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Contents from this catalogue


 

Sorted by centuries
in alphabetical order



Artworks Description

GIORGIO GHISI (known as Mantovano, 1512–1582, Mantua)

The Trinity. Engraving. 41.5 x 30.2 cm. 1576. Bartsch 14; Lewis-Lewis 57 I (of III), Bellini 60 I (of V).

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JAN SAENREDAM (circa 1565 Zaandam – 1607 Assendelft)

Plato’s Allegory of the Cave (Antrum Platonicum). Engraving after Cornelis Cornelisz. van Haarlem. 32.6 x 44.8 cm. 1604. B. 39, Hollstein 116 II. Water­mark: Grape with fleurs-de-lis.

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FRANCESCO VANNI (1563–1610, Siena)

The Stigmatisation of Saint Catherine of Siena. Etching. 11.9 x 7.7 cm. Circa 1595. Bartsch 2 I (of II).

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IGNAZ JOHANN BENDL (Brno – circa 1730 Vienna)

The Rest on the Flight into Egypt. Etching. 37.2 x 53.5 cm. 1700. Nagler, Die Monogrammisten I, 1627, Le Blanc 2, Heller-Andresen 1.

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JAN BOTH (Circa 1618–1652, Utrecht)

Tree Study in a Southern Landscape. Pen and brown ink over graphite, grey wash, framing line in pen and brown ink. 38 x 24.5 cm.

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PIETER BOUT (1658–1719, Brussels)

The Ice Skaters. Etching. 19.8 x 27.7 cm. Hollstein 3 I (of II). Watermark: Seven-pointed fool’s cap.

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PIERRE BREBIETTE (1598 Mantes – 1650 Paris)

Fortuna Crowned by Jupiter, with Pluto and Neptune. Etching after Claude Vignon. 25.5 x 20.5 cm. 1624. Inventaire du Fonds Français 174, Pacht Bassani (1992), 86 G. Watermark: Fragment.

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GIULIO CARPIONI (1613 Venice? – 1679 Vicenza)

The Israelites Gathering Manna. Pen and brown ink over graphite and red chalk, reddish-brown wash. 22.8 x 17.5 cm.

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GIUSEPPE DIAMANTINI (1621–1705, Fossombrone)

Saturn, Eros and a Woman. Etching. 25.5 x 19.3 cm. B. 30, TIB 47 (Commentary Part 3) .030, Calabi 35. Watermark: Crown adorned with a star.

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LAURENT DE LA HYRE (1606–1656, Paris)

The Conversion of Paul. Etching. 41.8 x 30.6 cm. Robert-Dumesnil 16 I (of III), Pierre Rosenberg/Jacques Thuillier, Laurent de la Hyre 1606–1656: L’homme et l’oeuvre, Geneva 1988, no. 138 I (of IV). Watermark: Grapes with countermark.

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GODFRIED MAES (1649–1700, Antwerp)

The Virgin and Child and Two Angels. Etching. 16.5 x 20.2 cm. Wurzbach, Hollstein 1.

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JOHANNES MONINCKX (active in the Northern Netherlands, circa 1620–1630)

A Rider and a Wanderer in a Landscape with Ancient Buildings. Pen and brown ink, framing line in pen and brown ink. 14.5 x 24.3 cm. Signed: “JMoninx Fecit”.

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JEAN MORIN (circa 1605/10–1650, Paris)

Christ as Salvator Mundi. Etching and engraving after Philippe de Champaigne. 43.4 x 31.5 cm. Robert-Dumesnil 25, Mazel 030 III (of IV). Watermark: Letters (countermark).

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WILLEM VAN NIEULANDT II (1584 Antwerp – 1635 Amsterdam)

Grand View of Rome with Tiber Island and Pons Aemilius. Etching from three plates. 41.2 x 87.2 cm. Hollstein 9a. Watermark: Countermark.

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DOMENICO PIOLA (1627–1703, Genoa)

The Family of Darius III before Alexander the Great. Pen and brown ink over graphite, brown and bluish-grey wash. 44 x 58.4 cm. Circa 1690.

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GIOVANNI PIETRO POSSENTI (1618–1659, Bologna)

The Flaying of Marsyas by Apollo. Etching. 14.6 x 21.6 cm. B. XIX, p. 186, 5, Nagler, Die Monogram­misten II, 565 (Pecham), Le Blanc 6, Hollstein (Georg Pecham / Possenti) 4.

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JOHANN HEINRICH SCHÖNFELD (1609 Biberach an der Riß – 1682/83 Augsburg)

The Philosopher Democritus Immersed in Meditation. Etching. 16.2 x 13.1 cm. 1654. Nagler 18, Hollstein 17.

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ANTONIO TRIVA (1626 Reggio Emilia – 1699 Munich)

Rest on the Flight into Egypt. Etching. 16.2 x 20.8 cm. Bartsch 2, Nagler 2 I (of II). Watermark: Tre Lune.

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ANTHONIE WATERLOO (1610 Lille – 1690 Utrecht)

A Man and His Dog on a Path in a Wooded Landscape. Black chalk, pen and grey ink, grey wash. Initials “AW” and “Gerkhusen ... / Graafschaft Bentem” inscribed in pencil on the verso. 16.3 x 19.1 cm.

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ANTONIO BARATTA (1724 Belluno – 1787 Venice)

Celebrations in Honour of the Russian Grand Duke and Duchess in the Teatro San Benedetto. Etching and engraving after Giovanni Battista Canal. 54 x 68.6 cm. 1782. Not in Nagler or Le Blanc, Meyer Allgemeines Künstler-Lexikon, vol. II, no. 23.

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JAMES BARRY (1741 Cork – 1806 London)

King Lear. Pen lithograph, from Specimens of Poly­authography. 23.2 x 31.8 cm. Circa 1803. Pressly 38.

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EDME BOUCHARDON – AFTER (1698 Chaumont – 1762 Paris)

The Five Senses. Series of five etchings with burin by Anne-Claude-Philippe de Tubières, Comte de Caylus and Étienne Fessard. 40 x 29.6 cm. Inscription in pen and brown ink: “gravée a Leau forte par C et terminé au burin par EA fessard / Cloitre St Germain de Lauxerrois”. Inventaire du Fonds Français (Caylus) 56, IFF (Fessard) 1247.

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

Portrait of Louis-Philippe, Duc d’Orléans and His Son Louis-Philippe-Joseph, Duc de Chartres. Etching.
29.6 x 19.5 cm. 1759. Baudicour 3, Portalis-Béraldi 23, Inventaire du Fonds Français 3.

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FRANÇOIS-PHILIPPE CHARPENTIER (1734–1817, Blois)

Vue du Temple de Salomon et de ses Parvis. Lavis etching, partially with sepia wash, after Charles de Wailly. 47.7 x 66 cm. 1766. Unrecorded.

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JOHAN FREDERIK CLEMENS (1748 Gollnow – 1831 Copenhagen)

Socrates. Engraving. 37.8 x 47.8 cm. 1786. Nagler p. 569, Le Blanc 8, Leo Swane, J.F. Clemens: Biografi samt Fortegnelse over hans Kobberstik, Copenhagen 1929, 223 V.

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CHRISTIAN WILHELM ERNST DIETRICH (known as Dietricy, 1712 Weimar – 1774 Dresden)

Itinerant Musicians. Pen and brown ink over a light preliminary drawing in graphite. 24.6 x 19.4 cm. Circa 1745. Signed “CWE Dietricy Inventor a la Gusto di Ostade” at the bottom right.

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JOHANN ALBRECHT DIETZSCH (1720–1783, Nuremberg)

Tavern Scene with Singing Peasants and a Fiddler. Pen and black and brown ink and brush drawing in brown; white heightening. 26.9 x 23.8 cm. Signed and dated “J. A. Dietzsch inv. et Fecit. 1773.”.

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FRANÇOIS HUTIN (1686–1758, Paris)

The Death of Actaeon. Etching. 39 x 44.5 cm. 1743. Signed “fr. hutin. in. et inc:” probably in the artist’s own hand. Not in Baudicour, Le Blanc II, p. 407, Inventaire du Fonds Français 12.

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CHARLES FRANÇOIS HUTIN (1715 Paris – 1776 Dresden)

The Birth of Christ. Etching. 22.8 x 16.8 cm. Baudicour 4 I (of II).

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LOUIS JOSEPH LE LORRAIN (1715 Paris – 1759 St. Petersburg)

The Holy Family. Etching after Jean François de Troy. 28.6 x 20.2 cm. 1742. Not in Le Blanc or Portalis-Béraldi, Inventaire du Fonds Français 3.

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DAMIANO PERNATI (1769 Novara – 1841)

Half-length Figure of Hercules Seated. Etching after Luigi Sabatelli. 20.2 x 27.5. 1795. Cat. Luigi Sabatelli (1772–1850). Disegni e Incisioni, Florence 1978, no. 3065.

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JEAN-BAPTISTE REGNAULT (1754–1829, Paris)

Head of a Bearded Man. Etching, on grey-green laid paper. 13.4 x 10.7 cm. Not in Baudicour, Le Blanc 2.

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ANTONIO BASOLI (1774 Casteluelfo – 1848 Bologna)

Two Designs for a Classical-style Ideal Architecture. Pen and greyish-black ink over pencil, grey and blue wash, white heightening. 44.1 x 60.9 cm and 40.8 x 60.2 cm respectively. Circa 1800–1810.

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ALBERT BESNARD (1849–1934, Paris)

Pair of Slippers. Watercolour. 12.7 x 24.5 cm. Water­mark: Whatman 1881.

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JEAN-PIERRE-XAVIER BIDAULD (1745 Carpentras – 1813 Lyon )

Première Vue de Lyon – Château de Pierre-Scise. Etching on wove paper. 40.3 x 53.7 cm. 1812. Le Blanc 2, Inven­taire du Fonds Français 7, Baudicour 7 I (of II).

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RICHARD CORBOULD (1757–1831, London)

An Old Man with a Girl and a Dog under Old Trees. Pen lithograph, from Specimens of Polyautography.
23.6 x 33 cm. 1802. Felix H. Man “Lithography in England (1801–1810)” in Prints: Thirteen Illustrated Essays on the Art of the Print, Carl Zigrosser, New York 1962, no. 45.

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ACHILLE DEVÉRIA (1800–1857, Paris)

Self-portrait in Three-quarter Figure. Lithograph on chine appliqué. 48.6 x 32.2 cm. Circa 1828. Béraldi 1.

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THOMAS ENDER (1793–1875, Vienna)

View of a Part of the Prater in Vienna. Brush drawing in brown over pencil. 36 x 44.8 cm.

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EMANUEL LARSEN (1823–1859, Copenhagen)

Boats in a Bay in Catalonia. Oil on paper, mounted on a wood panel. 28.5 x 35.5 cm. Signed, inscribed and dated “Emanuel Larsen Catalan. 1853.” at the bottom right.

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FREDERIK CHRISTIAN LUND (1826–1901, Copenhagen)

View of a Venetian Calle. Oil on canvas, pasted on an additional canvas. 30.5 x 38.5 cm. Signed, inscribed and dated “FCLund Venezia 1870” in the right-hand margin.

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AUGUSTIN-DÉSIRÉ PAJOU (1800 Paris – 1878 Elbeuf)

La famille du Statuaire Pajou. Lithograph. 35.7 x 28.6 cm. 1822. Beraldi 1.

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FRANÇOIS AUGUSTE RAVIER (1814 Lyon – 1895 Morestel)

Winter Landscape at Sunset. Oil on canvas. 18.5 x 24 cm. Signed: “AugusteR”.

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GEORGES-ANTOINE ROCHEGROSSE (1859 Versailles – 1938 El Biar, Algeria)

Frontispiece to Théodore de Banville’s ‘Poésies Nouvelles’. Pen and point of brush and black ink, on thick cardboard. 29.7 x 22.4 cm. (1884). Signed “G. Rochegrosse”.

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FÉLICIEN ROPS (1833 Namur – 1898 Essones near Nantes)

La Dame au Carcel. Vernis mou and drypoint. 23.9 x 17.5 cm. (1876). Signed “F.R.” in red chalk. Exteens 352, Rouir 850 I (of IV).

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SIEBE JOHANNES TEN CATE (1858 Sneek – 1908 Paris)

Turbulent Sea at Sunset. Watercolour on firm cardboard. 12.1 x 27.2 cm. Signed and dated “Ten Cate (18)97”.

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HEINRICH THEODOR WEHLE (1778 Förstgen (Upper Lusatia) – 1805 Bautzen)

Arcadian Landscape with Cattle in Front of Ancient Ruins. Pen-and-ink and brush drawing in grey and black. 46.5 x 61.5 cm. Circa 1801–1805. Fröhlich Z 229. Water­mark: Large crowned coat of arms with fleur-de-lis and letters.

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JOHANN HENDRIK WEISSENBRUCH (1824–1903, The Hague)

Beach Scene with Two Figures and Fishing Boats. Water­colour. 9.1 x 12.7 cm. Signed with the monogram: “J.H.W”. Circa 1874.

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CHRISTIAN ZACHO (1843 Grenaa – 1913 Copenhagen)

View of Non Mølle and Hald Sø. Oil on canvas. 36 x 58 cm. Signed, dated and inscribed “Non Mølle /
6 Septbr. 1873 Chr Zacho”.

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CUNO AMIET (1868 Solothurn – 1961 Oschwand)

The Artist’s Future Wife. Etching and aquatint on wove paper. 15.2 x 12 cm. 1895. Signed “C Amiet” in pencil at the bottom right. Mandach 6.

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MAXIMILIEN LUCE (1858–1941, Paris)

Scènes de la vie courante. Two oil studies on cardboard. Each approx. 13.4 x 54 cm. Signed “Luce” at the bottom left.

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