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Ferdinand Bol (1616-1680) - The Astrologer / Description: The astrologer; half-length figure, seated at a desk with a globe and a large pile of books. Signed in the plate to left of the chair's backrest: 'Bol'. Etching and drypoint by Ferdinand Bol who was a coöperator with Rembrandt in his studio in the 1640's. This etching is clearly strongly influenced by the style of Rembrandt what is typical for the Ferdinand Bol works in his 1640-1660 period. Afterwards he moved furhter away from the style of Rembrandt. A fine and excellent impression of the second state on watermarked laid paper (partial crown visible) / Dimensions: 12,70 x 9,50 cm / Condition: Outstanding luminous impression of the second state on a fine laid paper. In excellent condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (8.II) --- Bartsch-Claussin 1797-1828 / Catalogue raisonné de toutes les estampes de Rembrandt (plus Supplement) (II.46.8) --- Rovinski 1894 / L'oeuvre gravé des élèves de Rembrandt (19.8) / Medium: Etching with drypoint /Circa: 1640-1660

Samuel Bottschild - The Times of the Day - Complete series - 1693 / Description: Complete series of four etchings + Dedication page. Aurora, Meriddes, Vesper, Nox, Mercurius holding a paper scroll. Five etchings from the series 'Opera Varia Historica Poetica & Iconologica' published in 1693. The opera contains almost the entire oeuvre of the artist and consists of 48 etchings, mostly designs for ceiling pieces. / Dimensions: 18,50 x 20,40 cm / Condition: Very good early impressions in full sheets (36 x 30 cm) of watermarked laid paper. Overall in very good condition with some moderate soiling mainly in the wide margins. A nice complete set. / Literature: Hollstein / German engravings, etchings and woodcuts c.1400-1700 (1-48) ---- Samuel Bottschild ( 1640-1707): German painter, draughtsman, graphic artist and writer on art. born in Sangerhausen in Thuringen and from an important artists family from the 16th and 17th century. He was a son and pupil of Andreas Bottschild II (c. 1590-1657), a painter and engraver, who decorated churches in Sangerhausen. Samuel had further training with his brother Johann Andreas Bottschild (b 1630; d after 1670), with whom he went to Saxony. In 1658-61 they worked jointly on gallery paintings of 19 scenes from the Passion in the Dorfkirche at Hohnstädt, near Leipzig. The decorations for the banqueting hall of Schloss Rötha, near Leipzig (c. 1668-70) were Bottschild's first complete programme of mythological themes. At Rötha he also completed two group portraits of the female and male lines of the Friesen family.Noted is a group of engravings showing his works from 1693 / Medium: Etching /Circa: 1693

Adriaen van Ostade, Willem Basse - The urinating farmer / Description: A farmer watering against a tree, standing with his right hand on his back before a barrel and a jug, farmhouse and bridge in the background. Signed bottom left 'AOS'.Etching made by Willem Basse, formerly attributed to: Adriaen van Ostade.. This etching is signed A.O.S. and was long time attributed to Adriaen van Ostade but in fact it was Willem Basse who etched this work after a design by van Ostade. Here we have a print from the uncut plate with the complete blanc text line. All the impressions I have found (British Museum, Rijksmuseum...) are without this blanc text line. Rare in this complete form. / Dimensions: 16,40 x 11,00 cm / Condition: A good impression on a full sheet with a small weapon of Amsterdam watermark. The sheet is larger than shown on the image and measures 24 x 18 cm, hidden behind a window cut passe-partout. Condition is excellent. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (33-III) --- In his catalogue raisonné of the work of Adriaen van Ostade; Godefroy catalogued five prints as Apocryphal prints (A-E), this is one of them : (B - III/III) The pissing farmer / Le paysant qui pisse. Boon and Verbeeck attribute this print to Willem Basse / Medium: Etching /Circa: 1628-1648

Jan Vincentsz. van der Vinne - De Herreberg Rustenberg - / Description: View of a street in Haarlem with the Rustenberg inn, buildings at right and a row of trees at left, with various figures. Etching made by Jan Vincentsz. van der Vinne (1663-1721) between 1680 and 1700. First etching for a series' Gesigten buijten Haarlem, Gedaan door. J.V.V. (Views in the surroundings of Haarlem)'. A fine example of the Dutch style towards the end of the Golden Age. Van der Vinne is one of the artist featured in recommended book by Irène de groot about the landscape in the Dutch engravings from the 17th century. / Dimensions: 15,00 x 19,00 cm / Condition: Excellent impression with full plate border and small margins on watermarked laid paper. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (1.III) / Medium: Etching /Circa: 1680-1700

Crispijn de Passe - Complete set of Archangels (10) / Description: A complete set of the Archangels in first state. Very very rare. No other completer set found. In the second state the inscription: Crispin de Passe' inv et excudit' was altered wit the 'excudit' erased. The set comprises nine archangels and one title page with 'Pater Omnipotens showing God the Father enthroned on the globe surrounded by clouds and cherubs. In the second state another title page was used with mainly text and two prints were added, one showing Christ as a child, and one showing an angel golding two spheres with Maria and the Angel Gabriel in it. All prints of our first state set signed: Crispin de Passe inv et excudit. / Dimensions: each 14,60 x 10,10 cm / Condition: Excellent early impressions on single sheets of watermarked laid paper with very wide margins. The outer top right corner of most sheets with some faded damp staining. Title etching complete with full plate border and tread margins. A nice complete homogene very rare set. / Literature: Hollstein 295-304, I / II ------------------------------- „Pater Omnipotens“: Depiction of God over the globe in a glory of angels. Writing edge with Latin text „Omnia nos omnes...“.„Throni Zaphkiel“: Depiction of the archangel Zaphkiel holding a palm leave; in the left background, the Egyptian pharaoh and his army crossing the Red Sea; in the right background, the ascension of Christ. Writing edge with Latin text „In mare...“.„Dominationes Zadkiel“: Depiction of the archangel Zadkiel with reversed sword and a cross; in the left background, the sacrifice of Abraham; in the right background, the crucifixion of Christ. Writing edge with Latin text „Parce tuo...“.„Principatvs Camael“: Depiction of the archangel Chamuel with staff; in the left background Jacob wrestling with the angel; in the right background Christ at the Mount of Olives. Writing edge with Latin text „Nos Israel...“.„Potestates Raphael“: Depiction of the archangel Raphael with staff; in the left background Raphael is sent to earth to answer the prayers of Tobit and Sara; in the right background the annunciation to the shepherds. Writing edge with Latin text „Per me carpisiter...“.„Virtvtes Haniel“: Depiction of the archangel Haniel with the crown of thorns; in the left background the mocking of Noah; in the right background Christ crowned with thornes. Writing edge with Latin text „Perdite...“.„Archangeli Michael“: Depiction of the archangel Michael defeating the Satan; in the background scenes from the Last Judgement. Writing edge with Latin text „Luciferum...“.Angeli Gabriel“: Depiction of the archangel Gabriel; in the left background the annunciation; in the right background the archangel Gabriel announcing the birth of St John the Baptist to Zacharias. Writing edge with Latin text „Nuncio Conceptus...“.„Ghervbim Iophiel“: Depiction of the archangel Jophiel with whip and flaming sword; in the left background Jophiel expelling Adam and Eve from paradise; in the right background Christ driving the money changers from the temple. Writing edge with Latin text „Vindicibus...“.„Seraphim Vriel“: Depiction of the archangel Uriel with book and scroll; in the left background Esra kneeling before Uriel; in the right background two disciples meeting Christ on the way to Emmaus. Writing edge with Latin text „Lumine Doctrinae...“. / Medium: Engraving /Circa: 1590-1637

Rembrandt Van Rijn - Faust - 1652 / Description: A Scholar in His Study ('Faust'); Man wearing robes and a cap standing behind his desk looking at the apparition of an inscribed and radiant disk and a vague figure with a pointing hand in the window, a globe in the right foreground, papers, a skull and curtain in the background. This very good impression of the sixth state exhibits minimal wear in the densely hatched background areas, highlighting the exceptional quality of the print. Impression before the copper plate came in the possession of Basan who published a reworked seventh state. Our print,In this impression and printing condition is truly enjoyable. / Dimensions: 13,30 x 10,40 cm / Condition: With full plate border and half centimeter margins on a little sheet of laid paper with no visible watermark. In excellent condition. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (270.VI /VII) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (260.II/III) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (270.II/III) ------- This is one of Rembrandt’s most puzzling prints. its exact subject is a mystery. It shows an elderly scholar in his study, transfixed by the apparition of a blazing disc of light enclosing a series of letters. The scene may represent an alchemist, but does not correspond with traditional representations of the subject. The shining disc also remains unexplained, although the letters ‘INRI’ match the inscription placed over Christ’s head during the crucifixion. The scene possibly shows an allegory of faith; the letters surrounding the disc are intended to be indecipherable, reminding the learned scholar that human knowledge is limited and ambiguous, in contrast with the clarity of divine wisdom. (Source text: National Galleries of Scotland) / Medium: Etching and drypoint /Circa: 1652

Antonio Tempesta, Raphael Sadeler, the four elements, rare complete set. / Description: The four elements, complete set of 4 engravings made after a drawing or etching of Antonio Tempesta (1555-1630) from 1565-1630, published by Raphael Sadeler (1584-1632). Very rare set of four engravings in excellent condition. Good impressions printed on thin laid paper on the margins, images are complete. Mounted on another paper. All four born together, printed on the same kind of thin laid paper. Very rare. / Dimensions: 14,0 cm x 19,2 cm / Condition: Very rare set of four engravings in excellent condition. Good impressions printed on thin laid paper on the margins, images are complete. All four born together, printed on the same kind of thin laid paper. Mounted on another paper. Very rare. / Literature: / Medium: 4 engravings, complete set /Circa: 1600-1632

Gerard de Lairesse, Johannes Glauber, Adoration of the shepherds. / Description: Adoration of the shepherds, etching after a drawing/painting of Gerard de Lairesse (Luik 1641-Amsterdam 1711), etching made by Johannes Glauber ca 1656-1726. Etching published by Leonard Schenck in Amsterdam. References: Hollstein German 54 4(4). Etching in very good condition printed on laid paper with 5 mm margins. Good impression. With a watermark. / Dimensions: 28,1 cm x 38,6 cm / Condition: Etching in very good condition printed on laid paper with 5 mm margins. Good impression. With a watermark. / Literature: Hollstein 54 4(4) / Medium: etching /Circa: 1656-1726

Lucas van Uden (1595-1672) - Landscape with a rain shower / Description: Wide Flemish landscape seen from a height. A windmill at the horizon, rain falling in the distance, a group of people at left. Print made by Lucas van Uden Bartsch 47 II. Signed bottom left V V f (Van Uden Fecit) C.W.Ex (Van Wyngaerde excudit). This is the third of a series of three wide landscapes. This three landscapes are part of the best engraved landscapes we have by Van Uden. (Bartsch) / Dimensions: 8,80 x 21,20 cm / Condition: Fine etching on a laid paper sheet with full plate border and tread margins. Small paper defect in the bottom left corner. Closed tear middle right. / Literature: Bartsch 47, II ( Lucas van Uden) / Medium: Etching /Circa: 1630-1660

Rembrandt Van Rijn - The adoration of the shepherds - 1652 / Description: The adoration of the shepherds: a night piece; the holy family sits on the right in the light of a lantern, with the Virgin lying under a sheet which she holds up from her face to look at Christ who is sleeping between her and Joseph, on the right, who holds a book and looks up towards the shepherds leaning in from the left, the one closest to the center holding a lantern, the silhouettes of cattle in the left foreground. Etching made by Rembrandt in 1652.Original Rembrandt etching on watermarked laid paper, a very good impression of New Hollstein’s ninth state (on eleven) before the later rework. / Dimensions: 15,00 cm x 19,80 / Condition: This well inked impression does justice to the nature of this fine night piece. A very good impression in perfect condition on a sheet of watermarked laid paper with good margins. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (300.IX/XI) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (255) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (46) ----- Hinterding et al. 2000 / Rembrandt the Printmaker (67)--------- In this etching Rembrandt injects a new immediacy to the subject by the humanity and naturalism of his depiction. The heavily bundled baby and the exhausted Virgin sheltering beneath a blanket provide a sense of the harsh realities of giving birth in a stable in the early hours of a freezing night. / Medium: Etching /Circa: 1652

Etching by Simon Frisius. The design is by Hendrik Hondius I (1573 - 1650) Reference: New Hollstein 10 ( I / II ) First state before the publishers address of Claes Jansz.Visscher / Dimensions: 18.00 x 22,80 cm / Condition: Excellent impression on watermarked laid paper with full plate border and good margins. Very small closed tear top middle margin, otherwise fine.. / Literature: New Hollstein 10 ( I / II )/ Medium: Etching /Circa: 1605

Rembrandt van Rijn - The Crucifixion - 1635 / Description: The Crucifixion with mourning figures at base of cross, the Virgin collapsing at right; small plate. c. 1635 Etching and drypoint. Original etching by Rembrandt with the additional lines by the Basan workshop as added in this second state. / Dimensions: 7,20 x 12,90 cm / Condition: A good impression with full plate border and margins on strong lines and good plate tone on medium weight laid paper. In very good condition. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (143.II) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (123) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (80) / Medium: Etching with drypoint /Circa: 1630

Claude Lorrain (1600-1682) - Forum Romanum - 1636 / Description: Forum Romanum in Rome; Le Campo Vaccino. This is the only etching by Claude Lorrain that shows a true view of Rome . View of the forum in Rome with many people. Under the ground, the columns of temples, right the arch from Septimius Severus. In the foreground and on the field are shepherds with their cows. Extensive info with date and Claude Gelleé invent et Sculp in text line, als signed CL.I bottom left. A final state on medium thick woven paper. / Dimensions: 20,00 x 25,80 cm / Condition: A good impression in very good condition with the little wear as typical for this state, on medium thick paper trimmed in plate border with full image borderlines. / Literature: Russel 26 (5th state) --- Duplessis 23 --- Robert Dumesmil 23 --- Blum 17 --- Le Blanc 23 --- Leber Veritas 9 --- Claude Mannocci 17 (9 th State) / Medium: Etching /Circa: 1636

Dirk Stoop - A pissing horse / Description: A pissing horse bound to a post at center, seen in profile facing right, a man sitting behind the horse at right, hills in the background; with added etching in the skySigned in the lower right corner of the print, written on a stone: "D Stoop f.". / Dimensions: 14,60 x 19,00 cm / Condition: Good condition. Trimmed on plate border. / Literature: Weigel 1843 158.5.II Hollstein 5.II Bartsch IV.96.5 / Medium: Etching /Circa: 1651

Matthäus Merian - View on Paris with the Louvre / Description: This view on Paris as seen by two gentlemen standing on the south terrace of the Notre Dame gives a good view on 'Ile de la cité' The square of the Notre Dame is still filled with a plentitude of houses. V-Central middle we see 'La Sainte Chapelle'. Very interesting print showing the completely changed center of Paris. This is how it looked around 1620. A nice cityscape signed P Aubry Excudit. (Wüttrich: Basler Zeit 1620/1624, Kleinformatige Topographische Ansichten, kleine französische lLandschaftern (415-421). This print is dating from the first half of Merian his career (in his twenties . The publisher was Peter Aubry, who was based in Oppenheim when Merian went on to live there (1617-20) Matthäus Merian I (1593-1650), born in Basel, Switserland moved to Oppenheim in 1617 and when the city of Oppenheim was destroyed in 1620 by fire during the Spanish occupation he moved back to Basel. Merian married the daughter of Theodor de Bry in 1617 and worked for his father-in-law. In his early works, he showed a great talent for free landscape etching after his own designs, close to his contemporains Jan van de Velde and other fine Dutch landscape artist. His landscape art from that period deserves more attention and appreciation as it is far more interesting than his later. / Dimensions: 11,25 x 16,75 cm / Condition: Good impression, on a sheet of laid paper tipped with three corners on a support sheet. Good condition with no folds, tears or stains. / Literature: Wüthrich 1966-1996 (Merian) - 421, only state / Medium: Etching /Circa: Circa 1620-1623

Rembrandt van Rijn, Rembrandt's mother, 1631. / Description: Rembrandt's Mother. Etching made by Rembrandt Van Rijn (1606-1669), 1631. References: New Hollstein Dutch 91 2(3), second state of three, Bartsch 343 2(3), Hollstein Dutch 343 2(3). Very good dark impression on thin laid paper just on/in the margins. With a very good watermark: Würtenburg, In very good condition. Collectors mark on the back: not in lugt.. Rare etching. / Dimensions: 14,3 cm x 12,9 cm / Condition: Very good dark impression on thin laid paper just on/in the margins. With a very good watermark: Würtenburg, In very good condition. Collectors mark on the back: not in lugt.. Rare etching. / Literature: New Hollstein Dutch 91 2(3), second state of three, Bartsch 343 2(3), Hollstein Dutch 343 2(3). / Medium: etching /Circa: 1631

Anthonie Waterloo (1609 - 1690) - The Watermill / Description: One of the most wanted prints by Waterloo: The mill at far right, next to a stream and surrounded by tall trees, at left a woman and child passing a small roadside votive placed on a pollard. At bottom right: "AWaterlo fecit.". From six large upright landscapes. / Dimensions: 29,30 x 23,50 cm / Condition: Good impression of the second state on wide margined laid paper. Excellent condition. / Literature: text / Medium: Etching /Circa: 1640-1675

Anthonie van Borssom, Cornelis Ploos van Amstel - Church interior - 1774 / Description: Interior of a church with an artist sketching, an artist seated at the foot of a pillar, a lady and gentleman walking behind at right, coats of arms hanging on three pillars; after a drawing by Anthonie van Borssom of 1630 (formerly attributed to Pieter Saenredam); from a series of forty-six print drawings (published in separate sets between 1765-1787). Etched in 1774 and published in 1774 . On the backside the coat of arms of Ploos van Amstel (Lugt. 2034) and inscribed by Ploos van Amstel, in pencil: "P. Saenredam: del. 1630. Ploos van Amstel I.C. F: 1774". Etching and roulette done by his cooperator Bernard Schreuder in Ploos van Amstel's technique to create a crayon-manner result almost equal to the drawing. The design was attributed to Pietrz. Jansz. Saenredam but then a drawing came up signed by the Amsterdam born artist Van Borssom. Drawing now in the British Museum (1912,1214.7) / Dimensions: 19,10 x 15,10 cm / Condition: Top quality original print drawing in excellent condition on laid paper. Tipped with left side only on a part of the original square thick laid paper sheet , with hand drawn frame border in washed ink. / Literature: Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, pp.264-265, no.21. / Medium: Hand colored etching /Circa: 1774

Franz Edmund Weirotter (1733-1771) - The Waterfall - Proof state. / Description: Landscape with a two figures on a path to right mountainous landscape with a waterfall to left; after a drawing by Dietrich; Proof state. 1760s. Etching by Franz Edmund Weirotter after Christian Wilhelm Ernst Dietrich. There are four states known by this etching. In the final state there is a text line beneath the print and an armory bottom middle partially overlapping the print. Here we have a proof state before text and before signature. / Dimensions: 28,50 x 36,00 cm / Condition: Excellent impression on watermarked laid paper trimmed just on/outside plate borders with traces of tread margins. Complete with the blank test line. In very good condition. / Literature: Winterberg 1998 / Franz Edmund Weirotter, der Landschaftsradierer (117) - ( Proof state / IV) / Medium: Etching /Circa: 1760's

Rembrandt Van Rijn - Studies of the Head of Saskia and Others - 1633 / Description: Studies of the Head of Saskia and Others (B., Holl. 365; New Holl. 157; H. 145) Etching, 1636, good impression of New Hollstein's first state (of two) with the scratches between the turban of the woman at upper left and Saskia's hair still slightly visible. The impression is printed with plate tone and features added shadows applied by hand in gray ink, particularly evident on Saskia's eyes and breast, as well as the face of the woman in the upper left corner. Hollstein references other examples of this print in the first state that have been retouched with pen and gray ink (e.g., Brussels S I 30370 and Stuttgart A11086, retouched with pen and brown-gray ink), indicating that such practices were not totally uncommon for this early state." / Dimensions: 15,50 x 12,50 cm / Condition: Good impression with full plate border and small margins on laid paper with no visible watermark. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (157.I/II) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (1458.I) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue 365) / Medium: Etching /Circa: 1636

Rembrandt Van Rijn - Joseph and Potiphar's wife - 1634 / Description: Joseph and Potiphar's wife; semi-nude female figure on bed, grasping at cloak of man who pulls away; third state on four, with shading lines added. Signed bottom left and dated. Etching made by Rembrandt in 1634. Original Rembrandt etching on watermarked laid paper. / Dimensions: 9,20 cm x 11,60 / Condition: Very fine impression with full plate border and good margins on fine watermarked laid paper. Condition is very good with some paper thinning from the backside bottom middle / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (128.III/IV) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (118.II) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (39.II) / Medium: Etching /Circa: 1634

Reinier Nooms, Zeeman, Fishing boats in a bay, 1656. / Description: Fishing boats in a bay, Etching by Reinier Nooms, Zeeman, ca 1656, from the rare series of "Some Seaports", "Quelqe port dee Meer". Hollstein Dutch 100 2(2). Rare etching in very good condition printed on thin laid paper with narrow margins. Some very tiny spots nearly visible. Very good impression. With a good watermark: foolshead. / Dimensions: 13,2 cm x 20,0 cm / Condition: Rare etching in very good condition printed on thin laid paper with narrow margins. Very good impression. Some very tiny spots nearly visible. With a good watermark: fools head. / Literature: Hollstein 100 2(2), The Illustrated Bartsch 27-2(2) / Medium: etching /Circa: 1656

Adriaen van der Kabel (1630-1705) - Woman chased by young man / Description: Landscape with mountain path on which a running woman is followed by a young man. Over a field view of a village, behind which a lake with mountains in the background. Third print from a series of six. Nice classical landscape. / Dimensions: 22,40 x 33,90 cm / Condition: Good impression on laid paper with full plate borders and good margins. Flattened middle fol, otherwise in very good condition. / Literature: The illustrated Bartsch, p. 253, cat.nr. 40 (253) --- Dutch and Flemish etchings, engravings and woodcuts ca. 1450-1700, p. 83, cat.nr. 46 / Medium: Etching /Circa: 1648-1705

Portrait of Tijl Uilenspiegel, Coenraat Waumans, Johannes Meyssens. / Description: Portrait of Tijl Uilenspiegel, engraving made by Coenraat Waumans ca 1633-1673, published in Antwerp by Johannes Meyssens ca 1633-1673. References: Hollstein Dutch 102, Van Someren 5658. Engraving in very good condition printed on thin laid paper with 1-2 cm margins. Very good impression. / Dimensions: 17,1 cm x 11,9 cm / Condition: Engraving in very good condition printed on thin laid paper with 1-2 cm margins. Very good impression. / Literature: Hollstein Dutch 102, Van Someren 5658 / Medium: etching /Circa: 133-1673

Rembrandt van Rijn, Beggar and beggar woman in conversation. / Description: Beggar and beggar woman in conversation. Etching, Rembrandt van Rijn (1606-1669), 1630. References: New Hollstein Dutch 45-2(3), Bartsch 164, Hollstein Dutch 290. Etching in excellent condition. Good impression on laid paper, with 3- 4 mm margins with lot of details. Collectors mark on the back, not known by lug. / Dimensions: 7,7 cm x 6,6 cm / Condition: Etching in excellent condition. Good impression on laid paper, with 3-4 mm margins with lot of details. / Literature: New Hollstein Dutch 45-2(3), Bartsch 164, Hollstein Dutch 290 / Medium: etching /Circa: 1630

Salvator Rosa - Diogenes and Alexander - 1662 / Description: Diogenes and Alexander; Alexander, standing in armour to left, visits Diogenes, to right, seated on the ground outside his tub; behind them various standing figures wearing armour . Signed middle right "Salvator Rosa Inv. scul.". Etching with drypoint made by Salvator Rosa in 1662. Second state with the left ear of Diogenes visible in the fist state now missing and covered by his hair. Unlike the more common Diogenes casting away his bowl, this etching came hardly on auctions the last ten years. Rare. / Dimensions: 45,50 x 27,20 cm / Condition: Good impression on strong watermarked laid paper trimmed just the borderline. / Literature: Bartsch / Le Peintre graveur (XX.270.6)Wallace 1979 / The Etchings of Salvator Rosa (108.II) / Medium: Etching with drypoint /Circa: 1662

Francisco de Goya - La Tauromaquia (III/VII) - Dreadful events in the ring in Madrid / Description: Unfortunate Events in the Front Seats of the Ring of Madrid, and the Death of the Mayor of Torrejón. It showsan elevated view over stand at edge of arena, with a bull goring a figure with others either fleeing or injured below. Unfortunate Events... is number 21 in a series of 35 etchings making up his Tauromaquia ("Art of Bullfighting") series, which he produced between 1815 and 1816.[ The plate has been described by Robert Hughes as among the greatest of Goya's graphic output. The etching details an event from 15 June 1801 when a bull broke through barriers at a bullfight in Madrid, killing two people (including the mayor of Torrejón de Ardoz) and injuring a number of other spectators. The lifeless body of the mayor is seen impaled and hanging from the triumphant-looking animal's horns, while the second dead man is shown beneath the barrier in the middle-ground, mourned by a woman in white. This is from an early edition, it is a third edition on seven published by E. Loizelet in 1876, with the paper size( 32,30 x 48,00 cm) and arches watermark as described for that edition. / Dimensions: 24,50 x 35,50 cm / Condition: Excellent impression in the original full sheet of watermarked laid paper with wide margins. Very moderate foxing in the outer side of the wide margins. / Literature: Matilla & Medrano 2001 / El libro de la Tauromaquia. Francisco de Goya. (21) ---- Harris 1964 / Goya: Engravings and Lithographs (224. III, 3/7) ---- Delteil / Le Peintre-Graveur Illustré (XIXe et XXe siècles) (244) / Medium: Etching with aquatint, open-bite and drypoint /Circa: 1811-1816

Nicolaas de Bruyn - The Complete Passion Series (12) - 1619 / Description: The Passion of our Lord, Jesus Christ', engraving, Nicolas de Bruyn, Flemish, 1618-1619. The complete series of twelve. Nicolaes de Bruyn, born in Antwerp, was a prominent etcher and engraver in the early 17th century. He probably received his training from his father and later from renowned engravers such as Philips Galle in Antwerp. De Bruyn's work is characterized by a meticulous etching technique and great attention to detail, which made him one of the most respected artists of his time. Nicolaes de Bruyn worked primarily in the style of the Northern Renaissance, a period characterized by a revival of classical themes and techniques, as well as a meticulous attention to detail and realism. This style was influenced by the Italian Renaissance, but acquired its own character in the Low Countries. This passion series is clearly influenced by the passion series of Lucas van Leyden and Hendrick Goltzius. / Dimensions: 20,10 x 14,10 cm / Condition: Very good early impressions on partial watermarked laid paper (fools head on some). with good plate tone and ink smudges in the plate borders. Mainly in excellent condition, four plates with paper thinning from former album tipping, one of them (bearing of the cross) causing a defect at bottom right corner. Overall a good uniform complete set. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (75-86.I) --- Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (78-89.II) / Medium: Engravings /Circa: 1619

Rembrandt van Rijn, Adoration of the shepherd by the oil lamp, 1645. / Description: Adoration of the shepherd by the oil lamp. Etching made by Rembrandt Van Rijn (1606-1669), 1631. It was a beloved subject by Rembrandt, he made two etchings with this subject and also the angel appearing to the shepherds. References: New Hollstein Dutch 279 3(3), Bartsch 45 2(2), Hollstein Dutch 45 2(2). Very good dark impression on laid paper with 1 cm margins. In very good condition. Collectors mark on the back: not in lugt. / Dimensions: 10,5 cm x 12,8 cm / Condition: Very good dark impression on laid paper with 1 cm margins. In very good condition. Collectors mark on the back: not in lugt. / Literature: New Hollstein Dutch 279 3(3), Bartsch 45 2(2), Hollstein Dutch 45 2(2) / Medium: etching /Circa: 1654

After Raymond La Fage - The Brazen Serpent / Description: This hughe work on a sheet of 70 x 51 cm, signed Remond la Fage fecit and published by Gerard Valck in Amsterdam circa 1683. “Le Serpent d'Airain” (“The Brazen Serpent”; “Moses and the Serpent of Brass”), c1683, plate from the series, “Recueil des meilleurs desseins de Raimond La Fage” (Compendium of the best designs of Raimond La Fage), originally published by Jan van der Bruggen (1648–1690) and here by Gerard Valck (1651–1726). This impression is from the Valck edition. Lettered on plate below the image: “Remond le Fage fecit”; “Le Serpent d’Airain; a Amsterdam chez Gerard Valck avec Previlege. There is no name of an engraver mentioned so this suggests the plate was etched by La Fage himself who is indeed listed as a painter/draughtsman, etcher and engraver. I have no info to attribute this work to either La Fage or one of thr etchers of his work. The plate is very close to the drawings La Fage made in various variants for this subject, including one in including the Albertina Museum in Vienna. / Dimensions: 56,00 x 43,00 cm / Condition: Good impression on a hughe sheet of laid paper with a lili in a crowned shield watermark. Full sheet complete with wide margins. Besides the original middle fold with paper strip on the back also two other quesi horizontal smooth folds in the paper. / Literature: / Medium: Etching /Circa: 1683

Pablo Picasso (1881-1973)Les Trois Amies (Bloch 76)Etching, circa 1923, signed in red ink, numbered from the edition of 150, published by Ambroise Vollard in 1927, on wove paper, with full margins, sheet 648 x 464mm (25 1/2 x 18 1/4in)

Salvador Dalí (1904-1989)Dan, from The Twelve Tribes of Israel (Field 72-6F; M&L 627a)Etching with pochoir printed in colours, 1972, signed in pencil, numbered from the edition of 195, printed by Ateliers Rigal, Paris, published by Trans World Art, New York, on Arches paper, with full margins, sheet 655 x 505mm (25 3/4 x 19 7/8in) With the Dali Trade authentication inscription and signature in pencil verso

Frank Auerbach (1931-2024)Geoffrey (Hartley 20)Etching, 1990, signed, dedicated and dated in pencil, inscribed ‘Proof’, a proof impression aside from the edition of 50, published by Marlborough Graphics, London, on Somerset white wove paper, with full margins, sheet 255 x 210mm (10 x 8 1/4in)

Joan Miró (1893-1983)Untitled from. Le Miroir de L’Homme par les Bêtes (see. Cramer 159)Etching, 1972, signed in pencil, inscribed H.C., an hors commerce impression aside from the edition of 40, as included in the deluxe volume of the book, published by Maeght Éditeur, Paris, on Arches paper, with full margins, sheet 437 x 370mm (17 1/4 x 14 5/8in)

Marc Chagall (1887-1985)Samson and Delilah, from Bible (Cramer 30)Etching heightened with watercolour, 1958, initialled in pencil, numbered from the edition of 100, printed by Raymond Haasen, published by Tériade Éditeur, Paris, on Arches paper, with full margins, sheet 518 x 392mm (20 3/8 x 15 1/2)

David Hockney (b.1937)The Princess in Her Tower, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 68)Etching with aquatint, 1969, signed in pencil, inscribed edition D and numbered from the edition of 100 verso, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, the sheet printed to the edges, sheet 450 x 301mm (17 3/4 x 12 1/2in)

Julian Trevelyan (1910-1988)St James’ Park (Turner 234)Etching with aquatint printed in colours, 1969, signed in pencil, numbered from the edition of 75, published by London Graphics, on J. Green Mouldmade wove paper, with full margins, sheet 590 x 770mm., 23 ¼ x 30 ¼ in

Julian Trevelyan (1910-1988)Buffaloes (Turner 202)Etching with aquatint printed in colours, 1968, signed and titled in pencil, numbered from the edition of 75, published by London Graphics, on J. Green Mouldmade wove paper, with full margins, sheet 580 x 785mm., 22 ¾ x 30 7/8 in

Salvador Dalí (1904-1989)Monarchial Flesh Tones, from Les Dîners de Gala (Field 77-5G; M&L 1336) Photolithograph printed in colours and etching, 1971, signed in pencil, numbered from the edition of 395, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in) With the Dali Trade authentication inscription and signature in pencil verso.

Julian Trevelyan (1910-1988) Notre Dame (Turner 357) Etching printed in colours, 1980, signed and titled in pencil, numbered from the edition of 50, on wove paper, with full margins, sheet 580 x 750mm (22 1/2 x 29 1/2in)

David Hockney (b.1937)The Tower Had One Window, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 82)Etching, 1969, signed in pencil, from the edition of 100, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, with full margins, sheet 440 x 300mm (17 1/4 x  11 3/4 in)

Tracey Emin (b.1963)Love YouPolymer gravure etching, 2013, signed, titled and dated in pencil, on wove paper, with full margins, sheet 346 x 350mm (13 5/8 x 13 3/4in)

Henry Moore (1898-1986)Two Seated Figures II (Cramer 56)Drypoint with etching, 1966, signed and dated in pencil, numbered from the edition of 50, printed by Frélaut and Lacourière, Paris, published by Gérald Cramer, Geneva, on Japan paper, with full margins, sheet 330 x 400mm (13 x 15 3/4in)

Salvador Dalí (1904-1989) Terpsichore, from Les Muses (Field 71-18d) Etching with hand-colouring, 1971, signed and inscribed 'EA' in pencil, aside from the edition of 145, published by Ateliers Rigal, on Arches paper, with full margins, sheet 650 x 498mm (25 5/8 x 19 5/8in)

Pablo Picasso (1881-1973)Reclining Man in Turban and Belly Dancer (Bloch 1458)Etching with drypoint, 1968, with the artist's stamped signature, numbered from the edition of 50 in pencil, on BFK Rives paper, with full margins, image 223 x 322mm (8 3/4 x 12 5/8in); sheet 378 x 472mm (15 x 18 1/2in)

Frank Auerbach (1931-2024)Julia (Hartley 22)Etching, 1994, signed, dedicated and dated in pencil, inscribed ‘Proof’, a proof impression aside from the edition of 30, published by Marlborough Graphics, London, on Somerset white wove paper, with full margins, sheet 273 x 300mm (10 3/4 x 11 3/4in)

David Hockney (b.1937) The Haunted Castle, from Illustrations for Six Fairy Tales from the Brothers Grimm (MCA Tokyo 89)Etching with aquatint, 1969, signed in pencil, inscribed edition D and numbered from the edition of 100 in bistre verso, printed by The Print Shop, Amsterdam, published by Petersburg Press, London, on Hodgkinson watermarked paper, the sheet printed to the edges, sheet 455 x 310mm (17 7/8 x 12 1/4in)

Anni Albers (1899-1994)Triangulated Intaglio IEtching with aquatint, 1976, signed and dated in pencil, numbered from the edition of 20, printed and published by Tyler Graphics Ltd., Bedford Village, with their blindstamp, on Arches paper, with full margins, sheet 605 x 500mm (23 3/4 x 19 3/4in)

Julian Trevelyan (1910-1988)Banana Girl (Turner 188)Etching with aquatint printed in colours, 1966-67, signed and titled in pencil, numbered from the edition of 75, published by Editions Alecto, London, on handmade Crisbrook wove paper, with full margins, sheet 795 x 570mm., 31 ¼ x 22 ½ in

Tracey Emin (b.1963)Smiley FaceEtching, 2014, signed, titled and dated in pencil, numbered from the edition of 100, on buff wove paper, with full margins, sheet 205 x 275mm (8 x 10 3/4in)

Julian Trevelyan (1910-1988)Kensington Gardens (Turner 231)Etching with aquatint printed in colours, 1969, signed in pencil, numbered from the edition of 75, published by London Graphics, on J. Green Mouldmade wove paper, with full margins, sheet 590 x 770mm., 23 ¼ x 30 ¼ in

Joe Tilson (1928-2023)Earth Cube II (Di Martino p.122)Etching with aquatint, carborundum, stencil and collage, 1981, signed and dated in pencil, inscribed 'Artist's Proof 8/10', one of ten artist's proofs aside from the edition of 60, printed by Grafica Uno, Milan, published by Waddington Graphics, London, on wove paper, with full margins, sheet 1143 x 984mm (45 x 38 3/4in)Ex. coll. Leslie Waddington

Salvador Dalí (1904-1989)Les Entre-plats sodomisés, from Les Dîners de Gala (Field 77-5D; M&L 1343)Photolithograph printed in colours and etching, 1971, signed in pencil, numbered from the edition of 395, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in)With the Dali Trade authentication inscription and signature in pencil verso.

Henry Moore (1898-1986)Reclining Figures Man and Woman II (Cramer 362) Etching with aquatint printed in colours, 1975, signed in pencil, numbered from the edition of 100, printed by Michael Rand, London, published by Gérald Cramer, Geneva, on BFK Rives paper, with full margins, sheet 308 x 232mm (12 1/8 x 9 1/8in)

Sonia Delauney (1885-1979)Grande icôneEtching with aquatint printed in colours, 1970, signed and inscribed 'HC' in pencil, numbered from the hors commerce edition of 25 in roman numerals, aside from the edition of 150, on wove paper, with wide margins, sheet 810 x 600mm (31 7/8 x 23 5/8in)

Salvador Dalí (1904-1989)Soft Watches Half Asleep, from Les Dîners de Gala (Field 77-5H; M&L 1335) Photolithograph printed in colours and etching, 1971, signed in pencil, numbered from the edition of 395, printed by Draeger, Paris, published by Lavigne, Bologna, on BFK Rives wove paper, with full margins, sheet 557 x 745mm (22 x 29 3/8in) With the Dali Trade authentication inscription and signature in pencil verso.

Tracey Emin (b.1963)Kate Moss 2000Polymer gravure etching, 2006, signed and titled in pencil, numbered from the edition of 250, on wove paper, with full margins, sheet 407 x 585mm (16 x 23in)

Graham Sutherland (1903-1980) The Meadow Chapel (Tassi 26) Etching, 1928, signed in pencil, from the edition of 82, published by The Twenty-One Gallery, London, on Whatman wove paper, with wide (possibly full) margins, sheet 167 x 198mm (6 5/8 x 7 3/4in) Provenance: With Leicester Galleries, where acquired by Eardley Knollys in mid-1960s; Bequeathed to Mattei Radev 

Elizabeth Blackadder (1931-2021)Orchid (Allan 18)Etching with aquatint printed in colours, 1985, signed in pencil, numbered from the edition of 50, printed and published by Glasgow Print Studio, Glasgow, on Somerset wove paper, with full margins, sheet 723 x 532mm (28 1/2 x 21in)

Salvador Dalí (1904-1989)Vignette, from Petits Nus d 'Apollinaire (Field 72-4H; M&L 203)Etching with drypoint hand-finished with watercolour and gold, 1972, signed in pencil, numbered from the edition of 95, printed by Robbe, published by Editions Argillet, Paris, on Japan paper, with full margins, sheet 390 x 288mm (15 3/8 x 11 3/8in)