We found 1499 price guide item(s) matching your search

Albrecht Dürer, A rustic couple walking in a landscape towards left. / Description: A rustic couple walking in a landscape towards left. Engraving made by Albrecht Durer ca 1495-1499. References: Meder 86 A. Early Meder A impression, Bartsch 83. A superb dark impression of a Meder A engraving of Albrecht Dürer. In good condition, printed on very thin laid paper with very narrow margins. Rare engraving in very good condition. / Dimensions: 10,6 cm x 7,2 cm / Condition: A superb dark impression of a Meder A engraving of Albrecht Dürer. In good condition, printed on very thin laid paper with very narrow margins. Rare engraving in very good condition. / Literature: Meder 86 A. Early Meder A impression, Bartsch 83 / Medium: engraving /Circa: 1493-1498

Albrecht Durer -The Entombment of Christ - 1510 / Description: Meder 153 (d). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on this print (watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) Joseph of Arimathea and two other men lowering the body of Christ into the tomb, behind the tomb the Magdalen holding an ointment jar, in the foreground the crown of thorns. Original woodcut from circa 1509-10 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,80 x 9,80 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the four gaps in the top borderline as described for this state. Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stain. / Literature: Meder 153 d. With the gaps in top border as described for this state --- Bartsch / Le Peintre graveur (VII.120.44) -)-- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.296.88) / Medium: Woodcut /Circa: 1509-10

Albrecht Dürer, Hans Springinklee. The second Flemish uprising against Maximilian I. / Description: The second Flemish uprising against Maximilian I (1459 – 1519), the Holy Roman Emperor. Woodcut made by Albrecht Dürer (1471-1528)or in his atelier, or by Hans Springinklee (1495-1540) ca 1515. At the end of 1487, another Flemish uprising broke out in Ghent. The inhabitants of Gent where furious because of the higher taxes they had to pay. In 1488 Maximilian came to the Flanders to suppress the uprising, but he was captured. Maximilian was kept free after he had made several promises. Instead of keeping his promises he attacked the region for a second time. Woodcut from the Triumphal Arch of Emperor Maximilian I (a very large piece of art, 2,95 meter × 3,57 meter). One of the 195 woodcuts used for the Triumphal Arch of Emperor Maximilian I, one of the largest prints ever made. References: Meder 251 K from K. , Bartsch 138 Dürer. A good impression, in excellent good condition, printed on thin laid paper with narrow margins. / Dimensions: 17,6 cm x 15,3 cm / Condition: A good impression in excellent condition, printed on thin laid paper with narrow margins. / Literature: Meder 231 K from K. , Bartsch 125 Durer / Medium: woodcut /Circa: 1510

Albrecht Durer - Ascension of Christ - 1510 / Description: Meder 159 (c). Woodcut from the Small Passion by Dürer. Original Dürer woodcut from an early edition without text, dating from circa 1544 -1589 based on the fragment of watermark found on 'The Entombment ' (see lot 'other in this auction, watermark similar to the 'Kleines Wappen von Kaufburen mit einfachen Sternen =Meder Watermark 220.a, as used in the 'Ehrenporte' published in 1559.) The Ascension of Christ, an empty tomb in the center, surrounded by the apostles and the Virgin looking upwards; in the sky a cloud with Christ's legs visible. Original woodcut from circa 1510 by Dürer from the small passion, his first major project, and today his most celebrated, depicting the final days of Christ’s life. / Dimensions: 12,70 x 9,80 cm / Condition: Excellent brilliant sharp and evenly printed well contrasted black impression with the small gaps in top and bottom borderline as described for this state. Early edition well ahead of the Italian text edition. On the full sheet of lead paper measuring 19,50 x 15,00 cm. Tipped with left border on a laid paper support sheet. Excellent untouched condition with no folds, tear or stain. / Literature: Meder 159 c. With the gaps in top and bottom border as described for this state --- Bartsch / Le Peintre graveur (VII.120.50) -)-- Dodgson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.296.94) / Medium: Woodcut /Circa: 1510

Albrecht Dürer - Of nocturnal courting - 1494 / Description: Original Dürer woodcut from 1494. Von nâchtlichem Hofieren - Of nightly courting: By moonlight and starlight, a naked beauty pours lye from her chamber pot on five fools, three musicians and two singers who are paying her court, that is, serenading her. The smaller singer, who opens his mouth wide, seems to come off badly.--- Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction is from the Latin edition. / Dimensions: 11,80 x 8,40 cm / Condition: Good black impression with margins around the borderline. Latin text on the backside. Laid paper with small defect at top right corner. / Literature: Schramm 1172, Winkler 29, Rogner & Bernard 1377, / Medium: Woodcut /Circa: 1494

Albrecht Durer (1471-1528) - The Eight Patron Saints of Austria / Description: The Patron Saints of Austria, woodcut on laid paper, Meder 219 II f-g (of h), the state with the eight patrons. There was also a very rare first state with only six Saints, and a Unicom of the first state with 46 Latin verses beneath the six Saints in London. This still rare to find second state shows at right two extra Saints (S. Poppo ands S.Otto), added by Hans Springinklee (1490-1527). Woodcut circa 1513-1517. / Dimensions: 17,60 x 36,60 cm / Condition: A very good impression, probably state f (or maybe g) of h with the missing borderline of the Sprinkelee block at top right. Condition is very good and there are half cm margins around the borderline of the woodblock. / Literature: Meder 219 II f-g/h; Bartsch ill. 116. / Medium: Woodcut /Circa: 1513-1517

Master of the Gnad-Her - Prosecuting of good men - 1494 / Description: Narren mit Sack In Comendatione philosophie -Prosecuting of Good nenmen ---- Woodcut made by the so called The Gnad Her Master who worked aside of the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. From the 112 woodcuts 75 are now attributed to Dürer who resided in Basel for a few months in 1494. This woodcut however is by teh Gnad Her Master. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition / Dimensions: 11,50 x 8,30 cm / Condition: Good black impression with margins around the borderline. Latin text on the backside. Laid paper with small hole top left and restored bottom left corner. / Literature: Schramm 1244, Rogner & Bernard 1415, / Medium: Woodcut /Circa: 1494

Albrecht Dürer - The Barter Fool - 1494 / Description: Original Dürer woodcut from 1494. Von thôrichtem Tausche - Of foolish exchanges: A fool exchanges a beautifully saddled mule for a bagpipe with a happy face. Woodcut made by the young Albrecht Durer in 1494 for Sebastian Brant's Stultifera navis - Das Narrenshiff. The Basel humanist Sebastian Brant described the sea journey of fools (representing the follies of human weakness and vice) to "Naragonia" the paradise of fools. The fine woodcut is the one commissioned for the first edition (in German) of 1494. This is one of the 75 of the 112 woodcuts now attributed to Dürer, who resided in Basel for a few months in 1494. "The woodcut illustrations created for the Das Narrenschiff are of immense density and tenseness. Since there was no iconographical tradition for this newly conceived text, the subjects and scenes of the illustrations had to be created entirely new. The images presented are of such convincing force that their equal in design had never before been seen" (A Heavenly Craft, p. 63). The woodcut here on auction from the Latin edition. / Dimensions: 11,80 x 8,40 cm / Condition: Very good black impression trimmed outside the borderline. Latin text on the backside. Laid paper with small defect at top right corner. / Literature: Schramm 89, Rogner & Bernard 1394 / Medium: Woodcut /Circa: 1494

Albrecht Dürer, The lamentation. / Description: The lamentation. Large woodcut from the large passion made by Albrecht Durer (1471-1528) ca 1510. An early impression (Meder 122 A after the Latin text edition of 1511), with the watermark mentioned by Meder 122 for this state ( Gothic P with coat of arms and letter A = Meder watermark 325). / Dimensions: 39,8 cm x 28,9 cm / Condition: A very good evenly printed impression in almost excellent condition. Some restorations in the middle and below, not visible in front. With a watermark: Gothic P with coat of arms and the letter A. All lot's are listed with several high resolution images, which is the best way to give a clear and objective idea of the general very good condition. Textual description is limited, so please examine the images carefully and ask for more info if needed. / Literature: Meder 122 A after the Latin text edition of 1511: A of C, Bartsch / Le Peintre graveur (VII.117.13) Dogson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols (I.274.20), Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. 3 vols I Intaglio, II Woodcuts, III Book illustrations (II.162) / Medium: woodcut /Circa: 1497-1500

Albrecht Dürer, Christ carrying the cross. / Description: Christ carrying the cross. Large woodcut from the large passion made by Albrecht Durer (1471-1528) ca 1497-1500. An early impression (Meder 119, A or very early B, after the text edition of 1511), with the watermark mentioned by Meder for this state ( Gothic P with coat of arms and letter A = Meder watermark 325). / Dimensions: 39,6 cm x 28,9 cm / Condition: A very good evenly printed impression in almost excellent condition. Some restorations in the right below, not visible in front. Printed on laid paper with 1-2 mm margins. With a watermark: Gothic P with coat of arms and the letter A. All lot's are listed with several high resolution images, which is the best way to give a clear and objective idea of the general very good condition. Textual description is limited, so please examine the images carefully and ask for more info if needed. / Literature: Meder 119, A or very early B, after the text edition of 1511, Bartsch / Le Peintre graveur VII.117.10). Dogson 1903, 1911 / Catalogue of Early German and Flemish Woodcuts in the BM, 2 vols(I.274.18), Schoch 2001-04 / Albrecht Dürer, das druckgraphische Werk. 3 vols I Intaglio, II Woodcuts, III Book illustrations (II.160) / Medium: woodcut /Circa: 1497-1500

Albrecht Dürer after, Johannes Wieirx. A rustic couple walking in a landscape towards left. / Description: A rustic couple walking in a landscape towards left. Engraving made by Johannes Wierix (1539-1620) ca 1555-1565 after the engraving of Albrecht Durer made ca 1493-1498.Published by Claes Jan Visscher. References: Hollstein Dutch 1892 II/III, Mauquoi Hendrickx 1705 II/III, Alvin 1578. A superb dark impression of this rare engraving of Johannes Wierix after Albrecht Dürer. In very good condition, superb dark early impression printed on very thin laid paper with narrow margins. With a good watermark. / Dimensions: 10,7 cm x 7,3 cm / Condition: A superb dark impression of this rare engraving of Johannes Wierix after Albrecht Dürer. In very good condition, superb dark early impression printed on very thin laid paper with narrow margins. With a good watermark. / Literature: Hollstein Dutch 1892 II/III second state of three, Mauquoi Hendrickx 1705 II/III second state of three , Alvin 1578. / Medium: engraving /Circa: before 1565

Colton's general atlas, the Atlas Maior and art reference books on Durer, Parmigianino and Lorenzo Viani. H.45 W.31 D.7cm

after Albrecht Durer (1471-1528): Study of a Rider - colour reproduction print, pub. The Medici Society, 40.5 x 31.5cm, gilt framed (64.25 x 55.25cm).

BINDING - Willi KURTH (b.1881, editor). The Complete Woodcuts of Albrecht Dürer, New York, 1963, 4to, illustrations, FINELY BOUND BY DON ETHERINGTON in full cream pigskin, box.BINDING - Willi KURTH (b.1881, editor).  The Complete Woodcuts of Albrecht Dürer ... With an Introduction by Campbell Dodgson. New York: Dover Publications, 1963. 4to (305 x 210mm). Full-page monochrome illustrations after Albrecht Dürer. FINELY BOUND BY DON ETHERINGTON in full cream pigskin, the covers with a striking jagged "crown of thorns" design [?based on a detail after Durer] in black morocco onlays, dissected by gilt ruled lines, the spine lettered in gilt with the artist's monogram at the foot in black morocco onlays, gilt edges, silk endpapers, black cloth book box (light stain to upper edge of upper cover). Provenance: Loosely-inserted is an autograph note, on paper headed "Don Etherington, Bookbinder", dated, "1.6.68", stating, "Dear Sir, Please find enclosed 3 books [sic] for Guild [?of Contemporary Bookbinders] Exhibition, Yours faithfully, Don Etherington." [Please note that only one book is included in the lot.] Don Etherington (b.1935) began bookbinding at the age of thirteen before going on to study at the London School of Printing. He has held positions at the Bibliotheca Nazionale in Florence, the Library of Congress and the Harry Ransom Humanities Research Center at the University of Texas, Austin and has received awards from the American Institute for Conservation and the Guild of Book Workers. Examples of his work can be found in collections across the world.

PASTEUR LOUIS: (1822-1895) French chemist and microbiologist, renowned for his discoveries of the principles of vaccination and pasteurisation. A significant A.L.S., L. Pasteur, three pages, 8vo, Paris, 19th July 1888, to [Charles Bouchard] (´Mon cher confrere´), in French. Pasteur commences his letter stating ´Mardi prochain, M. Proust fera le rapport sur les candidats étrangers au titre de correspondant de l’Académie de médecine. Permettez-moi de vous informer de tous les vœux que je fais en faveur du professeur Cantani de Naples, non seulement pour sa valeur personnelle et ses titres scientifiques, mais parce qu’il a été et est encore en butte à toutes sortes d’oppositions et d’avanies de Semmola et autres qui sont irrités de l’initiative qu’il a prise dès le début de l’application de ma méthode de prophylaxie de la rage après morsure´ (Translation: ´Next Tuesday, Mr Proust will report on the foreign candidates for the title of correspondent to the Académie de médecine. Allow me to inform you of all the good wishes I have for Professor Cantani of Naples, not only because of his personal merit and scientific qualifications, but also because he has been and still is subject to all sorts of opposition and abuse from Semmola and others who are irritated by the initiative he has taken since the beginning of the application of my method of rabies prophylaxis after bites´) and explains ´Cantani avait institué à ses frais le laboratoire antirabique que dirigeait un de ses élèves le docteur di Vestea. Cela ne pouvait durer, dans ces conditions. Il y a donc eu cessation de service de la rage jusqu’à ce que l’état et la municipalité se fussent décidé à des subsides à Cantani. Plusieurs cas de rage humaines s’étant produits pendant l’interruption du service, une allocation de 9.000 fr a été enfin accordée et les Dr Vestea et Zagari s’occupent présentement de refaire la série des lapins trépanés et des moules´ (Translation: ´Cantani had set up, at his own expense, an anti-rabies laboratory run by one of his students, Dr di Vestea. Under the circumstances, this could not continue. The rabies service was therefore discontinued until the state and the municipality decided to provide Cantani with subsidies. As several cases of human rabies had occurred during the interruption of the service, an allocation of 9,000 fr was finally granted and Dr Vestea and Zagari are now busy redoing the series of trepanned rabbits and moulds´), further writing ´En ce moment on répand le bruit que Cantani et anti français, très favorable à l’école allemande etc etc. Vous pourrez en être informé par M. Charcot qui, à Milan, a eu de piquants entretiens avec Semmola lequel a desservi Cantani comme il a pu. J’en sais long sur ce Semmola et je suis persuadé que M. Charcot n’a pas tardé à le juger. J’ai de Semmola plusieurs lettres, auxquelles je n’ai pas répondu, et par lesquelles il voulait m’obliger à une discussion publique avec lui pendant que j’étais à Bordighera. Ces lettres n’ont fait que me confirmer dans l’opinion que m’ont suggéré à son sujet plusieurs médecins et savants de l’Italie´ (Translation: ´At the moment there are rumours that Cantani is anti-French and very favourable to the German school etc etc. You can find out about this from Mr Charcot who, in Milan, had some lively discussions with Semmola, who did Cantani all he could. I know a lot about this Semmola and I am convinced that Mr Charcot was quick to judge him. I have several letters from Semmola, to which I did not reply, and by which he wanted to force me into a public discussion with him while I was in Bordighera. These letters only confirmed the opinion that several Italian doctors and scholars had suggested to me about him´). Pasteur concludes his letter stating ´Bref, je vous le répète, je forme les vœux les plus légitimes en faveur de M. Cantani. L’Académie de médecine lui doit en quelques sortes une réparation. À la sollicitation de ses ennemis de Naples, Peter a déposé, le 23 fév[rier] 1887 sur le bureau de l’académie de Paris, un document reconnu apocryphe, signé faussement du président de l’académie de médecine de Naples et dirigé contre Cantani, qui à la nouvelle de cette infamie, donna immédiatement sa démission de membre de cette académie. 8 jours après excuses et hommages à Cantani par le président Tommasi et refus d’acceptation de cette démission etc. etc.´ (Translation: ´In short, I repeat, I have the most legitimate wishes for Mr Cantani. The Académie de Médecine owes him a reparation of sorts. At the request of his enemies in Naples, Peter deposited, on 23 Feb[ruary] 1887 on the desk of the Paris Academy, a document acknowledged to be apocryphal, falsely signed by the President of the Naples Academy of Medicine and directed against Cantani, who on hearing of this infamy immediately resigned as a member of the Academy. 8 days later the president Tommasi apologised to Cantani and refused to accept his resignation etc. etc.´). In a lengthy postscript Pasteur refers to the specifica case of a dog and the method (inspired by Roux's experiments) of inoculating increasingly virulent rabies marrow by trepanning, in order to make the dog resistant to the rabies virus, ´Je passe quelques jours chaque semaine à Villeneuve-l‘Etang où je trouve votre chien. Dans cette inaction du chenil de Villeneuve il a pris un embonpoint inquiétant. Je vous engage beaucoup à le reprendre. Vous savez qu’après sa vaccination on a éprouvé son immunité par inoculation à la surface du cerveau et qu’il y a résisté parfaitement´ (Translation: ´I spend a few days each week in Villeneuve-l'Etang where I find your dog. In this inactivity at the Villeneuve kennels he has become worryingly overweight. I urge you to take him back. You know that after his vaccination his immunity was tested by inoculation on the surface of the brain and that he resisted perfectly´). A letter of important content demonstrating the high level of tension within the Franco-Italian scientific community and also illustrating Pasteur´s exasperation at the means used by his detractors to hinder the work of his colleagues on rabies prophylaxis. VGCharles Bouchard (1837-1915) French physician, anatomopathologist, prolific biologist and renowned clinician. He is known, among other things, for the concept of auto-intoxication and medical antisepsis.Adrien Proust (1834-1903) French doctor, the father of Marcel and Robert Proust. He was elected a full member of the Académie Nationale de Médecine in 1879, where he served as annual secretary from 1883-88, and inaugurated the Pasteur monument in Chartres shortly before his death in 1903.Pasteur´s discovery of the rabies vaccine in 1885 earned the scientist worldwide acclaim. Subsequently, the Académie des Sciences proposed that he set up an establishment to treat rabies: the Institut Pasteur opened its doors in 1888, the same year as the present letter.OWING TO LIMITATIONS IMPOSED BY THE SALEROOM THE COMPLETE DESCRIPTION FOR THIS LOT CAN NOT BE DISPLAYED - PLEASE CONTACT IAA EUROPE DIRECTLY FOR FURTHER INFORMATION.  

After Durer, a pen and ink study and another similar study of a classical figure, both framed and glazed. H.24 W.19cm.

After Albrecht Durer (1471-1528, German), coloured print, 'Lady at Home', framed and under glass, measuring 23cm x 35cm, & 27cm x 39cm overall

Leonard Baskin,  American 1922–2000 -  Thistle (In memory of Louis Black), 1959;  bronze relief, H21.5 x W44.5 x D0.3 cm  Provenance:  The Collection of Mary and Alan Hobart, Founders of Pyms Gallery, London  Literature:  Irma B. Jaffe, 'The Sculpture of Leonard Baskin', The Viking Press, New York, 1980, p.212, illus. p.161  Note:  other editions of this bronze are held by Smith College Museum of Art, Northampton. Louis Black was a friend and collector of books, prints and drawings, usually relating to the human figure and natural environment. Jaffe suggested the subject of this work is derived from the engravings of Durer.  Baskins works is highly indicative of the Post-War period, sharing an intensity of vision with figures such as Elisabeth Frink, Germaine Richier and Alberto Giacometti. Like Frink, Baskin focused almost entirely on the male figure, seeking a visual language that spoke to an everyday experience of life and death, demonstrated most fully in his ‘Dead Man’ series, first started in the 1950s. Baskin retained a defiantly figurative language throughout his sculpture and works on paper, continuing the legacy of Käthe Kollwitz in his choice to work across mediums in an attempt to engage with an audience outside of the artistic elite. Works by the artist are in major museum across the USA, including the National Gallery of Art in Washington, MoMA, New York and the Detroit Institute of Arts. In the UK works are held by the British Museum, the V&A and the Tate.

After Albrecht Durer (German, 1471 - 1528) The Weapon Knight Monogrammed and dated 1498, hand-coloured lithograph, 40.5cm x 31.5cm.

A collection of prints, etchings and engravings, some after old masters: Albrecht Durer and one original Victorian pencil sketch in process of being hand-coloured. H.60 W.44cm (largest).

After Albrecht Durer praying hands print together with three papel scrolls. 

Albert Durer Lucas (1828-1918) Spotted butterfly amidst harebells;Blue butterflies and a grasshopper amidst wildflowers, ferns, bracken and heathera pair, both signed and dated 'A. D. Lucas/1878', oil on canvas laid on board22.5 x 18cm (2)Provenance: Christie's, London, 13 November 1992, lot 315;private collection, Moor Park, Hertfordshire.Condition ReportFramed: 37 x 31cmOn close inspection 'Spotted butterfly amidst harebells' has some fine crescent shaped cracks starting to emerge to the upper right corner and lower right quarter. Overall both works present well. Not viewed out of glazed frames.

A late 19th/early 20th century German folder of the prints of Albrecht Durer

After Albrecht Durer (1471-1528), "Knight, Death and the Devil", lithograph, 19x25ccm, framed (housed loosely), glazed

DR WILLI KURTH (Ed): THE COMPLETE WOODCUTS OF ALBRECHT DURER, New York, ND. Hessian boards and original clipped dustjacket (some losses)

After Albrecht Durer, a group of five hunting dogs, engraving, 3.25" x 4.25" (8.5 x 11cm), unframed.

SIX ALBUMS OF SPACE RELATED STAMPS AND FIRST DAY COVERS, TO INCLUDE AUTOGRAPHED EXAMPLES, autographs are by Astronauts, Cosmonauts, rocket engineers, NASA directors and staff etc, astronaut signatures include Fred Haise - Apollo 13, James Irwin Apollo XV, William Anders, James Lovell and Frank Boreman - Apollo 8, Richard F. Gordon - Apollo 12, John S. Bull - Apollo, Ken Rightler - Shuttle STS-60, Jerry Linenger - Shuttle STS-64, Eugene Cernan - Apollo 10 & 17, Gordon C. Fullerton - STS missions, Michael Coates, Dan Brandenstein, John Fabian and Richard Covey - Shuttle STS missions, together with various other astronaut signatures, Engineers and scientist signatures include Herman Oberth, Dieter Grau, James Van Allen, Rocco Petrone, Christopher C Kraft, Friedrich Durer, Werner Albring, Fritz Mueller, Hans Kennel, Edward Stone, Otto Goetz, Magnus Von Braun - brother of Wernher Von Braun, Ed Buckbee, Carolyn Shoemaker, Hans Lindenmayer, Max Nowak and others, with facsimile signatures of Buzz Aldrin, Michael Collins and Neil Armstrong, Gordon Cooper, Alan Shepherd and Virgil Grissom, together with three albums of unsigned First Day Covers and stamps from various countries including USA, USSR, Hungary, Japan etc, to also include two albums of USSR stamp panes of various designs

Germany 24ct gold 500th Anniversary birth of Albrecht Durer 1471 - 1971 medallion - Diam: 25mm weight 7.8grms portrait of Durer and town of Nurenburg, within fitted case

(ar) Henry Wilkinson RE ARCA (1921-2011) "Pheasants", original etching signed and dated 1955. Together with a watercolour of a "Goosander" duck indistinctly signed "Eric Malius", an original etching of an elephant (unsigned) and a print of a hare after Durer. The largest 22 cm by 30 cm.

A folio of 16th century and later Old Master prints and engravings to include after Palma Vecchio (Italian, 1479-1528), engraving, 'The rich man in hell tormented by demons, 1595', after Titian (1489/90-1576), 'St Jerome in the wilderness', after Raphael, 'Battle between the Romans and Barbarians' and a later print after Albrecht Durer (1471-1528), 'The four horsemen of the apocalypse', largest 53 x 38cm, all unframed. Condition - varies, mostly fair considering age There are 11 pages

Print 'Portrait of a Young Man' by Albrecht Durer, framed by Medici Society Ltd, image 11.5" x 17", frame 14.5" x 20.5" and a signed coloured etched print 'A Courtyard, Dorking' by Geo. H. Downing, image 9" x 13", frame 16" x 20"

Raimondi (Marcantonio) The Betrothal of the Virgin, from "The Life of the Virgin", after Albrecht Durer, engraving, sheet 290 x 210 mm (11 1/2 x 8 1/4 in), trimmed, mounted on support, unframed, 1506 or later; together with group of over 25 miscellaneous prints by old masters and others, including Bernhard Rode's 'Herodes rottet die Räuber aus', an engraving by Wendel Dietterlin, and others, all unframed, 17th to 19th century (c. 25)

Two Framed Albrecht Durer Prints, "A Nuremberg Woman in Dance Dress" and "Dressed for Church", Each 32 X 20cm

Graphik von Durer und Rembrandt, 153. Auktion, 11 Juni 1994. With many black and white illustrations of works by Albrecht Durer and Rembrandt Harmensz van Rijn. Contains 67 pages. Text in German. Dimensions: 7.5"W x 10.5"HManufacturer: F. Dorling GmbHCountry of Origin: GermanyCondition: Age related wear.

A reproduction of an Albrecht Durer engraving depicting The four horsemen of the apocalypse, in period oak frame, 18" x 21".

ALBERT DURER LUCAS (1828-1918) 'Cross Leaved Heath - Red Admiral Butterfly'signed and dated 1889 lower right, further signed and titled verso, oil on canvas, 20.5cm x 15cm

ALBERT DURER LUCAS (1828-1918) 'White Bryony - Nest of the Grey Wagtail'signed and dated 1909 lower right, further signed and titled verso, oil on board, 19cm x 23.5cm

Egidius II SADELER (1570 - 1629) nach Albrecht Dürer. "Maria und Kind mit Vielzahl…"Circa 35 cm x 25 cm. Circa 50,5 cm x 40 cm mit Passepartout. Kupferstich nach Albrecht Dürer ("Maria und Kind mit einer Vielzahl von Tieren und Pflanzen"). Unten mittig bezeichnet "Cum privil. S. C. Mtis." / "Albertus Durer Almanus Inventor / S.C.M. Sculptur Aegid. Sadeler Sculpsit". Blatt vergilbt, leicht fleckig und geknickt. Zustand siehe Fotos.

Attributed to William Bell Scott (Scottish, 1811-1890) -'A Collection of Sketches, Drawings and Prints illustrating English Costume, M.S.S., Architecture, etc., chronologically' -Over a thousand illustrations historical encompassing ornaments, architectural elements and others, many of them inscribed, including traced drawings by Francis Henry Salvin and after Albrecht Durer -Page size 36 x 28cm -Scott's bookplate attached to the cover -The opening page with handwritten title -The spine reads 'English Archaeology'

Armand Durand (French, 1831-1905) after Albrecht Durer Knight, Death and Devil,heliogravure, after Durer's original engraving of 1513,24 x 19cm

ART BOOKS: HAMMACHER (A), RENE MAGRITTE, 1st edition, tipped in plates, d.j., Thames and Hudson, 1974; STRIEDER (P), DURER PAINTINGS, PRINT AND DRAWINGS, Frederick Muller, 1982; with other art books, books on illustrators, and, BENEZIT (E), DICTIONNAIRE DES PAINTRES, SCULPTEURS, DESSINATEURS ET GRAVEURS, 8 vols, 1966, (qty)

La Grande Passion par Albert Durer, en douze gravures sur bois, Nuremberg Anno 1511. Reproduction procede P.W. Van De Weijer utrecht d’apres les epeuves avant la lettre appartenant au cabinet de Dr. Straeter avec une introduction de Georges Duplessis, published Utrecht P.W. Van De Weijer with Intorcertificat by Dr. Straeter dated 3 Aprill 1875 comprising 12 engraved plates on toned paper tipped onto larger sheets (many loose) with printed wrapper & introduction (large folio), together with eight additional prints of Francisus Franck, Paulus de vos Pictor, Petrus Breugel and Ioannes de Wael by Van Dyck, Hans Holbein, Venice etc

Pair of large blue and white Delft chargersdepicting Rembrandt and Durer (2) At present, there is no condition report prepared for this lot, this in no way indicates a good condition, please contact the saleroom for a condition report.

After Albrecht Durer,St Jerome in the cave,woodcut (?), collector's stamp, lower centre, J.S.A. [John St. Aubyn; Lugt 1534], no watermark, trimmed to the borderline, repairs to sheet edge,16.8 x 12.4cm.Condition report:Additional images have been uploaded to the lot page on our website for you to view.

Four early engravings - Albrecht Dürer Birth of the Virgin Mary, from Life of the Virgin, 29.5cm x 21cm, unframed, Burlington House Piccadilly, 19cm x 24.5cm, in glazed frame, Engraving After Bassano of The Little Milkmaid, by R Sadeler, 22cm x 29cm in glazed frame, St Sebastian, 11cm x 7.5cm in glazed frame (4)Durer print stuck on backing board

After Albrecht Durer (1471-1528, German), coloured print, 'Adam and Eve', framed, mounted, and under glass, measuring 23cm x 35cm, & 40cm x 48cm overall

Swiss made precision quartz chronograph movement, sapphire crystal, 200m water resistant. Bi-directional Tachymeter bezel for calculation of speed. Black and red color carbon fiber dial with three sub-dials and Superluminova illumination system on hands and markers. The total length, including the leather straps is 10.25"L. Dimensions: 44mmManufacturer: Chase-DurerCondition: Age related wear. Functionality not guaranteed.

ALBRECHT DURER (GERMAN 1471-1528) THE KNIGHT AND THE MAN-AT-ARMS  Woodcut, 39.5 x 28.5cm (15.5 x 11.25") Provenance: With Colnaghi, London (label attached to backboard) Condition Report:The sheet presents in fair condition.It has been taped to a supporting mount by the upper corners. Tape remains in place.Some browning to the sheet. Some mottling. Some pale spotting.Pinholes/small holes to mid vertical edge areas.Evidence of a historical (repaired) tear to left mid edge, circs 2.5cm, with localised discolouration. Fold/possible historical damage to upper right corner (obscured by tape).Historical fold across the mid-point of the sheet, horizontally.There appears to be a watermark resembling a serpent

After Albrecht Durer (German, 1471-1528) The Passion and Resurrection, twelve copper engravings on laid paper with watermark, each tipped onto a card backing, each monogrammed and some dated in the plates 1501-1512, unframed, dimensions with small variations up to 12.7 x 8.3cm.* Twelve copper engravings from a group of sixteen,19th century or earlier.

Twenty nine German silver 5 Deutschemark .625 silver commemorative coins comprising 1963, two 1968 Pettenkofer, 1969 Mercator, two 1971 Durer, 1971, 1973, 1848,1974, 1949-74, two 1974 Imanuel Kant, two 1975, two 1975 Schweitzer, two 1975 Ebert, two 1976, 1621-1676, two 1977 Gauss, two 1977 Kleist, two 1978 Neumann, two 1978 Stresemann and two 1979 archeological, with three MDM certificates, the coins displayed on a wooden board.

A pair of Albrecht Durer (German 1471-1529) prints. 'Christ Shown to the People' and 40.5cm x 29.5cm and 'The Lamentation', 40cm x 29cm, both framed and glazed

Seven assorted antiquarian, leatherbound titles etc, including Virgil; J.M.B. Clement: 'Observations critiques, sur la nouvelle traduction en vers François des Georgiques de Virgile, et sur les poemes des saisons, de la déclamation, et de la peinture. Suivies de quelques réflexions sur le poëme de psyché.', Geneva, 1771, contemporary mottled calf gilt; FOUQUÉ, Friedrich de la Motte: 'Sintram and his Companions. From the German.', London, Edward Lumley, [nd], c.1860, engraved frontis after Albrecht Durer, contemporary calf gilt; 'History of Suffolk', 1720, engraved folding map of Suffolk by Robert Morden, 4to, half calf gilt, marbled paper covered boards; plus 4 others including Sir Thomas Browne etc (7)

A quantity of Durer Prints, various subjects and views, etc, G. More, coloured plates, figures in various pursuits

After Albrecht Durer (1471 - 1528), a set of six, St Eustace; St Jerome in Penitence; Melancholia I; St Jerome; The Four Horsemen; The Prodigal; Knight, Death and the Devil, monochrome prints, 36cm x 27cm

Three framed and glazed prints to include Harriet Brigman - sheep Transport, a limited edition print 22/50, signed and titled in pencil to lower margin 25x25cms, after Albrecht Durer Saint Eustace, engraving 40x31, and Ascot Grandstand c 1840, a coloured print 21x 36cmsLocation:GIf there is no condition report shown, please request

After Albrecht Durer (1471-1528), "Knight, Death and the Devil", lithograph, 19x25ccm, framed (housed loosely), glazed

A good collection of works on art, pottery and sculpture. Roger Fry. 'Henri-Matisse,' first edition thus, cloth backed boards, colour plates tipped in, illustrations throughout out, some light finger soiling and toning but generally vg, A. Zwemmer, London, 1935; Jacques Guenne. 'Portraits D'Artistes,' original paper wraps debound with a tear towards the spine, b+w plates throughout, good to vg, Editions Marcel Seheur, Paris, n.d; 'Michael Cardew. A Collection of Essays,' introduction by Bernard Leach, staining to card wraps, b+w illustrations throughout, bibliography, vg, Crafts Advisory Committe, 1976; Nine exhibition catalogues including Ben Nicholson, Peter Startup, Garth Evans, Peter Brandes, Another View by Marion Whybrow, Pia Anderson &c. &c.; 'Picasso. From The Ballets to Drama 1917-1927' card slip, Kinemann, 1999; 'The Wood Engravings of Gwen Raverat'; 'Gwen John' by Mary Taubman; With seven other works mostly on art and illustration including 'The Greenman' by Jane Gardman & Mary Fedden, 'Albert Durer' by T. Sturge Moore &c. &c. (Q)

A Rectangular Carved Boxwood Religious Plaque after Albrecht Durer, 11.5x8cms

* Durer (Albrecht, 1471-1528). The Abduction on a Unicorn, 1516, etching on laid paper, a good, dark Meder c impression with the rust marks in the plate, with city gate watermark (Meder 263, similar to Briquet 15940, dateable to the 1550's), plate size 310 x 213 mm (12 1/4 x 8 3/8 ins), with 1mm or 2mm outer margins, generally in good condition, verso with some old light waterstains, remains of paper hinges to top margin verso, late 19th/early 20th century backing card inscribed with details of the print in pencil QTY: (1)NOTE:Bartsch 72; Meder 67; Schoch, Mende, & Scherbaum 83.

* Cranach (Lucas, 1472-1553). Christ Taken Captive, 1509, woodcut on laid paper, a good clear impression, with the artist's initials LC and the date 1509 on a tablet to the lower right corner of the image, and two Saxon coat-of-arms to upper right corner, verso with printed text in German gothic type, sheet size 252 x 182 mm (10 x 7 1/4 ins), framed and glazed, with Folio Society Collectors' Corner printed and typewritten label to verso, indicating the provenance as Richard FisherQTY: (1)NOTE:Provenance: Richard Fisher (1809-1890), of Hilltop, Midhurst, Sussex, author of Introduction to a Catalogue of the Early Italian Prints in the British Museum (1886). His substantial print collection which included fine examples by Durer, Cranach, Lucus van Lyden, Goltzius, Mantegna, Marc Antonio Raimondi, Marco Dente and many others was sold by Sotheby's London on May 23rd 1892 and the four following days. (Lugt 2204).Hollstein 11 from the series The Passion (Hollstein 10-23).