Old Master Prints

3 DECEMBER 2014 LONDON
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05/02/14
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25-26 NOVEMBER
OLD MASTERS, 19TH CENTURY
& IMPRESSIONIST ART
AMSTERDAM
2 DECEMBER
OLD MASTER & BRITISH PAINTINGS
EVENING SALE
LONDON, KING STREET
2 DECEMBER
OLD MASTER AND BRITISH DRAWINGS
AND WATERCOLOURS
LONDON, SOUTH KENSINGTON
3 DECEMBER
OLD MASTER & BRITISH PAINTINGS
DAY SALE
LONDON, KING STREET
4 DECEMBER
PRINTS & MULTIPLES
LONDON, SOUTH KENSINGTON
10 DECEMBER
THE I.Q. VAN REGTEREN ALTENA
COLLECTION PART II.
DUTCH AND FLEMISH DRAWINGS
FROM 1500 TO 1900
AMSTERDAM
29/10/14
OLD MASTER PRINTS

Wednesday 3 December 2014
PROPERTIES FROM
The Estate of Edgar M. Bronfman

The Estate of Nuala ODonnell Pell
The Collection of Nathan and Joan
Lipson
AUCTION
Wednesday 3 December 2014

at 2.00 pm
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London SW1Y 6QT
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3
CONTENTS
Calendar of Auctions
Christies International Print Department
Specialists and Services for this Auction
Auction Information
Property for Sale
80
Index
81
Important Notices and Explanation of Cataloguing Practice
82
Buying at Christies
83
Storage and Collection
84
Conditions of Sale and Limited Warranty
86
Salerooms and Offices Worldwide
88
Christies Specialist Departments and Services
93
Absentee Bids Form
94
Catalogue Subscriptions
front and back cover:
Lot 112
inside front cover:
Lot 94
opposite:
Lot 81
inside back cover:
Lot 113
christies.com
1
15TH CENTURY, SOUTHERN GERMANY
One plate from: Seelenwurzgarten (Two men leading an oxen,
a church being build in the background)
(Schramm 12, 100; Schreiber 5230; Gof S-365)
woodcut with hand-colouring in pale green, pink and red, circa 1480-83, on laid
paper, without watermark, a strong and even impression with contemporary,
very transparent hand-colouring, published by Conrad Dinckmut, Ulm, on 4
October 1483, the fifth edition of this very rare book, Dinckmuts second edition,
the full leaf with margins, folded, with three pages of letter-press text in gothic
script (Johannes Schnbergers Type I bis), inscribed in brown ink with the page
number 114 at upper right, some pale foxing, some time staining and surface dirt,
generally in very good condition
B. 198 x 128 mm., S. 261 x 188 mm.
1,000-1,500
$1,800-2,600
1,300-1,900
*2
MARTIN SCHONGAUER (1450-1491)
The Resurrection, from: The Passion of Christ (Bartsch 20;
Lehrs, Hollstein 30)
engraving, circa 1480, without watermark, a very good, even impression, printing
with great clarity and good contrasts, trimmed outside the borderline and
retaining a fillet of blank paper all around, with a vertical and a horizontal central
fold with small repaired, unobtrusive paper splits, a very skilfully made-up area
at the upper sheet edge and in the blank sky, just reaching into the upper rays of
the nimbus
S. 165 x 117 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
Ambroise Firmin-Didot (1790-1876), Paris (L. 119); his posthumous sale, Danlos, Paris,
16 April 12 May 1887, lot 484 (Fr. 240).
Louis Galichon (1829-1893), Paris (L. 1060); his posthumous sale, 4-9 March 1895,
lot 1054 (Fr. 220).
Atherton Curtis (1863-1943), New York and Paris, and Louise Burleigh Curtis
(1869-1910), Maine and Paris (L. 94); probably sold prior to their posthumous sale at
Gutekunst & Klipstein, Bern, 28 April 1955.
Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79b); then by
descent to the current owner.
*3
MARTIN SCHONGAUER
The Agony in the Garden, from: The Passion of Christ
(B. 9; L., Holl. 19)
engraving, circa 1480, on laid paper, without watermark, a fine early impression,
trimmed to the borderline, the sheet toned and with pale staining and minor
foxing, generally in good condition
P., S. 163 x 115 mm.
10,000-15,000
$18,000-26,000
13,000-19,000
4
ANDREA MANTEGNA (1431-1503)
A Bacchanal with Silenus (B. 20; Hind 3; Martineau 75)
engraving with drypoint, early 1470s, on laid paper, watermark Small Circle (Martineau 1; similar to Briquet
2925-7), a later impression of this rare and important engraving, probably printed in France around 1540, an
unusually large sheet for this print, showing the irregular, curved platemark at the sides and partially below,
trimmed into the platemark but well outside the subject above, some pale foxing, a tiny paper loss at the
upper sheet edge, otherwise in very good condition
S. 328 x 458 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROPERTY FROM THE BARBARA PIASECKA JOHNSON COLLECTION. PROCEEDS TO BENEFIT THE BARBARA
JOHNSON FOUNDATION.
*5
WORKSHOP OF ANDREA MANTEGNA (1431-1503)
The Descent into Limbo (Bartsch 5; Hind 9; Martineau 67a)
engraving, circa 1475-1480, on laid paper, without watermark, a fine impression of this very rare and important
print, richly inked and with strong contrasts, printed in France circa 1540-45, the sheet trimmed into the image on
all sides, some skilfully repaired tears and made-up paper losses
S. 413 x 320 mm.
60,000-80,000
$110,000-140,000
76,000-100,000
PROVENANCE:
With Colnaghis, London (their inventory number C. 7533 in pencil verso).

With David Tunick, New York.
Acquired from the above in 1989.
EXHIBITED:
Royal Castle, Warsaw, Opus Sacrum, 1990, no. 11.

The Royal Academy of Arts, London, Andrea Mantegna, 1992, no. 67a.
Royal Castle, Warsaw, The Masters of Drawing. Drawings from the Barbara Piasecka Johnson Collection, 2010 - 2011, p. 110.
LITERATURE:
A. M. Hind, Early Italian Engravings, Bernard Quaritch Ltd., London, 1948, no. 9.
J. A. Levenson, K. Oberhuber & J. L. Sheenan, Early Italian Engravings, The National Gallery of Art, Washington, 1973, no. 80.
D. Landau, S. Boorsch, J. Martineau (ed.), Andrea Mantegna, The Royal Academy of Arts, London, & The Metropolitan
Museum of Art, New York (exh. cat.), 1992, no. 67a (this impression illustrated).
R. Signorini, New Findings about Andrea Mantegna: His Son Ludovicos Post-mortem Inventory (1510), Journal of the
Warburg and Courtauld Institutes, LIX, 1996, pp. 103-338.
S. Fletcher, A Closer Look at Mantegnas Prints, Print Quarterly, XVII, No. 1, 2001, pp. 3-41.
Based on a drawing attributed to Andrea Mantegna in the collection of the Bibliothque

de lEcole Nationale Suprieure des Beaux-Arts, Paris, The Descent into Limbo belongs,
together with The Flagellation with a Pavement (B. 1), The Deposition (B. 4), and The
Entombment with Four Birds (B. 2) to a group of engravings relating to the Passion and
Resurrection of Christ.
The composition centres on the figure of Christ standing on the shattered gates of
Hell, holding the staf and banner of the Resurrection. Mantegnas radical innovation
of depicting Christ from behind, directly in front of the abyss and not from the side as
in Byzantine and Italian antecedents, has the dramatic efect of involving the viewer in
Christs act of salvation, as he reaches down to liberate the souls of the dead.
While Mantegnas invention of this extraordinary composition is undisputed, the
attribution of the engraving has long been controversial and remains uncertain. David
Landau noted that the engraving and drawing correspond so closely in scale and
detail that the image must have been transferred to the plate via a tracing or some
other mechanical means. Unusually however, the engraver of The Descent into Limbo
departed from the original composition in places: by extending the height of the rock
faade and elaborating its cracked surface; by completing the figure of Eve to the right
of Christ; by altering the features of the central demon and re-positioning his left arm
to accommodate the curved shape of his instrument. Although it has traditionally
been ascribed to Mantegnas workshop or school, Landau in 1992 proposed that
The Descent into Limbo be added to the corpus of seven plates generally attributed
to Mantegna himself, arguing that this degree of variation from the drawing was not
indicative of a copyist. This view was contested by Suzanne Boorsch, who not only
rejected the re-attribution but challenged Mantegnas authorship of any engravings,
suggesting instead that the entire engraved oeuvre was the work of an unidentified
professional engraver. The discovery of a contract from 1475 between the artist and the
goldsmith Gian Marco Cavalli (circa 1454after 1508) in the state archives of Mantua in
2000 confirmed Mantegnas collaboration with at least one engraver. This remarkable
document did not, however, specify any prints made by Cavalli - nor did it rule out that
Mantegna had made some engravings himself. Following this documentary evidence,
Shelley Fletcher in 2001 published the results of her microscopic examination of the
seven plates traditionally attributed to Mantegna and the four questionable plates (Print
Quarterly, XXIII, no. 4, 2001). The comparison revealed subtle but distinct diferences in
the engraving technique between the two groups: she identified a single hand on the
plates of the core group - which she considered to be Mantegnas and two separate
hands on the four additional plates including The Descent into Limbo - presumably
Cavalli and another, unknown engraver.
Whoever the engraver may have been, it is clear that the engravings were executed
in the immediate surroundings of the artist and that he retained ultimate control over
the plates. In 1996 Rodolfo Signorini published the estate inventory of Mantegnas son
Ludovico of 1510, which listed several of his fathers engraved plates, including plates
of the core group as well as others, amongst them The Descent into Limbo and The
Flagellation with a Pavement the two prints being engraved on the two sides of the
same plate.
The further history of the plates is equally intriguing. Paper evidence has shown that
the majority of impressions but only of those present in Ludovicos estate are not on
Italian, but on French paper, leading Landau and Boorsch to conclude that the plates
must have found their way from Mantua to France, and were reprinted there around
1540-45. While there are a few documented impressions of The Descent into Limbo on
early Italian paper, for instance at The Cleveland Museum of Art, and The Museum of
Fine Arts, Boston, the majority are on French paper of the mid-16th century. The extreme
scarcity of surviving 15th century impressions seems to preclude any sizeable lifetime
edition. Hind recorded a total of 45 impressions, only nine of which were in private
hands at the time of publication in 1948. At least four of these have since entered public
collections. The present impression thus ofers an exceptional opportunity to acquire
one of the great engravings of the Italian Renaissance - as Suzanne Boorsch concluded:
What cannot be doubted is that these prints, translating as they do Mantegnas incisive
drawing style into the intractable medium of the copper plate, are the climax of 15th
century Italian printmaking and fully merit the admiration they have elicited over the
centuries. (S. Boorsch, Mantegna and his Printmakers, Andrea Mantegna, 1992, p. 64).
The present fine impression was acquired by Barbara Piasecka Johnson in 1989 to
complement the famous painting of the same subject, formerly from the collection of Sir
Stephen Courtauld, which she had purchased only two years earlier. Both the painting
and the engraving were included in the Mantegna exhibition at the Royal Academy,
London, in 1992.
We would like to thank Catherine Jenkins, London, for her help in cataloguing this lot and
for confirming the origin and date of the paper.
VARIOUS PROPERTIES
*6
ALBRECHT DRER (1471-1528)
The Holy Family with the Butterfly
(B. 44; Meder, Holl. 142; Schoch, Mende, Scherbaum 2)
engraving, circa 1495, on laid paper, watermark fragment Bulls Head
(M. 62), a very fine and rare, early impression, Meder a-b, printing
with touches of burr on the monogram and elsewhere, many vertical
wiping lines in the sky, trimmed just inside the subject, the scratch
above the Virgin rubbed out, a tiny repaired pinhole in the rays, a few
tiny paper losses at the upper left edge, generally in good condition
S. 238 x 185 mm.
30,000-50,000
$52,000-86,000
38,000-63,000
*7
ALBRECHT DRER
The Virgin and Child on a grassy bench
(B. 34; M., Holl. 31; S.M.S. 36)
engraving, 1503, on laid paper, watermark fragment High Crown
(M. 20), a very fine Meder a impression, with 2 mm. margins, in very
good condition
P. 115 x 70 mm., S. 119 x 75 mm.
20,000-30,000
$35,000-51,000
26,000-38,000
PROVENANCE:
Private European collection; then by descent to the present owners.
10
8
ALBRECHT DRER
The cook and his wife (B. 84; M., Holl. 85; S.M.S. 13)
engraving, circa 1496, on laid paper, without watermark, a good Meder a impression, trimmed
inside the platemark on all sides, the tip of the lower right corner made-up, remains of old tape
and adhesive at the sheet edges verso, otherwise in good condition, framed
S. 110 x 78 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Earl Spencer (18th century), Althorp, Northampton (L. 1532); his posthumous sale, Christies, London,
25 June 1919, lot 56 (with one other; 6-16-16 to Barnard).
With Colnaghis, London (with their gallery label on the backboard).
PROPERTY FROM THE ESTATE OF NUALA ODONNELL PELL
*9
ALBRECHT DRER
The Prodigal Son (B., M., Holl. 28; S.M.S. 9)
engraving, 1496, on laid paper, a good impression, probably Meder c/d, trimmed into the
image at the upper right, on the platemark elsewhere, pale scattered foxing, the sheet
tipped down at the corners, framed
S. 247 x 189 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION
*10
ALBRECHT DRER
The peasant and his wife at market (B. 89; M., Holl. 89; S.M.S. 88)
engraving, 1519, on laid paper, without watermark, a very good, clear Meder b impression, with
thread margins, trimmed to the platemark in places, with a veil of tone at the plate edges below
and at left, in very good condition
P. 116 x 74 mm., S. 117 x 75 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
PROVENANCE:
John William Bender (first half of the 20th century), Kansas City (L. 1555b).
11
VARIOUS PROPERTIES
*11
ALBRECHT DRER
The Four Horsemen of the Apocalypse, from: The Apocalypse
(B. 64; M. Holl. 167; S.M.S. 115)
woodcut, circa 1497/98, on laid paper, without watermark, a good impression from the Latin text edition of
1511, printing somewhat unevenly (as usual), trimmed on or to the borderline on three sides, trimmed just
inside the borderline in places at right, a tiny paper split in the angels left wing, a short diagonal tear at centre
right sheet edge, backed
S. 393 x 276 mm.
30,000-50,000
12
$52,000-86,000
38,000-63,000
*12
ALBRECHT DRER
The Four Angels holding the Winds, from: The Apocalypse
(B. 66; M., Holl. 169; S.M.S. 117)
woodcut, circa 1497-98, on laid paper, indistinct watermark, possibly Small Scales
in a Circle (M. 170 a), a very good proof impression before the German and Latin
text editions of 1498, printing slightly unevenly yet with great contrasts and
depth, trimmed to the borderline, a 15 mm. tear at the right sheet edge, the tips of
the upper sheet corners made up, otherwise in good condition
B., S. 388 x 281 mm.
20,000-30,000
$35,000-51,000
26,000-38,000
PROVENANCE:
Vinzent Mayer (1831-1918), New York and Freiburg (L. 2525); his posthumous sale,
Cassirer, Helbing, Rosenthal, Berlin, 8 October 1919 (and following days), lot 126 (Mk 500).
Dr. Franz Winzinger (born 1910), Oettingen, Bavaria (L. 2600a).
13
ALBRECHT DRER
The Adoration of the Lamb, from: The Apocalypse
(B. 67; M., Holl. 176; S.M.S. 124)
woodcut, circa 1496-97, on laid paper, without watermark, a good impression
from the Latin text edition of 1511, printing slightly unevenly in places (as usual),
with small margins, a short repaired tear at the centre right sheet edge, generally
in good condition, framed
B. 385 x 281 mm., S. 405 x 286 mm.
2,500-3,500
$4,300-6,000
3,200-4,400
13
*14
ALBRECHT DRER
Hercules at the Crossroads (B. 73, M., Holl. 63; S.M.S. 22)
engraving, 1498, on laid paper, watermark Small Jug (M. 158), a fine Meder b
impression of the second, final state, before the scratch on Herculess calf,
trimmed inside the platemark but retaining a fillet of blank paper outside the
borderline on three sides, trimmed on or just outside the borderline at left, in
very good condition
S. 324 x 223 mm.
12,000-18,000
$21,000-31,000
16,000-23,000
VARIOUS PROPERTIES
15
ALBRECHT DRER
The Dream of the Doctor (B. 76; M., Holl. 70; S.M.S 18)
engraving, circa 1498, on laid paper, partial Bulls Head watermark (M. 62),
a very good Meder a impression, trimmed inside the platemark, the fillet
of blank paper outside the borderline made up, with touches of pen and
ink along the borderline, the lower corners skilfully made up, other skilfully
repaired paper splits and tears, some minor stains and surface dirt, the sheet
thinly backed
S. 188 x 120 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Franz Gawet (1762/65-1847), Vienna (L. 1005).

Johann Carl Dietrich Hebich (1818-1891), Hamburg (L. 1251); presumably his sale,
Amsler & Ruthardt, Berlin, 23 February 1885, lot 65 (260 M).
14
16
ALBRECHT DRER
Nemesis (B. 77; M., Holl. 72; S.M.S 33)
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine,
silvery Meder b impression of the rare first state, before the scratch on the
bridge, printing very clearly and sharply, particularly in the harness and the cup,
trimmed to the platemark and just inside the platemark at lower right, a very
short tear at the lower left sheet edge, a few very skilful repairs at the sheet
edges and in the sky at centre, generally in good condition
S. 335 x 223 mm.
30,000-50,000
$52,000-86,000
38,000-63,000
Nemesis, the Greek goddess of retribution, with wings and standing on a ball,
glides majestically over an alpine landscape, which - depicted in tiny detail - lies far
underneath. In her hands she holds a bridle and a cup, her instruments to punish
and restrain the proud and reward the just. As Panofskys iconological studies have
demonstrated, these attributes can only have been derived from the poem Manto
by the Tuscan poet Angelo Poliziano (1454-1494), and it may have been through
Willibald Pirckheimer that Drer, who did not read Latin himself, knew this particular
literary source. The mountain landscape has been identified as a view of the village
of Klausen in the Eisack valley, one of the few unambiguously identifiable locations in
Drers printed oeuvre.
Impressions of the first state, before the accidental scratch on the bridge, such as
the present one, are very rare. Schoch, Mende and Scherbaum record only five
impressions in public collections.
15
17
ALBRECHT DRER
Saint Eustace (B. 57; M., Holl. 60; S.M.S. 32)
engraving, circa 1501, on laid paper, watermark High Crown (M. 20), a fine Meder b impression, trimmed just
inside the subject on three sides, to or just outside the borderline below, with the usual horizontal central fold,
partially broken through and repaired at left, a short tear at the lower sheet edge, pale scattered foxing, some
other, minor defects mainly at the sheet edges, framed
S. 349 x 259 mm.
20,000-30,000
PROVENANCE:
Unidentified collectors mark (not in Lugt).
16
$35,000-51,000
26,000-38,000
PROPERTY FROM A PRIVATE AMERICAN COLLECTION
*18
ALBRECHT DRER
Coat of Arms with a Skull (B. 101; M., Holl. 98; S.M.S. 37)
engraving, 1503, on laid paper, without watermark, a fine, rich Meder a
impression, printing with good contrasts and touches of burr in the wild
mans right arm and elsewhere, trimmed 3 mm. into the subject at left and
above, fractionally inside the platemark at right and below, re-margined on
all sides, a repaired paper split in the skull, two other repairs in the blank area
above, and other minor defects
S. 217 x 153 mm.
15,000-20,000
$26,000-34,000
19,000-25,000
PROPERTY FROM THE ESTATE OF EDGAR M. BRONFMAN
*19
ALBRECHT DRER
Adam and Eve (B., M., Holl.; 1; S. M. S. 39)
engraving, 1504, on laid paper, without watermark, a Meder b-c impression
of the third, final state, trimmed on or just inside the platemark but retaining
a fillet of blank paper outside the subjects, with the usual horizontal central
crease partially broken through and repaired, a repaired paper split or hole on
Eves belly, the sheet toned, framed
S. 251 x 192 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
17
VARIOUS PROPERTIES
20
ALBRECHT DRER
Melencolia I (B. 74; M., Holl. 75; S.M.S. 71)
engraving, 1514, on laid paper, without watermark, a very good impression of the
second, final state, probably Meder c, printing with good contrasts, the female
figures face quite dark, trimmed inside the platemark but retaining a fillet of
blank paper outside the borderline, an unobtrusive horizontal printers crease at
centre, two tiny repairs in the sea, time staining along the sheet edges, generally
in good condition
S. 239 x 186 mm.
30,000-50,000
18
$52,000-86,000
38,000-63,000
By Drers time the melancholic temperament was associated with genius and
the pursuit of knowledge, particularly that of empirical, applied science. The ruler,
the scale and the pair of compasses are all measuring devices, instruments for the
examination of nature. The building tools and the melting pot on the other hand
are symbols of human creativity. To Drer, the observation and comprehension
of the natural world was the basis of art. When we consider that the artists of the
Renaissance, with Leonardo and Drer as prime examples, saw themselves as artists
as well as scientists, then Melencolia I might be described as a coded self-portrait.
21
ALBRECHT DRER
Knight, Death and the Devil (B. 98; M., Holl. 74; S.M.S. 69)
engraving, 1513, on laid paper, without watermark, a very good impression,
probably Meder b, printing with good contrasts and bright highlights, with
thread margins, trimmed on or just inside the platemark in places, the upper
right corner re-attached, a made-up area to the left of the devil, a small
repaired hole on the horses belly, a short repaired tear at centre right, some
other smaller defects and minor staining
S. 244 x 188 mm.
15,000-25,000
$26,000-43,000
19,000-31,000
PROVENANCE:
Blanche Adler (d. 1938), Baltimore (L. 343a).

Colnaghis, London (with their stocknumber C. 10359 in pencil verso).
*22
ALBRECHT DRER
Saint Jerome in his Study (B. 60; M. Holl. 59: S.M.S. 70)
engraving, 1514, on laid paper, without watermark, a Meder c/e impression,
trimmed inside the subject on all sides, with made-up areas at lower and
upper right corners, other made up areas at the sheet edges
S. 241 x 185 mm.
8,000-12,000
$14,000-21,000
11,000-15,000
19
VARIOUS PROPERTIES
*23
ALBRECHT DRER
The Expulsion from Paradise, from: The Small Passion
(B. 18; M., Holl. 127; S.M.S. 188)
woodcut, 1510, without watermark, a very good Meder b/c impression of the
second, final state, before the Latin text edition of 1511, trimmed to the borderline,
generally in good condition
B., S. 127 x 98 mm.
3,500-5,000
$6,000-8,600
4,400-6,300
PROVENANCE:
Dr. G. Gttler (b. 1956), Bavaria (L. 2807b).
*24
ALBRECHT DRER
Christ driving the Money Changers from the Temple, from:
The Small Passion (B. 23; M., Holl. 131; S.M.S. 182)
woodcut, 1508-1510, on laid paper, without watermark, a very good impression
before the Latin text edition of 1511, with small margins, in very good condition
B. 125 x 97 mm., S. 129 x 101 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
PROVENANCE:
*25
ALBRECHT DRER
The Ascension, from The Small Passion
(B. 50; M., Holl. 159; S.M.S. 220)
woodcut, 1508-10, on laid paper, without watermark, a very good impression
before the Latin text edition of 1511, a few tiny paper losses at the lower and left
sheet edge outside the borderline, otherwise in very good condition
B. 125 x 97 mm., S. 127 x 100 mm.
2,500-3,500
PROVENANCE:
20
$4,300-6,000
3,200-4,400
*26
ALBRECHT DRER
Pentecost, from: The Small Passion
(B. 51; M., Holl. 160; S.M.S. 221)
woodcut, 1508-1510, on laid paper, with partial High Crown watermark (M. 20),
a fine impression, before the Latin text edition of 1511, with small margins on three
sides and a thread margin above, generally in very good condition
B. 126 x 95 mm., S. 129 x 98 mm.
2,500-3,500
$4,300-6,000
3,200-4,400
PROVENANCE:
*27
ALBRECHT DRER
King David doing penance (B. 119; M., Holl. 108; S.M.S. 151)
woodcut, 1510, on laid paper, watermark Narrow High Crown with City Gate,
a fine Meder a impression of this rare print, showing a few tiny gaps in the
borderline not described by Meder, trimmed to or on the borderline,
in excellent condition
S. 196 x 132 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Friedrich August II, King of Saxony (L. 971).

Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79 b).
21
*28
ALBRECHT DRER
The Rhinoceros (B. 136; M., Holl. 241; S.M.S. 241)
woodcut, 1515, on laid paper, watermark Small Shield with St. Andrews Cross (?), a very good, rich and clear impression
of the eighth, final state, published after 1620, some of the gaps in the block filled in with pen and ink (as usual), with
thread margins, pale foxing, a tiny rust spot on the right shoulder, generally in good condition
B. 212 x 297 mm., S. 213 x 298 mm.
8,000-12,000
$14,000-21,000
11,000-15,000
PROVENANCE:
John St. Aubyn (1758-1839), Devonport and London (L. 1534).

Fountaine Walker (second half 19th century), Inverness, Scotland (L. 2545); Christies, London, 7 July 1884, lot 473 (0-8).
22
29
ALBRECHT DRER
The Small Horse
(B. 96; M., Holl. 93; S.M.S. 42)
engraving, 1505, on laid paper, watermark Bulls Head (M. 62),
a fine, rich and black Meder a impression, with very good
contrasts and depth, the printing somewhat slipped towards
the lower part of the plate, trimmed on the platemark, an
unobtrusive horizontal soft crease, otherwise in very good
condition
S. 163 x 118 mm.
8,000-12,000
$14,000-21,000
11,000-15,000
PROVENANCE:
Reverend J. Burleigh James (mid 19th century), Shropshire (L. 1425);

his posthumous sale, Sothebys, London, 19 March 1877
(and the following days), lot 1267 (5-2-6, to Fawcett).
The San Francisco Museum of Modern Art, de-accessioned
in 2005.
PROPERTY FROM A DISTINGUISHED PRIVATE

COLLECTION
*30
ALBRECHT DRER
The landscape with the cannon
(B. 99; M., Holl. 96; S.M.S. 85)
etching, 1518, on thin laid paper, watermark Doubledheaded with letters SZ (M. 219), probably Meder d-e,
printing with many rustmarks, with thread margins
below, trimmed inside the platemark but just outside
the borderline elsewhere, a few rust spots, small thin
patches at the upper corners, generally in
good condition
S. 223 x 322 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
23
PROPERTY FROM THE ESTATE OF NUALA ODONNELL PELL
*31
ALBRECHT DRER
Virgin on a crescent with a crown of stars and a scepter
(B. 32; M., Holl. 37; S.M.S. 81)
engraving, 1516, on laid paper, a very good, silvery impression, probably
Meder a, trimmed just within the platemark, fractionally into the subject at
right, laid down onto card, a 4 mm. tear at the left sheet edge, some ink stains,
probably an inscription on the reverse showing through recto, framed
S. 116 x 73 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
PROVENANCE:
Rev. J. Burleigh James (mid-19th century), Shropshire, England (L. 1425), according
to a label on the frame.
Fountaine Walker (second half 19th century), Inverness, Scotland (L. 2545),
according to a label on the frame.
With Frederick Keppel & Co., New York, according to a label on the frame.
Herbert C. Pell (1884-1961), New York; then by descent to the present owners.
*32
ALBRECHT DRER
Erasmus von Rotterdam (B. 107; M., Holl. 105; S.M.S. 102)
engraving, 1526, on laid paper, watermark Arms of Schrobenhausen
(similar to M. 195), a strong and clear Meder f impression, trimmed on the
platemark at left and right, within the platemark but outside the subject,
above and below, some staining and occasional pale foxmarks, otherwise in
good condition
S. 248 x 194 mm.
5,000-7,000
24
$8,600-12,000
6,300-8,800
VARIOUS PROPERTIES
*33
MASTER MZ (ACTIVE AROUND 1500)
Aristotle and Phyllis (B. 18; Lehrs 22)
engraving, circa 1500, on laid paper, without watermark, a good impression
of this rare print, printing with a wiped plate tone, with thread margins,
a few minor stains, generally in good condition
P. 183 x 129 mm., S. 184 x 131 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79 b).
34
MASTER MZ
The Martyrdom of Saint Catherine (B. 8; L. 9)
engraving, circa 1501, on laid paper, watermark Bulls Head with Serpent
and Cross, a very good, early impression of this large and rare print,
remargined, with skilfully made-up paper losses along the sheet edges and
into the subject, with horizontal and vertical central folds, partially broken
through and skilfully repaired, other repairs and touches of pen and ink
in places
S. 313 x 260 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
Dr. Julius Hofmann (1840-1913), Karlsbad and Vienna (L. 1264); his sale,
C. G. Boerner, Leipzig, 8-12 May 1922, lot 1225 (RM 2.500 to Hess).
25
35
TIZIANO VECELLIO, CALLED TITIAN (CIRCA 1485/90-1576)
Nine plates from: The Submersion of Pharaohs Army in the Red Sea
(Passavant VI, p. 223, 4; Mauroner 27; Dreyer 4; Muraro and Rosand 8b; Chiari VIII)
nine woodcuts, circa 1515-49, on laid paper, eight sheets with watermark Pilgrim with a Staff in a Circle surmounted by a
Star (cf. Briquet 7578, circa 1573), one sheet with watermark Fleur de Lys in a Circle surmounted by a Crown
(cf. Briquet 7113, circa 1570), lacking three plates, printed after the edition of 1549 published by Domenico dalle Grache,
the blocks with some cracks, wormholes and gaps in the borderline, printing somewhat unevenly, dry in places, with
drying creases, some tears and minor paper losses, remains of a cardboard backing verso; with facsimiles of the three
missing plates (illustrated in grey above)
S. 410 x 560 mm. (and similar).
(9)
7,000-10,000
26
$12,000-17,000
8,800-13,000
36
DOMENICO CAMPAGNOLA (CIRCA 1500-1564)
The Massacre of the Innocents (B. woodcuts 1)
woodcut printed from two blocks, 1517, on two sheets of laid paper, a later
impression of this rare, monumental woodcut, printed in the 19th Century (no
contemporary impressions are known), with various losses and worm-holes in
the block, trimmed into the image at the right and lower sheet edge on the right,
some small repaired tears and splits in places, small paper losses and binding
holes along the upper sheet edge
B. 535 x 810 mm., S. 540 x 812 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROPERTY FROM A PRIVATE ENGLISH COLLECTION
37
NICCOL VICENTINO (ACTIVE 1540-1550) AFTER
PARMIGIANINO (1503-1540)
The Adoration of the Magi (B. 3; Le Blanc 2)
chiaroscuro woodcut printed from three blocks in black, green and yellow,
circa 1540-50, on laid paper, watermark Anchor in a Circle, a good impression
of this rare print, the yellow ink with a glittering (mica?) effect, trimmed on the
borderline above and below, just inside the borderline at left and right, with
Parmigianinos printed initials at lower right rubbed out, the sheet toned, a
brown stain at lower left, remains of an old album sheet verso, generally in good
condition
S. 339 x 247 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
Sothebys, London, 14 June 1984, lot 132.

Acquired at the above sale by the current owner.
27
VARIOUS PROPERTIES
38
GIAN GIACOMO CARAGLIO (CIRCA 1500/051565) AFTER TITIAN (CIRCA 1485-90-1576)
The Annunciation (B. 3)
engraving, circa 1537, on laid paper, watermark Double-headed Eagle
under Crown, a fine, strong impression of this rare print, trimmed to the
subject, with a horizontal central fold, partially broken through, flattened
and reinforced, a soft diagonal crease at right lower sheet, generally in
good condition
P., S. 450 x 343 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
Franz Rechberger (1771-1843), Vienna (L. 2133).

Unidentified collectors mark (not in Lugt).
The print is based on a lost work by Titian painted in 1536 and acquired by
Emperor Charles V as a gift to his wife Isabella in 1537. Charless motto,
Plus ultra, appears on banderoles at the top of the engraving. It may have been
Caraglios last prints since he left Italy in 1539 to work for Sigismund I of Poland
as a medallist and architect (B. Davis, Mannerist Prints International Style in the
Sixteenth Century, Los Angeles, 1988, p. 73).
39
GIOVANNI BATTISTA FRANCO,
CALLED IL SEMOLEI (CIRCA 15101561) AFTER GIULIO ROMANO
(CIRCA 1499-1546) AND G. F. PENNI
(1490-1528)
Emperor Constantine presenting the City of
Rome to Pope Sylvester (B. 55)
etching and engraving, circa 1530-50, on laid paper, with
an indistinct Circle watermark, a fine impression of this
rare print, trimmed to or just into the subject, laid down
onto an 18th century album sheet, an un-inked vertical
printers crease at upper centre, a few other, minor
printers creases, some foxing mainly at the sheet edges,
the subject generally in good condition
S. 411 x 570 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
The Dukes of Devonshire, Chatsworth; Christies, London,

Old Master Prints from Chatsworth, 5 December 1985, lot 89
(918) (on the original album sheet and with their numbers
in pencil below).
Bruce Daviss remark that, as one of the finest Italian
printmaker of the mid sixteenth century, Franco deserves
further study, still holds true today. (Bruce Davis, Mannerist
Prints - International Style in the Sixteenth Century, Los
Angeles, 1988, p. 328).
28
40
GIORGIO GHISI (1520-1582) AFTER GIOVANNI BATTISTA BERTANI (1516-1576)
The Judgement of Paris (B. 60; Boorsch & Lewis 16)
engraving, 1555, on laid paper, watermark Double-headed Eagle under Crown (Briquet 304, B. & L. 15, dated 1552-85),
a very fine impression of this rare print, the finished third, final, state, printing with good contrasts and great clarity,
remarkably even for a plate of this size, trimmed inside the platemark but retaining a fillet of blank paper outside the
borderline, a printers crease through the tablet at lower left, another at upper left, a small made-up paper loss at the lower
sheet edge at centre, the upper left corner made-up, two very skillfully repaired tears at the left sheet edge, a few other,
minor defects at the sheet edges
S. 395 x 528 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
With Colnaghis, London (their stocknumber C 34924 in pencil verso).

With Wynne Jeudwine, London.
Acquired from the above by the present owner in 1977.
Boorsch, Lewis and Lewis record only one impression of the unfinished first and second states, respectively, in the Fitzwilliam
Museum, Cambridge, and the Albertina, Vienna.
29
VARIOUS PROPERTIES
41
GIORGIO GHISI (1520-1582) AFTER GIOVANNI BATTISTA SCULTORI
(1503-1575)
The Fall of Troy and the Flight of Aeneas (B. 29; Boorsch & Lewis 8)
engraving, circa 1545, on laid paper, watermark Ladder in Circle with Star (B & L 31; cf. Briquet 5919-20, Italy,
first half 16th century), a very fine impression of the first state (of five), before Lafrerys address, printing
with great contrasts and very evenly, with many wiping marks and inky plate edges, with thread margins or
trimmed on or just inside the platemark, a skilfully repaired tear at the right sheet edge, otherwise in
good condition
P., S. 387 x 502 mm.
7,000-10,000
30
$12,000-17,000
8,800-13,000
42
DIANA MANTUANA (SCULTORI) (CIRCA 1535-87) AFTER GIULIO ROMANO
(1499-1546)
The Feast of the Gods (B. 40; Massari 149)
engraving printed from three plates, circa 1575, on three sheets of laid paper, watermarks Trimount in a Shield (similar
to Briquet 11939, dated 1598) and another indistinct Shield watermark, a very good impression of this rare, monumental
print, second, final state, printed by Antonio Carenzano, Rome, 1613, with his address, with thread margins or trimmed
to or just inside the platemark, the central sheet with margins at left and right, some minor stains, a small repair in the
right sheet below, otherwise generally in good condition
S. 374 x 1125 mm. (overall)
15,000-25,000
$26,000-43,000
19,000-31,000
PROVENANCE:
Hans Freiherr von und zu Aufsess (1801-1872), Aufsess and Nuremberg (L. 2749).
Unidentified red stamp verso (not in Lugt).
LITERATURE:
Evelyn Lincoln, The Invention of the Italian Renaissance Printmaker, New Haven & London, 2000, p. 111-145., fig. 110 (another
impression illustrated).
Michael Bury, The Print in Italy 1550-1620, London, 2001, p. 107, no. 67 (another impression illustrated).
Based on Giulio Romanos frescoes in the Sala di Psiche in the Palazzo del T in her native Mantua, this print is one of the five
engravings for which Diana had - unusually for a printmaker and even more so for a woman - a papal privilege. The carefully
worded dedication to Claudio Gonzaga, major domus to the pope, implies that his support may have been instrumental in
obtaining it shortly after her settling in Rome.
Her talent and skill as an engraver was spotted early on while still living with her family in Mantua by Giorgio Vasari,
who visited the city in 1566 in preparation of his second edition of his Lives of the Artists. He wrote: ...to Giovanni Battista
Mantovano [...] there were born two sons who engrave copper plates divinely, and what is more marvelous, a daughter
named Diana also engraves so well that it is a wonderful thing: and when I saw her, a very well-bred and charming young
lady, and her works, which are most beautiful, I was stunned. (quoted in: Lincoln, p. 118).
31
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
*43
JEAN DUVET (1485-CIRCA 1570)
The King receiving a Present from a Huntsman, from: The Unicorn Series
(Eisler 32; Bersier 67)
etching, circa 1545-60, on laid paper, watermark Letters BOV, a good, slightly later impression of this very rare print, with a small
margin below, trimmed outside the borderline at left and above and to or just inside the subject at right, in very good condition
S. 231 x 395 mm.
50,000-70,000
$86,000-120,000
63,000-88,000
PROVENANCE:
Unidentified, inscribed V. Pael. no. 861 in black ink verso (not in Lugt).
Ducs dArenberg, Brussels and Nordkirchen (L. 567); presumably their sale, Christies, London, 14 July 1902 (and following days).
With William Schab, New York.
Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (L. 79b); purchased from the above in 1952.
The print belongs to a series of six engravings depicting the hunt of the unicorn, which according to legend could only be captured
by a virgin maiden. The scene depicts the preliminaries of the hunt: the King, attended by the goddess of the hunt, Diana, and
surrounded by his huntsmen and hounds, is presented with the quarrys droppings. According to medieval custom the fume de
cerf were collected and inspected before the hunt, as it was believed that the number of antlers of the stag could be assessed from its
droppings.
The unicorn cycle has alternately been interpreted as a metaphor of the Passion of Christ and as an allegory of courtly love. Colin
Eisler however suggested a more secular and specific interpretation of this scene by identifying the couple as Henri II, the King of
France, and his celebrated mistress Diane de Poitiers.
Easily recognizable by his highly idiosyncratic, somewhat claustrophobic, tapestry-like style, Jean Duvets identity however long
remained unknown and early cataloguers referred to this mysterious engraver simply as the Master of the Unicorn.
Bersier records a total of 12 impressions in public collections. To our knowledge no other example has been ofered at auction within
the last thirty years.
32
VARIOUS PROPERTIES
44
JEAN DUVET
Christ on the Cross between two Thieves (E. 37; Be. 12)
engraving, circa 1546-1555, on laid paper, without watermark, second, final state, a good impression of this
extremely rare print, with wiped tone in the sky, on the face of the Cross and elsewhere, the plate beginning
to show wear in places, with narrow margins on three sides and square sheet corners above, several
extremely skilfully repaired tears and made-up paper losses in the subject
P. 300 x 214 mm., S. 304 x 218 mm.
10,000-15,000
$18,000-26,000
13,000-19,000
Bersier records seven impressions in public collections. To our knowledge no other impression has been ofered at
auction within the last thirty years.
33
*45
AFTER PIETER BRUEGEL THE ELDER (CIRCA 1525-1569)
BY PIETER VAN DER HEYDEN (CIRCA 1530 - AFTER 1569)
The Stone Operation or The Witch of Mallegem (Bast. 193; L. 157; Holl. 38)
engraving, 1559, on laid paper, without watermark, a fine, strong impression of Hollsteins rare third state (of five),
with narrow margins on three sides, trimmed into the text border below, with a central vertical drying crease, a small,
skilfully made-up paper loss in the belly of the man seated at centre, otherwise in good condition
S. 370 x 480 mm.
25,000-35,000
34
$43,000-60,000
32,000-44,000
46
BERNARDINO POCCETTI (1548-1612)
The Crucifixion
(Nagler 1999, Le Blanc 2; Bury 48; Reed & Wallace 106)
etching, circa 1589, on laid paper, indistinct Circle watermark,
a good impression of this extremely rare print, showing some
wear, trimmed to the platemark or fractionally into the subject,
with inky plate edges in places, the upper right corner made up,
a few other small paper losses and short tears at the sheet edges,
two short backed paper splits at lower right, the subject generally
in good condition
S. 332 x 198 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
Sothebys, London, 16 May 1980, lot 90 (as Procaccini).

Acquired at the above sale by the present owner.
LITERATURE:
Sue Welsh Reed, Richard Wallace, Italian Etchers of the Renaissance

and Baroque, Boston, 1989, no. 106, p. 208-9 (another impression
illustrated).
Michael Bury, The Print in Italy 1550-1620, London, 2001, no. 48,
p. 85-6 (another impression illustrated).
Impressions of this print are extremely rare. We could only trace
three other impressions: one impression in the British Museum,
London (see Bury; from the Cracherode Collection); one in the
Museum of Fine Arts, Boston (see Reed & Wallace; from the
collections Brentano-Birckenstock and Oppermann, sold C.G.
Boerner, Dsseldorf, 1967, Lagerliste 46, no. 156), and one from
the Young Ottley Collection (sold Sothebys, London, 15 May
1837, lot 931, to Harzen, now presumably Hamburger Kunsthalle,
Kupferstichkabinett).
VARIOUS PROPERTIES
47
GIACOMO CAVEDONE (15771660)
The Baptism of Christ (B. 3)
etching, circa 1615, on laid paper, without watermark,
a good impression of this extremely rare etching,
printing with a light plate tone, small margins, two
tiny repaired paper splits in the upper left corner,
P. 153 x 231 mm., S. 164 x 241 mm.
1,000-1,500
$1,800-2,600
1,300-1,900
35
48
PETER PAUL RUBENS (1577-1640)
Saint Catherine (Holl. 1)
etching with engraving, circa 1620-30, without
watermark, a fine, strong impression of this rare print,
third, final state, printing with very little wear, with narrow
margins, two tiny holes in the clouds below, with a
horizontal central fold, the sheet toned, with some foxing
and staining
P. 293 x 198 mm. , S. 298 x 203 mm.
8,000-12,000
$14,000-21,000
11,000-15,000
PROVENANCE:
T. Lundh (not in Lugt).
49
HENDRICK GOUDT (1583-1648)
AFTER ADAM ELSHEIMER
(1575-1610)
Tobias and the Angel (The Large Tobias)
(Duthuit, B., Holl. 2)
etching and engraving, 1613, on laid paper, watermark
Lion in a Cartouche under Crown (similar to Haewood
3133, dated Leiden 1616-24), a good impression, trimmed
inside the platemark on three sides, with a thread margin
below, a printers crease in the text below, the tip of the
lower right corner made up, in generally good condition;
together with The Beheading of Saint John the Baptist
(D., B., Holl. 3), third, final state, with 2 mm. margins,
window-mounted, in good condition
P. 256 x 270 mm., S. 258 x 270 mm. (Holl. 2)
P. 65 x 52 mm., S. 69 x 57 mm. (Holl. 3)
(2)
4,000-6,000
36
$6,900-10,000
5,100-7,500
50
JUSEPE DE RIBERA (1591-1652)
Equestrian portrait of Don Juan de Austria
(B. 14; Brown 16)
etching, 1648, on laid paper, indistinct Circle watermark, Browns
first state (of three), a good impression of this very rare print (Brown
records three impressions in public collections: London, Rotterdam
and Vienna), trimmed fractionally inside the platemark at right and
above, into the subject below and at left (just touching the J of the
signature), the sheet thinly backed with Japan paper, a few thin
spots, a small paper loss affecting the signature
S. 352 x 262 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
*51
ATRRIBUTED TO JUSEPE DE RIBERA
OR PUPIL
The Lamentation (B. 1; Br. 17)
etching, before 1624, on laid paper, watermark Fleur-de-Lys in a
Circle, a very good impression of the second, final state, printing
with wiping marks and light tone, trimmed on or just within the
platemark, generally in very good condition
S. 194 x 255mm.
1,500-2,000
$2,600-3,400
1,900-2,500
PROVENANCE:
Private European collection, then by descent to the present owners.

Brown considers the attribution of this etching, which has traditionally
been associated with Riberas painting of the subject in the National
Gallery, London, as the most problematic and states that until
very recently, it was almost universally accepted as an authentic
work. Mainly on stylistic grounds, but also due to the compositional
diferences between the London painting and the etching, Brown
himself does not consider the print to be by the artist himself, but by
one of his pupils. It could however be argued that, if a pupil had made
the print after the painting, he certainly would have copied his masters
composition as closely as possible, rather than change it.
37
(actual size)
VARIOUS PROPERTIES
52
REMBRANDT HARMENSZ. VAN RIJN (1606-1669)
The Small Lion Hunt (with two Lions) (B., Holl. 115; H. 180; New Holl. 28)
etching with touches of drypoint, circa 1629, on laid paper, partial watermark Strasbourg Lily, a very good impression,
occasional touches of grey wash, with thread margins, in very good condition, framed
P. 154 x 123 mm., S. 157 x 127 mm.
8,000-12,000
38
$14,000-21,000
11,000-15,000
PROPERTY FROM A PRIVATE COLLECTION, PALM BEACH
*53
REMBRANDT HARMENSZ. VAN RIJN
Beggar leaning on a stick, facing left
(B., Holl. 163; H. 9; New Holl. 46)
etching, circa 1630, on laid paper, without watermark, a fine impression of this rare
print, with narrow margins, pale scattered foxing recto and verso, otherwise in good
condition, framed
P. 85 x 46 mm., S. 89 x 51 mm.
10,000-15,000
$18,000-26,000
13,000-19,000
PROVENANCE:
Ernst Theodor Rodenacker (circa 1840- before 1894), Danzig (L. 2438); presumably his
sale, C. G. Boerner, Leipzig, 15 June and the following days 1897.
Henry Study Theobald (b. 1847), London (L. 1375); possibly H. G. Gutekunst, Stuttgart,
12-14 May 1910.
F. A.. Seirberling (1859-1955), Akron, Ohio; then by descent to the present owner.
The present impression compares well with the impression in the British Museum.
(actual size)
VARIOUS PROPERTIES
54
A Peasant calling out: tis vinnich kout
(B., Holl. 177; H. 114; New Holl. 131)
etching, 1634, on laid paper, watermark Letter H (countermark?, not in Hinterding), a
fine, rich impression, with wide margins, two small repaired holes in the left margin,
pale light- and mount staining, some pinpoint foxing, otherwise in good condition
P. 113 x 43 mm., S. 164 x 87 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Christian David Ginsburg (1831-1914), Palmers Green, England (L. 1145); possibly his
sale, Sothebys, London, 20-24 July 1915, lot 419 (with the companion piece) (14-10, to
Colnaghis).
39
55
The Rat Catcher (B., Holl. 121; H. 97; New Holl. 111)
etching, 1632, on laid paper, without watermark, a later impression of New
Hollsteins third, final state, trimmed inside the platemark on all four sides, in
areas approximately 1mm. into the image, the lower left corner made-up,
window mounted
S. 139 x 124 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
Jan Reinier Vote (1908-1993), Amsterdam (L. 4450).
56
The Strolling Musicians (B., Holl. 119; H. 142; New Holl. 141)
etching, circa 1635, on laid paper, with partial watermark Arms of Amsterdam
(similar to Hinterding I-a-b), a good impression of New Hollsteins first state (of
three), trimmed to or just outside the platemark, the upper left corner reattached,
remargined on all four sides with associated made-up areas, small tears at the
upper and lower right corners
P. 139 x 115 mm., S. 142 x 118 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
H. Danby Seymour (1820-1877), London and Trent (L. 176); his sale, Christies London,
4 April 1878, lot 85 (1-10).
Jan Reinier Vote (1908-1993), Amsterdam (L. 4450).
*57
A woman at a door hatch talking to a man and children
(The Schoolmaster) (B., Holl. 128; H. 192; New Holl. 191)
etching, 1641, on laid paper, with a small watermark fragment, probably Arms of
Amsterdam, a very good impression of New Hollsteins first state (of four), with
good contrasts, before the re-work, with thread margins, in very good condition,
framed
P. 93 x 62 mm., S. 94 x 64 mm.
2,000-3,000
40
$3,500-5,100
2,600-3,800
PROPERTY FROM THE HASCOE FAMILY COLLECTION
58
*59
The Star of the Kings: A Night Piece

(B., Holl. 113; H. 254; New Holl. 263)
The Ringball Player (The Golf Player)

(B., Holl. 125; H. 272; New Holl. 282)
etching, circa 1651, on laid paper, with part of a Fools Cap watermark (probably
with five-pointed collar, Hinterding J.a.), a fine, dark and even impression of New
Hollsteins first state (of four), with traces of burr in the star, trimmed on or just
outside the platemark, in good condition
P., S. 94 x 144 mm.
etching, 1654, without watermark, a later impression of New Hollsteins second,

final state, with narrow margins, the occasional pale pinpoint foxmark, with pale
sheet toning, otherwise in good condition, framed
P. 95 x 143 mm., S. 121 x 160 mm.
1,500-2,500
4,000-6,000
$6,900-10,000
5,100-7,500
$2,600-4,300
1,900-3,100
PROVENANCE:
Alexander Beugo (active 1801-1827), London (L. 82).
41
PROPERTY FROM A DISTINGUISHED PRIVATE

COLLECTION
*60
The Flute Player
(B., Holl. 188, New Holl. 211)
etching and drypoint, 1642, on laid paper, watermark
Cross of Lorraine (probably Hinterding B-a-b), New
Hollsteins fourth, final state, with narrow margins,
a short repaired tear at upper right, pale staining at
the lower left and upper corners, a tiny plugged hole
at lower centre
P. 116 x 145 mm., S. 120 x 150 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
With Colnaghis, London (with their stocknumber

C. 16974 in pencil verso).
PROPERTY FROM THE COLLECTION OF NATHAN AND

JOAN LIPSON
*61
Medea, or: The Marriage of Jason and
Creusa (B., Holl. 112; H. 235; New Holl. 241)
etching and drypoint, 1648, on laid paper, without
watermark, New Hollsteins fifth, final state, with thread
margins, in very good condition, framed
P. 232 x 176 mm., S. 234 x 179 mm.
2,000-3,000
42
$3,500-5,100
2,600-3,800
VARIOUS PROPERTIES
62
Woman bathing her feet at a brook (B., Holl. 200; H. 298)
etching, 1658, without watermark, a good but slightly later impression of New
Hollsteins first state (of two), with the light diagonal scratch in the upper
centre, before Basans re-work, with narrow to thread margins, the sheet toned,
otherwise in good condition
P. 160 x 80 mm., S. 162 x 83 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
63
A Woman reading (B., Holl. 345; H. 113; New Holl. 137 )
etching, 1634, on laid paper, without watermark, a very good impression of the
third, final state, remargined, with a tiny made-up area within the subject lower
left, some pale staining in the sheet corners
P. 123 x 102 mm., S. 130 x 108 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
43
(actual size)
*64
The Goldsmith (B., Holl. 123; H. 285; New Holl. 289)
etching and drypoint, 1655, on stiff golden Japan paper, a very fine impression of New Hollsteins first state
(of three), with small margins, pale light-staining, otherwise in very good condition
P. 76 x 56 mm., S. 86 x 66 mm.
12,000-18,000
$21,000-31,000
16,000-23,000
PROVENANCE:
J. K. Brnner (1738-1812), Frankfurt am Main (L. 307); gifted to the Stdelsches Kunstinstitut, Frankfurt am Main in
1810; with their duplicate stamp (L. 2396); their sale of duplicates, C. G. Boerner, Leipzig, 5 October 1874, lot 862
(RM 4; Schner Druck auf Japanisches Papier).
J.E. de Wit (d. circa 1895), Portland (L. 1451).
44
*65
Jan Lutma, Goldsmith (B., Holl. 276; H. 290; New Holl. 293)
etching with drypoint and engraving, 1656, on oatmeal paper, a very good
impression of Hollsteins second state (of three), trimmed on the platemark,
retaining a fillet of blank paper at the upper sheet edges, the lower left and upper
sheet corners skilfully made-up, another small repair at the upper sheet edge at
centre, otherwise in good condition
P. 197 x 149 mm., S. 198 x 150 mm.
15,000-20,000
$26,000-34,000
19,000-25,000
PROVENANCE:
Marsden Jasael Perry (1850-1935), Providence, Rhode Island (cf. 1880, without
his mark), according to the label on the frame; possibly his sale, H. G. Gutekunst,
Stuttgart, 18-23 May 1908, lot 1328: Hauptblatt in brilliantem Abzug des 2. Zustandes
vor dem Arbeiten in Bogen des Fensters. Sehr selten. (RM 940, to Delteil).
With M. Knoedler & Co., New York.
The states of this print have been re-assessed in New Hollstein. As before, the
niche, window, signature and the inscription identifying the sitter constitute the
second state. According to New Hollstein however, the inscription in the lower
right F. Lutma Ex., the address of Jan Lutmas son Franois, has been added later,
constituting a previously undescribed third state. The authors of New Hollstein
themselves had some doubt as to this assessment, stating that Craddock & Barnard,
Mnz and Bjrklund assumed the inscription was by the same hand as the engraved
inscription in the previous state and was added at the same time. Whether this is
indeed correct, cannot be established with certainty (New Hollstein, p. 262).
In conversation with Eric Hinterding, one of the authors, he expressed the view that
probably all inscriptions were added at the same time and that the inscription
F. Lutma Ex. only becomes visible as the densely worked area at the lower right
begins to wear.
The existence of several early impressions already bearing Franois Lutmas
address, such as the Cracherode impression on oatmeal paper in the British
Museum, the Rudge impression on Japanese paper in the Lugt collection and the
fine impression on Fools Cap paper ofered in these rooms on 3 December 2013
(lot 78), leads us to believe that New Hollsteins second and third states are in fact
identical. The printing quality of these impressions confirms an early printing date,
while the paper evidence - the use of unusual papers such as oatmeal and Japanese
paper - suggests that they were printed in or in close collaboration with Rembrandts
workshop and during his lifetime. This is in accordance with Nowell-Ustickes
observation that early impressions exist on oatmeal paper.
Would it be possible that Franois Lutma agreed with Rembrandt to publish his
fathers portrait, whereupon Rembrandt completed the background and signed
the plate while Lutma added the inscriptions identifying his father as the sitter and
himself as the publisher? And did Rembrandt continue to pull the prints for Franois
Lutma, who then distributed them? What we do know with certainty is that the
address has been added while Rembrandt was alive, since he outlived Franois
Lutma by five years.
45
*65A
Jan Uytenbogaert (the Goldweigher)
(B., Holl. 281, H.167; New Holl. 172)
etching and drypoint, 1639, on laid paper, without watermark, New Hollsteins third,
final state, a later impression, with the rework, trimmed on or to the platemark; with
The Strolling Magicians (B. Holl. 119; H. 142; New Holl. 141 ), etching, on laid paper,
without watermark, New Hollsteins second state (of three), with small margins,
an indistinct ink inscription in the lower margin; with Albrecht Drer, Willibald
Pirckheimer (B. 106; M., Holl. 103; S.M.S. 99), engraving, 1524, without watermark,
Meder e, trimmed on the platemark
S. 250 x 205 mm. (B. 281)
S. 145 x 120 mm. (B. 119)
S. 181 x 113 mm. (B. 106)
(3)
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
The Strolling Musicians with an unidentified stamp, letters in a rectangle in purple ink
(not in Lugt).
*66
Self-portrait etching at a window
(B., Holl. 22; New Holl. 240; H. 229)
etching and drypoint, 1648, on laid paper, without watermark, a good impression
of New Hollsteins eighth state (of nine), with 4-3 mm. margins, the upper left
corner made-up, a nick at the centre left sheet edge, time staining and scattered
foxing, an ink inscription 27 at the lower right margin, framed
P. 160 x 129 mm., S. 168 x 133 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
PROVENANCE:
Rev. J. Burleigh James (mid-19th century), Shropshire, England (L. 1425); his sale,
Sothebys, London, 19 March 1877 and the following days, lot 4120 (2-2).
Unidentified collectors mark, possibly (L. 844 or L. 2937a).
*67
Clement de Jonghe, Printseller (B., Holl. 272; H. 251; New Holl. 264)
etching and drypoint, 1651, on laid paper, without watermark, New Hollsteins eighth
state (of ten), printing with a light, even platetone, narrow margins, a small rustmark
at right, a small repair and a few nicks at the upper right, otherwise in good condition,
framed
P. 206 x 160 mm., S. 210 x 165 mm.
2,000-3,000
46
$3,500-5,100
2,600-3,800
*68
Cornelis Claesz. Anslo, Preacher (B., Holl. 271; H. 187; New Holl. 197)
etching with drypoint, 1641, on Japan paper, an impression of New Hollsteins third state (of five), with thread margins,
in very good condition, framed
P. 186 x 155 mm., S. 189 x 160 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
47
VARIOUS PROPERTIES
69
The presentation in the temple in the dark manner (B., Holl. 50; H. 279; New Holl. 285)
etching with drypoint, circa 1654, on laid paper, without watermark, a superb impression of this extremely rare
print, printing with considerable burr and intense, cleanly wiped highlights, with sharp platemarks, showing
much relief verso, with 3-5 mm. margins, in very good condition
P. 209 x 161 mm., S. 218 x 171 mm.
100,000-150,000
$180,000-260,000
130,000-190,000
PROVENANCE:
Marsden Jasael Perry (1850-1935), Providence, Rhode Island (L. 1880; this impression cited in Lugt);
sold H. G. Gutekunst, Stuttgart, 18-23 May 1908, lot 1150: Hauptblatt in herrlichem Abdruck mit Rand. Von der
grssten Seltenheit. (RM 4.200 to Boerner).
With C.G. Boerner, Leipzig; acquired at the above sale.
Otto Gerstenberg (1848-1935), Berlin (L. 1840c); sold in 1922 to Colnaghis, London, and Harlow & Co., New York.
Richard H. Zinser (circa 1883-1983), Forest Hills, New York (not in Lugt).
LITERATURE:
Christopher White, Rembrandt as an Etcher A Study of the Artist at Work, New Haven and London, 1999, p. 95-97,
no. 117-120 (other impressions illustrated).
Cliford S. Ackley, Rembrandts Journey Painter, Draftsman, Etcher, Boston, 2004, p. 63-66, no. 3 (another
impression illustrated).
Roman Grigoryev, Rembrandt Master of the Copper Plate Prints from the Dmitri Rovinsky Collection at the State
Hermitage, Helsinki, 2012, p. 185-191 (another impression illustrated).
At various times in his life, Rembrandt returned again and again to the theme of The Presentation in the Temple
and produced three etchings and two paintings (Hamburger Kunsthalle and National Museum, Stockholm) of
the subject, all very diferent in style and focus. The subject is based on the Gospel of Luke (2:22-39) and usually
combines two related episodes: the actual presentation of the Christ child to the priest Mosaic law required
parents to present their first-born son at the temple and Simeons song of praise. Simeon was an old and pious
man in Jerusalem to whom it was revealed by the Holy Ghost that he should not see death before he had seen
the Lords Christ. When he saw Mary and Joseph with the Child at the temple, he recognized Him as the Messiah,
and ofered a song of praise.
In the present etching, Rembrandt depicts the presentation in a very unconventional manner by focusing almost
entirely on Simeon and the priest, while Mary kneels humbly at left with Joseph peeking over her shoulder,
almost as an after-thought to the composition. The scene takes place in a small corner of the temple, the intimacy
and sanctity of the ceremony further heightened by the intense darkness of the space. Even the Childs head,
surrounded only by a pale halo, lies in the dark - perhaps a foreshadowing of His death to come. Darkness and
light, as Cliford Ackley rightly pointed out, are the principal actors here (Ackley, p. 66), and the few highlights seek
out Simeon and the priest alone. Dominating the entire composition however and binding the two figures further
together is the temple guardian or high priest who stands towering above the scene, with the little light there is
flickering on his opulent garments, headgear and staf one of the most grandiose and awe-inspiring figures in all
of Rembrandts printed oeuvre.
Rembrandt experimented a lot with this plate by using diferent papers and printing it with selectively wiped plate
tone. Some impressions, such as the one on Japanese paper at the Rijksmuseum, are so rich in tone that the entire
background is almost drowning in black ink, with only a few intense highlights shining in the darkness. The present
impression is rich and dark yet cleanly wiped, thus striking a balance between the atmospheric chiaroscuro of the
composition and the telling of the story, which is literally obscured in the more experimental versions. It compares
well with the Cracherode impression in the British Museum, which is equally fine and very similar in character.
48
(actual size)
49
PROPERTY FROM THE COLLECTION OF NATHAN AND

JOAN LIPSON
*70
Abraham entertaining the Angels
(B., Holl. 29; H. 286; New Holl. 295)
etching and drypoint, 1656, on laid paper, without
watermark, a good impression, with touches of grey
wash, with narrow margins, a 3 mm. tear at the lower left
corner, in good condition, framed
P. 158 x 130 mm., S. 161 x 135 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
VARIOUS PROPERTIES
*71
Christ driving the money changers from the
temple (B., Holl. 69; H. 126; New Holl. 139)
etching with touches of drypoint, 1635, on laid paper,
watermark Strasbourg Lily (Hinterding E.c.), a very
good impression of New Hollsteins first state (of four),
printing with touches of burr on the rays of Christs
halo and on the priests staff in the background,
trimmed to the platemark but retaining a fillet of blank
paper outside the borderline, in very good condition,
framed
S. 137 x 170 mm.
7,000-10,000
50
$12,000-17,000
8,800-13,000
*72
The Descent from the Cross by torchlight
(B., Holl. 83; H. 280; New Holl. 286)
etching and drypoint, 1654, with partial watermark
Fleur-de-Lys, a good but later impression of New
Hollsteins third state (of four), still printing with good
contrasts, with narrow margins, a tiny plugged hole at
upper right, generally in good condition
P. 210 x 161 mm., S. 212 x 164 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
*73
Stoning of Saint Stephen
(B., Holl. 97; H. 125; New Holl. 140)
etching with touches of drypoint, 1635, on laid
paper, without watermark, a fine impression of New
Hollsteins first state (of three), printing with touches of
burr, trimmed to the subject at left and right, with small
margins at the top and below, a small paper loss with
the signature at lower left made-up, the tip of the lower
right corner made-up, a tiny repair in the rocks at lower
right, framed
P. 95 x 85 mm., S. 98 x 85 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
51
PROPERTY FROM AN AMERICAN COLLECTION
*74
Saint Jerome beside a pollard willow (B., Holl. 103; H. 232; New Holl. 244)
etching with drypoint, 1648, on laid paper, with a Strasbourg Lily watermark (probably Hinterding D), a good
impression of New Hollsteins fourth, final state, with touches of brush and ink in places, small to narrow
margins, the lower left corner re-attached, the tip of the upper right corner made-up, the Barnard and Esdaile
inscriptions verso showing through recto
S. 185 x 138 mm.
40,000-60,000
$69,000-100,000
51,000-75,000
PROVENANCE:
John Barnard (d. 1784), London (L. 1420); his sale, Th. Philipe, London, 16 April 1798, lot 146 (2-11 to Esdaile).
William Esdaile (1758-1837), London (L. 2617), his initials recto and twice verso and inscribed D102 N 52; his sale,
Christies, London, 11-16 June 1840, lot 713 (1-15).
Charles Sackville (1791-1880), London (L. 640); his sale, Christies, London, 9-14 June 1881, lot 2607 (2-0-6 to Danlos).
52
VARIOUS PROPERTIES
75
Recueil de Quatre-Vingt-Cinq Estampes originales, Ttes, Paysages et diffrents Sujet, dessines et graves par Rembrandt
the complete album containing 81 etchings by Rembrandt and 39 etchings after or in the manner of Rembrandt, on various types of laid paper, with Henri
Louis Basans list of contents and title page, published after 1809, the plates printed directly onto the album pages, at times several onto one sheet, most
sheets with pale moisture staining to the right sheet edge, scattered foxing, otherwise the etchings in good condition, bound in the original mottled blue
boards with green cloth spine
(album)
495 x 320 mm. (overall)
50,000-70,000
In 1786 the Parisian printer and publisher Pierre-Francois Basan (1723-97) acquired
around eighty etching plates by Rembrandt from the estate of his fellow Parisian
dealer C.-H. Watelet (1718-1786). The so-called Basan recueil was first published in
1789 and constituted a landmark not only in the history of Rembrandt scholarship,
but also in the development of the academic study of art. For the first time a
volume containing an overview of Rembrandts work printed from his own plates
was available to the collecting public. It was, in many respects, the first illustrated
catalogue of an artists work. Such was its success that the recueil continued to be
issued until 1846, first by Basans sons Antoine-Simon-Ferdinand (1763/64-98) and
Henry-Louis (d. before 1819), then by the Parisian publisher Auguste Jean (d. 1820),
and finally, on his death, by his widow.
In his detailed study on the history of Rembrandts copperplates, Eric Hinterding
highlights the dificulty in dating individual recueils, citing variations in presentation,
contents and paper types. There is, however, a gradual, yet discernible deterioration in
the quality of later editions, caused by the wear to the plates from intensive printing.
This particular album is unusual in that the plates have been printed directly onto the
sheet, a characteristic of the early recueils published by Pierre-Francois, as opposed
to each plate being printed separately and then pasted individually into the album,
a feature of subsequent editions. However, the inclusion of Henri-Louis Basans
$86,000-120,000
63,000-88,000
title-page indicates a publication date on or after 1807, when Henri-Louis followed in
his fathers footsteps and began to publish the recueil under the same title. Osbert
Barnard has pointed out that the quality of the prints in Henry-Louiss albums is
far from consistent, and postulates that he printed single impressions on demand,
compiling his albums from the impressions he already had in stock. One possible
hypothesis may be that some of the sheets in this album were printed much earlier
than 1807. However, this is conjectural. Although the precise dating of the recueils
is complex, this album was almost certainly published after 1809. This is suggested
by the inclusion of the The Pancake Woman (B. 124) in the sixth, final state, with the
added inscription made by Basan in that year, in the upper subject. However, this
album also includes an impression of Faust (B. 270), before its drastic reworking, and
the original plate of The Death of the Virgin (B. 99) which is replaced by a copy in
later editions.
The album contains the following plates by Rembrandt:
B. 17, 19, 20, 22, 26, 33, 37, 39, 41, 43, 44, 45, 46, 47, 49, 53, 55, 57, 63, 64, 66, 68, 69, 70,
71, 72, 73, 80, 81, 83, 87, 91, 92, 94, 97, 98, 99, 102, 105, 113, 118, 119, 123, 124, 125, 126, 128,
130, 131, 136, 151, 152, 164, 168, 170, 176, 179, 192, 194, 195, 196, 200, 205, 237, 270, 272,
273, 275, 276, 277, 279, 283, 290, 295, 321, 344, 349, 365 and 368.
53
*76
FERDINAND BOL (1616-1680)
Portrait of an oficer (B. 11; Holl. 12)
etching with touches of drypoint, 1645, partial watermark
Fools Cap, a very fine, early impression of this rare print,
with touches of burr on the shirt cuff and elsewhere,
printing with great contrast and delicacy, with 6-8 mm.
margins, the tip of the upper left corner in the margins
made-up, otherwise in very good condition
P. 137 x 113 mm., S. 152 x 127 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
Paul Davidsohn (1839-1931), Berlin (L. 654); his sale,

C. G. Boerner, Leipzig, 3-8 May 1920, lot 692: Wundervoller
Abdruck eines unbeschriebenen ersten Zustandes, vor
neuen Schrafuren rechts und links am Kopf. Mit Rndchen.
Von grter Seltenheit (RM 1.600 to Gutekunst).
Richard Gutekunst (1870-?), Bern (cf. L. 2213a, without his mark).
Mary Lovejoy Kirkpatrick (1884-1976), Massachusetts and
Maine (not in Lugt).
With Goodman Walker Fine Arts, Boston (according to a
label on the mount).
In Boerners catalogue of the Davidsohn sale of 1920,
the present impression was described as a wonderful
impression of an undescribed first state, before additional
hatching to the right and left of the head. Based on this
description, it was subsequently recorded in Hollstein
as the only known impression of the first state of two. A
direct comparison with a fine impression of the so-called
second state in the British Museum however revealed no
diference. It seems that Boerner was mistaken and that
there is in fact only one state of this etching.
77
ADRIAEN JANSZ. VAN OSTADE
(1610-1685)
The Anglers (B., Holl., Godefroy 26)
etching, circa 1653, on laid paper, without
watermark, a fine early impression of either the
rare third or fourth states (of seven), with margins,
trimmed inside the platemark but retaining a fillet
of blank paper outside the subject, in very good
condition
S. 113 x 163 mm.
5,000-7,000
$8,600-12,000
6,300-8,800
PROVENANCE:
Friedrich Kalle (1804-1875), Cologne and Bonn (L. 1021);

his sale, F. A. C. Prestel, Frankfurt am Main, 22 November
1875 and the following days, lot 677 (RM 15, to
Brgermeister Berg).
54
*78
The Dance in the Inn (B., Holl., G. 49)
etching, 1652, on laid paper, watermark Foolscap (G. 21), the paper with a golden
tint, as described by Godefroy, a fine impression of the rare sixth state (of nine),
trimmed to or just within the platemark but retaining a fillet of blank paper
outside the subject, a tiny paper loss at the left sheet edge outside the borderline,
some very minor pinpoint foxing, otherwise in good condition
S. 284 x 317 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
With Colnaghis, London (with their stocknumber C 8435 in pencil verso).
*79
The Breakfast (B., Holl., G. 50)
etching, circa 1664, on laid paper, watermark Phoenix in a Laurel Wreath (G. 33), a
fine impression of the extremely rare fourth state (of twelve), before the text below,
printing with a subtle plate tone, printing very clearly and with great contrasts,
with small margins, occasional pinpoint foxing mainly towards the sheet edges, an
unobtrusive vertical printers crease at centre, generally in very good condition
P. 219 x 261 mm., S. 225 x 267 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
William Esdaile (1758-1837), London (L. 2617), his initials in brown ink recto, also verso and inscribed
Impr (?) proof very rare; presumably his posthumous sale, Christies, London, June 1840.
Henry Brodhurst (after 1860), Mansfield (L. 1296).
With Colnaghis, London (with their stock number in pencil C 8436 verso, the number
C. 1342 crossed out).
The present watermark of the Phoenix in a Crown of Laurels is seldom seen and only
on fine, early impressions. It is, as Godefroy points out, one of the oldest that is found on
Ostades prints. He dates it around 1650.
The present impression compares favourably to the Salting impression in the
British Museum.
80
CORNELIS PIETERSZ. BEGA (1631/1632 1664)
The Old Hostess (B. 32)
etching, circa 1642-64, on laid paper, watermark Arms of Amsterdam,
a fine impression of this rare print, second state (of four), before
the publishers address, printing with great contrasts and without
any wear, with small to thread margins, some pale scattered foxing,
otherwise in good condition; together with The Young Hostess (B. 33),
etching, circa 1642-64, on laid paper, partial watermark, probably Arms
of Amsterdam, a fine impression of this rare print, second state (of
five), still printing with many of the light scratches and impurities in the
plate, with 3 mm. margins all around, the tips of the left sheet corners
repaired, some very minor foxing, otherwise in good condition
P. 175 x 132 mm., S. 177 x 135 mm. (B. 32)
P. 175 x 156 mm., S. 181 x 162 mm. (B. 33)
(2)
3,000-5,000
$5,200-8,600
3,800-6,300
55
PROPERTY FROM A PRIVATE EUROPEAN COLLECTION
*81
PRINCE RUPERT OF THE RHINE (1619-1682)
The Great Executioner with the head of Saint John the Baptist
(Andresen 6; Chaloner Smith 2; Hind 3; Holl. 14)
mezzotint with engraving, 1658, watermark Basilisk with Basel Staff in a Shield and pendant three Circles, a fine impression
of this very rare and important print, third, final state, with thread margins, trimmed on the platemark in places, in very good
condition, framed
P. 633 x 442 mm., S. 635 x 443 mm.
100,000-150,000
$180,000-260,000
130,000-190,000
PROVENANCE:
Pierre Mariette II (1634-1716), Paris (L. 1788), dated 1664.

Joseph Gulston (1745-1786), Ealing Grove, Middlesex, with his number N 20756, price 3136 and presumably his inscription Scraped
by Prince Rupert in brown ink verso.
Anonymous, probably 19th century (L. 352a).
Marquess of Bute, by repute.
With Colnaghis, London (with their stock number C. 28114 (?) verso).
Albert W. Blum (1882-1952), Switzerland and Short Hills, New Jersey (l. 79b); acquired in 1951.
Prince Rupert of the Rhine is one of the great oddities in the history of printmaking. Born in 1619 in Prague as Rupert Count Palatine,
Duke of Bavaria, 1st Duke of Cumberland and 1st Earl of Holderness, he was the third son of the Elector Palatine, Frederick V and
Elizabeth Stuart, the eldest daughter of James I of England. He grew up in the turmoil of the Thirty Years War, living between the
courts of The Hague and London. At the tender age of 14 he was already fighting the Spanish in the Netherland. Following his move
to England, he joined in the Royalist Army during the Civil War. Being exiled under Cromwell, he once more fought against Spain, this
time on the side of French, then became a Royalist corsair in the Caribbean. After the restoration he returned to England where he
became a high commander of the Navy and was finally appointed the first governor of the Hudson Bay Company in Canada.
A soldier all his life, he was a very unlikely artist and printmaker. During his early youth in The Hague however he enjoyed a careful
education, had a quick and versatile mind, and was taught drawing and painting by Gerard van Honthorst. Rupert was long thought
to have invented the mezzotint printing technique - a rumour he himself may have spread but it was probably first developed by
Ludwig von Siegen (1609-circa 1680), an amateur artist and tutor of a German cousin of his, whom Rupert appears to have met
at Brussels in 1654. Rupert did however introduce the technique into England and created only a few, but undoubtedly the most
impressive works in the medium.
The mezzotint technique, whereby the image is scraped into a roughened copper plate, thus burnishing lighter areas into an
otherwise darkly printing surface, has one main advantage compared to engraving and etching: it allows the printing of very soft
and gradual, tonal efects. It was therefore ideally suited for the recreation of paintings as prints and became a widely used and very
popular reproductive method, in particular for portraits, in the 18th century.
The present print of an executioner holding the head of Saint John the Baptist is based on a painting once thought to be by Jusepe
de Ribera (but probably by a follower; Staatsgemldesammlung, Munich). It is a stunning image, rendered in an intense, nocturnal
chiaroscuro: the executioner, almost in half life-size, dressed in rags in a very Ribera-like way, stands sideways towards the viewer. In
his left hand he still holds the sword, while in his right he grips the severed head of the Baptist by the hair and holds it up to his face to
look at it. On his left stands the saints staf with the words ECCE AGNUS DEI, ECCE QUI TOLLIT PECCATA MUNDI on the banderole
tied to the top, thus referring to Christ, but also to the sacrificial nature of Saint Johns martyrdom of being slaughtered like a lamb.
Although this was only his third attempt in the new technique, Prince Rupert at this point has completely understood the possibilities
of mezzotint method and is making the most of the fine tonal efects and velvety black shadows and surfaces. At the same time,
the traces of the rocker used to texture the plate are still clearly visible, as are the marks of burnisher and scraper. The print has a
roughness and physicality to it, which make it much more expressive than the technically perfect mezzotints of the 18th century.
The Great Executioner is Prince Ruperts largest, most dramatic and celebrated print and a great rarity: Hollstein records only three
impressions of the first state (Bremen, London, Paris), one of the second state (Paris) and there are probably no more than a dozen of
the third state. To our knowledge, no other impression has appeared on the market within the last thirty years.
56
57
82
GIOVANNI BATTISTA TIEPOLO (1696-1770)
Punchinello talking to two Magicians, from:
Scherzi di Fantasia (de Vesme 21; Rizzi 12)
etching, circa 1735, on heavy laid paper, without watermark, a very
good impression of the first state (of two), before the plate number,
printing with fine vertical wiping marks and inky plate edges, with
small margins, in very good condition
P. 233 x 184 mm., S. 242 x 192 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
VARIOUS PROPERTIES
*83
GIOVANNI BATTISTA TIEPOLO
Satyr Family with Obelisk, from: Scherzi di Fantasia
(de V. 23; R. 14)
etching, circa 1740, on heavy laid paper, without watermark, a
fine impression of the first state (of two), before the plate number,
trimmed to the platemark, in very good condition
S. 227 x 179 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
*84
Two Magicians and two Boys, from:
Scherzi di Fantasia (de V. 26; R. 17)
etching, circa 1740, on heavy laid paper, without watermark, a very
good impression of the first state (of two), before the plate number,
printing with light wiping marks and small impurities in the plate,
trimmed to or just outside the platemark, in very good condition
S. 226 x 178 mm.
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
58
*85
Bacchante, Satyr and Fauness, from: Scherzi di Fantasia (de V. 35; R. 26)
etching, circa 1740, on heavy laid paper, without watermark, a fine, early impression of the first state (of two), before the plate number, printing strongly and clearly,
with many short scratches and impurities in the plate, with thread margins at right and below, trimmed to or on the platemark at left and above, in very good condition;
together with Two Magicians and a Child, from: Scherzi di Fantasia (de V. 34; R. 25), etching, circa 1740, on laid paper, without watermark, a fine, early impression of the
first state (of two), before the plate number, printing strongly and clearly, with thread margins on three sides, trimmed on the platemark at left, in very good condition
P. 132 x 199 mm., S. 135 x 200 mm. (de V. 35)
P. 140 x 188 mm., S. 143 x 189 mm. (de V. 34)
(2)
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
Jean Ehrmann (1902-1984), Paris (L. 3581).

A Private European collection; then by descent to the present owners.
86
Vari Capricci (de V. 3-12; R. 29-38)
the complete set of ten etchings, before 1750, on laid paper, with various
Triple Crescent watermarks, with the frontispiece and the engraved
portrait of the artist by Pietro Monaco (1710 - after 1775), good to very
good impressions, from the edition published by G. Manfrin, 1785, with
wide margins, the sheets joined in pairs at the left sheet edge for binding,
with stitching holes, some foxing to the frontispiece, otherwise in good
condition
S. 350 x 240 mm.
(11)
7,000-10,000
$12,000-17,000
8,800-13,000
59
87
GIOVANNI ANTONIO CANAL,
IL CANALETTO (1697-1768)
Title page, from: Vedute Altre prese da i luoghi
altre ideate (De Vesme, Bromberg 1)
etching, circa 1744-45, on fine laid paper, watermark Initial R
(Br. 49), second, final state (the first, unfinished state without
the inscription is only known in a single example in the
Kupferstichkabinett Berlin), printing with very good contrasts and
clarity, without wear, with margins, generally in good condition
P. 296 x 425 mm., S. 390 x 518 mm.
1,000-1,500
$1,800-2,600
1,300-1,900
VARIOUS PROPERTIES
*88
IL CANALETTO
Le Porte del Dolo (de V., B. 6)
etching, circa 1740, on laid paper, watermark Triple Crescent
(Br. 6), a fine, bright impression of the second state (of three; the
first state exists only in a unique proof), with small margins, the tip
of the lower right corner made-up, short repaired tears at lower left
and upper right, a pale brown stain at right, with the usual vertical
drying crease mainly visible verso, otherwise in good condition
P. 300 x 427 mm., S. 312 x 441 mm.
7,000-10,000
$12,000-17,000
8,800-13,000
PROVENANCE:
With Colnaghis, London (their stock number C. 28968 in pencil verso).
89
IL CANALETTO
View of a Town with a Bishops Tomb (de V., B. 16)
etching, before 1744, on laid paper, watermark fragment Three
Crescents, a very good impression of the second, final state, with
margins, in good condition; together with S. Giustina in Pr della
Valle (left half) (B. 7) and Al Dolo (B. 4), etchings, circa 1740, on
laid papers, B. 4 with watermark Letter R (B.10), good impressions
of the second and third, final states respectively, with margins,
P. 300 x 300 mm., S. 327 x 335 mm. (B. 16).
P. 302 x 430 mm., S. 334 x 465 mm. (B. 7).
P. 303 x 435 mm., S. 360 x 480 mm. (B. 4).
(3)
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
Prince Soutzo (19th century), Paris (L. 2341) (B. 4).

Jean Ehrmann (1902-1984), Paris (L. 3581) (B. 7).
Unidentified collectors mark (not in Lugt) (B. 4, 7 & 16).
60
90
BERNARDO BELLOTTO
(1721 1780)
Vue exterieure de la Porte dItalie des
Rempars de la ville de Dresden
(de Vesme 16; Kozakiewicz 163)
etching, 1750, on laid paper, watermark indistinct, a
very good impression of this large, scarce print, de
Vesmes third state (of four), Kozakiewiczs second,
final state (with Porte dItalie changed to Porte dte
Wilsche-Thor in the title), with narrow margins on
three sides, trimmed on or just inside the platemark
at left, a few short, backed tears at the sheet edges,
P. 841 x 545 mm., S. 843 x 551 mm.
6,000-8,000
$11,000-14,000
7,600-10,000
91
MICHELE MARIESCHI (1696 1743)
Four plates from: Magnificentiores Selectioresque
Urbis Venetiarum Prospectus (Succi 2, 3, 4, 22)
etchings, circa 1738-41, on laid paper, watermark Initials FC
(similar to Bromberg 32), fine, early impressions of the first
states (of four), before the plate numbers, from the first
and only lifetime edition, published 1741, printing with great
contrasts and clarity, the guidelines in the titles still printing
clearly, with margins, S. 3 with some pale foxmarks, generally in
good condition
P. 300 x 447 mm., S. 361 x 518 mm.
(4)
3,000-5,000
$5,200-8,600
3,800-6,300
Including: Piazza San Marco verso la Basilica (S. 2); Cortile interno
del Palazzo Ducale (S. 3); La Piazetta di S. Basso (S. 4); Il Canal
Grande agli Scalzi (S. 22).
VARIOUS PROPERTIES
92
MICHELE MARIESCHI
Six plates from: Magnificentiores Selectioresque
Urbis Venetiarum Prospectus (S. 5, 9, 12, 15, 16, 23)
etchings, circa 1738-41, on laid paper, watermarks Shield with
three Stars under Crown, very good impressions of the third
state (of four), printing with good contrasts and clarity, from the
third edition, published by Giuseppe Wagner, circa 1770, with
margins, some short tears and nicks at the sheet edges, pale
foxing, otherwise in good condition
P. 320 x 470 mm., S. 425 x 565 (and similar)
(6)
4,000-6,000
$6,900-10,000
5,100-7,500
Including: La Piazzetta (S. 5); LArsenale (S. 9); Piazza S. Marco

dalla Torre dellOrologio (S. 12); La Regata a Ca Foscari (S. 15); La
Salute (S. 16); Il Canal Grande a C Pesaro (S. 23).
61
93
GIOVANNI BATTISTA PIRANESI
(1720-1778)
Five plates from: Vedute di Roma
(Hind 1, 8, 9, 14, 15; Wilton-Ely 134, 139-142)
etchings, 1748-50, on laid paper, all watermark Fleur-de-Lys in
single Circle (Hind 1), very fine, early impressions of the rare
first states, before the publishers address, printing with great
contrasts and clarity, with guidelines and wiping marks in the
text borders below, with wide margins, some pale staining
and surface dirt, generally in good condition
P. 405 x 546 mm., S. 497 x 727 mm. (and similar)
(5)
7,000-10,000
$12,000-17,000
8,800-13,000
Including: Title page (H. 1), first state (of five); Veduta della
Basilica di S. Giovanni Laterano (H. 8), first state (of six); Veduta
della Basilica di S. Maria Maggiore (H. 9), first state (of six);
Veduta della Piazza del Popolo (H. 14), first state (of seven); and
Veduta della Piazza di Monte Cavallo (H. 15), first state (of six).
94
Five plates from: Vedute di Roma
(H. 19, 35, 38, 40, 56; W.-E. 145-148, 152)
single Circle (Hind 1), very fine, early impressions of the rare
first states, before the publishers address, printing with great
contrasts and clarity, with guidelines and wiping marks in the
text borders below, with wide margins, some pale staining
and surface dirt, generally in good condition
(5)
8,000-12,000
$14,000-21,000
11,000-15,000
Including: Veduta della vasta Fontana di Trevi (H. 19), first state
(of seven); Veduta del Sepolcro di Cajo Cestio (H. 35), first state
(of six); Veduta del Romano Campigdoglio (H. 38), first state (of
five); Veduta di Campo Vaccino (H. 40), first state (of six); and
Veduta dellArco di Costantino (H. 56), first state (of six).
95
Three plates from: Vedute di Roma
(H. 3, 16, 17; W.-E. 136, 143, 144)
single Circle (Hind 1), including: Veduta della Basilica e Piazza
di S. Pietro in Vaticano (H. 3), a very fine, early impression of
the rare first state (of seven), before additional shading and
before the publishers address; Veduta di Piazza Navona
(H. 16), a very fine, early impression of the rare second state
(of six; Hind records only one impression of the first state
before all letters, at Chatsworth); and Veduta della Piazza
della Rotonda (H. 17), a very fine early impression of the rare
first state (of seven); all with wide margins, some staining and
surface dirt in the margins, generally in good condition
(3)
5,000-7,000
62
$8,600-12,000
6,300-8,800
96
(H. 7, 28, 49; W.-E. 138, 155, 163)
etchings, 1749-58, on laid paper, including: Spaccato interno
della Basilica di S. Paolo fuori delle Mura (H. 7), watermark
Fleur-de-Lys in single Circle (Hind 1), a fine, early impression
of the rare first state (of seven); Veduta del Porto di Ripetta
(H. 28), watermark indiscernible, a fine, early impression of the
second state (of eight), with the reflections of the boats in the
foreground but before the publishers address; and Veduta
del Tempio di Antonio e Faustina in Campo Vaccino (H. 49),
watermark Fleur-de-Lys in single Circle (Hind 1), a very fine,
early impression of the rare first state (of six); all with wide
margins, pale mount stains outside the platemark, generally
in good condition
P. 400 x 540 mm., 518 x 691 mm. (and similar)
(3)
4,000-6,000
$6,900-10,000
5,100-7,500
97
(H. 21, 48, 59; W.-E. 167, 174, 184)
echings, 1751-60, on laid paper, including: Veduta del Castello
dellAcqua (H. 21), watermark Fleur-de-Lys in single Circle
(Hind 1), a very fine, rare and early impression, before Hinds
first state (of five) and before the publishers address; Veduta
del Tempio di Bacco (H. 48), watermark indiscernible, a very
fine, rare and early impression, before Hinds first state (of
five) and before the publishers address; and Veduta interna
dellAtrio del Portico di Ottavia (H. 59), watermark Fleur-deLys in single Circle (Hind 1), a very fine, early impression of
the rare first state (of six); all with wide margins, pale mount
and light-staining, a few small worm tracks in the margins,
(3)
5,000-7,000
$8,600-12,000
6,300-8,800
98
(H. 29, 31, 81; W.-E. 156, 180, 214)
etchings, 1754-67, on laid paper, including: Veduta del Ponte e
Castello SantAngelo (H. 29), watermark Fleur-de-Lys in single
Circle (H. 1), a very fine, early impression of the rare first state
(of six), the full sheet, with deckle edges, mount stain outside
the platemark; Veduta del Ponte Salario (H. 31), watermark
indiscernible, a very fine impression of the rare first state (of
five), with wide margins, scattered foxing mainly in the right
margin; and Veduta interna dellantico Tempio di Bacco
(H. 81), watermark indiscernible, a fine, early impression of
the second state (of four), the full sheet, with deckle edges,
(3)
5,000-7,000
$8,600-12,000
6,300-8,800
63
99
JEAN JACQUES FLIPART (1719-1782)
AFTER CHARLES-NICOLAS COCHIN LE JEUNE (1715-1790)
Concours pour le prix de letude des ttes et de lexpression
(Le Blanc 93; Portalis & Beraldi 21; IFF 126)
etching with engraving, 1763, on laid paper, watermark AUVERGNE II742 (similar to
Haewood 3420), a good impression of this scarce print, second, final state (a presumably
impression of the unfinished first state, in pure etching and without letters, is in the British
Museum), with margins, pale mount staining, some very minor foxing, generally in good
condition
P. 232 x 281 mm., S. 289 x 333 mm.
1,000-1,500
$1,800-2,600
1,300-1,900
PROVENANCE:
Christies, London, 1 July 1980, lot 204.

Acquired at the above sale by the present owner.
LITERATURE:
Elisabeth Launay, Les frres Goncourt collectionneurs de dessins, Paris, 1985, No. 60, p.265-6.
Edmond de Goncourt saw in the model a portrait of the famous actress Mlle Clairon (17231803), an assumption we find repeated in Portalis & Beraldis description of the print. This
has been rejected since, while the three men seated on the right, overseeing the competition,
have been identified as the academy members Claude Vass, Jean Restout and the Conte de
Caylus, who founded the Prix.
The drawing of the subject by Cochin, in the same direction, is in the Louvre.
100
DANIEL NIKOLAUS CHODOWIECKI (1726-1801)
Cabinet dun peintre (Engelmann 75; Bauer 136)
etching, 1771, on laid paper, without watermark, a good impression, with wide margins, a
deckle edge at left, pale light-staining, two short tears at the lower sheet edge, generally in
good condition
P. 179 x 229 mm., S. 272 x 285 mm.
1,500-2,500
$2,600-4,300
1,900-3,100
LITERATURE:
A. Grifiths & F. Carey, German Printmaking in the Age of Goethe, London, 1994, no. 18, p. 52f.
VARIOUS PROPERTIES
101
JOHANN ELEAZAR ZEISSIG, CALLED SCHENAU (1737-1806)
Die Bilderverkuferin (Andresen 7)
etching, 1765, on laid paper, partial watermark Letters, a delicate impression of this rare
print, second state (of three), with wide margins, two pinholes in the upper margin,
otherwise in good condition
P. 135 x 78 mm., S. 83 x 113 mm.
1,000-1,500
$1,800-2,600
1,300-1,900
PROVENANCE:
Private European collection; then by descent to the current owners.

LITERATURE:
A. Grifiths & F. Carey, German Printmaking in the Age of Goethe, London, 1994, no. 9a, p. 43
(another impression illustrated).
P. Stein, Artists and Amateurs, Etching in Eighteenth Century France, New York, 2013, fig. 19,
p. 41 (another impression illustrated).
64
102
GILLES-ANTOINE DEMARTEAU LE JEUNE
(1750-1802) AFTER FRANOIS BOUCHER
(1703-1770)
Jeune fille la rose (Leymarie 563; Ittmann & Carlson 74)
etching in the crayon-manner printed from three plates in black,
red and greenish-blue, 1777, on stiff laid paper, without watermark,
a very good, bright impression of this rare print, with the engraved
address and number, retaining all five borderline, trimmed just
outside the outer borderlines, in very good condition
S. 310 x 224 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
PROVENANCE:
Madame de V...; her sale, Galerie Georges Petit, Paris, 11-12 June 1928,
lot 61 (54,000 F).
A European collector; Christies, London, 1 December 1992, lot 265
(5,280).
With C. G. Boerner, Dsseldorf; acquired at the above sale.
Private German collection; acquired from the above in 1993; then by
descent to the present owner.
To our knowledge, this is beautifully preserved impression is the only
one to have been ofered at auction within the last thirty years. It was
last sold in these rooms in 1992.
103
CHARLES FRANOIS GABRIEL
LEVACHEZ, PRE ET FILS (ACTIVE
CIRCA 1760-1820) AND JEAN
DUPLESSIS-BERTAUX (1747-1819)
AFTER LOUIS LOPOLD BOILLY
(1761-1845)
Bonaparte Premier Consul de la
Rpublique Franaise - Revue du
Quintidi (Portalis & Beraldi II, no. 12,
p. 686)
etching with aquatint printed in colours, 1801-02,
on wove paper, without watermark, with small
margins on three sides, wider margins below; with
Cambarcers Second Consul de la Rpublique
Franaise (P. & B. II, p. 686 no. 13), after Louis
Benjamin Marie Devouge (1770-1842) by the same
hands, etching with aquatint printed in colours,
1801-02, on wove paper, with narrow margins;
fine impressions of these rare prints, in very good
condition (2)
P. 430 x 290 mm., S. 468 x 297 mm. (P. & B. 12)
P. 396 x 277 mm., S. 400 x 282 mm. (P. & B. 13)
(2)
2,000-3,000
$3,500-5,100
2,600-3,800
PROVENANCE:
With C. G. Boerner, Dsseldorf.

Private German collection; acquired from the above in
1993; then by descent to the present owner.
65
104
FRANCISCO DE GOYA Y LUCIENTES (1746-1828)
AFTER DIEGO VELZQUEZ (1599-1660)
Los Borrachos, after Velzquez (Delteil, Harris 4)
etching, 1778-9, on heavy laid paper, without watermark, a very good, strong
and clear impression from the First Edition (of three), printed at the Calcografa,
Madrid, 1778-9, with margins, some scattered pinpoint foxing in the margins, pale
mount staining, old mounting tape along the upper and lower sheet edges verso
P. 314 x 435 mm., S. 363 x 484 mm.
10,000-15,000
$18,000-26,000
13,000-19,000
*105
FRANCISCO DE GOYA Y LUCIENTES,
AFTER DIEGO VELZQUEZ
Isabel de Borbn (D. 9; H. 8)
etching and drypoint, 1778-9, on heavy laid paper watermark JOAN, a fine
impression from the first edition (of four), printed at the Calcografa, Madrid,
1778-9, with wide margins (slightly uneven), two creases across the lower left
corner (well outside the platemark), some pale scattered foxing in the margins
and minor time staining at the sheet edges, generally in good condition
P. 370 x 310 mm., S. 618 x 430 mm.
1,200-1,800
66
$2,100-3,100
1,600-2,300
Los Borrachos is one of a series of nineteen etchings Goya made after Velazquezs
paintings in the Spanish Royal Collection. They were printed, published and
advertised for sale in the Gazeta de Madrid between 1778-9 . These etchings were
not mere copies after Velazquezs but creative interpretations of the paintings. Their
autonomy is particularly evident in Los Borrachos, as Goya depicts Bacchus as a
man of physical labour, not dissimilar to the peasants around him, and not as a god
as in Velazquezs painting.
The present fine impression is from the First Edition, the only life-time edition, made
by Goya at the Calcografa around 1778-9. Toms Harris states that this edition
appears to have been very small and early impressions are hence extremely rare.
*106
FRANCISCO DE GOYA Y LUCIENTES
Los Desastres de la Guerra (D. 120-199; H. 121-200)
the complete set of eighty etchings with burnished aquatint, drypoint and
engraving, 1810-20, on heavy wove paper, watermarks J.G.O. or Palmette (Shell),
with title page and text, Harriss edition 1a, before corrections to the titles of
plates 9, 32, 33, 34, 35, 36, 39 and 47 (the title of plate 36 amended in pen and ink
as described in Harris), fine impressions, printed in the workshop of Laurenciano
Potenciano, published by the Real Academia de Nobles Artes de San Fernando,
Madrid, 1863, with margins, in red cloth-covered boards, quarter-bound morocco,
with the artists name, title and the dates 1808-1863 in gilt on the spine, some
wear to the binding, otherwise in very good condition
(album)
S. 235 x 330 mm.
70,000-100,000
$120,000-170,000
88,000-130,000
The eighty prints of Los Desastres de la Guerra are perhaps the most
uncompromising artistic record of war ever made, rivalled perhaps only by Otto
Dixs series Krieg of 1924. Created over a period of ten years, Goyas work on this
series was prompted by General Jos de Palafoxs request to visit the town of
Saragossa in order to witness and immortalise the defence of the city and struggle
and heroism of its citizens. The etchings are the result of Goyas ensuing journey
through the ravaged landscape of his native country at the start of Napoleons
Iberian campaign and the brutalities he saw along the way, of his experience of the
famine in Madrid that followed war, and of the deeply repressive and reactionary
Spanish regime after 1814.
Unlike oficial war artists, Goya was not interested in grand battle scenes. Instead
he focussed on almost intimate, close-up scenes of people fighting, fleeing, killing,
and dying. They show acts of bravery - usually on the part of women, of mechanical
slaughter - on the part of the French army, and acts of grotesque cruelty - committed
on both sides. While Goya depicts the perpetrators in hard, roughly etched lines,
de-personalised by their uniforms, the naked bodies of the dead and mutilated,
are described with great tenderness with the finest lines and stipples, their poses
often reminiscent of famous works of classical sculpture. It is in the depiction of the
bodies of the dead that Goya expresses his compassion and humanity, often in stark
contrast to his laconic titles.
The tyranny of King Ferdinand VIIs rule following the war meant that the series
remained unpublished in Goyas lifetime.
Like all great art, however, Goyas prints transcend the specific place and time in
which they were created, and his terrible, unflinching depiction of the savagery of
war continues to resonate profoundly in the modern era.
67
107
*108
Los Desastres de la Guerra (D. 120-199; H. 121-200)

the complete set of eighty etchings with burnished aquatint, drypoint and
engraving, 1810-20, on wove paper, without watermark, with introductory text,
Harriss third edition of one hundred copies, published by the Real Academia
de Bellas Artes de San Fernando, Madrid, 1903, the full sheets, time staining and
minor foxing, bound within the paper boards with leather spine, the boards and
spine worn
245 x 345 mm. (overall).
10,000-15,000
68
$18,000-26,000
13,000-19,000
The four additional plates for: Los Proverbios (D. 220-3; H. 266-9)
four etchings with aquatint and drypoint, before 1824, on laid paper, without
watermark, fine impressions, from the First Edition of the additional plates
published in LArt, Paris, 1877, probably the full sheets, some very pale,
unobtrusive discolouration at the sheet edges, generally in very good condition
P. 245 x 350 mm., S. 295 x 428 mm.
(4)
7,000-10,000
$12,000-17,000
8,800-13,000
109
Three plates from: Los Caprichos (D. 40, 50, 111; H. 38, 48, 109)
three etchings with burnished aquatint and drypoint, 1799, on laid paper, without
watermarks, very good impressions printed in sepia, from the First Edition of
approximately three hundred copies, printed at the Calcografa, with margins,
slightly trimmed at left where previously bound, very minor time staining,
(3)
3,000-5,000
$5,200-8,600
3,800-6,300
110
Five plates from: Los Caprichos
(D. 51, 76, 77, 79, 104; H. 49, 74, 75, 77, 102)
five etchings with burnished aquatint and drypoint, 1799, on laid paper, without
watermarks, very good impressions printed in sepia, from the First Edition of
approximately three hundred impressions, probably the full sheets, some foxing
and staining mainly at the sheet edges; together with Lola de Valence (Gurin
23; Harris 33) by Edouard Manet, etching and aquatint, 1863, on Van Gelder laid
paper, a very good impression of the fifth state (of eight), without the Deltre and
Cadart addresses, from the deluxe edition, with wide margins, time and lightstaining, otherwise in good condition
P. 200 x 150 mm., S. 308 x 200 mm.
(6)
4,000-6,000
$6,900-10,000
5,100-7,500
69
111
La Tauromaquia (D. 224-256; H. 204-236)
the complete set of 33 etchings with burnished aquatint, drypoint and engraving, 1815-16, on laid paper (two
with SERRA watermark), First Edition, fine, early impressions printed in dark sepia, with the explanatory text
and titles, published by the artist, Madrid, 1816, the full sheets with deckle edges, loose as issued, occasional
pale foxing and time staining, occasional nicks and short tears at the edges, some with small paper losses at
the lower left sheet corner, generally in very good, original condition
(33)
250,000-350,000
$430,000-600,000
320,000-440,000
PROVENANCE:
Marcel Louis Gurin (1873-1948), Paris (L. 1872b; his stamp on the text page); his sale, Loys Delteil, Paris, 9 December
1921 (Fr. 4605; this lot cited in Lugt).
Toms Harris (1908-1964), London (not in Lugt; his stamp on the reverse of each sheet); then by descent.
With Colnaghis, London, 1976, on behalf of the heirs of the above.
Goya had been an aficionado of bullfighting since his youth, but it was not before he was nearly seventy years of
age that he turned to this grand and ancient rite as a subject of his art. In 1814-16 he created a series of etchings
with aquatint depicting the evolution of the bullfight. Closely following Fernndez de Moratns historical account
of the bullfight, Carta Histrica sobre el origin y progresos de las Fiestas de Toros de Espaa, the series traces
the development from the rural hunt to a noble pastime to a professional performance, with the protagonists
changing from peasants to the moors of Al-Andalus, to Carlos V on horseback, and finally to the famous toreros
of Goyas own time. In 1816 he published a selection of 33 of these prints under the title La Tauromaquia in a small
edition of unknown size. The publication was met with little success - this First Edition remained the only one
printed in the artists lifetime.
When Goya began to work on these etchings, the Peninsular War (1808-1814), which Goya had so unflinchingly
depicted in Los Desastres de la Guerra, had just ended. To a certain degree, La Tauromaquia can be seen as a
continuation of the Desastres: once more Goyas subject is fighting, acts of cruelty, bravery and cowardice, and
death. He is less interested in the colourful spectacle of the fiesta the crowds in the stands are merely hinted at
than in the mortal encounter between man and bull, depicted in dark sepia ink and brilliant white highlights against
a backdrop of varying tones of grey. It is these subtle gradations of the aquatint tone, depicting light and shade and
evoking the heat and dust of the ring, which lend these dramatic, at times horrific scenes a haunting atmosphere
and ethereal beauty. In La Tauromaquia, Goya brought the technique of etching and aquatint to a new height of
perfection. It is only in fine impressions of the First Edition, such as the present one from the collection of the great
Goya-scholar Toms Harris, that his mastery can be fully appreciated.
It would be a challenge to find three more resonant names from the history of print connoisseurship in the 19th
and early 20th centuries than those of Marcel Louis Gurin, Loys H. Delteil and Toms Harris, who all three at
diferent times owned or handled the present album. Marcel Gurins collection was foremost known for his
superb holdings of proofs by Toulouse-Lautrec and Degas. He also published several catalogue raisonns,
including one devoted to Gauguin. The sale of his collection was conducted in two parts over two years by the
emiment expert Loys Delteil, whose own two-volume catalogue raisonn on Goya was published as part of his
extensive series Le Peintre Graveur Illustr (Paris 1906-30). Toms Harriss name finally is synonymous with the
academic study of Goya and his monograph on the artist is the synthesis of a lifetimes work in private and public
collections throughout Europe and America. His own comprehensive collection of Goyas prints formed the basis
of the landmark exhibition held at the British Museum in January 1964.
70
112
112 The Bulls of Bordeaux (D. 286-289; H. 283-286)
the complete set of four lithographs, 1825, on wove paper, one sheet watermarked 83, the others without
watermarks,
second,
states, H.
the only state, fine impressions printing in a rich, velvety black, with
The Bulls
of Bordeaux
(D.final
286-289;
H. 286
283-286)
great contrasts, from the edition of one hundred printed by Gaulon, Bordeaux, 1825, with wide margins, some
the complete set of four lithographs, 1825, on wove paper, one sheet watermarked 83, the others without
pale scattered foxing mainly in the margins, light-staining, H. 283 with two repaired tears in the right margin
watermarks, second, final states, H. 286 the only state, fine impressions printing in a rich, velvety black, with
and another
in the
lower
lefthundred
margin,printed
H. 285bywith
a vertical
central
with the upper left
great contrasts,
from the
edition
of one
Gaulon,
Bordeaux,
1825,printers
with widecrease
margins,and
some
sheet corner
torn and
re-attached,
the subjects
generally
in goodtears
condition
pale scattered
foxing mainly
in the
margins, light-staining,
H. 283
with two repaired
in the right margin
L. 305inxthe
400
mm.left(and
similar)
and another
lower
margin,
H. 285 with a vertical central printers crease and with the upper left
sheet corner
and
re-attached,
the subjects generally in good condition
(4)
S. 441 xtorn
560
mm.
(and similar)
L. 305 x 400 mm. (and similar)
(4)
S. 441 x300,000-500,000
560 mm. (and similar)
$520,000-860,000
300,000-500,000
380,000-630,000
$520,000-860,000
380,000-630,000
Almost ten years after the Tauromaquia Goya was now nearly eighty years old and living in exile in Bordeaux
Almosthe
tenonce
yearsmore
after the
Tauromaquia
Goya was
nowbullfight.
nearly eighty
yearshe
oldcreated
and livinga in
exile
Bordeaux
turned
to the subject
of the
In 1825
set
of in
four
large-scale
bullfight scenes,
he once more turned to the subject of the bullfight. In 1825 he created a set of four large-scale bullfight scenes,
The Bulls of Bordeaux, this time in the medium of lithography. The technique had been invented in 1798 in
The Bulls of Bordeaux, this time in the medium of lithography. The technique had been invented in 1798 in
Germany
as a substitute
for printing
letter-press
printing
and used
cheaper way
reproducing
sheet music. In
Germany
as a substitute
for letter-press
and used
as a cheaper
wayas
of areproducing
sheetofmusic.
In
the following
a few lithographic
presses
had been
established
in England,
France and Spain, mainly
the following
decades, decades,
a few lithographic
presses had been
established
in England,
France and
Spain, mainly
for commercial
printing(for
purposes
a notable
exception
lot 113). Up
thisartists
moment,
for commercial
printing purposes
a notable(for
exception
see lot
113). Up to see
this moment,
verytofew
had very few artists had
produced
significant
works in the
medium,
andmedium,
no one before
hadbefore
recognized
thehad
truerecognized
potential of the
produced
significant
works
in the
and Goya
no one
Goya
the true potential of the
technique.
It was anItenormous
liberation: byliberation:
drawing with
crayon onto
thealithographic
stone,
the stone, composing the
technique.
was an enormous
byadrawing
with
crayon onto
thecomposing
lithographic
print and creating the printing matrix had become one single process. No longer was it necessary to use diferent
print and creating the printing matrix had become one single process. No longer was it necessary to use diferent
techniques, such as etching and aquatint in the Tauromaquia, in order to print lines and surfaces. The much
techniques,
such
as etching
aquatint
in the Tauromaquia,
in order
print
lines
surfaces. The much
younger
Spanish artist
Antonio
Brugadaand
told Goyas
biographer
Laurent Matheron
how hetohad
seen
himand
working
Spanish artist Antonio Brugada told Goyas biographer Laurent Matheron how he had seen him working
on the younger
Bulls of Bordeaux:
on the Bulls of Bordeaux:
The artist worked at his lithographs on his easel, the stone placed like a canvas. He handled his crayons like paint
brushes,
andartist
neverworked
sharpened
He remainedon
standing,
walking
backwards
and like
forwards
from moment
to his crayons like paint
The
at them.
his lithographs
his easel,
the stone
placed
a canvas.
He handled
moment to judge the efect. Usually he covered the whole stone with a uniform, grey tint, and then removed the
brushes, and never sharpened them. He remained standing, walking backwards and forwards from moment to
areas that were to be light with the scraper The crayon was then brought back into play to reinforce the shadows
moment
judgethe
thefigures
efect.
Usually
he acovered
the whole stone
with
a uniform,
grey tint, and then removed the
and accents,
or toto
indicate
and
give them
sense of movement
(quoted
in: Mark
P. McDonald,
areastothat
were
to be
with the
The crayon
was then brought back into play to reinforce the shadows
Renaissance
Goya
Prints
andlight
Drawings
fromscraper
Spain, London
2012, p. 268)
and accents, or to indicate the figures and give them a sense of movement (quoted in: Mark P. McDonald,
This was probably not quite the way Goya worked - much of the surface of the stone was left clear of tone, but
Renaissance to Goya Prints and Drawings from Spain, London 2012, p. 268)
there was plenty of scraping and re-touching, and the whole efect is much rougher and more emphatic, almost
caricatural, than his etchings. Nowhere in Goyas printed oeuvre is his virtuoso draughtsmanship so apparent
This was probably not quite the way Goya worked - much of the surface of the stone was left clear of tone, but
his ability to create scenes bursting with life, with movement and emotion, out of near-abstract marks of ink on
thereAlthough
was plenty
of scraping
and re-touching,
the whole
efect
is muchinrougher
and more emphatic, almost
blank paper.
created
while lithography
was still in itsand
infancy,
The Bulls
of Bordeaux,
their immediacy,
caricatural,
than his etchings.
Nowhere
Goyas
printed
oeuvre
hisbeen
virtuoso
so apparent
spontaneity
and understanding
of the technique,
notin
only
surpassed
anything
thatishad
madedraughtsmanship
in the medium
before,his
butability
are often
the greatest
lithographs
made.
to considered
create scenes
bursting
with life,ever
with
movement and emotion, out of near-abstract marks of ink on
blank paper. Although created while lithography was still in its infancy, The Bulls of Bordeaux, in their immediacy,
spontaneity and understanding of the technique, not only surpassed anything that had been made in the medium
before, but are often considered the greatest lithographs ever made.
113113
PORTFOLIO
PORTFOLIO
Invented by Alois Senefelder in 1798 as a cheaper substitute for letter-press printing,

by AloisinSenefelder
in the
1798
as apolyautography
cheaper substitute
lithographyInvented
was first patented
London under
name
in 1800.for letter-press prin
Senefelderlithography
soon sold the was
license
to the
music publisher
Johan
Anton
Andr,
based
first
patented
in London
under
the
name
polyautography in 18
in Ofenbach
am Main, insoon
1801. sold
His younger
brother,
Andr,
was running
the set of twelve lithographs, 1801-1803, on textured wove paper, the very
Senefelder
the license
to Philipp
the music
publisher
Johan Anton Andr, ba
the London branch of the family firm and became the legal patentee. While his
Issue, published
by Philip
Andr, London,
1803, fine
impressions,
in Ofenbach am Main, in 1801. His younger brother, Philipp Andr, was running
the rare
set First
of twelve
lithographs,
1801-1803,
on textured
wove
paper, the very
brother in Germany was mainly using the new method to print sheet music, Philipp
mounted on the original wove paper support sheets, with watermarks
the London
branch
of the
family firm
became
rare First Issue, published by Philip Andr, London, 1803, fine impressions,
in
London
directed
his eforts
toward
the promotion
of and
lithography
as athe
finelegal
art patentee. While his
J. Whatman 1794, J. Whatman 1801 and Russell & Co. 1799, with the dark
brother
in Germany
was
mainly
usingofthe
new
method
to print sheet music, Ph
mounted
on
the
original
wove
paper
support
sheets,
with
watermarks
printing
process
by
inviting
many
of
the
leading
artists
the
day
to
try
the
new
grey and chocolate brown aquatint borders, with wide margins, each with
London
directed
the
promotion
lithography as a fine art
providing
them
with allhis
the eforts
requisitetoward
materials
and
instructions,ofwith
J. Whatman
1794,
Whatman
1801 sheet
and Russell
& Co.irregular,
1799, with
the darktechnique, in
a deckle edge
onJ.one
side, the other
edges slightly
lacking
a view to publishing
selectionby
of the
artistsmany
submissions.
first issue
of twelve
printing aprocess
inviting
of the Aleading
artists
of the day to try the new
covers,
title-page
and wrappers,
with
binding with
holeswide
on one
side of the
greytheand
chocolate
brown
aquatint
borders,
margins,
each with
plates was technique,
published in 1803.
It comprised
of the
artists
lithographs
providing
them some
with all
theearliest
requisite
materials
and instructions, with
support
sheets,
in the
veryother
good condition
a deckle
edge
ongenerally
one side,
sheet edges slightly irregular, lacking
to be published in any country, and Felix H. Man described it as the most important
a view to publishing a selection of the artists submissions. A first issue of twelve
S. 495 x 375 mm. (approx.)
the covers, title-page and wrappers, with binding holes on one side of the
publication of early lithographs in England, not only superior to anything done
platesduring
was published
inof1803.
It comprised
ofasthe
earliest artists lithograp
on the continent
the first years
lithography,
but evensome
serving
a model
support
sheets, generally in very good condition $52,000-86,000
30,000-50,000
to be published
in any
country,
and(Felix
FelixH.H.Man,
Man
describedinit as the most impor
for similar publications
in Germany
a few
years later
Lithography
S. 495 x 375 mm. (approx.)
38,000-63,000
England (1801-1810),
in: Zigrosser,
99). Many ofin
theEngland,
plates arenot
drawn
in asuperior
lively,
publication
of early p.lithographs
only
to anything done
fluid manner,
facilitated
by the ease
of drawing
with
penof
and
tusche onto the
stone.
on
the
continent
during
the
first
years
lithography,
but
even
serving as a mod
LITERATURE:
30,000-50,000
$52,000-86,000
It seems however
that none
of the artists
nor the printer
that matter
had at
for similar
publications
in Germany
a fewfor
years
later (Felix
H. Man, Lithography
Felix H. Man, Lithography in England (1801-1810), in: Carl Zigrosser (ed.), Prints
this point quite realised the unique potential of lithography: the ability to create
38,000-63,000
England (1801-1810), in: Zigrosser, p. 99). Many of the plates are drawn in a lively
Studies in graphic styles and techniques from Drer to Kokoschka, London,
tone without having to resort to cross hatching. Accustomed as they were to
manner,
by the
ease
of drawing
pen and
1963, p. 99-130.
etching andfluid
engraving,
theyfacilitated
still depended
on the
single
drawn linewith
to created
theirtusche onto the st
LITERATURE:
Pat Gilmour, Lasting Impressions - Lithography as Art, London, 1988, p. 11.
It publics
seemsreception
howeverofthat
none
of the artists
nor the
for that matter had
images. The
the new
technique
was indiferent
andprinter
the project
Felix H. Man, Lithography in England (1801-1810), in: Carl Zigrosser (ed.), Prints
a financial failure.
In 1805,
Philipp
Andrthe
resigned
andpotential
the entreprise
was taken over
this point
quite
realised
unique
of lithography:
the ability to create
The setincomprises:
Benjamin
(1738-1806),
TheDrer
Angel of
Resurrection,
by Georg Jacob
who proceeded
to to
publish
issueAccustomed
in 1806-07,
Studies
graphic styles
andWest
techniques
from
tothe
Kokoschka,
London,
tone Vollweiler,
without having
to resort
crossa second
hatching.
as they were to
1801,
second, final state; Robert Ker Porter (1777-1842), Charge, 1803; Thomas
which comprised a total of 36 lithographs, including the twelve original plates. Some
1963,
p. 99-130.
etching and engraving, they still depended on the single drawn line to created t
Stothard (1755-1834), The Lost Apple, 1803; Henry Richard Greville, 3rd Earl
plates, most notably the ones by West and Fuseli (see lot 114), appear to have been
Pat of
Gilmour,
Impressions
- Lithography
Art, London,
1988, p. 11. reworked for
images.
The publics
reception
theadditions
new technique
was indiferent and the pro
WarwickLasting
(1779-1853),
Landscape with
Old Trees byasWater,
1803; Richard
the purpose
of re-publishing,
with of
minor
and reinforcements
a financial
failure.
In 1805,
Andr resigned and the entreprise was taken
Cooper (1740 - after 1814), Landscape with Large Trees, 1802; Richard
unlikely to have
been made
by the
artistsPhilipp
themselves.
TheCourbauld
set comprises:
Benjamin
West
(1738-1806),
of the
Resurrection,
(1757-1831),
Old Trees
with Old
Man, a Girl The
and aAngel
Dog, 1802;
Henry
by Georg Jacob Vollweiler, who proceeded to publish a second issue in 1806-0
(1741-1825),
Evening
Thou Bringest
All (Weinglass
171), 1802,
first state
The presentwhich
set of the
first issue ofaThe
Specimens
of Polyautography
is the second
1801,Fuseli
second,
final state;
Robert
Ker Porter
(1777-1842),
Charge,
1803; Thomas
comprised
total
of 36 lithographs,
including
the twelve original plates. S
(of two);(1755-1834),
Thomas Hearne
Old1803;
Tree, Henry
1803; James
BarryGreville,
(1741-1806),3rd Earl
complete example
Thethe
onlyones
other complete
a modern
binding
andappear to have b
Stothard
The (1744-1817),
Lost Apple,
Richard
plates, known
mosttoday.
notably
by Westset,
andin Fuseli
(see
lot 114),
Eastern Patriarch, 1803; Thomas Barker (1769-1847), Young Boy Seated, 1803;
with the title page reduced to the printed area, is kept at the Victoria & Albert Museum
of Warwick
(1779-1853),
Landscape
with
Old
Trees
by
Water,
1803;
Richard
reworked
for
the
purpose
of
re-publishing,
with
minor
additions
and reinforcem
Johann Conrad Gessner (1764-1826), Cavalry Charging, 1801; and William
in London. The next largest holding, consisting of six of the twelve plates formerly from
Cooper
- after(1775-1863),
1814), Landscape
withand
Large
Richard
unlikely
to
have
been
made
by
the
artists
themselves.
Alfred(1740
Delamotte
Resting, Men
DogsTrees,
under a1802;
Big Tree,
1802.
the Felix H. Man Collection, is at the The National Gallery of Australia, Canberra.
Specimens of Polyautography
Courbauld (1757-1831), Old Trees with Old Man, a Girl and a Dog, 1802; Henry
Fuseli (1741-1825), Evening Thou Bringest All (Weinglass 171), 1802, first state
(of two); Thomas Hearne (1744-1817), Old Tree, 1803; James Barry (1741-1806),
Eastern Patriarch, 1803; Thomas Barker (1769-1847), Young Boy Seated, 1803;
Johann Conrad Gessner (1764-1826), Cavalry Charging, 1801; and William
The present set of the first issue of The Specimens of Polyautography is the second
complete example known today. The only other complete set, in a modern binding
with the title page reduced to the printed area, is kept at the Victoria & Albert Museu
in London. The next largest holding, consisting of six of the twelve plates formerly fr
75
114
HENRY FUSELI (1741-1825)
Evenings Thou Bringest All, from:
(Weinglass 171)
lithograph printed in brown, 1802, on cream wove
paper, second, final state, from the Second Issue
published by G. J. Vollweiler, London, 1806-07,
slightly slipped at the right edge, without the
support sheet, trimmed 5 mm. into the blank area
below the subject, otherwise on or just within the
edge of the stone, generally in good condition
S. 215 x 318 mm.
3,000-5,000
$5,200-8,600
3,800-6,300
115
JOHN CONSTABLE (1776-1837)
Netley Abbey (Reynolds 33.10)
etching, circa 1826, on chine coll, a fine impression of this
rare print, second, final state, after the addition of the artists
initials, with wide margins, scattered foxing, time-staining at
the sheet edges
P. 132 x 184 mm., S. 246 x 304 mm.
1,500-2,500
$2,600-4,300
1,900-3,100
The composition is based on a drawing (Victoria &

Albert Museum, London, R. 148) which Constable
made during his honeymoon in October 1816, whilst
travelling to visit his patron and friend, Reverend
John Fisher, in Osmington, Dorset. It is one of only
four etchings by the artist, impressions are extremely
rare as no proper edition was ever published.
76
116
JAMES WARD (1769-1859)
Adonis, from: Celebrated Horses (Frankau 1; Grundy 17; Beckett L5)
lithograph, 1824, on chine appliqu, a fine, rare proof impression from the First Edition, signed and annotated
Select Proof. retouched by J. W./ T. Clay Ludgate Hill & Dickinson Bond St / The favourite Charger of his late
Most Gracious Majesty King George the Third in pencil, with the printed script title and publication line James
Ward R.A. Pinxit et Delt / London Pubd. May 1st 1824 / R Ackermann Strand, printed by C. Hullmandel, London,
with wide margins, two small stains in the left margin, otherwise in very good condition
L. 337 x 448 mm., S. 415 x 530 mm.
4,000-6,000
$6,900-10,000
5,100-7,500
PROVENANCE:
Paul Prout (1887-?), Paris (L. 2103c).

James Ward was one of the most prominent British artists of the early 19th century. In 1794 he was appointed
Painter and Engraver in Mezzotint to the Prince of Wales, the future King George IV. In the 1820s he
commissioned a series of fourteen lithographs of celebrated horses, including Adonis, his late fathers favourite
charger. The present lithograph is closely related to a painting (sold at Christies in New York on 6 December 1996,
lot 24), which lead Becket to remark: This magnificent image of a strong type of Hanoverian horse was a favourite
motif of Wards and features in several pictures. The highly romantic treatment of the mane and tail blown forward
by the wind, and the wild terrain, are a long way from the ordered precision of the parade-ground.
77
117
WILLIAM BLAKE (1757-1827)
Illustrations of the Book of Job
(Keynes 55; Binyon 105-126; Bentley 421A; Bindman 625-46)
the complete set of 21 engravings, the title and the publication announcement,
1823-5, on India appliqu, very fine, sparkling impressions, with very good
contrasts, from the First Edition edition of about 150, with the word proof (there
was also a slightly later edition with the word proof removed), published by the
artist and J. Linnell, London, 1825, with wide margins, probably the full sheets,
some pale foxing in the margins, all mounted, within a modern beige, clothcovered box, with a blue cloth-covered portfolio with name of the artist, tile and
date on front and spine
P. 219 x 171 mm. (and similar), S. 430 x 330 mm. (and similar)
30,000-50,000
$52,000-86,000
38,000-63,000
PROVENANCE:
Heinrich Neuerburg (1883-1956), Cologne (L. 1344a).
The Book of Job is an ancient Hebrew text, included in both Jewish and Christian
scriptures, which tells the story of Job, a wealthy and righteous man who was
blameless and upright, fearing God and shunning evil (Job 1:1). Jobs piety is
challenged by Satan, who claims that Jobs righteousness is dependent on Gods
blessing, and that, should God withdraw it, Job would curse Him. God grants Satan
permission to test Job, and Job is aflicted with grievous trials, losing his children,
wealth and health. The narrative centres on Jobs complaint to God, in which he
protests his innocence and the unjustness of his fate. The Book of Job is a meditation
on the mystery of human sufering and challenges the conventional notion that God
rewards virtue and punishes sin. When God finally speaks in the famous concluding
chapters he neither explains his reasons for Jobs sufering nor defends his justice,
but instead expounds his divine wisdom and authority which both established and
maintains creation.
In 1821 the artist John Linnell asked William Blake to make him a copy of a set of
watercolours of the story of Job, which Blake had first created in 1805-06 for his
patron Thomas Butts (The original is today at the Pierpont Morgan Library, New
York, Linnells copy set is at the Fogg Art Museum, Harvard.) The commission was
intended to relieve Blakes precarious finances, and in 1823 Linnell had another
idea to help his protg: to create an engraved series of the subject. A contract was
issued in March 1823, and Blake began to revisit his original designs. He reduced
the scale of the images and sketched additional pencil studies and ideas for border
designs. Although the engravings carry a publication date of 8 March 1825, they did
not in fact appear until the following year.
Formally and technically, the Illustrations for The Book of Job are undoubtedly his
most coherent and sophisticated works in the print medium. They are perhaps the
most elegant expression of his very idiosyncratic style and understanding of the
world. His treatment of the story of Job is characteristically unconventional and
interwoven with his own personal mythology of Jerusalem and the figure of Albion:
Instead of the exemplary figure whose faith is sorely testedJob is seen like Albion
as we first encounter him, as a Fallen man, cut of from his spiritual life. Like Albion
he [Job] achieves redemption through sufering. (Robin Hamlyn & Michael Phillips,
William Blake, London, 2000, p. 170-71).
78
END OF SALE
79
INDEX
B
Bega, C., 80
Bellotto, B., 90
Blake, W., 117
Boilly, L. L. (after), 103
Bol, F., 76
Boucher, F. (after), 102
Bruegel the Elder, P. (after), 45
Flipart, J. J., 99
Franco, G. B., 39
Fuseli, H., 114
Piranesi, G. B., 93, 94, 95, 96, 97, 98

Poccetti, B., 46
Portfolio, 113
Ghisi, G., 40, 41

Goudt, H., 49
Goya, F. de, 104, 105, 106, 107,
108, 109, 110, 111, 112
Rembrandt, 52, 53, 54, 55, 56, 57,

58, 59, 60, 61, 62, 63, 64, 65, 65A,
66, 67, 68, 69, 70, 71, 72, 73, 74, 75
Ribera, J. de, 50, 51
Romano, G. (after), 42
Rubens, P.P., 48
Rupert of the Rhine, 81
C
Campagnola, D., 36
Canaletto, A., 87, 88, 89
Caraglio, G., 38
Cavedone, G., 47
Chodowiecki, D. N., 100
Cochin, C.-N. (after), 99
Constable, J., 115
D
Demarteau, G.- A., 102
Duplesssis-Bertaux, J., 103
Drer, A., 6, 7, 8, 9, 10, 11, 12,
13, 14, 15, 16, 17, 18, 19, 20, 21,
22, 23, 24, 25, 26, 27, 28, 29, 30,
31, 32, 65A
Duvet, J., 43, 44
E
Elsheimer, A. (after), 49
80
H
Heyden, P. van der., 45
L
Levachez, C. F. G., 103
Schongauer, M., 2, 3
Mantegna, A., 4
Mantegna, A. (after), 5
Mantuana, D. (Scultori), 42
Marieschi, M., 91, 92
Master MZ, 33, 34
Ostade, A. van, 77, 78, 79
Ward, J., 116
Tiepolo, G. B., 82, 83, 84, 85, 86

Titian, 35
V
Vicentino, N., 37
Z
Zeissig, J. E., 101
IMPORTANT NOTICES AND EXPLANATION OF

CATALOGUING PRACTICE
CHRISTIES INTEREST IN PROPERTY
CONSIGNED FOR AUCTION
From time to time, Christies may offer a lot which
it owns in whole or in part. Such property is
identified in the catalogue with the symbol next to
its lot number.
On occasion, Christies has a direct financial interest
in lots consigned for sale, which may include
guaranteeing a minimum price or making an
advance to the consignor that is secured solely by
consigned property. Where Christies holds such
financial interest on its own we identify such lots
with the symbol next to the lot number.
Where Christies has financed all or part of such
interest through a third party the lots are identified
in the catalogue with the symbol u. When a
third party agrees to finance all or part of Christies
interest in a lot, it takes on all or part of the risk of
the lot not being sold, and will be remunerated in
exchange for accepting this risk based on a fixed fee
if the third party is the successful bidder or on the
final hammer price in the event that the third party
is not the successful bidder. The third party may also
bid for the lot. Where it does so, and is the successful
bidder, the remuneration may be netted against the
final purchase price. If the lot is not sold, the third
party may incur a loss. Please see http://www.
christies.com/financial-interest/ for a more detailed
explanation of minimum price guarantees and third
party financing arrangements.
Where Christies has an ownership or financial
interest in every lot in the catalogue, Christies will
not designate each lot with a symbol, but will state
its interest in the front of the catalogue.
ALL DIMENSIONS ARE APPROXIMATE
CONDITION
Christies catalogues include references to condition
only in descriptions of multiple works (such as
prints, books and wine). For all other property,
only alterations or replacement components are
listed. Please contact the Specialist Department for
a condition report on a particular lot. The nature
of the lots sold in our auctions is such that they will
rarely be in perfect condition, and are likely, due to
their nature and age, to show signs of wear and tear,
damage, other imperfections, restoration or repair.
Any reference to condition in a catalogue entry
will not amount to a full description of condition.
Condition reports are usually available on request,
and will supplement the catalogue description. In
describing lots, our staff assess the condition in a
manner appropriate to the estimated value of the
item and the nature of the auction in which it is
included. Any statement as to the physical nature or
condition of a lot, in a catalogue, condition report
or otherwise, is given honestly and with appropriate
care. However, Christies staff are not professional
restorers or trained conservators and accordingly
any such statement will not be exhaustive. We
therefore recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to you
in advance of bidding.
PROPERTY INCORPORATING MATERIALS

FROM ENDANGERED AND OTHER
PROTECTED SPECIES
Property made of or incorporating (irrespective
of percentage) endangered and other protected
species of wildlife are marked with the symbol ~
in the catalogue. Such material includes, among
other things, ivory, tortoiseshell, crocodile skin,
rhinoceros horn, whale bone and certain species of
coral, together with Brazilian rosewood. Prospective
purchasers are advised that several countries prohibit
altogether the importation of property containing
such materials, and that other countries require a
permit (e.g., a CITES permit) from the relevant
regulatory agencies in the countries of exportation
as well as importation. Accordingly, clients should
familiarise themselves with the relevant customs laws
and regulations prior to bidding on any property
with wildlife material if they intend to import the
property into another country. Please note that it is
the clients responsibility to determine and satisfy the
requirements of any applicable laws or regulations
applying to the export or import of property
containing endangered and other protected wildlife
material. The inability of a client to export or import
property containing endangered and other protected
wildlife material is not a basis for cancellation or
rescission of the sale. Please note also that lots
containing potentially regulated wildlife material are
marked as a convenience to our clients, but Christies
does not accept liability for errors or for failing to
mark lots containing protected or regulated species.
RECENT CHANGES TO IMPORTS OF
ELEPHANT IVORY AND OTHER WILDLIFE
MATERIAL INTO THE USA
The USA has recently changed its policy on the
import of property made of or containing elephant
ivory. Only Asian Elephant ivory may be imported
into the USA, and imports must be accompanied by
DNA analysis and confirmation the object is more
than 100 years old. We have not obtained a DNA
analysis on any lot prior to sale and cannot indicate
whether the elephant ivory in a particular lot is
African or Asian elephant. Buyers purchase these
lots at their own risk and will be responsible for the
costs of obtaining any DNA analysis or other report
required in connection with their proposed import of
such property into the USA.
The USA is also currently requiring all imports of
property made of or containing wildlife material to
be accompanied by a scientific confirmation of species and in some cases an additional confirmation of
age. We have not obtained such confirmations prior
to sale (unless specifically indicated) and buyers will
be responsible for the costs of any such additional
confirmations or opinions required for their proposed import into the USA.
A buyers inability to export or import any lot
containing elephant ivory or other wildlife material
is not a basis for cancelling the purchase.
POST 1950 FURNITURE
All items of post-1950 furniture included in this
sale are items either not originally supplied for use
in a private home or now offered solely as works
of art. These items may not comply with the
provisions of the Furniture and Furnishings (Fire)
(Safety) Regulations 1988 (as amended in 1989 and
1993, the Regulations ). Accordingly, these items
should not be used as furniture in your home in
their current condition. If you do intend to use such
items for this purpose, you must first ensure that
they are reupholstered, restuffed and/or recovered
(as appropriate) in order that they comply with the
provisions of the Regulations.
EXPLANATION OF
CATALOGUING PRACTICE
The following expressions with their accompanying explanations are used by Christies as standard
cataloguing practice. Our use of these expressions
does not take account of the condition of the lot or
of the extent of any restoration.
Buyers are recommended to inspect the property
themselves. Written condition reports are usually
available on request.
Name(s) or Recognised Designation of an
Artist without any Qualification
In Christies opinion a work by the artist.
*Attributed to
In Christies qualified opinion probably a work by
the artist in whole or in part.
*Studio of /Workshop of
In Christies qualified opinion a work executed in
the studio or workshop of the artist, possibly under
his supervision.
*Circle of
In Christies qualified opinion a work of the period
of the artist and showing his influence.
*Follower of
the artists style but not necessarily by a pupil.
*Manner of
the artists style but of a later date.
*After
In Christies qualified opinion a copy (of any date) of
a work of the artist.
Signed /Dated /
Inscribed
In Christies qualified opinion the work has been
signed/dated/inscribed by the artist.
With signature /With date /
With inscription
In Christies qualified opinion the signature/
date/inscription appears to be by a hand other than
that of the artist.
The date given for Old Master, Modern and
Contemporary Prints is the date (or approximate
date when prefixed with circa) on which the matrix
was worked and not necessarily the date when the
impression was printed or published.
Prints
The date given for Prints is the date (or approximate
date when prefixed with ca) on which the matrix
was worked and not necessarily the date when the
impression was printed or published. Measurements
are taken where possible, from the platemark (P),
otherwise they record the size of the sheet (S) or the
borderline of the subject (L).
11/03/10
81
BUYING AT CHRISTIES
CONDITIONS OF SALE
Christies Conditions of Sale and Limited Warranty are set out
later in this catalogue. Bidders are strongly encouraged to read
these as they set out the terms on which property is bought
at auction.
ESTIMATES
Estimates are based upon prices recently paid at auction for
comparable property, condition, rarity, quality and provenance.
Estimates are subject to revision. Buyers should not rely upon
estimates as a representation or prediction of actual selling
prices. Estimates do not include the buyers premium or VAT.
Where Estimate on Request appears, please contact the
Specialist Department for further information.
RESERVES
The reserve is the confidential minimum price the consignor
will accept and will not exceed the low pre-sale estimate. Lots
that are not subject to a reserve are identified by the symbol j
next to the lot number.
BUYERS PREMIUM
Christies charges a premium to the buyer on the final bid
price of each lot sold at the following rates: 25% of the final
bid price of each lot up to and including /50,000, 20% of
the excess of the hammer price above /50,000 and up to and
including /1,000,000 and 12% of the excess of the hammer
price above /1,000,000. Exceptions: Wine and Cigars: 17.5%
of the final bid price of each lot. VAT is payable on the
premium at the applicable rate.
PRE-AUCTION VIEWING
Pre-auction viewings are open to the public free of charge.
Christies specialists are available to give advice and condition
reports at viewings or by appointment.
BIDDER REGISTRATION
Prospective buyers who have not previously bid or consigned
with Christies should bring:
j Individuals: government-issued photo identification (such as
a photo driving licence, national identity card, or passport) and,
if not shown on the ID document, proof of current address, for
example a utility bill or bank statement.
j Corporate clients: a certificate of incorporation.
j For other business structures such as trusts, offshore
companies or partnerships, please contact Christies Credit
Department at + 44 (0)20 7839 2825 for advice on the
information you should supply.
j A financial reference in the form of a recent bank statement
or a reference from your bank in line with your expected
purchase level. Christies can supply a form of wording for the
bank reference if necessary.
j Persons registering to bid on behalf of someone who has
not previously bid or consigned with Christies should bring
identification documents not only for themselves but also for
the party on whose behalf they are bidding, together with a
signed letter of authorisation from that party.
To allow sufficient time to process the information, new clients
are encouraged to register at least 48 hours in advance of a sale.
Prospective buyers should register for a numbered bidding
paddle at least 30 minutes before the auction. Clients who have
not made a purchase from any Christies office within the last
one year, and those wishing to spend more than on previous
occasions, will be asked to supply a new bank reference. For
assistance with references, please contact Christies Credit
Department at +44 (0)20 7389 2862 (London, King Street)
or at +44 (0)20 7752 3137 (London, South Kensington). We
may at our option ask you for a financial reference or a
deposit as a condition of allowing you to bid.
REGISTERING TO BID ON SOMEONE ELSES BEHALF
Persons bidding on behalf of an existing client should bring
a signed letter from the client authorising the bidder to act
on the clients behalf. Please note that Christies does not
accept payments from third parties. Christies can only accept
payment from the client, and not from the person bidding
on their behalf.
BIDDING
The auctioneer accepts bids from those present in the saleroom, from telephone bidders, or by absentee written bids left
with Christies in advance of the auction. The auctioneer may
also execute bids on behalf of the seller up to the amount of
the reserve. The auctioneer will not specifically identify bids
placed on behalf of the seller. Under no circumstances will the
auctioneer place any bid on behalf of the seller at or above the
reserve. Bid steps are shown on the Absentee Bid Form at the
back of this catalogue.
ABSENTEE BIDS
Absentee bids are written instructions from prospective buyers
directing Christies to bid on their behalf up to a maximum
amount specified for each lot. Christies staff will attempt to
execute an absentee bid at the lowest possible price, taking
into account the reserve price. Absentee bids submitted on
no reserve lots will, in the absence of a higher bid, be
executed at approximately 50% of the low pre sale estimate
or at the amount of the bid if it is less than 50% of the low
pre-sale estimate. The auctioneer may execute absentee bids
directly from the rostrum, clearly identifying these as absentee
bids, book bids, order bids or commission bids.
Absentee Bids Forms are available in this catalogue, at any
Christies location, or online at christies.com.
82
TELEPHONE BIDS
Telephone bids cannot be accepted for lots estimated below
/2,000. Arrangements must be confirmed with the Bid
Department at least 24 hours prior to the auction at +44 (0)20
7389 2658 (London, King Street) or +44 (0)20 7752 3225
(London, South Kensington). Arrangements to bid in languages
other than English must be made well in advance of the sale
date. Telephone bids may be recorded. By bidding on the
telephone, prospective purchasers consent to the recording of
their conversation.
SUCCESSFUL BIDS
While Invoices are sent out by mail after the auction we do not
accept responsibility for notifying you of the result of your bid.
Buyers are requested to contact us by telephone or in person as
soon as possible after the sale to obtain details of the outcome
of their bids to avoid incurring unnecessary storage charges.
Successful bidders will pay the price of the final bid plus
premium plus any applicable VAT.
PAYMENT
Buyers are expected to make payment for purchases
immediately after the auction. To avoid delivery delays,
prospective buyers are encouraged to supply bank or other
suitable references before the auction. Please note that Christies
will not accept payments for purchased Lots from any party
other than the registered buyer.
Lots purchased in London may be paid for in the following
ways: wire transfer, credit card: Visa and MasterCard & American
Express only (up to /25,000), and cash (up to /5,000 (subject
to conditions)), bankers draft (subject to conditions) or cheque
(must be drawn in GBP on a UK bank; clearance will take 5 to
10 business days).
Wire Transfers: Lloyds TSB Bank Plc City Office PO Box 217
72 Lombard Street, London
EC3P 3BT A/C: 00172710 Sort Code: 30-00-02 for
international transfers, SWIFT LOYDGB2LCTY. For banks
asking for an IBAN: GB81 LOYD 3000 0200 1727 10.
Credit Card: Visa and MasterCard & American Express only
A limit of /25,000 for credit card payments will apply. This
limit is inclusive of the buyers premium and any applicable
taxes. Credit card payments at London sale sites will only be
accepted for London sales. Christies will not accept credit card
payments for purchases made in any other sale site. The fax
number to send completed CNP (Card Member not Present)
authorisation forms to is +44 (0) 20 7389 2821. The number
to call to make a CNP payment over the phone is +44 (0) 20
7752 3388. Alternatively, clients can mail the authorisation form
to the address below.
Cash is limited to /5,000 (subject to conditions).
Bankers Draft should be made payable to Christies (subject to
conditions).
Cheques should be made payable to Christies (must be drawn
in GBP on a UK bank, clearance will take 5 to 10 business
days).
In order to process your payment efficiently, please quote
sale number, invoice number and client number with all
transactions.
All mailed payments should be sent to:
Christies, Cashiers Department, 8 King Street, St Jamess,
London, SW1Y 6QT
Please direct all inquiries to King Street Tel: +44 (0) 20 7389
2996 Fax: +44 (0) 20 7389 2863 or South Kensington Tel:
+44 (0) 20 7752 3138 Fax: +44 (0) 20 7752 3143
VAT
VAT payable at 20% on hammer price and buyers premium

*
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable (at
5%) on the Hammer price. VAT is also payable (at 20%) on
the buyers Premium on a VAT inclusive basis. This VAT is
not shown separately on the invoice. When a buyer of such a
lot has registered an EU address but wishes to export the lot or
complete the import into another EU country, he must advise
Christies immediately after the auction.
These lots have been imported from outside the EU for sale
using a Temporary Import regime. Import VAT is payable
(at 20%) on the Hammer price. VAT is also payable (at 20%)
on the buyers Premium on a VAT inclusive basis. This VAT
is not shown separately on the invoice. Where applicable
Customs duty will be charged (per rate specified by HMRC
guidance) on the Hammer price and VAT will be payable at
20% on duty. When a buyer of such a lot has registered an EU
address but wishes to export the lot or complete the import
into another EU country, he must advise Christies immediately
after the auction.
Buyers from within the EU:
VAT payable at 20% on just the buyers premium (NOT the
hammer price).
Buyers from outside the EU:
VAT payable at 20% on hammer price and buyers premium.
If a buyer, having registered under a non-EU address, decides
that the item is not to be exported from the EU, then he
should advise Christies to this effect immediately
q Z
ero rated
No VAT charged.
(no symbol) Auctioneers Margin Scheme

In all other circumstances no VAT will be charged on the
hammer price, but VAT payable at 20% will be added to the
buyers premium which is invoiced on a VAT inclusive basis.
Wine Auctions
Stock offered duty-paid, but available in bond.
VAT at 20% on hammer price and buyers premium
(wine only).
VAT Refunds
Refunds cannot be made where lots have been purchased with
an inside EU address. Christies can only refund Import VAT
(Lots with * or symbol) if lots are exported within 30 days
of collection. Valid export documents must be returned within
the stipulated time frame. No refund will be paid out where
the total amount is less than /100. UK & EU private buyers
cannot reclaim VAT. Christies will charge /35 for each
refund processed. For detailed information please see the leaflets
available, or email info@Christies.com
Where non-EU buyers have failed to export their lots outside
of the EU within the required time, HM Revenue & Customs
will not allow a VAT refund to be made. This is a requirement
of UK legislation and Christies do not have discretion to make
exceptions to the rule. UK and EU private buyers cannot
reclaim any VAT charged.
ARTISTS RESALE RIGHT (DROIT DE SUITE)
If a lot is affected by this right it will be identified with the
symbol next to the lot number. The buyer agrees to pay to
Christies an amount equal to the resale royalty. Resale royalty
applies where the Hammer Price is 1,000 Euro or more and
the amount cannot be more than 12,500 Euro per lot. The
amount is calculated as follows:
Royalty
4.00%
3.00%
1.00%
0.50%
0.25%
For the portion of the Hammer Price (in Euro)

up to 50,000
between 50,000.01 and 200,000
between 200,000.01 and 350,000
between 350,000.01 and 500,000
in excess of 500,000
Invoices will, as usual, be issued in Pounds Sterling. For the

purposes of calculating the resale royalty the Pounds Sterling/
Euro rate of exchange will be the European Central Bank
reference rate on the day of the sale.
SHIPPING
It is the buyers responsibility to pick up purchases or make
all shipping arrangements. After payment has been made in
full, Christies can arrange property packing and shipping at
the buyers request and expense. Buyers should request an
estimate for any large items or property of high value that
require professional packing. A shipping form is enclosed with
each invoice, alternatively buyers can visit www.christies.com/
shipping to request a shipping estimate.
For more information please contact the Shipping Department
at + 44 (0)20 7389 2712 or via
ArtTransport_London@christies.com for both London,
King Street and London, South Kensington sales.
EXPORT OF GOODS FROM THE EU
If you are proposing to take purchased items outside the EU the
following applies:
Christies Art Transport:
If you use Christies Art Transport you will not be required to
pay the VAT at the time of settlement.
Own Shipper:
VAT will be charged on the invoice, refundable by the VAT
Department upon receipt of the appropriate official documents
sent to us by your shipper.
Hand-Carried:
VAT will be charged on the invoice.This will be refunded by
the VAT Department upon receipt of the appropriate official
document.
*, or
Starred, Omega or Daggered lots A C88 can be obtained
from Christies Shipping Department .This document must be
stamped by UK Customs on leaving the UK.
(no symbol)
Margin Scheme Please obtain a GB Tax Free form from the
Cashiers. This document must be stamped by UK Customs on
leaving the UK.
Starred or Omega lots must be exported within 30 days of the
date of collection. All other lots not subject to import VAT
must be exported within three months of collection, and proof
of export provided in the appropriate form.
EXPORT/IMPORT PERMITS
Buyers should always check whether an export licence is required
before exporting. It is the buyers sole responsibility to obtain any
relevant export or import licence. The denial of any licence or
any delay in obtaining licences shall neither justify the rescission of
any sale nor any delay in making full payment for the lot.
Christies can advise buyers on the detailed provisions of the
export licensing regulations and will submit any necessary
export licence applications on request. However, Christies
cannot ensure that a licence will be obtained. Local laws may
prohibit the import of some property and/or may prohibit
the resale of some property in the country of importation.
For more information, please contact Christies Shipping
Department at +44 (0)20 7389 2828 or the the Museums,
Libraries and Archives Council: Acquisitions, Export and Loans
Unit at +44 (0)20 7273 8269/8267.
20/11/13

EXTENDED LIABILITY CHARGE
POST-WAR & CONTEMPORARY ART
All furniture and carpet lots (sold and unsold)

not collected from Christies by 9.00 am
on the day following the auction will be
removed by Cadogan Tate Ltd to their
warehouse at:
241 Acton Lane, Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com.
While at King Street lots are available for
collection on any working day, 9.00 am to
4.30 pm. Once transferred to Cadogan Tate
lots will be available for collection from the
first working day following the day of their
removal from King Street,
9.00 am to 5.00 pm Monday to Friday.
To avoid waiting times on collection at
Cadogan Tate, we advise that you contact
Cadogan Tate directly, 24 hours in advance,
prior to collection on +44 (0)800 988 6100.
From the day of transfer of sold items

to Cadogan Tate Ltd, all such lots are
automatically insured by Cadogan Tate Ltd
at the sum of the hammer price plus buyers
premium. The Extended Liability Charge
in this respect by Cadogan Tate Ltd is 0.6%
of the sum of the hammer price plus buyers
premium or 100% of the handling and storage
charges, whichever is smaller.
To avoid waiting times on collection, we

kindly advise you to contact our
Post-War & Contemporary Art dept 24 hours
in advance on +44 (0)20 7389 2958
PAYMENT
TRANSFER, STORAGE & RELATED CHARGES
Cadogan Tate Ltds storage charges may be

paid in advance or at the time of collection.
Lots may only be released from Cadogan
Tate Ltds warehouse on production of
the Collection Order from Christies,
8 King Street, London SW1Y 6QT.
The removal and/or storage by Cadogan Tate
of any lots will be subject to their standard
Conditions of Business, copies of which
are available from Christies, 8 King Street,
London SW1Y 6QT.
Lots will not be released until all outstanding
charges due to Christies and Cadogan Tate
Ltd are settled.
CHARGES PER LOT
FURNITURE / LARGE OBJECTS
PICTURES / SMALL OBJECTS
1-28 days after the auction
Free of Charge
Free of Charge
29th day onwards:

Transfer
Storage per day
/70.00
/5.25
/35.00
/2.65
BOOKS
Please note that all lots from book department

sales will be stored at Christies King Street for
collection and not transferred to Cadogan Tate.
Christies Fine Art Storage Services

(CFASS) also offers storage solutions for fine
art, antiques and collectibles in New York
and Singapore FreePort. CFASS is a separate
subsidiary of Christies and clients enjoy
complete confidentiality. Visit www.cfass.com
for charges and other details.
Transfer and storage will be free of charge for all lots collected before 5.00 pm on the 28th day following the
auction. Thereafter the charges set out above will be payable.
These charges do not include:
a) the Extended Liability Charge of 0.6% of the hammer price, capped at the total of all other charges
b) VAT which will be applied at the current rate
CADOGAN TATE LTDS WAREHOUSE

241 Acton Lane,
Park Royal,
London NW10 7NP
Telephone: +44 (0)800 988 6100
Email: collections@cadogantate.com
28/10/14
83
CONDITIONS OF SALE
These Conditions of Sale and the Important
Notices and Explanation of Cataloguing Practice
set out the terms governing the legal relationship of
Christies and the seller with the buyer. You should
read them carefully before bidding.
1. CHRISTIES AS AGENT
Except as otherwise stated Christies acts as agent
for the seller. The contract for the sale of the
property is therefore made between the seller and
the buyer.
2.
CATALOGUE DESCRIPTIONS AND

CONDITION
Lots are sold as described and otherwise in the
condition they are in at the time of the sale, on the
following basis.
(a) Condition
The nature of the lots sold in our auctions is such
that they will rarely be in perfect condition, and are
likely, due to their nature and age, to show signs
of wear and tear, damage, other imperfections,
restoration or repair. Any reference to condition
in a catalogue entry will not amount to a full
description of condition. Condition reports are
usually available on request, and will supplement
the catalogue description. In describing lots, our
staff assess the condition in a manner appropriate to
the estimated value of the item and the nature of
the auction in which it is included. Any statement
as to the physical nature or condition of a lot, in a
catalogue, condition report or otherwise, is given
honestly and with appropriate care. However,
Christies staff are not professional restorers or
trained conservators and accordingly any such
statement will not be exhaustive. We therefore
recommend that you always view property
personally, and, particularly in the case of any items
of significant value, that you instruct your own
restorer or other professional adviser to report to
you in advance of bidding.
(b) Cataloguing Practice
Our cataloguing practice is explained in the
Important Notices and Explanation of Cataloguing
Practice, which appear after the catalogue entries.
(c) Attribution, etc
Any statements made by Christies about any
lot, whether orally or in writing, concerning
attribution to, for example, an artist, school, or
country of origin, or history or provenance, or any
date or period, are expressions of our opinion or
belief. Our opinions and beliefs have been formed
honestly and in accordance with the standard
of care reasonably to be expected of an auction
house of Christies standing, due regard having
been had to the estimated value of the item and
the nature of the auction in which it is included.
It must be clearly understood, however, that,
due to the nature of the auction process, we are
unable to carry out exhaustive research of the kind
undertaken by professional historians and scholars,
and also that, as research develops and scholarship
and expertise evolve, opinions on these matters
may change. We therefore recommend that,
particularly in the case of any item of significant
value, you seek advice on such matters from your
own professional advisers.
(d) Estimates
Estimates of the selling price should not be relied
on as a statement that this is the price at which the
item will sell or its value for any other purpose.
84
(e) Fitness for Purpose

Lots sold are enormously varied in terms of age,
category and condition, and may be purchased for
a variety of purposes. Unless otherwise specifically
agreed, no promise is made that a lot is fit for any
particular purpose.
(g) Video or digital images

At some auctions there may be a video or digital
screen. Errors may occur in its operation and in the
quality of the image. We do not accept liability for
such errors where they arise for reasons beyond our
reasonable control.
3. AT THE SALE
(a) Refusal of admission
Christies has the right, at our complete discretion,
to refuse admission to the premises or participation
in any auction and to reject any bid.
(b) Registration before bidding
Prospective buyers who wish to bid in the
saleroom can register online in advance of the sale,
or can come to the saleroom on the day of the
sale approximately 30 minutes before the start of
the sale to register in person. Prospective buyers
must complete and sign a registration form with his
or her name and permanent address, and provide
identification before bidding. We may require the
production of bank details from which payment
will be made or other financial references.
(c) Bidding as principal
When making a bid, a bidder is accepting personal
liability to pay the purchase price, including the
buyers premium and all applicable taxes, plus
all other applicable charges, unless it has been
explicitly agreed in writing with Christies before
the commencement of the sale that the bidder is
acting as agent on behalf of an identified third
party acceptable to Christies, and that Christies
will only look to the principal for payment.
(d) Absentee bids
We will use reasonable efforts to carry out written
bids delivered to us prior to the sale for the
convenience of clients who are not present at the
auction in person, by an agent or by telephone.
Bids must be placed in the currency of the place
of the sale. Please refer to the catalogue for the
Absentee Bids Form. If we receive written bids
on a particular lot for identical amounts, and at
the auction these are the highest bids on the lot,
it will be sold to the person whose written bid
was received and accepted first. Execution of
written bids is a free service undertaken subject
to other commitments at the time of the sale and
provided that we have exercised reasonable care
in the handling of written bids, the volume of
goods is such that we cannot accept liability in any
individual instance for failing to execute a written
bid or for errors and omissions in connection with
it arising from circumstances beyond our reasonable
control.
(e) Telephone bids
If a prospective buyer makes arrangements with us
prior to the commencement of the sale we will use
reasonable efforts to contact them to enable them
to participate in the bidding by telephone but we
do not accept liability for failure to do so or for
errors and omissions in connection with telephone
bidding arising from circumstances beyond our
reasonable control.
(f) Currency converter
At some auctions a currency converter may be
operated. Errors may occur in the operation of
the currency converter. Where these arise from
circumstances beyond our reasonable control we
do not accept liability to bidders who follow the
currency converter rather than the actual bidding
in the saleroom.
(h) Reserves
Unless otherwise indicated, all lots are offered
subject to a reserve, which is the confidential
minimum price below which the lot will not be
sold. The reserve will not exceed the low estimate
printed in the catalogue. If any lots are not subject
to a reserve, they will be identified with the symbol
j next to the lot number. The auctioneer may open
the bidding on any lot below the reserve by placing
a bid on behalf of the seller. The auctioneer
may continue to bid on behalf of the seller up
to the amount of the reserve, either by placing
consecutive bids or by placing bids in response to
other bidders.
(i) Auctioneers discretion
The auctioneer has the right to exercise reasonable
discretion in refusing any bid, advancing the
bidding in such a manner as he may decide,
withdrawing or dividing any lot, combining
any two or more lots and, in the case of error
or dispute, and whether during or after the sale,
determining the successful bidder, continuing
the bidding, cancelling the sale or reoffering and
reselling the item in dispute. If any dispute arises
after the sale, then, in the absence of any evidence
to the contrary the sale record maintained by the
auctioneer will be conclusive.
(j) Successful bid and passing of risk
Subject to the auctioneers reasonable discretion,
the highest bidder accepted by the auctioneer
will be the buyer and the striking of his hammer
marks the acceptance of the highest bid and the
conclusion of a contract for sale between the seller
and the buyer. Risk and responsibility for the lot
(including frames or glass where relevant) passes to
the buyer at the expiration of seven calendar days
from the date of the sale or on collection by the
buyer if earlier.
4. AFTER THE SALE
(a) Buyers premium
In addition to the hammer price, the buyer
agrees to pay to us the buyers premium together
with any applicable value added tax. The buyers
premium is 25% of the final bid price of each lot
up to and including /50,000, 20% of the excess of
the hammer price above /50,000 and up to and
including /1,000,000 and 12% of the excess of
the hammer price above /1,000,000. Exceptions:
Wine and Cigars: 17.5% of the final bid price of
each lot, VAT is payable at the applicable rate.
(b) Artists Resale Right (Droit de Suite)
If the Artists Resale Right Regulations 2006 apply
to the lot the buyer also agrees to pay to us an
amount equal to the resale royalty provided for in
those Regulations. Lots affected are identified with
the symbol next to the lot number.
(c) Payment and ownership
The buyer must pay the full amount due
(comprising the hammer price, buyers premium
and any applicable taxes or resale royalty)
immediately after the sale. This applies even if
the buyer wishes to export the lot and an export
licence is, or may be, required. The buyer will not
acquire title to the lot until all amounts due to us
from the buyer have been received by us in good
cleared funds even in circumstances where we have
released the lot to the buyer.
09/08/13
(d) Collection of purchases

We shall be entitled to retain items sold until all
amounts due to us, or to Christies International
plc, or to any of its affiliates, subsidiaries or parent
companies worldwide, have been received in full in
good cleared funds or until the buyer has performed
any other outstanding obligations as we, in our sole
discretion, shall require, including, for the avoidance
of doubt, completing any anti-money laundering or
anti-terrorism financing checks we may require to our
satisfaction. In the event a buyer fails to complete any
anti-money laundering or anti-terrorism financing
checks to our satisfaction, Christies shall be entitled to
cancel the sale and to take any other actions that are
required or permitted under applicable law. Subject
to this, the buyer shall collect purchased lots within
two calendar days from the date of the sale unless
otherwise agreed between us and the buyer.
(e) Packing, handling and shipping
Although we shall use reasonable efforts to take care
when handling, packing and shipping a purchased
lot and in selecting third parties for these purposes,
we are not responsible for the acts or omissions of
any such third parties. Similarly, where we suggest
other handlers, packers or carriers if so requested,
our suggestions are made on the basis of our general
experience of such parties in the past and we are not
responsible to any person to whom we have made
a recommendation for the acts or omissions of the
third party concerned.
(f) Export licence
Unless otherwise agreed by us in writing, the
fact that the buyer wishes to apply for an export
licence does not affect his or her obligation to make
payment immediately after the sale nor our right to
charge interest or storage charges on late payment. If
the buyer requests us to apply for an export licence
on his or her behalf, we shall be entitled to make
a charge for this service. We shall not be obliged
to rescind a sale nor to refund any interest or other
expenses incurred by the buyer where payment is
made by the buyer in circumstances where an export
licence is required.
(g) Remedies for non payment
If the buyer fails to make payment in full in good
cleared funds within 7 days after the sale, we shall
have the right to exercise a number of legal rights
and remedies. These include, but are not limited to,
the following:
(i) to charge interest at an annual rate equal to 5%
above the base rate of Lloyds TSB Bank Plc;
(ii) to hold the defaulting buyer liable for the
total amount due and to commence legal
proceedings for its recovery together with
interest, legal fees and costs to the fullest extent
permitted under applicable law;
(iii) to cancel the sale;
(iv) to resell the property publicly or privately on
such terms as we shall think fit;
(v) to pay the seller an amount up to the net
proceeds payable in respect of the amount bid
by the defaulting buyer;
(vi) to set off against any amounts which we,
or Christies International plc, or any of its
affiliates, subsidiaries or parent companies
worldwide, may owe the buyer in any other
transactions, the outstanding amount remaining
unpaid by the buyer;
(vii) where several amounts are owed by the buyer
to us, or to Christies International plc, or
to any of its affiliates, subsidiaries or parent
companies worldwide, in respect of different
transactions, to apply any amount paid to
discharge any amount owed in respect of any
particular transaction, whether or not the buyer
so directs;
(viii) to reject at any future auction any bids made

by or on behalf of the buyer or to obtain a
deposit from the buyer before accepting any
bids;
(ix) to exercise all the rights and remedies of a
person holding security over any property in
our possession owned by the buyer, whether
by way of pledge, security interest or in any
other way, to the fullest extent permitted by
the law of the place where such property is
located. The buyer will be deemed to have
granted such security to us and we may retain
such property as collateral security for such
buyers obligations to us;
(x) to take such other action as we deem necessary
or appropriate.
If we resell the property under paragraph (iv)
above, the defaulting buyer shall be liable for
payment of any deficiency between the total
amount originally due to us and the price obtained
upon resale as well as for all reasonable costs,
expenses, damages, legal fees and commissions and
premiums of whatever kind associated with both
sales or otherwise arising from the default. If we
pay any amount to the seller under paragraph (v)
above, the buyer acknowledges that Christies shall
have all of the rights of the seller, however arising,
to pursue the buyer for such amount.
(h) Failure to collect purchases
Where purchases are not collected within two
calendar days from the date of the sale, whether or
not payment has been made, we shall be permitted
to remove the property to a third party warehouse
at the buyers expense, and only release the items
after payment in full has been made of removal,
storage, handling, and any other costs reasonably
incurred, together with payment of all other
amounts due to us.
(i) Selling Property at Christies
In addition to expenses such as transport, all
consignors pay a commission according to a
fixed scale of charges based upon the value of the
property sold by the consignor at Christies in a
calendar year. Commissions are charged on a sale
by sale basis.
5. LIMITED WARRANTY
In addition to Christies liability to buyers set out
in clause 2 of these Conditions, but subject to the
terms and conditions of this paragraph, Christies
warrants for a period of five years from the date
of the sale that any property described in headings
printed in UPPER CASE TYPE (i.e. headings
having all capital-letter type) in this catalogue (as
such description may be amended by any saleroom
notice or announcement) which is stated without
qualification to be the work of a named author
or authorship, is authentic and not a forgery.
The term author or authorship refers to the
creator of the property or to the period, culture,
source or origin, as the case may be, with which
the creation of such property is identified in the
UPPER CASE description of the property in this
catalogue. Only UPPER CASE TYPE headings
of lots in this catalogue indicate what is being
warranted by Christies. Christies warranty does
not apply to supplemental material which appears
below the UPPER CASE TYPE headings of each
lot and Christies is not responsible for any errors
or omissions in such material. The terms used in
the headings are further explained in Important
Notices and Explanation of Cataloguing Practice.
The warranty does not apply to any heading which
is stated to represent a qualified opinion. The
warranty is subject to the following:
(i)
(ii)
(iii)
(iv)
(v)
(vi)
It does not apply where (a) the catalogue

description or saleroom notice corresponded
to the generally accepted opinion of scholars
or experts at the date of the sale or fairly
indicated that there was a conflict of opinions;
or (b) correct identification of a lot can be
demonstrated only by means of either a
scientific process not generally accepted for
use until after publication of the catalogue or
a process which at the date of publication of
the catalogue was unreasonably expensive or
impractical or likely to have caused damage to
the property.
The benefits of the warranty are not assignable
and shall apply only to the original buyer of
the lot as shown on the invoice originally
issued by Christies when the lot was sold at
auction.
The original buyer must have remained the
owner of the lot without disposing of any
interest in it to any third party.
The buyers sole and exclusive remedy against
Christies and the seller, in place of any
other remedy which might be available, is
the cancellation of the sale and the refund of
the original purchase price paid for the lot.
Neither Christies nor the seller will be liable
for any special, incidental or consequential
damages including, without limitation, loss of
profits nor for interest.
The buyer must give written notice of claim
to us within five years from the date of the
auction. It is Christies general policy, and
Christies shall have the right, to require the
buyer to obtain the written opinions of two
recognised experts in the field, mutually
acceptable to Christies and the buyer, before
Christies decides whether or not to cancel the
sale under the warranty.
The buyer must return the lot to the Christies
saleroom at which it was purchased in the
same condition as at the time of the sale.
6. COPYRIGHT
The copyright in all images, illustrations and
written material produced by or for Christies
relating to a lot including the contents of this
catalogue, is and shall remain at all times the
property of Christies and shall not be used by
the buyer, nor by anyone else, without our prior
written consent. Christies and the seller make
no representation or warranty that the buyer of
a property will acquire any copyright or other
reproduction rights in it.
7. SEVERABILITY
If any part of these Conditions of Sale is found by
any court to be invalid, illegal or unenforceable,
that part shall be discounted and the rest of the
conditions shall continue to be valid to the fullest
extent permitted by law.
8. LAW AND JURISDICTION
The rights and obligations of the parties with
respect to these Conditions of Sale, the conduct of
the auction and any matters connected with any
of the foregoing shall be governed and interpreted
by the laws of England. By bidding at auction,
whether present in person or by agent, by written
bid, telephone or other means, the buyer shall
be deemed to have submitted, for the benefit of
Christies, to the exclusive jurisdiction of the courts
of the United Kingdom.
05/01/10
85
WORLDWIDE SALEROOMS AND OFFICES

ARGENTINA
CANADA
BUENOS AIRES
TORONTO
+54 11 43 93 42 22
Cristina Carlisle
+1 416 960 2063

Brett Sherlock
AUSTRALIA
CHILE
SYDNEY
SANTIAGO
+61 (0)2 9326 1422

Ronan Sulich
+56 2 2 2631642
Denise Ratinoff
de Lira
AUSTRIA
COLOMBIA
VIENNA
+43 (0)1 533 8812

Angela Baillou
BELGIUM
BOGOTA
+571 635 54 00
Juanita Madrinan
DENMARK
BRUSSELS
+32 (0)2 512 88 30

Roland de Lathuy
BERMUDA
BERMUDA
+1 401 849 9222

Betsy Ray
BRAZIL
RIO DE JANEIRO
+5521 2225 6553

Candida Sodre
SO PAULO
+5511 3061 2576

Nathalie Lenci
COPENHAGEN
+45 3962 2377

Birgitta Hillingso
(Consultant)
+ 45 2612 0092
Rikke Juel Brandt
(Consultant)
FINLAND AND THE
BALTIC STATES
HELSINKI
+358 (0)9 608 212

Barbro Schauman
(Consultant)
FRANCE
INDIA
MUMBAI
PARIS
+33 (0)1 40 76 85 85
POITOU-CHARENTE
AQUITAINE
+33 (0)5 56 81 65 47
Marie-Ccile
Moueix
PROVENCE - ALPES
CTE DAZUR
+33 (0)6 71 99 97 67
Fabienne AlbertiniCohen
RHNE ALPES
+33 (0)6 61 81 82 53
Dominique Pierron
(Consultant)
GERMANY
DSSELDORF
+49 (0)21 14 91 59 30
Arno Verkade
+33 (0)6 09 44 90 78
Virginie Greggory
(Consultant)
GREATER EASTERN
FRANCE
+33 (0)6 07 16 34 25
Jean-Louis Janin
Daviet (Consultant)
MEXICO CITY
+91 (22) 2280 7905

Sonal Singh
+52 55 5281 5503

Gabriela Lobo
DELHI
MONACO
+91 (98) 1032 2399

Sanjay Sharma
+377 97 97 11 00
Nancy Dotta
INDONESIA
THE NETHERLANDS
JAKARTA
AMSTERDAM
+31 (0)20 57 55 255
+62 (0)21 7278 6268

Charmie Hamami
Priscilla Tiara
Masagung
PEOPLES REPUBLIC
OF CHINA
ISRAEL
+86 (0)10 8572 7900
TEL AVIV
+972 (0)3 695 0695

Roni Gilat-Baharaff
ITALY
MILAN
BEIJING
HONG KONG
+852 2760 1766

SHANGHAI
+86 (0)21 6355 1766

Jinqing Cai
+39 02 303 2831
PORTUGAL
FRANKFURT
ROME
LISBON
+49 (0)61 74 20 94 85
Anja Schaller
+39 06 686 3333

Marina Cicogna
Business Development
Director
+351 919 317 233

Mafalda Pereira
Coutinho
(Independent
Consultant)
HAMBURG
+49 (0)40 27 94 073

Christiane Grfin
zu Rantzau
MUNICH
BRITTANY AND THE

LOIRE VALLEY
MEXICO
+49 (0)89 24 20 96 80
Marie Christine
Grfin Huyn
STUTTGART
+49 (0)71 12 26 96 99
Eva Susanne
Schweizer
JAPAN
TOKYO
+81 (0)3 6267 1766

Ryutaro Katayama
MALAYSIA
KUALA LUMPUR
+60 3 6207 9230

Lim Meng Hong
NORD-PAS DE CALAIS
+33 (0)6 09 63 21 02
Jean-Louis Brmilts
(Consultant)
DENOTES SALEROOM
ENQUIRIES?
86
Call the Saleroom or Office
04/09/14
EMAIL
info@christies.com
RUSSIA
SWEDEN
MOSCOW
STOCKHOLM
+7 495 937 6364

+44 20 7389 2318
Katya Vinokurova
+46 (0)70 5368 166

Marie Boettiger
Kleman (Consultant)
+46 (0)70 9369 201
Louise Dyhln
(Consultant)
SINGAPORE
SINGAPORE
+65 6235 3828

Wen Li Tang
SOUTH AFRICA
CAPE TOWN
+27 (21) 761 2676

Juliet Lomberg
(Independent
Consultant)
DURBAN &
JOHANNESBURG
+27 (31) 207 8247

Gillian Scott-Berning
(Independent
Consultant)
WESTERN CAPE
+27 (44) 533 5178

Annabelle
Conyngham
(Independent
Consultant)
SOUTH KOREA
SEOUL
+82 2 720 5266

Hye-Kyung Bae
SPAIN
BARCELONA
+34 (0)93 487 8259
SWITZERLAND
GENEVA
+41 (0)22 319 1766

Eveline de Proyart
ZURICH
+41 (0)44 268 1010

Dr. Bertold Mueller
TAIWAN
TAIPEI
+886 2 2736 3356

Ada Ong
UNITED KINGDOM
LONDON,
KING STREET
+44 (0)20 7839 9060

LONDON,
SOUTH KENSINGTON
BOSTON
+1 617 536 6000

Elizabeth M. Chapin
CHICAGO
+44 (0)20 7930 6074
+1 312 787 2765

Lisa Cavanaugh
NORTH
DALLAS
+44 (0)20 7752 3004

Thomas Scott
+1 214 599 0735

Capera Ryan
SOUTH
HOUSTON
+44 (0)1730 814 300

Mark Wrey
+1 713 802 0191

Jessica Phifer
EAST
LOS ANGELES
+44 (0)20 7752 3004

Thomas Scott
+1 310 385 2600
NORTHWEST
AND WALES
+44 (0)20 7752 3004

Jane Blood
THAILAND
SCOTLAND
BANGKOK
UNITED STATES
MIAMI
+1 305 445 1487

Jessica Katz
NEWPORT
+1 401 849 9222

Betsy D. Ray
TURKEY
+44 (0)131 225 4756

Bernard Williams
Robert Lagneau
David Bowes-Lyon
(Consultant)
ISTANBUL
ISLE OF MAN
+1 561 833 6952

Maura Smith
+90 (532) 558 7514

Eda Kehale Argn
(Consultant)
+44 (0)20 7389 2032
PHILADELPHIA
+66 (0)2 652 1097

Yaovanee Nirandara
Punchalee Phenjati
UNITED ARAB
EMIRATES
DUBAI
+971 (0)4 425 5647
CHANNEL ISLANDS
+44 (0)1534 485 988

Melissa Bonn
IRELAND
+353 (0)59 86 24996

Christine Ryall
NEW YORK
+1 212 636 2000

PALM BEACH
+1 610 520 1590

Christie Lebano
SAN FRANCISCO
+1 415 982 0982

Ellanor Notides
Carmen Schjaer
MADRID
+34 (0)91 532 6626

Juan Varez
Dalia Padilla
For a complete salerooms & offices listing go to christies.com
08/08/14
87
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27/05/14
88
CORNELIS DECKER (? 1610/201678 Haarlem)

A wooded landscape with a man approaching a village, carrying two pails on a yoke
oil on panel 21 x 27 in. (54.3 x 69.5 cm.)
50,00070,000
Old Master & British Pictures Day Sale

London, King Street 3 December 2014
Viewing
Contact
28 November 2 December 2014

8 King Street
London SW1Y 6QT
Freddie De Rougemont
fderougemont@christies.com
+44 (0)20 7389 2415
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JEAN-BAPTISTE OUDRY (Paris 16861755 Beauvais)

Illustration of one of the Fables of Jean de La Fontaine,The Crow, the gazelle, the tortoise and the rat
signed and dated JB. Oudry / 1733 pen and grey ink, grey and black wash, heightened with white, on blue paper, with fctive mount
12 x 10 in. (31.1 x 25.8 cm.)
6,0008,000
Old Master and British Drawings and Watercolours

London, South Kensington 2 December 2014
Viewing
Contact
29 November1 December
85 Old Brompton Road
London SW7 3LD
Benjamin Peronnet
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CHRISTOPHER RICHARD WYNNE NEVINSON (18891946)

The Road from Arras to Bapaume
lithograph, 1918, on watermarked Antique de luxe laid paper, signed and dated in pencil
Lithograph: 480 x 388 mm., Sheet: 580 x 445 mm.
Estimate: 35,00050,000
Prints and Multiples

London, South Kensington 4 December 2014
Viewing
Contact
29 November 3 December
85 Old Brompton Road
London SW7 3LD
Alexandra Gill
agill@christies.com
+44 (0)20 7752 3109
christies.com
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Old Master Prints

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09/08/13
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PHOTOGRAPHS, POSTERS & PRINTS
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95
8 King Street, St. Jamess, London SW1Y 6QT
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Old Master Prints

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3 DECEMBER 2014 LONDON

SPECIALISTS FOR THIS AUCTION

Lucia Tro Santafe

Lucia Tro Santafe

First initial followed by last name @christies.com

AUCTION CALENDAR 2014

OLD MASTER PRINTS

The Estate of Edgar M. Bronfman

Wednesday 3 December 2014

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front and back cover:

inside front cover:

inside back cover:

With Colnaghis, London (their inventory number C. 7533 in pencil verso).

Royal Castle, Warsaw, Opus Sacrum, 1990, no. 11.

Based on a drawing attributed to Andrea Mantegna in the collection of the Bibliothque

Private European collection; then by descent to the present owners.

PROPERTY FROM THE ESTATE OF NUALA ODONNELL PELL

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

Franz Gawet (1762/65-1847), Vienna (L. 1005).

Unidentified collectors mark (not in Lugt).

PROPERTY FROM A PRIVATE AMERICAN COLLECTION

PROPERTY FROM THE ESTATE OF EDGAR M. BRONFMAN

Blanche Adler (d. 1938), Baltimore (L. 343a).

PROPERTY FROM THE ESTATE OF EDGAR M. BRONFMAN

Dr. G. Gttler (b. 1956), Bavaria (L. 2807b).

Dr. G. Gttler (b. 1956), Bavaria (L. 2807b).

Dr. G. Gttler (b. 1956), Bavaria (L. 2807b).

Dr. G. Gttler (b. 1956), Bavaria (L. 2807b).

Friedrich August II, King of Saxony (L. 971).

John St. Aubyn (1758-1839), Devonport and London (L. 1534).

Reverend J. Burleigh James (mid 19th century), Shropshire (L. 1425);

PROPERTY FROM A DISTINGUISHED PRIVATE

PROPERTY FROM THE ESTATE OF NUALA ODONNELL PELL

PROPERTY FROM A DISTINGUISHED PRIVATE COLLECTION

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

Sothebys, London, 14 June 1984, lot 132.

Franz Rechberger (1771-1843), Vienna (L. 2133).

The Dukes of Devonshire, Chatsworth; Christies, London,

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

With Colnaghis, London (their stocknumber C 34924 in pencil verso).

PROPERTY FROM A PRIVATE EUROPEAN COLLECTION

PROPERTY FROM A PRIVATE ENGLISH COLLECTION

Sothebys, London, 16 May 1980, lot 90 (as Procaccini).