmensz. van Rijn (1606-1669)The Flight into Egypt: A Night PieceEtching with drypoint, 1651, a very fine impression of New Hollstein's sixth state (of nine), printing with tone on and around the head of the donkey, Joseph's hands and Mary, on laid paper with partial indistinct watermark, sheet 128 x 111 mm (5 x 4 3/8 in), trimmed to or just within the platemark, expertly inset at edges into conservation window mount (unframed)Literature:Bartsch 53; New Hollstein 262 vi/ix
Pablo Picasso (1881-1973) Peintre and modèle (Bloch 1131; Cramer 127) Etching, 1963-64, signed in pencil, numbered from the edition of 150, as included in 'Les Dames de Mougins', printed by Atelier Crommelynck, published by Éditions Cercle d'Art, Paris, on Auvergne Richard-de-Bas wove paper, with margins, sheet 302 x 285mm (11 7/8 x 11 1/8in)
Rembrandt Harmensz. van Rijn (1606-1669)Joseph and Potiphar's WifeEtching, 1634, but a later impression of New Hollstein's third state (of four), printing with faint plate tone on cream laid paper without watermark, sheet 92 x 115 mm (3 5/8 x 4 1/2 in), trimmed to or just within the platemark, minor nicks and careful repairs with support to lower corners verso (unframed)Literature:Bartsch 39; New Hollstein 128 iii/iv
Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with SaskiaEtching, 1636, but a later impression of New Hollstein's third state (of four), printing with plate tone on cream laid paper without watermark, 106 x 96 mm (4 1/8 x 3 3/4 in), thread margins or trimmed up to platermark, minor nick to upper left corner, thinning visible verso to lower right corner, minor surface dirt (unframed)Literature:Bartsch 19; New Hollstein 158 iii/iv
Pablo Picasso (1881-1973)Circus Scene with Horse's Head, Woman Dressing and Clown, from 156 Gravures (Baer 2000)Etching, 1971, with the artist's signature stamp, numbered from the edition of 50, on BFK Rives wove paper, published by Galerie Louise Leiris, Paris, with full margins, sheet 440 x 568mm (17 1/4 x 22 1/4in)
Rembrandt Harmensz. van Rijn (1606-1669)Woman Bathing her Feet at a BrookEtching, 1658, but a later likely 18th century impression of New Hollstein's second state (of two), printing with plate tone on laid paper without watermark, platemark 158 x 79 mm (6 1/4 x 3 1/8 in), sheet 173 x 97 mm (6 7/8 x 3 7/8 in), some wear showing in the plate, scattered spotting and surface dirt (unframed)Literature:Bartsch 200; New Hollstein 309 ii/ii
Rembrandt Harmensz. van Rijn (1606-1669)Christ at Emmaus: the Larger PlateEtching with drypoint and engraving, 1654, a good but later impression of New Hollstein's fourth state (of five), printing with only the first signs of wear to the cross-hatching by Christ's feet but before final reworking, on fine laid paper without watermark, sheet 212 x 164 mm (8 3/8 x 6 3/8 in), trimmed to or just within the platemark, some spotting and even toning, careful repairs to perforations near Christ's halo, small repaired nick to the centre left (unframed)Literature:Bartsch 87; New Hollstein 283 iv/v
James Abbott McNeill Whistler (1834-1903)BillingsgateEtching and drypoint, 1859, a good impression of MacDonald's final state (of 9), printing with plate tone Arches laid paper, platemark 150 x 225 mm (5 7/8 x 8 7/8 in), sheet 215 x 308 mm (8 1/212 1/8 in) (unframed)Literature:Kennedy 47; MacDonald 51 ix/ix
Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, but a later impression of New Hollstein's sixth state (of eight), printing before Lamoureux's address in the lower right corner, with heavy wear in the plate, on laid paper fully affixed onto card support, sheet 541 x 424 mm (21 3/8 x 16 3/4 in), several old repairs to nicks and tears, mainly extremities, conservation to old horizontal creases (unframed)Literature:Bartsch 81; New Hollstein 119 vi/viii
Salvador DaIí (1904-1989)Lady Godiva (Field 69-6; M&L 337)Drypoint with etching, 1969, signed in pencil, numbered from the edition of 125, published by Jean Schneider and Editions Empreinte, Basel, with their blindstamp, on Japon nacré paper, with full margins, sheet 774 x 565mm (30 1/2 x 22 1/4in)
Rembrandt Harmensz. van Rijn (1606-1669)Bald Headed Man in Profile Right: the Artist's Father (?)Etching and drypoint, 1630, a good impression of New Hollstein's final state (of five), on laid paper without watermark, platemark 69 x 57 mm (2 5/8 x 2 1/4 in), sheet 80 x 64 mm (3 1/4 x 2 1/2 in), showing some signs of wear in the heavily cross hatched areas, some spotting and surface dirt, careful repair in the upper left corner (unframed)Literature:Bartsch 292; New Hollstein 62 v/v
Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but later impression of New Hollstein's second state (of two), with the gaps shaded out, but only showing faint signs of rust in the upper left quadrant, on ivory laid paper without watermark, platemark 95 x 142 mm (3 3/4 x 5 5/8 in), sheet 104 x 154 mm (4 1/8 x 6 in), pencil number '121' in the lower left corner margin (unframed)Literature:Bartsch 125; New Hollstein 282 ii/ii
Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of the fifth state (of five) on laid paper without watermark, platemark 163 x 127 mm (6 3/8 x 5 in), sheet 184 x 142 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (7 1/4 x 5 1/4 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v
Rembrandt Harmensz. van Rijn (1606-1669)The Landscape with the CowEtching and drypoint, circa 1650, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream wove paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 107 x 132 mm (4 1/4 x 5 1/4 in), minor surface dirt (unframed)Literature:Bartsch 237; New Hollstein 251 iii/v
Rembrandt Harmensz. van Rijn (1606-1669)The Circumcision in the StableEtching, 1654, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermark, platemark 94 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), spotting and minor browning (unframed)Provenance:Raffaele Alianello (Lugt 5k)Literature:Bartsch 47; New Hollstein 280 iv/v
Rembrandt Harmensz. van Rijn (1606-1669)Bust of a Man wearing a high cap, three-quarters right: the Artist’s Father (?)Etching, 1630, a good but later impression of New Hollstein's fifth/sixth state (of six), on laid paper without watermark, platemark 103 x 85 mm (4 1/8 x 3 1/4 in), sheet 106 x 87 mm (4 1/8 x 3 3/8 in), showing some signs of wear in the heavily cross hatched areas, repair to the upper left and two lower corners, surface dirt (unframed)Literature:Bartsch 321; New Hollstein 57 v/vi
Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, but a later Basan impression of New Hollstein's eighth state (of eight) on chine collé and thick wove paper, with Lamoureux's address printing in the lower right corner, platemark 533 x 406 mm (21 3/4 x 16 in), sheet 570 x 455 mm (22 1/2 x 17 7/8in), handling creases, spotting and surface dirt (unframed)Literature:Bartsch 81; New Hollstein 119 viii/viii
Rembrandt van Rijn (1606-1669)Sheet of Studies: Beggar Couple, Head of an Old Woman (fragment)Etching, with traces of drypoint, circa 1632, a good impression, albeit a fragment, of New Hollstein's second state with the foul biting removed, on laid paper without watermark, sheet 75 x 47 mm (2 7/8 x 1 7/8 in), small loss to the upper left corner, scraping verso with minor cockling to the sheet (unframed) Literature:Bartsch 363; New Hollstein 115 ii/ii
Paula Rego (1935-2022)Ride a Cock-Horse, from Nursery Rhymes (Rosenthal 42)Etching with aquatint extensively handcoloured in watercolour, 1989, signed numbered and inscribed A/P in pencil, one of 14 artist’s proofs, aside from the edition of 50, printed by Culford Press, with their blindstamp, published by Marlborough Graphics, London, on wove paper, with full margins, sheet 515 x 380mm (20 1/415in)
Pablo Picasso (1881-1973) after.Famille des SaltimbanquesEtching with chine collé, circa 1950, signed in red crayon, numbered from the edition of 300, printed and published by Atelier Crommelynck, Paris, and with their blindstamp, on Japan paper, with full margins, sheet 765 x 560mm (30 1/4 x 22 1/4in)
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![* Hollar (Wenceslaus, 1607-1677). View of Antwerp Cathedral, 1649 [but 1678-94], 2nd state etched view of the west end of the](https://cdn.globalauctionplatform.com/1ba96945-6148-465b-9b80-b10100b32f6a/13dff83f-00b3-4533-a62e-b12900c8fa93/468x382.jpg)
![Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, bu](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/ffb71873-22f5-4dc8-9ba7-b1200081daaf/468x382.jpg)
![Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/51ef5205-f895-4588-8dd4-b12000821816/468x382.jpg)
![Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, b](https://cdn.globalauctionplatform.com/95be0e09-81f0-4d0f-a1fd-b11f011e0606/5f802ebe-0f4f-4349-b3e3-b1200081d519/468x382.jpg)
