Rembrandt van Rijn

Descending from the Cross, by Torchlight

1654

Francisco José de Goya y Lucientes (1746 Fuendetodos – Bordeaux 1828), No se puede saber por qué – One can’t tell why ca. 1808–1814, etching, burnished aquatint, drypoint, an...

Jacques Villon (1875-1963) etching, aquatint, and drypoint, Minne Playing with a Cat (Minne Jouant avec un Chat),1907, signed in pencil and numbered (12/30)(Ginestet and Pouillon 192...

James Ensor (1860-1949), Exterminating Angel (L'Ange Exterminateur), etching with drypoint, 1889, signed and dated in pencil lower right, also titled and countersigned verso. Referen...

Theodore Roussel (1847-1926), The Sleeping Model or The Sleeper, etching and drypoint with additional pencil coloring, signed on the tab and inscribed “...

William Strang (1859-1921), Mother Earth, 1897, etching, drypoint, aquatint ); signed in pencil lower right, and signed by the printer David Strang and...

James Whistler (1834-1903), The Beggars, etching and drypoint, 1879-80, signed with the butterfly and inscribed “imp”. Reference: Glasgow 190, seventh sta...

Street in Smyrna. 1889. Etching. Wisselingh 34. 7 x 5 1/4 (sheet 12 7/8 x 8 7/8).Edition 100, number 49. A rich, tonal impression printed on Strasbourg cream laid paper on the full s...

Etching and drypoint. Schneiderman 133.v/xi. 7 3/4 x 16 3/8 (sheet 9 1/4 x 17 1/2). A rich impression with plate tone printed in black/brown in on antique cream wove paper. Signed in pencil. In this state, according to Schneiderman (p. 273):"With additional etched work: an extra balk of timber has been added to the balk in the right foreground (the tip of which is approx. 135 mm. from the right plate mark and 35 mm. from the bottom); the barges made darker, and there are drypoint touches in the water in front of the stern. The extreme left line of the hoist of the wrecking barge is complete. The faint lines in the area of the sail of the passing ship just to the right of the mizzenmast of the Agamemnon have also disappeared." The etching, one of Haden's largest, was too large to publish in The Portfolio. Subsequently the plate was proved by Haden and printed by the foremost plate printer of the day, Frederick Goulding, and was issued by the artist himself through Colnaghi’s – with immense success. Keppel claimed that the print sold 10,000 copies, though around 500 seems more likely.' Breaking up of the Agamemnon...

Bartsch 281, Hind 167 iii/III, Nowell-Usticke 281, iii/III. A fine impression, with burr, as retouched by Baillie in 1792. With an unidentified collectors stamp, verso.

"Veduta del Sepolcro della Famiglia Plauzia per la Strada Che Conduce da Roma a Tivoli vicino a Ponte Lugano" from "Le Antichità Romane" (Roman Antiquities), one of the most famous works by Piranesi. "Antichita" illustrates the tombs along the Appian Way...

Black and white etching and drypoint on wire rod paper, representing the myth of the sacrifice of Iphigenia. On the altar is inscribed "Iphigenia" in capital letters. On the lower left margin is inscribed "N. Beatrizet Lo Taringus F.", slightly discolored (Beatrizet usually signed his plates with the letters "N. B. L. F."). At the center of the lower margin is inscribed "Romae, Michaelis Tramezini formis cum privilegio summi Pont. M.D.L.III". After a drawing attributed to either Michelangelo Buonarroti, Salviati, or Baccio Bandinelli...

Study of Five Heads is a beautiful black and white etching with drypoint interventions on paper, realized at the end of XVIII century by the French artist Jean-Jacques de Boissieu (Lyon, 1736- 1810). Five study of heads of which two profiles (a female and a male) are lightly sketched with the drypoint technique, and we could appreciate the incredible draftsmanship. Instead, the bigger three portraits are very detailed and etched with a superb technique. Although the subjects are drawn in different scales and with different degrees of finish, each portrait has the dignity of a unique piece and the composition is very balanced. In particular on the lower margin at the center there is the portrait of "Le Père Cotrot, Garçon Teinturier à Lyon'", an elderly man, toothless and with a large-nosed, slightly turned to left, with a hat and unbuttoned jacket over waistcoat, shows all his wrinkles in a very realistic way. Signed on plate on lower right margin “De Boissieu”. This old master’s original print with fresh impressions, is in very good conditions, except for a usual yellowing of the paper above all on the edges and some signs of the time and light foxing along the margins, do not affect the image. Jean-Jacques de Boissieu (Lyon,1736 –1810) Jean-Jacques de Boissieu was a French artist studied at the École de Dessin in Lyon, but he was mostly self-taught. His first prints were realized between 1758–64. When he went to Italy in the retinue of the ambassador and Duc de la Rochefoucauld d’Enville, he had the lifechanging encounter: he met Voltaire and he entered in the world of luminaries, he had the opportunity of realizing some plates for the Diderot-d’Alembert’s Encyclopèdie. Then he continued to produce prints in Lyon, Boissieu made many etchings of the Roman and Dutch countryside, as well as the French countryside around Lyon, which earned him a reputation as the last representative of the older etching...