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Click here to subscribeRembrandt van Rijn (1606-1669) Old Bearded Man in a High Fur Cap with Eyes ClosedEtching, circa 1635, but a later impression on laid paper without watermark, platemark 111 x 102 mm (4 1/4 x 4 in), sheet 122 x 110 mm (4 3/4 x 4 1/4 in), minor even toning, some minor wear within the plate (unframed)Literature:New Hollstein 148 iv/iv
δ Salvador Dalí (1904-1989)Querubines (Field 77-3-32)Etching with aquatint with pochoir colouring, 1977, signed in pencil, numbered from the edition of 200, as included in Les Caprices de Goya, on BFK Rives paper, with full margins, sheet 445 x 310mm (17 ½ x 12 ¼ in) (unframed) 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)The Golden Helmet of Madrino (Field 80-1-F)Etching with aquatint printed in colours, 1980, signed in pencil, numbered from the edition of 125, as included in the portfolio Historia de Don Quichotte de la Mancha, published by Levine and Levine, New York, with the DALART blindstamp, on Arches paper, with full margins, sheet 760 x 565mm (29 7/8 x 22 ¼ in) (unframed) δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
Monogrammist G.N. (active 1550-1650)Reclining nude [?Ulysses], possibly after Francesco Primaticcio (1503-1570)Etching, late 16th century or early 17th century, printing with delicate plate tone and inky edges, wiping marks visible, on laid paper without watermark, sheet 109 x 158 mm (4 1/4 x 6 1/4 in), hinged onto mount bearing attribution 'Parmaticcio', with further pencil inscription verso 'Primaticcio', trimmed to or just within the platemark, spit to lower centre, repaired (unframed)⁂ The present author has been unable to trace another impression, or any other work by the Monogrammist G.N. A highly intriguing etching, both in its distinctive style and application of line, as well as its unique perspective. Attributions to mid- to late-16th century Italian engravers, and printmakers associated with the School of Fontainebleau suggest associations and influences, but do not appear to yield firm attributions; apparently a "forgotten" 16th century peintre-graveur.
** Rembrandt van Rijn (1606-1669)Self Portrait in a Velvet Cap and PlumeEtching, 1638, a good but later impression of New Hollstein's third state (of four), on laid paper affixed onto support, sheet 132 x 104 mm (5 1/4 x 4 1/8 in), mounted on card support, careful restoration to loss of upper third section of the sheet, restored just above the line of the cap (unframed)Literature:New Hollstein 170 iii/iv** 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.
δ Marino Marini (1901-1980)Miracolo (A.210)Etching with aquatint printed in colours, 1978, signed and numbered from the edition of 75 in pencil, published/printed by ZWR, London, on Arches paper, with full margins, sheet 760 x 565mm (30 x 22 1/4in) (unframed)δ This lot is sold subject to Artists Resale Rights, details of which can be found in our Terms and Conditions.
A naval officer’s dress sword for Lieutenant, c 1812-1825, tapering shallow diamond section blade 27½”, with traces of etching beneath langets, gilt stirrup hilt with flat ground and plain edged langets bearing crowned fouled anchor, round section knucklebow, lion’s head pommel and backstrap, diced and ribbed dark horn grip, in a well restored leather scabbard, the original locket and chape with traces of gilt. Good Condition Plate. £300-500
A scarce naval midshipman’s sword c 1850, fullered blade 24” with spear point and traces of etching, the regulation pattern hilt having folding guard and white fishskin covered grip, in its brass mounted leather scabbard. Basically GC, the hilt retaining traces of gilt (dark staining to blade, grip wire slightly AF, some cracking to scabbard leather). £350-500 Note: Midshipmen were entitled to wear swords up until 1856.
E. SHARLAND ETC. Two coloured etchings by E. Sharland of Boulogne & The Bridge of Sighs, Venice. Both signed in pencil & titled beneath the mount. Each 41 x 28cm & 45 x 28cm. Also, one other coloured etching by A. Dupont, 31 x 21.5cm. Please note that all items in this auction are previously owned & are offered on behalf of private vendors. If detail on condition is required on any lot(s) PLEASE ASK FOR A CONDITION REPORT BEFORE BIDDING. The absence of a condition report does not imply the lot is perfect.WE CANNOT SHIP THIS LOT due to fragility, size or weight. Our recommended carrier is MBE Plymouth on +44 (0) 1752 257224 or info@mbeplymouth.co.uk
JOHN BRANGWYN (20th century). A black & white etching of sailing vessels in calm waters, with figures on the bench; signed in pencil lower margin; 5¾” x 11½”; another etching “Sunset on the Broads”, singed K. Vernon, 4” x 9¾”; & a watercolour sketch of trees, 8” x 12” (the etchings framed & glazed; watercolour un-glazed).
S. R. C. WALMSLEY (20th century). A black & white etching titled: “The Shingler”; signed in pencil lower margin, 9” x 7¼”; another by F. ROBSON (1880-1936) “The Gateway, St. Johns Hospital, Canterbury”, 10” x 5”; & another by GEO. A. WESETON “Lincoln Cathedral”, 6¼” x 8½”; each framed & glazed. (3).
Rembrandt Van Rijn, "Pharisees in the Temple" etching and drypoint on laid paper. Partial watermark; Haewood 1366. Signed and dated in the plate upper center Rembrandt.f. 1648. Catalog: Bartsch, Hollstein 126. Provenance: Dr. George Kofas collection, former professor of fine arts; University of Maryland overseas division, as well as a fine arts instructor for the Department of Defense.Image Size: 2 13/16 x 5 in. Overall Framed Size: 15 x 17 in.
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![Monogrammist G.N. (active 1550-1650)Reclining nude [?Ulysses], possibly after Francesco Primaticcio (1503-1570)Etching, late](https://cdn.globalauctionplatform.com/df8dd1ca-6cc3-45e7-88f5-ad9f00bbacfc/cc9a0153-e602-409f-a1b1-ad9f00e5288f/468x382.jpg)
