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MANOLO VALDÉS (Valencia, 1942)."Queen Mariana II".Etching and aquatint intervened by the artist. Copy 45/50.Signed and justified in the lower part.Measurements: 100 x 68 cm; 124 x 91 cm (frame).The classics are a constant in Valdés' work, both the painters and the figures they have created and made iconic. In this particular case, the female figure in the scene is shown without a face, although her clothing and silhouette bring the viewer closer to the work of Velázquez. The handkerchief she holds in her hand opens up a universe of colour in which the work "Las Meninas", painted by Picasso in 1957 and currently part of the collection of the Picasso Museum in Barcelona, is recreated. In such a way that Valdés places himself before the spectator, as heir to the Spanish artistic tradition and successor to the great painters; Velázquez, Picasso and Valdés. The endless iconographic possibilities offered by Diego Velázquez's canvases are demonstrated in the work in question. As its name suggests, in the series "Queen Mariana as a pretext" Valdés uses the famous painting "Queen Mariana of Austria" (painted by the Sevillian painter between 1652 and 1653) to adapt it to works by avant-garde artists: Miró, Malevich, Klee and Braque, among others, make this series a true declaration of intent by the Valencian artist, vindicating the role of the great traditional and modern painters in the evolution of the history of art.Manolo Valdés introduced in Spain a form of artistic expression that combines political and social commitment with humour and irony. He began his training in 1957, when he entered the San Carlos School of Fine Arts in Valencia. However, two years later he abandoned his studies to devote himself fully to painting. In 1964 he founded the artistic group Equipo Crónica, together with Juan Antonio Toledo and Rafael Solbes, in which he remained until the latter's death in 1981, despite the fact that Toledo had left the group two years after its foundation. Since then he has settled in New York, where he currently lives and where he has continued to experiment with new forms of expression, including sculpture. Among the numerous awards Manolo Valdés has won are the Lissone and Biella awards in Milan, the silver medal at the II International Biennial of Engravings in Tokyo, the Bridgestone Art Museum prize in Lisbon, the National Prize for Plastic Arts, the medal of the International Festival of Fine Arts, the International Festival of Fine Arts in Paris, and the National Prize for Sculpture, among others, the medal of the International Festival of Plastic Artists of Baghdad, the Decoration of the Order of Andrés Bello in Venezuela, the prize of the National Council of Monaco, the Gold Medal for Merit in Fine Arts, the Prize of the Spanish Association of Art Critics and the Prize for the Best Print Artist, among others. Formally, Valdés produces a large-format work in which the lights and colours express tactile values, due to the treatment given to the materials. His work forces the viewer to delve into memory and search for significant images from the history of art. He is represented in some of the world's leading museums, such as the Reina Sofía in Madrid, the Metropolitan, the MoMA and the Guggenheim in New York, the Centre Georges Pompidou and the Fons National d'Arts Plastiques in Paris, the Kusnthalle in Hamburg, the Kunstmuseum in Berlin and the Museo de Bellas Artes in Bilbao, among many others.

Various prints, pictures, frames, Cresswell (Boak) Killarney, coloured etching, various other pictures and prints, Jennifer A Bell, Watch with Mother limited edition print, another pheasants, various other prints, pictures, frames, etc. (a quantity)

Kathleen Caddick (b.1937), etching of winter trees, monogrammed. H.49 W.57cm.

After Rembrandt, Cornelis Claesz seated at a table with books, etching, 7" x 6", (18 x 15cm), (unframed).

Bartolozzi after Zocchi, a scene of sheep shearing, etching and engraving, and an engraving by Berardi of an anointment, and a hand-coloured engraving of the death of Napoleon, (3).

Belgian School, 20th Century, Molsbrock II, etching signed in pencil, 18.5" x 16.5", (47 x 42cm) along with seven smaller etchings by the artist of sleeping female, (8).

Manfred Sillner (b. 1937), 'Per Aspera as Astra', an etching in colours, signed and inscribed in pencil, plate size 15.75" x 9.75", (40 x 25cm).

FRANCISCO DE GOYA Y LUCIENTES (Zaragoza, 1746 - Bordeaux, 1828).Folder with 15 etchings on paper, based on paintings by DIEGO VELÁZQUEZ (Seville, 1599 - Madrid, 1660).Published by the Calcografía Nacional. Madrid. For the San Fernando Royal Academy of Fine Arts.It has wrinkles, folds, slight stains.Measurements: 65 x 44 cm. c.u.Between 1777 and 1778, in response to the concern of several illustrious artists about the lack of engravers to reproduce the collections of the Royal Palaces, Goya offered to engrave plates in which he copied some of the most emblematic paintings by Velázquez belonging to these collections. This allowed him to study Velázquez's painting, which would influence him so much, as well as to learn etching independently, an engraving technique that allowed him enormous freedom from the academic sweet engraving, and which would form the basis for the rest of his series of prints: Caprichos, Desastres de la guerra (Disasters of War), Tauromaquia and Disparates. The copper plate is in the Calcografía Nacional (R. 3594) and the preparatory black pencil drawing in the Fundación Lázaro Galdiano (Inv. 10623), both in Madrid.On 28 July 1778 the sale was announced in the Gaceta de Madrid of: "Nine prints drawn and engraved with strong water by Don Francisco de Goya Pintor; whose originals of the size of the natural painted by Don Diego Velázquez exist in the Collection of the Royal Palace of this Court. They depict the figure of the kings Philip III and Philip IV, and of the Queens Margarita of Austria and Isabel of Bourbon, and that of Don Gaspar de Guzman Count Duke of Olivares, the standing figures of Menipo and Aesop and of the seated dwarfs. They are sold in the bookshop of Don Antonio Sancha in the old Aduana, and in that of Don Manuel Barco, Carrera de San Gerónimo. Their prices are, the equestrian figures at 6 reales and the others at 3; and they will be sold together and separately".

CLAUDIO DE LORENA (Lorraine, France, 1600 - Rome, Papal States, 1686)."Mercury and Argos", 18th century.Etching on paper.It has damp stains, folds, creases, dirt and some tears.Size: 16.5 x 22.5 cm; 31 x 39 cm (passe-partout).Claude Lorrain's style had many followers over the centuries. The present painting is a copy of one of his masterpieces in the Uffizi Gallery, "Port with Villa Medici", 1637. Lorrain was an important French landscape painter who worked in Italy. Born Claude Gellée, he took his artistic surname from his hometown of Lorraine in north-eastern France. His first apprenticeship in painting probably took place in Naples with the German landscape painter Godfrey Waals. In 1625, while in Rome, he came under the protection of Agostino Tassi (1578-1644), a landscape painter. After this period he travelled extensively in Italy, France and Germany, and returned to work in Lorraine. In 1627, he received the patronage of Cardinal Bentivoglio (1579-1644) and Pope Urban VIII (1568-1644). With these early works, Lorrain made a reputation as a talented landscape painter, who fully understood all the effects of light and the laws of nature.

ELIAS RIDINGER (Ulm, 1698-Augsburg, 1767)."Paradise or The Creation", 18th century.Etching on paper.It presents faults, damages and restorations.Measurements: 37 x 53 cm.German painter, engraver and publisher, Elias Ridinger is considered one of the best engravers of his time. Although he specialised in images of animals and hunting scenes, on this occasion he offers us a scene from the Old Testament, that of Paradise with Adam and Eve.

REMBRANDT HARMENSZ VAN RYN (Leiden, 1606 - Amsterdam, 1669)."Les Eaux-Fortes authentiques de Rembrandt".Texts: André-Charles Coppier. 1929Published by Firmin-Didot.Album with 128 reproductions of etchings by Rembrandt.Text in French.With wrinkles, creases and soiling. Some tears.Size: 35 x 29 x 5 cm.Album with 128 reproductions of etchings by Rembrandt. In hardback slipcase. Rembrandt was, besides being one of the great painters of the Dutch Baroque, an exceptional engraver. He worked with both burin and drypoint, always dispensing with prior drawing, attacking the plate directly and exploiting the expressive possibilities of the etching technique to the maximum. He made many tests, removing and inserting elements and retouching, hence the great sensation of immediacy of his engravings. He produced up to ten different states, and it even took him years to finish some of his works. Although his favourite subject was the self-portrait, he also produced some landscapes full of life and expressiveness, such as these rural views.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lars Nyborg limited edition coloured etching

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Copper and Zinc etching plates and tools

Etching press with blankets

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

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

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

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

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

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