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Contents from this catalogue


Sorted by centuries
in alphabetical order

Artworks Description

DOMINIQUE BARRIÈRE (1618 Marseilles – 1678 Rome)

Rocky Landscape with Fisherman by River and Artist Sketching;
a Campagna Landscape with Staffage Figures.
 Pen and black ink. Each measuring 16.2 x 25.6 cm. Circa 1646. Monogrammed: “DB IF”.

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NICOLAS BEATRIZET (1515 Thionville – 1565 Rome)

The Façade of the Palazzo Farnese in Rome. Two engravings, each measuring approx. 33.7 x 53 cm. Bartsch XV, 270, 102; Robert-Dumesnil IX, 175, 105 (Salamanca) and 176, 106 (Lafreri); Huelsen 1921, 162, No. 102 A (Lafreri), 102 C (Salamanca).

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BIAGIO DELLE LAME (also known as Biagio Pupini, 1511–1575, Bologna)

The Apostle Thomas. Point of brush in brown over graphite, white heightening, on blue paper, mounted 

on a supporting cardboard. 15.9 x 9.6 cm. Circa 1530.

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CORNELIS BOS (1506 or 1510 Herzogenbosch – 1556 Groningen)

Venus at Vulcan’s Forge. Engraving. 28.8 x 38.3 cm. 1546.
Hollstein 64.

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NICOLAS COCHIN (1610 Troyes – after 1649 Paris)

A Wooded Landscape with the Sermon of St. John the Baptist. Etching. 25.7 x 32.3 cm. Inventaire du Fonds Français 21. 

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JOHANNES JANSZ. COLLAERT (c. 1622 – after 1678, Amsterdam)

attributed. View of a Waterfall. Black chalk, point of the brush in grey, grey wash, borderline in pen anD brown ink. 46.2 x 38 cm. Circa 1646.

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DIRCK VOLKERTSZ. COORNHERT (1522 Amsterdam – 1590 Gouda)

attributed. Six Sayings about Fortune. Set of six engravings, each measuring approx. 20.3 x 25 cm. The Illustrated Bartsch, vol. 55,
no. 96.1; Bulletin van het Rijksmuseum, 46, nos. 2–3, (1998), pp. 322–24.

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GERMAN SCHOOL circa 1500

Salve Sancta Facies; Bust-length Portrait of Christ in Left Profile. Woodcut with contemporary colouration. 9.1 x 6.2 cm. Contemporary lettering in pen and brown ink: “suster Kathrinne van putk be...”. Unrecorded.

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GIOVANNI BATTISTA FRANCO (called Il Semolei, c. 1510–1561, Venice)

A Group of Three Hovering Angels. Etching. 19.2 x 17.9 cm. Bartsch XVI, 139, 61 II; The Illustrated 

Bartsch, vol. 32 (16), 61 (139); Rearick, “Battista 

Franco and the Grimani Chapel”, in Saggi e memorie 

di storia dell’arte, 2 (1958–9), pp. 105–139.

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ALESSANDRO MAGANZA (1556–1632, Vicenza)

The Assumption of Mary. Black chalk, pen and brown ink, brown wash. 22.7 x 10.8 cm.

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HENRI MAUPERCHÉ (c. 1602–1686, Paris)

The Punishment of Marsyas. Etching. 19.3 x 26.7 cm. Robert-Dumesnil 27 I (of II). Watermark: Post horn.

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MONOGRAMMIST L.K. (Lukas Kilian?, 1579–1637, Augsburg)

Landscape with Waterfall. Etching after Hendrick Goltzius. 11.2 x
14.2 cm. Watermark: Double-headed 

Eagle in Shield with Crown and Initial M (similar 

to Briquet 326, Brünn, 1589–91).

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LAMBERT SUAVIUS (real name: Lambert Zutman, circa 1510 Liège – between 1574 and 1576 Frankfurt a. M.)

St. Peter and St. John Healing a Lame Man. Burin and diamond-tip needle. 30.9 x 42.8 cm. 1553. 

Hollstein 23 II. Watermark: Small coat-of-arms with 

lettering Nivelles (cf. Briquet 9869–70, Bayonne, 

Paris, after 1544).

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ANTONIO TEMPESTA (1555 Florence – 1630 Rome)

“Il bello Narciso; La belissima Diana”, two grotesque portraits in profile. Two etchings joined together in the 

middle. Each measuring approx. 14.7 x 10.8 cm. 

Bartsch XVII, 180, 1368 and 1369; The Illustrated 

Bartsch, vol. 37 (17), p. 203; S. Samek Ludovici, 

“Caricature inedite di Antonio Tempesta”, in Studi 

di biblioteconomia e storia del libro in onore di Francesco 

Barberi, Rome, 1976, pp. 513–517.

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LOUIS CARMONTELLE (real name Louis Carrogis, 1717–1806, Paris)

Pierre Victor, baron de Besenval de Brünstatt. Etching. 27.9 x 18.7 cm. P. de Baudicour 2, Portalis-Béraldi 3; 

Gruyer 122; Inventaire du Fonds Français 2.

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A Corner of the Forum Romanum with the Ruins of the Basilica of Maxentius. Black and white chalk on 

greyish paper. 30.4 x 42.4 cm. Signed in pen and 

brown ink: "MA Challe".

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JEAN-LOUIS DEMARNE (1754 Brussels – 1829 Battignoles)

Pastoral Scene with Shepherd Couple. Etching. 27.3 x 37.5 cm. Hippert & Linnig I, 186, 34.

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JOHANN GEORG VON DILLIS (1759 Grüngiebing – 1841 Munich)

The Rotting Tree-trunk. Etching on wove paper. 17 x 24.2 cm. 1793. Andresen 31.

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JACQUES GAMELIN (1738–1803, Carcasonne)

Squelette de fantaisie (Seated Skeleton, Holding Staff in Right Hand). Etching. 24.2 x 28.5 cm. 1778. 

Baudicour 39; Inventaire du Fonds Français 12.

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JOHANN DANIEL HERZ (1693–1754, Augsburg)

A Bird’s-eye View of the City of Jerusalem with Scenes from the Passion of Christ. Engraving from a plate. 

82.6 x 123.5 cm (sheet size). Circa 1735. Not in Berliner 

Ornamentstichkatalog; Thieme-Becker, Allgemeines 

Lexikon, vol. XVI, p. 567; Nagler 2.

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FRANCESCO LONDONIO (1723–1783, Milan)

Suite of 12 Pastorals for Lord Exeter. Twelve etchings with white heightening on greyish-green laid paper, 

each measuring approx. 21.5 x 28.5 cm. 1763–64. Nagler 

35–46, Scola 53–54, I each (of III), 55 I (of II), 56 I 

(of III), 57 I (of II), 58 II (of IV), 59–64, I (of II).

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ISAAC DE MOUCHERON (1667–1744, Amsterdam)

Forest Landscape with a Resting Herd of Fallow Deer. Pen and grey and brown ink, watercolour and gouache; 

borderline in pen and brown ink. 22.7 x 34 cm. Signed 

and dated: “Moucheron Fecit 1742”.

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CHARLES PIERRE JOSEPH NORMAND (1765 Goyencourt – 1840 Paris)

Les formes acerbes (Harsh Manners). Etching after a drawing by Louis Lafitte. 33.8 x 38 cm.

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PIETRO ANTONIO NOVELLI (1729–1804, Venice)

Saints Jerome and Nicholas. Pen and brown ink, grey and brown wash, lightly squared off with black 

chalk. 41.4 x 27.6 cm.

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CARLO ENRICO DI SAN MARTINO (Ivrea (?) – 1726 Rome)

Vera effigie di Paoluccio della Cerra, detto comunemente Pulcinella. 

Mezzotint. 11 x 8 cm. A. de Vesme, “Carlo 

Enrico di San Martino”, in Maso Finiguerra. Rivista 

della stampa incisa e del libro illustrato, V (1940), p. 273, 

No. 2; F. C. Greco, Pulcinella. Maschera del mondo, 

Naples, 1990, p.105, pp. 107–8, Cat. No. 1.2.

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A Wide Mountain Landscape with a Man Taking a Rest and a Young Woman with a Basket in the Foreground. 

Black chalk, grey and brown wash. 42.7 x 58.1 cm. 

Signed and dated in pen and brown ink: “Schmuzer 

1794, in Wien.

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Portrait of a Young Man in Profile. Red chalk drawing. 45.5 x 40.5 cm.

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The Death of Saint Peter Martyr of Verona. Pen and greyish-black ink. 19.5 x 28.5 cm. With old pen 

inscription: “Maniera di Tintoretto” (faded) and 

“N 305” (verso). Watermark: Letters AM.

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The Arts Pay Homage to Pope Pius VI. Etching. 42.6 x 31.5 cm and 34.1 x 22.9 cm. 1775. De Vesme 98; Rizzi (

1970) 154; Rizzi (1971) 158; Succi 180.

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JOSEPH MARIE VIEN (1716 Montpellier – 1809 Paris)

attributed. Head Study of a Bearded Man. Oil on 

paper, mounted on canvas. 34.8 x 27.4 cm.

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JOHANN IGNAZ ZIMBAL (1722 Wagstadt – 1795 Vienna)

St. John the Evangelist Writing the Apocalypse on Patmos. Etching. 27.3 x 18.5 cm. Heller-Andresen 2; not in Nagler; 

Wilhelm Soldan, “Die Radierungen von Johann 

Ignatz Zimbal” in Galerie Bassenge, Berlin, Auction 

Catalogue 56, 1990, Part II, p. 51, 2; L. Slavícek, 

“Johann Cimbal as Etcher”, in Ex Fumo Lucem. Baroque 

Studies in Honour of Klára Garas, Budapest, 1999, 

pp. 112–113, 115, fig. 5.

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CARL BLECHEN (1798 Cottbus – 1840 Berlin)

View of the Colosseum in Rome from the Palatine Hill. Oil on paper, mounted on panel. 31.9 x 18.7 cm. 

Inscribed and dated by the author: “Colosseum a 

Roma (18)29”.

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JOHANNES BOSBOOM (1817–1891, The Hague)

The Interior of the Noorderkerk in Hoorn. Watercolour, white heightening. 50 x 41 cm. Signed: “J. Bosboom”. 

Circa 1880.

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ALEXIS CHAITAIGNIER (1772 Nantes – 1817 Paris)

L’homme accablé par le Malheur (Man Overwhelmed by Misfortune). Engraving. 40.5 x 46.5 cm. (1804). 

Inventaire du Fonds Français, Après 1800, IV, 12.

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FRANK DUVENECK (1848 Covington – 1919 Cincinatti)

Half-length Portrait of a Bearded Man with Arms Folded. Oil on cardboard. 69 x 48.5 cm. Circa 1870–75.

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LUDWIG EMIL GRIMM (1790 Hanau – 1863 Kassel)

Lotte Hassenpflug’s Four Children and Ideke, Ludwig Emil Grimm’s Daughter. Etching. 12.9 x 18.6 cm. 

1837–38. Stoll 47.

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CHRISTIAN AUGUST GÜNTHER (1759 Pirna – 1924 Dresden)

Characteristic Portrayal of Trees as an Exercise for Draughtsmen, 

Painters and Engravers Studying Landscape 

... Title page in French and German, 12 etchings 

printed in black, 12 etchings with aquatint in brown, 

each measuring approx. 23.1 x 18.5 cm (sheet size). 

In original half-leather binding. Published by Friedrich 

August Leo, Leipzig, 1802.

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PAUL HUET (1803–1869, Paris)

Autumnal Wood with Small Stream. Watercolour. 46.5 x 30 cm.
With red studio stamp (Lugt 1268).

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RUDOLF JORDAN (1810 Berlin – 1887 Düsseldorf)

Portrait of the Artist Rudolf Jordan, after Andreas Achenbach. 

Lithograph. 24.4 x 19.9 cm. 1833.

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WILHELM VON KAULBACH (1805 Arolsen – 1874 Munich)

Hermes, Messenger of the Gods. Pencil drawing. 37 x 25.5 cm. Signed in pen: “WKaulbach”. Circa 1845.

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JOHANN ADAM KLEIN (1792 Nuremberg – 1875 Munich)

The Wife of the Metal Goods Manufacturer Joseph Feil; the Metal Goods Manufacturer Joseph Feil. Two etchings, 

each measuring
17.6 x 13.3 cm. approx. Circa 1814–15. 

Jahn 150 II, 151 II.

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Autoportrait accompagné d’autres têtes (Self-Portrait and other Heads). Lithograph on wove paper. 19 x 19.9 cm. 

1819. Neil Jeffares, “Jacques-Antoine-Marie Lemoine 

(1751–1824)”, in Gazette des Beaux-Arts, 6, 133 (1999), 

p. 125, no. 180.

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JOHANN AUGUST NAHL THE YOUNGER (1752 Zollikofen – 1825 Kassel)

Four Views of Johann Heinrich von Dannecker’s Marble Statue of Ariadne on a Panther. Four engravings, each measuring 24 x 17.5 cm. 1814. Inscribed in brown pen in lower margin: “Ariadne ... 1tes–4tes Blatt”.

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ANTONIO DE PIAN (1784 Venice – 1851 Vienna)

The Old Tower. Lithograph with greenish-grey tint stone. 40.7 x 31.1 cm. (1820). Schwarz, Die Anfänge 

der Lithographie in Österreich, 155, 1 I (of II).

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Stage Design: Ancient Architectural Prospect with Colonnaded Courtyard and Equestrian Statue for the Opera 

“Idomeneo” by W. A. Mozart. Pen and black ink and 

36 x 51 cm. Signed: “Lorenzo De Quaglio 

invenit et fecit ...”.

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The Coronation of Emperor Ferdinand I as King of Lombardy-Venetia in Milan Cathedral. Pen and black 

ink, grey wash. 30 x 38.9 cm. Circa 1838.

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PETER CHRISTIAN SKOVGAARD (1817 Ringsted – 1875 Copenhagen)

Landscape Impression of the Island of Møn. Black chalk and oil colours on canvas. 58.5 x 40.6 cm. Circa 1843.

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EBERHARD WÄCHTER (1762 Balingen – 1852 Stuttgart)

The Mirror of Lais. Pen and point of brush and greyish-brown ink
over graphite, white heightening, on blue paper. 32.8 x 24.8 cm.
Old lettering in pencil on the cardboard mounting: „Der Spiegel der
Lais. / Orig. Karton von Waechter /zum Taschenbuch für Damen 1802“.

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The Bidet. Monotype on laid paper. 7.5 x 5.2 cm. Circa 1880.
Janis 193, Cachin 150.

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GIORGIO MORANDI (1890–1964, Bologna)

Piccola natura morta con tre oggetti. Etching on wove paper.
12.5 x 15.7 cm. Signed. Edition of 100 numbered impressions,
1961. Vitali 131.

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