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Sorted by centuries
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Artworks Description

Angelo Falconetto (circa 1507 probably Rovereto – 1567 Verona)

Sirens, Naiads and Tritons. Etching. 22.9 x 31 cm. B. 17; The Illustrated Bartsch, vol. 44 (20), 305, 17.

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Monogrammist IQV (active in Fontainebleau around 1540–45)

Venus in a Chariot Drawn by Two Swans. Etching after Giulio Romano. 29.4 x 46.3 cm. Bartsch XVI, 372, 3; The Illustrated Bartsch 33 (16), 273, 3; Herbet 13.

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Giovanni Battista Scultori (called Mantovano, 1503–1575, Mantua)

Naval Battle between Greeks and Trojans. Engraving. 40.9 x 58 cm. 1538. Bartsch XV, 383, 20; Massari 6 II (of V). Watermark: Tree in Shield (similar to Wood­ward 134, after 1545).

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Lodewijck Toeput (called Pozzoserrato, ca. 1550 Mechelen or Antwerp – circa 1603–05 Treviso)

Study Sheet with a Mountainous Landscape and Buildings. Pen and brown ink. 24.2 x 18.1 cm.

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Willem Outgersz. Akersloot (circa 1600 Haarlem – after 1651 The Hague)

Portrait of Frederik Hendrik, Prince of Orange. Engraving. 21 x 16.7 cm. Hollstein 3 I (of IV).

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Jacques de Gheyn III (1596 Leiden – 1644 Utrecht)

Triton Blowing on a Conch. Etching. 19.8 x 16.3 cm. 1616–1620. The New Hollstein 19 I (of II).

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Jacob Ochtervelt (1634–1682, Rotterdam)

Singing Violinist. Oil on panel. 18.4 x 14.6 cm. Susan Donahue Kuretsky, The Paintings of Jacob Ochter­velt (1634–1682), no. 35.


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Jan Erasmus Quellinus (1634 Antwerp – 1715 Mechelen)

Christ on the Cross. Pen and brown ink over graphite, brown wash, white heightening. 22 x 15.5 cm.

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Pieter Serwouters (1586 Antwerp – 1657 Amsterdam)

The Christian Soldier. Etching. 29.7 x 35.8 cm. 1614. Hollstein 10.

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Master MZ (Matthäus Zasinger, born 1477 in Munich, where he was active from 1500–1503)

The Embrace. Engraving. 15.5 x 10.3 cm. 1503. Bartsch VI, 378, 15, Lehrs VIII, 365, 16.

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Johann Georg Bergmüller (1688 Türkheim – 1762 Augsburg)

The Twelve Olympic Gods with the Signs of the Zodiac. Suite of 12 etchings. Each measuring approx. 21.9 x 13.2 cm. Le Blanc 99–110.

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Jean Jacques de Boissieu (1736–1810, Lyon)

Self-portrait. Etching, drypoint and roulette on greyish-blue paper. 29.5 x 37.5 cm. 1796. Boissieu-Perez 102 IV (of VI).

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Johan Frederik Clemens (1748 Gollnow – 1831 Copenhagen)

Half-length Portrait of the Danish Painter Jens Juel. Etching in crayon manner. 28.9 x 23.2 cm. 1801. Not in Nagler, Heller-Andresen or Le Blanc.

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Louis Jean Dsprez and Francesco Piranesi (1743 Auxerre – 1804 Stockholm and 1756 Rome – 1810 Paris)

Fuoco Artificiale detto la Girandola (The Fireworks above Castel Sant’Angelo). Coloured etching in black, several shades of grey and orange-red. 76.6 x 51 cm. Circa 1783. Wollin 3 II (of III).

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Bénigne Gagneraux (1756 Dijon – 1795 Florence)

Mercury Hands over the Infant Bacchus to the Nymphs. Etching, partly reworked in pencil. 49.7 x 64.1 cm. Inscribed in pen and black ink in the artist’s own hand: “Mercure qui apporte bacchus aux nymphes de la part de Jupiter pour être nourrices”. Sandström 1981, pp. 50, 89, 211; no. 459.

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Bartolomeo Gazalis (born in Genoa, active around 1720–30 in Milan)

A Picturesque Landscape with a Cowherd. Pen and brown ink over chalk, brown wash. 49.6 x 36.7 cm. Signed: “Bartolo Gazale fec.”

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Peter Jacob Horemans (1700 Antwerp – 1776 Munich)

A Young Musician Playing the Double Bass. Red chalk drawing. 27.4 x 15.4 cm.

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Georg Philipp Rugendas the Elder (1666–1742, Augsburg)

Chargen der Reiterei. Eight mezzotints. Each measur­ing approx. 25 x 16.1 cm. Circa 1700. Nagler 26; Heller-Andresen 7; Teuscher 37–44, each I (of III). Watermark: Coat of arms with Augsburg Beaker.

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Louis Joseph Masquelier (1741 Cysoing near Lille – 1811 Paris)

Head of an old Woman with her Eyes Closed, her Hair Covered by a Headscarf. Drypoint, roulette and mattoir. 45.3 x 32.2 cm. Not in Le Blanc or Portalis-Béraldi, probably unrecorded.

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Christian Gottlieb Mietzsch (1742–1799, Dresden)

The Entombment of Christ. Etching. 33.6 x 36.2 cm. 1772. Heller-Andresen 2; Le Blanc 3 I (of II); Nagler 1.

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Johann Anton de Peters (1725–1795, Cologne)

Young Woman in a Park Landscape. Black chalk, brush drawing in grey and brown. 32.6 x 23.4 cm.

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Abel Schlicht (1754–1826, Mannheim)

La Tempête (The Storm). Aquatint etching in brown ink after Claude-Joseph Vernet. 48.8 x 64 cm. 1788. Nagler 7; Heller-Andresen 6.

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Johann Franz von der Schlichten (1725–1795, Mannheim)

Self-portrait. Black chalk. 36.5 x 27 cm. Circa 1750. Watermark: Basle crozier with the letter B attached.

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Jakob Matthias Schmutzer (1733–1811, Vienna)

Portrait of a Young Woman Sleeping. Red chalk. 37.8 x 28 cm. Inscribed on the verso in an old hand and numbered: “Schmuzer .. No 228.”


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Bernhard Vogel (1683 Nuremberg – 1737 Augsburg)

Portrait of Johann Kupezky with his Son at the Spinet. Mezzotint after J. Kupezky. 34.3 x 25.7 cm. 1737. Nagler 12 II.

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Johann Christian Thomas Winck (1738 Eichstätt – 1797 Munich)

Apollo on the Parnassus Surrounded by the Nine Muses. Etching. 22.5 x 14.3 cm. Circa 1768. Nagler 4, Heller-Andresen 3.


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Eduard Julius Friedrich Bendemann (1811 Berlin – 1889 Düsseldorf)

“Mein Freund ist mein und ich bin sein, der unter Rosen sich weidet” [“I am my beloved’s, and my beloved is mine: he feeds his flock among the lilies”]. Pencil drawing, brown wash and white heightening, on brownish paper, on the artist’s original mounting; decorative border and inscription in pen and brown ink. 22 x 23.6 cm. Mono­grammed and dated: EB 1837. With a dedication in the artist’s own hand: “Für Frau Direktorin Schadow”.

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François-Edouard Bertin (1797–1871, Paris)

Rocky Landscape near Olevano. Pencil drawing. 25.9 x 37 cm. Inscribed in pen and brown ink in the artist’s own hand: “Olevano”.

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Albertus Brondgeest (1786–1849, Amsterdam)

An Artist Drawing by a Gate. Black chalk, grey and blue wash, framing line in black chalk. 28.9 x 36.5 cm.

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Paul Louis Léger Chardin (1833 Paris, exhibited at the Paris Salon between 1855 and 1875)

Full-length Portrait of Giuseppe Verdi, Facing Left. Brush drawing in black, grey, blue and a little yellow over pencil on grey-green paper. 25.5 x 17.2 cm. Monogrammed: “F. C.”, inscribed and dated in the artist’s own hand: “Verdi rencontré à Milan 1858”.

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Johannes Dijkhoff junior (1795–1862, Amsterdam)

The Old Post Mill in Huizen. Watercolour over a pre­liminary drawing in black chalk; framing line in pen and black ink. 25 x 39.3 cm. Signed on the verso: “J: Dijkhoff Jr.”

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Johann Georg von Dillis (1759 Grüngiebing – 1841 Munich)

A Farmstead with Barns in a Bavarian Landscape. Black chalk and point of brush, grey wash, on green grounded paper. 17.5 x 22 cm. Circa 1820.

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John Flaxman (1755 York – 1826 London)

Odysseus and Diomedes on Horseback. Pen and grey-black ink over graphite. 23.5 x 29.3 cm. Inscribed in the artist’s own hand: “Ulysses Diomed / Not unobserv’d they pass’d the God of light / Had watch’d his Troy. / B: 10. l: 602: Pope’s Iliad”. Circa 1794. Watermark: J. Whatman 1794.


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Wilhelm Gail (1804–1890, Munich)

The Roman Carnival. Etching on laid paper. 38 x 49 cm. 1826. Nagler 2, Heller-Andresen 3.

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Jean-Michel Grobon (1770–1853, Lyon)

The Forest of Rochecardon. Etching, burin and roulette on blue paper. 23.2 x 29.6 cm. 1800. Audin-Vial 1918, vol. 1, p. 405; Grafe 4 I (of III).

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Jean-Michel Grobon (1770–1853, Lyon)

Vue de Lyon; Prise du Quai St. Antoine. Etching, burin and roulette on ivory-coloured wove paper. 39.8 x 55 cm. 1812. Grafe 6.

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Florian Grospietsch (1789 Protzan – 1820/28 active in Rome and Naples)

Veduta di S. Francesco presso Amalfi. Etching. 31.6 x 45.8 cm. 1824. Heller-Andresen, from 3.

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Jules Ferdinand Jacquemart (1837 Paris – 1880 Nice)

Souvenirs de voyage. Etching on ivory-coloured wove paper. 24 x 33.7 cm. 1862. Gonse 329; Goncourt, Estampes modernes, 1897, p. 26; Béraldi 329; Inventaire du Fonds Français 31.

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Carl Wilhelm Kolbe the Elder (1757 Berlin – 1835 Dessau)

Sacrifice to Pan. Etching on ivory-coloured wove paper. 42 x 53 cm. Circa 1808–1815. Martens 97 III.

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Gerrit Lamberts (1776–1850, Amsterdam)

The Remains of the Lutheran Church in Amsterdam after the Fire of 1822. Black chalk, grey wash, framing line in pen and brown ink. 42.3 x 35.2 cm. Verso inscribed in the artist’s own hand: “Afbeelding van de ruine der Luthersche Nieuwe Kerk te Amsterdam naar de orgeldeur te zien G. Lambert(s).”

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Johann Ludvig Gebhard Lund (1777 Kiel – 1867 Copenhagen)

Standing Female Nude Seen from the Back. Black chalk, grey wash. 59.8 x 36 cm. Signed: “J G Lund”. Circa 1800–1810.

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Vilhelm Nicolai Marstrand (1810–1873, Copenhagen)

Cupid with Bow and Arrow, Sitting on the Back of a Lion. Pen and brown ink over a preliminary drawing in pencil. 34.6 x 38.3 cm. Circa 1836–39.

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Adolphe Martial Potémont (1828–1883, Paris)

Lettre sur les éléments de la gravure à l’eau-forte. Five etchings on paper, in the original brown dust jacket which is furnished with an etched vignette. Folio (sheet size). 1864. Béraldi 19.

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Simon Quaglio (1795–1878, Munich)

Southern Palace Garden with a Pergola and a Rose-arbour. Pen and black ink and watercolour. 24.6 x 34.5 cm. Verso inscribed in the artist’s own hand: “mit 8 Cou­lißen, und durchgebrochen, mit einem kleinen Pro­speckt; Rosenlaube”.

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Ludwig Schütze (circa 1807–1840, Dresden)

Shrubs and a Stone Block against a Blue Sky. Watercolour and gouache on blue paper. 13 x 18.6 cm. Signed, inscribed and dated: “Aus Weesenstein / Lud. Schütze 1826 n. d. N.”

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Wolfgang Adam Toepfer (1766 Geneva – 1847 Morillon)

Tree Study. Pen and brown ink over pencil, water­colour. 26.4 x 17 cm.

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Charles Turner (1773 Woodstock – 1857 London)

“A Witch Sailing to Aleppo”. Mezzotint in blackish-brown after John James Halls. 60.8 x 45.7 cm. (1807). Whitman 748. Watermark: dovecot and countermark.

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Maximilien Luce (1858–1941, Paris)

Femme se faisant les ongles (Woman doing her Nails). Etching, drypoint and aquatint in brownish-black on ivory-coloured paper. 14.7 x 20.7 cm. Signed. Circa 1890–95.

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Maximilien Luce (1858–1941, Paris)

La Cuisine (Rue Cortot). Four drypoint etchings, one with vernis-mou, printed in different inks. 10.2 x 17.5 cm. Circa 1890–95. Inventaire du Fonds Français 43.

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Théophile Alexandre Steinlen (1859 Lausanne – 1923 Paris)

Profile of a Man Sitting with a Small Child on his Lap. Charcoal drawing. 61 x 44 cm. Signed: “Steinlen”.

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