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Rembrandt Bugatti(1884 Mailand - 1916 Paris) nach"Deux léopards marchant" (Zwei schreitende Panther). OriginaltitelBronze, dunkel patiniert. Posthumer, zeitgenössischer Guss des 21. Jhs. nach der um 1911/12 geschaffenen Bronzeplastik Bugattis. Mit seiner auf das Wesentliche reduzierten formalen Gestaltung und in großer Leichtigkeit nahe hintereinander schreitenden Panther spiegelte Bugatti die dynamische gespannte, schnelle, energievolle Kraft und Eleganz der Tiere wider und stellte sich damit zugleich gegen deren traditionell heroische Darstellung. H. 23 cm; B. 86 cm.After Rembrandt Bugatti (1884 - 1916). Dark patinated bronze. Posthumous, contemporary cast after the bronze sculpture, 21st C.

Meissen Rembrandt Teller Porzellan mit unterglasurblauer Schwertermarke der Porzellanmanufaktur Meissen 1972, mit Preß- u. Malernr., 1. Wahl, umseitig bez. *Serie 2-1972 - Rembrandt Harmensz van Rijn 1606-1669*, glattrandiger Teller Coupe mit unetrglasurblauem Brustbild, Ø ca. 26 cm

Hans Meid, Handzeichnungen Sechzig Tafeln in Lichtdruck mit einer Einleitung von Oscar Fischel, mit 2 eingebundenen signierten und datierten (1924) Original-Radierungen *Paar im Wald* und *Reiter im Mondschein* von Hans Meid auf Büttenpapier, Rembrandt-Verlag, Berlin Zehlendorf 1924, mit 60 teils farbigen montierten Blättern, Orig.-Ganzpergament von ca. 44 x 35 cm, goldgeprägter Titel, Nr. 43 von insgesamt 400 Exemplaren, komplett und gut erhalten

10 Bände *Monographien* 1897/1914 Verlag von Velhagen & Klasing Bielefeld und Leipzig 1897 bis 1914, je in Verbindung mit Andern hrsg., dabei 3 Bände *Künstler-Monographien* mit III - *Rembrandt* von H. Knackfuß 1899, XXIII - *Vautier* von A. Rsoenberg 1897 und LXXVIII - *Neu -Dachau* von A. Roeßler 1905, 2 Bände *Land und Leute Monographien zur Erdkunde* mit XII - *Rom und die Campagna* von O. Kaemmel 1902 und XI - *Die Riviera von W. Hörstel* 1902 sowie 5 Bände *Sammlung illustrierter Monographien* mit 3 - *Die Jagd* von F. Skowronnek 1901, 4 - *Exlibris* von W.v.Zur Westen 1901, 9 - *Der Tanz* von Dr. K. Storck 1903, *Das Kostüm in Vergangenheit und Gegenwart* von G. Buß 1906 und 13 - *Reklamekunst* von W.v.Zur Westen 1914, ges. 10 Stück, überwiegend dreiseiten Goldschnitt, OLN mit goldgeprägtem Titel, etwas gebrauchsspurig

Fetting, Rainer (*1949) "Selbst als Rembrandt II" 1998, Farblithographie, 79/80, u. sign./dat./num., BM 76,2x56,6cm

J. Dixon (Irish), after Rembrandt, portrait of Herman Doomer, mezzotint, 46.5x35cm

FOLLOWER OF REMBRANDT VAN RIJN HEAD AND SHOULDERS OF A YOUNG WOMAN IN LAMPLIGHT Oil on canvas 61cm x 51cm (24in x 20in) Provenance: Karen and the late Marc Ellington, Towie Barclay Castle, Aberdeenshire

Steiff Rembrandt teddy bear, Holland exclusive, white tag 657610, LE 1500, 2006, light blonde/brown tipped mohair, celebrating the 400th anniversary of Rembrandt (1606 - 2006), together with a wooden musical box, Excellent to Excellent Plus, complete with certificate, within Excellent to Excellent Plus box, 12"/30cm. 

Hermann-Spielwaren, Hermann Teddy Original, and a Mother Hubbard four x teddy bears: (1) Hermann-Spielwaren Rembrandt, 699/1000, mohair, swing label certificate, 15.5"/39cm; (2) Hermann Teddy Original Weinachtsbar 2019, LE 52/100, mohair, with swing label certificate, 12"/30cm; (3) Hermann Teddy Original Daumeling Baby teddy bear, LE 803/1000, mohair, with swing label certificate, 7"/18cm; (4) Mother Hubbard artist designed teddy bear, OOAK, with swing label certificate, 7"/18cm; Good Plus to Excellent Plus; (4).

REMBRANDT VAN RIJN, NACH (R. v. R.: 1606-1669), "Christus heilt die Kranken", Radierung/Papier, Druckausführung wohl 19. Jh., HxB: Blatt ca. 28x38,5 cm (30x41 cm mit Rahmen). Altersspuren, gebräunt und minim. fleckig, minim. gewellt. Mit verglastem Rahmen (Beriebspuren). VERSO Etikett Kunsthaus Schaller, Stuttgart mit handschriftlicher Bezeichnung. | REMBRANDT VAN RIJN, AFTER (R. v. R.: 1606-1669), ‘Christus heilt die Kranken’, etching/paper, print probably 19th century, HxW: sheet approx. 28x38.5 cm (30x41 cm with frame). Signs of age, browned and minimally stained, minimally wavy. With glazed frame (traces of rubbing). VERSO label Kunsthaus Schaller, Stuttgart with handwritten inscription.

A. R. Penck, Kiessstraße Zwanzig Uhrherausgegeben von Jürgen Lentes Frankfurt am Main 1993, Husssche Universitätsbuchhandlung, einmalige Auflage, Format Lex. 8°, 321 S., mit Holzschnitten als Vorsatzpapier sowie zugehöriger nummerierter und vom Künstler signierter Kaltnadelradierung, für den Künstler typisches Strichmännchen, umgeben von einem Wirbel, unter der Darstellung in Blei rechts signiert "ar. penck" und links nummeriert "20/100", Darstellungsmaße ca. 13,8 x 12,8 cm, originaler Schutzumschlag, dieser mit Fehlstelle, im Originalschuber, innen minimale Studierspuren. Künstlerinfo: mit eigentlichem Namen Ralf Winkler, verwandte auch die Pseudonyme "Mike Hammer", "T.M.", "Mickey Spilane", "a.Y." oder "Y", dt. Maler, Grafiker und Objektkünstler (1939 Dresden bis 2017 Zürich), 1953-54 Mal- und Zeichenunterricht bei Jürgen Böttchen (Strawalde), ab 1956 bewarb sich der Künstler viermal ohne Erfolg an den Kunsthochschulen in Dresden und Berlin, 1955-56 Lehre als Zeichner bei der DEWAG, nach Abbruch der Lehre in verschiedenen Berufen tätig, 1966 als Kandidat für den VBK der DDR zugelassen und Umbenennung in „A. R. Penck“, 1971 Mitglied der „Künstlergruppe Lücke“, 1976 Begegnung mit Jörg Immendorff, ab dieser Zeit setzte er sich für die Abschaffung der innerdeutschen Grenze ein, 1980 Ausbürgerung aus der DDR, 1981 Verleihung des Rembrandt-Preises der Goethe-Stiftung Basel, 1983 Umzug nach London, 1988 Berufung zum Professor der Kunstakademie Düsseldorf, lebt seit 2003 in Dublin, Teilnahme an den documenten 5, 7 und 9, Quelle: Wikipedia und Internet.

Thomas Forester. A large Early 20th Century Art Nouveau ‘Rembrandt’ table lamp. Circa 1900. 66cm

Konvolut Euro-Münzsätze, 21. Jh. 6 x 5 Münzen zu 2 Euro aus je Bremen, Saarland, NRW etc. Versch. Jahrgänge. Je 5 Münzen in Sammler-Holzkiste. Dazu Sammler-Edition ''400 Jahre Rembrandt'' mit 6 Euro-Münzsätzen und 5 Silbermedaillen .925, je 11,9 g in Sammlerbox (best.) Box bis 31 x 19 x 6,5 cm

Israelischer Kopist nach Rembrandt, 20. Jh., Selbstportrait Rembrandts mit Barett, Öl auf Holz, u. re. hebräisch monogrammiert, 26 x 20 cm, ger. 43 x 37 cm

Collection of Photographic Reproductions of Major Artworks, Rembrandt Titian etc.

After Rembrandt Bugatti (Italian, 1884-1916), African elephant, a bronze sculpture of an elephant with trunk raised, signed Bugatti in the cast with European Bronze Finery foundry plague, raised on a naturalistic base, 27 x 30 13cm.

Rembrandt Harmensz Van Rijn (Dutch, 1606-1669) The Angel Departing from the House of Tobit  (B. Holl. 43; H 185) Original etching. 3rd state of IV. A late 17th century impression, signed and dated 1641 on plate.  Measures approx. 15cm x 10cm.  During the year 1641, Rembrandt made several etchings involving biblical subjects. The style he used at this time broke new ground for him in that the lines and spaces pointed to a far more liberated technique. The idea of finishing the etching as if a painting was discarded by the artist and a completely new effect was found by the means of more agitated lines.  In this etching Rembrandt created the idea of a very active and dramatic moment. This has been achieved by the shading surrounding the central group being set at angles to each other. The flow of the composition is thereby naturally broken up. The flight of the angel across the face of the control group leaving a path from bottom left to top right completes this effect.  The theme of the etching had been drawn from the Old Testament Book of Tobit. Tobit had been punished for acts of charity towards his own countrymen and was made blind by his grief for being scared to continue those acts after he had incurred the wrath of the local kings. Tobias, his son, was sent to collect money from a distant relative and the Lord sent an angel to guide him. Through his journeys the Angel helps Tobias and returns to Tobit. When the old man meets them at the door, Tobias restores Tobit's sight by means of gall which the Angel had told him to keep. The Angel then tells Tobit that his good works in the town and his courage in the face of the wrath of the kings has caused him to be healed. The family give thanks to the Lord and the Angel departs.  Rembrandt chose this last moment to depict Tobit kneeling with his wife Sarah behind him. Tobias kneels in the centre of the group with his head inclined towards the departing Angel. It was a familiar subject in Dutch art. Rembrandt's master. Pieter Lastman had painted it, also Hercules Seghers had painted Tobias and the Angel. Rembrandt had etched Tobit as a blind man some years before and had made several paintings of Tobit and Anna.  It was his Old Testament work which made Rembrandt so divorced from commercial success in the decades of the 1640s. In fact, it remains some of his greatest work. Rembrandt's oil painting of the same subject matter (The Archangel Raphael Leaving Tobias' Family, 1637) is kept in the Louvre Museum, Paris. Provenance: Acquired by current owner at Faustus Galleries, Jermyn Street London on 1st September 1975. Original sales invoice present. Revaluation letter from Faustus Galleries as at 21-07-1977 present. All correspondence letters between current owner and gallery regarding a Rembrandt exhibition organised in Geneve in 1978 present, with also original catalogue of the exhibition. 

1955 British and I Lions Rugby Itineraries, One Signed (3): Near mint Rembrandt tobacco Colourful fixture card signed by 8 Lions, plus good Shell booklet and the popular Coca-Cola issue, full of detail and pics but very well worn. Great lot

A Continental Cast Pewter Plaque on Wooden Backing, Signed Rembrandt, 31x21cms

A SET OF TALENS & SON (HOLLAND) REMBRANDT ARTISTS PASTELS in original wooden box.

Three framed Prints to include; 'Landing Sheep, Oystermouth Bay South Wales' by E. Duncan, a copy of an Etching by Rembrandt depicting three gabled cottages beside a road and a Basil Ede print of a Nuthatch in a tree.

Assorted Circa 1950s Dresses and Co-ords, comprising Goydor grey silk type dress with abstract pink design, long sleeves, v-neck and matching scarf/waist tie,Diana Dress burgundy short sleeved dress with square neck, pointed collar and covered buttons to the bodice,Eastex black shift dress with floral embroidery, short sleeves and square neck, Rembrandt Original brown co-ord with blue, white and cream abstract scrolling design, consisting of a jacket with black velvet trimmed collar and a pencil skirt,Matita/Barbara Lingard black and grey floral co-ord consisting of a jacket with scalloped trim to the front and a pencil skirt,a grey woven coat with long sleeves, pockets and button hole fastenings (missing buttons),A Sibsonia Model plum coloured crepe dress with buttons to the bodice, elbow length sleeves and pleats to skirt,a black mid length dress with square neckline, beading to the collar and short sleeves, Helen Hunter, Fashioned Alma Leigh blue lace mounted dress with long sleeves,Lady in Black pink lace mounted sleeveless dress, with attached gathered detail to the waist and v-neckline,Alice Edwards purple lace mounted dress with short sleeves and attached pleated detail to the waist,Carnegie Model brown abstract design dress with v-neckline and stylised pleated detail to the waist,(12)

After Rembrandt Harmenez Van Rijn. Study of a Pig, reproduction print, 11cm x 14cm. Label verso The Quintessa Art Collection.

[ART REFERENCE] BLANC (C.) L'Oeuvre Complet de Rembrandt, 2 vols in 1, 8vo, illus. printed on India paper, half red morocco, Paris, Guerin, [1859]; & 7 other vols (8).

1970's Frank Usher red chiffon evening dress, with red bugle bead embellished waistband, sleeveless with deep v neck line and back, 1960's sleeveless dress in yellow with matching duster coat, the neckline of the dress embellished with large faux pearls and gilt coloured beads, the coat labelled 'Petite Francaise', the zip of the dress is present but needs persuasion, black crepe shift dress and matching jacket, labelled Louis Feraud for Rembrandt, size 12, the bodice and neckline embroidered with black sequins and the cuff of the jacket, black faux jet buttons to the jacket, and a black taffeta 1950's cocktail gown, the bodice with straps and broad pleated shoulder straps over, the skirt with box pleats to a full skirt (4)

After Rembrandt van Rijn (Dutch,1606-1669) - Jan Uytenbogaert (1577-1644) - Etching and drypoint - 24 x 19.5cm A late printing of the etching on woven paper

HAMERTON, Philip George (editor) The Portfolio. An Artistic Periodical Three volumes in a uniform full two tone blue leather, compartmentalized spine with gilt lettering and tooling, slight wear to joints, staining to front board of 1874, gilt top edge, some minor spotting to margins, generally vg, Seeley, Jackson, and Halliday, London, 1872, 1873 and 1874. (3)Copious good quality etchings, heliogravures, autotype &c. &c., on good quality etching paper, featuring Rembrandt, Rigaud, Sir James Thornhill, Hogarth, Gainsborough, Karl Bodmer, P. G. Hamerton &c, &c.

Rembrandt Harmenz. van Rijn - Jan Uytenbogaert, Preacher of the Remonstrants (B., Holl. 279; New Holl. 153; H. 128), etching on laid paper, published 1635, New Hollstein’s seventh state (of nine), sheet size 22cm x 18cm, within an ebonized and gilt composition frame.

After Rembrandt Harmenz. van Rijn – The Beheading of John the Baptist, 19th century heliogravure on wove paper, 20cm x 16.5cm, within a gilt frame.

Two Victorian engravings. Comprising one after Rembrandt depicting a windmill, 14cm x 19cm, the other of a rural landscape, 14cm x 19cm, framed and glazed

After Rembrandt, two engravings. Both depicting riverside scenes, signed, framed and glazed. Max. 20cm x 16cm

Three vintage dresses to include a Rembrandt Original, a turquoise and black and a silk chiffon.Rembrandt 110cm l x 48cm armpit to armpit, Turquoise 115cm l x 36cm and chiffon 110cm l x 40cm.

ENGLISH SCHOOL, late 19th/early 20th century. Portrait of a gentleman in the style of Rembrandt, Oil on board: 20.5cm x 15cm, framed (27cm x 22cm overall).

19TH CENTURY FOLLOWER OF REMBRANDT VAN RIJN oil on board - portrait of an Apostle, 18 x 14cmsProvenance: private collection CardiffComments: later frame, surface varnish degraded

Iliffe (Lord Edward Mauger) A History of the Worshipful Company of Coachmakers and Coach Harness-Makers of London, plain plates, original vellum-backed cloth, gilt, edges uncut, for private circulation by The Chapel River Press, 1937 § Beerbohm (Max) Fifty Caricatures, 48 tipped-in plates and 2 illustrations, original pictorial cloth, gilt, 1914 § Bell (Malcolm) Rembrandt van Rijn and his Work, photogravure frontispiece, plates, booklabel, occasional spotting, original decorative cloth, gilt, some light scuffs and bumps, 1899; and 4 others art reference, v.s. (8) 

* Worlidge (Thomas, 1700–1766). The Hundred Guilder Print (Christ with the Sick around Him), after Rembrandt, 1758, etching and drypoint, signed with initials and dated 1758 to lower right corner, platesize 276 x 393 mm (10 7/8 x 15 1/2 ins), with narrow margins, sheet size 281 x 397 mmQTY: (1)NOTE:A copy after Rembrandt's famous large scale etching (Bartsch 74).

* Rembrandt (van Rijn, 1606-1669). Adoration of the Shepherds: A Night Piece, 1652, etching on cream laid paper, the 8th state (of 8), on 19th century paper, plate size 149 x 198 mm, mounted QTY: (1)NOTE:Hind 255, viii/viii; Bartsch 46

* Rembrandt (van Rijn, 1606-1669). The Raising of Lazarus (The Large Plate), 1632, etching on laid paper, with partially visible watermark at centre with the letter T, lettered in the plate to the right of Christ:: 'RHL [in ligature] van Ryn f', probably the 8th state, trimmed close to plate margins, neat archival repairs to upper outer corners, plate size 14 1/2 x 10 1/16 in. (36.8 x 25.5 cm), sheet size 372 x 260 mmQTY: (1)NOTE:Hind 96, viii/xiii; Bartsch, Hollstein 73.The Raising of Lazarus: The Larger Plate, c.1632, one of the largest and finest of Rembrandt's etchings, is also one of his most reworked plates.After Rembrandt’s death in 1669, the first record of the original copper plates appeared in an inventory of his estate created by his friend, the print dealer Clement de Jonghe. The plates then passed through several hands but it wasn’t until the latter half of the 18th century that the first significant posthumous impressions of the existing copperplates were made. This was under the ownership of Parisian dealer Claude Henri Watelet, who was a very skilled etcher himself and the first to rework some of the plates.

* Rembrandt (Harmensz van Rijn, 1606-1669). A Woman Making Water, 1631, etching on pale cream laid paper, probably later 18th century, collector's mark (Lugt 2774) to lower right corner of Sir Edward Astley (1729-1802), and a further collector's mark (Lugt 567) of the Arenberg Collection, Brussels and Nord-Kirchen, Westphalia, additonal ownership inscription in ink to verso (partly illegible): Ch. Naudet, dated 1817, plate size 80 x 65 mm (3 1/4 x 2 1/2 ins), sheet size 96 x 74 mm (3 5/8 x 2 15/16 ins), hinge-mounted to modern cream laid paper with framing borders in black ink, pale brown wash and gilt paper, window-mountedQTY: (1)NOTE:Provenance: Sir Edward Astley (1729-1802), of Norfolk (Lugt 2774); Arenberg Collection, Brussels and Nord-Kirchen, Westphalia (Lugt 567); Charles Naudet (inscription dated 1817).Sir Edward Astley acquired the important collection of Old Master prints formed by the painter Arthur Pond. According to Lugt, Pond's collection was famous for its many examples of the work of Rembrandt. Astley's print collection was sold in London by Langford on the 27th March 1760 and the following eighteen evenings: The genuine, entire and well-known collection of Etchings and Prints by Masters of the greatest Eminence, Purchased by Sir Edward Astley, Bart., of Mr. Arthur Pond, lately deceas'd (among which are those very scarce and valuable prints by Rembrandt, which Mr Pond had, with the greatest care, been many years collecting).Duke Louis-Engelbert d'Arenberg (1750-1820), and Duke Engelbert-Marie d'Arenberg (1872-1949). The latter disposed of a large part of his print collection in 1902 in a sale held at Christie's London on 14th July and following days.

* Rembrandt (van Rijn, 1606-1669). Self Portrait in a Velvet Cap with Plume, 1638 [but later], etching on pale cream laid paper, with indistinct watermark, probably late 18th century, trimmed to margins, upper outer corner repaired (without loss), sheet size 207 x 157 mm (8 3/16 x 6 3/16 ins), hinge mounted to upper and lower left corners, card window-mount, with an (erroneous) printed auction catalogue description pasted at foot for Rembrandt's etched portrait of Jan Asselyn, third state, dated 1967QTY: (1)NOTE:A copy (probably by Basan) of Rembrandt's self-portrait of 1638 (Bartsch 20, Hind 156, Hinterding 170). The original measures 134 x 103 mm.

* After Rembrandt van Rijn (1606-1669). Man with the Golden Helmet, mid to later 18th-century, oil on canvas, re-lined, areas of craquelure, some small areas of wear from frame, canvas size 69.5 x 53.5 cm (27 1/4 x 21 ins), in a gilt wood frame (82 x 66 cm)QTY: (1)

* After Rembrandt (van Rijn, 1606-1669). Doctor Faustus in his Study, 1652, heliogravure on Michallet laid paper, with watermark, a copy by Charles Amand-Durand (1831-1905), with his small printed red stamp to verso, sheet size 222 mm x 165 mm, card window-mount together with five 19th and 20th reprint editions; The Persian, 1632, etching on cream laid paper, from the original, a posthumous impression, probably 19th century, modern version by Basan or Bernard, The Virgin with the Pomegranate and Old woman, (a late, probably19th century impression with creases), Joseph and Potiphar’s Wife, 1634, (a 20th century reproduction, Amslerdruck, with stamp to verso), The Presentation in the Temple, circa 1639, (a 20th century impression on cream wove paper, reworked, with circular blue printed stamp to verso) and Abraham Casting out Hagar and Ishmael, (20th century reprint, Amslerdruck)QTY: (6)NOTE:Hind 260 (Faustus); Hind 92 (The Persian).A heliogravure on laid paper after Rembrandt's Faustus (Bartsch 270, Hind 260) by Amand-Durand. Published in Eaux-Fortes et Gravures des Maitres Anciens, tirees des collections les plus celebres by Edouard Lievre and Georges Duplessis, published by Amand-Durand, Gazette des Beaux-Arts, Goupil and Co, Holloway & Fils, Miethke & Wawra, Paris, 1878.

Butthole Surfers - 4 Lp records, 2 x 12" EP and 1 x flexi, Rembrandt Pussy Horse UK pressing 1986, Locust Abortion technician 1st UK pressing Red/Yellow labels 1987, Piouhgd limited edition with 12" white label 1991, Hairway to Steven Uk pressing live PC ppep 85 US repress and lonesome bulldog flexi still in the catalogue magazine and cream corn from the secret of davis.

Jouef & Heljan HO Group of plastic kits. Comprising 1020 Station Building, 1052 Parisian Corner Building, 1991 Swimming Pool (assembled), 1010 Mairie (1x box shrink wrapped), Heljan 2x B181 Bridge Piers & 466 Rembrandt Hose, all contents are unchecked for correct qty. Conditions: Near Mint to Mint in Fair to Good boxes. (8)

Beschrijvinge der Stadt Leyden, (Description of the city of Leyden) by Orlers, pub. Andries Janz, Delft, and Abraham Commelin, Leyden. 1641 the extended second edition, after the first of 1614. Quarto. 738 pp. Full vellum binding, with ink title to spine. Illustrations, some folding include a view of the public library and the anatomy theatre as well as folding plans of the city and surrounding area. Includes a short chapter on Rembrandt van Rijn on p. 375 thefirst biography of the artist. The author, Jan Orlers [1570-1646] was a bookseller and later, Mayor of the city of Leiden.The vellum binding is solid and attractively 'aged' with some historic marks, and small stains/grubbiness.One plan has some wear at the bottom edge where it has protruded outside the text block with areas of loss though still substantially complete.

German hand decorated porcelain plaque depicting a hermit, 10cm x 7.5cm; also a further Dresden porcelain plaque depicting a young Rembrandt, 7.5cm x 6cm, both similarly framed (2) (Please note condition does not form part of the catalogue description. We strongly advise viewing to satsify yourself as to condition. If you are unable to view and a condition report is not already available, please ask for one and it will be provided in writing).

* Houston (Richard, c.1721-1775). Haman's Condemnation, 1775, mezzotint on paper, after Rembrandt, plate size 50.5 x 35.6 cm (19 7/8 x 14 ins), sheet size 52.4 x 36.8 cm (20 5/8 x 14 1/2 ins), in a gilt frame with ornate corners (with some loss), plus Atkinson (Thomas Lewis, 1817-1898). The Free Kirk or Highland Conversation, mezzotint on paper, laid on board, after Sir Edwin Henry Landseer, signed by the engraver in pencil to lower margin, Currie and Co label to board verso, image size 63.5 x 53 cm (25 x 21 ins), sheet size 73.5 x 60.5 cm, lacking frame, and other miscellaneous 19th and 20th century prints by and after H. M. Bateman, E. Delarue, Vincent New, George Baxter after Rubens 'The third day he rose again', and Robert Morden engraved map of MonmouthQTY: (15)

AFTER REMBRANDT; engraving of an elephant and figures, inscribed 'Engraved by Captain Baillie from a drawing of Rembrandt, August 1878', 25 x 33cm, framed and glazed.

After Rembrandt (Dutch, 1606-1669), pastel, Portrait of an elderly woman wearing a ruff, unsigned, 58 x 48cm. Condition - fair

After Rembrandt (Dutch, 1606-1669), oil on board, Portrait of a woman in a doorway, indistinctly signed upper right, 31 x 23cm. Condition - fair to good

Salvador Dali framed and glazed etching titled Rembrandt, to include COA to verso, 18 x 12cm

Rembrandt Harmensz van Rijn monochromatic etching titled Josephs Coat brought to Jacob, to include COA, retailed from Harrods Fine Art, 11 x 8.5cm

Rembrandt Harmenz van Rijn (1606-1669). Beschneidung Christi. Radierung, mit Passepartout hi./Gl. gerahmt; dazu Rahmen, 18 x 24,5 / 21 x 28,5 cm. (späterer Abzug)

Rembrandt van Rijn (1606-1669). „Faust“. Radierung, mit Passepartout hi./Gl. gerahmt (21 x 16 cm) (späterer Abzug); dazu colorierter Pflanzenstich, 35 x 26 cm.

Werner Sumowski, „Gemälde der Rembrandt-Schüler“, vier Bde., Edition PVA, OLN mit OU, Landau 1983; sowie Walther Bernt, „Die niederländischen Maler des 17. Jhs.“, drei Bde., Verlag F. Bruckmann, OLN, München 1960. (besch.)

Rembrandt.- Blanc (Charles) L'Oeuvre de Rembrandt... Catalogue Raisonné de toutes les estampes, 2 vol., 63 plates after Rembrandt, illustrations, vol.1 pp. 35-38 loose, vol.2 pp.165-6 with damp-staining to margins,  vol.2 pp.234-5 with repaired tear to margins, a few marginal tears, offsetting, some light spotting, bookplates, original wrappers bound in, browned, later half morocco, spines gilt, t.e.g., extremities slightly rubbed, some light surface wear, folio, Paris, A. Levy, 1873.

The Genius of Rembrandt sterling silver proof set of 50 medals, struck by John Pinches, set number 284. Each medal features a design based on a Rembrandt painting, each are numbered 284, fully hallmarked and come with a certificate with a description of the painting depicted (one certificate missing), in a fitted oak five drawer case with brass carry handles and plaque to top, each medal weighs approx. 2.12ozt

A collection of 16th and 17th century engravings and etchings, including 16th century prints by Cherubino Alberti (1553–1615) after Polidoro da Caravaggio: Rape of the Sabines, engraving, circa 1590, from the set of five, together with three further 16th century engravings, one by Jan Collaert, and two copies after engravings by Hendrick Goltzius and Albrecht Dürer. Joachim von Sandrart the Elder (1606-1688), Roman Ruins in the Egyptian Period, etching, together with a collection of mainly 17th century engravings by or after D. Barrière, J.W. Baur, J. van Beverwijck (6 copies in reverse), J. P. Beerendrecht, P.G. Bianchi, A. van der Cabel, S. Cantarini (one by and one copy in reverse), S. Le Clerc, H. Collaert, W.B. Crabeth I, F. Desquenoy, I. Duvivier, L. Gautier, A. van de Kablel, M. Küsel, G. de Lairesse, J.P. Le Bas, C. Le Brun, Claude Gellée le Lorrain, M. Merian II, F. Meyer, C. de Passe, G. Perelle, F. Perrier, P. Potter, J.A. Riedel, Rembrandt, J. Rigaud, J. van Sandrart, F. Schiaminossi, C. Schut II, I. Silvestre, H. Swaneveld, W. Vaughan, J. van de Velde, A.P. van de Venne, P. Veronese, C. Visscher, S. Vouet, J.B. de Wael, A. Waterloo, A. van Westerhout A. Wierix, and F. Wierotter, 28cm x 39cm and smaller (a collection).

Charles Amand Durand (French, 1831-1905) Six etchings to include,After Albrecht DürerJesus Christ expirant sur la Croixetching, with Durand monogram stamp versosheet 15.5 x 10.5cm;After Rembrandt Van RijnSaint Jerome ecrivantetching, with Durand monogram stamp versosheet 19 x 14cm;Les Chaumieres pres du canaletching, with Durand monogram stamp versoplate 16.5 x 22cm;Le Marchand de mort aux ratsetchingsheet 15 x 12.5cm;Le Cochonetchingsheet 14.5 x 18.5cm;After Francesco GoyaLe Supplice du Garrotetching, with Durand monogram stamp verso31.5 x 21cm, all unframed (6)Condition ReportTime staining and discolouration, please refer to illustration. Some light foxing starting to emerge. Saint Jerome: a small tear to the upper right corner. Le Supplice du Garrot: light creasing with 2cm rip to the lower right edge.

Sammlung mit 22 druckgraphischen Arbeiten u.a. Dürer, Rembrandt, L. Richter, für SelbstbesichtigerSammlung von 22 druckgraphischen Arbeiten, verschiedene Techniken und Künstler, u.a. Albrecht Dürer, Rembrandt van Rijn, Karl Unverzagt, Jan Luijken, Marcello Bacciarellin, "Spira - Speir" Speyer-Ansicht von Johann Christian Leopold, Ludwig Richter "Genoveva", überwiegend Faksimilereproduktionen der Reichsdruckerei