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After Rembrandt Harmensz van Rijn Beggars receiving alms at the door of a house 20th century etching, dated 1648 to plate, inscribed in pencil 'hand printed by Rae Boer' to lower margin 16 x 13cm, wooden frame (29.5 x 26cm)

VISCONTI, TWO FOUNTAIN PENS REMBRANDT A PURPLE FOUNATAIN PEN, 2009 Cap and Barrel: Amethyst marbled resin with palladium clip and bands Nib and Filling System: Steel medium nib, cartridge filling system, uninked Accessories: Visconti box, outer box with bottle of ink, Visconti booklet and outer card box MICHELANGELO A BLUE FOUNTAIN PEN Cap and Barrel: Navy blue resin with palladium clip and bands Nib and Filling System: White gold medium nib stamped 14K 585, cartridge filling system, uninked Accessories: Visconti box, Visconti booklet and outer card box Condition Report: Both pens are uninked and appear unused. The packaging has some storage wear and marks, but otherwise good. Condition Report Disclaimer

Kopie nach Carlo Ciappa (italienisch, 1915 - 1986), Portrait von Rembrandt, 1906 , Öl auf Leinwand, unten links und rechts verso signiert, Lichtmaß: 33,5 x 43 cm, Rahmen: 57 x 47 cm. Guter, altersbedingter Zustand.

Titanic survivor Millvina Dean signed rare limited edition White Star Titanic colour postcard produced by Rembrandt,. Good condition. All autographs come with a Certificate of Authenticity. We combine postage on multiple winning lots and can ship worldwide. UK postage from £5.99, EU from £7.99, Rest of World from £9.99

Attributed to George Perfect Harding After Rembrandt  English school Circa 1840 Three portraits  To include: [a] Portrait of a young girl leaning on a table Watercolour on paper With Peter Cardiff Fine Art sticker verso [b] English school 19th Century A pair of portraits One portrait of Isabella Brandt, one portrait of Rubens Watercolour on paper From the Fane Collection To be sold without reserve Dimensions: [a] (Frame) 10 in. (H) x 5.75 in. (W) (Paper) 7 in. (H) x 4.75 in. (W) [b] (Frame) 10.75 in. (H) x 9 in. (W) (Paper) 8 in. (H) x 6.75 in. (W)

After Rembrandt (1606-1669)/ Ferdinand Bol (1616-1680) Vertumnus and Pomona Etching Inscribed in the print 'Rembrandt ft. 1640'  The original drawing was previously attributed to Rembrandt, before being re-attributed to one of his pupils, Ferdinand Bol. The drawing was sold at Christie's in 2007. Property of a Lady To be sold without reserve Dimensions: (Frame) 10.5 in. (H) x 10 in. (W) (Paper) 6 in. (H) x 6 in. (W)

Arthur Briscoe (British, 1873-1943) Flooded Decks and The Seine Net Etching on paper  [a] The Seine Net  Signed and dated, 'A Briscoe 25' 31/76 The Rembrandt Gallery label verso [b] Flooded Decks Signed and dated, 'A Briscoe 31' 49/75

HAP GRIESHABERSTEFAN WYSZYNSKI: Kreuzweg. Die Meditationen von Wyszynski in polnischer Sprache, mit einem englischen Kreuzweg-Text von Pater George V. Simmons und einem deutschen Beitrag von Fridolin Stier. Berlin: Rembrandt Verlag 1967. 37,2 x 30,5 cm. Mit 14 mehrfarbigen OrHz. von Grieshaber. 92 SS. Illustr. OrHPgt. in illustr. OrSchuber mit Deckelschild.Nr. 98 von 300 Exemplaren, im Druckvermerk vom Künstler signiert (GA 3000). – Fürst 67/19-32.Dazu:1) Margot Fürst (Hrsg.): HAP Grieshaber der Holzschneider. Stuttgart: Verlag Gerd Hatje 1964. 37,7 x 28,5 cm. Mit der Folge "The Lord's black nightingale gewidmet" vom Stock gedruckt. 6 dreifarbige doppelblattgroße OrHz. und 6 (davon 1 Doppelbl.) in schwarz gedruckte OrHz. von Grieshaber. 80 nn. SS. mit zahlr. teils farbigen Reproduktionen. OrKarton mit illustr. OrUmschlag, im Hinterdeckel eine Tasche mit Begleitheft, in Karton-Schuber. – Eines von 3000 Exemplaren. – Fürst 64/22-33 u. 64/18b.2) Ein Gespräch über Bäume zwischen Rudolf Hagelstange und HAP Grieshaber. München: Bruckmann 1971. 46,8 x 36,8 cm. Mit 9 mehrfarbigen OrHz. von Grieshaber. 19 Bll. OrLn. mit illustr. OrUmschlag in OrKarton-Schuber mit montiertem Deckelschild. – Nr. 227 von 500 Exemplaren, im Druckvermerk vom Autor und Künstler signiert (GA 555). – Fürst 71/27-35.

REMBRANDT HARMENSZ. VAN RIJNSelbstportrait mit Saskia 1636Radierung auf Bütten. Blattgröße 10,8 x 9,9 cm, Plattengröße 10,4 x 9,5 cm. Bartsch 19; New Hollstein 158, II/IV, nach dem Entfernen des Häkchens über dem Auge von Saskia, wohl vor Überarbeitungen von fremder Hand.(Mit Rändchen um die Plattenkante. Minimal altersfleckig. Handschriftlicher Besitzvermerk, bzw. Inventarnummer in der Ecke unten rechts. Verso leicht fleckig.)

Blanc, Charles: l'Oeuvre complet de Rembrandt. Catalogue raisonne de toutes les eaux-fortes du maitre et de ses peintures. Paris: L. Guerin o. J. (1859), Mit über 40 montierten t. ganzseit. Reproduktionen der Werke Rembrandts im Text. 2 Bll., 392 SS.; 2 Bll., 472 SS. HLdr. mit goldgepr. Rt.(Berieben und bestoßen. Vordergelenke innnen angebrochen. Vorsätze gebräunt, feuchtfleckig.)

European school, follower of Rembrandt van Rijn (1606-1669): Christ on the Cross, oil on canvas, 19de eeuwWork: 56 x 37,5 cm Frame: 74 x 54,5 cm Based on the 'Christ on the Cross' by Rembrandt (1631), now in the eglise Saint-Vincent in the French town of Le Mas-d'Agenais, Lot-et-Garonne (link).

Ilya Shenker (1922-2013): On the road, oil on canvasWork: 105,5 x 76,5 cmFrame: 115 x 90,5 cm New York resident Ilya Shenker left Russia over twenty years ago; however, Russia has never left the artist's mind. As a soldier in World War II, he survived where millions perished. Upon returning to his home town of Odessa, he felt abandoned and alone. He studied Art and Architecture in Odessa but left for America when the opportunity arose when a number of Russian Jewish artists where allowed to emigrate. He settled in New York City, a choice that has forever impacted his oeuvre. Many of his pictures depict New York cityscapes and lifestyle; however, they remain typically Russian. His subject matter often comes from memory and includes the life that he left behind, family, and friends. Drawing upon his Jewish heritage for inspiration, Shenker also paints historical events, such as 'On the Eve of the Assault' in which he portrayed the last night before the destruction of Jerusalem. His use of imagination also applies to the figures in his paintings - fictional characters such as the Spanish literary character Don Quixote make appearances in his work. He has also placed figures such as Rembrandt and Picasso in modern settings: in "Rembrandt Visiting our Family," Shenker sits his most favored artist at his family table, in a tribute to someone he describes as a "peoples artist." On many levels, Shenker saw himself as a people's artist as well. In fact, he contributed to an exhibition intended to commemorate the six-month anniversary of September 11th, 2001 in New York City. Ilya Shenker has exhibited works all over the World, and held numerous shows in the United States. He also has permanent works in several Russian museums.

REMBRANDT VAN RIJN (DUTCH, 1606-1669)Old Man Seen from Behind (Bartsch 143) etching 7 x 4.5cm Provenance Private collection, UKCondition reportno margin to sheet, tiny loss to lower left corner and all edges uneven; slight staining to sheet, upper left and right; framed and under glass, unexamined out of frame.

Rembrandt Harmensz. van Rijn (Dutch, 1606-1669) The Raising of Lazarus: Small Platesigned in the plate 'Rembrandt f.' and dated 1642 (lower left)etching with drypointthe first state (of two), a fine impression with delicate lines of Lazarus' forehead still visible15 x 11.5cmLiterature:Bartsch, Hollstein 72; Hind 198; New Hollstein 206Provenance:Monogram verso (Lugt 2420) of Thomas Thane (1782-1846);Stamped initials verso (Lugt 1375) of Henry Studdy Theobald (b. 1847),Probably one of his sales, Christie's, London, April 1910 or HG Gutekunst, Stuttgart, May 1910;Acquired in 1911 by the father of Jeremy Pemberton of Grantchester and thence by descent,Gifted by Jeremey Pemberton in 2003 to The Right Reverend Peter Walker (1919-2010), Bishop of Ely (1977-1989)The Raising of Lazarus was a particularly significant subject for Rembrandt. He first painted the scene, from the New Testament, in around 1630, early in his career when he was still in Leiden. It was the culmination of his artistic development at that point and likely inspired by the friendly rivalry with his collaborator Jan Lievens (see Lot 222), who also produced a painting of the miracle. Rembrandt retained his own version (now in the Los Angeles County Museum of Art) for most of his life until his bankruptcy sale of 1656.Rembrandt made two etchings of the same theme. The first, the 'Large Plate', was created around the same time as the painting and similarly shows a young artist experimenting overtly with the dramatic effects of chiaroscuro.The present etching, the 'Small Plate', was made a decade later and displays a more intimate and delicate rendering of the subject. Indeed, Christ himself is depicted as a serene healer, rather than the theatrical enchanter of the earlier works. The image is an altogether more personal and introspective interpretation of the subject by a mature artist now in full command of his technique.

Brustporträt eines Ritters, im Rembrandt-Stil, Öl auf Hartfaser, wohl 19. Jh., u.li. bez. Spophrer?, Maße: 50 x 36 cm. Rahmen.

Georg David Struck (1886-1907). Hochbedeutendes Skizzen- bzw. Künstlerbuch, das kurz nach seinem Tod von seinem älteren Bruder Hermann Struck (1876-1944) zusammengestellt wurde. Dieser schenkte es zur Erinnerung seiner Schwester Rebekka „Becky“ und ihrem Verlobten Siegfried Engel. Es beinhaltet insgesamt 127 Aquarelle und Zeichnungen von Familienmitgliedern, botanischen Studien, Architekturveduten, Landschaften sowie Porträts von Künstlern wie z.B. Max Liebermann und Rembrandt van Rijn; meist betitelt, sign./dat., 8,5 x 6,5 bis 32 x 24 cm. (Buchrücken und-einband besch.)

AFTER REMBRANDT VAN RIJN A lithograph after the etching. 4½" x 4"

After Rembrandt, oil on canvas, Girl in the Window,  19th century copy 30ins x 24ins 

AFTER REMBRANDT VAN RIJN (DUTCH 1606-1669), SELF PORTRAIT IN A SLANT FUR CAP etching on paperframed and under glassoverall size 20cm x 14cm Scratches to the glass, damage to the frame, paper underneath is creased, marks and foxing to the paper, images of damage have been added to the website

Art. A collection of late 19th & early 20th century pocket artist biographies. The lot to include nineteen titles from the Gowans Art Books series incl. the Masterpieces of Reynolds, Raphael, Goya, Vermeer & Michelangelo among others; eight titles from the Duckworth Popular Library of Art series including Rembrandt, Rossetti, Whistler & the Pre-Raphaelites, along with a number of similar titles incl. Turner's Liber Studiorum miniature edition, Drawings from the Old Masters British Museum Drawings, Fourth Series in glassine wrap, Whistler by Haldane MacFall in glassine wrap, and others. Some in publisher's orig. paper or paper vellum wraps, others in cloth or paper covered boards, generally in smart condition with some edgewear and occ. loss. Small 8vo.

From the library of Alfred Edward Borthwick. A collection of early 20th century art reference books and artist biographies. The lot to include Anders Zorn from the Modern Masters of Etching series, Famous Watercolour Painters - Frank Brangwyn in orig. (torn) dw, Etchings of D. Y. Cameron in quarter vellum, Masterpieces of Modern Art, Drawings by the Old Masters publ. Savile Gallery 1930, a number of volumes from the Old Watercolour Society Club, Etchings of Charles Meryon and of Rembrandt, Vincent Van Gogh publ. The Phaidon Press 1936 in dust wrapper (loss to rear cover), Sir Henry Raeburn, Modern Etchings and Engravings, and other titles. A good collection with emphasis on watercolours and etching. Approx. 15 titles. Folio.

Rembrandt Harmensz. van Rijn (1606-1669)The Return of the Prodigal SonEtching, 1636, but a later impression of New Hollstein's first state (of three), on laid paper without watermark, a slightly slipped impression with signs of wear in the densely cross hatched areas, thread margin outside lower edge platemark, otherwise trimmed to or just within the platemark, minor spotting, sheet 158 x 138 mm (6 1/4 x 5 3/8 in) (unframed)Provenance:Émile Amédée Théophile Thomassin (c. 1808-1867) [Lugt 184]

Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with SaskiaEtching, 1636, but a later impression of New Hollstein's third state (of four), on laid paper with partial watermark of a jug with indistinct initials, platemark 104 x 95 mm (4 1/8 x 3 3/4), sheet 111 x 98 mm (4 3/8 x 3 3/4 in), some signs of wear in the densely cross hatched areas, sign of tissue support to sheet, platemark crudely re-impressed in the lower left corner, upper edge with restored loss and careful retouching to upper line (unframed)  Literature:Bartsch 19; New Hollstein 158 iii/iv

Rembrandt Harmensz. van Rijn (1606-1669)Man Drawing from a CastEtching, circa 1641, but a later impression of New Hollstein's fourth state (of six), on cream laid paper without watermark, with some signs of wear in the densely cross hatched areas, platemark 92 x 63 mm (3 5/8 x 2 1/2 in), sheet 101 x 70 mm (4 x 2 3/4 in) (unframed)Literature:Bartsch 130; New Hollstein 192 iv/vi

Rembrandt Harmensz. van Rijn (1606-1669)Beggars receiving alms at a doorEtching, 1648, but a later impression of New Hollstein's third state (of five) printing with much plate tone, on 18th century laid paper without watermark, minor spotting and surface dirt, platemark 167 x 128 mm (6 1/2 x 5 in), sheet 190 x 144 mm (7 1/2 x 5 7/8 in) (unframed)Literature:Bartsch 176; New Hollstein 243 iii/v 

Rembrandt Harmensz. van Rijn (1606-1669)Man in a Coat and Fur Cap leaning against a BankEtching, circa 1630, but a later impression of New Hollstein's final state (of three), on ivory laid paper without watermark, platemark 112 x 78 mm (4 3/8 x 3 in), sheet 118 x 82 mm (4 5/8 x 3 1/4 in) (unframed)Literature:Bartsch 151; New Hollstein 48 iii/iii

Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross by TorchlightEtching and drypoint, 1654, but a later impression of New Hollstein's third state (of four), on cream laid paper with possible indistinct watermark, printing with plate tone in places, signs of wear in the densely cross hatched areas, platemark 207 x 158 mm (8 1/4 x 6 1/8 in), sheet 209 x 160 mm (8 1/8 x 6 1/4 in) (unframed)Literature:Bartsch 83; New Hollstein 286 iii/iv 

Rembrandt Harmensz. van Rijn (1606-1669)Jan Asselyn, PainterEtching, engraving and drypoint, circa 1647, but a later impression of New Hollstein's fifth or sixth state (of seven), printing with plate tone on laid paper without watermark, showing signs of wear in the densely cross hatched areas, thread margins to right edge, but otherwise trimmed to or within the platemark, minor spotting and surface dirt, sheet 194 x 171 mm (7 5/8 x 6 3/4 in) (unframed)Literature:Bartsch 277; New Hollstein 236 v-vi/vii 

Rembrandt Harmensz. van Rijn (1606-1669)A Hurdy-Gurdy Player followed by Children at the Door of a House (‘The Schoolmaster’)Etching, 1641, a good impression of New Hollstein's first state (of four), before any rework, on laid paper without watermark, sheet 93 x 63 mm (3 5/8 x 2 1/2 in), trimmed to or just within the platemark, lower edge and right edge trimmed to image, slightly rough edges with signs of restoration to nicks and small tears at extremities, even toning to sheet (unframed)Literature:Bartsch 128; New Hollstein 191 i/iv

Rembrandt Harmensz. van Rijn (1606-1669)The Stoning of Saint StephenEtching with touches of engraving, 1635, but a later impression of New Hollstein's third state (of four), on laid paper without watermark, printing darkly with light wear in the densely cross hatched areas, platemark 96 x 84 (3 3/4 x 3 1/4 in), sheet 100 x 87 mm (4 x 3 1/2 in) (unframed)Literature:Bartsch 97; New Hollstein 140 iii/iv

Rembrandt Harmensz. van Rijn (1606-1669)Jan Cornelis SylviusEtching, 1633, but a later impression of New Hollstein's third state (of three) with the mezzotint rocker rework, showing signs of wear in the densely cross hatched areas, laid onto old paper support, trimmed to or just within the platemark, some plate tone, sheet 164 x 140 mm (6 3/8 x 5 1/2 in) (unframed)Literature:Bartsch 266; New Hollstein 124 iii/iii

Rembrandt Harmensz. van Rijn (1606-1669)Christ healing the Sick: 'The Hundred Guilder Print'Etching with drypoint and engraving, circa 1648, but a later impression on cream laid paper without watermark, before Captain Baillie's rework but with substantial wear in the plate, thread margins, tipped onto paper supper at left corners, sheet 284 x 397 mm (11 1/4 x 15 5/8 in) (unframed)Literature:Bartsch 74; New Hollstein 239 ii/iv

Rembrandt Harmensz. van Rijn (1606-1669)Self Portrait in a Velvet Cap with PlumeEtching, 1638, but a later impression of New Hollstein's third state (of four) before the signature was redrawn, on laid paper with partial watermark, some signs of careful restoration to upper corners, platemark 135 x 105 mm (5 1/4 x 4 1/8 in), sheet 139 x 110 mm (5 1/2 x 4 1/4 in) (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv 

Rembrandt Harmensz. van Rijn (1606-1669)The Star of the Kings: A Night PieceEtching with drypoint, circa 1652, but a later impression of New Hollstein's third or fourth state (of four), on coarse laid paper with much wear in the plate and some blooming, partial thread margins visible in sections to the lower edge, otherwise trimmed to or within the platemark, sheet 94 x 140 mm (3 5/8 x 5 1/2 in) (unframed) Literature:Bartsch 113; New Hollstein 263

Rembrandt Harmensz. van Rijn (1606-1669)Studies of the Head of Saskia and OthersEtching, 1636, but a later probably 18th century impression of New Hollstein's first state (of two), before any rework printing with plate tone on cream laid paper without watermark, thread margin to lower edge but otherwise trimmed to or just within the platemark, sheet 153 x 127 mm (6 x 5 in) (unframed)  Literature:Bartsch 365; New Hollstein 157 i/ii

Rembrandt Harmensz. van Rijn (1606-1669)Saint Jerome in a dark ChamberEtching, burin and drypoint, 1642, but a later impression of New Hollstein's final state (of 3), a good impression but with signs of wear in the densely cross hatched areas, on laid paper without watermark, platemark 152 x 172 mm (6 x 6 3/4 in), sheet 170 x 195 mm (6 3/4 x 7 5/8 in) (unframed)Literature:Bartsch; New Hollstein 212 iii/iii

Rembrandt Harmensz. van Rijn1606 Leiden - 1669 AmsterdamRembrandt mit SaskiaIn der Platte l. o. signiert und 1636 datiert. Radierung auf Bütten (B 19, wohl II). 11,6 x 10,3 cm. An den Blatträndern auf Untersatz montiert. Fleckig, gebräunt. Knickfalte. Rahmen (41 x 33,5 cm).

Rembrandt Harmensz. van Rijn1606 Leiden - 1669 AmsterdamDer Engel verlässt die Familie des TobiasIn Platte signiert und datiert 1641. Rücks. Sammlungsstempel Arenberg (Lugt 567). Radierung auf Bütten (Bartsch 43, New Hollstein 189, wohl V von IX). 10,3 x 15,4 cm. Hinter Passepartout montiert. Beschnitten. Min. gebräunt. Augen tlw. mit Feder nachgezogen.Vgl. Herzog Anton Ulrich Museum Braunschweig, Kupferstichkabinett, Inv.-Nr. Rembrandt AB 3.52 (alte Inv.-Nr. 5408A): Dort gleicher Plattenabzug mit ähnlichen Überarbeitungsspuren wie auf vorliegender Radierung.Provenienz: Nachlass von Dr. Alexander Eugen Herzog von Württemberg (1933-2024).

REMBRANDT HARMENSZOON VAN RIJN (DUTCH 1606-1669) THE THREE TREES (B., HOLL. 212; NEW HOLL. 214; H. 205), 1643 etching with engraving and drypoint, on laid paper, watermark Foolscap with five-pointed Collar (Hinterding A-a-a), New Hollstein's only state, a brilliant, early impression of this highly important subject, printing very richly and darkly, with intense contrasts and bright highlights, the burr and sulphur tinting in the sky very pronounced, with small margins the sheet 21.8cm x 28.3cm (8 ½in x 11in) Christiaan Josi (1768-1828), Amsterdam and London (see Lugt 573, without mark); his posthumous sale, Christie's, London, 18-21 March 1829, lot 83 'Most Brilliant Impression' (£12; to Seguier)William Seguier (1771-1843), London (Lugt 2277), acquired at the above sale, with his pencil signature verso; his posthumous sale, Christie's, London, 29 April - 3 May 1844, lot 431 (£23-12-6; to Hawkins)John Heywood Hawkins (1803-1877), London and Bignor Park, Sussex, his purchase price inscribed in Greek letters (see Lugt 3023); acquired at the above saleProbably with Colnaghi & Co., London; acquired from the aboveWalter Francis Duke of Buccleuch (1806-1884), London and Dalkeith, Scotland (Lugt 402); probably acquired from the above, with his collection ink mark verso; his posthumous sale, Christie's, London, 19-22 April 1887, lot 1954 ('from the Seguier and Hawkins Collections') (£165; to Meder)With Louis Gerhard Meder (1848-1924) (of Amsler & Ruthardt), Berlin; presumably acquired on behalf of the belowSammlung der Königlichen Museen, Berlin, dated 1887 (Lugt 1610); presumably acquired from the above; with their de-accession stamp verso (Lugt 2482); their sale, Amsler & Ruthardt, Berlin, 6 March 1899 (and following days), lot 1600 ('Die Gewitterlandschaft mit den drei Bäumen. S. 212. Des Meisters Hauptblatt unter den Landschaften; das prachtvolle Exemplar der Sammlung Buccleuch, auf Schellenkappenpapier und mit 3 mm Rand ringsum. Exemplare von der Schönheit und vortrefflichen Erhaltung des vorliegenden sind von höchster Seltenheit und Kostbarkeit.')Dr Julius Elischer von Thurzóbánya (1846-1909), Budapest (Lugt 824, stamped twice); probably acquired at the above saleWith Kennedy Galleries, New York, with their stock number a48042 in pencil versoRobert Woods Bliss (1875-1962) and Mildred Barnes Bliss (1879–1969), Dumbarton Oaks, Washington, D.C. (Lugt 2004a); presumably acquired from the aboveDumbarton Oaks Research Library and Collection, Washington D.C; presumably part of the donation from the aboveWith R. M. Light & Co., Santa Barbara, CaliforniaPrivate Collection, acquired from the above on 31 January 1980; then by descentChristie's London, Old Master Prints, 9 December 2021, lot 126Acquired from the above by Hugo Burge Literature: Bartsch, Hollstein 212; New Hollstein 214; Hind 205Cynthia P. Schneider, Rembrandt’s Landscapes – Drawings and Prints, National Gallery of Art, Washington, D.C. (exh. cat.), 1990, no. 75, pp. 240-42 (another impression illustrated)Erik Hinterding, Rembrandt Etchings from the Frits Lugt Collection, Fondation Custodia, Paris, 2008, no. 167, pp. 390-93 (another impression illustrated)Nicholas Stogdon, A Descriptive Catalogue of the Etchings by Rembrandt in a Private Collection, Switzerland, privately printed, 2011, no. 93, pp. 158-9 (another impression illustrated)The Three Trees is Rembrandt’s largest and most elaborate landscape etching and is considered a masterpiece within his oeuvre.  

Collection of 1970's/80's evening dresses to include a green polyester dress labelled 'Brijos Madrid', size 40, empire waist with black sequin detail and short angel sleeves, a full-length evening dress labelled 'California', faux-pearl sequin and silver thread embroidery to the collar, a gold and cream jacquard sleeveless evening dress with bow detail to the V neck, a black full-length dress with black sequin bodice and full sleeves, a pink maxi dress labelled 'Blanes' size 12, the sleeves with encrusted decoration of glass flowers, faux-pearls, etc, a sleeveless chiffon evening dress printed in autumn colours with black rickrack detail to the empire waist, V neck, labelled 'Cresta', a blue taffeta short cocktail dress labelled 'Rembrandt' size 16, a dusty orange full-length panelled evening dress off the shoulder with chiffon detail, three-quarter length sleeves, a black and red striped cotton sleeveless dress (missing belt) labelled 'Vera Mont', a blue probably 1950's dress labelled 'R.M.H.O', white Peter Pan collar, full skirt with godets, three-quarter length sleeves and a pale apricot duster coat trimmed with faux-fur to the sleeves (11) 

A possibly 18th century engraving titled 'Ex Museo An: Cousins' after the original portrait painting of Herman Doomer (Rembrandt's frame maker) by Rembrandt van Rijn, printed by Nicolas-Gabriel Dupuis (1698-1771). Unframed. H.42 W.27.5cm

European School, 19th centuryPortrait of Rembrandt (1606-1669)Oil on canvas66×54 cm

van Rijn, Rembrandt (1606 - 1669), "Die drei Bäume", Kupferstich/Radierung (20. Jh.), Gr.ca. 20 x 27, PP, hinter Glas gerahmt (ca. 40,5 x 50,5 cm). "Die drei Bäume" (1643) ist Rembrandt's größter Landschaftsdruck. Drucke des Werks befinden sich im Rijksmuseum, im Musée des beaux-arts du Canada und in der Bibliothèque nationale de France. Zustand: Verweis auf Vorbesichtigung. Verpackung und Versand nicht durch das Auktionshaus möglich.

A collection of forty John Pinches 'Rembrandt' fully hallmarked sterling silver collectors coins / medallions, set within fitted five drawer fitted display box and complete with accompanying COA's.

Albert Dean - Thomas Forester & Sons - A pair of Rembrandt Ware' Art Pottery vases, circa 1910, of shouldered tapered form, relief moulded and faux tube lined with turbaned gentlemen in flowing robes, in tonal blue and brown glaze and gilded halo, the reverse decorated with red flower heads on whiplash stems, moulded RWB marks, unmarked to base, height 30.5cm. (2)

J Hale - Thomas Forester & Sons Ltd - A pair of Art Pottery Countess vases, possibly Rembrandt Ware, of tapered sleeve form, each decorated with seated figures in interior scenes, dark brown glaze with gilt highlights, printed marks to base, height 37cm. (2)

J Hale - Thomas Forrester & Sons Ltd - A Rembrandt vase, circa 1920, of twin handled ovoid form with short collar and stepped rim, relief moulded and slip decorated with a seated figure at candlelit table, over blue/grey ground with gilt halo, moulded signature, printed marks to base, height 19cm.

Thomas Dean - Thomas Foresters & Sons Ltd - An Art Pottery 'Rembrandt Ware' vase, of ovoid form with drawn collar, faux tubelined with side portrait of a lady with floral headress within gilded halo, over moonlit blue ground with stylized trees and pixie, unsigned and unmarked, height 31cm.

* Baskin (Leonard, 1922-2000). Rembrandt, 1962, black ink and wash on heavy wove paper, signed and dated in pencil, additionally inscribed 'for Pat / with love / Leonard' lower right, affixed to backing board with pins to each corner, the full sheet, sheet size 77.5 x 56.5 cm (30 1/2 x 22 3/8 ins), in a contemporary white painted wooden frame with backing board covered in blue fabric (88 x 65.5 cm)QTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

* Baskin (Leonard, 1922-2000). Rembrandt, circa 1960, etching with aquatint on Arches heavy wove, an artist's proof, signed and inscribed 'her favorite for Patricia', some scattered light spots, plate size 450 x 370 mm (17 3/4 x 14 1/2 ins), sheet size 750 x 555 mm (29 1/2 x 22 ins), wood frame, glazedQTY: (1)NOTE:Provenance: Given by the artist to Patricia Milne-Henderson (1935-2018); thence by descent.

Follower of Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- An old man with a beard and dark cap; oil on panel, bears old, indistinctly inscribed label verso, bears later inscription reading 'REMBRANDT / SCHOOL' verso, 24.7 x 19.8 cm. Provenance:  Private Collection, UK. Note:  The present work is evidently heavily influenced by Rembrandt's dark and atmospheric portraits, often depicting enigmatic elderly sitters, such as his portrait of an 'Old man with a beard and a beret' in the collection of the Gemäldegalerie in Berlin [828A], and his 'Portrait of an Old Jew' in the collection of the Hermitage Museum, Saint Petersburg [GE-737]. 

After Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Saskia with pearls in her hair; etching on laid paper, bears faint signature and date 'Rembrandt f / 1634' (within the plate, upper edge), bears indistinct collector's mark verso, trimmed within the plate mark, 8.5 x 6.5 cm. (unframed). Provenance:  Private Collection. 

After Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- The Anatomy Lesson of Dr Nicolaes Tulp; oil on canvas, inscribed 'Rembrandt' (lower left), 40. 50.1 cm. Provenance:  Private Collection, UK. Note:  The present work is a copy after Rembrandt's original painting, which is housed in the Mauritshuis in The Hague [no.146]. This work was one the artist's earliest group portraits, completed in 1632 when he was 25, and is particularly celebrated for its dynamic composition, and each sitter's strong sense of presence and individuality. Dr Nicolaes Tulp (1593-1974), who leads the anatomy lesson, was a prominent surgeon who also became Mayor of Amsterdam in 1654. 

Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- Joseph's Coat Brought to Jacob; etching on laid paper, with indistinct watermark, second state of two, signed 'Rembrandt / van Rijn fe' (within the plate, lower right), 10.8 x 8.3 cm. (unframed). Literature:  Bartsch, Hollstein 38; Hind 104; New Hollstein 122. Provenance:  Private Collection, UK. 

Rembrandt Harmensz. van Rijn,  Dutch 1606-1669- The artist's mother with her hand on her chest; etching on wove paper, probably the fourth state of six, faint traces of signature and date 'RL 1631' (within the plate, lower centre), bears inscription 'La mére de l'artiste' and numbered '5/27' verso, 9 x 6.8 cm. Provenance:  Private Collection, UK. Note:  Rembrandt regularly used his mother, Neeltgen Willemsdr. van Zuytbroeck (c.1568–1640), as a model for his prints and paintings, with the present composition recalling that of a painting entitled 'An old Woman called 'The Artist's Mother'', now in the Royal Collection, displayed at the Cumberland Art Gallery in Hampton Court [RCIN 405000]. The dramatic chiaroscuro of the present work, contrasting the sitter's bright, well-lit skin with her thick, dark hood, is a typical feature of Rembrandt's etchings. 

HARMENSZ. VAN RIJN REMBRANDT (WAHRSCHEINLICH WERKSTATT)1606 Leiden - 1669 AmsterdamDER STANDARTENTRÄGER ODER DER BÜRGERFÄHNRICH Öl auf Leinwand (altdoubl.). 105,5 x 87 cm. Part. min. altrest., part. min. Altretuschen. Das Thema des Standartenträgers ist in vielfältigen Variationen und Wiederholungen bekannt. Das Rijksmuseum in Amsterdam bewahrt heute das 1636 entstandene, authentische Gemälde des gleichen Themas aus der Sammlung Rotschild auf. Eine Atelierarbeit des Standartenträgers befindet sich im British Museum in London. Die hier angebotene, möglicherweise im Atelier entandene Fassung erwähnt Friedländer bereits 1938. Sie ist aus einer schwedischen Privatsammlung überliefert. Provenienz: Rheinische Privatsammlung. Schwedische Privatsammlung.

REMBRANDT HARMENSZ. VAN RIJN (SCHULE/UMKREIS)1606 Leiden - 1669 AmsterdamDIE ANATOMIE DES DR. TULP Öl auf Eichenholtafel. 23,5 x 30 cm (R. 41 x 47 cm). Part. min. altrest., part. min. Altretuschen. Rahmen. Provenienz: Privatsammlung Nordrhein-Westfahlen.

REMBRANDT HARMENSZ. VAN RIJN (NACHFOLGER DES 19. JH.)1606 Leiden - 1669 AmsterdamSASKIA VAN UYLENBURGH Öl auf massive Eichenholztafel. 70 x 54 cm (R. 83 x 66,5 cm). Links unten undeutlich signiert und datiert. Verso: Zwei eingelegte Rückseitensponki. Min. altrest., min. Altretuschen (unbedeutend). Rahmen. Provenienz: Rheinische Privatsammlung.

Rembrandt Harmensz van Rijn (Dutch, 1606-1669) Joseph and Potiphar's Wifeetchingsigned and dated 1634 in the plate9 x 11cm In the Old Testament story Joseph was bought by Potiphar, the Egyptian captain of Pharaoh's guard, who appointed him as overseer of his household. Potiphar's wife took a liking to him, and made several attempts to seduce him, though the virtuous Joseph always refused her advances. On one such occasion, he fled the house leaving behind his cloak, so the rejected lady thought to retaliate by accusing him of attempted violation, using the garment as evidence. Upon hearing this, Potiphar sent Joseph to prison. Evenly discoloured ground paper showing some undulation with a hint of foxing around the margin, visible sheet 11.5 x 15.2cm, old gilt card mount and glazed gilt frame, no labels versoPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Cigarette cards, Ardath Rembrandt Series (Dutch Version Splendo Cigarettes) (set 40 cards) (gen gd/vg)