Old Master Prints from a Private American Collection

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Lot 1
MARTIN SCHONGAUER
The Fourth Wise Virgin.

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Lot 2
MARTIN SCHONGAUER
Christ Enthroned, with two Angels.

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Lot 3
MARTIN SCHONGAUER
The Crucifixion.

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Lot 4
MASTER AG
The Entombment.

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Lot 5
ISRAEL VAN MECKENEM
Christ before Pilate.

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Lot 6
WENZEL VON OLMUTZ
St. Christopher.

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Lot 7
ALBRECHT DÜRER
St. John the Baptist and St. Onuphrius.

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Lot 8
ALBRECHT DÜRER
Coat-of-Arms with a Lion and a Cock.

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Lot 9
ALBRECHT DÜRER
Coat-of-Arms with a Skull.

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Lot 10
ALBRECHT DÜRER
The Mocking of Christ.

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Lot 11
ALBRECHT DÜRER
The Crucifixion.

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Lot 12
JOHANNES WIERICX (AFTER DÜRER)
Melencolia I.

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Lot 13
ALBRECHT DÜRER (AFTER)
Knight, Death and the Devil.

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Lot 14
HIERONYMUS HOPFER (AFTER DÜRER)
The Abduction of Proserpine.

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Lot 15
DANIEL HOPFER
The Death of Lucretia.

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Lot 16
HANS SEBALD BEHAM
Adam and Eve.

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Lot 17
MAARTEN VAN HEEMSKERCK (AFTER)
Christ Carrying the Cross.

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Lot 18
REMBRANDT VAN RIJN
The Descent from the Cross by Torchlight.

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Lot 19
REMBRANDT VAN RIJN
Jan Uytenbogaert, The Goldweigher.

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Lot 20
REMBRANDT VAN RIJN
The Star of Kings: A Night Piece.

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Lot 21
GIOVANNI B. CASTIGLIONE
The Bodies of Saints Peter and Paul Hidden in the Catacomb.

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Lot 22
GIOVANNI B. PIRANESI
The Well.

Old Master Prints, Section I, Various Collectors

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Lot 23
ISRAEL VAN MECKENEM
St. Barbara.

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Lot 24
GIOVANNI ANTONIO DA BRESCIA (AFTER MANTEGNA)
Four Women Dancing.

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Lot 25
ALBRECHT DÜRER
The Ill-Assorted Couple.

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Lot 26
ALBRECHT DÜRER
The Cook and his Wife.

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Lot 27
ALBRECHT DÜRER
The Dream of the Doctor.

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Lot 28
ALBRECHT DÜRER
The Holy Faily with the Three Hares.

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Lot 29
ALBRECHT DÜRER
Samson Fighting with the Lion.

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Lot 30
ALBRECHT DÜRER
St. Michael Fighting the Dragon.

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Lot 31
ALBRECHT DÜRER
The Nemesis.

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Lot 32
ALBRECHT DÜRER
St. Eustace.

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Lot 33
ALBRECHT DÜRER
Pilate Washing His Hands.

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Lot 34
ALBRECHT DÜRER
Christ in Limbo.

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Lot 35
ALBRECHT DÜRER
Pentecost.

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Lot 36
ALBRECHT DÜRER
The Madonna on the Crescent.

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Lot 37
ALBRECHT DÜRER
The Betrothal of the Virgin.

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Lot 38
ALBRECHT DÜRER
The Nativity * The Circumcision.

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Lot 39
ALBRECHT DÜRER
Knot with a White Disk.

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Lot 40
ALBRECHT DÜRER
The Mass of St. Gregory.

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Lot 41
ALBRECHT DÜRER
Christ on the Mount of Olives.

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Lot 42
ALBRECHT DÜRER
Christ before Caiaphas.

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Lot 43
ALBRECHT DÜRER
The Flagellation.

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Lot 44
ALBRECHT DÜRER
Christ on the Cross.

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Lot 45
ALBRECHT DÜRER
The Resurrection.

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Lot 46
ALBRECHT DÜRER
Melencolia I.

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Lot 47
ALBRECHT DÜRER
Philip Melanchthon.

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Lot 48
ALBRECHT DÜRER (AFTER)
Adam and Eve.

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Lot 49
LEONARDO DA VINCI (AFTER)
Disegni di Leonardo da Vinci, Incisi sugli Originali da Carlo Giuseppe Gerli.

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Lot 50
LUCAS VAN LEYDEN
Joseph Telling His Dream to Jacob.

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Lot 51
LUCAS VAN LEYDEN
The Poet Virgil Suspended in a Basket.

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Lot 52
GEORG PENCZ
The Magician Virgil Suspended in the Basket.

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Lot 53
HEINRICH ALDEGREVER
The Judgment of Solomon.

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Lot 54
HEINRICH ALDEGREVER
Latin Alphabet on a Richly Decorated Plate Between Two Genii.

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Lot 55
HEINRICH ALDEGREVER
Adam with a Lion.

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Lot 56
HANS SEBALD BEHAM
The Expulsion from Paradise.

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Lot 57
HANS SEBALD BEHAM
The Virgin and Child with the Parrot.

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Lot 58
HANS BALDUNG GRIEN
The Last Judgment.

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Lot 59
HANS BALDUNG GRIEN
Group of Seven Wild Horses.

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Lot 60
JOHANN LADENSPELDER
Venus and Cupid.

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Lot 61
ALLAERT CLAESZ
St. Mary Egyptiaca, Carried Away by Four Angels.

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Lot 62
MARCANTONIO RAIMONDI (AFTER RAPHAEL)
The Judgment of Paris.

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Lot 63
GIOVANNI B. GHISI (AFTER GIULIO ROMANO)
The Trojans Repelling the Greeks.

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Lot 64
GIORGIO GHISI (AFTER GIULIO ROMANO)
The Death of Procris.

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Lot 65
NICOLÒ BOLDRINI (AFTER TITIAN)
Samson and Delilah.

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Lot 66
AGOSTINO CARRACCI
Mercury and the Three Graces.

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Lot 67
PHILIPS GALLE (AFTER HEEMSKERCK)
The Parable of the Prodigal Son.

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Lot 68
JAN GOSSAERT (AFTER)
The Head of John the Baptist is Brought to Herod at the Feast.

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Lot 69
HENDRICK GOLTZIUS
The Saved Souls Entering Heaven.

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Lot 70
HENDRICK GOLTZIUS
Demogorgon in the Cave of Eternity (The Magician).

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Lot 71
AEGIDIUS SADELER II
Portrait of Bartholomeus Spranger with an Allegory on the Death of His Wife, Christina Müller.

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Lot 72
JACQUES CALLOT
La Grande Chasse.

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Lot 73
ANTHONY VAN DYCK
Christ Crowned with Thorns.

Rembrandt van Rijn, Etchings from a Private European Collection

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Lot 74
REMBRANDT VAN RIJN
The Artist's Mother, Head and Bust: Three-Quarters Right.

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Lot 75
REMBRANDT VAN RIJN
A Man Crying Out, Three-Quarters Left: Bust.

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Lot 76
REMBRANDT VAN RIJN
Old Beggar Woman with a Gourd.

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Lot 77
REMBRANDT VAN RIJN
Turbaned Soldier on Horseback.

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Lot 78
REMBRANDT VAN RIJN
The Small Lion Hunt (with One Lion).

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Lot 79
REMBRANDT VAN RIJN
The Small Lion Hunt (with Two Lions).

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Lot 80
REMBRANDT VAN RIJN
Beggar Seated Warming his Hands at a Chafing Dish.

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Lot 81
REMBRANDT VAN RIJN
Beggar Man and a Beggar Woman Conversing.

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Lot 82
REMBRANDT VAN RIJN
Man in Coat and Fur Cap Leaning against a Bank.

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Lot 83
REMBRANDT VAN RIJN
Beggar with a Wooden Leg.

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Lot 84
REMBRANDT VAN RIJN
Christ Disputing with the Doctors: Small Plate.

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Lot 85
REMBRANDT VAN RIJN
Woman with a High Headdress Wrapped around the Chin: Bust.

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Lot 86
REMBRANDT VAN RIJN
The White Negress.

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Lot 87
REMBRANDT VAN RIJN
Bust of a Man Wearing a High Cap, Three-Quarters Right: The Artist's Father (?).

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Lot 88
REMBRANDT VAN RIJN
The Artist's Mother with her Hand on her Chest: Small Bust.

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Lot 89
REMBRANDT VAN RIJN
The Artist's Mother Seated, in an Oriental Headdress: Half Length.

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Lot 90
REMBRANDT VAN RIJN
Old Man with Beard, Fur Cap and Velvet Cloak.

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Lot 91
REMBRANDT VAN RIJN
The Persian.

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Lot 92
REMBRANDT VAN RIJN
The Raising of Lazarus: The Larger Plate.

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Lot 93
REMBRANDT VAN RIJN
The Descent from the Cross: Second Plate.

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Lot 94
REMBRANDT VAN RIJN
Self Portrait in a Cap and Scarf with the Face Dark: Bust.

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Lot 95
REMBRANDT VAN RIJN
Jan Cornelis Sylvius.

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Lot 96
REMBRANDT VAN RIJN
The Angel Appearing to the Shepherds.

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Lot 97
REMBRANDT VAN RIJN
Joseph's Coat Brought to Jacob.

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Lot 98
REMBRANDT VAN RIJN
Christ and the Woman of Samaria among Ruins.

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Lot 99
REMBRANDT VAN RIJN
Joseph and Potiphar's Wife.

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Lot 100
REMBRANDT VAN RIJN
Christ at Emmaus: The Smaller Plate.

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Lot 101
REMBRANDT VAN RIJN
The Tribute Money.

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Lot 102
REMBRANDT VAN RIJN
The Stoning of St. Stephen.

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Lot 103
REMBRANDT VAN RIJN
The Strolling Musicians.

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Lot 104
REMBRANDT VAN RIJN
St. Jerome Kneeling in Prayer, Looking Down.

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Lot 105
REMBRANDT VAN RIJN
The Crucifixion: Small Plate.

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Lot 106
REMBRANDT VAN RIJN
The Pancake Woman.

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Lot 107
REMBRANDT VAN RIJN
Bald Old Man with a Short Beard, in Profile Right.

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Lot 108
REMBRANDT VAN RIJN
Old Bearded Man in a High Fur Cap, with Eyes Closed.

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Lot 109
REMBRANDT VAN RIJN
The First Oriental Head.

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

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Lot 111
REMBRANDT VAN RIJN
Menasseh Ben Israel.

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Lot 112
REMBRANDT VAN RIJN
Studies of the Head of Saskia and Others.

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Lot 113
REMBRANDT VAN RIJN
Three Heads of Women: One Asleep.

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Lot 114
REMBRANDT VAN RIJN
Young Man in a Velvet Cap (Petrus Sylvius ?).

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Lot 115
REMBRANDT VAN RIJN
The Return of the Prodigal Son.

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Lot 116
REMBRANDT VAN RIJN
Abraham Caressing Isaac.

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Lot 117
REMBRANDT VAN RIJN
Abraham Casting out Hagar and Ishmael.

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Lot 118
REMBRANDT VAN RIJN
Joseph Telling his Dreams.

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Lot 119
REMBRANDT VAN RIJN
Self Portrait in a Velvet Cap with Plume.

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Lot 120
REMBRANDT VAN RIJN
Jan Uytenbogaert, "The Goldweigher".

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Lot 121
REMBRANDT VAN RIJN
The Death of the Virgin.

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Lot 122
REMBRANDT VAN RIJN
Old Man Shading his Eyes with his Hand.

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Lot 123
REMBRANDT VAN RIJN
The Artist Drawing from the Model ('Het Beeldt van Pigmalion').

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Lot 124
REMBRANDT VAN RIJN
Old Woman in Profile (from Sheet of Studies, with a Woman Lying Ill in Bed).

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Lot 125
REMBRANDT VAN RIJN
Peasant in a High Cap, Standing Leaning on a Stick.

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Lot 126
REMBRANDT VAN RIJN
Old Man with a Divided Fur Cap.

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Lot 127
REMBRANDT VAN RIJN
The Beheading of St. John the Baptist.

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Lot 128
REMBRANDT VAN RIJN
The Beheading of St. John the Baptist.

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Lot 129
REMBRANDT VAN RIJN
The Presentation in the Temple: Oblong Print.

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Lot 130
REMBRANDT VAN RIJN
The Baptism of the Eunuch.

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Lot 131
REMBRANDT VAN RIJN
The Angel Departing from the Family of Tobias.

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Lot 132
REMBRANDT VAN RIJN
Three Oriental Figures (Jacob and Laban ?).

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Lot 133
REMBRANDT VAN RIJN
A Hurdy-Gurdy Player Followed by Children at the Door of a House ("The Schoolmaster").

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Lot 134
REMBRANDT VAN RIJN
A Hurdy-Gurdy Player Followed by Children at the Door of a House ("The Schoolmaster").

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Lot 135
REMBRANDT VAN RIJN
Man Drawing from a Cast.

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Lot 136
REMBRANDT VAN RIJN
The Card Player.

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Lot 137
REMBRANDT VAN RIJN
Man at a Desk Wearing a Cross and Chain.

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Lot 138
REMBRANDT VAN RIJN
Cornelis Claesz Anslo, Preacher.

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Lot 139
REMBRANDT VAN RIJN
Christ Crucified between the Two Thieves: An Oval Plate.

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Lot 140
REMBRANDT VAN RIJN
The Raising of Lazarus: Small Plate.

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Lot 141
REMBRANDT VAN RIJN
Self Portrait in a Flat Cap and Embroidered Dress.

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Lot 142
REMBRANDT VAN RIJN
St. Jerome in a Dark Chamber.

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Lot 143
REMBRANDT VAN RIJN
Student at a Table by Candlelight.

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Lot 144
REMBRANDT VAN RIJN
The Hog.

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Lot 145
REMBRANDT VAN RIJN
The Rest on the Flight into Egypt: A Night Piece.

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Lot 146
REMBRANDT VAN RIJN
Abraham and Isaac.

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Lot 147
REMBRANDT VAN RIJN
Beggar Woman Leaning on a Stick.

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Lot 148
REMBRANDT VAN RIJN
Nude Man Seated and Another Standing with a Woman and a Baby.

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Lot 149
REMBRANDT VAN RIJN
Nude Man Seated and Another Standing with a Woman and a Baby.

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Lot 150
REMBRANDT VAN RIJN
Nude Man Seated on the Ground with One Leg Extended.

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Lot 151
REMBRANDT VAN RIJN
Self Portrait Etching at a Window.

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Lot 152
REMBRANDT VAN RIJN
Jews in the Synagogue.

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Lot 153
REMBRANDT VAN RIJN
Jan Asselijn, Painter ("Krabbetje").

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Lot 154
REMBRANDT VAN RIJN
Landscape with a Cow Drinking.

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Lot 155
REMBRANDT VAN RIJN
The Bathers ("De Zwemmertjes").

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Lot 156
REMBRANDT VAN RIJN
The Flight into Egypt: A Night Piece.

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Lot 157
REMBRANDT VAN RIJN
The Star of Kings: A Night Piece.

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Lot 158
REMBRANDT VAN RIJN
Clement de Jonghe, Printseller.

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Lot 159
REMBRANDT VAN RIJN
Peasant Family on the Tramp.

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Lot 160
REMBRANDT VAN RIJN
David in Prayer.

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Lot 161
REMBRANDT VAN RIJN
The Agony in the Garden.

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Lot 162
REMBRANDT VAN RIJN
A Scholar in his Study ("Faust").

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Lot 163
REMBRANDT VAN RIJN
The Flight into Egypt: Crossing a Brook.

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Lot 164
REMBRANDT VAN RIJN
The Virgin and Child with the Cat and Snake.

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Lot 165
REMBRANDT VAN RIJN
The Adoration of the Shepherds: with the Lamp.

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Lot 166
REMBRANDT VAN RIJN
The Circumcision in the Stable.

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Lot 167
REMBRANDT VAN RIJN
Christ Seated Disputing with the Doctors.

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Lot 168
REMBRANDT VAN RIJN
The Ringball Player ('Het Klosbaantje').

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Lot 169
REMBRANDT VAN RIJN
The Descent from the Cross by Torchlight.

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Lot 170
REMBRANDT VAN RIJN
Pieter Haaringh ("Young Haaringh").

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Lot 171
REMBRANDT VAN RIJN
Jan Lutma, Goldsmith.

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Lot 172
REMBRANDT VAN RIJN
The Adoration of the Shepherds: A Night Piece.

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Lot 173
REMBRANDT VAN RIJN
Abraham Francen, Apothecary.

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Lot 174
REMBRANDT VAN RIJN
Christ and the Woman of Samaria: An Arched Print.

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Lot 175
REMBRANDT VAN RIJN
Lieven Willemsz van Coppenol, Writing Master: The Larger Plate.

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Lot 176
REMBRANDT VAN RIJN
Reclining Female Nude ("La Negresse Couché").

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Lot 177
REMBRANDT VAN RIJN
Woman Bathing her Feet at a Brook.

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Lot 178
REMBRANDT VAN RIJN
Peter and John Healing the Cripple at the Gate of the Temple.

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Lot 179
REMBRANDT VAN RIJN
Jan Antonides van der Linden.

Old Master Prints, Section II, Various Collectors

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Lot 180
REMBRANDT VAN RIJN
Jan Cornelis Sylvius, Preacher.

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Lot 181
REMBRANDT VAN RIJN
The Circumcision: Small Plate.

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Lot 182
REMBRANDT VAN RIJN
Self Portrait with Cap Pulled Forward.

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Lot 183
REMBRANDT VAN RIJN
Bust of a Man Wearing a High Cap, Three-Quarters Right (The Artist's Father ?).

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Lot 184
REMBRANDT VAN RIJN
Man in Coat and Fur Cap Leaning against a Bank.

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Lot 185
REMBRANDT VAN RIJN
Beggar with a Wooden Leg.

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Lot 186
REMBRANDT VAN RIJN
The Rat Catcher.

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Lot 187
REMBRANDT VAN RIJN
Jupiter and Antiope: Smaller Plate.

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Lot 188
REMBRANDT VAN RIJN
Self Portrait in a Cap and Scarf with the Face Dark: Bust.

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Lot 189
REMBRANDT VAN RIJN
Self Portrait with Plumed Cap and Lowered Sabre.

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Lot 190
REMBRANDT VAN RIJN
A Peasant Calling Out: 'Tis Vinnich Hout'; A Peasant Replying 'Dats Niet'.

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Lot 191
REMBRANDT VAN RIJN
The Quacksalver.

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Lot 192
REMBRANDT VAN RIJN
Jan Uytenbogaert, Preacher of the Remonstrants.

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Lot 193
REMBRANDT VAN RIJN
Christ before Pilate: Large Plate.

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Lot 194
REMBRANDT VAN RIJN
Self Portrait with Saskia.

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Lot 195
REMBRANDT VAN RIJN
Death Appearing to a Wedded Couple from an Open Grave.

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Lot 196
REMBRANDT VAN RIJN
The Death of the Virgin.

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Lot 197
REMBRANDT VAN RIJN
Old Man Shading his Eyes with his Hand.

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Lot 198
REMBRANDT VAN RIJN
St. Jerome in a Dark Chamber.

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Lot 199
REMBRANDT VAN RIJN
Christ Receiving the Children and Healing the Sick (The Hundred Guilder Print).

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Lot 200
REMBRANDT VAN RIJN
Nude Man Seated on the Ground with One Leg Extended.

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Lot 201
REMBRANDT VAN RIJN
Jews in the Synagogue.

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Lot 202
REMBRANDT VAN RIJN
Landscape with a Cow Drinking.

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Lot 203
REMBRANDT VAN RIJN
The Flight into Egypt: A Night Piece.

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Lot 204
REMBRANDT VAN RIJN
Christ Disputing with the Doctors: a Sketch.

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Lot 205
REMBRANDT VAN RIJN
The Agony in the Garden.

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Lot 206
FERDINAND BOL
The Sacrifice of Abraham.

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Lot 207
JAN LIEVENS
Head of a Bearded Man.

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Lot 208
CORNELIS VISSCHER
The Large Cat.

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Lot 209
CLAUDE MELLAN
Veronica's Veil.

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Lot 210
STEFANO DELLA BELLA
Diversi Capricci.

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Lot 211
STEFANO DELLA BELLA
The Five Deaths.

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Lot 212
ANTONIO DA CANAL, IL CANALETTO
Al Dolo.

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Lot 213
ANTONIO DA CANAL, IL CANALETTO
Prà della Valle.

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Lot 214
GIOVANNI D. TIEPOLO
Il Battesimo di Gesú Cristo.

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Lot 215
GIOVANNI D. TIEPOLO
Maria e Giuseppe, che tiene il Bambino, procedono scortati da un angelo.

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Lot 216
GIOVANNI B. PIRANESI
The Smoking Fire.

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Lot 217
GIOVANNI B. PIRANESI
Prisoners on a Projecting Platform.

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Lot 218
GIOVANNI B. PIRANESI
The Man on the Rack.

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Lot 219
GIOVANNI B. PIRANESI
Veduta del Ponte e Castello Sant'Angelo.

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Lot 220
GIOVANNI B. PIRANESI
Veduta dell'Anfiteatro Flavio, detto il Colosseo.

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Lot 221
GIOVANNI B. PIRANESI
Veduta del Mausoleo d'Elio Adriano (ora chiamato Castello S. Angelo).

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Lot 222
GIOVANNI B. PIRANESI
Veduta del Pantheon d'Agrippa.

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Lot 223
GIOVANNI B. PIRANESI
Veduta in Prospettiva della gran Fontana dell'Acqua Vergine detta di Trevi.

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Lot 224
GIOVANNI B. PIRANESI
Veduta dell'insigne Basilica Vaticana coll'ampio Portico, e Piazza adjacente.

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Lot 225
GIOVANNI B. PIRANESI
Veduta del Romano Campidoglio con Scalinata che va alla Chiesa d'Araceli.

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Lot 226
GIOVANNI B. PIRANESI
Veduta della Piazza di Monte Cavallo.

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Lot 227
GIOVANNI B. PIRANESI
Group of 4 etchings from Vedute di Roma.

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Lot 228
FRANCISCO JOSÉ DE GOYA
Ni asi la Distingue.

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Lot 229
FRANCISCO JOSÉ DE GOYA
Bellos consejos.

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Lot 230
FRANCISCO JOSÉ DE GOYA
El Sueño de la Razon Produce Montruos.

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Lot 231
FRANCISCO JOSÉ DE GOYA
Ligereza y atrevimiento de Juanito Apiñani en la de Madrid.

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Lot 232
FRANCISCO JOSÉ DE GOYA
Pepe Illo Haciendo el Recorte al Toro.

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Lot 233
FRANCISCO JOSÉ DE GOYA
Los Proverbios: Additional Plates.

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Lot 234
FRANCISCO JOSÉ DE GOYA
A group of 6 etchings with aquatint and drypoint executed in Bordeaux between 1824 and 1828.

Nineteenth Century Prints

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Lot 235
WILLIAM BLAKE
The Just Upright Man is Laughed to Scorn.

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Lot 236
WILLIAM BLAKE
I Have Heard Thee with the Hearing of the Ear but Now My Eyes See Thee.

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Lot 237
WILLIAM BLAKE
The Circle of Thieves.

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Lot 238
JOSEPH M. W. TURNER
Mer de Glace, Valley of Chamonix, Savoy.

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Lot 239
RODOLPHE BRESDIN
Le Bon Samaritain.

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Lot 240
JAMES A. M. WHISTLER
Venus.

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Lot 241
JAMES A. M. WHISTLER
Florence Leyland.

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Lot 242
JAMES A. M. WHISTLER
Whistler with the White Lock.

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Lot 243
JAMES A. M. WHISTLER
Long Venice.

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Lot 244
JAMES A. M. WHISTLER
Draped Model, Standing by a Sofa.

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Lot 245
JAMES A. M. WHISTLER
Mother and Child, No. 4.

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Lot 246
ÉDOUARD MANET (AFTER)
Olympia.

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Lot 247
ÉDOUARD MANET
Le Guitarrero (ou Le Chanteur Espagnol).

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Lot 248
ÉDOUARD MANET
Le Buveur d'Absinthe.

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Lot 249
ÉDOUARD MANET
Au Prado II.

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Lot 250
ÉDOUARD MANET
Les Chats.

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Lot 251
ÉDOUARD MANET
Polichinelle.

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Lot 252
PIERRE-AUGUSTE RENOIR
La Danse à la Campagne, 2e planche.

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Lot 253
PIERRE-AUGUSTE RENOIR
Les Deux Baigneuses.

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Lot 254
PIERRE-AUGUSTE RENOIR
Le Chapeau Epinglé (1e planche).

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Lot 255
PIERRE-AUGUSTE RENOIR
Pierre Renoir, de face.

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Lot 256
EDGAR DEGAS AND GEORGE W. THORNLEY
Sur la Plage.

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Lot 257
EDGAR DEGAS
La Sortie de Bain.

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Lot 258
EDGAR DEGAS
Au Louvre, la peinture, Mary Cassatt.

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Lot 259
MARY CASSATT
Reine and Margot Seated on a Sofa (No. 2).

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Lot 260
CAMILLE PISSARRO
Effet de Pluie.

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Lot 261
CAMILLE PISSARRO
Baigneuse vue de dos.

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Lot 262
CAMILLE PISSARRO
Marché aux fruits.

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Lot 263
PAUL CÉZANNE
Les Baigneurs (petite planche).

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Lot 264
PAUL CÉZANNE
Les Baigneurs (grande planche).

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Lot 265
ANDERS ZORN
Augustus Saint-Gaudens, I.

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Lot 266
ANDERS ZORN
Dagmar.

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Lot 267
ANDERS ZORN
Water-Nymphs.

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Lot 268
PAUL SIGNAC
Les Démolisseurs.

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Lot 269
PAUL SIGNAC (AFTER)
Le Port de la Rochelle.

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Lot 270
PAUL SIGNAC
Les Bateaux.

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Lot 271
PAUL SIGNAC
Saint-Tropez—Le Port.

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Lot 272
MAXIMILIEN LUCE (AFTER)
Londres.

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Lot 273
HENRI-EDMOND CROSS
Les Champs Élysées.

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Lot 274
HENRI TOULOUSE-LAUTREC
Mademoiselle Marcel Lender, en buste.

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Lot 275
HENRI TOULOUSE-LAUTREC
Lender et Lavallière, dans unse Revue aux Variétés.

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Lot 276
THÉOPHILE STEINLEN
L'Été, Chat sur une Balustrade.

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Lot 277
THÉOPHILE STEINLEN
Deux Chats sur un meuble.

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Lot 278
THÉOPHILE STEINLEN
Chat couché allongé de gauche à droite, tête appuyée contre les pattes.

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Lot 279
THÉOPHILE STEINLEN
Croquis de Chat couché sur le Sol.

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Lot 281
PAUL GAUGUIN
Leda (Projet d'assiette).

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Lot 282
PAUL GAUGUIN
Mahna No Varua Ino.

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Lot 283
PAUL GAUGUIN
Te Po.

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Lot 285
PIERRE BONNARD
Le Bain (deuxième planche).

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Lot 286
PIERRE BONNARD
Femme debout dans sa baignoire.

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Lot 287
PIERRE BONNARD (AFTER)
Les Fleurs.

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Lot 288
PIERRE BONNARD
L'Arc de Triomphe.

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Lot 289
PIERRE BONNARD
Place le Soir.

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Lot 290
PIERRE BONNARD
Rue, le Soir, sous la Pluie.

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Lot 291
PAUL CÉSAR HELLEU
Madame Helleu devant les Dessins de Watteau au Louvre.

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Lot 292
PAUL CÉSAR HELLEU
La Visage encadré, Madame Helleu.

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Lot 293
ODILON REDON
Béatrice.

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Lot 294
FRANZ VON STUCK
Die Sinnlichkeit.

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Lot 295
AUGUSTE RODIN
Le Printemps.

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Lot 296
AUGUSTE RODIN
Henri Becque.

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Lot 297
JAMES ENSOR
Cathédrale, deuxième planche.

American Prints

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Lot 298
FRANK W. BENSON
Bound Home.

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Lot 299
FRANK W. BENSON
Elisabeth.

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Lot 300
CHILDE HASSAM
The Steps.

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Lot 301
CHILDE HASSAM
Girl in a Modern Gown.

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Lot 302
JOHN SLOAN
Anshutz on Anatomy.

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Lot 303
JOHN SLOAN
Fourteenth Street, the Wigwam.

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Lot 304
JOHN SLOAN
Easter Eve, Washington Square.

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Lot 305
JOHN SLOAN
Night Windows.

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Lot 306
EDWARD HOPPER
Night Shadows.

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Lot 307
JOHN MARIN
The Lobster Fisherman.

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Lot 308
MARSDEN HARTLEY
Grapes.

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Lot 309
MARSDEN HARTLEY
Apples in Basket.

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Lot 310
ROCKWELL KENT
Imperishable.

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Lot 311
ROCKWELL KENT
Godspeed.

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Lot 312
ROCKWELL KENT
Home Port.

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Lot 313
ROCKWELL KENT
End of the World Series.

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Lot 314
GUSTAVE BAUMANN
Road to Town.

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Lot 315
GUSTAVE BAUMANN
Rose Farm.

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Lot 316
FRANCES GEARHART
Morning Shadows.

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Lot 317
ADA GILMORE
A Back Street.

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Lot 318
MARTIN LEWIS
Quarter of Nine, Saturday's Children.

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Lot 319
MARTIN LEWIS
Shadow Dance.

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Lot 320
MARTIN LEWIS
Night in New York.

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Lot 321
MARTIN LEWIS
Chance Meeting.

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Lot 322
MARTIN LEWIS
Misty Night, Danbury.

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Lot 323
SAMUEL CHAMBERLAIN
Manhattan Twilight.

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Lot 324
HOWARD COOK
Greetings from the House of Weyhe.

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Lot 325
HOWARD COOK
Skyscraper #2 (Chrysler Tower).

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Lot 326
THOMAS HART BENTON
Haystack.

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Lot 327
THOMAS HART BENTON
The Corral.

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Lot 328
THOMAS HART BENTON
Spring Tryout.

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Lot 329
THOMAS HART BENTON
The Boy.

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Lot 330
THOMAS HART BENTON
The Race.

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Lot 331
THOMAS HART BENTON
Threshing.

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Lot 332
THOMAS HART BENTON
Running Horses.

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Lot 333
GRANT WOOD
July Fifteenth.

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Lot 334
PETER HURD
The Late Call.

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Lot 335
MILTON AVERY
Riders in the Park.

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Lot 336
MILTON AVERY
Sally with Beret.

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Lot 337
MILTON AVERY
Head of a Man.

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Lot 338
MILTON AVERY
Man with Pipe.

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Lot 339
MILTON AVERY
Umbrella by the Sea.

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Lot 340
BEN SHAHN
For the Sake of a Single Verse by Rainer M. Rilke.

Latin American Prints

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Lot 341
JOSÉ CLEMENTE OROZCO
Mujer Mexicana.

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Lot 342
JOSÉ CLEMENTE OROZCO
Los hombres colgados (The Hanged Men).

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Lot 343
JOSÉ CLEMENTE OROZCO
Demonio II.

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Lot 344
LEOPOLDO MÉNDEZ
En nombre de Cristo.

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Lot 345
LEOPOLDO MÉNDEZ
Three linoleum cuts.

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Lot 346
LEOPOLDO MÉNDEZ
Three prints.

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Lot 347
LEOPOLDO MÉNDEZ
Group of 4 wood engravings.

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Lot 348
TALLER DE GRÁFICA POPULAR
450 Años de Lucha: Homenaje al Pueblo Méxicano.

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Lot 349
DAVID A. SIQUIEROS
La Penitenciaria.

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Lot 350
DAVID A. SIQUEIROS
Nuestra Imagen Actual.

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Lot 351
ELENA HUERTA MUZQUIZ
Two linocuts.

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Lot 352
FRANCISCO DOSAMANTES
Tres Mujeres.

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Lot 353
FRANCISCO DOSAMANTES
Trío Maya (Mayan Trio).

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Lot 354
RUFINO TAMAYO
Hombre Contemplando la Luna.

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Lot 355
RUFINO TAMAYO
Hombre, Luna y Estrellas.

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Lot 356
RUFINO TAMAYO
Cabeza con Pájaros.

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Lot 357
RUFINO TAMAYO
Mujer.

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Lot 358
RUFINO TAMAYO
Torso de Mujer.

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Lot 359
RUFINO TAMAYO
Carnavalesque.

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Lot 360
RUFINO TAMAYO
Mujer con Medias Malva.

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Lot 361
RUFINO TAMAYO
Mujer con Mallas Rosas.

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Lot 362
RUFINO TAMAYO
Sin Título (Los Signos Existen).

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Lot 363
RUFINO TAMAYO
Juglar.

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Lot 364
RUFINO TAMAYO
Cabeza en Rojo.

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Lot 365
RUFINO TAMAYO
Cabeza en Gris.

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Lot 366
RUFINO TAMAYO
Hombre.

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Lot 367
RUFINO TAMAYO
Cabeza.

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Lot 368
JOSÉ LUIS CUEVAS
Crime by Cuevas.

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Lot 369
FERNANDO BOTERO
Pedrito.

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Lot 370
ÁNGEL BOTELLO
La carta.

European Prints

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Lot 371
PABLO PICASSO
Le Bain.

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Lot 372
PABLO PICASSO
Les Saltimbanques.

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Lot 373
PABLO PICASSO (AFTER)
Nature morte devant une Fenêtre à Saint-Raphaël.

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Lot 374
PABLO PICASSO (AFTER)
Nature morte.

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Lot 375
PABLO PICASSO
Sculpteur et son Modèle devant une Fenêtre.

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Lot 376
PABLO PICASSO
Modèle et Grande Sculpture de Dos.

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Lot 377
PABLO PICASSO
Deux Buveurs Catalans.

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Lot 378
PABLO PICASSO
Femme Nue Couronnée de Fleurs.

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Lot 379
PABLO PICASSO
Femme Torero, V.

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Lot 380
PABLO PICASSO (AFTER)
Tête de Femme (Dora Maar).

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Lot 381
PABLO PICASSO
La Chèvre-Feuille: Visages.

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Lot 382
PABLO PICASSO
La Chèvre-Feuille: Deux baigneuses.

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Lot 383
PABLO PICASSO
Françoise.

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Lot 384
PABLO PICASSO
Le Chevalier et la Page.

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Lot 385
PABLO PICASSO
La Chèvre.

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Lot 386
PABLO PICASSO
Nature Morte au Pot de Grès.

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Lot 387
PABLO PICASSO
Vallauris Exposition 1956.

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Lot 389
PABLO PICASSO
Four Dancers.

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Lot 390
PABLO PICASSO
Flutist and Goat.

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Lot 391
PABLO PICASSO
Square with Dancers B.

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Lot 392
PABLO PICASSO AND PAUL PIERRE LEMAGNY
Portrait de Pablo Picasso and Remarqué for Témoignage.

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Lot 393
PABLO PICASSO
Picador II.

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Lot 394
GEORGES BRAQUE (AFTER)
Fleurs violets.

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Lot 395
GEORGES BRAQUE (AFTER)
Bouquet de fleurs jaunes.

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Lot 396
GEORGES BRAQUE
Si je mourais là-bas.

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Lot 397
JACQUES VILLON
L'Oiseau.

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Lot 398
HENRI MATISSE
Les Yeux Noirs.

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Lot 399
HENRI MATISSE
La blouse turque— Étude de jambes.

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Lot 400
HENRI MATISSE
Nu couchée au visage incomplet— Étude de jambes.

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Lot 401
HENRI MATISSE
Buste, robe fleurie.

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Lot 402
HENRI MATISSE
Odalisque, brasero et coup de fruits.

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Lot 403
HENRI MATISSE
Teeny.

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Lot 404
HENRI MATISSE
Études pour la Vierge, Visage.

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Lot 405
TSUGUHARU FOUJITA
Petit Garçon en Chemise rayée.

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Lot 406
TSUGUHARU FOUJITA
Fillette au Chat

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Lot 407
TSUGUHARU FOUJITA
Chat brun.

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Lot 408
TSUGUHARU FOUJITA
Nu assis.

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Lot 409
TSUGUHARU FOUJITA
Deux nus assis.

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Lot 410
TSUGUHARU FOUJITA
Jeune Fille au Chat.

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Lot 411
WASSILY KANDINSKY
Die Jagd.

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Lot 412
EGON SCHIELE
Bildnis Paris von Gütersloh.

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Lot 413
EMIL NOLDE
Sklaven.

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Lot 414
MAX PECHSTEIN
Weiblicher Akt.

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Lot 415
MAX BECKMANN
Der Ausrufer (Selbstbildnis).

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Lot 416
PAUL KLEE
Der Verliebte.

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Lot 417
LYONEL FEININGER
Harzer Dorf I.

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Lot 418
LYONEL FEININGER
Dreimaster mit flagge, 3 und Sonnenuntergang.

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Lot 419
LYONEL FEININGER
Segelboote (mit Mond).

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Lot 420
LYONEL FEININGER
Das Schiff (mit Sonne).

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Lot 421
LYONEL FEININGER
Off the Coast.

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Lot 422
KÄTHE KOLLWITZ
Mutter mit Jungen.

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Lot 423
GEORGE GROSZ
Two prints from Ecce Homo.

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Lot 424
GEORGE GROSZ
Two lithographs from Erste George Grosz-Portfolio.

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Lot 425
JOAN MIRÓ
Oiseau Zéphyr.

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Lot 426
JOAN MIRÓ
Bagatelles végétales.

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Lot 427
JOAN MIRÓ
Chemin de Ronde III.

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Lot 428
JOAN MIRÓ
Le Prophète Encerclé.

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Lot 429
JOAN MIRÓ
Oiseau Entre deux Astres.

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Lot 430
JOAN MIRÓ
Le Soleil Ébouillanté.

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Lot 431
JOAN MIRÓ
Fissures.

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Lot 432
JOAN MIRÓ
L'Illetré— Vert et Violet.

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Lot 433
JOAN MIRÓ
Ubu aux Baléares.

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Lot 434
JOAN MIRÓ
L'Enfance d'Ubu.

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Lot 435
JOAN MIRÓ
Personnage Romantique.

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Lot 436
JOAN MIRÓ
Enrajolats VI.

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Lot 437
SALVADOR DALÍ
Christ of St. John of the Cross.

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Lot 438
SALVADOR DALÍ
Judgment of Paris.

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Lot 439
SALVADOR DALÍ
Don Quichotte (Horseman).

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Lot 440
SALVADOR DALÍ
The Face in the Windmill.

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Lot 441
SALVADOR DALÍ
Les Amours de Cassandre by Pierre de Ronsard.

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Lot 442
SALVADOR DALÍ
Memories of Surrealism.

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Lot 443
MARC CHAGALL
La lutte avec l'Ange.

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Lot 444
MARC CHAGALL
Femme Oiseau.

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Lot 445
MARC CHAGALL
Vision de Paris.

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Lot 446
MARC CHAGALL
Bateau-Mouche Au Bouquet.

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Lot 447
MARC CHAGALL
Les Vendanges.

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Lot 448
MARC CHAGALL
Le Cirque.

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Lot 449
MARC CHAGALL
Le Cirque.

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Lot 450
MARC CHAGALL
Le Cirque.

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Lot 451
MARC CHAGALL
XXe Siècle, N° Spécial.

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Lot 452
MARC CHAGALL
Le Peintre devant le Tableau.

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Lot 453
MARC CHAGALL (AFTER)
Romeo and Juliet.

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Lot 454
MARC CHAGALL (AFTER)
Jerusalem Windows: The Tribe of Benjamin.

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Lot 455
MARC CHAGALL (AFTER)
La Lutte de Jacob et de l'Ange.

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Lot 456
ALBERTO GIACOMETTI
Sculptures.

lot thumbnail image

Lot 457
ALBERTO GIACOMETTI
Femme couchée.

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Lot 458
ALBERTO GIACOMETTI
Chaise et suspension.

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Lot 459
GINO SEVERINI
Commedia dell'Arte.

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Lot 460
GIOGRIO DE CHIRICO
I Gladiatori.

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Lot 461
HENRY MOORE
Two Women Bathing Child II.

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Lot 462
HENRY MOORE
Sculptural Ideas V.

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Lot 463
HENRY MOORE
Reclining Figure Idea for Metal Sculpture.

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Lot 464
HENRY MOORE
Reclining Mother and Child with Grey Background.

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Lot 465
HENRY MOORE
Reclining Nude.

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Lot 466
MAN RAY
Rope Dancer Accompanies Herself with her Shadows.

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Lot 467
MAN RAY
Rebus II.

Maurits C. Escher, Prints from a Private American Collection

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Lot 468
MAURITS C. ESCHER
Earth * Air * Fire * Water.

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Lot 469
MAURITS C. ESCHER
Pentedattilo, Calabria.

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Lot 470
MAURITS C. ESCHER
Cattolica of Stilo, Calabria.

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Lot 471
MAURITS C. ESCHER
Santa Severina, Calabria.

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Lot 472
MAURITS C. ESCHER
(Cloister near) Rocca Imperiale, Calabria.

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Lot 473
MAURITS C. ESCHER
Castel Mola (and Mount Etna), Sicily.

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Lot 474
MAURITS C. ESCHER
Cathedral of Cefalú, Sicily.

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Lot 475
MAURITS C. ESCHER
Corsica, Calanche (Calanche of Piana, Corsica).

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Lot 476
MAURITS C. ESCHER
Encounter.

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Lot 477
MAURITS C. ESCHER
Three Spheres I.

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Lot 478
MAURITS C. ESCHER
Stars.

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Lot 479
MAURITS C. ESCHER
Contrast (Order and Chaos).

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Lot 480
MAURITS C. ESCHER
Plane Filling I.

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Lot 481
MAURITS C. ESCHER
Puddle.

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Lot 482
MAURITS C. ESCHER
Relativity.

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Lot 483
MAURITS C. ESCHER
Convex and Concave.

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Lot 484
MAURITS C. ESCHER
Bond of Union.

Old Master Through Modern Prints

Officers

Todd Weyman, Vice President & Director, Prints & Drawings

Todd Weyman
Vice President & Director, Prints & Drawings

tweyman@swanngalleries.com
(212) 254-4710 ext. 33
Lisa Crecenzo, Dept. Manager & Client Relations

Lisa Crecenzo
Dept. Manager & Client Relations

lcrecenzo@swanngalleries.com
(212) 254-4710 ext. 51
Sarah McMillan, Cataloguer

Sarah McMillan
Cataloguer

smcmillan@swanngalleries.com
(212) 254-4710 ext. 28
Meagan Gandolfo, Cataloguer

Meagan Gandolfo
Cataloguer

mgandolfo@swanngalleries.com
(212) 254-4710 ext. 58

George S. Lowry
Chairman



Nicholas D. Lowry
President, Principal Auctioneer

924899

Andrew M. Ansorge
Vice President & Controller

Alexandra Mann-Nelson
Chief Marketing Officer

2030704

Todd Weyman
Vice President & Director, Prints & Drawings

1214107

Nigel Freeman
Vice President & Director, African American Art

Rick Stattler
Vice President & Director, Books & Manuscripts

Administration

Andrew M. Ansorge
Vice President & Controller

aansorge@swanngalleries.com

Ariel Kim
Client Accounting

akim@swanngalleries.com

Diana Gibaldi
Operations Manager

diana@swanngalleries.com

Kelsie Jankowski
Communications Manager

kjankowski@swanngalleries.com

Shannon Licitra
Shipping Manager

slicitra@swanngalleries.com

Old Master Prints from a Private American Collection

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1

Martin schongauer
The Fourth Wise Virgin.

Engraving, circa 1490. 121x85 mm; 5x3½ inches. Trimmed on the plate mark. A superb, richly-inked impression of this extremely scarce engraving, with very strong contrasts and no sign of wear, consistent with the earliest impressions of this subject.

From a series of 10 engravings by Schongauer (1448-1491) of the Wise and Foolish Virgins which illustrate the parable in Matthew 25:1-13. According to the parable, heaven is likened to the house of a bridegroom. The five wise virgins, anticipating that they might have to await the groom, have brought enough oil to keep their lamps burning; they are shown by the artist holding their burning lamps with outstretched arms, facing to the right, with pleasant expressions and with their wedding wreaths on their heads. In contrast, the foolish virgins, unprepared for their grooms’ delay, have allowed their oil to run out and have had to go off to buy more. On their return, the bridegroom’s door was shut to them. They are shown with downcast expressions, their wedding wreaths on the ground, holding extinguished lamps and facing left. The wise virgins, ready for their grooms, are like the righteous in their preparedness for entry into heaven.

Provenance: Mary Jane Morgan, New York, with the ink stamp verso (Lugt 1879). Bartsch 80; Lehrs 79.

Estimate

$10,000 – $15,000

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2

Martin schongauer
Christ Enthroned, with two Angels.

Engraving, circa 1475-80. 170x120 mm; 6¾x4¾ inches. With thread margins outside the narrow border line or trimmed on the border line. A brilliant, richly-inked impression of this exceedingly scarce, early engraving, with very strong contrasts and little to no sign of wear.

According the National Gallery of Art, Washington, D.C., which holds another impression of this engraving, “Christ Enthroned, with two Angels is one of the finest compositions from Schongauer’s mature period in a corpus of well over a hundred prints . . . The engraving depicts Christ in his manifestation as God the Father, redeemer of the world. Haloed, crowned, and enthroned, he bears a scepter and an orb, all symbols of celestial royalty. Two angels beneath a canopy draw apart curtains to reveal the figure of the deity bestowing his blessing. In performing this service, the angels also enact a theological metaphor. The Latin word for veil (vela) is the root of the word “revelation,” literally “to unveil.” Thus, in the modest dimensions of a print, Schongauer has presumed to perform no less than a revelation, as if to evoke the famous passage: ‘For now we see through a glass darkly; but then face to face’ (1 Corinthians 13:12).”

Provenance: Richard Herrlinger, Vienna, with the blue ink stamp verso (Lugt 5818; according to Lugt, Herrlinger was advised by Joseph Meder, the curator of prints at the Albertina, Vienna, who specialized in early German engravings and was the author of the definitive catalogue raisonné of prints by Albrecht Dürer). Bartsch 16; Lehrs 18.

Estimate

$30,000 – $50,000

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3

Martin schongauer
The Crucifixion.

Engraving, circa 1480. 196x153 mm; 7¾x6¼ inches. Three mounts with a cross and flower watermark (see Lehrs 9-12). With narrow margins outside the border line. A brilliant, richly-inked impression of this exceedingly scarce engraving, with very strong contrasts and no sign of wear, consistent with his earliest impressions of this subject.

Working in Colmar, once a part of southwestern Germany that is now Alsatian France, Schongauer (1430-1491) was among the earliest known northern artists to fully utilize the craft of engraving. Many of his prints, like his few known paintings, reveal an affinity with the work of early Netherlandish artists such as Jan van Eyck, Roger van der Weyden and Dirk Bouts. Schongauer imitated the monumentality associated with the altar paintings of these celebrated Netherlandish artists.

Schongauer's exquisitely engraved images were circulated widely throughout Europe. The sheer number of engraved copies of Schongauer's prints, made by other artists during his lifetime, attests to his popularity and the significant demand for his work in the late 15th/early 16th century (Schongauer made approximately 115 engravings of different subjects, of which there are an equivalent number of different copies made by other artists during the late 15th century alone. One of Schongauer's best known engravings, The Death of the Virgin, early 1470s, was copied in at least seven different prints by the early 16th century). Most importantly, he was one of the first printmakers who developed an individual style and whose engravings helped to stimulate an interest in collecting prints hitherto unseen in northern Europe.

Schongauer's work paved the way for the success of subsequent printmakers and was profoundly influential to the generation of engravers who proceeded him, most notably Albrecht Dürer (see lots 7-11 and 25-48). In 1492, the 21-year-old prodigious Dürer intended on training with Schongauer, but arrived at the master engraver's workshop just months after his death. Dürer went on to emulate Schongauer by incising deep engraved lines in his plates to extend their printing life, thereby increasing their commercial viability, and ultimately surpassed Schongauer's appeal and popularity.

Provenance: Birmann & Söhne, Basel (Lugt 4140); Karl Ferdinand Friedrich von Nagler, Berlin, with the ink stamps verso (Lugt 2529); Kupferstichkabinett, Staatliche Museen zu Berlin, with the ink stamp and duplicate impression ink stamp verso (Lugt 1606 and 2482); Dr. Carlos Gaa, Mannheim (see Lugt 538a); sold C. G. Boerner, Leipzig, May 5-6, 1926, lot 964); Hendrikus Egbertus ten Cate, Almelo (Lugt 533b); Richard H. Zinser, New York, with the ink stamp verso (Lugt 5581). Bartsch 24; Lehrs 13.

Estimate

$60,000 – $90,000

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4

Master ag
The Entombment.

Engraving, circa 1480-90. 148x110 mm; 6x4¼ inches. With thread margins or trimmed on the plate mark. A very good, dark and well-inked impression of this extremely scarce, early engraving, with strong contrasts and little to no sign of wear. Bartsch 11.

Estimate

$3,000 – $5,000

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5

Israel van meckenem
Christ before Pilate.

Engraving, circa 1480. 212x146 mm; 8½x5¾ inches. Gothic letter P with a flower watermark. From Twelve Scenes of the Passion. With thread margins outside the narrow black border line. A very good impression of this extremely scarce, early engraving.

According to Shestack, Meckenem’s Christ before Pilate is, “An obvious various on the composition invented by [Martin] Schongauer. Meckenem depicts the judgment hall of Pilate. Christ is led in at the right, as Pilate washes his hands to declare his innocence (Matthew 27:24). In the left background, the cross is already being prepared, while at the right, Judas tries to return the bag of silver to the elders. The figure in the foreground who leads Christ by a rope and grasps Him by the collar appears to be derived ultimately from the executioner in the right wing of Roger van der Weyden’s St. John Altarpiece,” (Fifteenth Century Engravings of Northern Europe, Washington, D.C., 1967, number 188). Bartsch 15.

Estimate

$5,000 – $8,000

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6

Wenzel von olmutz
St. Christopher.

Engraving, circa 1485. 165x111 mm; 6½x4½ inches. Partial high crown watermark. Trimmed on the plate mark. A very good impression of this exceedingly scarce, early engraving.

We have not found another impression at auction in the past 30 years.

Little is known about Olmütz (active circa 1481-1497), who is thought to have been principally active as a goldsmith in Central Europe. He is best known for his printed œuvre, which includes mostly engravings after the most important masters of his day, including Martin Schongauer and the young Albrecht Dürer. This engraving of St. Christopher, holding a wooden staff and transporting the Christ child across a river, is based on Schongauer’s same-titled engraving from around 1475-80 (Lehrs 56).

Estimate

$7,000 – $10,000

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7

Albrecht dürer
St. John the Baptist and St. Onuphrius.

Woodcut, circa 1504. 214x145 mm; 8½x5¾ inches. A superb, dark, and richly-inked Meder a impression with no sign of wear and very strong contrasts. Trimmed on the border line Bartsch 112; Meder 230.

Estimate

$2,000 – $3,000

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8

Albrecht dürer
Coat-of-Arms with a Lion and a Cock.

Engraving, circa 1503. 185x120 mm; 7¼x4¾ inches, thread margins. A very good, dark, richly-inked Meder b-c impression with strong contrasts, with the delicate horizontal scratches lower left still distinct (Meder calls for these scratches in his “a” impressions) and with no sign of wear, consistent with the earliest impressions of this engraving.

Dürer’s (1471-1528) first engraved coat-of-arms; he made one other in addition to several woodcuts like this subject (see the following lot). This arms was likely not intended for a specific family, but rather a creation of pure fantasy by Dürer; the elaborate foliage and additional details allowing him to display his virtuoso engraving skills. Bartsch 100; Meder 97.

Estimate

$10,000 – $15,000

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9

Albrecht dürer
Coat-of-Arms with a Skull.

Engraving, 1503. 215x154 mm; 8 1/2x6 1/8 inches. A brilliant, richly-inked and early Meder I a-b impression with particularly strong contrasts and no sign of wear, before the vertical scratch from the lowest arc of the helmet to the ground, and with burr on the tips of the wings, consistent with the earliest impressions of this subject. Trimmed on the plate mark with the narrow black border line preserved on all sides.

In this somewhat enigmatic memento mori image, Dürer (1471-1528) represents various materials–feathers, metal, foliage, hair, cloth and flesh–to tout his skill as an up-and-coming virtuoso in the art of engraving. According to Bartrum, “The figure of Death is here disguised as a wild man, the traditional German and Swiss mythological figure who is seen frequently in heraldic imagery of the period . . . The true identity of Death is revealed on the shield to the onlooker, but it is not recognized by the lady,” (Albrecht Dürer and his Legacy, London, 2002, page 148). Bartsch 101; Meder 98.

Estimate

$20,000 – $30,000

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10

Albrecht dürer
The Mocking of Christ.

Woodcut, circa 1509-11. 127x98 mm; 5⅛x4 inches. A very good, well-inked proof impression before the 1511 Latin text edition with strong contrasts. With thread margins or trimmed on the border line. Bartsch 30; Meder 139.

Estimate

$1,500 – $2,500

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11

Albrecht dürer
The Crucifixion.

Woodcut, 1509-11. 126x100 mm; 5x4 inches, wide margins. A superb, richly-inked impression from the 1511 Latin text edition, with very strong contrasts and no sign of wear. Bartsch 40; Meder 149.

Estimate

$1,500 – $2,500

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12

Johannes wiericx (after dürer)
Melencolia I.

Engraving, 1602. 240x187 mm; 9½x7½ inches, thread margins. A superb, richly-inked impression of this scarce engraving with strong contrasts, with all the details distinct and with Wiericx’s name and date on the lower edge of the plate preserved. Mauquoy-Hendrickx 1556.

Estimate

$4,000 – $6,000

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13

Albrecht dürer (after)
Knight, Death and the Devil.

Engraving, circa 1600. 240x185 mm; 9½x7¼ inches, narrow to thread margins. A very good, dark and well-inked impression with strong contrasts.

Estimate

$3,000 – $5,000

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14

Hieronymus hopfer (after dürer)
The Abduction of Proserpine.

Etching, after 1516. 290x212 mm; 11½x8⅜ inches, thread margins. First state (of 2), before the Funck number lower center. A brilliant, dark, early and richly-inked impression with very strong contrasts and no sign of wear.

Provenance: Heinrich Buttstaedt, Berlin, with the ink stamp verso (Lugt 319); Adalbert von Lanna, Prague, with the ink stamp verso (Lugt 2773). Bartsch 42.

Estimate

$1,500 – $2,500

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15

Daniel hopfer
The Death of Lucretia.

Etching, circa 1525. 224x158 mm; 9x6¼ inches, narrow margins. First state (of 2), before the Funck number. A superb, dark, richly-inked impression of this very scarce, early etching, with strong contrasts and no sign of wear.

Provenance: E. Fabricius, Berlin, with the ink stamp verso (Lugt 847a). Bartsch 50.

Estimate

$1,500 – $2,500

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16

Hans sebald beham
Adam and Eve.

Engraving, 1543. 82x57 mm; 3¼x2¼ inches, thread margins. Second state (of 5). A brilliant, richly-inked impression of this scarce engraving.

We have found only seven other impressions of this print at auction in the past 30 years. Bartsch 6; Pauli 7.

With–HEINRICH ALDEGREVER. The Good Samaritan Loading him on his Donkey, engraving, 1554. Bartsch 42 * HIERONYMUS WIERICX. The Crucifixion, engraving.

Estimate

$3,000 – $5,000

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17

Maarten van heemskerck (after)
Christ Carrying the Cross.

Etching, circa 1570. 252x195 mm; 10x7¾ inches, thread margins. Small coat-of-arms watermark. A very good impression of this scarce etching.

Estimate

$1,000 – $1,500

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18

Rembrandt van rijn
The Descent from the Cross by Torchlight.

Etching and drypoint, 1654. 210x163 mm; 8¼x6½ inches, thread margins. Biörklund’s second state (of 2); Usticke’s second state (of 3); New Hollstein’s second state (of 3). A very good, dark and well-inked impression with strong contrasts, all the details distinct and just the beginning indication of wear in the upper right and darkly shaded areas. Bartsch 83; Biörklund 54-G; Hollstein (White and Boon) 83; New Hollstein 286.

Estimate

$3,000 – $5,000

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19

Rembrandt van rijn
Jan Uytenbogaert, The Goldweigher.

Etching and drypoint, 1639. 253x204 mm; 10x8 inches, wide margins. Biörklund’s fourth state (of 4); Usticke’s third state (of 3); New Hollstein’s third state (of 3). A very, dark, well-inked impression with strong contrasts. Bartsch 281; Biörklund 39-D; Hollstein (White and Boon) 281; New Hollstein 172.

Estimate

$3,000 – $5,000

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20

Rembrandt van rijn
The Star of Kings: A Night Piece.

Etching and drypoint, circa 1651. 94x141 mm; 3¾x5⅝ inches, narrow margins. Biörklund’s first state (of 2); Usticke’s first state (e) (of 7), with strong burr on the star and on the column to the left of the star and before the heavy horizontal shading lines on the face of the woman at the center; New Hollstein’s first state (of 4). The lower part (three balls) of a foolscap watermark (Ash/Fletcher 19 and 20, they cite another impression of this subject with a fragment of a foolscap watermark in the Rijksmuseum, Amsterdam; Hinterding also notes multiple first state impressions of this subject printed on paper with either a five-pointed or seven-pointed foolscap watermark). A brilliant, early impression of this densely etched nocturne print, with all the details distinct and with no sign of wear.

Provenance: Unidentified collector, initial M ink stamp (Lugt 1842, verso; he notes that the collector is likely an early 18th century Dutch artist / collector, as the mark appears on numerous drawings and early etchings by Rembrandt); unidentified collector, small coat-of-arms with a crown ink stamp verso (not in Lugt); and Friedrich Andreas Lieberg, Buenos Aires, with the ink stamp verso (Lugt 1681ter) Bartsch 113; Biörklund 51-I; Hollstein (White and Boon) 113; New Hollstein 263.

Estimate

$30,000 – $50,000

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21

Giovanni b. castiglione
The Bodies of Saints Peter and Paul Hidden in the Catacomb.

Etching, circa 1647-51. 302x205 mm; 12x8⅛ inches, thread margins. A superb, dark, richly-inked and early impression.

Castiglione (1609-1664) was among the most original graphic artists of the 17th century, exchanging prints and ideas with his contemporary Rembrandt van Rijn, among others, as well as being one of the first artists to experiment significantly with the monotype technique. The ambitious composition of The Bodies of Saints Peter and Paul Hidden in the Catacomb reflects the influence of Rembrandt’s luminous compositions in which Christian tales are transformed into something metaphysical. The subject derives from the Golden Legend of Jacobus de Voraigne, which suggests that the saints’ bodies were cast into a well near the clandestine catacomb vault, seen here in Castiglione’s dramatic rendering. The artist often etched such erudite subjects to advertise his art and prowess as a painter-philosopher to the literati in Rome and those on the grand tour.

Provenance: Johann Andreas Boerner, Nuremberg, with his name and inscription in ink verso (Lugt 270). Bartsch 14; Percy 21.

Estimate

$1,500 – $2,500

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22

Giovanni b. piranesi
The Well.

Etching and engraving, 1749-50. 411x560 mm; 16¼x22⅛ inches, wide margins. Second state (of 5), before the Roman numeral upper right; Robison’s second edition, first issue, printed around 1761. From Carceri d’Invenzione. A brilliant, richly-inked, early impression with very strong contrasts and no sign of wear. Robison 39.

Estimate

$5,000 – $8,000

Old Master Prints, Section I, Various Collectors

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23

Israel van meckenem
St. Barbara.

Engraving, circa 1475-80. 166x93 mm; 6½x3¾ inches. Coat-of-arms with a lion and flower watermark (Lehrs 33; Briquet 1944, which dates to the mid-1480s). Trimmed on the plate mark with thread margins outside the narrow black border line. A very good impression of this extremely scarce, early engraving with strong contrasts. Bartsch 122.

Estimate

$4,000 – $6,000

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24

Giovanni antonio da brescia (after mantegna)
Four Women Dancing.

Engraving, circa1497. 247x343 mm; 9¾x13½ inches. Small circle watermark or counter mark to an unknown watermark. A very good impression of this exceedingly scarce, early Italian Renaissance engraving.

According to Sheehan, “This engraving is based, in reverse, on four of the nine figures of women dancing, probably the Muses, in Mantegna’s painting of Parnassus, completed in 1497. A number of variations from the group in the picture, principally in the poses and in the views of the figures’ heads, suggest that the engraving was copied from a lost, preparatory drawing. Mantegna executed the Parnassus, as well as two other paintings, Minerva Expelling the Vices from the Grove of Virtue and Comus, for the studiolo of Isabella d’Este [in Mantua]. The Parnassus is based on the story of Venus and Mars, who were trapped in bed by a bronze net fashioned by Vulcan, her husband, and then put on display to the great amusement of the other gods,” (Early Italian Engravings from the National Gallery of Art, Washington, D.C., 1973, page 228).

Giovanni Antonio da Brescia (active circa 1475-1519) worked in the circle of Andrea Mantegna (1431-1506) frequently translating his drawings and other designs into engravings. During his early career he used the initials “Z.A.” to sign some twenty engravings, and until recently Zoan Andrea was regarded as a distinct printmaker; it is now realized that they are the same person, and the “Z.A.” stood for Giovanni Antonio, “Zovanni” being a north Italian spelling. Around 1507 he began to use formulae such as “IO.AN.BX.”, and signed some prints more fully. The real Zoan Andrea was a very obscure painter, documented as working in Mantua in the 1470s, who produced no engravings. Giovanni Antonio da Brescia began his traceable printmaking career in the circle of Mantegna, arriving in Mantua in the 1490s, and leaving around 1506, perhaps after Mantegna’s death that year. He may have been relatively old and experienced as an artist in another medium when he joined the aged Mantegna. It is assumed he moved to Rome, as his later engravings depict works available to him only in that city, but the date this happened varies between different accounts. He also appears to have spent time in Florence, as one of his engravings copies a drawing by Filippino Lippi. Brescia’s recently expanded œuvre comprises at least 150 engravings, including the current work. Hind 21.

Estimate

$2,500 – $3,500

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25

Albrecht dürer
The Ill-Assorted Couple.

Engraving, before 1496. 151x139 mm; 6x5½ inches. A superb, dark and evenly-printed Meder I c impression, with the faint vertical scratch in front of the horse but before the retouching of the woman’s veil and the distant mountains, with all the details distinct and with little to no sign of wear. With thread margins or trimmed on the plate mark. Bartsch 93; Meder 77.

Estimate

$10,000 – $15,000

Rembrandt van Rijn, Etchings from a Private European Collection

Old Master Prints, Section II, Various Collectors

Nineteenth Century Prints

American Prints

Latin American Prints

European Prints

Maurits C. Escher, Prints from a Private American Collection