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Jean Sturgis (1931-2018)"The Mere, Kentmere" Signed, inscribed, dated (19)85 and number 11/30, etching, together with a further work by the same hand "Hallow Bank, Kentmere, Cumbria", 17cm by 17cm and 18cm by 21.5cm resepctively (2)

Piers Browne (b.1949)"Fishermens nets on Atlantic beach, Morocco"Signed inscribed and dated (19)79, numbered 4/30, etching, together with a further etching by the same hand "Fresh goats heads in Moroccan village centre", 18cm by 24.5cm and 19cm by 27cm respectively (2)

Norman Ackroyd (b.1938), Brancaster Sunset, signed and dated '05, titled and numbered 86/90 in pencil, etching and aquatint, image 19 x 32.5 cm, sheet 27 x 39 cm, framed and glazed 32.5 x 43.5 cm

Jozef Israëls - Girl with basket seated on the shore - 1879 / Description: A girl seated on a dune on the right, with a basket on her back, wearing a cap and dress, bare feet, the beach and sea in the background. Etching with surface tone made by Jozef Israëls circa 1879 / Dimensions: 15,20 x 22,80 cm / Condition: Good impression with nice margins on a full sheet of laid paper measuring 29 x 42 cm. In very good condition. / Literature: Hubert / The Etched Works of Jozef Israëls. An Illustrated Catalogue. (19) ----- Jozef Israëls (1824-1911) was born into a Jewish family in Groningen. His parents wanted him to be a rabbi and Israëls had to struggle to realise his dream of becoming an artist. The influences of first Kruseman and then Picot directed him towards the Romantic tradition of history painting, but although he produced some work in this tradition (debuting at the Salon de Paris in 1855) he soon abandoned this style, in favor of the plein-air painting he had encountered at Barbizon in 1846 and 1853, and in Oosterbeek, the Dutch equivalent of Barbizon. From 1855, Israëls made frequent sketching trips to the little fishing village of Zandevoort. Fishermen became a favorite motif in his art, along with landscapes and scenes of peasant life. In 1871 he settled in The Hague, where he remained for the rest of his life. In his day Jozef Israëls enjoyed a huge success, both in Holland and in France. He remains one of the towering figures of the Hague School; the Dutch equivalent of Millet. Vincent van Gogh revered Israëls and Millet equally, often linking their names. In a letter of March 1884 he described them, along with Corot, Daubigny and Dupré, as “the great forerunners”. With Israëls’ etchings, we are suddenly surprised by a lightness of touch that is decidedly Impressionist in its aims and its techniques, with all the details simply indicated by quick fresh lines rather than laboriously delineated. Israëls became interested in etching in 1870, and produced in all 30 plates, which are described and illustrated in the catalogue raisonné by H. J. Hubert, The Etched Work of Jozef Israëls. Israëls treated his etchings rather like sketches, printing them in small numbers to give to friends. They were not usually formally editioned, Writing of the etchings of Israëls in L’Art in 1879, the critic Charles Tardieu describes them as a painter’s etchings, and deliberately links them to Impressionism by describing them as “esquisses et impressions”, sketches and impressions. The confidence and rapidity with which Israëls has sketched these scenes onto the etching plate gives a sense of intimacy and immediacy. There is also a real tenderness in his depiction of the bathing children and the resting fisherwoman. / Medium: Etching /Circa: 1879 200

Pieter Dupont - Pont de la Tournelle - 1898 / Description: Dupont, P. (1870-1911). Pont de la Tournelle. Etching, 1898, 33x38,5 cm., "Atelier P. Dupont" stamp in upper right corner, on Japanese. = Dupont 66 / Dimensions: 33,00 x 38,50 cm / Condition: A good impression in excellent condition on a full sheet of Japan paper with good margins. / Literature: Dupont 66 / Medium: Etching /Circa: 1898 140

After James McNeill Whistler (1834–1903) - Rotherhithe (Wapping) / Description: Wharves on the south bank of the Thames from a balcony facing east; on the balcony two men sit smoking pipes; the masts of a ship l. This is an etching 'after' one of the famous works by Whistler from the Thams set. The work is on arches laid paper and has a good embossed plate border. From the collection of Dr. A. Scollin Springield, ILL. / Dimensions: 27,00 x 19,50 cm / Condition: A bit flaky impression on arches watermarked laid paper in excellent condition. / Literature: Kennedy 1910 / The Etched Work of Whistler (66) --- MacDonald et al 2012 / James McNeill Whistler, the etchings, a catalogue raisonné (70) - Copy / Medium: Etching /Circa: 1860 - 1960 180

Pieter Breugel the Elder, Van Doetecum - The Emmaus walkers / Description: Euntes in Emaus (Landscape with Pilgrims at Emmaus), fragment, from the series of the large landscapes, circa 15555-1556 published by Hieronymus Cock. Between circa 1555 and 1556 a twelve-part series of prints originates that is known as The Large Landscapes. The panoramic series in large format is published by Hieronymus Cock in Antwerp. The series, with ten mountainous landscapes, exercised significant influence on the genre of landscape in the Netherlands. / Dimensions: 19,00 x 27,50 cm / Condition: This good early impression is a fragment of the left side of a print that is much larger in size. It is a smooth rich impression that catches the genius of the designer and the skill of the engraver. Besides the trimming it is in a good condition. New Hollstein Dutch 56 (Pieter Bruegel The Elder) ---- New Hollstein Dutch 18 (Van Doetecum) ----- Riggs 28.9 ----- One of a series of twelve prints known as the Large Landscapes. All of them reflect the deep impression the dramatic mountain vistas made on Bruegel as he traveled through the Alps on his return from Italy around 1554. Carried out primarily in etched lines that have the appearance of engraved ones, the unsigned Large Landscapes were executed by the brothers Joannes and Lucas van Doetecum and published by Hieronymus Cock through his Antwerp shop, At the Four Winds. The prints, which were among the most widely circulated and celebrated of Bruegel's images, allowed a large audience to become acquainted with his strikingly naturalistic and broad-eyed conception of landscape. / Medium: Etching and engraving /Circa: 1555-1556 600

Hieronymus Cock - Mercury And Argus - 1558 / Description: Landscape with Mercury on a road and holding the head of Argus in his left hand, Argus' body lying on the ground, fields at left, a city along a bay and mountains in the background. in lower left corner: "Mercurius Argum interficit" and "Cock fecit 1558". Etching made by Hieronymus Cock for his series of twelve ' Landscapes with Biblical and Mythological Scenes'. The design is probably by his brother Matthijs. / Dimensions: 22,50 x 32,50 cm / Condition: A good early impression printed with good plate tone on a dense laid from the period with gothic P watermark Trimmed on the borderline with traces visible on all sides except on top where trimmed narrow inside the image borderline. Remains of hinges and some improvements at the corners. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (14) --- Riggs 1977 / Hieronymus Cock, Printmaker and Publisher (43) / Medium: Etching /Circa: 1558 1200

Hieronymus Cock, View of the bridge of Fabricius in Rome / Description: View of the bridge of Fabricius in Rome. "Pontis, nvnc qvatvor capitvm, olim Fabricii, prospectvs" From the series Roman ruins. Etching made and published By Hieronymus Cock (1518-1570) in Antwerp ca 1550-1551. references: Hollstein Dutch 46, Riggs 25. In very good condition. Good impression printed on thin laid paper, on the margins, image complete. A very small tear/printers crease in the middle above restored not visible in front. With a good watermark: Small High crown. / Dimensions: 22,8 cm x 32,9 cm / Condition: In very good condition. Good impression printed on thin laid paper, on the margins, image complete. A very small tear/printers crease in the middle above restored not visible in front. With a good watermark: Small High crown. Hollstein Dutch 46, Riggs 25 / Medium: etching /Circa: 1550-1551 1250

Jacques Callot (1592-1635) - Escarmouche dans un Cirque / Description: Capricci di varie figure di Iacopo Callot - Escarmouche dans un Cirque (Skirmish in the Circus) - The Nancy set. A first state before the number. An amphitheater in ruins, with men fighting each others and, in the foreground, a man running forward, arms raised in the air. C. 1621. Etching made by Jacques Callot. / Dimensions: 7,70 x 5,30 cm / Condition: A very good outstanding impression of the first state, complete with full plate border and good margins on laid paper. Small remain of a former album tipping on the backside. Rare to find in this excellent early impression and condition. Lieure 1927 / Jacques Callot (470.I/II) ----Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (853.I/II) / Medium: Etching /Circa: 1621 200

Jacques Callot (1592-1635) - Commedia dell' arte, Dance / Description: Capricci di varie figure di Iacopo Callot - The Nancy set. A first state before the number. La Ronde: Nine figures from the Commedia dell' arte dancing round in a circle; a figures playing tambourine stands in the middle. c.1621 Etching made by Jacques Callot. / Dimensions: 5,70 x 8,00 cm / Condition: A very good impression of the first state, complete with full plate border and small margins on laid paper. Small remains of former album tipping on the backside. Excellent condition. Lieure 1927 / Jacques Callot (437.I / II) --- Meaume 1860 / Recherches sur la vie et les ouvrages de Jacques Callot (787.I / II) / Medium: Etching /Circa: 1627 200

Stefano Della Bella - Two studies of heads / Description: Recueil de diverses pieces Servant à l'Art de portraitureHead of a man; in profile facing right, wearing a hat. c.1647 EtchingRecueil de divers griffonemens et preuves deau forteStudy of a man's head; turned towards left, wearing a soft plumed hat and a cravatte around his neck, and looking downwards to left. c.1646 Etching / Dimensions: 7 x 11,80 cm / Condition: Good delicate impressions on one single sheet of laid paper. Tiny paper tinning against the bottom left border of the sheet De Vesme/Massar 1971 363 De Vesme/Massar 1971 445Stefano della Bella (Italian, Florence 1610–1664 Florence) Etcher, born Florence; patronized by the Medici, and spent much time in Rome from 1633-9. To Paris in train of the Florentine ambassador to France in 1639, where remained working for French publishers until the anti-Italian disturbances of the Fronde in 1650 took him back to Florence. Etching /Circa: Ca. 1646-1647 180

Domenico Rossetti - The Ambassadors before Emperor and Venetian Doge / Description: Ambasciadori spediti dal Senato all'Imperator Federico sonò licenziati dal Pontefice, e dal Doge. From the Series: Il gran Teatro di Venezia (The great theatre of Venice) (The great theatre of Venice). Subject: The ambassadors sent to Emperor Frederick are being dismissed by the Pope and the Doge, after Carletto Caliari: a portico with on the right the ambassadors kneeling before the enthroned Pope and the Doge, who stands beside the latter. A large work etched by Domenico Rossetti, after: Carletto Caliari, published by: Domenico Lovisa in Venice ca. 1720. beneath image 'Ambasciadori spediti dal Senato all'Imperator Federico sonò licenziati dal Pontefice e dal Doge'. Producers identified 'Opera di Carlo, e Gabriele Caliari figlioli di Paolo in Sala del Gran Consiglio'; 'Dom.co Rosseti Sc.'; 'per il Lovisa à Rialto'. Without (before?) the number 11 bottom right / Dimensions: 36,50 x 49,60 cm / Condition: An early, very good inked deep black inked impression mounted on a thick laid paper support sheet. Used in 'Il gran Teatro di Venezia, ovvero raccolta delle principali vedute e pitture che in essa si contengono', a collection of prints published in two parts: I with 57 (Heinecken: 62) prints after paintings, II with 65 views of Venice. The first edition was published by Domenico Louisa in Venice around 1720, Etching /Circa: 1720 260

Adolphe Appian (1818-1898) - The Port of Monaco - 1873 / Description: View of the port of Monaco: a flotilla of boats at left, stationed near the port, beyond at left, a hill with buildings at the top; first state. Etching on thin China paper made by Adolphe Appian. Signed by the artist at upper left of the image with: 'APPIAN 1873' (the '3' in reverse). The measurements on the image borderline are 13,20 x 21,20 cm. The sheet with margins 17,00 x 24,00 cm. / Dimensions: 13,20 x 21,10 cm / Condition: Impression on China paper complete with the margins who are slightly wrinkled and rubbed at some places. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (36.I) --- IFF / Inventaire du Fonds Français: Bibliothèque Nationale, Département des Estampes (Vol. 1, p.150) / Medium: /Circa: 1873 160

Giovanni Battista Piranesi - Arch of Beneventum, Kingdom of Naples - First state / Description: Veduta dell'Arco di Benevento nel Regno di Napoli - View of the Arch of Beneventum in the Kingdom of Naples. From the series: Vedute di Roma. Etching by Giovanni Battista Piranesi from circa 1760-1778. Here in a first state on four. Before any number. / Dimensions: 47,90 x 72,00 cm / Condition: A very dark impression of the first state on thick laid paper with fleur de lys watermark in double circle. Good margins. Flattened middle fold. Overall in excellent condition. Wilton-Ely 1994 / Giovanni Battista Piranesi, the complete etchings (268) --- Hind 1922 / Giovanni Battista Piranesi, a critical study (135.I/IV) --- Focillon 1918 / Giovanni Battista Piranesi: Essai de catalogue raisonné de son oeuvre (823) Etching /Circa: 1760-1778 800

Giovanni Battista Piranesi -Temple of Hercules - Early state / Description: Veduta del gran Tempio di Ercole nella Città di Cora, dieci miglia lontano da Velletri - View of the so-called Temple of Hercules at Corti, ten miles from Velletri . From the series: Vedute di Roma. Etching by Giovanni Battista Piranesi from circa 1760-1778. Here in an early second state on four, before any number. / Dimensions: 38,70 x 53,10 cm / Condition: A very dark impression of the second state on thick laid paper with fleur de lys watermark in double circle. Good full margins. Flattened middle fold. Overall in excellent condition. Wilton-Ely 1994 / Giovanni Battista Piranesi, the complete etchings (224) --- Hind 1922 / Giovanni Battista Piranesi, a critical study (191.II/IV) --- Focillon 1918 / Giovanni Battista Piranesi: Essai de catalogue raisonné de son oeuvre (784) Etching /Circa: 1760-1778 800

Adolphe Appian - Chemin de L'etang de Frignon - 1877 / Description: CHEMIN DE L'ETANG DE FRIGNON (ISERE) 1877 ( J.40, P.45 ). A winter scene. Signed Appian 77 in top right corner. / Dimensions: 10,80 x 19,80 cm / Condition: Impression on laid paper with margins. In very good condition. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (45) --- Jennings.40 ---- Appian was one of the outstanding landscape painters of the 19th century in Lyon. He was also an excellent etcher who was extremely sensitive to light and atmosphere. He was able to create a mood with line and by carefully leaving a fine layer of ink on the surface of the copper plate which prints as pale tone. Adolphe Appian studied at the École de Dessin et Beaux-Arts in Lyon, where he was taught by Jean-Michel Grobon (1770-1853). In 1851 he debuted at the Salon of Lyon with three paintings. In 1852 he moved to Crémieu, where he painted the region. He befriended Corot and Daubigny and they influenced his work. 1854 he made his first excursion to the forest of Fontainebleau, In 1861 Appian settled in Creys, located twenty-five kilometers from Crémieu and ten kilometers from Morestel. In 1863 he became an active member of the new Société des Aquafortistes founded by Alfred Cadart in 1862.F. In 1866 the two works he exhibited in Paris were bought by Napoleon III and by princess Mathilde. From 1871 until the early nineties he often visited the Mediterranean coast.Appian is one of the regional artists who showed their territory with love and grace. Besides his paintings he made 76 etchings and 4 litho. Appian was one of the artists closely followed by the publisher Cadart who's merit it was to publish their genius graphical work. Appian was responsible together with Corot and Daubigny for the renewal of the etching in the middle of the 19th century. The great esteem for his work was boosted by Atherton Curtis for Paul Prouté who published his catalogue raisonné in 1968.He based his catalogue on that one of H. Jennings published in the Print Collector's Quarterly" from February 1925 / Medium: Etching /Circa: 1873 160

Pieter Paul Rubens, Allegory of Philips II and Saint Francis of Assisi, last judgement. Philip Spruyt / Description: Saint Francis of Assisi kneeling with three globes on his shoulders with the Virgin on top. Philip IV King of Spain and his family at left. Two chariots , one left with kings Charles V, Philip II and Philip III and right with the four Cardinal Virtues. both driven by a Franciscan monk. Below right Franciscan monks chase the devil back to hell. Proof etching, before the text below was engraved. This state is a unknown state. This etching with the text etched is the top part of a thesis print. Very rare Proof before the text etching made by Philippe Lambert Joseph Spruyt(1727-1801) in Gent ca 1787 after a grisaille of Pieter Paul Rubens (1577-1640). References: Schneevoogt 1873 / P.P.Rubens 145.70. In very good condition printed on laid wide margined paper with a printers crease below. Very strong dark early impression. With two watermarks: French lily. Proof before the text below was printed. Very rare proof of a Thesis. The thesis was printed with two plates. This is the upper part with large margins. Thesis prints are extremely rare. / Dimensions: 29,2 cm x39,6 cm / Condition: Very rare proof of this etching, before the text below was engraved. In very good condition printed on laid wide margined paper with a printers crease below. Very strong dark early impression. With two watermarks: French lily. Very rare proof of a Thesis. The thesis was printed with two plates. This is the upper part with large margins, an unknown state. Thesis prints are extremely rare. References: Schneevoogt 1873 / P.P.Rubens 145.70. Unknown first state before the text was engraved. etching /Circa: 1787 775

Etching by Jacob Jordaens - Jupiter nourished by the goat Amaltheia. / Description: This is one of only seven etchings attributed to Jacob Jordaens himself. Jupiter nourished by the goat Amaltheia. Landscape with the infant Jupiter lying on the ground and suckling from the teats of a goat, a satyr holding the head and horn of the goat, another playing a pipe beyond, the nymph Adrastea sitting on the ground assisting the infant and steadying the goat. 1652 Etching made by Jacques Jordaens. A first state before publisher's address. / Dimensions: 21,70 x 29,50 cm / Condition: Excellent early impression trimmed just inside plate border and mounted on a Marie-Louise. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (5.I) ----- There are only seven etchings attributed to Jacob Jordaens (Hollstein 1-3, 5-7 and 9), also described in D'Hulst catalogue (pp.132-136). Although these are all lettered with Jordaens as the designer ('inventor'), they are considered as also made by him. Lit.: R.-A. D'Hulst, 'Jacob Jordaens (1593-1678), volume II: Drawings and Prints', Koninklijk Museum voor Schone Kunsten, Antwerp, 1993, nos. B93-99. (Here B96) Etching /Circa: 1652 420

Jacques Jordaens, Old fool with cat, Proof engraving from Molien (unknown engraver), After Alexander Voet / Description: Jacques Jordaens, Old fool with cat. After the engraving of Alexander Voet. Proof engraving before the text from French engraver Molien (unknown engraver) (Source British Museum). Only this engraving known by him. Only one later impression found published by Thomas Major in London in 1737-1756. This engraving has a provenance in France. In excellent condition, very good dark strong early engraving/etching on laid paper with margins and blank text border. Very rare engraving/etching. / Dimensions: 24,7 cm x 17,9 cm / Condition: Rare engraving/etching in excellent condition, very good dark strong early engraving/etching on laid paper with margins and blank text border. Very rare engraving/etching. Only this engraving known by him. Only one found published later by Thomas Major in London in 1737-1756. This engraving has a provenance in France. engraving/etching /Circa: before 1736 2000

Willem Panneels, Saint Sebastian / Description: Saint Sebastian, etching made and published by Willem Panneels(1600-1634) ca 1610-1634. References: Hollstein Dutch 15. Important collectors mark on the back: Lugt 699; Double sold by the Rijksmuseum in Amsterdam. In very good condition. On the back a drawing of the angel in pencil, probably for transferring it to a painting. Trimmed just on the margins, image is complete. With a good watermark: Basel stab. / Dimensions: 17,9 cm x 10,8 cm / Condition: Etching in very good condition. On the back a drawing of the angel in pencil probably for transferring it on a painting. Trimmed on the margins, image is complete. With a good watermark: Basel stab. Holstein Dutch 15 etching /Circa: 1610-1634 450

Adolphe Appian - Une noria a Bordiquier (Italy) - 1873 / Description: UNE NORIA A BORDIQUIER (ITALIE) 1873. ( J.33, P.37 ). Exhibited in the Paris Salon. This is a very unusual subject for Appian, but it is, nonetheless, a strong image. Bordighera is on the Italian coast between Monaco and San Remo. This is a larger print: 29 by 20,5 cm on plate border. It is signed upper left 'Appian 1878'.With full plate border and 1 cm margins. / Dimensions: 29,00 x 20,50 cm / Condition: Impression on laid paper with 1 cm. Margins. In very good condition. / Literature: Curtis & Prouté 1968 / Adolphe Appian, son oeuvre gravé et lithography (37) --- Jennings.33 ---- Appian was one of the outstanding landscape painters of the 19th century in Lyon. He was also an excellent etcher who was extremely sensitive to light and atmosphere. He was able to create a mood with line and by carefully leaving a fine layer of ink on the surface of the copper plate which prints as pale tone. Adolphe Appian studied at the École de Dessin et Beaux-Arts in Lyon, where he was taught by Jean-Michel Grobon (1770-1853). In 1851 he debuted at the Salon of Lyon with three paintings. In 1852 he moved to Crémieu, where he painted the region. He befriended Corot and Daubigny and they influenced his work. 1854 he made his first excursion to the forest of Fontainebleau, In 1861 Appian settled in Creys, located twenty-five kilometers from Crémieu and ten kilometers from Morestel. In 1863 he became an active member of the new Société des Aquafortistes founded by Alfred Cadart in 1862.F. In 1866 the two works he exhibited in Paris were bought by Napoleon III and by princess Mathilde. From 1871 until the early nineties he often visited the Mediterranean coast.Appian is one of the regional artists who showed their territory with love and grace. Besides his paintings he made 76 etchings and 4 litho. Appian was one of the artists closely followed by the publisher Cadart who's merit it was to publish their genius graphical work. Appian was responsible together with Corot and Daubigny for the renewal of the etching in the middle of the 19th century. The great esteem for his work was boosted by Atherton Curtis for Paul Prouté who published his catalogue raisonné in 1968.He based his catalogue on that one of H. Jennings published in the Print Collector's Quarterly" from February 1925 / Medium: Etching /Circa: 1873 180

Nicolò Nelli - Portrait of Philip II, King of Spain - 1569 A portrait engraved by Nicolò Nelli of Philip II with the order chain of the Golden Fleece, contained in an oval surrounded by ornamental motifs in Floris style. In oval test line Philippus D. G. Hisp. Sicil. Neap. etc. Rex Archd. Austr. From a group of portraits Imagines Quorundam Principum et Illustrium Virorum published in Venice in 1569. Other plates were by Nicolas Beatrizet, Cornelis Cort, Martino Rota and Domenico Zenoi. 20,00 x 16,70 cm A strong and fine impression In excellent condition. On a dense watermarked laid paper. See Rijksmuseum P-P-OB-36.703 Etching and Engraving 1569 220

Hendrik Hondius (1573-1650) - Portrait of Hubert van Eyck Portrait of Hubert van Eyck, sitting at a table turned to the left, facing left; wearing a fur hat, and a fur-trimmed cloak; a painter's palette on the wall behind him, three viewers on top. A portrait from the series Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies made and published by the Flemish born engraver Hendrik Hondius who moved to The Netherlands and established his own publishing business. The portrait dates from 1610 and goes bas go back to Domenicus Lampsonius' Pictorum Aliquot Celebrium Germaniae Inferioris Effigies, published by Hieronymus Cock's widow in 1572 and engraved by Cock, Johannes Wierix and Cornelis Cort. In many cases, Hondius elaborated the backgrounds. This is a first edition published by Hondius, a later edition was published in 1612and 1618 by Jansonius. 21,00 x 12,00 cm Excellent impression on watermarked laid paper, good plate tone and small margins. In top condition. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (82) --- Van Someren 1736 Etching 1610 280

Rembrandt van Rijn, The Circumcision in the Stable The Circumcision in the Stable, Etching, Rembrandt Van Rijn (1606-1669), 1654. References: New Hollstein Dutch 280-3(5) third state of five, before the hatching under the signature in the left above corner (witch is etched on the fourth state of Louis Basan from 1807), Bartsch 47, Hollstein Dutch 47. Etching in excellent condition. An early third state before the burnished out appearance left of the person standing in the right upper corner. Very good impression on laid paper, with 1mm margins. Collectors mark on the back: lugt 3873 Albert Stöcker Ventes 1989. With a part of a watermark: shield with two lines. In perfect condition. 9,4 cm x 13,4 cm Excellent well inked impression with full plate border and 1 mm margins on laid paper with a part of a watermark: shield with two lines. An early third state before the burnished out appearance left of the person standing in the right upper corner. In perfect condition. New Hollstein Dutch 280-3(5) third state of five , Bartsch 47, Hollstein Dutch 47. etching 1654 2250

Rembrandt van Rijn, The strolling musicians. The strolling musicians, one playing the bagpipes, the other a hurdy-gurdy. Etching, Rembrandt Van Rijn (1606-1669), 1635. Published by Henry Louis Basan. References: New Hollstein Dutch 141-3(3), Bartsch 119, Hollstein Dutch 119. Etching in excellent condition. Very good impression on laid paper, margins. Because of the new ink and the high quality velin paper are the details much more visible than some impressions of the second or third state. 13,9 cm x 11,7 cm Etching in excellent condition. Very good impression on velin paper with margins. Because of the new ink and the high quality velin paper are the details much more visible than some impressions of the second or third state. New Hollstein Dutch 141-3(3), Bartsch 119, Hollstein Dutch 119. etching 1635 2250

Rembrandt van Rijn, Descent from the cross: second plate Descent from the cross: second plate. One of the largest etchings made by Rembrandt Van Rijn (1606-1669), 1633. References: New Hollstein Dutch 119 8(8), Bartsch 81 , Hollstein Dutch 81. Etching in very good condition. Excellent well inked impression on early thick velin paper made by hand with large margins. Because of the new ink and the high quality velin paper are the details much more visible than some impressions of the seventh or eight state. With the erased address of Justus Danckertsz lower margin still partially distinct as normally only on state 6 visible. 53,5 cm x 41,3 cm Etching in very good condition. Excellent well inked impression on early thick velin paper made by hand with large margins. Because of the new ink and the high quality velin paper are the details much more visible than some impressions of the seventh or eight state. With the erased address of justus Danckertsz lower margin still partially distinct as normally only on state 6 visible. New Hollstein Dutch 119 8(8), Bartsch 81, Hollstein Dutch 81. etching 1633 5500

Rembrandt van Rijn - Jews in the synagogue Jews in the synagogue, two men in conversation at left. Rembrandt's signature and date, in top left: "Rembrandt f. / 1648" hardly visible. Etching and drypoint made by Rembrandt in 1648. From an edition with the Basan rework, seventh state or later. 7,20 x 12,90 cm On sturdy laid paper as used for the Basan editions. Rather weak silvery impression but guaranteed original. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (242.VII or later) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (234) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (126) Etching with drypoint 1648 1200

Govert Flinck, G.F. Schmidt - Bearded old man Portrait of a bearded old man wearing a dark beret and a necklace. A sublime work by Govert Flinck the co-operater from Rembrandt during the 1630-1636 period. Here brought to us in an etching by Georg Friedrich Schmidt, one of the finest adaptors of the work of the Rembrandt school. From the collection of Paul Delaroff (L.663) a collector from St. Petersburg, Russia, were Schmidt was active for several years. 17,10 x 13,20 cm Outstanding early impression in very good condition. Oval collection stamp of Delaroff on the backside. Crayen 1789 / Catalogue raisonné de l'oeuvre de feu George Frédéric Schmidt; graveur du roi de Prusse (131) --- Wessely 1887 / Georg Frederic Schmidt: Verzeichniss seiner Stiche und Radierungen (141) Etching 1772 220

Adriaen Van Ostade (1610-1685) - Two Gossiping Women Two elderly women gossiping in a village street, a trader in left background, and weighing goods for sale to a group of peasants.' A.v. ostade' at bottom left. Adriaen Van Ostade was born in Haarlem in Holland in 1610 and died there in 1685. His etchings are dated between 1647 and 1671. He was more prolific as a painter than an etcher, leaving us only 50 etchings. Nevertheless he is probably the most sought after 17th Century Dutch etcher after Rembrandt. 10,20 x 8,90 cm In excellent condition. On laid paper with letterbar watermark and good margins around the plate border. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (40.VI-V / V) -- Bartsch / Le Peintre graveur (I.373.40) Etching 1648-1654 240

Adriaen Van Ostade (1610-1685) - Le Charletan A quack doctor selling his medicines by a tent near a tree; a group of peasants, a man, a woman and three children, gather around his makeshift stall; at left a group of four children looking on. The artist's name,' A.v. Ostade' at bottom right. Original etching made by van Ostade, H.43 final state. Adriaen Van Ostade was born in Haarlem in Holland in 1610 and died there in 1685. His etchings are dated between 1647 and 1671. He was more prolific as a painter than an etcher, leaving us only 50 etchings. Nevertheless he is probably the most sought after 17th Century Dutch etcher after Rembrandt. 14,80 x 12,20 cm In excellent condition. A good dark impression on laid paper with good margins around the plate border. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (43.IX) --- Bartsch / Le Peintre graveur (I.375.43) Etching 1648-1654 320

Pierre-Mouis Moreau (1876-1959) - Le pan de mur - 1925 / Description: Le Pan de Mur (A section of the wall) is a dry point etching from ca. 1925. Here a very beautiful proof on old laid paper, justified and signed. Edition of 30 proofs. With the dry stamp of E. Sagot in bottom margin (Lugt.2254). Numbered 6/30 and pencil signed in bottom right corner. This sublime etching reminds in format ,style and atmosphere the famous Rembrandt etching of Hieromymus in a landscape, ca. 1653. / Dimensions: 24,50 x 26,00 cm / Condition: Very beautiful proof on old laid paper, full plate border and margins, outer bottom margin a bit defrayed. / Literature: / Medium: /Circa: Ca. 1925 180

Cornelis Brouwer, Gerbrand van den Eeckhout - Botanists From a collection of print drawings here completely hand-colored (rare!) by Ploos van Amstel himself. Subject : Four botanists examining specimens, a gardener at right bringing in a basket of plants, several books on the floor, one at left open, through the window a house and walled garden; after a drawing by Gerbrand van den Eeckhout now in the British Museum in London designed for the title-page to Pieter Nijlandt's 'De Nederlantse Herbarius' published in 167;. Print made by Cornelis Ploos van Amstel (project director), etched by: Cornelis Brouwer (1733-1803), after the drawing by Van den Eeckhout, a pupil of Rembrandt. Signature of artist, in lower right: "G.V. Eeckhout fe.". From a series of print drawings (published in separate sets between 1765-1787). Etched in 1780 and published in 1787 . On the backside the coat of arms of Ploos van Amstel (Lugt. 2034). Here completed with hand-coloring (rare!) by Ploos van Amstel himself (shades of red, bleu ,brown and green) 12,80 x 9,20 cm 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. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (75) --- vH:42, vA:44, W:44, vB:43, Josi 1821:25, --- Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, 263-264 no.43. The 'Ectypa' of Ploos van Amstel, since that was the Latin term Ploos van Amstel used to describe his plates on the first title-page. A series of print drawings of Dutch and Flemish artists. They were published by Ploos van Amstel in separate small sets between 1765 and 1787. Ploos van Amstel hired several printmakers to assist him in the production of the plates, this one is not in the British museum. Most of the plates were also available separately. They usually have Ploos van Amstel's coat of arms printed on the verso as proof of authenticity. Hand colored etching 1780 260

Cornelis Brouwer, Jan Luyken - The Alchemists From a collection of print drawings here completely hand-colored (rare!) by Ploos van Amstel himself: Interior with a sitting man tempering a candle, two other man at a stove at right. The design for this drawing is now in the 'Amsterdam Historisch Museum, collection Fodor. This print was formerly also called 'The Alchemists'. Print made by Cornelis Ploos van Amstel (project director), etched by: Cornelis Brouwer (1733-1803), after the drawing by Luyken. From a series of print drawings (published in separate sets between 1765-1787). Etched in 1782 and published in 1787 . On the backside the coat of arms of Ploos van Amstel (Lugt. 2034). Here completed with hand-coloring (rare!) by Ploos van Amstel himself (shades of red, bleu ,brown, ) 12,00 x 9,20 cm 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. vH:76, vA:42, W:42, vB:44, Josi 1821:26, --- Lit.: T. Laurentius, J.W. Niemeijer and G. Ploos van Amstel, 'Cornelis Ploos van Amstel 1726-1798, Kunstverzamelaar en Prentuitgever', Assen, 1980, 263-264 no.45. The 'Ectypa' of Ploos van Amstel, since that was the Latin term Ploos van Amstel used to describe his plates on the first title-page. A series of print drawings of Dutch and Flemish artists. They were published by Ploos van Amstel in separate small sets between 1765 and 1787. Ploos van Amstel hired several printmakers to assist him in the production of the plates, this one is not in the British museum. Most of the plates were also available separately. They usually have Ploos van Amstel's coat of arms printed on the verso as proof of authenticity. Hand colored etching 1782 180

Joseph Pennell - Homestead / Description: Les aciers Homestead, Carnegie's works Homestead. A work pencil signed by the artist beneath the plate. / Dimensions: 20,30 x 25,70 cm / Condition: Very good impression with nice plate tone and still some ink blur in the plate borders. On a watermarked laid paper sheet with good margins. A good original condition. / Literature: XIV CARNEGIE'S WORKS, HOMESTEAD. personal comment by Joseph Pennell about this work: In the works at Homestead what interested me was the way the mills lie under the hills on the curving river, the way that winds up to them, the way the graceful iron bridges span it, and the deep-sighing steamboats push the barges up and down; the way the clouds mingle with the smoke—the composition that is there. / Medium: Etching and drypoint /Circa: Ca. 1915 180

Paulus Pontius, Van Dyck - Portrait of Hendrik van Steenwyck ( III / VII ) Early state: Portrait of Hendrik van Steenwyck II, half-length, turned to the right but looking towards the viewer, wearing a large collar and frilled cuffs, and a coat, holding a letter in his left hand and gesturing towards it with his right; third, lettered state with the title and production details added; after Anthony van Dyck Engraving. After: Anthony van Dyck Published by: Maarten van den Enden Print made by: Paulus Pontius Lettered below the portrait: "Henricvs Steenwyck". Lettered in lower margin with production details: "Ant. van Dyck pinxit" and "Mart. vanden Enden excudit Cum priuilegio". 24,80 x 17,70 cm Excellent impression, excellent condition, watermarked laid paper. Hollstein 129 Mauquoy-Hendrickx 1991 67.( III / VII )New Hollstein (Dutch & Flemish) 93.III (Van Dyck) Etching 1630-1645 300

Hendrik Hondius (1573-1650) - Portrait of the painter Paulus Bril Portrait of Paul Bril; half-length turned to the right, facing the viewer, holding a palette and brushes in his hand and wearing a ruff. A portrait from the series Pictorum Aliquot Celebrium Praecipuae Germaniae Inferioris Effigies made and published by the Flemish born engraver Hendrik Hondius who moved to The Netherlands and established his own publishing business. The portrait dates from 1610 and goes bas go back to Domenicus Lampsonius' Pictorum Aliquot Celebrium Germaniae Inferioris Effigies, published by Hieronymus Cock's widow in 1572 and engraved by Cock, Johannes Wierix and Cornelis Cort. In many cases, Hondius elaborated the backgrounds. This is a first edition published by Hondius, a later edition was published in 1612and 1618 by Jansonius. 20,90 x 12,40 cm Excellent impression on watermarked laid paper, good plate tone and small margins, top right corner slightly rounded. New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (113) --- Muller II 1853 / Beschrijvende catalogus van 7000 Portretten, van Nederlanders (723) Etching C.1610 240

Jos Verdegem (1897-1957) - Claude - 1944 / Description: The subject is probably his son 'Lievin Albert Claude' (°1936) This is a rather dramatic story as his first wife died due to complications at the occasion of his birth. The artist married for a second time with one of his pupils the following year. This is a hand signed, titled and numbered etching. It was published in an edition of only 25. This one 24/25 with the special mention: imprim. pour moi. Strong design with the boy sensitively looking over his shoulder. / Dimensions: 19,80 x 14,80 cm / Condition: Good condition. On a larger sheet measuring 50 by 35 cm with large margins. / Literature: Jos Verdegem (1897-1957) Born in Gent in a family of workers in the textile factory's. He worked with a painter of houses and went to the academy of Gent were he had Frits Van de Berghe as one of his tutors. In 1913 he followed courses by George Minne. Albert Saverys was one of his fellow pupils. He went to the war as a voluntary and was wounded in September 1914 and brought to Great Britain. Only in 1917 he could return and joined the 'Kunstcompagnie' (lfred Bastien, Achiel Van Sassenbroeck, Médard Maertens and Anne-Pierre de Kat). After the war he followed course by Jean Delvin and started a painters studio in 'het pand. 19220 seems to be the year of his break-through. He participated at exhibitions in Gent, Brussels and Antwerp and went to Paris were he stayed until the end of the twenty's. Exhibitions: 'Le Centaur' 'Salon des Indépendants' et 'Salon d’Automne' In 1929 he came back to Gent but it was hard to connect with the avant-garde and he accepted a position as tutor at the academy of Gent. In the years 1938-1939 he devoted himself mainly to etchings and drawings. The second world war was a new setback. He lost his job and got forgotten until the year 1977 when a catalogue of his etchings was published. This helped to be recognized as an artist who filled in the Flemish expressionism and post-expressionism in his own sensitive manner. / Medium: Etching /Circa: 1944 100

Cornelis Visscher, Adriaen Van Ostade - The Ice Skaters Interior of an inn with boors relaxing around a large fireplace; a large, lofty room with boors smoking pipes; one of the boors stands by a wooden stool with a lidded flagon and clay pipe and engages in conversation with another man seated nearby; ice skates lie on the ground; at right is a table of food. Engraving and etching made by Cornelis Visscher. After the 1650 painting 'De Schaatsenrijders' by Adriaen van Ostade in the Rijksmuseum, Amsterdam (inv.no.SK-A-2332). 43,00 x 34,00 cm Good impression trimmed mostly on/inside the plate border. Invisibly flattened middle fold with some closed tears at this middle fold and some other near left margins. Generally good with no folds, disturbing tears or stains. Moderate age toning especially in text line. Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (53) Engraving 1650-1660 240

Philips Immenraet , Van Uden - Landscape with shepherd Landscape with standing shepherd, his flock in the middle, houses at rightPrint made by: Philips Augustijn Immenraet after Lucas van UdenSigned in the lower left corner: "PAI" 8,70 x 11,80 cm Etching Hollstein Dutch 8-2(2)Bartsch 35From a series of eight prints showing landscapes after van Uden, Hollstein only describes five of these prints under Immenraet. Although these prints were considered to be made by Lucan van Uden, it is now generally accepted that they were etched by Immenraet after van UdenPhilips Augustijn Immenraet (printmaker; painter/draughtsman; Flemish; 1627 - 1679)Painter and etcher, active in Antwerp. Mostly Italianizing landscapes with ruins, rocks, shepherds. 1627 born in Antwerp; 1641pupil of Lucas van Uden; before 1655 in Rome; 1654/55 Master in St Luke Guild; 1656 married; 1672/73 teacher of Pieter Rysbrack; died in Antwerp. Monogrammed as PAI. Etching 1650-1660 150

Allaert van Everdingen - Lake in the Woods Lake in the woods with conifer.Reference: Hollstein 68,IIThis is an early second state with the initials AVE middle left at the feet of the big tree. 10,00 x 15,00 cm This is an excellent early impressio, with ink in the plate borders. Good condition with full plate mark and tread margins.Watermarked paper.(see image) Hollstein 68,II Etching Ca. 1650 260

Henri Mauperché - Le dessinateur au pied d'une ruïne The draftsman at the foot of a ruined substructure, in the background at the river fisher. From a series of six landscapes' (R.D. 40-45)Lettered : 'H. Mauperche in fecit cum Privilegio regis'Good impression of the only state. 11,00 x 15,20 cm Good condition trimmed on/just inside plate border. Robert-Dumesnil 1835-71 I.60.41 Etching 1620-1686 150

Nicholas Berghem - The rest before the inn The rest before the inn. "CBerghem fe" in the plate. 26,10 x21,00 cm. Excellent impression, trimmed to the plate mark on paper with fools head watermark, vaguely yellowed/ foxed. Hollstein 11, 3rd state (of 5), with number "4". Etching 1640-1680 200

Pieter van Laer (1599-1642) - The horses - First state We see three horses on a pasture next to a lake, a peasant resting at left. From 'Various Animals, etched by van Laer in 1636. This is an early impression of the first state before number, still with square plate edges. Rare in this early state and condition. 12,80 x 17,70 cm Excellent early impression with good plate tone and full plate border and small margins. On watermarked laid paer (Eagle with spread wings). Excellent condition. Hollstein / German engravings, etchings and woodcuts c.1400-1700 (2.I ) Etching 1636 320

Paulus Potter - The Cow Herd Paulus Potter The herd of cows. Etching. 1649. sign in the plate. u. dat. Hollstein IV (VII). - Strong pressure from the smaller plate. - Light foxing, otherwise in good condition. - 18,30 x 20,30 cm Very good impression, with full plate border and margins on a laid paper sheet. A couple of faded rust stains upper left. Remains of two old hinges on the backside of the top margin Hollstein IV (VII)Bartsch 14 - "Le Vacher". Engraving 1649 560

Frank Brangwyn - The Mill-Bridge, Montreul - 1904 / Description: Sir Frank Brangwyn: The Mill-Bridge, Montreul (passerelle das moulins aà Montreuil) . Etching, Zinck, About 30 prints, plate destroyed. Handsigned in pencil by the artist. Reference: Gaunt 33, Second state with the sky added. This is one of only 30 impressions. / Dimensions: 37,80 x 35,20 cm / Condition: Very good impression on a full sheet of simili japan paper. The work is in very good condition with the complete wide margins. Original hand signature in pencil. / Literature: Gaunt 33 ----- Frank Brangwyn (1867-1956) --- frank brangwyn. Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1907 380

Frank Brangwyn - The Bridge, Cahors - 1911 / Description: Etching (Copperplate) On Japan. Unsigned. Reference: Gaunt 189. The plate was published in 'La Revue de L'Art Moderne' to illustrate an article bg G.M.Soulier. / Dimensions: 18,00 x 25,00 cm / Condition: A very atmospheric etching on Japan, in mint condition. / Literature: Gaunt 189 ----- Frank Brangwyn (1867-1956) --- frank brangwyn. Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1911 160

Frank Brangwyn - Santa Maria Della Salute, Venice - 1907 / Description: Sir Frank Brangwyn: SANTA MARIA DELLA SALUTE, VENICE. Etching on Copper; Hand signed in pencil by the artist. Reference: Gaunt 108, First state before the dark sky was cleared out. The plate is one of the four specially etched for and included in the New-bolt Catalogue of 1908. / Dimensions: 27,80 x 36,80 cm / Condition: Very good impression on a full sheet of simili japan paper. The work is in absolute perfect condition. Original hand signature in pencil. / Literature: Gaunt 107 ----- Frank Brangwyn (1867-1956) --- frank brangwyn. Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1907 400

Frank Brangwyn - Tour de Foure - 1911 / Description: Sir Frank Brangwyn: TOUR DE FAURE - 1911; Etching (Copperplate); Hand signed in pencil by the artist. Reference: Gaunt 182, only state. The plate was etched on the spot. / Dimensions: 25,20 x 34,70 cm / Condition: Very good impression on a full sheet of watermarked laid paper. A few rust stains in the wide margins, otherwise fine. Original hand signature in pencil. / Literature: Gaunt 182 ----- Frank Brangwyn (1867-1956) --- frank brangwyn. Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1903 340

Frank Brangwyn - Signed/numbered title etching - 1927 / Description: Sir Frank Brangwyn: Title Page of the Portfolio: "Frank Brangwyn, His Work 1921-1922", Published by E.F. D'Alignan & Paul Turpin, Paris in 1927, Etching, Signed in Pencil, and Numbered 59/120 in Ink, / Dimensions: 45,00 x 36,00 cm / Condition: Double sheet measuring 62 x 46 cm. The sheet is in very good condition with moderate age toning. / Literature: Frank Brangwyn (1867-1956) --- Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1927 200

Frank Brangwyn - The Brewery at Bruges - 1906 / Description: Sir Frank Brangwyn: THE BREWERY - BRUGES- 1906. Etching (Copperplate) hand signed in pencil by the artist. Reference: Gaunt 67, only state. 100 proofs published, plate destroyed. The plate was etched on the spot. The brewery is the same as 'Gaunt 66' but seen from a different point. Brangwyn was born in Bruges, this is a view from his native town. / Dimensions: 25,30 x 20,30 cm / Condition: Outstanding impression on a full sheet of laid paper. In excellent condition, very clean. Original hand signature. / Literature: Gaunt 189 ----- Frank Brangwyn (1867-1956) --- frank brangwyn. Born in Bruges, Belgium in 1867, to British parents ( his father was Welsh) and was brought up and educated in England. His art training was at the Royal College of Art. He was apprenticed to William Morris in 1882. It was Morris’s influence that caused him to diversify his art. He was famous as an accomplished etcher and lithographer and his favorite subjects included powerful depictions of ship building and heavy industry, and the labourers involved in such work. However, his efforts in the fields of design are less well known. He produced designs for furniture, jewelry, and textiles, and stained glass panels. Brangwyn fulfilled many commissions to produce large scale murals for public interior spaces, the most high profile of which was for the House of Commons in London for which he completed 18 large scale panels on the theme of the British Empire which was rejected by the commissioning committee but became the subject of fierce bidding by many other institutions. To add to his achievements, Brangwyn was also an official war artist during the 1st World War. He excelled in etching, doing hundreds on a wide variety of subjects. When The Studio started their series of Famous Etchers he was one of only two artists to be given two volumes. In 1926, The Studio published The Etchings of Frank Brangwyn - a catalogue raisonné, with reproductions of over 330 etchings. / Medium: Etching /Circa: 1903 360

Félix Bracquemond - La terrasse de la Villa Brancas - 1876 / Description: Two women on sunny terrace in lush landscape at Sèvres; one, the darker, drawing the other, who poses with umbrella; with the old porcelain manufacture and part of Bellevue seen beyond amongst trees. Etching and drypoint with aquatint. Print made by Félix Bracquemond in 1876, published in 'L'Art' with the printers address of Salmon in the bottom left corner. Signed, dated, titled "la Terrasse "and L'Art bottom right corner. / Dimensions: 26,20 x 36,00 cm / Condition: A good impression in good condition on watermarked laid paper. / Literature: Beraldi 1885-92 / Les Graveurs du dix-neuvième siècle (215.VIII) / Medium: /Circa: 1876 260

Edgar Chahine - Au Bois de Boulogne - 1931 / Description: PARIS / AU BOIS DE BOULOGNE - 1931. Reference: Tabelli n°420 (fourth state). Measures 21,90 by 32 cm on plate border, hand signed by the artist ! Nice brown sepia like inking. Top subject from the elegant Paris life style / Dimensions: 21,90 x 32,00 cm / Condition: A very good impression on thick quality paper watermarked Arches. In excellent condition. / Literature: Tabanelli 420 IV --- Edgar Chahine (1874 Vienna- 1947, Paris) Edgar Chahine was born to Armenian parents in 1874, and spent his youth in Constantinople. * Before moving to Paris in 1895, he visited Venice where he studied under Paoletti and at the Academia di Belle Arti. In the late 1890's he began making intaglio prints, frequently mixing media in order to achieve the desired effects. The support of Edmond Sagot and Eugene Delâtre encouraged Chahine to continue making prints, all of which were characterized by a precise use of line. He approached his subjects with an honest, selective eye, and was neither patronizing nor sentimental in his interpretation of life around him. Through his objective portrayal of the petite bourgeois, Chahine gave to us a portrait of an era. * Chahine truly loved printmaking. He worked in etching, drypoint and aquatint and combined all these media. One of the popular aspects of his work centers on elegant ladies, the "femmes" of the Fin de Siècle—They are society women, performers, café habitues, "femmes fatales," shopkeepers. Chahine is known also for his delicate landscapes and seascapes which remind us of Whistler. * In the book Impressions d'Italie, published in 1906, Chahine turned his attention to the streets and inhabitants of Venice. The series, which consisted of 50 prints, includes some of Chahine's best work. A fire in Chahine's studio, and a flood in 1942, accounts for the rarity of this artist's work. / Medium: Etching, dry-point /Circa: 1931 260

Max Klinger the temptation, " La tentation" / Description: The temptation, " La tentation". Etching on simili japon, made by Max Klinger (1857-1920) in 1898. From "Von Tode" " from Death" Set of 9 etchings published by Amsler & Ruthardt in Berlin in 1898. Edition of 100 sets. References: Hans Wolfgang Singer : Klinger oeuvre catalogue N° 238. Fifth state. Etching in perfect condition printed on Simili japon paper with large margins. Very good dark strong impression with lot of details. / Dimensions: Etching: 45,4 cm x 35,7 cm, paper size: 57 cm x 39,9 cm / Condition: Etching in perfect condition printed on Simili japon paper with large margins. Very good dark strong impression with lot of details. / Literature: Hans Wolfgang Singer : Klinger oeuvre catalogue N° 238. Fifth state. / Medium: etching /Circa: 1898 250

Edouard Vuillard - Interieur au Canapé - 1930 / Description: Interieur au Canape ou soir. To girls on a sofa, a woman sitting on a chair in front an reading a magazine. Etching. c1930. Signed with the initials EV in the plate lower left. Etching made by Edouard Vuillard (1868 - 1940) / Dimensions: 10,00 x 14,80 cm / Condition: A good impression on cream laid paper with good fresh margins. Title and author added in later hand at the bottom of the margin. Collection stamp on the backside. Overall in very good condition. / Literature: catalogue raisonné: Roger-Marx 62 / Medium: Etching /Circa: 1930 240

Auguste Renoir - Auguste Renoir - 1894 / Description: Le Chapeau Épinglé (La fille de Berthe Morisot et sa cousine). Two girls fixing the other's hat with a hairpin; third version. 1894 Etching, with some surface tone. Renoir, Pierre-Auguste (French, 1841-1919), Le Chapeau Epingle, 1894, drypoint etching on laid paper, signed in the plate lower left corner. The models are Julie Manet, the daughter of Berthe Morisot and niece of Eduard Manet, and her cousin, Paulette Gobillard. / Dimensions: 11,80 x 8,10 cm / Condition: Very good condition. Good impression on a full sheet of laid paper with wide margins / Literature: Delteil / Le Peintre-Graveur Illustré (XIXe et XXe siècles) (8.II) --- First treated by Renoir as a painting 'Chapeaux d'été' (1892). There are three etched versions as well as a lithograph of the composition. / Medium: Etching /Circa: 1894 320

Pierre-Auguste Renoir, "Sur la plage à Benneval" / Description: Sur la plage à Benneval. Etching with drypoint made by Pierre-Auguste Renoir (1841-1919) in Paris in 1892. Edition of Loys Delteil in 1923 Le Peintre-graveur illustré, vol 17, Paris 1923. Reference : D. 5 iii (Delteil 5.3). Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Dimensions: 13,8 cm x 9,5 cm / Condition: Etching printed on cream wove paper, Van Gelder laid paper, with large margins. Light browning caused by the framing. Good dark impression with some drypoint. Traces of aging not disturbing. / Literature: D. 5 iii (Delteil 5.3) / Medium: etching /Circa: 1892 300

Marc Chagall - The wolf and the sheep / Description: "Les loups et les brebis" / The wolves and the sheep. From "The Fables of La Fontaine,"circa 1927-1930, etchings commissioned by Vollard after Chagall completed the etchings for "Dead Souls." Signed in the plate by Chagall. The wolves and the sheep declare a truce and each gives babies as hostages to the other to secure it. All is well until the wolf cubs grow up and slaughter all the lambs, joined in the slaughter of the sheep by their elders. The moral? "One must war constantly against the cruel and unjust. Peace in itself is good, its value is immense, but what can be the sense of peace with an enemy whom one can never trust?" .Signed in the plate at the bottom margin left of center. This is an original etching by Chagall and it is nice to see the artist work in this medium that exudes more authenticity then lithographs. / Dimensions: 29,40 x 24,00 cm / Condition: Outstanding impression on velum paper. Top condition. / Literature: (H. 183, S. 130) / Medium: Etching /Circa: 1927-1930 800

Francois Maréchal - Il Prato, Les Oliviers - 1904 / Description: Hand signed, titled etching by this Belgian artist from Liège. It is signed and dated 24-05-1904 in the plate bottom left. It is hand signed in pencil bottom middle and titled in the handwriting of the artist bottom left: 73. Les Oliviers (3e état) Il Prato, Serie Romaine. / Dimensions: 29,50 x 34,60 cm / Condition: A good impression on a full sheet of simili Japan paper with good margins. / Literature: Inv. Kunel no 73 (Italie) ----- The artist has always given an important place to the tree in his work, knowing how to accurately represent the different species and their essences: apple trees, poplars or ash trees, trees found in the Liège region, or even marvelous olive trees of Italy, of which Sander Pierron said in 1923: “It is impossible, in particular, not to be charmed by the old olive tree with tortuous branches, which raises its rough body at the edge of a plateau, and which dominates, like a lookout, or as a symbol of tenacious and persistent force, the broad valley where the life of the earth and stones pulses to the feet of the distant mountains bathed by the ether. […] amply, generously, the breath of nature crosses the landscape11. » / Medium: Etching /Circa: 1904 220

Donald Shaw MacLaughlan - Le Pont Neuf, Paris - 1906 / Description: View on Le Pont Neuf in Paris. With 'Remarque' showing a equestrian statue of an emperor. Etching by MacLaughlan for 'Societé des amis de l'eau-forte' signed and dated in the plate bottom right. Hand signed in pencil bottom middle. / Dimensions: 24,00 x 19,20 cm / Condition: Very good handsigned impression with plate tone on Japanese paper. Condition is excellent. / Literature: Roullier Catalogue 90 ---- The Chicago Art Institute 1927.6142-- Donald Shaw Maclaughlan: Canadian etcher. b.Charlottetown; trained Boston. To Paris 1898 and spent most of his life in Europe, especially France where he was regarded as the greatest American etcher since Whistler. The British Museum holds 62 etchings by him. Bibliography: Marie Bruette: 'A descriptive catalogue of the etched work of Donald Shaw Maclaughlan', Chicago 1924 / Medium: Etching /Circa: 1906 160