OLD MASTER THROUGH MODERN PRINTS

Lot: 1 - MARTIN SCHONGAUER Saint John on Patmos.

MARTIN SCHONGAUER Saint John on Patmos. Engraving, circa 1480. 162x115 mm; 6⅜x4½ inches. Gothic letter P watermark. Trimmed on the plate mark. A very good impression of this extremely scarce engraving. Bartsch 55; Lehrs 60.

Lot: 2 - MARTIN SCHONGAUER The Coronation of the Virgin.

MARTIN SCHONGAUER The Coronation of the Virgin. Engraving, circa 1490. 162x156 mm; 6⅜x6⅛ inches, thread margins. A very good impression of this extremely scarce, early engraving. Bartsch 72; Lehrs 17. Provenance: Unidentified collector, Karl Freiherr von (?) ink stamp (not in Lugt, verso); Paul Luchtenberg Foundation ink stamp (not in Lugt).

Lot: 3 - ISRAEL VAN MECKENEM St. Christopher.

ISRAEL VAN MECKENEM St. Christopher. Engraving, circa 1480-90. 166x110 mm; 6½x4⅜ inches. Thread margins or trimmed inside the plate mark. Bartsch 90; Lehrs 328. We have found only 5 other impressions at auction in the past 30 years.

Lot: 4 - MASTER MZ (MATTHÄUS ZAISINGER) St. Ursula.

MASTER MZ (MATTHÄUS ZAISINGER) St. Ursula. Engraving, circa 1500. 129x85 mm; 5⅛x3⅜ inches, thread margins. Double-headed eagle watermark. Bartsch 10; Lehrs 11.

Lot: 5 - ALBRECHT DÜRER Five Soldiers and a Turk on Horseback.

ALBRECHT DÜRER Five Soldiers and a Turk on Horseback. Engraving, circa 1495-96. 131x148 mm; 5⅛x5⅞ inches, thread margins. A very good, dark Meder d impression with strong contrasts. City gate watermark (Briquet 2325, which he dates to 1569). Bartsch 88; Meder 81.

Lot: 6 - ALBRECHT DÜRER The Monstrous Pig of Landser.

ALBRECHT DÜRER The Monstrous Pig of Landser. Engraving, circa 1496. 117x126 mm; 4⅝x5 inches. A dark and richly-inked Meder g impression, with very strong contrasts and the delicate wiping scratches upper right. Trimmed inside or on the plate mark. Bartsch 95; Meder 82.

Lot: 7 - ALBRECHT DÜRER The Penance of St. John Chrysostom.

ALBRECHT DÜRER The Penance of St. John Chrysostom. Engraving, circa 1497. 182x120 mm; 7¼x4¾ inches. A very good Meder d-e impression. Trimmed on or inside the plate mark. Bartsch 63; Meder 54.

Lot: 8 - ALBRECHT DÜRER Three Peasants in Conversation.

ALBRECHT DÜRER Three Peasants in Conversation. Engraving, circa 1497-98. 105x77 mm; 4¼x3 inches. A very good Meder c impression. Trimmed on the plate mark. Bartsch 86; Meder 87.

Lot: 9 - 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. A very good, evenly-printed Meder f impression. Large city gate watermark (Meder 263, with he dates after 1550). Trimmed on the plate mark. Bartsch 42; Meder 30. Provenance: Ludwig Maximilien von Biegeleben, Vienna, with the ink stamp (Lugt 385, verso); Kunsthalle Bremen, with the ink stamps (Lugt 292 and 293, verso).

Lot: 10 - ALBRECHT DÜRER The Adoration of the Lamb.

ALBRECHT DÜRER The Adoration of the Lamb. Woodcut, 1498. 395x281 mm; 15⅝x11⅛ inches. A very good impression from the 1498 German text edition. Trimmed on the borderline. From The Apocalypse. Bartsch 67; Meder 176.

Lot: 11 - ALBRECHT DÜRER The Holy Family with the Three Hares.

ALBRECHT DÜRER The Holy Family with the Three Hares. Woodcut, circa 1498. 395x284 mm; 15½x11¼ inches, narrow margins. A very good, dark and evenly-printed Meder h impression with strong contrasts. Bartsch 102; Meder 212. Provenance: Craddock & Barnard, London, with a copy of the original invoice, 1971; G. S. Streeter, London.

Lot: 12 - ALBRECHT DÜRER St. Eustace.

ALBRECHT DÜRER St. Eustace. Engraving, circa 1501. 353x257 mm; 14x10¼ inches. A superb, richly-inked Meder a-b impression with strong contrasts. Trimmed on or just inside the plate mark. Bartsch 57; Meder 60.

Lot: 13 - ALBRECHT DÜRER St. Sebastian Bound to the Tree.

ALBRECHT DÜRER St. Sebastian Bound to the Tree. Engraving, circa 1501. 115x70 mm; 4½x2¾ inches. A very good, dark and evenly-printed Meder b-c impression of this very scarce engraving. Trimmed on or within the plate mark. Bartsch 55; Meder 62.

Lot: 14 - ALBRECHT DÜRER Coat-of-Arms with a Lion and a Cock.

ALBRECHT DÜRER Coat-of-Arms with a Lion and a Cock. Engraving, circa 1503. 185x120 mm; 7¼x4¾ inches. A very good, dark, richly-inked Meder c impression. Small city coat of arms watermark (Meder 272, which he dates to around 1570). Narrow to thread margins. Bartsch 100; Meder 97. Provenance: Ferdinand of Portugal, with the ink stamp (Lugt 968, verso); Art Institute of Chicago, with the ink stamps (Lugt 32b and 702h, verso)

Lot: 15 - ALBRECHT DÜRER Joachim and the Angel.

ALBRECHT DÜRER Joachim and the Angel. Woodcut, 1504. 301x210 mm; 11⅞x8¼ inches, small margins. A very good, evenly-printed and dark impression from the 1511 Latin text edition with strong contrasts. Bartsch 78; Meder 190. Provenance: Karl Ferdinand Friedrich von Nagler (Lugt 2529, verso); Kupferstichkabinett, Staatliche Museen zu Berlin (Lugt 1606 and 2398, verso); unidentified collector (not in Lugt, verso).

Lot: 16 - 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 197.

Lot: 17 - ALBRECHT DÜRER The Lamentation.

ALBRECHT DÜRER The Lamentation. Woodcut, circa 1497-1500. 396x286 mm; 15½x11¼ inches, thread margins. A very good, dark and evenly-printed impression, after the 1511 text edition, but before the large break to the seated woman at left. Augsburg chalice watermark (Meder 181, which he dates to 1552-1587). Bartsch 13; Meder 122.

Lot: 18 - ALBRECHT DÜRER Christ Nailed to the Cross.

ALBRECHT DÜRER Christ Nailed to the Cross. Woodcut, 1510. 128x98 mm; 4x3⅞ inches, thread margins. A very good, well-inked impression from the 1511 Latin text edition with strong contrasts. Bartsch 39; Meder 148.

Lot: 19 - ALBRECHT DÜRER The Lamentation.

ALBRECHT DÜRER The Lamentation. Woodcut, 1509-11. 128x99 mm; 5⅛x 4 inches. A proof impression, before the 1511 Latin text edition and the break in the tree trunk. With thread margins or trimmed on the border line. Bartsch 43; Meder 152. Provenance: Jean Cantacuzène, Bucharest, with the ink stamp (Lugt 4030, verso).

Lot: 20 - ALBRECHT DÜRER St. Christopher.

ALBRECHT DÜRER St. Christopher. Woodcut, 1511. 212x212 mm; 8¼x8¼ inches. A superb, well-inked Meder a impression, with no sign of wear and with very strong contrasts, consistent with the earliest impressions of this subject. With thread margins or trimmed on the border line. Bartsch 103; Meder 223.

Lot: 21 - ALBRECHT DÜRER Christ on the Cross.

ALBRECHT DÜRER Christ on the Cross. Engraving, 1511. 118x74 mm; 4⅝x2⅞ inches, small margins. A good Meder d-e impression with contrasts. Bartsch 13; Meder 13.

Lot: 22 - 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; 4⅝x3 inches. A very good, richly-inked Meder a-b impression with strong contrasts and little to no sign of wear. Trimmed on the plate mark. Bartsch 32; Meder 37.

Lot: 23 - ALBRECHT DÜRER (AFTER) Knight, Death and the Devil.

ALBRECHT DÜRER (AFTER) Knight, Death and the Devil. Engraving, circa 1600. 240x185 mm; 9½x7¼ inches, narrow margins.

Lot: 24 - JOHANNES WIERICX (AFTER DÜRER) Melencolia I.

JOHANNES WIERICX (AFTER DÜRER) Melencolia I. Engraving, 1602. 240x187 mm; 9⅜x7⅜ inches. With thread margins or trimmed on the border line. A superb, well-inked impression of this scarce engraving with strong contrasts and with all the details distinct. Provenance: Naudet, Paris, inscription in ink verso (Lugt 1937). Mauquoy-Hendrickx 1556.

Lot: 25 - LUCAS CRANACH The Rest on the Flight into Egypt.

LUCAS CRANACH The Rest on the Flight into Egypt. Woodcut, 1509. 288x190 mm; 11¼x7½ inches. Trimmed on the border line. Bartsch 3. Provenance: Bernhard Keller, Schaffhausen, with the ink stamp (Lugt 384, verso). We have found only 1 other impression at auction in the past 30 years

Lot: 26 - LUCAS CRANACH The Penitence of St. Jerome.

LUCAS CRANACH The Penitence of St. Jerome. Woodcut, 1509. 320x226 mm; 12⅝x9⅜ inches. The letter W in a circle watermark. With thread margins, or trimmed within the top border line. Bartsch 84.

Lot: 27 - LUCAS VAN LEYDEN The Temptation of St. Anthony.

LUCAS VAN LEYDEN The Temptation of St. Anthony. Engraving, 1509. 184x145 mm; 7¼x5¾ inches, thread margins. Grapes with leaves watermark. Bartsch 117; Hollstein 117; Volbehr 117.

Lot: 28 - LUCAS VAN LEYDEN Joseph Telling His Dream to Jacob.

LUCAS VAN LEYDEN Joseph Telling His Dream to Jacob. Engraving, 1512. 127x167 mm; 5x6½ inches. First state (of 2), before the address of Petri. Trimmed on or just inside the border line. Bartsch 19; Volbehr 18; New Hollstein 19.

Lot: 29 - LUCAS VAN LEYDEN St. Christopher Bearing the Christ Child.

LUCAS VAN LEYDEN St. Christopher Bearing the Christ Child. Engraving, circa 1521. 108x73 mm; 4¼x3 inches, small margins. Bartsch 109; Hollstein 109; Volbehr 119.

Lot: 30 - LUCAS VAN LEYDEN The Poet Virgil Suspended in a Basket.

LUCAS VAN LEYDEN The Poet Virgil Suspended in a Basket. Engraving, 1525. 243x190 mm; 9½x7½ inches. Third state (of 3). Trimmed on the plate mark. Bartsch 136; Volbehr 134; New Hollstein 136. Provenance: Winfield Robbins, with two ink stamps (not in Lugt, recto and verso).

Lot: 31 - DIRK VELLERT St. Bernard Adoring the Christ Child.

DIRK VELLERT St. Bernard Adoring the Christ Child. Engraving, 1524. 170x120 mm; 6¾x4¾ inches. Trimmed on the plate mark or with thread margins. Hollstein 8.

Lot: 32 - ALBRECHT ALTDORFER Horatius Cocles Leaping into the Tiber.

ALBRECHT ALTDORFER Horatius Cocles Leaping into the Tiber. Engraving, circa 1525. 66x37 mm; 2⅝x1½ inches. Trimmed on or just inside the plate mark. Bartsch 29; Winzinger 156.

Lot: 33 - GEORG PENCZ The Capture of Carthage.

GEORG PENCZ The Capture of Carthage. Engraving, 1539. 413x552 mm; 16¼x21⅞ inches, narrow to thread margins. Bartsch 86.

Lot: 34 - HANS SEBALD BEHAM The Four Evangelists.

HANS SEBALD BEHAM The Four Evangelists. Set of 4 engravings, 1541. Each approximately 43x28 mm; 1¾x1 inches, thread margins. Fourth or fifth state (of 5). Bartsch 55-58; Pauli 57-60.

Lot: 35 - HANS SEBALD BEHAM The Lady and Death.

HANS SEBALD BEHAM The Lady and Death. Engraving, 1541. 78x51 mm; 3⅛x2 inches. Second state (of 3). With thread margins or trimmed on the plate mark. Bartsch 149; Pauli 150. We have found fewer than 11 other impressions at auction in the past 30 years.

Lot: 36 - HANS SEBALD BEHAM Genius with Alphabet.

HANS SEBALD BEHAM Genius with Alphabet. Engraving, 1542. 44x80 mm; 1¾x3⅛ inches, thread margins. Second state (of 3). Bartsch 229; Pauli 233. Provenance: Luciana Simonetti, Rome, with the ink stamp (Lugt 3616, verso).

Lot: 37 - HEINRICH ALDEGREVER Four engravings from the Large Wedding Dancers.

HEINRICH ALDEGREVER Four engravings from the Large Wedding Dancers. Dancing Couple * Three Trombones * Two Torch-Bearers * Couple Embracing. Each 1538. Each approximately 115x80 mm; 4¾x3¼ inches. Trimmed on the plate marks. Hollstein 161, 163, 165 and 171.

Lot: 38 - HEINRICH ALDEGREVER Adam with a Lion.

HEINRICH ALDEGREVER Adam with a Lion. Engraving, 1540. 92x63 mm; 3¾x2½ inches, thread margins. A very good, dark and richly-inked impression of this scarce engraving. Bartsch 11.

Lot: 39 - HEINRICH ALDEGREVER Latin Alphabet on a Richly Decorated Plate Between Two Genii.

HEINRICH ALDEGREVER Latin Alphabet on a Richly Decorated Plate Between Two Genii. Engraving, circa 1550. 77x125 mm; 3¼x5 inches, narrow margins. A superb, dark, early impression of this extremely scarce engraving, with strong contrasts and little to no sign of wear. Bartsch 206.

Lot: 40 - MARCANTONIO RAIMONDI (AFTER RAPHAEL) Galatea.

MARCANTONIO RAIMONDI (AFTER RAPHAEL) Galatea. Engraving, circa 1515-16. 396x287 mm; 15⅝x11¼ inches. Trimmed on or just inside the plate mark. Bartsch 350. We have found only 4 other impressions at auction in the past 30 years. Provenance: Lucien Goldsmith, Inc., New York, with the label.

Lot: 41 - NICOLÒ BOLDRINI (AFTER TITIAN) Caricature of the Laocoön.

NICOLÒ BOLDRINI (AFTER TITIAN) Caricature of the Laocoön. Woodcut, 1523-25. 267x403 mm; 10⅝x15¾ inches, Trimmed on the border line. A very good, dark impression of this extremely scarce, early woodcut, with strong contrasts and little to no sign of wear. Muraro/Rosand 49. Provenance: Alfred Morrison, London, with the ink stamp (Lugt 151, verso).

Lot: 42 - MICHELE LUCCHESE (AFTER MICHELANGELO) Soldiers Bathing in the Arno (Climbers).

MICHELE LUCCHESE (AFTER MICHELANGELO) Soldiers Bathing in the Arno (Climbers). Engraving, after 1524. 332x441 mm; 13¼x17½ inches, thread margins. A very good, dark impression of this scarce engraving with strong contrasts.

Lot: 43 - GIORGIO GHISI (AFTER MICHELANGELO BUONARROTI) The Last Judgment.

GIORGIO GHISI (AFTER MICHELANGELO BUONARROTI) The Last Judgment. Complete set of 10 engravings plus the engraving by Sebastian Furck (Fulcaro) and the portrait of Michelangelo engraved by Ghisi after Marcello Venusti, circa 1545. Each 482x608 mm; 19x24 inches (sheets), full margins. Plates A-H second state (of 2), plates I and L fifth state (of 6). Two with paschal lamb in double circle with A above, N below watermark (Lewis 34, which he dates to paper manufacturers in Rome from circa 1647-74). Bartsch 25; Lewis 9.

Lot: 44 - CORNELIS BOS (AFTER GIULIO ROMANO) The Fall of the Giants.

CORNELIS BOS (AFTER GIULIO ROMANO) The Fall of the Giants. Engraving, circa 1550. 320x419 mm; 12¾x16½ inches, thread margins. Hollstein 56. Provenance: Pierre Mariette, Paris, dated 1693 in ink (Lugt 1788, verso); and F. A. Maglin, Paris, dated 1893 in ink (Lugt 1777, verso).

Lot: 45 - HENDRICK GOLTZIUS Apollo.

HENDRICK GOLTZIUS Apollo. Engraving, 1588. 350x265 mm; 13¾x 10⅜ inches, small to narrow margins. First state (of 2). Strasbourg Lily watermark. A brilliant, richly-inked, early impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 141; New Hollstein 151.

Lot: 46 - HENDRICK GOLTZIUS Icarus, from "The Four Disgracers."

HENDRICK GOLTZIUS Icarus, from "The Four Disgracers." Engraving, 1588. 335 mm; 13¼ inches (diameter). Strasburg Lily watermark. Wide to small margins. A superb impression of this very scarce, important engraving. Bartsch 259; New Hollstein 326.

Lot: 47 - 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. Bartsch 32; Hollstein 118. Provenance: Unidentified collector, entwined initials ink stamp verso (not in Lugt).

Lot: 48 - AEGIDIUS SADELER II (AFTER DÜRER) The Virgin and Child in a Landscape.

AEGIDIUS SADELER II (AFTER DÜRER) The Virgin and Child in a Landscape. Engraving, circa 1597. 335x240 mm; 13¼x9½ inches, small margins. Second state (of 2). Hollstein 72.

Lot: 49 - JACQUES CALLOT Les Gueux.

JACQUES CALLOT Les Gueux. Complete set of 25 etchings, 1622. Each approximately 137x91 mm; 5½x3⅝ inches. Each the second state (of 2), with the numbers in the plates. Trimmed on the plate marks. Superb, richly-inked impressions with very strong contrasts, extremely scarce as a complete set. Lieure 479-503.

Lot: 50 - 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, thread margins. Third state (of 3). Lieure 1339-1356.

Lot: 51 - 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. Bartsch 10.

Lot: 52 - CORNELIS GALLE I The Four Seasons.

CORNELIS GALLE I The Four Seasons. Complete set of 4 engravings. Each approximately 220x280 mm; 8¾x11 inches, wide margins. Two sheets with coat-of-arms watermarks.

Lot: 53 - 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, wide margins. Biörklund's second state (of 2); Usticke's only state (e); White and Boon's second state (of 2); New Hollstein's second state (of 2). A superb, richly-inked and dark impression, with the diagonal scratch through the gourd distinct, and with crisp, partially inky plate edges. Bartsch 168; Biörklund 30-16; Hollstein (White and Boon) 168; New Hollstein 40.

Lot: 54 - REMBRANDT VAN RIJN Self-Portrait, Frowning: Bust.

REMBRANDT VAN RIJN Self-Portrait, Frowning: Bust. Etching, 1630. 72x60 mm; 2⅞x2⅜ inches, thread 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 still distinct; White and Boon's third state (of 3); New Hollstein's third state (of 3). A very good impression of this extremely scarce etching. Bartsch 10; Biörklund 30-M; Hollstein (White and Boon) 10; New Hollstein 68. According to Usticke, "A very scarce portrait, rarely fine (RR-)." We have found only 16 other impressions at auction in the past 30 years.

Lot: 55 - REMBRANDT VAN RIJN Jan Cornelis Sylvius.

REMBRANDT VAN RIJN Jan Cornelis Sylvius. Etching, 1633. 166x142 mm; 6⅝x5⅝ inches. Biörklund's first state (of 2); Usticke's first state (of 3); New Hollstein first state (of 3). Seven Provinces watermark (Ash/Fletcher 34). Trimmed on the plate mark. A very good, well-inked, early impression with strong contrasts and with all the fine lines distinct. Bartsch 266; Biörklund 33-H; Hollstein (White and Boon) 266; New Hollstein 124.

Lot: 56 - REMBRANDT VAN RIJN Joseph and Potiphar's Wife.

REMBRANDT VAN RIJN Joseph and Potiphar's Wife. Etching, 1634. 92x115 mm; 3⅝x4½ inches, narrow margins. Biörklund's second state (of 2); Usticke's fourth state (of 5); White and Boon's second state (of 2); New Hollstein's fourth state (of 4). Bartsch 39; Biörklund 34-G; Hollstein (White and Boon) 39; New Hollstein 128.

Lot: 57 - REMBRANDT VAN RIJN Christ and the Woman of Samaria among Ruins.

REMBRANDT VAN RIJN Christ and the Woman of Samaria among Ruins. Etching and drypoint, 1634. 123x106 mm; 4⅞x4⅛ inches. Biörklund's second state (of 2); Usticke's second state (of 4); White and Boon's second state (of 2); New Hollstein's third state (of 5). Narrow to thread margins. Bartsch 71; Biörklund 34-L; Hollstein (White and Boon) 71. Provenance: State Hermitage Museum, St. Petersburg, with the ink stamp (Lugt 2681a, verso).

Lot: 58 - REMBRANDT VAN RIJN Christ Driving the Money Changers from the Temple.

REMBRANDT VAN RIJN Christ Driving the Money Changers from the Temple. Etching, 1635. 138x170 mm; 5½x6¾ inches, narrow margins. Biörklund's third state (of 3); Usticke's fourth state (e) (of 7); White and Boon's second state (of 2); New Hollstein's third state (of 4). Bartsch 69; Biörklund 35-B; Hollstein (White and Boon) 69; New Hollstein 139.

Lot: 59 - 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. New Hollstein's second state (of 4), before the strong horizontal shading in the lower right corner. Small to narrow margins. Bartsch 290; Biörklund 35-3; Hollstein (White and Boon); New Hollstein 148.

Lot: 60 - REMBRANDT VAN RIJN Self Portrait with Saskia.

REMBRANDT VAN RIJN Self Portrait with Saskia. Etching, 1636. 105x94 mm; 4⅛x3¾ inches, narrow 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 4). Bartsch 19; Biörklund 36-B; Hollstein (White and Boon) 19; New Hollstein 158.

Lot: 61 - REMBRANDT VAN RIJN The Beheading of St. John the Baptist.

REMBRANDT VAN RIJN The Beheading of St. John the Baptist. Etching and drypoint, 1640. 125x103 mm; 5x4⅛ inches, thread margins. Biörklund's first state (of 3); Usticke's first state (of 4); White and Boon's first state (of 2); New Hollstein's first state (of 3). Indiscernible watermark. Bartsch 92; Biörklund 40-B; Hollstein (White and Boon) 92; New Hollstein 183.

Lot: 62 - 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). Bartsch 40; Biörklund 41-1; Hollstein (White and Boon) 40; New Hollstein 185.

Lot: 63 - REMBRANDT VAN RIJN The Baptism of the Eunuch.

REMBRANDT VAN RIJN The Baptism of the Eunuch. Etching and drypoint, 1641. 180x213 mm; 7¼x8¼ inches. Biörklund's second state (of 2); Usticke's third state (i) (of 4); 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. Partial bunch of grapes watermark. Small to thread margins. Bartsch 98; Biörklund 41-E; Hollstein (White and Boon) 98; New Hollstein 186.

Lot: 64 - REMBRANDT VAN RIJN The Angel Departing from the Family of Tobias.

REMBRANDT VAN RIJN The Angel Departing from the Family of Tobias. Etching and drypoint, 1641. 105x154 mm; 4x6 inches. Biörklund's sixth state (of 6); Usticke's fifth state (i) (of 7); White and Boon's fourth state (of 4); New Hollstein's eighth state (of 9). Narrow to thread margins. Bartsch 43; Biörklund 41-G; Hollstein (White and Boon) 43; New Hollstein 189. Provenance: Adam Gottlieb Thiermann, Berlin, with the ink stamp (Lugt 2434, verso); Print Room, Berlin State Museums, Berlin, with the ink stamps (Lugt 1606 and 2482, verso).

Lot: 65 - 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, small 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). Bartsch 118; Biörklund 41-F; Hollstein (White and Boon) 118; New Hollstein 190.

Lot: 66 - REMBRANDT VAN RIJN A Hurdy-Gurdy Player Followed by Children at the Door of a House ("The Schoolmaster").

REMBRANDT VAN RIJN A Hurdy-Gurdy Player Followed by Children at the Door of a House ("The Schoolmaster"). Etching, 1641. 91x31 mm; 3½x2⅜ inches. Biörklund's second state (of 2); Usticke's second state (of 3); New Hollstein's second state (of 4), with the added line on the lower part of the woman's ear. Thread to narrow margins. Bartsch 128; Biörklund 41-N; Hollstein (White and Boon) 128; New Hollstein 191.

Lot: 67 - REMBRANDT VAN RIJN St. Jerome in a Dark Chamber.

REMBRANDT VAN RIJN St. Jerome in a Dark Chamber. Etching, engraving and drypoint, 1642. 153x173 mm; 5⅞x6¾ inches. Biörklund's second state (of 2); Usticke's third state (of 5); New Hollstein's third state (of 3). Trimmed on the lower plate mark and with thread margins on the other three sides. Bartsch 105; Biörklund 42-E; Hollstein (White and Boon) 105; New Hollstein 212.

Lot: 68 - 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, narrow 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). Bartsch 57; Biörklund 44-2; Hollstein (White and Boon) 57; New Hollstein 216.

Lot: 69 - REMBRANDT VAN RIJN The Sleeping Herdsman.

REMBRANDT VAN RIJN The Sleeping Herdsman. Etching and drypoint, circa 1644. 78x57 mm; 3x2¼ inches. Usticke's only state (l), with the fine vertical lines on the young man's forehead distinct; New Hollstein's only state. Trimmed on or just inside the plate mark. Bartsch 189; Biörklund 44-1; Hollstein (White and Boon) 189; New Hollstein 217. Provenance: Charles Delanglade, Marseille, with the ink stamp (Lugt 660, verso). According to Usticke, "A rare little plate (RR+)." We have found fewer than eight other impressions at auction in the past 30 years.

Lot: 70 - REMBRANDT VAN RIJN Beggar Woman Leaning on a Stick.

REMBRANDT VAN RIJN Beggar Woman Leaning on a Stick. Etching, 1646. 82x65 mm; 3¼x2½ inches, thread margins. Biörklund's second state (of 2); Usticke's second state (of 6); New Hollstein's second state (of 5), before the posthumous rework of the plate. A very good, crisp, early impression with sharp, partially inky plate edges. Bartsch 170; Biörklund 46-A; Hollstein (White and Boon) 170; New Hollstein 229.

Lot: 71 - REMBRANDT VAN RIJN Nude Man Seated and Another Standing with a Woman and a Baby.

REMBRANDT VAN RIJN Nude Man Seated and Another Standing with a Woman and a Baby. Etching, circa 1646. 192x130 mm; 7⅝x5⅛ inches, thread margins. Biörklund's fourth state (of 4); Usticke's fourth state (of 7); New Hollstein's fifth state (of 7). Bartsch 194; Biörklund 46-1; Hollstein (White and Boon) 194; New Hollstein 233.

Lot: 72 - 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, 1646. 96x165 mm; 3¾x6½ inches, narrow margins. Biörklund's second state (of 2); Usticke's third state (i) (of 4); White and Boon's second state (of 2); New Hollstein's third state (of 3). Bartsch 196; Biörklund 46-C; Hollstein (White and Boon) 196; New Hollsten 234.

Lot: 73 - 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. Biörklund's second state (of 2); Usticke's first state (of 2); White and Boon's second state (of 2); New Hollstein's third state (of 4). Letters DC watermark. Trimmed on the plate mark or with thread margins. Bartsch 192; Biörklund 47-2; Hollstein (White and Boon) 192; New Hollstein 176. Provenance: d'Arenberg, Brussels, with the ink stamp (Lugt 567, verso).

Lot: 74 - REMBRANDT VAN RIJN Medea: or the Marriage of Jason and Creusa.

REMBRANDT VAN RIJN Medea: or the Marriage of Jason and Creusa. Etching, 1648. 230x178 mm; 9½x7 inches, narrow margins. Biörklund's fifth state (of 5); Usticke's fifth state (of 5); White and Boon's fifth state (of 5); New Hollstein's fifth state (of 5). Bartsch 112; Biörklund 48-E; Hollstein (White and Boon) 112; New Hollstein 241. Provenance: Karl de Couple, Vienna, with the ink stamp (Lugt 2009, verso); Viscount Philogène de Montfort, with the ink stamp and inscription (Lugt 1035 and 1136, verso); Lucien Monod, Paris, with the ink stamp (Lugt 5950, verso).

Lot: 75 - REMBRANDT VAN RIJN The Bathers ("De Zwemmertjes").

REMBRANDT VAN RIJN The Bathers ("De Zwemmertjes"). Etching, 1651. 110x137 mm; 4⅜x5½ inches, small margins. Biörklund's second state (of 2); Usticke's third state (of 3); White and Boon's second state (of 2); New Hollstein's third state (of 3). Bartsch 195; Biörklund 51-B; Hollstein (White and Boon) 195; New Hollstein 258. Provenance: Unidentified collector (not in Lugt, verso).

Lot: 76 - REMBRANDT VAN RIJN A Peasant Family on the Tramp.

REMBRANDT VAN RIJN A Peasant Family on the Tramp. Etching, circa 1652. 113x88 mm; 4½x3½ inches. Biörklund's first state (of 2); Usticke's first state (of 4), with the pentimenti of the face at right clearly visible; White and Boon's first state (of 2); New Hollstein's first state (of 3), before the re-etching of the false-biting in the backpack. Trimmed inside or on the plate mark. Bartsch 131; Biörklund 52-3; Hollstein (White and Boon) 131; New Hollstein 266.

Lot: 77 - REMBRANDT VAN RIJN The Agony in the Garden.

REMBRANDT VAN RIJN The Agony in the Garden. Etching, circa 1652. 110x83 mm; 4½x3¼ inches. Usticke's second state (of 2); New Hollstein's third state (of 3). Trimmed on the plate mark or with thread margins. Bartsch 75; Biörklund 57-3; Hollstein (White and Boon) 75; New Hollstein 269.

Lot: 78 - REMBRANDT VAN RIJN The Circumcision in the Stable.

REMBRANDT VAN RIJN The Circumcision in the Stable. Etching and drypoint, 1654. 94x146 mm; 3¾x5¾ inches, narrow margins. Biörklund's second state (of 2); Usticke's third state (of 3); White and Boon's second state (of 2); New Hollstein's fourth state (of 5). Bartsch 47; Biörklund 54-B; Hollstein (White and Boon) 47; New Hollstein 280.

Lot: 79 - REMBRANDT VAN RIJN The Goldsmith.

REMBRANDT VAN RIJN The Goldsmith. Etching and drypoint, 1655. 80x58 mm; 3⅛x2¼ inches, thread margins. Biörklund's first state (of 2); Usticke's first state (of 3); White and Boon's first state (of 3), before the fine, vertical shading on the right of the lowest beam; New Hollstein's first state (of 2). Bartsch 123; Biörklund 55-D; Hollstein (White and Boon) 123.

Lot: 80 - 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, narrow margins. Biörklund's seventh state (of 8); Usticke's sixth state (of 10); White and Boon's eighth state (of 8); New Hollstein's eighth state (of 11). A brilliant, luminous and richly-inked impression with very strong contrasts and no sign of wear, all the figures distinct and burr throughout the image. Bartsch 46; Biörklund 52-1; Hollstein (White and Boon) 46; New Hollstein 300. Provenance: George Björklund, Stockholm, the author of the artist's catalogue raisonné (Lugt 1138c, verso).

Lot: 81 - REMBRANDT VAN RIJN Reclining Female Nude ("La Negresse Couché").

REMBRANDT VAN RIJN Reclining Female Nude ("La Negresse Couché"). Etching, drypoint and engraving, 1658. 82x158 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 sixth state (of 6). A very good, well-inked and dark impression with volume and depth for the nude figure and little to no sign of wear. Bartsch 205; Biörklund 58-E; Hollstein (White and Boon) 205; New Hollstein 308.

Lot: 82 - 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: 83 - 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 sixth state (of 6); Usticke's seventh state (of 7); White and Boon's fifth state (of 5); New Hollstein's sixth state (of 7). Bartsch 264; Biörklund 65-1; Hollstein (White and Boon) 264; New Hollstein 314.

Lot: 84 - ADRIAEN VAN OSTADE The Anglers.

ADRIAEN VAN OSTADE The Anglers. Etching, circa 1653. 111x161 mm; 4⅜x6⅝ inches. Fourth state (of 7). Trimmed on or just inside the platemark. An early impression with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject. Bartsch 26; Godefroy 26.

Lot: 85 - ADRIAEN VAN OSTADE The Singers.

ADRIAEN VAN OSTADE The Singers. Etching, circa 1668. 238x190 mm; 9⅜x7½ inches. Fifth state (of 7), before the scratch on the man's nose standing at right. Trimmed on or just inside the plate mark. A superb, richly-inked and early lifetime impression with strong contrasts and no sign of wear. Bartsch 19; Godefroy 19.

Lot: 86 - CORNELIS DUSART Violin Player Seated in the Inn.

CORNELIS DUSART Violin Player Seated in the Inn. Etching, 1685. 278x247 mm; 10⅞x9¾ inches, small margins. Third state (of 3). Bartsch 15; Hollstein 15.

Lot: 87 - CORNELIS VISSCHER Gellius de Bouma.

CORNELIS VISSCHER Gellius de Bouma. Etching and engraving,1656. 402x295 mm; 15⅞x11½ inches. Second state of (6). Posthorn watermark and I B counter mark. Trimmed on the plate mark. Hollstein 141.

Lot: 88 - CLAUDE GELLÉE, LE LORRAIN Le Bouvier.

CLAUDE GELLÉE, LE LORRAIN Le Bouvier. Etching and drypoint, 1636. 132x196 mm; 5¼x7¾ inches. Trimmed within or on the plate mark. Fourth state (a) (of 6), before the scratch on the tree branch. Mannocci 18. We have found fewer than 11 other lifetime impressions like the current work at auction in the past 30 years.

Lot: 89 - ANTONIO DA CANAL, IL CANALETTO Imaginary View of S. Giacomo di Rialto.

ANTONIO DA CANAL, IL CANALETTO Imaginary View of S. Giacomo di Rialto. Etching, circa 1740. 143x214 mm; 5¾x8½ inches, wide margins. Second state (of 2). De Vesme 27; Bromberg 30.

Lot: 90 - GIOVANNI D. TIEPOLO Giuseppe Adora il Bambino fra le Braccia di Maria sull'Asinello.

GIOVANNI D. TIEPOLO Giuseppe Adora il Bambino fra le Braccia di Maria sull'Asinello. Etching, 1753. 190x243 mm; 7½x9¾ inches, small margins. From Fuga in Egitto. De Vesme 9; Rizzi 75.

Lot: 91 - GIOVANNI B. PIRANESI The Round Tower.

GIOVANNI B. PIRANESI The Round Tower. Etching, engraving, sulphur tint and open-bite etching and burnishing, 1749-50. 556x418 mm; 22x16½ inches, full margins. Fifth state (of 6); Robison's second edition, fourth issue through early printings of fifth edition, printed from the mid 1770s to circa 1835. From Carceri d'Invenzione. Robison 30.

Lot: 92 - GIOVANNI B. PIRANESI The Gothic Arch.

GIOVANNI B. PIRANESI The Gothic Arch. Etching, engraving, sulphur tint and open-bite etching and burnishing, 1749-50. 417x556 mm; 16½x22 inches, full margins. Fifth state (of 6); Robison's second edition, fourth issue through early printings of fifth edition, printed from the mid 1770s to circa 1835. From Carceri d'Invenzione. Hind 14; Robison 40.

Lot: 93 - GIOVANNI B. PIRANESI Veduta della Piazza di Monte Cavallo.

GIOVANNI B. PIRANESI Veduta della Piazza di Monte Cavallo. Etching, 1750. 394x550 mm; 15½x21⅝ inches, full margins. Fourth state (of 6), with the address and price. Fleur-de-lys in a double circle watermark (Hind 3). From Vedute di Roma. Hind 15.

Lot: 94 - GIOVANNI B. PIRANESI Veduta del Porto di Ripetta.

GIOVANNI B. PIRANESI Veduta del Porto di Ripetta. Etching, 1753. 395x595 mm; 15½x23⅜ inches, wide margins. Fourth state (of 8). Fleur-de-lys in a double circle watermark (Hind 3). From the Vedute di Roma. Hind 28.

Lot: 95 - 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. Third state (of 6). Fleur-de-lys in a double circle watermark (Hind 3). From the Vedute di Roma. Hind 29.

Lot: 96 - GIOVANNI B. PIRANESI Veduta di Campo Vaccino.

GIOVANNI B. PIRANESI Veduta di Campo Vaccino. Etching, 1757. 410x554 mm; 16¼x21¾ inches, wide margins. An undescribed intermediate state between the third and fourth states (of 6), with the address, with the price erased, but before the added numbers "16" and "78" in the lower margin. Large coat-of-arms watermark (possibly Hind 4, but indistinct). From Vedute di Roma. Hind 40.

Lot: 97 - GIOVANNI B. PIRANESI Altra Veduta degli avanzi del Pronao del Tempio della Concordia.

GIOVANNI B. PIRANESI Altra Veduta degli avanzi del Pronao del Tempio della Concordia. Etching, 1774. 475x702 mm; 18½x27½ inches, wide margins. First state (of 3). From Vedute di Roma. Hind 110.

Lot: 98 - 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. Hind 116.

Lot: 99 - GIOVANNI B. PIRANESI Autre Vue intérieure des restes du Collège supposé des Anfictions.

GIOVANNI B. PIRANESI Autre Vue intérieure des restes du Collège supposé des Anfictions. Etching, 1778. 480x690 mm; 19x27⅛ inches, wide margins. From Différentes vues de Pesto. Focillon 591; Wilton-Ely 726.

Lot: 100 - FRANCISCO JOSÉ DE GOYA Bien tirada está.

FRANCISCO JOSÉ DE GOYA Bien tirada está. Aqautint and etching, circa 1799. 218x150 mm; 8½x5⅛ inches, full margins. First edition. From Los Caprichos. A very good, early impression, with the coarse grain aquatint contrasted strongly with the highlights on the figures. Delteil 54; Harris 52.

Lot: 101 - FRANCISCO JOSÉ DE GOYA Todos Caerán.

FRANCISCO JOSÉ DE GOYA Todos Caerán. Aquatint and etching, circa 1799. 215x145 mm; 8½x5¾ inches, wide margins. First edition. From Los Caprichos. A superb, early impression, with all the aquatint tones and burnishing distinct. Delteil 56; Harris 54.

Lot: 102 - FRANCISCO JOSÉ DE GOYA Ya van Desplumados.

FRANCISCO JOSÉ DE GOYA Ya van Desplumados. Aquatint and etching, circa 1799. 215x150 mm; 8½x6 inches, full margins. First edition. From Los Caprichos. A very good impression, with the two tones of aquatint showing clearly. Delteil 57; Harris 55.

Lot: 103 - FRANCISCO JOSÉ DE GOYA Corrección.

FRANCISCO JOSÉ DE GOYA Corrección. Aquatint and etching, circa 1799. 214x150 mm; 8½x6 inches, wide margins. First edition. From Los Caprichos. A superb, richly-inked impression with very strong contrasts and with the false-biting in the uncleaned margins distinct, consistent with the earliest impressions of this subject. Delteil 83; Harris 81.

Lot: 104 - FRANCISCO JOSÉ DE GOYA Two aquatints with etching from Los Caprichos.

FRANCISCO JOSÉ DE GOYA Two aquatints with etching from Los Caprichos. Hasta la Muerte. The numbers and letters printing indisctinctly * Linda Maestra. First edition. Both circa 1799. Each approximately 215x150 mm; 8½x6 inches, full margins. Delteil 92 and 105; Harris 90 and 103.

Lot: 105 - FRANCISCO JOSÉ DE GOYA Three aquatints with etching from Los Desastres de la Guerra.

FRANCISCO JOSÉ DE GOYA Three aquatints with etching from Los Desastres de la Guerra. Lo mismo * Qué hai que hacer mas? * Si resucitará? Each circa 1808-23. Each approximately 250x345 mm; 9⅞x13½ inches (sheets), full margins. Each from the first edition. The third with a partial Palmette watermark. Delteil 122, 152 and 199; Harris 123,153 and 200.

Lot: 106 - 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 on cream laid paper, circa 1824. 245x355 mm; 9¾x14 inches, full margins. First published edition. Published by L'Art, Paris. From Los Proverbios. Delteil 220; Harris 266.

Lot: 107 - FRANCISCO JOSÉ DE GOYA Bailando en una Cuerda Floja.

FRANCISCO JOSÉ DE GOYA Bailando en una Cuerda Floja. Etching, aquatint and drypoint on Japan, circa 1824. 242x350 mm; 9¾x13¾ inches, wide margins. Second state (of 3). A proof before letters, with the delicate scratches on the dress of the standing figure and the horse. Published by L'Art, Paris. From Los Proverbios. Delteil 221; Harris 267. Provenance: Henri Marie Petiet, Paris, with the ink stamp (Lugt 5031, verso).

Lot: 108 - FRANCISCO JOSÉ DE GOYA Three etching and aquatints.

FRANCISCO JOSÉ DE GOYA Three etching and aquatints. Bailando en una Cuerda Floja * Quien se pondrá el cascabel al gato? * Al Toro y al Aire Darles Calle (Lluvia de Toros) Each circa 1824. Each approximately 245x350 mm; 9¾x13¾ inches, full margins. Published by L'Art, Paris. From Los Proverbios. Delteil 221, 222 and 223 ; Harris 267, 268 and 269.

Lot: 109 - CARL WILHELM KOLBE Die Kuh im Schilfe.

CARL WILHELM KOLBE Die Kuh im Schilfe. Etching, circa 1801. 305x415 mm; 12x16⅜ inches, full margins. Third state of (5). Martens 88.

Lot: 110 - JOHN MARTIN Group of 7 mezzotints from Paradise Lost.

JOHN MARTIN Group of 7 mezzotints from Paradise Lost. Group of 7 mezzotints, 1824. Printed by Chatfield & Coleman, London. Published by Septimus Prowett, London. Various sizes and conditions.

Lot: 111 - EUGÈNE DELACROIX Un Forgeron.

EUGÈNE DELACROIX Un Forgeron. Aquatint and drypoint on Chine collé, 1833. 227x160 mm; 9x6⅜ inches, full margins. Fourth state (of 6). Printed by Delâtre, Paris. Published by Cadart and Luquet, Paris, for the Société des Aquafortistes, Paris. Delteil 19.

Lot: 112 - HONORÉ DAUMIER Les Gens de Justice.

HONORÉ DAUMIER Les Gens de Justice. Collection of 10 (of 39) lithographs, sur blanc, 1848. Each 241x188 mm; 9½x7⅜ inches, full margins. Printed and published by Aubert, Paris. Delteil 1337, 1339, 1341, 1350, 1361, 1363, 1364, 1365, 1368 and 1374.

Lot: 113 - HONORÉ DAUMIER Les Gens de Justice.

HONORÉ DAUMIER Les Gens de Justice. Collection of 37 (of 39) lithographs on newsprint, 1848. Each approximately 360x255 mm; 14¼x10 inches (sheets), full margins. Printed and published by Aubert, Paris. Delteil 1337-1361 and 1363-1374.

Lot: 114 - JEAN-FRANÇOIS MILLET Deux Vaches.

JEAN-FRANÇOIS MILLET Deux Vaches. Etching printed in dark brownish black on thin laid Japan paper, circa 1847. 90x152 mm; 3⅝x6 inches, full margins. Fourth state (of 4), with the roulette work. Delteil 4; Melot 4.

Lot: 115 - JEAN-FRANÇOIS MILLET Les Bêcheurs.

JEAN-FRANÇOIS MILLET Les Bêcheurs. Etching on cream laid paper, 1855-56. 237x337 mm; 9½x13½ inches, full margins. Fourth state (of 4). Delteil 13; Melot 13.

Lot: 116 - JEAN-FRANÇOIS MILLET La Grande Bergère.

JEAN-FRANÇOIS MILLET La Grande Bergère. Etching printed in dark brownish black on Japan paper, 1862. 310x228 mm; 12¼x9 inches, full margins. Printed by Delâtre, Paris. Published by Cadart, Paris. Delteil 18; Melot 18.

Lot: 117 - JEAN-FRANÇOIS MILLET Le Départ pour le Travail.

JEAN-FRANÇOIS MILLET Le Départ pour le Travail. Etching printed in dark brownish black on Japan paper, 1863. 385x310 mm; 15¼x12¼ inches, wide margins. Fourth state (of 7). Delteil 19; Melot 19. The current work is based on the same-titled oil on canvas (1850-51) by Millet (1814-1875) now in a private Glasgow collection.

Lot: 118 - JEAN-BAPTISTE-CAMILLE COROT Two works on paper.

JEAN-BAPTISTE-CAMILLE COROT Two works on paper. Les jardins d'Horace, cliché-verre in opaque brownish tan, 1856. 360x285 mm; 14¼x11¼ inches, full margins * Souvenir d'Italie, etching and drypoint on tissue-thin laid paper, 1863. 294x220 mm; 11⅝x8¾ inches, full margins. Fourth state (of 4). Delteil 5 and 58; Melot 5 and 58.

Lot: 119 - JEAN-BAPTISTE-CAMILLE COROT Environs de Rome.

JEAN-BAPTISTE-CAMILLE COROT Environs de Rome. Etching on Japan paper, 1866. 287x214 mm; 11¼x8⅜ inches, full margins. Third state (of 3). Delteil 6; Melot 6.

Lot: 120 - CHARLES MERYON L'Arche du Pont Notre-Dame.

CHARLES MERYON L'Arche du Pont Notre-Dame. Etching and drypoint, 1853. 151x196 mm; 6x7¾ inches, wide margins. Seventh state (of 7). Schneiderman 28.

Lot: 121 - RODOLPHE BRESDIN Deux Baigneuses au bord de l'eau.

RODOLPHE BRESDIN Deux Baigneuses au bord de l'eau. Etching on Chine collé jaunâtre, 1861. 143x84 mm; 5⅝x3¼ inches, full margins. First state (of 2). Printed by Delâtre, Paris. From La Revue Fantaiste. Van Gelder 102.

Lot: 122 - RODOLPHE BRESDIN La Cité lointaine.

RODOLPHE BRESDIN La Cité lointaine. Etching on Chine clair appliqué, 1868. Third state (of 3). Edition of 50. 103x185 mm; 4x7¼ inches, wide margins. With the artist's blind stamp (Lugt 2194). Van Gelder 131. Provenance: Henri Marie Petiet, Paris, with the ink stamp (Lugt 5031, verso).

Lot: 123 - SAMUEL PALMER Christmas (Folding the Last Sheep).

SAMUEL PALMER Christmas (Folding the Last Sheep). Etching on antique cream laid paper, 1850. 125x102 mm; 4⅞x4 inches, wide margins. Third state (of 5). Lister 4.

Lot: 124 - SAMUEL PALMER The Weary Ploughman.

SAMUEL PALMER The Weary Ploughman. Etching on Chine colle, 1858. 193x270 mm; 7½x10⅜ inches, wide margins. Fifth state (of 8). Lister 8. Provenance: John Waterloo Wilson (1815-1883), with the blind stamp lower left (Lugt 2581).

Lot: 125 - SAMUEL PALMER The Bellman.

SAMUEL PALMER The Bellman. Etching on Chine collé, 1879. 190x250 mm; 7½x9⅞ inches, wide margins. Fifth state (of 7), with the remarqué of the tree branch lower right. Edition of 60. Signed in pencil, lower left. Published by the Fine Art Society, London. Lister 11.

Lot: 126 - JAMES A. M. WHISTLER The Toilet.

JAMES A. M. WHISTLER The Toilet. Lithotint with scraping and incising, 1878. 260x166 mm; 10¼x6½ inches, wide margins. Second state (of 5), with the legend in the upper and lower margin. Edition of approximately hundreds. Printed by Way, London. Published in Piccadilly. Way 6; Levy 12 & 13; Spink 10.

Lot: 127 - JAMES A. M. WHISTLER Little Court.

JAMES A. M. WHISTLER Little Court. Etching printed in brownish black on antique cream laid paper, 1880-81. 126x173 mm; 5x6¾ inches. MacDonald's first state (of 2), before the drypoint shading on the left leg of the man in the doorway. Edition of approximately 30. Signed and inscribed "imp." in pencil, on the tab lower right. From A Set of Twenty-six Etchings. Kennedy 236; Glasgow 244.

Lot: 128 - FRANK DUVENECK Riva degli Schiavoni, II.

FRANK DUVENECK Riva degli Schiavoni, II. Etching on antique cream laid paper, 1880. 337x221 mm; 13¼x8⅝ inches, full margins. Edition of approximately 40. Poole 13.

Lot: 129 - ÉDOUARD MANET Au Prado II.

ÉDOUARD MANET Au Prado II. Aquatint and etching printed in black on Japan paper, 1863-67. 222x155 mm; 8¾x6⅛inches, full margins. Second state (of 2). The Porcaboeuf edition of approximately only 12, aside from the Manet edition of only several proofs. Guérin 46; Harris 45.

Lot: 130 - ÉDOUARD MANET Olympia.

ÉDOUARD MANET Olympia. Etching, 1867. 88x178 mm; 3½x7 inches, wide margins. Sixth state (of 6). Guérin 39; Harris 53.

Lot: 131 - ÉDOUARD MANET Guerre Civile.

ÉDOUARD MANET Guerre Civile. Lithograph on Chine collé, 1871-73. 400x506 mm; 15⅝x19⅞ inches, full margins. Second state (of 2). Printed and published by Lemercier et Cie., Paris. Guérin 75; Harris 72.

Lot: 132 - ÉDOUARD MANET Jeanne (Le Printemps).

ÉDOUARD MANET Jeanne (Le Printemps). Etching and aquatint on cream laid paper, 1882. 158x109 mm; 6x4¼ inches, full margins. Third state (of 5). Published by the Gazette des Beaux-Arts, Paris. Guérin 66; Harris 88.

Lot: 133 - CAMILLE PISSARRO Cours-la-Reine (ou Bords de la Seine, à Rouen).

CAMILLE PISSARRO Cours-la-Reine (ou Bords de la Seine, à Rouen). Etching, aquatint and drypoint, 1884. 123x140 mm; 5x5½ inches, wide margins. Second or an intermediate state between the second and third state (of 3), with the additional shading in the water. Edition of approximately 3 lifetime impressions and 18 posthumous impressions. Delteil 49.

Lot: 134 - CAMILLE PISSARRO Faneuses d'Éragny.

CAMILLE PISSARRO Faneuses d'Éragny. Lithograph on Chine collé, 1896. 221x168 mm; 8¾x6⅝ inches, full margins. One of approximately 6 trial proofs. Inscribed "Epreuve d'essai" in pencil, with the printer's ink stamp (Lugt 2387a, lower margin). Delteil-Cailac 163.

Lot: 135 - CAMILLE PISSARRO Gardeuses d'Oies

CAMILLE PISSARRO Gardeuses d'Oies Etching and drypoint printed in dark brown, 1888. 142x202 mm; 5⅝x8 inches, wide margins. Fourth state (of 4). Signed and inscribed "Epreuve d'artiste" in pencil, lower margin. Delteil 76.

Lot: 136 - PIERRE-AUGUSTE RENOIR Baigneuse Assise.

PIERRE-AUGUSTE RENOIR Baigneuse Assise. Soft-ground etching printed in black on cream wove paper, circa 1897. 220x140 mm; 8 5/8x5 1/2 inches, full margins. Edition of 1000. With the artist's ink stamp signature (Lugt 2137a, lower right recto). Delteil 11.

Lot: 137 - PIERRE-AUGUSTE RENOIR Le Chapeau Épinglé (2e planche).

PIERRE-AUGUSTE RENOIR Le Chapeau Épinglé (2e planche). Color lithograph, 1898. 600x488 mm; 23⅝x19¼ inches, full margins. Artist's proof, before the addition of the second signature in the stone and heightening of the orange, aside from the edition 200. Printed by Auguste Clot, Paris. Published by Vollard, Paris. A very good impression of this important lithograph with strong colors. Delteil 30.

Lot: 138 - PIERRE-AUGUSTE RENOIR Sur la Plage, à Berneval.

PIERRE-AUGUSTE RENOIR Sur la Plage, à Berneval. Drypoint, circa 1892. 184x143 mm; 7¼x5½, full margins. First state (of 3), before the reduction of the plate and the erasure of the bather on the right. Delteil 5.

Lot: 139 - PIERRE-AUGUSTE RENOIR Le Petit Paysage.

PIERRE-AUGUSTE RENOIR Le Petit Paysage. Etching, circa 1908. 80x155 mm; 3⅛x6⅛ inches, wide margins. One of only a few proofs from the first edition, aside from the second edition of 50. Inscribed "1et Épreuve" in pencil, lower left. We have found only 11 impressions from all editions combined at auction in the past 30 years. Delteil 21.

Lot: 140 - EDGAR DEGAS Danseuse mettant son chausson.

EDGAR DEGAS Danseuse mettant son chausson. Etching, circa 1892. 176x116 mm; 7x4¾ inches, full margins. Second state (of 2), after cancellation. A superb impression with inky plate edges and with the cancellation uninked and indistinct. Delteil 36; Adhémar 60.

Lot: 141 - 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. Delteil 29; Adhémar 54.

Lot: 142 - MARY CASSATT Repose.

MARY CASSATT Repose. Drypoint on cream laid paper, circa 1890. 235x168 mm; 9⅛x6⅝ inches, full margins. Fifth state (of 5). Signed in pencil, lower right. Breeskin 132.

Lot: 143 - BERTHE MORISOT Nu de dos.

BERTHE MORISOT Nu de dos. Drypoint, 1889. 138x98 mm; 5½x3⅞ inches, full margins. First state (of 3). Numbered 2/25 in pencil with the artist's initial stamp (Lugt 338b), lower margin. Johnston 5.

Lot: 144 - BERTHE MORISOT Berthe Morisot dessinant, avec sa fille.

BERTHE MORISOT Berthe Morisot dessinant, avec sa fille. Drypoint, 1889. 188x138 mm; 7⅜x5½ inches, full margins. First state (of 2). Johnston 8.

Lot: 145 - ANDERS ZORN Fisherman at Saint Ives.

ANDERS ZORN Fisherman at Saint Ives. Etching on laid paper, 1891. 278x200 mm; 11x7⅞ inches, wide margins. Second state (of 2). Signed in pencil, lower right. Asplund 53; Hjert/Hjert 177.

Lot: 146 - JAMES JACQUES TISSOT L'Été.

JAMES JACQUES TISSOT L'Été. Etching and drypoint, 1878. 376x208 mm; 14¾x8½ inches, full margins. Edition of approximately 100. Wentworth 43.

Lot: 147 - JAMES JACQUES TISSOT Promenade dans la Neige.

JAMES JACQUES TISSOT Promenade dans la Neige. Etching and drypoint, 1880. 565x266 mm; 22¼x10½ inches, full margins. Second state (of 3). With the artist's red ink stamp (Lugt 1545, lower right recto). Wentworth 48.

Lot: 148 - 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. Wentworth 57-61.

Lot: 149 - JAMES JACQUES TISSOT L'Ambitieuse.

JAMES JACQUES TISSOT L'Ambitieuse. Etching and drypoint, 1885. 400x253 mm; 15¾x10 inches, full margins. From La femme à Paris. Wentworth 77.

Lot: 150 - PAUL CÉSAR HELLEU Le Yacht.

PAUL CÉSAR HELLEU Le Yacht. Drypoint, circa 1900. 393x287 mm; 15⅜x11¼ inches, wide margins. Signed in pencil, lower right. Montesqiou LXXXII. We have found only 3 other impressions at auction in the past 30 years.

Lot: 151 - PAUL CÉSAR HELLEU Two prints.

PAUL CÉSAR HELLEU Two prints. Jeune Fille au chapeau: Ellen Helleu, drypoint on cream wove paper. 420x320 mm; 16½x12½ inches, full margins. Signed and dedicated in pencil, lower margin * Ellen, color lithograph on Chine appliqué, circa 1900. 385x240 mm; 15¼x9½ inches, full margins. Signed in pencil, lower margin.

Lot: 152 - JEAN-FRANÇOIS RAFFAËLLI Le Boulevard des Italiens.

JEAN-FRANÇOIS RAFFAËLLI Le Boulevard des Italiens. Color etching on imitation Japan paper, 1908. 199x318 mm; 7⅞x12½ inches, full margins. Third state (of 3). Edition of 200. Signed and inscribed "No. 21" in pencil, lower right. Delteil 83.

Lot: 153 - FÉLIX BUHOT L'Hiver à Paris.

FÉLIX BUHOT L'Hiver à Paris. Etching and aquatint, 1879. 237x352 mm; 9⅜x13¾ inches, full margins. Third state (of 9). with the "Imp. a Salmon" inscription at the lower edge of the plate. Bourcard/Goodfriend 128.

Lot: 154 - HENRI TOULOUSE-LAUTREC Antoine et Gémier, dans "Une Faillite."

HENRI TOULOUSE-LAUTREC Antoine et Gémier, dans "Une Faillite." Lithograph, 1893. 298x370 mm; 11¾x14¾ inches, full margins. Edition of 50. With the artist's monogram red ink stamp (Lugt 1338, lower right recto). Inscribed "No. 20" in blue crayon, lower left. Published by Kleinmann, Paris, with the blind stamp (Lugt 1573, lower left). Delteil 63; Adhémar 41; Adriani 41.

Lot: 155 - ALFRED SISLEY Les Bords de Rivière (Les Oies).

ALFRED SISLEY Les Bords de Rivière (Les Oies). Color lithograph on Chine appliqué on heavy cream wove paper, 1897. 215x320 mm; 8⅜x12½ inches, full margins. Edition of 100. Signed in pencil, lower right. Printed by Auguste Clot, Paris. Published by Vollard, Paris. From L'Album d'estampes originales de la Galerie Vollard.. Delteil 6.

Lot: 156 - THÉOPHILE STEINLEN Vieux Chat noir et blanc dans l'herbe.

THÉOPHILE STEINLEN Vieux Chat noir et blanc dans l'herbe. Color drypoint and aquatint, 1902. 187x294 mm; 7⅜x11⅝ inches, full margins. Artist's proof, aside from the edition of 25. Second state (of 2). Signed and dedicated "à Eug. Delâtre" in pencil, lower right. Crauzat 95.

Lot: 157 - THÉOPHILE STEINLEN L'Été Chat sur une Balustrade.

THÉOPHILE STEINLEN L'Été Chat sur une Balustrade. Color lithograph, 1909. 490x590 mm; 19⅜x23¼ inches. Edition of 250. Signed in pencil, center left recto on the wooden railing. Printed by R. Engelmann, Paris. Published by Sagot, Paris, with the blind stamp on the wooden railing. Crauzat 292.

Lot: 158 - THÉOPHILE STEINLEN Vue de Belmont, prés de Lausanne.

THÉOPHILE STEINLEN Vue de Belmont, prés de Lausanne. Color etching, circa 1913. 488x587 mm; 19¼x23¼ inches, full margins. Signed in pencil, lower right. Printed by Eugene Delâtre, with the watermark lower left.

Lot: 159 - GEORGES BOTTINI La Soupeuse.

GEORGES BOTTINI La Soupeuse. Color etching, drypoint and roulette on imitation Japan paper with hand coloring, printed in the manner of a monotype, 1903. 180x205 mm; 7x8¼ inches, wide margins. Artist's proof, aside from the edition of 40. Signed and dated in pencil, lower right. Published by Sagot, Paris. Southard 57.

Lot: 160 - RICHARD RANFT Anemones et Citrons.

RICHARD RANFT Anemones et Citrons. Color monotype. 545x443 mm; 21½x17 ½ inches, full margins. Signed in ink, upper right, and titled and inscribed "épreuve unique" in pencil, lower left.

Lot: 161 - PIERRE BONNARD Scène de famille.

PIERRE BONNARD Scène de famille. Color lithograph, 1893. 304x180 mm; 12½x7 inches, full margins. Edition of 100. Signed and inscribed "No 86" in pencil, lower margin. Published in L'Estampe Originale, Paris. Bouvet 4.

Lot: 162 - LOUIS VALTAT La femme assise aux chats (Madame Valtat).

LOUIS VALTAT La femme assise aux chats (Madame Valtat). Woodcut with hand coloring in watercolor, circa 1905. 305x242 mm; 12x9½ inches, wide margins. Edition of 50. With the artist's initial ink stamp (Lugt 1771bis, lower right recto).

Lot: 163 - AUGUSTE RODIN Henri Becque.

AUGUSTE RODIN Henri Becque. Drypoint on cream laid paper, 1883-87. 159x203 mm; 6¼x8 inches, full margins. Third state (of 4). Artist's proof, aside from the edition of 100 from L'Estampe Originale. Signed and dedicated in ink, lower right. Delteil 9; Thorson 7.

Lot: 164 - ODILON REDON Pégase captif.

ODILON REDON Pégase captif. Lithograph on Chine appliqué, 1889. 342x295 mm; 13½x11⅝ inches, wide margins. First state (of 2). Edition of 25 (from an intended edition of 100). Signed in pencil, lower right. Printed by Becquet, Paris. Mellerio 102.

Lot: 165 - ODILON REDON Mes baisers ont le gout d'un fruit qui se fondrait dans ton cœur! . . . Tu me dédaignes! Adieu!

ODILON REDON Mes baisers ont le gout d'un fruit qui se fondrait dans ton cœur! . . . Tu me dédaignes! Adieu! Lithograph on Chine collé, 1896. 199x158 mm; 7⅞x6¼ inches, full margins. Proof, before the letterpress title, aside from the edition of 50. Signed in pencil, upper left. From La Tentation de Saint-Antoine, Troisième série. Mellerio 137.

Lot: 166 - JAMES ENSOR L'Envie.

JAMES ENSOR L'Envie. Etching with hand coloring, 1904. 97x150 mm; 3¾x5⅞ inches, full margins. Third state (of 3). Edition of approximately 20. Signed and titled in pencil, lower margin. From Les Péchés capitaux. Delteil 125; Gillis 109; Taevernier 125; Elesh 130.

Lot: 167 - PAUL GAUGUIN Pastorales Martinique.

PAUL GAUGUIN Pastorales Martinique. Zincograph on canary yellow wove paper, 1889. 185x225 mm; 7¼x8¾ inches, full margins. Edition of approximately 30 to 50. From 10 Zincographies. Printed by Ancourt, Paris. Published by the artist, Paris. A very good, lifetime impression of this scarce zincograph. Kornfeld 6.

Lot: 168 - PAUL GAUGUIN Maruru.

PAUL GAUGUIN Maruru. Woodcut on Chine volant, 1893-94. 204x356 mm; 8⅛x13⅞ inches, wide margins. Edition of 100, published by the artist's son, Pola Gauguin, in 1921. Signed "Pola Gauguin imp" and inscribed "Paul Gauguin fecit" in pencil, lower margin, and inscribed "No 57" in pencil, upper left. Kornfeld 22.

Lot: 169 - PAUL GAUGUIN La Femme aux Figues.

PAUL GAUGUIN La Femme aux Figues. Etching on cream laid paper, 1894. 267x420 mm; 10½x16½ inches, full margins. Third state (of 3). Kornfeld 25.

Lot: 170 - PAUL CÉZANNE (AFTER) La Montagne Sainte-Victoire.

PAUL CÉZANNE (AFTER) La Montagne Sainte-Victoire. Color aquatint, 1923-24. 435x605 mm; 17⅛x23¾ inches, wide margins. Artist's proof, with color variations, aside from the edition of 200. Signed by Villon in pencil, lower left. Etched by Jacques Villon. Published by Galerie Bernheim-Jeune, Paris. Ginestet/Pouillon 639 (Villon).

Lot: 171 - FREDERIC STUART CHURCH (AFTER) The Mermaid.

FREDERIC STUART CHURCH (AFTER) The Mermaid. Wood engraving on tissue thin Japan paper, circa 1883. 125x193 mm; 4⅞x7⅝ inches, wide margins. Signed in pencil, lower right. We have not found another impression in the past 30 years.

Lot: 172 - WINSLOW HOMER Mending the Tears.

WINSLOW HOMER Mending the Tears. Etching on imitation Japan paper, 1888. 444x584 mm; 17½x23 inches, full margins. Signed and inscribed "N.A." in pencil, lower left. With the anchor remarqué lower left. Goodrich 97.

Lot: 173 - THOMAS MORAN (AFTER CHASE) Coming to Anchor

THOMAS MORAN (AFTER CHASE) Coming to Anchor Etching with roulette and sandpaper ground, 1885. 380x755 mm; 15x29¾ inches, wide margins. Signed by both Thomas Moran and Harry Chase, lower margin, with the anchor remarqué lower left. Klackner 43. We have found only two other impressions at auction in the past 30 years.

Lot: 174 - THOMAS MORAN (AFTER CHASE) The Yacht Race.

THOMAS MORAN (AFTER CHASE) The Yacht Race. Etching on imitation Japan paper, 1890. 365x593 mm; 14⅜x23⅜ inches, full margins. Signed by Moran in pencil, lower right. With the nymph remarqué lower left.

Lot: 175 - CHILDE HASSAM Calvary Church in the Snow.

CHILDE HASSAM Calvary Church in the Snow. Etching, 1915. 173x120 mm; 7x4⅞ inches, full margins. Signed with the artist's cypher and inscribed "imp" in pencil, lower right. Cortissoz/Clayton 62.

Lot: 176 - CHILDE HASSAM Portsmouth Doorway.

CHILDE HASSAM Portsmouth Doorway. Etching, 1916. 145x115 mm; 5½x4½ inches, full margins. Signed with the artist's cypher and inscribed "imp" in pencil, lower right. Cortissoz/Clayton 104.

Lot: 177 - CHILDE HASSAM Old Doorway, Easthampton.

CHILDE HASSAM Old Doorway, Easthampton. Etching, 1920. 253x303 mm; 10x11⅞ inches, wide margins. Signed with the artist's cypher and inscribed "imp." in pencil, lower right. Cortissoz/Clayton 162. We have found only 2 other impressions at auction in the past 30 years.

Lot: 178 - CHILDE HASSAM The Big Cedar.

CHILDE HASSAM The Big Cedar. Etching, 1927. 253x305 mm; 10x12 inches, full margins. Signed with the artist's cypher and inscribed "imp." in pencil, lower right. Cortissoz/Clayton 328. We have found only 1 other impression at auction in the past 30 years.

Lot: 179 - WILLIAM ROBINSON LEIGH The Foul Rope (Right).

WILLIAM ROBINSON LEIGH The Foul Rope (Right). Etching, circa 1910s-1920s. 254x200 mm; 10¼x8 inches, full margins. Signed in pencil, lower right.

Lot: 180 - WILLIAM ROBINSON LEIGH The Foul Rope (Left).

WILLIAM ROBINSON LEIGH The Foul Rope (Left). Etching printed in dark brown, circa 1910s-1920s. 376x300 mm; 14¾x12 inches, full margins. Signed in pencil, lower right.

Lot: 181 - WILLIAM ROBINSON LEIGH Walpi, First Mesa (Arizona).

WILLIAM ROBINSON LEIGH Walpi, First Mesa (Arizona). Etching, circa 1910. 304x373 mm; 12x14¾ inches, full margins. Signed in pencil, lower right.

Lot: 182 - OTTO KUHLER The Desert Rattler

OTTO KUHLER The Desert Rattler Etching, 1927. 316x202 mm; 12½x7⅞ inches, full margins. Edition of 50. Signed in pencil, lower right. Kennedy 56.

Lot: 183 - GUSTAVE BAUMANN Road of a Morning.

GUSTAVE BAUMANN Road of a Morning. Color woodcut, 1916. 280x255 mm; 11x10 inches, wide margins. Second edition (of 2). Signed and titled in pencil, lower margin, and inscribed "No 91 of 100" in ink within the printed border lines (the combined intended editions were 220, though approximately only 206 impressions total were printed from both editions). A superb impression of this scarce woodcut with strong colors. Chamberlain 40.

Lot: 184 - MARGARET PATTERSON Heartsease.

MARGARET PATTERSON Heartsease. Color woodcut on Japan paper, circa 1920. 180x258 mm; 7⅛x10⅛ inches, wide margins. From an intended edition of 100. Signed and titled in pencil, lower margin. We have found only three other impressions at auction in the past 30 years.

Lot: 185 - JOHN SLOAN Hell Hole.

JOHN SLOAN Hell Hole. Etching and aquatint, 1917. 204x253 mm; 8x10 inches, wide margins. Second state (of 2). Artist's proof, aside from the edition of 110 (from an intended edition of 100). Signed, titled and inscribed "100 proofs" in pencil, lower margin. Morse 186.

Lot: 186 - GEORGE BELLOWS The Sawdust Trail.

GEORGE BELLOWS The Sawdust Trail. Lithograph, 1917. 692x511 mm; 27¼x20 inches, wide margins. First state (of 2). Edition of 65. Signed and inscribed "No 15" in pencil, lower margin. Mason 48.

Lot: 187 - JOHN TAYLOR ARMS West Forty-Second Street, Night.

JOHN TAYLOR ARMS West Forty-Second Street, Night. Color etching and aquatint printed in dark bluish black, 1922. 268x172 mm; 10¾x6¾ inches, full margins. Second state (of 2). Edition of 100. Signed in pencil, lower right. Fletcher 122.

Lot: 188 - JOHN TAYLOR ARMS In Memoriam (The North Portal of Chartres Cathedral).

JOHN TAYLOR ARMS In Memoriam (The North Portal of Chartres Cathedral). Etching, 1939. 370x305 mm; 14⅝x12 inches; full margins. Second state (of 2). Edition of 312. Signed, dated and inscribed "Private collection "p" II" in pencil, lower margin. Printed by David Strang, London. From the French Church Series. Fletcher 317.

Lot: 189 - JOHN TAYLOR ARMS Group of 4 etchings.

JOHN TAYLOR ARMS Group of 4 etchings. An Old Courtyard, Italy., color etching and aquatint, 1920. Second state (of 2). Edition of 100. Signed in pencil, lower margin * Abbeville, 1925. Edition of 150. Signed and dated in pencil, lower margin * A Breton Calvary, 1932. Third state (of 3). Edition of 49. Signed, dated and inscribed "Private collection 'd' III" in pencil, lower margin * Afterglow, 1938. Second state (of 2). Edition of 150. Signed, dated and inscribed "Ed. 150 II" in pencil, lower margin. Various sizes and conditions. Fletcher 54, 165, 247B, and 315.

Lot: 190 - JOHN TAYLOR ARMS Three etchings.

JOHN TAYLOR ARMS Three etchings. Angoulême, 1924. Edition of 150. Signed and dated in pencil, lower margin. Printed by Frederick Reynolds, New York * Notre Dame de Laòn, 1929. Third state (of 3). Edition of 100. Signed, dated, and inscribed "Third State" in pencil, lower margin. Printed by Henry Carling, London * "Spanish Profile," Palencia, 1951. Third state (of 3). Edition of 308. Signed, dated, and inscribed "III" in pencil, lower margin. Printed by David Strang, London. Various sizes and conditions. Fletcher 146, 219 and 418. Provenance ("Spanish Profile," Palencia): The artist, with his and his wife's collectors' stamps, lower margin.

Lot: 191 - KERR EBY September 13, 1918, St. Mihiel (The Great Black Cloud).

KERR EBY September 13, 1918, St. Mihiel (The Great Black Cloud). Etching, aquatint and sandpaper ground, 1934. 263x408 mm; 10⅜x16 inches, full margins. Fourth state (of 4). Edition of 100. Signed and inscribed "Ed 100" in pencil, lower margin. Giardina 182.

Lot: 192 - EDWARD HOPPER Night Shadows.

EDWARD HOPPER Night Shadows. Etching, 1921. 175x208 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. Levin 82.

Lot: 193 - MARTIN LEWIS Dock Workers Under the Brooklyn Bridge.

MARTIN LEWIS Dock Workers Under the Brooklyn Bridge. Aquatint and etching, 1916-18 (printed later). 453x600 mm; 17⅝x23¾ inches, full margins. Edition of approximately 100. Signed "Martin Lewis, (L. D. L. 1973)" by the artist's widow, Lucille Lewis, and numbered 6/100 in pencil, lower margin. McCarron 15.

Lot: 194 - MARTIN LEWIS Derricks at Night.

MARTIN LEWIS Derricks at Night. Drypoint, 1927. 200x300 mm; 7¾x11¾ inches, full margins. Second state (of 2). Edition of approximately 104. Signed and inscribed "imp" in pencil, lower right. McCarron 62.

Lot: 195 - MARTIN LEWIS Quarter of Nine, Saturday's Children.

MARTIN LEWIS Quarter of Nine, Saturday's Children. Drypoint printed in dark brownish black, 1929. 253x326 mm; 10x12⅞ inches, wide margins. Edition of 107. Signed in pencil, lower right. McCarron 78.

Lot: 196 - MARTIN LEWIS Little Penthouse.

MARTIN LEWIS Little Penthouse. Drypoint, 1931. 250x173 mm; 9¾x6¾ inches, wide margins. Edition of 75. Signed in pencil, lower right. McCarron 91.

Lot: 197 - MARTIN LEWIS Cathedral Steps.

MARTIN LEWIS Cathedral Steps. Drypoint, 1931. 265x425 mm; 10⅜x16⅞ inches, full margins. Edition of approximately 42. Signed in pencil, lower right. McCarron 93. Provenance: Artist's estate, New York; thence by descent to Patricia Lewis, the artist's daughter-in-law, New York, with the "Collection of Patricia Lewis" ink stamp and number "ML-14" in pencil, verso.

Lot: 198 - MARTIN LEWIS R.F.D.

MARTIN LEWIS R.F.D. Drypoint and sandpaper ground, 1933. 250x300 mm; 9⅞x11⅞ inches, full margins. Edition of approximately 148. Signed in pencil, lower right. McCarron 106.

Lot: 199 - MARTIN LEWIS Grandpa Takes a Walk.

MARTIN LEWIS Grandpa Takes a Walk. Drypoint and sand ground, 1935. 224x294 mm; 8¾x11⅛ inches, full margins. Proof, aside from the edition of 135. Signed, dated and inscribed "final trial proof - for Robert M. Reitzel" in pencil, lower margin. Printed by Charles S. White, New York. Published by the American College Society of Print Collectors, Rockford, Illinois. McCarron 115.

Lot: 200 - HOWARD COOK Chrysler Building.

HOWARD COOK Chrysler Building. Wood engraving on Japan paper, 1930. 254x168 mm; 10x6⅝ inches, wide margins. Edition of 50 (from an intended edition of 75). Signed, dated and inscribed "imp." and "75" in pencil, lower margin. Duffy 122.

Lot: 201 - HOWARD COOK Lower Manhattan.

HOWARD COOK Lower Manhattan. Lithograph, 1930. 355x257 mm; 14x6½ inches, full margins. Edition of 35 (from an intended edition of 75). Signed, dated, dedicated and inscribed "75" in pencil, lower margin. Duffy 132.

Lot: 202 - HOWARD COOK West Side, New York.

HOWARD COOK West Side, New York. Etching and aquatint, 1931. 173x320 mm; 6¾x12½ches, full margins. Signed, dated, inscribed "imp" and "50" in pencil, lower margin. Duffy 170. We have found only 3 other impressions at auction in the past 30 years.

Lot: 203 - HOWARD COOK Financial District.

HOWARD COOK Financial District. Lithograph, 1931. 340x266 mm; 13⅜x10½ inches, full margins. Edition of 75. Signed, dated and inscribed "75" in pencil, lower margin. Duffy 155.

Lot: 204 - LOUIS LOZOWICK Backyards of Broadway (Waterfront I)

LOUIS LOZOWICK Backyards of Broadway (Waterfront I) Lithograph, 1926. 366x235 mm; 14½x9¼ inches, full margins. Signed, dated and numbered 4/10 in pencil, lower margin. Flint 7. We have found only 6 other impressions at auction in the past 30 years.

Lot: 205 - LOUIS LOZOWICK Brooklyn Bridge.

LOUIS LOZOWICK Brooklyn Bridge. Lithograph, 1930. 332x204 mm; 13x7⅞ inches, full margins. Edition of 100. Signed and dated in pencil, lower right. Flint 48.

Lot: 206 - LOUIS LOZOWICK Construction (Excavation).

LOUIS LOZOWICK Construction (Excavation). Lithograph, 1930. 403x161 mm; 16x6⅜ inches, wide margins. Signed, dated and numbered 15/25 in pencil, lower margin. Printed by George C. Miller, New York. Flint 51. We have found only 5 other impressions at auction in the past 30 years

Lot: 207 - ARMIN LANDECK 11 West 11th Street.

ARMIN LANDECK 11 West 11th Street. Etching and drypoint, 1939. 325x245 mm; 12 7/8x9 7/8 inches, full margins. Edition of 100. Signed, dated and inscribed "Ed 100" in pencil, lower margin. Kraeft 79.

Lot: 208 - MABEL DWIGHT Guignolette.

MABEL DWIGHT Guignolette. Color lithograph on Chine collé, 1927. 220x305 mm; 8⅝x12 inches, full margins. Edition of 12. Signed, dated and inscribed "Paris" in pencil, lower right. Printed by Duchatel, Paris. Robinson/Pirog 15.

Lot: 209 - ROCKWELL KENT Boatman.

ROCKWELL KENT Boatman. Lithograph, 1929. 350x255 mm; 13¾x10 inches, full margins. Edition of 150. Signed in pencil, lower right. Burne-Jones 37.

Lot: 210 - ROCKWELL KENT Starlight.

ROCKWELL KENT Starlight. Wood engraving, 1930. 136x175 mm; 5⅜x6⅞ inches, full margins. Edition of 120. Signed in pencil, lower right. Burne-Jones 52.

Lot: 211 - THOMAS HART BENTON Huck Finn.

THOMAS HART BENTON Huck Finn. Lithograph, 1936. 420x550 mm; 16½x21¾ inches, wide margins. Second state (of 2). Edition of 100. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 12.

Lot: 212 - THOMAS HART BENTON Lonesome Road.

THOMAS HART BENTON Lonesome Road. Lithograph, 1938. 245x318 mm; 9⅝x12½ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 18.

Lot: 213 - THOMAS HART BENTON The Woodpile.

THOMAS HART BENTON The Woodpile. Lithograph, 1939. 225x277 mm; 8¾x10⅞ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 31.

Lot: 214 - THOMAS HART BENTON The Fence Mender.

THOMAS HART BENTON The Fence Mender. Lithograph, 1940. 251x353 mm; 10x14 inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 40.

Lot: 215 - THOMAS HART BENTON Instruction.

THOMAS HART BENTON Instruction. Lithograph, 1940. 265x315 mm; 10⅜x12⅜ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 41.

Lot: 216 - THOMAS HART BENTON Aaron.

THOMAS HART BENTON Aaron. Lithograph, 1941. 325x241 mm; 12⅞x9½ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 42.

Lot: 217 - THOMAS HART BENTON Night Firing.

THOMAS HART BENTON Night Firing. Lithograph, 1943. 221x335 mm; 8¾x13¼ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 57.

Lot: 218 - THOMAS HART BENTON Morning Train.

THOMAS HART BENTON Morning Train. Lithograph, 1943. 238x345 mm; 9⅜x13½ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 58.

Lot: 219 - THOMAS HART BENTON Spring Tryout.

THOMAS HART BENTON Spring Tryout. Lithograph, 1943. 242x3497 mm; 9½x13⅝ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 61.

Lot: 220 - THOMAS HART BENTON Wreck of the Ol'97.

THOMAS HART BENTON Wreck of the Ol'97. Lithograph, 1944. 263x382 mm; 10⅜x15 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 63.

Lot: 221 - THOMAS HART BENTON Island Hay.

THOMAS HART BENTON Island Hay. Lithograph, 1945. 251x320 mm; 9⅞x12⅝ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Fath 68.

Lot: 222 - JOHN STEUART CURRY Prize Stallions.

JOHN STEUART CURRY Prize Stallions. Lithograph, 1938. 323x221 mm; 12¾x8¾ inches, full margins. Edition of 250. Signed, titled and dated in pencil, lower margin. Published by Associated American Artists, New York. Cole 31.

Lot: 223 - JOHN STEUART CURRY John Brown.

JOHN STEUART CURRY John Brown. Lithograph, 1939. 378x277 mm; 14¾x11 inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Cole 34.

Lot: 224 - GRANT WOOD Honorary Degree.

GRANT WOOD Honorary Degree. Lithograph, 1938. 300x176 mm; 11¾x6⅞ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Cole 4.

Lot: 225 - GRANT WOOD March.

GRANT WOOD March. Lithograph, 1939. 228x302 mm; 9x11⅞ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Cole 14.

Lot: 226 - GRANT WOOD Fertility.

GRANT WOOD Fertility. Lithograph, 1939. 230x305 mm; 9x11⅞ inches, wide margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Cole 15.

Lot: 227 - GRANT WOOD December Afternoon.

GRANT WOOD December Afternoon. Lithograph, 1941. 228x303 mm; 9x11⅞ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York. Cole 16.

Lot: 228 - BENTON SPRUANCE Touchdown Play.

BENTON SPRUANCE Touchdown Play. Lithograph, 1933. 294x420 mm; 11½x16½ inches, full margins. Signed, titled and numbered 33/40 in pencil, lower margin. Printed by Theodore Cuno, Philadelphia. Fine/Looney 87.

Lot: 229 - BENTON SPRUANCE Design for America #2.

BENTON SPRUANCE Design for America #2. Lithograph, 1935. 415x243 mm; 16½x9⅝ inches, full margins. Edition of 40. Signed and initialed "SGS" by the artist's son, titled and dated in pencil, lower margin. With the artist's estate red ink stamp, lower right. Fine/Looney 118.

Lot: 230 - BENTON SPRUANCE Subway Shift: The Second Front.

BENTON SPRUANCE Subway Shift: The Second Front. Lithograph, 1943. 258x412 mm; 10¼x16¼ inches, full margins. Edition of approximately 30. Signed and initialed "PBS" by the artist's son, titled "The Second Front", dated inscribed "Ed 35" in pencil, lower margin. With the artist's estate red ink stamp, lower right. Fine/Looney 223.

Lot: 231 - BENTON SPRUANCE World of One's Own.

BENTON SPRUANCE World of One's Own. Lithograph, 1948. 345x455 mm; 13½x17⅞ inches, full margins. Edition of 30. Signed and initialed "W.C.S" by the artist's grandson, titled, dated and inscribed "ed 30" in pencil, lower margin. With the artist's estate red. ink stamp, lower right. Printed by Theodore Cuno, Philadelphia. Fine/Looney 266.

Lot: 232 - HARRY BERTOIA Two woodcuts.

HARRY BERTOIA Two woodcuts. The Grape Harvest, on Chine volant, 1941. 258x212 mm; 10⅛x8⅜ inches, wide margins. Signed and dated in pencil, lower right * The Corn Harvest, on Chine volant, 1941. 260x213 mm; 10¼x8⅜ inches, wide margins. Signed and dated in pencil, lower right.

Lot: 233 - ROBERT GWATHMEY Tobacco Farmers.

ROBERT GWATHMEY Tobacco Farmers. Color screenprint, 1947. 345x264 mm; 13⅝x10⅜ inches (sheet), wide margins. Edition of 300. Signed in ink and pencil, and dedicated in pencil, lower edge. Published by the National Serigraph Society, New York. Williams 8.

Lot: 234 - WILLIAM GROPPER The Shtetl.

WILLIAM GROPPER The Shtetl. Portfolio with 24 color lithographs, 1970. 357x279 mm; 14x11 inches (sheets), full margins, loose as issued. The deluxe edition of 24, aside from the regular edition of 120. Each sheet signed and numbered "XIX/XXIV" in pencil, lower margin. Printed by The Bank Street Atelier, Ltd., New York. Published by Touchstone Publishers, Ltd., New York. Original printed paper folder. Lacking original signed pastel drawing and additional suite of lithographs.

Lot: 235 - STOW WENGENROTH Hawaii Advertisement No. 2.

STOW WENGENROTH Hawaii Advertisement No. 2. Lithograph, 1940. 362x287 mm; 14¼x11¼ inches, full margins. Edition of approximately only 12. Signed in pencil, lower right. Stuckey 101.

Lot: 236 - STOW WENGENROTH Barn Owl.

STOW WENGENROTH Barn Owl. Lithograph, 1971. 239x385 mm; 19⅜x15⅛ inches, full margins. Edition of 100. Signed and inscribed "Ed/100" in pencil, lower margin. Stuckey 338.

Lot: 237 - GENE KLOSS Moonlit Kiva.

GENE KLOSS Moonlit Kiva. Drypoint and aquatint, 1953. 300x380 mm; 11¾x15 inches, full margins. Edition of 75. Signed, titled and inscribed "imp" and "Ed 35" in pencil, lower margin. Kloss 452.

Lot: 238 - GENE KLOSS Rain Dance Beginning at Old Tamáya.

GENE KLOSS Rain Dance Beginning at Old Tamáya. Drypoint and aquatint, 1956. 202x280 mm; 8x11 inches, full margins. Edition of 75. Signed, titled and inscribed "imp" in pencil, lower margin. Inscribed "Ed 50" in another hand, lower left. Kloss 462.

Lot: 239 - GENE KLOSS Christmas Eve Fires.

GENE KLOSS Christmas Eve Fires. Drypoint and aquatint, 1960. 303x454 mm; 12x18 inches, full margins. Signed, titled, inscribed "imp" and numbered 15/35 in pencil, lower margin. Kloss 487.

Lot: 240 - PAUL CADMUS Teddo.

PAUL CADMUS Teddo. Lithograph, 1985. 155x185 mm; 6x7½ inches, full margins. Signed, titled and numbered 83/200 in pencil, lower margin. Davenport 59.

Lot: 241 - 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. Artist's proof, aside from the edition of 35. Each etching signed, titled and numbered "X/X 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.

Lot: 242 - DIEGO RIVERA Desnudo de Dolores Olmedo.

DIEGO RIVERA Desnudo de Dolores Olmedo. Lithograph on light tan tissue wove paper, 1930. 420x237 mm; 16½x9¼ inches, full margins. Signed, dated and numbered 71/100 in black crayon, lower margin. Published by Weyhe Gallery, New York.

Lot: 243 - MIGUEL COVARRUBIAS Lindy Hop.

MIGUEL COVARRUBIAS Lindy Hop. Lithograph, 1936. 327x243 mm; 12⅞x9½ inches, full margins. Edition of 250. Published by Associated American Artists, New York, with the publisher's stamp, lower left verso.

Lot: 244 - MIGUEL COVARRUBIAS Rumba.

MIGUEL COVARRUBIAS Rumba. Lithograph, 1942. 235x340 mm; 9¼x13¼ inches, full margins. Edition of 250. Signed in pencil, lower right. Published by Associated American Artists, New York.

Lot: 245 - DAVID A. SIQUEIROS La Penitenciaria.

DAVID A. SIQUEIROS La Penitenciaria. Woodcut, 1930. 95x82 mm; 3¾x3¼ inches, full margins. Signed, titled, dated and numbered 10/300 in pencil, lower margin.

Lot: 246 - RUFINO TAMAYO Dos Niñas Mexicanas.

RUFINO TAMAYO Dos Niñas Mexicanas. Woodcut on Japan paper, 1925. 850x900 mm; 3¼x3½ inches, full margins. Signed in pencil, lower right. Pereda 1.

Lot: 247 - RUFINO TAMAYO Mujer con una Mesa.

RUFINO TAMAYO Mujer con una Mesa. Woodcut on Japan paper, 1930. 189x243 mm; 7½x9½ inches, full margins. Signed in pencil, lower right. Pereda 16.

Lot: 248 - RUFINO TAMAYO El Leñador.

RUFINO TAMAYO El Leñador. Woodcut on Japan paper, 1930. 255x250 mm; 10⅛x9⅞ inches, wide margins. Signed in pencil, lower right. Pereda 13.

Lot: 249 - RUFINO TAMAYO Paisaje.

RUFINO TAMAYO Paisaje. Color etching, 1975. 564x754 mm; 22⅛x29⅝ inches (sheet), full margins. Signed and numbered 45/75 in crayon, lower margin. Printed and published by Polígrafa, Barcelona. Pereda 179.

Lot: 250 - RUFINO TAMAYO Personaje con Dos Árboles.

RUFINO TAMAYO Personaje con Dos Árboles. Color etching and embossing, 1976. 755x564 mm; 29¾x22¼ inches (sheet), full margins. Signed and numbered 47/75 in pencil, lower margin. Printed and published by Polígrafa, Barcelona. Pereda 192.

Lot: 251 - RUFINO TAMAYO Personaje En Gris.

RUFINO TAMAYO Personaje En Gris. Etching, 1976. 745x565 mm; 29¼x22¼ inches (sheet), full margins. Signed and numbered 17/75 in crayon, lower margin. Published by Polígrafa, Barcelona. From Rufino Tamayo 16 aguafuertes 1976. Tamayo 202.

Lot: 252 - RUFINO TAMAYO Máscara Roja.

RUFINO TAMAYO Máscara Roja. Color Mixografía, 1976. 780x576 mm; 30¾x22¾ inches (sheet), full margins. Signed and numbered 20/140 in pencil, lower margin. Printed by Taller de Gráfica Mexicana, Mexico City. Pereda 226.

Lot: 253 - RUFINO TAMAYO La Calabaza.

RUFINO TAMAYO La Calabaza. Color etching, 1984. 760x555 mm; 30x21⅞ inches (sheet), full margins. Signed and numbered 69/99 in crayon, lower edge. Printed and published by Ediciones Polígrafa, Barcelona. From Rufino Tamayo 8 Aguafuertes 1984. Pereda 315.

Lot: 254 - RUFINO TAMAYO La Coqueta.

RUFINO TAMAYO La Coqueta. Color lithograph, 1989. 885x641 mm; 34¾x25⅜ inches, full margins. Signed and numbered 37/110 in pencil, lower margin and the artist's copyright blind stamp lower center. Printed by Kyron, Mexico City, with the blind stamp lower right. Published by B/M Ediciones y Arte, Mexico City. From Tamayo 90 Aniversario. Pereda 353.

Lot: 255 - PABLO PICASSO Les Saltimbanques.

PABLO PICASSO Les Saltimbanques. Drypoint, 1905. 286x327 mm; 11¼x12⅞ inches, wide margins. Edition of 250. Printed by Louis Fort, Paris. Published by Vollard, Paris. From La suite des Saltimbanques. Bloch 7; Geiser 9.

Lot: 256 - PABLO PICASSO Peintre au travail observé par un modèle nu.

PABLO PICASSO Peintre au travail observé par un modèle nu. Etching on Japon nacré, 1927. 197x283 mm; 7¾x11⅛ inches, full margins. Artist's proof, aside from the edition of 340. Signed in red pencil, lower right. Printed by Louis Fort, Paris. Published by Vollard, Paris. From Chef d'Oeuvre Inconnu. Bloch 89; Geiser 130c.

Lot: 257 - PABLO PICASSO Homme dévoilant une Femme.

PABLO PICASSO Homme dévoilant une Femme. Drypoint, 1931. 368x297 mm; 14½x11⅝ inches, full margins. Edition of 260. Signed in pencil, lower right. Printed by Lacourière, Paris. Published by Vollard, Paris. Bloch 138; Geiser 203.

Lot: 258 - PABLO PICASSO Femme nue à la Jambe pliée.

PABLO PICASSO Femme nue à la Jambe pliée. Etching, 1931. 312x221 mm; 12⅜x8¾ inches, full margins. Edition of 260. Signed in pencil, lower right. Vollard watermark. Printed by Lacourière, Paris. Published by Vollard, Paris. Bloch 141; Geiser 208 Bd.

Lot: 259 - PABLO PICASSO Tête de femme stylisée, fond noir.

PABLO PICASSO Tête de femme stylisée, fond noir. Lithograph, 1945. 310x234 mm; 12¼x9¼ inches, full margins. Artist's proof, aside from the edition of 50. Bloch 377; Mourlot 3; Reuße 36.

Lot: 260 - PABLO PICASSO (AFTER) Tête de Faune.

PABLO PICASSO (AFTER) Tête de Faune. Color aquatint and roulette on wove paper, circa 1950. 301x253 mm; 11⅞x10 inches, wide margins. An hors commerce impression, aside from the edition of 300. Signed and inscribed "HC" in pencil, lower margin. Published by Crommelynck, Paris, with the blind stamp lower left.

Lot: 261 - PABLO PICASSO La Famille.

PABLO PICASSO La Famille. Lithograph, 1953. 400x275 mm; 15⅝x10⅞ inches, full margins. Signed and numbered 46/50 in pencil, lower margin. Printed by Mourlot, Paris. Bloch 738; Mourlot 235.

Lot: 262 - PABLO PICASSO Heads.

PABLO PICASSO Heads. Partially glazed terre-de-faïence pitcher painted in white with oxidized paraffin decoration in black, 1956. 133 mm; 5¼ inches (height). Edition of 500. With the Edition Picasso and Madoura Plein Feu stamps and inscribed "Edition Picasso" in black on the base. Ramié 368.

Lot: 263 - PABLO PICASSO Vallauris Exposition 1956.

PABLO PICASSO Vallauris Exposition 1956. Color linoleum cut, 1956. 658x538 mm; 26x21⅛ inches, full margins. Artist's proof, aside from the edition of 200. Signed in red crayon, lower right. Printed by Arnéra, Vallauris. Bloch 1271; Baer 1042; Czwiklitzer 19.

Lot: 264 - PABLO PICASSO La Danse des Faunes.

PABLO PICASSO La Danse des Faunes. Lithograph printed in black with a tan background, 1957. 410x527 mm; 16⅛x20¾ inches, full margins. Edition of 1000. Signed in the plate, outside of the image, lower right. Published by Le Patriote, Nice. Bloch 830; Mourlot 291; Reuße 699.

Lot: 265 - PABLO PICASSO (AFTER) Nature morte au citron et au pichet rouge.

PABLO PICASSO (AFTER) Nature morte au citron et au pichet rouge. Color aquatint, circa 1960. 330x410 mm; 13x16¼ inches, full margins. Signed and numbered 25/300 in pencil, lower margin. Printed and published by Crommelynck, Paris, with the blind stamp lower left.

Lot: 266 - PABLO PICASSO Fleurs (for U.C.L.A.).

PABLO PICASSO Fleurs (for U.C.L.A.). Color lithograph, 1961. 575x455 mm; 22⅝x17⅞ inches, full margins. Signed and numbered 29/100 in pencil, lower margin. Published by the Art Council of UCLA Art Galleries, Los Angeles. Bloch 1297; Mourlot 351; Reuße 799.

Lot: 267 - JACQUES VILLON Noblesse.

JACQUES VILLON Noblesse. Etching, 1921. 142x82 mm; 5⅝x3¼ inches, full margins. Edition of 50. Signed and inscribed "tiré a 50" in pencil, lower margin. Ginestet/Pouillon E294.

Lot: 268 - JACQUES VILLON L'Oiseau.

JACQUES VILLON L'Oiseau. Etching, 1921. 101x168 mm; 4x6⅝ inches, full margins. Edition of 50. Signed and inscribed "tiré à 50" in pencil, lower margin. Ginestet/Pouillon E293.

Lot: 269 - MARCEL DUCHAMP Coffee Mill.

MARCEL DUCHAMP Coffee Mill. Etching, 1947. 180x80 mm; 7¼x3¼ inches, full margins. Second state (of 2). Edition of 200. Numbered 37/200 in pencil, lower left. Schwarz 398.

Lot: 270 - GEORGES BRAQUE (AFTER) Nature morte.

GEORGES BRAQUE (AFTER) Nature morte. Color aquatint and etching, 1950. 355x608 mm; 14x23⅞ inches, full margins. Signed and numbered 36/75 in pencil, lower margin. Printed by Georges Visat, Paris.

Lot: 271 - LILL TSCHUDI Sledging.

LILL TSCHUDI Sledging. Color linoleum cut on Japan paper, 1931. 250x194 mm; 9⅞x7¾ inches, wide margins. Signed, titled, numbered 19/50 and inscribed "Handdruck" in pencil, lower margin. Coppel LT 17.

Lot: 272 - SYBIL ANDREWS Skaters.

SYBIL ANDREWS Skaters. Color woodcut on Japan paper, 1953. 210x385 mm; 8¼x15⅛ inches, full margins. Signed, titled and numbered 36/60 in pencil, upper right. Coppel 52.

Lot: 273 - HEINRICH CAMPENDONK Der Hirt mit der Grossen Ziege.

HEINRICH CAMPENDONK Der Hirt mit der Grossen Ziege. Color woodcut on Japan paper, 1920. 320x250 mm; 12⅝x9⅞ inches, full margins. Edition of approximately only 12. Signed in pencil, lower left. Söhn 47b.

Lot: 274 - WASSILY KANDINSKY Vignette bei 'Wirkung der Farbe'

WASSILY KANDINSKY Vignette bei 'Wirkung der Farbe' Woodcut on Japan paper, 1911. 53x149 mm; 2⅛x5⅞ inches, wide margins. Artist's proof, aside from the book edition of 1000. Published by R. Piper & Co., Munich. From Über das Geistige in der Kunst. Roethel 88. Provenance: Reinhard Piper, the publisher, Munich; Ellen Piper, the publisher's daughter, Munich.

Lot: 275 - WASSILY KANDINSKY Vignette bei 'Formen- und Farbensprache'

WASSILY KANDINSKY Vignette bei 'Formen- und Farbensprache' Woodcut, 1911. 158x40 mm; 6¼x1⅝ inches (sheet), wide margins. Artist's proof, aside from the book edition of 1000. Published by R. Piper & Co., Munich. From Über das Geistige in der Kunst. Roethel 89. Provenance: Reinhard Piper, the publisher, Munich; Ellen Piper, the publisher's daughter, Munich.

Lot: 276 - WASSILY KANDINSKY Lithographie Blau.

WASSILY KANDINSKY Lithographie Blau. Color lithograph, 1922. 220x150 mm; 8½x5⅞ inches, full margins. Edition of 100. Signed and inscribed "No. 26" in pencil, lower margin. Published by Nierendorf, Berlin. Roethel 163.

Lot: 277 - WASSILY KANDINSKY Kleine Welten XI.

WASSILY KANDINSKY Kleine Welten XI. Drypoint, 1922. 237x198 mm; 9⅜x7⅝ inches, wide margins. Edition of 200. Signed in pencil, lower right. Printed by Staatliches Bauhaus, Weimar. Published by Propyläen Verlag, Berlin. From the same-titled portfolio. Roethel 174.

Lot: 278 - WASSILY KANDINSKY Plate 11 from 23 Gravures.

WASSILY KANDINSKY Plate 11 from 23 Gravures. Drypoint, 1934. 233x197 mm; 9¼x7¾ inches, full margins. Edition of 50. Printed by Tanneur, Paris. Published by Éditions Orobitz et Cie., Paris. From 23 Gravures. Roethel 198.

Lot: 279 - PAUL KLEE Hoffmanneske Szene.

PAUL KLEE Hoffmanneske Szene. Color lithograph, 1921. 314x228 mm; 12⅜x9 inches, full margins. Second state (of 2). Edition of 100. Signed, dated, and inscribed with the work number "123" in pencil, lower center. From Bauhaus-Drucke. Neue europäische Graphik. Erste Mappe. Meister des Staatlichen Bauhauses in Weimar. Kornfeld 82.

Lot: 280 - JOHANNES ITTEN Haus des weißen Mannes.

JOHANNES ITTEN Haus des weißen Mannes. Lithograph, 1921. 255x245 mm; 10⅛x9¾ inches, wide margins. Edition of 110. Signed in pencil, lower right. From Bauhausmappe I.

Lot: 281 - LYONEL FEININGER Zug auf der Brücke.

LYONEL FEININGER Zug auf der Brücke. Woodcut on tissue paper, 1918. 92x116 mm; 3⅝x4⅝ inches, full margins. First state (of 2). Artist's proof, aside from the edition of 50. Signed and inscribed with the artist's work number "1866" in pencil, lower margin. From Zwölf Holzschnitte von Lyonel Feininger. Prasse 81.

Lot: 282 - OTTO DIX Internationaler Reitakt

OTTO DIX Internationaler Reitakt Drypoint, 1922. 400x295 mm; 15¾x11½ inches, full margins. Second state (of 2). Signed, titled and numbered 47/50 in pencil, lower margin. Published by the artist, Dresden. Karsch 37/II.

Lot: 283 - KÄTHE KOLLWITZ Zertretene.

KÄTHE KOLLWITZ Zertretene. Etching and aquatint on Chine appliqué, 1900. 230x194 mm; 9x7⅝ inches, wide margins. Second state 'c' (of 2). From the deluxe edition of approximately 11. Signed in pencil, lower right, and signed by the printer, Otto Felsing, in pencil, lower left. Klipstein 48; Knesebeck 49.

Lot: 284 - KÄTHE KOLLWITZ Tod mit Frau im Schoss.

KÄTHE KOLLWITZ Tod mit Frau im Schoss. Woodcut, 1921. 240x285 mm; 9⅜x11¼ inches, full margins. Hand-printed impression (reiberdruck), apart from the edition of 150 numbered impressions printed by F. Voigt. Signed by the artist and F. Voigt in pencil, lower margin. Klipstein 151 VI a (of b).

Lot: 285 - KÄTHE KOLLWITZ Selbstbildnis von vorn.

KÄTHE KOLLWITZ Selbstbildnis von vorn. Woodcut on cream wove paper, 1922-23. 151x155 mm; 5⅞x6⅛ inches, full margins. Fourteenth state (of 14). Edition of 275. Signed in pencil, lower right. Published by Emil Richter Verlag, Dresden. From Käthe Kollwitz, Griffelkunst und Weltanfchauung. Klipstein 168; Knesebeck 193.

Lot: 286 - KÄTHE KOLLWITZ Mutter mit Jungen.

KÄTHE KOLLWITZ Mutter mit Jungen. Lithograph, 1933. 355x210 mm; 14x8¼ inches, full margins. Edition of approximately 100. Signed in pencil, lower right. Klipstein 246; Knesebeck 258.

Lot: 287 - OSKAR KOKOSCHKA Blühender Apfelbaum.

OSKAR KOKOSCHKA Blühender Apfelbaum. Color lithograph, 1959. 460x630 mm; 18¼x24¾ inches, full margins. Signed and numbered 71/150 in pencil, lower margin. Printed by Wolfensberger, Zurich. Published by Marlborough Graphics Ltd., London, 1974. Wingler/Welz 514.

Lot: 288 - HENRI MATISSE Le Repos du Modèle.

HENRI MATISSE Le Repos du Modèle. Lithograph on Chine volant, 1922. 223x304 mm; 8¾x12 inches, full margins. First state (of 2), before the reduction of the subject at the left edge. Artist's proof, aside from the edition of 85. Published by Edmond Frapier, Galerie des Peintres-Graveurs, Paris. Duthuit 416.

Lot: 289 - HENRI MATISSE Odalisque Debout au Plateau de Fruits.

HENRI MATISSE Odalisque Debout au Plateau de Fruits. Lithograph, 1924. 375x277 mm; 14¾x10¾ inches, full margins. Artist's proof, aside from the edition of 50. Signed and inscribed "4/10 ep. d'artiste" in pencil, lower margin. Duthuit 444.

Lot: 290 - HENRI MATISSE Jeune fille aux boucles brunes.

HENRI MATISSE Jeune fille aux boucles brunes. Lithograph on Arches, 1924. 188x131 mm; 7¾x5⅛ inches, full margins. Artist's proof, aside from the edition of 100. Signed and inscribed "8/12 ep. d'artiste" in pencil, lower margin. Duthuit 448.

Lot: 291 - HENRI MATISSE Danseuse debout, accoudée.

HENRI MATISSE Danseuse debout, accoudée. Lithograph, 1925-26. 465x280 mm; 18¼x11 inches, full margins. Signed and numbered 128/130 in pencil, lower right. Published by Galerie d'Art Contemporain, Paris. From Dix danseuses. Duthuit 482.

Lot: 292 - HENRI MATISSE Nu assis—les yeux noirs.

HENRI MATISSE Nu assis—les yeux noirs. Drypoint, 1926. 200x120 mm; 8x4¾ inches, full margins. Signed and numbered 14/25 in pencil, lower right. Duthuit 97.

Lot: 293 - HENRI MATISSE Nu au Bracelet.

HENRI MATISSE Nu au Bracelet. Linoleum cut, 1940. 242x176 mm; 9⅝x7 inches, wide margins. Signed and numbered 17/50 in pencil, lower right. Duthuit 725.

Lot: 294 - MAURICE DE VLAMINCK (AFTER) Le Village d'Hérouville.

MAURICE DE VLAMINCK (AFTER) Le Village d'Hérouville. Color aquatint, 1923. 480x605 mm; 18⅞x23¾ inches, wide margins. Signed and numbered "W 162/200" in pencil, lower margin. Etched by Jacques Villon. Published by Galerie Bernheim-Jeune, Paris. Ginestet/Pouillon (Villon) 638.

Lot: 295 - GEORGES ROUAULT Auguste (Clown au chien).

GEORGES ROUAULT Auguste (Clown au chien). Color aquatint on Japan paper, 1934. 305x210 mm; 12x8¼ inches, full margins. The deluxe edition of only 35 on Japan paper, aside from the regular edition of 250 on wove paper. Printed by Lacourière, Paris. Published by Vollard, Paris. From Cirque de l'Etoile Filante. Chapon/Rouault 255; Wofsy 334.

Lot: 296 - GEORGES ROUAULT Pierrot.

GEORGES ROUAULT Pierrot. Color aquatint, 1935. 307x209 mm; 12⅛x8¼ inches, full margins. Edition of 280. Printed by Lacourière, Paris. Published by Vollard, Paris. From Cirque de l'Étoile Filante. Chapon/Rouault 253; Wofsy 332.

Lot: 297 - JOAN MIRÓ (AFTER) Après l'orage.

JOAN MIRÓ (AFTER) Après l'orage. Color lithograph, 1957. 450x535 mm; 17¾x21⅛ inches, full margins. An hors commerce impression, aside from the edition of 300. Signed and inscribed "HC" in pencil, lower margin. Published by Maeght, Paris. Maeght 1709.

Lot: 298 - JOAN MIRÓ La Bague du sanglier.

JOAN MIRÓ La Bague du sanglier. Color lithograph on Arches, 1967. 310x230 mm; 9x12¼ inches (sheet). Signed and numbered 56/100 in pencil, lower margin. From Hai-Ku. Printed by Arte Adrien Maeght, Paris. Published by Maeght, Paris. Mourlot 551.

Lot: 299 - JOAN MIRÓ La Captive.

JOAN MIRÓ La Captive. Color etching, aquatint and carborundum, 1969. 945x725 mm; 37¼x28½ inches (sheet), full margins. An hors commerce impression, aside from the edition of 75. Signed and inscribed "HC" in pencil, lower edge. Printed and published by Maeght, Paris. Dupin 489.

Lot: 300 - JOAN MIRÓ Le Bijou.

JOAN MIRÓ Le Bijou. Color etching, aquatint, carborundum and embossing, 1969. 230x286 mm; 9x11¼ inches, wide margins. Signed and numbered 38/75 in pencil, lower margin. Printed and published by Maeght, Paris. Dupin 491.

Lot: 301 - JOAN MIRÓ Une Telle et son petit mari.

JOAN MIRÓ Une Telle et son petit mari. Color etching, aquatint and carborundum, 1970. 500x655 mm; 25¾x19⅝ inches (sheet), full margins. Signed and numbered 73/75 in pencil, lower margin. Printed and published by Maeght, Paris. Dupin 540.

Lot: 302 - JOAN MIRÓ Lithographie pour l'Exposition Miró au Casino de Knokke-le-Zoute.

JOAN MIRÓ Lithographie pour l'Exposition Miró au Casino de Knokke-le-Zoute. Color lithograph, 1971. 563x764 mm; 22⅛x30 inches (sheet), full margins. Signed and numbered 38/75 in pencil, lower edge. Printed by Maeght, Paris. Published by Casino de Knokke-le-Zoute. Mourlot 756.

Lot: 303 - MARC CHAGALL Prière d' Ésaïe.

MARC CHAGALL Prière d' Ésaïe. Etching with hand coloring in watercolor, 1931-39. 325x248 mm; 12¾x9¾ inches, full margins. Initialed and numbered 15/100 in pencil, lower margin. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. Vollard 297.

Lot: 304 - MARC CHAGALL Anne invoque l'Eternel.

MARC CHAGALL Anne invoque l'Eternel. Etching with hand coloring in watercolor, 1931-39. 274x235 mm; 10⅞x9¼ inches, full margins. Edition of 105. Initialed and inscribed II/V in pencil, lower margin. Printed by Haasen, Paris. The project initiated by Vollard and published by Tériade, Paris. From Bible. Cramer 30; Vollard 256.

Lot: 305 - MARC CHAGALL Now the king loved science and geometry...

MARC CHAGALL Now the king loved science and geometry... Color lithograph, 1948. 680x285 mm; 14¾x11¼ inches, full margins. Signed, numbered 60/90 and inscribed "Pl. 10" in pencil, lower margin. Printed by Albert Carman, City Island, New York. Published by Pantheon Books Inc., New York. From Four Tales of the Arabian Nights. A very good impression with strong colors. Mourlot 45.

Lot: 306 - MARC CHAGALL Île Saint-Louis.

MARC CHAGALL Île Saint-Louis. Color lithograph, 1959. 510x670 mm; 20x26⅜ inches, full margins. Signed and numbered 73/75 in pencil, lower margin. Published by Maeght, Éditeur, Paris. Mourlot 225.

Lot: 307 - MARC CHAGALL Les Vendanges.

MARC CHAGALL Les Vendanges. Color lithograph, 1961. 421x320 mm; 16½x12⅝ inches (sheet), full margins. Edition of 250. Printed by Mourlot, Paris. Published by Tériade, Paris. From Daphnis & Chloé. Mourlot 322.

Lot: 308 - MARC CHAGALL (AFTER) Romeo and Juliet.

MARC CHAGALL (AFTER) Romeo and Juliet. Color lithograph, 1964. 640x993 mm; 25¼x39⅛ inches, full margins. The deluxe edition, before letters. Signed and numbered 163/200 in pencil, lower right. Printed by Mourlot, Paris. Published by the French Tourist Bureau, Paris. A superb impression of this large, important lithograph with vibrant colors. Sorlier 96.

Lot: 309 - MARC CHAGALL (AFTER) Romeo and Juliet.

MARC CHAGALL (AFTER) Romeo and Juliet. Color lithograph, 1964. 631x990 mm; 24⅞x38⅞ inches (sheet), full margins. Edition of 5000. Printed by Mourlot, Paris. Published by the French Tourist Bureau, Paris. Sorlier 96.

Lot: 310 - MARC CHAGALL (AFTER) Carmen.

MARC CHAGALL (AFTER) Carmen. Color lithograph, 1966. 1000x650 mm; 39¼x25½ inches (sheet), wide margins. Signed in green crayon and numbered 27/150 in white pencil, lower right. Printed by Mourlot, Paris. Published by Editions of the Metropolitan Opera, New York. Sorlier 39.

Lot: 311 - MARC CHAGALL A la femme, qu'est-il rest?.

MARC CHAGALL A la femme, qu'est-il rest?. Color lithograph, 1967. 460x385mm; 18¼x15¼ inches, full margins. Artist's proof, aside from the edition of 75. Printed by Mourlot, Paris. Published by Alain C. Mazo, Paris. From Sur la Terre des Dieux. Mourlot 536. Provenance: Galerie R. G. Michel, Paris (Lugt 5834, lower right).

Lot: 312 - GIORGIO DE CHIRICO Antichi Cavaliere e Villa.

GIORGIO DE CHIRICO Antichi Cavaliere e Villa. Color lithograph, 1954. 310x420 mm; 12⅜x16½ inches, wide margins. Signed, inscribed "E.E" and numbered 93/125 in pencil, lower margin. Printed by Igino Alessandrini, Rome. Published by Edizione Carlo Bestetti, Rome. From Cavalli e ville. Brandani 143.

Lot: 313 - JEAN COCTEAU Eve ou Tête de Frimas Goddess of Winter.

JEAN COCTEAU Eve ou Tête de Frimas Goddess of Winter. Color lithograph with white chalk on black paper, 1959. 363x250 mm; 14¼x10 inches, full margins. An hors commerce impression, aside from the edition of 197. Signed and inscribed "H.C" in white chalk, lower margin.

Lot: 314 - DOROTHEA TANNING Birthday (Self Portrait at Age 30).

DOROTHEA TANNING Birthday (Self Portrait at Age 30). Color offset lithograph. 573x363 mm; 22 1/2x14 1/4 inches, full margins. Signed and numbered 150/150 in pencil, lower margin. Based on Tanning's (1910-2012) oil on canvas, Birthday, 1942, now in the Philadelphia Museum of Art.

Lot: 315 - MAN RAY Julie.

MAN RAY Julie. Color aquatint, 1970. 400x303 mm; 15⅞x11¾ inches, full margins. Signed and numbered 67/90 in pencil, lower margin. Anselmino 9.

Lot: 316 - 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. Anselmino 95.

Lot: 317 - 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. Anselmino 105.

Lot: 318 - MAN RAY Cadeau.

MAN RAY Cadeau. Cast metal multiple, 1974. 165 mm; 6½ inches, height. Signed, titled and numbered 2382/5000 in white ink on the handle. Initialed and numbered 2382/5000 on the printed plastic justification card. Cast by the Mirano Foundry, Venice. Produced by Giorgio Barutti, Venice. Published by Luciano Anselmino, Turin.

Lot: 319 - KURT SELIGMANN The Beggars: Place Edmond Rostand.

KURT SELIGMANN The Beggars: Place Edmond Rostand. Etching, 1940. 231x195 mm; 9⅛x7¾ inches, full margins. Edition of 30. Signed, dated and inscribed "épreuve pour Clark Mills" in pencil, lower margin. With original paper folder, inscribed to Clark Mills and numbered 1 in ink.

Lot: 320 - SALVADOR DALÍ Les Chants de Maldoror.

SALVADOR DALÍ Les Chants de Maldoror. Heliogravure and etching, 1934. 310x200 mm; 12¼x7⅞ inches, full margins. The deluxe edition of 40 with the remarqué, before the published edition of 100 printed from the reduced plate. Published by Albert Skira, Paris. From the same-titled portfolio. Michler/Löpsinger 30; Field 34-2.

Lot: 321 - SALVADOR DALÍ Venus (La Naissance de Venus).

SALVADOR DALÍ Venus (La Naissance de Venus). Drypoint on Japon nacré, 1963-65. 495x395 mm; 19½x15½ inches, full margins. Signed and numbered XXXI/C in pencil, lower margin. Published by Éditions Argillet, Paris. From The Mythology. Michler/Löpsinger 117; Field 63-3 E.

Lot: 322 - SALVADOR DALÍ The Face in the Windmill.

SALVADOR DALÍ The Face in the Windmill. Color lithograph, 1965. 513x667 mm; 20¼x26¼ inches, full margins. Artist's proof, aside from the edition of 150. Signed and inscribed "E.A." in pencil, lower margin. Published by Sidney Z. Lucas, New York. Michler/Löpsinger 1146; Field 65-1.

Lot: 323 - SALVADOR DALÍ Drawers of Memory.

SALVADOR DALÍ Drawers of Memory. Lithograph, 1965. 510x790 mm; 20x31¼ inches, full margins. Signed and numbered 64/150 in pencil, lower margin. Printed by Hollander's Workshop, Inc., New York. Published by Sidney Z. Lucas, New York, with the ink stamp lower left. Michler/Löpsinger 1145; Field 65-2.

Lot: 324 - SALVADOR DALÍ San Francisco.

SALVADOR DALÍ San Francisco. Complete set of 5 color drypoints, 1970. 520x360 mm; 20½x14¼ inches, full margins. One of 75 Roman numeral copies, from a total edition of 235. Each print signed and numbered LXXII/LXXV in pencil, lower margin. Printed by Ateliers Rigal, Paris. Published by Jean Schneider, Basel. Original black linen portfolio folder. Michler/Löpsinger 435-39; Field 70-4.

Lot: 325 - SALVADOR DALÍ Symphony Bicyclette.

SALVADOR DALÍ Symphony Bicyclette. Color lithograph, 1970. 762x561 mm; 30⅛x22⅛ inches, full margins. Signed and numbered 190/200 in pencil, lower margin. A very good impression of this large, scarce lithograph. We have found only 7 other impressions at auction in the past 30 years. Field 70-4.

Lot: 326 - SALVADOR DALÍ Les Animaux Malades de la Peste.

SALVADOR DALÍ Les Animaux Malades de la Peste. Drypoint with stencil color on Japan nacré, 1974. 400x580 mm; 15¾x22⅝ inches, full margins. Signed and numbered 210/250 in pencil, lower margin. Printed by Ateliers Rigal, Paris. Published by Mouret, Paris. From Le Bestiaire de La Fontaine Dalinisé. Michler/Löpsinger 657; Field 74-1 D.

Lot: 327 - HENRY MOORE Mother and Child.

HENRY MOORE Mother and Child. Portfolio with title page and 8 color etchings on Arches, 1987. 380x325 mm; 15x12¾ inches (sheets), full margins, loose as issued. One of 50 numbered copies. Each signed, inscribed "PL" and numbered 1-8 and 50/50 in pencil, lower margin and numbered "50" in pencil on the justification page. Printed by James Collyer and John Crossley, London, with the blind stamp lower right. Published by Raymond Spencer Company Ltd., London, for the Henry Moore Foundation, Much Hadham. Original linen portfolio case.

Lot: 328 - MARINO MARINI Guerriero.

MARINO MARINI Guerriero. Color lithograph, 1968. 326x491 mm; 11⅞x19⅜ inches, full margins. Signed and numbered 9/50 in pencil, lower margin. Printed by Mourlot, Paris. Published by Société Internationale d'Art XXe Siècle, Paris. Guastalla LR.

Lot: 329 - MARINO MARINI Chevaux et Cavaliers III.

MARINO MARINI Chevaux et Cavaliers III. Color lithograph on Arches, 1972. 385x495 mm; 14⅞x19⅝ inches, full margins. Signed and inscribed "E.A." in pencil, lower margin. Printed by Mourlot, Paris. Published by Société Internationale d'Art XXe Siècle, Paris. Guastalla 106.

Lot: 330 - STANLEY W. HAYTER Maternité Ailée.

STANLEY W. HAYTER Maternité Ailée. Color etching and engraving on Rives BFK, 1948-53. 342x200 mm; 13½x7⅞ inches, full margins. Fourth state (of 4). Signed, titled, dated and numbered 43/50 in pencil, lower margin. Published by Graphics International, Washington, D.C. Black/Moorhead 187.

Lot: 331 - 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. Black/Moorhead 213.

Lot: 332 - MILTON AVERY Lamb.

MILTON AVERY Lamb. Color woodcut printed in yellow and black on Japan paper, 1954. 248x356 mm; 9¾x14 inches, full margins. Signed, dated and numbered 1/20 in pencil, lower margin. Lunn 58.

Lot: 333 - 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. Lunn 55.

Lot: 334 - MILTON AVERY Birds and Sea.

MILTON AVERY Birds and Sea. Woodcut printed in blue on Japan paper, 1955. 248x609 mm; 9¾x24 inches, full margins. Second state (of 3), printed in blue. Signed, dated and numbered 3/20 in ink, lower left, and dated in pencil, lower right. Lunn 60.

Lot: 335 - STUART DAVIS Ivy League.

STUART DAVIS Ivy League. Color screenprint, 1953. 126x202 mm; 5x8 inches, full margins. With the stencil signature, upper right. Published by Tiber Press, New York, with the ink stamp verso. Cole/Myers page 79.

Lot: 336 - PORTFOLIO American Abstract Artists 50th Anniversary Print Portfolio.

PORTFOLIO American Abstract Artists 50th Anniversary Print Portfolio. Portfolio with 44 lithographs and complete text, 1986. Each 325x250 mm; 12¾x9¾ inches (sheets), full margins, loose as issued. Each signed and numbered 45/140 in pencil, lower margin, and numbered on the justification page. Printed by Atelier Franck Bordas, Paris. Published by American Abstract Artists, New York. Original gray slipcase. Includes prints by ANUSZKIEWICZ, BARNET, DAPHNIS, FRELINGHUYSEN, HOPKINS, SLOBODKINA, and others.

Lot: 337 - LOUISE NEVELSON Night Garden.

LOUISE NEVELSON Night Garden. Etching and aquatint on Rives BFK, circa 1955. 373x451 mm; 14⅝x17¾ inches, full margins. Signed, titled and numbered 2/20 in in pencil, lower margin. Printed by Emiliano Sorini, New York, with the blind stamp lower right. Published by Hollander's Workshop, New York. Baro 18.

Lot: 338 - LOUISE NEVELSON The Stone Figure that Walks at Night.

LOUISE NEVELSON The Stone Figure that Walks at Night. Etching, aquatint and drypoint, 1953-55. 470x475 mm; 18½x18¾ inches, full margins. Signed, titled and numbered 1/20 in pencil, lower margin. Printed by Emiliano Sorini, New York. Published by Hollander's Workshop, New York. Baro 26.

Lot: 339 - ADOLPH GOTTLIEB Green Ground, Blue Disk.

ADOLPH GOTTLIEB Green Ground, Blue Disk. Color lithograph, 1966. 610x458 mm; 24x18 inches (sheet). Signed, dated and numbered 28/50 in white pencil, lower margin. Associated American Artists 37.

Lot: 340 - PHILIP GUSTON August.

PHILIP GUSTON August. Screenprint on Plexiglas, 1966. 765x1020 mm; 30x40 inches (sheet), full margins. Incised with signature and numbered 23/125, lower margin. Printed by Knickerbocker Machine & Foundry, Inc., New York. Published by Multiples Press, Inc., New York. From Four on Plexiglas. Semff 16.

Lot: 341 - PHILIP GUSTON Untitled (Open Washes).

PHILIP GUSTON Untitled (Open Washes). Lithograph on Arches, 1966. 519x727 mm; 20½x28⅝ inches, full margins. Signed, dated and numbered 7/20 in pencil, lower margin. Printed and published by Hollander's Workshop Inc., New York, with the blind stamp lower right. Semff 13.

Lot: 342 - ELLSWORTH KELLY Black Form.

ELLSWORTH KELLY Black Form. Lithograph on Rives BFK, 1967. 430x565 mm; 17x22⅛ inches (sheet), full margins. The bon à tirer impression, aside from the edition of 100. Signed and inscribed "bon à tirer in pencil, lower margin. Printed and published by Hollander's Workshop, New York, with the blind stamp lower right. From Portfolio 9. Axsom 60.

Lot: 343 - ROBERT MOTHERWELL Untitled (A la pintura).

ROBERT MOTHERWELL Untitled (A la pintura). Color soft-ground etching with aquatint, 1968-72. 254x405 mm; 10x16 inches (sheet), full margins. A unique trial proof, aside from the edition of 40. Initialed and inscribed "proof" and "1X69" in pencil, lower margin. Published by ULAE, West Islip, with the blind stamp lower left. See Belknap 82-102. Belknap notes: "There are over 240 unique trial proofs signed by Motherwell resulting from his four years' work on A la pintura."

Lot: 344 - ROBERT MOTHERWELL Gauloises Bleues (Raw Umber Edge).

ROBERT MOTHERWELL Gauloises Bleues (Raw Umber Edge). Color aquatint on Auvergne á la Main, 1971. 292x164 mm; 11½x6½ inches, wide margins. Signed and numbered 8/38 in pencil, lower right. Printed and published by ULAE, West Islip, with the blind stamp lower left. Belknap 70.

Lot: 345 - ROBERT MOTHERWELL Automatism Elegy (State II Buff).

ROBERT MOTHERWELL Automatism Elegy (State II Buff). Lithograph on buff Arches Cover, 1979-80. 125x254 mm; 4⅞x10 inches, full margins. Initialed and numbered 11/50 in pencil, lower left. Printed by Derrière l'Etoile Studios, New York. Published by Tyler Graphics, Ltd., Mount Kisco. Belknap 239.

Lot: 346 - RICHARD DIEBENKORN #9.

RICHARD DIEBENKORN #9. Etching on Rives BFK, 1964. 163x176 mm; 6⅜x7 inches, full margins. Initialed, titled, dated and numbered 23/25 in pencil, lower margin. Printed and published by Crown Point Press, Berkeley. From 41 Etchings Drypoints.

Lot: 347 - RICHARD DIEBENKORN #33 (Hillside Streets).

RICHARD DIEBENKORN #33 (Hillside Streets). Etching, aquatint and drypoint on Rives BFK, 1965. 300x253 mm; 11⅞x9⅞ inches, full margins. Initialed, titled, dated and numbered 21/25 in pencil, lower margin. Printed and published by Crown Point Press, Berkeley. From 41 Etchings Drypoints.

Lot: 348 - RICHARD DIEBENKORN #36.

RICHARD DIEBENKORN #36. Etching on Rives BFK, 1964. 217x290mm; 8½x11⅜ inches, full margins. Initialed, titled, dated and numbered 3/25 in pencil, lower margin. Printed and published by Crown Point Press, Berkeley. From 41 Etchings Drypoints.

Lot: 349 - RICHARD DIEBENKORN Woman Seated in an Armchair.

RICHARD DIEBENKORN Woman Seated in an Armchair. Lithograph on Rives BFK, 1965. 629x490 mm; 24¾x19⅜ inches, full margins. Initialed, dated, and numbered 75/100 in pencil, lower margin. Printed and published by Original Press, San Francisco, with the blind stamp lower left.

Lot: 350 - RICHARD DIEBENKORN Softground Splay.

RICHARD DIEBENKORN Softground Splay. Etching, 1982. 452x606 mm; 17⅞x23⅞ inches, full margins. Trial proof, aside from the edition of 35. Initialed, dated and inscribed "TP e" in pencil, lower margin. Printed and published by Crown Point Press, San Francisco, with the blind stamp lower right.

Lot: 351 - ALEXANDER CALDER Calder's Circus.

ALEXANDER CALDER Calder's Circus. Portfolio with 16 offset lithographs and complete text, 1964. 324x432 mm; 12¾x17 inches (sheets), loose as issued. Edition of 100. Co-published by Art in America and Perls Galleries, New York. Original linen portfolio. Based on Calder's pen and ink circus drawings from the 1930s.

Lot: 352 - ALEXANDER CALDER Spirale.

ALEXANDER CALDER Spirale. Color lithograph, circa 1970. 745x1080 mm; 29¼x42½ inches, full margins. Signed and numbered 37/45 in black crayon, lower margin.

Lot: 353 - MARK TOBEY October.

MARK TOBEY October. Color lithograph on Arches, 1970-71. 433x675 mm; 17x26½ inches, full margins. Signed, dated and numbered 171/200 in pencil, lower margin. Printed by Kurt Meier, Basel. Published by Galerie Beyeler, Basel.

Lot: 354 - MAURICE ESTÈVE Totelem.

MAURICE ESTÈVE Totelem. Color lithograph on Arches, 1955. 600x400 mm; 23¾x15¾ inches, full margins. Signed, dated and numbered 35/75 in pencil, lower margin. Prudhomme-Estève 122.

Lot: 355 - ESTEBAN VICENTE Untitled (E.V. #10).

ESTEBAN VICENTE Untitled (E.V. #10). Color lithograph, circa 1962. 409x515 mm; 16⅛x20¼ inches (sheet). Signed and inscribed "Presentation Proof" and "for Irwin" in pencil, lower right. Printed by Joseph Zirker at Tamarind Lithography Workshop Inc., Los Angeles, with the blind stamps lower right.

Lot: 356 - ESTEBAN VICENTE Untitled.

ESTEBAN VICENTE Untitled. Color lithograph on Arches, 1965. 570x490 mm; 22½x19⅛ inches (sheet), full margins. Artist's proof, aside from the edition of 40. Signed, dated and inscribed "Artist Proof" in pencil, lower margin. Printed by Hollander Workshop, New York, with the blind stamp lower right.

Lot: 357 - FRANK AUERBACH Reclining Figure I.

FRANK AUERBACH Reclining Figure I. Color screenprint on cream wove paper, 1966. 574x810 mm; 22½x32 inches, full margins. Signed and 8/70 in pencil, lower margin. Published by Marlborough Graphics, London. From Heads and Figures.

Lot: 358 - PIERRE ALECHINSKY Two offset color lithographs.

PIERRE ALECHINSKY Two offset color lithographs. Volcan dépeint, 1971. 630x450 mm; 24⅞x17¾ inches, full margins. Signed, titled, dated and numbered 203/300 in pencil, lower margin. Printed by Imprimerie Arte, Paris. Published by Jacques Putman for Suite Prisunic, Paris * Volcan décrit, 1971. 625x460 mm; 24⅜x18 inches, full margins. Signed, titled, dated and numbered 215/300 in pencil, lower margin. Printed by Imprimerie Arte, Paris. Published by Jacques Putman for Suite Prisunic, Paris. Rivière 501 and 502.

Lot: 359 - PIERRE ALECHINSKY Labyrinthes d'apparat.

PIERRE ALECHINSKY Labyrinthes d'apparat. Complete set of 5 color lithographs on Arches, with justification page and original printed cover folder, 1972. 758x543 mm; 29⅞x21⅜ inches (sheets), loose as issued. Each signed and numbered 97/100 in pencil, lower margin. Printed by Clot, Bramsen et Georges, Paris. Published by Atelier Clot, Paris, with the blind stamp on each sheet, lower right. Rivière 595, 596, 597, 600 and 601.

Lot: 360 - PIERRE ALECHINSKY Krach.

PIERRE ALECHINSKY Krach. Complete set of 5 color etchings with collage, 1973. Each 770x536 mm; 30¼x22⅛ inches (sheets), full margins. Artist's proofs, aside from the edition of 99. Each signed and numbered "I/XVI" in pencil, lower margin. Printed by Jean Clerté, Bougival. Published by Yves Rivière, Paris.

Lot: 361 - PIERRE ALECHINSKY Mannequin sur le Trottoir I & II.

PIERRE ALECHINSKY Mannequin sur le Trottoir I & II. Two color lithographs, 1974. Both 479x648 mm; 18⅞x25½ inches (sheets). Both signed and numbered 54/75 in pencil, lower margin.

Lot: 362 - ZAO WOU-KI Hommage à Penrose.

ZAO WOU-KI Hommage à Penrose. Color lithograph, 1981. 527x422 mm; 20¾x16⅝ inches, wide margins. Signed, dated and numbered 2/99 in pencil, lower margin. Published by Ediciones Polígrafa S.A., Barcelona. Ågerup 318.

Lot: 363 - ZAO WOU-KI Sans titre.

ZAO WOU-KI Sans titre. Color etching with aquatint, 1978. 280x480 mm; 11x19 inches, wide margins. Signed, dated and numbered 2/99 in pencil, lower margin. Printed by Atelier Lacourière et Frélaut, Paris. Published by Ediciones Polígrafa S.A., Barcelona. Ågerup 302.

Lot: 364 - KRISHNA REDDY Three Figures.

KRISHNA REDDY Three Figures. Color viscosity etching on Arches, 1967. 346x441 mm; 13⅝x17⅜, full margins. Signed and numbered 58/75 in pencil, lower margin. The Bronx Museum of the Arts 70.

Lot: 365 - JOSEPH CORNELL Untitled (Derby Hat) * Untitled (Landscape with Figure).

JOSEPH CORNELL Untitled (Derby Hat) * Untitled (Landscape with Figure). Two color photogravures, 1972. 335x262 mm; 13¼x10½ inches, full margins, and 328x258 mm; 12⅞x10⅛ inches, full margins. Both with the artist's signature ink stamp and Phoenix House estate stamp, lower right, and numbered 76/125 in pencil, lower left. Both from Prints for Phoenix House.

Lot: 366 - YOZO HAMAGUCHI Group of four mezzotints.

YOZO HAMAGUCHI Group of four mezzotints. California Cherry. Color mezzotint, 1987. 36x36 mm; 1½x1½ inches, full margins. Signed and numbered 99/350 in pencil, lower margin * Green Cherry. Color mezzotint, 1981-89. 80x60 mm; 3x2¼ inches, full margins. Signed and numbered 99/145 in pencil, lower margin * Blue Walnut. Color mezzotint on Chine collé, 1982-89. 90x90 mm; 3½x3½ inches, full margins. Signed and numbered 130/145 in pencil, lower margin * One and One Half. Color mezzotint, 1993. 57x36 mm; 2¼x1½ inches, full margins. Signed and numbered 99/150 in pencil, lower margin. Vorpal Gallery 122, 131 and136.