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A pencil signed etching by Arthur Spencer of the cathedral Hereford, a charcoal drawing of a lady sewing and a black and white print

P. Gaskell, pencil signed etching of a river scene; and another etching of a Scottish scene by W,L, Montgomerie

A monochrome etching Ye Olde White Lion, Bishops Stortford

° ° Pennell, Joseph - Pen Drawing and Pen Draughtsmen: Their Work and Their Methods. A study of the Art to-day with Technical Suggestions, London, 1905; Seccombe, Thomas and Nicoll, W. Robertson - The Bookman Illustrated History of English Literature, 3 vols, cloth, London, 1905; Hind, Arthur M. - A History of Engraving and Etching, 1923; Darton, F.J.H - Modern Book-Illustration in Great Britain & America, 1931; Holme, Charles (editor) - Modern Etchings, Mezzotints and Dry-Points, 1913; Humphreys, Henry Noel - A History of the Art of Printing, second issue, folio, almost disbound, 1868; A Book of Printing Types and Ornaments used by Richard Clay and Sons at the Chaucer Press Bungay, 4to, black cloth gilt, 1930 and numerous others relating to printing etc., (in 6 boxes)

° ° Wright, Harold J.L. - Flint, Sir William Russell -,Etchings and Drypoints: A Catalogue Raisonne, one of 135, signed by the artist, with a dry-point etching frontispiece also signed by the artist, 4to, two tone blue cloth, spine gilt lettered, P. & D. Colnaghi & Co. Ltd., London, 1957

Hedley Fitton (1859-1929, British), drypoint etching, 'St Andrew's Castle, Scotland', signed to the lower right, framed, mounted, and under glass, measuring 29cm x 31cm, & 42cm x 44cm overall

*Lake District Interest - Donald Crawford (20th Century, British), drypoint etching, 'Gate Crag, Borrowdale' & 'Head of Derwentwater', signed in pencil to the lower right, framed, mounted, and under glass, measuring 14cm x 17cm, & 29cm x 38cm overall

Willi Kissmer (German 1951-2018): 'White Ribbons', limited edition coloured etching signed in pencil, titled verso 65cm x 35cm

Continental School (Late 19th century): Gentleman in a Hat, etching indistinctly signed in pencil, dated '98 in the margin 36cm x 27cm

JOHN KAY (SCOTTISH 1742 - 1826) MR ALEXANDER WOOD, SURGEON, etching, framed under glass

ABRHAM LINCOLN, printed letter, framed under glass together with a small etching of Luneburg (2)

HUNDERTWASSER, FRIEDENSREICH, "Leben und Werk", 2 Bände mit Farbradierung, 2 Bände: Wieland Schmied, Hundertwasser 1928-2000, Werkverzeichnis, Taschen 2000, im Frontispiz im Druck signiert und num. 01445/10000, mit einer inliegenden Farbradierung, diese mit Signaturstempel und num. 782/2000, die Farbradierung HxB: Platte ca. 17x13 cm, Blatt ca. 25x20,5 cm. Im Schmuckschuber, mit Originalverpackung (Papier part. beschädigt) und Werbedummy von Band 2. ANBEI ZERTIFIKAT und Rechnungskopie von Artes, 2000. DAZU: Pierre Restany, Die Macht der Kunst, Hundertwasser, Taschen 2001. | HUNDERTWASSER, FRIEDENSREICH, "Life and Work", 2 volumes with color etching, 2 volumes: Wieland Schmied, Hundertwasser 1928-2000, catalog raisonné, Taschen 2000, signed in the frontispiece in the print and numbered. 01445/10000, with an enclosed color etching, this with signature stamp and number. 782/2000, the color etching HxW: plate approx. 17x13 cm, sheet approx. 25x20.5 cm. In a decorative slipcase, with original packaging (paper partially damaged) and advertising dummy from Volume 2. ATTACHED CERTIFICATE and copy of invoice from Artes, 2000. ALSO: Pierre Restany, The Power of Art, Hundertwasser, Taschen 2001.

JANSSEN, HORST (1929-1995), "Nigromantanus", 1981, Aquatintaradierung/Bütten, u.re. mit Bleistift von Hand monogrammiert und datiert, u.li. mit Bleistift num. 33/70, HxB: Platte ca. 21,5x14,5 cm, Passepartoutausschnitt ca. 26x17,5 cm, Außenmaße Rahmen ca. 46x36 cm. Altersspuren. Im Passepartout hinter Glas gerahmt.| JANSSEN, HORST (1929-1995), "Nigromantanus", 1981, Aquatint etching/laid paper, bottom right Monogrammed and dated by hand in pencil, bottom left with pencil number. 33/70, HxW: plate approx. 21.5x14.5 cm, passepartout cutout approx. 26x17.5 cm, external dimensions of frame approx. 46x36 cm. Signs of age. Framed in a passe-partout behind glass.

JANSSEN, HORST (1929-1995), "Gruss an ...", 1984, Aquatintaradierung/Bütten, u.re. mit Bleistift von Hand monogrammiert und datiert, u.li. mit Bleistift num. 80/100, HxB: Platte ca. 25x19,5 cm, Passepartoutausschnitt ca. 28,5x22 cm, Außenmaße Rahmen ca. 45x38 cm. Altersspuren, minim. gewellt. Im Passepartout hinter Glas gerahmt.| JANSSEN, HORST (1929-1995), "Gruss an ...", 1984, Aquatint etching/laid paper, bottom right. Monogrammed and dated by hand in pencil, bottom left. with pencil number. 80/100, HxW: plate approx. 25x19.5 cm, passepartout cutout approx. 28.5x22 cm, external dimensions of frame approx. 45x38 cm. Signs of age, minimal. wavy. Framed in a passe-partout behind glass.

JANSSEN, HORST (1929-1995), "Scherzo", 1984 Aquatintaradierung/Bütten, u.re. mit Bleistift von Hand monogrammiert und datiert, u.li. mit Bleistift num. 88/250, HxB: Platte ca. 21x29,5 cm, Blatt ca. 24,5x32,5 cm, Außenmaße Rahmen ca. 44,5x51,5 cm. Altersspuren, minim. gewellt und gebräunt. Mit Passepartout hinter Glas gerahmt.| JANSSEN, HORST (1929-1995), "Scherzo", 1984; Aquatint etching/laid paper, bottom right Monogrammed and dated by hand in pencil, bottom left with pencil number. 88/250, HxW: plate approx. 21x29.5 cm, sheet approx. 24.5x32.5 cm, external dimensions of frame approx. 44.5x51.5 cm. Signs of age, minimal. wavy and browned. Framed behind glass with a passe-partout.

JANSSEN, HORST (1929-1995), "Prestelt", 1983, Aquatintaradierung/Bütten, u.re. mit Bleistift von Hand monogrammiert und datiert, u.li. mit Bleistift num. 64/100, , HxB: Platte ca. 25,5x18 cm, Blatt ca. 27x22 cm, Außenmaße Rahmen ca. 49x40 cm. Altersspuren, minim. gewellt und gebräunt, Knickspuren am Rand. Im Passepartout hinter Glas gerahmt.| JANSSEN, HORST (1929-1995), "Prestelt", 1983, Aquatint etching/laid paper, bottom right monogrammed and dated by hand in pencil, bottom left with pencil number. 64/100, , HxW: plate approx. 25.5x18 cm, sheet approx. 27x22 cm, external dimensions of frame approx. 49x40 cm. Signs of age, minimal. wavy and browned. Framed behind glass in a passe-partout.

SARGIESON, ERNEST RA (BORN 1947) British (AR), a collection of pencil studies, a signed limited edition etching and a print. Sizes vary.

STEVENS, NORMAN (1937-1988) British (AR), Dusk, a signed limited edition etching, numbered 91/150 and signed to the margin. 51 x 67 cm.

HRIVNAC, TOMAS (born 1959) Czech, U Zdi (At the Wall), limited edition etching, numbered 5/35, signed and dated 1999, with title in Czech on reverse, framed and glazed. 14 x 18 cm

Frank Paton (1856-1909) - 'Every Dog has his Day', sepia etching, signed in pencil, published 1890 Leggatt Bros, London, 19.5cm x 25cm & three companions similar (4)

John Sell Cotman (British,1782-1842), 'West Front of Castle Acre Priory', etching from 'A Series of Etchings illustrative of the Architectural Antiquities of Norfolk', plate 24 (xxiv), plate dated 1813, published 1818, 31x43cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman)Conservation: Trumpington Gallery, 2002, stamped on backboard.

John Sell Cotman (British,1782-1842), 'Thorp Chapel, St. Michael's Church', etching, from ' A series of Etchings illustrative of the Architectural Antiquities of Norfolk', plate 42, published 1818, 30x44cm, framed and glazed. From the Cotman Collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Willingham Auctions, 2007.Conservation: Ellison, 2008.

John Sell Cotman (British,1782-1842), 'Easby Abbey, Yorkshire', etching taken from Bohn's 1838 (the 2nd) publication, 'Specimens of Architectural Remains', as plate 6 (vi) in series 4, 28x39cm, framed and glazed.From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).

John Sell Cotman (British,1782-1842), 'Part of East Barsham House', etching from 'A Series of Etchings illustrative of the Architectural Antiquities of Norfolk', un-numbered plate (60), plate dated 1817, published 1818, 23x35cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman)Willingham Auctions, 2007.Conservation: Ellison, 2008.

John Sell Cotman (British,1782-1842), 'Capitals in the Abbey Church of St Georges de Bocherville, with bas reliefs in the transepts', etching from 'Architectural Antiquities of Normandy', plate 10, plate dated 1819, published 1822, J.& A.Arch, 26x33cm, framed and glazed.

Kieron Williamson (British, contemporary), "Golden Daybreak", limited edition print from an original painting by Williamson, age seventeen. Hahnemuhle German etching paper, matte, textured 31gsm, signed A/P and numbered 22/25 in pencil. Picture Craft Publishing Editions stamp to lower right margin. Published by The Gallery Holt 2020. Certificate of Authenticity provided. Unframed, 40x50cm (sheet dimensions).

John Sell Cotman (1782-1842), 'Walsingham Abbey Gate', etching taken from Bohn's 1838 (the 2nd) publication, 'Specimens of Architectural Remains', as plate 10 (x) in series 1, 24x33cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Yesteryear prints.Conservation, Trumpington Gallery, 2001, stamped on backboard.

John Sell Cotman (British,1782-1842), 'Part of the Refectory of Walsingham Abbey', etching from 'A Series of Etchings illustrative of the Architectural Antiquities of Norfolk', plate XII (12) dated 1812, published 1818, 24x32cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Conservation: Ellison, 2009.

John Sell Cotman (British,1782-1842), 'Castle Acre Priory', etching from 'A Series of Etchings illustrative of the Architectural Antiquities of Norfolk', plate XXVIII (28), dated 1813, published 1818, 24x32cm, framed and glazed. From the Cotman collection belonging to Dr Henry Lowe and his wife Judy (nee Cotman).Conservation: Ellison, 2009.

William Lionel Wyllie RA (1851-1931)Westminster and Blackfriars Bridge from St Paul'sSigned in pencil, etching, 18.5cm by 38.5cm

William Lionel Wyllie RA (1851-1931)Hauling in the nets on upgang beach, Whitby Signed in pencil, etching, 12cm by 33cm

William Lionel Wyllie RA (1851-1931)''HMS Revenge, Portsmouth''Signed in pencil, black and white etching, 18.5cm by 39.5cm

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