GRABADOS ARENBERG 19.10.2019

AUCTION DRAWINGS & PRINTS

VEILING TEKENINGEN & PRENTEN

VENTE PUBLIQUE DESSINS & GRAVURES

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Date / Datum : Signature / Handtekening :

ARENBERG AUCTIONS • 19.10.2019 • 3

380

359

19.10.2019 – 13:00 h / u

Oude tekeningen & schilderijen 1-127 Dessins et peintures anciens

Oude prenten 128-351 Gravures anciennes

Tekeningen & schilderijen 19de eeuw 352-415 Dessins & peintures XIX e s.

Prenten 19de-20ste eeuw 416-528 Gravures XIX e -XX e s.

Affiches 529-547 Affiches

Tekeningen & schilderijen 20ste eeuw 548-594 Dessins & peintures XX e s.

Koperplaten – Verzameling E.S. 595-620 Plaques de cuivre – Collection E.S.

100 à 120 lots à l’heure ~ 100 tot 120 loten per uur ~ 100 to 120 lots per hour

Frais 25% ~ Opgeld 25% ~ Premium 25%

Conditions of sale / Verkoopsvoorwaarden / Conditions de vente : In fine.

Cataloguing Terminology

The following expressions and terms with their accompanying explanations are used by

Arenberg Auctions as cataloguing practice in attributing works of art on paper. Buyers are always

recommended to inspect the property themselves before sale. Although conditions are mostly

described in the catalogue, additional reports or questions can always be answered via

info@arenbergauctions.com.

Names of artists are given without qualifications in the case of an unquestionable attribution based

on factual documentary evidence or certified signature. In other cases, the following terms are

applied.

“Attributed to …”: In our opinion there is a strong suggestion that the work is by the artist in

whole or in part, based on direct or circumstantial evidence such as former attributions, stylistic

comparison, signatures or documentary evidence.

“Circle of …”: In our opinion a work of the period of the artist, working under his direct influence.

“Follower of …”: In our opinion a work by someone working in the artist’s style, but not necessarily

a direct pupil.

“After …”: In our opinion a work copied (of any date) after the original work of the artist.

The date given for works are those on the works or an approximate within the active career of the

artist (preceded by the abbreviated prefix “c.”). For prints, this is the date in which the original

concept was created and not necessarily the date when the impression was printed or published.

In the latter case, this will always be mentioned in the description.


Oude tekeningen & schilderijen – Dessins et peintures anciens

3

6 • ARENBERG AUCTIONS • 19.10.2019

Dessins et peintures anciens – Oude tekeningen & schilderijen

Oude tekeningen & schilderijen

Dessins et peintures anciens

1 [Miniature]

Attributed to COLOMBE, Jean - David returning with the head

of Goliath. Bourges, ca. 1480.

Miniature (ca. 16,2 x 10,6 cm) on vellum (c. 18 x 12,6 cm), with on verso a Latin

prayer in a gothic hand with 2-line gilt initials on a blue background. In very

good condition.

2.000 / 3.000 €

blue, red, pink and green, consists of a floral design with vines, gilt dots and to

the left a praying man dressed in white. On the «right» page (the beginning of)

a Latin prayer (14 ll.) with a 5-line gilt initial «S» in blue and green, extending on

3 sides into a gilt border with red, blue and green vines. The border decoration,

mainly in blue, red, pink and green, featuring to the right the «Agnus Dei» and

at the bottom a kneeling praying man. On the verso of each «page» parts of the

Latin prayer, written in brown ink.

A splendid «lost» medieval painting by the Master of

Beatrijs van Assendelft from the largest recorded Book

of Hours from the Northern Netherlands

Well-executed large miniature by the most important miniaturist of Bourges,

Jean Colombe (ca. 1430-1493). Painted within a yellow and red ruled border, the

miniature shows a medieval landscape with a reddish-brown road winding from

a green plain below along grey and brown rocks towards a densely populated

army camp (in the centre of the upper half) with numerous soldiers and yellow

tent roofs adorned with a flag in top. On the right a forest, a reddish-pink stone

house and a blue castle in the distance. At front below the fallen and beheaded

giant Goliath in yellow-golden knight’s armour with next to him his shield and

helmet. In the centre of the painting the running triumphant David dressed in

blue and holding the large giant’s head in his left hand. To the left of the centre,

written in a banderole, the beginning of a Latin prayer with a 3-line gilt initial

«D» on a blue background and a small initial «M”on a violet background.

2 [Miniature]

The Holy Virgin (with Child) standing on the Crescent. [France?,

15th c.].

Vellum bifolium (c. 14,5 x 22 cm) from a Latin Book of Hours. In good condition

(sl. rubbed at fore-edge margin of «left» page).

2.000 / 3.000 €

On the «left» page, within a gilt border, a miniature (c. 8,6 x 5,5 cm) showing,

on a blue background, the Child, standing on a crescent, and dressed in blue,

surrounded by a «corona» of large gilt flames. The border decoration, mainly in

3 [Miniature]

Attributed to MASTER OF BEATRIJS VAN ASSENDELFT’S

«LEVEN VAN JEZUS» - Standing Virgin and Child as the

Apocalyptic Woman. [Delft], C. 1480-1490.

Very large miniature on vellum (leaf ca. 22,8 x 15,7 cm, miniature ca. 21,5 x

14,5 cm).

10.000 / 15.000 €

Exceptional miniature originating from a major unpublished Dutch Book

of Hours in Latin and Dutch, presently in a European private collection. The

manuscript originally containing the present miniature of the Virgin and Child

is quite important, among other reasons, because it is the largest Book of

Hours known to have been made in the Northern Netherlands during the

15th century. It is noteworthy as well in having texts in both Latin and Dutch,

and in including an unusually large number of prayers, including a good number

that appear to be unknown in other Dutch Books of Hours. It is illustrated and

decorated throughout by the Master of Beatrijs van Assendelft’s Leven van

Jezus. Although there is no reliable evidence to identify the person for whom

the manuscript was made (the patron can, however, be identified as a woman

because of the use of feminine forms in some of the texts), it has been suggested,

if only speculatively, that this might have been Beatrijs van Assendelft herself.

The pencil foliation in that manuscript has missing leaves of various fols.,

including number «138», which is the folio number found on the present leaf.

The measurements also confirm the identification, as the manuscript is 22,9 cm



4



high (the leaves of the manuscript are wider, measuring 16,9 cm - the present

leaf is less wide because it was excised from the book). The original manuscript,

to which this miniature belonged, retains only one full-page miniature, an

Annunciation on f. 7v. The present miniature of the Standing Virgin and Child as

the Apocalyptic Woman «clothed with the sun, and with a moon-sickle beneath

her feet» (fol. 138v in the old pencil foliation), would have followed present

fol. 113, but because there is a gap of 9 leaves after present-day fol. 113 and

before present-day fol. 114, it will not be possible to identify the precise text that

this miniature prefaced until and unless the missing text leaf that had the old

pencil foliation 139r can be located. In all likelihood this miniature would have

introduced a section or series of prayers to Mary.

The painter was named after the miniatures in the richly illustrated copy of

the «Bonaventura-Ludolfiaanse Leven van Jezus» in Cambridge, Fitzwilliam

Museum, Ms. 25. This painter was the most skilled and distinctive of the socalled

Masters of the Delft Half-Length Figures, who appear to have been the

dominant figures in the production of luxurious illustrated manuscripts in Delft

from ca. 1450-1480. A common feature of the works in these styles are their

marginal depictions of angels, prophets and other figures in half length, usually

shown emerging from stylized cloud banks or plants. They also share a common

vocabulary of compositional and figural types, similar conventions of marginal

decoration, and a distinctive palette, dominated by an underlying pattern of

contrasting milky pink and blue pigments. Works by the Master of Beatrijs van

Assendelft’s Leven van Jezus are distinguished from those of the other Masters

of the Delft Half-Length Figures, among others, by a more monumental and

angular figure style, finer and more detailed linear renderings of facial features,

and more fully developed systems of modeling, whether for delineating the

planar elements of facial forms or for defining the plasticity of garments (for

example, through fine networks of gold highlighting). The most fully developed

works in the style also make abundant use of elaborate and sometimes fantastic

architectural superstructures or canopies at the top of full-page miniatures, such

as found here.

The decoration in all four margins of the manuscript Hours consists of ink

sprays, gold discs and triangular petals, painted and gold foliage, flowers and

animals, and single figures of men (prophets?), women and angels, some of them

emerging from flowers or gold cloud-banks and most shown in acclamation or

prayer. The present leaf with a full-page miniature has similar decoration in all

four margins, but with a half-length figure of a praying man in the outer margin

and a figure of an angel playing the organ in the lower margin.

Ref. Books of Hours. Livres d’Heures. Catalogue 9 (Paris, Les Enluminures,

2000), pp. 130-133 nr. 26 (Book of Hours, Delft, ca. 1480-1490). - J.H. Marrow

on Cambridge, Fitzwilliam Museum, Ms. 25, in The Cambridge Illuminations.

Ten Centuries of Book Production in the Medieval West, ed. Paul Binski & Stella

Panayotova (London-Turnhout, Harvey Miller, 2005), pp. 210-211 (nr. 93).

Prov. Little is known of the post-medieval provenance of the original Book of

Hours, presently in a European private collection.

We thank Professor James H. Marrow for help in preparing this entry.

4 [Miniature]

Attributed to MASTER OF BEATRIJS VAN ASSENDELFT’S

«LEVEN VAN JEZUS» - Nativity. [Delft], C. 1480-1490.

Very large miniature on vellum (leaf ca. 22,8 x 15,7 cm, miniature ca. 21,5 x

14,5 cm).

10.000 / 15.000 €

Exceptional miniature originating from a major unpublished Dutch Book

of Hours in Latin and Dutch, presently in a European private collection. The

manuscript originally containing the present Nativity miniature is quite

important, among other reasons, because it is the largest Book of Hours

known to have been made in the Northern Netherlands during the 15th

century (see, previous lot). The pencil foliation in the Book of Hours has missing

leaves of various folios, including number «76», which is the folio number found

on the present leaf. The measurements also confirm the identification, as the

manuscript is 22,9 cm high (the leaves of the manuscript are wider, measuring

16,9 cm - the present leaf is less wide because it was excised from the book). The

original manuscript, to which this miniature belonged, retains only one full-page

miniature, an Annunciation on f. 7v. The present miniature will have been facing

the beginning of the Mass of the Virgin.

The decoration in all four margins of the manuscript Hours consists of ink

sprays, gold discs and triangular petals, painted and gold foliage, flowers and

animals, and single figures of men (prophets?), women and angels, some of them

emerging from flowers or gold cloud-banks and most shown in acclamation or

prayer. The present leaf with a full-page miniature has similar decoration in all

four margins, but with a half-length figure of a praying man in the outer margin

and a figure of an angel playing the lute in the lower margin.

Ref. Books of Hours. Livres d’Heures. Catalogue 9 (Paris, Les Enluminures,

2000), pp. 130-133 nr. 26 (Book of Hours, Delft, ca. 1480-1490). - J.H. Marrow

on Cambridge, Fitzwilliam Museum, Ms. 25, in The Cambridge Illuminations.

Ten Centuries of Book Production in the Medieval West, ed. Paul Binski & Stella

Panayotova (London-Turnhout, Harvey Miller, 2005), pp. 210-211 (nr. 93).

Prov. Little is known of the post-medieval provenance of the original Book of

Hours, presently in a European private collection.

We thank Professor James H. Marrow for help in preparing this entry.

5 [Austrian school]

VON MOLITOR, Martin - Romantic landscape with strollers.

Drawing, pen and Chinese black ink, brush and brown and white gouache, with

traces of graphite, 23 x 36,7 cm, laid paper with watermark of 1795, signed in

pencil at lower left corner «Molitor» (sm. stain at upper left edge). Under passepartout,

under wooden gilt frame (not studied outside frame).

500 / 600 €

Landscape with small meandering river. In the right foreground two women are

walking a dog. The contours of a ruin can be spotted in the left background. Von

Molitor (1759-1812) was a popular landscape painter of the Austrian Romantic

movement. The drawing is accompanied by a certificate (30.1.1984).

6 [Belgian school]

FRANÇOIS, Pierre Joseph Célestin - «Vicino al Tempio di

Bacco». Rome, 1790.

Drawing, pen and black ink, grey wash, grey and brown framing lines, 12 x 21

cm, laid paper, signed and dated at lower margin «J. Frainçois 1790». Under passepartout,


200 / 250 €

Mythological or historical scene set in Rome, near the temple of Bacchus.

Spear-bearing women run from a flight of stairs into a garden with ancient

ruins. Joseph François (1771-1851) was Belgian painter, born in Namur, who

completed his artistic training with a «Grand Tour» in Rome, where he stayed

between 1789 and 1792. The drawing dates from this Rome sojourn. After his

return François would become one of the main representatives of Neoclassicism

in Belgium. He taught painting at the Art Academy of Brussels, where he trained

Madou and Navez.



7 [Belgian school]

LE GENDRE, Louis - Portrait of Jeanne-Etiennette Du Tarte.

[Brussels], 1761.

Aquarel in pastel on canvas, 71 x 54 cm, signed at left side «Legendre». Under

wooden gilt frame (not studied outside frame).

500 / 600 €

9 [Dutch or Flemish school]

Ascension of Christ. 17th c.

Drawing, pen and brown ink, heightened with white, 14 x 17,6 cm, laid paper

with Amsterdam watermark (coat of arms). Stuck by corners on mod. vellum

paper.

300 / 500 €

Christ ascending into the heavens while holding a flag in his left hand. Frightened

soldiers and people gaze upwards. Possibly a design for a ceiling painting.

Jeanne-Etiennette Du Tarte (1740-1788) was a famous actrice in the 18thcentury

theatrical life of Brussels.

10 [Dutch or French school]

Tavern scene. 18th c.

Drawing, pen and brown ink, brown sepia wash, heightened with white, 22,2 x

28,6 cm, laid paper, unsigned (ink oxidation). Under passe-partout, under gilt

frame (not studied outside frame).

200 / 300 €

8 [Belgian school]

XHROUET, Mathieu Antoine - Veue de la ville de Limbourg

capital du duché de ce nom.

Drawing on vellum, in ink and wash, 9 x 14 cm, mounted on contemp. paper,

unsigned. Stuck by upper corners under passe-partout.

500 / 600 €

Panoramic view of Limbourg, capital of the Duchy of Limburg and today located

within the Belgian province of Liège, by the local painter Xhrouet (1672-1747).

Comical scene of two men drinking just outside a tavern while others play music

on a bagpipe and trumpet.

11 [Dutch or French school]

Solomon building the temple of Jerusalem. 18th or 19th c.

Drawing, pencil, gouache and red chalk, 19 x 15,4 cm, paper, illegible signature

at lower right corner.

80 / 120 €

Study sheet. Solomon instructing two men to build the Temple of Jerusalem,

seen in the background. On the verso a drawing in pencil of a bearded man

addressing a large crowd. Possibly Moses.



13 [Dutch school?]

Bath of Venus. 16th c.

Drawing, pencil and black chalk, heightened with white, 19 x 11,5 cm within

passe-partout, laid paper, signed in the upper right background with initials

«H.A.T»? (minor black spots near Venus’ left arm, min. foxing). Stuck under

passe-partout, under gilt wooden frame (sl. damaged frame, not studied outside

frame).

400 / 500 €

11

12 [Dutch or Italian school]

The tomb of Medici Pope Leo XI. [Rome], c. 1644-1680.

Drawing, pen and brown ink, brown wash, traces of graphite, 28,8 x 17,8 cm, laid

paper with Amsterdam watermark, unsigned (sl. discolouration in paper at lower

edge, sm. foxing).

200 / 250 €

Drawn after the funeral monument of Pope Leo XI in the Vatican, sculpted by

Alessandro Algardi between 1640 and 1644. The drawing seems to be based

upon the existing sculpture, rather than being a design for its construction.

Given the Amsterdam watermark, the sheet may be by the hand of one of the

many Dutch artists living in Rome at that moment.

Venus bathing in a tub decorated with a lion’s head, while being teased by a

leaning cupid. Skilfully executed drawing. Possibly Netherlandish.

14 [Dutch school]

Fight with a Centaur. C. 1600-1650.

Drawing, pen and brown ink, brush and brown wash, 13,2 x 18,2 cm, laid paper

(underlaid), unsigned (some foxing, oxidation stain at upper right corner, lower

left corner sl. torn). Loose sheet.

200 / 300 €



A young man fighting with a Centaur. He pokes him with a spear, causing the

mythological creature to cry out in (romantic) agony. The figures are skilfully

drawn with a sure hand. The drawing is slightly similar in its handling of lines

to a design of Gerard ter Borch which uses a similar subject matter. The latter is

now in the collection of the Rijksmuseum (inv. RP-T-1887-A-740).

15 [Dutch school]

Mythological or Biblical scene. 17th c.

Drawing, red pencil with grey wash and graphite pencil grid lines, 39,5 x 22,8 cm,

thick paper, unsigned (paper sl. soiled, old glue marks on verso). Sold unframed.

400 / 500 €

This intriguing sheet, which depicts a man on his sick or deathbed visited by a

royal couple, is most likely a cartoon drawing for a larger wall painting under

a round arch. This is not only indicated by the particular shape, but also by

the fact that it is squared for transfer in stylus or pencil. The iconography and

corresponding painting of the scene is yet to be identified. It has been suggested

that the present work bears a resemblance, on stylistic grounds, to that of

the Dutch painter and art theorist, Gérard de Lairesse (1640-1711), though

no compelling evidence has, thus far, been provided to further endorse this

attribution.

16 [Dutch school]

BAKHUIZEN, Ludolf - Ships off the coast of Amsterdam.

Amsterdam, c. 1660-1708.

Drawing, 10 x 16 cm, pen and brown ink, brown and grey wash, black framing

lines, laid paper, unsigned (brown stain at upper left edge). Under passe-partout,


1.500 / 2.000 €

Exceptional drawing attributed to Bakhuizen (1630-1708) with ships docking in

the harbour of Amsterdam. In the far distance we can see the buildings of the

Dutch Sea Arsenal. On the left foreground the maritime view is supplemented

by a mythological scene with Neptune rising from the waves, escorted by

seahorses and nereids. The inclusion of such mythological elements is extremely

rare in the drawn oeuvre of Bakhuizen, which mostly consists of seascapes. The

later ms. attribution to Bakhuizen on the the passe-partout complies with the

stylistic and technical execution as seen in the attributed oeuvre of the Dutch

painter and draughtsman. The composition and orientation is similar to a signed

painting by Bakhuizen of 1696, now in the collection of the Amsterdam Museum

(inv. B 2764). The drawing is accompanied by a certificate.

Ref. https://rkd.nl/explore/images/8835. - G. de Beer, «Ludolf Backhuysen

(1630-1708). Sein Leben und Werk», Zwolle 2002, p. 145, no. 90.

17 [Dutch school]

Follower of BERCHEM, Nicolaes - Italian landscape with

shepherds and maids at a fountain. C. 1650-1683.

Drawing, pen and brown ink with brown wash, 19 x 25 cm, laid paper mounted

on 19th-c. paper, attributed by later hand «Berghem» in lower left corner

(trimmed inside image at top and bottom, two blue ink stains in centre affecting

the image, def. at left lower corner with loss of image, dampstain at upper right

corner, vertical creases with loss of image at lower right corner). Under passepartout,

under gilt frame (not studied outside frame).

300 / 450 €

Idyllic scene with country people gathering around a drinking fountain. The

manner in which the brown wash is applied and the rendering of the faces seem

16



17

to confirm the later inscription on the drawing which attributes it to Nicolaes

Berchem (1621-1683). Also the type of fountain, inspired by the fountain on the

Forum Romanum, makes an appearance in other signed works by Berchem,

such as the painting in the Dulwich Picture Gallery (London) or a drawing with a

similar subject in the Teylers Museum (Haarlem), inv. Q19.

Ref. M.C. Plomp, «The Dutch Drawings in the Teylers Museum. Volume II.

Artists born between 1575 and 1630», Haarlem/Gent/Doornspijk 1997, p. 65 no.

35. - https://rkd.nl/explore/images/22166.

19 [Dutch school]

Possibly BOSSCHAERT, Jeronimus - 2 Equestrian battle scenes.

2nd half 17th c.

Drawings, grey gouache, 16 x 15,5 cm, laid paper, signed with monogram at lower

left corner «B.F[ecit]». Under passe-partout, under wooden gilt frames.

250 / 300 €

18 [Dutch school]

Circle of BLOEMAERT, Abraham - Farm house with a barn and

farmers. [Utrecht], c. 1600-1680.

Drawing, pen and brown ink, 16,8 x 25,2 cm, laid paper, unsigned (some min.

foxing). Stuck under passe-partout, under wooden gilt mod. frame (not studied

outside of frame).

300 / 400 €

Skillful drawing of a worn-down farm house in a Dutch summer landscape with

a willow and a girl in the left foreground. A pair of farmers has returned from the

field in the shadowy background. The style approaches the rustic landscapes

of A. Bloemaert (1564-1651) in its rendering of the tree leaves and the crosshatching

in order to create depth and volume.

Two soldiers on horseback fighting each other with pistols or rapiers. The

attribution to Bosschaert is based solely on the monogram in the lower left

corner which corresponds to a similar signature mentioned by Nagler (no. 1562).

No other drawings by Jeronimus Bosschaert are known, precluding comparable

stylistic analysis.



20 [Dutch school]

Circle of DUSART, Cornelis - Peasant scene outside a tavern.

[Haarlem], c. 1680-1700.

Drawing, red chalk, brush and red, green and grey wash, 18 x 27,3 cm, laid paper

(large diagonal tear in upper right corner, some foxing). Under passe-partout,


800 / 900 €

Dusart (1660-1704) was a pupil of Adriaen van Ostade (1610-1685). He probably

inherited Ostade’s entire studio and used it intensively. Both Dusart and Van

Ostade executed a large body of figure drawings which were sold as works of

art in their own right. These higly-polished and often coloured drawings such

as the present one, were sold individually to collectors. The sheet represents

some peasants drinking and chatting outside a house. Typical for Dusart is the

attention given to the world of children such as the young boy playing with a dog

in the left foreground and the two girls having fun with a wheelbarrow in the far

right. The structure of the house - with a half-open doorway and two smaller

windows at its right - is almost identical to the architectural layout as seen in an

etching of 1685 by Dusart named «A hurdy-gurdy player with his dancing dog

outside a house» (Hollstein VI:11). The drawing is accompanied by a certificate.

Ref. P. Schatborn, «Dutch figure drawings from the seventeenth century»,

Amsterdam 1981-82, pp. 110-12. - S. Anderson, «Witty and Lascivious

Amusements: The Drawings of Cornelis Dusart and the Dawn of the Eighteenth

Century», Unpubl. PhD (NYU), 2007.

21 [Dutch school]

After Hendrick GOLTZIUS - Ecce Homo. Cologne, c. 1597-1653.

Drawing, pen and brown ink with brown wash, 25,4 x 18,8 cm, mounted on

18th-c. paper, signed «Martin de Vos» by later hand at bottom left corner. Under

passe-partout.

700 / 800 €

Christ is presented to the people from a balcony. He stands wearing a crown of

thorns and holding a reed at left. Pontius Pilate washes his hands nearby. In

the foreground a crowd jeer and a small child points. The drawing is copied by

a talented contemporary artist after an engraving by Hendrick Gotzius, from

his «Passion» series. The shadows and hatchings of the engraving have been

skilfully transmitted in brown wash, without loss to the original depth and linear

quality of the design. Since the orientation of the drawing is not reversed, the

chance that the drawing is a preparatory design by Goltzius is slim.The Museum

der bildenden Künste of Leipzig (inv. N.I 44) has a reversed signed drawing in

black chalk. At the beginning of the 17th century, both Ludovicus Siceram and

Abraham Hogenberg published a copy after Goltzius’ print series. Our drawing

possibly played a role in this transmission process.

Ref. New Hollstein (Goltzius), 17-28. - Hollstein VIII:28. - Hollstein IX:1-12. -

Reznicek, «Die Zeichnungen von Hendrick Goltzius», Utrecht 1961, p. 249-250,

nr. 40, afb. 269.

21

22 [Dutch school]

After Hans HOLBEIN the Younger - Noblemen fighting with

Death. Second half 17th c.

Drawing, pencil, 11,3 x 18 cm, laid paper (trimmed at edges). Stuck under passepartout.

180 / 220 €

Two drawings on one sheet with men fighting the allegorical figure of Death.

While the first fighting couple is modelled after Holbein’s original woodcut

«The nobleman and Death» from his Danse Macabre series (1526), the second

is copied after Wenzel Hollar’s (1607-1677) reinterpretation of the print series,

as published in 1646.

23 [Dutch school]

Merry couple on the country side. 18th c.

Drawing, red chalk (sanguine), 22,5 x 28 cm, laid paper, unsigned (some creases

in the centre slightly affecting the image). Stuck under passe-partout, under gilt

wooden frame (not studied outside frame).

120 / 180 €

A comical village scene with a drunken man led outside the inn by his wife. A

man in the background can be seen urinating against a shed.



25

24 [Dutch school]

Circle of MOEYAERT, Nicolaes Cornelisz. - Esau meeting

Jacob. [Amsterdam], c. 1607-1655.

Drawing, black chalk, pencil, grey wash, framelines in pen and brown ink, 20,2 x

24,9 cm, laid down on thicker sheet of paper, unsigned (some old repairs at lower

left corner, minor abrasions to the right lower corner, some brown foxing spots to

the sheet throughout, sm. ink stain at left lower centre under Esau’s chest). Upper

edges under passe-partout.

300 / 400 €

Ishmael» in the National Gallery of Edinburgh (inv. inv./cat.nr RSA 1125) or

«King Jeroboam points to the prophet» in the Kunstsammlung der Universität

Göttingen (inv. H7).

Ref. RKD https://rkd.nl/explore/artists/56541. - A. Tümpel, «Claes Cornelisz.

Moeyaert», Oud Holland 88 (1974), p. 1-163.

25 [Dutch school]

MONINCKX, Johannes I - Landscape with figures with church

and classical ruins. C. 1620-1630.

Drawing, pen and brown ink, framing line in brown ink, 14,5 x 24,3 cm, laid

paper, signed at lower edge «JMoninx Fecit» (min. crease at lower right corner,

trimmed to framing line). Under passe-partout, under wooden gilt frame (not

studied outside frame).

1.000 / 1.200 €

Highly detailed drawing with two travellers on the right foreground approaching

a ruined church building attached to a classical colonnade. In the background

a circular temple can be seen. The architecture forms a fantasy assembly

or capriccio of Roman buildings such as churches, ruins and amphitheatres.

The manner of hatching, the high sense of detail and the subject matter all

correspond to Moninckx’ oeuvre from which only a handful signed drawings

have survived. This drawing is strongly comparable both in style and subject

with a sheet in the Indianapolis Museum of Art (inv. 1988.41). Accompanied by

a certificate.

An expertly executed sheet depicting the meeting between Esau and Jacob,

surrounded by a large crowd. The horizontal hatchings, general compositions,

the subtle use of wash and the ideosyncratic faces are all traits which recall

the style of Nicolaes Moeyaert (1592-1655), a student of Pieter Lastman.

Stylistically comparable drawings are «The banishment of Hagar and



26 [Dutch school]

Circle of QUAST, Pieter Jansz. - Tavern scene. Amsterdam, c.

1640.

Drawing, pen and brush, watercolour and grey gouache, 25,4 x 29,3 cm, prepared

paper, unsigned (waterstaining at lower right edge, foxing, min. def. at arm of left

figure, minor tear at lower edge). Stuck under passe-partout, under gilt wooden


500 / 600 €

28 [Dutch school]

Attributed to SOUKENS, Jan - Landscape with ruins.

Zaltbommel, c. 1700-1725.

Drawing, watercolour, 13,9 x 18,5 cm, laid paper, unsigned. Stuck under passepartout,

under mod. wooden frame (not studied outside frame).

250 / 300 €

Gathering of men next to a church ruin. Skillful drawing attributed to Soukens

on passe-partout.

An inn scene with three men and an old woman. The man on the left is seduced

by the elderly woman, while the pipe-smoking man on the foregound gazes at

the beholder. Both theme and drawing style are reminiscent to that of Pieter

Jansz. Quast or his workshop.

27 [Dutch school]

SOUKENS, Hendrik - A village scene with horsemen.

Zaltbommel, c. 1695-1711.

Drawing, pen and black ink with grey wash, frameline in black ink, 15,5 x 20

cm, paper underlaid, unsigned (trimmed to frameline; some dirt stains at left, sm.

stains at top centre, sm. hole at lower right corner, rust stain and crease at upper

right corner). Glued on mod. cardb. support, under passe-partout.

500 / 700 €

29 [Dutch school]

VAN DER WINDEN, Hendricus - Gentleman playing cards.

12.11.1768.

Drawing, red and black chalk (sanguine), 17,6 x 11,8 cm, laid paper, signed and

dated in brown ink at the lower edge «HvdWinden» (some prick holes in the upper

corners). Under passe-partout.

150 / 200 €

Nice village scene drawn with great detail, with two men on horseback in the

foreground. The rendering of leafs, large array of small figures populating the

landscape and the general composition of the picture plain remind of the rare

and delicate works made during the short career of Hendrick Soukens (1680-

1711).

Ref. Thieme/Becker XXX:309.

Nice sketch of an elegant man sitting at table while playing cards. Little is

known about Van der Winden (1730-1783) other then that he lived and worked

in Amsterdam where he was known for topographical etchings.

Ref. Scheen 1981, p. 586. - https://rkd.nl/explore/artists/421956



30

30 [Dutch school]

Circle of VAN SANTVOORT, Pieter Dirckz. - Italianate

landscape. 17th c.

Drawing, pen and black ink with gouache, 20 x 29 cm, laid paper. Stuck under

passe-partout.

200 / 300 €

An Italian landscape with a winding river running through an idyllic valley with

an ancient ruin. Villages and castles can be seen on the mountainside and on the

river bank. The style of the drawing (e.g. the rendering of clouds and leaves) is

similar to that of the Dutch painter Pieter Dircksz. Van Santvoort (1609-1680).

31 [Dutch school]

Attributed to VERBOOM, Adriaen Hendriksz. - Landscape

with trees. C. 1650-1700.

Drawing, pen and two shades of brown ink, traces of graphite pencil, brown ink

framing lines, 16,1 x 20,6 cm, laid paper, unsigned (frayed at upper right corner

with sl. loss of image, sl. toned paper, sm. worm hole at lower right center, old

repairs on verso of upper and lower left corners, otherwise good condition).

500 / 600 €

This drawing can be attributed with some confidence to Adriaen Verboom

(1628-1670), not only on stylistic grounds, but also because its composition is

similar to attributed drawings by Verboom in the Pushkin Museum (inv. 1101)

and a recently acquired drawing in the Teylers Museum (inv. KT 2014 038). The

sheet could also be by Claes van Berensteyn (1617-1684), who also worked in

Haarlem at the same time, and who had a similary minutely drawing style with

identical tree branches.

Ref. https://rkd.nl/explore/artists/80086. - S. Hautekeete, «Dessins du Siècle

d’or hollandais. La Collection Jean de Grez», Brussels 2007, no 37.

31



32 33 34

32 [Dutch school]

VON BONN, I.F.A. After Lucas VORSTERMAN - Avaritia.

Drawing, pen and black ink, 12,5 x 16 cm, manuscript caption. Stuck by upper

corners under passe-partout.

150 / 250 €

Drawing by I.F.A. von Bonn, dated 1760, after Vorsterman’s engraved plate

«Avaritia», from the series «The Seven Deadly Sins» (1619-1675) after Adriaen

Brouwer.

Ref. Hollstein III: 116 (After A. Brouwer).

33 [Dutch school]

VON BONN, I.F.A. and VORSTERMAN, Lucas. After Adriaen

BROUWER - Superbia (Engr. and drawing).

Drawing, pen and black ink and engr. with the same composition, both 19,4

x 14,1 cm (drawing with small margins and engr. trimmed just outside the

platemark). Stuck by upper corners under 1 passe-partout.

300 / 400 €

Vorsterman’s engraved plate «Superbia», from the series «The Seven Deadly

Sins» (1619-1675), together with an 18th c. drawing by I.F.A. von Bonn. Both

show an elderly woman in front of a mirror fastening her collar.

Ref. Hollstein III: 111.

35 [Dutch school]

Façade of town hall. 17th c.

Drawing, pen and brown ink, grey and black wash, 31,3 x 36,9 cm, laid paper

with watermark (coat of arms), unsigned (vert. and hor. folding lines, heavy

dampstaining throughout, edges strengthened on verso, old glue marks on verso,

large tear at left edge, sm. repaired tear at left edge). Stuck by upper corners under

passe-partout, under wooden frame.

250 / 300 €

Exquisite architectural drawing representing a classicist or Renaissance town

hall consisting of three storeys and a central bell tower. The façade is horizontaly

divided into fifteen bays with alternating window types: Serliana, triangular

and segmental pediments (inspired by Michelangelo and Sansovino). Given the

large amount of detail and coloured wash, the drawing probably functioned as a

presentation drawing. Additionally the drawing also includes a scale at the lower

margin divided into units of 10. The general lay-out of the building recalls that

of the Maastricht town hall, designed by Pieter Post. Also the drawing style, is

reminiscent to that of architectural drawing practice during the Dutch Republic.

Ref. E. Gerritsen, «Zeventiende-eeuwse architectuurtekeningen: de tekening in

de ontwerp- en bouwpraktijk in de Nederlandse Republiek», Zwolle 2006.

34 [Dutch school]

VON BONN, I.F.A. and VORSTERMAN, Lucas. After Adriaen

BROUWER - Invidia (Engr. and drawing).

Drawing in black ink and engr. with the same composition, both 14 x 19 cm

(drawing with wide margins, print trimmed to the borderline). Together stuck by

upper corners under 1 passe-partout.

300 / 400 €

Vorsterman’s engraved plate «Invidia», from the series «The Seven Deadly Sins»

(1619-1675), together with an 18th c. drawing by I.F.A. von Bonn. Both show a

man with a snake around his cap, sitting on a barrel, squeezing a pooping piglet.



36 [Dutch school]

Portait of a lady. 17th c.

Drawing, black and red chalk, 10,6 x 9,6 cm, laid paper with partial watermark,

unsigned. Glued on contemp. paper.

100 / 120 €


38

Intimate portrait of a hooded lady gazing at the beholder. With only a minimum

of drawing tools, the draughtsman added a vivid quality to this small portrait.

39 [Dutch school]

St Paul and Barnabas in Lystra. C. 1680-1750.

Drawing, pen and brown ink, brush and grey gouache, 33 x 39 cm, laid paper,

unsigned. Under passe-partout, under wooden gilt frame (not studied outside

frame).

200 / 300 €

37 [Dutch school]

Six small cartouches with people looking at the sky. 17th c.

Drawing, red chalk (sanguine), 17,3 x 20 cm, laid paper, unsigned.

200 / 220 €

(Detail)

Small oval drawings, numbered with Roman numerals from 1 to 6. They

probably represent monthly celestial constellations, intended as preparatory

designs for an atlas frontispiece or celestial map.

38 [Dutch school]

Sketches of wanderers and hurdy-gurdy player. C. 1600-1670.

Drawing, pen and black ink, grey wash, 15 x 16,8 cm, laid paper, later ms. note

«V. Goetz» (large dampstain at left side, min. foxing).

100 / 120 €

Intricate sheet with hurdy-gurdy player, a women and young girl. The latter two

figures are drawn with less detail. Wandering musicians and bohemians had

become a popular genre by the dawn of the seventeenth century, making an

appearance in the art of Callot, Nicolaes Maes, and Rembrandt.

Barnabas an Paul preaching in an antique city while cripple are being healed.

The Lystrians had mistaken them for Zeus and Hermes (Acts of Apostles 14:7-

17). The drawing had previously been attributed to the Dutch painter and

draughtsman Pieter Crijnse Volmarijn, but this attribution seem rather unlikely

given the difference in style. Accompanied by a certificate.

40 [Dutch school]

The three Marys at the Tomb. 17th c.

Drawing, pen and black ink, brush with red and brown gouache, heightened with

white, 19 x 28,4 cm, laid paper, unsigned (heavily creased at lower right corner,

sm. def. at upper right edge, sm. creases throughout, some min. dampstaining).

Stuck by upper corners under passe-partout.

350 / 400 €

The three Marys visiting the tomb of Jesus, carrying a jar of ointment (Mark

16:1). Two radiant angels await them. The well-balanced composition is

executed with great care and detail.



40

41 [English school ?]

5 sketches. 18th c.

Drawings, brown ink, c. 8 x 10 cm (visible dimension), light blue laid paper

(irregular edges with cuts out) stuck on light blue vellum paper. Together under

passe-partout and wooden frame (not studied outside frame).

100 / 120 €

Depicting: soldiers around a man in a bed,- man whispering to a sleeping man,-

two women talking,- seated woman,- two men talking.

42 [English school]

A horse-drawn carriage in the woods. Late 18th c.

Watercolour, oval 22,7 x 27,6 cm, laid paper glued on cardb. support, unsigned

(some waterstains at upper edge).

80 / 100 €

43

44 [Flemish or German school]

The death of the Niobids. First half 18th c.

Drawing, pen and black ink, brush and watercolour, 19,5 x 19 cm, laid paper,

unsigned (trimmed at borderline, waterstain at lower right corner, min. foxing).

Stuck by corners under passe-partout, framed under glass (not studied outside

frame).

200 / 300 €

A driver of a horse-drawn carriage talking to two wanderers on a forest road.

With skilfully rendered colours.

43 [Flemish or Dutch school]

Portrait of Elisabeth Fourment, sister of Ruben’s second wife.

18th c.

Drawing, red chalk, grey and red wash, 24,1 x 17 cm, thin laid paper with

watermark (hunting horn in a shield and monogram LVG), unsigned (1 cm

diameter hole down to the right).

700 / 800 €

Based on a Rubens painting (named as «Hélène Fourment») in the Royal

Collection, H.M. Queen Elizabeth II.

A fine depiction of the Greek myth of Niobe. During the annual celebration of

Leto’s offspring (Artemis and Apollo), Niobe, queen of Thebes, was boasting

that it was she and her children who should be celebrated instead, given that she

was fortunate to have been blessed with 7 sons and 7 daughters. Punished for

her Hubris, Artemis and Apollo killed Niobe’s children by shooting arrows from

the heavens. In the foreground the desperate Niobe is mourning her terrible loss.


45 [Flemish school]

Abraham and Isaac in a landscape. [Antwerp], 17th c.

Oil on copper, 11,6 x 24,2 cm, unsigned (minor craquelure pattern across the

surface and ingrained dirt). Under 19th-c. frame. (not studied outside frame).

400 / 500 €


Abraham, wearing a turban, is walking on a hillside with his son. Both the knife

and faggots allude to the sacrifice to be performed. On the rear side of the

copper the name of Theodoor van Thulden is written by a later hand, though

this attribution is at the very least dubious. The style does not correspond to

other attributed works by Van Thulden.

46 [Flemish school]

Male nude seen from the back. 17th c.

Drawing, black chalk heightened with white, 47 x 28 cm, laid paper, unsigned

(several holes in paper at the bottom of the page with loss of image, large vertical

and horizontal creases from folding, occ. spots). Stuck under passe-partout, under

gilt. wooden frame (not studied outside frame).

200 / 300 €

A naked man seen from the back covering his face. Most likely a study for a scene

depicting the «Expulsion from Paradise».

Rare drawing on parchment

46

47 [Flemish school]

CRUSSENS, Anthonie - Landscape with a Bridge over a Frozen

River with Skaters. C. 1652-1665.

Drawing, pen and brown ink, framing line in brown ink, 18,8 x 28,5 cm,

parchment, signed in lower centre (ink faded due to over-exposure to UV, some

sm. stains at right edge, sm. creases at upper right corner). Under passe-partout.

500 / 700 €

Nice animated drawing, picturing numerous skaters on a frozen river, near a

village. Anthonie Crussens (c. 1635 - 1665) was active in Brussels and specialised

in village and winter scenes in the style of Bruegel. Other drawings by his hand,

almost all on vellum, are now in the Collections of the Bruges Printroom, the

Kupferstichkabinett Berlin and the Brussels Royal Library.

Ref. Dumas, «Anthonie Crussens, een Vlaamse amateurtekenaar uit het midden

van de 17de eeuw», Delinaevit et Sculpsit 22 (2000), pp. 1-46. - D’ Haene,

«European Old Master Drawings from the Bruges Print Room», no. 19; note 4.

47



48 [Flemish school]

After Franciscus II DE NEVE - Landscape with shepherds, goat

and a dog. C. 1666-1700.

Drawing, pen and grey and brown ink, grey wash, 18,9 x 25,8 cm, laid paper with

Dutch watermark (Churchill no. 111), unsigned (edges browned from old frame,

small section at upper left corner redrawn by later hand in brown ink, sm. creases).


200 / 220 €

50 [Flemish school]

Circle of FRANCKEN II, Frans - The mourning of Christ. 17th c.

Drawing, pen and brown ink, brown wash, heightened with white, 33,5 x 25,4

cm, hard paper, unsigned, number «16» with pen upper left (mounting trace on

verso).

250 / 300 €

Drawn after an engraving of Franciscus II de Neve (1632 - after 1704). During his

long stay in Rome between 1660 and 1669, he specialised in designing prints

for the Roman publisher Giovanni Giacomo de Rossi. These engravings were

mostly bucolic pastoral scenes in Italian landscapes in the tradition of Titian and

Poussin. Since the drawing is oriented the same way as the engraving, this sheet

is most likely a copy after the print.

Ref. Hollstein XIV:3.

49 [Flemish school]

After François DUQUESNOY - Study after sculptures of

children. 18th c.

Drawing, black chalk, heightened with white, 30 x 50,5 cm, blue laid paper,

unsigned (small hole upwards to the right).

700 / 800 €

The grief-stricken Virgin kneels by her dead son, surrounded by people. Near the

dead body are the crown of thorns and Mary Magdalene’s ointment jar. In the

background, Calvary with Roman riders in front of the thieves’ crosses and the

Garden of Gethsemane. Francken the Younger (Antwerp 1581-1642) painted

a variety of subjects, almost all on a small scale, incl. many scenes from the

Passion of Christ.

Prov. Paul Waite, USA (handwr. note on top of verso).

Eleven putti sitting, standing, kneeling, lying; head up, down, turned; arms

raised, stretched towards the ground, across the chest. Although a later

copy, this drawing is valuable as it depicts numerous statuettes of putti, most

probably terracottas, modelled by Duquesnoy (Brussel 1597-1643 Livorno). It

was drawn after models kept in an artists’ workshop or belonging to a collector

such as those from the 18th century in Paris: Girardon, Crozat, Croyat du Châtel,

etc. Several of these putti relate to extant Duquesnoy sculptures.

Ref. Boudon-Machuel, Marion - François du Quesnoy. Paris, Athena, 2005, fig.

46, In.82 dér. 1 (i.e. our drawing); In.107 dér.1 and In.111 dér. 1.

51


51 [Flemish school]

After Philip FRUYTIERS - Presentation of the Holy Virgin.

1625-1666.

Drawing, pen and brown ink, with grey wash, 27,3 x 19 cm, laid paper, unsigned

(sm. tear at upper right). Under passe-partout and wooden frame. Not studied

outside frame.

1.000 / 1.200 €

Drawing of the presentation of Mary to God and the Holy Spirit by Anna and

Joseph. On a banderole the words «Nativitas Tua Virgo MAR Gaudium Universo

Mundo» can be read. The drawing is based on a print by Fruytiers with the

same subject and diverts from the printed version in various details such as the

singular God, the omission of the angels and the halos.

Ref. Hollstein IV:2.

Exceptional Flemish landscape drawing


52 [Flemish school]

Circle of GRIMMER, Jacob - Landscape with Flemish village.

[Antwerp], late 16th or early 17th c.

Drawing, black chalk, 19 x 23,2 cm, laid paper without watermark, unsigned

(min. foxing at lower edge). Stuck under passe-partout, under mod. wooden

frame, studied outside frame.

3.000 / 4.000 €

54 [Flemish school]

Landscape with monk or bishop at the river side. [Flanders or

Northern France], c. 1570-1620.

Oil on panel, 21 x 16,2 cm, unsigned (several losses of paint near bottom of large

rock, bishop’s head and near the castle with support visible, rectangular drying

cracks throughout lower section). Under 20th-c. sextagonal frame with gilding.

400 / 500 €

Rolling hills with a typical Flemish farmhouse. On the left foreground a large

tree contributes depth and perspective to the design. The horizontal hatching

and atmospheric drawing style show the hand of a confident and skilled

draughtsman working at the closing decades of the sixteenth century, probably

in Antwerp or Brussels. Possible artists working in a similar drawing style are

Joos II De Momper (1564-1635), Jacob Grimmer (1525-1609) or Hendrik Gijsmans

(1552-1612). The drawing has previously been attributed to Jan Bruegel the

Younger, yet there is little stylistic argument to follow this attribution.

53 [Flemish school]

Hunters in a landscape. C. 1570-1634.

Drawing, black chalk heightened with white, 25,2 x 40,7 cm, blue-grey paper,

unsigned (crease at lower right edge, min. foxing hardly affecting the image).


700 / 800 €

Two hunters in the left foreground stroll through a forest landscape with a ruin

in the far background. Drawn by a confident hand which recalls the best late

16th-century Flemish or Dutch draughtsmen. The drawing has been attributed

on the passe-partout to Roelant Savery (1576-1639). Aside from the hatching on

the leaves, there is little stylistic argument to confirm this attribution.

Ref. Kortrijk 2011, pp. 102-3. - Durham 1979.

Landscape in the tradition of Joachim Patinir with Italianesque rocks; divided

into three depth planes ranging from a brown foreground, a green middle plane

and a light blue or white background. Situated at the top of the rock is an idyllic

castle. In the left foreground a figure with a crozier and a bishop’s hat can be

discerned reading a book. At his feet a nude figure is seated, holding an object

in his left hand.



55 [Flemish school]

Circle of QUELLINUS, Erasmus II - Angel saving souls in

purgatory. [Antwerp], 17th c.

Drawing, pen and brown ink, grey wash, 16,8 x 11,6 cm, laid paper, unsigned (cut

corners, some spots, 2 tiny holes and thinned paper on left side).

100 / 120 €

Kneeling Virgin crowned by the Holy Trinity with Christ on her right, God the

Father on the left and the Holy Spirit hovering over the scene. The main figures

are surrounded by winged putti. Possibly drawn after Rubens’ painting with the

same subject (Metropolitan Museum New York, inv. 1984.433.336).

57 [Flemish school]

Attributed to SCHOEVAERDTS, Mathys - Tavern scene. C.

1680-1710.

Drawing, red chalk (sanguine), 22 x 30 cm, laid paper, signed with initials at

lower right corner «M.S.» (sm. crease at lower right edge). Under passe-partout,


400 / 500 €

Prov. Jozef Kalous (Vienna 1887-1974), Austrian artist (stamps on verso).

56 [Flemish school]

After Peter Paul RUBENS - The coronation of the Virgin. C.

1625-1700.

Drawing, pen and brown ink, brush with red wash, heightened with white, 36,8 x

27 cm, laid paper with late 17th-c. Dutch watermark (Heawood 2020), signature

«Jean [...]» trimmed at lower edge (horizontal crease, small dark spots). Stuck by

corners on cardb.

200 / 300 €

The interior of a tavern with a merry company around a table. A sketch which

may have been intended for a larger painting. Based upon the signature in the

lower right corner, the drawing could be by Mathys Schoevaerdts, a Brussels

painter (active 1680-1709) known for his village scenes and landscapes in the

manner of David Teniers.

Prov. Albert Van Loock (coll. stamp).

58 [Flemish school]

St Anthony of Padua holding Christ. 17th c.

Drawing, red chalk (sanguine), 21,5 x 18,7 cm, laid paper with unidentified

watermark (BH), unsigned (upper right edge sl. frayed).

100 / 120 €

Devotional image of St Anthony being blessed by the Christ Child, surrounded

by angels.



59

59 [Flemish school]

Study of Hands. 17th c.

Drawing, pen in brown ink and grey wash, 17 x 21,8 cm, laid paper, unsigned,

ms. notes (torn at left side, sm. spots, repaired tear at upper edge). Stuck by corners

under passe-partout.

200 / 300 €

Charming study of two feminine hands with rings and a bracelet. A third hand is

sketched on the lower left section of the sheet. Ms. annotations at the the upper

right side: «2 (?) paer mauwen / 3 paer maustikke / scouders / hemden». Possibly

instructions either for a larger painting, or for a tailor.

60 [Flemish school]

After David II TENIERS - The Alchemist. Late 18th c.

Oil on silverly metal, 21 x 25,3 cm, unsigned (new varnish, some brown spots at

upper left corner sm. cracquelures under varnish layer). Unframed.

1.500 / 2.000 €

An alchemist distracted from his study, in a room filled with tools and scientific

objects. Ever since Pieter Bruegel’s depiction of the profession (see Lot 228),

the subject witnessed a growing popularity which peaked at the start of the

17th century. Compositions with alchemists in their studies were produced

throughout the following centuries. The present painting is a copy after a

composition by David II Teniers now in the Mauritshuis, The Hague (inv. 261).

Originally in the private collection of Willem V of Oranje-Nassau but confiscated

by the French and transported to Paris in 1795. At that time, both J.- L. Pérée and

J. Couché reproduced it in engravings (1804). Unlike the latter engravings, our

painting is mirrored vis-à-vis the original Teniers painting.

Testament to Dürer’s travels to the Netherlands

61 [Flemish school]

Follower of VAN CLEVE, Joos - St Jerome in his study.

[Antwerp], C. 1520-1600.

Oil on oak panel, 49 x 67,5 cm, unsigned (sm. damages lower left corner,

horizontal joint of two planks visible in image with slight cracks and losses in the

paint layer). Under gilt orn. frame.

6.000 / 8.000 €

St Jerome in a red cloak seated in his study, pointing at a skull. This depiction

of St Jerome is an innovative solution in the iconography and forms of pictorial

representation of the patron saint of Christian humanists. The Doctor of the

Church is represented here by the powerful, concentrated and synthetic image

of an old sage, melancholically meditating on death and the contingency of

the human condition. Elements such as the clock in the background and the

extinguished candle are reminders of the fragile nature of human existence. The

iconographic convention was introduced in the Low Countries with the visit of

Albrecht Dürer to Antwerp in 1520-1521. The archetype for the melancholic

St Jerome was presented as a gift by the German artist to the secretary of the

Portuguese merchants in Antwerp (Lisbon, Museu Nacional de arte Antiga).

Joos van Cleve’s workshop was the most prolific in producing copies of this

composition for the Antwerp art market. Throughout the sixteenth century the

theme and composition remained in high demand with upper-middle class art

collectors.

Ref. M.J. Friedländer, «Early Netherlandish Painting, vol. IX (part I)», Leiden

1972, pp. 31, 58, under no. 39. - J.O. Hand, «Saint Jerome in His Study» by Joos

van Cleve», in: A tribute to Robert A. Koch. Studies in the Northern Renaissance,

Princeton 1994, p. 53-67. - J.O. Hand, «Joos van Cleve. Complete Paintings»,

New Haven and London 2004, p. 161, no. 78.



61

60



62 [Flemish school]

Circle of VAN DIEPENBEECK, Abraham - Funeral of a bishop.

First half 17th c.

Drawing, pen and brown ink, 15,7 x 14,5 cm, laid paper with watermark (coatof-arms),

unsigned (waterstain at upper right corner and at lower left, sm. tears at

lower left corner, trimmed at drawn frame line). Stuck by left corners on paper.

«A. Diepenbeeck» mentioned on the framing paper.

150 / 200 €

64 [Flemish school]

VAN REYSSCHOOT, Pieter - Preaching monk. Ghent, c. 1730-

1772.

Drawing, pen and brown ink, brush and grey wash, 24,2 x 17,5 cm, laid paper

with watermark (Churchill 158), signed in ink at lower right corner «P. Van

Reysschoot» (brown spots at upper right centre, upper and lower left corners

torn, oxidated prick hole at upper centre, old inv. nr on verso). Stuck under passepartout.

120 / 200 €

Composition sketch of a funeral witnessed by many people, situated in a church

apse. On the left and right foreground a woman with a child and a cripple can be

seen worshipping a tomb.

63 [Flemish school]

VAN OVERLAET, Anton. Probably after David TENIERS -

Busts of a peasant couple. 1769.

2 drawings, pen and brown ink, drawn in a square shape (10 x 8,5 cm) on a sheet

of laid paper cut out in a round shape (diameter 12,8 cm), both signed lower left

and dated 1769.

100 / 120 €

This draughtsman and engraver from Antwerp was a virtuoso in the copying of

prints and his drawings are found worldwide in public and private collections.

He combined his artistry with the profession of a baker. He became a master

engraver in 1761 at the Guild of St Luke but only a handful of his prints are

known. Overlaet (Antwerp 1720-1774) scrupulously copied numerous drawings

after the Flemish and Dutch masters. They were highly appreciated for their

skilfull execution.

A figure in monk’s hood, possibly St Norbertus, preaching to the people from

some steps. Pieter Van Reysschoot was a Ghent painter with a successful career

which led him to work in Britain between 1736-1743.

Ref. M. Fredericq-Lilar, «Gent in de 18de eeuw. De familie van Reijsschoot»,

Ruiselede 1992.

65 [Flemish school]

Circle of VRANCX, Sebastiaan - Old testament market scene.

C. 1580-1650.

Drawing, pen and brown ink, brown and grey wash, 26 x 34,4cm, laid paper,

unsigned (considerable dampstain at lower left side, some brown smudges) Under

passe-partout, under wooden gilt frame (not studied outside frame).

400 / 500 €

Market scene with camels and oriental figures, possibly depicting Joseph in

Egypt. In the left foreground a man wearing a turban distributes money and

jewellery amongst the people. The sheet was formerly attributed to Sebastiaan

Vrancx. Though expertly drawn, the drawing is more likely by a skilled

contemporary hand, working in a slightly similar manner.

66 [Flemish school]

Brabantine village with farmer. C. 1570-1630.

Drawing, pen and black ink, grey and blue wash, framing lines in black ink, 20

x 30,6 cm, laid paper, unsigned (lower and upper right corner repaired, occ. rust

spots). Stuck by all edges under passe-partout.

800 / 1.200 €

A farmer on the foreground with a wheelbarrow is followed by a young toddler

who is reaching out for him. The scene is set in a Flemish or Brabantine village

with farmhouses, and farm animals. Technically, the pen contours are amplified

by blue and grey brush strokes, adding a sense of depth and vibrancy to the

scene. The drawing has formally been attributed to (Jan I?) Bruegel, but this

cannot be upheld by technical and stylistic comparison to drawings by known

members of the Bruegel family. Most likely by a later follower (Circle of Joos de



Momper?) who specialised in the popular compositions and themes as developed

by Bruegel.

Prov. From an album owned by Lord Treowen, Abergavenny, Wales. Sale

Llanover House 26 June 1934, lot 997, fol. 73a (sale stamp on verso).

68 [Flemish school]

Landscape with castle ruin.

Drawing, pen and brown ink, grey wash, framing lines in grey ink, 10,4 x 16,8

cm, laid paper, unsigned (some smugdes and stains, old glue marks on verso).

Loose sheet.

150 / 200 €

67 [Flemish school]

Christ falling on the way to calvary. C. 1700.

Drawing, point of brush and brown wash over black chalk, 34,6 x 24,4 cm, laid

paper with unidentified watermark (serpent with letter I), unsigned (old repaired

tear at upper left corner, sm. tear at upper right corner, some stains at upper left

side, horiz. folding crease at center, sm. tear at lower right corner, verso repaired

with Japan paper).

150 / 200 €

Loose and dynamic sketch of Christ climbing on Mount Golgotha, surrounded

by onlookers and Roman soldiers. In the left foreground Mary is mourning.

Probably a workshop drawing for a larger panel or canvas.

Nice veduta of sloping hills with villages and windmills in the background.

On the right foreground a ruined castle with a lake or river. The draughtsman

succeeded in rendering the reflection of the surroundings on the water.

69 [Flemish school]

Portrait of Dom Martin Tirant. C. 1621.

Oil on panel, 43 x 32 cm, unsigned (some sm. lacunes and cracks, old varnish,

darkened traces of old smaller frame at edges). In 19th-c. wooden gilt frame.

1.500 / 2.000 €

65



71 [French or Italian school]

Fountain design. Late 17th or 18th c.

Drawing, pen and black ink, 23,7 x 31,5 cm, laid paper, unsigned (heavily

spotted, some dampstaining in lower and upper sections, vert. crease at left edge).

Stuck under passe-partout, under orn. wooden frame (not studied outside frame).

300 / 400 €

Four putti, symmetrically grouped around a shell-shaped fountain with a lambshead.

On the upper edge we see seven figure studies of cloaked classical statues.


The river god Tiber. [Rome, 1550-1700].

Drawing, 14,2 x 22,8 cm, pen and brown ink, traces of pencil within frameline in

brown ink, thin laid paper with unidentified watermark (considerable tears in all

edges, some with loss to image, large tear in upper right corner, some black stains

at upper left corner, edges frayed). Stuck by upper edges under passe-partout.

200 / 300 €

Official portrait of Martin Tirant, abbot of the abbey of Clairmarais between

1615 and 1621. On the left his coat of arms is depicted with the motto «De

Deus Mihi Scopius». The text in capitals at the upper right corner reads «D.

Martin Tirant/estoit le 44e abbé/de Clermaret et/le premier mytré/trespasa le 6/

doctobre/1621». A copy of this portrait is now preserved in the Musée de l’Hôtel

Sandelin at St Omer (inv. 0202 CM).

Ref. G. Blazy, «Catalogue des peintures, Saint-Omer, Musée de l’hôtel

Sandelin», 1981, nº 368, p. 113.

70 [French or Dutch school]

Tavern scene with pipe smokers. Late 17th c. or 18th c.

Drawing, pen and black ink, brush and grey gouache, 21,7 x 17,4 cm, laid paper

(min. foxing). Under passe-partout, under wooden gilt frame (not studied outside

frame).

250 / 300 €

Reclining bearded river god with cornucopia in his left hand and baton in his

right. Next to him is a wolf feeding the two infants Romulus and Remus, which

makes it possible to identify the main figure as the Tiber. Probably drawn after

the Tiber statue displayed on the Campus Martius, and now in the collection of

the Louvre. The statue was discovered in 1512 in Rome at the site of the Temple

of Isis and Serapis, near the present-day basilica of Santa Maria sopra Minerva.


Wedding feast. 17th or 18th c.

Drawing, charcoal, with white wash, 39,5 x 41,2 cm, cardb. paper, unsigned (some

severe damages, vertical creases, waterstains, brown spots, probably trimmed at

left and upper edges). Stuck under passe-partout.

150 / 200 €

Lively interior scene with drinkers and pipe-smokers accompanied by a woman

lighting one of the men’s pipes. In the pictorial tradition of Ardiaen Brouwer,

Adriaen van Ostade and Jan Steen.

Vividly executed sketch by a confident hand. The general composition was

probably inspired by Veronese’s «Wedding at Cana».

Prov. Pinacoteca Torino (Coll. stamp L. 2236).



74

74 [French school?]

Healing of the crippled and sick. Late 16th or 17th c.

Oblong drawing, pen and black ink, red chalk, brush and brown gouache

heightened with white, 19 x 51,5 cm, 2 sheets of prepared laid paper (visible line

where sheets meet, min. brown spots). Stuck under passe-partout with gilt and

brown border, under gilt wooden frame (not studied outside frame).

300 / 400 €

Panoramic scene set near a fortified castle with a monk-like figure blessing and

healing a seated woman. Other cripples are gathering around the main scene.

Possibly St Peter healing the crippled. The drawing is executed by a skilled

draughtsman.

76 [French school]

Fighting putti. 18th c.

Drawing, graphite pencil, red chalk, heightened with white, 19,7 x 32,6 cm, laid

paper with unidentified watermark (sm. scratch at lower right corner, stain at

lower left corner). Under passe-partout.

200 / 250 €

75 [French school]

2 academical nude studies. Late 18th c. or 19th c.

Drawings, red chalk, 37,5 x 26 cm and 45 x 30 cm, laid paper with watermark

(«P.T. BOT», unidentified), unsigned (sm. waterstain in drawing with standing

nude). Stuck under passe-partout by upper corners.

200 / 300 €

Four putti, of which two are fighting playfully. Perhaps a drawing in preparation

of a relief sculpture or stucco.

77 [French school]

Italian landscape with ruins and travelers. C. 1780.

Drawing, grey ink and gouache, 13,6 x 17,2 cm, laid paper, unsigned. Stuck under

passe-partout, under gilt orn. frame (not studied outside frame).

180 / 200 €

Two studies of young nude men. The first drawing depicts a standing nude

viewed from the rear in contrapposto, leaning on an object with his right hand.

A sitting nude can be seen in the second drawing. An antique helmet at his feet

suggests a young hero from Antiquity. On the verso side of this drawing the

outlines of a third nude figure study are drawn more sketchily.

A picturesque landscape with a romanesque ruin, visited by resting travellers.



78 [French school]

Landscape with bridge and farm house. 1781.

Drawing, pen and red ink with brown and red watercolour, 29,6 x 42 cm, laid

paper with 18th-c. French watermark, monogramed and dated with pen «AAIP

1781» (sm. tears at upper edge, sm. prick holes in corners). Loose sheet.

200 / 300 €

80 [French school]

Allegorical scene. 17th or 18th c.

Drawing, pen and brown ink, brush and brown wash, heightened with white,

prepared paper, 31 x 24 cm, unsigned. Stuck under passe-partout, under richly

orn. gilt frame (not studied outside frame).

150 / 200 €

View of a park or forest with a pond and bridges. On the right a small house or

farm can be spotted. Broken tree trunks in the foreground.

Joined: Anonymous drawing, Italian landscape with ruins and travellers with

a dog. Pencil heightened with white, 26,2 x 43,2 cm, blue paper mounted by

corners on mod. paper (diagonal crease on right side, sm. crease lower left, sm.

dampstain upper right corner). (2 pcs)

79 [French school]

Two men and a young boy at a sun dial. [1620-1700].

Drawing, pen and brown ink, with brown wash within brown ink framing lines,

17,3 x 13,4 cm, laid paper, unsigned (white stain at upper right corner, toned

paper). Glued on passe-partout.

200 / 300 €

Intriguing allegorical scene with seated woman on a throne, to which four

winged figures are chained. At the bottom a bull can be seen. Possibly an

allegory of Melancholia or Time.

81 [French school]

AUDRAN, Claude III - Praying monk. Paris, c. 1680-1734.

Drawing, red chalk (sanguine), heightened with white, 16,3 x 12,1 cm, laid

paper, signed in lower right corner «Cl. Audran». Stuck under passe-partout with

coloured framed border.

200 / 300 €

A skilful drawing with two men, one of whom seems to be a street vendor, and a

young boy looking at a sundial. In the manner of Callot and Della Bella.



Introspective scene with a kneeling, hooded monk, in prayer in front of a

crucifix. Claude III Audran (1658-1734) was an artist from Lyon who continued

the family workshop of his father and grandfather. He was painter to Louis XIV,

for whom he made many decorative designs. From 1700-1701 he took part in

the decoration of the Menagerie of Versailles, the Chapels of Versailles, the

Palace of Fontainebleau, the Château d’Anet, the Château de Meudon, and Les

Invalides. He also made designs for tapestries for the Gobelins factory.

82 [French school]

Circle of BOUCHER, François - Courtyard of a farm. C. 1750.

Drawing, black chalk, 27,8 x 41,8 cm, laid paper with French watermark (grapes),

unsigned (foxing throughout).

150 / 200 €

The beggars (Les Gueux) form one of the most popular series published during the

career of Callot (1592-1635). The print designs were probably produced towards

the end of his sojourn in Florence and were subsequently published as a series of

etchings in Nancy, around 1622-1623. Although none of the original preparatory

drawings have survived, the etched series enjoyed an almost immediate following

among European artists such as Della Bella, Bosse, Israël Henriet, Israël Silvestre

and Rembrandt. This drawing bears witness to the success of the print series

and can be situated in France shortly after the series’ publication. It follows the

etching with a great amount of care and artistic refinement, replicating the etched

lines. The quality of this draughtsman’s execution helps to explain why such

drawings have often been interpreted as orginals by Callot. The sheet was part

of the collection of Alfred Beurdeley (1847-1919), who owned one of the richest

collections of old master drawings and bronzes in Paris.

Prov. Beurdeley (Coll. stamp L. 421).

Ref. Lieure 495. - D. Ternois, «Catalogue des dessins de Jacques Callot», 1962,

pp. 111-112.

84 [French school]

Civils and soldiers procession joining a military encampment.

Drawing, pen and line drawing with grey and black ink, lightly enhanced

with light red and yellow watercolour, 20 x 33 cm (visible part), laid paper;

monogrammed with pen on bottom left «Sw.» and «D.F.» (some few light spots

in the sky, very discrete tear in the center of the right edge). Passe-partout and

wooden frame (not studied outside frame).

300 / 400 €

Beautiful sheet with delapidated farmhouse and a peasant girl at the centre.

The style and motifs in the drawing come very close to the more realist

landscape drawings by François Boucher (1703-1770). The specific rendering of

the wooden barrels and the bent ladder in the foreground are elements which

appear in other drawings by Boucher and his workshop, such as the drawing of a

«Cottage» in the Metropolitan Museum of New York (inv. 11.66.14), «Landscape

with two children playing before a mill» in the collection of the British Museum

(inv. 1997,0607.1), or «The old farm house», in the Albertina (inv. 12192).

Exceptional drawing after Callot

83 [French school]

After Jacques CALLOT - The old beggar leaning on his stick.

17th c.

Drawing, pen and brown ink with traces of red chalk, 14,5 x 10 cm, laid paper,

unsigned (sl. browned, underlaid, sm. defect with min. loss of paper at beggar’s

right foot). Stuck under passe-partout.

4.500 / 5.000 €

85 [French school]

Attributable to DUPLESSIS, Claude Michel Hamon - Soldiers

and civilians walking in line. Ruined building in the foreground.

C. 1800.

Watercolour, 32 x 44,5 cm (visible part), laid paper (some very little grey dots

in the center and in the sky). Passe-partout and gilt wooden frame (not studied

outside frame).

1.000 / 1.200 €

Duplessis was active over a very short period c. 1791 and c. 1800.



86 [French school]

FOURNIER, C.L. - «Memento te Vinctorum, tamquam simil

vincti (sic)». Paris, 1769.

Drawing, pen and ink with blue watercolour, heightened with white, 22,4 x 27,7

cm, laid paper (sl. toned, waterstain and vert. tear at right edge, sl. fold at lower

centre, sm. repairs in verso). Stuck by corners under passe-partout.

120 / 200 €

88 [French school]

LAGRENÉE, Jean-Jacques - Adoration of the Shepherds. [Paris],

c. 1775-1821.

Drawing, graphite, 23,6 x 33,4 cm, thick paper, signed in graphite at lower left

corner «J.J. Lagrenée» (sl. toned paper). Under passe-partout.

400 / 500 €

Two Louis XV-style cartouches with a religious scene involving the freeing of

slaves from Oriental figures. A title cartouche reads: «Memento te Vinctorum,

tamquam simil vincti» (transl.: Remember them that are in bonds) from Hebr.

13:3.

87 [French school]

JULIEN, Jean-Antoine. After RAPHAEL - Disputation of the

Holy Sacrament. Rome, 1767.

Drawing, pencil and black chalk, 44,7 x 57,3 cm, signed and dated with brown

ink in lower margin «J.A.J. 1767» (vert. folding line at centre, some brown spots,

underlaid). Stuck by upper corners under passe-partout.

700 / 800 €

Lagrenée (1739-1821) was a history painter and etcher who held influencial

positions at the St. Petersburg Art Academy and the Académie de France in

Rome, where his brother was the director.

Joined: Attributed to Lagrennée, Jean-Jacques - Shepherds and peasants in

an antique ruin. Drawing, graphite, 23, x 33,2 cm, thick paper, unsigned. Under

passe-partout. (2 pcs)

89 [French school]

Circle of LOIR, Nicolas - Moses at the well. 17th c.

Drawing, pen and black ink, brush and green and blue wash, 24,5 cm diameter,

laid paper, unsigned (heavily damaged with multiple lacunes, prickpoint at centre,

cut at left edge to fit into roundel, paper strips added to upper and right edge with

continued drawing). Stuck under passe-partout, glued on later paper support.

150 / 200 €

A study sheet with a fragment copied from Raphael’s famous stanze della

Segnatura in the Vatican. Jean-Antoine Julien, known as Julien de Parme (1736-

1799) was a Swiss-born painter who studied painting at Craveggia (Piemonte).

Between 1760 and 1771 he stayed in Rome to study ancient and Renaissance

art as the final part of his artistic education. This drawing sheet represents this

formative phase of the young artist’s career. In France he would later become a

leading neoclassicist painter, whose successful career was only overshadowed

by that of David. His paintings and drawings are now part of the collections of

the Louvre, the Albertina, the Musée des Beaux-Arts d’Orléans.

Two women sitting on the edge of a well, talking to a bearded young man. In

the background, a camel is witness to the scene. Possibly Moses meeting with

Miriam in the desert. Mod. attribution to Loir on passe-partout.



90 [French school]

PALME, Laurent - Portrait of Rousseau. Paris, 10 april 1797.

Drawing, pen and ink with aquarelle, 56 x 44 cm, laid paper, signed at lower

margin (several dark spots, occ. browning of ink). Under contemp. gilt orn. frame

(not studied outside frame, several losses of paint).

200 / 300 €

92 [French school]

PARROCEL, Charles - Battle scene with charging cavalry. Paris,

c. 1720-1740.

Drawing, pen and black ink, brown and grey wash, traces of graphite pencil,

17 x 22 cm, laid paper, signed in black ink at lower right corner «Parrocel Ch.»

(some minor foxing). Under passe-partout, under wooden gilt frame (not studied

outside frame).

700 / 800 €

Portrait medallion of Jean-Jacques Rousseau (1712-1778), encircled by a

laudatory text: «Son génie intrépide éclairant l’univers, des peuples asservis

détruisit le délire. De l’humanité seule il reconnut l’empire, et força les tyrans à

reprendre leurs fers». The portrait oval is decorated with calligraphic ornament.

The portrait, which dates from shortly after the French Revolution («Le 21

Germinal an 5»), is little-known in the literature on the French philosopher. It

forms an ensemble with the next lot.

91 [French school]

PALME, Laurent - Portrait of Voltaire. Paris, 21 March 1797.

Drawing, pen and ink with aquarelle, 56 x 44 cm, laid paper, signed at lower

margin (sl. toned). Under contemp. gilt orn. frame (not studied outside frame,

several losses of paint, glass cracked).

200 / 300 €

Charles Parrocel (1688-1752) was a painter and engraver, working at Versailles

for Louis XV. He was also a member of the Académie Royale in Paris, where he

became a professor in 1745. He was specialised in battle and hunting scenes and

many of his works decorated the private apartments of the French king. The

drawing is accompanied by a certificate.

Ref. X. Salmon, «Charles Parrocel et l’école de cavalerie», Paris 2000.

93 [French school]

PILLEMENT, Jean - Mountainous village. C. 1763-1768.

Drawing, black chalk, heightened with brown and grey wash, 25,3 x 34 cm,

laid paper, signed in pencil at lower right corner «Jean Pillement». Under passepartout,

under gilt orn. frame (not studied outside frame).

250 / 300 €

Portrait medallion of Voltaire (1712-1778), encircled by a quote: «Les Mortels

sont égaux, ce n’est point la naissance, c’est la seule vertu qui fait leur différence.

Il est de ces esprits favorisés des cieux, qui sont tout par eux-même et rien par

leurs ayeux.». The oval portrait is decorated with calligraphic ornament. The

portrait dates from shortly after the French Revolution («Le 1 Germinal an 5»)

and is an ensemble with the previous lot.

Romantic landscape by Pillement, who was known for his delicate landscapes

in which he combined French Rococo traditions with influences from English,

Dutch and Chinese landscape drawings. This drawing dates from the height of

his career and represents a hilly village with local peasants, possibly during the

artist’s stay at the Royal courts of Vienna and Warshaw between 1763 and 1768.



94 [French school]

Portrait of a lady. 18th c.

Oil on canvas, 76,4 x 59,2 cm (good and hangable condition, some retouches all

over the painting, relined). Under gilt wooden frame (some wear).

1.000 / 1.500 €

96 [French school]

Attributed to SUBLEYRAS, Pierre Hubert - Birth of the Virgin.

C. 1740-1750.

Drawing, black chalk, traces of white chalk, 31 x 18 cm, laid paper, unsigned, later

ms. attribution in lower right corner. Stuck by upper corners under passe-partout.

250 / 300 €

Unidentified portrait of a well-off lady wearing a dress finished with lace and

embellished with numerous jewels.

95 [French school]

Portrait of a military figure. First half 18th c.

Drawing, pen and ink, gouache and pencil, 21 x 16,2 cm, laid paper (two brown

stains, trimmed). Stuck by upper edge on mod. paper with attr. to Charles le

Brun.

120 / 150 €

The shading and typically vertical, shallow compositions and rendering of

facial types of this drawing are typical of Subleyras’ style. This sheet show

some similarities to attributed drawings such as «St Benedict Resuscitating

an infant», in the collection of the Metropolitan Museum of New York (inv.

1974.354), or «St Ambroise forgives Theodoric» in the Louvre (inv. 32926),

especially in its treatment of shading.

97 [French school]

Grisaille of a niche with playing putti. 18th c.

Oil on canvas, 109 x 49,5 cm, unsigned (some scratches at lower part and upper

left, multiple lacunes with paint loss, small tear in canvas with paint loss at upper

right centre). Unframed.

300 / 400 €

Oval-shaped study sheet with a portrait of a French courtly figure. The

harnassed right arm and baton probably hint at his military role. The drawing

is overlayed with a squaring grid to facilitate copying the design for a painting

or a print.

(Detail)

Three putti having fun in an alcove. One riding a goat, another dressing a

fluted column with garlands. Nice rococo panel, possibly intended as an interior

decoration.



98 [German or Dutch school]

Forest landscape with 2 men on a stone bridge. C. 1780-1830.

Drawing, grey gouache, heightened with white, 38 x 46,5 cm, unsigned. Stuck

under passe-partout, under wooden gilt frame.

150 / 200 €

Romantic forest view, with dominating trees grabbing the viewer’s attention.

99 [German or Italian school]

Flagellation of Christ. C. 1580-1650.

Drawing, pen and black ink, brown and black wash, 18 x 24,7 cm, laid paper,

unidentified signature «Jan van der Lo» (red stain at upper left edge, sm. stain at

right edge, horiz. framing line at lower edge). Under passe-partout, under wooden

gilt frame (not studied outside frame).

300 / 400 €

Vivid drawing depicting the flagellation of Christ with his hands bound to a table.

The use of dynamic perspective betrays an influence from Italian early baroque

paintings, first and foremost that of Michelangelo da Caravaggio (1570-1610)

and his followers. The application of brown wash to the drawing strongly adds

to the sheet’s vitality. Most likely a workshop study sheet as the verso side

shows the tracing of the Christ figure. A small ms. note in the lower right corner

reads «grün», which suggests a German or Dutch workshop. Accompanied by a

certificate (17.10.1990).

Prov. Vilain Collection (18th c.). - Albert Van Loock (L. 3751), sold as Caravaggio.

100 [German school]

Attributed to AMMAN, Jost - Esther before Ahasuerus.

Drawing, pen and black ink, brown wash, 16,5 x 23,4 cm, underlaid, unsigned

(some sm. stains at upper left corner, dampstain at centre sl. affecting the image,

trimmed to framing line, sm. hole at lower centre). Under passe-partout.

800 / 900 €

100


An elegant drawing in which Esther is brought before the throne of Ahasuerus,

after which she became the queen of Persia (Book of Esther). The scene is set in an

antique-style palace. The drawing is very close in style to a drawing by Jost Amman

(1539-1591) of Daniel in the Museum of Braunschweig (inv. ZWB VII 64a). Aside

from the similarities in pictoral motifs such as the baldachin and the antique throne,

the rendering of the figures and general composition of the present sheet reflects

that of the Braunschweig drawing. In addition, many details such as the dog, the

headgear of the king, the s-curved pose of Esther and the scroll-work ornament on

the throne are all elements which can be traced to woodcuts designed by Amman.

101 [German school]

Follower of CANDID, Peter - Saint Francis in prayer. [Munich],

c. 1600.

Drawing, pen and black ink, brown and yellow wash, heigthened with white, 38,6

x 23,5 cm, yellow prepared paper with watermark, unsigned (borders repaired,

large horiz. folding crease at centre, some spots and stains, lead white partly

oxidized, small hole in lower right corner).

100 / 120 €


associated with the Mortlake Tapestry Works, established by the Crown in

1619. Cleyn was known both for his narrative and technical skills as a painter

and draughtsman. This drawing, representing Christ kneeling and writing in the

sand before the adulterous woman in classical architecture, comes very close to

both the technical execution and style of Cleyn. The sheet can be compared to

sheets in the so-called Southampton Album (Southampton University), where

similar references were made to Raphaelesque compositions and figural types.

Ref. D. Howarth, «The Southampton Album: A Newly Discovered Collection of

Drawings by Francis Cleyn the Elder», Master Drawings 49 (2011), pp. 435-478.

- J. Wood, «Orazio Gentileschi and some Netherlandish artists in London: the

patronage of the Duke of Buckingham, Charles I and Henrietta Maria», Simiolus

28 (2000-2001), p. 124. - https://rkd.nl/explore/artists/17262.

The overall composition and technique of this drawing of a kneeling St Francis comes

close to attributed drawings by Peter Candid, also known as Peter de Witte (1546-

1628), was an artist born in Bruges and who worked most of his life at the court of

Munich. In particular a drawing with «St Wilhelm kneeling before the Virgin and

Child», now in a private collection, shows a similar composition and rendering of

volume and shade. The execution of the present drawing, however, is less dynamic.

Ref. T. Vignau-Wilberg, «In Europa zu Hause - Niedeländer in München um

1600», München 2006, no. C26.

102 [German school]

City view with gothic cathedral. C. 1750-1800.

Drawing, pen in black ink with grey and brown gouache, 28 x 37 cm, laid paper

with watermark (Heawood 1819), unsigned. Stuck under passe-partout.

200 / 300 €

Fine perspective view of a market square with fountain and stately houses

with Renaissance loggias. The background is dominated by a large church or

cathedral with a high choir and an octagonal spire. Possibly northern Germany.

104 [German school]

HACKERT, Jacob Philipp - «A Cajazzo». 1797.

Drawing, pen and brown ink, graphite pencil, brown wash, 46,7 x 61 cm, paper,

signed at lower right corner «a Cajazzo Filippo Hackert 1797». Stuck under passepartout,

under gilt frame.

1.200 / 1.500 €

Hackert (1737-1807) was one of the best-known romantic landscape artists

of his time. In 1768 Hackert went to Italy, basing himself mainly in Rome and

Naples, where he produced many works for Sir William Hamilton. He travelled

all over Italy, gaining a reputation as a talented landscape painter. He became

famous everywhere in Europe due to his works for Catherine the Great, the cycle

of paintings about Battle of Chesma, and Pope Pius VI. He was also a close

friend of Goethe, who mentions a visit to Hackert’s studio in his «Die Italienische

Reise», and who owned several of his works. The large format drawing

represents a wide panoramic view of Northern Italy with some shepherds on the

left foreground. Accompanied by a certificate (13.6.1984).

103 [German school]

Attributed to CLEYN II, Francis - Christ and the adulterous

woman. C. 1600-1658.

Drawing, black chalk, brown wash, heightened with white, 18,5 x 11,7 cm, laid

paper, unsigned (s. toned, frayed at the left edge, repaired and reinforced with

Japan paper on verso). Under passe-partout, under wooden frame.

300 / 320 €

Francis Cleyn the Elder (1582-1658) was a native of Rostock in Mecklenberg

and worked mainly at the Danish court of Christian IV and the English court of

James I and Charles I. After settling permanently in England in 1625 he became

102



106 [German school]

RÖSSLER, Johann Carl - Memento Mori. 1796.

Painting, 17 x 12 cm (visible), vellum, signed and dated «1796 J. Rösler fecit»

on a trompe-l’oeil sheet painted in the center. Passe-partout, wooden frame (not

studied outside frame).

2.000 / 3.000 €

Ref. T. Weidner, «Jakob Philipp Hackert. Landschaftsmaler im 18. Jahrhundert»,

Bd. 1, Berlin 1998. - W. Krönig, Jakob Philipp Hackert: der Landschaftsmaler der

Goethezeit, Cologne 1994.

105 [German school]

PFEIFFER, Johann Joachim - Genre scene. Hamburg, 1673-1675.

Drawing, brush and black and red paint, heightened with white, on blue prepared

paper, 19 x 14,3 cm, unsigned (rubbed with loss of colour, sm. scratches, large

vert. line at right side). Stuck under passe-partout.

150 / 200 €

Death holds in one hand an hourglass over which a snake passes and in the

other hand an arrow that points to a young richly clothed character. He is seated

at a table with a watch, a candle and a sheet on which is inscribed the sentence:

«O Mors quam amara est/ memoria tua homini pacem/ habenti in substantiis»

[Vulgate 41, i.e. Oh death, how bitter it is for a man who is at peace with his

existence to contemplate thee]. Rössler (Görlitz 1775-1845 Dresden) was a

German portrait painter. He studied at the Dresden Academy of Fine Arts with

Giovanni Battista Casanova. After visiting Paris, he stayed in Rome from 1803

until 1807 then went back to Germany where he became a professor of painting

in Dresden.

A villager standing on a tabouret while engaging with a women who seems to

be introducing her baby. A second older child is tied to her back. On the verso ms.

text by different hands in Dutch and German, dated 1673 and 1675. A signature

in black ink at the lower edge dates and attributes the drawing «Pfeiffer

Hamburg 1675». Johann Joachim Pfeiffer (1661-1701) was a Hamburg painter

and draughtsman working mostly on blue or red prepared paper. The sheet

probably belonged to the same sketchbook of which a number of drawings are

now in the collections of the Hamburger Kunsthalle, the Bremer Kunsthalle and

the Staatsgalerie of Stuttgart. The sketchbook similarly consists of numbered

drawings depicting genre scenes.

Ref. https://www.hamburger-kunsthalle.de/sammlung-online/johannjoachim-pfeiffer/schreitender-orientale-mit-stock

107 [German school]

Circle of SCHÖNFELD, Johann Heinrich - Scene from Roman

history. C. 1640-1660.

Drawing, pen and grey ink, grey wash, 24,4 x 19 cm, laid paper with watermark,

unsigned (some foxing).

200 / 250 €

Roman soldier kneeling before the throne of an emperor, with antique

architecture in the background. The elongated figures with small heads and

the linear drawing technique remind one of the drawings of the German artist

Johann Heinrich Schönfeld (1609-1683). Born a goldsmith’s son, Schönfeld

received his training with family members in Memmingen. He travelled to

Stuttgart, Basel and eventually to Rome. From 1631 to 1651 he lived in Italy

as member of an artistic group of painters known as the «Schilderbent», which

also included Poussin, Both and Poelenburgh. Between 1562 and 1563 he had a

workshop in Augsburg, where he became one of the most important painters of

the third quarter of the seventeenth century. The details in this drawing come

close to a drawing in the Art Institute of Chicago (inv. 1922.3907).

Ref. T. Dacosta Kaufmann, «Holy Roman Empire 1540-1680. A Selection from

North American Collections», Princeton, cat. no. 84.



107

108 [German school]

WINTERSCHMIDT, Christian Gottlob - Three Quodlibet.

Nuremberg, c. 1770-1775.

Drawings, engraving and gouache, 26 x 21 cm, laid paper with watermark

(Heawood 1841), signed (small tears at edges).

250 / 300 €

110 [Italian or Dutch school]

Shepherds by the fire. 17th c.

Drawing, white and black chalk on brown prepared paper, 22,2 x 33 cm, underlaid

paper, unsigned (some brown spots and glue marks on verso).

300 / 400 €

Finely drawn representation of three shepherds resting by the fireplace, with the

flames illuminating their faces. The scene is set in a stable and a flock of sheep,

a bull and donkey can be seen on the left. The white chalk on brown support is

used to achieve a rustic nocturnal impression. Possibly Neapolitan.

109

111 [Italian school]

Court room scene. 19/07/1755.

Drawing, pen and brown ink, grey gouache, 17,1 x 14,4 cm, signed and dated in

pen at lower edge «[illegible] Spagnoli fecit» and «19 Julio 1755» (several creases).

Glued on contemp. engraving, loose sheet.

120 / 150 €

Three tromp-l’oeil drawings creating the illusion of a bulletin board with

newspaper cuttings, prints, letters and playing cards. Winterschmidt (1755-

1809) was one of the most succesful German producers of this rejuvenated

genre at the end of the 18th century.

109 [German school]

An elegant couple in a rich interior. 18th c.

Drawing, black chalk, heightened with white, 14,8 x 18,7 cm, brown paper,

unsigned.

100 / 120 €

A man, woman and a little dog sitting on a bench, with a view on to a courtly

garden with a fountain.

A skilful sketch made on a piece of scrap paper showing the interior of a court

room or dungeon. Two men are chained to the wall, while a third on the left

is standing on a flight of stairs. Perhaps a justice scene. The drawing has

been glued on to a fragment of an 18th-century Italian ornament print with

cartouches and grotesques.



110

115



Sketches of Putti. [Genoa], C. 1600.

Drawing, pen and black ink, 14,6 x 21,5 cm, thick paper, unsigned (upper right

corner trimmed, foxing throughout, sm. black stains).

120 / 150 €


A study sheet with seven putti in the clouds. Possibly Genoese school. With ms.

note in lower left corner: «A°:13=».


BELLA, Stefano della - 2 drawings with figure studies. [Florence

or Paris], c. 1625-1664.

2 drawings, pen and brown ink, brown wash, 9,4 x 12,6 and 9,1 x 13,2 cm, laid

paper, unsigned (some brown spots sl. affecting the image, upper and lower right

corners of one folio trimmed, old glue traces at corners, minor dampstains). Under

passe-partout.

600 / 700 €

Three noblemen on horseback. The drawing is attributed to Bellotto (1722-

1780) on the passe-partout and shows some striking similarities to the very

linear drawing style of the Venetian painter, where he mastered the ability of

rendering his figures with a few frivolous lines. The sheet was probably part of a

larger study sheet or sketchbook.


After CANALETTO - View on the campo Santi Giovanni e

Paolo. After 1738.

Drawing, pen and black ink, with grey wash, warm yellow paper, 27,5 x 36,5 cm,

unsigned (sl. trimmed at lower edge). Stuck under passe-partout.

150 / 200 €

An animated view of the famous square in Venice, dominated by the basilica

and the statue of Colleoni by Andrea Verocchio. In the foreground gondolas

are passing by up and down the canals. Probably after a painting by Canaletto

(now in the British Royal Collection, inv. RCIN 400715) of the same square which

includes identical figures such as the two boats and the men setting up a tent or

market stall in the left foreground. Canaletto has adjusted the view across the

Rio dei Mendicanti so that the west façade of the church is almost full frontal

and used another viewpoint so that the bridge on the left and the row of houses

on the right are all visible; the dome has also been enlarged.


Attributed to CAVEDONE, Giacomo - A monk. [Bologna], c.

1592-1660.

Drawing, black chalk, 33,5 x 19,9 cm, on blue-grey paper, unsigned (edges frayed,

paper sl. worn, brown stains, old vertical fold line to the right side of the sheet,

some prick holes in the upper and lower corners). Under passe-partout.

300 / 400 €

One sheet with a representation of two horses and a horseman at an Italian

drinking fountain. The second drawing contains 7 figure studies of peasants and

beggars which were so typical of Della Bella’s satirical style. He was heavily

influenced by Callot both in subject matter as in drawing style. Della Bella

left several thousand drawings and our two sheets compare very well in style,

technique and used paper with signed and attributed drawings such as a study

sheet in the British Museum (1946,0413.197).

Ref. A. Blunt, «The drawings of Castiglione and Stefano Della Bella in the

Collection of Her Majesty The Queen at Windsor Castle», London 1954.


Attributed to BELLOTTO, Barnardo - Three horsemen. Venice,

C. 1740.

Drawing, pen and brown ink, 5,8 x 6,7 cm, underlaid paper, unsigned, numbered

in lower right corner «p. 8» (loss of paper at right edge and lower edge not affecting

the image, sm. dampstains). Stuck by upper corners under 19th-c. passe-partout

with attribution in hand-drawn cartouche.

600 / 700 €



117

118

119

120



A hooded monk praying in front of a tree while looking upwards to the left.

Possibly a preparatory study for an unidentified painting representing St

Francis. The vivid drawing style can be linked to similar drawings in black chalk

by the Bolognese painter Cavedone (1577-1660), such as the «The Penitent

Magdalene» in the collection of the British Museum (inv. 1946,0713.1502).

Ref. E. Negro and N. Roio, «Giacomo Cavedone 1577-1660», Modena, 1996.


Circle of DA CORTONA, Pietro - Study of draperies. [Rome],

first half of 17th c.

Drawing, black and white chalk, 28,9 x 22,4 cm, brown laid paper, unsigned (upper

and right edges sl. frayed, some creases not affecting the image, paper toned).

200 / 250 €

Skilful sketch of an arm and folding draperies. The style and technique recalls a

draughtsman working in Rome at the turn of the seventeenth century. On the

verso, a second sketch of a female head shows a resemblance to similar figure

studies by Pietro da Cortona (1596-1669) such as an attributed drawing showing

«Study of a nymph», recently sold at Christie’s (31 Jan. 2019, lot 35), or «a study for

the Allegory of Religion» in the Metropolitan Museum of New York (inv. 64.197.3).


Circle of GIONIMA, Antonio - Noli me tangere. C. 1680-1730.

Drawing, pen and brown ink, brown wash, heightened with white, 28 x 19,6 cm,

laid paper, unsigned (lower right corner heavily affected by ink corrosion with loss

of image, some stains, lower edges frayed, sm. lacune upper left). Glued by corners

on later paper support.

250 / 300 €

The drawing shows characteristics of the Bolognese Baroque school of the late

seventeenth century. In particular, drawings attributed to Antonio Gionima

(1697-1732) come close to the composition, technical execution and stylistical

elements of the present drawing. A similar angel-type is present in «St Roch in

the desert» in the collection of the Morgan Library in New York (inv. 1992.121).

In addition, the combination of diagonal hatching with the use of brown wash is

equally present in other drawings of the same oeuvre, which allows approximate

localisation and dating of the present sheet. The idiosyncratic elongated shape

of the hand of Christ, for example, is similar to the hands in «The Virgin and Child

Enthroned» in the Metropolitan Museum of New York (inv. 80.3.495).

Ref. J .Bean and W. M. Griswold «18th Century Italian Drawings in The

Metropolitan Museum of Art», New York, 1990, cat. no. 77.

Prov. Bonhams Sale 9.12.2002, lot 31 (as Bolognese school, 17th century).


Attributed to MILANI, Aureliano - The Incredulity of Saint

Thomas. C. 1700-1749.

Drawing, pen and brown ink with wash, heightened with white, 44 x 32 cm, on

verso in cont. hand «A. Milani» (min. foxing, sm. blue stains in lower right, rep.

tear in lower part, sm. defects in lower left margin). Stuck by upper corners under

passe-partout.

350 / 600 €

Classical representation of Jesus, here in an architectural setting and surrounded

by numerous disciples, guiding Thomas’ fingers into the wound. The ms. note

refers to the Italian painter of the late Baroque period A. Milani (1675-1749), who

was active in Bologna and Rome.

the subject was Pietro da Cortona (1596-1669). The present drawing copies

many of the elements also present in da Cortona’s composition such as the two

chambermaids in the background and the dagger in Nero’s hand. In style the

sheet comes very close to that of Giovanni Romanelli (1610-1662), who worked

in da Cortona’s workshop untill 1630. In particular, the rendering of draperies,

the locks of curly hair and the treatment of Nero’s left foot are elements which

make attribution to Romanelli very plausible. Comparable drawings are «The

Banquet of Dido and Aeneas» and «Juno asking Jupiter for Custody of Io» in the

British Museum (inv. Ff,3.195 and Ff,3.196).

Ref. N. Turner, «Roman Baroque Drawings, 1620-1700», London 1980, nos. 21,

273.


Attributed to SIMONINI, Francesco - Battle scene in front of a

fortress. 18th c.

Drawing, pen and brush with black and grey ink, 21 x 36,5 cm (visible), laid paper

framed with gilt lines. Passe-partout, wooden frame (not studied outside frame).

600 / 800 €

Simonini (Parma 1686-after 1753 Venice or Florence) was an Italian painter. He

travelled to Florence, Rome and Bologna but found success in Venice, where he

worked for Johann Matthias von der Schulenburg, mercenary commander of the

Venetian forces in the struggle against the Turks, from 1733 to 1745 and painted a

great number of battle scenes involving cavalry. His peculiar style, characterised

by quick brushstrokes and the use of bright colours, was developed under the

influence of the contemporary Venetian school with particular reference to view

painters such as Marco Ricci and Francesco Guardi.


Attributed to TAVARONE, Lazzaro - Seated woman.

Drawing, pen and brown ink, grey wash, 16 x 19,5 cm, underlaid, unsigned

(several creases, sm. holes, dampstain near female head).

200 / 250 €


Attributed to ROMANELLI, Giovanni Francesco - Emperor

Nero kicking his wife Poppaea. C. 1630-1660.

Drawing, pen and brown ink, brown wash over black chalk, traces of graphite,

40,3 x 28,5 cm, underlaid, unsigned (prick holes in upper corners, dampstains at

lower edge, several lacunes with loss of paper). Glued on cardb. support.

600 / 700 €

This scene is taken from Suetonius (Life of Nero 35.3) who relates that while

Poppaea was awaiting the birth of her second child in the summer of 65, she

quarreled fiercely with Nero over his spending too much time at the races. In a fit

of rage, Nero kicked her in the abdomen, causing her death. This gruesome scene

from Roman history is rarely depicted in art. One of the few artists who tackled



Lazzaro Tavarone (1556-1641) was a student of the Genoese painter Luca

Cambiaso, whom he accompanied to Spain in 1583 for a commission to decorate

the interior paintings of the Escorial. Ten years later he returned to Genoa where

he had a thriving career as a portraitist and fresco painter. This drawing with

its sparing use of lines and typical eye-shapes approaches the early drawings

of Taverone which still show strong influences from Camiaso. A related sheet

by Cambiaso showing a similar female figure in a niche, is preserved in the

Nationalmuseum of Stockholm (inv. NM 1578/1863). A drawing of an allegorical

female figure attributed to Tavarone in the Metropolitan Museum of Art in New

York (inv. 49.150.4) also shows some remarkable stylistic and technical similarities.

Ref. P. Bjurström, «Italian Drawings in the Nationalmuseum», Stockholm

1979, cat. no. 330. - J. Bean,»15th and 16th Century Italian Drawings in the

Metropolitan Museum of Art New York», 1982, cat. no. 243.


Equestrian battle scene. Late 16th or 17th c.

Drawing, pen and brown ink, with brown gouache, traces of graphite pencil, 16

x 24,1 cm, laid paper, unidentified signature at top left corner (edges reinforced,

bottom left edges sl. frayed). Under passe-partout.

250 / 300 €


Classical scene with a soldier before a king. Late 16th c.

Drawing, pen and brown ink, brown wash, heightened with white, over

black chalk, black chalk (verso), 28,4 x 19 cm, thick laid paper, unsigned (sl.

dampstaining at upper right).

300 / 350 €

Heroic battle scene between two soldiers on horseback. In the background two

armies are seen fighting. The beautifully nuanced use of gouache to simulate

shades and depth betrays the hand of an experienced draughtsman.


Monk praying for healing.

Drawing, pen and black ink, 29,5 x 19,3 cm, laid paper, unsigned (some min.

foxing, min. creases at lower edge). Stuck under passe-partout, under wooden gilt


150 / 200 €

Religious scene with a saint in an ancient city, seemingly praying for the healing

of a sick or wounded man on the right. Perhaps a design for a larger painting.

127 [Spanish school]

Religious figure educating a young boy. 18th c.

Drawing, pen and brown ink, 26 x 19 cm, laid paper, unsigned (some foxing).

Stuck by corners under passe-partout, under wood frame (studied outside frame).

150 / 250 €

Unidentified scene of a seated ruler on a throne pointing at a Roman soldier

while addressing two young boys. On the verso a study for a similar composition

in black chalk. Based on the style and technique, the drawing most likely

originates from Florence or Emilia-Romagna.

Prov. Coll. Erding Adelheid Schnell (coll. mark on verso, not in Lugt). - Coll. Pim

Van Eekelen (Lugt 5101). - Sotheby’s Sale 3.7.1996, lot 146.


Classicist façade. 18th c.

Drawing, pen and black ink, with black and grey gouache, framing lines in black

ink, 27 x 51,2 cm, laid paper, unsigned (possibly trimmed at upper edge, some

rust stains, tear in right margin without loss to image). Under passe-partout.

150 / 200 €

Architectural presentation drawing of a classicist façade with Ionic columns; the

square upper part is crowned by a pediment. Possibly a design for a palace or

mansion.

A religious figure (a priest, monk) sitting by the roadside while resting his

hand on a young child’s head. A third hooded figure is watching from the right

background.

Joined: La Marra, Francesco. After Jacques Jordaens - Sermon on the Mount,

ca. 1750. Etching, 30 x 25,4 cm, laid paper (toned, heavy foxing). (2 pcs)


Gravures anciennes – Oude prenten

Oude prenten

Gravures anciennes

128 [British]

BARRY, James - King Lear gazing down to left, left hand to his

head, holding back windswept hair. 1806.

Pen lithograph, 23,2 x 31,8 cm, lettered at the base of the image «J. Barry del.»

(trimmed to the borderline). Stuck by right corners under passe-partout.

2.000 / 2.500 €

130 [British]

PLACE, Francis - Roundels with Italianate seascapes and coastal

scenes. Amsterdam, Frederik De Wit.

4 (of 12) engravings, 12,5 x 12,3 cm, numbered 4 to 7 (wide margins). Stuck by

upper corners under passe-partout.

150 / 200 €

Second state (with yellow support sheet) published in Philip André’s «Specimens

of Polyautography». After Aloys Senefelder’s invention of lithography around

1799, Barry’s «King Lear» was one of the most impressive early English

lithographs with few parallels.

Ref. Pressly 38.

129 [British]

BROWNE, John. After Peter Paul RUBENS - «Going to

market». London, John Boydell, 1783.

Etching and engraving, 56 x 79 cm, laid paper, signed in lower margin (sl. toned).

Stuck under passe-partout. Fine, clear impression.

600 / 800 €

131 [British]

WATSON, Thomas. After Nathaniel DANCE - Lord Apsley and

his brother. London, T. Watson, 1776.

Mezzotint, 35,5 x 50,5 cm, lettered «N. Dance R.A. 1775» and «Engrav’d by

Thos. Watson», on ivory laid paper (wide margins). Stuck by corners under passepartout.

300 / 400 €

A landscape with a city in the distance, large trees on the right on the bank of

a stream, a cottage on the left and men and women, some driving cows, one in

the foreground leading a horse drawing a cart laden with vegetables. After the

painting by Rubens in the Royal Collection, Windsor Castle.

Double child portrait, full-length, standing in front of a riverbank. Fine example

of late 18th century British mezzotint.


Oude prenten – Gravures anciennes

132 [Dutch]

3 Landscape etchings.

Various sizes and conditions. Loose sheets.

100 / 120 €

134 [Dutch]

4 dog scenes from 2 different series.

4 engravings, 13,8 x 18 cm, 2 signed «J. Jonckheer f.» (trimmed just outside the

platemark, ownership stamp on verso very sl. visible on recto of pl. 6). Stuck by

upper margin under passe-partout.

350 / 450 €

1. Della Bella, Stefano. Livorno harbour scene. Etching, 24,5 x 36 cm, laid

paper, signed in plate at lower left corner (trimmed to platemark, foxed, several

old rep. tears, upper left corner torn, left edge frayed, some creases). Ref. De

Vesme/Massar 1971 847.I. - 2. Van Uden, Lucas. Flight to Egypt. Later copy.

Etching, 22,5 x 35,7 cm, laid paper, signed in plate at lower left corner (yellow

toned, sm. tears, hole at lower left side). - 3. Ruyscher, Jan. Publ. by A. Waterloo.

Village in a valley. Etching, 12 x 10,8 cm, laid paper, publ. address in the plate at

upper right corner (trimmed to borderline). Nice impression of second state. Ref.

Hollstein XLVII:92.2. - Bartsch 93.

133 [Dutch]

2 portraits.

2 engravings, 17 x 22 cm and 12,3 x 20 cm (both trimmed just outside the

platemark). Stuck by corners under passe-partout.

80 / 100 €

1. Plates 2 and 4 in the 2nd state from the series «Various dogs» by Paulus I van

Hillegaert after Jacob de Jonckheer, the first one featuring three and the second

four greyhounds. Ref. Hollstein IX: 11 and 12. (Paulus van Hillegaert I) and 1-2

(Jacob de Jonckheer). - 2. Plates 6 «Two resting dogs» and 7 «Dog at a fountain»,

in 2nd state, out of the series «The set of the animals» by Jan van den Hecke I.

Ref. Hollstein VIII (Jan van den Hecke I): 6-7.

135 [Dutch]

A selection of 8 prints.

3 engravings, 19,5 x 28,5 cm (warm toned paper, wide margins); 3 engravings,

19,5 x 26,5 cm (trimmed just outside the borderline); 2 engravings, 22 x 26,8

cm and 20,2 x 26,8 cm (wide margins). 5 loose, 3 mounted on paper by upper

corners.

200 / 250 €

1. Van Kessel, Theodoor. After Jacopo Palma Giovane. St. Mary Magdalen.

Engr. together with R. Eynhouds and C. Boel for the «Theatrum Pictorium, or

Theatre of Painting», published in the 1660s by David Teniers the Younger.

Ref. Hollstein IX: 18. - 2. Frisius, Simon. - Henricus Clivensis, Antverp. pictor.

Portrait of Hendrik van Cleve published by Henricus Hondius in the «Pictorum

aliquot celeberium praecipue [...]». Ref. Hollstein VII: 137.

Johann Sadeler I. After Maarten van Cleve. Betsabe & Urias. 3 engr. (pl. 2-4)

from the «Story of Solomon»: David speaks to Uria, Uria is killed in the battle

and David rebuked by Nathan. All were published in the «Thesaurus Sacrarum

Historiarum veteris testamenti» by Gerard de Jode. Ref. New Hollstein (De Jode

Dynasty I), 118-122.1.

Adriaen Collaert. After Johannes Stradanus. 3 engr. (pl. 17, 18, 20) from

the series «Passio, mors et resurrectio dn. Nostri Jesu Christi», published by

Philips Galle: the crowning with thorns, Christ declared innocent by Pontius

Pilate, Pontius Pilate questioning Christ again. Ref. New Hollstein (The Collaert

Dynasty), 343.



Anonymous. After Maarten de Vos. Pl. 2 from the series «The story of Jacob

and Esau», published by Gerard de Jode: Blind Isaac blessing Jacob disguised as

Esau. Ref. Hollstein XLIV: 69.

Philips Galle. After Johannes Stradanus. Pl. from the series «Acta

Apostolorum»: The gentile centurion, Cornelius kneeling before St Peter. Ref.

New Hollstein (Ph. Galle), 208.

136 [Dutch]

BASAN, François. After REMBRANDT van Rijn - Abraham

and Isaac.

Engraving, 12,5 x 16 cm (trimmed outside the platemark). Stuck by upper corners


350 / 450 €

The full set of the «Large landscapes», designed by Abraham Bloemaert. First

state without the address of Visscher.

Ref. Hollstein II:279-293.1.

138 [Dutch]

After Abraham BLOEMAERT - Pastorals. Rome, 1629.

Oblong sm. 4to, 16 engr. plt, of which 6 signed in pl. and 5 numbered (browning,

marg. dampstaining in corners, sm. single wormhole in t.-p., sm. ears in pl. 9 and

12 sl. affecting the image). Vellum, blind decorated covers, gilt. title «Inventiones»

on front cover (some sm. brown stains).

800 / 1.000 €

Very rare and early edition of these nice pastoral scenes by the Dutch engraver

A. Bloemaert (1564-1651). The title is signed «Abraham Blomaert Inuen.

I.C. fecit» (not in Hollstein as such – only a later printing by his son Cornelis

Bloemaert (1603-1684), who was active in Rome). These plates are probably

rare Roman copies after the orig. pls. by C. Bloemaert, given their mirrored

orientation. On the title engraving a Latin poem in 3 distichs signed «H. de Roÿ».

Each plate with a single Latin distich (unsigned).

Ref. Hollstein II:27-42.

Reverse copy of Rembrandt’s well-known composition showing Abraham who

beckons his son with his hand raised heavenward.

Ref. Hollstein XVIII: B34.

137 [Dutch]

BLOEMAERT, Frederik. After Abraham BLOEMAERT - Large

Landscape series. Amsterdam, Nicolaes Visscher.

Complete set of 15 engravings, 15 x 22 cm, laid paper, signed on title pl. and

numbered (toned, occ. sm. stains, trimmed just outside borderlines). Stuck by

upper corners on green cardb. paper.

200 / 250 €

139 [Dutch]

Attributed to Abraham BLOOTELING. After Melchior

D’HONDECOETER - Poultry yard. [Amsterdam], G. Valck, c.

1670-1680.

Mezzotint, 28,8 x 38,8 cm, signed «G. Valck excudit cum privilegio» (trimmed to

the borderline). Stuck by upper corners under passe-partout.

500 / 600 €

Splendid plate after Hondecoeter, the best-known bird painter of seventeenthcentury

Holland and hence nicknamed the ‘Raphael of birds’. The plate is signed

only with the publisher’s address and the identity of the printmaker is therefore

not clear. The attribution to Blooteling has been suggested for stylistic reasons.

Ref. Hollstein IX: 2 (after Honde coeter) and XXXI: 234 (under Gerard Valck

Excudit).



140 [Dutch]

BRECKERVELD, Herman. After Adriaen Pietersz. van de

VENNE - Aestas. [The Hague, BroerJansz.], 1626.

Engraving, 16,2 x 36,4 cm (trimmed on the borderline). Stuck by upper corners


250 / 350 €

Allegorical representation of the summer, from a series about the seasons after

Adriaen Pietersz. van de Venne and published by Broer Jansz.

Ref. Hollstein XXXV: 4.

141 [Dutch]

BREEN, Gillis van. After Esaias van de VELDE - The woman

and the rich man, or: The love sells for money.

Engraving, 17,6 x 22,7 cm (trimmed just outside the border with loss of 3 text

verses in lower margin, underlaid with minor repairs in lower part) Stuck by upper


150 / 250 €

142

143 [Dutch]

CUYP, Albert - Set of cows. 1670-1741.

6 (of 7) etchings, 7,5 x 7 cm, wide margins, laid paper, unsigned (sl. toned, platetone).

Loose sheets, pasted by corners on 19th-c. paper.

250 / 350 €

In this third state a title pl. was added by a later hand: «VI stüks koitjes Geëtst

door A. Cuyp». Pl. 5 lacking.

Ref. Hollstein V:1-4,6.

First state without the address of C.J. Visscher after Esaias van de Velde.

Ref. Hollstein XXXII: 72.

142 [Dutch]

COORNHERT, Dirck Volkertsz. After Maarten VAN

HEEMSKERCK - Lot and his daughters. 1551.

Engraving, 25 x 19,8 cm (small margins). Stuck by corners under passe-partout.

250 / 300 €

Plate from the series «The power of women» featuring Lot made drunk by

his daughters while his wife in the background looks back at the city and is

transformed into a pillar of salt.

Ref. New Hollstein (Maarten van Heemskerck), 260.

144 [Dutch]

DE BRUYN, Nicolas. After Maarten DE VOS - Aestas.

Engraving, 28 x 22,5 cm (underlaid, trimmed on the platemark at the top and at

the bottom, with narrow margins on both sides). Stuck by upper corners under

passe-partout.

200 / 300 €

Allegorical representation of the summer; second state from a series on the

seasons after Maarten De Vos. Published by Frans van Beusecom.

Ref. Hollstein IV: 191 (Nicolas De Bruyn) and Hollstein XLIV: 1405 (Maarten De

Vos).



Print from the series «Leiden tijdens het beleg en ontzet, 1574 «, after the

illustration in J.J. Orlers’s «Beschrijvinge der stad Leyden» (Leiden: 1614).

Ref. Atlas van Stolk 538-III.

147 [Dutch]

Attributed to de HOOCH, Charles Cornelisz. - Landscape with

ruin.

Engraving, 10,5 x 13 cm, unidentified collector’s mark (trimmed to the platemark,

just outside the borderline). Stuck by upper corners under passe-partout.

200 / 250 €

144

145 [Dutch]

de BYE, Marcus. After Paulus POTTER - Lions. Amsterdam, N.

Visscher, 1664 [or later].

8 engravings, 16,5 x 21,5 cm, numbered and lettered on the title «N. Visscher

excudit» (trimmed just outside the borderline). Loose or stuck by corners under

passe-partout.

650 / 800 €

Ref. Hollstein IX: 11-14.

148 [Dutch]

DE PASSE The Elder, Crispijn. After Maarten DE VOS - The

Deluge (or The Flood). C. 1590.

Engraving, round shape diam. 10 x 9 cm, laid paper 10,8 x 9,9 cm, lettered around

design circle, engraved sign. of «Mart. de Vos inven./ Crisp. de Pas Scalp. / Ph[i]

l[ip]s Galle excud». Stuck by left edge under passe-partout.

100 / 120 €

Complete series of 8 lions after Paulus Potter’s animal studies, in a second state

with the address of Visscher and numbering.

Ref. Hollstein IV: 49-56.

146 [Dutch]

After Willem De HAEN - Fames [Famine during the Siege of

Leiden].

Engraving, 16,5 x 27,4 cm (trimmed on the border). Stuck by corners under passepartout.

200 / 300 €

2nd (of 6) plate from the set «The story of Noah».

Ref. Hollstein (1949) 10 (de Passe) & 57.II (de Vos).



150



149 [Dutch]

DE WIT, Frederik - Frontispiece to «Nieut (sic) Kaert-boeck

vande XVII Nederlandse Provincie». Amsterdam, Frederik De

Wit, 3th quarter of 17th c.

Engraving, 49,6 x 29,6 cm, laid paper (edges frayed with some loss of image to

right edge, paper soiled). Under passe-partout.

150 / 200 €

Hand-coloured title page with allegorical representations of the city of

Amsterdam holding the town hall and river Gods.

Ref. STCN. - Not in Van der Krocht.

Unique Print Collage celebrating the Dutch Republic

150 [Dutch]

DOLENDO, Bartholomeus; DE GHEYN II, Jacob - «Justitie

over den baeliuw van Zuyt-Hollant, door Willem de Goede,

Graef van Hollant». Amsterdam, Claes Jansz. Visscher II; Gerard

Valck, 1613.

8 engravings, text and orn. border, 63 x 102 cm, laid paper, signed in the plate

with publ. address. (often trimmed just outside borderline). Composed sheet of

individual prints, pasted on cardb. support. Good impressions.

3.000 / 4.000 €

151

152 [Dutch]

GALLE, Philips. After Maarten VAN HEEMSKERCK - The

Story of Esther. [Haarlem, Philips Galle], 1564.

8 engravings, 20,5 x 24,6 cm, numbered, dated, signed (on warm toned paper

with wide margins). Stuck under passe-partout by upper margin.

200 / 250 €

(Detail)

Composite print consisting of eight pl. with text, published as a whole set to

be composed by the customer. This means that each set that is put together

differently and is unique. The central plate (40,7 x 57,2) by Bartholomeus

Dolendo represents Willem III on his sick bed, while he hands over his sword to

the executioner. The latter is to execute the bailiff for stealing a cow. Surrounding

this scene are seven other numbered plates by Jacob II De Ghyn with text

fragments taken from the «Divisie-Chronyck» (XIII,32). The whole is surrounded

by a decorative orn. border. The complete ensemble of plates, title strip, text

fragments and border is extremely rare. The printroom of the Rijksmuseum

(RP-P-OB-76.955) owns one of the only other complete compositions, which is

organised with the Justitia print off centre.

Ref. Muller I.208. - New Hollstein (De Gheyn Family, I), 123.2. - Atlas Van Stock

139.

151 [Dutch]

After Albrecht DÜRER - Saint Eustace.

Engraving, 26 x 36 cm, laid paper (trimmed just outside the borderline). Stuck by


1.100 / 1.250 €

Anonymous copy in the same direction after Dürer’s largest and technically

most ambitious 1501 engraving, with the same size as the original and Dürer’s

monogram on a fictive scrap of paper.

Ref. Meder 60.

Complete series of 8 prints, 1st state: 1. Esther crowned by Ahasuerus. - 2.

Mordecai overhearing the treason of Bigthan and Teresh. - 3. Ahasuerus

commissions to destroy the Jewish people. - 4. Esther’s servants telling her of

Mordecai’s refusal of the raiment. - 5. Esther inviting Ahasuerus for a banquet.

- 6. Ahasuerus consulting the book of Chronicles. - 7. Ahasuerus consulting

Haman. - 8. Esther accusing Haman at the Banquet.

Ref. New Hollstein (Maarten van Heemskerck): 151-158 and (Philips Galle)I: 49-

56.



153 [Dutch]


Story of Schadrach, Meshach, and Abed-Nego. [Haarlem], P.

Galle, 1565.

4 engravings, 20,5 x 24,8 cm, numbered and signed on 1. «MHeemskerck

Inventor - 1565 - PGalle fecit», 2. «MHeemskerck.in.ve - PGalle.Fe.», 3. «MHeem.

In.Ven.PGa.Fe.», 4. «PG.F. - MHee.Inv.» (wide margins, sl. toned paper). Stuck

by corners under passe-partout.

200 / 250 €

155 [Dutch]

GOLTZIUS, Hendrick - Passion of Christ. Haarlem, 1596-97.

3 engravings (of 12), 20,1 x 13,5, laid paper with watermark (fleur-de-lis), signed

and numbered in the plate with monogram (Flagellation and Christ Carrying

the Cross are trimmed to the borderline, Burial of Christ trimmed outside the

platemark, some minor repairs and creases) Under passe-partout. Very fine, grey

and uniform impressions.

300 / 400 €

«Flagellation», «Carrying of the Cross», and «Burial of Christ» from the Passion

Series (12 pl.). One of Goltzius’ masterpieces as a printmaker. 1st state (of 2)

before the addition of the address of De Wit.

Ref. Hollstein VIII:26-29-31.

156 [Dutch]

GOLTZIUS, Hendrick - Portrait of Hans Bol. 1593.

Engraving, 26,4 x 17,7 cm, laid paper, lettered around the portrait, signed with

monogram HG lower left. Stuck by upper edge under passe-partout. Very fine

dark impression.

600 / 650 €

Complete series of 4 plates, 1st state, with Latin verses in lower margin: 1. The

three Jews accused of not worshipping the golden statue. - 2. The three Jews

brought before Nebuchadnezzar. - 3. The three Jews cast into the fiery furnace.

- 4. Nebuchadnezzar seeing the three Jews unhurt in the flames.

Ref. New Hollstein (Philips Galle), 70-73.

154 [Dutch]

GENOELS, Abraham - 3 landscape etchings. Paris, Adam Frans

Van der Meulen, 1675-1690.

Various sizes and conditions. Loose sheets.

180 / 200 €

1st (of 2) state.

Ref. New Hollstein (Goltzius),177.1.

1. The Large Tree with the Double Trunk. Etching, 33 x 48 cm, laid paper, signed

in plate at lower margin «A. Genoels in. et sculp» (sl. rubbed pl., trimmed inside

the platemark just outside borderline). Very good dark impression. Ref. Hollstein

VII.72. - TIB 72. - 2-3. «Village on the mountains» and «Stones in the water». 2

(of 6) pl. from the «Landscape» series. Etchings, 13,4 x 16,7, laid paper, signed

in pl at lower margin (trimmed just inside platemark, some brown stains). Ref.

Hollstein VII:34.3 - Hollstein VII:36.1. (3 pcs)

157 [Dutch]

GOLTZIUS, Hendrik - Three goddesses seated in clouds. 1596.

3 engravings, signed with monogram «HG» and numbered in lower right corner

(trimmed just inside the platemark or on the borderline). Stuck by upper corners


1.200 / 1.500 €

Complete series of 3 pl. formerly attributed to Saenredam, representing Juno,

Pallas and Venus, with Latin verses by Cornelis Schonaeus and dedicated to

Johann Anton Barvitius, private counselor to Rudolf II.

Ref. New Hollstein (Hendrick Goltzius), 143.



157

155

158



Like the lion, a virtuous man drinks at once the bitter

and the sweet

158 [Dutch]

HOEFNAGEL, Jacob. After Joris HOEFNAGEL - Flos cinis

(Insects, fruits and flowers around a moth).

Engraving, 15 x 20,6 cm, hand-coloured, unidentified watermark (underlaid,

trimmed outside the platemark). Stuck by corners under passe-partout.

300 / 400 €

Nicely coloured plate from the series «Archetypa studiaque patris Georgii

Hoefnagelii» (12 pl.) with Latin emblematic quote: «Lilia agros, virtusque viros,

coelum astra coronant. Ut leo vir fortis dulce & amara bibit.»

Ref. Hollstein IX: 17-64. - Vignau-Wilberg 2017: G11.

159 [Dutch]

HONDIUS, Hendrik - Frontispiece to the Atlas Novus.

Amsterdam, Johannes Janssonius; Hendrik Hondius, 1638.

Engraving, 36,5 x 23,7 cm, contemp. hand-coloured (underlaid, borders

reinforced, some sm. stains and creases). Stuck by upper corners under passepartout.

250 / 300 €

Title-page with orig. colouring to Gerard Mercator’s Atlas Novus, published in

Amsterdam in 1638. With pasted-over imprint over French version.

Ref. STCN. - Koeman II:51a. - Van der Krogt I:401.1.

161 [Dutch]

JANSONIUS - Frontispiece to «Le Nouveau Théâtre».

Amsterdam, Johannes Janssonius, 1641.

Engraving, 37,1 x 23,4 cm, underlaid (paper soiled, some creases and old repairs).

Under passe-partout.

200 / 250 €

Hand-coloured title page to the 3rd vol. with the figure of Atlas surrounded by

allegorical representations of the continents in an architectural framework.

Ref. Van der Krogt I:415.3d.

162 [Dutch]

LIEVENS, Jan - Buste of an old woman with cloak. Antwerp,

Frans Van den Wyngaerde, 1625-1674.

Etching, 11,2 x 12,6 cm, laid paper, signed at lower left corner (trimmed just

outside platemark at left and right edges, trimmed inside borderline at upper edge

without loss to image, some min. foxing). Stuck by upper corners under passepartout.

Somewhat grey impression.

150 / 200 €

160 [Dutch]

HONERVOGT, Jacques. After Cornelis CORNELISZ. - «The

Four Disgracers». Paris, C. 1610-1670.

4 engravings, diameter 17,5 cm, laid paper, signed (browned, sm. foxing, some

tears, sm. repairs, trimmed at framing line). Pasted under passe-partout.

120 / 150 €

The print is sometimes also referred to as «Rembrandt’s mother». 2nd state (of 2).

Ref. Hollstein XI:49.2.

Mirrored copies after the famous series of Hendrick Golzius (1558-1617) with new

text margin. These extraordinary tondos are some of the the most daring works to

have resulted from the brief collaboration in 1588 between Goltzius and the painter

Cornelis Cornelisz van Haarlem (1562-1638). Given their popularity, the prints in

the series were quickly copied by other engravers such as Jacques Honervogt, who

was born in Cologne, but was active as a printmaker in Paris from 1608.

Ref. New Hollstein (Goltzius), 325-28. - Bartsch III.79.258-61.



163 [Dutch]

LONDERSEEL, Jan van. After David VINCKBOONS - Jeroboam

and the prophet Achia. Amsterdam, Nicolaes Visscher, 1622.

Engraving, double folio (royal format), 38,6 x 51 cm, laid paper, signed in the plate

(wide margins, vert. fold in centre from assembly, sm. tear upper left corner). Stuck

under passe-partout. Fine grey impression, superior to Rijksmuseum impression.

120 / 150 €

The prophet Achia has cut his coat in twelve pieces and hands them over to

Jeroboam. The torn coat symbolises the separation of the Jewish people and

prefigures the twelve Apostles. Under the image two-versed text in Latin and

Dutch, and a bible fragment (Kings 11:29) clarifying its meaning. First state.

Ref. Hollstein XI:12.1

164 [Dutch]

After Frans MENTON - The history of Lot. 1579 and/or 1646.

4 engravings, c. 20,5 x 25,4 cm (warm toned paper, wide margins). Stuck by upper

margin under passe-partout (1 loose).

250 / 300 €

Mercury, Jupiter and Venus. Representations of the Planetary Gods sitting in a

carriage, pulled by emblematic animals, and flanked by the astrological zodiac

signs. Each engraving is accompanied by a Latin text. Second state by Th. Galle.

Ref. Riggs 132. - New Hollstein (Van Heemskerck), 547-48, 551.

Joined: 1. Muller, Jan Harmensz. After Bartholomeus Spranger, «Sine Cerere et

Baccho frigit venus», first state, 28,5 x 20 cm, laid paper, publ. signed on plate,

publ. by Th. Galle (browned, trimmed to the framing line, corners cut). Mounted

under passe-partout. Ref. Hollstein XIV:49. - New Hollstein (Galle) II:74. — 2.

Idem. After Bartholomeus Spranger, Hercules and Scipio led by Minerva to the

Temple of Virtue, third state, 23,5x 15,6 cm, laid paper, Latin text in lower margin,

signed on plate «J. Muller Sculpsit» (sm. foxing, sm. repaired tear, trimmed on the

framing line). Mounted under pase-partout. Ref. Hollstein 61. - New Hollstein

II:72. (5 pcs)

166 [Dutch]

MULLER, Hermann Jansz. After Maarten VAN HEEMSKERCK

- Christ as the good Samaritan. 1565.

4 engravings, 20,5 x 25 cm, numbered and signed in the plate: 1. «HMul. fe» on

sword of Cupid and «MHeemskerck In» on lower right rock. - 2. «Maertynus

Heemskerck Inventor 1565 Harman Muller fe» at bottom left. - 3. «Heemskerck

In MH Fe. 1565» at bottom right. - 4. «MHeemskerck In» at bottom left of center

(wide margins, some sl. toned). Stuck by corners under passe-partout.

200 / 250 €

Complete series of 4 prints representing the story of Lot and his daughters. First

edition supposedly published by Hieronymus Cock. For the later second edition

by Gerard de Jode in 1579 the copperplates were entirely reworked and the work

was attributed to Hans Collaert.

Ref. Hollstein XIV: 1-4.

165 [Dutch]

MULLER, Harmen Jansz. After Maarten VAN HEEMSKERCK

- The Planetary Gods and their children. Antwerp, Theodoor

Galle, C. 1602-1638.

3 (of 7) engravings, 20,5 x 24,2 cm, on laid paper, signed in pl, numbered in lower

left margin (trimmed to the framing line, def. in text margin without loss of text,

pasted on paper). Stuck under passe-partout.

150 / 200 €

Complete series of 4 prints with two Latin verses in lower margin, featuring:

1. Man attacked by desire, lust and error. - 2. Moses and Aaron leaving the

Wounded Man to fend for himself. - 3. The Wounded Man healed by Christ’s

blood. - 4. Man finding salvation in the Church of Christ.

Ref. New Hollstein (Maarten van Heemskerck), 445-448.



Early first state of Rembrandt etching

167 [Dutch]

REMBRANDT, Harmensz. van Rijn - The ressurection of

Lazarus (small pl). Amsterdam, 1642.

Etching, 15 x 11,4 cm, laid paper, signed and dated in plate at lower left corner

«Rembrandt f 1642» (wide margins, print tone in the shades, paper sl. soiled).

Stuck under passe-partout, under gilt frame. Not studied outside frame.

800 / 1.000 €

Good early impression of an iconic print by Rembrandt. 1st state (of 2) with faint

cross-hatching in Lazarus’ forehead.

Ref. Hollstein XVIII:72.1. - New Hollstein (Rembrandt) 206.1

168 [Dutch]

RYCKMANS, Nicolaes. After Pieter DE JODE and Antonio

TEMPESTA - The Story of Jephta. [Amsterdam], Claes Jansz.

Visscher II, c. 1643.

6 engravings, 21,5 x 28 cm, signed and numbered (wide margins). Loose.

150 / 200 €

169

170 [Dutch]

SADELER, Aegidius - Portrait of Emperor Matthias of

Habsburg. Prague, Marcus Sadeler, 1614.

Engraving, 69,4 x 44 cm, laid paper glued on cardb. support, signed in plate at

lower centre (sm. repaired tear). Stuck at upper corners under passe-partout.

3.000 / 6.000 €

Complete series, published in the «Theatrum Biblicum»: Jephta is cast out by his

brothers because he is the son of a harlot, his messengers attempt to make a treaty

with the king of the Ammonites, his army defeats the Ammonites, his daughter

dances with tambourines to meet her father on his return from the battle, she

retreats to the mountains, and on the last plate, Jephta sacrifies his daughter.

Ref. Hollstein XX: 1-6.

169 [Dutch]

SADELER, Aegidius. After Albrecht DÜRER - Virgin and child

in a landscape. Turned to the right.

Engraving, 24,2 x 34 cm, signed «Albertus Durer Almanus inventor, S.C.M.tis

sculptor Aegid. Sadeler sculpsit./ Cum privil S.C.M.tis» (small repair on verso,

trimmed to the platemark). Stuck by corners under passe-partout.

1.500 / 2.000 €

Second state, well preserved, after Dürer’s watercolour drawing, kept in Vienna.

The lively composition of the Virgin playing with the infant Christ in a landscape

full of varied detail reflects the evolution towards the genre of independent

landscape painting.

Ref. Hollstein XXI: 72.

Known as one of the most magnificent portrait engravings of its time, Sadeler’s

portrait of Holy Roman Emperor Matthias of Habsburg surrounds the garland

medallion with a rich array of allegorical figures referring to his reign and to

his personal victories. Underneath the imperial eagle his servents kneel before

the prince, including a group of conquered Turks at lower right. As symbols of

Temperance and Victory, Pegasus is tamed on the left and a dragon is impaled

on the right by a winged female soldier. Latin text in capitals dates and describes

print’s content. 3rd state (of 3).

Ref. Hollstein XXI:310.3.


167



171 [Dutch]

SAENREDAM, Jan. After Abraham BLOEMAERT - The

Prodigal son as a swineherd. Amterdam, Gerardus Valk, 1618.

Engraving, 44,2 x 62 cm, underlaid paper with unidentified watermark, signed in

plate at lower right corner, wide margins (toned paper, stained in margins, some

repaired tear in lower edge, ms. numbered with pen and brown ink in lower right

corner, glue stains on verso). Under passe-partout. Rich, dark impression.

400 / 500 €

Joined : David with the head of Goliath, s.d. Engraving after J. Saenredam,

publ. by P. De Jode, 27,3 x 19 cm (sm. margins); engr. initial «L» in a stone in

lower left corner, «Petrus de Iode excu» and Latin caption «Cum reverteretur

percusso (...)». Stuck by upper corners under passe-partout. Sl. brown., esp. in

the corners. Reverse copy by an unknown engraver of a plate executed by J.

Saenredam after a drawing by Lucas Van Leyden. Several engravers copied

Saenredam’s plate. (2 pcs)

173 [Dutch]

SAVERIJ, Jacob I - Dear hunt in a swamp before a chapel and

tower. [The Hague], H. Hondius, c. 1602.

Engraving, 18,3 x 28,9 cm, signed with monogram «JS» in treetrunk (trimmed to

the borderline). Pasted on paper and stuck by corners under passe-partout.

500 / 600 €

Farmyard with the Prodigal Son wearing rags and supporting himself with a

club-like stick and holding his hat for alms, a bearded man pointing away and

standing at the rear of a cow being milked, behind is a large dilapidated farm

building with a thatched roof. With ten Latin text lines in lower margin. 5th state

(of 5) with address of Valk removed in lower left foreground.

Ref. Hollstein XIII:27.5. - Bartsch III.227.25.

172 [Dutch]

SAENREDAM, Jan. After Lucas VAN LEYDEN - David with

the head of Goliath. Hendrik Hondius, c. 1600.

Engraving, 27,8 x 19 cm, laid paper, signed in plate with L monogram and date

and name of engraver (trimmed to borderline, sl. toned). Stuck under passepartout.

200 / 250 €

Second state with address of H. Hondius and substantial shading by horizontal

hatching.

Ref. Hollstein XXIII: 7.

174 [Dutch]

Van SCHEYNDEL, Gillis - Figures gathered around a bonfire

on a bank to right of a river: moonlit nocturne.

Engraving, 10 x 14,6 cm (trimmed just outside the platemark). Stuck by corners


100 / 150 €

Oblong landscape.

Ref. Hollstein XXIV: 115.

175 [Dutch]

SERWOUTERS, Pieter (Monogrammist P.S.). After Hans

COLLAERT I and Marcus GEERAERTS - Friezes with birds.

[Amsterdam, N. Visscher and F. de Witt], 1607.

4 engr., 4,5 x 21 cm, two on one sheet (underlaid, caption on n. 1 partially

missing, wide margins). Stuck by corners under passe-partout.

250 / 350 €

Title page and 3 ornament prints from the series «Viel und mancherley Gefögel,

den Malern und Goltsmiden dienlich.»

Ref. Ornamentprenten 70.1, 2, 11 & 12. - Hollstein XXVI: 42.

Reverse copy after Lucas van Leyden, with Latin text in lower margin. 4th state

(of 5), with Hondius’ publ. monogram added.

Ref. Hollstein XXIII:11.4.



175

176 [Dutch]

SWANEVELT, Herman - The flight into Egypt.

4 engravings, 21 x 27,3 cm, signed «Herman van Swanevelt inventor fecit et

excudit» (trimmed just outside the platemark). Stuck by under corners under

passe-partout.

300 / 400 €

178 [Dutch]

VAN BOLTEN, Roeland. After Agostino CARRACCI. After

Jacopo TINTORETTO - Crucifixion. [Zwolle], C. 1589-1609.

Engraving, 50 x 39 cm, laid paper glued on mod. paper support, unsigned (heavily

toned, occ. foxing, def. on paper at lower in lower margin without loss to text,

sm. tear at right edge, trimmed at borders). Mounted on mod. paper, loose sheet.

100 / 200 €

Middle plate out of a set of 3 engravings representing the crucifixion and the

erection of the two crosses of Dismas and Gestas, the good and bad thieves.

This large-scale print is a copy after Agostino Carracci’s popular 1589 engraving,

which was based upon a painting by the Venetian painter Tintoretto. In the

lower margin the print is accompanied by a Latin prayer. Second state (of 2).

Ref. Hollstein III:1.

179 [Dutch]

van de VELDE, Adriaen - Recumbent goats.

Engraving, 11 x13 cm, signed at upper right corner «A.V Velde f.» (wide margins).

Stuck under passe-partout.

150 / 200 €

Complete series of 4 scenes in wide atmospheric landscapes.

Ref. Hollstein XXIX: 6-9.

177 [Dutch]

van AKEN, Jan. After Herman SAFTLEVEN - Views of the

Rhine. Amsterdam, N. Visscher, 1624-1661 and/or 1681-1700.

4 engravings, 21,5 x 26,8 cm (wide margins). Stuck by upper corners under passepartout.

400 / 500 €

Early impression with smudges of false biting in the upper right.

Ref. Hollstein XXXII: 10.

Complete series, 5th state with Visscher’s address.

Ref. Hollstein I, 18-21.



180 [Dutch]

After Adam Frans VAN DER MEULEN. After Jan VAN

HUCHTENBURG - Landscapes. [Amsterdam, Jacques Le Moine

de l’Espine], c. 1684.

6 engravings, 11,7 x 14,8 cm, signed and numbered (wide margins). Sewn.

300 / 400 €

182 [Dutch]

After Maarten VAN HEEMSKERCK - The Story of Tobias. After

1556.

10 engravings, c. 20,5 x 24,5 cm, signed «Martinus Heemskerck» on 1st pl.,

numbered 1-10 (wide margins, sl. wear with a few small stains in margins). Stuck


300 / 400 €

The Amsterdam art seller Jacques Le Moine de l’Espine, best known as author

of «De Koophandel van Amsterdam» (P. Brunel, 1694), received the exclusive

publishing rights for his copper plates of landscapes in 1684. It was his intention

to include these in a larger opus.

Ref. Hollstein XIV: 87-92 (copy after). - NNBW 6, 489-490.

181 [Dutch]

VAN EVERDINGEN, Allard - 7 landscape etchings. 1640-1675.

Various sizes and conditions. Stuck under passe-partout.

200 / 250 €

Complete series of 10 pl. comprising: 1. Tobit blinded by sparrow’s dropping. - 2.

Tobit refusing to accept the kid. - 3. Tobias and the angel taking leave of Tobit.

- 4. Tobias catching the fish in the river Tigris. - 5. Raguel welcoming Tobias. -

6. The marriage of Tobias and Sarah. - 7. Tobias burning the heart and liver of

the fish. - 8. Tobias, Sarah and the angel taking leave of Raguel and Edna. - 9.

The homecoming of Tobias. - 10. The departure of the angel. Pl. 1: 2nd state by

Theodoor Galle, pl. 7 and 8: 1st state, all others: only states.

Ref. New Hollstein (Van Heemskerck), 189-198.

183 [Dutch]

VAN HILLEGAERT, Paulus; JONCKHEER, Jacob - Four

etchings with dogs. Amsterdam, Nicolaes Visscher, 1654.

Etchings, 14,7 x 18,2 cm, laid paper, signed and numbered in plate (trimmed just

outside platemark, sl. toned). Stuck under passe-partout.

950 / 1.200 €

1. The hamlet on the mountain side. 4th state. Etching, 10,3 x 10,5 cm, laid

paper, monogrammed AVE at right centre (trimmed to platemark). Ref. Hollstein

VI:16.4. - 2. The Fourth Spring, 1 (of 4) pl. from set of «The four mineral springs in

Spa». 2nd state. Etching, 12,5 x 16,6 cm, laid paper, unsigned (sm. tear in lower

left corner, trimmed to platemark). Prov. Coll. stamp (L.2644). Ref. Hollstein

VI:98.2. - 3. The casks and planks at the bank of the river. 3rd state. Etching, 10

x 14,7 cm, laid paper, monogrammed AVE at lower left corner (trimmed to the

platemark). Prov. Coll. stamp Franciscus Bauweraerts (L. 3325). Ref. Hollstein

VI:65.3. - 4. The three goats at the river. 3rd state. Etching, 9,1 x 14 cm, laid

paper, monogrammed AVE at lower left corner (trimmed outside the platemark,

plate grain). Prov. Coll. stamps of E. Fabricius (L. 847a) and L. Lépingle (L. 1731).

Ref. Hollstein VI:36.3. - 5. Two boats on a river. 4th state. Etching, 8,6 x 14,6

cm, laid paper, unsigned (trimmed just outside plate marks). Prov. Coll. stamp

Franciscus Bauweraerts (L. 3325). Ref. Hollstein VI:58.4. - 6-7. Two anonymous

landscape etchings, attributed to Van Everdingen.

Complete series of 4 plates «Die folge der Hunde» by two different printmakers.

3rd state (of 3).

Ref. Hollstein IX:9-12.3



184 [Dutch]

VAN LEYDEN, Lucas - Christ and the Apostles Leiden, c. 1510.

8 (of 14) engravings, 12 x 7,5 cm, laid paper, monogrammed «L» in plate (sl.

toned, trimmed inside plate mark just outside border, glued on passe-partout).


500 / 600 €

hand. Esther kneeling before him facing towards the left with two maidens

behind her; behind them stand members of the court.

Ref. New Hollstein (Van Leyden), 31.2.

186 [Dutch]

VAN LEYDEN, Lucas - Sts Peter and Paul seated in a landscape.

Leiden, 1527.

Engraving, 10 x 14,6 cm, laid paper (trimmed to platemark, sl. toned, glue stain

at upper right corner, tiny rust stain near Paul’s knee). Slightly uneven, grey

impression.

250 / 300 €

Part of the series «Christ, Paul and the twelve Apostles». This lot includes

Christ, Peter, Andrew, John the Evangelist, James the Greater, Thomas, Judas

Thaddaeus and Bartholomew. Second state.

Ref. Hollstein (Lucas van Leyden), 86b-87b, 89b-94b.

Prov. Coll. stamp Karl Jacob Mayer (L.5100). - Collection of Kungliga Museet

Stockholm (present National Gallery).

185 [Dutch]

VAN LEYDEN, Lucas - Esther before Ahasuerus. Maarten Petri,

1518.

Engraving, 28 x 22,4 cm, laid paper, signed and dated in plate at bottom centre

(trimmed just outside the borderline, occ. traces of plate grain). Under passepartout.

Excellent uniform grey impression of the 2nd state (of 3) with address of

Petri added on the stone ledge.

400 / 500 €

St Peter with a key in his right hand to the left, reaching over to point to the book

which sits in the lap of St Paul to the right. St Paul’s foot rests on his sword and

he turns to look at St Peter, gesturing toward him with his right hand, as he turns

a page of his book with his left. Later impression.

Ref. New Hollstein (Van Leyden), 106b.

187 [Dutch]

Van LONDERSEEL, Jan. After Jacob I SAVERY - Landscape

with hunting scene.

Engraving, 24 x 33 cm, signed «Jacobus Saverius Inv.» and «Joannes Londerseel

Schu.» (trimmed just outside the borderline). Stuck by upper corners under passepartout.

600 / 800 €

Very rare landscape engr. with a swamp crossed by a bridge and a village in the

background.

Ref. Not in Hollstein, Nagler’s KünstlerLexikon, British Museum or Rijksmuseum.

Esther before Ahasuerus; the king seated on throne at left with his sceptre in his

right hand raised towards Esther and his left hand extended to take her right



188 [Dutch]

VAN OSTADE, Adriaen - 2 etchings. 1653.

Various sizes and conditions. Under passe-partout.

120 / 150 €

a brook, bordered by trees. 2nd state. Etching, 9 x 13, laid paper, wide margins,

signed at lower right corner «L.V.V.».

Ref. Hollstein XXX:41.2. - Hollstein XXX:40.2. - Hollstein XXX:22.2.

After or inspired by Rembrandt?

1. The smoker and the drinker. 4th state (of 5). Etching, 8,2 x 6,3 cm, thick laid paper.

Good dark impression. Ref. Hollstein XV:13.4. - 2. Peasant with a crooked back.

Later copy. Etching, 7,7 x 6,3 cm, laid paper (sl. toned). Ref. Hollstein XV:20.5 (Copy).

189 [Dutch]

VAN RUISDAEL, Jacob - 2 landscapes.

Etchings, 19,4 x 27,8 cm, thin laid paper, signed in plate at bottom margin

«JvRuisdael f.» (toned paper, brown stains at upper edges, foxing throughout).


400 / 500 €

191 [Dutch]

VAN VLIET, Johannes - The capture of Christ.

Engraving, 16,8 x 21,8 cm, signed «JG Vliet fec» (trimmed just within the

borderline). Stuck by upper corners under passe-partout.

750 / 900 €

«Two farmers and a dog», and «The cottage on the hill». Good dark impressions

of the 2nd state with the sky.

Ref. Hollstein XX:2.2 & XX:3.2

190 [Dutch]

VAN UDEN, Lucas - 3 Landscape engravings. Amsterdam, Frans

Van den Wyngaerde, [1625-1673].


250 / 300 €

1. Landscape with men pushing a freight cart from out of the mud. Engraving,

20 x 31,2 cm, laid paper with Amsterdam watermark, signed at lower left corner

(trimmed just inside platemark, right upper side of plate worn). - 2. After Titian.

Landscape with several horsemen in foreground. Etching, 9 x 13,3 cm, laid

paper, signed at lower left corner (trimmed inside platemark). 3. Landscape with

1st state, from Van Vliet’s series «The Passion». The engraver’s collaboration with

Rembrandt is a heavily debated item in literature, with Rembrandt’s influence

being visible in his masterful handling of light and shadow in this print. However,

in 1631, when he had his first prints after Rembrandt published, Van Vliet already

was a highly accomplished etcher, at least from a technical viewpoint and compared

to the better draughtsman that Rembrandt was. A number of Rembrandt’s

early small prints were even reworked by another hand. In just one year, in 1631,

Rembrandt’s technique as an etcher improved drastically. Besides this brief moment

of collaboration, van Vliet worked independently and continued, between 1631 and

1634, making a number of etchings after originals by Rembrandt.

Van Vliet’s «Passion» series is, unfortunately, not dated, so that its place in the

context of the collaboration with Rembrandt cannot easily be estimated: was it

after Rembrandt or rather inspired by him?

Ref. Hollstein XLI: 6. - J. Rutgers, «Jan van Vliet and Rembrandt van Rijn: Their

Collaboration Reassessed», in S.S. Dickey, Rembrandt and his circle, AUP, 2017,

pp. 287.



192 [Dutch]

Various Dutch engravings. 16th and 17th c.

25 engravings, various sizes and conditions. Loose sheets.

150 / 200 €

1. Hondius, Hendrick. Portrait of Jacob Binck, c. 1610, engraving, 20,6

x 13 (trimmed outside platemark). Part of the series Pictorum Aliquot

Celebrium Praecipuae Germaniae Inferioris Effigies (72 pl). Ref. New Hollstein

(Hondius):157 — . 2. Burgkmair, Hans the Elder. Battle scene (book illustration

to «Der Weisskunig»), 1516, woodcut, 25,6 x 21 cm. — 3. Cole, B. A prospect

of the Palace and Gardens at Loo, engraving, 18,5 x 30 cm. — 4. Stradanus,

Johannes. The Hunts, 7 engravings, 21,5 x 30 cm (toned late impressions). —

5. Millan, Pierre. After Rosso Fiorentino. Dance of the Dryads, engraving,

28,1 x38, 2 cm (poor copy). Joined are several maps and topographical prints.

195 [Flemish]

BOLSWERT, Schelte Adamsz. After Peter Paul RUBENS -

Atalanta and Meleager hunting the Calydonian boar. [Antwerp],

G. Hendricx, c. 1596-1659.

Engraving, 46 x 63 cm, signed «S.a. Bolswert sculpsit» (trimmed just outside the

platemark). Stuck by corners under passe-partout.

200 / 300 €

193 [Dutch]

VISSCHER, Claes Jansz. After Jan II van de VELDE - Watermill

left of ruins. 1616.

Engraving, 12,2 x 18,3 cm (wide margins). Stuck by upper corners under passepartout.

100 / 200 €

Dynamic forest scene after the original painting in Florence. Nice dark impression

from the set of 6 large landscapes after Rubens.


Landscape engraved by Claes Jansz. Visscher after Jan van de Velde II (pl. 11 of

part 4). Fourth state with all numbers erased.

Ref. Hollstein XXXIII: 278.

196 [Flemish]

COCK, Hieronymus. After Hans BOL - Peasant feast in a

Village. Antwerp, Hieronymus Cock, c. 1560.

Etching, 22,6 x 32 cm, laid paper, signed in plate (trimmed just outside

borderlines, toned paper, large vert. creases at upper centre, sm. tear and crease at

upper left edge, old repairs on verso). Stuck by left corners under passe-partout.

Good impression.

200 / 300 €

194 [Dutch]

WATERLOO, Anthonie - 4 etchings of forest or rural landscapes

with cottage, some animated with characters. C. 1640-1675.


120 / 150 €

Landscapes with farms, watermills and animals.

Ref. Hollstein L: 94.1.- 52.1.-

Part of series (12 pls.) with rivers and village views, after Hans Bol (1534-1593).

A Flemish village with a well in the foreground and a wedding party at left. 1st

state (of 2).

Prov. 16th-c. ownership entry on verso. - Coll. stamps on verso (L. 222b)

Ref. Hollstein III:8.1.



197 [Flemish]

COCK, Hieronymus. After Mathijs COCK - Abraham and

Isaac. Antwerp, Hieronymus Cock, 1551.

Etching, 24,3 x 34 cm, laid paper, signed and dated in the plate «H.Cock.Fe.1551»

(trimmed to borderline, sm. brown spot near Abraham’s hand, sm. tear at upper

right edge). Loose sheet under passe-partout, fine dark impression.

600 / 700 €

199 [Flemish]

COLLAERT, Adriaen; GALLE, Theodoor; DE PASSE, Crispijn

I. After Maarten DE VOS - The Ten Commandments. [Antwerp],

Ph. Galle.

7 engravings, 19,5 x 24,5 cm, numbered and signed (wide margins). Loose.

300 / 400 €

(Detail)

Rare print of a landscape with Abraham about to sacrifice his son Isaac. A lamb

is trapped in the bushes on the right-hand corner. The etching is one of the

earliest prints published by Cock’s Aux Quatres Vents, probably made after the

landscape drawings by his brother Mathijs Cock. First and only state.

Ref. Riggs no. 37. - Hollstein IV:1. - Leuven (Cock) 2013, no. 95.

198 [Flemish]

Attributed to Adriaen COLLAERT and Johann SADELER I.

After Jan I SNELLINCK and Maarten VAN CLEVE - Betsabe

& Urias. Antwerp, G. De Jode, 1585.

4 engr., 19,5 x 28,5 cm (warm toned paper, wide margins). Stuck by upper margin


200 / 300 €

7 of 11 pl. from the series, all 1st st., including pl. 2: the blasphemer stoned

to death by the Israelites, pl.3: the punishment of the Sabbath-breaker, pl. 4:

Shem and Japhet covering the nakedness of Noah, pl. 5: Joab killing Amasa, pl.

7: Joshua judging Achan, pl. 8: Daniel cross-examining the elders who accused

Susanna, pl. 10: Ahab coveting Naboth’s vineyard.

Ref. Hollstein XLIV: 74-77, 79-80, 82.

200 [Flemish]

COLLAERT, Adriaen. After Hendrik VAN CLEVE - Regionum,

rurium, fundorumque, varii at ove amoeni prospectus. Antwerp,

P. Galle, 1587.

10 engravings, 19 x 24 cm, numbered and signed «Adria Col. sculps.» (wide

margins, sl. wear in margins). Stuck by corners under passe-partout.

1.200 / 1.500 €

Complete series of 4 engr. from the Story of Solomon. 2nd edition with the first

plate replaced by a new one -attributed to A. Collaert after J. Snellinck I- that

shows Betsabe who receives a letter from David and that later was included in

Claes Janszoon Visscher’s «Theatrum biblicum». The other three by J. Sadeler

I after M. van Cleve represent: David speaks to Uria, Uria is killed in the battle

and David rebuked by Nathan. All were published in the «Thesaurus Sacrarum

Historiarum veteris testamenti» by Gerard de Jode.

Ref. New Hollstein (De Jode Dynasty I), 118-122.1.

Complete series of Collaert’s «Landscapes with ruins» after Cleve’s drawings of

Italianate landscapes that were made late in his career.




201 [Flemish]

COLLAERT, Adriaen. After Marcus GHEERAERTS -

Animalium Quadrupedum. Antwerp, 1597.

Set of 20 engr., 14 x 19,2 cm, laid paper, numbered and signed in pl «Adrian

Collaert fecit et excud.» (trimmed to border). Stuck under passe-partout. Good

impressions.

800 / 1.000 €

Complete set of the first state by Collaert of the four-legged animals. A second

mirrored state was later published in Amsterdam by Visscher. The engravings

depict a wide variety of animals such as elephants, wild horses, dogs, foxes,

sheep, rhinoceroses or giraffes in their natural habitat. The print series enjoyed

wide popularity, not in the least by fellow artists who used these representations

of exotic animals as workshop examples. Orpheus plays his lyre, thus

summoning the animals with his music on the title page.

Ref. Hollstein IV:596-615. - New Hollstein (Collaert Dynasty), 1462-1482:I.

202 [Flemish]

COLLAERT, Adriaen - Animalia quadrupedum: 8 prints.

8 engravings, c. 12,5 x 19 cm, numbered and signed in pl. «Adrian Collaert fecit

et excud.» (pl. 596 with wide margins, the others trimmed on the border, pl. 596:

sl. toned, underlaid, sm. tears without loss) Stuck by corners under passe-partout.

300 / 400 €

Mercury, Juno and a river god. From a set of 6 pl. depicting the godly protagonists

in the Judgement of Paris, in richly orn. frames decorated with grotesques

against a black background.

Ref. Hollstein IV:402-07. - New Hollstein (Collaert), 1676. - Warncke I:242-47. -

De Groot 61.1-3.

Joined: 1. Virgilius Solis - Feast of Bacchus with drunken satyrs, 1524-1562.

Engraving, 5,5 x 24 cm (trimmed on frame line, def. at edges, browned).— 2.

Idem. After George Pencz - Triumphal procession of the Four Seasons, 2 (of 3)

pls. (torn, sl. toned, trimmed on borderline, def. on edges with loss of image).

Mounted under passe-partout. (5 pcs).

204 [Flemish]

COLLAERT, Hans. After Ambrosius FRANCKEN. After

Maarten VAN HEEMSKERCK - The Story of David and Saul.

[Antwerp, G. de Jode], c. 1579.

4 engravings, c. 21 x 29 cm for the first 3 pl. and 20,3 x 25 cm for the 4th (wide

margins for the first 3 pl., small margins for the 4th). Stuck by upper corners


100 / 120 €

Collection of 8 engr. from Collaert’s set of quadrupeds, in their first state,

featuring a wide variety of animals such as cows, deer, elephants, horses, etc.

in their natural habitat.

Ref. Hollstein IV: 596, 601, 602, 606, 607, 611, 612, 614.

203 [Flemish]

COLLAERT, Adriaen - [Mythological figures from the

judgement of Paris]. Antwerp, 1580-1618.

3 (of 6) engravings, 13 x 8,5 cm, laid paper (trimmed bellow frame line, sl.

browned). Under passe-partout.

100 / 120 €

The first 3 pl. from the series «The Story of David and Saul» by Hans Collaert

after Ambrosius Francken: David kills Goliath, Saul seeking to smite David with

the javelin, David sparing Saul’s life. The 4th pl. representing «David severing

Goliath’s head» comes from the anonymous series «The story of David and

Saul» after Maarten van Heemskerck.

Ref. Hollstein IV (Collaert): 45.2.



Complete set in first state of Collaert’s

«Views of the environs of Brussels»

205 [Flemish]

COLLAERT, Hans - ‘t Hof van Brussel [The Coudenberg Palace

towering over the city of Brussels]. [Antwerp, H. van Luyck, 1575-

1580].

Engraving, 14 x 20 cm (trimmed outside the platemark, small margins). Stuck by


120 / 200 €

Rare set of 12 pl. in first state of Collaert’s 24 «Views of the environs of

Brussels». This first edition published by Hans Van Luyck in Antwerp is not

numbered. Later editions by C.C. Visscher ascribed authorship to Hans Bol, but

also Jacob Grimmer is suggested as possible «inventor». The views represent

villages, castles, and abbeys in an intimate, direct manner based closely on

studies from life. Their naturalistic approach differs from that of the imaginary,

mythological panoramas produced by Italian landscape artists of the period. By

publishing regional landscapes Van Luyck met the needs of a clientele who was

increasingly more interested in regional geography. Printed within the images

are sometimes titles identifying the places pictured on the respective plates.

Ref. Hollstein IV (Hans Collaert) 149-172. - A. Diels, «Wat d’yser can bemaelen».

Prenten van de Antwerpse graveurs familie Collaert (1550-1630), Bruxelles,

2005, cat. 12.

206 [Flemish]

COLLAERT, Hans - Etterbeek. [Antwerp, H. van Luyck, 1575-

1580].


120 / 200 €

A view of Etterbeek after a drawing by a follower of Hans Bol, preserved in an

album from the Harvard Art Museum’s Collection.

Ref. Hollstein IV (Hans Collaert): 149-172. - A. Diels, «Wat d’yser can bemaelen».


2005, cat. 12.

207 [Flemish]

COLLAERT, Hans - Schaarbeek. [Antwerp, H. van Luyck, 1575-

1580].

Engraving, 14 x 20 cm (small margins). Stuck by corners under passe-partout.

120 / 200 €

View of the rural village of Schaarbeek.



2005, cat. 12.

210 [Flemish]

COLLAERT, Hans - Elsen [Elsene]. [Antwerp, H. van Luyck,

1575-1580].


120 / 200 €

Landscape with a milkmaid and women walking, carrying baskets on their head.



2005, cat. 12.

211 [Flemish]

COLLAERT, Hans - Elsene bij Brussele [Ixelles, Brussels]

[Antwerp, H. van Luyck, 1575-1580].


120 / 200 €

View of the rural hamlet of Opper-Elsene next to the wetlands of the Maalbeek

valley between the Abbey of La Cambre and Flagey Square.



2005, cat. 12.

212 [Flemish]

COLLAERT, Hans - Seven Burre [Zevenborren]. [Antwerp, H.

van Luyck, 1575-1580].

Engraving, 14 x 20 cm (trimmed outside the platemark, small margins). Stuck by


120 / 200 €

View of the priory of Zevenborren that was, amidst the beautiful surroundings of

the Sonian Forest, an ideal place to unwind for city dwellers.



2005, cat. 12.

213 [Flemish]

COLLAERT, Hans - Sint Gieliis tot Brussel [Saint Gilles].



120 / 200 €

208 [Flemish]

COLLAERT, Hans - The Castle of Rivieren at Ganshoren.



120 / 200 €

After a drawing by a follower of Hans Bol, preserved in an album from the

Harvard Art Museum’s Collection.



2005, cat. 12.

209 [Flemish]

COLLAERT, Hans - Cleijnen Bijgaerden [Petit-Bigard].



120 / 200 €

View on the inn of Klein-Bijgaarden (Sint-Pietersleeuw).



2005, cat. 12.

View of the hilly area of Saint Gilles close to Altitude 100, one of the points of

highest elevation in Brussels.



2005, cat. 12.



205

206

207

208

209

210

211

212



214 [Flemish]

COLLAERT, Hans - Stal van boven [Stalle]. [Antwerp, H. van

Luyck, 1575-1580].


120 / 200 €

217 [Flemish]

COLLAERT, Hans - Mary, Queen of Portugal, mother of Don

Carlos. [Antwerp], H. Cock, c. 1554-1556.

Engraving, 16,5 x 21,5 cm, signed with monogram «HC» and lettered «Cock

excude» (trimmed just outside the platemark). Stuck by corners under passepartout.

450 / 600 €

Traveller with dog and a herdsman with sheeps in front of the hamlet Stalle near

Uccle.



2005, cat. 12.

215 [Flemish]

COLLAERT, Hans - Te Laken op den rechten wech [Laeken].


Engraving, 14 x 20 cm (small margins, upper margin trimmed just outside the

border). Stuck by corners under passe-partout.

120 / 200 €

Finely engraved portrait of the first wife of the future Philip II of Spain.

Ref. Hollstein IV: 63.

218 [Flemish]

COLLAERT, Jan Baptist I. After Tobias VERHAECHT - The

four ages of the world. [Antwerp], P. Galle, s.d.

4 engravings, 20 x 25,5 cm, signed «Ioan; Collaert sculp.», numbered (wide

margins). Stuck by corners under passe-partout.

800 / 1.000 €

Rural view of the hamlet of Laeken with what is probably the castle of Drootbeke.



2005, cat. 12.

216 [Flemish]

COLLAERT, Hans - Ter sijden Laken [Laeken]. [Antwerp, H.

van Luyck, 1575-1580].


120 / 200 €

Milkmaid and cattle in front of a wooden landscape with a castle in Laeken.



2005, cat. 12.

Complete series of 4 pl.




219 [Flemish]

COLLAERT, Joannes II. After Maarten DE VOS - «XII Fidei

Apostolicae Symbola». Amsterdam, Claes Jansz. Visscher, [1600-

1648].

Set of 13 engr. (incl. title), 7 ff., 27,3 x 30,5 cm, signed and numbered in pl. «Ion.

Collaert Sculp.», watermark «Foolscap» (Heawood 2008). Loose sheets.

200 / 300 €

Complete series of twelve plates and a title page with text written in an oval

cartouche at centre, surmounted by garlands and placed within classical

architecture, personifications of Faith, Charity and Hope at top and bottom.

Each of the following sheets contains two pl. with representations symbolising

the article of apostolic faith, such as the Creation of Eve, the Transfiguration, the

Annunciation, the Crucifixion, Christ in Limbo, etc. Each pl. includes a Latin text

line of the Credo. 3rd state (of 3).

Ref. New Hollstein (Collaert), 727. - New Hollstein (Maarten De Vos), 861.

Mallery. - 5. War brings forth poverty, anonymous. - 6. Poverty brings forth

humility by Theodoor Galle. - 7. Humility brings forth peace, Anonymous. - 8.

Peace brings forth wealth by Karel van Mallery.

Ref. Hollstein XLIV: 1266-1271.

221 [Flemish]

COLLAERT, Johannes Baptista I. After Maarten DE VOS - The

Story of Susanna. [Antwerp], J.B. Vrints, s.d.

4 engravings, 22 x 27,4 cm, signed and numbered (wide margins, sl. toned). Stuck

by upper margin under passe-partout.

150 / 200 €

220 [Flemish]

COLLAERT, Johannes Baptista I; Karel VAN MALLERY,

and Theodoor GALLE. After Maarten DE VOS - Circulus

vicissitudinis rerum humanarum. [Antwerp, J. Galle], c. 1638.

8 engravings, c. 17,5 x 23 cm, numbered and signed (wide margins). Stuck by


1.200 / 1.500 €

Complete set of 8 engr., representing the «Cycle of the vicissitudes of human

life» in the third edition published by Johannes Galle. Regarding the title by J.B.

Collaert: instead of the single state mentioned in Hollstein, this series has a rare

second state with the same address of all other pl., namely «Ion. Galle excudit

Antwerpiae». The others are: 2. Wealth brings forth pride by Karel van Mallery.

- 3. Pride brings forth envy, anonymous. - 4. Envy brings forth war by Karel van

220



Complete series of 4 prints, 1st edition: 1. The elders trying to seduce Susanna.

- 2. The elders accusing Susanna of adultery. - 3. Daniel intervening on behalf of

Susanna. - 4. The stoning of the elders.

Ref. Hollstein XLIV: 175-178.

222 [Flemish]

Attributed to Adriaen COLLAERT. After Jan I SNELLINCK -

Bathsheba receives a letter from David. [Antwerp], G. De Jode,

1585.

Engraving, 19,5 x 28,5 cm, hand-coloured (wide margins). Stuck by upper margin


500 / 600 €

card-players, 1st state, before the number (trimmed to the platemark). Ownership

stamp on verso. - 6. The pilgrims, 2nd state, numbered «8» (wide margins). - 7.

The bagpipe-player, 2nd state, numbered «9» (wide margins, margins sl. soiled).

- 8. Peasants fighting, 2nd state, numbered «10» (wide margins, sl. toned). - 9. A

woman spinning, 2nd state, numbered «13» (wide margins).

Ref. New Hollstein (Jan Baptist De Wael), 3.II, 4.II, 6.II, 8.II, 9.I, 10.II, 11.II, 12.II, 15.II.

225 [Flemish]

WIERIX, Hieronymus. After Albrecht DÜRER - 4 engravings.


400 / 500 €

Ref. New Hollstein (De Jode Dynasty I), 48/1.

223 [Flemish]

DE BRUYN, Abraham - 3 engravings. Antwerp, 1550-1584.


250 / 300 €

1-2. Boar hunt. Hare hunt. 2 (of 6) engravings from set «small friezes with

hunting scenes». 4,5 x 17,1 cm and 4,5 x 19,7 cm, laid paper, monogrammed

and dated in plate (trimmed just inside borderline). Ref. Hollstein IV:61-66 - 3.

Emperor Vitellius. 1 (of 12) engraving from set «Twelve Caesars on horseback».

6 x 5,2 cm, laid paper, monogrammed and numbered in plate (trimmed to plate

marks, glued on paper support). Ref. Hollstein IV:81.

224 [Flemish]

DE WAEL, Jan Baptist - Various subjects of figures and animals.

9 engravings, c. 9 x 12,3 cm (wide margins). Stuck by upper corners under passepartout.

300 / 400 €

9 of 14 engr. from the series with various subjects composed by Jan Baptist De

Wael for Gaspar Roomer, including: 1. Title-plate, 2nd state, numbered «1»,

published in Rome by Vincenzo Billy (wide margins). - 2. A fisherman and a woman

leading a herd through a river, 2nd state, numbered «2» (wide margins). - 3. The

cart, 2nd state, numbered «4’ (wide margins, sl. toned in lower corners). - 4.

Awoman mounting a donkey, 2nd state, numbered «6» (wide margins). - 5. The

1. Virgin and Child. Engraving, 1614, 9,8 x 14,4 cm, laid paper, signed in plate «AE.14»

(trimmed just within borderline). Fine, uniform copy. Ref. Mauquoy-Hendrickx 749.-

New Hollstein (The Wierix family V) 989. - 2. Sol Justitiae. Engraving, 10,7 x 7,5 cm,

laid paper, signed in plate «IRWAE.13» (trimmed to platemark). Good impression.

223



Ref. Mauquoy-Hendrickx 1408. - New Hollstein (The Wierix family V) 749. - 3. Virgin

and child crowned by angels. Engraving, 14,6 x 9,9 cm, laid paper, signed in plate

«E.14» (trimmed to borderline, sl. toned paper). Fine impression of 2nd state. Ref.

Mauquoy-Hendrickx 769. - New Hollstein (The Wierix family V) 1022. - 4. The three

genii. Engraving, 11,5 x 7,5 cm, laid paper, monogrammed in plate (trimmed within

platemark). Fine impression of 1st state. Ref. Mauquoy-Hendrickx 1711. (4 pcs)

226 [Flemish]

FURNIUS, Petrus. After Gerard van VAN GROENINGEN -

The Story of Scipio Africanus. [Antwerp], Gerard De Jode, in or

before 1571.

4 engravings, 20,6 x 24,5 cm, signed on 1st pl. «Gerar d Iode excud» (on warm

toned paper, with wide margins). Stuck by corners under passe-partout.

250 / 300 €

Complete series of 4 plates in the first state, each with a caption and two lines

Latin text in margin: 1. «Strenuitas.» The conquest of Carthago Nova in Spain.

- 2. «Gratitudo.» The meeting of Scipio and Allucius. - 3. «Continentia.» The

continence of Scipio. - 4. «Beneficentia.» The bride and ransom turned over to

Allucius, left the parents of the bride.

Ref. New Hollstein (Gerard van Groeningen), 195-198.

227 [Flemish]


divine charge to the three estates. [Antwerp, J. Galle], c. 1638.

4 engravings, 20,5 x 24,7 cm, signed «MHeemskerck Inventor» and numbered

(wide margins, warm toned paper). Stuck by upper corners under passe-partout.

300 / 400 €

Unrecorded state of famous Bruegel engraving

228 [Flemish]

GALLE, Philips. After Pieter BRUEGEL THE ELDER - The

alchemist. Antwerp, Theodoor Galle, 1676-1719.

Engraving, 34 x 45 cm, laid paper, signed at upper left «Brueghel inve», publisher's

adress at bottom left centre «T. GALLE EXCUD CUM PRIVILEGIO», signed at

lower right text margin ‹Ja. de Man» (several old repairs at lower left text margin, a

few letters in text margin have been replaced in handwriting, dark stains, plate sl.

worn, trimmed just outside border). Stuck under passe-partout, under gilt frame

(not studied outside frame).

500 / 700 €

A rare unrecorded 4th state of the famous print after a design by Bruegel and

originally published by Hieronymus Cock (1558). It depicts the old alchemist who

is so obsessed with making gold, that he neglects his starving and impoverished

family. This unknown state includes four verses in French and Flemish, both

in two columns. This state is a reworking of the last known 3rd state by the

Antwerp engraver and publisher Jacobus I de Man (1643-1719), whose address

is signed in the plate.

Ref. Lebeer 1991, no. 29. - Orenstein & Sellink 2001, no. 61. - New Hollstein

(Philips Galle), 391.3.

Prov. Coll. Stamp (Lugt 3965).

229 [Flemish]

Attributed to GALLE, Philips. After Pieter BRUEGEL THE

ELDER - Temperance. Hieronymus Cock, 1560.

Engraving, 22,2 x 29 cm, laid paper, lettered «Temperentia» along allegorical

figure’s dress and «Bruegel» at lower right, Latin verse on two lines in lower

margin (repaired tear and repaired lack lower left with some lines drawn in black

ink). Stuck by upper edge under passe-partout.

600 / 650 €

1st (of 2) state. One of the Seven Virtues: «Temperantia» stands in the centre

foreground (clock on her head, bit in her mouth, eyeglasses in her hand, and

the blade of a windmill below her foot). Around are the representatives of the

Seven Liberal Arts, over whom she reigns. The drawing in Museum Boymans-

Van Beuningen, Rotterdam, is signed and dated 1560.

Ref. New Hollstein (Galle), 315. - Lebeer (1969) 37. - BM 1868,0328.369.

230 [Flemish]

GALLE, Philips - Misery of human life. [Antwerp], P. Galle,

1563.

6 engravings, 18,5 x 24 cm, numbered, signed (wide margins, lower margin sl.

toned). Stuck by upper corners under passe-partout.

1.200 / 1.500 €

Complete series of 4 engr. representing the four estates in the third edition: 1.

The Lord assigning duties to the three estates. - 2. The pope performing religious

duties. - 3. The king administering justice. - 4. The people labouring in the fields

(pl. in 2nd st.).

Ref. New Hollstein (P. Galle), 299-302.

Complete series, 1st edition, each with Latin verses in letterpress by Hadrianus

Junius: 1. Man is born naked. - 2. Man has to learn everything. - 3. Man meets

dangers and diseases. - 4. Man is pestered by sins. - 5. Man is endangered by

poverty, imprisonment and death. - 6. Man always fights.




228

229



231 [Flemish]

GALLE, Theodor; GALLE, Cornelis; COLLAERT, Adriaen;

VAN MALLERY, Karel; COLLAERT, Joannes - Litis abusus.

[Abuse of the jurisdictions]. [Antwerp, Ph. Galle], 1593-1597.

8 engravings, 20,5 x 27,5 cm, numbered and signed «Phls Galle excud.» and by the

respective engravers (wide sometimes repaired margins, sl. toned paper). Stuck by

upper corners or loose under passe-partout.

500 / 700 €

233 [Flemish]

HOLLAR, Wenceslaus - Facade of Antwerp Cathedral. Antwerp,

1649.

Etching, 48,7 x 33,9 cm, laid paper, signed in plate at lower left corner (sm. stains

at upper left corner, old repaired tear at lower right edge). Stuck under passepartout.

100 / 120 €

Complete series of 8 engr. featuring the abuses of law, in particular the litigious

nature of lawyers and the costly and drawn-out trials. 1. Egoism dispels the

virtues. - 2. Abuse of commercial law. - 3. Desire and other bad advisers for the

court case. - 4. The litigant requires patience, money and impudence. - 5. Who

takes legal action neglects all other parts of life. - 6. The litigant, restless and

sleepless. - 7. The dangers of litigation. - 8. The death of the wise litigant.

For this free interpretation after the series by Hendrik Goltzius, Philips Galle, the

publisher engaged different engravers: Theodor Galle for pl. 1, Adriaen Collaert

for pl. 2, Cornelis Galle for pl. 3, 5 and 7, Karel van Mallery for pl. 4, Joannes

Collaert for pl. 8 and no engraver is mentioned on pl. 6.

Ref. Hollstein VII (Th. Galle): 401-408.

232 [Flemish]

GOLTZIUS, Hendrik. After Jan VAN DER STRAET - Calaber.

[Antwerp], P. Galle, C. 1579.

Engraving, 21,2 x 27,2 cm, numbered «7» and signed «HGoltzius fec.» (trimmed

just outside or inside the platemark). Stuck by upper corners under passe-partout.

650 / 800 €

Fine impression of the famous city view of Antwerp’s iconic monument. 3rd

state.

Ref. New German Hollstein (Hollar) 1034-1(3). - Pennington 824-1(4).

Prov. Old Coll. stamp (not in Lugt). - Ms note in lower left corner.

234 [Flemish]

MULLER, Herman Jansz. After Gerard VAN GROENINGEN -

The master returning home. [Antwerp], G. de Jode, c. 1585.

Engraving, 20,5 x 28,5 cm, hand-coloured, heightened in gold (warm toned

paper, wide margins). Stuck by upper corners under passe-partout.

600 / 800 €

Second reworked state with a different head and moustaches flowing down with

the beard. From the parable of the talents, used in the «Thesaurus sacrarum

historiarum Veteris et Novi Testamenti.»

Ref. New Hollstein (Gerard van Groeningen), 111(II).

Calabrese horse facing left with his left foreleg raised from the series «The royal

stable of Don Juan of Austria».

Ref. Hollstein VIII: 340.



235 [Flemish]

MULLER, Herman Jansz. After Maarten VAN HEEMSKERCK

- A selection of 4 prints from 2 Old Testament series. [Antwerp],

G. De Jode, s.d.

4 engravings, 20,5 x 24,4 and 18,7 x 24,4 cm, signed (wide margins, toned, sm.

stain). Stuck by upper corners under passe-partout.

150 / 200 €

First print of the series «Story of Dinah and Shechem», 2nd state: 1. Dinah going

out and seduced by Shechem. Second to fourth print of the series «The history

of Joash and queen Athaliah», 1st state: 2. Joash presented to the army. - 3.

Jehoiada anointing Joash. - 4. The destruction of the house of Baal.

Ref. Hollstein XIV: 27 and 36-38. - New Hollstein (Maarten van Heemskerck),

31 and 140-142.

Only known complete copy on paper

236 [Flemish]

PÉRIL, Robert - Triumphal Entry of Emperor Charles V and

Pope Clement VII in Bologna. Antwerp, 1530-1534.

24 hand-coloured woodcuts, all fols are c. 29 x 40 cm, 63 x 480 cm (total size),

paper, signed with initials. Paper toned brown. Original paper mounted on canvas,

mounted on wooden 5 boards (3 boards with 6 folios, 1 board with 4 folios, 1 board

with 2 folios). At some places paper attached with use of drawing pins. Heavily

overpainted with gouache, sl. affecting the visibility of the original woodcut. Final

folio trimmed and missing part repainted by later hand. Scratches and paint stains

throughout. A detailed condition report can be provided on request.

15.000 / 25.000 €

On his thirtieth birthday, on 24 February 1530, Charles V was officially crowned

in Bologna by Medici Pope Clement VII, following a spectacular and majestic

«Joyous Entry» into the city. «It was one of the most spectacular shows of the

time, intended by Charles to impress upon the whole of Europe the dominance

he had achieved in Italy and the power he commanded in his vast lands»

(Armstrong 1999, p. 85). The coronation brought a conclusion to a long tradition

initiated by Charlemagne as Charles was the last «Imperator electus» to be

crowned by the Pope (with the exception of Napoleon I).

The event was recorded and immortalised by the Antwerp publisher and artist

Robert Péril, based on sketches made on the spot. He produced twenty-four

separate woodcuts, which when printed were stuck together in two strips, one

above the other, forming a frieze nearly 5 metres long. These were most likely

to be fixed to the wall of a room as a decorative, commemorative frieze offering

a wide panorama of the event whereby the onlooker could see the whole cortège

pass before his eyes, with printed captions to help him identify individual

groups and characters. The retinue passing through allegorical gates consists

of musicians, banner carriers, knights, prelates, bishops, cardinals and the high

Habsburg nobility. Charles V and Clement VII take a central position under a

baldachin with the imperial double-headed eagle at the middle of the upper

strip. Placed proudly as the accumulation of the upper strip is Péril’s self-portrait

accompanied by his initials, and the date 1530. Péril, who would later also

publish the large woodcut of the genealogical tree of the House of Habsburg,

received the commission for this elaborate imperial procession from Margaret of

Austria (1480-1530), regent of the Low Countries. While Margaret’s court artist

Nicolas Hogenberg would record the same event in 40 etchings, Peril provided

his visual version of the ceremony in 24 woodblocks. The tradition of large series

of woodcuts to commemorate significant events in the House of Habsburg had

already been firmly established by Charles’s grandfather Maximilian I, who in

1507 had hired Hans Burgkmair, Albert Altdorfer, Albrecht Dürer and others to

produce a large woodcut frieze in 137 woodblocks.

The only other complete series of Péril’s frieze is the first state, now in the

collection of the Museum Plantin-Moretus in Antwerp. This copy was luxury

edition printed on vellum with contemporary hand-colouring. The text sections

in the cartouches of the Antwerp copy have been written by Peril’s hand in

French. Most likely, this edition was presented to the court of Margaret of Austria

in Mechelen. A second state was discovered by Nijhof-Seldorff in the Albertina

in Vienna, which encompassed only 23 of the 24 woodblocks (1st folio missing).

The Vienna edition differs from the Antwerp edition in the placement of the

Latin poem capitals above the figures and the inclusion of French text blocks

in cartouches with gothic lettering. Until now the Vienna copy was believed to

be unique. Our present woodcut series is the only recorded complete copy on

paper of the second edition, identical to the Vienna state with the addition of

the first woodcut. It has a later hand-colouring, based upon the original colours

present in the luxury Antwerp edition slightly affecting the legibility of the

woodcut. The figures in the frieze are accompanied by an ornamented text band

of French gothic lettering in cartouches.

Ref. H. Nijhoff-Seldorff, «Der Triumphzug Karl des Vten zu Bologna von Robert

Péril, Antwerpen 1930», Oud Holland 48 (1931), pp. 265-270. - J. Van der Stock,

«Printing images in Antwerp», 1998, p. 95. - E. Armstrong, «Robert Peril and his

1524 privilege», Bibliothèque d’Humanisme et Renaissance 61 (1999), pp; 85-93.

- R. Gerrits, «The ‘Triumphal Procession’ of Emperor Charles v and Clement vii

in Bologna (1530): Printing and copying news in the Netherlands: Robert Peril,

Nicolas Hogenberg and Martin Lempereur», De Gulden Passer 94 (2016), pp.

197-218. - Hollstein XVII:1.II. - Muller IV:377E.



239



237 [Flemish]

SADELER , Johannes I. After Hans BOL - The four seasons with

figures of the zodiac on top. [Cologne?, J. Sadeler], 1580.

4 engravings, 21,5 x 29,5 cm (trimmed just outside the border, note in brown ink

on reverse pl. Spring). Stuck by corners under passe-partout.

500 / 600 €

239 [Flemish]

SADELER, Aegidius II. After Albrecht DÜRER - Portrait of a

bearded Apostle. Antwerp, 1597.

Engraving, 35,3 x 22,5 cm, laid paper, signed and dated in lower margin

«Albertus Dvrer Almanvs Fecit Anno MDVIII / Egidivs Sadeler Scalpsit Anno

/ MDXCVII», monogrammed in upper left corner «AD». (trimmed just inside

borderlines) Glued on paper support. Fine grey impression.

200 / 300 €

Engraving made after a now lost woodcut by Albrecht Dürer.

Ref. Hollstein XXI:87.

240 [Flemish]

SADELER, Joannes I. After Maarten DE VOS - The Seven

Planets. Antwerp, 2nd half 16th c.

6 (of 7) engravings, 22 x 24 cm, laid paper (some repairs, trimmed to borders with

text in lower margin preserved, sm. old folds, def. at corners with loss of sm. part

of picture, sl. toned). Stuck by edges under passe-partout.

300 / 400 €

Complete series of the four seasons, underneath each four lines of Latin text.

Winter landscape featuring an old man behind a fire, ice scenes and slaughter

of livestock, under the constellations Capricorn, Aquarius and Pisces. Spring as

a woman in front of large gardens, a homestead, a castle and a pergola, under

the constellations Ram, Taurus and Gemini. Summer with playing children,

shooting birds, sheep shearing and haymaking, under Cancer, Leo and Virgo.

Autumnal landscape featuring a man holding the horn of plenty, the bringing in

of the hay, the harvest and the grape-gathering under the constellations Libra,

Scorpio and Sagittarius.

Ref. Hollstein XXI: 503-506.

238 [Flemish]

SADELER I, Johannes. After Jodocus VAN WINGE - Allegory

of Fame.

Engraving, 12,5 x 16 cm (trimmed to the platemark). Stuck by upper margin


200 / 250 €

Allegorical representations of the Planets seated on a carriage overlooking a

vast landscape with cities, harbours and winding rivers. The activities in the

landscape are related to the astrological influence of the planet, e.g. Mars with

war, Mercury with commerce and the arts. Venus is missing from this set.

Ref. Hollstein XXI:523.

241 [Flemish]

SADELER, Johannes I. After Crispijn VAN DEN BROECK -

The Story of Moses, after the Exodus. [Antwerp], G. de Jode, s.d.

6 engravings, 19 x 26 cm (wide margins). Stuck by corners under passe-partout.

750 / 900 €

Fame floating above the globe.

Ref. Hollstein XXI: 486.



Complete series of 6 engr., in 1st edition: 1. Gathering the manna. - 2. Moses

smiting the rock. - 3. The battle of Amalek. - 4. Moses with the tables of Law. - 5.

The dance around the golden calf. - 6. The brazen serpent on the pole.

Ref. Hollstein XXI: 60-65.

242 [Flemish]

After Jan SNELLINCK - The twelve prophets. Antwerp, G. De

Jode, 1585.

4 engravings, 21 x 27,7 cm, wide margins, laid paper with watermark, 1 signed

engr. in pl. «Gerar de Jode Excudebat» (toned, sm. tears in upper margin of engr.

with Zacharias). Stuck under passe-partout. Good impression.

250 / 300 €

244 [Flemish]

COLLAERT, Adriaen. After Hendrik VAN CLEVE - 10

landscapes with ruins. 1587.

10 engravings, 19 x 24 cm, numbered (trimmed just on the platemark). Stuck by


500 / 600 €

Complete series of the «Regionum, rurium, fundorumq, varii amoeni prospectus»

published by Philips Galle.

Ref. Hollstein IV: 39-50 (Hendrik van Cleve) and 535-546 (Adriaen Collaert).

Complete series of the twelve prophets after designs by Jan Snellinck (1549-

1638). The prints represent the prophets Elisha, Jonah, Obadiah, Amos,

Zechariah, Malachi, Isaiah, Jeremias, Ezekiel, David, Daniel and Elijah. Each

standing figure is accompanied by an object or emblem referencing the biblical

text fragment from the Old Testament, printed in the lower margin.Ref.

Hollstein (De Jode). - H. Mielke, ‘Antwerpener Graphik in der 2. Hälfte des 16.

Jahrhunderts. Der Thesaurus veteris Testamenti des Gerard de Jode (1585) und

seine Künstler’, Zeitschrift für Kunstgeschichte 38 (1975), p. 81, cat.nr. 42.

245 [Flemish]

van der BORCHT , Pieter IV - The Story of Elijah and Elisha.

Antwerp, G. de Jode, 1585.

4 engravings, 19,2 x 24,8 cm (wide margins). Stuck by corners under passepartout.

150 / 250 €

243 [Flemish]

After Johannes STRADANUS - [Hunting scenes]. Antwerp, Ph.

Galle, 1594-1598.

11 (of 104) engravings, 20,6 x 26,2 cm, laid paper, signed in plate (somewhat

toned, some foxing, some minor tears without loss to image).

100 / 200 €

Complete series of 4 pl. by P. van der Borcht from G. de Jode’s «Thesaurus

sacrarum historiaru[m] veteris testame[n]ti» with Elisha striking the water

with Elijah’s cloak on pl. 1, Elijah is carried up into heaven on pl. 2, Elisha is

acknowledged as Elijah’s successor on pl. 3 and he is cursing of the children on

pl. 4. All scenes appear in medallions with charming decorative borders.

Ref. Hollstein III: 195-198.

From the series «Venationes Ferarum, Avium, Piscium», designed by Stradanus

(Jan van der Straet), and first printed in Antwerp by Philippe Galle. The plates

are dedicated to hunting, taking place on various continents, with animals as

exotic as leopards but also other, more traditional types of hunting, like the

hunting with hounds, the pigeon hunt or rabbiting. The plates are cut by Jan

Collaert, Adriaen Collaert and Charles de Mallery.

Ref. New Hollstein 521.- Baroni Vanucci 693.

246 [Flemish]

van der HEYDEN, Jacob - Two views of Strasbourg.

2 engravings, 10,7 x 16 cm and 11 x 15,7 cm (1st numbered «1»: wide margins,

2nd numbered «6»: trimmed outside the platemark). Stuck by corners under

passe-partout.

150 / 200 €

Two plates from the series «Views of Strassburg and its Environments» after

Matthäus Merian I, featuring Strasbourg and Arbegast.

Ref. Hollstein XIII A: 2 and 7.

Prov.: Gustave Francotte (Lugt 3196).



247

249



247 [Flemish]

van DOETECUM, Joannes and Lucas van Doetecum. After

Hans BOL - River landscape with a barge in the foreground an a

city in the background. Antwerp, H. Cock, c. 1562.

Engraving, 22,5 x 32 cm (trimmed to the borderline, without signature). Stuck by


800 / 1.200 €

From a series of 12 plates of landscapes with village scenes.

Ref. Hollstein III: 13. - New Hollstein (Bol), 220.

248 [Flemish]

VAN DOETECUM, Johannes or Lucas. After Pieter BRUEGEL

THE ELDER - Large Alpine landscape. Antwerp [= Amsterdam?],

Hieronymus Cock, 1553-1556.

Etching and engraving, 37,2 x 46,1 cm, laid paper, signed in the plate at lower left

corner: «BRUEGHEL INVE/.H. cock excudeb.» (trimmed just within borderline,

warm yellow paper, some diagonal creases, discoloration of the paper with lighter

colour around edges, considerable tear at lower right edge, old restored tear at

middle lower edge, poorly restored tear at upper left corner, sm. tear at lower left

corner, plate sl. worn). Late, rather stale impression with loss of some detail in the

background.

300 / 400 €

The figure of St Jerome with the lion can be found in the lower right corner within

a stand of trees. Beyond opens a panoramic landscape with cliffs and mountains

extending to the right and a precipitous drop to the flat plain of a river valley to

the left. From the set of «Twelve large landscapes».

Ref. Lebeer .2. - New Hollstein (The Van Doetecum Family), 11. - New Hollstein

(Bruegel the Elder), 50. - Riggs 28.2.

250 [Flemish]

VAN DYCK, Anthony - Portrait of Pieter Brueghel the Younger.

[Antwerp], G. Hendricx, 1627 - 1641.

2 engravings, 14,6 x 21 cm, one on parchment and one on paper (trimmed just

outside the platemark or borderline). 1 loose, 1 stuck by corners under passepartout.

2.000 / 2.200 €

A man on horseback under a stand of trees on a small plateau in the right

foreground overlooking the panorama of the valley before him. The path drops

away precipitously in front of him into an extensive river valley where few

figures walk down into the valley. One of the landscape prints published by Cock,

based upon drawings made by Bruegel after his voyage to Italy. Probably a later

edition.

Ref. Lebeer 13. - New Hollstein (The Van Doetecum Family), 22. - New Hollstein

(Bruegel the Elder), 610. - Riggs 29.

Joined: Van Der Heyden, Pieter. After Pieter Bruegel the Elder. - The rich

kitchen. Antwerp, Johannes Galle, 1550-1580. Engraving, 20 x 14,6 cm, laid

paper, signed in the plate at right lower edge (left half cut off, trimmed just

outside the borderline, sl. toned, some min. foxing). Ref. Lebeer 56. - New

Hollstein (Bruegel the Elder), 37. (2 pcs)

Magnificent portrait of Pieter Brueghel the Younger, surnamed «Hell-fire

Brueghel» from Anthony van Dyck’s «Iconography» or «Icones Principum

Virorum», initially conceived as a series of portraits of befriended artists. We

have two different states: a rare impression on vellum in the first state, before

all lettering and before the borderline, and a later state printed on paper with

borderline, but that cannot be identified because of its being trimmed.

Brueghel’s personality traits are brilliantly characterised as he is represented

half-length, turning slightly to the right and looking towards the viewer.

Although van Dyck made a careful preparatory drawing (which is kept in the

Duke of Devonshire Collection in Chatsworth) he indicated the body and

background by outline only, regarding it thus as finished. An exceptional piece

of portrait etching that before van Dyck scarcely existed!

Ref. Hollstein VI: 2. - New Hollstein (Van Dyck), 3.

249 [Flemish]

VAN DOETECUM, Johannes. After Pieter BRUEGEL THE

ELDER - St Jerome in a landscape. Antwerp, Hieronymus Cock,

1556.

Etching and engraving, 30 x 42,7 cm, paper underlaid, signed in plate «brueghel

inve; H. Cock excu» (trimmed to borderlines, small margin at lower edge with loss

of title, upper right corner and lower edges repaired with Japan paper, skillfully

repaired tear at upper left corner, a few nick and tiny losses in left edge, plate

showing sl. wear, traces of plate tone at left and right upper edges). Good, clear

impression.

400 / 500 €



Largest Collection Album with Heemskerck prints

251 [Flemish]

After Maarten VAN HEEMSKERCK - Album factice with 322

engravings. Antwerp, Theodoor Galle, s.d.

Folio oblong, [2]-360 pp. with 322 engr., mostly signed and numbered (wide

margins, some pl. pasted upon paper, foldings, pl. sometimes in reversed order,

tear in pl., a few sm. lacks of paper at corners). 17th-c. full calf (used).

5.000 / 8.000 €

Unique album of Van Heemskerck’s oeuvre: not only a rare witness to

18th-century collection practices, but also an exceptional source for the

printing business of the Galle family: first, the collaboration between father

Philips and son Theodoor Galle, next Theodoor who started signing prints at

fifteen only and who published an increasing number of prints with his address

from 1596 onwards, and finally, the shift in management when Theodoor became

de facto head of the family at the turn of the century and reissued countless

series of prints from his father’s stock, of which many had previously been

published by Hieronymus Cock. Our album includes 33 complete series, some

undescribed editions such as the «Story of Susanna» first published by H. Cock

but here in an edition by Philips Galle, and 3 mythological companion pieces by

Johannes Galle. An exceptionally rare composition is also an anonymous print

with Perseus with Medusa’s head, Pegasus and the Muses.

1. 1 engr., not numbered. Anonymous. Title print with empty cartouche.

Antwerp, Johannes Galle, s.d.; 1 engr., not numbered, pasted on the same lf,

Dirk Volkertsz. Coornhert. After Maarten van Heemskerck. Heraclitus and

Democritus, or admonition to endurance and forebearance. Antwerp, Adriaan

Collaert, c. 1557. 3rd ed. Ref. New Holstein (Maarten van Heemskerck), 475.

2. 4 engr. Philips Galle. After Maarten van Heemskerck. The four evangelists.

Antwerp, Philips/Theodoor Galle, c. 1562. Complete series: 2nd state of St.

Mark, St. John and St. Luke, undescribed st. of St. Matthew with address of

Theodoor Galle. Ref. New Holstein (Maarten van Heemskerck), 413-416.

3. 29 engr., Philips Galle and Hendrick Goltzius (pl. 33). After Maarten

van Heemskerck and Johannes Stradanus. The Acts of the Apostles (Acta

Apostolorum). Antwerp, Theodoor Galle, c. 1582. Title and 28 engr. from a series of

34 plates (missing n. 3, 17, 22, 23, 27, 29), first published by Philips Galle in 1575. The

title, here in 3rd st., was not added until 1582. All pl. are in 2nd st., characterising

Theodoor Galle’s edition. Ref. New Hollstein (Philips Galle), 187-219.

4. 6 engr., Philips Galle. After Maarten van Heemskerck. The story of St.

Peter and St. John. Antwerp, Theodoor Galle, c. 1558. Complete series: pl.

1 in 3rd st., pl. 2-5 are previously undescribed st. with the name of H. Cock

erased but still with the date «1558». Pl. 6, in 2nd st. with also the date erased.


5. 8 engr., Philips Galle. After Maarten van Heemskerck. The story of Job.

Antwerp, Theodoor Galle, c. 1563. Complete series: pl. 1 in 2nd st., pl. 2-8: 1st

st. Ref. New Holstein (Maarten van Heemskerck), 161-168.

6. 8 engr., Anonymous. After Maarten van Heemskerck. The story of Tobias.

Antwerp, Theodoor Galle, c. 1556. 8 from a series of 10 plates (missing n. 7 and

8), in the second edition. pl. 1 in 2nd st., the others: only st. Ref. New Holstein

(Maarten van Heemskerck), 189-198.

7. 4 engr., Philips Galle. After Maarten van Heemskerck. The story of Elijah

and the priests of Baal. Antwerp, Theodoor Galle, c. 1567. Complete series:

pl. 1 in 2nd st., pl. 2-4: only st. Ref. New Holstein (Maarten van Heemskerck),

128-131.

8. 8 engr., Philips Galle. After Maarten van Heemskerck. The story of

Judith and Holofernes. Antwerp, Philips or Theodoor Galle, c. 1564. Complete

series, before the name of the publisher. Ref. New Holstein (Maarten van

Heemskerck), 207-214.

9. 7 engr., Philips Galle. After Maarten van Heemskerck. The story of David

and Saul. Antwerp, Theodoor Galle, c. 1556. 7 from a series of 10 pl. (missing

pl. 5, 6, 7). pl. 1 in 2nd st., all others only st. Ref. New Holstein (Maarten van


10. 6 engr., Philips Galle. After Maarten van Heemskerck. The Parable of

the Prodigal Son. Antwerp, Theodoor Galle, c. 1562. Complete series, 2nd ed.

by Theodoor Galle, all pl. with his address, implying: pl. 1, 4 in 4th st., pl. 2, 3,

5, 6 in 3rd st. Ref. New Holstein (Maarten van Heemskerck), 360-365 and New

Hollstein (Philips Galle), 152-157.

11. 10 engr., Philips Galle. After Maarten van Heemskerck. The story of

Daniel, Bel and the Dragon. Antwerp, Theodoor Galle, c. 1565. Complete

series, 2nd ed. by Theodoor Galle: pl. 1-7 and 10 in 2nd st. with his address, pl.

8 and 9: 1st st. Ref. New Holstein (Maarten van Heemskerck), 226-235.

12. 8 engr., Philips Galle. After Maarten van Heemskerck. King Josiah

restores the law of the Lord. Antwerp, before the name of the publisher, c.

1569. Complete series, 1st. ed., all pl. in 1st st. Ref. New Hollstein (Maarten

van Heemskerck), 143-150.

13. 6 engr., Dirck Volkertsz. Coornhert. After Maarten van Heemskerck.

The Parable of the King who prepared a wedding. Antwerp, Theodoor Galle,

c. 1558-1559. Complete series, 2nd ed. with most pl. in 2nd st. by Theodoor

Galle. Ref. New Hollstein (Maarten van Heemskerck), 343-348.

14. 2 engr., Philips Galle. After Maarten van Heemskerck. The story of Tamar

and Amnon: Absolom consoles Tamar and the servants of Absolom killing

Amnon. pl. 5 and 6 from 6. Ref. New Hollstein (Maarten van Heemskerck),

114-115.

15. 4 engr. Philips Galle. After Maarten van Heemskerck. The story of Jonah.

Antwerp, Ioan Galle?, c. 1566. Complete series, with an undescribed state by

Ioan Galle of pl. 1 and the other pl. in 2nd st. Ref. New Hollstein (Maarten van


16. 6 engr. Philips Galle. After Maarten van Heemskerck. The story of John

the Baptist. [Antwerp, Philips Galle], c. 1564. Complete series, 1st ed. Pl. 1:

1st st., other pl.: only st. Ref. Hollstein (Maarten van Heemskerck), 307-312.

17. 6 engr. Anonymous. After Maarten van Heemskerck. The story of Susanna.

Antwerp, Philips Galle, c. 1563. Complete series, undescribed edition with

address H. Cock changed into Ph. Galle on pl. 1, 4 and 5. Ref. New Hollstein

(Maarten van Heemskerck), 219-224 and New Hollstein (Philips Galle), 87-92.



18. 8 engr. Harmen Jansz. Muller. After Maarten van Heemskerck. The

Eight Beatitudes. 1st ed. without the name of the publisher. pl. 1-7 in 1st st.,

pl. 8 in 2nd st. Ref. New Hollstein (Maarten van Heemskerck), 313-330.

19. 6 engr. Philips Galle. After Maarten van Heemskerck. The story of

Achab, Jezebel and Naboth. [Antwerp,] Hieronymus Cock, c. 1561. Complete

series, 1st ed. by Cock with all pl. 1st st. Ref. New Hollstein (Maarten van



Shadrach, Mesnach and Abed-Nego. Before the name of the publisher, 1565.

Complete series, 1st ed. probably by Ph. Galle, all pl. in 1st or only st. Ref.

New Hollstein (Maarten van Heemskerck), 170-173.


Samson. Antwerp, Theodoor Galle, c. 1560. Complete series, 2nd ed. by

Theodoor, with all pl. in 2nd st. Ref. New Hollstein (Maarten van Heemskerck),

85-90.

22. 3 engr. Harmen Jansz. Muller. After Maarten van Heemskerck. The

story of Joash and queen Athaliah. Amsterdam, C.J. Visscher, c. 1643 (also

published by G. de Jode). 3 (of 4) pl., 2nd st. (pl. 3 missing). Ref. New Hollstein


23. 4 engr., Harmen Jansz. Muller. After Maarten van Heemskerck. The

story of Dinah and Shechem». Amsterdam, C.J. Visscher, c. 1643-1646. 2nd

ed. with all pl. in 2nd state. Ref. Hollstein XIV: 27 and 36-38. - New Hollstein

(Maarten van Heemskerck), 31 and 140-142.


Esther. Antwerp, Karel van Mallery, c. 1564. Complete series, 2nd ed., all pl.

in 1st state. Ref. New Hollstein (M. v. Heemskerck): 151-158 and (Philips Galle)

I: 49-56.


story of Judah and Thamar. Complete series, 1st ed. before the name of the

publisher, with all pl. in 1st ed. Ref. New Hollstein (Maarten van Heemskerck),

39-42.

26. 9 engr. Harmen Jansz. Muller. After Maarten van Heemskerck. The Ten

Commandments. Antwerp, Theodoor/Philips Galle, c. 1566. 9 (of 10) pl., pl. 1

in 3rd st., pl. 2 in 2nd st. Ref. New Hollstein (Maarten van Heemskerck), 65-74.

27. 3 engr., not numbered, Harmen Jansz. Muller. After Maarten van

Heemskerck. The Nine Worthies. Antwerp, Theodoor Galle, c. 1567.

Complete series, 2nd ed., all pl. in 2nd st. Ref. New Hollstein (Maarten van


28. 3 engr. Philips Galle. After Maarten van Heemskerck. The Divine Charge

to the Three Estates. 1st ed. without the name of the publisher, 3 (of 4) pl., in

1st st. Ref. New Hollstein (Maarten van Heemskerck), 497-500.

29. 2 engr. Philips Galle. After Maarten van Heemskerck. The Four Last

Things. Antwerp, Theodroor Galle, 1569. 2 (of 4) pl., pl. 1 «The Dying Hour» in

2nd st.and pl. 2 «The Last Judgment» in 1st st. Ref. New Hollstein (Maarten


30. 6 engr., Philips Galle. The Power of Women. Antwerp, Theodoor Galle,

s.d. Complete series, 2nd ed., pl. 1 in 2nd st., pl. 2, 4 only st., pl. 3, 5 and 6: 1st

st. Ref. New Hollstein (Galle), 125-130.

31. 5 engr., Anonymous. After Maarten van Heemskerck. The story of

Gideon. Antwerp, Hieronymus Cock, 1561. Complete series, 1st ed. with all pl.

in 1st st. Ref. New Hollstein (Maarten van Heemskerck), 78-83.

32. 5 engr., Johannes Wierix. After Maarten van Heemskerck. The Lord’s

Prayer. Antwerp, Carel Collaert, 1571. 5 (of 8) pl., pl. 1, in 2nd ed., pl. 3, 5, 6,

8 in 1st ed. Ref. New Hollstein (Maarten van Heemskerck), 321-328 (321, 323,

325, 326, 328).

33. 6 engr., Cornelis Cort. After Maarten van Heemskerck. The story of

Noah. Antwerp, Hieronymus Cock, 1559. Complete series, 1st ed. with all pl.

in 1st st. Ref. New Hollstein (Maarten van Heemskerck), 2-7.

34. 5 engr. Dirk Volkertsz. Coornhert. After Maarten van Heemskerck.

Praise of the virtous wife. S.l., s.n., 1555. 5 (of 6) pl., only st. Ref. New Hollstein


35. 4 engr. Dirk Volkertsz. Coornhert. After Maarten van Heemskerck.

The Twelve Patriarchs. 1550. 4 (of 12) pl., all pl. in 2nd st. Ref. New Hollstein

(Maarten van Heemskerck), 56, 57, 58, 61.

36. 6 engr. Harmen Jansz. Muller. After Maarten van Heemskerck.

The seven bleedings of Christ. 1565. 6 (of 7) pl., only st. Ref. New Hollstein


37. 6 engr., not numbered, Philips Galle. After Maarten van Heemskerck.

The reward of labour and diligence. Antwerp, Johannes Galle, 1572. Complete

series, 3rd ed. with pl. 1 in 4th st., pl. 2, 3, 4, 5 and 6 in 3rd st. Ref. New

Hollstein (Maarten van Heemskerck), 501-506.

38. 4 engr., Harmen Jansz. Muller. After Maarten van Heemskerck. Christ

as the Good Samaritan. Amsterdam, C.J. Visscher, 1565. Complete series,

later edition with Visscher’s address on pl. 1, not mentioned in Hollstein. Ref.

New Hollstein (Maarten van Heemskerck), 445-448.

39. 6 engr., Philips Galle. After Maarten van Heemskerck. The wretchedness

of wealth. Antwerp, Theodoor Galle, 1563. Complete series, 2nd ed. with pl.

1 in 3rd st., pl. 2 in 1st st., pl. 3, 4, 5, 6 in 2nd st. Ref. New Hollstein (Maarten


40. 6 engr., Philips Galle. After Maarten van Heemskerck. The Triumphs of

Petrarch. Antwerp, Johannes Galle, c. 1565. Complete series, 2nd ed. with all

pl. in 2nd st. Ref. New Hollstein (Maarten van Heemskerck), 491-496.

41. 8 engr., Dirk Volkertsz. Coornhert. After Maarten van Heemskerck. The

Triumph of Patience. Antwerp, Theodoor Galle, c. 1559. Complete series, 3rd

ed. with pl. 1-5, 7, 8 in 3rd st., pl. 6 in 2nd st. Ref. New Hollstein (Maarten van


42. 9 engr., Cornelis Cort. After Maarten van Heemskerck. The cycle of the

vicissitudes of human affairs. Antwerp, Theodoor Galle, c. 1564. Complete

series, 2nd ed. with pl. 1-4, 6, 7-9 in 2nd st., pl. 5 in 1st st. Ref. New Hollstein



seven planets. Antwerp, Theodoor Galle, c. 1568. Complete series, 2nd ed.

with all pl. in 2nd st. Ref. New Hollstein (Maarten van Heemskerck), 546-552.

44. 4 engr., Philips Galle. After Maarten van Heemskerck. The Four Seasons.

[Antwerp, Philips Galle], c. 1563. Complete series, 1st ed. with all pl. in 1st st.

Ref. New Hollstein (Maarten van Heemskerck), 538-541.


Four Temperaments. Antwerp, Theodoor Galle, c. 1566. Complete series, 2nd

ed. with pl. 1 in 2nd ed., pl. 2-4 in 1st ed. Ref. New Hollstein (Maarten van


46. 21 engr., Philips Galle. After Maarten van Heemskerck. The disasters of

the Jewish people. Antwerp, c. 1569. 21 (of 22) pl., with only the title missing,

all pl. in 3rd st. Ref. New Hollstein (Maarten van Heemskerck), 238-258.

47. 3 engr., not numbered, Philips Galle. After Maarten van Heemskerck.

Three companion pieces, mentioned together as 3 landscapes in the inventory

of Galle’s widow, Catharina Moretus: 1. Pyramus and Thisbe. Antwerp,

Johannes Galle, c. 1569. Edition by J. Galle not mentioned in Hollstein. Ref.

New Hollstein (Maarten van Heemskerck), 511 and (Philips Galle), 397. - 2.

Hero and Leander. Antwerp, Johannes Galle, c. 1569. Edition by J. Galle not

mentioned in Hollstein. Ref. New Hollstein (Maarten van Heemskerck), 512

and (Philips Galle), 398. - 3. Cephalus and Procris. Antwerp, Johannes Galle,

c. 1569. Edition by J. Galle not mentioned in Hollstein. Ref. New Hollstein

(Maarten van Heemskerck), 510 and (Philips Galle), 396.

48. 1 single engr., Philips Galle. After Maarten van Heemskerck. Elisha

receiving Elijah’s mantle. Antwerp, Johannes Galle, c. 1571. Edition by J. Galle

not mentioned in Hollstein. Ref. New Hollstein (Maarten van Heemskerck),

138 and (Philips Galle), 40.

49. 6 engr., Anonymous. After Maarten van Heemskerck. The story of

David, Abigail and Nabal. Antwerp, Julius Goltzius, c. 1555. Complete series,

2nd ed. with pl. 1 in 1st st., pl. 2-4: only st., pl. 5-6 in 2nd st. Ref. New Hollstein


50. 6 engr., not numbered. Dirk Volkertsz. Coornhert. After Maarten van

Heemskerck. The Power of Women. c. 1551. Complete series, only ed. Ref.

New Hollstein (Maarten van Heemskerck), 259-262, 264.

51. 6 engr., Dirk Volkertsz. Coornhert. After Maarten van Heemskerck.

The Last Judgement and the Six Works of Mercy. c. 1552. 6 (of 7) engr. (pl.

7 missing), only ed. Ref. New Hollstein (Maarten van Heemskerck), 330-335.

52. 1 engr., not signed, not numbered, Anonymous. [Saint John on Patmos].

53. 1 engr., Anonymous. After Maarten van Heemskerck. Job on the dunghill

with his wife and three friends. Amsterdam, H. Hondius, 1607. 2nd st. Ref.

New Hollstein (Maarten van Heemskerck), 160.

54. 1 engr., not signed, not numbered, Anonymous. [Perseus, Pegasus and

the Muses]. From Ovid’s Metamorphoses.

55. 1 engr., Philips Galle. After Maarten van Heemskerck. The adoration

of the Magi. Antwerp, Johannes Galle, c. 1560. 3rd st. Ref. New Hollstein

(Maarten van Heemskerck), 303.



252 [Flemish]

Various prints.

17 engravings and etchings, various sizes (some toned, some tears, mostly

trimmed to platemark).

150 / 200 €

i.a.: 1. Suavius, Lambert, after L. Lombard - «Frieze with Roman sacrifical

procession», right plate, 10,4 x 33 cm, laid paper (trimmed to platemark, repaired

tear at upper right corner, central fold). Ref. New Hollstein III:34. - Van Grieken/

Van der Stock 17. — 2. Greuter, Martin, after M. De Vos - «Fortitudo» and

«Caritas», 16 x 9,3 cm, laid paper (trimmed to platemark). Ref. New Hollstein

XLIV:1171-3. — 3. G. Reverdy - Peasant Dance, 15 x 19 cm, laid paper. This lot

also includes prints by Lafreri, Picart, C. Cort after Titian, et. al.

253 [Flemish]

VELLERT, Dirk - Drunk drummer. Mechelen, 1525.

Etching, 9,1 x 5,6 cm, laid paper, signed with monogram in the plate at bottom

edge. Stuck under passe-partout.

100 / 120 €

255 [Flemish]

VORSTERMAN, Lucas I; DE JODE, Peter II; BOLSWERT,

Schelte Adamsz. After Antoon VAN DYCK - 11 Portraits of

Flemish artists. [Antwerp], C. 1596-1800.

Various sizes and conditions.

700 / 800 €

254

Vellert produced one of the earliest genre prints with enigmatic engravings such

as this man drinking form a cup. A later copy.

Ref. Hollstein XXXII:16

254 [Flemish]

VISSCHER, Claes Jansz. After Joos DE MOMPER - Ver

[Spring]. [Antwerp], I. Galle, S. Verbruggen, c. 1720.

Engraving, 30 x 41,5 cm, signed «CIVisscher fecit», lettered «Ioan Galle excudit»

and «Susanna Verbruggen excudit», and numbered (trimmed to the platemark,

underlaid). Stuck by corners under passe-partout.

200 / 250 €

Panoramic landscape with a river by a village, with six lines of Latin text from

Seneca’s «Phaedra». Part of a set of the Four Seasons. Rare later imprint by

Susanna Verbruggen (1684/85-1752).

Ref. Hollstein XXXVIII: 12 (only 2 states).

Collection of portrait etchings of famous Flemish artists after designs by Van

Dyck. The depicted artists include Sebastiaan Vrancx, Jacobus de Cachiopin,

Jan Snellincx (2 different states), Adam van Noort, Frans Franken, Jan I Breugel,

Pieter II Breugel, Joos de Momper (in 2 different states) and the very rare

unfinished portrait etching of Erasmus.

Ref. New Hollstein (Van Dyck), II.80.

256 [Flemish]

VORSTERMAN, Lucas I. After Peter Paul RUBENS -

Adoration of the shepherds, called «with the spider». [Antwerp],

L. Vorsterman, 1620.

Engraving, 44 x 58 cm, signed «Lucas Vorsterman sculp. et excud. An. 1620»

(wide margins, tears repaired on verso). Stuck by corners under passe-partout.

180 / 250 €

Only state with a one line Latin dedication by Rubens to Pieter Peck in lower

margin. After Rubens’ painting in Musée des Beaux-Arts, Rouen.

Ref. Hollstein XLIII: 6.



257 [Flemish]

VORSTERMAN, Lucas. After Peter Paul RUBENS - Bust of

Plato. C. 1620.

Engraving, 9,5 x 13,7 cm (trimmed just outside or on the platemark). Stuck by


150 / 200 €

259 [Flemish]

WIERIX, Hieronymus. After Albrecht DÜRER - St. Jerome in

his study. 1514.

Engraving, 18,5 x 24,5 cm, lettered below, on image: ‘IR.W.AE. 13’ signed with

Dürer’s monogram and ‘1514’ (trimmed on the borderline). Stuck by upper


2.000 / 2.500 €

Bust of Plato in a niche, seen almost in profile to right; after an antique sculpture

after Rubens. Companion piece to a bust of Seneca.

Ref. Hollstein XLIII:110.

258 [Flemish]

WIERIX, Hieronymus; WIERIX, Anthonis - 9 engravings.

[Antwerp, Hieronymus Wierix, 1563-1620].


300 / 400 €

Splendid copy by Wierix, in a first state, of Dürer’s outstanding representation

of St. Jerome in his study with lion and cardinal’s hat beside him. With

window handles and the lock of the chest different from Dürer’s original, but

characteristic of Wierix’ reproduction.

Ref. Mauquoy-Hendrickx 1205. - Hollstein (German) VII: 59.

260 [Flemish]

WIERIX, Johan. After Gerard VAN GROENINGEN - Faith,

Charity and Hope. 1572.

Engraving, 19,4 x 28,6 cm, signed «IHW 1572» and «G.d.Iode excu.» (wide

margins, handwritten note in margin). Stuck by corners under passe-partout.

200 / 300 €

i.a. 1. Mary Magdalene at the cross. Engraving, 9,1 x 6,6 cm, laid paper

(trimmed to borderline with loss of lower text margin). Ref. Mauquoy-Hendrickx

I.355 - New Hollstein (The Wierix family) IV:687. - 2-4. The Visitation (two

copies) and The Presentation of the Virgin. From The Life of the Virgin Series (2 of

12pl). Second state. Engraving, 10,3 x 6,8 cm, signed in lower margin (trimmed

just within platemark). Ref. Mauquoy-Hendrickx I.618.2. - New Hollstein (The

Wierix family) IV:793.2. -5. Portrait of Rudolf II of Habsburg in a lettered oval.

Engraving, 7,5 x 6 cm, laid paper, signed at lower edge (trimmed to border). Ref.

Mauquoy-Hendrickx 1911.

Ref. New Hollstein (Gerard van Groeningen), 149.




261 [Flemish]

WIERIX, Johannes. After Albrecht DÜRER - Melancolia I.

1514 [1602].

Engraving, 18,7 x 23,7 cm, lettered on image ‘MELENCOLIA I’, signed with

Dürer’s monogram and dated ‘1514’ bottom right, Wierix’ signature is as often

removed (trimmed outside the borderline). Stuck by upper corners under passepartout.

2.000 / 2.500 €

Excellent copy made by Wierix in 1602 of Dürer’s fabulous allegorical

representation of the melancholic temperament as a woman wearing a

wreath seated amongst a bell, an hourglass, scales, a magic square, carpentry

tools and a sphere. Without the filling between «Melancolia» and «I» and

without the correction of the numbers characterising Dürer’s second state,

all typical for Wierix’ edition although his signature was -as often is the caseremoved.

Ref. Mauquoy-Hendrickx 1556. - Hollstein (German) VII: 75.

264 [French]

BOISSIEU, Jean-Jacques de. After Karel DUJARDIN - «Les

petits charlatans». 1772.

Etching and drypoint, 25,5 x 33 cm, signed and dated in pl.: «J.J.D.B., 1772» and

«K. du Jardin, 1687» (sl. toned, sm. tear with loss of image upper right corner,

trimmed at framing lines with small lower text margin). Under gilt passe-partout,

under glass and gilt frame, not studied outside frame (sm. def. at frame).

150 / 200 €

262 [Flemish]

WIERIX, Johannes. After Albrecht DÜRER - The knight, death

and the devil. Antwerp, 1564.

Engraving, 24,1 x 18,5 cm, laid paper, signed and dated in plate «AE 15» (trimmed

sl.short, within the borderline). Stuck by upper corners under passe-partout. Fine,

dark and uniform impression.

1.000 / 1.200 €

Countryfolk gathered before a makeshift stage where three men dressed as

characters from the Commedia dell’arte are either trying to sell some medicine,

or they are mocking the tradition of itinerant quack doctors. One of the men,

dressed in white and wearing a mask, sits in front of the stage and plucks a string

instrument; his companion, a man dressed in black, stands on the tip of his toes on

the stage; behind him hangs a poster representing a nobleman holding a jar of the

concoction; a third man peeks from behind a curtain. Roman ruins in background.

Lettered below image: «gravé d’après Le Tableau de Karle du jardin tiré du Cabinet

de Monseiur Blondel de Gagny / Receveur general Des Finances». The painting in

question was in the collection of Blondel de Gagny; after the latter’s death (1776)

it was bought by Blondel Dazincourt, and then by Louis XVI in 1783. It is now in the

Musée du Louvre, Paris (inv.no.1394). 4th state (of 6).

Ref. Perez 63.VIII - Inv. Fonds Français 63.

A reverse copy of Wierix of Dürer’s most famous print, part of the so-called

«Meisterstiche». The print is a reflection on the vanities and temporality of life.

Ref. Mauquoy-Hendrickx 1484. - New Hollstein (The Wierix family) VII:1996

263 [French]

4 Ornament prints. 16th c.

Etchings, 11 x 9,5 cm (plate mark), laid paper, wide margins, unsigned, numbered

in pl. Stuck on paper by upper edge.

150 / 200 €

Very rare late 16th-century ornament prints with designs for portals and

decorative hangers composed from mythological creatures such as centaurs,

mermaids and dolphins. Stylistically related to similar designs by the famous

French architect and designer Jacques Androuet Du Cerceau (1515-1585) or the

school of Fontainebleau. Part of a larger series, nos. 3-6.

Joined: 5 small ornament prints with floral motives, approx. 9 x 4 cm., glued on

mod. paper, French, 17th c. (6 pcs)

265 [French]

BONNET, Louis-Marin. After Jean-Baptiste LE PRINCE -

Russian lady. Paris, c. 1762-1776.

Crayon-manner printed in red and black, 29,5 x 20,5 cm (browned around the

edges affecting the image, sm. brown stains in centre). Stuck under passe-partout,

under wooden gilt frame, descriptive label on verso (flaking paint, several sm. def.

at frame, not studied outside frame).

120 / 150 €

A rare rococo print with a Russian lady at a reading table. The print is made to

imitate the drawing by Le Prince (1734-1781).

266 [French]

BOUZONNET STELLA, Claudine. After Jacques STELLA -

Les jeux et plaisris [sic] de l’enfance. Paris, [Claudine Bouzonnet

Stella], 1657 [1637].

8vo oblong: 48 engravings (some foxing, lack of paper on a2 and c7). 18th or

early 19th c. half sheep, sprinkled paper covers (edges and corners bumped, a few

stains and repairs).

1.000 / 1.500 €

Series of 48 engr. depicting traditional children’s games by Claudine Bouzonnet

Stella (1641-1697), niece of Jacques Stella and considered to be one of the

most excellent engravers of the 17th c. Exceptional edition without any page

numbering but with a complete list of signatures from a1 to f8, or 48 pl. in

total. Compared to the numbered edition described by Weigert, our copy has

neither a coat of arms, nor the pl. 2 «Le Dada» and pl. 27 «La Paume». One of

the 2 pl. named «Le Sabot» by Weigert is entitled «Le volant». Also, the order of



the signed plates is quite different from that of the edition with numbered plates.

Given the perfect logical order of the signatures in our series, we are probably

dealing with an early edition predating Weigert’s 1st edition, numbered with

50 pl. While he mentions 1637 as date of the 1st ed., most editions are actually

from 1657.

Ref. Weigert, «Inventaire du fond français, graveurs du XVIIe siècle», II, pp. 78-

92, n°48-99.

267 [French]

CALLOT, Jacques - La Foire de Gondreville. [Nancy], Israël

Silvestre.

Etching, 19,6 x34,3 cm, cream laid paper, signed in the plate «Ja. Callot fe.

Nanceij» , small margin (some plate tone, paper sl. toned). Good early impression.

600 / 700 €

Callot’s masterpiece print

269 [French]

CALLOT, Jacques - Temptation of St Anthony. Paris, Mondhare,

1635.

Etching, 62 x 80 cm (incl. frame), laid paper, signed in plate (sl. toned). Stuck

under glass and wooden frame (not studied outside frame). Rather stale and late

impression.

300 / 350 €

A great village festival celebrated under a large tree, which dominates the scene.

Callot was inspired by the village feasts by Teniers for this composition. The

village was identified as that of Gondreville, in the Lorrain. 4th state (of 4) with

publ. address of Silverstre added.

Ref. Lieure 561.3.

268 [French]

CALLOT, Jacques - «Le Parterre de Nancy». Nancy, c. 1625.

Etching, 25,6 x 40,2 cm, laid paper, signed in the plate at lower right margin,

lettered in lower margin (brown stain at upper left centre, underlaid, sl. frayed at

edges). Stuck under passe-partout.

750 / 800 €

Very nice representation by Callot of the gardens of the Ducal palace at Nancy,

which includes a wide array of anecdotal details and figures, some of which were

re-used from other series such as the Varie Figure. 1st copy of 1st state (of 2).

Ref. Lieure 566:1.1.

(Detail)

One of the most famous and spectacular prints by Callot. Saint Anthony

is dragged by demons on the right; nude female figure on a carriage made of

bones on the left. Large winged creatures vomiting demons on the upper part,

dominated by Satan. For his representation of monstrous creatures and rocky

landscapes Callot was inspired by depictions of the same theme by Bosch and

Brueghel. Second copy after the second state.

Ref. Lieure 1416-copie 2. - Meaume 139-copie 2.

Joined: Sadeler, Johann. After Maarten de Vos - Ciomus the hermit. From set

«Solitudo Sive Vitae Patrum Eremicolarum» (29 pl.). Engraving, 17,4 x 21 cm,

laid paper, signed in pl. (sl. toned). Stuck under passe-partout, under glass and

wooden frame. Ref. Hollstein XXXI:402. - Hollstein XLIV:989. (2 pcs)



270 [French]

CALLOT, Jacques - The Gypsy camp. Nancy, c. 1621-1630.

Etching (1 of 4), 12,2 x 23,2 cm, laid paper, signed in plate at lower left corner

«Callot fe.» (brown smudges, yellow toned paper). Stuck under passe-partout.

250 / 300 €

272 [French]

CALLOT, Jacques - The Triumph of the Virgin, or The Small

Thesis. [Nancy], Israël Silvestre, c. 1625.

Engraving, 37 x 56 cm, lettered «Jac. Callot Nobilis Lotharing. In. et Sculp. in

aqua forti excudit», on cream laid paper (trimmed to the platemark). Stuck by


300 / 400 €

3rd state (of 3) with Silvestre’s imprint.

Ref. Lieure 562.3.

273 [French]

DE LEU, Thomas. After Adriaen COLLAERT - Martyrologium

Sanctarum Virginum.

Set of 24 engravings, c. 12 x 18 cm, signed and numbered in pl. «Thomas de Leu

exc.» (minor foxing, sm. spot on lower frame of pl. 20). Stuck by upper corners


1.500 / 2.000 €

Feast at the gypsy camp, from the series «Les Bohémiens». Later impression of

the 2nd state (of 2).

Ref. Lieure 377.2

271 [French]

CALLOT, Jacques - The Triumph of the Virgin, or The Small

Thesis. [Nancy], c. 1625.

Engraving, 37 x 57 cm, signed in plate «Jac. Callot Nobilis Lotharing. In. et

Sculp. in aqua forti excudit», on laid paper (trimmed to the platemark, with gilt

border, mounted on cardb. support, sl. toned).

1.800 / 1.900 €

Series of 24 female saints, without title page. The Antwerp Jesuits produced the

collection and included short verses in the lower frame by their canon Lawrence

Beyerlinck (1578-1627).

Ref. Not in Hollstein. For Collaert’s edition: Hollstein IV: 260-283.

274 [French]

DEBUCOURT, Philibert-Louis - «La promenade publique».

Paris, Depeuille, 1792.

Etching and aquatint, 44,3 x 63 cm, laid paper, signed in lower left margin

(foxing). Stuck under passe-partout, under orn. gilt frame (not studied under

passe-partout).

300 / 400 €

Thesis print commissioned by the order of the Friars Minor of the city of Nancy.

The print visualises the points of the academic argument in the thesis defense

by their friars André de l’Auge et Etienne Didelot. The argument conveyed on

placards and banderoles defends the Immaculate Conception of the Virgin

Mary. Callot’s composition exceeds verbal imagery and prioritises the visual. As

such, it shows a triumphal procession with the crowned Virgin on a chariot and,

in the foreground, the Virgin crushing a demon, symbolising her triumph over

the devil and death. With allegorical representations of the Virgin’s virtues. 2nd

state (of 3) with the replacement of the word «Inuenerunt» by «Authores».

Ref. Lieure 562.2.



Members of the Paris beau-monde are gathered together in a park at the eve of

the Revolution. They are joking, talking and flirting. Some well-known figures of

the French nobility are portrayed, such as the Duke of Chartres (the future King

Louis XVIII), who blows a kiss to the woman standing behind him.

Ref. V. Carlson (ed.), Regency to Empire: French printmaking 1715-1815,

Baltimore 1984, no. 103. - M. Fenaille, L’oeuvre gravé de P.-L. Debucourt, Paris

1899, no. 33-2.

275 [French]

Fontainebleau School - 2 oval engravings with mythological

scenes. [Fontainebleau], 1540-1550.

Engravings, 6,5 x 5,5 cm, laid paper, unsigned (trimmed along oval borderline,

some foxing, brown spots). Stuck under passe-partout.

200 / 300 €

277 [French]

LEPAUTRE, Jean - Made-up volume. Paris, Pierre Mariette or

Jean Le Blond, 17th c.

81 engravings, various sizes, laid paper ± 19,5 x 27 cm (some marg. stains or

dampstains). Bound in 1 vol., 20 x 28,5 cm, later quarter vellum, modern light

green laid paper on covers, flat blind spine (sl. stained). Good condition.

400 / 600 €

Nice collection of plates from various albums designed by J. Lepautre (1618-1682).

Includes some titles: «Trophées d’armes antique et moderne, servant a toutes

sortes d’ouvriers, pour l’enbelissement de leurs ouvrages nouvellement dessignez

et gravez par Iean le Potre», «Lambris a la françoise nouvellement inventée et

gravée par Iean le Potre», «Nouveaux ornemens ou plafons [...]», «Quarts de

plafons nouvellement inve[n]tés [...]» and «Alcoves a l’italienne [...]». Plates

generally not numbered or with discontinuous numeration, some animated with

figures, representing military trophies, ornamental friezes, mythological scenes,

monumental chimneys, ceilings, wall ornaments or panels, richly decorated

rooms, alcoves, some with beds... At the end, a suite of 10 circular engravings

published by Le Blond, picturing landscapes, statues, ruins and various scenes.

Small unidentified oval prints in the style and subject matter of Fontainebleau

printmakers such as Etienne Delaune or Jean Mignon. The two medallions

depict scenes of feasting Gods and putti on Mount Olympus.

Ref. Not in C. Jenkins, «Prints at the Court of Fontainebleau», 2018.

276 [French]

The Four Elements. Paris, 17th c.

4 engravings, 20,5 x 32 cm, laid paper (toned, trimmed to borders, cuttings in

lower text margin with loss of signatures, def. to left margins sm. repairs). Stuck

by corners under passe-partout.

150 / 200 €

278 [French]

LEPAUTRE, Jean - Made-up volume. Paris, Pierre Mariette or

Jean Le Blond, 17th c.

58 engravings, various sizes, laid paper ± 19 x 27 cm (1st pl. folded, some marg. stains

or traces of use). Bound in 1 vol., 20 x 29 cm, later quarter vellum, modern light green

laid paper on covers, flat blind spine (stained, some scratches). Good condition.

300 / 400 €

A complete set of prints depicting the Four Elements. In each print a young

couple is seen surrounded by mythological and allegorical depictions of the

element. They can be seen sitting in a boat pulled by Tritons, being lifted on

clouds by the winds or just receiving babies from a baby-firing canon. Each

engraving is accompanied by a French text.

Nice collection of plates from various albums designed by J. Lepautre (1618-

1682). Includes some titles: «Ornements pour les corniches et chapiteaux

servent aux peintres architect et menuisiers nouvellement inventé et gravée par

Jean le Potre» (= manuscript title), «Cheminées à l’italienne [...]», «Cheminées

à la romaine [...]», «Grotesques et moresques [...]» and «Frises ou montans a la



279

moderne servant pour l’utilité des lambris». Plates generally not numbered or

with discontinuous numeration, representing monumental wall ornaments and

panels, doors, chimneys, overmantels, pieces of furniture, cabinets, friezes, etc.

279 [French]

LORRAIN, Claude - 8 etchings after and by Lorraine.


200 / 300 €

1. Artist drawing near the harbour. 1638-1641. Etching, 13,5 x 20 cm, laid paper,

numbered 5 in plate. Ref. Mannocci 36.5 - Robert-Dumesnil 9.4 - 2. Time, Apollo

and the Four Seasons. Rome 1662. Etching, 20 x 26,2 cm, laid paper, signed and

dated in plate. Ref. Mannocci 43.3 - Robert-Dumesnil 20.2 - 3. Harbour scene

with rising sun. Late re-issue of 1816 of orig. pl. Etching, 13,3 x 20,3 cm, signed

in plate. Ref. Mannocci 15:4. - 4-5. Two copies of Dance under the tree. Late

re-issues of 1816 of orig. pl. Etching, 13,9 x 20 cm, signed in pl. Ref. Mannocci

19:3 - Robert-Dumesnil 10.3. - 6. Road bandids. Late re-issue of 1816 of orig. pl.

Etching, 13,5 x 20,5 cm, signed in plate. Ref. Mannocci 11.5 - Robert-Dumesnil

12.2. - 7. Shepherd near a village. Late re-issue of 1816 of orig. pl. Etching, 15,8

x 22,5 cm, unsigned (left upper corner torn). Ref. Robert-Dumesnil 19.3. - 8. The

vision. 4th state. Etching, 10,8 x 17,2 cm, unsigned. Prov. Coll. stamp (L. 2341).

Ref. Mannocci 2.1 - Robert-Dumesnil 2.1(4). (8 pcs)

280 [French]

Lot of 3 landscapes.

Stuck by corners under passe-partout.

200 / 300 €

1. Pérignon, Nicolas. - Landscape with two figures standing in front of a stone

house; one of them points to the left; on the far left, a herdsman on a donkey

with cattle. Engr. 18,2 x 11,3 cm, numbered and dated within image, «1r 1771»,

and lettered below, to right, «Perignon fecit» (trimmed just outside the border).

From Pérignon’s «Sixième cahier de paysages». Ref. Baudicour 38.

2. Visscher, N. After H. Swanevelt. - House on a rock. Engr. 15,2 x 20,2 cm,

numbered «12» (wide margins). Reduced copy in reverse of Swanevelt’s

composition. Ref. Hollstein XXIX: 14 (After Swanevelt) and 98 (Swanevelt).

3. Anonymous. - Landscape with bridge crossing a river and three travellers

along the road. Engr. 12 x 17,3 cm (trimmed just outside the platemark,

watermark).

281 [French]

Attributed to PERELLE, Gabriel - River landscapes.

4 engravings, 12 x 17,2 cm, numbered (wide margins, handwritten note in lower

margin). Loose under 1 passe-partout.

150 / 200 €

A series of 4 small riverscapes.

Ref. Le Blanc III: 169, 29-32 (?).



282 [French]

PICART, Bernard - Receuïl [sic] de lions, dessinez daprès nature

par divers maitres et gravez par Bernard Picart. Divisé en six

livres chacun de six feuilles. Amsterdam, Bernard Picart, 1729.

Oblong 4to, contemp. quarter calf (sl. rubbed). flat spine, sp. edges, [8] pp., 36

pl. (some unobtrusive spotting). In good condition with strong impressions.

500 / 600 €

284 [French]

SILVESTRE, Israël - Diverses veues et perspectives nouvelles

de Rome, Paris et des autres lieux. [Amsterdam], N. Visscher, c.

1640-1679.

12 engravings, 12,2 x 25 cm (small margins). Loose.

600 / 800 €

Beautifully engraved by B. Picart (1673-1733). Famous drawings of lions,

consisting of an engr. title and 36 pl. with 42 ill. The 36 engravings in 6 quires

numbered A-F: A-E with 6 numbered engravings, c. 12,7 x 18 cm, F with 12

smaller numbered engravings, c. 7,2 x 11,5 cm. Part F titled «Receuïl [!] de lions,

dessinés dapres nature par Rembrandt et B. Picart qui les a gravés en 1728».

Some plates with indication «ad vivum». By Picart alone: A1, 2-6, D6, E1-6,

F1-4. After A. Dürer: A2, with Dürer monogram. After C. le Brun: B1-6. After

Rembrandt: C1-6, D1-5, F5-11. After P. Potter: F12.Title in red & black with

engr. vignette. Prov. Armorial bookpl.

283 [French]

SILVESTRE, Israel - «Vues de Paris». Paris, 1650-1680.

Oblong 8vo: 14 etchings, various sizes, large margins, numbered in margin,

signed in pl. (some foxing, drawings in red ink in margin scraped out on fol. 3

without loss to image, doodle in red ink on front endsheet). Marbl. cardb. covers,

gilt. title. Good impressions.

150 / 200 €

Complete series of 12 plates of views of Paris and Rome. Copy of Sylvestre’s

original 1645 title «Veües et perspectiues nouvelles tirées sur les plus beaux

lieux de Paris et des enuirons», published by Nicolaes Visscher who compiled

his own series. Besides the title, these 12 pl. include: 2. «Vue de l’Eglise Sainct

Pierre, et du Chasteau Sainct Ange», engr. by Collignon (11.1), from the series

«Diuerses veuës de Rome et dès enuirôns» (11). - 3. «Veuë et Perspectiue du

Jardin des Tuilleries et de la Porte de la Conference» (49.3), engr. by Perelle. - 4.

«Veuë et Perspectiue de l’Hostel de S. Paul; Et de la fassade des R. P. Jesuites

de la ruë S. Anthoine» (49.12), both from the series (49) «Vues de Paris». - 5.

«Veües et Perspectiue du Pont, et du Temple de Charenton» (50.8). - 6. «Veües

et Perspectiue du Village et du Pont de Charenton» (50.7). - 7. «Veües et

Perspectiue de l’Eglise Nostre Dame de Boullongne,» (50.6) from the series (50)

«Vues de Paris», engr. by Claude Goyran. - 8. «Veue et Perspectiule du Chasteau

de Chilly» (194.1). - 9. «Veüe et Perspectiue du Chasteau de Fremont a quatre

lieues de Paris sur le chemin de Fontainebleau,» (63.2) from the series (63) «Vues

de Paris et des environs.» - 10. «Veües et Perspectiue de la Tour de Nesle et de

l’Hostel de Neuers» (50.4), also from the series (50) «Vues de Paris». - 11. Veüe

et Perspectiue du Chasteau de Fremont (63.3). - 12. «Veuë et Perspectiue des

Tuilleries, et de la grande Escurie» (49.5).

Ref. https://israel.silvestre.fr/israel/oeuvrecompleteillustree.php

285 [French]

A pair of small genre scenes. 18th c.

Hand-coloured engravings, 9,5 x 7 cm, vellum, unsigned (old glue marks from

passe-partout around margins, sl. soiled).

100 / 120 €

Album with 14 etchings from the series «Vues de Paris», includes views of the

Eglise de la Mercy, Abbey Royalle de Ioyanaulle, Hôtel Dieu, Le Grand Châtelet,

Chateau de la Bastille, the statue of Henry IV on Île de la Cité, Saint-Sulpice,

Palais de Nancy by Blondel, after I. Silvestre; etc.

2 comical coloured prints. One showing a man smoking a pipe while gazing at a

woman. The second depicts a teacher (?) surrounded by pupils.



289

286 [German and Flemish]

Collection of German, French and Netherlandish woodcuts. C.

1480-1541.

7 folios, laid paper, various sizes and conditions. Loose sheets.

150 / 200 €

Among others, 5 illustrations to «Titus Livius: dat is, de Roemsche historie oft

gesten», i.e. the first Dutch translation of Livius’ Roman History , published in

Antwerp by J. Grapheus in 1541.

Ref. STCV. - Machiels I:404.

287 [German]

Schwabische Chronik. Ulm, Konrad Dinckmut, 1486.

Woodcut, contemp. hand-coloured, 19,6 x 14 cm, laid paper, Gothic German

lettering on verso (some brown spots). Loose sheet.

300 / 350 €

289 [German]

ALDEGREVER, Heinrich - Hannibal fighting Scipio. 1538.

Engraving, 21,4 x 4,9 cm, laid paper, signed in plate with monogram upper center

(trimmed just within borderline, skillful paper repair on verso). Under passepartout.

Dark impression with plate sl. worn at centre.

200 / 250 €

Small frieze with nude figures engaged in a fight with swords, daggers and

clubs, in imitation of antique, sculpted reliefs. 1st state (of 2).

Ref. German Hollstein I:71.1.

Prov. Coll. stamp (L.3751).

290 [German]

ALDEGREVER, Heinrich - The Small Wedding Dancers. 1538.

Engraving, 5,3 x 3,7 cm, laid paper, signed in plate with monogram in upper left

corner (trimmed to borderlines, pl. sl. worn) Under passe-partout.

250 / 300 €

Folio 31v. from Thomas Lirer’s «Schwabische Chronik», published in 1486 in Ulm

by Konrad Dinckmut, illustrated with 22 woodcuts. With some traces of writing

by hand in the margin of the verso.

Ref. GW M18414. - Goff L227.- ISTC il00227000.

288 [German]

Virgin and child. 1495.

Woodcut, 12,7 x 9,5 cm, laid paper, gothic German lettering on verso. Stuck by


250 / 300 €

The Virgin Mary with the Christ child on her arm, set in an ornamented frame

with foliage and flanked by two angels. Folio from a German prayer book.

Ref. Hind II.413-4.

Small print, part of a series of 8 pl. 1st (of 2) state.

Ref. German Hollstein I:147.1

Joined: 10 smaller prints by or after Aldegever. Including engravings from

the following series: «The Virtues and Vices» (7 of 14 pl.), «Herkinbald killing

his nephew», and «The Parable of Dives and Lazarus» (2 of 5 pl.). Sometimes

trimmed short, or late impressions. Ref. German Hollstein 46,47, 73, 117, 118,

120, 121,125, 128, 130.

291 [German]

BALDUNG GRIEN, Hans - Christ as Salvator Mundi. 1519.

Engraving, 21 x 12,1 cm, laid paper, signed in block at lower right (trimmed to

just within borderline, 4 mm cut off from the right edge). Later impression of

1st state.

250 / 300 €



Part of the series (13 pl.) «Christ and the Apostles» or Large Apostles series.

Ref. German Hollstein III:79. - Bartsch VII:308.6. - Matthias Mende, ‘Hans

Baldung Grien. Das graphische Werk’, Unterschneidheim 1978, no.45.

292 [German]

BALDUNG GRIEN, Hans - St Catharine. 1505.

Woodcut, 238 x 16 cm, laid paper with watermark (not in Briquet or Heawood),

wide margins, monogrammed AD in block (smudged in centre). Stuck by right

corners under passe-partout. Good b/w contrast.

120 / 200 €

294 [German]

BEHAM, Hans Sebald - 2 prints with saints. Nuremberg, 1520, 1521.

Engravings, 6,2 x 4,5 and 11,6 x7,6 cm, laid paper, monogrammed and dated in

plate (trimmed to the subject, St. Jerome pasted on 19th-c. paper, sl. toned). Stuck

under passe-partout. Both engr. in moderate condition.

100 / 150 €

1. Sts Philip and James the Greater. 1520. From the series «Christ and the

Apostles». Ref. German Hollstein 40. - Bartsch VIII:133. - Pauli 40. — 2. St. Jerome

fed by an angel. 1521. Ref. German Hollstein 67:2. - Bartch 63. - Pauli 67:2.

295 [German]

BEHAM, Hans Sebald - 3 small engravings. 1530-1560.


200 / 250 €

Saint Catherine seated in profile with an open prayer book in her hands. Sword

leaning on to the chair and broken wheel in foreground. Baldung Grien signed

this with the monogram of his teacher Albrecht Dürer. Later impression of the

second state.

Ref. German Hollstein VII:135.2. - Bartsch VII:181.25.

293 [German]

BARTSCH, Adam. After PARMIGIANINO - Entombment of

Christ. Vienna, 1784.

Etching and aquatint, 36 x 39 cm, signed and dated in the plate «Parmeggianino

(sic) del.; A. Bartsch sc 1784» (some min. dampstaining at lower edge). Under gilt


100 / 120 €

As one of the founding fathers of the studies of engravings and printed images

and curator of the print collections in Vienna, Adam Bartsch (1757-1821) was

also active as a printmaker and often produced high-quality reproductive prints

such as this etching after Parmigianino.

1. Infortunium. Engraving, 1541, 7,8 x 5 cm, laid paper, signed in plate with

monogram in upper left corner (trimmed to borderlines, ink grain throughout).

Grey impression of the 4th state (of 4). Ref. German Hollstein 144.4. - Pauli

144.4. Prov. Achenbach Foundation for Graphic Arts San Francisco (Coll. stamp,

L.3a an L.5069). - 2. The Judgement of Paris. Engraving, 1546, 7 x 4,6 cm,

laid down paper, signed and dated in the plate with monogram (trimmed just

within borderline, sl. toned). Later impression of 2nd state (of 2). Ref. German

Hollstein 92.2. - Pauli 92.2. Prov. Collection W. Bell Scott (1811-1890) (Coll.

stamp L.2607). - 3. Rethorica. From the series The Liberal Arts (7pl). Engraving,

9 x 5,6 cm, laid paper, signed with monogram in upper right corner (trimmed to

platemarks, some print grain). 1st state. Ref. Hollstein 125. - Pauli 125. Prov.

Unidentified Coll. stamp on verso.



296 [German]

BEHAM, Hans Sebald - Collection of 11 small prints. C. 1530-1600.


400 / 500 €

298 [German]

BINCK, Jacob. After Hans Sebald BEHAM - Peasant woman.

C. 1540.

Engraving, 6,1 x 4,4 cm, laid paper, unsigned (trimmed at plate mark). Stuck


120 / 180 €

Nice collection of etchings and engravings by and after Beham, which includes

6 plates (5 reverse copies and 1 orig. pl.) from the series «The Peasant’s feast»

(German Hollstein III: 155, 156, 157, 160, 161), Hercules and Cerberus (German

Hollstein III:104.1), «A peasant going to market» (Hollstein III:193, reverse copy).

297 [German]

BEHAM, Hans Sebald - 4 engravings. C. 1530-1540.


300 / 400 €

A peasant woman going to the market, carrying a goose. A mirrored copy after the

popular print by Beham. Binck worked as a painter, medalist and engraver at the

Danish court and was known for copying after famous German and Netherlandish

printmakers such as Lucas van Leyden, Sebald Beham or Jan Gossart.

Ref. German Hollstein 154.

299 [German]

BINCK, Jacob - Peasant with an egg basket. C. 1500-1568.

Engraving, 5,6 x 3,6 cm, laid paper, signed in the plate with monogram at upper

right corner (trimmed to platemarks). Under passe-partout.

300 / 400 €

1. The Justice of Trajan. Engraving, 10,9 x 8 cm, laid paper glued on passe-partout,

signed with monogram and dated 1537 on the tablet at upper centre (plates worn

around the edges, trimmed within borderline with loss of image at upper edge).

Later, grey impression of 2nd state. Ref. German Hollstein 86.2. - 2. Peasant’s

Feast (1 of 12 pl.). Engraving, 4,7 x 3,4 cm, laid paper, signed with monogram at

upper right corner (trimmed to borderline with bottom platemark visible, sl. toned

paper, min. foxing). Ref. German Hollstein 158. - 3. The wedding procession (1 of 8

pl.). Engraving, 5 x 3,7 cm, laid paper, signed with monogram at upper right corner

(trimmed outside the platemark with sm. margin). Fine uniform impression of

1st state. Ref. German Hollstein 72. 4. Beham, Barthel. Ex Libris of Hieronymus

Baumgärtner. 2nd state. Engraving, 7,2 x 5,6 cm, laid paper, unsigned (trimmed

just within platemarks). Dark impression with good contrasts. Ref. German

Hollstein 89.2. (4 pcs)

Extremely rare small engraving by Jacob Binck, who belonged to the group

of so-called «Kleinmeister». He made copies after Dürer and Schongauer

but also produced a small oeuvre of genre- and ornamental prints. Binck also

worked as an art agent and portraitist for the King of Denmark and Albrecht of

Brandenburg. Only 5 copies of this print are registered in public art collections

today. 1st and only state.

Ref. German Hollstein 153. - Pauli 34.



300 [German]

BOTHO, Konrad - 4 woodcuts. Mainz, Peter Schöffer, 1492.

Folio, contemp. hand-coloured woodcuts, gothic German lettering (some brown

spots). Under passe-partout.

100 / 120 €

302 [German]

CRANACH THE ELDER, Lucas - Christ in Getsemane.

Wittenberg, 1509.

Woodcut, 24,8 x 17 cm, laid paper with (unidentified) watermark, unsigned

(trimmed to borderline). Stuck by corners under passe-partout. Strong and clear

impression.

200 / 300 €

Genealogical representations of the family tree of the Sallen and Brunswick with

generic portraits and heraldry. They served as illustrations to the «Chronecken

der Sassen», printed by Schöffer in 1492 in Mainz. Schöffer was one of the most

important early printers and publishers – some rate him a better typographer and

printer than Gutenberg himself. He was responsible for many innovations, artistic,

technical and commercial. The Chronecken der Sassen was the first German

chronicle to be printed; it records events from 527 to 1489 AD. With nearly 600

pages and hundreds of woodcuts, it was Peter Schöffer’s last major project.

Ref. GW 4963. - Scheiber 3531.

301 [German]

CRANACH The Elder, Lucas - Book-plate of Christof Scheurl. 1511.

Woodcut, 16,4 x 12,6 cm, laid paper with watermark (unidentified), unsigned

(foxing, sl. toned, repaired tear). Stuck by corners under passe-partout.

200 / 300 €

Christ kneeling with stretched arms on Gethsemane, looking upwards towards

the Heavens while three putti appear. Part of the «Large Passion» series (14

blocks). Third state (of 3).

Ref. German Hollstein VI:10.3.

303 [German]

DE TURRECREMATA, Johannes - Metalcut with kneeling

priest. Mainz, Johann Neumeister, 1479.

Fol. 42v, laid paper, with German gothic lettering (final 2 lines trimmed). Stuck

by upper corners under passe-partout.

300 / 350 €

A full-length female figure facing front, wearing a lush feathered hat. First

used in a 1511 publication of Scheurl’s writings printed by Stöckel in Leipzig.

As the inscription states, the arms represented are those of Christoph Scheurl’s

parents, Christoph Scheurl I (1457-1519) and Helena Tucher (1462-1516). Two

lines of xylographic lettering in Latin at top. Formerly attr. to Dürer.

Ref. German Hollstein IV:144. - O’Dell 358 - Bartsch 291.

Prov. Coll. stamp on verso.

Illustration with orn. border from Johannes De Turrecremata’s «Meditationes

seu Contemplationes devotissimae», publ. by Neumeister in Mainz in 1479,

which included 34 metalcuts.

Ref. GW M48255. - HC 15726. - Schreiber 5395.



304 [German]

DIETRICH, Christian Wilhelm Ernst - Blind beggar. 1757.

Chiaroscuro woodcut, 13 x 15 cm, 21 x 27 cm (pencil notes at the bottom). Stuck

by upper corners under passe-partout.

200 / 250 €

Second state, unnumbered and the first in chiaroscuro using two woodblocks.

Ref. Linck 78.

Albrecht Altdorfer and Wolf Traut) designed this dense

and spectacular image on 195 woodblocks which took

three years to cut and print, between 1515 and 1518.

It was commissioned by the Holy Roman Emperor

Maximilian I (r. 1486–1519) who personally took a close

interest in its production. At over 3.5 metres tall, the

incredibly detailed arch is both elaborate and immense.

Maximilian harnessed the superlative skills of German

woodcut designers and printers to advertise his

achievements and dynastic ambition for the Austrian

Habsburg family. About 700 sets of impressions were

printed in a first edition in 1517-18, and given by

Maximilian as gifts, mostly to the cities and princes

of the Holy Roman Empire. A second edition of about

300 copies was authorised by Archduke Ferdinand

(Maximilian’s grandson and later Holy Roman

Emperor) in 1526–28, and a third edition by Archduke

Charles (Ferdinand’s son) in 1559. This impression is

most likely of the third state of 1559.

Ref. Meder 251- Bartsch 138.

Prov. Van Loock (Coll. stamp. Lugt 3752).

307 [German]

DÜRER, Albrecht - 2 woodcuts from the Apocalypse.

Nuremberg, 1498-1511.

Woodcuts, 39,2 x 27,1 cm, laid paper, monogrammed AD (very heavily damaged,

toned, edges frayed with loss of image, several tears and holes). Stuck under passepartout

200 / 250 €

305 [German]

DIETRICH, Christian Wilhelm Ernst - Triton fights: 3 prints

on 2 sheets.

3 engravings, 8,5 x 14,5 cm; 8,5 x 14 cm; 8,7 x 14,7 cm, all signed «Dietricj» and

the first two dated «1763» (with wide margins). Stuck by corners under 2 passepartout.

150 / 200 €

Three triton fights by C.W.E. Dietrich (1712-1774), the first with two marine

creatures at the left side, the second with a Naiad in the background and the

third with flying stork.

Ref. Linck 43, 44, 45 II.

306 [German]

DÜRER, Albrecht and his school - The Triumphal Arch of

Maximilian I. 1515-1518.

Woodcut, 63,4 x 16,2 cm, laid paper (browned, old repair at bottom left and

upper margin). Stuck at corners under passe-partout.

400 / 500 €

One of the woodcuts which formed the triumphal arch of Emperor Maximilian.

This section shows two baluster columns with Ionic capitals on the right side of

the central arch. Celebrated German artist Dürer and his team (Hans Springklee,

The first woodcut represents the opening of the seventh seal and the eagle

crying ‘Woe’. In Heaven God is distributing trumpets to seven angels,

underneath a crying eagle is flying towards earth, which is in chaos. Latin

letterpress text on the verso. An impression from the 1498 Latin edition of

Dürer’s most magnificent and best-known series of 15 woodcuts. « There was

a long tradition of Apocalypse illustrations in manuscripts, which continued in

printed books, but nothing like Dürer’s galvinising imagination had ever been

brought to bear on the text. In previously printed Bibles, illustrations had been

put on pages along with the words, but Dürer gave precedence to the image,

taking an entire large page of what he himself called a «superbook» for each of

his fifteen subjects.» (The Metropolitan Museum New York).

The second print depicts the Whore of Babylon. Clothed in a Venetian costume

and holding a cup aloft, she is mounted on a beast with seven heads, with

the destruction of Babylon in the background. From the 1511 impression with

German letterpress text from the Revelation of St John on the verso.

Ref. Meder 170, 177. - German Hollstein 170, 177. - Schoch 2001-04 II.118.



308 [German]

DÜRER, Albrecht - The Dream of the Doctor. 1498.

Engraving, 18,6 x 11,8 cm, laid paper, monogrammed at lower edge (trimmed

to border or fractionally into the subject, sm. restaurations on verso, sl. toned).

Good impression.

300 / 400 €

310 [German]

DÜRER, Albrecht - Landscape with cannon. Nuremberg, 1518.

Etching on iron, 21,5 x 32,3 cm, signed in plate with monogram at top left corner

(underlaid with mod. paper with min. def. on verso, trimmed to platemarks).


150 / 200 €

Later copy of Dürer’s most enigmatic engravings. Pictured is a slothful, selfindulgent

individual who sleeps in front of his heated fireplace, comfortably

resting his head against a soft pillow. According to medieval codes of conduct

such behaviour encouraged temptation, which is represented by a demon who

«blows» sinful thoughts into the sleeper’s ear. Probably the dream itself is

represented by the nude Venus, voluptuous and inviting. She is accompanied by

a playful Eros.

Ref. Meder 70. - Hollstein VIII:70. - Bartsch 76.

Prov. Coll. stamp on verso.

309 [German]

DÜRER, Albrecht - Ecce Homo. Nürnberg, 1512.

Engraving, 11,7 x 7,5 cm, laid paper , monogrammed and dated in pl. (sm. paper

repairs, late impression from rubbed pl, sm. crease in lower left corner, trimmed

to edges). Stuck by corners under passe-partout.

500 / 600 €

Later 16th-cent. reverse copy of Dürer’s Ecce Homo, from the so-called Engraved

Passion. Christ wearing a crown of thorns standing on the steps next to Pontius

Pilate, on the left onlookers and three crosses.

Ref. Meder 10b. - Bartsch VI.36.10. - Schoch I.52.

Prov. Coll. stamp (Lugt 3751).

As one of Dürer’s largest etchings, this is an in intriguing print depicting a socalled

«Feldschlange» (i.e. filed serpent), a Nuremberg vintage cannon used in

the wars against the Turks of Emperor Maximilian I. It is not clear if the oriental

figure on the right is a captive or an envoy inspecting the powerful weapon. The

village in the background has been identified as Reuth, near Nuremberg. A dark,

warm yet later impression of the 1st state (of 2).

Ref. Meder 96.1. - Panofsky 206. - German Hollstein 96.1.- Bartsch 99.1

Joined: Hopfer, Hieronymus. After Albrecht Dürer. Landscape with cannon.

Copy after print above. Etching, 19,3 x 28,2 cm, laid paper, signed in plate with

monogram at top left corner, wide margins. Under passe-partout. Ref. Bartsch

VIII:518. (2pcs)



311

311 [German]

DÜRER, Albrecht - St Anthony reading. Nuremberg, 1519.

Engraving, 10,1 x 14,3 cm, laid paper with watermark (Briquet 14993 or 14752),

signed and dated in the plate (trimmed to the platemark, sm. defect to paper at

upper center). Stuck under passe-partout. Good, sl. grey impression.

400 / 500 €

This small print shows St Anthony seated on the ground, stooping forwards to

read a little book. His pilgrim’s hat lies to his left, and his symbols, a cross and a

bell, are placed to his right. A looming landscape in the background echoes the

saint’s pose. The scene is one of calm concentration and Dürer has captured the

saint’s absorbed mood by suggesting that he is absent-mindedly flexing his toes

as he reads. Possibly a contemporary copy after Dürer.

Ref. Meder 51-b. - Bartsch 58. - Mende 87.

313 [German]

GRAF, Urs - Crucifixion. Basel, N. Ringmann, 1506.

Woodcut, partly hand-coloured with green, 25,6 x 18,2 cm, laid paper,

monogrammed VG at lower centre (sm. wormhole just outside left borderline,

sm. brown spot outside right borderline, sm. wormhole at lower centre). Stuck by

upper edge under passe-partout.

200 / 250 €

312 [German]

After Albrecht DÜRER - St Bartholomew. Nuremberg, 1523.

Engraving, 11 x 7,4 cm, laid paper glued on mod. support, monogrammed and

dated «AD 1523», manuscript text on upper left corner «S Bartholomeus» (sl.

toned, old repairs on verso, trimmed to borders). Loose sheet.

100 / 200 €

St Bartholomew, standing in a landscape, holding a knife and a book. From the

series «The Five Apostles». A later mirrored copy of Dürer’s engraving of 1523.

Ref. Meder 1932.45. - Bartsch VII.65.47.



314 315 316

Christ at the Cross stabbed by Longinus’ spear. The folio was an illustration in I.

Knoblouch, Der Text des Passions oder Lijdens Christi, Strassburg 1506, publ. by

N. Ringmann. Latin and German text on verso.

Ref. German Hollstein IX:25.

314 [German]

HOPFER, Daniel - 2 religious etchings. Augsburg, 1505-1536.


350 / 400 €

1. The Virgin and Child with St Anne. The Holy family seated in a room looking

out on a Renaissance courtyard. The background was based upon a print of

Benedetto Mantegna. Etching, 22,7 x 15,4 cm, laid paper with watermark,

signed in the plate with monogram (trimmed to the borderline, some wear on the

plate at upper corners, small stain at upper right). Very good, early impression

of the 1st state (of 3). Ref. Hollstein 45.1.- Metzger 46. - 2. Christ Before the

Adulterous Woman. Etching, 30,2 x 21,5 cm, laid paper with unidentified

watermark, unsigned (trimmed just outside platemark, lower text margin with

signature trimmed). Good and dark impression of 2nd state (of 3) publ. by Funck.

Ref. Hollstein 12.2. - Metzger 15.2.

fantasy creatures. This print belongs to a set of two portrait medallions, of

which the other depicts Nero.

Ref. Metzger 92. - German Hollstein 91

317 [German]

HOPFER, Hieronymus. After Daniel HOPFER - Emperor

Maximilian I as St George. Augsburg, c. 1519.

Etching, 22,7 x 15,8 cm, laid paper, signed «H.H.» in the plate at left edge

(trimmed to the platemark, some plate tone in halo and around the edges, glued

on passe-partout). Under passe-partout.

150 / 200 €

315 [German]

HOPFER, Daniel - Jacob and Esau. Augsburg, 1514.

Woodcut, 25,5 x 17,2 cm, laid paper, signed with emblem in plate at upper right

side, generous margins (sl. toned at lower right edge). Stuck by upper corners


200 / 300 €

Title-page illustration to Johann Ech’s «Chrysopasus», publ. in Augsburg by

Johann Miller in 1514, showing the two old testament figures in a ornamental

antique-style archway, which bears the publication’s title on top.

Ref. Metzger 155. - German Hollstein 149.

316 [German]

HOPFER, Daniel - Portrait medallion Galba. Augsburg, c. 1520.

Etching, 22,5 x 15,4 cm, laid paper, monogrammed DH (sl. toned, sl. worn,

trimmed to edges with sl. loss of image at left edge). Stuck under glass and metal


200 / 300 €

Profile bust of the Roman Emperor Galba in a medaillion with Latin text: «Ser.

Galba. Imp. Caesaug.» Framed in all corners by grotesques and mythological

Rare copy by Hieronymus Hopfer, after the portrait by his father of Emperor

Maximilian. The etched portrait underscored Maximilian’s devotion to George

as the patron of the order founded by his father and as model chivalrous

knight, whose conquest over the dragon made him the vanguard of the army

of Christians.

Ref. German Hollstein 88.3. - L. Silver, «Marketing Maximilian: The Visual

Ideology of a Holy Roman Emperor», Princeton & Oxford 2008, pp. 118-19.



318 [German]

KRUG, Ludwig - The Adoration of the Magi. [Nuremberg], c.

1516.

Engraving, 12,2 x 16,3 cm, signed «LK» (trimmed to the borderline). Stuck by


400 / 500 €

Reversed copy of Dürer’s enigmatic Sea Monster, showing in the foreground

a nude female being abducted. The engraver, born in 1512, makes one of the

earliest copies of this composition made by Dürer around 1498.

Ref. Hollstein (German) VII: 66 (copy). - Nagler Monogrammisten 2614-4.

320 [German]

LEOPOLD, Joseph Friedrich - Diversarum regiuncularum

icones ad vivum expressi.

12 engravings, 11,3 x 12,4 cm (wide margins, some foxing). Loose.

500 / 600 €

Rare complete series of 12 prints by the Augsburg engraver Joseph Friedrich

Leopold (1668-1727). With verses from the eclogues by Virgil and Rapin. Leopold

worked together with several local artists and was particularly significant for his

reference books with foreign ornamental prints.

Finely engraved adoration scene with the Virgin and Child seated on a step

leading up to a Renaissance arcade.

Ref. Hollstein German 4.

319 [German]

LADENSPELDER von Essen, Johann Hans. After Albrecht

DÜRER - The Sea Monster.

Engraving, 18,2 x 24,7 cm, signed in the plate with Dürer’s monogram and

«IHVE» (trimmed just outside the borderline). Stuck by upper corners under

passe-partout.

1.500 / 2.000 €

321 [German]

MAIR VON LANDSHUT - The Greeting at the House Door.

C. 1499.

Engraving, 22,4 x 16,8 cm, laid paper, signed in plate at lower left corner (sm.

creases at corners, old repair at upper right corner). Stuck by upper corners under

passe-partout.

400 / 500 €

Enigmatic print depicting a couple meeting in a portal by the German engraver

and painter Mair von Landshut (active 1490-1520). Mair’s prints have been

described as «fantastic architectural spaces, with walls joining at the most

unlikely angles. The scenes resemble whimsical stage sets, and are endowed

with an unreal character, like something from a fairy tale.» (Shestack 1967).

His prints are mostly very rare, with nine of them surviving only in a single

impression. Possibly a later impression.

Ref. German Hollstein XXIII:20a.

Prov. Ed. Schultze (Coll. stamp L.906). - Thomas Jefferson Coolidge (Coll. stamp

L. 1429).



322 [German]

Monogrammist IC. After Martin SCHONGAUER - 2

engravings from Passion series. 1500-1530.

Engravings, 16,5 x 11,7 cm, signed in the plate at the lower margin (trimmed to

borderlines, the Arrest in the Garden is underlaid with 19th-c. paper, some print

grain). Under passe-partout. Good, dark impressions.

150 / 200 €

(trimmed to platemarks, sl. worn around edges). Later grey impression. Ref.

German Hollstein 137.1. - Bartsch 88. - 3. The three Marys at the tomb. From

series «The Life of Christ» (26 pl.). Engraving 1535-1536, 3,9 x 5,9 cm, signed in

plate with monogram at lower left corner (trimmed short within borderlines).

Later grey impression of 1st state. Ref. German Hollstein 59. - Bartsch 46. - 4.

Paris and Oenone. Engraving, 1539, 12 x 7,8 cm, Signed with monogram at

lower right (trimmed to borderline). Good uniform impression, superior to BM

copy. Ref. German Hollstein 123. - Bartsch 72. (4 pcs)

324 [German]

SCHEDEL, Hartman - Folio from Liber chronicarum.

Nuremberg, Anton Koberger, 1493.

Woodcut, 45 x 31 cm, laid paper, gothic Latin text and 9 contemp. hand-coloured

woodcuts (sm. min stains at edges, sm. crease at upper left corner). Under passepartout.

300 / 400 €

The «Arrest in the Garden» and the «Resurrection». Rare cont. copies of the

Monogrammist IC, after the popular «Passion series» (2 of 12 pl.) of Martin

Schongauer.

Ref. German Hollstein 20b and 30b.

Prov. Max Egon, Fürst zu Fürstenberg. - Baron Adalbert von Lanna (old coll.

stamps L. 2811 & L. 2773)

323 [German]

PENCZ, Georg - 4 engravings with biblical and mythological

subjects. Nuremberg, 1541.


300 / 400 €

Folio 198 from first Latin edition of the famous Nuremberg Chronicle,

which includes woodcuts by Albrecht Dürer, Michael Wolgemut and Wilhelm

Pleydenwurff. The large woodcut in the upper left corner depicts a witch on

horseback with the devil.

Ref. ISTC is00307000. - GW M40784. - Goff S-307. - Polain 3469. - A. Wilson,

The making of the Nuremberg Chronicle (1976). - C. Reske, Die Produktion der

Schedelschen Weltchronik in Nürnberg (2000).

325 [German]

SCHÖFFER, - 2 woodcuts with herbs. Augsburg & Mainz, 1485.

Various sizes and editions. Under passe-partout.

200 / 250 €

Hand-coloured woodcuts, illustrating Johann von Cube’s «Gart der Gesundheit»,

first published in Mainz in 1485. This was the first medical treatise on herbs

printed in German. Fol. 341 from the first edition, publ. by Peter Schöffer. Fol.

231 from second edition of 1485, publ. by. Hans Schönsperger in Augsburg.

German gothic lettering.

Ref. ISTC ig00097000. - GW MO09766. - Schreiber 4332.

1. Solomon’s judgement. From series «Stories of the Old Testament». Engraving,

1529-1533, 5 x 7,5 cm, signed in plate with monogram at upper left (trimmed just

within borderlines). Good dark impression. Ref. German Hollstein 16 . - Bartsch

23. - 2. The punishment of Virgil’s mockstress. From series «Story of Virgil».

Engraving, 1541, 6 x 8,3 cm, signed in plate with monogram at lower centre

326 [German]

SCHONGAUER, Martin - Annunciation. Colmar, [1470-1490].

Engraving, 16,2 x 11,7, laid paper (heavy repairs on verso, sm. vert. fold at left

side, toned, sm. section in lower left corner overdrawn in pen and black ink).

Stuck by corners under passe-partout.

350 / 500 €



328 [German]

VON BEMMEL, Peter - 5 landscape etchings. Regensburg,

Heinrich Johan Ostertag, 1711-25.

Etchings, 13,8 x 18,6 cm, laid paper, signed in plate at upper left corner (trimmed

just outside platemark, some prints sl. toned). Mounted together under passe-partout.

800 / 1.000 €

On the right, the Virgin kneels on a carpet and turns her head towards Gabriel

who kneels on the left. A later impression.

Ref. Lehrs V.1. - German Hollstein 1. - Bartsch VI.120.3

Prov. Coll. stamp (Lugt 3751).

327 [German]

After Israel VAN MECKENEM - St Barbara.

Engraving, 16,2 x 11 cm, laid paper (no watermark), monogr. at lower edge

(toned, min. foxing, trimmed to framing line, old traces of glue on verso). Stuck


200 / 300 €

Rare complete set of 5 German landscape etchings.

Ref. Andresen 1-5. - Meyer, Algemeines Künstler Lexicon, 1872-1885:5.

329 [German]

WOLGEMUT, Michael - Christ and Martha / The healing of

Lazarus. Nuremberg, Anton Koberger, 1491.

2 woodcuts, 25,3 x 17,4 cm, laid paper (sm. wormhole at upper left centre, some

stains, trimmed to borderline). Stuck by upper corners under passe-partout. Good

impressions.

750 / 750 €

Unidentified later copy of engraving by Van Meckenem. St. Barbara standing by

a tower while holding a chalice and a palm leaf in her hands.

Ref. German Hollstein 393 . - Lehrs IX:393. - Bartsch VI:122.

With woodcuts on recto and verso, the sheet represents an interior scene with

Christ in the house of Mary and Martha. The verso depicts the exorcism of the

Devil and the healing of Lazarus. The woodcuts are illustrations to Stephan

Frigolin’s «Der Schatzbehalter», printed in Nuremberg by Anton Koberger.

Printed and illustrated at around the same time as the famous Weltchronik, the

«Schatzbehalter» contains a set of 96 woodcuts designed by Michel Wolgemut

and Wilhelm Pleydenwurff.

Ref. ISTC is00306000. - GW 10329. - Polain(B) 1521. - Bartsch 87. - Richard

Bellm, «Der Schatzbehalter - Ein Andachts- und Erbauungsbuch aus dem Jahre

1491», Berlin, 1962.



330 [German]

WOLGEMUT, Michael - Jacob and his sons presented by Jacob

to the Pharaoh. Nuremberg, Anton Koberger, 1491.

2 woodcuts on recto and verso, 25,5 x 17, 8 cm, laid paper, unsigned (trimmed

just outside borderline). Stuck by upper corners under passe-partout. Very fine,

strong impression.

200 / 300 €

Folio 265 from the 1st Latin edition of the Nuremberg Chronicle, the most

extensively illustrated book of the 15th c. The 2 editions (Latin and German)

were planned simultaneously, each with its own specially designed new type,

and both with the same woodcuts; the Latin ed. preceded the German by

about 5 months. The text is a universal history of the Christian world from the

beginning of time to the early 1490s, written in Latin by the Nürnberg physician

and humanist Hartmann Schedel (1440-1514). The woodcut depicts a blessing

Christ as judge during the Last Judgement.

Ref. ISTC is00307000. - GW M40784. - Goff S-307. - Polain 3469. - A. Wilson,

The making of the Nuremberg Chronicle (1976). - C. Reske, Die Produktion der

Schedelschen Weltchronik in Nürnberg (2000).

332 [German]

2 woodcuts from the Exodus. Augsburg, Johann Schönsperger,

1493.

2 ff, 8vo, contemp. hand-coloured woodcuts, laid paper, gothic lettering on verso.


200 / 300 €

Michael Wohlgemut (1434-1519), who is now best known as Dürer’s teacher,

designed and probably also cut these woodcuts (fol. 18) for the edition of Stephan

Fridolin’s «Schatzbehalter der wahren Reichtümer des Heils», printed in 1491 by

Anton Koberger. The incunable is considered as one of the most beautiful early

print projects of the Nuremberg book industry. The book included many full-page

woodcuts by Wolgemut and Wilhelm Pleydenwurff and would be influential on the

development of Dürer’s linear woodcut style. The verso side of the woodcut depicts

the vision of Daniel. The folio is an original woodcut from the first edition of 1491.

Ref. ISTC is00306000. - GW 10329.- Polain(B) 1521.

331 [German]

WOLGEMUT, Michael - The Last Judgement. Nuremberg,

Anton Koberger, 1493.

Woodcut, 43,6 x 27,1 cm (folio), laid paper, Latin gothic lettertext on verso. Stuck


600 / 700 €

2 folios depicting Moses from the luxuriously illustrated bible published by

Schönsperger, first published in 1490.

Ref. GW 04306.

333 [German]

Various woodcuts, some hand-coloured. C. 1470-1520.

Various sizes and conditions.

200 / 250 €

I.a. Two folios (ff. 277 and 401) with seven hand-coloured woodcuts from the

1st ed. of the Hortus Sanitatis, publ. by Jacob Meydenbach in Mainz in 1491.

— Albrecht Dürer, «Von Danzen». Woodcut illustration to Sebastian Brant’s

Narrenschiff (ff. 75v), publ. in Basel in 1494. — 14 folios from Ludolphus de

Saxonia, Dit es d’ leven ons liefs heeren Jhesu Cristi, publ. in Antwerp by Henrick

Eckert between 1503 and 1524, illustrated with woodcuts. — 2 woodcuts from

the 1499 Strasburg edition of Terentius’ Comedies. — Folio 179v and 180r of

Vergilius’ Georgicorum, publ. in 1515 by Giunta with hand-coloured woodcuts



by the Master of the Grüninger Workshop. - Final folio (f. 787) of Leonard Fuch’s

De Historia Stirpium, Basel 1542, with hand-coloured woodcut portraits of the

artist Heinrich Füllmaurer and the woodblock cutters Albertus Neher and Veit

Rudolf Speckle.

334 [Italian]

De Arte bene Moriendi. Venice, Johannes Baptista Sessa, 1503.

Woodcut, 14 x 10,9 cm, laid paper, wide margin, unsigned. Loose sheet.

400 / 500 €

Fontainebeau moved to Rome where he was trained by Giorgio Ghisi. From 1540

to 1560 he produced reproductive engravings under direction of Michelangelo,

succeeding Marcantonio.

336 [Italian]

BRIL, Paul - Riverlandscape with a shepherd on a hill to the

right. Rome, V. Cenci, c. 1590.

Engraving, 20,8 x 27,5 cm (with wide margins). Stuck by upper corners under

passe-partout.

200 / 250 €

View of the coast of Campania, 4th state published in Rome by Vincenzo Cenci.


Very rare Venetian print with the religious theme of Ars Moriendi, popularised

by the end of the fifteenth century. The print shows a dying man on his death

bed, where he is accompanied by two angels, the Holy Trinity and St Anthony. At

the lower edge, the condemned are eaten by a hellish demon. Three banderoles

read «SIS.HVMILIS.SVPERBVS.PVNIO.VICTVS.SVM». The scene is framed by

a decorative border with foliage. On verso a section of the text of Ars Moriendi

in Italian. The woodcut originates from a 1503 edition of De Arte bene Moriendi,

published by Sessa.

337 [Italian]

CORT, Cornelis. After Girolamo MUZIANO - St Francis

receives the stigmata in the wilderness. Rome, A. Lafreri; I.

Orlandi, 1567; 1602.

Engraving, 42 x 54 cm, signed «C. Cort. f.» and «Ioannis Orlandi formis Roma»

(wide margins, sl. spotted, centerfold, 2 small perforations). Stuck by corners


200 / 250 €

335 [Italian]

BEATRIZET, Nicolas - Death of Abel. Rome, 1530-1560.

Engraving, 35,2 x 26,5 cm, laid paper (sl. toned, trimmed at plate borders, text in

lower margin cut off). Stuck by corners under passe-partout.

200 / 300 €

Scenic landscape with cascading waterfalls functioning as the topographic

setting for this religious subject. Later edition by Orlandi after Lafreri’s first

edition in 1567.

Ref. New Hollstein (Cornelis Cort), 109.IV.

Print capturing the moment when Adam and Eve discover the gruesome death of

their son Abel, by the hand of his brother Cain. The killing itself and the sacrifices

to God can be seen in the background. The engraving has been attributed to

the French printmaker Nicolas Beatrizet (1515-1566) who, after working at

338 [Italian]

della BELLA, Stefano - Various Military Caprices.

6 engravings, 6,5 x 12,5 cm (trimmed on the plate mark). All stuck by upper

corners under 1 passe-partout.

100 / 150 €

6 from a series of 12 military scenes after Stefano della Bella (1610-1664).

Mirrored copy of the «Varii Capricii Militari» editions published by Israël Henriet

(1590-1661) or by Francois Langlois dit Ciartres (1588-1647).



339 [Italian]

FACCINI, Pietro - St Francis receiving Christ. Bologna, [1582-

1602].

Etching, 34,2 x 25 cm, laid paper, unsigned (sl. toned, small stains, sl. foxing,

trimmed to plate mark). Mounted on mod. paper.

100 / 150 €

St Francis holding the infant Christ Child gazing at the Virgin who appears in

the upper left. The head of a monk is depicted at the lower right. Only state of

print by the Bolognese painter and printmaker Pietro Faccini (1562-1602), after a

painting made by the artist for the church of the Capucins in Bologna.

Ref. Bartsch XVIII:272.1

340 [Italian]

Holy Family.

Engraving, 13,4 x 18,7 cm (trimmed on the border). Stuck by corners under passepartout.

200 / 250 €

«Frescoes and Oil Paintings at Florence» by the Florentine engraver Carlo

Lasinio comprises a series of ornament prints, drawn after the most famous

Renaissance frescoes from various buildings in Florence. Originally, these were

designed by the most famous artists of the early and later Renaissance: Cosimo

Feltrini, Michelangelo, Giovanni da Udine, Bernardino Poccetti and Benedetto

da Rovezzano.

Ref. Jessen, Der Ornamentstich 163, 328.

Prov. Auguste Schoy (1838-1885), L. 64.

From the first woman who signed her full name

on a print!

Very rare print featuring the Virgin seated with child embracing her and with

Joseph reading a book. Although the representation of Joseph ressembles that

of Guido Reni’s Holy Family, we could not identify this copy with any other.

Ref. Not in Bartsch.

341 [Italian]

LASINIO, Carlo - Ornati presi da graffiti e pitture antiche

esistenti in Firenze disegnati ed incisi in 40 rami [...]. Firenze, N.

Pagni and G. Bardi, 1789.

Fol.: 35 (of 40) engr., mounted (missing pl.: 4, 5, 21, 28 and 29, sl. wear, collector’s

mark on every pl., pl. 10 and 23: trimmed to the lower platemark with repaired

tear in pl. 10, marginal stain on pl. 30). Contemp. threequarter cloth, marbled

paper covers, gilt title on spine (edges rubbed).

700 / 800 €

342 [Italian]

MANTOVANA, Diana or GHISI, Diana (b. 1535). After

GIULIO ROMANO - Cupid and Psyche in a basin, washed and

dressed by putti. Rome, 1575.

Engraving, 29,5 x 37,5 cm (trimmed just outside the borderline, edges

«strenghtened» on verso, pencil sketching on verso). Stuck by left margin under

passe-partout.

1.100 / 1.300 €

Very fine dark impression of the left part of the «Marriage of Cupid and Psyche»,

a composition of three plates engraved by the daughter of Giovanni Battista

Ghisi. Her work reflects the changing Renaissance climate when female

artists were gradually provided greater opportunities. Not having any formal

apprenticeship, Diana used the work of Giulio Romano as a source of inspiration,

hence this engraving after Romano’s fresco in the «Camera di Amore e Psyche»

of the Palazzo del Te in Mantua. Although she most often signed her work

«Diana Mantuana» or «Diana Mantovana» to reference the city in which she

was born, she moved to Rome after her marriage to the aspiring architect

Francesco da Volterra in 1575. With her father as an engraver for the Mantuan

court of the Gonzaga family, she was careful to maintain beneficial patronage

in Mantua after leaving for Rome and dedicated this «Marriage of Cupid and

Psyche» to Claudio Gonzaga. Dated 1 September 1575, it was published only a

few months after she received the Papal Privilege to make and market her own

work on 5 June 1575. Diana was one of the few women artists whom Vasari

praised for her engraving technique in the 1568 edition of his Lives.

Ref. Bartsch (Diane Ghisi) 40.



342 343

345


346 347

347



343 [Italian]

MASTER HFE. After Amico ASPERINI - The Adoration of the

shepherds. Italy, c. 1520-1550.

Engraving, 30,2 x 22,8 cm, laid paper without watermark, signed at lower left

(sm. repairs at upper corners, lower right corner and edges).

250 / 300 €

Very rare print of The Adoration set before a classical edifice with baluster

columns. Joseph sleeps in the foreground, the Virgin kneels at right and the

Christ Child raises himself on one hand. The print was originally monogrammed

in the cartouche above the central portal, but has been scraped off. A new

signature «I.V. Vicht f[ecit]» had been added with pen and ink, or in the plate.

Only a handful of prints are known by the anonymous engraver who signed

with the monogram HFE. He often made reproductive engravings with classical

subjects after works by the Bolognese painter Asperini (c. 1474 – 1552).

Ref. Bartsch XV.461.1.

344 [Italian]

Master of the Die. After Baldassare PERUZZI - The story of

Apollo and Daphne. c. 1530-1560.

Engraving, 24,6 x 18,2 cm, laid paper, signed with a die at lower right corner

(trimmed just outside platemark, small tear at uper left edge, old paper repair at

upper right corner, number in pen and brown ink at bottom right corner). Stuck


200 / 300 €

346 [Italian]

PIRANESI, Giovanni Battista - «Prima parte Architetture, e

Prospettive inventate». Rome, Fratelli Pagliari, 1750.

2 etchings (of 20), 42 x 27; 40 x 28 cm, laid paper, signed in pl. at lower left

(foxing). Under wooden gilt frames. Possibly later impressions.

300 / 400 €

These two etchings are part of the earliest collected works published by Piranesi

and dedicated to the Venetian architect Nicola Giobbe, one of the artist’s

early patrons in Rome. With these architectural fantasies the young Piranesi

already shows many of the chief ingredients of his art such as the unorthodox

combination of classical motifs, the manipulation of perspective, and the

modulation of space by means of artful lighting. Our etchings consist of «Parti

interiore di Carcere» and «Camera sepolcrale inventata disegnata conforme al

costume». Accompanied with engr. text.

Ref. Wilton-Ely 5 and 20.

347 [Italian]

PIRANESI, Giovanni Battista - Carceri d’Inventione. 1761.

8 etchings (of 16), 41,2 x 54 cm, laid paper, signed in plate, wide margins (brown

rust spots throughout, some sm. repaired tears). Stuck by upper corners on green

cardb. support.

2.000 / 3.000 €

Apollo standing naked at left shooting a python at right with an arrow, above

left are the muses on a mound and at right on a cloud Cupid approaches Apollo.

From the series on «The Story of Apollo and Daphne» (4 pl). Lettered with eight

lines of text in two blocks in bottom margin.

Ref. Bartsch 19.

345 [Italian]

Master of the Die. After RAPHAEL - Eight playing putti. Rome,

Antonio Lafreri, c. 1531-1560.

Engraving, 18,7 x 28,1 cm, laid paper with (unidentified) watermark,

monogrammed in the plate on dice at lower right (trimmed to borderlines, some

minor paper repairs on lower verso, sm. repair in upper right corner). Stuck by

upper corners under passe-partout. A fine, rich, dark impression.

400 / 500 €

Beautiful print by the anonymous engraver Master with the Die, so-called

after his signature which is placed on a small cube. He was a collaborator

of Marcantonio Raimondi and drew on ancient mythology. His prints are

wonderfully narrative works, often inspired by compositions by Raphael.

Ref. Bartsch 30.

Prov. The Achenbach Foundation for Graphic Arts, San Francisco (Coll. stamp

on verso L.3a).

The famous ominous series with uncanny underground vaults, rooms and

stairs. The series shows the workings of Piranesi’s vivid imagination, merging

his architectural ambitions with his obsessive interest in antiquity and had

a profound influence not only on Romanticism, but also on Surrealism and

on the writings of Marguerite Yourcenar. Fine dark impressions of the second

state. They consist of «The Grand Piazza», «The Giant wheel», «Prisoners on

a projecting platform», «the Arch with a Shell Ornament», «The well», «The

Gothic Arch», «The Pier with Chains», «The Pier with a Lamp».

Ref. Wilton-Ely I:29, 34, 35, 36, 38, 39, 40, 41.



348 [Italian]

POND, Arthur. After Pier Leone GHEZZI - Portrait of Dr.

Robert Bragge. 1735-1750.

Engraving, 21 x 32 cm (trimmed just outside the platemark, minor soft creasing,

on warm toned paper). Stuck by upper corners under passe-partout.

100 / 150 €

350 [Italian]

VENEZIANO, Agostino. After RAPHAEL - The Cumaean

Sibyl. 1516.

Engraving, 13 x 17 cm (trimmed just outside the borderline). Stuck by upper


450 / 600 €

Burlesque caricature print of the orthodox Robert Bragge (1665-1738), holding a

cane in his left hand and gesturing with right hand.

Ref. British Museum 2006, U.2125.

349 [Italian]

After Guido RENI - Holy family.

Engraving, 13 x 20,2 cm, signed at lower right corner (trimmed on the border

and sl. into the image at the left margin). Stuck by corners under passe-partout.

200 / 250 €

First state, without signs of the later retouching and without the address of

Antonio Salamanca. This very fine impression shows the Sibyl receiving light

rays into a basket of sand. She attained longevity from Apollo for as many years

as the grains of sand she held.

Ref. Bartsch 14/123.

Early ornament prints by Lafreri

351 [Italian]

Attributed to Enea VICO - Military Trophies. [Rome, A. Lafreri,

1553].

2 engravings, 17 x 25 cm, laid paper with Italian watermark (wide margins, partly

reinforced). Stuck by upper corners under passe-partout.

200 / 300 €

Very fine copy after Guido Reni’s «Holy family» featuring the Virgin, seated by a

window with John the Baptist who kisses her hand and with Joseph leaning on

his right arm. As opposed to the original, our copy has the name «Guido Reni»

engraved on the border of the basket at the right.

Ref. Bartsch XVIII: 11.

2 engr. from a series of 16 military trophies where each plate shows 2 trophies

next to one another. Several plates from the series are signed «Ant. Lafrerii

formis 1553», thus referring to the early works published by Antonio Lafreri

after the start of his joint business with Antonio Salamanca who also published

Agostino Veneziano’s ornament prints. The first, pl. 8, has a cuirass seen from

behind and the second, pl. 14, trophies with a breast plate and a ram’s head. Our

pl. 14 does not show Lafreri’s imprint, thus indicating that we may have here an

earlier or later state compared to Bartsch.

Ref. Bartsch XV.441 and 447.


Dessins & peintures XIX e s. – Tekeningen & schilderijen 19de eeuw

Tekeningen & schilderijen 19de eeuw

Dessins & peintures XIX e s.

352

Album de 60 dessins ou aquarelles romantiques, gravures, etc. 19e s.

Aquarelles (25 dont 3 lavis); dessins (26) : mine de graphite, crayon gras noir, traits

à l’encre; gravures (8) : chromolithogr. (4 dont 1 menu) et 3 lithogr. rehaussées; 1

gouache indienne. Formats divers (± 6 à 20 x 10 à 32 cm), la plupart non signés ni

datés (qqs-uns avec bords effrangés ou salis). Volants mais conservés entre les ff.

d’un album romantique in-f° agenda, demi-chagrin noir, plats de perc. fleuragée

noire, ff. de vélin avec serpentes intercalées, gardes de papier glacé vert pomme

avec soufflets, lacets de fermeture (us.).

600 / 800 €

Peu de pièces signées, et si tel est le cas souvent de façon illisible sauf : Legendre,

Louis Félix (1794-?) - Repos près d’un lac. Crayon gras noir, 27,5 x 18 cm, vélin

fort, signé et daté 1847.— Joli dessin au crayon gras noir figurant une femme

(italienne ?) et ses deux enfants, signé J. Beard (vraisemblable homonyme du

peintre américain James Henry Beard, 1812-1893, qui n’a jamais quitté les

EU).— Scène rurale avec moulin, étable, bateaux. Début 19e s. 24 x 36 cm,

papier vélin, lavis gris et traits à l’encre sanguine, signé (illisible). Dans le style

de l’école hollandaise.

353

BLÉRY, Eugène Stanislas - Le peintre à l’oeuvre dans un paysage

champêtre. S.d.

Dessin, traits à l’encre de Chine sur crayon à la mine de plomb, 51 x 35,5 cm,

papier vélin, dédicace signée en bas à g. (extrait d’un carnet de dessin, bords fort

effrangés avec petits manques et déchir.).

120 / 150 €

Paysages animés ou non (France, Italie, Angleterre, Orient...), à la campagne, à

la montagne ou dans les bois, vues de villes ou lieux célèbres (fontaine d’Althusa

en Sicile), châteaux, monuments religieux (Lincoln Cathedral, 1851), personnages

(seuls ou en groupe), animaux (tigres, élephant, rhinocéros, vaches, chevaux),

fleurs (seules ou en bouquet), 2 copies plus ou moins réussies de tableaux anciens,

1 croquis comique légendé «Sir Op chasse Lady Arrhée» !), etc.

Envoi autogr. s. dans le coin inf. g. : «à L’ami Nadar/ L’homme courageux, au

coeur bon et honnête/ son ami». Bléry (1805-1887), artiste et graveur français

qui fut le maître de Charles Meryon, fut photographié par Nadar (1820-1910).

354


Tekeningen & schilderijen 19de eeuw – Dessins & peintures XIX e s.

Exceptional collection of 23 Rhineland gouaches

by Bleuler

354

BLEULER, Johann Heinrich; BLEULER, Johann Ludwig -

Malerische Ansichten aus den Grossherzogtum Berg. c. 1805-1811.

23 gouaches with underlying outline etching, sl. varying sizes c. 32 x 47 on 40

x 54 cm, all with black border (occasionally paint loss in borders and a few very

light stains on n. 16, but generally in excellent condition). German manuscript on

paper (c. 23 x 37,5 cm), [4] ff. written in brown ink with double ruled borders. In

contemporary half leather box with label «Vues du duché de Berck».

15.000 / 20.000 €

Unique suite factice of Louis Bleuler’s gouaches, presumably based upon a

trip by his father Johann Heinrich Bleuler (1758-1823) to the Grand Duchy of

Berg, a territorial grand duchy established by Napoleon Bonaparte after his

victory at the 1805 Battle of Austerlitz. The Grand Duchy, on territories between

the French Empire at the Rhine river and the German Kingdom of Westphalia,

was soon disestablished after the 1813 Battle of Leipzig. As such, this suite might

be based upon the rare work of Louis Bleuler’s father Johann Heinrich Bleuler

(1758-1823). Although Bleuler’s landscapes are often sold as full gouache

paintings, the technique earlier developed by Johann Ludwig Aberli (1723-1786)

was much more sophisticated. A rudimentary sketch was made by outline

etching that could be used as a painting aid for watercolouring afterwards.

However, at the end of the 1780s the watercolour was changed into gouache,

whereby the gouache painters also used the underlying outline etching. The

resulting views could be hardly distinguished from original gouache paintings.

A reminder of this change of technique is visible in the painting «Das Volmetal

bei Hagen» (present both in Stadtmuseum Hagen and in our series). The copy of

Hagen is still watercoloured, while our copy is eminently gouached. On the other

hand «Limburg an der Lenne» is a slightly different composition from the copy of

Hagen, but it still includes the tall tower of the castle that collapsed as a result

of the lightning in 1811, and is hence a useful tool to date the collection. Only in

1827 did Louis Bleuler start working on a sequence of prints featuring landscapes

along the Rhine, so our series precedes Louis’ famous Rhine Collection, entitled

«Voyage pittoresque aux Bords du Rhin dessiné et publié par Louis Bleuler

peintre editeur au Chateau de Laufen tout près la chute du Rhin de Schafhouse

en Suisse« (start of the edition in 1827, completed in 1842/43).

It includes: 1. Blankenstein an der Lenne, 2. Mulheim an der Ruhr (obere Seite)

(some spots), 3. Mulheim an der Ruhr (untere seite), 4. Barmen von der Seite von

Elberfeld, 5. Barmen & Wupperfeld von der seite von Ritershausen, 6. Elberfeld

(only 1 of 2 mentioned in the manuscript list), 7. Die Abtey und das Staedtchen

Siegburg an der Sieg, 8. Wetter und Vollmerstein an der Lenne, 9. Schloss Cleff

& Hattingen an der Ruhr, 10. Letmaten an der Lenne, 11. Altona an der Elbe/

Lenne, 12. Ansicht der Grüne bey Isserlohn, 13-14. Limburg an der Lenne (2),

15. Schloss Klusenstein bey Isserlohn, 16. Aufsicht nach Kettwig und Sarnen an

der Ruhr, 17. Das Volmetal bei Hagen, 18. Aufsicht nach dem Mineralbrunnen

bey Schwelm, 19. Burg bey Sohlingen, 20-21, Pyrmont (2), 22. Remscheid, 23.

Schloss Schwarzenberg an der Lenne.

The box also contains a manuscript text entitled «Malerische Ansichten aus

den Grossherzogtum Berg». The text provides a list with 22 descriptions of 21

paintings included in the box; of Elberfeld there is only 1 (of 2) gouaches present

and the last two mentioned on the list, concerning Pyrmont, are in a different

handwriting, presumably that of Louis who added also after the name Bleuler

«Sohn aus Feurthalen bey Schlafhausen». Two supplementary paintings:

«Remscheid» and «Schloss Schwarzenberg an der Lenne» are not mentioned in

the list. Needless to say, these idyllic paintings represent remarkable testimonies

of the pre-industrial landscape without the later bridges, roads and railways.

Ref. Werner Rutishauser: Bleuler, Johann Heinrich (der Ältere, Vater), in: SIKART

Lexikon zur Kunst in der Schweiz. - Idem: Bleuler, Johann Ludwig (Louis). - Ralf

Blank: Stadtmuseum Hagen. (2018-06-24). Gemälde: «Das Volmetal bei

Hagen» and «Das Lennetal bei Limburg». Retrieved from https://westfalen.

museum-digital.de.

355

BOON, P. Constantin - Vue de la porte du rivage, Bruxelles.

1870.

Dessin, plume, pinceau et lavis à l’encre bistre, 10,2 x 15,7 cm (à vue), papier vélin,

signé et daté en bas à dr. (rouss. sur les bords). Sous passe-partout, vitre et cadre

de bois (non désencadré).

100 / 120 €

356

BOSSUET, François Antoine - Jeu de clair-obscur dans un édifice

religieux avec deux moines.

Aquarelle, 13,5 x 19,5 cm, papier vélin, signée au pinceau en bas à g. Sous

passe-partout de velours rouge, cartel en métal, vitre et cadre de bois doré

(non décadré).

200 / 300 €

Bossuet (Ypres 1798-1889 Bruxelles) peignit dans un style romantique

essentiellement des paysages, vues de villes et monuments d’architecture.

357

BOULANGER, Hippolyte - Belgian landscape. [Brussels], C. 1853-

1874.

Drawing, charcoal, 11,4 x 33,1 cm, thick brown paper, ms. signature lower left

(waterstains, some spots, edges sl. frayed). Glued on mod. support, under passepartout.

150 / 200 €


A wide panoramic landscape with villages and houses. Most likely originating

from a sketchbook which Boulanger used to make hasty impressions during his

many walks south of Brussels. In a famous portrait of the artist by Guillaume

Vogels, the artist can be seen holding one of these sketchbooks. Boulanger

(1837-1874) was a prominent figure of the Tervuren School of landscape

painting. He is sometimes thought of as as the «Belgian Corot». The drawing

also contains a ms. note and signature of the artist to Mme Julie Lemaire. Some

vague sketches on verso.

358

BURBURE, Frédéric de - «Château de Langely». 1836.

Dessin, crayon noir, 13,6 x 20,6 cm, papier vélin, double filet cernant le sujet,

signé aux initiales «F.D.B. fecit» en bas à dr., titré sous le sujet; daté et signé (d’une

autre main ?) en toutes lettres au verso (traces de montage au verso).

120 / 150 €


360

CRAEYVANGER, Reinier - Domestic interior scene. Utrecht,

1837.

Drawing, watercolour, 21,2 x 17,1 cm, vellum paper, signed and dated in lower

right corner (trimmed to edges). Loose under passe-partout.

200 / 300 €

Dessin quasi identique à la lithographie reproduite dans la «Collection des

principales vues de Pays-Bas», à l’exception de la végétation plus dense à l’avantplan

et de la finition du personnage de droite. Le dessin est monogrammé (et

signé ?/attribué ? au verso «Frédéric de Burbure») tandis que la lith. est signée,

sous le sujet, «Le Chev[alier] de la Barrière del[ineavit]» et «L. Haghe f[eci]t».

Notons que le dessin est daté au verso 1836, soit plus de 10 ans après la parution

de l’ouvrage.

Réf. Collection des principales vues de Pays-Bas. Tournay, Dewasme et Cie,

(imprimerie de J. Casterman), [1822-1823], 9e livraison, 6e pl.

Exceptional collection

359

CIAMBERLANI, Albert - 37 dessins et aquarelles. S.d.

Techniques diverses (aquarelle, lavis, pinceau ou plume d’encre, crayons gras de

couleur, fusain, crayons noirs ou monochromes bleu, vert, rouge), certains recto

verso, papiers (certains de couleurs) et formats très divers ; 19 signés ou monogr.,

cachet sec d’atelier sur chaque pièce. Qqs pièces montées sur ff. de support (qqs

souill. ou défauts marg., 1 pièce davantage souillée, etc.).

4.000 / 5.000 €

Exceptionnel ensemble de dessins, études, croquis, ébauches..., généralement

très mouvementés, du peintre symboliste et peintre décorateur A. Ciamberlani

(Bruxelles 1864-1956). Élève de J. Portaels, il fit partie des cercles artistiques

«L’Essor», «Pour l’Art» et «L’Art idéaliste» et réalisa une importante oeuvre

monumentale (conception des sgraffites de son hôtel rue Defacqz, décoration

des maisons communales de Laeken et Saint-Gilles, Palais de Justice de Louvain

et Bruxelles, etc.).

Sujets : nus féminins ou masculins, seuls ou en groupe, couchés, étendus, debout,

scènes mythologiques, bacchanales, gestes, poses et attitudes, etc. Dans

l’ensemble, un dessin de jeunesse à la plume signé, daté 8/11/1879 et légendé

(non déchiffré), - une frise en 3 parties au crayon rouge figurant des personnages

dans un paysage, - un être fabuleux mi-femme mi-chien, - un éphèbe nu accoudé

à une branche, - une scène champêtre dans le même esprit, - une feuille d’étude

au crayon bleu et une autre au crayon vert, - une scène de moisson naturiste.

Historical scene of man and woman in a Dutch interior. A bird cage is attached

to the wall. Craeyvanger (1812-1880) was born in Utrecht and became the pupil

of Jan Willem Pieneman. He etched his own sketches and collaborated with

publishers on prints. He is also known for genre works and copies of old masters

such as Jan Steen, Gerard Dou, and Frans van Mieris. In 1848 he was one of the

founders of the «Haagse Etsclub», a club for etchers in The Hague, where he

lived a few years until 1850.

361

DE BRAEKELEER, Henri - 2 sketches.

Stuck by upper edges under passe-partout.

200 / 300 €

1. «De Venerabelkapel. Voorstudie (1864)». 17,5 x 20,5 cm, grey paper,

monogrammed (left corner torn). Interior of St. Jacob church in Antwerp, full

of people. Sold to M. Gambart (?) in London in 1863 (cfr contemp. ms. note in

French, upper left).— 2. «De Marskramer» [The peddler]. 17,5 x 24,5 cm, light

cardboard, monogrammed (some sm. holes, frayed left edge). These 2 pieces

were exhibited in the Museum of Art in Antwerp in 1988-1989 (cfr labels on

passe-partout).



Moody interior scene of an Italian tavern with bar on the left. Both in 1876 and

1878 the Antwerp and Bruges painter Édouard De Jans (1955-1919) received the

prestigious Prix de Rome, which led him to travel and study in Rome and Paris.

Many of his works are in Belgian collections such as the Groeninge museum

Bruges and the Museums of Fine Arts in Antwerp and Ghent.

364

DE LUNA, Charles - 3 scènes militaires avec cavaliers français de

la Grande armée.

Aquarelles, c. 20 x 28,4 cm, papier vergé, signées à droite «Ch. de Luna».

Sous passe-partout.

300 / 400 €

Joined, 2 prints by the same artist: 1. Ancient ramparts of Antwerp. Japan

paper. No state. Ref. Delteil 42.— 2. The left bank of the Scheldt. Laid paper.

2nd state. Ref. Delteil 74. (4 pcs)

362

DE COCK, César - Mother and child in a landscape. C. 1840.

Drawing, pen and black ink, touches of white wash 16,5 x 26,5 cm, brown laid

paper, signed at lower left corner (glue traces on verso). Stuck under passe-partout.

200 / 250 €

365

DEGOUVES DE NUNCQUES, William - Weeping Christ.

1909.

Drawing, charcoal, 32,2 x 23 cm, signed and dated in lower right corner «W.D. de

1909». Under passe-partout, under frame (not studied outside frame).

500 / 600 €

Cesar De Cock (1823-1903) was a well-known landscape painter and engraver.

His friends and colleagues included Henri Rousseau and Jean-Baptiste Corot,

and he can be considered as a Belgian representative of the Barbizon School of

landscape painters. As a draughtsman he applied nuanced touches of black ink

in order to generate an atmospherical effect, such as in this fine drawing.

363

DE JANS, Édouard - Tavern interior. Rome, 1882.

Oil on canvas, 19 x 25 cm, signed lower right. Under wooden frame.

500 / 600 €

An intimate drawing of a suffering Christ with crown of thorns. Degouves De

Nuncques (1867-1935) was one of the leading figures of Belgian symbolism who

often exhibited his work with members of «Les XX» and «La Libre Esthétique».

This work dates from a critical period of personal religious crisis, the artist went

through between 1909 and 1910. At this time he painted many religious works,

influenced by medieval mysticism.



366

DELL’ACQUA, Cesare - Mother and child. [Brussels], c. 1850-1905.

Drawing, watercolour, 35,5 x 24,2 cm, paper, signed. Stuck under passe-partout,

under gilt wooden frame (not studied outside frame).

250 / 300 €

entrées de grottes, végétation, etc. Peut-être préparatoire à une illustration de

livre ou à une affiche ?

368

DILLENS, Adolphe-Alexandre - Scène orientalisante avec trois

personnages.

Aquarelle, crayon gras noir, gouache blanche, 17 x 12,3 cm, papier vélin

(doublé ? de papier vélin lisse), signée en bas à g. au crayon noir.

300 / 500 €

A touching scene of a working-class mother bidding farewell to her young

daughter at an open door. The style and subject are representative of Cesare

Dell’Acqua (1821-1905), a painter known for historical paintings who

had moved from Italy to Brussels in 1848. He began to specialise in works

representing historical events. Between 1852 and 1877 he completed a number

of commissioned works in Trieste which established his reputation as a painter.

In Brussels the works he exhibited enjoyed a very favourable response and he

received commissions from prominent families in Brussels, such as Errera, van

Wambecke and van der Elst.

367

DILLENS, Adolphe-Alexandre - Composition à plusieurs

scénettes. «1847».

Dessin, mine de graphite et qqs légers rehauts à l’aquarelle, 32,5 x 44,5 cm, papier

vélin, signé et daté en bas au centre (qqs rares rouss., griffe dans le texte près du

personnage central).

100 / 120 €

Au centre, une femme en robe blanche et à la poitrine dénudée; à droite, un

homme enturbanné lui fait la lecture en sussurant à son oreille; à gauche, une

femme de profil. Dillens (Gand 1821-1877) fut surtout un peintre d’histoire et

de la vie rurale.

Joint, 3 dessins du même artiste, sur papier vélin : 1. Jeune femme entourée

d’admirateurs, fleur sur la poitrine. Mine de graphite sur lavis à l’encre noire,

rehauts de gouache blanche (rouge pour la fleur), 9,9 x 14,2 cm, signé en bas à

dr.— 2. Mousquetaire. Mine de graphite sur léger lavis à l’encre noire, 14 x 9,7

cm, signé et daté 1847 en bas à g.— 3. Étude de bottes courte et haute. Crayon

gras noir, 22,5 x 22 cm, papier, signé en bas à dr. Verso : esquisse au trait de

liserons (qqs rouss.). (4 pcs)

Prov. Albert Van Loock (Lugt 3751), sauf le dernier dessin.

369

DURAND-BRAGER, Jean-Baptiste Henri - Large gunship with

cannons, 2 ships in background. S.d.

Drawing, black pencil, some line with black ink and grey gouache, 29,5 x 46 cm

(visible part), blue grey wove paper, signed bottom left (some little black spots).

Passe-partout and gilt wooden frame (not studied outside frame, broken glass on

top right).

200 / 300 €

Dans le haut, de g. à dr. : attributs du peintre, armoiries surmontée d’une tête

de vache, femme nue posant pour un groupe de peintres. Dans le bas : couple

se disputant à l’avant de ruines, femme tenant une palette de peintre avec à

l’arrière-plan une scène de bataille et une scène de cabaret, paysans cheminant

avec troupeau. Les différentes compositions sont reliées par des arcades,

French painter and engraver, Eugène Isabey (1803-1886)’s pupil Durand-Brager

(1814-1879) was specialised in marine and oriental landscapes.



370

After Albrecht DÜRER - Coat of arms with a skull. 19th c.?

Drawing, pen and brown ink, 22 x 17 cm, tracing paper glued on wooden

support, monogrammed and dated «AD 1503» (several sm. def. in paper support

showing preparation layer with loss to image, vert. folds, two sm. worm holes).

Stuck under passe-partout, under black wooden frame with gilt inner border

(lower right corner sl. damaged).

200 / 300 €

372

Attributable to GAVARNI, Paul - «Général de cavalerie légère».

Milieu du 19e s.

Aquarelle, 15 x 20 cm (à vue), papier vergé, titré en bas et légendé vers le haut à g.

«Chasseurs ! la légèreté et le chic sont inhérents à notre armée !.....». Passe-partout

et cadre de bois (non décadré).

100 / 120 €

Drawing after a famous print by Albrecht Dürer; which faithfully copies the

original engraving showing a woman wearing a bridal crown standing on the

left. She is approached from behind by a hairy wild man. A large winged helmet

on the right and a shield with a skull as coat of arms in the centre are reminders

of mortality and fleeting beauty. The drawing was made by a German or French

draughtsman. A 19th-c. inscription on the verso of the frame informs us that this

is a gift to A.F. Gerval from his grandfather Seyler.

Ref. Meder 1932:98. - Bartsch VII:109.101.

Prov. A.F. Gerval.

373

HERREYNS, Willem Jacob - «S. Rumoldi» [St Rumbold’s

cathedral, Mechelen]. C. 1810-1827.

Drawing, wash and line drawing, grey and black ink with pen, 28,5 x 26 cm, laid

paper, titled and signed lower right «S. Rûmoldi/ delinea:[vit]/ per/ G. Herreÿns».

Under passe-partout, glass and gilt wooden frame (not studied out of the frame).

250 / 350 €

371

FOURMOIS, Théodore - Landscape with resting family. 1837.

Oil on paper, 19 x 27,5 cm, signed and dated «Fourmois 1837» (sm. hole at upper

edge, some sm. repairs). Mounted under gilt framed passe-partout.

150 / 250 €

The Flemish painter of history subjects and portraits Herreyns (Antwerp 1743-

1827) is regarded as one of the last painters of the Flemish Baroque tradition.

He founded the Academy of Mechelen and was appointed painter to the King

of Sweden in 1780. He dedicated himself to portraiture, but also made some

decorations for churches in Belgium. He signed his first name with a «G» for

Guillaume (the French form of Dutch Willem).

Fourmois (1814-1871) was one of the finest Belgian landscape painter. The panel

is representative of his early romantic phase of landscape painting. Influenced

by Courbet, after 1840, he would develop his style in a more realist manner.

374

HUBERT, Alfred - Charge de cavalerie. C. 1850-1902.

Dessin, crayon et encre de chine, 23,5 x 16 cm, papier vélin brun, monogrammé.

100 / 150 €

Militaires en grande tenue, dans un paysage campagnard.



375

IMPENS, Josse - 2 compositions de belle facture. S.d.

Aquarelles, papier fort, signées au crayon graphite dans le bas. Retenues par les

bords sup. sous passe-partout.

120 / 150 €

377

ISRAËLS, Jozef - 6 sketches.

Drawings, black stone, signed or monogrammed.

400 / 600 €

Impens (Brux. 1840-1905), élève de Portaels, est connu comme peintre

d’intérieurs, de scènes de genre et de portraits. Il réalisa de nombreuses scènes

d’auberges et de cabarets dans le vieux Bruxelles, mais également des intérieurs

d’ateliers représentant des artisans au travail. 1. Homme en redingote bleue,

assis à table, un verre en main. 20,4 x 14,2 cm (plus. pet. taches dans la partie

sup.).— 2. Visage d’homme de profil g., bonnet bleu sur la tête. 11,5 x 8,5 au

trait autour du sujet, papier 16,2 x 12 cm (qqs taches, trace de montage au verso).

Prov. Albert Van Loock (Lugt 3751, aux versos).

376

ISRAËLS, Jozef - 3 sketches. S.d.

Drawings, black stone, signed. Stuck by upper edges under passe-partout.

400 / 600 €

2 large format (22,5 x 14 cm): peasant leaning on a stick, i.e. maybe a

preparatory work to «De schaaperder», painted in 1888, in Gemeentemuseum

Den Haag. Ref. Jozef en Isaac Israëls, vader & zoon. [Exhibition catalogue]. Den

Haag, 2008-2009. Zwolle, Waanders, 2008, p. 19, cp.]. - Profile man dressed

in a cape.

4 small format (9 x 14 cm): cat licking milk in a bowl,- work in the fields,- woman

with a spinning wheel,- cow milking). On reverse of 2 small sheets: working

peasant woman and landscape with church.

378

JEANNIOT, Pierre George - Arrival of the victorious jockey.

Paris, c. 1881-1920.

Drawing, pen and indian ink, graphite pencil, 39 x 31 cm, vellum paper, signed

in lower left margin «Jeanniot» (paper torn and creased in lower right corner,

rebacked on mod. paper, occ. sm. def. at right margin). Stuck under passepartout,

under gilt frame (not studied outside frame).

120 / 200 €

1. Intimate scene with old woman sitting. 13,9 x 22,8 cm.— 2. Burial (?). 11,7 x

22,7 cm.— 3. In the stable. 14 x 22,7 cm.

Jozef Israëls (1824-1911), Isaac’s father, was a leading member of the group

of landscape painters referred to as «the Hague School». He has often been

compared to Jean-François Millet.

Joined, 2 prints by the same artist: 1. Girl with basket seated on the shore, 15

x 23 cm, laid paper with wide margins (sl. browned).— 2. Baby girl in her chair,

a spoon in her left hand. 15 x 10 cm, paper with wide margins (remove from a

book). (5 pcs)

A lively drawing of a large cheering crowd welcoming a jockey. Jeanniot (1848-

1934) was illustrator for the popular Parisian journals «La Vie moderne», «Rire»

and «Journal Amusant». This drawing is probably a preparatory sketch for one

of the journal illustrations.



379

[LAHURE, A. (?)] - Bivouac shelter with Grenadiers. 1869.

Watercolour, 17,5 x 17,5 cm (visible part), wove paper, monogrammed «A.L.» and

dated with black pencil on bottom left (1 light rust stain on top right in the sky).

Passe-partout and wooden frame (not studied outside frame).

120 / 150 €

We only find a «A. Lahure» known as an illustrator and lithograph printer

in the 19th c. At the verso of the frame, dedication signed Lahure cut out of a

bigger card paper (from the original frame?) : «à mon ami van Eechout, 29 xbre

[December] 1869».

Exceptional collection

380

LAMBEAUX, Jef - 1 carnet de croquis, 33 dessins volants et

1 photo. S.d.

10.000 / 15.000 €

Dessins : [33] ff., pour la plupart recto verso, papiers divers, ± 25 x 35 cm sauf

qqs-uns 28 x 22 cm ou de format irrégulier, divers crayons sauf qqs-uns à la

plume d’encre de Chine ou mêlant le crayon et l’encre, 1 rehaussé au crayon

rouge ; non signés, sauf 1. Sujets : lutteurs, athlètes (dont 1 signé), couples

dont certains évoquant Atalante et la pomme d’or, maternités dont une femme

chargée d’enfants et une légendée «La bonne mère», femme violentée par 2

hommes (plusieurs versions dont 1 datée «14 déc. 1890 samedi !»), monument

dont le fronton représente l’artiste salué par la Mort, autre monument funéraire

(rehaussé), Léda et le cygne (plusieurs versions), farandole de bacchantes, Ève

tentant Adam, tête de garçonnet, tête de femme, gestes, postures et attitudes...

Avec aussi qqs portraits-charges, qqs caricatures et qqs nus à la plume d’encre.

Photo : tirage albuminé sur carton, 18,7 x 14 cm (qqs perforations marg.).

L’artiste jeune, assis devant un fragment de son oeuvre maîtresse «Les passions

humaines». Au verso, dédicace aut.s. datée 9/11/1891, «à mon très cher ami

François Empain bien affectueusement et de tout coeur à lui».

381

LEYS, Henri - Hearing at the court of the Duke of Burgundy.

Watercolour, partly enhanced with gum arabic, 38,7 x 31,7 cm, vellum

paper, signed with black pen lower right, later titled with another hand on

verso «hof van Bourgondie» (upper right corner lacking).

300 / 400 €

Exceptionnel ensemble de dessins très mouvementés par le sculpteur et statuaire

belge J. Lambeaux (1852-1908), formé à l’Académie d’Anvers sous la direction

de J. Geefs. On y retrouve quelques-uns de ses thèmes de prédilection, dans

une totale liberté. Son trait rapide et sinueux indique de manière dynamique les

mouvements, les masses et les volumes.

Carnet : gr. in-4 : [11] ff. de vélin teinté (qqs défauts marg.). Cart. ill. d’édit., plat

sup. titré «Scraps» (abîmé, dos manquant). Entièrement couvert de dessins,

esquisses, études croquis, ébauches... non signés, recto verso, y compris sur

les gardes sup. et inf. Pour la plupart aux divers crayons, sauf quelques-uns à

la plume d’encre de Chine. Sujets : études de pendus, crucifiés ou suppliciés,

maternités, gestes, postures et attitudes, la Mort...

Leys (Antwerp 1815-1869) was a leading representative of the historical or

Romantic school in Belgian and became a pioneer of the Realist movement in

Belgium. His history and genre paintings and portraits earned him a Europeanwide

reputation and his style influenced artists in and outside Belgium.

Joined, same artist: «Une cour espagnole» [Spanish courtyard]. Watercolour,

21,5 x 29,3 cm, vellum paper, signed lower left and titled lower right (frayed

edges, foxing at right side). Verso: The fortune teller (a woman interprets the

cards for two men, whom one has a sword) and, man in profile. (2 pcs)



382

LEYS, Henri - 5 drawings and 8 prints.

Stuck under passe-partout with attribution to Leys.

200 / 250 €

384

After Philip Jacob II LOUTERBOURG - Two men on horseback

crossing a river. 1800-1813.

Drawing, pen and black ink, brown and white wash, 20,2 x 30 cm, unsigned.

Both drawing and etching under passe-partout, under wooden gilt frame (worn).

Not studied outside frame.

150 / 200 €

Drawings (attributed to Leys) : 1. Interior of a house. Graphite pencil with light

grey wash, 21,5 x 12,5 cm, unsigned (soiled).— 2. Royal discussion [Louis XVIII

and Marie-Joséphine?]. Brown pen and wash, 10 x 14 cm, unsigned (tears,

foxing, browned paper, totally glued onto vellum paper).— 3-5. Sketches

of people gathering, graphite pencil, c. 10 x 10 cm, unsigned (one glued on

paper).— Prints (historical scenes mostly): Ref. Delteil 9 (2 copies: 2/5 and 5/5

state),- D. 10 (5/5 state; worn, frayed edges with lacking in bottom, folds),- D.

11 (2/3 state),- D. 12 (no state),- D. 13 (3/3 state),- D. 15 (no state, illegible stamp

lower right),- D. 16 (2/2 state, browned sheet).

383

LIES, Joseph - 3 sheets recto verso, with 5 watercolours and 1

drawing. C. 1858.

13 x 19 cm, laid paper, unsigned, with ms. notes relating to colours, etc. Stuck by

edges and attributed to Lies on passe-partout.

150 / 200 €

Stylish and atmospherical interpretation of the original etching by Matthias

Pfenninger, after Philip Jacob II Louterbourg. Since the drawing approaches the

shadows and clair-obscur effects which we see in other drawings attributed to

Loutherbourg, this may also be the original drawing on which the printmaker

based himself for the etching. The etching, from the series «Première suite

d’animaux» (12 pl.) is also included in the frame.

385

MADOU, Jean-Baptiste - Scène de genre fort animée dans une

auberge, XVIIIe s. S.d.

Dessin, fusain et craie blanche, 22,5 x 36 cm, papier vélin, monogrammé MD en

bas à dr. Retenu par le bord sup. sous passe-partout.

250 / 450 €

Two of these watercolours are preparatory works for «Les maux de la guerre»

[The evils of war] (oil on wood, 87,5x 150 cm; Musées royaux des Beaux-Arts de

Belgique, inv. 2666): the red-haired rider turning to left (right side of the painting)

and the soldier guiding the oxen (left side). The other subjects are: man on the

porch of his house, architecture studies, historic scene with a man standing in

front of another one sitting from behind. Studies of faces in graphite pencil, on

the verso of 1 sheet. The Belgian Romantic painter, draughtsman and engraver

Lies (Antwerp 1821-1865) worked in a wide range of genres including history

painting, landscapes, genre scenes, portraits, etc., and enjoyed a Europeanwide

reputation during his lifetime.

Joined, same artist: Young woman seated. Drawing, black stone, 22,5 x 14,5

cm, vellum paper, unsigned. Stuck by upper edge under passe-partout. (4 sheets)

386

MADOU, Jean-Baptiste - Scène de genre, XVIe s. C. 1873.

Dessin, lavis d’encre noire avec qqs rehauts de sanguine, travail aux outils pour

les traits de blanc, 23 x 32 cm, non signé. Collé en plein sur support en papier,

listels dorés et aquarellés autour du sujet avec mention «Madou» sur le cartel. Sous

passe-partout.

250 / 450 €

Sur une terrasse ombragée, un patriarche est assis, canne en main. Il est entouré

de musiciens et d’un groupe d’hommes et de femmes. Un enfant à genoux prend

de l’eau à une fontaine. Dans le fond sur la gauche, aile d’un château.

Un des 14 dessins réalisés par Madou (1796-1877) pour l’étude de Henry Havard,

«Les quatre derniers siècles, étude artistique» (Haarlem, 1873) et qu’il introduit

ainsi : «ces quatorze compositions auront, aux yeux des gens de goût, un mérite

tout spécial. Elles sont le premier jet, la première inspiration du peintre, la

première impression qu’il ait ressentie de son sujet». Notre dessin présente un

état beaucoup plus abouti que celui reproduit, en n/b, dans l’ouvr., en face de la



389

MELLERY, Xavier - Intérieur. Près d’un escalier, une femme au

bonnet blanc apporte une écuelle à un chat. S.d.

Dessin, fusain, pierre noire, qqs traits d’encre noire (près du chat) et lavis (?) noir

pour le fond de la pièce, 23,5 x 20 cm, papier blanc, monogrammé en bas à dr.

Collé par les coins sup. sur f. de support. Sous vitre et cadre de bois (non décadré).

900 / 1.200 €

p. 92, et qui symbolise l’année 1580 : visages plus fins, ramures ajoutées dans le

ciel et fleurs tombantes près du paon, etc.

Réf. Henry Havard, op.cit.

Prov. van Pappelendam et Schouten, Amsterdam (cfr Havard, p. 13, note en

bas de page. Pappelendam (1810-1884), artiste et marchand d’art, s’associa

un temps avec Schouten pour créer une salle de vente sous leur nom commun).

- Albert Van Loock (1917-2011), libraire et marchand d’estampes à Bruxelles

(cachet en bas à dr. sur le passe-partout et au verso, Lugt 3752).

387

MELLERY, Xavier - Débardeurs. S.d.

Dessin, fusain et qqs traits de craie blanche, 66 x 39 cm, papier brun, monogrammé

vers le bas à g. (pli avec pet. déch. dans le haut, léger manque de matière au verso

du bord dr.).

900 / 1.200 €

388

MELLERY, Xavier - Homme assis, de 3/4 dos. S.d.

Dessin, fusain et qqs traits de craie blanche, 22 x 32, papier brun, monogrammé

vers le bas à g. (pli avec pet. déch. dans le haut, léger manque de matière au verso

du bord dr.). Retenu par le bord sup. sur f. de support. Sous vitre et cadre de bois

(décadré).

500 / 600 €

Sur les côtés, croquis d’essai pour la tête en haut à dr. et 2 croquis pour le bras

tendu dans le bas. Devant l’homme assis, une très légère esquisse au crayon

suggère qu’il tient les mains d’une femme debout devant lui. Verso : esquisse

d’un personnage nu, de dos, le bras tendu vers l’avant. Mine de graphite, 20 x

14 cm.

Sujet typique de ce qui a été appelé l’«âme des choses» pour désigner les oeuvres

intimistes de Mellery (1845-1921).

390

MELLERY, Xavier - Jeune fille de l’île de Marken. C. 1878-1879.

Dessin, crayons gris et noir, légers rehauts de lavis et de blanc, vélin 15,5 x 11,7

cm ; monogr. dans le coin sup. g. Anciennement contrecollé, posé sous passepartout

(traces de montage ancien au verso).

500 / 700 €

Charmante représentation tout en nuances d’une jeune Hollandaise à mi-buste,

revêtue de ses atours traditionnels. À l'instigation de Charles de Coster et pour

387 388 390 391


illustrer un texte de ce dernier paru dans «Le Tour du monde», l’artiste fit en 1878

et 1879 des séjours d’étude en Zélande et dans l’île de Marken ; on en retrouve

la trace dans plusieurs oeuvres, dessins ou peintures, représentant des intérieurs

intimistes ou des groupes d’habitants en costume local. Un dessin assez proche

[Fillette de l’île de Marken] est reproduit dans le texte de De Coster.

Réf. Cp. De Coster, La Néederlande, in «Le Tour du monde», 1880, 1er semestre,

pp. 129-144 et p. 139 pour le dessin.


391

MELLERY, Xavier - «Sablon». Le scieur. [1882].

Dessin, crayon noir, 20,5 x 10,5 cm, papier, titré «Sablon» en bas à g. et

monogrammé en bas à dr. Sur papier brun de support titré «Scieurs». Sous vitre

et cadre de bois.

400 / 500 €

Étude non retenue pour la statuette en bronze des «Légumiers et scieurs»,

une des 48 symbolisant les métiers bruxellois au square du Petit Sablon et que

Mellery fut chargé de créer, en plus des 10 statues de personnages de l'histoire de

Belgique. Elles furent réalisées par les plus grands sculpteurs belges de l'époque,

celle des scieurs l'étant par Albert Hambresin. À l'état final, le personnage de

la statue est debout, tenant dans la main droite une scie aussi haute que lui, la

main gauche posée sur une hache retenue à sa ceinture.

Prov. De Vuyst, Lokeren (étiq. au verso du cadre).

392

PICOU, Henri-Pierre - Sacrifice to Amor. C. 1850-1895.

Drawing, pencil, pen and brown ink, brown wash, 16 x 26,5 cm, brown paper,

signed in pencil at lower right corner (sm. tear at lower right edge). Stuck by


150 / 200 €

A subtle landscape drawing with meadows, a large tree and a village in the

right background. The drawing is provided with a stamp which was placed on

Rousseau’s (1812-1867) personal drawings during a major sale on 27-30 April

1868, shortly after his death. Both the paper and drawing style convincingly

confirm the attribution to the French landscape painter; who was one of the

best-known representatives of the Barbizon school of French landscape painters.

395

Follower of SABLET, Jean-François - A Bacchanal. C. 1800.

Watercolour, 15,3 x 19 cm, laid paper with watermark, unsigned. Stuck by upper

edge under passe-partout.

200 / 250 €

Neo-classicist sketch depicting a scene of people in togas in a Roman temple,

grouped around a statue of a putto (Amor?), making a sacrifice. Probably a

design for a larger work.

393

Attributed to PUTTAERT, Émile - «Marchin/ vue du côté de la

cour d’Entrée/ L’aile droite est la chapelle». [View of the castle of

Marchin, Province of Liège, Belgium]. 1835.

Drawing, graphite pencil, 22 x 29,6 cm, vellum paper, unsigned, titled and dated

(last number quite illegible) in pencil upper right. Titled with explanations of the

view by a later hand upper left. Stuck by upper edge under passe-partout.

200 / 250 €

Puttaert (1829-1901), Belgian watercolourist and wood engraver, drew a lot a

views giving an invaluable source for the history and architecture of our regions.

Attribution and notes related to the artist on the passe-partout.

394

ROUSSEAU, Théodore - Landscape with village. C. 1840-1867.

Drawing, pen and black ink, 12,2 x 19 cm, thick vellum paper, monogr. stamp

in lower left corner «TH.R» (sm. brown decolorations in the paper, glue marks on

verso). Stuck under passe-partout.

300 / 400 €

Near a large tent lit from the inside, two women dancing hold a flowery banner

while groups mingle under the full moon. In the foreground, two characters

worship a statue of Priapus. Sablet (Morges, Switzerland 1745-1819 Nantes)

was a painter of portraits, genre and mythological scenes. After living in France

until the French Revolution, he travelled in Italy where he painted landscapes

and people in local costumes. In 1805 he established himself in Nantes (Loire)

producing small-scale portraits of the city’s notables.

Ref. Bjurström, Per - French drawings. 18th c. Stockholm, Nationalmuseum,

1982, n° 1166-1168 (reprod. of bacchanals).

396

SCHAEFFELS, Hendrik Frans dit Rik - 2 dessins et 12 gravures

de marine, bateaux, ports, scènes historiques, etc.

Retenus par les bords sup. (traces de papier collant et/ou punaisage) sous

passe-partout.

250 / 400 €

Dessins : 1. Grands voiliers dans un port fortifié avec tour de garde, grue de

déchargement et canons pointés. Mine de graphite, 15,7 x 33 cm, papier vélin

brun, non signé (lég. usure, qqs piqûres).— 2. Anvers vue de l’Escaut avec

grand voilier se dirigeant vers le port. Trait à l’encre noire, 11 x 16,5 cm, papier

vergé (bruni) collé en plein sur carton de support, non signé.— Eaux-fortes : 3-9.

Voiliers et bateaux, en mer ou dans des estuaires avec villages. ± 10/15 x 15/20



A very crowded coach pulled by a group of four running horses. Gustave Simonau

was traine in the workshop of his father and specialised in paintings and lithos of

romantic city views in Belgium, France and Germany. His atelier was in Brussels.

398

SIMONAU, Gustave - «Igel». [Village in Germany, Rhineland].

«le 28 juillet [18]45».

Drawing, graphite pencil, 34,3 x 39,4 cm, signed, titled and dated lower left

(soiled edges with sm. lacuna, very skillfully underlaid on verso).

200 / 250 €

cm, qqs-unes signées et/ou datées entre 1853-1863 (qqs piqûres ou lég. brunies,

qqs manques).— 10-14. Scènes historiques ou populaires : 5 e.-f. (1 en double),

volantes, formats variés, papier vergé ou vélin (± défraîchies).

Très estimé pour ses représentations de batailles navales historiques, Hendrik

Frans (Rik) Schaefels (Anvers 1827-1904) est un peintre, dessinateur et graveur

romantique connu pour ses marines, ses scènes de genre et d’histoire.

Joint, 2 dessins de Schaefels, Lucas (1824-1885) : 1. Étendard. Mine de

graphite, 37 x 47,5 cm, signé (ou attribué ?) à l’encre noire en bas à g. (bords

abîmés). Réalisé pour le défilé de la gilde de St Luc à Anvers («P.PL Rubens/

Kunstafbeelding/ St Lucasgilde/ 1855», sur le drapeau).— 2. Bateau accosté

près d’une maison. Verso : croquis de chiens. Pierre noire, 22 x 26 cm. Mention

d’attribution (?) «Schaefels», en bas vers la dr. (16 pcs)

397

SIMONAU, Gustave - The dilligence. C. 1830-1870.

Drawing, graphite, 16,5 x 25 cm, brown paper, signed at lower left corner (some

foxing). Under passe-partout, under orn. wooden frame (not studied outside

frame).

120 / 150 €

View of the church, near the famous Roman stele (not on the drawing). Simonau

(Bruges 1810-1870 Brussels) is famous as a watercolourist and lithographer. In

1847 he founded the firm Simonau & Toovey, which specialised in lithographic

prints of architectural monuments.

Prov. Albert Van Loock (Lugt 3751, verso).

399



399

Attributed to TOULOUSE-LAUTREC, Henri de - Study of a

horse and a sitting caddy. 1879-1882.

Drawing, graphite pencil, 15, 8 x 25,5 cm, paper (no watermark), monogrammed

HTL. Stuck by corners under passe-partout.

4.000 / 5.000 €

A sketch of a carthorse with a horse collar and a seated horse driver with a hat

and whip. Horses were a favourite subject of the painter and he had drawn them

throughout his artistic career. The drawing is a well-executed sketch which

stylistically relates to the period between 1879 and 1882, prior to Toulouse-

Lautrec’s move to Paris. In particular the rendering of shades and hatching

in the neck and legs of the horse are strikingly similar to drawings made by

Toulouse Lautrec around 1880, such as a drawing in the British Museum (inv.

1924,0617.36), representing a similar carthorse. Other contemporary horse

studies (D.I.635 and D.I.373) are also comparable in their rendering of hooves,

linear contours and the idiosyncratic hatching. In addition, the rendering of

seated figure on the right side of the sheet, drafted with a few angular lines,

shows similarities to figure sketches made by Lautrec around the same period

(e.g. D.2.742). A detailed analysis and condition report is available on request.

Ref. M.G. Dortu, «Toulouse-Lautrec et son oeuvre», New York 1972, vols. 4-6.

400

Undergrowth with river and rider. 19th c.

Drawing, grey wash enhanced with bistre line drawing with pen, 23,2 x 32,8 cm

(visible part), wove paper, pencil signature (attribution? possession mark?) lower

right «C. Lieste». Passe-partout and wooden frame (not studied outside frame).

150 / 250 €

402

Venus and putti. 19th c.

Drawing, pencil and chalk, 42,5 x 31,6 cm, laid paper, unsigned (signature on

lower right corner possible scraped out, sm. def. on left arm). Mounted on mod.

cardb. support.

200 / 300 €

401

Attributed to VAN SEBEN, Henri - The «Binnenhoff» in The

Hague, Netherlands. 1862.

Watercolour with light graphite line drawing beneath, 33,4 x 49,8 cm, vellum

paper, ms. note upper left in the sky, monogrammed [JG S.?] lower right, framed

with graphite pencil (small folds on corners, some small soils, some small marg.

tears). Stuck by upper boards under passe-partout.

200 / 350 €

Artist’s view of an 18th-century setting. Interesting sheet probably (?) made by

two hands, one made with watercolour for the architectural section, the other

made with black ink pen for the characters in the foreground. On the upper left

side is an handwritten note «Schets van een tekening voor Prins Wiaezemski,

July 1862» [Sketch of a drawing for Prince Wiazemsky]. On verso, sketch of the

monument. Attributed to van Seben (Brussels 1825-1913) on the passe-partout.

Prov. Prince [Piotr ?] Wiazemsky (Russian family). - Albert Van Loock (1917-

2011), bookseller and print merchant in Brussels (Lugt 3751 & 3752 on verso).

A female nude, possibly Venus, gazes seductively at the viewer. In the

background are three cupids or putti playing. The drawing style recalls the

fragility and sensual elusiveness of the French Rococo.

403

VERBOECKHOVEN, Eugène - Boeufs à longues cornes couchés

près d’une charette à deux roues. Rome, [1841-1842 ?].

Dessin, mine de graphite, 29,5 x 46 cm, papier vélin brun, monogrammé «E.V.

/ Rome» en bas à g. et «n° 37» à la plume d’encre noire en bas à dr., cachet

«Succession Verboeckoven» en bas à g. (qqs points de rouss.). Collé par les coins

sur f. de papier (coin inf. g. collé avec plis).

200 / 300 €

En 1841-1842, Verboeckhoven (Warneton 1798-1881 Schaerbeek) entreprit,

via la France et la Suisse, un voyage en Italie où la «campagna romana» et les

troupeaux de bovins aux longues cornes le fascinèrent.



404

VERBOECKHOVEN, Eugène - 3 paysages : village avec moulin,

ferme, bâtisse près du coude d’une rivière. 1820.

Dessins, trait au crayon noir, 9 x 12,5 cm, cernés d’un trait à l’encre brune,

monogrammés «E.V.», 2 datés 1820. Retenus par le bord sup. sous passe-partout

de papier (2 dessins réunis sous même passe-partout).

200 / 300 €

405

Attribué à VERHULST, Charles Pierre - Réunion familiale.

1800-1820.

Dessin, traits au crayon graphite et au pinceau gris sur lavis sanguine, 18,5 x 23,5

cm, papier vergé, non signée, pourtour souligné au pinceau noir. Attribution et

notes relatives à l’artiste sur le passe-partout. Retenue par le bord sup. sous passepartout.

180 / 250 €

407

WALKER, James Alexander - Cavalry battle scene, one rider

ashore with his horse.

Drawing, black pen, b/w watercolour and gouache, 14 x 18 cm (visible),

wove paper, signed on bottom left (some foxing in the sky). Passe-partout

and gilt wooden frame (not studied outside frame).

120 / 150 €

James Alexander Walker (1831-1898), was a British painter of French descent

known for his battle scenes.

Un couple, assis à une table dans la salle à manger, est entouré de ses 6 enfants

debout. Sur la droite, une jeune fille s’éloigne. Verhulst (Malines 1774-1820

Bruxelles) fut d’abord portraitiste puis se tourna vers les scènes de genre. Il

enseigna à l’Académie des Beaux-Arts de Bruxelles.

406

VERNET, Carle - Cavalier au galop avec chien.

Dessin, encre de Chine et lavis, 25,3 x 34,4 cm, papier vergé, non signé.

Sous passe-partout.

100 / 120 €

Joint : Colonel donnant l’aumône à une vieille femme. Aquarelle, 15 x 11,5 cm,

non signée. Sous passe-partout. (2 pcs)

408

WAPPERS, Gustaaf - Dans une église bondée, une femme,

portant hennin et bourse à la ceinture, est agenouillée sur son

prie-dieu, un missel ouvert devant elle. S.d.

Aquarelle, 43,5 x 30 cm, papier brun, non signée, attribution à la mine de graphite

sous le sujet. Retenue par les bords sup. sous passe-partout.

150 / 250 €

Mention ms. de la main de l’artiste au verso «Présenté à Jobard et Messein/

Lithographe/ Bruxelles». Peintre officiel de Léopold Ier, initiateur et maître du

romantisme en Belgique, Wappers (Anvers 1803-1874 Paris) mania également

le crayon lithographique.

Réf. Van der Marck (passim). - org.kikirpa.be/lithographes/fiches/Wappers

Gustave.htm

Joint, 2 aquarelles, scènes d’histoire (16e-17e s.), même présentation : 1. Leys,

Henri (1815-1869) - Dans un cachot, un homme, assis sur un lit confortable, est

face à un homme debout; un 3e est à genoux et ferme/ôte un boulet attaché à

sa cheville. 21,5 x 22 cm, monogrammée.— 2. Feuille d’études d’une 10aine de



personnages du XVIe s. [Par une main du début 20e s. ?]. 21,5 x 33 cm, vergé,

non signée. (3 pcs)

Prov. Albert Van Loock (Lugt 3752, verso des 3 dessins).

409

13 dessins, en noir ou aux crayons de couleur, et aquarelles. 19e

s. (essentiellement) et 20e s.

Formats et papiers div. Volants ou sous passe-partout.

200 / 350 €

Joint, 2 aquarelles : 1. Vanderauwerg, L. - Tour en ruine avec vue sur un bras de

fleuve. 16,5 x 23 cm, signée (traces de montage au verso).— 2. Personnages se

dirigeant vers une imposante église. 20e s. 18 x 16,5 cm, non signée. (5 pcs)

411

5 dessins de coins de villes ou paysages en France, Italie,

Angleterre. S.d.

Retenus par les bords sup. sous passe-partout.

120 / 250 €

Chaumières et ferme (7 pcs) dont : Vogels, G. - Intérieur de cour. Crayon gras

noir, 17,5 x 22 cm, cachet d’atelier. - Delvaux, Éd. - Chaumière dans les bois.

Lavis noir, 22 x 19,5 cm, signé.— Bateaux (3 pcs) dont : Hoppenbrouwers, J.F. -

Bateaux de pêche sur la grève. Aquarelle, 9 x 17,5 cm, signée. Collée en plein sur

support.— Scènes rurales (3 pcs) dont : 1 signée Edmond Dubar et 1 attribuée à

Calame (mention «Calame fecit»).

Prov. Albert Van Loock (Lugt 3751) sur qqs pièces. - «Extrait de l’album de

la collection Hélène Boitte» (mention ms. au verso de 2 pièces modernes

représentant des chaumières).

410

3 belles vues de ville, ruines ou remparts. S.d.

Aquarelles, 2 signées et 2 datées, papier vélin. Retenues par les bords sup. sous

passe-partout, sauf la dernière volante.

300 / 500 €

1. Visser - Ville avec église (cathédrale ?), pont de pierre, barque. 17,5 x 29 cm,

signée au pinceau en bas à dr. (très petit manque au coin inf. g.).— 2. Visser

- Ruines d’édifice religieux, pierres tombales à l’avant-plan, petite mare et

personnages. 19 x 29,7 cm, signée et datée 1848 en bas à dr. Peut-être les ruines

de l’abbaye d’Egmont (Hollande) selon une note sur le passe-partout (petit

manque au coin sup. g.).— 3. La Tour de Rotland à Arles. 17 x 27 cm, papier

vergé collé en plein sur support, non signée, datée «28 mai 1818» en bas à g.,

signature de collectionneur (peu lisible) au verso du passe-partout.

Prov. Albert Van Loock (Lugt 3751) sur les 2 dessins de Visser.

1. Tour carrée près d’une place animée [i.e. Blois, cfr note sur le passe-partout].

Aquarelle, lavis et traits au pinceau noir et gris, 24,5 x 33 cm, papier vélin,

monogrammée T.S. (?) (traces de montage au verso).— 2. Biolley, Élisabeth -

Ruelle. Mine de graphite et traits à l’encre noire, 22,8 x 27 cm, signée et datée

1840 (coins sup. coupés, rouss. dans la partie sup.).— 3-4. Van Brée, Mathieu

Ignace (1773-1839) - «[...] Montefiasione en arrivant d’Orvieto» et «l’ancien

fort, et le vilage [sic] de Radicafoni [...]» : 2 esquisses, traits à l’encre de Chine

sur mine de graphite, 12,5 x 20 cm, extraites d’un carnet de croquis, cachet Van

Brée (Lugt 1881).— 5. Westminster Palace. Mine de graphite, 28 x 39 cm, papier

crème, non signé.

412

5 dessins au pinceau ou au crayon, par des artistes de l’école belge.

Papier vélin, fort ou fin. Retenus par les bords sous passe-partout.

250 / 350 €

1. Lauters, Paul (Brux. 1806-1875) - Village avec église dans le fond. Pinceau,

encre brune, 6 x 7,8 cm, signé avec initiales en bas à g.— 2. Bossuet, François

Antoine (Ypres 1798-1889 Brux.) - Paysage italien avec vieille tour, pont,

pêcheur. Pinceau, encre brune, 12 x 16 cm, signé en bas à dr.— 3-4. Schepens,

Louis (Gand 1816-1884) - Voiliers de pêche et ruine; Estuaire sauvage avec

chemin arboré partant d’une rive. Crayon graphite et rehauts de gouache

blanche, 10,5 x 16 cm et 16,8 x 25,4 cm, signés et datés 1847 en bas à g. ou



414

4 dessins sur le thème de la chasse.


250 / 350 €

à dr.— 5. Schampheleer, Edmond de (1824-1899) - Pré avec vache, estuaire,

moulins au loin. Encre de Chine, 15,3 x 21 cm, signée avec initiales en bas à dr.

Prov. Albert Van Loock (Lugt 3751) pour les dessins n° 3 et 4. - Georges

Vandevelde (cachet monogrammé) pour le dessin n° 5.

413

6 dessins d’animaux.


200 / 350 €

1-2. Ottevaere, August Ferdinand (1810-1865) - 2 dessins, pinceau aux encres

noires, blanches et brunes, rehauts et traits à la mine de graphite : Épervier

chassant un lièvre. 14 x 10 cm, signé sur le côté dr.— Couple de canards. 12 x 17,5

cm, signé et monogrammé en bas à dr.— 3. [Cooper, Thomas Sidney ? (1803-

1902)] - Vignette décorative avec chasseurs à cheval et meute. Crayon graphite,

15 x 21,3 cm, non signé mais attribué sur le passe-partout.— 4. Boedt, P. -

Chasseur à cheval avec 2 chiens, dans un paysage boisé désolé. Lavis uniforme

à l’encre grise pour le fond, traits à l’encre noire et rehauts de gouache blanche,

12 x 17,4 cm, signé en bas à dr.

Prov. Albert Van Loock (Lugt 3751, aux versos des 1er et 2e dessins).

415

2 paysages animés, dans le style de l’école hollandaise. 19e s.

Aquarelles, 39 x 51 cm (visible), non signées. Passe-partout, vitre, cadres de bois

moulurés dorés (non désencadrées).

700 / 800 €

1. Verreyt, Johann Jacob (Anvers 1807-1872) - Deux vaches. Crayon noir, 12,5 x

17 cm, papier vergé, non signé, attribution sur le passe-partout. Collé en plein sur

f. de support.— 2. Étude de chèvre de 3/4 dos. Crayon noir, 17,7 x 15,7 cm, papier

vergé, indications mss de couleurs, attribution à Balth. P. Ommeganck (1755-

1826) sur le passe-partout.— 3-4. Gernay, Pierre (1801-1858) - Chèvre cabrée

devant un berger et son chien (Verso : études de moutons et chèvre, lavis noir

ou aquarelle). 20,5 x 26 cm.— Brebis à l’étable. 19 x 21,5 cm, papier gris. Tous

deux au pinceau aux encres noire, sépia et blanche, non signés mais attribués

sur le passe-partout.— 5. Vinet - Vache se désaltérant dans un ruisseau. Lavis à

l’encre sépia, 14 x 16,5 cm, signé en bas à g. (peu lisible, attribution sur le passepartout).—

6. Élephant. Crayon noir, 15 x 20,5 cm, non signé.

Prov. Albert Van Loock (Lugt 13751) pour les dessins n° 1 et 2.— De Spoelbergh,

vente 1921 (notes mss sur le passe-partout) pour les dessins n° 2, 5 et 6.

1. Vaches près d’un étang avec pêcheur.— 2. Promeneurs et personnages

vaquant à leurs occupations, autour d’un moulin à eau.


Gravures XIX e -XX e s. – Prenten 19de-20ste eeuw

Prenten 19de-20ste eeuw

Gravures XIX e -XX e s.

416

ALECHINSKY, Pierre; APPEL, Karel - Composition en noir et

rouge. 1978..

Gravure sur cuivre, 13,4 x 9,7 cm, papier chiffon 20 x 15 cm, signée en bas par les

2 artistes, justifiée 38/75, datée 1978. Sous passe-partout, vitre et cadre de métal

blanc (non désencadrée).

300 / 400 €

419

BARLACH, Ernst - «Erst Sieg, dann Frieden!» [First war, then

peace]. Berlin, Paul Cassirer, 1914.

Lithograph, ca. 36 x 26 cm, tinted vellum paper, ca. 48 x 32 cm (some marg.

traces of sellotape); signed in the stone. Under passe-partout, silky paper.

100 / 150 €

417

ANTO-CARTE - 2 lithographies. S.d.

120 / 180 €

From the periodical «Kriegszeit Künstlerflugblätter» num. 20 (30/12/1914), by

E. Barlach (1870-1938). On verso: lithograph Otto Hettner - «Das Kriegsjahr».

420

BARLACH, Ernst - «Lügt, Stürme, lügt!» [Lie, storms, lie], Die

Reuterpresse. Berlin, Paul Cassirer, 1914.

Lithograph, ca. 36,5 x 25 cm, tinted vellum paper, ca. 48 x 32 cm (some marg.

traces of sellotape); signed in the stone. Under passe-partout, silky paper.

100 / 150 €

1. Les musiciens aveugles. 47,5 x 54,5 cm, vergé 60 x 67 cm ; signée et just.

113/240 à la mine de plomb (rouss. marginales). - 2. Mère et enfant. Tirage en

gris-vert, 51 x 40,5 cm, vélin 55 x 42,5 cm ; signée et just. «D/J. hors série» à

la mine de plomb (bruniss. et traces de papier collant du verso). L’artiste belge

Anto-Carte (Mons 1886-Bruxelles 1954) fut l’un des meilleurs représentants du

groupe «Nervia».

418

BAKSTEEN, Dirk - «Het Molentje».— «Heide-Den». 1930.

Etsen, 10 x 13 cm en 12,6 x 17,7 cm, Japans papier, in potlood gesign. en

genummerd (13/50 en 45/100), de 2de gedateert 1930. Ingelijst in houten lijstje

(niet uitgelijst). Goede druk.

100 / 150 €

Twee prenten met kempische landschappen.

Ref. Van Nieuwenhuyse 88 en 143.


Prenten 19de-20ste eeuw – Gravures XIX e -XX e s.

From the periodical «Kriegszeit Künstlerflugblätter» num. 14 (25/11/1914), by

E. Barlach (1870-1938). On verso: lithograph A. Gaul - «Hagenbeck-Truppen im

Westen».

421

BAYROS, Franz von - «Der Toilettentisch». 1908.

Set of 15 lithos and title page, 23 x 17,8 cm (sl. toned). Loose sheets in orig.

wrapper (some tears, sl. smudged, back loosening).

200 / 300 €

423

BECKMANN, Max - Andenken an einen gefallenen Freund

[Memory of a fallen friend]. Berlin, Paul Cassirer, 1914.

Lithograph, ca. 30,5 x 25 cm, tinted vellum paper, ca. 48 x 32 cm (marg. traces of

sellotape); signed in the stone. Under passe-partout, silky paper.

100 / 150 €

From the periodical «Kriegszeit Künstlerflugblätter» num. 11 (4/11/1914), by M.

Beckmann (1884-1950). This is a portrait of Martin Tube, the brother-in-law of

the artist, who fell on the Eastern Front.

Prov. Gerda Maria Haselbach (collector’s stamp).

Complete set of erotic prints by von Bayros (1866-1924), who was one of the

leading Austrian Jugendstil artists, best known for his controversial series of

«Toilettentische». He was a part of Johann Strauss’ artistic circle in Vienna. In

his treatment of erotic scenes he is often compared to Beardsley or Rops.

424

BECKMANN, Max - «Familienszene» [Beckmann family]. 1918.

Drypoint, 30,5 x 26 cm, Japan paper 47,5 x 33 cm; signed and titled in pencil,

blind stamp Marées-Gesellschaft. Faint stain in left margin. Good copy.

2.500 / 3.500 €

422

BECKMANN, Max - «2 Autooffiziere» [Two auto officers]. 1915.

Drypoint, 11,5 x 17,5 cm, Japan paper 23 x 24 cm; signed and titled in pencil,

blind stamp Marées-Gesellschaft. Good copy.

750 / 1.000 €

Max Beckmann (1884-1950) was a German Expressionist painter, draftsman,

printmaker, sculptor, and writer whose works are notable for the boldness and

power of their symbolic commentary on the tragic events of the 20th century.

From the portfolio «Gesichter», Munich, Verlag der Marées-Gesellschaft, R.

Piper & Co., 1919. Limited to 100 copies. One of 40 on Japan paper.





425

BECKMANN, Max - «Frühling (18)» [Spring]. 1918.

Drypoint, 29,5 x 19,5 cm, Japan paper 38,5 x 30,5 cm; signed and titled in pencil,

blind stamp Marées-Gesellschaft. Good copy.

1.500 / 1.800 €

427

BECKMANN, Max - «Mitternacht». 1916.

Drypoint, 23,7 x 17,5 cm, Japan paper 30 x 23 cm; signed and titled in pencil,

unidentified blind stamp in lower right corner. Passe-partout. Good copy.

2.000 / 2.500 €



426

BECKMANN, Max - «Liebespaar I (16)» [Lovers I]. 1916.

Drypoint, 23 x 29 cm, Japan paper 30 x 35,5 cm; signed and titled in pencil, blind

stamp Marées-Gesellschaft (sm. tear and light scratch in lower right margin).

Passe-partout. Good copy.

1.500 / 1.800 €

Also known under the title Evening (Self-Portrait with the Battenbergs) or Der

Abend (Selbstbildnis mit den Battenbergs). From the portfolio «Gesichter»

published in 1919, limited to 100 copies. One of the 40 on Japan paper.

428

BECKMANN, Max - Der Neger [The Negro], 1921.

Drypoint, 29 x 25,5 cm, Japan paper 53 x 38,5 cm; signed in pencil, blind stamp

Marées-Gesellschaft. Margins sl. creased.

1.500 / 1.800 €



From the portfolio «Annual Fair (Der Jahrmarkt)», Munich, Verlag der Marées-

Gesellschaft, R. Piper & Co., 1922. Limited to 200 copies. One of 75 on Japan

paper.



429

BECKMANN, Max - «Theater». 1916.

Drypoint, 12,5 x 17,5 cm, Japan paper 23 x 23,8 cm; signed and titled in pencil,

blind stamp Marées-Gesellschaft. Passe-partout. Good copy.

1.500 / 1.800 €

engr. out of a unidentified set (despite same title, not from «Duistere machten»,

1941, where the engr. dimensions are oblong). The 1st is a dark allegory of war

with cannons, soldiers in line, human robots melting steel to make bombs... and

a laughing devil proud of his work. The 2nd shows dark streets with the sky on

fire and people hiding from soldiers.



430

BERTRAND, Gaston - «La Banque de Bruxelles». 1966.

Pointe sèche, 25 x 36 cm, papier vélin; titrée et justifiée 141/170 à la mine de

graphite en bas à g., signée et datée en bas à dr. (qqs pet. points de rousseurs).

Passe-partout, vitre, cadre de bois noir.

80 / 100 €

432

BOONEN, Jac - «Haven». [Harbour, in Antwerp?]. s.d.

Etching, 66,6 x 66 cm; vellum paper, titled and numb. 21/100 in graphite pencil

lower left, signed lower right (sl. browned, foxing, dampstain right edge).

80 / 100 €

A very crowded view with the estuary filled with boats, freight traffic on wharves

with longshoremen, carts pulled by horses, trucks, etc.

433

BOONEN, Jac - Hoogovens. 1933.

Etching and drypoint, 60 x 44,8 cm, vellum paper, signed and title in graphite

pencil at lower margin, unnumbered. Stuck under passe-partout. Very clear,

saturated impression.

700 / 800 €

Seconde pointe sèche réalisée par Bertrand. Jusqu’en 1982, le siège de la banque

se trouvait dans l’ancien palais du comte de Flandre (actuellement occupé par

la Cour des Comptes), face au Musée des Beaux-Arts. Le style néo-classique du

bâtiment, l’arcade de la rue de Namur et le premier bâtiment de la Place royale

ne pouvaient qu’inspirer le peintre (1910-1994), amoureux des lignes pures. En

plus des 16 épreuves d’état ou d’artiste, ce tirage fut commandé par Louis Camu,

alors président de la Banque de Bruxelles.

Réf. Goyens de Heusch 63.

431

BOONEN, Jac - 3 engravings.

150 / 300 €

1. «Eric Winand» (?). 24 x 31,3 cm, light brown vellum paper; titled and numb.

4/8, signed and dated 1935. Rare.— 2-3. «Staal» [Steel]. 30,6 x 39,5 cm.—

«Angst» [Fear]. 30,9 x 39,5 cm, light brown vellum paper; numb. VI and VIII, both

numb. 12/100, signed, titled in French by another hand beneath the 1st («Acier

unique réalité» [Steel. The only reality]) and the 2nd («Décor nocturne d'une

tragédie» [Night setting of a tragedy]) (sl. browned sheets, some foxing). Two

Boonen was a prolific Belgian printmaker who was mosly interested in themes

involving the alienation of people from their environment and the working

masses.



434

BOONEN, Jac - «Karnaval». 1935.

Etching, 70 x 85,2 cm, vellum paper; titled and numb. 8/100 in graphite pencil

lower left, signed lower right (browned, some foxing). Passe-partout, glass and

silver wooden frame (not studied outside frame).

200 / 300 €

An incredibly crowded parade with the Christ in the foreground.

437

BRANGWYN, Frank - The Last of HMS «Britannia». 1917.

Zinc engraving, 80,7 x 55,2 cm; vellum paper, signed in graphite pencil lower left

(remains of hard brown paper on verso edges).

200 / 300 €

435

BOONEN, Jac - «De Morgen» [The morning]. 1933.

Etching, 40,8 x 52,5 cm, light brown vellum paper; titled in graphite pencil lower

left, signed and dated lower right (browned sheet).

100 / 150 €

In a shipyard the wreck of the old training ship «Britannia» is being dismantled.

Ref. Marechal p. 249.

Workers labouring from dawn, lost in a huge building site. The themes of

the Flemish artist Boonen (1911-1968) are: crowds in alien surroundings,

monstrosities and portraits of artists and writers.

Joined, same artist: «Oogst» [Harvest]. Engr., 19 x 31,5 cm, light brown vellum

paper; titled and signed below with graphite pencil (marg. waterstains). (2 pcs)

438

CASSIERS, Henri - Vue de Dordrecht et du bras de la Meuse.

S.d.

Eau-forte tirée en bistre, 12,3 x 17,6 cm, japon 17,5 x 22 cm (à vue); signée dans le

cuivre en bas à dr. Passe-partout, vitre et cadre de bois.

100 / 120 €

436

BRANGWYN, Frank - Church of Notre-Dame, Eu [Normandy].

1909.

Etching, 59,5 x 77 cm; vellum paper, signed in graphite pencil lower left (light

water stain lower center). Passe-partout, glass, wooden frame (not studied outside

frame).

150 / 250 €

In front of our Lady’s Church we see a fair in full swing. The print reminds us

Ensor’s «The Cathedral» of 1886. Second state (of 2). Only 2 proofs of the 1st

state are known.

Ref. Marechal p. 213.



439

CHRISTO - Wrapped museum of contemporary art - Chicago

(project) [...]. [1969].

Lithograph, vellum paper 105 x 81 cm; signed and numb. 37/60 in pencil. Framed

(not studied outside frame).

1.200 / 1.500 €

2e état (sur 2), avec l’astérisque dans l’angle sup. dr. Planche publiée pour

accompagner un poème d’A.Lemoyne dans «Sonnets et eaux-fortes», Paris,

Lemerre, 1869.

Réf. Delteil 9.

441

COROT, Camille - Souvenir de Toscane. [Paris, Gazette des Beaux-

Arts, 1875].

Eau-forte, 13 x 18 cm, vergé 18,5 x 27,5 cm ; non signée. Montée par le bord sup.

sous passe-partout (marges lég. brunies avec traces de montage antérieur dans la

partie sup., lég. décharge brune dans la partie inf. au verso).

200 / 300 €

3e et dernier état paru dans la «Gazette des Beaux-Arts», ici sans les inscriptions.

Jolie planche datant de c. 1845 ; elle constitue le 1er essai de gravure de Corot

(1796-1875), resté inachevé et tiré à très peu d’ex. Une vingtaine d’années après,

le cuivre fut retrouvé par Bracquemond qui persuada l’artiste de le retravailler.

Réf. Delteil 1.

«If any building ever needed wrapping, it was Chicago’s Museum of

Contemporary Art, a banal, one-story edifice (with a below-ground gallery)

having about as much architectural charm as an old shoe box. Built in the

early 1900s, it had once been a bakery and, later, the headquarters of Playboy

Enterprises [...] The wrapping commenced on January 15, 1969 [...] Excerpt from

the book Christo by David Bourdon [...]».

Ref. https://christojeanneclaude.net/projects/wrapped-museum-ofcontemporary-art-and-wrapped-floor-and-stairway.

442

DE BRUYCKER, Jules - Autour du château des Comtes, Gand

- Rond het Gravenkasteel, Gent. 1913.

Eau-forte, 74 x 62,4 cm, vélin (?); titrée au crayon noir en bas à g. «sous le château

des Comtes Gand», justif. 42/150 et signée à dr. (papier entièrement bruni). Passepartout,

vitre et cadre de bois (non décadré).

150 / 250 €

440

COROT, Camille - Dans les dunes : souvenirs du bois de La

Haye. [1869].

Eau-forte, 13 x 19,5 cm, vergé 19 x 28 cm ; signée dans le cuivre (peu visible) dans

le coin inf. dr. Montée par les coins sup. sous passe-partout (f. très lég. brunie,

min. piqûres).

200 / 300 €

État définitif de la planche signalée sous le n° 37 par Le Roy.

Réf. Le Roy 38 (signale un tirage non numéroté).



443

DE BRUYCKER, Jules - «l’Église St-Nicolas Gand» - Sint-

Niklaaskerk, Gent.

Eau-forte, 31,6 x 46,5 cm, japon 65 x 50 cm; titrée au crayon graphite en

bas à g., signée à dr. (japon pelucheux avec lég. traces de pap. collant dans

les marges sup. et inf.).

300 / 400 €

445

DE BRUYCKER, Jules - Monsieur Malin - Mijnheer Slimvogel.

1921.

Eau-forte, 24 x 36, 4 cm, japon; titrée au crayon graphite en bas à g. «Mr Slimvogel

/ Mr Renard» et dédicacée en bas à dr., signée et datée 21-7-21 à dr. (pli horizontal

dans le bas). Retenue par le bord sup. sous passe-partout.

400 / 600 €

(Detail)

Pas d’état répertorié. Belle épreuve, non justifiée.

Réf. Le Roy 92 (signale 75 épr. num.).

Prov. Armand Rasenfosse (dédicace «en toute sympathie d’Art au peintre et

aquafortiste A. Rassenfosse»). - Kurt Peiser (1887-1962), peintre et graveur

anversois (note sur le passe-partout).

2e état (sur 3). Le cuivre fait partie des collections du Musée de Gand; la KBR

conserve une épreuve de 1er état dont le cuivre mesure 51,3 x 37,8 cm et une

épreuve de 3e état avec retouches dans l’architecture (cfr [Deprez, C.] Vente

JDB. Brux., Simonson, 14-11-1992, n° 164).

Réf. Pas dans Le Roy.

444

DE BRUYCKER, Jules - Jour de marché à Gand. S.d.

Eau-forte, 33,5 x 42 cm, vergé 44 x 53 cm ; signée et datée dans le cuivre, signée

et titrée à l’encre noire (qqs rouss., papier bruni, surtout les marges). Collée par

les marges sur carton.

180 / 220 €

446

DE BRUYCKER, Jules - Montage du dragon sur le beffroi, Gand

- Het plaatsen van de draak op het Belfort, Gent. 1914.

Eau-forte, 78,7 x 61,4 cm (visible), vélin; titrée au crayon graphite en bas à g. «le

montage du Dragon sur le beffroi de Gand», signée et justif. 41/125 à dr. Passepartout,

vitre et cadre de bois (non décadré).

500 / 600 €

Réf. Le Roy 44 (mentionne «plusieurs états»).

État définitif, non justifié.

Réf. Le Roy 9. - J.D.B. 13.



447

DE BRUYCKER, Jules - Notre-Dame de Paris. 1926.

Eau-forte, pointe sèche et travail à l’outil, 48,3 x 29 cm, vélin crème, non datée

dans la planche; titrée en français à la mine de graphite à g., signée et justif. 55/60

à dr. Passe-partout, vitre et cadre de bois (non décadré).

200 / 300 €

449

DE BRUYCKER, Jules - Pauvresse (Londres) - Armoede

(London). 1919.

Eau-forte et qqs traits de pointe sèche, 16,8 x 16,5 cm, japon (bruni) à belles

marges; erronément titrée «petite marchande» (titre correspondant à la pl. L.R.

68) à la mine de graphite en bas à g., signée en bas à dr. (traces de montage au

verso). Retenue par les bords sup. sous passe-partout.

150 / 200 €

(Detail)

2e état (sur 2). Épreuve justifiée, conformément au tirage annoncé par Le Roy

qui reproduit le 1er état.

Réf. Le Roy 131.

448

DE BRUYCKER, Jules - Oorlogsetsen en -schetsen. Zes

originele en onuitgegeven koperetsen acht reproducties van

pentekeningen. [Voorwoord door Paul Eeckhout]. Antwerpen, J.E.

Buschmann, 1975.

In-f°. En ff., sous chemise. Sous boîte d’édit. = in uitgeversdoos.

200 / 300 €

Très belle épreuve, assez rare de surcroît. Pas d’état ni de justification. L’«erreur»

dans le titre n’est pas rare dans les épreuves de De Bruycker, celle-ci ayanté

aqussi été appellée «marchande de petit».

Réf. Le Roy 76.

450

DE BRUYCKER, Jules - Sites et visions de Gand. Vingt-deux

eaux-fortes originales et inédites. Préface de Grégoire Le Roy.

Gand, chez l’auteur (Bruxelles, A. Van Campenhout taille-doucier), 1932.

Gr. in-4 = Groot 4to. En ff., sous chemise impr. d’édit. (mors sup. fendu) = Losse

bl., in uitgeversomslag (bovenste scharnier gedeeltelijk gespleten).

600 / 800 €

Édition originale posthume de ce quatrième et dernier album dans lequel

De Bruycker esquisse quelques silhouettes de soldats allemands pendant

l’occupation. Tirage à 112 ex., un des 6 ex. de luxe sur Moulin du verger

numérotés A à F (ex. F), avec un dessin à la plume signé de De Bruycker. Les

eaux-fortes sont signées par la veuve de l’artiste = Eerste posthume uitgave van

het vierde en laatste album door De Bruycker met schetsen van Duitse soldaten

tijdens de bezetting. Losbladig, onder omslag, in oorspronkelijke doos. Ex. F.

met een gesigneerde originale tekening.



4 in texto (faux titre, titre, bandeau, cul-de-lampe) et 18 planches protégées

de serpentes légendées et numérotées, tous signés à la mine de plomb (excepté

le titre). Tirage à 132 ex. num. dont 10 h.c. Un des 100 «ordinaires» sur japon

impérial (non numéroté mais une note au crayon sur un des feuillets blancs

au début indique: «Exemplaire d’archive pour l’Imprimerie Goossens. J. De

Bruycker»). Ce très bel album présente la quintessence des thèmes chers à De

Bruycker = 4 in tekst (verkorte titel, titel, sierrand, slotvignet) en 18 platen, alle

met potlood getekend (behalve titel) = Oplage van 132 genum. ex. waarvan 10

niet in de handel. Eén van de 100 «gewone» ex. op Japans papier (ongenummerd

maar notitie in potlood op één van de blanco bladen in het begin: «Exemplaire

d’archive pour l’Imprimerie Goossens. J. De Bruycker»). Dit prachtige album

omvat de kwintessens van de favoriete thema’s van De Bruycker.

Réf. Le Roy 173-196.

453

DE CONINCK, René - 6 etsen. C. 1969-1971.

Verschillende formaten, in potlood gesigneerd (gebruikssporen in marge,

«Herfst» met kras, lichte roestvlekken en verkleuringen; «Optelling te Betlehem»

opgekleefd). Niet ingelijst, 1 onder passe-partout (passe-partout met waterschade).

120 / 180 €

451

DE BRUYCKER, Jules - Théâtre (Ténor), grande planche - Theater

(tenor) groote plaat.

Eau-forte, 15,9 x 28 cm, japon; titrée (ou cachet titré ?) au stylo noir

en bas à g., signée (? cachet ?) à dr. (pl. brunie, pet. déchir. dont une

entamant le champ sur la dr.). Passe-partout, vitre et cadre de bois (non

décadré).

120 / 150 €

2e état (sur 2).

Réf. Le Roy 16.

452

DE BRUYCKER, Jules - Vieille coquette - Oude fiere. 1921.

Eau-forte et qqs traits de pointe sèche, 16,2 x 12,1 cm, japon; titrée à la mine

de graphite en bas à g., signée à dr., «bon à tirer - 100» au bord inf. g. Traits

extrêmement fins, beau tirage.

150 / 200 €

1. Herfst. 5de staat. 36,8 x 48,2 cm.— 2. Optelling te Betlehem. 2de staat.

14,7 x 20,9 cm.— 3. Herinnering uit Italië. 1965. 54,5 x 73 cm.— 4. Z.t. N° 6/10.

1969. 21,9 x 29,8 cm.— 5. Z.t. N° 9/10. 1969. 40 x 49,8 cm.— 6. Z.t. N° 11/12.

1971. 29,9 x 19,6 cm.

454

DE KAT, Anne-Pierre - «Le laboureur». 1936.

Lithogr., 31,5 x 40,5 cm; eigenhandig in potlood getiteld, gedateerd en gesign.

onderaan (vlekje in marge). Ingelijst en onder passe-partout (niet uitgelijst, enkele

vlekjes en frame met krasjes).

100 / 120 €

État définitif (sur 2). Le Roy ne signale pas d'état alors qu'il y en a 2 (cfr [Deprez,

C.], Vente JDB. Brux., Simonson, 14-11-1992, n. 90). Assez rare.

Réf. Le Roy 101 (signale un tirage à 50 épreuves num.).

Animerend gezicht op een landelijke omgeving, vermoedelijk in de buurt van

Brussel, met op de voorgrond een ploegende boer en aan de rechterzijde een

dame met in haar hand de verdiende beloning. Met dedicatie aan de heer Biergé

(?), lid van de kunstenaarskring van Bosvoorde.

Prov. Maison d’art G. Arekens (Brussel).




455

DEBUCOURT, Philibert-Louis - [Copperplate]. «La Marchande

de coco». Paris, Ch. Bance, C. 1817.

36 x 27 cm (picture : 32 x 23,5 cm), signed below «Dessiné par Cle. Vernet / Gravé

par Debucourt», mention «Déposé à la Direction» (some sm. margin. stains).

150 / 250 €

Plate num. 3 from the 5th issue of a suite named «Collection de costumes

dessinés d’après nature par Carle Vernet». Beautiful engraving by the Parisian

artist Debucourt (1755-1832), showing a young woman with her drinking

fountain serving a cup ‘coco’ to a soldier. This refreshing beverage made from

liquorice and lemon water was very popular in the 19th c. and the «marchand(e)

de coco» was a typical figure in the lively streets of Paris at the time.

Ref. Cat. Musée Carnavalet, inventory num. G.1167.

Prov. «Mamet S.r / Anc[ien]ne maison Molhérat / 2bis imp[asse] Lebouis Paris»

(engr. on the back).

456

DONNAY, Auguste - Dans les bois, la nuit. Femme de profil.

Aquatinte et eau-forte, 19,7 x 13 cm, chine à toutes marges 38 x 28 cm,

non signée ni datée (petit manque de papier dans la marge inf., qqs pâles

rouss. marg.). Retenue par les coins sup. et le coin inf. g., sous passepartout.

80 / 100 €

rendu. Quelques-uns sont irréprochables et on voit que Dubost avait

consciencieusement étudié le cheval» (Mennessier de la Lance). The plates are

accompanied with a parallel title and text in French and English. It is mentioned

on the front. pl. that the work includes portraits of «the most celebrated running

horses in 1809» whilst also showing «the life of the race horse from the moment

of his entering the stud till that of his being put up to auction». Dubost owned

and rode horses in a number of important races himself. As such, he was able

to concentrate on both painting and racing of horses. After a period in the

French army, Dubost went to England in 1806. There, attracted by the high

quality of racing in Newmarket, he painted 12 canvases on which the present

print series is based. In 1825 he became involved in a dispute over «un pavillon»

with his architect neighbour which culminated in a tragic duel during which both

protagonists were killed. Our copy does not include the 2-leaf «Addition» (in

French only), probably a separate publication, sometimes found with the work

(Mennessier de la Lance).

Ref. Dejager 719 (= Podechi 106, Snelgrove 70, Buckley 45). - Mennessier de la

Lance I:413. - BnF.

458

ENSOR, James - Barques échouées. 1888.

Eau-forte, 17,8 x 23,9 cm, japon vergé feutré (25 x 34 cm à vue); signée et datée

dans la pl. en bas à dr. (f. lég. brunie, qqs rouss., collée en plein ?, verso pelucheux).

Sous vitre et cadre de bois mouluré (décadrée).

400 / 500 €

Attribuée sur le passe-partout à Donnay mais aussi à Odilon Redon, sans doute

par analogie à la lithographie «Vieux chevalier».

457

DUBOST, Antoine - Newmarket. Collection d’onze planches

lithographiques, représentant la vue de Newmarket, et la vie du

cheval de course depuis l’instant où il est dans le haras jusqu’à

celui de sa vente [...]. A collection of eleven plates, executed in

lithography [...]. Paris, Chez l’Auteur, 1818.

Large folio oblong: 11 text ff. and 11 lithogr. (dampstaining on the upper margins,

tear in blank margin of text f. 10, overall some min. spotting). Contemp. half

cloth with corners over patterned boards, unfresh binding (spine def.). Very nice

copy.

1.200 / 1.500 €

First edition of Dubost’s rare and intriguing series of lithographs of Newmarket.

Complete with front. and 10 very early black & white lithographed plates

by Dubost after his paintings made at Newmarket in 1809. «Le dessin n’est

pas sans mérite, le modèle des chevaux est bien choisi et correctement

1er état (ou 2e état ?, sur 3), difficile à déterminer.

Réf. Taevernier 49.



462

460



459

ENSOR, James - Grande vue de Mariakerke. 1887.

Eau-forte, 21,5 x 26,8 cm, vélin teinté 31 x 38 cm; signée dans la pl. en bas à

g. (f. lég. brunie, plis dans le papier au coin du cuivre en bas à dr., pet. déchir.

marg. dans le bas, qqs points de rouss. marg.). Sous vitre et cadre de bois mouluré

(décadrée).

250 / 350 €

462

ENSOR, James - Plage de La Panne. S.d. [1904].

Eau-forte, 10 x 15 cm, vergé Van Gelder 33,5 x 48,5 cm ; signée dans le cuivre.

Sous passe-partout (pourtour lég. bruni, traces de montage dans la partie sup.

500 / 600 €

État unique. Du tirage à 200 ex. paru dans l'album de «L'Art contemporain»,

Anvers, 1906.


463

ENSOR, James - Pouilleux indisposé se chauffant. 1895.

Eau-forte, 15,9 x 11,8 cm, japon ancien, signée et datée dans la pl.; titrée, signée

et datée à la mine de plomb sous le champ (f. brunie). Sous vitre et cadre de bois

mouluré noir (non décadrée).

400 / 500 €

2e état (sur 2).


460

ENSOR, James - Les joueurs. 1895.

Eau-forte, 11,8 x 16 cm, japon ancien, signée dans la pl.; titrée à la mine de plomb

en bas à g., signée et datée en bas à dr. (brunie). Sous vitre et cadre de bois mouluré

noir (non décadrée).

400 / 500 €

Réf. Taevernier 93 (pas d’états).

461

ENSOR, James - Musique rue de Flandre, Ostende. 1890.

Eau-forte, 12 x 7,8 cm, japon teinté (22 x 13,5 cm), signée et datée dans la pl. en

haut à dr. (f. brunie, collée en plein, verso pelucheux). Sous vitre et cadre de bois

mouluré (décadrée).

350 / 450 €

Réf. Taevernier 91 (pas d’états).

464

ENSOR, James - Rue du Bon secours à Bruxelles. 1887.

Pointe sèche, 12,9 x 8,9 cm, simili japon 22 x 14 cm, non signée ni datée dans la pl.

400 / 500 €

3e état (sur 3).


Rare. Pas d’état connu.




Very rare de luxe copy

465

EVENEPOEL, Henri - Le dragon ou Le cuirassier. [1890].

Eau-forte et aquatinte en couleurs, 11,2 x 11,2 cm, japon 28 x 22 cm ; signée au

crayon dans le coin inf. dr. Montée par un coin sous passe-partout (marge sup. très

lég. brunie). Jolie pièce, très fraîche.

300 / 400 €

467

GOYA, Francisco - 2 (of 80) etchings: «La Filiacion» and «No

grites tonta». 19th c.

Aquatint etchings, 21,5 x 15 cm (plate mark), numbered in plate, laid paper

without watermark (sl. toned). Loose sheets.

300 / 350 €

Rare épreuve sur japon, signée, et en variante de couleurs : avec le dolman du

soldat et la jupe de la femme tirés en vert (en bleu sur les épreuves que nous

avons pu voir ; il existe par ailleurs des épreuves tirées en noir et au moins une en

bistre). «[…] les tirages n’excèdent pas trente exemplaires, parfois suivis […] d’un

tirage de luxe moins important» (Derrey-Capon).

Réf. D. Derrey-Capon, in Cat. Evenepoel, Bruxelles, Crédit communal, 1994, p.

169 et p. 178 avec reprod. en noir.

466

GHYSEBRECHTS, Louis - Opgedragen aan Fiamma Vigo

Hommage. [Hasselt], Atelier Wittepoppentoren, Mei 1983.

Folio (ca. 63,5 x 45,5 cm). Losbladig in omslagen. Zwarte linnen cassette van V.

& J.L. Jamar (Luik). Mooi ex.

150 / 200 €

Later impressions of 2 prints from the famous series Los Caprichos (1799). Nos.

57 and 74.

First edition of rare rediscoverd Goya plates

468

GOYA, Francisco - The Proverbios - Additional plates. Paris, L’Art, 1877.

4 etchings with burnished aquatint, 24,5 x 35 cm, fine laid paper, signed and titled

in plate, with wide margins. Under passe-partout. Fine dark grainy impressions

with good contrasts.

3.000 / 4.000 €

Four additional plates prepared for «The Proverbios» series, but never published

during Goya’s lifetime. They were rediscovered after his death and republished

in L’Art. This is the first edition as published in L’Art in 1877. They are titled «Que

Guerrero!», «Una Reina de Crico», «Otras leyes por el Pueblo» and «Lluva de Toros».

Ref. Harris II:266-270.3. - Delteil 220-23.

469

La Gravure originale belge. Albums 1-9. 1924-1937.

9 fascicules in-f°. En ff., sous chemises à rabats d’éd. illustrées.

1.000 / 1.500 €

Portfolio met zes zeefdrukken in kleur van Louis Ghysebrechts, drie gedichten

van Roger M.J. de Neef en vier gedichten van Laurent Dispas. Oplage van 75 ex.

Eén van de 35 op Arches (num. 17). Gesigneerd in potlood door de 3 artiesten op

de titelpagina, alle zeefdrukken gesigneerd en genummerd in potlood. Fiamma

Vigo (1908-1981) was an Italian painter, art collector and famous avant-garde

gallerist («Galleria Numero»).



Tête de collection illustrées de 97 gravures signées et justifiées par les membres

de la société dont certains ont parfois réalisés plusieurs gravures : Maurice

Brocas, Suzanne Cocq, Jules De Bruycker, Edmond Thysebaert, Marguerite

Callet-Carcano, Maurice Langaskens, Pierre Paulus, Dirk Baksteen, Armand

Rassenfosse, Anto Carte. Jules-Marie Canneel, Georges Baltus, Milly Possoz...

Société composée au début de 50 membres protecteurs (jusqu’à 68 membres

en 1928-1929 et 51 à la dissolution), de 50 membres artistes (68 in fine) et de

membres d’honneur (James Ensor, Frank Brangwynn, Henri Liebrecht...).

Tirage limité à 55 exemplaires au début, à 75 ex. à la fin (n° 1 à 4 pour Edmond

Gregoir). Les fascicules contiennent chacun 10 gravures et une supplémentaire à

partir du fasc. n° 4, dont celles des 5 premiers fascicules tirées sur papier fort et

présentées sous double serpente légendée avec portrait de l’artiste (par la suite

elles seront simplement protégées d’une serpente). Les cinq premiers fascicules

étaient accompagnés d’un texte de présentation, J.-É. Laboureur signant celui

du n° 3 (1926). Les fasc. n° 6-7 sont tirés sur japon.

470

JACQUES de DIXMUDE, Jean-Pierre - Reynaert de Vos. Een

seer genouchlicke ende vermakelicke historie in neder duijtsch.

Brussel, Uitgave Het Zeil, gedrukt door «De Nationale Hoogere School voor

Bouwkunst en Sierkunsten», Abdij ter Kameren, Mei 1941.

Folio: [11] ff. Genaaid. Geïll. omslag (los, licht gebruikt). Goed ex.

150 / 200 €

Studieproefdruk voor een geïllustreerde uitgave van Reinaart de Vos, volgens

het colofon «gedrukt op de persen van de Nationale Hoogere School voor

Bouwkunst en Sierkunsten» (Ter Kameren/La Cambre), opgericht in 1926 door

Henry Van de Velde. Verder volgens het colofon is de uitgave gedrukt op 10

exemplaren op geschept papier Pannekoek genummerd van I tot X [ons ex. is

ongenummerd]. «Het alphabet speciaal ontworpen voor dit werk is geteekend

en gesneden op lino door den Heer J.-P. Jacques de Dixmude, evenals de

verluchting, de samenstelling en versiersels».

Het volume bevat een geïll. omslag, mooi decoratief schutblad met terugkerend

vossenthema, titel, een merk «Uitgave Het Zeil», een «Totten leser» van 2 ff.

en 5 ff. «volle tekst» in mooi vormgegeven typografie, met gekleurde initiaal en

lombarden, en telkens dezelfde tekst: «tot wat eynde elck dinck gheschreven is,

ghi sulter groote leeringhe ende onderwijs in vinden [...]», en vier grote gekleurde

illustraties op halve pagina. J.-P. Jacques de Dixmude werd later bekend als

schilder en boekillustrator.

468



471

JONGKIND, Johan-Barthold - Winter scene on the river with

mills. Paris, Cadart, 1875.

Etching and drypoint, 16,1 x 24,7 cm, signed in plate at lower right corner,

numbered 293 in upper right corner. Under passe-partout. Fine impression

200 / 300 €

473

LIEBERMANN, Max - Amsterdamer Judengasse (Amsterdam’s

Jewish Quarter). [1909].

Etching, 15 x 19,5 cm, laid paper 16,3 x 23 cm; not signed. Pasted by upper left

corner under passe-partout (old trace of tape at upper margin, faint fold at right

upper part).

125 / 175 €

472

KOLLWITZ, Käthe - Zertretene (Arme Familie). 1900.

Aquatint & drypoint, 23,6 x 20,4 cm, China paper on wove paper (margins sl.

fox.).

100 / 150 €

Animated scene by the Dutch painter and engraver M. Liebermann (1847-1935).

Impression published in «Kunst des Radierens», 1920?

Ref. Schiefler 73, listed as «Aus dem Judenviertel in Amsterdam: Karrenhandel»

(From the Jewish Quarter in Amsterdam: Trading Carts).

474

LIEBERMANN, Max - Portrait Wilhelm von Bode. Leipzig, E.A.

Seemann, [1915].

Drypoint, ca. 24 x 19 cm, vellum paper, ca. 33 x 24 cm (spotting in blank margin,

reaching min. into plate); printer’s name and caption in the plate. Under passepartout,

silky paper.

100 / 200 €

By the German artist K. Kollwitz (1867-1945). «Despite the realism of her early

works, her art is now more closely associated with Expressionism» (Wikipedia).

Published in «Zeitschrift für bildende Kunst», 1909, part 8.

Profile portrait of W. von Bode (1845-1929), Berlin art historian and famous

museum curator.




475

LIEBERMANN, Max - Selbstbildnis des Siebzigjährigen,

zeichnend, I [Self-portrait of the seventy-year-old, drawing, I].

Leipzig, E.A. Seemann, [1917].

Etching, ca. 23,5 x 17,5 cm, vellum paper, ca. 33,5 x 24,5 cm (some min. spotting

in blank margin); printer’s name and caption in the plate. Under passe-partout,

silky paper.

300 / 400 €

477

MARCHOUL, Gustave - Gravures et documents divers.

200 / 300 €

M. Lieberman (1847-1935) was the most prominent of the German impressionists.

Publ. in the «Zeitschrift für Bildende Kunst, Neue Folge XXVII Heft 10».


476

MADOU, Jean-Baptiste - Type populaire. S.d.

Eau-forte, 8,8 x 5,4 cm, vergé 18,8 x 14 cm; non signée.

100 / 150 €

Marchoul (Liège 1924-2015) découvre assez tard, et en autodidacte, la gravure.

Membre ou co-fondateur de divers groupes («Hainaut Cinq», «Cap d’Encre»,

«2G»), prof. à La Cambre à Bruxelles et animateur de stages à L’Atelier du Livre

de Mariemont, il pratiqua différentes techniques (bois, litho, manière noire) et

styles : réalisme visionnaire, paysages poétiques, période lumineuse et colorée

(années ‘80), intérêt pour la nature et l’Asie, mysticisme (années ‘90 : thèmes

de la Croix, du Calvaire et de la Résurrection sans abandonner pour autant la

symbolique des montagnes et abîmes). Il collabora avec divers artistes (Kikie

Crèvecoeur) ou poètes (Roger Foulon)

Contenu : 1. Opuscule consacré au «Serviteur souffrant», Thuin, 2007. Ex. «non

complet constitué de feuilles d’essai», 15 grav. sur div. japon fin + 1 f. de texte

lithogr., le tout sous bifolio de japon dont la 3e p. sert de justification, signé

par l’artiste (et l’auteur ? sign. illisible).— 2. 10 lithographies, n/b sauf 1 en

couleurs, 32,5 x 40,5 cm, fin japon pelure.— 3. Foulon, Roger - 3 poèmes : 1 ms.

sur l’acrostiche «Blanche Gustave» et 2 impr. («Poème du porte-plume» et 1 sur

bifolio illustré à la gouache d’empreintes de main).

478

MASEREEL, Frans - Ohé ! 1970.

Linogravure, 44,3 x 30,4 cm, monogrammée et datée dans la planche; titrée et

justif. 18/30 à la mine de graphite en bas à g., signée et datée en bas à dr.

120 / 180 €

Rarissime eau-forte figurant un homme en costume XVIIIe s., debout près d’une

palissade. D’après une note (photocopie) du peintre Albert Delstanche, petit-fils

de J.-B. Madou, il s’agit de l’«unique eau-forte gravée par Madou. Le cuivre est

en ma possession et cette épreuve a été tirée par moi-même [...] Le croquis qui

a servi de point de départ à cette petite estampe m’appartient». Madou réalisa

par ailleurs de très nombreuses lithographies, des dessins et des peintures.

Réf. Avermaete p. 238, Dd-11.



479

MINNE, George - [6 folios of a Sketchbook]. C.1910.

Drawings, graphite pencil on brown paper, 23,2 x 18 cm. Bound in notebook,

paper covers (loose sheets).

300 / 400 €

15 pl. protégées de serpentes légendées et numérotées (sauf le frontisp.), toutes

signées et just. à la mine de plomb. Tirage à 110 ex. dont 10 h.c. Un des 10

exemplaires de collaborateur sur japon lettrés A à J (G). Belle promenade dans

les plus vieux quartiers de Bruxelles. H. Mortiaux (Bruxelles 1890-Villers-la-Ville

1965) fut dessinateur et graveur, membre de «La Gravure Originale belge».

481

MUCHA, Alfons - Incantation. [Paris, L’Estampe moderne,

Champenois, 1897].

Chromolithographie et or, 37,3 x 1,5 cm, vélin 40 x 30,5 cm ; signée dans la partie

inf. g., cachet sec marg. (onglet dans la marge de g., 2 renforts marg. dans la marge

de dr. au verso). Bonne condition.

2.000 / 3.000 €

Personal sketchbook of sculptor George Minne, one of the leading figures of the

first Latem school. The booklet contains several sketches and studies for the

sculpture «Male torso», dated 1910, now in the Middelheim Museum in Antwerp.

Joined: 1. Idem - Male anatomical sketches, drawing, pen and ink on laid paper,

26 x 20 cm. — 2. Idem - Handwritten letter to Mr. Delacre «Je regrette infiniment

de ne pas avoir pu vous faire hier la visite promise. [...]», pen and ink, ruled paper,

dated 02.10.1908. — 3. Visiting card of «Baron George Minne», given to the

mayor of Brussels (Adolphe Max) after 1931.

480

MORTIAUX, Henri - Images de Bruxelles. Quinze eaux-fortes

originales. Préface d’Albert Guislain. Bruxelles, chez l’auteur, c. 1931.

Gr. in-4° (rouss. marg. aux ff. du début). En ff., sous chemise d’édit.

150 / 250 €

Une des 4 «planches de prime» réservées aux abonnés de «L’Estampe moderne»,

avec son cachet sec dans le coin inf. dr. Cette belle publication publiée en

livraisons entre 1897 et 1898 et rare complète totalise 100 estampes réalisées

par les meilleurs artistes français ou étrangers de l’époque. Mucha y contribua

avec 2 estampes, celle-ci et et «Salomé».

Réf. Lugt 2790.



482

MUELLER, Otto - Polnische Familie. 1920-1921.

Lithogr., 25,5 x 18,8 cm, wove paper 40,2 x 31 cm; monogr. in pencil,

unnumbered, blind stamp «Die Schaffenden» (faint marg. traces of impression).

Passe-partout. Good copy.

1.000 / 1.500 €

484

OLEFFE, Auguste - 5 gravures.

Papier vergé à bonnes marges (± brunies).

120 / 150 €

Eaux-fortes : 1. Maisons à Nieuwport. 20 x 26 cm, monogrammée dans la pl.—

2. Port. 24,8 x 35 cm; signée et datée 1908 dans la pl.— 3. Gare ferroviaire et

quartiers environnants. 15,5 x 24 cm (attribution ms. sous la cuvette).— Lithogr.

en noir : 4. Visage de femme de 3/4 g. 32 x 23,5 cm; signée et datée 1922 sur la

pierre.— 5. Femme en robe de soirée, de profil dr. 24 x 39 cm; signée et datée

1921 sur la pierre.

Otto Müller (1874-1930) was a German painter and printmaker of the Die Brücke

expressionist movement.

485

OLEFFE, Auguste - «Soir de la vie». 1904.

Eau-forte, encre brun-noir, 45 x 55 cm, signée et datée dans la pl.; titrée en bas

à g. et signée, datée «Nieuport 1904» au crayon sanguine en bas à dr. (f. brunie,

nombr. rouss. marg., traces de montage sur les pourtours du verso).

80 / 100 €

483

MUELLER, Otto - Zirkuspaar (Variété). 1920-1921.

Lithogr., 26 x 18,5 cm, wove paper 40 x 30,8 cm; monogr. in pencil, not

numbered, blind stamp «Die Schaffenden». Passe-partout. Good copy.

1.000 / 1.500 €

486

PEISER, Kurt - 6 etsen en litho’s.

Verschillende formaten en papier, meestal gesigneerd in de plaat of steen,

5 bovendien gesigneerd met potlood rechts onder. Enkele getiteld en

genummerd.

200 / 300 €

1. «La percée rue Pacheco». 19848. Getekend en gedat., genummerd 8/150 en

gesign. in potlood. - 2. «Dernière station. Epreuve d’artiste». 1930. Gesign. en

gedat., met handgeschreven opdracht onderaan. - 3. «L’impasse de la Maison

rouge». In potlood getiteld en gesign .- 4. Kolendrager. Litho. Getekend op de

steen. - 5. Familie op bank. Ets. Gesign. in potlood onderaan rechts. - 6. Steegje

met pratende vrouwen. 1945. Litho. Gesign. en gedat. op steen. K. Peiser

(Antwerpen 1887- Ukkel1962) was een schilder, etser en lithograaf.



488

PRIVAT-LIVEMONT, Henri - La vague. Bruxelles, 1897.

Chromolithographie avec or, 32 x 50 cm, vélin 38,5 x 54,5 cm ; signée et datée

dans la partie dr. (souillures marginales). Montée sur fin japon.

400 / 600 €

486

487

PISSARRO, Camille - Vachère au bord de l’eau. [1890].

Eau-forte et pointe sèche, 19,8 x 13,2 cm, vergé teinté 28 x 20 cm, onglet dans

la marge de g. ; non signée. Montée par le bord g. sous passe-partout (min. rouss.

marg., 2 déchir. sans manque ni atteinte dans la marge de g.).

150 / 200 €

Une des 1ères estampes en couleurs de l’artiste belge (1861-1936), influencé par

le japonisme et la célèbre «Vague au large de Kanagawa» de Hokusaï (une des 36

vues du Mont Fuji). Typiquement Art Nouveau et «magnifiquement symboliste»

(Schoonbroodt), cette estampe inspira 2 vitraux dont l’un orne toujours la salle

à manger de l’hôtel particulier de l’architecte Paul Saintenoy à Ixelles ; l’autre

fut redécouvert il y a quelques années par un antiquaire bruxellois. «Oeuvre

magistrale s’il en est, elle souligne la pleine maturité artistique d’un Livemont au

sommet de sa renommée et de sa production graphique» (Ibid.).

Réf. B. Schoonbroodt, Privat-Livemont, 2007, pp. 42 sq.

489

RASSENFOSSE, Armand - L’appel de la faunesse. 1892.

Vernis mou, aquatinte, 19 x 13 cm, vergé de Hollande 37 x 28 cm ; monogr. dans

le cuivre. Monté par le bord sup. sous passe-partout (pourtour lég. bruni).

125 / 175 €

4e état (sur 6) : toute la planche est aquatintée sauf la partie inf. droite. Le 6e et

dernier état sera publié par Pincebourde avec le titre.

Réf. Rouir 953.

Prov. Albert Van Loock, libraire, éditeur et marchand d’art bruxellois (cachet

monogr. au verso, Lugt 3751).

490

RASSENFOSSE, Armand - Le baiser du porion II. 1892.

Vernis mou, pointe sèche, aquatinte, roulette, 19 x 12,7 cm, japon 37 x 28 cm ;

monogr. dans le cuivre. Monté par le bord sup. sous passe-partout (minimes

frottements au pourtour).

150 / 200 €

5e état (sur 6) : avec toutes les remarques marginales et le monogramme mais

avant le texte. État publié par Pincebourde à Paris en 1892.

Réf. Rouir 695.

491

RASSENFOSSE, Armand - Le joujou. 1892.

Pointe sèche, vernis mou et aquatinte, 19 x 13 cm, japon 36,5 x 27,5 cm ; monogr.,

titre et date dans le cuivre. Montée par le bord sup. sous passe-partout (très

minimes souill. marg.).

150 / 200 €

État unique pour cette gravure éditée par Pincebourde à Paris. Charmante pièce

symboliste.

Réf. Rouir 132.

8e et dernier état. Publié dans la «Gazette des Beaux-Arts», 1904 ?

Réf. Delteil 93.



489

490

491

492

RASSENFOSSE, Armand - Le sire de Halewijn. 1904.

Pointe sèche, roulette, 24,5 x 17,5 cm, vergé 27,7 x 21 cm à vue ; non signée

(min. bruniss. dans la marge de dr.). Sous passe-partout, verre et cadre (non

désencadrée).

120 / 180 €

4e et dernier état, paru dans l’album 1904 de la Société des Aquafortistes, cf.

papillon titré au verso du cadre. Cet album rendait hommage à Ch. De Coster.

Réf. Rouir 702.

Joint : Rops, Félicien - La vigne du curé, s.d. Hélio d’après un dessin, 19 x 12,5

cm, japon 33 x 22 cm; non signée (min. tache brune). Sous passe-partout, verre

et cadre. Tirage à part à grandes marges et sans la lettre d’une illustration

coquine pour «Rops...iana», 1924. Réf. Rouir III, p. 705 = E. 1127. (2 pcs)

493

RASSENFOSSE, Armand - Le Sire de Halewijn. 1904.

Pointe sèche, roulette, 25 x 18 cm, vergé teinté 34,5 x 25,5 cm ; signée au crayon

dans la marge inf. dr. Montée par le bord sup. sous passe-partout (très lég. brunie).

100 / 150 €

4e et dernier état publié par la Société des aquafortistes en 1904. Cet album

rendait hommage à Charles De Coster.

Réf. Rouir 702.

Prov. Albert Van Loock, libraire, éditeur et marchand bruxellois (cachet monogr.

au verso, Lugt 3751).

494

RASSENFOSSE, Armand - 6 lithographies en couleurs.

Papiers et formats divers ; signées ou monogr. et datées dans la pierre sauf

la dernière. Bonne condition générale.

150 / 200 €

1. Hiercheuse assise, 1928. - 2. Hiercheuse, 1917. - 3. Hiercheuse, 1917. - 4. Geste

de danse, 1917. - 5. Maternité 1931. - 6. Allégorie, s.d.

Réf. Rouir 149a, 158, 162, 425, 498, 971.

Prov. Claude Van Loock, libraire, marchand d’art, expert et éditeur bruxellois

(cachet monogr. au verso sur 2, 3 et 6, Lugt 3751).

492

493

494



495

After REMBRANDT, Harmersz. van Rijn - Set of 45 Rembrandt

prints. 19th c.

45 etchings and helio-engravings, various sizes (many heavily dampstained,

toned). Loose sheets.

200 / 300 €

Large collection with late impressions of Rembrandt etchings. Many were

originally published as illustrations to the «Gazette des beaux-arts» between

c. 1880 and 1900.

498

ROPS, Félicien - Au pays des féminies (La parade). 1896.

Hélio retouchée d’après un dessin, impression en couleurs avec remarques, 19 x 14

cm, japon 38,5 x 28 cm (lég. traces de montage au verso). Très fraîche.

150 / 200 €

496

RENOIR, Auguste - Baigneuse debout à mi-jambes. [1910].

Eau-forte, 16,5 x 11 cm, vélin 23,5 x 15 cm ; non signée. Montée par le bord sup.

sous passe-partout (pourtour très lég. bruni, traces de montage ancien au verso).

200 / 300 €

Tirage à part d’une des illustrations pour «Féminies», ouvrage collectif par Gyp,

A. Hermant, H. Lavedan, M. Schwob et O. Uzanne, Paris, 1896. Il existe aussi

des épreuves en noir, avec et sans remarques. Charmante planche.

Réf. Rouir III, p. 697 et p. 705. - Exsteens 833.

État unique. Ce cuivre connut plusieurs tirages, notre épreuve est en bon tirage.

Réf. Delteil 23.

499

ROPS, Félicien - La buée d’automne en Ardennes. 1874.

Héliogravure, 21,2 x 26 cm, vélin 32,5 x 41,7 cm ; monogr., titrée «Sur la Lesse»

et datée dans le cuivre. Montée par les coins sous passe-partout (motif lég. insolé,

marges lég. brunies).

100 / 150 €

497

ROPS, Félicien - Affiche pour «Rimes de joie». 1881.

Eau-forte et pointe sèche, 12,8 x 17,7 cm, japon 22,5 x 31,5 cm ; avec l’adresse de

l’imprimeur dans la partie dr. (2 très min. rouss. au recto, traces de montage au

verso). Sujet lég. insolé sinon bonne condition.

200 / 300 €

3e état (sur 4), imprimé avec un passage de rouge. Jolie pièce, peu courante.

Réf. Rouir 495. - Exsteens 596.

2e hélio (après la très rare 1ère dont il ne fut tiré que qqs épreuves avant découpe

du cuivre) ; elle fit l’objet d’un tirage posthume par Pellet avant destruction du

cuivre.

Réf. Rouir, p. 490. - Exsteens 228.



500

ROPS, Félicien - Les exercices de dévotion de M. Henri Roch

IV. S.d.

Hélio retouchée à l’eau-forte et à l’aquatinte, imprimée en couleurs au repérage,

16,5 x 11 cm, fin japon 29,5 x 21,5 cm (min. traces de montage au verso). Fraîche.

150 / 200 €

502

ROPS, Félicien - Fantaisie sur Gouzien.

Hélio provenant de l’atelier Evely, 29,6 x 23,9 cm, vélin chiffon à grandes

marges (bords brunis, qqs rouss.). Sous vitre et cadre mouluré doré.

400 / 500 €

Réf. Rouir III, p. 708. - Exsteens 846 («tiré par Pellet à une cinquantaine

d’épreuves»).

Prov. Franciscus Josephus Bauweraerts (Anvers 1898-1983), collectionneur

d’estampes de toutes les écoles, du 15e au 20e s. (Lugt 3325).

Joli tirage à part en couleurs et à grandes marges d’une planche utilisée comme

frontispice pour l’ouvr. éponyme de l’abbé de Voisenon, Bruxelles, Gay et Doucé, 1882.

Réf. Rouir 627 et III, p. 692. - Exsteens 499.

Prov. Petite marque rouge non identifiée au recto (cp. Rouir 18 et Lugt 748).

501

ROPS, Félicien - L’experte en dentelles IV. 1876.

Hélio retouchée, 34,5 x 24,5 cm, TC 31 x 21,5 cm, japon 39,5 x 29,5 cm ; signée au

crayon noir (marge de dr. lég. pelucheuse, traces de montage au verso). Bonne épreuve.

120 / 180 €

503

ROPS, Félicien - La femme à la toque écossaise. 1865.

Eau-forte et aquatinte, 13,3 x 11,7 cm, vergé 38 x 28 cm (marges brunies épargnant

le sujet, verso bruni avec traces de montage, pli dans la marge inf.).

120 / 180 €

Femme au visage jeune, avec rehauts au crayon noir sur le ruban de la coiffe et

les manches. Cette planche a été plusieurs fois remaniée par Rops.

Réf. Rouir 962, avec TC différent. - Pas dans Exsteens.

Réduction du 8e état du n. 691 avec ajout de la signature dans le cadre et de

lumières sur le visage, la gorge, la plume de la toque et le cadre. Publié sous le

titre «Femme sur un divan» dans «L’Épreuve» en décembre 1895.




504

ROPS, Félicien - [Cuivre]. La feuille de vigne. 1895.

Cuivre vernissé, 21, 9 x 15,5 cm, cachet «Maison Molherat/ Mamet succ. Planeur/

22 r. Montparnasse Paris» sur le verso aciéré.

2.000 / 3.000 €

506

D’après ROPS, Félicien - Impudence. S.d.

Gravure en couleurs au repérage par A. Bertrand d’après un dessin, 26,7 x 17,5 cm,

vélin 46 x 32 cm ; monogr. dans le cuivre, titrée au crayon et num. «58» à l’encre

dans la partie inf. (contrecollée, min. rouss., sujet très lég. insolé, anciennement

encadrée avec les marges brunies et portant les traces du passe-partout).

300 / 400 €

Hélio retouchée à la pointe sèche et à la roulette. Il s’agit de la réduction, sans

modification, du 4e état d’un cuivre de 23,6 x 15,8 cm. Planche utilisée pour

l’illustration du «Supplément au Catalogue de l’oeuvre gravé de Félicien Rops»

de Ramiro (Paris, 1895).

Réf. Rouir 504 («Le cuivre se trouve actuellement dans une collection privée»).

- Rouir 838.

505

ROPS, Félicien - La foire aux amours II. S.d.

Hélio retouchée à la pointe sèche, 17,7 x 13,3 cm, japon 46 x 30,5 cm ; monogr.

au crayon rouge (sujet lég. insolé, lég. traces de montage au verso). Belle épreuve.

100 / 150 €

Sujet érotique d’après un dessin. Il existe aussi des états avec remarque et/ou

en noir.

Réf. Rouir III, p. 710. - Exsteens 868.

Prov. Maurice Bonvoisin ? ; il vendit anonymement ses estampes à G. Pellet

(paraphe au recto, attribué par Pereire = Rouir 5). - Gustave Pellet, éditeur

de livres et estampes, propriétaire des droits artistiques de Rops, 1859-1919

(cachet au recto = Rouir 38 = Lugt 1191).

507

ROPS, Félicien - Juillet. S.d.

Eau-forte et pointe sèche, 16,5 x 25,4 cm, japon 35 x 51,5 cm ; signée au crayon

rouge (verso très lég. bruni avec pet. traces de montage). Bonne épreuve.

150 / 200 €

2e état (sur 4), avant la lettre de «L’Artiste».


Prov. Stéfan Natanson, architecte français dont la collection fut rachetée en

bloc par Pellet à ses héritiers (cachet au verso = Rouir 35 = Lugt 1987).

3e état (sur 3). Jolie planche coquine.


Prov. Charles Cousin, bibliophile et iconophile français, 1822-1894 (cachet au

recto = Rouir 11 = Lugt 512).



508

ROPS, Félicien - Le massage III. S.d.

Hélio retouchée à l’eau-forte et à la roulette, 27 x 20,2 cm, vélin 48,5 x 32,5 cm ;

léger monogr. au crayon rouge (pet. traces de montage au verso). Bonne condition.

150 / 200 €

510

D’après ROPS, Félicien - [Cuivre]. La tentation de saint Antoine.

Cuivre vernissé, 19 x 14 cm.

350 / 450 €

Eau-forte d’après Courboin d’après une aquarelle de Rops, tirée en couleurs à

la poupée mais dont il existe aussi des épreuves en noir avec ou sans remarque.

Destinée à illustrer le «Catalogue descriptif [...] de l’oeuvre gravé de Rops» de

Ramiro (Paris, 1887).

Réf. Rouir III, p. 705. - Exsteens 839.

511

ROPS, Félicien - 2 gravures.

100 / 150 €

2e état (sur 2). Planche plaisamment coquine.


509

ROPS, Félicien - Messalina. 1885.

Hélio retouchée au vernis mou, 21 x 26,8 cm, vergé Van Gelder 32,5 x 51 cm ;

monogr. au crayon rouge (verso lég. bruni, min. défauts marg.). Bonne épreuve.

300 / 400 €

1. Cabotinages de femmes. Hélio en couleurs avec remarques (existe en

noir avec ou sans remarques) d’après un dessin, destinée à l’ouvr. d’Uzanne,

«Féminies», 1896 (brunie). Réf. Rouir p. 705.— 2. Moineries. Lith. parue dans

«Uylenspiegel» n° 23, 10 juillet 1859 (plis, rouss., bords brunis). Pl. hors texte au

verso blanc (tirage de luxe ?). Prov. Heinrich Stinnes (Lugt 1376a).

Joint : Moreau, L.-Alb. - [Femme nue et curé]. Monotype (?) en noir, 28,5 x 22

cm, signé au crayon en bas à g. (3 pcs).

512

SAUER, Walter - Vieille femme assise, de profil. 1922.

Eau-forte, 35 x 25,8 cm, japon 48 x 37 cm, monogrammée et datée dans le cuivre

vers le bas à dr.; signée au crayon en bas à dr. et justifiée «Epr. d’art[iste].» en bas à

g. (bords doublés de fin japon au verso).

150 / 250 €

2e état (sur 2). Femme lascive, aussi connue sous le nom de «Lassata» [sed non

satiata, selon la citation de Juvénal relative à Messaline].




513

SMITS, Jakob - 5 eaux-fortes en 8 épreuves, tirages tardifs sur

papier vélin à belles marges.

120 / 150 €

515

TYTGAT, Edgard - Bouquet - Envie. 1921.

Linoléum, tirage en couleurs (bleu, rouge, jaune, vert et noir), ovale : 29 x 22,5 cm,

sur Chine 33 x 25 (à vue), signé et daté «2-1921» en bas vers la dr. à la mine de crayon

(pet. salissures). Sous passe-partout, vitre et cadre de bois doré (non décadré).

300 / 400 €

1. Maria Boodschap I. L’annonce à Marie I. 11,7 x 16, 2 cm, signée dans le

cuivre en haut à g. : 3 épreuves en 2/2 état, toutes avec mention ms. au crayon

graphite sous la cuvette : «Ets Jakob Smits 1911. Gedrukt A.Derkzen van

Angeren 1948».— 2. Maria Boodschap II. L’annonce à Marie II. 12 x 15,4 cm.

Pas d’état.— 3. De visitatie. La visite. 140 x 183 mm, signée dans la pl. sur le mur

de la chaumière : 2 épr. justifiées 20/30 et 28/30.— 4. Christus predikend in de

schuur. Le Christ priant dans la grange. 26,8 x 35,7 cm. 3/3 état, justif. 10/30.—

5. Achterbos. Entrée de village avec église et arbre. 65 x 9,8 cm. 2/2 état.

Réf. Pas, Jakob Smits etser & lithograaf. Pandora, 1997, n° 14, 15, 16 (ne signale

pas d’états ni de justification), 23 (id.) et 47.

514

SPILLIAERT, Léon - Plaisirs d’hiver. Dix lithographies

originales dessinées par L. Spilliaert. Bruxelles, L’Art décoratif C.

Dangotte, 1918.

In-4° : bifolio de texte; 10 pl. En ff., sous chemise à rabats illustrée d’édition

(griffes sur le titre).

700 / 900 €

Réalisé pour la revue «Au jardin de l’inutile» (Paris, 1920) et présenté sous

pochette titrée «Le Bouquet. Gravure sur bois [sic] en cinq teintes sur papier de

chine par Edgard Tytgat» (conservée et collée au verso du cadre).

Réf. Taillaert 43.

516

VAES, Walter - 8 eaux-fortes : panoramas de villes (dont la grande

vue de Nieuwpoort) et bateaux.

Sur papier vélin ou vergé à bonnes marges. Retenues par les bords sup.

(traces de pap. collant), sous passe-partout

200 / 350 €

Vignette lithogr. sur le titre de la chemise et 10 lithogr. sur japon (5 en noir et 5 en

couleurs). Un des 100 de tête sur japon (n° 17 signé par l’artiste), le tirage des ex.

sur vélin n’étant pas connu. De la «Collection du Petit artiste».

1. Nieuwpoort-Stad. 1908. 20,3 x 54,7 cm, vélin. Réf. Lebeer n° 130.— 2. Veere.

Port & paysage environnant. 12 x 18,3 cm, simili-japon; signée, titrée par une

autre main dans la marge inf. dr.— 3. Panorama avec village et église sur la dr.

et ville dans le fond à g. 9,2 x 16 cm, vergé; signée.— 4. Village avec églises à

double clocher. 12,5 x 14,7 cm, vergé avec cachet de la Soc. des Aquafortistes

belges; non signée.— 5. Chaumière avec personnages imaginaires à l’avantplan.

12,5 x 17,7 cm, vergé avec cachet sec K.v.H.; non signée.— 6. Le bassin de

radoub, Ostende/ Herstelzaat, Oostende. [1904]. 7,4 x 9,5 cm, simili-japon à

grandes marges (32,5 x 50 cm); signée.— 7. Sloops au port. [1907]. 13,8 x 16 cm,

simili-japon à pet. marges; signée. Réf. Lebeer n° 114.— 8. Bassin avec voiliers.

6,8 x 11 cm, simili-japon; signé (bord sup. abîmé).



517

VAES, Walter - 5 etchings and 2 litho.

Etchings, laid or vellum paper (unless specific mention), some with wide

margins. Stuck (traces of sticky paper and/or thumbtrack) under passepartout.

400 / 500 €

519

VAN OFFEL, Stan - Alphabet macabre. (Préface par Grégoire

Le Roy). Bruxelles, Galerie Charlet, 10 avril 1925.

In-4° : [2] ff., 24 pl., [1 f.]. En ff. Sous chemise à rabats d’éd. (fendue ou abîmée aux

pliures, trace de doigt sur les plats).

400 / 600 €

1. In San-Giorgio-dei-Greci, Venice. Drypoint, thin China paper, signed. Ref.

Lebeer 128.— 2. Memory of a church in Spain. Simili-Japan paper, signed. Ref.

Lebeer 126.— 3. Sotto portico, with a portrait of Whistler. Ref. Lebeer 47.— 4.

Barrels in a courtyard. 22,5 x 15 cm, laid paper with wide margins (browned),

signed in plate.— 5. Espalier trees, houses in the background. 14 x 18 cm, signed

in plate.— 6-7. Skaters on ice. Lithogr., black, 21 x 33 cm, signed. 2 copies: one

with very wide margins (43,5 x 54 cm), the other very drawing-like. (7 pcs)

518

VAES, Walter - Portrait of Rembrandt Bugatti. S.d.

Drypoint, 37 x 34,5 cm, Japan paper 53,5 x 43 cm, signed in graphite pencil lower

right (folds at edges).

800 / 900 €

Tirage posthume, Van Offel (Anvers 1885-1924 Bruxelles) étant décédé à

39 ans. Complet des 24 planches figurant une danse macabre, de «Acteur» à

«Zélatrice» en passant par «Ivrogne» ou «Poète». Tirage à 250 ex., un des 50 de

tête sur japon (n° 19 dont toutes les planches ont été enrichies de dessins de

squelettes à la mine de graphite, dans les marges ou le sujet (seul le dessin de la

lettre X, «Anonyme», est monogrammé).

520

VAN OFFEL, Stan - Thyl Uylenspieghel. Huit lithographies.

Bruxelles, Paelman, s.d.

In-4, en ff. (lég. brunies, souillure). Couverture grise imprimée (fendue au dos,

souillée & effrangée).

150 / 200 €

Rembrandt Bugatti (Milan 1884-1916 Paris) was the son of Carlo, the decorative

arts artist, and the younger brother of Ettore, founder of the Bugatti brand.

Enchanted by the animal world, he moved from Paris to Antwerp where the

management of the zoo there put a workshop at his disposal. During WWI he

volunteered as stretcher-bearer for paramedical work at a military hospital

in Antwerp together with his friend Vaes but then caught tuberculosis. The

experience of war triggered in Bugatti the onset of depression, aggravated by

financial problems, which eventually caused him to commit suicide by gassing

himself on 8 January 1916 in Paris, aged 31 years old.

8 lithographies en noir, numérotées et signées par l’artiste. Tirage à 60 ex.

num. (num. 28). Par S. Van Offel (Anvers 1885-Bruxelles 1924), dessinateur,

illustrateur, frère d’Edmond.



Unrecorded

521

VAN RYSSELBERGHE, Théo ? - Tête d’enfant aux boucles

blondes et noeud dans les cheveux, de face.

Pointe sèche, encre brun-noir, 24 x 20 cm, papier vélin 25 x 32 cm;

monogrammée VR en bas à dr. et justifiée à g. XIV/XXX (piqûres, surtout

dans les marges, marge sup. abîmée avec manque dû à un arrachage du

papier sur ancien support, bord sup. de l’estampe déteint et bord inf.

bruni sous le champ sur 1 cm.) Sous passe-partout, vitre et cadre de bois

doré (décadrée).

100 / 200 €

Non répertoriée. Le monogramme et la justification ont été inscrits à la mine

de graphite d’une main faible. Feltkamp reproduit, dans la partie des oeuvres

non attribuées à Van Rysselberghe, un pastel au sujet identique, 53 x 28 cm,

monogrammé, daté 1899, dédicacé à Mme Ch. Jacques Meunier. Notre gravure,

proche de ce dessin, est inversée par rapport au pastel (noeud à dr. pour le pastel,

à g. sur notre dessin). Feltkamp suggère de la comparer à un pastel du peintre

Jean Vanden Eeckhoudt (1875-1946), daté 1906 et montrant un jeune enfant

de 3/4. Nous ne décelons pas vraiment de ressemblance entre cet enfant et celui

de notre gravure, contrairement à celui qui est assis sur les genoux de sa mère,

dans le tableau de Van Rysselberghe «Madame [Henry] van de Velde et ses

trois enfants», ou aux deux compositions que Van Rysselberghe fit en 1915 de la

petite Juliette Goldner-Max âgée de 5 ans.

Réf. Feltkamp p. 522, n° 167 (grav. à l’attribution rejetée par Feltkamp), p. 409

(Juliette, fusain, 45 x 33 cm) et p. 411 (Juliette, huile sur toile, 124 x 86 cm). -

Hoozée; Lauwaert - Theo Van Rysselberghe neo-impressionist. Anvers, Pandora,

cat. d’expo, Gand, 1993, p. 122, ill. 59 (toile figurant Mme v.d.Velde) et p. 161, n°

98 (étude pout cette toile). - Johanna Ruyts-Van Rillaer, Jean Vanden Eeckhoudt

1875-1946. Catalogue de l’oeuvre établie sur les données fournies par Jean-Pierre

Vanden Eeckhoudt. Tielt, Lannoo, 1990, p. 158, n° 06-1, avec reprod.

522

VAN RYSSELBERGHE, Theo - Le café-concert, Lizzie Aubrey.

1897.

Etching, 25 x 30 cm (plate), Japan paper, signed in lower margin with monogram

in conte crayon: «VR» in square and «épreuve d’essai». Later addition in graphite

«Bon à tirer» (some brown stains in upper land lower margins not affexting the

image). Under mod. frame (not studied outside frame).

2.000 / 2.500 €

Exceptional proof impression of the second state (of 2). One of Van

Rysselberghe’s most enticing etchings depicting the Parisian Fin-de-Siècle

night-life.

Ref. R. Feltkamp, Théo van Rysselberghe 1862-1926 : monographie et catalogue

raisonné, Bruxelles, 2003, E.1897-006, pp. 465-466.

Prov. Doctor Victor Conrad, professor at the Université libre de Bruxelles, owner

of romantic, modern and Japanese prints (not in Lugt).

523

Veduta of Florence Duomo. 1st half 19th c.

Litho with gouache and watercolour, 56,5 x 73 cm, wide margins, thick prepared

paper (paper in upper margin torn without loss to image, some sl. folds in lower

margin). Loose sheet.

300 / 400 €

A hand-coloured litho with a romantic view of the choir of Sta Maria del Fiore in

Florence, The Baptistery and Giotto’s Campanile.

522



524

VUILLARD, Édouard - Van Rysselberghe. [C. 1945 ?].

Eau-forte et aquatinte, 10 x 14 cm, vergé d’Ingres 24 x 31 cm, non signée. Retenue

par le bord sup. sous passe-partout.

80 / 100 €

526

WOUTERS, Rik - The shop. [1911].

Etching, 16 x 21 cm, Japan paper, signed in plate on the window shop. Numb.

4/52 lower right, stamp (mask) lower left (traces of sticky paper around the engr.).

Pasted by upper edge under passe-partout.

400 / 500 €

Pas d’état. Qqs épreuves d’essai parurent dans «Le Tombeau d’Édouard

Vuillard» de Jean Giraudoux publié par Daragnès en 1944. Dans le tirage

définitif, postérieur (1er tirage : c. 1898), les épreuves sont beaucoup plus pâles.

Portrait de VR, mi-corps de profil gauche, vêtu d’un costume à carreaux.

Réf. Roger-Marx 61.

525

WOUTERS, Rik - Carnival at Bosvoorde. 1911.

Etching and dry-point, 20 x 25 cm, Japan paper, signed and dated in plate lower

right. Numb. 5/52 lower right, stamp (mask) lower left. Stuck by upper edge


400 / 500 €

From the «Album Stols»: in 1927, Nel Wouters, realising that few copies of her

husband’s work existed, decided to make posthumous prints using the coppers

plates she possessed. Fifty-two albums with 30 engravings on Japan paper were

published, all with a stamp with Nel’s face (called «stamp with the mask»). No

states known.

Ref. Vanruysseveldt 24 and p. 20.

Prov. Doctor Victor Conrad, professor at the Université libre de Bruxelles,

collector of romantic, modern and Japanese prints (not in Lugt).

527

ZORN, Anders - «Le Musicien de Village». Paris, Gazette des Beaux-

Arts, 1904.

Etching, 26,6 x 17,2, laid paper, unsigned, wide margins, with silky paper of the

«Gazette des Beaux-Arts». Loose sheet.

120 / 150 €

From the «Album Stols»: in 1927, Nel Wouters, realising that few copies of her

husband’s work existed, decided to make posthumous prints using the coppers

plates she possessed. Fifty-two albums with 30 engravings on Japan paper were

published, all with a stamp with Nel’s face (called «stamp with the mask»). No

states known.

Ref. Vanruysseveldt 16 and p. 20.

Ref. Delteil 185. - Asplund 186. - Hjert & Hjert 201.

528

5 grandes gravures.

Retenues par les bords sup. sous passe-partout.

250 / 400 €

1-2. Steinlen, Th. A. - Mur de têtes coupées. Lithogr., 43 x 32 cm, vélin, just.

30/30 (retirage), signée dans la pl. (bords brunis).— Verdunois à la gare de l’Est

(avec chien en remarque sous le TC, en bas à g.). Lithogr., japon 36,8 x 55,7 cm,

justif. 49/100, signée dans la pl. et au crayon noir en bas à g.— 3. Tissot, James

- The Departure. Eau-forte, signée et datée 1881 dans la pl., légende impr. en

anglais dans le bas (brunie).— 4-5. Renouard, Paul - 2 gravures d’une série sur

la guerre, 58 x 42,5 cm, vergé, signées en bas à dr. (bords brunis).


Affiches – Affiches

Affiches

Affiches

529

CASSIERS, Henri - Exposition universelle/ Et internationale de/

Bruxelles avril-novembre 1910. Bruxelles, Imp. J.E. Goossens, [1910].

Chromolith., vélin 125,5 x 98 cm ; signée dans la partie inf. g. Entoilée. Belle

condition.

350 / 450 €

Belle affiche très animée et colorée, existant en variantes de texte et de format. C’est

Cassiers qui remporta le concours lancé par le comité de l’Exposition universelle, son

affiche devenant aussitôt le principal visuel de l’événement. «L’artiste a combiné

l’aspect festif de l’exposition à l’attraction touristique que constitue la ville de

Bruxelles. Un zeppelin flotte au dessus de la Grand Place en direction des palais

de l’exposition que l’on devine à l’horizon [...]» (Scheerlinck). L’expo universelle de

1910 se tint au Solbosch à Ixelles, et connut un grand succès malgré un malheureux

incendie qui détruisit une partie des installations, aussitôt reconstruites.

Réf. Scheerlinck in «Henri Cassiers 1858-1944». Cat. d’expo, Anvers, 1994, pp.

71 et 152, n. 41.

529

530

CASSIERS, Henri - De Kempenaar / Gezondheidslikeur /

Jacques Neefs/ 7, Keizer straat Antwerpen. Bruxelles, O. De Rycker

& Mendel, c. 1905 ?.

Chromolithographie, 142 x 94 cm (marges bl. comprises), signée «d’après Cassiers»

en bas à dr., mention d’imprimeur en bas à g., 5 timbres d’affiche affranchis en bas

à dr. (qqs pet. déchirures marg., entoilée sur toile bise).

120 / 150 €

Réf. Scheerlinck in «Henri Cassiers 1858-1944». Cat. d’expo, Anvers, 1994,

p. 153, n° 27; ill. p. 86, n° 80 (signale 3 formats : 81 x 50 cm avec mention

d’imprimeur au centre en bas, 150 x 100 cm et 192 x 116,5 cm).

531

COMBAZ, Gisbert - Maison d’Art/ La Toison d’or/ Bruxelles/

Argo/ 56 avenue de la Toison d’or. Liège, Aug. Bénard, [1896].

Chromolith. sur 3 feuilles, vélin 199 x 104 cm ; signée dans la partie g. ; timbres

fiscaux au cachet de Bénard daté 27/9/1896 en bas à dr. Doublée de fin japon

(plis, parfois cassants, qqs manques marginaux ne dépassant pas le bord externe

vert olive du motif).

5.000 / 7.000 €

Très rare affiche de grand format en gris, orange, bleu et vert, créée par l’artiste

(1869-1941) pour la Maison d’Art, galerie ouverte par le juriste et amateur

d’art Edmond Picard en décembre 1894. «Combaz, taking inspiration from

the gallery’s location on the Avenue de la Toison d’or («The Golden Fleece»),

depicted the sea-faring Argo, the ship carrying Jason and the Argonauts on their

quest for the Golden Fleece, sailing into the distance» (Block). On connaît de ce

motif une aquarelle préparatoire et plusieurs versions dont la nôtre, exposée à

Hambourg en 1896, est la plus grande et la plus rare.

Réf. J. Block, Gisbert Combaz Fin de siècle Artist, p. 53 avec reprod. (fig. 63) et

p. 124, 5.

530 531 (Detail)




532 (Detail)

533



Very rare Art Nouveau poster

532

DIERICKX, Omer - Echidna/ Société anonyme pour/ la

fabrication de/ vélocipèdes/ automobiles/ machines à coudre [...]

Louvain. Bruxelles, Pepermans & Merilean, 1898.

Chromolith. sur 2 feuilles, partie sup. 71,5 x 108,5 cm, partie inf. 107 x 74,5

cm ; signée et datée dans la partie inf. dr. Doublée de fin japon (plis, déchirures

anciennes, qqs défauts marg., etc.).

3.500 / 4.500 €

Très rare et très grande affiche Art Nouveau dont nous n’avons pu repérer un

autre exemplaire. Elle figure un personnage mi-femme mi-serpent dans la

partie sup., la partie inf. étant occupée par le lettrage typique du graphisme en

coup de fouet de l’époque. Créée par l’artiste pour la firme louvaniste Echidna

dont nous n’avons pu trouver trace. Curieuse iconographie, Echidna étant une

figure des mythologies grecque et scythe, qui engendra de nombreux monstres.

O. Dierickx (Bruxelles 1862-1939) fut un peintre de portrait mais surtout un

décorateur ; cofondateur de «Pour l’Art» et des «Salons de l’Art Idéaliste», il orna

les plafonds des maisons communales de Bruxelles et Saint-Gilles et exécuta des

panneaux pour le Musée de Tervuren.

533

GAWTHORN, Henry George - Brighton/ Free guide from

municipal enquiry bureau, Brighton/ Frequent S.R. expresses 1

hour from London. London, Waterlow & Sons Ltd, Southern Railway,

1930.

Chromolith., 100,5 x 126 cm; signed at left lower part. Mounted on cloth (a few

faint cracks). Good condition.

1.000 / 1.500 €

Attractive poster advertising railway travel to Brighton, picturing elegant

people walking along or resting on the beach. Fresh and vivid colours, cheerful

atmosphere. By the British painter H.G. Gawthorn (1879-1941) who designed

several other tourist posters.

From the renowned collection Wittamer-Decamp

534

LEMMEN, Georges - [La Libre Esthétique, 1913]. Bruxelles, Imp.

Monnom, [1913].

Lithogr. au pinceau et grattoir, 50,5 x 36 cm, vélin 61,5 x 46 cm; signée au cachet

monogr. dans le coin inf. dr. Entoilage ancien (pourtour des marges plié sur qqs cm,

très lég. brunie, déchir. comblée touchant le motif dans la partie inf. dr.).

350 / 450 €

Affiche pour la 20e exposition de la Libre Esthétique. Très rare 1er état (sur

2), en 3 couleurs (sur 4) i.e. jaune, vert clair remplaçant le gris et ocre havane

remplaçant le brun, avant le texte mais avec la mention d’imprimeur.

Réf. Cardon 71 répertorie 1 seul ex. de cet état. - Cp. Y. Oostens-Wittamer, Art

nouveau, affiches belges de la collection Wittamer-Decamps, Varsovie, juin

1973, n. 67.

Prov. Louis Wittamer-Decamps, possesseur de l’une des plus emblématiques

collections belges d’affiches Art Nouveau. Propriétaire d’une maison de haute

couture, il racheta en 1957 l’ancien hôtel Solvay construit par Victor Horta,

avenue Louise, pour y installer ses ateliers (cachet humide, monogr. et num.

«Coll. 1022» au crayon au verso).

535

LEMMEN, Georges - La Libre/ Esthétique/ 9 mars/ 14 avril.

Bruxelles, Imp. Monnom, 1912.

Lithogr. au pinceau, 51 x 36,5 cm ; vélin 59,5 x 44,5 cm ; monogr. et datée dans

la pierre, mention de repérage «Bleu» dans la marge sup. Entoilée (plis centraux, 2

manques marg. à dr.). Jolie pièce à grandes marges.

350 / 450 €

Affiche pour le 19e salon de La Libre Esthétique en jaune, bleu vert et orange.

Ce fut le dernier auquel participa G. Lemmen ; cependant, il composa encore les

affiches des expos de 1913 et 1914.

Réf. Cardon 70.



536

MAGRITTE, René - Primevère. Bruxelles, Lith. Fuytynck, Publicité

Meunier, 1926.

Chromolith., 124 x 84,5 cm ; signée et datée dans la partie inf. dr. (qqs rouss. dans

la partie inf., qqs défauts marg. avec une déchirure sans manque plus prononcée

dans la partie inf., bords localement renforcés au verso).

4.000 / 5.000 €

Grande affiche en vert, rouge et bleu, les autres couleurs étant obtenues par

superposition. «Primevère est le nom de scène de Marie-Louise Van Emelen,

artiste de revue très à la mode dans les années vingt et trente».

Réf. Schwilden, Magritte livre l’image, 63.

537

D’après MAGRITTE, René - 8 affiches d’expositions.

Formats divers (plis, froissements, qqs renforts marg., etc.).

100 / 150 €

1. Paris, Grand Palais, 3/2-8/4/1972. - 2. Bruxelles, Palais des Beaux-Arts,

27/10-31/12/1978. - 3. Bruxelles, Musées royaux des Beaux-Arts, 24/9-

5/12/1982. - 4. Paris, Isy Brachot, 16/4-10/7/1986. - 5. Saint-Paul, Fondation

Maeght, 5/7-5/10 1986. - 6. Paris, Isy Brachot, 12/10/1988-7/1/1989. - 7-8.

Madrid, Fundación Juan March, 20/1-23/4/1989, 2 pcs illustrées différemment.

538

Maîtres de l’Affiche. [Paris, Imprimerie Chaix, 1896-1900].

4 chromolithos, 39 x 29 cm, vellum paper, official blind stamp in bottom right

corner (sl. age-toned). Loose sheets.

200 / 300 €

539

«Maîtres de l'Affiche» : 11 planches.

Chromolithographies, 28,7 x 39,7 cm, sur papier vélin, numérotation

dans le coin infér. g., cachet sec de l’imprimeur dans le coin inf. dr. (pli à

1 pl. et petit manque au coin à 1 autre).

180 / 250 €

Par Chéret, H. Evenepoel, O. Fischer, C. Lucas, L. Métivet, A. de Riquer, Steinlen

et Tiskem von Neuberta. Planches numéros : 22, 34, 58, 64, 68, 100, 116, 137 (2

épreuves) et 155 (id.).

Joint : 2 sujets par A. Willette, lithographies en noir, non numérotées. (13 pcs)

540

MARCKS, Gerhard - Gerhard Marcks zum achtzigsten

Geburtstag. Berlin, Galerie Nierendorf, 1969.

Woodcut, vellum paper, 70 x 48 cm (sm. tear in bl. top margin).

80 / 100 €

Original poster for the exhibition for the 80th birthday of the German sculptor

G. Marcks (1889-1981). With an original woodcut of his work «La Farucca, II»,

44 x 42,5 cm.

541

MUNCH, Edvard - Theater program: Jean Gabriel Borkman

(Ibsen mit Leuchtturm). 1897.

Lithograph, 20 x 31,5 cm, wove paper 28 x 38 cm; signed in the stone, marg.

printed text (marg. tears, single small marg. lack of paper, corners sl. defect. with

traces of sellotape).

600 / 800 €

1. «7ième Exposision du Salon des 100», pl. no. 15. - 2. A. Crespin & Ed. Duyck,

«Spa. Ferme de Frahinfaz», pl. no. 28. - 3. Jaspar, «Ville de Liège. Concours

international de Chant d’ensemble», pl. no. 59. - 4. Roedel, «Moulin de la

Galette», pl. no. 75.

Rare small poster published in «L’Art et la Scène», announcing the play «John

Gabriel Borkman», written in 1896, by the Norwegian playwright Henrik

Ibsen. Here performed by the Lugné-Poe’s Théâtre de l’Oeuvre, with Lugné-

Poe himself in the role of Borkman. This small poster is a portrait of Ibsen, also

published before the letterpress.

Ref. National Gallery of Art (= Woll 2001: 108, state 1/b). - Van Gogh Museum

(= Aitken 94, Eckert Boyer 62).

Joined: 3 other posters, large size (Exposition internationale [...] Lugano ill. by

Max Hunziker, 1956. - Chr. Rohlfs, 1959, - Pougny, 1961). (4 pcs)



536



From the renowned collection Wittamer-Decamp

542

PRIVAT-LIVEMONT, Henri - Absinthe/ Robette. Bruxelles,

Goffart lithographe, 1896.

Lithogr. en 5 couleurs, vélin 110,5 x 82,5 cm ; signée et datée dans la partie inf. dr.

Entoilage ancien (qqs légers plis, petit manque dans la partie sup. dr.).

1.500 / 1.700 €

Grande affiche publicitaire commandée à l’artiste par une des plus importantes

distilleries françaises de l’époque, Robette Petitjean et Cie, qui possédait aussi

une usine à Mons et dont les produits étaient très répandus. Tirage à 500 ex.

«Il s’agit sans conteste d’une des meilleures créations de Livemont, qui verse

même dans le symbolisme, et où la femme est presque sacralisée pour élever

l’alcool à vendre au rang de produit divin [...] La corrélation entre le produit et la

plante dont il est extrait est parfaite jusque dans le moindre détail, tant dans les

couleurs que dans les ornements décoratifs. Tout rappelle le sujet à exprimer :

l’absinthe» (autrefois surnommée «La fée verte», Schoonbroodt). Cette affiche

a figuré dans l’expo de Varsovie entièrement dévolue à la collection Wittamer.

Réf. Y. Oostens-Wittamer, Art nouveau, affiches belges [...] de la collection

Wittamer-Decamps, Varsovie, juin 1973, n. 75, avec reproduction. - B.

Schoonbroodt, Privat-Livemont, 2007, p. 92.

Prov. Louis Wittamer-Decamps, possesseur de l’une des plus emblématiques

collections belges d’affiches Art Nouveau. Propriétaire d’une maison de haute

couture, il racheta en 1957 l’ancien hôtel Solvay construit par Victor Horta,

avenue Louise, pour y installer ses ateliers (cachet humide monogrammé au

verso de l’affiche, monogramme et mention «266» mss au verso de la toile).

542

543

TERZI, Aleardo - Rome - 1911 Exposition/ internationale/

Art contemporain et rétrospectif - musique - Art dramatique/

Archéologie [...]. Bologne, Lit. E. Chappuis, [1911].

Chromolith., vélin 89 x 59,5 cm ; signée dans le coin sup. dr. Entoilée (pli central

assez marqué, qqs déchir. marg. sans manque, qqs lég. craquelures).

1.400 / 1.600 €

Jolie affiche Art Nouveau figurant 2 gracieuses jeunes femmes jouant de voiles

multicolores ; à leurs pieds, petites vues de monuments antiques et du siège de la

Chambre des députés (Palais Montecitorio) tout fraîchement reconstruit. Cette

importante exposition entendait commémorer le cinquantenaire de l’Unité

italienne. Exécutée par le peintre, dessinateur, illustrateur et affichiste italien A.

Terzi (Palermo 1870-Castelletto Ticino 1943), cette affiche existe en différentes

langues (italien, allemand, etc.).

Réf. Fanelli & Godoli II:226.

544

TOUSSAINT, Fernand - Café Jacqmotte/ Bruxelles. Bruxelles, O.

De Rycker, [1895].

Chromolith., vélin 115 x 90,5 cm ; signée dans la partie dr., discret cachet ancien

«Specimen pour collections» en bas à droite. Doublée (plis avec minimes manques

aux intersections, traces de restaurations anciennes au papier collant dont 2

touchant le motif au centre en haut et en bas).

4.500 / 6.000 €

Élégante composition Art Nouveau figurant une jeune femme sirotant une

tasse de café dont les volutes vaporeuses forment le mot «café». F. Toussaint

(Bruxelles 1873-1956) fut un peintre et aquarelliste belge, surtout apprécié

comme peintre de la beauté féminine ; il réalisa également qqs affiches.

543

544 (Detail)




545

TOUSSAINT, Fernand - Le Sillon. Bruxelles, O. De Rycker, [1895].

Chromolith., vélin 110,5 x 89,5 cm ; signée dans la partie dr. Doublée de fin

japon (plis centraux, marges lég. brunies avec petits défauts dont un manque plus

important dans la partie sup. gauche).

4.500 / 5.500 €

Belle affiche Art Nouveau créée par F. Toussaint (1873-1956) pour le groupe

artistique «Le Sillon», fondé à Bruxelles en 1893 par de jeunes artistes bruxellois.

Il participa aux expositions du groupe dès 1894. Cette rare affiche est mieux

connue par sa reproduction dans «Les Maîtres de l’affiche» (pl. 80).

547

VAN RYSSELBERGHE, Théo - N. Lembrée Avenue Louise 17/

Bruxelles. Bruxelles, Veuve Monnom, [1897].

Chromolith., 69,5 x 51,5 cm ; monogrammée dans la partie dr. (qqs petites

déchirures marg., min. plis angulaires). Montée sur fin japon. Belle condition.

1.600 / 1.800 €

546

VAN RYSSELBERGHE, Théo - La Libre/ Esthétique/ Arts

graphiques/ & Arts plastiques. Concerts et conférences. Bruxelles,

Vve Monnom, [1896].

Chromolith., vélin 85 x 66 cm (rognée, normalement ± 100 x 71 cm) ; monogr.

dans la partie inf. g. Doublée de fin papier (plusieurs déchir. sans manque, qqs

manques repeints au pourtour, un petit manque touchant la robe de la femme à

g.). Condition moyenne.

1.000 / 1.200 €

Célébrissime affichette pour un marchand de gravures et d’encadrements d’art.

Réf. Theo Van Rysselberghe neo-impressionist. Anvers, Pandora, cat. d’expo,

Gand, 1993, n. 121 avec reproduction p. 177.

État le plus communément rencontré c.à.d. avant la lettre et avec un petit voilier

en remarque dans le coin inf. g. pour cette belle affiche réalisée pour le 3e salon

de La Libre Esthétique. Il existe au moins un ex. avec la lettre et sans le voilier

(cf. Affiche Art Nouveau, collection Wittamer, Paris, Piasa, 17/10/2016, n. 131 ; à

noter que le collectionneur possédait les 2 états de cette affiche, cf. Y. Oostens-

Wittamer, Art Nouveau, affiches belges de la collection L. Wittamer-Decamps,

Varsovie, juin 1973, n. 132).

Réf. Theo Van Rysselberghe neo-impressionist. Anvers, Pandora, cat. d’expo,

Gand, 1993, n. 122 avec reproduction p. 178.



Tekeningen & schilderijen 20ste eeuw – Dessins & peintures XX e s.

548


Dessins & peintures XX e s. – Tekeningen & schilderijen 20ste eeuw

Tekeningen & schilderijen 20ste eeuw

Dessins & peintures XX e s.

Exceptional album containing a drawing by

James Ensor and a lavis by Léon Spilliaert

548

Album amicorum d’Elsa Steyns contenant 18 dessins ou

aquarelles dont un dessin de James Ensor et un lavis de Léon

Spilliaert. 1908-1941.

20 x 16 cm : [130] ff., divers papiers, blanc, gris, rose, grainé..., nombreux ff.

vierges. Veau glacé naturel (qqs griffes), plat sup. titré «Poésie», bordures ornées

dorées, dos lisse (frotté).

18.000 / 25.000 €

dominant une foule de personnages défilant avec des calicots légendés «J’ai

trop mal/ Trop faim/ Trop froid/ Trop trop chaud/ J’ai trop soif/ J’ai trop bu». Au

verso : Nature morte. Croquis aux crayons de couleur, ± 16 x 14 cm ; signé au

crayon bleu. Nature morte composée d’un coquillage, une tasse et plusieurs pots

posés sur une table ou une cheminée.

«Carnet de poésie» offert à la jeune gantoise Elsa De Cavel c. 1908 et se

poursuivant de manière assez capricieuse jusqu’en 1941. Les mentions et dessins

ne se présentent pas par ordre chronologique, sauf les 1ers ff. qui concernent

les années de prime jeunesse d’Elsa, mais plutôt au gré de la fantaisie des

contributeurs. De la manière la plus traditionnelle, il contient des textes poétiques

ou philosophiques manuscrits en français, néerlandais ou anglais et s’ouvre sur un

poème d’E. Manuel recopié par la mère d’Elsa à l’intention de sa fille ; il se poursuit

par des contributions de sa marraine et de diverses amies, certaines datées Gand,

29/9/1908, 4/9/1908, 8/11/1908, 3/10/1910..., et de deux de ses professseurs,

datées 9/2 et 21/2/1911. Le 28/5/1914, Elsa De Cavel épouse à Gand Désiré Steyns,

un professeur de latin qui deviendra une figure de la vie culturelle d’Ostende. Il fut

e.a. cofondateur du «Club du cinéma» d’Ostende créé en 1928 par Henri Storck,

dont Ensor, Spilliaert et Permeke étaient membres ; il fut aussi directeur artistique

du Kursaal d’Ostende. C’est probablement à ce titre que le couple Steyns eut

l’occasion de côtoyer de nombreux artistes. Elsa Steyns connut une carrière de

cantatrice. Elle semble avoir noué avec Ensor une réelle amitié car l’artiste réalisa

son portrait au pastel en 1933 (De Nicolay-Chayette-Cheval-Laurin-Guilloux-

Artus, 2002, n. 152), lui dédicaça de nombreuses gravures et alla même jusqu’à lui

offrir sa palette décorée au verso d’un portrait fantaisiste («Une palette chargée de

couleurs», 1939, Sotheby’s, 6/2/2008, n. 479). Nous avons :

James Ensor (1860-1949) - «La marche des calicots». Dessin aux crayons de

couleurs, vélin blanc 15 x 20 cm : signé au crayon brun dans la partie g. (minime

déchirure sans manque dans la partie inf.). Amusant dessin bien caractéristique

de la verve fantaisiste de l’artiste, figurant un soleil flanqué de 2 squelettes

Léon Spilliaert (1881-1946) - Couple en costume ancien. 1932. Lavis d’encre gris

noir, vélin grainé 15 x 20 cm ; signé et daté au pinceau «1 avril 1932». Couple en

buste, la tête de la femme câlinement inclinée sur l’épaule de l’homme perruqué.

Le carnet contient encore 16 autres dessins parmi lesquels on note :

Désiré Steyns - Portrait de jeune fille. 1918. Crayon noir, papier gris ; signé et

daté. Jolie fille aux grands yeux noirs, un portrait d’Elsa ? A noter aussi, copié

par le même, un poème d’amour d’Auguste Dorchain, signé «Désiré ton mari qui

t’aime» et daté Ostende, 26/4/1917.

Ludovic Janssens (1888-1954) - «Quelle rencontre». S.d. Crayons noir et de

couleur, vélin blanc ; signé, titré et dédicacé. Amusante caricature figurant une

improbable rencontre entre Don Quichotte et Tartarin de Tarascon.

Oscar Coddron (1881-1960) - Homme au bâton. [1936]. Encre de Chine, vélin

rose ; signée, légendée «fragment de «Fenaison»» et dédicacée «En souvenir de

l’exposition du groupe gantois au Kursaal d’Ostende 1936».

Marcel de Lincé (1886-1957) - Paysage. 1935. Lavis d’encre de Chine, papier

grainé blanc ; signé et daté.

André Comhaire (1910-1998) - Fillette portant un enfant. S.d. Pinceau et lavis

d’encre de Chine, vélin blanc ; signé.

Jean Müller (1904-1977) - Coin de ville. 1935. Encre de Chine, vélin blanc ; signée

et datée «Liège 11 septembre 1935».

Alfred Defize (1873-1944) - Intérieur. S.d. Crayons de couleur, vélin blanc

contrecollé ; signé.

Avec aussi un fusain signé «Fern. Lepaffe» [?], dédicacé et daté Heysel

19/11/1941, - un dessin non signé, - une aquarelle signée «N. De Vos» et datée

22/12/1946, - une aquarelle signée [sign. non déchiffrée] datée 1938, - un fusain

signé «Bruynseraede» et daté 1938, - 2 dessins signés «R. De Coninck» dont 1

dédicacé à «Mevrouw Steyns», - 1 dessin au crayons de couleurs signé [sign.

non identifiée] dédicacé, - un dessin au trait signé «F. Stevens». Et encore, 2

inscriptions avec portée musicale dont une par Émile de Vlieger (1877-1960),

violoncelliste et directeur du Conservatoire d’Ostende où Elsa Steyns suivit des

cours de chant en 1924-1925.



549

ALECHINSKY, Pierre - Le scaphandrier («Pour Freddy de

Vree»). 1977.

Dessin, crayon rouge, ± 16 x 16 cm pour le sujet, signé, daté, dédicacé.

450 / 500 €

551

CALBET, Antoine - Couple en habits du XVIIIe s., assis devant

la statue d’un faune de 3/4 dos jouant de la flûte. S.d.

Dessin, craie blanche et fusain, 31,4 x 48,4 cm (visible), papier brun clair, signé en

bas à dr. Sous passe-partout, vitre et cadre de bois (non décadré).

300 / 450 €

Dessin à pleine page, signé et daté 5.10.1977 sur la garde blanche de «Peintures

et écrits» d’Alechinsky, avec une préface originale d’Eugène Ionesco, paru à

Paris, Yves Rivière, 1977, in-4° rel. d’éd.

Dédicacé «Pour Freddy de Vree/ micalement / lechinsky/ tobre 1977» [sic !].

De Vree (Anvers 1939-2004) fut poète, critique littéraire et essayiste bilingue,

rédacteur de différentes revues («Nul» et «De tafelronde»), animateur radio

(BRT3). En tant que critique d’art, il fut très proche des artistes de Cobra, plus

particulièrement Alechinsky et Dotremont.

550

ANTO CARTE - Le semeur. S.d.

Dessin, fusain et crayon graphite, 40 x 33 cm, papier, non signé (pli central

horizontal, salissures...).

400 / 600 €

Le thème de la statue au faune avec amants ou femme nue a été quelques fois

exploité par Calbet (1860-1942), parfois avec une connotation érotique.

552

CASSIERS, Henri - 6 croquis figurant des femmes. S.d.

Dessins, divers crayons noirs, sur 6 ff. de vélin ± 17/21 x 10/12 cm ; 4 monogr., 1

daté «29 juin». Montés par les coins sup. sous passe-partout (min. rouss. & piq.).

300 / 400 €

Étude pour «Le Semeur» qu'Anto (Antoine) Carte (Mons 1886-1954 Bruxelles)

déclina avec quelques variations en lithographie (tête du semeur inclinée vers la

droite) et peinture sur toile (vu de dos).

Prov. Albert Van Loock (Lugt 3751, au verso).

Feuilles extraites de carnets de croquis. Les 4 premières, monogr., sont des

études de femmes en costume local (hollandais ou flamand), les 2 dernières

sont proches de la caricature. Soit : 1. Tête de paysanne en bonnet. - 2. Deux

femmes et petites études de coiffes. - 3-4. Groupe de femmes en costume local.

- 5. Bourgeoise chapeautée et son chien, daté. - 6. Femme chapeautée de face

(qqs notes autogr. au verso).



553

CASSIERS, Henri - Chaumières dans les dunes. S.d.

Dessin, crayon gras noir, 18,8 x 23,2 cm, papier chiffon au recto, lisse au verso qui

porte des craquelures), monogrammé en bas à g. Sous passe-partout.

120 / 150 €

556

COUTURIER, Léon - 14 compositions. S.d.

Dessins, fusain, mine de graphite, crayon noir et/ou traits à l’encre de Chine, c.

25 x 35 cm, papier vélin pour la plupart, signés (8 avec prénom et nom, 2 avec

initiales) ou non, 4 légendés. Retenus par les bords sup. sous passe-partout.

200 / 300 €

554

CASSIERS, Henri - Coin de ville. S.d.

Dessin, crayon noir, vergé 20 x 16 cm ; signé dans la partie inf. g. Monté par 3

coins sous passe-partout (min. souill.).

150 / 250 €

Tour ou beffroi d’une ville à pignons dominant qqs maisons.

Joint, du même : «Veerhuis», s.d. Aquarelle, papier torchon 26 x 35 cm ; non

signée, identifiée au verso, titrée dans le sujet. Montée comme supra (qqs piq.).

Représentation d’un «veerhuis» ou estaminet qui servait de salle d’attente

aux clients désireux d’emprunter un «veerboot» ou ferry. Au verso, esquisse du

même motif. (2 pcs).

Divers (5) : «femme d’Ouessant»,- Port (d’Ouessant ?),- Assemblée autour

du crieur public (dans un village breton ?),- Arabe assis à l’entrée d’une tente,-

Arabe debout vêtu d’un burnous.— Sujets maritimes (6) : Pêcheur vérifiant une

coque de bateau,- Visage de jeune recrue de la marine nationale,- «Le maitre

coq donnant les rations aux chefs de plats [?]»,- Capitaine tenant un sextant et

marin prenant des notes,- Marins se battant, etc.— Sujets militaires (3) : Navire

de guerre (avec notes mss techniques),- Le repos des zouaves ou «halte dans les

hauts plateaux, souvenir du sud oranais, 1885»,- Réunion de militaires (pour la

distribution de courrier ?).

Peintre de sujets militaires et maritimes et, vers la fin de sa vie, du peuple des

pêcheurs, Couturier (Mâcon 1842-1935 Neuilly) illustra aussi plusieurs ouvrages

sur ces sujets et participa à l’illustration de sujets de presse.

557

DARDENNE, Léon - «Une blanche vaut deux noires. Santa Cruz

(Philippeville [Namur]), sept. 1900».

Aquarelle, 25 x 32,5 cm, papier vélin, titrée et signée vers le bas à dr. à la mine de

graphite (f. uniformément mais lég. brunie, traces de montage au verso).

200 / 250 €

555

CASSIERS, Henri - Monument équestre. S.d.

Aquarelle, vélin 23 x 16 cm ; signée au crayon dans le coin inf. g. Montée par le

bord sup. sous passe-partout.

100 / 150 €

Statue d’un guerrier à cheval posée sur un haut piédestal.



De 1898 à 1900, Dardenne (Bruxelles 1865-1912) voyagea au Congo avec

l’expédition de Charles Lemaire et en rapporta des centaines d’aquarelles. Celleci

figure une jeune Européenne se pavanant devant deux jeunes Congolaises

(une avec plateau dans la lèvre inf.), vêtues de pagnes en fibres de coco. L’artiste

fit partie du groupe «L’Essor» avec Lynen puis de «Pour l’art». Il ouvrit le cabaret

«Le Diable au corps» et publia un journal éponyme auquel participèrent Ensor,

Plisnier, Garnir, etc.

Prov. Albert Van Loock (Lugt 3751, au verso).

Joint : Benoit, Pierre-J. (Anvers 1782-1854) - Entourée d’une végétation

luxuriante, une jeune Créole assise se gratte le pied. Aquarelle, 19,5 x 25,3 cm,

papier vélin, signée en bas à g., titrée (illisible) et signée au verso. Benoit voyagea

au Surinam. Son récit de voyage fut publié en 1839 et ill. par Lauters et Madou

d’après les dessins qu’il prit sur place. Sous passe-partout. (2 pcs)

560

DUBOUT, Albert - Couple de skieurs. Scène humoristique. S.d.

Dessin, trait à l’encre de Chine, 23 x 30,5 cm à vue, papier vergé, signé en haut

à dr. (f. lég. bruni, papier collant au verso ayant sué au recto au bord inf., sur le

milieu des bords latéraux et par endroits au bord sup.). Sous passe-partout, vitre et

cadre de bois doré (non désencadré).

250 / 350 €

558

DE BRUYCKER, Jules - Artiste peignant - Schilderende

kunstenaar. S.d.

Dessin, fusain, 27,5 x 17,1 cm, papier brun, signé vers le bas à dr. Retenu par le

bord g. sous passe-partout.

400 / 600 €

561

EVENEPOEL, Henri - Man’s bust three-quarters turned, and

bearded man’s face in front. S.d.

Drawing, black stone, 20 x 13 cm, thin vellum paper (probably extracted from a

sketchbook), unsigned.

300 / 400 €

558 (Detail)

Le peintre aux cheveux noirs bouclés, vêtu d’un long tablier d’atelier, tient une

palette dans la main gauche et un pinceau dans la droite. Selon une note au

verso et sur le passe-partout, il s’agirait du «peintre Bertrand/ (Jos) ?/ à Gand».

559

DE BRUYCKER, Jules - Château des comtes à Gand. S.d.

Dessin, traits à la plume à l’encre de Chine sur léger lavis gris en fond, 21 x 32,4

cm au trait cernant le sujet, papier aquarelle 22 x 33,4 cm, signé à l’encre en bas à

g. (traces de montage au verso, légendé «Canal au pied du château des Comtes»).

Retenu par le bord sup. sous passe-partout.

800 / 1.000 €

Prov. MJ. De Mey (handwr. signature under 2 stamps: «Provenant de la

collection :» [From the collection] + «he» [i.e. Henri Evenepoel]. Ref. Evenepoel,

Crédit Communal, 1994, pp. 212-213. Generally these 2 stamps are followed by

the signature of Charles De Mey).



562

ISRAËLS, Isaac Lazarus - Four men and a woman gathered

around a coffee table with bottle (a man with his foot on the

table). C. 1900?

Drawing, charcoal, 47,3 x 60 cm, light brown laid paper, signed in charcoal lower

right (frayed edges, puncture marks on corners, two holes: in the costume of a

man left and in the signature, 3 cm tear upwards right).

1.500 / 2.000 €

564

JESPERS, Floris - Femme au bain. S.d.

Dessin, pinceau et encre de Chine, vergé Van Gelder 36,7 x 26 cm ; signé dans la

partie inf. droite (encre très pâlie, sign. quasi illisible). Sous passe-partout, verre et

cadre doré (non désencadré). Feuille brunie.

250 / 350 €

The Dutch painter Israëls (1865-1934) is associated with the Amsterdam

Impressionist movement. A lifelong friend of the painters George Hendrik

Breitner and Willem de Zwart, he often spent his summers with his father at

the Dutch seaside with guests such as Édouard Manet or Max Liebermann. In

1904, he moved to Paris and painted the Parisian way of life as well as circus

subjects and fashion houses. At the outbreak of the WW1, he lived in London

where he painted people riding horses and then returned to Holland where he

worked as a portrait painter: Mata Hari, Johanna van Gogh-Bonger (Van Gogh’s

sister-in-law), the physician Aletta Jacobs, etc. He travelled around the world

while continuing to paint.

563

ISRAËLS, Isaac Lazarus - Young woman in winter clothing,

dreaming in front of a window. C. 1910?

Drawing, charcoal, 25 x 35,8 cm, vellum paper, signed lower left. Stuck by upper

edge under passe-partout.

500 / 700 €

Femme dans sa baignoire. Esquisse au tracé hardi et pur, par le peintre,

aquarelliste et sculpteur Fl. Jespers (Borgerhout 1889-Anvers 1965).

565

LANNEAU, G. (?) - Vase avec roses. Début XXe s. ?

Aquarelle, 49 x 34 cm (visible), signée au pinceau en bas à g. (prénom difficile

à lire : G ?). Passe-partout, vitre, cadre de bois mouluré doré (non désencadrée).

100 / 180 €

A very similar study, but using pastel colours, with same attitude but different

hat is kept at the Gemeentehuis in Den Haag. Verso: sketch of a woman face.

Ref. Jozef en Isaac Israëls, vader & zoon. [Exhibition catalogue]. Den Haag,

2008-2009. Zwolle, Waanders, 2008, p. 87 (cp).



566

LEMMERS, Georges - Portrait de Odilon-Jean Périer à 15 ans.

1916.

Dessin, craie noire, crayons de couleur, petits rehauts de gouache blanche, vergé

teinté 36,5 x 35,5 cm ; signé, titré «Jean» et daté «2 Xbre 1916» dans le coin inf. dr.

(feuille lég. brunie). Sous passe-partout, verre et cadre (non désencadré).

400 / 500 €

568

MASEREEL, Frans - 23 croquis et 1 gouache. S.d.

Techniques, formats et papiers divers ; 9 monogrammés, qqs-uns avec légende ou

indication de coloris, 1 recto verso. Dont 17 montés par un bord sur ff. de support

réunis en 1 cahier. Les autres volants (qqs découpes irrégulières). Bonne condition

générale.

200 / 300 €

Joli portrait aux grands yeux limpides et aux cheveux blonds. Peut-être réalisé

dans l’atelier de l’artiste (rue de la Réforme à Ixelles) ou à l’Académie de Saint-

Josse car le jeune homme est vêtu d’une blouse et tient un fusain en main;

dans la partie droite, esquisse d’un buste. Touchant témoignage des jeunes

années du poète (1901-1928) par G. Lemmers (Anvers 1871-Lisbonne 1944),

peintre, pastelliste, aquarelliste et dessinateur de portraits, paysages, marines,

intérieurs, natures mortes..., professeur de dessin à l’Académie de Saint-Josse.

Prov. Famille Périer.

567

LYNEN, Amédée - «moisson». Homme en habit du XVIe s.

tenant une faux en main. 1884.

Aquarelle, rehauts de traits à l’encre de Chine, qqs traits de crayon graphite, 31 x 25

cm, papier à dessin, signée, datée et titrée dans le bas (trous de punaises dans les coins,

bords lég. salis, pliures centrales vert. et horiz.). Retenue par 3 coins sous passe-partout.

150 / 250 €

Ensemble de croquis au crayon, à la plume d’encre, au stylo-bille, au marqueur,

etc. et 1 gouache (fragment). Sujets : scènes d’intérieur ou d’extérieur, paysages,

hommes, femmes, etc. Avec e.a. 1 vue de Monte-Carlo, 1 buste du Christ à la

couronne d’épines, 3 pcs représentant des figures de jeu de cartes dont 1

légendée «Ulenspiegel», 1 p. légendée «L’homme commande aux machines pour

le bien-être de tous».

Joints à l’ensemble, 4 ff. autographes relatifs à des illustrations de «Jeunesse»,

«Les fleurs du mal» de Baudelaire et «Hamlet prince du Danemark» de

Shakespeare, 1 fragment d’enveloppe, 1 liste dactyl. des poèmes de Baudelaire,

1 f. imprimé et 1 cliché extrait de «La ville».

569 [Miniature - Maredret]

«Ego flos campi et liliu[m] convalliu[m]». Namur, Abbaye Ste

Scholastique Maredret, 8-12-1917.

Gouache et or avec lég. ciselures, 13 x 18 cm, papier vélin, datée dans le champ

vers le bas à g., adresse calligraphiée sous le champ en bas à dr. Sous vitre et cadre

de bois mouluré (non décadrée).

100 / 150 €

Joint : Tytgat, Médard (1871-1948) - «Marchand de volailles et primeurs». 1910.

Aquarelle, reprise au trait à l’encre de Chine pour le personnage, 28,5 x 20 cm,

papier crème, titrée en haut à dr., signée et datée en bas à dr. (2 pcs)

Prov. Albert Van Loock (Lugt 3752 pour le 1er desssin; Lugt 3751 pour le 2e).

Verset du Cantique de Salomon illustré d’une miniature (Jésus nouveau-né

couché sur la paille, tenant un lys en mains) avec bordure ouvragée. L’atelier de

miniatures de Maredret fut fondé en 1893 et perpétue encore ce savoir-faire.



570 [Miniature - Maredret]

LEMAIRE, Marie-Louise - Virgin and child. Maredret, 1954.

Gouache on vellum, written in black and red ink, gold leaf, 10,7 x 8 cm, signed.

Loose sheet.

200 / 250 €

572

OST, Alfred - Poor family. 1916.

Watercolour, vellum paper, 52 x 36 cm visible part; signed and dated «25/2/XVI»

in lower part. Framed under passe-partout (not studied outside frame).

200 / 300 €

(Detail)

A rare devotional miniature made as a remembrance to the second Communion

of Alexandre Emmanuel (1942-2009), prince of Belgium, at the royal palace of

Laeken on 10 June 1954. The miniature was made in the Abbey of Maredret,

which has been famous for its calligraphy workshop since the foundation of the

Benedictine abbey in 1893. At Maredret they try to recreate the old traditions

of Medieval miniature production. Between 1950 and 1970 sister Marie-Louise

Lemaire was the leading artist of this rediscovered art.

Ref. T. Coomans & J. De Maeyer (eds.), Renaissance de l’enluminure Médiévale:

Manuscrits et Enluminures belges du XIXe siècle et leurs contexte européen,

Leuven 2007, p. 305.

571

[OST, Alfred] - Steigerend paard en opgeschrikt koppel. S.d.

Gewassen tekening in chinese inkt, 29 x 37 cm; niet gesigneerd. Zorgvuldig

ingelijst in mooie vergulde houten lijst (niet uitgelijst).

200 / 300 €

Four members of a country family (the grandmother, the mother, a child and a

baby), visibly exhausted, are asleep in the open air. A reminder of or an allusion

to the numerous refugees of WWI? A. Ost (1884-1945) himself fled from Belgium

to the Netherlands in 1914. In Amsterdam, he executed many works and prints

in favour of charitable institutions for refugees or war prisoners.

573

PEISER, Kurt - Portrait de femme. S.d.

Aquarelle et traits à l’encre noire, 38 x 28 cm, papier vélin, signée en bas à dr.

(traces de montage au veso). Retenue par le bord sup. sous passe-partout.

300 / 400 €

Mooie tekeningen in de typische Ost-stijl, een steigerend paard voorstellende

met in de rechter benedenhoek een naakte man en vrouw, de armen ten

hemel geheven. De tekening is niet gesigneerd, maar mogelijk voorzien van

het monogram «D.G.» dat Ost gebruikte. Dit staat voor «Deo Gratias». Schilder,

lithograaf, maar vooral tekenaar, Ost (Zwijdrecht 1884-Antwerpen 1945) zag

een kunstenaar als een werktuig van God in dienst van de evenmens.



574

PICASSO, Pablo - Signature-dessin de Picasso avec tête de toros.

Vallauris, Ed. du Chêne, 1949.

In-4° : [14] pp., [71] ff. Demi-toile noire d’édit., plat sup. ill. (coupes et coiffes lég.

frottées, min. traces d’usage, sinon bon ex).

6.000 / 8.000 €

575

RANSON, Paul Élie - Femme tenant une lyre. 1907.

Pastel, craies de couleurs blanche, bleues et vertes, 69 x 80 cm, papier collé en

plein sur support de carton, titré («[illisible] d’armes»), signé (difficilement lisible)

et daté en lettres capitales en haut à dr. au pastel. Passe-partout, vitre, cadre de bois

mouluré gris mat (désencadré).

2.500 / 4.000 €

Sur fond bleu-vert fait de traits hachurés, une femme à la carnation laiteuse

et habillée d’un léger voile tient une lyre. Belle oeuvre symboliste de Ranson

(Limoges 1861-1909 Paris), un des membres fondateurs du mouvement

nabi en 1888. Il a travaillé comme peintre, graveur, décorateur de théâtre

et de théâtre de marionnettes, a pratiqué les arts décoratifs (papiers peints,

tapisseries, vitraux...) et comme tel a participé à des installations comportant

des réalisations de van de Velde et Tiffany.

Ex. enrichi sur le faux titre d’un dessin original au crayon bleu par Picasso,

signé et daté «Vallauris 1949» et sur la 1ère page d’une 2e signature au même

pastel. Intrigant et ingénieux dessin jouant avec les lignes, les chiffres et les

lettres, sûrement inspiré par l’une de ses sculptures en fil de fer, où l’on peut

imaginer une scène de tauromachie. C’est en 1948 que Picasso s’installa à

Vallauris où il demeura jusqu’en 1955. Édit. originale de cette monogr. par le

galeriste, collectionneur et marchand d’art D. Kahnweiler, influent promoteur

du cubisme. Belle ill. photogr. en n/bl figurant plus de 200 sculptures.

576

RASSENFOSSE, Armand - Couple saphique. S.d.

Dessin, crayon sanguine, vélin 27 x 19,3 cm ; cachet monogr. rouge dans le coin

inf. dr. Monté par le bord sup. sous passe-partout (min. souillures au bord sup.).

125 / 175 €

Croquis figurant 2 femmes nues, assises, enlacées.


(cachet monogr. au verso, Lugt 3753).



574



577

RASSENFOSSE, Armand - Feuille d’études. S.d.

Dessin, crayons noir et de couleur, légers rehauts d’aquarelle, vélin 32,5 x 29,5 cm ;

cachet monogr. dans le coin inf. dr. Monté par le bord sup. sous passe-partout.

300 / 400 €

579

RASSENFOSSE, Armand - Nu de dos. 1928.

Dessin, crayon noir et rehauts d’aquarelle, vélin 29 x 21 cm ; mention ms. «Ad» et

date au crayon, cachet monogr. dans le coin inf. dr. Monté par le bord sup. sous

passe-partout (pâles rousseurs).

250 / 350 €

5 études : femme nue de dos, trompettiste, jambe pliée et 2 têtes d’homme, l’un

blanc, l’autre noir.

Au verso : Deux personnages, s.d. Dessin, crayons noir et de couleur, légers

rehauts d’aquarelle. Personnages proches de la caricature, assis, conversant.



578

RASSENFOSSE, Armand - Maternité. S.d.

Dessin, crayons noir et rose, estompe, vergé 36 x 28 cm ; signé au crayon dans

la partie inf. dr. Monté par le bord sup. sous passe-partout (rousseurs, pourtour

bruni, verso fortement bruni).

150 / 200 €

Assise sur une chaise, draperie bleu pâle dans la partie dr.

Au recto : Jeune femme, s.d. Dessin, crayon aquarellé. Debout, vêtue de mauve

pâle.



580

RASSENFOSSE, Armand - Le tribun. S.d.

Dessin, crayon noir, très légers rehauts de rose, vélin 21,5 x 16,8 cm ; cachet

monogr. dans le coin inf. g. Monté par le bord sup. sur f. de support, sous passepartout.

150 / 200 €

Jolie pièce délicatement estompée, pour ce sujet cher à l’artiste liégeois.

Prov. J. Schuwie [?] selon une note ms. - Claude Van Loock, libraire, marchand

d’art, expert et éditeur bruxellois (cachet monogr. au verso, Lugt 3753).

Croquis proche de la caricature, figurant un orateur passionné, la bouche

démesurément béante, les bras tendus, accusateurs.

Au verso : Étude de personnages. S.d. Croquis, non signé. Homme agenouillé

et femme debout.





Nice recto verso drawing

581

RASSENFOSSE, Armand - Le voyeur. S.d.

Dessin, divers crayons noirs, rehauts de gouache blanche et de crayons gras de

couleur, vélin 23 x 16 cm ; cachet monogr. dans le coin inf. g. Monté par le bord

sup. sous passe-partout (min. déchir. sans manque dans la marge de dr.).

200 / 300 €

Une jeune femme achève de dévêtir sous l’oeil avide d’un client à la barbe blanche.

Au verso : Étude de personnages, s.d. Dessin, crayon noir avec très légers

rehauts de rose. Plaisante étude dont le personnage central est une femme les

poings aux hanches, riant à gorge déployée.



582

SMEERS, Frans - 2 compositions en couleurs.

Dessins, crayons de couleur. Retenus par les bords sup. sous passe-partout.

200 / 300 €

1. Jeune femme lisant dans son lit, couchée sur le flanc. Circa 1920. 27 x 36,5

cm, vélin crème, monogrammé (traces de montage aux bords). Prov. Albert Van

Loock (Lugt 3751).— 2. Fillette faisant ses devoirs, assise à une table. S.d. 31,5

x 21,5 cm, papier de croquis (doublé de vélin fort), signé en bas à g. (qqs pet.

taches). Prov. Galerie Giroux, bordereau d’achat pour «Le devoir», 16-12-1927,

n° 303 (étiq. au verso).

583

SMITS, Jakob - Malvina souriant ou Portrait de Mme Jakob

Smits. S.d.

Dessin, crayon sanguine, 25,5 x 21,7 cm, papier teinté, non signé, identification

selon une note ms. sur le passe-partout (qqs souill. aux coins). Retenu par les coins

sup. sous passe-partout.

300 / 400 €

Joint : Malvina. Lithogr. en noir, 36,5 x 27,5 cm. Extrait du «Supplément à La

ligue artistique du 16 août 1896», avec mention «Croquis de Jacob Smits».

Cachet des Arts & Sciences de Gand, 1895 dans le coin sup. Réf. Pas, Jakob

Smits etser & lithograaf. Pandora, 1997, Lith. 4. (2 pcs)

584

TYTGAT, Edgard - Sintra, Portugal. Vue cavalière sur le Palácio

Nacional. «26 octobre 1936».

Aquarelle, 33 x 49 cm (à vue), papier aquarelle, signée et datée en bas à g. Sous

passe-partout, vitre et cadre de bois mouluré doré (non décadré).

1.000 / 2.000 €

Tytgat (1879-1957) voyagea à quelques reprises et rapporta à chaque fois

des dessins, aquarelles, etc. En 1923 ce fut la Bavière et l’Autriche, en 1936 le

Portugal, suivi dans les années 1948-1950 par des voyages en Suisse et un séjour

en Italie.

584



585

VAES, Walter - 6 drawings. Most s.d.

Stuck or glued by edges (traces of sticky paper or/and thumbtack) under passepartout.

500 / 700 €

587

VAN AEL, Jules - Collectie van 44 pentekeningen en 1 ets. S.d.

Verschillende afmetingen, soms 2 op 1 blad, veelal eigenhandig getekend

onderaan. Mooi interessant lot.

250 / 300 €

1. Workers on scaffolding working on the restoration of a church tower. Line

drawing in black ink, lightly enhanced with white chalk, 16 x 11,8 cm, intentionally

burnished paper, monogrammed lower left.— 2. «S. Marco», Italy. Interior of the

church. Charcoal, 11,6 x 8,2 cm, titled and signed with initials lower mid. Verso:

Old woman seated.— 3. «Southampton, 1905». 12 x 8,4 cm, titled and signed

lower right.— 4. Dutch landscape. Black pen, 10,5 x 18 cm, laid paper; signed

in pencil; titled «Zeeland» on passe-partout.— 5. «Dinard», France. Black pencil,

9,5 x 15,5 cm, signed with initials and titled.— 6. Woman with hat, facing right,

hands crossed on her chest. Black stone, 22,7 x 13,9 cm, signed.

586

VAES, Walter - 4 pastel drawings. S.d.


500 / 600 €

Collectie van ontwerp pentekeningen bestemd als illustraties voor Don

Quichotte met telkens onderaan in potlood de tekst waarop de tekening slaat

evenals een aantal lettrines voor hetzelfde werk. Door J. Van Ael (Borgerhout

1912-Mortsel 1997), schilder, aquarellist, tekenaar en etser, ook muurschilder en

glazenier. Vaak meditatief en sterk religieus geïnspireerd.

588

VAN DYCK, Albert - [Karel van de Woestijne] s.d.

Houtskooltekening, 26,3 x 22,3 cm (kortafgesneden rand links).

100 / 150 €

1. «Nieupoort», Church facade. 23 x 13,8 cm, titled and signed (from a

sketchbook).— 2. Porch way to an old house (in Antwerp?). 16 x 11 cm, unsigned

(from a sketchbook).— 3. Sea coast with rocks. 12 x 17,5 cm, signed.— 4.

Grazing horse seen from behind. 15 x 19 cm, signed.

Portretschets van de Vlaamse schrijver-dichter Karel van de Woestijne (1878-

1929), gesigneerd onderaan rechts.

Bijgevoegd: Idem - [Dorpsgezichten], 2 geaquarelleeerde pentekeningen, ± 31

x 23 cm. Jeugdwerk ?

Ref. Arto 2000 II, p. 469. Turnhout 1902-Schilde 1951, schilder van portretten,

genretaferelen, landschappen en stillevens. Aquarellist,beeldhouweer, etser en

lithograaf.



589

VAN MELKEBEKE, Jacques - 7 études de nus féminins.

Aquarelles, pastels ou gouaches, certains sur trait de fusain, 40 x 30 cm (3

pièces) ou 45 x 60 cm (4 pcs), papier vélin, 5 signées (pet. déchirure marg.

aux bords g. de 3 pièces).

150 / 200 €

Van Melkebeke (1904-1983) est un peintre, journaliste, écrivain, et scénariste

de bande dessinée belge. Ami d’Hergé, il participa de manière officieuse à

l’élaboration de certains scénarios des aventures de Tintin et peut-être à certains

de Blake & Mortimer. Accusé de collaboration après la guerre, il ne put conserver

les fonctions de rédacteur en chef du Journal de Tintin (Wikipedia).

590

VAN MIEGHEM, Eugeen - Harbour scene. Antwerp, c. 1890-1930.

Drawing, charcoal, 10,4 x14,3 cm, laid paper, signed at lower right corner with

abridged signature (large horizontal cut in the paper at centre, some sm. creases).


400 / 500 €

A woman with her infant gazing at the harbour and the River Scheldt, with the

vague silhouette of Antwerp cathedral lurking in the left background.

591

VAN OFFEL, Stan - Famille paysanne avec nouveau-né, l’homme

assis par terre les jambes tendues et la femme accroupie, tous

deux avec regard hagard. S.d.

Dessin, fusain, 30 x 31 cm, papier, monogrammé en bas à dr. (papier lég. bruni,

qqs taches, pet. déch. marg. à dr.). Sous vitre et cadre de bois noir (non décadré).

120 / 150 €

592

VAN STRYDONCK, Guillaume - Woman reading, lying on a

couch [i.e. The artist’s mother?]. 1903?

Drawing, graphite pencil, 17 x 26,5 cm, paper, monogrammed and dated 1903 (?

illegible), ms. note on verso «mère» [mother].

250 / 400 €

Van Strydonck (Norway 1861-1937 Brussels) was J.-Fr. Portaels’ pupil at the

Académie royale des Beaux-Arts in Brussels. In 1883, he became one of the

590



594

ZACK, Léon - 3 aquarelles monochromes figurant des

personnages de l’Antiquité. S.d.

Traits à l’encre brune ou noire sur lavis à l’encre brune ou noire, sur 2 ff. de papier

vergé 48 x 31 cm (lég. brunies). Retenues par les bords sup. sous passe-partout.

120 / 200 €

founding members of the secessionist group «Les XX» and later one of the

creators of the Luminist style.

593

VAN STRYDONCK, Guillaume - 3 drawings of women. C. 1900-

1915 ?

Drawings, graphite pencil. Stuck by upper edges under passe-partout.

600 / 800 €

1. Woman playing piano. 20,3 x 16,5 cm, signed (frayed esp. on left edge).—

2. Woman lying asleep on a sofa. 14 x 20 cm, laid paper, signed.— 3. Threequarter

view of a woman’s face. 20,4 x 16,2 cm, signed (frayed edges esp. left

and right).

Joined, same artist, 4 sketches, graphite pencil, unsigned (frayed edges): 1. Old

woman on a couch, near a window. 16,5 x 20,5 cm.— 2. Woman and child. 26,5

x 16,5 cm.— 3. Couple [seated near the seaside ?]. 23,3 x 31,4 cm (tear at upper

edge).— 4. In a port, two men in bathing suits are about to board a canoe. 16,5

x 20,5 cm. (7 pcs).

1. Homme barbu assis et jeune garçon lui lavant les pieds, agenouillé près

d’un vase. Encre noire, 18 x 23 cm, signée en bas à dr. 2. Verso : Mêmes thème,

dimension et technique, non signé.— 3. Couple, les bras à demi pliés. Encre

brune, 26 x 17 cm, non signée.

Prov. Van Loock (Lugt 3751) sur les dessins n° 2 et 3.


Plaques de cuivre – Collection E.S. – Koperplaten – Verzameling E.S.

Koperplaten – Verzameling E.S.

Plaques de cuivre – Collection E.S.

A remarkable private Brussels collection of engraved

printing plates, mainly from the 17th and 18th century:

coats of arms (mostly from the southern Netherlands),

portraits, religious scenes, picturesque views ... by renowned

artists from France and the Low Countries.

595

Antique vase in the Villa d’Este in Tivoli. [18th c.].

23 x 23 cm.

150 / 200 €

Large and detailed view of the vase with decoration showing three putti picking

grapes. Below, the caption: «Vaso antico che esistera in / Villa d’Este in Tivoli».

On the top: mentions for the placement of the plate («T. III / 57»).

596

AUDRAN, Gérard and Jean - 2 plates with scenes from the life

of Christ. Paris, [18th c.].

(Some stains).

450 / 600 €

Two beautiful works respectively by Gérard Audran (1640-1703), engraver to

the king, and by his nephew Jean (1667-1756): 1. G. Audran, after a painting

by Nicolas Poussin - Christ and the woman taken in adultery. 28 x 36,5 cm.

Engr. in the same direction as the original painted in 1653 (Louvre Museum).

Later (?) mention «A Paris chez Mondhare rue S.t Jacques», editor active at this

address from 1759 to 1780. Caption: «Les scribes et les pharisiens amenèrent à

Jésus une femme surprise en adultère, essayant de le surprendre, afin d’avoir /

occasion de l’accuser, et Jésus leur dit. Que celui d’entre vous qui est sans péché

lui jette la premiere pierre. En S.t Jean chap. 8».— 2. J. Audran, after a painting

by Pierre Mignard - Jesus on the way to Calvary. «Imp. Lamoureux r. S. Jean

de Beauvais», «Et presentem[ent] chez Jean, rue Jean de Beauvais N° 10», «A

Paris, chez la veuve Audran rue S. Jacques aux 2 Pilliers [sic] d’or». 28 x 37 cm.

Ref. Wildenstein, Georges - Les Graveurs de Poussin au XVIIe siècle. Paris, 1957,

p. 109, num. 66.

Joined: Le Christ guérit le fils d’un officier du roi. [illegible addresse]. 26,5 x 37

cm. At the right of Christ’s figure: «vade, / filius / tuus vivit : Jean Cap. / 4. V. 50».

(3 pl.)

Nice portrait engraved for Foppens’s famous

«Bibliotheca Belgica»

598

CLOUWET, Petrus. After Abraham van DIEPENBEECK -

Portrait of the Antwerp physician Michaël Boudewyns (1591-

1681), president of the «Collegium medicum». [Antwerp], C. 1664.

29 x 20 cm, sign. «Abraham a Diepenbeeck delineauit excudi iussit / Petrus

Clouwet sculpsit».

500 / 700 €

Portrait of Boudewyns made to commemorate his appointment as physician at

St-Elizabeth Hospital in 1664. He is depicted knee-length, turned slightly to the

left, facing the viewer, standing in a room with a bookcase (date 1664 written on

the top), pointing at an anatomical plate in a book lying open on a table. Coat of

arms in the upper corner; below, the caption «Michaël Boudewyns / Patriae suae

celeberrimae urbis Antverpiensis medic. et philosoph. / doctor pensionatius,

anatomiae et chirurgiae praelector, / hospitalis S[anct]ae Elysabethae

medicus et coll. med. praeses.». This plate engraved by Clouwet (1629-1670)

after a drawing by Van Diepenbeeck (1596-1675) was reprinted in Foppens’s

«Bibliotheca Belgica» (Brussels, 1739, II, facing p. 890).

Ref. British Museum Collection online (issue reproduced). - Wellcome Library

1290i (original etching by A. van Diepenbeeck). - Biogr. nat. II:797/799.

Prov. Public auction Van Herck Dec. 1992 (ms. label).

599

Emblematic figure of a nun bearing in hands a skull and a snake.

[17th - 18th c.].

14,5 x 10,5 cm.

120 / 180 €

Intriguing «memento mori» scene, with the figure standing in the austere

location of a monastery, looking at a skull.

600

GALLE, Cornelis - Christ and the woman taken in adultery. [17th c.].

6,6 x 9,4 cm, sign. «C. Galle».

100 / 130 €

Probably made for a missal by Cornelis Galle the Younger (1615-1678).

Joined: Issue on old laid paper, watermarked.

Amazing and iconic image of the future patron of

aviators and air travellers

597 [Brussels]

Bird’s-eye view of the church and cloister of the Minims at

Brussels, with emblematic view of the transportation of Our

Lady of Loreto. [17th c.].

28 x 19 cm (some marginal stains).

250 / 350 €

In 1621, Archduchess Isabella of Austria erected near the church of the Minims

Fathers in Brussels, a chapel reproducing exactly the shape and dimensions of

the Holy House of Loreto. According to tradition, the house in Nazareth where

the Virgin Mary was born, grew up and received the announcement from the

Archangel Gabriel, was miraculously transported in Loreto (Italy) at the end of

the 13th century. In 1920, the Virgin of Loreto became the patron of aviators and

air travellers! In Brussels, the chapel Notre-Dame de Lorette was built on the

site of a bawdy house bought by the Archduchess, to symbolize the possibility

that the prostitutes could be redeemed. The plate shows, on top, the Holy House

with the Virgin and the Child being tranported through the air by angels and

looking down on to the city, with the church and some buildings surrounded by

a fortified wall, a sea with some ships in the background, and two pilgrims in

the foreground. Below, a caption: «Het broederschap van onse L: Vrouwe van

Loretten. / Opgherecht in de kercke van de PP: Minimen, tot Brussel».

Ref. Henne, A. & Wauters, A. - Histoire de la ville de Bruxelles. IV:39.


598

599

596

595 597



601

601

HARREWIJN, Jacobus - 2 tailpieces on biblical subjects. 1701.

± 8 x 18 cm, sign. «Harrewijn inve. et f. 1701».

300 / 400 €

1. Wedding at Cana. Very detailed banquet scene with many figures.— 2.

Curious scene with an inspiritional man at his table, writing Psalm 109 «Omnis

sapientia a domino deo est», while three boys are looking on him and a fourth

one is down to his knees, praying.

603 [Heraldry - Brabant]

CALABER, Philippe - Coat of arms van Dieve. Leuven, 1697.

18,9 x 15 cm; sign. «Ph. Calaber f:».

120 / 200 €

602 [Heraldry - Brabant]

Chiselled oval copperplate with coat of arms of family

Huybrechts. 1625.

5,3 x 6,5 cm (some sm. stains).

120 / 200 €

Large shield surmounted by a helmet, mantling and crest: a fleur-de-lis between

two horns. The famous 16th-century scholar Petrus Divaeus (1535-1581) was

member of this old Brabant family.

Ref. Rietstap II:204.

Perhaps Henri Huybrechts, born in 1600, father of Sebastian known as

Borckman, knighted in 1679, and grandfather of Jacques-Ignace, lord of

Lombeek (Brabant). Coat of arms in a fine border of vine branches with the

motto «aen die vruchten kent men den boom 1625».

Ref. Rietstap III:246. - Vegiano, J.-C.-J. de - Nobiliaire des Pays-Bas et du comté

de Bourgogne. Gand, 1865, II:1094-1095.

604 [Heraldry - Brussels]

5 plates representing coat of arms, mainly of the Brussels family

Cloet. [18th c.].

Old wooden passe-partout and frame with glass, 35 x 98 cm.

450 / 600 €

The Cloet were an ancient and noble family of Brussels. Jan Cloet was alderman

in 1506 and 1510. 4 variants of their coat of arms crested or crowned, the latest

unidentified: 1. Kerckhove, M. - With motto «Virtute et sapientia» in a banner.


Koperplaten – Verzameling E.S. – Plaques de cuivre – Collection E.S.

16,5 x 14 cm.— 2. Heijlbrouck, Norbertus (1700-1762). - With an allegorical

figure: helmeted woman holding a caduceus and reading a book, a bookcase in

the background. 8 x 6 cm.— 3. Heijlbrouck, Franciscus (1704-1780) - Crowned,

with rococo border. 19 x 15,5 cm (some sm. spots).— 4. Reduced version of num.

1. Unsigned, 11 x 9,5 cm.— 5. Another coat of arms with helmet in a crown of

laurel (Purple, two fesses wavy Argent, each charged with three «merlettes»

Sable). 16 x 16 cm.

Ref. Rietstap II:98. - Henne, A. & Wauters, A. - Histoire de la ville de Bruxelles.

II:488, 495.

607 [Heraldry - Liège]

DEMEUSE - Coat of arms of family de Thier. [18th c.].

Copperplate and issue, 18 x 12,8 cm each, sign. «Demeûse fecit». Under old

wooden frame decorated with a marquetry border and glass, 26,5 x 39 cm (minor

defects).

180 / 250 €

605 [Heraldry - Leopold I]

Decorative plate with coat of arms of Leopold I King of the

Belgians, and above flags with coats of arms of the 9 Belgian

provinces. [19th c.].

Rectangular plate in embossed gilded copper, 19,7 x 17 cm (sm. dent).

100 / 150 €

Emperor Leopold I conferred, on 14th March 1701, the title of knight to Louis

de Thier, lord of Walhorn (Liège), and to his brothers Jean-François, lord of

Lantremange, and Arnould, deputy of the States of the Principality of Liège.

Ref. Janssens, P.; Duerloo, L. - Armorial de la noblesse belge. III:621, IV:1992

(ill.).- État présent de la noblesse belge 1999.

608 [Heraldry]

2 armorial plates. [End 17th - early 18th c.].

120 / 200 €

Curious item, not intended as printing plate. Large coat of arms of Leopold I

(1790-1865), who reigned from 1831 to 1865.

606 [Heraldry - Leuven]

«Jardin d’armoiries» of family Uten Liemingen and allied

families. [17th - 18th c.].

30,5 x 32,5 cm (sm. spots).

250 / 450 €

The Uten Liemingen are an ancient and noble family, member of the «zeven

geslachten van Leuven», the patricians families who had the monopoly in the

city’s government. The plate contains 84 numbered shields with the names of

their owners and, on the top, the Uten Liemingen’s shield surmounted by a helm

between two banners with the caption: «Insignia familiae de Uyten Lieminghen

/ Et earum quae per conubia ex ea emanarunt».

Ref. Cf. Caluwaerts, Jan - «De Zeven Geslachten van Leuven», in: Salsa!.doc:

Nieuwsbrief van de Vrienden van het Leuvens stadsarchief, num. 2, 2006, pp. 6-7.



1. Coat of arms of William III of England. 11 x 8,9 cm. Around the shield is a belt with

the motto «Hony soit qui mal y pense» («Evil to him who evil thinks»), the symbol

of the Order of the Garter.— 2. Coat of arms of «Iean Baptist Ioseph / Herthals /

Licentié / es droits advocat &c». 5,8 x 4,7 cm. A landowner in Neerijse (Brabant), he

was appointed Professor of Pandects (digest of juristic writings on Roman law) by

the Magistrate of Leuven in 1719. Ref. Lejour, E. - Inventaire des archives de la famille

De Troostembergh. [1949] (State Archives in Belgium online). (2 pl.)

611

INGOUF, François Robert. After Sigmund FREUDEBERG -

«Le Négociant ambulant». [Paris], Denis-Charles Buldet, 1777.

28,2 x 31,2 cm, sign. «Freudeberg inv. et del. 1770 / Ingouf junior sculp. 1777»,

hallmark on the back.

200 / 400 €

609 [Heraldry]

Coat of arms of an unidentified abbess, with motto «Pasco et

pascor». [17th-18th c.].

17,2 x 14,4 cm. Mod. passe-partout, wooden frame and glass, 25 x 19,5 cm.

100 / 140 €

Vert with a sheep of silver, cut in gold, with three trefoils posed two and one.

610

HUMBELOT, Jean-Baptiste - Portrait of Knight Louis Du

Perron de Bonneville. [17th c.].

32 x 25 cm, sign. «Humbelot sculp».

450 / 650 €

With coat of arms of Barthélemy Louis Rolland de Villarceaux (1733-1797), «receveur

général des finances de la généralité de Riom», to whom the plate is dedicated.

Ref. BnF (2 prints, one before the letter).

Joined: Modern issue of this plate, 65,5 x 50 cm. (2 pcs)

612

INGOUF, François Robert. After Sigmund FREUDEBERG -

«Le Soldat en semestre». [Paris], Denis-Charles Buldet, 1777.

28,5 x 31,3 cm, sign. «Freudeberg inv. et del. 1770 / Ingouf junior sculp. 1777»,

hallmark on the back.

200 / 400 €

With coat of arms of Barthélemy Louis Rolland de Villarceaux (1733-1797),

«receveur général des finances de la généralité de Riom», to whom the plate is

dedicated.

Ref. BnF (2 prints, one before the letter).

Joined: Modern issue of this plate, 65,5 x 50 cm. (2 pcs)

Large engraving with the bust portrait seen in three-quarter profile from the

right, in an oval medallion on rectangular background. Below, central coat of

arms and caption: «M.re Louis du perron chevalier seigneur de Beneville [sic] / et

autres lieux con[seill]er du Roy en ses con[s]els [sic] et en sa Cour des aydes de

Normandie». By Humbelot senior (1610?-1674) or junior (1635?-1685).

Ref. Inventaire du fonds français, graveurs du XVIIe siècle, V:255 (num. 65).

613

JÉHOTTE, Léonard - Plate with 3 vignettes for the «Aventures

de Télémaque» by Fénelon. [Liège, c. 1793].

14,8 x 31,8 cm, each vignette: ± 12 x 7,3 cm, sign. «Jehotte S.» (sm. hole in the

upper corners, without loss).

200 / 300 €

Nice engravings made for the Liège edition printed by Lemarié in 1793. Each

one has a caption and the number of the book it illustrates: «Hégésippe vient

annoncer à Philoclès son rappel auprès d’Idoménée» (Livre XIV), «Philoctète


Koperplaten – Verzameling E.S. – Plaques de cuivre – Collection E.S.

accorde son amitié à Télémaque et lui raconte ses aventures» (Livre XV),

«Adraste surprend l’armée des alliés, combat Phalante et tue Hippias» (Livre

XVI). Jehotte (1772-1851) is especially known as engraver of the medals of the

Principality of Liège.

Ref. De Theux 575. - Micha, Alfred - Les graveurs liégeois. Liège, 1908, p. 104.

617

VAN MALLERY, Karel - 2 scenes from the life of Christ. [17th c.].

12 x 7 cm each, signed «C. de Mallery scul[psit]».

120 / 200 €

614

[LAUNAY, Nicolas de. After Clément-Pierre MARILLIER] -

«Sapho». C. 1777.

14 x 9,5 cm, picture: 8,5 x 4,6 cm.

120 / 200 €

Plate without the artists’ names. Bust portrait seen in three-quarter profile

from the left. Under the medallion, a bas-relief with two putti playing the lyre.

This engraving was published i.a. as frontisp. of the «Poésies de Sapho...» by

Billardon de Sauvigny (Amsterdam [Paris, Cazin], 1777). Some copies of this

edition have the portrait without the artists’ names.

Ref. BnF (1 issue before the artists’ names). - Cohen 150/151.

615

3 picturesque views. [End 18th - early 19th c.].

(Some sl. and sm. stains and scratches).

100 / 200 €

1. [Illegible signature] - «Dolbadarn Castle». 1822. 8 x 18 cm. The legendary

ruined tower of this fortress in North Wales, built in the early 13th c. by the Welsh

prince Llywelyn the Great.— 2. Landscape with a farm and some peasants.

15,2 x 16,8 cm, picture: 10 x 13,4 cm.— 3. Hovel with thatched roof, a peasant

woman carrying a pitcher. 8,8 x 10,5 cm.

616

QUENEDEY, Edme - Portrait of a man sketched with a

physiognotrace. Paris, 1808.

10,2 x 8,2 cm.

150 / 250 €

Fine engravings by K. Van Mallery (1571-1635?), with title on the top, quote of

the evangelical text below, all in Latin: 1. «Maria Iesum in Templum defert»

[Presentation of Jesus in the Temple].— 2. «Maria Iesum inter doctores reperit»

[Jesus among the doctors in the Temple].

Joined: Issue of each plate, on old laid paper. (2pcs)

618

VAN MERLEN, Cornelis - 5 emblematic plates from a series on

the Beatitudes. [17th c.].

± 11 x 6,5 cm, sign. «Cor. Van Merlen».

200 / 300 €

Nice portrait in profile bust from the right, sketched and engraved by Quenedey

(1756-1830), the first partner of Gilles-Louis Chrétien (1754-1811), the inventor

of the physiognotrace (in French «physionotrace»). This device, invented in 1787,

was designed to trace especially profile portraits in the form of a silhouette,

using the same mechanism as the pantograph.

Beautiful figures by the Antwerp engraver and editor C. Van Merlen (1654-1723),

illustrating the «Beatitudes» (num. 1, 3, 6, 7, 8) represented by women. Captions

in Latin below.

Joined: Issue of each plate (num. 6 in duplicate). (11 pcs)



619

ZANGRIUS, Jan Baptist - Portrait of Archduke Albert of

Austria (1559-1621). Leuven, 1601.

16 x 11 cm, sign. «Io. Bapt. Zangrius excud. Lovanii».

300 / 400 €

620

ZANGRIUS, Jan Baptist - Portrait of Justus Lipsius (1547-

1606). Leuven, 1601.

15,6 x 11 cm, sign. «Io. Baptista Zangrius fe.».

450 / 650 €

Fine bust portrait seen in three-quarter profile from the left in a large oval

medallion, with the inscription: «Albertus Dei gratia Archidux Austriae Dux

Burgundiae Brabantiae etc. anno 1601» and at bottom a caption with a quatrain

in Latin.

Bust portrait in an oval medallion with inscriptions: «Moribus antiquis» and

«V.C. Iustus Lipsius historiographus regius et professor aetatis anno LIIII». In the

corners, 4 small emblematic medallions with figures and inscriptions evoking his

work: «Contantia», «Politica», «Militia», «Historia». Below, a caption: «Caetera

conveniunt emblemata: defuit unum. / Phoenica: sculptor, addere debueras.

/ Adde igitur Phoenica, (nisi si pingere solem / Mauis) Lipsiadae tum dabis

effigiem».

Ref. Rijksmuseum RP-P-1893-A-17914 (issue without the inscription «Moribus

antiquis»).

614


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Artistes

Artiesten

Aken, Jan van: 177

Aldegrever, Heinrich: 289, 290

Alechinsky, Pierre: 416, 549

Altdorfer, Albrecht: 306

Amman, Jost: 100

Anto-Carte: 417, 469, 550

Appel, Karel: 416

Asperini, Amico: 343

Audran, Claude III: 81

Audran, Gérard: 596

Audran, Jean: 596

Bakhuizen, Ludolf: 16

Baksteen, Dirk: 418, 469

Baldung Grien, Hans: 291

Barlach, Ernst: 419, 420

Barry, James: 128

Bartsch, Adam: 293

Basan, François: 136

Bayros, Franz von: 421

Beard, J.: 352

Beatrizet, Nicolas: 335

Beckmann, Max: 422-429

Beham, Barthel: 297

Beham, Hans Sebald: 294-297

Bellotto, Bernardo: 114

Benoit, Pierre-Jean: 557

Berchem, Nicolaes: 17

Berensteyn, Claes van: 31

Bertrand, Gaston: 430

Binck, Jakob: 299

Bléry, Eugène Stanislas: 353

Bleuler, Johann Heinrich: 354

Bleuler, Johann Ludwig: 354

Bloemaert, Abraham: 18, 137, 138, 171

Bloemaert, Cornelis: 138

Bloemaert, Frederik: 137

Boissieu, Jean-Jacques de: 264

Bol, Hans: 196, 237, 247

Bolswert, Schelte Adams: 195

Bonnet, Louis-Marin: 265

Boon, P. Constantin: 355

Boonen, Jac: 431-435

Bosschaert, Jeronimus: 19

Bossuet, François-Antoine: 356, 412

Botho, Konrad: 300

Boucher, François: 82

Boulanger, Hippolyte: 357

Bouzonnet-Stella, Claudine: 266

Brangwyn, Frank: 436, 437

Brassaï: 574

Breckerveld, Herman: 140

Breughel, Jan II: 52

Bril, Paul: 336

Brocas, Maurice: 469

Broeck, Crispijn van den: 241

Brouwer, Adriaan: 32-34

Browne, John: 129

Bruegel, Pieter: 248

Bruegel, Pieter II: 229

Burbure, Frédéric de: 358

Burgkmair, Hans the Elder: 192

Calabert, Ph.: 603

Calbet, Antoine: 551

Callet-Carcano, Marguerite: 469

Callot, Jacques: 79, 83, 267-272

Canaletto: 115

Candid, Peter: 101

Carracci, Agostino: 178

Cassiers, Henri: 438, 529-555

Cavedone, Giacomo: 116

Chéret, Jules: 539

Christo: 439

Ciamberlani, Albert: 359

Cleyn, Francis: 103

Clouwet, Petrus: 598

Cock, Hieronymus: 196, 197, 217, 248, 249

Cock, Matthijs: 197

Coddron, Oscar: 548

Collaert, Adriaen: 135, 198-201, 203, 204, 222, 231,

244, 273

Collaert, Hans: 175, 205-218, 221

Collaert, Jan: 219, 220, 231, 243

Colombe, Jean: 1

Combaz, Gisbert: 531

Comhaire, André: 548

Cooper, Thomas Sydney: 414

Coornhert, Dirk Volkertsz.: 142

Cornelisz., Cornelis: 160

Corot, Camille: 440, 441

Cort, Cornelis: 337

Cortona, Pietro da: 117

Couturier, Léon: 556

Craeyvanger, Reinier: 360

Cranach the Elder, Lucas: 301, 302

Crijnse Volmarijn, Pieter: 39

Crussens, Anthonie: 47

Cuyp, Albert: 143

d’Hondecoeter, Melchior: 139

Dance, Nathaniel: 131

Dardenne, Léon: 557

De Braekeleer, Henri: 361

De Bruycker, Jules: 442-469, 558, 559

De Bruyn, Abraham: 223

De Bruyn, Nicolaes: 144

De Bye, Marcus: 145

De Cock, César: 362

De Coninck, René: 453

De Gheyn, Jacob II: 150

De Haen, Willem: 146

de Hooch, Charles Cornelisz.: 147

De Jans, Edouard: 363

De Jode, Pieter I: 168, 172

De Jode, Peter II: 255

De Kat, Anne-Pierre: 454

De Leu, Thomas: 273

De Luna, Charles: 364

De Neve, Franciscus II: 48

De Passe the Elder, Crispijn: 148

De Passe, Crispijn: 199

De Schampheleer, Edmond: 412

De Vos, Maarten: 135, 144, 148, 199, 219, 220,

221, 240

De Wael, Jan Baptist: 224

De Wit, Frederik: 149

Debucourt, Philibert-Louis: 274, 455

Defize, Alfred: 548

Degouves De Nuncques, William: 365

Dell’Acqua, Cesare: 366

della Bella, Stefano: 79, 113, 132, 338

Demeuse: 607

Diepenbeeck, Abraham van: 62, 598

Dierickx, Omer: 532

Dietrich, Christian Wilhelm: 304, 305

Dillens, Adolphe-Alexandre: 367, 368

Dolendo, Bartholomeus: 150

Donnay, Auguste: 456

Dubost, Antoine: 457

Dubout, Albert: 560

Dujardin, Karel: 264

Duplessis, Claude Michel H.: 85

Duquesnoy, François: 49

Durand-Brager, Jean-Baptiste Henri : 369

Dürer, Albrecht: 151, 169, 225, 239, 259, 261, 262,

292, 306-312, 319, 324, 333, 370

Dusart, Cornelis: 20

Ensor, James: 458, 459, 461-464, 548

Evenepoel, Henri: 465, 539, 561

Faccini, Pietro: 339

Feltrini: 341

Fischer, O.: 539

Fourmois, Théodore : 371

Fournier, C.L.: 86

Francken, Ambrosius I: 204

Francken II, Frans: 50

François, Pierre Joseph Célestin: 6

Freudeberg, S.: 611, 612

Frisius, Simon: 133

Fruytiers, Philip: 51

Furnius, Petrus: 226

Galle, Cornelis I: 231

Galle, Cornelis II: 600

Galle, Philips: 135, 152, 153, 199, 227-231

Galle, Joannes: 227, 248

Galle, Theodoor: 199, 231

Gavarni, Paul: 372

Gawthorn, Henry George: 533

Genoels, Abraham: 154

Gernay, Pierre: 413

Gheeraerts, Marcus: 175, 201

Ghezzi, Pier Leone: 348

Ghysebrechts, Louis: 466

Gijsmans, Hendrik: 52

Gionima, Antonio: 118

Goltzius, Hendrick: 21, 155-157, 160, 232

Goya, Francisco: 467, 468

Graf, Urs: 313

Grimmer, Jacob: 52

Hackert, Jacob Philipp: 104

Harrewijn, Jacobus: 601

Heemskerck, Maarten van: 165

Heijlbrouck, F.: 604


Heijlbrouck, N.: 604

Herreyns, Willem Jacob: 373

Hillegaert, Paulus Van: 134, 183

Hoefnagel, Jacob: 158

Hoefnagel, Joris: 158

Holbein, Hans II: 22

Hollar, Wenceslaus: 22, 233

Hondius, Hendrik I: 133, 159, 161, 192

Honervogt, Jacques: 160

Hopfer, Daniel: 314, 315, 316, 317

Hopfer, Hieronymus: 310

Hoppenbrauwers, Johannes Franciscus: 409

Hubert, Alfred: 374

Humbelot, Jean-Baptiste: 610

Impens, Josse: 375

Ingouf, François Robert: 611, 612

Israel, Silvestre: 283

Israëls, Isaac Lazarus: 562, 563

Israëls, Jozef: 376, 377

Jacques de Dixmude, Jean-Pierre: 470

Janssens, Ludovic: 548

Jeanniot, Pierre Georges: 378

Jéhotte, Léonard: 613

Jespers, Floris: 564

Jonckheer, Jacob de: 134, 183

Jongkind, Johan-Barthold: 471

Julien de Palme: 87

Kerckhove, M.: 604

Kollwitz, Kathe: 472

Krug, Ludwig: 318

La Marra, Francesco: 127

Ladenspelder, Johann: 319

Lafreri, Antonio: 351

Lagrenée, Jean-Jacques: 88

Lahure, A.: 379

Lairesse, Gérard de: 15

Lambeaux, Jef: 380

Langaskens, Maurice: 469

Lanneau, G.: 565

Lasinio, Carlo: 341

Launay, Nicolas de: 614

Lauters, Paul: 412

Le Brun, Charles: 95

Le Gendre, Louis: 7

Legendre, Louis Félix: 352

Lemaire, Marie-Louise: 570

Lemmen, Georges: 534, 535

Lemmers, Georges: 566

Leopold, J.F.: 320

Lepautre, Jean: 277, 278

Leyden, Lucas van: 172, 184-186

Leys, Henri: 381, 382, 408

Liebermann, Max: 473-475

Lies, Joseph: 383

Lievens, Jan: 162

Lincé, Marcel de: 548

Loir, Nicolas: 89

Lorraine, Claude: 279

Loutherbourg II, Philipp-Jacob: 384

Lucas, Ch.: 539

Lynen, Amédée: 567

Madou, Jean-Baptiste: 385, 386, 476

Magritte, René: 536, 537

Mair von Landshut: 321

Mantovana, Diana: 342

Marchoul, Gustave: 477

Maredret (Workshop): 569, 570

Marillier, Clément-Pierre: 614

Marks, Gerhard: 540

Masereel, Frans: 478, 568

Master HFE: 343

Master of Beatrijs van Assendelft’s Leven van Jezus:

3, 4

Master of the die: 344, 345

Mellery, Xavier: 387-391

Menton, Frans: 164

Métivet, Lucien: 539

Metsys, Cornelis: 298

Michelangelo: 341

Mignard, Pierre: 596

Milani, Aureliano: 119

Minne, George: 479

Moeyaert, Nicolaes Cornelisz.: 24

Momper, Joos de: 52, 254

Moninckx, Johannes: 25

Monogrammist IC: 322

Mortiaux, Henri: 469, 480

Mucha, Alfons: 481

Mueller, Otto: 482, 483

Muller, Herman Jansz.: 165, 166, 234, 235

Müller, Jean: 548

Munch, Edvard: 541

Muziano, Girolamo: 337

Oleffe, Auguste: 484, 485

Ommeganck, Balthazar Paul: 413

Ost, Alfred: 571, 572

Ottevaere, Aug.-Ferd.: 414

Overlaet, Anton: 63

Palma Il Giovane: 133

Palme, Laurent: 90, 91

Parrocel, Charles: 92

Peiser, Kurt: 486, 573

Pencz, Georg: 323

Perelle (famille): 281

Perelle, Gabriel: 281

Perelle, Nicolas: 281

Pérignon: 280

Péril, Robert: 236

Pfeiffer, Johann Joachim: 105

Picart, Bernard: 282

Picasso, Pablo: 574

Picou, H.P.: 392

Pillement, Jean: 93

Piranesi, Giovanni Battista: 346, 347

Pissarro, Camille: 487

Place, Francis: 130

Pleydenwurff, Wilhelm: 324

Pond, Arthur: 348

Possoz, Milly: 469

Potter, Paulus: 145

Poussin, Nicolas: 596

Privat-Livemont, Henri: 488, 542

Puttaert, Émile: 393

Quast, Pieter Jansz.: 26

Quellinus, Erasmus II: 55

Quenedey, Edme: 616

Ranson, Paul Élie: 575

Raphaël: 350

Rassenfosse, Armand: 469, 489- 494, 576-581

Rembrandt, Harmensz. van Rijn: 136, 167, 191, 495

Reni, Guido: 349

Renoir, Auguste: 496

Renouard, Paul: 528

Rijckmans, Nicolaes: 168

Riquer, A. de : 539

Romanelli, Giovanni Francesco: 120

Romano, Giulio: 342

Rops, Félicien: 492, 497-511

Rössler, Johann Carl: 106

Rousseau, Théodore: 394

Rubens, Peter Paul: 56, 129, 195, 256

Ruisdael, Jacob van: 189

Sablet, Jean-François: 395

Sadeler, Aegidius: 169, 170

Sadeler, Aegidius II: 239

Sadeler, Joannes: 240

Sadeler, Johannes I: 135, 198, 237, 238, 241

Saenredam, Jan: 171, 172

Saftleven, Herman: 177

Sauer, Walter: 512

Savery, Roelant: 53

Saverys, Jacob: 173, 187

Schaefels, Hendrik: 396

Schepens, Louis: 412

Schoevaerdts, Mathys: 57

Schönfeld, Johann Heinrich: 107

Schongauer, Martin: 326

Serwouters, Pieter: 175

Silvestre, Israël: 284

Simonau, Gustave: 397, 398

Simonini, Francesco: 121

Smeers, Frans: 582

Smits, Jakob: 513, 583

Snellinck, Jan: 198, 222, 242

Solis, Vergilius: 203

Soukens, Hendrik: 27

Soukens, Jan: 28

Spilliaert, Léon: 514, 548

Springinklee, Hans: 306

Steinlen, Théophile Alexandre : 528, 539

Stella, Jacques: 266

Steyns, Désiré: 548

Stradanus, Johannes: 135, 192, 232, 243

Subleyras, Pierre Hubert: 96

Tavarone, Lazzaro: 122

Tempesta, Antonio: 168

Teniers, David: 63

Teniers, David II: 60

Terzi, Aleardo: 543

Thulden, Theodoor van: 45

Tintoretto, Jacopo: 178

Tiskem von Neuberta: 539

Tissot, James: 528

Toulouse-Lautrec, Henri de: 399

Toussaint, Fernand: 544, 545

Tytgat, Edgard: 515, 584

Tytgat, Médard: 567

Vaes, Walter: 516-518, 585, 586

Van Ael, Jules: 587

Van Brée, Mathieu Ignace: 411

Van Breen, Claes: 141

Van Cleve, Hendrik: 200, 244

Van Cleve, Joos: 61

Van Cleve, Martin: 135, 198

van de Velde, Adriaen: 179

Van de Velde, Esaias: 141

van de Velde, Jan II: 193

Van de Venne, Adriaen Pietersz.: 140

van den Hecke I, Jan: 134

Van der Borcht, Pieter: 245

van der Heyden, Jacob: 246

van der Heyden, Pieter: 248

Van der Meulen, Adam Frans: 180

Van der Winden, Henricus: 29

Van Doetecum Joannes: 247

Van Doetecum, Lucas: 247

Van Dyck, Antoon: 250, 255

Van Everdingen, Allart: 181

Van Groeningen, Gerard: 226, 234, 260

Van Heemskerck, Maarten: 142, 152, 153, 166, 182,

204, 227, 235, 251

Van Huchtenburg, Jan: 180

Van Kessel, Theodoor: 133

Van Londerseel, Jan: 163, 187

Van Mallery, Karel: 220, 231, 617


Van Meckenem, Israhel: 327

Van Melkebeke, Jacques: 589

Van Merlen, Cornelis: 618

Van Mieghem, Eugeen: 590

Van Offel, Stan: 520, 591

Van Ostade, Adriaen: 188

Van Reysschoot, Pieter: 64

Van Rysselberghe, Théo: 521, 522, 546, 547

Van Santvoort, Pieter Dirckz.: 30

Van Scheyndel, Gillis: 174

Van Seben, Henri: 401

Van Strydonck, Guillaume: 592, 593

Van Swanevelt, Herman: 176

Van Uden, Lucas: 190

Van Vliet, Johannes: 191

Van Winge, Jodocus: 238

Vanden Eeckhoudt, Jean: 521

Vellert, Dirk: 253

Veneziano, Agostino: 350

Verboeckhoven, Eugène: 403, 404

Verboom, Adriaen Hendriksz.: 31

Verhaecht, Tobias: 218

Verhulst, Charles-Pierre: 405

Vernet, Carle: 406, 455

Verreyt, Johann Jacob: 413

Vico, Enea: 351

Vinckboons, David: 163

Visscher, Claes Jansz.: 193, 254

Visscher, Nicolaes: 280

Von Bemmel, Peter: 328

von Bonn, I.F.A.: 32, 33, 34

Von Molitor, Martin: 5

Vorsterman, Lucas I: 32, 33, 34, 255, 256

Vorsterman, Lucas II: 257

Vrancx, Sebastiaan: 65

Vuillard, Édouard: 524

Walker, James Alexander: 407

Wappers, Gustaaf: 408

Waterloo, Anthonie: 194

Watson, Thomas: 131

Wierix, Antonius I: 258

Wierix, Hieronymus: 225, 258, 259

Wierix, Johannes: 260, 261, 262

Willette, Adolphe: 539

Winterschmidt, Christian Gottlob: 108

Wolgemut, Michael: 324, 329- 331

Wouters, Rik: 525, 526

Xhrouet, Mathieu-Antoine: 8

Zack, Léon: 594

Zangrius, Jan Baptist: 619, 620

Zorn, Anders: 527

Provenances

Herkomsten

Achenbach Foundation for Graphic Arts: 295

Adelheid Schnell, Erding: 123

Arekens (Maison d’art): 454

Bauweraerts, Franciscus J.: 502

Bell Scott, W.: 295

Beurdeley, Alfred: 83

Biergé: 454

Boitte, Hélène: 409

Conrad, Victor: 522, 526

De Mey, Jean: 561

De Vree, Freddy: 549

Eechout, van: 379

Egon, Max: 322

Francotte, Gustave: 246

Gerval, A.F.: 370

Gregoir, Edmond: 469

Haselbach, Gerda Maria: 423, 474, 475

Kalous, Jozef: 55

Lanna, Adalbert von: 322

Meyer, Karl Jacob: 184

Nadar: 353

Natanson, Stéfan: 505

Pappelendam, Johannes Cornelis van: 386

Peiser, Kurt: 445

Pellet, Gustave: 506

Périer-Thys: 566

Rassenfosse, Armand: 445

Schouten: 386

Schoy, Auguste: 341

Spoelbergh, de (famille): 413

Steyns, Elsa: 548

Stinnes, Henri: 511

Tournachon, Félix: 353

Van Eekelen, Pim: 123

Van Loock, Albert: 289, 368, 375, 386, 398, 401,

408, 409, 410, 413, 414, 489, 493, 550, 557, 567,

582, 594

Van Loock, Claude: 494, 576, 577, 578, 579, 580,

581

Waite, Paul: 50

Wiazemsky, prince: 401

Wittamer-Decamps, Louis: 534, 542


CONDITIONS DE VENTE

Les acquéreurs paieront 25 % en sus du prix d’adjudication, comptant et en €. En outre et le cas échéant, un droit de suite sera appliqué, concernant les oeuvres d’art originales

d’artistes décédés il y a moins de 70 ans; il sera de 4% pour les adjudications égales ou supérieures à € 2000.

L’ordre du catalogue sera suivi. Les enchères débutent à 80% environ de la valeur minimale d’estimation et augmentent par 10% environ. En cas de contestation, le lot sera

immédiatement recrié.

L’expert se réserve le droit de refuser une enchère sans devoir se justifier.

Par son enchère l’acquéreur souscrit aux conditions de vente et admet avoir examiné le lot lors de l’exposition.

L’expert se réserve le droit de réunir ou de diviser certains numéros du catalogue.

Les lots composés de 2 ou plusieurs titres, les séries, les périodiques ou les ouvrages marqués “n.c.” et ‘’sold .w.a.f.’’ ne sont pas collationnés et ne seront pas repris.

Tout acquéreur est supposé acheter pour son propre compte. Durant l’exposition, il lui est loisible d’examiner l’état et la composition de chaque lot. Une fois adjugés, les lots ne

seront repris sous aucun prétexte. En ce qui concerne les lots acquis via une commission, les plaintes ou remarques éventuelles, y compris concernant l’authenticité des pièces,

ne seront admises que dans la quinzaine suivant la vente. Passé ce délai, tout retour ou reprise seront refusés.

L’expert se charge gratuitement, aux conditions d’usage, des ordres d’achat libellés en € qui lui sont confiés au plus tard 1 jour avant la vente. En cas de double enchère, la première

enregistrée a priorité. Les enchères téléphoniques peuvent être réservées préalablement et au plus tard 2 jours avant la vente, pour les lots dont l’estimation basse est de minimum

€ 250. En aucun cas la salle de vente ne pourra être tenue pour responsable d’un problème de liaison téléphonique.

Les acheteurs inconnus de la maison sont priés d’ajouter une garantie ou de donner des références à leurs offres écrites.

Les lots seront remis à l’acheteur après paiement de la somme due.

Les frais bancaires, d’emballage, de transport, et l’assurance sont à charge de l’acheteur. L’emballage et l’expédition ont lieu sous l’entière responsabilité de l’acheteur. La salle de

vente n’est en aucun cas responsable des carences ou dégâts occasionnés par la Poste ou la firme chargée du transport.

Le montant dû devra être payé au plus tard deux semaines après la réception de la facture. Les lots ne seront expédiés qu’après paiement. Après ce délai la salle de vente n’est

plus responsable pour ces lots.

En cas de non paiement, la somme due produira un intérêt de 12% l’an et une mise en demeure sera signifiée après un mois, à la suite de laquelle l’expert pourra disposer des

biens et les remettre en vente aux frais de l’acheteur avec retenue des frais et bénéfices qui revenaient initialement à l’expert.

En cas de litige, les tribunaux de Bruxelles sont seuls compétents.

VERKOOPSVOORWAARDEN

De koper betaalt contant, de hamerprijs in € met bovenop een opgeld van 25%. Voor originele kunst waarvan de kunstenaar minder dan 70 jaar overleden is, volgrecht van 4%

op de hamerprijs vanaf 2000 €.

De verkoop van de kavels verloopt in de volgorde aangegeven in de cataloog. De biedingen beginnen aan ongeveer 80 % van de laagste schatting en verhogen ongeveer met

10 %. In geval van betwisting zal de verkoop van de betwiste kavel worden overgedaan.

De veilinghouder behoudt zich het recht voor een bod te weigeren, zonder dat hij daarvoor een verklaring verschuldigd is.

De koper onderschrijft door zijn bod de verkoopsvoorwaarden en erkent daarmee vooraf kennis te hebben genomen van de staat van het gekochte kavel.

De veilinghouder kan een kavel opsplitsen of meerdere kavels in de cataloog samenvoegen.

De kavels met twee of meer titels, series en tijdschriften of werken aangeduid met “n.c.”en “sold w.a.f.” zijn niet gecollationeerd en worden in geen geval teruggenomen.

Elke koper wordt verondersteld voor eigen rekening op te treden. Hij kan zich tijdens de tentoonstelling vergewissen van de aard en van de staat van de aangeboden stukken.

Eens toegewezen worden de kavels onder geen voorwendsel teruggenomen. Voor kavels die via een verkooporder werden verkocht moeten eventuele opmerkingen of klachten,

ook in verband met de authenticiteit van de stukken, binnen de 14 dagen na de verkoop worden voorgelegd. Eens deze termijn voorbij wordt elke terugzending of terugname

geweigerd.

De veilinghouder zal opdrachten van kandidaat-kopers die de veiling niet kunnen bijwonen, uitvoeren, zonder bijkomende kosten. De opdrachten zullen evenwel in € (exclusief

het opgeld) worden vastgesteld en moeten ten laatste één dag voor de veiling gegeven worden. Bij identieke biedingen heeft het eerste geregistreerde bod voorrang. Telefonische

biedingen kunnen aangevraagd worden voor de loten waarvan de laagste schatting minimum € 250 is en mits voorafgaande reservatie, ten laatste 2 dagen voor de veiling. Het

veilinghuis is niet verantwoordelijk voor mogelijke problemen bij de telefoonverbindingen.

Kandidaat-kopers, onbekend bij de veilinghouder, worden gevraagd identiteitsbewijzen en garanties voor te leggen.

De kavels worden aan de koper overhandigd pas nadat het verschuldigde bedrag is betaald.

Bijkomende kosten voor verpakking, verzending, bankkosten en eventueel verzekering zijn ten laste van de koper. De verpakking en verzending gebeuren onder de volledige

verantwoordelijkheid van de koper. De veilinghouder is niet verantwoordelijk voor eventuele ongelukken of fouten gemaakt door de post- en/of verzendingsdiensten.

Alle aankopen moeten twee weken na ontvangst van de factuur worden betaald. Goederen worden pas na betaling verstuurd. De veilinghouder is niet meer verantwoordelijk

voor de loten indien deze niet binnen de gestelde termijn betaald , afgehaald of opgestuurd kunnen worden.

Bij gebreke van betaling binnen de vastgestelde termijn is de veilinghouder gerechtigd een interest van 12% per jaar te innen op het verschuldigde bedrag. Na een maand kan

de veilinghouder de verkoop ontbinden, en over de goederen beschikken en ze opnieuw verkopen op kosten van de koper die in gebreke is gebleven.

In geval van betwisting zijn enkel de rechtbanken van Brussel bevoegd.


CONDITIONS OF SALE

The purchaser shall pay, strictly cash, the hammer price, in €, together with a premium of 25 %, eventually plus the resale tax, if applicable: 4 % for hammer prices from € 2000

on, only for original art and if the author died less than 70 years ago.

The auction follows the order indicated by the catalogue. The biddings start at about 80 % of the lowest estimate and each bid must be ± 10% higher than the previous one. In

case of a dispute the lot will be called again.

The auctioneer has the right to refuse a bid, and this without further explanation.

Each buyer by making a bid acknowledges the conditions of sale and the fact that he has inspected the purchased item.

The auctioneer has the right to split a lot or join several lots.

Lots with two or more titles, series or periodicals, or lots with a mention “n.c.” and ‘’sold w.a.f.’’are not collated and cannot be returned.

Each buyer is supposed to buy for his own account and cannot claim any commission. Each bidder should inspect the lots during the exhibition. Under no circumstances can

an item, once sold, be returned. For lots bought via a bidding order remarks or complaints, also concerning the authenticity of the items, should be formulated within 2 weeks

after the auction. After that delay no item can be returned.

In case purchasers are prevented from attending the sale personally, the auctioneer will execute their bids in €, without extra charge (except the premium). Bidding orders must

reach the auctioneer at least 24 hours before the sale. In the event of identical bids, the earliest received will take precedence. Bidding by telephone will only be accepted for

items with minimum estimate higher than € 250. Reservation of a telephone line must be made at least 2 days before the auction. The auctioneer cannot be held responsible for

any problem due to difficulties with telephone connections.

Bidders unknown to the auctioneer, can be asked to submit credentials and/or a guarantee.

Lots purchased will not be delivered to the buyer until he has made payment in full of the total amount due.

Extra costs for packaging, payment, insurance and/or mailing are at the buyer’s expense. Packing and handling is at the entire risk of the buyer. The auctioneer is not responsible

for any accidents or faults or omissions by the postal or carrier services.

All items must be paid in full within two weeks after receipt of the invoice. The auctioneer is not responsible for the lots if they are not paid, picked up or mailed within the

prescribed period.

If a lot is not paid in full within 2 weeks, the auctioneer can charge an interest at 12 % per year. If full payment has not been made after one month, the auctioneer can rescind

the sale of the lot(s) at any other auction. All charges being at the expense of the defaulting buyer.

Moreover, all conditions, as stated above in Dutch are valid.

grand Sablon

grote Zavel

kleine Zavel

petit Sablon

place Royale

Koningsplein

P

Poelaertplein

place Poelaert

P

POELAERT

ARENBERG AUCTIONS

2 PORTES - 2 POORTEN

P

Naamse poort

porte de Namur

Louisa

Louiza

M 4 6

T 92 93 94 97

200 M

Stephanie


251

354


Next lecture ( in French )

November 20 th - 7 pm

by Dominique Vanwijnsberghe, Doctor in Art History

« On the fascination for illuminated medieval manuscripts »

Next auction :

December 13 th & 14 th : Books & Prints

www.arenbergauctions.com



GRABADOS ARENBERG 19.10.2019

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