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Rembrandt van Rijn (1606-1669). Landschaft mit Turm. Kaltnadelradierung, ungerahmt, 9 x 16 cm. (späterer Abzug)

Rembrandt van Rijn (1606-1669). „Der barmherzige Samariter“. Kaltnadelradierung, ungerahmt, 24 x 20 cm. (späterer Abzug)

GLENN BROWN (B. 1966)The Music of the Mountains 2016 signed on a label affixed to the reverse of the backing boardIndia ink and acrylic on panel 135 by 95 cm. 53 1/8 by 37 3/8 in. This work was executed in 2016. Footnotes:This work is registered in the archives of the Glenn Brown Studio, London. ProvenanceGagosian Gallery, London Acquired directly from the above by the present ownerExhibitedFlorence, Museo Stefano Bardini, Glenn Brown: Piaceri Sconosciuti, 2017London, Gagosian Gallery, Glenn Brown: Come to Dust, 2018Guernsey, The Rona Cole Art Gallery, Guernsey Museum at Candie, 2018 - 2022, work on loan to the museumEmerging from a shimmering veil of woven, fluttering lines and threads of acrylic and ink, the timeless subject of Glenn Brown's The Music of the Mountains impresses upon us the uniqueness of his talent and the thrilling nature of his daring artistry that calls upon the benevolent gods of art history, from Da Vinci, Fragonard, Rembrandt and Boucher to John Martin, Dali, and Frank Auerbach. These apparitions don't simply appear as facsimile, however, but instead deconstruct the very humanity that comprises their historicity. Brown produces an intensified vision of painting qua painting that is captivating to behold and supremely contemporary in their notions of authorship and subject. Since his emergence in the 1990s, he has been a maverick of contemporary practice who has gone against the grain consistently, earning a Turner Prize nomination in 2000 and carving out a place amongst the most significant and lauded painters of his generation, with works in major institutions including The Art Institute of Chicago; the Centre Georges Pompidou, Paris; the Museum of Modern Art, New York; and the Walker Art Center, Minneapolis. He will further solidify his standing as one of the leading contemporary British artists with a museum dedicated to his practice and works from his personal collection, including Dutch and Italian masters, opening in Marylebone during the 2022 October Frieze week.In The Music of the Mountains, one cannot escape the elegance of Brown's virtuoso hand that lures and enthrals our gaze with its fluidity, poetry and sensitivity to form. Above all else, Brown is an artist who produces beautiful paintings. But therein lies the complexity and tragedy of his practice that makes his work some of the most challenging conceptual feats of contemporary art. Christoph Grunenberg, Director of the Kunsthalle Bremen, seized upon this essential quality, describing his art as 'one of extreme attraction – in subject matter, execution and look – yet at its heart there is darkness, a melancholic vision of death, destruction and loneliness. Belying their aesthetic perfection, masterly technical dexterity and formal integrity, Brown's paintings reveal surprising contradictions and ambiguities' (Christoph Grunenberg in Glenn Brown, London: 2009, p. 15). In this way, through The Music of the Mountains we are given access to a transcendent vision of art history that reveals fresh narratives and upends contemporary questions by placing them on a timeline that shrinks their fleeting pertinence. Here, Brown's wisps of paint and ink call upon the delicate and unsurpassed sketches of Da Vinci, blending and folding about one another to manifest a ghost-like head of a woman caught in a three-quarter glance, her eyes cast down appearing transfixed and intent. It is an arresting vision whose features evoke the playful fullness of a Boucher, yet her apparent seriousness lends an air of Judith beheading Holofernes. These epistemic questions tug at our knowledge of art history and the history of images themselves, proving an elaborate contemporary challenge to the validity of painting today. Brown thus goes beyond the reproduction of an original image; he reconstructs the composition, subjects it to distortion, and ultimately imbues it with a new sense of narrative. In his skilful handling of paint and conceptual ingenuity grounded in Postmodern critical theory, The Music of the Mountains draws us in with a timeless beauty that teeters on collapse, as exquisite and gossamer as the painted surface is. In opening his practice to the questions and tribulations of originality, Brown places himself amongst a rarefied group of artists for whom appropriation practices have defined their careers, from Marcel Duchamp, Cindy Sherman, Sherry Levine, Richard Prince, and Jeff Koons. Brown stands apart, however. His paintings leave doors open to ambiguity and revivification, not least in his titles that can appear oftentimes as banal or overly romantic, but interestingly turn to music as a source of inspiration. 'The connections between my paintings and my titles are not always obvious but they are never random,' the artist says: 'I am trying to puzzle viewers. The work is supposed to stick in their heads and make them ask why. Again, that is the base with good music; something, perhaps a sense of disharmony or miss alignment of timing, catches your attention but you often cannot articulate why. I think it is the same with a painting: it has to catch you by being enigmatic and intriguing – whether it is through colour or meaning, beauty or ugliness, a celebration of life or the devastation of death' (the artist interviewed by Rochelle Steiner in Glenn Brown, London: 2004, p. 100).In a perfectly balanced synthesis, Brown's execution is bonded to the grandeur of his ideas, which enables him to operate with an unparalleled nuance, cutting right between what the image is and what it represents. Without the masterly hand of the artist, such notions of beauty and decay, of life and death, would not uphold. As evidenced in the present work, these sumptuous swirls and painterly panache permit us to glimpse the sublime. But Brown allows darkness to creep in, where trailing threads and spirals appear to create a kind of smog, a putridity that hangs in the air of the piece. Ultimately, what the artist captures is pure affect – the remnant of an impression that casts itself back through time: 'the naked flesh of the original model may be long dead, but that just aids the imagination Fragonard, Auerbach and Rembrandt painted the living. Their flesh has become paint so I paint paint. The paint is the crusty residue left after the relationship between the artist and his model is over. It is all that there is left of real love, so I paint that' (the artist in Ibid., p. 17).Glenn Brown's The Music of the Mountains is an exemplary painting that illustrates the richness and vastness of his practice. In Brown's dextrous hand, we sense the timelessness of his subject that is conjured spirit-like before us. She hangs in the air as a vision of art that was, and art as it is now – constantly evolving, emerging, dwindling, and reconstituting. Brown continues to be one of the most exciting and talented contemporary artists, whose communion with art history's masters has surely placed him amongst them.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

FRANK AUERBACH (B. 1931)From the Studios II 1992 oil on board43.2 by 40.6 cm. 17 by 16 in. This work was executed in 1992.Footnotes:Provenance Marlborough Fine Art Ltd., London Acquired directly from the above by the present owner Exhibited London, Marlborough Fine Art Ltd., Frank Auerbach: Recent Works, 1997, n.p., no. 36, illustrated in colour Literature William Feaver, Frank Auerbach, New York 2009, p. 318, no. 704, illustrated in colourWilliam Feaver, Frank Auerbach, New York 2022, p. 360, no. 704, illustrated in colourFrom the Studios II is a strikingly fresh and beautiful example of Auerbach's inimitably personal and deeply emotive body of North London cityscapes. Rendered in a majestic and jewel-like palette of green, red, yellow and ochre pigment, the intensity of the artist's response to the subject is gloriously brought to life through Auerbach's bravura handling of oil paint, for which he is so well known. Executed in 1992 as part of a suite of paintings on the same subject, the composition focuses on a view of Auerbach's studio that the artist encountered day in, day out. He journeyed to the studio every day since he first took up residence in a Victorian building in Camden over sixty years ago. It is a place with a long history of art: before Auerbach, the building had been used by painters Frances Hodgkins and Leon Kossoff. This painting shows us a place that is obviously dear to Auerbach's heart, the approach along a narrow, unassuming alleyway to his cluttered, paint-flecked studio space. First capturing its image in 1977, this is a subject that the artist has repeatedly returned to throughout his oeuvre. And yet each version has its own unique qualities, its own distinct methods and manners. While hardly a picturesque spot in any conventional sense, the artist locates beauty in this messy corner of a busy city.The considerable complexities of colour and composition apparent in this present work distinguish the painting from previous paintings of this scene. Compared to the predominantly dark hues of the earlier To the Studios series executed between 1979-80 where, principally, blues are set against strokes of purple and sombre hues, the palette seen here is particularly bold, ranging from the liberal use of an acid yellow sky, to arresting juxtapositions of red and green pigments. Space and form emerge from a dense lattice of lines and patches of colour are built up and scraped back in rich layers of impasto. The tension between Auerbach's treatment of the surface as a material object and the image's illusion of three-dimensional depth invigorates the entire composition.With two works from the series owned by Tate, London, the The Studios series is unanimously considered one of the finest series in Auerbach's oeuvre: these works herald the unmistakable 'all-at-onceness' of Auerbach's vision across an exquisite range of captured moments. The present work draws upon Walter Sickert's cityscapes of North London, as well as the quality of 'individuality, independence, fullness and perpetual motion' within the landscapes of Auerbach's mentor and teacher David Bomberg (the artist in: Frank Auerbach, 'Frank Auerbach in conversation with Catherine Lampert', Frank Auerbach, London 1978, p. 8). Hailed as one of the most influential painters of the 20th century, Frank Auerbach was born in Berlin, Germany in 1931. Arriving in England as a Jewish refugee in 1939, he attended St Martin's School of Art, London, and studied with David Bomberg in night classes at Borough Polytechnic, before culminating his final studies at the Royal College of Art and has since remained in London. His first exhibition was held at London's Beaux Arts Gallery in 1956. Initially he was criticised for his thick application of paint, but found support from the critic David Sylvester, who identified the exhibition as one of the most exciting and impressive first one-man shows by an English painter since Francis Bacon. By the early 1960s, Auerbach had established himself among the ranks of what would later become known as the 'School of London', a group that included Lucian Freud and Francis Bacon. The latter, in particular, shared much of Auerbach's sensibility: the two artists favoured painterly intuition over carefully studied precision, viewing painting as a means of pinning down human sensation. However, despite his affiliation with the School of London artists and comparisons to Francis Bacon, Auerbach also sought to engage in the explicit dialogue with the art historical canon, and cites numerous old and modern masters as influences, including Rembrandt, Rubens, Titian, Constable and Picasso. Auerbach would continue to exhibit regularly at the Beaux-Arts Gallery until 1963. From 1965 he first exhibited at the Marlborough Gallery, and today his works have become some of the most internationally collected of a living artist. Indeed, his career-defining 2015-2016 retrospective at London's Tate Britain demonstrated not only the variety of the artist's works, but also his global following, and included works gathered from private collections across the world. From the Studios II presents a unity of architectonic structure, organic brushwork and luscious combinations of vibrant, rich hues. Through brilliant colour and a faultless exhibition of Auerbach's charismatic painterly gesture, this present work carries a powerful, personal and emotional charge. The work encapsulates a seminal exposition of Auerbach's thoroughly compelling Studio series, that is completely fresh to the market having remained in the same Private Collection since the early 1990s.This lot is subject to the following lot symbols: * AR* VAT on imported items at a preferential rate of 5% on Hammer Price and the prevailing rate on Buyer's Premium.AR Goods subject to Artists Resale Right Additional Premium.For further information on this lot please visit Bonhams.com

Owen S. Rachleff. Rembrandt's Life of Christ, first edition, numerous photographic illustrations, original publishers boards with slipcase, 4to, New York: Abradale Press, 1966; Gary Schwartz. Rembrandt, his life, his paintings, numerous illustrations, original publishers boards, large 4to, New York: Viking, 1985; Simon Schama. Rembrandt's Eyes, original publishers boards, dust jacket, large 8vo, London: , Allen Lane, 1999, and 27 others, similar, mostly Dutch Golden Age, v.s. (30). Provenance: Ex-Libris Robert Lenkiewicz Foundation.Mixed condition.

Jacob Adriaensz Backer, 1608 Harlingen – 1651 Amsterdam, zug.ALTER MANN IM PROFIL NACH LINKSÖl auf Leinwand. Doubliert.60 x 50,5 cm.Ungerahmt.Ein umfangreicher Restaurierungsbericht, München, vom 4. November 2020 liegt vor.Im Halbprofil nach links gewandte Darstellung eines älteren Mannes mit Goldagraffe im Brustbereich seiner Kleidung. Sumowski datiert die unten genannten Vergleichsbilder auf um 1633/35.Provenienz:Seit mindestens drei Jahrzehnten in Privatbesitz, Ammersee.Vom Einlieferer von seiner Mutter geerbt.Anmerkung:Neben den Gemälden in Dresden und der Eremitage erwähnt Sumowski auch Kopien ehemals in der Sammlung Dr. H. Floercke in München und in Privatbesitz in Tharandt.Literatur:Vgl. Werner Sumowski, Gemälde der Rembrandtschüler, Bd. I, S. 221, Abb. 18 (das besonders nahe Gemälde der Gemäldegalerie, Dresden), S. 222, Abb. 19 (das Gemälde mit dem alten Mann, jedoch in sakralem Habit).Vgl. Kurt Bauch, Jakob Adriaensz Backer, Berlin 1926.Vgl. Jacob Backer - Portrait of a young man, in: Achim Riether et al., Lehrer Rembrandt – Lehrer Sumowski, Ausstellungskatalog, Kunstverein Aalen, Aalen 2019. (1390541) (18))

Nicolaes Maes,1634 Dordrecht – 1693 Amsterdam, zug. Der Künstler war ein bedeutender holländischer Maler und einer der besten Schüler von Rembrandt van Rijn (1606-1669).BILDNIS EINES HÖFISCHEN JUNGEN MANNSÖl auf Leinwand. Doubliert.61 x 48 cm.In ebonisiertem profilierten Holzrahmen.Wir danken Dr. Guido Jansen für die Bestätigung der Autorschaft. Das Dreiviertelbildnis des Mannes in freier Natur, im Licht der rötlich untergehenden Sonne, der in seiner Rechten ein Messer hält, um etwas in den Baum hinein zu ritzen. Er trägt ein weißes, teils mit Spitze verziertes Hemd, eine blaue Jacke und einen großen goldbraunen Umhang, der von seinem rechten Arm herabhängend bis vor seinen Körper zur linken Schulterpartie führt. Er hat graues lockiges Haar und mit seinen blauen Augen schaut er würdevoll aus dem Bild heraus. Die Figur kunstvoll beleuchtet vor dunklem, landschaftlichem Hintergrund mit Wasserfall und Andeutung eines Waldrandes und Ausblick in die abendliche Ferne. Dies qualitätvolle repräsentative Portrait in typischer Manier des bekannten Malers. Seine erste Ausbildung erhielt Maes als noch junger Lehrling bei Rembrandt in Amsterdam, dessen Malweise er auch sogleich übernommen hatte. Erst später, nach 1678, wandelte sich seine Malweise nach der Beeinflussung durch Van Dyck. Dies lässt sich vor allem in den nun vorwiegend entstandenen Porträtbildnissen sehen. Nun ging es ihm weniger um die Herausarbeitung von Licht- und Schatteneffekten wie in der Kunst Rembrandts, sondern vielmehr um die Erfassung der Charakteristik der dargestellten Personen. So zeigt der überwiegende Teil seines Oeuvres Herren-, Damen und Kinderbildnisse, zumeist aus adeligen, bzw. gehobenen Bürgerkreisen. (13916932) (19)Nicolaes Maes,1634 Dordrecht – 1693 Amsterdam, attributed  PORTRAIT OF A YOUNG COURT GENTLEMANOil on canvas. Relined.61 x 48 cm.We would like to thank Dr Guido Jansen for confirming the authorship.

Gerrit Willemsz. Horst, 1612 Muiden – 1652 Amsterdam, zug.VERTREIBUNG DER HÄNDLER AUS DEM TEMPELÖl auf Holz. Teilparkettiert.42 x 80,5 cm.Verso mit älteren Etiketten auf Carel Fabritius verweisend.In ornamental verziertem, teilvergoldeten Rahmen.Vor einer sich keilförmig in den Bildraum hineinschiebenden Architektur ist auf einem Vorsprung Jesus zu sehen, der im Begriff ist, die Händler aus dem Tempel zu vertreiben. Die keilförmige Komposition, die Größenverhältnisse und das betont gestreckte Querformat erinnern an ein Gemälde, das unter Inv.Nr. NM 1046 im Nationalmuseum Stockholm verwahrt wird. Auch das ebenfalls brauntonige Gemälde im Pushkin Museum (ehemals Sammlung Dmitry Ivanovich Shchukin in Moskau), Inv.Nr. 617 ist gut vergleichbar.Horst war ab Juni 1626 Schüler des Antonie Hendricksz. Lust und eventuell um 1636-1640 Schüler des Rembrandt. Ein Italienaufenthalt ist für 1646 - 1647 verbürgt. (1380315) (13))

Bologneser Maler der zweiten Hälfte des 17. JahrhundertsGROSSES FESTBANKETT MIT ORCHESTER - HEIMKEHR DES VERLORENEN SOHNESÖl auf Leinwand. Altdoubliert.91 x 129 cm. Um 1690.Ungerahmt.Zahlreich höfisch gekleidete Figuren haben sich zu einer Festveranstaltung im Laubenhof eines Palazzo zusammengefunden. Die Szenerie gerahmt von einer Palastloggia links und einem weinüberwachsenen Wirtschaftsgebäude rechts. Ganz offensichtlich ist der in der Mitte stehende hell gekleidete Herr als Gastgeber zu sehen, der mit seiner Hand auf einen jungen Mann am gedeckten Tisch links weist. Dieser wiederum wird von einer Dame am Arm gehalten. Ein kleines Orchester ist rechts vor der Pergola erhöht zu sehen. Der Bildinhalt lässt erkennen, dass es sich hier um das biblische Thema die Heimkehr des verlorenen Sohnes handelt (Lukas, 15,11). Dies wird durch die Freude der Mutter, der danebenstehenden älteren Frau und die nahezu zufrieden segnende Hand des Vaters im Zentrum erkennbar. Links am Tischende ein junger Mann in heftiger Diskussion mit einer jungen Dame - hierbei handelt es sich themengemäß um die eifersüchtigen Geschwister des Heimgekehrten. Das Thema gab dem Maler Anlass, hier ein Ereignis in barocker Festlichkeit darzustellen. Gleichzeitig galt der Stoff in der Zeit als moralisch belehrend; nicht wenige Maler haben sich – neben Rembrandt – dem Thema angenommen. A.R. (1370024) (11))

Nicolaes Maes, 1634 Dordrecht – 1693 Amsterdam, zug.Der Künstler war ein bedeutender holländischer Maler und einer der besten Schüler von Rembrandt van Rijn (1606-1669).BILDNIS DER JOHANNA VAN DEN BRANDEÖl auf Leinwand.59 x 48 cm.Wir danken Dr. Guido Jansen für die Bestätigung der Autorschaft. Dreiviertelbildnis einer höfischen Dame in einem eleganten Kleid mit weitem Dekolleté vor dunklem Landschaftshintergrund bei untergehendem Licht. Sie hat ein zartes Inkarnat, leicht gerötete Wangen und mit ihren grauen Augen schaut sie würdevoll aus dem Bild heraus. Sie hat lange hellblonde Haare und spielt mit den Fingern ihrer rechten Hand mit ihren Haarlocken. Ihre Zugehörigkeit zum Adel könnte durch ihren wertvollen Perlenschmuck im Ohr und um den Hals angedeutet werden, der die Wirkung des anmutigen Gesichtes noch hebt. Das weiße Kleid mit Spitzenbordüren ist an den Ärmeln sowie am Dekolleté mit Schmuckbroschen versehen, zuletzt über ihre rechte Schulter ein blau glänzendes Tuch tragend. Anmerkung:Dieses qualitätvolle repräsentative Portrait zeigt die typischen Merkmale in der Manier des bekannten Malers.Seine erste Ausbildung erhielt Maes als noch junger Lehrling bei Rembrandt in Amsterdam, dessen Malweise er auch sogleich übernommen hatte. Erst später, nach 1678, wandelte sich seine Malweise nach der Beeinflussung durch Van Dyck. Dies lässt sich vor allem in den nun vorwiegend entstandenen Porträtbildnissen sehen. Nun ging es ihm weniger um die Herausarbeitung von Licht- und Schatteneffekten wie in der Kunst Rembrandts, sondern vielmehr um die Erfassung der Charakteristik der dargestellten Personen. So zeigt der überwiegende Teil seines Oeuvres Herren-, Damen und Kinderbildnisse, zumeist aus adeligen, bzw. gehobenen Bürgerkreisen. (13916933) (19)Nicolaes Maes,1634 Dordrecht – 1693 Amsterdam, attributedPORTRAIT OF JOHANNA VAN DEN BRANDE Oil on canvas.59 x 48 cm.We would like to thank Dr Guido Jansen for confirming the authorship.

Jan Victors, 1619/20 Amsterdam – um 1676 Niederländisch-Indien, nachMÄDCHEN AM FENSTERÖl auf Leinwand.93 x 78 cm.Die Darstellung geht auf das berühmte, 1640 datierte Gemälde von Jan Victors im Louvre in Paris zurück, das 1801 für das Museum erworben wurde.Eine vornehme, reiche junge Frau blickt aus einem oben abgerundeten Fensterbogen zu ihrer rechten Seite heraus und will gleichzeitig mit zwei Fingern ihrer linken Hand den Fensterladen schließen. Sie trägt eine wertvolle Kopfbedeckung mit Perlen, zudem einen langen Perlenohrring und um den Hals eine entsprechende Kette. Dazu passend standesgemäße Kleidung mit Stickereien und einer Brosche. Die junge Frau hat ein zartes, weiches Gesicht mit geröteten Wangen und der erwartungsvolle Gesichtsausdruck zeigt eine bemerkenswerte und höchst beeindruckende Charakterstudie. Jan Victors wurde 1722 in einer Haarlemer Inventarliste als einer der besten Schüler von Rembrandt van Rijn beschrieben, obwohl es nicht sicher ist, ob er wirklich für ihn arbeitete; jedoch wird allgemein angenommen, dass dies in der zweiten Hälfte der 1630er-Jahre gewesen sein dürfte, da dessen Einfluss in dem Werk Victors deutlich erkennbar ist. Sein frühestes, bekanntestes Gemälde, das „Mädchen am Fenster“ im Louvre zeigt deutlich, dass er die Werke Rembrandts eingehend studiert haben muss. (1390672) (18)Jan Victors, 1619 Amsterdam – 1677/1683 Dutch India, afterGIRL AT THE WINDOW Oil on canvas.93 x 78 cm.

10 Titel Kunstgewerbe/ Epochen / Kunstgeschichte.Grafik der Gegenwart, Die Buchgemeinde Berlin 1928 (= Jahresreihe 1928/29, 3 Bd.); Hentzen: Deutsche Bildhauer der Gegenwart, Rembrandt-Verlag Berlin o. J. (ca. 1930); Verkaufskatalog/ Mappe Villeroy & Boch - Ausgeführte Arbeiten (Fliesen, Wandkeramik) o.J. (um 1920/30); Mielke/ Beyer: Barock, Sachsenverlag Dresden 1961; Geismeier: Biedermeier, Seemann Verlag Leipzig 1979; Kybalová: Orientteppiche, Artia Prag 1975; Hettes/ Forman: Venezianisches Glas, Artia Prag 1960; Kämpfer: Viertausend Jahre Glas, Verlag der Kunst Dresden 1966; Dehmer: Aux morts. Grabskulptur in Dresden 1880-1930, Schnell + Steiner Regensburg 2020; Beurdeley_ L'amour bleu, Bruno Gmünder Verlag Berlin 1988; Teilweise stärkere Erhaltungsmängel, Anstreichungen etc. 10 books on arts.

Quartett "Berühmte Männer", Deutschland, 1914-1918Verlag Otto Maier, Ravensburg, No. 264, vertrieben von Alfred Nautze, Pirna, Buchbinderei & Papierhandlung. Papier, Pappe. 60 Karten (vollständig) mit Darstellungen und Erläuterungen berühmter Männer der Geschichte, beispielsweise: Karl V., Rembrandt, Plato, Kolumbus und andere. Im Originalkarton (stark beschädigt), Karten kaum bespielt, altersmäßig geringe Gebrauchsspuren. 14 x 9,5 x 3,5 cm Card game "Famous men", Germany Published by Otto Maier, Ravensburg, No. 264, distributed by Alfred Nautze, Pirna, Buchbinderei & Papierhandlung. Paper, cardboard. 60 cards (complete) with illustrations and explanations of famous men of history. In original cardboard box (heavily damaged), cards hardly used, minor signs of age-related wear.

Entourage de Gustave Doré (1832-1883)Christ ressuscité huile sur toileoil on canvas36 x 26.5cm (14 3/16 x 10 7/16in).Footnotes:Le présent tableau est une copie d'après l'œuvre de Rembrandt, Christ ressuscité, aujourd'hui conservé au Bayerische Staatsgemäldesammlungen, Alte Pinakothek, de Munich (inv. 6471).For further information on this lot please visit Bonhams.com

Cigarette cards, Ardath, Rembrandt Series (Spendo Cigarettes), Dutch issue, 'L' size (set, 40 cards) (some with paper adhesion to back edge o/w gen gd)

Maler/Kopist des 19./20. Jh."Büste eines Greises mit Kette", Darstellung nach Rembrandt aus der Gemäldegalerie Kassel, links und oben rechts monogr., Öl/Holz, HxB: 24/18 cm. Mit Rahmen.

Rembrandt Harmensz. van Rijn (1606-1669) Christ Driving the Money Changers from the Temple (B., Holl. 69; New Holl. 139; H. 126)Etching with touches of drypoint, 1635, New Hollstein's second state (of four), unframedsheet size 14.5 x 17.5cmUnframed. Attached to a card support at the four corners (not laid down). Very slight wrinkling to corners. Few small scattered spots.

After Rembrandt Portrait miniature of the artist watercolour on ivory, in a gilt brass frame6cm diam.The present work after Rembrandt’s self-portrait of 1634 in the Uffizi, Florence, is similar in style to the numerous Old Master portrait copies executed by Giuseppe Macpherson (1726-c.1780). A work by Macpherson after the same self-portrait exists in the Royal Collection (RCIN 421156).This item is offered for sale in accordance with the Ivory Act 2018 and has been assigned an exemption certificate, Ref. No. 459K3CQK.

THREE FINE MEZZOTINTS. SELF PORTRAITS OF REMBRANDT AGE 34, GAINSBOROUGH AT 60 AND PORTRAIT OF TURNER. ALL SIGNED IN PENCIL BY THE ENGRAVERS. 21” X 18” [3]

Six framed prints, comprising after Henri Matisse The Goldfish, 61cm x 41cm, after Russo, The Walk, 43.5cm x 53.5cm, after Renoir, The Artist's Son, 43cm x 54cm, after Matisse Utrillo Christmas in Montmartre, 35cm x 44.5cm, Edouard Manet, A Bar at the Folies Bergere, 34cm x 77cm, and after Rembrandt, A Girl with a Broom, 64.5cm x 55cm, each in painted white frame. (6)

FERDINAND LEFTMAN [fl.1873-1890] after Rembrandt - Man reading a book,:-etching, image 15.5 x 10cm.

A coloured Etching 'Eventide Ullswater' by Francis Wells having Rembrandt Artist Proof stamp, plus a pair of seascape Prints in oak frames.

Rembrandt-Mappe, Lichtbilder nach Rdierungen von Rembrandt, Deutsche BuchgemeinschaftBerlin, 1939, Versch. Formate, teils auf Unterpapier, ca. 48,6 x 34,5 cm, von Walter Weichardt, numm.: XII/XII der Liebhaber Drucke. Stockfleckig, Lagerspuren.

REMBRANDT VAN RIJN (1606-1669), Kopie A.20.Jh. nach, "Die Anatomie des Dr. Tulp", Öl/Lwd., 69 x 98, R.

HENRY MOOREShelter-Sketch-Book. Berlin u. London: Rembrandt Verlag u. Marlborough Fine Art 1967. 36,9 x 31 cm. Mit 1 sign. OrFarblithographie von Henry Moore und 80 farb. Zeichnungen in Faksimile-Lichtdrucken. 4 Bll. Text. Lose Tafeln in weinroter OrLnKassette und grauem LnKarton.(Karton und Kassette etwas berieben und stockfleckig.)Nr. 7 von 180 Ex. - Cramer/Grant/Mitchinson 82. - Deutsche Ausgabe. Im Druckvermerk vom Künstler signiert. Die sign. u. num. OrLithographie („Three standing figures“; 1966) in den Farben Rot und Orange auf Japon nacré.

REMBRANDT HARMENSZ. VAN RIJNJuden in der Synagoge 1648Radierung auf dünnem Bütten. Blattgröße ca. 8,1 x 13,9 cm, Plattengröße ca. 7,1 x 13 cm. Bartsch 126; New Hollstein 242 VI (von IX).(Etwas stock- und leimfleckig.)

AR * Blackburn (David, 1939-2016). Beach with Cross and Stone & Beach with Stones and Trailing Form, 1974, two pastel on paper, both with faded signature and date to lower right, sheet size each 39.5 x 30 cm (15 1/2 x 11 3/4 ins), both titled and dated '1974' with 'Rowneys & Rembrandt pastel fixed (3) with Windsor & Newton Fixing spray - 1975' to verso, mounted together, framed and glazed (69 x 99 cm)QTY: (1)

Rembrandt Harmensz. van Rijn (1606-1669)The Raising of Lazarus: The Small PlateEtching with touches of drypoint, 1642, but a later impression of the second state (of two), printing with plate tone on laid paper without watermark, sheet 149 x 112 mm (5 3/4 x 4 3/8 in), trimmed to or just within the platemark, upper corners and edge carefully restored with support verso, minor nicks repaired (unframed)Literature:Bartsch 72; New Hollstein 206

Rembrandt Harmensz. van Rijn (1606-1669)The Angel Appearing to the ShepherdsEtching, 1634, a very good impression of New Hollstein's third state (of six), on laid paper with partial watermark of a [?] stem of grapes, before later re-working, sheet 257 x 215 mm (10 1/8 x 8 1/2 in), trimmed within the platemark, some brown spotting, minor surface dirt (unframed)  Literature:Bartsch 44; New Hollstein 125 iii/vi

Rembrandt Harmensz. van Rijn (1606-1669)Jan Uytenbogaert, Preacher of the RemonstrantsEtching, 1635, but a later impression of New Hollstein's seventh state (of nine), on laid paper without watermark, platemark irregular, sheet 227 x 187 mm (8 7/8 x 7 3/8 in), trimmed to platemark at upper and lower edge, some minor spotting and surface dirt, brown spots to lower right corner (unframed)Literature:Bartsch 279; New Hollstein 153

Rembrandt Harmensz. van Rijn (1606-1669)The Death of the VirginEtching and drypoint, 1639, but a later impression of New Hollstein's fourth state (of five) on sturdy wove paper without watermark, platemark 395 x 315 mm (15 1/2 x 12 3/8 in), sheet 415 x 330 mm (16 1/4 x 13 in), repaired tear to the upper left edge, spotting and browning to the sheet (unframed)Literature:Bartsch 99; New Hollstein 173 iv/v

Rembrandt Harmensz. van Rijn (1606-1669)Abraham and IsaacEtching and engraving, 1645, a very good impression of New Hollstein's first state (of two), printing with depth and clarity on fine laid paper without watermark, only showing minor signs of wear in the densely cross-hatched areas, platemark 155 x 127 mm (6 1/8 x 5 in), sheet 161 x 131 mm (6 3/8 x 5 1/8 in), thinning and careful repair to the lower right corner, minor handling creases and faint printers' creases to the lower quadrant (unframed)Literature:Bartsch 34; New Hollstein 224 i/ii

Rembrandt Harmensz. van Rijn (1606-1669)The Pancake WomanEtching, 1635, but a later impression of New Hollstein's seventh state (of seven), on laid paper without watermark, platemark 109 x 78 mm (4 1/4 x 3 1/8 in), sheet 118 x 90 mm (4 5/8 x 3 1/2 in), minor spotting, surface dirt and light handling creases (unframed)Literature:Bartsch 124; New Hollstein 144 vii/vii

Rembrandt Harmensz. van Rijn (1606-1669)Bearded old Man in high Fur Cap, with Eyes closedEtching, circa 1635, a very good dark impression of New Hollstein's second state (of four) with vertical wiping marks distinct, showing only minor wear in the plate, on thin laid paper without watermark, platemark 114 x 104 mm (5 5/8 x 4 1/8 in), sheet 118 x 107 mm (4 5/8 x 4 1/4 in), expert repairs corners, mainly marginal (unframed) Literature:Bartsch 290; New Hollstein 148 ii/iv

Rembrandt Harmensz. van Rijn (1606-1669)The Beheading of Saint John the BaptistEtching and drypoint, 1640, but a later re-worked impression of New Hollstein's third state (of 3), printing with plate tone on sturdy laid paper with partial German text printing verso, platemark 127 x 102 mm (5 x 4 in), sheet 137 x 112 mm (5 3/8 x 4 3/8 in), minor surface dirt (unframed)Literature:Bartsch 92; New Hollstein 183 iii/iii

Rembrandt Harmensz. van Rijn (1606-1669)Peter and John Healing the Cripple at the Gate of the TempleEtching, 1659, but a later impression of New Hollstein's fifth state (of six), on thin laid paper with partial watermark of [?] postal horn or variant of the rod of Basel, platemark 81 x 215 mm (3 1/4 x 8 1/2 in), sheet 195 x 230 mm (7 3/4 x 9 1/8 in), faint exposure lines within the margins, small nicks and marginal losses, a few faint spots (unframed)  Literature:Bartsch 94; New Hollstein 312 v/vi

Rembrandt Harmensz. van Rijn (1606-1669)The Flight into Egypt: A Night PieceEtching with drypoint, 1651, a very fine impression of New Hollstein's sixth state (of nine), printing with tone on and around the head of the donkey, Joseph's hands and Mary, on laid paper with partial indistinct watermark, sheet 128 x 111 mm (5 x 4 3/8 in), trimmed to or just within the platemark, expertly inset at edges into conservation window mount (unframed)Literature:Bartsch 53; New Hollstein 262 vi/ix

Rembrandt Harmensz. van Rijn (1606-1669)Joseph and Potiphar's WifeEtching, 1634, but a later impression of New Hollstein's third state (of four), printing with faint plate tone on cream laid paper without watermark, sheet 92 x 115 mm (3 5/8 x 4 1/2 in), trimmed to or just within the platemark, minor nicks and careful repairs with support to lower corners verso (unframed)Literature:Bartsch 39; New Hollstein 128 iii/iv

Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with SaskiaEtching, 1636, but a later impression of New Hollstein's third state (of four), printing with plate tone on cream laid paper without watermark, 106 x 96 mm (4 1/8 x 3 3/4 in), thread margins or trimmed up to platermark, minor nick to upper left corner, thinning visible verso to lower right corner, minor surface dirt (unframed)Literature:Bartsch 19; New Hollstein 158 iii/iv

Rembrandt Harmensz. van Rijn (1606-1669)Woman Bathing her Feet at a BrookEtching, 1658, but a later likely 18th century impression of New Hollstein's second state (of two), printing with plate tone on laid paper without watermark, platemark 158 x 79 mm (6 1/4 x 3 1/8 in), sheet 173 x 97 mm (6 7/8 x 3 7/8 in), some wear showing in the plate, scattered spotting and surface dirt (unframed)Literature:Bartsch 200; New Hollstein 309 ii/ii 

Rembrandt Harmensz. van Rijn (1606-1669)Christ at Emmaus: the Larger PlateEtching with drypoint and engraving, 1654, a good but later impression of New Hollstein's fourth state (of five), printing with only the first signs of wear to the cross-hatching by Christ's feet but before final reworking, on fine laid paper without watermark, sheet 212 x 164 mm (8 3/8 x 6 3/8 in), trimmed to or just within the platemark, some spotting and even toning, careful repairs to perforations near Christ's halo, small repaired nick to the centre left (unframed)Literature:Bartsch 87; New Hollstein 283 iv/v

Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [sixth state]Etching and engraving, 1633, but a later impression of New Hollstein's sixth state (of eight), printing before Lamoureux's address in the lower right corner, with heavy wear in the plate, on laid paper fully affixed onto card support, sheet 541 x 424 mm (21 3/8 x 16 3/4 in), several old repairs to nicks and tears, mainly extremities, conservation to old horizontal creases (unframed)Literature:Bartsch 81; New Hollstein 119 vi/viii

Rembrandt Harmensz. van Rijn (1606-1669)Bald Headed Man in Profile Right: the Artist's Father (?)Etching and drypoint, 1630, a good impression of New Hollstein's final state (of five), on laid paper without watermark, platemark 69 x 57 mm (2 5/8 x 2 1/4 in), sheet 80 x 64 mm (3 1/4 x 2 1/2 in), showing some signs of wear in the heavily cross hatched areas, some spotting and surface dirt, careful repair in the upper left corner (unframed)Literature:Bartsch 292; New Hollstein 62 v/v

Rembrandt Harmensz. van Rijn (1606-1669)The Ringball Player ["The Golf Player" or "Het Klosbaantje"]Etching, 1654, a good but later impression of New Hollstein's second state (of two), with the gaps shaded out, but only showing faint signs of rust in the upper left quadrant, on ivory laid paper without watermark, platemark 95 x 142 mm (3 3/4 x 5 5/8 in), sheet 104 x 154 mm (4 1/8 x 6 in), pencil number '121' in the lower left corner margin (unframed)Literature:Bartsch 125; New Hollstein 282 ii/ii

Rembrandt van Rijn (1606-1669)Beggars Receiving Alms at the Door of a HouseEtching and drypoint, 1648, a good bold but later impression of the fifth state (of five) on laid paper without watermark, platemark 163 x 127 mm (6 3/8 x 5 in), sheet 184 x 142 mm (6 1/2 x 5 1/8 in), sheet 169 x 134 mm (7 1/4 x 5 1/4 in) (unframed)Literature:Bartsch 176; New Hollstein 243 v/v

Rembrandt Harmensz. van Rijn (1606-1669)The Landscape with the CowEtching and drypoint, circa 1650, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream wove paper without watermark, platemark 105 x 130 mm (4 1/8 x 5 1/8 in), sheet 107 x 132 mm (4 1/4 x 5 1/4 in), minor surface dirt (unframed)Literature:Bartsch 237; New Hollstein 251 iii/v 

Rembrandt Harmensz. van Rijn (1606-1669)The Circumcision in the StableEtching, 1654, a good but later impression of New Hollstein's fourth state (of five), on laid paper without watermark, platemark 94 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), spotting and minor browning (unframed)Provenance:Raffaele Alianello (Lugt 5k)Literature:Bartsch 47; New Hollstein 280 iv/v 

Rembrandt van Rijn (1606-1669)The Adoration of the Shepherds: A Night PieceEtching, circa 1652, a later impression of New Hollstein's ninth state (of eleven), on laid paper without watermark, sheet 150 x 200 mm (6 1/4 x 8 1/4 in), careful repairs to extremities, some ink retouching within the plate, brown ink numbering '45' above seated figure to the right (unframed) Literature:Bartsch 46 vii/vii; New Hollstein 300 ix/xi Provenance:Naudet (Paris-based print dealer, active 1763 to c.1830) [L. 1937-38]

Rembrandt Harmensz. van Rijn (1606-1669)Bust of a Man wearing a high cap, three-quarters right: the Artist’s Father (?)Etching, 1630, a good but later impression of New Hollstein's fifth/sixth state (of six), on laid paper without watermark, platemark 103 x 85 mm (4 1/8 x 3 1/4 in), sheet 106 x 87 mm (4 1/8 x 3 3/8 in), showing some signs of wear in the heavily cross hatched areas, repair to the upper left and two lower corners, surface dirt (unframed)Literature:Bartsch 321; New Hollstein 57 v/vi

Rembrandt Harmensz. van Rijn (1606-1669)The Descent from the Cross: Second Plate [eighth state]Etching and engraving, 1633, but a later Basan impression of New Hollstein's eighth state (of eight) on chine collé and thick wove paper, with Lamoureux's address printing in the lower right corner, platemark 533 x 406 mm (21 3/4 x 16 in), sheet 570 x 455 mm (22 1/2 x 17 7/8in), handling creases, spotting and surface dirt (unframed)Literature:Bartsch 81; New Hollstein 119 viii/viii

Rembrandt van Rijn (1606-1669)Sheet of Studies: Beggar Couple, Head of an Old Woman (fragment)Etching, with traces of drypoint, circa 1632, a good impression, albeit a fragment, of New Hollstein's second state with the foul biting removed, on laid paper without watermark, sheet 75 x 47 mm (2 7/8 x 1 7/8 in), small loss to the upper left corner, scraping verso with minor cockling to the sheet (unframed) Literature:Bartsch 363; New Hollstein 115 ii/ii

Rembrandt van Rijn (1606-1669)Nude man seated and another standing, with a woman and baby lightly etched in the backgroundEtching, circa 1646, but a later impression of New Hollstein's fifth state (of eight) on laid paper without watermark, platemark 194 x 128 mm (7 5/8 x 5 in), sheet 210 x 142 mm (8 1/4 x 5 5/8 in) (unframed) Literature:Bartsch 194; New Hollstein 233 v/viii

Rembrandt Harmensz. van Rijn (1606-1669)The Tribute MoneyEtching, circa 1635, a good clear impression of New Hollstein's first state (of four), some minor signs of wear in the plate, but before any re-work, on thin laid paper without watermark, sheet 74 x 102 mm (2 7/8 x 4 in), minor touches of red chalk recto and verso, small touch of black ink to one area of cross-hatching, minor repair to centre left edge (unframed)Literature:Bartsch 68; New Hollstein 138 i/iv

Rembrandt Harmensz. van Rijn (1606-1669) The Raising of Lazarus: The Larger Plate Etching and engraving, circa 1632, but a later impression of New Hollstein's seventh/eighth state (of nine), on very thin Japan-like buff tissue or chiné, platemark 368 x 257 mm (14 1/2 x 10 1/8 in), sheet 377 x 263 mm (14 3/4 x 10 3/8 in), tipped onto paper support, some marginal nicks and tears where the tipped on sections have been lifted up, overall toning and some browning, minor surface dirt (unframed)Literature: Bartsch 73; New Hollstein 113 vii-viii/ix

Rembrandt Harmensz. van Rijn (1606-1669)Self-Portrait with Feathered Cap and PlumeEtching, circa 1638, but a later impression of New Hollstein's third state (of four), printing with plate tone on laid paper without watermark, platemark 134 x 104 mm (5 1/4 x 4 1/8 in), sheet 136 x 105 mm (5 3/8 x 4 1/8 in), thread margins, faint diagonal crease (unframed)Literature:Bartsch 20; New Hollstein 170 iii/iv

Rembrandt van Rijn (1606-1669)Nude man seated and another standing, with a woman and baby lightly etched in the backgroundEtching, circa 1646, a fine impression of New Hollstein's first state (of eight) on laid paper with watermark of Strasbourg Lily [cf. Hinterding G.c. 2, dateable to c.1646-1648], sheet 188 x 129 mm (7 3/8 x 5 1/8 in), small margins, upper edge trimmed just within the platemark, careful repair to small loss in the lower right corner, small repairs to chest and head of seated man, other small repairs to upper left and right quadrants, minor spotting (unframed) Literature:Bartsch 194; New Hollstein 233 i/viii

Rembrandt Harmensz. van Rijn (1606-1669)Christ Disputing with the DoctorsEtching, 1654, a good but slightly later impression of New Hollstein's only state showing minor signs of wear, printing with plate tone on thin laid paper without watermark, platemark 96 x 144 mm (3 3/4 x 5 5/8 in), sheet 104 x 152 mm (4 1/8 x 6 in), faint exposure lines within the margin, small rust spot within the upper centre blank area (unframed)Literature:Bartsch 64; New Hollstein 281 i/i

Rembrandt Harmensz. van Rijn (1606-1669) Christ and the Woman of Samaria among Ruins Etching, 1654, but a later impression of New Hollstein's third state (of five), printing with plate tone on cream laid paper without watermark, some wear in the densely cross-hatched areas, platemark 120 x 103 mm (4 3/4 x 4 1/8 in), sheet 125 x 110 mm (4 7/8 x 4 1/4 in), minor surface dirt (unframed) Literature: Bartsch 71; New Hollstein 127

Rembrandt Harmensz. van Rijn (1606-1669)Christ before Pilate: Large PlateEtching with drypoint and engraving, circa 1635-1636, a good lifetime impression of New Hollstein's fourth state (of five), printing with much depth, on laid paper with watermark of Strasbourg Lily with slightly indistinct '4' below [see Hinterding's watermark A.c., datable to 1655], sheet 537 x 439 mm (21 1/8 x 17 1/4 in), trimmed within the platemark, several expert careful repairs to minor losses, some restored with careful pen facsimile, notably the edge of the step to the lower centre, edges reinforced verso with very fine tissue, drying crease and other old folds with careful support verso (unframed) Literature:Bartsch 77; New Hollstein 155 iv/v

Rembrandt Harmensz. van Rijn (1606-1669)The Baptism of the EunuchEtching, 1641, but a later impression of New Hollstein's third state (of four), on cream laid paper without watermark, sheet 192 x 222 mm (7 1/2 x 8 3/4 in), trimmed to or within the platemark but edges expertly re-margined, minor surface dirt (unframed)Literature:Bartsch 98; New Hollstein 186 iii/iv