Rembrandt van Rijn, Harmenszoon: (1606 Leiden - Amsterdam 1669). Der Tod der Jungfrau Maria. Orig.-Radierung. In der Platte signiert und datiert. 1639. Auf festem Bütten. 39,4 x 31,4 cm. Papierformat 40 x 31,7 cm. Der Marientod zählt neben dem Hundertguldenblatt zu den großartigsten unter Rembrandts graphischen Arbeiten. Kräftiger Druck von der stark überarbeiteten Druckplatte, mit feinem Rändchen um die Plattenkante. Überarbeitung vom Basan Workshop. - Rembrandt verwendete in dem vorliegenden Blatt zum ersten Mal die Kaltnadel, durch die meisterhafte Lichtführung und die Fülle des Lichtes erhält der Tod seine Verklärung. New Hollstein 173 V (von V). - Bartsch 99. White/Boon 99 III (von III). - Stockfleck im Bild. Besides the "Hundred guilder print", the 'Death of the Virgin' is one of the greatest of Rembrandt's graphic works. Orig. etching. Signed and dated on the plate. 1639. On heavy laid paper. 39.4 : 31.4 cm. Paper size 40 : 31.7 cm. Strong print from the heavily reworked printing plate, with fine margins around the plate edge. From Basan Workshop. - Faintly visible horizontal center fold, with a brown spot in the image.
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Rembrandt, Harmensz van Rijn: (1606 Leiden - 1668 Amsterdam). Rembrandt mit Saskia. Radierung auf Bütten 1636. In d. Platte sign. u. dat. 10,3 x 9,3 cm., Blgr. 16,4 x 14,8 cm. Auf Kart. mont. BB. 36-A. B. 19. White/Boon 19 III. Nowell-Usticke 19 IV (von VI). Hinterding/Rutgers (New Hollstein 158 IV. - Guter Abdruck des Zustands mit den endgültigen Überarbeitungen.
Rembrandt van Rijn, Harmenszoon: (1606 Leiden - Amsterdam 1669). Bärtiger Mann, stehend an einen Erdhügel gelehnt. Um 1630. Radierung auf Bütten. In der oberen rechten Ecke gestochen monogrammiert: RHL 11,7 x 8,4 cm. Gerahmt. Bartsch 151; Hinterding/Rutgers (New Hollstein) 48 I (von III). - Sehr schöner, kräftiger, gleichmässiger und klarer Druck mit kleinem Rand um die deutlich sichtbare Plattenkante. Stellenweise dezent stockfleckig, das Papier etwas angestaubt und mit leichten Alters- und Gebrauchsspuren. Die Rückseite mit unbedeutenden Motierungsresten. Insgesamt in guter Erhaltung. - Provenienz: - unbekannte Sammlung 'F', nicht bei Lugt. - Sammlung Paul Davidson (1839- vor 1924), Berlin, Lugt 654.
Rembrandt van Rijn, Harmenszoon: (1606 Leiden - 1668 Amsterdam). Die Große Kreuzabnahme (2. Platte). Radierung. In der Platte sign. und dat. 1633. 52 x 40,5 cm. Plattengröße: 52,9 x 40,8 cm; Blattgr.: 63,5 x 46,5 cm. - Seidlitz 81, VI (von VI). Nowell-Usticke 81 II, IV (von V). The New Hollstein 119, VII (von VIII). - Später Abzug mit der Verlegeradresse von Lamoureux in Paris und Resten der vorherigen Verlegeradresse, aber vor den letzten Überarbeitungen. - Unten professionell restaurierter Einriss bis ca. 11 cm in die Darstellung, verso leichte Montagespuren, minimal fleckig und gebräunt, die weißen Ränder etw. stärker. - Gleichmäßiger Druck mit breitem Rand. - Later proof with the publisher's address of Lamoureux in Paris and remnants of the previous publisher's address, but before final revisions. - Professionally restored tear at the bottom tear to approx. 11 cm in the image at the bottom, slight traces of traces of mounting, minimally stained and browned, the white margins somewhat stronger. - Even impression with wide margins.
Basan,(P.F.).: Recueil d'estampes gravees d'apres les tableaux du Cabinet de Monseigneur le Duc de Choiseul. Paris, für den Autor 1771 (=1774). 4°. Mit gest. Titel, gest. Portrait, gest. Widmung, 12 Bl. gest. Text sowie 126 (statt 130) gest. Abb. auf 121 (statt 125) Taf. Läd. Pbd. Cohen/R. 115. Graesse I, 306. Fürstenberg 104, 114, 143, 151. - Enthält hauptsächlich Wiedergaben von Werken niederländischer, französischer und italienischer Künstler wie Bruegel, Breenbergh, Ostade, Velde, Mieris, Rembrandt, Teniers, Berchem, Claude Lorrain, Robert, Ruisdael, Tizian oder Greuze. - Die Kupfer sind 1-123 nummeriert, dazu kommen die Tafeln 68*, 69*, 76*, 78* u. 101*; die Abbildungen 3/4, 44/45 und 93/94 jeweils auf einer Tafel. - Abbildung 89 verbunden. Die Abbildungen 6, 99, 110 und 111 fehlen. Unbeschn., tls. etw. Randläsuren, stellenweise etw. fleckig u. gebräunt.
ATTRIBUTED TO GEORGE HENRY HARLOW (BRITISH 1787-1819) A YOUNG WOMAN RESTING BY A WALL Oil on panel 21.5 x 17cm (8¼ x 6½ in.) Provenance: Prof. Julius Held (1905-2002), New York Sale, Christie's, New York, 27 January 2009, lot 58 Private Collection, UK George Harlow studied first under Hendrik Frans de Cort, then with Samuel Drummond, before joining Thomas Lawrence's studio apparently on the advice of the Duchess of Devonshire, who had noticed his talent. In 1818, Harlow travelled to Italy where he was widely admired for his technical ability. He was befriended by the sculptor Antonio Canova and earned considerable acclaim in Rome by painting a full-size copy of Raphael's Transfiguration, a feat that resulted in his election as an Academician of Merit in the Accademia di San Luca in Rome, a rare accolade for an English artist. The picture formed part of the large and fascinating collection assembled by Professor Julius Held. Born in Germany, Held emigrated to the United States in 1934 and became a towering figure in art historical circles, widely recognised for his scholarship and expertise on Rubens, Rembrandt, and Van Dyck. An author of many articles and books, including the 1980 two-volume publication The Oil Sketches of Sir Peter Paul Rubens. Measurements do not include the frame unless specified. Please note Dreweatts are not liable for damage to frames or mounts. Condition Report: PLEASE NOTE: ALL LOTS IN THIS AUCTION ARE NOT AVAILABLE TO VIEW Please note high resolution images are available upon request please contact the department directly on pictures@dreweatts.com PLEASE NOTE: ALL LOTS WILL BE AVAILABLE TO COLLECT FROM SACKVILLE WEST STORAGE IN ANDOVER SP10 3SA, TWO DAYS AFTER THE AUCTIONCondition Report Disclaimer
Grieshaber, HAPRot an der Rot, 1909 - Reutlingen, 1981Schuberformat: 39 x 32,5 x 2 cm"Polnischer Kreuzweg", 1967. Buch mit 14 Farbholzschnitten auf Werkdruckpapier, in Orig.-Schuber. Im Impressum nummeriert 517/3000. Herausgeber: Rembrandt Verlag, Berlin.Fürst, 67/49b - 67/32b.Privatsammlung, Baden-Württemberg.
Rembrandt van Rijn (1606 Leiden-1669 Amsterdam) "Studienblatt mit sechs Köpfen", Radierung, in der Platte sign. und dat. 1636, Blatt etwas stockfleckig und wellig, Faltkante am oberen Rand, 15,5x12 cm, ungerahmt (Rembrandt war ein niederländischer Maler, Zeichner und Radierer des Barocks, der zu den bedeutendsten Künstlern dieser Epoche zählt. Quelle Internet)
Rembrandt van Rijn (1606 Leiden-1669 Amsterdam) "Studienblatt mit drei Köpfen", Radierung, in der Platte sign. und dat. 1637, 14x9,5 cm, ungerahmt (Rembrandt war ein niederländischer Maler, Zeichner und Radierer des Barocks, der zu den bedeutendsten Künstlern dieser Epoche zählt. Quelle Internet)
Benesch (Otto). The Drawings of Rembrandt, 6 volumes, de luxe edition, London: Phaidon, 1973, numerous monochrome illustrations, limitation bookplate to the front pastedown of volume 1, all edges gilt, publishers uniform red full morocco, some very minor fading to the spines, folio, limited edition, 42/100QTY: (6)
Struck at the now defunct New Orleans Mint. Rembrandt Toning. The obverse side features Liberty in profile. She is shown in cap, flora, and crown. The reverse side depicts an eagle with outstretched wings gripping arrows and an olive branch. The coin is in a plastic pouch. The pouch is approximately: 2"L x 2"W. Struck in 90% silver. Artist: George T. MorganIssued: 1885Dimensions: See DescriptionCondition: Uncirculated
Konvolut von 61 verschiedenen Bild-Bändchen der Insel-Bücherei 25/2 Busch, 54/2 Edelsteine, 66/2 Struwwelpeter, 95/3B Holbein, 100/3 Vögel und Nester, 108/2B Rembrandt, 108/2C Rembrandt, 131/2 Alpenblumen, 133/2B Ständebuch, 140/2 Bamberger, 179/3 Goldene Pforte, 213/2 Schmetterlinge, 221/1B Holbein, 226/2 Nachfalter, 236/2 Soldaten, 255/2 Goldfischteich, 269/2 Kräuterbuch, 281/2 Blumenbuch, 294/2 Klee, 330/2A Vischer, 335 Drer, 347/2 Sachsenspiegel, 422/2A Kolbe, 426 Wiesenbuch, 433 Masereel, 452 Hausbuch, 477 Handwerk, 503/1A Pilzbuch, 515 Greife, 520 Fujijama, 530/1A Hans im Glück, 545/1B Riemenschneider, 561 Apuleius, 567/2 Marc, 577 Matisse, 606 Holzschnitte, 613 Kinder der Kaiserin, 616 Michelangelo, 643 Daumier, 664 Graff, 690 Busch, 727 Lohans, 745 Ikebana, 765/1B Ebert, 870 Buddha, 872 Etden, 875 Ikonen, 905 Magdeburger, 910/1A Bronzetür, 960 Dürer, 980 Vasen, 1015/1Kloster, 1027/1 Meroitische, 1030/1 Richter, 1032/1 Rmische, 1038/1 Netsuke, 1040/1 Goldgewichte, 1045 Kameen, 1085 Olbricht, 1086 Masereel, ges. 61 Stk.
Two kaftan style nylon jersey maxi dresses by Yuki for Rembrandt, one in a vibrant cerise shade with long sleeves and round neck, the gathers from the neck giving the effect of a watteau back , the other in brown with a waisted front , split dolman sleeves and a v neck. will fit S-M (2) CONDITION: Both pieces structurally sound, the brown dress has some marks on the back at the bottom and the white neckline has discoloured
Folio Society, range of Non-Fiction cased Folio Society books to include; The Folio Society Book of The 100 Greatest Paintings, The Folio Society Book of the 100 Greatest Photographs, Michelangelo by Howard Hibberd, Leonardo Da Vinci by Kenneth Clark, Picasso (1961), Renoir (1965), Rembrandt (1963), Toulouse-Lautrec (1958), Egypt Revealed, First Folio, From Atlanta to the Sea, The Hundred Years War, The Siege of Malta, The Voyage of the Frigate Pallada, The Third Crusade, Scotts Last Expedition, The Relief of Lucknow and Shakespeare’s Life and World, The London Journal, Journal of my Service in India, My life on the Plains, The New Newgate Calendar, Journal of the Plague Year, A Memoir of the Forty-Five, Lives of the Most Notorious Pirates, Life of Nelson, The Spy’s Bedside Book, A Short History of Time, Kenneth Clark Civilisation, Life by Richard Fortey, Colour by Victoria Finlay, The Wars of the Roses, The Folio book of Days, The Earth an Intimate History, A Tour through the Whole Island of Great Britain, The Making of the English Landscape, A Voyage Around the Coast of Great Britain. Total books 38. (38)
Pierre DEVREUX (Né en 1955) Ronde de nuit, circa1992 Acrylique sur papier, signée 135 x 135 cm (Encadré). Peintre liégeois, Devreux rend ici un hommage à la 'Ronde de nuit' de Rembrandt. Il fustige le papier, flagelle ses étoiles, télescope entre elles les esquisses avec fureur et tendresse.
Sergei Rachmaninoff (1873-1943), a portrait photograph, signed and inscribed, the sepia image head and shoulders by Kubey-Rembrandt Studios of Philadelphia, affixed to a card signed and inscribed by the composer "To Mr Robin Stark" and dated 1935. Photograph (trimmed) 25cm by 20cm, card 39cm by 27cm. Note: Robin Stark and his wife, Christine Orr, were prominent figured in the Edinburgh Arts world in the 1930s and 1940s.
HEINZ TRÖKES1913 Hamborn - 1997 BerlinMAPPENWERK 'FATA MORGANA' (1972) 12 Farbserigrafien auf festem Papier mit Trockenstempel 'Rembrandt Verlag', mit Kassette. 30 x 21 cm. (Passepartout 44 x 35 cm). Jew. unten rechts mit Bleistift signiert und unten links num. '118/120'. Teilw. part. minimalst stockfleckig (zu vernachlässigen), ansonsten sehr guter Zustand. Ungerahmt, im Passepartout.
Rembrandt van Rijn, The blindness of Tobit, the larger plate, 1651. / Description: The blindness of Tobit, the larger plate. Etching made by Rembrandt van Rijn (1606-1669), 1651. References: New Hollstein Dutch 265 I(II), first state of two, Bartsch 42 1(2), Hollstein Dutch 42 1(2). With a part of a watermark. Very good strong impression on good thin laid paper with narrow margins, etching is complete. In excellent condition. With a collectors mark on the back: not in lugt.. / Dimensions: 16,3 cm x 12,8 cm / Condition: Very good strong impression on good thin laid paper with narrow margins, etching is complete. In excellent condition. With a part of a watermark. With a collectors mark on the back: not in lugt.. / Literature: New Hollstein Dutch 265 I(II), first state of two, Bartsch 42 1(2) , Hollstein Dutch 42 1(2) / Medium: etching /Circa: 1651
Ferdinand Bol (1616-1680) - The Astrologer / Description: The astrologer; half-length figure, seated at a desk with a globe and a large pile of books. Signed in the plate to left of the chair's backrest: 'Bol'. Etching and drypoint by Ferdinand Bol who was a coöperator with Rembrandt in his studio in the 1640's. This etching is clearly strongly influenced by the style of Rembrandt what is typical for the Ferdinand Bol works in his 1640-1660 period. Afterwards he moved furhter away from the style of Rembrandt. A fine and excellent impression of the second state on watermarked laid paper (partial crown visible) / Dimensions: 12,70 x 9,50 cm / Condition: Outstanding luminous impression of the second state on a fine laid paper. In excellent condition. / Literature: Hollstein / Dutch and Flemish etchings, engravings and woodcuts c.1450-1700 (8.II) --- Bartsch-Claussin 1797-1828 / Catalogue raisonné de toutes les estampes de Rembrandt (plus Supplement) (II.46.8) --- Rovinski 1894 / L'oeuvre gravé des élèves de Rembrandt (19.8) / Medium: Etching with drypoint /Circa: 1640-1660
Rembrandt van Rijn - Two etchings: Peasant "It's very could", other peasant replying "It's not", 1634. / Description: Rembrandt van Rijn (1606-1669), Two etchings,1634: A peasant calling out: "tis vinnich kout", another peasant replying "Dat's niet" (It's very cold, That's nothing), Very good impressions of this very rare pair of etchings. References: New Hollstein 177 I(I) first and only state, Bartsch 177-1(1); New Hollstein 178 I(I) first and only state, Bartsch 178-1(1). Both in excellent condition. Both printed on good laid paper, with 3 - 7 mm margins. "T'is vinnich kout" has a part of a watermark. Very good dark impressions with lot of details, the hand of Rembrandt. / Dimensions: 11,5 cm x 3,9 cm; 11,8 cm x 4,4 cm / Condition: A very rare pair of etchings In excellent condition. Printed on laid paper, with 3 - 7 mm margins. Both printed on good thin laid paper. "T'is vinnich kout" has a part of a watermark. Very good dark impressions with lot of details, the hand of Rembrandt. / Literature: New Hollstein 177 I(I) first and only state, Bartsch 177-1(1); New Hollstein 178 I(I) first and only state, Bartsch 178-1(1) / Medium: 2 etchings /Circa: 1634
Rembrandt Van Rijn - Faust - 1652 / Description: A Scholar in His Study ('Faust'); Man wearing robes and a cap standing behind his desk looking at the apparition of an inscribed and radiant disk and a vague figure with a pointing hand in the window, a globe in the right foreground, papers, a skull and curtain in the background. This very good impression of the sixth state exhibits minimal wear in the densely hatched background areas, highlighting the exceptional quality of the print. Impression before the copper plate came in the possession of Basan who published a reworked seventh state. Our print,In this impression and printing condition is truly enjoyable. / Dimensions: 13,30 x 10,40 cm / Condition: With full plate border and half centimeter margins on a little sheet of laid paper with no visible watermark. In excellent condition. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (270.VI /VII) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (260.II/III) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (270.II/III) ------- This is one of Rembrandt’s most puzzling prints. its exact subject is a mystery. It shows an elderly scholar in his study, transfixed by the apparition of a blazing disc of light enclosing a series of letters. The scene may represent an alchemist, but does not correspond with traditional representations of the subject. The shining disc also remains unexplained, although the letters ‘INRI’ match the inscription placed over Christ’s head during the crucifixion. The scene possibly shows an allegory of faith; the letters surrounding the disc are intended to be indecipherable, reminding the learned scholar that human knowledge is limited and ambiguous, in contrast with the clarity of divine wisdom. (Source text: National Galleries of Scotland) / Medium: Etching and drypoint /Circa: 1652
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