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A DUTCH 'REMBRANDT' PEWTER FLAGONC.1700the bulbous body with incised line decoration beneath a domed cover with a central rondel with a touchmark, upright chair thumbpiece and strap handle22.8cm high

Attributed to Armand Durand (French, 1831-1905) after Rembrandt The Three Treesheliogravure20 x 26.5cm

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 

Continental school (18th/19th century), after Rembrandt Self portrait in a red cap, oil on panel, 36 x 30cm From a collection of pictures from a private Oxfordshire Estate (Lots 201-292)

John W. Mills (1933-2023),Head, Rembrandt,Composite clay on painted wooden base,35.5cm high overall

John W. Mills (1933-2023),Mask,Rembrandt,Patinated bronze on marble base,Signed and dated '75' for 1975,37cm high overall

John W Mills (1933-2023), Head, Rembrandt, Polychrome painted resin on wooden base, 38cm high overall

John W Mills (1933-2023),Head, Rembrandt,Painted plaster on stepped wooden base,49cm high overall

John W. Mills (1933-2023), Cloaked Rembrandt, Patinated resin, freestanding, 85cm high overall (at fault)

John W Mills (1933-2023), Standing figure, Rembrandt, Polychrome painted and patinated resin on rectangular base, 100cm high overall

Etching after Rembrandt and a satirical print

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)

Rembrandt, the complete etchings by K G Boon hardback book. Est. £

After Rembrandt, The Jewish Bride, oil on canvas, 79 x 102 cm

After Rembrandt Bugatti (Italian 1884-1916), a bronze figure of naked woman having morning stretch set on wooden plinth, 810mm tall, 11.8kg

In the manner of Rembrandt - a copy portrait of Baertje Martens, oil on board, bears label to verso '!!C Bagley April 1939', 37 by 44cms, unframed.

A collection of unframed antique prints including Rembrandt, Durer and two prints of Turkish Sultans Selim II and III.

After Rembrandt, three etchings - Jan Lutma, The Rat Catcher and A Cottage, all framed & glazed, the largest 14.5 by 19.5cms (3).

Francis Wells (19th Century, English) 'Loch Awe'. Watercolour on paper. Framed behind glass. Rembrandt Guild blind stamp. Size incl. frame, Height: 29cm Width: 37.5cm

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

Rembrandt Van Rijn - The adoration of the shepherds - 1652 / Description: The adoration of the shepherds: a night piece; the holy family sits on the right in the light of a lantern, with the Virgin lying under a sheet which she holds up from her face to look at Christ who is sleeping between her and Joseph, on the right, who holds a book and looks up towards the shepherds leaning in from the left, the one closest to the center holding a lantern, the silhouettes of cattle in the left foreground. Etching made by Rembrandt in 1652.Original Rembrandt etching on watermarked laid paper, a very good impression of New Hollstein’s ninth state (on eleven) before the later rework. / Dimensions: 15,00 cm x 19,80 / Condition: This well inked impression does justice to the nature of this fine night piece. A very good impression in perfect condition on a sheet of watermarked laid paper with good margins. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (300.IX/XI) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (255) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (46) ----- Hinterding et al. 2000 / Rembrandt the Printmaker (67)--------- In this etching Rembrandt injects a new immediacy to the subject by the humanity and naturalism of his depiction. The heavily bundled baby and the exhausted Virgin sheltering beneath a blanket provide a sense of the harsh realities of giving birth in a stable in the early hours of a freezing night. / Medium: Etching /Circa: 1652

Rembrandt van Rijn - The Crucifixion - 1635 / Description: The Crucifixion with mourning figures at base of cross, the Virgin collapsing at right; small plate. c. 1635 Etching and drypoint. Original etching by Rembrandt with the additional lines by the Basan workshop as added in this second state. / Dimensions: 7,20 x 12,90 cm / Condition: A good impression with full plate border and margins on strong lines and good plate tone on medium weight laid paper. In very good condition. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (143.II) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (123) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (80) / Medium: Etching with drypoint /Circa: 1630

Rembrandt van Rijn, Rembrandt's mother, 1631. / Description: Rembrandt's Mother. Etching made by Rembrandt Van Rijn (1606-1669), 1631. References: New Hollstein Dutch 91 2(3), second state of three, Bartsch 343 2(3), Hollstein Dutch 343 2(3). Very good dark impression on thin laid paper just on/in the margins. With a very good watermark: Würtenburg, In very good condition. Collectors mark on the back: not in lugt.. Rare etching. / Dimensions: 14,3 cm x 12,9 cm / Condition: Very good dark impression on thin laid paper just on/in the margins. With a very good watermark: Würtenburg, In very good condition. Collectors mark on the back: not in lugt.. Rare etching. / Literature: New Hollstein Dutch 91 2(3), second state of three, Bartsch 343 2(3), Hollstein Dutch 343 2(3). / Medium: etching /Circa: 1631

Rembrandt Van Rijn - Studies of the Head of Saskia and Others - 1633 / Description: Studies of the Head of Saskia and Others (B., Holl. 365; New Holl. 157; H. 145) Etching, 1636, good impression of New Hollstein's first state (of two) with the scratches between the turban of the woman at upper left and Saskia's hair still slightly visible. The impression is printed with plate tone and features added shadows applied by hand in gray ink, particularly evident on Saskia's eyes and breast, as well as the face of the woman in the upper left corner. Hollstein references other examples of this print in the first state that have been retouched with pen and gray ink (e.g., Brussels S I 30370 and Stuttgart A11086, retouched with pen and brown-gray ink), indicating that such practices were not totally uncommon for this early state." / Dimensions: 15,50 x 12,50 cm / Condition: Good impression with full plate border and small margins on laid paper with no visible watermark. / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (157.I/II) --- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (1458.I) --- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue 365) / Medium: Etching /Circa: 1636

Rembrandt Van Rijn - Joseph and Potiphar's wife - 1634 / Description: Joseph and Potiphar's wife; semi-nude female figure on bed, grasping at cloak of man who pulls away; third state on four, with shading lines added. Signed bottom left and dated. Etching made by Rembrandt in 1634. Original Rembrandt etching on watermarked laid paper. / Dimensions: 9,20 cm x 11,60 / Condition: Very fine impression with full plate border and good margins on fine watermarked laid paper. Condition is very good with some paper thinning from the backside bottom middle / Literature: New Hollstein (Dutch & Flemish) / The New Hollstein: Dutch and Flemish etchings, engravings and woodcuts 1450-1700 (128.III/IV) ----- Hind 1923 / A Catalogue of Rembrandt's Etchings; chronologically arranged and completely illustrated (118.II) ----- White & Boon 1969 / Rembrandt's Etchings: An Illustrated Critical Catalogue (39.II) / Medium: Etching /Circa: 1634

Rembrandt van Rijn, Beggar and beggar woman in conversation. / Description: Beggar and beggar woman in conversation. Etching, Rembrandt van Rijn (1606-1669), 1630. References: New Hollstein Dutch 45-2(3), Bartsch 164, Hollstein Dutch 290. Etching in excellent condition. Good impression on laid paper, with 3- 4 mm margins with lot of details. Collectors mark on the back, not known by lug. / Dimensions: 7,7 cm x 6,6 cm / Condition: Etching in excellent condition. Good impression on laid paper, with 3-4 mm margins with lot of details. / Literature: New Hollstein Dutch 45-2(3), Bartsch 164, Hollstein Dutch 290 / Medium: etching /Circa: 1630

Rembrandt van Rijn, Adoration of the shepherd by the oil lamp, 1645. / Description: Adoration of the shepherd by the oil lamp. Etching made by Rembrandt Van Rijn (1606-1669), 1631. It was a beloved subject by Rembrandt, he made two etchings with this subject and also the angel appearing to the shepherds. References: New Hollstein Dutch 279 3(3), Bartsch 45 2(2), Hollstein Dutch 45 2(2). Very good dark impression on laid paper with 1 cm margins. In very good condition. Collectors mark on the back: not in lugt. / Dimensions: 10,5 cm x 12,8 cm / Condition: Very good dark impression on laid paper with 1 cm margins. In very good condition. Collectors mark on the back: not in lugt. / Literature: New Hollstein Dutch 279 3(3), Bartsch 45 2(2), Hollstein Dutch 45 2(2) / Medium: etching /Circa: 1654

Salvador Dalí (1904-1989) Rembrandt 'Portrait du peintre par lui-même', from Changes in Great Masterpieces (Field 74-2E; M&L 1474) Lithograph printed in colours, 1974, signed in pencil, numbered from the edition of 350, published by Sidney Lucas, New York, with the Phyllis Lucas copyright ink stamp verso, on wove paper, with full margins, sheet 840 x 630mm (33 x 24 3/4in) With the Dali Trade authentication inscription and signature in pencil verso.

* Prints & Engravings. A collection of approximately 75 prints, 18th & 19th century, mezzotints, engravings, lithographs and etchings of portraits, topographical views, religion and genre scenes, with examples by or after Rembrandt, Richard Earlom, D. Wilkie, B. Heald, E. M. Hester, G. Morland, W. Hilton, F. C. Lewis. J. R. Smith, J. Linnel, W. Hamilton, H. Birche, S. Prout and J. Egan, occasional duplicates, various sizes and conditionQTY: (approx.75)

Trade cards, Liebig, album containing 30 sets, most being between the S700 and S800 range, a few slightly earlier examples noted. Subjects noted include Famous Women, Rembrandt, Astronomers etc. Mixed languages, but usually the 6 cards within each set are of the same language (mixed condition majority gd)

Rembrandt Harmensz van Rijn (Dutch, 1606-1669)The Pancake Woman (Bartsch 124; New Hollstein 144) Etching, 1635, on laid paper, a good impression of New Hollstein's second state of seven, trimmed to or just outside the platemark, framedPlate 109 x 77mm (4 1/4 x 3in)Footnotes:ProvenanceDésiré Bouillard, France, 19th Century (Lugt 731).The collector's stamp of initials 'DB' and a triangle, has not been fully attributed. The mark was first listed in 1883 by Louis Fagan in Collectors' Marks, who referenced it as 'D. Bouillard. Engraver' (n.135). In 2016 Pierre Juhel published Les ventes publiques d'estampes à Paris sous la Troisième République, proposing the name of Jean François Désiré Bouillard (1824-1900)(n.119).This mark has appeared on other prints including Pan and Apollo, possibly by Jan de Bisschop, in the Library of Congress in Washington.For further information on this lot please visit Bonhams.com

Rembrandt van Rijn (Dutch, 1606-1669)The Death of the Virgin (Bartsch 99; New Hollstein 173) Etching and drypoint, 1639, on thin laid paper, with watermark Bunch of Grapes and countermark Words, New Hollstein's fourth state (of five), trimmed to or just outside the platemarkPlate 409 x 315mm (16 1/8 x 12 3/8in)For further information on this lot please visit Bonhams.com

EARLY 19TH CENTURY ENGLISH SCHOOL. "The Leper" after Rembrandt Van Rijh (1606 - 1669) Dutch. Facsimile etching. Unframed, 3.5" x 2.5" (copied from the Cracherode collection at the British Museum).

REMBRANDT 1639 and three other engravings.

Torres 10 Gran Reserva, Imperial Brandy, 100cl, 38%, one bottle; Drambuie Isle of Skye Liqueur, 100cl, 40%, one bottle; and Rembrandt Van Rijn, Weinbrand, 70cl, 38° proof, one bottle (3)

† ALBERTINI; a modern oil on canvas, after Rembrandt, Self Portrait at the Age of 63, signed lower right and with certificate of authenticity verso, 59.5 x 49.5cm, gilt framed.

JEAN-JACQUES GAILLARD (1890-1976)L'Hôtel de Cagliostro (Paris) 1952Signé à gauche au milieu Jean-Jacques GailliardTitré, signé et inscrit au verso sur le panneau : ne jamais vernir 'L'Hôtel de Cagliostro' (Paris) Jean-Jacques Gailliard, 12 rue Franz Gailliard, BruxellesEtiquette : Bazar de l'Antiquité + texte de Jean-Jacques Gailliard Huile sur toile marouflée sur panneau Getekend in het midden links Jean-Jacques GailliardGetiteld, getekend en inscriptie op de achterkant op het paneelEtiket: Bazar de l'Antiquité + tekst van Jean-Jacques GailliardOlieverf op doek gemaroufleerd op paneelSigned centre left Jean-Jacques GailliardTitled, signed and inscription on verso on the panelLabel: Bazar de l'Antiquité + text by Jean-Jacques Gailliard Oil on canvas mounted on panel58 x 39.5 cm Footnotes:Provenance / HerkomstCollection Jacques Schroeder, Belgique Collection privée / Privécollectie, BelgiqueTexte écrit de la main de Jean-Jacques GailliardCagliostro peintreCagliostro m'intriguait, parce qu'il avait débuté dans la peinture. Cesare, son oncle lui avait demandé quel genre de profession il aimerait adopter. Beppo répondit qu'il croyait avoir des dons artistiques et qu'il serait très reconnaissant à son oncle si celui-ci lui faisait donner des leçons de peinture. Cesare lui trouva un bon maître, lui donna des couleurs et des chevalets et lui installa un atelier chez lui. Dans la journée, l'adolescent s'efforçait de fournir un certain travail, mais il passait ses soirées en compagnie de ses anciens camarades, dans les rues sombres près du port ....Lorsqu'il ne vendait pas ses tableaux il contrefaisait les eaux-fortes de Rembrandt.Jean-Jacques Gailliard.This lot is subject to the following lot symbols: ARAR Un pourcentage supplémentaire sera demander aux acquéreurs pour les lots précédés du symbole AR correspondant aux droits de suite aux artistes en vertu de la réglementation de 2006 sur le droit d'auteur. Veuillez vous référer aux conditions de ventes pour plus de détails.De koper is ons een extra premie verschuldigd ter dekking van onze kosten in verband met de betaling van royalty's krachtens de Artists Resale Right Regulations 2006. Zie onze algemene voorwaarden voor meer informatie.An Additional Premium will be payable to us by the Buyer to cover our Expenses relating to payment of royalties under the Artists Resale Right Regulations 2006. See our terms and conditions for further details.For further information on this lot please visit Bonhams.com

Posten Künstlergraphik (20.Jh.) Dabei HAP Grieshaber, Peter Ackermann, etc. Verschiedene Techniken und Formate. Beigegeben: Landschafts-Aquarell und gerahmter Druck nach Rembrandt.

Paulus Constantijn la Fargue (Dutch, 1729-1782) Figures on the Rembrandt Bridge over the Galgewater, Leidensigned 'P C La Fargue' l.r., oil on panel24 x 32cmProvenance: Private collection, Moor Park, Hertfordshire.Condition ReportFramed: 34.5 x 42cmThere is a network of fine age cracks. Patchiness and discolouration to the sky, please see additional images. A small abrasion to the extreme lower right corner and a little rubbing to the right edge. Examined under UV light there are faint areas of fluorescing in the sky. A small spot of retouching fluoresces in the clouds above the smaller windmill. The varnish appears a little patchy and uneven.

Pop Art Werner Berges (1941 Cloppenburg - 2017 Schallstadt)Mädchen mit rotem Haar. 1970. Farbserigraphie. 50 x 42 cm. Signiert und datiert. - Vereinzelte, kleine Flecken, punktuell und minimal gebräunt. Vereinzelte, kaum merkliche Läsuren im Rand. Insgesamt sehr gut. Ausgezeichneter, farbsatter und ausdifferenzierter Druck, die Farbe frisch und kräftig. Aus der Mappe Sweeties. Rembrandt 1970. Colour silkscreen. Signed and dated. - Occasional, small stains, selectively and minimally browned. Occasional, barely noticeable losses in the margins. Very good overall. Excellent, richly coloured and differentiated impression, the colour fresh and strong.

After Rembrandt Harmenszoon van Rijn (1606-1669), self portrait, 19th century, oil on canvas, 72 x 59cm, housed in a gilt and ebonised frame

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.

Antike Kopie nach Rembrandt van Rijn (niederländisch 1606-1669 ), Johannes Cornelisz Sylvius. Öl auf Leinwand, unter rechts bezeichnet, Lichtmaß: 120 x 99 cm, Rahmen: 143 x 120 cm. Guter, altersbedingter Zustand.

Rembrandt Bugatti(Mailand 1884–1916 Paris)Französische Landschaft. Kohle und Kreide auf Papier. Blattgrösse 18,8x26 cm. Gerahmt.- Blatt gebräunt. Hellerer Lichtrand. Ränder und Ecken mit Blattverlust. Winzige Einstichlöcher in den Ecken. Recto an Rückkarton montiert.

Harmensz van Rijn Rembrandt(Leiden 1606–1669 Amsterdam)Juden in der Synagoge. 1648. Radierung. Oben mittig signiert und datiert. 7,3x13,1 cm (Blattgrösse), knapp auf die Plattenkante geschnitten. Ohne Rahmen.- Blatt leicht gebräunt und fleckig. Ränder und Ecken leicht bestossen mit Einriss von ca. 5mm oben links und Blattverlust oben rechts. Verso mit Klebspurresten am oberen Rand.

Porceleyne Fles Delft 2 große Wandteller mit Rembrandt Portrait und Schäferszenerie,Keramik, blaue Firmenmarke, Portraitmalerei von Rembrandt van Rijn und Schäferszenerie - Schäferpaar mit Herde, 2x H 5,5 cm x D 41 cm, Craquele

Vier Kupferstiche: Lucas van Leyden (1494-1533), Hl. Antonius und Hl. Anna; Michael Willmann (1630-1706), Porträt eines Bärtigen nach Rembrandt; Hieronymus Hopfer (1500-1563), Die Familie des Satyrs mit Sackpfeife spielendem Satyr. Je mit Passepartout hi./Gl. gerahmt, 11 x 7,5 bis 16 x 14 cm. (spätere Abzüge)

Rembrandt van Rijn (1606-1669). Neun Kupfer- / Stahlstiche mit Porträts bzw. christlichen Szenen, re. bzw. li./u./sign., mit Passepartout hi./Gl. gerahmt, 8,5 x 6,5 bis 36 x 25 cm. (spätere Abzüge)

Drei Kupferstiche / Radierungen: Rembrandt Harmensz. van Rijn (1606-1669), „Der pissende Mann“, 8,5 x 4,5 cm; derselbe, Der Bettler mit der Glutpfanne, 8 x 5 cm; sowie Graphiker des 18. Jhs. Die zum Markt gehende Bäuerin, 4,5 x 3,5 cm. Je mit Passepartout hi./Gl. gerahmt. (spätere Abzüge)

MANOLO VALDES (N. 1942)Retrato de Amélie IV 2000 signé, titré et daté 2000 au revers huile sur toiles de jutes assemblées, colle, papier, ficelle et agrafes monté sur toile signed, titled and dated 2000 on the reverse oil on assembled burlap canvas, glue, paper, string and staples mounted on canvas 200 x 150 cm. 78 3/4 x 59 1/16 in.Footnotes:Nous remercions le studio Manolo Valdés des informations qu'ils nous ont aimablement communiquées sur cette œuvre. ProvenanceMarlborough Gallery, New YorkCollection particulière, ParisVente : Christie's, Paris, Art Contemporain - Vente du Jour, 8 décembre 2016, lot 204Acquis lors de cette vente par le propriétaire actuelEntre décontextualisation et réinterprétation, l'art de Manolo Valdès, avec une fraîcheur inattendue, nous entraîne dans un monde empreint de matérialité et d'histoires, dans un dialogue transverse avec les chef-d'œuvres de l'art occidental. De ses années Equipo Crónica, l'artiste, délicieusement provocateur, retint la force de l'engagement politique (ce groupe, qu'il fonda en 1964 auprès de Rafael Solbes et d'Antonio Toledo, s'oppose à la dictature franquiste) et, du pop art (génération à laquelle il appartient), la valeur des images.Avec une audace oxymorique, Manolo Valdès revisite le patrimoine artistique (Vélasquez en particulier) et l'informalisme de ses prédécesseurs (Millares, Saura, Tàpies) offrant une expérience visuelle teintée de gigantisme. Joueur, l'artiste international jamais ne craignit se s'attaquer aux « monstres sacrés » (Rembrandt, Picasso, etc.), avec une liberté déconcertante. « Brancusi m'a enseigné que l'on peut faire une tête sans yeux » dit le peintre.C'est lors d'un voyage à Paris, alors qu'il était étudiant, que Manolo Valdès s'éprend des papiers découpés de Matisse, de l'art informel et des œuvres des nouveaux réalistes qui lui révèlent l'attrait pour les matériaux de récupération, de même que la texture écorchée de la « peau des villes » (Restany). La matière, dès lors, de son Œuvre en devient le véritable sujet.Protéiforme, son art sans cesse se réinvente, l'artiste jouant avec la peinture comme d'un nouveau langage, s'attirant la passion des collectionneurs et des institutions (ses œuvres sont présentes au Museo Nacional de la Reina Sofia à Madrid, au Kunstverein à Berlin, au Centre Pompidou à Paris, au MoMA ainsi qu'au Metropolitan à New York).S'inspirant du célèbre tableau que Matisse réalisa en 1913, Le portrait de madame Matisse, le portrait que nous présentons ne retient du chef-d'œuvre que son essence profonde : la femme, la couleur et le parfum du scandale. Les aspérités offrent à ce visage une vitalité nouvelle, les replis, les coutures et les aplats de couleurs venant écorcher sa délicatesse charnelle. Cette effigie fractale et égratignée, sous les mains libertaires et contestataires de Manolo Valdès, semble faire sienne la devise de Beaumarchais : « Sans la liberté de blâmer, il n'est point d'éloge flatteur ».Between decontextualization and reinterpretation, the surprising freshness of Manolo Valdes's art draws us into a world composed of materiality and histories, through a cross-disciplinary dialogue with the masterpieces of Western art. From his years with Equipo Crónica,—a group he founded in 1964 with Rafael Solbes and Antonio Toledo, in opposition with Franco's dictatorship— the delightfully provocative artist retained the strength of his political commitment and, from Pop Art — his generation —the value of images.With oxymoronic boldness, Manolo Valdès revisits artistic heritage (Velázquez in particular) and Informalism as expressed by his predecessors (Millares, Saura, Tàpies), offering a visual experience prone to gigantism. A bit of a gambler, the international artist was not afraid to take on iconic figures (Rembrandt, Picasso, etc.), with disconcerting freedom. 'Brancusi taught me that you can make a head without eyes,' says the painter.It was during a trip to Paris as a student that Manolo Valdès fell in love with Matisse's papiers découpés, Informal art and the works of the New Realists, with whom he discovered his attraction for salvaged materials and the torn textures of 'city skins' (Restany). From then on, the medium became the true subject of his work.His protean art was constantly being reinvented, indeed the artist experimented with paint as if it were a new language, sparking the enthusiasm of collectors and institutions alike (his works can be seen at the Museo Nacional de la Reina Sofia in Madrid; the Kunstverein in Berlin; the Centre Pompidou in Paris; MoMA and the Metropolitan in New York).Inspired by Matisse's famous 1913 painting, Le portrait de Madame Matisse, the portrait we present retains only the essence of the masterpiece: the woman, the colour and the fragrance of scandal. The asperities give this face a new vitality, while the folds, seams and flat colours lacerate its delicate skin. This fractal, scratched effigy, under the libertarian, anti-establishment hands of Manolo Valdès, seems to acknowledge Beaumarchais's motto as his own: 'Without the freedom to criticise, there is no true praise.'This lot is subject to the following lot symbols: ARAR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

van Rijn, Rembrandt Harmenszoon (1606 Leiden - Amsterdam 1669) Bärtiger Alter mit Pelzmütze und samtenem Mantel. Radierung auf dünnem (orientalischen ?) Papier (l. beschnitten, durch Reinigung eines Braunflecks etwas verpresst), li. u. monog. Zustand III. 14,9x 13 cm. PP., R. Wvz.: Hollstein 92 III. (von III) Zuständen, mit den Überarbeitungen (nicht von Rembrandt) auf dem Handrücken.

JOHN BYRNE RSA (SCOTTISH 1940 - 2023), NUDE SEATED ink on paper, inscribed 'Rembrandt' mounted, framed and under glass (frame loose) image size 28cm x 18cm, overall size 44cm x 34cm Provenance: Acquired from John Byrne by June Armstrong (later June Armstrong Lennox) when both were students at Glasgow School of Art. See also lots 206 & 206B. Note: John Byrne studied at both Edinburgh and Glasgow Schools of Art in the late 50s and early 60s. A superb painter and draughtsman, the multi-talented Byrne was also a first-class playwright (‘The Slab Boys’, ‘Tutti Frutti’), his ear for dialogue was as acute (and witty) as his eye for detail. Much of his subject matter in both disciplines is overtly autobiographical, he often included or refers to the Teddy Boy/Rock and Roll era of his youth. Byrne designed record covers for Donovan, The Beatles, Gerry Rafferty and Billy Connolly. His work is held in major collections in Scotland and abroad. Several of his paintings hang in The Scottish National Portrait Gallery in Edinburgh, the Museum of Modern Art and the Kelvingrove Art Gallery and Museum in Glasgow.

REMBRANDT BUGATTI (1884-1916)Petites Antilopes goudou ou koudou «caresse» signé et inscrit R. Bugatti M Cire Perdue. A.A. Hébrard Antilope Goudou' (sur la base)bronze à patine nuancée de bruns et noir signed and inscribed 'R. Bugatti M Cire Perdue. A.A. Hébrard Antilope Goudou' (on the base)bronze with black and brown patina52.4 x 25. 5 x 8 cm. 20 5/8 x 9 13/16 x 3 1/8 in. Conçue vers 1911, cette version en bronze a été coulée par la fonderie A.A. Hébrard dans une édition de 11 exemplaires, la plupart numérotés et l'un d'entre eux portant la mention « M ». Conceived circa 1911, this bronze version cast by the A.A. Hébrard foundry in an edition of 11, most numbered and one marked 'M'.Footnotes:Cette œuvre est enregistrée dans les archives du Rembrandt Bugatti Repertoire et est accompagnée d'un certificat d'authenticité.This work is recorded in the archives of the Rembrandt Bugatti Repertoire and is offered together with a certificate of authenticity.ProvenanceCollection Hébrard, Paris.Vente, Maitre de Vregille, Dijon, novembre 9, 1986. Collection Gordon Locksley & George T. Shea, Minneapolis (acquis dans cette vente). Puis par descendance au propriétaire actuel.BibliographieA. Salmon, 'Rembrandt Bugatti,' in Arts et Décoration, revue mensuelle d'art moderne, vol. XXXIV, novembre 1913, p. 162 (version en plâtre illustré). E. Horswell, Rembrandt Bugatti, Life in Sculpture, Londres, 2004, p. 155 (une autre fonte illustrée).V. Fromanger, Rembrandt Bugatti, Répertoire monographique, Une trajectoire foudroyante, Paris, 2016, no. 273, (une autre fonte illustrée p. 355).This lot is subject to the following lot symbols: ** VAT on imported items at a reduced rate of 5.5% on the hammer price and the prevailing rate on buyer's premium if the item remains in EU. TVA sur les objets importés à un taux réduit de 5.5% sur le prix d'adjudication et un taux en vigueur sur la prime d'achat dans le cas où l'objet reste dans l'Union Européenne.For further information on this lot please visit Bonhams.com

Rembrandt van Rijn (1606-1669) – follower, portrait of a man with chain. Oil on canvas. Damages. 61 x 46 cm.