Auction Information

OLD MASTER THROUGH MODERN PRINTS

Thu Apr 18 - 10:30AM


See Catalog, New York, NY Click to Map


Swann Auction Galleries

Auctioneer's Other ListingsE-mail AuctioneerAuctioneer's Web Site

Auctioneer ID#: 2686

Phone: 212-254-4710

View Full Photo Gallery
  • WENZEL VON OLMÜTZ St. Christopher.

    WENZEL VON OLMÜTZ St. Christopher.

  • MARTIN SCHONGAUER Christ Enthroned, with

    MARTIN SCHONGAUER Christ Enthroned, with

  • MARTIN SCHONGAUER The Crucifixion.

    MARTIN SCHONGAUER The Crucifixion.

  • MARTIN SCHONGAUER (AFTER) St. Lawrence.

    MARTIN SCHONGAUER (AFTER) St. Lawrence.

Lot: 1 - WENZEL VON OLMÜTZ St. Christopher.

WENZEL VON OLMÜTZ St. Christopher. Engraving, circa 1485. 165x111 mm; 6½x4½ inches. Partial high crown watermark. Trimmed on the plate mark. A very good impression of this exceedingly scarce, early engraving. We have not found another impression at auction in the past 30 years. Little is known about Olmütz (active circa 1481-1497), who is thought to have been principally active as a goldsmith in Central Europe. He is best known for his printed œuvre, which includes mostly engravings after the most important masters of his day, including Martin Schongauer and the young Albrecht Dürer. This engraving of St. Christopher, holding a wooden staff and transporting the Christ child across a river, is based on Schongauer's same-titled engraving from around 1475-80 (Lehrs 56).

Lot: 2 - MARTIN SCHONGAUER Christ Enthroned, with two Angels.

MARTIN SCHONGAUER Christ Enthroned, with two Angels. Engraving, circa 1475-80. 170x120 mm; 6¾x4¾ inches. With thread margins outside the narrow border line or trimmed on the border line. A superb, richly-inked impression of this exceedingly scarce, early engraving, with very strong contrasts and little to no sign of wear. According the National Gallery of Art, Washington, D.C., which holds another impression of this engraving, " Christ Enthroned, with two Angels is one of the finest compositions from Schongauer's mature period in a corpus of well over a hundred prints . . . The engraving depicts Christ in his manifestation as God the Father, redeemer of the world. Haloed, crowned, and enthroned, he bears a scepter and an orb, all symbols of celestial royalty. Two angels beneath a canopy draw apart curtains to reveal the figure of the deity bestowing his blessing. In performing this service, the angels also enact a theological metaphor. The Latin word for veil (vela) is the root of the word "revelation," literally "to unveil." Thus, in the modest dimensions of a print, Schongauer has presumed to perform no less than a revelation, as if to evoke the famous passage: 'For now we see through a glass darkly; but then face to face' (1 Corinthians 13:12)." Provenance: Richard Herrlinger, Vienna, with the blue ink stamp verso (Lugt 5818; according to Lugt, Herrlinger was advised by Joseph Meder, the curator of prints at the Albertina, Vienna, who specialized in early German engravings and was the author of the definitive catalogue raisonné of prints by Albrecht Dürer). Bartsch 16; Lehrs 18.

Lot: 3 - MARTIN SCHONGAUER The Crucifixion.

MARTIN SCHONGAUER The Crucifixion. Engraving, circa 1480. 196x153 mm; 7¾x6¼ inches. Three mounts with a cross and flower watermark (see Lehrs 9-12). With narrow margins outside the border line. A superb, richly-inked impression of this exceedingly scarce engraving, with very strong contrasts. Working in Colmar, once a part of southwestern Germany that is now Alsatian France, Schongauer (1430-1491) was among the earliest known northern artists to fully utilize the craft of engraving. Many of his prints, like his few known paintings, reveal an affinity with the work of early Netherlandish artists such as Jan van Eyck, Roger van der Weyden and Dirk Bouts. Schongauer imitated the monumentality associated with the altar paintings of these celebrated Netherlandish artists. Schongauer's exquisitely engraved images were circulated widely throughout Europe. The sheer number of engraved copies of Schongauer's prints, made by other artists during his lifetime, attests to his popularity and the significant demand for his work in the late 15th/early 16th century (Schongauer made approximately 115 engravings of different subjects, of which there are an equivalent number of different copies made by other artists during the late 15th century alone. One of Schongauer's best known engravings, The Death of the Virgin, early 1470s, was copied in at least seven different prints by the early 16th century). Most importantly, he was one of the first printmakers who developed an individual style and whose engravings helped to stimulate an interest in collecting prints hitherto unseen in northern Europe. Schongauer's work paved the way for the success of subsequent printmakers and was profoundly influential to the generation of engravers who proceeded him, most notably Albrecht Dürer (see lots 7-11 and 25-48). In 1492, the 21-year-old prodigious Dürer intended on training with Schongauer, but arrived at the master engraver's workshop just months after his death. Dürer went on to emulate Schongauer by incising deep engraved lines in his plates to extend their printing life, thereby increasing their commercial viability, and ultimately surpassed Schongauer's appeal and popularity. Provenance: Birmann & Söhne, Basel (Lugt 4140); Karl Ferdinand Friedrich von Nagler, Berlin, with the ink stamps verso (Lugt 2529); Kupferstichkabinett, Staatliche Museen zu Berlin, with the ink stamp and duplicate impression ink stamp verso (Lugt 1606 and 2482); Dr. Carlos Gaa, Mannheim (see Lugt 538a); sold C. G. Boerner, Leipzig, May 5-6, 1926, lot 964); Hendrikus Egbertus ten Cate, Almelo (Lugt 533b); Richard H. Zinser, New York, with the ink stamp verso (Lugt 5581). Bartsch 24; Lehrs 13.

Lot: 4 - MARTIN SCHONGAUER (AFTER) St. Lawrence.

MARTIN SCHONGAUER (AFTER) St. Lawrence. Engraving, after 1490. 164x99 mm; 6½x4 inches, thread margins. Partial Foolscap watermark. A very good impression with strong contrasts. Schongauer (1448-1490) made an engraving representing the Christian martyr, St. Lawrence, shown standing with a palm frond and metal grate which was the instrument of his torture, around 1485, toward the end of his career (see Lehrs 61). In addition to the current engraving, the artist of which even blatantly incorporated Schongauer's engraved initials in the plate; another copy--this one in reverse--was made around 1500 by the printmaker Israel van Meckenem (1445-1503).

Lot: 5 - ALBRECHT DÜRER The Monstrous Pig of Landser.

ALBRECHT DÜRER The Monstrous Pig of Landser. Engraving, circa 1496. 120x128 mm; 4¾x5 inches, thread margins. A superb, dark and richly-inked Meder a impression, with very strong contrasts and no sign of wear, and with the delicate wiping scratches that quickly disappear in later impressions, consistent with the earliest impressions of this subject. High crown watermark (Meder 20, which he dates from circa 1480-1525 and cites for the earliest impressions of this subject). According to Bartrum, "The pig represented here refers to The Monstrous Pig of Landser born on March 1, 1496 at Landser in Alsace, which is represented in a broadside by Sebastian Brant published in German and Latin editions by the Basel publisher, Johann Bergmann von Olpe: 'In the year 1496 a wondrous sow was born in the village of Landser with one head, four ears, two bodies, eight feet, on six of which it stood, and with two tongues.' Dürer (1471-1528) could not have seen this pig which only lived for one day, but he knew the broadside: the pig is shown in a different position to that crudely cut image, but the building in the background represents the castle in Landser illustrated by the Basel woodcutter," (Bartrum, Albrecht Dürer and his Legacy, London, 2002, pages 112-13). Bartsch 95; Meder 82.

Lot: 6 - ALBRECHT DÜRER The Cook and his Wife.

ALBRECHT DÜRER The Cook and his Wife. Engraving, circa 1496-97. 110x78 mm; 4⅜x3⅛ inches. A superb, dark and richly-inked Meder a impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Trimmed on the plate mark. Provenance: Baron Charles Marochetti, Torino, with his initials in ink verso (Lugt 392); and G. Bewley, Cincinnati, with his initials in ink verso (Lugt 1137a). Bartsch 84; Meder 85.

Lot: 7 - ALBRECHT DÜRER Lady on Horseback and the Lansquenet.

ALBRECHT DÜRER Lady on Horseback and the Lansquenet. Engraving, circa 1497. 106x75 mm; 4¼x3 inches, thread margins. A good Meder d impression with contrasts. Provenance: Unidentified collector, partial pale ink stamp verso. Bartsch 82; Meder 84.

Lot: 8 - ALBRECHT DÜRER The Virgin and Child with the Monkey.

ALBRECHT DÜRER The Virgin and Child with the Monkey. Engraving, circa 1498. 189x120 mm; 7½x4¾ inches, narrow margin. A very good, evenly-printed Meder l impression, with the small dot in the clouds upper center and with strong contrasts. Bartsch 42; Meder 30.

Lot: 9 - ALBRECHT DÜRER The Elevation of St. Mary Magdalen.

ALBRECHT DÜRER The Elevation of St. Mary Magdalen. Woodcut, 1501-04. 212x147 mm; 8⅜x5¾ inches, thread margins. A superb, richly-inked Meder c impression, with the short break in the border line upper left, with very strong contrasts and little to no sign of wear. Bartsch 121; Meder 237.

Lot: 10 - ALBRECHT DÜRER The Meeting of Joachim and Anna at the Golden Gate.

ALBRECHT DÜRER The Meeting of Joachim and Anna at the Golden Gate. Woodcut, 1504. 322x210 mm; 12¾x8¼ inches, narrow margins. A very good, dark Meder f-g impression, after the 1511 Latin text edition, with strong contrasts. Shield with a diagonal band watermark (Meder 246, which he dates from circa 1600). Bartsch 79; Meder 191.

Lot: 11 - ALBRECHT DÜRER The Nativity.

ALBRECHT DÜRER The Nativity. Woodcut, circa 1503. 297x212 mm; 11¾x8½ inches, thread margins. A brilliant, early Meder a proof impression before the 1511 Latin text edition with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bull's Head watermark (Meder 62, which he dates from the late 1400s and cites for proof before text impressions of this subject). Bartsch 85; Meder 199.

Lot: 12 - ALBRECHT DÜRER Adam and Eve.

ALBRECHT DÜRER Adam and Eve. Engraving, 1504. 249x192 mm; 9⅞x7¾ inches. A very good, dark Meder III b impression with contrasts, after the corrected date on the plaque. Large city gate watermark (Meder 263, which he dates to the mid-1500s). Trimmed on the plate mark, or just inside the plate mark at the right edge, with partial thread margins outside the black border line upper right. The early 1500s was a period of dramatic growth in Dürer's (1471-1528) career and the fuller recognition of Italianate influence in his art. His workshop expanded with his increasing popularity, buoyed significantly by the wide-scale distribution of his engravings and woodcuts throughout Europe, with the addition of three young artists: Hans Baldung Grien (1484-1545), Hans van Kulmbach (circa 1485-1522) and Hans Schäufelein (circa 1482-1539/40). Dürer was preoccupied with a focus on the construction and proportion of the human figure at this time too, doubtlessly on account of his knowledge of Italian Renaissance art and recent visit to northern Italy, creating numerous drawings of standing female nudes and two of his most important engravings on the subject, The Nemesis, circa 1501-02 (Bartsch 77) and Adam and Eve. Bartrum notes, "The five states of this engraving, an unusually high number for Dürer, together with the high number of preparatory drawings, document the particular care with which Dürer planned the design. It represents the culmination of his study of a system of human proportion seen in his slightly earlier drawings, and displays his virtuoso mastery of the engraving technique. Dürer's pride is displayed in the longest, most prominent inscription he ever made on an engraving: 'Albrecht Dürer of Nuremberg made this in 1504'." Bartsch 1; Meder 1.

Lot: 13 - ALBRECHT DÜRER The Small Horse.

ALBRECHT DÜRER The Small Horse. Engraving, 1505. 163x108 mm; 6½x4¼ inches. A brilliant, early and dark Meder a-b impression, before the scratch from the flame to the stone at left, with very strong contrasts and little to no sign of wear. Partial indiscernible, Bull's Head (?) watermark. Trimmed on the plate mark. Bartsch 96; Meder 93.

Lot: 14 - ALBRECHT DÜRER The Virgin on the Crescent with a Crown of Stars.

ALBRECHT DÜRER The Virgin on the Crescent with a Crown of Stars. Engraving, 1508. 118x75 mm; 4¾x3⅛ inches, thread margins. Second state (of 2), with the outer halo completed. A superb, richly-inked Meder a-b impression in this state, with the vertical scratch in the halo at the right, the vertical scratches near the monogram lower right and with very strong contrasts. The upper portion of a Bull's Head watermark (Meder 62, which he dates from the late 1400s / early 1500s). Provenance: Eduard Schultze, Vienna, extremely pale remnant of violet ink stamp verso (Lugt 906). Bartsch 31; Meder 32.

Lot: 15 - ALBRECHT DÜRER Christ Driving the Moneychangers from the Temple * The Mocking of Christ.

ALBRECHT DÜRER Christ Driving the Moneychangers from the Temple * The Mocking of Christ. Two woodcuts, circa 1509-11. Both approximately 127x98 mm; 5⅛x4 inches. Christ Driving the Moneychangers from the Temple a very good, richly-inked impression from the 1511 Latin text edition with strong contrasts. The Mocking of Christ a good, evenly-printed impression from after the 1511 Latin text edition. Both with thread margins or trimmed on the border line. Bartsch 23 and 30; Meder 131 and 139.

Lot: 16 - ALBRECHT DÜRER Christ Before Annas.

ALBRECHT DÜRER Christ Before Annas. Woodcut, 1510. 128x98 mm; 4x3⅞ inches, thread margins. A likely proof impression before the 1511 Latin text edition with strong contrasts and little to no sign of wear. Bartsch 28; Meder 137.

Lot: 17 - ALBRECHT DÜRER Salome Receiving the Head of Saint John the Baptist.

ALBRECHT DÜRER Salome Receiving the Head of Saint John the Baptist. Woodcut, 1511. 195x131 mm; 7¾x5⅛ inches. A very good, dark Meder b-c impression with strong contrasts and little to no sign of wear. Bartsch 126; Meder 232.

Lot: 18 - ALBRECHT DÜRER The Man of Sorrows Mocked by a Soldier.

ALBRECHT DÜRER The Man of Sorrows Mocked by a Soldier. Woodcut, 1511. 200x195 mm; 7⅞x7⅝ inches, small margins. A superb, dark and likely a proof impression before the 1511 Latin text edition, with no breaks in the block in the lower clouds and before the worm hole on the soldier's knee, with little to no sign of wear, or an impression from the Latin text edition with the text trimmed upper and lower edges. Provenance: Giuseppe Storck, Milan, with the inscription and dated 1798 in ink verso (Lugt 2318). Bartsch 4; Meder 113.

Lot: 19 - ALBRECHT DÜRER Christ Crowned with Thorns.

ALBRECHT DÜRER Christ Crowned with Thorns. Engraving, 1512. 118x74 mm; 4⅝x3 inches, thread margins. A brilliant, dark and richly-inked Meder a impression with strong contrasts and little to no sign of wear. Bartsch 9; Meder 9.

Lot: 20 - ALBRECHT DÜRER The Entombment.

ALBRECHT DÜRER The Entombment. Engraving, 1512. 118x80 mm; 4⅝x3⅛ inches, thread margins. A good, dark and Meder c impression with strong contrasts. Bartsch 15; Meder 15.

Lot: 21 - ALBRECHT DÜRER Virgin on the Crescent with a Sceptre and a Starry Crown.

ALBRECHT DÜRER Virgin on the Crescent with a Sceptre and a Starry Crown. Engraving, 1516. 118x74 mm; 4¾x3 inches, narrow margins. A very good, richly-inked Meder a-b impression with strong contrasts and little to no sign of wear. Provenance: Vinzent Mayer, New York, with the ink stamp verso (Lugt 2525; according to Lugt, Mayer's collection of works by Dürer was among the best of its day; his estate sale in Berlin in 1919 was spread over three different auction houses and consisted of more than 178 engravings and woodcuts by Dürer). Bartsch 32; Meder 37.

Lot: 22 - ALBRECHT DÜRER Landscape with the Cannon.

ALBRECHT DÜRER Landscape with the Cannon. Etching, 1518. 217x321 mm; 8⅜x12⅝ inches. Second state (of 2). A very good, richly-inked, dark Meder II c-e impression after only the initial rust marks, mainly around the artist's monogram and date upper left, with strong contrasts and little to no sign of wear (Meder dates impressions with II c characteristics, after the rust marks begin to appear on the iron etching plate, but before the profusion of rust marks throughout the plate and the significant rust marks on the chest of the Turkish figure in the center foreground, from the mid-1500s). Arms of Schrobenhausen watermark (Meder 195, which he dates from circa 1558-71). With thread margins or trimmed on the plate mark. Provenance: Kunsthalle Bremen, with the ink stamps verso (Lugt 292 and 293). Bartsch 99; Meder 96.

Lot: 23 - ALBRECHT DÜRER The Great Triumphal Wagon.

ALBRECHT DÜRER The Great Triumphal Wagon. Woodcut on 8 joined sheets of cream laid paper, 1522. 510x2365 mm; 20¼x93¼ (8 joined sheets overall), wide margins. The fifth edition (of 7), with the Latin text. Published by J. Chinig, Venice, in 1589. Two sheets with the shield and initials SCG watermark (Meder 338, which he dates from the region of Vicenza from 1562-72). A superb, well-inked impression of this large, extremely scarce woodcut, with strong contrasts and little to no sign of wear. Provenance: Christian M. Nebehay, Vienna; private collection, New York; thence by descent to the current owner. This large, ambitious woodcut was, along with the Great Triumphal Arch, 1515, planned by Dürer (1471-1528) in the early 1510s in celebration of the Holy Roman Emperor Maximilian I (1459-1519). According to Bartrum, "Having become emperor in 1508 of a vast Holy Roman Empire that he could not control effectively, Maximilian of Austria had, like all rulers of his age, an acute consciousness of his personal status. He became the first ruler to recognize, with much insight, to potential of the print as a cheap and effective way of perpetuating his name and dynasty. During or shortly after his visit to Nuremberg for two weeks in February 1512 he appointed Dürer as overall artistic adviser for the massive Triumphal Arch and the Triumph of Maximilian. The latter remained incomplete at Maximilian's death in 1519, after which Dürer withdrew his contribution and issued it separately as the Great Triumphal Wagon in 1522," Albrecht Dürer and his Legacy, London, 2002, page 184). Work on the monumental woodcut was not started until around 1518 and only completed in 1522, after the Emperor's death. In the image, Maximilian is seated on the wagon, surrounded by personifications of Victory (shown crowning the Emperor with a laurel wreath), Justice, Truth, Clemency and Security. Guiding the horse-drawn procession in front of Maximilian's chariot are further personifications: Reason, Fortitude, Prudence, Moderation, Foresight, Courage, Magnanimity, Skill and Experience. Dürer's friend, the humanist Willibald Pirckheimer, aided in conceiving the allegorical program for the monumental woodcut. Bartsch 139; Meder 252.

Lot: 24 - ALBRECHT DÜRER (AFTER) Knight, Death and the Devil.

ALBRECHT DÜRER (AFTER) Knight, Death and the Devil. Engraving, circa 1600. 240x185 mm; 9½x7¼ inches. With thread margins or trimmed on the plate mark. A dark and well-inked impression with strong contrasts.

Lot: 25 - ALBRECHT DÜRER Cardinal Albrecht of Brandenburg.

ALBRECHT DÜRER Cardinal Albrecht of Brandenburg. Engraving, 1523. 175x128 mm; 6⅞x5⅛ inches. A very good, clear and evenly-printed Meder I e-f impression, with the delicate vertical scratch through "SIC" and "XXX" in the upper inscription. Crowned coat-of-arms with a cornucopia watermark (Briquet 1346). With thread margins or trimmed on the plate mark. Bartsch 103; Meder 101.

Lot: 26 - ALBRECHT DÜRER Philip Melanchthon.

ALBRECHT DÜRER Philip Melanchthon. Engraving, 1526. 174x127 mm; 7x5 inch, narrow margins. A good Meder e-f impression. Provenance: Emanuel Levy, New York, with the remnant of a very pale ink stamp verso (Lugt 876). Bartsch 105; Meder 104.

Lot: 27 - JOHANNES WIERICX (AFTER DÜRER) St. Jerome in his Study.

JOHANNES WIERICX (AFTER DÜRER) St. Jerome in his Study. Engraving, circa 1600. 244x188 mm; 9⅝x7⅜ inches, narrow to thread margins. Coat-of-arms with a fleur-de-lys watermark. With Wiericx's engraved initials lower center recto lightly effaced. A superb, dark, richly-inked impression of this scarce engraving, with strong contrasts and no sign of wear. Provenance: L. Lépingle, Brussels, initials blue ink stamp verso (Lugt 1731); unidentified collector, initial L blue ink stamp verso (Lugt 1701). Mauquoy-Hendrickx 1205.

Lot: 28 - JOHANNES WIERICX (AFTER DÜRER) Melencolia I.

JOHANNES WIERICX (AFTER DÜRER) Melencolia I. Engraving, 1602. 237x190 mm; 9⅜x7½ inches, small margins. Indiscernible watermark. A superb, well-inked impression of this scarce engraving with strong contrasts, with all the details distinct and with Wiericx's name and date on the lower edge of the plate preserved. Mauquoy-Hendrickx 1556.

Lot: 29 - LUCAS VAN LEYDEN Susanna and the Elders.

LUCAS VAN LEYDEN Susanna and the Elders. Engraving, 1506-10. 197x145 mm; 7¾x5¾ inches, narrow margins. A New Hollstein b-c impression (of d). Partial elaborate small coat-of-arms watermark. A very good, dark, evenly-inked and early impression with strong contrasts. Provenance: Bibliothek der Akademie der Bildenden Künste, Vienna, with the ink stamps (Lugt 1627, upper left recto; Lugt 2575, verso). According to the Rijksmuseum, Amsterdam, where there is another impression of this subject by Lucas van Leyden (1494-1533), "Two elders, men held in high esteem, spy upon Susanna bathing in her garden. Overcome by lust, they try to persuade her to have intercourse with them. Should she refuse, they will accuse her of adultery. The man at the right entreats his companion, who still wavers, to go along with his sordid plan. Fully clad, Susanna is bathing her feet." Bartsch 33; Volbehr 33; New Hollstein 33.

Lot: 30 - LUCAS VAN LEYDEN David Playing the Harp Before Saul.

LUCAS VAN LEYDEN David Playing the Harp Before Saul. Engraving, circa 1508. 253x185 mm; 10x7¼ inches, small margins. Third state (of 3), with the publisher's address removed but still partially visible, lower left. A very good impression. Provenance: Emanuel Levy, New York, with the ink stamp verso (Lugt 876). Bartsch 27; Volbehr 26; New Hollstein 27.

Lot: 31 - LUCAS VAN LEYDEN Solomon's Idolatry.

LUCAS VAN LEYDEN Solomon's Idolatry. Engraving, 1514. 171x130 mm; 6¼x5¼ inches, thread margins. A very good, well-inked and early impression of this scarce engraving, with strong contrasts. According to the Art Institute of Chicago, where there is another impression of this subject, "King Solomon, famed for possessing the wisdom of God, kneels at the feet of an idol of Moloch, a pagan god represented as a nude man astride an orb, holding a skull. One of Solomon's 700 wives and 300 concubines points to the statue, instructing Solomon to adore Moloch. By adorning the domineering woman with a feathered hat, Lucas van Leyden (1494-1533) emphasized her foreignness and dangerous heretical beliefs. Despite Solomon's wisdom, his female consort, possibly the Queen of Sheba, turns his heart away from God." Bartsch 30; Volbehr 28; New Hollstein 30.

Lot: 32 - LUCAS VAN LEYDEN Christ Carrying the Cross.

LUCAS VAN LEYDEN Christ Carrying the Cross. Engraving, 1515. 81x105 mm; 3¼x4¼ inches. With thread margins outside the narrow border line. A very good, dark and early impression with strong contrasts and no sign of wear. Bartsch 72; Volbehr 67; New Hollstein 72.

Lot: 33 - LUCAS VAN LEYDEN Esther before Ahasueras.

LUCAS VAN LEYDEN Esther before Ahasueras. Engraving, 1518. 226x178 mm; 9x7 inches, thread margins. Third state (of 3). Small city gate with a double-headed eagle watermark. A good impression of this large, scarce engraving. Bartsch 31; Volbehr 29; New Hollstein 31.

Lot: 34 - LUCAS VAN LEYDEN Lot and his Daughters.

LUCAS VAN LEYDEN Lot and his Daughters. Engraving, 1530. 191x243 mm; 7½x9⅝ inches, with thread margins or trimmed on the plate mark. Second state (of 3), with the publisher's address. A very good, dark impression of this scarce engraving with strong contrasts. Bartsch 16; Volbehr 15; New Hollstein 16.

Lot: 35 - ALBRECHT ALTDORFER The Fall and Salvation of Mankind Through the Life and Passion of Christ.

ALBRECHT ALTDORFER The Fall and Salvation of Mankind Through the Life and Passion of Christ. Group of 9 (of 40) woodcuts, circa 1513. Each approximately 73x48 mm; 3x2 inches. Each an early, dark, well-inked impression with little to no sign of wear and strong contrasts. Bartsch 16, 23-25, 28, 35-37 and 39.

Lot: 36 - ALBRECHT ALTDORFER Mucius Scaevola Burning His Hand.

ALBRECHT ALTDORFER Mucius Scaevola Burning His Hand. Engraving, circa 1530. 68x43 mm; 2¾x1¾ inches. Second state (of 2). With thread margins or trimmed on the plate mark. A very good impression of this scarce engraving with strong contrasts. Bartsch 40; Winzinger 157.

Lot: 37 - HANS BALDUNG GRIEN St. Barbara.

HANS BALDUNG GRIEN St. Barbara. Woodcut, circa 1505. 236x161 mm; 9½x6½ inches, thread margins. Second state (of 2), with Dürer's monogram on the side of the seat. Cross on three mounts with a flower in a circle watermark (Meder 157, which he dates between 1566 and 1594). A very good impression of this scarce, early woodcut, with strong contrasts and little to no sign of wear. Provenance: Staatliche Museen zu Berlin Kupferstichkabinett, ink stamp verso (Lugt 5998). Bartsch 24.

Lot: 38 - HANS BALDUNG GRIEN Group of Seven Horses.

HANS BALDUNG GRIEN Group of Seven Horses. Woodcut, 1534. 227x337 mm; 9x13⅜ inches, thread margins. Small coat-of-arms watermark. A brilliant, early impression of this extremely scarce woodcut with very strong contrasts and little to no sign of wear, consistent with the earliest impressions of this subject. We have found approximately only 15 other impressions at auction in the past 30 years. According to the Metropolitan Museum of Art, New York, where there is another impression of this woodcut, along with the two other subjects which form the series of three, "In 1534 Baldung [1484/85-1545] made three woodcuts of wild horses in a dark and dense forest, a subject unique to him that had neither precedent nor following. The prints are so idiosyncratic that they must have had strong personal meaning for him, then in about his fiftieth year. Even though the horses and their poses do not look entirely real, they are fascinating in their strangeness and intensity. This [a Group of Seven Horses] is the least overtly sexual of the three works, but it may be guessed that the stallions are fighting for possession of a mare. In the equestrian monument or portrait, in both antiquity and the Renaissance, the horse was deemed a noble creature, a fitting mount for the ruler or leader being glorified, and both Leonardo da Vinci and [Albrecht] Dürer made plans for treatises on the ideal proportions of the horse. Also since antiquity, however, horses--both stallions and mares--were equally reputed to be extraordinarily lustful. Further, in Germanic folklore the horse was associated with evil forces often having to do with witchcraft. The larger subject of these woodcuts, with their violence and pent-up energy, is the power of forces beyond man's understanding or control, specifically the overwhelming strength of the carnal instinct. Bartsch 57; Hollstein 239; Mende 78.

Lot: 39 - HANS HOLBEIN THE YOUNGER Erasmus of Rotterdam (“im Gehäus”).

HANS HOLBEIN THE YOUNGER Erasmus of Rotterdam ("im Gehäus"). Woodcut, two impressions, circa 1538. 282x150 mm; 11⅛x5⅞ inches, small to wide margins. Both in the second state (of 2), with the four lines of text lower center. With— Portrait of Erasmus of Rotterdam in the round, woodcut, 1533. 65 mm; 2½ inches (diameter), small margins * WENZEL HOLLAR. Portrait of Hans Holbein, etching and engraving, 1647. First state (of 4). Provenance: (one impression of Erasmus of Rotterdam ("im Gehäus") and Portrait of Erasmus of Rotterdam in the round) Dr. Edgar F. Paltzer and Elisabeth Charlotte Paltzer-Boker, New York and Basel, with the ink stamp verso (Lugt 4262). Hollstein 9 and 91; New Hollstein (Hollar) 979.

Lot: 40 - GEORG PENCZ The Capture of Carthage.

GEORG PENCZ The Capture of Carthage. Engraving, 1539. 413x552 mm; 16¼x21⅞ inches, wide margins. A superb, dark impression of this large engraving with very strong contrasts and crisp, partially inky plate edges. Bartsch 86

Lot: 41 - BARTHEL BEHAM Madonna and Child with the Skull

BARTHEL BEHAM Madonna and Child with the Skull Engraving, circa 1528-1530. 46x68 mm; 1⅞x2¾ inches. Trimmed on the platemark. A very good impression. Though given a religious title by Bartsch and other cataloguers, this engraving by Beham (1502-1540) is a memento mori image, showing a mother attempting to nurse a dead child, as evidenced by the skull and hourglass on the window sill. Bartsch 5; Pauli 6.

Lot: 42 - BARTHEL BEHAM Sleeping Child with Three Skulls.

BARTHEL BEHAM Sleeping Child with Three Skulls. Engraving, 1529. 43x60 mm; 1 3/4x2 1/2 inches. Trimmed on the platemark. A very good impression of this extremely scarce engraving. This is more likely a memento mori image by Beham (1502-1540), representing the lifeless body of a child accompanied by three skulls, rather than that of a sleeping child. Bartsch 27; Pauli 35.

Lot: 43 - HANS SEBALD BEHAM Adam and Eve.

HANS SEBALD BEHAM Adam and Eve. Engraving, 1529. 80x50 mm; 3¼x2¼ inches. Trimmed on or just inside the plate mark. A very good, dark and evenly-printed impression of this extremely scarce engraving. Bartsch App. 1; Pauli 5.

Lot: 44 - HANS SEBALD BEHAM Melancholia.

HANS SEBALD BEHAM Melancholia. Engraving, 1539. 77x50 mm; 3x2 inches, thread margins. Sixth state (of 6). A very good impression. Bartsch 144; Pauli 145.

Lot: 45 - HANS SEBALD BEHAM The Parable of the Prodigal Son.

HANS SEBALD BEHAM The Parable of the Prodigal Son. Set of 4 engravings, 1540. Each approximately 62x100 mm; 2½x4 inches. Very good, well-inked impressions with strong contrasts and little to no sign of wear, extremely scarce as a set. Provenance: ( The Prodigal Son Wasting his Fortune) Ivan Izaklevitch de Kouriss, Odessa, with the blue ink stamp verso (Lugt 2722). Bartsch 31-35; Pauli 33-37.

Lot: 46 - HANS SEBALD BEHAM The Judgment of Paris.

HANS SEBALD BEHAM The Judgment of Paris. Engraving, 1546. 70x48 mm; 2¾x2 inches, thread margins. Second state (of 2). A superb, well-inked impression. Provenance: Count Octave de Behague, Paris, with the ink stamp verso (Lugt 2004); Heinrich Stiebel, Frankfurt, with the ink stamp verso (Lugt 1367). Bartsch 89; Pauli 92.

Lot: 47 - HANS SEBALD BEHAM Genius with Alphabet.

HANS SEBALD BEHAM Genius with Alphabet. Engraving, 1542. 44x80 mm; 1¾x3⅛ inches. Second state (of 3). Trimmed on the plate mark. A very good, dark impression of this extremely scarce engraving. Bartsch 229; Pauli 233.

Lot: 48 - HANS SEBALD BEHAM Two engravings.

HANS SEBALD BEHAM Two engravings. Standard-Bearer and Drummer, 1544. 70x50 mm; 2 3/4x2 inches. First state (of 2) * Fortuna, 1541. 80x53 mm; 3⅛x2⅛ inches. Third state (of 5). Both trimmed on or just inside the platemark. Very good impressions. Bartsch 140 and 199; Pauli 143 and 202.

Lot: 49 - HEINRICH ALDEGREVER Sophonisbe Drinks the Poison Cup.

HEINRICH ALDEGREVER Sophonisbe Drinks the Poison Cup. Engraving, 1553. 117x75 mm; 4½x3 inches. Trimmed on the plate mark. Hollstein 62. With—GEORG PENCZ. Virginia Killed by Her Father, circa 1546-47. 115x75 mm; 4½x3 inches. Trimmed on the plate mark. Hollstein 125. Provenance ( Sophonisbe Drinks the Poison Cup): George Ambrose Cardew, London, with the ink stamp verso (Lugt 1134,); Hermann Marx, Cobham, Surrey, with the ink stamp verso (Lugt 2816a). Provenance ( Virginia Killed by Her Father: William Bell Scott, London, with the ink stamp verso (Lugt 2607)

Lot: 50 - MARCO DENTE DA RAVENNA (AFTER RAPHAEL) Saint Bartholomew.

MARCO DENTE DA RAVENNA (AFTER RAPHAEL) Saint Bartholomew. Engraving, circa 1520. 217x144 mm; 8¾x5¾ inches, thread margins. From Christ and Twelve Apostles. A brilliant, richly-inked and early impression of this very scarce engraving with strong contrasts and little to no sign of wear. This engraving is from a series of thirteen prints representing Christ, eleven Apostles and St. Paul (generally referred to as the series of Christ and Twelve Apostles). Twelve red chalk drawings corresponding to the figures of the Apostles and St. Paul are now in the Devonshire Collection, Chatsworth House, Derbyshire Dales. Formerly considered as original designs by Raphael for the now-lost frescoes in the Sala dei Palafrenieri in the Vatican dating 1516-17 or as copies after such, the Chatsworth drawings are now commonly thought to have been made (perhaps by Giulio Romano) as modelli for the engravings. Both Marcantonio Raimondi (1480-1534) and Marco Dente (1493-1527) produced sets of engravings of Christ and Twelve Apostles. Marco Dente's set (Bartsch 79-91) has generally been described as a repetition of Marcantonio's. Though it has also been suggested that Marcantonio may have actually based his series upon Marco Dente's. Marco Dente was an Italian engraver born in Ravenna in the latter part of the 15th century. He was a prominent figure within the circle of printmakers around Marcantonio Raimondi in Rome, and is known for the highly-finished, imitative nature of the reproductive prints or close copies of other prints that were most of his output. His prints in specific cases are also of certain interest in that we can see the impact and design of sculptural restorations. Marco Dente was killed in the tumult of the Sack of Rome in 1527. In this engraving, Saint Bartholomew is depicted with a beard and curly hair as at the time of his martyrdom and holding a curving knife, which is a symbol of his martyrdom. According to legend, Bartholomew was skinned alive and beheaded, thus often being depicted holding his flayed skin or the curved flensing knife with which he was skinned.

Lot: 51 - MARCANTONIO RAIMONDI AND CIRCLE (AFTER RAPHAEL) Joseph Interpreting his Dreams to his Brothers.

MARCANTONIO RAIMONDI AND CIRCLE (AFTER RAPHAEL) Joseph Interpreting his Dreams to his Brothers. Engraving, circa 1520. 245x360 mm; 9¾x14¼ inches. A superb, dark, early impression with very strong contrasts and little to no sign of wear. Trimmed on or just inside the plate mark. Provenance: Peter Vischer, Basel, with the ink stamps on the mount (Lugt 2115 and 2116); Dr. Gustav Seeligmann, New York, with the ink stamp on the mount (Lugt with the ink stamp on the mount (Lugt 1215). Bartsch 5.

Lot: 52 - GIOVANNI FRANCESCO MARIA MAZZOLA, IL PARMIGIANINO Woman Resting.

GIOVANNI FRANCESCO MARIA MAZZOLA, IL PARMIGIANINO Woman Resting. Etching, 1527. 126x96 mm; 5x3¾ inches. Second state. Trimmed on the plate mark, the left edge trimmed inside of the plate mark. According to the Courtauld, London, where there is another impression of this scarce etching by Parmigianino (1503-1540), though the subject of the work has been described as Saint Thaïs, it does not follow the traditional iconography. It is based upon a chalk drawing of a seated, resting woman in the collection of the Courtauld, thought now to be a quiet domestic scene. Bartsch 10.

Lot: 53 - ANDREA MELDOLLA, IL SCHIAVONE Minerva and the Muses.

ANDREA MELDOLLA, IL SCHIAVONE Minerva and the Muses. Etching, circa 1540. 238x172 mm; 9⅜x6¾ inches. Trimmed on the plate mark. A good impression of this extremely scarce, early etching. Provenance: Dr. Julius Hofmann, Vienna, with the ink stamp verso (Lugt 1264). Meldolla (circa 1510/15-1563) was an Italian Renaissance painter and etcher, born in Dalmatia, in the Republic of Venice (present-day Croatia) to parents from Emilia-Romagna, and he was active mainly in the city of Venice. Although initially much influenced by Parmigianino and Italian Mannerism, as the current etching illuminates, he was also informed by Venetian painting, and ultimately combined both in his works. Meldolla in turn influenced Titian, Tintoretto, and Jacopo Bassano among others. Francis E. Richardson, who wrote the definitive Andrea Schiavone, New York, 1980, noted Meldolla's importance as an etcher: "In etching he was similarly innovative. His technique was unlike that of any contemporary: unsystematically he used dense webs of light, fine, multidirectional hatching to create a tonal continuum embracing form, light, shadow, and air. His etchings are the only real equivalent in printmaking of later 16th-century Venetian painting modes, and his technical experiments were emulated by 17th-century etchers such as Jacques Bellange, Giovanni Benedetto Castiglione and Rembrandt." Bartsch 79.

Lot: 54 - AGOSTINO VENEZIANO (AFTER RAPHAEL) Hercules and Antaeus.

AGOSTINO VENEZIANO (AFTER RAPHAEL) Hercules and Antaeus. Engraving, 1533. 238x180 mm; 9⅜x7⅛ inches, narrow to thread margins. First state (of three), with the date on the rock lower center and before the inscription in the lower margin. Circle and six pointed star watermark. A very good, early impression of this scarce engraving. Bartsch 316.

Lot: 55 - GIULIO BONASONE (AFTER FRANCESCO PRIMATICCIO) The Trojans Hauling into Troy the Wooden Horse.

GIULIO BONASONE (AFTER FRANCESCO PRIMATICCIO) The Trojans Hauling into Troy the Wooden Horse. Engraving, 1545. 402x629 mm; 15⅞x24¾ inches, thread margins. A very good impression with strong contrasts. Provenance: Unidentified collector, blue ink initial "E" stamp, lower left recto (not in Lugt); Gustav Grunewald, New York, with the ink stamp verso (Lugt 1155b). This engraving is based on a drawing by Primaticcio, in the collection of the Royal Library at Windsor Castle, that may be an early preparatory drawing for the fresco of the defeat of Troy in the Galerie d'Ulisse at Fontainebleau (1541–47). Bartsch 85.

Lot: 56 - GIOVANNI B. GHISI (AFTER GIULIO ROMANO) The Trojans Repelling the Greeks.

GIOVANNI B. GHISI (AFTER GIULIO ROMANO) The Trojans Repelling the Greeks. Engraving, 1538. 409x585 mm; 16¼x23¼ inches. Second state (of 2), with the address of Rossi lower right. The letters IHS in an oval watermark. Trimmed on the plate mark with narrow to thread margins outside the borderline. A very good impression of this large engraving with strong contrasts. Bartsch 20.

Lot: 57 - DIANA SCULTORI (AFTER GIULIO ROMANO) Attilius Regulus in a Barrel.

DIANA SCULTORI (AFTER GIULIO ROMANO) Attilius Regulus in a Barrel. Engraving, circa 1575. 305x412 mm; 12⅛x16¼ inches. With thread margins outside the narrow black border line. A very good impression of this scarce engraving. Scultori (15547-1612) was one of four children of the sculptor and engraver Giovanni Battista Ghisi (1503-1575) and the sister of engraver Adamo Scultori (1530-1585). She learned the art of engraving from her father and also studied with the artist Giulio Romano (circa 1499-1546). Scultori received her first public recognition as an engraver in Giorgio Vasari's second edition of his Vites published in 1568. In 1565 she met her first husband, an architect, and the pair moved to Rome by 1575. Once in Rome, Scultori used her knowledge of business within the art world to advance both her and her husband's career. On June 5, 1575, Scultori received a Papal Privilege to make and market her own work, which she used to her advantage. In 1578 she gave birth to her son Giovanni Battista Capriani. The last known engraving by Scultori dates from 1588. Bartsch 36; Bellini 17.

Lot: 58 - HIERONYMUS BOSCH (AFTER) The Temptation of St. Anthony.

HIERONYMUS BOSCH (AFTER) The Temptation of St. Anthony. Engraving, 1561. 298x428 mm; 11¾x16⅞ inches. Engraved by Johannes and Lucas Doetecum, Antwerp. Published by Hieronymus Cock, Antwerp. Trimmed inside the plate mark. A very good impression of this scarce engraving. St. Anthony is a recurrent figure in Bosch's (1450-1516) work, with at least 15 known paintings of this subject attributed to him, all inspired by legends told in the Golden Legend and in his Life by Athansius of Alexandria. The saint's torment by Satan, during his decades of meditation in the wilderness as a hermit, particularly lent itself to Bosch's highly imaginative and fantastic approach to subject matter. The use of this image nearly a century after Bosch's original painting by one of the most prominent publishing houses in Europe at the time, attests to the popularity of the artist's vision then even as it continues to spellbind viewers to this day. Hollstein 10; New Hollstein (The Van Doetecum Family) 216.

Lot: 59 - HIERONYMUS WIERICX The Triumph of Truth * Allegory of Patience.

HIERONYMUS WIERICX The Triumph of Truth * Allegory of Patience. Two engravings. The Triumph of Truth, 1579. 428x330 mm; 16⅞x13 inches. Second state (of 2). Indiscernible proprietary watermark * Allegory of Patience, engraving. 256x204 mm; 10⅛x8 inches, small margins. Small jug watermark. Both very good impressions of these scarce engravings. Mauquoy-Hendrickx 1409 and 1411.

Lot: 60 - ÉTIENNE DELAUNE Two engravings from Combats et Triomphes.

ÉTIENNE DELAUNE Two engravings from Combats et Triomphes. La Victoire * Combats d'hommes et d'animaux Both circa 1570. Both 68x222 mm; 2⅝x8¾ inches, small margins. Both in the first state (of 4). Both very good, early impressions of these scarce engravings with strong contrasts and little to no sign of wear. Robert-Dumesnil 283 and 286.

Lot: 61 - AGOSTINO CARRACCI Mercury and the Three Graces * Harmony of the Spheres.

AGOSTINO CARRACCI Mercury and the Three Graces * Harmony of the Spheres. Mercury and the Three Graces, engraving, 1589. 199x255 mm; 7¾x10¼ inches, wide margins. Third state (of 3). A very good impression of this scarce engraving with strong contrasts * Harmony of the Spheres, etching with engraving, 1589-92. 242x345 mm; 9⅝x13⅝ inches, thread margins. First state (of 3). According to Bohlin, Harmony of the Spheres is one of two etchings by Carracci (1557-1602) that record, "Part of the festivities honoring the marriage of Ferdinando I de' Medici and Christine of Lorraine in 1589. Throughout the month of May, the festivities continued, following the entry of Christine in Florence. Through the numerous contemporary records, both written and visual, the elaborate costumes, plays, triumphal arches, mock battles, etc., are vividly bought to life . . . Bernardo Buontalenti was responsible for the costumes and machines made for the intermezzi [on which both of these etchings are based]." Bartsch 117 and 121; Bohlin 149 and 153.

Lot: 62 - AGOSTINO CARRACCI Saint Jerome.

AGOSTINO CARRACCI Saint Jerome. Engraving, circa 1595. 198x148 mm; 8x6 inches, thread margins. Second state (of 2). A superb impression with very strong contrasts and no sign of wear. According to Bohlin, Agostino (1557-1602) was influenced by the works of Hendrick Goltzius, and his working of the plate to effect the same virtuosity of technique is apparent in the current engraving. Bartsch 74; Bohlin 205.

Lot: 63 - AGOSTINO CARRACCI Saint Jerome.

AGOSTINO CARRACCI Saint Jerome. Engraving, circa 1602. 384x276 mm; 15¼x10¾ inches, small margins. Fourth state (of 4). A superb, richly-inked and dark impression of this scarce engraving, with very strong contrasts and little to no sign of wear. Bartsch 75.

Lot: 64 - ANDREA ANDREANI (AFTER GIAMBOLOGNA) Pilate Washing his Hands.

ANDREA ANDREANI (AFTER GIAMBOLOGNA) Pilate Washing his Hands. Woodcut on two joined sheets, circa 1590. 436x640 mm; 17¼x25¼ inches. The letters GF watermark or counter mark to an unidentified watermark. With small upper and lower margins, trimmed on the border line right edge and on or just inside the border line left edge. A very good impression of this extremely scarce woodcut. Based on Giambologna's (1529-1608) bronze bas-relief in the Soccorso Chapel, Santissima Annunziata, Florence, from circa 1585-87. The black key block only. A chiaroscuro woodcut by Andreani (1540-1623) of only the right half of the scene sold at Christie's, London, December 2, 1987, lot 94. We have not found another impression of the entire composition at auction in the past 30 years. Bartsch 19.

Lot: 65 - RAPHAEL SADELER (AFTER JAN VAN DER STRAET) Death Visiting the Rich.

RAPHAEL SADELER (AFTER JAN VAN DER STRAET) Death Visiting the Rich. Engraving, circa 1595. 220x282 mm; 8¾x11¼ inches, thread margins. Cross and quatrefoil on three mounts in a circle watermark (which dates from the second half of the 1500s). A superb, early impression of this scarce engraving. Hollstein 214.

Lot: 66 - JAN SAENREDAM The Arrival of Furius Camillus.

JAN SAENREDAM The Arrival of Furius Camillus. Engraving, circa 1595. 350x563 mm; 14x22¼ inches. First state (of 3). Crossed arrows watermark. Trimmed on or just inside the plate mark. A brilliant, early impression with very strong contrasts and no sign of wear. Provenance: Unidentified collector, entwined initials ink stamp verso (not in Lugt). Bartsch 32; Hollstein 118.

Lot: 67 - AEGEDUIS SADELER (AFTER BARTHOLOMEUS SPRANGER) Christ Appears as a Gardener to Mary Magdalene (Noli mi tangere).

AEGEDUIS SADELER (AFTER BARTHOLOMEUS SPRANGER) Christ Appears as a Gardener to Mary Magdalene (Noli mi tangere). Engraving, circa 1610. 282x221 mm; 11¼x8⅞ inches, narrow to thread margins. First state (of 3). Small armorial shield watermark. A very good, evenly-printed impression of this extremely scarce engraving with little to no sign of wear. Hollstein 61.

Lot: 68 - JAN VAN LONDERSEEL (AFTER HONDECOETER) Landscape with Abraham and the Three Angels.

JAN VAN LONDERSEEL (AFTER HONDECOETER) Landscape with Abraham and the Three Angels. Etching and engraving, 1614. 354x465 mm; 14x18½ inches. Trimmed on the plate mark, with narrow margins outside the border line. A very good impression of this large, scarce etching. Hollstein 3. With--A miscellaneous group of prints by, after or attributed to Beham, Sadeler, Goya and others. Various sizes and conditions.

Lot: 69 - JAN VAN DE VELDE II (AFTER PIETER DE MOLIJN) The Star of the Kings.

JAN VAN DE VELDE II (AFTER PIETER DE MOLIJN) The Star of the Kings. Engraving, circa 1616. 214x165 mm; 8½x6½ inches, thread margins. Second state (of 2). Crowned coat-of-arms watermark. A superb and early impression of this very scarce engraving, with little to no sign of wear. According to the Art Institute of Chicago, where there is another impression of this engraving, "Here Jan van de Velde the Younger [circa 1593-1641] engraved the earliest known print of so-called star-singers on Twelfth Night. This secular celebration mimicked the journey of the Three Magi, or kings, who followed the miraculous star of Bethlehem to the infant Christ. Popular in the 17th-century Dutch Republic, this Epiphany festival, held on January 6, grew beyond the church. It consisted of two parts: an indoor family feast crowning a king chosen by lottery, and a nighttime parade of singers carrying a candle-lit star from door to door. Unlike the generous Magi, the singers demanded gifts as they progressed, illuminated by their glowing paper star." Provenance: Dr. Julius Hofmann, Vienna, with the ink stamp verso (Lugt 1264); Henry Harper Benedict, New York (Lugt 1298); Oswald Stein, with the black ink stamp verso (not in Lugt). Hollstein 149.

Lot: 70 - JACQUES CALLOT Le Bénédicité (La Sainte Famille à table) * Le Brelan (Les Joueurs de Cartes).

JACQUES CALLOT Le Bénédicité (La Sainte Famille à table) * Le Brelan (Les Joueurs de Cartes). Two etchings. Le Bénédicité (La Sainte Famille à table), circa 1628. 190x168 mm; 7½x6½ inches, wide margins. Third state (of 4), before Silvestre's address. Partial Cross of Lorraine watermark and countermark (Lieure 29 and 32) * Le Brelan (Les Joueurs de Cartes), etching, 1628. 216x280 mm; 8½x11 inches, small to narrow margins. Second state (of 2). Very good, dark impressions. Provenance ( Le Brelan (Les Joueurs de Cartes): Joseph Camesina de Pomal, inscribed and dated 1819 in ink, verso (Lugt 429). Lieure 595 and 596.

Lot: 71 - JACQUES CALLOT Les Gueux.

JACQUES CALLOT Les Gueux. Complete set of 25 etchings, 1622. Each approximately 137x91 mm; 5½x3⅝ inches, wide margins. Each in the first state (of 2), before the numbers in the plates. Several sheets with the Cross of Lorraine watermark (Lieure 29). Superb, richly-inked impressions with very strong contrasts, extremely scarce as a complete set. We have found only 10 other complete sets at auction in the past 30 years and only a few in the scarce first state. Provenance: Charles-Basile Morel, Nancy, with the ink stamp on two sheets (Lugt 2867); and Ottokar Mascha, Vienna, with the ink stamp on one sheet (Lugt 1904). Lieure 479-503.

Lot: 72 - JACQUES CALLOT Le Triomphe de la Vierge (La Petite Thèse).

JACQUES CALLOT Le Triomphe de la Vierge (La Petite Thèse). Etching and engraving, 1625. 560x362 mm; 22⅛x14¼ inches, narrow margins. First state (of 3), before the address of Silvestre. A very good impression of this large, scarce etching with strong contrasts and little to no sign of wear. Lieure 562.

Lot: 73 - JACQUES CALLOT Les Grandes Misères de la Guerre.

JACQUES CALLOT Les Grandes Misères de la Guerre. Complete set of 18 etchings, 1633. Each approximately 85x185 mm; 3¼x7¼ inches, small margins. The title plate in the third state (of 3), each of the other etchings in the second state (of 3), with the address of Israel. Some sheets with partial, indiscernible watermarks. Very good, richly-inked impressions with strong contrasts and little to no sign of wear. Lieure 1339-1356.

Lot: 74 - CLAUDE GELLÉE, LE LORRAIN Le Soleil levant.

CLAUDE GELLÉE, LE LORRAIN Le Soleil levant. Etching, 1634. 132x198 mm; 5¼x7⅞ inches, narrow margins. Fifth state "A" (of 8). A very good, crisp and well-inked impression of this scarce etching with all the details distinct and with little to no sign of wear. Provenance: John MacGowan, Edinburgh, with the ink stamp lower left recto (Lugt 1496). Mannocci 15.

Lot: 75 - GUIDO RENI The Madonna and Child with St. Joseph in the Background

GUIDO RENI The Madonna and Child with St. Joseph in the Background Etching, circa 1600-05. 196x139 mm; 7¾x5½ inches, narrow margins. Third state (of 5), with the large initials lower right, and before the address of Cenci. A very good impression of this scarce, early etching with strong contrasts. Reni (1575-1642) was born in Bologna and studied from the mid-1590s at the Carracci academy, leaving around 1598 to pursue an independent artistic career. He produced his first etchings at this time, including a group of nine subjects which were based on scenes from his mural for the entry of Pope Clement VIII into Bologna. By 1601, Reni had arrived in Rome, where he spent the majority of his mature career, and by 1607 began full-time artistic employment with the prominent Borghese family. Bartsch 1.

Lot: 76 - SIMONE CANTARINI St. Anthony of Padua Adoring the Christ Child.

SIMONE CANTARINI St. Anthony of Padua Adoring the Christ Child. Etching, circa 1640. 261x176 mm; 10¼x7 inches, thread margins. First state (of 3), before the artist's and publisher's names. Circle with a cross on three mounts watermark. A superb, richly-inked impression with strong contrasts and no sign of wear. Provenance: Karl Ferdinand Friedrich von Nagler, Berlin, ink stamp verso (Lugt 2529); Staatliche Museen zu Berlin Kupferstichkabinett, ink stamps verso (Lugt 4957 and 1606). Bartsch 25; Bellini 26.

Lot: 77 - LUCA CIAMBERLANO (AFTER AGOSTINO CARRACCI) Two Skulls (Nil certius morte nil incertius die mortis).

LUCA CIAMBERLANO (AFTER AGOSTINO CARRACCI) Two Skulls (Nil certius morte nil incertius die mortis). Engraving, circa 1630. 109x158 mm; 4½x6¼ inches. Trimmed on the plate mark. A very good impression of this scarce engraving. Bartsch 80.

Lot: 78 - JUSEPE DE RIBERA The Martyrdom of St. Bartholomew.

JUSEPE DE RIBERA The Martyrdom of St. Bartholomew. Etching, 1624. 326x242 mm; 12⅞x9⅝ inches. First state (of 2). Small fleur-de-lys in a circle watermark. With thread margins or trimmed on the plate mark. A good, evenly-printed impression. Bartsch 6; Brown 12.

Lot: 79 - ANTHONY VAN DYCK Christ Crowned with Thorns.

ANTHONY VAN DYCK Christ Crowned with Thorns. Etching, circa 1631. 260x210; 10¼x8¼ inches, narrow to thread margins. Sixth state (of 9). Partial coat-of-arms watermark. A very good, early impression with strong contrasts and little to no sign of wear. Provenance: William Bell Scott, London, with the ink stamp verso (Lugt 2607). Hollstein 28; New Hollstein 519; Mauquoy-Hendrickx A.

Lot: 80 - ANTHONY VAN DYCK Titian and his Mistress.

ANTHONY VAN DYCK Titian and his Mistress. Etching and engraving. 295x227 mm; 11⅝x8⅞ inches. Third state (of 8). Trimmed on or inside the plate mark. A brilliant, dark, richly-inked and early impression with very strong contrasts and no sign of wear. Provenance: George Usslaub, Marseille, with the ink stamp verso (Lugt 1221). Hollstein 21; New Hollstein 628, Mauquoy-Hendrickx B.

Lot: 81 - ANTHONY VAN DYCK Collection of approximately 165 portrait etchings and engravings from Icones Principum Virorum Doctorum and other seri

ANTHONY VAN DYCK Collection of approximately 165 portrait etchings and engravings from Icones Principum Virorum Doctorum and other series. Collection of approximately 165 etchings and engravings, by, after or attributed to Anthony van Dyck, circa 1645. Various sizes and conditions. With--WENZEL HOLLAR. Group of 7 portrait etchings after Anthony van Dyck.

Lot: 82 - GIOVANNI B. CASTIGLIONE The Nativity with God the Father and the Angels.

GIOVANNI B. CASTIGLIONE The Nativity with God the Father and the Angels. Etching, circa 1647. 205x400 mm; 8⅛x15⅞ inches, small margins. Initials countermark to an unidentified watermark. A very good impression with strong contrasts. Bartsch 22; Percy 18.

Lot: 83 - SALVATORE CASTIGLIONE The Raising of Lazarus.

SALVATORE CASTIGLIONE The Raising of Lazarus. Etching, 1645. 112x215 mm; 4½x8½ inches, thread margins. A very good impression of this scarce etching, with strong contrasts and little to no sign of wear. Castigione (1620-1676) was the younger brother of Giovanni B. Castiglione (1609-1664), and an also an accomplished Italian painter of the Baroque period. Both Salvatore and Giovanni created etchings of The Raising of Lazarus during the 1640s. Bartsch 1.

Lot: 84 - GIOVANNI B. CASTIGLIONE Group of 4 etchings.

GIOVANNI B. CASTIGLIONE Group of 4 etchings. Man in Profile facing right, Wearing a Fur Hat, circa 1650. * Man in Profile facing right, Wearing a Fur Hat, circa 1650. Both from Small Heads in Oriental Headdress * A Bearded Old Man with his Head Leaning Forward, Wearing a Skull Cap, circa 1650. Second state (of 2) * Head of a Man in Shadow turned slightly to the left, circa 1650. Second state (of 2). Both from Large Oriental Heads. Very good impressions. Bartsch 32, 35, 50 and 52.

Lot: 85 - JAN LIEVENS St. Jerome.

JAN LIEVENS St. Jerome. Etching, circa 1631. 243x212 mm; 9⅝x8¼ inches, thread margins. Third state (of 5). A superb, dark, richly-inked and early impression of this very scarce etching. According to the National Gallery Prague, where there is another similar impression of this etching, "A successful artist himself, Lievens was a close friend of Rembrandt's. Together, they shared an art studio in Leiden in their early career (1625-1631), where the artists influenced and inspired one other. However, in 1631, they parted ways; Rembrandt settled in Amsterdam and Lievens left for England. Through the use of the dramatic tenebrism (dramatic dark chiaroscuro), this image showing the penitent St. Jerome reflects the artist's admiration for the Utrecht Caravaggisti." Lievens (1607-1674) likely based this etching on a painting of the same subject, from circa 1630, now in the Stedelijk Museum De Lakenhal, Leiden. Bartsch 5; Hollstein 15.

Lot: 86 - JAN LIEVENS St. Anthony.

JAN LIEVENS St. Anthony. Etching, circa 1630. 255x205 mm; 10x8⅛ inches, small margins. Fourth state (of 4). Crowned letters GR in circle watermark. A very good impression of this extremely scarce etching. Provenance: W. E. Drugulin, Leipzig, with the ink stamp verso (Lugt 2612). Bartsch 8; Hollstein 14.

Lot: 87 - JAN LIEVENS The Hermit.

JAN LIEVENS The Hermit. Etching. 123x93 mm; 4¾x3⅝ inches, thread margins. Second state (of 2). A very good impression of this exceedingly scarce etching. We have not found another impression at auction in the past 30 years. Bartsch 7; Hollstein 16.

Lot: 88 - JAN LIEVENS Bust of a Man in Profile to the Left

JAN LIEVENS Bust of a Man in Profile to the Left Etching. 163x143 mm; 6½x5⅝ inches. Second state (of 2). Double-headed eagle watermark. Trimmed on or just inside the plate mark. A very good impression of this extremely scarce etching, with strong contrasts and no sign of wear. We have found only 3 other impressions at auction in the past 30 years. Bartsch 15; Hollstein 32.

Lot: 89 - JAN LIEVENS Bust of a Bearded Oriental Man with Turban.

JAN LIEVENS Bust of a Bearded Oriental Man with Turban. Etching, circa 1630-31. 161x145 mm; 6½x5¾ inches, thread margins. Second state (of 2). A very good impression of this extremely scarce, early etching. This introspective portrait of an old man in exotic costume is an early work by Lievens (1607-1674) from a series of etched imaginary heads from around 1630-32. It was executed at the time when Lievens was working in close collaboration with Rembrandt (1606-1669) in Leiden and when the two young artist's mutually influenced each other's work. Lievens was inspired by Rembrandt's contemporary etched portraits of men in oriental dress when he created this bust of an aged man wearing an unusual fur cap bound by a strip of cloth. Rembrandt in turn etched copies of this subject and two others from a series in 1635 (Hollstein 286-88; New Hollstein 149-151). Rembrandt added the etched inscription to his copy of this Bust of an Oriental Man, Facing Right (The Third Oriental Head)--"Rembrandt geretuckert"--as in "retouched or improved by Rembrandt." Hollstein 35.

Lot: 90 - JOHN SMITH OF CHICHESTER (AFTER REMBRANDT) The Second Oriental Head.

JOHN SMITH OF CHICHESTER (AFTER REMBRANDT) The Second Oriental Head. Etching, circa 1750. 148x125 mm; 6x5 inches, narrow margins. A superb, well-inked impression of this very scarce etching, with strong contrasts and no sign of wear. Hinterding in the New Hollstein notes that this etching was made by the British printmaker John Smith of Chichester (1717-1764) after the same title etching by Rembrandt from circa 1635. Hinterding cites other impressions of this reverse copy by Smith in the Rijksmuseum, Amsterdam; the Museum of Fine Art, Boston; The Metropolitan Museum of Art, New York; and the British Museum, London. Incidentally, Smith's reverse copy after Rembrandt, repeats the same representation as the original etching by Jan Lievens from circa 1630, on which Rembrandt also based his version. This introspective portrait of an old man in exotic costume is an early work by Lievens (1607-1674) from a series of etched imaginary heads from around 1630-32. It was executed at the time when Lievens was working in close collaboration with Rembrandt (1606-1669) in Leiden and when the two young artist's mutually influenced each other's work. Lievens was inspired by Rembrandt's contemporary etched portraits of men in oriental dress when he created this bust of an aged man wearing an unusual fur cap bound by a strip of cloth. Rembrandt in turn etched copies of this subject and two others from a series in 1635 (Hollstein 286-88; New Hollstein 149-151). Rembrandt added the etched inscription to his copy of this Bust of an Oriental Man, Facing Right (The Second Oriental Head)--"Rembrandt geretuckert"--as in "retouched or improved by Rembrandt." See Hollstein 30 (Lievens); New Hollstein 150 (Rembrandt).

Lot: 91 - JAN JORIS VAN VLIET (AFTER REMBRANDT) Old Woman Reading.

JAN JORIS VAN VLIET (AFTER REMBRANDT) Old Woman Reading. Etching, circa 1631. 275x223 mm; 10¾x8¾ inches, thread margins. Second state (of 3). A very good impression of this scarce, early etching with strong contrasts and little to no sign of wear. Hollstein 18.

Lot: 92 - REMBRANDT VAN RIJN Old Beggar Woman with a Gourd.

REMBRANDT VAN RIJN Old Beggar Woman with a Gourd. Etching, circa 1629. 95x47 mm; 3¾x1¾ inches, thread margins. Biörklund's first state (of 2); Usticke's only state (e); White and Boon's first state (of 2); White and Boon's first state (of 2); New Hollstein's first state (of 2), before the reduction of the plate. A superb, richly-inked and dark impression, with strong contrasts and little to no sign of wear. Bartsch 168; Biörklund 30-16; Hollstein (White and Boon) 168; New Hollstein 40.

Lot: 93 - REMBRANDT VAN RIJN Beggar with a Wooden Leg.

REMBRANDT VAN RIJN Beggar with a Wooden Leg. Etching, circa 1630. 114x66 mm; 4½x2¾ inches, narrow margins. Biörklund's second state (of 2); Usticke's second state (e) (of 3); New Hollstein's third state (of 4). A very good, well-inked impression with crisp, partially inky plate edges and strong contrasts. Bartsch 179; Biörklund 30-4; Hollstein (White and Boon) 179; New Hollstein 49.

Lot: 94 - REMBRANDT VAN RIJN Man in Coat and Fur Cap Leaning against a Bank.

REMBRANDT VAN RIJN Man in Coat and Fur Cap Leaning against a Bank. Etching, circa 1630. 112x78 mm; 4⅜x3⅛ inches, small margins. Biörklund's third state (of 3); Usticke's third state (of 3); White and Boon's third state (of 3); New Hollstein's third state (of 3). A very good, dark impression with strong contrasts. Bartsch 151; Biörklund 30-6; Hollstein (White and Boon) 151; New Hollstein 48.

Lot: 95 - REMBRANDT VAN RIJN Bust of a Man Wearing a High Cap, Three-Quarters Right: The Artist's Father (?).

REMBRANDT VAN RIJN Bust of a Man Wearing a High Cap, Three-Quarters Right: The Artist's Father (?). Etching and drypoint, 1630. 105x86 mm; 4⅛x3⅜ inches, thread margins. Biörklund's second state (of 2); Usticke's fourth state (of 7); New Hollstein's fifth state (of 6). A very good, dark impression with strong contrasts Bartsch 321; Biörklund 30-F; Hollstein (White and Boon) 321; New Hollstein 57.

Lot: 96 - REMBRANDT VAN RIJN Bald Headed Man in Profile Right: the Artist's Father (?).

REMBRANDT VAN RIJN Bald Headed Man in Profile Right: the Artist's Father (?). Etching and drypoint, 1630. 70x58 mm; 2¾x2¼ inches, narrow to thread. Biörklund's third state (of 3), after the reduction of the plate; Usticke's second state (e) (of 2); White and Boon's third state (of 3); New Hollstein's fifth state (of 5). A superb impression of this very scarce etching with crisp, partially inky plate edges and strong contrasts and with touches of burr on the face and moustache. Bartsch 313; Biörklund 37-B; Hollstein (White and Boon) 313; New Hollstein 62.

Lot: 97 - REMBRANDT VAN RIJN Self Portrait Frowning: Bust.

REMBRANDT VAN RIJN Self Portrait Frowning: Bust. Etching, 1630. 72x60 mm; 2⅞x2⅜ inches, narrow margins. Biörklund's third state (of 3); Usticke's second state (of 2), an early impression in this state, with the two parallel horizontal lines in the top part of the hair and above the head only partially burnished and still distinct, though broken; White and Boon's third state (of 3); New Hollstein's third state (of 3). A very good, dark, evenly-printed and well-inked impression of this extremely scarce etching, with strong contrasts and all the fine, delicate lines distinct. According to Usticke, "A very scarce portrait, rarely fine (RR-)." We have found only 15 other impressions at auction in the past 30 years. Bartsch 10; Biörklund 30-M; Hollstein (White and Boon) 10.

Lot: 98 - REMBRANDT VAN RIJN Old Man with Beard, Fur Cap and Velvet Cloak.

REMBRANDT VAN RIJN Old Man with Beard, Fur Cap and Velvet Cloak. Etching and engraving, circa 1631. 150x131 mm; 6x5¼ inches. Biörklund's second state (of 4); Usticke's second state (of 3); White and Boon's second state (of 3); New Hollstein's second state (of 3), still before all the additional shading beneath the right hand, with many of the horizontal shading lines not touching the hand, and the added horizontal lines on the chest, and the posthumous rework of the plate. Arms of Ravensburg watermark (Hinterding ZZ.zz.). With thread margins or trimmed on the plate mark. A very good, dark and early impression with strong contrasts and little to no sign of wear. Bartsch 262; Biörklund 32-2; Hollstein (White and Boon) 262; New Hollstein 92.

Lot: 99 - REMBRANDT VAN RIJN The Rat Catcher.

REMBRANDT VAN RIJN The Rat Catcher. Etching and drypoint, 1632. 141x127 mm; 5¾x5¼ inches, narrow to thread margins. Biörklund's third state (of 3); Usticke's second state (of 2); White and Boon's third state (of 3); New Hollstein's third state (of 3), with the parallel horizontal shading behind the rat catcher's hat and neck. Letter L I or I I counter mark to an unknown watermark. A very good, dark impression of this scarce etching, with crisp, partially inky plate edges and strong contrasts. As Luitjen notes, "Exactly how this print is to be interpreted is unclear. Was Rembrandt echoing long-standing prejudices about the riff-raff that knocked on people's doors peddling their dubious wares, or is this a picture of an innocent transaction to the parties' mutual advantage? It is hard to make out whether the man standing in the doorway is rejecting the proffered goods or turning away after his purchase because he cannot bear the sight of the two figures and the smell of their merchandise and reeking advertisements. These puzzling elements have done nothing to impede the print's success, it should be said. The Rat Catcher was copied on a large scale even in the seventeenth century, and numerous versions of it were in circulation," ( Rembrandt the Printmaker, London, 2000, page 125). Bartsch 121; Biörklund 32-C; Hollstein (White and Boon) 121; New Hollstein 111.

Lot: 100 - REMBRANDT VAN RIJN The Raising of Lazarus: The Larger Plate.

REMBRANDT VAN RIJN The Raising of Lazarus: The Larger Plate. Etching and engraving, circa 1632. 370x261 mm; 14½x10¼ inches. Biörklund's ninth state (of 9); Usticke's eighth state (of 10), White and Boon's tenth state (of 10); New Hollstein's seventh state (of 9). Indiscernible, French proprietary (Auvergne ?) watermark. With thread margins or trimmed on the plate mark. A very good, well-inked, dark and evenly-printed impression with strong contrasts. Bartsch 73; Biörklund 32-4; Hollstein (White and Boon) 73; New Hollstein 113.

Lot: 101 - REMBRANDT VAN RIJN Self Portrait in a Cap and Scarf with the Face Dark: Bust.

REMBRANDT VAN RIJN Self Portrait in a Cap and Scarf with the Face Dark: Bust. Etching, 1633. 132x103 mm; 5¼x4 inches, narrow to thread margins. Biörklund's third state (of 3); Usticke's third state (of 5); White and Boon's second state (of 2); New Hollstein's third state (of 5). A very good, well-inked impression. Provenance: Unidentified collector, entwined initials in ink, lower right recto (not in Lugt). Rembrandt (1606-1669) etched some 30 self-portraits, with 27 singular images of himself and several others of himself in different guises or grouped with other portrait studies. This etching, created at the age of 27, two years after he had moved to Amsterdam from Leyden to establish himself as an independent artist, and just months before he married Saskia van Uylenburgh (the first cousin of the art dealer and print publisher Hendrick van Uylenburgh), is among Rembrandt's most introspective self-portraits. The dark shading covering much of his face, which rapidly disappears in later impressions, the deep-set eyes and the quiet, hunched pose lend it a reserved appearance, which is markedly different from the proud, well-lit, frontal poses of his subsequent self-portraits from the mid-to-late-1630s, as his stature as a foremost Dutch artist was rising. Bartsch 17; Biörklund 33-G; Hollstein (White and Boon) 17; New Hollstein 120.

Lot: 102 - REMBRANDT VAN RIJN Joseph's Coat Brought to Jacob.

REMBRANDT VAN RIJN Joseph's Coat Brought to Jacob. Etching, circa 1633. 107x81 mm; 4¼x3¼ inches, narrow margins. Biörklund's second state (of 2); Usticke's second state (of 4); White and Boon's second state (of 2); New Hollstein's second state (of 2). A very good, well-inked and dark impression with strong contrasts and crisp plate edges. Bartsch 38; Biörklund 33-1; Hollstein (White and Boon) 38; New Hollstein 122.

Lot: 103 - REMBRANDT VAN RIJN Jan Cornelis Sylvius.

REMBRANDT VAN RIJN Jan Cornelis Sylvius. Etching, 1633. 166x142 mm; 6⅝x5⅝ inches, narrow margins. Biörklund's second state (of 2); Usticke's second state (of 3); New Hollstein's second state (of 3). A superb, dark, early impression with very strong contrasts and with all the fine lines distinct. This is Rembrandt's first etched portrait of the Amsterdam preacher and relative of his wife Saskia, Jan Cornelis Sylvius (he was also the godfather of the couple's first child). Rembrandt (1606-1669) made a second, posthumous portrait etching of Sylvius in 1646 (Bartsch 280). Bartsch 266; Biörklund 33-H; Hollstein (White and Boon) 266; New Hollstein 124.

Lot: 104 - REMBRANDT VAN RIJN The Tribute Money.

REMBRANDT VAN RIJN The Tribute Money. Etching and drypoint, circa 1634. 69x102 mm; 2⅞x4⅛ inches, thread margins. Biörklund's second state (of 2); Usticke's second state (e) (of 3); White and Boon's second state (of 2); New Hollstein's second state (of 4), before the Basan rework. A very good, dark impression with strong contrasts and partially inky plate edges. Bartsch 68; Biörklund 35-2; Hollstein (White and Boon) 68; New Hollstein 138.

Lot: 105 - REMBRANDT VAN RIJN The Crucifixion: Small Plate.

REMBRANDT VAN RIJN The Crucifixion: Small Plate. Etching, circa 1635. 97x68 mm; 4x2 3/4 inches, small margins. Usticke's second state (of 4); New Hollstein's second state (of 3). A very good, dark impression with strong contrasts. Bartsch 80; Biörklund 35-1; Hollstein (White and Boon) 80; New Hollstein 143.

Lot: 106 - REMBRANDT VAN RIJN The Stoning of St. Stephen.

REMBRANDT VAN RIJN The Stoning of St. Stephen. Etching and drypoint, 1635. 96x86 mm; 3¾x3½ inches, small to narrow margins. Biörklund's second state (of 2); Usticke's second state (of 4); White and Boon's second state (of 2); New Hollstein's fourth state (of 4). A very good, dark and well-inked impression with strong contrasts and partially inky plate edges. Bartsch 97; Biörklund 35-A; Hollstein (White and Boon) 97; New Hollstein 140.

Lot: 107 - REMBRANDT VAN RIJN The Pancake Woman.

REMBRANDT VAN RIJN The Pancake Woman. Etching and drypoint, 1635. 110x80 mm; 4½x3¼ inches, small margins. Biörklund's second state (of 5); Usticke's first state (of 6); White and Boon's second state (of 3); New Hollstein's second state (of 7), before the cross-hatching on the small area of foul-biting on the upper part of the basket at the far lower right edge of the composition. Partial Seven Provinces watermark (Ash/Fletcher 34, which they date from the late 1600s; Hinterding/New Hollstein cites other second state impressions of this subject with the same watermark). A superb, crisp, dark, and early impression with strong contrasts and little to no sign of wear, before the posthumous rework. Bartsch 124; Biörklund 35-I; Hollstein (White and Boon) 124; New Hollstein 144.

Lot: 108 - REMBRANDT VAN RIJN Bald Old Man with a Short Beard, in Profile Right.

REMBRANDT VAN RIJN Bald Old Man with a Short Beard, in Profile Right. Etching, circa 1635. 61x52 mm; 2½x2¼ inches. Usticke's second state (of 2); New Hollstein's second state (of 2). Trimmed on or just inside the plate mark. A very good, crisp and early impression of this scarce etching, with all the details distinct. According to Biörklund, "The earliest impressions show very uneven plate edges, later they were made even and slightly bevelled." According the Usticke, "A very rare small sketch." Bartsch 306; Biörklund 35-6; Hollstein (White and Boon) 306; New Hollstein 147.

Lot: 109 - REMBRANDT VAN RIJN Old Bearded Man in a High Fur Cap, with Eyes Closed.

REMBRANDT VAN RIJN Old Bearded Man in a High Fur Cap, with Eyes Closed. Etching, circa 1635. 113x103 mm; 4¾x4¼ inches, thread margins. New Hollstein's second state (of 4), before the strong horizontal shading in the lower right corner. A brilliant, richly-inked and early impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Provenance: Ernst F. Oppermann, Berlin (Lugt 887). Bartsch 290; Biörklund 35-3; Hollstein (White and Boon); New Hollstein 148.

Lot: 110 - REMBRANDT VAN RIJN Jan Uytenbogaert, Preacher of the Remonstrants.

REMBRANDT VAN RIJN Jan Uytenbogaert, Preacher of the Remonstrants. Etching, 1635. 226x187 mm; 9x7½ inches, narrow margins. Biörklund's sixth state (of 6); Usticke's fifth state (of 6); White and Boon's sixth state (of 6); New Hollstein's eighth state (of 9). Partial proprietary or words watermark. A very good, richly-inked impression, with traces of burr in the curtain upper right and around the artist's signature upper left, with strong contrasts and little to no sign of wear. Bartsch 279; Biörklund 35-D; Hollstein (White and Boon) 279; New Hollstein 153.

Lot: 111 - REMBRANDT VAN RIJN Menasseh Ben Israel.

REMBRANDT VAN RIJN Menasseh Ben Israel. Etching, 1636. 128x107 mm; 5½x4¼ inches. Biörklund's second state (of 4); Usticke's second state (of 4); White and Boon's second state (of 3); New Hollstein's second state (of 5). Trimmed on the plate mark left and right sides, inside the plate mark upper and lower edges. A very good, crisp and early impression with little to no sign of wear. Provenance: Unidentified collector, pale inscription in ink verso. Bartsch 269; Biörklund 36-C; Hollstein (White and Boon) 269; New Hollstein 156.

Lot: 112 - REMBRANDT VAN RIJN Self Portrait with Saskia.

REMBRANDT VAN RIJN Self Portrait with Saskia. Etching, 1636. 103x93 mm; 4⅛x3¾ inches. Biörklund's second state (of 3); Usticke's third state (e) (of 6), with the vertical scratch through Rembrandt's hand still evident; White and Boon's second state (of 3); New Hollstein's second state (of 4), before the reworking of the plate. The upper part of an Arms of Amsterdam watermark (Ash/Fletcher 1, which they note for this subject). Trimmed on or just inside the plate mark. A very good, evenly-printed impression. Bartsch 19; Biörklund 36-B; Hollstein (White and Boon) 19; New Hollstein 158.

Lot: 113 - REMBRANDT VAN RIJN Studies of the Head of Saskia and Others.

REMBRANDT VAN RIJN Studies of the Head of Saskia and Others. Etching, 1636. 153x125 mm; 6x4⅞ inches, narrow margins. Usticke's second state (of 2); New Hollstein's second state (of 2). A very good impression. Provenance: Unidentified collector, initials in an oval red ink stamp lower center recto (not in Lugt). Bartsch 365; Biörklund 36-B; Hollstein (White and Boon) 365; New Hollstein 157.

Lot: 114 - REMBRANDT VAN RIJN Three Heads of Women: One Asleep.

REMBRANDT VAN RIJN Three Heads of Women: One Asleep. Etching, 1637. 143x97 mm; 5¾x3⅜ inches, narrow margins. Usticke's second (of 3); New Hollstein's third state (of 3). A very good, crisp, well-inked impression with strong contrasts and all the details distinct. Bartsch 368; Biörklund 37-D; Hollstein (White and Boon) 368; New Hollstein 161.

Lot: 115 - REMBRANDT VAN RIJN Self Portrait in a Velvet Cap with Plume.

REMBRANDT VAN RIJN Self Portrait in a Velvet Cap with Plume. Etching, 1638. 136x105 mm; 5¼x4⅛ inches, narrow margins. Biörklund's third state (of 3); Usticke's third state (of 3); New Hollstein's third state (of 4), before the rework and strengthening of the signature upper left. Partial watermark with the letters T and A or a counter mark to an unidentified watermark. A very good, well-inked impression. Bartsch 20; Biörklund 38-B; Hollstein (White and Boon) 20; New Hollstein 170.

Lot: 116 - REMBRANDT VAN RIJN The Death of the Virgin.

REMBRANDT VAN RIJN The Death of the Virgin. Etching and drypoint, 1639. 409x315 mm; 16¼x12½ inches, narrow margins. Biörklund's fourth state (of 4); Usticke's fourth state (of 5); White and Boon's third state (of 3); New Hollstein's fourth state (of 5). A very good, well-inked impression of this large etching with strong contrasts. Bartsch 99; Biörklund 39-A; Hollstein (White and Boon) 99; New Hollstein 173.

Lot: 117 - REMBRANDT VAN RIJN Jan Uytenbogaert, "The Goldweigher".

REMBRANDT VAN RIJN Jan Uytenbogaert, "The Goldweigher". Etching and drypoint, 1639. 254x205 mm; 10x8¼ inches, thread margins. Biörklund's fourth state (of 4); Usticke's third state (of 3); White and Boon's second state (of 2); New Hollstein third state (of 3), with the Captain William Baillie rework. A very good, richly-inked impression with strong contrasts. Uytenbogaert (1608-1680) was likely a long-standing acquaintance of Rembrandt's (1606-1669). He was the Dutch national tax collector and a patron of the arts, whose country estate just outside Amsterdam was a quasi-salon and focal point for local artists and poets. Bartsch 281; Biörklund 39-D; Hollstein (White and Boon) 281; New Hollstein 172.

Lot: 118 - REMBRANDT VAN RIJN Old Man Shading his Eyes with his Hand.

REMBRANDT VAN RIJN Old Man Shading his Eyes with his Hand. Etching and drypoint, circa 1639. 140x113 mm; 5½x4½ inches, small margins. Usticke's first state (e) (of 5); New Hollstein's first state (of 3). A very good, early impression of this scarce etching with crisp and partially inky plate edges. Bartsch 259; Biörklund 38-3; Hollstein (White and Boon) 259; New Hollstein 175.

Lot: 119 - REMBRANDT VAN RIJN Peasant in a High Cap, Standing Leaning on a Stick.

REMBRANDT VAN RIJN Peasant in a High Cap, Standing Leaning on a Stick. Etching, 1639. 83x46 mm; 3¼x1⅞ inches, narrow margins. Usticke's only state (e), before the horizontal scratch below the man's outstretched hand; New Hollstein's second state (of 2). A very good, well-inked impression with strong contrasts and crisp, inky plate edges. Bartsch 133; Biörklund 39-B; Hollstein (White and Boon) 133; New Hollstein 178.

Lot: 120 - REMBRANDT VAN RIJN Old Man with a Divided Fur Cap.

REMBRANDT VAN RIJN Old Man with a Divided Fur Cap. Etching and drypoint, 1640. 151x137 mm; 6x5½ inches, thread margins. Biörklund's first state (of 3); Usticke's first state (of 3); White and Boon's first state (of 3); New Hollstein's first state (of 2). The upper portion of a partial coat-of-arms (Seven Provinces ?) watermark. A superb, richly-inked, crisp and early impression with burr on the thumb of the right hand, on the horizontal lines at the lower edge of the plate and on the lower right edge of the robe. Bartsch 265; Biörklund 40-A; Hollstein (White and Boon) 265; New Hollstein 182.

Lot: 121 - REMBRANDT VAN RIJN The Presentation in the Temple: Oblong Print.

REMBRANDT VAN RIJN The Presentation in the Temple: Oblong Print. Etching and drypoint, circa 1640. 215x292 mm; 8½x11⅝ inches, thread margins. Biörklund's third state (of 3); Usticke's fourth state (of 6); White and Boon's third state (of 3); New Hollstein's fourth state (of 5), with the "=" sign in the lower left corner and the several small blank spaces along the upper plate edge shaded. A very good, crisp and dark impression with all the details distinct. Proprietary watermark (Hinterding C.b., which he dates from circa 1757 or later). Bartsch 49; Biörklund 40-1; Hollstein (White and Boon) 49; New Hollstein 184.

Lot: 122 - REMBRANDT VAN RIJN The Triumph of Mordecai.

REMBRANDT VAN RIJN The Triumph of Mordecai. Etching, drypoint and aquatint, circa 1641. 163x213 mm; 5½x8½ inches, narrow margins. Usticke's second state (of 2), with the posthumous addition of aquatint; New Hollstein's fourth state (of 4). A very good, well-inked impression. According to Schapelhouman, "In spite of its modest dimensions, the Triumph of Mordecai exploits the scope of printmaking to an astonishing degree. It is as if Rembrandt [1606-1669] wanted to exhibit the entire spectrum of his technique, from the airiest etched lines in the crowd on the right to the inkiest blacks in the drypoint areas around the superb figure kneeling in the left foreground," (see Rembrandt the Printmaker, London, 2000, page 196). Bartsch 40; Biörklund 41-1; Hollstein (White and Boon) 40; New Hollstein 185.

Lot: 123 - REMBRANDT VAN RIJN The Baptism of the Eunuch.

REMBRANDT VAN RIJN The Baptism of the Eunuch. Etching and drypoint, 1641. 180x211 mm; 7¼x8¼ inches. Biörklund's second state (of 2); Usticke's second state (e) (of 4), before the Basan editions; White and Boon's second state (of 2); New Hollstein third state (of 4), with the long, accidental vertical scratch to the right of St. Philip's head. Shield with "Paris" watermark (Ash/Fletcher 39 A). Trimmed on or just inside the plate mark. A very impression, richly-inked with strong contrasts, with all the details distinct and with traces of burr in the beard and on the feet of St. Philip. Bartsch 98; Biörklund 41-E; Hollstein (White and Boon) 98; New Hollstein 186.

Lot: 124 - REMBRANDT VAN RIJN Three Oriental Figures (Jacob and Laban ?).

REMBRANDT VAN RIJN Three Oriental Figures (Jacob and Laban ?). Etching and drypoint, 1641. 145x115 mm; 5¾x4½ inches, wide margins. Biörklund's second state (of 2); Usticke's second state (of 2); White and Boon's second state (of 2); New Hollstein's second state (of 2). A very good, well-inked impression with strong contrasts. Bartsch 118; Biörklund 41-F; Hollstein (White and Boon) 118; New Hollstein 190.

Lot: 125 - REMBRANDT VAN RIJN Man at a Desk Wearing a Cross and Chain.

REMBRANDT VAN RIJN Man at a Desk Wearing a Cross and Chain. Etching and drypoint, 1641. 152x104 mm; 6x4⅛ inches, narrow margins. Biörklund's second state (of 4); Usticke's second state (of 3); White and Boon's second state (of 4); New Hollstein's second state (of 5), with a portion of the outline of the lower edge of the book protruding over the edge of the image and the letter "f" and number "6" in the signature and date still distinct. Partial Arms of Amsterdam watermark. A good, dark impression of this scarce etching. Bartsch 261; Biörklund 41-L; Hollstein (White and Boon) 261; New Hollstein 194.

Lot: 126 - REMBRANDT VAN RIJN The Card Player.

REMBRANDT VAN RIJN The Card Player. Etching, 1641. 91x83 mm; 3¾x3¼ inches, wide margins. Biörklund's third state (of 3); Usticke's third state (e) (of 4); White and Boon's second state (of 2); New Hollstein's third state (of 5), with the Watelet retouching and his name in reverse in the plate lower left. A very good, dark and richly-inked impression with strong contrasts. Bartsch 136; Biörklund 41-M; Hollstein (White and Boon) 136; New Hollstein 193.

Lot: 127 - REMBRANDT VAN RIJN Man Drawing from a Cast.

REMBRANDT VAN RIJN Man Drawing from a Cast. Etching, circa 1641. 97x66 mm; 3¾x2½ inches, narrow margins. Biörklund's third state (of 3); Usticke's third state (of 5); White and Boon's third state (of 3); New Hollstein's fourth state (of 6). A very good, dark and evenly-printed impression with strong contrasts. Bartsch 130; Biörklund 41-4; Hollstein (White and Boon) 130.

Lot: 128 - REMBRANDT VAN RIJN St. Jerome in a Dark Chamber.

REMBRANDT VAN RIJN St. Jerome in a Dark Chamber. Etching, engraving and drypoint, 1642. 149x170 mm; 5⅞x6¾ inches, narrow to thread margins. Biörklund's second state (of 2); Usticke's third state (of 5); New Hollstein's third state (of 3). A very good, well-inked impression, with the subtle tonal variations and various elements of the composition still distinct. Bartsch 105; Biörklund 42-E; Hollstein (White and Boon) 105; New Hollstein 212.

Lot: 129 - REMBRANDT VAN RIJN The Rest on the Flight into Egypt: A Night Piece.

REMBRANDT VAN RIJN The Rest on the Flight into Egypt: A Night Piece. Etching and drypoint, circa 1644. 93x60 mm; 3¾x2½ inches, small margins. Biörklund's fourth state (of 4); Usticke's fifth state (of 8); White and Boon's fourth state (of 4); New Hollstein's seventh state (of 9). A very good, well-inked and crisp impression with strong contrasts and all the details distinct. Bartsch 57; Biörklund 44-2; Hollstein (White and Boon) 57; New Hollstein 216.

Lot: 130 - REMBRANDT VAN RIJN Abraham and Isaac.

REMBRANDT VAN RIJN Abraham and Isaac. Etching, 1645. 157x130 mm; 6¼x5¼ inches, narrow margins. Biörklund's second state (of 2); Usticke's third state (of 3), with the small dot to the left of Abraham's head; New Hollstein's second state (of 2), with the completion of the contour of Abraham's right shoulder. A very good, dark and well-inked impression. Bartsch 34; Biörklund 45-D; Hollstein (White and Boon) 34; New Hollstein 224.

Lot: 131 - REMBRANDT VAN RIJN Nude Man Seated on the Ground with One Leg Extended.

REMBRANDT VAN RIJN Nude Man Seated on the Ground with One Leg Extended. Etching and engraving, 1646. 98x168 mm; 3⅞x6⅝ inches, thread margins. Biörklund's second state (of 2); Usticke's third state (e) (of 4); White and Boon's second state (of 2); New Hollstein's second state (of 3). A superb, crisp, dark impression with strong contrasts and no sign of wear. Bartsch 196; Biörklund 46-C; Hollstein (White and Boon) 196; New Hollstein 234.

Lot: 132 - REMBRANDT VAN RIJN The Artist Drawing from the Model ('Het Beeldt van Pigmalion').

REMBRANDT VAN RIJN The Artist Drawing from the Model ('Het Beeldt van Pigmalion'). Etching and drypoint, circa 1647. 228x184 mm; 9x7½ inches, narrow to thread margins. Biörklund's second state (of 2); Usticke's first state (of 2); White and Boon's second state (of 2); New Hollstein's second state (of 4). A very good, early impression, with no wear in the dark, densely cross-hatched areas, and still with traces of burr. Bartsch 192; Biörklund 47-2; Hollstein (White and Boon) 192; New Hollstein 176.

Lot: 133 - REMBRANDT VAN RIJN Jan Asselijn, Painter ("Krabbetje").

REMBRANDT VAN RIJN Jan Asselijn, Painter ("Krabbetje"). Etching, engraving and drypoint, circa 1647. 190x170 mm; 7½x6¾ inches. Biörklund's fourth state (of 4); Usticke's fourth state (of 6); White and Boon's fourth state (of 3); New Hollstein's fourth state (of 4). Trimmed on the plate mark on three sides and inside the plate mark upper edge into the blank background, with the full composition preserved. A very good impression with strong contrasts. This is Rembrandt's (1606-1669) portrait of fellow artist and Dutch landscape painter Asselijn (circa 1614-1652), known as "Krabbetje." Asselijn's left hand was deformed (which Rembrandt has disguised, tucked into the artist's hip) and during his stay in Rome fellow members of the Dutch painters' association, "De Bentvueghels," nicknamed him "krabbetje"--Dutch for "little crab." Bartsch 277; Biörklund 47-1; Hollstein (White and Boon) 277; New Hollstein 236.

Lot: 134 - REMBRANDT VAN RIJN Christ Receiving the Children and Healing the Sick (The Hundred Guilder Print).

REMBRANDT VAN RIJN Christ Receiving the Children and Healing the Sick (The Hundred Guilder Print). Etching, engraving and drypoint, center section only, circa 1648. 278x191 mm; 11x7½ inches, narrow margins. Biörklund's second state (of 2); Usticke's fifth state (of 5); White and Boon's second state (of 2); New Hollstein's fourth state A (of 4 B), the rectangular plate (before the arched upper section), after the plate was cut into sections by William Baillie. Small bunch of grapes watermark. A very good, dark, well-inked impression with strong contrasts and all the details distinct. The original copper plate for this etching was owned by a Dutch collector after Rembrandt's (1606-1669) death and was sold to the American artist John Greenwood (1727-1792) around 1775. Greenwood originally worked in Boston and during the early 1770s relocated to London, where in addition to continuing to practice as a portrait painter and engraver, he became a successful art dealer. He owned The Hundred Guilder Print plate for just a short time, selling it to Captain William Baillie (1723-1810), an officer in the English army and a professional printmaker, who after acquiring the plate, reworked it and issued an "edition" of some 100 impressions before ultimately cutting up the plate, and further printing impressions from four different pieces of the plate. According to a summary of this important etching by Luijten, "That it is known in only two 17th century states, with the minor difference between them of additional shading over the neck of the donkey on the right and the far wall of the archway, belies the exceptional effort that the plate represents in terms of imaginative power, technical brilliance and pictorial finish. Rembrandt applies every tool at his command and in a variety of styles, from the freely outlined Pharisees in debate on the left, flooded in light, to the precise rendering of the textures that apparel the figures who enter from the right. All the groups are subjugated to the overriding chiaroscuro, which ranges from the deep blacks into which Christ's halo melts away, to the areas left white which suggest a sudden source of startling illumination. The play of shadows is nowhere made more manifest than by the dark silhouette cast on Christ's robe by the central figure with praying hands," ( Rembrandt the Printmaker, London, 2000, pages 253-54). Bartsch 74; Biörklund 49-1; Hollstein (White and Boon) 74; New Hollstein 239.

Lot: 135 - REMBRANDT VAN RIJN Jews in the Synagogue.

REMBRANDT VAN RIJN Jews in the Synagogue. Etching, 1648. 73x130 mm; 2¾x5¼ inches, narrow margins. Biörklund's third state (of 3); Usticke's sixth state (of 7); White and Boon's third state (of 3); New Hollstein's fourth state (of 9). A very good, dark impression with strong contrasts. Bartsch 126; Biörklund 48-D; Hollstein (White and Boon) 126; New Hollstein 242.

Lot: 136 - REMBRANDT VAN RIJN Self Portrait Etching at a Window.

REMBRANDT VAN RIJN Self Portrait Etching at a Window. Etching and drypoint, 1648. 159x130 mm; 6¼x5¼ inches, narrow margins. Biörklund's fifth state (of 5); Usticke's seventh state (of 8), with the diagonal scratch in the window in the sky above the landscape; White and Boon's fifth state (of 5); New Hollstein's ninth state (of 9). A very good, dark impression, with part of the landscape through the window still distinct. Bartsch 22; Biörklund 48-A; Hollstein (White and Boon) 22; New Hollstein 240.

Lot: 137 - REMBRANDT VAN RIJN Landscape with a Cow Drinking.

REMBRANDT VAN RIJN Landscape with a Cow Drinking. Etching, circa 1650. 100x113 mm; 4x4½ inches. Biörklund's second state (of 3); Usticke's second state (of 6); White and Boon's second state (of 2); New Hollstein's second state (of 5). Trimmed on or just inside the plate mark. A superb, early impression with strong contrasts and little to no sign of wear. Bartsch 237; Biörklund 50-1; Hollstein (White and Boon) 237; New Hollstein 251.

Lot: 138 - REMBRANDT VAN RIJN The Bathers ("De Zwemmertjes").

REMBRANDT VAN RIJN The Bathers ("De Zwemmertjes"). Etching, 1651. 107x138 mm; 4¼x5½ inches, thread margins. Biörklund's second state (of 2), with the pale circular corrosion spot upper center; Usticke's third state (of 3); White and Boon's second state (of 2); New Hollstein's third state (of 3), with the two small dots upper right but with no additional posthumous rework. Partial Seven Provinces watermark (Ash/Fletcher 34 B. a., which they date to the mid-1700s and cite for another similar impression of this subject in the Rijksmuseum, Amsterdam; Hinterding B.a. 8, which he dates to after 1709). A very good, crisp and well-inked impression with strong contrasts. Bartsch 195; Biörklund 51-B; Hollstein (White and Boon) 195; New Hollstein 258.

Lot: 139 - REMBRANDT VAN RIJN Clement de Jonghe, Printseller.

REMBRANDT VAN RIJN Clement de Jonghe, Printseller. Etching and drypoint, 1651. 208x161 mm; 8¼x6¼ inches, thread margins. Biörklund's sixth state (of 6); Usticke's fifth state (of 9); White and Boon's sixth state (of 6); New Hollstein's sixth state (of 10), before the extensive reworking. A very good, dark and well-inked impression, with strong contrasts, and little to no sign of wear. Clement de Jonghe (1624/25-1677) was among the most significant Amsterdam print and map dealers and publishers during the mid-17th century and would certainly have been associated with Rembrandt (1606-1669), though there is no indication, through letters or in the inventory drawn up after Clement de Jonghe's death, that this was a commissioned portrait from Rembrandt. De Jonghe's business prospered from at least around 1647 to 1679, run posthumously for several years following his death by his widow Jacomijntje Jacobs, until his stock was sold at auction. De Jonghe acquired at least 74 of Rembrandt's original etched copper plates, probably during Rembrandt's lifetime, and these were all sold in the contents of his estate auction. Bartsch 272; Biörklund 51-C; Hollstein (White and Boon) 272; New Hollstein 264.

Lot: 140 - REMBRANDT VAN RIJN The Star of Kings: A Night Piece.

REMBRANDT VAN RIJN The Star of Kings: A Night Piece. Etching and drypoint, circa 1651. 94x141 mm; 3¾x5⅝ inches, narrow margins. Biörklund's first state (of 2); Usticke's first state (e) (of 7), with strong burr on the star and on the column to the left of the star and before the heavy horizontal shading lines on the face of the woman at the center; New Hollstein's first state (of 4). The lower part (three balls) of a foolscap watermark (Ash/Fletcher 19 and 20, they cite another impression of this subject with a fragment of a foolscap watermark in the Rijksmuseum, Amsterdam; Hinterding also notes multiple first state impressions of this subject printed on paper with either a five-pointed or seven-pointed foolscap watermark). A brilliant, early impression of this densely etched nocturne print, with all the details distinct and with no sign of wear. Provenance: Unidentified collector, initial M ink stamp (Lugt 1842, verso; he notes that the collector is likely an early 18th century Dutch artist / collector, as the mark appears on numerous drawings and early etchings by Rembrandt); unidentified collector, small coat-of-arms with a crown ink stamp verso (not in Lugt); and Friedrich Andreas Lieberg, Buenos Aires, with the ink stamp verso (Lugt 1681ter) Bartsch 113; Biörklund 51-I; Hollstein (White and Boon) 113; New Hollstein 263.

Lot: 141 - REMBRANDT VAN RIJN David in Prayer.

REMBRANDT VAN RIJN David in Prayer. Etching and drypoint, 1652. 143x94 mm; 5¾x3¾ inches, narrow margins. Biörklund's third state (of 3); Usticke's third state (of 3); White and Boon's third state (of 3); New Hollstein's third state (of 3). A superb, dark, richly-inked impression with strong contrasts and little to no sign of wear. Bartsch 41; Biörklund 52-C; Hollstein (White and Boon) 41.

Lot: 142 - REMBRANDT VAN RIJN The Agony in the Garden.

REMBRANDT VAN RIJN The Agony in the Garden. Etching, circa 1652. 112x85 mm; 4½x3⅜ inches, thread margins. Usticke's second state (of 2); New Hollstein's third state (of 3). A very good, dark and evenly-printed impression with strong contrasts. Bartsch 75; Biörklund 57-3; Hollstein (White and Boon) 75; New Hollstein 269.

Lot: 143 - REMBRANDT VAN RIJN Peasant Family on the Tramp.

REMBRANDT VAN RIJN Peasant Family on the Tramp. Etching, circa 1652. 114x92 mm; 4½x3¾ inches, narrow margins. Biörklund's second state (of 2); Usticke's second state (of 4), with pentimenti of the head and hat at right distinct; White and Boon's second state (of 2); New Hollstein's second state (of 3). A very good, well-inked impression with strong contrasts and little to no sign of wear. Bartsch 131; Biörklund 52-3; Hollstein (White and Boon) 131; New Hollstein 266.

Lot: 144 - REMBRANDT VAN RIJN The Flight into Egypt: Crossing a Brook.

REMBRANDT VAN RIJN The Flight into Egypt: Crossing a Brook. Etching and drypoint, 1654. 95x143 mm; 3¾x5¾ inches, narrow margins. Usticke's second state (of 3); New Hollstein's only state, before the scratches on the Virgin's knee and lap and before the later 18th century Basan impressions. A very good, dark, crisp impression with strong contrasts. Bartsch 55; Biörklund 54-D; Hollstein (White and Boon) 55; New Hollstein 277.

Lot: 145 - REMBRANDT VAN RIJN The Adoration of the Shepherds: with the Lamp.

REMBRANDT VAN RIJN The Adoration of the Shepherds: with the Lamp. Etching, circa 1654. 103x130 mm; 4⅛x5⅛ inches, small margins. Biörklund's second state (of 2); Usticke's second state (of 3); White and Boon's second state (of 2); New Hollstein's third state (of 3). A very good, dark and well-inked impression with strong contrasts and no wear in the dark shadows above the cows at right. Bartsch 45; Biörklund 54-1; Hollstein (White and Boon) 45; New Hollstein 279.

Lot: 146 - REMBRANDT VAN RIJN Christ Seated Disputing with the Doctors.

REMBRANDT VAN RIJN Christ Seated Disputing with the Doctors. Etching and drypoint, 1654. 93x143 mm; 3⅝x5⅝ inches, small margins. Usticke's second state (of 2). A very good, well-inked, dark impression with strong contrasts. Bartsch 64; Biörklund 54-E; Hollstein (White and Boon) 64; New Hollstein 281.

Lot: 147 - REMBRANDT VAN RIJN Christ and the Woman of Samaria: An Arched Print.

REMBRANDT VAN RIJN Christ and the Woman of Samaria: An Arched Print. Etching and drypoint, 1657-58. 125x160 mm; 5x6¼ inches, small margins. Biörklund's third state (of 3); Usticke's fifth state (of 5); White and Boon's third state (of 3); New Hollstein's fifth state (of 5). A very good impression with strong contrasts. Bartsch 70; Biörklund 57-B; Hollstein (White and Boon) 70; New Hollstein 302.

Lot: 148 - REMBRANDT VAN RIJN The Adoration of the Shepherds: A Night Piece.

REMBRANDT VAN RIJN The Adoration of the Shepherds: A Night Piece. Etching and drypoint, circa 1657. 152x197 mm; 6x7¾ inches, thread margins. Biörklund's eighth state (of 8); Usticke's eighth state (of 10); White and Boon's eighth state (of 8); New Hollstein's ninth state (of 11). A very good, dark and richly-inked impression with strong contrasts and touches of burr. Provenance: Paul Adolf Leemann-van Elck, Küssnacht, with the ink stamp verso (Lugt 2095a). Bartsch 46; Biörklund 52-1; Hollstein (White and Boon) 46; New Hollstein 300.

Lot: 149 - REMBRANDT VAN RIJN Reclining Female Nude ("La Negresse Couché").

REMBRANDT VAN RIJN Reclining Female Nude ("La Negresse Couché"). Etching, drypoint and engraving, 1658. 82x157 mm; 3¼x6¼ inches, narrow margins. Biörklund's third state (of 3); Usticke's third state (of 5); White and Boon's third state (of 3); New Hollstein's fourth state (of 6). A very good, dark impression. Bartsch 205; Biörklund 58-E; Hollstein (White and Boon) 205; New Hollstein 308.

Lot: 150 - REMBRANDT VAN RIJN Woman Bathing her Feet at a Brook.

REMBRANDT VAN RIJN Woman Bathing her Feet at a Brook. Etching and drypoint, 1658. 162x81 mm; 6½x3¼ inches, narrow to thread margins. Usticke's second state (of 2); New Hollstein's second state (of 2). A superb, dark and richly-inked impression with strong contrasts and no sign of wear. Bartsch 200; Biörklund 58-D; Hollstein (White and Boon) 200; New Hollstein 309.

Lot: 151 - REMBRANDT VAN RIJN Jan Antonides van der Linden.

REMBRANDT VAN RIJN Jan Antonides van der Linden. Etching, engraving and drypoint, 1665. 173x106 mm; 6⅞x4¼ inches, narrow margins. Biörklund's fifth state (of 6); Usticke's sixth state (of 7); White and Boon's fourth state (of 5); New Hollstein's fifth state (of 7). A very good, well-inked impression, with the blank lower margin intact, with strong contrasts and little to no sign of wear. Rembrandt's (1606-1669) last documented etching, commissioned on December 22, 1664 as a frontispiece for an edition of Hippocrates edited by the then recently-deceased van der Linden (1609-1664), and given two weeks by the Leiden publishers Daniel and Abraham van Gaasbeeck to complete the portrait. Bartsch 264; Biörklund 65-1; Hollstein (White and Boon) 264; New Hollstein 314.

Lot: 152 - SALOMON KONINCK An Old Man Sleeping in an Armchair.

SALOMON KONINCK An Old Man Sleeping in an Armchair. Etching, 1629-56. 216x108 mm; 8½x4¼ inches, thread margins. Indiscernible, small bunch of grapes (?) watermark. A very good impression of this extremely scarce, early etching. We have found only one other impression at auction in the past 30 years. Koninck (1609-1656) was a member of a family of Dutch artists, including Philips and Jacob Koninck (or de Koninck). He was a pupil of François Venant and Claes Moyaert and married to the daughter of Adriaen van Nielandt, an art dealer who lived close to Rembrandt van Rijn in Leiden during the 1630s. Koninck was a follower of Rembrandt and during much of his career, modeled his own style from Rembrandt's use of rich contrasts and his choice of subjects, including elderly men. Though significantly influenced by Rembrandt, Koninck was more of a painter, and less of a peintre-graveur like Rembrandt. He created only six different etchings, each of which is extremely scarce and printed in a very small run of impressions. Hollstein 4.

Lot: 153 - FERDINAND BOL The Old Man with a Leaf of Trefoil on his Coat.

FERDINAND BOL The Old Man with a Leaf of Trefoil on his Coat. Etching, circa 1640. 87x72 mm; 3⅜x2⅞ inches, narrow margins. A very good impression of this extremely scarce etching. Provenance: Dr. Carl von Guérard, Elberfeld, with the ink stamp verso (Lugt 1109); Thomas Graf, Berlin, with the ink stamp verso (Lugt 1092a); Dr. Heinz Fleischer, Berlin, with the ink stamp verso (Lugt 4578); Peter Morse, Hawaii, with the ink stamp verso (Lugt 4320). Bol (1616-1680) arrived in Amsterdam in 1636, having completed his artist training in his native Dordrecht. He worked in Rembrandt van Rijn's workshop as an assistant, where he learned Rembrandt's style, until about 1641-42. Bol became a very successful artist in his own right, receiving several important commissions in and outside of Amsterdam. Hollstein 24.

Lot: 154 - FERDINAND BOL The Astrologer.

FERDINAND BOL The Astrologer. Etching and drypoint, circa 1642-45. 127x95 mm; 5x3¾ inches, narrow margins. Second state (of 2). A very good, richly-inked, early impression with burr on the globe, the book and the ink well on the desk and in the upper right corner. Provenance: Joseph von Camesina, Vienna, with his inscription and dated 1818 in ink verso (Lugt 429); unidentified collector, double oval with the initials O.H. violet ink stamp verso (not in Lugt). Bol (1616-1680) arrived in Amsterdam in 1636, having completed his artist training in his native Dordrecht. He worked in Rembrandt van Rijn's workshop as an assistant, where he learned Rembrandt's style, until about 1641-42. Bol became a very successful artist in his own right, receiving several important commissions in and outside of Amsterdam. Hollstein 8.

Lot: 155 - ADRIAEN VAN OSTADE The Concert.

ADRIAEN VAN OSTADE The Concert. Etching, circa 1644. 127x95 mm; 5x3¾ inches, narrow margins. Seventh state (of 11). A very good, early impression. Provenance: William Esdaile, London, initials in ink twice in the lower margin and verso (Lugt 2617). Bartsch 30; Godefroy 30.

Lot: 156 - ADRIAEN VAN OSTADE The Pater Familias.

ADRIAEN VAN OSTADE The Pater Familias. Etching, 1648. 127x95 mm; 5x3¾ inches, narrow margins. Fourth state (of 5), with the lower border line doubled and with the delicate parallel shading on the bed cover and the kettle hanging in the hearth. A very good, dark impression. Bartsch 33; Godefroy 33.

Lot: 157 - ADRIAEN VAN OSTADE The Dance in the Inn.

ADRIAEN VAN OSTADE The Dance in the Inn. Etching and drypoint, 1652. 255x320 mm; 10x12⅝ inches, narrow margins. Seventh state (of 9), before the completion of the right border line. Banded shield with fleur-de-lis watermark (Godefroy 12, which he cites for impressions printed circa 1710 by Bernard Picart.) A very good, dark impression with strong contrasts. Bartsch 49; Godefroy 49.

Lot: 158 - ADRIAEN VAN OSTADE The Cobbler.

ADRIAEN VAN OSTADE The Cobbler. Etching, 1671. 187x149 mm; 7½x5⅞ inches, narrow margins. Seventh state (of 10), before the two parallel, diagonal lines on the stone under the broom. Arms of Amsterdam watermark (Godefroy 4, which he cites for early impressions printed by Ostade from around 1660 onward). A superb, richly-inked and early impression with all the details distinct, very strong contrasts and no sign of wear. Provenance: Unidentified collector, initials in ink verso (not in Lugt). Bartsch 27; Godefroy 27.

Lot: 159 - ADRIAEN VAN OSTADE A Peasant Leaning on his Doorway.

ADRIAEN VAN OSTADE A Peasant Leaning on his Doorway. Etching, 1672. 105x91 mm; 4¼x3⅝ inches, narrow margins. Second state (of 4). A superb, early impression, with strong contrasts and no sign of wear. With-- The Breakfast, etching, circa 1664. 219x259 mm; 8⅝x10½ inches, thread margins. Twelfth state (of 12). Proprietary (Auvergne ?) watermark. A very good, dark impression. Bartsch 50 and 9; Godefroy 50 and 9.

Lot: 160 - ADRIAEN VAN OSTADE Two etchings.

ADRIAEN VAN OSTADE Two etchings. The Smoker and the Drinker, circa 1650. 76x62 mm; 3x2⅜ inches, thread to narrow margins. Sixth state (of 6) * The Backgammon Players, circa 1682. 84x73 mm; 3⅜x2⅞ inches, small margins. Very good impressions. Fifth state (of 6). Bartsch 13 and 39; Godefroy 13 and 39. With— ADRIAEN VAN OSTADE (AFTER), Three Grotesque Figures, etching, after 1638. See Godefroy 28.

Lot: 161 - ADRIAEN VAN OSTADE Three etchings.

ADRIAEN VAN OSTADE Three etchings. The Hunchbacked Fiddler, 1654. 164x114 mm; 6⅝x4⅝, small margins. Fourth state (of 6) * The Two Gossips, 1642. 103x90 mm; 4⅛x3⅝ inches, narrow margins. Fifth state (of 5) * Peasant Leaning on his Doorway, 1672. 105x91 mm; 4¼x3⅝ inches. Third state (of 4), with the drypoint lines extending into the margin below the lower border line. Trimmed on or just inside the plate mark. Very good impressions. Bartsch 9, 40 and 44; Godefroy 9, 40 and 44.

Lot: 162 - ADRIAEN VAN OSTADE Three etchings.

ADRIAEN VAN OSTADE Three etchings. The Cobbler,1671. 177x149 mm; 7x5⅞ inches. Eighth state (of 10), with the two parallel, diagonal lines on the stone under the broom. Trimmed at or within the platemark * The Pig Killers, circa 1642. 117x117 mm; 4⅝x4⅝ inches, small margins. Eighth state (of 8) * The Breakfast, circa 1664. 219x259 mm; 8½x10¼ inches, thread margins. Twelfth state (of 12). Very good impressions. Bartsch 27, 41 and 50; Godefroy 27, 41 and 50.

Lot: 163 - ADRIAEN VAN OSTADE Group of 4 etchings.

ADRIAEN VAN OSTADE Group of 4 etchings. Peasant in a Pointed Fur Cap, 1650-52. 69x57 mm; 2⅝x2¼ inches, small margins. Seventh state (of 7) * Bust of a Laughing Peasant, 1672. 70x58 mm; 2¾x2¼ inches, small margins. Seventh state (of 7) * The Smoker, circa 1640. 67x52 mm; 2⅝x2 inches, small to narrow margins. Seventh state (of 7) * Peasant with his Hand in his Cloak, circa 1938. 85x62 mm; 3⅜x2½ inches, narrow margins. Seventh state (of 7). Bartsch 3, 4, 5, and 22; Godefroy 3, 4, 5, and 22. With— GIUSEPPE ZAULI, Portrait of Adriaen van Ostade, etching, circa 1790. Provenance: ( Bust of a Laughing Peasant) Robert-Dumesnil, Paris, with the blind stamp lower center (Lugt 2200).

Lot: 164 - ADRIAEN VAN OSTADE 't Werck complet van den vermaarde Schilder Adriaan van Ostade.

ADRIAEN VAN OSTADE 't Werck complet van den vermaarde Schilder Adriaan van Ostade. Set of 45 etchings, etched title page, 1 mezzotint portrait, 3 etched copies and 1 apocryphal etching on 21 sheets (49 prints total), circa 1640-65. 423x270 mm; 16⅝x10⅝ inches (sheets), wide (full ?) margins. Each in the final state. Published by Jean (widow), Paris, circa 1800. With the portrait of van Ostade (1610-1685) by Gole, copies of Bartsch 1, 2 and 28 and the apocryphal etching The Pissing Peasant (Godefroy B). A nearly complete set of van Ostade's original etchings. Bartsch 3-22, 24-29, 31-34, 36-43, and 45-50.

Lot: 165 - CORNELIS BEGA A Man Caressing the Young Hostess.

CORNELIS BEGA A Man Caressing the Young Hostess. Etching, circa 1660. 227x175 mm; 9x7 inches, thread margins. Second state (of 2). A superb, richly-inked and early impression with strong contrasts and no sign of wear. Provenance: Johann Sigmund Bermann, Vienna, dated 1833 in ink verso (Lugt 235); Faber, with the name and dated 1850 in ink verso (Lugt 5014); unidentified collector, coat-of-arms with a knight black ink stamp verso (not in Lugt); unidentified collector, initials E.C.P. black ink stamp verso (not in Lugt); Dr. Marc Spitzer, Nuremberg, inscription in pencil, verso (not in Lugt). Hollstein 34.

Lot: 166 - CORNELIS BEGA Group of 5 etchings.

CORNELIS BEGA Group of 5 etchings. Man with his Hand in his Coat, circa 1650. Second state (of 2) * The Smoker, circa 1650. Third state (of 3) * Sitting Man with his Hat in his Right Hand, circa 1650. Third state (of 3) * The Peasant Lighting his Pipe, circa 1650. Second state (of 4) * The Amorous Couple, circa 1650. Second state (of 2). Very good impressions. Provenance: ( The Peasant Lighting his Pipe) Cabinet des Estampes du Musée Grand-Ducal, Schwerin, with the ink stamps verso (Lugt 1079 and 2273); Richard Robinow, Hamburg, with the ink stamp verso (Lugt 2237a). Hollstein 10, 13, 17, 20 and 25.

Lot: 167 - CORNELIS BEGA Group of 6 etchings.

CORNELIS BEGA Group of 6 etchings. Bust of a Young Countrywoman. First state (of 2) * Head of a Laughing Peasant. First state (of 2) * Man in a Short Cloak, Standing. First state (of 2) * The Peasant at the Window. Third state (of 3) * A Man Caressing the Young Hostess. First state (of 2) * The Mother. First state (of 2). Various sizes and conditions. Hollstein 2, 6, 8, 19, 28 and 34.

Lot: 168 - JACOB VAN RUISDAEL The Little Bridge.

JACOB VAN RUISDAEL The Little Bridge. Etching, 1650. 194x277 mm; 7⅝x10¾ inches. Second state (of 2). Trimmed on or just inside the platemark, with narrow margins outside the border line. A very good impression. Bartsch 1; Hollstein 1.

Lot: 169 - CORNELIS VISSCHER The Large Cat.

CORNELIS VISSCHER The Large Cat. Etching and engraving, circa 1657. 145x188 mm; 5¾x7½ inches, small margins. Second state (of 2). A very good, dark and well-inked impression with strong contrasts. Widely-collected for his detailed engraved portraits of prominent figures of his day, Visscher's (1629-1658) skill as a printmaker is evident in this image which captures the essence of a resting cat, its slumber not distracted by the cunning mouse in the background. Hollstein 42.

Lot: 170 - WENZEL HOLLAR A Muff in Five Views.

WENZEL HOLLAR A Muff in Five Views. Etching, 1645-46. 76x128 mm; 3x5 inches, wide margins. Third state (of 3). Foolscap watermark. A very good impression of this extremely scarce etching. Born in Prague, Hollar (1607-1677) worked as an etcher in various German towns during the early 1630's before eventually landing in London in December 1636 under the employ of Thomas Howard, Earl of Arundel, the preeminent British connoisseur, art collector and courtier during the reigns of King James I and King Charles I. Hollar would work in Antwerp and London for the rest of his career. Though he completed approximately 2,700 etchings, and was at one point appointed 'Royal Scenographer' by King Charles II, Hollar's fortune was tumultuous; his career marked by political upheaval, the 1665 plague, and the Great Fire of London in 1666. Parthey 1952; New Hollstein 796.

Lot: 171 - WENZEL HOLLAR Theatrum Mulierum.

WENZEL HOLLAR Theatrum Mulierum. Complete set of 48 etchings and etched title page, 1643. Each approximately 95x62 mm; 3¾x2½ inches, full margins. Very good impressions, extremely scarce as a complete set. Provenance: Otto Schäfer, Schweinfurt, with the ink stamp on the title page verso (Lugt 5881). Born in Prague, Hollar (1607-1677) worked as an etcher in various German towns during the early 1630's before eventually landing in London in December 1636 under the employ of Thomas Howard, Earl of Arundel, the preeminent British connoisseur, art collector and courtier during the reigns of King James I and King Charles I. Hollar would work in Antwerp and London for the rest of his career. Though he completed approximately 2,700 etchings, and was at one point appointed 'Royal Scenographer' by King Charles II, Hollar's fortune was tumultuous; his career marked by political upheaval, the 1665 plague, and the Great Fire of London in 1666. Parthey 1804 ff.

Lot: 172 - STEFANO DELLA BELLA Two Polish Horsemen with their Horses Facing Left.

STEFANO DELLA BELLA Two Polish Horsemen with their Horses Facing Left. Etching, circa 1651. 192x187 mm; 7½x7⅜ inches, thread margins. A very good, early impression of this scarce etching. Provenance: Raffaele Alianello, Andria, with the ink stamp verso (Lugt 5k). DeVesme 280.

Lot: 173 - PIETRO TESTA Achilles Dragging Hector's Corpse around the Walls of Troy.

PIETRO TESTA Achilles Dragging Hector's Corpse around the Walls of Troy. Etching, circa 1648. 262x412 mm; 10⅜x16¼ inches. Trimmed on the platemark. A very good impression with strong contrasts. Bartsch 22.

Lot: 174 - PIETRO TESTA Prodigal Son Wasting his Substance * Return of the Prodigal Son.

PIETRO TESTA Prodigal Son Wasting his Substance * Return of the Prodigal Son. Two etchings, circa 1645. Both approximately 207x298 mm; 8¼x12 inches, narrow to thread margins or trimmed on the plate mark. Both in the first state (of 2), before the publisher's address. One sheet with a coat-of-arms watermark; the other sheet with a posthorn in a shield watermark. Both very good impressions. Provenance: ( Return of the Prodigal Son) F. A. Maglin, Paris, with his inscription in ink verso (Lugt 177). Bartsch 6 and 8.

Lot: 175 - BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) Alliance of Peace and Abundance.

BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) Alliance of Peace and Abundance. Woodcut printed in black on greenish-gray laid paper, 1627. 210x155 mm; 8¼x6⅛ inches, narrow margins. A good impression of this scarce woodcut. Bartsch 10.

Lot: 176 - BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) A Sybil (in Profile with a Putto holding a Tablet)

BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) A Sybil (in Profile with a Putto holding a Tablet) Chiaroscuro woodcut printed in greenish brown and black, circa 1640. 284x189 mm; 11¼x7¾ inches, thread margins. A very good, richly-inked impression. Bartsch 4.

Lot: 177 - BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) The Fall of the Giants.

BARTOLOMEO CORIOLANO (AFTER GUIDO RENI) The Fall of the Giants. Chiaroscuro woodcut printed on 4 joined sheets in dark brown, light brown and tan, 1641. 873x616 mm; 34½x24¼ inches (overall), small margins. Second state (of 2). Lily in a single-circle watermark (which dates from the mid-1600s). A very good impression of this large, extremely scarce woodcut with strong colors. A scarce, important woodcut; we have found only five other impressions at auction in the past 30 years. Bartsch 12.

Lot: 178 - SALVATOR ROSA The Fall of the Giants * The Rescue of the Infant Oedipus.

SALVATOR ROSA The Fall of the Giants * The Rescue of the Infant Oedipus. Two etchings, 1663. Both approximately 720x475 mm; 28½x19 inches, full margins. Both in the second state (of 2). Lily in a double-circle watermark. Both superb, richly-inked impressions with little to no sign of wear. According to Wallace, these etching were conceived by Rosa (1615-1673) as pendants. These twin meditations on Fate, downfall and ruin are the richest and most varied of all Rosa's large etchings. Bartsch 21 and 8; Wallace 115 and 116.

Lot: 179 - SALVATOR ROSA Diogenes Casting away his Bowl.

SALVATOR ROSA Diogenes Casting away his Bowl. Etching and drypoint, circa 1652. 453x274 mm; 18x11 inches, narrow margins. Second state (of 2), with the inscription lower left corrected but still with some of the letters showing drypoint traces of the previous lettering. A very good impression with strong contrasts and little to no sign of wear. With-- Piping Satyr, etching and drypoint, circa 1660-61. 93x206 mm; 3¾x8¼ inches, wide margins. Bartsch 5 and 14; Wallace 103 and 95.

Lot: 180 - SALVATOR ROSA Figurine.

SALVATOR ROSA Figurine. Complete set of 62 etchings with drypoint (including the etched frontispiece), circa 1656-57. Each approximately 145x95 mm; 6x4 inches, with thread margins or trimmed on the plate marks. Each in the only state or second state (of 2). Each laid at the edges to the original mount sheet from the original Chatsworth album (fourteen sheets with four etchings per sheet; one sheet with five etchings). Superb, richly-inked and early impressions, many printed with plate tone. Provenance: Duke of Devonshire, Chatsworth; Colnaghi, London. Bartsch 25-86; Wallace 6, 9-14, 21, 24-27, 29, 30, 32, 33, 35-37, 39-41, 44, 46-55, 57-60, 62-64, 65b, 66-71, 73-84 and 86-91.

Lot: 181 - PHILIP JAMES DE LOUTHERBOURG Premiere Suite de Soldats * Deuxième Suite des Figures.

PHILIP JAMES DE LOUTHERBOURG Premiere Suite de Soldats * Deuxième Suite des Figures. Collection of 12 etchings (in 2 suites of 6 each), circa 1780. Each approximately 120x85 mm; 4¾x3½ inches, full margins. Premiere Suite de Soldats in the third state (of 3). Deuxième Suite des Figures in the third state (of 3). Very good impressions of these extremely scarce etchings. Born in Strasbourg, Loutherbourg (174-1812) was a French-born British painter who became known for his large naval works, his elaborate set designs for London theatres, and his invention of a mechanical theatre called the "Eidophusikon." He trained in Paris, and in 1767 was elected to the French Academy, before setting off for lengthy travels through Switzerland, Germany and Italy, ultimately settling in England in 1771. In London, the famous actor and theater manager David Garrick paid Loutherbourg £500 a year to design scenery and costumes and oversee the stage machinery at the Drury Lane Theatre. His stage effects attracted the admiration not just of the general public, but also of artists, including Joshua Reynolds. His "Eidophusikon" was a miniature mechanical theatre measuring six by eight feet, first presented at Loutherbourg's home in 1781. He used special Argand lamps (an extra bright oil lamp invented in 1780) to light the stage and stained glass to change colors. Baudicour 1-6 and 7-12.

Lot: 182 - JOHN BAPTIST JACKSON (AFTER VERONESE) The Wedding Feast at Cana.

JOHN BAPTIST JACKSON (AFTER VERONESE) The Wedding Feast at Cana. Chiaroscuro woodcut printed in dark brown, light brown and tan on two sheets of cream laid paper, 1740-45. 580x835 mm; 23x33 inches (overall). A good, dark impression of this large, scarce woodcut, with strong colors and the relief from the wood blocks distinct on the verso. Jackson (1701-1780), the English woodcut printmaker who lived and worked in Paris and Venice, created this intricate color woodcut from the monumental oil painting, 1562-63, by Paolo Veronese (1528-1588), which depicts the Biblical Wedding Feast at Cana at which Jesus miraculously turned water into wine. The Black Monks of the Order of Saint Benedict commissioned Veronese in 1562 to adorn the San Giorgio Monastery, designed by the architect Andrea Palladio. The painting decorated the refectory of the San Giorgio Monastery until 1797, when soldiers of Napoleon's French Revolutionary Army plundered the painting as war booty during the Italian campaigns of the French Revolutionary Wars (1792–1802). The painting is now in the Louvre Museum, Paris, where it hangs opposite the wall with Leonardo da Vinci's Mona Lisa.

Lot: 183 - JOHN BAPTIST JACKSON (AFTER TITIAN) The Presentation of the Virgin in the Temple.

JOHN BAPTIST JACKSON (AFTER TITIAN) The Presentation of the Virgin in the Temple. Chiaroscuro woodcut printed in dark brown, light brown and tan on two sheets of cream laid paper (center and right panels of the three panel composition), 1742. 560x870 mm; 22¼x34¼ inches (overall). A good, dark impression of this large, scarce woodcut, with strong colors and the relief from the wood blocks distinct on the verso. Titian (circa 1488/90-1576) painted The Presentation of the Virgin in the Temple, 1534-38, the work on which Jackson (1701-1780) based this large color woodcut, for the fraternity based in the Scuola Grande di Santa Maria della Carita, Venice, a building later incorporated into the Galleria dell'Accademia, where the work now hangs.

Lot: 184 - ANTONIO DA CANAL, IL CANALETTO Al Dolo.

ANTONIO DA CANAL, IL CANALETTO Al Dolo. Etching, circa 1740. 298x427 mm; 11¾x17 inches, narrow margins. Third state (of 3). A very good, well-inked impression with strong contrasts. DeVesme 4; Bromberg 4.

Lot: 185 - ANTONIO DA CANAL, IL CANALETTO Group of 4 etchings.

ANTONIO DA CANAL, IL CANALETTO Group of 4 etchings. The 4 etchings printed on a single sheet, circa 1740. Mountain Landscape with Five Bridges. Second state "A" (of 2 "B") * The Equestrian Monument * Landscape with the Pilgrim at Prayer. Third state (of 3) * Landscape with a Woman at a Well. Second state "B" (of 3). Each etching approximately 142x209 mm; 5¾x8¼ inches, wide margins. R (Remondini) watermark (Bromberg pages 185-193 and 208-209, which dates from the 1770s to the early 1800s). Very good impressions. DeVesme 19, 20, 24 and 26; Bromberg 22, 23, 27 and 29.

Lot: 186 - BERNARDO BELLOTTO Perspective de la Place de la grande Garde.

BERNARDO BELLOTTO Perspective de la Place de la grande Garde. Etching, 1750. 530x823 mm; 21x32½ inches, wide margins. Third state (of 4). Pine cone watermark. A superb, richly-inked impression of this large, scarce etching with very strong contrasts and little to no sign of wear. Bellotto (circa 1721/22-1780), was a northern Italian painter or vedutista and printmaker, famous for his etched vedute of European cities such as Dresden, Vienna, Turin and Warsaw. He was the student and nephew of Antonio da Canal, Il Canaletto, and sometimes used his uncle's illustrious name, signing as Bernardo Canaletto. In Germany and Poland, Bellotto simply called himself by his uncle's name, Canaletto, causing some confusion. Bellotto's style was characterized by elaborate representation of architectural and natural vistas, and by the specific quality of each place's lighting. It is plausible that Bellotto, and other Venetian masters of vedute at this time, may have used the camera obscura in order to achieve superior precision of urban views. DeVesme 15.

Lot: 187 - GIOVANNI B. TIEPOLO Mago seduto, fanciullo e quattro figure.

GIOVANNI B. TIEPOLO Mago seduto, fanciullo e quattro figure. Etching, circa 1740. 226x178 mm; 8⅞x7 inches, small margins. Second state (of 2), with the number upper right. From Scherzi. A very good impression with strong contrasts. DeVesme 17; Rizzi 8.

Lot: 188 - GIOVANNI B. TIEPOLO Mago con quattro figure presso un'ara fumante.

GIOVANNI B. TIEPOLO Mago con quattro figure presso un'ara fumante. Etching, circa 1740. 225x181 mm; 8¾x7¼ inches, small margins. Second state (of 2), with the number upper right. From Scherzi. A very good impression with strong contrasts. Provenance: Henri Joachim Delacroix, Paris, with the ink stamp verso (Lugt 3604). DeVesme 18; Rizzi 9.

Lot: 189 - GIOVANNI B. TIEPOLO Donna seminuda in ginocchio davanti a maghi e figure.

GIOVANNI B. TIEPOLO Donna seminuda in ginocchio davanti a maghi e figure. Etching, circa 1740. 230x173 mm; 9⅛x6¾ inches, wide margins. Second state (of 2), with the number upper right. From Scherzi. A very good, richly-inked impression with strong contrasts. DeVesme 20; Rizzi 11.

Lot: 190 - GIOVANNI B.TIEPOLO La Famiglia del Satiro con l'Obelisco.

GIOVANNI B.TIEPOLO La Famiglia del Satiro con l'Obelisco. Etching, circa 1740. 225x176 mm; 8⅞x7 inches, small margins. First state (of 2), before the number upper right. From Scherzi. A very good, early impression with strong contrasts and crisp, inky plate edges. DeVesme 23; Rizzi 14.

Lot: 191 - GIOVANNI B. TIEPOLO Sei Persone Guardano un Serpente.

GIOVANNI B. TIEPOLO Sei Persone Guardano un Serpente. Etching, circa 1740. 225x178 mm; 9x7 inches, small margins. Second state (of 2), with the number upper right. Partial crowned coat-of-arms watermark. From Scherzi. A very good impression. DeVesme 24; Rizzi 15.

Lot: 192 - GIOVANNI B. TIEPOLO Baccante, Satiro e Faunessa.

GIOVANNI B. TIEPOLO Baccante, Satiro e Faunessa. Etching, circa 1740. 130x200 mm; 5⅛x7⅞ inches. First state (of 2). From Scherzi. Trimmed on the platemark. A very good impression with strong contrasts. DeVesme 35; Rizzi 26.

Lot: 193 - GIOVANNI B. TIEPOLO Due Maghi e due Ragazzi.

GIOVANNI B. TIEPOLO Due Maghi e due Ragazzi. Etching, circa 1740. 220x175 mm; 8¾x7 inches, wide margins. First state (of 2), before the number upper right. From Scherzi. A brilliant, early and richly-inked impression with very strong contrasts. DeVesme 26; Rizzi 17.

Lot: 194 - GIOVANNI B. TIEPOLO Due Maghi ed un Fanciullo.

GIOVANNI B. TIEPOLO Due Maghi ed un Fanciullo. Etching, circa 1740. 140x188 mm; 5½x7½ inches, small margins. First state (of 2), before the number upper right. Partial letter W watermark or counter mark to an unidentified watermark. With-- Pastore con Due Maghi, etching, circa 1740. 223x175 mm; 8⅞x7 inches, wide margins. Second state (of 2), with the number upper right. Partial indiscernible watermark. Both from Scherzi. Both very good impressions. DeVesme 28 and 34; Rizzi 19 and 25.

Lot: 195 - GIOVANNI B. TIEPOLO Group of 4 etchings from Vari Capricci.

GIOVANNI B. TIEPOLO Group of 4 etchings from Vari Capricci. Due soldati e due donne * Donna che posa le mani su un vaso, soldato e schiavo * Ninfa con piccolo satiro e due capre * Filosofo in piedi e due figure. Each before 1749. Each approximately 134x171 mm; 5¼x6¾ inches, full to wide margins. Superb, dark, richly-inked impressions with strong contrasts and crisp, partially inky plate edges. DeVesme 5, 6, 7 and 8; Rizzi 31, 32, 33 and 34.

Lot: 196 - GIOVANNI B. TIEPOLO Group of 9 etchings from Vari Capricci.

GIOVANNI B. TIEPOLO Group of 9 etchings from Vari Capricci. Filosofo in piedi e due figure * Ninfa con piccolo satiro e due capre * Donna che posa le mani su un vaso, soldato e schiavo * Giovane seduto, appoggiato ad un'urna * Donna con le braccia incatenate e quattro figure * Tre soldati e un ragazzo * La morte dà udienza * Due soldati e due donne * L'astrologo e il giovane soldato. Each before 1749. Various sizes and conditions. Very good impressions. DeVesme 3-11; Rizzi 29-37.

Lot: 197 - GIOVANNI D. TIEPOLO La Predicazione di S. Giovanni Battista.

GIOVANNI D. TIEPOLO La Predicazione di S. Giovanni Battista. Etching, after 1733. 242x286 mm; 9½x11¼ inches, wide margins. Second state (of 2). Three crescents watermark. A very good impression with strong contrasts. With— S. Gerolamo Emiliani Distribuisce Viveri agli Orfanelli, etching. 195x100 mm; 7¾x4 inches, wide margins. First state (of 2). A very good impression with strong contrasts. DeVesme 67 and 31; Rizzi 61 and 108.

Lot: 198 - GIOVANNI D. TIEPOLO Via Crucis.

GIOVANNI D. TIEPOLO Via Crucis. Complete set of 15 etchings and etched dedication page, 1749. Each approximately 209x185 mm; 8¼x7¼ inches, full margins. Each in the first state (of 3), before the address of Viero and the plate numbers. Some sheets with three crescent watermark or letter A countermark. Very good, richly-inked impressions with strong contrasts and no sign of wear, consistent with the earliest impressions of these etchings; extremely scarce as a complete set in this early issue. Provenance: Cabinet Brentano-Birckenstock, Vienna and Frankfurt, with the ink stamp on the verso of each sheet (Lugt 345). DeVesme 34-49; Rizzi 39-54.

Lot: 199 - GIOVANNI D. TIEPOLO Three etchings from Fuga in Egitto.

GIOVANNI D. TIEPOLO Three etchings from Fuga in Egitto. La Sacra Famiglia esce dalla Porta di una Città. 187x241 mm; 7⅜x9½ inches, wide margins * La Sacra Famiglia Passa acanto a una Piramide. 187x241 mm; 7⅜x9½ inches, wide margins * Riposo della Sacra Famiglia in un Bosco. 191x237 mm; 7¾x9⅜ inches, wide margins. Second state (of 2). Each 1753. Very good impressions. Provenance (La Sacra Famiglia esce della Porta di una Città): unidentified collector, blue initials ink stamp verso (not in Lugt). DeVesme 7, 20 and 23; Rizzi 73, 86 and 89.

Lot: 200 - GIOVANNI D. TIEPOLO Group of 5 etchings.

GIOVANNI D. TIEPOLO Group of 5 etchings. La Vergine, S. Antonio abate e S. Giorgio * S. Giovanni. From I Quattro Evangelisti * S. Vincenzo Ferreri. Second state (of 2) * S. Elena Ritrova la Vera Croce * Tre Santi ed una Santa dell'Ordine di S. Benedetto. First state (of 2). Provenance ( S. Elena Ritrova la Vera Croce): Leonard and Esther Tane Baskin, Lurley, Devon and Leeds, Massachusetts, brown ink stamp and handwritten ink mark verso (Lugt 4473 and 4474). DeVesme 53, 55, 72, 73 and 82 ; Rizzi 58, 114, 118, 126 and 133.

Lot: 201 - GIOVANNI D. TIEPOLO Vecchio con Barba.

GIOVANNI D. TIEPOLO Vecchio con Barba. Etching, 1770. 120x87 mm; 4¾x3⅜ inches, small margins. Second state (of 2). From Raccolta di Teste. A very good, evenly-printed impression. DeVesme 118; Rizzi 162.

Lot: 202 - GIOVANNI D. TIEPOLO Vecchio Barbuto.

GIOVANNI D. TIEPOLO Vecchio Barbuto. Etching, 1770. 125x93 mm; 5x3¾ inches, wide margins. Second state (of 2), with the number lower left. Partial crowned coat-of-arms watermark. From Raccolta di Teste. A very good impression. DeVesme 158; Rizzi 202.

Lot: 203 - GIOVANNI D. TIEPOLO Turco visto di spalle.

GIOVANNI D. TIEPOLO Turco visto di spalle. Etching, 1770. 120x79 mm; 4¾x3¼ inches, wide margins. First state (of 2), before the number lower left. The letters CSC countermark to an unidentified watermark. From Raccolta di Teste. A brilliant, richly-inked impression with very strong contrasts and no sign of wear. DeVesme 163; Rizzi 207.

Lot: 204 - JEAN-HONORÉ FRAGONARD (AFTER G. B. TIEPOLO) Mucius Scaevola.

JEAN-HONORÉ FRAGONARD (AFTER G. B. TIEPOLO) Mucius Scaevola. Etching, circa 1762. 161x106 mm; 6⅜x4½ inches, wide (full ?) margins. First state (of 2), before the number. A superb, early impression of this very scarce etching with strong contrasts on no sign of wear. Wildenstein 13.

Lot: 205 - JEAN-HONORÉ FRAGONARD Danse de Satyres.

JEAN-HONORÉ FRAGONARD Danse de Satyres. Etching, 1763. 143x214 mm; 5¾x8½ inches, narrow margins. First state (of 2), before the number lower right. A very good impression of this scarce etching, with strong contrasts. Fragonard (1732-1806) produced around 30 etchings between 1760 and 1778, many of which were derived from paintings by Italian and French masters (like Tiepolo and Boucher) while others, like the current work, were likely inspired by the landscapes and gardens in and around the Villa d'Este in Tivoli, which Fragonard visited during his 1755-61 Italian sojourn. Provenance: Unidentified collector, initials in a triangle violet ink stamp verso (not in Lugt). Wildenstein 4.

Lot: 206 - JACQUES FABIEN GAUTIER D'AGOTY La Pie-griesche des Moluques (Grandeur-naturelle).

JACQUES FABIEN GAUTIER D'AGOTY La Pie-griesche des Moluques (Grandeur-naturelle). Color etching and engraving, 1752. 208x152 mm; 8¼x6 inches, small margins. A superb, richly-inked impression of this extremely scarce print with strong colors. D'Agoty (1716-1785) was born in Marseille, and became a student of the painter and engraver Jacob Christoph Le Blon (1667-1741), with whom he became a rival for title of the invention of a method of an early color printing method based on etching and mezzotint engraving. He later exploited this process with his four sons and is perhaps best known for his partnership with the physician and anatomist Guichard Joseph Duverney to produce anatomical albums using this color printing technique.

Lot: 207 - GIOVANNI B. PIRANESI The Well.

GIOVANNI B. PIRANESI The Well. Etching and engraving, 1749-50. 411x560 mm; 16¼x22⅛ inches, wide margins. Fourth state (of 5), with the Roman numeral upper right and before the additional work in the lower right corner; Robison's second edition, third issue, printed from around the mid-1760s to the early 1770s. From Carceri d'Invenzione. A brilliant, richly-inked impression with very strong contrasts and little to no sign of wear. Robison 39.

Lot: 208 - GIOVANNI B. PIRANESI The Monumental Tablet.

GIOVANNI B. PIRANESI The Monumental Tablet. Etching with engraving, drypoint and burnishing, circa 1750. 396x547 mm; 15¾x21¾ inches, wide margins. Third state (of 4); Robison's third edition, second issue through early printings of the fifth edition, printed circa 1790-1835. The name Dupuy watermark (Robison 78). From Grotteschi. A superb impression of this scarce, early etching with very strong contrasts. Robison 24.

Lot: 209 - GIOVANNI B. PIRANESI Veduta dell'Esterno della Gran Basilica di S. Pietro in Vaticano.

GIOVANNI B. PIRANESI Veduta dell'Esterno della Gran Basilica di S. Pietro in Vaticano. Etching, 1748. 397x600 mm; full margins. Fourth state (of 7). Fleur-de-lis in a double-circle watermark (Hind 3). From the Vedute di Roma. A very good impression with strong contrasts. Hind 5.

Lot: 210 - GIOVANNI B. PIRANESI Veduta del Mausoleo d'Elio Adriano (ora chiamato Castello S. Angelo).

GIOVANNI B. PIRANESI Veduta del Mausoleo d'Elio Adriano (ora chiamato Castello S. Angelo). Etching, 1754. 440x560 mm; 17⅛x21⅞ inches, wide margins. Second state (of 4). Large coat-of-arms watermark (Hind 4). From the Vedute di Roma. A brilliant, richly-inked impression with very strong contrasts, all the details distinct and no sign of wear. Hind 30.

Lot: 211 - GIOVANNI B. PIRANESI Veduta del Ponte e Castello Sant'Angelo.

GIOVANNI B. PIRANESI Veduta del Ponte e Castello Sant'Angelo. Etching, 1754. 383x585 mm; 15¼x23 inches, wide margins. Second state (of 6), with the address and price. From the Vedute di Roma. A superb, richly-inked impression with very strong contrasts, all the details distinct, and no sign of wear. The Vedute di Roma is a series of 134 etchings of famous Roman buildings, ruins and monuments created by Piranesi (1720-1778) over nearly three decades (circa 1748-circa 1777), and is among the most ambitious and successful printmaking productions of all time. Hind 29.

Lot: 212 - GIOVANNI B. PIRANESI Colonna Antonina.

GIOVANNI B. PIRANESI Colonna Antonina. Etching, 1758. 556x403 mm; 21½x15¾ inches, wide margins. Third state (of 7), with the address and price. From the Vedute di Roma. Fleur-de-lys in a double circle watermark (Hind 3). A superb, dark and richly-inked impression with very strong contrasts. Hind 52.

Lot: 213 - GIOVANNI B. PIRANESI Veduta di Piazza Navona.

GIOVANNI B. PIRANESI Veduta di Piazza Navona. Etching, 1773. 473x708 mm; 18¾x28 inches, wide margins. Second state (of 4). From the Vedute di Roma. A very good, well-inked impression of this large, important etching, with strong contrasts, with all the details distinct and with little to no sign of wear. This view of the Piazza Navona looking north toward Gian Lorenzo Bernini's Four Rivers Fountain, 1651, in the center, and the façade of the Church of Saint Agnese, designed by Francesco Barromini, 1652, at the left, is among the most popular of Piranesi's (1720-1778) views of Rome. Hind 108.

Lot: 214 - GIOVANNI B. PIRANESI Veduta in Prospettiva della gran Fontana dell'Acqua Vergine detta di Trevi.

GIOVANNI B. PIRANESI Veduta in Prospettiva della gran Fontana dell'Acqua Vergine detta di Trevi. Etching, 1773. 475x715 mm; 18¾x28¼ inches, wide margins. First state (of 3), before numbers. From the Vedute di Roma. A superb, dark and richly-inked impression of this large etching with very strong contrasts and little to no sign of wear. Hind 104.

Lot: 215 - GIOVANNI B. PIRANESI Veduta degli avanzi superiori delle Terme di Diocleziano.

GIOVANNI B. PIRANESI Veduta degli avanzi superiori delle Terme di Diocleziano. Etching, 1774. 467x705 mm; 18⅝x27⅝ inches, full margins. First state (of 3). Proprietary watermark. From the Vedute di Roma. A very good, early impression with strong contrasts. Hind 116.

Lot: 216 - GIOVANNI B. PIRANESI Avanzi di una Sala appartenente al Castro Pretorio nella Villa Adriana.

GIOVANNI B. PIRANESI Avanzi di una Sala appartenente al Castro Pretorio nella Villa Adriana. Etching, 1774. 440x577 mm; 17⅜x22¾ inches, wide margins. First state (of 3), before numbers. From the Vedute di Roma. A brilliant, richly-inked impression with very strong contrasts. Hind 112.

Lot: 217 - GIOVANNI B. PIRANESI Veduta sul Monte Quirinale del Palazzo dell'Eccellentissima Casa Barberini.

GIOVANNI B. PIRANESI Veduta sul Monte Quirinale del Palazzo dell'Eccellentissima Casa Barberini. Etching, circa 1749. 408x614 mm; 16x24¼ inches, full margins. Second state (of 5), with the address and price. From the Vedute di Roma. A very good impression with strong contrasts. Hind 25.

Lot: 218 - GIOVANNI B. PIRANESI Two etchings from the Vedute di Roma.

GIOVANNI B. PIRANESI Two etchings from the Vedute di Roma. Veduta della Basilica di Santa Maria Maggiore con le due Fabbriche laterali di detta Basilica, 1749. Third state (of 6). 398x545 mm; 15⅝x21⅝ inches, wide margins * Veduta della Facciata di dietro della Basilica di Santa Maria Maggiore, 1749. 405x613 mm; 16x24¼ inches, wide margins. Second state (of 5). Both from the Vedute di Roma. Both very good impressions. Hind 9 and 10.

Lot: 219 - GIOVANNI B. PIRANESI Group of 4 etchings from the Vedute di Roma.

GIOVANNI B. PIRANESI Group of 4 etchings from the Vedute di Roma. Veduta del Tempio di Cibele a Piazza della Bocca della Verità, 1758. 398x595 mm; 15¾x23½ inches, wide margins. Second state (of 5), with the address and price * Veduta del Tempio di Ercole, 1769. 385x525 mm; 15¼x20¾ inches, wide margins. Second state (of 4) * Avanzi degl'Aquedotti Neroniani, 1775. 493x710 mm; 19¼x27¾ inches, small margins. First state (of 3) * Veduta delle Terme di Tito, 1761. 487x712 mm; 19x¾ inches, small margins. First state (of 3). Superb, dark, richly-inked impressions with very strong contrasts. Hind 47, 91, 118 and 123.

Lot: 220 - GIOVANNI B. PIRANESI Catalogo delle Opere date finora alla luce da Gio. Battista Piranesi.

GIOVANNI B. PIRANESI Catalogo delle Opere date finora alla luce da Gio. Battista Piranesi. Etching and engraving, circa 1769. 400x298 mm; 15¾x11¾ inches, full margins. An intermediate state between Hind's ninth and tenth states (of 13), with the last Vedute di Roma entry to plate number 89. A very good impression. Hind, page 6.

Lot: 221 - GEORGE STUBBS Tygers at Play.

GEORGE STUBBS Tygers at Play. Etching, 1780. 378x480 mm; 14⅞x189⅞ inches, wide margins. Third state (of 4). Partial eagle (?) watermark. Published by the artist, London. A very good, early impression with strong contrasts and little to no sign of wear. We have found only one other lifetime impression like the current work at auction in the past 30 years. Lennox-Boyd 60. Although Stubbs (1724-1806) is most well-known for his paintings of horses and portraiture, he was also an accomplished printmaker. According to Richard Godfrey, in his essay George Stubbs as a Printmaker published in Fearful Symmetry: George Stubbs, Stubbs taught himself etching early in his career, illustrating John Burton's An Essay Towards a Complete New System of Midwifery (1751) and his own The Anatomy of a Horse (1766). He realized that printmaking could be lucrative and raise his profile as an artist. Later, while Stubbs had not exhibited a painting from 1782 to 1786, he was occupied by twelve plates which reinterpreted scenes or details of his earlier paintings, which were ultimately published in May 1788. After experimenting in the techniques of stipple, aquatint, and soft-ground etching, all of which were introduced to British printmakers in the 1760s and 1770s, Stubbs' printed works became remarkable in their gentle tonality and meticulous anatomical details present in his painted ouevre. The demand for Stubbs' printed works during the artist's lifetime were such that only a few impressions were printed, contributing to the scarcity of his prints found on the market today. Although the subjects of Tygers at Play are leopards, and Stubbs would have been familiar with the distinctions between the species, historian Leslie Parris, in George Stubbs A.R.A. 'Leopards at Play' and 'The Spanish Pointer', concluded, "An explanation of Stubbs' indiscriminate use of the work 'tyger', which he seems to have employed in some generic sense, is still needed." Other scholars posit that the word "tiger" was commonly used as late as 1785 as a blanket term for large cats classified under the genus Felis tigris.

Lot: 222 - FRANCISCO JOSÉ DE GOYA Francisco Goya y Lucientes, Pintor.

FRANCISCO JOSÉ DE GOYA Francisco Goya y Lucientes, Pintor. Aquatint and etching, 1799. 220x153 mm; 8⅝x5⅛ inches, full margins. Fifth edition (of 12). A very good impression. Goya's (1746-1828) self-portrait and the first etching of his most significant print series, Los Caprichos. Delteil 38; Harris 36.

Lot: 223 - FRANCISCO JOSÉ DE GOYA Ysele quema la Casa.

FRANCISCO JOSÉ DE GOYA Ysele quema la Casa. Etching and aquatint, circa 1799. 215x150 mm; 8½x6 inches, wide margins. First edition. From Los Caprichos. A very good, early impression, with the burnished highlights in the lighter tone of aquatint on the floor distinct. Provenance: Charles Deering, Chicago, with the ink stamp verso (Lugt 516). Delteil 55; Harris 53.

Lot: 224 - FRANCISCO JOSÉ DE GOYA Por que fue sensible.

FRANCISCO JOSÉ DE GOYA Por que fue sensible. Aquatint, circa 1799. 215x150 mm; 8¼ x6 inches, full margins. First edition. From Los Caprichos. A superb, early impression with the two tones of aquatint—one lighter and one darker—distinct and brilliantly contrasted against the cream laid paper; extremely scarce in this early, lifetime issue. Delteil 69; Harris 67.

Lot: 225 - FRANCISCO JOSÉ DE GOYA Mala Noche.

FRANCISCO JOSÉ DE GOYA Mala Noche. Aquatint and etching on cream laid paper, circa 1799. 217x150 mm; 8½x6 inches, full margins. First edition. From Los Caprichos. A brilliant, richly-inked impression with the aquatint tones distinct and the burnished highlights on the figures contrasting sharply with the dark background, and with crisp, partially inky plate edges, consistent with the earliest impressions of this subject. Delteil 73; Harris 71.

Lot: 226 - FRANCISCO JOSÉ DE GOYA Los Chinchillas.

FRANCISCO JOSÉ DE GOYA Los Chinchillas. Aquatint and etching, circa 1799. 255x150 mm; 8¼x6 inches, wide margins. First edition. From Los Caprichos. A very good, dark and early impression, with the burnished highlights on the "prisoner" figures and all the aquatint tones distinct. Goya's (17456-1828) commentary on this image, the drawing for which is in the Museo Nacional del Prado, Madrid, reads, "He who hears nothing, knows nothing and does nothing, belongs to the numerous family of the Chinchillas, which has always been good for nothing." Delteil 87; Harris 85.

Lot: 227 - FRANCISCO JOSÉ DE GOYA El Vergonzoso.

FRANCISCO JOSÉ DE GOYA El Vergonzoso. Aquatint and etching, circa 1799. 214x150 mm; 8½x6 inches, full margins. First edition. From Los Caprichos. A very good, dark and early impression with the aquatint tones distinct and no sign of wear. Provenance: R. S. Johnson Fine Art, Chicago, with the label. Delteil 91; Harris 89.

Lot: 228 - FRANCISCO JOSÉ DE GOYA Subir y Bajar.

FRANCISCO JOSÉ DE GOYA Subir y Bajar. Aquatint and etching, circa 1799. 217x153 mm; 8½x6 inches, full margins. First edition. From Los Caprichos. A superb, early impression, with the highlights on the satyr's right thigh and the standing figure contrasted brilliantly against the background and with the burnishing on the standing figure's hair and the satyr's chest distinct. According to Goya's (1746-1828) commentary on this subject, the title of which translates as "To rise and to fall," he wrote that, "Fortune maltreats those who court her. Efforts to rise she rewards with hot air and those who have risen she punishes with downfall." Delteil 93; Harris 91.

Lot: 229 - FRANCISCO JOSÉ DE GOYA Unas de Gato y Habito de Beato.

FRANCISCO JOSÉ DE GOYA Unas de Gato y Habito de Beato. Aquatint and etching, circa 1824. 245x350 mm; 9⅝x13¾ inches, full margins. First edition, before the number upper right and with the uncleaned area of aquatint in the upper left, and before the edition published by L'Art. From Los Proverbios. A superb, richly-inked impression with the highlights fully defined and the aquatint tones distinct. Delteil 210; Harris 256.

Lot: 230 - FRANCISCO JOSÉ DE GOYA Modo de Volar.

FRANCISCO JOSÉ DE GOYA Modo de Volar. Aquatint and etching, circa 1824. 245x350 mm; 9¾x13¾ inches, wide margins. First edition, before the number and with the scratches on the left side of the plate and the legs of the main flying figure distinct. From Los Proverbios. A superb, richly-inked impression of this important print, with all the details distinct and little to no sign of wear. Provenance: Mr. and Mrs. Charles H. Morgan, Amherst, Massachusetts, with the collection label (Charles Morgan was the founding director or the Mead Art Museum at Amherst College). Delteil 214; Harris 260.

Lot: 231 - FRANCISCO JOSÉ DE GOYA Dios los Cria y Ellos se Juntan.

FRANCISCO JOSÉ DE GOYA Dios los Cria y Ellos se Juntan. Aquatint and etching, circa 1824. 245x350 mm; 9¾x13¾ inches, wide margins. First edition, before the number. From Los Proverbios. A superb, dark and richly-inked impression of this densely-etched composition, with little to no sign of wear, and with each of the individual figures and entire composition distinct, consistent with the earliest impressions of this subject. Harris notes that this plate deteriorates considerably even in the first edition. However, the current impression is before any wear, similar to the impression sold at Swann Auction Galleries, October 29, 2014, sale 2363, lot 234. Delteil 219; Harris 265.

Lot: 232 - FRANCISCO JOSÉ DE GOYA Dos a Uno, Meten la Paja en el Culo.

FRANCISCO JOSÉ DE GOYA Dos a Uno, Meten la Paja en el Culo. Aquatint and etching, circa 1824. 245x355 mm; 9¾x14 inches, full margins. First published edition. Published by L'Art, Paris. From Los Proverbios. A superb, dark impression. Goya's (1746-1820) title translates to: "If Two to One, Stuff Your Arse With Straw." The image shows a man turning away from two scarecrow-like figures in mock terror to amuse the crowd of onlookers near him. Delteil 220; Harris 266.

Lot: 233 - FRANCISCO JOSÉ DE GOYA Al Toro y al Aire Darles Calle (Lluvia de Toros).

FRANCISCO JOSÉ DE GOYA Al Toro y al Aire Darles Calle (Lluvia de Toros). Etching and aquatint, circa 1824. 245x350 mm; 9¾x13¾ inches, wide margins. First published edition. Published by L'Art, Paris. From Los Proverbios. A very good, well-inked impression with strong contrasts. Delteil 223; Harris 269.

Lot: 234 - FRANCISCO JOSÉ DE GOYA Pesa mas que un Burro Muerto * Si Marina Bayló, Tome lo que Halló.

FRANCISCO JOSÉ DE GOYA Pesa mas que un Burro Muerto * Si Marina Bayló, Tome lo que Halló. Three aquatints with etching (2 impressions of one of the subjects), circa 1824. Pesa mas que un Burro Muerto, two impressions. One from the second edition, the other from the third edition (of 9) * Si Marina Bayló, Tome lo que Halló. Second edition (of 9). Each approximately 245x350 mm; 9¾x14 inches, wide margins. Each from Los Caprichos. Very good impressions. Delteil 202 and 213; Harris 248 and 259. With-- Tanto y Mas * Non se Puede Saber por Qué * Por Qué. Each aquatints with etching, 1808-23. Each approximately 155x205 mm; 6¼x8¼ inches, wide margins. Each from the third edition. Each from Los Desastres de la Guerra. Very good impressions. Delteil 141, 151 and 154; Harris 142, 152 and 155.

Lot: 235 - PIERRE-PAUL PRUD'HON Phrosine et Mélidore.

PIERRE-PAUL PRUD'HON Phrosine et Mélidore. Etching, stipple-work, roulette and engraving, 1797. 343x251 mm; 13½x9¾ inches, wide margins. Second state (of 6). A very good impression of this scarce print. According to Fisher, this is one of only a few prints with authorship firmly given to Prud'hon (1758-1823), the bulk of his graphic work consisting of designs drawn for other printmakers. Fisher notes, "This print is brilliantly executed entirely with gentle modeling in stipple . . . The stipple work is achieved partly with the etching needle and partly with a wide, irregular roulette. [Barthélemy] Roger (who assisted Prud'hon with the completion of the plate) and Prud'hon's first engraver, Jacques-Louis Copia, were carefully trained by Prud'hon in this stipple technique, which was essential to the interpretation of a painting style so indebted to the supple brushwork of Correggio (1489-1534). In this way, Prud'hon's style has a much wider impact than his small œuvre would suggest. For Prud'hon's tonal etching style . . . is almost a prototype for the romantic lithography of the early 19th century, especially for the prints of Chasseriau and Delacroix ( Regency to Empire, French Printmaking 1715-1814, Minneapolis, 1984, page 312). The etching illustrates a romantic episode from a poem by Gentil Bernard, in which Phrosine, driven by her passion and exhausted after having drifted across the sea to her lover Mélidore's island of exile, is awakened by his embrace and kisses. Goncourt 4.

Lot: 236 - LUIGI RADOS (AFTER GASPARE GALLIARI) Group of 5 aquatints with etching from Invenzioni Teatrali.

LUIGI RADOS (AFTER GASPARE GALLIARI) Group of 5 aquatints with etching from Invenzioni Teatrali. Each circa 1814. Each approximately 348x440 mm; 13¾x17½ inches, small to narrow margins outside the border lines. Very good impressions of these extremely scarce prints. Rados (1773-1840) was born in Parma and became a skilled aquatint printmaker, as evidenced by this group of scarce prints, from a series of 24 stage settings based on the works of the theatrical designer Galliari (1716-1818) who was active most of his career in Milan.

Lot: 237 - JOHN MARTIN Group of 5 mezzotints from Paradise Lost.

JOHN MARTIN Group of 5 mezzotints from Paradise Lost. Group of 5 mezzotints, 1824. Published by Prowett, London. Various sizes and conditions. Very good, richly-inked impressions with little to no sign of wear.

Lot: 238 - WILLIAM BLAKE The Destruction of Job's Sons.

WILLIAM BLAKE The Destruction of Job's Sons. Engraving, 1825. 217x170 mm; 8⅝x6¾ inches, full margins. Edition of 215, an early impression with the word "Proof" engraved lower right. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A very good, richly-inked impression with strong contrasts. Bindman 628.

Lot: 239 - WILLIAM BLAKE When the Almighty Was Yet with Me, When My Children Were About Me.

WILLIAM BLAKE When the Almighty Was Yet with Me, When My Children Were About Me. Engraving on Chine collé, 1825. 220x172 mm; 8 x6¾ inches, full margins. Edition of 215, an early impression with the word "Proof" engraved lower right. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A superb, dark, well-inked impression with very strong contrasts. Bindman 627.

Lot: 240 - WILLIAM BLAKE Thou Hast Fulfilled the Judgment of the Wicked.

WILLIAM BLAKE Thou Hast Fulfilled the Judgment of the Wicked. Engraving, 1825. 196x161 mm; 7¾x6¼ inches, wide margins. Edition of 215, an early impression with the word "Proof" engraved lower right. Published by the artist and J. Linnell, London. From Illustrations of the Book of Job. A very good impression with strong contrasts and no sign of wear. Bindman 640.

Lot: 241 - THÉODORE GÉRICAULT Passage du Mont Saint-Bernard.

THÉODORE GÉRICAULT Passage du Mont Saint-Bernard. Lithograph, 1822. 355x415mm; 14x16¼ inches, wide margins. Third state (of 4). Published by A.V. Arnault. From Vie Politique et Militaire de Napoléon. A very good impression. This early lithograph by the French Romantic movement artist Géricault (1791-1824) represents Napoleon and his troops crossing the Alps at the Saint-Bernard pass during the campaign against the Austrian army in Italy in 1800. Napoleon's quick maneuvering through the Alps caught the Austrians, who were laying siege to Genoa, by surprise and he won a decisive battle at Marengo which led to his installation as First Consul and ultimately Emperor of France. Delteil 44.

Lot: 242 - THÉODORE CHASSÉRIAU Othello.

THÉODORE CHASSÉRIAU Othello. Complete set of 16 etchings, 1844. 640x475 mm; 25¼x18¾ inches (sheets), wide (full ?) margins. Second edition. Published by the Chalcographie du Louvre, Paris, with the blind stamp. Superb, dark impressions. According to the Metropolitan Museum of Art, New York, where there is another set of these etchings by Chassériau (1819-1856), "In 1844 Eugène Piot commissioned the young Chassériau to prepare fifteen illustrations to Shakespeare's Othello. Inspired by a series of ground-breaking Hamlet lithographs that Delacroix had created one year earlier, the younger artist opted for the more linear technique of etching. His expressive conception of form had been learned in Ingres's studio then developed under Delacroix. In the series, key exchanges offer a compressed summary of much of the play, with a final cluster devoted to the tragic conclusion." Fisher 6-22; Sandoz 270-285.

Lot: 243 - FÉLIX BRACQUEMOND Le haut d'un battant de porte.

FÉLIX BRACQUEMOND Le haut d'un battant de porte. Etching, 1852. 305x402 mm; 12x15⅞ inches, wide margins. Fourth state (of 5). Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris A very good impression. According to the Rhode Island School of Design Museum (RISD), where there is another, earlier state, impression of this etching, "Bracquemond [1833-1914] based this print on a scene he observed on a farm in the French village of Villers-Cotterêts. In an earlier state, carefully represented birds and a bat nailed to a barn door, capturing details such as feathers and the door's wood grain with exacting accuracy. In later states, Bracquemond added a moralizing tone through the addition of a small wooden plaque below the birds. It contained a verse that played upon the French word voler-meaning both 'to fly' and 'to steal'-suggesting that, like humans, birds must pay the price for taking what is not theirs." Beraldi 110.

Lot: 244 - CHARLES-FRANÇOIS DAUBIGNY Le Bateau-Atelier.

CHARLES-FRANÇOIS DAUBIGNY Le Bateau-Atelier. Etching on Chine collé, 1861. 100x135 mm; 3⅞x5⅜ inches, wide margins. Printed by Delâtre, Paris. Published by A. Cadart & F. Chevalier, Paris. From Voyage en bateau. A very good impression. Melot 111.

Lot: 245 - JEAN-BAPTISTE-CAMILLE COROT Environs de Rome.

JEAN-BAPTISTE-CAMILLE COROT Environs de Rome. Etching, 1866. 284x210 mm; 11¼x8¼ inches, wide margins. Second state (of 3), with the lettering lower margin masked out and before the retouching of the monument on the hill in the background. Printed by Delâtre, Paris. Published by the Société des Aquafortistes, Paris. A very good, richly-inked, dark and early impression with all the details distinct. Delteil 6; Melot 6.

Lot: 246 - CHARLES MERYON La Tour de l'Horloge.

CHARLES MERYON La Tour de l'Horloge. Etching and engraving on Chine collé, 1852. 262x187 mm; 10⅜x7⅜ inches, full margins. Fifth state (of 10). Edition of 600. Printed by Auguste Delâtre, Paris. Published by L'Artiste, Paris. A very good impression. Schneiderman 23.

Lot: 247 - CHARLES MERYON Rue des Chantres, Paris.

CHARLES MERYON Rue des Chantres, Paris. Etching, 1862. 295x142 mm; 11⅝x5⅝ inches, full margins. Fifth state (of 6). Edition of 100. A very good, well-inked and early impression. Schneiderman 23.

Lot: 248 - JAMES A. M. WHISTLER The Pool.

JAMES A. M. WHISTLER The Pool. Etching and drypoint on antique cream laid paper, 1859. 138x212 mm; 5½x8⅜ inches, wide margins. MacDonald's sixth state (of 7), an early impression of this state with the scratched-in drypoint lines in the sky distinct. Blauw watermark. A superb, richly-inked impression with selective wiping and very strong contrasts. Kennedy 43; Glasgow 49.

Lot: 249 - JAMES A. M. WHISTLER Soupe à Trois Sous.

JAMES A. M. WHISTLER Soupe à Trois Sous. Etching and drypoint on cream laid Japan paper, 1859. 154x230 mm; 6⅛x9⅛ inches, full margins. A superb, richly-inked impression with crisp, inky plate edges. Kennedy 49; Glasgow 64.

Lot: 250 - JAMES A. M. WHISTLER Girl with Bowl.

JAMES A. M. WHISTLER Girl with Bowl. Lithograph on China paper, 1895. 136x67 mm; 5½x2¾ inches, full margins. Edition of approximately 600. Printed by Lemercier, Paris. From L'Ymagier. A very good impression. Way 82; Levy 121; Spink 118.

Lot: 251 - MORTIMER MENPES Three portraits of James A. M. Whistler.

MORTIMER MENPES Three portraits of James A. M. Whistler. Whistler: Roguish Smile Evening, etching and drypoint printed in dark, brownish black, 1880s. Signed and inscribed "imp." in pencil, lower right * Whistler: Wiser than the Wise, etching, circa 1885. Signed and inscribed "imp." in pencil, lower right * Whistler in White Ducks (Whistler: Five Faces), etching and drypoint printed in dark, brownish black, 1909-11. Signed and inscribed "imp." in pencil, lower right. Various sizes. Each very good impressions.

Lot: 252 - MORTIMER MENPES Group of 9 etchings with drypoint.

MORTIMER MENPES Group of 9 etchings with drypoint. Canal Market (Venice), circa 1900 * San Giorgio Maggiore, 1910-13 * Doge's Palace from the Grand Canal, 1893 * Interior of St. Mark's, 1903 * Fête Day on the Grand Canal, Venice, circa 1900 * Bounre End, Hertfordshire * Oxford: Magdelene College * Interior of Saint-Maclou, Rouen * Dresden--Church of St. Sophia, circa 1910. Each but one signed and inscribed "imp." in pencil, lower margin. Various sizes. Very good impressions. With--Group of prints by, after or attributed to Gill, Detmold, Goulding, Cole, Pennell and others. Various sizes and conditions.

Lot: 253 - PIERRE-AUGUSTE RENOIR Claude Renoir, la tête baisée.

PIERRE-AUGUSTE RENOIR Claude Renoir, la tête baisée. Lithograph, 1904. 197x200 mm; 7¾x7⅞ inches, full margins. Second state (of 2). Edition of 950. With the artist's ink stamp signature (Lugt 2137a, lower right recto). Published by Vollard, Paris. From L'Album des Douze Lithographies Originales. A superb, dark and richly-inked impression. Delteil 39.

Lot: 254 - PIERRE-AUGUSTE RENOIR Maternité, grande planche.

PIERRE-AUGUSTE RENOIR Maternité, grande planche. Lithograph, circa 1912. 505x490 mm; 20x19⅜ inches, wide margins. Edition of 100. A very good, well-inked impression of this large lithograph. With— Femme au Cep de Vigne * Claude Renoir, la Tête Baissée. Two lithographs on one sheet, double-sided, 1904. 325x250 mm; 12¾x9⅞ inches (sheet), full margins. A double-sided proof, aside from the edition of 950. Published by Vollard, Paris. From L'Album des Douze lithographies originales de Pierre-Auguste RenoirDelteil 39, 47 and 50.

Lot: 255 - PIERRE-AUGUSTE RENOIR Le petit Garçon au Porte-Plume.

PIERRE-AUGUSTE RENOIR Le petit Garçon au Porte-Plume. Lithograph on cream laid paper, circa 1912. 298x398 mm; 11¾x15¾ inches, full margins. Edition of approximately 50. A very good impression of this scarce lithograph. Delteil 55.

Lot: 256 - EDGAR DEGAS Au Louvre, la peinture, Mary Cassatt.

EDGAR DEGAS Au Louvre, la peinture, Mary Cassatt. Etching, aquatint and drypoint, circa 1879-80. 301x125 mm; 11¾x5 inches, full margins. Twenty-first state (of 21), after cancellation. Edition of approximately 150. Published by Vollard, Paris. A superb, dark and richly-inked impression with very strong contrasts and the cancellation lines unobtrusive. Delteil 29; Adhémar 54.

Lot: 257 - EDGAR DEGAS Danseuse mettant son chausson.

EDGAR DEGAS Danseuse mettant son chausson. Etching on imitation Japan paper, circa 1892. 177x117 mm; 7x4⅝ inches, full margins. Second state (of 2), after cancellation. Edition of approximately 150. Published by Vollard, Paris. A very good impression with the cancellation lines unobtrusive. Delteil 36; Adhémar 60.

Lot: 258 - MARY CASSATT Peasant Mother and Child.

MARY CASSATT Peasant Mother and Child. Drypoint on cream laid paper, circa 1894. 296x236 mm; 11¾x9¼ inches, full margins. Third state (of 5). One of only a few known proofs in this state (Breeskin notes another proof at the Museum of Fine Arts, Boston; and a proof with background and color tones on the dresses and flesh in the National Gallery of Art, Washington, D.C.). Signed in pencil, lower right. Provenance: the artist; Anna Rush Duer (née Whitehead), New York; Mary T. Cockcroft, New York; sold Swann Auction Galleries, New York, March 7, 2013, sale 2306, lot 96; private collection, Maine. The majority of Mary T. Cockcroft's renowned collection of Cassatt paintings, pastels and 14 important aquatints and etchings was gifted to the Brooklyn Museum in 1946. This exceedingly scarce drypoint predates the published color version of this subject, in drypoint and aquatint, also very uncommon and known in only a handful of extant impressions. Breeskin 159.

Lot: 259 - MARY CASSATT Under the Horse Chestnut Tree.

MARY CASSATT Under the Horse Chestnut Tree. Color aquatint and drypoint on antique cream laid paper, 1896-97. 403x287 mm; 15⅞x11⅜ inches, wide margins. Fourth state (of 4), with full colors. Edition of approximately 45. Published by L'Estampe Nouvelle, Paris. The proprietary name Adriaan Rogge with a crowned coat-of-arms watermark. A very good, well-inked impression, inked in the manner of a monotype, with strong colors. Born in Philadelphia into a well-to-do family, Cassatt (1844-1926) spent most of her adult life in Europe (Paris mainly) and, along with Berthe Morisot, went on to become one of the most celebrated female Impressionist artists. Edgar Degas served as her artistic mentor for some time and in 1876 invited her to show in the next Impressionist exhibition, insisting that, "Most women paint like they are trimming hats, (but) not you." Cassatt and Degas initially had a close friendship (though they later had a falling out, not uncharacteristic of Degas' relationships) and it was under Degas' guidance that Cassatt developed her techniques in pastels and printmaking. Cassatt made 220 etchings, drypoints and aquatints between the mid-1870s and early 1900s. Most of her prints were pulled in editions of 25 or fewer, rarely was any of her printed œuvre published. While she relied on Degas for his technical printmaking expertise, Cassatt was deeply influenced by traditional Japanese Ukiyo-e color woodcuts when she began work on this and several other color aquatints in the 1890s which mark the pinnacle of her career. In 1890, she and Degas had visited an exhibition of Japanese art at the École des Beaux-Arts in Paris, and thereafter she began collecting Ukiyo-e woodcuts (notably by Utamaro and his circle) and she determined to produce a series of prints based on these Japanese woodcuts. She wrote to the American collector Samuel P. Avery, "The set was done with the intention of attempting an imitation of the Japanese methods." While she focused instead on producing these as color aquatints with etching (with Degas' assistance), rather than woodcuts in the Japanese style, these mark a highpoint in Impressionist printmaking still today. Breeskin 162.

Lot: 260 - JAMES JACQUES TISSOT Entre les deux mon coeur balance.

JAMES JACQUES TISSOT Entre les deux mon coeur balance. Etching and drypoint, 1877. 248x349 mm; 9¾x13¾ inches, full margins. Edition of approximately 100. A superb, dark impression with richly-inked, velvety burr. Wentworth 30.

Lot: 261 - JAMES JACQUES TISSOT Sur l'Herbe.

JAMES JACQUES TISSOT Sur l'Herbe. Etching and drypoint printed in dark brownish black on cream laid paper, 2 impressions, 1880. 197x270 mm; 7¾x10⅝ inches, full margins. One in the first state and the other in the second state (of 2). Both an edition of approximately 100. Both superb, dark and early impressions. Wentworth 50.

Lot: 262 - JAMES JACQUES TISSOT Mavourneen.

JAMES JACQUES TISSOT Mavourneen. Drypoint and etching, 1877. 373x202 mm; 14¾x8 inches, full margins. Edition of approximately 100. Signed in pencil, lower left recto. With the artist's red ink stamp (Lugt 1545, lower right recto). A superb, richly-inked impression of this very scarce drypoint. Wentworth 31.

Lot: 263 - JAMES JACQUES TISSOT L'enfant prodigue.

JAMES JACQUES TISSOT L'enfant prodigue. Set of 4 etchings and etched title page with drypoint on cream laid paper, 1882. Each 310x375 mm; 12¼x14¾ inches, full margins. Each in the second state (of 2), with the texts lower margin. Edition of 100. Very good, richly-inked impressions. Wentworth 57-61.

Lot: 264 - AUGUSTE RODIN Victor Hugo, de trois quarts.

AUGUSTE RODIN Victor Hugo, de trois quarts. Drypoints, 4 impressions, 1884. 222x150 mm; 8¾x5⅞ inches, full margins. Sixth state (of 8). From Geffroy, Le Statuaire Rodin, Paris, 1889. Each very good impressions with strong contrasts. Delteil 6.

Lot: 265 - HENRI TOULOUSE-LAUTREC Le Petit Trottin.

HENRI TOULOUSE-LAUTREC Le Petit Trottin. Lithograph on Japon appliqué, 1893. 278x189 mm; 11⅛x7½ inches, full margins. First state (of 3). Edition of 30. Signed in pencil, lower left. Published by Kleinmann, Paris. A very good impression of this scarce, early lithograph. Delteil 27; Adhémar 18; Adriani 36.

Lot: 266 - THÉOPHILE STEINLEN L'Été, Chat sur une Balustrade.

THÉOPHILE STEINLEN L'Été, Chat sur une Balustrade. Color lithograph, 1909. 490x595 mm; 19¼x24⅜ inches, wide margins. Edition of 250. Signed in pencil, center left recto below the wooden railing. Printed by Engelmann, Paris. Published by Sagot, Paris. A superb impression with vibrant colors. Crauzat 292.

Lot: 267 - PAUL SIGNAC La Bouée (Saint-Tropez: Le Port).

PAUL SIGNAC La Bouée (Saint-Tropez: Le Port). Color lithograph on Chine volant, 1894. 400x321 mm; 15¾x12⅝ inches, full margins. Signed and numbered 39/60 in pencil, lower right. Printed by Auguste Clot, Paris. Published by Gustave Pellet, Paris. A superb impression with vibrant colors. An avid sailor, Signac (1863-1935) started traveling by a small boat he owned in 1892 into the early 1900s to almost all the ports of France, as well as to the Netherlands and around the Mediterranean as far as Constantinople. He made numerous watercolor studies and oils of these ports, and also several color lithographs, notably St. Tropez, where he based his boat, and La Rochelle, a port in southwestern France, all in his characteristic Pointillist style. Kornfeld 9.

Lot: 268 - ARMAND SEGUIN Collection of 24 etchings.

ARMAND SEGUIN Collection of 24 etchings. Circa 1890-1900. Each 330x505 mm; 13x19¾ inches (sheets), full margins. Each numbered 28/35 in pencil, lower margin. Printed by Maurice Malingue, Paris. Various sizes and conditions. Provenance: Unidentified collector, initials AS green ink stamp lower right recto on each (not in Lugt); Ader Picard-Tájan, Paris, Tableaux modernes dessins, aquarelles, sculptures, estampes provenant de la succession P. Sérusier et de la succession de Mademoiselle Boutaric, June 20, 1984, lot 509, with the ink stamp verso.

Lot: 269 - WINSLOW HOMER Perils of the Sea.

WINSLOW HOMER Perils of the Sea. Etching on imitation Japan paper, 1888. 415x553 mm; 16⅜x21¾ inches, full margins. Edition of approximately 100. Signed and inscribed "N.A." in pencil, lower right. Published by Klackner, New York, with the address and date lower center. A very good, richly-inked impression of this scarce etching. In the discussion of this print in Goodrich's Record of Works by Winslow Homer, edited and expanded upon by Abigail Booth Gerdts, published by The Goodrich-Homer Art Education Project, in 2012, impressions published by Christian Klackner, Homer's New York print dealer, formerly of Knoedler Company, were printed on "heavy-weight, smooth surfaced rag-based paper variously called vellum or parchment" and light weight imitation Japan paper. The current lot, pencil-signed by the artist with the honorific "N.A." (to denote Homer's 1865 election as a full academician of the National Academy of Design) most closely resembles the example (number 98) lent by Kovler Gallery, Chicago for Goodrich's 1968 landmark exhibition "The Graphic Work of Winslow Homer" organized by the Museum of Graphic Art, New York. In 1881, Homer (1836-1910) traveled to England on his second and final trip abroad. After passing briefly through London, he settled in Cullercoats, a village near Tynemouth on the North Sea, remaining there from the spring of 1881 to November 1882. He often located his paintings of Cullercoats at the harbor and along the water's edge, where the community awaited the return of fishermen from their labor on the harsh North Sea. In these works, Homer celebrated the rugged fortitude of the fishermen's wives, whom he depicted with a new monumentality, possibly inspired by the Greek sculpture and other European art he had seen in London (Jean-François Millet had gradually popularized such representations in his Barbizon school paintings, drawings and prints a generation earlier). In Perils of the Sea, he focused on two women to convey the distress caused by the unpredictable whims of nature. From the shore, they scan the horizon for their absent loved ones and anticipate their uncertain return with an anxiety echoed by the dim skies and turbulent waves. There is a same-titled watercolor of this subject from 1881 now in the Clark Art Institute, Williamstown. Goodrich 98.

Lot: 270 - JOSEPH PENNELL The City Under the Black Mountain (Grand Canyon, Arizona).

JOSEPH PENNELL The City Under the Black Mountain (Grand Canyon, Arizona). Lithograph, 1912. 572x435 mm; 22½x17 inches, full margins. Edition of 25. Signed in pencil, lower center. A very good impression of this extremely scarce lithograph. We have found only one other impression of this lithograph at auction in the past 30 years. Wuerth 257.

Lot: 271 - JOSEPH PENNELL Blast Furnaces, Gary, Indiana.

JOSEPH PENNELL Blast Furnaces, Gary, Indiana. Lithograph, 1917. 500x347 mm; 19⅝x13⅝ inches, full margins. Edition of 20. Signed in pencil, lower center. A very good impression of this scarce lithograph. Wuerth 585.

Lot: 272 - JOSEPH PENNELL Sunset, From Williamsburg Bridge * New York, From Hamilton Ferry.

JOSEPH PENNELL Sunset, From Williamsburg Bridge * New York, From Hamilton Ferry. Two etchings, both 1915. Sunset, From Williamsburg Bridge, 217x278 mm; 8⅜x11 inches, full margins. Edition of approximately 100. Signed in pencil, lower margin * New York, From Hamilton Ferry, 215x278 mm; 8½x10⅞ inches, full margins. Edition of approximately 50. Signed in pencil, lower margin. Both very good impressions with inky plate edges. Wuerth 674 and 669.

Lot: 273 - JOSEPH PENNELL Brooklyn Bridge at Night.

JOSEPH PENNELL Brooklyn Bridge at Night. Aquatint, 1922. 190x228 mm; 7½x8⅞ inches, wide margins. Edition of approximately 60. Signed and inscribed "imp." in pencil, lower right. A superb, luminous impression of this very scarce print. We have found only 7 other impressions at auction in the past 30 years. Wuerth 790.

Lot: 274 - JOHN MARIN Quartier de la Maison Blanche.

JOHN MARIN Quartier de la Maison Blanche. Etching on Japan paper, 1907. 130x180 mm; 5¼x7¼ inches, full margins. Edition of approximately only 12. Signed and titled in pencil, lower margin. A superb, dark impression of this extremely scarce, early etching. Marin (1870-1953) left New York for Paris in the summer of 1905, overlapping with Edward Hopper's own visits there at the time, when the city was under the influence of Late Impressionism and the Fauves were dominating the avant-garde scene (Hopper left for Paris in October 1906 and returned to New York in August 1907). Marin exhibited at the Salone d'Automne several times, along with works by Henri Matisse, Édouard Vuillard and Pierre Bonnard, as well as alongside the 1907 Paul Cézanne retrospective. Though surrounded by the excitement of the center of the art world, Marin's main influence at this time period was the artist James A. M. Whistler (1834-1903). In his European prints, before returning to New York, Marin emulated Whistler's high career, looser style of etching, which he had honed during his 1879-80 stay in Venice (Marin even selected similar vantage points as those used by Whistler in Venice). Zigrosser 78.

Lot: 275 - CHILDE HASSAM Swimmer, Morning--Facing Water.

CHILDE HASSAM Swimmer, Morning--Facing Water. Etching, 1916. 228x147 mm; 8⅞x5¾ inches, full margins. Signed with the artist's cypher and inscribed "imp." in pencil, lower right. A very good impression of this extremely scarce etching. We have found only 4 other impressions at auction in the past 30 years. This etching represents a swimmer on the coast of Easthampton on the South Fork of eastern Long Island, New York. In 1919, Hassam (1859-1935) purchased a home in East Hampton where he lived and worked much of the remainder of his career. Cortissoz/Clayton 73.

Lot: 276 - FRANK W. BENSON The Punter.

FRANK W. BENSON The Punter. Etching, 1927. 200x300 mm; 7⅞x11⅞ inches, full margins. Edition of 150. Signed in pencil, lower left. A very good, richly-inked and luminous impression. Paff 273.

Lot: 277 - FRANK W. BENSON Redheads No. 2.

FRANK W. BENSON Redheads No. 2. Drypoint, 1923. 200x255 mm; 7⅞x9⅞ inches, full margins. Edition of 150. Signed in pencil, lower left. A very good impression. Paff 226.

Lot: 278 - FRANK W. BENSON November Moon.

FRANK W. BENSON November Moon. Etching and aquatint, 1931. 255x205 mm; 10x8¼ inches, full margins. Edition of 150. Signed in pencil, lower left. A very good, richly-inked impression. Paff 316.

Lot: 279 - JOHN SLOAN Copyist at the Metropolitan Museum.

JOHN SLOAN Copyist at the Metropolitan Museum. Etching printed in dark brownish black, 1908. 191x227 mm; 7½x9 inches, full margins. Eighth state (of 8). Edition of 75 (from an intended edition of 100). Signed in pencil, lower right. A very good, well-inked impression with strong contrasts. A bespectacled Sloan (1871-1951) and his wife, Dolly, are pictured standing in the lower left of the image observing a female artist working on a copy of a Barbizon School painting in the Metropolitan Museum of Art, New York. Morse 148.

Lot: 280 - JOHN SLOAN Woman and Child on the Roof.

JOHN SLOAN Woman and Child on the Roof. Etching, 1914. 110x150 mm; 4⅜x5⅞ inches, full margins. Eighth state (of 8). Edition of 60 (from an intended edition of 100). Signed, titled, and inscribed "100 proofs" in pencil, lower margin. A very good impression with strong contrasts. In his diary, Sloan (1871-1951) noted, "The heat of summer in New York drives the folks at home to the roofs of the tenements, where extemporized shelters make spots that are comparatively cool." According to Levin, "Hopper may have first met John Sloan as early as April 1904, just after Sloan's move to New York where he lived in the same building as Robert Henri, but certainly by 1906 when Sloan substituted for Henri for one month at the New York School of Art. For Edward Hopper, Sloan represented one artist he could respect who prior to 1916 had worked regularly as a commercial illustrator. Sloan's influence is particularly visible during Hopper's formative years," (Levin, Edward Hopper as Illustrator, New York, 1979, page 9). Morse 169.

Lot: 281 - JOHN SLOAN Bandits Cave * Wake on the Ferry.

JOHN SLOAN Bandits Cave * Wake on the Ferry. Bandits Cave, etching, 1920. 175x125 mm; 7x5 inches, full margins. Edition of approximately 500 (from an intended edition of 1000). Signed in pencil, lower right. Published by The New Republic, New York. From The New Republic portfolio * The Wake on the Ferry, etching, 1949. 125x178 mm; 5x7 inches, full margins. Edition of 350 (from an intended edition of 200). Signed, titled and inscribed "200 proofs" in pencil, lower margin. Both very good impressions. Morse 195 and 313.

Lot: 282 - GEORGE BELLOWS In an Elevator.

GEORGE BELLOWS In an Elevator. Lithograph, 1916. 255x205 mm; 10x8 inches, wide margins. Edition of 54. Signed, titled and inscribed "No. 18" in pencil, lower margin. A superb, dark impression. Mason 32.

Lot: 283 - PEGGY BACON Promenade Deck.

PEGGY BACON Promenade Deck. Drypoint, 1920. 150x210 mm; 5⅞x8¼ inches, full margins. Edition of approximately 500. Signed and titled in pencil, lower margin. Published by The New Republic, New York. A very good impression with strong contrasts. Flint 47.

Lot: 284 - JOHN TAYLOR ARMS Wasps.

JOHN TAYLOR ARMS Wasps. Etching with aquatint, 1920. 197x140 mm; 7¾x5½ inches, full margins. Second state (of 2). Signed, dated and numbered 9/30 in pencil, lower margin. Printed by Frederick Reynolds, New York. A very good impression of this scarce etching. Fletcher 51.

Lot: 285 - JOHN TAYLOR ARMS Memento Vivere, Notre Dame, Evreux.

JOHN TAYLOR ARMS Memento Vivere, Notre Dame, Evreux. Etching on pale green laid paper, 1947. 343x180 mm; 13½x7⅛ inches, full margins. Second state (of 2). Edition of 198. Signed, dated and inscribed "II" in pencil, lower margin. A very good impression. With— Old Sign Compiègne, etching, 1916. Edition of 120. Signed and dated in pencil, lower center * Rocamadour, etching, 1927. Second state (of 2). Edition of 100. Signed, dated and inscribed "Second State" in pencil, lower margin * A Tower of Saint Front, Perigueux, etching, 1928. Edition of 100. Signed and dated in pencil, lower right * Le Puy, etching, 1928. Second state (of 2). Edition of 100. Signed and dated in pencil, lower margin * Cathedral of Saint Cyr and Sainte Julitta, Nevers, etching, 1929. Edition of 100. Signed and dated in pencil, lower right * Abside de la Cathédrale de Saint Pierre et Saint Paul, Troyes, etching, 1929. Second state (of 2). Edition of 127. Signed, dated and inscribed "Edition 100" in pencil, lower margin. Fletcher 7, 186, 212, 214, 221, 224 and 407.

Lot: 286 - TAVÍK FRANTIŠEK ŠIMON New York at Night.

TAVÍK FRANTIŠEK ŠIMON New York at Night. Color aquatint and etching, 1927. 434x332 mm; 17⅛x13⅛ inches, full margins. Signed in pencil and with the artist's ink stamp, lower margin. A superb impression of this extremely scarce print with strong colors.

Lot: 287 - EDWARD HOPPER Night Shadows.

EDWARD HOPPER Night Shadows. Etching, 1921. 175x210 mm; 7x8¼ inches, full margins. Edition of approximately 500. Signed in pencil, lower right. Published by The New Republic, New York. A brilliant, luminous, richly-inked impression of this important etching, with very strong contrasts. Hopper (1882-1967) began making etchings and drypoints in 1915 with the help of fellow artist Martin Lewis (1881-1962), and he produced 70 prints before he ceased etching in 1928 to focus solely on painting. Night Shadows is a particularly iconic image, epitomizing Hopper's propensity for conveying isolation and stillness through the use of heavy chiaroscuro and strong, dark hatching throughout. He used a bird's-eye vantage point with extended shadows and darkness to intensify the suspense and drama. The artist depicted this same street corner in a painting from 1913, Corner Saloon, now in The Museum of Modern Art, New York. Unlike Hopper's other prints, which he printed himself on his personal etching press in very small editions, this is the only etching that was printed in a larger edition, for The New Republic, New York, and published in a limited edition portfolio for their December 1924 issue. Levin 82.

Lot: 288 - MARTIN LEWIS Derricks at Night.

MARTIN LEWIS Derricks at Night. Drypoint, 1927. 200x300 mm; 7¾x11¾ inches, wide margins. Second state (of 2). Edition of approximately 104. Signed in pencil, lower right. A superb, dark impression. McCarron 62.

Lot: 289 - MARTIN LEWIS Trumbull Street.

MARTIN LEWIS Trumbull Street. Drypoint and sand ground etching, 1934. 277x328 mm; 10⅞x12⅞ inches, wide margins. Edition of approximately 49. Signed in pencil, lower right. Published by Kennedy & Company, Inc., New York. A very good, richly-inked impression of this scarce print. We have found only 10 other impressions at auction in the past 30 years. McCarron 107.

Lot: 290 - ARMIN LANDECK Village Nocturne.

ARMIN LANDECK Village Nocturne. Drypoint and aquatint, circa 1933. 270x214 mm; 10⅝x8⅜ inches, wide margins. Artist's proof, aside from the edition of approximately only 5. Signed and inscribed "Trial" in pencil, lower margin. A very good impression of this extremely scarce print. This is a scene of Greenwich Village, New York, which Landeck (1905-1984) represented frequently in his printed œuvre. After graduating from Columbia University in 1927, he traveled through Europe for two years and spent several of the Depression years (1929-31) in East Cornwall, Connecticut, eventually gaining employment as an art teacher at the Brearley School, a private all-girls school on the Upper East Side of Manhattan. In 1934, Landeck and his friend and fellow printmaker, Martin Lewis started the short-lived School for Printmakers in New York (1924-35). Landeck retired to Connecticut in 1958. Kraeft 42.

Lot: 291 - HOWARD COOK Greetings from the House of Weyhe.

HOWARD COOK Greetings from the House of Weyhe. Wood engraving on Japan paper, 1929. 195x113 mm; 7¾x4½ inches, full margins. The deluxe edition of 100. Signed and dated in pencil, lower margin. A very good, dark and evenly-printed impression. Cook's (1901-1980) view of the Weyhe Gallery, which operated in the same New York location, a brownstone at 794 Lexington Avenue, from 1923 to 1994. The Weyhe Gallery organized a solo exhibition of Cook's prints and drawings in February 1929. Duffy 111.

Lot: 292 - HOWARD COOK Skyscraper #1 (New York Towers).

HOWARD COOK Skyscraper #1 (New York Towers). Wood engraving, 1928. 79x75 mm; 3⅛x3 inches, full margins. Edition of 100. Signed in pencil, lower right. A very good impression. Duffy 97.

Lot: 293 - CHARLES TURZAK The Kiss.

CHARLES TURZAK The Kiss. Linoleum cut on Japan paper, 1932. 223x110 mm; 8¾x4⅜ inches, full margins. Signed, titled and numbered 76/100 in pencil, lower margin. A very good impression.

Lot: 294 - PAUL LANDACRE Sultry Day.

PAUL LANDACRE Sultry Day. Wood engraving, 1937. 203x152 mm; 8x6 inches, full margins. Edition of approximately 200. Published by the American Artists Group, New York. A very good impression. Wien 170.

Lot: 295 - ROBERT RIGGS One-Punch Knockout

ROBERT RIGGS One-Punch Knockout Lithograph, circa 1934. 371x495 mm; 14⅝x19½ inches, full margins. Edition of approximately 50. Signed, titled and numbered "1" in pencil, lower margin. A superb, richly-inked impression of this scarce lithograph. Bassham 49.

Lot: 296 - YASUO KUNIYOSHI Tight Rope Performer * Trapeze Girl.

YASUO KUNIYOSHI Tight Rope Performer * Trapeze Girl. Tight Rope Performer, lithograph, 1936. 327x225 mm; 13x9 inches, full margins. Edition of approximately only 25. Signed, titled and dated in pencil, lower margin. Published by the Federal Art Project, WPA, New York, with the ink stamp, lower left * Trapeze Girl, lithograph, 1936. 327x254 mm; 12⅞x10 inches, wide margins. Edition of 100. Signed, dated and titled in pencil, lower margin. Published by the Federal Art Project, WPA, New York, with the ink stamp lower left. Both very good impressions of these scarce lithographs. Davis 71 and 72.

Lot: 297 - EDWARD BOREIN Scratchin' High.

EDWARD BOREIN Scratchin' High. Etching, circa 1920. 200x120 mm; 8x4⅝ wide margins. Signed in pencil, lower right. A very good impression. Galvin 69.

Lot: 298 - OLAF WIEGHORST Resting the Horses.

OLAF WIEGHORST Resting the Horses. Etching, 1937. 150x173 mm; 6x7 inches, full margins. Signed and dated in pencil, lower right. A very good impression of this scarce etching.

Lot: 299 - ROBERT RIGGS Dust Storm.

ROBERT RIGGS Dust Storm. Lithograph, circa 1941. 360x356 mm; 14 1/8x14 1/8 inches, wide margins. Signed and dedicated in pencil, lower right. A very good impression. We have only found 5 other impressions at auction in the past 30 years. This image was used as an advertisement illustration for Purolator oil filters in The Saturday Evening Post, May 3, 1941. Bassham 80.

Lot: 300 - THOMAS HART BENTON Goin' Home.

THOMAS HART BENTON Goin' Home. Lithograph, 1937. 240x302 mm; 9⅜x11⅞ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression with strong contrasts. Based on the same-titled oil painting from 1929, now in a private collection. Fath 14.

Lot: 301 - THOMAS HART BENTON Sunday Morning.

THOMAS HART BENTON Sunday Morning. Lithograph, 1939. 245x322 mm; 9⅝x12¾ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good impression with strong contrasts. Fath 26.

Lot: 302 - THOMAS HART BENTON The Music Lesson.

THOMAS HART BENTON The Music Lesson. Lithograph, 1943. 253x325 mm; 10x12¾ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. A very good, dark impression with strong contrasts. Fath 60.

Lot: 303 - MILTON AVERY Child Cutting.

MILTON AVERY Child Cutting. Drypoint, 1936. 130x172 mm; 5⅛x6¾ inches, full margins. Signed, dated and numbered 57/100 in pencil, lower margin. A very good impression. A portrait of the artist's daughter, March Avery. Lunn 9.

Lot: 304 - MILTON AVERY Beach Birds.

MILTON AVERY Beach Birds. Woodcut on Japan paper, 1954. 195x311 mm; 7¾x12¼ inches, full margins. Signed and numbered 10/25 in pencil, lower margin. A very good impression of this extremely scarce woodcut. Lunn 55.

Lot: 305 - MILTON AVERY Trees by the Sea.

MILTON AVERY Trees by the Sea. Color woodcut printed in brown and black on Japan paper, 1953. 248x353 mm; 9¾x13¾ inches, full margins. Artist's proof, aside from the edition of 20. Signed, dated and inscribed "artist's proof" in pencil, lower margin. A very good impression of this scarce color woodcut. Lunn 53.

Lot: 306 - MILTON AVERY Nude.

MILTON AVERY Nude. Color woodcut printed in blue on Japan paper, 1953. 90x270 mm; 3½x10⅝ inches, full margins. Edition of 500. Signed and dated "1960" in pencil, lower left. Published by Art in America, 1960. A very good impression. Lunn 49.

Lot: 307 - STOW WENGENROTH High Arches, Brooklyn Bridge.

STOW WENGENROTH High Arches, Brooklyn Bridge. Lithograph, 1960. 375x296 mm; 14⅝x11½ inches, full margins. Edition of 50. Signed and inscribed "Ed/50" in pencil, lower margin. A superb impression. We have found fewer than 10 other impressions at auction in the past 30 years. Stuckey 260.

Lot: 308 - PAUL CADMUS Twelve Etchings.

PAUL CADMUS Twelve Etchings. Portfolio with 12 etchings and complete text, 1934-53 (printed 1979). Each 455x367 mm; 17⅞x14½ inches (sheets), full margins, loose as issued. Each etching signed, titled and numbered "35/35 II" in pencil, lower margin, and numbered in pencil on the justification page. Printed by Richard Waller, with the blind stamp lower left. Published by The Print Cabinet, Connecticut, with the blind stamp lower left. Original black linen portfolio. Very good, richly-inked impressions with strong contrasts. Includes The Fleet's In!, 1934; Stewarts, 1934; YMCA Locker Room, 1934; Mother and Child, 1934; Coney Island, 1935; Horseplay, 1935; Shore Leave, 1935; Polo Spill, 1938; Two Boys on a Beach, No. 1, 1938; Youth with a Kite, 1941; Arabesque, 1947; and The Bath, 1953. Davenport 34-42, 46, 47 and 48.

Lot: 309 - PAUL CADMUS The Bath.

PAUL CADMUS The Bath. Etching, 1953. 182x208 mm; 7⅛x8¼ inches, wide margins. First state (of 2). Edition of 75. Signed in pencil, lower right. A very good impression of this scarce etching. Davenport 48.

Lot: 310 - PABLO PICASSO Le Repas Frugal.

PABLO PICASSO Le Repas Frugal. Etching and drypoint, 1904. 463x377 mm; 18¼x14¾ inches, narrow to small margins. Edition of 250. Printed by Louis Fort, Paris. Published by Vollard, Paris. From La Suite des Saltimbanques. A very good, dark and evenly-printed impression of this early, important print, with strong contrasts. The austerity and sentimentality of Le Repas Frugal is characteristic of Picasso's (1881-1973) Blue Period (1901-04). During his Blue Period and into his Rose Period, so-called for the principal color palettes that he utilized in his paintings at the time, Picasso's art explored the experiences of those on the fringes of society and those in the poor, bohemian neighborhoods of Spain and Montmartre, Paris, where the artist resided in the early 1900s. Picasso's budget was so limited that he purchased the plate for Le Repas Frugal second-hand (it had been a horizontal landscape etching)—the remnants of the previous etching can be seen in the foliage ghosting through the background in the upper right of the print. After rudimentary instruction in the art of printmaking and having completed just one other print in 1899, Picasso executed this large, ambitious etching of an emaciated, meditative couple and their sparse meal. During his Blue Period, Picasso utilized Mannerist techniques in his execution of figures; the elongated forms and compositional tension of Mannerism highlights the isolation and austerity of Picasso's subjects. However, the flatness of the scene, the stylized facial features of the woman and the painstaking detail in the hands of the couple indicate that this is not a scene taken from life, but an allegorical scene constructed from the glimpses into the lives of those living in poverty. This is the impact of the Symbolist aesthetic, which encouraged the evocation of emotions over realism and elevated quotidien scenes. Though this plate was completed in 1904 and Picasso made some initial proofs, it wasn't published as an edition until 1913 when Picasso's then art dealer, Ambroise Vollard, purchased the plate and steel-faced it. This print is part of La Suite des Saltimbanques, along with 11 drypoints and 2 additional etchings created by Picasso between 1904-06. Bloch 1; Geiser 2.

Lot: 311 - PABLO PICASSO (AFTER) L'Arrivée du Chevalier.

PABLO PICASSO (AFTER) L'Arrivée du Chevalier. Color lithograph, 1951. 475x750 mm; 18¾x29½ inches, full margins. Signed and numbered 134/350 in pencil, lower margin. Printed by Mourlot, Paris. A very good impression of this large lithograph.

Lot: 312 - PABLO PICASSO Vallauris.

PABLO PICASSO Vallauris. White earthenware round dish, 1956. 425 mm; 16¾ inches (diameter). Numbered 18/100 in black, incised "C. 103" and with the Madoura Plein Feu and Empreinte Originale de Picasso stamps on the underside. Ramié 330.

Lot: 313 - PABLO PICASSO La Danse des Faunes.

PABLO PICASSO La Danse des Faunes. Lithograph printed in black with a tan background, 1957. 410x528 mm; 16⅛x20¾ inches, full margins. Edition of 1000. Signed in the plate, outside of the image, lower right. Published by Le Patriote, Nice. A very good impression. Bloch 830; Mourlot 291; Reuße 699.

Lot: 314 - PABLO PICASSO (AFTER) Le Cavalier.

PABLO PICASSO (AFTER) Le Cavalier. Color lithograph, 1968. 462x300 mm; 18¼x11⅞ inches, full margins. Signed and numbered 185/300 in pencil, lower margin. Lithographed by Henri Deschamps, Paris. Printed by Mourlot, Paris. Published by Yamet Fine Arts, New York. A very good impression with strong colors.

Lot: 315 - LOUIS MARCOUSSIS Le Comptoir.

LOUIS MARCOUSSIS Le Comptoir. Etching, aquatint and drypoint printed in dark brownish black on simili-Japon paper, 1920. 186x145 mm; 7⅜x5¾ inches, full margins. Fourth state (of 4). Edition of 125. Signed in pencil, lower right. Published by Gustav Kiepenheuer, Wiemar. From Die Schaffenden. A very good impression. Milet 35.

Lot: 316 - JUAN GRIS Nature morte.

JUAN GRIS Nature morte. Color pochoir, 1922. 165x250 mm; 6½x9⅞ inches, wide margins. Published by L'Esprit Nouveau, Paris. A very good impression of this scarce, early print with strong colors. Kahnweiler 34.

Lot: 317 - WASSILY KANDINSKY Kleine Welten VI.

WASSILY KANDINSKY Kleine Welten VI. Woodcut, 1922. 273x234 mm; 10 3/4x9 1/8 inches, full margins. Edition of 200. Signed in pencil, lower right. Published by Propyläen Verlag, Berlin. From the same-titled suite. A superb, well-inked impression. Roethel 169.

Lot: 318 - GEORGES BRAQUE (AFTER) Hommage à J. S. Bach.

GEORGES BRAQUE (AFTER) Hommage à J. S. Bach. Color aquatint and etching, 1950. 440x590 mm; 17¾x23¼ inches, full margins. Signed and numbered 111/300 in pencil, lower margin. Published by Maeght, Paris. A very good impression with strong colors. Maeght 1019.

Lot: 319 - GEORGES BRAQUE Pommes et feuilles.

GEORGES BRAQUE Pommes et feuilles. Color lithograph, 1958. 305x450 mm; 12x17¾ inches, full margins. Signed and numbered 63/75 in pencil, lower margin. Printed and published by Mourlot, Paris. A very good impression with strong colors. Vallier 114.

Lot: 320 - GEORGES BRAQUE (AFTER) Bouquet Fleurs à l'aquarelle.

GEORGES BRAQUE (AFTER) Bouquet Fleurs à l'aquarelle. Color lithograph, 1957. 400x310 mm; 15¾x12¼ inches, full margins. Signed and numbered 12/300 in pencil, lower margin. Published by Maeght, Paris. A very good impression.

Lot: 321 - HENRI MATISSE Teeny.

HENRI MATISSE Teeny. Linoleum cut, 1938. 303x229 mm; 11⅞x9 inches, full margins. Signed and numbered 58/100 in pencil, lower margin. Published by XXe Siècle, Paris. A very good, evenly-printed impression with strong contrasts. Duthuit 723.

Lot: 322 - HENRI MATISSE Etude pour la Vierge, Tête voilée.

HENRI MATISSE Etude pour la Vierge, Tête voilée. Lithograph on annam appliqué, 1950-51. 320x245 mm; 12⅝x9⅝ inches, full margins. Signed and numbered 71/200 in pencil, lower right. A very good impression. Duthuit 640.

Lot: 323 - HENRI MATISSE Poèmes de Charles d'Orléans.

HENRI MATISSE Poèmes de Charles d'Orléans. Portfolio with complete text and 54 color lithographs hors-texte and numerous en-texte illustrations, 1950. 406x264 mm; 16x10⅜ inches (sheet), full margins, loose as issued. Edition of 1200. Signed in pencil and numbered "460"on the justification page. Published by Tériade, Paris. Original printed paper wrappers with lithograph covers and gray linen slipcase. Provenance: Pierre Matisse Gallery, New York. Duthuit Books 28.

Lot: 324 - HENRI MATISSE Polyphème.

HENRI MATISSE Polyphème. Soft-ground etching, 1935. 282x225 mm; 11¼x8⅞ inches, full margins. Signed and numbered 104/150 in pencil, lower margin. Published by the Limited Editions Club, New York. From Ulysses. A very good impression. Provenance: Pierre Matisse Gallery, New York. Duthuit 239.

Lot: 325 - KÄTHE KOLLWITZ Tod und Frau.

KÄTHE KOLLWITZ Tod und Frau. Etching, drypoint and soft-ground etching, 1910. 448x446 mm; 17¾x17⅝ inches, full margins. Fifth state (of 8). Edition of 50. Signed in pencil, lower right, and signed by the printer, Felsing, in pencil, lower left. A superb, richly-inked impression of this large, scarce etching. Klipstein 103; Knesebeck 107.

Lot: 326 - FRANZ MARC Die Schlafende Hirtin.

FRANZ MARC Die Schlafende Hirtin. Woodcut on tissue thin Japan paper, 1912. 200x240 mm; 7⅞x9⅜ inches, full margins. Signed and titled by the artist's wife, Maria Marc, in pencil, verso. A very good, dark impression of this scarce woodcut. Lankheit 829.

Lot: 327 - HEINRICH CAMPENDONK Interieur mit Zwei Akten.

HEINRICH CAMPENDONK Interieur mit Zwei Akten. Woodcut, 1918. 260x220 mm; 10¼x8¾ inches, full margins. Edition of 100. Signed in pencil, lower left. Published by Euphorion Verlag, Berlin. From Die Schaffenden, with the blind stamp lower left. A very good impression. Campendonk (1889-1957) was born in Krefeld, Germany, where he trained and worked as a painter and graphic designer. He was a member of the avant-garde Der Blaue Reiter group, along with Franz Marc and Wassily Kandinsky, from 1911 to 1912. When the Nazi regime came to power in 1933, he was among the many modernists condemned as degenerate artists, and prohibited from exhibiting. He moved to the Netherlands, where he spent the rest of his life working at the Rijksakademie in Amsterdam, first teaching decorative art, printmaking and stained-glass, then as the Academy Director. While Campendonk was closely aligned with Der Blaue Reiter group for only a short period in the 1910s, his work from this time, which drew inspiration from the Belgian artist James Ensor as well as the Fauves (not unlike Kandinsky's), a combination of otherworldly scenes and folkloric style, was influential on the Surrealist movement. Söhn 36.

Lot: 328 - KARL SCHMIDT-ROTTLUFF Frau mit verschränkten Armen.

KARL SCHMIDT-ROTTLUFF Frau mit verschränkten Armen. Woodcut on tan laid paper, 1913. 269x200 mm; 10⅝x7⅞ inches, wide margins. Signed and dated in pencil, lower right. A very good impression of this extremely scarce, early woodcut. We have found only three other impressions at auction in the past 30 years. Schapire 139.

Lot: 329 - MAX BECKMANN Theater.

MAX BECKMANN Theater. Drypoint on Japan paper, 1916. 125x175 mm; 4⅞x6⅞ inches, full margins. Third state (of 4). The deluxe edition of 40 on Japan paper and before steel-facing, aside from the edition of 60 on laid paper after steel-facing. Signed and titled in pencil, lower margin. Printed by Franz Hanfstaengl, Munich. Published by Marées Gesellschaft, R. Piper & Co, Munich, with the blind stamp lower right. From Gesichter. A superb, richly-inked impression. Hofmaier 89.

Lot: 330 - LYONEL FEININGER Fischerboote.

LYONEL FEININGER Fischerboote. Woodcut on oatmeal-tan and carbon-copy paper, 1918. 125x165 mm; 4⅞x6½ inches, full margins. First state (of 2). Artist's proof, aside from the published edition of 50 in the second state for Holzschnitte von Lyonel Feininger. Signed and inscribed with the work number "1884" in pencil, lower margin. A very good impression of this extremely scarce woodcut. Prasse cites only three impressions in this state, before the elimination of the small rectangles lower left and parts of the border, like the current work, in public collections. Provenance: Feininger Estate, with the ink stamp and numbered "G. W No. 22 I/II", lower right recto. Prasse 98.

Lot: 331 - LOVIS CORINTH Two portfolios.

LOVIS CORINTH Two portfolios. Das Leben des Götz von Berlichingen, portfolio with complete text and 15 lithographs, 1919. 450x375 mm; 17¾x14¾ inches (sheets), full margins, bound as issued. One of 125 numbered copies on Altbütten, from a total edition of 175. Signed in pencil and numbered "23" on the justification page. Published by Fritz Gurlitt, Berlin. Original paste board binding with a title lithograph printed on the front cover * Kompositionen, portfolio with complete text and 10 drypoints, 1921-22. 480x322 mm; 19x12¾ inches (sheets), full margins. One of 75 copies on Bütten, from a total edition of 100. Numbered "74" on the justification page. Each drypoint signed in pencil, lower right. Printed by Alfred Ruckenbrod, Berlin. Published by Propyläen-Verlag, Berlin. Original printed yellow paste board portfolio folder. Very good impressions. Schwarz 399 and Müller 553-59 and 563-65.

Lot: 332 - LOVIS CORINTH Group of 4 prints.

LOVIS CORINTH Group of 4 prints. Walchensee mit Kapelle, drypoint on cream laid paper, 1923. 142x180 mm; 5¾x7¼ inches, full margins. Signed and numbered 30/140 in pencil, lower margin. From Der Walchensee (klein) * Bismarck, 1915. Published for Berliner Secession * Walter Leistikow, 1919. Edition of 15. Signed in pencil, lower right * Bildnis Siegbert Marzynski, lithograph, 1923. Signed and numbered 18/20 in pencil, lower margin. Very good impressions. Various sizes and conditions. Schwarz 212 and 421; Müller 690 and 831.

Lot: 333 - LOVIS CORINTH Group of 7 prints.

LOVIS CORINTH Group of 7 prints. Weiblicher Akt auf einem Stuhl, etching, 1893. Signed in pencil, lower right * Mädchen mit Hunden, etching, 1918. Edition of 50. Signed in pencil, lower right * Weiblicher akt in Lehnsessel, lithograph, 1914. Edition of 25. Initialed in pencil, lower right * Weiblicher Akt im Lagnsessel mit dunklem Hintergrund, lithograph, 1914. Artist's proof, aside from the edition of 25. Signed and inscribed "Probedruck" in pencil, lower margin. * Patsch, Patsch!, color lithograph, 1919. Signed in pencil, lower right * Christus am Ölberg I, etching, 1915 * Skizzen zu einem orientalischen märchen II, lithograph, 1913. Edition of 30. Signed in pencil, lower right. Very good impressions. Various sizes and conditions. Schwarz 4, 68, 142, 153, 155, 214 and 383 II.

Lot: 334 - FREDERICK L. GRIGGS Three etchings.

FREDERICK L. GRIGGS Three etchings. The Cresset, circa 1915. Signed and inscribed "imp" in pencil, lower right * St. Mary's, Nottingham, 1928. Signed in pencil, lower right * Palace Court, 1933. Various sizes. Very good impressions. Comstock 12, 41 and 49.

Lot: 335 - GEORGES ROUAULT Fleurs Décoratifs.

GEORGES ROUAULT Fleurs Décoratifs. Color aquatint, circa 1940. 558x381 mm; 21⅝x15 inches, wide margins. Numbered 122/175 and annotated in ink, lower margin. Printed by Lacourière, Paris. A superb, richly-inked impression with vibrant colors. Wofsy 287.

Lot: 336 - FERNAND LÉGER (AFTER) Femme à la Cruche.

FERNAND LÉGER (AFTER) Femme à la Cruche. Color aquatint, engraving and roulette, 1928. 475x313 mm; 18¾x12⅜ inches, full margins. Etched by Jacques Villon. Published by Chalcographie de Louvre, Paris, with the blind stamp lower center. A very good impression. Ginestet/Pouillon 657 (Villon). With— Le roi de coeur, color lithograph, circa 1978. 670x455 mm; 26¼x18 inches, full margins. Numbered 474/500 in pencil, lower left. Published by Musée Fernand Léger, Biot, with the blind stamp lower right. See Saphire 41.

Lot: 337 - ROBERT DELAUNAY (AFTER) Rythme/3.

ROBERT DELAUNAY (AFTER) Rythme/3. Color screenprint on cream wove paper, 1953. 400x320 mm; 15¾x12½ inches, full margins. Signed and inscribed "pour Robert Delaunay" in pencil, lower right, and numbered 263/300 in ink, lower left. Printed and published by Édition Art d'Aujourd'hui, Boulogne. From Art d'aujourd'hui, maîtres de l'art abstrait Album I. A very good impression with strong colors.

Lot: 338 - STANLEY W. HAYTER Descente.

STANLEY W. HAYTER Descente. Engraving, soft-ground etching and scorper on Japan paper, 1945-46. 277x188 mm; 11x7½ inches, full margins. Signed, titled, dated "46" and numbered 26/35 in pencil, lower margin. A superb, dark impression of this scarce, early print. With-- Debris, etching and engraving, 1941. 95x210 mm; 4x8½ inches, full margins. Artist's proof, aside from the edition of 30. Signed, initialed, titled, dated "2-5-41" and inscribed "Etat II" in pencil, lower margin. Black/Moorhead 164 and 142.

Lot: 339 - STANLEY W. HAYTER Maternité Ailée.

STANLEY W. HAYTER Maternité Ailée. Color etching and engraving, 1948-53. 342x200 mm; 13½x7⅞ inches, full margins. Fourth state (of 4). Signed, titled, dated "48" and numbered 46/50 in pencil, lower margin. Published by Graphics International, Washington, D.C. A very good impression with strong colors. Black/Moorhead 187.

Lot: 340 - STANLEY W. HAYTER Danäe.

STANLEY W. HAYTER Danäe. Color engraving, soft-ground etching and scorper on textured, cream wove paper, 1954. 408x303 mm; 16⅛x12 inches, full margins. Artist's proof, aside from the edition of 95. Signed, titled, dated and inscribed "colour trial" in pencil, lower margin. Printed at Atelier 17. Published by L'Oeuvre Gravée, Paris and Zurich. A superb, richly-inked impression with vibrant colors. Black/Moorhead 213.

Lot: 341 - JOAN MIRÓ Gargantua.

JOAN MIRÓ Gargantua. Color aquatint, etching and carborundum, 1977. 1595x1200 mm; 62¾x47¼ inches (sheet), full margins. Signed and numbered 30/50 in white pencil, lower recto. Printed by Morsang, Paris. Published by Maeght, Paris. A superb, richly-inked impression of this large color etching, with vibrant colors. Gargantua is--like its name suggests--among Miró's (1893-1983) largest and most complex intaglio prints and ranks among the most sought after images in the artist's panoply of more than 2500 printed works that span his productive career (more than 1300 intaglio prints and more than 1250 lithographs). Dupin 972.

Lot: 342 - MARC CHAGALL Josué et la pierre de Sichem.

MARC CHAGALL Josué et la pierre de Sichem. Etching and aquatint with hand coloring in watercolor, 1931-39. 298x230 mm; 11¾x9 inches, wide margins. Initialed and numbered 27/100 in pencil, lower margin. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. A very good impression. Vollard 248.

Lot: 343 - MARC CHAGALL Sacrifice aux Nymphes.

MARC CHAGALL Sacrifice aux Nymphes. Color lithograph, 1961. 420x325 mm; 16¾x12⅝ inches, full margins. The deluxe edition of 60, aside from the book edition of 250. Signed and numbered 17/60 in pencil, lower margin. Printed by Mourlot, Paris. Published by Tériade, Paris. From Daphnis et Chloé. A very good impression with vibrant colors. Mourlot 330.

Lot: 344 - MARC CHAGALL (AFTER) Jerusalem Windows: The Tribe of Benjamin.

MARC CHAGALL (AFTER) Jerusalem Windows: The Tribe of Benjamin. Color lithograph, 1964. 615x461 mm; 24Xx18⅛ inches, full margins. Signed and numbered 111/150 in pencil, lower margin. Lithographed and printed by Charles Sorlier, Paris. Published by Mourlot, Paris. From Twelve Maquettes of Stained Glass Windows for Jerusalem. A very good impression with vibrant colors. Mourlot CS 23.

Lot: 345 - MARC CHAGALL (AFTER) Romeo and Juliet.

MARC CHAGALL (AFTER) Romeo and Juliet. Color lithograph, 1964. 635x990 mm; 25x39 inches, full margins. Edition of 5000. Signed and dated "'71" in green felt-tip pen and ink, lower right. Printed by Mourlot, Paris. Published by the French Tourist Bureau, Paris. A very good impression with strong colors. Sorlier 96.

Lot: 346 - SALVADOR DALÍ Urashima Taro.

SALVADOR DALÍ Urashima Taro. Drypoint with stencil coloring, 1976. 485x385 mm; 19x15¼ inches, full margins. Signed and numbered 158/175 in pencil, lower margin. Printed by Ateliers Rigal, Paris. Published by Gerschmann, Stockholm, and Yayoi, Tokyo. From Japanese Fairy Tales. A very good impression. Michler/Löpsinger 746; Field 76-1C.

Lot: 347 - MAURITS C. ESCHER Convex and Concave.

MAURITS C. ESCHER Convex and Concave. Lithograph, 1955. 278x335 mm; 11x13⅜ inches, full margins. Signed and numbered "No. 29/54 II" in pencil, lower left. A superb, well-inked impression of this scarce lithograph with all the subtle tonal variations distinct. According to Bool, a small model of a metal staircase painted white, which was a gift from his friend Professor Jan Arnoldus Schouten, a Dutch mathematician at the Delft University of Technology, inspired Escher (1898-1972) to create Convex and Concave. When it is viewed with one eye, the image of the staircase conjured up in the brain constantly changes. "When carefully studied, this print is a visual nightmare. At first glance, it seems to be a symmetrical structure: the left half is an approximate mirror image of the right half and the transition from left to right is gradual and very natural. Nevertheless something terrible happens at the transition in the center: everything is literally turned inside out. The top becomes the bottom, the front becomes the back. People, lizards and flowerpots rebel against the inversion; we identify them too clearly with tangible realities of which we do not know the inside-out form. But they, too, have to pay the price when they cross the borderline: their relation to the environment becomes so strange that looking at them makes you feel dizzy. For example, at the bottom left a man is climbing onto a platform by a ladder. He sees a small temple in front of him. He could stand next to the sleeping man and wake him up to ask why the shell-shaped pool in the middle is empty. Then he could go to the stairs on the right with the intention of walking up them. But it is already too late! What looked like stairs seen from the left, has suddenly turned into part of an arched vault. He would notice that the platform, which was once firm ground under his feet, is now a ceiling, and he would crash down with a terrified scream. The border line between the left and right half cannot be crossed without danger." Bool 399.

Lot: 348 - MAURITS C. ESCHER Whirlpools.

MAURITS C. ESCHER Whirlpools. Color wood engraving and woodcut on Japan paper, 1957. 450x240 mm; 17½x9¼ inches, full margins. Signed and inscribed "eigendruck" in pencil, lower margin. A very good impression of this scarce print. Bool 423.

Lot: 349 - MAURITS C. ESCHER Circle Limit IV (Heaven and Hell).

MAURITS C. ESCHER Circle Limit IV (Heaven and Hell). Woodcut on Japan paper, 1960. 418 mm; 16½ inches (diameter), full margins. Signed and inscribed "eigendruck" in pencil, lower margin. A very good impression of this scarce woodcut. We have found only 5 other impressions at auction in the past 30 years. Bool 436.

Lot: 350 - HENRY MOORE Six Reclining Figures with Red Background.

HENRY MOORE Six Reclining Figures with Red Background. Color lithograph, 1981. 219x248 mm; 8⅝x9¾ inches, full margins. Signed and numbered 47/50 in pencil, lower margin. Printed by Curwen Prints, Ltd., London. Published by Raymond Spencer Company, Ltd., for the Henry Moore Foundation, Much Hadham. A very good impression with strong colors. Cramer 618.

Lot: 351 - BEN NICHOLSON Olympic Fragment II.

BEN NICHOLSON Olympic Fragment II. Etching, 1965. 200x245 mm; 9x10 inches, full margins. Signed, dated and numbered 31/50 in pencil, lower margin. Printed by François Lafranca, with the blind stamp lower left. Published by Ganymed and Marlborough Graphics, Inc., London. A very good impression of this scarce etching. Lafranca 11.

Lot: 352 - BEN NICHOLSON Forms in a Landscape.

BEN NICHOLSON Forms in a Landscape. Etching, 1966. 200x215 mm; 8x8½ inches, full margins. Numbered 79/300 in pencil, lower left. Published by Kestner-Gesellschaft, Hannover. A very good impression. Lafranca 15.

Lot: 353 - ALBERTO GIACOMETTI Rue d'Alésia.

ALBERTO GIACOMETTI Rue d'Alésia. Color lithograph, 1954. 741x530 mm; 29⅛x20⅞ inches (sheet), full margins. Signed and numbered 77/200 in ballpoint pen and ink, lower right. Published by Maeght, Paris. A very good impression with strong colors. Lust 201.

Lot: 354 - ALBERTO GIACOMETTI Nu debout II.

ALBERTO GIACOMETTI Nu debout II. Lithograph, 1961. 760x565 mm; 29⅞x22¼ inches (sheet), full margins. Artist's proof, aside from the edition of 75. Signed and inscribed "Epreuve d'essai" in pencil, lower margin. Published by Maeght, Paris. A very good impression. Lust 36.

Lot: 355 - GIORGIO DE CHIRICO La Musa della Storia.

GIORGIO DE CHIRICO La Musa della Storia. Color etching and aquatint, 1970. 390x277 mm; 15⅜x11 inches, full margins. Signed, titled and numbered 21/48 in pencil, lower margin. With the artist's blind stamp, lower left. Printed by Alberto Caprini, Rome, with the blind stamp lower right. A very good impression with strong colors. Born in Volos, Greece, de Chirico moved to Italy with his family at the age of 10. As a teenager, he showed an early proclivity for art and in 1906 he enrolled at the Academy of Fine Arts in Florence. In 1909, he traveled to Munich to continue his studies, and it was here that he encountered the work of the Swiss symbolist painter Arnold Böcklin, whose work had a profound influence on his own paintings. Returning to Italy in 1910, de Chirico developed his signature style, painting empty city squares and deserted arcades, populated by enigmatic statues and mysterious shadows. He also began to explore the darker side of the human psyche, creating strange, dreamlike scenes that often contained elements of fear and dread. These early works by de Chirico are a foundation of the surrealist movement. In the 1920s, de Chirico's works became increasingly abstract, and he began to explore philosophical, metaphysical and existential themes. Later in life, he also experimented with a variety of different styles, though never diverging far from Surrealism. Brandani 9.

Lot: 356 - GIORGIO DE CHIRICO Teseo.

GIORGIO DE CHIRICO Teseo. Color etching and aquatint, 1970. 427x366 mm; 16⅞x14½ inches, full margins. Signed, titled and numbered 2/50 in pencil, lower margin, and with the artist's blind stamp lower left. Printed by Alberto Caprini, Rome, with the blind stamp lower right. A very good impression with strong colors. Brandani 6.

Lot: 357 - GIORGIO DE CHIRICO I Cavalli di Achille.

GIORGIO DE CHIRICO I Cavalli di Achille. Color lithograph on Japon nacré, 1971. 590x458 mm; 23x18 inches, full margins. Artist's proof, with additional colors from the published edition of 90. Signed, titled and inscribed "T" in pencil, lower margin. With the artist's blind stamp, lower left. Printed by Alberto Caprini, Rome, with the blind stamp, lower right. A very good impression with strong colors. Brandani 126.

Lot: 358 - MAN RAY Pour Éluard.

MAN RAY Pour Éluard. Color pochoir, 1971. 510x320 mm; 20¼x12¼ inches, full margins. Initialed and numbered 10/120 in pencil, lower margin. A very good impression with strong colors. Before he was able to speak French, just after arriving in Paris, Man Ray (1890-1976) was invited to Café Certa by his friend Marcel Duchamp, where he met poet Paul Éluard, among the other artists who would come to form the Surrealist movement, and began a long friendship with the French poet. Éluard wrote a poem in honor of Man Ray after becoming drawn to his need for solitude, and Man Ray consistently praised Éluard and his poetry. They worked together on the piece Facile, which combined Éluard's eulogies for Nusch, his wife, and Man Ray's tribute to Nusch's body. They also collaborated on Les mains libres, a collection of Man Ray's drawings accompanied by Éluard's poems. Man Ray created this color lithograph as an homage to his poet friend. Anselmino 95.

Lot: 359 - MAN RAY Tapisserie.

MAN RAY Tapisserie. Color lithograph on Japon nacré, 1973. 510x320 mm; 20x12½ inches, full margins. Initialed and numbered 98/100 in pencil, lower margin. A very good impression with strong colors. This is from a series of lithographs by Man Ray (1890-1976) based on his same-titled wool patchwork quilt sewn to linen canvas, from 1911, now in the collection of the Centre National d'Art et de Culture Georges-Pompidou, Paris. Anselmino 105.

Lot: 360 - MAN RAY Untitled.

MAN RAY Untitled. Lithograph, 1966. 420x330 mm; 16½x13 inches, full margins. Signed and numbered 20/125 in pencil, lower margin. Published by Gemini G.E.L., Los Angeles, with the blind stamps lower right. A very good impression of this scarce lithograph. Gemini 20.

Auction Listings provided by AuctionZip.com. Although the information published herein is from sources deemed reliable, AuctionZip.com expressly disclaims any liability for errors, omissions or changes regarding any information provided for this auction. Potential buyers are urged to verify auction date, time, and content directly through the auctioneer's website or by contacting the auctioneer directly. The terms and conditions of the auction may or may not be published in this listing. ALL TERMS AND CONDITIONS AND OTHER ANNOUNCEMENTS MADE THE DAY OF THE AUCTION ARE BINDING AND TAKE PRECEDENCE OVER ANY INFORMATION FOUND HEREIN.