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Click here to subscribeRembrandt van Rijn (1606-1669)The Raising of Lazarus: the Small PlateEtching with touches of drypoint, 1642, a good impression of New Hollstein's second state (of two) on laid paper without watermark, platemark 151 x 114 mm (6 x 4 1/2 in), sheet 163 x 124 mm (6 3/8 x 4 3/4 in) (unframed)Literature:Bartsch 72; New Hollstein 206 ii/ii
Rembrandt van Rijn (1606-1669)Joseph's coat brought to JacobEtching, circa 1633, a good detailed impression of New Hollstein's second state (of two), some signs of light wear to the plate but still with the faint outline of a second thumb below the thumb of the pointing man, on laid paper without watermark, sheet 108 x 80 mm (4 1/4 x 3 1/8 in), trimmed to or just within the platemark, Literature:Bartsch 38; New Hollstein 122 ii/ii
Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, a good but later impression of New Hollstein's seventh state (of eight) on laid paper without watermark, with some signs of wear in the plate, sheet 528 x 409 mm (20 3/4 x 16 1/8 in), trimmed within the platemark but with thread margin before borderline, lower right margin irregularly trimmed removing Basan's workshop address line, faint horizontal printers' crease in the centre with minor splitting repaired verso, mainly visible verso, even minor toning (unframed)Literature:New Hollstein 119 vii/viii
Giovanni Battista Tiepolo (1696-1770)Two Magicians and two Boys, from: Scherzi di FantasiaEtching, circa 1740, an excellent impression of the first state (of two) with strong contrasts on thick laid paper without watermark, before the plate number, printing with light wiping marks and small impurities in the plate, platemark 220 x 175 mm (8 5/8 x 6 7/8 in), sheet 230 x 185 mm (9 x 7 1/4 in), minor spotting and surface dirt (unframed)Literature:De Vesme 26 i/ii
Rembrandt van Rijn (1606-1669)The Descent from the Cross: Second PlateEtching and engraving, 1633, a good impression of New Hollstein's fifth state (of eight) printing with clarity, on laid paper without watermark, with only minor signs of wear in the plate and before any re-working by later hands, but with the publisher's name change featuring that of Justus Danckerts in the lettered margin, largely scraped, sheet 525 x 410 mm (20 3/4 x 16 1/4 in), trimmed within the platemark, with lower left corner with loss carefully replaced in pen facsimile, old central horizontal drying fold with small repairs to splitting, many small marginal nicks repaired and edges reinforced verso with pen borderline recto, some signs of browning and toning (unframed)Literature:Bartsch 103; New Hollstein 119 v/viii
Rembrandt van Rijn (1606-1669)The Crucifixion: Small PlateEtching, circa 1635, but a later impression of New Hollstein's final state (of three) on thick cream laid paper, platemark 96 x 67 mm (3 3/4 x 2 5/8 in), sheet 107 x 78 mm (4 1/4 x 3 in) (unframed)Literature:Bartsch 80; New Hollstein 143 iii/iii
Rembrandt van Rijn (1606-1669)The Tribute MoneyEtching, circa 1635, a good albeit later impression of New Hollstein's final state (of four), printing with tone visible to the left and right on thick cream laid paper without watermark, platemark 74 x 104 mm (2 7/8 x 4 1/8 in), sheet 87 x 117 mm (3 1/2 x 4 5/8 in), good margins (unframed)Literature:Bartsch 68; New Hollstein 138 iv/iv
Rembrandt van Rijn (1606-1669)Diana at the BathEtching, circa 1631, a lightly inked impression of the only state with some signs of wear within the densely crosshatched areas, on laid paper with large watermark of Arms of Amsterdam, platemark 177 x 158 mm (6 7/8 x 6 1/4 in), sheet 184 x 164 mm (7 1/4 x 6 1/2 in), hinged onto old support, numerous small nicks repaired verso, spotting and browning, handling creases, (unframed)Literature:Bartsch 201; New Hollstein 89 i/i
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, 1634, but a later impression of New Hollstein's final state (of five) on thick cream laid paper without watermark, platemark 121 x 106 mm (4 3/4 x 4 1/8 in), sheet 137 x 121 mm (5 3/8 x 4 3/4 in) (unframed)Literature:Bartsch 71; New Hollstein 127 v/v
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria among RuinsEtching, circa 1634, a very good bold impression of New Hollstein's third state (of five), with little wear to the densely hatched areas, on laid paper with partial 17th century watermark, sheet 120 x 110 mm (4 3/4 x 4 1/4 in), mostly with thread margins but some trimmed just within the platemark, minor surface dirt in the upper right corner, very light spotting (unframed)Literature:Bartsch 71; New Hollstein 127 iii/v
Rembrandt van Rijn (1606-1669)The Stoning of St. StephenEtching, 1635, but a later impression of New Hollstein's final state (of four) on thick cream laid paper, platemark 97 x 86 mm (3 3/4 x 3 3/8 in), sheet 107 x 97 mm (4 1/4 x 3 3/4 in) (unframed)Literature:Bartsch 97; New Hollstein 140 iv/iv
Rembrandt van Rijn (1606-1669)St. Jerome Kneeling in Prayer, Looking DownEtching, circa 1635, but a later impression of New Hollstein's second state (of 2) on thick cream laid paper without watermark, platemark 115 x 81 mm (4 1/2 x 3 1/4 in), sheet 125 x 92 mm (4 7/8 x 3 5/8 in) (unframed)Literature:Bartsch 102; New Hollstein 142 ii/ii
Rembrandt van Rijn (1606-1669)Old Bearded Man in a High Fur Cap with Eyes ClosedEtching, circa 1635, a good but a later impression of New Hollstein's final state (of four) on thick cream laid paper without watermark, platemark 114 x 103 mm (4 1/2 x 4 in), sheet 121 x 110 mm (4 3/4 x 4 1/4 in) (unframed)Literature:Bartsch 290; New Hollstein 148 iv/iv
Rembrandt van Rijn (1606-1669)The Pancake WomanEtching, 1635, a good but later impression of New Hollstein's final state (of seven), printing with light plate tone on thick cream laid paper without watermark, platemark 110 x 79 mm (4 1/4 x 3 1/8 in), sheet 119 x 87 mm (4 5/8 x 3 1/2 in) (unframed)Literature:Bartsch 141; New Hollstein 144 vii/vii
Giovanni Battista Tiepolo (1696-1770)The Discovery of the Tomb of Punchinello, from: Scherzi di FantasiaEtching, circa 1740, a good impression of the second state (of two) with the number in the upper right corner, sheet 235 x 182 mm (9 1/4 x 7 1/4 in), tipped onto support, several repairs to loss within the image, mainly visible verso, large tear in the upper right corner, numbering in brown ink in the upper centre, spotting and surface dirt (unframed)Literature:De Vesme 29 ii/ii
** Rembrandt van Rijn (1606-1669)The Pancake WomanEtching and drypoint, 1635, an excellent well inked dark impression of New Hollstein's second state (of seven), printing with many fine details and with drypoint burr found on the back of the dog and the woman's hat and coat, before any re-working by later hands, on laid paper without watermark, platemark 108 x 78 mm (4 1/4 x 3 in), sheet 110 x 83 mm (4 1/4 x 3 1/4 in) (unframed)Literature:Bartsch 141; New Hollstein 144 ii/vii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
** Rembrandt van Rijn (1606-1669)The Strolling MusiciansEtching, circa 1635, a good bold impression of New Hollstein's second state (of three), printing with excellent clarity before further re-work, on wove paper without watermark, sheet 143 x 117 mm (5 5/8 x 4 5/8 in), thread margins, minor nick to lower right extremity, small dot of adhesive within the cloak of the tallest musician (unframed)Literature:Bartsch 119; New Hollstein 14 ii/iii** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)The Return of the Prodigal SonEtching, 1636, a good albeit later impression of New Hollstein's final state (of three) on cream laid paper without any watermark, printing with tone, platemark sheet 152 x 135 mm (6 x 5 1/4 in), sheet 158 x 140 mm (6 1/4 x 5 1/2 in) (unframed)Literature:Bartsch 91; NH 159 iii/iii
Rembrandt van Rijn (1606-1669)Abraham Caressing IsaacEtching, circa 1637, an excellent delicately printed impression of New Hollstein's second state (of four) on fine laid paper without watermark, with the two dots printing very faintly but before any further rework, platemark 117 x 89 mm (4 1/2 x 3 1/2 in), thread margins, minor browning to upper left corner (unframed)Literature:Bartsch; New Hollstein 165 ii/iv
Rembrandt van Rijn (1606-1669)Joseph Telling his DreamsEtching, 1638, a fine impression of New Hollstein's third state (of six) on thin laid paper with partial indistinct watermark, before any later rework, sheet 111 x 85 mm (4 3/8 x 3 3/8 in), trimmed on or just within the platemark but with a thread margin before the borderline, minor even toning, small area of abrasion in the lower right corner (unframed)Literature:Bartsch; New Hollstein 167 iii/vi
Rembrandt van Rijn (1606-1669)A Peasant in a High Cap, Standing Leaning on a StickEtching, 1639, a good but later impression of New Hollstein's second state (of two), without any re-working but with the two dots in the upper right corner, on thick cream laid paper without watermark, platemark 84 x 44 mm (3 1/4 x 1 3/4 in), sheet 91 x 52 mm (3 5/8 x 2 in) (unframed)Literature:Bartsch 133; New Hollstein 178 ii/ii
Rembrandt van Rijn (1606-1669)The Artist Drawing from the ModelEtching, circa 1639, but a later impression of New Hollsteins' final state (of four) on thick cream laid paper without watermark, platemark 235 x 185 mm (9 1/4 x 7 1/4 in), sheet 240 x 190 mm (9 1/2 x 7 1/2 in), margins trimmed slightly irregularly, (unframed)Literature:Bartsch 192; New Hollstein 176 iv/iv
Rembrandt van Rijn (1606-1669)The Beheading of John the BaptistEtching, 1640, a good but later impression of New Hollstein's third state (of three) on thick cream laid paper, platemark 128 x 104 mm (5 x 4 1/8 in), sheet 139 x 113 mm (5 1/2 x 4 1/2 in) (unframed)Literature:Bartsch 92; New Hollstein 183 iii/iii
Rembrandt van Rijn (1606-1669)Three Oriental Figures (Jacob and Laban?)Etching, 1641, but a later impression of New Hollstein's second state (of two) on thick cream laid paper, platemark 145 x 112 mm (5 3/4 x 4 1/2 in), sheet 155 x 122 mm (6 x 4 3/4 in) (unframed)Literature:Bartsch 118; New Hollstein 190 ii/ii
Rembrandt van Rijn (1606-1669)Man drawing from a castEtching, circa 1641, but a later impression of New Hollstein's final state (of six) on thick cream laid paper without watermark, platemark 95 x 65 mm (3 3/4 x 2 1/2 in), sheet 104 x 73 mm (4 1/8 x 2 7/8 in) (unframed)Literature:Bartsch 130; New Hollstein 192 vi/vi
** Rembrandt van Rijn (1606-1669)Bearded Old Man in a High Fur Cap, with Eyes ClosedEtching, circa 1635, a good impression of New Hollstein's second state (of four) on laid paper with partial indistinct watermark, printing before later rework to the lower right corner, sheet 116 x 105 mm (4 1/2 x 4 1/8 in), sheet partially affixed onto support, several areas of restoration visible to old loss and tears, mainly in the upper left and upper right, but also to the lower centre of sheet (unframed)Literature:Bartsch 290; New Hollstein 148** This lot has been imported from outside the United Kingdom to be sold at auction under temporary importation, and therefore the buyer must pay the import VAT at a rate of 5%. On proof of export outside the United Kingdom, this duty can be refunded.
Rembrandt van Rijn (1606-1669)A Beggar Woman Leaning on a StickEtching, 1646, a good but later impression of New Hollstein's fifth state (of five), printing with tone on thick cream laid paper, platemark 82 x 64 mm (3 1/4 x 2 1/2 in), sheet 88 x 70 mm (3 3/8 x 2 3/4 in) (unframed)Literature:Bartsch 170; New Hollstein 229 v/v
Rembrandt van Rijn (1606-1669)Nude man seated and another standing, with a woman and baby lightly etched in the backgroundEtching, circa 1646, but a later impression of New Hollstein's final state (of eight) on thick cream laid paper without watermark, platemark 197 x 129 mm (7 7/8 x 5 1/8 in), sheet 204 x 138 mm (8 x 5 3/8 in) (unframed)Literature:Bartsch 194; New Hollstein 233 viii/viii
Rembrandt van Rijn (1606-1669)Jan Asselyn, PainterEtching, drypoint and engraving, circa 1647, a good but later impression of New Hollstein's final state (of seven), on thick cream laid paper without watermark, platemark 217 x 170 mm (8 1/2 x 6 3/4 in), sheet 225 x 178 mm (8 7/8 x 7 in) (unframed)Literature:Bartsch 277; New Hollstein 277 vii/vii
Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good but later impression of New Hollstein's final state (of five), on thick cream laid paper without watermark, platemark 167 x 128 mm (6 1/2 x 5 in), sheet 175 x 139 mm (6 7/8 x 5 1/2 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v
Rembrandt van Rijn (1606-1669)Clement de Jonghe, PrintsellerEtching and drypoint, 1651, but a later impression of New Hollstein's final state (of ten) on thick cream laid paper without watermark, platemark 208 x 162 mm (8 1/8 x 6 1/2 in), sheet 215 x 171 mm (8 1/2 x 6 3/4 in) (unframed)Literature:New Hollstein 264 x/x
Rembrandt van Rijn (1606-1669)Peasant Family on the TrampEtching, circa 1652, but a later impression of New Hollstein's final state (of three), on cream laid paper without watermark, platemark 114 x 92 mm (4 1/2 x 3 5/8 in), sheet 122 x 101 mm (4 3/4 x 4 in), scattered spotting, minor surface dirt (unframed)Literature:Bartsch 131; New Hollstein 266 iii/iii
Rembrandt van Rijn (1606-1669)A Scholar in his Study ('Faust')Etching and drypoint, circa 1652, a very good albeit later impression of New Hollstein's sixth state (of seven) on wove paper without watermark, sheet 210 x 160 mm (8 1/4 x 6 1/4 in), trimmed to or just within the platemark, minor browning, minor scraping verso to lower right corner, only visible verso (unframed)Literature:Bartsch 270; New Hollstein 270 vi/vii
Rembrandt van Rijn (1606-1669)The Flight into Egypt: Crossing a BrookEtching with drypoint, 1654, but a later impression of New Hollstein's only state, with the scratch on the Virgin's lap, on thick cream laid paper without watermark, platemark 95 x 143mm (3 3/4 x 5 3/4in), sheet 108 x 155mm (4 x 6 1/4 in) (unframed)Literature:Bartsch 55; New Hollstein 277
Rembrandt van Rijn (1606-1669)Christ and the Woman of Samaria: An arched PrintEtching, 1657, a later impression of New Hollstein's final state (of five) on thick cream laid paper, platemark 126 x 160 mm (4 7/8 x 6 1/4 in), sheet 138 x 173 mm (5 3/8 x 6 3/4 in), light mottling to sheet in places (unframed)Literature:Bartsch 70; New Hollstein 302 v/v
Rembrandt van Rijn (1606-1669)Abraham Francen, ApothecaryEtching, drypoint and burin, circa 1657, a later impression of New Hollstein's final state (of twelve), platemark 159 x 210 mm (6 1/4 x 8 1/4 in), sheet 167 x 218 mm (6 1/2 x 8 1/2 in), small margins (unframed)Literature:Bartsch 273; New Hollstein 301 xii/xii
Rembrandt van Rijn 1606-1669Lieven Willemsz. van Coppenol, writing masterEtching and drypoint, circa 1658, a good but later impression of New Hollstein's final state (of nine) after the reduction of the plate, on thick cream laid paper without watermark, platemark 160 x 135 mm (6 1/4 x 5 1/4 in), sheet 164 x 139 mm (6 1/2 x 5 1/2 in) (unframed)Literature:Bartsch 283; New Hollstein ix/ix
Giorgio Mantovano Ghisi (1620-1680)The Death of Procris, after Giulio RomanoEtching, circa 1540, but a later impression of the final state (of ten), with Rossi's imprint in the lower left, on laid paper with large armorial watermark, sheet 390 x 560 mm (15 1/4 x 22 in), small repairs to nicks and one minor perforation within the image, even toning and surface dirt (unframed) ⁂ The drawing by Romano is held in the Städelsches Institut, Frankfurt, and may have been designed by Giulio Romano to decorate the Gonzaga hunting lodge at Mamirolo (now destroyed).Together with Master of the Die (ca. 1530-60)Six plates of Tapestries after Raphael, from: TapestriesEngravings, circa 1530-1560, good impressions of the published states with imprint of Antonio Lafreri, on various laid papers, each platemark 210 x 285 mm (8 1/4 x 11 1/4 in), five with good margins, these held together with a pin in the margin, otherwise occasional spotting, browning and surface dirt (unframed)
Francisco José de Goya y Lucientes (1746-1828)El Cantor Ciego (The Blind Singer)Etching, aquatint and drypoint, circa 1818-23, on thick wove paper without watermark, numbered '165' in the upper right corner, platemark 187 x 120 mm (7 1/4 x 4 3/4 in), sheet 307 x 233 mm (12 1/8 x 9 1/4 in), exposure lines from previous mount with minor toning (unframed)Literature:Delteil 30; Harris 35
δ Hans Bellmer (1902-1975)UntitledEtching, circa 1960, signed in pencil, numbered from the edition 70 in Roman numerals, on Japon nacré paper, with full margins, sheet 670 x 510mm (26 3/8 x 20 1/8in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Marc Chagall (1887-1985)Untitled (Cramer 99)Etching with aquatint printed in colours, 1975, as included in the deluxe edition of Celui qui dit les chosen sans rien dire, signed in pencil, numbered from the edition of 25, printed by Mourlot, published by Maeght Éditeur, Paris, on Imperial japan paper, with full margins, sheet 473 x 350mm (18 5/8 x 13 3/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Le Système Caga y Menja (Field 73-20-I)Etching printed in colours with engraving, 1973, signed in pencil, numbered from the edition of 210, as included in the portfolio Dix Recettes D'Immortalité, published by Audouin-Descharnes, Paris, on Auvergne Vélin Narcisse Richard de Bas with a watermark designed by the artist, the full sheet printed to the edges, sheet 393 x 570mm (15 ¾ x 22 ½ in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Romeo and Juliet, from Much Ado About Shakespeare (Field 68-7 C; M&L 269e)Etching printed in colours, 1968, signed and inscribed 'E.A.' in pencil, an épreuve d'artiste aside from the edition of 150, published by Jean Schneider, Basel, on Japon nacré, with full margins, sheet 335 x 255mm (13 1/4 x 10in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Femme au cochon, from 'Faust' by Johann Wolfgang von Goethe (Field 69-1B; M&L 299k)Etching extensively heightened with watercolour, 1968-69, signed in pencil, numbered from the edition of 145, published by Éditions Argillet, Paris, on Japon paper, with the Dali blindstamp, with full margins, sheet 385 x 285mm (15 1/8 x 11 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Buste/Der Skulptur, from 'Faust' by Johann Wolfgang von Goethe (Field 69-1D; M&L 304k)Etching extensively heightened with watercolour, 1968-69, signed in pencil, numbered from the edition of 145, published by Éditions Argillet, Paris, on Japon paper, with the Dali blindstamp, with full margins, sheet 385 x 285mm (15 1/8 x 11 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Femme au clown/Des Pudels Kern, from 'Faust' by Johann Wolfgang von Goethe (Field 69-1D; M&L 302k)Etching extensively heightened with watercolour, 1968-69, signed in pencil, numbered from the edition of 145, published by Éditions Argillet, Paris, on Japon paper, with the Dali blindstamp, with full margins, sheet 380 x 285mm (15 x 11 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
NO RESERVE Bartolomeo Biscaino (1629-1657) The NativityEtching, circa 1650, an excellent impression on fine laid paper with watermark of the letters 'PA' with three leaf flower [probably mid-17th century], published by Daman, sheet 387 x 270 mm (15 1/4 x 10 5/8 in), small repaired tear to centre right with careful repair verso (unframed)Literature:Bartsch 7
δ Salvador Dalí (1904-1989)Le legacy, from Historia de Don Quichotte de la Mancha (Field 80-1N)Etching with aquatint printed in colours, 1980, signed in pencil, numbered from the G edition of 125, published by Levine and Levine, New York for DALART, with the DALART blindstamp, on Arches paper, with full margins, sheet 760 x 567mm (29 7/8 x 22 1/4in) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Rembrandt, from Quinze Gravures (not in Field; M&L 292b)Etching printed in black and brown, 1968, signed in pencil, numbered from the edition of 75, printed by Ateliers Rigal, Paris, published by Werbungs- und Commerz Union Anstalt, Vaduz, on Japan nacré, with full margins, sheet 428 x 312mm (16 7/8 x 12 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Sigismund enchainé, from La vida es sueño (Field 73-1 M; M&L 523a)Etching with aquatint printed in colours, 1971, signed in pencil, numbered from the edition of 250, published by Editeuropa, Monaco, on Richard de Bas paper, with full margins, sheet 666 x 507mm (26 1/4 x 20in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
δ Salvador Dalí (1904-1989)Lune (Luna geminata), from Flordali (Field 68-3-F; M&L 230c)Etching with drypoint and pochoir in colour, 1968, signed in pencil, numbered from the edition of 175, published by Jean Schneider, Basel, on Japon nacré, with margins, sheet 768 x 565mm (30 1/4 x 22 1/4in)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
ROBERT CLATWORTHY R.A. [1928-2015]. Abstract, 1952. etching, only 2 or 3 were ever printed [all in 1952]; signed with initials [as usual]. 17 x 17 cm - overall including frame 36 x 37 cm. Provenance:the artist; private collection, UK. [very good condition - unexamined out of frame] - Buyers premium 20% + vat payable.
ALEXANDER MACKENZIE [1923-2002]. Scrimshaw (Mary Rose), 2002. Etching and aquatint on Arches paper with full margins, edition of 20, printed at Stoneman Graphics, Cornwall, signed, dated and numbered in pencil. 14.5 x 30cm [image size]. Unframed. [Very good condition]. Buyers premium of 20% + VAT is payable. Artists Resale Rights [ARR] of 4% are payable on the hammer price of all lots selling for the UK £ equivalent of 1000 euros or more. Bidding via The-Saleroom.com incurs a fee of 4.95% + VAT on hammer price. This lot is stored in London and can be collected or shipped from there.
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