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Jacques Callot : Grotesque figures playing music / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number Two grotesque male figures, dancing and playing music; the one on the left plays tambourine while the other one, bespectacled, plays flute. c.1621 Etching made by Jacques Callot. / Dimensions: 5,60 x 8,40 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 (460.I) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (835.I) / Medium: Etching /Circa: 1621

Rembrandt Van Rijn - Three oriental figures Etching, Rembrandt Van Rijn (1606-1669): Three Oriental figures, 1641. New Hollstein 190 2(2), Bartsch 118, Hollstein Dutch 118. . Etching in good condition. Printed on thin laid paper, restored tear in the middle, nearly visible, with narrow margins. Good impression with lot of details, still the hand of Rembrandt visible. 14,6 cm x 11,5 cm / Condition: Etching in good condition. Printed on thin laid paper, restored tear in the middle, nearly visible, with narrow margins. Good impression with lot of details, the hand of Rembrandt. New Hollstein 190 2(2), Bartsch 118, Hollstein Dutch 118. / Medium: etching /Circa: 1641

Cornelis Visscher - The Pancake woman The Pancake woman; an interior of a peasant dwelling with an elderly couple by a fire and a frying pan heating on it; the woman sits in a chair besides a small boy on a wooden stool holding a pancake; the elderly man lights a pipe with an ember from the fire held in some tongs; another man holding a glass of drink peers through the shuttered door. Engraving and etching made by Cornelis Visscher. Signed bottom left of centre "Corn Visscher Inv. et sculp". 43,00 x 34,70 cm / Condition: Good impression on laid paper laid down on support sheet. Full plate border and margins. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (52) / Medium: Engraving /Circa: 1650

Remigio Cantagallina (1582-1656) / Description: Landscape with an arched ruin behind a tree on the right. 1603 Etching made by Remigio Cantagallina (1582-1656): Etcher and draughtsman; born in Borgo San Sepolcro. Active in Florence. His first documented works are a series of landscape etchings dated 1603. He was one of the first artists to abandon the late-Mannerists fantastical vision of nature, and instead focus on themes from daily life. Visited the Netherlands from 1612-13. His last known engraving, a 'Landscape with Travelers', is dated 1635. His last drawing is dated 1655. Buried in Florence in 1656. / Dimensions: 13,50 x 16,00 / Condition: Good impression on laid paper with full plate border and tread margins. Remains of album tipping at the backside of the corners, two small restorations at top corners. / Literature: Bartsch / Le Peintre graveur (undescribed) --- BM 1874,0808.881 / Medium: Engraving /Circa: 1603

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here a bust-length image of a bald old man in profile, smiling, wearing a cloak with fur collar, facing an old woman with grotesque face, wearing a low-cut bodice; after Leonardo da Vinci; first state, before '4' added to lower right. Etching by Wenceslaus Hollar after Leonardo da Vinci. Signed upper right 'Leonardo da Vinci inu: / W. Hollar fecit'. From the series: Varie Figuræ et Probæ , a series of thirteen etched plates + title after Leonardo da Vinci, with studies of heads, including grotesques; see New Hollstein (Hollar) 737-750. / Dimensions: 7,50 x 10,50 cm / Condition: A very good sharp early impression of the first state before the number with full plate border and tread margins. On a dense laid paper with still some ink in the left plate border. Condition is very good with no folds, tears or stains. A wonderful untouched condition. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (745.I) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1592.I) / Medium: Etching /Circa: C.1645

Maria Catharina Prestel - The old surgeon An old surgeon operating on a man's hand; after a drawing by Ostade. Other name: at the quack. Etching and aquatint with multiple tones. Signed top middle "A. Ostade" (in reverse). 15,80 x 12,80 cm Excellent impression on old laid paper trimmed at the outside of the borderline. Tipped with one corner on a support sheet. Remains of the original label from publication at the backside of the support paper.. From the series: Dessins des meilleurs peintres d'Italie, d'Allemagne et des Pays-Bas tirés de divers célèbres cabinets Etching - Colored aquatint 1780

Thomas Moore, Jérôme David inspired by Rembrandt. Thomas Moore, etching made by Jérome David(1605-1670) in the lifetime of Rembrandt and Jan Van Vliet (1622-1666). He was inspired by the style of Rembrandt and Jan Van Vliet. References: IFF 17e siècle 72-111 . From the series Busts of Philosophers and Kings ca 1615-1647 in the lifetime of Rembrandt en Van Vliet. Published in Paris by François Langlois ca 1615-1647. In good condition, printed on laid paper just on the margins, image complete. Very good dark impression of this etching. Corner right below restored and a very small restored tear at the left, otherwise excellent. 24,5 cm x 19,0 cm / Condition: In good condition, printed on laid paper just on the margins, image complete. Very good dark impression of this etching. Corner right below restored and a very small restored tear at the left, otherwise excellent. IFF 17e siècle 72-111 / Medium: etching /Circa: 1615-1647

14 Cartoons: Set of 7 cartoons of Louis XIV and 7 Additional cartoons, Carel Allard. / Description: 14 cartoons: Set of 7 cartoons of Louis XIV and 7 additional cartoons, made or published by Carel Allard, 1705-1706. Each etching was published by Carel Allard in Amsterdam ca 1705, but has a different imaginary address engraved below. (Source Rijksprentenkabinet Amsterdam:) First set: The Royal Almanac of Louis XIV, 1705, the seven virtues 1. Charity: First etching with King Louis XIV as a sun god sitting in the centre of the sun with the 24 rays. Each ray shows a crime committed by the king. Top left the solar eclipse of May 12, 1706. References: FMH 3073-(1a), Atlas van Stolk 3162. 2. Faith: Second etching with Cartoon of Lodewijk Willem, Margrave of Baden-Baden, bribed to the French side by King Louis XIV. The Margrave asleep at a table of gold pieces. References: FMH 3075-(2a), Atlas of Stolk 3164 . 3.Temperance: third etching with Harlequin (King Louis XIV) with triangle and hump, persuades Lodewijk Willem, Margrave of Baden-Baden, who is weighing money, to defect to the French side. References: FMH 3081-(3a), Atlas of Stolk 3171. 4, Hope: fourth etching, a complaint from Theresia Kunigunde Sobieska, Elector of Bavaria (wife of Maximilian II Emanuel, Elector of Bavaria), 1705. On the left a large bust of King Louis XIV. References: FMH 3086-(4b), Atlas van Stolk 3174. 5. Fifth etching: Force: Cartoon of Maximilian II Emanuel, Elector of Bavaria, 1705. The Elector standing full-length, in the background maps of the Brabant Lines and the Flemish Lines (forced on August 4 by Baron Sparre). On his mantle are French lilies; References: FMH 3090-(5b), Atlas of Stolk 3177. 6. Prudence: Sixth etching: Cartoon of the fleeing Colonel Sar during the passing on of the Flemish Lines on August 4 by the State General Baron Sparre (or Spar); References: FMH 3091-(6a), Atlas van Stolk 3180. 7. Justice: Seventh etching: Cartoon of Louis Willem I, Margrave of Baden-Baden, standing with sword in hand, in the other hand with a balance a sword weighing against a bag of gold pieces. References: FMH 3093-(7), Atlas of Stolk 3181. 1. First additional etching: Cartoon of the parties fighting for Castile, 1706. On top of a castle are Charles III, the Elector of Bavaria and Louis XIV. Others try to climb the tower. In the plate verses in Dutch and French. Cartoon of the situation in the year 1706 in the War of the Spanish Succession. References: FMH 3126-(16b), Atlas of Stolk 3245. 2. Second additional etching: The Duke of Villeroy and Maximilian II Emanuel, the Elector of Bavaria, Kneeling, Stockinged, Before King Louis XIV, 1706. References: FMH 3042-(4), Atlas van Stolk 3186. 3. Third additional etching: A French wooden legged town crier (Louis XIV) and a Spanish drummer lament the recently lost towns, 1706. References: FMH 3115-(12a), Atlas van Stolk 3238. 4. Fourth additional etching: Cartoon of the French King Louis XIV who falls ill after eating Spanish nuts that are too hard, 1706. The mistresses bend over the king, children and grandchildren of the king weeping on the background. References: FMH 3111-(10a), Atlas van Stolk 3234. 5. Fifth additional etching: Philip V, Duke of Anjou, King of Spain only on paper, flees the Spanish Royal Palace taking the crown, 1706. He destroys a tapestry with his dagger. References: FMH 3127-(17a), Atlas van Stolk 3248. 6. Sixt additional etching: King Louis XIV as a sun god sitting in the center of the sun with the 24 rays. Each ray shows a crime committed by the king. References: FMH 3039-(1), Atlas van Stolk 3183. 7. Seventh additional etching: Another version of Temperance: etching with Harlequin (King Louis XIV) with triangle and hump, persuades Lodewijk Willem, Margrave of Baden-Baden, who is weighing money, to defect to the French side. References: FMH 3083-(3c), Atlas van Stolk 3172. All 14 etchings in excellent condition, very good dark impression on laid paper with margins, born together as set ca 1705-1706. / Dimensions: paper size 30,7 cm x 19,8 cm / Condition: All 14 etchings in excellent condition, very good dark impression on laid paper with margins, born together as set ca 1705-1706 / Literature: see description / Medium: engravings/etchings /Circa: 1705 -1706

Marco Pitteri after Piazetta - St John the Evangelist, / Description: Sanctus Johannes, from the series: The Holy Family and Apostles from 1742. St John the Evangelist, head and shoulders writing with a quill, with title and producer names: 'Joannes Bapta Piazzetta pinxit' and 'Marcus Pitteri sculpsit' and numbered IV, with the Venetian privilege 'Venetiis cum privilegio Excellentiss. Senatus'. Print made by Marco Pitteri, after Giovanni Battista Piazzetta. / Dimensions: 43,70 x 34,00 cm / Condition: Good impression on watermarked laid paper. Trimmed on plate border with mostly tread margins. / Literature: Marco Pitteri (1702-1786) Engraver, sometimes called Giovanni Marco. Worked Venice, especially in collaboration with Piazzetta, and (after his death in 1754) with Longhi. Obtained a Venetian privilege for ten years in 1742 for his set of heads of Apostles after Piazzetta. Developed an original method of engraving (not etching), using parallel lines, which are thickened at regular intervals along their length with more deeply engraved sections. / Medium: Engraving /Circa: 1742

Jan Van Vliet - Beggars - First State Title-page to the series with two beggars seated in front of a cloth bearing the title, while a man standing behind the cloth places alms into the bowl held up by the beggar at left. Lettered on the sheet: "By.t. geeve. / Bestaet Ons leeve / JG. van vliet fec. / 1632" Etching with engraving by this collaborator of Rembrandt. This is a first state of four, before the number in state two, before the publishers address of De Wit in state three. 9,00 x 6,50 cm / Condition: Excellent impression on laid paper with full plate border and two mm. margins. Very good condition. Hollstein 73 ( I / IV) 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: Etching and engraving /Circa: 1632

Rembrandt Van Rijn - Man in a coat and fur cap leaning against a bank, 1630 Etching, Rembrandt Van Rijn (1606-1669): Man in a coat and fur cap leaning against a bank, 1630. New Hollstein 286 3(3), Bartsch 151 3(3), Hollstein Dutch 151-3(3). Etching in very good condition. Printed on laid paper with narrow margins. Very good impression with lot of details. The hand of Rembrandt still visible. 11,3 cm x 7,9 cm / Condition: Etching in very good condition. Printed on laid paper with narrow margins. Very good impression with lot of details. The hand of Rembrandt still visible. New Hollstein 286 3(3), Bartsch 151 3(3), Hollstein Dutch 151-3(3). / Medium: etching /Circa: 1630

Ploos Van Amstel (1726-1798), Jan Steen - The Tax Collector From a collection of printdrawings here completely hand-colored (rare!) by Ploos van Amstel or in his workshop: The tax collector, Supervision: Cornelis Ploos van Amstel, print maker: Bernard Schreuder, after the drawing by Jan Havicksz. Steen (1625-1679). From a series of printdrawings (published in separate sets between 1765-1787). Etching made in 1777 and published in 1786 . Etching and roulette in Ploos van Amstel 's crayon-manner and roulette. On the backside the coat of arms of Ploos van Amstel (Lugt. 2034) . Here completed with hand-colouring (rare!) by Ploos van Amstel or under his supervision (red, green, brown, grey, blue... ) 15,50 x 13,20 cm Top quality original printdrawing in excellent condition on laid paper. Tipped with left side only on the original square thick laid paper sheet (42 x 38,50 cm) with hand drawn frame border in washed ink. Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, p.266, no.38. -- Van Huffel 157 --- From the series: 'Ectypa' of Ploos van Amstel Hand-colored etching in crayon-manner 1777

Bear Hunt - Frans Snyders, by F.C. Lewis / Description: Bear Hunt; mountainous landscape with a bear being attacked by hunting dogs; after a drawing by Frans Snyders. Etching and aquatint made by Frederick Christian Lewis. / Dimensions: 22,00 x 37,00 cm / Condition: Trimmed outside the subject with omission of tekst line. The image is complete. ON thick woven paper from the period / Literature: From the Original Drawing in the collection of A. Champernowne Esq." and "The Study for the celebrated Picture by Snyders in Lord Grosvenor's Collection / Medium: Etching, Aquatint /Circa: 1825

Leonardo de Vinci -Bald man, etched by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here a figure study of a bald man, head and bare, sinewy neck, head tilted to look downs. He is clean-shaven and the bones and sinews of neck and chest are very prominent. Signed upper left: 'Leonardo / da Vinci inu: / WHollar fec. / 1648'. After the drawing by Leonardo da Vinci (1452–1519) in the Royal Collection at Windsor (RL 19003 recto) from the series of “Caricatures and deformities after Leonardo” (Pennington, 2002, cat. nos. 1558–1610B) / Dimensions: 6,70 x 4,60 cm / Condition: A very good sharp early impression with full plate border and tread margins. On a dense thin laid paper. Condition is very good with no folds or tears and very mild foxing near the margins. Remains of old hinges on the backside. Untouched condition. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1018) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1578) --- Related drawing in the Royal Collection at Windsor (RL 19003 recto.) --- From a series of thirteen etched plates and additional title page after Leonardo da Vinci, with studies of heads, including grotesques; see New Hollstein (Hollar) 737-750. / Medium: Etching /Circa: 1648

Jacques Callot : Grotesque lute player and dancing woman / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number. Two grotesque figures, with, on the left a stout, bespectacled woman dancing and, facing her, a bespectacled man playing lute. c.1621 Etching made by Jacques Callot. / Dimensions: 5,50 x 7,90 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 (461.I) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (839.I) / Medium: Etching /Circa: 1621

Pieter Paul Rubens, Joseph Hunin, Peter receives the keys of Christ. Peter receives the keys of Christ, engraving/etching after a painting of Pieter Paul Rubens (1577-1640), made by Joseph Hunin (Mechelen 1770 - 1851) in Mechelen ca 1790-1851. Unknown first state before the text below engraved. Written probably by the engraver himself in old brown iron ink to the left below "P.P. Rubens pinx." to the right below "J. Hunin sculp. et excun" This engraving was dedicated to Frans Corneel Gislenus Cuypers (Graaf van Rijmenam). In very good condition. Printed on laid paper with 1 cm margins and just in the blank text border below. Very good strong early impression , probably only very few examples of this first state. 22,2 cm x 15,6 cm / Condition: In very good condition. Printed on laid paper with 1 cm margins and just in the blank text border below. Very good strong early impression , probably only very few examples of this first state. One with text below engraved in the Rijksmuseum. / Medium: engraving/etching /Circa: 1780-1851

Ludolf Bakhuizen - Personification of Amsterdam crossing the seas A female personification of Amsterdam crossing the seas on a chariot drawn by a unicorn and accompanied by nymphs and Neptune, a large boat in right background, other sailing boats at left and a view of Amsterdam in background. Signed bottom left. The first etching from the set of 10 Seascapes 'Stroom en zeegezichten' with views of the IJ etc. From a series of famous and rare etchings by Holland's leading marine painter, etched at the age of 71. 19,60 x 26,40 cm Good impression on extensively watermarked laid paper. Full plate border, margins, no folds, tears or stains. Etching 1701

Jacques Callot : Martyrdom of St Sebastian / Description: Martyrdom of St Sebastian; the saint is tied to a post in the middle of a landscape, with soldiers gathered on the surrounding ruins and mounds; two soldiers shooting arrows in the foreground, at left; amphitheater in ruins in the middle ground, at left. Second state with the publishers address of Israel left to the signature of Callot In et fec. c.1631/33 Etching made by Jacques Callot. The subject suggests a connection with the plague which struck Lorraine around 1631; Callot's father was a victim of this epidemy. / Dimensions: 16,30 x 32,60 cm / Condition: A good impression on thick laid watermarked laid paper. Plate border and half centimeter margins. Moderate age toning. Flattened folds on the backside. Trace of album tipping visible central middle. / Literature: Lieure 1927 / Jacques Callot (670.II) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (137.II ) / Medium: Etching /Circa: 1631-1633

Wenceslaus Hollar - The Lute player with the Nun - Holbeins Dance of death / Description: An early state from Hollbein's Dance of Death, etched from two separate plates, but already wit hthe monogram of Hollar and Holbein in the plate. The Nun; a young woman kneels before an altar in a bedroom, but is looking around to the right where a young man sits on the bed playing a lute; behind her Death is about to extinguish a candle on the altar; in architectural border, with bearded and winged man with hour glass and scythe on the left, and a woman holding a serpent with tail in its mouth on the right; draped coffin at top and lying skeleton at bottom; after Hans Holbein the Younger; the border from a separate plate after Abraham van Diepenbeeck; first state. 1651. Etching, from two plates made by Wenceslaus Hollar, After: Abraham van Diepenbeeck (border) and Hans Holbein the Younger (subject). Beneath the border Ab. Diepenbecke inv. W.Hollar Fecit / Dimensions: 11,50 x 9,40 cm / Condition: Good impression on laid paper trimmed outside the borderline leaving small margins. Tiny defect to left corners. Tipped with top side on a support sheet. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1156) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (233A) --- From a series of thirty plates after Hans Holbein the Younger, with borders by Abraham van Diepenbeeck; see New Hollstein pp.170-171 and Pennington pp. 28-31 for detailed descriptions of the series, and New Hollstein 1126-1158 and Pennington 233-266 for the plates. / Medium: Etching /Circa: 1663

Pietro Testa, Rest on the return from Egypt / Description: Pietro Testa Rest on the return from Egypt, etching made by Pietro Testa (1611-1650) ca 1644 - 1650, Published in Rome by Giovanni Giacomo de Rossi (1627 – 1691) ca 1644-1691. References: The Illustrated Bartsch 12-2(2), Bartsch 12, Cropper 94. In excellent condition printed on thin laid paper, with narrow margins. Good impression. With a good Italian circular watermark. / Dimensions: 23,9 cm x 30,7 cm / Condition: In excellent condition printed on thin laid paper, with narrow margins. Good impression. With a good Italian circular watermark. / Literature: The Illustrated Bartsch 12-2(2), Bartsch 12, Cropper 94 / Medium: engraving/etching /Circa: 1644-1660

Nude male figure in an art academy, Jean Lepautre / Description: Nude male figure standing on a platform in an art academy with students drawing in the background. Etching made after his own drawing by Jean Lepautre (1618-1682) ca 1633-1681. References: From a series of six engravings. IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (719.I). In very good condition, printed on thin laid paper on the margins image is complete. Very good dark strong impression. With a watermark. / Dimensions: 24,2 cm x 16,2 cm / Condition: In very good condition, printed on thin laid paper on the margins image is complete. Very good dark strong impression. With a watermark. / Literature: IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (719.I) / Medium: etching /Circa: 1633-1682

Karel Dujardin (1626-1678) - Landscape from Delteil collection Trees with exposed roots. Landscape with the trunks of two trees intersecting to form a cross on the right, the roots of one grow out of the sloping bank of a river below, a goatherd and two goats crossing a bridge on the left, trees and mountains in background. Second state, probably 3th edition out of six. Elaborate circular watermark with crown and figure inside. Collection L.Delteil 14,00 x 17,90 cm A fine impression on watermarked laid paper. Plate border and tread margins. Excellent condition. Bartsch / Le Peintre graveur (I.174.17) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (17.II) Etching 1659

Joseph Hunin, Cathedral of Our Lady Antwerp, 1825 different from the one of 1813. Cathedral of Our Lady Antwerp, from 1825 different from the one of 1813-1815, engraving/etching made by Joseph Hunin (Mechelen 1770 - 1851) in 1825. Published by Grenello in Antwerp. "Dediée à son Excellence Monseigneur Membrede, Commendeur de l'ordre Royal du Lion Belgique, Membre du conseil d'état, Gouverneur de la Province d'Anvers, ancien Président de la seconde Chambre des états Généraux, membre de la Société royale d'agriculture et de botanique de Gand et de l'Académie des beaux arts d'Anvers. &. par son très humble serviteur Joseph Hunin Graveur à Malines 1825". In very good condition. Printed on early 19th century paper ca 1825 with narrow margins. Good impression. 37,1 cm x 24,2 cm / Condition: In very good condition. Printed on early 19th century paper ca 1825 with narrow margins. Good impression. / Medium: engraving /Circa: 1825

Rembrandt - Jan Uytenbogaert 'The Goldweigher' Jan Uytenbogaert 'The Goldweigher'. etching and drypoint, 1639, on laid paper with partial unrecognized watermark near left margin. Rembrandt's signature and date, in lower left: "Rembrandt f. / 1639". A good impression with some plate tone of New Hollstein's third, final state with rework, printing with considerable burr on the fur coat. 25,00 x 20,50 cm / Condition: Excellent condition with no folds tears or stains. With full plate border and half centimeter margins on watermarked laid paper. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (172.III) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (167.III) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (281.III) --- Hinterding et al. 2000 / Rembrandt the Printmaker (35.II) / Medium: Etching and drypoint /Circa: 1639

Frederik Bloemaert (1616-1690) - Chiaroscuro woodcut - Putti Floating putti holding a shield. A rare chiaroscuro etching with colour woodcut from the tekenboek. Only a few were published in chiarscuro technique and this is one of them. A rare one, not part of the five or six in this technique more often seen. 21,00 x 16,80 cm Good impression with very nice colour of the tinted block. Trimmed just outside plate border with traces of tread margins. Discolored stain middle left. Strauss 1973 / Chiaroscuro: the claire-obscure woodcuts by the German and Netherlandish masters of the XVI and XVII centuries (169) --- Roethlisberger 1993 / Abraham Bloemaert and his sons: Paintings and prints Engraving, woodcut, colour 1650-1680

Rembrandt Van Rijn - Self-portrait of Rembrandt, in a cap and scarf with the face dark Etching, Rembrandt Van Rijn (1606-1669): Self-portrait of Rembrandt, in a cap and scarf with the face dark, 1633. New Hollstein 120 4(5) fourth state of five before the many reworks of the fifth state , still the hand of Rembrandt visible, Hollstein Dutch 17 2(2), Bartch 17 2(2). In excellent condition. Printed on laid paper, with 5 mm margins. Good dark/grey impression of the fourth state. 13,2 cm x 10,2 cm / Condition: In excellent condition. Printed on laid paper, with 5 mm margins. Good dark/grey impression. New Hollstein 120 4(5) fourth state of five before the many reworks of the fifth state, Hollstein Dutch 17 2(2), Bartch 17 2(2). / Medium: etching /Circa: 1633

Leonardo de Vinci - Deformed heads, by Wenceslaus Hollar / Description: The Leonardo da Vinci studies of deformed heads are famous. Here a grotesque profile to left of old man with flattened nose; after Leonardo da Vinci; only state. Etching by Wenceslaus Hollar after Leonardo da Vinci. Signed upper left 'L. da Vinci inu / W Hollar fecit'. / Dimensions: 6,40 x 4,70 cm / Condition: A very good sharp early impression of the only state. On a dense laid paper with still some ink in the left plate border. Condition is very good with no folds, tears or stains. A wonderful untouched condition. / Literature: New Hollstein (German) / The New Hollstein: German engravings, etchings and woodcuts 1400-1700 (1242) --- Pennington 1982 / A descriptive catalogue of the etched work of Wenceslaus Hollar (1573) / Medium: Etching /Circa: 1644-1652

Italien - Rom - - Giuseppe Vasi. (1710 - 1782). Il prospetto della Citta Leonina, che si vede colla Basilica Vaticana, Ponte e Castel S. Angelo. (= Der Ausblick auf die päpstliche Stadt zu sehen mit der Vatikanbasilika, der Engelsbrücke und der Engelsburg). 1765. Radierung und Kupferstich von drei Platten auf dreiteilig montiertem Büttenpapier. Ca. 101 x 70,5 cm. In der Platte bezeichnet und datiert. Fest auf Karton u. unter Passepartout montiert. Der italienische Graphiker und Vedutenstecher Giuseppe Vasi widmete sich Zeit seines Lebens insbesondere Ansichten der ewigen Stadt Rom. So veröffentlichte er zwischen 1746 und 1761 zehn Bände mit 240 Graphiken römischer Monumente und schuf hiermit einen detaillierten Überblick über die Stadt Rom in der Mitte des 18. Jahrhunderts. Einen Höhepunkt setzte Vasi schließlich mit dem ca. 102,5 x 261,5 cm großen Rom-Panorama von 1765, mit dem Titel "Prospetto del Alma Cittá di Roma visto dal Monte Gianicolo". Dieses zeigt die Stadt Rom gesehen vom Gianicolo. Die Ansicht wurde von zwei großen Radierungen begleitet, welche die gleiche Höhe hatten, sodass sie die Wanddekoration des großen Panoramas vervollständigen konnten. Davon die vogelperspektivische Ansicht der päpstlichen Stadt mit Blick auf den Tiber, die ihn überspannende Engelsbrücke, die Engelsburg in der rechten Bildhälfte sowie den imposanten Petersdom u.a. - Im unteren Blattrand positionierte Vasi wie bereits im Blatt "Campo Vaccino" eine Widmung, hier an die "Signori Conservatori del Popolo Romano" sowie eine Kartusche mit dem Wappen der Stadt. Es folgt eine Legende mit 26 Bauwerken, welche wie zuvor im Stich nummeriert sind. Auf die beiden Stiche "Campo Vaccino" und "La Città Leonina" folgten 1771 schließlich mit "La veduta della Basilica di S. Maria Maggiore" sowie "La veduta della Basilica di S. Paolo fuori delle Mura" schließlich noch zwei weitere Ansichten Vasis. - Vereinzelt eher unauffällige Braunfleckchen, insgesamt nuancenreicher und kräftiger Druck mit imposanten Maßen. (= The view of the papal city to see with the Vatican Basilica, the Bridge of Angels and Castel Sant'Angelo). Etching and engraving on laid paper mounted in three parts. Inscribed and dated in the plate. Firmly mounted on cardboard and under passepartout. The Italian artist and engraver Giuseppe Vasi devoted his life in particular to creating views of the eternal city of Rome. Between 1746 and 1761 he published ten volumes with 240 prints of Roman monuments, thus creating a detailed overview of the city of Rome in the mid-18th century. Vasi finally set a highlight with the approx. 102.5 x 261.5 cm large Rome panorama of 1765, which has the title "Prospetto del Alma Cittá di Roma visto dal Monte Gianicolo". It shows the city of Rome seen from the Gianicolo. The view was accompanied by two large etchings, which had the same height, so that they could complete the wall decoration of the large panorama. - View of the papal city with a sight on the Tiber, the Ponte S. Angelo spanning it, the Castel S. Angelo in the right half of the picture as well as the imposing Peter's Cathedral a.o. - In the lower margin of the sheet Vasi positioned as already in the sheet "Campo Vaccino" a dedication, here to the "Signori Conservatori del Popolo Romano" as well as a cartouche with the coat of arms of the city. This is followed by a legend with 26 buildings, which are numbered as before in the engraving. The two engravings "Campo Vaccino" and "La Città Leonina" were followed in 1771 by "La veduta della Basilica di S. Maria Maggiore" and "La veduta della Basilica di S. Paolo fuori delle Mura". - Isolated little brown spots, overall nuanced and strong print with impressive dimensions.

Erotica - Curiosa - - Andre Billy. Visions de Danse. Trente compositions dessinees et gravees a la pointe seche par le peintre et graveur Lobel-Riche. Mit 1 Originalzeichnung, 30 Original-Kaltnadelradierungen und 2 Extrasuiten mit je 26 Radierungen mit Remarquen von Almery Lobel-Riche. 94 S., 1 Bl. Paris, chez l'artiste, 1949. Gr.-4° Lose Doppelbogen in OUmschlag, Pappdeckel und Schuber. Monod 1571. Eins von 20 Exemplaren der Vorzugsausgabe auf Velin de Rives mit der Originalzeichnung und zwei separaten Suiten in Sepia und Schwarzweiss (Radierungen mit Remarquen) (GA 210 Ex.) - Die Abweichungen der Anzahl der Radierungen in den Extrasuiten durch 4 Doppeltafeln, bei denen zwei Motive auf eine Radiertafel komponiert wurden. - Wohlerhalten. Dance. - Monod 1571. With 1 original drawing, 30 original drypoint etchings and 2 extra suites of 26 etchings each with remarques by Almery Lobel-Riche. One of 20 copies of the special edition on vellum de Rives with the original drawing and two separate suites in sepia and black and white (etchings with remarques). (GA 210 ex.) - The variations in the number of etchings in the extra suites due to 4 double plates, where two motifs were composed on one etching plate. - Well preserved.

Corinth, Lovis - - Jonathan Swift. Gullivers Reise ins Land der Riesen. Eine Reise nach Broddingnag. Mit 25 (10 blattgr.) Original-Lithographien sowie 1 sign. Orig.-Radierung von Lovis Corinth. Berlin, Propyläen-Verlag, 1922. 75 S., 2 Bll. Folio. Roter OHMaroquin mit goldgepräg. verziertem Rücken u. Deckeltitel u. Kopfgoldschn. (etwas lichtrandig). Schauer II, 87. - Müller 641-666. - Eins von 200 Exemplaren der Vorzugsausgabe (ges. 400) mit der zusätzl. sign. Original-Radierung auf Kaiserlich-Japan, Druckvermerk von Corinth signiert. - Titelbl. mit kl. Fleck, insgesamt schönes Exemplar der Vorzugsausgabe. With 25 (10 sheet-size) original lithographs and 1 sign. original etching by Lovis Corinth. Red original half morocco with gold-stamped spine and cover title and gilt top edges (some light margins). - One of 200 copies of the special edition (total 400) with the additional sign. original etching on Imperial Japan, printing note signed by Corinth. - Title page with small spot, overall fine copy of the special edition.

Braque, Georges - - René Char. La Bibliothèque est en feu. Mit einer handnummerierten Original-Radierung von Georges Braque. Paris, Louis Broder, 1956. 20 nn. Bll. 4°. OBroschur mit montiertem DSchild, in Original Jute-Chemise mit RSchild. Fünfter Band der Sammlung "Écrits et Gravures". - Eines von 100 nummerierten Exemplaren (GA 146). Von Braque und Char im Druckvermerk signiert. - Auf Vélin d'Arches gedruckt. Die Platte der Radierung wurde nach Fertigstellung des Werks vernichtet. - Seltene Sammlung poetischer Aphorismen über die Rolle des Dichters in Faksimile-Handschrift. Der Titel "La Bibliothèque est en feu" ist René Chars Vergangenheit als Résistance-Kämpfer entlehnt. Es handelte sich nämlich um eine verschlüsselte Nachricht von Radio London, die Hauptmann Alexandre alias René Char einen Fallschirmabwurf von Containern ankündigte, die er in der Nähe von Céreste abholen sollte. Einer der Container fing tatsächlich Feuer und löste einen schrecklichen Brand aus. - Komplett mit dem lose beiliegendem Ankündigungsblatt des Verlegers. - Titel mit etwas Abklatsch der Radierung. With a hand numbered original etching by Georges Braque. Orig. wrappers with mounted cover title, in original jute chemise with spine label. - Fifth volume of the collection "Écrits et Gravures". - One of 100 numbered copies (total ed. 146). Signed by Braque and Char in the imprint. - Printed on Vélin d'Arches. The plate of the etching was destroyed after completion of the work. - Rare collection of poetic aphorisms about the role of the poet in facsimile manuscript. The title "La Bibliothèque est en feu" is borrowed from René Char's past as a Resistance fighter. It was in fact a coded message from Radio London announcing to Captain Alexandre, alias René Char, a parachute drop of containers he was to pick up near Céreste. One of the containers actually caught fire and started a terrible blaze. - Complete with the publisher's announcement sheet loosely enclosed.

Braque, Georges - - Erik Satie. Léger comme un oeuf. Mit einer Original-Farbradierung von Georges Braque. Paris, Louis Broder, 1957. 26 S., 4 Bll. Kl.-8°. Schwarzes Kalbsleder mit goldgepr. RTitel, aufwendigem geometrischen Mosaik-Dekor in Weiß und Orange auf Deckeln, Kopfgoldschnitt, fliegende Vorsätze in orangenem Glanzpapier. In schwarzer Pp.-Chemise mit transparentem Rücken und schwarzem Pp.-Schuber (diese etwas berieben). Einband signiert: Pierre-Lucien Martin, 1958. Erste Ausgabe. - Monod 10174. - Erstes Werk der Serie "Miroir du poète". - Eines von 100 (GA 120) nummerierten und von Georges Braque im Druckvermerk signierten Exemplaren auf Japon ancien. - Mit der in Schwarz und Orange gedruckten Frontispiz-Radierung von Braque, gedruckt bei Crommelynck et Dutrou. - OUmschlag und Rücken miteingebunden. Sehr gutes Exemplar in aufwendig gestaltetem Einband. With an original colour etching by Georges Braque. Black calf with gilt title on spine, elaborate geometric mosaic decoration in white and orange on covers, top gilt edge, flyleaves in orange glossy paper. In black cardboard chemise with transparent spine and black cardboard slipcase (these somewhat rubbed). Binding signed: P.-L. Martin, 1958. - First edition. - First work of the series "Miroir du poète". - One of 100 (total ed. 120) numbered copies on Japon ancien signed by Georges Braque in the imprint. - With the frontispiece etching in black and orange, printed by Crommelynck et Dutrou. - Orig. wrappers and spine bound in. Very good copy in elaborately designed binding.

Italien - Rom - - Giuseppe Vasi. (1710 - 1782). Le Rovine delle antiche magnificenze di Roma che si veggono nel Campo Vaccino (= Die Ruinen der antiken Prachtbauten Roms gesehen vom Campo Vaccino). 1765. Radierung und Kupferstich von drei Platten auf dreiteilig montiertem Büttenpapier. Ca. 101 x 70,5 cm. In der Platte bezeichnet und datiert. Punktuell unter Passepartout montiert. Ansicht gewidmet Abbondio Rezzonico, dem zu dieser Zeit mächtigen Neffen Papst Clemens XIII., dessen Wappen zentral in einer Kartusche plaziert wurde. Weiterhin bezeichnet mit "Roma quanta fuit, ipsa ruina docet" (= Wie groß Rom war, davon zeugen selbst die Ruinen), ein zum Sprichwort gewordenes Zitat Francesco Albertinis, welchen den Untergang der Antike beklagte. Der Stich, welcher eine Vergrößerung eines Ausschnitts aus der Großen Ansicht von Rom darstellt, zeigt in belebter Kulisse imposante antike Bauten wie die Porta San Giovanni, die Ruinen des Tempio della Pace, das Kolosseum, der Septimius-Severus-Bogen u.a. Die Bauwerke je im Stich numm. und mit Bezeichnung. - Mit kl. hinterlegten Einrissen im Blattrand, vereinzelt unauffällige Braunfleckchen in der oberen Blatthälfte, insgesamt nuancenreicher und kräftiger Druck in eindrucksvoller Größe. (= The ruins of the ancient magnificent buildings of Rome seen from Campo Vaccino). 1765. Etching and engraving on laid paper on three conjoined sheets. Inscribed and dated in the plate. Punctually mounted under passepartout. - Dedicated to Abbondio Rezzonico, nephew of Pope Clement XIII, whose coat of arms was placed centrally in a cartouche. Furthermore inscribed with "Roma quanta fuit, ipsa ruina docet", a quote by Francesco Albertini. Shown are imposing ancient buildings such as the Porta San Giovanni, the ruins of the Tempio della Pace, the Colosseum, the Septimius Severus Arch, etc. The buildings each in the engraving numbered and with designation. - With small backed tears in the margins, inconspicuous brown spots in the upper half of the sheet, overall nuanced and strong impression in impressive size.

Jaeckel, Willy - - Richard Dehmel. Aber die Liebe. Zwei Folgen Gedichte. Mit radierter Titel-Vignette, radiertem Titel, 15 Radierungen auf Tafeln, 12 Radierungen im Text und 2 radierten Initialen von Willy Jaeckel. Berlin, Erich Steinthal, 1921. 143 S., 3 Bll. 4°. Roter Ganzmaroquin mit goldgepr. DFileten, reicher RVergoldung, Steh- und Innenkantenfileten und Kopfgoldschnitt (etwas berieben, HDeckel mit unauffälliger Kratzspur). In gefüttertem Pp.-Schuber. Signiert: Bruno Scheer, Berlin. Mit Exlibris von Jorge Monsalvatje in Form einer handsignierten Radierung von M.E. Philipp. - Erste Ausgabe. - Sennewald, 21.1. Jentsch, 115. - Eines von 270 nummerierten und von Jaeckel signierten Exemplaren auf Büttenpapier (GA 340). - Hergestellt bei Otto von Holten. - "Der Text wurde im Einverständnis mit den Dehmelschen Erben neu geordnet. Die in den andern Ausgaben des Werkes enthaltenen Sperrungen sind aus typographischen Gründen zur Erzielung einer einheitlichen Wirkung des Druckes unterblieben, obwohl erwogen wurde, die Sperrungen im Sinne Dehmels bestehen zu lassen, eine Forderung, für die sich namentlich seine Witwe einsetzte." (Druckvermerk) - In den Rändern zart gebräunt, fliegende Vorsätze stärker. Die gratigen Radierungen mit zartem Plattenton, kräftige Abzüge. Expressionism - With etched title vignette, etched title, 15 etchings on plates, 12 etchings in the text and 2 etched initials by Willy Jaeckel. Red full morocco with gold-stamped fillets, rich gilt on spine, standing and inner gilt fillets and gilt top edge (somewhat rubbed, back cover with inconspicuous scratch). Binding signed: Bruno Scheer, Berlin. - With bookplate of Jorge Monsalvatje in the form of a signed etching by M.E. Philipp. - First edition. - One of 270 numbered copies signed by Jaeckel on laid paper (total ed. 340). - Produced by Otto von Holten. - Margins delicately browned, flyleaf endpapers stronger. The burr-like etchings with delicate plate tone, strong impressions.

NO RESERVE Bristol.- Kip (Johannes) The City of Bristol, panoramic view of Bristol, with church spires numbered and identified in lettered margin underneath, plate 29 from 'Britannia Illustrata', etching and engraving, on two sheets joined, total platemark 550 x 905 mm (21 1/2 x 35 1/2 in), under glass, some browning and surface dirt, framed, [1717-1724]

NO RESERVE Caricatures.- Stubbs (George Townley) Refreshment at St. James's, after Charles Ansell, presumably a companion print to 'Refreshment at St Giles's', etching and stipple engraving with hand-colouring, platemark 230 x 250 mm (9 x 9 3/4 in), good margins, under glass, minor surface dirt, framed, [circa 1789]; together with a large folio album of over 150 Vanity Fair caricatures, all neatly trimmed and mounted to leaves, and another folio containing German and Austrian caricatures relating to the Congress of Berlin 1878, and another, 19th century (4)

Norman Ackroyd RA (born 1938), Asthall Barrow, etching, signed in pencil, 1990, artist's proof, plate 12cm x 15cm, framedGood condition, a couple of very tiny fox marks in the margin only visible on close inspection

Jean Pierre Cassigneul, Visage V 1985, etching/aquatint, signed in pencil, no. 68/100, plate 22cm x 26cm, framedGood condition

Jean Pierre Cassigneul, Visage II 1985, etching/aquatint, signed in pencil, no. 68/100, plate 22cm x 26cm, framedGood condition

Salvador Dali, Pierre Ronsard, dry point etching with pencil signed justification page below, 1968, numbered 153/299, plate 34cm x 24cm, framedGood condition

Leonor Fini, Meeting, etching with hand colouring, signed in pencil, no. 48/150, plate 45cm x 37cm, framedSlight surface crease in the bottom margin, good condition

Graham Clarke, etching, Artist proof, signed in pencil, framed, 39 x 30cmgood condition, slight discolouration of paper, monochrome night scene.

Pierre-Paul Prud’hon (1758-1823) after Jean-Frederic Schall (1752-1825), original etching in colours on paper, Mademoiselle de Lavalliere au Couvent de Chaillot, 34.5cmx 45.5cm, glazed in period frame

AFTER PIETER BRUEGEL THE ELDER. DUTCH c. 1525-1569 The Rabbit Hunt 1560. Coloured etching 8¾' x 11¼' sheet. Pub: Hieronymous Cock

AFTER LUCIEN FREUD Male nude. Inscribed Trial Proof. Bears initials L.F. Etching 5¾' x 3¾' plate size

An etching signed Botero, reclining nude. 3½' x 5¼' plate size

AFTER DAVID JONES (1895-1974) A dove above a church on a rocky outcrop in the sea numbered 32/60, wood engraving printed by Alan Bultitude for the Gillian Jason Gallery, with the permission of the David Jones Estate, 1989, the image 4.2cm x 3.8cm; together with an etching of a snowy garden scene with a church beyond, indistinctly signed and numbered 4/25 in pencil to the margin, 19.5cm x 15cm (2)Provenance: Westvale, Nailwell, Bath. The former home of Baron and Lady Craigmyle

KATE SHAW (B. 1958) 'Snowdrops and Sea' signed, titled and numbered 6/10 in pencil to the margin, etching with hand-coloured embellishments, the image 16cm x 12cm; together with four further prints by the same artist (5)Provenance: Westvale, Nailwell, Bath. The former home of Baron and Lady CraigmyleCatriona 'Kate' Shaw is the daughter of Thomas Donald Mackay Shaw, 3rd Baron Craigmyle and Anthea Esther Christine Theresa Rich

Bernard Buffet (1928-1999) drypoint etching, self portrait, signed in pencil Bernard Buffet 1952 to the lower right margin, approx 21.3 x 30 cms, framed and glazed, on Arches paper which is of French origin. Condition ReportThis is in good condition.

Marcel Jacque: a framed pencil signed coloured etching, depicting a named house in France - further pencil text to mount

David Lintine -Tall Window Etching 18/30 signed and dated in pencil- Framed, glazed and mounted, Frame size 24 ¾ “ high by 20 ¾” wide -image size 15” high by 11 ½” wide

William Monk R.A - Foregate Street Chester - Ye Old Brewers Arms - Etching, Dated 1892 and signed in plate MONK - Framed glazed and mounted image size 8” x 10 ½ins frame size 14 ¼”x 16 ¾”

Gaby Moore - Half Term - Etching 12/75 signed and titled in pencil Framed glazed and mounted Frame size 11 ¾ ” x 9¼ ” wide

Dressing I signed Frederik Jones Etching 4/25 Framed glazed and mounted Frame size 15¾ ” x 11 ¾” wide

John Brunson (1933-2014) -Church-signed coloured etching - 71/100 -framed and glazed with cut card mount -Frame size 20” high by 16 ¼ wide

A 1890s' pattern British infantry sword by J.G. Plumb, Westminster, in steel scabbard, length 102cmPitted Guard and scabbard, very tight in scabbard, some pitting to blade, no movement, etching clear on blade.

British 19th Century Scottish Volunteer Artillery Officer’s Sword, 1821 pattern, with scabbard, length 98cmBlade rubbed but etching visible guard and scabbard pitted, solid condition.

Lepke, Gerda: (1939 Jena - lebt in Wurgwitz u. Gera). Konvolut von 7 hs. Künstlerbriefen mit Tusche- u. Aquarellzeichnungen. Adressiert an Maria und Hans-Peter Müller (Herausgeber d. Butzbacher Künstler Interviews). Je auf Japan o. Papier, 1989-2011. Zw. ca. 20 x 30 u. 38 x 50 cm. - Tls. knittrig, tls. mehrfach gefaltet. ╔Dabei: 2 Künstlerbriefe mit Kaltnadelradierungen╗, 1989. - Convolute of 7 Artist letters from Gerda Lepke to Mr. and Mrs. Müller, 1989-2011. Ink and watercolours on paper. Enclosed 2 artist letters with drypoint etching. D

Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Studien des Kopfes von Saskia und anderen. Radierung auf cremefarbenem dicken Bütten, 1636. Plgr. 15,1 x 12,7 cm. Blgr. 16 x 13,2 cm. Bartsch 365. New Hollstein 157 ii/ii. - Späterer Abdruck von New Hollsteins zweitem Zustand (von zweien). - Vereinzelt fleckig und mit leichtem Wasserschaden. - Studies of the Head of Saskia and Others. Etching in thick laid paper, 1636. - A later impression of New Hollstein's second state (of two). - Faint water damage and scattered spotting. R

Rembrandt, Harmensz van Rijn: (1606 Leiden - Amsterdam 1669). Jakob, den Tod Josephs beklagend. Radierung auf feinem dünnem Büttenpapier. 1638. Wie aus den Auflagen von McCreery "200 Etchings"um 1816 üblich. Blgr. 10,3 x 8,1 cm. Unter Passep. mont. New Ho. 122 II. - Obere rechte Ecke unauffällig ergänzt, etwas auslassend. Sonst gut erhalten. - Aus einer unbekannten Sammlung. KB (Lugt 4786.) - Jacob lamenting the death of Joseph. Etching on laid. Mounted under Passep. - Upper right corner inconspicuously added, somewhat omitting. Otherwise well preserved. D