1 Albrecht Dürer German 1471-1528
The Glorification Of The Virgin, c1502/late 16th century impression.
Woodcut, monogrammed in block lower centre, 29.6 x 21cm. Old
horizontal fold, minor stains. Strong unbroken border.
Dürer's series The Life of the Virgin. Ref: Knappe #245;
Kurth #191. Held in The Met, NY.
2 Albrecht Dürer German 1471-1528
Christ Among The Doctors, c1503/18th century impression. Woodcut,
monogrammed in block lower centre, 29.9 x 20.7cm. Stains to image
upper right and lower portion, minor foxing overall, trimmed
Dürer's series The Life of the Virgin. Ref: Knappe #241;
Kurth #189. Held in Art Institute, Chicago.
3 Marcantonio Raimondi Italian c1480-c1534
After Albrecht Dürer (German, 1471-1528). Christ Among The
Doctors In The Temple, c1503/17th century impression. Engraving,
replica of Durer's monogram, and numbered "15" in plate
lower centre, 29.5 x 21cm. Minor foxing and creases overall,
pinholes, tears and perforations to margins.
Dürer's series The Life of the Virgin. Held in de Young
Museum, San Francisco. Albrecht Dürer was reported to have
been enraged by Marcantonio Raimondi's "copying" his
compositions and misleading use of his monogram. Dürer won
a court case in Venice against Raimondi, which only prevented
him from using Dürer's name and monogram. Prior to the court
case Raimondi was said to have sold his copies of Dürer's
series Life of the Virgin as original work by the master. Ref:
Witcombe, Copyright in the Renaissance
, Boston, 2004.
4 Albrecht Dürer German 1471-1528
The Birth Of The Virgin, c1503/18th century impression. Woodcut,
monogrammed in plate lower centre, 29.4 x 20.9cm. Missing portion
to upper left edge, minor stains, tipped to old backing.
Dürer's series The Life of the Virgin. Ref: Knappe #230.
Held in The Met, NY.
5 Albrecht Dürer German 1471-1528
Saints Stephen, Sixtus And Lawrence, c1505/17th century impression.
Woodcut, monogrammed in block lower centre, 21 x 14.1cm. Slight
foxing. A strong impression, with only two minor breaks in the
Knappe #224; Bartsch #108. Held in The Met, NY; and NGV, with
the inclusion of "Modest Woodcut 8." The term "modest"
was used by Dürer to attract a "lay audience"
unable to afford the price of his more elaborate woodcuts such
as those from The Life of the Virgin series.
6 Marcantonio Raimondi Italian c1480-c1534
After Albrecht Dürer (German, 1471-1528). The Presentation
Of Jesus To Simeon In The Temple, c1506. Engraving, replica of
Durer's monogram, and number "II" in plate lower left
and centre, 29.3 x 21.1cm. Pinholes, minor tears, creases and
stains to margins.
Second state of two.
Dürer's series The Life of the Virgin. Held in V&A.
Albrecht Dürer was reported to have been enraged by Marcantonio
Raimondi's "copying" his compositions and misleading
use of his monogram. Dürer won a court case in Venice against
Raimondi, which only prevented him from using Dürer's name
and monogram. Prior to the court case Raimondi was said to have
sold his copies of Dürer's series Life of the Virgin as
original work by the master. Ref: Witcombe, Copyright in the
, Boston, 2004.
7 Albrecht Dürer German 1471-1528
Saint Veronica Between Saints Peter And Paul, 1510/c1612. Woodcut,
dated and monogrammed in block upper and lower centre, numbered
"XXII" and annotated in Latin in ink in an unknown
hand in upper and lower margins, letterpress text in Latin verso,
12.8 x 9.7cm. Minor foxing and creases to margins, tipped to
Dürer's series The Small Passion. Published by Daniel Bissuccio,
Venice. Ref: British Museum; Kurth #244, with alternate title
The Sudarium of Saint Veronica. Held in The Met, NY. The margins
of this print are unusually generous, measuring approximately
1.3cm to 2.7cm.
8 Lucas Cranach
the Elder German c1472-1553
Hans Sachs Alter 51 Jar [51 Years Old], 1545/c1600. Woodcut,
dated and titled in block lower left to right, 31.6 x 28.1cm.
Repairs and slight stains to image, minor tear to left edge.
Good impression with complete borders, with only minor breaks.
British Museum. Hans Sachs (1494-1576) was a German meistersinger,
poet, playwright and shoemaker. Sachs became the subject of Richard
Wagner's opera Die Meistersinger von Nürnberg (The Mastersingers
of Nuremberg), first performed in 1868. Ref: Wiki.
9 Jacques Callot French c1592-1635
Varie Figure Gobbi Di Jacopo Callot, c1616/1621-1625. Set of
20 etchings including frontispiece, mounted together, titled
and dated "1616" in frontispiece, each image numbered
in plate lower right, 7 x 9cm (approx. each). All trimmed to
platemarks, some with minor tears, stains or repaired corners.
Text in frontispiece
continues "fatto in Firenza l'anno 1616. I. silvestra ex.
Cum priuil Regis. Excudit Nanceij." 2nd state, missing plate
number 1. Originally a set of twenty-one plates (a title and
twenty representations of dwarfs). Although the title is dated
1616 on plate, most modern scholars think the compositions were
designed in Florence, but engraved and published in Nancy, France
at a later date. The engravings depict a troupe of grotesque
dwarf entertainers known as Les Gobbi. They performed in Italy
for the Medici Court when Callot was working there recording
court entertainment. Dwarfs would have been regarded as amusing,
and a troupe dancing and singing would have been a great novelty
in the 17th century. Ref: V&A; British Museum; Lieure #279,
The set $2,900
10 Rembrandt Dutch 1606-1669
Adam And Eve, 1638/c1796. Etching, signed "Rembrandt f."
and dated in plate lower centre, 17 x 13.1cm. Trimmed platemarks.
impression is by Pierre Francois Basan (1723-1797) from the original
plate. Ref: Rijksmuseum; White & Boon #B28.
11 Rembrandt Dutch 1606-1669
Three Oriental Figures, 1641/1868. Etching, signed and dated
in plate upper right, 14.4 x 11.3cm. Minor foxing to margins,
old mount burn.
in Hamerton's book in 1868 from the original plate. Ref: Bartsch
#118, 2nd state; Hind #183, listed as Jacob and Laban. A crisp,
clean impression with wide margins.
12 After Thomas
Spencer British 1700-1763/67
The Portraiture Of Crab [Arabian] Late The Property Of The Right
Hon. The Earl Of Portmore, 1755. Hand-coloured mezzotint, artist,
title, text and date in plate below image, 31 x 35.3cm. Minor
scratch in image lower left, cracks and slight stains to lower
platemark and margin.
includes "Spencer del. These sets of prints are sold by
the proprietor Tho's Spencer & Rob't Clee in Panton St near
Leicesterfields. Houston fecit. Upon the 29th of May 1729 in
running for the 80 Guinea Purse at Stamford after winning thee
first heat with ease, he was violently lam'd in the Second Heat
& has never run after but kept as a Stallion to his Death.
Publish'd 10 March 1755 as the Act directs." Held in British
13 After Jean Michel
Moreau the Younger French
Reception De L'Auteur Chez Hassan Tchaousch-Oglou, 1782. Engraving,
text including "pl. 75", artist and title in plate
above and below image, 25.7 x 36.9cm. Crease to centre of image,
minor tears, missing portions, stains and creases to margins.
in French reads "Dessiné par J.M. Moreau le Jeune
d'apres les croquis de l'auteur. Gravé par A.J. Duclos.
APDR." Depicts Choiseul-Gouffier's audience with Hassan
Tchaousch-Oglou, an Ottoman official responsible for areas around
the Troad. Choiseul-Gouffier asked for his support in obtaining
antiquities. Ref: Thomasson, The Life of J.D. Akerblad, 2013.
Held in Aristotle University of Thessaloniki (Greece).
14 After Henry Fuseli British 1741-1825
engraved by Peltro Williams Tomkins British 1760-1840
Prince Arthur's Vision, 1788. Stipple engraving, artist and title
in plate below image, 48.9 x 35.9cm. Trimmed platemarks, slight
stains and paper loss to upper and lower centre, and minor tears
to right edge of image, discolouration and slight cockling below
reads "H. Fuseli pinx. P.W. Tomkins Sculpt., late pupil
of F. Bartolozzi. / No. 1 of the British poets. Vide Spencers
[sic] Fairy Queen." Image depicts "Prince Arthur, from
Edmund Spenser's The
Faerie Queen. The sleeping prince is visited by a vision of Gloriana,
a poetic evocation of Elizabeth I, whom the artist imagines dressed
in fashionable late-18th century garb and attended by spirits."
Ref: The Met, NY; AGNSW.
15 Anon. [Cut-throat Razor Sellers] c1790s
Etching, 26.7 x 21.1cm. Trimmed platemark, discolouration, slight
tears and missing portions to l eft edge.
or "cut-throat" razors, consisting of a blade that
can fold into a handle, were first listed by Sheffield in England
in 1680. By 1740 they were made with cast steel and decorative
16 Francisco de
Goya Spanish 1746-1828
Que Valor! (What Courage!), c1814/1863. Etching with aquatint,
plate number "7" and titled in plate above and below
image, 15.3 x 20.5cm. Slight foxing overall, minor cockling,
old mount burn.
in National Galleries, Scotland, with the comment "This
print is notable among Goya's Disasters of War etchings as being
one of the few to depict a well-known event. It shows the heroism
of a woman named Augustina Zaragoza (also known as Agustina de
Aragon) during the 1807 Napoleonic siege of Saragossa. She is
shown standing on the bodies of fallen Spanish artillerymen as
she fires a canon at the French army."
17 Attrib. David
Roberts British 1796-1864
Park Of Nice; View Of Nice From The Mouth Of The River Paglion
[sic]; and [View Of Beachfront In Nice, France], 1816. Double-sided
watercolour with ink and pencil, one image in panorama format
with two images verso titled, dated "March 1st" or
"March 17th, 1816" with obscured signature "D.
" in ink lower right, 18.7 x 16.9cm (panorama).
Old vertical fold, missing portions to corners and fold, pinholes,
slight foxing and stains.
From a sketchbook.
The River Paillon, also known as the Paglione, runs through Nice
into the Mediterranean Sea. Ref: Wiki.
18 William Blake British 1777-1827
Satan Smiting Job With Sore Boils, 1825/1874. Engraving, plate
number "6", captioned and signed with publisher's line
and date in plate above and below image, 21.6 x 17.1cm. Minor
foxing to lower portion of image and stains to margins.
reads "Naked came I out of my mother's womb & naked
shall I return thither. The Lord gave & the Lord hath taken
away. Blessed be the name of the Lord. And smote Job with sore
Boils from the sole of his foot to the crown of his head."
Publishing line reads "London, as Act directs published
March 8, 1825 by William Blake, No. 3, Fountain Court, Strand."
From Illustrations to 'The Book of Job' (Old Testament). Blake
saw Job's trials and eventual spiritual rebirth as parallels
to the creative struggles of the artist. Held in Tate Gallery.
19 Anon. Hall-Oberosterr [Bad Hall, Upper Austria]
Graphite with coloured pencil and white highlight, signed "S.
Gurnen [?]" with illegible annotation lower right and titled
in pencil verso, 16.4 x 21.5cm (paper). Minor discolouration,
tears to upper right edge.
20 Samuel Dukinfield
Swarbreck British 1798-1866
The Regent's Bridge, Waterloo Place, Edinburgh, 1837. Tinted
lithograph with hand-colouring, signed, dated "Oct. 1837"
and titled in image lower left to right, 29.9 x 42cm. Minor foxing
to upper and left edge of image, old mount burn.
21 After Francis
William Edmonds American
...engraved by Alfred Jones American 1819-1900
Sparking, 1839/1845 Engraving, artist and date "1839"
in image lower right, engraver, title and date in plate below
image, 32.8 x 42.8cm (image). Trimmed platemark, repaired tears
and creases to image upper right, creases, slight tears and missing
portions to margins. Laid down on acid-free backing.
reads "Engraved by Alfred Jones. From a painting by F.W.
Edmonds in the possession of F.J. Betts Esq. Published by the
American Art Union exclusively for the members, 1844. Entered
according to Act of Congress in the year 1845 by American Art
Union in the Clerk's Office of the U.S. District Court for the
Southern District of New York. Printed by Burton." Held
in Library of Congress.
22 Anon. [View Of Naples With Mount Vesuvius] c1850s
Watercolour and pencil, annotated "Lady Selina Hinde"
in pencil verso, 25.4 x 42.1cm. Foxing to centre and upper portion,
discolouration and old glue stains to edges.
23 James McNeill
Whistler Amer./Brit. 1834-1903
Sketches On The Coast Survey Plate, 1854-1855. Etching, initialled
in plate upper centre, 14.5 x 26cm. Minor foxing overall, slight
tears, perforations and stains to margins, old mount burn.
in The Met, NY, with the comment "Whistler made his first
etching while employed as a draftsman at the U.S. Coast and Geodetic
Survey in Washington, D.C., between 1854 and 1855. A staff member
taught him the technique and supplied him with a copper plate,
on which he etched topographic renderings of coastlines, then
sketched freely drawn figures, and an oval vignette representing
'Mrs. Partington and Ike'-characters from a Mark Twain story.
The hooded hidalgo, or minor Spanish nobleman, at upper right
is likely a self-portrait that hints at the artist's bubbling
ambition. Within a few months, he would be in Paris, pursing
an artistic career."